Marie Antoinette took little pains to promote literature and the fine arts. She had been annoyed in consequence of having ordered a performance of the “Connstable de Bourbon,” on the celebration of the marriage of Madame Clotilde with the Prince of Piedmont. The Court and the people of Paris censured as indecorous the naming characters in the piece after the reigning family, and that with which the new alliance was formed. The reading of this piece by the Comte de Guibert in the Queen’s closet had produced in her Majesty’s circle that sort of enthusiasm which obscures the judgment. She promised herself she would have no more readings. Yet, at the request of M. de Cubieres, the King’s equerry, the Queen agreed to hear the reading of a comedy written by his brother. She collected her intimate circle, Messieurs de Coigny, de Vaudreuil, de Besenval, Mesdames de Polignac, de Chalon, etc., and to increase the number of judges, she admitted the two Parnys, the Chevalier de Bertin, my father-in-law, and myself.
Mold read for the author. I never could satisfy myself by what magic the skilful reader gained our unanimous approbation of a ridiculous work. Surely the delightful voice of Mold, by awakening our recollection of the dramatic beauties of the French stage, prevented the wretched lines of Dorat Cubieres from striking on our ears. I can assert that the exclamation Charming! charming! repeatedly interrupted the reader. The piece was admitted for performance at Fontainebleau; and for the first time the King had the curtain dropped before the end of the play. It was called the “Dramomane” or “Dramaturge.” All the characters died of eating poison in a pie. The Queen, highly disconcerted at having recommended this absurd production, announced that she would never hear another reading; and this time she kept her word.
The tragedy of “Mustapha and Mangir,” by M. de Chamfort, was highly successful at the Court theatre at Fontainebleau. The Queen procured the author a pension of 1,200 francs, but his play failed on being performed at Paris.
The spirit of opposition which prevailed in that city delighted in reversing the verdicts of the Court. The Queen determined never again to give any marked countenance to new dramatic works. She reserved her patronage for musical composers, and in a few years their art arrived at a perfection it had never before attained in France.