with seeming satisfaction, leant his back in the carriage, saying, "Elegantly done, by dad!"

parted.

Oh the delights of a comfortable mess after a day's jolting in Irish carriages, which have been not inappropriately, named agonies, over the cross roads of "Munster.

Plaise your honour, captain, won't you remember the driver! 'tis mighty droughty work these Though our headlong career still continued, up times." Here his eye caught my name on my hill, down hill, across ruts which ought to have portmanteau: "And sure, Mr. O'Donoghue, a shaken the chaise to pieces, and over stones that gentleman born, ay, seed, breed, and generation should have upset us, yet as no accident seemed all out: would give a poor boy the price of a glass to have occurred, my anxiety about whole bones itself, ah, now, won't your honour? Thank your subsided to a degree that permitted some conver-honour, long life to your honour!" And so we sation with my present associate; and I learned that he was a Mr. Malowney of the Reek, close to Newport, or Clew Bay, in the county Mayo, situated in that part of Europe called Connaught both by Strabo and Arkwright, and of which ancient kingdom the Malowneys were princes in the old, old time of all, or, in common parlance, before the flood; and further, it appeared that this Prince of Connaught, with whom I had the good fortune to be galloping at the rate of a steeple chace, was bound to Fermoy to pass the Christmas (next day) with his wife's family, then and there residing; winding up this detail by inviting me to dine with them as often as I pleased, while quartered in their neighbourhood. Forward we still flew with unabated speed; and the Prince of the Reek had scarce talked himself out of breath when a light twinkled before us: we rushed down a hill like an avalanche, dashed across a bridge, and found ourselves in the good town of Fermoy, to my surprise and delight, without fractured limbs.

"Troph, tr-roph," said Carty to his horses; a guttural interjection which Irish nags understand as an order to stop, as English ones do "wo-ho," or "way:" and as they had been urged at full gallop over eight Irish miles, their driver keeping his cudgel going all the way, as if he had been thrashing wheat, this hint, joined to a cessation of hostilities on his part, was taken kindly on theirs. We finished our course at the inn-door, and the prince and I jumped out midst the greet ings of the crowd, which, as usual, lounged in the street and stable-yard.

"Didn't I druv your honours finely ?" asked Carty triumphantly, holding his hat in one hand and scratching his head with the other, while he looked as if a larger donation than usual should reward his success.

From the Asiatic Journal.

WILKINSON'S "EGYPT."*

MANNERS AND CUSTOMS OF THE ANCIENT EGYPTIANS.

the wrecks of ancient Egypt. The ingenuity of Human vanity is taught a salutary lesson by that people invented the most artful contrivances for perpetuating their name and history. Most of the early nations of the world seem to have made no provision against that oblivion, which they did not perhaps foresee, or to which they were indifferent; and the very name probably of numerous states, once powerful and populous, have become ever, like those of the plain of Shinar, built their utterly extinct. The architects of Egypt, howgigantic edifices as bulwarks against the encroachments of time; and the records of Egyptian history were not entrusted to the precarious keeping of manuscripts or coins, but were impressed upon Yet what has been the result? The mutilated masses of hewn stone, or upon the living rock. fragments of their stupendous architecture survive their scheme, and of showing that "man" and for the purpose of demonstrating the futility of for ever" cannot be associated. The records with which they are covered are now a riddle!

Hitherto, centuries of study have produced little more than a faint gleam of light to elucidate a portion of what are termed the hieroglyphical inscriptions of Egypt-for the proper names alone are expressed in phonetic characters, and the pretensions of M. Champollion and his school, although they flatter our hopes and encourage our expectations, by assuming that the phonetic sys"Murdher! Murdher! see that now!" he tem furnishes the key to the interpretation of every claimed: "then by the powdhers of war! there's class of signs, cannot be maintained. The facts not another boy in Ireland's ground, barrin' my-whatever be their value in an historical point of contained in these inexhaustible inscriptions, self, would have done that."

"Finely!" cried I; "I have no mind to give you a farthing."

"Done what?"

ex

Why, then," returned Jack, "druv the cowlt nigh nine miles hether from Kildorrery, your honour, with ne'er a bridle in her mouth, and the night as dark as blackball."

Without a bridle!" I had escaped better than I had even thought.

view, must therefore be considered as lost for ever. Nothing short of a concurrence of circumcould recover the key to the characters and a stances, that would amount almost to a miracle, knowledge of the lost language into which they would be rendered.

One of the contrivances, whereby the ancient

"Divil a hap'orth, sir," said Carty; and the crather never had a taste of harness on her car-in a short account of the principal objects worthy of no* Topography of Thebes, and General View of Egypt, cass before. Sure, when she made a start of it, tice in the Valley of the Nile, to the Second Cataract, and the headstall snapped; and, signs by, there it Wadee Samneh, with the Fyoom Oases, and Eastern hangs round her neck. Oh, I'll engage, luck Desert, from Soocz to Berenice; with Remarks on the never failed John Carty yet, by dad! Then, sir, Manners and Customs of the ancient Egyptians, and the the boys do be sayin' I carry it in a bag, and shake productions of the country, &c. &c. By J. C. WILKINit out when I want it, more power to my elbow! SON, Esq. London, 1835. Murray.

Egyptians hoped to ward off the attacks of time, | Thebes and other parts of Egypt, with the desand to perpetuate their national history, was by criptions left by ancient authors, Mr. Wilkinson means of their paintings on walls, wherein they has, in his Fifth Chapter, given a pretty complete represented not merely great political events, such epitome of the domestic and rural economy, the as wars and victories, or religious rites and cere-customs and habits, of this ancient people. monies, in other words, transactions which con- Their houses, of which he has obtained ground cerned the state and government; but the whole and elevation plans, were of crude brick, stuccoed circle of their domestic economy, their pursuits, within and without, and divided into a series of their amusements, their trades, and manual arts apartments, arranged according to the taste of the and occupations. These curious relics scarcely owner. The bricks were evidently a source of attracted any notice until the epoch of the French revenue; they were government property, and expedition to Egypt, when their savans brought were stamped with the king's or a pontiff's name. many of them from their hiding places. These The disparity between the public and private are, in fact, the only safe authorities for the Egyp-buildings, the magnificent style of the palaces tian antiquary; and although, in the absence of and temples, on the one hand, and the humble written explanations, they partake in some degree of the uncertainty of the Mexican picture-writing, it cannot be denied that, in what respects the arts, the domestic economy, the trades and amusements of the ancient people of Egypt, these pictures exhibit a fulness and accuracy of delinea"These houses, whose construction differed according tion beyond what would be afforded even in writ-to circumstances, consisted frequently of a ground-floor ten descriptions.

In the work under consideration, for which we are indebted to a gentleman whose knowledge of Egyptian antiquities, whose ardour in studying them, and whose ability in treating of them, have entitled him to very great distinction in this branch of archeology, the last-mentioned resource has not been neglected. The bulk of the work is, indeed, devoted to a minute and exact description of the topography of ancient Egypt, of its architecture, (both of the mansions of the living and the dead,) of the existing condition of the most remarkable objects of antiquity, in fact, of every thing useful in the way of direction to curious visiters; but, undoubtedly, the most interesting portion is that which illustrates the manners and customs of the Pharaonic people, from the pictorial representations on their monuments.

Mr. Wilkinson adverts to the mode in which the original sketches of these ancient paintings were made by the artist; for it is curious to find that specimens of these sketches exist. We have even seen, in a collection in England, the original outline traced by the ancient artist for a kind of frieze to be cut in the stone, part of which was finished. In his account of the Tombs of the Kings at Biban el Molook, he says:

"Though not the most striking, the most interesting drawings in this tomb are those of the unfinished chamber beyond the hall; nor can any one look upon those figures with the eye of a draughtsman, without paying a just tribute to the skill and freedom of touch manifested in their outlines. In Egyptian bas-reliefs, the position of the figures was first decided by the artist, who traced them roughly with a red colour, and the draughtsman then carefully sketched the outlines in black, and submitted them to the inspection of the former, who altered (as appears in some few instances here) those parts which he deemed deficient in proportion or correctness of attitude; and in that state they were left for the chisel of the sculptor. But the death of the king, or some other cause, prevented, in this case, their completion; and their unfinished condition, so far from exciting our regret, affords a satisfactory opportunity of appreciating their skill in drawing, which these figures so unequivocally attest."

character of the dwellings of the people on the other,-leads to the direct inference of a proportionate disparity in the condition of the higher and lower orders. Of the private mansions, he says:

and an upper story, with a terrace, cooled by the air, which a wooden mulquf conducted down its slope. The entrance, either at the corner or centre of the front, was closed by a door of a single or double valve, and the windows had shutters of a similar form. Sometimes, the interior was laid out in a series of chambers, encompassing a square court, in whose centre stood a tree or a font den, with a large reservoir for the purpose of irrigation; of water. Many were surrounded by an extensive gar. lotus flowers floated on the surface, rows of trees shaded its banks, and the proprietor and his friends frequently amused themselves there by angling, or by an excursion in a light boat, towed by his servants.

"Houses of a more extensive plan, besides a garden, ́ or spacious court, which enclosed them, were furnished with large propyla and false obelisks, and imitated the distribution of the parts of a temple.

"The cellars occupied a part of the ground-floor; and the sitting rooms, for the entertainment of their guests, were sometimes on the upper story, or on a level with the court-yard. Their granaries were generally in the selves, formed of crude brick vaults, attest the invention outhouses; and their roofs, like many of the houses them. of the arch from the carliest times into which Egyptian sculpture has given us an insight."

The gardens were divided into the vineyard, the orchard, the grove, and the flower-garden; the latter was intersected by walks, and shaded with rows of trimmed trees. It affords a striking instance of the refined tyranny of the rulers of ancient Egypt to find proof, in these representations of national customs, that, although the science of mechanics must have been familiarly known, in a nation where such masses of rock were to be moved from remote parts and applied to architectural purposes, irrigation was conducted by means of pails filled from the tank, and carried on men's shoulders. The pole and bucket were, indeed, likewise used, where available, and also, authors tell us, the foot-machine.

The wine-press was of two kinds. One was a large trough, in which the grapes were compressed by the feet; the other consisted of levers, twisting and compressing a sack which contained the fruit.

The esculent plants included three kinds of Comparing the sculptures in the tombs of lotus; the seeds of two were pounded and formed

into a kind of bread, and their roots were eaten crude, baked or boiled. The byblus or papyrus, was likewise eaten,-the stalk, when tender, and the root.

The sports of the field not merely constituted, as with the nations of modern Europe, an amusement of the great, but the huntsmen formed a distinct caste. The fowlers composed a large body of men, who were constantly employed in catching geese and other birds of the Nile, for the general consumption of the people. The chase of the hippopotamus is represented in pictures; it was first entangled by a running noose, at the extremity of a long line wound upon a reel, and then struck by the spear of the chasseur.

The military weapons of the soldiery were the bow, sword, shield, battle-axe, knife or atagan, spear, club, sling, and a curved stick, still used by the Ababdeh Arabs and Ethiopians. Their engines employed in sieges, were the batteringram, a long pike armed with a metal head, the scaling-ladder, and the testudo, supported by frame-work.

Both sexes were musicians; their instruments were the harp, guitar, lyre, flute, single and double pipe, tambourine, cylindrical maces, cymbals, trumpet, and drum. The harpers, whose instruments are of elegant forms, the number of cords varying from ten to twenty-one, played standing, or sitting on the ground or on a stool; a light four-stringed harp was sometimes carried and played on the shoulder. The lyre was generally held under the arm, but it was sometimes supported on a stool or table. Mr. Wilkinson thinks it was very evident the Egyptians were acquainted with the triple symphony, the harmony of instruments, that of voices, and that of voices and instruments;" and that "it is probable that

and then gave those proofs of its potent effects which they could no longer conceal.

"In the meantime, dinner was prepared, and joints of beef, geese, fish, and game, with a profusion of vegetables and fruit, were laid, at mid-day, upon several small tables; two or more of the guests being seated at each. Knives and forks were of course unknown, and the mode of carving and eating with the fingers was similar to that adopted at present in Egypt and throughout the east; water or wine being brought in earthen bardaks, or in gold, silver, or porcelain cups. For, though Herodotus affirms that these last were all of brass, the authority of the scriptures, and the Theban sculptures, prove that the higher orders had them of porcelain and of precious metals.

"They sometimes amused themselves within doors with a game similar to chess, or rather, draughts; and the tedium of their leisure hours was often dispelled by the wit of a buffoon, or the company of the dwarfs and deformed persons, who constituted part of their suite."

Mr. Wilkinson proceeds in the same manner to illustrate other parts of their domestic history and economy, including the process of hatching eggs by artificial means (which custom has been handed down to their descendants, the Copts, who supply the market during spring with chickens reared by this ingenious process); as well as the subjects of revenue, population, commerce, and navigation.

The dresses of the ancient Egyptians differed according to the caste or occupation of each individual. Artizans had merely a short kilt, or apron, fastened round the waist, the upper part of the body being exposed. Children were naked till an advanced age; and the whole expense (says Diodorus) of bringing up a child to man's estate, was twenty-two drachmas, or about 13s.

that the ancient Egyptians were not black, like
It may be observed, that there are ample proofs
the Ethiopians, with whom they are vulgarly con-

their music was of no inferior kind."
Under the head of "Entertainments," he says:-founded, but of a red complexion.
"At all their entertainments, music and the dance
were indispensable, and sometimes buffoons were hired to
add to the festivity of the party, and to divert them with
drollery and gesticulation. The grandees were either
borne in a palanquin, or drove up in their chariot, drawn
as usual with two horses, preceded by running footmen,
and followed by others, who carried a stool to enable
them to alight, an inkstand, and whatever they might
want, either on the road, or while at the house of their
friend.

"On entering the festive chamber, a servant took their sandals, which he held on his arm, while others brought water, and anointed the guests, in token of welcome.

"The men were seated on low stools or chairs, apart from the women, who were attended by female slaves or servants; and after the ceremony of anointing, a lotusblossom (and frequently a necklace of the same) was presented to each of them; and they were sometimes crowned with a chaplet of flowers.

"The triclinium was unknown; and the enervating custom of reclining on diwàns, was not introduced among this people. Their furniture rather resembled that of our European drawing-room; and stools, chairs, fauteuils, ottomans, and simple couches, (the three last precisely similar to many that we now usc,) were the only seats met with in the mansions of the most opulent of the Egyptians.

"Wine and other refreshments were then brought, and they indulged so freely in the former, that the ladies now

These details will serve to show that, if we are still deficient in means to acquire a knowledge of the political history of ancient Egypt, the facts of which appear to be sealed so hermetically as to be equivalent to lost, there are yet materials from which its domestic history may be traced with a sufficient degree of precision.

This is, however, as we have already remarked, only a part of Mr. Wilkinson's plan. His book may, indeed, be considered as a complete guide, or vade-mecum, to the antiquities of Egypt. It embraces descriptions of the topography of the country, and of the ruined buildings, with illustrative views; chronological tables of the dynasties, with fac-similes of the cartouches containing the phonetic names of the kings; and the concluding chapter gives the chronology of the caliphs from the foundation of the caliphate to the invasion of Egypt by Sultan Selim. The appendix includes instructions to persons proposing to travel in Egypt, and an English and Arabic vocabulary.

Thus the work is useful not only to the scholar and to the curious reader, but to the traveller. We are sorry to see so valuable a work disfigured by the absurd affectation of departing from the ordinary spelling of proper names, in the vain

and chimerical hope of perfectly expressing the sounds of the Arabic letters by Roman letters. Who can recognize Cairo in Qaherah?

From the London Examiner.

The Life of Edmund Kean. In two volumes.

Moxon.

These are two volumes of very pleasant reading, made (we are obliged to confess it) out of a very unprofitable subject. They may be read with as little trouble of reflection as the reader chooses -which we take to be a very successful achievement on the part of the writer. With such a story to tell, it was right to make it as little mortifying as possible. Even as it is, we confess we have occasionally winced not a little, as we thought of the lines of the poet

All the world's a stage,

ing by his mode of telling them; none of them in any way of great moment or importance,) in an easy and unassuming narrative. Sometimes, we should say, there is something like an effort to say a good thing, but then it is immediately followed by the good thing itself. And this sign of effort is rare. For one of the chiefest merits of the book, setting aside its modest restriction of the exploits of its hero, is the modest restriction of the personal feeling of its author. He never officiously interposes himself between the reader and the subject, unless, perhaps, he finds, as in criticising certain characters, that he has some finer things to say of them himself, than any which his subject could ever have expressed. Mr. Kean, we dare say, exhausted all the beauty that could possibly be conceived of Bertram, or Mr. Payne's Brutus, or Reuben Glenroy, but make every extreme allowance for his triumphs in Othello or in Hamlet, and what a world of more triumphant beauty still remains! If there is any spirit of depreciation in what we say, let it be laid to the art, and not to the artist. Crowds of fine and subtle things there must always be with which the eye, and tone, and gesture can have nothing possibly to do. It may be the province of acting to elevate the mean, but its powers of elevation, we more than suspect, end there.

And all the men and women merely playersand asked ourselves whether such incidents as are recorded here, such exits and such entrances, can form part of the comparison? We hope not. We hope at least that the world's reality and assumption are not so widely sundered. We hope that the hero and the vagabond are not so nearly, in point of fact, the same. We wish to believe We say that we cannot blame our author for rather that there is nothing grave connected with the manner of his criticisms. They will certainly the subject; nothing which illustrates the insin- not satisfy the enthusiastic admirers of Keancerity of human life, or the vanity of human plea- but many of them, those on Hamlet, on Othello, sures; that we have been only amusing ourselves and Macbeth, will go far, we think, to satisfy the with a peep behind the scenes, with no more seri-admirers of Shakspeare. Nothing can be finer, ous intention than that which takes us before them; and with as little real instruction as the child has gained, whose over-spoiled curiosity has insisted on getting into its own hands the toy which so mightily pleased it at a distance.

more delicate, or original. It may be a question, at the same time, whether, in a book of this sort, admitting the right of the author to express his own sense of the glories of Shakspeare, he should not at least have tested by that measure the actual achievements of his hero. The vision of the poet is one thing, and the greatest-but the flesh and blood presentation is another; and materialized, vulgarized even, though it be, it is yet, to the matter immediately in hand, of the greater importance. What we say, in fact, is proved by the result. These volumes, interesting as they are, full of clear and lively writing, and valuable in the extreme for many of their criticisms, will do little to preserve the fame of Kean. Few will

It were a melancholy matter indeed if the author of these volumes had written them for any purpose of instruction. The life of Mr. Kean illustrates nothing elevating to the art of acting, or pleasurable or profitable to the social relations of life. We keep wondering, as we view it, at the strange inverse proportion which intellect would seem to bear to its stage expression; and at the confused mixture we must have been constantly making (as we looked at Mr. Kean within his own magic circle) of the creative power which mas-"like now" that did not "like before." (The ters the heart and soul, and the merely imitative which presents the symbols of such a mastery. We are shocked, at its close, to find ourselves at the close of a disgusting medley of a career tainted (socially) with the lowest vices; untaught either by adversity or prosperity; greedy, to the last, of pimps and panders, and miserable flatterers; but careless, to the last, of the strongest claims of nature, and the dearest ties of affection. He must have been more or less than wise who could have managed to work instruction out of this, for the advantage or happiness of himself or others. We are better pleased with the course this writer has taken. He thinks he is not bound to dwell on much that is disagreeable. He avoids the didactic, and is not over-critical. He strings together a number of anecdotes (some lively or touching in themselves, some made lively or touch

other rhyme we dare not hazard. Disappointment feeds passion, and it is possible that those who "always liked," will now even "like the more.") The impression left by the book is, in fact, thisthat the writer is superior to his subject. He condescends to it. (We do not wonder.) He tells the life of his hero as if it were scarcely necessary to make a book out of it. We do not mean that there is any thing in the author personally obtruding this-we have already stated the reverse. But there is a manner in the narrative as well as in the criticism, which sensibly betrays it.

The reader, however, will take a distinction between the effect of this in the narrative, and in the criticism. In the narrative nothing can be more delightful than its effect, and nothing would have been more fatal than to have treated it in any other way. An actor, to be sure, is not of neces

Kean was a boy actor, like many of the greatest actors who preceded him :

sity to be as pleasant and unobjectionable off the | in this character,' that he showed agility scarcely surstage as he is upon it-but if he chances to be passed by Mazurier or Gouffe, and touches of deep tragealtogether unpleasant and objectionable, to be dy in the Monkey's death-scene, which made the whole made up of vulgar thoughts and mean vices, of audience shed tears.'" envy and jealousy, of lust and drunkenness, of the most wilful and reckless oppression, of the lowest ambition, and the most miserable cravings after the applauses of the miserable-then we think it unadvisable to exaggerate all these things, after the fashion used in presenting mean characters on the stage or in books of morals, by clothing them with pomp or circumstance, in purple or fine linen. If the re-action of all this has affected our author's criticism-and withheld him from praise where praise might have been more freely given, we can-character, in which, fifteen years afterwards, he drew to not wonder or blame.

·

"Mrs. Charles Kemble recollects hearing a clanking noise at the theatre one night, and on inquiring as to the Richard the Third in the green-room; he's acting after cause, was answered, 'It is only little Kean reciting the manner of Garrick. Will you go and see him? He is really very clever.' And there he was, really very clever,' acting to a semicircle of gazers, and exhibiting the fierceness, and possibly some of the niceties of that the theatre (which he enriched and adorned) thousands The first volume is occupied with Kean in the and thousands of spectators, and built up for himself a provinces, the second with Kean in London-and renown that must last as long as the actor's fame.'" the first is infinitely the most interesting. This It must not be thought, moreover, that this would seem to confirm Hazlitt's notion, that after youthful display before the discriminating audiall the London triumph is but the prose termina-ence of a London green-room passed without its tion of the adventurous career of the player-and reward. Some years afterwards, when the youth that it is the provincial commencement that is the had arrived at man's estate, he procured an enpoetical and truly enviable part of it. "After gagement at the Haymarket. But "the pity of it, that they have little to hope or fear. The wine lago!" The line of business! of life is drunk, and but the lees remain." We wonder at the same time whether those who are "in the secret," think this. It is certain that after his appearance in London, Kean still fondly clung to the dramatic mixture of the hero and the vagabond, which Hazlitt praises as the essence of a country player's life. The transition from his real to his assumed character, remained always as startling-he managed still though a "king's servant," to be any thing but a "gentleman"-the contempt of the world and the applause of the multitude were still equally his as in his ragged days and, as in those, he still kept himself as much depressed below common humanity off the stage, as, upon the stage, he was elevated above it. There was no gusto in all this, however; it was pure blackguardism. He is " no actor here." When, after playing some wretched part in a damned play (the circumstance is not alluded to by our author, but we know it,) he came home and disgusted his family in Clarges street, by keeping the skins on he had played in, purely because their odour was offensive, and his will chose to vent itself in that fashion-we find he only did what he had done in his starving days, when he yet pampered his will as freely.

"In this drama, Rae-the mouthing, ranting, inefficient Rae-played the only part, Sir Edward Mortimer; John Bull, our hero gave substance to the character of and Kean was thought worthy to represent-Peter! In Simon, nominis umbra,' in which he had a satisfactory opportunity of doing nothing; whilst his contemporaries, Fawcett, De Camp, Mrs. Glover, and Mrs. Gibbs, did all the real work of the comedy. In Ways and Means' he played Carney (we have alluded to this already.) In Mrs. Wiggins' he played the Waiter! In The Prisoner at Large' he was the Landlord! In The Heir at Law' he was John, servant to Lord Duberley! In 'She would and she would not' he was an Alguazil; and in Speed the Plough' he was-what?-the Fiddler !! Whilst Rae, whose star was then in the ascendant, played Hamlet, Kean enacted Rosencrantz! When Rae was Count Almaviva, Kean was again an Alguazil!! And when Rae, in The Battle of Hexham,' played Gondibert (beyond comparison the principal part,) Kean was a— Fifer!!! Does not Fortune shuffle our cards in a curious and inexplicable way? Seven or eight years after| wards—but we shall come to that presently."

6

Kean, like Garrick, was a great Harlequin. "When he was first put up for this important part at Exeter, he proved to be really too ill to act. He was a Harlequin of such reputation, that although another person of some pretensions undertook the part, the house "We should not have troubled the reader by telling manifested their disappointment loudly. At last he got him that Kean played Douglas, in Mrs. Hannah More's better, and was able to act. The announcement was made tragedy of Percy,' and also the Monkey, in the after-with pride. The manager (who paid him five shillings piece of Perouse,' on this occasion, had he not intro- per night extra) distributed handsome placards, on which duced the monkey into his private life. It is a fact, cha-were written in vast letters-' Mr. Kean will resume the racteristic of the man, that he went home after the play, in his transformed state, and swore, ore rotundo, that he would remain thus all night; and he did! The remonstrances of his wife, who complained bitterly of the execrable odour arising from the undressed skins (the monkey costume,) and from the paint and varnish that encrusted his face, were of no avail. His will was law; and she was driven therefore to take her repose on a sofa; whilst the human animal threw himself, skins, paint, varnish and all, into the bed, and remained there during the whole of his benefit night. This appears more than sufficiently wilful and unfeeling; and yet it was on this very night, according to Mr. Grattan, and

character of Harlequin this evening.' Crowds ran to witness the performance. Kean did credit to his fame, and delighted every body. And when all was over, and the good people of Devon were trudging home to their quiet hearths, full of the pantomimic wonders that they had witnessed, our hero, with a great coat flung over his patch-work dress, and bathed in perspiration, took his customary seat at The Red Lion,' with his brother topers, and drank strong liquors till morning."

The contrasts of Kean's life appear to have been more than ordinarily frightful. Antony at Modena with famine hunting at his heels, and