The British Press; or, Morning Literary Advertiser. — 1822-04-16 (London, England)

OARDRS. The tragedy of Macbeth was presented last nithrs the hefts by Mr. YOoao. He wears his previous honours without soy dimming of the first gloss. In one particular. that of a port of military sturdiness. he is pre4minently excellent. It may be a question if his musing on the abominable metaphysics to which the Witchei direct his third in the beginning of the plat•, has as much seeming alacrity of thought and variable discernment as KlaistAt used to exhibit. Perhaps it is ton much fairly to expect that another shall institediately succeed capable of utiravellibg that intricate labyrinth of thought which leads on the plot through the eerly soliloquies. Mr. Youita was first felt in the second interview with his wife, when she has td reassure his defaulting resolution. 'There was a fine throe of habitual conscioustiesi in his delivery of " We will proceed no farther in this business," and the lines which follow. His superiority in the part depends mainly on that chanio. teristic of his acting. His are the Sins of a noble aware, drawn into a vortex of crime, which he buffets vainly, except that he reserves, shockingly consummate as his guilt becomes, the dignity ref savage ambition, and sonic reminiscences of a soul once really elevated. His demeanour on committing the murder, though the train of incidental feeling is low and ignominious, was highly conceived for the subject, and produced a very appalling effect. The dagger soliloquy preceding was not so operative of terror. The best scenes are the three lost. His or. der to" hang t hose who talk of fear"--his indirect mid cogent queries to the Daciar respecting the cure of his mind, owl " the purging of the English hence." were deli►ered with r fine glow of pathos.— coloured partly from the excitement of his warlike and partly (rain the discernment of a strong mind as to toe desperate condition of his case, aid the inefficacy of court flattery and pretence to stake it any way better. He has the gift of perfecting his characters by making a climax of the conclusion—an effect which no. thing but a very fine judgment cam produce. His momentary sinking on the negative elucidation of the last of the ambiguous prophecies which had been made to him, and the hardened valour with which he undertakes the last hopeless chance left him in the combat, werrequally well displayed, and the effect by contrast was heightened to the utmost which the mind could bear and continue in admiring attention. The applause. became enthusiastic by the time he fell, and the dying speech (which li must be classed amongst the most graceless and uncharacteristic of all offences of iiiterpolatiou ever committed on Susaseitaite) druid inefficacious on recount of the whirl into which he had before thrown the senses of the audience. Mrs. FADE'? sustained Lady Macbeth with that respectable power and state which she knows how to communicate to the heroic drama. She was mostly admired in the sleeping scene, and in dismissing the guests from the supper. Air. ABBOTT performed Maedaff with much credit to himself and satisfaco twit to the house, and a fuller our than last evening is seldom seen any where.