he old writers. The same change, then, which is
observable in many other branches of the French literature of late
years, seems to have taken place, to a considerable extent, in
compositions for the stage; and from the serious and melancholy turn
which was often given to the public mind, it has become requisite, in
later writings, to introduce subjects of deeper interest, and more
fitted to affect the imagination in moments of strong popular feeling,
and of great national danger. Many of the reflections, therefore, which
such circumstances suggested, have been introduced into the tragedies
which have been composed during the very eventful period which has
elapsed since the commencement of the revolution; and the authors have
adapted, in a considerable degree, the interest, or the management of
their plays, to those peculiar sentiments which the character of that
period had given to the people. These sentiments may not always indicate
very sound principle, or very elevated feeling, but, in the turn which
has sometimes been given to the French plays, they are made to favour
the introduction of much poetical beauty, and much dramatic interest. We
have already mentioned, that there appears to be a vague, but general
impression of the influence of _fatality_ upon human conduct, floating
in the public mind; and though such a notion, probably, is seldom
admitted in the shape of a distinct doctrine, many circumstances
indicate, that among the body of the people, and among the army in
particular, the influence of this superstition is very considerable. It
is appealed to in many of those political writings which best indicate
the feelings of those to whom they are addressed; and we have all
remarked how much and how artfully their late ruler availed himself of
this belief, to connect the ascendancy of his arms, and the prosperity
of his dynasty, with the destiny of human affairs. On several very
important occasions, the utmost possible interest has been given to the
history of particular characters, in many recent tragedies, by employing
this powerful feeling in the public mind; and it was very apparent, that
the spectators took peculiar interest in the denouement of the plays in
which this subject was introduced.

In the works of Ducis, of Raynouard, and of several other recent
writers, and in many of the plays formed from tragedies of the German
school, very strong indications are to be found of the effect of the
circumstances