from the
habits and tastes of the exclusive aristocratic circle to which they
were addressed. In addition to this, the audience were all highly
educated; at least according to the ideas and habits of the times.
Classical images were those which recalled the most pleasing
associations in every mind; classical events awakened the emotions most
likely to prove generally attractive. The ancient models were before
every mind, from the effect of early and universal education. Classical
allusions and subjects were as unavoidable, as they now are in the prize
poems of Oxford or Cambridge. Thus, the drama of Athens naturally was
assumed as the model of modern imitation; but on it was ingrafted, not
the vehemence and nature of the Greek originals, addressed to all
mankind, but the measured march of heroic versification, intended for a
narrow and dignified feudal circle.

Making allowance for this peculiarity, and considering the drama as,
from this cause, diverted from its real object and highest flight, it is
impossible to conceive any thing more perfect than the masterpieces of
the French stage. Corneille was their greatest composer; he had most
original genius, and was least fettered by artificial rules. He was the
AEschylus of the French theatre. Voltaire said, that the king's ministers
should be compelled to attend the performance of his finest pieces, to
acquire the knowledge of human nature, and statesmanlike views requisite
for the government of man. Napoleon said, if Corneille had lived in his
time, he would have made him a counsellor of state; for he alone, of all
writers, felt the overpowering importance of state necessity. The great
Conde wept at the generosity of sentiment portrayed in his
_Britannicus_. It is impossible to conceive any thing more dignified and
elevated, more calculated to rouse the generous and lofty feelings, to
nourish that forgetfulness of self and devotion to others, which is the
foundation of every thing great and good in this world, than his finest
tragedies. They are, however, very unequal. _Cinna_, _Les Horaces_, the
_Cid_, and _Rodogune_, are his masterpieces; it is they which have won
for him, by the consent of all nations, the surname of "le Grand
Corneille." But still it is not nature which is generally represented in
his tragedies. It is an ideal nature, seven foot high, clad in
impenetrable panoply, steeled against the weaknesses, as above the
littlenesses of humanity. Persons of a ro