REMARKS ON THE APOSTATE.
The story on which this drama is founded, was
probably suggested by that obscure rumor which had prevailed
from the days of Plato, to those of Columbus,
respecting the existence of the western continent. It is,
however, a subject, perhaps, more suitable to descriptive
narration, than calculated to produce such a degree of
dramatic effect as would render it impressive in representation.
The motives of the author in making choice of a fable
so entirely fictitious, seem to have been of a two-fold
nature; the originality of the incidents which it allowed
him to introduce, and the opportunity which it afforded to
him of placing the two great crimes, peculiar to the civilized
state, Adultery and Suicide, in a strong and striking
light.
Several of the ocular circumstances, though questionable
as his inventions, will readily be admitted to equal in the
terrific any thing which the stage exhibits. The situation
of Idda left to perish on the rock, is one of this description,
but it is perhaps not thoroughly dramatic; for when she compares
herself to a person untimely interred reviving within
the grave, she only gives us another view of her own horror
without adding any new feature to the frightfulness of the
original idea, or eliciting any thought which might enable
us to participate in her feelings.
The expiring of the penal fire seen by the spectators, is
founded on a real occurrence mentioned in the life of
Admiral Byron; and the imagination cannot conceive any
spectacle more awfully interesting. Had it been an invention,
the author might have obtained the praise of contriving
one of the most sublime scenic spectacles in the
whole range of the drama.
The characters, like the incidents, are perhaps rather
possible existences than delineations of human beings.
In Orooko, however, there are traits of individuality, which
make it probable that it was in some degree intended
for a portrait. Antonio, as a development of constitutional
licentiousness counteracting moral intentions, may
lay claim to some consideration. He is of a species
familiar enough to the stage, but of a class that authors
have been diffident in embodying so fully. Yamos is
only a young Othello, and Arak is not sufficiently prominent
to interest us much in his fate. The character of
Idda, is not graced with any amiable feeling. It may be
doubted if the author has acted judiciously in making so
naked a delineation of the debasing effects of the animal
propensity; for the fastidious spirit of modern criticism
is offended if the snaky length of Sin be not concealed by
a petticoat.
The train of moral sentiment in this piece is evidently
derived from Rousseau's celebrated essay against the arts
and sciences; and the reader of voyages and travels will
probably discover an indirect endeavour of the author
to give a fabulous account of the origin of that inexplicable
antipathy which the Indians of America cherish
towards the effects of civilization. He informs us that
the ideas which he has given to Orooko, were principally
drawn from an authentic description which he
had received of the manners and notions of the Indians,
from a person who once spent a hunting season
with a party that was in the practice of making an
annual visit to the city of Philadelphia. In this respect,
the piece possesses a degree of originality, wholly independent
of the poet, and of a kind which deserves
attention without reference either to the verse or the
language.
The reader alone can determine whether the subject
of this play has been so managed as to interest
the mind; for whatever may be the claims of originality,
as to invention or appropriation of incidents, the tragedy
can have but little merit as a drama, if the story is not
interestingly developed.
We are requested to state, that the outline of Antonio's
character was suggested by the manner in which Mr.
Kean performs the character of Iago—It certainly has
appeared to many good dramatic judges, that the air of
libertine gaiety which that excellent actor assumes in this
part, does not accord with the general impression which
the text of Shakespeare makes in perusal. Perhaps the
objection made to Mr. Kean's performance is well founded.
The versatility of his talents requires a various part to
produce their full effect, and the Iago is so uniformly a
villain, that the defect of Mr. Kean may be owing to an
attempt to vary the odious sameness of the character.
Iago is one of the strongest drawn, but the worst completed
of all Shakespeare's characters. It is equally unnaturally
wicked and consistent. The attempt of Mr. Kean
to make it more human, is a proof of his good taste; and
his failure in this part is rather an honor to his judgment,
than a disgrace to his powers.
