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had, to say nothing of their music, a body of poetry; which is more than their scoffing oppressors could boast for centuries after. The bravest of the Cambrian warriors of that age rank amongst the most illustrious of their nation's poets. Still many of the works of Hywel-ab-Owain Gwynedd, of Owen Cyveiling, of Cynddelio, and of Gwilchinai, are extant. Mr. Southey appears to the author to excite a strong interest in his Madoc, wherever his hero treads his native soil; and we have often wished, that when he laid his hand upon his harp, to celebrate the strife of a people against oppression and foreign dominion, he had taken "The Cam briad" for his subject, rather than The Maid of Orleans."

The first of the subsequent portions is an Episode, connected with the main action of the poem. The character of Idwal, and the scenery amid which the events of the episode pass, are detailed for the purpose of varying a poem founded on military events, and from which the contrast obtained by much admixture of female character is excluded by circuinstances.

The Greek hexameters* which con. clude this volume, need little apology. They may afford amusement to some of a class who, but a few years ago, were supposed to have no taste for the dead languages. Thanks to the general diffusion of learning, many of our keenest, sportsmen may now read Oppian, and the Cynegetics of Xenophon, and run the hazard of being found at fault in Greck

*The verses are also inserted in the Classical Journal, No. XXX., for June 1817.

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THESE pages have been written with a view to blend chemical science with rational amusement. To the student

they may serve as a set of popular instructions for performing a variety of curious aud instructive experiments, well calculated for illustrating the most striking facts which the science of chemistry has to offer.

Stories, Explanatory of the Church Catechism. By Mrs. Sherwood, Author of little thenry and his Bearer, &c. &c. 12mo. pp. 307.

THE following Stories were written for the use of children of his Majesty's 53d regiment, at that time stationed at Cawnpore, in the East Indies. As these stories were intended for a particolar class of children, there is of course a peculiarity in the style which it would not be possible to alter without rendering the tale less natural, and producing a less accurate picture of the characters described in them.

THEATRICAL JOURNAL.

DRURY-LANE.

JANUARY 27.-The Belle's Strata

gem was revived at Drury-lane theatre, for the purpose of introducing a new actress, à Miss Smithson, from the Dublin theatre, in the character of Letitia Hardy. It is a favourite cha racter for appearances of this nature, because the different situations of Lelitia Hardy afford an opportunity for the exhibition of the vari ous and different powers of the actress.

Miss Smithson promises to be an acquisition to the company. Her person is tall and well formed her countenance is handsome. She is naturally graceful in her action, but perfectly capable of assuming the awkwardness which some

The

of the situations required. The broad comic part appeared to us, in some instances, a little overacted; it was, however, conceived and executed with spirit. The speaking voice is rather distinct than powerful, and she gave the song of "where are you going my pretty maid,” in a style more remarka ble for humour than sweetness. Minuet de la Cour was substituted for the song at the masquerade, and her fine figure and graceful movements were displayed to advantage. A little more acquaintance with our theatres, and confidence in herself, will probably encourage her to higher efforts, and qualify her to assume no inconsiderable rank in the professions she has selected.

We observed with regret that two changes were made in the distribution of the other characters, for which it would he difficsit to state any satisfactary reason. Mrs. Robinson performed the part of Lady Frances Touchwood, the room of Mrs. Orger, whose unafected gaiety and dignified simplicity bad, we thought, established her in possession. Mr. Stanley, as Doricourt, applied the place of Mr. Rae, but with less of that air which marks the travelled gentleinan, and generally with less effect. Those are not only gratui. tous changes, but changes for the worse. Without serving the art, they operate to disappoint the public. Mr. Doston's Hardy was, of course, admirable, and the play was announced for repetition with applause.

Jav. 29.-The comedy of Town and Cenntry was revived, in order to introduce Mr. Kean's Reuben Glenroy. This is one of those plays in which every thing is sacrificed to oddity, and in which the humour, as it is called, is contrasted by a dullness as solid and compact, as the other is frivolous and frothy. Never was such a composition as the character of Reuben Glenroy, and never were such incidents as are represented for life and nature in this comedy Mr Kean performed the character with his usual excellence, and gave it a meaning which, in itself, it does rol possess. Mr. Stanley's Plastic, was undertaken at a very short notice, and is, therefore, entitled to a lenient consideration. Mr. Dowton, as Casey, and Mr. Munden, as Trot, excited much laughter. Mrs. Robinson, who ap. peared for the first time as Rosalie Semers, was much applauded. She looked interesting and beautiful, and delivered the sentiments with propriety and effect. Nothing more could be required from her in a character so sub

erdinate.

FEB. 5. The Bryde of Abydos is from a poem of the same name, by Lord Byron. It is unnecessary to say much of the character of his lordship's poetry and poem, as it has become the fashion of the present day to read no other poetry. He excels in the descripbon of that which is the peculiar chaFacter of his own mind. He is deeply Imbued with a melancholy, occasionally approaching to insanity, if not madness, and, as usually happens to temperaments of this kind, is sometimes savage, -frequently malignant, and always Irregular. This is his character as a

poet; and though it is the current fashion of the day to admire him in the gross, and to receive some good descriptive passages in excuse for much turbulence and obscurity, we must add, that he is no favourite with us, and that we would rather be without such a poet, than see him pervert what talent he possesses, in disguising and varnishing misanthropic and anti-social principles.

The play is much better than could have been anticipated, from the circumstances of its being the abridgement of the poem. There are many passions and situations which only admit of being exhibited at full length. Hence, a poet or a novelist, has a larger field than a dramatic writer; the former may take what space they require, but the latter must confine himself within the more limited period allowed to the drama. Hence, it very seldom happens, that a novel or a poem can be successfully reduced into a play.

The play, however, does not follow the poem too closely. Many effective incidents are added to the poetical history of the Corsair and the bride. The father of Selim, whom Giaffier murdered in the poem, is brought to life in the play; and Osman Bey, the intended husband of Zulieka, is introduced as an active character. Ilassan, a slave, and Abdallah, under the name of Mirza, who are supposed to have perished by Giaffier's dagger, meet Selim in the cavern on the sea-shore, and inform him of his birth. Mirza further adds, that' by the Sultan's orders he is to attack the usurper's castle with a band of faithful troops that night. Selim seeks Zulicka in the garden, and, while relating to her his history, and urging her to escape, is discovered and seized, but, at the intercession of his mistress, spared, though made a prisoner, by the Bashaw? Hassan releases him; the first adventure of the Corsair then becomes the concluding one of the lover of Zulieka. He attends, disguised as a dervise, the marriage-feast of the Timariot chieftain and his mistress. At the hour of midnight the distant blaze is seen. Selim makes the appointed signal, is discovered and escapes; his father's troops attack and force the castle, which they set on fire; Selim rescues Zulieka from a burning tower; Abdallah appears before the tyrant, who is appalled and subdued by his own conscious guilt; and that poetical justice which Lord Byron has denied, is rendered to the parties by the union of Setim and Zulieka.

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5. Bryde of Abydos-Raising the Wind.
No performance.

6.

1818.

Feb. 10.
11.

12.

13.

Bryde of Abydos-Hit or Miss.
Oratorio.

Bryde of Abydos---Falls of Clyde.
No performance.

14. Bryde of Abydos-Ditto.

16.

Ditto-Ditto.

17. Ditto-Rosina.

J8.

Oratorio.

19. Bryde of Abydos-What Next.
No performance.

20.

21.

Bryde of Abydos-Rosina.

23.

Bryde of Abydos-No Song no Supper

attention, as it was first represented at Bath, and only repeated in London from the report of its merit and attrac tion. This tragedy is one of the most pleasing dramas which has appeared for the last twenty years. The plot is romantic, without being improbable, and is tragical without being repulsive; it is poetical, though in common life, and deeply interesting though of a most. simple construction. The plot is not only well selected, but is admirably distributed, and the interest is thus maintained from the commencement to the conclusion.

7. Bryde of Abydos-Irishman in London. 9. Bryde of Abydos-Children in the Wood. COVENT GARDEN. JAN. 27. This evening Mrs. Garrick, from the Liverpool Theatre, appeared in the character of Lucy Bertram, in Guy Mannering. This lady, both as an actress and a singer, displays consi-, derable self-possession and experience, of the stage. Her voice and style are good, and her musical talent is far above mediocrity some of her upper notes are a little harsh and imperfect, but her lower ones are remarkable for smoothness and inflexibility. With all the disadvantages of immediate comparison with the Lucy Bertram of Miss Stephens, we are much gratified with Mrs. Garrick's performance; and though we should hesitate to place her in the very first rank, we consider her an acquisition to the theatre,

FEB. 3.-The Illustrious Traveller; or. The Forges of Kanzel, a Melo Drama, was performed at this Theatre. It would be worse than folly to detail the plot. A nobleman who, like the Stranger, has fled from a wife he still loves, though she has ruined him by gaming, and precipitated himn into a duel, where he kills his adversary, and absconds to avoid the death awarded to that offence. Suffice it to say, that he has been six years concealed near the Forges of Kanzel, to which spot at the opening of the piece the military come in pursuit of him. At the same time. arriveth his lady, who most considerately and maternally lays her child to rest on the edge of a tremendous precipice which overhangs a furious waterfall, while she goes to seek shelter at the Forges. It is saved from death by its father, and recognition and reconcilation ensue. The King restores the Count to favour, and the piece con

cludes.

The Tragedy of Fazio, at CoventGarden, excited so much the more

The language of the drama is that of a young man of a bold poetical conception and expression, and accordingly abounds in figure and metaphor beyond what a more sober judgment would approve or adopt. But it is better to exceed in this respect than to fall short,. as the one is the remediable error of a quick imagination, whilst the other is the absence of that which no industry, will supply. The character of Fazio is peculiarly attractive, and never ceases to excite a lively sympathy and interest. Miss O'Neil, in Bianca, divided the interest of the audience with Mr. Charles Kemble, in Fazio. The crime of Fazio, such as it is, is calculated to excite this strong sympathy in his sufferings and misfortunes, because it appears a frailty rather than a crime, and seems almost compensated by his other qualities. This tragedy was as well received as it, undoubtedly, well merited. There has been no play within our own memory, which exceeds it in interest and attraction, and it gives us a very sincere satisfaction, that its young writer, a Mr. Millman, is thus encouraged in the commencement of a course which he is calculated to run with honour.

The Theatres of Covent Garden and

Drury-Lane, have produced nothing this meath to call for observations, Fazio and the Bryde of Abydos having been repeated every evening, with the exception of the Oratorios, with increased effect to crowded audiences. The Orataries, the one under the direction of Sir George Smart, and the other under that of Mr. Ashley, have been honoured with the most distinguished approba

tion.

The principal attractions at CoTeat-Garden have been, Mr. Braham, Miss Corri, Miss Stephens, Mr. Thorne, and Mr. Yardley. This was the first appearance of the latter gentieman, and the second of the preceding ode. The sweetness, taste, and expres sion, with which Miss Corri gave the celebrated "Angels ever bright and fair," were exquisite. The new duetto, for the first time, performed by Mr. Braham and Miss Stephens, did not give the degree of satisfaction which was expected. Miss Frith, Miss George, Mr. Thorne, and Mr. Yardley, exhibited talents, certainly far beyond the sphere of mediocrity-Miss Frith, indeed, promises to rank amongst some of the first rate singers. Mr. Braham was accompanied in a song by Mr. Lindley upon the violoncello, which was loudly plauded. The admirable selection gave, upon the whole, great satisfaction.

of

is detected by the viceroy himself, and not daring, on account of her fears for her child, to avow her real motive, she. is convicted, on the strength of some dubious expressions she was overheard to utter, of a design to poison the vicequeen, and is condemned to the flames. It hapens fortunately, however, that Picquillo (Liston), a young Spaniard, has in the mean time discovered the secret, and communicating it to the chief physician, Dr. Bonoro (Fawcett), the vice-queen is restored to health, and Zuma, with her husband Mirvan, whe had resolved to share her fate, is saved, after the pile had been kindled, by an act of grace, on account of her mistress's recovery. The interest excited by the piece is compartively trifling, nor do we think it by any means as good as any the author's other productions. The incidents, as may be seen, are few, and one so absurd as to excite merited disapprobation. We allude to Chinchilla's (Mrs. Garrick) project for Picquillo's escape. The music, with a single exception, is the composition of Bishop and Braham, and possesses considerable merit. The airs or single songs, in ge neral, form the least successful part;" they are not remarkable either for oriap-ginality or distinctness of character, and some passages in them are obvious pla giarisms from well-known subjects. The concerted pieces are very good; we particularly admired the opening trio, the septetto in the 2d act, and the chorus in the 3d," Daughter of error, hear." The introductory slow movement of the overture also deserves notice, as the evident work of a musician of taste and experience. The exception above alluded to, is the celebrated Marseillois Hymn, "Aux armes mes citoyens," so popular during the first years of the French revolution, and which produced in its day a greater sensation than any other. The words to which it was applied on Saturday night, are a parody on the original ones, and, admitting an application to some late unpopular ministerial acts, raised a considerable tumult in the house. It was sung by Braham. On the whole we anticipated a favourable result of its success, as the music is pretty. The scenery is beautiful, and the dialogue replete with point—though, on a better foundation, it might have produced better effects.

Fs. 21. This evening the new Opera, which has been long in prepara tion, was produced with the title of Zuma; or, the Tree of Health. The scene is placed at Lima, and the period is about the middle of the 17th century. Zama (Miss Stephenson), a Peruvian lady, the wife of Mirvan (Braham), an Indian chief, being one of the attendants on the vice-queen (Miss Foote), and known to be greatly attached to her, is suspected by her countrymen, who, detesting the Spaniards, would keep the secret from them, of an intention to reveal the properties of the bark, which appears to be the only means left for restoring the health of her mistress. To secure her fidelity, her child is deposited as a hostage, and its life is to be the forfeit of the mother's treachery. Distracted between ber desire to save the vice-queen, and the terrors of maternal love, she resolves, at the suggestion of her hus band, to infuse secretly the healing por tion into the accustomed drink of the sick lady; in the act of doing this she.

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FEB. 2." Fazio, or the Italian Wife."-It is one of the proudest compliments which could be paid to Mr. DIBDIN'S management of this concera, that the tragedy of Fazio, now so popular at Bath, and from its very superior cast of characters, promising to be so popular in London, was originally brought out as an acting piece at the Surrey Theatre, and from its first performance, has continued to attract crowded houses, and to elicit undiminished applause. It was this evening re-produced, and the principal characters sustained by Miss Tayler, and Mr. Huntley, with their usual excellence.

--

FES. 9. Nouveauté encore! -Mr. Coleridge's Dramatic Poem of Zapolya has furnished the Surrey Theatre with a splendid Melo. Drama, entitled "The War Wolf." It consists in the successful attempts of Emeric to secure in his own person the sovereignty of Illyria, by deposing the Queen Zapolya and her infant son, who with Kinprili, a lord of the court, only escape the vengeance of the usurper by secret flight. In the forest to which they fice for shelter, the Queen entrusts the infant Prince to a peasant, and seeks refuge in a cavern. Twenty years are now supposed to bave elapsed before the curtain again rises and discovers all the characters as they were left, with only the changes which time has wrought in their various ages. Zapolia and Kinprili still inhabit the cave, which, from the terrific sounds that occasionally issue from it, is deemed the residence of a War Wolf. The young Prince, hitherto brought up as a Mountaineer, is now informed of the mystery attaching to his birth, and searches the forest to gain, if possible,

1818.

1818.

Feb.

7. Gav Mannering-Harlequin Gulliver. 9. Fazio-Ditto.

10. Guy Mannering-Illustrious Traveller. 11. No Performance.

12. Fazio-Harlequin Gulliver. 19. Oratorio.

14. Guy Mannering-Illustrious Traveller. 16. Fazio-Harlequin Gulliver.

17. Point of Honour-Illustrious Traveller. 18. No Performance.

19. Fazio-Harlequin Gulliver. 20. Oratorio.

21. Zuma-Illustrious Traveller. 23. Fazio-Harlequin Gulliver.

THEATRE.

some clue to his fate. He here meets with his royal mother-an explanation ensues-the villainy of Emeric recoils upon himself, and he falls by the hand of Lord Cossimer, Kinprili's son. The rightful sovereigns of Illyria are restored-vice meets its punishment, and virtue its reward,

From this slight sketch, it will be evident, that the piece is more than usually interesting, and from the excellent acting of the principal characters, it received every assistance that could add to its effect. Between the first and second acts, an Address somewhat ou the plan of Shakspeare's Chorus, is admirably recited by Miss R. Adcock in the character of Ariel, aud codcludes with the favourite air of "Where the Bee sucks"-It principally alludes to the lapse of 20 years in the interval of the two acts, and contains much point and humour. We have only to add that in this piece, Mrs. T. Dibdin made her first appearance this season, and was received with loud and merited applause, and that the scenery, always good, was upou this occasion superior to any we have lately witnessed.

FEB. 16. Tom Jones" still retains its popularity, and in fact seems to improve on repetition. In our original notice of this Burletta we omitted to announce the debut of Miss Jonas from Windsor in the character of Sophia Western. This young Lady appears to possess much musical falent, and has since appeared in one or two other parts to much advantage. The Algerine spee tacle revived this eveding, has lost none of its attractions by laying on the shelf since last summer.

PERFORMANCES.

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