ABSTRACT
That there must be much cleverness in anyone who can construct and write a five act tragedy, to which an audience will patiently listen, is beyond a doubt; but we do not think that Strafford has interest enough about it, either of plot or dialogue, to give it more than a temporary existence. The personal politics of the individuals brought on the scene, are entered into far too minutely; and the speeches generally contain so many broken sentences, that they become quite unintelligible; indeed, to so extraordinary and unusual an extent was this last fault carried, that we at last discovered that the best way of obtaining an impression of what was going on was, to take care not to follow the speaker too closely, but to hear the opening of a sentence, and supply the remainder by imagination. This style of writing might answer very well, if an author could be sure that the whole audience would be of one mind; but as that is not very probable, we prefer the old-fashioned way of addressing yourself direct to the understanding. Mr. Macready played Strafford with very great ability, and with almost more than even his wonted energy. Mr. Vandenhoff was sadly prosy in Pym; and Mr. Dale, in Charles the First, was nothing short of execrable. Miss Vincent was quite out of place in Henrietta-Maria; and Miss Helen Faucit, in the Countess of Carlisle, contrived, with much feeling, much delicacy, and great skill, to fill up the outline of a very charming character, which the author had rather indicated than drawn, and to make intelligible that which he had left very indistinct.1
