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My skin is lily white, and my colour here is new,
So the first man whom they sold me to, he thump'd me black and

blue. The priest, who bought me from him, in a tender-hearted tone, Said come from that great blackguard's house, and walk into my own.

Crying won't you, won't you ? &c. Good lack! but to behold the vicissitudes of fate! I'm his black Mandingo Majesty's white Minister of State. For hours, in my labby, my petitioners shall stay, And wish me at the Devil, when I hold my levee day; Crying won't you, won't you, won't you, won't you come Mr. Mug?

Won't you, won't you, &c*. On the 12th of August Miss A. DECAMP performed Edmund in the Blind Boy for the first time. She is a miniature of her sister, under whose able instruction she seems to have prepared herself for the Character, and acquitted herself extremely well.

Nr. GRIMALDI played Orson in the grand Melodrama from Covent Garden, produced for Mr. Farley's Benefit, when the house was crowded in every part.

FIRST COME FIRST SERVED; OR, THE BITER BIT-The principal effect of this little piece arises from the whimsical adventures of two rival Fortune Hunters, admirably supported by Farley and Liston, who in their endeavours to obtain the hand of a young Lady of fortune apply without informing each other to a loquacious, and humourous Country Hair Dresser for assistance. The Hair Dresser performed by Mathews, with his usual drollery and success, promises to aid each of them, with a determination to baffle both, and the tricks and schemes which he employs are full of comic humour. By his ingenuity the young lady is saved from their clutches, and married to her lover. Mrs. Davenport in the part of an amorous old maid, devoted to the study of botany, was very happy ; with a very slight alteration, to produce a little more stage effect, we think this Farce would become a favourite with the Public. It is not as some of the newspapers stated, the production of Sir James Bland Burgess, but we believe of Sir John Carr. The former gentleman we understand has a Drama in preparation at this theatre; and as we have few better poets or more elegant writers we hope it will shortly be brought forward. The new Farce was very favourably received. The author is indebted for his principal incident to a French Piece called Le premier vener.

COUNTRY THEATRES. SUMMER EXCURSIONS OF THE LONDON ACTORS.---Elliston has been at Dublin, and Edinburgh; Cooke at Newcastle, and is ahout to proceed to Liverpool; Pope at Dublin; Jones at Manchester, Buxton, &c. Mr. and Mrs. ij. Siddons at Liverpool and Glasgow Mrs. Powell at Glasgow and Edinburgh; Mr. and Mrs. C. Kemble at Bristol, Brighton, and Lewes ; Miss Smith at Dublin and Liverpool; Mrs. H. Johnston at the latter place; Munden in Ireland and at Manchester; Incledon and Johnstone in Dublin ; Bellamy and Mrs Dickons at Dublin and Belfast ; Raymond, as acting manager, at Glasgow; Mrs. Litchfield is at Worthing; Kelly is with Catalani in Ireland.

* Mr. Colman received Eleveu Hundred Pounds for this piece! Vol. IV.


Mrs. Edwin, it is said, has quitted the Dublin stage, and is etigaged in Scotland. The Margate Theatre is supported by Wilmot Wells (manager), De Camp, Wheatley, Lovegrove, Holliday, Ditcher, Miss Martyr, Miss Wheatley, Mrs. Taylor. Mrs. Ditcher, and the Miss Dennetts

At Windsor the performers are Messrs. Putnam, Browne, Dalton, Sims, Mrs. Mudie, Mrs. Walley, and Mrs. Sims.

The Drury-lane Theatre is to be under the direction of Mr. T. Sheridan ; Mr. Wroughton remains acting manager; and Mr. Graham will continue to give his advice and assistance with respect to the new pieces to be represented, and other theatrical arrangements.

Mr. Crisp has taken the Birmingham Theatre.

Half of ihe Brighton Theatre has been purchased for something more than 5000 guineas by Sir Thomas Clarges.

The Earl of Guildford has been gratifying his visitors at Wroxton with the representation of Romeo and Juliet. He performed Old Capulet himself. Mr. Kemble was the Friar Lawrence ; Mrs. Kemble the Nurse. The love-sick hero and heroine of the piece were performed by Master St. Leger and his sister.' The whole was conducted with the regularity of a public theatre, and afforded much entertainment to the company.



(From The Baltimore North American.) SIR-The following Hendecasyllabic Ode, not more distinguished for the pure and graceful latinity of its style, than the delicacy and beauty of the conceptions, was addressed to the late Mrs. Warren, then Miss Brunton *, by Francis Wroughton. It speaks more than volumes could in her praise; and will be read with fond regret, by every admirer of that accomplish'd actress, who, alas! is now no more.


Nostri præsidium et decus theatri ;
O tu, Melpomenes severioris
Certe filia ! quam decere formæ
Donavit Cytherea ; quam Minerva
Duxit per dubiæ vias juventæ,
Per plausus populi periculosos;- .
Nec lapsam-precor, O nec in futuram
Lapsuram. Satis et Camæna dignis
Quæ te commemoret modis ? Acerbos

* Died, at Alexandria, on Tuesday afternoon last, after a short but severe illness, Mrs. Aon Warren, the amiable consort of Mr. Warren, one of the managers of the Philadelphia and Baltimore Theatres.- Could the writer so command bis feelings upon the present melancholy occasion, as to enable him to enter into a detail of the excellencies of Mrs. Warren's theatrical character, it would be superfluous, her celebrity having long since diffused itself over both her native, and this, her adopted, country

(New York Paper, July 6, 1808.).

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Sen proferre Monimie dolores,
Frater cum vetitos (nefas !) ruabat
In fratris thalamos, parumque casto
Vexabat pede; sive Julietæ
Luctantes odio paterno amores
Maris : te sequuntur Horror,
Arrectusque comas Pavor. Vicissim
In fletum populus jubetur ire,
Et suspiria personaut theatrum.

Mox divinior entitescis, altrix
Altoris vigil et parens parentis.
At non Græcia sola vindicavit
Paternæ columen decusque vitæ
Natam ; restat item patri Britanno
Et par Euphrasiæ puella, quamque
Ad scenam pietas tulit pateroam.

O Bruntona, cito exitura rirgo,
Et visu cito subtrahenda pestro!
Breves deliciæ! dolorque longus !
Gressum siste parumper ore; teque
Virtutusque tuas lyrâ sonandas
Tradit Granta suis vicissim alumnis.

Maid of unboastful charms, whom white robid Truth,
Right onward guiding thro' the maze of youth,
Forbade the Circe, Praise, to 'witch thy soul,
Apd dash'to earth th' intoxicating bowl;
Tbee meek-eyed Pity, eloquently fair,
Clasp'd to her bosom, with a mother's care;
And, as she lov'd thy kindred form to trace,
The slow smile wander'd o'er her pallid face.
For never yet did mortal voice impart
Tones more congenial to the saddeu'd heart;
Whether to rouse the sympathetick glow, ,
Thou pourest lone Monimia's tale of woe;
Or happy clothest, with funereal rest,
The bridal loves that wept in Juliet's breast.
O'er our chili limbs the thrilling terrors creep,
Th' entranc'd passions still their vigils keep;
Whilst the deep sighs, responsive to the song,
Sound through the silence of the trembling throng.

But purer raptures lighten'd from thy face,
And spread o'er all thy form an holier grace;
When from the daughter's breasts the father drew
The life he gave, aud mix'd the big tear's dew.

Nor was it tbine th' heroic strain to roll,
With mimic feelings, foreign from the soul;
Bright in thy parent's eye we mark'd the tear;
Methought he said, “thou art no actress here!
A semblance of thyself, the Grecian dame,
And Brunton and Euphrasia still the same!”
O! soon to seek the city's busier scene,
Pause then awhile, thou chaste eyed maid serene,
'Till Granta's sons, from all her sacred bow'rs,
With grateful hand shall weave Pierian flow'rs,
To twine a fragrant chaplet, round thy brow.
Enchanting ministress of virtuous woe.

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- the inhabitants and peasantry in the neighbourhood before the arrival of this celebrated festival.

“ For weeks before this fête sae clever,
The fowk were in a perfect fever,
Scouring gun-barrels i'the river

At marks practizing-
Marching wi' drums and fifes forever

A' sodgerizing!

And turning coats, and mending breeks,
New-seating where the sark-tail keeks;
(Nae matter tho' the cloot that eeks

Is black or blue ;)
And darning, with a thousand steeks,

The stockings too."

The muster also, and review, are described with much humour :

“ And ne'er, for uniform or air,
Was sic a groupe review'd elsewhere!
The short, the tall; fat fowk, and spare ;

Side coats, and dockit :
Wigs, queus, and clubs, and curly hair ;

Round hats, and cockit !

As to their gunsthae fell engines,
Borrow'd or begg'd, were of a kinds
For bloody war, or bad designs,

Or shooting cushies
Lang fowling-pieces, carabines,

And blunder-busses ! :
Maist feck, tho' oild to make them glimmer,
Hadna been shot for many a Simmer;
Aud Fame, the story-telling limmer,

Jocosely hints,
That some o' them had bits o'timmer,
.: Instead o' flints.

Some guns, she threeps, within her ken,
Were spik'd, to let nae priming beu;
And, as in twenty there were ten

Worm-eaten stocks,
| Sae, here and there, a rozit-end

Held on their locks!”

After the review, the different squads march to the Craigs, the scene of action, followed by the acclamations of the multitude, while

« As thro' the town their banners fly,
Frae windows low, frae windows high,
A' that cou'd find a nook to spy,

Were leaning o'er;
The streets, stair-heads, and carts, forbye,

Were a’ uproar! These short extracts will shew something of the style and spirit of the poem,

Plot and Counterplot ; or, The Portrait of Michael

Cervantes; a Farce, in two acts. By Charles Kemble. As performed at the Theatre Royal, Haymarket. 8vo. 1s. 6d. Appleyards. 1808.

We have already spoken of this farce. It is a bustling, lively entertainment, founded on a very novel incident, and, aided by the rich humour of the actors of Fabio and Pedrillo, irresistibly ludicrous in representation, The dialogue is neatly written; but it is somewhat disingenuous in Mr. C. Kemble not to have acknowledged the source from whence he derived his Plot and Counterplot. They are evidently of foreign invention, and in justice to the original author, as well as in common fairness to the public, he should not have made it appear that the whole merit of this popular and ingenious production is imputable to himself.

The Blind Boy : a Melo-drama," in two acts. As per

formed at the Theatre Royal Covent Garden. 8vo. 28. Longman & Co. 1808.

The Blind-boy has, likewise, a French parent, but as no writer in this country, publicly claims the offspring as his own, we have no body to accuse of child-stealing. The truth is, there is a miserabie lack of invention in the English dramatists, and there is no concealing the fact, that every thing for the last ten years that is novel in idea, artful in plot, powerful in interest, striking in situation, grand in spectacle, and captivating in general effect, has been supplied or suggested by the French and Germap theatres. The merits of this little drama are sufficiently known. Its construction is very ingenious: the interest which commences with the piece, increases with every scene, and all the incidents conduce to the general developement.

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