years; during which it has been "exhibited to crowded houses"—namely, coffee-houses, reading-rooms, etc.—with unabated interest.
The outline of this drama, or series of dramas, may be thus sketched:
DRAMATIS PERSONS.
A.—A King or other Sovereign.
B.—His Queen.
C.—The Heir apparent.
D. E. F.—His Ministers.
G. H. I. J. K.—Demagogues.
L. A popular leader, of superior ingenuity, who becomes ultimately supreme ruler, under the title of Dictator, Consul, Emperor, King, President, or some other.
Soldiers, Senators, Executioners, and other functionaries, Citizens, Fishwomen, etc.
Scene, Paris.
I. The first Act of one of these dramas represents a monarchy, somewhat troubled by murmurs of disaffection, suspicions of conspiracy, etc.
II. Second Act, a rebellion; in which ultimately the government is overthrown.
III. Act the third, a provisional government established, on principles of liberty, equality, fraternity, etc.
IV. Act the fourth, struggles of various parties for power, carried on with sundry intrigues and sanguinary conflicts.
V. Act the fifth, the reëstablishment of some form of absolute monarchy.
And from this point we start afresh, and begin the same business over again, with sundry fresh interludes.
All this is highly amusing to the English public to hear and read of; but I doubt whether our countrymen would like to be actual performers in such a drama.
Whether the French really are so, or whether they are mystifying us in the accounts they send over, I will not presume to decide. But if the former supposition be the true
