MY DEAR FRIEND: Have you seen the new tragedy of Varon,—[Written by the Vicomte de Grave; and at that time the general topic of conversation at Paris.]—and what do you think of it? Let me know, for I am determined to form my taste upon yours. I hear that the situations and incidents are well brought on, and the catastrophe unexpected and surprising, but the verses bad. I suppose it is the subject of all conversations at Paris, where both women and men are judges and critics of all such performances; such conversations, that both form and improve the taste, and whet the judgment; are surely preferable to the conversations of our mixed companies here; which, if they happen to rise above bragg and whist, infallibly stop short of everything either pleasing or instructive.
I take the reason of this to be, that (as women generally give the ‘ton’ to the conversation) our English women are not near so well informed and cultivated as the French; besides that they are naturally more serious and silent.
I could wish there were a treaty made between the French and English theatres, in which both parties should make considerable concessions. The English ought to give up their notorious violations of all the unities; and all their massacres, racks, dead bodies, and mangled carcasses, which they so frequently exhibit upon their stage. The French should engage to have more action and less declamation; and not to cram and crowd things together, to almost a degree of impossibility, from a too scrupulous adherence to the unities. The English should restrain the licentiousness of their poets, and the French enlarge the liberty of theirs; their poets are the greatest slaves in their country, and that is a bold word; ours are the most tumultuous subjects in England, and that is saying a good deal. Under such regulations one might hope to see a play in which one should not be lulled to sleep by the length of a monotonical declamation, nor frightened and shocked by the barbarity of the action. The unity of time extended occasionally to three or four days, and the unity of place broke into, as far as the same street, or sometimes the same town; both which, I will affirm, are as probable as four-and-twenty hours, and the same room.
More indulgence too, in my mind, should be shown, than the French are willing to allow, to bright thoughts, and to shining images; for though, I confess, it is not very natural for a hero or a princess to say fine things in all the violence of grief, love, rage, etc., yet, I can as well suppose that, as I can that they should talk to themselves for half an hour; which they must necessarily do, or no tragedy could be carried on, unless they had recourse to a much greater absurdity, the choruses of the ancients. Tragedy is of a nature, that one must see it with a degree of self-deception; we must lend ourselves a little to the delusion; and I am very willing to carry that complaisance a little farther than the French do.
Tragedy must be something bigger than life, or it would not affect us. In nature the most violent passions are silent; in tragedy they must speak, and speak with dignity too. Hence the necessity of their being written in verse, and unfortunately for the French, from the weakness of their language, in rhymes. And for the same reason, Cato the Stoic, expiring at Utica, rhymes masculine and feminine at Paris; and fetches his last breath at London, in most harmmonious and correct blank verse.
It is quite otherwise with Comedy, which should be mere common life, and not one jot bigger. Every character should speak upon the stage, not only what it would utter in the situation there represented, but in the same manner in which it would express it. For which reason I cannot allow rhymes in comedy, unless they were put into the mouth, and came out of the mouth of a mad poet. But it is impossible to deceive one’s self enough (nor is it the least necessary in comedy) to suppose a dull rogue of an usurer cheating, or ‘gross Jean’ blundering in the finest rhymes in the world.
As for Operas, they are essentially too absurd and extravagant to mention; I look upon them as a magic scene, contrived to please the eyes and the ears, at the expense of the understanding; and I consider singing, rhyming, and chiming heroes, and princesses, and philosophers, as I do the hills, the trees, the birds, and the beasts, who amicably joined in one common country dance, to the irresistible turn of Orpheus’s lyre. Whenever I go to an opera, I leave my sense and reason at the door with my half guinea, and deliver myself up to my eyes and my ears.
Thus I have made you my poetical confession; in which I have acknowledged as many sins against the established taste in both countries, as a frank heretic could have owned against the established church in either, but I am now privileged by my age to taste and think for myself, and not to care what other people think of me in those respects; an advantage which youth, among its many advantages, hath not. It must occasionally and outwardly conform, to a certain degree, to establish tastes, fashions, and decisions. A young man may, with a becoming modesty, dissent, in private companies, from public opinions and prejudices: but he must not attack them with warmth, nor magisterially set up his own sentiments against them. Endeavor to hear, and know all opinions; receive them with complaisance; form your own with coolness, and give it with modesty.
I have received a letter from Sir John Lambert, in which he requests me to use my interest to procure him the remittance of Mr. Spencer’s money, when he goes abroad and also desires to know to whose account he is to place the postage of my letters. I do not trouble him with a letter in answer, since you can execute the commission. Pray make my compliments to him, and assure him that I will do all I can to procure him Mr. Spencer’s business; but that his most effectual way will be by Messrs. Hoare, who are Mr. Spencer’s cashiers, and who will undoubtedly have their choice upon whom they will give him his credit. As for the postage of the letters, your purse and mine being pretty near the same, do you pay it, over and above your next draught.
Your relations, the Princes B——-, will soon be with you at Paris; for they leave London this week: whenever you converse with them, I desire it may be in Italian; that language not being yet familiar enough to you.
By our printed papers, there seems to be a sort of compromise between the King and the parliament, with regard to the affairs of the hospitals, by taking them out of the hands of the Archbishop of Paris, and placing them in Monsieur d’Argenson’s: if this be true, that compromise, as it is called, is clearly a victory on the side of the court, and a defeat on the part of the parliament; for if the parliament had a right, they had it as much to the exclusion of Monsieur d’Argenson as of the Archbishop. Adieu.
All books are sourced from Project Gutenberg