Now, as it is morally impossible that all these people, tho’ they act in the same manner, should be at once equally affected, it is plain, their peculiar characters are not to be known by their actions; it is plain their discourse is only a formal jargon, which assists us less to form a judgment of the French manners in general, than the peculiar mode of conversing in Paris. In like manner, we learn only here their terms of conversation, but nothing by which we can judge of their estimation in the conduct of life. I say the same of most of their writings; and even of their theatrical representations. The stage, since the time of Moliere, being a place where they rather repeat agreeable dialogues, than give a representation of life and manners. There are here three theatres; on two of which they only introduce imaginary characters; such as Harlequin, Pantaloon, and Scaramouch, on the one; and, on the other, gods, devils, and conjurers. On the third, they represent those immortal dramas, which give us so much pleasure in reading, and other new pieces, which are from time to time written for the stage; many of which are tragical, but not affecting. And, tho’ the sentiments contained in them are sometimes natural, and well enough adapted to the human heart, they give us not the least light into the peculiar manners of the people to whom they afford entertainment. The institution of tragedy was originally founded on religion, whose sanction was sufficient to establish its authority. Besides this, the tragic scene always presented to the Greeks an instructive and agreeable representation, either in the misfortunes of the Persians their enemies, or in the vices and follies of the kings from which they themselves were delivered. Should they represent in like manner at Berne, at Zurich, or at the Hague, the ancient tyranny of the house of Austria, the love of liberty and their country would make such a representation peculiarly interesting to the spectators: but I would be glad to know of what use are the tragedies of Corneille at Paris; and what interest its citizens can take in the fate of a Pompey or Sertorius. The Greek tragedies turned upon real events, or such as were supposed to be real, being founded on historical tradition. But what business has a refined heroic passion in the breasts of the great? the conflicts of love and virtue cause them, no doubt, many an unhappy day and sleepless night! the heart is doubtless vastly concerned in the marriage of kings! judge then of the probability and use of so many performances all turning on such imaginary subjects.