We shall not proceed to poetry without taking a rapid view of novels, a kind of writing which resembles history, by the recital of events; the epick by an action wholly, or partly fabulous; tragedy by the passions, comedy by the representations of society. We shall not notice a heap of frivolous compositions of no character; but we shall appreciate the wit and talents of several ladies, who follow with distinction the steps of the illustrious female, to whom we are indebted for the Princess of Cleves. We shall remark Atala, the ornament of a considerable work, in which M. de Chateaubriant illustrates the Genius of Christianity. As early as the first year, we find the best, the most moral, and the shortest of the novels of the whole period, the Indian Cottage, in which one of our great surviving writers, M. Bernardin de Saint Pierre, has united, as in his other works, the art of painting by expression, the art of pleasing the ear by the musick of speech, with the supreme art of adorning philosophy by the graces.

Poetry will first present to us the eminent and sublime species consecrated Sire, to celebrate the men who form the destiny of nations, the heroick poem. The poets capable of attaining the Epopée, are not less rare than the men worthy of being adopted by it. Five master-pieces only produced within thirty centuries, are a sufficient proof of it. If within the period which we have to consider, we perceive scarcely one laudable, but defective attempt, the Helvetians we may indulge in higher expectations, warranted by the poetical talents of M. de Fontanes, who now shines as an orator at the head of the legislative body. In proceeding to the Hero-comick poem, we shall not forget the extreme circumspection necessary, in certain subjects, and at the same time to pay the tribute of praise justly due to one of our best poets, M. de Parny. After original compositions, follow imitations and translations, in verse, of some celebrated epick poems. Amongst the imitators, M. Parceval de Grandmaison, to whom we are indebted for the Epick Amours, and M. Luce de Lancival, author of Achilles at Scyros, must be distinguished from the crowd: but translations of the greatest merit will more particularly engage our attention. Virgil and Milton themselves seem to speak our language; and, thanks to a living classick; thanks also to Monsieur de Saint Ange, an able and laborious translator of Ovid; we shall

have the pleasure of observing, that in this respect, the present period is superior to every other. Until now, at least, in works of such importance, the difficult art of conquering the beauties of foreign poetry, and of translating genius by talent, had not been carried so far.

In didactick poetry, it is also to M. Delille that the period is indebted for its fecundity. He has diffused through three original poems, the same richness of style which he had displayed in translating the Eniad, and Paradise Lost. The poem on the Imagination, would particularly be a sufficient foundation, upon which to establish a high renown. M. Esmenard, M. Castel, and some others come next; deserving of praise, but far behind their model. Lebrun alone, would have been equal To the competition with M. Delille, if he had finished his poem on Nature; of which some fragments, of superior merit, remain. Without a rival in the Ode, Lebrun obtained harmonious sounds from the Pindarick lyre, so rebellious to vulgar poets; and we shall remark, Sire, that his last notes were consecrated to your triumphs; he was worthy, to celebrate them.

M. Daru the translator of Horace, has, in that difficult undertaking, displayed a pure taste, a flexible mind, a profound study of the resources of our versification. Erotick poetry, is honoured by M. de Parny, by M. de Boufflers. Poets, whom we shall find again with lustre on the French stage, already present themselves under brilliant and various forms: M. Ducis, in the Epistle; M. Arnault, in the Apologue; M. Andrieux, in tales; M. Legoùvé, M. Raynouard, in short poems of a serious and philosophical kind. After these experienced authors, we observe some rising talents now forming, which afford more than hopes. During two successive years, M. Millevoie, distinguished for the elegance of his style, has obtained the prize of poetry. M. Victorin Fabre, still younger, has merited, during two years successively, an honourable distinction. Several, whom it is now impossible to name, will not be forgotten in our work, where we shall avoid severity persuaded, that in literature, as in every thing else, indulgence approaches nearer to justice.

- Here is presented to your Majesty's view, dramatick poetry; the two kinds of which had so much influence on our language, our whole literature, and the national manners. In tra

gedy, appears first M. Ducis, an inventor, even when he imitates; inimitable when he gives language to filial piety, a poet deservedly celebrated, and whose pathetick genius has tempered the gloomy terrour of the English stage. Competitors, worthy of each other, come next: M. Arnault, so noble in Marius, so tragick in the Venetians; M. Legouvé, whose Death of Abel presents an elegant imitation of Gesner, and who dis played great energy in Epicharis; M. Lemercier, who in Agamemnon so ably blended together the beauties of Eschylus and Seneca; lastly, M. Raynouard, who rendered so brilliant an homage to victims honoured by the regrets of history. We shall notice the interesting scenes of the Joseph of M. Baour Lormian, and the estimable parts of Mr. de Murville's Abdelasis.* We must not omit a few reflections. The good tragick compositions of the period cannot be reproached with the multiplicity of incidents, the profusion of subordinate personages, useless episodes, the insipidity of eligiack scenes. In all, the action is simple, and almost always severe. The progress of the poets is not timid. Without violating the ancient rules, they have obtained new effects. Upon the whole, they have preserved the philosophical character impressed on tragedy, by the finest genius of the last century; by following whose steps, the greater part have opened to themselves the various routes of modern history; an immense career, which promises for a long time, new palms to the poets capable of pursuing it.

In proceeding to comedy, we find as early as the first years, the pretty little piece, the Convent, by M. Laujon; the Greek Menechms, by M. Cailhava, an entertaining and well-conduct. ed comedy of Intrigue; a work elegantly versified, the Pamela of Mr. François; a copy of that of M. Goldoni, but a copy superior to the original. Two, Fabre d'Eglantine, and Colin d'Harleville, competitors experienced in contending with each other, enrich the higher order of comedy. The one by forcibly pourtraying impassible egotism, and impassioned virtue; the other in representing, with strongly comick truth, the inconveniences of a protracted celibacy. M. Andrieux, shines in the same rank, by a pleasing vivacity, graceful and interesting de

* In obedience to the class of French literature, Mr. Chenier is here named. His tragedy of Fenelon has succeeded; protected by the memory of a great man.

tails, and the uninterrupted charm of his style. A fertile imagi nation, an unaffected gaiety, an original portraiture of manners, have secured the success of M. Picard. Not less gay, and nearly as fertile, M. Duval is partly entitled to the same com. mendations. The purity of diction is esteemed in some essays of M. Roger. Here we point out an improvement, the merit of which is due to the principal writers, whom we have just named; perhaps also to the change which has taken place in our manners. During the whole period, the comedies worthy of notice preserve no traces of that jargon, which was so long in vogue. To succeed, it was found necessary to be natural. The pedantick, prudish style, the false wit, the affected tone, which had been introduced on the comick stage, by au thors more refined than ingenious, have been entirely banished. In the drama, a defective species of composition, but susceptible of beauties, we distinguish Beaumarchais, whom his comedies and his memoirs, had already rendered celebrated. M. Monvel, an author who has deservedly obtained numerous successes, and one of our greatest performers; M. Bouilli, whose pieces breathe that interest which excellent morality inspires. On the theatre, rendered illustrious by Quinault, are to be remarked M. Guillard, and M. Hoffman; more recently, M. Esmenard, and M. Joui: on the other lyrick scene, M. Hoffman, again, M. Monvel, M. Marsolier, M. Duval. After having done justice to some pleasing productions, compelled however to renew some opinions of Voltaire, and to observe what he had foreseen and dreaded, the influence of the comick opera on the general taste of the spectators, we shall endeavour, in consequence of that observation, to inquire into the means of supporting, of augmenting, if possible, the splendour of the French Theatre; where the dramatick art essentially resides. Your Majesty, is pleased benevolently to attend to this art, as beautiful, as it is difficult; and it is more easy than ever to perceive, of what importance it may become, when your soul, in unison with that of Corneille, applauds the conceptions of that man of genius, whose natural language was sublime, and who forced heroes to weep.

In finishing, Sire, a vast view, of which want of time now permits us only to present to your Majesty an incomplete, but at least a faithful sketch, general considerations on the whole

period will detain us a moment. Science and literature are affected by those profound convulsions, which shake and decompose nations grown old, until a powerful genius appears to tranquillize and invigorate them. We shall follow in the various parts of the art of writing the effects of the universal motion. We shall inquire what influence the eighteenth century had over the period, and what influence the period itself may, in its turn, have upon futurity. We have insinuated, and we shall prove that it deserves a profound examination. In vain do the enemies of all knowledge, proscribing the illustrious memory of a philosophick age, daily announce a shameful decline, which they would effect, if their clamours could reduce merit to silence; and which would be demonstrated, if they had exclusively the privilege of writing. It will be easy to confound these slanderous assertions, calculated to deceive credulous foreigners. No, Sire, so strange a catastrophe has not happened: France, aggrandized by your Majesty, is not become barren in talents. We shall collect and lay before you, the present elements of that French literature, of which invidious ignorance reviled at every period both the masterpieces and the classicks; but which was at all times honourable, and even now, notwithstanding its great losses, continues to be, in every respect, the first literature in Europe.

FOR THE ANTHOLOGY.

LEIPZIG FAIR.

Leipzig, May 19, 1810.

THE Fair of the present year, now holding at this place, offers an unusual variety of new and interesting literary productions. Among which are particularly noticed the following works.

History. The Universal History, by the late John de Muller, published by his brother, in three volumes. A truly classical work, worthy of the author of the History of Switzerland. History of the Italian Republicks of the middle age, by S. de Sismondi; a continuation. History of the Christian Religion, by Count Frederick Stolberg. History of Austria, Spain, and Portugal, by Professor Galetti, of Gotha. History of the Spa