eyes, and, above all, that long drawn mouth, are, separate and united, seats of convulsion, features of nature struggling within the jaws of death." Sketches of some of the Southern Counties of Ireland, collected during a Tour in the Autumn 1797. In a Series of Letters. By George Holmes. Embellished with Plates engraved by Alken, from Drawings by the Author. 8vo. gs. Boards. Longman and Rees. Every effort to unite Great Britain and Ireland in a solid bond of union demands our warmest praise and support; nothing more immediately conduces to this desirable end than mutual confidence, which alone can arise from a reciprocal and intimate acquaintance. On this basis only can we expect to raise the structure of aggregated power, and contemplate the future indivisibility of the empire. Among the numerous publications which characterize this literary age, we have long and ardently sought for some impartial account of the sister-kingdom; its topography is but imperfectly known; and our acquaintance with its history and antiquities is equally confined. Toward the acquisition of these desiderata, the author has materially contributed. It seldom falls to the lot of a tourist, to be enabled to blend the happy powers of the painter with the efforts of the pen in this Mr. Holmes (from his professional knowledge of the art) is particularly fortunate. His descriptions of the great features of that romantic country are conceived in enthusiasm, and guided by a painter's hand. The lines are drawn with energy, and coloured with fervour. However, while we express our approbation of this work on the whole, we wish he had dwelt more particularly on the local manners of the present inhabitants, and had been more copious with regard to the existing state of the country. Investigation of matters of antiquity, and admiration of the natural beauties of the island, have occupied the greatest part of his attention, nearly to the exclusion of commerce and manufactures. DRAMATIC. The Maid of Lochlin: a lyrical Drama. With Legendary Odes and other Poems. By William Richardson, A. M. Professor of Humanity in the University of Glasgow. 8vo. Vernor and Hood, 1801. This drama, to which Professor Richardson has given the singular title of lyrical, is taken from the poem of Fingal, attributed to Ossian: but the learned author wishes it not to be inferred from this. circumstance, that he believes in the full authenticity of all the per formances ascribed to the Gaëlic bard. Nor does he think it derogatory to their acknowledged merit, or to the honour of Scotland, to suppose them chiefly the work of an ingenious Caledonian, enlightened with the literature of the present age, rather than of a Caledo nian in the second or third century. Whether the subject or basis on which the present drama is founded, be ascribed to Ossian or Macpherson, we shall not long pause to enquire, since the superstructure is beautifully poetic and classically correct. The northern mythology has been employed throughout with admirable effect; while the numerous airs and chorusses assigned to the bard Ullin and to the priests of Odin, partake of the lyre's high-sounding harmony in the dramas of Elfrida and Caractacus. The Legendary Odes, &c. will not diminish their author's wellestablished fame. We must indulge ourselves in extracting a few stanzas from his interesting verses on the prospect of Britain. Written at Eton College." "To thee my filial bosom beats, On thee may heaven indulgent smile, And glad thy innocent retreats, And bless thee, lovely Aberfoyle.* How pleasing to my pensive mind The memory of the bold cascade! Thy green-woods waving to the wind! And streams in every vocal glade! The simple church, the school-house green, Shades, too, and lanes, by old age sought To ruminate the pious thought, Hail, Windsor, hail! a stranger greets Thy lofty towers, thy lawns, and groves : Freedom reveres the gay retreats; The Muse thy silvan shelter loves. O blind to Truth's unerring light, Who tread the paths of guilty care; Who climb ambition's giddy height; And think that Peace may sojourn there! * A picturesque valley in the most southern district of Perthshire. She dwells not on the mountain's brow, Tho' crown'd with many a fulgent tower: She weaves, unseen, her silvan bower. O, Virtue, guided by thy ray, My wishes by thy power refin'd, If kind affection be not dead : And Fancy yield no pleasing dream. Mary Stewart, Queen of Scots, an historical Drama. 8vo. Edinburgh, Mundells. London, Longman. 1801. The life and death of Mary Queen of Scots has been rendered so familiar to every Briton, by poets, historians, and even dramatists, that, to give an air of novelty to the incidents of her ill-fated story, or to impart additional interest to them by poetic language and stage effect, is a task of no easy attainment. The limitations of history become despotic restraints upon the freedom of imagination. By the present anonymous writer, much ingenuity, however, is shewn in the management of his drama, and much characteristic spirit is displayed in pourtraying the rival-queens. The monotonous tones of tragedy are also skilfully varied by the introduction of two scenes, where burgesses and gypsies form parts of the dramatis persone. The following song, in the character of a Queen of the Fairies, will afford an agreeable instance of the author's taste and fancy. When the moon shines all so bright, That flower-bells open to her light, Round about the hawthorn tree We fairies dance right inerrily, And when the fickle beam retires, What care we our frolic quires Around the glow-worm's moving lustre, Still in sportive revels muster, Merrily, merrily, Beneath the hawthorn tree: So light we tread, no flower we crush, All 'neath the hawthorn tree, 1801. Ere summer flies, in wat'r yeppl On the smooth-rolling sea. Shakespere's King Henry the Fifth, an historical Play, revised by 7. P. Kemble, and now first published as it is acted by their Majesties Servants of the Theatre-Royal Drury-Lane, Dec. 14, Lowndes, Drury-Lane, and all the Booksellers. Is. 6d. The utility of Kemble's edition of Shakespere's plays, as they' are acted at the Theatre-Royal Drury-Lane, is unquestionable. Shakespere, our magnificent and adorable Shakespere, wrote in an age of less general refinement than this; but his dross would, in other writers, be almost a beauty, and therefore a greater share of delicate taste is requisite to expunge those passages not according to our interpretation consonant with the great whole. Kemble is doubly armed for this important task. Possessing a mind of exquisite reñnement, an experimental knowledge of what is superfluous, and what must tell, he has so condensed Shakespere's plays, without a jot of alteration or addition to the original text, as to render them a desideratum, especially with provincial actors and managers, for whose express use, as we have often observed, they are intended. Mary Stuart, a Tragedy. By Frederick Schiller. Translated into English, by J. C. M. Esq. 8vo. 45. 6d. Escher, 1802. There is little deviation from history in this highly spirited drama. We have, indeed, an interview between Elizabeth and Mary, in which the former betrays a wanton and unfeeling nature, exceeding all we have ever read of her real character, while Mary exhibits a firm and undaunted spirit, the result of conscious innocence. This scene is unauthorised by history; still it adds to the effect of the tragedy, which is undoubtedly written with great spirit. The translation, with regard to the idiom, is but indifferently executed, notwithstanding it was done under the inspection of the author. The School for Prejudice: a Comedy in five Alts. Performed at the Theatre-Royal, Co-vent-Garden. By Thomas Dibdin. 25. Longman and Rees 1801. This comedy was originally produced in three acts, under the title of Liberal Opinions; and its success induced Mr. Harris to request the author would extend it to five acts, which he has done with infinite advantage to the piece. THE BRITISH STAGE. IMITATIO VITAE, SPECULUM CONSUETUDINIS, IMAGO VERITATIS. Com The Imitation of LIFE---The Mirror of MANNERS---The Representation of TRUTH. ORIGINAL ANECDOTES RESPECTING THE STAGE, AND THE ACTORS OF THE OLD SCHOOL, WITH REMARKS ON MR. MURPHY'S “LIFE OF GARRICK." BY TATE WILKINSON, ESQ. "We talk of beauties which we never saw, "And fancy raptures that we never knew.” [Continued from p. 334, vol. xii.] Now I come to a serious occurrence in theatrical history; that is, the history of the fate of The Chinese Festival, and all the disturbances as they regularly, and irregularly, occurred. And after that relation, I think Mr. Murphy will not only correct, but be truly angry with himself, for not having acquired more accurate information before he gave his very particular account of that business. The festival was prepared at immense expence, and with the utmost attention. I did not give a minute description of that disagreeable event in my Memoirs; for so much had been said and written about it, I judged it would be mere tautology to enlarge upon the subject, though I gave a full account of Garrick's first appearance in Archer when the riot had subsided, on Friday, November 21st, 1755. On examination, I find Mr. Victor's account of that affray to be yery incorrect. The rooted prejudice that John Bull had taken against a few French dancers engaged in the autumn of 755, was truly ridiculous. The various intelligence daily conveyed to Garrick, greatly alarmed his perturbed spirit.' The affair took place during Mr. Murphy's second season as an actor on the stage, and which was his last he was that year engaged by Garrick, in consequence of his loss of Mossop, who had engaged on high terms at Dublin. Barry at that time returned to his former situation at Covent-Garden; and Mr. Murphy filled Mr. Mossop's principal office of state in the theatrical dominion of Drury-Lane. On Satur day November the 8th, Mr. Garrick being apprehensive of the seri●usly threatened tumult to oppose the exhibition of the Festival, made strong interest to obtain a command by his Majesty King |