The Sun.
London, England, 1828-01-24 00:00:00

COVENT-GARDEN THEATRE.

. .
Lord Normanby's domestic tragedy of THE SEar was
produced last night at this theatre. The plot is simple—
almost meagre ; but possesses the singular merit of dearness
and conciseness. The following is a slight sketch o► it :
Vladimir, a Russian Prince (Mr. Young) has been reared
from childhood with Isidore (Mr. C. Kemble), who is his
half brother by a female serf, and is, consequently, himself a
serf or slave. The two youths, just preVious to the death of
their father, travel together in Italy, where Isidore forms.
an acquaintance with, and pledges his vows to, a Countess-
Olga (Miss Jarman.) The play opens with his rettam
home to Vladimir (who had arrived some time previously),,
by whom he is cordially received, and who promises to give
him his charter or acknowledgement of freedom, which his
father had somewhat unaccountably forgotten. Unfor-
tunately, just at this crisis., the Countess Olga is
invited to the Castle, when Vladimir learns, for the
first time, that Isidore has been long and successfully at-
tached to her. Himself desperately in love with the same
individual he of course resents his brother's presumption,.
di he terms it, and instigated by Ossip, one of his most
favourite serfs, is induced to degrade him to his original in-
significance, and even to clothe him in the livery of one of
his own menials. Finding this unavailing, he resolves
finally on banishing him for life to the mines, but the
Countess Olga consenting (on condition that he should
liberate Isidore) to become his wife, he reluctantly gives
him his charter of freedom, after whie,b the brothers meet,
and in a mutual paroxysm of shame—rage—remorse—and
hate,—fall by each other's swords.

'net of
softott ness id
icsit
elaicsvohet:ndr:pintohesdi tion, which neither t; hak sal care nor
character of Ossip,—who is a P
On this slight plot, rateolifieenvweend_daallilottroldei
e g
by the very difficult.,
con-
structed the best tragedy the English stage has knoWn since
the time of Bertram or Fazio. There is not (a singular defi-
ciency in these "evil days" of the drama) a monster through .•
out the piece. Ossip makes the nearest approach to one, bet
even he—as we observed above—has redeeming points about
him, and resolves to save the man who (though the object
bi his deadliest rancour) had " wept beside his poor wife'.
grave." This is a touch of nature felicitously thrown in
by a man of taste and of the world. It is nearly as good
is Lady Macbeth's " had he not resembled my father when
he slept, I could have done the deed." But the whole
tragedy is full of character. The proml, passionate,
vet still loftytminded Vladimir„ is impressively contrasted:
with the more sensitive, elegant, and chivalrous Isidore.
In the heroine, too, an animal in modern tragedy usually
consecrated to unadulterated stupidity, gleams of " marie
and likelihood" break forth, sufficient to stamp her wit)'.
But Ossip—sadly misnomered a jester—ls
our favourite ; and the mind that could conceive such
character, can, we are convinced, go far to work a rc7
formation in our drama.

Lis
w plebeian birth, and sar-
me the charter, Serf.''
With regard to the incidents, they rise simply and na-
turally from each other ; but the best (which produced a
most thrilling effect) is decidedly the one where Vladimir,
hurried in the impulse of the moment from all his wonted,
:g7itesnteitc.°sallivtYaPddtareusnstess Ihsiidmorueixtvhi t,1,1s
This passage, as delivered by Young, brought down three
distinct rounds of applaunlityina ~ the next perhaps in
orig
merit, but the first in was the scene of
Isidore's disgrace, where di,,87(1 as a livery ser-
vant, be minister's lon_e to Countess Olga, seated.
at the same table with Vladimir. Charles Kemble here•
put forth unsuspected energy. The interview in thr.,
fburth act between .the. Countess and her favourite was
somewhat prosy and lung-winded ; a remark which ap-
!dies with yet nrl propriety to the exordium or introduc-
tory scenes;..
where the author seems to have taken a hint
des
Crom Eu 01" • As a whole, however, the tragedy is
commendable (we have insisted highly the more
n,it, merits beeause• we do not think that our
wooing cotem poraries have quite done them justice) ;-..
i
the language s nervous, yet plain, with the occasional in-
troduction of a, shrewd pertinent remark ; the situations
natural, and the denouement so deeply interesting that a
!entletnan near us, of very easy and creditable Brenta_
Terence, swore (inelegantly, but with manifest sincerity,)
that it made him " cry like an onion." This fact speaks
tar itself.

was charged with being the
eig:awatiil.kgsces.vhiroches_w
poet QUE VEDO, whilst
The celebrated Spanish
.eustiicloirir go
fo nSolmi Lis little
satirical
ere in circula-
poiled of his pro-
tion, and which
recognized,
oertv, and thrown into the humid cell of a prison, beneath,
vhich a river flowed, lie became the victim of miserable
and neglected disease. For 15 years he endured this cruel
incarceration. A touching exposition of his sufferings en-
raged at length, the pity of OLIVARES • be was treated
.vith more I,U-inanity ; a discovery of the original libels led
n a knowledge Of the real author, and QUEVEDO'S perfect
was struck ; and this illustrious victim of sins-
he was set at liberty. But
iideous dungeon. of the infirmities contracted in Ina
ilicrie;oic,nienndnci,eed i n 1 6
4.5,

I