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Now Silence reigns triumphant o'er the scene,

And the pale nioon peeps gently thro’ the trees ;
The glimmeriug twilight in the west is seen,

While Fancy's visions float upon the breeze :
Wrapt into thought my spirit roans afar,

Beyond the confiue of the polar star!
Hertford Street, June, 1808.

J. G.

Give me boy, that golden cup;
Fill, come fill it brimful up,
With the bright Falernian wine,
With the nectar'd juice divine,
For I could gaily quaff a bowl,
Large as my capacious soul;
For know, immortal gods! O know!
To Bacchus and the loves I bow.
Haste, then bring the rubied juice,
Prepar'd for every social use ;
For to mirth I'll give the day;
She, the banquet sweet shall sway,
Hence, then Care, thou fiend most foul,
Ere I drown thee in the bowl; :
Hence, then hence, and far remove,
Whilst I toast the girl I love,
Now I feel a rapture fire,
All ny soul with sweet desire;
Now my mind by magic fraught,
Aspires to every tow'ring thought :
Say, am I wake, or do I dream,
That now I feel such bliss supreme?
Bring then flow'rs of every hue,
Blushing roses pearld with dew;
Such as glow on Hebe's face,
Such as Cypria's goddess grace,
Such as deck with myrtle fair,
Tbe lovely Grace's flowing hair.
Let these in clust'ring wreaths be bound,
To shade any front, and temples rouod ;
For know, immortal gods on high,

On earth, none is so great as I.
Liverpool, June, 1808.

J. B--



Dear to my heart is this sequester'd sphere,

Where silence slumbers in fantastic guise,

And nature's radiant hues salute mine eyes,
Where malice comes not hideously to leer :
Where neither pain nor jealousy appear
• To cloud the lustre of the burnish'd skies,

Or machinations dreadful to devise,
To spoil the beauties of th' advancing year!

Hail! Charming spot! and may'st thou ever prove,

A genial harbour for the soul distress'd!
Relieve the tortures of a hopeless love,

And lull the woes of indigence to rest !
That those who to despondency are driven,

May find thy shades a secondary heaven!
Grafton-street, June, 1808.


Still---still the image of my love I view,

Sporting, as it was wont, in bland array,

Beside yon crystal stream, that glides away,
“ Making sweet melody” the valley through!
I run to seize---it flies as I pursue,

And fondly blames my tedious delay :
" Fain wou'd I follow, but the length’ning way

Doth mock my toil, and every hope subdue !

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Oh! that some ærial pow'r---some magic art
Wou'd pulverize my frame, and my torn sprite,

Convey to realms of everlasting light,
Where lives in peace my soul's far better part !
But ah, 'tis vain !---The succour I implore,

Add hut fresh sorrows to my sick’ning store !
Grafton-street, June, 1808.





28. Speed the Plough. Sir Pbilip Blandford, Mr. Thompson; Bob Haudy, Mr. Farley. Review.

29. Heir at Law-Tom Thumb.

30. Wheel of Fortune-Plot AND COUNTERPLOT; or, The Por trait of Michael Cervantes, (1st time). The Characters by Messrs. Fawcett, Liston, Mathews, Grove, Palmer, jun. Putnam, Atkins; Mrs. Davenport, Mrs. Mathews, Mrs. Gibbs.

JULY 1. Five Miles off-A Mogul Tale-Plot and Counterplot.. 2. Tale of Mystery-We fly by Night-Ib.

4. Iron Chest. Fitzharding, Mr. Waddy; Rawbold, Mr. Thompson. Helen, Mrs. Bellamy.

5. Wonder. Frederick, Mr. Glover, (bis 1st appearance on any stage.) Violante, Mrs. Bellamy. Ib.

6. Battle of Hexham. Barton, Mr. Thompson; Marquis of Montague, Mr. Carles, (his first appaarance this season ! !) Fool, Mr. Farley. Queen Margaret, Mrs. St. Leger. Seeing is Believing. Ib.

7. Sighs. Leopold, Mr. Thompson ; Hans Williams, Mr. Farley. Louisa, Mrs. Bellamy. Ghost. Roger, Mr. Liston. Ib.

8. We fly by Night-Critic-Ib.
9. Five Miles off--Plot and Counterplot-Tom Thumb.
11. Iron Chest-Plot and Counterplot.

12. Wiid Oats. Rover, Mr. May, (from Belfast, his ist appearance in London); John Dory, Mr. Farley. Lady Amaranth, MrsBellamy. Ib.

13. [Not acted for 30 years] FATAL CURIOSITY. Old Wilmot, Mr, Young; Young Wilmot, Mr. Palmer, jun. ; Randal, Mr. Thomp

son; Eustace, Mr. Carles. Agnes, Mrs. St. Leger ; Charlotte, Mrs. Bellany; Maria, (with a song) Mrs. Mathews. CHEATS OF SCAPIN, (never acted here) with Alterations and Additions from the old farce of Trick upon Trick, or the Vintner in the Suds. Scapin, Mr. Mathews. Plot and Counterplot, [altered to the Agreeable Surprize on account of Mr. Liston's indisposition).

14. Tale of Mystery-Escapes, (1st time here). Count Armand, Mr. Taylor ; Antonio, Mr. Treby, Daniel, Mr. Grove; Michelii, Mr. Fawcett. Constantia, Mrs. Taylor; Angelina, Mrs. Mathews; Marcellina, Miss De Camp. Ib.

15. Battle of Hexham-Seeing is Believing Love Laughs at Locksmiths.

16. Surrender of Calais. John de Vienne, Mr. Thompson. Julia, Mrs. Bellamy. Cheats of Scapin.

18. Hunter of the Alps-Review—Escapes.
19. Five Miles off-Mogul Tale-Plot and Counterplot.

20. Mountaineers, Octavian, Mr. May. Mrs. Wiggins, Tom Thumb.

21. Poor Gentleman. Lieut. Worthington, Mr. Thompson; Corporal Foss, Mr. Grove. Plot and Counterplot. **22. Heir at Law-Escepes.

23. Sighs—Music Mad-Plot and Counterplot.

25. Dramatist. Floriville, Mr. Farley. Blind Boy, (1st time here). Edmund, (for this night only) Mis. C. Kemble. Rodolph, Mr. Thompson ; Stanislaus, Mr. Carles ; Starrow, Mr. Treby. Elvina, Mrs. Mathews. lb.

26. Revenge. Alonzo, Mr. Palıner, jun. Carlos, Mr. Carles ; Zanga, Mr. Young. Leonora, Mrs. Bellamy; Isabella, Mro. St. Leger. Ghost-Cheats of Scapin.

27. Catch him who can-Plot and Counterplot-Tom Thumb.

The Summer Theatre has hitherto afforded little novelty. Mrs. Bellamy, the wife of the favourite singer at Covent Garden, appeared iu Mrs. Haller, and has since played several other characters. Her figure, thogub petite, is pleasiug, but her powers are limited, and her claim to a superior situatiou on the London boards very disputable. We remember her as Miss Grist at Covent Garden, where she was the original Edward, in Every one has his Fault.

PLOT AND COUNTERPLOT is a farce from the French, by Mr. Charles Kemble. It varies but little from the translation acted at Covent Garden, but has more bustle, and is better written. As in other Spanish plots there are two cavaliers, two servants, a chambermaid, a mistress, and duenna, and a rich old father. The old gentleman is a painter, and a monk in the neighbouring convent,


where it is supposed Cervantes died, proposes to afford him an opportunity of taking the likeness of that genius, no portrait of him having appeared during his life; for this purpose the corpse of Ceri. vantes is to be brought to his house in the night. The rival lovers, are apprizer of this arrangement and immediately form the same resolution. The two valets are to represent the dead poet, and are successively introduced to the artist. The chief humour of the farce rests on the incident, and nothing in the contrivance can be more ingenious, or more irresistably ludicrous in effect. The terror of the supposed dead men, their surprise at finding each other shrouded for the same purpose, and the final discovery of the Plot and Counterplot are all in the best style and spirit of farce, and excite incessant peals of laughter and applause. The piece is inimitably supported by the comic talents of Fawcett and Liston. On the Arst night it was stated that Mr. Putnam intended for one of the lovers was indisposed, and that Mr. C. Kenible, who was interested in the success of the piece, would undertake his character. Mr. Kemble must have been infinitely gratified both by his reception as an actor, and his success as the author of the farce. Mr. Farley took the character on the following evening. • Of Mr. Glover who played Frederick in the Wonder we can say nothing in praise ; and of Mr. May, though he displayed some talent in Rover (respecting his Octavian we must be silent) it cannot be disguised that his MAY is fallen into the sear, the yellow leaf, and therefore we do not think he will meet here with that " which should accompany old age,” viz. troops of friends ?

The FATAL CURIOSITY was revived for the sake of Mr. Young's Old Wilmot, which was marked by this actor's usual judgment in the part, but whether the other parts were not adequately sustained, or from its not being tragedy weather, the audience shewed very little favour to the piece at the dropping of the curtain. This tragedy was first acted in 1732, at the little theatre, and was afterwards revived by the late Mr. Colman, whose postscript to the printed play we think worthy of being transcribed. Nr. Kemble revived the tragedy a few seasons since at Drury Lane, himself playing Wilmot, and Mrs. Siddons Agnes; hut thus strongly acted, it was played only three or four nights to thin audiences. Mr. Colman's Postscript is as follows:

. Though the Fatal Curiosity of Lillo has received the applause of many sound critics, and been accounted worthy of the Grecian stage, and (what is, perhaps, still higher merit) worthy of Shakspear! yet the long exclusion of this drama from the theatre had in some measure obscured the fame of a tragedy, whose uncommon excellence challenged more celebrity. The late Mr. Harris, of Salisbury, has endeavoured, in his philological enquiries, to display the beauties, the terrible graces, of the piece, and to do justice to the memory of Lillo. His coinment is in general just; yet he seems to have given a sketch of the fable from an imperfect recollection of circumstances, without the book before him. He appears to have conceived that the tragedy derived its title from the curiosity of Agnes to know the contents of the casket: but that Lillo meant to mark

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