Madame de Maintenon was persuaded that amusements of this sort have a value, "imparting grace, teaching a polite pronunciation, and cultivating the memory"; and Racine commends the management of St. Cyr, where "the hours of recreation, so to speak, are put to profit by making the pupils recite the finest passages of the best poets." Here is the dramatic instinct, almost universal among young people, and which has almost no chance to exercise itself, except in the performance of the farces to which we are treated in "private theatricals." Can it not be put to a better use? It would be a cumbrous matter to represent or listen to the Aulularia, or the Miles Gloriosus, or the [Greek: Eirhênê], in which Dr. Dee and his Scarabeus figured so successfully. The world is turned away from that[1]; but here is the magnificent wealth of our own old dramatic literature, in which is contained the richest poetry of our language. It was never intended to be read, but to be heard in living presentment. For the most part it lies almost unknown, except in the case of Shakespeare, and him the world knows far too little. Who does not feel what a treasure in the memory are passages of fine poetry committed early in life?
[Footnote 1: The developments of the last forty years show this judgment to be erroneous.]
Who can doubt the value to the bearing, the fine address, the literary culture of a youth of either sex that might come from the careful study and the attempt to render adequately a fine conception of some golden writer of our golden age, earnestly made, if only partially successful?
I say only partially successful, but can you doubt the capacity of our young people to render in a creditable way the conceptions of a great poet? Let us look at the precedents again. When Mademoiselle de Caylus, in her account of St. Cyr, speaks of the representation of Andromaque, she writes, "It was only too well done." And prim Madame de Maintenon wrote to Racine: "Our young girls have played it so well they shall play it no more"; begging him to write some moral or historic poem. Hence came the beautiful masterpiece Esther, to which the young ladies seem to have done the fullest justice, for listen to the testimony. The brilliant Madame de Lafayette wrote: "There was no one, great or small, that did not want to go, and this mere drama of a convent became the most serious affair of the court." That the admiration was not merely feigned because it was the fashion, here is the testimony of a woman of the finest taste, Madame de Sévigné, given in her intimate letters to her daughter, who, in these confidences, spared no one who deserved criticism:
The king and all the Court are charmed with Esther. The prince has wept over it. I cannot tell you how delightful the piece is. There is so perfect a relation between the music, the verses, the songs, and the personages, that one seeks nothing more. The airs set to the words have a beauty which cannot be borne without tears, and according to one's taste is the measure of approbation given to the piece. The king addressed me and said, "Madame, I am sure you have been pleased." I, without being astonished, answered, "Sire, I am charmed. What I feel is beyond words." The king said to me, "Racine has much genius." I said to him, "Sire, he has much, but in truth these young girls have much too; they enter into the subject as if they had done nothing else." "Ah! as to that," said he, "it is true." And then his Majesty went away and left me the object of envy.
Racine himself says in the Preface to Esther:
The young ladies have declaimed and sung this work with so much modesty and piety, it has not been possible to keep it shut up in the secrecy of the institution; so that a diversion of young people has become a subject of interest for all the Court;
and what is still more speaking, he wrote at once the Athalie, "la chef d'oeuvre de la poésie française," in the judgment of the French critics, to be rendered by the some young tyros. When, in 1556, in Christ Church Hall, Palamon and Arcite was finished, outspoken Queen Bess, with her frank eyes full of pleasure, declared "that Palamon must have been in love indeed. Arcite was a right martial knight, having a swart and manly countenance, yet like a Venus clad in armour." To the son of the dean of Christ Church, the boy of fourteen, who played Emilie in the dress of a princess, her compliment was still higher. It was a present of eight guineas,—for the penurious sovereign, perhaps, the most emphatic expression of approval possible.
Shall I admit for a moment that our American young folks have less grace and sensibility than the French girls, and the Oxford youths who pleased Elizabeth? Your face now, Fastidiosus, wears a frown like that of Rhadamanthus; but I remember our Hasty-Pudding days, when you played the part of a queen, and behaved in your disguise like Thor, in the old saga, when he went to Riesenheim in the garb of Freya, and honest giants, like Thrym, were frightened back the whole width of the hall. Well, I do not censure it, and I do not believe you recall it with a sigh; and the reminiscence emboldens me to ask you whether it would not be still better if our dear Harvard, say (the steam of the pudding infects me through twenty years), among the many new wrinkles she in her old age so appropriately contracts, should devote an evening of Commencement-time to a performance, by the students, under the sanction and direction of professors, of some fine old masterpiece?
At our little Sweetbrier we have young men and young women together, as at Oberlin, Antioch, and Massachusetts normal schools. I have no doubt our Hermione, when we gave the Winter's Tale, had all the charm of Mademoiselle de Veillanne, who played Esther at St. Cyr. I have no doubt our Portia, in the Merchant of Venice, in the trial scene, her fine stature and figure robed in the doctor's long silk gown, which fell to her feet, and her abundant hair gathered out of sight into an ample velvet cap, so that she looked like a most wise and fair young judge, recited