R370506D. Strafford.
The Parthenon, 6 May 1837, p. 29.
As reprinted in The Brownings’ Correspondence, 3, 397.
Covent Garden. On the occasion of Macready’s benefit, on Monday night, a historical tragedy, entitled Strafford, was produced, and received with marked demonstrations of approval. It is from the pen of Mr. Browning, the author of Paracelsus. The author, throughout, sacrifices mere declamatory passages to incident, and, accordingly, avoids the rock on which Mr. Bulwer was wrecked in that frail dramatic bark, La Duchesse de la Valliere. In other words, Strafford is a better acting than, to use a fantastic phrase, “reading play.” It is unnecessary to give the plot, as there is no effort at fiction, but, on the contrary, a rigid adherence to the historical facts in the life of the hapless victim of ungrateful despotism.
The play seems to have been written for the development of Macready’s peculiar powers. When a prisoner in the tower, the scene between himself and his children is a piece of acting, which makes its way to the heart. Like Raphael in giving powerful expression on canvass, to the subordinate and more benignant passions, Macready, in his art, excels in those touching scenes, which melt the heart into sympathy. In delineating the passions of rage, or terrible ebullitions of convulsed feeling, he falls far, far below the never-to-be-forgotten Edmund Kean, who has, in his way, no successor; for the poet’s phrase, “stat nominis umbra,” may be applied to his son.
The scene with the indecisive Charles was also admirable.
Miss Helen Faucit’s Countess of Carlisle was a triumph of histrionic excellence. The creation is touching in this character—full of tenderness and love. In truth, the character is so pregnant in creating sympathy, as to tell beyond what is expressed, and leave the imagination of the witnesses to shadow out scenes of increased interest. Mr. Browning’s success, in this character, bespeaks a mind of no ordinary mould. It would be a sad omission not to notice a scene in the last act in the tower, where the children innocently sing an Italian baracolle [sic]. Here the father is seen in some heart-moving touches of nature. Vandenhoff’s sustainment of Pym was in keeping with the excellent performance of Miss Faucit and Macready.
We earnestly recommend all admirers of an intellectual treat to see this tragedy again and again.
After the performance, Miss Faucit, Macready and Vandenhoff, were obliged to make their obeisance to the gods. What stupid cruelty to insist on even a young lady, after an exhausting effort, physical and intellectual, to parade herself before such reviewers! The author was loudly called for; but, leaving the house, avoided paying deference to mob-taste. Of a truth, in the world dramatic, we may say vulgarity “dwells in high places.” We hope authors and performers will discountenance this absurd practice.
Reviewed:
Strafford (RB), London: Longman, Rees, Orme, Brown, Green, 1837.
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