It is in the revealment of these deep shadows of the German or 'inner soul' of Shakspeare, which the merely common histrion would have passed lightly over, that Shales employs what artists term 'a rich brush.' In this particular, indeed, he may be truly said to
Malvolio himself was not more enamored of his own parts, than are the great mass of successful actors on the stage. Not so Shales. Whether improvising amendments to an attitude, which has been encored, or submitting to be twice killed, to oblige the sansculottists in the pit, or the gods of Olympus, his countenance is never disfigured by any of those 'lines which are termed expression." No self-complacent smirk, therefore, mars the vraisemblance of his personations. We regret that we are compelled to dash these deserved encomiums with a little animadversion. Depending upon his intellectual exertions for success, Shales did not sufficiently regard his outward seeming. His sword was a sad blade; his cloak might apparently have answered to the literal description of the ermined mantle, with its national emblem, which Mrs. Dorothea Ramsbotham saw in the 'Shampdemars' at Paris; since it was quite dingy enough to have been 'lined with vermin, and covered with fleur-de-lice.' The discolored knees of his knitted unmentionables, also, like collapsed India-rubber, had an ungraceful, bulgy aspect, which was heightened by the effect of a doubtless well-intended but injudicious emendation of a rupture, or an abrasion, in another and near quarter. The original Richard would have preferred the rent; for he had good sense enough to know, that a hole is an accident of the day, but that a patch or a darn is premeditated poverty; and this latter, if history may be believed, was not his condition. But fruitful as is our theme, we must pause; and with a word of parting counsel, close our remarks. 'The steadiness with which Shales advances, 'nulla retrosum,' to distinguished eminence, has roused the envy of sundry aspiring Roscii in the eastern cities. Let him but devote himself to study, and shun the dissipated courses of the warts and boils of the profession which he adorns, and he has nothing to fear from envy and detraction, let them dog his footsteps never so much. Distinguished merit will ever rise superior to malice, and draw new lustre from reproach. 'The vapors which gather round the rising sun, and follow in its course, seldom fail, at its close, to form a magnificent theatre for its reception, and to invest with variegated tiuts, and with a soft effulgence, the luminary which they cannot hide.' Shales—vale!
Park Theatre.—We make no apology for assigning a subordinate position to the favor of our theatrical correspondent, who treats monthly of the dramatic doings at Old Drury. 'Where two men ride a horse,' saith the erudite Dogberry, 'one must go before;' but who shall have precedence of Shales? And with this explanation, ensues our friend's critique. 'Daub yourself with honey, and you will never want flies.' So says the proverb; and whether applied in its literal sense, or to theatrical 'novelties'’ which are no longer novelties, but nuisances, it is equally forcible. Horses, elephants, monkeys, giraffes, and dancing dogs, form the principal corps dramatique of one of the London theatres, as announced in a late play-bill. Drury Lane and Covent Garden have had their 'lions,' in the shape of elephants and other monstrosities; and our own and dearly-beloved Park has done a considerable business lately in the equestrian line. It is notorious, that these exhibitions 'pay;' but for the sake of common sense, to say nothing about taste, (which being a word without any definite meaning, has no right in our vocabulary,) for the dignity of the stage, for the end and aim of playing, we could wish that it were otherwise. We are promised better things than horses and gilt-gingerbread imitations of melo-drama, at the Park; and the public may rest assured that the promise will be kept. Mrs. Shaw has given relief, by her chaste and effective playing, to the beastly monotony of our month of monsters. We believe in Mrs. Shaw’s personations of character most devoutly. They are true to the author. His meaning is expressed as clearly as intelligent action can portray it. This lady has the good taste to avoid all the rant and fustian which is so often resorted to by ambitious aspirants, to cover with their sound and fury the lack of the quiet essentials of the player. Even in 'Alice Darvil,' melo-dramatic as the character is made, she was content to give utterance to the passion of the scene, without tearing it to tatters. Of one thing we have become convinced, both on and off the stage, which is, that where real talent exists, ranting does not. We never met an actor or an orator yet, who was famous for splitting the long ears of his admirers by loud words and furious vehemence, who, upon a close acquaintance, did not turn out to be rather shallow in his intellects. True talent is conscious of its power, and relies only upon its legitimate influence.
Mrs. and Mr. Sloman, old friends, but not yet with old faces, have come back to us, and received a right hearty welcome at this house. The lady made her courtesy as 'Pauline,' and excepting a little unnecessary vehemence, occasionally displayed, carried out the character with success. She