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analysing the various merits and demerits of our no less various authors, when the tedium of this professional investigation is relieved by any amusement or instruction derived from the works over which they sit in judgment. Happily for our patience, this has been partly our good fortune with the present volume; and though we cannot conscientiously offer unreserved praise, its anonymous author will, we hope, not be entirely dissatisfied with our critical award, which, we can assure him, shall be impartial.

Had we been honoured with a previous consultation, our advice would unquestionably have been,-not to publish: for though youth is to be admitted as an apology for many inaccuracies, and imperfections, yet it is certainly no excuse for their exposure: and here, though mingled with many beauties, are also far too many instances of confusion, negligence, and defect, to meet the public eye. The irregular odes are irregular beyond precedent (so far they correspond with their distinction, and deserve their name), while the Prosopopæia is introduced to the fullest extent of the licentia poetica, giving to nothing, as well as to every thing, "a local habitation and a name." In evidence of our not wilfully misstating facts, we quote at random from a poem on Genius," where we are informed,

66

"Some fiend pourtrays the maddening start,

The pain, the agony of heart,

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"And now another minstrel strikes
His high toned lyre to heavenly strain;
Stealing, stealing,
Melting, melting,
How the sound
Floats around!

Quivering in air the cadence dies, now
swells again!"
Page 30.
Our readers will, we think, never
guess, that the gentleman here repre-
sented as exercising the joint profes
sions of a pickpocket and a tallow-
chandler, by "stealing" and "mell-
ing," is our immortal Bard, MILTON!
though both these extracts are exceeded
in ludicrous effect, by our author's ad-
dress to his "Lyre;" where that un-
toward piece of a poet's furniture is
represented as heeding the influence of
neither Sun," nor" Moon," but,-
"Careless it hangs ;

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No pleasing note

Flies from the strings in air to float;
No willing wire
Attentive hangs, or heeds my ire,
Or, hears my pangs!"

Page 59. More might produce satiety, and we

When Chatterton absorb'd the poison'd therefore gladly pass on to another part

bowl!

I see,-I see his frantic gaze !The lightning of his eye decays, And one convulsive pang,-one struggle yields his soul." Page 26

Of Chatterton's suicide we have repeatedly heard, and as repeatedly deplored his unhappy fate; but until now, we knew not the extent of his sufferings, we knew not, that he swallowed the bowl as well as the poison! An inference, which though here positive from the passage transcribed, a very trifling correction would have avoided or removed. An affectation of simplicity, verging on silliness, is another error, for which, however, youth offers

a

more reasonable apology than for the former, though the refinement of our poetic taste, by the illustrious School of our living Bards of Britain,

of our subject. The sentiments of the several sonnets are truly poetical, though their expression is very seldom melodious; indeed, after all our painfully reiterated attempts to read, or to comprehend, the following passage, we have been reluctantly compelled to desist from the endeavour, almost without a hope of our readers being more fortunate than ourselves.

"Great Russell, victim of a venal rage!Shall be the pole-star of sublimity, Thy name revolving with each future age,

And the politic mariner from far
Shall hail it as the Magi did their star!"
Page 128.
Some enquiry will perhaps be made

as to

"Who is he that sweeps the strings? Yonder Minstrel!-How he sings!"' Page 29

And gladly would we make reply; yet, alas! though our Bard has here furnished us with such very apposite language for asking the question, he leaves it, like the author of Junius, to descend to oblivion a secret unrevealed!

It has been hitherto our ungracious task to notice this volume only by its defects; but we now turn with infinitely more complacency to introduce its beauties; and we trust the author will feel no disposition to doubt the sincerity of our praises, because our censures may have appeared barsh, and He will remem

our criticisms severe. ber, that

"Praise undeserved is censure in disguise;" and, that

"Skilful surgeons cut beyond the wound, To make the cure complete."

Many of the pieces display very considerable poetical talent, aided by general harmony of numbers, and tolerable correctness of versification. Where the metre is regular, he has proved of what his powers are capable, when adhering to the primary rules of composition, and the legitimate principles of poesy. Those pieces which deviate from these principles, are indeed singular; so much so, that we are convinced they never can become plural by imitation, and we have no doubt that his porte feuille contains many poems infinitely superior to most in this collection." Abelard to Eloise" deserves much commendation for its imagery, its pathos, and its delicacy, though alloyed by several passages which disgrace their company.

There are,

besides this, two or three others, which give fair promise of future excellence, when matured by age and experience, of which, indeed, we should entertain

no doubt, was his exuberance of fancy more beneath controul, or his powers under the guidance of a judgment more corrected and more cool. We wish not to dissuade him either from writing, or from publishing, for we think he possesses abilities sufficient for both; but we would recommend most earnestly his profiting by that advice upon these subjects, which he had doubtless very many literary friends well qualified to give. Our previous quotations having substantiated the justice of our unwelcome censures, we feel equally certain, that the subjoined extract will fully justify our warmth of praise and deserved encomiums.

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MACBETH and KING RICHARD THE THIRD: An Essay, in Answer to Remarks on some of the Characters of Shakspeare. By J. P. KEMBLE. 1817. crown 8vo. pp. 171.

THE Olympic victors still live in the eternity of Pindar's verse, and why should not the fame of Roscious be supported by the painter, the sculptor, and the bard? The Ode of Campbell is worthy of its subject and occasion, for the retirement of Kemble from the stage was the setting of a day-star from the theatrical hemisphere-a luminary which has long illustrated the wide and wonderful creations of our immortal Shakspeare. His evening beams were

brilliant, and his departure was a subject of general regret. He has left lights behind him, but we cannot expect soon to witness the rising of such another sun. Never did the moral dignity, and the classical refinement of the British stage, meet with a more active advocate, or a more industrious contributor,-Never were the capacity and the character of an actor in his profession, and in private life, more respected and esteemed,-and never was there such a meeting of the noble and the learned to do honour to a professor of the histrionic art upon a similar occasion.

Thanks, however, to the commercial genius of our ever happy, if industrious, island, the various businesses of men made the honour calm compared with that ecstatic ferment into which Athens would have been thrown;-Idleness and pleasure and profligacy we trust, although they had well nigh got hold of us in the exhibitions of the Parks, are still too far from us to create a

contempt of national sobriety, dignity, and truth, in honour of any individual, or in celebration of any occurrence. Exaggeration is the very spirit of pub. lic feeling and applause. When the multitude are of one mind and one purpose, the cataract of Enthusiasm, out of whose mouth issues no reasonable thing, has neither ground, check, nor opposition: it inundates the temple of Truth in its career; nor, till the torrent has subsided, can the goddess enter into her sanctuary-or give voice to the trumpet of Fame, or open the coffers of rational reward. Here, were we to moralize, we might observe how admirable is the decree of Providence in causing a diversity of opinions among men in matters of no needful moment,-the enthusiasm of imagination is weakened, and the ecstasy of madness prevented by perpetual opposition and controversy; while in the commandments of the law the consciences of men remain the same, -and for enthusiasm in the fulfilment of those commandments, man will not stand accused. Where men differ in opinion, there is no need of conformity-all intolerance or persecution for mere opinion's sake is wrong-but where men have been agreed throughout all ages, their knowledge must be the suggestions of truth-and happiness would dwell in us with truth, were it not for the contradiction of our con

duct to our consciousness of what is right.

We mean not by these observations to insinuate that Mr. Kemble has been too highly honoured-we would only infer, that we must not suffer our devotion to the liberal arts to supplant our duty towards the interests of trade-We must not wander so far into the fields of luxury and refinement, which are at the very edge of the precipice, and upon the very borders of destruction, -as to remember, patronize, and honour, those things only, which are a pleasure and a recreation to us, neglecting our co-operation in, and our encou ragement and support of the more humble and more general labours which de tain men from those weaknesses and vices whose termination is the destruction of states.

The natural qualifications and the attainable requisites of an actor, together with the power of theatrical representa tions upon the principles of a people, are such, that the profession ought to be divested of that licentious and Epicurean garb, in which, by popular prejudice, it has so long been invested. Nothing could have tended so much to effect this, and to inspire in the mind of every actor a suitable self-respect, as the nature of the compliment which Mr. Kemble received at the close of his theatrical career; the particulars of which have already been before our readers.

Well!-but what has all this to do with Mr. Kemble's Essay? We must confess-little; but if it have any thing to do with man, we trust it will be accepted as over and above the promise: it is, however, so far connected with our present subject, as the name of Mr. Kemble is connected with his recent retirement from the stage. publication of his Essay, particularly at such a crisis, could not fail to excite a considerable degree of interest and curiosity.

The

The characters of Shakspeare, however familiar, continue objects of curions research and edifying contemplation,-and notwithstanding the number of our commentators, the labours of this peculiar criticism will increase till the works of Shakspeare shall be no more. The object of this volume is to shew, in opposition to Mr. Whateley, and to Steevens, who has followed on his side, "that Macbeth has a just

right to the reputation of intrepidity -that he feels no personal fear of Banquo and Macduff-and that he meets equal, if not superior, trials of fortitude as calmly as Richard." To this end, Mr. Kemble points out the situations of each individual under every associated circumstance, and supports his conception of their conduct by the sentiments of Shakspeare himself. He comes off victorious in bis argument, having wiped away the dust of error from the crown of Shakspeare, which Mr. Whateley had sprinkled over its natural green.

Nothing, but the same operation by Betty to the bust in our study could have been easier.

Very few will find themselves opposed to Mr. Kemble in their conception of the character of Macbeth. Those who consider cowardice and pusilanimity attributable to him, take up the part of his ambitious, self-willed, and remorseless lady, when urging him on to the perpetration of those bloody enormities of which he afterwards became guilty, and therefore, as her representatives, must be retorted upon in the words of his own declaration, and in the character which Mr. Kemble establishes for him, and which he himself at that period incontrovertably maintained: I dare," says he, in reply to her accusation,

"I dare do all that may become a man ; . Who dares do more, is none!" -and a more magnanimous assertion, or a more moral truth, never issued from the lips of mortal.

"It may therefore be presumed," says Mr. Kemble, "that no future critic or commentator, in his observations on Shakspeare, will ascribe either the virtuous scruples of Macbeth, or his remorseful agonies, to so mean a cause as constitutional timidity-if so mistaken a persuasion could prevail, it would entirely counteract the salutary effect of the finest tragedy that has ever been written, and defeat the moral purpose, to which, in every age, the stage has been indebted for the favour and the works of wise and virtuous men, and the protection and support of all good governments."

Thus do we find Mr. Kemble contending in the closet for the morality of the drama, as he contributed to the dignity of its representation on the stage.

It is however too true, though it cannot be too much lamented, that the contemptuous epithets of cowardly, and pusillanimous, are appropriated by the scornful and the vile to the conduct of the conscientious and the pure. There is only one way of contradicting these characters to their confusionand it is by treating the taunts of the malevolent with deserved indifference and contempt, by attending to the law of conscience, in opposition to prac tice however general, and rebuke however keen-by looking upon the world as a feather when contrasted in the scales with truth. This only is true magnanimity, this only is the courage which can turn the laughter of ridicule into disgrace, and prove the accusation of the scorner to be a falsehood!

THEATRICAL

Topened The termites

HE two Winter Theatres have again lane the stage is lighted by gas, which is a considerable improvement; as every part of the scene is now shown with equal clearness. The backs of the boxes are new painted, and the colouring is as judicious as it is ornamental. The Saloon. This elegant room is now filled with Chinese pagodas, and lanterns suspended from the roofs of huts, on which are painted various mon

JOURNAL.

G. F. M.

strocities-dragons, and tygers, and

At Covent Garden, the improvement in lighting the interior is considerable. The lights which formerly hung round the house are removed, and a magnificent chandelier of gas-lights is now suspended from the centre, The effect is beautiful and novel. At both Theatres, the performances commence at seven o'clock.

DRURY-LANE.

SEPT. 6. This Theatre opened with the favourite comedy of the "School for Scandal;" and the cast of characters Europ. Mag. Vol. LXXII. Sept. 1817.

being the same as last season, we shall only remark, that each performer was most cordially welcomed, as they apLI

peared, by a crowded audience. "Past ten o'clock" followed: Munden's Dozey was inimitable.

SEPT. 11. "Wild Oats." Mr. Stanley, from the Bath Theatre, was the Rover of this evening. This gentleman possesses many of the qualities necessary to the formation of a good actor in voice and person. His figure is rather above the middle size, well proportioned, and genteel-but his features are broad and flat, and want animation; his voice is harmonious. His action and attitudes are not very graceful. On the whole, however, his performance evinced much promise in that line of the drama which depends chiefly on vivacity and bustle. Knight's Sim was a perfect specimen of rustic feeling-particularly in the scene where he enjoys the gratification of offering his mite to the ill-fated

1817.

Banks; and in taking the inventory of his effects, when, overpowered by the consciousness of his father's cruelty, he dashes his pen on the ground, and rushes from the cottage, snapping his fingers

his every motion corresponded in look, in action, with the inward sensa tions of true benevolence and good will to his distressed neighbour.

SEPT. 13. In the musical afterpiece of The Poor Soldier," a Mrs. Bellchambers made her first appearance as Patrick. This lady made a favourable impression on the public at the Pantheon, as Miss Singleton. She possesses a powerful voice, and her transitions are easy: she executed her allotted airs with judgment-and My friend and pitcher was rapturously encored. Her reception was most cheering.

PERFORMANCES.

Sept. 6. School for Scandal-Past ten o'clock. 9. Double Gallant-Incog.

11. Wild Oats-Inn-Keeper's Daughter. 13. Rivals-Poor Soldier.

16. Wild Oats-No Song no Supper.

COVENT SEPT. 8. In the play of "Hamlet" with which this Theatre commenced the season, the only novelty of the evening was Mr. Bonnel Thornton, who made his first appearance on any stage in the character of Guiscard, in “ Adelgitha," for the benefit of Mrs Bartley, at Drury-lane. It would be incorrect to notice any debutant, on such an occasion, unless his claims were of a superior order; and as we did not feel that Mr. Thornton's were of this description, we passed him over in silence, presuming that his motive in appealing to the public ordeal was either to give éclat to the revival of a play, which had for some time been laid on the shelf, or as a novelty which might assist a decided favorite. Now, however, he appeared as a regulur; and, as such, it is our pain. ful duty to say, he possesses but very few qualities for the stage. He lisps, has an aukward gait, and if he has any talent, it must be that of a scholar, as he certainly evinced but few requisites to form an actor.

SEPT. 12. "The Belle's Stratagem." The Letitia Hardy of this evening introduced Miss Brunton to a London audience. This beautiful young lady is a niece of Lady Craven; and we have

1817.

Sept. 18. Hypocrite-Man his own Master-The Watchword.

20. Wild Oats-Poor Soldier

29. Suspicious Husband-No Song no Supper, 25. Merchant of Venice-The Romp.

GARDEN.

seldom witnessed a more deservedly successful debut than on this occasion. Her person is rather pelile, but of perfect symmetry; her action graceful, fine expressive eyes, round polished arms, and her voice, if not very powerful, is sweetly-toned. It would be impossible even for the travelled Doricourt to resist her fascination in her masquerade costume, particularly when, with Noble, she danced the minuet de la cour; this was executed with a grace peculiarly her own. As the Hoyden, she repressed every tendency to vulgarity: and in both she was the very character she wished to represent to secure the man of her heart.

SEPT. 19. "As you like it." The creative genius of our divine bard has drawn Rosalind with all the fascinations of love, wit, gaiety, and sensibility; and Miss Brunton performed the part with considerable clains to admiration. It is no easy task to delineate the inimitable graces of the poet's fancy. Rosalind should be young, should possess a voice clear and melodious, should in short be

"All that youthful poets fancy when they love:"

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