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merit; but none possess sufficient action for dramatic representation, Mr. Howard Payne has made very judicious use of the ample mate. rials that were placed before him: he has strung the pearls, and successfully fashioned them to the public taste. He has followed history when she was likely to prove interesting; and varied her, without destroying her integrity or beauty. He has shortened long prolix dialogues --compressed and connected incidents—and availed himself of every legitimate opportunity of producing effect. No wonder, then, that the public approbation bailed a drama in which one of the brightest ornaments of Imperial Rome stood revealed in all his grandeur of soul. If the highest merit belong to original genius, there is one of another degree that must be assigned to correct judgment, before whose tribunal even genius must appear,--that prunes its exuberances, and concentrates its beauties. Lustre and fragrance are the acknowledged properties of the flower; but the hand that tastefully plants the parterre, well deserves the praise of judicious selection and elegant arrangement.

Brutus, in this tragedy, is drawn with great power. His assumed idiotcy, in the early scenes, is an admirable cloak to his future designs, and contrasts well with the energy and pathos that burst forth as his character is further developed. Every other personage is tame and ineffectual, compared with this. Lucretia, who fills so glorious a space in history, has little to do or to say. The scene where she stabs her. self, in the presence of Collatinus and Lucretius, is wisely omitted : it is weakly written, and altogether in bad taste. To expose Lucretia in her agony to the vulgar gaze, is indecorous; it is sufficient that we hear she died in a manner worthy of a Roman matron, with all her virtue, and with all her glory. We ask no profane hand to lift the veil from misery so sacred as hers. There is an affecting picture, The dead Soldier," in which the painter, in despair of giving a true expression of unutterable grief to the countenance of the widow, has shrouded it in her mantle.

If the character of Brutus was written for the purpose of displaying Mr. Kean to the best advantage, the actor well repaid the author's confidence in his abilities. There were no inequalities to counterbalance the excellence of particular passages : the whole performance was marked by original genius. When he terribly denounced the house of Tarquin, and cried revenge for the death of Lucretia, every heart was with him ; and when his unhappy son was called to receive death at his mandate, the audience could only answer him with their tears.



This eminent actor was born in Castle Street, Leicester Square, November 4, 1787. His father, Aaron Kean, was a man in humble circumstances; his mother was a daughter of the celebrated George Saville Carey: and his uncle, Moses Kean, was the well-known mimic and ventriloquist. From his infancy he was made familiar with the stage, being placed at Drury Lane Theatre to enact in the lower department of pantomime : his first steps in life were, therefore, succeerled by the mosi surprising contortions of the body, for which the natural flexibility of his limbs, and the art of the poslure. master, may claim an equal share of merit. To repeat the adventures and vicissitudes that have been mingled with his biography, would be like writing a continuation of the life of Bamfylde Moore Carew. For many years he was an itinerant player, and as such endured all the hardships attendant on that precarious profession. Tragedy, comedy, opera, pantomime, were alike to him. A Dr. Drury, who saw him play at Exeter in 1813, was so much pleased with his extraordinary genius, the progress of which he had long marked, that he wrote to Mr. Pascoe Grenfell, one of the managing committee of Drury Lane, recommending the young actor to his notice : the result of tbis communication was, the sending down of Mr. Arnold, the stage-manager, to Dorchester, to judge of the merits of this embryo genius : Mr. Arnold, on seeing him play Octavian, in The Moun. taineers, and Kanko, in The Savages-a piece founded on the story of La Perouse, immediately engaged him for three years, at a salary of eight guineas per week, for the first year, ten for the second, and twelve for the third. How the talents of Mr. Kean, when emerged from poverty and obscurity, confirmed Mr. Arnold's judgment, and delighted the public, needs no repetition here: his instantaneous and brilliant success, (without entering into any comparison between the two actors, which would be absurd,) is only to be paralleled by that of Garrick. He replenished the almost baukrupt treasury of Drury Lane, brought an entirely new and original style of acting into high vogue, and maintained his ground in the days even of Kemble and Siddons. His first genuine appearance before a London audience was on January 26, 1814, in Shylock : his fame increased with each saccessive repetition of the character, and fairly reached its summit when, on the 12th of February following, he acted, for the first time Richard the Tbird.


LUCIUS JUNIUS.-Morone-coloured shirt, black velvet belt Resh dress complete, and black sandals ; 2nd dress-crimson shirt, Roman cuirass, and lambarakins of silver leather, helmet, and red sandals ; 3rd dress--cream-coloured toga, white shirt, and black sandals.

TITUS.-White shirt, scarlet mantle trimmed with black velvet, nesh dress complete, black sandals, and white ribbon for the head.

SEXTUS TARQUIN-Roman cuirass and lambarakins of gold, helmet, white shirt, red sandals, flesh dress complete, and scarlet mantle.

ARUNS.-Buff and silver Roman cuirass, white shirt, red sandals, scarlet mantle, and flesh dress complete.

CLAUDIUS.-Blue and silver Roman cuirass, white shirt, flesh dress complete, red sandals, and scarlet mantle.

COLLATINUS.-Roman scarlet and buff cuirass and lambarakins, red sandals, crimson mantle, and flesh dress complete ; 2nd dress-toga, cream-coloured.

VALERIUS.-White shirt, cream-coloured toga, russet sandals, and flesh dress complete.


HORATIUS.-White shirt, crimson mantle, russet sandals, and flesh dress complete.

CELIUS.-Brown shirt, sandals, and flesh dress complete.

FLAVIUS CORUNNA.-Green shirt, Roman cuirass, sandals, and flesh dress complete.

CENTURION.- Blue and scarlet cuirass and lambarakins, one scarlet shoulder-piece, russet sandals, and flesh dress complete.


1st ROMAN.-Brown shirt and cap, sandals, and flesh dress complete.

2nd ROMAN.-Ibid. 3rd ROMAN.-Ibid.

TULLIA.—White train dress, scarlet toga, and gold tiara, tied with long white ribbon.

TARQUINIA.—White train dress, puce-coloured toga, and gold tiara, tied with long white ribbon.

LU RETIA.-White train dress, white toga, and wbite satin tiara, tied with long wbite ribbon.


VESTAL.-White train dress, white chimesette bodies, and white ribbon through the hair.

LAVINIA.-White train dress trimmed with blue, blue toga, and white ribbon through the hair

Lucius Junius Brutus
Sextus Tarquin
Flavius Corunna

Mr. Kean,
Mr. Wallack,
Mr. Mercer.
Mr. Penley
Mr. Comer.
Mr. Archer.
Mr. Younge.
Mr. Powell.
Mr. Thompson.
Mr. Fenton.
Mr. Webster.
Mrs. Bunn.
Mrs. W. W'est.
Miss Smithsor,
Miss Carr,



Time rushes o'er us; thick as evening clouds
Ages roll back :--what calls them from their shrouds ?
What in full vision brings their good and great,
The men whose virtue make the nation's fate,
The far, forgotten stars of human kind?
The STAGE,—the mighty telescope of mind !

If later, luckless arts that stage profane,
The actor pleads-not guilty of the stain,
He, but the shadow fung on fashion's tide-
Yours, the high will that all its waves must guide:
Your voice alone the great reform secures,
His, but the passing hour—the age is yours,

Our pledge is kept. Here, yet, no chargers wheel,
No foreign slaves on ropes or scaffolds reel,
No Gallic amazons, half naked, climb
From pit to gallery,—the low sublime !
In Shakspeare's halls, shall dogs and bears engage?
Where brutes are actors, be a booth the stage !
And we shall triumph yet. The cloud has hung
Darkly above-but day shall spring-has sprung-
The tempest has but swept, not shook the shrine ;
No lamp that genius lit has ceased to shine!
Still lives its sanctity. Around the spot
Hover high spirits-shapes of burning thought
Viewless—but call them, on the dazzled eye
Descends their pomp of immortality :
Here, at your voice, Rowe, Otway, Southern come,
Flashing like meteors through the age's gloom
Perpetual here-king of th’immortal band,
Sits SHAKSPEARE crown'd. He lifts the golden wand,
And all obey ;-the visions of the past
Rise as they lived,-soft, splendid, regal, vast.
Then Ariel harps along the enchanted wave,
Then the weird sisters thunder in their cave.-
The spell is wound. Then shows his mightier art,
The Moor's lost soul; the hell of Richard's heart,


And stamps, in flery warning to all time
The deep damnation of a tyrant's crime.

To-night we take our lesson from the tomb :
'Tis thy sad cenotaph, colossal Rome!
How is thy helmet cleft, thy banner low,-
Ashes and dust are all thy glory now!
While o'er thy wreck a host of monks and slaves
Totter to “ seek dishonourable graves.'

The story is of BRUTUS: In that name
Tower'd to the sun her eagle's wing of flame!
When sank her liberty, that name of power
Pour'd hallow'd splendours round its dying hour
The lesson lived for man-that heavenward blaze
Fix’d on the pile the world's eternal gaze.

Unrivall’d England ! to such memories thou, This hour dost owe the laurel ou thy brow: Those fix'd, when earth was like a grave, thy tread, Prophet and warrior ! 'twixt the quick and dead : Those bade thee war for man,-those won the name That crowns thee-famed above all Roman fame.

Now, to our scene—we feel no idle fear, Sure of the hearts, the British justice here : If we deserve it, sure of your applauseThen, hear for Rome, for England, for “our cause.

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