· stroking her on the breast with a small black feather, Will you suffer my boy Hal to approach you any moment, night or day, and must needs put up your plumes at your own young master, because, forsooth, he speaks before ye? I took you to be better reclaimed, hussy!' The bird seemed to comprehend the actual words of reproof, or by the tone in which they were uttered, to interpret their meaning; for she smoothed her disturbed feathers, cocked her head on one side, then slightly raising her wings, jumped back upon Bernard's extended arm, and snapping at the bit of red food, gulped it down her yellow throat in a second." By ART. XXI.-The Cathedral Bell. A Tragedy, in Five Acts. JACOB JONES, Barrister at Law. London: Miller. 1839. MR. Jones is one of the most persevering wooers of the Tragic Muse that can be mentioned among our living authors. He informs us that he is at present employed on another piece, the subject being the Magnanimity and Death of Regulus, and that his efforts in the same line of composition have extended over twenty years. He seems also to have been on several occasions entitled to entertain the most confident expectations that some of his dramas, the one before us amongst others, would be represented on the boards of a "leading metropolitan theatre," All these fond hopes, however, have hitherto been balked, the author's anxiety on the subject being evidently extreme. We ourselves, have no idea that it would be successful on the stage unless pruned and invigorated. The plot, on perusing the production at one sitting, did not absorb our feelings. Several of the characters are happily conceived, and some of the speeches powerful ;-but upon the whole there is too much declamation and too little action. The story does not advance,-the incidents do not always naturally develope themselves with the progress of the dialogue. The many short, abrupt, and catching sentences uttered by the Veteran Soldiers and the Guards which fill up the First Scene of all, tell nothing, or, at least, nothing but what in a much more effective manner might have been communicated in a few lines. Some of the most ranting speeches and parts begot laughter. The story concerns a period in Spanish history, when Saragossa is supposed to be besieged by the leader of Moorish forces, who is a Renegade. The people are reduced to a state of famine, while the son of the loyal and resolute Governor falls into the hands of the enemy. We quote three speeches which are not always equalled by the author. Francesco. Rumour, my friends! (next kin to Nobody, Who fathers half the mischief in the world) Whose many couriers are the shifting winds; Whose throne, foul darkness; and whose empire, fogs; Flash o'er the gloom to deepen, not disperse ;- And deaf and dumb, and those who cannot read, Surer and subtler than the subtle air ; * "Francesco * * Choose now, or life or death, for all you love! But, at my nod, would tap your life's last drop, * "Octavia * * * I have a miniature of one who's dead, One you approv'd, and your Octavia lov'd; On my heart's pulses; but for this, this frame, He needs no such adornment--let this go, [taking it out. [uncasing the picture. MISCELLANEOUS INTELLIGENCE. On the evening of the 28th ult. Messrs. Mori and Lindley's First Classical Quartett Concert, for the Season, took place at the Queen's Concert Rooms, Hanover Square; and it augured well that there were crowds present to welcome and enjoy the matchless beauty of compositions which no lapse of time or vitiation of taste, through fashion or pretence, can ever permanently eclipse. It is not to be wondered at that the Concertroom was crowded, when the attractive character of the programme and of the performers is considered. Among the artistes, besides the high-priests Lindley and Mori, there were Moralt, Signor Dragonetti, Messrs. Card, Barret, Lazarus, Platt, Tolbecque, Baumann, &c. Then among the vocal performers, Miss Birch and Mr. Bennet must be mentioned, as having admirably sustained their parts. A trio of Corelli's and one of Beethoven's deserved the particular distinction which they obtained; as did the duet, by the vocalists we have named, "Oh, Lovely Maiden, Stay," from Azor and Aminta (Spohr). Sir G. Smart conducted the Concert. THE MONTHLY REVIEW. MARCH, 1839. ART. I.-Memoirs of John Bannister, Comedian. By JOHN ADOLPHUS, ESQ. 2 vols. London: Bentley. 1839. "JACK" Bannister, as the hero of these volumes was familiarly and affectionately called, not only by all who knew him, but by all who witnessed his professional performances, early or late in his career, afforded but scanty materials for a two-volumed book. His life was too equal and uniform, his prosperity too gradual and ascending; his comedy, so rich and gratifying, bore too strong a resemblance to his real nature and character in private, to furnish to the reader topics for sudden and heart-stirring excitement. One expects and actually longs for madcap pranks and extraordinary incidents in the life of a player, especially a comedian; although, for the most part, the tribe, taken off the stage, are the most insipid or vulgar creatures that walk the ground in the shape of humanity. Seeing then that Bannister's real and entire history is thus so tame and so little removed from its illustrated geniality on the stage, which so many have had an opportunity of appreciating, it may well become a matter of wonder, how any book-maker could diffuse and expand mere theatrical reminiscences and criticism, immediately relating to one of the buskined race, so as to fill two volumes. Mr. Adolphus, however, has produced a readable work, that will reward while it amuses. This success has resulted from several causes, at which we shall briefly glance. In the first place, these Memoirs are written con amore, not only "Jack" but a long line of Bannisters having attracted the affections and engaged the friendship of the author. Mr. A. says, "I have had the unusual gratification of knowing five generations of the same family. Charles Bannister was the companion and delight of my early days. In my subsequent intercourse with his son, I became acquainted with his children and grandchildren, and once saw, in arms, a little girl, the daughter of one of his grand-daughters." There is not a surer or better way of interesting a reader than for a writer to be fond of his subject. Secondly, Charles the father, as well as "Jack" the son, serves for a text or peg whereon to hang a variety of dissertation on dramatic subjects; much matured judgment on these VOL. 1. (1839.) No. 111. matters as well as cultured taste being brought to the task. Partiticular theatres, actors, and dramatic pieces, accordingly, receive acute and sensible observation. For example, "Jack's" father belonged to Garrick's corps, and was a contemporary of the celebrated Foote; and we have, in consequence, opinions and anecdotes about these players, as well as upon stage management. After a similar manner other suggestions are taken up and pursued, not tiresomely, but in a way which throw considerable light upon, not merely the profession, but the manners of the periods identified with individuals and incidents. The work is thus notably miscellaneous as well as spirited; more by far being made of a barren subject than could be done by any man of limited experience of the world or limited reading and study. After a rapid sketch of "Jack's" history, we shall quote a few passages illustrative and confirmatory of the general opinions we have already expressed in regard to the characteristics and merits of these Memoirs. John Bannister was born in the year 1760; his father, as we have intimated, being an actor of the old school-of the good old times, as Mr. A. will have it. The son was at first designed for a painter, but at the age of eighteen, though he never lost his love or knowledge of the art which first engaged his efforts, he betook himself to his parents' trade, neither of them loath; for we find that the youngster made a successful debut at the Haymarket theatre for his father's benefit, having previously been instructed in part by Garrick. "Jack's" choice did not at once decide on the line which he was to pursue, and in which he became so brilliant. It appears that both by nature and study the tragic muse was not beyond the scope of his powers. His heart was too large, sincere, and overflowing, his feelings too spontaneous and tender, to allow his humour to pass without those touches and gushes which give character and currency to true sentiment. We like the manner in which Mr. Adolphus has noticed the use which his hero made of the pathetic resources which were at his command: "Altogether, his tragic labours were not absolutely wasted: his attainments in that line matured into a series of characters in which a deep impression was to be made on the feelings by means from which comedy was not banished, in parts where emotion was to be awakened by blunt and genuine nature, true integrity, and by the exhibition of spontaneous sensibility. Had Bannister never contemplated the walk of tragedy, La Gloire, Sadi, and Walter, would never have possessed the great charms with which he adorned them. It is evident that a man may play Scrub the better for having studied Abel Drugger; but not so obvious, although not less true, that he may in both attain greater success for having measured in his mind, or attempted on the boards, some parts of the highest order in genteel comedy, or even the sublime effusions of the sister muse. Who knows that, in the hands of Garrick, the story told by Abel Drugger of his malady, occasioned by an indigestible meal after a shooting-party, cured for twopence by an old woman with sodden ale and a little pellitory o'th'wall, might not derive some additional effect from the skill which could effectually narrate the progress of Othello's love, or follow out the musings of the melancholy Jacques? No man can know by general anticipation the moment at which, even in the most ludicrous comic part, a single inflection of the voice, the forcible enunciation of a word, or a slight change in the gesture or deportment, will, by a sudden appeal to the natural affections, give life and effect to passages which would otherwise fall still-born and senseless." The interest Garrick took in the youth may be illustrated by a passage taken from "Bannister's Budget," a dramatic composition, which was much admired when "Jack" entertained the public with his own history : "I was a student of painting in the Royal Academy when I was introduced to Mr. Garrick, under whose superior genius the British stage bloomed and flourished beyond all former example. In my first interview with him, I expressed my desire of quitting the study I then pursued, for the stage. After frequent visits to him, he was pleased to say that he perceived a-a-a something in me which conveyed a-a promise, a-an indication of theatrical talent; and here I am led into an imitation-(I beg pardon,) I mean an humble attempt at imitation, of his manner in private. He had a sort of a—a—a kind of a-a hesitation in his speech, a habit of indecision which never marked his public exertions. One morning I was shown into his dressing-room, where he was before the glass, preparing to shave; a white night-cap covered his forehead! his chin and cheeks were enveloped in soap-suds; a razor-cloth was placed upon his left shoulder; and he turned and smoothed his shining blade upon the strop with as much dexterity as if he had been bred a barber at the Horse-Guards, and shaved for a penny and I longed for a beard, that I might imitate his incomparable method of handling the razor. Eh! well-what! young man-so, eh?' (this was to me,) so you are still for the stage? Well, how-what character do you should you like to-eh ?' I should like to attempt Hamlet, sir.' 'Eh! what? Hamlet the Dane! 'Zounds! that's a bold-have you studied the part?' 'I have, sir,' Well, don't mind my shaving,-speak the speech-the speech to the ghost,-I can hear you,-never mind my shaving.' After a few hums and haws, and a disposing of my hair, so that it might stand on end, Like quills upon the fretful porcupine, I supposed my father's ghost before me, armed 'cap-a-pie;' and off I started. Angels, and ministers of grace, defend us !— He wiped the razor, Be thou a spirit of health, or goblin damn'd,he strapped the razor, Bring with thee airs from heaven, or blasts from hell, he shaved on, Thou com'st in such a questionable shape he took himself by the nose,— I'll call thee Hamlet, King, father, royal Dane.-O, answer me ! |