AUGUSTE AND HIS CLAQUE

Abstract

HE IMPOSING creation known as opera, which ruled French musical stage and served as a focal point in social life of Paris during 1830's, is a complex structure reflecting some of aspirations and much of compromise of its day. It is a product of that uneasy period in French history which saw elevation of bourgeoisie to a commanding position in society at same time as it brought victory of Romanticism in art under fiery leadership of Vicor Hugo. Grand opera modeled itself upon both developments. In many ways it is truly romantic, and deserves particular recognition as a notable effort to achieve that ideal fusion of arts dreamed of by many Romanticists. But grand opera is more than a union of arts. It is also a marriage between business and art, and as such it is an outstanding illustration of bourgeois commercial expansion during early years in reign of Louis-Philippe (I830-I848). Sometime ago, says a character in Eugene Scribe's play Le Mariage d'Argent (1827), the fine arts revolted and decided no longer to allow themselves to die of hunger. Despite this sensible resolution, some artists no doubt still were being underfed; but it is evident that those associated with Opera after I831 were among ones least likely to suffer from malnutrition. Their lot was more secure because grand opera became greatest public success in history of French lyric stage. Much of credit for triumph must be given, of course, to creative artists responsible for this style of opera: to Giacomo Meyerbeer composer, to Eugene Scribe librettist, and to Duponchel and Ciceri metteurs en scene. Yet it is no reflection on them to say that their work might very possibly have received less acclaim were it not for labors of