CLAQUE, kW: (1 r.. hand clapping). A body of persons, individually known as 'elaqueurs,' engaged to promote the success of a public by liestowing upon it preeoncerted applause, and thus giving the public a false notion of the impression it has made. In prin ciple, the claque has existed from time imme morial, since the friends of authors and actors would naturally be expected to assist with their appreciation; and tears and laughter in an audience are well known to be infectious. As a paid institution, it is traditionally counted an invention' of Nero's time. According to Sue tonins, the actor-emperor had a body of 5000 stalwart, applauders, whose example the public were expected to follow.
it was in Paris, however, that the claque was first regularly organized into a trade. It is said to have owed its suggestion to a trick of the poet Dorat, who distributed free tickets to his dependents upon condition that they ap plauded. About 1820 two men named Porcher and Salton regularly established the business of insuring dramatic success (Pass/trance des suere.s dramaliques) by supplying the theatres with as many •elaqueurs' as the authors or man agers thought each piece would require. Since their day various chefs de claque have gained importance in a position which required dis crimination and tact. They have relations di rectly with the management of the theatres, and commonly attend the last rehearsals of a piece, in order to study it in advance, and receive in structions as to the points where demonstra tions are expected. Their assistants are, as a rule, picked up merely for each occasion. The main body of the claque sits generally near the rear of the middle of the parterre, beneath the chandelier, front which they have been called eheraliers du lustre. Others are distributed in different parts of the house, according to their particular functions, which illustrates how mi nutely the art is organized. Thus, the connois seur is bound to learn the play by heart, and tall the attention of the audience about hint to the fine points; the rice• or rigolard must laugh at every jest: the plcureur (`weeper') has to manifest his sensibility at the moving passages. This last part is generally assigned to women, in whom the frequent use of the handkerchief seems most natural. The chatouilleur ('tick ler'), on the other hand, endeavors, by dis tributing bonbons, theatre-bills, etc., and by lively conversation, to keep his neighbors in good humor; and, lastly, the bisscur calls 'his." with the utmost enthusiasm, at the conclusion of the specified pieces of music.
The following incident, which found its way into the newspapers on the occasion of the death of the famous French actress Rachel, shows the ludicrous seriousness with which the members of the claque view their singular profession: Mademoiselle Bache! had just created a new character in a modern piece. and during the first evening was loudly applauded. The next, however, she thought her reception by no means SO warm, and she unpin ined that the claque did not do its duty. its leader, on hearing of Rachel's dissatisfaetion, wrote to her as follows: "Mademoiselle—I eannot remain under the oblo quy of a reproach from such lips as yours! The following is an anthondie statement of what really took place: At the first representation, I led the attack in person not less than thirty three times. We had three acclamations. four bilarities, two thrilling movements. four renew als of applause, and two indefinite explosions.
In fact, to such an extent did we carry our ap plause, that the occupants of the stalls were scandalized, and cried out A in porte! Aly men were positively exhausted with fatigue, and even intimated to me that they could not again go through such an evening. Seeing such to be the ease, I applied for the manuscrqt, and, after having profoundly studied the piece, I was obliged to make up my mind for the second representation to certain curtailments in the service of my men. 1 applied them, however, only to 3111. and if the ad interim, orrice I hold affords me the opportunity, I will make them ample anknds. In such a situation as that which 1 have just depicted, I have only to re quest you to believe firmly in my profound ad miration and respeetful zeal; and I venture to entreat you to have some consideration for the difficulties which environ me." In, spite of the comic side of the business, the public is gen erally hostile, and there have been actual riots owing to ill-timed efforts of the claque to over come popular disapproval of a play. Oceasional efforts have been made, with partial success, for the abolition of the claque; hut it still common ly prevails, and plausible arguments are urged in its justification.
The allegation that, in London, theatrical ar tists and managers are obliged to endeavor to insure suecess by means of a similar institution is strenuously denied, although there, and in Germany and the United States, simila•artifiees, not so publicly organized, are practiced to some extent.