341] DIDASCALIA. The new Public Office and Prison at Birmingham are completed. They form a handSince our last the comedy of Time's a Tellsome edifice, which is not excelled by any building for a similar purpose, in the king- Tale has been published. We insert the don. Though their erection has cost a larg- author's own account of his production, as er sum than was expected, yet the town has given in an address To the Reader. Our liberally supplied the building committee readers may perhaps be struck with the coinci with funds fully adequate to finish the whole dence of our remarks with those of Mr. in a manner highly ornamental to the place. Siddons.-The compliment about the players, The first stone was laid on the 18th of Sep-better have been avoided, as there are certain we conceive, without being invidious, had tember, 1805. At St. Paul's Church, in the afternoon At the parish Church, in the evening £. s. 19 10 26 10 10 LEEDS, HOUSE OF RECOVERY. d. 81 1 wicked wits, who doubting their most brilliant talents, regard it as a puff direct, worthy only the quackery which so conspicuously embellishes the modern stage. With respect to their UNAFFECTED friendship, Mr. S. is certainly a better judge than ourselves. Rous seau described things differently, and our French Academy Dictionary, dédié à l'immortalité, describing a hypocrite, says, c'est un grand comédien! We rejoice to find the English comedians are so morally the reverse. "During a short residence in France, thir26 6 teen or fourteen years ago, I ainused myself with forming a little serious drama from a £72 7 8 story by M. Marmontel, Blandford and Coraly appearing to me two very interesting characters. These scenes lay long neglected in my port-folio.-When I made the stage my profession, I was prompted to review them, but found my hero by far too grave for a Comedy. The part of Benedick was one that I had ever contemplated with delight, and it struck me that a naval character of the description might combine eccentricity with the most exalted generosity.-The play of the Stranger had then rendered the writings of Kotzebue extremely popular; and on peru sing his works, I found that he had also made both Shakespear and Marmontel his models;-it occurred to me, that by paraphrasing a few of his speeches, I might give a degree of sprightliness to my principal character, and I felt assured that what I was doing would be new to an English audience; the nautical phrases however, which form the allusions and constitute the aggregates were of my own suggestion. The father of Coraly in Marmontel is destroyed at the commence. ment of his story. To heighten the dramatic effect, I embodied him in the character of the elder Hardacre. The genuine applause of tears at the end of the fourth act have convinced me that I was not mistaken. No man of education or liberality has blamed-me for making an elegant novel the foundation on which I have erected the Delmar Family, well knowing that the most excellent writers in the English language, availed themselves The busy Morris, the of these resources. proud Delville, and the dissipated Harrel are calculated for an excellent moral; indeed I have long wondered that the attempt has ne The third annual report of the House of Recovery in Leeds, from Oct. 1, 1806, to Oct. 1, 1807, communicates the following interesting fact: "Infectious fever, which formerly spread through whole families and neighbourhoods, has, under the controlling influence of the House of Recovery, been chiefly confined to the individual in whom it first appeared. Only one instance has come to our knowledge (and this in a lodginghouse, and after an interval of some weeks) in which it attacked a second individual after the removal of the first infected to the House of Recovery. The success attending the practice in the House, is the best proof of the skill and assiduity of the gentlemen to whom the medical department is confined, and to whom our grateful thanks are so justly due. Of 59 patients admitted (whose families include 300 persons), only four deaths are recorded, and two of these happened within a few hours after admission; too fully evincing the necessity of repeating our injunction, that patients be recommended for adinission while a chance of recovery is afforded.' Nearly one-seventh of the patients admitted since the last Annual Report, were servants or apprentices; a fact which cannot fail to place in a strong light the advantages to be derived from a House of Recovery, and which would doubtless add another motive, if one were wanting, for the encouragement and support of an Institution founded on the broad basis of-General Philanthropy and Self-preservation." ver been made by abler pens than mine. I am willing to allow that I have availed myself of every advantage which my reading, my reflection, or experience in my profession, may have placed within my reach. I may at least hope that the annexed Comedy is written in the spirit of a man, anxious to serve the cause of truth. I believe this, because it has been criticised with candour (a solitary exception cannot change my opinions) and with impartiality. Even those who have censured it, have expressed themselves in the language of gentlemen, and I was never foolish enough to imagine that my production was a perfect one. Public approbation must ever be the dearest wish of my heart, but I trust that I shall never forget the respectful deference by which alone it is to be both obtained and preserved.......All my brother performers exerted the most BRILLIANT talents, with all the zcal of the most unaffected friendship this last consideration would have sweetened even the defeat of all my hopes.-H. SIDDONS." COVENT-GARDEN THEATRE. The plot is improbable and uninteresting ; it consists of a Portuguese nobleman losing his fortune and resigning his order-then commencing merchant, and after gaining great riches suddenly resuming all his feudal honours and dignities; it is aided by the introduction of a little Love in a Veil, (as Savage has it, but which Mr. Dibdin calls Two Faces under a Hood)-aninny, a buffoon, a silly town-clerk altered from Shakespeare, who reminded us more than once of Dogberry's famous exclamation, "Oh that the town clerk "were here to set me down an ass!" We beg the author's pardon, we mean no allusion; but the manufacturers of comic operas as they are called (though by the bye there is very little to laugh at) now-a-days seem to think they are licensed to disfigure any author provided it can answer their purpose, or make way for a song-though it be but a scarcely merry, hey down derry, good for nothing, sort of thing enough! This piece is similar to most operas of the present day, a mere vehicle for the music, which is principally the composition of Shield, and reflects great credit on that eminent compoTuesday, Nov. 17th, a new opera was pre-ser-He has been singularly happy in the songs sented at this theatre entitled, we know not why, Two Faces under a Hood. The following are the Dramatis Persona: Marquis Raimondi (a Por tuguese nobleman, who had ruined his fortune at Mr. Bellamy. play, and retrieved it by trade), Count Ignacio (Colonel of Infantry),. Governor, Mr. Jones. Mr. Thompson. Mr. Incledon. Brazilio (his Quarter-Mas- Mr. Farley. ter),... Martinique (also a soldier, } and attendant on the Mr. Fawcett. Count), Jeronimo (á Town-Offi Mr. Simmons. Mr. Taylor. Mr. Liston Mr. King. Mrs. Dickons. Miss Bolton. Mrs. C. Kemble, Agatha (portress of the} Mrs, Liston, of Mrs Dickons, whose performance and execution, both in singing and acting, are entitled to all the applause she so flatteringly received. We hope she will continue to pay that attention to acting she hashitherto evinced, and that we may have occasion to say we have at least one accomplished singer on the stage who is at the same time an elegant and judicious actress. Bellamy has a pretty ballad to the burden of entre nous. Although the piece met with much disapprobation, yet we do not think it disgraces the author, as we cannot perceive any falling off from his Family Quarrels, &c. &c. We have no doubt of its success, if not from the good writing of Mr. Dibdin, at least from the fine composition of Mr. Shield; for though, as Moliere says, la philosophie be quelque chose, yet la musique ! ah! la musique......sans la musique, monsieur, un Etat ne peut subsister! The Opera is intolerably long; a disease the author can speedily remedy by the pruning knife, or as Mr. Puff, says the hatchet, for we will venture to say any part may be judiciously left out-sauf la musique! DRURY LANE THEATRE. Nov. 19. a new Melo-Drama, entitled Ella Rosenberg, by Mr. Keany, was produced at this theatre. The music by Mr. King. This is a kind of German French spectacle it was favourably received the story is told with effect; and the scenery well managed. We have no doubt it will answer the purpose of that best of all critics the treasurer.-Oue of our sensible diurnal critics says," this Melo Drame is of a most serious cast, creating the most fively interest!” ACCOUNT OF THE HINDOOSTANEE DANCING CONCISELY This race of women in this part of the country is formed into three grand divisions Ist. A particular set employed in the service of our Temples, where dancing is performed at regulated hours. They are not remarkable for their beauty, because they are the refuse of the following class; and their masters (images in the Temple) are not nice upon this point. 2d.-The fashionable set-the women under this class, carry the prize of the day, for they are accomplished to a certain degree in music, they profess the trade of dancing, and are initiated in all the bewitching arts of harbury-they are pretty, not without exception, and live decent, and in good circumstances. The habitual politeness of English gentlemen ever induces them to accept the attentive invitations of the Natives, to partake the pleasures of a natch, or the feats of Dancing Girls; an entertaininent common throughout Hindostan, nay India; but I am inclined to think that many of the gentlemen, and more particularly ladies, who are not acquainted with the poetical part of the Native languages, 3d. A shameless race, the common wo in which the songs are composed, must re-men-they have no pretentions to any sort of main contented with the information of the acquirements, and wholly depend for the neeye; without that more rational relish of cessaries of life on the common trade to which which the understanding is susceptible-this they become devoted. is the case even with many natives. It may therefore be useful to have translations of songs, the meaning of which are represented by the dancing women, in various motions; at the same time adding a short sketch of the general principles on which they are founded. Without involving myself in the scientific and technical system of Hindoo music, which would render what I propose abstruse and comparatively use less to the purpose, I intend this as a sort of hand bill for the respectable persons whose affability and natural goodness has given a ready acceptance to my request of witnessing a Tamasha. Men are inquisitive in the first instance and that very properly, to know the history and character of the objects presented to their view, before other considerations which may lead to an inquiry into their accomplishments and profession. I therefore proceed to relate an account of the origin of the Dancing Girls, a race of public women in all parts of India, regularly bred up for dancing and singing-why the like does not exist in Europe, may be easily accounted for. The ladies of all ranks and families in Europe, are indiscriminately taught to read and write, and initiated in the art of music and dancing. But the customs and manners of modern eastern nations in general, allow their women no education, or liberty-this circumstance necessarily renders a particular set of women useful for public diversion and entertainment. The fashionable class with whose theatrical representations the public is entertained, are originally descended from the tribe of Kicolas or weavers, who from immemorial usage, dedicate one of the female offspring of each family to the service of the Temples and public-this custom is not in much practice now; for the uninterrupted employment the weavers find under the auspices of the Honoura ble Company, together with their circumstances, has improved their feelings of honour and virtue. The deficiency arising from the above cause, is made up by purchase of girls, from different parts of the country, where the calainities of famine and war, do:nestic misfortunes and peculiar religious customs, drive the parents to the necessity of disposing of their children. An elderly woman, and one or two girls form a sett, which is distinguished after the young or old lady's name, as fortune or fame may render either of them conspicuous, The young girls are sent to the dancing school at about 5 or 6 years of age, and at 8, they begin learning music; either vocal or instrumental-some attain a great proficiency in dancing, others in singing; but the first art is limited to a certain period of life, for dancing in the Hindoo style requires great agility and strength of constitution-thus, no woman after the age of 25 years is reckoned competent to the task. The expense attending the education of a girl, and to render her accomplished, will probably amount to between 300 and 400 pagodas, this is either managed by contracts, or monthly payment, to the Natuva, the dancing master, and Pataca the singer. In former days, we had certainly some established rules to regulate their conduct, for as public women they were not destitute of fidelity and attachment-at present the case is otherwise, and needs no explanation, from the miserable objects we often see in the pub-proficiency, the friends and the relations of lic bazars. the old mother, are invited, and after observ. VOL. III. [Lit. Pan. Dec. 1807.] When the girl attains a certain degree of T ing certain formalities and ceremonies, the It is related in the Brummanda Poorana, young student is introduced to the assemblythat Mahadava and Parvaty were enjoying and her merit is examined and assayed, The expense of this first exhibition is great, including the presents to the dancing masters, and it is borne either by the betrothed gallant of the girl, or the friend of her mother.— After this ceremony, and not until then, the set gain admittance to the favour of the public, and are asked to attend marriages and other feasts. With regard to their revenues, the first source of emolument proceeds from their destination, as public women.-When the young lady arrives at the age of puberty, she is consigned to the protection of a man, who generally pays a large premium, besides a suitable monthly allowance. Changes of men are made as often as it suits the conveniency and advantage of the old matron. The second channel of benefit arises from the presents made to them for dancing or singing-unfortunately, no standard of hire was ever established, but it is entirely left to the arrangements of the parties. A set, will probably receive from 30 to 500 rupees for the performance of three or four days, as the circumstances and disposition of the who requests their dance may admit;-the spectators, sometimes, give a few rupees to them, either from liberality or vanity. The produce of this supply goes in shares to every individual forming the set, viz: person Five or ten per cent. on the whole, is taken off for charities. The residue is then divided into two shares, of which one is allowed to the dancing woman. The other subdivided into 6 shares, of which 2 to Natuva, or the dancing master; 1 to Pataca, singer; I to Piliangolo, or the flute player; 1 to Maddalagar, or trumpeter; to Srutyman, or bellower [bellows blower]; the dancing woman pays the latter from her share. It is but doing justice to say, that the arts of music and dancing are more perfect in and about Madras than in any part of Hindostan. The old Kings of Trichinopoly and Tanjore and the Rajahs of Pondeman and other PoJiguery country, have for ages devoted their time and fortune to the culture and improvement of these entertaining arts-but since the impoverishment of these princes, the seat of musical learning was transferred to Madras where an encreasing population and the introduction of luxury keep them in demand. Bharala sastra, or the art of dancing, was originally invented by the Siva, or Maha Dava; and brought to perfection by the sage called Bharata, after whom the Saster was named-besides, the word Bharata is the compound of ideas, modes, or tunes, and time-thus, Bha for ideas, ra, is meant for Raga, or modes; ta for thálum, or the time. the felicity of conjugal happiness on the sacred mountain Kylasa, their established seat of residence; but a misunderstanding having once taken place between this fond pair-it was the intention of Siva to offer some entertainment to regain the favour of his spousehe then began to dance, singing melodiously and keeping time with the movement of his feet; while he aptly expressed the meaning of the poems he sung by various appropriate motions. This casual act of Siva established an art, which was taken up by 32 of our Gods, who wrote seperate treatises each differing a little in detail. After this, Parvaty, in her incarnation of Bhudrabally, learned to dance, with the frailty of a woman, to excel her husband; for ladies are sometimes jealous-all descrip tions of Gods assembled, and an examination was set on foot.-The divine pair danced, but an indecent posture of Iswara induced Bhadrabally to give up the contest-Maha Dava then instructed Brumma with it, who communicated it to Indra, and by him it descended to divine sages, who transferred it to Apseharasas, or the heavenly nymphs, who stand in the same relation with our dancing women, in the upper regions. It is stated that Bharata Nateya, or danc ing should be composed of 5 Angàs, or parts 1st Nalà (the Ticta man who regulates the time) 2d Mindenga (a small drum) 3d Pataca (the singer) Sruty (the bellows, which blows the easy tunes) and Patia the actress. An actress should be young and healthy.The females of Sata Gohorjara and Sourastra, are said in the Pooranas, to be beautiful The breed of Carnata rirà ta, are prettyand the girls of Dravida are of ordinary kind, we are unfortunately situated on the last division of the country, so that it is no wonder, our dancing girls are not remarkable for personal beauty. I premised that Bharata Sastra is composed of ideas, mode, and time. The ideas, or feelings, are nine in number, divided into three classes, which relate to love, fear, and hatred, viz: ture, contain some one of these passions, and the whole is represented by 37 hasthas, or different changes of hands, and thirteen of the head. Of the 37 hasthas, I give a few samples here. 1.-Pathaca hustra, or flag shaped hand; to denote excellence, approbation, friendship, and point out sides, comers, &c. 2.-Ardhapataca, or half flag shaped; to point out females, the ear-rings, mountains, trident, &c. 3.-Tripathaca, the same as the first, with the exception of the third finger folded, to express conjugal attachment, gallant intercourse and others, as Ardhapataca. 4-Mayura, or peacock shaped; to mark peacocks and other birds; saphires, garlands, rows of pearls, &c. 5.-Ardhachundra, or half moon, to signify, Ancoso, half moon; the waist of a woman, to chastise, &c. 6.-Soocatundum, or the beak of a bird, to denote bows and arrows, elephants, several war implements, and birds. 7-Soochy Mookhum, or the needles end; expressing trifles, writing, pointing out objects, &c. 8.-Pudra Cosa, or the bird of lotus. 9.-Senha Mookhum, or the head of a lion. 10.-Moograshursham, or the head of an antelope. The remainder may be conjectured to be of the same kind. The motions of the head are, 1.-Acompetum, or the head in an erect position, very slightly shaken occasionally, to denote solemn expression, to make a demand, point out objects, expressive of anger, and to give a negative answer. 2.-Compitim, heaving head, this marks approbation, contemplation, deep thought of a lover, and pleasing circumstances. 3-Dhotem, nodding head; expressing contempt, sorrow, surprise, &c. 4. Vidhotum, shaking head: to express indisposition, fever, terror, and the desire of driving away. 5.-Parivahacum, leaning on one side; expressing surprise, satisfaction, recollection, &c. 6.-Anchitim, leaning on one side, but to shake often; feigning to be fainted, expressing indisposition, sorrow, &c. Oocshiptem, to have the head up; on marking dust, in pointing objects above, heaven, &c. I forbear to proceed on these scientific atoms farther, for they will tire the reader, and they tend to no great use.-The changes of hands and heads, and whirling of the eyes, with an appropriate attitude of the same, sufficiently explains the meaning of the songs. I think the Hindoos in this respect excel all other nations. The Ragas, or modes are many, but 32 principal ones, are much in use. Each of these Ragas has its peculiar property of pleasing the ear, and the difference is formed by variations of Swaras or notes, which are 8 in number. Sa ri ga ma pa da ni sa. We have 8 Talems, or measures regulating the time. 1st.-Dhruva tata, measuring 14 syllables, 2d.-Matteya, for 10 syllables, 3d.-Aathala, for 14 ditto. 4th.-Rupaca, for 6 ditto. 5th.-Jumpa, for 10 ditto. In dancing, these syllables are formed of hard constructed technical language called Su◄ la; and this is pronounced with a loud, sometimes harsh, voice, by the Ticta fellow, viz: Tha tha, Dindà thà, thè thà, thà, thà, Dinda tha; are the Soolas for 12 instead of 10, but this encrease and decrease originates from the number of gooroo and lagho Matras, an explanation of which, like the rest, must be left to a large treatise on music. It is now time to begin with the proceedings of the dancing set, when entered on the Court Yard. With the girl in front, the Natuvas (generally two) one on each side, and the small drum with the sruti bellows, and the singer together with the old mother in the rear, the scenes commence. Natura expresses first of all the technical syllables of Dim Dim in honor of Sambho, the first inventor of the art, and commemc-~ rates Brumma with similar unmeaning sounds. lows: O Venaica, the son of Parvaty, An invocation to Venayaka, or Pelliar, fol"and elephant faced, thou who dancest in"imitably, let the Natuva (or the time "beater,) know him, and resound the tech"nical syllable in his praise, and attend pare ticularly to the change of times." 66 A Prayer to Rama, is then offered, Victory be to the favourite of Janaky' "(Rama's affectionate wife) or the patron "of Vibeeshana, (the King of Lunka, or "Ceyloon) let happiness attend the Lotus"footed, and the merciful towards the dis"tressed! Let the Preserver of the World, "and Saviour of his followers, be crowned "with happiness!-Grace be to his beautiful. "mien, as he is an image of virtue! He is. omnipotent, and, at the same time, an in |