The Sun.
London, England, 1824-01-14 00:00:00

THE THEATRE.

DRURY-LANE.—The general expectation of a
new Opera, recommended to public attention by,
the chief comic strength of the Theatre, theatrical
and musical, drew an audience last night which
completely filled the house. The name of this
Opera is Phanlandering, or the Rose Queen.—
We subjoin a list of the Characters, and a brief
account of the Plot :
DRAmATIs PcasoNlE.—Count Amaranth (in loo; with.
Matilda), Mr. BRAHAu ; Philander (in love with Emile), Mr.
LISTON ; Anselmo (privately married to Lisette), Mr. MER-
CXI2; Jerome (a jolly old Peasant), Mr. DO TON ; Pierre (a
severe old Peasant), Mr. TERRY ; aise (in love with Pauline),
Mr. KNlGHT.—Peasants, Gens-d'Armes, Gypsies, &c.
Matilda (in love with Count Amaranth), Miss FORDE
Emile (in love with Philander), Miss STEPHENS ; Pauline
(Jcrome's Daughter), Mad. VEsTRis ; Lisette (Pierre's
Daughter), Miss SMITHSON ; Jeanette, Katrine, other Pea-
sants, &c.

PLO
L T.--" The principal incidents in this Opera are founded
upon the Feast of the ltosiere, once so prevalent in many of
the villages of Provence, and in some parts of Germany : in this
feast, she who was declared by the matrons of the village to be
the most modest, was crowned with a wreath of roses, and re-
ceived a marriage portion. Two old peasants, the one of a
merry, the other of a severe character, each having a daughter
whom he educates agreeably to his own ideas, the one giving
his every indulgence, the other locking his up, and preventing
her joining in any of the festivities of the village. These
fathers both hope their daughter may obtain the wreath, and
the Piece opens on the eve of the Festival. The Seigneur of the
village, residing in a neighbouring castle, pays his first visit to
the castle at this period, accomppnied by his intended wife, to-
gether with Philander and his intended bride. The Count and
Philander become uneasy at their flirting propensities, and de-
termine to put their affection to the text, by making love to each
other's mistresses. The Ladies, through the means of Au-
selnw, a protege, of the Count, have beeome acquainted with
their plot, and punish their jealousy by permitting it to be ap-
parently successful. The Count and his friend, on this, deter-
mine to desert them, and to set out in quest of adventures,
vowing vengeance against the whole sex. They accordingly
assume the disguise of Troubadours, and proceed to the Feast
of the Roses, where they commence their career of Philander-
ing with the daughter of the jolly Peasant. Their Ladies fol-
low them in the disguise of Gypsies, and discern sufficient to
set off' against them a feigned inconstancy. The daughter of
the severe Peasant then sets up claim to Philander as her hus-
band, which is at length explained by its proving to be the
Count's protege, who had married her under the assumed name
of Philander."

When a dramatic production appears to satisfy
a large portion of the public, and particularly one
of a musical nature, it would be ridiculous as well
as churlish, and indeed arrogant, to enter into a
severe scrutiny of its intrinsic merits. The piece
was received throughout its progress with much
applause, and without any opposition. But little
of the latter appeared when announced on its
close, by Mr. BRAMAN', for repetition to-morrow.
Many of the songs were encored. The music
was chiefly selected from the► works of foreign
composers, and the original airs are understood
to have been provided by Mr. ilottx, who sat at
the piano-forte. The latter airs, though in
such good company, passed muster very well,
and as the general reception of the whole was so
favourable, we shall not, as we before intimated,
°Pnose our opinion against the public judgment.
Suffice it to say, that the actors acquitted them-
selves iu general with zeal and ability, and all
obtained a due tribute of approbation. The Au-
thor, in a short and modest preface, apologizes
for the imperfections of his songs, on the plea of
the difficulty of adapting English words to fo-
reign music.—A Morning Critic repels this plea
by a reference to The Beggar's Opera, in which
the words are adapted to well-known airs, and
yet abound in point, humour, and satire. But,
if we may rely. On Tradition, the songs of that
Opera were not at all written by GAY, but many
of them were contributions from Lord CHESTER-
FIELD, PULTENEY, AnntrfiNoT, and POPE, and
therefore the Author of the new Opera can haVe
no reason to be offended that he is introduced in
SUCH company. Mr. BEAZLEY is the avowed
Author of this Piece. He has often appeared
before the Public with credit as an Ar-
chitect, and as the Writer of several suc-
cessful farces. In tile latter capacity, con-
sidering the reception of his Opera last night, he
need not repine that he has relieved his severer
studies by this indulgence of his lighter powers.
We submit the following song, which was sung
by Mr. BRAHAM and encored, as a specimen of
`he poetry and an ingenious apologue :
REASON AND LOVE.—(ORIGIN-Ax. Am.)

Once Reason, they say, a Lady lov'd,
And tried every means to get her;
But Reason, alas ! he very soon prov'd
That the Lady lov'd somebody better ;
For whenever poor Reason would knock at the door,

Intending with wisdom to court her,
" Not at home," was the answer for ever in store,
From Cupid, her Ladyship's porter :
For woman and Reason can seldom agree,
So Cupid refused his petition ;
My mistress would turn me, away, Sir, said he,
If Reason once gained an admission.
The Lady grew older, but Cupid did not—,
He's as young and as fresh as the morning;
So Reason contriv'd, with a sober thought,
To make the poor dame give him warning:
But Cupid, not wishing his post to resign,
Gently rapp'd, in his turn, at the door, sir;—
" Not at home, sir," quoth Reason, the lady is mine,.
So Cupid was heard of no more, sir.
Quoth Reason, delighted, the lady is won—
My empire I see is beginning •
But, alas! he soon found that when Cupid was gone,
The lady was scarce worth the winning.

FOOTE.—A person talking to FooTr of an ac-
quaintance of his, who was so avaricious that he lamented the
prospect of his funeral expences, and who yet had censured one
of his relations for his parsimony—" Now is it not strange,"
continued he, " that this man would not take the beam out of
his own eye, before he attempted the mote in other people's ?"
Why, so I dare say he would," cried FOOTE, " if he was
sure of selling the timber."

MR. C. YoßKE.—When this gentleman was
returned Member for the University of Cambridge, in 1770, he
went round to thank the Members who had voted for him.
Among the number was one remarkable for having the largest
and ugliest face that was ever seen. Mr. YORKE, in thanking
him, said—" Sir, I have great reason to be thankful to my
friends in general, but confess myself under particular obliga-
tions to you, for the very remadcalle countenance you have
:hewn me upon this occasion."

CREDULITY AND IGNORANCE OF THE 18TH
CENTURY.—The Queen of PHILIP 111. being ac-
cused of adultery, the King sent for the Abbess
of St. Hilary to cmsult the Bible on his wife's
guilt or innocence. The children of Philip the
Fair entered into an agreement in writing,
whereby they promised to assist each other
against all persons who should attempt their
lives by means of magic or enchantment. By
a decree of the French Parliament, a witch was
condemned to the flames, who, in conjunction
with the devil, had forced a deed in favour of Ro-
bert of Artois. The illness of Charles VI. was
attributed to witchcraft, and they sent for a sor-
cerer to cure him. In England, the Duchess of
Gloucester was condemned to do public penance
in St. Paul's Cathedral, and her pretended ac-
complice was burnt alive as a sorceress,