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one of these theatres obtained leave to give musical performances. This was the origin of the Opera Comique, which, forty years later, was amalgamated with the Italian comedy at the Hotel de Bourgogne, whence, in 1783, the united companies transferred themselves to the Salle Favart. To the four theatres above enumerated, a few others were added during the reigns of Louis XV. and his successor, but they were of little note, and the increase in the number of theatrical establishments was unimportant until the revolution. Then license was universal, and no special one was required to open theatres. In 1791 a prodigious number were established, and, for some years afterwards, nearly fifty, large and small, existed in Paris. In the time of the empire twenty-eight of these remained, until Napoleon issued an edict reducing them to ten. At the present day the French capital contains twenty-two theatres, including the new Theatre Montpensier, the privilege for which was conceded to Alexandre Dumas at the request of the prince whose name it bears. Besides these there are a number of petty playhouses outside the barriers, at Batignolles, Belleville, and similar places, and Mr. Hervey informs us that a license has just been granted for a third French opera-house. Play-loving as the population of Paris undoubtedly is, it must be admitted that ample provision is made for its gratification. The natural classification of the more important of the Parisian theatres, about fifteen in number, is under four heads: opera--tragedy, comedy, and drama--vaudeville--melodrama. The first division includes the French opera, the Italians, the Opera Comique; the second, the Francais and the Odeon; at the Porte St. Martin and Ambigu Comique, melodrama is the staple commodity, varied, however, with performances of a lighter kind; whilst vaudevilles, broad farces, and short comedies constitute the chief stock in trade of the remainder. At many of the theatres an entire change in the style of the performances is of no unfrequent occurrence. We have known the Gaite in the dolefuls, and the Porte St. Martin abandoning its scaffolds, trap-doors, and other melodramatic horrors, for fun, farce, and ballet. As a regular thing, dancing is only to be seen at the Grand Opera. The license of each theatre specifies the nature of the performances allowed it, but this is a matter difficult exactly to define, and the rule is easy of evasion. A better check, perhaps,
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