was no post in the state which every citizen might not reasonably hope to obtain. In the one case, it is an idle speculation to be studied from curiosity; in the other, it is a practical lesson to be looked to for examples. With the general diffusion of honours, of employments, and more especially with the general diffusion of property-on which the diffusion of honours and employments mainly depends - has been diffused the interest of history.

The small herd of encyclopædists and courtiers who once listened to the historian are now cut up, as it were, into an immense crowd of journalists, shopkeepers, soldiers, and mechanics.

This division and diffusion of property bringing up a fresh class of feelings upon the surface of France-inverting the usual order of events creating a new society when we might have been looking to the mature caducity of an old one turning an aristocracy of readers into a democracy of readers—has made the historian a popular orator where he was formerly a wit and a metaphysician. Addressing a more numerous, a more impassioned, a less reasoning class of readers than his predecessor, he has assumed a more vehement, a more impassioned, a more powerful style of writing.

DRAMA.

Have spoken of History-Speak of the Drama-But one step from Racine to Victor Hugo and M. A. Dumas— 'Hernani'-Proceed to 'Lucrèce Borgia.'

I HAVE spoken of history, that branch of French literature the least known to us, and in which the French of the modern day have most succeeded. I would now speak of the drama, that branch of French literature which we have most criticised, and in which the later successes of the French have been most disputed.

There are but two epochs in the French drama. Louis XIV. was on the throne, and in the declining shadow of one man you yet saw the feudal vigour of the Fronde, and in the rising genius of another † you caught the first colouring of that royal pomp, of that Augustan majesty, which reigns in the verse of Virgil and the buildings of Versailles. And all things were then stamped with the great kingly seal. The orator was in the chair what the writer was + Racine.

* Corneille.

on the stage. This was a great period of the human mind, and, from this period to our own, tragedy has taken but one giant stride. The genius which governed the theatre stood unappalled when the genius which had founded the throne lay prostrate. The reign of Robespierre did not disturb the rule of Racine. The republican Chénier, erect and firm before the tyranny of Bonaparte, bowed before the tyranny of the Academy; the translations of Ducis were an homage to the genius of Shakspeare, but no change in the dramatic art.

In M. Delavigne you see the old school modernized, but it is the old school. I pass by M. de Vigny, who has written 'La Maréchale d'Ancre ;'+ I pass by M. Soulier, who has written

* More known for his very remarkable romance, 'Cinq Mars,' and the publication of 'Stello.'

↑ The plot of La Maréchale d'Ancrè,' a title taken from the well-known favourite of Mary de Medicis, turns upon a passion which this lady smothers for a Corsican adventurer, the bitter enemy of Concini, her husband; the love of Concini for this Corsican's wife, whose name he is ignorant of; and the divided feelings of the Corsican himself, who at once hates and pursues Concini, and loves and relents when he thinks of Concini's wife. Another passion also works in the dramathe jealousy of the Corsican's wife, who finds out that her husband is in love with the Maréchale, and appears

'Clotilde;'* I pass by the followers to arrive at the chiefs of the new drama-M. Victor Hugo+

in consequence as evidence against her on her trial for sorcery and witchcraft. This play, which falsifies history in making its heroine, the Maréchale, beautiful and amiable—which is just what she was not—is written nevertheless with great spirit, and contains some very eloquent passages and powerful situations.

* This is the subject of Clotilde:'-Christian, an adventurer, is to marry her on such a day, and receive with her a large fortune; but in order to do this he must show himself to be the possessor of a certain sum. To obtain this sum, he murders the Jew who would not lend it him. Clotilde, however, who is passionately attached to him, quits her father's house at the very time he commits this murder, in order to live with him even as his mistress: this she rather inexplicably continues to do after the murder has been committed. At last Christian, who is about as great a rascal as one could desire to meet, determines on marrying an intrigante who can make him secretary of embassy, and quitting Clotilde. Clotilde, in despair at this treachery, and acquainted by his dreams with the crime of Christian, informs against him. He is condemned to death. She is in despair, and forces her way into the prison to see him. "What have you brought me ?" says Christian. Poison," says Clotilde; and they poison themselves together. The play is full of absurdities, but powerfully written.

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+ The father of M. Victor Hugo was a general. One of his relations of the same name still holds the same rank, and commands in one of the departments. In his early

and M. Alexandre Dumas,* two young men, two rivals; each has his enthusiastic partisans-but their talents are entirely different; and there is no reason why these writers, or their friends, days, his opinions were directly opposed to those he has since and now professes. On leaving college, he and his brother published a small newspaper of the same opinions as the 'Censor;' it existed but a very short time. V. Hugo next published a novel which he had written whilst at college; afterwards a variety of odes appeared, on the Virgins of Verdun, on La Vendée, on the death of Louis XVII., on the death of the Duc de Berri, on the baptism of the Duc de Bordeaux, and on the death of Louis XVIII., and also one on Napoleon.

M.

M. Victor Hugo received a pension from Louis XVIII. Charles X. wished to increase this pension; M. V. Hugo, in a letter which I have seen, honourably refused this addition.

* M. Dumas, the son of a general also, has written his own life as a portrait taken from the gallery of 'young France,' this life is too interesting to be crowded into a note, and I hope to have another opportunity of alluding to it. Coming up to Paris to make his fortune, the Chamber and the Theatre before him on one side, the Morgue and the Seine on the other, M. Dumas was placed, through the interest of General Foy, in one of the bureaux of the Duke of Orleans, where he improved his education and first received his dramatic inspirations.

More fortunate than many of his predecessors, his career was from the commencement a series of theatrical triumphs, and he almost immediately quitted the desk for the stage.