66 the ostlers most vociferous in repudiating the chargé throwing the outraged article slyly into the straw bed of a stable. worth, the romancist of London, has been of all this class of English writers the most deservedly successful; witness his "Tower of London," "Windsor Castle," and more recently his powerGrinding his teeth, his hand holding the stealthy ful and elaborately worked out "St. James's." prize, and trembling with passion, Cromwell flung Hampton Court" comes before us from an to violently, locked and double-locked the door, anonymous hand, a rich and suggestive subject triumphant sneer, plainly saying, "Who is this man regarding it and Ireton, alternately, with a fierce very ably carried out. At first, one expects to that dares to circumvent me?" He grasped conhear something of the wife killing Henry and vulsively a small lamp, the only light in the room, the great Cardinal, but the scene is chosen placed it between the letter and his face. Ireton later, the time being the troublous days of resting on his clenched hand, leaned over the table Charles the First, when a greater than Wolsey towards him. The rest of the room was nearly uprose to sway a nation's destiny. We pre- dark. The ruby-coloured thick nose, embrowned sume Monk is really intended for the chief cheeks, and shaggy brow of the former, surmounted character of this novel; but though Cromwell is by the broad cavalry beaver and falling feather, on less prominently brought forward, in the prominent edges of which alone shone the light, every tale of such a time we must, perforce, recognize him contrasting with the depth of the gloom around, as the hero. The weak, vain, selfish, supersti-The countenance of the son-in-law was expressive formed a subject as Rembrandt delighteth to paint. tious Henrietta is well drawn, and there are many scenes of stirring interest, in which Sir John Denham and other noted characters are introduced. We extract a few pages descriptive of the well-known occasion on which Cromwell and Ireton discovered Charles's falsehood and treachery. Ireton drew the letter from his pocket-read it, visibly mortified, and fearful of imposition. It was now nine o'clock-a bright starlight night, and the waggoner proceeded to lead his team of eight horses through the covered gateway. "Stay, sirrah, stay; I have goods for Dover, to be delivered to the master of the first smack bound for Calais," cried a man, carrying on his shoulders what both Cromwell and Ireton were convinced was the object of their search. Two words sufficed to arrange their plans; Cromwell pushed against the man, as he carefully picked his way through the arch close to the wall, to avoid a kick from the horses, already moving under the gateway; and stumbling beneath his burden, at last fell beneath the huge bellies of the beasts attached to the waggon. During the confusion caused by the cries of the prostrate porter, in imminent danger of being trodden to death, but for that beautiful instinct of the animal, which prompts it to lift its feet from injuring man, the curses of the waggoner at the delay, the running to and fro of ostlers, the rattling horn lanterns amongst wheels and shaggy fetlocks, the instinctive squallings of landlady and chambermaids, always louder before danger than after, the bundle was carried off to the Dolphin chamber, burst open, and from the saddle therein sewed up between the corks, hind bolsters and troussequin, was cut a letter in the handwriting of the King, addressed to the Queen. The saddle, next moment, was flung out of the room into the little yard, amongst the crowd, which now filled it. Now was heard indistinct stable-dialect jabber and recrimination, every one was in turn accused by the unhappy ticket porter of mischievously ripping up the package committed to his care, he of course ignorant of the precious dispatch concealed in his load; and as all denied the charge, he was kicked out of the yard, told he might think himself very fortunate his ears were not slit, and he put in the pillory, for scandalising a respectable hostel, one of of fiendish triumph, combining the features of the tiger and the fox, while the vulture and the bat might have served as a model for the physiognomy of Cromwell; the eyes of the former gloating in a prospective sacrifice, watched the silent moving lips of his father-in-law, who perused and reperused these lines with staggering incredulity : "Hampton Court, November 6, 1647. "SWEETHEART, "Thy precious letter by Sir John Denham is hugged to my bosom. Sweetheart, thou in my thoughts art ever present. Fear not thou shalt soon join me, and tell me thou forgivest me for temporising with rebels. I will tell thee, and thou, sweetheart, will believe thy Charles-it is for thy sake. Thou shouldest not be angry, for God knoweth my heart, that I never thought to perform one tittle of my promises to rebellious dogs. True, I have been obliged to assure garters, commands, and peerages-they cost nothing, sweetheart, but breath; and when the proper time cometh we will furnish Cromwell and his bloody son-in-law, not with silken garters, but with hempen cords. All the factions seek me. I sat two hours under a sermon, from Hugh Peters, in King Henry's Chapel here, for which I have the rogue mine own. To be at Whitehall again were worth granting any conditions. I subscribe to all, for Dr. Hammond telleth me, being under restraint, my conscience is loosened. This comforteth me, sweetheart; my church and thy church will be hereafter on better terms, and Rome set on foot by the sainted archbishop whom tell Mazarin I do not despair of the concordat with the rebels basely murdered. Tyburn tree and Tower Hill shall settle accounts for his and Strafford's murder. Send thy next in cypher to my faithful friend, Lady Newburgh, at Bagshot LodgeLady Aubigny that was, who escaped to us at Oxford, when the rogues would have hanged her, for her privity to Waller's and Challoner's unlucky business. My blessing to thee, my heart's true love-thy husband. Č. R." SQUIRE. (Colburn.)-The bent of genius, howHILLINGDON HALL; OR, THE COCKNEY and generally with the most success, to those ever it may be forced elsewhere, turns naturally, scenes and associations in which it was reared. The Comic Blackstone, for instance, despite its author's ready wit and aptness in seizing good available points, would have never been half it now is, had Mr. A'Beckett never been called to 'I didn't consider we should be doing Jemima jus- it "Then you must give up your hunters, Mister Brown.' "I'll be hanged if I do, though,' says Mister Brown. the bar; while the haunts and habits of the medical student would never have done so much for the fame of Mr. Albert Smith, with all his knowledge and power in describing every-day life, had he not enjoyed the sine qua non of figuring as one himself. Of the truth of this argument we have another strong proof in the volumes now lying before us. A country gentle- "But suppose Mister Brown is of the ' ' genus man who possesses the powers of a satirist and Jerry,' as Linnæus would say, and gives in. Poor humorist happily combined, undertakes to de- Brown! What does he see when he gets to London? pict the pleasures and pursuits of country Why every other girl he meets with is quite as good, gentlemen; and the consequence is that, with and many a deuced deal better, looking than Jethe experience derived by education and partici-mima.-Take an author's advice, Brown, and stay pation, assisted by natural abilities of no common order, we have a work that is nearly all it possibly could be, and with which in its peculiar province there has hitherto been little to contend, certainly, as far as we can recollect, nothing worthy of comparison. The principal character, John Jorrocks, the country squire, is sketched with great ease and spirit-perhaps, for some readers, with too much breadth. Without a doubt, the loquaciousness of his Sir Oracle, huntsman Pigg, might be pruned down with advantage to all parties; he interrupts frequently without rhyme or reason to excuse him. Yet it is a portrait perhaps as true to life as any in the three volumes, and the fault has been nothing beyond a want of discretion in using it. Still this is but a trifle, for which the other scenes and dramatis persone brought forward in "our village" make ample amends. The cuts, in passing, at corn-law leaguers, wild and wonderful agricultural theorists, Lady Bountifuls and charity schools (where the uniform-a bonnet and shawl-is thought much more of than the book or the lace pillow), farmers' friends, and farmers themselves, are given with a zest and justice that must be read to be appreciated, and when appreciated, applauded. The author of " Hillingdon Hall," however, does not rest his claim on rural felicity alone-the high life at Donkeyton Castle, the flirtations between the Marquis and Emma Flather, the machinations of her mamma, and the needs and shifts of Mr. Bowker, show one equally qualified for town or country-for St. James' or St. Giles'. After farming and fox-hunting (of course) the Cockney Squire's biographer appears to us to come out strongest in fortune-hunting, a science he must have studied with an energy worthy of poor Mrs. Flather herself, and from which he has picked up a variety of hints and observations that may be perused with profit by "all persons about to marry." at home." THE BETROTHED: 2 Vols. (Burns.)-This is a new translation of Alessandro Manzoni's celebrated work "I Promessi Sposi," and we believe indeed the first complete unmutilated one which has been executed. Abridged translations, adaptations, &c., are often a great injustice to the genius which has declared itself in a foreign tongue; for even in the safest hands, and under the most favourable circumstances, the finer essence is too apt to evaporate, in the act of transferring thought from one language to another; how much more so, then, when omissions are permitted! "I Promessi Sposi" is not less remarkable for the high tone of religious and moral feeling which pervades it, than for the interesting story which is made the medium of such instructions; and ably translated as it now is, it must form a valuable accession to every English library. It is beautifully printed, and enriched with numerous wood engravings. LITERARY INTELLIGENCE. A work which, from the prospectus and specimen which have reached us, promises to be a delightful one, is about appearing. It is to be entitled, "How's Illustrated Book of British Song," and is edited by George Hogarth, Esq., the well known author of "Memoirs of the Musical Drama," &c. The plan proposed is not only a collection of the best of the traditional songs and ballads of the British Isles, but the most beautiful and admired productions of the composers whose genius has shed a lustre on the vocal music of our country. The melodies will be united to their original poetry, and presented in the purest form, with accompaniments for the piano-forte. Biographical sketches, with In closing these very enter-portraits of the composers, will be occasionally taining, never flagging volumes, which we can introduced. The work will be elegantly printed honestly recommend to our readers, we shall in weekly numbers, consisting of eight pages make one short extract, funnily but faithfully (at the rate of a quarter the price of a modern illustrating the very superior article necessary song), the usual music size, and illustrated by for a demand in the great metropolis :exquisite designs drawn on wood. Each number will contain two or three songs, and these the compositions perhaps of Purcell, Handel, Shield, Arne, Dibdin, or names that have an earnest of sweet melody in their very sound! "Lord! what a place London is! How it takes the shine out of the country conceit-girls, horses, equipages, men and all. If a girl has a tolerable figure, and a face not amiss, they immediately set her down for London-for the Duke of Devonshire, in fact. ***Indeed, Mister Brown,' says his amiable spouse, We understand that Mr. Percy St. John, well known as a contributor of many powerful Indian tales and sketches to "Chambers' Edinburgh jewellery, and of all articles, from the bijouterie of the boudoir and drawing-room, to the kitchen furniture. Its application is so easy and cleanly, that our fair friends may manipulate without trouble; and when once properly repaired, the things come again into general use, as this cement is most firm in its hold, and will resist hot water or the strongest spirit. We could give numerous instances of the great utility of the Pooloo Chinese Cement; but do not consider any further praise of it necessary, as its fame is spreading far and wide. AMUSEMENTS OF THE MONTH. COVENT GARDEN.-ANTIGONE. We are truly rejoiced at being able to witness a production from the classic pen of Sophocles on the English stage. The opera, or lyrical drama of the moderns, has been often traced by musical historians to the tragedy of ancient Greece. The empassioned declamation of Sophocles and Euripides are quite the prototype of Metastasio. It was reserved for the bold and original genius however of Mendelssohn to put the theory to the proof. Before we notice the play itself, we quote from the ablest classical work of the day some account of Sophocles, as it may be servicable to some of our readers. We would gladly give place to Mr. St. John's account of the Greek drama, but it is too long. We quote, however, his masterly sketch of the writer of Antigone. "Sophocles presents us with a wholly different type of genius. His conceptions, without being gigantic, are still great, and have a richness and roundness something like the form of a woman. To him, as to Raffaelle, the world appeared pregnant on all sides with beauty. Yet there was a vein of pensiveness in his fancy which, running through all his works, imparts to them a witchery, independent of the amount of intellect displayed. He never, like schylus, transports us into the dim twilight of mythology amidst the nodding ruins of systems and creeds. However antique may be the subject which he treats, his invention gives it completeness, and he brings it out fresh, glossy, distinct, and beautiful as the creations of to-day. Eschylus carries us back to the past, Sophocles brings the past forward to us. By a vigorous exertion of genius he breathes life into things dead, melts away fron about them by his warm touch the hoar of antiquity, fills up the outline, freshens the colours, converts them into contemporary ex- | istencies. All his sympathies, healthy and true, cling to the things around him; the religion, the form of polity, the climate, the soil of Attica, invested with the beauty which they assumed in his plastic vision, satisfied his desires. What he found lights, all the hopes and aspirations of youth. Sweet and musical, and replete with tenderness, are his marvellous choruses; they burst upon the heart like the first note of the cuckoo in the depths of a forest, curling round the mossy trunks of the meditative old trees upon the ear. "And then his female characters, in which, above all things, he excels. Not Imogen herself, whose breath, like violets, perfumes the page of Shakspeare, rises before us a more exquisite vision than Antigone, in her maiden purity, her unfathomable tenderness, her holy affection, filial and fraternal. Even Edipus, supported and let into the light by such a daughter, appears glorious as a God; his involuntary stains worked off by years of suffering, his revered old age garlanded by calamity, wreathed ter's love. And Jecmessa, does she not seem to be with the tendrils and snowy blossoms of a daughDesdemona ripened into a mother? There is no poet who has portrayed a wife of unmingled gentleness, or who has better sounded the depths of a mother's heart. Her affection expands like an atmosphere round the boy Eyrysaces, menaced at once by treacherous enemies and by his father's madness, and cast a pure and bright ray over the sea of blood and stormy passion and guilt that float around her. His Dejanira, likewise, is a character of great beauty; but in the Clytemnastra and Electra, in the Chrysothemis and Ismene, he has been less successful. Among his male characters Edipus is the masterpiece. Compounded of ungovernable passion, a powerful will, a resolution invincible by suffering, extreme in love or hate, he stands before us in heroic grandeur, and like the sun's orb dilates as he descends beneath the horizon. Next to him in originality and beauty are Neoptolemos and Jeucer-youths of the greatest nobleness of soul, who contrast strikingly with his fox-like Odysseus and the mean-souled imperial brothers." -Manners and Customs of Ancient Greece, by J. A. St. John; Vol. I., page 336. enthusiastic. The experiment, we have said, was a bold one. Its success has been undoubted, having drawn every night audiences the most crowded and The acting of Mr. and Miss Vandenhoff is admirable, indeed it can scarcely be too highly praised. The scene is exquisitely drawn. We cannot give our readers a very detailed account of the production; we give, how not in realties, he bestowed upon them; he idealised his contemporaries. His poetry is sunny as the Ægean in spring, and a breeze as healthful and refreshing breathes over it. Like the nightingale, whose music he loved, it comes to us full of har-ever, a brief outline. monies, re-awakening all the associations, all the de- The Antigone of Sophocles is the conclusion to the tragic history of the doomed family of Edipus. His two sons, Eteocles and Polynices, after their father's death, contended for the possession of the Theban sceptre, and fell by each other's hand. Creon, their uncle, ascended the throne, and, enraged against Polynices, forbade, on pain of death, that any should bestow the rites of sepulture on his body. In these circumstances the tragedy opens. The stage is arranged as described by the ancient writers. The whole action of the piece takes place on one spot, the open space before the royal palace. Immediately in front of the building there is a raised platform, communicating with the interior of the palace by several doors, through which the persons of the drama make their exits and their entrances; while the part of the stage next the audience is occupied by the chorus. The chorus consists of a body of the nobles and people of Thebes, in whose presence every incident takes place, who are always sympathising spectators, and frequently take a part in the action of the scene. flexions of recitative, but is simply declaimed, while at the same time it is accompanied by the orchestra in the same manner as recitative, every break in the language being filled by a chord, or a brief instrumental phrase full of energy and expression. The effect of this musical novelty is admirable. Not the slightest effect of dissonance is produced between the voice and the instruments; while their rich and ever-changing modulations give to the spoken language all the effect of accompanied recitative, a much better effect, indeed, in our language; and we think that Mendelssohn has struck out an expedient which ought to be adopted in the serious opera, in every language except the Italian, which is the only language to which recitative is at all congenial. That such is Mendelssohn's own view of the matter we have not the smallest doubt, his language being as little adapted for the purposes of recitative as our own. Antigone is consigned to a living tomb, in spite of the remonstrances and prayers of her lover, Hæmon, the King's son. Tiresias, the When the curtain rises, Antigone appears blind soothsayer, then enters, and denounces with her sister Ismene, whom she informs of her with lofty indignation the cruel and unnatural determination, notwithstanding the King's de- conduct of Creon. Dismayed at these denuncree, to inter the body of her brother. Ismene ciations, the King determines to bury the body attempts in vain to dissuade her, and they retire. of Polynices, and to release Antigone. While he The nobles and counsellors forming the chorus hastens to execute his purpose, the chorus burst enter, singing a triumphal ode in celebration of into a song of joy, which they accompany by a Creon's accession. It is a vigorous and poetical dance or stately movement round the arena. The description of the horrors of the strife between effect of this scene is indescribably beautiful. the brothers, ending with a strain of joy for the The music is gay and joyous, with an exquisite cessation of blood and discord. In the music air of antique and classical simplicity, reminding the originality of Mendelssohn's genius is at us of the choral strains of Gluck's Orfeo, and once apparent. The whole voices sing together, Mendelssohn's own Greek hymn in St. Paulfor the most part in a simple, masculine, unison-"O be gracious, ye immortals." The effect of ous melody; sometimes the voices divide them- the scene, too, was enhanced by the excellent selves into parts, swelling into full harmony; action and grouping of the choristers. and sometimes they chant in a kind of recitative. There is no iteration of words or phrases; but tigone's prison she has strangled herself in desthe whole poem is uttered, in this musical de-pair, and Hæmon has stabbed himself on her clamation, as plainly and rapidly as could be dead body. The Queen, his mother, distracted done in ordinary recitation. În this manner the for the death of her son, destroys herself also; choruses are generally treated throughout the and the tragedy ends with the remorse and selfpiece, and they are accompanied by the instru- reproaches of the King, and with a grave and mental orchestra, in the most rich and beautiful solemn chorus, conveying the moral of the tragic harmony that can be imagined. Creon is too late. Before he can reach An tale. The translation, we must not omit to notice, is pure and vigorous in the extreme. THE PANTOMIMES. In the next scene, a sentinel presents himself, in agitation and terror, before Creon, and informs him that the body had been buried by some one who had eluded the vigilance of the guards. Creon threatens the soldier with death, Before our present number is seen by the unless he can discover the criminal. The chorus public, the pantomimes will nearly all have run sing an ode in praise of patriotism and obedience their race; yet, as for some few days they will to the laws; the least effective morceau in the still remain, we must give a cursory sketch of piece. The soldier discovers that the trans- these productions, the delight of the young from gressor of Creon's decree is Antigone, and reveals time immemorial, and consecrated by their antithe discovery to the King, who commands quity. No longer causing uproarious applause, Antigone to be brought before him, and con- or enkindling much enthusiasm, still they attract demns her to death. The musical scene which large audiences, both of children great and follows is equally novel and beautiful. Creon children small. The best decidedly is that prohas retired, leaving Antigone alone, or rather induced at DRURY LANE; Mr. Bunn always the presence of the sympathising chorus. She gives vent to her feelings of grief, terror, and despair in a strain of very fine poetry. This is not delivered by the actress with the musical in caters successfully to public taste, and houses more overflowing than we have seen for a long time have rewarded his efforts. The promised novelties, the engagement of Madame Anna indications of some merit in the construction of the piece, but from this point it fell off. The introduction in the fairy festival of a pas de deux by those accomplished and graceful artistes Madlles. Louise and Adele Chapuis was enthusiastically applauded; but neither this, nor the red and blue fire so liberally used in every scene, could infuse wit or humour into the dialogue. The pantomimic change takes place in the Hall of Apollo, a very effective scene, by the way, from whence we are transported to the outside of Guildhall, where the Harlequinade commences. The fun of this scene consists in a mock civic procession on the 9th of November, and the perpetration of some satirical jokes upon Alderman Gibbs, who is at last hustled, kicked, and buffeted about by the mob. All this gross personality is in very bad taste, and should never have been permitted by the Lord Chamberlain to come upon the stage; but there appears in the conduct of this dramatic censor a wonderful aptitude to "strain at a gnat and swallow a camel." The business of the following scenes has little to recommend it; there is the usual amount of kicks, slaps, and tumbles by the Clown, and his auxiliaries. A hit at the projected Washing Establishments for the Poor, in which the Clown gave a humorous lecture upon the virtues of soap, was tolerably well received. Moses's Tailoring Establishment, Holloway's Pills, Lodging-houses, Coblers' and Fishmongers', and Clockmakers' shops, were also made the vehicles for a vast quantity of jokes. The painful exhibition on what is termed the Flying Corde Volante, might be omitted with ad Thillon, will continue to draw those crowded houses which the manager's exertions deserve. The opera of The Daughter of St. Mark was the first portion of the entertainments on Boxing night for the visitors to this theatre, which was crammed to the ceiling. After the opera the manager opened his pantomimic budget. The pantomime was entitled Puck's Pantomime; or, Harlequin Robinson Crusoe: the subject was well chosen. In the first scene a sprite assists the perplexed author, by suggesting to him different subjects for a pantomime. The coast scene of the island on which Crusoe was wrecked is better, and more original. The stern of the stranded vessel, with the approach to it of Robinson Crusoe (Mr. Payne) on his raft, forms the most effective scene in the piece. Crusoe's judicious selection of the articles he obtains from the wreck causes a good deal of laughter; he throws into the sea a case of "Morison's Pills," and a box of " American State Bonds," but preserves with great care a kettle, a warming pan, a long coil of sausages, and other articles of domestic utility. Crusoe's encounter with the savages his rescue of Friday (Mr. Wieland), and the escape of King Pariboo (Mr. T. Matthews), and Hankipanki (Mr. Howell), by jumping into the sea, where they are both swallowed by the celebrated shark San Domingo Billy, went off very flatly. The scene in Crusoe's hut, where he puts the children to bed, and prepares their supper, is taken from a somewhat similar scene in the pantomime of Guy, Earl of Warwick, played some seasons ago at Covent Garden. The change of the old wreck to that of the steamer "Water-vantage; the performances of the Carlowitz man, No. 1," in which Crusoe takes his departure from the island for London-bridge, and the usual transformation of the characters, commences the comic business-if that business can be called comic which was as respectably grave as "Sober Lanesbro' dancing in the gout." The tricks of the turning seats, and the violoncello with legs and arms, warranted to play on itself, are old as the hills. A good change was made from the " Currier's and leather-dresser's shop," to the Throne-room in the Palace of Morocco;" but the joke or satire, if any were intended, was so very dim that the mechanical effect of the scene went for naught. "The Insolvent Debtors' Prison," and the "Baths and washhouses for the labouring classes" were dreary enough; the scenery and machinery worked with greater precision than is usually the case on the first night of a pantomime. At COVENT GARDEN, where Antigone has been played with such singular success, the pantomime is very amusing, being entitled Harlequin Crotchet and Quaver; or, Music for the Million, a satire upon the prevailing taste for monster concerts. The first scene, where the Demon of Discord is discovered in his cavern, surrounded by his demon sax-horn band making a most infernal din, and the descent amongst | them of Apollo, the god of Music, promised well. The change to a beautiful scene, painted by Marshall, "The Land of Harmony," also gave family, à la Risley, though irrelevant, was clever, and not unpleasing. Marsh, the new Clown, is not destitute of humour, but he does not attempt any feats of activity. The two Columbines, Miss Massall and Miss Ryalls, tripped lightly and gracefully through their dances. The scenery was unquestionably good; all the tricks worked smoothly, and the performers generally acquitted themselves creditably. At the ADELPHI, Cat's Castle; or, Harlequin and the King of the Rats, though unsuccessful on the first night, has since gone off with success-the jokes and "hits" including General Tom Thumb, the Great Gun, and the Polka. It would be an injustice did we fail to mention that the scenery was beautiful, and that the exertions of Miss Lonsdale as Columbine, of Mr. T. Ireland as Harlequin, of Mr. Sanders as Pantaloon, of Mr. C. J. Smith as Clown, and of Master Mitchenson as a large tom-cat, elicited well-merited applause. It would be monstrous if we were not to mention the gymnastic effect of three mere boys, brothers, of the name of Lauri, whose feats of agility and strength drew down long-continued plaudits. The performances commenced with Dickens's tale of The Chimes, a Goblin Story. At the PRINCESS's, where the Italian in Algiers, Widow Bewitched, and a most bustling, amusing, and successful piece (Monseigneur ; or, the Robbers in Paris), have been played every night with much success. Joe Miller and his |