to be introduced. The whole line is to pass through the neighbourhood of a series of water-falls, from which canals must be cut to form heads of water to work wheels; the power thus obtained to be applied in the same manner as the fixed engines at present in use, for moving the railway carriages.-The London and Birmingham line of rail has been opened as far as Tring, and will probably be completed in the autumn of next year. The greatest difficulty yet experienced has been at Kilsby in Northamptonshire, where a considerable tunnel is requisite, and the soil of the most intractable character. STATISTICS.-Marriages.-Up to the 19th of last month the number of places registered under the New Act, for the solemnization of marriage, was 704. Of these there are in London, Westminster, and Southwark, 47; Liverpool, 18; Manchester, 13; Birmingham, 5.-Education in York.-The state of education in York, of which the Manchester Statistical Society has just prepared a report, may be taken as affording a tolerably good sample of the present state of towns of similar size as regards the means of education. The population may be stated at 28,000; of these 2298, or 7.96 per cent., attend day or evening schools only. 2521, or 9.00 per cent., attend both day and Sunday-schools. 842, or 3.01 per cent., attend Sunday-schools only. Total school attendance 5591, or 19.97 per cent. Taking the persons between the ages of five and fifteen as one-fourth of the entire population, it would appear that 67.0 per cent. are under nominal instruction, while 2300 or 33.0 per cent. were receiving no instruction whatever. The average remuneration which the teachers receive is 9s. 6d. a week in boys' schools, and 8s. in girls' schools.

THEATRICAL REPORT FOR OCTOBER.

WHEN our last remarks were consigned to the hands of our printer, the winter houses had not opened their doors to the expectant public. The busy hammer of preparation was loudly echoing to the empty walls and the glaring placards announced the arrangements of the coming season:-the time was full of promise which we were content to receive in silence, lest perchance we might be disappointed. What a change has taken place in less than a short month! The two winter houses are both open, Madame Vestris has again curtsied to her laughter-loving friends, Yates has made his best bow to the fish in "the frying-pan," and Braham has commenced a campaign in the West, while Mrs. Honey and her loving partner (not Mr. Cockerton) are carrying all before them in the East. The town-that section of it, at least, which cares for things theatrical—is quite in a ferment of agitation with the bustling changes and revolutions in the management and entertainments of the play-houses. At such a time, little as we can spare the room, we feel obliged to be at any rate "brief chroniclers" of the passing scenes of mimic life.

First and foremost comes COVENT GARDEN, opened under the auspices of Macready, whose object seems to restore the legitimate drama to its proper station as compared with the noisy and nonsensical pieces which have lately been permitted to usurp the place of tragedy and comedy. The manager has already done something to prove that good words and handsome professions are occasionally followed by good deeds. Shakspeare has been acted, and well acted, with all the scenic aids and appliances calculated to show his works to the best advantage, and when other plays have been enacted they have been invariably selected from those which justly occupy the first rank in our national dramas. Since the opening we have had "Winter's Tale," "Hamlet," "Othello," and "Taming the Shrew," well acted and appointed in every respect; indeed, it is quite a treat to see Shakspeare's plays acted at Covent Garden. Besides these, however, the manager has produced Sheridan Knowles's "Virginius" and "Bridal," Byron's "Werner," and many other

plays which to mention is to praise. The new pieces yclept "The Novice" and "The Afrancesado" have both-and deservedly-failed, it is true; but the manager has much still in store for those who would gape at novelty rather than support the sterling productions of the older dramatists. We wish Mr. Macready every possible success, for we know that he is sincerely and earnestly working for the regeneration of the drama and the respectability of the profession to which he does such honour.

TO DRURY LANE let us now turn ;-and first of all, we must be permitted to record our disgust and pity at Mr. Bunn's impudent denunciations of the legitimate drama as contained in his placard announcing the opening. It is to be hoped, however, that he has repented of his folly; for, on a review of the representations during the last fortnight, we discover undeniable proofs of a desire to follow in the steps of his more worthy rival. Opposition ever does good, and to this alone are we to attribute the production of such pieces as "The Merry Wives of Windsor," " Macbeth," "The Merchant of Venice," "Henry the Fourth," "She Stoops to Conquer," &c., &c. If Mr. Bunn be content with spectacle for afterpieces we are willing so far to humour his whims-no farther.

The chief novelty at Drury Lane is "The Child of the Wreck," a spectacle after Mr. Bunn's own heart. Its success is wholly owing to the pantomimic talents of Mademlle. Celeste, whose character as a dancer deserves scarcely less praise than those of Taglioni and Duvernay.

Having thus briefly noticed the large houses, we proceed to those which, though of more confined dimensions, often display dramatic talent not a whit inferior to that of the prouder edifices near Covent Garden. We begin with our old friend Braham.

ST. JAMES's Theatre is perhaps the most elegant in the metropolis, and located, as it is, in the vicinity of patrician life, ought not to be deserted by the noble denizens of that fashionable neighbourhood. "The Assignation; or What will my Wife Say?" is a very amusing trifle; and although destitute of any thing which will bear criticism is sufficient to keep the critic in good humour. Mr. Wright, from the Birmingham Theatre, has made his debut in town in the burletta of the "Young Widow." Genius and tact may be identified with the attributes of this gentleman as an actor. He was altogether well received, and at the close was loudly called for, to make his appearance before the curtain. Mrs. Stirling is a lovely young widow, and both looks and acts as if a second marriage would make her "as brisk as a lark." Braham has been emulating his rivals in procuring an efficient company. Several new productions we hear are progressing through a course of rehearsals; but if the forthcoming pieces are to be like the King John travestied, -which on principle as well as for other reasons we cannot praise, inasmuch as the system of throwing ridicule on the immortal Shakspeare deserves unmitigated condemnation,-there seems to be little promise as respects the novelties. Guibilei and Miss Rainsforth take the chief operatic business between them :-the latter would be an honour to any corps dramatique. Hall, of the Strand, is a decided acquisition; but we never wish to see him again in the sickly witless travesty of King John.

OLYMPIC.-This delightful little repository of elegance and fancy, has been nightly filled by overflowing audiences. The "Country Squire" has been revived, with a view to the introduction of Farren, in a character exactly suited to his bent. He is an astonishing fellow this same Farren, and, although always the same, he is still racy and full of flavour, and his richness increases as he grows older. Mr. and Mrs. Keeley have appeared in a new burletta entitled, “The New Servant." The former, though grown bulky after his transatlantic excursion, has lost nothing of his originality and simplicity; neither has Mrs. Keeley any of her naïveté and cheerfulness. Madame, as usual, is mercurial and debonaire, and Charles Matthews acts up to her with corresponding vivacity.

THE ADELPHI campaign has commenced its winter under the most favourable auspices. The house has been nightly overflowed, and all orders have been stopped until Power has cooled down to a half price' consideration. Louis's dramatic version of his "Rory O'Moore" is ill-constructed for the talents at this theatre. It is true that Power is as he should be, thrown into alto relievo, but Mr. Yates is left in the shade, and the whole is inferior to Buckstone's in regard to interest. The scenery throughout is beautiful, but the effect of the rising of the waters, in the second act, is hacknied compared with the clever mechanical changes we have seen exhibited at this establishment. The nautical pieces at this house have been so admirably got up in point of scenery, that Mr. Yates's audiences will not consent to any thing less than perfection. Miss Agnes Taylor is a novice; she is nevertheless a very sweet vocalist, and will no doubt, in due time, become an efficient actress. The "Pocket-Book" is a very serious and interesting drama, and the author is well supported by the excellent performances of Mr. Yates, O'Smith, and Lyon. We regret to hear that John Reeve is yet in a state that makes it doubtful how soon, if ever, he will resume his post by the side of his old friend Yates.

NORTON FALGATE.—Mrs. Honey has returned to town from Newmarket, and is good-natured enough to manage for Mr. Cockerton. This elegant little theatre opened on the 16th of October under the auspices of herself and her noble inamorato. Of what malady the fair manageress was indisposed, we know not. At all events the pieces first announced were deferred until her recovery on the 23rd, from which we date the beginning of the season. Byron's "Don Juan" dramatised by Milner and Stirling is the chief lion here, and a very good one too. Mrs. Honey displays her charms to advantage and her voice to disadvantage, as the rakish boy, and she is well supported by Vale and other subordinates of her establishment. Of the other pieces we know none that rises above insignificance.-But, most probably, they suit the confined capacities of the Shoreditchians, and, if so, why should we grumble?

After thus, in as brief a space as possible, describing the merits and demerits of the theatrical establishments that have just opened to the public, we might, perhaps, close the subject, if by so doing a great injustice were not done to Mr. Sheridan Knowles, who, at the Haymarket, has_produced the best piece that has graced the stage for many a long year. The first representation of "The Love Chase," was on Monday the 9th of October. Difficult as it is to sustain a great reputation at its height, the author of the "Hunchback" and the "Beggar's Daughter," has not disappointed us in this fresh effort of his mind. His delineations have lost nothing of their power, delicacy, or truth; there are the same fancy with invention and romantic grace, the same traces of deep feeling with the same frankness, strength, and simplicity, which bespeak how much he is at home and in earnest. The plot is exceedingly simple. Sir William Fondlove (Mr. Strickland) an old baronet comes to town with his daughter Constance (Mrs. Nisbett) a gay, volatile, and somewhat self-willed Beatrice, and here they are joined by Wildrake (Mr. Webster) an unsophisticated, downright, out-spoken country squire, who is so teased with the mischievous fun of the young lady his playmate from childhood, that he resolves to return at once into Lincolnshire. His friend Trueworth (Mr. Hemans), however, detects the true state of their feelings, and draws them out by pretending a passion for Constance and begging Wildrake to intercede for him, while a hint is given to the other party concerning the dangerous influence of a certain Widow Green (Mrs. Glover) to whom Sir William has made up his mind to propose marriage. The raillery of Constance at the attempts of her swain to metamorphose himself into a town gentleman, and her sudden repentance and misgivings for her wicked jokes are admirably managed. The dialogue is brilliant and lively, but withal high-toned, affecting, and natural. Perhaps the style is not always entirely free from an affectation of quaintness, and forced inversions of language, and occasionally a redundance of expletives;

but where the spirit and general treatment are so good it would be fastidious indeed to dwell upon these. We would rather fill up our small space with a specimen of the beauties, and there is scarcely any more to our fancy than the following in which the racketty neighbour Constance describes to neighbour Wildrake the pleasures of the chase.

To prove you master of the manage.

Now

You keep him well together for a space,

Both horse and rider braced as you were one,

Scanning the distance then you give him rein,

And let him fly at it, and o'er he goes

Light as a bird on wing.

Wildrake. "Twere a bold leap,

I see, that turned you, Madam.

Constance. And then the hounds, Sir! Nothing I admire
Beyond the running of the well-train'd pack.

The training's every thing! keep on the scent!
At fault none losing heart! but all at work!
None leaving his task to another! answering

The watchful huntsman's caution, check, or cheer,
As steed his rider's rein! Away they go!
How close they keep together! what a pack!
Nor turn nor ditch nor stream divides them-as
They move with one intelligence, act, will!
And then the concert they keep up! enough
To make one tenant of the merry wood,

To list their jocund music!"

Wildrake. You describe

The huntsman's pastime to the life!

Constance. I love it!

To wood and glen, hamlet and town, it is

A laughing holiday! Not a hill-top

But's then alive! Footmen with horsemen vie,

All earth's astir, roused with the revelry

Of vigour, health, and joy !—Cheer awakes cheer,
While Echo's mimic tongue, that never tires,
Keeps up the hearty din! Each face is then
Its neighbour's glass-where gladness sees itself,
And, at the bright reflection, grows more glad!
Breaks into tenfold mirth! laughs like a child!
Would make a gift of its heart, it is so free!
Would scarce accept a kingdom, 'tis so rich!
Shakes hands with all, and vows it never knew
That life was life before!"

But what profits it to extract from a play every part of which testifies a genius of which the literary world may well be proud?

We proceed with our description of the comedy, and that part of it which, according to our notion, has more truely poetic talents than any other. Interwoven with the main plot, is another in which Master Waller (Mr. Elton) is in love with the Widow Green's sewing-maid Lydia (Miss Vandenhoff), and we may be allowed to say, that it is a truely Shaksperian character, of impassioned feeling, and most delicate purity. Her low condition subjects her to an unworthy proposal from her lover, which she resents by taking leave of him for ever, at the same time that she admits her affection. Wallis's compunction for his ungenerous treatment of her is well expressed.

"She is in virtue resolute,

As she is bland and tender in affection.

She is a miracle, beholding which

Wonder doth grow on wonder!-What a maid!
No mood but doth become her-yea adorn her.
She turns unsightly anger into beauty!

Sour scorn grows sweetness, touching her sweet lips!
And indignation, lighting on her brow,
Transforms to brightness, as the cloud to gold
That overhangs the sun! I love her-Ay!
And all the throes of serious passion feel
At thought of losing her!-so my light love,
Which but her person did at first affect,

Her soul has metamorphos'd-made a thing

Of solid thoughts and wishes-I must have her!"

At the close we are treated with three weddings; Constance and Wildrake of course are the most interesting personages in one; Waller and Lydia figure in another;' and in the third the old baronet and the Widow Green are most ludicrously brought together. The lady, fancying that the visits of Waller to her house were the natural consequence of her own charms, had arrayed her matron-graces in bridal trim at the time appointed by him in a letter without a direction, intended for Lydia, but unhesitatingly appropriated to herself by the vanity of her mistress, into whose hands it had fallen. Finding a most unexpected and unwelcome reception from Waller, she seeks consolation in the proffered love of Sir William, who makes his appearance as a bridegroom, owing to an ingenious trick by which he had been cajoled into a belief that all the preparations had been made on his account, and required corresponding advances on his part only to effect the consummation he so devoutly wished.

Strickland played Fondlove with a degree of talent that induces the expectation of his becoming one day a first-rate old man actor. Mrs. Nisbett represented Constance with considerably more than her usual ability, and even Miss Vandenhoff, as if inspired by her author, strove to throw off the torpor and tameness which is her characteristic. The comedy was completely successful, and will no doubt become a first-rate stock play.

LITERARY NOTICES.

A periodical work devoted to the Picturesque and Romantic Scenery of the London and Birmingham Railway, has been some time in preparation, and will shortly appear. Each number will be illustrated by highly finished engravings on steel, similar to those in Roscoe's "Wanderings in Wales."

Miss Agnes Strickland is engaged in preparing for the press, under the royal patronage of her Majesty Queen Victoria, "The Historical Memoirs of the Queens of England from the Norman Conquest." This work, which is one of deep research, comprises the domestic history of royalty, for a period of nearly eight centuries, and will contain much new and important information relating to the manners, customs, and events, of the most interesting ages of English History.