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his own happiness, and who is most in- most direct attacks upon his heart, his tent upon teaching his little boys their total abandonment to his fate when he accidence. This personage is at once is madle the object of her ridicule, and the butt of the lady, and the instru. invested with a woman's cap, his sement by which she effects her purpose rious apostrophe to the “Shade of of marrying the two young ladies to Cicero,” while in this situation, were her rejected lovers. He is at last, by worthy of a better cause. It is in the plain dealing of the lady, aware of such characters that this gentleman is his own importance, and in a manner, very great. He here appeared to have peculiar, we believe, to the stage, he given up his excessive propensity to becomes the impassioned husband of buffoopery, and to have raised himself the fair intriguante, and the other two very high in the estimation of all those gentlemen transfer, in the happiest who were capable of feeling what he manner, all their affections to the two did : he had little indeed to sing, but apprentices.
that was well done, and in perfect There was one scene in this play keeping. which we confess was not much to our On Saturday, 27th February, a very taste, in which Madame Perlina, the full house was, as usual, attracted by Modista in question, substitutes her the announcement of Il Don Giovanlovers for three blocks, which she ni. This was generally supposed (aladorns with caps and bonnets, in the though there be in fact nothing in her last and most approved taste. We part to justify the opinion), a trial of have not seen any thing which appear. Bellochi's strength. She had a bad ed to us more ludicrous or ridiculous; cold (indeed we never knew a capital the opera, however, went off with con- singer without one). She delighted, siderable effect. Madame Bellochi was although from our knowledge of her the soul of whiim and intrigue; she talents, she by no means surprised us. personated the milliner with the hap- In Zerlina, Madame Fodor was lively, piest effect; indeer, without the ex- engaging, nay, even in some measure, cellent acting of herself, and Ambro- elegant; but there was always in every getti in the schoolmaster, the piece thing she did a marked attention to would not have been suffered. We her dress, or to her own person, which cannot say that the music of Paisiello was paramount, and she was indebted is in fault, for very little of it was re to her sweet and true voice, and comely tained; the principal, and certainly the appearance, for the great portion of apmost effective airs, were taken from plause she uniformly obtained. In other authors; that, for instance, in personal qualifications we are not diswhich Bellochi was so loudly applaud- posed to compare the two ladies ; but ed, “ Di piacer mi balza il cor,” is in point of talent, there is the same from La Garza Ladra, by Rossini ; it difference between them that there was is one of the happiest efforts of this between Mrs Jordan and any comic composer-joyous and tull of heart actress of her time, or since. Madame --and it communicated to the audi- Bellochi possesses, in an eminent de ence a great portion of that delight gree, that downright, sensible, appawhich was so evidently felt by the rently thoughtless and hearty manner singer, whose apparent enjoyment which was th inimitable charm of of her own performance could not Mrs Jordan; this is obviously the be mistaken-it was enthusiastic, and greatest compliment we can pay to any as remote from conceit as truth is actress, and it is that which renders from falsehood. Notwithstanding that Bellochi decidedly superior to Fodor. this could be understood comparatively In the part now under consideration, by few (as, most assuredly, eight-tenths Madame Fodor was considered as suof those who attend the opera do not preme, from the natural prejudice in understand even the language), it was favour of the person who originally thoroughly appreciated, and applause plays a part successfully. Every one was never more heartily or more de- who succeeds is looked upon as invaservedly bestowed; the conclusion of ding that ground which is prescripthis piece is ill defined and abrupt. tively the right of another. Popular
Ambrogetti's acting surpassed any feeling was therefore a spring-tide in thing we have hitherto seen him favour of Madame Fodor, and yet Mado-his quit unconsciousness when dame Bellochi had both the courage Perlina, his mistress, is making the and the talent to turn these disadvan
tages of her situation to account. feeling has induced Naldi to quit the Here, as in the two parts she had pre- stage, and we, in the simplicity of our viously acted, her thorough knowledge ignorance, thought that Placci was to of her profession was conspicuous. replace him—but it seems we are wide Ever busy-ever attentive, there was of the mark. From first to last Naldi no pause--no blank left; her songs was overrated ; the late Mr Goold ancame trippingly off the tongue, and nounced him in the bills of 1806 as those who knew best what she did were “ the first Buffo Caricato in Europe ;" the best pleased. The very dress for many years he was a great favourshe wore was at once so characteristicite, and in certain comic old gentlemen, and becoming, that she did away that he might be truly said to be without impression of want of taste which her a rival; of late years, however, he first appearance seemed so astoundingly has become so insufferably careless, to announce. So well did her man- or indifferent, (to say nothing of the ners and character correspond, that failure of his voice) that we must coneven the curtsies she made upon the fess our satisfaction on his retirement. repetition of her every song, were those His Leporello, one of the best charof a lively unabashed country girl. acters in the whole Opera Buffa, was We may be accused of over-weening so inefficient, so little what it ought admiration of this lady ; but the oc to be, or even what he himself was casion justifies it. When Don Gio- capable of making it, that we never vanni accosts 'her, the whole soul of could endure him in the character. The Bellochi appeared to be absorbed in music of it, whether Leporello sings by admiration of his fine feathers and himself, or in concert with others, is gay clothes ; when he took her by the the finest in the piece. The introhand and began talking his usual soft duction, when he is waiting in the nonsense, her wonder and delight dark for his master, and the subsebroke out in little half-uttered excla- quent scene with Don Giovanni and mations, and her happiness seemed Donna Anna, are perhaps unequalled at its height, when, pointing off, he in music, and would alone place Mosays
zart in the same rank with the great" Quel Casinetto é mio-soli saremo, est dramatic genius of any age. Were E là grogello mio, ci sposeremo.”
we to go through with the part, we The duetto of Là ce darem, la mano” should be constrained to use the lanfollowed with its usual effect; it is guage of unvarying and perhaps experhaps more in character than any travagant panegyric. The recitativo, thing of this kind in existence; and the whole business, demand a certain the more we know of life, the more tact, and knowledge of life and charwe are convinced of this fact. We acter, unknown to, or at least unexare unwilling to detain our readers by pressed by Naldi. Of his parts in the extending our remarks on this subject; duetts, “ Eh via Buffoon,” and “e but we hope to be excused while we Statua Gentilissima,” he made litertrespass for a moment to point out the ally nothing. What, therefore, can contrast between Bellochi and her pre- be said of a successor with the beforedecessor in the whole business of the mentioned qualifications? The piece part. The one was all attention and has been withdrawn, no doubt, with a animation even while she listened, and view to supplying the deficiencies, and the other appeared always pettish and we hope the manager will see the prosullen if any one sung except herself. priety of giving the part to Angrisani, But what shall we say of the Lepo- who has deservedly become a favourite rello of Signior Romero? If this gen- of the public;-he is a most unpretleman be intended as the legitimate suming sensible actor, and has one of successor of Naldi, we have only to
the finest bass voices we ever heard. say, that we did not think he could Should this change take place, hows have had a successor inferior to him- ever, who can sing the music of the self in the part; the present incum- Commendatore ? or who supply the bent has the rare merit of being in- place of the simple-hearted Masetto? comparably the worst singer we ever Begrez was, with the exception of a heard, and the worst actor ever in- want of power, the very person reflicted upon us; he was perfectly ap- quired for Don Ottavio, the walking preciated, and we shall not add to his gentleman. The voice of this peror the manager's mortification. Public former is more adapted to a drawings VOL. IV.
room than to a large theatre; and we with great truth and energy. It is could not help feeling the loss of our not difficult to ascertain why she has favourite Crivelli, who used, good- been hitherto rather endured than apnaturedly to perform a part so much proved. The fact is, she is neither beneath his great powers; it was like young nor handsome. She is, how. John Kemble playing Percy in the ever, so invariably correct, so atCastle Spectre. Miss Corri, who, tentive, and so much in her place, since Camporesi's departure, has been that we care not to see Donna Elvira the Donna Anna, is considerably im- better performed. Ambrogetti has proved. Previously to this young la- been so be-Roscius'd and bepraised in dy's appearance, her friends had the Don Giovanni, that it is as if we pullimprudence to excite the most extra- ed an old house about our ears, to say vagant expectations of the public. She any thing against him; but truth is was, in short, a perfect Catalani, a the only thing of real value in this better musician, and in every respect world ; we shall therefore candidly more correct; and this we ourselves confess our conviction, that it is from heard from the highest musical autho- beginning to end a very bad performrity. Our own experience had taught ance; there is nothing of the dissipaus to believe this, with certain limita- ted grandee about him but his dress ; tions; and as we expected, so it fell his manners are more vulgar than out. We were present on the night those of his valet; and he hawls the of her debût, and had then an oppor women about the stage more like a tunity of forming a tolerably correct tavern blood, than the noble insinuaestimate of the lady's powers. A great ting cavalier he calls himself-(“ UR deal that we had been told was true. nobil cavalier, qual io mi vauto.”) No She has an extraordinary voice, an one can easily be less seductive, and, accurate ear, and taste and judgment fortunately for us, the ladies are of perhaps beyond her years--every re our opinion. He is disqualified both quisite, in short, for her profession, by nature and art for this character; he excepting only that which is indispen, is perpetually playing monkey tricks, sable, the possession of which would and is upon a footing of the most dehave made her all she was said to be, basing familiarity with his servant ; and without which her other talents and yet, such has been the fascination have not at all times secured her a of his bold lively manner, that the patient hearing. She has no soul-un- performance of this single part did luckily this cannot be acquired. Miss more for him in London in one night, Corri must therefore be content to be than all the former efforts of his life what she is, a second rate personage, could do for him on the continent. and her friends are now, doubtless, of His part in this piece should be Lethe same opinion with the public. porello, if he had voice to sing it ; There is a lady, who, by mere force and could we choose our representa of talent, is acquiring a certain portion tion of Don Giovanni, we should, of favour. We always hear Miss without hesitation, pronounce it write Hughes with pleasure. She sings ten for Tramezzani.
GLORVINA'S WARNING. SIR CHARLES-GLORVINA. But hark, in this dread preparation for war, Sir C. Glorvina ! Glorvina, beware of What lady to Paris flies frantic and far ! the day,
'Tis mine, Doctor MORGAN'S, my bride When the QUARTERLY meets thee in bat.
may not wait, tle array !
So heavy are hissing the arrows of fate ! For thy volumes, all damned, rush unread In vain, for the Quarterly visits thee there, on my sight,
And its pages are read with a sigh of des. Glorvina! Glorvina, ah! think ere you write!
pair! See ! see, where the witty and wise about Weep, lady! thy prospects are faded-untown
done Are struggling, who foremost shall trample Oh, weep! but thy tears only add to their thee down!
fun! Proud GIFFORD before hath insulted the For their black ink is poison dagger their slain !
pen,-And @Roker, in spleen, may pursue thee And the book they once stab, may not wak. again!
en again !
Glor. Go preach to thy patients, thou 'Twas my studies in youth gave me mystical death-telling seer,
lore, Or if Gifford and Croker so dreadful appear, And the womb of the FUTURE in fear I Go, crouch from the war, like a recreant explore ! knight,
TIME trembles in pain, as his pulses I feel, Or, draw my silk shawl o'er thy organs of But fate must be known tho' I may not resight?
veal ! Sir C. Ha ! laughest thou, old lady, thy I tell thee, that LONDON with laughter will husband to scorn ?
ring, White bird of the common, thy plume shall When the blood-hounds of MURRAY at be torn!
FLORENCE shall spring!Shall the goose on the wing of the eagle go Ho! COLBURN ! arouse thee, arouse thee forth?
with speed, Let her dread the fierce spoilers who watch And arm thy gazette'tis a moment of in the north !
need ! Let her fly from the anger of Jeffrey's sure Ho! MAGA!-green MAGA !awaken eye,
each sprite! Ah! home let her speed for the havoc is Raise-raise your oak-crutches to cover her nigh!
flight! But lonely and wild is my lady's abode ! Oh! would that thy book went to sleep of itself, And cursed by a spell that will force her Like pamphlets unbound on a dust-covered abroad!
shelf ! Ah, why, when her mansion is desert and cold, Is Dublin too hot this fair lady to hold ? reading—“ unarmed”—though I have not While carriages roll thro' the street of Kil ventured to give it a place in the text-the dare,
lady says, her heroes are “unarmed,” i. e. Due south to the GREEN, and due north (as she proceeds to explain)“ in their to the SQUARE,
author's array”-in the peculiar dress of Will none check their steeds, as in triumph their profession as authors,
“ cedant arma they prance,
togæ."- Theobald. At the door of the travelling lady from This passage was first suspected by Mr France ?
Theobald, who proposed an alteration, which, Woe! lady! bad ever is followed by worse, while it furnishes an intelligible meaning, And the demon was with thee, whose bless. loses sight altogether of the poetry, as is too ing is curse!
often the case with verbal critics. By lookFor evil hath scandal been arming thy ing to the work, which it is evident our imtongue ;
mortal poet had in his eye during the whole Glorvina ! the dirge of thy glory is sung! of this prophecy, we may perhaps be led to Ah! fashion beholds thee-to scoff and to the true reading,
“ All plaided and plumed in their tartan Return to thy dwelling-all lonely return! array,” is the original line ; while comparGlor, False wizard, avaunt! Í have mar- ing this with the line which stands in the shalled my clan,
text, it occurred to me that our poet wrote, Their pens are a thousand—their genius is Ill-paid, 'tis presumed in their au
From their appearing “ in They mock thy prescriptions !-they laugh their author's array,” she not unnaturally at thy breath,
infers, that the auxiliaries on whose aid she Go! preach to thy patients of danger and relies, are ill-paid. The Oxford Editor has death!
silently printed—“ inactive alarm."-WarThen welcome be Croker-his smile or his burton. frown,
This is one of the passages where we do And welcome be Crawley-we'll trample not know which to admire most, the imagithem down !
nation of the author, or the ingenuity of the Their colour shall vary from yellow to blue, critic; but after the best consideration I Like the cover of Constable's famous Review! could give the passage, the emendation apWhen my heroes impassioned for victory pears to me rather acute than true; the strain,
heroine of our dialogue means to say, the Sir Richard the learned !-and Ensor the activity of her champions is such, that they vain !
proceed at once to the field, without changing All active, all armed, in their author's ar. their ordinary dress I once thought that we
might perhaps read, “ All armed, though Sir C. Glorvina, Glorvina, beware of the in authors array”-meaning that her deday !
fendants were not, as the phrase is, out of
elbows; but it is more easy to suggest plausThe text is certainly here incorrect, nor ible corrections, than to interpret the words can I, from any manuscript, supply a reading which maintain stubbornly their place in on which we can rely with certainty-'All the text: and the critic should not forget, armed in their author's array.”_What can that deviation from the language of the authis mean? it implies a direct contradiction, thor, more frequently indicates ignorance which has, however, led me to the true than ingenuity.-Johnson.
But mourn! for a darker departure is near What ages of rapture roll fair to my sight! The wise shall condemn, and the witty shall What glories to come swim before me in sneer!
light ! And she, that fair lady whose home is the Behold thro' the curtains of fate as I look, LAKE,*
O'DONNEL!--and flirting with young LALWith sworded SIR ARTHUR, thy doom
LA ROOKH! shall partake,
With BERTRAM is waltzing GLORVINA In vain shall she combat for MORGAN LE
the fair ! Fay.t
And IDA is wrestling with LADY CLAN. Glor. Down, soothless insulter, I scorn
CARE !* what you say !
Near apostate HEMEYA see IMOGEN's face!
Oh never a ball such a galliard did grace! * " That fair lady, whose home is the Lake.” In the beauty of fame they return to my
sight !The heroine, who, as she says, is Be they savedbe they damned I will “ placed in a definite rank among authors, write_I will write! and in no undistinguished circle of society, appears rather provoked at this passage, as
* Ida of Athens-from the robust frame, may be gathered from her reply. The allusion appears to be to the chapter in the and out-of-door habits of Lady Clancare, Mort d'Arthur, that relates Sir Arthur's ad. the reader may be apprehensive of Ida's not ventures with the Lady of the Lake. See being a match for her--this ethereal crea. also “ A Treatise on Bathing,” by Sir A.
ture, however, had the advantage most Clarke, Knight of the Bath Temple at Dub- probably of much practice. The reader lin, sold by the author-half price to bathers.
cannot forget how often she is described as
retiring to the gymnasium—sometimes she + Morgan le Fay.”
is painted to us as engaged there at her “ And the other sister, Morgan le Fay, toilette !—from this circumstance, we supwas put to school in a nunnery; and there posed the gynaceum might have been inshe learned so much, that she was a great tended by the learned authoress, but this clerk of necromancy; and after that she line appears to prove that we were mistaken, was wedded to King Urience, of the land of and we are anxious to acknowledge our era Gore."-King Arthur, gic. page 4. ror in the most public manner.
ON THE CONNEXION BETWEEN PUGILISM, STATUARY, PAINTING, POETRY,
The grave peaceable folks of Scot But though we are far from belong. land, who, it must be confessed, are ing to that sect of philosophers who rather slow at a joke, cannot for their attribute all that is peculiarly excelsouls perceive the wit of pugilism. It lent in the English character to beef is, on the contrary, spoken of with the and boxing, we hold ourselves at a deepest horror, as something mon still greater distance from them who strous and unnatural, and we have see, in the increase of prize-fighting, more than once heard the inferiority symptoms of a deterioration of naof the English to the Scotch asserted tional spirit, and omens of eminent on the sole ground, that the former are ruin. It is our opinion, and it is an a boxing people.
opinion that we have not formed on That Christians, Jews, or Pagans, light consideration, that the art of pumust, by the very necessity of their gilism can effect the stability of an nature, either box or stab one another, empire only by means of the influence we see no good reason for believing— which it exerts over the intellectual and our own admiration of pugilism and moral character of a people, is not forced upon us at the horns of through the medium of the imaginaa dilemma. We cannot, for example, tion and the fine arts. think that a jealous Italian would re If ever the art of statuary be restorfrain from the use of the stiletto, ed to its ancient glory it will be in though pugilism were to flourish in England. Undoubtedly there may Italy. Thecharacter of the Englishеxhi- have been something in the mythologibits itself in the ring no doubt,-but if cal religion of Greece peculiarly fathey indeed be a more chivalrous peo- vourable to the growth of this artple than they were a century ago, we but, after all, the chief advantage which really cannot so grațify our love of the ancient sculptor possessed over the pugilism at the expense of truth, as modern, was tījat of beholding the to attribute that improvement, in any naked body in contention as well as great degree, to the “ heroic wisdom
Jackson, Gulley, Crib, of Slack and Broughto.
Carter, Gregson, Oliver, Neate, Cooper,