Belvidera, will, we are persuaded, acknowledge the truth of this
observation.

The ideas which we had formed of the French stage, from reading their
tragedies, had prepared us to expect, in their principal actor, a
figure, countenance, and manner, resembling those of Kemble, fitted to
give full effect to the declamations in which they abound, and to the
representation of characters of heroic virtue, elevated above the
influence of earthly passions. The appearance of Talma is very different
from this, and certainly has by no means the uniform dignity and
majestic elevation of Kemble.

Difficult as it must always be to convey, by any general description, a
distinct or adequate notion of the excellence of any actor, there are
some circumstances which it is common to mention, and some expressions
which must be understood wherever the theatre is an object of interest,
and the power of acting appreciated. Talma appears to us to unite more
of the advantages of figure, and countenance, and voice, than any actor
that we have ever seen: it is not that his person is large and graceful,
or even well proportioned; on the contrary, he is rather a short man,
and is certainly not without defects in the shape of his limbs. But
these disadvantages are wholly overlooked in admiration of his dignified
and imposing carriage--of his majestic head--and of his full and
finely-proportioned chest, which expresses so nobly the resolution, and
manliness, and independence of the human character.

There is one circumstance in which Talma has every perfection which it
is possible to conceive--in the power, and richness, and beauty of his
_voice_. It is one of those commanding and pathetic voices which can
never, at any distance of time, be forgotten by any one who has once
heard it: every variety of tone and expression of which the human voice
is capable, is perfectly at his command, and succeed each other with a
rapidity and power which it is not possible to conceive. It makes its
way to the heart the instant it is heard, and at the moment he begins to
speak, you feel not only your attention fixed, and your admiration
excited, but the mind wholly subdued by its resistless influence, and
disposed to enter at once into every emotion which he may wish to
produce. The beauty and feeling of his under tones, the affection,
tenderness, and pity which they so exquisitely express, are so perfect,
that no one could foresee in such perfections, the fierce, h