MRS. GORE'S NEW COMEDY.-A comedy, entitled "Lords and Commons," from the prolific pen of Mrs. Charles Gore, is the last and most noticeable novelty of the Drama since our last report. Mrs. Gore is the only female writer of the day who has indicated the capacity to produce a sterling comedy, representing the actual manners of the day, and the state of society out of which those manners spring. But Mrs. Gore has "indicated" that capacity merely, not evinced it; and she has done this in her novels only, not in the two comedies which she has produced. The reason of this (and it is well worth inquiring into, in a case like the present) is twofold: first, and chiefly, Mrs. Gore has been so accustomed to write currente calamo, and to be uniformly successful notwithstanding, or it may be in consequence of employing this method, that she sees no reason why the plan should fail in respect of a comedy any more than of a fashionable novel, or an article for an Annual. Why should it? she may perhaps ask herself. The answer is simple and decisive: a comedy, fitly so called, is essentially different from each and all of the kinds of writing that Mrs. Gore has hitherto practised with success-so different, that an essentially different mode and tone of composition, and an equally different condition of sentiment and of mind, is necessary to the production of it. There is nothing like carrying an erroneous theory to an extremethe reductio ad absurdum is decisive in these cases. Let Mrs. Gore try to write a tragedy as fast as she can lay pen to paper, and see how that succeeds. No; she has too much taste and judgment. Her failure in producing a sterling comedy, then, results from the error under which she labours as to the specific nature of that production, which is the second reason to which we have alluded. A sparkling scene in a novel may— y-we might almost say it should-be a transcript of an actual scene of the life which it professes to depict-an actual portion of actual society -a real reflection of real manners, and characters, and humours, and sentiments, dressed in the very "compliment extern which they wear in the actual life of the day to which they may refer, and which should always be the present day. But a comedy, a sterling and durable comedy, should be, not a portion of real life-an emanation from it but an extract from it, a quintessential spirit of it; and this, not in dialogue, or in character, or in action, merely and severally, but in each and all of these particulars. Mrs. Gore may be assured, that to write a good comedy is no slight task. It is not one among those classes of "easy writing" which persons may prac

tise with equal amusement to themselves and others. It is a labour-one of those which, doubtless, "physics pain" by the "delight" which it engenders, no less in its practice than in the contemplation of its results, but still a labour. If, therefore, the accomplished writer of "Pin-money,' "Mothers and Daughters," &c. writes for amusement merely, let her abstain from attempting to educe it (for herself we mean) from the regular Drama, but keep to novels, "fashionable" ones, if she must, or philosophical ones, as she may, or (best of all) those pretty-fancy and fanciful tales with which she used to favour us-(a "fairy-tale without a fairy," for instance- the prettiest of prose prettinesses). On the other hand, if she really desires to establish a reputation at once brilliant and solid-not to mention profit to herself and benefit to the literature of her country-let her (having first satisfied herself as to the true nature of the task) turn her whole attention to the production of a sterling and original comedy; and if she do not succeed to admiration, let her say that we are no critics-a dictum which we can scarcely hope she will delay pronouncing till the period contemplated, seeing that we are compelled to pronounce her present attempt a comparative failure, a failure, however, solely with reference to what she might, and therefore ought to do; not as respects similar attempts at the hands of the other dramatists of the day, any one of whom would be sorely puzzled to produce so pleasant a sketch as "Lords and Commons," at so short a notice, and with such slight materials.

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The plot of Lords and Commons" is very simple, very much too simple; for there can be no "stage"-effect, any more than any other effect, without a cause. "old Indian," one Sir Caleb Cabob-(we seem to remember the identical name and character running a brief career through two or three lively papers in the "Court Journal")-Sir Caleb Cabob returns from India laden with wealth, to find his favourite protegé and adopted heir, Frank Melville (whom he had sent to England before him, to make his own fortune in a great commercial house in the City) the centre of a regular "system" of satellites, who shine upon only to lead him to his ruin, which the shrewd old gentleman permits them to do, and thus convinces his favourite of the folly of his ways. There are, of course, a couple of love-affairs: the “Lords" who figure in the title- page are of the mingled dandy and black-leg species, who stand for a while in the way of the hero's " reform," and expose themselves on his supposed change of fortune there is a dandy valet, who fancies

himself (what, in fact, he is) a great deal more of a philosopher and a gentleman than his master; two pattern young ladies, a pretty lady's maid, a prosy merchant, and one Dennett-a machine as useful as its namesake, and (being performed by Harley) moving on an equal number of cross springs. Out of this plot and personæ Mrs. Gore has elicited a very fair amount of amusement for the time being of its representation, but not a lasting comedy, that will raise or extend her well-deserved reputation.

"Lords and Commons was admirably acted in some of its characters-particularly those of Sir Caleb, by Farren, and the dandy valet, Birmingham, by Brindall;-and a dandy lord, by a new actor named Jones (from Edinburgh) was more than well acted-it was well-dressed.

"THE BRIDE OF LUDGATE." Such is the title of another novelty which has been produced with unqualified success at the same house, and which has merits of a superior description to the common run of those pieces with which it seeks to compete. It is a little drama full to overflowing of bustle and incident, most of it well imagined (which is easy), and some of it not ill executed (which is difficult);—the whole growing out of the unregal propensity towards miscellaneous gallantry which is said to have characterized the " Merry Monarch," who equally escaped the saying of foolish things and the doing of wise ones. In one of his amorous adventures in the city, he encounters a certain Melissa, the beautiful ward of a rich old Usurer, whom she is (seemingly) about to wed, though she is in heart devoted to an outlawed rebel, who, not daring to woo her openly, is compelled to fall in with the blunder of her guardian and pass for the lover of her maid, -unknown, however, to the fair one herself, and therefore at the expense of certain doubts, fears, and jealousies, which end in the generosity of the King pardoning both the rival and the rebel, and making the marriage palatable to all parties. A great number of incidents arise collaterally out of these circumstances, the whole of which are brought out by a dialogue of unusual terseness, and put together with an excellent notion of stage-effect. There are also some touches of character here and there and one complete and consistent sketchwhich merit entire commendation. The part of Captain Mouth, though a sort of revival of the Parolles, &c. of the old drama, has some originality about it, and though extravagant, is infinitely more acceptable

than the mere milk-and-watery characters that usually fill up the interstices of a modern farce. The scene in which the Vintner relates, in the presence of the King (of which he, the Vintner, is not aware) what the Captain is in the habit of saying of the said King the Captain not daring either to disclose the King's presence or escape from the exposure, is extremely well written, and still better acted; and the effect is really like that of a scene in some of the old writers. Cooper played the Captain with a mixture of humour, spirit, and judgment, that we do not wish to see surpassed in extravaganzas of this kind-which, in the absence of any one of those qualities in the actor, become impertinencies. Wallack, too, was sufficiently gallant and kingly in Charles II.-considering that the scene does not escape from the city. In fact, the piece was perfectly well acted throughout, and we are rather surprised to perceive that it is not played so often as we anticipated from its various deserts. It is the production of Mr. Jerrold, and gives promise of still better things hereafter.

"COUNTRY QUARTERS." This is another one-act trifle, which has been got up for the purpose of calling into use the abilities of Miss Poole,- -a little personage whom, with all our liking for her frank looks and our admiration of her cleverness, we would fain see elsewhere than at a "regular" theatre, unless she is to occupy the exact place there which her age, &c. would naturally point out. There are numerous characters which she would play infinitely better than they ever are played, and which, notwithstanding her engagement in the Company, are given to others while what she does play is admired only on the principle of the fly in the amber, and in spite of the incongruity which it throws into almost every piece in which she is introduced-at least at this theatrefor at the English Opera she was much more naturally employed.

"COUNTRY QUARTERS' is a light but not very lively affair, turning upon the intrigues of a gay cavalier who makes love to his own wife without knowing her. It has no merit but that of brevity.

THE PANTOMIMES. Before our Journal appears the Pantomimes will have mingled their pleasing monstrosities with the imaginations of thousands of little boys and girls, who in virtue of the same will remain little boys and girls all their lives,-at least during the first week of these best of all" comic annuals."

ROYAL ACADEMY.

At a general assembly of the academicians, held at Somerset House, the following distributions of premiums took place-To Mr. Daniel M'Clise, for the best Historical Painting, the gold medal and the Discourses of the Presidents Reynolds and West," handsomely bound and inscribed. To Mr. Sebastian Wyndham Arnald, for the best Group in Sculpture, the gold medal and the "Discourses of the Presidents Reynolds and West."-To Mr. Eden Upton Eddis, for the best Copy made in the Painting School, the silver medal and the "Lectures of the Professors Barry, Opie, and Fuseli.To Mr. Robert Martin, for a Copy made in the Painting School, the silver medal.-To Mr. William Edward Frost, for the best Drawing from the Life, the silver medal and the "Lectures of the Professors Barry, Opie, and Fuseli."-To Mr. Charles West Cope, for a Drawing from the Life, the silver medal. -To Mr. Edgar George Papworth, for the best Model from the Life, the silver medal. -To Mr. Henry Fenning, for the best Drawings of the London University, the silver medal and the "Lectures of the Professors Barry, Opie, and Fuseli."-To Mr. John Crake, for Drawings of the London University, the silver medal.-To Mr. Edw. Ridley, for the best Drawings from the Antique, the silver medal and the "Lectures of the Professors Opie and Fuseli."-To Mr. John Sluce, for a Drawing from the Antique, a silver medal.-To Mr. Frederick Orson Rossi, for the best Model from the Antique, the silver medal and the "Lectures of the Professors Opie and Fuseli."-To Mr. Henry James Hakewill, for a Model from the Antique, the silver medal.

After the distribution, the President addressed a discourse to the candidates and students; and the General Assembly appointed officers for the ensuing year, when Sir Martin Archer Shee was unanimously re-elected President.

The "Literary Gazette," in stating the distribution of these premiums, thus alludes to the gentleman to whom was awarded the gold medal for the best Historical Painting :

the first medal in the painting school, and the first medal in the life-a circumstance, we believe, without parallel in the annals of the institution. He has now gathered the last laurel. The steadiness of this youth in the pursuit of his object, is a pledge against the otherwise startling rapidity with which he has attained eminence. We have, upon more than one occasion since our earliest mention of him, noticed with commendation some of the early works of Mr. M'Clise, and we trust that our anticipation of his ultimate success may be as brilliantly realized as he can himself desire."

Mr. Parris has been appointed Historical Painter to the Queen; her Majesty having previously purchased a work which he had just completed. We believe it will be universally acknowledged that a more judicious selection could not have been made from among the numerous professors of British art. Until lately, Mr. Parris was known only as the painter of one of the most astonishing productions of modern times-the Panorama of London at the Coloseum ;* but he has recently exhibited productions of a very different nature; the mind that could conceive and execute so vast and grand a work as that to which we have referred, was equally capable of delineating the more simple graces of nature, the beauty of form and countenance, and the attractive scenes and circumstances of every-day life. His picture of the "Bridesmaid" is doubtless well known to our readers. It is a pleasant task to record the appointment of such a man to a distinguished station in his profession; but while we congratulate Mr. Parris upon the honour obtained by industry and talent, it will not be considered disrespectful if we add, that the circumstance is also honourable to her Majesty. It is the proudest and the most enviable privilege of power and wealth that their possessor is enabled to display a right estimate of their value.

FINE ARTS-PUBLICATIONS. Brockedon's Route from London to

Last

The high expectations excited by the first part of Mr. Brockedon's new work, will be fully gratified by the excellence of the second number, which contains the route from Paris to Turin by Fontaineblean, Montargis, Nevers, Moulins, Lyons, Chamberry, and the Mont Cenis. The letter-press, which is as admirably adapted to the purpose intended, as before avoiding the nu

His Panorama of Madras, exhibited near the London University, although upon a much smaller scale, is perhaps of equal excellence.

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merous impertinences which so often render a road-book more like a ponderous statistical treatise, than an agreeable travelling companion, displays, in an entertaining manner, all that can conduce to pleasure or instruction by the way; while of the engravings, as works of art, we cannot speak too favourably. They are five in number, and so equally executed, that it would be a matter of difficulty to select any one among them of greater or less merit than the rest. Lyons, from a drawing by C. Stanfield, is the first which occurs, a calm and peaceful landscape, treated with due justice by Mr. Finden. Chamberry from the road to Aix succeeds, a plate executed with the utmost degree of softness and elegance. We would particularly direct attention to the exquisite finish of the middle ground, and the gradual diminution of shade upon the mountains on the right, until they are almost blended with the tranquil beaven above them. Lanslebourg, from the ascent to the Mont Cenis, with the picturesque little town, reduced to a mere spot amidst the bold mountain scenery which surrounds it, is a noble prospect, and the figures introduced remarkably appropriate. The approach to Susa from the Italian side of the same ridge is equally entitled to commendation, and presents such a sky as the possessors of this elegant engraving ought to consider themselves privileged to look upon.

Last appears Turin, stretched

along the banks of the Po, with its regular and stately architecture, rendered yet more imposing by the magnificent chain of Alps which forms the back-ground of the picture. We have before bestowed our warmest praise upon Mr. Brockedon's efforts to retain the patronage he so deservedly enjoys. We have only room to repeat the commendation, and to congratulate all who have the advantage of procuring such a valuable director in their travels, or so favourable an opportunity of contemplating at home the finished efforts of an art, which renders the most attractive or sublime scenery little less than present, with its full beauty and richest associations. We should not omit to mention, that the engravings are all by the hand of the same skilful artist.

Scenery of the Rivers of Norfolk-the Yare, the Waveney, and the Bure, from Pictures painted by James Stark.

British artists are too fond of roaming abroad in search of the picturesque; we hope it is not because the public mind is indifferent to that which is easy of access; or rather that which is considered so, for the number of those who have seen and examined the beauties of their own land, is exceedingly limited. We venture to affirm that the Rhine, the Danube, and the Po, have had more visitors from England than the Yare, the Waveney, and the Bure. Yet these rivers of Norfolk are rich in beauty, and possess attractions for the traveller, little short of those to behold which he is satisfied to journey a thousand miles. We have been comparing British scenery with that of France, in the works of Mr. Stark and Mr. Brockedon; and, taking for granted that they have both selected the most attractive subjects, the result of our comparison is by no means to the disadvantage of Old England. Mr.

Stark is evidently a faithful and an agreeable copyist of nature; there is much grace and elegance in his pictures, blended with no trifling degree of power and effect. We are unacquainted with the works of his pencil, but it is not often that the engraver improves upon the painter, and if our opinion may be formed from what is before us, Mr. Stark may hold a high rank as a landscape painter-either in Norfolk or in London. The engravings are, moreover, of the very best class. Goodall, Millar, Cooke, C. Fox, W. R. Smith, Brandard, &c. have the chief merit that belongs to this department. The letter-press descriptions, although necessary limited, are written in a very pleasant style; and, altogether, the work is one of exceeding excellence-that may be safely recommended to all admirers of art and lovers of nature.

The Gallery of the Society of Painters in Water Colours. Part I.

No class of art has been cultivated with such eminent success in this country as that of painting in water colours. The annual exhibition of its more distinguished professors, at their gallery in Pall Mall, is one of the richest treats of a London season. It is, therefore, with extreme pleasure we welcome the first part of a work, intended to contain a selection of the choicest specimens that have, from time to time, delighted us afar off, but which are now to be within our reach at a very moderate sacrifice. No. 1. contains a view of Venice, by Samuel Prout, engraved by E. Goodall; the Gamekeeper, by W. Hunt, engraved by E. Smith; and Rembrandt in his study, by J. Stephanoff, engraved by C. Lewis. They are three admirable proofs of what the water-colour painters have done; and it is obvious that the publisher desires to render justice to their talents by placing them in the hands of the most skilful engravers. The print of Venice is worthy of Samuel Prout, an artist who, if less fanciful than some of his younger competitors, is for truth and deli cate correctness still without a rival in his profession. We never bebold the tracings of his pencil without enjoyment; and it seems as if he at once transported us to the scene he has described. His influence over our feelings and our judgment has never grown less, although dozens of accomplished draughtsmen have grown up around us since we first cultivated acquaintance with the powerful and delicious pencil of Samuel Prout.

Landscape Illustrations to the Waverley Novels. Part XX.

This beautiful work is now completed, and forms either an exquisite volume for the drawingroom, a fine set of prints for the portfolio, or a valuable series of accompaniments to the novels of Walter Scott. They correspond in size with the new edition of his works, which can scarcely be considered perfect without them. They will add but little to the expense of a library, but greatly indeed to the pleasure and information of the reader. As works of art we have so frequently praised them, as to render now unnecessary a more detailed notice of their merits. We shall, however, take an early opportunity of reviewing the printed work, explanatory of the subjects.

It is usual for writing engravers to select some popular topic that may afford an opportunity for the display of skill in so beautiful an art as that which they profess. We have never seen a more

to commemorate" the Accession to the throne of our patriotic and beloved King William the Fourth, whose zeal and anxious wish for a Reform in Parliament and for the prosperity and happiness of his loyal and dutiful subjects, have endeared him to the heart of every Englishman."

ROYAL SOCIETY.

The council and officers elected for the ensuing year were as follows:-President, his Royal Highness the Duke of Sussex, K.G.; Treasurer, John William Lubbock, Esq.; Secretaries, Peter Mark Roget, M.D. John George Children, Esq.; Foreign Secretary, Charles Konig, Esq. Other members of the council, Peter Barlow, Esq. John Bostock, M.D. Rev. William Buckland, D.D. Samuel Hunter Christie, Esq. Rev. Henry Coddington, Charles Daubeney, M.D. George Dollond, Esq. Davies Gilbert, Esq. Joseph Henry Green, Esq. William George Matin, M. D. Roderick Impey Murchison, Esq. Rev. George Peacock, George Rennie, Esq. Captain W. H. Smyth, R. N. Rev. William Whewell, Nicholas A. Vigors, Esq.

LONDON PHRENOLOGICAL SOCIETY.

This Society met on Nov. 7th and 21st, when Dr. Elliotson, the president, read a paper respecting the attacks that had been made on phrenology since the last session. He first noticed the observations that had appeared in the Literary Gazette animadverting strongly on some experiments on living animals as detailed in an article in the Edinburgh Phrenological Journal: this led to a letter in the Times taking the same view of them. Dr. Elliotson observed, no one could deprecate such experiments more than he did, but he was happy to say that they had not been performed by a phrenologist, but by M. Bouilland, a disciple of M. Majendie, the great foe of phrenology. The next who appeared in the arena was Dr. Ryan, who urged objections against the principles of the science, as they tended, he said, to overturn and uproot all feeling of morality, religion, and good order, and deprived all classes of society of that support and control so necessary to their well-being. These assertions were clearly proved by Dr. Elliotson to be without foundation, first, by the fact that Dr. Ryan had not produced one instance of any writer on phrenology inculcating principles that in the least afforded any ground for his assumptions, and, secondly, by citing many passages from authers on the science, particularly from Dr. Gall, who has asserted that the system of phrenology placed morality and religion upon a more sure and certain foundation, as

it emancipated the mind of man from the metaphysical absurdities that had so long enveloped it. Dr. Elliotson then adverted to Mr. Godwin's remarks on Phrenology contained in his recent Thoughts on Man, and after observing that whatever opinion might be entertained respecting the objections brought against phrenology by the other foes he had spoken of, none could regard the present one as insignificant or obscure, or as prompted either by low desire to acquire favour with the multitude by administering to their prejudices, or any rancorous feeling. If he wrote erroneously, he wrote what he believed, and solely for the purpose of disseminating what to him appeared truth, calculated to benefit mankind, and of acquiring honourable reputation. He then went on to state that Mr. Godwin regretted that the task of refuting phrenology had not fallen to another "whose studies were more familiar with all the sciences which bore more or less on the science, confessing his remarks to be nothing more than a few loose and undigested thoughts upon the subject." After this, could it be imagined that he would, in a subsequent page, take upon himself to assert that as phrenology is perhaps the most rigorous and degrading system that was ever devised, so it is in almost all instances founded on arbitrary assumptions and confident assertions totally in opposition to the true spirit of patient, laborious investigation and sound philosophy :"-verily is this strong objection, this hard judgment, nothing more than "the loose undigested thoughts" of one not very familiar with all the sciences which bear upon the topic? If he wished his arguments to have weight, they should have been consistent. Mr. Godwin then urges against phrenology that it has advanced too rapidly to be true; he acknowledges that there is a science in relation to the human mind that bears a similitude to Plato's predication of the statue hid in a block of marble, but considers that the man who without study and premeditation rushes in at once and expects to withdraw the curtain, will only find himself disgraced by the attempt; and yet how does he reconcile his admission "that Gall spent thirty years in private meditation and investigation of the subject before he ventured to promulgate his system, and that nearly thirty-five years have elapsed

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