of his age, though a little too old for his short jacket. He had
signalised himself by an exceedingly elaborate _design_ for the
Treasury benches. This elicited the utmost applause; for, by this plan,
the seats were so ingeniously contrived, that, once occupied, it would
be a matter of extreme difficulty for the sitter to be _absquatulated_,
even by main force. Prize: a free ticket to the licensed victuallers'
dinner.
The Prince then withdrew, amidst the acclamations of the assembled
multitude.
* * * * *
A HINT TO THE NEW LORD CHAMBERLAIN.
There is always much difference of opinion existing as to the number of
theatres which ought to be licensed in the metropolis. Our friend Peter
Borthwick, whose mathematical acquirements are only equalled by his
"_heavy fathers_," has suggested the following formula whereby to
arrive at a just conclusion:--Take the number of theatres, multiply by
the public-houses, and divide by the dissenting chapels, and the
quotient will be the answer. This is what Peter calls
[Illustration: COMING TO A DIVISION.]
* * * * *
VOCAL EVASION.
LADY B---- (who, it is rumoured, has an eye to the bedchamber) was
interrogating Sir Robert Peel a little closer than the wily minister
_in futuro_ approved of. After several very evasive answers, which had
no effect on the lady's pertinacity, Sir Robert made her a graceful
bow, and retired, humming the favourite air of--
[Illustration: "OH! I CANNOT GIVE EXPRESSION."]
* * * * *
A PUN FROM THE ROW.
It is asserted that a certain eminent medical man lately offered to a
publisher in Paternoster-row a "Treatise on the Hand," which the worthy
bibliopole declined with a shake of the head, saying, "My dear sir, we
have got too many _treatises on our hands_ already."
* * * * *
PLEASURES OF HOPE (RATHER EXPENSIVE).
The _Commerce_ states "the cost of the mansion now building for Mr.
Hope, in the Rue St. Dominique, including furniture and objects of art,
is estimated at six hundred thousand pounds!"--[If this is an attribute
of _Hope_, what is reality?--ED. PUNCH.]
* * * * *
FASHIONS FOR THE MONTH.
We perceive that the severity of the summer has prevented the entire
banishment of furs in the fashionable _quartiers_ of the metropolis. We
noticed three fur caps, on Sunday last, in Seven Dials. Beavers are,
however, superseded by gossamers; the crowns of which are, among the
élite of St. Giles's, jauntily opened to admit of ventilation, in
anticipation of the warm weather. Frieze coats are fast giving way to
pea-jackets; waistcoats, it is anticipated, will soon be discarded, and
brass buttons are completely out of vogue.
We have not noticed so many highlows as Bluchers upon the
understandings of the promenaders of Broad-street. Ancle-jacks are, we
perceive, universally adopted at the elegant _soirées dansantes_,
nightly held at the "Frog and Fiddle," in Pye-street, Westminster.
* * * * *
ARTISTIC EXECUTION.
We understand that Sir M.A. Shee is engaged in painting the portraits
of Sir Willoughhy Woolston Dixie and Mr. John Bell, the lately-elected
member for Thirsk, which are intended for the exhibition at the Royal
Academy. If Folliot Duff's account of their dastardly conduct in the
Waldegrave affair be correct, we cannot _imagine_ two gentlemen more
worthy the labours of the
[Illustration: HANGING COMMITTEE.]
* * * * *
NEW PARLIAMENTARY RETURNS.
We have been informed, on authority upon which we have reason to place
much reliance, that several distinguished members of the upper and
lower houses of Parliament intend moving for the following important
returns early in the present session:--
IN THE LORDS.
Lord Palmerston will move for a return of all the _papillote_ papers
contained in the red box at the Foreign Office.
The Duke of Wellington will move for a return of the Tory taxes.
The Marquis of Downshire will move for a return of his political
honesty.
Lord Melbourne will move for a return of place and power.
The Marquis of Westmeath will move for a return of the days when he was
young.
The Marquis Wellesley will move for a return of the pap-spoons
manufactured in England for the last three years.
IN THE COMMONS.
Sir Francis Burdett will move for a return of his popularity in
Westminster.
Lord John Russell will move that the return of the Tories to office is
extremely inconvenient.
Captain Rous will move for a return of the number of high-spirited
Tories who were conveyed on stretchers to the different station-houses,
on the night of the ever-to-be-remembered Drury-lane dinner.
Sir E.L. Bulwer will move for a return of all the half-penny ballads
published by Catnach and Co. during the last year.
Morgan O'Connell will move for a return of all the brogues worn by the
bare-footed peasantry of Ireland.
Colonel Sibthorp will move for a return of his wits.
Peter Borthwick will move for a return of all the kettles convicted of
singing on the Sabbath-day.
Sir Robert Peel will move for a return of all the ladies of the
palace--to the places from whence they came.
Ben D'Israeli will move for a return of all the hard words in Johnson's
Dictionary.
* * * * *
RATHER OMINOUS!
The _Sunday Times_ states, that "several of the _heads_ of the
Conservative party held a conference at _Whitehall_ Gardens!" _Heads_
and _conferences_ have been cut short enough at the same place ere now!
* * * * *
HEAVY LIGHTNESS.
A joke Col. Sibthorp to the journal sent--
Appropriate heading--"_Serious Accident_."
* * * * *
A MATTER OF COURSE.
The match at cricket, between the Chelsea and Greenwich Pensioners, was
decided in favour of the latter. Captain Rous says, no great wonder,
considering the winners bad the majority of _legs_ on their side. The
Hyllus affair has made him an authority.
* * * * *
THE DRAMA.
THE ITALIAN OPERA.
RETIREMENT OF RUBINI.
(_Exclusive_.)
N.B.--PUNCH is delighted to perceive, from the style of this
critique, that, though anonymously sent, it is manifestly from the
pen of the elegant critic of the _Morning Post_.
[Illustration: O]On a review of the events of the past season, the
_souvenirs_ it presents are not calculated to elevate the character of
the arts _di poeta_ and _di musica_, of which the Italian Opera is
composed. The only decided _nouveautés_ which made their appearance,
were "Fausta," and "Roberto Devereux," both of them _jejune_ as far as
regards their _libretto_ and the _composita musicale_. The latter
opera, however, serving as it did to introduce a pleasing
_rifacciamento_ of the lamented Malibran, in her talented sister
Pauline (Madame Viardot), may, on that account, be remembered as a
pleasing reminiscence of the past season.
The evening of Saturday, Aug. 21st, will long be remembered by the
_habitués_ of the Opera. From exclusive sources (which have been opened
to us at a very considerable expense) we are enabled to
communicate--_malheureusement_--that with the close of the _saison de_
1841, the _corps opératique_ loses one of its most brilliant ornaments.
That memorable epocha was chosen by Rubini for making a graceful
_congé_ to a fashionable audience, amidst an abundance of tears--shed
in the choicest Italian--and showers of _bouquets_. The subjects chosen
for representation were _apropos_ in the extreme; all being of a
_triste_ character, namely, the _atta terzo_ of "Marino Faliero," the
_finale_ of "Lucia di Lammermoor," and the last _parte_ of "La
Sonnambula:" these were the chosen vehicles for Rubini's _soirée
d'adieu_.
As this _tenor primissimo_ has, in a professional _regarde_,
disappeared from amongst us--as the last echoes of his _voix
magnifique_ have died away--as he has made a final exit from the public
_plafond_ to the _coulisses_ of private life--we deem it due to future
historians of the Italian Opera _de Londres_, to record our admiration,
our opinions, and our _regrets_ for this great _artiste_.
Signor Rubini is in stature what might be denominated _juste milieu_;
his _taille_ is graceful, his _figure_ pleasing, his eyes full of
expression, his hair bushy: his _comport_ upon the stage, when not
excited by passion, is full of _verve_ and _brusquerie_, but in
passages which the _Maestro_ has marked "_con passione_" nothing can
exceed the elegance of his attitudes, and the pleasing dignity of his
gestures. After, _par exemple_, the _recitativi_, what a pretty
_empressement_ he gave (alas! that we must now speak in the past
tense!) to the _tonic_ or _key-note_, by _locking_ his arms in each
other over his _poitrine_--by that after expansion of them--that clever
_alto_ movement of the toes--that apparent embracing of the _fumes des
lampes_--how touching! Then, while the _sinfonia_ of the _andante_ was
in progress, how gracefully he turned _son dos_ to the delighted
auditors, and made an interesting _promenade au fond_, always
contriving to get his finely-arched nose over the _lumières_ at the
precise point of time (we speak in a musical sense) where the word
"_voce_" is marked in the score. His pantomime to the _allegri_ was no
less captivating; but it was in the _stretta_ that his beauty of action
was most exquisitely apparent; there, worked up by an elaborate
_crescendo_ (the _motivo_ of which is always, in the Italian school, a
simple progression of the diatonic scale), the _furor_ with which this
_cantratice_ hurried his hands into the thick clumps of his picturesque
_perruque_, and seemed to tear its _cheveux_ out by the roots (without,
however, disturbing the celebrated side-parting a single hair)--the
vigour with which he beat his breast--his final expansion of arms,
elevation of toes, and the impressive _frappe_ of his right foot upon
the stage immediately before disappearing behind the _coulisses_--must
be fresh in the _souvenir_ of our _dilettanti_ readers.
But how shall we _parle_ concerning his _voix_? That exquisite organ,
whose _falsetto_ emulated the sweetness of flutes, and reached to A
flat _in altissimo_--the _voce media_ of which possessed an unequalled
_aplomb_, whose deep double G must still find a well-in-tune echo in
the _tympanum_ of every _amateur_ of taste. _That_, we must confess, as
critics and theoretical musicians, causes us considerable _embarras_
for words to describe. Who that heard it on Saturday last, has yet
recovered the ravishing sensation produced by the thrilling tremour
with which Rubini _gave_ the _Notte d'Orrore_, in Rossini's "Marino
Faliero?" Who can forget the _recitativo con andante et allegro_, in
the last scene of "La Sonnambula;" or the burst of anguish _con
expressivissimo_, when accused of treason, while personating his
favourite _rôle_ in "Lucia di Lammermoor?" Ah! those who suffered
themselves to be detained from the opera on Saturday last by mere
illness, or other light causes, will, to translate a forcible
expression in the "Inferno" of Dante, "go down with sorrow to the
grave." To them we say, Rubini _est parti_--gone!--he has sent forth
his last _ut_--concluded his last _re_--his ultimate note has
sounded--his last _billet de banque_ is pocketed--he has, to use an
emphatic and heart-stirring _mot_, "_coupé son bâton!_"
It is due to the _sentimens_ of the audience of Saturday, to notice the
evident regret with which they received Rubini's _adieux_; for, towards
the close of the evening, the secret became known. Animated
_conversazioni_ resounded from almost every box during many of his most
charming _piano_ passages (and never will his _sotto-voce_ be
equalled)--the _beaux esprits_ of the pit discussed his merits with
audible _goût_; while the gallery and upper stalls remained in mute
grief at the consciousness of that being the _dernière fois_ they would
ever be able to hear the sublime _voce-di-testa_ of Italy's prince of
_tenori_.
Although this retirement will make the present _clôture_ of the opera
one of the most memorable _événemens_ in _les annales de l'opéra_, yet
some remarks are demanded of us upon the other _artistes_. In "Marino
Faliero," Lablache came the _Dodge_ with remarkable success. Madlle.
Loewe, far from deserving her _bas nom_, was the height of perfection,
and gave her celebrated _scena_ in the last-named opera _avec une force
superbe_. Persiani looked remarkably well, and wore a most becoming
_robe_ in the _rôle_ of Amina.
Of the _danseuses_ we have hardly space to speak. Cerito exhibited the
"poetry of motion" with her usual skill, particularly in a difficult
_pas_ with Albert. The ballet was "Le Diable Amoureux," and the stage
was watered between each act.
* * * * *
THE GREAT UNACTABLES.
It seems that the English Opera-house has been taken for _twelve
nights_, to give "_a free stage and fair play_" to "EVERY ENGLISH
LIVING DRAMATIST." Considering that the Council of the Dramatic
Authors' Theatre comprises at least half-a-dozen Shakspeares in their
own conceit, to say nothing of one or two _Rowes_ (soft ones of
course), a sprinkling of Otways, with here and there a Massinger, we
may calculate pretty correctly how far the stage they have taken
possession of is likely to be _free_, or the _play_ to be _fair_
towards _Every English living Dramatist_.
It appears that a small knot of very great geniuses have been, for some
time past, regularly sending certain bundles of paper, called Dramas,
round to the different metropolitan theatres, and as regularly
receiving them back again. Some of these geniuses, goaded to madness by
this unceremonious treatment, have been guilty of the insanity of
printing their plays; and, though the "Rejected Addresses" were a very
good squib, the rejected Dramas are much too ponderous a joke for the
public to take; so that, while in their manuscript form, they always
produced speedy _returns_ from the managers, they, in their printed
shape, caused no _returns_ to the publishers. It is true, that a
personal acquaintance of some of the authors with Nokes of the _North
Eastern Independent_, or some other equally-influential country print,
may have gained for them, now and then, an egregious puff, wherein the
writers are said to be equal to Goëthe, a cut above Sheridan Knowles,
and the only successors of Shakspeare; but we suspect that "the mantle
of the Elizabethan poets," which is said to have descended on one of
these gentry, would, if inspected, turn out to be something more like
Fitzball's Tagiioni or Dibdin Pitt's Macintosh.
No one can suspect PUNCH of any _prestige_ in favour of the
restrictions laid upon the drama--for our own free-and-easy habit of
erecting our theatre in the first convenient street we come to, and
going through our performance without caring a rush for the Lord
Chamberlain or the Middlesex magistrates, must convince all who know
us, that we are for a thoroughly free trade in theatricals; but,
nevertheless, we think the _Great Unactables_ talk egregious nonsense
when they prate about the possibility of their efforts working "a
beneficial alteration in a law which presses so fatally on dramatic
genius." We think their tom-foolery more likely to induce restrictions
that may prevent others from exposing their mental imbecility, than to
encourage the authorities to relax the laws that might hinder them from
doing so. The boasted compliance with legal requisites in the mode of
preparing "Martinuzzi" for the stage is not a new idea, and we only
hope it may be carried out one-half as well as in the instances of
"Romeo and Juliet as the Law directs," and "Othello according to Act of
Parliament." There is a vaster amount of humbug in the play-bill of
this new concern, than in all the open puffs that have been issued for
many years past from all the regular establishments. The tirade against
the _law_--the announcement of alterations in conformity with _the
law_--the hint that the musical introductions are such as "_the law_
may require"--mean nothing more than this--"if the piece is damned,
it's _the law_; if it succeeds, it's the _author's genius!_" Now, every
one who has written for the illegitimate stage, and therefore PUNCH in
particular, knows very well that the necessity for the introduction of
music into a piece played at one of the smaller theatres is only
nominal--that four pieces of verse are interspersed in the copy sent to
the licenser, but these are such matters of utter course, that their
invention or selection is generally left to the prompter's genius. The
piece is, unless essentially musical, licensed with the songs and acted
without--or, at least, there is no necessity whatever for retaining
them. Why, therefore, should Mr. Stephens drag "solos, duets, choruses,
and other musical arrangements," into his drama, unless it is that he
thinks they will give it a better chance of success? while, in the
event of failure, he reserves the right of turning round upon the _law_
and the _music_, which he will declare were the means of damning it.
A set of briefless barristers--all would-be Erskines, Thurlows, or
Eldons, at the least--might as well complain of the system that
excludes them from the Woolsack, and take a building to turn it into a
Court of Chancery on their own account, as that these luckless
scribblers, all fancying the Elizabethan mantle has fallen flop upon
their backs, should set themselves up for Shakspeares on their own
account, and seize on a metropolitan theatre as a temple for the
enshrinement of their genius.
If PUNCH has dealt hardly with these gentlemen, it is because he will
bear "no brother near the throne" of humbug and quackery. Like a
steward who tricks his master, but keeps the rest of the servants
honest, PUNCH will gammon the public to the utmost of his skill, but he
will take care that no one else shall exercise a trade of which he
claims by prescription the entire monopoly.
* * * * *