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at least to allow them to give an opinion at all. At the theatre, men of cultivation and of literary attainments have always had more difficulty than elsewhere in making their taste prevail over that of the people, and in preventing themselves from being carried away by the latter. The pit has frequently made laws for the boxes.
If it be difficult for an aristocracy to prevent the people from getting the upper hand in the theatre, it will readily be understood that the people will be supreme there when democratic principles have crept into the laws and manners—when ranks are intermixed—when minds, as well as fortunes, are brought more nearly together—and when the upper class has lost, with its hereditary wealth, its power, its precedents, and its leisure. The tastes and propensities natural to democratic nations, in respect to literature, will therefore first be discernible in the drama, and it may be foreseen that they will break out there with vehemence. In written productions, the literary canons of aristocracy will be gently, gradually, and, so to speak, legally modified; at the theatre they will be riotously overthrown.
The drama brings out most of the good qualities, and almost all the defects, inherent in democratic literature. Democratic peoples hold erudition very cheap, and care but little for what occurred at Rome and Athens; they want to hear something which concerns themselves, and the delineation of the present age is what they demand.
When the heroes and the manners of antiquity are frequently brought upon the stage, and dramatic authors faithfully observe the rules of antiquated precedent, that is enough to warrant a conclusion that the democratic classes have not yet got the upper hand in the theatres.
Racine makes a very humble apology in the preface to the Britannicus for having disposed of Junia among the Vestals, who, according to Aulus Gellius, he says, “admitted no one below six years of age nor above ten.” We may be sure that he would neither have accused himself of the offence, nor defended himself from censure, if he had written for our contemporaries.
A fact of this kind not only illustrates the state of literature at the time when it occurred, but also that of society itself. A democratic stage does not prove that the nation is in a state of democracy, for, as we have just seen, even in aristocracies it may
