We have to thank Mr. STAFFORD for his series of articles on the Ancient and Modern English Drama, which we shall feel happy to insert as often as our limits will allow.

We have seen I. P. on the subject of F. D.'s letter, who asserts that the articles alluded to was taken from a defunct publication entitled The Scourge, published

in 1816.

We beg to inform GEOFFREY MUFFINCAP his amusing Parody will be inserted in our next.

We are obliged to THEATRICAL for correcting our slight mistake, and shall be careful of its occurring again.

APOLLO, on Scotch Music, in our next.

D. Y.'s Theatrical News arrived too late for insertion. We shall feel happy to hear from him again.

We received H. W. B.'s letter too late to attend to his wish in this Number; but next month a Journal of the performances at the principal Minor Theatres shall be given; and at the end of the year a complete list of all the New Pieces brought out at the different London Theatres.

We are sorry that we cannot comply with Mr. Stack's request.

*** We should feel obliged to our Correspondents to remit their favours before the 15th of each month.

J. B. NICHOLS AND SON, 25, PARLIAMENT STREET.

DRAMATIC MAGAZINE.

MAY 1, 1829.

THEATRICAL JOURNAL.

DRURY LANE.

MONDAY, March 30.-King Lear; Shakspeare.-Ballet.-Giovanni

in London; Moncrieff.

It is a circumstance highly creditable, both to the discernment of the manager and the taste of the public, that the plays of our illustrious bard have been more frequently performed, and met with greater success in the representation, at this theatre, during the present season, than has wont to be the case for many years.

Mr. Young's Lear may be classed as one of his most classical and highly-finished portraits. Some of the critics complain that his style is too artificial and declamatory for the sudden and pathetic changes with which the part abounds; yet, notwithstanding this defect, it is a performance truly calculated to excite our admiration, our tears, our terror, and ever our pity. One great merit in Mr. Young's acting was, that, notwithstanding he so admirably pourtrayed the feebleness and decrepitude of fourscore, his deportment ever expressed the monarch. "He was every inch a king." In the assumption of madness there was a kind of solemnity, mixed with the wildness of frenzy, perfectly congenial with the nature and complexion of Lear's despair. It is not our intention to minutely detail a performance so well known to the public; but we shall not easily forget the expression of Mr. Young's countenance, when addressing the elements; it was stamped with the most heartfelt look of indelible woe we ever witnessed. There is also a scene in the latter part of the drama very deserving of notice; it is when the aged monarch finds himself restored to his kingdom; his "o'ercharg'd heart" eases itself by a joyous exclamation; at once to his delighted imagination rush the transporting ideas of greatness, majesty, and power restored; he declares that his worthy child, his dearly-beloved daughter Cordelia, shall be queen. His distressed mind thus suddenly relieved, bursts forth into wild and enthusiastic expressions, bidding "winds catch the sound, and nature listen to the change, that Lear shall be a king again, and his dear child a queen." Here the pride of the monarch and

K

the tenderness of the father are admirably blended by the author, and were admirably pourtrayed by the actor.

The angelic Cordelia, that sublime model of filial piety, was well sustained by Miss Phillips, (for the first time). Her acting in the scene where Lear is gradually restored to his senses, was most interesting and affecting. Her delivery of the beautiful passage,

"Had you not been their father, these white flakes

Did challenge pity of them,"

breathed the very soul of pathos.

Mr. Cooper's Edgar is one of his best characters; he deserved and obtained much applause, and that is saying a great deal after having seen Charles Kemble in the part, whose performance of it is almost beyond praise. Mr. Aitken's Edmund was about as good as Mr. Diddier's, and we are sure that's no praise. Kent and Gloster were well sustained by Farren and Younge.

TUESDAY, March 31.-The Stranger; Kotzebue.-Ballet.-Green-Eyed Monster; Planché.

WEDNESDAY, April 1.-Handel's Oratorio of the Messiah.

THURSDAY, April 2.—Rienzi (32d time).-Ballet.-My Wife!
What Wife? (first time).

Dramatis Persona.-Captain Hector Tempest (of the Royal Navy), Mr. W. FARREN; Captain Hector Tempest (of the Light Dragoons, his nephew), Mr. JONES; Simon Pym, Mr. HARLEY; Staunch, Mr. BROWNE; Thomas, Mr. YARNOLD; Blunt, Mr. BENNETT; Allsauce, Mr. SALTER; Lady Longpurse, Mrs. C. JONES; Louisa, Miss CURtis.

The naval Tempest has just arrived at Portsmouth from India, and writes to his agent to purchase a town and country house for him. This agent has a ward with whom the military Tempest is enamoured; and being acquainted with the contents of his uncle's letter, he assumes his manner and dress, and by the assistance of a roguish valet succeeds in passing himself off upon the agent as the elder Tempest; and as that gentleman is about to make a voyage to Lisbon, he kindly offers to take his ward off his hands. To this the agent most willingly consents, and the only obstacle to young Tempest's wishes lies in the lady, who is somewhat loath to marry one of so aged an appearance. She is at length overcome by his attentions, and consents to the match, but just as the wedding is about to take place, the uncle arrives. After a scene of much perplexity, the military Captain sets off with his bride to the villa, leaving the old gentleman assailed on all sides by his nephew's creditors, servants, &c. The poor Captain is terribly annoyed and enraged, and vainly endeavours to convince them that he is not married.