PR RE-EMINENCE of talent, the same in all ages, in all countries, and in all persons, must command that meed of applause to which it is so justly entitled; and we feel scarcely less pleasure in holding up to admiration the gifted individuals of another country, than in lauding the distinguished genius of our

own.

M. TALMA, the subject of this brief sketch, who is now in his 51st year, was born in Paris, and remained in his native country until he attained the age of eight, when he was sent to receive a part of his education in England. It is a remarkable circumstance in this early part of his life, that he was selected to act the principal character in a play that was performed before their Royal Highnesses the Prince Regent and Duke of York, at the Hanoversquare Rooms, then belonging to Sir John Gallini, by the proprietors of the academy where he was placed, and that though he acquitted himself well, he was so much agitated by his emotions in this first essay, as not to recover from its effects for some time after the performances were over. He returned to France in his fifteenth year to finish his education, remained at college a few months, and revisited England in 1783. It was at this period that he first felt an inclination for that profession, of which he was destined to become so distinguished an ornament. After seeing Mr. Kemble and Mrs. Siddous in tragedy, he re

turned to France in 1786, and began to apply himself to surgery as his future profession; but his predominant passion still carrying him to the stage, M. Molé, a celebrated comic actor with whom he got acquainted, took him under his care, and from the high opinion which he entertained of his talents, introduced him to the Committee of the Theatre Français, by whom he was engaged; in 1787, he made his first appearance in the character of Seide in Voltaire's "Mahomet." He was then about twenty; his success was immediate, rapid, and astonishing: and the soon became the first tragedian in France.

The original debut of Talma excited no enthusiasm. The part of Charles IX. in the tragedy of that name by Chenier, was the one which afforded him an opportunity of commencing and establishing his reputation; as, amongst other things, it was observed, that he devoted such minute attention to his costume and head-dress, and gave so peculiar an expression to his features, that he presented a striking resemblance to the best portraits which are preserved of that monarch.

French critics have been divided in opinion concerning the merits of Talma, who is the creator of a new style of declamation on the French stage. Some have accused him of heaviness in delivery, a hollowness of tone, and a voice, which is always confined, and which never developes itself except by sudden bursts. Others declare him to be a model of the beau-ideal, and an artist

who has arrived at a degree of perfection which none ever before attained, and which none can in future hope to exceed.

The more impartial seem to agree, that no one equals Talma in the character of a tyrant or a conspirator, such as Nero and Manlius; but in those which require spirit, nobleness, and dignity, like Tancred, Orosmanes, and Achilles, they prefer La Fond, who at this moment shares with him the tragic sceptre of the Theatre Français.

During the revolution, which had already commenced when Talma made the great impression in "Charles IX." all plays which favoured power were interdicted, and, of course, circumstances demanded a new set of dramas. All the productions of Voltaire suited the times, and Ducis, the successor of Voltaire, produced several new plays. founded upon the Shakspearian drama, In these, Talma exhibited still higher talents. Every new step confirmed the promise of his earlier essays, and he became the glory of his nation and his art. His enemies could only say, Let him not quit the degenerate school of modern writers; Corneille and Racine will be too much for him." When Buonaparte restored the throne to France, Talma was permitted to restore it to the stage. He answered the critics by acting Neron, Oreste, Eghiste, Nicamede, Cinna, Manlius, and so great was his triumph, that he has since relin quished most of the characters upon which he first soared to eminence, and now confines himself to those for which his powers were then pronounced inadequate.

From various causes, this brief Memoir is necessarily defective, and with an extract from Lady Morgan's 'France,' we take leave in some measure to supply the deficiency.

"Britannicus," says Lady Morgan, 66 so long the fashion, from the inimitable performance of Talma in Nero, awakened my most auxious expectations; and it was not without emotion, that I saw myself, for the first time, in the great national theatre of France, and in a box chosen and procured for me by M. Talma himself. Still, however great my expectation, however lively my impatience for the rising of the curtain, which recalled the long blunted vivacity of feelings of childish solicitude and curiosity, I soon perceived, I was cold, languid, and inanimate to the genuine French audience that surrounded me. The house

was an overflow at an early hour; the orchestra, cleared of all its instruments, was filled to suffocation; and the parterre, as usual, crowded with men (chiefly from the public schools and lycées, whose criticisms not unfrequently decide the fate of new pieces, and give weight to the reputation of old ones), exhibited hundreds of anxious faces, marked countenances, and figures and costumes which might answer alike for the bands of brigandage, or the classes of philosophy. Some were reading over the tragedy; others were commenting particular passages; - a low murmur of agitation crept through the house, like the rustling of leaves to a gentle wind, until the rising of the curtain stilled every voice, composed every muscle, and riveted the very existence of the audience (if I may use the expression) upon the scene.

The theatres of other countries assemble spectators, but an audience is only to be found in a French theatre. Through the whole five acts attention never flagged for a moment; not an eye was averted-not an ear unattending; every one seemed to have the play by heart, and every one attended, as if they had never seen it before.

In the famous scene of Britannicus, where Agrippina is left tête-à-tête with her son, to enter on her defence, Mademoiselle Georges, as the Roman empress, went through a long speech of a hundred and ten lines with great clear- ness, elegance of enunciation, and graceful calmness of action.

During the first seventy lines of this speech, Talma, as Nero, sat a patient and tranquil auditor. No abrupt interruption of haughty impatience, disdaining the curb of a longneglected authority, was furnished by the genius of the author, or gave play to the talents of the admirable actor; and the little by-play allowed him, or rather that he allowed himself, was not risked, until towards the close of the speech: it was then, however, exquisite; it was Nature. The constraint of forced and half-given attention, the languor of exhaustion, the restlessness of tedium, and the struggle between some little remains of filial deference and habitual respect, blended with the haughty impatience of all dictation, were depicted, not in strong symptoms and broad touches of grimace and action, but with a keeping, a tact, a fidelity to Nature, indescribably fine. His transition of attitude; his playing with

the embroidered scarf, round his neck, which made a part of his most classical costume, his almost appearing to count its threads, in the inanity of his profound ennui, were all traits of the high est order of acting. In London, this acting would have produced a thunder of applause; in Paris, it was coldly received, because it was innovation; and many a black head in the parterre was searching its classical recesses, for some example from some traditional authority, from Baron, or Le Kain, of an emperor being restless on his chair, or of the incident of playing with the handkerchief being at all conformable to the necessity'de représenter noblement,' in all kings, since the time of Louis le Grand.

"Whether on the stage, at the Théatre Français, or in the Thuilleries, Talma is eminently superior to the school, whose rules he is obliged to obey. His great genius always appeared to me to be struggling against the methodical obstacles presented to its exertions. He is the Gulliver of the French stage tied down by Lilliputian threads. Before talents like his can exert their full force, and take their uttermost scope, a new order of drama must succeed to the declamatory and rhyming school, which now occupies the French stage. Talma is a passionate admirer of the English drama, and of Shakspeare. He speaks English fluently, and told me that he had a great desire to play in one of Shakspeare's tragedies. He did not complain, but he hinted at the restraint under which his talents laboured, from that esprit de système, which the French have banished from every other art; and which keeps its last hold on their stage. But he said, If I attempt the least innovation; if I frown a shade deeper to-night than I frowned last night, in the same character, the parterre are sure to call me to order."

*

"The dignity and tragic powers of Talma, on the stage, are curiously but charmingly contrasted with the simplicity, playfulness, and gaiety of his most unassuming, unpretending manners off the stage. I (who had never seen Coriolanus in the drawing-room, but as I had seen Coriolanus in the Forum) expected to meet this great tragedian in private life, in all the pomp and solemnity of his profession; the cold address, the measured phrase: in a word, I expected to meet the actor; but in

the simple, unaffected manners of this celebrated person, I found only the well-bred and accomplished gentleman. Talma had, in his early life, been intimate with Buonaparte; and the exEmperor (who never forgot the friends of the young engineer officer) accorded the petites entrées of the palace to the sovereign of the Théatre Français. Talma saw him constantly; not, however, to give him lessons (an invention at which Buonaparte and Talma both laughed), but to discuss his favourite topic, tragedy, of which he was passionately fond. On this subject, however, the actor frequently differed with the Emperor; while the Emperor as frequently dictated to the actor, greeting him with, "Eh bien! Talma, vous n'avez pas usé de vos moyens hier au soir.' Napoleon always disputed the merits of comedy, and observed to a gentleman, from whom I had the anecdote, Si vous préferez la comédie, c'est parceque vous viellisez.' — Et vous, Sire,' replied Monsieur “ vous aimez la tragédie, parceque vous éles trop jeune.”” C.

SIR,

66

CHOC

To the Editor of the European Magazine. Long's, 1st May, 1818. YHOCOLATE, fellow, I told you not coffee: I wonder who would be cursed with such a dolt to wait on him but myself!—I'll -by my troth, this is a very pretty com mencement you have made me write, for a Letter to the Editor of the European Magazine:-but time is precious -Lady Flirt!-Christey's!-at four! -well!- bring me fresh ink and pens, I'll proceed now :———— -Really, Mr. Editor, I must beg your pardon, and intreat your indulgence, for this abrupt introduction; but I have but just arisen from my bed, after devoting a few hours to the necessary evil of sleep: -I call it an evil, because, with philosophers and divines, 1 regard it as a complete loss of time: and when it is considered, what a variety of duties devolve on a young man in fashionable life, and how numerous and important are his avocations, I know you will acknowledge he has no time to spare.— It was just two o'clock, when my French valet announced that le dejeune was ready, and waited my commands: -I immediately arose; and on entering my breakfast parlour, was gratified by the sight of your Miscellany, which it is my practice always to read, as affording