ais n'ont que des satires, a la verite pleines de force et de
gaiete, mais sans moeurs et sans gout. Les Italiens en sont reduits au
drame burlesque."]

[Footnote 271: vii. 95.]

[Footnote 272: _Lettre sur les Sourds et les Muets_, i. 355.]

[Footnote 273: _Paradoxe_, viii. 384. The criticism on the detestable
rendering of _Hamlet_ by Ducis (viii. 471) makes one doubt whether
Diderot knew much about Shakespeare.]

[Footnote 274: Letter to Mdlle. Jodin, xix. 387.]

[Footnote 275: Johnson one day said to John Kemble: "Are you, sir, one
of those enthusiasts who believe yourself transformed into the very
character you represent?" Kemble answered that he had never felt so
strong a persuasion himself. _Boswell_, ch. 77.]

[Footnote 276: Lessing makes this a starting-point of his criticism of
the art of acting, though he uses it less absolutely than Diderot would
do. _Hamburg. Dramaturgie_, Sec. 3, vol. vi. 19.]

[Footnote 277: In Lichtenberg's _Briefe aus England_ (1776) there is a
criticism of the most admirably intelligent kind on Garrick. Lord Lytton
gave an account of it to English readers in the _Fortnightly Review_
(February 1871). The following passage confirms what Diderot says above:

"You have doubtless heard much of his extraordinary power of change of
face. Here is one example of it. When he played the part of Sir John
Brute, I was close to the stage, and could observe him narrowly. He
entered with the corners of his mouth so turned down, as to give to his
whole countenance the expression of habitual sottishness and debauchery.
And this artificial form of the mouth he retained, unaltered, from the
beginning to the end of the play, with the exception only that, as the
play went on, the lips gaped and hung more and more in proportion to the
gradually increasing drunkenness of the character represented. This
made-up face was not produced by stage-paint, but solely by muscular
contraction; and it must be so identified by Garrick with his idea of
Sir John Brute as to be spontaneously assumed by him whenever he plays
that part; otherwise, his retention of such a mask, without even once
dropping it either from fatigue or surprise, even in the most boisterous
action of his part, would be quite inexplicable."]

[Footnote 278: viii. 382.]

[Footnote 279: viii. 373, 376, etc.]

[Footnote 280: As Hamlet to his players: "Nor do not saw the air too
much with your hand thus; but use all gently; for in the very torren