Nashville union and American. [volume] (Nashville, Tenn.) 1853-1862, 1858-12-25

Our theatre-goers had an opportunity Of witness
ing Thursday night the performance Of the much
talked of tragedy Of sybl founded upon the Sharpe
and Beauehampe tragedy which occurred IN Ken
lucky quarter Of a century ago. It was written,
we believe, for Miss Asonia Jones "by literary
gentleman Of Washington City," When it was ad-
vertised to be performed at Louisville the friends
Of Col Sharpe objected to its being performed, and
this, we presume, has invested it with much of the
interest it possesses. Their obj ectiOns we're, how
ever, recOneed or at least the piece was performed
and was received with good deal Of enthusiasm,
more from the fact We have referred to than on &C.
count of any merit it possesses.
As q literary production, it would scarcely reflect
credit upon a sophomore, while drama it lacks
the essential requisites to raise the character of Sy
bill even to mediocrity and but for the great histr-
Ouic talents oE Miss Jones infusing something like
rsspectabity into the thing, we verify believe it
would be Kissed from the stage. The first act, for
pOiutless stupidity and vapid absurdity, las not
parallel in any fifth class tragedy. With such
beginning, it is not 10 be WOndsred that the narraA
tive drags and the incidents excite disgust rather
than interest in the development of the plot.
The second act introduces the audience to Sybil
practciDg pistol-shoOting, under circumstances of
SO ludicrous character that they are tempted to
greet her with uprOriOus laughter rather than with
the genteel cordially to which Miss Jones merits
entitle her. Then the reception of Col Sharpe by
William Acton, at the house of his adopted father,
is the most ridiculous burlesquc upon gentlemsnly
breeding and high>tOned chivalry that was ever in
tsrpOlated upon respectable tragedy; indeed it
would scarcely "pass muster" in an sfter~pieee,
where stupid burlesque and inefsble nonsense are
expected.
The character Of Eustaoe Clifford (Bsauchampe)
is little above that of bufoOD, up to the time be
kills Col Sharpe. This is certainly contrary to the
generally received opinion of Beauchampe, who is
as q lawyer of fine requirements and
brilliant prospects. Nor does the prison scene be-
tween Eustaoe Clifford and William Acton strike the
auditor as being at all probable between
lawyers of reputation. 1t is better calculated to IL
lustrate one topper enticing another from the good
of his wife and his home to the society of
''boou companions"
In the concluding scenes of the fourth and fifth
acts Miss Jones has very brief opportunities of dis
playing her great histrionie powers, and che i'm
proved these opportunities most advsntageousy, |
and to the entire satisfaction of the audience. But
for these episodes, the tragedy would possess
feature.
The great effort of the author of SybiI seems to
have been to heap odium upon the memory of Col.
Sharpe. Throughout the piece he is represented ss
man of ordinary intellect of low cunning, devoid
Of principle and actuated by the bases Of passions,
for he is not permitted to commit single virtuOus
act Tais grossly misrepresenls the character Of
the man. We are no partizan Of Col. Sharpe; in
deed, our prejudices have been rather against him.
but we cannot see SO gross injustice done his memO~
~ without denOunciDgit
As q whole, the tragedy Of Sybil is q miserable
abortion and ought to be withdrawn from the stage
It possesses the merit Of neither historical accuracy
nor tragic interest," and but for the good acting Of
Miss Jones and the interest its supposed foundation
upon a tragedy that has wruDg with anguish the
hearts of some of the best men aud women of Ken
lucky, awakened among those in whose mids', al
most the real tragedy enacted, its first presen~
taLon would, we are constrained to believe, have
slammed it to eternal infaDy." Under the magic
spell of Miss Jones' powerful persOnatiOn Of the he
rqine of the tragedy, it may live brief existence
but even that psbulun cannot it from the doom
IL