THE theatrical supernumerary-or the "super," as he is familiarly called-is a man who in his time certainly plays many parts, and yet obtains applause in none. His exits and his entrances, his début and his disappearance, alike escape criticism and record. His name is not printed in the playbills, and is for ever unknown to his audience. Even the persons he is supposed to represent upon the stage always remain anonymous. Both as a living

and fictitious creature he is denied individuality, and has to be considered collectively, massed with others, and inseparable from his companion figures. He is not so much an actor, as part of the decorations, the animated furniture, so to say, of the stage. Nevertheless,

"" supers have their importance and value. For how could the drama exist without its background groups: its soldiers, citizens, peasants, courtiers, nobles, guests, and attendants

of all kinds? These give prominence, support, and effect to the leading characters of the theatre; and these are the "supers.'

Upon the French stage the minor assistants of the scene are comprehensively described as les choristes. In this way the pedigree of the "super" gains something of nobility, and may, perhaps, be traced back to the chorus of the antique drama, a body charged with most momentous duties, with symbolic mysteries of dance and song, removed from the perils and catastrophes of the play, yet required in regard to these to guide and interpret the sympathies of the spectators. In its modern application, however, this generic term has its subdivisions, and includes les choristes proper, who boast musical attainments, and are obedient to the rule of a chef d'attaque, or head chorister; les accessoires, performers permitted speech of a brief kind, who can be intrusted upon occasion with such simple functions as opening a door, placing a chair, or delivering a letter, and who correspond in many respects with our actors of utility; les figurants, the subordinate dancers led by a coryphée; and lastly, les comparses, who closely resemble our supernumeraries, and are engaged in more or less numbers, according to the exigencies of the representation. Of these aids to performance les comparses only enjoy no regular salaries, are not formally enrolled among the permanent members of

the establishment, but are paid simply for appearing-seventy-five centimes for the night, and fifty centimes for each rehearsal-or upon some such modest scale of remuneration. This classification would appear to afford opportunities to ambition. Here are steps in the ladder, and merit should be able to ascend. It is understood, however, that as a rule les comparses do not rise. They are the serfs of the stage, who never obtain manumission. They are as conscripts, from whose knapsacks the fieldmarshal's bâton is almost invariably omitted. They become veterans, but their length of service receives no favourable recognition. Comparses they live and comparses they die, or disappear, not apparently discontented with their doom, however. Meantime the figurant cherishes sanguine hopes that he may one day rise to a prominent position in the ballet, or that he may become an accessoire; and the accessoire looks forward fervently to ranking in the future among the regular actors or artistes of the theatre, with the right of entering its grand foyer, or superior green-room. Until then he must confine himself and his aspirations to the petit foyer set apart for the use of players of his class.

Thus it is told of a certain accessoire of the Porte St. Martin, in years past, who had won a scarcely appreciable measure of fame for his adroitness in handing letters or coffee-cups upon a salver, and even for the

VOL. II.

propriety with which he announced, in the part of a footman, the guests and visitors of a drama-such as "Monsieur le Vicomte de St. Rémy!" or "Madame la Marquise de Roncourt!"-that he applied to his manager for an increase of his salary on account of the special value of his services. "I do not expect," he frankly said, "immediately to receive 25,000 francs, as Monsieur Frédéric Lemaitre does; no, not yet; although I bear in mind that Monsieur Lemaitre began his career with fighting broad-sword combats in Madame Saqui's circus; but my present salary is but 600 francs a year, and a slight increase

"Monsieur Fombonne," interrupted the manager, "I acknowledge the justice of your application. I admire and esteem you. You are one of the most useful members of my company. I well know your worth; no one better.

Monsieur Fombonne, glowing with pleasure, bowed in his best manner.

"I may venture to hope, then

By all means, Monsieur Fombonne. Hope sustains us under all our afflictions. Always hope. For my part hope is the only thing left me. Business is wretched. The treasury is empty. I cannot possibly raise your salary. But you are an artist, and therefore above pecuniary considerations. I do not-I cannot But I can gratify a

-offer you money.

laudable ambition. Hitherto you have ranked only as an accessoire; from this time forward you are an actor. I give you the right of entering the grand foyer. You are permitted to call Monsieur Lemaitre mon camarade; to tutoyer Mademoiselle Theodorine. I am sure, Monsieur Fombonne, that you will thoroughly appreciate the distinction I have conferred upon you.'

Monsieur Fombonne was delighted. He was subsequently to discover, however, that some disadvantages attended his new dignity; that the medal he had won had its reverse. The accessoires and figurants of the theatre always received their salaries on the first day of each month. The artistes were not paid until the sixth or seventh day. Monsieur Fombonne had to live upon credit for a week as the price of his new privileges. His gain was shadowy; his loss substantial.

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With the choristers proper we are not here much concerned. They are not fairly to be classed among supers," and they pertain almost exclusively to the lyric stage. It is to be noted, however, that they are in some sort evidence of the connection that once existed between the Church and the Theatre; the ecclesiastical and the laical drama. At any rate, the chorus singers often undertake divided duties in this respect, and accept engagements both at the cathedral and the opera-house. And sometimes it has happened that the dis