ess the elegant figure of Kemble; but his
countenance beams with great expression. The most prominent features in
the physiognomy of Cooke are a long and somewhat hooked nose, a pair of
fiery and expressive eyes, a lofty and somewhat broad front, and the
lines of his muscles which move the lips are pointedly marked. His
countenance is certainly not so dignified as that of Kemble, but it
discovers greater passion; and few actors are, perhaps, capable of
delineating, in such glowing colours the storm of a violent passion, as
Cooke. His voice is powerful and of great compass; a preeminence he
possesses over Kemble, of which he skilfully avails himself. His
exterior movements are by far inferior in the picturesque to those of
Kemble."

GERMAN THEATRE.

It has for a considerable time been fashionable to declaim against the
theatrical performances translated from the German. They are pretty
generally charged with having corrupted the English dramatic taste, and
been the means of introducing the ribaldry and nonsense which,
particularly in the form of songs, have so frequently appeared of late,
and disgraced the London audiences, who countenanced such trash. This
charge is more than insinuated in the first number of this miscellany,
page 97, and by way of illustration, the sublime, refined, and admirable
song of Alderman Gobble is introduced.

On this point I hold an opinion diametrically opposite, and hope to
convince the reader that the allegations against the German writers are
entirely groundless. In no German play that I have ever seen is there to
be found any thing of this species. The true character of the German
theatre is the very antipodes to this. Strong bold sentiment--incidents
numerous and interesting--a dramatis personae of the boldest and most
finished kind--and in fact every thing that can command the most marked
and pointed attention of the reader or spectator. And all this
notwithstanding the disadvantages of appearing in foreign dress; for it
hardly need be stated how wretchedly many of the translations have been
executed.

That many of the German plays are highly exceptionable in their tendency
is equally lamentable as it is undeniable. And when they are adapted for
representation here, they ought to be altered and modified to suit the
taste, the manners, and the state of society in this country. I allude
to the Stranger, Lovers' Vows, and others of this cast.

But the depravation of taste of which