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wished to accomplish had either been accomplished, though not in France, or did not deserve to be accomplished, or was altogether impracticable. His attack on the formality and holiday primness of the dramatic probabilities, of the excessive symmetry of the French versification, declamation, and mode of acting, was just; but, at the same time, he objected to all theatrical elevation, and refused to allow to the characters anything like a perfect mode of communicating what was passing within them. He nowhere assigns the reason why he held versification as not suitable, or prose as more suitable, to familiar tragedy; this has been extended by others, and among the rest, unfortunately, by Lessing, to every species of the drama; but the ground for it evidently rests on nothing but the mistaken principles of illusion and nature, to which we have more than once adverted*. And if he gives an undue preference to the sentimental drama and the familiar tragedy, species valuable in themselves, and susceptible of a truly poetic treatment; was not this on account of the application? The main thing, according to him, is not character and situations, but ranks of life and family relations, that spectators in similar ranks and relations may lay the example to heart. But this would put an end to everything like true enjoyment in art. Diderot recommended that the composition should have this direction, with the very view which, in the case of a historical tragedy founded on the events of their own times, met with the disapprobation of the Athenians, and subjected its author Phrynichus to their displeasuret. The view of a fire by night may, from the wonderful effect produced by the combination of flames and darkness, fill the unconcerned spectator with delight; but when our neighbour's house is burning,-jam proximus ardet Ucalegon-we shall hardly be disposed to see the affair in such a picturesque light.

It is clear that Diderot was induced to take in his sail as he made way with his own dramatic attempts. He displayed the greatest boldness in an offensive publication of his youth, in which he wished to overturn the entire dramatic system of the French; he was less daring in the dialogues which accom

* I have stated and refuted them in a treatise On the Relation of the Fine Arts to Nature in the fifth number of the periodical work Prometheus, published by Leo von Seckendorf.

† See page 72.

pany the Fils Naturel, and he showed the greatest moderation in the treatise appended to the Père de Famille. He carries his hostility a great deal too far with respect to the forms and the objects of the dramatic art. But in other respects he has not gone far enough: in his view of the Unities of Place and Time, and the mixture of seriousness and mirth, he has shown himself infected with the prejudices of his nation.

The two pieces above mentioned, which obtained an unmerited reputation on their first appearance, have long since received their due appreciation. On the Fils Naturel Lessing has pronounced a severe sentence, without, however, censuring the scandalous plagiarism from Goldoni. But the Père de Famille he calls an excellent piece, but has forgotten, however, to assign any grounds for his opinion. Its defective plot and want of connexion have been well exposed by La Harpe. The execution of both pieces exhibits the utmost mannerism: the characters, which are anything but natural, become from their frigid prating about virtue in the most hypocritical style, and the tears which they are perpetually shedding, altogether intolerable. We Germans may justly say, Hinc ille lacryma! hence the unnecessary tears with which our stage has ever since been overflowed. The custom which has grown up of giving long and circumstantial directions respecting the action, and which we owe also to Diderot, has been of the greatest detriment to dramatic eloquence. In this way the poet gives, as it were, an order on the player, instead of paying out of his own purse*. All good dramatists have uniformly had the action in some degree present to their minds; but if the actor requires instruction on the subject, he will hardly possess the talent of following it up with the suitable gestures. The speeches should be so framed that an intelligent actor could hardly fail to give them the proper action.

It will be admitted, that long before Diderot there were serious family pictures, affecting dramas, and familiar tragedies, much better than any which he was capable of executing. Voltaire, who could never rightly succeed in Comedy, gave in his Enfant Prodigue and Nanine a mixture of comic scenes and affecting situations, the latter of which are

* I remember to have read the following direction in a German drama, which is not worse than many others :-" He flashes lightning at himn with his eyes (Er blitzt ihn mit den Augen an) and goes off."

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deserving of high praise. The affecting drama had been before attempted in France by La Chaussée. All this was in verse: and why not? Of the familiar tragedy (with the very same moral direction for which Diderot contended) several examples have been produced on the English stage: and one of them, Beverley, or the Gamester, is translated into French. The period of sentimentality was of some use to the affecting or sentimental drama; but the familiar tragedy was never very successful in France, where they were too much attached to brilliancy and pomp. The Melanie of La Harpe (to whom the stage of the present day owes Philoctete, the most faithful imitation of a Grecian piece) abounds with those painful impressions which form the rock this species may be said to split upon. The piece may perhaps be well adapted to enlighten the conscience of a father who has determined to force his daughter to enter a cloister; but to other spectators it can only be painful.

Notwithstanding the opposition which Diderot experienced, he was however the founder of a sort of school of which the most distinguished names are Beaumarchais and Mercier. The former wrote only two pieces in the spirit of his predecessor-Eugenie, and La Mère Coupable; and they display the very same faults. His acquaintance with Spain and the Spanish theatre led him to bring something new on the stage in the way of the piece of intrigue, a species which had long been neglected. These works were more distinguished by witty sallies than by humour of character; but their greatest attraction consisted in the allusions to his own career as an author. The plot of the Barber of Seville is rather trite; the Marriage of Figaro is planned with much more art, but the manners which it portrays are loose; and it is also censurable in a poetical point of view, on account of the number of foreign excrescences with which it is loaded. In both French characters are exhibited under the disguise of a Spanish costume, which, however, is very ill observed. The extraordinary applause which these pieces met with would lead to the conclusion, that the French public do not hold the comedy of Intrigue in such low estimation as it is by the critics: but the means by which Beaumarchais pleased were certainly, in part at least, foreign to art.

*The numerous sins of Beaumarchais against the Spanish manners and observances, are pointed out by De la Huerta in the introduction to his Teatro Espanol.

The attempt of Ducis to make his countrymen acquainted with Shakspeare by modelling a few of his tragedies according to the French rules, cannot be accounted an enlargement of their theatre. We perceive here and there indeed the "torn members of the poet"-disjecta membra poeta; but the whole is so constrained, disfigured, and, from the simple fulness of the original, tortured and twisted into such miserable intricacy, that even when the language is retained word for word, it ceases to convey its genuine meaning. The crowd which these tragedies attracted, especially from their affording an unusual room to the inimitable Talma for the display of his art, must be looked upon as no slight symptom of the people's dissatisfaction with their old works, and the want of others more powerfully agitating.

As the Parisian theatres are at present tied down to certain kinds, and as poetry has here a point of contact with the police, the numerous mixed and new attempts are for the most part banished to the subordinate theatres. Of these new attempts the Melo-dramas constitute a principal part. A statistical writer of the theatre informs us, that for a number of years back the new productions in Tragedy and regular Comedy have been fewest, and that the melo-dramas have in number exceeded all the others put together. They do not mean by melo-drama, as we do, a drama in which the pauses are filled up by monologue with instrumental music, but where actions in any wise wonderful, adventurous, or even sensuous, are exhibited in emphatic prose with suitable decorations and dresses. Advantage might be taken of this prevailing inclination to furnish a better description of entertainment: since most of the melo-dramas are unfortunately rude even to insipidity, and resemble abortive attempts at the romantic.

In the sphere of dramatic literature the labours of a Le Mercier are undoubtedly deserving of the critic's attention. This able man endeavours to break through the prescribed limits in every possible way, and is so passionately fond of his art that nothing can deter him from it; although almost every new attempt which he makes converts the pit into a regular field of battle*.

* Since these Lectures were held, such a tumult arose in the theatre at Paris on the representation of his Christopher Columbus, that several of the champions of Boileau came off with bruised heads and broken shins. They

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From all this we may infer, that the inclinations of the French public, when they forget the duties they have imbibed from Boileau's Art of Poetry, are not quite so hostile to the dramatic liberties of other nations as might be supposed, and that the old and narrow system is chiefly upheld by a superstitious attachment to traditional opinions.

The histrionic art, particularly in high comedy and tragedy, has been long carried in France to great perfection. In external dignity, quickness, correctness of memory, and in a wonderful degree of propriety and elegance in the delivery of verse, the best French actors are hardly to be surpassed. Their efforts to please are incredible: every moment they pass on the stage is a valuable opportunity, of which they must avail themselves. The extremely fastidious taste of a Paris pit, and the wholesome severity of the journalists, excite in them a spirit of incessant emulation; and the circumstance of acting a number of classical works, which for generations have been in the possession of the stage, contributes also greatly to their excellence in their art. As the spectators have these works nearly by heart, their whole attention may

were in the right to fight like desperadoes; for if this piece had succeeded, it would have been all over with the consecrated Unities and good taste in the separation of the heroic and the low. The first act takes place in the house of Columbus, the second at the court of Isabella, the third and last on shipboard near the New World. The object of the poet was to show that the man in whom any grand idea originates is everywhere opposed and thwarted by the limited and common-place views of other men; but that the strength of his enthusiasm enables him to overcome all obstacles. In his own house, and among his acquaintances, Columbus is considered as insane; at court he obtains with difficulty a lukewarm support; in his own vessel a mutiny is on the point of breaking out, when the wished-for land is discovered, and the piece ends with the exclamation of "Land, land!" All this is conceived and planned very skilfully; but in the execution, however, there are numerous defects. In another piece not yet acted or printed, called La Journée des Dupes, which I heard the author read, he has painted with historical truth, both in regard to circumstances and the spirit of the age, a well-known but unsuccessful court-cabal against Cardinal Richelieu. It is a political comedy, in which the rag-gatherer and the king express themselves in language suitable to their stations. The poet has, with the greatest ingenuity, shown the manner in which trivial causes assist or impede the execution of a great political design, the dissimulation practised by political personages towards others, and even towards themselves, and the different tones which they assume according to circumstances; in a word, he has exhibited the whole inward aspect of the game of politics.