FROM 1780 Page. I cannot well describe the fashion of it: Lady. Thine eyes deceive thee, boy; Preberg. [Starting from his seat, where he has been sitting during the conversation between the Lady and the Page.] It is an apparition he has seen, Or it is Jane de Montfort. WILLIAM GODWIN-WILLIAM SOTHEBY. MR GODWIN, the novelist, attempted the tragic drama in the year 1800, but his powerful genius, which had produced a romance of deep and thrilling interest, became cold and frigid when confined to the rules of the stage. His play was named Antonio, or the Soldier's Return. It turned out a miracle of dulness,' as Sergeant Talfourd relates, and at last the actors were hooted from the stage. The author's equanimity under this severe trial is amusingly resat on lated by Talfourd. Mr Godwin, he says, one of the front benches of the pit, unmoved amidst the storm. When the first act passed off without a hand, he expressed his satisfaction at the good sense of the house; "the proper season of applause had not arrived;" all was exactly as it should be. The second act proceeded to its close in the same uninterrupted calm; his friends became uneasy, but still his optimism prevailed; he could afford to wait. And although he did at last admit the great movement was somewhat tardy, and that the audience seemed rather patient than interested, he did not lose his confidence till the tumult arose, and then he submitted with quiet dignity to the fate of genius, too lofty to be understood by a world as yet in its childhood.' The next new play was also by a man of distinguished genius, and it also was unsuccessful. Julian and Agnes, by WILLIAM SOTHEBY, the translator of Oberon, was acted April 25, 1800. In the course of its performance, Mrs Siddons, as the heroine, had to make her exit from the scene with an infant in her arms. Having to retire precipitately, she inadvertently struck the baby's head violently against a door-post. Happily, the little thing was made of wood, so that her doll's accident only produced a general laugh, in which the actress herself joined heartily.' This 'untoward event' would have marred the success of any new tragedy; but Mr Sotheby's We is deficient in arrangement and dramatic art. may remark, that at this time the genius of Kemble and Mrs Siddons shed a lustre on the stage, and reclaimed it from the barbarous solecisms in dress and decoration which even Garrick had tolerated. Neither Kemble nor Garrick, however, paid sufficient attention to the text of Shakspeare's dramas, which, even down to about the year 1838, continued to be presented as mutilated by Nahum Tate, Colley Cibber, and others. The first manager who ventured to restore the pure text of the great dramatist, and present it without any of the baser alloys on the stage, was Mr Macready, who made great though unavailing efforts to encourage the taste of the public for Shakspeare and the legitimate drama. 8. T. COLERIDGE. The tragedies of Coleridge, Scott, Byron, Procter, and Milman (noticed in our account of these poets), must be considered as poems rather than plays. Coleridge's Remorse was acted with some success in 1813, aided by fine original music, but it has not since been revived. It contains, however, some of Coleridge's most exquisite poetry and wild superstition, with a striking romantic plot. We extract the scene in which Alhadra describes the supposed murder of her husband, Alvar, by his brother, and animates his followers to vengeance. [Scene from Remorse."] The Mountains by Moonlight. ALHADRA alone, in a Alhadra. Yon hanging woods, that, touched by As they were blossoming hues of fire and gold; [She fixes her eyes on the earth. Then drop in, one after another, from different parts of the stage, a considerable number of Morescoes, all in Moorish garments and Moorish armour. They form a circle at a distance round ALHADRA, and remain silent till the second in command, NAOMI, enters, distinguished by his dress and armour, and by the silent obeisance paid to him on his entrance by the other Moors.] thee! Naomi. Woman, may Alla and the prophet bless circle.] Warriors of Mahomet! faithful in the battle! Naomi. Where is Isidore! Alhad. [In a deep low voice.] This night I went from His children all asleep; and he was living! All Morescoes. Perished? One Moresco to another. Did she say his murder! Naomi. Murder! Not murdered! Alhad. Murdered by a Christian! [They all at once Alhad. [To Naomi, who advances from the circle.] 514 Alhad. Yes, the mouth of yonder cavern. Rush by with flaring torch; he likewise entered. And once methought I heard the clash of swords! He flung his torch towards the moon in sport, Alhad. I crept into the cavern Twas dark and very silent. [Then wildly.] What saidst thou? No, no! I did not dare call Isidore, A hideous light! his torch lay on the ground; groan! Naomi. Comfort her, Alla. Alhad. I stood in unimaginable trance, And agony that cannot be remembered, Listening with horrid hope to hear a groan! But I had heard his last, my husband's death-groan! Naomi. Haste! let us onward. Alhad. I looked far down the pit My sight was bounded by a jutting fragment; And it was stained with blood. Then first I shrieked, All Away, away! [She rushes off, all following. The incantation scene, in the same play, is sketched with high poetical power, and the author's unrivalled musical expression: Scene-A Hall of Armory, with an altar at the back of the stage. Soft music from an instrument of glass or steel. And lower down poor Alvar, fast asleep, Alv. My tears must not flow! I must not clasp his knees, and cry, My father! Ter. Lord Valdez, you have asked my presence here, Ord. Believe you, then, no preternatural influence ! Believe you not that spirits throng around us? Ter. Say rather that I have imagined it A possible thing: and it has soothed my soul On such employment! With far other thoughts Ord. [Aside.] Ha! he has been tampering with her? Alv. O high-souled maiden! and more dear to me Than suits the stranger's name! I swear to thee I will uncover all concealed guilt. Doubt, but decide not! Stand ye from the altar. So Soul of Alvar! Hear our soft suit, and heed my milder spell: Who in broad circle, lovelier than the rainbow, Ye, as ye pass, toss high the desert sands, 6 VALDEZ, ORDONIO, and ALVAR in a Sorcerer's robe are dis- By sighs unquiet, and the sickly pang covered. Of a half dead, yet still undying hope, [Song behind the scenes, accompanied by the same instrument as before.] Hear, sweet spirit, hear the spell, Alv. A joy to thee! What if thou heardst him now! What if his spirit Ord. [Struggling with his feelings.] Yes, my father, Alv. [Still to Ordonio.] But what if he had a Who had lived even so, that at his dying hour Val. Idly prating man! Thou hast guessed ill: Don Alvar's only brother Alv. [Still to Ordonio.] What if his very virtues curate of St Peter's, Dublin. The scanty income derived from his curacy being insufficient for his comfortable maintenance, he employed himself in assisting young persons during their classical studies at Trinity college, Dublin. The novels of Maturin (which will be afterwards noticed) enjoyed considerable popularity; and had his prudence been equal CR Maturin to his genius, his life might have been passed in comfort and respect. He was, however, vain and extravagant always in difficulties (Scott at one time generously sent him £50), and haunted by bailiffs. When this eccentric author was engaged in composition, he used to fasten a wafer on his forehead, which was the signal that if any of his family entered the sanctum they must not speak to him! The success of 'Bertram' induced Mr Maturin to attempt another tragedy, Manuel, which he published in 1817. It is a very inferior production: the absurd work of a clever man,' says Byron. The unfortunate author died in Dublin on the 30th of October 1824. [Scene from 'Bertram.'] [A passage of great poetical beauty, in which Bertram is represented as spurred to the commission of his great crimes by the direct agency of a supernatural and malevolent being. -Sir Walter Scott.] PRIOR-BERTRAM. Prior. The dark knight of the forest, So from his armour named and sable helm, He dwells alone; no earthly thing lives near him, Bertram. I'll ring a summons on his barred portal Shall make them through their dark valves rock and ring. Prior. Thou'rt mad to take the quest. Within my memory Dark thoughts dwelt with him, which he sought to vent. Young lord! I tell thee that there are such beings-One solitary man did venture there [Music again. REV. CHARLES ROBERT MATURIN. The REV. CHARLES ROBERT MATURIN, author of several romances, produced a tragedy named Bertram, which, by the influence of Lord Byron, was brought out at Drury Lane in 1816. It was well received; and by the performance and publication of his play, the author realised about £1000. Sir Walter Scott considered the tragedy 'grand and powerful, the language most animated and poetical, and the characters sketched with a masterly enthusiasm.' The author was anxious to introduce Satan on the stage, a return to the style of the ancient mysteries by no means suited to modern taste. Mr Maturin was Unto that dark compeer we saw his steps, Horrors to me are kindred and society. Or man, or fiend, he hath won the soul of Bertram. [Bertram is afterwards discovered alone, wandering near the fatal tower, and describes the effect of the awful interview which he had courted.] Bertram. Was it a man or fiend? Whate'er it was, The invisible blast to which the dark pines groan, How spoke the eloquent silence of its motion, 516 I felt those unseen eyes were fixed on mine, Forgotten thoughts of evil, still-born mischiefs, To bide the eternal summons I am not what I was since I beheld him— Enter two of his band observing him. First Robber. Seest thou with what a step of pride he stalks! Thou hast the dark knight of the forest seen ; Trod with such step or flashed with eye like thine. Second Robber. And hast thou of a truth seen the dark knight? That brightness all around thee, that appeared In the same year with Mr Sheil's 'Evadne' (1820) appeared Brutus, or the Fall of Tarquin, a historical tragedy, by JOHN HOWARD PAYNE. There is no originality or genius displayed in this drama; but, when well acted, it is highly effective on the stage. In 1821 MR PROCTER'S tragedy of Mirandola was brought out at Covent Garden, and had a short but enthusiastic run of success. The plot is painful (including the death, through unjust suspicions, of a prince sentenced by his father), and there is a want of dramatic movement in the play; but some of the passages are imbued with poetical feeling and vigorous expression. The doting affection of Mirandola, the duke, has something of the warmth and the rich diction of the old dramatists. Duke. My own sweet love! Oh! my dear peerless wife! Bertram. [Turning on him suddenly.] Thy hand is By the blue sky and all its crowding stars, chilled with fear. Well, shivering craven, First Robber. Mock me not thus. Hast met him of a truth? RICHARD L. SHEIL-J. H. PAYNE-B. W. PROCTER Another Irish poet, and man of warm imagination, is RICHARD LALOR SHEIL. His plays, Evadne and The Apostate, were performed with much success, partly owing to the admirable acting of Miss O'Neil. The interest of Mr Sheil's dramas is concentrated too exclusively on the heroine of each, and there is a want of action and animated dialogue; but they abound in impressive and well-managed scenes. The plot of 'Evadne' is taken from Shirley's Traitor, as are also some of the sentiments. The following description of female beauty is very finely expressed :— But you do not look altered-would you did! Sphered in the stillness of those heaven-blue eyes, I love you better-oh! far better than I speak the truth, by Dian. Even now Duke. We'll ride together, dearest, Some few hours hence. [Exit. Isid. Just as you please; farewell. Duke. Farewell; with what a waving air she goes Along the corridor. How like a fawn; Yet statelier. Hark! no sound, however soft (Nor gentlest echo), telleth when she treads; But every motion of her shape doth seem Hallowed by silence. Thus did Hebe grow Amidst the gods, a paragon; and thusAway! I'm grown the very fool of love. About the same time Conscience, or the Bridal Night, by MR JAMES HAYNES, was performed, and afterwards published. The hero is a ruined Venetian, and his bride the daughter of his deadliest enemy, and the niece of one to whose death he had been a party. The stings of conscience, and the fears accompanying the bridal night, are thus de scribed :: [LORENZO and his friend JULIO.] Never again: even at my bridal hour Thou sawest detection, like a witch, look on And smile, and mock at the solemnity, Conjuring the stars. Hark! was not that a noise! Jul. No; all is still. Lor. Have none approached us? Jul. None. Lor. Then 'twas my fancy. Every passing hour Is crowded with a thousand whisperers; The night has lost its silence, and the stars Shoot fire upon my soul. Darkness itself Has objects for mine eyes to gaze upon, And sends me terror when I pray for sleep In vain upon my knees. Nor ends it here; My greatest dread of all-detection-casts Her shadow on my walk, and startles me At every turn: sometime will reason drag Her frightful chain of probable alarms Across my mind; or, if fatigued, she droops, Her pangs survive the while; as you have seen The ocean tossing when the wind is down, And the huge storm is dying on the waters. Once, too, I had a dream Jul. The shadows of our sleep should fly with sleep; Nor hang their sickness on the memory. Lor. Methought the dead man, rising from his tomb, To clasp my wife; but she was pale, and cold, JAMES SHERIDAN KNOWLES. The most successful of modern tragic dramatists is MR JAMES SHERIDAN KNOWLES, whose plays W. Knowles have recently been collected and republished in three volumes. His first appeared in 1820, and is founded on that striking incident in Roman story, the death of a maiden by the hand of her father, Virginius, to save her from the lust and tyranny of Appius. Mr Knowles's Virginius had an extraordinary run of success. He has since published The Wife, a Tale of Mantua, The Hunchback, Caius Gracchus, The Blind Beggar of Bethnal Green, William Tell, The Love Chace, &c. With considerable knowledge of stage effect, Mr Knowles unites a lively inventive imagination and a poetical colouring, which, if at times too florid and gaudy, sets off his familiar images and illustrations. His style is formed on that of Massinger and the other elder dramatists, carried often to a ridiculous excess. He also frequently violates Roman history and classical propriety, and runs into conceits and affected metaphors. These faults are counterbalanced by a happy art of constructing scenes and plots, romantic, yet not too improbable, by skilful delineation of character, especially in domestic life, and by a current of poetry which sparkles through his plays, not with a dazzling lustre-not with a gorgeousness that engrosses our attention, but mildly and agreeably; seldom impeding with useless glitter the progress and development of incident and character, but mingling itself with them, and raising them pleasantly above the prosaic level of common life."* [Scene from Virginius.'] APPIUS, CLAUDIUS, and LICTORS. Appius. Well, Claudius, are the forces At hand? Claudius. They are, and timely, too; the people Are in unwonted ferment. App. There's something awes me at The thought of looking on her father! Claud. Look Upon her, my Appius! Fix your gaze upon The treasures of her beauty, nor avert it Till they are thine. Haste! Your tribunal! Haste! [Appius ascends the tribunal. [Enter NUMITORIUS, ICILIUS, LUCIUS, CITIZENS, VIRGINIUS leading his daughter, SERVIA, and CITIZENS. A dead silence prevails.] Virginius. Does no one speak? I am defendant here. Is silence my opponent? Fit opponent To plead a cause too foul for speech! What brow Shameless gives front to this most valiant cause, That tries its prowess 'gainst the honour of A girl, yet lacks the wit to know, that he Who casts off shame, should likewise cast off fearAnd on the verge o' the combat wants the nerve To stammer forth the signal? App. You had better, Virginius, wear another kind of carriage; This is not of the fashion that will serve you. Vir. The fashion, Appius! Appius Claudius tell me The fashion it becomes a man to speak in, Whose property in his own child-the offspring Of his own body, near to him as is His hand, his arm-yea, nearer-closer far, Claudius! If you lay claim to any interest Claud. Most noble Appius Vir. And are you the man That claims my daughter for his slave?-Look at me And I will give her to thee. * Edinburgh Review for 1833. וי יו |