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  • July 1, 1834
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  • FINE ARTS.
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The Freemasons' Quarterly Review, July 1, 1834: Page 109

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Page 109

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Fine Arts.

great , but surely one might be found capable of giving the beautiful strong outline of the poet ' s conception , though not all the finer strokes of lig ht and shade with which his mind distinguished it . The anger and impatience of Lear ' s character were well developed in the first scene—but these are the less interesting traits : the indignation with which he listens to the insulting offer of his ungrateful daughter , his reliance upon the affection of the second , were beautifully pourtrayed . The line ,

" I'll go with thee—thy love yet doubles her ? . " was uttered with an expression of mingled shame and wounded feefing that showed the discriminating mind of a deep observer of nature . In the storm scene the actor evidently laboured ivith the beauty of the poet ' s soul , but found it impossible to reach the standard of Ms own conception . No actor ever has , or ever iviE represent that tumultuary scene of miserydespairand grandeurso as to leave nothing to wish ,

, , , nothing to the imagination . The beautiful restoration of the last scene gratified the audience far more than the mawkish substitutes that for so many years disgraced the stage . At the conclusion the audience testified their approbation by reiterated plaudits ; and we beg to congratulate Mr . Macready on so high a triumph of Ms art .

THE HAYMARKET . —This elegant little theatre has commenced its summer campaign with every promise of success . In addition to our old favourites are many new actors of considerable talent . Buxton has produced one of Ms light sketches , with some agreeable music , by Bishop , caEed Rural Felicity , in which Mrs . Glover has a character adapted to her peculiar excellence . A Mr . Beaumont , well known as an amateur in the provinces , made Ms appearance as Morbleu , and made a favourable impression ; but the great attraction of the season was the

appearance of Mr . Vandenhoff of the Liverpool theatre , as Coriolanus . This play may be said to have been shelved with John Kemble , and is , we consider , the most difficult test by whicli to try an actor ' s merits . The play itself , however beautiful , does not enEst our sympathies . The pride and unbending character of its hero have their origin in an impure source ; and though we applaud the hasty rage and proud eloquence of the fiery patrician , ' tis but the pride of a character that reason

condemns . The redeeming point , the influence of his mother , is one of those exquisite traits of nature that frequently iEumine the darkest passages of human passion . To the grace of a commanding person , Mr . Vandenhoff adds the advantage of a highly cultivated mind : he is one of the very few members-of our stage who have pored upon the page of the classic , and that yet more beautiful page the human heart . To trace the analogy between the workings of nature and the conceptions

of the poet ' s mind , is the true study to form an actor . Mr . Vandenhoff presented us ivith a portrait we scarcely every thought to see again : in look , in gesture , he was aE the Roman , and presented us throughout with an identity of character that drew us from all participation in the mere business of the stage , till we fancied time had rolled back his scythe , and that we stood in the Capitol of the victorious Roman , foEowed him to CorioE . sympathised ivith him in exile , trembled for him in his hour of revenge . The concluding scene was one of the most effective of the play : the storm of feehng when solicited by

“The Freemasons' Quarterly Review: 1834-07-01, Page 109” Masonic Periodicals Online, Library and Museum of Freemasonry, 30 May 2025, django:8000/periodicals/fqr/issues/fqr_01071834/page/109/.
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Title Category Page
CONTENTS. Article 1
FREEMASON'S' QUARTERLY REVIEW. Article 2
ON FREEMASONRY. Article 8
LANAH, A TALE OF THE FLOOD. Article 17
FREEMASONRY IN THE 46TH REGIMENT. Article 28
BIOGRAPHICAL SKETCH OF THE LATE BROTHER PETER GILKES. Article 31
BOARDS, COMMITTEES, &c. Article 38
MASONIC INTELLIGENCE. Article 40
ROYAL FREEMASONS' CHARITY FOR FEMALE CHILDREN. Article 45
SUPREME GRAND CHAPTER. Article 54
QUARTERLY COMMUNICATION. Article 57
Masonic Obituary. Article 58
PROVINCIAL. Article 59
UNITED STATES. Article 65
EXTRACT FROM AN ORATION, Article 69
THIS TAPESTRY-WEAVER OF BEAUVAIS. Article 74
THE FATE OF GENIUS. Article 79
THE PURITAN'S SISTER. Article 83
A MORNING MEDITATION. Article 96
MISCELLANEOUS. Article 97
REVIEW OF LITERATURE—FINE ARTS—EXHIBITIONS—THE DRAMA, &c. Article 104
FINE ARTS. Article 107
PARLIAMENTARY ANALYSIS. Article 111
HOUSE OF COMMONS. Article 117
CONTENTS. Article 128
THE FREEMASONS QUATERLY REVIEW. Article 130
] 1 ; Article 131
GRAY'S INN WINE ESTABLISHMENT. Article 132
PRICES OF THE GRAY'S INN WINE ESTABLISHMENT. Article 133
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Page 109

Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.

Fine Arts.

great , but surely one might be found capable of giving the beautiful strong outline of the poet ' s conception , though not all the finer strokes of lig ht and shade with which his mind distinguished it . The anger and impatience of Lear ' s character were well developed in the first scene—but these are the less interesting traits : the indignation with which he listens to the insulting offer of his ungrateful daughter , his reliance upon the affection of the second , were beautifully pourtrayed . The line ,

" I'll go with thee—thy love yet doubles her ? . " was uttered with an expression of mingled shame and wounded feefing that showed the discriminating mind of a deep observer of nature . In the storm scene the actor evidently laboured ivith the beauty of the poet ' s soul , but found it impossible to reach the standard of Ms own conception . No actor ever has , or ever iviE represent that tumultuary scene of miserydespairand grandeurso as to leave nothing to wish ,

, , , nothing to the imagination . The beautiful restoration of the last scene gratified the audience far more than the mawkish substitutes that for so many years disgraced the stage . At the conclusion the audience testified their approbation by reiterated plaudits ; and we beg to congratulate Mr . Macready on so high a triumph of Ms art .

THE HAYMARKET . —This elegant little theatre has commenced its summer campaign with every promise of success . In addition to our old favourites are many new actors of considerable talent . Buxton has produced one of Ms light sketches , with some agreeable music , by Bishop , caEed Rural Felicity , in which Mrs . Glover has a character adapted to her peculiar excellence . A Mr . Beaumont , well known as an amateur in the provinces , made Ms appearance as Morbleu , and made a favourable impression ; but the great attraction of the season was the

appearance of Mr . Vandenhoff of the Liverpool theatre , as Coriolanus . This play may be said to have been shelved with John Kemble , and is , we consider , the most difficult test by whicli to try an actor ' s merits . The play itself , however beautiful , does not enEst our sympathies . The pride and unbending character of its hero have their origin in an impure source ; and though we applaud the hasty rage and proud eloquence of the fiery patrician , ' tis but the pride of a character that reason

condemns . The redeeming point , the influence of his mother , is one of those exquisite traits of nature that frequently iEumine the darkest passages of human passion . To the grace of a commanding person , Mr . Vandenhoff adds the advantage of a highly cultivated mind : he is one of the very few members-of our stage who have pored upon the page of the classic , and that yet more beautiful page the human heart . To trace the analogy between the workings of nature and the conceptions

of the poet ' s mind , is the true study to form an actor . Mr . Vandenhoff presented us ivith a portrait we scarcely every thought to see again : in look , in gesture , he was aE the Roman , and presented us throughout with an identity of character that drew us from all participation in the mere business of the stage , till we fancied time had rolled back his scythe , and that we stood in the Capitol of the victorious Roman , foEowed him to CorioE . sympathised ivith him in exile , trembled for him in his hour of revenge . The concluding scene was one of the most effective of the play : the storm of feehng when solicited by

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