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LINDA DI CHAMOUNI MADE EASY.

PROLOGUE.

SPIRIT of Jenkins, don't, oh ! don't refuse
To aid the efforts of mine humble Muse.
I sing the Opera! I cannot boast
The feeling, force, or fancy of the Post.
But oh, if Jenkins will but smile or grin,
I will at once take courage and begin.
ACT THE FIRST.

The tuning is over, and Costa with grace
In the orchestra's centre ascends to his place;
And having manoeuvred, by motions expert,
To settle the collar and cuffs of his shirt,
He strikes with his baton a small piece of tin,
The signal he gives to the band to begin.
The overture finished-and when it is done
We know just as much as before 'twas begun-
The curtain ascends, and displays to the sight
Some mountains of rather contemptible height,
And across them a somewhat circuitous track
Of carpenters' platforms arranged at the back:
It seems like a valley of freedom and bliss,
For everything looks so exceedingly Swiss;

And enough has been done by the artist to gammon ye
Into thinking the scene is the Valley of Chamouni.

At first there is no one at all on the stage;
But the public attention at once to engage,
There is suddenly heard in the distance a bell-
An incident (sure in an opera) to tell.
The audience think 'tis a clock-and devour
Its sounds with attention to find out the hour;
And, counting to twenty, at last are aware
It is n't a clock but a summons to prayer.
And if on the point there at first was a doubt,
"Tis quickly dissolved when a musical shout

Of chorus invisible joins with the chime,

While a voice at the wing murmurs "Pray keep your time."
At length from the cottage a lady emerges :
The audience on approbation just verges,

But seeing 'tis only the second-rate donna,

Wet blankets of "hush," are at once thrown upon her;

She sings a few bars, and by some mode or other,
We find she is Linda di Chamouni's mother;
And when we consult the libretto, we learn
She's waiting her husband Antonio's return.
The violoncello and basses begin,

When the very identical husband walks in,
Who being in person commanding and stout,

Some think it's Lablache,-but they 're dreadfully out;
And when contradicted, insist and declare,

It must be the fils if it is not the père.

But the truth they at last very shrewdly discover,

That 'tis Fornasari, who 's lately come over.
The singer repeats every sentence that's said
By the man with the coal-scuttle over his head.
So from one or the other we learn that the bass,
Like every stage father, is in a hard case;
But all will be well, the wife ventures to say,
Expressing a hope in their home they shall stay.
So Fornasari her wishes professes to share,
Then winks at the band as a cue for his air. "
In a movement andante he says that he 'd rather
Remain in the house of his excellent father;

His daughter was born there, his parents had died there.
Which makes him more anxious, of course, to reside there.
And the air he concludes with a clench of his hand,
Which the people applaud, if they don't understand.
Enter chorus, preceding a man, who looks "Now
Good people, applaud me, I'm ready to bow."

Ver. V.-1843.

But the hint is not taken, in spite of his art,
And the basso secondo proceeds with his part.
It seems he's a marquis, and in a few lines
Of asides he informs us of certain designs
That he has upon Linda-although he befriends
Her father and mother-at least he pretends.
In an aria buffa, he bustles about,
Then soon-and the sooner the better-goes out;
The chorus retire too-somehow or other,

So, likewise, do Linda's old father and mother :
Thus leaving the stage, as it ever should be,
For the heroine's entrance-most perfectly free.
Persiani has enter'd-if anything thaws
The cold aristocracy into applause

It is Persiani-whose affable smile

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Can even Young England's white waistcoats beguile.
An air she commences-she's been to some spot
To meet with her lover-but somehow she's not ;
She calls him her Carlo-the name of a dog,
It's rather a puppyish sort of incog.

It seems he's a painter, with nothing to do-
Being never employ'd for a portrait or view;
Excessively poor-but yet, on the whole,
He's her anima's luce-the light of her soul.
The chorus re-enter, and raise a demand
For Pierolto, who happens to be close at hand:
It is the contralto Brambilla-dress'd out

As a Savoyard boy-but she's rather too stout.
They ask him to sing-and the very large lad
Proceeds with a strain that is pretty, though sad;
And then with a feeling most natural, very,
Pierolto and chorus go off to be merry.
Now Linda's alone-and of Carlo she talks,
When in, as a matter of course, Carlo walks;
"Tis Mario, the tenor, who sings so prettily,
And whose father they say was a Marquis in Italy.
When together soprano and tenor once get,
There comes, as a matter of course, a duet.
Carlo says in his heart true affection 's a sediment,
But avows to their marriage there is an impediment.
What is it? asks Linda; alas! he can't say,
But nevertheless they keep singing away.
Affection unchanging they vow to each other,
Though Linda remarks she's deceiving her mother.
Says Carlo," The mystery soon I'll destroy,"
And the duo winds up with a movement of joy
So sparkling and gay that 'tis certain to charm ye,
And next day you'll be humming the A consolarmi.
They part, though no reason on earth one can see,
Why one exits P. S. and the other O. P.
The stage once again being perfectly clear,
The Prefetto and Linda's old father appear;
A kind of duet on the instant ensues,
When the basses their voices in rivalry use;
And in their contention they almost forget
They ought to be singing a friendly duet,
Intended to make Fornasari aware

That Lablache seeks to rescue his child from a snare ;
He gets Fornasari to say she shall go

With a party of Savoyards, all through the snow.
She enters, embraces her father and mother,
Now hangs upon one-and now clings to the other;

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"As we took a survey of the pit, human heads appeared as if they had been piled one upon another, like cannon balls in a beleaguered bastion !"

Ods, bomb-shells, JENKINS! doth not this smell of something more than mere hair-powder? A beleaguered bastion! But, then, JENKINS-we have since discovered the fact-was in his youth triangle-boy to the Lumber Troop. Hence

FILLED TO
THE BRIM.

Prisons, you may see what befell other impresarii; and in our own time, we ourselves
have personally given alms to one who was at that moment ostensibly the lessee of her
Majesty's Theatre."

not blush to scribble about it.
That is, (perhaps) JENKINS has given a tester by stealth, and does

Indeed, it is our intention-in compliance with the prayers of thou-
For the present week, farewell, JENKINS! We shall meet again.
sands of our readers, to anatomize JENKINS from head to foot: to
give a whole Punch to him; yes, to publish—

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A JENKINS'S NUMBER.

THE BATTLE OF THE ALPHABET!
CARTOON, No. II.

SIR JAMES GRAHAM has given up his Educational Clauses in the
Factory Bill. How, indeed, could he stand against the Church and
Dissenting interests? Everybody deplored the ignorance of British
babies; but, then, nobody would admit anybody to enlighten them.

his belligerent style. Soon, however, does JENKINS subside into his As many sects as there are letters of the Alphabet fought for the

natural sweetness.

"We had an amusing instance of the pressure. At the very beginning of the performance, a kindhearted and rather obese friend of ours, seeing a brother magistrate [we fear JENKINS is not altogether unknown to the bench] of his county standing with his fair daughter in one of the pit alleys, went down to offer him a seat in his box. True, he effected his entrance into the pit, but there he became at once impacted, as fast as a fly in amber, and, until the end of the opera, he remained helplessly oscillating amidst the crowd, telegraphing and making vain signals of distress, like a Dutch boat that has lost its rudder in a storm!"

Á fly in amber! Now, a common, working-day observer, looking at an obese magistrate in such a dilemma, might have likened him to a cockroach in treacle; but sweetly, delicately doth the mind of JENKINS refine and elevate the grossness of mere human fat into the prettiest of objects! A county magistrate, of twenty stone, sweating in a July pit, by the magic of JENKINS's pen, is changed to a-fly in amber! We only hope that in a moment of benevolent idleness JENKINS may not some day wander into the Court of Queen's Bench; otherwise by his so potent goose-quill, all the Judges, Queen's Counsel, &c. may take wing as birds of Paradise, humming-birds, and turtle-doves. But great is JENKINS!-mighty in his literary necromancy: for, lo! he lets fall but a single drop of ink, and the magistrate, a fly in amber, becomes a Dutch boat that has lost its rudder! Only think of a county magistrate that has lost his rudder! A human butter-boat with nought to steer by!

JENKINS next speaks of his literary style,-perhaps the most difficult style to get over upon record :

"Although we deeply regret the frequent incoherency and other palpable defects of those reports of the Opera which, after the fatigues of the day, we throw off in breathless haste at those small hours of the morning when our happy readers are quietly reposing, we think our plan is the best we could possibly adopt."

We deny the incoherency: the reports are perfect: we know nothing like them. Yet, mark the remorseless JENKINS! He can contemplate his readers fast asleep (not a very difficult stretch of the imagination), and without a twinge of heart know that they will wake to-read The Morning Post! This is downright Newgate apathy, the indifference of a turnkey who chews tobacco at the couch of the sleeping culprit, who at a certain hour must be roused to be hanged!

Our next passage shows JENKINS as a fly-catcher :

"On the night of the first public performance our judgment is already recorded; we then lay by to correct our impressions, and instead of serving up to our readers a rechauffé of our first critique, we endeavour to involve the on dits that fly from mouth to mouth in our light talk, just like naturalists catch the winged insects in the air in gossamer nets."

JENKINS, you are unjust to the weight of your talk. It is by no means so light as you imagine; for see how it has sunk the Post. You have only-excellent Man of the People-to talk away, and the thing must go down.

JENKINS speaketh of LABLACHE :—

"Born in degenerate Italy, he is but a singer-in the palmy days of its republics, he might have been a great leader or a great statesman, and have added many a bright page to the records of his immortal countrymen, Guicciardini and Macchiavel."

Well, as poor LABLACHE is not permitted to add original pages, might he not try his hand upon indexes? We, however, understand that LABLACHE, not being able to suppress "the god within him," has been sometime engaged upon a folio, splendidly illustrated, to be called The Natural and acquired Properties of the Jackass. JENKINS is very often seen at the lodgings of LABLACHE.

JENKINS next introduces himself as a man of charity: a Samaritan, with melting heart and open hand. He says

"In the records of the Court of Chancery, in those of the Queen's Bench and Fleet

child, all seizing him at the same time!
"I have his right leg," says A.

"I his left," says B.

"I'll die before I give up this arm," says C.
"May I perish before I drop this one!" says D.

"Do you think I'm a heathen, to part with his shoulders ?" says E.
"Or I to leave go of the hair of his head?" says F.

And then all the rest of the letters of the Alphabet vowed that they would never give up the bit of the dear child, that each prized so dearly.

Whereupon, each tugging with mutual strength, it was found that the child would be torn to pieces, if continued to be struggled for. So, by common consent, all let go their hands; and the child was

not to be troubled with letters.

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HE very great advantages of getting together a vast quantity of facts in such a formi as to take them in at a single view, cannot for a moment be doubted. We have had the World at One View, printed in long narrow columns, on a single sheet, for only one penny, and placing that generally dearbought commodity, a knowledge of the world, within the reach of every one. The system of concentration has been applied to almost every department of science and art -from the pocket encyclopædia down to the concentrated luncheon, which is said to combine a basin of soup in a mysterious

looking piece of glutinous compound about the size of a walnut.

amongst intellectual luxuries, and we shall therefore endeavour to supply History at one view has, however, been until now a desideratum the deficiency as briefly as possible. In order to render our universal history complete, and bring distant eras as well as nations beneath the

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