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Then in thee my dear girl! most distinctly I trace,

A protector-a friend 'midst the deepest of woe;
A lover, the smiles of whose elegant face,

To the keenest misfortune relief can bestow !
August 29, 1808.


Mild orb! that shinest so sereuely fair,

Thee do I court at evening's lonely hour;
When Silence awes the meditative air,

Enthron'd aloft on some stupendous tow'r.
On thy dark turrets, hideous to the eye,

Wigmore! * alone at solemn tide I've been,
Intently musing on the spangled sky,

Or, visions sporting on the distant green.
For what can equal that enchanting time,

When Fancy plumes her variegated wing;
When wrapt in dreams, the Poet looks sublime,

On those vast regions of th'eterval King;
Or, thro' the awful solitude of night,
He onward urges his impetuous flight?

When mild Aurora gilds my attic sphere,

O'erwbelm'd in thought I turn from side to side
On my lone couch, and oft the conscious tear,

Bids Wisdom's strongest energies subsidė.
In vain for me she decks the laughing sky

With sweetest flow'rs and hues of every sort ;
Me Recollection fondly prompts to sigh,

For her t I left at Yatton's rural court!
Nor wou'd I pray indulgent heaven to steel

This doting heart against that Power supreme;
For what am I, unless inform’d to feel

A sense of virtuous sorrow and esteem ?
A dark, disgusting creature of mankind,

of human form, but, of barbarian mind! September, 1808.


* Wigmore Castle,-a Ruin.

+ Miss Sarah Morgan:

casile; it is true, also, the English are their allies; but here rests all the application which can be made to the passing events in Spain. The incidents are those of a common romance, which eternal repetition has rendered perfectly stale , a warrior's wife confined in a besieged castle ; the governor in love with her; her busband gaining access to her, in disguise ; and, on heing discovered, thrown into a dungeon ; a few contrivances to effect his escape ; followed by the destruction of the tyrant, and the usual finale. This play is the production of Mr. Theodore Hook, and, considering that it was written on the spur of the moment, it does him no savait credit; but the materials are insufficient for a full drama, and being opposed by strong attraction at the rival house, it feli afier a few nights strugg!e. It may still serve both the theatre and the author as an after-piece,

The plot of this piece is founded upon the battle of St. Quintin, in 1757, when the French, in attempting to raise the siege of that town, suffered a signal defeat by the Spanish and English forces, commanded by the Duke of Savoy, Count Egmout, and the Eart of Pemhroke, and the surrender of St Quintin was the immediate consequence. A little poetical license is taken with this great event, to adapt it to the present period. Count Egnont, anxious for the safety of his wife and child, who were treacherously betrayed by Bertrand, a vassal of bis, into the hands of De Courcy, the commander of the fortress in the absence of the Governor, De Coligny, attempt. ed in the disguise of a soldier to gain admittance into St. Quintin. De Courcy, who was an unsuccessful lover of the lady, places her under the care of Bertrand, and Rosa de Valmont, a young orphan, who had taken refuge in the Castle during the war. Rosa &crepts, the offer, with a secret determination to counteract the designs of Bertrand, aud to save the lady, for which purpose she assnmes a repulsive exterior when under bis observation; she makes her sentiments known to the Countess Adriana, and advises her to ask Bertrand for her 500, which be, desirous to obtain her confideuce by that kindness, complies with. The Governor euters, and informs her of the death of her husband, which he confirms by producing the Count in disguise, as having the last tokens of affection; by an unguarded expression, in the moment of joyful surprise, when the Count makes bimself known secretly to his wife and son, the boy betrays him; he is immediately seized, and ordered to the deepest dungeon in the fortress; the Countess also is ordered to be confined by the Governor, to try the effect of severity upon her constancy, which ends the

lu the commencement of the second act, the English detachment is discovered, headed by Sir Leinster Kildare, who discloses his passion for Rosa de Valmont, whom he had kuown, when pursuing his studies at St. Omer's; he dispatches bis servant to make irquiries about her. The scene then changing to the dungeon of the Castle, the guards of De Courcy, with Bertrand, descend with Egmont, iv au iron paruier, which is let down by chains; they then uzlock a giating on the stage, lowering him down to a deeper

The Countess and son are conducted down a small staircase b Rosa ; she conceals the boy beli ind a pillar, and reascends; when B rtrand and the guardis coine through the grating, lie, locks ii, leaving the key in. While he is tamperivg with the feelings of the Countess, an ungov: rnable love for her being the cause of his vil


c vero.

lany, the boy unlocks the grating; alarmed by the noise, he takes a ligit to examine the recesses of the dangeon. The Countess and sou immediately open the grating, and release the Count, who reties with his son behind the pillar, as Bertrand approaches. Bertrand, alarmed at their voiccs, goes for assistance to make a further search Rosa then euters, and states the Gover:nor's order for Egmont's death; she makes the Countess write to the Duke of Savoy, as if Bertrand was in er interest, which note the boy is to slip into Bertrand's pocket 'The Count then again retires, and the Governor enters. Bertrand accuses Rosa of treachery, who retorts tie charge, and induces the Governor, the boy having slipped the note into his pocket, to have him searched; it is found, and he is sent into confinement. De Courcy, to assure himself of Egmont's person, descends the grating with his guards, trusting to the proved fidelity of Rosa; the grating is immediately secured by the party, the husband aid boy ascend by the pannier, which is raised or lowered by the sound of the horn, and Rosa eonducts the Countess by the staircase; which concludes the second act.

The third act exhibits the interior of the fortress ; sentinels - guarding the bridge. The fugitives conceal themselves under an

a.Chway. As the guards pass the gate, to go the rounds, the boy, concealog binse if behind the centinel, obtains the pass-word, and curveys it to his father. The party then come boldly forward, and g.se the word. The centinel opening the gate, the Count with his buy pass; when an alarm being sounded, the sentinel locks the gate höfvre tlié ladies can pass. The Governor enters, having broken open tre grating of the dungeon. Enraged at the escape of Egmout, he ortier's the Countess and Rosa into confidement. The scene is then transferred to the Spanish camp. Egmont makes his appearance, aid, having the pass-words, proposes to head a detachment in disgrise, wbich is joined by Sir Leinster Kildare. Upon the scenie changing again to the interior of the castle, Bertrand and Rosa are ied out for execution. The Countess informs the Governor that . Bertrand was innocent of the frand, and he is pardoned. Struck with remorse at the interposition of one he had so deeply injured, he attempts to stab the Governor, but, being deiected, is ordered out for torture. A signal being given at the gate, the sentinel at the bridge gives notice of a dttachment arriving to succour the garrison. An attack being expected, the detachment, which is the disguised English, enter. They relieve the other guards, an being ordered by the Governor to shoot Rosa, they turp their arms upon him; he is secured. The remainder of the detachment make their appearatice, the French are disarmed, and the town surrenders.

Mrs. MUVIE has repeated the charaeter of Mrs. Haller. This lady speaks șeusibly, and has sufficieot knowledge of the stage; but her provincial tones and an extravagance of manner and action, left an impression on the audience far from fuvourable to ber, Mrs Haller was injudiciously chosen for her debut.


27. Gamester-Review.
28. i ondman--Forest of Hermapstadt.
31. Romeo and Juliet. Juliet, Miss Norton.b,

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1. Macbeth-Who Wins? 2.

Merchant of Venice-Blind Boy. 3. Henry VIII.-Ib.

4. (For the Benefit of the families of those who unfortunately soffered by the late fire in Covent-Garden.] Mourning Bride Forest of Hermanstadt

7. Henry VIII.-Blind Boy.
8. Every Man in his Humour-Love-a-la-Mode.
9. Richard III.-Tom Thumb.

10. [NEVER ACTED.] Tue EXILE. The Overture and music by Mr. Mazzinghi. The whole arranged under the direction of Mr. Farley. Count Ulrick, the Exile, Mr. Pope ; Governor of Siberia, Mr. Munden ; Baron Alltradoff, Mr. Liston; Count Cadmar, Mr. Incledon; The Patriarch, Mr. Cresswell; The Czarowitz, Master Goodwin ; Daran, Mr. Young, (his Ist appearance on this stage ;) Welzien, Mr. Jefferies; Rimski, Mr. Murray; Yermack, Mr. Chapman; Servitz, Mr. Fawcett. The Empress Elizabeth, Mrs. St. Leger; Sedona, Mrs. Gibbs; Alexina, Mrs. H. Johnston ; Catharine, Mrs. Dickons ; Anna, Mrs. Liston; Villager, Mrs. Emery. In Act II. the Coronation of Queen Eliza beth. The Dances (composed by Mr. Bologna, jun.) by the Misses Adams, &c. The Scenery by Messrs. Phillips, Whitmore, Hollogan, and Grieve. Jew and the Doctor. Abednego, Mr. Blanchard.

11. Ib.--Love-a-la-Mode.
12. Ib.-Portrait of Cervantes.
14. Ib.-Tom Thumb.
15. Ib.-Follies of a Day.
16. Ib.-Village Lawyer.
17. Ib.-Katharine and Petruchio., Katharine, Mrs. C. Kemble.

21. Ib.-Birth-Day.
22. Ib.-Portrait of Cervantes.

The Exile. This interesting opera is the production of Mr. Reynolds, and is certainly one of the most pleasing dramas which the modern stage has exhibited for some time. The chief incident is taken, as we observed last month, from the French novel of Madame Cotin, called The Exile of Siberia, and a second interest has been judiciously blended with it, to give more variety and fulness to the action. The character of Duran is very happily introduced, and presents several bold and striking situations. The language is of a higher order than has generally prevailed in Mr. Reynolds's serious dialogue, and the whole piece is put together in a most masterly manner. The comic business is slight, but it is sufficient to relieve the weightier scenes, and, with the assistance of some good comic songs and duets, affords ample room for the exertions of the comedians. Fawcett's songs are exceedingly happy. They have 'Mr. Colman's stamp upon them cession to the coronation of the Empress Elizabeth is highly in posing for its grandeur, striking for the order in which it is arranged; and, for accuracy of costume, and taste in the decorations, surpassiug every thing we have seen of the kind. The ceremony of the corona. ion is equa!ly admirable. The whole has been prepared hy Mr. Farley, and is in the higliest degree creditable to bis direction. Mr. Young made his first appearance, as a member of the


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