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309
The Ladies' Book of Etiquette, and Manual of Politeness
·
Florence Hartley
173
The
modern
French
writers
have
increased
an
everlasting
responsibility
in
corrupting
the
sources
of
amusement,
open
to
the
young
readers,
and
it
is
remarkable
that
most
of
the
distinguished
French
authors
seem
to
have
felt
that
they
had
erred,
and
to
have
retrieved
in
some
of
their
works
the
tendencies
of
their
other
productions.
Take
for
instance,
Madame
de
Stael;
her
books
cannot
be
judged
altogether;
the
effect
of
some
of
her
eloquent
and
almost
incomparable
writings
varies
in
an
extraordinary
degree.
Whilst
"Delphine"
is
unfit
for
the
perusal
of
a
modest
woman,
her
"L'Allemagne"
is
finely
written
throughout,
and
her
criticisms
and
analyses
of
German
writers
are
full
of
instruction
as
well
as
interest.
Still
the
works
open
to
readers
of
French
are
numerous.
The
tragedies
of
Corneille
and
Racine
are
forcible
and
finished,
and
should
be
read
because
classical.
The
"Alzire"
of
Voltaire
and
his
"Zaire"
with
the
dramas
of
Casimir
de
la
Vigne
are
also
worthy
of
perusal.
It
is
not
an
inspiriting
kind
of
reading,
but
it
is
rich
in
sentiment,
and
perfectly
unexceptionable
in
moral
tone.
Although
the
scepticism
of
most
German
writers
renders
this
literature
dangerous
to
a
young
mind,
there
are
fields
of
pure,
noble
writing
open
in
that
language.
The
works
of
Schiller,
for
example.
His
mind
was
originally
noble,
his
heart
good,
his
love
to
mankind,
and
his
enquiry
after
truth
were
sincere.
In
early
life,
he
wavered;
and
the
besetting
scepticism
of
the
Germans
dimmed,
for
a
time,
his
perceptions
of
all
that
is
most
sublime,
as
well
as
true,
in
our
finite
knowledge.
He
was
chastened--he
suffered--he
believed.
He
died
an
early
but
a
bright
instance
that
great
genius
may
exist
with
true
and
humble
piety,
and
that
the
mind
is
never
so
powerful
as
when
illumined
by
divine
light.
His
works
are
a
magnificent
library
in
themselves--and
I
could
almost
say,
be
contented
to
learn
German
and
to
read
Schiller.
Some
of
his
works
are
open
to
objection,
his
"Bride
of
Messina,"
portions
of
"The
Robbers,"
are
better
omitted
from
your
collection,
but
"Wallenstein"
and
"Maria
Stuart"
are
noble
and
admirable
productions.
On
this
subject,
and,
indeed,
on
the
whole
of
German
literature,
Madame
de
Stael
is
an
excellent
guide
in
her
"L'Allemagne,"
to
which
I
refer
the
young
German
student,
who
is
sincerely
desirous
of
gleaning
the
good,
and
avoiding
the
evil
in
German
compositions.
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