378 THEATRICAL INTELLIGENCE. 



would be assigned to the above artists, their absence created not a 

 vacuum. Bellini's Opera of ' Straniera' was the opening novelty, 

 which has been succeeded by the ' Beatrice di Tenda' of the same 

 composer. They are decidedly inferior to the soiiUinspiritmg pro- 

 ductions of Rossini, whose style is occasionally trespassed upon, but 

 they afford a relief to the monotonous hold so justly sustained at this 

 Theatre by that eminent genius. The opera of ' Straniera is a ver- 

 sion of the English Stranger, and the ' Beatrice' bears a close sem- 

 blance to the well-known opera seria of Anna Bolena. The story is 

 made up of jealousies, false affections, and unjust executions. The pre- 

 sence of Majesty sanctioned the first night of its production and con- 

 firmed its success. Since then, the opera has been repeated with in- 

 creased effect, and will no doubt constitute the entertainment of many 

 a future evening. We are promised much in the way of novelty 

 and first-rate ability after Easter, which promise, if realized, will 

 ensure the most successful season foe many years. The Ballet is at 

 present in its infancy, Varin, St. Romain, M. Couston, and M. 

 Guillet, are the leaders of the troop. General Perrot will shortly 

 take command assisted by his forthcoming Aid de Camp, Mile Grisi, 

 sister to the syren of that name. — Tempus Monslrat. 



Drury Lane. — From Monday to the week's end. The Jewess! — 

 The Jewess! ! Chevy Chase ! — Chevy Chase! \ — Zampa ! Zampa!! 

 Does the altered public taste require in dramatic representations so 

 much pomp and pageantry, such clangour of arms, such storming of 

 castles, such prancing of horses, such cataracts, such earthquakes, 

 such commixture of heterooreneous matters as have for a longf time 

 constituted the bill of fare of this National Theatre ; or has the judg- 

 ment of the public become so corrupted or depraved by feeding so 

 long on such unwholesome food that, like the physical pampered ap- 

 petite, it rejects the flavour of simple and congenial nourishment? 



We think that a well-founded admixture of scenery with dialogue 

 is absolutely necessary for the success of the drama. In a theatre, 

 the eye as well as the mind must be fed ; for, if the latter be too co- 

 piously supplied with even the best and purest matter, it flags and 

 tires — it cannot digest so fast as when in the quiet recess of the closet, 

 where it has time and leisure to reflect on the amplifying texts pre- 

 sented to its undivided attention. Many of the plays of Shakspeare 

 are, therefore, not altogether capable of being well adapted for the 

 stage. They require a stronger mental exertion than a mixed au- 

 dience can possibly devote to the comprehending their numerous and 

 varied beauties. One line alone will often afford matter for an hour's 

 thought. It is for this reason that the plays of Othello, King Lear, 

 &c., fail of giving general satisfaction, even when assisted by the ta- 

 lents of a Kean or a Macready. On the other hand there is a dan- 

 ger in running into the opposite extreme. Without an admixture 

 of heart-stirring instructive dialogue, and well-connected plot, the 

 splendid scenery becomes mere childish baubles, and the theatre, 

 instead of being a school of combined amusement and instruction, 

 and the vehicle for inculcating some moral lessons, becomes a peep- 

 show for matured children and a medium for administering to the 

 worst pa'ssions and prejudices of mankind. Wt; cannot help thinking 

 that such exhibitions are infinitely behind the spirit of the age. 



