To enter into a minute examination of the plan or principles of Mr. Lyon's Analysis would involve nothing less than a discussion of the various questions upon which the science of phiJology depends, as well as a critical investigation of many peculiarities in our own tongue, upon which volumes have already been written. Thus much, however, we can safely assert, that the student who may avail himself of their assistance will find more of condensed and useful information in the few pages he has devoted to his subject, than in many an elaborate Grammar of six times the compass. It affords us real grati. fication to find an effort made to clear away that mass of rubbish which at present so frequently impedes the approach to familiar acquaintance with a language which so well deserves the exercise of the most patient research to ascertain the true principles of its structure, no less from its intrinsic beauty, than from the circumstance of its forming the medium through which some of the loftiest human intellects have presented the results of their exertion, as an unchanging and imperishable inheritance to posterity. How little has been hitherto done towards the accomplishment of such an object! Books, it is true, infinite in number, and professing to give all the information necessary, have issued from the press; yet, every one knows, that what is done by many is by no means necessarily done well, and, with the exception of Horne Tooke on one side, and Lindley Murray on the other, where shall we find an author who has produced what may be truly called a respectable digest of the rules which direct the composition of our mutual oral or written converse?

If Mr. Lyon's book should only have the effect of exciting others to pursue still farther a plan, the outlines of which he has so ably drawn, he will yet have done enough to deserve the general acknow

ledgement; but we entertain the hope that he wil not rest satisfied with his present labours, and that his inquiries in Etymology will be succeeded by a dissertation on the more extensive subject of syntactical accuracy. This, upon the principles of the Author of "The Diversions of Purley," whom Mr. Lyon has taken as his general guide, and characterised by the same skill which distinguishes the present Essay, would, we have no doubt, prove highly useful to all engaged in education, as well as acceptable to the discriminating and enlightened among the public in general.

Classical Scholar's Guide. By R. Carr.

Mr. Carr has so ably performed the office of enlogist and commentator for his own work, as almost entirely to supersede the necessity of our giving any opinion of its merits. Indeed whatever might have been our inclination to speak favourably of his labours, we should have looked in vain for some term of approbation, in the use of which we might be free from the apprehension of finding ourselves anticipated by the learned author himself in his modest and judicious preface. Well is it for ourselves, therefore, that we do not feel any inducement to enter upon a task which has been already so elaborately performed, and well is it for Mr. Carr's readers that they possess a guide so willing to direct their judg ments, which, if not previously set upon the right track, might be led to form a far different conclusion as to the excellence of the Classical Scholar's Guide, than that contemplated by its compiler. In the present state of literature, it would perhaps be as well if this new plan of self-encomium were more frequently adopted by Authors in general. Men are surely justified in doing for themselves that which they may have reason to fear no one else will have the charity to do for them; and beyond question that individual who is best acquainted with the amount of labour bestowed upon a work, is also the best qualified to settle the exact meed of approbation he will consider a sufficient recompense for his diligence. It is true that in Mr. Carr's case it would be rather difficult to make the supply equal to the demand, as he has more than once applied the epithet of most invaluable to his lucubrations, and after this what more can be said? All that remains in the critic's power is to repeat the commendation in the same terms, and to hail the present volume in the words of one, who, however inferior to Mr. Carr, he might be in the dignity and impor tance of his subject, possessed at least an equal confidence in the permanence of his writings, as a true xa sis as. To speak seriously and in brief. There is much research displayed in this work, which may assist the classical student in ascertaining the proper quantity of the penultimate syllables of proper names, but the rest appears to us almost utterly useless, and notwithstanding the formidable battery of quotations from Homer, Ovid, and Lucan, which the erudite author has prepared for the annihilation of any unlucky objector in posse, we must say, with whatever personal hazard the avowal may be attended, that we think his talents and industry, and both to a certain extent he possesses, would have been much better employed in any other task than in the production of the pages before us.

THE Condition and prospects of the Great Houses are daily growing worse; consequently (we are sorry for the sequitur; but being one, we are bound to recognise it) consequently the hopes of the English Drama may be said to look upward. The results of the only dramatic event since our last, which is of sufficient interest and importance to claim detailed notice in our monthly report the production of Miss Kemble's Tragedy of "Francis I."-would of themselves have been sufficient to confirm, if needful, the belief we have long entertained, and studiously sought to propagate, that the existence of theatres like those of Drury-Lane and Covent-Garden, are absolutely incompatible with the existence of a drama corresponding in character and importance with the rest of our living national literature: we mean, that the mere existence of those theatres is sufficient to produce the baneful effects we refer to; for while they exist, foolish or knavish speculators will always be found to keep them open; and while they are kept open, every author, of whatever grade or pretensions, will idly, or ignorantly, or perversely, imagine that they must be the chief points of his aim, and all the rest mere stepping-stones, if he is a 'rising" author, and objects of condescension, if he is a risen one. And, finally, (which is the point on which our argument wholly rests)-no new drama can succeed at the Great Houses, if it deserve to succeed; (for without desert, or with a due quantity of the opposite of desert, it may). A drama, whether belonging to Tragedy or Comedy, which rests its claims to success upon just and legitimate foundations-which does not substitute mere caricature for character, mere extravagance, or mere excitement, for passion, and mannerism or manner for manners, cannot succeed where its pretensions cannot be appreciated; and who will say that they can be appreciated where the words in which they are developed, and the traits of countenance and tones of voice by which they are interpreted, cannot be heard and recognised? The daily and weekly critics have told us, in the coolest way in the world, that not one word in ten which Miss Kemble uttered, when playing the principal character in her Tragedy of " Francis I." could be heard by more than one-tenth of the audience; and they have told us no more than the truth. And yet (passing by this) they go about to seek for other reasons why the Tragedy cannot be expected to attain popularity! This is as if a man should offer to give twenty-four reasons why he cannot pay his bills, and begin by declaring that he has not a farthing of money. How are dramatic authors to satisfy the tacit claims

which audiences have upon them, if they cannot make themselves heard? To seek for other reasons, is to trifle with all reason, and to insult common sense. On the other hand, this reason once admitted, all the acknowledged facts connected with the case are explained. In short, at the Great Houses, the only "legitimate" drama must consist either of regular recitative opera, or of "explicable dumb show and noise," "The Freischutz," "Three-fingered Jack," and the Pantomimes.

As there is no other new drama but that of Miss Kemble waiting our attention, we shall make no apology for these introductory remarks, especially as they apply in a singular manner to that production.

The play of" Francis I." is formed on a double plot, partly historical and partly imaginary. The chief incidents, however, arise out of the passion of Louisa of Savoy, the Queen Mother, for the famous Connetable de Bourbon, then Governor of the conquered Provinces of Italy, whom the Queen, in virtue of her absolute power over the young king, recalls from his government, and to whom she offers her hand. His rejection of this offer in consequence of a previous passion for Margaret de Valois, the Queen's daughter-the revenge of the Queen in consequence-the intrigues of the Spanish chief Garcia (distinguished throughout the play as a monk)-and the attainder and escape of de Bourbon-these form the materials of the chief plot, and occupy the three first acts of the play; the two last acts being almost wholly occupied with a second plot, arising out of the guilty love of Francis for Françoise de Foix, sister of a noble of the Court, and of her secret love for him; ending in her self-destruction in a fit of remorse consequent on her having sacrificed her honour to the King, to save the life of her beloved brother. These form the matériel of Francis I., at least of the acted Play, with which alone we are called upon to concern ourselves. It scarcely need be added that so total a dissevering of the interest into two distinct parts, produces an effect absolutely fatal to the Play as an acting piece. We say this, however, almost wholly with reference to the fact of its being acted in a theatre where nothing short of the most fixed and almost painful degree of attention can enable the spectator to preserve the clue of any plot, however simple in itself, or however skilfully constructed. This so-much-talked-of and desiderated simplicity and unity of plot is a thing called for by vast theatres alone; though good in itself, it is by no means essential to a high degree of interest and delight in the spectator of a dramatic representation. In the vast the

atres of ancient Greece, and the not vastly smaller ones of modern London, simplicity of plot was and is essential; because in such theatres so much of the explanatory and connecting dialogue necessarily escapes the ear, that the mind's ear and eye (which are infinitely more sensitive and retentive than the body's) are compelled to make up the deficiency and keep whole the connecting thread of interest; which, in the case of a well-constructed plot, they can generally contrive to do—but in an ill-constructed one never. The consequence is that, with us, plot and action are everything-passion, character, poetry, nothing; whereas, with the creators of the English drama, who were the creators of all drama, worthily so called, in modern times-it was precisely the reverse their plots are, for the most part, a farrago of gratuitous extravagance and absurdity; but their plays are such a treasure of true passion and high poetical beauty, (to say nothing of character, manners, and other minor and extrinsic qualities) as all the poets united, of all other ages and countries, cannot parallel. And this point brings us back to the Tragedy of Miss Kemble. It contains matter which, if it could have been heard, would have created and sustained an interest in the play, from the beginning to the end, in spite of its inordinate length, and that total disjointedness of plot which is the crying deficiency of the work. But as it is, it must be content to rest its claims to distinction wholly on those poetical and dramatic merits which can only be discovered in a perusal of the piece. It attracted a great house the first night-every body pretended to be pleased, but were utterly disappointed and wearied by it; it has been played to half empty benches ever since; and in the mean time the town is ringing with an almost incredulous surprise at the redeeming graces included in the written piece, not one of which did they detect in the acted one.

With respect to the performance of this drama, two of the characters were admirably represented that of the Duke de Bourbon, by Kemble, and that of Françoise de Foix, by Miss E. Tree. The first was all fire, spirit, and gallantry, mixed with that manly grace and nobility of bearing of which nobody on the stage, except Charles Kemble, (and not more than "two or one" off it) have any notion. But Miss Tree's performance was exquisite. Pathos, sweetness, and simplicity, moulded into one by an all

pervading, but secret and therefore scarcely conscious passion, made this performance one of the most affecting we have ever witnessed, that is, to those who happened to be within reach of its influence But to the majority of the audience it must have been little more than "inexplicable dumb show."

Miss Kemble's performance of the Queen Mother was acted in parts with a force and passion we have not seen her lately surpass but why does she still point out her toe, and say My Lard?"She has still a great deal to learn, and still more to get rid of.

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The other parts were all extremely well played, but were not of a nature to require particular notice.

The only other novelty at this theatre is a farce called Born to Good Luck; or, an Irishman's Fortune." Its one merit consists in the skill with which all the various parts are made to act as foils to the one on which the effect is to depend-that one being acted by the actor-author himself, Mr. Power. We can tell Mr. Power that he is quite as clever a writer as he is an actor; and that if he pleases, he might do as much for the drama of his day in the former capacity, as he does in the latter. But he cannot do this by constructing, or revising-if it be a revival-a farce that openly, and even impudently, sacrifices all the other parts to

one.

Nothing can be more droll or amusing than Power as the Irishman in Italy by mistake; but it is as impolitic as it is impertinent to make all the other characters nonentities, in the mistaken view of helping the effect of the one favourite actor.

Late in the month (on the 21st), Drury. Lane produced an opera, entitled (foolishly enough, for it does not profess to be even a translation) "Der Alchymist." We regret, for many reasons, to say that it is a poor affair, unworthy of the authors to whom it is attributed, put together, as it should seem, for the purpose of sustaining a farrago of Spohr's music, collected from half a dozen of his works, to the respective parts of which it may have been appropriate, whereas in its present connexion, it cannot be so. Some of the music, however, is graceful, elegant, and expressive; and it was very exquisitely sung, in point of mere execution, by Mrs. Wood, and was not materially injured by that affectation which is usually the prevailing sin of this lady's style.

SOCIETY OF BRITISH ARTISTS.

The Ninth Annual Exhibition of the Society of British Artists was opened to the Public on Monday the 26th of March. It consists of nine hundred and thirty-two works of art, including a few in sculpture, about thirty in engraving, and a larger proportion than usual of drawings in watercolours. Our visit, at so late a period of the month, was necessarily a brief one; and the rooms were crowded to such excess as to

render it impossible for us to examine any but the more prominent pictures. We cannot therefore attempt to give our readers a very extended notice. We have no doubt that the Society is keeping pace with the expectations of its friends, and that the exhibition of 1832 will be considered of greater excellence than any of those by which it has been preceded. It gives us pleasure to publish the following extract from the address that accompanies the catalogue.

"Works of Art, in the various departments of Painting, Sculpture, Architecture, and Engraving, to the amount of 18,000l. and upwards, have been sold from the walls of the Exhibition since the commencement of the Society, and numerous commissions given in consequence of the talent thus displayed; by which means many meritorious individuals have been encouraged, and a general taste for Art extended. Under these circumstances it is presumed the usefulness of the Society will be allowed by all; more especially since they have never opposed, either directly or indirectly, any existing Institution for the promotion of the Fine Arts, but have uniformly sought to go hand in hand with whatever tended to their general advancement."

The most remarkable picture in the room, and one possessing considerable merit, is No. 224, the first of a series intended to represent the procession to the Abbey on the day of the Coronation of his present Majesty, by R. B. Davis. It contains portraits of the more distinguished persons who at tended on the occasion, and when complete will, we imagine, occupy many hundred square feet of canvass-the portion at present exhibited being only a fourth of the intended whole. It is, of course, painted for his Majesty, but why, we are at a loss to guess. It is not, we presume, meant to insinuate that the Coronation of William the

Fourth, being the most splendid of all Coronations, is to be a model for all future Reigns. Mr. Davis is an excellent artist; and although we are pleased to find him engaged upon a work that must be profitable, we do not think it can add much to his already high and honourably achieved reputation.

Mr. Roberts exhibits a large picture Ruins-composition" that does him great credit. He has had a wider scope than

usual, and he has turned it to account. The rich landscape, and the grey ruin form a beautiful contrast. There are also four exquisite drawings by this accomplished artist, 776, that will not fail to attract all who have a true feeling for art.

Mr. Linton has but two works in the collection, No. 156, the Grecian Choirs at the

Temple of Apollo, and No. 314, a scene in the Bay of Naples; the former is a brilliant and effective picture, full of fancy in design and richly coloured; the latter is a fine transcript of Italian scenery.

Mr. Inskipp has several finished works, and three or four sketches. The latter are perfectly delicious; that numbered 443, is perhaps the most attractive. Grace, delicacy, and freedom appear to have been combined without an effort.

No. 45, "The Widow," by E. Prentis, is a well-arranged and effective picture, upon a subject not altogether new. If this artist could execute as well as he conceives, there would be few to equal him in his profession, but, unhappily, there is a lamentable degree of flatness and tameness in his colouring.

Mr. Hurlstone exhibits several portraits, No. 80, "The Children of Earl Gower" is, we think, his best. He has evidently bestowed much care upon this picture; and it is an excellent specimen of a class of art, in which "British Artists" are expected to excel.

One of the most attractive works in the exhibition, is by a young Scotch artist, G. Harvey, whose picture of the "Covenanters" last year was so generally admired. No. 115, ' "the Baptism," illustrates a passage in " the lights and shadows of Scottish life," where the ceremony is performed under the wide canopy of Heaven, and among the wild rocks of the Scottish highlands. Mr. Harvey has afforded us a fine idea of the stern and upright characters of the time of which he paints. His work would, we think, have been improved if the grouping had been less close and confused; the merits of the picture must be looked for, but they are of a nature to recompense those who search.

Mr. Hofland's landscapes are, as usual, of great excellence. Few have ever painted the rich yet gentle peculiarities of English scenery with more truth or better effect. A fine example is No. 135, 66 Windsor from the Clewer Meadows;" but in No. 52, he has visited the eternal Lake of Como, and has brought away the town of Menagio upon his canvass. It is enough to say that he has been successful.

The portraits of Mrs. W. Carpenter are unrivalled, at least in this collection. In