"The curtain of the year 1830 dropped on Europe in a state of ferment and agitation, of which it was impossible to check the progress or to foretell the result. The masses of the population had been stirred up from the bottom by the concussion of the French and Belgic revolutions, and could not be expected for a long time to subside into order, or resume a determinate arrangement according to their weight and affinities. The partition wall of privilege, rank, or subordination, interposed between different classes of the European community, had in some cases been forcibly broken down, and in others had been more silently undermined. Antiquity, custom, usage, or legitimacy, which formerly became a shelter to abuses, could not now protect justice and right from threatened innovation. Everywhere power was challenged on its rounds, and compelled to give the popular watchword before it could be allowed to pass. Whether it was a nation that demanded its independence from a foreign power, as in Belgium and Poland; or a people that cashiered their dynasty, as in France and Saxony; or a parliament that changed its administration for a more popular party, as in England; or republics that liberalized their institutions, as in Switzerland,—all was movement and change. The breath of revolution sometimes blew from the suburbs of a capital, as in France; sometimes from the cottages of the peasant, as in the Swiss mountains; but it was every where powerful. No institution was held venerable, no authority sacred, that stood in the way of the popular will. The people had every where got a purchase against their rulers, and had fixed their engines for a further pull. The power of domestic military protection had diminished, in proportion as rulers required its aid; while, at the same time, all Europe seemed arming for a general trial of strength, or a recommencement of conquest. Every kind of reform was the order of the day; financial reform, legal reform, ecclesiastical reform, and parliamentary reform. The year that has just commenced must resolve the character of many of those vague tendencies to change, to war, and confusion, which alarmed some and inspired hope into others at the close of 1830."

NOTES OF A READER

THE DRAMATIC ANNUAL

THE DAMNED AUTHOR.Mr Frederick Reynolds, the veteran dramatist, has, by the aid of Mr. W.H. Brooke, produced an amusing and elegant volume of a Playwright's Adventures, under the above title, Mr. Brooke's contributions are a plentiful sprinkling of Cuts, full of point and humour, and dovetailed by the Editor with no lack of ingenuity. The Narrative itself purports to be a series of adventures, or a volume of accidents to a young playwright in quest of dramatic fortune, with a due admixture of love and murder, and "a happy union."—These are relieved by pungent attempts at repartee and harmless raillery, so as to make the dialogue portion glide off pleasantly enough. Instead of quoting an entire chapter from the volume, we are enabled to transfer to our pages a few of its epigrammatic illustrations. First, is what Mr. Reynold calls l'auteur sifflè, but this, for the sake of comprehensiveness, we style the damned author.

THE HANGING COMMITTEE.Mr. Reynolds seems to hold with Swift, that the merriest faces are in mourning coaches, for his hero at a funeral introduces one of the best cuts. Thus—

On Vivid's return home, his gratification was soon diminished by the recollections of "existing circumstances," and these caused him to sink into a gloomy and desponding state; when Sam Alltact, rather malapropos, entered with a black-edged card, inviting his master to the funeral of a deceased acquaintance, an eminent young artist, named Gilmaurs, who, never having been an R.A., but simply an engraver of extraordinary genius, was not to be buried under the dome of St. Paul's, but in a village churchyard.

Vivid could not help remarking to a brother mourner, that, in his opinion, the profession of a painter was as much overrated as that of an engraver was underrated: "for," he added, "what real and unprejudiced connoisseur, while contemplating Woollett's Roman Edifices from Claude, and Sir Robert Strange's Titian's Mistress from Titian, with many others, would not acknowledge, that the copy in many instances so rivalled, if not surpassed, the original, that it became a decided question, which artist ought to carry off the palm?"

"Or, at any rate," cried an odd accordant theatrical companion, "the connoisseur might say, with Shakspeare—

'Which is the merchant here, and which the Jew?'"

"There is no doubt, that in any school of painting," continued our hero, "such men as Reynolds, West, and Lawrence, cannot be too much upheld whilst living or lauded and regretted when dead. There is likewise Wilkie—another Hogarth–"

"I beg your pardon," rejoined the theatrical gentleman; "but till I can forget the blunderbuss fired from the upsetting coach, the cobweb over the poor's-box, and the gay parson and undertaker at the harlot's funeral, I cannot allow of the comparison. Besides, I admire Hogarth for another reason: did he consider an engraver's to be an infradig. profession? No, for he was the engraver of his own works."

"True," replied Vivid; "and other painters have been engravers. But to the point: look at the variety of the exquisite engravings in the Annuals; and having compared them with the large, coarse, mindless pictures in—what may be called another annual—the Exhibition of the Royal Academy, then say, whether you do not prefer the distinct delicate touches of a well-directed burin, to the broad, trowel-like splashings of an ill-directed painting-brush?"

"I do; and whilst I bow down to the excellence of such a portrait as that of Charles the First, by Vandyke, or that of Robin Goodfellow, by Sir Joshua, cum multis aliis by painters of the same pre-eminent description—ay, and also whilst I greatly admire numerous pictures still annually exhibited by highly talented living artists, I ask, if I am not to speak my mind relative to that class of painting, which might pass muster outside the inns at Dartford, or Hounslow, or –. However, 'the lion preys not upon carcasses,' and, therefore, I will leave these canvass-spoilers to the judgment of those, who will show them in their proper light—viz. the hanging-committee."

The funeral being concluded, they return to town, Vivid agreeing with his odd companion in leaving the canvass-spoilers to the hanging committee.

Is it not to be hoped that a day may come when a thorough revision and amelioration of our equity laws will be deemed a matter of as great national importance as that chief occupier of the time of our grand rural Capulets and Montagues, the revision and amelioration of the game laws.

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The Mirror of Literature, Amusement, and Instruction. Volume 17, No. 489, May 14, 1831

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NOTES OF A READER

THE DRAMATIC ANNUAL

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