espects it appeared to us, that the impression left on
the mind by the French tragedies is stronger and more lasting than any
that we have experienced from attending our own theatres. Our conviction
of the general superiority of the English stage has been already
expressed, and therefore we hope we shall not be misapprehended in the
object which we have in view in such remarks.

1. In the first place, then, we would mention--what we hope is not
necessary to illustrate at any length--the very great impression which
must be made upon every thoughtful mind, by the unity of emotion which
the French tragedies are fitted to produce. The effect which may result
from this unity of emotion appears to excite much deeper interest, than
can be produced by the mere exertion of the actors' power, when it is
not uniformly directed to the expression of one general character. It is
also worthy of consideration, whether the very important purposes to
which the drama may be rendered subservient, may not be more easily
accomplished, when the whole tendency of the composition, and the
influence of acting, are employed in one general and consistent design.
No such principle seems to have been kept in view in the composition of
the greater part of the English tragedies. They resemble much, in truth,
as we have before observed, the scene of human affairs, which the
general aspect of the world presents,--full of every variety of
incident, and depending upon the actions of a number of different
characters. In the principal subject of the play, many seem to perform
parts nearly of equal importance, and to be equally concerned in the
issue of the story; each personage has his separate interest to claim
our attention, and peculiar features of character, which require nice
discrimination; and in general, no one character, or one subject, is
sufficiently presented to view. The minds of the spectators, therefore,
are oppressed and distracted by the variety of _feelings_ which are
excited, and their interest interrupted and dissipated, in some degree,
from the _variety of objects_ which claim it. The _general impression_,
therefore, left upon the mind, is less pointed, less profound, and must
produce less influence upon character, than when the feelings have been
steadily and powerfully interested in the consequences of one marked
and important event, or in the illustration of one great moral truth.

2. We must be permitted to state, in the second plac