In 1788, when Olympe de Gouges printed the first volume of her Works, she included a play titled Le Mariage Inattendu de Cherubin. This play had been written in homage to Beaumarchais's Marriage of Figaro, and Olympe was hoping to attract the great author's interest or patronage.
Unfortunately all she attracted was his ire. Beaumarchais decided, without having read it, that her play plagiarized his and he instructed the actors of the French theatre, with whom he has a great influence, not to take it.
Undeterred, Olympe decided that she would make the best of things and seek actual feedback from Beaumarchais on her work. She wrote him a note, and like Manon Roland with Rousseau, she went to knock at his door, hoping for an interview.
The note she handed at the door said:
I come to you as the oppressed come to Voltaire's. I am at your door, and I flatter myself that you will do me the honor to see me.'
Beaumarchais' servant took the note to his master and came back with the response that Beaumarchais was busy and could not see her right now.
Olympe asked for his at home day, so that she could come back when he was not busy, but was told that Beaumarchais could not be certain of when he would be free. Olympe left in a huff.
Four months later, she published her account of the incident in the preface of the play. Unlike Manon Roland, she lacked the delicacy to make light of the incident.
Le Mariage Inattendu de Cherubin remained unperformed, until she decided, later on, to take it and others (her reputation with the Theatre Français never quite recovered from Beaumarchais' assault) to the provincial theatres.
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