the memory of Manzoni, and the work will be soon produced at one of the churches in Milan. Five composers have coalesced to produce a new opera in Florence, called L'Idolo Cinese.' The King of Italy has named Signor Lauro Rossi, Director of the Naples Conservatoire, Commander of the Crown of Italy. Signor Luzzi's new opera, 'Tripilla,' has been successful at Novara. Signor Lauro Rossi has been fortunate at the Teatro Regio, in Turin, with his setting of M. Sardou's 'Patrie,' under the title of 'La Comtessa di Mons.' It has met with the greatest success. Signor Nani's new opera, 'Zorilla,' has been favourably received by the amateurs at Malta. THERE will be a short series of Italian operas in Vienna, beginning on the 4th of March, the Russian season being terminated. The artists will be Mesdames A. Patti, Scalchi, Barnardi, Signori Nicolini, Stagno, Gayarre, Cotogni, Mendioroz, Foli, and Zucchini, with Signor Arditi as conductor.

SEÑOR MARIANO OBIOLS, a Spanish composer, has produced an opera, 'Editta,' in his native city, Barcelona, at the Liceo, with decided success.

SIGNORA RUBINI, the widow of the famous tenor of that name, and who was once prima donna at the King's Theatre, has died in Milan. She was French by birth. Adelaide Chomel was born in 1794, and was a pupil of the Conservatoire in Paris. Her large fortune has been left to found charities for the support of decayed artists.

DRAMA

THE WEEK.

COURT.-'The White Pilgrim,' a Play, in Three Acts.
OLYMPIC.- Much Ado about Nothing.' Revival.
COVENT GARDEN.-Rip van Winkle,' a Play, in Two Acts.

NORTHERN mythology and northern lteds have supplied little to the dramatist. Early German and Scandinavian legends are, as a rule, wanting in passion. The part played in them by woman is so slight, there is scarcely a possibility of extracting from them adequate dramatic motive. Nor is there in the knightly

prowess, so closely allied to barbarism, which they depict anything to compensate for the absence of love interest. Goethe protests against the notion that anything can be gained from "these old German gloomy times," any more than from "the Servian songs, and similar barbaric poetry." In passing through the hands of the Baron de la Motte Fouqué, these legends lose their ancient character without obtaining in exchange anything more valuable than a Teutonic sentimentality, which may please for a time, but before long grows inexpressibly wearisome. Fouque's heroes are, as Heine says, “all armour and sentiment, without body or reason." In choosing accordingly as the subject of a play one of the Scandinavian stories of La Motte Fouqué, the authors of 'The White Pilgrim' have ventured on difficult and dangerous ground. They have, it is true, chosen the most striking, and, after 'Undine,' the most poetical of his writings, and have imparted to it a dramatic strength and consistency altogether outside the power of the author. The influence of the original constantly, however, asserts itself, and the whole remains confused and

nebulous.

between death and the arch fiend, the latter
tempting him to crime by means of Gabrielle,
the wife of a Norman knight visiting at his
father's castle of Drontheim. In the end death
triumphs, and the fiend, after showing himself
no more dangerous in combat than he proves in
monastic legend, where every tenth-rate saint
takes him by the nose, retires discomfited.

Re-shaping and re-arranging this legend, and
giving it a dress of blank verse, the authors of
The White Pilgrim' have produced from it
a play of genuine merit. The original scene
and date are preserved, the action passing in
Norway at a time shortly subsequent to the
first planting of Christianity. Harold, the
hero, suffers not for the action of his father,
but for his own weakness in repeating an oath
which, uttered by one of his ancestors, has
brought a dread visitation upon the family.
Thordisa, who answers to the Verena of the
original, is his betrothed, and not his mother.
She has obtained from him a pledge to espouse
the doctrines in which she believes, the reward
being the promise of her hand. Pledges given
in answer to bribes of this kind are not,
ordinarily, too binding, and Thordisa has not
long departed upon a pilgrimage she is, un-
fortunately for her lover, compelled to under-
take, when the restraining influences of the new
religion cease to prove efficacious. Goaded
by the jeers of the Pagan knights around him,
Harold professes himself ready to dare any-
thing his ancestors have dared. As a result
of the vainglorious boast, he sees himself
compelled to take the dreaded oath of King
Olaf, to slay with his own hands the first
Norman that shall set foot in his castle. He
consoles himself with the thought that for
years no Norman has been heard of in the
country. Before, however, the fatal words have
well been spoken, the roll of the thunder

belongs neither to the Christian creed, as
accepted in these days, nor to any form of
Gothic mythology. Such ideas can be traced
in the worship of Southern nations, but have
never originated or been accepted in the North.
Something may be pardoned to authors in
their treatment of supernatural machinery. It
is a mistake, however, to place words in the
mouth of a spectre of this class. Death is not,
like the Ghost of Hamlet or like the Witches
in Macbeth, a being that has at any period
of its existence belonged to the earth it
visits. It is a purely ethereal and unsubstan-
tial being, into whose mouth it is next to im-
possible, even after the example of Milton, to
place human words.
A noiseless presence
would have proved ten-fold more impressive.
A mixture of Pagan with Christian references
in the speech of the general characters may
be accepted as appropriate and even charac-
teristic in a period of religious transition.

The language is meritorious without being eminently poetical. It wants the refluent music, without which blank verse is an inferior medium to prose, but it is correct and easy, and is not wanting in epigrammatic point.

The representation left much to desire. Mr. Hermann Vezin as Sigurd, a Pagan knight, alone among the performers spoke the verses with full knowledge of their value. So conventional is the character, however, his acting, always impressive, and at times full of fire, could not render it acceptable. There is nothing characteristic in the villainy of Sigurd, and the words in which he describes his reasons for hating the Norman knight may be accepted as characteristic of the whole race of villains in poetic drama :For his youth And for his fairness, as I hate the world, The light, and whatsoever power it is That brings such men as I am into being.

Mr.

George Rignold looked the beau-ideal of

The

a Viking, and his bearing had a rough energy, in keeping with the character. Miss Moody looked eminently saintly as Thordisa, and displayed at times some exaltation. delivery in most of the characters was inadequate, however, and in some cases was decidedly detrimental to the chances of the play. Much pains had been taken with the mounting; the scene in front of which the action passes being admirable in all respects, except that the sea has the blue of a Southern gulf rather than the grey green of a Northern

and the apparition of the White Pilgrim they
have the power to conjure, mark that hell ac-
cepts and ratifies the contract. A horn is wound
at the gate. A knight and lady enter, de-
manding shelter, and, being asked from what
part of the world they come, respond "from
Normandy." With this situation, which is
dramatic and effective, the first act ends.
What remains is flimsy to support the two
remaining acts. Sir Hugo and Lady Isabelle
answer to the Folko de Montfaucon and
Gabrielle of the original. The spell of Isa-
belle's beauty blinds the eyes and hardens the
heart of Harold, and his oath would, but for
the return of Thordisa, be carried into effect,
'Much Ado about Nothing' has been re-
as the best means of getting the lady into his
power. With her re-appearance, however, the vived at the Olympic, with a mise en scène that
In leaves nothing to desire. In this case again
better nature of Harold re-asserts itself.
the ignorance how to speak verse interferes to
the end, the knight and lady are allowed to
depart, and Harold, supported by his betrothed, spoil the enjoyment of a performance in which
there is much to commend. Mr. Neville
faces the death which is the penalty of non-
fulfilment of his vow. Sanctified and re-
makes Benedick a soldier-like and animated
deemed accordingly by the new religion, he
dies, and Thordisa after a passionate but vain
appeal to the White Pilgrim to spare him,

shares his fate.

Slight as this is, it is moving and not un-
dramatic. There is, however, a want of per-
vading idea running through the whole.
Various mythologies are strangely confused.
Death presenting itself as the healer, the
peace-maker, bringing

Home to the homeless, to the friendless friends;
To the starv'd babe, the mother's tender breast;
Wealth to the poor, and to the restless, rest,

fiord.

lover, Miss Fowler interprets Beatrice with
sprightliness and intelligence, and Miss Marion
Mr. Righton as Dog-
Terry is the ideal Hero.
berry and Mr. Anson as Verges convey, with
fair effect, the traditional aspect of these cha-
racters; and Mr. Vollaire, Mr. Fisher, and Mr.
C. Neville give a certain idea of their respective
parts. Except in one or two cases, however,
the lines are marred in utterance.
fair to young actors to ask them to deliver
such verses as those in this play. Without
either training or practice they are sent to
discharge a duty which taxes the best and

It is not

most practised actor. On the whole, our marvel is less that there is so much to deplore in a modern interpretation of Shakspeare than that there is so much that can be regarded without offence.

A new version of 'Rip van Winkle,' in which Mr. Rice has appeared at Covent Garden, is more melo-dramatic than that in

which Mr. Jefferson made his well-known début at the Adelphi. Rip's wife is slain by the goblins, and Rip, on his return, is taxed with her murder. These and other alterations detract from the value of the story. Mr. Rice has not much humour: he has force, however, and his make-up is capital. It is probable that he would, had he chosen a part inviting less formidable comparison, have obtained a distinct recognition from the press and the public.

Dramatic Gossip.

A COMEDY, based upon 'Le Voyage de Monsieur Perrichon,' now being performed by the French company at the Holborn Theatre, has been accepted at the Haymarket Theatre, the principal part in it being intended for Mr. Buckstone.

'LES MERVEILLEUSES' of M. Sardou has been withdrawn from the Variétés with a haste that speaks of complete failure, and has been replaced by La Petite Marquise' of MM. Meilhac and Halévy. This is a free sketch of Parisian manners, owing much to the interpretation, by Madame Chaumont, of the principal rôle. M. Dupuis plays a husband, erudite and foolish, and M. Baron a young lover. 'Garanti dix Ans' is the title of a farce which has been given at the same house, and

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"But now and again among such volumes one appears opening an uncut page of the history of earth itself-a great book,
revealing regions and facts quite unknown before. These, which in the nature of things are very few, must not be confounded
with the lighter sort; they are marked events of geographical science, and ought to be treated with as much respect as marked
events in the political and social world. For such a reason we transfer to this portion of our columns our notice of the
remarkable journeys lately made by the German Doctor. Georg Schweinfurth, in a portion of Africa heretofore unknown. It
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prodigious collection of precious novelties in the botanical way, which Germany now possesses; but he was also an entomologist,

an artist, a chemist, a sportsman, and everything else which a traveller in Africa should be, so that his book is complete as a story of a journey which can hardly be repeated. Now travelling through grass paths and 'river galleries' with the Moslem ivory traders, now dwelling in their Seribas' or fortified stations, now in the villages of the Bongos and Dinkas, and Niamniams, he saw and noted everything, and brings back extraordinary additions to our knowledge of the continent, although an unlucky conflagration destroyed in one fatal afternoon the accumulated notes and collections of two years. There are few passages in the history of explorers more intensely moving than the the Herr's patient description of that most cruel fire, when the harvest of such ardent and faithful toil perished like things of no account. But he never seems to have lost heart; he began again sedulously collecting, noting, measuring, and drawing, and having lost his pedometer he actually counted all his steps over one expedition, to be sure of his distances. When ink failed him, he drew and made his memoranda with hen's blood; and when his spleen got wrong, he seems to have got quite pleased because in its morbid state it was no longer susceptible to miasmatic influence. In fact, he was so first-rate a traveller that we must grudge him to Germany, and there is no greater proof of it than that he thus makes light of the immense work which he accomplished.......Altogether the journey which we

have cited is a most memorable contribution to the work of African discovery, and proves more than ever what a rich and splendid land it is which awaits the life and light of knowledge around those magnificent sweet-water seas of the 'Heart of Africa.'"

*** SECOND EDITION OF CAPTAIN BUTLER'S NEW WORK.

turns upon the misfortunes of a physician who The WILD NORTH LAND: the Story of a Winter Journey with

neglects his wife for his patients.

THE order of novelties at the Vaudeville is as follows: Le Candidat' of M. Gustave Flaubert; a revival of 'La Comtesse de Sommerive' of M. Barrière; and, lastly, a new piece by the same author, entitled 'Le Comte de Tremor.'

A COMEDY, by M. Paul Ferrier, is in rehearsal at the Palais-Royal. It will be followed by a piece, by MM. Meilhac and Halévy, entitled 'La Boule.' 'MARION DELORME' and 'Georges Dandin' are the latest revivals at the Théâtre Français.

'LES FORTUNES TAPAGEUSES' is the title of a comedy, by MM. Clerc frères and Raymond, produced with indifferent success at the Théâtre des Menus-Plaisirs. It is a satire upon the manner in which fortunes are now made, and recalls in idea the Mercadet' of Balzac.

THE first performance of a tragedy in five acts, entitled 'Libussa,' selected from the literary remains of the late Franz Grillparzer, has taken place at the Vienna Hofburg theater.

THE New York Nation tells us that the Rev. William R. Alger is to prepare the "authorized" 'Life of Edwin Forrest,' from facts and materials

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'M. ALPHONSE' is, we understand, to be dramatized for the Fifth Avenue Theatre at New York. Booth's Theatre, in the same city, vacated in consequence of the illness of Miss Neilson, will be occupied by Mdlle. Janauschek, who is to play in A

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THE Olympic Theatre in Philadelphia, and the Lyceum Theatre, Toronto, have both been destroyed by fire.

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