MR. CONDUCtor, "WINE AND WASSEL." In addition to your note on the following passage in Macbeth "Their two chamberlains "Will I with wine aud wassel so convince." I submit to you the following remark: In the western counties, the custom of wassel is still preserved among the country people, with some particular ceremonies: not, indeed, on the eve of the new year, but on the eve of Twelfth-day. The wassel-bowl, as it is still called, is filled with ale or cyder, into which is thrown a toast with spice and sugar, and the first libation is made to the apple-trees. They are sprinkled with the liquor, while a song is sung by the superstitious rustics, expressive of their wishes and hopes of a plentiful season. In towns the boys parade the streets on the eve of Twelfth-day, and sing the wassel-song. It may be observed that they make use of the old Saxon word, was-heil, without any alteration, either of its original meaning or manner of pronunciation. It begins "Was-heil, was-heil all o'er the town, &c." i. e. we wish health to all the inhabitants. In the Archeologia, there is a particular account of an ancient chimney-piece, on which the wassel-bowl is carved, ornamented with leaves of the apple-tree. The gentleman who communicated his remarks on this remain of antiquity, conjectures that the leaves were einblematical of the good cyder which generally filled the bowl. I rather think they referred to the custom of carrying the bowl into the orchards, to sprinkle the trees with the liquor it contained, whether it were cyder or ale. Permit me to avail myself of this opportunity to thank you for the pleasure I have received in perusing your preliminary observations on the Macbeth of Shakspeare; for your judicious comments on the annotations; and for the very careful attention which is paid to the printing of his text. Your's, &c. A SHAKSPEARIAN. MR. YOUNG. THIS gentleman, whose recent debût in Hamlet has been crowned with such complete success, promises to become a distinguished favourite on the Loudou boards, both in tragedy and the higher walks of comedy. A performance exhibiting stronger marks of genius, finer animation, or happier display of intellect, we have seldom witnessed. Mr. Young has studied this master-piece of Shakspeare with infinite care, not merely as to the text, and general scope of the character, but throughout all its shades and gradations, discriminating with the utmost truth and nicety, each peculiar feature of Hamlet, and presenting a whole so finished and forcible, as to leave the strongest impres sion upon the minds of his audience. - Mr. Young is of good height-bis figure is well formed; his features are expressive and flexible; his voice from the lowest note to the top of its compass,' is good, and his action and deportment gentlemanly and graceful. We do not propose to enter into a regular criticism of bis Hamlet; but shall merely point out a few of the passages in which he distinguished himself the most, or wherein he varied from other performers of the character. The address to the Ghost was very fine, gradually rising from a tone solemn and tremulous, into an earnestness and entreaty very impressive, not once forgetting, either in this or tl e subsequent interview, the filial respect due to a father so tenderly loved and so deeply lamented. The Go on, I'll follow thee, was determined, but solemn, and we approve of the variation which is adopted on the exit of the Ghost. He does not descend the trap, but retires behind the stage. Hamlet follows him with his eye for some time, and as the spirit is supposed to descend, falls gradually on his knee into an attitude that bespeaks tle awe which this preternatual visitation has excited, and the powerful impression that the ghost's narrative has made upon his mind, In the latter part of the second, and the whole of the third act, Mr. Young." stuck fiery off indeed."-In the scene with the players he was highly judicious; his deportment had all the ease and at the same time all the dignity of the Prince of Denmark. The soliloquy of To be or not to be, was delivered with an earnestness that shewed Hamlet was himself interested in the solution of his own question. Mr. Kemble in this soliloquy is always too cool and philosophical. The interview with Ophelia was full of beauties, and was rapturously applauded. When he first observes her, he does not give the fair Ophelia! as it is pronounced in general, pathetically, but with a significance that implies he is aware that she is placed in his way by design; and, thus believing, his behaviour to her, which Dr. Johnson thinks marked with a "rudeness that seems to be useless and wanton cruelty" receives a strong justification. The instructions to the players could not be better delivered. His own sensible performance was an apposite illustration of the excellent lesson which Shakspeare has in this scene bequeathed to the profession. The closet scene was hit off with uncommon spirit. He poured his soul. into the situations, and what he felt himself so powerfully, was commünicated with electrical effect to the audience. In the description of his father's person, as suggested by the picture, we thought him somewhat too loud; we are of opinion that the voice should rather soften into accents of veneration and tender recollection, than be extended into a rant. The stress in every God should also be placed on the word every, and in "the assurance of a man", the first substantive is a word that Shakspeare meant to be strongly emphatical. "Is it the king" was excellent; and in the whole of this admirable scene he displayed judginent of the highest order, and powers of execution which few actors have possessed in a degree so strikingly effective. In the Play Scene which we find we have unintentionally passed by, he discovered also considerable address, and his bye-play was exceedingly skilful. We have very briefly noticed Mr. Young's performance, because, in the first place, our limits this month would not allow us to do it full justice, and in the next, because we know we shall have frequent opportunities of pointing out his general merits as an actor. He is indeed an acquisition of importance. Of intellectual actors we have very few. "Strutters and bellowers" we have in abundance. We therefore hail Mr. Young's appearance with more than usual satisfaction; and the more so since we hear that his manners are highly estimable in private life. On and off the stage he will thus prove an ornament to his profession. POETRY. IMPROMPTU TRANSLATION Of the following Lines under a French Statue of NIOBE. LE fatal Conrroux des Dieux Changea cette Femme en Pierre ; Le Sculpteur â fait bien mieux, Il a fait tout le CONTRAIRE! TRANSLATION. Apollo's power, we all must own, But far beyond him in the Strife, Is he who gives the MARBLE Life, ANNA. SONNET IN RETIREMENT. WHILE here contentment trims her wood-bine bowers, And peace, her smiling sister, soothes the breast, I rise refresh'd, from dreams and slumber blest, I climb the rugged steep that rudely towers, I wind with easy step, my careless way, G.W.C SONNET FROM PETRARCH. DEAR eyes! ye day-stars of my fate! from whence The Of passion kindles, while each look endears, I read the words that calm my troubled soul; Yes, I will ev'ry grov'ling wish controul, And thro' their mistress, lift my thoughts to Heav'n! Liverpool. ODE TO PATIENCE. NYMPH of the ever placid mien, Who calmly sit'st amid the storm, When bursting round thy angel form, Nor murmur'st at its sway! Oh! now regardful of thy spell, While heaves my aching bosom's swell, Each grief, each pain reveal'd, Thy strong protecting shield! G. W. C |