ut of the precincts of nature, and the conduct of "the folks
of the world" the Foundling of the Forest will be interesting and
affecting. Viewing it with a strict critical eye, not only the plot is
faulty, but the composition is in many places extremely bad. If the
production of original character was the author's design, he has
succeeded to his heart's content in that of Florian, which we believe
has never had a prototype in this world. In this _hero_ who is sometimes
as bombastical as ancient Pistol, and sometimes as ridiculous as a
buffoon, the author attempts to be droll, and

Aims at wit--but levell'd in the dark,
The random arrow never hits the mark.

A London critic remarking with just severity upon the strange way in
which the divinity is addressed in this piece, says, "This blot defaces
almost all the modern things called dramas or plays. In the farcical
comedies we have low vulgar swearing unworthy even the refuse of
society; while in the _comedies larmoyantes_ (_weeping comedies_) and
tragedies, we have eternal imprecations of the deity, indicative only of
madness in literature." To this observation as well as that which
follows from the same critic we heartily subscribe. "It is interspersed
with songs, to one of which we direct[8] the reader, to remind the
author of what Pope says:

Want of decency shows want of sense.

[Footnote 8: _See the Duett between Rosabelle and L'Eclair, Act.
III, scene I, page 16._]

"Among _soi-disant_ jolly fellows revelling in senseless ribaldry and
inebriety (continues the reviewer) this song might be deemed very fine;
but we shrewdly suspect that if the lines had been spoken at the theatre
instead of being sung, the audience would have resented the insult."

It would be injustice not to add that the concluding speech of count
Valmont, and many other parts scattered through the piece, must be
admired as specimens of very fine composition.

MUSIC.

The lovers of poetry and music have lately been highly gratified by the
publication of "A Selection of Irish Melodies, with Symphonies and
Accompaniments, by Sir JOHN STEVENSON, Doctor of Music, and
Characteristic Words, by THOMAS MOORE, Esq. the first number of which
was published in London and Dublin in the month of February of the last
year, the reviewers spoke with decided approbation. To the second
number, published in April, they are no less favourable. These melodies
have been for some time anxiously