less successful in the expression of paternal affection, which is developed with a degree of energy proportionate to the strength of character which enabled him so long to dissemble his passions. When the old man learns that no ransom will purchase his daughter's freedom, the pride and boldness with which he rises from his attitude of supplication before Front-de-Boeuf, almost elevate him to the dignity of a hero.

In Sir Peter Teazle, Farren's humour and originality are extremely entertaining.

The part of Joseph Surface is admirably performed by Young. Macready also fills it with success. These two actors, when they assume the modern dress, have the air and the manners of perfect gentlemen. Young, indeed, displays at times a slight tinge of affectation, while Macready's deportment is perfectly unconstrained and graceful. He always maintains a suitable degree of dignity, without ever losing his natural ease. I saw him again last night in Count Almaviva, and I must needs confess that he has more of the nobleman, in look and manner, than M. D———s, who so often injures the effect of his acting by his frightful grimaces and the awkward movements of his shoulders.

Charles Kemble's performance in the School for Scandal, and, indeed, generally speaking, whenever he appears in comedy, is distinguished by an air of elegance; but his talent is more particularly adapted to parts which have somewhat of a romantic cast.

Liston fills but a subordinate character in the School for Scandal, but it was sufficient to satisfy me with respect to his talent, which I fancied had been rather overrated when I saw him for the first time in Figaro. This actor, whose countenance is quite as ludicrous as that of Potier, may rival him as well as Brunet, Perlet, Odry, and all the great men of our minor theatres, in buffoonery.

Liston is the spoiled child of the pit and galleries. Like Potier, he has the privilege of making people laugh by a look. Henry B― informs me that when Liston entered upon his theatrical career, he persuaded himself that he possessed a talent for tragedy, but he excited such bursts of laughter in the performance of a pathetic part, that he made up his mind to represent, in future, none but humourous characters. He made but a poor figure lately, at his own benefit, in an attempt at genteel comedy.*

*I here omit some quotations from Sheridan's play, because the "School for Scandal" having been imitated by Chéron, translated in the Theatres étrangers, and lately transferred, with some mutilations, to the boards of one of our minor theatres, is better known in France than any other English comedy. I have also left out a comparison, which, I doubt not, has already been made between the scene in which Mrs. Candour, Lady Sneerwell, &c. launch into attacks on their friends, and one in the Misanthrope, in which Molière has almost lent grace to the malice of our fair and fashionable scandal-mongers. The latter scene could not be duly appreciated except in Paris; while on the contrary, Mrs. Candour's tittle-tattle would produce a greater effect in the country. Both scenes are true to nature; Molière's is most refined-Sheridan's is most highly coloured.

The theatrical season is now near a close, and benefits and dramatic transformations have commenced. The performers, at their benefits, usually make choice of a new character, and it rarely happens that they select one adapted to their powers. In Paris, on a similar occasion, I remember to have seen Mademoiselle Duchesnois make but an awkward figure in the part of a little country girl, while her rival of the Odéon rendered herself ridiculous in the Countess Almaviva. This performance, it is true, was worth thirty thousand francs to Mademoiselle Georges, and inany demean themselves for less now-a-days.

This year Mr. Kean revived an old play of Massinger's, called The. Roman Actor, of which only one act was played; and in the little piece of "The Waterman" he descended to the comic character of Tom Tug. He applied the produce of these representations for the relief of the poor Irish; and as the English pride themselves very much on their generosity in succouring the distressed, I was surprised at not finding the theatre full. Alas! there is a little quackery and ostentation in the boasted generosity of the English, as there is in almost all their pretensions to superior virtue. Open a subscription at a guinea a head, and advertize the names of the principal subscribers in the newspapers, and the list will soon be filled up; but the anonymous benefaction conferred by the purchase of a play-ticket, is not so satisfactory to British vanity. Kean's benefit usually puts five hundred guineas in his pocket;

but on this occasion he could procure only half that sum, for the victims of ministerial oppression in Ireland.

The last performance of the season is always attended with some sort of ceremony, and the manager generally delivers a farewell address to the public. The audience was, consequently, very much disappointed at Drury Lane, this year, when the curtain was seen to fall without Elliston having made his appearance. "The address !--the address!" was vociferated from every quarter, and the most violent uproar ensued. At length Cooper presented himself, and after bowing very respectfully, he addressed the audience in a short speech, commencing with "Ladies and Gentlemen;" for the English, on these occasions, are more polite than we, who invariably say, "Messieurs et Mesdames." After stating that Elliston was confined at home by severe indisposition, he returned thanks to the public, in the name of his brother performers, and withdrew.

A mixture of applause and disapprobation followed this address. Mr. Elliston has not performed during the whole season, so that I have had no opportunity of judging of his merits as an actor, which have been highly complimented by Lord Byron in one of his works.

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The annual address was delivered in due form at the closing of Covent Garden Theatre. Mr. Fawcett, who, by the bye, is a very agreeable actor, reminded the audience that nothing had been neglected to give them satisfaction, and as

sured them that the vacation would be employed in justifying the preference which his theatre had obtained over Drury Lane ;-that is to say, some of the actors will go to the country theatres, and the rest will perform, during the remainder of the summer, at the Haymarket, the English Opera House, &c.

LETTER XXXV.

TO M. P. BLAIN.

THOUGH I have not yet said a word about Dowton, Terry, Emery, Munden, Knight, or Miss Kelly, I think I have already mentioned a sufficient number of clever actors to shew, that the London theatres possess a powerful host of comic genius.

The distinguished authors of the present day have, therefore, no excuse for not writing for the stage. There is, indeed, no want of dramatic talent among contemporary writers. Many works of recent production seem to want only the dramatic form, to render them worthy of comparison with the master-pieces of Shakspeare and Ben Jonson. Sir Walter Scott possesses, in a singular degree, all the necessary qualifications for a dramatic author. His profound knowledge of the