distressed, by the thunder of applause which greeted her, and she ran off the stage, as soon as respect to the company would permit. If mademoiselle Burgoing has the good sense to remember, that this early praise can only be secured by incessant study; and if she has the courage to disregard the ridiculous criticisms of the french journals, (in which she is daily recommended to use more action, to speak in a louder tone of voice, &c. in short, to lay aside the happy _naturel_, which constitutes her merit) it is highly probable, that in a few years she may become the first tragic actress of Europe. If, generally speaking, I am not pleased with the french tragedians, I entertain a very different opinion as to their comic actors. In this line, I conceive their stage is very superiour to ours. The celebrated mademoiselle Contat, who, for so many years, has been the delight of the public, is still here. She retains all her powers of acting, and much of her beauty. Molé is as admirable as ever; and Dezencourt and Dugazon, in their different lines, cannot be rivalled. Fleury too, is incomparable; and whoever has seen him act Frederic the 2d, in “Les deux Pages,” has seen the most perfect performance, which any stage ever presented. Mesdemoiselles Mezeray, and Mars (cadette), are also excellent actresses; and St. Fal, in many parts, deserves to be considered as a very respectable actor. In the “Philosophe marié,” in the “Vieux Celibataire,” and many other comedies, and in the farces of “Les deux Pages,” and of “le Circle,” (in which most of these eminent actors perform), I have sometimes forgotten, that I was at the play, and believed I saw before me, the characters which they represented. In the “Abbé l’Epée,” (which has been so well translated into english) “Monvel” deservedly obtains great applause, for the excellent and natural manner, in which he represents the philanthropic abbé. How interesting is this play! those who have seen, as I have done, the “_institution des sourd muets_,” view it with double pleasure. The whole appears like a real scene, and the abbé Sicard has so admirably followed the example of his humane predecessor, that the soul of the latter seems revived in the former; and in seeming the play, we forget that l’abbé l’Epée no longer exists.