Arithmetical Tables, defigned for the Use of Young Ladies. By William Butler. 12mo. Thefe Tables comprife many ufeful and indifpenfable articles explanatory of weights, meafures, and values of coins, over and above thofe ufually put into the hands of pupils in the art of arithmetic. THEATRICAL JOURNAL. This Pantomime commences with all the hurry, buftle, and comic variety, incidental to a country racecourfe: among the other partakers of the feftive fcene, are Columbine, her father, and a Bumpkin Suitor, who, though favoured by the old man, is difliked by the daughter; her affec tions appearing to be already engaged to a fmart young countryman, who is the Bumpkin's rival as well in the intereft of the races as in the regards of Columbine. The competitors dare each other to a difplay of wealth, and each produces his flock of money; when the avarice of the old man prompts him to propofe that they fhall ftake the whole fum on the iffue of the race about to begin, the winner to have all the money, and Columbine into the bargain. This is agreed on. Columbine's favourite lover, to make fure of fuccefs, rides his own horfe; they ftart, and are feen at a distance in full speed, return and go round again, when the odds appearing greatly in favour of the last-mentioned youth, the old man and the Bumpkin being in poffeffion of the whole ftakes, which the unfufpecting generofity of the other had left in their care, force Columbine into a postchaife, and fet off with her and the money. The youth, who had in reality won the race, finding how he is abused, exhibits all the ufual tage distraction on the occafion, until Time, the ufual cure of lovers, comes to his relief, advifes him to purfue the unjust detainers of his miftrefs and property; and, to furth him with the means of overtaking and punishing them, Time (who can change every-thing) changes the youth to Harlequin, transforms his jockey-whip to a wooden fword, and endows him with the usual power of the motley hero. A routine of captures, recaptures, tricks, pursuits, efcapes, and metamorphofes, now takes place. Harlequin is at length taken by his adverfàries, and in imminent danger; when Time again comes to his affiftance, abates the rancour of his opponents, and changes the fcene from a dreary dungeon to a brilliant perfpective temple, where the lovers are united, and the Pantomime concludes. This was far from one of the best pieces of its kind. It was not very well received the first night; and after a short run was laid afide. Prince MORTALS. Pedro (Servant to the Sifters) Sifters Cinderella Mr. BYRNE. a pumpion, her horfes fhrink into mice, and the finds herfelf clothed in rags. But in the hurry, he had left behind Mr. GRIMALDI. her one of her glafs flippers; this is Mrs. BYRNE. Mifs VINING. Mifs DE CAMP. With a Variety of Pantomimic Characters. In the famous ftories of Mother Bunch, or Mother Goofe, may be found the Fairy Tale from which the main business of this piece is derived. But the Author has called in the Hea then Mythology to his aid. The scene opens with a view of Venus, furrounded by all thofe ideal beings who kindle and refine love. Their indignation had been excited by a neigh bouring Prince, who fet their power at defiance, and had vowed to worship Diana to the end of his days. He happened to be hunting in an adjoining wood. A detachment is fent out againit him, and he is brought in enclosed in a net. He is anxious to make his elcape, till Cupid transfixes his heart with an arrow; when he runs after Hymen, becoming in his turn the purfuer. The object of his affections is a ftatue, which turns out to be a likeness of Cinderella. The Divinities having afcended to their native sky, the Prince is miraculously tranfported to his palace in a state of distraction. To eafe his pain, he refolves to give a ball. Tickets are fent to the two elder fifters; and poor Cinderella is like to break her heart at feeing them fet out, dreffed like Princeffes, while the muit remain as ufual cleaning the houfe, or cowering over the afhes. In the midst of her diftreffes, the is vifited by a Nymph deputed to her affiftance by Venus. In a twinkling the is equipped in a tile of brilliancy exceeding every thing that bad before been feen upon the earth. She foon enters the royal banquettingroom, her features are immediately recognised by the Prince, who becomes more defperately enamoured than ever. She had been ordered on no account to ftop beyond midnight, as the charm would then cease. Pleated with the attention that the received, the forgot this admonition; and twelve unexpectedly ftriking, the has only ruthed into the open air, when her chariot becomes * For Henderson's picked up by the Prince, and hopes are entertained that it may lead to a difco. very of the fair tranger, who had fo fuddenly disappeared. Accordingly a proclamation is iffued, faying, that the Prince will marry her whofe foot is found to fit the flipper. After all the Ladies at Court have pinched their toes to no purpose, the ragged Cinderella offers herself as a candidate; the flips her foot, the throws down the fellow of the flipper; instantly the is covered with gold and jewels as when at the ball; and the walls of the palace vanish away. Venus, the Graces, &c. are feen floating on the clouds, and applauding the action of Hymen, who joins the hands of the two lovers, and waves his torch over them in triumph. For mufic, dance, and fplendid.decoration, this piece has rarely been equalled. There is fome intereft and much moral in the fubject; and the receipts from overflowing houfes every evening to this popular entertainment will, no doubt, have the happiest effect upon the financial Theatre. concerns of the 17. The Second Part of Shakspeare's Henry the Fourth was revived at Covent Garden Theatre, and received with great applaufe. Cooke's performance of Falstaff in this piece is better than his reprefentation of the fame character in the First Part, or in the Merry Wives of Windfor. Blanchard's Pillol was alfo an excellent piece of acting; nor ought Mrs. Davenport's Dame Quickly to be pafled over without praife. Mrs. Beverley's Doll Teartheet was pert and fpirited, without being diguiting or offensive. The dying King was finely pourtrayed by Mr. Kemble; and in the decoration and arrangement of the fick chamber there was a remarkable degree of talte and elegance: it was very highly applauded. Charles Kemble, in the apologetical scene, after the removal of the Crown, appeared to great advantage. On the whole, the Public mult highly approve of the revival of this piece; which had been acted but once thefe thirty years. THEN, at the Defpot's dread command, Bridg'd Hellefpont his myriads bore From fervile Afia's peopled ftrand To Græcia's and to Freedom's shore; While hoftile fleets terrific fweep, With threat'ning oar, th' Ionian deep, Clear Dirce's bending reeds among The Theban Swan no longer fung No more by Ifthmus' wave-worn glade, Or Nemea's rocks, or Delphi's shade, Or Pifa's olive-rooted grove, The temple of Olympian Jove, The Mufes twin'd the facred bough, To crown th' athletic victor's brow, 'Till on the rough Ægean main, 'Till on Platea's trophied plain, Was crush'd the Perfian Tyrant's boaft, O'erwhelm'd his fleet, o'erthrown his flyre, hoft, Then the bold Theban feiz'd again the And ftruck the chords with renovated fire: "On human life's delufive ftate, "Tho' woes unfeen, uncertain, wait, "Heal'd in the gen'rous breast is every pain, "With undiminish'd force if Freedom's rights remain t.” II. Not fo the British Mufe-Tho' rude Her voice to Græcia's tuneful choir, By dread, by danger unfubdu'd, Dauntlefs the wakes the lyric wire : So when the awful thunder roars, When round the livid lightnings play, The Imperial eagle proudly foars, And wings aloft her daring way. And, hark! with animating note Aloud her ftrains exulting float, While pointing to th' inveterate hoft, Who threat deftruction to this envied coaft: [ye claim, Go forth, my fons-as nobler rights "Than ever fann'd the Grecian patriots' flame, [feel, "So let your breafts a fiercer ardor Led by your Patriot King, to guard your country's weal." * See Pind. Ifth. Ode viii. III. Her voice is heard-from wood, from vale, from down, [town, The thatch-roof'd village, and the bufy Eager th' indignant country fwarms, And pours a people clad in arms, Numerous as thofe whom Xerxes led, To crush devoted Freedom's head; Firm as the band for Freedom's caufe who frocd, [blood; And ftain'd Thermopyle with Spartan Hear o'er their heads the exulting god defs fing: "Thefe are my favorite fons, and mine their warrior King!" IV. Thro' Albion's plains while, wide and far, Swells the tumultuous din of war ; While from the loom, the forge, the fla, [merce' fail, From Labour's plough, from ComAll ranks to martial impulse yield, And grafp the fpear, and brave the field, Do weeds our plains uncultur'd hide? Do languid Art and Industry Ne'er were with happier skill our ores, our fleeces wrought, POETRY. THE SCHOOL-BOY's RETURN SWEET to the lover is the day His blufhing mistress gives confent; But fweeter far that hour appears, When the glad School-boy's leffon o'er, Twelve's welcome ftroke at length he And huts his book to ope no more; Rous'd by the frequent-fancied call But fee at length the morn appears; No more ideal founds he hears, With unpain'd foul and tearless eyes : To childhood's interesting feat He goes, where love and joy await; And warmest welcome opes the gate; The rapture seen in ev'ry eye; The eager, fond, impetuous race; (Sweet Hruggle for priority, In the warm kifs, and close embrace ;) The tears of joy that trickling come, Mark the glad School-boy's welcome home, name ODE TO WINTER. With thy white locks expos'd and bare, Such, Winter, are the heralds of thy The weary traveller thinks of home, He falls, he inks, then prays, and But foon harp froft affumes his fway, And clothes with ice the wat'ry way; All nature thinks-a dreary dearth O'erfpreads the face of all the earth; And thoufands feek, by famine led, The peaceful manfions of the dead. Such horrors, Winter, mark thy gloomy reign, Death, Milery, Famine, ftalking in thy Written at the Time the additional Duty on Wine was impofed under the Adminiftration of Mr. Pitt. SHOULD Fortune Speed her venom'd dart, If till with wine you bathe the wound. Or fhould Love, fmiling, heed thy pray'r, Wine, potent wine! would quiet all! -Thus fung a bard, elate of foul ! His right hand graip'd the flowing bowl; When Pitt arofe, at flern command, And dafh'd the bleffing from his hand!!! RUSTICUS. Gottage of Mon Repos, near Canterbury, Kent. MORE MODERN SONNETS!!! (Continued from Vol. XLIV. Page 303.) SONNET V. To an old Wheelbarrow *. all hail ! ALL hail! my giddy friend! all hai!! [plight: I little thought to find thee in this Thy head runs round, thy legs begin to fail; [night. Thou feem'ft as drunk as I was t'other To fetch and carry long has been thy lot; But Minifters and Courtiers do the fame : [have got, Yes, yes! when knaves and fools a place They fetch and carry, like a spaniel [blue ti Alas! thou haft no place! thy colour's And loofe are all thy joints, for want of pegs; [that's true, Now, hadit thou been a red, by all Thou would't have had new arms, new fides, new legs. [thrive! Thus, all that fetch and carry do not Thy mafter's poor, and poverty's the devil! [live, Opprefs'd with ceffes, taxes, who can Unleis his name be found on lift fo tame. civil? So civil? Yes! fo civil, let me fay, That civilly it drains a poor man's purse ! Thus, out of place, thy mater, every day, Finds things grow worfe and worse, and worie and worfe! All hail! my lucklefs friend! whofe beart's fo found! [runs road. Thanks, for that blefling, that thy bead RUSTICUS. Cottage of Mon Repos. SONNET VI. To a Lady's Needle-Book. O THOU! call'd Huffy in my grannam's days, [lot! How do I envy, pretty thing! thy Now with thy leaves the charming Julia plays, * Written at the time of the late general election. The anti-miniferial colour. O Love! |