Tragedy must be something bigger than life, or it would not affect us. In nature the most violent passions are silent; in tragedy they must speak, and speak with dignity, too. Hence the necessity of their being written in verse, and, unfortunately for the French, from the weakness of their language, in rhymes. And for the same reason, Cato, the Stoic, expiring at Utica, rhymes masculine and feminine,[52] at Paris; and fetches his last breath at London, in most harmonious and correct blank verse.
It is quite otherwise with comedy, which should be mere common life, and not one jot bigger. Every character should speak upon the stage, not only what it would utter in the situation there represented, but in the same manner in which it would express it. For which reason, I cannot allow rhymes in comedy, unless they were put into the mouth and came out of the mouth of a mad poet. But it is impossible to deceive one’s self enough (nor is it the least necessary in comedy) to suppose a dull rogue of a usurer cheating, or gros Jean blundering, in the finest rhymes in the world.
As for operas, they are essentially too absurd and extravagant to mention: I look upon them as a magic scene, contrived to please the eyes and the ears, at the expense of the understanding; and I consider singing, rhyming, and chiming heroes, and princesses, and philosophers, as I do the hills, the trees, the birds, and the beasts, who amicably joined in one common country dance, to the irresistible tune of Orpheus’s lyre. Whenever I go to an opera, I leave my sense and reason at the door with my half guinea, and deliver myself up to my eyes and my ears. [Jan. 23, 1752.]
Ridicule.—It is commonly said, and more particularly by Lord Shaftesbury, that ridicule is the best test of truth; for that it will not stick where it is not just. I deny it.[53] A truth learned in a certain light, and attacked in certain words by men of wit and humor, may, and often doth, become ridiculous, at least so far, that the truth is only remembered and repeated for the sake of the ridicule. The overturn of Mary of Medicis into a river, where she was half drowned, would never have been remembered, if Madame de Vernueil, who saw it, had not said la Reine boit. Pleasure or malignity often gives ridicule a weight, which it does not deserve. [Same date.]
Comedies.—I chiefly mind dialogue and character in comedies. Let dull critics feed the carcasses of plays; give me the taste and the dressing. [Feb. 6, 1752.]
The Weight of Low People.—In courts a universal gentleness and douceur dans les manières is most absolutely necessary: an offended fool, or a slighted valet de chambre, may, very possibly, do more hurt at court, than ten men of merit can do you good. Fools, and low people, are always jealous of their dignity; and never forget nor forgive what they reckon a slight. [Same date.]
At Court.—There is a court garment, as well as a wedding garment, without which you will not be received. That garment is the volto sciolto: an imposing air, an elegant politeness, easy and engaging manners, universal attention, an insinuating gentleness, and all those je ne sais quoi that compose the grâces. [Same date.]
Perfection.—In all systems whatsoever, whether of religion, government, morals, etc., perfection is the object always proposed, though possibly unattainable; hitherto, at least, certainly unattained. However, those who aim carefully at the mark itself, will unquestionably come nearer to it than those who, from despair, negligence, or indolence, leave to chance the work of skill. This maxim holds equally true in common life; those who aim at perfection will come infinitely nearer it than those desponding or indolent spirits, who foolishly say to themselves, nobody is perfect; perfection is unattainable; to attempt it is chimerical; I shall do as well as others; why then should I give myself trouble to be what I never can, and what, according to the common course of things, I need not be, perfect? [Feb. 20, 1752.]
Omnis Homo.—I would have him have lustre as well as weight. Did you ever know anybody that reunited all these talents? Yes, I did; Lord Bolingbroke joined all the politeness, the manners, and the graces of a courtier, to the solidity of a statesman, and to the learning of a pedant. He was omnis homo; and pray what should hinder my boy of doing so too, if he hath, as I think he hath, all the other qualifications that you allow him? [Same date.]
Knowledge of Literature.—A gentleman should know those which I call classical works, in every language: such as Boileau, Corneille, Racine, Molière, etc., in French; Milton, Dryden, Pope, Swift, etc., in English; and the three authors above mentioned[54] in Italian: whether you have any such in German I am not quite sure, nor, indeed, am I inquisitive. These sort of books adorn the mind, improve the fancy, are frequently alluded to by, and are often the subjects of conversations of, the best companies. As you have languages to read, and memory to retain them, the knowledge of them is very well worth the little pains it will cost you, and will enable you to shine in company. It is not pedantic to quote and allude to them, which it would be with regard to the ancients. [March 2, 1752.]