graces of deportment. The theater, indeed, then prepares man for
society as society prepares him for the theater; in either case he is on
display, composing his attitude and tone of voice, and playing a part;
the stage and the drawing room are on an equal footing. Towards the end
of the century everybody becomes an actor, everybody having been one
before.[2271] "We hear of nothing but little theaters set up in the
country around Paris." For a long time those of highest rank set the
example. Under Louis XV. the Ducs d'Orleans, de Nivernais, d'Ayen, de
Coigny, the Marquises de Courtenvaux, and d'Entraigues, the Comte de
Maillebois, the Duchesse de Brancas, the Comtesse d'Estrades form, with
Madame de Pompadour, the company of the "small cabinets;" the Due de la
Valliere is the director of them; when the piece contains a ballet the
Marquis de Courtenvaux, the Duc de Beuvron, the Comtes de Melfort and
de Langeron are the titular dancers.[2272] "Those who are accustomed to
such spectacles," writes the sedate and pious Duc de Luynes, "agree in
the opinion that it would be difficult for professional comedians to
play better and more intelligently." The passion reaches at last still
higher, even to the royal family. At Trianon, the queen, at first before
forty persons and then before a more numerous audience, performs Colette
in "Le Devin de Village," Gotte, in "La Gageure imprevue," Rosine in
"Le Barbier de Seville," Pierette in "Le Chasseur et la Laitiere,"[2273]
while the other comedians consist of the principal men of the court, the
Comte d'Artois, the Comtes d'Adhemar and de Vaudreuil, the Comtesse de
Guiche, and the Canoness de Polignac. A theater is formed in Monsieur's
domicile; there are two in the Comte d'Artois's house, two in that of
the Duc d'Orleans, two in the Comte de Clermont's, and one in the Prince
de Conde's. The Comte de Clermont performs serious characters; the Duc
d'Orleans represents, with completeness and naturalness, peasants and
financiers; M. de Miromesnil, keeper of the seals, is the smartest and
most finished of Scapins; M. de Vaudreuil seems to rival Mole; the Comte
de Pons plays the "Misanthrope" with rare perfection.[2274] "More than
ten of our ladies of high rank," writes the Prince de Ligne, "play and
sing better than the best of those I have seen in our theaters." By
their talent judge of their study, assiduity and zeal. It is evident
that for many of them it is the principal occupation. In a ce