id="id00036">Inform yourself minutely of everything concerning this extraordinary establishment; go into their houses, get acquainted with individuals, hear some of them preach. The finest preacher I ever heard in my life is le Pere Neufville, who, I believe, preaches still at Paris, and is so much in the best company, that you may easily get personally acquainted with him.

If you would know their 'morale' read Pascal's 'Lettres Provinciales', in which it is very truly displayed from their own writings.

Upon the whole, this is certain, that a society of which so little good is said, and so much ill believed, and that still not only subsists, but flourishes, must be a very able one. It is always mentioned as a proof of the superior abilities of the Cardinal Richelieu, that, though hated by all the nation, and still more by his master, he kept his power in spite of both.

I would earnestly wish you to do everything now, which I wish, that I had done at your age, and did not do. Every country has its peculiarities, which one can be much better informed of during one's residence there, than by reading all the books in the world afterward. While you are in Catholic countries, inform yourself of all the forms and ceremonies of that tawdry church; see their converts both of men and women, know their several rules and orders, attend their most remarkable ceremonies; have their terms of art explained to you, their 'tierce, sexte, nones, matines; vepres, complies'; their 'breviares, rosaires, heures, chapelets, agnus', etc., things that many people talk of from habit, though few people know the true meaning of anyone of them. Converse with, and study the characters of some of those incarcerated enthusiasts. Frequent some 'parloirs', and see the air and manners of those Recluse, who are a distinct nation themselves, and like no other.

I dined yesterday with Mrs. F——d, her mother and husband. He is an athletic Hibernian, handsome in his person, but excessively awkward and vulgar in his air and manner. She inquired much after you, and, I thought, with interest. I answered her as a 'Mezzano' should do: 'Et je pronai votre tendresse, vos soins, et vos soupirs'.

When you meet with any British returning to their own country, pray send me by them any little 'brochures, factums, theses', etc., 'qui font du bruit ou du plaisir a Paris'. Adieu, child.

LETTER CLVII

LONDON, January 23, O. S. 1752.

MY DEAR FRIEND: Have you seen the new tragedy of Varon,—[Written by the Vicomte de Grave; and at that time the general topic of conversation at Paris.]—and what do you think of it? Let me know, for I am determined to form my taste upon yours. I hear that the situations and incidents are well brought on, and the catastrophe unexpected and surprising, but the verses bad. I suppose it is the subject of all conversations at Paris, where both women and men are judges and critics of all such performances; such conversations, that both form and improve the taste, and whet the judgment; are surely preferable to the conversations of our mixed companies here; which, if they happen to rise above bragg and whist, infallibly stop short of everything either pleasing or instructive.

I take the reason of this to be, that (as women generally give the 'ton' to the conversation) our English women are not near so well informed and cultivated as the French; besides that they are naturally more serious and silent.

I could wish there were a treaty made between the French and English theatres, in which both parties should make considerable concessions. The English ought to give up their notorious violations of all the unities; and all their massacres, racks, dead bodies, and mangled carcasses, which they so frequently exhibit upon their stage. The French should engage to have more action and less declamation; and not to cram and crowd things together, to almost a degree of impossibility, from a too scrupulous adherence to the unities. The English should restrain the licentiousness of their poets, and the French enlarge the liberty of theirs; their poets are the greatest slaves in their country, and that is a bold word; ours are the most tumultuous subjects in England, and that is saying a good deal. Under such regulations one might hope to see a play in which one should not be lulled to sleep by the length of a monotonical declamation, nor frightened and shocked by the barbarity of the action. The unity of time extended occasionally to three or four days, and the unity of place broke into, as far as the same street, or sometimes the same town; both which, I will affirm, are as probable as four-and-twenty hours, and the same room.

More indulgence too, in my mind, should be shown, than the French are willing to allow, to bright thoughts, and to shining images; for though, I confess, it is not very natural for a hero or a princess to say fine things in all the violence of grief, love, rage, etc., yet, I can as well suppose that, as I can that they should talk to themselves for half an hour; which they must necessarily do, or no tragedy could be carried on, unless they had recourse to a much greater absurdity, the choruses of the ancients. Tragedy is of a nature, that one must see it with a degree of self-deception; we must lend ourselves a little to the delusion; and I am very willing to carry that complaisance a little farther than the French do.

Tragedy must be something bigger than life, or it would not affect us. In nature the most violent passions are silent; in tragedy they must speak, and speak with dignity too. Hence the necessity of their being written in verse, and unfortunately for the French, from the weakness of their language, in rhymes. And for the same reason, Cato the Stoic, expiring at Utica, rhymes masculine and feminine at Paris; and fetches his last breath at London, in most harmmonious and correct blank verse.

It is quite otherwise with Comedy, which should be mere common life, and not one jot bigger. Every character should speak upon the stage, not only what it would utter in the situation there represented, but in the same manner in which it would express it. For which reason I cannot allow rhymes in comedy, unless they were put into the mouth, and came out of the mouth of a mad poet. But it is impossible to deceive one's self enough (nor is it the least necessary in comedy) to suppose a dull rogue of an usurer cheating, or 'gross Jean' blundering in the finest rhymes in the world.

As for Operas, they are essentially too absurd and extravagant to mention; I look upon them as a magic scene, contrived to please the eyes and the ears, at the expense of the understanding; and I consider singing, rhyming, and chiming heroes, and princesses, and philosophers, as I do the hills, the trees, the birds, and the beasts, who amicably joined in one common country dance, to the irresistible turn of Orpheus's lyre. Whenever I go to an opera, I leave my sense and reason at the door with my half guinea, and deliver myself up to my eyes and my ears.

Thus I have made you my poetical confession; in which I have acknowledged as many sins against the established taste in both countries, as a frank heretic could have owned against the established church in either, but I am now privileged by my age to taste and think for myself, and not to care what other people think of me in those respects; an advantage which youth, among its many advantages, hath not. It must occasionally and outwardly conform, to a certain degree, to establish tastes, fashions, and decisions. A young man may, with a becoming modesty, dissent, in private companies, from public opinions and prejudices: but he must not attack them with warmth, nor magisterially set up his own sentiments against them. Endeavor to hear, and know all opinions; receive them with complaisance; form your