liness of social life; and on this point the friends of nature found but little to blame. However, they thought they made a great advance, if they chose for their pieces earnest and tragical subjects, in which the citizen-life should not be wanting, used prose for the higher mode of expression, and thus banished unnatural verse, together with unnatural declamation and gesticulation.
It is extremely remarkable, and has not been generally noticed, that, at this time, even the old, severe, rhythmical, artistical tragedy was threatened with a revolution, which could only be averted by great talents and the power of tradition.
In opposition to the actor Lecain, who acted his heroes with especial theatrical decorum, with deliberation, elevation, and force, and kept himself aloof from the natural and ordinary, came forward a man named Aufresne, who declared war against everything unnatural, and in his tragic acting sought to express the highest truth. This method might not have accorded with that of the other Parisian actors. He stood alone, while they kept together; and, adhering to his views obstinately enough, he chose to leave Paris rather than alter them, and came through Strasburg. There we saw him play the part of Augustus in "Cinna," that of Mithridates, and others of the sort, with the truest and most natural dignity. He appeared as a tall, handsome man, more slender than strong, not, properly speaking, with an imposing, but nevertheless with a noble, pleasing demeanour. His acting was well considered and quiet, without being cold, and forcible enough where force was required. He was a very well practised actor, and one of the few who know how to turn the artificial completely into nature, and nature completely into the artificial. It is really those few whose good qualities, being misunderstood, always originate the doctrine of false "naturalness."
