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The Figaro of Beaumarchais is a descendant of the Mascarille of Molière; but the glory of rivalling Molière was reserved for our own stage. Sheridan's Critic, or a Tragedy Rehearsed, is a congenial dramatic satire with these two pieces of Molière.
Before finally joining with M. Halévy, M. Meilhac wrote two comedies in five acts of high aim and skilful execution, and two other five-act pieces have been written by MM. Meilhac and Halévy together. The Vertu de Célimène and the Petit fils de Mascarille are by the elder partner Fanny Lear and Froufrou are the work of the firm.
As Mascarille, in "Les Précieuses Ridicules," Coquelin becomes delicate and extravagant, a scented whirlwind; his parody is more splendid than the thing itself which he parodies, more full of fine show and nimble bravery. There is beauty in this broadly comic acting, the beauty of subtle detail.
He is officious and efficacious in the skin of Mascarille and Ergaste and Scapin; but he tends to be a lacquey, with a reference rather to Antiquity and the Latin comedy than to the Middle Ages, as on the English stage his mere memory survives differently to a later age in the person of "Charles, his friend."
Clever, and intimate with every branch of literature, she might have made folks believe that, as Mascarille says, people of quality come into the world knowing everything. She could argue fluently on Italian or Flemish painting, on the Middle Ages or the Renaissance; pronounced at haphazard on books new or old, and could expose the defects of a work with a cruelly graceful wit.
I have heard that the Roi Candaule was originally an act of La Boule, and the Photographe seems as though it had dropped from La Vie Parisienne by mistake. In M. Meilhac's earlier five-act plays, the Vertu de Celimène and the Petit fils de Mascarille, there is great power of conception, a real grip on character, but the main action is clogged with tardy incidents, and so the momentum is lost.
Though, by the way, a little more knowledge of fortification may be of some use to you; as the events of war, in sieges, make many of the terms, of that science occur frequently in common conversation; and one would be sorry to say, like the Marquis de Mascarille in Moliere's 'Precieuses Ridicules', when he hears of 'une demie lune, Ma foi! c'etoit bien une lune toute entiere'. But those things which every gentleman, independently of profession, should know, he ought to know well, and dive into all the depth of them.
If you have seen any wit in what he has just said you must certainly have put it there yourself." "It is the Marquis de Mascarille, I think, who says that, M. della Rebbia. But would you like me to give you a proof of my clear-sightedness? I am something of a witch, and I can read the thoughts of people I have seen only twice." "Good heavens! you alarm me.
Beauchamp knew the virtue of punctiliousness in epithets and phrases of courtesy toward a formal people, and as the officers of the French Guard were gentlemen of birth, he would have them to perceive in him their equal at a glance. On the other hand, a bare excess of phrasing distorted him to a likeness of Mascarille playing Marquis. How to be English and think French!
Merely to see him would have been enough to tell you that Beaumarchais' Figaro, Moliere's Mascarille, Marivaux's Frontin, and Dancourt's Lafleur those great representatives of audacious swindling, of cunning driven to bay, of stratagem rising again from the ends of its broken wires were all quite second-rate by comparison with this giant of cleverness and meanness.
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