persecution by the Government added to the influence of Diderot. He was sent to the Bastille, and all the editions of his works were seized. Few of his works are now read, except Jaques le Fataliste, an admirable novel, though it contains four or five pages which rather offend against decorum. In Paris, the authority of Diderot over literature was immense, and he was passionately fond of Richardson's novels. Even now, in 1828, the publica tion of Clarissa Harlowe marks a moral epoch in the lives of most of our old gentlemen between fifty and sixty. If you wish to get them into a talking key, you need only say something to revive their recollections of Lovelace, Clarissa, and Colonel Morden. M. Villemain explained, in the most agreeable manner, the effect produced by Richardson on French literature. In a word, it was as decisive as that which is now operated by Sir Walter Scott. History is what we best know in France; and yet for all the histories which have been written within these ten years we are indebted to Sir Walter Scott. Had not the Scottish Baronet given us his novels in prose, these histories would have been still unpublished. I may mention, as the first in rank among them, M. Thierry's History of the Conquest of England by William of Normandy. A proof of the levity of the French character might be drawn from the fate of the novel of Clarissa Harlowe. It was so much in vogue fifty years ago, as to excite some jealousy even in Voltaire; and now it is read by nobody. To the French of the present day, nothing appears so mortally dull as the interminable letters of Richardson. The recollection of the English printer's name is now only kept alive by a proverb. In speaking of a man who, by wishing to appear all perfection, becomes an intolerable piece of still life, it is common to say-"He is a Grandison." M. Villemain made some very just and striking observations, and related many very amusing things, in historically sketching the merits of Voltaire, Hume, Richardson, Sismondi, Barante, &c. But you are perhaps already well enough supplied with literary criticism. Next month I shall conclude what I have to say about M. Villemain. I hope I shall then be able to explain to you how it happens that the ideas of M. Cousin, which are to me unintelligible in consequence of his inconsistencies, nevertheless electrify all our youth of twenty, and even all our old men of fifty, whose heads are rather of the weaker order. M. Cousin's lectures are printed, and you may try to read them if you question my assertions. M. Cousin, however, has never sold himself to any Ministry: he was persecuted by the Jesuits, and thrown into prison at Dresden. I esteem him much, and am only sorry that I cannot comprehend him. In our higher circles, all the youth of both sexes apply themselves to the English language. The same, indeed, may also be said of such of our married ladies who may have been about seventeen in the year 1813. We were without English books for about twenty years, and the study of English was a novelty, particularly to the Parisians, for whom La Fontaine made this celebrated verse : "Il nous faut du nouveau n'en fût il plus au monde.” Our tragic actresses have grown old and ugly, and the public has got tired of them. You may therefore conceive how this favours the repu- : tation of Miss Smithson, who seldom appears without making the female and many of the male part of the audience shed tears. Mr. Kemble has visited us, but has made no impression. He is considered about equal to such of our French actors as do not rise above mediocrity. Macready has also appeared, but his Macbeth is not liked. He places himself as if the pit were, filled with painters. When Macready fancies he has got into a position full of grace-a grace, too, such as may be seen in the vignettes of our editions of Lalla Rookh and the Corsair,-he pauses and remains immovable, as if he wished to give the young artists time to sketch him. Macready has played Virginius. As for the tragedy, it seemed very flat, particularly in the first acts; but the two last acts made a powerful impres sion on the public. Mr. Knowles rose in estimation, and Macready was excellent his acting in this part has however been the subject of much discussion. Many critics have blamed the slow and deliberate manner in which he kills his daughter. Would such be the action of a native of the south of Europe?-of an inhabitant of Rome? In answer to these questions it has been replied, that Macready represents what an Englishman would be likely to do in a similar situation. But is it possible that a father in London or Edinburgh would appear thus calm, if his passion were so far roused as to impel him to kill his daughter to save her from the insults of such a tyrant as Appius? And, be this as it may, ought not our conception of such a situation to accord more with the feelings of an inhabitant of London, than of an ancient Roman whose character was formed by customs and a climate so very different from ours? Such is in substance the theme on which the criticism of our fashionable circles is founded. Those who have been in England say, "Wait till Kean comes; you will then see a different sort of thing." Well, Kean has arrived, but has failed to excite admiration. It is true also that Macready, who appeared very inferior to him in Macbeth, has only pleased us in the sentimental part of Virginius-in representing an ancient Roman whom excess of passion almost deprives of motion and speech. So that, after all, it is only Miss Smithson whose success has been uniformly remarkable. In playing the part of the widowed Queen of Edward, in Richard III. there was not a dry eye in the theatre when she parted with her children. It ought to be observed, however, that within these dozen years the show of maternal tenderness is quite the mode in France; and with us, fashion in any thing, whether good or bad, is all-powerful. THE HEIRESS TO HER LOVER. FALLEN ere long shall my fortunes be, And my choice is fix'd-I will go with thee! Will but be cheer'd by thy voice and smile, I have thought on this hour with many a tear, In the timid weakness of woman's fear; It comes, and I rise the test above, In the dauntless strength of woman's love: M. A. INDEX TO THE TWENTY-SECOND VOLUME. A A BATTOIRS, proposal for the construction Alfadhel Alderamy, 430. Architecture, modern, 385—ridiculous Ballad, 520. B Bar, the Irish, Sketches of, No. XVII. Table-Talk Abroad, 51, 172, 347, Beefsteak Club, account of the, 261. Betrothed, The, of Robert Emmett,548. British Government at the Cape, 165. -'s correction of Wordsworth, 185. natives, 165-Klaas Stuurman, ib.- Catholic Bar, The, 313-Mr. O'Logh- Clare, John, ballad by, 520. Clubs, the philosophy of, No. I. 261— Coals, essay on, 457. Collingwood, Lord, 189-a truly great Corporations and their privileges, 189. Ꭰ Dervishes, dancing and howling, 152. Laurence Lazenby, letter of, 1. Legal nonsense, 190. Letter of Lazenby, 1. from the Levant, 57, 104. to the Students of Glasgow, describing a Suttee, 309. Life and Voyages of Columbus, 288. Londonderry's (Lord) Narrative, 568. M Madame Christophe, 481. Manners, Lord, his farewell to Ireland, testimonial to, 205. Masquerades, 188. Memoirs of Parr, review of Field's, 258. Monastery of the Howling Dervishes, Myrtle garlands for the brave, 392. - Navarino, stanzas on the battle of, 9. chori, 164 lines on Belzoni, 191– - Rome and its Environs, Walks in, No. S Sardis, &c. account of, 57. |