best of the matter, like a barrister with an indifferent brief; if, in short, there are wills opposed to his will, and fancies with which he owns no sympathy, and these are to counteract his policy, bother and irritate him, à maintes reprises, then he is nor better nor worse than the shadow of a director, in no more dignified a position than that of a puppet impelled by strings. Such, in a great measure, was the position maintained not long since by Herr Tudeliecesbejn, supposed chief of the Oivasolactocasin, but no more in truth endowed with a chief's indispensable authority than a figure-head can be said to be vested with the direction of a ship, or a standard with the conduct of its bearer to the fray. The Oivasolactocasin was its own director, and hoisted Herr Tudeliecesbejn, flapping about as Mr. Carlyle would say (if he could) — like a wind-ensign, restless, fidgetty, and impotent. The result was disastrous (how could it be otherwise ?); a society which began well and promised better, took a sudden turn, and was fast hurrying to dissolution, when fortune intervened, and, if it did not save, at least suspended, the catastrophe. No one believed that the Oivasolactocasin, with its ill-regulated management and handcuffed conductor, would ever live to see the year of grace 1860; but lo and behold! it has reared its head as freshly and daintily as Agag before Samuel; and public opinion, though it had been grievously discountenanced, and was still only half conciliated, instead of hewing it in pieces, as Samuel hewed Agag, answered its appeal with cheers and clapping of palms.

Nevertheless, before the Oivasolactocasin can expect to be firmly established, it must bow to circumstances and make its chief a despot. Let us turn to another and a far more important institution. At Her Majesty's Theatre (Anno Domini 1860-Mr. E. T. Smith, regnans), Herr Tudeliecesbejn of the Oivasolactocasin, &c.

SURREY GARDENS.-A Concert is to be given in these attractive gardens on Monday, August 6th, when the principal feature will Be a selection of popular Irish melodies. In order to give full effect to this novel idea, there will be a chorus of 200 voices, in addition to the following vocalists:-Miss Parepa, Miss Poole, Mr. Wilbye Cooper, Mr. Santley, and Mr. Sims Reeves-it being the last appearance of this gentleman at these gardens.

The Operas.

HER MAJESTY'S THEATRE.-Oberon retained possession of the stage during the past week, including Monday, an extra night, until last evening, when Lucia di Lammermoor, and the last act of La Favorita were given for the benefit of Signor Giuglini, who sustained the tenor parts in both operas, with Mlle. Titiens as the heroine in the former, and Mad. Borghi-Mamo in the latter. Tonight Mlle. Titiens takes her benefit, wisely adhering to Oberon as her share of the performance, with Signor Giuglini in the last scene of Lucia di Lammermoor. The season -- the extra seasonannounced to terminate this evening, will be prolonged another week in consequence of the immense success of Oberon.

ROYAL ITALIAN OPERA.-The first performance of Rigolettoand, if the announcement holds good, the last till next year-took place on Saturday night. The audience, though fashionable, was not so numerous as might have been expected at the only representation of Signor Verdi's best opera; but those who attended on the occasion had the advantage of enjoying one of the most legitimate treats the operatic season has provided. Never, perhaps, was the music of Rigoletto more generally well executed or heard with more pleasure.

The cast of the chief personages, with one exception, was the

same as when people believed, and not without reason, tha amelioration in any important particular was impossible. The Duke of Mantua and his privileged buffoon, the hired bravo and his sister-partner in his guilty traffic-were, as before, represented by Signors Mario and Ronconi, Signor Tagliafico and Mad. Nantier-Didiće. The exception was a weighty one; but in this instance offered no cause whatever for dissatisfaction. It was said of the lady who played Gilda last year that she did not make us forget Mad. Bosio; but of Mad. Miolan Carvalho, who assumed the part on Saturday night, it may be stated, without flattery, that, in more respects than one, she actually revived the memory of that much-regretted artist. Perhaps not even excepting Dinorah, her first and hitherto most successful portrayal in this country-Mad. Carvalho is more entirely at home with Rigoletto's unhappy daughter than with any other character in which the London public has been afforded an opportunity of judging her. Acting more thoughtful, graceful, and unaffectedly natural could hardly be cited, nor singing more finished and expressive. True, the quality of her voice being eminently French, it lacks the rich tone and volume which we are not merely accustomed to find in Italian sopranos almost as a matter of course, but also very frequently in the Germans and English; and, again, by the exceswritten by indifferent or selfish composers for her presumed excepsive strain upon the higher notes (the result, no doubt, of parts tional means) the middle and lower registers have been materially enfeebled; but these drawbacks admitted, and there is no farther room for criticism. If, indeed, Mad. Carvalho had studied the music of Gilda under the direct superintendence of Signor Verdi himself, she could not have read it more correctly. Not a point of expression is overlooked, not a brilliant trait fails of producing the contemplated effect. In the two duets with Rigoletto; in the love scene with the Duke (who, disguised as Gualtier Maldé, a student, has won the affections of the innocent and confiding Gilda), which ends with the rapturous "ensemble ”

"Addio !-speranza ed anima "Sol tu sarai per me;

in the solo air, "Caro nome che il mio cor," which contains some of Signor Verdi's most genuine melody, and is so thoroughly in tune wth the sentiment supposed to animate the bosom of Gilda; and last, not least, in the universally and justly praised quartet of Act IV. ("Un dì, se ben rammentomi "), where, through a chink in the door of Sparafucile's house, Gilda becomes a witness to the faithlessness of her lover, Madame Carvalho was uniformly admirable. Exception might be taken to one or two trifling changes in the air ("Caro nome")—which, besides being so perfect in itself as to stand in no need of improvement, is brilliant enough to all intents and purposes; but the whole was executed with such faultless accuracy, and expression so true and unfailing, that the audience were delighted beyond measure, and the triumph of the singer was complete.

Although the style of the music is so essentially different, Signor Mario's Duke of Mantua is in its way no less irreproach able than his Almaviva. As in the Barbiere, so in Rigoletto he has to make love; and in this especial branch of stage business he is wholly unrivalled. Nothing can surpass the natural grace and passionate intensity he exhibits in the duet with Gilda, where the passage already mentioned ("Addio! addio!") occurs; and never did Signor Mario more completely identify himself with the situation, or throw more fervid expression into every phrase. The charming air, "Questa o quella" (Act I.), where the Duke vaunts in his own person that fickleness with which, in the more the fairer sex, was, like its successor, admirably sung-the popular "La donna e mobile," he afterwards less gallantly charges encore, as usual, however, being reserved for the last, given with that easy nonchalance which the situation strictly demands. If these airs were to change places for once, it is by no means certain that "Questa o quella"-the most elegant and original, if not absolutely the prettiest, of the two-would not carry off the palm. Side by side with Gilda and the Duke of Mantua stood in dark and gloomy contrast the Rigoletto of Signor Ronconi, now, as ever, one of the most consummate achievements of the lyric stage. A character more studiously developed, more carefully considered in all its various aspects, or more thoroughly successful as a dramatic portraiture from one end to the other, could not

be named. Those who have seen the Triboulet of M. Frederic Lemaitre (in Le roi s'amuse) will hardly deny that the Rigoletto of the Italian singer is at least a worthy rival. The indifference with which the favourite jester, hitherto untouched by misfortune in his own person, mocks at the misfortunes of others, until the unanticipated reproach of Count Monterone awakens him, as it were, to a sudden consciousness that he himself is not invulnerable, is wonderfully assumed by Signor Ronconi - who, from that moment, amid all his forced buffooneries, seems never to have the fatal malediction entirely out of his mind, but stands transfixed and bewildered while the courtiers rebuke the unhappy victim of his master's anger. In the next act the curse evidently hangs over him like a fate; and after his interview with the assassin, Sparafucile, the recitative in which Rigoletto contemns both his own vocation and the hollowness of the world shows the formerly heartless jester quite in a new light. This is as masterly a piece of declamation as the subsequent scene with Gilda, and especially the delivery of that beautiful passage

scene

"Veglia, o donna, questo fiore, Che a te puro confidai,"when Rigoletto confides his daughter to the care of Giovanna, is instinct with feeling and pathos. The despair of the wretched jester on finding that he has been duped into becoming the blind instrument of Gilda's flight, and his allusion to the "Maledizione " as the natural cause of this misadventure, are points that need only be glanced at. The whole of the next where Rigoletto vainly endeavours to perform his accustomed task at the palace of the Duke of Mantua, and to laugh at the jeers of the surrounding courtesans, while his heart is bursting with anxiety about the fate of his lost child, in whose abduction he suspects the Duke to have had some hand — reveals that extraordinary command of histrionic effect to which Signor Ronconi owes the distinguished position he occupies among his fellows on the Italian lyric boards. His ecstacy at meeting with Gilda, the intense eagerness with which he listens to her narration, and the cry of anguish with which he responds to the words of Count Monterone, when the latter is conveyed to death-"No vecchio, t'inganni-un vindice avrai "-are, one and all, admirably impressive, and complete a delineation which for intense carnestness has rarely been surpassed. Upon the last scene of all with the horrible incident of the sack, made still more repulsive by the joyous strains of the Duke, who, reconducted by Maddalena, goes off singing snatches of "La donna e mobile "-it is unnecessary to dwell. As usual, the Sparafucile of Signor Tagliafico and the Maddalena of Mad. Nantier Didiée were perfect the former a bravo, whose cool audacity is incomparable; the latter an agent in all respects worthy so unscrupulous a master-both being in a dramatic sense picturesque, and in a musical sense beyond reproach.

The orchestral accompaniments (the most varied and ingenious to be found in any opera by Signor Verdi) were capitally played, and the execution of the choruses-always in keeping, and in more than one instance picturesque-left nothing to desire. The last scene, of which the murder and the storm are characteristic incidents, was admirably managed, and the curtain fell amid unanimous tokens of approval, the principal singers (not for the first time) being loudly summoned forward.

The "extra performance of Le Prophete, on Monday, was remarkable for the immense improvement observable in the two principal vocalists. No traces of the nervousness we remarked on the first night were apparent, and both artistes gave full scope to their powers. Mlle. Csillag was in unusually good voice, and her vocal execution approached more nearly the perfection of her histrionic delineation than on the first representation of the opera. The air, "O figlio mio" calls into play the highest and the lowest notes in her voice, which are also the most powerful, and this wonderful composition, in which Fides blesses her son for having saved his mother's life, was sung by Mlle. Csillag with extraordinary pathos. Her action in this scene - tottering forward towards the doorway while Berta is being led off by Oberthal's soldiers, as if anxious to save her from her impending fate was well imagined, and tended to lessen in some degree the unavoidable repulsiveness of the situation. It would be idle to analyse all the weak points in this over-praised and very

inartistic libretto, but it is inconceivable that so clever a dramatist as M. Scribe should have allowed his hero and heroine to forfeit the sympathy of the audience so clumsily as in this scene. We cannot feel much after-interest in the fate of a man who knowingly and deliberately gives up his betrothed wife to infamy, and nothing less than the heroic self-denial afterwards displayed by Fides could make us forget that she has implored her life at the price of her daughter's dishonour, and then blessed her son for the infamous bargain. Mlle. Csillag's acting, we repeat, was very powerful, but, to be perhaps hypercritical, we could well dispense with the action of Fides kissing her hands to her son, which is but a weak substitute for the unutterable pathos which Mad. Viardot's eyes, not her hands, used to express as she slowly left the stage at the termination of this scene. Throughout the cathedral scene Mlle. Csillag was grand in the extreme.

The deep-toned imprecations which Fides heaps on the impostor's head, and which mingle with the organ-notes that peal out the announcement of his consecration, were given with fearful intensity; her bewilderment, when she is denied and pronounced mad by her own son; her first indignant refusal to kneel at his command, and the struggle which then takes place between affection and terror, were very finely portrayed; while the bitter despairing tones in which she uttered the phrase "Figlio in terra non ho,"

went to the hearts of all her hearers.

Even Signor Tamberlik's great talent could make nothing of the ill-contrived situation we have above alluded to; but the "dream" which he recounts to the three Anabaptists, especially its close, was given with great effect. The scene in which Signor Tamberlik most excels is that in which John of Leyden quells his turbulent troops; and in this he has no rival. The fine prayer, with its effective stuccato accompaniment of stringed instruments, was most impressively sung; and his stupendous ut de poitrine in the succeeding splendid appeal to the God of hosts produced an immense sensation. Indeed, from this point up to the final scene, in which he sings the famous brindisi, and the Sybarite prophet, surrounded by his seraglio, dies a Sardanapalian death, Signor Tamberlik was unexceptionable, investing with manly dignity the weak creature of the libretto, who, according to M. Scribe, after giving up his wife-elect to a life of shame, dubs himself prophet to regain her, and in the hour of triumph forgets his bride and denies his mother. Nothing but the exceeding genius of M. Meyerbeer could stamp with immortality such materials as these.

We cannot record much improvement in Mlle. Corbari, who, although she evidently spares no trouble, and although she did not sing so much out of tune on Monday as on the first occasion, is an unsatisfactory Berta. Unfortunately, too, her part consisting chiefly of concerted pieces, she neutralizes the efforts of others, and especially of Mile. Csillag. The original and fascinating duet in the opening scene, "Della Mosa," produced no impression; and although Mlle. Csillag was very grand in the second duet for Fides and Berta, "Vana illusione," in which they lament the loss of Giovanni, the effect was ruined by Mlle. Corbari's defective intonation. Surely the difficulties of Berta are quite worthy to be surmounted by such artists as Mad. Penco or Mad. Carvalho; and although the part affords no great opportunity for display, yet it is full of charming phrases which only require to be brought out to be fully appreciated.

Of the orchestra, chorus, scenery, and general mise en scène, it is utterly impossible to speak in terms of too high praise. Even the least striking scenes, such as the frozen lake and the picturesque market-place of Münster, are quite equal as works of art to the grand cathedral interior, and this, as we have already stated, forms the most successfully arranged coup d'œil that we have ever beheld. Every detail is carried out with elaborate care, and the ingenious manner in which the idea of indefinite height is given by a painted canopy suspended just above the triforium, is especially noteworthy. This scene, indeed, offers the most complete picture of the pomp and pageantry of the Roman Catholic Church under its most impressive aspects that an untravelled Englishman can witness, and almost makes one overlook the inherent absurdity of the coronation of the leader of an intensely anti-Catholic movement - the ultra-Protestantism of which was even too strong for

WRITTEN AND DELIVERED BY MR. AUGUSTUS SALA, ON BEHALF OF
THE WIDOW AND CHILDREN OF THE LATE ROBERT BROUGH.*

In triumph comes the Hero of the Day-
Strong in the council, stronger in the fray;
See in his car the conq'ror-not the slave;

See o'er his head the silken banners wave;

Hear the loud trumpet's clanging blast proclaim

The grandeur of his exploits and his name.

He comes! He comes! his brow with laurel crown'd;
Behind his chariot captive kings are bound.
The town his advent surges forth to greet,
Maidens strew flowers 'neath his horses' fect:

The rev'rend senator and holy priest

Are proud to sit beneath him at the feast;

The peasant leaves his plough, the dame her bower,
To hail with shouts the Cæsar of the hour.

Yes; Fame and Fortune now are in his hands.
Who help'd to win them? Yonder strong limb'd bands,
The well bronz'd legions tramping slowly by,
Who march'd with him to conquer or to die-
Some have return'd, unconquered, now, to share
In ev'ry gift our gratitude can spare.

At such proud moments darts there through one head
One transient thought of yon poor conscript, dead?
Of yonder pale fac'd, well nigh beardless boy,
Whom nature seem'd to rear but to destroy?
He fought and bled. His valour help'd to swell
The glorious triumphs Cæsar bears so well.
Now his cold corse in some dark trench is laid,
Or sleeps beneath some hedg'row's pitying shade.
Too weak to cope in conflicts rude and rough,
So thousands die, and so died ROBERT BROUGH.
He was our conscript: fought the fight for years-
Fought it in sickness, poverty, and tears;
Till heaven was pleas'd his spirit to release,
And hush those troubled waters into peace-
To still that heart and sheath that dinted sword,
To "break the bowl" and "loose the silver cord."
He was our conscript: fearless in the strife,
And patient in that long disease-his life.

He drew the glaive for justice, honour, truth;
He fell a vet'ran, though in years a youth.

He mov'd your mirth-nay, sometimes, too, your tears;
He wore your harness, bore your shield for years.
His wit and fancy brought him nought but bread.
Your soldier yet deserves a mite, though dead.
The conscript's widow weeps, his children mourn;
'Tis yours to help the feeble, the forlorn.
He never sought a mean or base reward;
He never crav'd the bounty of my lord.
We crave it now. For alms we humbly sue;
We hinge the knee, we bow the head, to you.
We ask your charity. Not for ourselves-
He needs it not who sternly digs and delves.
But can those babies work? Can yon poor girl
Battle with life, its warfare and its whirl?
Ladies and gentles, we are in your hand,
Upon your pitying hearts we take our stand.
Grant us your sympathy, your voices too.
Bear with us kindly. Think that all we do
To win your praise, to deprecate your blame,
Is humbly done in friendship's sacred name.

* At Drury Lane Theatre, on Wednesday, July 25.

Concerts.

SOCIETY OF BRITISH AND FOREIGN MUSICIANS.-The incessant rain militated against the complete success of the "day and night fête" which the "Society of British and Foreign Musicians" gave on Monday at the Surrey Gardens; but, in spite of the unseasonable inclemency of the weather, the music-hall was tolerably well filled in the evening by an audience whose enthusiasm manifested itself on every possible occasion. Indeed, almost every piece in the long programme was encored, and the vocalists were in every case compelled to accept the compliment, so heartily was it offered. Among the most successful of the morceaux selected may be mentioned the "Shadow Song" from Dinorah, and the graceful ballad, “The magic of a smile," in both of which Mlle. Parepa was encored; Virginia Gabriel's effective song, "The Skipper and his Boy," rendered with great spirit by Mad. Sainton-Dolby; Bishop's evergreen, "Tell me, my heart," very nicely sung by Miss Theresa Jeffreys; and the comic song, "Tom the Tinker," for which, when encored, Mr. Hatton substituted his favourite, "Merry little grey fat man," and in which he excited the loud merriment of his audience. Mr. Sims Reeves sang Linley's "Bonny Jean," the new ballad, "Sweet love, good night to thee," composed expressly for him by Mr. Hatton, and Mori's favourite, "Who shall be fairest," and gave them all with such admirable expression, that at the end of each he received a perfect ovation. He repeated all three-we need not say that they were redemanded and was compelled to bow his acknowledgments at the conclusion of the last, by way of escaping a second encore. The other vocalists were Mile. Enrichetta Camille (a new and very promising English singer, who, under this Italian nom de guerre, has won well-earned laurels at many of the continental lyric theatres), Miss C. Hamilton, the Misses Brougham, Mr. J. Morgan, Mr. Walbank, and Mr. Santley, all of whose efforts were received with great applause. Mr. Hatton and M. Emile Berger accompanied the singers, and two popular overtures were well played by an efficient orchestra. The society has been selfsupporting from the time of its foundation- thirty-eight years ago until now, and we trust that the endeavour to increase its usefulness by establishing a fund for the widows and children of its members will be crowned with ultimate success.

SURREY GARDENS.-The third and last of the Balfe concerts came off on Wednesday evening, and attracted a vast concoursevast indeed, as in the days of the great Jullien fêtes-the principal load-stars of the evening being Mad. Alboni and Mr. Sims Reeves. On the varied and novel entertainments presented to the visitors we need not enlarge-time and space command us to be brief. We may, however, state that enthusiasm was the order of the day. Indeed, both the great soprano-contralto and the great tenor, albeit so much used to vociferation, must have felt positively deafened by the approving thunders. As for Mad. Alboni, who was a greater novelty than Mr. Sims Reeves, had she lost her hearing altogether, we should not have been astonished. The people literally roared at her, as if every individual in the dense. mass was contending who should roar loudest and longest. It must be remembered that Mad. Alboni made her first and only appearance at the Surrey Music Hall this season, which in some measure may palliate the boisterousness of the multitude.

THE BROUGH MEMORIAL CONCERT. From circumstances over which the promoters had certainly no control, and which are indeed not easily to be accounted for, the attendance at this concert, which took place at St. James's Hall, was limited. A better programme, as our readers will already have seen, has seldom been put forth. The artists engaged were numerous and distinguished in their several walks of art; the selection of pieces to be performed was admirable; and, what is rare in a concert of so great length and with such a variety of names, the programme was with one exception carried out to the letter. Of course on such an occasion criticism is out of the question — the only novelty that could call for it was a new song, "Has anybody here seen Hugo?"-the words by the late Mr. Brough, the music by Mr. C. White-a pretty lively melody, given with much

clearness and expression by Miss Poole. The rest of the concert consisted entirely of morceaux, with which, as well as with the merits of the artists who executed them, the public are already familiar. We must say, however, that the utmost zeal and willingness to promote the cause for which they were called together was exhibited by every one concerned - all did their best, the entertainment as regards vocalists and instrumentalists, indeed every one professionally engaged, being entirely gratuitous. The following ladies and gentlemen should be recorded as having given their valuable assistance:-Mesdames Catherine Hayes, Louisa Vinning, Sainton-Dolby, Enderssohn, Weiss, Laura Baxter, Robert Paget, Parepa, Poole, Banks, Theresa Jeffreys, and Palmer, with Messrs. W. Harrison, Santley, Wilbye Cooper, and Weiss; as well as amongst the instrumentalists, Messrs. Sainton, Collins, Pratten, Lazarus, Harper, and Hughes. The accompanyists were Messieurs Francisco Berger, Kingsbury and Duggan; and Mr. Alfred Mellon, who kindly undertook the general direction of the concert, conducted an admirable band.

MM. RENÉ DOUAY AND HORACE POUSSARD'S MATINÉE MUSICALE (July 10) took place at Collards' new concert room. With the exception of a quartet by Beethoven, for two violins, tenor, and violoncello, executed by Messrs. Horace Poussard (first violin), Otto Bernard (second violin), Schreurs (tenor), and Réné Douay (violoncello), the programme was of a nonclassical kind, the instrumental pieces being for the most part the composition of the players, and the vocal music in almost every instance being taken from the repertory of the French school. M. Poussard played Reber's La Barceuse, and a Morceau, by himself, called Rondo du Nuit, both most admirably, and with great effect. M. Réné Douay introduced a serenade by Schubert, and displayed great powers of execution and a fine round tone; and both artists joined in a duet for violin and violoncello, on airs from Semiramide. In addition, Mr. Lindsay Sloper played a solo on the pianoforte in his finest manner, and Mr. John Thomas a fantasia on the harp. The singers were Mlle. Vaneri, Mad. Rieder, MM. Depret, Fontanier, and Jules Lefort.

THE THIRD AND LAST PIANOFORTE CONCERT of Master Horton C. Allison, the extremely clever pupil of Mr. W. H. Holmes, was given at Willis's Rooms, on Thursday morning. The performances of the juvenile pianist included Mr. G. A. Macfarren's sonata, Ma Cousine; Professor Bennett's Rondo Piacevole; Mr. J. W. Davison's tarantella, Giovannina; two of the Pezzi di bravura of Mr. Cipriani Potter; air and variations composed by Miss Georgiana Holmes; Mr. W. H. Holmes's fantasia entitled Fairy Fingers; romance from Lurline arranged for the pianoforte; and caprice in D, composed by himself. The pieces most liked, perhaps the best executed, were the bravura sketches of Mr. Potter, the Rondo of Professor Bennett, and the Fairy Fingers by Mr. Holmes, which capital fantasia-one of the most brilliant and effective show pieces we know was played with great dexterity and neatness. The audience were delighted beyond measure with all the young gentleman's performances, and applauded him in every thing. The vocalists were Miss Kate Ranoe, Miss Chipperfield, Miss Lascelles, Mr. Wallworth, and Mr. Walbank-the gentlemen two very walls of support to the concert. The company was more select than numerous.

BEETHOVEN AND PAER. An old story is again on the tapis, this time with the honoured name of Ferdinand Hiller as authority, who heard it related by Paer himself. The substance of it is, that at a representation of Paer's Leonore, Beethoven said to the composer in words to this effect, "The subject is so good I must compose it myself." This might very well have been true of Paer's Achilles, brought out at Vienna in 1801, but cannot possibly be true of the Leonore. Paer must, in the course of years, have confounded the two in his memory. Here are those stubborn things, the dates. Paer called to Dresden as kapellmeister, 1803; produced his Leonore at Dresden, Oct. 3, 1804; Beethoven's Fidelio produced in Vienna, 1805; First performance of Paer's Leonore in Vienna, Feb. 8, 1809.-Dwight's Boston Journal of Music.

PROLOGUE

TO THE BURLESQUE OF THE "ENCHANTED ISLE" By the late Robert B. Brough. Revived at Drury Lane Theatre, July 25, 1860, for the benefit of his widow and children. The Prologue written by SHIRLEY BROOKS, Esq., and delivered by Mrs. STIRLING.

A loftier language and a graver tone

Than mine, have made our mournful story known,
Yet pardon some few words that intervene
As lighter prologue to a mirthful Scene,
Some tribute-words you'll let me pay, the while
Our stage prepares to win your favouring smile :
Who have more right to smiles than those who cheer
To smiles the faces pale with sorrow's tear?

From that rich treasury whence the richest draw
The boldest "instance" and the wisest "saw,"
From those grand pictures, bright with freshest youth,
Where endless fancy decks eternal truth;
From him who read all hearts and hopes and fears,
As Newton read the mysteries of the spheres,
From that proud garden, whose exhaustless beds
Have furnished garlands for a thousand heads-
Our young, lost, poet borrowed, as of right,
The forms to fill the scene we show to-night.

Yet, be it said, and those who knew him best,
Would with their readiest voice my words attest,
He borrowed from that store-house rich and free,
Not in irreverence, but with frankest glee,
Not as a giber, with his length of ear,
Who seeks in noblest thoughts some theme for jeer,
But as a child, who laughingly will dare
Assume in sport a father's walk and air.-
There is a volume-might I wish it read,
"Tis Falstaff's Life-by him whose life hath fled-
That book our poet's memory bravely guards
From charge of mockery of the Bard of Bards.

So, on to-night's Revival deign to smile-
Laugh at the whims of his Enchanted Isle;
Remember that the work presented here
(Shared by a brother whom you scarce can cheer)
Was the first product of the buoyant brain
That toiled so well-that ne'er shall toil again :
The earliest laurel-the first victory won
In that gay field of fancy, wit, and fun
Where he was sought, for many a joyous day,
Nor sought in vain-till wasting life gave way.
For your kind presence in those crowded ranks,
There are four hearts that owe you deepest thanks-
But one is over-charged, and hushed-and three
Scarce know their debt-accept their thanks from me.
We give, O gladly, friends, our Art, and you
Your generous aid. "Tis all that each can do.

BROUGH MEMORIAL FUND.-The following eminent artistes in the kindest manner proffered their gratuitous assistance at the concert on the 20th of July in St. James's Hall:-Mad. Catherine Hayes, Mad. Sainton, Mad. Enderssohn, Mad. Weiss, Mad. Laura Baxter, and Mad. Louisa Vinning; Miss Poole, Miss Palmer, Miss Banks, Miss Jeffreys, and Miss Parepa; Messrs. W. Harrison (manager of the Royal English Opera), Wilbye_Cooper, Santley, and Weiss. Soloists, Messrs. Sainton, G. Collins, Lazarus, Thomas Harper, and Hughes. The orchestra comprised Messrs. Antoine, Amor, Barret, Betzmenn, Collins, Dando, Doyle, Difolly, Folks, Glanville, Hill, C. Harper, Hann, Hann, jun., Howell, sen., Hawkes, F. Horton, Jolly, Kelly, Keevil, Lazarus, Love, Levy, T. Mann, Mallatrat, Meves, J. Ould, E. Ould, Payton, Petitt, F. Pratten, Streaker, Smith, Shargool, Salzman, Sutton, Thirlwall, Trust, Tollhurst, T. Watson, W. Watson, W. Winterbottom, White, Webb, W. Wand, E. Wand, Wilkins, Ward, and Zerbini. Pianoforte, Messrs. F. Kinsbury and Francesco Berger. Conductor, Mr. Alfred Mellon.