THE DRAMA. IN 'bare justice to the gaping Munden, takes his leave of the stage anxiety of the public, and to the this season; he plays the whole secarpenters, joiners, gilders, plumbers, ries of his crack characters; and those painters, and glaziers, employed by who will never see him again, will our managers, we (the humdrum most probably go to see him now. gentleman of last month) should Drury Lane and Covent Garden have forthwith exhibit our descriptive handy-dandied their principal hepowers in a glowing detail of the in- roes; Young now plays first buskin genious bauble-work which adorns at the latter house, Macready (until the inner exterior of both the great Kean extinguishes him, as he did theatres; but our faculties do not Young, last season) at the former. show themselves that way. After an Hamlet has been played twice or accurate survey and valuation of our thrice at both theatres this month. talents, we find them to lie wholly in We had intended giving our readers prosing, and we crave permission of a comparison between Young and our readers to follow the bent of our Macready in this character; but genius.

there is none. Mr. Maeready, in atAt Drury Lane, the only glaring tempting to play Hamlet, does himnovelty of the season (for there are self great injustice, and the author several new appearances in that he- much more. The scene of the little misphere) is a Mr. Browne, who has Epi-drame, the “Mouse-trap,” where performed the part of Foppington, in he lies at Ophelia's feet, was incomthe Trip to Scarborough, several parably ill done. He will, certainly, times, with considerable applause. never earn himself an eulogy in this We are glad to find the public con- character. In the singular but exfirming our opinion of Mr. Rayner quisitely natural intermixture of traby their approbation, at Covent Gar- gedy and comedy, which distinden. The School of Reform has been guishes the part of Hamlet, Mr. revived here, to introduce this pro- Young is not uniformly successful. mising actor, in Emery's celebrated His tragedy will ever want the soul character of Tyke, and has been fre- of tragedy-passion; his comedy was quently repeated in the course of the judicious, and highly worthy of month, with uniform success. Clara praise. Grave comedy, we think, is Fisher, the “ infant prodigy,” or palpably Mr. Young's forte. Inlittle monster, as we should prefer stead, however, of discussing the calling her, has too often drawn upon merits and deficiencies of a particuthe admiration of the multitude and lar actor, which are probably already the indignation of the critic, to per- familiar to most of our readers, we mit us any further indulgence in cen- will assume the privilege of deviating sure or praise. We would only beg a little from the beaten track of thealeave to make one remark, viz. that trical reviewing, and make a few dethis young lady, if we have any dis- sultory remarks upon this inimitable cernment, cannot possibly be so old tragedy, and the general manner in as she is represented by some. Any which it was exhibited or got up, by one who observes her performance of each company. the Country Girl in the Actress of All, Whoever has entered fully into the Work, will find that it is not (what spirit of Shakspeare's plays, besides it ought to be) a delineation of their superiormerit as poetry or bashful hoydenry, but of childish drama, finds this curious distinction awkwardness; not the grown-up ige between them and all others, scil. norance of a rustic maiden, but the that while the latter gain, the former apple-eating simplicity of a child. lose, by representation. The palm of This is an ambiguous kind of de second-rate superiority lies, we befence, to be sure ; for in proving her lieve, between Venice Preserved, and youth, we have been compelled to A New Way to Pay Old Debts : show that she mistakes the charac- whatever Otway's tragedy may arroter. But we are persuaded, as in- gate in point of pathos and florid deed most people are, of the truth of eloquence, is amply counterbalanced qur opinion. I very old favourite, in Massinger's by strength of chio

a

racter and delineation. But how which the mere reader of these pieces dull are both these plays in the study, would never sanction. But with the to what they are on the stage? On partial exceptions we made above, the contrary, how immeasurably be there is ever a deficit in the reprelow their written sublimity, do Lear, sentation of the Great Dramas; td Othello, Macbeth, and Hamlet, ap- find pleasure in their general enactpear, when spoken from the boards? ment would be a terrible step downIn some few passages, where a Kem- ward for the mind to take which has ble or

a Kean exhausts the per- ever ascended their abstract sublimity. fection of histrionic art in imper- Adverting particularly to our proper sonating the conceptions of the divine subject, Hamlet :-we were never so poet, the spectator may, perhaps, be vividly alive to the truth of this our satisfied to the very brim of his ex- theory, as some evenings ago, when pectation; nay, the illusion of the we underwent the operation of having scenery, and

the real, visible speakers this tragedy performed on both our and doers of the word and deed, be- eyes and our ears, at the two princifore him,-otherwise to be seen only pal theatres. The opening scene of in the mind's eye,-may transport Hamlet would, we calculate, enhim in the moments of enthusiasm gross the flower of both houses to to a more vivid conception of his au- represent it effectively: we think it thor's sublimities, than he can enjoy not possible to represent it adequately, in the closet,-a more vivid, but not in the present condition of human a higher conception. Lear's Impre- faculties. Indeed this latter asser: cation and Othello's Farewell, the re- tion is more than a point of opinion, spective chefs-d'æuvre, it may be said, it is demonstrably true, for how is it of Kemble and Kean, might be al- possible to represent this passage by lowed as practical and adequate rea- the instrumentality of human agents: lizations of the draughts of fancy;

Horatio.-Stop it, Marcellus.but in how many instances have Marcellus. Shall I strike at it with my these celebrated actors fallen short of

partizan ? their object, for one in which they Hor. Do, if it will not stand. have fully attained it? In how many Bernardo. 'Tis here cases have they utterly failed? Wit- Hor. 'Tis here ness Kean's inarticulate ebullitions of Mar. 'Tis gone-(Exit Ghost.) rage, and Kemble's artificial ela. Now we humbly conceive, that it borateness of delivery. And if such would exact more agility and power men as these be unequal to the task of instantaneous evanescence than is of perfectly and throughout repre- consistent with the gravity of the husenting Shakspeare's ideas, what can man body, to flit in a true ghost-like we hope from the most industrious ex- manner from Horatio, to Marcellus, ertions of the mob-tragic in general? from Marcellus to Bernardo, from BerThis is the unfortunate effect of the nardo to Horatio again, and from Hopoet's having, even in his most sub- ratio to its hiding-place, as isevidently ordinate parts, written too much be- indicated by the words of the poet; yond human powers and faculties of especially if the character of Ghost sensibly representing the creations be filled by one of those pursy yeoof the mind. The actor sinks under men generally selected for the office. the magnitude of the idea he has to The only method of at all giving this convey to the audience; he in vain passage its adequate effect (and which attempts to modulate his voice to the we, by the way, propose to the consisweetness or energy of the lan- deration of the managers) would be to guage. There is no such appalling perform the Ghost, at least thus far, disparity between Otway's and Mas- by machinery. An effigy might be singer's conceptions or phrase, and so constructed as to ubiquitate in the those of common humanity; the required manner, but a camal ghost mob-tragic is therefore nearly com- is manifestly unequal to the task. petent to discharge their several cha- This is evident from the passage beracters ad unguem ; whilst the chief ing always omitted in the performperformers generally top their parts, ance of the tragedy. But not to

scenery, machinery, deco- speak of adequate representation, pri delude the spectator we say that it would require the

enditure of applause, combined talent of both Drury-lane and Covent-garden to give this scene time too, that more money is lavishanything like its due effect. Woulded on scenical emblazonry, and the not Horatio's speech, “A mote it is dresses of a flock of clumsy angels to trouble the mind's eye,” demand or dancing-girls, than would purall the graceful enunciation of a chase, body, soul, and services, all Young to do it approximate justice? the provincial heroes in England'! At Would not Macready find his ener- Covent-garden especially, we must gies completely monopolized by the remark, that with one or two expart of Marcellus ? and C. Kemble ceptions, the characters in this tra have some difficulty in screwing up gedy are supported by such a file his magnificent features to express of notables as are rarely to be met Bernardo's terror at ghost-time? with on any stage, real or metaAnd after all, would not the super- phorical. We had, to be sure, Mr. natural and extravagant sublimity Young for the “ Philosophic Prince;” of the whole scene, both in language but instead of C. Kemble and Cooper, and design, transcend the sum of who were, we suppose, twirling their these gentlemen's efforts to reach it thumbs in the green-room or the practically? Even Cooper's copper- coffee-house, the parts of Laertes toned voice would not be a whit too and Horatio were devolved on the sonorous for Francesco; nor would obsequious shoulders of Abbott and his judgment have a sinecure in giv- Connor. Marcellus was performed ing its proper weight and meaning to by a Mr. Somebody, (we forget the the momentous insignificance of that nomine gaudet); the King by Mr. part. But when we see a parcel of Some-other-body; and the sublime scare-crows, the refuse of the barley- though brief part of the Ghost, by field, stuck upon the stage to frighten Mr. Somebody-else (a short gentleman away the audience greedy of this of "fair round belly” and considera scenic feast, --indignation is too fierce ble rotundity of person). “ Dear to allow us the relief of contemptu- Rosencrantz and Guildenstern," ous laughter at the miserable figures courted our approbation through the before us. To hear a knock-kneed medium of a pair of Thespians, most halberdier, whom a good gust of aptly adapted in point of figure and wind would overset, cry, “ Stand, fashion to the inanity of their ale and unfold yourself!” to Bernardo, lotted characters, but too obviously who answers, “ Long live the King!” the veritable “Guildenstern and genin a heroism of emphasis and gesture tle Rosencrantz” of real life, to be quite supererogatory: then enter the “ Rosencrantz and gentle GuilMarcellus in a pair of mud-boots, denstern” of the stage. At Druryand Horatio, a honey-tongued Hiber- Lane, the general face of the pernian perhaps, with a sweet drawl formance was much better, though and mellifluous prolixity of enunci- still very miserable. Here the deation, caught from the sleepy run- ceased monarch was not again so nels of the Bog of Allen: to hear foully murdered in the person of his the latter triumvirate (halberdier ghost as at the rival house; Mr. Francesco exiting with all imagina- Wallack, in spite of a contour of ble gravity and dispatch) tolling limb and altitude of person someout their speeches to one-another what too Roman, gave the auditor a with "

good accent and good dis much more favourable impression of cretion,' till the Ghost appears, the Royal Dane than he could receive burly or bandy, armed cap-à-pé in from Mr. Somebody-else in the very a suit of turtle-green buckram, and prime of his theatrical powers. On just abont as close a resemblance of the whole, this tragedy of Ilamlet, the “ majesty of buried Denmark,” which, perhaps, less than any of the as a hippopotamus is of a race-horse: other three master-plays of Shaks-to hear and see all this execution peare, could be acted up to our con

upon Shakspeare with any de- ception of it, even under the most fagree of composure is a point beyond vourable circumstances,-is, by his stoical imperturbability of feeling. Majesty's Servants at Drury-Lane, Yet this is nothing more than what and his Majesty's subjects at Coventthe spectator is compelled to endure, Garden, now performing at these rewho

goes to see Hamlet at either of spective places, not only murdered the great theatres. And at the very but mussucreu.

done

new

Finally, we beg leave to advert Transpose tatters and rags. to a system now very much in vogue

Mr. Young at both theatres; originating, we

Hamlet. An act presume, in the superfluity of wit and That blurs the grace and blush of mointelligence which has always dis

desty, tinguished the gentry of the greenroom. We mean that system, which, That blurs the blush and grace of modisdaining circumscription to the

desty,

Mr. Young. mere duties of the profession, im- We suppose for sake of the graceful proves upon Shakspeare's text, by alliteration. conjectural emendations, happy alte- Hamlet. makes marriage vov rations, ingenious interpolations, and As false as dicers' oaths ; annihilations ad libitum. It is our

Dele. duty to announce with their proper

Mr. Macready. authorities as many of these “ A King of shreds and patches ! readings” as we can give place to, Dele “ shreds and patches.” for the benefit of critics and embryo

Mr. Dillo, commentators, the present age, and posterity:

Forth at your cyes your spirits wildly "Tis not alone my inky cloak, good mo

peep, — ther,

Forth at your eyes your spirits vainly 'Tis not alone my inky coat, good mo

peep, ---

Mrs. Faucit, ther Mr. Macready.

Let Hercules himself do what he may, Nor customary suits of solemn black.- Let Hercules himself say what he may,

Mr. Macready; This line, Mr. Young, and Mr. Macready, agree to reject, as evidently Hercules being long celebrated for spurious.

his astonishing powers of oratory, Hamlet. His beard was grizzled ? no ? though unfortunately deficient in boHoratio. It was, as I have seen it in his dily strength, and in powers of doing, life,

nothing more than a great baby." A sable silver'd.

With these exquisite specimens of It was, as I have seen it in his life, the profound learning and acute Rather of a delicate light browon, or mud- judgment which dictate the innumecolour. Mr. Wallack.

rable corrections and illimitable lopthis being about the hue of the ping, whereby that wretched poet, “ hairy meteor” which decorated Shakspeare, is rendered fit for the Mr. Wallack’s chin the night we saw public ear, we take our leave, for the him in the character of Ghost. present, of Hamlet and the Players. Like quills upon the fretful porcupine ;

N. B. There is a splendid piece of Like quills upon the fearful porcupine. mummery in contemplation among

Ghost of Covent-Garden. the conjurors of Drury-Lane; nay, Man delights not me,-nor woman neither. we believe it has been already exMan delights not me, -No,-nor woman posed to the "white, up-turned, wonneither.

Mr. Young

d'ring eyes” of the pittites. This, Man delights not me,-no, no sir, no,-nor woman neither. Mr. Macready.

we are prone to conjecture, will only

serve to excite the laudable ambition And cleave the general ear with horrid of our other colossal show-box at speech,

Covent-Garden; we may therefore Dele this line according to Mr. look forward to a rare contest beYoung's authority.

tween the two houses for the palm Tear a passion to tatters, to very rags, —

of superior merit in absurdity.

* It is but fair to state, that the latter reading is authorized by one of the quartos ; but we rather suspect our “ honest Ghost” never consulted this source, relying solely on his own original powers of invention, or perhaps, on that infallible piece of authenticity, -the prompt-book.