and would not submit to the cold formality of the stereotyped temples and palaces where Orestes, Hermione, and Andromaque wandered, repeating lines and passages which, certainly, had been transmitted from generation to generation, and were still engraven on men's hearts, but from which, for stage representation, all fire seemed to have departed, now that Talma was no longer there to infuse the strength and energy of his genius into them. Corneille was wont proudly to exclaim, when the faults of his plays were pointed out to him by contemporary critics, "Je ne suis pas moins pour cela Pierre Corneille." His theoretical admirers might still re-echo the boast; but the practical fact was, that since Talma's death the appearance of his name on the "affiche" meant a severe financial loss to the Français. The horn-blasts, moonlight scenes, tapestry, armour, and brocades of the romantic drama, "tickled the fancy of the town," and there was no way of obtaining a hearing for Greek and Roman warriors and heroines, dressed in the sternly simple togas and peplums designed by David. One critic, indeed, so impressed was he by the superior spectacular attractions of the new school, suggested that, as the tragedies of Racine and Corneille could not be totally eliminated from the repertory of the Théâtre Français, they ought to be represented with the costumes in fashion at the time they were written. Had it not been for the opportune appearance of Rachel, the French public might have been treated to the exhibition of Orestes and Achilles in full bottom wigs and knee breeches, and Iphigenia and Hermione in brocades and stomachers.
Honour and praise, therefore, are due to the "young Antigone," who stood forth alone and unaided, sup-
