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blends the lively and pathetic in a happy style, although the joke of Catherine, which so amusingly concludes the play, may be considered as partaking too strongly of the characteristic of a comedy ending. An objection might also be taken to the weakening of the interest that occurs in the two last acts: they drag slowly in the representation, and weary the patience of an audience. The dialogue is at times expanded, where compression would have added to its vigor. The acted copy we present to our readers has been skilfully pruned by the players to adapt it for representation, but curtailment is at best but a dangerous substitute for condensation. The language is, however, terse and rich, abounding in just thoughts, well expressed and aptly introduced. The speeches have generally a distinct purpose, they are not mere rhetorical flourishes embellished with the flowers of poetry, nor are they mere showy declamations. They breathe at times the true language of nature, speaking in a voice that finds a response in every breast. The following description of the varied moods of love, is exceedingly rich in imagery, and withal truthful:

" I said it was a wilful, wayward thing,
And so it is-fantastic and perverse !
Which makes its sport of persons and of seasons,
Takes its own way, no matter right or wrong.
It is the bee that finds the honey out,
Where least you'd dream 'twould seek the nectarous store.
And 'tis an arrant masquer-this same love-
That most outlandish, freakish faces wears,
To hide its own! Looks a proud Spaniard now
Now a grave Turk: hot Ethiopian next;
And then phlegmatic Englishman; and then
Gay Frenchman; bye-and-bye, Italjan, at
All things a song ; and in another skip,
Gruff Dutchman ;-still is love behind the masque
It is a hypocrite! looks every way
But that where lie its thoughts !- will openly
Frown at a thing it smiles in secret on :
Shows most like hate, e'en when it most is love ;
Would fain convince you it is very rock
When it is water; ice when it is fire!
Is oft its own dupe, like a thorough cheat;
Persuades itself 'tis not the thing it is;
Holds up its head, purses its brows, and looks
Askant, with scornful lip, hugging itself
That it is high disdain -till suddenly
It falls on its knees, making most piteous suit
With hail of tears, and hurricane of sighs,
Calling on heaven and earth for witnesses

That it is love, true love, nothiug but love !" True dignity is happily depicted in the following passage. It smacks of the nervousness of the elder dramatists.

Thyself,
That towerest 'bove thy station -Pardon me!
Oh, would'st thou set thy rank before thyself?
Wouldst thou be honoured for thyself, or that?
Rank that excels its wearer, doth degrade.

Riches impovorish, that divide respect !
Oh, to be cherished for oneself alone ?
To owe the love that cleaves to us to naught
Which fortune's summer-winter---gives or takes !
To know that while we wear the heart and mind,
Feature and form, high Heaven endowed us with,
Let the stonn pelt us, or fair weather warın,
We shall be loved! Kings, from their thrones cast down,
Have blessed their fate, that they were valued for
Themselves, and not their stations, when some knee,
That hardly bowed to them in plenitude,

Has kissed the dust before them, stripped of all !". As a whole, we would award to this play, the claim of a passionate earnestness in the dialogue, and a directness of purpose, not paralleled in any other production of the author's. We have noticed the popularity this play attained on its first production. The acting of Miss Ellen Tree, in the Countess, was highly lauded by the critics ; exceptions were, however, taken to the predominance she gave to the lofty indifference the poet has thrown around the character of the Countess: we consider this point in the author's creation to be exceptionable ;a passionate woman, such as the Countess is represented to be, would not have been able to reply to Huon's simple, affecting appeals, with haaghty indifference; the love-sick girl would have appeared behind. We think the same error is palpable in Mrs. Shaw's other. wise perfect embodiment of the part; and, although the author may be chargeable for the defect, yet we hold it would be truer to nature did the representatives of the part subdue the hauteur and indifference of the Countess, and heighten the passionate devotion of the woman, in passages where the poet has failed in making the character a true transcript of nature.

H.

Duke..

Mr.Cooper. Prince Frederick....

• Selby. Ulrick..

“ Diddear. Sir Rupert..

“ J. Vining. Sir Otto...

“ Fitzjames. Sir Conrad..

“ Wigan. Huon....

· Anderson. Nicholas..

“ Ayliffe. Stephen

W. H. Payue. Falconer

6 Collett. Herald.

“ C. J. Smith. Empress..

.Mrs Brougham. Countese.

Miss Ellen Tree. Oatherine

Madame Vestris. Christina..

Miss Leo. Bertha.

Mr. Gilbert.

“ Hamilton.
" Moorhouse.
" Dawson.
*, Warwick.
" Stafford.
" C. W Clarke.
“ Fletcher.
« Gouldson.
· King.

· Hunt.
Mrs. Winstanley.

Shaw.
Miss Mary Taylor.
Mrs. Dyott.
Miss Flyon.

Mr. Stevens.

“ J. H. Hall. " Tilton. 6. Jordan. · Warwick. " J. C. Dunn. 4 C. W. Clarke. " Keene. " Milot. . Gouldson.

4 Wilson.
Mrs Madison.

* Shaw.
“ Phillips.
“ Sutherland..

COSTUMES.

DUKE.--Blue shirt with hanging sleeves, trimmed with fur and silver, cap trimmod

with fur and silver, rich belt. PRINCE FREDERICK.-Pink shirt with hanging sleeves, cap trimmed with silver ULRICK.-Green velvet shirt with hanging sleeves, trimmed with fur and silver,

red robe, trimmed with gold, black fur cap, rich belt. SIR RUPERT.-Black shirt, with hanging sleeves, trimmed with silver, and cap. SIR OTTO.-Red flannel shirt with hanging sleeves, trimmed with gold. SIR CONRAD.-Green flannel shirt with hanging sleeves, trimmed with gold, and

сар. . HUON-His own dress. NICHOLAS.--Plain shirt. STEPHEN.-Fawn-coloured shirt with hanging sleeves. HERALD.--Blue shirt, trimmed with black, herald's coat. FALCONERS.--Green shirts and hats. KNIGHTS. Full armour. LORDS.-Shirts with hanging sleeves. SOLDIERS.-Blue shapes. EMPRESS.-Scarlet velvet, trimmed with ormine. COUNTESS.–First dress : Purple velvot.-Second dren: White muslia. CATHERINE.-first dress: White satin.-Second dress: Rod cloak and helmet

with visor. CHRISTINA.-White satin. BERTHA Ditto.

EXITS AND ENTRANCES. R. ineans Right; L. Left; R. D. Right Door; L. D. Left Door ; S. E. Second Entrance ; V. E. Upper Entrance; M. D. Middle Door.

RELATIVE POSITIONS. R., means Right; L., Left; C., Centre; R. C., Right of Centre ; L. C., Left of Centre.

LOVE.

ACT I.

SCENE I.-A Room in Catherine's House.

Enter NICHOLAS and CHISTINA, R. Chris. As thou lovest thine ease, Nicholas, restrais. curiosity. It is a steed that runs away with a man, without his knowing it, until it has thrown him. The

danger is never found out until the mischief is done. Besides, it is a woman's palfrey, which it befits not a man to ride. What signifies it to thee who comes into the house, whatsoever be the hour, so it is I that let him in ?

Nich. Doubtless, Mistress Christina; yet a knock at the door, at two o'clock in the morning and the door opening at that hour, to let a man into the house-and that man a gay young spark-may make a body wonder, though he have no more than the ordinary stock of curiosity.

Chris. Propriety, Nicholas, belongs to no one hour of the twenty-four, more than to any other hour. It was fit that the young spark should come into the house, or I should not have let him in. And now mark what I say to you: Play not the house-dog any more. Do you mind? Let not your watchfulness interfere with your sleep, else, besides your sleep, it may peril your bed and board; but if thou hearest a knock when thou liest on the

weary

side of thee, and wakest, draw thy night-cap over thine ears, and turn on the other side ; and so to sleep again--yea, though it be four o'clock in the morning, good Nicholas !

Nich. I shall mind.

Chris. Do so, and thou shalt be wise. Duty, that becomes a busy-body, ever turns itself at last out of doors. Hast thou a good place, friend Nicholas ?

Nich. Not a better in all Germany.
Chris. Then take my advice and keep it.
Nich. I will.

Chris. Do! (Nicholas goes out, l.] My mistress will be discovered at last, well as she disguises herself and plays the man. I wish she had not taken this fancy into her head-it may bring her into trouble. (Catherine sings without, R.) Ha! here she is ; returned to her

proper

self Who would believe that this was the spark I let into the house at two o'clock in the morning ?

Enter CATHERINE, R.
Cath. (Speaking as she enters.) Christina !
Chris. Madam!
Cath. Oh, here you are !

Was not Nicholas with you just now?

Chris. Yes, he is only this moment gone. I have just been giving him a lesson. He saw you when you came home last night.

Cath. Hush! secrets should be dumb to very walls ! A chink may change a nation's destinies, “And where are walls without one-that have doors ? “Voice hath a giant's might, not a dwarf's bulk; • It passeth where a tiny fly must stop;

Conspiracy that does not lock it out, “Fastens the door in vain." Let's talk in whispers, And then, with mouth to ear. 'Tis strange, Christina, So long I practice this deceit, and still Pass for a thing I am not—ne'er suspected The thing I am-'mongst those who know me best, too. Yet would that all dissemblers meant as fair! I play the cheat for very honesty, To find a worthy heart out, and reward it. " Far as the poles asunder are two things, “ Self-interest and undesigning love : " Yet no two things more like, to see them smile. “ He is a conjurer, Christina, then, “ Can tell you which is which !” Shall I be won, Because I'm valued as a money-bag, For that I bring to him who winneth me? No!--sooner matins in a cloister, than Marriage like that in open church! 'Tis hard

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