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uphold over-precision and outrageous These two philosophers, both highly dis- of the text. The work is a long letter to : terseness.

tinguished by the extent, the variety and Marcella, the philosopher's wife, in which he Est modus in rebus, sunt certi deniqne fines

the profoundness of their knowledge, by the lays down the duties of her situation, and Quos ultra citraque nequit consistere rectum.

number, the importance and the merit of exhorts her to bear the absence of a belove! The fact is, that in censuring correct their works, are known to the moderns only husband by the aid of the consolatiuns afwriting, men argue from abuse to use. by the senallest part of the labours, which forded by religion and philosophy.

Next week we shall give an account or For though he, who has not a sound judg. and when we compare the immense cata- Mr. Maio's interesting preface. ment, will, in the revision of his works, logue of the works which antiquity ascribes back and bew without discrimination, and to them, with the short list of those which

REVIEW OF NEW BOOKS. often blot out beauties instead of faults; time bas spared, we cannot help feeling a yet, when a man of judgment corrects, sentiment of deep regret, at the thought of

DE PRADT on the COLONIES, and the prebe must improve, not inutilate, else how so many buried treasures, and lost riches.

sent REVOLUTION in AMERICA. can he be called a man of judgment ?

The discovery of Mr. Maio in some measure In the Preface to this work the author I would, therefore, advise Mr. Camp- to hope for a more complete restitution, and 16 years ago, in a work on the same sub

alleviates this regret. It perniits us besides refers, with some pride, to what he foretold bell to give his natural talents, whatever too great encouragement cannot be given to they are, (for, I repeat, that he has bi- the zeal which leads to such researches. ject, (Les trois Ages des Colonies,) and which

were then received with such incredulity, therto taken most lamentable and unna- In publishing these Greek MSS. Mr. Maio viz. the approaching dissolution of the pretural pains to conceal their real extent has judiciously printed the text as he found carious connection between St. Domingo from the public,) full scope and trial, it, at the same tine proposing such correc- and the mother country, France; the conwithout bestowing oue uneasy thought text of Philo, he has proposed only one cessive conquest of all the colonies by Engupon what the reviewers may say of his single alteration, which seems strictly re- land; the probable and highly politic temerity. Let him be assured, that write quired by the sense; though he may be emigration of the House of Braganza to as he may, he, and every other author, thought to have left some faults not to be Brazil; the evident tendency of the United must still have faults of some kind or ascribed to his author.-The treatise itself States' to make themselves masters of the other ; which the critics will not fail to is agreeable and instructive. It is a very two Floridas; the independence assumed honor with due notice; and after all, it nice and just distinction of the principal by the South Americans. He shows that all is but a petiy sort of ambition, (with all virtues, and of the subsidiary qualities of this could not but happen; and then fille) due respect for ourselves and our fraternity, which aims only at escaping the purest morality and a highly religious spirit the consequences of the dreadful Revolution

is the thealash of the censor, by a sedulous extir- language is that of the best times, and the

tre, he addresses the Princes of Europe. pation of blemishes, instead of aspiring best taste. The elocution, clear and concise He conjures them in the name of humanity, to the more noble glory of securing po- is not destitute of elegance. The author pular applause, by bold, decisive and after having established certain general of nations, which is founded solely on the


heads, to which he refers all the virtues, reciprocal exchange of all the productions of uncompromising originality.

which are most necessary to the conduct of
life and the happiness of man, lays down in a their thoughts on this country, now a prey

industry and science, to turn their eyes and Note. We cannot help thinking our

methodical order, the road which must be correspondent rather severe in his esti

to insurrection, disorder, and misery.' He followed to arrive at the acquisition and begs the speedy mediation of Europe in this mate of Mr. Campbell's poetical talent practice of these virtues. He terminates bloody struggle, the end and the conseHis minor poems," ".Ye Mariners of England,” have no rivals which will give our readers a sketch of his quences of which are incalculable, that the

rage of two parties may no longer lay waste, with which we are acquainted. We shall doctrine, and an idea of his manner.

burn, and desolate a beautiful country, which not, however, regret our correspondent's “ Lastly consider that the happiness and could maintain millions of happy people, reproaches, if they have in any degree the felicity of the honest man are always in and with the superAuous productions of its the tendency more quickly to obtain proportion to the progress, which he has wonderfully fruitful soil, also relieve Europe, from Mr. C. another proof of the high is more or less wretched in proportion as he general the main idea which Mr. De Pradt

made in virtue, and that the wicked man exhausted by so many wars. This is in excellence of his muse.

suffers his vicious inclinations to assume seeks to establish in his work. He sees

more or less dominion over him. An illus- only two ways to be adopted by those EuroDISCOVERIES IN THE AMBROSIAN LIBRARY AT trious, or mean descent, supreme power, or pean powers which possess great colonics,

a private condition, glory or obscurity, riches and wish to prevent the evils that will accrue The lovers of classical learning have been or indigence; pleasure or labour; a long life, to their inother country by their emancipalong familiar with the name of Mr. Angelo or one speedily terminated, all these things tion, which from the increasing spirit of Maio, librarian of the Ambrosian library, are truly, in themselves, neither good nor independence, will infallibly be effected whose interesting discoveries of hitherto un evil; they have no relation to us except by sooner or later. These two means, however, known MSS. of ancient authors have gained the use which we make of them; useful and do not appear likely to be adopted, except as him deserved reputation, and have for some happy, or hurtful and fatal, according as we a last desperate resource: they are these :years past assoeiated his name with those of combine them with the practice or the “ 'The European powers must, 1.) either, several celebrated authors of antiquity, whose contempt of our duties, with virtue, or with after the exainple of the court of Brazil, (or inheritance, too much diminished by the vice.” Ø xxxv.

of Constantine, who quitted Rome for Bybarbarism of ancient, and the negligence of The text of the treatise of Porphyry prezantium,) remove their residence from Eu. inodern times, has received by his care some sents many more difficulties, partly proceed- rope to the Colonies, now growo great, and new and valuable additions. Encouraged ing from the peculiarity of the author's style, treat these European dominions as subordiby his succeeding good fortune he has con- and parly from numerous errors which must nate countries; or 2.) they must give to tinued his researches and has just published be attributed to the ignorance of some copy- these colonies freedom and independence, in one volume two valuable Greek treatises ist. Mr. Maio has exerted himself to purge endeavouring only to secure by treaties, comwith a Latin Translation and Notes. They the text of some of the grossest errors, and mercial advantages for the mother country. are. 1. Philonis Judæi de virtute ejusque often with success. He has, besides cleared partibus. 2. Porphyri Philosophi ad Mar- up by short notes, and by a perspicuous and The PharSALIA OF Lucax, translated by cellam.

faithful translation the priacipal obscurities ALARNONTEL, with the Latin test on the oppor


site page. A new edition enlarged by the that may be a matter of dispute; but as M. (portunities to display bis wit. Misson, wbo was addition of all the passuges before omitted, Amar observes," in the hands of an enlightened a railing philosopher, appeared to place much and the supplement of Thomas May, trans- Professor, his beauties and defects being skil: more value on bis epigrams against the Pope lated for the first time into French, by M. fully developed, may produce an effect doably and the Cardinals, than on the correctness of AmaF, Professor of the Royal College of useful, that of showing in a stronger light the his narrative. M. Petit-Radel, who was a Phy. Henry IV., to which is subjoined u Poem of errors which ought to be avoided.” merit of good writers, and of pointing out the sician, naturally felt interested in considering

the climate, the temperature, the produce PETRONIUS, upon Civil War, imituted in French verse by M. DE GUERLE, Censor of stops at the period of Cæsar's expedition to health of its inhabitants. Finally, M. Milin is

The Pharsalia contains only ten books, and tions of Italy, and all that might relate to the the College of Louis-le-Grand, und Professor Egypt. The murder of Pompey is not avenged an antiqnary; it may therefore be supposed of Belles lettres in the fuculty of Paris. and the crime of civil war can only be expiated that the examination of inscriptions, the descrip:

by the blood of him who dared to provoke it. tion and history of monaments have chiefly enThis work appears to have occasioned great The death of Cæsar was therefore the necessary gaged his attention. But learning is not at all interest in France. The following account of denouement of the drama which Lucan proposed incompatible with knowledge of the world; aud it is extracted from a Paris Paper.

to write. It was continued by Thomas May, M. Millin has avoided the dullness of scientific The Amateur in a rich gallery of pictures, who, though an Englishman by birth, was fami. dissertations by mingling along with them all may pursue the agreeable and instructive study liar with the language of Lucan, and what is that may be interesting to the artist, the statesof comparing, not only school with school, but still better with that of Virgil. His work, in man, the philosopher, and even the milliner, in talent with talent, in subjects and compositions seven books, is like the preceding part, merely a word, all classes of society, which resemble each other. The combination

a poetical history written with all the enthu. Many persons have complained of the great of which we are about to render an account, siasm of his model, but with much more wisdom number of notes which this author has intropresents a similar kind of interest. It consists and correctness. On reading it, the lovers of duced at the bottom of all his pages, and which of poems on the civil war between Cæsar and fine Latin poetry might fancy themselves living it is said might with more propriety have been Pompey, that is to say, one of the political in the age of Augustus. The author has con inserted in the text. This criticism is by no events which have had most influence over the tined himself to following the string of events means jast. These notes are in some measure destinies of the whole world.

The most celebrated of these poems is the which crowned the victory of Pharsalia and the justificatory documents, which every scholar Pharsalia, the author of which found no preced. the work terminates with that new revolution, though the generality of readers would not at.

usurpation of Cæsar until his tragical end; and will doubtless feel an interest in consulting, ing models in that species of writing, though in which procured nothing for Rome but one tach the same degree of importance to them; succeeding ages he has liad but too many imi crime more. The supplement contains none of they would, besides, have retarded the progress tators. There are few literary productions on which

those ambitious movements which in Lucan of the narrative in the most unpleasant way ima. ealogium and criticism have been so liberally appear like the design of an Epopea ; no em- ginable. exercised. The Pharsalia has sometimes been phasis, no declamation, no constraint ; the lan

POETRY. rauked among the master-pieces of human geage is as pure as the ideas; and the warmth genins, and has at other times been regarded as the descriptions, calls forth the real accent of of the sentiment combined with the pomp of

To the Editor. Sir, I have been prevailed upon by my a mere declamation conceived in the delirium

We companions to send you almost the fisst productions of a written in the false taste of a degenerate age, onr literature with a beautiful translation of Gazette. of an ill-regulated and unbridled imagination, inspiration and the language of nature. are indebted to M. Amar for having enriched pen yet green in youth, although with the hope, certainly

not with the expectation, of finding them inserted in your and very distant from that of Virgil or Augus. this work which was wanting to our language.

I shall most probably see myself in your “ Note to Correspondents ;" whether there or elsewhere, I am,

JUVENIS. Thomas May dedicated his poem to the unfor. Sir, sincerely, your well-wisher, The very extravagance of these various tunate Charles I. His inteution was to recal to

SPRING. judgments is contrary to truth. On the one the minds of his countrymen the evils brought Winter has passed away--bis storms allay'd.. hand are enthusiastic panegyrists, on the other about by civil war. But the example of the prejudiced or enraged censurers. It has always Romans and the lessons of the poet proved of she comes, sweet Spring, in flowery robes array’d, heen difficult to observe the equilibrium be.

no avail to the nation. M. Amar ends his prebe defended by testimonies equally legitimate, allowable to add to simple philological observa, tween parties so opposite, each of which may face with the following reflection : “If it were Greenly she dwells in every hill and will

Sweetly she blooms in every opening flower, Finally, thongh the imagination may be dazzled by those fashes of genius which are so fre. tions considerations of a more elevated order, I Geatly she breathes in every passing gele,

And kindly weeps in every falling shower: quently observable throughout the work, cric should say, without the fear of advancing a ticism finds ground for condemnation in the paradox, that few works appear to me so well Health dips her wiug in each pellucid stream,

, defect of the plan, the vagueness of the cha- calculated as the Pharsalia and its Supplement, Love darts his rays througli every solar beam, racters, the absolute want of plot and invention, to inspire and fortify love for one's country,

And washling welcomes float on every breeze : and the injudicious mixture of history and attachment for her laws and legitimate goveru. Welcome, thrice welcome ! thrills in every throat, fiction, wbich equally deprives the recital of the ment, and the justest horror of usurpation, un.

Melodious echos answer from the plain, authority of the one and the charms of the other. der whatever form it may present itself, &c.

The lark ascends, the linnet swells her note, But these faults are, in some measure, ac.

And every beak to Spring attunes its strain : counted for by the youth of the author, and his

VOYAGE DANS LE MILANAIS; PAR M. L. A. But ah! how transient is her youthful reiga!

A few short months will scorch up every grace premature death, which prevented lim from Millin, Blembre de l'Institut des Inscriptions finishing and correcting his work. Marmontel et Belles Leltres, Conservateur du Cabinet des That chastely decorates her lovely mien,

And blooms so sweetly in her virgin face: defended this opinion; others have opposed it. Médailles, 80.80. M. Amar ranges himself with the latter class : We have now before us one of those inter. The rose must wither, and the grass be mown,

And Autumn's breath will tinge with brown the leaf; we think as he does, that an attentive perusal esting works which being once opened create a of the Pharsalia leaves the conviction that wish to read them to the end withont inter. But man will droop ere yet his Spring bath Aown,

Sear'u by the mildew of untimely griet. JUVENIS. nature had refused to its anthor that delicacy ruption; though their bulk may at first sight

NIGHT. and correctness of taste, the radiments of whichi, make one hesitate to nodertake the perusal. How lovely is the noon of Night, when they really exist in the mind, are uniformly Much has been written concerning Italy, and When Phæbe hangs her lamp on high, manifested even in first productions, and which M. Millin's book is somewhat late in making its And chequers with her silver light, are developed and fortificd, in proportion as appearance. However as that country, during The wave that heaves th' inrerted sky! reflection contributes to the naturity of ideas. the last fifteen or twenty years, has undergone when Slumber o'er the eyelid hangs her veil, Now Lucan, deprived of these happy gifts, numerous revolutions, in its customs and man. When Silence tires of rest and courts the nightingale ! would always have been inflated without sub ners as well as in the division of its territory, She sings a solo in the air, stance, and gigantic withont dignity. From much new and interesting information may yet

And wakes an echo in my breast, the first fruits of a tree, a judgment may be be obtained respecting it.

Though Sorrow holds a dwelling there formed of the quality of those which it will

That sound can lull her into rest :

Besides every one has his own way of seeing Hal lovely Night! thy sympathetic ray afterwards bear; the most careful caltivation and judging of things. Cochin, for example, Melts on the soul of Grief and charms all cares away. will not impart to them either beanty, flavour who was a celebrated artist, considered Italy

JUVENIS. or perfume only in a picturesque point of view. The Pre.

Note.-The Verses of JUVENIS are of great promise ; But notwithstandiag all this, Lacan deserves sident Dupaty, who was a brilliant and inge and we shall be happy to receive bis further comunica to be knowb. As to his being a classic author nious writer, seems only to have sought for options.-Ed.

From Heaven she comes to dwell once more on Eartb:

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she withdraws, and on opening the door, she try and on the statue was admirably con

beholds the spectre, whích, true to its en- trived. The inscription on the pedestal KING'S THEATRE-DON GIOVANNI. gagement, enters the apartment. Don Juan might, we think, become transparent when Tag first representation of Don Juan on

receives his guest like a gentleman, asks him Leporello begins to read it. It is illegible to Saturday last, was received with rapturous invitation to go and sup with the ghost,

to sit down to table, but is answered by an the house. applause from all parts of a most crowded

In commenting upon the merits of the house, and the repetition of the same per

which he boldly assents to. On giving, performers, we ought not to lose sight of the formance

on Tuesday, improved as it was in however, his hand as a pledge of his pro- difficulty of the task they had to discharge. many respects

, gave equal, if not more, de- mise, his whole frame is seized with a sud- The Opera of Don Juan, more than any light to an audience not less numerous.

den chill, the spectre urges him to repen-other vocal drama, abounds in such scientific As the main incidents of this piece have tance, he scornfully disdains the admonition, and profound harmonies, and the parts dovebecome familiar to the majority of our rea

the shade of Don Pedro vanishes, Demons tail into each other with such peculiar nicety ders, through the pantomimic representation arise, and the reckless profligate is hurled as to time, that none but accomplished my of the same subject on every English stage, into an abyss of fire!

sicians are equal to its execution. The style we shall only draw the outline of the plot on An impartial consideration of the ques

of the composition too differs considerably whiclı the Opera is founded. Don Juan, a Spanish Grandee of the most the orchestra have done justice to this opera, Theatre have either been taught or accustion, how far the managers, performers and from the style of the Italian School, in which

most of the present company at the King's dissolute manners, after a career of liberti- will form the subject of this article. nism and seduction, the victims of which The mere production of the Drama on the tomed to sing. Mozart, in his scores, freamount to an almost countless number, re- London boards reflects the highest credit on quently treats his singers as instruments, as turns to his estate, contiguous to the resi- the taste and good sense of those with whom if they formed part of the orchestra ; hence dence of Don Pedro, an elderly Gentleman the determination originated, and the possi- they have often to contend either against of rank, and Commander of a Military bility of representing it, bespeaks of itself an passages and intervals of great difficulty, or Order. Favored by night and disguise, he assemblage of musical and histrionic talents, against the overpowering effect of the wind enters the house of Don

Pedro, and attempts the concentration of which does honour to instruments, and to force the voice into to viulate his only daughter Donna Auna, the direction of the establishment. The altitudes either unusual, or at all events renwho is betrothed to Don Ottavio. Her parts were cast as follows:

dered laborious by the peculiarity of the shrieks make him desist and fly, she pursues Don Juan Sigr. Ambrogetti

melody. It is on that account, that Mozart's the disguised and unknown libertine into the Donna Anna Mad. Camporese

Operas have frequently failed with good street, and while he is endeavouring to ex Don Ottavio Sigr. Crivelli Italian companies, a manager of one of which tricate himself from her hold, Don Pedro Don Pedro Sigr. Angrisani

in a German capital, on entering his theatriarrives and challenges Don Juan. They Donna Elvira Signora Hughes

cal library, pointed to one of the shelves figlit, Don Pedro is killed on the spot, but Leporello

Sigr. Naldi

that bore Mozart's name, and exclaimed the name of the murderer remains a mys Zerlina

Mad. Fodor

with a deep sigh: questo è la mia rodina, this tery. At this time Donna Elvira, a lady of Masetto

Sigr. Angrisani

one is may ruin.-Thanks to the skill and Burgos, one of the many victims of Don With the allotment of two characters to exertions of his establishment, the manager Juan's licentious passion, arrives in search Signor Angrisani, however inconvenient and of the King's Theatre is not likely to have of her seducer. fler tale impresses Donna destructive of scenic illusion, we will not find cause to join in this ejaculation of despair. Anna and Ottavio with the first suspicion of fault; his efforts in both render it question- We observed in last Saturday's performance Don Juan's guilt, which is strengthened by able

, whether the strength of the company than might be expected on a first representabride of Maselto, both of whom, together But in the distribution of the female charac- tion, but not ore fault of sufficient mowith a numerous party, he invites to an en- ters we found ourselves much disappointed : ment to give real offence; and the repetitertainment given with the sinister intent to the two principal parts of Donna Anna and țion on Tuesday exhibited already several carry his designs upon Zerlina into execution. Elvira ought to have been shared between improvements. The failure of his attempt and the entertain- Mesdames Camporese and Fodor, and Zerlina Among the Dramatis Personæ, Signor ment at which all the dramatis persone at given to either signora Pasta or Mori. We Ambrogetti, the hero of the piece, claims tend, concludes the first act.-The second can guess at the difficulty which stood in the first our attention. He acted the part of act exbibits the artful contrivances of Don way of this distribution; Donna Elvira is no Don Juan admirably; his every motion and Juan to rid himself of the importunate pur- better than she should be, and at more than expression were those of the gay, abandoned, suit of the love-sick Elvira, and to elude the one Theatre on the continent, histrionic irreclaimable sensualist; and the musical vengeance of Masetto; after which he and moral feeling has baffled the manager's wish execution of his part was equally excellent his man Leporello meet accidentally in a in the allotment of this character. Be this and unrivalled throughout. "His fine fullchurch-yard. While entertaining his ser- as it may, the performance of Elvira by Miss bodied voice, joined to the must distinct vant with his love affairs, under bursts of Hughes formed some drawback to the un- articulation and to consummate harmonic iinnoderate laughter, a voice is heard ex- qualified success of this Opera; not so much abilities, gave effect to every piece he had claiming: “ Thy mirth will cease before the in a musical point of view, as in regard to the assigned to him singly, or in which he bore dawn of Day." This voice he finds, to bis aeting of the part, which, in her hands, in- a share, The elegant Duettino, “ La ri astonishment, proceed from the marble stead of exciting feelings of interest and sym- darem la mano," he acted with an amorous equestrian statue erected over the tomb of pathy, frequently produced effects on the warmth of the highest colouring, yet within Don Pedro. Don Juan, however, is not of audience very opposite to the sensations she just bounds of propriety. This, joined to a mettle to be frightened by a man of stone, laboured hard to convey.

the truth with which his partner, Madame on the coptrary, he has the audacity to con The scenery and dresses, in short all the Fodor, depicted the conflict between duty to mand Leporello to invite the statue to sup- materiel of the exhibition, deserved the reite- her lover and ambitious coquetry, rendered per, and finding Leporello too great a coward rated applause which it received in the course this duet a rich dramatic treat to the audito deliver the invitation, he himself asks the of the evening. Most of the scenes were new, ence, who called for its repetition. In the statue whether it will favor him with its weil conceived and executed. Of these we jovial and animated air, Finchè dal vino, Mr. company. It nods its head and answers particularly noticed the opening-scene which Ambrogetti equally earned an encore. In yes:- supper time arrives, and Don Juan, represented a public square with fine masses the Terzetto before the balcony, he gave who thinks no more about the invitation, of architecture, the banqueting saloon in free scope to his great comic talent, and his eats with excellent appetite, until he is in the two finules

, with all its appurtenances action (literally second hand) with the arm of terrupted by. Elvira, who comes with an in- and properties, and above all the cemetery, Leporello, drew reiterated bursts of laughter: Her solicitations being treated with derision, effect of the moonlight on the distant coun-vieni alla finestro, charmingly accompanied

by the Violino obbligato of Mr. Weichsel, but particularly the case during Mad. Campo- a few miscellaneous observations on the rehere (and here alone) the accompaniment of rese's beautiful Aria, Non mi dir, bell' idol presentation at the King's Theatre; their the orchestra, chiefly pizzicato, was scarcely mio, in the second Act, where he actually number, we are happy to say, has been curaudible, and hence the song appeared to us seemed asleep. These remarks, we trust, tailed by the second performance. The first rather ineffective.

will not be thought invidious; we should appearance of Don Pedro is not in proper The pathetic and deeply affecting character have abstained from them, had we not been costume. Don Juan's intrusion was not so of Donna Anna was admirably delineated by convinced, that it is in Mr. C.'s power to much in the dead of the night as to warrant Mad. Camporese, and she sang its difficult avoid the objections which caused them. an exhibition of a nightcap with a red binder. strains with a rare combination of science, Mr. Naldi's efforts in this opera are enti- An old man with a nightcap always looks chaste feeling and dignity. As our space tled to our commendation, He did not comical on the stage. We have seen Don limits quotation, we shall confine ourselves spare his comic powers, which infused life Pedro abroad, rushing out properly dressed. to two scenes in which she surpassed all her and spirit into all his scenes. In the scene In the sublime dying terzett (in which, by former efforts on these boards. These were where he personates his master before El- the way, all parties are not yet quite perfect) the sublime Recitativo, Ma qual mai s'offre vira, although not sufficiently assisted by the Don Pedro, instead of reeling, might supspettacolo, funesto, when she beholds the latter, he was extremely diverting, as also in port himself by leaning against a wall. murdered corpse of her father, and the suc- the Duet addressed to the Equestrian Monu- Don Ottavio, from the moinent his bride is ceeding Duet, Fuggi, crudele, Juggi! with ment, O statua gentilissima : in the latter, in- in black, should be in mourning too:-In her lover Otravio, in which she exacts his deed, considering the moment, both he and the finale of the first act, some confusion is solemn plecige to avenge the bloody deed. Mr. Ambrogetti seemed to us a little too lu- observable when Don Juan drags Zerlina It was here we saw, for the first time, tears dicrous. The fine air, Mudumina, Mr. N. away; we hear a scream and a decided in the pit of the King's Theatre.—The same gave with infinite humor, but the allegro in change of musical sounds, without guessing deep emotion was excited by the Recitativo, ino slow a tempo. In this song, bis Catalogo, the cause; this attempt of the 'seducer Frú gia alquanto avvanzata la notte, which which he himself styles un non picciol libro, should be told in a very conspicuous and describes the libertine's atrocious attempt is too diminutive. In the concerted pieces predominant manner. The divine terzett upon Donna Anna's honor. Here, and in he was, upon the whole, efficient; but at Protegga il justo cielo has, hitherto, fallen the ensuing Aria, Or sai chi l'onore, Mad. times he took liberties with Mozart which short of its proper effect. The nutes of the C. was truly great. Such music, thus exe- prevented his falling in at the prescribed singers do not yet float, as they ought, in cuted, is, surely, the highest intellectual moment; and on other occasions he, from exquisite well-measured sweetness, correctenjoyment within the reach of morials: we mere nonchalance and whim, dragged'in his ness and purity of tune; and their only supbowed in silent admiration before the divine time. Leporello's bass being of the utmost purt, the wind instruments, have been out of genius of the German Bard !

importance, and frequently expressed in qua- tune at both representations. The finale of Madame Fodor, in the subordinale part of vers of rapid succession, distinct articulation the second act ought to begin in a more lively Zerlina, which she condescended to take, and intonation are absolutely required, and tempo, and the orchestra, especially the wind was every thing the character required, al- in this point Mr. N. has it in his power to instruments, in their accompaniments to the ternately, innocent, arch, and firting. The enhance the value of his performance. Af- spectral scenes, must avoid being too loud: a few small but delicious airs of Zerlina sheter the entrance of the Spectre, there ought tremulant lowered harmonic support is best acted inimitably, and sang with exquisite to be no further comic tricks on his part, calculated to inspire awful sensations. In taste and neatness : such as ci darem', such as running to and fro, kicking down this finale, too, the screams of Donna ElBatti, batti, (most sweetly accompanied by chairs, &c. The situation of his master and vira are not readily accounted for without a Mr. Linley's violoncello,) and especially the himself, at that moment, is no joke. book. We are inclined to think a more stricharming little song Vedrai carino, all which Mr. Angrisani, in this play, has greatly king and effective scenic arrangement might she sang twice. In the Finales and the raised himself in our estimation. in the have been adopted, according to which the Sestett, her exertions and abilities were also first place, we must do justice to his abilities appearance of the ghost would have taken eininently conspicuous.

as a musician, and next, to the truth and cor- place by the middle and grand entrance of Signor Crivelli, besides his valuable sup- rectness with which he employs these, and the saloon, the supper table being placed on port to the concerted pieces, appeared to the his fine bass voice, to give us Mozart una- une side and the side board or musicians on greatest advantage in the above-mentioned dulterated. His performance of the charac- the other. Thus Elvira's opening the middle Duet with Mad. Campurese, in which he ter of Masetto is unexceptionable, and evinces door might have awfully exhibited to the ausung beautitully, his fine manly voice being a dry comic humor, which pleased us the dience, for an instant, the spectre standing enhanced by great musical talent, and, here more as we had not expected it from that outside, without being yet perceived by Don by impressive action. With every diffi- gentleman. As Ghost, 'he sings the diffi- Juan. Every little attention to matiers of dence, however, in the correctness of our cult music faithfully and with precision, but this sort is the more to be resorted to when opinion, we shall venture a few hints on this he fails in giving it the required solemnity the performance takes place in a foreign gentleman's performance. Mr. C. seemed and awfulness: his minims are brought out language. to us to indulge too much in the interpola- in starts, as it were; they should be drawn

The book of this Opera, published at the tion of embellishments. The few bravura- into long moaning sounds, with the greater King's Theatre, contains some interesting bars in the score of the air Il mio tesoro, emphasis, as the exercise of gesticulation historical notices, and the English Trans(fortunately the almost only ones in this must be limited with the phantom.

lation is superior to the versions of the ItaOpera,) might have satisfied his desire in Miss Hughes, as Elvira :-we have already lian texts that have hitherto been presented that respect. The rest of the Opera of Don expressed ihe regret we felt in not seeing to the public; in point of style, however, as Juan, like the works of the Phidian age, is Madame Fodor in this character. Miss well as of correctness, there is still room for distinguished by chaste simplicity, which Hughes, as far as acting goes, is unequal to further improvement. As an instance, out ought not, must not, be fritiered away in it; but her vocal exertions are satisfactory, of many, we will only quote a passage

from tinselly ornaments. The Apollo Belvidere and would be still more so, if she would en the first scene: might as well be clad in a cloak of Brussels deavour to utter her notes in a connected Genti, seroi! traditore! Come, furia dis. lace. These pseudo-improvements, besides, How; not break them by a frequent motion perata li supro perseguitar. had more than once the effect of absolutels of the mouth with drawn-in lips. Her voice Help, help, robbers! your disguise shall encroaching on the measure, and obliging is good, her musical talents are obvious, and not save you from detection and punishthe orchestra to slacken time. Another ob- she has not spared study to render herself ment! servation which struck us forcibly was, that perfect in this difficult part. In the quartett

COVENT GARDEN. Mr. C.'s action, although at times impressive in the first act, and the terzett in the second, aud dignified, sunk occasionally into the her correct execution gained deserved appro- formed the part of Sir Edward Mortimer, at

Since our last notice of Mr. Booth, he perreverse, and when addressed by others, he bation. appeared, above all, inanimate. This was We shall conclude this article by adding of the Iron Chest, with the approbation of a

Covent Garden Theatre, in the revived play

full though not a crowded honse. In the first the appointed hour. The Moors rush in and after Osmyn, (Mr. Horn) a Turkish Chief, in the interview in the library, after Wilford's words a brave defence (Booth might have displayed a absence of Elphi Bey, (Wallack) a Mameluke. “ even to murder,"--and after having surprised more desperate energy here) Rinaldo is taken Chief, the supposed sovereign of Egypt, him looking into the Iron Chest; his display of prisoner, but iv admiration of his valour Aben

usurps the sovereignty, makes Zeinaba, (Miss internal conflict, remorse, wounded pride, ap. Hamet himself takes off his chains and restores

Boyce) wife of Elphi, prisoner; and sends out prehended disgrace, and anger at discovered his sword. With a preposterous inconsistency, guilt, was very impressive. These feelings, in the governor, a renowned veteran, instead of armed parties in all directions to put him to a mitigated degree, tinged his interview with preparing to resist the attack of a vigilant and cleath on landing. He is joined by Chedid, his brother: but broke fortle again with an inveterate enemy, gives a grand entertainment (Rae) an Arab, the Sheik of a powerful governable passion when revealing the murder in his palace. Just as the ladies are commenc tribe, who burns for revenge upon Elphi to Wilford in the library. In the last act bis ing a dance, the Moors break in and amidst the Bey, for having slain his wife, Emina's (Mrs. effort to assume a calm confidence, when charg: discharges of fire arms, Alonzo de Corduba is Bariley) father in battle. Their united troops ing Wilford with robbery, and the changeful taken prisoner. The conquest of Taranto march to intercept Elphi. His wife Zeinaba, emotion, with which he proceeded until the dis- completed; Aben Hamet gives Rinaldo his li- hears of his being about to land, and of his covery of the paper and knife, stained with berty and his signet for safe conduct, with leave imminent danger, from her faithful servart blood, fashed his guilt and detection upon him, to take with him any one person whom he liked. Hyder, (Harley) and flies in a male attire, were judicionsly marked. His last burst of These marks of favor and the fact that the with the latter, to save her husband. After confusion, frenzy and despair was not inferior Moors had found admittance by the postern he had rescued an Arab youth from some to any of his performances. He was much ap- gate, fasten a charge of having betrayed his plauded; and on the whole, his gesticulation country upon Rinaldo. This produces the best predatory Turks, she meets Elphi, without was more restrained, and his action more just scene in the play, between him and Vulentio: discovering who she is to himi; warns him than we have seen it. But this gentleman, at in which the foriner unsuspectingly complains of his peril, and as a young man, assists him twenty-one, has much to learn; and we would to the latter of the horrid stigma injustly cast to fly. He is pursued, and takes shelter in again advise bim to trust less to single sen: upon him, of having basely betrayed his coun- the tent of Emina, who promises him protectences or speeches than to whole scenes : and try. The governor is afterwards saved from exe. tion; and although she recollects him to be less to parts than to the entire of a character. cution, by the tears and prayers of his daughter the Chief, who slew her father, provides him We advert, here, to those middle shades and Orania, and the exertions of Rinaldo. Aben a fleet horse and a guide, and sends him off delicate gradations of expression which, with: Hamet discovers that his wife Azonda was sister in safety. But before he had quitted her tent, ont violence of gesture or action, unite the level to Alonzo de Corduba ; that before her death her son Ageab, (Miss E. Scolt) enters; dialogue with the stormy vehemence of passion; she had been delivered of a son, and that Ri: proves to be the youth saved by Eland set the stamp of identity and nature upon naldo is his son. the representation. Without these fine move made to appear. Valentio stabs himself on his phi, and his mother discovers that her ments; the level dialogue becomes a cold re-treason being made known, and a peace is ce.

hated enemy was the preserver of her citation and the stronger energies of voice and mented by the marriage of Rinaldo and Orania. boy. Elphi escapes to his Mameluke troops, action, barsh and extravagant. Abbot per. A second love affair is carried on between Isi- and in the absence of Osinyn who is in purformed Wilford with much spirit. Fusocet's dore, (Duruset) a companion of Rinaldo, and a suit of him, recovers his throne. His wife Winterton had merit, but wanted the comic young female (Miss Stephens) a companion of then discovers herself to him. Osmyn, on vein of Munden's. Liston's humour in Samson Orania. The overture and music are composed learning that Emina had effected the escape excited much laughter, and the sullen ferocity or rather selected by Kelly. The former does of Elphi, treacherously seizes her husband of Emery in Orson, was given in the roughest credit to him, and some of the songs are ex: Chedid; but liberates hini on receiving his style of savage nature.

cellent. Miss Stephens's pure taste and exquisite son Ageab, as a hostage for the payment of On Tuesd ay last a new historical play, called melody enchanted the andience, and she was 500 purses by the next morning, or in default the Conquest of Taranto or St. Clara's Eve, was The actors made a great exertion. Young did despairs of raising the money, but Emina

twice encored. Sinclair sung in his best style of payment to forfeit his son's head. Cheperformed at the same Theatre. The first scene opens with a view of a Moorish body of troops But the piece possesses little interest

. The Mucready and Booth were deservedly

applauded. Hies on horseback to Elphi; procures the on the shore of Taranto, under Aben Humet, main incidents are borrowed from a novel after sum and his promise of protection. She reto attack the town. He is impelled by the having lost their novelty at the Surrey Theatre. turns; Chedid pays the 500 purses and her double motive of hostility to the Christiaus and The materials are put together in a slovenly son is liberated, but he himself is again 20 revenge the death of his wife, Azonda, a manner, az if the author depended more upon reacherously seized, and about to be put to Spanish captive, who had perished, in one of the carpenter and scene. painter, than upon bim- death, when Elphi and his troops rush in. bis skirmishes with the governor, Alonzo de self. There are some good thoughts and happy Osinyn is taken, and doomed to confinement Corduba, some twenty years before. In the expressions ; but more spectacle than character for life; and the piece ends huppily. There second scene, Orania (Miss S. Booth) the go. while the mind is starved. It was however re. Sewda, (Mrs. Bland) the daughter of Hassan

or sentiment; and the eye is manifestly courted, is an under love affair between Hyder and a shrine of tle Virgin; and Valentio, a young Ta ceived with considerable approbation and a very (Gattie) an old

Arab, which

helps to enlive? rantine nobleman, in love with her, overliears few hisses : and was announced for repetition the piece. There is much splendour in the her praying for the safety of one, whom he supwith the general consent.

dresses, and some grandeur in the scenes, poses to be a favored rival. He makes love to

but their colouring is too bricky and their her and is refused. She goes out. The Moors

DRURY LANE. enter and seize him. At Aben Hamet's com

execution heavy. The spectacle is superior mand, he bears a summons of surrender, to Remorse was performed for the benefit of Mr. changes are too much in the style of tie

On Monday evening last, the tragedy of to the sentiment. The bustle and quick there Rinaldo (Booth) his suspected rival, Rue. The house was well filled. Mr. Rae, Westminster Amphitheatre. The dangers a young man brought up by the governor and in the part of Ordonio, Mr. Wallack in Don and distresses excite little interest. The supposed to be a destitute orphan, of poor and Alvar, Mr. Bengough in the Marquis of Val- songs are merely vehicles for the music and unknown parentage. Valentio meeting a re-dez, and the other actors, in their several the words of many are at variance with the fusal of Orania's hand from her father, deter characters, spared no pains to render them airs. The overture and concerted pieces are mines to betray Taranto to the Moors on the effective. Mrs. Bartley in Alhadra, and selected by Mr. Attwood from Mozurt, and desperate hope of obtaining his mistress. Being Miss Somerville in Donna Teresa, were as the new music is composed by Messrs. Altseni back with a defiance to Aben Hamet, be strenuouis, But this strange and ineagre wood, Horn and H. Smart. Our restricted proposes to admit the Moors into the town, by mixture of lifeless insipidity and turgid rant, limits prevent our notice of the merits of the a postero gate in a subterraneous passage : the firing of two guos from .the platform to be the

most successfully resisted their efforts. performers. The piece met with some dissignal and the price of his treason, any object in threc acts, called “ Elphi Bey, or the out for repetition, the opposition was more

On Thursday night, a new musical Drama, cordant voices in progress ; and when given which he might choose to select from the gre Arabs' Faith," was performed at this theatre

. general, but the majority was evidently in its text of affording Rinaldo an opportunity of sig. The main incident, founded on the strict faith favour. nalizing his valour, contrives to make that un of the Arabs in the perforniance of their suspecting young man opeu the postero gale, at word, is borrowed from a well known story.

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