d, after
emptying many bottles of the costliest wines, the virtuous republicans
would retire without troubling themselves on the score of expense. As
this was a nightly occurrence, and the poor actors had no money, the
expense fell on the restaurateur, who was compelled to console himself
by the reflection that it was in the cause of liberty. Oftentimes the
executioner, the dreaded Sanson, who as public official had the right of
entree, would stroll in and in a jocular tone emphasize his abilities as
a critic by saying to the singers that his opinion on the _execution_ of
the music ought to be respected.*

* So, too, the London hangman one night went into the pit of
her Majesty's Theatre to hear Jenny Lind sing, and remarked
with a sigh of professional longing, "Ah, what a throat to
scrag!"

Operatic kings and queens were suppressed, and the titles of royalty
were prohibited both on the stage and in the greenroom. It was
necessary, indeed, to use the old monarchical repertoire; but kings
were transformed into chiefs; princes and dukes became members of the
Convention or representatives of the people; seigneurs became mayors,
and substitutes were found for words like "crown," "scepter," "throne,"
etc. There was one great difficulty to overcome. This was met by placing
the scenes of the new operas in Italy, Portugal, etc.--anywhere but in
France, where it was indispensable from a political point of view, but
impossible from the poetic and musical, to make lovers address each
other as _citoyen, citoyenne_.

Hebert would frequently display proscriptive lists in the green-room,
including the names of many of the actors and other operatic employees,
and say, "I shall have to send you all to the guillotine some day, but
I have been prevented hitherto by the fact that you have conduced to
my amusement." The stratagem which saved them was to get the ferocious
Hebert drunk, for he loved wine as well as blood, and steal the fatal
document. However, this operatic _dilettante_ always appeared with
a fresh one next day. One bloodthirsty republican, Lefebvre, who was
ambitious for musical fame, insisted on singing first characters. He
appeared as _primo tenore_, and was hissed; he then tried his luck as
first bass, and was again hissed by his friends the _sans culottes_.
Enraged by the _fiasco_, he attributed it to the machinations of a
counter-revolution, and nearly persuaded Robespierre to give him a
platoon