R481203A. A Blot in the ’Scutcheon.
The Era, 3 December 1848, p. 11.
As reprinted in The Brownings’ Correspondence, 15, 391.
Sadler’s Wells.—The last revival here has been Mr. Browning’s tragedy of A Blot on the ’Scutcheon, which, it will be remembered, was produced at Drury-lane, in the season of 1843, with but indifferent success, although it was strongly cast, and all the accessories were in the most perfect keeping. As a poetical work, there is no question that Mr. Browning has produced, in the Blot on the ’Scutcheon, one of great intrinsic merit. He evidently thinks and feels deeply; and has embodied his thoughts and feelings in most appropriate language; but this is the poet’s, and not the playwright’s art. We require something more to constitute a good acting play; and here it is that the author of this tragedy has fallen off in its construction. He has had one great idea; the whole aim and end of his labours are devoted to the working of that idea out. He has selected a plot in itself repugnant to our feelings. He gives us no relief; there is no under plot to assist in the removal of the mind for a time from the one idea, but every portion of his story merges towards its completion, slowly, and without relief; from beginning to end he harps upon one subject, and one to which the better feelings of our nature are adverse—family pride and shame. The closet reader of Mr. Browning’s tragedy will discover in it many, very many beauties; thoughts delicately expressed, which come home to every bosom; but experience teaches us that plays which read best in the closet, when we have opportunity for pause and reflection, and are enabled to retrace our steps, seldom act well. On the stage, we require greater breadth, more light and shade, and a greater variety of incidents; whilst constant action is indispensable. The want of these requisites has proved damnatory to many a fine composition, whilst others of less intrinsic merit, possessing far fewer beauties, have proved successful. Stage tactics are sadly at variance with those of the poet, who must succumb to them, more or less, or fail. As an acting play, The Blot on the ’Scutcheon never can become popular, but as a closet companion it will retain its position among the highest class of literary compositions. The plot it may be necessary to glance at:—Lord Tresham (Mr. Phelps), the head of his house, with, for ages, an untainted lineage, has a sister, Mildred (Miss Cooper), who possesses his heart’s dearest affections. She is sought in marriage by Earl Mertoun (Mr. G.K. Dickinson), her brother sanctioning their union. But Mildred and the Earl have yielded to the impulses of their nature; both are guilty; and though the Earl loves Mildred, and would marry her on that account, honour, at the same time, compels him to atone by marriage for the wrong he has done her. Gerard (Mr. Graham) a retainer, who has watched the clandestine and unholy meetings of the lovers, informs Lord Tresham. A scene ensues between the proud Lord and his delinquent sister, who refuses to give up the name of her seducer, whilst she willingly expresses her desire to consummate the marriage with Earl Mertoun. Her brother naturally pronounces her base and deceitful, and exposes her guilt to her cousins, Guendolin Tresham (Miss Huddart) and Austin Tresham (Mr. Hoskins). Maddened by the blot on his fair escutcheon, rushing, after the exposure, into the grounds, where, at a late hour, he encounters Earl Mertoun proceeding to his usual nocturnal rendezvous, Tresham, without waiting for explanations, attacks and mortally wounds the Earl, who, with his dying breath, details the story of his love. The brother now sees the evils of his passionate revenge in which he has indulged. His sister dies in his despairing arms; and he soon follows, having taken poison to relieve himself from the weight of misery and remorse that oppresses him. This is the plot, from which it will be seen that there is but one idea throughout. The heroine of the play commences it with her fair fame blemished, which, in the outset, excites almost a feeling of repugnance, whilst the whole action of the play tends to expose still more that blemish and its consequences. Mr. Phelps has done all that it was possible to do to render the Blot on the ’Scutcheon successful. His acting in Tresham displayed not only the highest scholastic acquirements, but a deep insight into the passions of human nature—he left nothing to be desired. He was most ably supported by Miss Cooper, who showed great discrimination in softening down the more repulsive portions of the character of Mildred, whilst the Earl found in Mr. G.K. Dickinson a most efficient representative. This gentleman is gradually becoming (and deservedly so) a great favourite with the audience. The tragedy was received with some applause, and the principal artistes were recalled on its conclusion; but it can never enjoy a lengthened run, for the reasons we have assigned.
Reviewed:
A Blot in the ’Scutcheon (RB), performance, London, 27 November 1848.
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