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

calmed;—he thinks neither of his individual misfortunes, nor of his national degradation; neither of the friends whom he has lost in the war, nor of the foreign soldiers whom it has placed at his elbow; his whole soul is absorbed in the game, in the dance, or in the spectacle. But his object is not laughter, or passive enjoyment, or relaxation; it is the excitation of his spirits, the occupation, and interest, and agitation of his mind, the varied gratification of his senses, the exercise of his fancy, the display of his wit, and taste, and politeness.

The exhibitions at the theatres are accommodated to this taste. With the exception of some of Moliere's works, such as the Bourgeois Gentilhomme, and M. de Pourceaugnac, (which are seldom acted, at least at the Theatre Français), there are hardly any French comedies which are characterised by what we call humour,—which have for their main object the representation of palpably ludicrous peculiarities of character and manner. You never hear, in a French theatre, the same loud uncontrollable bursts of laughter, which are so often excited by representations of this kind in London. There are no such actors, at the principal theatres, as Matthews, or Liston, or Bannister, or Munden, or Emery, whose principal merit lies in mimicry and buffoonery. There are hardly any entertainments corresponding in character to our farces; the after-pieces are short comedies, and characters in low life are introduced into them, not as objects of derision, but of interest and sympathy.

On the other hand, operas and genteel comedies, which are esteemed only by the higher ranks in England, are a favourite amusement of all ranks in France. The qualities which are most highly prized in the comedies, are, interest and variety of incident and situation, wit and liveliness of dialogue, and a certain elevation and elegance of character.

Regarding the character of the French tragedies, there will always be much difference of opinion; and many, probably, of those who have had the best opportunities of studying them, as performed upon the stage at Paris, may yet retain nearly the same judgment concerning them which they formed in reading them in the closet. And we are willing to admit, that admirable as they appear to us in many respects, they are not well adapted to become popular in this country. But the excellencies and unrivalled elegance of the French comedy, have been at all times universally admitted, while there is this great distinction between them and the tragedies of the French school, that however great the pleasure we may take in reading them, no one ever saw them well performed, without acknowledging, that until then, he had no conception of the astonishing field which they afford for the display of the actor's power, or of the innumerable charms which they possess as dramatic compositions.

Everything that ever was amiable and engaging in the character of the French people; the elegance and bon-hommie of their manners, which served as a passport to the French in every country in Europe, and softened the feelings of national resentment with which their ambition and their arrogance to other nations had taught many to regard them as a people; their well-known superiority to other nations in those circumstances, which render them agreeable and pleasant in society, in their constant attention and accommodation to the wishes and pursuits of others, in that anxiety to please, to entertain, and to promote the interests and happiness of others, which costs so little to those who are never subject to that unhappy irregularity of temper and spirit, so visible to all foreigners in the character of the English people, and which never fails to secure esteem, and to interest the affections, while superior worth, less happily gifted for the common purposes and intercourse of life, may be regarded with no warmer feeling than that of distant respect; the loyauté and frankness once so closely associated with the history and character of the French people; the manliness which taught them at once to admit and to repair the wrongs which their impetuosity of spirit, or their harshness of feeling, might have occasioned, and the gallantry with which they were wont to defend with their sword what their honour bound them to maintain; and above all, that delightful and touching abandon of feeling, which seemed the result of genuine simplicity, and which appeared to know no reserve, only because it knew no guilt; all these beautiful and interesting traits, which adorned the character of former and of later days, are still preserved in the comedies of their greater writers; the purity of former character seems to animate the pages which they write, and the spirit of earlier times seems yet to retain its ascendancy, when they wish to pourtray the manners of the present day.

In the degradation of the present period, they delight to recall the splendour and the renown of the period that is past; and, by preserving in their works the character which adorned the French people before the profligacy and the insidious policy of a corrupt court disarmed the nation of its virtue, to reconcile it to slavery, they attempt to awaken a nobler spirit, and lay the foundation of future grandeur. Whatever has delighted us in reading the history of the earlier periods of the French monarchy, when the elevation of chivalrous feeling, and the disinterestedness of simple manners, distinguished the French people, and when the character of the great Henry displayed, in a more conspicuous station, the virtues which ennobled the duties of private life, is yet to be found in their best comedies. Among the many thousands who crowd to their numerous theatres, there are many, one would hope, who can feel the sad contrast which the last century of French history, "fertile only in crime," presents to the honour of former times, and in whom may be reviving that lofty and generous spirit which may yet redeem the character they have lost.

It seems not a little singular, that this taste in comedy should have survived all the disorders of the revolution, and remained unchanged amid the general diffusion of military habits and manners. This may be partly explained by the circumstance, that the judges by whom theatrical exhibitions are mainly regulated, are stationary at Paris, while the men, whose actions have stamped the French character of the present day, have been dispersed over the world. But it must certainly be admitted, that the taste of the French has not undergone an alteration corresponding with that which is so obvious in their manners; and has not degenerated to the degree that might have been expected, from the diffusion of revolutionary ideas and licentious habits. The Theatre Français affords perhaps the best specimen that now remains of the style of conversation, and manners, and costume, of the old school of French politeness.

For the representation of pieces bearing the general character which we have described, the French are certainly better fitted than any other people,—their native gaiety and sprightliness of disposition,—the polish which their manners so readily acquire,—their irrepressible confidence and self-conceit,—their love of shewing off, and attracting attention, give really a stage effect to many of their serious actions, and to almost all their trifling conversation and amusements. Hence, a stranger is particularly struck with the uniform excellence of the comic acting on the French stage; all the inferior parts ate sustained with spirit, and originality, and discriminating judgment; all the actors are at their ease, and a regular genteel comedy is as well acted throughout, as a farce is on the London stage.

The greatest comic actor at the Theatre Français is Fleury. He is an actor completely fitted for the French style of comedy. He gives you the idea of a perfect gentleman, with much wit and liveliness, and consummate confidence and self-possession; who delivers himself with inimitable archness and pleasantry, but without the least exaggeration or buffoonery; who has too high an opinion of himself and his powers, to descend to broad jokes or allusions belonging to the lower kinds of humour. Those who have an accurate recollection of the admirable acting of Irish Johnstone, in the characters of Major O'Flaherty, or Sir Lucius O'Trigger, will have a better conception, than any description of ours can convey, of the style of acting in which Fleury so eminently excels.

Whatever may be thought of the other performers, none can see without pleasure the performances of that celebrated actress, who has so long been the ornament of the national theatre, and to whom the support of their comedy has been so long entrusted. During the greatest period of the revolution, Mademoiselle Mars has been the favourite and the delight of the people of Paris, and there is perhaps no feeling among them stronger, or more national, than the pride which they take in her incomparable acting; all the grace, and elegance, and genuine feeling which she so beautifully displays, they consider as belonging to her only because she is a French woman; and nothing would ever convince them that, had she been born in any other country, it would have been possible that she should possess half the perfections which they now admire in her.

Mademoiselle Mars is probably as perfect an actress in comedy as any that ever appeared on any stage. She has united every advantage of countenance, and voice, and figure, which it is possible to conceive, and no one can ever have witnessed her incomparable acting, without feeling that the imagination can suggest nothing more completely lovely—more graceful, or more natural and touching than her representation of character. Mademoiselle Mars has been most exquisitely beautiful; and though the period is past when that beauty had all the brilliancy and freshness of youth, time appears hardly to have dared to lay his chilling hand on that lovely countenance, and she still acts characters which require all the naïveté, and gaiety, and tenderness of youthful feeling, with every appearance of the spring of human life. It is remarked by Cibber, that a woman has hardly time to become a perfect actress, during the continuance of her personal attractions. If there ever was an exception to this remark, Mademoiselle Mars is one. She was an admired actress, we were assured, before the revolution; yet she has still, at least on the stage, a light elegant figure, and a countenance of youthful animation and beauty, while long experience has given that polish and perfection to her acting, which can be derived from no other source.

It were in vain to attempt describing the innumerable excellencies which render her acting so perfectly enchanting;—the admirable manner in which the French comedies are performed is so particular to the stage of that country, that it would be quite fruitless to attempt to describe a style of acting unknown to the people of Britain; and of that style Mademoiselle Mars is the model. Every thing that can result from the truest elegance and gracefulness of manners—from the most genuine and lively abandon of feeling,—from the most winning sweetness of expression, and the greatest imaginable gaiety and benevolence, displayed in one of the most beautiful women ever seen, and endowed with the most delightful and melodious voice, is united in Mademoiselle Mars; and all words were in vain, which would pretend to describe the bright and glittering vision which captivates the imagination. It is impossible to conceive any thing more perfect as a specimen of art, or more beautiful as an imitation of nature, than her representation of the kind of heroine most commonly to be found in a French comedy; lively and playful, yet elegant and graceful; entering with ardour into amusements, yet capable of deep feeling and serious reflection: fond of admiration and flattery, yet innocent and modest; full of petty artifice and coquetry, yet natural and unaffected in affairs of importance; capricious and giddy in appearance, but warm-hearted and affectionate in reality. It is a character to which there is a kind of approximation among