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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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ST . JAMES'S THEATRE . On Monday , July 18 , BhalcHpoaro ' s play of WIDERSPENSTIflE ( TAMING OF THE BIIRBW ) . Wednesday , July 20 , will bo rovivod ITAMIJET , being tho only night that celebrated play can bo given . Friday , July 22 , will bo produced OTHELLO . Sohillor ' n Play of WILLIAM TELL will bo ropoatod , for tho last time , on Saturday , July 23 , being positively tho Lout Night but Three of tho Gorman PhiyH . Private Boxoh , Stalls , and Tickets may bo obtained nt Mr . Mitoholl ' o . 83 . Old Bond Street ; tuuUttho Box OHlce of tho Theatre .
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eaietv- no animal spirits . Madame Medori played Donna Annamoderately . Formes , whose conception of Zeporello is generally ^ excellent , made a sad mistake with the Madaminail catalogoe questo , which he overdid , poking the phrases at Elvira , in a way as intolerable as it was misplaced . It reininded one of Fornasari ' s lugubrious attempts at fun , in Figaro . - ' ' . ' ¦ ¦ ..
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GERMAN PLAYS . Yeabs ago , when I was a happy and rebellious boy , my artistic impulses were gratified by tinselling the theatrical prints sold by Mr . Marks . The reader knows what I mean . He also has a vivid recollection of those specimens of art , " Id , plain , 2 d . coloured , " in which Mr . Biggs as Orlando , or Mr Frazer as Prince Karl , —with a pistol in one hand and a sword in the other—with legs very wide apart , and arms telegraphically displayed —with faultless features , except that they had no expression—and with superb costumes , not strictly historical—offered to the youthful mind images of grace and grandeur which no [ Raphael could approach . If the reader remembers those pictures and his sensations on beholding them , if , like me , in moments of weariness and unrest , he is apt to manifest his misanthropy ( and knowledge of German ) by spouting the lines from Faust , — " Icfc . hatfce nichts und doch genug ! Den Drang nach Walirheit und die Lust am Trug . Gieb ungebandigt jene Triebe . Gieb meine Jugend mir zuriick !" if he wants " to be a boy again , " I advise him to go and see Emil Devrient in Donna Diana . No sooner did my eye rest on that vacant face , with its well-cut features and expressionless eyes , no sooner did I perceive the wide spreading legs and arms thrown into a series of attitudes never witnessed anywhere but on the stage—no sooner did I see him take a , seat with that peculiar outstretched length of limb supposed to be graceful , and much cultivated by tenors and tragedians , than involuntarily I exclaimed , " Id . plain 2 di coloured , by Jove ! " In truth Emil Devrient is a living
, specimen of Mark's Theatrical Characters—you might tinsel him ! I am told that in Donna Diana he is considered as " the ideal of a Spanish cavalier ; " but as I am not told whose ideal , I must conclude it is the ideal of Mr . Marks . Look at him : watch the striding stiffness of his deportment , the tenor-like grace of his meaningless gestures , the vacancy of his handsome face , and tell me whether he is more like Mark ' s heroes or human nature . It is true that among critics I am in a minority , but let me ask ' .- —Is Devrient ' s face expressive ? Does he express emotion ? Is the deportment natural or significant ? I admire as much as you can admire his beautiful diction , and his noble voice ; but for acting we want intellect , passion , representative power , and Emil Devrient has little .
People may applaud him , as the Germans have applauded and enriched the African actor , Ira Aldridge ; but if there are any principles in criticism , if it is not all caprice , I confidently assert Emil Devrient to be an actor of hopeless mediocrity . It is almost idle to raise a voice against him . People accepted the MepJiistopheles of a " super" who was allowed to play the part because no one else knew it ; to the critics and the St . James's audience thatperformance appeared excellent ! They also accepted , and with praise , Frau Stolte ' s arrogant princess in Donna Diana , though anything more intensely bourgeoise can scarcely be imagined . Now when the delusive effect of strangeness is so great as that—when an audience can call a Frau Stolte back to receive the ovation of a Uachel , it is idle to wonder at their admiring Emil Devrient !
This Donna Diana is a wearisome rhymed comedy , imitated from one of the very early Spanish comedies , Moreto ' s Ml desden con el desden , the idea of which has been so often worked on every European stage , that only excellent details could make it endurable ; and I'll trouble you for details in a German comedy ! But a patient audience meekly sat it out , and appluuded when possible . I was meek for three acts , and then tore myself away from its siren dulness . On Wednesday , however , we had really a treat with Schiller ' s finest pieco , Wilhelm Tell—his finest because his last , and his was a mind which , as Goethe said , strode forward with giant steps . Goethe ' s influence is
also very visible in this play . Not only in the conception of Tell's character , which Goethe gave , but also in its broader views of life and freer realism . Goethe has influenced this work in the same way as the German school influenced the Guillaume Tell of Rossini , also his latest and best opera . But as the dominant tendency of Itosaini ' s genius—melody—is visible in this opera no less than in tho earlier operas ; so also the dominant tendency of Schiller ' s genius—rhetoric—is still visible in this work . Where Goethe would , like Shakspeare , have expressed a thought or an emotion in one teeming verse , Schiller rhetorically expands it into a dozen . This begets tcdiousnesa ; it deprives tho audience of active co-operation . A noble p lay , however , and thoroughly historical , is this of Wilhelni Tell , historical in the deepest sense . It was performed with greater
effect ihan any previous work of this ^ " ^ S g ^ have just laugneS at , I must now say was admirable . ^ He gaye ^ P rougK , manly Tell in a rough and manly style ; the ^ ner was ^ ^ and the stride detestable ; Jut it was an effect ^ f ™ W £ gk The ^^^^^ l ^ ri ^ S ^^ ^ bssisjrfaw ^^ ^ lfes spoke the lines of Attinghausen to perfection . The ^ f ^^ ous ^ tyle , lighted with that bad actor who played Melchtal ma fat , boiste ^ ouastyie , and had not a hand for Pauli !
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BURFORD'S PANORAMA OF MEXICO . ^ . On a light afternoon , say about five o ' clock <^ . . ^ $ ^ ± B anybody goin- to Burford ' s may very well stay there tiU the hght begins tofauhlm . To see the new panorama of Mexico as it deserves to ^ be seen , especial care should be taken that the light , be ^^ Sated daringly full ; for the picture is on the top circle , the worst situated ? S threefbeing exposed to the Ml ^^ e of the sun-when the sun blazes-and the worst constructed too , having a ^ g ^ ossedi by heavy beams which throw their shadow on the upper part of the P * f * ^ ^ us suppose it , then , to be evening m ^ ester-squa ^ -not Leicesterveningbut hour or two before sunset . We turn out ^ the Re
sauare ^ , an ^ S ^ orcSournSS -W tei and dive down open passage ^* house , standing back in the corner of the square , a touhedwd . gloomy passage , which looks , « o a stranger , as if it would lead to a ^ ard-room o 7 an ? uction gallery . But we know it better old Burford stagers that we are ; we push open the swing door at the end of the passage , with the confidence ofhabitues , and hearing * at Jtfexico ison the * £ «^ e > JJJ refuse to go up stairs to the left , which Vould take ns to Granada , and will not fiea / of trying the grotto on the right , which , is the obvious entrance to Switzerland , but keep straight aheaS till we find the wonderful ^ L ^ w 0 + a ;™« A with its surorisinff e ffects of shallow corner-stairs , and
boldness of sidelong decline towards the dusky banisters . IJp this we perspire expectingly ( we could have told the precise number of steps , once on a time , and wire not disposed to credit a boy , who b ^ ^ ' 7 ? Midsummer holidays , that he had discovered more inside the Monument ) , up , and then down another flight , and then along a passage , and then up again , and—thank goodness—at last , Mexico . Here we are , m the ^ midst of the city ; on the top , and it may well be the very top , of the cathedral which stands in the Plaza Mayor ; and , if we had any breath left to lose , it would all go now , at a gasp . Won-der-ful painting ! Not nearly so full of beauties as Granada ; the flat , common-place plain round the _ city will not do at all after the Andalusian Vega ; it wants trees , it wants hills , if , wnnta a river : excepting a few rocks near the Lake of Tezcuco , it is as
round and as flat as a pancake ; and it is shut m by mountains oi various height , mostly volcanic . We know that one or two of these are about the highest in America ; but that ' s nothing ; a mountain s a mountain all the world over , and some people who have seen the Himalayas , declare that they didn't look as grand , after all , as the Finsteraarhorn or the Jungfrau . But how finely has Burford painted these mountain distances , the kind of work being that most suited to his powers . What force and character there is , too , in his architectural foreground ! Here this panorama has a single advantage , and a very great one , over the panorama of Granada ; the buildings being much closer upon us . A dome-spire of the church it has two , from one of which the picture is taken—is the most prominent object ; and so boldly does it stand out , that its distinctness
from the objects beyond is , to an inexperienced eye , a complete illusion The shadow of the cathedral falls across the square , upon the front of the palace , along its flat stone roof . We have chosen a time when we know that the sun outside does not reach the skylight above , or the effect might appear to be a natural accident . All the roofs of the city are flat , as most people are aware , and . the inhabitants in some of the quarters lay out regular little gardens on the tops of the houaes . The streets , running at right angles , cut up the flat-roofed city into cubes , even as far as the outermost boundary . Up in a corner of the Plaza Mayor we may see at one viow , packed together in a square mass , all the queer old tumble-down houses in Mexico . There are none dotted about the city , or strung in rows , as elsewhere ; no old clothes , no secondhand furniture , no cheap baked meats , no hot tortillas , maize calces , frijoles , or chilicolorado , can bo hnuffht anvwhere but in tho Parian , as this ruinous block of buildings
is called . There is a handsome market-placo in another part of the city , but the Parian is the exclusive market of tho poor . A little book , which is sold at the entrance , is an exception to its class , in being really serviceable . Of tho new picture itself it is not too much to say , generally , that it surpasses any which has boon , exhibited on this circle , and that we never camo down tho three cornered staircase with a more decided intention of saying so . Q .
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Satur . Mond . Tuea . Weiln . TlMra . JFWat . BankStook 228 * 228 $ 220 2284 220 8 por Oont . K «< 1 « o » 8 j ml 08 * ml 086 3 por Oont . Con . Ans . DHJ m \ 08 07 } 07 J 07 } Consols for Account ... 08 J 08 J 08 071 071 071 » 1 por Oont . An 101 ft 101 * 101 & 100 J 100 } 1014 Now 5 por Conts Long Ans ., 1800 fij 515-10 515-10 51 515-10 India Stook 258 250 . . . 250 ...:.. Ditto Bonds , J 21000 ... 25 J 58 jj » 22 21 Ditto , under JC 1000 ... 24 j > 8 Hr . Bills , JJ 1000 lp 8 p Up 2 p ldis 2 p Ditto , i } 600 lp 3 ji 4 p ldia ldia Ditto , Small 4 p a p 4 p ldin ldiB
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BRITISH FUNDS FOR THE PAST WEEK . ( Olosino Phiojjh . )
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MONEY MARKET AND CITY INTELLIGENCE . Friday Evoning , July 15 , 1853 . Consols havo beon flat throughout tho wook , and tho NohsoIrode ojroulnr hud tho oilboit of Bonding thorn to S ) 74 i yoatorday . To-A | y 1 | iffl « j . ^ ui l > y » i nyy . 11 v . und they l inavo oil ' 07 } , 98 . In thjnjt ^ iEntBMBBtt ™ ffi [ yjfc | iB thoro in hut little to Tho ttodo on M ™ i " ^ Ql . W * ^ " ^ y * " THly 1 ° . l » l > 3 . proved . M > pow « Mi ?! rfiT 1 ul ?^ oonBoquonco of tho iml po » vftn « o ot fu 0 orop » h « re ima iu ifranco ; but olnoo
then a change lias taken placo in tho woafchor , and much , husinoBH has boon dono in cartoon o ( I' tho const , and in wheat on tho spot , at an advance ol In . por quarter . Tho rain appears to havo boon jgonoral . Tho Hupplios of wheat , barley , and oats , iiro liberal this wook into London . Tho value , of tho two latter Jb ilrmly maintained .
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FOHEIQN FUNDS . ( Last Offjcoiai ; Quotation during thh Wbkk bwdijto Fuiday Evening . ) Brazilian Bonds 101 Portuguese 4 por Cents . 41 Brazilian New 4 J por CtB . 09 RusBian , 1822 117 DanJHh 5 por OontH 107 Ilnaniaii 4 , % per Cents . ... 100 J Moxioan 3 porCentH 27 ^ Sardinian G per Conto ... 04 i Mexican 3 p . Cents . Acct . Spanish 3 p . Cents ,. 40 J July 20 27 SpanishSp . Cta . Now Dof . 22 J Peruvian . Deferred 58 Spanish Passive , Conv .... 5 fr
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Citation
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Leader (1850-1860), July 16, 1853, page 694, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/l/issues/vm2-ncseproduct1995/page/22/
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