assured of this, we beg to add another-if in what he may in future write he gives us the result of his own experience and professional knowledge, we, and we are sure all acquainted with his talent and attainments will feel perfectly satisfied with his individual opinions and information.

PUBLIC AMUSEMENTS OF THE METROPOLIS.

"All these storms that fall upon us are signs the weather will clear up-the evil having lasted long, the good can't be far off." DON QUIXOTE.

There never were such times!-theatrical, be it observed-when there were so many theatres and so little amusement. The period is not so very remote when the playgoer could, without much difficulty, extract, in the course of his rambles, some kind of entertainment wherewith to season his fancy, or afford a speedy relief of the blues. Now he may wander from one temple of the Muses to another without the smallest possible chance of his visit being attended with any such agreeable result. Indeed, with the exception of Jullien's Concerts, there is not a house wherein you can remain with any degree of comfort or satisfaction. Nobody but an anti-Homerite can, without visions of the narcotic, witness the laboured attempts of gentlemen whose histrionic pretensions rank with those of itinerant members of the sock and buskin to be met with at provincial fairs. The little novelty presented appears to be moulded in a mistaken form, the concocters invariably committing the error of furnishing dull repetitions in lieu of smart and original dialogue; the consequence is, that instead of mirth and interest, weariness and fatigue are engendered. From so unsatisfactory a condition, it is to be desired the stage will soon be extricated; and with Cervantes, it is fair to indulge in the hope that "the evil having lasted long, the good can't be far off."

Mr. Macready's "last dying speech" is being made at the HAYMARKET, in company, sooth to say, of the veriest tribe of malefactors that ever cried peccavi. When Shakspeare penned―

"The evil that men do lives after them,"

little did he think how applicable it would be to those who ruthlessly murdered the matchless creations of his sublime genius. But so it is with regard to the painful exhibitions now taking place, wherein the actors will of a surety never be forgotten, nct even when they will have long since passed away; for then the most juvenile of the present audiences will in their recollections of such performances proclaim, "The evil that men do lives after them!" It is distasteful to dilate upon the general inefficiency of Mr. Webster's company to do anything approaching justice to the plays selected for the tragedian's farewell; besides, it is ungracious to the star to surround him with such thorough

obscurities. But notwithstanding a natural repugnance to dwell upon so unfavourable a theme, it would be wrong to omit making allusion to the manifest absurdities committed in the attempt to represent the classic drama. For instance, let reference be made to the distribution of characters in Julius Cæsar," the principal parts being sustained by Messrs. Howe, Davenport, and Stuart. Now, Mr. Howe, in a certain line of characters, is a very excellent performer; Mr. Davenport, in any part, is an actor not to be tolerated, his violent shouting being at all times untuneful to the ear; Mr. Stuart, although he cannot lay claim to the demoniac demonstrations of O'Smith, may be said to possess cer- · tain peculiarities that eminently qualify him for sustaining the rôle of an unamiable assassin, or second robber, or indeed any gentlemanly hero where the leading requisites are a melodious voice and a joyful With such a cast, who can wonder at the drowsiness of the audience? No, no, Mr. Webster; this will never do you had better eschew the classic; for depend on't, with your version of "Julius Cæsar," the public will be pleased to see the last of all the Romans."

countenance.

At the PRINCESS's the Keans are doing the "Templar," and the Keeleys "Betsy Baker." In both couples there is much industry; and the way they persevere in their nightly toils to please the public and pay themselves is painfully apparent, particularly so in the instance of Mrs. Kean, an actress who in her time has imparted to the characters she has embodied talents of a high order. But there is a limit to all human efforts: the man who in his vigour has with thew and sinew subdued the foe, cannot after a long lapse of years repeat the achievement of his early career. The author who has delighted the world with his noble ideas and exquisite imagery, cannot expect when in the vale of years his genius to emit its early fire. So with Mrs. Kean, it would be downright folly to suppose that she could sustain the youthful characters with the same degree of propriety of former years. But it is the mistake now-adays with many celebrities of bygone times; they linger and linger, instead of at a proper period making their farewell bow. In the new play of "The Templar Mrs. Kean appears as a girl, and the exertion to make the points of the character effective is manifest in the laborious attempts to produce that which before the physical strength of the actress was so reduced was accomplished without effort. The other characters call for no further notice than that the performers appear to think they are treading the boards of one of the theatres on the other side of the water, and act accordingly. This alone must be detrimental to the success of the piece, which, although it possesses many passages of poetic beauty, is deficient in dramatic construction, and altogether devoid of novelty. Speaking of novelty, it must be observed that, so to term the farce, "Betsy Baker" is a perfect absurdity, for the elements are essentially stale. What a pity it is that our stage cannot boast of the farces of the old school, when an author did not confine himself to one character alone! Look at Poole's "Turning the Tables" for example. Mr. Keeley should be less prodigal in the use of oaths: his constant swearing in this farce is exceedingly annoying, and is a practice that he will find to his advantage to abandon.

Charles Mathews maintains his ascendancy at the LYCEUM, where he has appeared in a not over-brilliant drama from the French, called “The

White Hood," which to term a lively Hood would be a false-hood; but it serves the purpose of introducing as members of the company Mr. and Miss Baker, both of whom perform with becoming zeal, which would be more acceptable on the part of the lady if she would but contrive to modulate her voice. The entertainment of the "Romance of the Rose is remarkable for the flowers of loveliness developed in four magical visions. The manner and form of embodying these pictures must be regarded as the same which distinguished the Poses Plastiques of Professor Keller, and as such it may naturally lead to the reflection that the style of exhibition is not exactly suited to those boards to which the clever acting and piquant performances of Charles Mathews and Madame Vestris impart so much zest.

The approaching Exhibition of the Industry of all Nations has given occasion for the display of a great deal of ingenuity, and, as coming events cast their echoes before, Jullien and Labitzky have applied the theme to exhibit their skill in adaptation. "The Great Exhibition Quadrille" of Jullien is as far superior to the other as the popularity of JULLIEN'S CONCERTS at DRURY LANE is beyond that of the NATIONAL CONCERTS. Besides an excellent orchestra, Jullien can boast of three military bands and a considerable number of the corps de tambours of the French National Guard; and it may be reasonably expected this immense body of instrumentalists must of a certainty be the means of giving due expression to the several subjects of this clever composition. It is really worth the while of any one, with the least music in his soul, to travel miles to listen to this very characteristic production, which abounds in the most striking airs of different countries. The Marseillaise is interpreted in the most delicious manner, and the solos are rendered in a style not to be surpassed. As for Rule Britannia and God Save the Queen, the effect of these is stupendous; and the very fact of French drummers playing the National Anthem in Drury Lane Theatre is sufficient to paralyze the laudator temporis acti. These concerts suit the taste of the town amazingly; the numbers that nightly crowd the "promenade" sufficiently test the fact, and this clearly exhibits the tact displayed in the selection, for Jullien eminently studies the amusement of his audience. The directors of the National Concerts appear to be deplorably deficient in proper judgment in catering for the public. The serenata of Macfarren is a highly meritorious work, but completely out of place when set before auditors at a promenade concert: as an opera it would be more in character; for this may be relied upon-people do not visit a promenade concert where the programme does not combine variety with excellence.

STATE OF THE ODDS, &c.

SALE OF BLOOD STOCK AT NEWMARKET, BY MESSRS. TATTERSALL, IN THE HOUGHTON MEETING.

Galaxy, Glenochty, and two or three others were sold at low prices.

The French Government have purchased The Emperor and Nunnykirk for the stud, Lord Strathmore the Oaks mare Incurable, and Mr. Britton Hagley. A draught from John Day's was put up on Monday, the 25th, Chatterer going for 40 guineas and Osterley for 80 guineas; a couple of yearlings, Magnetic and John of Leyden, at very low figures. Pitsford and Peep-o'-day Boy bought in.

The following deaths have been reported during the month :-Ballinafad, on the voyage back to Ireland from Liverpool; Cantab; Miss Dalgleish, by The Doctor; the brood mare Maria, in France; and the stallion Inheritor, some time since, in France. Also that of William Butler, the Jockey; in September, on his way to India.

There is some strong talk of a match between Voltigeur and The Dutchman, the most sporting-looking of the few we have had of late years.

The Royal Stud Paddocks at Hampton Court will be re-opened as "Royal" in the spring of the year, with Lanercost, Alarm, and Orlando as the stallions for the season. The paddocks have latterly been suffered to get much out of repair, but we believe will be properly refitted in time for the reception of mares.

"What against Lightfoot for the Derby?" has been the cry of the month, and forty to one as long as ever you like to book it has been taken and laid over and over again. The people the public, in more proper parlance-are everywhere backing him, without, however, as yet having, with all the outlay incurred, improved him a point on the price they began at. There scarcely ever was a stronger movement "for met by a steadier front "against." The Squire's horse comes next for most talk, with plenty of offers, not merely ta back but to buy him, so far, though the "temptation " has been strong, without forcing a sale. Teddington and Lamartine have also been frequently heard of to advantage, while the business done on the two cracks has been, on the

whole, uninteresting, Prime Minister especially having had a very dull time of it. The same remark will serve for the rear rank of our forces. We quote some early Chester Cup business with Cossack, Rhesus, Langton, Brother to Dough, and Clarissa, already "selected.

THE CHESTER CUP (Latest Betting)-40 to 1 agst. Cossack; 50 to 1 agst. Langton; 1,000 to 20 agst. Brother to Dough; 1,000 to 20 agst. Montague; 50 to 1 agst. Clarissa; 30 to 1 agst. Rhesus; 50 to 1 agst. Wallflower; 1,000 to 15 agst. Lady Eden; 1,000 to 15 agst. Garforth; 1,000 to 15 agst. Snowstorm; 1,000 to 15 agst. Melody; 1,000 to 15 agat. Miss Ann; 1,000 to 15 agst. Sir Richard; 100 to 1 agst. Musician; 100 to 1 agst. The Swindler; and 100 to 1 agst. The Iron Duke.

THE 2,000 GUINEAS STAKES.-3 to 1 agst. Grecian, and 10 to 1 agst. Storm.

END OF VOL. XX.

Printed by Joseph Rogerson, 24, Norfolk-street, Strand, London.