God when threatened by their foes, and were not disappointed of his aid; who have delivered down to us the rights, which they gained or established, yet uninjured; and the faith, in which they were baptized, yet not deserted here. Yes: by the recollection of their examples we shall all be encouraged to defend our civil and religious liberties; to act the part of dutiful Christians; and, by the various means which God has given us, to advance the public good.”

Poesie Liriche di Leucippo Eginèo, P. A.
Napoli, e di Cortona, &c. White.

Socio della R. A. di 8vo. 1801.

THE Italian language, though always admired, was never more in vogue in this country than it is at the present moment. The study of it is very general, and its character amongst languages promises to last as long as any taste exists for graceful ease, for dignified strength, and fascinating richness of expression. At such a period, the work that now occupies our attention must be peculiarly acceptable, since, with the advantage of purity of style, it combines all the charms of novelty, amusement, and research.

With this little preface, we shall, without delay, enter on the several contents of this production, concisely observing, in our progress, on the merits of each.

Oda alla Pace. This Ode to Peace is remarkable for its piety, delicacy, and beauty. Beginning, however, from

the toomb

Of unoriginal night, and chaos wild,

MILT.

"hic promissor," may be said in some measure to disappoint us by quitting his subject after only fifteen short stanzas, but the complaint of brevity in a poet, will not, we trust, in a critic, be deemed any very great severity of censure.

In confirmation of our opinion, we shall present the reader with an exquisite picture from the middle of the poem.

VIII.

Al nome sol di guerra
Inorridisce la natura umana.

Qual strage orrida, insana!

La madre i figli, e la consorte serra

Fra le braccia lo sposo,

Pallide,, semivive, in tuon doglioso.

IX.

Allor che, il sacro ulivo

Mostrar la pace a' miseri mortali,

Qual' allegrezze! e quali

Mandan dal sen voci di giubil vivo!

Spingon le Furie, ed il Demon veloce

Nel cieco abisso il rapitore atroce.

Two sonnets follow the ode, the first of which is by far the most pleasing and interesting in consequence of its object--the conduct of man in prosperity and adversity. The 8th verse deserves to be written, not merely in gold, but in the heart of every one:

PAVENTA IL DELITTO, E NON LA PENA.

P. 11.

Canzonetta campestre, nella quale descrivesi la maniera di far la polenta. Our poet now changes his note, and sings of rural pleasures, of content and love. Inviting his Chloris to partake these joys, he tunes his rustic pipe to sweetest melody, and thus he chants his borrowed * lay:

and then shews how the poor of Italy make a dish which they call La Polenta. This mess, so celebrated, in various parts of Italy, but especially in Campagna, is composed of the flour produced from Indian corn, or chesnuts boiled up with salt, to which those who are able add meat. Proceeding thus in praise of frugality, of a tranquil life, and a peaceful mind, he closes in 38 stanzas a poem of great chastity, simplicity, and sweetness.

P. 59. st. 1. Seizing again his, golden lyre, he raises a nobler strain, celebrating the rise and fall of nations. In this, as in his former flights, he pursues his course on wings that never fail him, but often bear his genius, when it would ascend, to the sublimest heights of poetical inspiration.

The number and length of the notes which accompany, adorn, and illustrate these interesting and elegant poems, required no apology on the part of their author, but many thanks are due to him for the entertainment and instruction which they are calculated to afford. We have rarely been so delighted with the yλunɛgOV STOμX of a modern Italian muse, as we have been on this occasion, and we warmly recommend this little work to the attention of the public, as the production of an excellent poet, a polite scholar, and, judging from his reflections, a pious and a good man.

The idea of this stanza is from Tasso nell' Aminta.

These Poesie Liriche are dedicated to Sir Richard Worsley, and the title page is ornamented with a very delicate vignette, by Bartolozzi.

A Sermon preached on the Fast Day, October 19, 1808, at the Parish Church of Alhallows Barking, Tower Street, by the Rev. Henry White, A. M. Curate. To which is added, a Prayer delivered by the Author, at the Consecration of the Colours of a provincial Corps of Volunteer Infantry, in 1798. Second Edition. 4to. pp.

30. 2s.

We take the earliest opportunity of recommending to the serious perusal of our readers this interesting and animated discourse, which, to borrow the energetic language of Johnson," the critic may read for its eloquence, the philosopher for its argument, and the saint for its devotion."

The notes are numerous and well written, and display in the clearest terms the sense and spirit of the author.

DRAMATIC.

Royalty Theatre. A solemn Protest against the Revival of scenic Exhibitions and Interludes at the Rayalty Theatre; containing Remarks on Pizarro, the Stranger, and John Bull, with a Postscript, 2nd Edition, by the Rev. Thomas Thirlwall, M. A.

THIS " solemn protest" is a string of common-place invective against theatrical exhibitions, too trite for reply, and too contemptible for animadversion; and serves only, from the fallacy of its rea soning and the grossness of its language, to detect the malevolence and expose the vulgarity of its illiberal author.

Observations on the Drama, with a View to its more beneficial Effects on the Morals and Manners of Society. In 3 Parts. By Edward Green, corresponding Member of the Literary and Philosophical Society of Manchester. 8vo. 2s. 6d. Cadell and Davics.

1803.

NOTHING can be more commendable than the object of this pamphlet, and though we are not struck with any great novelty in the arguments, yet we have seldom seen them put with so much simplicity and force, in more lucid arrangement, or more elegant Language. It would be too much to expect from these pages all the effect desired by Mr. Green, but we know not what might not be hoped from the observance, even in a few, of the wholesome rules which he lays down. The society was honoured by Mr. Green, when he favoured them with this communication.

FVOL. XVII

THE BRITISH STAGE.

Imitatio vita, speculum consuetudinis, imago veritatis.

Cicero.

The Imitation of Life--The Mirror of Manners--The Representation of Truth.

REMARKS

ON THE

Scenery introduced at Drury-Lane Theatre,

IN THE COMEDY OF

"A BOLD STROKE FOR A WIFE."

Mr. EDITOR,

66

So much has been already said and written on the unconnected manner in which scenes are brought to the view of the audience at our theatres, in order to give to effusions of our dramatists the stamp of locality, that you will probably think the time and trouble of any individual much misapplied, who again enlarges upon this subject. Be that as it may, should the few remarks which I now mean to offer, meet the approbation of him who conducts a publication so justly admired as the "Mirror,” my utmost wishes will be gratified. A few days have now elapsed since I happened to be at Drury Lane theatre, to witness the representation of Mrs. Centlivre's diverting, but certainly immoral, and very unnatural, comedy of the " Bold Stroke for a Wife." On the scenery, &c. of this piece, it is my present intention to animadvert: To fulfil this intention, I shall endeavour to proceed with some regularity. The rising of the curtain discovers Feignwell and his friend Freeman, over a bottle, in a room which, we are to understand, forms part of a tavern: with this I will not be very severe, but, doubtless, something more is requisite than a small table, two chairs, and a scene, which appears as though the bristles of a painter's brush had not disturbed its surface since the zenith of Garrick's attraction. The next scene is supposed to convey a lively representation of a room in the house of a Quaker; that is Obadiah Prim. To effect this, we have the pleasure of beholding a scene, apparently copied from the gaudy architecture so frequently to be seen in the bed-chambers, and rooms of state, belonging to the chateaus and seats of our nobility.-Corinthian pillars, festoons, and painted pannels. Can all this convey an adequate idea of the abode of a hosier, and member of a sect, who, as it is well known, and from the words of the authoress of this very play, look upon the luxurious

style, and extravagant manners of the age, with an eye of contempt and abhorrence?-Surely not. The same remarks may, of course, be applied to all the scenes, intended to represent the house of Prim, and of Sackbut. The fourth act opens with, what is meant for, Jonathan's Coffee House. This is done by a paltry scene, and two tables, five men at one, and four boys at the other, How well this conveys to the eye the noise, bustle, and confusion, which were the characteristics of that famed resort of stock-jobbers, it is almost needless to observe; not to mention how admirably the bulls and bears are personified by the beardless boys!

Though these observations do not form the extent of what struck me so forcibly at the time, yet, having proceeded thus far, and not intending to write a criticism on the performers, and on the comedy, I shall close with remarking, that the representation of this play reflects no credit on the taste and manners of the present age; and though it has so often received the sanction of our forefathers, and has been considerably curtailed, yet there still are passagès highly improper for the ear of a modest female, and which are spoken, by the different performers, so as to give them all possible effect.

Following the preceding drama was that very pleasing piece, the “Caravan,” in which an impropriety struck me, not yet noticed in the public prints. I allude to the caravan being drawn by camels. The scene is laid at, and near, Barcelona in Spain. Who ever heard of camels being used as common beasts of draught in Europe?—Thën why, in the name of astonishment, should a public caravan be drawn by them?

By inserting these remarks in your valuable miscellany, yoù will very much oblige a constant subscriber, and one who, under different signatures, has occasionally sent communications.

Dec. 16, 1803.

CIREDERF NOTCA.

P. S. It is not my wish to carp, cavil, and abuse without a cause; but, actuated by a fervid desire of seeing the regulation and propriety of scenery confided to more able hands than that of scene shifters, I have penned the above. A well-managed theatre should "catch the manners, living, as they rise," pourtray to the eye what things were, should be, and are now-or, why the motto, " Veluti in Speculum?"