é 
Si0.] 
celebrated, and whose pathetic genius 
has t empered the. gloomy terror af the 
English stage. Competitors, worthy of 
each other, come next: M. Arnault, so 
noble in Mari 1s, SO tragic in the Vene-~ 
tiaus ; M. Legouve, whose 
Gesner, and who displayed great energy 
in Epicharis; M..Lemercier, who in 
Agamemnon so ably blended together 
the beauties of Eschylus and Seneca; 
lastly, M. Raynouard, who rendered so 
brilliant an homage to victims honoured 
by the regrets of history. We shall 
notice the interesting scenes of the 
Josevh of M. Baour Lorosian, and the 
estimable parts of Mr. de Mingle, 
Abdelasis.= We must not omit a ene 
reflections., The good, tragic composi- 
tions of the period, cannot be reproached 
with the muitiplicity of incidents, the 
profusion of subordinate personages, use- 
less episodes, the imsipidity of elegiac 
scenes. In all, the action is simple, and 
almost always severe. ‘the progress of 
the poets is not timid. Without vivlating 
the ancient rules, they have obtained 
new eifects. Upon the whole, they have 
preserved the philosophical character 
impressed on tragedy, by the finest genius 
of the last century; by following whose 
Steps, the greater part have pens to 
themselves the various routes of modern 
history; an immense career, which pro- 
mnises for a long time, new palms to the 
poets capable of pursuing it. 
In proceeding: to comedy, we find as 
early as the first years, the pretty little 
piece, the Convent, by M. Laujon; 
the Greek Menechms, by M. oehonbell 
an entertaining and well-conducted co- 
inedy of intrigue; a work. elegantly 
versified, the Pamela of Mr. Frangois ; a 
copy of ‘that of M. Goldoni, but a copy 
superior to. the original. Two, Fabre 
d’Eglautine, and Colin d’ Harleville, com- 
petitors experienced in contending with 
each other, enrich the higher order of 
_comedy,. the one by, faiebly pourtraying 
impassible egotism, and impassioned 
Virtue; the other in representing, with 
strongly consic truth, the inconveniences 
ofa protracted celibacy. M. Andrieux, 
shines in the same r ank, by a pleasing 
. vivacity, graceful and interesting details, 
and the uninterrupted charm of ‘his style. 
A fertile imagination, an unaffected 
& 
* In obedience to the class of French 
literature, Mr. Chenier is here named. His 
tragedy of Fenelon has succeeded, protected 
by the memory of a great man, 
Progress of the French Language, &c. since 1789. 
Death of 
Abel presents an elegant wuitation of 
art essentially resides. 
1s pleased. benevolenily te attend to this 
art, as beautiful, as it 1s dificult ; 
dei ain us a moment. 
G1 
galety, an original portraiture of man- 
ners, have secured the success af M. 
Picard. Not, less gay, and nearly. as 
fertile, M, Duval is partiy entitled to the 
same commendations. ‘The purity of 
diction is esteemed in some essays. of 
M. Roger. Here we point out aa im- 
provement, the merit of which is due to 
the principal writers, whom we have just 
named; perhaps also_to the change which 
has taken place in our manners. Daring 
the whole period, the comedies worthy 
of notice preserve notraces of that jar 
gon, which was so long in vague. ‘To 
succeed, it was found necessary to be 
natural. The pedantic, prudish style, 
the false wit, the affected tone, which had. ~ 
been introduced on the comic stage, by 
authors more refined than ingenious, 
have been entirely banished. 
In the drama, a defective species of 
composition, but sascepuble of beauties, 
we distinguish Beaumarchais, whom his 
comedies and his memoirs, had already 
rendered celebrated. M. Monvel, an 
author who ,has_ deservedly obtained 
numerous successes, and one of our 
greatest performers; M. Bouill, whose 
pieces breathe that interest which excel- 
lent morality inspires. On the theatre, 
rendered illustrious by Quinault, are to 
be remarked M. Guillard, and_M. Hoff 
mav ; more recently, M. Esmenard, and 
M. Jou: on the other lyric scene, M. 
Hoffman again, M. Monvel, M. Mar- 
Solier, M. Duval. After having done 
pve to some pleasing productions, 
compelled however to renew some opi- 
nions of Voltaire, and to observe what 
he had foreseen and dreaded, the in- 
fluence of the comic opera on the general 
_tasté of the spectators, we shall endea- 
vour, in consequence of that observation, 
to enquire into the means of supporting, 
of augmenting, if possible, the splendor of . 
the French Theatre; where the dramatic 
Your Majesty, 
and it 
is more easy than ever to perceive, of 
what importance it may become, when 
your soul, in unison with that of Cor- 
neille, applauds the conceptions of that 
man of genius, whose natural language 
was sublime, and who forced heroes to 
weep. 
In finishing, Sire, a vast view, of ich 
want of time now permits us poly to pre- 
sent to your Majesty an incomplete, bat 
at feast a faithful sketch, general con- 
siderations on the whole period wall 
Science and litep- 
ature 
“ 
