ified
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 t