ART. III.-Dissertação historica e critica sobre os Representaçages Theatraes.

An Historical and Critical Dissertation on Theatrical Represen tations. By F. L. R. 8vo. Lisbon.

PORTUGAL has never had reason to he proud of her literature. The name of Camoens alone rescues it from obscurity; it would, perhaps, be difficult to find another Portuguese author whose works have been of sufficient distinction to extend his name beyond the limits of his own country. The highest eminence in letters and in arms which she ever attained, was towards the latter end of the fifteenth and the beginning of the sixteenth centuries. Since that period her literature (as we shall shortly observe of that of her Spanish neighbour) declined with her political importance, and almost expired with the above-mentioned illustrious poet. The magnanimity of Emanuel the Great gave encouragement to science at home, while Europe was dazzled by the splendour of the Portuguese achievements in Asia. In his reign the court of Lisbon was su pereminently distinguished for taste and elegance, and was the resort at once of science and politeness, at the time that the discoveries and conquests made by his subjects in the East, established Portugal into an immense empire, and extended wide the fame of her military prowess. But these golden days were of short duration. When it is remembered that the Inquisition, that tribunal so hostile to every exertion of the human intellect, was introduced by the successor of Emanuel, it will be needless to bring forward any other proof that in that prince learning did not meet with a patron. The muses fled to more northern countries, where the fostering influence of the Reformation, as in England, or the relaxed spirit of popery, as in France, afforded them a more congenial asylum. The romantic spirit of the Quixotic Sebastian hastened the downfal of the grandeur of his country, which was not delayed by the feeble and superannuated ecclesiastict who succeeded him. While subject to the tyrannic yoke of Spain, her interests of every kind' were neglected, or only made subser vient to the views of her ambitious and domineering masters. The revolution of 1640 is the last instance of spirit or enterprize displayed in the annals of Portugal: governed by a succession of weak, despotic, and superstitious princes, neglectful alike of their own and their country's reputation, she has gra

dually languished into imbecility; and that nation, once the mistress of Asia and the admiration of Europe, has sunk into the most degrading insignificance.

Still, amidst innumerable disadvantages, and in spite of all the restraints imposed upon it, the liveliness of the native genius of the Portugueze has occasionally manifested itself, and that, perhaps, to a greater extent than other European nations are apt to imagine. Those who have resided in Portugal, and had an opportunity of becoming acquainted with the almost insurmountable difficulties thrown in the way of genius by the inquisition, the clergy, and the nature of the government in general, as well as by almost every individual sovereign and minister (the patriotic Pombal not excepted), have reason to be surprised that a book should ever issue from the press.

The sciences in which Portugal seems to be least deficient are, perhaps, music, poetry, and the histrionic art: in all of which she may bear a comparison, by no means disadvantageous, with France; and though the latter may be more artificially correct, yet the former is infinitely more simply elegant, more replete with the unaffected genuine expression of cultivated yet uncorrupted nature; if her defects be greater, her beauties on the other hand are more nuinerous and more unequivocal, consequently her capacity for improvement more considerable. Indeed we are convinced that if the Portuguese persist in the cultivation of this science, and could be induced to confide in their own native powers without having recourse to the servile imitation by which they now fetter themselves, their superiority must soon be evident.

The Historical and Critical Dissertation' now before us, is divided by the author into nine sections.-First, Definition and division of theatric representations.' This section consists of little more than an enumeration of the divers conceits of soi-disant philosophers on the subject in question'; which consist of trite, superficial, and generally weak remarks, on the good or evil arising from dramatic exhibitions.

The writer then treats of the origin of tragedy and comedy, and their objects.' From this part of the work the classical reader (a species of readers, however, not very common in Portugal) will not derive much instruction; as it is but an imperfect ac count of what is to be found in Aristotle's Poetics, Horace's Art of Poetry, Bentley's Phalaris, and the Travels of Anacharsis. With the two former of these works our author is not unacquainted, though he has not made a very judicious use of them. Of the others he seems to be entirely ignorant. His information is not much more correct; nor more inte resting, in the succeeding section, where he dwells pretty

uch at large upon the theatrical representations of the Romans.' He declaims, with more zeal than judgment, against the lamentable errors of which paganism was the cause in theatrical as well as all other human transactions; and, with equal piety and prolixity, quotes by wholesale the opinions of the fathers. These arguments we shall not lay before our readers, presuming that they would excite less interest, and produce less conviction here, than in the author's native country. We proceed to the account of the reform and notable change which was introduced in theatrical exhibitions, by christian princes. Our author here regales us with the opinions of certain men of science and probity (i. e. of ignorant and prejudiced bigots); and a second edition of the opinions of the fathers, most of which are in a high degree ridicu lous and inconsistent, on the virtues and vices of the theatre. For instance: One of the fathers (St. Thomas) proposes the question whether in amusement there can be any virtue?' After discussing the point in no very acute logic, he pronounces in the affirmative. He then proceeds to ask if in the superfluity of amusement there can be sin?' This point he proves, to his own satisfaction, by a number of sophistical arguments, not very difficult to be controverted, and by which he also proves himself a very weak reasoner; and thus irrevocably condemns all writers, readers, actors, and spectators, of tragedy, comedy, and farce.

The objections against the permission of theatrical representations aniong christians,' in the fifth, are more reasonable than the childish and superstitious contents of the preceding sections. The author quotes Amelot, who says that comedies teach licentiousness,' and Livy, who calls them intolerable follies,' and Quintilian, who thought them an amusement which ought to be prohibited to youth, till they had reached an age quando mores fuerint in tuto.'

In the next section he answers these objections ;' and observes, that the exhibitions in question, whenever they violate the laws of decorum, also violate the rules and precepts of the art, and ought therefore doubly to be condemned.,

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Our author's opinion, that, upon the whole, theatrical representations are not only to be approved of, but even necessary in a well-regulated state,' is somewhat questionable. He adduces political motives, why the legislature should permit them: as, to persuade the people that happiness consists less in the possession of things, than in the contempt of them; that virtue procures and requires no recompence but itself; and that there is not any interest, however great, which ought to oblige an honourable man to commit any baseness.'

These stoical arguments in favour of the theatre, deserve as little notice as those on the other side of the question, pro mulgated by the fathers who lived some hundred years ago; or the similar ones in vogue among the Jeremy Collyers of our own times. Surely the effect of the theatre upon the public mind, generally speaking, is neutral; though the seductive influence of licentious, irreligious, or inflammatory writing, must manifestly have a pernicious effect, especially on the lower orders of people; in which case the voice of the public cannot be too loud in condemning, nor the arm of the legislature tod severe in punishing them. Otherwise, who ever went to the theatre for the purpose of being instructed, or who ever came instructed cut of it?

In the eighth section our author observes, that the abuses which have crept into the theatre, call for an effectual and speedy remedy,' and thinks that this desirable object is by no means difficult to be accomplished.' As a principal instrument towards this accomplishment, he recommends the establishment of a censor and supports his opinion by many judicious and pertinent remarks.

The conclusion consists of a general view of dramatic poetry,' and further observations on the benefits to be derived from the stage, which, he thinks, might be made subservient to the promotion of mirth among the people, might tend to manifest the greatness and glory of the state, and might be conducive to inspire the people with patriotism and the love of virtue, and to teach them to avoid the evils of indolence.' If these latter objects could be brought about, the labours and writings of our authɗr would not be in vain; for there is no European country where pa triotism is at so low an ebb, where virtue is so little cherished, and where the evils of indolence are so mournfully predomi nant, as in Portugal.

The merits of this work cannot be said to be very considerable. The writer is inferior to many of his contempora ries in information and talents: he is sometimes apt to quote opinions, and refer to facts, which he either does not understand, or, what is more probable, has not judgment enough to appropriate to his own views. Still he is a friend of virtue, well as of the theatre.

ART. IV.-Voyage sur la Scene des six derniers Livres de l'Eneide, suivi de quelques Observations sur le Latium' moderne.

Travels over the Scene of the six last Books of the Eneid, with some Observations on modern Latium. By Charles Victor de Bonstetten, late Bailiff of Nion, &c. 8vo. Geneva. 1804. Imported by de Conchy.

THE labours of the learned remind us of Virgil's description of the bees. Some, after long foraging abroad, exploring the relics of ancient grandeur, or traversing the scenes of mighty exploits, return home crura thymo plene, loaded with the fruits of their toil, while others onera accipiunt venientum, relieve the wanderer of his burden, and store the honey in the comb. What department of the swarm may be most fitly assigned to the reviewer of books, admits of a dispute. By some, perhaps, he may be admitted to the honourable but invidious office of driving off the intruding drone from the hive; while, we fear, some few, especially among such as have been stung, will be inclined to allow him no higher province than that of buzzing and fluttering about its entrance-mussant oras et limina circum. We are now to report the success of one of these out-door labourers, who has been lately collecting sweets on the banks of the Tiber. It is time, therefore, to drop our 'metaphor, and return to sober truth.

The Bryantian controversy, which has induced so many of our own countrymen to examine the scene of the Iliad, was perhaps the ultimate cause which suggested to M. de B. the propriety of paying Virgil the same compliment by visiting the shore of Latium. Indeed, of the two countries, more additional light may now be expected from researches on the Laurentian coast, than in the plain of Troy. For, in the first place, the comparative proximity of the Roman poet to our own times, all other circumstances supposed the same, affords a presumption that the features of the country which he delineates, are less changed than those of the country about Troy; unless indeed Virgil has described them exactly as they existed in the time of Eneas,-a supposition which M. de B. seems to take for granted, though it is much less probable than that he drew from nature as she then presented herself to his eyes, making allowances, indeed for the embellishments of art which had taken place between the days of Eneas and his own. Again, after so many visits to the banks of the Simois, nothing very interesting from its novelty can now be expected to be gleaned in that quarter. But the shore of Latium is a spot still to be explored and illustrated.