Illusion is so little the end of art, that it may be complete and have no charm. Thus, in the interest of illusion, theatrical men have taken great pains in these latter times to secure historical accuracy of costume. This is all very well; but it is not the most important thing. Had you found, and lent to the actor who plays the part of Brutus, the very costume that of old the Roman hero wore, it would touch true connoisseurs very little. This is not all; when the illusion goes too far, the sentiment of art disappears in order to give place to a sentiment purely natural, sometimes insupportable. If I believed that Iphegenia were in fact on the point of being immolated by her father at a distance of twenty paces from me, I should leave the theatre trembling with horror. If the Ariadne that I see and hear, were the true Ariadne who is about to be betrayed by her sister, in that pathetic scene where the poor woman, who already feels herself less loved, asks who then robs her of the heart, once so tender, of Theseus, I would do as the young Englishman did, who cried out, sobbing and trying to spring upon the stage, "It is Phedre, it is Phedre!" as if he would warn and save Ariadne. But, it is said, is it not the aim of the poet to excite pity and terror? Yes; but at first in a certain measure; then he must mix with them some other sentiment that tempers them, or makes them serve another end. If the aim of dramatic art were only to excite in the highest degree pity and terror, art would be the powerless rival of nature. All the misfortunes represented on the stage are very feeble in comparison with those sad spectacles which we may see every day. The first hospital is fuller of pity and terror than all the theatres in the world. What should the poet do in the theory that we combat? He should transfer to the stage the greatest possible reality, and move us powerfully by shocking our senses with the sight of frightful pains. The great resort of the pathetic would then be the representation of death, especially that of the greatest torture. Quite on the contrary, there is an end of art when sensibility is too much excited. To take, again, an example that we have already employed, what constitutes the beauty of a tempest, of a shipwreck? What attracts us to those great scenes of nature? It is certainly not pity and terror,--these poignant and lacerating sentiments would much sooner keep us away. An emotion very different from these is necessary, which triumphs over us, in order to retain us by the shore; this emotion is the pure sentiment of the beautiful and the sublime, excited and kept alive by the grandeur of the spectacle, by the vast extent of the sea, the rolling of the foaming waves, and the imposing sound of the thunder. But do we think for a single instant that there are in the midst of the sea the unfortunate who are suffering, and are, perhaps, about to perish? From that moment the spectacle becomes to us insupportable. It is so in art.