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melody of music. But, whether these foreign remarks respecting an Italian performance be true or not, in our own element, in our own English theatres, the accusation of want of taste does not hold good. The admirers of Shakspeare, Siddons, Kemble, Kean, O'Neil, etc., cannot complain that the writings of the one, or the acting of the others, have not reached the hearts of those to whom they have been directed; in short, without sympathetic talent throughout the country, those names could never have reached the respective eminences on which they stand, and thus, though they do honour to the country, the country can also claim honour from them.

When the pleasing performance I had been witnessing was at an end, on coming into the open air, I found it was raining. Like myself, most people were without umbrellas; the rain, however, scemed to have no effect upon the tide of human bodies that flowed en masse towards the Cursaal, which, ready lighted up, was waiting for the disgorging of the theatre. On entering the great door, each person was required to pay a florin, and as the large room was rapidly very nearly filled, the band struck up, and dancing most vigorously began. I could now scarcely believe my eyes, that the performers, so awkwardly attempting to be active before me, were the identical people whose passive good taste and genius I had, with so much pleasure, been admiring; for with a more awkward, clumsy, inelegant set of dancers I certainly never before had found myself in society. Not only was the execution of their steps violently bad, but their whole style of dancing was of a tex. ture as coarse as dowlas, and most especially, in their mode of waltzing, there was a repetition of vulgar jerks which it was painfully disagreeable to witness. Leaving, therefore, these dull, heavy,

tetotums to spin out the evening in their own way, I quitted the great room; but no sooner did I enter the smaller dens, than I found that I had fallen from the frying-pan into the fire, for these "hells" were literally swarming with inhabitants. In each chamber an immense solitary lamp (having a circular reflector) hung over the green cloth table, round which, male and female gamesters, of all ages, were bending, with horrid features of anxiety; and as the powerful rancid oil light shone upon their ill-favoured countenances, I could not help with abhorrence leaning backwards, at seeing a group of fellow-creatures huddled together for such a base, low-minded object. In passing through the chambers of this infernal region, I found one worse, if possible, than the other. Under each lamp, there were, here and there, contrasted with young nibblers, individual countenances of habitual gamesters, which, as objects of detestation, many a painter, or rather scenepainter, would have been exceedingly anxious to sketch, but I was so completely disgusted with the whole thing, that, as quickly as my staff and two legs could carry me, swinging the other arm, I took my departure.

In hastily worming my way through the ballroom, I saw there no reason for changing my opinion; and when I got into the fresh, cool, open air, though I was fully sensible I had not spent my Sunday evening exactly as I ought to have done, yet in the course of my very long life, I think I never felt more practically disposed to repeat, as in England we are, thank Heaven, still taught to do

REMEMBER THAT THOU KEEP HOLY THE

SABBATH DAY."

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SAMSON AGONISTES:

A DRAMATIC POEM.

BY

JOHN MILTON.

NEW-YORK:

GEORGE DEARBORN, PUBLISHER.

1836.

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