THE THEATRES, MUSIC, AND THE FASHIONS.

Globe, Volume I, Issue 99, 24 September 1874, Page 3

THE THEATRES, MUSIC, AND THE FASHIONS.

From a correspondent of the Press, Paris, July 28. THEATRES.—" L'Enfant," drama in four acts by Madame Louis Figuier, and represented at the Cluny theatre. It seems in truth that there is nothing more important in this world, and that one saya all when one holds forth a dissertation as to the manner a wife ought to conduct herself towards her husband, and the latter towards his wife. The point de depart is generally to ascertain if a husband ought to kill an adulterous wife. Madame Figuier gives us another variation on the old theme; she rather inclines to the " kill her" solution proposed by the specialist, Dr Dumas fils, but with a restriction. If there be a child, the husband should not on the moment unsheath hispoignard or take down his revolver, because the child may have want of a mother's necessary care. The outraged husband should address, it would seem, his wife after this fashion —" Madame, you have forgotten all your duties, but you have a child that cannot yet exist without you ; wait some years and I will shoot you when our infant attains its majority ; be ready then for that epoch." All this is pure savageness, and as there are laws against adultery, as well as against theft and all other attempts on our honor or fortune, it would be better to allow the law to take its course, especially so when too many husbands are unhappily more or less responsible for what they suffer by neglecting their wives, their homes, and their affairs, and dissipating the resources of the family in gambling clubs and 2>etits sov/pers given to petites dames. The scenery of "L'Enfant" and the plot are connected with Naples. A M. Fabron has married a young lady named Amelie, who does not love him, and honestly tells him so ; but her father compels her to wed Fabron, who is a rich iron master, and who foolishly marries when the bride's heart is with her sailor cousin, the betrothed of her infant days, which he well knows. Fabron then does not sin by an excess of delicacy ; but he is not the less jealous and becomes daily more irritable. The oouain returns from a long voyage ; Amelie pays him a a mysterious visit, to receive back her love tokens ; the husbapd Jying in ambush, shoots her and decamps. A peasant rescues Amelie, she is cured, and enters a convent as Sister Angelica. The poor woman is perfectly innocent, so husbands before takii g the law into their own hands, ought not to discharge their revolver before being satisfied of the culpability of their wives. Years pass and their daughter, Emmeline, has grown up to be a young woman, in love with an artist, and seriously ill, owing to her father refusing his consent to the marriage ; his reason is, that he would have to confess to his daughter the tragic fate of her mother. What necessity to put the revelation of a family assassination in the Corbohlle de Mariage ; why not keep the skeleton in the cupboard, after, as well as before ? Emmeline is nursed by a lady from the convent, the Sister Angelica, in fact a true "bleeding nun," who solicits the father to consent to the marriage ; on his refusal, the nun confesses she is none other but his wife, whom he believes dead. A violent scene ensues, and the enraged husband is about making sure in the fourth act, though after twelve years of distance, to take that life which he missed in the first. The wife produces letters establishing her innocence, and the husband then implores her to live with him. But Mme Fabron is not at all anxious to accept the invitation ; she has secured the happiness of her daughter, and returns in all .haste to her convent, satisfied it cannot have too many bars and bolts to protect her from the chronic fury of so Btrange a husband. The subject is better adapted for a novel than for a drama; the language is too romantic, too high flown ; there are too many flowers, too many zephyrs; too much about stars, waves, warbling of birds, &c. There are some scenes touching in the piece, which in addition is well-played, la it quite right to represent school girls applying their ears to the lips of a statue of the Virgin to learn the names of their future husbands ? Theatre Francois—Corneille's "Polyeucte" has been brought out at this theatre, and with fair success, considering the reluc-

tance of the public taste still, but in a less degree than heretofore, for tragedy, and the absence of a Rachel to fill the role of Pauline. The principal aim in reviving this piece was to introduce Mile Favart, but the success was for the new artist, M. Dupont-Vernon, who has left the bar for the stage, and despite an unprepossessing appearance, is making hi" way by sheer force of talent, and a sincere belief in his new career. " Polyencte" is not only a Christian tragedv. but an historical study, full of movement of life as intense and as varied as any of Shakspeaie's. Mme de Blaintenon, who stimulated if she did not inspire Louis XIV. in his persecution of the • Mvinists, objecting to " Polyeucte" being frequently represented, although it was a chef tPeauvre admired by the public, as it might excite the enthusiasm of the Reformers, at the view of a tragedy recalling those early Christian martyrs, who, not content with braving death, supplicated it, and when the persecutors themselves, seized with admiration at the view of such heroism, embraced the faith of their victims in many cases. To-day Polyeucte has but a literary interest for the spectator, who cannot bring feeling to harmonise in a state of society so different from ours. Not that the heroism of Polyeucte is above that of our nature generally, so much as that its manifestations are too much in contradiction with our manners and sentiments. Our ideas of toleration are shocked at the view of his going to overthrown the altars and idols of the Pagans ; not that one agrees with Paganism, but one thinks of the reprisals that will follow. Polyeucte ardently loves his wife Pauline, yet he suddenly renounces her, and recommends that she go live with his rival Severe. It is the consequence of the fervor of his conversion that he views his wife as an obstacle to his Christian happiness. Thus we cannot sympathise with him, as he is so much above human nature, but we admire not the less the noble and energetic language of Corneille. Even when Pauline is also converted, she retains for her husband feelings of respect and duty, but no love in the human meauing of the word. Then theories about Grace and theological discussions, if they be not enthusiastic subjects, are certainly out of place on the stage. The church is the place wherein to seek piety. The characters of Severe and Felix are positively modern and human. Severe is a Pagan, tolerant, with a mind broad and liberal, never irritated against people holding ideas different from his own ; he neither hates nor despises the Christians ; he would leave to each their gods. He does not seek revenge against Polyeucte, who deprived him of Pvuline, nor desires to persecute him, having turned Christian. Severe is a modern sceptic, who regards Polyeucte as a sublime madman ; he detests extremes, and follows the dictates of reason. Felix father of Pauline, is a personage full of ambition, without heart, shame, or conscience, making of his daughter an instrument for his fortune, and having no other care but to keep in office and curry the favor of his sovereign. Severe loved Pauline, but was compelled to wed Polyeucte, as being the more eligible in point of fortune. Severe having returned in triumph from Persia, Felix pushes Pauline towards him, to sacrifice her honor, and virtue so as to advance the interests of her father and family! Loving as she ever did Severe she revolts at the sacrifice, and Racine has never written anything more touching and tender, than the verses where Pauline tells her love. Felix labors to have Polyeucte executed to remove an obstacle in his plans to marry Pauline and Severe, and when he in time becomes himself a convert, people believe he has changed from calculation. Mile Favart as Pauline, had dignity and grace in the first three acts, but when energy and explosions of passion were needed in the last two she was feeble, incoherent, desultory, wanting in style and natural power. Rachel, it was observed, succeeded not by tragedy, but despite tragedy. M. Dupont-Vernon as Polyeucte, in'his acting, though intelligent, was tame, and his declamation, though correct and studious, wanted something like inspiration. His voice is not loud, which for a tragic actor as for a good singer is an advantage ; those who cry the loudest are far from being the best artists. Palais-Royal has revived the " Diablesroses " (with Mile Schneider) by Thiboust, a fantasy peculiarly dear to Napoleon 111, who ordered it as he would the representation of a grand opera. Mile Schneider showed she was still an enfant gdtee, which dispenses with the necessity of estimating her a serious comedienne. At the Dejaaet, there is a sparkling trifle called li Leg Femmes de Paul de Kock." It is an animated defile of those curious and picturesque types of females so well known in the works of the popular novelist, and that the spectators welcomed as old acquaintances. The fantasy is accompanied by songs. The success and joy of the public ought to make the shadow of Paul de Kock happy, if it ever haunts this, his favorite theatre. Music —National Opera--"L'Esclave," opera in five acts, libretto by Messrs Faussier and Got, music by M. Membree. The production of this work has led to an unanimous attack on the director, M. Halanzier,| by the press, for his niggardliness, his ignorance of music, his letting down the French school of music by not encouraging young composers, the better to avoid expense, ft is a true bill that the director neither brings out new operas, nor discovers new singers, and the work in question which has obtained a success owes its production to the influence of a very high personage ; and jet it was composed a quarter of a century past, when the fashion was in favor of the Donizetti school of music. M. Membree produced a one act opera seventeen years ago, his first work, and has since continued to compose ; the more managers repelled, the more indefatigably he wrote. He is reported to have some choice operas lying by—for his imagination is very fruitful. In any case it should be borne in mind, first efforts are not ever successes, Gounod failed, as did also Auber, at the commencement of their careers, and it is only since his death that Berlioz has been appreciated. The scene of " The Slave," passes in a town of Southern Russia in the sixteenth century, where we are introduced to the interior of a patriarchal home, occupied by a priest (Paulus), his .wife and daughter (Paula), and engaged over a Bible, reading the sacrifice of Abraham, which Paulus asserts he would execute, if the Czar required him to do so. A. shot is heard, and two slaves enter ; one is wounded and escapes, the other, Kalidji, remains, and invokes the priest's protection : their master, Vasili, arrives, and claims his slaves. Paula falls in love with the slave, is married to Kalidji, and by law thus becomes the property of Vasili, twenty-four hours after her marriage. In the interim the slaves break out into insurrection, are de-

feated, and their bodies cover the soil. Vasili demands Paula : her father replies, "take her," pointing to her corpse, as she had stabbed herself on discovering her husband's death Tin libretto is monotonous, but the music is full of melody, and always agreeable, displaying great talent, and as well in that written for the voice as in that for the instruments; it reveals great dra mafic power, aad the c'ioruF3S are ver; beautiful. Pan t the first act sings a very touching melody, and her father's prayer, taken up by three voices, and then by the chorus, is very pleasing. The scene on the arrival of Vasili is full of interesting details ; the chorus of the young girls at the opening of the second act is fresh and graceful ; Kalidji's monologue is full of poetry and color, and his duo with Paula, a success ; the hunting chorus is very fine, and the finale of the revolt of the slaves was hisse. The two first acts are the best; however, there are very pretty airs in the ballet of the third act. Some excellent things had to be left out, a Greek church, &c, in order not to offend the Russians. In the mounting of the opera a good deal of " economy " has been displayed, but the work has been well represented, and deservedly applauded. Fashions,—lt is generally admitted that never were toilettes more becoming than this season. The corsages are irreproachable in form, and mould the figure to perfection ; the tunics are draped with elegance and taste. Tunic is perhaps not the correct word now to employ, as the most elegant ladies adopt instead two or three super])osccs, very long in front, and draped artistically behind, with a large faille bow in bias, resembling the kuot of a cravat. These tunics are chiefly made up in foulard, check pattern, of two different colors or shades, light and dark blue, black and white, grey and white, &c, and are woru over a faille jupon. Foulard is in great favor this season, but it must be of superior quality, which in the end is economical, as it cleans easily, and hence, preferable in summer to silk and taffeta. Many toilettes, composed of embroidered robes of every shade, upon jupons of corresponding color, are remarked. However costly the embroidery may be, there is evidence that it is being considered too common. Several costumes in lace, some with jet or steel pearls, and dazzling in the sun, are to be met with. Black is as useful as it is essential, and no lady of taste but has two black toilettes in her wardrobe, one in cashmere or siciliennc for sombre weather, the other as elegant as possible for full dress. Economical ladies very justly adopt black in winter, but are fcrced to renounce it in summer on account of the dust. For the frightfully hot weather nothing can surpass cambric and Oxford linen, especially when gracefully made up. The latter is composed generally in two tones, and the two tunics superposed can be replaced by a polanaise adjusted, or by a blouse, over which is worn a small paletot without sleeves. This costume will be both simple, elegant, and tasteful, if accompanied with a straw hat ornamented with a foulard, and a natural wing at the side. Grey or blue linens can only be ornamented with bands of English embroidery, or the latter corresponding to the stuff. For young persons, rose, blue, mauve, or yellow cambric, ornamented with small plaited flounces of white muslin, forms a very simple and harmonious toilette for country parties, and not costly into the bargain. The coiffure falling on the neck appears to be returning to favor. Thejudio hat is made in Italian straw, and possesses the advantage of suiting almost all toilettes ; beside the Leopold Robert, it looks heavy. The cloche hat is rakish and suits only young persons, aud is composed of English straw, maroon color. The bolivar hat is simple and sober.