22 SEPTEMBER 1849, Page 13

THE THEATRES.

The tragedy of Velasco, with which the Marylebone Theatre has opened, does not give a very high idea of American dramatic literature. Perhaps in no work of the kind is an utter want of all uniformity of tone more de- cidedly apparent The author—we understand, a very young man—has evidently been much struck with the perplexities of the hero and heroine in Corneille's celebrated tragedy of the Cid. The embarrassment of a young gentleman, who to avenge an insulted parent kills the father of his be- trothed, and the embarrassment of the lady herself, who cannot help lov- ing as ardently as ever in spite of the homicide, was certainly a tempting basis for declamation and dramatic casuistry. Accordingly, the hero and heroine with their respective fathers, and the whole story of insult and ven- geance, have been taken out of the French play, much in the same shape as Corneille designed them. However, while so far pleased with Corneille, the author has been equally displeased with his simplicity and his catas- trophe. He therefore introduces the story with an act about the hero's banishment and pardon, and an exhibition of devotion on the part of the lady, somewhat in the tone of Hugo's Ernani. With the second act Cor- neille's story fairly begins; but it is soon evident that the stately grief of Rodrigo on killing his mistress's father could not satisfy the American adapter. Rodrigo feels that be is a man in an unhappy position, and offers his life to his mistress as a compensation for the injury he has unwillingly done; but he does not, nor could he according to the Castilian code of honour, look upon himself as a mere criminal. Now Velasco, as the American Rodrigo is called, falls into an agony of remorse, which could only belong to an ordinary assassin; and his ebullitions are set off by a thunder-storm in the background. Thus, the fundamen- tal sentiment is made to yield to a very commonplace stage-effect. In Corneille's play, Chimene, faithful to the principle of honour, per- secutes the Cid as long as she can, in spite of her love, and only mar- ries him when she cannot do otherwise. The American avoids the mar- riage, which, though founded on history, is a little awkward; but, while carefully shunning a doubtful point, he plunges headlong into great incon- sistencies. Isidora—so Cbimene is rechristened—appears as the persecutor of Velasco; but presently she drops her character, and determines to marry him,—though she is bound to vengeance by an oath made to her dying father, though she fancies she sees that father's ghost reproving her, and though her brother endeavours to prevent the nuptials by the most fearful menaces. Thus, Chimene's individuality is destroyed altogether. Indeed, the instant he quits the path of Pierre Corneille,—who, though his play is somewhat monotonous, certainly knew what he was about,—the Ameri- can author seems to be actuated by no motive except that of introducing palpable melodramatic effects at any cost. He exposes Chimene to some danger from an unruly cousin, for the mere purpose of making Velasco run in and defend her against some half-dozen assailants; and he suddenly elevates the insignificant character of a brother into an instrument of avenging wrath, whose office it is to stab Velasco at the nuptial feast, and. mix a cup of poison which Isidora swallows at the proper moment.

In calculating upon the effect which certain situations will produce on a mixed audience, the author has shown some foresight; for those very scenes which are completely independent of Corneille are those that brought down the most applause on Monday night. Had he aimed solely at three-act melodrama, he would. have produced a much better piece. But he has got two elements which refuse to combine, and the sense of this disunion must be painful to all who have a feeling for dramatic sym- metry. The principal characters are played by Mr. Davenport and Miss F. Vining with good melodramatic effect; and indeed such parts are sus- ceptible of nothing more.