; yet the general effect of the representation would suffer
much if all applause, including that of a premeditated and, indeed,
purchased kind, were entirely withheld; the timid would remain timid,
talent would remain unrecognised, and, therefore, almost unrevealed,
if no cheering were heard to reassure, to encourage, to kindle, and
excite. The suggestion that the public would supply genuine applause
if only the _claqueurs_ were less liberal with the spurious article,
Dr. Veron rather evades than discusses.

The chief of the _claqueurs_ in Dr. Veron's time was a certain M.
Auguste, of Herculean form and imposing address, well suited in every
respect for the important post he filled. He was inclined to
costume of very decisive colours--to coats of bright green or
reddish-brown--presumably that, like a general officer, his forces
might perceive his presence in their midst by the peculiarity, if not
the brilliance, of his method of dress. Auguste was without
education--did not know a note of music; but he understood the
audience of the Opera House. For long years he had attended every
representation upon its stage, and experience had made him a most
skilful tactician. Auguste enjoyed the complete confidence of Dr.
Veron. _Claqueur_ and manager attended together the rehearsals of
every new work, and upon the eve of its first performance held a
cabinet council upon the subject. They reviewed the whole production
from the first line to the last. "I did not press upon him my
opinions," says Dr. Veron; "I listened to his; he appraised, he judged
all, both dance and song, according to his own personal impressions."
The manager was surprised at the justice of the _claqueur's_ criticism
by anticipation--at his ingenious plans for apportioning and
graduating the applause. It was Auguste's principle of action to begin
modestly and discreetly, especially at the opera, dealing with a
choice and critical public; to approve a first act but moderately,
reserving all salvoes of applause for the last act and the _denoument_
of the performance. Thus, in the last act he would bestow three rounds
of applause upon a song, to which, had it occurred in the first act,
he would have given but one. He held that towards the middle of a
performance success should be quietly fostered, but never forced. For
the _claqueurs_ of other theatres Auguste entertained a sort of
disdain. It was, as he averred, the easiest thing in the world to
obtain success a