I felt those unseen eyes were fixed on mine, Forgotten thoughts of evil, still-born mischiefs, So calls the last dread peal the wandering atoms To bide the eternal summons I am not what I was since I beheld him- Enter two of his band observing him. That brightness all around thee, that appeared In the same year with Mr Sheil's 'Evadne' (1820) appeared Brutus, or the Fall of Tarquin, a historical tragedy, by JOHN HOWARD PAYNE. There is no originality or genius displayed in this drama; but, when well acted, it is highly effective on the stage. In 1821 MR PROCTER's tragedy of Mirandola was brought out at Covent Garden, and had a short but enthusiastic run of success. The plot is painful (including the death, through unjust suspicions, of a prince sentenced by his father), and there is a want of dramatic movement in the play; but some of the passages are imbued with poetical feeling and First Robber. Seest thou with what a step of pride vigorous expression. The doting affection of Miran he stalks? Thou hast the dark knight of the forest seen; For never man, from living converse come, Trod with such step or flashed with eye like thine. Second Robber. And hast thou of a truth seen the dark knight? dola, the duke, has something of the warmth and the rich diction of the old dramatists. By the blue sky and all its crowding stars, Bertram. [Turning on him suddenly.] Thy hand is I love you better-oh! far better than chilled with fear. Well, shivering craven, Woman was ever loved. There's not an hour The business of the dukedonı soon will cease. First Robber. Mock me not thus. Hast met him of I speak the truth, by Dian. Even now a truth? Bertram. Well, fool First Robber. Why, then, Heaven's benison be with Upon this hour we part-farewell for ever. But man that leagues with demons lacks not man. RICHARD L. SHEIL-J. H. PAYNE-B. W. PROCTER- Another Irish poet, and man of warm imagination, is RICHARD LALOR SHEIL. His plays, Evadne and The Apostate, were performed with much success, partly owing to the admirable acting of Miss O'Neil. The interest of Mr Sheil's dramas is con centrated too exclusively on the heroine of each, But you do not look altered-would you did! Gheraldi waits without (or should) to see me. Duke. We'll ride together, dearest, Some few hours hence. [Exit. Isid. Just as you please; farewell. Along the corridor. How like a fawn; About the same time Conscience, or the Bridal Night, by MR JAMES HAYNES, was performed, and afterwards published. The hero is a ruined Venetian, and his bride the daughter of his deadliest enemy, and the niece of one to whose death he had been a party. The stings of conscience, and the fears accompanying the bridal night, are thus de scribed : [LORENZO and his friend JULIO.] Of dying; but pity bids me live! Jul. Yes, live, and still be happy. Never again: even at my bridal hour Lor. Have none approached us? Jul. None. Lor. Then 'twas my fancy. Every passing hour Jul. The shadows of our sleep should fly with sleep; Nor hang their sickness on the memory. Lor. Methought the dead man, rising from his tomb, Frowned over me. Elmira at my side, JAMES SHERIDAN KNOWLES. The most successful of modern tragic dramatists is MR JAMES SHERIDAN KNOWLES, whose plays WKnowles have recently been collected and republished in three volumes. His first appeared in 1820, and is founded on that striking incident in Roman story, the death of a maiden by the hand of her father, Virginius, to save her from the lust and tyranny of Appius. Mr Knowles's Virginius had an extraordinary run of success. He has since published The Wife, a Tale of Mantua, The Hunchback, Caius Gracchus, The Blind Beggar of Bethnal Green, William Tell, The Love Chace, &c. With considerable knowledge of stage effect, Mr Knowles unites a lively inventive imagination and a poetical colouring, which, if at times too florid and gaudy, sets off his familiar images and illustrations. His style is formed on that of Massinger and the other elder dramatists, carried often to a ridiculous excess. He also frequently violates Roman history and classical propriety, and runs into conceits and affected metaphors. These faults are counterbalanced by a happy art of constructing scenes and plots, romantic, yet not too improbable, by skilful delineation of character, especially in domestic life, and by a current of poetry which sparkles through his plays, 'not with a dazzling lustre-not with a gorgeousness that engrosses our attention, but mildly and agreeably; seldom impeding with useless glitter the progress and development of incident and character, but mingling itself with them, and raising them pleasantly above the prosaic level of common life.'* Claudius. They are, and timely, too; the people Are in unwonted ferment. App. There's something awes me at Upon her, my Appius! Fix your gaze upon Haste! [Appius ascends the tribunal. [Enter NUMITORIUS, ICILIUS, LUCIUS, CITIZENS, VIRGINIUS leading his daughter, SERVIA, and CITIZENS. A dead silence prevails.] Virginius. Does no one speak? I am defendant here. Who casts off shame, should likewise cast off fear- App. You had better, Virginius, wear another kind of carriage; Vir. The fashion, Appius! Appius Claudius tell me The fashion it becomes a man to speak in, His hand, his arm-yea, nearer-closer far, App. Stand forth * Edinburgh Review for 1833. 1 1 Claud. She is mine, then: Do I not look at you? Vir. Your eye does, truly, But gives the port of impudence to falsehood Claud. I demand Protection of the Decemvir! App. You shall have it. Vir. Doubtless! Vir. [Starting forward.] To be sure she will-a Is she not his slave? Will his tongue lie for him- App. No law in Rome, Virginius, Icilius. Fear not, love; a thousand oaths App. You swear the girl's your child, And that you sold her to Virginius' wife, Who passed her for her own. Is that your oath? Slave. It is my oath. App. Your answer now, Virginius. Vir. Here it is! [Brings Virginia forward. Is this the daughter of a slave? I know 'Tis not with men as shrubs and trees, that by The shoot you know the rank and order of The stem. Yet who from such a stem would look Who saw her, ere Virginia's birth, sustain And sympathetic fount, that at her cry Sent forth a stream of liquid living pearl Women and Citizens. You have, Virginius. App. Silence! Keep silence there! No more of that! You're very ready for a tumult, citizens. [Troops appear behind. Lictors, make way to let these troops advance! We have had a taste of your forbearance, masters, And wish not for another. Vir. Troops in the Forum! App. Virginius, have you spoken? Vir. If you have heard me, I have; if not, I'll speak again. App. You need not, Virginius; I had evidence to give, Vir. Your hand, Virginia! Stand close to me. [Aside. App. My conscience will not let me Be silent. 'Tis notorious to you all, That Claudius' father, at his death, declared me The guardian of his son. This cheat has long Been known to me. I know the girl is not Virginius' daughter. Vir. Join your friends, Icilius, And leave Virginia to my care. App. The justice I should have done my client unrequired, Vir. Don't tremble, girl! don't tremble. I feel for you; but though you were my father, [Aside. [Aside. Vir. And if he must, I should advise him, Appius, To take her home in time, before his guardian The tongues that told him she was not my child him You see how 'tis, we are deserted, left Alone by our friends, surrounded by our enemies, Nerveless and helpless. App. Separate them, Lictors! Vir. Let them forbear awhile, I pray you, Appius: It is not very easy. Though her arms Are tender, yet the hold is strong by which She grasps me, Appius-forcing them will hurt them; They'll soon unclasp themselves. Wait but a littleYou know you're sure of her! App. I have not time To idle with thee; give her to my Lictors. Vir. Appius, I pray you wait! If she is not A little time for parting. Let me take A moment with her nurse; perhaps she'll give me And knotted round my heart, that, if you break it, App. Have your wish. Be brief! Lictors, look to them. Virginia. Do you go from me? Do you leave? Father! Father! Vir. No, my child No, my Virginia-come along with me. Virginia. Will you not leave me? Will you take me with you? Will you take me home again? O, bless you! bless you! My father! my dear father! Art thou not [VIRGINIUS, perfectly at a loss what to do, looks anxiously around the Forum; at length his eye falls on a butcher's stall, with a knife upon it.] Vir. This way, my child-No, no; I am not going To leave thee, my Virginia! I'll not leave thee. App. Keep back the people, soldiers! Let them not Approach Virginius! Keep the people back! Well, have you done? [Virginius secures the knife. Vir. Short time for converse, Appius, App. I hope you are satisfied. I am that she is my daughter! [Virginia shrieks, and falls half-dead upon Vir. Another moment, pray you. Bear with me A little-'Tis my last embrace. 'Twont try Your patience beyond bearing, if you're a man! Lengthen it as I may, I cannot make it Long. My dear child! My dear Virginia! With drinking my daughter's blood, why, let them: [Exit through the soldiers. [From The Wife, a Tale of Mantua.'] LORENZO, an Advocate of Rome, and MARIANA. Lorenzo. That's right-you are collected and direct In your replies. I dare be sworn your passion As e'er they were before. How grew it! Come, Which thou dost fear to show-I wait your answer. Mariana. As my stature grew, Which rose without my noting it, until Beside what seemed his deathbed. From beneath An avalanche my father rescued him, The sole survivor of a company Who wandered through our mountains. A long time Lorenzo. I perceive: you mingled souls until you mingled hearts? You loved at last. Was't not the sequel, maid! I saw, at last, the ruddy dawn of health And glow-and glow-till forth at last it burst Mariana. To say he did, Were to affirm what oft his eyes avouched, Lorenzo. This spoke impediment; or he was bound Mariana. I saw a struggle, But knew not what it was. I wondered still, [Kissing her. That what to me was all content, to him There is one only way to save thine honour'Tis this. [Stabs her, and draws out the knife. Icilius Lo, Appius, with this innocent blood App. Stop him! Seize him! Was all disturbance; but my turn did come. Lorenzo. To follow him You came to Mantua? 1 ! 1 Mariana. What could I do? Cot, garden, vineyard, rivulet, and wood, To Mantua! to breathe the air he breathed, To look upon the things he looked upon, To look, perchance, on him! perchance to hear him, THOMAS LOVELL BEDDOES. is waiting for him in the Divinity path, alone, and is terrified. At last he comes; and she sighs out Speak! let me hear thy voice, Tell me the joyful news! and thus he answers Ay, I am come In all my solemn pomp, Darkness and Fear, What think you of my minstrels, the hoarse winds, The Bride's Tragedy, by THOMAS LOVELL BEDDOES, Else I might well be scared. But leave this mirth, published in 1822, is intended for the closet rather than the theatre. It possesses many passages of pure and sparkling verse. The following,' says a writer in the Edinburgh Review, 'will show the way in which Mr Beddoes manages a subject that poets have almost reduced to commonplace. We thought all similes for the violet had been used up; but he gives us a new one, and one that is very delightful.' Hesperus. See, here's a bower Floribel. Jealous so soon, my Hesperus? Look then, It is a bunch of flowers I pulled for you: Hesperus. Sweet as thy lips. Fie on those taper fingers, Have they been brushing the long grass aside, With gold up-hoarded on its virgin lap? Or I must weep. Hesperus. 'Twill serve to fill the goble's For our carousal; but we loiter here, wipe Their gory bosoms; they'll look wondrous comely; After some further speech, she asks him what he What mean I? Death and murder, She returns gentle answers to him; but in the end Dead art thou, Floribel; fair, painted earth,. Look, what a face! had our first mother worn Floribed. And here's a treasure that I found by His heart, all malice, would have turned to love; chance, A lily of the valley; low it lay Over a mossy mound, withered and weeping, As on a fairy's grave. Hesperus. Of all the posy Give me the rose, though there's a tale of blood 'Tis writ, how Zephyr, envious of his love And fed the fettered wretch with dew and air. And there is an expression in the same scene (where While that winged song, the restless nightingale which is perfectly beautiful. The reader may now take a passage from the scene where Hesperus murders the girl Floribel. She No hand but this, which I do think was once MISS MITFORD-SIR EDWARD LYTTON BULWER- MISS MITFORD, So well known for her fine prose tales and sketches, has written three tragediesJulian, Rienzi, and The Vespers of Palermo. They were all brought on the stage, but 'Rienzi' only met with decided success. An equal number of dramas has been produced by another novelist, SIR EDWARD LYTTON BULWER: these are entitled, The Lady of Lyons, La Valliere, and Richelieu. The first of these pieces is the best, and it seldom fails of drawing tears when well represented. It is a picturesque and romantic play, with passages of fine poetry and genuine feeling. 'La Valliere' is founded on the court and times of Louis XIV., but it wants prominence of character and dramatic art. Richelieu' is a drama of greater energy and power, but is also loosely constructed. THOMAS NOON TALFOURD, sergeant-at-law, an eloquent English barrister, has written two classic plays, Ion, and The Athenian |