[Footnote: This statement is no longer
true.]
_The Cenci_ is a very powerful tragedy, but unfitted for public
representation by the horrible nature of the historical facts upon which
it is founded. In the execution of it, however, Shelley has kept very
much nearer to nature than in any other of his works. He has rigidly
adhered to his perception of artistic propriety in respect to the
dramatic utterance. It may be doubted whether there is sufficient
difference between the modes of speech of the different actors in the
tragedy, but it is quite possible to individualize speech far too
minutely for probable nature; and in this respect, at least, Shelley has
not erred. Perhaps the action of the whole is a little hurried, and a
central moment of awful repose and fearful anticipation might add to the
force of the tragedy. The scenes also might, perhaps, have been
constructed so as to suggest more of evolution; but the central point of
horror is most powerfully and delicately handled. You see a possible
spiritual horror yet behind, more frightful than all that has gone
before. The whole drama, indeed, is constructed around, not a prominent
point, but a dim, infinitely-withdrawn, underground perspective of
dismay and agony.
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