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theatre for the first time. The principal characters were thus represented :
Mr. C. KEMBLE.
Mr. BANNISTER, Jun.
Mrs. SPARKS, This interesting piece is a translation from the German of Kotzebue, adapted to the English stage by Mr. Kemble. It may be considered an handsome compliment to the humane institution esta blished at Paris for the instruction of the deaf and dumb, of which fame has spoken so highly. Of the merits of the establishment, the following description, given by the Abbé del' Epée, the founder of the seminary, may afford some idea. “ If the peasant," says he, “ feels d light when he beholds the abundant harvest which rewards his industry, judge what must be my sensations when I stand in the midst of my pupils, and see how the unfortunate beings emerge by degrees from darkness; how they become animated by the first beam of heavenly light; how they step by step discover their powers, impart their ideas to each other and form around me an interesting fainily, of which I am the father." An instit. tion such así his must be a fruitful source of anecdote, and accordingly we find the author has, in the present instance, availed himself of one long familiar to the public, and not the less interesting from its being founded on fact. The fable
is the simplest that can be conceived ; but its simplicity is the simplicity of nature, and the must successful appeal to her force nd influence. Julio, an interesting youth, born deaf and dumb, the orphan heir to the first magistrate of Toulouse, is brought to Paris by Darlemont, his uncle and guar. dian, and exposed in a mean attire. Here he is received into the Philanthropic Asylum tor untorti)nates of his kind, under the name of Theodore. His manners so ill corresponding with the meanmess of his dress, at once induce the discerning Det? Epée to suspect that his pupil is the victim of traud and injustice and the quick intelligence of the youth soon confirms this suspicion He accordingly sets out with biin for the south of France, from ome city of which his observations on the conduct of the boy lead him to conclude he has come: Arrived at Toulouse, the extravagant joy exhibited in the looks and gestures of his companion satisfies the Abbé that he has reached the sought-for place. It is here the scene opens with a view of Toulouse, and Theodore recognizing the habitation of his father, now usurped by his uncle.- His restoration to his fortune constitutes the interest of the plot, of which the means by which that end is accomplished forin the principal ingredients. Julio recognises the old domestics of his father, and is recognised by them in return. Proofs rise on proofs of his identitybut it is not until affer a most obstinate re istance to their force that the uncle contesses huis guilt, and restores his property to the injured Julio.
There is also an underplot judiciously blended with the main story :--it consists of the love of St. Alme (the son of Darlemont, but his revere in disposition) for Marianne--all obstacles to which are removed by the generosity of Julio, whose first act after he obtains possession of his forrune is to settle half of it upon his cousin. From the recital of this
story, the reader might not suppose it a source of great interest ; it is therefore impossible to speak of it in adequate terms of praise without the suspicion of over-rating its merits. We must, however, assert, that of all the productions of this celebrated author which have yet appeared in an English garb, the present is equal in interest to any, and superior in purity of sentiment and moral to all. The ground which he has chosen has the advantage of novelty, but it has also the disadvantage of being extremely difficult. Of this he seems to have been perfectly aware, for the Abbé tells Franval (the advocate whom he engages in his pupil's cause) that " a per: son who is deaf and dumb always creates distressing sensations,” and that he was therefore afraid the presence of his pupil might not be pleasing. With such a knowledge of his subject, Kotzebue must have been afraid that the infirmities of nature were dangerous subects for theatrical exhibition. That the attempt has succeeded in the present instance is owing to the great delicacy and skill with which it is managed. Perhaps too the manner in which Miss De Camp sustained the character of Julio contributed not a little to its success : her fine expressive countenance supplied the deficiencies of speech and hearing the presence, therefore, of Julio was interesting, but not distressing. In all the incidents and situations the author has been peculiarly happy they are all of the most simple, natural, and domestic kind; they are such as come home to men's business and their bosoms; they are such as they may every day see in the families of others, and tremble for in their own, connected and embellished with all those affecting scenes which render injured innocence doubly interesting by the helplessness of its situation, and all those sentiments of humanity which flow from the peculiar nature of the subject.
The adaptation of this piece to the English stage
does not appear to have been a difficult task. It is one, however, which is executed with great care, taste, and judg.ent. Except that the portrait of Julio is more relied on as a principal proof of his identity, all the other incident: are the same as in the original; the characters and the plot also suf. fer no variation ; but in the language and the tuin of the sentiment there are many alterations, all of them improveinents.
The humane philosophic Abbé De l' Epée was well sustained by Mr. Kemble, and Mr. Wrough, ton, in the proud and guilty D rlemont, was uncommonly energetic and impressive. Mrs. Moun. tain, in Marianne (the heroine of the piece), had a gentle delicate part of no great compass-she was in full voice, and executed a pleasing air allotted to it with great sweetness : this charming air was com, posed by Kelly. All the other characters were supported with like success.
The prologue, spoken by Mr. Powell, and the epilogue, hy Miss De Camp, were both pertinent to the piere, and possess-many good points.
In our next we shail give an interesting extract from this much admired performance.
the welcome. she received sufficiently assured her how great a favorite she is. Her simplicity is never rude, her rusticity is never vulgar ; she always understands her author, and whenever she fails in execution it is the fault of nature, “Who fram'd her in a mould still firm yet delicate.”
A blunder of Johnstone's, far from uncharacter. įssic, contributed to åmuse the public for several minutes :-when he laments his old master's being drowned, he "bothered out'-" Oh twenty marine societies could not have saved hiin," instead of humane societies. The blunder was attempted to be accounted for by its being said that he had dined at the Union Club with the Irish members.
In the afterpiece of Il Bondocani, the occurrences of the day have indistinct ideas to every man's, mind, and every thing tha: could be twisted to political allusion was eagerly caught after, and every man affected to see in it more than could be seen.
Mr. Fawcett's Cadi of Bagdad had a thousand charms it never possessed before ; and the latter part of his air was much applauded
“ I can crack my joke
Like other folk, Who, when fairly turn'd out, only call it resigning."
But all the political allusions seemed to be enjoyed in perfect good humour, with the malice of fashion, without a teartul apprehension; every sen timent of loyalty was aplauded
“ To the very echo that gave it back again.” and seemed to imply, that whatever were the changes in the cabinet, we can securely rely on the firmness, the wisdom, and the affection of OUR KING.
Feb. 15 Last night a new comedy, called The Poor Gentleman, was produced at this theatre-the principal characters in which, were cast as follows:
Mr. LEWIS. Gallipot..
Mr. FAWCETT. Sir Charles Cropland.
Mr. FARLEY. Corporal
Mr. Knight. Farmer