Phenix gazette. [volume] (Alexandria [D.C.]) 1825-1833, 1831-11-16

This disadvantage, generally speaking, pursues
rank and riches downwards, till you approach
very nearly to that numerous class who ike by
manual labor. becoming, however, less and less
as you descend. You generally find even very vul-
gar rich men making sacrifice OF their natural q
rational taste to their mean and ridiculous pride,
and thereby providing for themselves an ample
supply of misery for life. BY preferring ''pro-
v,dent marriages. to marriages of love, they,
think to secure themselves against all the mise
ries Of poverty; but if poverty come, and come II
NAV, and frequently does, in spite Of the best
laid plaas, and best modes Of conduct; if power
" come, then, where is that counterbaance tor
that ardent aud mutual affection, which troubles
losses, and crosses, always increase rather than
diminish. and which, amidst all the calamIties
that eau befal a man, whispers to his heart, that
his best possession is still left him unimpaired?
Let me now turn from these two descriptions
Of lovers, with whom il is useless to reason. anu
address myself to you, my reader, whom sup
pose to be a real lover, but not so smltten as to
be bereft Of your reason. You should never Tor
Get that marriage, which is state that every
young person ought to have in view, is thing TO
last for life; and that, generally speaking IT Is
to make life happy or miserable; Tor, though a
man may bring his mind ia. sonelhig Ike ind'f'
who can hardly be rcckoned amongst sensitive
beings. Marriage brings numerous cares, which
are amply compensated BY the numerous delights
which are their companions. Bat to have the
delights, as well as the cares. the choice OF the
partner must be fortunate. say fortunate; tor,
after all, love, real love, mpassloned affection,
is an ingredient so absolutely necessary, that no
ner(ect reliance can be placed on the Judgment
Frea,h Theatres. -Instead Of copying the En-
sjsb. or at best the common French theatres at
second hand, through the best of the English, 1t
is high time that we went to the best originals, the
handsomest theatres of Paris, and examined their
shape, arrangement and interior decorations. Ii
we did so, we should be astonished at the absur-
dity Of many things we are now so familiar with,
as to believe them not only proper and tasteful,
but necessary. Take the Theatre de Z Odson
from the Greek Ode)-the most beautful-interi-
or we ever saw; with ,rhite ground tor the gal
eries, and three tier of boxes, the lower double
tier, one projecting little in front of the other.
so as to form a sort of ,,aan&t base ornamented
with golden figures in groupes, from scenes IN the
French Drama, two feet and a half high: The
pillars at the side of the proscenium. the Piias-
tiers, the yauted ceiling, the drdps all painted to
correspond, of rich creamy ,chie, relieved with
al shadows-a profuson of Towering and fleeting
fhat nerer ofends the eye. You are reminded OF
the early Arabesque, or the baths OF Hercuiane-
um aud Pumpeii; gorgeous, like the magnificent
dungs of Nature. where the whole is never lost
sight Of, nor the effect spoled though every part
is finished like miniature with the finest camel s
hair pcncil-dipped, if you ikc.in the golden dust
of butterfy's wing. Between these three tiers
are other close boxes, all OF which arc painted
green, SO that the general effect of the light and
springing galleries, one over the other, Is not I'M
paired; but, on the contrary, rather improved,
| like brilliant face in picture. by indicIous
back ground; Or perpetual landscape OF Nature
| by an appropriate lore. ground. There are no
pillars to support these boyes but piasers attach
ed to what appears dead wall, pleasant green:
but which III reality, Is the front OF other boxes.
with lattIce-work for the company within, to raise
and lower at pleasure. From these pilasters. un-
seen shafts or projections run out horizontally,
which support the boxes, tier above tier ot re-
splendent white, relieved by the unobstruslvr
gliding and most agreeable red. In the pitt are
few boxes rallied of, as in the larger London
theatres. The drop is very beautiful distant
view Of high gardens. with a sunny atmosphere.
and marble steps carpeted with crimson and guild
cloth temple afar off; pictures where they
should be; no heavy draper, hung out in the open
air. as have it in our theatres; no pillars sup
porting nothing, as the fashion is, not only here
| but i'm the mnther country; not 50 much as one
temple with no roof to it, as we see every day
among very celebrated scene-pain'ing here.
| have just returned fran the Theatre. The
play tonight was The. Tartutfe; and when the
player came to this line" Nous vivons sous un
prince ennemi de la itauhe.' Z" BIS! Bis" cried
the audience with burst of rapturous enthusiasm
"a regular thing here: whoever happens to be
prince at the time--a repetition of the passage
folowed--anda long continued shouting and clap
ping of hands contrary to what we are told OF
the French theatres.) At last, the uproar OF Oh
streperous loyalty died away. Whenever sight
noise even Whispering occurred. the cry of
'sileucc!" from any decent individual. would
restore the whole house to absolute stiffness. No
such order in any other theatres--the theatres OF
any other country mean. SO far as my knowledge
goes. No women go to the pit here;--nothlng
more common, you know, at London; there. the
pit is intended as much for women as for men.
Aud why not? Why should they receive so much
/ less for their labor, and paw SD much more Tor