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That we shall see and know our friends in heaven:

If that be true, I shall see my boy again."

There are two scenes of superlative excellence in this play: the one, where John discloses his dark purpose to Hubert; the other, where the horrible imaginings of Hubert are defeated by the artless innocence and pathetic entreaties of the unhappy Arthur. Indeed, the latter is almost too powerful a trial for our sensibility: the effects are so truly distressing, that to render them bearable is the strongest test of dramatic skill.

The language of this play is for the most part dignified and impres. sive. All that belongs to Lady Constance is of the highest mood of sentiment and poetry. The gaiety of Faulconbridge, though occasionally running into freedom and extravagance, is bold and characteristic, and might be allowable in an age when thoughts and words bore less palpable constructions. The incidents are deficient in connexion aud continuity, and embrace a considerable portion of time: the scene is alternately laid in England and France.

The assumption of Lady Constance by Miss O'Neil, taught us, by comparison, rightly to estimate the wonderful powers of Siddons. To a just conception of the character, Miss O'Neile added grace, dignity, and true feeling; but the electric fire that Mrs. Siddons infused into the "thoughts that breathe, and words that burn," of Shakspeare, fairly drew the line betwixt superlative excellence and absolute perfection. The braggart Austria stood annihilated beneath her contemptuous reproaches; and, when she pleaded her wrongs, and poured forth her sorrows, every heart was bowed in subjection, and

"All was silence, sympathy, applause."

So great was Lord Byron's admiration of Mrs. Siddons, that he could never be persuaded to see Miss O'Neil, lest she should disturb his recollection of her: this was the homage of kindred genius. For ourselves, we must behold some effort far beyond any thing that we ever conceived of acting, to disturb our remembrance of Siddons.*

Sheridan, the father of our great dramatist, played King John, to Garrick's Faulconbridge. A sort of rivalry existed between these two actors, in this play, similar to that between Quin and Garrick, in Horatio and Lothario. Garrick was full of fire and impetuositysomething too much so in the opinion of George the Third, who preferred Sheridan in the king. This was conveyed by some goodnatured friend to Garrick, whose awakened jealousy stopped the successful run of the play. Indeed, we have the best authority for Sheridan's excellence, in Churchill, who, though niggardly of praise to every other actor but Garrick, makes this honourable exception in favour of Sheridan, in the character:

"Behold him sound the depth of Hubert's soul,
Whilst in his own contending passions roll;

View the whole scene, with critic judgment scan,
And then deny him merit if you can."

* Of the successors to Mrs. Siddons and Miss O'Neil, in this character, we decline speaking. Like the Irishman's blanket, that was too long at the top, and too short at the bottom, various have been their disqualifications. Which produced the strongest caricature, and misunderstood the author most effectually, let other critics decide. We cannot, as Johnson says stop to settle the point of pre cedence betwixt a louse and a flea.

Mr. Kemble played the king with his accustomed skill. His scene with Hubert, and the death of John, in the orchard of Swinstead Abbey, were equal to any thing that we remember of him. Mr. Young's King John ranks second to his Hamlet; and Mr. Ma cready, in the part, seems to have some glimpse of the author's meaning-which is not often the case when he attempts Shakspeare. Mr. Charles Kemble topp'd the character of Faulconbridge. Were such performances rendered more familiar to us, we might as heretofore "To the well-trod stage anon,

If Jonson's learned sock be on,

Or sweetest Shakspeare, fancy's child,
Warble his native wood-notes wild."

DG.

STAGE DIRECTIONS.

The Conductors of this work print no Plays but those which they have seen acted. The Stage Directions are given from their own personal observations, during the most recent performances.

EXITS and ENTRANCES.

R. means Right; L. Left; D. F. Door in Flat; R. D. Right Door; L. D. Left Door; S. E. Second Entrance; U. E. Upper Entrance; M. D. Middle Door.

RELATIVE POSITIONS.

R. means Right; L. Left; C. Centre; R. C. Right of Centre; L C. Left of Centre.

R.

RC.

C.

LC.

L

The Reader is supposed to be on the Stage, facing the Audience.

MEMOIR OF MR. MACREADY.

MR. WILLIAM CHARLES MACREADY is the son of the actor and dramatic writer of that name, and was born in Charles Street, Fitzroy Square, on the 3rd March, 1793. He completed his education at Rugby School, and had some thoughts of making the bar his future support: but his love of the drama prevailed, and at the age of seventeen he made his debut at the Birmingham Theatre, in the character of Romeo.

How far a youth of seventeen might be able to give the text of Shakspeare with even tolerable effect and grace, we may be permitted to doubt; but it seems Mr. Macready's performance satisfied the Birmingham critics, and their applauses stimulated him to further efforts, and confirmed him in the choice of his profession. His subsequent exertions were at Liverpool, Dublin, Bath, and Newcastle. His first appearance in London, was at Covent-Garden Theatre, on the 16th September, 1816.

For some years he continued a member of that establishment; when, on some misunderstanding, he removed to Drury Lane. At the latter theatre, he has particularly distinguished himself in Virginus, Caius Gracchus, and William Tell other characters he has attempted with less success. His best Shaksperian performance is King John.

KING JOHN.-Crimson tunic, and purple velvet robe, richly embroidered, armour on the arms and legs, gauntlets, and coronet. PRINCE ARTHUR.-Light blue dress, white satin pantaloons, and white plumes.

PRINCE HENRY.-Scarlet dress, richly embroidered.

EARL OF SALISBURY.-Light brown ancient English dress, with white satin puffs, embroidered.

EARL OF ESSEX.-Blue dress, &c. same as Salisbury.

EARL OF PEMBROKE.-Black velvet dress, black satin puffs, &c. richly embroidered.

FAULCONBRIDGE.-Fawn-coloured old English tunic, buff satin trimming, buff pantaloons. Second dress.-Mail armour, aud a mantle of scarlet and gold.

ROBT. FAULCONBRIDGE.-Brown ancient English dress, pantaloons, trimmed with light blue.

JAMES GURNEY.-Brown old English dress, trimmed with light satin.

ENGLISH HERALD.-Buff dress, trimmed with silver, and a berald's coat.

AUSTRIA.-A complete suit of mail armour.

KING OF FRANCE-Fawn-coloured robe, trimmed with gold and ermine, light blue mantle, with fleurs-de-lis.

DAUPHIN-White dress, trimmed with silver. Second dress.. -Complete armour.

CARDINAL PANDULPH.-Scarlet robe, trimmed with point lace, scarlet hat.

FRENCH HERALD.-French gray dress, herald's coat.

QUEEN.-Purple velvet dress, trimmed with gold, mantle, scarlet and gold.

CONSTANCE.-Black velvet dress, embroidered.

BLANCH.-White satin dress, trimmed with point lace.

LADY FAULCONBRIDGE.-Gray satin dress, trimmed with black.

Cast of the Characters at the Theatre-Royal,
Covent-Garden,

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