ocent sufferer who claims our interest, and when
he is content to descend to the level of ordinary men? In this very
difficult passage Talma is eminently successful; no vehemence of manner
accompanies the desperate resolution he expresses, the recollection of
the misery he has suffered, and the dread of the greater misfortunes
which his present intentions must bring upon him, seem wholly to
overpower him, and his countenance, marked with the utmost dejection and
wretchedness, appears still to appeal for mercy to the power which
persecutes him. Everything in his appearance and voice conveys the
impression of a person overwhelmed with misfortunes, and hurried on, by
an impulse he cannot controul, into greater calamities, and more
complicated misery. The very sentiment which he avows, seems to proceed
from the over-ruling influence of a destiny which he has in vain
attempted to resist, and to be only another proof of the unceasing
persecution to which he is exposed; and though he no longer commands
admiration, or deserves esteem, he becomes more than ever the object of
the deepest commiseration. Talma appears to attach much importance to
the impression which this passage may produce, as much of the view which
he exhibits of the character of Orestes seems intended to assist its
effect; and we certainly consider it as the greatest and most successful
effort of _genius_, which we have ever seen displayed upon any stage.
After witnessing this representation of the character of Orestes at this
melancholy period of his life, it was with no ordinary interest that we
shortly after saw Talma perform the part of Orestes in Iphigenie en
Tauride, a play which represents very beautifully the only event in his
life, which ever seemed likely to secure his happiness, the discovery of
his sister; and we shall never forget the beautiful expression of
Talma's countenance, and the delightful tones of his voice, when he
described to his sister and his friend, the emotions which the feeling
of happiness so new to him had created, and the hopes of future exertion
and honour, which he now felt himself able to entertain.

The last scene of this interesting tragedy is the most celebrated and
most admired part in the range of Talma's characters, and undoubtedly it
is impossible to find any acting more admirable or more affecting: After
the death of Pyrrhus, he rushes upon the stage to inform Hermione that
he had obeyed her dreadful commission, and to