THE THEATRES.
Tim new tragedy, Straprd, produced at Covent Garden on Moseley, for the benefit of MACRFADY. proves to be neither so successful nor so deserving as other dramas which Mr. AIACREADY has been mainly in- strumental in bringing on the stage. It is written by Mr. BROWNING, the author of Pararelsus, formerly noticed in this journal.
The fate of S'resrroo m o and its causes for a noble subject for the dramatist, and are probably in themselves more capable than most great historical events of being made effective for stase representation. No period of our history is fuller of interest and excitement : the stirrieg scenes sail strongly marked characters of the time furnish fine materials to work upon : but to deal with them, requires a inure robust intellect, a larger end more nen ems giasp, than NIr. BeowNesG evinces in this tragedy. It is wanting in vigour and completeness, in dramatic power mud pathos. The author has adhered closely to known historical facts; and the main incidents that preceded the fall of Strafford-his forsaking the People and going over to the King, his impeachment by Pym his former friend and compatriot, and the King's desertion of hum-are Sketched out ; but with a feeble and broken outline, that fails to convey a distinct idea either of the occurrences themselves or of their influence on the fate of the hero, to any one not pretty well acquainted with the history of the time. Moreover, the character of Strafford is incorrectly as well as imperfectly drawn. He is fretful and peevish, swayed by sudden. impulses, and seemingly the sport of circumstances-not the determined and energetic man, firm of purpose and prompt and vigorous in anion. This appears to arise not so much from an error in appre- ciating his character, as from the effeminate way in which its features are deyeloped. Strafford's loyalty to the King, which amounts to in- fatuation, and is expressed with the sickly fondness of a doting lover, is represented as the main cause of Isis death: and thus the true moral of his fate is not inculcated. We see, not the imperious aristocrat, who espoused the popular cause in order to make his power felt by the Court, and afterwards used the King's favour to pamper his love of domination-not the victim of retributive justice, but a mere martyr to loyalty. Charles's desertion or so devoted a servant seems the more meanly odious; while Pym's high-principled enmity looks like personal spite. And bow, consisteutly, could Pym rnaintain a friendly inter- course with the man from whom he had just before separated with that tremendous threat, " You leave us now, bin I'll never leave you while your head is on your shoulders?" Would such a manes Pym have con- tinued to entertain a hope of an apostate likeStaifford, and condescended to coax and .w.hcedle him ? Strafford, when impeached, makes a wretched exhibition : he rushes out of the house, haggard and pale ; when his sword is demanded, plays the braggart, by threatening to cut down this officers, ordering his followers to light for: him ; anon he will be a prisoher, and offers his sword ; then he will not give it up ; pre- sently he implores his friends to kill him, and offers to stab himself- cite moment he will not go unless he is dragged by the hair, the next he meekly kneels at the feet of his accusers. The other characters ale nonentities. Hampden is a cipher. A female personage is introduced, Lady Carlisle, who is constantly by the side of Strafford, takes the hiterest of a wife in his fortunes, and shares his inmost confidence. She makes every effort to save him, and at last provides the means of escape ; which Strafford will not avail himself of, because, forsooth, his child should not be called "son to a pris.on-breaker ; " and Ile silences her urgent entreaties to flee, with a puling " humour me, and let Inc die ! "
The last scene, in which the author has accumulated all his materials for producing a most powerful dramatic effect, falls flat, and utterly fails. Strafford is seen in the prison with his two children : they are made to sing an Italian sir to soothe him-which is ludicrous: relying upon the King's promise to save him, he is impatiently expect- mg the order for his release, and picturing to himself the pleasures of elute of retirement : the friend supposed to bring this news, commu- nicates to him the fatal tidings that he is to chic: the King, who is present in disguise, then discovers himself, and, overwhelmed with coefusion, tries to make some excuse for consenting: Pym comes in to justify his conduct Strafford takes leave of his friends, forgives the King, thanks Psis) for bringing him to death, and walks out to execution : and all this happens without producing any effect, either of pity or terror. Ow or two striking scenes occur in the course of the play, but they are of a melodramatic character. The interest is feeble and unprogressive. The dialogue is destitute of poetry even to baldness: indeed it is
scarcely to be nulled verse : it is broken up fano fragmentary and un- finished sentences, sometimes amounting to incoherence ; and, though intended to be dramatic in form, is any thing but dramatic in spirit. All the characters speak alike, except that a Puritan throws in a Scrip- tore phrase or two now and then.• The sentiment is throughout of a inawkkh kind, conveyed in quaint phraseology, with an affectation of simplicity of expression and profundity of thought, meant to pass for intensity, but which persons accustomed to the ordinary sense of words can Loudly understand. how different from the manly idiomatic English of the time! The writer is one of those who seem to think that in proportion to the vagueness of an idea and the feebleness of its indication are its delicacy and beauty. For instance, Strafford is ex- horted by his friend Hollis to "be grand and brave :" rind he talks of the King's "awful head," and of going to his " chill grave," with such like puerilities. Strafford before he goes to death raves in this fashion of the King- " What if I curse you? Send a strong curse forth
Clothed from my heart, lapped round at ith horror, till She's fit, with her white face, to walk the world
'scaring kind natures from your cause and you—
Then to sit down with you, at the board-head, The gathering for prayer . . . . Cteep up, and quietly follow each one home- You-you-you-be a nestling care for each To sleep with, hardly moaning in his dreams- She gnaws so quietly-until he starts- Octet oft with half a heat t eaten away-
Oh you shall 'scope with lets, if she's soy child !"
If our readers cam see any meaning in this, they will be in better luck than we have been. We have small space left to speak of the performance : indeed
there is little to be said of it. AlACREADY'S personation of the Strallbrd of the play was full of beauties, of the actor's own creation: he aione indeed saved the piece. VANDENHOIT looked the sturdy Pyn: well, and entered heartily into the spilit of the cher:seta : but the s..e.r- ',ionizing in the lust scene was too miush. Mr. DALE played King
Clarks as badly as it need be. Miss Fsecrr, as Ludy Carlisle, did her best-which was quite good enough for the put. There were a few hisses at the conclusion, even though it was a benelit.isight. Some persons call( d for the author ; but Mr. namely- Isn did not appear. The house was crammed ; and Msesessint was entlin,iasticelly cheered, as he deserved to be-though not for producing this ploy.
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