It were in vain to attempt describing the innumerable excellencies which render her acting so perfectly enchanting;--the admirable manner in which the French comedies are performed is so particular to the stage of that country, that it would be quite fruitless to attempt to describe a style of acting unknown to the people of Britain; and of that style Mademoiselle Mars is the model. Every thing that can result from the truest elegance and gracefulness of manners--from the most genuine and lively _abandon_ of feeling,--from the most winning sweetness of expression, and the greatest imaginable gaiety and benevolence, displayed in one of the most beautiful women ever seen, and endowed with the most delightful and melodious voice, is united in Mademoiselle Mars; and all words were in vain, which would pretend to describe the bright and glittering vision which captivates the imagination. It is impossible to conceive any thing more perfect as a specimen of art, or more beautiful as an imitation of nature, than her representation of the kind of heroine most commonly to be found in a French comedy; lively and playful, yet elegant and graceful; entering with ardour into amusements, yet capable of deep feeling and serious reflection: fond of admiration and flattery, yet innocent and modest; full of petty artifice and coquetry, yet natural and unaffected in affairs of importance; capricious and giddy in appearance, but warm-hearted and affectionate in reality. It is a character to which there is a kind of approximation among many French women; and if it were as well supported by them in real life, as by her on the stage, it would be difficult even for French vanity to describe the fascination of their manner, in terms of admiration which would not command general assent. There is much variety, it must be added, in her powers. On one occasion, we saw her act Henriette in Les Femmes Savantes of Moliere, and Catau La Partie de Chasse de Henri IV, an£ it was difficult to say whether most to admire the wit, and elegance, and police raillery of the woman of fashion, or the innocent gaiety, and interesting naïveté of the simple peasant girl.
There is no actress at present on the English stage of equal eminence in a similar line of parts. The exhibition which can best convey to an English reader some slight notion of her enchanting acting, is the manner in which Miss O'Neil performs the scene in Juliet with the old nurse; because it is probably exactly the manner in which Mademoiselle Mars would perform that scene, but cannot afford any conception of her excellence in scenes of higher interest and greater feeling. Mrs Jordan may have equalled her in gaiety, and probably excelled her in humorous expression, but we suspect she must always have been deficient in elegance and refinement. The actress who, we think, comes nearest to her in genteel comedy, is Mrs Henry Siddons, in her beautiful representation of such parts as Beatrice or Viola; but she has not the same appearance of natural light-hearted buoyancy and playfulness of disposition; you see occasional transient indications of a serious thoughtful turn of mind, which assumes gaiety and cheerfulness, rather than passes naturally into it; which you admire, because it places the actress in a more amiable light, but which takes off from the fidelity and perfection of her art.