Theatrical Review. 215 



spirit of classical inspiration, "to the infernal gods," never were we 

 present at a more unmitigated, and we are sorry to add, deserved 

 condemnation. The play may read well in the closet, but it is drawn 

 out too long the web is too finely spun to be adapted for the rough 

 usage of the stage. It is like one of his novels in blank verse they 

 might as well, or perhaps better, enact a chapter out of " Pelham," or 

 a scene from " Eugene Aram." We are sorry for Mr. Bulwer, for 

 with all his affectation and foppery he is certainly a man of ability ; 

 but "non omnia possumus omnes," andhe had better confine himself 

 to three-volume novels for the circulating libraries and leave play- 

 writing for those who are more capable of preparing proper food for 

 the rough and unsophisticated senses of a London audience. The play- 

 bills are notorious liars, but the public judgment we repeat is sound, 

 and revolts at the idea of a nauseous dose of sentimental slang adapted 

 only for the sickly taste of the self-styled exclusivesof fashion, or the 

 equally unhealthy appetite of the pampered menials who ape their 

 masters. We wish it to be understood that our last paragraph refers 

 to the political allusions of a republican character clothed in such lan- 

 guage as we have described, with which this tragedy teems. But to 

 return to the performance. We will give a sketch of the plot, which, 

 though not complicated, is but little interesting. 



" Mademoiselle de la Valliere" is betrothed to the " Marquis of 

 Bragelone," a frank soldier, who is devoted to her, while she 

 cherishes a secret attachment for Louis XIV. He leaves for 

 the camp she for the court, where she receives much attention 

 from the king; and rumours reach the absent warrior that his love is 

 false. He returns, reproaches her for her infidelity, and taxes her 

 with guilt; she repels the charge, and, at his instigation, consents to 

 enter a convent. Louis follows her there, and, partly by entreaty, 

 partly by force, persuades her to return to the court. Here ends 

 the second act. The third act is occupied with the endeavours of 

 Madame de Montespan to supplant the favourite mistress, who has 

 been made Duchess of la Valliere. In the fourth, deserted by the 

 king, she is visited by a Carmelite monk, all that now remains of the 

 gallant Bragelone. He wrings her conscience by his just picture of 

 her faulty conduct, and she consents to take the veil. In this act oc- 

 curs the finest scene in the play an interview between the king and 

 the monk, in which the Carmelite shows him his vices in their true 

 colours, and, denouncing the members of the court, foretells the fatal 

 consequences which they will ultimately produce. The fifth act is 

 occupied by the ceremony of taking the veil, the most abominable 

 accumulation of rubbish we have ever witnessed on the stage. Act- 

 ing, singing, and music, all detestable. 



Macready, as " Bragelone," did all that could be done with his 

 part, and met with that just meed of enthusiastic approbation which 

 is only the due tribute to his commanding abilities. He improves 

 every year ; and though neither a Kean nor a John Kemble, he is in 

 his own particular class of parts as far superior to any other compe- 

 titor as the meridian sun to a farthing candle that is, out of all com- 

 parison. Farren tried to make his part, the " Duke de Laugun," 

 entertaining, but what alchymist can extract wit from stale jokes arid 



