Serenely bright the creeping river flows, And not a sound of living thing is near. LINES, WITH GREAT RESPECT, INSCRIBED TO MISS WALSTEIN, The glee, the jest, the repartee, The Ah! can they bid the heart be free? Walstein, thy song, surpassing fine, Thou greet us; come, sweet maid, again; More grateful shall our hearts declare How much they feel thy worth their care. Devonia. J. P. B. * Miss W.'s benefit was by no means so good as, in proportion to others, she might justly have expected. VERSES. Supposed to be written by the unfortunate Poet Dermody, IN A STORM, While on board a Ship in His Majesty's Service. Lol o'er the Welk in the tempestuous clouds Mark the drear tempest and the yawning deep, H. K. WHITE. MEMORANDA DRAMATICA, &c. DRURY-LANE. JAN. 20.-She would and she would not.-Mr. Bartley made a respectable stand in Don Philip, in the absence of Mr. Barrymore. His figure is not sufficiently important; but he possesses feeling and good sense, and, with proper encouragement, may become a favourite with the public. 21-Cymbeline.-Powell, for the first time, appeared in Jachimo, a charac ter of some difficulty. Mr. Powell spoke it judiciously, and brought the part pretty forward on the scene; but he was, in some situations, too tame and even, for the crafty Italian, engaged in an adventure fraught with so much personal danger, and of so uncertain an issue. His colouring was chaste, but it wanted warmth. 26.-Merry Wives.-Mr. Robert Palmer is a very able representative of the fat Knight, as he proved by his performance in the first part of Henry IV. He was equally successful on this occasion. He seized the leading points with great felicity, and displayed much rich and natural humour throughout the character. Both Cooke and Stephen Kemble have the advantage of him in certain passages, but, taken altogether, we think Mr. Palmer's Falstaff comes the nearest to the author's intention. 27-Busy Body. Mr. Russell, in Sir George Airy, exhibited so much ease and gaiety, that we could wish to see him oftener in similar characters; at least we know not any actor, at present in Drury Lane, who has a right to dispute his claim to them. 29.-Hear both Sides-A comedy by Mr. Holcroft, the design of which will appear from the following outline. "Headlong (a) is a liberal and high-spirited young man of fashion, whom a thoughtless disposition had almost ruined. His extravagancies have so angered his uncle, that he made a vow to disinherit him. While want of fortune obliged him to reside abroad, his friend Fairfax (b) wrote to him that his uncle was dying, and remitted money to enable him to return. About this time, however, Headlong met with Caroline Melford (c) at a masquerade at Venice, and falling deeply in love with her, his return to England is too long delayed. The action of the piece commences on the day of his arrival; and doubts are immediately suggested respecting the character of Fairfax, whom Headlong's uncle had left his sole heir. This suspicion is maintained until the last scene, in which the real character of Fairfax appears. He had consented to become the heir of Headlong's uncle only that this young man, whom he loved from a child, might be certain of enjoying a fortune he would otherwise have lost. It is generously bestowed on him, and Headlong, now roused to a sense of his follies, feels the error of associating with gamblers and sharpers." There are various incidental and episodical characters, which scarcely require to be mentioned; none of them having the force of strong interest or originality to recommend them. The play discovers some good writing; the sentiments are in general just, and the moral inoffensive; but the piece is languid and gloomy in representation. There are three or four old men decorated with wigs" curiously carved," who croak about the stage in monosyllables and half sentences, borrowed from the German and French stages, at whom it is impossible for Gravity itself to withhold a smile. The plot too is forced and frivolous. It is a house built upon the sand. A word of explanation from Fairfax upon the arrival of Headlong, would have set every thing right. The ambiguity of his conduct, with regard to the will, justifies all the young man's suspicion, and lays his character open to the ob loquy which is attached to it by Headlong's friends. One would reasonably expect that an upright and considerate man, who, with the same benevolent intention had become possessed of an estate, would take the earliest opportunity of discovering to the party most concerned, the true motives of his conduct. Instead of which, Fairfax raises a dust for the mere satisfaction of laying it. He renders himself, to all human appearance, an obnoxious character, provokes animadversion and abuse, and then exclaims, "Was ever man so ill-treated as I am !" Where is the utility then of the moral? It is true appearances may deceive; we should not condemn with precipitation: but if a stain appears to rest upon a person's character, and he does not chuse to wipe it off, will not 'virtuous men avoid him, or express their indignation? and shall not the person whom he has apparently injured and reduced to beggary, be entitled to the common privilege of complaint? The plot of this comedy, therefore, is an idle pretence; "the baseless fabric of a vision !" and unfit for dramatic management. Fairfax is neither entitled to compassion nor applause; and when he at last unfolds himself, we are (a) Mr. C. Kemble. (b) Mr. Dowton. (c) Mrs. Pope. not at all pleased at finding that the man who had been shaking his head, and looking vastly wise through four acts, was thus studiously mysterious, merely that in the fifth he might launch out into a laboured and egostical eulogium on his own character for integrity, and his wonderful forbearance under the calum-nious aspersions of men, who, in reviling him, had done just as all other men must do under similar circumstances :-so that the axiom which is so good in itself, "hear both sides," remains unenforced upon the audience, like a bad sermon from a good text. Of the acting we must speak in high terms. Dowton played Fairfax, a part of a loftier cast than has usually fallen to his lot, in a vey chaste, impressive style. Wroughton, in the Old Steward, was excellent. Collins shewed him self another Edwin in Gregory, and Charles Kemble in Headlong was easy, gentlemanly, and, in the impassioned scenes, extremely interesting. Bannister made a very prominent part of Transit, a character made up of sentiment and eccentricity, who unexpectedly, and highly improbably, finds a wife in Eliza, whom he had long believed dead, and, to increase the absurdity, a father in the man, Sir Aspen, who had been the author of the report by which he was made a supposed widower. Eliza, who has discovered the situation and pecuniary embarrassments of her husband, follows him to his place of confinement, and, concealing her features under a mask, converses with him, relieves him, and keeps his curiosity in suspence till the proper time arrives for a discovery. Mrs. Jordan did all that could be done for this character, which was not much, though she treated us with a song into the bargain. Raymond and Mrs. Pope rendered all possible justice to the Melfords, and Cherry, in the cheating lawyer, or Item, or Silky, for they are all alike, displayed the skill of a finished comedian. The prologue, spoken by Mr. Bannister, was intended as an apology for leaving the common track, and hazarding bold novelties on the stage; but surely the comedy of Hear both Sides did not require an apology of this kind. The epilogue, spoken by Mrs. Jordan, versified and applied the old saying, "Give a dog an ill name." It was neatly written, and pointedly delivered. The comedy was well received; but its attraction did not last many nights. 9.-Merchant of Venice.-Mr. Fearon attempted Shylock, but he was not s successful in it as in Richard. The deep and gloomy malignity of the Jew was but feebly depicted. His best scene was that in the third act with Tubal, upon the discovery of his daughter's flight. The house was thin, and the effect of the representation exceedingly flat. 19.-Hero of the North.-Every body has heard of Gustavas Vasa, and the success with which, assisted by the Dalecarlians, he opposed the Danes, who had obtained possession of Sweden, and delivered his country from their yoke. It being the author's object to furnish an Operatic Spectacle, he has been obliged to confine the historical part of his action within very narrow limits. Gustavus in the mine discovers himself to his comrades, and a few faithful adherents; when he is next exhibited we find the Hero of the North availing himself of a ridiculous love intrigue between a Swedish peasant and Carlowitz, a Danish chieftain, to get possession of the garrison commanded by the latter. Though any stratagem in war be allowable, this is an action which does not set off the deliverer of his country to much advantage. The rest is all uproar and battle, and Gustavus is scarcely heard "amidst the din of arms." It is unfortunate for Mr. Dimond that the tragedy of Brooke furnishes so ready and unavoidable a comparison; but the dramatic amateur cannot fail to bring that play to recollection, and sensible as we are of the restrictions to which Mr. Dimond has been forced to conform in preparing his drama for representation, it is much to be lamented that a grand historical subject, already so nobly illustrated, should be blended with the "baser matter" of a modern opera, the credit of which, if any is to be had at all, is only to be shared by the scene painter, the mechanist, the taylor, and the compiler of the music. Having observed thus much with respect to the subject, we must admit that Mr. Dimond has shewn a good deal of address in the general construction of his opera, which may safely challenge competition with other productions of the same nature, prepared by more experienced hands, and aided by stronger auxiliaries. Mr. Dimond is a young man of considerable poetical promise. Some of the dialogue of this piece is very creditable to his taste and genius. The language of the old poets might occasionally be traced, and a few puerilities were noticeable ; but the author's youth is an excuse for this. Few of our writers for the stage have even a relish for poetry: Mr. Dimond is not a stranger to its inspiration, and we may reasonably expect much future amusement from a writer who has so early begun to cultivate the public favour. The music, composed and selected by Mr. Kelly, is not very striking. The] dresses, scenery, &c. are splendid and appropriate, and the performers, among i whom Mr. Raymond must be distinguished for having preserved the piece on the first night, atja very critical moment, exerted themselves with the greatest success. COVENT-GARDEN. JAN. 17.-Othello.-Mr. Carles, a gentleman of promising talent, appeared in this very arduous character, and acquitted himself so creditably as to be called ppon to act it thrice. His figure is tall and elegant; his voice unequal, but capable of powerful exertion; his judgment is mature, and his acquaintance with the text appears to be critically just. His chief fault consists in laying the whole weight of tone and emphasis on single words, and in falling into an attitude somewhat grotesque at the close of an impassioned speech. These defects appeared stronger in his performance of Jaffier (7th Feb.), which, however, as well as his Othello, exhibited many beauties by way of counterpoise, such as entitle him to very respectful consideration, and will authorize his friends to entertain the most sanguine expectations of his future eminence. FEB, 2.-Capt. Caulfeild, late of the guards, came forward in Hamlet, and gave strong proofs of genius in some of the important scenes of the character. We have not room at present to enter into an examination of the performance. We have heard it extolled as the highest achievement of the art. Such praise, however, can have the effect only of instilling notions into the young actor, which will probably never be realized. He certainly possesses much merit; and, if he has a serious view to the stage as a profession, he may no doubt obtain a respectable footing there. But, in making this choice, we sincerely hope he will not relinquish any thing more substantial. The honours of the stage are very precarious at best, and he has much, very much, to acquire, before he can prefer an undisputed claim to them. Capt. Caulfeild attempted Ranger on the 16th of January, but here we cannot say a single word in his favour. |