better judges, and thus the public is favoured with its publication. We extract the preface, which the author seems to have taken some pains with in order to prove that dramatic writers do not repose ou beds of roses, and that critics are so unnatural as to endeavour to destroy what they live on.

66

But the constant cry is" Why don't you "write a sterling comedy-Why don't you give us the good old legitimate drama"such as flourished in the days of Shakespeare― Jonson - Vanburgh-and Congreve?" Kind, liberal READERS! why only select, for comparison, the best authors, and their best plays? Why not bring into Were there no dramatic writers, there competition the ephemeral productions of would be no dramatic critics; and therefore Etherege, Shadwell, Taverner, and Durfey? is it not singular that the latter, living by the-and at the same time fairly consider the former, should be so frequently endeavouring to destroy them? Not at all-for could critics live if they did not make war against authors? Would a Review, or a Newspaper, that praised every body, be read by any body? Certainly not. And consequently, since the fame and the sale of critical publications depend entirely on their severity, let authors pbraid the readers, and not the writers of abusive articles.

To those READERS then-those good-natured, liberal READERS, who encourage and compel critics to be severe; I shall point out some of the difficulties attendant on dramatic composition. First difficulty Second difficulty Third difficulty Fourth difficulty Fifth difficulty Sixth difficulty

to please Yourself. to please the Manager. to please the Actors. to please the Licenser. to please the Audience. to please the Newspapers. Add to all this, the actors must please not to be taken ill-the weather must please not to be unfavourable-the opposing theatre must please not to put up strong bills, and then! -what then? Why then" Please to pay the bearer four hundred pounds !"

numerous advantages possessed by these ancient writers-they found a well-stocked dramatic garden.-Love-Jealousy-Avarice— Cowardice Hypocrisy Curiosity - were then flowers unhandled and unseen-these they culled-and left only weeds. They likewise were not checked in their satirical and original flights, by Act of Parliament-and if they had thought of dramatizing a buby general, or a foppish clergyman, they had no LICENSER to prevent them. They like. wise were allowed the free use of that easy and inexhaustible source of creating mirth, called "double entendre."-They likewise, from the smallness of their theatres, had the gra tification of knowing that their attempts at wit were heard even in the galleries whilst ours, alas!-often stick in the ceiling!-and yet with all these superior advantages, they had their good-natured READERS-for Voltaire calls Shakespeare-" Un grand Fumier." -Decker calls Jonson-“ Dull and vulgar." -Collier calls Vanburgh and Congreve“Unnatural and blasphemous" —And had there been reviews in the days of Terence and Aristophanes, they would probably have been called The pity of the wise-the buffoons of the vulgar and (as the ne plus ultra of disgrace) writers of MODERN COMEDY !"

Barristers, physicians, and other professional characters, increase in reputation as they increase in age-and at the moment dotage empties their heads, credulity often fills their pockets-but when time impairs or dries up the vivid juices of an author's brain, can he exist on his former reputation -No,

"Ay, but," say these good-natured READERS, there are other advantages attached to a popular play!--the being noticed followed, and admired!"-By whom? -by all those learned lords-fashionable ladies-wealthy citizens-penetrating lawyers and eminent literati, who some twelve years ago publicly declared that one boy was the genuine SHAKESPEARE, and who some three years ago as publicly declared that another boy his past efforts recoil-and yet there are was the genuine GARRICK-by all those who people who would still recommend the Horaat different periods have equally idolized PITT tian maxiin of" Nonum prematur in annum” and the CONSTITUTION-Fox and the RE--by which maxin, in thirty-six years, a VOLUTION SHERIDAN and the PHANTAS-man might compose four classical dramasMAGORIA GIBBON and the LEARNED PIG and allowing two of these to be DAMNED→→ -KOTZEBUE and MOTHER GOOSE!-And (and their being classical, don't in the least yet, spite of this weather-cock mania, mend their chance) why he will have to cover authors have lived, and still live, who write himself, and perhaps a wife, who, "Nonum for what they call FAME!-For my part I parturit in mensem" not only LAUREL in write for more substantial food:-beef and abundance, but a clear terminable income of mutton are the objects of my ambition, and about TWENTY POUNDS! perhaps I would as soon gain them by bad jokes, as by good jokes; because, if by accident, I were to write one sterling comedy, know to a certainty I could never write another, and therefore I should be damned by comparison.

I

That a very large majority of critical writers are always ready to take the good-natured side of the question, and to aid their fel "low-labourer in the vineyard," I have every reason to acknowledge, and I am hap py-most happy, in this opportunity of con

ON THE ITALIAN OPERA, - STATE OF THE
DRAMA IN BRITAIN-HINTS FOR ERECTING

AN ENGLISH GRAND NATIONAL OPERA.

To the Editor of the Literary Panorama. Sir, A bias, which there is no accounting for, often leads individuals to bestow their attention on subjects wherein they find an interest which engrosses them, while the public treats the matter with indifference. You must know, that, during many years of my life, I have been a zealous admirer of the Italian Opera; and have been well acquainted with the most eminent performers which have appeared on that stage: some of whom I have known on the continent, as well as in London. But the present state of this establishment has diminished my partiality for it, and the suspicion, which I see you have hinted at, and which had often crossed my mind, unheeded, that these foreigners may be spies employed by our enemies, has completely annihilated my former zeal. I have been led to reflect, that the immense expences incurred for this trivial gratification, amount to a vast sum, directed into a channel from whence the people of this country derive no benefit: nay, in fact, by which the nation is seriously injured.

The Opera is, by a kind of privilege, which it ought to deserve, the resort of our fashionable world; and the patronage which the upper ranks of life bestow on those who display their merit under favour of this institution, is compared by the world at large with that which the same patrons bestow on native artists. In proportion as the merit of these foreigners is overpaid, the merit of natives is underpaid. In proportion as the fame of these foreigners is circulated, and augmented, that of our compatriots droops neglected. Let it stand recorded, for the information of the world, that Madame Catalani complained of being inadequately rewarded for her warblings, (twice a week during six months) by the sum of SEVEN THOUSAND GUINEAS!*-Who can read this, without feeling the blush of indignation mantle his cheek? This in the midst of a war, of which no mortal can foresee the end, and while the supports of our country are complaining of deficiencies and distress.-Now, what has been the effect of a scandalous acquiescence in this foreigner's unreasonable demand?--Why, a similar conduct on the part of other eminent singers. Mrs. Billington would not sing three airs during seven consecutive concerts in Argyle street, for less that seven hundred guineas! that is to say, one hundred guineas for three airs! the folly of society made it necessary to yield to the exorbitance.—Braham,

Compare Panorama, Vol. III. p. 998.

who usually was complimented with fifteen guineas a night, demanded on this occasion, fifty guineas! It is no just cause of wonder that foreigners should pique themselves on getting from us every guinea they can but the almost insanity which accedes to such terms deserves the severest reprehension.

years.

Be it also remembered, that cupidity has the shamelessness to ask, and vanity to give, three hundred and forty guineas for a pit box, at the Opera. And had not the happy disputes of the managers occurred, every disposeable box would have let for four hundred pounds. The manager, it is true, only receives at present two hundred and thirty guineas of this sum, but it leads to his raising the price in proportion, when the leases of the boxes expire, which will be in a few While this aberration of mind continues, foreigners will continue to fatten on our folly, and will mercilessly plunder, whatever resources might be directed to those more honourable, though less favoured claimants, misfortune and wretchedness. I am not speakiug against reasonable amusements adapted to the taste of the opulent and enlightened of the community; but surely, there is a boundary, beyond which amusements becomes profligacy, and indulgence degenerates into vice. Gratification may demand a moderate premium; but something worse than folly, characterizes the man who pays for trifles the price which might procure him substantial enjoyments.

But I suppose the supporters of the Italian Opera, after describing its excellence as su perior to all other, and enlarging on the unri valled merits it combines, will ask me, what I propose to substitute ?-I answer by another question, Is it true, that the ENG

LISH

LANGUAGE does not afford combina tious of words capable of equal cadence, melody, harmony, and expression, as any other language, whatever? I do not say, that every hap-hazard poet stumbles on such combina tions; but I say that when I read some of the poems with which our language abounds, and some of our lighter pieces or songs, I cannot conceive of words, having any sense in them, more favourable to musical air; or superior in point of adaptation to musical expression, no offence to Metastasio himself. I say too, that not merely is the language of Italian songs, usually weakness and lullaby, and the sentiments childish, and even infantine, but the total want of interest in the general plot of operatical pieces, of vigour, or liveli ness, or pathos, in the dialogue, and of discrimination in the characters, with what we call merit in a drama, is absolutely beneath contempt. The applause bestowed on works of such despicable pretensions, is a reflection On a nation of philosophers," which has been the character given to the English. If re

citative must be had in an opera, I believe there are recitatives in some of our oratorios which demonstrate the susceptibility of our language for this ornament. But the pleasure arising to the ear from the finest recitative that ever was composed, never can compen sate to the mind for the absence of meaning, and vigour, or for the tedium of insipidity and inanity. I would ask, also, whether the harshnesses of our language, admitting them to be ungraceful, would not stand a better chance of being corrected, by the efforts of poesy and music, than they now do? and whether we can be said to do justice to our Language, while we neglect to submit it to scientific modulation; and reject it as utterly incompatible with harmony?

As for performers, I am firmly persuaded that if the leading macrits of the English stage were fairly brought together, no foreign Opera could compare with it. Mrs. Billington, Mrs. Dickons, Braham, Bellamy, Bartlemon, and some others, if associated, would soon banish the recollection of all the foreign signoras and signors, that ever sung in the 'King's Theatre.

to the greatest height: the understanding
accompanies the delights of the senses; and.
unlike an English audience, those who enjoy
these delights can give a reason for their en-
joyment. But if it be asked,-whether Britain
has any national Opera, or establishment
holding the place of an Opera, in its own
native energetic language, of a superior class,
characterised by real merit, and exhibiting
real excellencies-the answer must be-
NO! For if we inquire into the actual state
of those theatres which call themselves na-
tional, every voice which I hear on the sub-
ect, calls loudly for reform. Some of my
acquaintance demand reform of morals and
manners they shudder at principles dissemi-
nated, and at company admitted. Some de-
mand real merit in the pieces, and wonder
what is become of that poetic fire which a-
nimated former dramatists. Perhaps, say they,
the bards have now less property in their pro-
ductions, and therefore are less careful in
composing them. Some suppose the writers
of dumb shew, when they are called on to
furnish a dialogue, find that their hand is out,
and that, having studied not living but mes
chanical actors, they find themselves at a
loss to delineate general nature: while others
charitably conclude that they are Intent ou
offering to the public such sentiments, as their
wooden and pantomimical actors, would ut-
ter were they really alive; and that in this
they succeed à merveille.

I should be glad to see valid reasons given, why a band composed of ENGLISH singers, like those I have named, and English per formers, like some I might name, together with decorations by our own artists, and embellishments of appropriate kinds, including ballets, and other customary appendages, should not excel-I say excel, in point of You have observed, Sir, and my own knoweffect, any thing yet presented to this nation. ledge confirms your observations, that the We have heard much, lately, of the languish-rational part of the public has been treated in ing condition of the arts among us :-Have our countrymen's talents been fairly brought forward on the scale of which they are capable? Have the grander demands of art been confided to them? and have they been encou raged to exert their talents to the utmost? In short, when I look around and survey the present state of public amusements, I wish for a spirit of patriotism, of common sense, and of effectual reform, I would recommend to the upper ranks among us, the cultivation of our national taste, abilities, and spirit. Let them patronize such institutions as tend to associate British merit, instead of pampering foreign insolence, and to diffuse elegance, virtu, and refinement, on manly principles, among our own people: that we may have no need to look abroad for excellence of any kind, but, as it is acknowledged even by our enemies that we are the first of nations in some things, that they may look to us, as examples for emulation, in whatever is deserving of public encouragement.

Almost every nation on the continent has its appropriate Opera; 1 inean musical performances, presenting, in its own language those picces which the voice of the public has determined to be most worthy. By this means, the pleasure of the auditory is raised

a very supercilious manner by the directors of those entertainments. These national theatres have poached on the amusements of Sadler's Wells and the Circus: they have almost banished reasonable and judicious entertainment. Sentiments conveyed in elegant dialogue, and characters well chosen, well combined, well contrasted, and skilfully delineated--where are they ?-Not in our late dramatic abortions, most certainly. The pieces brought forward must be patronized by party, otherwise no attention is paid to them; and, what is worse, after having received decided marks of disapprobation from the audience, they are still maintained, as if they had been applauded.

I have intreated your attention, Sir, to these hints, in hopes that they may engage the notice of some of the patrons of taste and merit, in the higher circles, and thereby may lead to the establishment of a grand natio nal Opera conducted upon at least as magnificent a scale as the boasted Opera at Paris, and in our own language too; and to a reformation which most assuredly is no where more wanted than in those depart ments which denominate themselves dramatical. I am yours, &c. DRAMATICUS.