I do not yet venture to correspond with my Paris friends by the post, but whenever the opportunity of private conveyance occurs, I receive long and circumstantial letters, as well as packets, of all the publications most read, and the theatrical pieces most applauded. I have lately drudged through great numbers of these last, and bestowed on them an attention they did not in themselves deserve, because I considered it as one means of judging both of the spirit of the government and the morals of the people.

The dramas produced at the beginning of the revolution were in general calculated to corrupt the national taste and morals, and many of them were written with skill enough to answer the purpose for which they were intended; but those that have appeared during the last two years, are so stupid and so depraved, that the circumstance of their being tolerated even for a moment implies an extinction both of taste and of morals.*

* "Dans l'espace d'un an ils ont failli detruire le produit de plusieurs siecles de civilization."—("In the space of a year they nearly destroyed the fruits of several ages of civilization.")

The principal cause of this is the despotism of the government in making the stage a mere political engine, and suffering the performance of such pieces only as a man of honesty or genius would not submit to write.*

* The tragedy of Brutus was interdicted on account of these two lines:

"Arreter un romain sur de simple soupcons,
"C'est agir en tyrans, nous qui les punissons."

That of Mahomet for the following:


"Exterminez, grands dieux, de la terre ou nous sommes
"Quiconque avec plaisir repand le sang des hommes."

It is to be remarked, that the last lines are only a simple axiom of humanity, and could not have been considered as implying a censure on any government except that of the French republic.

—Hence a croud of scribblers, without shame or talents, have become the exclusive directors of public amusements, and, as far as the noise of a theatre constitutes success, are perhaps more successful than ever was Racine or Moliere. Immorality and dulness have an infallible resource against public disapprobation in the abuse of monarchy and religion, or a niche for Mr. Pitt; and an indignant or impatient audience, losing their other feelings in their fears, are glad to purchase the reputation of patriotism by applauding trash they find it difficult to endure. The theatres swarm with spies, and to censure a revolutionary piece, however detestable even as a composition, is dangerous, and few have courage to be the critics of an author who is patronized by the superintendants of the guillotine, or who may retaliate a comment on his poetry by the significant prose of a mandat d'arret.