he public
opinion, of displaying the power with which each sentiment may be
expressed; and there is no common feeling among the spectators, of the
subserviency of all the different parts of the tragedy to one great
import, or that it is only in the more important scenes, where the
events of the story are coming to a close, that great talent is to be
exerted, or profound emotion excited. The feelings of a French audience,
as might be expected, are such as better suit the character of the plays
which have been so long addressed to them; they like to have their
interest awakened, and their feelings excited, only as the story
proceeds, and the deeper scenes of the tragedy begin to open upon them;
and it is to the general impression which the progress and close of the
play leave upon the mind, that they look, as to the criterion of the
excellence of the manner, in which that play has been performed.
Nothing, therefore, can be apparently quieter than the commencement of a
French tragedy; and a person unacquainted with the language, would be
disposed to conclude what was passing before him as uninteresting in the
highest degree, if he did not observe the most profound and eager
attention to prevail in those to whom it is addressed. It would be a
subject of very curious and instructive speculation, to examine the
circumstances, in the situation and intelligence of the people in both
countries, which have occasioned this remarkable difference in their
feelings, in moments when the influence of prejudice, or the effect of
peculiar character, generally gives way, and when the genuine sentiments
of mankind, as invariably happens when the different ranks of men are
assembled indiscriminately together, assume their natural empire over
the human heart. It might unfold some interesting conclusions both as to
the great object of the drama, and the genuine style of dramatic
representation; and might place, in a more important point of view than
is within the consideration, perhaps, of many who so hastily decide on
the superiority of the English stage, the excellence they admire.

Much as the French tragedies are despised in this country, and sensible
as we are of many essential defects which belong to them, when
considered as the means of exciting popular feeling, or of applying to
the duties of common life, we must yet state the very great and lasting
impression which many of them left on our minds, and which, we can truly
say, was neve