Russia in 1839 -Empire of the Czar: A Journey Through Eternal Russia

28f)STATE OF ТПЕ

of ameliorating the condition of his people. However superior a man may be, he does not voluntarily renounee his own way of doing good to others.

But what right have we to reproach the Emperor of Russia with his love of authority ? Is not the genius of revolution as tyrannical at Paris as the genius of despotism at Petersburg ?

At the same time, we owe it to ourselves to make here a restriction that will show the difference between the social state of the two countries. In France, revolutionary tyranny is an evil belonging to a state of transition ; in Russia, despotic tyranny is permanent.

It is fortunate for the reader that I have wandered from the subject with which I commenced my chapter, namely, the illuminated theatre, the gala representation, and the translated pantomime (a Russian expression) of a French ballet. Had I continued my description, he might have experienced a little of the ennui with which this dramatic solemnity inspired me ; for the dancing at the Opera of Petersburg, without ]\Iadamoiselle Taglioni, is as cold and stiff as the dances of all European theatres when they are not executed by the first talents in the world ; and the presence of the court encourages neither actors nor audience, for, before the sovereign, it is not permitted to applaud. The arts, disciplined as they are in Russia, produce interludes which do very well to amuse soldiers during the intervals of military command. They are magnificent, royal, imperial— but they are not really amusing. Here the artistes obtain wealth, but they do not draw inspiration: