_ 
85 
passed on to the comedy “ Money,”’ which is founded on that old 
truism— 
Tis a very good world we live in, 
To lend or to spend or to give in, 
But to beg or to borrow or get a man’s own, 
Tis the very worst world that ever was known. 
In describing the plot of this comedy, the will of the eccentric old 
uncle was read. The play isa true picture of human nature, 
and points out very strongly that a man is judged by the depth 
of his pocket more than by his brains. ‘‘ Darnley” and-‘‘ Right- 
ful Heir’’ were next shortly criticised, and the paper concluded 
with a detailed sketch of the well-known play ‘“‘ Richelieu,’’ which 
was produced at Covent Garden, on the 7th March, 1839, under 
Macready. Macready threw his whole soul and energy into the 
work, and author and actor met frequently to discuss the piece as 
it grew act by act, an arrangement which has always proved 
beneficial to both, and been the means of producing the best 
plays. Like our own Wolsey, Richelieu is a familiar picture, 
there is a fascination about him or his name and it is admirably 
suited to the dramatist. With regard to Richelieu’s character 
there is a diversity of opinion, some have thought him cold and 
ambitious, having only the welfare of France at heart when his 
own interests were concerned, but our author gives us a Richelieu 
who is warm-hearted, unselfish, with a love of country paramount 
over all. By turns the old man is grand, nay {terrible, then full 
of sly humour with the keen appreciation of a joke. The réle is 
one of the most favourite characters for tragedians, and they 
have scope to display their histrionic powers. It is a very 
difficult part to play, and requires immense study of character to 
give it with anything like the force and power required. He may 
or may not have been the man the author has set before us ; no 
matter, we have a character that is strongly dramatic, full of 
great opportunities for the actor, especially if he be comedian as 
well as tragedian. ‘There are those ever-shifting changes from 
the feebleness of old age to indomitable will and power, the pride 
and pomp of state, the downfall, and the _ restoration. 
What situation can be grander or produce a greater theatrical 
effect than the sudden appearance of Richelieu after his reported 
death, and also again when he is brought into the presence of 
_ His Majesty in the last seene—when he is in a dying condition, 
_having resigned his ministry. See how keenly he watches the 
embarrassment of the King and the new Minister; and then, 
when as it were crushed and fallen, comes the renewal of his 
power and vigour as he grasps the conspirators’ despatch, the 
possession of which foils his enemies and reinstates him in power. 
Also in the Garden of the Louvre, when he towers up in his 
weakness and launches the awful curse of Rome at those who 
