steward, when she sends him to his master, the

words,

"I have never upbraided him,"

were pronounced with peculiar sensibility; and in the same scene with Stukely, when he hints her doubts of her husband's fidelity, the surprise she

expresses,

"What thoughts? I have no thoughts that wrong my husband,"

is given with an indignant feeling, suited to the nobleness of the female she represents; and in her after retort to him, when he says,

"I meant to guard you against suspicion, not to alarm it."

Her reply possesses equal dignity with peculiar sensibility highly affecting, marking the outrage of the supposition to her feelings.

"Nor have you, Sir. Who told you of suspicion? I have a heart it cannot reach."

The finest scene in this play for the powers of

an actress, is that where Stukely discovers his love to Mrs. Beverley; the burst of indignation with which she exclaims,

"He has no mistress ;"

and her after keen reproaches at the insult offered her, exhibit finished specimens of fine and natural acting, not carried so far as the storm of Mrs. Siddons, but sufficient to give full effect to the situation and sentiments.

"Am I then fallen,"

she exclaims,

66 SO low? Has poverty so humbled

me, that I should listen to a hellish offer and sell my soul for bread?"

The final scene is also well performed, for Miss O'Neill's triumph, it has been justly said, is in tears, and the shocking and convulsive laugh she utters, when borne off the stage, is admirably conceived and affectingly executed. In comparing her with Mrs. Siddons in this character, she has been considered as not so expressive of that stately scorn,

suited to some parts, but what is defective here is amply made up for in the excessive affection and melting tenderness of the unfortunate wife, bearing her trials with unshaken firmness, and finding out every palliation for the unworthy cause of them.

MRS. HALLER.

After Miss O'Neill's display of talent in so many leading characters of the British drama, she was now induced, perhaps from the example set her by Mrs. Siddons, to attempt a different line, and personify the much admired character of Mrs. Haller, in the Stranger, a production of the. German theatre, and one of the most popular pieces from the pen of Kotzebue. It has been said of this actress, that all characters in her hands receive additional purity; and this is a strong reason for her representing the portraits of this modern school. The sterling good sense of this country is not easily led astray by the sophistry of the new philosophy. To be the frail fair one in reality, and yet a

pattern of purity and untainted mind, is a sophism not to be swallowed but by those who are fond of substituting the semblance of virtue for itself, and delight in the substitute without the reality. A Mrs. Haller and a Mary Wolstancroft are the same; and if their morality is to be the guide and standard of female excellence, virtue will be but an empty name, and guilt lose all its turpitude.

Mrs. Haller, however, in the hands of Miss O'Neill, and altered as the play is considerably from the original, could not fail to produce the most powerful impression. Her appearance displayed nothing of the giddy and careless character of most of the females drawn by the German dramatist: it shewed the super-eminent modesty which one in the critical circumstances of Mrs. Haller stood in need of, and which, by Miss O'Neill's correct judgment, was carried to its proper stretch. A reserved action, a delicate restrained voice, except when interrupted by the sudden bursts of violence which the part called for, are the pre-eminent traits of her representation; and the storm of passion over, the calm chastened demeanour returned, so suitable to her idea of the character. Indeed

E

Per

through the whole of her representation, the native colouring of her mind was never lost, and her dress was particularly suited to the penitence and sombre shade of circumstances it delineates. In sorrow it is allowed she is not to be resisted. haps no play ever appeared to greater advantage on the British stage. The acting of Mr. Kemble, as the Stranger, was equally great in his walk as the Mrs. Haller of Miss O'Neill. We may here observe, that this was the first play in which the Critics gave a full and unqualified admission of Miss O'Neill's merits, and laid aside the rather too invidious comparisons constantly kept up betwixt her and Mrs. Siddons. It is only, however, in the last act of this piece that the real powers of Miss O'Neill are called forth: the confession scene is supported with all the penitence, but at the same time with all the dignity and grace that shews her though fallen, yet conscious of what she has been, and that to fall below the dignity of Count Waldbourg's wife, in her acknowledgment of her error, would be lessening its value even in the eyes of the offended husband who had a right to it.