If we turn then with disgust from ensanguined regal pomp, and the childish rareeshows that amuse the enslaved multitude, we shall feel still more contempt for the order of men, who cultivated their faculties, only to enable them to consolidate their power, by leading the ignorant astray; making the learning they concentrated in their cells, a more polished instrument of oppression. Struggling with so many impediments, the progress of useful knowledge for several ages was scarcely perceptible; though respect for the public opinion, that great softner of manners, and only substitute for moral principles, was gaining ground.
The croisades, however, gave a shake to society, that changed it’s face; and the spirit of chivalry, assuming a new character during the reign of the gallant Francis the first, began to meliorate the ferocity of the ancient gauls and franks. The point d’honneur being settled, the character of a gentleman, held ever since so dear in France, was gradually formed; and this kind of bastard morality, frequently the only substitute for all the ties that nature has rendered sacred, kept those men within bounds, who obeyed no other law.
The same spirit mixed with the sanguinary treachery of the Guises, and gave support to the manly dignity of Henry the fourth, on whom nature had bestowed that warmth of constitution, tenderness of heart, and rectitude of understanding, which naturally produce an energetic character.—A supple force, that, exciting love, commands esteem.
During the ministry of Richelieu, when the dynasty of favouritism commenced, the arts were patronized, and the italian mode of governing by intrigue tended to weaken bodies, polished by the friction of continual finesse. Dissimulation imperceptibly slides into falshood, and Mazarin, dissimulation personified, paved the way for the imposing pomp and false grandeur of the reign of the haughty and inflated Louis 14th; which, by introducing a taste for majestic frivolity, accelerated the perfection of that species of civilization, which consists in the refining of the senses at the expence of the heart; the source of all real dignity, honour, virtue, and every noble quality of the mind. Endeavouring to make bigotry tolerate voluptuousness, and honour and licentiousness shake hands, sight was lost of the line of distinction, or vice was hid under the mask of it’s correlative virtue. The glory of France, a bubble raised by the heated breath of the king, was the pretext for undermining happiness; whilst politeness took place of humanity, and created that fort of dependance, which leads men to barter their corn and wine, for unwholesome mixtures of they know not what, that, flattering a depraved appetite, destroy the tone of the stomach.
The feudal taste for tournaments and martial feasts was now naturally succeeded by a fondness for theatrical entertainments; when feats of valour became too great an exertion of the weakened muscles to afford pleasure, and men found that resource in cultivation of mind, which renders activity of body less necessary to keep the stream of life from stagnating.
All the pieces written at this period, except Moliere’s, reflected the manners of the court, and thus perverted the forming taste. That extraordinary man alone wrote on the grand scale of human passions, for mankind at large, leaving to inferiour authors the task of imitating the drapery of manners, which points out the costume of the age.
Corneille, like our Dryden, often tottering on the brink of absurdity and nonsense, full of noble ideas, which, crouding indistinctly on his fancy, he expresses obscurely, still delights his readers by sketching faint outlines of gigantic passions; and, whilst the charmed imagination is lured to follow him over enchanted ground, the heart is sometimes unexpectedly touched by a sublime or pathetic sentiment, true to nature.
Racine, soon after, in elegant harmonious language painted the manners of his time, and with great judgement gave a picturesque cast to many unnatural scenes and factitious sentiments: always endeavouring to make his characters amiable, he is unable to render them dignified; and the refined morality, scattered throughout, belongs to the code of politeness rather than to that of virtue[[1]]. Fearing to stray from courtly propriety of behaviour, and shock a fastidious audience, the gallantry of his heroes interests only the gallant, and literary people, whose minds are open to different species of amusement. He was, in fact, the father of the french stage. Nothing can equal the fondness which the french suck in with their milk for public places, particularly the theatre; and this taste, giving the tone to their conduct, has produced so many stage tricks on the grand theatre of the nation, where old principles vamped up with new scenes and decorations, are continually represented.
Their national character is, perhaps, more formed by their theatrical amusements, than is generally imagined: they are in reality the schools of vanity. And, after this kind of education, is it surprising, that almost every thing is said and done for stage effect? or that cold declamatory extasies blaze forth, only to mock the expectation with a show of warmth?
Thus sentiments spouted from the lips come oftner from the head than the heart. Indeed natural sentiments are only the characters given by the imagination to recollected sensations; but the french, by the continual gratification of their senses, stifle the reveries of their imagination, which always requires to be acted upon by outward objects; and seldom reflecting on their feelings, their sensations are ever lively and transitory; exhaled by every passing beam, and dissipated by the slightest storm.