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APPENDIX i
demonstrates that the whole of society is aristocratic; and it may be boldly inferred that the same lettered and learned class, which sways the dramatic writers, commands the people and governs the country.
The refined tastes and the arrogant bearing of an aristocracy will rarely fail to lead it, when it manages the stage, to make a kind of selection in human nature. Some of the conditions of society claim its chief interest; and the scenes which delineate their manners are preferred upon the stage. Certain virtues and even certain vices are thought more particularly to deserve to figure there; and they are applauded while all others are excluded. Upon the stage, as well as elsewhere, an aristocratic audience will meet only personages of quality, and share the emotions of kings. The same thing applies to style: an aristocracy is apt to impose upon dramatic authors certain modes of expression which give the key in which everything is to be delivered. By these means the stage frequently comes to delineate only one side of man, or sometimes even to represent what is not to be met with in human nature at all — to rise above nature and to go beyond it.
In democratic communities the spectators have no such partialities, and they rarely display any such antipathies: they like to see upon the stage that medley of conditions, of feelings, and of opinions, which occurs before their eyes. The drama becomes more striking, more common, and more true. Sometimes, however, those who write for the stage in democracies also transgress the bounds of human nature — but it is on a different side from their predecessors. By seeking to represent in minute detail the little singularities of the moment and the peculiar characteristics of certain personages, they forget to portray the general features of the race.
When the democratic classes rule the stage, they introduce as much licence in the manner of treating subjects as in the choice of them. As the love of the drama is, of all literary tastes, that which is most natural to democratic nations, the number of authors and of spectators, as well as of theatrical representations, is constantly increasing among these communities. A multitude of composed elements so different and scattered in so many different places, cannot acknowledge the same rules or submit to the same laws. No concurrence is possible among judges so numerous, who know not when they may meet again; and therefore each pronounces his own sentence on the piece. If the effect of democracy is generally to question the authority of all literary rules and conventions, on
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