dinous phases: life at a public school-college life—life of a sportsman-the life of the lover,

"Sighing, like furnace, with a woeful ballad
Made to his mistress' eyebrow”—

Club life (your modern innovations our author likes not; he is quite the laudator temporis acti)-provincial life-and last, not least, London life are all treated in that easy form that forcibly conveys a pretty correct idea of the experience achieved by the inditer of these stirring adventures. The encouraging manner of the then master of the Shropshire, Mr. Pelham, to the author when a youth, is vividly brought before the reader. Apropos of fox-hunting, we lately met with a morceau in a pictorial print that was evidently penned by a fist of one who should not be ignorant of the exhilirating diversion of hunt-ing. It ran thus :-" That the sport of hunting was pursued for the sake of gaining fresh air!" Now, it is no joke to endanger our lives by indulging in guffaws of so hearty a description during this sultry weather; but who can withstand it after being treated to such fun? As Mathews was wont to exclaim-"That boy will be the death of us!"

The humour of the Dublin horse auction is irresistible. All those who have visited Hibernia's shores will immediately recognise the originals introduced in this portion of the work. The scene in the Bench is well sketched: Lord Huntingtower's character is drawn to the life; neither is the introduction of ursa minor as one of the party by any means badly managed.

PUBLIC AMUSEMENTS OF THE METROPOLIS.

"The compositions of great minds bear throughout the stamp of their greatness."

There is a world of truth concealed under the surfaces of everyday life, which it is the business of the play-writer to seize and set forth to the public. Unless he can pourtray as well the inward prevalent spirit of the age as its outward manners and foibles, he will perhaps gain an ephemeral celebrity, but he will attain to no lasting fame. We attribute the partial failure of Mrs. Gore's comedy to the want, not of wit and humour, and dramatic skill, all of which it possesses in a limited degree, but of that high and rare gift, the capacity to delineate character, instead of merely harping upon an absurdity of speech or manner; in short, the power of producing human nature in representation, instead of the mere surface-bubbles of the most artificial state of insipid society. The prize comedy has merits of its own liveliness of diction, bustle, incident, and, apart from its

want of originality of plot, it is worth more than most of the successful comedies of Mrs. Centlivre's or Mrs. Inchbald's times. We attribute the failure of Mr. Webster's most praiseworthy, liberal, and patriotic attempt to improve the condition of the stage, to this causethat it was not likely that the first writers of the day would contend for a prize where one alone could win. Suppose Sheridan Knowles, Sir Bulwer Lytton, Sergeant Talfourd, each one of these were now to produce a comedy, each one would command a purchaser, and a certain success: each one would be loth to contend where two of the three must of necessity be rejected. The practised writers of the day, then, leave the field to the striplings of dramatic literature-to those who have not practised their powers. The first attempts of any class of writers are rarely successful attempts, and without disparagement or discouragement to the unsuccessful candidates for the prize, we may justly conclude that out of many bad plays, "Quid pro Quo" was the most deserving of selection, although not of itself remarkable.

HER MAJESTY'S THEATRE produces a fine harvest of success to its proprietors. Not an empty night during the whole season since Easter, although with the exception of "Don Carlos," and Fornasari's masterpart of "Zampa," little novelty has been produced. "Don Carlos," as sung at the Italian Theatre, is a different production from its original, the great German's masterpiece, but it is yet full of passion and interest; and represented by Lablache and Fornasari, Mario and Grisi, what opera would not be sustained by such united strength? The music of this opera has few salient points of remark. With inferior vocalists we should something fear to test its excellence; we think, indeed, M. Costa, the composer, is capable of a higher work; but so performed, the audience, fastidious as it is, listen only to applaud. Grisi, who was never so great in voice or acting, plays Isabella with that truthful effect for which she has attained so high a meed in her two more well-known characters, "Semiramide," and "Anna Bolena." Lablache, as Philip the tyrant, acts even better than he sings, while Fornasari's splendid organe fills the house with its melody. Mario's part is not exactly suited to him, but nothing can be more touching and impassioned than his part in the last act. The vivid recollection of the plays of Schiller and Alfieri renders this opera a source of great interest, even beyond its artistic merits, to the reading world. We do not think it, however, equal to "Malek Adel." We must do justice to Mademoiselle Favanti's efforts both in "Lucrezia Borgia" and the "Semiramide:" as Orsini in the former, her acting was good, and her singing, in all but the drinking song, very effective. In her performance of the part of Arsace, however at times she loses her intonation, there is a great deal to admire; to borrow an expression from a favourite Swedish authoress, now for the first time known to the English public, there is a perpetual "tear in her voice," that harmonises with the character of the music, and that falls pleasingly on the senses. "Lucrezia Borgia" is another success of Grisi's-perhaps her greatest: perhaps she is more magnificent in this the best of Donizetti's operas, than even in the "Anną

Bolena," although the malignant-hearted, revengeful murderess she represents is of the class of characters far inferior in real interest to that of the proud and patient English Queen, sullied by no crime, and tarnished only by suffering. "Lucia di Lammermoor," the triumph of Persiani, and the first appearance of Signor Moriani in Rubini's character of Edgardo, signalized the last month. This singer, if somewhat removed from that faultless tenor's excelling talent as a vocalist, is far above him as an actor. Fanny Elsler's reappearance this last month created a sensation even beyond ordinary. Did she not come forth both as an authoress and a mistress of the graces, thus falsifying the too-general idea that attention to a mechanical profession necessarily precludes a fair exercise of the brain? We desire, nevertheless, that such mere exhibitions of pose as the little ballet in which she made her début could be altogether banished from the stage. "Le Délire d'un Peintre," even with the graceful Elsler for its heroine, is entirely without attraction for the major part of the audience. The idea cannot be well expressed by pantomimic gestures, but requires words to develop it and to divest it of a wearisome absurdity. We are sorry to see age telling upon the gifted, even though it is but slightly. Fanny's American trip has not embellished her in person, although she is as lithe and elastic as when we first remember her. The new ballet of Perrot, with Pugni's music, "Zelia, au la Nymphe de Diane," was the last new thing we have to record of this theatre, agreeably signalized by Perrot's acting of the statue animée, by the charming dancing of Cerito, and the flying leaps of St. Leon. The revival of Guecco's opera buffa, "La prova d'un Opera Seria," and Fanny Elsler's new bolero, give satisfaction in their different modes.

The HAYMARKET THEATRE, the regulations of which are presided over by a gentleman of unquestionable judgment, is still the favourite of the minor houses, affording always food for the brain as well as for the eyes and ears. The expenses entered into by Mr. Webster in the production of the prize comedy have been great. Nothing can be more admirable than the whole getting-up of the play, or better than the casting of the characters, or than the general painstaking of every individual performer. We have before commented on the play itself. We can add that it has much finish of dialogue and considerable merit to recommend it to the better consideration of the public; and we would fain hope for its eventual success. Several trifles have been produced at this house we have not space to

mention.

The departure of Anna Thillon, and the début of Miss Austin, were the principal matters discussed at the little theatre of the PRINCESS'S. The former was a great hit of the manager's; the latter, without being a hit at all, will do just as well for the very good-natured audiences that assemble nightly within its precincts, bent upon forbearance and applause. Miss Austin is pretty in person, and no singer; Madame Anna Thillon, though not equable in tone (for she sometimes sings quite out of tune), is not only pretty in person, but a good singer and a lively actress. Miss Austen also exhibits selfpossession and bustle, and possesses considerable knowledge of stage

effect; and she is therefore, on the whole, an acquisition to a house which cannot boast of a very efficient histrionic corps.

The ROYAL LYCEUM is full of fun and frolic, for the juveniles more especially. Fairy tales are here put in action capitally, under the management of Mrs. Keeley. There are all sorts of good things to be met with at this prettily-disposed house. The "Three Fra Diavolo's," which are better than the single one to laugh at: if you doubt, go and try. Then there is the "Polkamania," or the best execution of the Polka you were ever present at; besides "Open Sesame, or, The Forty Thieves," which is a retrospective glance of the now almost-forgotten lore of childhood, utility and not entertainment being the fashion of modern education.

Of the minors, when approaching the dog days, it behoves us to speak little and think the more; but those blest with a less melting temperament than our own, assure us that Astley's Royal Amphitheatre is in a fine state of continued confluence and prosperity.

The ST. JAMES'S THEATRE has continued to attract the fashionable world. With unabated talent Dejazet infuses so great a variety in her ever-changing rôles as to re-create herself for each part. This actress is a proof of the triumph of talent over plainness of person. Her enlivening powers give zest even to the prosaic details of the present French school of romantic vaudeville. We have seen her in many characters; in none have we turned away disappointed. She is a complete mistress of the true Parisian gift: finesse of speech, of thought, of action. What infinite zest in the mode in which she acts Charlotte Clapier! how interesting is she as Sophie Arnauld, in "Faute de s'entendre," how she forces the spectators to understand each demi-mot! Eliza Forgeot is a clever actress, also full of liveliness, and with more simplicity and less affectation than falls to the ordinary run of French actresses; assumption of quietude and simplicity being carried by them often to a pitch of monotonous absurdity. Levassor supports Dejazet well in most of the novelties produced on this stage.

Döbler's Natural Magic, now on the eve of its departure from the wealthy mart of amusement, seems not yet to have exhausted the curiosity of the searchers after unknown tongues and heavy machinery. His neat but cumbrous magical apparatus must at least require an omnibus to itself on a journey. His practical results are queer enough to set a juvenile brain crazy at guessing, but the complication of his means in carrying them out astonished ourselves. M. Döbler's easy self-possession in the performance of his marvels is very pleasing to witness. He has the least of the look of a dealer in occult art of any magician we ever saw. Why don't he let his beard grow?

Throughout the month, Döhler and Thalberg, the pianists, Mendelssohn and Benedict, the composers, have delighted musical England with the efforts of their genius. Concerts of all sorts and all merits give proof that of all nations in the world, whatever be our own skill in the art, we best know how to reward that of others impartially, and, en prince, with a golden meed, not approached or approachable on the continent, but by the rare occasional munificence of an individual.

MONTHLY MISCELLANY.

CONVICTION FOR GAMBLING.-Notwithstanding the interdict of Sir James Graham, and the effective measures he took to enforce it, one Mr. Durden, a well-known proprietor of a gambling booth on race-courses, thought fit to continue to exercise his vocation on Hampton race-course, but was, as might have been expected, quickly stopped by the police-his roulette table, counters, paraphernalia, and himself, in propria persona, placed in safe keeping, and, in due time, taken before the magistrates at Kingston. His guilt was made as clear as day, and Mr. Durden, the martyr, was informed, that it would be necessary for him to pass a month in the House of Correction. This Mr. D. has, or had, a trick of putting his name down as a subscriber to the great handicaps, without, it would appear, intending to fulfil the responsibility thus incurred; at least, we know a friend of ours has made a "pretty considerable amount" of applications for a five pound forfeit, but hitherto in vain. Perhaps, however, a month at the Mill may work wonders-nous verrons.

HORSE STEALING.-On the 19th of last month, William Hotham, who occasionally assumes the name of Sir William Hotham, Bart., was committed for trial at the Marylebone Police Court, for stealing a mare, value £25, the property of Mr. Dent, a livery stable keeper, of whom he had hired the animal, but had forgotten to return it. The prisoner stated, that the animal was dead. "Sir William" is well known in the racing or rather leather-plating world-Peckham, Epping, and Romford, to wit; and but a few months since, had his "guide, philosopher, and friend," alias his trainer, Drewet, brought before the bench, on the very same charge for which he himself has just been committed. On that occasion, the worthy Baronet made an exhibition but little superior to his last appearance in public.

ROYAL SOUTHERN YACHT CLUB.-The Marquis of Conyngham has been elected Commodore of this club, vice James Welsh, Esq., resigned, and the noble lord has hoisted his flag on board his yacht, "The Flower of Yarrow," 183 tons, O. M. The Club Regatta is to take place early in August.

THE DOG BILL.--Mr. Liddell, who, at first, intended bringing on his motion on this subject about the 25th of June, has postponed it to the 9th of the present month, when it will be seconded by Mr. Grantley Berkeley. The professionals, with whose rights and privileges this bill will seriously interfere, have not been idle during the past month. Lord Winchelsea, amongst other sufferers, having paid £6 for the recovery of a canine pet.

THE GREAT WESTERN RAILWAY.-The receipts of the Great Western on the Ascot cup day, which greatly exceeded those upon any former occasion since the line has been opened, amounted to up