Venice Preserved | Page 2

the author himself should have
soiled it with such disfigurements. Pierre is a miserable conspirator, as
Otway first painted him, impelled to treason by his love of a courtesan
and his jealousy of Antonio. But his character, as it now comes forward,
is a-mixture of patriotism and excusable misanthropy. Even in the more
modern prompt-books, an improving curtailment has been introduced.
Until the middle of the last century, the ghosts of Jaffier and Pierre
used to come in upon the stage, haunting Belvidera in her last agonies,
which, Heaven knows, require no aggravation from spectral agency."
This tragedy is believed to have been originally acted about the year
1682. "Pierre and Jaffier," says Jackson, in his History of the Scottish
Stage, "in the estimation of the theatrical world, are equal in rank, and
excel each other in representation only, as the particular talents of the
actor elevate or lessen, in the idea of the spectator, the importance of

whichever part he assumes. I have seen Garrick and Barry alternately in
both parts, and the candid critic was doubtful where to bestow the
preference. Mr. Mossop, indeed, raised the character of Pierre beyond
all reach, and left any Jaffier I ever saw with him at a distance: out, had
he attempted Jqffier, I am confident he would with Barry in Pierre,
have stood far behind."
Of this same Mossop in Pierre, Davies, the biographer of Garrick,
remarks:--
"His fine, full toned voice and strong expression of sentiment, gave
uncommon spirit to the warmth and passion of the character. In the
interview with the conspirators, in the third act, he threw a gallantry
into his action, as striking as it was unexpected. But he greatly excelled
in the vehement reproaches, which, in the fourth act, he poured, with
acrimony and force, on the treachery and cowardice of Jaffier. The
cadences of his voice were equally adapted to the loudest rage and the
most deep and solemn reflection, which he judiciously varied." "Mr.
Garrick," says Davies, "when fixed in the management of Drury Lane,
resigned Pierre, in which part his fire and spirit were not equally
supported by grandeur and dignity of person, for Jaffier, which he acted
with great and deserved approbation many years." The temporary
frenzy, with which Jaffier is seized, in the fourth act, on fancying that
he saw his friend on the rack, has not since been equalled, nor, perhaps,
ever will.
--'He groans; Hark, how he groans! his screams are in my ears Already!
See, they've fixed him on the wheel! And now they tear him! Murder!
Perjured Senate! Murder!'
"The enthusiastic power of Garrick presented this dreadful image to the
audience with such astonishing force, that they trembled at the
imaginary picture. In all the softer scenes of domestic woe, conjugal
tenderness, and agonizing distress, Barry, it must be owned, was
Garrick's master.
"Mrs. Cibber was long the Belvidera of Barry and Garrick. Every
situation seemed to be formed on purpose to call forth her great skill in

awakening the passions. Mrs. Siddons has, in this part as well as many
others, fixed the favor of the town in her behalf. This actress, like a
resistless torrent, has borne down all before her. In person, just rising
above the middle stature, she looks, walks, and moves, like a woman of
superior rank. Her countenance is expressive; her eye so full of
information, that the passion is told from her look before she speaks.
Her voice, though not so harmonious as Mrs. Cibber's, is strong and
pleasing: nor is a word lost for want of due articulation. She excels all
performers in paying due attention to the business of the scene. Her eye
never wanders from the person ahe speaks to, or should look at when
she is silent. Her modulation of grief, in her plaintive pronunciation of
the interjection, Oh! is sweetly moving, and reaches to the heart. Her
madness in Belvidera is terribly affecting. The many accidents of
spectators falling into fainting-fits during her acting, bear testimony to
the effects of her exertions. She certainly does not spare herself. None
can say that she is not in downright earnest."
Thomas Otway, the author of this and some nine other plays, of various
merit, none of which, however, now keep possession of the stage, was
the son of a clergyman, and born at Trotting in Sussex, England, in the
year 1651. His tragedy of the "Orphan" was for many years as
attractive in the representation as "Venice Preserved;" but the plot is of
a character to render it distasteful to a modern audience, although it
contains passages of remarkable beauty and power. Otway is said to
have tried his fortune on the stage as an actor, and to have failed--not
an infrequent case with dramatic authors. He appears to