Letter to the Countess of T. on a Second French Theater in Paris

sentimental plays. One no longer even dares to use the name Opéra-Comique. They are titled Comédies Lyriques Lyric Comedies, Drames Lyriques Lyric Dramas. One would think, at least, that the Opéra Bouffon Comic Opera would be gay: it is nothing of the sort; the Larmoyant from "comédie larmoyante" or tearful comedy has introduced itself there; and what will be surprising is that renowned Authors, French Academicians, have no shame in cultivating this amphibious genre. I am not saying too much: it is, as they say, flesh and fish; song and speech. One sees a Miller, a Hunter, a Merchant who sing at intervals: their prose is cut by Ariettes arias, which are followed once again by ordinary language. Subject to a better opinion, * it seems to me, Madame, that there are many absurdities in this mixture. It would be acceptable if it were to make people laugh; but not at all: it is to make them weep: for we are in the happy age of the greatest sensibility and tears of sentiment, says M. de Kerlon.

Everyone weeps at the Spectacle, and one sees there as many moist eyes as one finds dry hearts outside of it.

In 1773, Acajou was revived: it was performed fifty times at least, and the Public always watched it with renewed pleasure. It was the same this year for the Nymphes de Diane.

Footnote at the bottom of the page

• I am very proud to see that M. Linguet thinks as I do on this matter. See his Literary Gazette, Dec. No. 5.