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in his side. Meanwhile his own throat was seized with the death-like grasp of his foe. He felt the desperate gripe through his whole frame the knife dropped from his hand, he thought his fate sealed. At this instant another party rushed in to share in the conflict, and turn the current of the fight. The dog, which, while the combatants kept their feet, contented himself with springing around them in a circle, and filling the forest with his cries, no sooner saw his master borne down by the savage, than the noble brute rushed to the rescue. He seized the Indian's arm in his mouth, and actually tore away the grasp from his master's throat. Then flying at the neck of the former, he sunk his long teeth into it, and rolled the heavy mass from his master's body. Breathless, and Feeble with the loss of blood, the Indian was now nearly exhausted, the latter arose. maintaining an unequal struggle to detach the gripe of the dog. Henry recovered his knife. He flung himself upon the Indian, and with repeated plunges buried the deadly instrument in his side. The last stab reached the heart. Every muscle of the victim a groan escaped - and he relaxed there was a slight shudder crept over his frame lay a prostrate and powerless corse.'
The picturesque features of the locale, which is previously described, are admirably preserved, while the events above graphically depicted are transferred to the canvass with a truth and force that leave nothing to be desired.
IN giving place to the usual communication of our dramatic correspondent, we would not be understood as sanctioning his criticism of Mr. FORREST, in all its bearings. Without being influenced by that gentleman's stern, uncompromising Americanism ---for - we hold it to be susceptible of proof, by which we confess we especially admire himabundant testimony, that no actor of our day has equal power in carrying an audience with him in causing them to enter, heart and soul, into the scenes he is portraying. If to do this successfully requires not 'force of genius' and 'innate talent,' we confess ourselves ignorant of what constitutes a good actor.
PARK THEATRE- Mr. FORREST. We are much inclined to give way to the opinion, that actors, like poets, are more indebted to nature than art for the faculties which they exercise. The cacoethes ludendi, like the spirit which prompts the scribbler to inflict his lucubrations upon the public, is constantly exercising its evil influence upon the lives and fortunes of green boys and greener girls, to the manifest discomfiture of suffering philanthropists, whose susceptibilities, (ever-yearning with the noble desire of fostering 'young genius,' whose eagle-wings may be yet but pin-feathers,) are victimized nightly by some aspiring Roscius. This is not the spirit to which we allude. The genius which dwelt in the soul of KEAN, was a deep, rich, and abiding inheritance, which nature and not art gave him. It was his first perception; it grew with his growth, and strengthened with his strength. Art added to its excellence-built upon its foundation increased its power; but the vital spark which illumined the structure, existed from the first, and doubly repaid its borrowings, by making art appear as lovely and attractive as itself. As an actor, Mr. FORREST is the very antipodes of Kean- and yet, paradoxical as it may seem, he has admirers as enthusiastic in their praise, as any that ever wept at the will of that master of passion. Kean had that innate genius which we say is the inheritance of nature. Forrest has it not. We do not mean to attempt a comparison between the two, if such a thing were possible; to effect it, would, under the circumstances, be an act of injustice to both. We only speak of Kean as an instance in proof of the truth of the assertion that actors are born, not made.' Kean was indebted to nature for the genius of his art - Forrest is under obligations to the same source, but mainly for great physical capacity for all the externals. That Forrest has of late, in all his conceptions, evinced the possession of mind- of a knowledge of nature of study is a truth which no one can deny. That he has displayed, in any of his personations, that deep,
intuitive thought, which fastens itself alike upon the delicate and the bold points of character which searches every feeling, identifies itself with every passion, and paints the expression of each as it is received-which touches the feelings, and not the senses alone is another truth, which even his friends will not be disposed to argue against. We may not be understood, by those who believe that a passion may be truly expressed without a particle of the ingredients which compose the feeling being for the time even in the thought of the artist. Such materialists should build automaton Hamlets, Romeos of bass-wood, and mahogany Othellos. In such parts as require the display of a fine person, a noble bearing, and great physical power, and where the scenes do not call upon the actor for any particular delicacy of expression — where, as in the 'Gladiator,' the play is characterized by nobility of action- by the bold display of daring deeds, more than by any delicate sentiment - such as love in Romeo and Juliet,' or jealousy in 'Othello' Mr. Forrest is superior to any actor we have ever witnessed. In 'Othello' he fails in expression; in 'Lear' he wants the soul of the character. He has all the wheels of the watch, but the spring is wanting; and yet his Lear was, in the scenes of angry passion, terribly grand. In these Mr. Forrest showed not only his fine voice and muscular strength, but he satisfied all that he had studied, and knew as well the feeling as the words which he expressed. In all his Indian characters, Mr. Forrest is deservedly great. His good sense, study, and his noble person, have made him more than respectable in Damon, and other parts of similar character. Whatever he attempts hereafter will either be as highly approved as the best of his previous characters have been, or they will bear the stamp of respectability. He is not a tragedian who will ever make his audience laugh. His judgment will always command respect, and his great talents, when properly applied, the admiration of the judicious. Mr. Forrest has greatly improved since he left this country, and he will continue to do so. The same perseverance which has brought him to the elevation which he now occupies, will lift him still higher, and make him a yet greater honor to the profession which he now adorns. There is an occasional extravagance in Mr. Forrest's manner, which we hope he will reform altogether:
'His action always strong, but sometimes such,
This over-acting is the fault of all the pupils of the Forrest school. Imitators generally copy the faults before they do the beauties of their originals. Mr. Forrest is, therefore, especially answerable for the consequences of this defect. Let him entirely do away with the habit of rant, by setting the example to his followers. Let him cultivate a chaste and subdued style, casting away every thing which can possibly be construed into a trap for applause; and what was said of Quin may with better justice be applied to him:
Where he falls short, 'tis nature's fault alone -
MISS HORTON. After the departure of the Woods, we began to fear that we had listened for the last time to English opera at the Park Theatre; but we have been agreeably disappointed. Miss HORTON has appeared: her reception was gracious and just, and her performances, through a short engagement, have been greeted each succeeding night with increased approbation. She possesses a contralto voice of extraordinary natural sweetness, and highly cultivated and improved under the efficient instruction of the celebrated BORDOGNI. Miss Horton has not, we understand, been often before the public, previous to this engagement. Her time has been closely devoted to study, for years past; and the effect is, a rich and finished style of singing, which has not its equal on the American stage, and, with one or two exceptions, no superior on any other. She does not, however, seem to do herself justice. Her voice is powerfulsufficiently so to fill any theatre; but, from timidity, we presume, she does not always
exercise it in its full capacity. She should not hold back one strain from the just measure of her powers, nor deprive her audience of a single tone of her rich and beautiful voice. We do not fear a surfeit from a feast so delicate.
MAD'LLE AUGUSTA. — Of this lady, it may for the present suffice to say, that the fame which preceded her in no respect exceeded her merits. She is one of the most graceful artistes, in her department, ever seen on the New-York boards; and she comes among us abundantly accredited, as one sustaining a similar preeminence abroad. She has, in no country, but one rival near her throne; and to be second only to TAGLIONI, Should not only satisfy AUGUSTA, but all who witness her tasteful exhibitions of 'the poetry of motion.'
THE NATIONAL THEATRE.-This new establishment - second to none in the Union for the richness, beauty, and comfort of its interior appointments- has won upon the public regard, during the short term in which it has been in operation, to an extent which even the enterprising and skilful managers themselves could scarcely have anticipated. Beside the humorous personations of MITCHELL, one of the new and clever English recruits of the establishment, the National has already presented to crowded houses the distinguished performances of BOOTH, the best actor in America; Miss CLIFTON, but recently returned from abroad, bearing marks of evident improvement, and more effective than ever; CELESTE, whose reputation is too well known to require comment; WALLACK, 'himself alone' in his line, and always excellent; and Miss PHILLIPS, who has no compeer, now that FANNY KEMBLE no longer sways the hearts of theatre-goers at her will. Such has been the opening, only, of this new play-house; yet, promising as it has been, there is little doubt that it will continue to realize the favorable anticipations of its future course naturally awakened in the public mind.
AMERICAN THEATRE, Bowery.-Beside the attractions of Mr. HAMBLIN, as Othello and Hamlet, and of Miss CUSHMAN, a talented' débutante, the nautical drama of LAFITTE - prepared for the stage by Miss MEDINA, from the novel of 'Lafitte, or the Pirate of the Gulf,' by Professor INGRAHAM - has been produced at this theatre with a liberal expenditure of superb scenery, and all the varied machinery and adjuncts of similar pieces. That it has merit and attraction, may be gathered from the fact that it crowds the house nightly, from pit to ceiling, with admiring audiences; but in what this merit and attraction consist, we have not yet been enabled to experience. As yet, the play is in too much demand to be visited by one who values a comfortable seat in uncomfortable weather.
EVERY MAN'S BOOK. It is related of BURKE, that being caught one day in a shower, in one of the streets of London, he stepped beneath a temporary shelter, where he encountered a weaver, with whom he soon entered into conversation. When the shower had passed, and the parties separated, a by-stander asked the artisan if he knew who that was with whom he had been conversing. 'Oh, it was some weaver,' was the reply. This circumstance has been often quoted, as an evidence of the familiarity of the great statesman with every species of parctical knowledge. 'Every man's Book' is a work calculated to make the reader as wise as Mr. Burke, in relation to all known professions aud trades, of which eighty are briefly but clearly described, and illustrated with a like number of well-designed but frequently very badly-executed engravings. The volume is from the pen of Mr. EDWARD HAZEN, and is beautifully stereotyped by Mr. JOHN FAGAN, of Philadelphia. It is designed for the use of schools and families, as well as miscellaneous readers, and is destined to prove a popular additon to the useful literature of the day.
EVERETT'S ORATIONS. This volume is a noble and timely donation to the American public. It contains all the addresses of a public nature which have been given by the author, save those of a political bearing, which are here excluded. Most of the contents of this collection have already appeared in print; and such of our readers as have read them in the form of an ephemeral pamphlet, will need no incentive to their attainment in a collected form. To great fertility of mind, Mr. Everett unites rich and varied classical attainments, a diction elegant and pure, and the advantages of observation, gained in close familiarity with the scenes and events of his own country, and by extended foreign travel. The merits of these compositions are too well known to require praise or comment. We but subjoin their titles: Orations at Cambridge, before the Society of Phi Beta Kappa, August, 1824; at Plymouth, December, 1824; at Concord, April, 1835; at Cambridge; July 4, 1826; at Charlestown, in commemoration of Adams and Jefferson, Angust, 1826, at Charlestown, July 4, 1828; Address at the erection of a monument to John Harvard, at Charlestown, September, 1828; Speech at a public dinner at Nashville, Tennessce, June, 1824; at a public dinner at Lexington, 1829; at a public dinner at Yellow Springs, (Ohio,) June, 1829; before the Charlestown Lyceum, June, 1830, being the two hundreth anniversary of Gov. Winthrop's arrival; on the Importance of Scientific Knowledge to practical men, and on the encouragements to its pursuits; Lecture on the Working men's Party, before the Charlestown Lyceum, October, 1830; Introductory to the Franklin Lectures, in Boston, November, 1831; Speech before the Colonization Society, in the Capitol, at Washington, January, 1832; at a public meeting held in Boston on behalf of the Kenyon College, (Ohio,) May, 1833; at Faneuil Hall, May, 1833, on the subject of the Bunker Hill Monument; at a Temperance Meeting in Salem, June, 1833; Oration at Worcester, July 4, 1833; before the Phi Beta Kappa Society in Yale College, New-Haven, August, 1833; Address at Brighton, before the Massachusetts Agricultural Society, October, 1833; Eulogy on Lafayette, at Faneuil Hall, September, 1834; Oration at Lexington, April, 1835; at Beverly, July 4, 1835; Address before the Literary Societies of Amherst College, August, 1835; Address at Bloody Brook, in South Deerfield, September, 1835, in commemoration of the fall of the 'Flower of Essex,' at that spot, in King Phillip's War, September 18, (O. S.,) 1675; and Speech on the subject of the Western Rail-road, delivered in Faneuil Hall, October, 1835.
In addition to this volume- which in beauty of execution reflects honor upon the press of the American Stationers' Company of Boston -we are glad to perceive that another will soon be published, containing a selection of the author's Speeches in Congress, and articles written in the North American Review.
MELLICHAMPE: A LEGEND OF THE SANTEE. Owing to an unforeseen lack of space, we are compelled to reserve for our next number a review of this latest work of a popular American novelist; reluctantly contenting ourselves, in the mean time, (if the bull be pardonable,) by a bare hint as to its character, and with commending it, in general terms, to the favorable regards of our readers. It is, as we learn, rather an episode in the progress of 'The Partisan' than a continuation of that romance. The action of 'Mellichampe' begins where the 'Partisan' left off, and the story opens by the resumption of one of the suspended threads of that narrative; but beyond this, there is no connection between the two works. The events made use of are chiefly historical, of which every chapter of the romance, it is believed, affords ample evidence. 'Indeed,' says the author in his preface, the entire materials of Mellichampe the leading every general action—and the main characteristics, have been taken from the unquestionable records of history, and in the regard of the novelist the scarcely less credible testimonies of that venerable and moss-mantled Druid, Tradition.'
THE ROMANCE OF NATURE. - Unquestionably the most rich and tasteful volume, of the annual class, which has made its appearance in advance of the coming season, is "The Romance of Nature, or the Flower Seasons Illustrated.' By LOUISA ANNE TWAMLEY. The plates, twenty-eight in number, are engraved, after original drawings by the author, in the finest style of the art, and colored with such perfect truth to nature that the beholder can scarcely help fancying that he sees before him the very flowers themselves and it needs but a little stretch of imagination, to believe that they even impart the aroma which their originals exhale. There are some two hundred and fifty pages of beautiful letter-press, in verse, appropriate to the various flowery subjects which they accompany and illustrate. We hardly look for a more attractive souvenir from the English press, how much soever the laudable emulation of the publishers of these elegant productions in London might lead us to expect. WILEY AND LONG.
RATTLIN THE REEFER. Capt. Marryat' is placed on the back of these volumes, and as a heading to the show-bills which announce their publication. Whether the author of 'Peter Simple' be their real father or not, certain it is, that his plastic hand has been busy with the contents, and the real writer, whoever he may be, has imbibed no small portion of his inventive skill, humor, spirit, and unsurpassed power of graphic description. The work is composed of the collected numbers of 'The Life of a SubEditor,' which have appeared monthly in the London Metropolitan Magazine, during the last twelve months, as well as in an incomplete form, in the American re-publication of that excellent work. The public are by this time on very familiar terms with Rattlin; and he will now make his way without farther introduction or recommendation.
THE PEARL.'The Pearl, or Affection's Gift,' for 1837, is the sixth volume of that popular Christmas and New Year's Present for Youth. It is embellished with six mezzotinto engravings, very soft, and highly finished. The contents are varied, instructive, and entertaining. It has evidently been the aim of the several writers— among whom are Miss SEDGWICK, Mrs. SIGOURNEY, Mrs. GILMAN, and others of like repute to inculcate valuable moral and religious lessons. The letter-press is superior, and the binding rich and tasteful. We take pleasure in recommending 'The Pearl' to parents and guardians, and to all who may desire to interest the imagination and improve the hearts of the young.
THE VIOLET, a Christmas and New Year's Gift, or Birth-day Present, is of the same character as 'The Pearl,' being intended for youth of both sexes. There are six pretty engravings; and the matter is furnished by well-known contributors, among whom, in addition to those mentioned above, are Miss H. F. GOULD, Mrs. HALE, Mrs. EMBURY, and Miss GOOCH. The letter-press and binding are neat and appropriate.
IRVING'S WORKS. - We doubtless confer a favor upon many of our readers, by commending to public acceptance the new and uniform edition of IRVING's works, now in course of publication by CAREY, LEA AND BLANCHARD, Philadelphia: KNICKERBOCKER'S History of New-York,' and 'The Sketch-Book,' are already issued, in a clear, large type, and tasteful binding. Moreover, the price is so reasonable as to place the series in the reach of all classes of readers.
AWFUL EXPOSURE OF 'AWFUL DISCLOSURES.'-A small volume, of an hundred pages and upward, has been laid before us, entitled 'Awful Exposure of the Atrocious Plot formed by certain Individuals against the Clergy and Nuns of Lower Canada, through the intervention of MARIA MONK : with an authentic Narrative of her Life, from her birth to the present moment, and an account of her Impositions, etc.' We have glanced but hastily through the book, and can only speak of its literary merits, which are not of an exalted character.