Beaumarchais had long possessed a reputation in certain circles in Paris for his wit and musical talents, and at the theatres for dramas more or less indifferent, when his "Barbier de Seville" procured him a higher position among dramatic writers. His "Memoirs" against M. Goesman had amused Paris by the ridicule they threw upon a Parliament which was disliked; and his admission to an intimacy with M. de Maurepas procured him a degree of influence over important affairs. He then became ambitious of influencing public opinion by a kind of drama, in which established manners and customs should be held up to popular derision and the ridicule of the new philosophers. After several years of prosperity the minds of the French had become more generally critical; and when Beaumarchais had finished his monstrous but diverting "Mariage de Figaro," all people of any consequence were eager for the gratification of hearing it read, the censors having decided that it should not be performed. These readings of "Figaro" grew so numerous that people were daily heard to say, "I have been (or I am going to be) at the reading of Beaumarchais's play." The desire to see it performed became universal; an expression that he had the art to use compelled, as it were, the approbation of the nobility, or of persons in power, who aimed at ranking among the magnanimous; he made his "Figaro" say that "none but little minds dreaded little books." The Baron de Breteuil, and all the men of Madame de Polignac's circle, entered the lists as the warmest protectors of the comedy. Solicitations to the King became so pressing that his Majesty determined to judge for himself of a work which so much engrossed public attention, and desired me to ask M. Le Noir, lieutenant of police, for the manuscript of the "Mariage de Figaro." One morning I received a note from the Queen ordering me to be with her at three o'clock, and not to come without having dined, for she should detain me some time. When I got to the Queen's inner closet I found her alone with the King; a chair and a small table were ready placed opposite to them, and upon the table lay an enormous manuscript in several books. The King said to me, "There is Beaumarchais's comedy; you must read it to us. You will find several parts troublesome on account of the erasures and references. I have already run it over, but I wish the Queen to be acquainted with the work. You will not mention this reading to any one."
I began. The King frequently interrupted me by praise or censure, which was always just. He frequently exclaimed, "That's in bad taste; this man continually brings the Italian concetti on the stage." At that soliloquy of Figaro in which he attacks various points of government, and especially at the tirade against State prisons, the King rose up and said, indignantly:
"That's detestable; that shall never be played; the Bastille must be destroyed before the license to act this play can be any other than an act of the most dangerous inconsistency. This man scoffs at everything that should be respected in a government."
"It will not be played, then?" said the Queen.
"No, certainly," replied Louis XVI.; "you may rely upon that."
Still it was constantly reported that "Figaro" was about to be performed; there were even wagers laid upon the subject; I never should have laid any myself, fancying that I was better informed as to the probability than anybody else; if I had, however, I should have been completely deceived. The protectors of Beaumarchais, feeling certain that they would succeed in their scheme of making his work public in spite of the King's prohibition, distributed the parts in the "Mariage de Figaro" among the actors of the Theatre Francais. Beaumarchais had made them enter into the spirit of his characters, and they determined to enjoy at least one performance of this so-called chef d'oeuvre. The first gentlemen of the chamber agreed that M. de la Ferte should lend the theatre of the Hotel des Menus Plaisirs, at Paris, which was used for rehearsals of the opera; tickets were distributed to a vast number of leaders of society, and the day for the performance was fixed. The King heard of all this only on the very morning, and signed a 'lettre de cachet,'--[A 'lettre de cachet' was any written order proceeding from the King. The term was not confined merely to orders for arrest.]-- which prohibited the performance. When the messenger who brought the order arrived, he found a part of the theatre already filled with spectators, and the streets leading to the Hotel des Menus Plaisirs filled with carriages; the piece was not performed. This prohibition of the King's was looked upon as an attack on public liberty.
