my mother and aunt, who supposed that I had made my escape from the room, discovered me lifeless and black in the face. They ran to me, but I still held on with my teeth, nor could I be separated from my now screaming relative, until the admission of fresh air and a plentiful sprinkling of cold water brought me to my senses, when I was laid on the sofa, utterly exhausted. It certainly was a narrow escape, and it may be said, that the "biter was nearly bit." As for my granny, she recovered her fright and her legs, but she did not recover her temper; she could not sit down without a pillow on the chair for many days, and although little was said to me in consequence of the danger I had incurred, yet there was an evident abhorrence of me on the part of the old woman." (p. 37. vol. I.)

What the author means by all this we know not: if it is intended for wit, it is a most woful failure. The whole incident is as unnatural as it is low, and we can assure the writer that such trash as this is, in our opinion, only worthy of the flames. The remarks about Nelson are not much superior, although they are less innocen. Keene relates the following incident:

"One evening, as I was leaning against one of the guns on the main-deck, waiting for Cross to come out of the cabin, I was amused with the following conversation between a boatswain's mate and a fore-top man. I shall give it verbatim. They were talking of one that was dead, and after the boatswain's mate had said, 'Well, he's in heaven, poor fellow,' after a pause, the fore-top man said—

Why not?' replied the boatswain's mate.

Why, the parson says it's good works; now I certainly have been a pretty many times in action, and have killed plenty of Frenchmen in my time.'

'Well, that's sufficient, I should think; I hold my hopes upon just the same claims; I've cut down fifty Frenchmen in my life, and if that ain't good works, I don't know what is.'

'I suppose Nelson's in heaven?'

'Of course; if so be he wishes to be there, I should like to know who would keep him out, if he was determined on it; no, no! depend upon it, he walked s'ap in.''

All this is no doubt very funny; but we envy not a writer who can make sport of sacred subjects; and who mistakes blasphemy for humour. He can not, we should imagine, when in sorrow and affliction, console himself with the language of the most voluminous writer, if not the greatest genius, of the present century: "It is a comfort to me to think that I have tried to unsettle no man's faith, to corrupt no man's principles, and that I have written nothing which on my death-ded I should wish blotted." He appears to have but one object in view, and that is, to draw man in the most debased condition, devoid of all resemblance to his Creator-lower even than the brute. He can surely never exclaim with Hamlet, "What a piece of work is man! how noble in reason! how infinite in faculties! in form and moving how express and admirable! in action how like an angel, in apprehension how like a God!" Though he might appropriately say, goodly frame, the earth, seems to me a sterile promontory-this most excellent canopy, the air, look you-this brave overhanging firmament!-this majestical roof, fretted with golden fire; why it appears no other thing to me than a foul and pestilent congregation of vapour."

"This

A respectable contemporary has likened the author of Percival Keene to Fielding and Smollett, and has so far complimented him as to say that he is by no means inferior for his deep acquaintance with the human character, and, as he is pleased to call it, his "racy wit." We do not, of course, find fault with any one for expressing his sincere opinions, but we may be allowed with all humility to observe, that he must be much more intimately acquainted with those authors than we profess to be, to have discovered the most remote resemblance in their writings. This worthy Editor may probably be partial to the works of the gallant Captain, because the publishers of the same are the proprietors of his Monthly Magazine, or he may probably

never have read Captain Marryat's productions. For ourselves we venture the opinion that in no one point of view can these writers be compared, unless possibly it may be in the gross indecencies in which each of them indulges. Marryat may have imitated their weaknesses, but he has not borrowed their power. The moon shines serenely in the heavens, while its image is reflected in the puddle.”

66

We do not wish to be severe upon Captain Marryat, but we must say that the novel before us would be no credit to the most contemptible author, even if it were emasculated of its indecency and profaneness; and we feel that it were impossible too strongly to censure these now too much circulated books of trash for although probably they are purchased by none but the proprietors of reading-rooms and coffee-houses, still their readers are numerous among the young and foolish, and the notions they insinuate are widely diffused. An author undertakes a great responsibility; many opinions are formed or confirmed by him. He who employs his talents in promoting knowledge and virtue, who seeks “to minister to a mind diseased," or to "pluck from the memory a rooted sorrow," truly deserves the gratitude of mankind. But let not him expect such a reward who writes merely to please and to amuse, without any care to instruct; who humours the current fancies of the age, and panders to the low caprices of a depraved popular

taste.

New Music.

"Oh! where have ye flown?" a Duet, with an Accompaniment for the Pianoforte. The words and music by C. G. RowE. London: J. J. Ewer and Co., 69, Newgate Street.

THIS is an easy and graceful composition, by an author with whose name we are not acquainted, but who has arrived at high and evident excellence in his difficult profession. The melody is exceedingly simple and expressive, and the accompaniment richly harmonious. The words, too, are far superior to the general run of such compositions, there is a strain of pathos in them that is extremely touching. We are informed that this Duet has been sung with great success at many concerts in town.

The Young Vocalist's Cabinet; Book 1st containing three Catches for 2, 3, and 4 voices; and 5 Duets, principally on the interval of the second. The words and music by C. G. Rowe, professor of music and singing. London: Ewer and Co. Newgate Street.

THE little work, the title of which we have above transcribed, seems to us a very excellent performance. The poetry, and the music too, possess the rare merit of being not too simple for adults, nor too abstruse for children, and are therefore fitted for learners of all ages. In Catch the First, the author confines himself to the use of no other interval than a second, and no other character than a crotchet. In Catch the Second, a dotted minim occurs, which affords the teacher an opportunity of explaining the dot in all its varieties. Catch the Third requires the teacher to explain 6-8 time, with the nature of semiquavers and quavers. An exceedingly pleasing Duet intitled "Oh! Speed us in our Flight," being written in E major, renders it necessary for the master to explain the nature of scales and keys. Towards the close of the book, skips of a third and fourth occur, where they are well placed to prepare the pupil for a more difficult course of lessons. The work does not pretend to be a system, but still it is a highly useful and instructive performance, and we do not hesitate to recommend it most cordially to the music-learning public.

Hymns and Anthems. The words chiefly from Holy Scripture and the Writings of Poets: the music by ELIZA FLOWER. Vol. I. "Adoration, Aspiration, and Belief." London: C. Fox, Cramer & Co.

THE question was once asked-what single musical work could a human being be content with, for the purpose of deriving religious consolation therefrom, assuming the recollection of all other compositions whatsoever to be banished from the mind. At that time, it was difficult to answer the question, for the above-named production,

was not then in existence. After repeatedly perusing and studying these beautiful compositions, we are more and more sensible of their exquisite beauty, and their real irresistible eloquence. There is a tinge of sorrow which imbues every phrase, not a gloomy, ascetic feeling, but a sentiment forming a medium through which the aspiring soul obtains clearer glimpses of its glorious destiny. Miss Flower frequently makes use of the chromatic scale, and we meet with sudden modulations at almost every page, but there is always reason for their employment. A remarkable instance may be referred to in the music to the beautiful words of Akenside, commencing "As flame ascends," where the sudden modulation from the original key, in the passage

"As the poised Ocean towards the attracting Moon,"

most vividly calls up the idea of that glorious luminary, as on some serene evening, heralded by a few light fleecy clouds, she sails over the deep blue expanse, the waters leaping as with joy at her gentle approach. We might refer to many other passages of equal beauty, but our limits will not allow of a more extended notice. The work is well adapted for domestic or congregational use, admirably indeed for the latter purpose, by the introduction of responses, or passages intended to be sung by the congregation apart from the choir, expressing acquiescence in the general sentiment. We most cordially hail the appearance of this volume, for it is the production of Genius, and as such destined to aid in the intellectual and moral advancement of Humanity.

The Drama.

The

DRURY LANE. We hail as an auspicious omen Mr. Macready's renewed attempt to regenerate the Theatre, and make it worthy the genius of the age. The annals of the Stage do not record another individual that has done more intrinsic good for the histrionic art. It was a hazardous undertaking, when he resolved on the attempt to revive the Legitimate Drama. The enterprise was fraught with great pecuniary risk, and demanded exertions unremitted and laborious. mental courage and ability requisite toward the successful accomplishment of the consummation fondly cherished by the Manager of Drury Lane, can only be properly estimated by reflecting on the state of Theatricals when he first became Lessee of Covent Garden. His reformations before the curtain were at once apparent. Everything that could add to the comfort, or which had previously been a source of annoyance and disgust, to (the larger part of) the audience, was studiously attended to. The improvements on the stage were not less important and commendable. Some of the long-neglected productions of our Old Dramatists were immediately brought forward, in a manner honourable to the judgment and taste of the Manager-as well as being entitled to the patronage and approbation of the public. It is unnecessary to comment on the admirable talent displayed in the revivals of several of Shakspere's Plays. Every true critic must admit that the scenic departments, the accuracy of costumes, and the extraordinary attention to minute niceties, were evidently very different from what had been witnessable in the same pieces at any other period. The cast of characters too was also conspicuous, as evincing great skill and unusual unity. Thanks to Macready, that beautiful creation of our great poet, "The Tempest," which had for such a protracted series of years been subject to so many mutilations, was once more revived from the original text, in a style of excellence both as regards beauty of scenery and personation of character-that will long linger in the minds of all who are able to judge truly, and whose imagi

nations are

"Not to the earth confined."

Yet all these auxiliaries failed to produce an adequate return for the outlay expended on the speculation. Macready lost money and anxiety at Covent Garden, and last season the termination of his labours at Drury Lane was equally cheerless and unprofitable. It is useless to assign causes for such a result, more particularly when the Management was not at fault. It may be possible that the improvements introduced by the lessee into every department of either establishment were so rapid and unexpected as to require time to be understood and rightly appreciated. Or probably the vast expenditure demanded to carry on, with proper spirit, a Theatre so absurdly extensive-dissipates the hope of remuneration. We are the more inclined to rail against the unreasonable size of the National Theatres, because the public has not been backward in its support whenever strong appeals have been

made; but when the expenditure is so excessive, no patronage it would appear can satisfactorily replenish the Treasury. The more especially when both the large houses raise their curtains simultaneously, each anticipating favour and support. We have no hesitation in giving it as our opinion that at the expiration of the present seasor, either Kemble or Macready (perhaps both), and others interested, will have lost by the speculation. We sincerely trust that we may turn out false prophets, but at the same time we greatly fear that our conjectures will be verified. We should not have published this conviction, did we not believe, that taken in conjunction with Macready's past losses, it enhances the merit so justly due to him, by proving his willingness to meet every obstacle-for the promotion of the Drama itself, without reference, exclusively, to his individual aggrandisement. It is sufficient to show that he throws a zeal, an earnestness, and a devotedness into the undertaking, which claims respect, and deserves a triumph.

If the opening night be any criterion of the prosperity of the season, then our present prognostic will indeed be wrong. A crowded audience assembled, and Macready was welcomed with long and vehement applause; a more hearty reception we have seldom witnessed. "As you like it" was the play selected for the occasion, supported by almost the entire list of a very efficient Company. The scenery was exquisitely beautiful, especially the scenes in the Forest of Arden--they are full of poetic tints, in strict accordance with the poetry of the play. The Wrestling Match was admirable: there was a reality in it which took the audience by surprise, and their delight was testified by vociferous approbation. The pastoral beauty of the last scene is equally deserving of notice.

:

Macready's Jaques was a fine performance, full of natural touches his melancholy was not bitter and surly, but what we apprehend Shakspere intended it to be" a melancholy, compounded of many simples extracted from many objects." Macready's conception made the character a distinct one: he thoroughly identified himself with it. The delivery of the "Seven Ages" was full of judgment, and the grouping of the Characters, during the recital, was excellently managed, all appeared intent on listening to the moralizer's discourse, and the attentiveness on the stage was reciprocated by the audience. At the conclusion of it we were particularly pleased with Macready's rapid eagerness, on perceiving the approach of Orlando supporting Adam, to assist the aged man to a seat. There was great feeling conspicuous in the movement, and though seemingly a trifling circumstance, yet it was an evidence that the character, even to detail, had been well studied.

The Orlando of Anderson, though not a perfect, was a very creditable, performWe could have wished him to have thrown off a certain stiffness of manner, and assumed more the appearance of the passionate lover.

ance.

Mrs. Nisbett's Rosalind was full of fascination, but was destitute of conception: we would rather have had less of the lightheartedness of that charming actress, and more of the pensiveness of Shakspere's Ganymede. Her fainting when she saw the blood of Orlando, was by no means effective: there was no indication of feeling in it. The transition from the effects of the fright, to that of partial recovery, was not true to nature: there was too much vivacity in her " laughing eyes" to be either truthful or consistent. Her entire performance was artificially clever, but evinced no genuine emotion, nor deep insight into the delicate shades of the character. Phelps threw considerable pathos and feeling into the part of Adam. Le Beau was admirably personated by Hudson, who undoubtedly possesses talent which will ultimately rank him high in his profession. G. Bennett growled and fumed with his usual ability as Duke Frederick; it is either to be regretted that this gentleman's lungs are so lusty, or that his discretion does not suggest a better use of them. Mrs. Stirling, as Celia, Mrs. Keeley, as Audrey (by the way her features are far too expressive for the rustic wench), and her husband as Touchstone, acquitted themselves favourably in their respective characters. The melody of Messrs. H. Phillips, Allen, and Stretton, not forgetting Miss P. Horton, materially augmented the enchantment of the Forest Scenes. Taking the play altogether, it is a revival which Macready may justly be proud of, and we doubt not it will yield him a fair reward for the labour and care he has bestowed on its production.

A light Comedy, claiming its parentage from the French, has been brought out, which is full of bustle and comic situations: allowing free scope for the talents of Charles Mathews, Compton, Hudson, and Madame Vestris. It is a pleasing trifle excellently produced, and may enjoy a long run. We were glad to witness the warm manner in which the late managers of Covent Garden were received on the boards of Old Drury they are a great acquisition to the Company.

Institutional Intelligence.

CITY OF LONDON LITERARY AND SCIENTIFIC INSTITUTION, ALDERSGATE STREET. Philosophical Class.-The members of this Class have just concluded a course of study upon the science of Vegetable Physiology, embracing the laws of the growth of Plants, the changes produced upon them by the operation of the atmosphere, and subsequent formation of the vegetable proximate principles-Fibrin, Gluten, Starch, Sugar, &c., with the phenomena of Fermentation, all of which have been ably demonstrated in a series of experiments by Mr. W. M. CHATTERLY, the professor.

The latter portion of the subject related principally to manures, both natural and artificial, by a more extended knowledge of which society in general would be greatly benefitted. Animal Physiology now engages the attention of the members, and will no doubt prove highly interesting and instructive.

Elocution Class.-On Saturday evening, October 8th, Mr. THOMAS TAGG delivered a Lecture on the Poetical Writings of Sir Walter Scott to a numerous and attentive auditory. Mr. TAGG commenced his discourse by a happy allusion to the circumstance, that the same day in the same year produced two such remarkable men as Walter Scott and Napoleon Buonaparte, and drew a very eloquent and striking comparison between their respective achievements. Both, he said, were conquerors of the world-one subdued it by the sword, the other by the pen. Napoleon was the hero of desolation, vengeance and terror; Scott of peace and friendship, and brotherly love. Napoleon, after winning the world, fell from his high place, and died an unfriended, solitary exile; Scott rose higher and higher in the atmosphere of fame, and when he passed away from men, he left behind him a renown that cannot perish-a glory that can never die.

Mr. TAGG then proceeded to criticise, with much taste, the first poetical production which Scott gave to the world, the "Lay of the Last Minstrel," and recited several passages from that poem with great effect. He enlarged upon the author's amazing power of description, which he considered as second only to Shakspere's, and he took occasion to show the superiority of Poetry to Painting in bringing scenes and persons before us, instancing Scott's beautiful lines on "Melrose Abbey by Moonlight." The lecturer next referred to "Rokeby," and then proceeded to comment upon his other poems, and concluded his remarks with a high and eloquent eulogium on Scott's genius and character.

A vote of thanks to Mr. TAGG, proposed by Mr. E. N. DENNYS, and seconded by Mr. JOHN C. WILLIAMS, was carried with acclamation.

Music Class.-On Friday, September 30th, a Concert took place under the d'rection of Mr. J. A. L. BARNARD. The vocal performers were Miss BETTS, Miss CUBITT, Mrs. SEVERN, Miss SOLOMON, Messrs. RANSFORD, TURNER, T. H. SEVERN, &c. &c.; and Mr. PATEY was the leader of the band. Miss BETTS was in excellent voice, and was most warmly encored, her style of singing "Jock o' Hazeldean " was exceedingly effective. Miss CUBITT sang Where the Bee sucks" with great taste and feeling, and was compelled to repeat it. The great attraction of the evening, however, was the Music in Macbeth, which was very correctly and effectively performed. The Choruses were sung with much animation and spirit, and the singing of Mr. RANSFORD as Hecate was most admirable. A very interesting looking band of witches appeared on the occasion, and added no little to the interest with which the performance was received. We scarcely ever remember to have seen an audience so thoroughly pleased with the entertainment provided for them, and Mr. Barnard deserves many thanks for the spirited manner in which he catered for their amusement.

At Mr. Petch's Concert on Friday, October the 14th, the principal attractions of the evening were Miss DESBROW and Miss THORNTON. The former lady sang "Tell me my Heart," ," "O! Erin my Country," and several other songs, greatly to the delight of the audience; and Miss THORNTON, 66 Pretty Star of the Night," most delightfully. The beautiful duet "I know a Bank," was given most sweetly by these ladies, and elicited a unanimous encore. We must not forget to notice Mr. GoODWIN'S songs "The Rose of Allandale," and "They Mourn me Dead," which were highly approved by the audience; nor Mr. HARDY'S song, "The Land ;" nor must we fail to mention the excellent performance of the Overture to Guy Mannering, in which Mr. PATEY played the violin solo with his usual ability.