monotony of the versification, the be written to the friends of this supcold regularity of the language, and positious Don Manuel, and it is nathe mediocrity of the ideas, place it tural to suppose, that in describing to along with our present author's pro- them what they were unacquainted ductions, who, together with his with, he would endeavour to give friend, will fade, and "leave not a wreck behind." As a short specimen of our author's manner, we select the lowing:

THE FADED ROSE.

A Rose that hung on Julia's breast,
By all her fost ring kindness blest,

Shone with attractive power:
Such fragrance as her breath supplies,
A bloom her cheek alone outvies

Adorn'd this happy flower.

At length it dropp'd its languid head,
And Julia saw its beauties fled;

I felt the fair one's pain:

fol

And, while we mourn'd its with'ring

bloom,

Methought the Rose's last perfume

Breath'd thus the moral strain: "Grieve not for me-thy stronger frame "Must join the dut from whence it came,

"As fade the flow'rs of spring. "OMAN! thy boasted strength of years "To sage Reflection's view appears "Flown with as swift a wing!

"O MAN! each genial

ring renews "Myriads of odours, forms, and hues, "As fugitive as mine.

"New suns shall set, and blooms shall fade, "When in oblivious earth is laid

"The pride that now is thine! "Yet shall the Soul escape the tomb, "And with perennial beauty bloom

"Mid you celestial plains; "Where God's own glory gives the day "Unsetting Sun, whose living ray

"Th' immortal Flow'r sustains!"

Letters from England, by Don Manuel
Alvarex Espriella. Translated from
the Spanish. 3 vols. 1807.
TH

HAT this is the production of a Spaniard we firmly disbelieve. It has too many internal evidences of being a home made article, a London manufacture, to pass current as a translation from the Spanish. It has not one character of a genuine book of travels about it. Our reasons for suspecting, and our conviction in that suspicion, are founded upon the following circumstances.

Firstly. A traveller usually compares what is new to him, with what is familiar. These letters are said to

accurate ideas of these unknown things, by comparing them to something which they did know in their own country. But this is not the case and as we do not think England a land of prodigies, this a very suspi cious circumstance.

Secondly. The occasional references to Spanish manners, &c. are only such common-place ones, as may be acquired from books of travels, or a temporary residence in the country.

Thirdly. His acquaintance with English literature is more extensive than a Spaniard probably possesses. He quotes with fluency from various English authors, relatively to the manners and customs, or in illustration of particular ideas.

Fourthly. The same fluency in retailing whatever is singular in the different towns he passed through in his way to London, on his first arrival, supposes him gifted with intuitive faculties. Many years residence would be requisite for a foreigner, to know what Don Manuel knows the moment he enters a town.

Fifthly. The aukward attempt at describing what may be supposed to be unknown to the Don. The following description of our poker, shovel, and tongs, will illustrate this:

"The hearth is furnished with a round bar to move the coals, a sort of forceps to arrange them, and a small shovel for the cinders." p. 2.

v. 1.

This would do very well for an inhabitant of Otaheite to write his mother or sweetheart. Besides, how comes it that Don Manuel, who so readily acquires, in other cases, the names of every thing he sees, should in this particular describe so clumsily utensils so common in an English house?

Sixthly. No real names are introduced. It's Mr. D. Mr. J. Mr. F. Miss P. Mrs. K. &c. Travellers in general are proud to record the names of those from whom they receive hospitality, friendship, and attention, To this also, may be added the omis sion of dates, except in the first letters

that are supposed to be sent to Spain. But, considered as an original proFrom all these circumstances, we duction, we are inclined to give these are decidedly of opinion that these letters no small commendation. They pretended travels are of true English are amusing: many of them are well manufacture. Some few attempts, written, and the foibles and good indeed, are made to give a colouring qualities of our countrymen are pourto the imposition: wilful mistakes trayed with a friendly hand. The are inserted in the text, that they may language is neat and perspicuous ; be corrected by the translator in a though sometimes disgraced with new note. A zealous catholic, Don coined words. The remarks on the Manuel calls us heretics, and pities pernicious effects of the manufacour blindness; he terms Drake and turing system are sensible and judiRaleigh sea-pirates, &c. &c. But cious, as are also those on the poor these are too simple to effect much, laws. On the whole, we read these and rather, indeed, diminish the de- volumes with a pleasure by no means ception. A great part of the letters diminished from the conviction that too, are filled with common news- we were reading one of our own paper anecdotes of Governor Wall, countrymen.

Colonel Despard, &c.

ORIGINAL POETRY.

SONNET.

SWEET is the calm and sober hour of eve, Just when the sun,, with mild and soften'd ray

Gilds the fair landscape,-then, oh! let me leave

The smoky town, and bend my willing

way

To the green fields; and like to him releas'd

Do I not see that sweet sequester'd dale,
And the snug rural cot, muy native home?
Beloved scenes! yet what to me avail,
While far from them in the wide world
I roam.

For ah! thy visions, Fancy, fade away,
And leave me to reality a prey.

SONNET.

W. P.

From the dim horrors of a prison's gloom, To Miss EDGAR, on returning a stolen par
To the blest light of day, so I, well pleas'd,
Will hail sweet Nature's influence, and the

bloom

of Garters to her. By CLIO RICKMAN,

THEATRICAL RECORDER.

DRURY-LANE.

Laurent, from Astley's, made his first ONDAY, Dec. 28. George appearance at this theatre in the Barnwell Furibond; or, Har- Clown: but he must yield the palm lequin Negro. This excellent domestic to his formidable rival Grimaldi. Mr. tragedy, whose moral at all times Laurent has neither the humour, nor touches the heart, and which is always the agility, nor the perpetual activity with great propriety performed at this of the former: he has no contortions, season of the year, was played at both and except one single action of falling houses on the same evening. We have backwards, rising on his hands, and already given an account of Covent then regaining his feet, he does Garden, and, generally speaking, we nothing which many a rustic at a can only add, that its representation country fair would not perform. The at that house was the best. This opi- pantomime itself in machinery and nion we are led to form from the ac- scenery is very good: some of the count given us by a friend who at- former approach to excellence. To tended Drury-lane Theatre that even- detail its plot and its changes, would ing; and our knowledge of the re- be to recount the exploits of a playspective performers confirms it. ground.

A new grand pantomime, called Tuesday, Jan. 12.-False Alarms— Furibond, succeeded; in which Mr. Furibond. This operatic trifle was

performed with the usual attractions this part, which, in one or two instanof Braham; but we would recommend ces, was grossly erroneous. In the arto that gentleman, when he is singing bour scene (where, by the way, he exhis new song in the third act, at the poses himself too much for a listener) window of Emily, to look towards the when he advances from his concealwindow, and not turn his back upon ment, he says his mistress for the sake of shewing his person to the audience.

"This can be no trick; the confe"rence was sadly borne, &c."

It is with reluctance and hesitation Mr. Elliston placed the emphasis that we hold the rod of censure over on borne, when it should have been distinguished favourites and estimable on the adverb sadly, i. e. the manner private characters: yet the line of duty in which the conversation was carried which we have marked out to ourselves on, seriously, with no appearance of will not permit us to shrink: we must jesting. The other misconception is object therefore to Mr. Bannister and in the scene with Beatrice, Act IV. to Mr. Wroughton's pronouncing sc. I. where she urges him to avenge obliged like oblecged: Lord Chester- the cause of Hero. Benedict says, field might correct them in that: and "Tarry good Beatrice, by this hand Í the former uniformly uses the expres- love you" and Mr. Elliston took sion it's me-Worse than a schoolboy, hold of Mrs. Jordan's hand; but her who knows that the verb to be takes the reply might have taught him, that he same case before and after it; and that should have extended his own right consequently it's me is used instead of hand when he declared his love: Beait's I. We have already alluded to trice answers, "Use it for my love this grammatical impropriety, in our some other way than swearing by it," former theatrical criticisms, and we i. e. use it to kill Claudio, who has repeat it again, because, with the sole wronged Hero. The context of the exception of Mr. Kemble and Mrs. whole scene supports this reading. Siddons, we know not one actor upon the stage who does not commit it. Wednesday, Jan. 15. Much ado about Nothing-Furibond. In our account of this play at Covent Garden, we have exhibited a parallel of the cast of characters at either house, and we bave now to add, that it is performed Miss Mellon was much too tame in a manner decidedly superior at this and spiritless in the character of theatre, with the single exception of Hero. When accused by Claudio, Mr. H. Siddons, whose performance she hears it with less emotion than she of Claudio we thought much inferior probably would the arrival of her to that of Mr. C. Kemble. Elliston, mantua-maker with a new dress. Of in Benedick, gave additional proofs Mrs. Jordan's Beatrice nothing can that the buskin makes him ridiculous; be said, but what has been said à hun-and we hope the time will yet come, dred times; it is too well known to when that gentleman, convinced of need comment, and too excellent to his true talent, will resign tragedy to admit of censure.

What partiality Mr. Elliston has to a red wig we know not: but till public and individual taste prefer that northern colour to black or auburn, we think he would do well to lay it aside, for we can assure him it does not become him.

this

more favoured votaries, and keep to a It is a shame that Mr. Purser should walk where he is always sure to delight. be allowed to disgrace the language of He has one great advantage over Shakspeare by his own vulgarity: Lewis in this character: the energy that he may say, in private, and effect which he gives to the serious here man that stands there" is not imparts: nor is his comic delineation probable, but very natural; but that any thing inferior to his spirited and he has the impudence to palm it upon vivacious rival; in many parts indeed the galleries as the words of hakof Mr. Elliston's acting we traced a speare, reflects upon the good sense close and glaring imitation. Upon of the acting manager. the whole however, his performance Mr. Dowton was excellent in Dogwas chaste, lively, dignified, and inte- berry; he had all the humour of Munresting. But we have a few observa- den without his buffoonery. tions to make upon his conception of

Saturday, Jan. 16.-All in the Wrong

-Furibond. This delightful comedy Mr. Elliston stood conspicuous: in was performed this evening with the these he need fear no paramount highest effect. Wroughton in Sir claim. And much applause he got: John Restless acted with more than but let Mr. Elliston remember whence usual spirit: and Miss Duncan in that applause proceeded; and if it can Lady Restless taught us to forget Miss gratify his ambition to be the hero of Farren. Mrs. Jordan in Belinda de- the galleries, why we leave him to the lighted us with that display of playful enjoyment of so exalted a banquet. gaiety and tender affection, which so Something, indeed, in extenuation peculiarly belongs to her: that spright- may be ascribed to the character; but ly raillery and unaffected ease, for genuine passion, even of the fiercest which we look in vain in any other nature, is not alone expressed by actress on the stage. Why does not stamping and bellowing: the eye, the Mr. Elliston relinquish tragedy? His gesture, the inflexions of voice, speak performance of Becerley was a rich more forcibly than the most powerful and excellent piece of acting; indeed, lungs can do: Mr. Elliston forgets we will venture to affirm, that there is this: indeed, he totally forgets himno actor now on the London boards self and his talents when he struts who could play Beverley as Mr. Ellis- about with the robe and sceptre of ton played it this evening. The sin- tragedy. gle excellencies of his performance Mr. Palmer, in Father Philip, remay be found in others, but we are minded us of his brother; but the convinced that the assemblage of comparison excited a sigh. When them cannot. His bye-play too de- detailing to Angela his plan for her serves much commendation for the escape, it would be well if he did not natural effect which he gave to it. roar quite so boisterously, considering But we must object to his pronouncing chamber with the long accent over the vowel, thus chamber: this is contrary to all rule and good usage. Monday, Jan. 18.-The Castle Spectre -Furibond. This medley of comedy, tragedy, opera, and farce, miscalled a play, was acted this evening, for the purpose of introducing a Mis. Eyre to the London boards, in the character of Angela. She has performed at various provincial theatres, and last at Edinburgh, at which place we remember to have seen her. His figure is interesting, and her action free; but she wants discrimination. In those parts of Angela's character, which re- Wednesday, 20.-The Cabinet-Frquired softness and feeling, she failed: ribond. Another debut was made this instead of appearing to speak from the evening by a Mr. I. Smith, from the heart, she merely declaimed, as a Liverpool theatre, in the character of schoolboy would an oration from the Lorenzo. He met with very distinspeaker. In the more impassioned guished applause, and was loudly enparts, where the situation and the cored in two of his songs. His voice language bore her out, she succeeded has no natural sweetness; but he posmuch better. Upon the whole, we sesses a good deal of science and exeformed a very favourable opinion of cution, and as he advanced towards her powers, and think she may prove the middle of his songs threw in a a useful actress.

Mr. Elliston in Osmond convinced us that Barrymore's secession is no loss, for he equals him to the full in lungs. As far as stamping with his foot, clenching his fists, rolling his eyes, and bawling, were excellent,

that he is fearful of being overheard. Mr. H. Siddons played Reginald with great effect; and Kenrick found a respectable representative in Mr. Eyre. Mr. Holland played Percy but indif ferently; and when he puts on the armour to represent a statue, it looked ridiculous to see him walk off the stage with his pantaloons and half boots uncovered. This reminded us of the bungling disguises of a pantomine. Mr. Purser threw enough of his own buffoonery into the character of Muley to make it disgusting. Mr. Putnam obtained and deserved much applause in Hassan.

great many graces. In his low notes he reminded us of Dignum, only that his voice is much more disagreeable. He sang his duet with Braham in good style. He is a tolerable actor, and treads the stage with ease and confidence.