the music composed by George J. O. Allman, Prowse.

Three very charming ballads by a charming English composer, who seems to be felicitous in really adapting the sentiment of his music to the sentiment of the words. Miss Youatt is so well known to the readers of these pages that we need not say more than that the verses to which Mr. Allman has arranged a sweet melody are worthy of her pen.

Of the ballads by the late and lamented Letitia Landon, we are inclined to prefer “They named him," although the "Farewell" is also very beautiful; in both, the occasional introduction of the minor key adds to the pathos, and is very effective. The accompaniments of all are judiciously arranged, and the songs, even am.d the multitudes which are constantly pouring from the press, deserve extensive popularity whether they meet with it or not.

there is so much of the true spirit in these volumes-even though, in two or three pages, the warmth of defence for her long persecuted people may cause the author to enter more into polemics than was absolutely demanded by her subject-we cannot but feel that Christian as well as Hebrew would derive advantage as well as enjoyment from its perusal. Its eloquence of style and beauty of language must, we think, obtain for it a high place in the female literature of the day; while its subject, displaying research and study, not merely of Jewish history, but of those subtle, and often concealed, combinations of causes which produce events and create character, cannot fail to interest the student, as its acute perception of woman's nature must touch the heart of that sex to whom its pages are so particularly addressed. We were greatly struck with the memoir of Mariamme, in the sixth period, where the author-boldly diverging from the beaten path of historians, who generally adopt, without examining, the contradictory statements of Josephus-displays the true character and eventful history of that hapless princess The little poem, a part of which is now set to in a completely novel light. Helena, Queen of music, has been published before; but the air, Adialeus, and Berenice, in general merely known which Mr. Gattie has composed to it, has someas the beloved of Titus, we also find endowed thing quite striking in its graceful liveliness. by the penetration of our author with an interest We fear it is arranged something beyond the which the mere casual reader might believe compass of ordinary amateurs, but this difficulty scarcely compatible with the brief and un- may be got over by transposition, of course. The satisfactory details in the general historian. accent of words and music agree charmingly, a The seventh period transports us to the Hebrews merit in modern compositions less common of more modern times, and treats on the secretly-it ought to be; and the accompaniment is very working, but all-powerful causes of their peculiar happy and appropriate. bearings and characteristics, as none but a Hebrew could. The work-remarkable alike for its subject as for its being the first production of its kind among the Jews-concludes with an appeal to the females of her own people, so earnest and soulfelt, that we believe the heart must indeed be callous, be his individual creed what it may, who can remain untouched by its eloquence and truth.

"THE QUEEN OF SPRING!" Written by Camilla Toulmin; composed for voice and piano by James Gattie. Wessel and Co.

than

"THIRD SET OF SIX GERMAN SONGS FOR VOICE AND PIANO." Composed by B. Molique; translated by C. J. Riethmüller, Esq. Wessel & Co.

With music is it as with books; when one meets with anything of the highest order, not only is the enjoyment proportioned, but we feel a strong wish for a little temporary despotism, by which we could utterly abolish all inferior productions, as things which have not an appaMINSTREL LOVE; a Romance from the rent use on earth. Sure we are of this, that the German of Fouqué. (Burns.)—This is a new habitual study of a low standard, either in art translation of a popular work by the author of or literature, has a most debasing and mis"Undine," and is brought out with that ex-chievous tendency, a tendency of which its vicquisite taste for which the spirited publisher is remarkable. The nine illustrations which adorn it are very beautiful. Although this is a work less generally known and appreciated than "Undine"-being more dreamy and indistinct it has many beauties to repay perusal; and those who are not German scholars can scarcely find a more favourable opportunity for becoming acquainted with them, than through this able translation.

MUSIC.

"AH ME! IT IS A CHANGEFUL PLACE." The poetry by Elizabeth Youatt; the music by George J. O. Allman. Lewis and Co. Cheapside.

"THEY NAMED HIM." Written by L. E. L.; the music composed by George J. Ó. Allman.

Prowse.

"FAREWELL!" Ballad; written by L. E, L.;

tims are commonly quite unconscious. Messrs. Wessel and Co. are so well known as the publishers of Spohr, Chopin, Mendelssohn, and other of the modern masters, that we naturally look with respect at everything they usher for ward; nor could these beautiful German songs disappoint the most fastidious. "Mother and daughter," an andante movement in F minor, is full of soft yet rich pathos, and, as is characteristic of German music, suggestive as well as expressive. "Oh, still my heart's fond beating" is one of those melodies which strike the ear at once, and cannot be forgotten; it is replete with passionate tenderness-a very love-song-the accompaniment of which is most harmonious and expressive. "I look round the world," and "Faith, hope, and love," are in a livelier measure. Cottage Fair," a most graceful serenade, and "Come, dearest, come," complete this set of delightful songs. The words of the

66

last are translated from the original of Prince | lovers and appreciators of intellectual music, Albert. We ought to add that the poetry in who look on it as a gift to the soul-like poetry, nearly every instance is quite worthy of the the passionate expression of human emotions, and music, remarkable as this is for sentiment and not, as too many seem to consider it, a tinkling melody. We recommend these songs to the toy to please the ear and lull the senses.

OF

cess; the more so as it is an effort of native | the character of Claude Melnotte, in Sir Edward talent. The ballet of The Marble Maiden has been the concluding performance of every evening it abounds in exquisite scenery, and the dancing of Dumilatre alone would gain it the approbation of the public. The Enchantress and The Bohemian Girl, with Der Freischutz, have been the operas which have followed; and though the two first were the production of a departed season, they have drawn delighted and

crowded houses.

PRINCESS'S.

Bulwer Lytton's play, The Lady of Lyons, embodied much of the feeling and manner of Mr. Macready-the gentleman for whom the character was originally written. The style in which his first scene was performed when he enters his mother's cottage, the winner of the prize at the shooting-match, was beyond praise. The aspirations of the gardener's son-his ambition to be "worthy of Pauline"-his indignation at the repulsing of his messenger, by whom he had sent verses to the "beauty of Lyons," and which It is at this delightful theatre that the greatest were indignantly spurned his passionate ap event of the past month has occurred, which is, peal to his mother, if he be "a fool and brainthe appearance of Mr. Macready, the talented less idiot," were exquisitely beautiful; as was the tragedian, after an absence of three years from garden scene, where he has personified the the London boards. We saw no difference in Prince of Como; and his concluding scene in the this gentleman's performance of Hamlet-the play claims praise that, if uttered, would alcharacter in which he first appeared. It was the most appear fulsome. That Mr. Anderson proved production of a well studied performer: there himself a first-rate performer is no insignificant was not one point lost, and it was played through- praise, and the most raptured enthusiasm on out with a spirit and precision, and with a taste the part of the audience attended his efforts. and judgment, which alone could proceed from But it is of the representative of the beautiful Mr. Macready. To say that the performance Pauline Déchapelles we must more especially speak was perfect were to say unquestionably more -the proud and admired merchant's daughter than the truth; for the reading adopted by Mr.the beauty of Lyons. This character, one of Macready, though decidedly original, has in it the most exquisite of the author's many exquian originality not to be envied, and for this site productions, was (as originally) performed reason-it is one which would have suggested by Miss Helen Faucit. To endeavour to make itself to any mind; nay, must have suggested a selection to praise most especially, where the itself to all, but has been by all discarded! Why? Because, in the first place, it degrades the feeling and the composition of the immortal Shakspeare, and in so doing makes Hamlet a clever counterfeiter, but nothing more. Mr. Macready does not endue the character with the SOUL. The platform, closet, and fencing scene are, each, a mere representation; and it seems his object to impress such upon the minds of his auditors. But it is in King Lear that Mr. Macready proved himself the great tragedian of the day he has entered into the full feeling, and the stern simplicity of the poet's original. The Hamlet is the Hamlet of Mr. Macready; but it is Shakspeare's Lear, and a perfect and beautiful reading of the character is the production. Mr. Wallack has, on the intervening nights of Mr. Macready's performing, drawn crowded houses in The Brigand, as also in Katherine and Petruchio; while a new farce, entitled A Man without a Head, has succeeded in producing the most continued shouts of laughter. The joke is principally that a gentleman is troubled with an excessively short memory; so short, that even entering the holy state of matrimony has slipped his sconce, before he has completed the first week of his married state. This, with the Court Ball, has contributed to the attraction of the Princess's, at which it is with no small delight we hail the

whole is a perfection, is a task next to impossible. There was not an effect lost, whose production could in the slightest degree tend to the advancement of the piece; and the grandeur of the scene, when she discovers how her pride has been trampled upon, and that instead of the Princess of Como she is a cottager's wife, is indeed magnificent; as is also her spurning of the vile Beauseant, who, having humiliated her by degradation, seeks in that degradation to sully her virtue, was the acme of the grand and beautiful; and in the last scene, when, separated for years, she is about to renounce Claude Melnotte for ever, and, to save her father from ruin, is to be married to the wretch Beauseant-when she turns and bids Melnotte, who is in disguise, to tell Claude she loved him till the last, this is beyond praise. Miss Faucit threw into it all the impassioned feeling of which she is so completely mistress, and gave at once the stamp in every movement and gesture of a heart humbled from an absurd pride, but loving, hoping on, though even the existence of Claude Melnotte is an uncertainty. But how to describe the passing of the crisis, the discovery that all she loves is restored to her, no longer the cotter's son, but a son of the Republic-a soldier, covered with honour won by his sword and indeed of the entire role, was perfect, is but -to say that Miss Faucit's performance of this, a limited and inefficient praise. Mrs. Clifford supported her original character of Madame Time Works Wonders, with other comedies, Déchapelles, with all the littleness of pride atduring the early part of the past month, en-tached to it, admirably, as did all the performers gaged the attention of the public, but the re- in their several branches. We are sorry appearance of Miss Helen Faucit and Mr. An- Miss Helen Faucit's engagement is of so short derson has been the "event." Mr. Anderson, in duration, it being only for twelve nights. We

return of the LEGITIMATE DRAMA.

HAYMARKET.

that

shall refer to her performance of other favourite There is a grandeur infused into this reprecharacters next month.

FOR

I have seen one only of these mantles: the form is that of a bell; and they bear, indeed, a very strong likeness to the paletots cloches worn by gentlemen some years ago. This is by no means a graceful style of pardessus; nor do I think it will become fashionable. Another form that I have just seen, and that I think is likely to be in vogue, bears the singular name of Caprice: happy the husband whose better-half has no caprices more annoying to him than her choice of this pretty mantelet; which is, certainly, from the beauty of the materials, rather expensive: it is composed of velvet lined with satin, round, and very deep behind, opening at the ceinture, and rounding off in the form of basques at each side. I have seen some trimmed with black lace, and others with ermine or sable. A muff, I should observe, is indispensable with a caprice; but, indeed, as the season advances, muffs will be universally adopted. Mantles of a large size, and of the same form as the models I have sent you, will, I know, be a good deal adopted in the course of the month. Camails are also expected to be revived; as are also manteaux russe, and some others that were fashionable last season.

they are likely to become fashionable. Full colours, as violet, crimson, dark and golden brown, lavender, and dark green, are most in request for chapeaux; emerald green, pink, blue, and several other light hues for satin and velours épinglé. Feathers, of various kinds, particularly shaded ones, are employed for parure, and satin ribbons, striped with velvet, for négligé; but the velvet stripe is always of the colour of the satin, as a good many of the half-dress chapeaux and capotes are trimmed with these kinds of ribbons with a coloured stripe, and feathers to correspond; as, for instance, some pink satin chapeaux, decorated with pink satin ribbons edged by a very narrow stripe of green velvet, a wreath of pink marabouts shaded with green encircles the crown, and the interior of the brim is ornamented with mancinis, composed of two tufts of pink shaded marabouts with velvet foliage. I may cite also, in a quieter style, and equally adapted for the public promenade and half-dress, some chapeaux of green velvet, trimmed with green ribbon edged with black velvet, and a long, flat ostrich feather shaded in black. These chapeaux, being of the widest form of brim that the Pamela admits (for, as I have formerly observed, there are a good many modifications), they are The materials will be velvet, satin, levantine, very full trimmed at the head of the brides with royal pekin, satin à la Reine, and reps Pomroses, shaded in white and cherry colour. In padour; there will be considerable variety in some instances a fall of black Chantilly is placed trimmings, which will of course accord with the at the edge of the brim, and encircles also the style of dress for which the mantle is intended. bavolet. The coques of ribbons, which have Velvet disposed in the same manner as your latterly been so much in vogue for the interior model will be very generally employed; passe of chapeaux, will be replaced by flowers, which menterie, which seems likely to be more the rage have, indeed, a much better effect-particularly than ever, has assumed so many forms that it small roses exquisitely natural and fresh. A may be adopted both for négligé and half-dress. novel style of trimming for velvet chapeaux is We have for the former, gimps, fringes, torcomposed of velvet leaves disposed in attaches sades, flat trimmings wrought in various ways, on the left side, and intermingled with black lace; and a great variety of buttons and brandebourgs. a velvet nœud of a novel form ornaments the For a more dressy style, we have the passemen other side; full tufts of small roses in the in-terie byrinthe, dentelle de Venise, dentelle de terior complete the garniture. The most remarkable among the half-dress capotes are those of pink satin, trimmed round the crown with very broad blonde lace falling over the brim, attaches of roses on each side, formed above the bavolet, a small wreath harmonising perfectly with the exquisite lightness of the blonde. Black velvet, and satin of sombre hues, will be a great deal adopted in plain walking dress for capotes; the form called Clarisse, or, as it is now generally termed, Clarisse Harlewe, in memory of Richardson's ill-fated heroine, whose history is still a favourite here; the brim is long, rather close, resembling a good deal the English cottage bonnet, and certainly well calculated for walking dress.

velours, and several other fancy garnitures. There is no doubt that as the season advances furs will be very much in vogue in every way in which they can be worn in out-door dress. Sable, that is mastre zibeline, which is Siberian sable of the finest kind, will be employed both for muffs, camails, scarfs, and the trimmings of pardessus of every description. Ermine will be equally in request, but with this difference, that while sable, though even more expensive than ermine, may be worn in perfect négligé, ermine is never seen but in demi-toilette, or that very elegant style of public promenade dress, which is the same thing. Fancy furs are expected to enjoy a certain vogue, and grébe, a fur that your fair readers may recollect was fashionable a few years ago, will, it is said, again come into favour; but as yet there is nothing positively settled as to any other furs than sable and ermine.

I must bring my chapter on hats to a conclusion, or I shall not have space for other things of importance. There will be this season, I think, a greater variety of pardessus than has A variety of new winter materials have ap appeared for several seasons past. The Kaza-peared for robes; the majority are silks; striped veika, that I described to you in my last letter, will, I am assured, keep its ground; there is also some talk of a new kind of pelisse or mantle for ladies, cut straight behind, without plaits, though descending in a certain degree of fulness.

levantine, satin à la Reine, reps Pompadour, are intended entirely for morning dress, as are also plain poplins and cashmeres. Fancy materials for demi-toilette are cachemires cordaline, cache mires grenadine, and crépes cachemire. Satin