drama is the glass that mirrors our common nature whereever it is.

There are cheering symptoms at this time, denoting a re-action in favour of the drama We have more than one fine actor capable of embodying the grandest characters of the tragic muse, and poets must arise capable of writing fine plays. Even if we have not great actors and great dramatists, we are leaving behind us what is merely artificial and conventional, and are rapidly advancing to a better school both of writing and acting. Art will have its due place, but nature will be acknowledged a loftier thing.

In the progress of civilization, the drama grows of more and more importance in a social and moral aspect, but its religious character receives some modification. The dramatist may be as religious now as in those primitive times when religious mysteries were written and acted by priests; but he must regard the manifestations of passion and intelligence wherever he may find them, and see the hand of Providence not only in mystery but in our common life. And surely genius is never more worthily employed than when penetrating into the recesses of the human soul, and contemplating the miracle of humanity, adoring the Inscrutable Wisdom which has ordained the mighty drama of existence and its unknown purposes.

Reviews, Notices, &c.

THE EMIGRANTS OF AHADAMA. By W. CARLETON,
London: Simms and M'Intyre, 1848.

THE name of Mr. Carleton stands high in that department of Irish literature, which has been enriched by the names of Edgworth, Banim, Griffin, Lover, and others. No living author excels him in pourtraying that depth of feeling so peculiar to the Irish character, or in exposing the machinations of the several parties with which that unhappy country has been divided. There is but one objection to Mr. Carleton's writings, namely, that he occasionally consults the prejudices of his readers to an unwarrantable extent. The publishers have acted most spiritedly in the bringing forward of the work.

MAN IN THE MOON.

THIS little work abounds, as usual, with a profusion of wit, which seems to indicate an inexhaustible supply in the fountain heads-Albert Smith and Angus B. Reach.

SHARPE'S LONDON MAGAZINE. London, January, 1848. THIS number of the Magazine sustains the general character of the work. "Maude Allinghame," by the Editor, reminds one forcibly of the "Ingoldsby Legends," to which it is every way equal. We regret we cannot afford long extract.

space for

a

Theatres.

HAYMARKET THEATRE ROYAL.-The principal event of the past month at this theatre has been-as announced in the Magazine of last month-the re-appearance of Mr. Charles Kean and Mrs. Kean, the once celebrated Ellen Tree, although postponed to the 17th instead of the 10th as was originally intended, in consequence of Mrs. Kean's indisposition. Five years had passed away since they had performed before a London audience, which time was spent by them to good account in America and the provinces.

The play of "The Wife's Secret" was selected by Mr. Kean for his appearance, most probably in consequence of its favourable reception in America, and the great success which had there attended his and Mrs. Kean's performances in the principal characters.

"The Wife's Secret" is by Mr. George W. Lovell, the author of "The Provost of Bruges," "The Avenger," and many other public favourites. It is one of his happiest productions, and contains many beauties, which must recommend it to general approbation.

The extreme simplicity of the plot of "The Wife's Secret" affords but few of those striking incidents which serve so effectually to sustain the dramatic representation; but every opportunity is taken advantage of by the author to introduce passages, which, for beauty of expression, exquisite feeling, and decidedly poetic character, cannot be surpassed. On these the play depends: and Mr. Lovell's merit is the greater in having produced a play of such decided merit from incidents of so trifling a nature. success was complete, -the audience receiving it with applause, and at the conclusion calling for Mr. and Mrs. Kean, and the author, who bowed his acknowledgments from one of the stage boxes.

Its

Of Mrs. Kean's acting little need be said, as she has long

since established her character as one of the first actresses of the day. The great perfection of her acting resides in her power of expressing the sentiments of her part with truth, and in never o'erstepping the modesty of Nature. In this she has not, perhaps, her equal on the stage.

Mr. Kean has improved much since his last appearance in London, and will take his place as a graceful and accomplished actor; he may not produce those startling effects on his audience for which the late Edmund Kean was so remarkable, still he will always succeed in pleasing. He has gained more confidence in his own abilities, and resting on these rather than on meretricious aids, has advanced towards nature as he has receded from art, and with the happiest results.

Mrs. Keeley, as Maude, added considerably to the success of the play, as did also Mr. Webster, as Jabez Sneed, and Mr. Howe, as Lord Arden.

OLYMPIC THEATRE ROYAL.-During the greater part of the month this theatre has been enriched by the performance of Mr. G. V. Brooke, a gentleman new to the London boards, but long favourably known in the provinces.

Certainly no actor has appeared, since the days of John Kemble, to equal him. Edmund Kean may have been equal to him in some of his favourite characters, but Mr. Brooke's personal apperance, and natural advantages, place him in a position second only to John Kemble. His figure is tall and graceful, his voice melodious, and his judgment and discretion most excellent. His reading of the character is the only true one we ever met with, divested of that boisterous passion and melo-dramatic expression which have usually disfigured the noble Moor. The character of Othello is truly represented, as it should be, by Mr. Brooke, and, we feel persuaded, as it was intended by its immortal author.

Mr. Stuart, in Iago, ably supported Mr. Brooke; indeed, his lago must be regarded as belonging to the first order of fine acting. Miss Stuart's acting as Desdemona was pleasing, unconstrained, and unaffected.

Miss Glyn, a pupil of Charles Kemble, made a tolerably successful appearance on Wednesday evening last. As a first appearance it was creditable; but there is room for that improvement which a better acquaintance with the stage will effect.

Want of space precludes a notice of the other theatres this month.

Answer to Charade-" Ass-ass-i-nation."

THE SPIRIT OF THE AGE AND ITS REPRESENTATIVE. ALL is excitement-the streets, and lanes, and allies, and courts of the city are crowded with people, some standing in groups in earnest conversation-others walking rapidly, or even running along, with papers in their hands, as in pursuit of some valuable treasure which they had lost.

All ages and ranks are to be seen amidst the motley groups -here stands a man of apparent wealth, finely clad, with gold chains around his neck, and an air of importance, which indicates that he has pretensions, at least, above those around him; he listens to the observations of another like himself, and replies in calm and measured terms. There stands another, of more doubtful appearance, in the midst of a crowd of similar characters, whispering eagerly to his listening companions.

Here a youth, scarcely sixteen, may be seen, with the staid features and fixed countenance of age, there an old man, with all the vivacity and apparent energy of youth; they are engaged in the same pursuit, they are both equally eager the pleasures of youth entice not the one, and the experience of age is unknown to the other.

Behold yonder building, with raised steps and modest portico; it stands at the extremity of yonder court, it is the Stock Exchange; crowds are assembled around its portals, and numbers pass to and fro, and enter its threshold-its doors swing on their hinges, and open and close without ceasing.

A man dressed in black and holding a bundle of papers in

MARCH 1848.-NO. III. VOL. IX.,

his hand comes out-numbers rush towards him, he whispers one, hands a paper to another, and retires to speak to a third-who is he? One of the Exchange brokers.

It is with difficulty that one can make way through the crowds; they assemble in the courts, on the pavement, nay, in the very streets, almost reckless of life and limb.

Even the fair sex are engaged in the tumult-behold yonder carriage, which stands at the Bank corner, a coronet marks it as belonging to a noble owner, it is that of the Marchioness of Airsbury-she leaves her carriage at a distance, and enters her broker's office-she buys and sells to the amonnt of thousands, and is responsible for millions!

Rich and poor-young and old-high and low-the learned and the ignorant, are engaged in the exciting scene-no profession protects its followers from swelling the number of the victims of mammon-even the dignitaries of the church forget their sacred calling, and enter the arena of SPECULATION. It is the railway mania of 184-.

In one of the streets adjoining these tumultuous scenes, the principal offices of the Grand Casualty Railway are situated-it is board day-a meeting of shareholders is to be held in a few days-the clerks are busy, and ply their pens without ceasing.

In the principal office, a man is seated at a large table, which is covered with newspapers, railway journals, letters and accounts. He holds a newspaper in his hand, and reads, "'tis the Times.' Although past the meridian of life, he is still strong and healthy, and seems to be well adapted to the active duties of the post to which he has been appointed, Chairman of the Company.

Of middle height, his figure is coarse, and inclined to corpulency-his head is large and thinly covered with brown hair-his forehead is broad-his eyes small and penetrating -his lips prominent; what is your opinion of him? Is he intelligent?

A disciple of Lavater would pronounce him a man of naturally strong mind, but feebly cultivated; a phrenologist would be prepossessed in his favour; a less scientific person would pronounce him a man of intellect, but not a gentleman.

Say what people will, there is something in the tone, and manner, and appearance, which indicates the gentleman; dress will not fashion it, study will not acquire it, society will not impart it.