96 THEATRICAL INTELLIGENCE. 



without copying, at least he should take his models farther off than 

 Auber and Bellini. 



COVENT GARDEN. A review of Serjeant Talfourd's tragedy of 

 Ion, as a literary production, appearing in another part of our present 

 number we shall here confine ourselves to a criticism on its perform- 

 ance. It may not, however, be superfluous to state that the strict 

 preservation of the unity of time and place, which it is generally ad- 

 mitted interferes much with scenic effect and dramatic character, did 

 not seem to us, at least in this case, to detract from the interest, or 

 tame the energetic character of the subject. A rapid change of cir- 

 cumstance and situation keep up the excitement of the mind to the 

 end. Nor is it till after the fall of the curtain that we recollect we 

 have been seeing a play written according to the strict rules laid 

 down by the dramatic writers of antiquity. The tragedy is some- 

 what curtailed on the stage, to adapt it better for scenic representa- 

 tion ; we think not injudiciously. It now remains to offer some 

 observations on the parties who filled, or endeavoured to fill, the dra- 

 matis persona?. We were not fortunate enough to be present on the 

 first night of performance, and can therefore offer no criticism on 

 Miss E. Tree's personation of Clernanthe. Miss Helen Faucit, who 

 was the representative on the 2d of June, if she cannot be said to 

 have left nothing to regret in the change, at least deserves consider- 

 able praise. Two charges we bring against her, and should be happy 

 if our notice would induce her to correct what we consider faults. 

 She indulges in those hysterical sobs which many ladies of her pro- 

 fession deem necessary to the expression of deep feeling, and which 

 passes in France under the name of the " horquet dramatique.'' No 

 actress can ever expect to rise to the pinnacle of excellence who does 

 not lay aside such silly affectations. We ought not, perhaps, to in- 

 terfere with ladies' dresses, as not being by sex or occupation fit 

 judges of what is becoming; but we claim a right to observe on 

 what is decent. Now, if Miss Faucit supposes that by the abundant 

 exposure of her person she is copying the antique, we would recom- 

 mend her to the study of classical models, and she will find that they 

 did not accomplish the exhibition of a large portion of naked flesh 

 by wearing low dresses. And, if she supposes that she will obtain the 

 admiration of men by so liberal a display of her bosom and should- 

 ers, let her learn that we covet not what all may enjoy ; and, how- 

 ever much any individual of the spectators might be delighted by the 

 examination of her beauties in her dressing-room, none will be flat- 

 tered by a sight that all may purchase for a few shillings. Having 

 discharged our duty as guardians of public morality, we turn to the 

 more agreeable task of awarding praise where it is due. Miss Fau- 

 cit played with feeling, spirit, and expression ; nor doubt we that 

 Macready fully appreciates the assistance he derives from his fair coad- 

 jutor. His performance was to ourmind as nearly faultless as possible. 

 Nay, so strong was the illusion that the first impression of the un- 

 suitableness of his age to the part wore off ere he had uttered twenty 

 lines, and returned not till the mimic scene closed on his death. His 

 description of the horrors of the plague, addressed to Clemanlhe in 

 the second scene, was delivered with soul-stirring pathos; nor must 



