The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1851-07-18


emphasis which Buchanan uses, to produce a cor
rect impression of his authors meaning. The col
loqual beauty Of his style is charm in which all
who have taste for the drama, must delight; and
If he has any thing in his reading to avoid it is the
habit, common to some actors of high eputa ton
that oi making, occasionally, monotonous cr .aras
in the rhythm OF blank verse. Poetry can never
charm so much as when it is TERED, with dire 1t
purpose, from the heart The moment that it Is
proclaimed to be poetry the illusion ceases to
have any interest. So with respect to action.
redundancy of similar gestures is grave error.
There was too much of this in Buchanan.
We have not space to note all the merits Of Blu
chanan's lago but in recording impression OF
it, we are bound to say that it very close per-
Torrance, twithstanding faults of gestculation.
Never did he let the spectator lose sight of lago,
and see the actor, except where he unhappily re-
peated some of his effects. II was a continuous
whoe-unlike any Iago we ever saw-Macready
Booths Brookes', or Vandenhof's-a grand concep
ton, compile tely defined, and full of intellectually
and meaning. We are happy that we did not lose
syllable of it-not merely for our selfish enjoy
ment of the personatiOn, but that We may have a
right to speak Of it as its merits demand while
are cognzant Of its faults. And here We may
mark that those whe look in upon s,ene here and
there, of performance, are totally unqualified for
any opinion upon a work of art. We should as
think of crtcising the great group of Laocoon,
by looking only at the serpent, at of the boys,
at the feet, or at the beard, or arm. Yet of such
opinions the decisions of some who do not see
to be guided either by an admiration of the drama
by desire to see unquestioned talentespecially
Of American growth-faIly treated. And here
we will allude to some condemnatory decisions The
origin Of these is well known in the metropolis, and
they have been prompted by the same spirit that
has caused attacks upon the great artistic Parodi.
1t is not, suspect, Buchanan who is opposed but
it is the Neo York Herald that has the independ-
ence, the maniness, the clear perception of truth,
the determination of all partialites
and friendships-to single out talent of high Or
der, and to sustain it. Those who know the truth.
know very we'll that are not in the habit of plac-
ing ourselves in the circle Of influences that can mar
row an honest judgment, anu that even in matters
of art, justice is the end we aim at. We saw Bu-
chanan's merits at first We sustained him, in his
early struggle with as much encouragement as his
talent warranted and now that we have seen not
only his rapid improvement, but his finish Of style,
We boldly claim for him the highest rank in the art
He has fewer faults than many Of the great actors
who have preceded him, and his mental vigor stamp,
him as worthy of the first regard. We have had
similar task to make Charlotte Cushman, Pa
rodi, and others, known to the American public for
their genius and do not regret that there is CD
position enough TO make the victory worth winning.
True art gains by it.
But we will glance at Buchanans Othello, to make
good our position, by pointing out the nature of that
personaton. We have never seen q nober Moor
than he who enters in the first act-iigni6ed with
out blustering-able to reprimand his ancient with
out offending him courteous to Brabantio-erect,
in the consciousness of right before the Senate and
full of love and pride at his conquest of Desde mona
Not single fault was seen in the whole act-and
was seen ia Buchanan's Iago! No two individuals
could have been more distinct. Many beauties are
detected in the second act. The colloquial ease Of
the speeches is a great merit, and the elegant ia
miliarity Of
/" How do old acquaintance Of the isle"
was worth a whole scene Of modern, rapid, stilted
eloeution, and mock dignity In the third act, the
action, so far as relates to the character Of Otheo
becomes fully developed; and such is the fearful
passion and power exhibited in the great scene
that superficial critic might say that Buchsnan
overcharges it. 1t il, however, strictly ohakspea
redn, ana any one VINO remembers tue original
text, will bear in mind that Othello is represented
as having epieptic fits, and that he "falls into a
trance during portion Of the dialogue with lago.
OF course, the scene may be We y strongly exhibit
ed, particularly when much shade is brought in TO
vary the strong lights of the picture. We would
select the speeches, Farewell the trump Of war;"
"Had it pleased heaven to try me" ana the whole
subsequent interview with Desdemona, as parts of a
IL is unjust, perhaps to separate the great current
of passion displayed in the scene. by pointing out
portions Of it, but it may hereafter lead the dramatic
student to be inter ssted in triumph of art seldom
equalle1 by the great Rachel, whose presentations
have the rarest excellence and vigor. Bucha aan's
tones, manner, muscular action, b gian ces. aud
his tti.udes, change with every new emotion, and
he conynces you of his eamestness rather OF the
reality Of Otnelo's sufferings. We could 20 over
the whole of this third act, and make out eata-
logue OF beauties which would fairly entte the ar.
tist to the high guerdon OF fame but prefer
20 invite the public to study II tor themselves-to
sit down to II, as to banquet aud To feast Il as
one Of those Entertainments which are seldom
presented for the appetite Of the public. Passing
over the fourth act, where passion, rage, and ten
1erness IRE strongly PORTRAYED, We com, to the
,ensufe in the reading On The contrary the sense
IF the passage, Put out the light" most ad-
nirably given, and the whole business Of the scene
vas managed with great effect. The passage, "Pve
cen the day. was beautifully rendered, and, like .
fifty other passages, commanded the spontaneous
applause Of tn, whole house-the audience
throughout, as every other evening, in the
most significant manner, giving the srtist the
assurance th,t the public at large are true to the
Instincts Of correct taste and ripe judgment-abd
are above, a. they are out Of the evil influences Of
men, VITO, II the existence Of the drama depended
upon their isirLess, would crush IL in a few years
meI who talk about what has been. a. If genius
must belcrg to the past, OF to certain climate
or city-but who usually make themselves the
laughing stock OF the community, Is the London
J. tTTE Cdso.c did, many years ago. By saying,
- Mr.. " III IATrcn has been before the
public Whole year lie is nj yet actor, AID
never can be. AZ a the sooner he abandOns the art
the better Wi, il be for his in life" Such
empty ctrs0riOusnoss always misses is marx, and
IL will in Mr.. bu hsnan's case, for an tOr WAC
can play successfully, In powerful manner. lagO,
Macbeth. and Othello, during the warmest days "
July, Is sure Of harvest for his pains, dpon which
he may feast 10 the winter. The fact that Bgcha-
mans voice los' year weak aud not under control
should be 80 sonorous, clear, and fresh 10 the
very last line Of his third performance, is proof
that be has nov added tos perfect, and we declare
il calmly, superior. knows Of his art, ne only
thing that then wanting to establish uis fame