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I hear the letter very much misus'd
Poor letter H! how sadly thou’rt abus'd !
I have known ladies of superior station
Make dreadful slips--in their pronunciation,
Which rather dims (I think) their fascination,
And gentlemen, exceedingly well bred,
Who yet might protit if the book they read.
I heard one ask—this really is no sham-
The other day, three separate times for “Am”-
I only hope, when next he dines with me
He'll ask for Ham, if ham there chance to be.
I give one sample ('tis as good as any),
And one example shall suffice for many.

Defy their laughter and their ridicule-
Study the book, and go once more to school;
There, if your aspirations are acute,
You'll learn when “H” should not and should be mute.
The habit may be bad to laugh or scoff,
But yours is worse; so bad, pray cast it off-
Your uspirations will continue wrong

have learnt aright your mother tongue;
And, o believe me, you may rest assured
You'll never ask for “ham"-unless you're cured.


Ladies and gentlemen, you're asked to read
The book, that friend indeed a friend in need ;
Think, if you heed its apt elucidations,
How it may mend your own pronunciations,
Your carelessness, or want of erudition,
Sins of omission, and (far worse) commission!
You do not hear, perhaps, your friends' attacks,
The reason is—they sneer behind your backs ;
Nor do you hear the laughter of your friends,
For laughter, like plain truth, sometimes offends.



5, PALL-MALL East. The private view of this Society took place on Saturday, the 24th ult., an was more fully attended than we ever remember to have seen it. In our next we shall have the pleasure of noticing the pictures, for which we are too late this month.



'SCHOOL," AT THE PRINCE OF WALES'S, men, who desire to return the lost property. THEATRE: “DREAMS," AT THE GAIETY. Thus a speaking acquaintance is forned with

the ladies, which the young men endeavour to Having made a sort of study of the comedies improve at every step. Lord Beaufoy professof Mr. T. W. Robertson, we now propose ing to feel much interest in Bella (Miss C, to devote a few remarks to this clever dra- Addison), the school girl he has addressed, and matist's latest productions, viz., “School” and Jack Poyntz doing the same by Naome Tighe “Dreams."

(Miss Marie Wilton), the young girl in whom "School,” which maintains a highly success- he takes a special interest. The second act is ful run at the PRINCE OF Wales's Theatre, devoted to a “breaking-up” holiday at Cedar is, in our opinion, the most complete and perfect Grove House, and before which a school "exwork of the author, while possessing' every amination” takes place, at which Lord Beaufoy, element of popularity in addition to its claims Jack Poyntz, and the owner of the " shooting. as a work of art. This elegant comedy, be- box” - Beau Farintosh-assist. By this means sides upholding a novel and interesting, al- the young men improve their acquaintance still though somewhat slight, plot, deals with the further with the pupils, discover that Bella is a manners of the day with much observation, poor dependant in the school; while Miss Tighe tact, and perception of character. The story of is a heiress. The next scene is a “ Flirtation" the piece seeks to illustrate, in the form of a in the grounds of the school, which goes on modern comedy, the fable and the model of the between the two pairs of lovers. Fast love is famous fairy tale of “Cinderella and the little made on both sides in the course of the flirta. glass slipper." The following is the sketch of tion scene, which is attended, however, with the leading incidents of the piece: Two young evil consequences in the case of Bella, who is, men-Lord Beaufoy (Mr. H. J. Montagu) and indeed, dismissed the establishment for having Jack Poyntz – both connected with the family contracted a clandestine engagement with Lord of a country gentleman-the ci devant Beau Beaufoy. The next scene finds the love affair Farintosh (Mr. Hare), being on a shooting ex- between Jack Poyntz going on thrivingly with cursion, stroll near" Cedar Grove House, a Miss Tighe, the heiress; they holding their boarding-school for young ladies. One of the ineetings

clandestinely in the grounds of the young fellows having found a lady's morocco school. But their affair is unfortunately interslipper, and the other a pair of goloshes, in the fered with by Beau Farintosh, who has family fields, they meet the young ladies, to whom objections to any alliance between Poyntz and they suppose the lost articles belong. The girls Miss Tighe-indeed, Beau Farintosh has desare, one after another, accosted by the young tined the heiress in his own mind for Lord

Beaufoy. A regular "scene" having occurred on cannot say much, as the Cinderella incident of this account, we next meet with a great surprise the “little glass slipper" is only typified by the in Bella returning to the school from her visit finding of a lady's shoe in the first scene, and to town, and being warmly and generously re- the production of a pair of gilt slippers as a ceived by her close friend and fellow-pupil Miss wedding present at the end of the piece. In Tighe. "Bella imparts to Miss Tighe that she all other respects “School” and “Cinderella” has been privately married to Lord Beaufoy. have no affinity whatever. The last act is devoted to winding up the We now proceed to notice another new piece, double love-affair by the celebration of the produced by Mr. Robertson at the new GAIETY nuptials of both pairs of lovers. Such is a THEATRE, once more under a monosyllabic mere sketch of the plot of the new comedy of title, viz., that of “ Dreams.” This novelty is “School.” We have named only the leading in five acts, and employs the talent of the whole incidents; but there are numerous subsidiary of the Gaiety company, including Mr. Alfred incidents and characters also which go to fill Wigan, Mr. Robert Soutar, Mr. John Clayton, up and diversify the piece. The boarding- Mr. Maclean (from the Olympic), Mr. Eldred, school scenes in and about Cedar Grove House Miss Madge Robertson, (sister of the draare admirably sketched; although we think the matist), Mrs. H. Leigh, and Miss Rachel presence of a certain malignant usher (Mr. Krux) Sanger. “ Dreams" is called " a new and might have been dispensed with without the original play," and its elements are certainly slightest injury to the play itself. But the un- rather those of melodrama than of comedy. pleasantness of Mr. Krux's character is com- The pervading idea of the author would seem pensated by the genial nature of old Dr. to be to place on the stage a dramatic Lady Sutcliffe, the school examiner, latin master, Vere de Vere, associated with patrician and astronomical lecturer, &c.—a part well played parvenue surroundings, suggested by the rich by Mr. Addison. The dignified, but straight- ballad of Tennyson. Mr. Alfred Wigan as laced schoolmistress (another Mrs. Chapone) is Rudolphe Harfthal, enacts a rather melodrarepresented by Mrs. Buckingham White, than matic part with discretion, but is not suited with whom no one could have better acted the part. the kind of part to afford a fair display of his Each act of "School” is in itself a brightly- finished, polished, and refined style of acting. coloured miniature picture of actual phases of Mr. R. Soutar, as John Hobbs, has a comic chasociety. The hunting party formed of Beau racter to sustain, which he does justice to. Mr. Farintosh and his family and friends, who as- Clayton represents the Earl of Mountforestcourt, semble to an al-fresco luncheon in the wood ap- the great landowner, and Oxfordshire aristocrat, peared a close realization of actual life at a with the requisite dignity, as does Mr. Maclean, country gentleman's shooting-box. The retinue the Duke of Loamshire, another county magnate. of sportsmen, the servants in livery bringing But the


of the characters is Old Gray, the in the portable tables and chairs and the other peasant, whose lowly condition is contrasted surroundings, are striking actualities, which with the grandeur of the venerable peer, his landgratify the eyes of the audience immensely: lord. A scene in which the aged nobleman The scene also serves to introduce an original and the aged peasant converse

on their oppocharacter in the person of Beau Farintosh : site stations in life, is idyllic and full of pathos. he is the wreck of a London exquisite, and roué, Miss Madge Robertson as Lady Clara Vere de who is now a country gentleman, but who Vere is all that could be wished: the patrician dresses with extreme foppishness, is polite and beauty full of pride, hauteur, and disdain for punctilious in manners, but idiotic in conversa- parvenues. Miss Rachel Sanger, as Lina, tion, and being constantly brought up by a proved herself a promising debutant, and Mrs. shortness of memory, which requires frequent H. Leigh was efficient as the Frau Harfthal. promptings by those about him. This part is The scenery of “ Dreams” is beautiful, particuably filled by Mr. Hare, who imparts to larly Mayence, in Act I., Castle Oakwood, the gait of the old beau a sort of St. Vitus's near Windsor, Act II., and "Love Lane" in dance. The sentiments uttered by the dramatis Act V., by Grieve. The lighter pieces, or vau. persone of "School” have here and there a devilles, which precede and follow the pièce de tendency to fall from the sublime to the ridi- résistance of the evening at this elegant theatre, culous. Admiring, as we do, the author's are stylishly put upon the stage, and afford the polished dialogue, we object to such fine writing necessary change and variety from the more and sentimental talk as that between Bella and serious interest of the principal drama. A new Lord Beaufoy in the "Airtation" act, where the vaudeville, entitled “An Eligible Villa,” is an lovers, standing in the moonlight, apostrophise agreeable little operetta, eliciting the musical their shadows! Apropos of shadows, the ghost abilities of Miss Loseby, (a good soprano), Miss in white satin, which appears in the person of Tremaine, Mr. Crellin, and Mr. Terrot. The Miss Tighe to her lover Jack Poyntz, at the splendidly-mounted burlesque of "Robert the garden-gate, is of course a reminiscence of a Devil" brings the performances to a conclusimilar scene enacted in “Don Juan," Byron's sion. The acting, singing and dancing of Miss celebrated epic. Of the way in which the fairy- E. Farren is especially dashing in the burtale of “ Cinderella” is symbolized by the inci. leeque, dents and action of a modern comedy, we



WINDOW CURTAINS IN SQUARE CROCHET. MATERIALS.W.Evans & Co.'s Boar's-head Crochet-cotton, No. 8, with Crochet Hook No. 16, Bell Gauge.

One pattern · requires 120 stitches ; and as 1 C, 1 0, 2 C, 30, 1 C, 70, 1C, 20, 2C, three patterns make about the width of a yard, 20, 1 C, 4 0, * repeat. a curtain two yards wide will require six 12th.-X 30, 1 C, 2 0, 1 C, 40, 2 C, 4 0, patterns, or 720 chain, and one chain over. If i C, 2 0, 1C, 6 0, 4 C, 20, 4 C, 30, x re. you desire to have a wider curtain, add the peat. number of chain for one, two, or more patterns,

The 13th to the 24th rowe, inclusive of both, taking care that there are always so many times

are like those already given, being worked in120 and one chain over. This pattern forms a very pretty Anti-Ma- the lith; and so on until the 24th is done like

versely; the 13th and 12th alike, the 14th like cassar, done with Evans's Boar's Head cotton,

the 1st. No. 12 or 16, and Crochet Hook No. 18, Bell Gauge. When the chain is inarle, work thus :- 25th.-* 3 0, 1 C, 16 0, 1 C, 30, 1C 1st Row.- x 9 C, 6 0,9 C, 4 (), 8 C, 4 O, X

14 0, 1 C, X repeat. repeat. Finis every row with a Dc stitch. 26th.--* 3 0, 1 C, 16 O, i C, 40, 1C,

2nd.-X i C, 20, 1 C, 4 0, 1 C, 60, 1C, | 12 0, 1 C, 10, x repeat. 40, 1 C, 20, 1 C, 40, 1 C, 60,1 C, 4 0, X 27th. -X 30, 1 C, 16 0, 1 C, 5 0, 1 C, 40, repeat.

2 C, 40, 1 C, 20, * repeat. 3rd.-Like 2nd.

28th.-+ x 3 0, 1 C, x twice, 3 0,2 C, † 4th.-4 C, 40, 8 C, 4 0,9 C, 6 0, 5 C, 3 0, 1 C, † twice; 6 0, 1 C, * 20, 1C, X, repeat.

three times; 3 0, t. 5th.-X i C, 30, 1 C, 14 0, 1 C, 30, i C, 29th. :-* 4 C 40, 8 C, 4 0,4 0,4 0, 3 C, 16 0, X repeat.

20,3 C, 4 0, * repeat. 6th.-X i C, 40, 1 C, 120, 1 C,4 0, 1 C, 30th.-X JC, 70, X 2 C, 10, x twice; 16 O, X repeat.

2 C, 7 0, 1 C, * 4 0, 2 C, * twice, 4 0, *. 7th.-x 1 C, 5 0, 1 C, 4 O, 2 C, 40, 1 C, 31st. :--* i C, 7 0, 1 C, 2 0, 2 C, 20, 1C, 5 0, 1 C, 16 O, X repeat.

7 0, 1 C, 3 O, 2 C, 10, 1 C, 20, 1 C, 10, 8th.-* 1 C, 6 O, i C, 2 0, 1 C, 2 0, 1 C, 2 C, 30, * repeat. 2 0, 1 C, 6 0, * i C, 30, * twice, 2 C, 30, 32nd.- .--* 1C, 6 0, 4 C, 2 0, 4 C, 6 0, 1 C, i C,3 0, X repeat.

2 0,1 0,4 0, 2 C, 4 0, 1 C, 2 0, * repeat. 9ıb. X 4 C, 4 0, 3 C, 2 0, 3 C, 4 O, 4 C, 33rd like 32nd, 34ch like 31st, and so on, 4 0,8 C, 4 O, X repeat.

backwards, to the 40th, like the 25th, This 10th. :-* 3 0,1 C, * 4 0, 2 C, * twice, 4 0, completes the pattern, and must be repeated 1 C, 7 0, 2 C, + 10, 2 C, † twice, 4 0, X re- until the curtain is a proper length. Two rows peat.

of Sc should be worked down cach side, in order 11th.-X 30, 1 C, 3 0, 2 C, 1 0,1 C, 20, to work the ends securely in.

KNITTED OPERA HOOD. MATERIALS.—Two skeins of white and one of coloured eider yarn. For the hood a pair of knitting pios, No.

11 bell gauge, and one pin, No. 19. For the border, å steel netting needle, and a mesh No. 2. Commence with the white wool. Cast on 141 / required to make sufficient trimmings to go all stitches rather loosely, using one of the large round the hood; it may, however, be worked in pins. The small pin is only used in every two pieces, netting 360 for the back, and 420 fourth row of the pattern.

for the sides and front. 1st row.-Knit the 2 first stitches together, After the 1st row is worked net 2 rows more and the rest of the row quite plain.

plain ; then with the coloured wool, doubled, 2nd-The same as the first row.

net a plain row. 3rd-Pearl the 2 first stitches together, then These 4 rows are now to be turned, running pearl the rest of the row.

the string in the coloured row; then on the 4th-With the small pin knit the 2 first other side work with the white wool two rows stitches together, *, then make a stitch and more, and one row with the coloured wool; take knit every 2 stitches together. Repeat from * out the string, as this completes the netting. to the end. "To make a stitch”- the wool is

To plait the trimming, use a rug-needle and brought forward between the pins.

the white wool; commence in the centre row of These 4 rows form the pattern, and they are the netting, and make a box-plait with fire to be repeated until the work is reduced to six stitches, sewing it together in the centre; then stitches, it having been decreased one stitch leave one stitch between the plaits, and continue each row. Cast off the remaining stitches. forming them until all the netting is used. The NetTed BORDER.

These plaits are now secured at the top by

tying every six stitches of each side together, in Fill the needle with the white wool. Com. the row under the coloured one; the stitehes mence on a foundation string, and, using No. 2 should only just be caught together, and the mesh, net 780 stitches, this being the number ends of the wool knotted and cut close.


(Specially from Paris.)

First Figure.-Dress of plain black faille their robes. At present cashmere, grenadine, and with a single headed-flounce at the bottom. Cor- crepon de Chine, are favourite materials for these sage low, square and plain, with an embroidered confections; we reserve the ever elegant faille for muslin chemisette under it. Nacarat coloured dress toilets. For the most part they are disposed bow in the middle of the corsage. White cash in the casque form as far as the waist, and the mere cloak lined with nacarat silk and having skirt divided into four large rounded dents, the old woman's hood. The lining is turned garnished with a pinked founce, the head of over the edge fas a cross-strip all round. Red which is fulled and makes a heading. The dents, coral necklace; pomegranate flowers placed as or basques behind, are very ample and a puff on the top of the head behind.

sufficiently long to be very bouffantes when disSecond Figure.-Dress of white tarlatane posed in the form of a pannier. If worn in with rather wide puffings down the skirt, walking costume, we simulate with an ornament separated by cross-strip3 of mauve silk. Tunic which encircles the neck behind, but it is square en pannier and corsage of mauve silk. A round in front, the form of a low body. It is very bertha of drawn blond, ornaments the body, and pretty is really cut decolleté. The ceinture is is itself decorated at intervals with small cock-round with a bow without ends. The sleeves ades of mauve ribbon matching the dress. The are to be worn or not as desired, they are made very short sleeve is also made of blond. large in order to show an under-sleeve ; this Coiffure consisting of three leaves of mauve model is very convenient because the undervelvet surrounded with pearls and having an sleeves may be made of the same colour as the agrafe of pearls with a tassel falling behind ; skirt. Shawls, to reintroduce which great white feathers placed at the side.

efforts are being made, are only worn with Third FIGURE.–BALL Toilet.–First skirt trained dresses. A pretty new form which of white tarlatane with a very deep flounce approaches that of an adjusted mantle, is likely plaited à la russe. Tunic of lemon-coloured to be looked upon with favour. faille cut in large vandykes bordered with a For ordinary dresses, changeable winsey, double row of black velvet. Second tunic and mohair, thin serges, poplin, alpaca, and many corsage of white faille cut in small vandykes mixtures of silk and wool, and wool and cotton bordered by black relvet and pendant orna- are in demand; the latter are cheap in price ments. The sleeves very short with the same but spoil in the first shower. Changeable silks, points, have pendant ornaments similar to those stripes, and checks, will all be worn. Black on the wbite tunic. At each side of the tunic and white promises to be again in favour, and and at the bead of each vandyke a spray of roses the useful raw tussor silk is in demand for with foliage is placed. White waistband bordered morning wear.

Here we

seem to be getting with black velvet. Black pearl necklace of three more and more Spanish in our style of dress, rows fastened by agrafes. The coiffure consists and I should not be surprised if one of these of a double diadem of pale tortoise-shell with days we throw off the bit of lace, rosebud, and balls on the top and a garland of roses placed two straws, of which a modern bonnet is said 10 very backward. White kid gloves with three be sometimes composed, and adopt the man. buttons. Shoes with Louis XV. heels made of tilla. The prevailing colours are soft shades of white satin with a blond rosette.

fawn, grey, lavender, pearl colour, light brown, FOURTH FIGURE.-Dress of green silk, green, &c. Rather wide stripes of two colours trimined at bottom with two gathered Aounces, will also be worn; but, except on tall women, they one deeper than the other, and each surmounted are not becoming. French chintzes, percales, by a row of black lace or guipure falling over and muslins, with delicate grounds sprinkled the flounce. Louis XVI. corsage, high behind, with bouquets of flowers are of course in low and square in front bordered by a narrow | request. Hats of the Louis XV. style are much flounce forming a head to a row of lace like that worn, and are admirably adapted to stylish-look, at bottom. Short sleeves. Coiffure with a ing persons. It is rumoured that three and châtelaine puff of violet velvet surrounded by four graduated skirts will be worn this summer pearls, and completed by a white frizzed feather instead of two which prevail at present. One placed at the side. Chemisette of fluted white deep fluted flounce, or two three or more pinked tarlatane. Kid gloves. Dauphine shoes of ones are in favour. Straw, silk, tulle, or crape green gros-grain silk with a square bow of black bonnets. A great many are still made with lace.

diadems, but the diadems of flowers are not The compliment or finish to walking or visit- posed in front, but at the back; and the barbes ing dress, the above all--the envelope--or what are attached by a bouquet to match. For dress ever here comes under the head of confections, bonnets I announce a charming innovation, must of necessity be black, except in the case these are garnished with white lace. A bonnet of ladies who wear tunics and panniers to match of Belgian or rice straw is bordered with black gros-grain, and trimmed with a knot of the breast, and are fastened with a large knot of same. The barbes, composed of a little volant black gros-grain. White lace is also used with of point d'Angleterre, pass behind the bonnet other coloured trimmings above all with and are attached by a large bow of black gros- grosseille and mauve, but with black it makes grain. They descend to the middle of the amélange extremely distingué.


The secret of Thackeray's failure in the deli- , off the fashions on a wooden shape in a shop. néation of female character is embodied in the And yet his attempted portrayal of the good following sentences, from one of “Mr. Brown's and lovely ones, the heroines of his books, is a Letters to a Young Man about Town :" “A faithful carrying out and depicting of the sentiset has been made against clever women from ments above quoted. So insiped and tame are all time. Take all Shakspere's heroines: they they in their “humble, smiling, flattering, child. all seem to me pretty much the same-affec- loving, tea-making” excellence, as to be dull tionate, motherly, tender--that sort of thing. enough in the mere perusal, not only to excuse Take Scott's ladies, and other writers; each a lover like George (if he had not been so inman seems to draw from one model. An ex- sipid himself) for lighting his cigars with her quisite slave is what we want ; for the most part billet-dous, but also to make every girl who an humble, flattering, smiling, child-loving, fain would become a heroine, almost rush into tea-making, pianoforte-playing being; who Becky Sharp-ishness, or any other kind of laughs at our jokes, however old they may be; sprite-like mischief, rather than be one of those coaxes and wheedles us in our humours, and same good, sweet, gentle Amelias, even with 'fondly lies to us through life.'

the prospect of such an undying, never failing Now, in the spirit of the above sentences one attachment as that of a Major Sugarplums. might only see the vein of sarcastic raillery in- Men must still nature's impulses, urging their tended to characterize these burlesque letters to admiration of the real woman, in obedience to a young kinsman; but take them in connection the received and accredited spirit, laws, and with Thackeray's writings, and you will perceive opinions of society and the age; and if authors that they are the real spirit

, the actual embodi- write down to the level that has compelled ment, of his positive and veracious views of Thackeray, in spite of his better nature, to make women, their sphere, condition, and duties. bis heroines the heartless, insiped things they These ideas and opinions regarding women are are, yet it is the adoption and carrying out of what he has been regularly trained and bred such' views and principles in regard to women up to in his heart of hearts. There is a senti- by men, whom they are born, to serve, to please, ment of real devotion to and chivalrous admira- to love, and to endeavour to delight, that makes tion of woman as she ought to be, and often- so many of them seemingly what they are, times is, notwithstanding these convention- “humble, flattering, tea-making, piano-playing alities, that every true man must feel, and to deceivers ;” and more talent, more time, art, which Thackeray can, upon occasion, give ingenuity, and patience are necessary to pervert utterence in dulcet tones and beautifully- nature's master-pieces of love and tenderness rounded periods : but he has been so trained into this senseless, silly, deceptive mother and and reared amid women of this tame order, this slave, than with open manliness, enlightened low stamp, and tutored by inen holding these views, and a free and generous insight into her lowering views of women, that he cannot bring capacities and position, man-her brother prohis imagination to the point of conceiving, or bationist, ere he becomes her lord-might have his pen of delineating, a fine and elevated expended to form an open, upright, candid, woman-a clever one, as he terms her—though truth-loving, fervent, devoted woman, wife, bis man-heart does justice to her claims. in friend; forbearing to faults, tender to trailties

, his novels, he has portrayed, with his caustic forgiving to errors ; devoted with keener, and powers, femininie personages, neither flesh-and- livelier, and humbler, because more expansive, blood women-they have not a redeeming trait of love to his welfare, his honour, and his interest. humanity, nor a touch of nature-nor demons; Oh! cannot men see and feel wherein this heartless, soulless figures, that giitter and amaze error lies, and conquer it, for the sake of their us, thrust into animation and seeming action own hearts, homes, and of their unborn sons ? by his fine strokes of satire, brilliant and sar. When standing together on the home-hearth in castic thrusts and dashes at errors and frailties, the holy twilight's deepening gloom, drawing that bave not even power to fill us with horror nearer to each other tenderly as the nightor disgust as a really bad woman would, What shades deepen and the day declines, ere the is Beckey Sharp?' Is she a living, breathing candle-light flares on them, would it lessen the woman? Rather a concentration of all the softness, derogate from the sweetness and genvices, follies, and degrading efforts of an age, tleness of this hour of love, if each (that young draped about a senseless block, as they show husband, that up-looking, confiding wife) had,

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