ch was well received by the Parisians. It
did not do justice to his powers, however, and he soon after wrote
"_Alexandre_," which was an advance upon the previous performance. He
was unacquainted with the English or Spanish drama, and had studied only
the French of Corneille, and the Greek. He attempted the Greek drama,
and of course found it very difficult to render dramas founded upon
Grecian national subjects, and with Grecian manners, interesting to a
Parisian audience. "_Alexandre_" was not successful upon the stage, but
the best critics did not hesitate to award the premium of great dramatic
genius to Racine, and he was encouraged to go on.

While the dramatist was writing "_Andromaque_" he was bitterly attacked
by the leader of a sect of religionists for the wretched morality of his
play. He felt the attack keenly, and that it was just, no American will
deny, though Frenchmen will. The poet replied to the attack in a witty
and satirical letter.

The "_Andromaque_" of Racine had a fine success, and one character was
so full of passion and was so well represented upon the stage, that it
cost the life of the actor who fell dead from excitement. Then followed
in quick succession "_Brittonicus_" and "_Berenice_," which were also
successful. His plays were full of intense passion and eloquence, and it
would not give the reader a fair idea of their influence over the
French, did we not admit that their representations of human life were
such as to undermine the morality of those who listened to them. The
plays of Racine have exerted a prodigious influence over the intelligent
classes of Paris, and their wretched morality poisoned the nation. For
my part, when I consider the literature of France--and no one can judge
of a people without knowing its literature--I do not wonder that a very
low morality exists throughout the country, but more especially in
Paris. The great plays of past and modern times are saturated with
licentiousness--the great romances of past and present years, are foul
with impurities. Racine, living in an age of licentiousness, reflects it
in his plays, and his plays are admired to-day in Paris, as of yore;
hence it follows that those who go and see them acted must be somewhat
affected by their immorality. Madame Rachel has made the characters of
Racine familiar to all France, and has revived all his blemishes as well
as beauties.

The poet met with much severe criticism after the representation of