Illusion is the special
object of the theatre, and this forfeits its magic when once inquiry
is directed too curiously to its method of contrivance. Still doubling
of this kind has always been in favour both with actors and audiences,
and many plays have been provided especially to give dual occupation
to the performers. Certain of these have for excuse the fact that
their fables hinge upon some question of mistaken identity, or strong
personal resemblance. The famous "Courier of Lyons," founded, indeed,
upon a genuine _cause celebre_, was a drama of this kind. Here it was
indispensable that the respectable Monsieur Lesurques and the criminal
Dubosc, between whom so extraordinary a likeness existed that the one
suffered death upon the scaffold for a murder committed by the other,
should be both impersonated by the same performer. "The Corsican
Brothers," it need hardly be said, narrated the fortunes of the
twin-born Louis and Fabian dei Franchi, reasonably supposed to be so
much alike that they could not be known apart. Mademoiselle Rachel
appeared with success in a drama called "Valeria," written by
Messieurs Auguste Maquet and Jules Lacroix, for the express purpose,
it would seem, of rehabilitating the Empress Messalina.
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