Travels in France during the years 1814-1815, Patrick Fraser Tytler [best books to read for teens .TXT] 📗

of the French tragedy, and it is much to be regretted, that those who have had an opportunity of attending the French theatre, have generally carried their national prejudices along with them, and seem to have been more desirous to confirm the prepossessions they had previously acquired, than to form any fair and correct estimate of the merits of that drama. We are a little aware in general in this country, how much the composition of our own tragedies might be improved, and how much the effect of the talents which the stage displays might be increased, were we as candid in admitting the very great excellencies which the French stage possesses, as we have been desirous to discover its imperfections. Without presuming to attempt an examination of the French theatre, in the view of correcting what appear to us the errors in the public taste, we mean merely to state in what respects it appeared to us, that the impression left on the mind by the French tragedies is stronger and more lasting than any that we have experienced from attending our own theatres. Our conviction of the general superiority of the English stage has been already expressed, and therefore we hope we shall not be misapprehended in the object which we have in view in such remarks.

1. In the first place, then, we would mention—what we hope is not necessary to illustrate at any length—the very great impression which must be made upon every thoughtful mind, by the unity of emotion which the French tragedies are fitted to produce. The effect which may result from this unity of emotion appears to excite much deeper interest, than can be produced by the mere exertion of the actors' power, when it is not uniformly directed to the expression of one general character. It is also worthy of consideration, whether the very important purposes to which the drama may be rendered subservient, may not be more easily accomplished, when the whole tendency of the composition, and the influence of acting, are employed in one general and consistent design. No such principle seems to have been kept in view in the composition of the greater part of the English tragedies. They resemble much, in truth, as we have before observed, the scene of human affairs, which the general aspect of the world presents,—full of every variety of incident, and depending upon the actions of a number of different characters. In the principal subject of the play, many seem to perform parts nearly of equal importance, and to be equally concerned in the issue of the story; each personage has his separate interest to claim our attention, and peculiar features of character, which require nice discrimination; and in general, no one character, or one subject, is sufficiently presented to view. The minds of the spectators, therefore, are oppressed and distracted by the variety of feelings which are excited, and their interest interrupted and dissipated, in some degree, from the variety of objects which claim it. The general impression, therefore, left upon the mind, is less pointed, less profound, and must produce less influence upon character, than when the feelings have been steadily and powerfully interested in the consequences of one marked and important event, or in the illustration of one great moral truth.

2. We must be permitted to state, in the second place, that we think the French theatre is decidedly superior to our own, in the propriety and discrimination with which they keep out of view many of those exhibitions, which, on the English stage, are studiously brought forward with a view to effect: It would be altogether useless, to enter into any discussion of a question which has often been the subject of much idle controversy; nor should we be able, we know, to suggest any thing which could have any influence with those who think, that all the murders, and battles, and bustle, which occur in many of the grander scenes in the English tragedies, can increase the interest which such tragedies might produce, or contribute to the effect of theatrical illusion. We were not fortunate enough to see Talma in Ducis' play of Macbeth, where the difference between the French and English stage in this particular is very strongly illustrated; but from every thing we have, understood, of the wonderful impression which is produced, when he describes his interview with the weird sisters—the terrors which accompanied their appearance, and the feelings which their predictions awakened, we are persuaded that the effect must be much finer than any thing which can result from the feeble attempt to represent all this to the eye. Macbeth, however, without the witches, and all the clumsy machinery which is employed on the stage to carry through so impracticable a scene, would appear stripped of its principal beauties to the taste of a great part of an English audience; and yet we are perfectly convinced, that there is no one imperfection, in the plan or composition of the French tragedies, so deserving of censure, as the taste which can admit such representations on the stage. We allude, of course, entirely to the attempt to introduce this celebrated scene upon the stage; none can admire more than we do, the powerful and creative imagination which it displays.

3. The next circumstance to which we allude, is that very remarkable one—of the dignity of sentiment, and elevation of thought, which uniformly characterise the compositions of the French stage. This is a perfection which, we believe, has never been denied by any one who is in any degree acquainted with these productions; and therefore we are anxious, as that very excellence has sometimes been thought to unfit them for actual representation, merely to state, from our own experience, the very great impression which such lofty and dignified sentiments, in the composition of the play, are fitted to produce. For ourselves we can say, that no dramatic representation on the English stage produced the same permanent effect with some of the greater compositions of the French tragedy; and we cannot but consider much of their influence to be owing to the sublime and elevating sentiments with which they abound. We could wish to see the tone of the tragedies which are now presented for the English stage, animated by the same strain of dignified thought, and become more worthy of the approbation of a great, and enlightened, and virtuous people.

Simple as these observations may appear, they yet suggest what we must consider as most important improvements in the composition and character of the English drama: The only tragedies which have been written for many years for our stage are, with a few exceptions, undeniably the feeblest productions in any branch of the national literature, and have in general carried, to the utmost extreme, the imperfections which existed in the works of those earlier writers whose genius and natural feeling they have never been able to equal. Whenever any change does occur in the character and tone of the tragedies of the English stage, we are persuaded that much will be gained by further acquaintance with the dramatic representations of the French theatre; and that the defects of our own theatre can only be avoided, by imitating some of the perfections of that drama, which we are accustomed at present so hastily to censure.

We have only now to remark, that while the works of Corneille, of Racine, and Voltaire, must ever remain conspicuous in the French drama, we shall judge very erroneously of the present character of the French stage, if we are only acquainted with these compositions of earlier times. The consequences of the revolution have been felt in the tone of dramatic composition, as in every other branch of literature, and in every condition of society. The misfortunes which all classes of the people have sustained,—the anxiety, and suspence, and terror, which they so often felt, and the insecurity which so long seemed to attend every enjoyment of human life, accustomed them so much to scenes of deep interest, and to profound emotion, that it became necessary, in the theatre, to have recourse to more powerful means of exciting their compassion, and engaging their interest, than was always afforded by the tragedies of the old writers. The same change, then, which is observable in many other branches of the French literature of late years, seems to have taken place, to a considerable extent, in compositions for the stage; and from the serious and melancholy turn which was often given to the public mind, it has become requisite, in later writings, to introduce subjects of deeper interest, and more fitted to affect the imagination in moments of strong popular feeling, and of great national danger. Many of the reflections, therefore, which such circumstances suggested, have been introduced into the tragedies which have been composed during the very eventful period which has elapsed since the commencement of the revolution; and the authors have adapted, in a considerable degree, the interest, or the management of their plays, to those peculiar sentiments which the character of that period had given to the people. These sentiments may not always indicate very sound principle, or very elevated feeling, but, in the turn which has sometimes been given to the French plays, they are made to favour the introduction of much poetical beauty, and much dramatic interest. We have already mentioned, that there appears to be a vague, but general impression of the influence of fatality upon human conduct, floating in the public mind; and though such a notion, probably, is seldom admitted in the shape of a distinct doctrine, many circumstances indicate, that among the body of the people, and among the army in particular, the influence of this superstition is very considerable. It is appealed to in many of those political writings which best indicate the feelings of those to whom they are addressed; and we have all remarked how much and how artfully their late ruler availed himself of this belief, to connect the ascendancy of his arms, and the prosperity of his dynasty, with the destiny of human affairs. On several very important occasions, the utmost possible interest has been given to the history of particular characters, in many recent tragedies, by employing this powerful feeling in the public mind; and it was very apparent, that the spectators took peculiar interest in the denouement of the plays in which this subject was introduced.

In the works of Ducis, of Raynouard, and of several other recent writers, and in many of the plays formed from tragedies of the German school, very strong indications are to be found of the effect of the circumstances in which the people have been placed, in giving, in some respects, a new tone to dramatic compositions, and in calling forth productions of deeper interest, and capable of exciting more profound emotion, than could generally be produced by the works of the earlier periods of French literature.

It is an animating proof of the ascendancy of virtuous feeling, and a striking illustration of the tendency of great assemblies of men, when not actuated by particular passions, to join in what is generous and elevated in human thought, that not only have the tragedies of the earlier writers continued to be universally admired, and constantly acted during the whole period of the revolution, but that the standard of sentiment has not been lowered in those productions which have been designed expressly for the French stage during that period, and that the dignity of ancient virtue, and the elevation of natural feeling, still ennoble the tone of French tragedy.

The French comedies and comic acting are not less characteristic of the people than their tragedies. They are a gay and lively, but not a humorous people. A Frenchman enters into amusements with an eagerness and relish, of which, in this country, we have no conception; all his cares and sorrows are forgotten; all his serious occupations are postponed; all his unruly passions are