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of the sentiment were thus rendered more prominent; and there is no one expression which we now wish to see obliterated.”
We have no doubt that public solicitude on this side of the Atlantic, will be great and eager, to see this production represented on our stage,—but alas!—where are the singers?
As a specimen of the poetry of this Opera, we give the follow. ing song, with which every reader of poetical taste will be highly pleased, and every lover of liberty must feel his heart beat in unison.
Though sacred the tie that our country entwineth,
And dear to the heart her remembrance remains;
And sad the remembrance that slavery stains.
Oh thou! who wert born in the cot of the peasant,
But diest of languor in luxury's dome,
Where thou art, O Liberty! there is my home.
Farewel to the land, where in childhood I wandered,
In vain is she mighty, in vain is she brave;
And fame has no wreath for the brow of the slave.
But hail to thee, Albion, who meet'st the commotion
Of Europe, as calm as thy cliffs meet the foam,
Hail, temple of Liberty! thou art my home.
TO THE PUBLIC.
In pursuance of the intimation contained in a former number, and founded upon a letter from one of our friends, signed Dramati. cus, the wishes of a vast number of our subscribers have been expressed to us; and without the exception of a single dissenting voice, and with the assent of one only at all qualified, they have unanimously given their opinion in favour of a commutation of the play, which according to the original contract was to accompany each number, for an equivalent of miscellaneous matter. Accordingly this number goes forth, unaccompanied by a play, and increased by an addition to its pages of one half of its original size, which will swell the bulk of each half year's volume to a size of no less than five hundred and seventy six pages.
Our subscribers must be aware that this new arrangement lays a very weighty tax upon the editor, and will, therefore no doubt, less reluctantly than they otherwise would, make indulgent allowance for occasional deficiencies, if any such should hereafter occur.
October 31, 1811.
MR. BLISSETT. in the characters of Dr. Smuglace & Dr. Dablancour in the Budget of Blunters
latrock sie him knock him down.
A COMMUNICATION with which we have been favoured by some unknown friend at Baltimore, and which we offer to the perusal of our readers, has suggested the expediency of saying a few explanatory words before we proceed with our continuation of the history of the stage.
In chalking out the first outline of this work, it appeared evident that it would want a most essential part of the contents which ought to belong to it, if we omitted to give a history of the stage; and the more we considered the subject, the more strongly were we persuaded that it would fall short of what it ought to be, if we confined it partially to the theatres of a particular country, or to those of modern times. We therefore resolved to make it rather a history of the drama itself, from its first conception to the present time, and to trace it methodically through every age and nation till we brought it up to our American stage, which we reserved for the apex of the structure. Some part, a short one, of the French stage still remains to be given; that done, we mean to proceed with the