We see what they can reach to in that
great figure of modern manhood, Goethe. They are a growing people; they
are conversable as well; and when their men, as in France, and at
intervals at Berlin tea-tables, consent to talk on equal terms with their
women, and to listen to them, their growth will be accelerated and be
shapelier. Comedy, or in any form the Comic spirit, will then come to
them to cut some figures out of the block, show them the mirror, enliven
and irradiate the social intelligence.
Modern French comedy is commendable for the directness of the study of
actual life, as far as that, which is but the early step in such a
scholarship, can be of service in composing and colouring the picture. A
consequence of this crude, though well-meant, realism is the collision of
the writers in their scenes and incidents, and in their characters. The
Muse of most of them is an Aventuriere. She is clever, and a certain
diversion exists in the united scheme for confounding her. The object of
this person is to reinstate herself in the decorous world; and either,
having accomplished this purpose through deceit, she has a nostalgie de
la boue, that eventually casts her back into it, or she is exposed in her
course of deception when she is about to gain her end.
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