THE THEATRES.
The Bourgeois Gentilhoninur of Moliere, however excellently acted, is after all, as we play it, better suited to the closet than to a London stage. The joke of the man talking prose all his life without knowing it, and per- haps two or three other pleasantries, which originated with the renowned M. Jourdain, come down to us with such a traditional force that they are like certain quotations of Shakspere, incorporated in that mass of general allusion which every one is supposed to understand. The scene with the Master of Philosophy, the quarrel for superiority among the professors, (a version of the "nothing like leather" story,) and the hearty laugh of Nicole at the absurdities of her master, dwell on our minds as pleasant reminiscences: but when the whole of the dialogue is spoken before us it is astonishing to find the quantity at which we do not laugh, and which at the same time is so very extravagant that if it do not pro- duce a laugh it is altogether worthless. The " Marnamouchi" business, for instance, except the single joke on the conciseness of the Turkish lan- guage, is a grand absurdity, inartificially introduced; and while we feel that it is dull, we feel also that the author has departed from his funds- medial idea. The citizen Jourdain aping the manners of the noblesse, is a Character with which we can readily sympathize; but the same citizen turning Mussulman is a monster, with whom we have no more aomm= interest than with the gentleman who turns Harlequin in one of our Christmas pantomimes. But this is no fault of Moliere: he did not intend a comedy, but an extravaganzapin which incidents loosely thrown together are relieved by music and grotesque dancing. When we represent it on an. English stage, we omit these exhilarating adjuncts, and thus expose it to.an ordeal which a regular comedy can alone pass with perfect success. If, we produced one of our harlequinades as an ordinary ballet, omitting all the tricks, an exceedingly (lull and unmeaning ballet it would be. Yet it is under similar circumstances that we witness the representation of Le Bourgeois Gentilhomme.
With the acting of this piece at the St. James's Theatre not a fault is to be'found. Mi Perlet has made a careful study of the grotesque absurdi- ties of the Bourgeois. Cartigny is a most imposing Philosopher; Made- moiselle Brohan a right merry Nicole, with a most musical laugh; and Madame Grassau a sufficiently warm and positive Madame Jourdain. In fact, Mr. Mitchell has at present an excellent company.
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