Imatges de pàgina
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and dwell together. Mrs. Simpson is a little green-eyed in her matrimonial views. Mrs. Bromley is a dashing, handsome, unexceptionable creaMadame La Trappe, a lace dealer (smuggled), catches the two wives at conversation, and unfortunately confesses that she is presenting a bill at Simpson and Co.'s, received from a lady in Harley-street. Mrs. Simpson's eyes immediately become the colour of peas. She pushes her interrogatories to ascertain that Madame La Trappe had often seen a gentleman (in truth Bromley)-a gentleman below-parading before the Harley-street house. Mrs. Simpson comes down like a forty-pounder on poor Mr. Simpson :---who is twitted by that rogue Bromley for his gallantries. Simpson has Bromley's pocket-book to take care of, and leaving it carelessly on the desk, Mrs. Simpson, supposing it to be her husband's, very prudently probes it, to the discovery of a miniature of the lady in Harley-street, of whom Bromley is in truth a follower, under the name of Captain Walsingham. Bromley had written innumerable letters to the lady, a Mrs. Fitzallan, all of which had been returned. At this time, Mrs. Fitzallan is announced, having been an old schoolfellow of Mrs. Bromley. Mrs. Simpson recognizes her likeness, to the vast life of a humourous scene. Bromley is discovered to be a married man, whom, however, Mrs. Fitzallan, in tenderness to his wife, does not expose. Mrs. Simpson learns her mistake, and the piece pleasantly ends, with casting the blame on Captain Walsingham.

The acting is worthy of the lively construction of the piece. Mr. Terry is mercantile, to the shake of his head, and the correct drag of his features. Mrs. Glover is portentous in her jealousy; and Mrs. Davison graceful still, in Mrs. Bromley. Mrs. Orger, as the Lace-smuggler, would make any wife jealous. We thought Mr. Cooper, perhaps, a little harsh, but he is getting more into our favour lately. If Mr. Elliston would give us many such pieces as this, it would, as Johnson says, be needless to praise and useless to blame. It is, without exception, the smartest production of the day. We do not know the author or adapter.

COVENT GARDEN.

The Pantomime.

The pantomime at this house is, in comparison with that at the other, what Mathews would call "quite the reverse." It is, perhaps, one of the most attractive pieces in point of scenery, rapidity, pantomimic-acting and trick, that ever made Christmas merry. Harlequin and the Ogress, or the Sleeping Beauty of the Wood, tells its own story. But even we cannot describe the magic of the scenery, the exquisite beauty of the combined genius-productions of the painter and the mechanist; we shall attempt, however, to describe the opening plot, which has, at least, the merit of being comprehensible.

The first scene is an interior of an Egyptian cavern, and the Fates are seen spinning the destiny of the Sleeping Beauty. They sing and spin pleasantly enough; and the Ogress, their mistress, comes in attended by four little winged goblins, and carries away the ball of the Beauty's life-thread, intending to have the end of it fastened to her finger, which will insure her nap for another hundred years.

The second scene is a wood, a cedar wood, full of ample foliage, and romantic to the very curl of the leaf. A hunting prince appears, attended by a whimsical follower, and expresses by the usual eloquent action that he has lost his way. Fairy voices strike up alternately on each side, much to the perplexity of poor Grimaldi, Jun. who scampers from voice to voice, till he fairly becomes confounded. Suddenly, when the prince is despairing of his way, the forest flirts into one of a tinsel-blue foliage, and the fairy Blue Bell comes forward, and offers the prince a flower, which will not only lead him out of the wood, but will awaken the Sleeping Beauty in the Wood. At the motion of the fairy's wand, the back of the forest opens magi-. cally, and shows the castle in a beautiful sunlight, with a drawbridge leading to it. The prince enters it with his follower.

The third scene exhibits the portal of the Beauty's castle- and Old Grimaldi, in a kind of burlesque tyger-patterned dress, shows himself as keeper, to the vast delight of the audience. The Ogress enters, and

prevails on him to undertake the fixing of the thread on the finger. The apartment of the sleeping lady is beautiful. All are asleep-fast! The butler, cook, waiter, attendants, all! Grimaldi enters, gets a musingly fuddled over a bottle of wine, and drops down without accomplishing the task committed to his care.

The prince enters,

awakens the princess-and at the very moment, the room turns from pink to blue, and the Ogress and Blue Bell confront each other. The usual changes take place, and the pantomime proceeds.

Several beautiful scenes follow, and much mirth is kept alive by the two Grimaldis. It is curious enough to see the son grinning at the grin of the father. The Harlequin is extremely good-and so is Pantaloon. Columbine is too much of a real woman; we wonder what her weight is.

There are but few tricks. The coach-building, by Grimaldi, at Brighton, is ingeniously contrived, and Joe puts together his odd materials with his old quiet humour and busy intensity. No one can be at a loss like Grimaldi. No one can suddenly hit upon a remedy like himself. He really seems never to have had a notion before how he was to make his carriage, but appears to build on the inspiration of the moment.

The scene of the Pyramids is fine -and it is whimsical enough to see the rapid scampering clown bolting about in the presence of those tremendous kingly monuments. Water

loo Bridge, by lamplight, is capital; so is the scene of a village near Lon don. But the grand display of scenery is the panoramic view of the King's progress to Edinburgh. The shores pass as they recede from you in a coach; and you really seem to steam away from Greenwich to the braw city. Night gradually comes on (as the music and the shadows plainly tell you), and morning breaks over the Calton Hill bravely. The pantomime concludes with a beautiful scene of the palace of the fairy Blue Bell.

The fault of this pantomime is a deficiency of broad humour; though, to be sure, Grimaldi's face will twist the hardest and sternest countenance, and is a whole pantomime in itself. We miss, however, the racy fun of the scenes in Mother Goose; the real bustle and opulent nonsense of the clown! But we must not be exorbitant.

Artaxerxes.-Miss Paton.

This lady, though evidently very unwell, has appeared in the laborious and difficult part of Mandane. She has execution sufficient for the skilful and exquisite songs of the opera, but her voice decidedly wants fullness and physical power. We were in pain for her during her singing of some of the most elaborate songs, and that is a pretty strong proof of her not being really competent to the task. She looked extremely interesting-but she gets thinner, we fear. The recitative of this opera, beautiful as it is, is too much.

TRANSLATIONS FROM THE SUPPLEMENTAL ILIAD OF QUINTUS CALABER.

(Concluded from our last Number.)

AS QUINTUS CALABER is not in every body's hands, (for, if presented to the notice of school-masters or college tutors, he would occasion an inflation of the nostril, an elevation of the eye-brow, and a flickering curl of the upper lip, very unfavourable to the chance of his obtaining a hearing) the reader of the LONDON will, perhaps, bear with him a little longer. Be

sides, he has not yet fully had an opportunity of vindicating his epic pretensions in the knowledge of front and back wounds, and those dexterities of martial dissection which are pointed out to the rising generation as among the most surprising merits of Homer, and are understood as conferring on the Iliad a distinction so vastly superior to the tame and unin

teresting Odyssey. I use the language of orthodox critics, not my own; for I have the misfortune to be a heretic, and my perdition is classically sealed.

There might, moreover, be some slight curiosity to see how Quintus and Virgil have treated the same inciVIDA. dents.

THE STORMING OF TROY-DEATH OF PRIAM-CAPTIVITY OF ANDROMACHE
AND ESCAPE OF ENEAS.

MEANTIME the Trojans feast in every street
With shrilling pipes and flutes; the dancers beat
The ground, and singers troll the song, and high
The goblet-din, and roar of revelry.

Each, grasping in his hand the brimming bowl,
Slakes in full ease the fever of his soul.

Then sinks o'erwhelm'd th' internal man: the sight
Is snatch'd away in whirls of dazzling light:
Maim'd from the tongue each word successive falls;
The hall spins circling with its garnish'd walls:
One motion seizes all; in wheeling flight
The city turns before the darkling sight;
For quench'd in floods of wine the vision reels,
And thought itself the dim confusion feels;
When through the gaping jaws the draughts o'ersway
Th' unbalanced mind, and steal the brain away:
Some youth with head o'er-heavy lisping frames
His witless speech, and valiant thus exclaims:
"Troth, but in vain the Greeks have spent their toil,
And drawn their marshall'd myriads to our soil;
Each with his work undone now flees from Troy,..
Like a weak woman or a puling boy."

So spake some Trojan mazed with wine, nor knew
How near, ev'n to the doors, the slaughter drew.
For, soon as one by one had sunk to rest,
Sated with food and deep with wine opprest,
Sinon at length upheld the torch on high,
That flash'd its signal gleam against the sky:
Throbb'd every Grecian heart, lest Troy behold,
And the bright sign their hidden wile unfold,
But all now slept the sleep that was their last,
Drown'd in their cups and full with high repast.
The Greeks descried, and hasten'd to unmoor
From Tenedos, and dash'd the billows hoar.
Then Sinon with low voice approach'd the steed,
Low, that no Trojan might awaken'd heed;
But Grecian chiefs alone o'erhear; for they
Watch'd to be bold in deeds, and slumber fled away.
They caught the words within; and bent their ear
To wise Ulysses with a wholesome fear:
Silent and safe he warn'd them to descend;
They at his summons to th' encounter bend,
And from the horse are hasting to the ground,
Eager to deal the blows of battle round,

But he restrains the thronging rush: then wide,
Yet softly, opes the wooden courser's side,
His swift hands aided by Epéus' spear,
And slow emerges with a glance of fear,
And scans the city, lest some sentinel be near.

As roused by hunger from the mountain rocks
The wolf steals prowling towards the folded flocks;
He shuns the guardian dogs and watchful men,
And with hush'd step encroaches on the pen;

So slid Ulysses from the steed: the rest
With their successive feet the ladder press'd,
Framed by Epéus, that the chiefs might bend
Their upward steps and easy re-descend.
They, one by one, to bold adventure bound,
With gradual step descended to the ground.
As wasps, by woodman's foot disturb'd, arouse
Their legions, clustering on the darkening boughs,
So burst they on the town of fenced Troy,
The heart within them panting fierce with joy;
And ranged the streets, and slew on every side:
The ships already breast the ocean tide:
For Thetis sent a favouring gale, and bore
The glad Greeks to the Hellespontine shore;
And there they furl the sails, the galleys moor.
Then, disembarking in their dense array,

To Troy's doom'd walls they shape their dauntless way.
As the throng'd sheep their forest pasture leave
'Midst the flush'd lights of autumn's shadowy eve,
Blithe crowding towards the fold, so march'd the train
In trampling phalanx Troy-ward o'er the plain,

Prepared to aid their chiefs and pile the streets with slain.
As troops of wolves, sore-hunger'd, down the steeps
Scour through the woods, while tired the shepherd sleeps,
Now these, now those they rend within the fold,
Cover'd by night, thus wide the carnage roll'd:
Corse rose on corse, and slaughter crimson'd all,
Though the great host was yet without the wall.

But when the mightier army enter'd Troy,
Fierce was the rush, and keen the vengeful joy:
Breathing the strength of Mars th' embattled throng
Through streets with carnage glutted pour along:
On every side the conflagration rolls,

And dismal flames bring transport to their souls:
Then from the crashing roofs that sink and burn,
Grim on the men of Troy their arms they turn :
Mars ranged among them and Enýo stood
Dispersing groans and blackening earth with blood.
Trojans, allies, in gore all prostrate lay,
And others on them gasp'd their lives away.
Some held their gushing entrails, taking flight
From house to house in miserable plight;

Others with amputated feet now trail'd

Their bodies midst the dead, and piteous wail'd;
Heads and lopp'd hands were scatter'd in the dust,
And many a flying wretch with speary thrust
Was through the back transfix'd unto the heart;
Or through the loins in front emerged the dart

Where keenest Mars's wound and bitterest is the smart.

The howl of dogs throughout the city rose,
The groans of youths beneath the murderous blows;
And from each house shriek'd women's shrill despair-
As when an eagle, poised in buoyant air,

O'erhangs the scattering cranes, they rend the sky
With heartless screamings as he stoops from high;

So here and there the Trojan women flew,

So thick, so mingled, their lamentings grew.

Some starting from their beds; some prostrate thrown
On the bare floor, and some.begirt alone

With the slight sark, and careless of the zone,

Roved wildly forth, nor heeded, mazed with dread,
The mantling robe or fillet for their head;
Bewilder'd with astounding fear they fly,

Their bended hands supply the veil of modesty :
While others wailing pluck their rooted hair,

And smite their breasts, and thrill with shrieks the circling air:
But some had dared to mingle in the fray,

And aid the spouse or son, who bleeding lay,
Their courage equal to the great essay.

The general cry of consternation scared

The children's sleep, whom sorrow yet had spared:
Babes by each other's sides were stretch'd in death,
And seem'd in dreams to yield their little breath.
The Fates, in horrid rapture, held their breath,
And gloated on the scene, and snuff'd the scent of death.
The kill'd were laid in heaps, like swine that fall
To feast a king's guests in the palace hall;
The wine that in the hollow goblets stood,

Blush'd with new tinct and swam with mantling blood.
No Greek, but some poor victim's breast explored,
And e'en the stripling flesh'd his maiden sword.

As the gaunt wolves, or fleet hill-panthers, run
Down to the vales beneath noon's parching sun,
When home the shepherd has the milk convey'd,
And left his cluster'd flock in woodland shade;
They fill their ravening maw; the lingering hind
Shall there a melancholy banquet find;
So did the Greeks range Priam's city through,
So in that desperate strife they smote and slew.
None of the Trojan people 'scaped a wound,
Maim'd their lithe limbs, and black with gore around.

Nor bloodless to the Greeks the combat sped;
Some, tables, goblets, hurried to the dead:
Some smit with smouldering firebrands sank to rest,
And prongs hot hissing spear'd the quivering breast:
Some cleft with axes gasp'd, in life-blood drown'd,
And hilt-dissever'd fingers strew'd the ground,
The hand yet writhing from the fateful wound:
And oft from arm of happier vigour thrown,
The brains came rushing to the shattering stone.
They as wild beasts, surprized within the fold,
Raged with their wounds, and on each other roll'd
In darkness of that fated night; the rest
To Priam's palace cheer'd and cheering press'd.
There many a Greek by spears of Trojans bled;
They, as they might, with spears and falchions sped,
Caught up with hasty hand: their foes recline
As though they stagger'd with the weight of wine.
Meanwhile a light, by Grecian torches shed,
Its quivering blaze o'er all the city spread,
From many a lifted hand; and thus they know
Th' illumin'd face of either friend or foe.

Achilles' son, with battle-searching lance,
Cut short Polites in his bold advance:
From Pammon, Tisiphon, he reft the life,
And smote Agenor in the closing strife:
Round Priam's sons death's shadows hovering flew,
He ranged the courts, and whom he cross'd he slew.
His veins high-mounting with Achilles' blood,
He sought the king, and found him where he stood,

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