The first feeling is that of surprise at finding a people so artificial in their ordinary deportment, so chaste and free from exaggeration in their scenic representations of life. But reflection will show us that all finish has the effect of bringing us within the compass of severe laws, and that the high taste which results from cultivation repudiates all excess of mere manner. The simple fact is, that an educated Frenchman is a great actor all the while, and that when he goes on the stage, he has much less to do to be perfect, than an Englishman who has drilled himself into coldness, or an American who looks upon strong expressions of feeling as affectation. When the two latter commence the business of playing assumed parts, they consider it as a new occupation, and go at it so much in earnest, that everybody sees they are acting.[19] [Footnote 19: Mr. Mathews and Mr. Power were the nearest to the neat acting of France of any male English performers the writer ever saw. The first sometimes permitted himself to be led astray, by the caricatures he was required to represent, and by the tastes of his audience; but the latter, so far as the writer has seen him, appears determined to be chaste, come what, come will.] You will remember, I say nothing in favour of the French tragic representations. When a great and an intellectual nation, like France, unites to applaud images and sentiments that are communicated through their own peculiar forms of speech, it becomes a stranger to distrust his own knowledge, rather than their taste. I dare say that were I more accustomed to the language, I might enjoy Corneille and Racine, and even Voltaire, for I can now greatly enjoy Moliere; but, to be honest in the matter, all reciters of heroic French poetry appear to me to depend on a pompous declamation, to compensate for the poverty of the idioms, and the want of nobleness in the expressions. I never heard any one, poet or actor, he who read his own verses, or he who repeated those of others, who did not appear to mouth, and all their tragic playing has had the air of being on stilts. Napoleon has said, from the sublime to the ridiculous it is but a step. This is much truer in France than in most other countries, for the sublime is commonly so sublimated, that it will admit of no great increase. Racine, in a most touching scene, makes one of his heroic characters offer to wipe off the tears of a heroine lest they should discolour her _rouge_! I had a classmate at college, who was so very ultra courtly in his language, that he never forgot to say, Mr. Julius Caesar, and Mr. Homer.