would do for you. 'Tis from the plan of Diderot; and, possibly, half
a translation of it: _The Natural Son, or the Triumph of Virtue_,
in five acts. It has too much sentiment in it (at least for me); the
speeches too long, and savour too much of preaching. This may be
a second reason it is not to my taste--'tis all love, love, love
throughout, without much separation in the characters. So I fear it
would not do for your stage, and perhaps for the very reason which
recommends it to a French one." It is curious to see the "adaptator
cerebrosuga" at work in those days as in these; though not, in this
instance, as it seems, with as successful results. _The Natural Son,
or the Triumph of Virtue_, is not known to have reached either English
readers or English theatrical audiences. The French original, as we
know, fared scarcely better. "It was not until 1771," says Diderot's
latest English biographer, "that the directors of the French Comedy
could be induced to place _Le Fils Naturel_ on the stage. The actors
detested their task, and, as we can well believe, went sulkily through
parts which they had not taken the trouble to master. The public felt
as little interest in the piece as the actors had done, and after one
or two representations, it was put aside.[1]"

[Footnote 1: Morley: _Diderot and the Encyclopaedists_, ii. 305.]

Another, and it is to be guessed a too congenial, acquaintance formed
by Sterne in Paris was that of Crébillon; and with him he concluded "a
convention," unedifying enough, whether in jest or earnest: "As soon
as I get to Toulouse he has agreed to write me an expostulatory
letter upon the indecorums of _T. Shandy_, which is to be answered
by recrimination upon the liberties in his own works. These are to
be printed together--Crébillon against Sterne, Sterne against
Crébillon--the copy to be sold, and the money equally divided. This