In giving my mite of admiration to the French stage, I am fully aware of its faults, of the long declamation and the fade galanterie that prevailed before Voltaire made the grand reform in that particular: and on this account I prefer Voltaire as a tragedian to Racine and Corneille. The Phedre and Athalie of Racine are certainly masterpieces, and little inferior to them are Iphigenie, Andromaque and Britannicus, but in the others I think he must be pronounced inferior to Voltaire; as a proof of my argument I need only cite Zaire, Alzire, Mahomet, Semiramis, l’Orphelin de la Chine, Brutus. Voltaire has, I think, united in his dramatic writings the beauties of Corneille, Racine and Crebillon and has avoided their faults; this however is not, I believe, the opinion of the French in general, but I follow my own judgment in affairs of taste, and if anything pleases me I wait not to ascertain whether the “master hath said so.”
It shows a delicate attention on the part of the directors of the Theatre Francais, now that so many foreigners of all nations are here, to cause to be represented every night the masterpieces of the French classical dramatic authors, since these are pieces that every foreigner of education has read and admired; and he would much rather go to see acted a play with which he was thoroughly acquainted than a new piece of one which he has not read; for as the recitation is extremely rapid it would not be so easy for him to seize and follow it without previous reading.
Of Moliere I had already seen the Avare, the Femmes savantes and the Fourberies de Scapin. Since these I have seen the Tartuffe and George Dandin both inimitably performed; how I enjoyed the scene of the Pauvre homme! in the Tartuffe and the lecture given to George Dandin by M. and Mme de Sotenville wherein they recount the virtues and merits of their respective ancestors. Of Moliere indeed there is but one opinion throughout Europe; in the comic line he bears away the palm unrivalled and here I fully agree with the “general.”