Hymen appear'd to smile around,
But oh! her cruel father frown'd.
Love he had scarcely never felt,
Or else we had not vainly knelt-
We wait the night, all dangers brave,
Our bark cuts thro' the swelling wave,
The wind was fresh, the boat was light,
And land soon faded from our sight,
But ere the sky Aurora stain'd,
Ere we the wished-for shore had gain'd,
A barb'rous Corsair hove in sight-
Too weak to fly, too few to fight,
We fall an unresisting prey,
To weep by night, to toil by day-
Five moons have linger'd o'er this head,
Since first as captives we were led,
But heaven smil'd, and smil'd to save-
Again we cut the swelling wave,
Safely we reach our native shore,
And traverse these wild mountains o'er,
To seek that father whom we fled..

PILGRIM,

Receive his blessing on your head!
Nay, start not children in surprise
Lermos in me to recognize.-
Is this old form so much forgot?
So alter'd that ye knew it not?
Tho' you have cut this heart in twain,
It throbb'd to welcome you again.
Then can you, Lilla, from me turn?
Oh leave me not again to mourn.
If I was cruel, child, to thee,
Still crueller you've prov'd to me!
And now I sought St. Juan's shrine,
That there in secret, I might pine,
But now we never more will part,
alike shall share my heart.

And ye

H-VOL. XVIII,

TO ALICE.

As I walk'd by the side of the brook,
I thought of the maid whom I love;
Whose innocence dwells in each look,
And whose soul is as mild as the dove.

I thought of the morn when I swore
That no time our affections should sever,
That I'd share every trouble she bore,
And love her for ever and ever.

When I vow'd to be true to her heart,
As the needle is true to the pole,
When she promis'd me never to part,
And I call'd her the joy of my soul.

But gone is the maid whom I love,
No more shall I meet with my fair,

The raven takes place of the dove,
And Hope is expell'd by Despair.

W. M.

THE THORN.

How sweetly blooms the fragrant rose,
What blushing tints its leaves disclose,
Alone for pleasure born!

But as the chilling blast flies by,
Its wither'd sweets all scatter'd lie,
And leave the naked thorn:

So Beauty, with enchanting smiles,
Ensnares the heart in Love's soft wiles,
As in life's early morn :

But when the hours of love are o'er,
And beauty can enchant no more,

'Tis then you feel the thorn.

VARGES.

MEMORANDA DRAMATICA, &c.

COVENT GARDEN.

Mr. Quick and Mr. Moody made their re-appearance, the former in Little Isaac, the latter in Jobson, for the benefit of the Bayswater Lying-in hospital. They were most warmly greeted by the audience, which was very numerous.

HAY-MARKET.

GUILTY, OR NOT GUILTY?—a comedy, by Mr. T. Dibdin-the principal interest of which is taken from La Fontaine's novel of the Reprobate. The design of both authors is to enforce, in the strongest manner, the proverbial maxim Nimium ne crede colori. A young man, from a variety of concurrent circumstances, is supposed to be a most vicious and abandoned character, and, as such, shunned and detested by society. Upon proper explanation, however, it appears that the actions which have wrought his condemnation in the opinion of the world, originated from honourable and benevolent motives. There is more ingenuity than probability in the developement of the mystery which hangs about this character, through the whole of the play; but the suspense is artfully enough preserved, and though, perhaps, no person ever has been, or will be, placed in circumstances of such complicated embarrassment as Young Rigid, it is quite sufficient for the purposes of the stage that the case is within the region of possibility, and the dramatist cannot inculcate a better lesson than may be drawn from the present comedy, viz. that, in deciding too rashly, from appearances or report, upon the character of a man, we may, perhaps, be hurrying an amiable and virtuous being to misery and destruction.

In transferring this character from the novel, Mr. Dibdin appears to have had some labour, and we are sensible of the difficulty of the task. He has been obliged to have recourse to narrative, and narrative generally flags in dramatic representation. The author, however, has shewn much address in managing the incidents of the novel, so as to bring them within the compass of his play, which excites considerable interest, and produces, in some of the scenes, a powerful effect.

Among the comic characters, the most conspicuous is Triangle, (admirably performed by Mathews) a village monopolist, who keeps a circulating library, a new's-room, and an academy. This character is drawn with peculiar humour, and his triple occupation furnishes him with a variety of those whimsical combinations, which have crept into comedy of late years, and which now constitute, almost exclusively, its charm and attraction. The other characters consist of Will Wallflower, an honest rustic, and his sweetheart Nancy; Major Corslet, a brave but impetuous old soldier; Balance, a merchant, who, though retired from business, amuses himself with a journal of incidents and observations; Lord Rigid, a man of system; Sir Harry Pointer, a fashionable jockey; Gregory, an old soldier, the faithful domestic of Corslet; and Suzette, his daughter, supposed to have been seduced by the Reprobate, but who, in fact, has rescued her from the hands of a villain, and united her to himself by a secret marriage.

The writing is very neat, and often forcible: and there are several good points in the comic dialogue; one of them, " You are as hard to make out as an explanatory note," was received by the audience with great avidity, and may

very, well apply to some of the learned commentaries on Shakspore. The play was most flatteringly received, and has been acted upwards of twenty nights.

HUNTER OF THE ALPS.-A musical drama, by Mr. Dimond, junr. anthor of the Hero of the North. The interest of this little piece arises from the pecuniary distress in which the family of the Hunter of the Alps is involved by a train of heavy misfortunes. His wife and two children are perishing for want of food. In his search after relief, he falls in with a gentleman who has lost his way, near the hunter's habitation. Despair overpowers his better inclinations, and he makes a demand of money. The stranger, on hearing that he has a wife and children in distress, cheerfully assists his necessities. With the money thus obtained, he hastens to purchase provisions. In the interval, the children of the unfortunate man meet with the person whom he had attacked, and conduct him to their cottage. The domestics of the gentleman, alarmed at his not returning to his castle, go in search of him. They obtain information that the Hunter of the Alps has been seen with a purse of pistoles. This excites suspicion, and they pursue him to his home. A discovery here takes place.➡ The robber proves to be the brother of his preserver, who is happy to share with his relation the wealth amassed by a fortunate career in the East Indies. The incident of the robbery must immediately bring to mind the same situation in Lover's Vows; but it is no plagiary from that drama. We recollect to have seen, several years ago, the story of which Mr. Dimond has availed himself, in a ballet at the opera house-the starving family, the robbery, the rich stranger, and in truth the whole adventure.

Without any originality of character or situation, the piece is yet interesting. The songs are well written; for, as we have before observed in this work, Mr. Dimond is by no means deficient in poetical taste; and there are a few wellworded sentiments, and, occasionally, an approach to vivacity, in the dialogue. We believe the song of Young Bibo is the only one "he can't call his own.”It is said to be written by Mr. Colman, and is turned with his usual point and spirit. The music, by Kelly, is principally taken from the opera of Adelmorn,, and there is a procession borrowed from Mr. Farley's ballet of the Corsair.

Besides that famishing children are not fit subjects for dramatic exhibition, the distress is certainly too much exaggerated: it cannot well be imagined by what sudden accident or misfortune, a man who had for some time followed the occupation of a hunter, and who, as it appears, resides in a very hospitable neighbourhood, should be unable to procure a morsel of bread for his children. Elliston never gave us more satisfaction than in this piece: his action was easy, spirited, and impressive. Chapman also displayed great animation and feeling in the Hunter of the Alps. Mathews did much with a trifling character, and Mrs. Gibbs was extremely interesting in the Mother.

"FOUL DEEDS WILL RISE," So says Shakspeare; but it is a pity that any such as these were ever exhibited "to men's eyes." Mr. Arnold junr. is indebted to Miss Lee's Canterbury Tales for the plot of this piece, which was very roughly treated by the audience on the first night. A little manoeuvring obtained it a partial hearing for three more nights; but, on the fifth, it sunk, " with all its imperfections on its head," to rise no more. The melodies, composed by the author, and harmonised by Mr. Smart, are very pleasing specimens of Mr. Arnold's musical talent.

The above, with the grand ballet of the Enchanted Island, of which some mention will be made in our next, are the only novelties we have to notice.

ROYAL CIRCUS.

The performances at Westminster, however excellent, can by no means be said to eclipse those at Blackfriars. Joanna of Surinam, is an entertainment that reflects infinite credit on the ability and genius of Mr. Cross. The other amusements of this theatre, (too numerous to specify) are all possessed of an equal degree of merit, which is acknowledged nightly by crowded houses.

ASTLEY'S NEW AMPHITHEATRE.

The attractions of this pleasing scene of diversion increase at every change, by the boundless liberality, fancy, and ingenuity of the manager. The taste, correctness of costume, and splendour of scenery and procession exhibited in Zingina, are unrivalled by any thing that has preceded it in a summer theatre.

SADLER'S WELLS

CONTINUES, with its water and its wine, to go on swimmingly. Fult houses, and universal expressions of satisfaction from the audience, prove a most grateful reward to the proprietors, for the pains and expence they have been at, in preparing so elegant and novel an entertainment for the public. The last scene of the Siege of Gibraltar is, beyond all question, the most interesting exhibition of the kind ever presented in this country, or perhaps on any public stage in Europe. A new piece, by Mr. C. Dibdin, upon the plan of Barbara Allen, the music by Reeve, has been produced since our last, and received with great applause; and, agreeably to the recommendation of the poet, to "catch the manners living as they rise," another new piece is forthcoming, under the title of the Election, or all alive at the Hustings. If these candidates for public favour proceed as they have begun, there is little doubt but that, upon casting up the votes at the close of the season, they will find themselves at the head of the poll.

THEATRICAL INTELLIGENCE.

DRURY LANE.-Mr. Bannister retires from the management of Drury Lane, with the thanks of the proprietors, and the best regards of the company, over whom he has not ruled with a rod of iron, but with the urbanity and moderation due to brother performers. He is succeeded by Mr. Wroughton, a gentleman whose former conduct has proved his competency, in the situation of acting manager, to hold the balance of even-handed justice. Mr. Elliston, Mr. and Mrs, Mathews, Mr. Taylor, from the Hay-market theatre, and Mrs. Johnstone, from Bath, are among the new engagements at this house.

COVENT-GARDEN.-Mrs. Litchfield has quitted this theatre. Mr. Brunton has also given up his situation, in consequence of a lucrative offer from his sister Mrs. Merry, in America; Mrs. Powell, a very good and serviceable actress in the old women, &c.---. ---Bologna, the harlequin, and some other performers of last season, are not included in the arrangements for the ensuing winter. Mrs. Galindo, from Dublin, who appeared here (when Miss Gough) in 1794, and Marshall, from America, formerly likewise of this theatre, are re-engaged.