theatrical specimen, in the Ducrow School; No. 70, "The Cavalier," A. Cooper, R.A.-more like a cooper than a cavalier-talking to a young lady, evidently new from the Asylum for Female Orphans, with a Newgate-faced villain to make up the wickedness of the background, in the selection of which we leave the prize-holder to find out his mistake, with the rest of its beauties. No. 145,"Highland Scenery, a Snow Storm passing off," F. R. Lee, R.A.; No. 117, and No. 100, by the same, which, though possessing considerable interest and beauty, are surpassed by several of the landscapes purchased from the Gallery of the Society of British Artists. Though last, not least in its claims to outrival tea-trays and snuff-boxes, is No. 93. "Scene on the Road leading to Buttermere, with Crummock Lake and the Mountain called Rannerdale Knor," R. R. Reinagle, R.A., than which nothing can be worse. Our readers will have gathered that our opinion is upon the whole favourable to the Exhibition. True it is that there is not, perhaps, one picture of the highest order--some very bad; but here is many a picture that will carry with it forms of grace and beauty, and harmonies of colour, for numberless eyes to gaze on, into homes where, but for the Art Union and its Guinea subscription, never picture would have made its way; or, perhaps, to be "a thing of beauty and a joy for ever," in the chamber of some poor picture lover, who has gone about from Exhibition to Exhibition, under a sense of responsibility that he was under, for the disposal of his £50 or £60. The possession of a picture is a very good specific to create an interest in Art; and at all events, amongst the twelve thousand subscribers to the Art Union, there must be many who will be led to look at works of Art with more interest than before, and from looking to compare, and from comparing to judge, till the name of Raphael, Correggio, and Claude, shall become to them more than mere names to prate about, and they shall learn to appreciate Art for Art's sake. Shakespeariana. THE following coincidences may be worth recording. J. F. B. "My gracious Lord, warn'd wisely to advise, "Let's take the instant by the forward top, AS YOU LIKE IT, Act V. "I hold these salutations as ominous; for saluting me by that which I am not, he presageth what I shall be: for so did the Lacedemonians by Agathocles, who of a base potter wore the kingly diadem.” GREENE'S ORLANDO FURIOSO. "All Hail Macbeth, Hail to the Thane of Cawdor," &c. MACBETH, Act I. Scene 3. "Slender-In the C of Gloster, justice of peace and coram.” Malone supposes, that by coram, Slender, having seen a justice's summons or warrant, in which the words "coram me Roberto Shallow" might appear, (for all legal preceedings were then in Latin,) applies the word coram as an office or title; but the position of the word coram does not justify this; for a style of worship or dignity would be affixed, not prefixed. The word coram is a corruption of quorum. Justice of the peace and quorum is a title well known, and was not unfrequently spelt coram. On a monument in Tottenham Church, Middlesex, is an inscription, "Here also resteth in peace the body of Sir Ferdinando Heyborne, knight, justice of peace and coram in the county of Middlesex 1619." Indeed, the continuation of the dialogue by Shallow shows this; for he says, he is also "cust-alorum," meaning, that he is not only a justice of the peace and quorum, but also custos rotulorum. T. E. T. LITERARY SOCIETIES. THE IRISH ARCHEOLOGICAL SOCIETY. THIS is certainly one of the most useful of the many Societies that have followed the example set by the Camden. Its purport is to reprint and thus preserve the manuscripts and scarce books that illustrate the History of Ireland,-a History requiring such sober illustration more than that of any other country. This Society published four books in the first year of its existence (1841), and has five in the press for its subscribers of this year. We have not space at present to notice any of its publications minutely; but as an aid to the ultimate production of a good History of Ireland, we sincerely recommend it to the notice, not only of Irish literary men, but of all lovers of ancient literature. Music. THE OPERA. AFTER a few more last nights the Italian Opera has closed. On the two supplementary nights the Manager had recourse to a plan that, if rendered permanent, we are sure would answer. The reduction of the admission to the pit from the nominal half guinea to five shillings is what we refer to; and if this was to be made the regular price, and orders rigidly refused, we are sure it would be exceedingly advantageous to the Manager. The regular frequenter of the pit recognises numerous faces, chiefly foreign, and if not, still of a class that could not be there, even at five shillings, without a considerable issue of orders. The genuine love of music and the universality of good manners would induce a vast number of persons to visit the theatre at a reasonable price, and tend to give not only advantages to the Treasury, but a much more respectable company to the pit. This is certainly an important step to counsel, but we strongly recommend it to Mr. Lumley's consideration. A great deal has been done during this season under very disadvantageous circumstances. The great string to the bow, or rather the bow itself, Grisi, was not to be had, but the management has successfully struggled against this great difficulty. The season previous to Easter was far better than usual, as we formerly, until this period was passed, had to put up with third and fourth rate singers, who screamed at the public for a week or two, and then were heard no more. This Moltini and Guasco made their appearance at an early period, and gave us some delightful singing. Mozart's "Cosi fan tutti" has been revived, and his "6 Don Giovanni" repeatedly performed; and the wonder is, that the public are contented with such occasional glimpses of the great masters. year Ronconi has nearly established himself as a substitute for Tamburini; and if Frezzolini has not the passion and power of the Grisi, she is yet a singer of great merit, and acts with much feeling. Persiani, Lablache and Rubini have delighted us with unimpaired vigour. It can scarcely be credited that the latter is about to retire in the fulness of his fame. The Ballet, notwithstanding the absence of Taglioni, has been excellent, introducing us to Cerito, the grace and gaiety of whose dancing is unrivalled. She has achieved the most difficult of all things, that of imparting an air of nature to the height of art. Carlotta Grisi is of a different school, but excellent in her mode. In addition, we have had four first rate artistes, in Fleury, Guy Stephan, Camille, and Perrot. With respect to the Orchestra, we have recorded our opinion in our last number, and we trust Costa will return next season, and breathe over the tumultuous storm that too often agitates this musical region a gentler and more harmonious spirit. With such materials what divine harmony might be produced! Drama, &c. THEATRE ROYAL, HAYMARKET. THE principal event of the month has been the production of a oneact piece, by Mr. Bernard, called LOCOMOTION. It is light, and serves to pass an hour pleasantly. There has been always perceptible in this author's pieces an ambition for something more than mere farce; and this piece, though not one of his most brilliant efforts, has a strong tendency to the legitimate aim of comedy, namely, general satire. The name, indeed, is indicative of this ambition; for though there is a desire to expose the restless spirit that animates the period, yet there is little in the plot of the piece that entitles it to be named "Locomotion;" indeed there is no motion in it at all, for all the events are carried on in one place. An ambitious Auctioneer, in order to procure business, assumes the appearance of having it; and some of his devices cause a great deal of merriment; such as his sending his servant to run three times round the square, with a note, and his account of two estates he has to dis pose of, which are announced in such a way as to bring in the eternal name of "Shakespeare," and also that of the "Emperor of all the Russias." A couple who have quarrelled apply to him respectively for assistance; and this produces some situations that are very effective. The most strikingly so is that where the furniture of the angry husband is being sold, and the wife is placed behind a screen, so as to be visible to the audience, but concealed from her husband and the assemblage at the auction. The lady is roused to a high pitch of excitement as various esteemed articles are exposed to sale; but when her husband's portrait is produced, her anxiety knows no bounds, and her wild bidding at last revealing to him her continued affection, he rushes forward, and the complaisant Auctioneer throws back the screen. to receive him, and then adroitly shuts it upon them. This piece of stage tactics was very funny and very effective. The story is not. worth relating, but Mr. Farren's acting is worthy of notice. The admirable way in which he dressed the part, the soft silkiness of his . manners, his excessive anxiety for business, and his mistaken notions of gentility, were artistically portrayed. If Miss Charles were a little less masculine it would be more agreeable; and though high spirits, or an appearance of them, is necessary in comedy, and more especially in farce, still they need not banish feminine grace entirely. The part of the Auctioneer's Clerk was played with an oddity and quaintness that renders Mr. Clark very amusing, although he is too apt to indulge in grimace. We had the pleasure of seeing "She Stoops to Conquer," before the new piece, and must say we derived great satisfaction from it. A few nights before, we saw "The School for Scandal," and have occasionally seen some of what are called the genuine old comedies. The only effect they produced was (with the exception of Goldsmith's Comedy) a conviction that comedies of mere manners, or, rather, only notions, cannot be revived. They are mere waxwork, and if valuable, only so for what they have been, and are at the best but curiosities. The sentiments the dramatis personæ utter, are such as were considered spirited or praiseworthy at the time, but are now felt to be either false or feeble. Even the wit or humour, or, more properly, the intended cause of laughter, were aimed at things that, being exploded, are now thought only to be foolish. They are constructed on a wrong principle, and give, at the best, mere characteristics, and not characters. As there is no better mode of characterising them than by designating them as "comedies of notions," it may be as well to explain our application of this term. These kind of dramas seem to give nothing but a notion of a rake, the notion of a belle or a wit, or the notion of an old, petulant, or good-natured man, according to the standard or fashion of the particular age in which they were produced. They did not always reach even to the excellence of embodying or pourtraying a general notion, but were the mere crude notions of the author himself, garnished with a few gravities or gaieties, according to the sentimental or humorous intention. We cannot illustrate our idea better than by "The School for Scandal," which has no character at all: but there is the notion of a rake in Charles Surface, of a hypocrite in Joseph, of an uxorious husband in Sir Peter, of a benevolent old man in Sir Oliver, of a usurer, of a fine lady, &c. And all these one-viced or one-virtued individuals utter nothing but sentiments in accordance with this characterization. A string of sentiments or aphorisms does not, however, make a character, any more than a dictionary of words makes a story. Persons indeed may be pleased with the smartness of the wit, or approve the sentiments, but this has nothing to do with the best purposes of the Drama. We cannot more forcibly illustrate our meaning, than by the following quotation from a little work, by Mr. Edward Mayhew, on Stage Effect, in which some of the leading principles of dramatic composition are discussed in the soundest and most concise manner. Speaking of what are termed "Situations," he says "To theatrical minds the word 'situation' suggests some strong points in a play likely to command applause; where the action is wrought to a climax, where the actors strike attitudes, and form what they call a picture,' during the exhibition of which a pause takes place; after which the action is renewed, not continued; and advantage of which is frequently taken to turn the natural current of the interest. In its purposes it bears a strong resemblance to the conclusion of a chapter in a novel. "To illustrate this, without appealing to any of the numerous melodramas, which might be thought of not sufficient weight, The School for Scandal offers a point none will deny to be one of the most effective situations in the whole range of the drama. Near to the conclusion of the fourth act, Joseph Surface's character is detected, by his brother in a frolic overthrowing a screen and discovering the lady to Sir Peter Teazle. "What a scene would our elder dramatists have built on this event? How in their hands would the uncle have taught the audience, prepared to receive instruction? How would the country girl have risen above her fashionable follies in her repentance, and as the heart of the audience answered to the motal? But the elder dramatists knew nothing of situations. They took a story for their plot, often paid too little attention to its propriety, but, having adopted it, they kept straight on, and bore it to a triumphant end. When the screen falls, Charles, starting back, cries, ‘Lady Teazle, by all that's wonderful!' Joseph re-entering at that moment, adds, 'Lady Teazle by all that's horrible!' which Sir Peter brings to a climax, by exclaiming, 'Lady Teazle by all that's damnable!' When this has been said there is a pause: each of the performers remaining statue-like in the attitudes they assumed when the above expressions were uttered; after sufficient space has been allowed for admiration of the picture,' Charles turns the interest (for if the spectators are interested at all, they can hardly be ludicrously affected by an event which seriously affects the fortunes of all the characters present) by bursting into laughter and treating the incident as a jest. He triumphs over his brother in his prostration; twits his uncle, without respect for his age or his affection; even makes the lady's humiliation a subject for his mirth, and departs full of merriment at the confusion he has created. He being gone, the fashionable woman of six months' teaching, delivers a pretty speech, nicely pointed, teeming with clever turns and artful pauses. Nature never conquers her self-possession, sorrow never mars her propriety of expression. She turns on her deluder, works on her husband's weakness, and at the proper moment retires. Joseph, the practised hypocrite, shows more feeling than his better dupes. He is confused; but, to keep up his stage character, he has recourse to the man who-, and the audience laugh; while Sir Peter, twice betrayed, in his dotage and his trust, every feeling out *Stage Effect: or, The Principles which command Dramatic Success in the Theatre. By Edward Mayhew. 24mo. Mitchell, Red Lion Court. 1840. |