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less thau— Yet why should I not say it? nothing less than my want of noble birth-of family

Col. Poh! they are a family of fools. A soldier's noblest pedigree is his honour. Let him look to posterity.

Maj. Aye, lo posterity. Let bim make his forefathers out of that. Wbat business has a soldier to be looking behind him; by the glory of the Twentieth

Cor. To the jail, to the jail. I shall take remorseless vengeauce. The affair's regimental; the whole Corps has been insulted most superlatively: Trooper! Muffs and meerschaums !

Lor. Yet,-upon second thoughts-1-should rather-
Col. What, man ! relenting, retracting ?
Cor. You are pledged from frill to fetlock.

Maj. He's at the lady's feet within this half hour. Who'll take ten to one?

Lor. Never ; by all that's manly, never. I abjure the sex. Do as you will for me. I will never look at one of them with complacency again. I must leave you now, I will rejoin you at the jail. All have been insulted, and I - Women!- compounds of vanity, perfidy, pride! -My brain, my brain!

[He rushes out. We have extracted this scene, not only because it developes the course of action which is to follow, but also to give a specimen of the author's comic powers, and we feel that it is such a one as will not induce our readers to estimate them very highly. Genuine wit and humour will be looked for in vain. Whatever portion of the ludicrous it may possess, arises from the use of certain cant phrases by the respective speakers : “Muffs and meerschaums!” “By the glory of the Twentieth!" and so forth. Now, if this be wit, it is certainly not very difficult to be witty. Whatever effect might attend the acting of this scene, must be ascribed to the performers, and not to the author.

No time is lost in carrying into execution the plan proposed in the scene just extracted, and the officers adjourn to the jail to look out for a man fit to act the principal part in it. Torrento is mentioned by the jailor as a likely personage for their purpose, and introduces himself to their notice in the following manner :

Tor. Jailor, I will not be disturbed for any man. Why am I brought out before these,-fellows in livery? This gaol is my house ; my freehold; my goods and chattels. My very straw's my own; untouchable, but by myself—and the rats.

Maj. Here's a freeholder!
Coi. With a vote for the galleys.

Tor. (Turning to the Prisoners, harangues burlesquely.)-Gentlemen of the jail - [Prisoners cheer.

Col. A decided speech !

Cor. Out of the orator's way! Muffs and meerschaums! [The Prisoners lift TORRENTO on a bench, laughing and clamouring.

Tor. (Haranguing.)-Are we to suffer ourselves to be molested in our retirement, in our domestic circle ; in the loveliness of our private lives ; in our otium cum dignitate? Gentlemen of the jail! (Cheering.) - Is not our residence here for our country's good ? (Cheering.)Would it not be better for the country if ten tinies as many, that hold their heads high, outside these wallls, were now inside them ?(Cheering.)- scorn to appeal to your passions; but shall we suffer our honourable straw, our venerable bread and water, our virtuous slumbers, and our useful days, to be invaded, crushed, and calcitrated, by the iron boot-heel of arrogance and audacity? (Cheering.)-No ! freedom is like the air we breathe, without it we die ! No! every man's cell is his castle. By the law, we live here; and should not all that live by the law, die by the law 2-Now, gentlemen, a general cheer! here's Liberty, Property, and Purity of Principle ! Gen. tlemen of the jail!--[They carry him round the hall.

Loud cheering Torrento and the officers, after some time, come to an understanding, and it is finally determined that he shall be splendidly equipt, and introduced to Ventoso's house as Prince de Pindemonté, with which arrangement the second act concludes. Upon the whole, this act appears to be greatly inferior to the former one; it is barren of incident, and the characters which are most prominent in it are extraneous to the plot. The action has advanced one step, but the greater part of the act has tended neither to accelerate its progress, nor to illustrate the characters of those who are necessary to its completion. The improbability attending Torrento's, enlargement is monstrous. For the sake of credibility, some more decent means should have been contrived to get him out of prison. The language of this act displays abundance of slang, but no poetry. Torrento's speech, which we have quoted, is the best thing in it; but this is disfigured by some touches of caricature, which might readily have been avoided.

The third act discovers Victoria lamenting, not very reasonably, the inconstancy of Lorenzo. Leonora enters to invite her to view a sight in the square, but, finding her in tears, the sisters agree to sit down, and “rail at love," which laudable resolution they are about to put into practice, when they are disturbed by some horns playing without doors, and their father shouting within, and retire behind a screen. The Count enters bewailing the hard life of a noble, and, on his daughters coming forward, he points out to them the road filled with sol. diers, approaching the house. The Countess brings a letter professing to be from the Prince de Pindemonté,announcing his intention to visit the Count Ventoso that evening, and, having approved of his daughter, forthwith to marry her. The proposal meets with universal approbation. It pleases the

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Countess, because it comes from a Prince; it pleases Ventoso, because there's no talk of dower;" it pleases Victoria her: self, because s'twill be a deep revenge," and she resolves to

“ Wed this Prince, were be the lowest slave That ever bronzed beneath a Moorish sun.” All parties retire to prepare for the Prince's visit, and the scene concludes with a trio; the words of which we transcribe, as a favourable specimen of the songs.

Tell us, thou glorious Star of eve!

What sees thine eye?
Wherever human hearts can heave,

Man's misery!
Life, but a lengthened chain;
Youth weary, wild and vain;
Age on a bed of pain,

Longing to die,

Yet there's a rest!
Where earthly agonies
Awake no sighs

In the cold breast.
Tell us, thou glorious Star of eve!
Sees pot thine

Some spot, where hearts no longer heave

In thine own sky ?
Where all Life's wrongs are o'er,

Where Anguish weeps no inore,
Where injur'd Spirits soar,

Never to die! In the next scene we find Lorenzo in his quarters, who thus delivers himself:

Lor. Victoria's picture lost !-Yet how 'twas lost
Baffles all thought;-'twas lodged upon my beart,
Where it lay ever, my companion sweet,
Feeding my melancholy with the looks,
Whereon once lived love.
(To the Attendant.)

Go, boy; take horse,
And hurry back that loiterer.
How lovely thro' those vapours soars the moon !
Like a pale spirit, casting off the shroud
As it ascends to Heaven ! (He rises and goes to the casement.)
Woman's all false.
Victoria! at this hour what solemn vows,
What deathless contracts, lovely hopes, rich dreams,
Were uttered in the presence of the moon!
Why, there was not a hill-top round the Bay,
But in our thoughts was made a monument,
Inscribed with gentle memories of Love!


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Upon yon mount our cottage should be built,
Unmatched since Paradise ;- upon the next,
A beacon should be raised, to light me home
From the Morocco wars; the third should bear
The marble beauty of the patron saint,
That watch'd me in the field

Spado enters, and is questioned about the picture, but to no purpose. From him Lorenzo learns that there are “ grand doings" at the Count Ventoso's, where

“ Some luckless loving dog, Some beggar suitor, some old hanger-on, Was just kick'd out amid the general laughi,

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For a magnifico-a Don of dons,

A Prince Lorenzo writes a letter, which he directs for the Prince de Pindemonté, and despatches by Spado. The purport of this letter is not very clearly explained, but, as far as we can collect, it seems to be to urge Torrento to marry Victoria, by the promise of an additional five hundred crowns.

Some persons without, now chaunt a septett, beginning "joy to Ventoso's halls;" which is succeeded by the following passage, which, like the last quoted, we extract for its beauty.

Lor. What words are those ? Joy to Ventoso's halls ;":
And I, who should have been the foremost there,
Must be an exile! (Disturbed.) Married !-and to-night!

'Tis but the song of the streets !
(Indignantly.)- Have they not scorned me,- broken bond and oath;
Taunted iny birth!~"Tis justice - let them feel!
(Musing.)- I may be noble! Paulo's dying words
Had mystery in them,

(A distant sound of the Chorus is heard.) (He starts.)

How will Victoria bear
The sudden shames, the scorns, the miseries,
Of this wild wedlock; the companionship
Of the rude brawlers, gamblers, and loose koaves,
That then must make her world?

Her heart will break,
Àvd she will perish; and my black revenge
Will thus have laid her beauty in the grave.
(Rising suddenly.)– He shall not marry her.
(Calls.)—Is Spado there? (The chorus is heard more distantly.

A SERVANT enters.
Serv. Signor, he's gone! He left the house on the spur.

Lor. My letter! 'twill ruin all! (Calls.)

Bring me my horse. I will unniask the plot of my revenge ;

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And, having saved her, sever the last link
That binds me to the world. [He rushes out.

This closes the third act, which is incomparably superior to the second. The action does not advance very rapidly, but it does not stand still. This act is not oppressed with the mass of extraneous encumbrances which clog the preceding one, and it contains some passages of high poetic beauty.

The fourth act opens with an apartment in Ventoso's house, Leonora glides in, and, upon a symphony of horns being heard, exclaims, Oh, silver sounds! whence are ye? From the thrones, That spirits make of the empurpled clouds, Or from the sparkling waters, or the hills, Upon whose leafy brows the evening star Lies like a diadem! O, silver sounds! Breathe round me till love's mother, slow-paced Night, Hears your deep summons in her shadowy cell.

We will not suppose our readers so deficient in taste and sensibility, as not to appreciate the beauty of this passage. The Countess enters, and shortly after Ventoso, exultingly, to communicate some news which he has obtained of the incalculable wealth of the Prince de Pindemonté; which intelligence rests on the authority of a certain Signor Stefano, who has just arrived from Naples, and whom the Count craves his wife's permission to ask to supper. The arrival of the Prince is now announced; servants and minstrels fill the stage ; Torrento enters, attired in magnificent costume, and is welcomed by a septett and chorus. After some attempts at speech-making by the Count and Countess, Stefano enters, and deports himself with considerable haughtiness. Victoria is introduced veiled, and Torrento, who supposes her to be Leonora, and is apprehensive that her surprise may defeat his project, makes her an affected speech, conceiving that his only chance is to 66 talk her dumb." Victoria at last unveils, and Torrento is of course undeceived. lle now produces the picture of Victoria, which he had received from the Hussars, Lorenzo having left it behind him when he hurried despondingly from the jail, in the second act. How Torrento's possession of this portrait is to be reconciled with his expectation of meeting Leonora, we cannot conjecture. Victoria recognizes the miniature; Stefano spatches it from Torrento, and gives it to her, and she retires. Torrento expresses great indignation; Ventoso apologizes for Stefano, intimating that he knows the Prince well. Stefano says that he had mistaken his highness for a “famous reprobate,” called Torrento. The mention of this name agitates the Count and Countess, as

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