such as to establish her in that character at Drury Lane ever since. Not that we consider Drury-Lane theatre as well adapted to this species of amusement. To give due effect to the rapid transitions of a harlequinade, the stage should be of more manageable dimensions. Unless the machinery act in momentary unison,the illusion vanishes: causes must be followed by immediate effects,or the genius of the wooden sword dwindles to a man of lath. The dance, however, which chiefly established Miss B. Menage's fame, was the hornpipe in the character of Spoliata in the pantomime of the Corsair, which made its appearance at the Haymarket theatre, in July, 1801. This dance, acted like the genius in the fable, in snatching the Corsair from the waters of oblivion. It has, we believe, never been performed since without being encored. During the following summer Miss B. Menage made a professional tour to Birmingham, where her exertions met with considerable applause.

The pantomime of Cinderella, or the Little Glass Slipper, made its appearance at Drury Lane, in January, 1804. In this tasteful representation of one of the most pleasing fables of childhood, Miss B. Menage personated one of the graces, nor could the queen of love have desired à more appropriate hand-maid. On the 20th June following, was produced at the Haymarket theatre, The Enchanted Island. In this interesting spectacle, well calcu lated to display the inventive skill of our immortal bard, unaided by his powers of language, the subject of this memoir appeared in the second act as the full grown Miranda-“ Admired Mirandu -indeed the top of admiration." The piece met with great and deserved success. We think its revival, with the original cast, would benefit the theatre. Our limits will not allow of our descanting upon this lady's performance in Little Fanny's Love, the True Lover's Knot, and other ballet dances, all tending to exhibit her in the first rank in the light train of Terpsichore.

On the 11th August, 1804, Miss B. Menage bestowed her hand on Mr. Michael Sharp, an ingenious and rising artist, whose amiable disposition, and professional talents, are said to secure him the regard and esteem of all who know him. Indeed our readers may appreciate the powers of his pencil by the portrait prefixed to this number, engraved from an original of his painting, which appeared in the exhibition in May, 1805. The last character assumed by Mrs. Sharp, was Ethelinde in Caractacus; but neither the dance, nor the action, is suited to her powers.

On the excellence of this lady's figure it would be a waste of words to descant-it is

Among a grove the very straightest plant ;

and fully justifies the following impromptu uttered by a gentleman, on meeting her at the door of the exhibition. Go, mount the stairs, and gaze your fill

Where likenesses on canvas bloom:

Survey the pictures if you will,

But enter not the model room.
'Twere waste of time in you to stare
On finish'd forms of polish'd stone,
Believe me, you'll discover there

None half so finished as your own!

In addition to Mrs. Sharp's talents, as exhibited before the public, report bespeaks her to have acquired no small knowledge of music, and to possess a heart and understanding well qualified to embellish the domestic course of life, in which it is her greatest pleasure to move.

We will detain our readers while we say a few words upon the art in which this lady excels. The opera dancer, despising Hogarth's notion of the line of beauty, seems to think legs formed for no other purpose than to stand at right angles, and therefore uses them, as Bayes used his head, to elevate and surprize. Against such a perversion of legs on the British stage, we must ever hold up our hands. The dancer's leg, like the "poet's eye, in a fine phrenzy rolling," may gratify the giddy amateurs of the Haymarket, but such evolutions are, like their prototype the game of EO, contrary to English law. Mrs. Sharp has judiciously separated the grain from the chaff: adopting the grace, without the disgrace of the French school, and blending it with the modesty of the English. Her agility is unquestioned, but at the same time uncoupled with that " vaulting ambition," which induces the heroines of the opera to overleap the bounds of nature and decorum.

Though we mention it last, far be it from us to consider it the least of her personal good qualities, that when off the stage, this lady exhibits in taste and neatness of apparel, a glass, in which many married ladies in this town would do well to dress themselves. Widely does that female err, who, conscious of possessing the favours of nature, despises all assistance from art. The latter must co-operate with the former in producing that “paragon of animals," an elegant woman!

ON THE UTILITY OF COMPOSING POETRY.

It is my intention to offer a few sentiments on the utility of composing poetry; as I think it is the duty of every one to enquire into the cause of his actions, and learn what advantage or disadvantage arises from such actions. That things may be done with the best intentions, and yet be disadvantageous, improper, or useless, will not be denied.

Poetry has been a favourite study from the earliest ages, for its capability of conveying instruction with pleasure and effect; for recording heroic actions, worthy of imitation, to those who, without the assistance of imagination in relating such actions, to inspire them, would have remained insensible to the glory of great, benevolent, and patriotic actions; for its power of beguiling a melancholy hour of its sadness with profit; and in refining the sentiments and manners of mankind. But I shall confine myself merely to the utility of composing poetry for a person's own private amusement.

There are times when the mind is unwilling to attend to serious or abstrusc subjects; when fancy has more power than cool attentive reason; when the attention may be turned to poetry with pleasure and advantage. And composing poetry has considerable effect in beautifying the language, enlarging the ideas, and assisting the memory. It beautifies the language, and enlarges the ideas, from the necessity of qualifying and characterizing the sentiments made use of, and choosing harmonious words; and enlarges the ideas from the necessity of looking into nature and things more minutely, in order to describe them with exactness and truth. It exercises and strengthens the memory from being obliged to search for words of the same meaning, to form a pleasing variety, and make the metre.

may

In short, from a judicious study of poetry, considerable benefit be derived, the flow of words increased, and made more clearly and distinctly acquainted with our ideas. But, let it be observed, I am contending for the study of it only when the ima gination is too powerful, or the mind too wearied or backward to pursue more useful studies.

Baynes Row, 9th June, 1808.

C-VOL. IV.*

I. S.

THE AGE WE LIVE IN.*

"Use the Time well, if the Time use thee well."

Timon of Athens.

"THE present age is a blank"-Pooh! Mr. Editor, don't believe it! What has Friar Bacon's Head reappeared to inform us in solemn accents that" Time was-time is-and time is past!!!" Listen not, gentle readers, to the melancholy-discordant notes of these "screech owls" of society: you never lived in a better age than the present, and there never was a time when the conveniences and elegances of life were more comeatable than at the present moment. "Where is there a GREAT MAN?" silly question! "Where is there a little man?" should have been the enquiry! every thing about us proclaims the grandeur and ingenuity of the age-English barbers, to prove the goodness of their wigs, no longer dip them in a "pail of water," but emulating Sterne's Parisian frisseur, "plunge them in the ocean." Men of talent are to be found every where-Ingenuity and science are the inmates of every humble shed. A truce to fastidious grumbling-review the blessings you enjoy, and be happy.

The indolent, the luxurious, and the niggardly, have all of them gratifications unknown to former ages.

Have we not every possible invention to prevent the necessity of mental, or bodily fatigue? Are there not many safe and easy guides to the knowledge of languages? "Selections from the best poets"-" Beauties of Milton and Shakespeare”—“ Elegant Extracts in prose und verse"-Walponiana-Addisoniana-and Anas without number? In a word, libraries sold by the yard, without the trouble to select, or any necessity for wit to distinguish. Do not the reviewers kindly tell us what books we should read, and the theatrical critics what plays, and players we should applaud, or condemn? To prevent the decay of our corporeal machine,(always liable to injury from over exertion) are we not provided when journeying with " balloon coaches”—“ telegraph stages”—and flying waggons?" We also have "hunting razors" to shave with, in perfect safety, whilst our horses are on the full gallop; and, by the use of a simple tincture, defy carrots, and wear what coloured hair we please. What would the votaries of pleasure have beyond the enjoyment of the present age? Did the "Sherlocks, Lowths. *See No. XIII. page 7.

Blairs, Miltons, &c." of former times ever produce, or behold any thing like our modern panoramas, phantasmagorias, eidophusicons, and cosmoramas? Blair was a Scotchman-had second sight perhaps, but did he ever see the invisible girl? happy and learned age, which can behold such exhibitions, and comprehend such abstruse terms! When were the fanciful, idle, and voluptuous provided with such sources of gratification! Have we not selfsnuffing snuffers, pocket fiddles, and walking-stick flutes? Is not our poultry, &c. roasted with self-oiling jacks? Ay, and by conjurors? Are we not always provided with "portable soup"-and portable rooms to eat it in? And are not all the dainties of life artfully potted, and preserved, and pickled, so that we may enjoy every animal and vegetable delicacy long after it is out of season? Are not our fashionable "belles and beaux" amply supplied with false eyes, minerul teeth, and enamelled copper noses, cosmetics, lotions, Olympian dews, Circussian creams, and Sicilian blooms? Are you sick? were there ever so many universal and never-failing remedies? "Worm-lozenges, pabulums of life, solar tinctures, cordial bulms of Gilead, antibilious pills, antipertussis, and anti-impetigines ?” And is not "salivation exploded?" An't you happy? What would you have? Have we not in the present day many shops, each " the cheapest in the world?" Is not every thing sold under prime cost? And do not our provident manufacturers supply the penurious with "everlasting breeches ?" Sir, this is the age, in which all ranks may enjoy themselves-When what we once thought wisdom and wealth, are rendered worse than useless; for formerly the end of philosophy was the discovery of truth-Now we not only seek it not, but if we stumble on it, are likely to stand in the pillory for our pains, since truth is à libel ; and as to wealth, it is proved by our ministers, that it does not consist in how much you possess, but in how much you owe. Increase your debt, you increase your riches, and consequently, to the greatest portion of wit, the Fleet, the King's Bench, the Poultry Compter, the Marshalsea, and Newgate, add the possession of the largest share of wealth! Your attentive reader,

June 9th.

JONATHAN SLY.

P.S. To square the circle was a puzzler to the ancients-A coal merchant amongst us then is a greater geometrician for he makes all his "round coals" square. Now we find " every man kis own farrier"-"The art of getting pretty children," may be pur

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