The Ladies' Book of Etiquette, and Manual of Politeness

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.