The Sun.
London, England, 1842-06-06 00:00:00

HA Y MARKET THEATRE.

Sheridan Knowles has produced another work w►,ich
the world will not willingly let die ; its title is The Rose
of Arragon. A numerous and faShionable audience as-
sembled at the Haymarket on Saturday evening, and
we need scarcely add that its reception was most trium-
phant. In his former works Sheridan Knowles has oene-
rally taken Fletcher, Massinger, Shirley, and immediate
successors of Shakspeare, as his models ; in his present
production, however, he has kept his eye steadily an" the
mighty master himself," and has, in consequence, pro-
duced the most Shaksperian drama of modern times.
As a mere work of art it is perhaps inferior to Time Wife;
in every other respect, however, it is infinitely superior
to it. As replete with exquisite poetry as any of the
productions which have hitherto emanated from the
of Sheridan Knowles, in variety of incident, in diScrlini-
nation of character, in depth of reflection, it ranks-far
above any of them. It is a play to make men think.
Many of its maxims, which betoken a reach of thought of
which we had.not hitherto supposed Sheridan Knowles,
capable, will become, ere lung, "fitmiliar in men's months
as household words." In his former works Sheridan
Knowles has proved himself to be the greatest of living
dramatic poets—in this he has shown himself to be the
deep-thinking, philanthropic, moral philosopher. Its plot
is as follows:—Alonzo (Mr. 11. Holly, the only son of the
-King of Arragon (Mr. Howe), has seen at a tournament.
Olivia (Mrs. Charles Kean), the Bose of Arragon, the
(laughter of Ruphino (Mr. Stuart), a peasant. He be-
belt her there

" Among the common gazers,
No state to point her out, and yet the mark
Attracted every eye ! He heard the buzz
Of wonder heralding her matchless beauty,
And far and near the concourse summoning
Before the humble seat allotted her."
To see her is to love her. Alonzo as a peasant wins
and marries her. lie wishes the marriage to be kept a
secret, promising her he will acknowledge her at a fitting
time. Her brother, Alasco (Mr. Charles Kean), follows
the Prince to the Court, declares " the fitting time is
now ;" the Prince publicly acknowledges his " peasant
bride," and the Rose of Arragon is recognised as the
lawful wife of the heir to the throne of Arragon. Hav-
ing succeeded in obtaining the public acknowledgment
of his sister's rights, Alasco returns to his father's cottage,
leaving Olivia in the Palace of Saragossa with her husband.
The King chafed at this misalliance, determines to separate
the young couple, and orders Alonzo away, to take the
command of the army on the frontier ; and the piny
opens with a beautiful scene of the parting of Alonzo
and Olivia. Forced away by the stern commands of the
inexorable King, Alonzo leaves his wife to his father's
protection. The King, taking advantage of Aloezo's
absence, assembles the Cortes, procures from theta a
decree, declaring the marriage null and void ; and
Olivia is driven forth front the palace and the city of
Saragossa, and forbidden ever to return, on pain of
death. The intelligence of these proceedings is brought
to Ruphino and Masco,: in ' their ~ cottage among the
mountains, by Veslasquez (Mr. F. Vining), who had
been a lover of Olivia, and whose suit had been favoured
by old Ruphino. The peasantry assemble, and, headed
by Alasco, determine to march on Saragossa„ to enforce
a redress of grievances, and justice to the " Rose of Ar-
mpit." Amongst the leaders who are joined with
Alasco, as head of this revolt, is one Almagro (Mr.
Phelps), a cold-hearted, selfish villain, who has, by a •
most virtuous seeming, so imposed upon Alasco's noble
nature, that Alasco is proud. to call him friend, has
striven to win his sister to lend a favourable ear to Al-
magro's suit ; and, when she weds, the Prince
boldly declares he rather would have seen her Al-
magro's bride. Ruphino,, who sees through the crafty
dissimulation of Almagro, warns Alasco, but in vain,
of Almagro's true character. Alasco, knowing his own
guileless purity, will not suffer his faith in another's
virtue to be shaken, and, in spite of all remonstrances,
cherishes the viper in his bosom. The second act passes
in the palace of the King, in Saragossa. The citizens
have heard of the unjust treatment of Olivia, and every
thing betokens a rising among them. 'Tis mid-day, yet
in the city all is silent. The shops are unopened—the
craftsmen and artificers stand idle—the market place is
deserted. The gathering storm at length breaks forth;
the citizens are in open revolt and conflict with 'the. sol-
diery. Intelligence is brought the King that, in defiance
of his proclamation, Olivia is returned, and has • been
taken prisoner within the walls of Saragossa, by the sol-
diers, as the was approaching the palace. He orders her to.
be brought in, and interrogates her as to the cause of her
return. "To save your life,", is the reply. She informs
him of the revolt of the peasantry and of the march on
Saragossa. He disbelieves her. story. "You doubt
my word," says Olivia, " a peasant had , • not
done so." She throws herself at • his feet, be-
seeching him to heed her advice ere it be too
late ; to take her life if' he will, but to let her have
the satisfaCtion of saving the father of her husband ; in
vain—the man, of course, cannot understand the truth
that is in the peasant daughter until it is too late—the
peasantry are at the gates—the soldiery give way—A lase()
and Almagro and their band are in possession of Satra,,
gossa—are within the palace itself ; then, indeed, he un-
derstands the noble nature of his son's peasant bride ;
then, indeed, the miserable can do justice to her truth-
fulness.

" Girl, you have told me the truth.
Consult your safety—join your friends—leave me."
" I will not quit your side," is the reply of the high-
tnindedgirl.

" What e'er betide my lift) I link with yours ;
Both shall survive, or both one ruin share."
and nobly does she redeem her pledge. liaddene.l by
previous suffering, still more maddened by unex-
pected success, in the first flush of their tri-
umph, headed by Almagfo, the victorious peasantry
rush into the presence of the now defenceless iditg, who
looks upon his doom as certain. Olivia throws herself
before him, and like al angel of mercy standing betwixt
the doOmers and the doomed, with one hand protecting
the king. with the other outstretched towards Almagro
and his followers, commands them to stand back. Awed
by her manner, they hesitate awhile. Almagro urges
them to crown their work, and advancing towards the
king, demands— _

" Who seconds me ?"
Olivia throws herself on the King, exclaiming—
" Come on then if you will ;
My word you hear is plsdged to save the King;
Either respect my pledge, or see me die.
Aruund the Kin's life thus I wind my own,
If not a safeguard, then a sacrifice."

At this moment she hears Alasco calling her, and on
his entering, turns upon Almagro, and, with an eNipres-
sion of triumphant contempt, exclaims—
" Now touch the King who dares."
The King is 'saved, but remains in custody ; and until
the Prince shall return, it is determined to appoint a
regent. Who shall be'regent ?is the demand of Alasco.
The Rose of Arragon ! is the unanimous answer ;,l' the
'victorious peasantry ; artd with the
proclamation of
Olivia as regent, the seC:4nd acts ends. With the toil
recollection of the many beautiful scenes for which we
are indebted to the pen of .Sheridan Knowles ; with the
full recollection. of the magnificent second act of • John
di Proeida, we have no hesitation in saying that the
second act of the Rose of •Arrairon is not only the ffnest
thing that Sheridan Knowles has ever written, but that
there is nothing in•the whole range of modern dramatic
literature to equal it. We must go back at last as Car
as the days of the first Charles, to nzcet with anythitg
worthy of being con pared to . it. In the. third act, 7.77:
find Almagro plotting to get th supreme power.
• " Spapit in vulgus vocea ambiguas.'