and insipidity. The prayers are succeeded by some select portions of scripture, and a few hymns by the best authors. One of the latter compositions, "See the Leaf," said to be anonymous, was a production of the excellent Bishop Horne.

This little volume is admirably calculated to promote the cause of real practical Christianity.

The Moral Class Book; or the Law of Morals, derived from the Created Universe and from Revealed Religion. Intended for Schools. By William Sullivan, Counsellor at Law, Boston. London: 1833. Mardon.

THIS is an American work, and we think Mr. Mardon, by reprinting it in this country, has made a valuable addition to our stock of school books. It is adapted to the present state of knowledge, and is strictly what it professes to be, a "moral class book," without any sectarian bias. The style displays a degree of force and spirit, which strongly contrasts with the tame insipidity of the majority of works intended for juvenile readers. A short extract will afford a specimen both of the style and matter:

It is

"Viewed in its earthly relations merely, and if it were possible
to disregard the sabbath in its acknowledged relation to the Deity,
still it is a precious day, to rational, social, sympathetic man.
that day on which he knows that all men who acknowledge the ex-
istence, the presence, and the attributes of the universal God, are
engaged in rendering to him the duties of that acknowledgment.
From the city, from the village, from lonely abodes, from the bosom
of the deep, every where, rational, thankful, penitent, supplicatory
man, offers at the same time his humble tribute to the Most High.
It is grateful to know that, throughout the earth, millions of voices
are raised at the same moment in praise and adoration."

The Original Legend of Der Freischutz; or, the Free Shot.
Translated from the German of A. Apel. London: 1833.
Schloss.
EVERYBODY has heard of Der Freischutz; but it seems that the
plot of the opera differs from the original story, which is here pre-
sented to the reader for the first time in an English dress. The
version is nearly literal, which the reader should bear in mind; and
if he has a taste for the wild and the wonderful, he will not fail
of being pleased.

London: 1833. Effingham Wilson.

The Lines to the Lyre, which conclude the volume, are pretty and modest. Mr. Michell ought to be above indulging in any such unpleasant suppositions as those hinted at in the second stanza. "A charm when boyhood woke thy string,

With rude and aimless skill;

A joy, when other joys took wing,
My best companion still;

I'll weave, before my lamp expire,
A wreath for thee, my long-loved lyre.
What though no sunshine, bright and warm,
Along thy chords is thrown;
Though absent fancy's varying charm,
And passion's burning tone;
And though thy strains the listener tire,
I spurn thee not, my lowly lyre.
To lighten heart-depressing care,
Bid rapture's tear-drop flow;
To weave an iris, soft and fair,

'Mid the dark clouds of woe,
And on hope's altar fan the fire;
Is thy sweet province, witching lyre.
Farewell! when throbs this heart no more,
And ivy wreathes my tomb,

If one faint note 'twas thine to pour
Escape oblivion's doom.

And prompt a smile or pure desire,
Thy aim is won, my much-loved lyre."

ORIGINAL PAPER.

PRESENT STATE OF LITERATURE.

THE late Professor Langlès said the French would be the mos learned nation in the world, if the sciences and literature could be conveyed by books in octodecimo. That period has now arrived = the French have not only Buffon, but manuals of all the sciences and arts, in 18mo., and even in 32mo.; but the Professor's prophecy is not verified. The solid instruction hoped for is not to be found in those works; they merely skim the surface, and enable the reader to take a share in general conversation on the respective An Essay on Woman. In Three Parts. By Nicholas Michell, subjects. This, perhaps, is something, but it is not enough; it is Author of "The Siege of Constantinople," &c. 2d Edition. the ponderous folio is now no longer heard of; the elegant quarto making parrots, not scholars. The system has crossed the Channel: THIS work has reached a second edition; and is, like Mr. Robert is disappearing fast; the respectable octavo still indeed maintains Montgomery's new performance, highly complimentary to the fair its ground for original works, but is likely soon to be swallowed up sex. Mr. Michell's purpose is, as he says in his preface, " to depict is true, are got up with much more care than those of the French, in the deluge of duodecimos and octodecimos. These works, it the graces of person, and exhibit the lines of character peculiar and the first authors of the day are employed in their composition; to woman. He contemplates her under the influence of the various but when an author is bound to confine himself to a limited number passions; treats of those qualities in which she is inferior or supe-of sheets, he can rarely do justice to his subject. Amusement rior to man, and endeavours to shew in what sphere and condition rather than instruction becomes his object. The publisher wants a in life she may be most happy." This is a laudable design, and is satisfactorily worked out; the latter fact being attested by the second edition. The tender passion, and various others, which agitate the female bosom, are described with much fidelity. Here is an account of a damsel's first love.

"See where, with folded hands and listless look,
Yon pale-browed maiden sits beside the brook;
Loose float her tresses in the summer breeze,
The page unscanned rests idly on her knees;
Fair blooms the flower, the throstle warbles near,
She drinks no sweets, no music seems to hear;
But oft her bosom heaves the unconscious sigh,
And tears unbidden tremble in her eye.
She views the sun slow-sinking in the wave,
Like man reluctant drops into his grave;
But all the pomp the dying orb displays

Nor soothes her heart, nor charms her troubled gaze.
She deems not this love's mystic thrall can be-
Sweet disbelief of virgin modesty!-
Wonders how thoughts of Julian yield her pain,
Strives to forget, then dreams of him again.
With cheeks that fade, and eyes that lose their light,
She knows nor rest by day, nor sleep by night;]
Till love, confessed, each secret care beguiles,
Chases each doubt, and turns her tears to smiles."

good selling book, and frequently shews more coquetry in the embellishments and the external appearances than care in the quality of the materials; such is the character of all the Annuals, and of the principal collections.

For works of imagination, the new plan of elegant cheap editions is a great improvement, and the booksellers and publishers have learnt that high prices, like high duties, are not favourable to the revenue. It is much more advantageous to sell 5000 copies at 5s. than 1000 at 10s. 6d. A new impetus is thus given to industry, and every branch of the arts connected with literature. An elegant library is now within the reach of the most moderate fortunes. It may be presumed that this will beneficially influence the character of the rising generation, that they will feel more pleasure in the library than in the tavern; and if that they become intoxicated, it will be with the delight of seeing new sources of intellectual and moral pleasure opened to them. Such, it is to be hoped, will be the effects of cheap literature upon those in the middle ranks of life; but it is to be regretted that the scientific studies of the poor do not appear to have improved them; they still prefer gin to genius : witness the splendid mansions which have within these few years risen on the site of humble spirit-shops. This is a sad characteristic of the times we live in, and proves that there is something rotten in the state of Denmark!

who had a large quantity. By him we were accommodated at the rate of five-pence per pound, being a small advance upon the price which the worthy vender of double-Gloucester had paid. The first thing that attracted us was the title-page, which at once evinces the author's dignity and modesty,-" Poems by Mr. Alfred Bunn." This is not very common; and Dr. Priestley says, that the author who so describes himself is a puppy. But Mister Alfred Bunn was not bound to know this. After the title comes the dedication, and this is a masterpiece. We extract it verbatim, for the gratification of our readers.

"To Leigh Hunt, Esq.

"Whatever lenity or partiality the unknown reader may shew me will be my sole instigation to make a future intrusion upon him; and what may be his opinion, or the consequences arising therefrom, must be left to the sequel. A. B."

"This is all I have to offer upon the subject.

For

We don't wish to say anything about proofs, revises, and so forth. But Mr. Alfred Bunn's contempt of the literary presidencies is really appalling. We have hardly courage to go on, but we suppose we must. "The trifles" (too modest) "here brought forward," are, it seems, "the productions of a fanciful and very young man.' fanciful read foolish, and it will do very well. As to the other "Sir: It is with feelings of peculiar delight and equal satisfac-epithet, Mr. Bunn, you are pretty right. You were, as you say, tion I intrude upon the public attention, and your more valuable rather a young man. We believe we could state the age exactly, if time, the subjoined trifles; and, as it would be impossible to detail it were necessary. Let us see. You went to the ship-broker in in this confined limit my every delicacy of sentiment on the subject, Leadenhall-street in the year-but we won't tell ; nor yet when you I shall devote that pleasurable task to the calm recluse of private were sent (or went, it is all the same) to Coventry. But now tell intercourse. us who were the “individuals” who desired you to publish. Was one of them? but here again we forbear. Like you, we possess sundry delicacies of sentiment.

"Under this impulse I shall indulge in very prescribed terms upon my views. When I survey the extensive hemisphere of literature, where I presume to fix my feeble effulgency, 1 am dazzled by the brilliant array that surrounds me on every side; yet, gazing with proud surprise on the partial gleaming of one of its brightest constellations, I am encouraged to glance forth with less reserve under so auspicious a reflection. But, even in this revolution of thought-amidst these doubts and fears, so naturally incidental to a youthful mind, I dare to rise superior to them all.

"To you alone I owe that pleasing satisfaction; to you who have
thus introduced me-unknowing and unknown, and invested me
with the great sanction, the valuable privilege of subscribing
myself
"Very sincerely,

"Your obliged and obedient servant,
"ALFRED BUNN."

This is what we call elegance. He comes forward not only " with feelings of peculiar delight," but, what is more, with "equal satisfaction;" to do what? Why, to "intrude"-and upon what? "the public attention," and Mr. Hunt's "more valuable time." From this we learn, that Mr. Hunt's time is more valuable than public attention. This is something like settling the distance between the 1st of August and the foot of Westminster-bridge. But then it is impossible to detail his " every delicacy of sentiment." Oh, all ye Nine! delicacy of sentiment in Mr. Alfred Bunn! But, observe; he has more than one delicacy of sentiment, he has even more than two, for he says every; consequently, he has three delicacies of sentiment at least, and heaven knows how many more, though he cannot detail them—that is, in public; they were reserved for the private ear of Mr. Hunt, and we hope he was edified by the communication. The part, about indulging in prescribed terms upon views, no human being can understand: but the glorious burst of eloquence upon the "extensive hemisphere of literature," (Mr. Chapple's stock,) where he presumes "to fix" his "feeble effulgency," and declares himself dazzled by the brilliant array that surrounds him on every side-north, south, east, and west, is equal to anything in Burke, or we know nothing of the matter. It strikes us as bearing a strong resemblance to the peroration of one of that orator's speeches against Warren Hastings. We cannot afford time to go minutely through this matchless dedication; but one thing is established, that the dedicatee is a constellation." Now for the preface; which is almost as good as the dedication.

"Having waded with some degree of difficulty through the compositions, proofs, revises, and other enigmatical arrangements of my publisher and myself, we have at last, by mutual assistance, collected the whole together as here introduced. As it is not my intention to make any apologies to the public, or any concessions to those LITERARY PRESIDENCIES which may intend to honour me with their reviews, I shall be brief in my observations. The trifles here brought forward are, as must appear from an impartial perusal of them, the productions of a fanciful and very young man ; they are published at the desire of a few individuals, whose kindness in the request was probably as foolish as my vanity in the compliance therewith; yet, in gaining their good opinion and estimation, I have reached the zenith of my ambition.

The conclusion of this goodly preface is worthy of the commencement; but, like Brainworm with Master Stephen's leg, we can't stop to praise it any longer. Now, reader, after a dedication and a preface, you expect to enter on the work itself. You are wrong; for after these comes an "introduction." This is meant for verse; and here it is.

INTRODUCTION.

"By nature planted and by nature reared,
Uncultur'd emblem of life's chequer'd gleam,
Fresh from no dew-drop, by no sunshine cheer'd
To animate its fade that fondly seem,

A bumble floweret woos the summer beam!
Ye stormy winds awhile your flight delay,
That frets the current of its vital stream;
Oh, let it bloom its short-lived languid day,

Then in the lapse of time die silently away.
This defies all comment and all comprehension, and so let it pass;
especially as we are anxious to get to the main body of the work:
and, having arrived there, we do not know how to leave it, nor where
to select a specimen for our readers. We should like to print it all,
but that is impossible in one number; so we must make a choice.
Here then are some verses addressed

To the beautiful Miss
1.

Shall time e'er embitter these moments of pleasure,
Or lower the bright sun of this joyous day?

Shall fate's gloomy showers

E'er shadow these bowers,

Where in innocent raptures we happily stray,
No Mary-no, never.

2.

Dear, dear, be the scenes where we wantonly rove,
And ever be cherished the sweets we here sip,
Long remembered the blisses,
The sweet artless kisses,
That have murmured from mine to the rapturous lip
Of thee, Mary, my love.

3.

In this gleam of delight could I live an age thro'
Of moments with pleasure so joyously fraught,
Yet how vain the regret
Should I strive to forget,
The happiness centred in even a thought,
My sweet Mary, of you.
4.

Should the smile of deceit, or adversity, breathe,
This bewildering sunshine of hope ever blight,
Or should fate rudely chill
That soft bosom, whose thrill
Now glows with the soul of endearing delight:
Come then, Mary, death!
Who would have thought that Alfred Bunn ever
"6 strayed through
bowers in innocent rapture ;" but so it is, though he talks just af-

terwards of "wantonly roving," which does not seem quite con- any given velocity on a curve depends on the length and depth of sistent with the "innocent rapture" which he boasts of: and as to the ascending plane, whatever be the power employed. But I may the "sweet artless kisses" which murmured-murmured? yes, it be asked, what would be the advantage of an undulated road when is murmured, in the book-on the rapturous lips of Mary;-why we a sufficient maximum velocity were attained on a horizontal railthink Alfred ought to have said nothing about them. The third way? You need not travel faster than 200 strokes of the piston stanza is truly poetical; and the fourth is so affecting, that we can-per minute? Very true; but on a horizontal line the steam power not read it for our tears. If any one should wish to know who must constantly be exercised to maintain this velocity, or the mothe lady was that thus inspired Alfred the Great, he may learn from mentum acquired would instantly begin to diminish; whereas, on perusing the verses. The heading is only "To the beautiful Miss the curve, momentum is so easily acquired by the combined powers Mary —;" but in the concluding line of the last stanza the of steam and gravity, that without diminishing the average velocity author inadvertently, we suppose, lets out that her name was Mary of 200 strokes per minute, the steam need not be employed throughDeath! Yes, reader, it was the beautiful Miss Mary Death who out the whole length of each undulation. But the advantage will "kissed and prattled" with Mr. Alfred Bunn, and who was the be more evident when very heavy loads are attached to the engine. subject of the lovely poem which has alike enchanted thee and It cannot then travel at the rate of thirty-five miles per hour on a ourselves. horizontal railway, but if it can move at all on the level, and even when it cannot move on the level, it can travel that average speed on an undulating railway without difficulty, the extent of speed entirely depending on the length and depth of curve; the fact last stated being (in principle) most decidedly proved by the experiments."

Perhaps we may return to this poetical feast.

FINE ARTS.

My Sketch Book. By George Cruikshank. London: Tilt.
A COLLECTION of sketches every way worthy of the incomparable
artist. The "hot dinner;" the whole history of Napoleon; the
inimitable broad-faced fellow, in the third plate; the gentleman
framed and glazed, (i. e. a spectacled man in a cab ;) the portrait of
a remarkable little dog, whose tail curled so tight that it lifted him
off his hind leg; are all magnificent. Buy the book, reader, by all
means; it will only cost you two-and-sixpence.

Historical Illustrations of Lord Byron's Works, in a Series of
Etchings by Reveil, from original Paintings by A. Colin.

London: 1833. Tilt.

These etchings, especially "The Chamois Hunter," are clever.

SCIENCE AND ART.

UNDULATING RAILWAY.

MR. BADNALL, whose models are exhibiting at the Adelaide Rooms, bas published a long letter in defence of his undulating railway, against the objections of several opponents. The subject is both curious and important, and Mr. Badnall maintains his cause with great spirit. He gives the following experiment, as having been frequently tried at Manchester.

"The precise spot was ascertained on the horizontal plane from which the engine could be wound so as to admit of a power being employed exactly able to convey a load of fifty-six pounds from the top of an inclined plane, rising four inches in eight feet, to the extremity of the line, which was forty-two feet on the perfect level, at which extremity the momentum entirely ceased.

"The engine was then wound up on the horizontal plane from precisely the same spot, and carefully conveyed to the top of a similar inclined plane on the undulating railway; and it was invariably found that it traversed the latter line in considerably less time than the former, having at the extremity sufficient momentum left to carry it off the road."

A little farther Mr. Badnall says,

Mr. Badnall's challenge is a bold one.

"Hoping that I shall not be accused of arrogance, and much less, in a matter of this extreme interest, of any ridiculous feeling of vanity, but solely from a desire to call the attention of scientific meu to this subject, upon which the expenditure, probably, of millions depends, (for I have no doubt, if the principle which I advocate be correct, that the estimated expense of the projected railway from London to Liverpool may be reduced at least onethird,) I will take this opportunity of challenging the scientific world, up on the result of which I freely risk my future chance of mechanical reputation. In doing this, I again repeat my hope that my motive will shield me from the unjust accusation of impertinence, and that the immediate necessity existing, on account of projected railways, that this question should be determined, will warrant me, in the eye of the public, for thus unceremoniously throwing a gauntlet, which, under any other circumstances, I should have withheld.

"In pursuance, therefore, of this determination, I challenge any scientific man in Europe to disprove, by mathematical reasoning, or by experiment, that a carriage of any given weight, and propelled or dragged by any given power, will traverse a curve of any given dimensions, whose two summits are of like altitude, in less time than the same carriage, propelled or dragged by the same power, will traverse a horizontal line of a length proportionate to the direct distance between the two highest points of the said curve, provided always that the average angle of inclination, either of the ascending or descending lines of the curve, shall not exceed an angle of forty-five degrees, nor the entire length of the curve be too limited to admit of the free passage of the carriage, the surface of the horizontal plane and of the curved line being precisely alike.

"And I moreover challenge any scientific man in Europe to disprove, either by mathematical reasoning, or by experiment, that a carriage propelled or dragged by locomotive power, will traverse the whole extent of such beforementioned curve with facility, and with a load which that same power could not move on a horizontal plane of like surface.

"In conclusion, I cannot help expressing a hope, that the subject of this communication may prove deserving of the attention of the mathematical professors and students of our different colleges, as well as of the many scientific societies in London and abroad, persuaded, as I feel, that a more important theory (if I be not in error) could not, as affecting the hitherto acknowledged laws of motion and friction, be submitted to their deliberation."

"If we start a steam-engine on a horizontal line, whose wheels are five feet diameter, the piston would work fifty-five strokes per minute to maintain a velocity of ten miles per hour. But if, in going down the descending line of a curve, the velocity is so accumulated as to enable the piston to work upon an average of 110 strokes per minute, which (or at a much greater rate) it is enabled to do effectually, the momentum at the bottom of the descent will be in proportion to the amount of power employed in addition to the amount of the accumulated force of gravity. Hence, such is the accumulated velocity, that if the power were no longer exercised than to the lowest point of descent, the succeeding ascent would be made in the same time as the descent, if the curve were regular, and much more rapidly if the ascent, though steeper, were considerably shorter than the descent; for the time required to generate any given velocity on a curve depends upon the length and We have received the following communication respecting the paper, depth of the descending plane; and the time required to expend in our last number, on the subject of the dry rot. As our motto

We shall at present refrain from giving any opinion; but it is certain, that stagecoach horses will travel more pleasantly and with less fatigue on an undulating road, than on a dead level.

DRY ROT.

MUSIC,
NEW PUBLICATIONS.

is "fair play!" we give it insertion; and, though we cannot make | our journal the vehicle for a protracted controversy, we shall cheerfully insert any brief answer which either the author of the paper The Passions; being Six Songs, each with a descriptive Poem and referred to, or the patentee of the invention, may send us. graphic Illustration. The Poetry by Joseph Lund; the Music by Messrs. Stansbury, T. Cooke, Parry, Horncastle, Clifton, and E. Taylor. The Illustrations by R. J. Hamerton.

To the Editors of the National Standard,

Sir: In the interesting article on the prevention of dry rot by corro-THIS is published by the Melodist's Club. As the club may, perhaps, sive sublimate, two grand points seem to have been lost sight of by be new to some of our readers, it may be proper to state that it all parties: first, the great expense which must prevent its adoption was instituted in 1825, for the encouragement of English poets and by all, save the government, which can waste millions with impunity; composers, and for the promotion of the good old English style of the second objection is, the infallible result that, in any ship where ballad composition. The publication before us undertakes to deit is applied to the timber, the crews will be instantly in a state of scribe several of the passions, and they have been allotted as follows: salivation,-a pretty state to engage the enemy in! QUESTOR. Love, to Mr. Stansbury; Hate, to Mr. T. Cooke; Joy, to Mr. Parry; Grief, to Mr. Horncastle; Hope, to Mr. Clifton; and Despair, to Mr. Taylor. The whole of the composers have acquitted themselves respectably. The words are very fair, and the illustrations quite equal to either the words or the music. Violets again are Here. Madrigal for five Voices; written by Mr. R. L. Emmerman; composed and dedicated to the Noblemen and Gentlemen's Catch Club, by Lord Burghersh.

DRAMA.

MR. BUNN is going on as usual. Professing the most unbounded affection for the legitimate drama, he never suffers either tragedy or comedy to appear; nothing but opera, aud, generally, foreign opera. A glorious prospect for next season! In another part of our number will be found an exposition of the literary talents of Mr. Manager Bunn, which deserves attention. Is it not fair to conclude that such a poet is equally able as a critic? And must not Bunn the Great, therefore, be admirably qualified to exercise despotic authority over all the dramatic authorship of the kingdom? Let it not be forgotten, that, now the two great monopolies are rolled into one," there is no appeal from the decision of Alfred. His name ought to have been Egbert, he has such a knack at uniting kingdoms.

COVENT GARDEN.

Lord Burghersh is known as one of the most learned composers of the day. His compositions are not those of a "feeble amateur," but would do honour to any profession. In the difficult task which he has here undertaken, of composing a strict madrigal, he has acquitted himself admirably. The seuse of the word is in no instance violated, while the strict laws of composition are rigidly adhered to. The noble composer's fame before stood high, but such a composition as this is calculated to increase it.

England is about to possess one of the finest rooms, and the largest and most powerful organ in Europe. What the other qualities of the latter will be, remains to be proved. But the metropolis of the kingdom will not have to boast of these advantages; We are sorry to relate that her Majesty the Queen visited this the credit of them will belong to a provincial town, to Birmingham, theatre on Wednesday, to partake of the hash of "The Magic where a town-hall is nearly finished, the interior to which is 140 Flute." Messrs. Bunn and Bartley performed the parts of Candle-feet long, 65 wide, and 65 high. In this is to be placed, chiefly sticks on the occasion, exactly as the former is represented in our cut, two or three numbers ago :

"Ah, sure a pair were never seen,

So justly formed to meet by nature."

for the use of the Musical Festivals there to be held, for the benefit of the General Hospital, the organ alluded to; the following description of which accompanies a lithographic print of the gigantic instrument now building. The organ case will be forty feet wide, and forty-five feet high. The largest metal diapason pipe is to be five feet three inches in circumference, and thirty-five feet in

Such a pair of Suffolk punches! What famous dray-horses they height. The largest wood diapason pipe will measure in the interior would make for Sir Henry Meux!

ADELPHI.

upwards of 200 cubic feet. In the full organ are to be ten open diapasons, and all the other parts must be in calculated proportion to this. There will be sixty draw-stops, and five sets of keys. To supply so stupendous an instrument with wind will require many A melodrame has been produced, entitled "Long Finn." The sets of bellows, the whole superficial measure of which will exceed scene is laid in America. The persons are partly real, and the plot 380 feet. And to give, if it can be fairly estimated, some further is twofold. One series of incidents arises from the intimacy between idea of the magnitude of this organ, it may be stated, that its Lord Cornbury, governor of New York, and Koningsmark, a pirate. weight will amount to upwards of forty tons. It was intended to Being companions in guilt, their interests and fates are inextricably open this grand hall, and still grander organ, in the autumn of the interwoven. Koningsmark, hating his patron, as the promoter of his present year; but, to prevent any injurious haste in the completion vicious course and the wronger of his wife and child, seeks vengeance of the building and of the instrument, the grand Musical Festival, by carrying off the daughter of his foe, and exposing her to the bar-which will prove to the county of Warwick that it possesses one of barity of his pirate crew; but he discovers that she is his own the most splendid rooms, and the most magnificent organ in the daughter, whom Lord Cornbury had adopted as his own, as some world, is deferred till October 1834.- Harmonicon.

atonement for the wrongs he had heaped on her parents. The other story arises from the dream of a treasure-seeker, or one who spends his time in digging in the sands for gold hidden by pirates, to the neglect of all other occupation, and the ruin both of his parents and family. Having dreamt that he sees four men bury a sack in a spot among the rocks well known to him, he returns thither, and actually witnesses the reality of the scene he has before witnessed in the illusion of sleep. He digs up the sack, drags it forth, and discovers that it contains no treasure, but the mangled body of his own son, who had become the victim of the pirates. Though these two plots are not interwoven, the characters concerned in them are so ingeniously thrown together as to form a not inconsistent whole. The principal parts were well sustained, and the piece was successful in

a full house.

LITERARY INTELLIENCE.

A work is in the press, entitled "The Condition of the WestIndia Slave contrasted with that of the Infant Slave in our English Factories;" with numerous illustrative engravings by Robert Cruikshank.

On the 1st of July, the first number will appear of a new English version of the great work of Cuvier, "Le Regne Animale, or the Animal Kingdom." This illustrious naturalist, shortly before his decease, put forth a final edition of his Animal Kingdom, and in so altered and improved a form, as to give it a completely new character. This publication, consequently, has had the effect of superseding the old edition, together with all the translations made from that edition,