Profile of Pierre Augustin Caron de Beaumarchais on Famous Like Me

Pierre-Augustin Caron de Beaumarchais (January 24, 1732 – May 17-18, 1799) was a watch-maker, inventor, musician, politician, invalid, fugitive, spy, publisher, arms-dealer, and revolutionary (both French and American). He was best known, however, for his dramatic works, especially the three Figaro plays.

Humble beginnings

Beaumarchais was born Pierre-Augustin Caron to a watch-maker in Paris, the only boy of six children. Although not wealthy, the family was reasonably well-off and Caron spent his childhood in peace and happiness -- something that proved to be a contradiction to his adult life.

At age 13, Caron left school and began his apprenticeship under his father. A few years later, possibly between 1751 to 1753, he invented a new escape mechanism which enabled watches to be made substantially more accurate and compact than they had been up to that point. One of his greatest feats was a watch mounted on a ring for Madame de Pompadour, a mistress of Louis XV. The invention was later recognised by the Académie des sciences, but only after a trifle with M. Lepaute, the king's watch-maker, who attempted to pass on the invention as his own.

Business, politics, arts, and entertainment

His watch-making days, however, were short-lived, when other endeavors catapulted his fame and fortune. Between 1758-59, Caron became the harp tutor of King Louis XV's daughters. In 1759-60, Caron met M. Pâris-Duverney, an aging but wealthy entrepreneur who saw the young lad's potential in business. The two became very close friends, and collaborated on many business ventures. Caron adopted the name Beaumarchais in 1756-57, in reference to land, le Bois Marchais, inherited by his first wife, and started using the name Pierre-Augustin Caron de Beaumarchais.

With generous financial assistance from Pâris-Duverney, Beaumarchais purchased an office of secretary-councillor to the King in 1760-61, conferring his nobility in the French court. In 1763, Beaumarchais purchased a second position, the office of Lieutenant General of Hunting. Beaumarchais travelled to Madrid in 1764 and spent ten months there, supposedly to help his sister, Lisette, who had been abandoned by her fiancé, Clavijo. But in fact he was mostly concerned with striking business deals for Pâris-Duverney. Although Beaumarchais returned to France with little profit, he had managed to acquire new experience, music and, more importantly, ideas for theatrical character.

Beaumarchais's Figaro and Almaviva first conceived in Le Sacritan which the playwright dubbed as an interlude, imitating the Spanish style, written in approximately 1765. His claim to fame, however, was achieved in his first dramatic play (drame bourgeois), Eugénie, which was premiered at the Comédie Française in 1767. This was followed by a second drama, Les Deux amis, in 1770.

Court battles and the American Revolution

The year 1770 also marked the beginning of a series of turmoil for Beaumarchais, with the death of his long-time business partner, Pâris-Duverney, on July 17. A few months before her death, the two entered a declaration which effectively cleared all debt carried by Beaumarchais (75,000 pounds), while receiving a small sum of 15,000 pounds. Pâris-Duverney's sole heir, the count de la Blanche, was jealous over the deceased relationship to Beaumarchais and took Beaumarchais to court, claiming the signed declaration was a forgery. Although the court verdict was in favour of Beaumarchais in 1772, it was overturned on appeal in 1773, with the help of magistrate Goezman, whose favour La Blanche managed to win over. To add insult to injury, Beaumachais was involved in a quarrel with the Duke de Chaulnes over the Duke's mistress, which resulted in Beaumarchais being thrown to jail from February to May, 1773. La Blanche and Goezman took advantage of Beaumarchais's absence in court, and ordered him to repay his debt to Pâris-Duverney with interest, as well as court fees, putting Beaumarchais in financial ruin.

To win over public support, Beaumarchais published a four-part pamphlet entitled Mémoires contre Goezman which, in pre-revolutionary France, made Beaumarchais an instant celebrity--a champion for social justice and liberty. Goezman countered Beaumarchais's accusations by launching a law suit of his own. The judge's verdict was equivocal. On February 26, 1774, the judges stripped both Beaumarchais and Mme. Goezman (who sympathised with Beaumarchais) of their civil rights, while Magistrate Goezman was removed from his post, and the judgement for the La Blanche case once again overturned to Beaumarchais's favour. The Goezman case brought such sensation in France, the judges escaped through the back door to avoid the large, angry mob waiting in front of the court house.

Beaumarchais pledged his services to Louis XV and XVI in order to restore his civil rights. He travelled to London, Amsterdam and Vienna to perform various secret services. His first mission was to travel to London to destroy a pamphlet, Les mémoires secrets d'une femme publique, which was said to have libeled one of Louis XV's mistresses, Mme. du Barry. However, he was remembered for his support for American Independence. Louis XVI, who did not want to break openly with England, allowed Beaumarchais to found a commercial enterprise, Roderigue Hortalez and Co., supported by the French and Spanish crowns, to supply the American rebels with troops, munitions, and provisions. For his services, the French Parlement reinstated his civil rights in 1776.

The Voltaire revival

Votaire died in 1778. Beaumarchais undertook the task of publishing Voltaire's complete works, many of which were censored in France. He scoured all of Europe to collect the scattered manuscripts of Voltaire. To escape French censorship, Beaumachais set up printing presses in Kehl, Germany, and purchased paper mills for the purpose. Seven volumes were published Between 1783 to 1790. Though the venture turned out to be a financial failure, he was instrumental in preserving much of Voltaire's later works, which would have otherwise been lost forever.

More court battles and the French Revolution

It was not long before Beaumarchais crossed paths again with the French legal system. In 1787, Beaumarchais became acquainted with Mme. Korman, whose husband had her imprisoned for adultery to expropriate her dowry, although it was M. Korman who engineered the adultery to implicate both his wife and the lover. The whole affair was taken to court, with Beaumarchais on Mme. Korman's side, and M. Korman was assisted by a celebrity lawyer, Nicolas Bergasse. on April 2, 1790, M. Korman and Bergasse were found guilty for calumny, but Beaumarchais's reputation was also tarnished.

In the mean time, the French revolution broke out. Beaumarchais was no longer viewed as the idol he was a few years ago. He was financially successful (mainly from supplying drinking water to Paris), and had acquired ranks in the French nobility. In 1791, he took up a lavish residence across from the Bastille. He was sent to prison for less than a week in August 1792, but was released only three days before a massacre that took place at the prison.

Nevertheless, he pledged his service to the new Republic, by attempting to purchase 60,000 rifles for the Revolutionary Army, which became available in Holland. He was unable to deliver them, however. While he was out of the country, Beaumarchais was put on the list of émigrés (royalists, effectively) by his enemies. He spent two and a half years in exile, mostly in Germany, before his name was again taken off the list. He returned to Paris in 1796, and lived the remaining years of his life in relative peace. Beaumarchais died of apoplexy, and was buried in Le Père Lachaise Cemetery in Paris. He was 67.

Private life

Beaumarchais married thrice in his life. His first wife was Madeleine-Catherine Franquet (née Aubertin), whom he married on November 22, 1756, but she died of mysterious circumstances only 10 months after. He later married Genevièfve-Madeleine Lévêque (née Wattebled) in 1768. Again, the second Mme. de Beaumarchais died of mysterious circumstances two years later (most scholars believed she actually suffered from tuberculosis). Beaumarchais had a son, Augustin, in 1770, only eight months after his second marriage, but he also shared the tragic fate as his mother, and died in 1772. Beaumarchais lived with his lover, Marie-Thérèse de Willer-Mawlaz, for twelve years, and had a daughter, Eugénie, before she became Beaumarchais's third wife, in 1786.

In both cases, Beaumarchais was accused (mainly by his enemies) of poisoning them in order to lay claim to their family inheritance. Beaumarchais, though having no shortage of love interests, was known to marry for financial gain. Both Franquet and Aubertin were previously married to wealthy families prior to their marriage to Beaumarchais. While there was insufficient physical evidence to support the accusations, and that he was also known to be very caring for his family and close friends, whether or not the poisoning took place are still subjects of debate.

The Figaro plays

Beaumarchais's Figaro plays comprise "Le Barbier de Séville", "Le Mariage de Figaro", and "La Mère coupable". They were some of the most important French plays, for the trilogy spans the most turbulent period of French history. Figaro and Count Almaviva, the two characters Beaumarchais most likely conceived in his travels in Spain, were the only ones present in all three plays. They are indicative of the change in social attitudes before, during, and after the French Revolution. The two begaan in a formal master-and-servant (albeit light hearted) relationship, in Le Barbier; the two became rivals over Suzanne in Le Mariage, a personification of class struggle in pre-revolutionary France; and they finally join hands again to thwart the evil schemes of Begéarass, an attempt to call for reconciliation in La Mère. Further, Beaumarchais also dubbed La Mère "The other Tartuffe", to pay homage to the great French playwright Molière, who wrote the original Tartuffe.

To a lesser degree, the Figaro plays are semi-autobiographical. Don Guzman Brid'oison (Le Mariage) and Begéarass (La Mère) were caricatures of two of Beaumarchais's real-life adversaries, Goezman and Bergasse. The page Chuerubin (Le Mariage) resembled the youthful Beaumarchais, who did contemplate suicide when his love was to marry another. Suzanne, the heroine of Le mariage and La Mère, was modelled after Beaumarchais's third wife, Marie-Thérèse de Willer-Mawlaz. Meanwhile, some of the Count monologues reflect on the playwright's remorse of his numerous sexual exploits.

Le Barbier premiered in 1775. Its sequel Le Mariage was initially passed by the censor in 1781, but was soon banned from performance by Louis XVI after a private reading. The King was unhappy with the play's satire on the aristocracy. Over the next three years Beaumarchais gave many private readings of the play, as well as making revisions to try to pass the censor. The King lifted the ban in 1784. The play premiered that year and was enormously popular even with aristocratic audiences. Mozart's opera premiered just two years later. The final play, La mère was premiered in 1792 in Paris. All three plays enjoyed great success, and they are still frequently performed to-day, at theatres and opera houses.

Listing of works

• 1760s - Various one-act comedies (parades) for private staging
  • Les Député de la Halle et du Gros-Caillou
  • Colin et Colette
  • Les Bottes de sept lieues
  • Jean Bête à la foire
  • Å’il pour Å“il
  • Laurette
• 1765(?) - Le Sacristan, interlude (precursor to Le Barbier de Séville)
• 1767 - Eugénie, drama, primered at the Comédie Française
• 1767 - L'Essai sur le genre dramatique sérieux
• 1770 - Les Deux amis ou le Négociant de Lyon, drama, premiered at the Comédie Française
• 1773 - Le Barbier de Séville ou la Précaution inutile, comedy, premiered in Jan. 3, 1775 at the Comédie Française
• 1774 - Mémoires contre Goezman
• 1775 - La Lettre modérée sur la chute et la critique du «Barbier de Sérville»
• 1778 - La Folle journée ou Le Mariage de Figaro, comedy, premiered in Arp. 27, 1784 at the Comédie Française
• 1784 - Préface du mariage de Figaro
• 1787 - Tarare, opera with music by Antonio Salieri, premiered at the Opéra de Paris
• 1792 - La Mère coupable ou L'Autre Tartuffe, drama, premiered Jun. 26 at the Théâtre du Marais
• 1799 - Voltaire et Jésus-Christ, in two articles

Listing of related works

• 1786 - Le Nozze di Figaro, opera based on the title play, libretto by Lorenzo Da Ponte and music by Wolfgang Amadeus Mozart
• 1782 - Il Barbiere di Siviglia, ovvero La precauzione inutile, opera based on the title play, libretto by unknown authorship, and music by Giovanni Paisiello, revised in 1787
• 1816 - Il Barbiere di Siviglia, opera based on the title play, libretto by Pietro Sterbini, and music by Giacchino Rossini
• 1905 - Chérubin, opera based on the title role, music by Jules Massenet. libretto by unknown authorship
• 1950 - Beaumarchais, comedy written by Sacha Guitry
• 1966 - La Mère coupable, opera based on the title play, music and libretto by Darius Milhaud
• 1991 - The Ghosts of Versailles, opera based loosely on La mère coupable, music by John Corigliano, libretto by William M. Hoffman.
• 1991 - Den brottsliga modern, opera based on La mère coupable, music by Inger Wikström, libretto by Inger Wikström and Mikaael Hylin.
• 1996 - Beaumarchais l'insolent, film based on Guitry's play, directed by Édouard Molinaro

Further Reading

• "Beaumarchais and the American Revolution" by Brian N. Morton
• "From Dawn to Decadence: 500 Years of Western Cultural Life - 1500 to Present" by Jacques Barzun
• "Beaumarchais: Le Mariage de Figaro - comédie", with preface, biography, and annotations by Pol Gillard, Bordas, 1970.
• "Beaumarchais: The three Figario plays", translation and notes by David Edney, Doverhouse, 2000.

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