Literature.

Colonist, Issue 6, 10 November 1857, Page 4

Literature.

REVIEW, The Life and Enterprises of R. W. Ettiston, Comedian. By George Raymond. Routledge and Co. - The advantage of the system of cheap reprints is making itself more arid more manifest every day- Here, within the reasonable compass of three shillings, is a. volume of the most marketable commodity which ten years ago waiß sold for thirty. This boon to the reading public has *u>t been accompanied by the sacrifice of either comfort or luxury, for the type is as large and clear as any one can. desire, and the illustrations are the same as those with which the larger edition was embellished. Of such a fcook, so presented, it is impossible to speak otherwise.than in terms of the highest praise. Mr. Raymond's reputation as one of the liveliest and most agreeable writers of the present day has long been established. It was, perhaps, the 'Life of Elliston' 'which confirmed him in that position, but lie might have claimed his literary grade much sooner had he not deferred till a very recent period the publication, en Hoc—- (under the appellation of * Drafts for Acceptance')—of a series of articles which he had scattered, for the most part anonymously, ihrpugh the pages of our best periodicals- A lew months back we gave, in the columns of the Examiner, specimens of the quality of Mr.. Raymond's later-pub-lished work, and as a new generation of readers has arisen since the * Life of Elliston' first saw the light, we cannot do better than offer them both novelty and pleasure by quoting from it as far as our limits will allow us, quotation from a volume like this being infinitely more to >fche purpose than a dry summary of its contents. The absurd expedients which are occasionally resorted to in country theatres are very amusingly illustrated in SHIFTS OF STROLLERS. Elliston was absolutely fond of vagabondising. We are not cure that lie did not, at times, prefer embarking in a small theatrical scheme, to the splendour of the monarchy of spacious Drury. At the close of his season at Drury Lane, he leu; London and opened the Coventry Theatre. The play was O'Keefe's " Wild Oats," in which Elliston enacted his favorite part of Rover, and Keeley was Sim. The absurd shifts occasionally made in country theatres are scarcely to be credited. In the first scene of the second act of " Wild Oats," It is essential that a shower of rain should as distinctly be heard by the audience as a shower of applause should catch the ear of the actor; but as the * drop' came down to finish the first act, the prompter informed Mr. Elliston that there was not a drop of water in the house. * Then open a bottle of wine,' said Elliston. True genius is never at a loss, and Robert William instantly sent out to the nearest chandler's shop for a new sheet of brown paper: how this was to be used we have yet to detail. There is an adage— * If you cannot snow white you must snow brown,' and at the exact moment that the shower was to be heard without, Elliston, with prodigious energy, commenced rubbing the back wall behind the side scene with the new sheet of brown paper. This produced a something of a sound—an admixture of scratching and hissing. Exeunt Sim and Jane. (A shower of rain.) Enter Rover hastily. Upon this, Elliston put the sheet of brown paper into Keeley's hands, saying, * Rub away, Bob! as much like water as you can.' Then Rover rushed on the stage, buttoning up his coat at the collar, and uttering the words of the part*— * Here's a pelting shower, and no shelter. Poor Tom's a-cold, I'm wet through!' (Elliston aside~~ l Louder! —louder! —rub the water, Bob!') Keeley rubbed the sheet of paper against the wall to the uttermost extent of his little arms. (Aside —«Quicker, Bob! ram! rain !') * Hear, nature, hear! If ever you designed to make his cornfields fruitful, change thy purpose; that from the blighted ear no grain may fall to fat his stubble goose!' (Aside—* Not a bit like a shower! But pelt away, Bob!' It was only a week or two ago that our musical correspondent, * Anti-Humbug,' pointed'out the absurd mistake of forcing .Italian singers to face the harshness of the English language instead of confining them to yie melody of their own. Madame Ca-

talani seems to have had even further difficulties to contend with than Belletti. x MUSICAL GIBBERISH. Towards the end of June, Eiliston offered terms to Madame Catalani, for her brief services. The engagement was concluded, and the speculation on the whole, turned out profitable to the manager. Onthestrengthof this first experiment, asecond was entered into between the parties, and this, on the other hand, was as disastrous to the exchequer of the lessee, as mortifying to the self-esteem of the vocalist. The plan of engagement was a sharing scheme between manager and performer, after a certain sum had been received at the doors; and, on one occasion, Madame Catalani's dividend amounted to something less than ten pounds. In pursuance of the lady's request, the nightly receipt was regularly enclosed on the following morning, arid carried to her residence in Pali-Mall. The sum of £9 63. was of course so enclosed, but not sealed, and the messenger as usual despatched with the money. Arriving in Pall Mall, the emissary announced the ignoble amount to Catalani's footman, who was either so ashamed of it, or fearing he might be charged with embezzlement, actually refused to carry it to his mistress. The messenger was therefore compelled himself to. proceed up stairs, and produced his money accordingly. Madame Catalani happened at this moment to be surrounded by a little circle of visitors, before whom the account stated was produced. This maladroit proceeding so disconcerted her, that she sang no more at Drury Lane Theatre. We submit the literal copy of a card, which was invariably transcribed for Madame Catalani, whenever she was called upon to sing in ' God save the King.' Oh Lord avar God Arais schaeter Is enemis and Mccc them fol Confond tearPolitekse frosstre Their nevise trix On George avar hopes We fix God save the Kin. The following spirited letter introduces a, well-known public favorite: — MASTER BAIFE AND THE MANAGER. Charles Horn had introduced this season to the Drury Lane, a youth of considerable musical abilities, particularly as a violin player—a wild, ungovernable lad, but a special favorite with all his acquaintance. Within a very few years he became one of our most successful and accomplished composers, and whose vocal attainments have justly gained him the highest place in public favor. This youth is the present Mr. Balfe—we cannot forbear inserting one of his juvenile applications to the theatre:— "Monday. " Master Balfe requests it as a favor that Mr. Eiliston will send him his discharge to-night, as he does not intend to trouble the theatre again. If Mr. Eiliston wishes to know the reason, it is because Master Balfe will not play until his week's salary is paid; if Mr. Eiliston will send him his discharge in writing, Master Balfe will thank him, and if not, Master Balfe, being under age, begs leave to let Mr. Eiliston know he will not, until forced, go again into the Theatre Royal, Drury %ane." "We liave_made these extracts without the slightest reference to the biography of Mr. Raymond's hero, but whether taken in detached passages or read as a whole, it canndt fail to satisfy every reader.—London Examimr, June 20.