THEATRE AT PARIS. ' 22j 



for digging under his graveftone a way for efcapc. 

 The fentiment of gratitude and tendernefs difplayed in 

 this fcene, even under the hand of a learner, has here 

 again an unfpoilable intereft. All the audience around 

 me at once fobbed and clapped. 



And now both the mifrrefs and the lifter of Trsnck 

 fuddenly and miraculoufly appear. At leaft, either I 

 did not hear how the foldier had made this entrance 

 poflible, or he made no mention at all of it. This 

 would have been but kind of him. However, there they 

 were, for the purpofe of giving rife to a very cold 

 fcene. For me, at leaft, it was 'cold, if not for the 

 fpeclators with french tafle and french hearts. Aft 

 englifh poet, even though he had made all the reffc 

 never fo bad, would at leaft have worked up the be- 

 ginning and end of this fcene into fomething tolerable ; 

 iince a meeting and a parting under fuch circumftancesi 

 could not fail, with any trifling fkill, of producing its 

 natural effect. But the french poet (if for once I may 

 abufe that- term) keeps his Trenck in one continued 

 reverence and diftance towards his fair-one ; and, in- 

 ftead of the tranfports of affection, gives him, as is the 

 fafhion here, barely decency. They talk to one ano- 

 ther juft like perfect ftrangers ; he relates to her with 

 great prolixity how he has been treated and clapped up 

 in irons ; and fire hears, at the diftance of ten fteps 

 from him, with her hands modeflly folded before her, 

 his tedious harangue, which fbe, as well as the lifter, 

 is at length obliged to interrupt at times by an helas ! 

 [pronounce hag — las! as this is the tragical accent of 

 all the aclreffes I have hitherto heard enunciate that 

 word.] 



a % Thf 



