New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-09-03
SKETCH OF CHARACTERS.


Shakespeare, if he had taken up this theme, would
probably have introduced the struggles of Rome and
Alba ard the attention of the audience would have
bean less harassed by the sensations of the actors on
that early stage of Roman history and attracted
by the life pictures of that history ITSELF But Cor
nellie was bent not disclosing all the features Of
the struggle but simply those features which lay open
the working Of the minds of the individuals en-
gagged In an English audience the mind must be
stx,ck to reach the heart in French the heart must
be touched to reach the mind. Hence, the necessity
OF having so much emphasis upon every passing
ton while the paueity of action is compensated by
the ample delineation Of character. Thus, In young
Horatius we find the abstract ideal of patriotism pre-
septed in most rugged form but the claims OF human
feeling are redeemed by the touches OF emotion which,
with all his brlsquere the old Horatius cannot repress
and above all by the gentle Curiatius, blending as he
does regard for duty with enthusiasm for affection
His sister SabiDa is sweet woman, full OF loneliness
and selfabnegation sentimentaly brooding over
her own feelings but ready to die for the happi-
ness OF those dear to her--a perfect picture Of
romantic Roman maiden in French dress.
Camilla has the blood of all the Horat in her veins,
and car res herself accordingly. But with the bear
ing Of a queen she combines ell the modesty oil
maiden. The holiness OF her Roman soul 10 ever
tempered by the softness Of the woman heart with
the imagination of an impassioned Italian, she reasons
occasionally like a dogmatca German; at other times
abe il reserved and self.possessed, like an English
duchess again full of tact and elegance, like French
countess. 1t is this mixture of passion and thought,
Of coldpess and elasticity, which makes us doubtful
whether she is really in love with man or rather In
love with The idea of love- But the sincerity of the
woman's heart solves every doubt. She is truly in
g., ;oh ar ina mi the fire not
stirred by the passion of sentiment but by the passion
of conviction; and SO she loves with that intensity
which intellectual women alone manifest when once
thew learn TO love- Yet, on the death Of her love
we see again the metaphysical vanquish the emo
tional element of her great charactey. Why, she
seem, TO be less abstracted by the loss OF her love
than enraged by the insensibty of his slayer This
confirms us in the idea that she paid the enthusiastic
homage of brains to the principle, rather than the
homage of heart to the sentiment OF love- Her wor-
shin of the principle is great that she is bent on
vindicatng by ormentng those who refuse to admit
its claims.
Camilla incarnates the abstract idea Of the holiness
Of the principle of love, imperousy as young Hor
aus incarnates the abstract idea of the sacredness OF
the principle Of patriotism; and although here and
there sense of monotony arises yet Cornelle great
idea has been successful and two great principles
affecting the tendees and loftiest feelings of human.
itv have been held up in their original purity and
greatness.
Juia's advice to forget old lover and take new
one comes with good grace tempeng the idea of the
aus,erty of early Rome and suggesting all sorts and
manner of reflections in which doubtless the fair Por-
ton OF this evenings audience will take delight But
with exception Of this little diversion the loness OF the
tragedy is unbroken When the dialogue is not solemn
il il psthetc. When ii is not pathetic it Is dogmatic
There is a deep intentness pervadiDg the souls OF all
and whatever the inconsistencies Of their minds or the
impressiopabiy of their fancy, the reason is con-
s,antly occupied with this feeling of soul-srrng ear