You have, doubtless, been surprised, that I have not in any of my letters spoken of theatres, or _spectacles_ as they are called at Paris. I purposely omitted doing so, till I had had an opportunity of seeing the greater part of those which are now in vogue, that I might place them all before you at one view. “Le théâtre françois de la république,” formerly called, “le théâtre du roi,” situate in la rue de la Loi, ci-devant de Richelieu, deservedly takes the lead. It is here, where the tragedies of Racine, Corneille, and Voltaire, are constantly acted; and where also the best comedies on the french stage are represented. The most celebrated performers in the tragic line are, Talma, and la Fond, among the men; and madame Pettit, (otherwise called, mademoiselle Vanhove,) mademoiselle Volney, and mademoiselle Burgoing, among the women. Talma and la Fond have each their admirers, and it is a disputed matter in society to which the palm is due. The same thing may be said of the actresses. In some circles, madame Pettit is commended as a performer of very extraordinary talents, highly superiour to her competitors; in others, mademoiselle Volney is the favourite; and lately, mademoiselle Burgoing has disputed the victory with both. It is presumptuous perhaps, in a foreigner, to form a judgment on a subject on which natives are divided. I shall only say, that to my english ear, the roaring declamation, common to all the french tragedians, is dreadfully offensive. I must add, that I have more than once mistaken the violence of their action for bombast, and the perpetual motion of their features for grimace. After making this candid avowal, I do not deserve or expect any credit for the judgment I am about to pronounce. I think Talma less bad than la Fond; but such is the difference of national taste, that I am sure neither of them would be suffered on an english stage. I entertain the same opinion of madame Pettit, and mademoiselle Volney, though the latter is to my mind, infinitely superiour to the former. As to mademoiselle Burgoing, she has the great merit of being natural; and it is for this reason, I suppose, that in several of the newspapers here, she is accused of being cold and insipid. I saw her perform “Zaire” a few evenings since, and I never remember to have been more amused. She is a beautiful young girl of sixteen, with a fine expressive countenance, and an elegant graceful figure. Her voice is clear and articulate; her manner simple and unaffected; and her representation of the different passions strong and impressive, without “outstepping the modesty of nature.” Her dress was elegantly simple, and her deportment truly correct. After the play, “Zaire” was called for again and again, (this is the highest compliment which can be paid to a performer at Paris) and it was long before she could be persuaded to appear. At length the curtain drew up, and Talma led her, “still unwilling,” towards the audience. She seemed really