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Engrowd for the 15th Number of the Ner Series of La Belle Assemblée Foh 1.187.

the parade, sable seems the most admireil, and round their great centre, Bonaparte, that in best adapted to the smoky atmosphere of the the principal cities of the Continent, ageni, metropolis.

i are actively employed in buying up jewels of Evening dresses are most elegantly appro. every description, but diamonds in particular. priate when made of black crape, and worn In addition to the increase of demand, a diwiover w buite satin. We have also been comi- ' nution in supply adds tu their scarcity; for pelled to admire those in grey crape, trimnied ! weitber from the Brazils, oor the East ludies, with white bugles ; black lace dresses are also has there lalely been received in Europe the Fery frequent, but they are not mourning. icustomary supply. While diamonds of the Gold is much worn on the head, either in the 1 tirst water are eagerly purchased in Fraare, form of bands or pets; pearls alsó, in every and the numerous Courts in Germany, stonie device, are very generally worn, and contrastuf inferior value are readily taken off at Con. extremely well with the mourning garb. stantinople, where the luxury of the Mussul

For the promenade, cloaks iu scarlet Mell man rivals that of the ancient possessors of rino, or giey cloth, black velvet pelisses, lined Byzantium. ln no article of expence is the with grey sarsnet, wrapped plain over with luxury of the day in London more brilliantly sable tippets; Spanish bats in velvet, or cot. | displayed, than in the superb ornament of cut tage bonnets in black, grey, or scarlet cloth, glass, with which the inansions of utalih and ur scarlet.

fashion are decorated; but we are yet, as it ju respect to the fashion for jewellery, all I should seem, but novices in splendid luxury, ornanents, whether rings, necklaces, ear. compared with the fashionables in Constanrings, brooches, buckles, &c. are woru much || tinople, where the girandoles by which they smaller. .

ligbe their state apartments are organeured There are no colours woru but black, grey, with jewels; and in the harams of the Grand er sarsoet.

Seignior, his Vizier, and the great officers of state-iven with diamonds. This refinement

1 in splendour, surpassing even the descriptions DIAMONDS,

of Lady Mary Wortley Moutague, is, howThe value of diamonds have fluctuated with ever, more rational than the infantine a milisepolitical events durivg the last quarter of a ment of the Russian Prince Potemkin, who, centary. The emigrations from France, all to beguile the solitude of retirement, was the æra of the French revolution, occasioned a

Accustomed to spread forth on a table covered rapid and considerable reduction in the value

with black velvet, the anrivalled collection of of diamonds, from the immense number ibat diamonds and other precions stones of which was forced into the market by the necessity ofbewae possessed. In the fanciful and vari. the emigrants. The counter-revolution, ef.

ons arrangements of these baubles, would this fected by Bonaparte, has again raised the semi-barbarian pass whole evenings. A let.

alue of these precious articles of splendid lux-licr from Frankfort, of a recent date, quotes gry. Such is the deniand arising from the diamonds of the finest water, at more than numerous rich presents required by eliquielte, | 121. sterling per carat. from the crowd of regal satellites revolving



l; the ancients within the compass of the nataISAYSTOILLUSTRATE TILE PRESENT &TATE i ral day; and the reason assigned had its foue. OF THE DRAMA.-Vo. V.

dation in the obvious necessity of producing a BEFORE we proceed to examine the Tru- | nearer resemblance of that which was feigned gedy of Cato, it may be necersary to give our 1 with that which was real, The time filled up readers a precise idea of these three celebrated by the representation of a play was its natu. Unities, which, according to the rules of Aris. | rai duration, and that play was dermed to be totle, and the confirmatory examples of the the most exact imitation of Nature, whose French writers, ought tu be abserred in esery plot or actiou was coufined within the time of regular drama: namely, the unity of time, lits performance. Nox us the practice of the place, and action.

Il drama hadi juvariably prescribed, that a play The unity of time was compreheaded by: should be finished bcfore the audience at wue

pitting, so it was thought absurd, from its 1 words :-Action is said to be that which is necessary incongruity, that the actiou shuulu | tirst in intention and last in execution; it is comprehend a longer portion of time than || the main scope and end of the design ; THAT, twenty-four hours.

to which, as to its gyal, every thing also But as a play seldom detained an audience Il tends : THAT, to the carrviuz

teuds; THAT, to the carrying on uf whicha, zuore than three or four hours, and as that all things in the Play, even the very embar. portion of time miglit not be suficient fir the rassments aud impedimcuts, are to be subscr. probability of the action, certain divisious in vient. the Piot were juvenieii, as pauses of ile Two actions, say the critics, equally labourTabie, and those intervals and inequalities of Hed and driveu ou by the same writer, will detime, which were lot explained of occupied || stroy the UNITY of the poem, and produce ou the Stage, were supposed iu fall out be two plays instead of one. Not but there may tweeu the Arts.

be many actions in a play, but they must all The Ancienis were usuniralle observers of be subservicut to suine leading conduct; there the U'misur Time in all their dramas; more may be an under-plut, but not iwo original, particulariy in their Tragedies, which is anust | independent labies. difficult.

There ought to be, says Corneille, but one Ju the commencement of their Play, they l action, which leaves the mind of the audience fall iminediately upon the main business; they in a full repose, but this cannot be brought start from the action without any illi: preli to pass without many other imperfect actions nuimary or introductory; whatever of narra. | which conduce to it. tive is neccesary to be perfect compre bensivu 1 Such is the critical notion of the Three of the ploi, is given through the mouili uf all Unities. chorus, which is a sort of substitute fuille 1 The tragedy of Calo has been so frequently Puet himsell, and, thongo always on ibe ibe subject of criticism, that it is difficult to Stage, is nevertheless independent of the li xayany thing new pou it; but its it falls within characters who carry on the business of the ll the course of our examination, we cannot disDrama.

uniss it without remark. By the second Unity, that of Place, we are Tbc Unities of the ancient drama are s to uuderstand, that the scene onghi tu be con- strictly observed in this drama, that Cato holds tinued through the play, in the saune place in his senate, and Syphar his conspiracy, almost which it was laid in the beginning. The rea-l in the same room. The author stems resolved son of the Uuity ia, tbatine Singe, bringad. || io plunge into every absurdity, in order to ways the spot of ground in which ide action ! avoid the imaginary one of breaking the Uniis fixed, no matter what that spot of yround l ties. He extends a mere rule of criticism be. jes called (Athens or Thebes, it is unuatural yond the ulmost absurdity of poetic superstito conceive it in more places than oue, aud tion, and requires sense and propriety tu subthose far distant from each other.

init to a martyrdom to bis dramatic orthodoxy. We are not insi-ting, nor indeed shall we Thus far for the regularity of Cato. insisi, on any intrinsic merit which criticism With respect to action, which is always the has discovered in this Unity of Time; we are first ingredient in a trageriy, Cato has none. only stating it.

It is a perfect straight line of declamation from * The ancients were very scrupulous in this ll beginning to end. There is un incident which Unily likewise : they nerer changed a scene | fastens upon attention, or perplexes the diin the middle of an act. If the act began in

iect path of the must simple natural progress. a palace, it ended in a palace; if it began in Cato begins with a resolution to die for his a sacred grope, it likewise concluded there. country's good, and through the five acts of And that it might be known to be the same the piece is only passing onwards to his first scene, the stage was so supplied with per purpose. sons, that it was never suffered to be empty.

What is wanting in action is not made up He who entered second had business with him by any deliveation of character which lays who was on before him; and before the second hold upon the affections or judgment. There quilled the stage, a third appeared who had | is, perhaps, some attempt at the rough and business with him.

wily African in Syphaz; but his conspiracy has • It is said by a great critie, to be the mark ! nothing different from all the conspiracies of of a will contrived Play, when all the persoos i the Stage; Juba is inerely an African educated are known to each other; and every vue of at Rume. The two sous of Cato are naked ther has some all'air with the rest.

il characters; and, what is worse, though more • The Vuity of Action is defined in a few youthful than their father, are to be full

as stoical and culd. Marcia “ towers above i. The Lover and lis Mistress, in the French her sex," and none of her sex can feel any 1: Tragedies, nie the Monsieur le Clerulier and synipatby for her. As to Cato, “the Gods, the ademoiselle of the polished circles of take care of bim;" and, in respect to the Paris --lu slieri, by making love uniformly oiber characters, they are so out of human necessary as a master påssion in every plays nature, and therefore so beyond human sym- and elevating it to more importance thau it pathy, that, however the Gods may care for really has in luman life, the French tragedies them, man can only see them with wouder. I generally disgust by insipid uniformity.

With regard to the diction of the Play, it is The Distressed Muther, however, is one of has a regular majesty not unworthy of the those few pieces which, though a translation, splendour aud dignity of Rome.- it is a kind I keeps possession of the English Srage.---The of rhetorical declamation; the excellence of tenderness of a mother is so well represented which does not consist so niech in the magni in Anilromache, that it rais's compussion in a frence of imagery, as in the sublimity of very high one, and bears the nearest revirtue and moralily-That in which it strikes semblanee of any thing in the Freuch trage. the auditors, and forcibly inipresses their rea dies to those admirable scenes of passion in son, is its elevation of sentiment,-- sacrifice Shakespeare and Otway --Hermoine is rebe. of alınost all the feelings, and the passions of | ment and lofty, and her rage, proceeding from cur bature, to a strict, rigid, Roman duty. slighted love, and burning .nil:e dan hier of

It was at this period that translations from Helen, is suficiently heroic for the purpose. foreign writers became frequent on the Stige, Her death on the buily of Pyrolus, a cirand the public ear was assailed and fatigued cunstance finely in rented by the Poet, is Fith the gravity and declamation of French || touching, and wo! unnatural. Pyrrhus his all Tragedy, more particularly with translati0116 the technical majesty, and, we must say, stufrom Corneille and Racine.

pid composure, of ibe tyrant of the French Ambrose Phillips led the way, and opened || Stage. But the character of Orestes is very ibe mine of plagiarism, with his Distressed nobly drawi)--there is a poetical splemiour in Mother, Play, translated, or rather imi- his madness not unworthy the genius of Æschy. lated, from the Andromache of Racine. lues. It is a very spirited copy of the Greek

Philips was a writer of very middling ge original. It is, perhaps, tuo much in the nius; he possessed nothing of that pathos il style of what the painter's call Academic; but which could enable him to paint, with any l it bas as much grace, and perhaps more viachance of coucbing the feelings, the domestic cure, than llie Orestes of the ancient Poets. action of Tragedy ; and be was wholly inca

(To be continued.) pable of reaching passions which were elevated or lofty. He had collected from Addison some . LYCEUM THEATRE -Anew Comedy, called of the rules of writing, and as regularity is | Lost and Friend, was laiely produced at ibis the common refuge of moderate talents, he theatre. It is a comedy of the sentimental epdearoured to compensate for the want of kind, but, nevertheless, is of nu despicable Ihose splendid powers of the Puet (which ap- || pretensions. Its piut, indeed, is the usual peal to the imagination, and eplarge curiosity | Gipsy story of a lost child, and a father who to wouder) by feeble elegance and quiet de- il has the good fortune to find him in the fifth cornm.

act. These improbabilities of real life are un. The French writers do not burthen them. tit for Cumedy, wbicb is, or ought to be, a selves with much plot : they commouly make i representation of those manners which pase but one person considerable in 4 play, and under familiar observation, and are known to in exalting ope character, they depress aud be just by a comparison with their living exDeglect the rest. Their diction is for the most

amples part rhetorical and declamatory. It is thus li The characters of this piece had no pre. busuitable to the language of passion, which tention to novelty. An old man, with the should be vehement, abrupt, and colloquial. usual portion of testiness, and a young man

Tbe French writers, miorepver, whatever with the customary allowance of generosits ; scenes they invented, or whatever cbaracters a gay, forward girl, with more sentiments thao they jutroduced, never forget Frauce, nor decorum, and a tricking Agent, with nothing Frenchmen. Racine, though he had more very original in his khavery; all these are cha. Dature, inore knowledge of the ordinary cir racters which are certainly not uncommon en cumstances, and real condition of things thun i the Stage. Corbeille, bas pajuted only the French, and li Notwithstanding these subtractions from the manners of the age in which the liyed, ils merits, this play had fewer artitices of dis.

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