AUGUSTUS VON KOTZEBUE.

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in the patronage of tyrants, and from the dagger of an enthusiast.

Of his dramatic works, not already mentioned, we will notice the following:-Hyperborean Ass, Female Jacobin Club, Blind Love, Der Wildfang (a term hardly translatable), The Reconciliation, and False Shame-comedies; The Count of Burgundy, and Joanna of Montfaucon ; Octavia, a tragedy, founded on the history of Anthony and Cleopatra, and Bayard; Hugo Grotius and Gustavus Vasa tragedies. The Negro Slaves is another of his productions -a piece of exaggerated, nauseous, overstrained, sentimentality. Self-immolation is another monstrosity. His best plays are The Death of Rolla (Pizarro), False Shame, Lovers' Vows, and The Force of Calumny.

Kotzebue revelled in revolting subjects. Adelaide of Wulfingen, already mentioned, is founded on an incestuous marriage, and the heroine, like Medea, slaughters her children. "Such plots," says Taylor, whom we have already cited, "may be borne in the closet, but good taste has ceased to patronize the exhibition of Edipus, or of The Mysterious Mother. Prejudice may have led to excessive remorse; but not therefore would a civilized audience conspire to abolish it."

Kotzebue, according to Taylor, whom we have just cited, was "the greatest dramatic genius that Europe has produced since Shakspeare." Leaving that point to be settled by others, we will conclude this notice of Kotzebue by extracting from

the same writer a sketch of his La Perouse, the catastrophe of which is worthy of the author of Brother Maurice.

"A

A play on the subject of the misfortunes of La Perouse, who is here supposed to have been shipwrecked in the South Seas. Malvina, a female savage, has saved him from the waves, and has conveyed him to an unoccupied island, where he lives with her, and has a son. In secret, he vents his sorrow for those whom he left behind in Europe: he observes a sail; he makes signals; the vessel approaches. A female and a boy are landed from a boat: they are the wife and son of La Perouse. The two women gradually discover each other's relation to La Pe rouse: their equal claims, their jealousy, their warm affection for him, and their children, supply interesting moments. The brother of Madame La Perouse now intervenes. He descants on the revolution of France and the insecurity of happiness in Europe; he proposes to the party to establish themselves in the South Seas, and to despatch him with the vessel for other companions. The plan is determined, and the two women consent to live in sisterly union with La Perouse."

Kotzebue's great talent was facility of invention; his incidents are admirable; his delineation of character is often fine; but many of his characters partake of the age in which he lived, and of his own false philosophy and false estimate of the foundation on which society ought to rest.

CHAPTER XXIII.

Boston Theatre, autumn of 1798-Names of Performers there engaged Mrs. S. Powell - Mr. Villiers New-York TheatreSterne's Maria, or the Vintage The Natural DaughterGreat Success of The Stranger-Lovers' Vows-Count Benyowski-Schiller's Don Carlos-Biography of Schiller.

In the mean time, Boston being free from pestilence, Mr. Hodgkinson had the good fortune to find profitable employment for himself, his family, and the company he had engaged. It appears that he gave dissatisfaction as a manager, by raising the price of admission to the pit from 50 to 75 cents. As an apology he stated that, in 1797, he had lost 5000 dollars by his theatrical business in Boston. On the 13th of November he advertises the pit admission at 50 cents again.

The company consisted of Mr. and Mrs. Hodgkinson; Mr. and Mrs. Whitlock; Mr. and Mrs. S. Powell; Mrs. Brett; Miss Brett; Mr. and Mrs. Harper; Mr. Williamson (the singer); Mr. Chalmers; Mr. Turnbull; Mr. Simpson (Irish Simpson); Mr. Munto; Mr. Helmbold; Mr. Kedy; Mr. Price; Mr. Homer; Mr. Villiers; Mr. Kenny; Mr. Lathy; Miss Solomon; Miss S. Solomon ; Miss Harding; and Mrs. King.

Of the most important personages in this list we have already spoken, except Mrs. S. Powell. This lady's early history is unknown to us. She came to this country as Miss Harrison in the first company that played in the Federal Street theatre, Boston. She was an elegant woman, and a good actress. She was exemplary in her social duties, and, if now living, enjoys competency and all the fruits of prudence and virtue. She filled respectably the highest lines of tragedy and comedy, and will long live in the memories of the public of Boston, as well as in the affections of those who knew her private worth.

Mr. Villiers was the low comedian of the company, and an actor of force and merit. He of course could only expect to play such characters as the manager thought unworthy of his attention; as must have been the case in respect to every portion of the drama where Hodgkinson was the director, and in the greater part of every branch he had no competitor in this country at that time. Moreton was dead. Cooper, far his superior in tragedy, was yet negligent, and his great excellence confined to a few characters. Fennell's walk was very confined, and his pursuits irregular.

On the 14th of January, 1799, the manager of the New-York theatre brought out an opera written by himself, founded on the story of Maria, and called Sterne's Maria, or The Vintage. The music was composed by Victor Pellesier, and the piece

STERNE'S MARIA.

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pleased and was pleasing, but not sufficiently attractive or popular to keep the stage after the original performers in it were removed by those fluctuations common in theatrical establishments. Sterne's Maria was thus cast: Sir Harry Metland, Mr. Hallam, junr.; Yorick, Mr. Cooper; Pierre, (an old man, father of Maria), Mr. Hogg; Henry (Maria's lover), Mr. Tyler; La Fleur, Mr. Jefferson; Landlords, Peasants, &c.-Maria, Miss E. Westray; Nannette, Mrs. Oldmixon; Lilla, Mrs. Seymour. It is not necessary to observe, to those acquainted with any part of American theatrical history, that the music of the piece was confined to Messrs. Tyler and Jefferson among the males. The females were all singers; Mrs. Oldmixon the superior. After the opening chorus in the vineyard at sunset, and preparations for the peasants' dance, we will give a few lines to characterize the dialogue.

Why should I wish a change?

Pierre. But the change will come unwished, and to be happy we must be prepared for it. Yes, pretty Nannette, when the time of sport is past, and the roses have fled from your cheeks - your companions all married or dead—the young men will shun you, the young women jeer you.

Nannette. Then shall innocence sing the song of content to the bosom of humble Nannette!

Sterne's words were kept for Yorick, with little variation, and the story of Maria told in his language. La Fleur is the lover of Nannette, and gives this account of taking leave of his drum and his military life.