“‘That may be,’ said the Prince, ’but while Her Majesty continues to honour with her royal presence the Duchesse de Polignac, whose friends, as well as herself, are all enthusiastically mad in favour of the constitutional system, she shows an undue partiality, by countenancing one branch of the party and not the other; particularly so, as the great and notorious leader of the opposition, which the Queen frowns upon, is the sister-in-law of this very Duchesse de Polignac, and the avowed favourite of the Comte d’Artois, by whom, and the councils of the Palais Royal, he is supposed to be totally governed in his political career.’

“‘The Queen,’ replied I, ’is certainly her own mistress.  She sees, I believe, many persons more from habit than any other motive; to which, Your Highness is aware, many Princes often make sacrifices.  Your Highness cannot suppose I can have the temerity to control Her Majesty, in the selection of her friends, or in her sentiments respecting them.’

“‘No,’ exclaimed the Prince, ’I imagine not.  But she might just as well see any of us; for we are no more enemies of the Crown than the party she is cherishing by constantly appearing among them; which, according to her avowed maxims concerning the not sanctioning any but supporters of the absolute monarchy, is in direct opposition to her own sentiments.

“‘Who,’ continued His Highness, ’caused that infernal comedy, ’Le Mariage de Figaro’, to be brought out, but the party of the Duchesse de Polignac?

[Note of the Princesse de Lamballe:—­The Prince de Conti never could speak of Beaumarchais but with the greatest contempt.  There was something personal in this exasperation.  Beaumarchais had satirized the Prince.  ‘The Spanish Barber’ was founded on a circumstance which happened at a country house between Conti and a young lady, during the reign of Louis XV., when intrigues of every kind were practised and almost sanctioned.  The poet has exposed the Prince by making him the Doctor Bartolo of his play.  The affair which supplied the story was hushed up at Court, and the Prince was punished only by the loss of his mistress, who became the wife of another.]

The play is a critique on the whole Royal Family, from the drawing up of the curtain to its fall.  It burlesques the ways and manners of every individual connected with the Court of Versailles.  Not a scene but touches some of their characters.  Are not the Queen herself and the Comte d’Artois lampooned and caricatured in the garden scenes, and the most slanderous ridicule cast upon their innocent evening walks on the terrace?  Does not Beaumarchais plainly show in it, to every impartial eye, the means which the Comtesse Diane has taken publicly to demonstrate her jealousy of the Queen’s ascendency over the Comte d’Artois?  Is it not from the same sentiment that she roused the jealousy of the Comtesse d’Artois against Her Majesty?’