This spirit arises, probably, from the theatrical nature of the people. Individually each Frenchman seems to consider that he is born to act a part, not only in the stage of life in general, but in his own individual sphere, act a part as a comedian, a part he assumes, not the part that Providence has destined for him; in fact, to use a French expression, he must always _poser et faire de l'effet_. Louis XIV. acted the comedy of royalty, not as if he had a conviction of his real kingship, but as if he was "making believe;" he throned it always like a tragedy king--he _posa_ on his throne. Even to the lower classes--and perhaps they more than any other--the Frenchman of this day, however quiet and estimable in private life, will _poser_ as an actor, as soon as he has an audience, and shows himself "before the face of men," be it in the _salon_, or the tribune, or at the street corner. So strong is the desire for theatrical effect, especially among the lower classes, that each _homme du peuple_ seems ever to be striving to set up for a hero on his own little stage of existence, even if that hero be a villain. Among the more reckless of them in latter years, the mania _de faire parler de soi_ has frequently gone as far as committing suicide or atrocious crime, in order to die with _eclat_ or a _coup de théâtre_. The opportunities afforded to the people by successive revolutions, of showing themselves off in characters that have been applauded "to the echo" as noble and sublime, have contributed to foster that craving for notoriety and part-acting in the eyes of the world, which an overweening vanity of character, and the desire for effect, have made a portion of their habitual life. It may be a question even, whether, in scenes of popular convulsion, the reckless courage of the French--unquestionable as is that courage--does not arise from a sort of fancy that the whole drama of contention they are acting is, in a manner, unreal--that they are but actors on a living stage--that the whole, in fact, is a theatrical part. To see them attitudinising on a barricade, with flag and sabre raised aloft, flinging up their arms in picture-like gesture, and sweeping back their hair to give effect to their tableau, it might be natural to suppose so. With this theatrical mania, then, so prevalent in all classes, it follows very naturally that the outward show, the embodied sentiment, the symbol, in fact, should assert such a powerful sway over their excitable minds.