7 FEBRUARY 1835, Page 8

The Othello of Ducts was performed by the French company

at the Lyceum Theatre on Monday ; M. LEMAITRE taking the part of Othello, and Mademoiselle PETIT that of Desdemona—Galliet1 Hedel- mone. The lady played with much feeling, and threw more energy into the part than is usually displayed by English Desdemonas. The French author has indeed made ber's a more prominent character in the tragedy than SHAKSPEARE judged necessary for the purpose he had in view. The last scene, where she is stabbed by the Moor, was by far the best. Her entreaties for mercy, while clinging to Othello, were heart-rending, and the horror of sudden death was strikingly depicted in her countenance. The writhing of her body as it lay upon the bed after she had been stabbed, was natural, and not over-done. The principal fault in Mademoiselle PETIT'S acting (at least to Eng- lish ears) was the whining tone in which she indulged too frequently in all but the last s ens.

M. LEmArrnE's Othello is sufficient to stamp him as an actor of great power. His countenance is expressive, and his voice deep toned ; though, on Monday, his enunciation was rather thick and indistinct. There was a considerable resemblance to KEAN in his manner of giving many passages, though it would be unfair to call the performance an imitation. His acting in the last scene was a failure. The Othello of LEMAITRE, and perhaps of Duels, was a mere brute. He seized his wife by the hair and arms, and stabbed her with the fury of a com- mon ruffian, whose business was robbery as well as murder. The feel- ing be excited was that of hatred and disgust ; and hanging seemed to be the fit punishment of his crime. SHAKSPEARE'S Othello excites pity for himself to the last. He kills his wife, as if he were the reluctant instrument of justice ; but the Frenchman grappled with his victim like one who was glad to have his revenge at last. Upon the discovery asf his mistake, the acting of LEMAITRE was again worthy of the part as written by SHAKESPEARE ; and the manner in which be crawled to the couch, after having stabbed himself, to take a last embrace of Desch.- mona's corpse, was very affecting. The impression which LEMAITRE'S acting leaves upon English spectators is, that he studied SHAKSPEARE, and EEAN, in order to qualify himself for performing the Othello of Ducts. Certainly, did no other version of the play exist except the French one, there would be no such Othello as LE3IAITRE. We miss the artful working of the original rlgo on the jealous temperament of Othello. The bandeau, which is substituted for the handkerchief, is not so natural, nor so true to Moorish superstitions ; and the expedient of compelling Desdemona to sign a promise of marriage to her lover, which is afterwards given to Othello, is a very clumsy one.