To ascertain, therefore, how much was delusion and how much was truth in the beauty I still saw or fancied, I resolved upon the desperate experiment of securing that seat in the balcony which is nearest to the stage. It was from this place that I saw her play Henriette; a character deriving no aid whatever from trick or stage effect of any kind; one, too, whose charm lies wholly in simple, unaffected youthfulness: there are no flashes of wit, no startling hits either of pathos or pleasantry--nothing but youth, gentleness, modesty, and tenderness--nothing but a young girl of sixteen, rather more quiet and retiring than usual. Yet this character, which seems of necessity to require youth and beauty in the performer, though little else, was personated by this miraculous old lady in a manner that not only enchanted me--being, as I am, _rococo_--but actually drew forth from the omnipotent _jeunes gens_ in the _parterre_ such clamorous rapture of applause as must, I think, have completely overset any actress less used to it than herself. Is not this marvellous? How much it is to be regretted that the art of writing comedy has passed away! They have vaudevilles here--charming things in their way; and we have farces at home that certainly cannot be thought of without enjoying the gratification of a broad grin. But for comedy, where the intellect is called upon as well as the muscles, it is dead and gone. The "Hunchback" is perhaps the nearest approach to it, whose birth I remember in our country, and "Bertrand and Raton" here; but in both cases the pleasurable excitement is produced more by the plot than the characters--more by the business of the scene than by the wit and elegance of the dialogue, except perhaps in the pretty wilfulness of Julia in the second act of the "Hunchback." But even here I suspect it was more the playful grace of the enchanting actress who first appeared in the part, than anything in the words "set down for her," which so delighted us. We do now and then get a new tragedy,--witness "Fazio" and "Rienzi;" but Comedy--genuine, easy, graceful, flowing, talking Comedy--is dead: I think she followed Sheridan to the grave and was buried with him! But never is one so conscious of the loss, or so inclined to mourn it, as after seeing a comedy of Molière's of the first order,--for his pieces should be divided into classes, like diamonds. What a burst of new enjoyment would rush over all England, or all France, if a thing like "The School for Scandal" or "Les Femmes Savantes" were to appear before them!