The night fixed for her first representation, as might be looked for, produced a more than overflowing house, and shewed the utmost height of public expectation, which was alive to criticize her merits, and to weigh them in the scale with a Yates, a Crawford, and a Siddons, the heroines they had formerly been accustomed to admire. The figure Miss O'Neill presented was highly prepossessing. Her height is above the middle size, her countenance full of intelligence and sensibility, and her general comportment displaying that modesty and diffident feeling, so proper for her embarrassing situation on so trying an occasion. Indeed, it may be remarked here, as a national trait of character, that the Irish females are distinguished by an excess of sensibility, not so conspicuous or so strongly marked in the other parts of the kingdom. This is highly to their credit, and it fits them for displaying to advantage every active energy of the soul.

JULIET.

In selecting a character for her first appearance, Miss O'Neill shewed much judgment in

having recourse to one of the productions of our immortal Bard, and the character of Juliet in Shakspeare's well-known Tragedy of Romeo and Juliet, was admirably fitted to her age, her powers, and that sensibility which is so predominant even with every female at this period of life. This tragedy, though not the first from Shakspeare's pen, possesses high interest, and a most affecting denouement of the plot. It is also, in many of its passages, more in the mouths of every one, than almost any other of Shakspeare's works; it contains much fancy, and many beautiful allusions. Nothing can be more admirably depicted than the description of Queen Mab. Nothing is more beautifully palliative of himself than Romeo's allusion to the rose, to shew that intrinsic merit is not to be weighed by the prejudice of a name, but by its own rare qualities.

"What is there in a name? That which we call a Rose, by any other name might smell as sweet."

In the representation of Juliet, Miss O'Neill appears in two distinct characters-1st, As the elegant and fascinating female ;-and 2dly, As the

despairing and unfortunate wife. In the representation of this character, the great difficulty is to combine the ardent love and affection of the young and tender female, with the more sombre and deep seated grief of the unhappy wife. In this she eminently excels. Different from the modern Juliets who characterize the first part of the character, by a hoydenish wantonness, and the conclusion by a dronish whine, she has judiciously pointed out the path for future actresses to tread. In her first interview with Romeo, her answers are given in a manner peculiarly elegant and modest, which shews great art to render the scenes of ordinary life on the stage, free from the apparent art of the actor, or the supineness of affected ease. Her contemplation of Romeo in the banqueting scene, is no less masterly; her eye passes slightly over the rest of the company; when she sees him, she eagerly inquires who he is; her eyes become fixed, looking upon the spot where he stood. Her imagination follows him when he is no longer visible. She seems rivetted to the ground, and wholly absorbed in the idea of him who has left her. In vain the garrulous nurse interrupts her reverie; still fixed

to the pleasing spot, she remains till her loquacious attendant drags her away. Even then her eye is seen to look to the door through which he past, and she retires with a thunder of applause, verifying Romeo's description,

O, she doth teach the torches to burn bright,
Her beauty hangs upon the cheek of night,
Like a rich jewel in an Ethiop's ear,

Beauty too rich for me, for earth too dear."

The balcony scene is rendered no less interesting, by the chaste simplicity, and ingenuous modesty which mark her acting. The refined sensibility

she here displays, must be seen to be judged of; but whoever has heard her speak, as follows, will not easily forget it.

"Thou know'st the mask of night is on my face;
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night.
Fain would I dwell on form; fain, fain deny
What I have spoke :-But farewell compliment!
Dost thou love me? I know thou wilt say,-Ay;
And I will take thy word; yet, if thou swear'st,
Thou may'st prove false; at lovers' perjuries,
They say, Jove laughs. O gentle Romeo,

If thou dost love, pronounce it faithfully;

Or, if thou think'st I am too quickly won,

I'll frown, and be perverse, and say thee nay,
So thou wilt woo: but else, not for the world.
In truth, fair Montague, I am too fond;
And therefore thou may'st think my 'haviour light;
But trust me, gentleman, I'll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard'st, ere I was 'ware,
My true love's passion; therefore pardon me,
And not impute this yielding to light love,

Which the dark night has so discovered."

In this scene our great dramatic writer has been censured, as shewing a forwardness in the sex which neither nature, nor Juliet's elevated rank justifies; but the performance of our Heroine amply contradicts this censure, and gives a pattern of honourable frankness, which we fear exists only on the stage. The account of Tybalt's death, and Romeo's banishment, presents a picture of highfinished acting, if equalled, never exceeded. Her extreme grief at the supposition of her lover's death-her after reproaches of him for Tybalt's murder, and that, contrasted by her apologizing