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Thus, judging, Sirs, and fure 'tis judging right,
Take t'other fup of grog, then heel about;
Kind fouls! I know 'em well, they're always willing [fhilling. To Ray, and have-twelve-penn'orth for their You who behind your counters daily toil; (First Gallery. Who fmile to live, and therefore live to fmile, Oh! take not home to-night a face of forrow, Or, fure you'll lofe a cuftomer-to-morrow; Smart, thriving tradefmen do their bufinefs-foNot yawning out"a-tenpence, M ,Ma-m;heigho!" With you, our ferious judges in the pit, (Pit. I'd gladly joke--but scarce dare truft my wit; Our bard would blame me, thould I not fucceed, And then your smiles were-terrible, indeed; Away you'd march, in critic fpleen and vapours, And we fhould feel you in to-morrow's papers! (Boxes.
Ladies-but fancy fure already traces A kind good humour dawning in your faces, That fays, for two fhort Acts you'll keep y places. Your prefence,fure can fhield ý bard from dangerProtect him then-he's young, and he's aftranger.
Ay, you'd laugh to fee,
And a whoop, lads! "hey for Cumberland, ho
Te raddlety dum de daddlety di!
With Hawkie in a string:
Ecod it was whoop, lads! hey for Cumberland, he
Te raddlety dum de daddlety di!
AIR. Mifs PHILLIPS.
Let the lark find repofe
Though furrounded with thorn.
Cannot harbour with me.
The most favourite AIRS in the new Comic Opera, called FONTAINEBLEAU; WAY IN FRANCE. Performed at Covent OR, OUR "Garden Theatre.
AIR.. Mrs. KENNEDY.
HE British Lion is my fign;
A roaring trade I drive
Your rhino-rattle, come
All to Mrs. Caley,
I warrant I'll make you easy.
'Tis Sir, you're kindly welcome! On Shuffle, Cog, and Slip, I wink, Let rooks and pigeons mingle, And if to me they bring the chink, Faith, let the glaffes jingle.
Rhino rattle, come, &c.
Let Love fly here, on filken wings,
On pleasure I am pleas'd to wink,
Your rhino rattle, come,
AIR.- Mrs. BANNISTER. The fight when paft- -in golden fkies, If whiten'd cliffs the failor fpies, Completely blefs'd!
The fight each tender thought infpires,
His love's on fhore, and fancy fires
His faithful breaft;
The dancing waves falute his ear,
AIR. Mr. JOHNSTONE. Through circling fweets I freely rove, And think my paffion true, But every charm that man can love, Sweet love, I find in you. I will not boaft, with ftoic pride, That I've a heart of stone; That I have often gaz'd and figh'd, To you I frankly own.
For circling fweets, &c.
That beauty bears a gentle mind,
For fince that each external grace
AIR. Mr. EDWIN.
THE morning we're married, how funny and jolly, The pridegroom Sir Shenkin, the pride Lady Tolly! When rous'd by fweet clamour we open our peepers, And Phoebus falute in our night-gowns and flippers; Then under our windows muficians all come,
The name of my goddefs, I grave on each tree;
The heayens I view, and their azure bright fkies;
Ah! well-a-day, my poor heart!
Toy fun's morning fplendor y poor Indian bows;
And your imperial spirit in reigning alone.
And your plans over-rul'd in pleafing y town.
Thalia's your mistress, you know all her wiles:
Prefented to his Royal Highness Prince W11LIAM HENRY, by the Society at HANOVER, called the CLUB, on the 21st of August, 1784.
Y early valour, in remotest seas,
Play fiddle, fweet hautboy, sharp flagelet, drum. Br pride and with before, O what increase
But till the harps melodious tingle,
All joy to your honours. See, fee, how they flock,
But till, &c.
Of happiness now to our feeling hearts,
Of WILLIAM's birth-to our fociety's
SONNET to EXPRESSION.
By Mifs HELEN WILLIAMS. XPRESSION, child of foul! I love to trace
With joy we fee thy brightness fhine,
E Thy ftrong enchantment, when i poet's lyre, Our valiant Jeptha's conqu'sing arm
The painter's pencil, catch the vivid fire,
Or guilt lives fearful at thy troubled heart;
The wafting groan, or view the pallid look, Of him the mufes lov'd when hope forfook His fpirit, vainly to the mufes dear
For, charm'd with heav'nly fong, this bleeding [rest.
Mourns it could fharpen ill, and give defpair no
On the death of the much-lamented Mifs L***.
IF beauty, wit, and innocence could charm,
DISSOUS LA ROSE.
To the breaft of Serena alone,
Thefe fighs bid fweet Eccho convey. Wherever the penfively leans,
By fountain, on bank, or in grove; Her heart will explain what he means, Who fighs both from forrow and love. More plaintive than Philomel's fong,
O breathe the fond ftrain in her ear; And fay, tho' departed fo long,
The friend of her bofom is near!
I felt, whilft I liv'd in her fight,
Bath, Jan. 12, 1785.
Has bafl'd every fierce alarm,
And curb'd tyrannic Sway;
It nought avail'd from Scythian bow,
In vain his chariots arm'd around
With fcythes--in vain their horrid found,
Not all his firm embodied force,
Hence own, ye proud, perfidious sace,
No pen his boundless power can tell;
He curbs th' infulting pride of kings,
Proud hopes and idle vows:
And balmy reft allows.
Let thofe, where Sol, at rifing day,
Let thofe, who drink of Tagus' ftream,
Ye daughters, Ifrael's blooming fair,
Ambrofial fragrance breathe;
Rich Indian gems of deepest dye
In curious order wrought:
With varieus tinctures fraught.
Shall pfaltries cease their lofty strain ? Shall warbling lutes no more complain, Nor fweetly-founding lyre? Shall mufic's various breathing ftring No more heaven's fignal triumph fing, Nor catch feraphic fire?
Who fhall with graceful mien advance, And lead in mirth the fportive dance, Where all is foft delight?
Or in the jovial concert blend,
Now let a fpotlefs ram be flain,
With fplendid garments bright,
Go! deckt in purple, rich array,
And let them breathe perfumes.-
REVIE W. XCIX.
LOUISA, a Poetical Novel, in Four Epifiles. By Mifs Seward. 4to. 3s. 6d. Robinfon. 1784.
THE fuccefs that has uniformly attended the poetical exertions of Mifs Seward will obviously create a prepoffeffion in favour of every production that comes from the pen of fo popular a writer. It will be no wonder, then, if, under the most favourable impreffions, we enter upon the prefent poem.
The poetical novel may be confidered as a new fpecies of compofition that promifes an ample field for the exercife of poetical genius. There is fcarcely, indeed, any object within the province of poetry that a work of this kind might not comprehend: defcription, incident, fentiment, and paffion, all lie within the fphere of its activity. Whatever is picturefque, elegant, or fublime in the appearances of nature; every incident of life, whether, serious, pathetic, or ludicrous; whatever can give energy to the mind, or operate on the feelings of the heart; are all at the command of the poetical novelift. But properly to exert the extenfive privileges fhe is invefted with, Hoc opus, hic labor eft. So various and comprehenfive, indeed, are the abilities it must require, that we have little reafon to expect, whoever may engage in the attempt, that there will be many fuccessful comLOND. MAG. Jan. 1785.
petitors in fo arduous an undertaking. The manner in which our firft adventurer, in this yet unusual district of poetry, has acquitted herself, is now to be confidered.
The incidents of this poem are few: Louifa and Eugenio have a mutual attachment. Emira, whom an accident throws in the way of Eugenio, and whom he refcues from the hands of affaffins that are going to take away her life, conceives the moft violent paffion for her deliverer. Ernefto, Eugenio's father, in the apprehended fhipwreck of his affairs, prevails upon his fon, as the only means of extricating him and his whole family from ruin, to marry Emira, who is poffeffed of immenfe wealth. The sequel is, that Ernesto's affairs, by a fortunate concurrence of circumftances are re-inftated; Emira embraces a life of fashionable and vicious diffipation, which, however, foon terminates. On her death-bed the repents, makes her peace with Louifa, and reconciles her to Eugenio. It is needlefs to add, that, in confequence of Emira's death, the lovers are united. Such are the outlines of the poem. The first epiftle is from Louifa to Emma, her friend, in the Eaft-Indies, tracing H
the progrefs of her attachment to Eu-
As on my lip the ling'ring cadence play'd,
Yet why, fond Mem'ry! why, in tints fo warm, Paint'it thou each beauty of that faultless form ? His fpecious virtues furely might impart Excufe more juft for this devoted heart. Oh! how each noble paffion's feeming trace Threw tranfient glories o'er his youthful face! How tofe, with fudden impulfe, fwift and ftrong, For ev'ry fecret fraud, and open wrong Th' oppreflor acts, the helpleis feel, or fear, Difdain's quick throb, and Pity's melting tear. So well its part each ductile feature play'd, Of worth, fuch firm, tho' filent promife made, That to have doubted its well-painted truth, Had been to want the primal grace of youth, Credulity, that icorns, with gen'rous heat, Alike to practice or fufpect deceit.
The period the most delicious in the progrefs of a refined paffion is, perhaps,
that in which a reciprocal attachment firft betrays itself. The warmth of colouring with which this period is marked out by Louifa is as juft as it is animated:
"Thefe are the days that fly on rapture's wing Empurpling ev'ry flow'r that decks the fpring; For when Love-kindling Hope, whitper bland, Wakes the dear magic of her potent wand, More vivid colours paint the rifing morn, And clearer cryftal gems the filver thorn; On more luxuriant thade the noon-beam plays, And richer gold the ev'ning-fun arrays; Stars feem to glitter with enamour'd fire, And fhadowy hills in ftatelier grace afpire; More fubtle fweetnefs fcents the paffing gales, And fofter beauty decks the moon-light vales All Nature fmiles! nor e'en the jocund day, When feftal roses itrew the bridal way, Darts thro' the virgin breaft fuch keen delight, As when foft fears with gay belief unite; As Hope, fweet, warm, feducing hope infpires, Which fomewhat questions what it most defires; Reads latent meaning in a lover's eye, Thrills at his glance, and trembles at his figh; As o'er the frame diforder'd tranfport pours, When only less than certainty is ours.'
The fecond epiftle, which is from Eugenio to Emma, and which contains his exculpation, is written with great force and pathos. But, perhaps, the poetefs no where difplays her pathetic powers to greater advantage than in the concluding epiftle, when Louifa is introduced to Emira on her death-bed:
"Shudd'ring we now draw near the house of
And find yet ftays the intermitting breath.
Like the expiring taper's faihing beam.
*An inchanting fong of Handel's, from Milton's Il Penferofo.