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apprehend, young and inexperienced—|| writings, that, while it bears the stamp of evidently, however, he is in possession of genius and of talent, it reflects the highest considerable talent. In the construction|| credit upon him as a pious, liberal-minded, of a fable, he is palpably at fault; but he and enlightened member of the church is occasionally spirited, eloquent, and im- establishment. Altogether free from fanapressive, in his style. ticism, its religious feeling is of a cheerful yet touching character.

Praise of a different description is due to "Cuthbert," a novel in three volumes, the plot of which is well managed, and the interest ably sustained throughout. It has the additional charm of being well

written.

Another and another still succeeds. "When once fortune begins to smile," observes the author of "De Beauvoir, or Second Love," another novel in three volumes, "it seems as if she determined to smile always. It is like Aladdin, walking through his garden of jewelsthe light cast by the first he has gathered shews him where he may gather more." Thus it would appear that the production|| of one novel calls into existence a multitude of others. The present has been a plentiful, if not a rich harvest of works of fiction. In De Beauvoir, apparently from the graceful pen of a lady, a story, somewhat intricate and complex in its construction, yet not deficient in interest, is furnished forth with much beauty of language. We wish the writer success.

"Tales of the Moors, or Rainy Days in Rossshire; by the Author of Selwyn in Search of a Daughter," are comprised in a single volume; a volume, however, which, for its elegance and grace, its pathos and its purity, may be regarded as a cluster of jewels. The tales, four in number, are:-The Return; My Last Day in Rome; Adventures of an Attaché; and A Day in the Isle of Wight. We regret exceedingly our inability to offer such an extract as would convey to the reader any idea of their exquisite and varied beauty. Here again, we understand the author is a lady.

To sooth and cheer the wintry hour, the author of May You Like it has added

to our stock of elegant literature, a sweetly

attractive little volume, entitled, "A FireSide Book, or the Account of a Christmas spent at Old Court." We are indebted for this volume to the Rev. Taylor, the Curate of Hadleigh, in Suffolk; and truly it may be said of it, as of all its author's

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We subjoin a specimen of Mr. Taylor's descriptive power :—

The hall is spacious and lofty, with lantern sky-lights in the roof, and a fine oriel window, reaching to the ceiling of its recess. This hall, vast as it is, being furnished with more regard to comfort than many modern parlours, usually serves as the common sitting-room; and very warm it is, I assure you, in the depth of winter, for I have seen half the trunk of a goodsized tree blazing and crackling in that immense chimney, spreading a cheerful light into every remote corner, and gilding with fresh lustre the frames of the portraits that hang highest upon the walls. The drawing-room is fault with the immense sash windows, which, indeed a charming room; many persons find like those at Hampton Court, came into England with William the Third, and were put in the place of the former old casements by the knight's father; smitten, I suppose he was, by the glories of Dutch architecture. For my part, I like the drawing-room windows, for they let in floods of light, and make the room very cheerful, notwithstanding the hangings of Gobelin tapestry, and the ceiling of dark and panelled oak. That ceiling, dark as it may be, is beautiful, for it is painted in some compartments with rich heavy wreaths of gorgeous flowers, and every cornice and every fluted beam enriched with colours and gilding. The tables, cabinets, high-backed chairs, nay, all the furniture in the drawing-room, is of ebony, with knobs and handles of ivory: the chimneypiece of snow-white marble, and over it such a picture a full-length portrait of Lady Grace Fairfax, one of the ladies of the Pembroke fa

mily, who intermarried with that of Old Court,

painted by that prince of portrait painters,

Vandyke. How pure, how perfectly unaffected

appears that fair and delicate lady! what a feminine and modest expression about her countenance and person! How excellently clear her innocent brow! How like nature's own delicate pencilling the azure veins there, and on the slender wrists under those bracelets of

orient pearl! The eyes, the small full crimson

lips, how full of sweetness! And then the draperies; what a noble simplicity in those

broad masses, broken with soft and lustrous light! and how like her great grand-daughter, Grace Fairfax, as Richardson would have said, in her Vandyke dress!

NEW MUSIC.

"Behave Yourself before Folk:" inscribed to Mrs. C. B. Wilson, by Jos. da Pinna. "What Fairy-like Music:" Duet; the Poetry by Mrs. C. B. Wilson; composed by Jos. da Pinna.

"I watch for thee:" Ballad; Poetry by Mrs. C. B. Wilson; composed by Sam. Webbe.-Willis.

The first of these airs is highly original, naif, and taking: we have seldom seen a light ballad that more completely pleased us, both as to melody and accompaniment. The second is common-place; Mr. Pinna has not done justice to his poetry, which is characteristic; a quality of which the music is utterly innocent. Mr. Webbe's song is striking, expressive, aod original; with a well conceived accompaniment. He appears to be treading closely in the footsteps of his talented father.

HARP.

Le petit Tambour, with Variations, by S.
Dussek.-Chappel.

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Plaire sans Effort, Petite Esquisse for theject. The introductory movement is good, Harp, selected from Rossini's Semiramide, by N. C. Bochsa.

Both these pieces are of a very easy class, and both rather pretty. The subject of La Petit Tambour has been always a favourite, and the variations are natural and pleasing. The airs which Bochsa has adapted are "Ergi omai," "Di tante reggi," "Al gran cimento," and "La forza Premiera;" all favorites in the opera. The part which appertains to Mr. B., of transposing for harp keys, and pruning out all the difficulties, is well executed, but hardly of sufficient importance to merit notice.

GUITAR.

Willis's Patent Music Portfolio.

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but the arrangement of "Here in cool Grot," is very unsatisfactory.

The subject of Mr. Cramer's trifle is, we think, borrowed from Mozart: the piece forms a very pleasing bagatelle. Select Subjects from Haydn's Creation and

Seasons, adapted as Divertimentos for the
Piano-forte, by J. B. Cramer. No. 2.—
Cramer and Co.

We agree with Mr. Cramer, that the name of Rossini has become perfectly sickening to every person of good musical taste; as a caviare, a species of relish for the more substantial and finished compositions, it might be passable: but wherever we go, we meet with divertimentos from Tancredi, rondos from La Donna, variations from La Donna, and fantasies from Semiramide, till the ear sickens at the very name of Rossini. In common with all our brethren, we feel obliged to Mr. Cramer for endeavouring to turn the

Any thing so completely mechanical can perhaps scarcely come under the head of a musical notice; but we know, by our own experience, what a desideratum a good portfolio is. By Willis's patent the || tide of public fancy-we will not call it music is held firmly as if bound, without opinion-into a purer channel. Haydn's piercing or injuring the sheet in any re- Creation, from which the present number spect, and any separate piece may be ab- is selected, is in a truly classical style, stracted without disturbing the rest. We and one which assimilates well with Mr. need not say how decided a preference Cramer's peculiar manner. The selection these two points give it over all its com- consists of "Awake the Harp," "Heaven petitors. now in fullest Glory shone," "With Ver

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dure clad," and "The Dew-bespangled Morn," we need not say how truly elegant.

Forty-Seven original Preludes in the principal Minor and Major Keys for the Piano-forte, by various Composers.—Cramer, Addison, and Beale.

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band, increased in talent as well as in number, was more than usually successful especially on a first night.

Margherita D'Anjou, a new melo-dramatic produced. The plot is feeble, unhistorical, and opera in two acts, the music by Meyerbeer, was ineffective. The style of the music is occa

sionally bold and striking, brilliant and spirited; Independent of the utility of the present but, generally, rather tame than otherwise. collection, and the pleasing diversity it Madame Caradori, as the heroine, sang and affords, a new species of interest is excited played with exquisite pathos. Her" Mieifedeli,” by the comparison of so many celebrated and her "Dolci alberghi di pace," were denames in a style which gives the utmost lightfully given. Curioni, as the Duke of Lavalatitude to the fancy. We find the names renne, was dressed with extraordinary splendour, of Cramer, Czerney, Hummel, Moschelles, and he sang nobly. A. Sapio, made his début Pixis, and almost every living author of as the Duke of Gloucester, but we cannot very celebrity. The pieces, though, from their highly congratulate him upon his success. The nature, rather of a fantastic order, are not lady Isaura, who, disguised in male attire, folso wild as we expected; in some instances personated by Malle. Brambilla; but, unfortulows her husband, the Duke of Lavarenne, was they are too regular to meet our taste; innately, the style of her costume was not calcuother respects the execution is nearly per-lated to display her beauty, and even her singfect and it is but doing justice to those composers whose names we have not specifically announced, when we say that their contributions fully equal those of their continental brethren, whose names figure so conspicuously in the list of the musical authors of the present day. Saxon Air, with Variations, by Henry Hertz. Op. 31.-Cramer and Co.

Mr. Hertz, like most other German composers, is inclined to write impossible passages; but when he condescends to accommodate himself to ideas and fingers of moderate extent, he is always delightful. The introductory movement of this air is a fine piece of simple harmony. The air itself is striking, and the six variations beautiful, though requiring an extreme longitude of finger. The last variation, a Marcia Funebre, is extremely fine, and the Finale brilliant in the extreme.

ENGLISH THEATRICALS.

THE KING'S THEATRE.

THIS establishment opened on Saturday, the 12th of January, under auspices more favourable than had been anticipated.

Excepting that the orchestra has been enlarged, and that wax lights have been substituted for gas, little alteration has been made in the appearance of the house. The removal, however, of the large central chandelier, has by no means improved the general effect: dazzling brilliancy has been succeeded by dimness; and "the light of ladies' eyes," heightened by reflection, has thus lost much of its exhilarating lustre. The

ing, we thought, fell short of its accustomed excellence.

At the close of the opera, our grand national anthem of God save the King was sung by the full company, with all its wonted spirit and effect. Hassan et le Caliph, ou le Dormeur Eveillé, a pretty lively graceful ballet, founded upon the misadventures of two lovers, succeeded the opera. Albert, whom we have not seen these three years, has not improved himself by absence. Anatole was delightful as ever. Amongst the additions to the corps de ballet were M. Bournonville and Madame le Comte, whose exertions seem likely to prove very satisfactory.

Madame Pasta has been announced for an early débût; Madlle. Sontag is also to appear; overtures are said to have been made to Veluti; and arrangements, report states, have been made for bringing over Zuchelli and Pesarone.

DRURY LANE.

WE scarcely remember a month more barren of novelty than the past. We have had the new pantomime, two or three characters by Mr. Macready, and the re-appearance of Mr. Mathews. The pantomime we shall endeavour to despatch with all due brevity: Messrs. Macready and Mathews being very old acquaintances, we shall use no less ceremony with them.

To Mr. W. Barrymore is usually delegated the high power of catering for holiday-makers in the way of pantomime. He has mostly been successful; and hence, great things are generally expected of him. Sorry are we to say, that his present production, Harlequin Cock Robin, or the Babes in the Wood, is not one of his happiest efforts. It wants all the essentials of a panto

mime; it wants, we may say, vitality. The the spirit of Envy treading upon the heels of thing is, in itself, a fine, gorgeous affair; it has a Merit, is allowed to follow, and at times, annoy most radiant skin, but lacks life. The scene in the lovers. The opening wants humour. We which the "babes" (illustrious children-illus- || could be well content to spare a little of the glittrious in our school-boy recollections) lie in each || ter for a few more broad grins; it is all splenother's arms, is very sadly managed: it comes dour, and we sit and admire, without shaking not at all up to our early imaginations of the the bench by the strength of our enjoyment. affecting incident; and then as for Cock Robin, We never remember one of Mr. Farley's panthere is nothing whatever of benevolence about tomimes to be so deficient in real frolic. There him: indeed the whole of the opening of the is throughout scarcely an attempt at humour. pantomime is conceived badly. We now come We have the old tricks, the Clown stealing legs to the transformations. Here, however, we meet of mutton, and cutting off Pantaloon's head with nothing to repay us for our first disappoint- but nothing more. Young Grimaldi does not, ment. We have two Clowns, but, alas, there is we think, improve as Clown: he is wondernot between them a sufficiency of true whim for fully agile; indeed, he trusts too much to his one. They are, it must be confessed, most mag- activity, to the neglect of a humour which we nanimously careless of their limbs; they knock think he has in some degree inherited from the each other about with praiseworthy stoicism; but immortal Joseph. We must not forget to those qualities which we remember in Clowns, mention Mr. Parsloe, who, as an ape, shewed their most talkative looks which "gently recom- himself scarcely inferior to the far-famed Mazumended themselves unto our senses," all these rier. were found wanting. The tricks, with scarcely an exception, are not distinguished for any great humour or originality. Some of the scenery is, it must be confessed, most splendid. The magical effects of Stanfield's brush, the profuse beauties, mingling into each other, which it is ever wont to leave upon the canvas, are here, if possible, more than ever prominent. The pantomime was, on the first night, received rather coldly; nay, we think we heard a hiss. However, it has been in a measure amended, and is still played.

Mr. Mathews has appeared, and excited some attention as Sir Fretful Plagiary, in that most exquisite of burlesques, The Critic; he has also played in Hit or Miss to good houses.

We are promised several novelties, which in our next, we shall duly notice. At present we must close our account with Drury Lane, and proceed to the other house.

COVENT GARDEN.

THE pantomime here also claims our first consideration. Harlequin and Number Nip of the Giant Mountain, is the title of Mr. Farley's production. Number Nip is a terrible fellow, though very indispensable for a pantomime he runs away with beautiful ladies, frightens the villagers, and alarms the magistracy. Among his more grievous enormities, is his stealing a Princess on her visit to the "Bath of Chastity." Of course this is a misdemeanour not to be winked at, a pursuit is commenced, the Princess's lover leads the way; Number Nip is stormed in his strong hold, taken, a fairy appears, the Prince and Princess become Harlequin and Columbine, the Princess's nurse Clown, her father Pantaloon; whilst Number Nip, like

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The scenery of the pantomime is very beautiful; the Panorama of the Battle of Navarino excites, and very justly, the loudest expressions of approbation.

Love in a Village has been played for the purpose of introducing a Mr. Woods as Hawthorn. The success of this gentleman is quite complete. His voice is of a fine, manly character, of considerable volume, and managed with great skill. Mr. Woods has also another recommendation; he does not so overload his songs with ornament that they, as is too frequently the case with some singers, break down under it. Mr. Farren's Justice Woodcock is by far too caustic and biting.

The Serf; or the Russian Brothers, a tragedy from the pen of Lord Normanby, has met with a very flattering reception. The plot consists in the base advantage which Vladimir, a Russian Prince, takes of his natural brother, Isidore, in compelling him to renounce the hand of the Countess Olga. The brothers are at first on terms of friendship with each other, and Vladimir promises to Isidore his charter of freedom which his father had, ere his death, omitted to make out. Vladimir, however, on discovering a rival in Isidore, exercises over him the right of a master, has him clothed in the livery of a serf, and compels him to wait, in that garb, on the Countess, in order to wound the pride of his mistress. In this scene Isidore, stung by the taunts of his brother, aims a dagger at him; Isidore is seized, and is about to be tried, when the Countess, in order to gain the liberty of her lover, consents to become the wife of Vladimir. The brothers subsequently meet, when Vladimir is slain in combat by Isidore, who then turns a suicidal hand against his own breast, and the drama concludes.

Mr. Young played Vladimir with great skill.

The part is, however, not in itself effective: all

provincial town and we speak from a know

the audience are arrayed against it. The Prince's || ledge of French audiences for nearly half a cen

quick transition from fraternal fondness to the ferocity of the mere slave owner, cuts him off from the sympathy of his auditors. Mr. C. Kemble, as Isidore, threw all his accustomed fire and energy into the character. The deep tone of compassion, for the baseness of his brother, which he at times mingled in his fury at Vladimir's tyranny, gave a high interest to the part. Warde played Ossip, a jester, with considerable power; and Miss Jarman, as the Countess, did all that was requisite for the feeling and tenderness required by the character. The drama was in every respect successful.

FRENCH PERFORMANCES.

THE company of French comedians have at length commenced their operations at this house. The piece selected for the opening was Moliere's Tartuffe, which, whilst it offered of itself the highest possible treat, also displayed to much advantage the talents of the respective performers. Mons. Perlet played Le Tartuffe; it || was a master-stroke of the art; a fine, quiet, intellectual piece of acting, containing the very essence of the author. M. Laurent sustained Orgon, the dupe of the hypocrite. It was a capital set-off to Le Tartuffe ; there was an evident credulity, an ignorant contentedness in the portrait, well contrasting with the sleekness of the jesuit. M. Daudel personated Valere with much talent. Madame Daudel, as Dorinne, gave an excellent sample of French comedy, in the soubrette line. It was highly spirited. Her retorts to Orgon, when he inquires after the health of Le Tartuffe, were dealt forth with much keenness. Madlle. Boquet played Elmire most delightfully. This lady is a blonde, of a most graceful figure, with a face possessing the most delicate beauty. Her voice is also worthy of her face. Altogether, Le Tartuffe was excellently played.

We must here be permitted to offer one or two general remarks. In the first place, it was impossible to contrast the delicate performance of Perlet, as Le Tartuffe, with the extravagant coarseness to use no harsher a term-of Dowton, in his corresponding character on the English stage, without feeling ashamed of the applause which we have heard bestowed upon a piece of acting that ought not to have been endured upon the boards of a well-regulated theatre. Indeed, whatever may be urged, by prejudice, against French actors and acting, we are convinced that no French performer would presume to personate a character in a style so grossly indelicate as that of Dowton's Hypocrite; nor would any French audience either in the metropolis, or the lowest

tury-tolerate, for a moment, such a departure from the rules of well-bred society.

Besides Dowton's performance in the Hypocrite, we have witnessed many gross violations of decency, perpetrated on the modern stage, by actors whom we shall not at present name. Το the credit, however, of English manners and feelings, a little gone by (nearly half a century also) we recollect an instance of a piece being totally condemned, merely from the grossness of its acting, although that acting was by John Palmer, one of the best actors the stage ever saw. The piece was entitled Jehu.

An abuse at the English Opera House, under the present system, calls aloud for reform. On the third evening of the French performances, when L'Aveugle de Clarens, L'Homme à Soixante Ans, and Le Comédien d'Etampes were played; and although each of these was only a one-act piece, it was twelve o'clock before the curtain fell. This was in consequence of most reprehensible neglect in losing time between the pieces. In one instance, a full hour was lost; in another, nearly an hour. We trust that Messieurs les Directeurs will not repeat this almost insult-upon the audience.

FINE ARTS' EXHIBITIONS, &c.

FEW paintings have been announced with louder notes of preparation than Haydon's picture of the Mock Election, which took place in the King's Bench prison, in the month of July last, and which is now exhibiting at the Egyptian Hall. With Mr. Haydon's private history, his quarrels with the Royal Academy, his newspaper vituperations, &c., we have nothing to do. Nearly all the use, therefore, that we shall make of his singularly egotistical pamphlet, sold in the exhibition room, is to transcribe from it the artist's own description of his picture; which is as follows:

"In the centre is the Lord High Sheriff, with burlesque elegance of manner, begging one of the candidates not to break the peace, or be irritated at the success of his rival, towards whom he is bending his fist; while Harry Holt, the pugilist, in a striped dressing gown, is urging on the intended member, and showing him how he can most effectually hit. The intended member

For some remarks on the improprieties of the modern theatre, &c. the reader is referred to a paper, entitled "Manners and Morals, the Fine Arts and the Drama," commencing at page 56 in the present volume of LA BELLE AsSEMBLEE.

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