It was full of loyalty, and contained frequent allusions to the coronation, and the kindness of his Majesty in permitting the Westminster scholars to witness it. But to the epilogue we must assign a higher degree of praise: it would have reflected no disgrace on the Augustan age. The sentiments were brilliant and witty, full of Attic salt, and clothed in the most harmonious and elegant language. It was spoken by Davus and Crito, who did full justice to its merit. The following is a brief abstract of it. Crito complains to Davus of the great changes which have taken place since last he visited Athens, and declares that from the number of new buildings that have been raised, he can hardly discover one place with which he was formerly acquainted. He inquires also whether there is any thing new in town worth visiting. Davus offers to be his guide, and describes to him the lions of the place: among them he enumerates the following. Belzoni tumulus; Belzonius ipse; bonassus; Parvus equus; catulis quinque leœna suis; Et gigas; et nanus; dux efferus Indus et uxor ; Vel tabulæ veteres ; vel panoráma novum. Crito then proceeds to inquire as to the state of the stage, and what kind of dramas are most relished. On this subject Davus has but little satisfactory to communicate: he complains bitterly of the rage which prevails for spectacles, and says that the poet and the actor are shoved on one side, to make room for the machinist and scene-painter. He then ridicules the absurd puffs which disgrace the bills of our national theatres, and quotes an instance from one of the advertisements on this subject. Drama novum, plausu immenso et ferventi receptum, Catus immensos innumerosque trahit !!! The epilogue concludes with an eulogy upon the drama of the ancients. Usque seni placuit, decies repetita, venustas, At the conclusion of the epilogue, all the gentlemen who had performed in the play, came forward to the front of the stage," and "God save the King" was played by the orchestra, the audience all standing and uncovered: and thus closed this interesting and gratifying exhibition. One alteration, which we really think would be an improvement, we would respectfully suggest to the consideration of the masters: that is, to omit the repetition of the prologue and epilogue. "Nothing is so tedious as a twice told-tale:" the wit and brilliancy which we admire at first, comes over us the second time like the vapidity of a stale joke. We cannot but think that this custom, for which we are unable to account, would be more "honoured in the breach than the observance." Φ THEATRICAL INTELLIGENCE. COVENT GARDEN. THE present age has been denominated the age of systems; it might with equal, or perhaps greater, propriety, have been called the age of spectacles. The taste of the theatrical world has undergone a complete revolution; the beauties of sublime poetry, and elegant acting, are no longer relished. We have completely emancipated ourselves from That magic spell o'er hearts, Even the power of Shakspeare is no longer acknowledged; and those only of his plays will attract an audience, which, though among the worst efforts of his muse, compensate for their inferiority, by uniting songs totally inapplicable to the characters and situations, with scenery still more at variance with the incidents of the story; which combine, in short, all the mawkishness of opera, and all the absurdities of pantomime. Although the managers of our national theatres are in some degree to blame for pampering this vitiated taste, yet the main fault rests with the public: let them refrain from sanctioning such exhibitions with their presence, and the managers will soon find it their interest to restore to us the legitimate drama. The Two Gentlemen of Verona has been performed at this theatre during the greater part of the last month; and with very great success. As far, indeed, as external ornament can conduce to render scenic representation effective, nothing has been omitted which the most fastidious critic could desire. The scenery and decorations are splendid to a degree unequalled even in this temple of splendour. The emblematical procession of the Seasons and the Elements, is conducted with the greatest taste and elegance: the Palace of the Hours reminded us strongly of Milton's description of the -opening of morning, When morn Wak'd by the circling hours, with rosy hand But the chef d'œuvre of the whole is the galley of Cleopatra, which Thetis is seen conducting down the river Cydnus. This is, indeed, most superb no description can give an idea of its effect. The performers in general did justice to their parts, though with some exceptions. Miss Tree was a most interesting Julia, and played and sang delightfully. The part of Sylvia was very well performed by Miss Hallande, whose songs were very effective. Of Mr. Jones' Valentine, and Mr. Abbot's Proteus, we cannot say any thing favourable. They bore about as much resemblance to the characters which Shakspeare drew, as Lambton bears to an orator, or Hume to a gentleman Why Valentine, which was formerly supported by Mr. Kemble, should be assigned to Mr. Jones, we are at a loss to conceive; unless, indeed, (which is not improbable,) the managers, relying on their scenery and decorations, thought the disposition of the characters only a secondary consideration. A very unpleasant accident happened to Mr. Abbot during one of the representations of this play. Having to fight with Mr. Comer, by some awkwardness on the part of one of them, the sword of the latter inflicted a wound beneath one of Mr. Abbot's eyes. The pain was so great, that he uttered a piercing shriek, and was borne off the stage. The audience, with a very proper feeling, immediately ordered the fall of the curtain. Mr. Abbot, we rejoice to say, has recovered sufficiently to resume his part in the play, and no unpleasant effect of an accident, which might have proved fatal, is visible in his appearance. DRURY LANE. THE protracted and gorgeous representation of the Coronation has so much engrossed the public attention, that this theatre affords us few novelties worthy of notice, The broad, laughable, farce of Monsieur Tonson, continues to be a great favourite with the play-going world. We, indeed, think it the best piece of the description which has for many years appeared. Mr. Gattie, as Marbleu, is inimitable, and Miss Smithson is as usual delightful. A Miss Edmiston, a debutante, has made her appearance in Jane Shore and Lady Macbeth. The latter character is, perhaps, the most arduous in the whole range of the modern drama: of which it appears the Hon. G. Lambe was fully sensible, as he favoured the audience by a deprecatory copy of verses, beseeching the indulgence of the critic, and claiming the 'sympathy of a British audience. This is a novelty in theatrical history, and we much question whether it had the desired effect. In our opinion, Miss E. completely failed. Her voice was so feeble, that it was inaudible even to the pit; and, indeed, her faculties seemed wholly inadequate to sustain the awfully terrific character of the cold-blooded murderess. From the first scenes she languished, and a consciousness of her own deficiency apparently wholly overwhelmed her in those points where energy is most required. The character of Macbeth recalls so forcibly to our minds the great, the majestic, Kemble, that we view Mr. Kean's delineation of this noblest offspring of Shakspeare's genius, with some prejudice. Nor can we reconcile his insignificant figure with our ideas of the mighty usurper. In one or two parts we are compelled to notice more severely, the pedantic affectation with which he misinterprets the text. In the following passage: Besides; this Duncan Has borne his faculties so meekly Mr. Kean, for no earthly reason, but a desire to differ from every body clse, pronounces it, Besides this: Duncan Has borne his faculties so meekly This new innovation is equally ridiculous with his former one: which he reads Hang up my banners on the outward walls: Hang up my banners: on the outward walls Mr. Cooper's Macduff deserves more attention than has generally been paid to it; it is certainly a highly interesting performance; and if he took rather more care in placing the emphasis correctly, it would rank among the first performances of the day. With Jane Shore we cannot sympathize; the perpetual cry of misery, which is the leading feature of Rowe's heroine, is tedious in the extreme; and although Miss Edmiston looked the prey of famine with great effect, still the same want of energy was apparent. But, in justice to the young lady, we confess that this character appeared more adapted to her powers of conception, and was very respectably supported throughout. Mr. Kean, as Hastings, gratified us much, although we cannot think it a part adapted to his powers. When he pronounced with characteristic ardour Remember him, the villain, righteous Heaven The fervour of loyalty was strongly apparent, and every hand was raised to applaud the noble, patriotic sentiment. Mr. Cooper was not so successful, as we have seen him, in the delineation of the character of Gloucester, and Mrs. Egerton was far too violent, in our opinion. The high notes of this lady, when intended to express any highly excited passion, are particularly grating to our ear, and savour far too much of violence; for our approval. Were she to attend a little more to this point, she would be a much greater acquisition to Drury Lane. She should consider that there is a wide difference between the refined Alicia, and the wild gipsy, Meg Merrilies. Mr. Pope was wretched, and all the remaining characters very indifferently supported. We would fain greet the failure of Giovanni in Ireland as the commencement of a returning taste for the legitimate drama, which has of late been shamefully neglected. We can, however, attribute it to various other sources. Englishmen never countenance usurpations; they consider pantomimes as their prerogatives, and expect them at Christmas as regularly as roast beef and plumb-pudding. This encroachment is, then, one great cause of discontent. The machinery, moreover, was wretchedly manœuvred, the plot meagre, and the music indifferently executed. Even the vocal powers of Miss Povey and Madame Vestris were unable to support the tottering fabric. REVIEW OF BOOKS. I. Cain, a Mystery.-By Lord Byron. Dec. 1821. A labyrinth of things, A maze of muttered threats and mysteries. Sardanapalus, act 1, scene ii. WE have selected Cain for the subject of our présent discussion, not because it is superior in poetical merit to the other late productions of his lordship; but because, being in rather a new style of composition, and on that account likely to be read with greater avidity, its effects will be more deeply and generally felt. Cain is, in the execution, a magnificent and masterly production. Those who, in this author, look no farther than the poetry, will find full enough to substantiate the idolatry they have long felt and those who have objected to his compositions on account of their immoral tendency, will see, without "wishing to see," in this mystery-or blasphemy, many more proofs of the lamentable mis-application of mighty powers. Cain is a dramatic poem in three acts, after the style of Manfred. Its personages are Adam, Eve, Cain, Abel, Adah, (Cain's wife,) Zillah, (Abel's wife,) the angel of the Lord, and Lucifer. It is called a mystery or morality, and, as morality is a paramount consideration with us, we have hastened to prove it; fearing, however, that its morality will not quite coincide with ours. The first scene opens with a sacrifice, that Adam and his family are offering to the Lord at sun-rise, in the land without Paradise. ADAM. God the Eternal! Infinite! All wise! Who out of darkness on the deep didst make EVE. God, who didst name the day, and separate |