and treaties, may be found still in that once popular drama, Foote's
"Englishman in Paris." "A Frenchman," says one of the characters, "is a
fop. Their taste is trifling, and their politeness pride. What the deuse
brings you to Paris, then? Where's the use? It gives Englishmen a true
relish for their own domestic happiness, a proper veneration for their
national liberties, and an honor for the extended generous commerce of
their country. The men there are all puppies, the women painted dolls."
Monsieur Ragout and Monsieur Rosbif bandy words; the former is said to
"look as if he had not had a piece of beef or pudding in his paunch for
twenty years, and had lived wholly on frogs,"--and the latter pines to
leap a five-barred gate, and is afraid of being entrapped by "a rich
she-Papist." His fair countrywoman is invited by a French marquis to
marry him, with this programme,--"A perpetual residence in this paradise
of pleasures; to be the object of universal adoration; to say what you
please,--go where you will,--do what you like,--form fashions,--hate
your husband, and let him see it,--indulge your gallant,--run in debt,
and oblige the poor devil to pay it."

As a pendant, take the description of one of the last French novels:--"A
Paris tout s'oublie, tout se pardonne. Par convenance, par decence,
quelquefois par crainte, on s'absente, ou fait un entr'acte: puis le
rideau se releve pour le spectacle de nouvelles fautes et de nouvelles
folies; toute la question est de savoir s'y prendre."

Comedy is native to French genius and appreciation; it follows the
changes of social life with marvellous celerity; it is the best school
of the French language; and is refined and subdivided, as an art, both
in degree and kind, in France more than in any other country. The
prolific authors in this department, and the variety and richness of
invention they display, as well as the permanent attraction of the Comic