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would exceed all reasonable bounds to enter into an analysis of them. The days of her Richard and Shylock are, it is to be hoped, over for ever, though there were many sensible things in both these parts -correct conceptions and original and spirited readings, which older heads might adopt with advantage ; but it was vexing to see a young and beautiful girl in such a part as Shylock, and the better she played it, the more provoking it was. In comedy there is a glorious and boundless prospect before her, and it is there she appears most perfectly at home. To the high-flown fashionable dames of genteel comedy she cannot as yet do justice, though the time may come when she will do so. One thing is against her. In the lady of high life there is much that is artificial. Now Miss Fisher is too natural for such characters; her spirits are too wild and untameable to be "cabin'd, cribbed, confined, bound in,” by the ordinances of a highly polished state of society. Her fine ladies are consequently full of brilliant points-excellent in detached scenes and sentences, but not in keeping as a whole. In parts where nature has fair play, such as Peggy in the Country Girl, or Phebe in Paul Pry, "none but

, herself can be her parallel.” How different from these, yet how delightful in itself, was her Viola in Twelfth Night. We were never before so conscious

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“ flashes and outbreakings of genius.” To me, gross and habitual exaggeration seems to pervade nearly all the tragic exhibitions on the stage ; and if this be so, it is sufficient evidence of the absence of feeling. Genuine feeling never exaggerates. Those who are really touched by the parts they assume, may, from that very cause, be so little master of themselves as to fail in giving a finished portrait of the character they have undertaken to represent; but they never, by any chance, fall into the opposite fault of "o'erstepping the modesty of nature,” and becoming more violent than the hero or heroine of the scene would have been in reality. There is generally, however, an instinctive propriety about true passion, which leads those under its influence to do neither more nor less than they ought to do; whilst the less easily excited feelings of others wait upon the judgment, and it becomes a matter of calculation how much grief or energy must be used on certain occasions. But it is invariably your hacknied, cold blooded actors, without either passion or judgment, and who off the stage laugh at any thing like enthusiasm in their art as ridiculous, that “out-herod Herod," and affect a superabundance of feeling to conceal their utter want of it; just as ladies of questionable character make an over parade of delicacy; or, indeed, as pretennot only sings it, but acts it in the most arch and spirited or tender and impressive manner. Her face is a mirror where every sentiment of humor or feeling expressed in the verse is reflected. What a delightful piece of pleasantry is her "Fall not in love;" and how tame and vapid any of her little simple ballads sound when sung afterwards by vocalists of superior pretensions. But there is no end to her varied qualifications, and there seems to be scarcely any limit to her powers.

RONZI VESTRIS.

When you do dance, I wish you
A wave o' the sea, that you might ever do
Nothing but that; move still-still so, and own
No other function.-Shakspeare.

We were born upon a spot of earth where feet are used for prosaic rather than poetical purposes, and where they are looked upon merely as appendages which it would be singular and inconvenient to be without. Independent of the ordinary business of life, walking and running matches, leaping, or any other hardy and vigorous exercises, were the affairs in which their services were commonly required though, to be sure, the people did at times assemble, and voluntarily undergo and perform a violent and eccentric motion, by them termed dancing ; but, as regarded all the graceful uses to which feet, and the limbs to which they are more immediately attached, might be brought by scientific cultivation, not an idea was entertained, and not a glimmering of light

had been diffused on the subject. Dancing was there in a primitive state, or rather, it was worse like the Russians, hovering between barbarism and civilization, with all the bad properties of both, and little of the good of either. The freedom and un.taught grace of nature were gone, without

any

of the beautiful combinations and surprising achievements of art being substituted in their place. To a spectator, it seemed as if the parties engaged (the men at least) were, without any perceivable reason, subjecting themselves to a rough and somewhat disagreeable exercise. By a violent exertion of the muscles, the body was forced bolt-upright into the air, whence, as soon as the impetus had ceased, it returned as speedily as possible to the floor, which it no sooner touched, than another desperate effort again propelled it upward, and so on, until nature was exhausted. We had indeed at times misgivings if this could really be dancing ; an art that was said to consist of a series of the most skilful and picturesque movements; and as we read of the Asiatic girls, the Greeks, Herodias, Mercandotti, Deshays, and others eminent in that line, we marvel exceedingly; but any expressed opinion on the subject was instantly put down by a reference to the high professional character of the two gentlemen

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