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ture. The latter throws off the mask, starts forth into his real character, and assails the wretch with indignant curses. Lucretia sends for her husband. He arrives, with Brutus and her father. She makes her memorable speech, and kills herself. Brutus swears upon the reeking dagger to revenge her, and give Rome freedom. His friends join Lim in the oath. Brutus addresses the people; they shut the gates against the tyrant tear down his palace, Tullia is condemned by Brulus to be imprisoned in Rhea's Temple, which contained her father's tomb. She is brought there horror-struck, and dies at the monumental statue of her father, which in her frenzy, she fancied was his spectre. The Consular Government is now established, and the conspiracy of the young Nobles of Rome is discovered. The son of the Consul is among them. He had been won by his love of Tarquinia, the tyrant's daughter, who had saved his life. Now comes the trial of the soul of Brutus. He judges, and condemns his son-gives the signal for his execution-sees it done behind the scenes-loses the Roman in the father, when the axe gave the fatal blow-falls into the arms of his brother Consul, when the curtain falls.

The

The unity of time, it will be observed, is wholly discarded; but the simplicity of the action is observed, and even the unity of place is not very palpably vio lated by the changes of scene between Rome, Ardea, and Collatium. author of this play has taken advantage, very freely, of Lee's play on this subject, and he is also indebted to Voltaire. The traces of Lee were chiefly observable in the earlier scenes, which were by far the most poetical. There are several plays on this subject; but the structure of the tragedy before us has not, as far as we know, been taken from any of them. We should judge, on the contrary, that the author took the subject as he found it in Livy, one of the most eloquent, and decidedly the most dramatic of historians, that be sketched out his play on his own views, and, in completing his work, took advantage of the best scenes which he found to his purpose in other plays on the same subject. It was brought out with great splendour.

The character of Brutus was performed with great ability and effect by Mr. Kean. The transitions from seem

ing idiotcy to intellectual and moral elevation, were powerful, natural, and unexaggerated. There was, perhaps, some want of the antique classic grap deur which we associate with the elder Brutus, but, on the other hand, there were fine touches of energy and pathos. All the other characters were subordinate. Titus, the son of Brutus, and Sextus, were respectably played by Mr. Fisher and Mr. H. Kemble. Mrs. Glover represented the remorse and frenzy of lullia, with force, and Mrs. West produced some good effects in Tarquinia.

The Prologue was delivered by Mr. H. Kemble, and the epilogue by Mrs. Glover. We subjoin an extract from the latter, in ridicule of "The Dandies," which will, perhaps, amuse our fair readers:

But, bless me—what two nondescripts together!

The "She"-a pile of ribband, straw, and feather,

Her back, a pillion-all above, and on it, A church bell? cradle? tower?-no, 'faith, a bonnet;

Aye, and an actual woman in it—able, Rouse but her tongue, to make that tower a Babel.

Now for the "He," the fellow non

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Robb'd of her pretty monster-till next thaw?

No, Paris has the honour, “ah que oui." “Voila,”—the air, grace, shrug, smell of Paris!

France gave his step it's trip, his toeges it's phrase,

His head his peruke, and his waist it's stays! The thing is contraband-let's crush the trade;

Ladies, insist on't-"all" is best “homemade!"

All British-from your shoe-tie or your fan, Down to that necessary brute, called―

"man!"

Now for the compound creature-first the wig,

With every frizzle struggling to look big! On the roug'd cheek the fresh-dyed whisker spread,

The thousandth way of dressing a calf's bead!

The neckcloth neat-where starch and whalebone vie,

To make the slave a walking pillory!

The bolster'd bosom-ah, ye envying fair, How little dream ye of the stuff that's there!

What straps, ropes, steel, the aching ribs
compress,

To make the Dandy beautifully less.
Thus fools their final stake of folly cast,
By instinet, to straight waistcoats come at
Jast!

ginally at the close of the last season, or, All Puzzled.” It was produced orion the occasion of Mr. Knight's benefit; and the reception which it then met encouraged the managers to bring it forward on their own account. The experiment has succeeded; the farce was well received, and announced for repetition with applause. The plot, though simple in itself, is not very clearly deveThe humour is not of that broad cast which generally distinguishes Dac. 10. This evening a new farce affectation, and consequently entitled farce from comedy; but it is without was performed, entitled, so far to praise.

Misjudging Shakspeare-this escap'd thine eye,

For though" the brains are out, the thing

won't die!"

loped.

Is he Alive;

PERFORMANCES.

1818.

Dee. 3.

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Ditto-Modern Antiques.

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Ditto-lokeeper's Daughter.

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Ditto Is he Alive; or, All Puzzled.

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1818.

15. Brutus-Is he Alive!

16. Ditto-Ditto.
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18. Ditto-Ditto.

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Ditto-Barmicide.

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DEC. 11. This evening the Earl of Warwick" was revived, and very judiciously reduced from five acts into three, and was thus about one-third more tolerable than in its original state. Mr. Macready's personation of Warwick Silvertongue was distinguished by great strength of conception and execution. Mr. Abbott acquitted himself creditably in Edward; Gray... but the chief novelty, for the introduction of which the play seemed to have been selected, was the performance of Margaret of Anjou by Miss Somerville. This lady possesses considerable powers of declamation, not unmixed with feeling and pathos. Wherever rage and indignation were to be exhi bited, she fulfilled her task with ability, and if she was less happy in the more tender scenes, those scenes were less important to the perfect colouring of the character. The last scene was very impressive, and her exit was honoured with distinguished applause.

DEC. 17. A new comedy, called “A Word for the Ladies," was produced last night at this theatre. The piece is attributed to the pen of the ingenious Mr. Kenney, who has already written several dramas which are established in the favour of the public. We subjoin a list of the dramatis persone, and a sketch of the plot :

Mr. MACREADY,
Mr. C. KEMBLE.

Mr. YOUNG.

Mr. CONNOR.

Mr. LISTON.

Mr. JONES.

Mr. EMERY.

.Mr. CHAPMAN,

Miss BRUNTON,

......Mrs. FAUCIT.
.Mrs. YATES.

The chief interest of the piece turns upon the distress of Young Winterland, who, having incurred the displeasure of an uncle on whom his fortunes depended, is disinherited, and hides himself from his creditors in a fisherman's cottage. His sister, who shares his misfortunes, is attached to Young Dorrington, his sworn friend, to whom he has formerly made great sacrifices, and who has been to the West Indies, to take possession, as he believes, of a rich inheritance. On his resurn, the Winterlands depend on his fulfilling their hopes, both of marrying Clara, and relieving her brother. His conduct, however, becomes mysterious and equivocal; and the most affecting of the situations arise from Winterland's resentment of bis conduct, the disappointed passion of

Clara, and the severe reproach of her feelings, which she incurs from the high spirit and wounded pride of her brother. Circumstances render Dor rington the bearer of an offer of mar. riage to Clara from Young Bowers court, who had suffered overtures to be made in Clara's prosperity, and which his father holds him more than ever bound to follow up; an explanation ensues between Dorrington and Clara, when he declares himself disappointed also of his inheritance, and urges the suit of Young Bowerscourt, in order to save Winterland from despair and ruin. Bowerscourt's heart has, however, in spite of his better reason, been ensnared by Miss Adamant, a gay woman of fashion, of a generous disposition, but flighty manners, which revolt him. The difficulties of these parties are finally removed by a seasonable discovery Mr. Hustings, the uncle of Winterland, had left the property to an unknown stranger, who had saved his life from robbers on the coast of Cornwall, on his identifying himself; if not, it passes to a Mr. Silvertongue, a more distant relation. Silvertongue, by a cowardly caution to avert the supposed indignation of Dorrington, calls on him to explain his conduct, and unfolds particulars which prove Dorrington himself to be the fugitive incognito, in the last hour allowed him to set up his title. He arrives, however, at Old Bowerscourt's, the trustee, just in time, and the possession of the property enables him to do justice to Winterland, and to confirm his engagements with Clara. Young Bowerscourt is thus released of his obligation-both he and his father become reconciled to Miss Adamunt, who remains the mistress of his heart. Mr. Larum is a natural agent in the plot, and some amusing situations arise out of his having abandoned his wife, from a hasty and erroneous conviction of her infidelity; and being afterwards employed by Old Bowerscourt to promote a match with her for the old gentleman, she being then unknown to him, under the name of Singleton. This leads to a satisfactory explanation, by which they are also reconciled The impertinent gal-Looking at me with supercilions-gria, lantries of Mr. Curvelte, which have a Twiddling her locks, and propping up ter great tendency to create the jealous fancies of Young Bowerscourt, form also a considerable share of the earlier acts of the comedy.

Such are the materials of which the Author has built his drama. It will be readily perceived that it is of the mixed school, compounded of tragic as wel as comic situations. The serious part of the writing is that which calls most for abridgement. Some of the speeches, particularly those given to Mrs. Faucit, are too long, and there are even scenes which may be omitted without injury to the performance. The comic scenes are many of them very sprightly. Liston was quite at home in a sort of an uxurious Beau, in which character he said some droll things, and gave effect to some ludicrous situations. His description of his sufferings from seasickness produced bursts of laughter. Young performed the part of a husband, who supposes himself wronged by his wife, and is consequently soured in his temper: the cynic, however, is not very consistently supported. Farren, in a benevolent whimsical old man, contributed much to the success of the piece. Jones personated a Dandy with great spirit. Abbolt, Macready, and C. Keinble, had not much opportunity to display their talents, but they exerted themselves where it was possible to do so with success. Miss Brunton looked very interesting, and acted very sensibly; and all the individuals engaged in the scene deserve to be mentioned with favour. The piece was not received without opposition, but the opposition was overborne by the applause. The Prologue was well delivered by Mr. Abbott; and the annexed Epilogue, spoken by Messrs. Farren and Farley, in the characters of Lord Ogleby and Canton, was received with the most fervent applause :—

Ld. Ogl. Fair Ladies, by your leave-
the gay old Beau

Your mothers cherish'd fifty years ago.
Your magic smiles, not less by bim ador`d,
To life and favour have again restor`d.
But what an age is your's? Where'er I
turn,

Beings, whose very rames I've yet to learn,
Force me, so novel is my situation,
To send old Canton out for information.
Canton!
[ anion enters,

Canton. My Lor!
Ld. Ogl

Peace, Sir-No ra-kett Who's that old lady in the riding jacket,

chin

In Turkish petticoats all spick and span? Canton. Oh! dat old lady is your ƒgea, tleman!

Ld. Ogl. You blind old puppy!-Gen

tleman! absurd!

Why, you've forgot the meaning of the

word.

Put on your glasses, look again, and see,
Is that strange animal a bit like me?
Are my legs muiled up, as if grown bandy?
Canton. My Lor, dat gentleman is call d
de Dandy!

You make de Lady weep

Ld. Ogl. Weep, Canton! why? Canton. Your Lordship gentleman is quite go by.

Ld. Ogl. Gone by, indeed! my style's then voted scurvy,

Scouted-men, manners, all turn'd topsyturvy!

If that same sample represents the whole, Ladies, I pity you with all my soul!

Your swain deposes you, usurps your ways, Your rights, your rouge, your station, and your stays!

Say not, his gallantry is on the shelf,
Of course, 'tis lavish'd all upon himself.
Let Fashion still her revolutions make,
And you'll assist him to his wine and cake.
Ask the coy creature of his friends in mar-
riage,

Curtsy respect, and hand him to his carriage!

Canton. Ha! ha! ha! ha!

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Laughing at wit, besides, is vulgar grown: Canton. De Dandy never laugh but at his own!

Ld. Ogl. Then let him troop, if here his smiles he grudges,

To France, and join that modern broodthe Fudges!

Canton. To change, à Paris, on de Opera bench,

His la la Anglois into la la French!

Ld. Ogl. Send the whole drove of Dandies there for me.

Canton. Ah! my Lor, stock de grand menagerie.

Ld. Ogl. You need'nt stay

Canton. Ah! Canton, say no moreVen Ladies smile-dat smile is for Mi Lor. Ld. Ogl Fair Ladies, one word more→→ I had forgot,

I have a suit to you-reject it not. Let me restore your power, and what remains,

To-night exert among your loyal swains; Drown qualmish murmurs in your own good cause,

And crown our Bard, for my sake, with applause!

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If the magic influence of harlequin's wand had been employed in the remodelling of this little theatre, it could not have been done more expeditiously, for, since the close of last season, the dull, heavy, and uncomfortable structure, which was, really, a disgrace to the metropolis, has been partly levelled to the ground, and the present elegant building erected in its place; which, for elegance and comfort, may vie with any of its rivals. Under the active management of Mr. Elliston it has assumed its present appearance, and we doubt not but that a plentiful harbest will reward his labours.

If it could boast no other attraction, its success would be ensured by the reappearance of Elliston and Mrs. Edwin,

THEATRE.

who have performed with considerable eclat, aided by some others of very respectable talent. We have no room this month to particularise the entertainments; suffice it to say, that the exertions of all have been deservedly rewarded by overflowing houses and considerable applause. Rochester," the production of Mr. Moncrieff, introduced, among others, Pearman, of the English Opera House, who sang with great taste and sweetness; and, in the after piece of the "Diamond Arrow," our deserving little favourite, Miss Stevenson, from the same theatre, delighted us with her unassuming manners and lively personation of the mayor's daughter.

One word as to "Rochester"-Mr.

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And the moon look down on a ruined land!

Let us light the torches and dip our hair In the fragraut soil of the sandal tree; Strike the bonjoö and the oola share,

Ere the death gods hear our jubilee. Who are they that in floating towers,

Come with their skins of curdled snows? They shall see our maidens dress our howers, While the hooni shines on their sunny brows.

Who shall mourn when red with slaughter
Finow sits on the funeral stone?
Who shall weep for his dying daughter?

Who shall answer the Red Chief's moan? He shall cry unheard by the funeral stone, He shall sink unseen in the split canoe, Tho' the plantain bird is his alone,

And the thundering gods of Fan-Fonnoo! Let us not think-tis but an hour

Ere the wreath shall drop from the war. rior's waist

Let us not think!-'tis not an hour

We have on our perfum'd mats to waste. Alas!-the wild bushes hide our land!

Few are the youthful chiefs that seek Their brides in peace on the yellow sand, While the moon hides half her wasted cheek.

In the South Pacific Ocean, their language is musically smooth, as appears by this specimen:

O chicheto-0 chiche matta la O chicheto-Vette vala vala-Keonemar, keonemar, koar, koar, koarKeovebey, kohey,

To allelebay,

Ki allubey!"

Shall we not banquet tho' Tonga's king+ To morrow may throw the battle spear? Let us whirl our torches and tread the ring, He shall only find our foot-priats bere. We will dive, and the turtle's track shall guide

Our way to the cave where Hoorga

dwells

While under the tide he bides hi- bride,

And lives by the light of its starry shells. Our babes and our ag'd men there shall sleep

On tufts of the silver ifi's leaves, Till on Finow's grave our watch we keep. And his widow'd wife the deata-veil

weaves.

Come to Licoo! in yellow skies

The sun is bright, and the wild birds play!

To-morrow for us may never rise—
Come to Licoo to day-to-day!

ALBYN'S GLORY. AN ODE.

V.

Recited at the Anniversary Festival of the Highland Society of London, celebrated at Freemason's Hall, on Saturing, March 21, 1818, in commemoration of the Vic tary of Alexandria; his Grace the Duke of Argyll, President, in the Chair.Written at the Request of his Grace, and the Committee, by JAMES THOMSON, ESQ. AND of our Father's fame! swell: Whose virtues grace thy cherish'd name

With glory's deathless spell,
Thine is the magic o'er our minds,

Of Albyn's parent earth;
And thine the sacred tie, that binds

The home that gave us birth.
And now, in this exultant hour,

Amidst the wine-cup's flow;
Still holier beams that patriot power
With Inspiration's glow.

Fond Memory's gifted glance of light
O'er faded years is cast;
And brings again in splendour bright,
The visions of the past,

+ King Finow appears to have been the Buonaparte of the Sonth-sɛa isles. On one of their coasts is a celebrated cave, which can only be entered by diving and is dit unguished by a very pretty tradition.

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