188 
THE FIELD. 
[Saturday, 
having his business thereby interrupted, requested them to do so. 
If no one mode nny complaint, they might remain and blow 
nwny until they burst themselves. Tho interpreter having un- 
dertaken to explain tho law to tho defendants, Mr. Bingham, 
ufler suitable woriung, ordered thorn nil to bo discharged. 
^muscmcirfs. 
DRAMATIC FEU1LLETON. 
The two Richards the Third, at the Princess's and at Drury-liine — 
Shakespero in an acting point of view. 
“ Methinks there aro two Richards in the field” — 
namely, Mr. Charles Kean and Mr. Brooke. To me this 
sudden access of tragedy-fever which has conic upon so 
many theatres at one and the same time— the Princess’s, 
Drury-lane, Sadler's Wells— is anything hut a subject for 
congratulation. Shame though i( may be to me, I feel 
that mine is essentially a vaudeville muse, and that the 
comic mask is far moro attractive in my eyes than the 
tragic buskin. I won't go so far as to call Melpomene a 
bore, for there rise in my mind memories of “ Phedre” 
and the “ Cid but I will assert that, with the present 
resources of tho London stage, the production of five act 
poetical dramas, even though they be Shakspeare’s, is 
more likely to be successful from a well-combined mite cn 
scene, and much outlay on armour, banners, and trappings, 
than from the actors’ impersonation oi' the author’s 
creations. The very name of Shakspeare is, witli all who 
can appreciate genius, and with tho still more numerous 
class who would fain be thought to do so, a sacred word. 
With these thorough-going panegyrists, the great poet 
must be swallowed entire — they will barely allow you to 
have a preference for one play over another; and should you 
dare so much as to hint at a criticism, the cry is — 
“Anathema! maranatba!” This intolerance, which re- 
fuses to allow that our English “bonus Homeros” ever 
“ dormitat,” is more particularly remarkable among actors 
especially, and stage-struck people generally — a class to 
whom one is not ready to concede the most universal and 
complete appreciation of the higher beauties of the 
poetical drama. The fact is, that every man Jack of them 
sees himself in Othello or Macbeth — knows that in such 
characters his talent, whatever it amount to, will be so 
improved and heightened by the magnificent words he 
will have to declaim, and by the heroic positions in which 
he will be placed, that he considers himself to be in a 
species of complicity with the poet, and would as soon 
agree to a criticism on himself as to one upon his author. 
But verily the poet requires none of the actor’s aid, losing 
rather tlian gaining by the necessarily unsuccessful 
attempt to translate into mediocre humanity those forms 
which, in our imagination, attain colossal proportions, or 
to give fit expression to those musical words which, to the 
mind’s ear, are replete with an infinite harmony, through 
the medium of an ordinary human voice, which may bo 
hoarse or husky, and is certainly not often strictly 
melodious. That Shakspeare felt keenly how much his 
divine thoughts were dragged down by the inevitable 
incompleteness of stage representation, we know from his 
sonnets— that one especially iu which he speaks of liiuiself 
as having 
“ Gored my own thoughts: made ehen]) wliat is most dear, 
And made myself a motley to the view, 
Till almost hence iny nature is subdued 
To what it works in." 
That others have felt it, of those whose opinion is best 
worth having, is equally sure ; for example, Charles Lamb, 
than whom there have been none more deeply, more 
sensitively, appreciative of till the beauties of the 
Elizabethan drama. Charles Lamb dedicated one of bis 
Elian essays to the showing that Shakspeare’s plays in 
general are not adapted to stage representation, giving 
first many good reasons for the assertion, as taken in a 
general point of view ; and finally pushing, as his wont 
was, a truth into a paradox, asserting that an average 
London audience who should see “ Richard the Third” on 
one night, and “George Barnwell” on the next, would 
probably regard the heroes of the two plays much in the 
same point of view, and consider the catastrophe of the 
latter as equally applicable to the former. It is no blame 
to the actor that he should fail in representing the 
Richard of Shakspeare us Shakspeare has drawn him— as 
we know him when we simply read the play ; it is im- 
possible that he should do so. The royal robes, the 
withered arm, the distorted form, may be there— in the 
performance of such actors as Mr. Charles Kean or Mr. 
Brooke— the energy, the remorse, the despair arc* not 
absent : but the deep soul, the high-reaching intellect, the 
mind of the man which one knows in the closet, and which 
alone separate him from vulgar villains, cannot possibly 
be placed on tho stage. Tho late Lord Dudley said it was 
very difficult to get a moral position across the Atlantic ; 
it is more than difficult to get a metaphysical study before 
the footlights. If it were done, the public would be bored 
by it, and would righteously hiss, for it is only the salient 
parts of a character that are capable of being made 
visible on the stage. The medium tints, the inner lights 
and glimpses of the mind, such as arc the redeeming 
points in a Richard, arc beyond the power— I will not 
say of any actor (though this may be the truth)— but of 
any we now possess. A proof of the truth of this position 
is to be found in the fact, that at both the theatres where 
“ Richard” is now performing, it has been thought ad- 
visable to play Cibber’s version, because the original Lord 
Foppiugton, having about as much poetical feeling in him 
as an oyster, but being a clever man of the world, and 
versed in stage business, introduced into the play certain 
“ points,” suen as the well-known 
“ Off with Ills head— so much for Buckingham !’’ 
of which the actor would not willingly deprive himself. 
If I wanted a proof that the plays of Shakspeare are not 
generally, in the highest degree, fitted for stage per- 
formance, I think I could find none moro convincing 
than the fact, that so good a judge as Mr. Kean prefers 
Shakspeare doubled by Cibber to Shakspeare solus. 
Of course, the mite cn scene of Richard at the Princess’s 
is nearly faultless. 
At Drury-lane the defects of Richard -the Third as an 
acting play, strike one more forcibly than at the Princess’s, 
because here the scenic and spectacular part cannot 
certainly be considered as much attraction. All this is 
respectably done, and nothing more ; — the audience come 
to see Mr. Brooke, and nothing, and nobody else ; which, 
ns they come in considerable numbers, is a greater com- 
pliment. to Mr. Brooke personally, than the crammed house 
nt the Princess's is to Mr. Kean. Rivalry between the two 
houses ns regards the production of Richard, is, of course, 
out of the question, for nt the Princess’s it is meant to last 
for months to come, while nt Drury it forms but one of a 
scries. But with regard to the Drury-lane version of the 
Corsican Brothers, announced for some time with all 
possible flourishing of the very brazen trumpets peculiar 
to that establishment, tho case is different. Here a 
success— a “ run” — is evidently counted upon, though how 
Drury-lane can get one from a piece which has been pretty 
well worked out already — a piece of chiefly pantomime, 
too, dependent almost entirely on dress and arrangement — 
(in which. I hope, the manager will excuse me if I say I 
don't think he has hitherto shown himself particularly 
strong)— is more than I know. It may turn out so, how- 
ever ;— we shall see on Monday. 
Nothing new elsewhere that I know of, either in theatres 
nr theatrical circles, except the termination of the Lumley 
and Gye cause, in re Wagner — decided against the former, 
rather to the surprise of many people, including, I think 
I may say, the Judge, Lord Campbell. C. 
Adelphi. — A change of performance occurred here 
during the past week, “The Serious Family” having been 
played, on alternate nights, instead of “Number Nip.” 
This being withdrawn, alter its successful run, afforded an 
opportunity for tho reproduction of tho “Camp at 
Cliobliain,” which farce seems to be moro popular than 
over, possibly because a deputation of tho Peaco Society 
having just visited St. Petersburg!! gives a greater zest to 
the comicalities of Keeley’s Mr. Cadbwy , M.P.S. “ Did 
you ever send your Wife to Camberwell ?” has also been 
played ; and, throughout the week, the Adolphi has been 
filled with fushiouablo und delighted audiences. “The 
Thirst of Gold ” docs not aba to a whit in interest. 
Astleys. — T he new piece at this theatre has proved a 
“ hit.’’ We defer our report till wo have seen it again. We 
aro glad to find that Mr. Cooke’s indefatigability has en- 
sured crowded houses. 
Royal Marionette Theatre. — This day week the 
audience were suddenly terrified by an accident occurring 
to Mrs. Seville Wullaek, whose dress caught the float-lights 
and burst into a blaze. Through the courage of the lady 
herself the flame was with difficulty extinguished, amidst 
rounds of cheering at her fortunate escape. After singing 
the music allotted to her — a proof of great nerve, under tho 
circumstances— Mrs. Wallack, on leaving tho stage, fainted 
away. No further harm has resulted from the accident. 
in the ranks of the army. Peter quits the village. Cathe- 
rine herself burns with military ardour ; she disguiso* 
herself in male attire, and enlists ns a soldier. During- 
the absence of the Czar the army had become disaffected 
and a conspiracy, which menaces the safety of the State* 
is discovered by Catherine. Tho Czar returns to tho* 
camp, but only reveals himself to a few of his confidants 
Catherine is placed one day as sentinel at the tent of the 
Czar, and in altercation with a corporal lifts her hand and 
.'trikes him. The offence is most serious — tho punishment 
death. The offender is ordered by Potor to be shot. Sho 
escapes from her guard, plunges into a stream which flows 
below the camp, is fired at by her pursuers, is wounded 
but succeeds in gaining the opposite bank. In tho meantime 
Peter discovers himself to his army, and is received with 
enthusiastic hurrahs. The Czar soon regains his ascendancy • 
the Swedes aro vanquished, and iu the beginning: of tho 
third act Peter is discovered in his palace at Moscow 
flushed with his military triumph, but still saddened by 
the recollections of his lost and beautiful mistress. Agents 
arc sent throughout the empire in search of her. In tk 0 
meantime a village has been built by the, Emperor's orders 
near the Kremlin, similar in every respect to the humble 
one in Finland, where he first met Catherine. She is at 
length found, but her troubles and her sorrows have turned hop 
brain, und she reaches Moscow a lunatic. She is brought 
to the village near the Imperial palace, and lodged in the 
lowly house she occupied in other times. Her brother, her 
sisters, her friends, and not the least, her old admiror 
Peter, whom she had while in the camp discovered to be the 
master of Russia, stand before her. The result may be 
guessed ; the remedy is successful, the crisis is at an end 
and Catherine recovers her reason. She falls fainting into- 
the arms of her mother ; Peter covers her with the Imperial! 
mantle, clasped with diamonds, und embroidered with golden 
eagles, and proclaims her as his Empress. This is the close 
of a pieco which, by general admission, fully deserves the 
brilliant success which it obtained on its first representation. 
The enthusiasm of the public during the performance was 
great beyond precedent; and the celebrated composer ap- 
peared on the stage at the fall of the curtain, and, in com- 
pliance with the universal and prolonged demand of the 
audience, received their congratulations and their plaudits 
in person. 
Armour, arms, costumes, stage arrange- 
ment, arc all as magnificent, as correct historically, and in 
as good taste as they well can be. I am sick of hearing 
people talk, as they still do, of the admirable putting on 
the stage of Parisian pieces ;— nothing that “our lively 
neighbours” have ever done in this way, equals what 
we may see at home, at the Princess’s, or the Lyceum. 
The scenery is good, yet not so good — there is apt 
to be a certain rawness of tone and want of what is 
Dublin, Fob. 18. — As an evidence of the state of popular 
feeling here, it may bo mentioned that the reception of the 
Lord Lieutenant and Countess nt the theatre last night, 
where the performance was by command of their excellencies, 
was more enthusiastic than any which greeted a vice-regal 
party at tho Dublin Theatre for some years. Lieut-Goneral 
Sir Edward Blakeney was also received with the warmest 
cordiality by the audience ; and loud cheers for the Turks, 
with groans for tho Russians, resounded through tho house. 
Paris — The first representation of M. Meyerbeer’s new 
opera, 41 L’Etoile du Nord,” took place last week at the 
Opera Comique. The house was crowded in every part, 
and many who had sought admission at the doors were 
obliged to go away disappointed. Tho Emperor and Em- 
press wore present ; they arrived early, and were among 
the last to leave. The “ Etoile du Nord” had excited nearly 
as much attention among musical, literary, and oven political 
persons, ns the Eastern question still does iu the diplomatic 
world. Nor will this seem strange when it is known that 
the plot, the hero, and every incident in tho piece, lias 
reference to Russia. It is an episode in the history of tho 
extraordinary man who, though little better than a barba- 
rian himself, struck tin* first effective blow at the barbarism 
of his country ; and who, cruel of character and brutal in 
habits nnd manners, yot introduced the first elements of 
civilisation among a people who passed for Christians, but 
who were as yet scarce half converted from gloomy and 
fierce Paganism. Tho hero of the Etoilo du Nord is I'eter 
the Great ; the licroino, that equally extraordinary woman 
who roso from the humblest class and u degruded condition 
to be the partner of the Mighty monarch of tho Russias, 
whose gentle influence could alone subdue the savage nature 
of her lord, and who, when seated on tho throne, exhibited 
those virtues to which her claim in a humble condition was 
more than doubtful. The elevation of a beautiful woman from 
a private condition to be the partner of an Emperor presented 
some analogy with the moro recent history of the actual ruler 
of France, and that analogy, with tho fact of the plot being taken 
from the history of Russia, independently of the acknowledged 
merits of M. Meyerbeer and M. Scribe, fully accounts for 
tho interest which tho pieco created among the public. Those 
fuels may also explain the difficulties that were anticipated 
with reference to the censorship. The Emperor, however, 
appeared to have considered the matter in an exclusively 
artist ical light, und with the exception of some few passages, 
tho pieco was represented as originally sketched. The 
principal part of the action takes place, not at Saardum, 
us in previous pieces of which tho same personage has been 
so often made the hero, but in an obscure villuge of Finland, 
where the Czar, under the name of Peters, exercises tho 
trade of a carpenter. 1 1 is residence there mis the result of 
an uccident. He hud been traversing incognito the northern 
provinces of his Empire to organise the defence of tho 
Russian territory against Ids formidable rival, Charles XII. ; 
for at that period the destinies of Russiu wore menaced 
seriously by Sweden, as Turkey now is by the Czar. Peter 
fell ill iu thu villuge, and war attended during his malady 
by a beautiful girl, who (the tulo is an old one) soon won 
his affections. Forgetful, for u space, of his rank, ids 
Empire, and the dangers that hung over it, ho lingered in 
the villuge, working as a carpenter. It bad been foretold 
J" retmasonrii anir llnsoitit intellipn. 
MEETINGS OF LODGES, &c. 
Monday, 27th. No. 4, Freemasons’ Tavern — -No. 27, 
Thatched-house Tavern, St. James’s — No. 93, Royal Hill, 
Greenwich — No. 215, George and Vulture Tavern. Corn- 
hill. 
Tuesday, 28th. Board of General Purposes at three — 
No. 14, Freemasons’ Tavern — No. 109, London Tavern 
No. 165, Gun Tavern, Pimlico— No. 1G9, Freemasons’ 
Tavern — No. 219, Swan Tavern, Hnnuerford Market — No. 
324, Thatched-house Tavern, St. James’s — Chap. No. 7, 
Freemasons’ Tavern. 
Wednesday, 1st March. Quarterly communication at 
7 for 6 p.m. — No. 233, Freemasons’ Tavern. 
Thursday, 2nd. No. 29, George and Blue Boar, I-lol- 
born — No. 53, Falcon Tavern, Fetter-lane — No. 158, Rad- 
loy’s Hotel — No. 227, George and Vulture, Cornhill — No. 
275, King’s Head, Poultry — No. 281, Freemasons’ Tavern- 
No. 812, George Tavern, Commercial-road East — Chap. 
No. 2, Freemasons’ Tavern. 
Friday, 3rd. Chap. No. 3, Freemasons’ Tavern — Chap. 
No. 8, Freemasons’ Tavern. 
Saturday, 4th. Com. Boys School at 4— No. 125, 
Freemasons’ Tavern — No. 16G, Freemasons’ Tavern. 
ANCIENT FREEMASONRY. 
But what chiefly tends to darken the history of our early 
architecture, while it explains tho unity and designs of 
Christian buildings, is the circumstance, that the greater 
part of them were not the work of one individual, but the 
confederated production of many artists acting in perfect 
combination, obeying certain fixed regulations, and bound to 
observe secret and unalterable rules. 
These wore the famous Society of Ancient Freemasons. 
The first Master Mason in England whose works are extant 
and his name authenticated, was William of Sens, who 
assisted in the completion of the choir of Canterbury 
Cathedral, and was succeeded us Master Mason by William, 
styled tho Englishman. The freemasons were educated in 
their own colleges at Strusbnrg and Cologne, where regula- 
tions were formed and religiously preserved, under the 
strong sanction of good faith and secresy ; the communica- 
tion and instructions being delivered orally : in every country 
of Europe they received the blessings of the Holy See, under 
the injunction of dedicating their skill to the erection of 
ecclesiastical buildings, with certain immunities for forming 
smaller migratory societies, uuder the government of u 
master of the craft. 
With tho privilege of taking apprentices, who, after a due 
initiation, became free and accepted masons, such were the 
class to whom England is indebted for her noblest monu- 
ments of architectural genius; when the foundation of an 
abbey was meditated, tliesn artisans removed in great 
numbers to any spot in the kingdom, however remote or 
insoltited — these, although not the founders, were the inventors 
and executors of the magnificent designs of kings, prelutes, 
and nobles. — (From the history of the town of Guis’bro and 
its ancient priory or manor of the M.W. grand master “Tho 
Earl of Zetland,” by James Walker Ord.) 
Dublin. — The Mendinn Lodge 12 had their usual 
monthly meeting at the Masonic Hull, Dumc-strcet, on 
Thursday last, on which occasion the Hon. W. G. Eliot, 
third son of his Excellency the Lord-Lieulennnt of Ireland, 
was initiated into the mysteries of tho craft, previous to 
joining the embassy nt Berlin, of which ho is an attache. 
The throne was occupied by Br. Captain Sarnies, the following 
members of the Lodge being present : — Lord Dnnkellin, 
Hon. Cco. Haudcock, Right Hon. Sir Win. Somerville, 
Bart., Sir Jocelyn Coghjll, Bart., Sir Edward Borough, 
Burt., Geo. Hoyle, D.G.M., Richard Bourkc, S.G.D., E. J. 
Armstrong, K.IL, Rev. Charles Tisdale, Chaplain, Arthur 
Buche.S W., Edward Hornsby, P.M., J. F. Townsend, K.H., 
T. J. Quinton, 33rd, and other brethren, amounting to 38 
in number. After the termination of labour, the Lodge was 
to Catherine, ns it was to Josephine, by an old gipsy woman, 
that sho should one day become the wife of n wealthy and 
puissant lord ; her whole soul had become absorbed by that ' called oil' to refreshment — the banquet served in Br. Judo’s 
one idea; and, notwithstanding the rude garb and humble best style, including turtle and everything that ingenuity 
condition of her udmirer, there was something so command- could procuro, and gastronomic skill render auxiliary to the 
lug, so Imperial, iu his deportment, that she could not get ! figriemens of the evening. The harmony was ubly sustained 
rid of tho thought that Peters was l lie man predicted to her by the vocal exertions of Bis. Geary, Talbots', and Murphy, 
by the gipsy. Her influence over him was great ; and tho and the meeting separated after having experienced hours of 
called a-rial perspective in the paintings at this theatre, situation of Russia being at that time most critical, she delight and gratification peculiar to the meetings of the 
The Tent scene is particularly well managed. I urges him to quit his mechanical labour, and win glory I Mystic Tie. 
