'Joy produces tears: the violence of passion turns to childish weakness; but this could not be foreseen by study, nor taught by rules, nor mimicked by observation. Natural acting is therefore fine, because it implies and calls forth the most varied and strongest feelings that the supposed characters and circumstances can possibly give birth to: it reaches the height of the subject. The conceiving or entering into a part in this sense is every thing: the acting follows easily and of course. But art without nature is a nick-name, a word without meaning, a conclusion without any premises to go upon. The beauty of Madame Pasta's acting in, Nina proceeds upon this principle. It is not what she does at any particular juncture, but she seems to be the character, and to be incapable of divesting herself of it. This is true acting any thing else is playing tricks, may be clever and ingenious, is French Opera-dancing, recitation, heroics or hysterics-but it is not true nature or true art. ESSAY XII. SIR WALTER SCOTT, RACINE, AND THE argument at the end of the last Essay may possibly serve to throw some light on the often agitated and trite question, Whether we receive more pleasure from an Opera or a Tragedy, from the words or the pantomime of a fine dramatic representation? A musician I can conceive to declare, sincerely and conscientiously, in favour of the Opera over the theatre, for he has made it his chief or exclusive study. But I have heard some literary persons do the same; and in them it appears to me to be more the affectation of candour, than candour itself. "The still small voice is wanting" in this preference; for however lulling or overpowering the effect of music may be at the time, we return to nature at last; it is there we find solidity and repose, and it is from this that the understanding ought to give its casting vote. Indeed there is a sense of reluctance and a sort of critical remorse in the opposite course as in giving up an old prejudice or a friend to whom we are under considerable obligations; but this very feeling of the conquest or sacrifice of a prejudice is a tacit proof that we are wrong; for it arises only out of the strong interest excited in the course of time, and involved in the nature and principle of the drama. Words are the signs which point out and define the objects of the highest import to the human mind; and speech is the habitual, and as it were most intimate mode of expressing those signs, the one with which our practical and serious associations are most in unison. To give a deliberate verdict on the other side of the question seems, therefore, effeminate and unjust. A rose is delightful to the smell, a pine-apple to the taste. The nose and the palate, if their opinion were asked, might very fairly give it in favour of these against any rival sentiment; but the head and the heart cannot be expected to become accomplices against themselves. We cannot pay a worse compliment to any pleasure or pursuit than to surrender the pretensions of some other to it. Every thing stands best on its own foundation. A sound expresses, for the most part, nothing but itself; a word expresses a million of sounds. The thought or impression of the |