University of Virginia Library

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.