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If Voltaire's demerits are obvious enough to our eyes, his merits were equally clear to his contemporaries, whose vision of them was not perplexed and retarded by the conventions of another age. The weight of a reigning convention is like the weight of the atmosphere it is so universal that no one feels it; and an eighteenth-century audience came to a performance of Alzire unconscious of the burden of the Classical rules. They found instead an animated procession of events, of scenes just long enough to be amusing and not too long to be dull, of startling incidents, of happy mots. They were dazzled by an easy display of cheap brilliance, and cheap philosophy, and cheap sentiment, which it was very difficult to distinguish from the real thing, at such a distance, and under artificial light. When, in Mérope, one saw La Dumesnil; 'lorsque, to quote Voltaire himself, 'les yeux égarés, la voix entrecoupée, levant une main tremblante, elle allait immoler son propre fils; quand Narbas l'arrêta; quand, laissant tomber son poignard, on la vit s'évanouir entre les bras de ses femmes, et qu'elle sortit de cet état de mort avec les transports d'une mère; lorsque, ensuite, s'élançant aux yeux de Polyphonte, traversant en un clin d'oeil tout le théâtre, les larmes dans les yeux, la pâleur sur le front, les sanglots
The Queen's maid of honour entered without her handkerchief, and her hair most artfully undressed, and reeling as if she was maudlin, sobbed out a long narrative, that did not prove true; while Narbas, with all the good breeding in the world, was more attentive to her fright than to what had happened. So much for propriety. Now for probability.
In the last act, when one expected the catastrophe, Narbas, more interested than anybody to see the event, remained coolly on the stage to hear the story.
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