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Leader (1850-1860), 16th November 1850, Edition Town of 1, Page 812, Untitled Article

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      Untitled Article

      Men turn thieves who would he glad of healthy , honourable employment . Women turn prostitutes who would delight in honest labour . Thousands pine and die , too proud to become paupers , too honest to become thieves , and too chaste to become prostitutes . And all the while farms are under-cultivated , and land lies actually waste ! The safety of the country depends upon the solution of the land question . There are many reasons why the question has not been solved hitherto , and why men have not attempted to solve it . Among these , to specify them broadly , are , our territorial constitution , entailing exclusive legislation ; the ignorance of our rulers of moral doctrine and the laws of nature ; the priestly doctrine of

      human depravity , original and inherent ; the invention of rent and wages , necessary in a certain state of society , fast reaching the climax of their usefulness now ; the bigoted adherence to precedent , which is one of those virtues whose excess is vice ; and , above all , that declaration of the law which confers absolute and irresponsible property in the land upon those who have it in possession . — Freethinker ' s Magazine .

      Untitled Article

      THE TEMPLAR , The new play at the Princess's Theatre ought to be a lesson to our aspiring dramatists . Its brilliant success will show them where lies the secret of theatrical excellence ( and a drama that is not theatrical is a mistake in art , because it employs a machinery incapable of effecting the very purpose of the machinery ) ; but let it be hoped that the success will not seduce them into the mistake of supposing that theatrical effect is all in all—that the higher qualities of a drama can be dispensed with . The Templar is not a poem . It is worth little as an inh

      tellectual effort . It is not a work of art in the hig sense of the term . But it effects its purpose : amuses the audience and fills the theatre . The strength of the play lies in the story , -which , is simple , progressive , and interesting—in the situations , which are varied and striking—and in the spectacle , which is picturesque and magnificent . Except in a somewhat tiresome first act of exposition , the animation is incessant . Now , although ambitious poets may sneer at these qualities , calling them the " properties" a playwright , it is incontestable that such " properties" necessary as the vehicle even for the finest poetry . Hamlet , Macbeth , and Othello are oreeminentlv what is called " melodramatic" in their

      theatrical structure—take away the noble poetry , the masterly exhibition of character , the thought , beauty , grace , and fancy of these plays , and they still remain effective melodramas . Clothe The Templar with poetry and it will become a drama . That which makes TJie Templar effective—and theatrically preferable to far more ambitious works—is the movement and interest of its story . That which makes it dramatically insignificant is the poverty of its thought , imagery , psychological revelation ? , and the superficiality of its passion—loud but not deep . Nowhere does the writing come up to the situations . The eye is captivated , the attention lixed , but the tears lie untroubled in their source , the heart beats equably ,

      the soul is startled into no sudden introspections . The curtain falls ; the theatre empties ; you go homo , having spent a pleasant evening , but would never think of the play again if it were not brought before you in conversation . Now , it seems to me that on both sides this matter there is useful instruction to be gained : first as to the causes of success , next as to the causes which prevent that success from being complete . But as the rcuder is not himself a dramatist—lucky dog !— -my preaching may be out of season . Let me , then , be " critical , " if anything .

      If I were the author of The Templar I would undertako to vindicate my play by ample extracts from Aristotle ( I sometimes read that respectable authority —on wet mornings ) , showing how the end and aim of the tragic poet is to produce a good story with striking situations ; for , as he judiciously observes , without these no tragedy can bo written , whereas it is very possible to write a tragedy without any poetic excellence , such as imagery and characterization ( a free translation oiccvev $ e yOavl ) , and ho moreover declares that the parts which most captivate the spectator are what we call ' situations . * ' and the Greeks

      called ire / uireretTcn kocI a . va . yvupl ( reiq ( the *• recognition" —uvotyvvpitriq—has always been a tremendous •' effect , ' from the discovery of CEdipus of his relationship , to the last " scar" which tho hero avowed to be on his left breast , " and whirh extorted from his anxious questioner the burst of joy , •? Come to my arms my long lost chy / d" ) , but ' not being the author of The Templar , I save my erudition .

      Jsortrnnri is a gallant young gentleman , of obscure parentage —a , foundling turned Templar—Inn whose heart revolts against the unsacred laws of his order , which forbid lovo as a sin . Ho has acridentallysuvud : he lif f Koeho JJcrimrd , where tho Templars are \ mtler heir Grand Master , Aymor dc la lloche , The young

      lovers meet in secret , and the first act closes with the horror and grief of Isoline on discovering that Bertrand is a Templar , and as such forsworn in loving . In the second act Hubert learns first , that Bertrand is the son of the Grand Master , of -which , both father and son are ignorant ; and next , that his daughter loves this Bertrand . After explaining to Isoline the reasons of his hatred towards the Grand Master , who had killed his wife and boy , he tells her that he lives now for vengeance , and to secure this vengeance he demands an audience of Aymer de la Roche . He does so ; informs the Grand Master that

      one of his knights has broken his vow , and brings him where he overhears Bertrand swear eternal love to Isoline . The arrest follows . The father has to condemn his own son to death . He offers respite , however , on condition that he gave up the name of his mistress who has escaped . This Bertrand indignantly refuses ; and Hubert who , disguised as a monk , witnesses the trial , is so struck with his magnanimity , that he resolves to save him . He reveals the secret of his birth ; but the revelation never reaches the Grand Master ' s ear till Bertrand is led to the block , to be rescued by the king ' s troops , who destroy the Temple and release the Templars from their vows . ives idea whatever

      This skeleton of the plot g no of its effectiveness ; but , as that depends upon technical points not easily explained , I may content myself with saying that the piece is effective . The skeleton is useful in rendering criticism intelligible . First , observe how very old all the materials are ; and then observe how a little originality would have heightened the effect . Had Hubert , for example , told Aymer de la Roche that the recreant Templar was his son , and forced him to condemn his son , like another Brutus , moved thereto by the intense bigotry of the Templar ' s faith , merging the parent in the Grand Master , the collision might have been thrilling ; and to do this he would have been forced to represent the Templars as they were , with a little than he has

      more attention to historic accuracy thought needful . The Templars were the fiercest and most terrible of all the religious orders of the Middle Ages : they were the incarnation of the spirit of the Crusade . Their renunciation of the world was absolute , as may be seen in the frightful symbol which accompanied their initiation : they spat upon the cross , in order that they might thus sink to the depths of iniquity ere they were admitted to the purification of the Temple ; the lower they fell , the higher their ascent . Now , do you not conceive the use which a skilful dramatist might have made of such fierce bigotry on the one hand and parental tenderness on the other ? Mr . Slous has , however , let the chance slip . He delays the explanation until the last moment , when it is comparatively useless .

      Charles Kean has had no part so well suited to him as that of Hubert . He acted it with a naturalness , a pathos , a concentration of will , and a power of bringing out minute touches which " took the house by storm ; " even those who strenuously decry him . in other parts , were unanimous in praising him in this . So much vigour and so much truth I have rarely seen combined . The first scene with his daughter , and the fine scene where ho confronts the Grand Master , " live in my memory" as without blemish ; and I am not in the habit of paying compliments . Mrs . Kr > nn had fine " moments , " as the French say—touches of feeling and accents of despair which so accomplished an actress could hardly miss . But I have seen her to better advantage . Mr .

      Belton , as Bertrand , showed decided improvement ; but he must get rid of his imitations of Anderson and the tendency to drawl . Mr . llyder looked superb as the Grand Master , and played well in the early scenes ; he marred his last scene , however , by ranting so fiercely that his voice made my throat uneasy . That is liydcr ' s serious error as an actor , and one which , prevents his rising to a position he might otherwise attain . The scenery , dresses , gctting-up , and grouping of the piece arc so splendid that , even as a spectacle , it would be attractive . But a query for the managerial ear : Is there no person of a sensitive musical organization to look alter those blaring trumpets ? They were positively discordant on the first night ,

      The success of the piece was unmistnkcably genuine . At first you distinguished the applause of friends , and I noted that the said friends were not over numerous ; but as the play advanced the audience warmed , and the applause was uproarious . Charles Kean announced it for repetition every evening , and we nnticijmto u " run . " The author , Mr . Slous , then acknowledged the call from a private box . The Templar is his first work . I . have earned , by frankness , the light to toll him that , theatricallj ' , his coup tVcssni has been a coup de mttitre . Vivian .

      Untitled Article

      PICKERSGILL'S COMPOSITIONS FROM THE LIFE OF CHRIST . This is a marvel of cheapness : six elaborate compositions in outline , by an admired artist , for one shilling ! It would be an insult to Mr . Pickorsgill to lower our standard of criticism to the proportion of 2 ) y ico—to say thnt these compositions arc transcendent at twopence each ; we shall regard them , therefore , as if they had been published at two guineas , instead of twononee , for he has produced them conscientiously without regard to price at all . As works of art , they have his well-known merits and well-known defects . A technical mastery , an academic excellence , such as will gratify the many and interest students , cannot be overlooked in them ; but they are lifeless , mannered , and what one may cull obvious in expression , i . e ., the surface view is given—tho first thought , not the best . They arc essentially compositions : the 14 ' er informing spirit" of art is feebly manifested . Tho finest tiguvo in the whole is that of the woman taken in adultery ; there is a transfixed bewilderment of shame in her " attitude , and a voluptuous beauty in hor form , which are very suggestive : but the attitude of Christ is undignified—it reminds one of JVhiercady in tho trial set no of Shylock—and his face conventional and meaningless . Tho rebuked Jews are striking examples of the want of dramatic life before noted .

      Untitled Article

      descriptive title ) , the Romance of the Rose . The first-named piece is laid in Flanders , and turns on the conspiracy of the Chaperons blancs . It was not very successful , though got up with admirable taste , and well played throughout . Charles Mathews , who acted with his hand in a sling , has a part which affords him little scope for his peculiar ability , but he certainly makes the most of it . Mr . Basil Baker , Miss Baker , and Mr . H . Horncastle , all new to the theatre , may each be commended for talent and assiduity .

      In the second piece a certain Count Hubert de Roseville , under the gloomy influence of a pretended Chevalier de Sombre , who is really the fiend Astaroth , becomes exceedingly misanthropic ; and the Count ' s good Genius , the Queen of the Roses , determines to reclaim him by means of a course of poses plastiqties . That dyspeptic nobleman , however , persuaded by the logic of tableau number one , suffers arelapse in consequence of listening to a song in praise of melancholy by Miss St . George , who plays the Chevalier , and whose diablerie is the best thing in the piece . The real purpose of the entertainment was to exhibit a species of grouping which has been successful

      on the Continent ; but old Andrew Astley's advice about cutting out the " dialect" might be advantageously remembered here . A word for the groupings themselves : they are cleverly arranged , and the floating figures are not suspended in the usual manner , but supported , with no apparent constriction of the limbs , by the mysterious agency which serves Robert Houdin in his celebrated trick , the suspension ctJierienne . Herr Pigall , who made his first appearance on any stage , was introduced in the character of a goatherd to sing a couple of Tyrolese songs . Hi 3 execution of a prolonged labial shake on a high falsetto note was greeted with furious applause .

      Not having seen the new farce at the Princess s , we quote from the Times : — " The successful drama of The Templar was last night followed by a new farce , entitled Betsey Baker ; or t Too Attractive by Half . The hero of this piece is Mr . Mouscr ( Mr . Keeley ) , a gentleman in the legal profession , who is so completely devoted to his wife ( Miss Murray ) that his attentions annoy her . Mr . Crummy ( Mr . J . Vining ) , the wife ' s cousin , remedies this un-Baker

      pleasant state of things by bribing Betsey ( Mrs . Keeley ) , a coarse laundry girl , to win Mouser ' s heart . She unwillingly consents , and succeeds so well that Mouser , in spite of much resistance , is subdued at last , and actually sends her a letter , which , being opened in the establishment of which Betsey is a member , renders him an object of attention to some fifty washerwomen . The wife ' jealousy is aroused , and she is forced to confess that too much attention at home is , after all , better than attention bestowed elsewhere .

      " The expedient of the cousin , on which the plot of this piece depends , is neither very wise nor very ingenious . The story sometimes grows unnecessarily improbable , and there is a tendency to dwell too long on each situation . On the other hand the dialogue is frequently humorous , and , what was more conducive to the success of the piece , the acting of Mr . and Mrs . Keeley was absolutely perfect . Mrs . Keeley ' s indignant demand of her pattens , that she may depart , when first she bears the cousin ' s proposal , and is not yet persuaded to consent , and the gradual thawing of Mr . Keeley ' s stern morality on hearing that he has made a compact , are little touches of nature that could not be surpassed . The pair were loudly demanded at the fall of the curtain .

      The Bridal—a version , by Sheridan Knowles , of Beaumont and Fletcher ' s Maid ' s Tragedy—has reappeared after a rest of two years . Since the production of this play , under Macready ' s management , some time ago , it has been a stock piece at Sadler ' s Wells and elsewhere ; and it now promises to be as attractive as ever . Phelps played Melantius with spirit ; and , as the tragic interest heightened , he allowed the character to dcvelope itself naturally and gradually .

      NOVELTIES AND REVIVALS . A hearty reception awaited Charles Mathews last Saturday evening , on his first appearance since his accident . On Monday tho Lyceum hills suddenly brightened with the titles of two now pieces—tho White flood , a translation by l'lunchC of u 1 ' roneh operetta ; and a " morality" ( as we must call it , not having tho bill at hand to help us to the author ' s

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      Untitled Article

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  • Citation
    • Leader (1850-1860), Nov. 16, 1850, page 812, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1859/page/20/