subsided; "the age of chivalry is gone;" and, in one respect at least, there is no reason to lament its departure.

In relinquishing the mock-gothic, our novelists have introduced a more natural and consistent style. Adapting and improving upon the precedents of those writers who flourished before the period above alluded to, they have drawn from living models, and have invested their characters in the costume of the day. They have gone far, also, to abolish the lachrymose and sickly refinement of the sentimental school; and taking truth and nature for their guide, they have laboured to render their fictions subservient to the cause of morality.

For the honour of the fair-sex it ought to be remembered, that to their exertions this beneficial change in an important branch of our literature is chietly owing. Whatever advantages may thence redound, whatever improve ments in the condition of society may thence be derived, are ascribable to them. More good novels are now produced than at any former period; and they are almost all the production of female writers. They are the true reformers, for their efforts are not employed to irritate and mislead the public mind, but to tranquillize and chasten it; and to inculcate the practice of those virtues in private life, without which no community can be either great, prosperous, or free. In these days of political wrangling, when it is necessary to exercise a vigilant control over the press, it must, we should think, be matter of pleasing reflection to the attorney-general, that in one department of letters his interference may be dispensed with, and that those of his Majesty's subjects to whom, by courtesy, the freedom of speech and writing is allowed in the largest latitude, should have been the least inclined to abuse so valuable a privi lege.

The present work is fairly intitled to rank among the most popular productions of its kind. It is a very amusing and instructive piece of fictitious biography, written with great fluency and animation, full of incident, and interspersed with gay and sprightly dialogue. The plan, though simple, is extremely ingenious; embraces an extensive variety of cha racters, and connects, without intricacy

it

or confusion, their respective adrentures in one uninterrupted chain of narration. As a picture of modern manners, it is not sufficiently severe to be called satirical; but it exposes with playful ridicule some of the lighter follies of the age. In the more serious passages, where the consequences of those follies are developed, some useful and important lessons are conveyed, not in the solemn didactic form, but by striking and impressive examples. The author has judiciously forborne to infringe on the province of the philosophic moralist, and has been very sparing of digressions; well aware, no doubt, that however well meant, or pertinently introduced, the generality of readers, in their eagerness to pursue the story, invariably skip them over, and consider them as much out of place as a whole paper from the Rambler, or one of Doctor Knox's essays. The narration, as we have before observed, is uninterrupted, except by the requisite alternations of dialogue and description; the interest is progressive, and the denouement is very satisfactorily. and skilfully accomplished.

It is an ungracious task to give an abstract of a work of this kind. Those narratives which profess to illustrate the manners of the age, must necessarily include a great deal of characteristic conversation, to suppress which would be to defeat their main object, and to divest them of their most essential recommendations. Such a proceeding is generally as disagrecable to the reader, as it is unjust to the author; it abates the curiosity of the former without satisfying it, and defrauds the latter of that approbation which is the honourable reward of his exertions. We speak, of course, in reference to works of merit, such as we conceive the present to be; those which have no merit would certainly not suffer by an abridge

ment.

A Practical Essay on Intellectual Education; with a Characteristic Fiew of the most approved Elementary Books of Instruction in various Branches of Literature, and Strictures on the best Method of Tuition, By William Jaques. Crown Svo. pp. 164.

THIS work divides itself into two principal parts: the former treats of various subjects connected with intel

lectual education; while the particular object of the latter is to give a characteristic list of the most approved elementary books of instruction in the various branches of literature, accompanied with practical remarks illustrative of the best methods of tuition.

Apicius Redivivus; or, The Cook's Oracle: wherein, especially, the Arts of composing Soups, Sauers, and flavouring Essences, is made so clear and easy, by the Quantity of cach Article being accurately stated by Weight and Measure, that every one may soon learn to dress a Dinner as well as the most experienced Cook; being Six Hundred Receipts, the Result of actual Experience, instituted in the Kitchen of a Physician, for the Purpose of composing a Culinary Code for the rational Epicure, and augmenting the alimentary Enjoyments of private Families; combining Economy with Elegance, and saving Expense to Housekeepers and Trouble to Servants. Foolscap 8vo.

AMONG the benefactors of mankind, it is very natural to include those who have materially contributed to the increase of rational enjoyment; and when these blessings are dispensed by the experience and sagacity of a physician, promoting health through the medium of gratification, we ought to feel doubly indebted. Doctors have hitherto been notorious for prescribing those articles from which the eye is averted in disgust, at which the stomach revolts, and which excite seditious murmurs in the intestines. On the contrary, this benevolent physician has recreated the visual organ, regaled the nose, tickled the palate, caused the stomach to sing "Te Deum," and consoled the bowels :--which in due course have regularly chaunted “Nunc Bimillimus.”

This work, which is denominated "The Cook's Oracle," might, with equal propriety, have been termed, "The Pharinacopoeia of Taste." Its objects, as the basis of scientific cookery, are to enforce scrupulous cleanliness, precision of quantity, accurate gradations of heat, and punctuality of Lime: to preserve integrity of savour, where simplicity is desirable, and to biend harmoniously where composition is expedient:-thus exhibiting elegance of preparation, courting economy, and maintaining health. Therefore the re

Europ. Mag. l'ol. LXXII. Oct. 1817.

ceipts which we are here in possession of are not a mere marrowless collection of shreds, and patches, and cuttings, and pastings, from obsolete works, but a bona fide register of practical facts accumulated by perseverance. There are more exquisite and original receipts, at least of such as have not hitherto been made public, contained in this little volume, than in any former publication on Cookery.

An Excursion to Windsor, in July, 1810, through Battersea, Putney, Kew, Richmond, Twickenham, Strawberry-Hill, and Hampton-Court: Interspersed with Historical and Biographical Anecdotes, for the Improvement of the Rising Generation: Also a Sail down the River Medway, by John Evans, A. M. Master of a Seminary for a limited Number of Pupils, Pullin's-row, Islington. To which is annexed, a Journal of a Trip to Paris, in the Autumn of 1816, by Way of Ostend, Bruges, Ghent, Antwerp, Brussels, and Waterloo, embellished with Wood-Cuts. By John Evans, Jun. A.M. 12mo. pp. 558.

THE flattering reception of the Juvenile Tourist, embracing excursions through the West of England, the Midlaud Counties, and the County of Kent, it appears, has induced the author to comply with the request of his friends in producing, on a similar plan, the present publication. That its execuion has been so long delayed, must be attributed to bis professional engagements. The superintendance of a seminary leaves only the leisure hours for the productions of the press, though consecrated, as they have in this case always been, to the service of the rising generation./

No apology is offered by the author for the numerous biographical sketches found in the volume. The venerable dead, called up from their graves, seem to pass before the eye a second time, clothed afresh with the attributes of life and action, whilst to teach by example must be pronounced the most powerful mode of iustruction. The recurrence of so many eminent haracters will not be met with in any other route of equal extent throughout the British domi nions. The philosopher and the poet, the politician and the divine, here unite to form a constellation of worthies illustrating the triumphs of literature, and

exalting the glory of civilized huma, nity.

Whilst the multifarious contents of the volume ensure its variety, the author expresses a hope, that the execution of his plan, enlivened by the introduction of poetical extracts, will subserve the purpose which he has had in view, throughout all his publications, with

respect to young people, of promoting their knowledge, establishing their virtue, and augmenting their piety,

Youth of both sexes are the men and women of the next generation, becoming, under the salutary auspices of a well-regulated and appropriate edu cation, the ornament, the strength, the very bulwark of the community.

SEPT. 25. Mr. Maywood, from the Glasgow Theatre, made his first appearance in the character of Shylock. His stature is rather under the middle size; his voice excellent; and though his dress partly concealed his features, they appear marked by intelligence his eye is penetrating. Of the difficulty of the undertaking, it is needless to dwell here, particularly as the part has been, of late, exclusively in possession of Mr. Kean. On Mr. Maywood's appearance, he was most cordially greeted by a numerous audience--yet he evidently throughout the evening felt embarrassed; tho' he occasionally evinced a just conception of his character. Shylock's hatred of the Christians, and his desire of revenge for insults, is rendered more violent when he learns that his only daughter had eloped with one of the sect he most abhorred-and in the scene with Tubal, in which he is alternately distracted with Jessica's desertion, and enraptured with the certainty of Antonio's ruin, Mr. Maywood did not o'ers'ep the modesty of nature. His best scene, was that in which he claims with fiend-like satisfaction the penalty nominated in the bond. Too many shrugs and frowns, however, were brought into action, as bye-play, to make up for the deciency of language: and his action was much too vehement. On the whole, Mr. Maywood's performance may be considered a favourable effort-and if there were many blemishes, there were also some beauties. We shall embrace the carliest opportunity of seeing this Gentleman in a new character.

SEPT. 29. "The Cobbler of Preston," after lying on the shelf for forty years, is now produced, doubtless with the view of displaying the richest vein of low comic humour perhaps on the stage.

Munden's Kit Sly was unique; and in the scene, where, on recovering from his intoxication, he finds himself luxuriously lying on a state-bed, his features were as expressive of delight as they were extended by surprise. This piece has been repeated with effect-and to the lovers of broad farce, it cannot fail to be highly acceptable.

OCT 2." The Revenge." Mr. Maywood undertook the part of Zenge: and however painful to our feelings it is at all times to express disapprobation, yet, in justice to fair criticism as well as to Mr. M. we hope never to see him again in this character. Injudicous friends certainly endeavoured to keep him up-but it was evidently a complete failure. We speak thus decidedly, in hopes that his good sense will teach him not to soar too high. Let it be remembered, that, as some diseases are more happily cured by medicines made, up with bitter ingredients than they are with such sweet potions as are more delightful to the palate-so, a just reproof, although not very tasteful, where it is well digested, is of most excellent use in eradicating some maladies of the mind. We trust Mr. Maywood will take this hint as it is really meant-he has our most cordial wishes for success; and we have no doubt, if he confine himself to characters equal to bis abilities, he will prove a useful auxiliary to the Stage.

Ост. 9. 66 Venice Preserved." It had been announced for some time that Mr. H. Johnston would appear on this evening in the characters of Pierre; and in Rugantino, in the oncepopular melo-drama of that name: and that a Miss Campbell would make her first appearance in Belvidera. If applause were a true criterion of success,

both received the crown of popularity : but in our opinion, who cannot quite reconcile the new school of acting, the one was as pantomimic as the other was harsh and dissonant. Mr. Johnston is certainly out of his element in characters of this description - his was not the staid, the dignified patriot, who would willingly lay down his life for the benefit of his country, who talked "much matter," and whose action was a mixture of boisterousness and effeminacy. Miss Campbell, evidently, aimed at more than she had the ability to execute; and we felt more than once for the ill-fated Joffier, who had to support with "Herculean strength," the weight of his own woes, as well as those of his beloved. This lady may have been well received in a provincial theatre; and it would be premature to condemn in toto, where perhaps time and study may do something; not that this lady wants confidence-but she certainly requires a better knowledge of her author.-Mr. Johnston's Rugantino was not the Bravo of former times.

Ост. 14. "The Haunted Tower."

We have at length to congratulate the Managers and the town on a valuable acquisition to the vocal department of this establishment in the person of Miss Byrne, from the Dublin Theatre. We have seldom seen a more favourable debut, nor heard applause more truly and genuinely bestowed. We are gratified in being enabled to give our unqualified testimony to general report --and, without entering into an analysis of her qualifications, we can only say, her talents as a singer are of the first order; and she is decidedly the best vocal actress on the stage.

Since our last, The Suspicious Husband," by Hoadley; and "the Refusal, or Ladies' Philosophy," by Cibber, have been revived at this theatre: had both have been left where Oblivion appeared to have consigned them, the admirers of the drama of the present day would have been quite as well satisfied. There is nothing in either to give delight; and the latter in particular rather tends to ridicule the virtues than the vices of the times.

£7. Suspicious Husband-Frightened to Death. 29. Merchant of Venice-Cobler of Preston. 30. Suspicious Husband-Ditto.

3. Revenge-Ditto.

4. Refusal-Ditto.

6. Richard the Third-No Song no Supper.

7. Refusal-Hit or Miss.

9. Venice Preserved-Rugantino.

11. A New Way to Pay Old Debts-Ditto,

:

OCT. 2. "The Youthful Days of Frederick the Great." This melo-drama is written by Mr. Abbott, of this theatre; and is founded on an anecdote said to have occurred in the early period of the life of the Great Frederick but the author has judiciously varied the denouement to give more stage effect than could have been produced, if he had confined his tale to that of the original. The following is an outline of the plot: Frederick is determined to fly from his paternal domains, to prevent his marrying Christine, Archduchess of Austria, whom he had never seen. On the day intended for the solemnization of the wedding, his intentions are revealed to his father, who instantly orders him under arrest, with his friend Licutenant Anholt, whoTM

was to have been the companion of his flight. They are imprisoned in a fortress, under the command of Bibrack, a veteran, who is devoted heart and soul to his prince. This faithful old soldier informs the Prince, he possesses a key to the door of a subterraneous passage, which would lead to liberty, and promises to facilitate his escape. The King, however, repairs to the fortress, and demands the key-his object being to discover whether some plot is in progress for the liberation of the Prince. Pending these events, Christine follows Frederick, unknown, to the fortress, who becomes enamoured of her, and she insists on partaking his captivity. The King overhears the Prince speaking to Christine; and fancying the voice to proceed from one of his guards, who he supposes the Prince has brought over to aid his escape, he rushes into the prison, and on discovering the Archduchess, finds the Prince has escaped at the door he himself had opened. The fugitive is pursued to the Austrian Ambassador's, whence he hoped to escape-the troops arrive, the Prince secretes himselfand the King, worked up to madness, determines on his death, notwithstanding the entreaties and intercessions of his Chancellor. This officer, finding all his intentions of no avail in appealing to the clemency of the King, assails his feelings as a father. He suddenly rushes forward-a shot is beard-and the Chancellor in an agony of grief, informs the Monarch, that his son, in despair of obtaining his pardon, had

1617.

put a period to his existence. The stratagem succeeds. The feelings of the father predominate: he regrets his harshness; and, while he is lamenting his son's untimely fate, the Prinse and Christine throw themselves at his feet, and he gives them his blessing. 'His friend Anholt is also pardoned at the intercession of the Chancellor. This melo-drama is evidently founded on the same anecdote as that from which Mr. Arnold formed one of his most entertaining operettas, though the pieces materially differ in their construction. Suffice it to say, the melo-drama has been equally successful with the opera; and we are indebted to Mr. Abbott, who, in conforming to the present rage for this description of amusement, has not only kept within moderate bounds, but has given us a spectacle as replete with interest, as the story itself is detailed in nervous language.

Ост. 14. "She stoops to conquer.” If we have in general terms expressed our approbation of Miss Brunton's personation of Letitia Hardy and Rosalind, we have now both to praise and to condemn.- Her Violante in "the Wonder" was cold and spiritless-certainly unlike the idea we had formed of this spirited and single-minded characterwhereas her Miss Hardcastle was precisely what it ought to have been; and we are at a loss in which to admire her most, whether as the youthful heiress, or the captivating bar-maid. C. Kemble's Young Marlow was in his best style; and Liston, as Tony Lumpkin, kept the audience in a roar.

1817.

At the conclusion of the first performance, Mr. BARTLEY came forward, and addressed the audience as follows:

"Ladies and Gentlemen,

"Theatrical Managers appear to have been allowed, by a kind of charter, the