A Letter to the Marquis Scipio Maffei, Author of the Italian Mérope, and many other celebrated performances.

The Greeks and Romans, to whom modern Italy, as well as all other nations, are indebted for almost everything, dedicated their works, without the ridiculous form of compliments, to their friends, who were masters of the art: by this claim I take the liberty of addressing to you the French “Mérope.”

The Italians, who have been the restorers of almost all the fine arts, and the inventors of many, were the first, who, under the auspices of Leo X., revived tragedy; and you, sir, are the first who, in this age, when the Sophoclean art became enervated by love-intrigues, often foreign to the subject, and so often debased by idle buffooneries, that reflected dishonor on the taste of your ingenious countrymen, you, sir, were the first who had courage and genius enough to hazard a tragedy without gallantry, a tragedy worthy of Athens in its glory; wherein the maternal affection constitutes the whole intrigue, and the most tender interest arises from the purest virtue. France prides herself in her “Athalie”; it is indeed the masterpiece of our stage, perhaps of poetry itself: of all the pieces that are exhibited among us, it is the only one where love is not introduced: but at the same time we must allow, that it is supported by the pomp of religion, and that majesty of eloquence which appears in the prophets. You had not that resource, and yet you have so contrived, as to furnish out five acts, which it is so Edition: current; Page: [6] extremely difficult to fill up without episodes. I must own, your subject appeared to me much more interesting and tragical than that of “Athalie”; and even if our admirable Racine had worked up his masterpiece with more art, more poetry, and more sublimity than he has, yours, I am satisfied, would have drawn more tears from the audience.

The preceptor of Alexander—kings ought always to have such preceptors—the great Aristotle, that extensive genius, so just, and so deeply versed in all the learning of those times, Aristotle, in his art of poetry, has declared that the meeting of Mérope and her son was the most interesting circumstance of the whole Grecian theatre. This stroke was, in his opinion, infinitely superior to all the rest. Plutarch tells us, that the Greeks, who, of all the people in the world, had the quickest feeling, trembled with fear, lest the old man who was to stop the arm of Mérope, should not come in time enough. That piece, which was played in his time, and a few fragments of which are still extant, appeared to him the most affecting of all the tragedies of Euripides; but it was not the choice of his subject alone to which that poet owed his success, though in every species of the drama, a happy choice is, no doubt, of the greatest service.

France has seen several “Méropes,” but none of them ever succeeded: the authors perhaps overloaded this simple subject with foreign ornaments: it was the naked “Venus” of Praxiteles which they wanted to cover with tinsel. It requires a great deal of time to teach men that everything which is great should be simple and natural. In 1641, when the French flag began to flourish, and even to raise itself above that of Greece, by the genius of P. Edition: current; Page: [7] Corneille, Cardinal Richelieu, who ambitiously sought for glory of every kind, and who had just then built a magnificent hall, for theatrical representations, in the Palais Royal, of which he had himself furnished the design, had a “Mérope” played there under the name of “Telephonte”; the plot of it is generally believed to have been entirely his own. There are about a hundred verses in it, supposed to be written by him; the rest was by Colletet, Bois-Roberts, Desmarets, and Chapelain; but all the power of Cardinal Richelieu could not impart to those writers that genius which they never possessed: his own was not indeed adapted to the stage, though he had a good taste; so that all he could do, or that could be expected from him, was to patronize and encourage the great Corneille.

Mr. Gilbert, resident of the celebrated Queen Christina, in 1643, gave us his “Mérope,” which is at present as little known as the other. La Chapelle, of the French academy, author of a tragedy called “Cléopatre,” which was played with some success, gave us another “Mérope” in 1683, and took care to insert a love episode: he complains withal in his preface, that the critics reproached him with too great a degree of the marvellous; but he was mistaken, it was not the marvellous that sank his performance, but in reality the want of genius, added to the coldness and insipidity of his versification; this is the great point, the capital fault, that condemns so many poems to oblivion.

The art of eloquence in verse is of all arts the most difficult and the most uncommon: there are a thousand geniuses to be found who can plan a work, and put it into verse after the common manner; but to treat it like a true poet, is a talent which Edition: current; Page: [8] is seldom bestowed on above two or three men on the face of the whole earth.

In December, 1701, M. de la Grange played his “Amasis,” which is nothing more than the subject of “Mérope” under another name. Gallantry has its share in this performance likewise; and there is more of the marvellous in it than even in La Chapelle’s: but it is more interesting, conducted with more art and genius, and written with more warmth and power; notwithstanding which, it met with no great success;

Since that, however, it has been revived with great applause; and is one of those few pieces which generally give pleasure in the representation.

Before and after “Amasis” we have had several tragedies on subjects very nearly resembling this, wherein a mother is going to avenge the death of her son on the son himself, and discovers him just at the instant when she was about to kill him. We frequently saw on our stage that striking but rarely probable situation, wherein a person comes with a poniard in his hand ready to destroy his enemy, and another arrives at the same instant, and snatches it from him. This incident recommended, at least for a time, the “Camma” of Thomas Corneille.

But amongst all the tragedies on this subject, which I have here enumerated, there is not one of them but is filled with some episode of love, or rather gallantry; for everything must give way to the reigning taste. But you must not believe, sir, that this unhappy custom of loading our tragedies with ridiculous love-intrigues was owing to Racine; a crime, which, in Italy, I know he is generally Edition: current; Page: [9] reproached with: on the contrary, he did everything in his power to reform the public taste in this particular: the passion of love is never brought in by him as a mere episode; it is the foundation or ground-plot of all his pieces, and forms the principal interest: it is certainly of all the passions the most truly theatrical, the most fruitful in sentiments, and admits of the greatest variety: it ought, therefore, no doubt, to be the soul of a dramatic performance, or entirely to be banished from it: if love is not tragical, it is insipid; and when it is tragical, it should reign alone; it was never made for a second place. It was Rotrou, or rather we must own, the great Corneille himself, who, in his creation of the stage, at the same time disfigured and disgraced it, by those ridiculous intrigues, bespoken, as it were, and made on purpose, those affairs of gallantry, which not being true passions, were unworthy of the stage; if you would know the reason why Corneille’s tragedies are so seldom played, the reason is plain enough: it is because, in his “Otho.”

“Otho makes a compliment to his mistress more like a man of wit than a real lover: he follows step by step the effort of his memory, which it is much more easy to admire than to believe. Camille herself seemed to be of his opinion; she would have liked much better a discourse less studied.—Tell me then, when Otho made love to Camille, was he contented, or was she kind?”

It is because in, “Pompey,” Cleopatra—a useless character—says that Cæsar “sighs for her,” and in a plaintive style calls himself “her captive, even in the field of victory.”

It is because Cæsar asks Antony if he has seen Edition: current; Page: [10] this “adorable queen”: to which Antony replies, “Yes, my lord, I have seen her, she is incomparable.”

It is because, in “Sertorius,” old Sertorius falls in love, not only because he likes the lady, but with a political view, and cries out: “I love: but it suits my age so ill to be in love, that I even conceal it from the fair one who has charmed me, as I know that the deep and yellow wrinkles on my forehead can have no great power in captivating the senses.”

It is because, in “Œdipus,” Theseus begins by saying to Dirce, “Whatever dreadful havoc the plague may make here, absence to true lovers is far more dreadful.”

In a word, it is because such love as this will never make us shed tears; and when that passion does not affect us, it must be quite insipid.

I have said no more here, sir, than what all good judges, and men of taste, say to one another every day; what you have often heard at my house; in short, what everybody thinks, but none dare to publish: you know well enough the nature of mankind: half the world write in opposition to their own opinions, for fear of shocking received prejudices and vulgar errors. With regard to myself, who have never mixed any political reserve with my sentiments on literature, I speak the truth boldly, and will add, that I respect Corneille more, and have a higher opinion of the real merit of this great father of the stage, than those who praise him indiscriminately, and are blind to all his faults.

A “Mérope” was exhibited at London in 1731: who would have thought a love-intrigue could ever have been thought of at that time? But ever since the reign of Charles II. love has taken possession of the English stage; though there is not a Edition: current; Page: [11] nation upon earth by whom that passion is so ill painted; but the intrigue so absurdly brought in, and so badly treated, is the least fault of the English “Mérope.” The young Ægisthus, delivered out of prison by a maid of honor, who is in love with him, is brought before the queen, who presents him with a bowl of poison, and a dagger, and speaks thus to him: “If you don’t swallow the poison, this dagger shall put an end to your mistress’ life.” The young man drinks the poison, and is carried off in the agonies of death: he comes back in the fifth act coldly to inform Mérope that he is her son, and that he has slain the tyrant. Mérope asks him how this miracle was performed: to which he replies, that a friend of the maid of honor had put poppy-water, instead of poison, into the cup. “I was only asleep,” says he, “when they thought me dead; I learned, when I awaked, that I was your son, and immediately killed the tyrant.” Thus ends the tragedy; no doubt but it met with a bad reception: but is it not strange that it should ever have been represented? Is it not a proof that the English stage is not yet refined? It seems as if the same cause that deprives the English of any excellency in, or genius for, music and painting, takes from them also all perfection in tragedy. This island, which has produced the finest philosophers in the world, is not equally productive of the fine arts; and if the English do not seriously apply themselves to the study of those precepts which were given them by their excellent countrymen, Addison and Pope, they will never come near to other nations in point of taste and literature.

But whilst the subject of “Mérope” has been thus disgraced and disfigured in one part of Europe, it Edition: current; Page: [12] has met with better fate in Italy, where it has for a long time been treated in the true taste of the ancients. In this sixteenth century, which will be famous throughout all ages, the Count de Torelli gave us his “Mérope” with choruses. If in La Chapelle’s tragedy we find all the faults of the French stage, such as useless intrigues, episodes, and a romantic air; and in the English author the highest degree of indecency, barbarism, and absurdity; we likewise meet in the Italian with all the faults of the Greek theatre, such as the want of action, and declamation. You, sir, have avoided all the rocks which they split upon; you, who have done honor to your country, by complete models of more than one kind, you have given us in your “Mérope” an example of a tragedy that is at once both simple and interesting.

The moment I read it I was struck with it; my love to my own country has never shut my eyes against the merit of foreigners. On the other hand, the more regard I have for it, the more I endeavor to enrich it, by the addition of treasures that are not of its own growth. The desire which I had of translating your “Mérope,” was increased by the honor of a personal acquaintance with you at Paris, in the year 1733. By loving the author, I became still more enamored with his work; but when I sat down to it, I found it was impossible to bring it on the French stage. We are grown excessively delicate: like the Sybarites of old, we are so immersed in luxury, that we cannot bear that rustic simplicity, and that description of a country life, which you have imitated from the Greek theatre. I am afraid our audiences would not suffer young Ægisthus to make a present of his ring to the man that stops Edition: current; Page: [13] him. I could not have ventured to seize upon a hero, and take him for a robber; though, at the same time, the circumstances he is in authorize the mistake. Our manners, which probably admit of many things which yours do not, would not permit us to represent the tyrant, the murderer of Mérope’s husband and children, pretending, after fifteen years, to be in love with her; nor could I even have dared to make the queen say to him, “Why did not you talk to me of love before, when the bloom of youth was yet on my face?” Conversations of this kind are natural; but our pit, which at some times is so indulgent, and at others so nice and delicate, would think them perhaps too familiar, and might even discover coquetry, where, in reality, there might be nothing but what was just and proper. Our stage would by no means have suffered Mérope to bind her son to a pillar, nor to run after him with a javelin, and an axe in her hand, nor have permitted the young man to run away from her twice, and beg his life of the tyrant: much less could we have suffered the confidante of Mérope to have persuaded Ægisthus to go to sleep on the stage, merely to give the queen an opportunity of coming there to assassinate him: not but all this is natural: but you must pardon us for expecting that nature should always be presented to us with some strokes of art; strokes that are extremely different at Paris from those which we meet with at Verona.

To give you a proper idea of the different taste and judgment of polite and cultivated nations, with regard to the same arts, permit me here to quote a few passages from your own celebrated performance, which seem dictated by pure nature. The Edition: current; Page: [14] person who stops young Cresphontes, and takes the ring from him, says:

• Or dunque in tuo paese i servi
• Han di coteste gemme? un bel pacse
• Sia questo tuo, nel nostro una tal gemma
• Ad un dito real non sconverebbe.

I will take the liberty to translate this into blank verse, in which your tragedy is written, as I have not time at present to work it into rhyme.

• Have slaves such precious jewels where thou livest?
• Sure ’tis a noble country; for, with us,
• Such rings might well adorn a royal hand.

The tyrant’s confidant tells him, when speaking of the queen, who refuses, after twenty years, to marry the known murderer of her family:

• La donna, come sai, ricusa e brama
• Women, we know, refuse when most they love.

The queen’s waiting-woman answers the tyrant, who presses her to use her influence in his favor, thus:

• • —dissimulato in vano
  • Soffre di febre assalto; alquanti giorni
  • Donare e forza a rinfrancar suoi spiriti.
• • The queen, sir has a fever, ’tis in vain
  • To hide it, and her spirits are oppressed;
  • She must have time to recollect them

In your fourth act, old Polydore asks one of Mérope’s courtiers who he is? To which he replies, “I am Eurises, the son of Nicander.” Polydore then, speaking of Nicander, talks in the style of Homer’s Nestor.

• • —Egli cra humano
  • Eliberal, quando appariva, tutti
  • Faceangli honor; io mi ricordo ancora
  • Diquanto ei festeggio con bella pompa
  • Le sue nozze con Silvia, ch’era figlia
  • D’Olimpia e di Glicon fratel d’Ipparcho.
  • Ju dunque sir quel fanciullin che in corte
  • Silvia condur solea quasi per pompa;
  • Parmi’ l’altir hieri: O quanto siete presti,
  • Quanto voi v’affrettate, O giovinetti,
  • A farvi adulti ed a gridar tacendo
  • Che noi diam loco!
• • The most humane, most generous of mankind,
  • Where’er he went, respected and beloved:
  • O I remember well the feast he gave
  • When to his Sylvia wedded, the fair daughter
  • Of Glycon, brother of the brave Hipparchus,
  • And chaste Olympia: and art thou that infant
  • Whom Sylvia to the court so often brought
  • And fondled in her arms? alas! methinks
  • It was but yesterday: how quickly youth
  • Shoots up, and tells us we must quit the scene!

In another place the same old man, being invited to the ceremony of the queen’s marriage, says:

• • —Oh curioso
  • Punto io non son, passo stagione. Assai
  • Veduti ho sacrificii; io mi recordo
  • Di quello ancora quando il re Cresphonte
  • Incomincio a regnar. Quella fu pompa.
  • Ora piu non si fanno a questi tempi
  • Di cotai sacrificii. Piu di cento
  • Fur le beste sivenate i sacerdoti
  • Risplendean tutti, ed ove ti volgessi
  • Altro non si vedea che argento ed oro.
• • My time is past, and curiosity
  • Is now no more: already I have seen
  • Enough of nuptial rites, enough of pomp
  • Edition: current; Page: [16]
  • And sacrifice: I still remember well
  • The great solemnity, when King Cresphontes
  • Began his reign: O ’twas a noble sight!
  • We cannot boast of such in these our days:
  • A hundred beasts were offered up, the priests
  • In all their splendor shone, and naught was seen
  • But gold and silver.—

All these strokes are natural, all agreeable to the characters and manners represented: such familiar dialogues would, no doubt, have been well received at Athens; but Paris and our pit expect a simplicity of another kind. We may, perhaps, even boast of a more refined taste than Athens itself, where, though the principal city of all Greece, it does not appear to me that they ever represented any theatrical pieces except on the four solemn festivals; whereas at Paris there is always more than one every day in the year. At Athens the number of citizens was computed at only ten thousand, and Paris has nearly eight hundred thousand inhabitants; among whom, I suppose, we may reckon thirty thousand judges of dramatic performances, who really do pass their judgments almost every day of their lives.

In your tragedy you took the liberty to translate that elegant and simple comparison from Virgil.

• Qualis populea maerens Philomela sub umbra
• Amissos queritur faetus.

But if I were to take the same in mine, they would say it was fitter for an epic poem: such a rigid master have we to please in what we call the public:

• Nescis, heu! nescis nostra fastidia Romae:
• Et pueri nasum Rhinocerontis habent.

The English have a custom of finishing almost all their acts with a simile; but we expect that, in a tragedy, the hero should talk, and not the poet. Our audience is of opinion that in an important crisis of affairs, in a council, in a violent passion, or a pressing danger, princes and ministers should never make poetical comparisons.

How could I ever venture to make the under characters talk together for a long time? With you those conversations serve to prepare interesting scenes between the principal actors: they are like the avenues to a fine palace: but our spectators are for coming into it at once. We must therefore comply with the national taste, which is, perhaps, grown more difficult, from having been cloyed, as it were, with such a variety of fine performances: and yet among these recitals, which our excessive severity condemns, how many beauties do I regret the loss of! How does simple nature delight me, though beneath a form that appears strange to us!

I have here, sir, given you some of those reasons which prevailed on me not to follow what I so much admired. I was obliged, not without regret, to write a new “Mérope”; I have done it in a different manner, but I am far from thinking that I have therefore done it better. I look upon myself, with regard to you, as a traveller to whom an eastern monarch had made a present of some very rich stuffs: the king would certainly permit this traveller to wear them according to the fashion of his own country.

My “Mérope” was finished in the beginning of the year 1736, pretty nearly as it now stands; studies of another kind prevented me from bringing it on the stage: but what weighed most with me was, Edition: current; Page: [18] the hazard which I ran in producing it, after several successful pieces on almost the same subject, though under different names. At length, however, I ventured to produce it, and the public gave me a convincing proof that they could condescend to see the same matter worked up in a different manner. That happened to our stage which we see every day in a gallery of pictures, where there are many of them on exactly the same subject. The judges are pleased by the observation of these different manners, and everyone marks down and enjoys, according to his own taste, the character of every painter. This is a kind of happy concurrence, which, at the same time that it contributes towards the perfection of the Art, gives the public a better insight into it. If the French “Mérope” has met with the same success as the Italian, it is to you, sir, I am indebted for it; to that simplicity in your performance which I have taken for my model, and which I was always an admirer of. Though I walked in a different path, you were always my guide. I could have wished, after the examples of the Italians and English, to employ the happy facility of blank verse, and have often called to mind this passage of “Rucellai”:

• Tu sai purche l’ imagine della voce
• Che risponde da i sassi, dove l’ echo alberga.
• Sempre nemica fu del nostro regno,
• E fu inventrice delle prime rime.

But I am satisfied, as I have long since declared, that such an attempt would never succeed in France, and it would be rather a mark of weakness than good sense, to endeavor to shake off a yoke which so many authors have borne, whose works will last Edition: current; Page: [19] as long as the nation itself. Our poetry has none of those liberties which yours has; and this is perhaps one of the reasons why the Italians got the start of us, by three or four centuries, in this most difficult and most delightful art.

As I have endeavored to imitate you in tragedy, I should be glad to follow your example in other branches of literature, for which you are so eminently distinguished: I could wish to form my taste by yours in the science of history; I do not mean the empty, barren knowledge of dates and facts, that only informs us at what period of time a man died, who perhaps was a useless or a pernicious member of society; the science of lexicography, that loads the memory without improving the mind; I mean that history of the human heart which teaches us men and manners, which leads us from error to error, and from prejudice to prejudice, into the effects of the various passions and affections that agitate mankind: which shows us all the evils that ignorance, or knowledge misapplied, has produced in the world; and which, above all, gives us a clue to the progress of the arts, and follows them through the dangers of so many contending powers, and the ruin of so many empires.

It is this which makes history delightful; and it becomes still more so to me, by the place which you will possess amongst those who have pleased and instructed mankind. It will raise the emulation of posterity, to hear that your country has bestowed on you the most signal honors, that Verona has raised a statue, with this inscription, “To the Marquis Scipio Maffei in his lifetime”—an inscription as beautiful in its kind as that at Montpellier to Louis XIV. after his death.

Deign, sir, to accept, with the respects of your fellow-citizens, those of a stranger, who esteems and honors you as much as if he had been born at Verona.

A Letter from M. de la Lindelle to M. de Voltaire.

You had the politeness to dedicate your tragedy of “Mérope” to M. Maffei, and have served the cause of literature both in Italy and France, by pointing out, from the perfect knowledge which you have of the theatre, the different rules and conduct of the Italian and French stages. The partial attachment which you have to everything that comes from Italy, added to your particular regard for M. Maffei, would not permit you to censure the real faults of that excellent writer; but as I have myself nothing in view but truth, and the advancement of the arts, I shall not be afraid to speak the sentiments of the judicious public, and which I am satisfied must be yours also.

The Abbé Desfontaines had already remarked some palpable errors in the “Mérope” of M. Maffei; but, according to his usual manner, with more rudeness than justice, he has mingled a few good criticisms with many bad ones. This satirist, so universally decried, had neither knowledge enough of the Italian tongue, nor taste enough to form an equitable judgment.

This, then, is the opinion of the most judicious amongst those literati whom I have consulted, both in France and on the other side of the Alps. “Mérope” appears to every one of them, past dispute, Edition: current; Page: [21] the most interesting and truly tragic subject that was ever brought on the stage, infinitely beyond that of “Athalie”; because Athalie does not want to assassinate the young king, but is deceived by the High-Priest, who seeks revenge on her for her former crimes: whereas in Mérope we see a mother, who, in avenging her son, is on the point of murdering that very son himself, her only desire, and her only hope: the interest of “Mérope” therefore affects us in a very different manner from that of “Athalie”: but it seems as if M. Maffei was satisfied with what the subject naturally suggested to him, without making use of any theatrical art in the conduct of it.

1. The scenes in many places are not linked together, and the stage is left void; a fault which, in the present age, is looked upon as unpardonable, even in the lowest class of dramatic writers.

2. The actors frequently come in and go out without reason; a fault no less considerable.

3. There is no probability, no dignity, no decorum, no art in the dialogue: in the very first scene we see a tyrant reasoning in the calmest manner with Mérope, whose husband and children he had murdered, and making love to her: this would have been hissed at Paris, even by the poorest judges.

4. While the tyrant is thus ridiculously making love to the old queen, word is brought that they have found a young man who had committed murder; but it does not appear through the whole course of the play who it was he had killed: he pretends it was a thief, who wanted to steal his clothes. How low, little and poor is this! It would not be borne in a farce at a country fair.

5. The captain of the guard, provost, or whatever you call him, examines the murderer, who has a fine ring upon his finger: this scene is quite low comedy, and the style is agreeable to it, and worthy of the scene.

6. The mother immediately supposes that the robber, who was killed, is her son. It is pardonable, no doubt, in a mother to fear everything; but a queen who is a mother should have required better proofs.

7. In the midst of all these fears, the tyrant Poliphontes reasons with Mérope’s waiting-woman about his pretended passion. These cold and indecent scenes, which are only brought in to fill up the act, would never be suffered on a regular stage. You have only, sir, modestly taken notice of one of these scenes, where Mérope’s woman desires the tyrant not to hasten the nuptials; because, she says, her mistress has “an attack of a fever”: but I, sir, will boldly aver, in the name of all the critics, that such a conversation, and such an answer, are only fit for Harlequin’s theatre.

8. I will add, moreover, that when the queen, imagining her son to be dead, tells us she longs to pull the heart out of the murderer’s breast, and tear it with her teeth, she talks more like a cannibal than an afflicted mother; and that decency should be preserved in everything.

9. Ægisthus, who was brought in as a robber, and who had said that he had himself been attacked, is taken for a thief a second time, and carried before the queen, in spite of the king, who notwithstanding undertakes to defend him. The queen binds him to a pillar, is going to kill him with a dart; but before she throws it, asks him some questions. Edition: current; Page: [23] Ægisthus tells her, that his father is an old man, upon which the queen immediately relents. Is not this an excellent reason for changing her mind, and imagining that Ægisthus might be her own son? a most indisputable mark to be sure: is it so very extraordinary that a young man should have an old father? Maffei has added this absurdity, this deficiency of art and genius, to another even more ridiculous, which he had made in his first edition. Ægisthus says to the queen, “O Polydore, my father.” This Polydore was the very man to whom Mérope had entrusted the care of Ægisthus. At hearing the name of Polydore, the queen could no longer doubt that Ægisthus was her son: thus the piece was entirely at an end. This error was removed; but removed, we see, only to make room for a greater.

10. While the queen is thus ridiculously, and without any reason, in suspense, occasioned by the mention of an old man, the tyrant comes in, and takes Ægisthus under his protection. The young man, who should have been represented as a hero, thanks the king for his life, with a base and mean submission that is disgusting, and entirely degrades the character of Ægisthus.

11. At length Mérope and the tyrant are left together: Mérope exhausts her resentment in reproaches without end. Nothing can be more cold and lifeless than these scenes, full of declamation, that have no plot, interest, or contrasted passion in them; they are schoolboy scenes: everything in a play, that is without action, is useless.

12. There is so little art in this piece that the author is always forced to employ confidants to fill up the stage. The fourth act begins with another Edition: current; Page: [24] cold and useless scene between the tyrant and the queen’s waiting-woman, who, a little afterwards, lights, we know not how, on young Ægisthus, and persuades him to rest himself in the porch, merely to give the queen a fair opportunity of despatching him when he falls asleep; which he does according to promise. An excellent plot this! and then the queen comes a second time, with an axe in her hand, in order to kill the young man, who is gone to sleep for that purpose. This circumstance, twice repeated, is surely the height of barrenness, as the young man’s sleep is the height of ridicule. M. Maffei thinks there is genius and variety in this repetition, because the queen comes in the first time with a dart, and the second with an axe. What a strange effect of fancy!

13. At last old Polydore comes in apropos, and prevents the queen from striking the blow. One would naturally imagine that this happy instant must produce a thousand affecting incidents between the mother and son; but we meet with nothing of this kind: Ægisthus flies off, and sees no more of his mother: he has not so much as one scene with her. This betrays a want of genius that is insupportable. Mérope asks the old man what recompense he demands; and the old fool begs her to make him young again. In this manner the queen employs her time, which doubtless she should have spent in running after her son: all this is low, ill-placed, and ridiculous to the last degree.

14. In the course of this piece the tyrant is always for espousing Mérope; and, to compass his end, he bids her agents tell her, that he will murder all her servants, if she does not consent to give him her hand. What a ridiculous idea, and how extravagant Edition: current; Page: [25] a tyrant! Could not M. Maffei have found out a more specious pretext to save the honor of a queen, who had meanness enough to marry the murderer of her whole family?

15. Another childish college trick: the tyrant says to his confidant, “I know the art of reigning; I’ll put the bold and rebellious to death; give the reins to all kinds of vice; invite my subjects to commit the most atrocious crimes, and pardon the most guilty; expose the good to the fury of the wicked.” Did ever man pronounce such vile stuff? This declamation of a regent of sixteen, does it not give us a fine idea of a man who knows how to govern? Racine was condemned for having made Mathan—in his “Athalie”—say too much against himself; and yet Mathan talks reasonably: but here it is to the last degree absurd to pretend, that throwing everything into confusion is the art of ruling well; it is rather the art of dethroning himself. One cannot read anything so ridiculous without laughing at it. M. Maffei is a strange politician.

In a word, sir, this work of Maffei is a fine subject, but a very bad performance. Everybody at Paris agrees that it would not go through one representation; and the sensible men in Italy have a very poor opinion of it. It is in vain the author has taken so much pains in his travels, to engage the worst writers he could pick up to translate his tragedy: it was much easier for him to pay a translator, than to make his piece a good one.

The Answer of M. de Voltaire to M. de la Lindelle.

The letter which you did me the honor to write to me entitles you to the name of “Hypercritic,” which was given to the famous Scaliger; you are truly a most redoubtable adversary; if you treat M. Maffei in this manner, what am I to expect from you? I acknowledge that, in many points, you have too much reason on your side. You have taken a great deal of pains to rake together a heap of brambles and briars; but why would you not enjoy the pleasure of gathering a few flowers? There are certainly many in M. Maffei; and which, I dare affirm, will flourish forever. Such are the scenes between the mother and son, and the narration of the catastrophe. I can’t help thinking that these strokes are affecting and pathetic. You say, the subject alone makes all the beauty; but was it not the same subject in other authors who have treated Mérope? Why, with the same assistance, had they not the same success? Does not this single argument prove, that M. Maffei owes as much to his genius as to his subject?

To be plain with you, I think M. Maffei has shown more art than myself, in the manner by which he has contrived to make Mérope think that her son is the murderer of her son. I could not bring myself to make use of the ring as he did; because, after the royal ring that Boilieu laughs at in his satires, this circumstance would always appear too trifling on our stage. We must conform to the fashions of our own age and nation; and, for the same reason, we ought not lightly to condemn those of foreigners.

Neither M. Maffei nor I have sufficiently explained the motives that should so strongly incline Poliphontes to espouse the queen. This is, perhaps, a fault inherent in the subject; but I must own I think this fault very inconsiderable, when the circumstances it produces are so interesting. The grand point is to affect and draw tears from the spectators. Tears were shed both at Verona and at Paris. This is the best answer that can be made to the critics. It is impossible to be perfect; but how meritorious is it to move an audience, in spite of all our imperfections! Most certain it is, that in Italy many things are passed over, which would not be pardoned in France: first, because taste, decorum, and the stage itself, are not the same in both; secondly, because the Italians, having no city where they represent dramatic pieces every day, cannot possibly be so used to things of this kind as ourselves. Opera, that splendid monster, has driven Melpomene from among them; and there are so many of the Castrati there, that no room is left for Roscius and Æsopus: but if ever the Italians should have a regular theatre, I believe they would soon get beyond us: their stages are more extensive, their language more tractable, their blank verses easier to be made, their nation possessed of more sensibility; but they want encouragement, peace, and plenty.