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‘Beautiful exceedingly,
Like a ladie from a far countrie.’

Here was the redeeming jewel of the performance. It flattered one’s patriotic feelings, to see this noble young countrywoman realizing so exquisitely, and restoring to our imaginations, the noblest of Grecian girls. We critics, dispersed through the house, in the very teeth of duty and conscience, all at one moment unanimously fell in love with Miss Faucit. We felt in our remorse, and did not pretend to deny, that our duty was–to be savage. But when was the voice of duty listened to in the first uproars of passion? One thing I regretted, viz. that from the indistinctness of my sight for distant faces, I could not accurately discriminate Miss Faucit’s features; but I was told by my next neighbor that they were as true to the antique as her figure. Miss Faucit’s voice is fine and impassioned, being deep for a female voice; but in this organ lay also the only blemish of her personation. In her last scene, which is injudiciously managed by the Greek poet,–too long by much, and perhaps misconceived in the modern way of understanding it,–her voice grew too husky to execute the cadences of the intonations: yet, even in this scene, her fall to the ground, under the burden of her farewell anguish, was in a high degree sculpturesque through the whole succession of its stages.

Antigone in the written drama, and still more in the personated drama, draws all thoughts so entirely to herself, as to leave little leisure for examining the other parts; and, under such circumstances, the first impulse of a critic’s mind is, that he ought to massacre all the rest indiscriminately; it being clearly his duty to presume every thing bad which he is not unwillingly forced to confess good, or concerning which he retains no distinct recollection. But I, after the first glory of Antigone’s avatar had subsided, applied myself to consider the general ‘setting’ of this Theban jewel. Creon, whom the Greek tragic poets take delight in describing as a villain, has very little more to do (until his own turn comes for grieving), than to tell Antigone, by minute-guns, that die she must. ‘Well, uncle, don’t say that so often,’ is the answer which, secretly, the audience whispers to Antigone. Our uncle grows tedious; and one wishes at last that he himself could be ‘put up the spout.’ Mr. Glover, from the sepulchral depth of his voice, gave effect to the odious Creontic menaces; and, in the final lamentations over the dead body of Haemon, being a man of considerable intellectual power, Mr. Glover drew the part into a prominence which it is the fault of Sophocles to have authorized in that situation; for the closing sympathies of the spectator ought not to be diverted, for a moment, from Antigone.

But the chorus, how did they play their part? Mainly their part must have always depended on the character of the music: even at Athens, that must have been very much the case, and at Edinburgh altogether, because dancing on the Edinburgh stage there was none. How came that about? For the very word, ‘orchestral,’ suggests to a Greek ear dancing, as the leading element in the choral functions. Was it because dancing with us is never used mystically and symbolically never used in our religious services? Still it would have been possible to invent solemn and intricate dances, that might have appeared abundantly significant, if expounded by impassioned music. But that music of Mendelssohn!–like it I cannot. Say not that Mendelssohn is a great composer. He is so. But here he was voluntarily abandoning the resources of his own genius, and the support of his divine art, in quest of a chimera: that is, in quest of a thing called Greek music, which for us seems far more irrecoverable than the ‘Greek fire.’ I myself, from an early date, was a student of this subject. I read book after book upon it; and each successive book sank me lower into darkness, until I had so vastly improved in ignorance, that I could myself have written a quarto upon it, which all the world should not have found it possible to understand. It should have taken three men to construe one sentence. I confess, however, to not having yet seen the writings upon this impracticable theme of Colonel Perronet Thompson. To write experimental music for choruses that are to support the else meagre outline of a Greek tragedy, will not do. Let experiments be tried upon worthless subjects; and if this of Mendelssohn’s be Greek music, the sooner it takes itself off the better. Sophocles will be delivered from an incubus, and we from an affliction of the auditory nerves.