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‘ [126] crushed in the struggle. I see, perhaps, centuries of war and desolation, but at last, in the remote horizon, I see the victory of Liberty.’ The contest thus far has been carried on in the spirit he predicted, and the prophecy of such a man deserves to be recorded, to await the issue. Voss never publishes anything without his wife's advice; and in all cases where he himself doubts respecting any of his works, he makes her sole judge, especially in all matters of versification, as he himself told me . . . . She too, as is well known, has uncommon talent.

April 6.—In the afternoon I left Strasburg, and for the first time came into genuine French territory. Nothing can be more mistaken than Mad. de Stael's remark, that the national character of the two people is sharply defined and accurately distinguished at the Rhine. From Frankfort to Strasburg I found it gradually changing, the population growing more gay and open, more accustomed to live in the open air, more given to dress, and in general more light. At Strasburg, German traits still prevail, and I did not lose the language entirely until two posts before I came to Luneville. There I found all completely French,—people, houses, wooden shoes, impositions, etc., etc.

Paris, April 9.—I went this morning to see Oehlenschlaeger, the first Danish poet living, whose comedies are mentioned by Mad. de Stael. I found him a man about forty, hearty, happy, and gay, enjoying life as well as anybody, but living in Paris knowing and caring for nobody. He is vain, but not oppressively so; and on the whole is as likely to live out all his days in peace and happiness and good cheer as any one I have seen for a long time.

April 11.—This evening I have been for the first time to the French theatre; and I hasten to note my feelings and impressions, that I may have them in their freshness. It was rather an uncommon occasion,—the benefit of Mdlle. St. Val, now sixty-five years old, who has not played before for thirty years; and Talma and Mdlle. Mars both played . . . .The piece was Iphigenie en Tauride, by Guymond de la Touche, which has been on the stage sixty years, but I cannot find its merits above mediocrity . . . . . Iphigenie was performed by Mdlle. St. Val, who is old and ugly. She was applauded through the first act with decisive good-nature, and in many parts deserved it; but in the second act, when Talma came out as Orestes, she was at once forgotten, and he well deserved that in his presence no other should be remembered . . . . The piece and his part, like almost everything of the kind in the French drama, was conceived in the style of the court

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