No letter from you yet, and I have left you in peace for ten days. How do you think I have spent them? The Maestro called on us with M. Savarin, to insist on our accompanying them on a round of the theatres. I had not been to one since my arrival. I divined that the kind-hearted composer had a motive in this invitation. He thought that in witnessing the applauses bestowed on actors, and sharing in the fascination in which theatrical illusion holds an audience, my old passion for the stage, and with it the longing for an artiste’s fame, would revive. In my heart I wished that his expectations might be realized. Well for me if I could once more concentrate all my aspirations on a prize within my reach! We went first to see a comedy greatly in vogue, and the author thoroughly understands the French stage of our day. The acting was excellent in its way. The next night we went to the Odeon, a romantic melodrama in six acts, and I know not how many tableaux. I found no fault with the acting there. I do not give you the rest of our programme. We visited all the principal theatres, reserving the opera and Madame S------ for the last. Before I speak of the opera, let me say a word or two on the plays. There is no country in which the theatre has so great a hold on the public as in France; no country in which the successful dramatist has so high a fame; no country perhaps in which the state of the stage so faithfully represents the moral and intellectual condition of the people. I say this not, of course, from my experience of countries which I have not visited, but from all I hear of the stage in Germany and in England. The impression left on my mind by the performances I witnessed is, that the French people are becoming dwarfed. The comedies that please them are but pleasant caricatures of petty sections in a corrupt society. They contain no large types of human nature; their witticisms convey no luminous flashes of truth; their sentiment is not pure and noble,--it is a sickly and false perversion of the impure and ignoble into travesties of the pure and noble. Their melodramas cannot be classed as literature: all that really remains of the old French genius is its vaudeville. Great dramatists create great parts. One great part, such as a Rachel would gladly have accepted, I have not seen in the dramas of the young generation. High art has taken refuge in the opera; but that is not French opera. I do not complain so much that French taste is less refined. I complain that French intellect is lowered. The descent from “Polyeucte” to “Ruy Blas” is great, not so much in the poetry of form as in the elevation of thought; but the descent from “Ruy Blas” to the best drama now produced is out of poetry altogether, and into those flats of prose which give not even the glimpse of a mountain-top.