those whose admiration for the poem has inclined | romance with the sober lessons of history. It is them, though they have not yet had the opportunity, to commit it to memory. THE ANNUALS.-We purpose reviewing the Annuals next month; meanwhile we extract a clever and sparkling poem from the versatile pen of the accomplished Countess of Blessington. It appears in the " Keepsake." "SOLILOQUY OF A MODERN LADY. BY THE COUNTESS OF BLESSINGTON. "How dull it is to sit all day, With nought on earth to do, Or little notes to write. How tedious in the park to drive, And see the stupid visages That there are always found; For dinner, dress in haste, Ilow vexing 'tis to have such tastes To still be sure to buy ; Then meet one's husband's surly glance How tiresome then at dinner too The dullest scene of all; Then find one's couch a sleepless one, FINE Enough to make one cry; THE STAR OF THE COURT. By Miss S. Bunbury, author of "Combe Abbey." (Grant and Griffith, successors to Harris.)-This is a charming little volume, combining all the fascination of a long since we have met with so appropriate a present for the young of her own sex as Miss Bunheroine of the work; and the author has shown no bury's memoir of Anne Boleyn, for she is the small degree of judgment and skill in handling a subject so fit for an example, and yet so difficult properly to treat. PAWSEY'S LADIES' FASHIONABLE REPOSITORY, for 1845.-(Longman.) Brilliant in scarlet and gold, and enamel, this is by far the handsomest pocket-book we have seen. Besides almanac memoranda, &c., it contains several fine engravings, and a vast number of enigmas and conundrums, some of the latter being really good. We cannot say much for the original verses, except that their quantity is more remarkable than their quality. Why not select gems of poetry, which are better worth repeating than the fresh effusions of mediocrity are worth printing? THE FUNNY ALMANAC, for 1845.—(Lover, Bolt Court.) There is certainly more than sixpennyworth of laughter in the "Funny Almanac." The sketch by Phiz of "Fire Insurances Expire," though probably suggested by Punch's statues going out of town, is really capital. CHRONICLES OF THR BASTILE, with Illustrations on Steel by Robert Cruikshank.—(Newby.) From the odd number of this work which has come before us, we feel sure it is one of no common power and interest. As may be imagined, no richer field for high-wrought romance could have been found than "Chronicles of the Bastile ;" though that the terrible must mix with it, is of course a painful matter-of-course. THE ORPHAN; OR, MEMOIRS OF MATILDE. By Eugène Sue; illustrated by Robert Cruikshank; translated by the Hon. D. G. Osborne. No. 1.-(Newby.) It is not easy from the first number of a serial work to predicate the tone and character it may afterwards take, and the present, with its clever illustration, is no exception to the general rule; we may, however, say, that the opening is most interesting, and we have sufficient faith in the power of the author to believe that it must be ably continued. We hope it may prove the sort of work which the English will be right in transferring to their own tongue. We are not quite sure of this matter yet. AMUSEMENTS OF THE MONTH. SADLER'S WELLS. Phelps and Mrs. Warner continue that great run of success and popularity which their efforts have so richly deserved. The production of the City Madam, and of the Lady of Lyons, has been greeted with the most tremendous applause. Both of these plays are too well known to require any comment on our part. The City Madam of Phelps and Mrs. Warner, is the Riches of Macready; and Sadler's Wells need not be ashamed to hold up its head beside any of the larger theatres. Indeed, we almost prefer Phelps to Ma cready in this part. Bulwer's beautiful play of the Lady of Lyons, with Phelps as Claude Melnotte, and Mrs. Warner as Pauline, was most powerfully sustained; and, as a natural consequence of such fine acting, the house is literally crammed every night. Several novelties are announced to be produced here, to which we shall devote ample space, as we are most anxious to support, by every means, this most creditable effort in favour of the national drama, an effort which richly deserves some marked public demonstration of approbation. DRURY LANE. (Mr. Buckstone), the clerk or servant of Littleton, is the sympathizing listener to his master's tale of woe, when the post brings a letter from the Yorkshire squire, somewhat unceremoniously rejecting an application which Littleton had made for a loan, and reproaching him with his extravagant habits. Littleton, like all spendthrifts, is mightily indignant that another person should be indisposed to part with his cash for the purchase of pleasures in which he has no participation, but probably abhors, and votes his brother a bore. Another visitor now appears upon the scene, in the shape of Lord Charles Roebuck (Mr. H. Holl), an old chum of Littleton's, and who has been some time absent from England. In the conversation that ensues between Lord Charles and his friend, we learn that the young nobleman is disinclined to the match which his father, Lord Pompion (Mr. Til Though since our last nothing new in the musical way has been produced, yet has the enterprising manager continued to supply a most varied round of popular operas; the Syren, the Bohemian Girl, the Sonnambula, Der Freischutz, &c., hav-bury), has provided for him in the person of a ing been given in rapid succession. Adele Dumilatre and Mademoiselle Plunket, the former perhaps the best French danseuse, not excepting one, who has visited this country, have been exceedingly popular in the very clever ballet of the Beauty of Ghent; which, with the Corsair and Revolt of the Harem, have been the afterpieces. A new tragic opera will have been brought out ere this is perused by the public, but too late in the month to give us an opportunity of expressing an opinion of its merits. We shall amply compensate for this next month. COVENT GARDEN. Monsieur Jullien's annual series of concerts commenced a week or so back, and they have hitherto been attended with that ample success which their moderate price, excellent music, and agreeable novelties so richly deserve. The bill of fare is nightly most rich and varied, and the performers are of the first order of merit. Mozart's grand Jupiter Symphony we never saw produced under more advantageous circumstances; while Jullien's real Polka is decidedly the best version of that popular air. We regret that this cheap and excellent musical entertainment will last for so short a period; but we invite all who love good music, admirably played, to avail themselves of this opportunity of being pleased, nay, delighted. HAYMARKET. A comedy, by the author of London Assurance, under the title of Old Heads and Young Hearts, has been produced here with very considerable success. The plot, or effect of the plot, is far less brilliant than that of its predecessor; though had it equalled in its latter portion the two first acts, it would certainly have been a sterling English comedy, and as it is it will do great credit to the author's reputation. In the commencement we are introduced to Littleton Coke (Mr. Charles Matthews), a briefless barrister, seated in his chambers in the Temple, and lamenting that he should have a wretched pittance of seven hundred a-year, so unequal to his ambitious desires, while his brother in Yorkshire, Tom Coke (Mr. Webster), is in the bland enjoyment of coal-pits and cash. Bob rich and beautiful widow, Lady Alice Hawthorn (Madame Vestris), and is, of course, rapturously the daughter of a peppery East India colonel in love with another, Miss Rocket (Julia Bennett), (played by Mr. Strickland), but who is in opposiheads together to circumvent the plans of the earl. tion to Lord Pompion. The young men lay their Lord Pompion desires his son to represent, and, Littleton is to go down to the borough which by this preconcerted and friendly opposition, to be returned-Lord Charles offering to help his friend to the hand and fortune of Lady Alice, if Littleton can aid him in obtaining those of Miss Rocket, a proposal to which, as may be expected, the briefless barrister has no objection. While in conversation, the two friends are interrupted by Bob, who alarms his master with the intelligence that two persons, whom he takes to be an attorney and a bailiff, are approaching. Exeunt, therefore, in great haste, Littleton, with his friend Lord Charles. The new comers, however, prove to be Tom Coke, who has come to visit his brother, accompanied by Rural (Mr. Farren), a simpleminded, well-meaning country parson, who has been tutor to both the brothers in their youth. Their object is to affect a reconciliation between Tom and Littleton, and to reclaim the latter from the error of his ways; but Bob, still under his misapprehension as to their real characters, uses sundry offensive epithets to both; and Tom, supposing this conduct to be the result of his brother's orders, indignantly retires. The next act brings us to the drawing-room of the Earl of Pompion, where we are presented to the Countess (Mrs. W. Clifford); and here all the principal characters assemble, and commence their several actions. Littleton pays court to the beautiful and eccentric Lady Alice, and succeeds in stealing her heart; then he poutingly, and like a sulky, underbred school-boy, rejects the advances for a reconciliation which his brother, who is a fine, frank-hearted, manly fellow, makes towards him. Tom also falls in love with Lady Alice, and thus all parties are at cross purposes. But at this point we must abandon all hope of unravelling the plot, or following up the incidents which lead to the denouementnamely, the marriages of Lord Charles with Miss Rocket, and of Littleton with Lady Alice-for any attempt at describing the mysterious means by which these events were brought about could only reduce our readers to the same hopeless state of bewilderment with which we contemplated them, Something there was of a double elopement, semipolitical, semi-matrimonial, with the heroes disguised as grooms and postilions-of a paragraph in the Morning Post, announcing the elopement, indeed correctly, but attaching each lady to the wrong gentleman—of Littleton being returned for Closeborough by a great majority over Lord Charles, but for what purpose we could not see, nor by what means comprehend; and all the confusion occasioned by the simplicity of poor Rural, who goes about with the best intentions possible, interfering, apparently without knowing it, in everybody's business, wishing to make everybody happy, but dreadfully discomposed at last, on finding that he has made everybody miserable. Tom Coke is the best sustained and most complete character in the play. He has singleness of purpose, honesty of mind, and nobleness of heart, and yet he is disappointed in his affections; for Lady Alice prefers his brother Littleton, a selfish, ill-conditioned fellow. The applause was perfectly uproarious. We shall again see it, and may then perhaps give a better opinion of its merits than we can from the stormy excitement of a first appearance. PRINCESS'S. This admirable little theatre continues every night to enjoy the privilege of drawing crowded houses, and deservedly; the entertainments being of the most popular and amusing character. The variety too is singularly great. The Widow Bewitched is a most amusing and clever production, full of capital hits and good situations. The plot is slight, and perhaps flimsy, but being acted with great ability, especially by Mrs. Stirling, was completely successful. Mr. Lorimer (Granby), for some unexplained reason, is obliged to quit England, and spread a report that he is dead; his wife is consequently supposed to be a widow. Clement Furnival (Walter Lacy), a young lawyer, has been paying his addresses to Arabella (Miss E. Honner), but attracted by the superior charms and accomplishments of her aunt, Mrs. Lorimer (Mrs. Stirling), he transfers his affections to the latter lady. The niece discovers the infidelity of her lover, and quarrels with him. At this stage of the affair the widow's husband returns, and becomes rather uneasy at finding Clement Furnival established on such a familiar footing in the house, while the young lawyer, imagining from the easy appearance of the stranger that he is also a candidate for the widow's hand, tells him frankly that he is himself in love with Mrs. Lorimer, and that any one who disputes the prize with him must fight him. Lorimer, though he acknowledges his passion for the lady, declines this barbarous mode of deciding their pretensions, but purposes that each shall honestly confess the encouragement that he had received from the widow, and upon which he had presumed that he was the object of her tender regards. Furnival consents, and relates various circumstances which his vanity had construed into indisputable proofs of the lady's attachment to him; the husband, however, trumps every card played by the lover, by disclosing some stronger mark of Mrs. Lorimer's affection for him. The lover at last describes a scene in which, according to his belief, the widow has tacitly admitted his intrusions. They were alone in the library, Furnival was reading to her some tale of romance until the clock struck twelve; "Then, sir,” said he, “I arose, took down my hat and departed." "And I," replied the husband, "on similar occasions, hung up my hat, and remained." This candid avowal fills the young lawyer with indignation, and he insists upon the calumny upon the honour of the purest of her sex being instantly recanted, which produces an acknowledgment from Lorimer somewhat in the manner of that rendered to Laura's cavalier, in Byron's poem of " Beppo." "Sir," quoth the Turk, "'is no mistake at all, That lady is my wife!" Lorimer, in order to extricate himself from the dilemma in which he has placed himself, now declares that he is ready to renew his allegiance to Arabella, and marry her. And here the piece might have been judiciously terminated, but fresh entanglements are produced by Mrs. Lorimer planning to punish her husband for his groundless jealousy, and Furnival for his vanity and fickleness. This she effects by causing Arabella to write a letter to her faithless swain, which is so ambiguously worded that he imagines it comes from Mrs. Lorimer, and instantly relapses into his adoration for her. The tangled plot is, however, cleared at length; the gay deceiver is obliged to return to his old love, and the delighted husband finds his wife to be a pattern of virtue for all widows bewitched. Don Casur de Bazan, which the sterling careless humour and the native under-current of feeling displayed by Wallack have rendered so completely successful, continues nightly to receive the utmost applause. Perhaps it is the very best drama which France has produced for many years, and the version here given is, by far, the most effective, as well as the best acted. After this, a very capital ballet, The Enchanted Bell, has been nightly applauded. We never saw a ballet supported by more superb and admirable scenes. The illusion is perfect, and great credit is due to the talented artist. A comic opera, The Four Brothers Aymon, has been very well received; as also Prediction-a new version of Satan. LYCEUM. The irresistible Keeleys continue to draw crowded houses, and to excite roars of laughter. To Persons about to Marry, and A Trip to Kissinger, are the only novelties, if we except a very ineffective spectacle, The Seven Castles of the Passions, which may be put aside at the earliest opportunity with advantage to the management. The light pieces, however, are happy in the extreme. STRAND. The Knight and the Sprite; or, The Cold Water Cure-of which the plot is as follows-has been FASHIONS FOR DECEMBER. 381 Miss Farrell, whom we discovered a short time ago at Margate, has made her appearance in the metropolis among the "Histrionics," at St. James's theatre. She had little to do, however, in the poor little part of Kathline in the Poor Soldier, and we hope to see her on a more bustling stage. She has a spendid figure, and a pretty Irish face, brimming over with droll smiles, that evidently gush up from the heart. She has an accurate knowledge of stage business, which gives her an air of perfect self-possession; and her voice, although it still wants some drilling, is both sweet and powerful. FASHIONS FOR DECEMBER. singularly successful. Sir Hildebrand (Mrs. Wal- | The improbability of the plot is nothing; it tells ter Lacy), the lover of Bertilda (Mrs. Coleman well, and that is the great consideration. Pope), an old baron's only daughter, whose heart and hand are also coveted by Sir Florian (Mrs. Montgomery), travelling to execute some difficult enterprise by his lady love's desire, is obliged to take shelter during a heavy shower of rain in the cottage of Jan Tickletroutz (Mr. R. Romer), an old fisherman, and his frau (Mrs. C. Melville). There the knight sees and falls over head and ears in love with Ondine, the fisherman's adopted daughter, whom he had found an infant exposed on the beach on the very day that he had lost his own child. Sir Hildebrand marries Ondine, and returns to his father's hall," accompanied by his bride and Dabblehorn (Mr. H. Hall), a being described as "half demon half Dutchinan," who acts as a kind of protector to Ondine. Meanwhile Bertilda, deserted by one lover, is bestowing her hand upon Sir Florian, when an awkward revelation is made by the demon that the lady is Rue du Faubourg St. Honoré, not the daughter of the baron, but of Tickletroutz, à Paris, November 24. the fisherman, which causes the match to be broken off. Sir Hildebrand, now a wedded The aristocracy of birth, as well as that of man, begins to neglect his wife, and essays money, are beginning to return to Paris, but as "particular attention" to his former love, Bertilda. yet slowly. In a few weeks more the season will He invites her to accompany him on a marine be fairly opened, and Paris will exhibit more than excursion in the Lily steamer, of which Dabble- its usual splendour, for the marriage of the Duc horn acts as captain, and this personage being d'Aumale is expected to be celebrated by a number convinced of the infidelity of Sir Hildebrand to his of public fétes. We have more than usual variety in Our promenade costumes, particularly in mantles; lawful spouse, causes the steamer to sink with all The I have sent you some of the most novel. I her passengers to the bottom of the sea. cold water effects a sudden improvement in the may cite also the manteaux russes, composed of morals of Sir Hildebrand, who upon the appear- velvet, and lined with white satin. They are the ance of Ondine on the deck of the steamer, smallest of the fashionable cloaks, and are worn returns to his matrimonial allegiance, and is only in carriage dress, or for an evening wrap. A instantly transported by her to her private residence good many are trimmed with grébe. The furriers in the "well known Caves of Coral," Bertilda, are striving to bring their fur again into vogue, but Sir Florian, and the fisherman and his wife, being I don't think they will be very successful. sent up by a special conveyance to their former Several satin mantles have a velvet pelerine dequarters. The fiend Dabblehorn was admirably scending as low as the waist behind, drawn in so played by Mr. H. Hall; it was a bit of genuine as to form a very small jacket just at the back; it burlesque, and told immensely. His imitation of descends in the heart form in front, and is laced O. Smith when he first rises through the stage, on the shoulders, so that sitting close to the and his song to the nigger air of "Old Dan shape it forms it very gracefully. The manteaux Tucker," were loudly applauded. Mr. Romer mantelets, also composed of velvet, and lined with also made the part of Jan Tickletroutz very funny satin, are just introduced; they are made open at by the grave drollery of his pantomime. Mrs. the sides, and laced, as are also the sleeves, which Walter Lacy's part could hardly be termed bur- are very large. A new kind of passementerie is employed for the lacing, but the round of the lesque; she played it with great taste. mantelet is always trimmed either with fur or an embroidery in chenille. The manteau d'Aumale may be either of velvet or satin; if the former, it is lined with satin; if the latter, the lining is either gros de Naples, or peluche de soie. It is made to the shape at the back, straight, but not very wide on the bust in front, with a deep falling collar of fur; the round of the mantle, and the sleeves, which are very large, is bordered to correspond. Ermine is employed for velvet, and sable for satin cloaks. The paletots of the form described in my last, are more than ever in vogue. Mantles are all made with sleeves : some have very large ones, others are only of an easy width; that depends on the fancy of the wearer. Mantles have lost nothing of their width at bottom, but they are narrower than last year at ADELPIII. The Mysterious Stranger, which is as far superior to Prediction at the Princess's, as their Don Casar de Bazan is to the Adelphi's, has drawn night after night with unabated interest. It is a most effective piece, and the gentlemanly acting of Hudson, the mysterious doings and disguises of Madame Celeste, and the rich humour of Wright, give it double zest. The appearance of Madame Celeste as Satan, first in the disguise of a Paris dandy, then a ball-room belle, then a French boy, then as a Chinese princess, then as a creole officer, and lastly as a very pretty woman, was singularly pleasing to the audience. The fright of Wright at his contact with is very rich, while Celeste acts with her usual talent. the top; the lengths remain much the same; none of those made quite long have yet appeared. The trimmings are velvet, passementerie, velvet lace, and fur. and capotes are of various kinds; roses and dahlias predominate among the home flowers, but we have a great variety of exotics, particularly those from Algiers, and a great number of fancy flowers. Never was comfort so much attended to in indoor dress as at present. The robe de chambre t an élégante, whether composed of an expensive or a cheap material, is always of a warm texture. The most elegant are of Lampos royal, or cashmere, lined either with silk or satin; the lining quilted down the front, and generally forming rouleau round the robe: the most novel are made with a collet roulant; it may either be buttoned quite up to the top, or left open as low as the The only change that has yet taken place in the forms of chapeaux and capotes is a little rise in the crowns of the former, and something of additional depth in the back of the crowns of each, so that they descend lower on the neck. The materials are the same as when I wrote last, but velvet is still more employed, particularly for the promenade. Black lace is very much in vogue, especially for capotes. White lace is equally fashionable and more distingué, but it is confined to half-dress. A good many black velvet cha-waist, forming a shawl pelerine of a larger or peaux have the exterior decorated with an smaller size according as it is buttoned. Hitherto intermixture of black lace and ribbon only; the lace the under dress with a robe de chambre has been is arranged in a chou on each side of the bottom either muslin or cambric, both have now given of the crown, upon a torsade of ribbon shaded in place to a new robe de dessons; it is composed different shades of red upon black; a ruche of of cachemire d'Ecosse, and called a soutamelle; ribbon issuing from each chou forms an arch in they are made high with manches Armads. the centre of the crown, and the torsade is termi- and have neither ceintures nor casings to mark the nated at the back by a knot with floating ends. shape; the only trimming is a row of small buttons The interior of the brim is decorated with small from the top to the bottom. Wadded pelisses, of red flowers corresponding with one of the shades douillettes, are sometimes substituted for robes de of the ribbon. Other chapeaux intended for the chambre, and may be adopted in promenade dress promenade have the exterior ornamented only with the addition of a shawl; àpropos of shawls, with a rosace of the same velvet as the chapeau, the cashmere still keeps its ground. But whether but the brim is always lined with satin of a strik- the early morning deshabille is a robe de chambre, ing hue, and the interior trimmed with flowers of or a douillette, a cap must be adopted with it, no a small size and a more delicate hue than the matter how juvenile the wearer is, if married. The satin. Ostrich feathers of the colour of the chapeau, bonnet Breton is the last novelty; it has a small or a lighter shade of the same hue, disposed in the caul and a very broad head-piece, which descends same manner as the figures in your first plate, are on each side in a square demi barbe; a Valen also much in request. Some of the velvet half- ciennes edging is set on with very little fulness dress capotes are decorated with two ostrich feathers, round the head-piece; there is no bavolet. A more either white shaded with the colour of the chapeau, dressy and, in my opinion, much prettier style of or else of that colour; one is inserted on each side cap, is composed of embroidered muslin; it is of the crown in a wreath of thistle blossoms which made long and rounded on the cheeks; the headencircles the bottom of it. Some chapeaux have piece is trimmed with four rows of Valenciennes appeared a day or two ago with velvet crowns, and lace set on with very little fulness, and parted the exterior of the brim composed of an intermix- small coques of narrow satin ribbon; a band of ture of satin and velvet forming lozenges; the in-narrow ribbon encircles the small low caul, and is terior of the brim is ornamented with coques of ribbon à la mancini; the exterior is decorated with ribbon and a long willow plume; both are shaded in various tints of the colour of the chapeau. Half-dress capotes are mostly of satin or velours épingle. Feathers are more in request than flowers for half-dress chapeaux, although the latter are also a good deal employed. Flowers and lace decorate the majority of the capotes, but a minority of the most elegant are adorned with feathers. The saules ondes are new willow plumes, shaded in the colour of the bird which serves as a base to the feather: the saules follettes multicolores are shaded in a variety of hues: the follettes mouchettées de paon are spotted in imitation of peacock's feathers; and the most novel of all, the plumet Darius, is a melange of marabout and vulture's feathers. Birds of Paradise in one or two light panaches shaded in the most delicate colours, and the plumes d'Argus sparkling in blue or emerald green upon black, were favourites of the mode last season, and are not less so at present; nor has the stately ostrich and the light marabout plume lost any of their vogue. Flowers for chapeaux tied in floating ends behind. Robes, even in half-dress, continue to be made high, and close corsages are, I think, becoming more general, though they have not by any means displaced those opening in front; but the latter are so close as to display very little of the em broidery of the chemisette; sometimes it is only the lace, with which some chemisettes are trimmed down the front, that is visible. The corsages à revers continue their vogue; some that are made a three quarter height behind are rounded in front in the heart form, and the ends of the lappel meeting on the bosom descend in a sharp point. A good many are made with a small close jacket, which adds much to the elegance of the shape. It is said with some degree of confidence that demi large sleeves will again become fashionable this season, and some few I know have already appeared; but tight ones are in a very decided majority; even those of a three-quarter length, worn over muslin ones, are merely easy, but not wide, with the exception of one, the manche à la bonne sœur. Tight sleeves continue to be a good deal omamented; the one terminating in a point falling |