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THE THEATRES.

THE NEW ORATORIO CONCERTS.

Now, we have above described an actual incident in convict life, and we have brought it Our Feuilleton for March left off with a re- forward through our belief that it is precisely ference to the production of another sensation the incident that would be considered valuable drama of Mr. Watts Phillips', at the HOLBORN to the dramatist in constructing some great senunder the title." Fettered," by which, we sup-sational scene. But we doubt whether the propose, was meant a sequential work, and corfessional dramatist would make the right use of relative to the "Not Guilty" of the Queen's. the "situation" we have found for him, after We heard such an unsatisfactory account of all. He would not write a drama to lead up to "Fettered," that made us in no hurry to wit- the catastrophe, but he would more likely use ness an apparently hurried and imperfect play; the catastrophe to heighten the scenes of some and, indeed, after a very short run, we find that drama which had nothing to do with the quarry the piece has been withdrawn. The fate of Mr. scene, and the impending fate of the warder. Watts Phillips's last hasty production recalls We believe that those dramas (now of short duan anecdote, by which we merely desire to show ration), attempting to realize prison-life, convictwhat a real sensation incident is, in contrast life, &c., owe their occasionally untimely fate to with a stage sensation one. Not long ago we the haste with which they are concocted, the were present at a criminal trial, held at Maid- artificiality of their incidents, and their general stone Assizes. The culprit, a short, stout, bull- | unfaithfulness to truth and nature. necked, coarse-visaged fellow stood in the dock, charged with a ferocious and murderous assault on one of the warders or guards, placed over a gang of convicts at work in a quarry, near Chatham. The prisoner had diligently nursed a supposed injury he had received at the warder's hands. The latter had reported him for some misconduct, and had thus temporally increased the vigour of the punishment the man was undergoing as a felon. Shortly after this, on a certain day at the quarry, the prisoner with others was removing débris from the side of the excavation at a very elevated spot. While the warder was standing near the edge of the precipice, giving some directions, the prisoner passed with his barrow, and, as if by accident, tilted the barrow against the legs of the unsuspecting officer, who made a quick movement to escape the load of chalk covering him. At the same moment the convict was seen staggering against the officer, and the latter, thus losing his equilibrium, overbalanced himself, and rolled over into the yawning gulf. In the man's descent he caught at a beam projecting from the perpendicular side of the quarry, a few feet below, and succeeded in making good his hold of this precarious safeguard. Thus he swung from the beam until assistance came, which it fortunately did promptly. It was a moment of great suspense while his rescuers attempted to pass the noose of arope over the head and round the body of the warder. But it was done, and the man soon drawn up to terra firma. The convict who had caused the accident had been already removed into custody, and charged with the attempt to murder the warder in the atrocious manner stated. At the trial for his new offence the malefactor was sentenced only to two years' additional penal servitude beyond some five years he had yet to serve as an already condemned convict,

We resume our usual record of theatrical events during the month, by noticing that a novelty of "mark and likelihood" has been produced by Mr. E. T. Smith and Dr. Marston at the LYCEUM, now under the direction of the former enterprising manager. On March 6th was produced a poetical play, by Dr. Westland Marston, entitled "Life for Life." This production has proved to be a literary work of high character, containing much fine poetry; but the test of acting has also shown that "Life for Life" is a play deficient in action and overlaid with diffuse dialogue. It is a more elaborate sort of "Douglas," that old Scotch play which has kept the stage so long, on account of the spirited and ingenuous part of Young Norval. The experience of a first night's representation of "Life for Life" showed that the time has gone by when audiences would listen patiently to soliloquies longer than those in the tragedy of "Hamlet," without being either anything like so poetical or philosophic-soliloquies such as Joanna Baillie introduced into her "Plays on the Passions." The tiresome and verbose "reflections" of the Scottish chief, Murdoch, the hero of "Life for Life," annoyed the audience, the more so since it was to be reasonably expected that such a warlike character would at least "give the name of action" to his thoughts. Mr. Vezin performs the part of the Murdoch unexceptionally well. Mr. Coghlan as Oscar, the lover of Lillian, showed to advantage. Mr. Jordan was excellent as an old Highlander, and Miss Minnie Sidney gave a thorough artistic rendering to the part of Kenelm, an important feature in the drama.

"OLD DRURY" has completed its short month's interregnum devoted to the Shakesperian drama, triumphantly. The répertoire was the old familiar one; but Mr. Phelps has

been assisted this year by strange rivals and debutantes. Mr. Charles Dillon is not an adequate supporter of Mr. Phelps in "Othello;" nor qualified to enact, efficiently we think, either Othello or Iago. To pit the provincial actor against the town actor was uncomplimentary to Mr. Phelps, and damaging to the reputation of Mr. Dillon himself. It is by comparison that the true qualities of the artists become manifest. Mr. Phelps is a conscientious actor, and our best tragedian. Mr. Dillon is, in all essentials, a conventional actor. The "iron that has entered his soul" has been driven there by the stage manager, not by the gods, who "have made men poetical." "Macbeth" has been repeatedly acted with Mr. Dillon as Macbeth (the ordinary stage Macbeth), and Mrs. Howard Paul as Lady Macbeth! Mrs. Paul's engagement was probably more due to her Hecate (which she doubles with the part of Lady Macbeth) than her histrionic powers. But Mrs. Howard Paul certainly did her utmost to please her public. As a singing actress she was all that could be desired in Hecate. A provincial actor named King, from the Dublin boards, obtained a début at Drury Lane in the course of the Shakesperian revivals. His Hamlet, without manifesting anything more than thorough knowledge of the actor's art, was a creditable impersonation. Mr. King has subsequently enacted Richelieu, with much power. He is a performer we should like to see permanently retained on the London stage, to which we are sure he would become a conspicuous ornament. For Easter a new piece, founded on Victor Hugo's powerful but highly-eccentric novel of "Les Miserables," has been produced at Drury Lane: thus we have a competitor against the "Yellow Passport" at the Olympic, a piece which has already had a long run. The Christmas pantomime has been revived at Drury Lane, without, however, its harlequinade. It certainly constitutes as good an afterpiece as could be selected. E. H. MALCOLM.

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money upon its professional artistes, while the amateur 700" themselves have always had to pay for singing instead of being paid.

Between £6,000 and £7,000 a-year, as we are informed, is about the income of the Sacred Harmonic Society, much of which goes into the pockets of Italian and other eminent vocalists.

The New St. James's Hall Oratorio Concerts, kind of basis to that of the Sacred Harmonic as an institution, has an altogether different Society. Its choir is professional; its vocalists is not so numerous as that of M. Costa or Mr. and instrumentalists are the saine, The chorus Martin at Exeter Hall; but it is the conviction of the musicians who manage "Oratorio Concerts," that a limited number of voices for a choir may constitute as efficient a body of executants as the hundreds of amateurs who assemble round the big organ of Exeter

Hall.

We have witnessed two out of the six announced "performances of standard Oratorios and other sacred works" at St. James's Hall. The season began with Handel's Oratorio of "Jephtha," and this noble work was followed by Mendelssohn's "Elijah." Both Oratorios were most efficiently executed under the able direction of Mr. Joseph Barnby, before stylish and immensely numerous audiences. 'Elijah" was succeeded on the 23rd ultimo (in Holy-week) by a most appropriate selection, namely, Handel's chef d'oeuvre-the Oratorio of "The Messiah."

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One of the principal features of the Oratorio Concerts has been the introduction of the continental pitch (le diapason normal) in the treatment of the instrumental music. Whatever the advantages may be to musicians by the introduction of a lower key-note on the English musical stage, we question whether the generality of audiences have been able to detect the difference. Suffice it, that Oratorio music has been better performed than ever at the St. James's Hall Sacred Concerts, under the able direction of Mr. Joseph Barnby, a musician more au fait with choir music than any conductor we are acquainted with. Mr. Barnby's aim has been to gain effect to Oratorio music not by excessive numbers of executants, but by well-balanced power, and thus to keep in due proportion the solo parts with the choir and orchestra. Although Mr. Sims Reeves has, as usual, disappointed (indisposition causing him to break his engagement), the Concerts have nevertheless been well performed by first-rate artistes, including Mesdames Rudersdorff and Lemmens-Sherrington, Mdlle. Drasdill, Miss Banks, Miss Julia Elton, Signor Foli, Herr Stepan, Mr. Montem Smith, &c.

The classical "Stabat Mater" is promised for the 12th of next month.

E. H. M.

THE GIPSIES OF ART.

(Translated from Henry Murger's "Scenes de la Boheme.")

BY CHARLES ASTOR BRISTED.

THE CROWN OF CHARLEMAGNE.

Toward the end of the month of December, the porters of the Bidault Express distributed a hundred copies, or thereabout, of an invitation of which the following is an exact transcript:

"Mr.

Messrs. Rodolphe and Marcel request the honour of your company on Saturday evening next (Christmas eve), to hear a little laughter. "P.S.-We have but one life to live."

And enclosed was the following

PROGRAMME OF THE ENTERTAINMENT:

PART I.

"At seven, doors open. Lively and animated conversation.

"At eight, the talented author of the 'Mountain in Labour,' a comedy refused at the Odeon, will enter and walk about.

"At eight and a-half, Mr. Alexander Schaunard, a distinguished virtuoso, will execute on the piano "The Influence of Blue in the Arts:' an onomatopoeic symphony.

"At nine, reading of a Report on the Abolition of Capital Punishment by Tragedy.

PART II.

"At twelve, Mr. Marcel, historical painter, will suffer his eyes to be bandaged, and extemporize in crayon the meeting of Napoleon and Voltaire in the Elysian Fields. Mr. Rodolphe will simultaneously extemporize a poetic parallel between the author of Zaire and the author of the Battle of Austerlitz. deshabille, will imitate the athletic sports of the Fourth "At twelve and a-half, Mr. Colline, in a modest

Olympiad.

"At one in the morning, reading of the Report on the Abolition of Capital Punishment, by Tragedy (re-continued), and subscription for the benefit of the tragic authors, whose occupation is to be gone.

"At two, quadrilles will be organized and continued till morning.

"At six, sunrise and final chorus.

'During the whole continuance of the performance all the ventillators will be in play.

"N.B.-Any person attempting to read or write verses will be immediately handed over to the police. "N.B. 2nd.-Gentlemen are requested not to pocket the candle-ends."

Two days after, copies of this invitation were circulating in the third storeys of art and literature, and creating a profound sensation. Nevertheless, there were some of the guests who "At nine and a-half, Mr. Gustave Colline, hyper-doubted the splendours announced by our two physic philosopher, will open a discussion with Mr. Schaunard, on the Comparative Merits of Philosophy and Metapolitics.* To prevent any collision between the disputants, they will be tied together.

"At ten, Mr. Tristan, a literary man, will recount the story of his first love, accompanied on the piano by Mr. Schaunard.

"At ten and a-half, reading a Report on the Abolition of Capital Punishment, by Tragedy (continued). At eleven, Account of a Cassowary Hunt by an Eastern Prince.†

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friends.

"I have grave suspicions," said one of the sceptical. "I was at Rodolphe's Wednesdays sometimes, when he lived at Rue de la Tour d'Auvergne. You could only sit down metaphorically, and had nothing but water to drink, and not filtered at that."

Now, a word as to the origin of this party, which was causing so much astonishment in the Transpontine world of art. For about a year, Marcel and Rodolphe had been talking of this sumptuous gala, which was always to come off next Baturday, but disagreeable circumstances had forced their promise to run the round of fifty-two weeks; so that they were in the condition of not being able to move without encountering some ironical remark from their acquaintances, some of whom were even rash enough to demand its fulfilment! The thing was beginning to take the character of a standing joke against them; the two friends resolved to put an end to this by liquidating their engagement. Accordingly they sent out the above invitation.

"Now," said Rodolphe, "there is no retreat. We have burned our ships. Eight days are left us to procure the hundred francs indispensable to doing the thing properly."

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"Since we must have them we will," answered Marcel; and with their habitual rash trust in luck, the two friends went to sleep, well convinced that the hundred francs were already on the way-some impossible way-toward them.

However, the night before the day indicated for the entertainment, as nothing had yet arrived, Rodolphe thought it would be safer to help his luck a little, if he did not wish to find himself disgraced before the time of lighting up. To facilitate this the two friends progressively modified the splendours of their selfimposed programme. By modification after modification, cutting down very much the article of cakes, and carefully reviewing and abridging the article of refreshments, the total expense was reduced to fifteen francs: the question was simplified, but not resolved.

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"Come, come," said Rodolphe, we must put every engine at work. In the first place, we cannot adjourn the performances this time." Impossible!" replied Marcel.

"How long is it since I heard the story of the Battle of Studzianka?"

"Nearly two months."

"Two months? Good! Quite long enough. My uncle shall not have to complain of me. I will go to-morrow and make him tell me the Battle of Studzianka; that will be five francs, sure."

"And I," said Marcel, "will go and sell a deserted manor to old Medicis; that will be five francs, too. If I have time to put in three turrets and a mill, it may go up to ten francs, and we shall have our budget."

So the two friends fell asleep, dreaming that the Princess Belgiozoso was begging them to change their days of reception, so as not to take from her salons all the literati of Paris.

Marcel awoke early in the morning, took a canvas, and went energetically to work on a deserted manor, an article particularly in demand with a broker of the Place du Carrousel. Rodolphe, on his part, went to visit his uncle Monetti, who excelled in the retreat from Russia, which he had the pleasure of repeating to his nephew five or six times a year, in consideration of some small loans, which the veteran stovemaker did not hesitate about when his narrative had been listened to with sufficient enthusiasm. About two in the afternoon, Marcel, with downcast look and a portrait under his arm, met, in the Place du Carrousel, Rodolphe, coming from his uncle's with a face that announced bad news.

"Well," asked Marcel, "were you successful ?"

"No, indeed! my uncle has gone to Versailles-and you?"

"That beast of a Medicis doesn't want any more ruined castles. He asked me for a Bombardment of Tangier."

"Our reputation is gone if we don't give our party," said Rodolphe. "What will my friend the influential critic say, if I make him put on

a white cravat and straw-coloured gloves for nothing?"

Both returned home a prey to the most lively anxiety just as the clock (not their clock, of course) struck four.

"We have but three hours before us," said Rodolphe.

"But," exclaimed Marcel, approaching his friend, "are you sure, now, quite sure, that we have no money left here?"

"Neither here nor anywhere else. should we?"

How

"If we look under the furniture-in the chairs? They say that the emigrants used to hide their treasure in Robespierre's time. Perhaps our arm-chair belonged to one; beside, it is so hard that I have often thought there must be metal inside of it. Will you make an autopsy of it?"

"This is mere farce!" replied Rodolphe, with an air of mingled sternness and pity.

Suddenly Marcel, who had been poking into every corner of the room, uttered a shout of triumph.

"We are saved!" he cried. "I was sure there was something valuable here. Look!” and he showed Rodolphe a piece of money the size of a crown, half consumed by rust and verdigris. It was a Carlovingian coin, of some value to an antiquary. The inscription was fortunately in such a state of preservation that you could read the date of Charlemagne's reign.

"That! it is worth thirty sous!" said Rodolphe, casting a contemptuous look at his friend's discovery.

"Thirty sous well employed will do a good deal," answered Marcel. "With twelve hundred men, Bonaparte made ten thousand Austrians surrender. Skill makes up for want of numbers. I shall go and sell this crown of Charlemagne to Father Medicis. Is there nothing else to sell here? Suppose I take that cast of the Russian drum-major's thigh-bone. That would bring a heap."

"Take it along-but it's a pity. There will not be a single object of art left."

While Marcel was gone, Rodolphe, determined to give the party in any case, went to find his friend Colline, the hyperphysic philosopher, who lived two doors off. "I am come to beg a favour of you," said he: "in my quality of host I must absolutely have a black coat. I haven't one. Lend me yours."

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But," replied the other, with some hesitation, "in my quality of guest I want a black coat too, I do."

"I will allow you to come in your frock." "You know very well I never had one." "Well, we can arrange it somehow. If it comes to the worst, you may lend me your coat and not come to the party."

"That won't do at all; for I am on the programme, and therefore must be there."

"There are a good many other things on the programme that won't be there," said Rodolphe. "Lend me your coat, at any rate. If you want

to come, come as you choose-in your shirt-lighted in the stove; a canvas-frame garnished sleeves-you can pass for a faithful domestic." with candles was hung from the ceiling by way "No," rejoined Colline, blushing, "I will of chandelier; a desk placed in the centre to wear my hazel over-coat-but it's a great bore, serve the orators for tribune; and before it the all this." And as he perceived that Rodolphe only arm-chair, destined to be occupied by the had already laid hands on the famous black influential critic. On a table were arranged coat, he called out, "Wait a bit; there's some- all the essays, articles, poems, and novels, whose thing in the pockets." authors were to honour the party with their presence. To avoid any collision between the different departments of literature, the four sides of the apartment were hastily labelled:

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Colline's coat deserves particular mention. In the first place, it was of a very positive blue, so that its owner used to say "My black coat,' merely from a way he had. And as his was the only dress-coat belonging to the association, his friends had also fallen into the way of saying, when they spoke of the philosopher's official garment, "Colline's black coat." Moreover, this garment had a peculiar cut, the most bizarre possible; its very long skirts, attached to a very short waist, were furnished with two pockets, perfect abysses, in which he used to stow a score of volumes which he always carried about with him; so that his friends said that when the public libraries were closed, the literary public might apply to Colline's skirts, where a library was always open.

That day, for a wonder, the coat contained only a quarto volume of Bayle, a three-volume treatise on the Hyperphysic Faculties, one volume of Condillac, two of Swedenborg, and Pope's Essay on Man. Having emptied his portable library of these, Colline allowed Rodolphe to put it on.

"Eh!" said the latter, "this left pocket is very heavy still; you have left something in it." "True," said Colline, "I have forgotten to empty the foreign-languages pocket." He drew out two Arab grammars, a Malay dictionary, and a Chinese guide, one of his pet books.

When Rodolphe returned, he found Marcel playing at pitch-and-toss with five-franc pieces to the number of three. At first he was ready to reject his friend's offered hand, thinking he must have committed a crime to get the money.

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The ladies were to sit in the middle. "Ah, but we are short of chairs!" said Rodolphe.

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"Oh," said Marcel, "there are some along the wall on the landing. Let's borrow some.' "Certainly we will," quoth Rodolphe, going out to appropriate the neighbours' chairs.

The clock struck six; the friends made a rapid dinner, and hastened to light up their rooms. The effect astonished themselves. At seven, Schaunard arrived with three ladies, who had forgotten to bring their jewelry on their bonnets. One of them wore a red shawl with black spots. Schaunard commended her particularly to Rodolphe.

"She is a very respectable person," he said; "an English lady driven into exile by the fall of the Stuarts. She supports a modest existence by giving lessons in her language. Her grandfather was Chancellor under Cromwell, she says; so you must not be too familar with her."

Several steps were heard on the staircase. It was the guests arriving. They seemed much astonished to see fire in the stove. As soon as there was a score of people assembled, Schaunard asked if it was not time to take a drink of something.

By eight, all the guests had arrived, and the programme began to be executed. After each entertainment the company took a drink of something, nobody could tell exactly what.

"In a minute," said Marcel. "We are wait"Make haste! make haste!" cried Marcel.ing for the arrival of the influential critic to kin"We have the fifteen francs requisite-even dle the punch." thus: I found an antiquary at the Jew's. When he saw my coin, he all but fainted; it was the only one wanting in his collection. He had sent all over the globe to fill the gap, and had lost all hope. So, after carefully examining my crown of Charlemagne, he did not hesitate to offer me five francs for it. Medicis pushed my elbow, and completed his explanation by a look, as much as to say, "Share the proceeds, and I'll bid against him." We went up to thirty francs; I gave the Jew fifteen; here is the rest! Now let out guests come! We are in a condition to astonish them. Hallo! you've got a dress coat!"

About ten, the white waistcoat of the influential critic made its appearance. He only staid an hour, and was exceedingly temperate in his libations.

At twelve, as the wood was all gone, and it began to be very cold, such of the guests who possessed chairs, drew lots for who should throw his into the fire. By one o'clock everybody was standing.

An amiable gaiety reigned throughout this "Collin's coat," said Rodolphe. He felt for memorable evening, which was a nine-days' his handkerchief, and brought out a little wonder in the neighbourhood. Schaunard's volume of "Manchou," which had been for-friend Phemy, who had been the queen of the gotten in the foreign-languages' pocket. The party, used to say to her friends, "It was real two friends proceeded to their preparations im- splendid, my dear: they had lots of waxmediately. The room was put in order; a fire candles."

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