Its
leading faults are those of the modern drama generally- they are not
peculiar to itself- while its great merits are. If in support of our
opinion we do not cite points of commendation, it is because those
form the mass of the work. And were we to speak of fine passages, we
should speak of the entire play. Nor by "fine passages" do we mean
passages of merely fine language, embodying fine sentiment, but such
as are replete with truthfulness, and teem with the loftiest qualities
of the dramatic art. Points- capital points abound; and these have far
more to do with the general excellence of a play than a too
speculative criticism has been willing to admit. Upon the whole, we
are proud of "Tortesa"- and her again, for the fiftieth time at least,
record our warm admiration of the abilities of Mr. Willis.
We proceed now to Mr. Longfellow's
SPANISH STUDENT
The reputation of its author as a poet, and as a graceful writer
of prose, is, of course, long and deservedly established- but as a
dramatist he was unknown before the publication of this play. Upon its
original appearance, in Graham's Magazine, the general opinion was
greatly in favour- if not exactly of "The Spanish Student"- at all
events of the writer of "Outre-Mer." But this general opinion is the
most equivocal thing in the world.
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