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Page 12
The amiable Josephine was sobbing whilst she described this scene to me,
and I was not insensible to the indignation which she felt. The truth
is, that at that period Lucien, though constantly affecting to despise
power for himself, was incessantly labouring to concentrate it in the
hands of his brother; and he considered three things necessary to the
success of his views, namely, hereditary succession, divorce, and the
Imperial Government.
Lucien had a delightful house near Neuilly. Some days before the
deplorable scene which I have related he invited Bonaparte and all the
inmates at Malmaison to witness a theatrical representation. 'Alzire'
was the piece performed. Elise played Alzire, and Lucien, Zamore. The
warmth of their declarations, the energetic expression of their gestures,
the too faithful nudity of costume, disgusted most of the spectators, and
Bonaparte more than any other. When the play was over he was quite
indignant. "It is a scandal," he said to me in an angry tone; "I ought
not to suffer such indecencies--I will give Lucien to understand that I
will have no more of it." When his brother had resumed his own dress,
and came into the salon, he addressed him publicly, and gave him to
understand that he must for the future desist from such representations.
When we returned to Malmaison; he again spoke of what had passed with
dissatisfaction. "What!" said he, "when I am endeavouring to restore
purity of manners, my brother and sister must needs exhibit themselves
upon the boards almost in a state of nudity! It is an insult!"
Lucien had a strong predilection for theatrical exhibitions, to which he
attached great importance. The fact is, he declaimed in a superior
style, and might have competed with the best professional actors. It was
said that the turban of Orosmane, the costume of America, the Roman toga,
or the robe of the high priest of Jerusalem, all became him equally well;
and I believe that this was the exact truth. Theatrical representations
were not confined to Neuilly. We had our theatre and our company of
actors at Malmaison; but there everything was conducted with the greatest
decorum; and now that I have got behind the scenes, I will not quit them
until I have let the reader into the secrets of our drama.
By the direction of the First Consul a very pretty little theatre was
built at Malmaison. Our usual actors were Eugene BEAUHARNAIS, Hortense,
Madame Murat, Lauriston, M. Didelot, one of the prefects of the Palace,
some other individuals belonging to the First Consul's household, and
myself. Freed from the cares of government, which we confined as much as
possible to the Tuileries, we were a very happy colony at Malmaison; and,
besides, we were young, and what is there to which youth does not add
charms? The pieces which the First Consul most liked to see us perform
were, 'Le Barbier de Seville' and 'Defiance et Malice'. In Le Barbier
Lauriston played the part of Count Almaviva; Hortense, Rosins; Eugene,
Basil; Didelot, Figaro; I, Bartholo; and Isabey, l'Aveille. Our other
stock pieces were, Projets de Mariage, La Gageltre, the Dapit Anloureux,
in which I played the part of the valet; and L'Impromptu de Campagne, in
which I enacted the Baron, having for my Baroness the young and handsome
Caroline Murat.
Hortense's acting was perfection, Caroline was middling, Eugene played
very well, Lauriston was rather heavy, Didelot passable, and I may
venture to assert, without vanity, that I was not quite the worst of the
company. If we were not good actors it was not for want of good
instruction and good advice. Talma and Michot came to direct us, and
made us rehearse before them, sometimes altogether and sometimes
separately. How many lessons have I received from Michot whilst walking
in the beautiful park of Malmaison! And may I be excused for saying,
that I now experience pleasure in looking back upon these trifles, which
are matters of importance when one is young, and which contrasted so
singularly with the great theatre on which we did not represent
fictitious characters? We had, to adopt theatrical language, a good
supply of property. Bonaparte presented each of us with a collection of
dramas very well bound; and, as the patron of the company, he provided us
with rich and elegant dresses.
--[While Bourrienne, belonging to the Malmaison company, considered
that the acting at Neuilly was indecent, Lucien, who refused to act at
Malmaison, naturally thought the Malmaison troupe was dull. "Hortense
and Caroline filled the principal parts. They were very commonplace. In
this they followed the unfortunate Marie Antoinette and her companions.
Louis XVI., not naturally polite, when seeing them act, had said that it
was royally badly acted" (see Madame Campan's Life of Marie Antoinette,
tome i. p. 299). "The First Consul said of his troupe that it was
sovereignly badly acted". . . Murat, Lannes, and even Caroline ranted.
Elisa, who, having been educated at Saint Cyr, spoke purely and without
accent, refused to act. Janot acted well the drunken parts, and even the
others he undertook. The rest were decidedly bad. Worse than bad--
ridiculous" (Iung's Lucien's, tome ii. p. 256). Rival actors are not
fair critics. Let us hear Madame Junot (tome ii. p. 103). "The
cleverest of our company was M. de Bourrienne. He played the more
dignified characters in real perfection, and his talent was the more
pleasing as it was not the result of study, but of a perfect
comprehension of his part." And she goes on to say that even the best
professional actors might have learnt from him in some parts. The
audience was not a pleasant one to face. It was the First Consul's habit
to invite forty persons to dinner, and a hundred and fifty for the
evening, and consequently to hear, criticise, and banter us without
mercy" (Memoirs of Duchesse d'Abrantes, tome ii. p. 108). ]--
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