naturally preserved in the acting of Talma; that he
is more careful to maintain invariably that unity of expression which
ought to be given to the character, and is more uniformly under the
influence of those predominating feelings, which the circumstances of
the situation in which the part has placed him seem fitted to excite.
Under this impression apparently of the object which an actor ought to
keep in view, Talma omits many opportunities, which would be eagerly
employed on the English stage, to display the power of the actor, though
the natural consistency of character might be violated; and never seems
to think it proper to express, on all occasions, every sentiment with
that effect which should be given to it, only when it becomes the
predominant feeling of the moment. Much, no doubt, is lost for stage
effect by this notion of acting. Many opportunities are passed over,
which might have been employed to shew the manner in which the actor can
represent a variety of feelings, which the language of the play may seem
to admit; and we lose much of the art and skill of acting, when the
talents of the actor are limited to the display of such sentiments only
as accord with the simple and decided expression of character which he
is anxious to maintain.

But on the other hand, the impression which this representation of
character makes upon the mind, is on the whole much more profound, and
the interest which the spectator takes in the circumstances in which the
character is placed, is much greater when the actor is so wholly under
the influence of the feelings which the situation of the part ought to
excite, as never to betray any emotion which can weaken that general
effect which this situation would naturally produce. To those,
therefore, accustomed to the greater variety of expression which the
practice of the English stage renders necessary in the countenance of
every actor, and to the strong and often exaggerated manner in which
common sentiments and ordinary feelings are represented, there may
perhaps appear some want of expression in Talma's countenance; but no
one can attend fully to any of the more interesting characters which he
performs, without feeling an impression produced by the power and
intelligence of his countenance, which no length of time will ever
wholly efface. It is not the expression of his countenance at any
particular moment which fixes itself on the mind, or the force with
which accidental feeli