When, for instance, Addison's "Cato" was first produced,
Steele, as himself relates, undertook to pack an audience, and
accordingly filled the pit with frequenters of the Whig coffee-houses,
with students from the Inns of Court, and other zealous partisans.
"This," says Pope, "had been tried for the first time in favour of
'The Distressed Mother' (by Ambrose Phillips), and was now, with more
efficacy, practised for 'Cato.'" But this was only an occasional
_claque_. The "band of applauders" dispersed after they had cheered
their friend and achieved their utmost to secure the triumph of his
play. And they were unconnected with the manager of the theatre; they
were not _his_ friends, still less were they his servants, receiving
wages for their labours, and bound to raise their voices and clap
their hands in accordance with his directions. For such are the
genuine _claqueurs_ of to-day.
Dr. Veron, who has left upon record a sort of secret history of his
management of the Paris Opera House, has revealed many curious
particulars concerning _les claqueurs_, adding a serious defence of
the system of artificial applause.
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