"knight of the knuckle" bear in mind that the best way of ensuring success is to deserve it. Let one and all show by their manly bearing and private worth that the character of a pugilist of the present day may be as untarnished as that of one of bygone times; and may every Englishman, of high or low degree, join in the honest sentiment, "Success to British Boxing, when conducted upon Honest and Honourable Principles."

ENGRAVED BY E. HACKER, FROM A PAINTING BY C. B. SPALDING,

Of shelties, gillies, braes, and glens,

We Southrons now have sure had plenty ;
Of Mac's, and Lairds, and Lochs, and Ben's
And "stags of ten"-if not of twenty-

Of stalking being the noblest sport
You'd see, sir, in a summer's day;

Of Atholl's being the only sort

Of hound to bring a hart to bay

Of strength, and nerve, and hand, and eye,
How each must be in letter A, one;
Or vain the "lowly" lout who'd try
His luck-he'll never slay one.
Horse-breaking heroes Homer drew,
House-breaking ones now volumes fill ;
The grandest far though, in the dew
Like Norval, climbs the Grampian Hill.
A gallant youth, of noble race,

With graceful mien and manly make,
And clansmen true, and hounds a brace,
His pleasure in the woods will take."

See Scrope-all ye the fact who shirk,

And breathe, through him, the mountain air

John Murray publishes the work,

The preface dated, "Belgrave-square."

And as Scrope writes, so paints Landseer,
Thus furnishing joint expositions

On one grand theme of dog and deer-
See article, The Exhibitions."

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And Mr. Spalding takes the hint,

And Highland life depicts once more;

And Mr. Public "proves" the print

So dog and deer again encore !

PUBLIC AMUSEMENTS OF THE METROPOLIS.

"Our scene precariously lasts too long
On French translation and Italian song;
Dare to have sense yourselves; assert the stage;
Be justly warmed with your own native rage:
Such plays alone should win a British ear,
As Cato's self had not disdained to hear."
PROLOGUE TO CATO.

The English are proverbially a good-natured people. However bad the treatment their own countrymen may meet with in foreign lands, they, far from paying in their own coin any one of the numbers who have migrated from such countries where the English have met with anything but courtesy or fair dealing, invariably return good for evil. This is strikingly illustrated in things theatrical. English dramatic representations have been forbidden in France; English singers have been compelled, after French managers have subjected them to petty annoyances and innumerable incivilities, to return to their native home without exercising their talents in those French theatres, the directors of which have violated their engagements in the most flagrant, scandalous, and contemptible way. The other side of the picture exhibits foreign artistes returning to their homes, after a visit to John Bull, with purses crammed to an overflowing with British gold. We are far from thinking that we should not hold out the hand of encouragement to foreign talent; but really we think it anything but right, reasonable, fair, or proper, that all our theatres should be inundated by foreigners, to the entire exclusion of native talent. The British metropolis for some time past has fostered two Italian Operas, a French theatre, and a French equestrian troupe; but, even with all these raging

46 The cry is still, They come.'"

66

In a few days, the companies of the Théâtre Historique and of the Opera Comique will be added to the list of foreign artistes already in England's capital. This is French invasion with a vengeance. The company of the Théâtre Historique may realize some profit by their trip, but we should imagine the result will show anything but a fortunate speculation. The representations are to consist of Monte Christo," "La Reine Margot," "Les Trois Mousquetaires," &c. Each piece will take two evenings to be performed. Pleasant prospects for dramatic critics, whose fate is sufficiently severe without being thus so frightfully added to. As perchance Dumas will superintend the enactment of his own productions; he may be induced to favour a British public with their own poets' works improved, as in the instance of Hamlet, aitered by the veritable Marquis Davy de la Pailleterie.

At HER MAJESTY'S THEATRE the Lucia of Lind may be mentioned as a highly satisfactory performance. Still, with all the success which

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has attended her impersonations, there is great difference between her attraction of the two seasons. Last year numbers paid high prices to hear the artiste whose fame had been wafted from afar; this year tickets of admission merely realize their ordinary value. People have discovered that there are other singers whose pretensions are equally powerful. We will pass over the failures of Tadolini in Linda, and of Gardoni in Edgardo, to express our opinion of the sorry usage Mr. Sims Reeves has met with at this house. At the time an engagement is made with this gentleman, he is made to distinctly understand that he should fill the leading tenor parts: on this understanding, he consents to fill a minor part in Linda. After his great success in this part, he finds the manager, in direct variance with his promise, gives the character of Edgardo to Gardoni-an excellent singer in his way, but totally unfitted for that character. Mr. Reeves then very properly and indignantly throws up his engagement. Many endeavour to excuse Mr. Lumley for thus maltreating Mr. Reeves, averring that the manager was compelled by Mademoiselle Lind to act in this disgraceful manner, she declaring that she would not appear in Lucia if Mr. Reeves were put up' in Edgardo. This certainly ill accords with the character for all that is gentle, good, and amiable, so generally ascribed to the Swedish songstress. Be it as it may, there is no doubt a strong determination on the part of the foreign clique in the Haymarket to plot, plan, devise, and concert measures against, and throw every imaginable obstacle in the thorny path of this talented Englishman's successful professional career. But if an English public quietly and passively submit to this disgraceful and unjustfiable treatment of their own countryman, never let it be more supposed that an insult to their taste and feelings will be properly resented. Activity is the order of the day at the ROYAL ITALIAN OPERA. Norma, 66 Favorita, Lucrezia Borgia," "Cenerentola," "Sonnambula," have been given since our last. Grisi is as great as ever in Lucrezia," and "Norma." No rival can snatch the laurels that have so long and deservedly adorned her brow. Alboni vocalises in the same sweet and delicious manner that signalized her exertions of last season. As for Mario, his notes really appear to be more charming than ever. The directors have outdone all their former efforts by placing on the stage in the most perfect and complete form the new ballet divertissement, in two tableaux, called "Nirène; ou, Les Sens." The mise en scene must be described as beyond all comparison faultless; and satisfactorily convinces the beholder of the vast amount of taste of the designer (Mr. Frederick Gye), and of the artistic skill of the painter (Mr. Grieve). The last tableau, with no less than three hundred coryphées on the scene, is perfect poetry of scenic display. In this grand fète des fleurs Melina Marmet conspicuously figures in the pas de danse, and, by her great ease and perfect pliancy of limb, holds out an assu rance of being awarded some day a place in the front rank of the terpsichorean troop.

Charles Kean and his wife are fulfilling a second engagement at the HAYMARKET; much to the satisfaction of numerous audiences, and greatly to the profit of the deserving manager, whose exchequer is considerably benefited by the performances of the Keans. Their popularity is anything but on the wane. A new drama is announced; and it is said that Mr. Lovell will produce a new play for Mr. and Mrs. Kean,