but were relieved by startling mechanical contrivances, and a kind of farcical broad humour, and detached passages of great vigour and power expressed in language highly poetical, but somewhat overcharged with metaphor and trope. In fine, they seemed to me very much what the plays of Shakespeare seemed to a Parisian in the time of Louis XV., or perhaps to an Englishman in the reign of Charles II.
The audience, of which the Gy-ei constituted the chief portion, appeared to enjoy greatly the representation of these dramas, which, for so sedate and majestic a race of females, surprised me, till I observed that all the performers were under the age of adolescence, and conjectured truly that the mothers and sisters came to please their children and brothers.
I have said that these dramas are of great antiquity. No new plays, indeed no imaginative works sufficiently important to survive their immediate day, appear to have been composed for several generations. In fact, though there is no lack of new publications, and they have even what may be called newspapers, these are chiefly
