"Oh, ye soiled furs, dishonored dignities!
Ye robed mockers of the state ye shame!
With glozing proem of well-sorted words,
To make mine enemy shew like a God,
And turn his scaffold to his pedestal!"

does not fairly come before us as an article which appears sobered down, though not perfect in what he has to perform, the infor investigation, because, being stolen pro- enervated, to a more discreet standard of structor feels satisfied that his own duty is perty, it of course ought to be restored to fine writing. discharged, and that his pupil is a promising the real owner, who, if he should chuse to lad. But this was not Mr. -'s systein, acknowledge and publish it, must in that he did not set us in motion, and then leave case submit to the ordeal of criticism, as us until the machine required to be wound well as the adjudication of other courts. up again, but he attended minutely to the every deviation, gave fresh energy to every direction of every spring. He regulated right movement, and superintended the force and action of the whole work. We went about our employment cheerfully, because we were informed, that more than present advantage would result from our application. It was explained to us that we

MANUEL, a Tragedy, by the author of Bertram.

As the author of this Tragedy has complained, in his Preface, that the reviewers neglected his former work, and thus deprived him of opportunities to profit by criticism, we shall avail ourselves of his laudable wishes for improvement, and point out some defects, which, perhaps, he will avoid in his future attempts. Having already animadverted upon Manuel in our theatrical capacity, we shall now consider it as a literary composition, and set the fable, the characters, and the moral quite aside.

simple, natural, and affecting in the whole
The dying words of Manuel are the most
piece; and if the author would follow nature,
who has given him no small portion of
genius, instead of courting art, who has
almost deprived him of taste, he might, and
we trust will, become, not alone successful
on the stage, but capable of affording plea-
sure in the closet.

ACADEMIC ERRORS; or Recollections
of Youth. By a Member of the University
of Cambridge. 12mo.

Were the merits of a book to be estimated That the author possesses considerable fered to pass into oblivion unnoticed amidst by its size, this little volume might be suftalents, we willingly allow. Strength of the ephemeral publications, which interest thought, and energy of expression, are his or vanity is continually ushering into the distinguishing characteristics; and these are world. But the unassuming work before us among the foremost marks of a superior has superior claims to arrest the general mind. But we think he has carried both attention, and considering the importance these qualities to excess, and has enriched of the subject, no less than the novel manner by overwrought art, a soil already too of treating it, we should be guilty of injustice exuberant by nature. There is no repose, in dispatching cursorily, what is entitled to no keeping in his piece, and like the lighting grave and deliberate consideration. of the stage itself, he deprives every object of its natural shadow. He seems to gasp and struggle for poetical phraseology: his epithets do not appear to suggest themselves voluntarily, but come in the fetters of a forced conscription. Such sentences as the following will better elucidate our meaning: "All powerful heaven,

Who to the task that splits the trenchant blade, Dost whet th' unapt and edgeless instrument." And,

"Gripe with unfailing might, the crosletted shield, Against the foeman's dint."

the common defects of education with a cor-
The author has in this narrative, displayed
rectness of outline, and a force of colouring
which cannot but' strike every reader, who
will compare the picture here sketched with
the retrospect of his own experience, and the
result of his mature reflections.

were not confined to our books a certain part of the day for the purposes of restraint, and to keep us out of mischief, but that remote and complicated good would follow; that we should be amply recompensed in future, for the time and pains we expended estimation which are the rewards of literary now, by the pleasure, the knowledge, and acquirement."

Into the particular practice of this person we cannot enter, but must refer our readers to the book where they will find much to amuse and more to edify them in the proper method of imparting knowledge, and cultivating the moral powers. From the roof of this excellent scholar, our youth was transplanted to a public seminary, the name of which is not mentioned, but the method of education pursued in it is strongly censured, especially that of making Latiu composition in verse and prose, an indispensible qualification for the higher classes. The distress of the author in his endeavours to

In the

attain something like metrical harmony, is The book is divided into cleven chapters, admirably told, and the manner in which he the first of which is occupied by a lively got out of his difficulties by the ingenuity portraiture, but far enough from a caricature, and good nature of a younger boy than himof one of those academical tyrants and imself, who favoured him with a succession of postors, who in this free country are at li-exercises that passed undiscovered and seThis sort of obscure and uncouth jargon, berty to roh children of their precious time cured the desired object, gives some force to may give a certain turbulent air of energy to and parents of their money, by promising the reasoning here offered against the general the sentiments; but leaves us quite un- wonderful things in the improvement of system carried on in our public schools. Much moved at the distraction of those person-youth. is also said upon the subject of discipline, ages, who can fly for consolation to hard The six following chapters are devoted to and the practice of flogging, which is strongly between sublime emotions and niceties of adopted by an amiable clergyman in a coun-tenth chapter the author has offered some words, and who seem equally occupied a minute detail of the private mode of tuition, condemned as an indecent, degrading, and ineffectual mode of punishment. phraseology. The debility of bombast is far try village whose character is, in every resmore nauseous than the insipid impotence pect, a perfect contrast to the pedant just curious observations on the inutility of gramof bathos, because it makes pretensions, to mentioned. Of the excellent instructor, un-ars, and the possibility of acquiring the placed, it is said, "He made it appear to he exemplifies by the cases of Cowley, Sir der whom the author was now happily knowledge of Languages without the tediousness of complicated rules; and this opinion his pupils that he considered them as rational beings, and not as automatons, whose William Jones, and Baratier. minds were to be regulated by a mechanical process. He conversed and argued matters as much and as freely when we were but children, as he did when we were several years older: was always ready to listen to our observations, reply to our questions, and Something of the same nature are such satisfy our curiosity. Mere lessons, tasks,

which the latter does not aspire.

This unnatural enforcement of language often extends itself, in the work before us, to the idea which it labours to convey. Hence, here and there, we find some of those "Dalilalis of the theatre," in which Dryden and the writers of his day indulged. Such is the following:

"Stop, Victoria;

If the free wind did dare to whisper that
I'd tell it, in the face of heaven, it licd!"

expressions as,

"The Moor hath left the land, or stays to spread The mountain-cagle's feast

By which, after some induction, and a little acquaintance with writers upon battles, we discover that spreading means killing,

and feast means men.

There is, however, some very nervous and unaffected language in this tragedy, and as we have recorded passages of a contrary tendency, we shall select one among several,

CURIOSITIES OF LITERATURE. three volumes, Sro.

In

This work might be characterized in the language of Shakspeare as consisting of "shreds and patches;" or in the more quaint description of Butler, as made up of

Scraps of verse,

and exercises, were not his chief vehicles of
instruction. We gathered wisdom when no- It is, however, altogether a most amusing
And sayings of philosophers.
thing more than amusement was the osten- olio, and exhibits the taste and researches of
sible object, and derived entertainment where, this literary Apicius to considerable advan-
under a different teacher, we should have tage. What will surprise the reader most
found a burthensome employment. The is the circumstance, that above twenty-five
art of learning and repeating by heart is too years should be suffered to clapse between the
frequently regarded as the only thing need-publication of the first two volumes, and
ful; and if the student shews industry while that which has now made its appearance.
he is employed in his daily business, and is They who read for occasional entertainment
'So glosed the tempter and his proem tuned.-Milton. only will meet with an abundant varjety of

46

PAINTING.

on this

pleasing matter in these volumes, than which so highly interesting and important, that ing at the Count of Caluso's, this young poet we hardly know any book better fitted to vast labour was necessary to compress the improvisated a tragedy, the subject of which beguile the tedious hours in a rainy day. account of them into these bounds. Ex- was decided by drawing lots. It was Medea. Those articles which illustrate theatrical clusively of Italy, this half century is full of Unbounded applause was bestowed history are perhaps among the very best in events and memorable characters which extraordinary effort, which surpasses every the sheaf of supplemental gleanings which have had the most marked influence on suc- thing that has hitherto been heard, even in the ingenious Editor has here produced, as ceeding ages. The destruction of the Greek Italy, where composition ex abrupto, aided by we should suppose, to complete his original Empire, the taking of Constantinople by among young people, who have a little poeti the genius of the language, is very common object. But though the elaborate genealogy Mahomet II., the progress of the Turks stop-cal talent, and a little learning to turn it to of those renowned personages Harlequin and ped or checked by Scanderbeg and Ussun-advantage.-An earlier effort of Sgricci's was a Punch, with their attendant pantoinimical Cassan, the Russians shaking off the Tartar tragedy on the story of Jephtha. characters, is sufficiently curious to warrant yoke, Poland flourishing under the Jagelits insertion in a cabinet, which like most lons, Christiern beginning in Denmark a new museums must contain trifles as well as Dynasty, the elevation of the House of Tudor BRITISH INSTITUTION. - Mr. P. Nasmyth valuable varieties, the subjects upon the in England in the midst of Storms, Austria has four Landscapes painted from Nature, in whole can hardly be said to have much con- giving to Germany the Emperors Albert II. the rooms. His view of the Sea-coast, with nexion with literature. A happy specimen and Frederick III., Arragon and Castille Christ Church, in Hampshire, is a delicate little of critical elucidation occurs in an account united under Ferdinand the Catholic, France specimen. The shore lies low and is naked of of the Italian Theatre, by tracing a coinci- restored to Charles VII. and subsequently wood. The effect is silvery and harmonious. dence between Massinger and Molière, not agitated by intestine wars, which finish by The view near Lindhurst has a rich sunny to plagiarisin in the latter as some have aggrandising the monarchical power, and effect. The middle ground and distances are imagined, but to a well-known character weakening the feudal Regimen, every where level, with woody enclosures and farm-houses. in the Italian comedy called the "Dottore," efforts to maintain, to ameliorate, or to details in this part are executed with a sweet The aerial perspective is excellent, and the from which both the English and the French change ancient institutions, to extend or re- and spirited pencil. The sky is bright in dramatists have drawn, the one his vive knowledge, to re-open to letters and colour, but vapoury and low in tone; streaked Empiric," and the other his "Medecin." arts a surer and more brilliant career; with light clouds in gentle motion, and the By far the most interesting portions of this these are some of the facts most remarkable gradation from the blueish tints above, to the volume, are those which throw light upon in this period; in the middle of which occur- fine glow upon the horizon, is managed with certain periods and characters in the Eng-red the invention of the art of printing, and much beauty and harmony. The fore ground lish history: particularly the remarkable in- which terminates with the discovery of a new is broken with picturesque fancy, and the idea cidents related of the conduct of Queen world. But Italy, which in the course of the of local colour good; but the trees, although Elizabeth towards her parliament; the anec- preceding centuries had acquired a pre-apparently studies from nature, are painted dotes of Prince Henry, son of James the eminence over the rest of Europe, still main-with a confused, uncertain touch; rather rag. First: the diary of Sir John Fenitt, master tained it during the sixty which are the sub-ged on their edges; inelegant in some forms, of the ceremonies to the last mentioned ject of these 3 vols. We may be allowed to trunks. The trees in the view of Drummond and not sufficiently loose in their branches and King and Charles the First: a minute ac- observe, that the expression "the middle Castle have the same crowded forms; the tone count of licencers of the Press; a memoir of ages" seems never yet to have been suffici-is cool and airy; but the silvery tints are, in Edward Vere, Earl of Oxford; the taste of ently defined. The title of Mr. Sismondi's some passages, too near lead. We looked Charles the First for the Fine Arts, with the work would extend it even to the middle of some time to discover the castle; and, dimisecret history of that unfortunate monarch the sixteenth century. We should be in-nished to a remote and petty object, it is too and his Queen Henrietta: the intrigues of Car-clined to confine it within narrower limits, unimportant to give a title to the picture. This dinal Richelieu in English affairs; and some and not to include in it the times in which artist has much promise, feeling, and taste in facts and observations tending to place the the languages, the arts, the opinions, the his works. There is nothing neglected in them, celebrated minion, Villiers duke of Bucking- manners, and the institutions, of the greater and his advancement has been steadily proham, with his assassin Felton, in a new part of Europe had assumed the wholly mogressive. point of view. dern characteristics which have maintained Mr. J. MARTIN has exhibited three small pic tures, besides his large composition of Joshua and developed themselves up to our times. It is, in our opinion, a defect, that Mr. Sis-There is a grandeur of conception in this design, commanding the sun to stand still upon Gibeon. mondi has neglected to trace the picture of which proves the artist to possess a fervid and the progress of letters, and of the arts, in powerful imagination. Although the canvas is Italy, in those sixty years. He has been re-6 feet 2 inches high, and 8 feet 7 inches wide,

But though we have mentioned these pieces as entitled to distinction, we do not wish to lessen the value of the other papers contained in this very agreeable volume, the whole of which will afford to readers of every complexion both instruction and de-proached, we know, with having introduced light.

SISMONDI'S ITALIAN REPUBLICS.

too many literary details into the first eight
volumes, but we think that he has paid too
much deference to this criticisin; and it is
to be hoped that he will treat of these sub-
jects in the beginning of the 12th vol.

Mr. Sismondi has published the 9th, 10th, and 11th volumes of his celebrated history of the Italian Republics in the Middle Ages. It appears to us, that Mr. S. has been too The first eight volumes having appeared severe in his judgment of Cosmo de Medici, in 1810 are too well known to the public to and of Lorenzo the Magnificent. If we could allow of our dwelling on them here. Every enter the lists on this subject, we should need body knows that after having given in the no other arms than Mr. Sismondi himself first volume a rapid sketch of the revolutions would furnish us; for it is but justice to say, in Italy from the end of the 5th to the begin- that his opinions never impair the fidelity of ning of the 12th century, Mr. Sismondi has his narration, and that he never conceals a given in the 7 following volumes a history, circumstance which is calculated to induce properly so called, of the Italian Republics his reader to form conclusions different from during 332 years, between 1100 and 1433. his own. The author promised four other volumes which were to bring down the history to the taking of Florence in 1530. The three volumes now published come down only to 1492, so that two or three volumes will probably be required for the remaining 38 years.

FINE ARTS.

OF MEDEA,

An Improvisated Tragedy, by SGRICCI. TURIN, MARCH 6.-The celebrated Improvisatore Sgricci, who is come here from Rome, The period of 60 years, which is the sub-excites the admiration of all who hear him. In ject of the present volumes, is full of events an assembly, which was held yesterday even

the immensity of the scene reduces the figures to a small size. Joshua standing upon a rocky eminence in a back view; the whole array and march of the Israelites, and the disposition of the Amorite army in the valley, exhibit much poetical inspiration. The architecture is finely introduced on the mountainous elevations, and composed with great loftiness. The sky is cleverly designed, and the storm of hail-stones judiciously kept in due subordination to the principal incident. The colouring is ideal, cold and severe, being evidently secondary to the invention. The artist has recently obtained the prize of one hundred guineas from the British Institution for this picture; and we are proud that our hopes on beholding it, when exhibited last year at Somerset House, have been verified. It was the first of his works which we had scen; and we had never before heard his name; but did not coldly linger in the discharge of our duty we promptly bore testimony to his ge nins. In our public notice of it, we then de clared—“ The choice of this extraordinary subject, is an indication of honourable ambition; and there is a striking boldness approaching, to sublimity in the composition, which angurs well of this artist's future progress, and excites a warm interest in his fortune."—" It is one of

of the Attic, (P'Attique,) Paris, instigated by | zette of the Two Sicilies gives the following
Love, gives the apple to Venus in the presence account of an ancient monument which has just
of Juno and Minerva: Mercury is waiting for been discovered there:-The façade of a build-
the Shepherd's judgment to acquaint the Godsing adorned in front by six columns, which, with
with it. On the other side, preparations are three others on each side, forms a space fifty-
making for the chace. The heads of Apollo two hands in length, and forty-three in breadth,
and Diana terminate the two extremities of has been exposed. In the aisles there is a
the Attic. The frieze is divided into two by a double colonnade of six columns each, two
plain tablet, ornamented with a moulding, which hands and a quarter in diameter, resembling
serves it as a frame. This tablet, supported those of the vestibule. M. Arditi is of opinion
by two little Genii, was destined to receive an that the building had another order of smaller
inscription, such as is usual upon tombs: here pillars above the columns. At the bottom of
nothing is inscribed (this circumstance is the hall, three small entrances lead to as many
without parallel.) At one of the extremities of small chambers. On the left is a small staircase
the tomb is a Shepherd with flocks; and on the by which persons probably ascended to the
other, Diana placed on a car, drawn by two upper part of the building. In the lateral part
bulls.
of the hall the pavement is Mosaic; in the
centre there were marked in marble, several
geometrical figures. All the walls are adorned
with pictures, the ground of which is a brilliant
red. The injuries sustained by this superb
monument, are of a very ancient date: traces of
ruins appear in every part of it: the ground is
covered with fragments of pillars. Orders have
been given for their immediate restoration.
The active zeal and talents of Chevalier Arditi,
will very soon restore this building, which is one
of the most curious monuments that has been
discovered at Pompeii.

This tomb contained the skeleton of a man, and a copper medal of the size of a denier, with the inscription "PONCIUS."

THE DRAMA.

The second tomb represents the triumph of Bacchus and Ariadne. The car of Bacchus is drawn by two Centaurs, as the sculptors of remote antiquity repres nted him: one of these Centaurs is a male, the other a female, which, bent in a state of repose, caresses a little Centaur; near which is Staphilius, the son of Bacchus and Erigone, mounted upon a goat, and holding grapes in his cloak. Before the goat is the dog which Pan had given to Bacchus to accompany him in his travels. The male Centaur, holding a lyre, is turned towards a Bacchante, playing on the flute, and placed ITALIAN OPERA-KING'S THEATRE. behind him. In front of the car, a Fawn and THE performances since our last were: Fia Bacchante are dancing to the sound of the garo and La Molinara: L'Amour et la Folie lyre on which the God Silenus is playing. At and Psyche. Some slight alterations, for the the feet of the preceptor of Bacchus is an altar, better, have been made in the last-mentioned on which the head of a goat reposes. A Bac- ballet, but it is not likely to become a standchante sitting in a state of repose, and a younging favorite with the public. fawn standing behind her, holding in his right hand a Pan's flute, terminate the picture. Se. veral Satyrs' heads appear behind the other figures.

those adventurons and fortunate excursions of
fancy, which make a strong impression upon
the public, and are long remembered. The
mind, from which it issued, must be of no com-
mon order; and we earnestly hope, that, if the
picture be not already purchased, it may soon
find a purchaser to appreciate its merits." This
artist's small view in Kensington Gardens, is in
a good taste; and painted with a minute, but
spirited touch and great force of effect. It is,
however, deficient in local colouring, and some
what inclined to hardness. His small landscape
composition, its companion, is rich and romantic;
and "The Hermit," from GOLDSMITH'S poem
of Edwin and Angelina, is one of the most en-
chanting effusions of fancy in this class, which
we remember to have seen in our visits to the
London exhibitions for many years. There is a
strong opposition between the blue mountains
and the low warm hues in the sky. The co-
louring is ideal, and, if judged as a local tran-
script, would be censurable: but considered,
altogether as a composition, in which the artist
has endeavoured to realize the fine feelings of
the poet, its beauties may be admitted in ex-
tenuation of this dangerous license. The pow-
erful effect of shadow in the middle ground,
checks the otherwise too violent contrasts of
colour; renders them subordinate to the senti-
ment; and produces an extraordinary union of
splendor and solemnity. The deep repose of
the shade, which stretches in unbroken silence
over the immeasurable wilds below, acquires a
more intense obscurity, opposed to the partial
gleams of brightness on the horizon. There is
a wonderful effect of distance produced by the
taper glimmering afar off in the vale, amidst
an ocean of darkness. The foreground is finely
relieved by this illusion, and the figures of Ed
win and Angelina, are there tastefully intro-
duced. We do not remember to have seen this
story told by any other artist, with so much of
Goldsmith's feeling. There is a fascination in
it which clings to us, long after we have left This tomb has, like the first, two heads at
the rooms. It is quite impossible to view this the extremity of the frieze; one is that of
young artist's performances, without an earnest Bacchus, the other that of Ariadne. The frieze
sympathy in his success. There is nothing like is divided into two parts, like that of the first
common-place thinking or practice abont them. tomb, by a plain tablet, without a frame. On
His vein is of the right metal; the sterling ore. the right part is a Bacchus seated in a car drawn
Girt in the vigor of an independent intellect, he by two Lions led by a Satyr, preceded by a
stands alone. His beauties are as unlike those Fawn and a Bacchante. Another figure near
of his able contemporaries as those of the old to Bacchus is playing on the double flute. On
masters. His ardent sensibilities and fiue eye, the other part of the frieze is the bust of a
lead him, with a persuasive force, to nature. person of consular dignity. What leads to the
But his creative fancy, romantic enthusiasm; a presumption that this tomb was made for a
passion and genius for the sublime and beautiful, Consul, is the Trabea. On the right is seen
would lure him wholly into composition to a Satyr, playing on the two flutes: he is danc
rule in a world of his own. His studies, howing before a little Priapus, placed on an altar,
ever, must be founded upon the only certain At the feet of the Satyr the artist has placed a
basis. Titian, the greatest of all colourists basket half open, from which a serpent is dart-
since the revival of Painting, in the grandest of ing. On the left is a Fawn, who threatens a
his landscapes, never lost sight of NATURE and little infant, whose bands he has tied. Behind
the infant is a vine, and at his feet a goat. This
tomb contained the skeleton of a woman.

TRUTH.

SCULPTURE.

SARCOPHAGI; or, ANTIQUE TOMBS, found at St. Medard Deysand, near Bourdeaux, and now exhibiting at Paris.

These tombs having, as we understand, been but lately brought to Paris, are probably wholly unknown to many of our readers, this account may induce some of them when they visit Paris, to call at Mess. Bombarde and Peyron's, opposite the gate of the Thuilleries, in the Rue de

In 1805, there were found near Bourdeaux, in a field, two feet under ground, two magni ficent monuments, or antique tombs, of Paran | Rivoli, marble, of the rarest beauty. These monuments PARIS, 23 MARCH. The two antique

ORATORIOS.

THE season for Oratorios closed this week at both Theatres. At Drury Lane, where we attended on Wednesday, the performances were, with some exceptions, the same as those on the Wednesday preceding, viz. a selection from the best works of Handel, Haydn, Mozart, and Beethoven. Considering the difficult nature of some of these, great credit is due to the performers, vocal and instrumental, for the correctness with which every successive piece was executed. This observation is particularly applicable to the Hymn and Chorus from a grand mass of Beethoven's, which afforded a high treat to the cultivated musical ear. and masterly composition. It is a grand

Handel, however, still asserted his high rank in the scale of the art, by the Grand March and Chorus in Joshua, by the beautiful air "He was despised," sweetly sung by Master Barnett, and an excellent air from the Redemption, sung by Mr. Bellamy with success.

To Miss Goodall we are indebted for a great portion of the pleasure we derived from the evening's performances. She not only sang very sweetly and with skill the fine air with little intermission, in almost every piece "O had 1 Jubal's lyre," but she gave her aid, are in the Grecian form, and have two tableaux tombs which were seen at No. 16, rue de Ri richly sculptured. The bas-relief of the first voli, and the remains of the skeletons which parts; and this assistance was as much represents the loves of Diana and Endymion. were found in these tombs, have just been pur-distinguished by a zealous endeavour to do Cupid leads near to the Shepherd the car of the chased by the King for the sum of 16,000 fr. well, as by unequivocal signs of her power to Goddess, a nymph of her train holds the horses, They have been conveyed to the Museum of act up to this desire. She seemed to enjoy which are yoked to another car, and which Antiquities. the music as much as those for whose enjoytrample under their feet a woman holding in ment she sang; and although we took deher hand a Cornucopia. The God of Sleep light in watching her through the most insheds his poppies on Endymion; Loves, Nymphs, and the flocks of the Shepherd, forni tricate mazes of harmony, we ever found her steady and at her post.

ARCHITECTURE.

NEW DISCOVERIES AT POMPEII.

Several persons are still successfully employed the back ground of the picture. Ou one side in digging up the ruins of Pompeii. The Ga

Of Mrs. Salmon's great merits we have,

on former occasions, expressed our high opi- | But even this pleasure was not sufficiently monstrous turpitude, and glory in his crimes, nion at some length. She again enraptured poignant without a mixture of human suf- to a noble-minded man, like Lord Lovell. the audience with her sweet and melodious fering, and he immediately mingles it with This was erring widely from his pur strains. a malignant joy at the idea of having ladies pose, and a most likely step to make Lord Our first opinion of the Misses De Libu of" Errant Knights decayed" to wait upon Lovell shun a marriage with his daughter. was confirmed last night. They showed her, as menial servants. KEAN gave these So gross an improbability in the character themselves good musicians and cultivated various shades of depravity with great vigor must ever weaken this scene. But Kean's singers, but their Italian style is tinged by and truth. MUNDEN, although his Marall bold colouring, in some measure, veiled the the French genre (the worst of all genres). was rather too highly seasoned, played up to defective outline. His joy on sending off his Miss De Lihu sang a bravura with great him in his richest style. This felonious tool, daughter with Allworth, as he supposed, to execution, but when she rose to A, the sound without a gleam of humanity, presented a her marriage with Lord Lovell, formed a fine became thick and cheeky (if we may be al-cold and sluggish mass of cowardice, cruelty contrast to his subsequent rage on seeing the lowed the expression). She ought to divest and meanness, which served as some relief blank bond, and discovering the overthrow herself of the unpleasing habit of hanging to the aspiring and undaunted villainy of his of all his ambitious projects by the marriage forward when she sings, and beating time employer. There could not be a finer back-of Margaret with Allworth, his nephew. with her whole body backwards and for ground figure to a principal, and there was This scene afforded him full room for those wards. not a point of the dialogue lost between abrupt transitions and stormy paroxysms of Miss Tremearn again played a Violin Con- them. After the entrance of Wellborn, and passion, with which he electrifies an audicerto of Viotti's, to our utter astonishment. his renewed repulse of him, the transition of ence. He threw his whole force with a She is a phænomenon in music. his voice from loud and threatening excla- roused exertion, into the last act, and we neMr. Nicholson's variations on the flute, mation, to the low tones of close and cruel ver beheld him perform it with more varied on "Sul Margine d'un rio," although they cunning in the line evinced less mechanical dexterity than Mr. Drouet's play on a former night, gave to us, was received with much applause by the and apparently to the audience at large, quite audience. The poet has drawn Sir Giles of as much satisfaction. The variations them-a bold and furious temper, but ever ready, selves were pleasing; and he played them with taste, feeling, and great skill.

DRURY LANE.

"Come hither, Marall,-now is the time to work him."

COVENT GARDEN.

THE CURFEW.

effect. His eye measured Lord Lovell, as if he would blast him with his glance. He was, from head to foot, an image of distraction, fury, and despair. This is one of those dismal pictures, which would have suited the on the instant, to smooth his aspect and gloomy genius of Spagnolette, or the stern lower his tone, to suit his own purposes. tones of Michuel Angelo Carravaggio. Kean, Quick transitions are essential to his discord- with more versatile powers, is the Ribera and ant character, although, when sometimes Carravaggio of his art. In the field of unOn Saturday last, "A new way to pay Old introduced by Mr. Kean, for stage effect, in mitigated terror and horror, he moves with a Debts," was performed at DRURY LANE THE-characters of an opposite disposition, they tremendous power. Annibal Carracci deATRE; and we were happy to see KEAN, in are inconsistent, and rather enfeeble than clared that the carnations of the latter paintperfect health, after his recent illness. We enforce the impression. He was very suc-er were so true," he did not paint but grind have never seen him perform Sir Giles Over-cessful in depicting the impatient incre-flesh." We may say of Kean, that he does reach, with more acuteness, variety of ex-dulity, astonishment and anger of Sir Giles, not imitate, but express, the fiercer passions, pression and energy. Even in his few short on hearing Marall's tale of Lady Allworth's as they burst in all their boiling, burning vespeeches with Justice Greedy (Oxberry) in love for WELLBORN, and his offer of his nag hemence from the bosom of nature. Ww.c. the first act, there was a nimbleness of spirit and twenty pounds, instead of an halter, to in his voice and look, which gave a presage their intended victim. He gave the direcof his best exertion. He was at the top of tions to Justice Greedy for the dinner for his bent, and the scornful insolence, with Lord Lovell, with many touches of gleeful THE Managers, on Thursday night, got up which he threatened bis nephew Wellborn-spirit and sarcastic humour. OXBERRY Tobin's cold and feeble play of the CURFEW, "I'll have thee cag'd and whipp'd"-was in richly repaid every stroke with chirping to bring out Mr. Booth, in Fitzharding; but the true cruel tone of a griping, bad, proud tones and smirking looks. KEAN here that character is so manifest and miserable man, who counted the vicinity his own, with exhibited a fine flow of animal spirits. a copy of Zanga, that it affords no scope for an actor. There was no want of effort on every thing to hope for from successful ini- There was a pleasure in his quickened moquity, and nothing to fear from the ruined tions, like that of a pedestrian, on sight the part of Mr. Booth: he threw as much and defenceless sufferers. In the second act, of the goal: low-born pride, vulgar ostenta-power into the character as it would admit his bold, wicked schemes for harassing and tion, triumphant malice, and the hope of of; but the effect was not correspondent. We cautioned this gentleman, in our first noplundering Farmer Frugal of his land; and nearly accomplished ambition, curled upon his diabolical plot, with Marall, to drive his his lip and sparkled in his eye. His in- tice of him in Richard, against inflating his nephew to despair, urge him, through neces- structions to his daughter, to lure Lord cheeks and protruding his under lip, in the sity, to steal, and then hang him; were un- Lovell, were given with all the earnest expression of rage. We now deem it necesravelled with the confident and eager exulta-anxiety of unprincipled hope. Here, again, sary to repeat that caution. His countetion of a fiend in human shape, who, in the even the immediate consummation of his nauce is good; but he relies, perhaps, somemidst of his large possessions, still required proudest expectations, is mingled, by the what too much on his gestures; and they the additional gratification of inflicting mi-poet, with horrid longings after human require to be chastened. He fixed the atsery upon his fellow creatures. The transi-misery. It is in his execrable nature, with tention of the audience, and was deservedly tion of mind, from these dark conspiracies to all the worldly means of happiness, accord-applauded in some passages. the still more exhilarating prospect of aging to his own notions, to be still uneasy, performed Robert with good sense and ABBOT made the most of Bergrandisement by his daughter's marriage unless he has some wretches at his feet, to feeling. with Lord Lovell, exhibited his character in TERRY This is instanced in his brutal trand. was out of his element a new light. His voice and gestures passed exclamation, relative to Lady Downfall, in the Baron; and very tame and very from the expression of triumphant avarice, whom he had hired to wait upon his daugh- frigid: his excellence lies in another line. hatred and revenge, to the livelier tones of ter: Miss Booth in Florence, and Mrs. Egerton what we may terin parental selfishness; for in Matilda, were respectable. The Duke to parental love he was a stranger. There KEAN, in all this scene, entered fully into and Duchess of Gloucester entered early, was an absolute fruition in the relishing vathe spirit of MASSINGER; and evinced an ut- and the house was crowded; but, on the nity, with which he prolonged and palated tr carelessness of his daughter's happiness whole, the play went off coldly: and when each honied syllable, of the words "Ho-nor-in every other point, so as he could wed her Mr. Abbot announced it for a second reprea-ble" and "Right Ho-nor-a-ble”—in the to a Lord. His ferocious burst of passion, at tation, a cry of No! No!-Posthumus! Posthumus! arose in the pit and galleries. If the Managers wished to chill Mr. Booth, they could not have chosen a better part than Fitzharding. But it is their judgment alone, we condemn, not their intention.

speech

"She must part with That bumble title-and write honorable, Right honorable, Marall, my right honorable daughter."

tread on.

"Pity her! trample on her!"

her idea of being deceived and abandoned by
Lord Lovell, was thrown out with great
power. The poct has erred against probabi-
lity, custom, and nature, in making his vil-
lain, SIR GILES, voluntarily unmask his

M'CREADY

FRENCH DRAMA.

A new tragedy called Germanicus, which was acted for the first time last Saturday, has produced a prodigious sensation at Paris. The best account of its reception is given below in the words of M. Martainville, a well known critic of the French theatres. The journals take care to mention that the Duke of Berri was present at the representation, and sat till the end. The author, is, we believe, M. Arnault.

FIRST

REPRESENTATION OF GERMANICUS
TRAGEDY IN FIVE ACTS.

A

Recollections of too recent a date, replied was under the lustre. A young officer, in others, do not permit these subtle distinctions uniform, was attacked by several persons to be established between the poet and the with sticks. He was knocked down; but he citizen. It is, besides, sufficient, that there got up, drew his sabre, and suddenly widenis reason to fear a piece may become the ed the circle around him. Being thus massubject of trouble and disorder, to render it ter of the field of battle, he was able to opeprudent to prohibit its representation; such rate a junction with some of his companions. a prohibition is a slight inconvenience com- The clamor, the menaces, the screams of lapared with the evils it may prevent. dies rushing from their boxes, the cries of the fugitives clambering over the orchestra, the vain efforts of the police magistrates to appease the tumult, all contributed to render more frightful this spectacle of disorder, which lasted for a considerable time.

Other persons, and fortunately the greater number, endeavoured, and frequently succeeded, to terminate the discussion, by observing, that a strong and just government would disdain all those petty measures of prohibition which form the subaltern policy More serious accidents might have renderThe first representation of a piece in five of tyranny; and would rely on an active and ed this evening an epoch of mourning and acts always formed an important event at vigilant police, for the punishment of such desolation, had not the active and intrepid the Theatre Français, even at the time when agitators as might abuse its indulgence, in zeal of the gendarmerie executed the orders its repertory was frequently enriched with order to disturb the public tranquillity. of the officers on duty. Too much praise new productions; but in the state of poverty Leaving to every one the liberty of choos- cannot be given to the calmness and firmin which our scene languishes, the announce-ing among these different opinions, that ness which the soldiers of that corps disment of a new tragedy, attributed to a poet which is most conformable to his ideas, we played on this occasion. Every point where already distinguished by his successes, might shall confine ourselves to the expression of the tumult was attempted to be kept up was be expected to produce a still more marked our regret, that the revolutionary tempest occupied by the armed force. Some indivisensation, and to excite more powerfully the should have torn from the cultivation of lite-duals, whose turbulence had been particulareager curiosity of the public. rature and poetry, which they might have ly remarked, were seized and carried off. A The cause, however, of the kind of fury honored by their talents, so many young rank of soldiers took possession of the front with which the public crowded to the repre-authors, to cast them on the political theatre, of the stage, and order was re-established in sentation cannot be explained, either by the where they have found neither glory nor the theatre by intercepting all the commureal importance or the presumed merit of the happiness. nications. The noise was at length appeased, work. At noon, all the passages leading to Among the immense multitude which fill- and the cries for the author were silenced; the Theatre were besieged by a multitude of ed the pit, the orchestra, the boxes, the slips, when TALMA, who had had time to change persons, the sixth part of whom the house and the galleries, there were, doubtless, but his dress, came on the stage in plain clothes, could not contain: and had it not been for a very small number of spectators who had and exerted all the power of his lungs to the illegal precaution of distributing before- come to listen to, and form a judgment on, make these words be heard-" Gentlemen, hand a great number of tickets, and thus the piece. That restless curiosity which the author of the tragedy which we have had securing places at an early hour, the theatre creates the desire of witnessing even an the honour to represent before you wishes would have had the appearance of a town event which we apprehend, had attracted all to remain anonymous." taken by storm. Even those who had taken those who were not impelled by a spirit of boxes were obliged to come at an early hour, cabal or of party. in order to put themselves de facto in posses sion of their property de jure.

A voice exclaimed, "That news has just arrived by the telegraph."

We must postpone until to-morrow, the Hisses and bravos followed the address of literary examination of this piece. At pre-TALMA, and the crowd gradually dispersed. The recollections which are attached to sent we can only briefly state, that the action Every one on departing reasoned in his own the name of the author; the situation in appeared to us to be feeble and ill-conceived, way on the long foreseen cause of these which he is at present placed; the zeal with and to be founded on factitious and puerile afflicting scenes, which might have proved which certain persons have extolled the motives; but we remarked one fine scene, far more disagreeable; and the general opiwork, and combatted all the obstacles which and a number of verses written for effect; nion seemed to be, that the best tragedy was appeared for some time to oppose its repre- and that the style, while equally nervous, dearly purchased at such a price. sentation; the hopes which these persons was more correct and pure than in the other appeared to found on the success of the works of the same author. piece; finally, circumstances altogether If a genius superior to Corneille and Raforeign to literature, had created, and main-cine were to appear, and this genius, surpastained in the saloons and all places of public sing himself, should produce a masterpiece resort, a fermentation which seemed to in- of the most incomparable perfection, it would dicate rather the approach of a great political be impossible that this more than human event than the first representation of a miracle could be received with war:ner transtragedy.

ports of enthusiasm than those which were

P. S. The issue of this affair has presented a circumstance too honourable to the French the whole course of the representation, no character to be passed over in silence. During sign of disapprobation interrupted the applauses, perhaps extravagant, which were lavished on the piece, from the commencement to the conclusion. It was only when

the author was called for, and when TALMA came forward to name him, that hisses rethat the audience was perfectly disposed to sounded through the house. This proves sanction a production which might do honour

Germanicus was every where the object of lavished on Germanicus by one part of the conversations, which sometimes became so spectators who this evening crowded the animated as to be converted into very warm Theatre Français. Their feelings were not discussions. Some of the interlocutors said expressed by bravos and plaudits, but by Is not the author already unfortunate screams and convulsions-by rage and fury. enough in being exiled to a foreign land? Be-Thus far, however, every thing went on well. to French literature; and that it was against cause the gates of his country are closed upon Nothing is less extraordinary, or less danger the man only the opinion of a great number him, must the road to the stage be interdict-ous, thin the success of a piece belonging ed to his works? The citizen ought to be to the class of mediocrity on the first repre-entrance to the parterre of the theatres of all An ordinance of the Police prohibits the distinguished from the poet. In the one sentation. A due proportion is gradually escharacter he submits with a melancholy tablished between the merit of a work and persons armed, or with canes. resignation to the law, which separates him the favor of the public.

was aimed.

PARTICULAR ACCOUNT OF THE PIECE.

from all he holds most dear; but in the Talma was brought forward, not by cries, other he does not lose the right of contribut- but by vociferations for the author. He ad I shall proceed to the examination of the ing to the glory of our theatre. The French vanced towards the front of the stage, and piece; and it will be easy for me to prove, muses have not banished him from Parnas-was about to speak, when several hisses be- that it was far from meriting that furious sus; and if they cherish the hope that he came the signal for a tumult and confusion, success which was endeavoured to be may yet be restored to them, is not an endea-of which it would be difficult to form an idea. cured for it. The subject is ill chosen. Though vour to destroy that hope an offence against Violent scenes occurred in different quar-capable of affording to Tacitus a grand histhe respect which is due to misfortune? ters of the pit. The greatest disturbance torical picture, it cannot be confined within

pro