SONNET, From the Seventh Book of Virgil's Ænied. WE leave the port-through whispering waves we go; Through the fine web, heard all the long lone night, Growl from their stalls, and swell the midnight moan. IN IMITATION OF ANACREON. BACCHUS, drunk with purple wine, To watch the eye-lids of the god: Epitaph ON MR. T. A. HAMILTON, J. C. IN THE CHURCH-YARD OF NEWPORT-PAGNELL. PAUSE here, and think! a monitory rhyme And many a tomb, like HAMILTON's, aloud YOL, 2.-No. 9. с с PUBLIC THIS house opened for the season on the 12th, with the tragedy of Richard the Third. The Richard of KEMBLE has been so long and so justly celebrated, for an accurate conception of the author's sense, and the new beauties with which he exclusively embellishes the character, for even the discrimination of a GARRICK had not discovered them, that any long comment on his performance would be unnecessary. The ambition, hypocrisy, and intrepid courage of the tyrant, were in general admirably delineated; but impartial criticism obliges us to remark, that the love scene with Lady Anne was deficient in spirit, and that, in many passages of his solilo quies, he was guilty of a monotonous enunciation which weakened the general effect. BARRYMORE has studied the character of Buckingham with particular care. WROUGHTON is too boisterous in the passive Henry; and C. KEMBLE's Richmond is too laboured to wear the semblance of nature. COVENT-GARDEN. THIS theatre commenced its season on the 14th, with the drama of Lovers Vows, and the musical entertainment of Selima and Azor. As the advertisements in the public papers, and the bills of the day, had announced the appearance of Mr. CookE in Richard the Third, a considerable disturbance took place in consequence of that gentleman's unexpected absence. It is, however, but justice to the proprietors to observe, that every possible measure was taken, at an early hour, to acquaint the public with the disappointment. Bills, stating the alteration of the play were posted up, and distributed in the avenues to the house; and the circumstance was communicated by the door-keepers to all who applied for admission. An uncommon degree of discontent was however, notwithstanding these precautions, manifested by the audience, which was very much increased by a report that Cooke was actually in town. Mr. MURRAY in vain attempted to obtain a hearing, and it was not until after repeated assurances, on the part of Mr. Lewis, that Mr. COOKE was expected to the very last moment, and a regular notice had been sent to him to attend his duty in town, that the play was suffered to proceed. Mr. CooкE performed Stukely, in the Gamester, the same evening at Newcastle. After the play he commenced the recitation of of Collins's Ode on the Passions, when he was suddenly taken ill, and abruptly retired from the stage. A few days after, the following address to the Ladies and Gentlemen of Newcastle, and its environs, was published:-- "Mr. COOKE feels infinite regret that the accidental recurrence of a bleeding from his breast (which attacked him at Glasgow) should have prevented him from fulfilling the whole of his duty on Monday; but more particularly so, when he reflects that it prevented him from personally thanking them for their kindness and support; which, both now and on former occasions, have left such an impression on his mind, that neither time nor circumstances can ever efface." This statement is confirmed by the following letter to Mr. HARRIS, from a physician of the first talents and practice in the North of England: SIR, "From great fatigue and exertion, Mr. CooкE has ruptured a blood-vessel in his chest, which renders it unsafe for him to travel. He is at present under my care, and I hope, in a short time, to be enabled to permit him to proceed to town. "I am, Sir, "Your obedient Servant, "Newcastle, Sept. 15, 1801. "E. KENTISH, M. D.” It appears from another letter received by the proprietors, from a gentleman of Newcastle, that Mr. LEWIS's notice, dated the 5th, to Mr. COOKE, of the opening of the theatre, had been directed to Manchester, and did not reach Newcastle until it was impossible to comply with it. We trust, that the indisposition of this excellent actor, which seems to be a return of the disorder under which he laboured for some time last winter, will not long deprive the stage of one of its brightest ornaments. The only alteration of importance in the theatre, is the fitting up a private box for the reception of his Majesty and the Royal Family. The box is over that occupied by their Majesties when they visit the theatre in state. It is to be compleated in the first style of elegance and convenience, and, in order to render the accommodation in every respect suitable, the adjoining saloon, with a suite of three apartments, is to be annexed to it. A communication between it and the Prince of Wales's box is effected, and the whole is to be finished according to a plan suggested by Mr. Harris, which has received his Majesty's approbation. NEW ENGAGEMENTS AT BOTH THEATRES. Mrs. BILLINGTON is to sing at Drury-Lane and CoventGarden. She receives 20001. from each; and her brother, Mr. WEICHSEL, 500!. for conducting the band. Maniane, in the opera of Artaxerxes, is the part which she has chosen for her début. cc 2 Her Her improvement, both in voice and science, are stated to be considerable. STORACE and BRAHAM are engaged at CoventGarden exclusively, and receive 20001. In consequence of the superiority of the musical department at this house, it is understood, that the proprietors of the rival theatre intend to call in as an auxiliary, Signora BOLLA, whose talents, as first Buffa at the opera house, have been the subject of general admiration. Mr. H. SIDDONS, eldest son of our great tragic actress, is also engaged at Covent-Garden, and makes his entrée in a new drama of the serious cast, supposed to have been translated by himself from the German. The little Theatre, in the Hay-market, closed on the 15th, after a season more remarkable for success than for any display of novelty or particular attractions. BUT few persons know the occasion which gave birth to VolTAIRE's comedy of L'Enfant Prodigue, and the circumstances which preceded its first representation. The following particulars relative to this subject, the authenticity of which may be relied on, will not appear destitute of interest to such of our readers as are curious in dramatic history. In the winter of 1736, Mademoiselle QUINAULT, the younger, (who long performed with distinction, the parts of the higher soubrettes in French comedies, and whose advice was so frequently beneficial to the most celebrated literati, all of whom were her friends) happened to be at the fair of St. Germain, where she saw performed a wretched farce, entitled L'Enfant Prodigue. The piece, however, was not entirely devoid of interest. She was even so impressed with it, as to mention it with some warmth of approbation on her return home; and she concluded her observations with saying, that she should give the subject to DESTOUCHES, to try what he could make of it. VOLTAIRE was present during the conversation, but seemed to pay no attention to it. Shortly after he retired. Next morning, at an early hour, he returned to Mademoiselle QUINAULT's, and asked whether she had mentioned the subject of L'Enfant Prodigue to DESTOUCHES. She replied that she had not seen him. "In that case," said he, "say nothing to him respecting it; I have brought you the performance." He then produced an outline of the comedy, and even of some of the prin cipal scenes. Mademoiselle QUINAULT listened with astonishment, and gave some hints, which VOLTAIRE's docility easily improved. In less than two months the piece was adopted, and presented presented by Mademoiselle QUINAULT to her fellow-performers, as the production of an author who wished to have his name concealed. It was received, and the actors were soon perfect in their parts. The success which VOLTAIRE had previously obtained, induced him to dread the formation of a cabal. Mademoiselle QUINAULT Counteracted the apprehended plot. A Tragedy, Phedrus, or Iphigenia, to the best of our recollection, was announced in the play bills. Before the rising of the curtain, the public were informed of the impossibility of representing it that evening, in consequence of one of those sudden indispositions which are so well known on the stage, but which were then by no means so frequent as at present. The performer added, that he was desired by the managers to offer, as a substitute, a new piece, which was not to have been brought out for several days; and on that account he solicited their indulgence, at least as to any deficiency of memory in the actors. The announcement of a first representation is always well received. The present was hailed with the most enthusiastic applause; and this favourable disposi tion in the pit, left to its own judgment, and uninfluenced by any cabal, joined to the interest of this little drama, procured it the most extensive success. Thus, by the aid of Mademoiselle QuiNAULT, VOLTAIRE easily obtained a triumph, which, perhaps, would have been warmly contested, had the business been conducted with less discretion and address. From that time L'Enfant Prodigue became a stock piece; and it is only within these few years that it has been withdrawn from the regular list of performances for the season, PARISIAN FASHIONS. BLACK crape hats and veils, instead of head-dresses, are still the rage. Oblong caps, ornamented with silver chefs, are less worn; on the rose-colour wrapper, that appears to be the most recent fashion, there are two or three stripes of small plaited ribbon, most of them of a long form. The robes of the latest fashion are likewise of rose-colour crape; the waists are wide, they are hooked up in a drapery above both shoulders, and have no running strings round the bosom. Jackets are still worn in undress; and the fans are extremely small. COMMERCE, |