LETTER XXXIII.

TO M. PROVOST, PROFESSOR OF ORATORY.

THE present Covent Garden Theatre dates its existence only since the year 1809. The building reflects credit on its architect, Mr. Smirke, who seems to have had in view to erect a temple, to be dedicated at once to Melpomene and to the muse of romance. This theatre, which has been so highly praised by some English writers, as a masterpiece of architecture, is evidently only a copy of the Temple of Minerva, the finest model of the doric order, amidst the grand ruins of the Acropolis. The principal front is adorned by an elegant portico, and in each of the lateral walls there is a niche, one containing a statue of tragedy, and the other a statue of comedy, admirably executed by Flaxman. Two bas-reliefs are also introduced, one representing Aristophanes, Menander, Thalia, Polyhymnia, Euterpe, Clio, and Terpsichore, with their classical attributes, followed by the seasons, who are grouped round Pegasus. Eschylus, the father of tragedy, Minerva, Bacchus, and Melpomene, are not forgotten; and Orestes, pursued by two furies, is seen claiming the protection of Apollo, who advances on his car drawn by four coursers.

On the other

bas-relief, Shakspeare, the creator of romantic tragedy, is represented as having just modelled out the characters of the Tempest. The monster Caliban is seen bending beneath his burthen, Ferdinand is represented with his hand upon the hilt of his sword, Miranda is supplicating Prospero, and Ariel is touching his magic lute. Then comes a scene from Macbeth; and, further on, Milton is discovered, contemplating Urania, and surrounded by the allegorical characters of his masque of Co

mus.

Covent Garden Theatre, which is larger than Drury Lane, will hold upwards of three thousand persons. The interior is ornamented in a rich and tasteful style.

The whole success of Drury Lane rests on the individual exertions of Kean. He stands in opposition to three distinguished actors at the rival theatre, and to a company, upon the whole, superior to his own.

The celebrated John Kemble belonged to Covent Garden Theatre during the latter period of his public career, and his retirement was deeply regretted by every lover of the drama. In some characters, he is said to have been unrivalled; but the partisans of Kean affirm, that Kemble's perfection was the perfection of art, while Kean's is that of nature. In some parts, however, Kean is acknowledged to be inferior to Kemble. He wants the dignity and grandeur requisite for Hamlet and Coriolanus. "Mrs. Siddons and John Kemble," says Lord Byron, "were the ideal of

tragic action. We shall never see again either Coriolanus or Macbeth. Of Kemble, we may say, with reference to acting, what Cardinal de Retz said of the Marquis of Montrose, that he was the only man he ever saw who reminded him of the heroes of Plutarch."

The English stage is indebted to John Kemble for an improvement, which our's received from Talma-namely, the correct observance of ancient costume. Our Roscius has evidently studied the English style of declamation; but, as yet, he has only produced a partial revolution in the public taste. He is, at present, the only actor of his own school, and the propriety of imitating seems to be a very doubtful point. In the innovations of genius there is always a degree of boldness which excites surprise. In France we are so accustomed to admire only that which is strictly conformable to academic rules, that we feel distrustful of all novelty. Even in England, there appeared to be, at first, some degree of hesitation in approving of Kean, because he was not a copyist of Kemble. His example, however, has produced a great influence on the English actors of the present day. Macready soon discovered the secret of Kean's powerful bursts of feeling, and he already equals his rival in many characters, while his talents embrace a wider sphere. Macready promises fair, after a few years study, to be completely master of Kean's impassioned style, subdued and refined by the dignity of Kemble. Macready, though not strictly handsome, has a great advantage over

Kean, in the possession of a striking figure. Kean's voice is harsh and feeble, while Macready's possesses uncommon power, richness, and variety. In addition to these natural advantages, he unites acuteness of feeling, and pure critical taste, to an enthusiastic love of his profession. I regret extremely that his abrupt departure for Italy deprived me of the pleasure of meeting him at the house of M. Hulmandel, where my friend Charles Nodier procured me so hospitable a reception.

Young is another favourite actor at Covent Garden Theatre, and the French who visit London are frequently inclined to prefer him to all the rest. The truth is, that he possesses some portion of the merits of all his rivals, and he evinces taste and judgment in the employment of these qualifications. His voice is sonorous, and there is a degree of dignity as well as grace in his acting. His delivery is rather eloquent than impassioned, and he is more successful in the expression of pride, hatred, or disdain, than in the delineation of more tender or noble sentiments. He is eminently successful in pourtraying hypocrisy and dissimulation, but is far less natural when he attempts to express the generosity, nobleness, and enthusiasm of the heroes of history or romance. These parts are reserved for Charles Kemble, the brother of John Kemble and Mrs. Siddons, who is a most successful representative of those ideal characters. Charles Kemble indulges in no exaggeration, and the Keanists accuse him of being too tame. The combined talents of Macready

Young, and C. Kemble render Shakspeare's Julius Cæsar as perfect an illusion as if it were represented on a Roman stage, and Plutarch's chronicle is exhibited with the truth and force of reality. These three favourite actors often perform in comedy, in which they are, in many instances, no less successful than in tragedy.

Covent Garden is less fortunate in actresses. Indeed, the female portion of the company of this theatre more frequently injure than support the effect of a performance. The public seems to have tacitly renounced the right of requiring the exertion of talent from actresses, and singers only are esteemed. While the nobility crowd to the Opera to admire and applaud Italian music, the middle class of people, for the sake of following the fashion, become music-mad at the two national theatres. Mrs. Siddons was succeeded by Miss O'Neil, who, in consequence of her marriage with a man of fortune, retired, at the age of twentythree, from the stage of Covent Garden, where, for a few seasons, she reigned queen of tragedy.

Never was any actress endowed with the power of smiles and tears like Miss O'Neil; no one ever excelled her in the delineation of love, or in the pathetic expression of feminine sorrow. Juliet, Imogen, Isabella, Calista, and Monimia, received additional graces from her representation, while the beautiful Mrs. West, the lovely Miss Foote, and the interesting Miss Tree, require all the aid of fine poetry to give effect to these parts.

In the character of Desdemona, Miss Foote