F TJU NT.


[NOVEMBER 16, 1861.


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\l'I ALL IIAVE OUR PECULAIR NOTIONS ABOUT DUTY. IS N'T THIS
 A VERY HAPPY ONE?



 A MOOR PROPRE.


__


 AWAY with conventionality? decidedly. And tradition! what is it? PAN AT THE PLAY.
liosh. That being the case, we want an acting edition of SIIAKSPEARE'S EALLY it is too bad. In America all
plays. I ask you, are those old paper-covered monthly numbers of the the actors are turning sa d i ers a and
bard's works ready for the boards ? I'll be bound they're not. Sir, I the actors are turning soldiers, and in
am ill at these numbers" (sic). Am I an innovator ? Not abit. I would England they are all turning either
not change a letter of the WILL for all the notes in the world. What comic singers or "entertainers." Ma.
then ? Ah, sir, it requires no seer to tell us that a new. era is at hand. CHARLES MATHEWS is going to quit
Do I explain myself ? No? Very well, then, I send you the last scene of / the stage for the platform (I beg your
O thello, in which I have mado several judicious cuts to illustrate the poet's pardon, MR. SPURGEOx, but there is
Ineaning, and (it being a representation copy) have added a great deal of no other word), and we are to have an
now business," which being entirely original and my own, is no business At Homne, in which he is to be assisted
of any one else's.-Yours ever, AI.F. PRICE.
 by his blooming transatlantic bride.
 SCENE LAST. It must be very good to be successful,
A Bedrhamber, with a French bedstead in it. DESDEMONA not dis- the public has been surfeited with this
 ,orered, being behind the curtains of the abore, asleep. A large pier. kind of thing, and even the magc
 lass in some part of the room. A very small window over the chim- name of MATHEWS will be insufficient
 siy-piece. Gas burning. without good material and "origin-
 Chorus (without) singing-" Oh, Willow! we have missed you." ality." The great charm of the REEDS'
EhtcCr OTIIELLO, ery pale; he looks in the pier-glass, reflects for a minute, entertainment is its originality. MR.
 then throws the glass out of window. It is heard to break, particles .- SHIRLEY BioosKS' Card Basket is
 fil in at the, window, and, OTIELLO treads on a bit of broken glass; he written in th spirit of genuine comedy,
 $;^arts, then takes oB his shoe and finc1s a hole in it. written in the spirit of genuine comedy,
 sOthello. It (alluding to the anpertu) is the iuse my sand M R. JOHN PARRY'S pantomine song is the kind of thing that only
 Othello. It (alluding to the aperture) is the cause, my sole! JOHN PARRY can do. Mln. W. BROUGII'S more broadly funny portion
 [In anot' s llpiece oj ilass, ahie sddefl/liesi at t of the entertainment is also capital; in floct, it is unique.
 Sout tha e is blk Ma. STIILING COYNE'S new farce at Drury Lane, the Terrible
 Discorig that ac is lack, he t out the ligt.et Secret, has introduced a new comedian, MR. ATKINS, from Birmingham.
 When I shave plckd at hisfae is blac, hre trns out the e. He appears to have a find of quiet, unexaggerated humour, and will
 When I have p Ick'd a rose, [Pls a rosero aywhee. be a great acquisition to the London stage. The farce is a good one,
 I'll smell it on a tree.
 [Climbs up the boot-tree and inhales. and serves to show Miss Louisa KEELY to advantage. The new farce
 But they are cruel tears. at the Olympic, A Legal Impediment, is very extravagant and rather
 [This is said aside, and alludes 'to the probable non-applause weak, but it provides IR. ROBSON with a part somewhat akin to
 in the boxes; he then sits at table and writes despatches. several others he has played, and is consequently a success. The
 7Te pen spluttes. Princess's is crammed on the FECHTER nights." Ma. FECHTER is,
 Desdemona wakingg suddenly, and asking a very natural question). I understand, an accomplished sculptor; one thing is quite certain,
 Who's there l he draws wonderfully.


 Othello (with likely badinage). OTHELLO.
 [Rolls his eyes violently for five minutes.
 Desdem ona. And yet I fear you when your eyes roll so.
 [Pause. OTHELLO does nothing.
 Alas Why gnaw you so your nether lip.
 [OTHELLO gnaws his nether lip, and seems to like it.
 Desdemona (seeing that he is not inclined for further conversation,
 tries to come to some arrangement for getting a good night's rest).
 Kill me to-morrow.
 Othello (who is a Quaker). Nay. It is Two- late
 [Looks at his watch, touches the spring of the repeater, it strikes
 two: he winds it up, lays it down on dressing-table, and
 then proceeds to put the pillow on DESDEMONA'S mouth :
 finding this insufficient for his purpose and her end, he
 piles several pieces of furniture and a valuable wardrobe
 on the bed, waits a few minutes : ticking of mattress and
 watch is distinctly seen and heard.
 Othello. So, so! [Alluding playfully to the state to which the lady is
 reduced after undergoing the above proceedings.
 Knock at the door heard.
 Emilia (who has entered the house through OTHELLO'S negligence in
 not fastening the street-door). I would speak with you.
 Othello. Yes. [Ramoves furniture. Enter EmILTA.
 Emilia (jumping to DESDEMONA'S sudden conclusion on entering the
 premises). The Moor has killed my mistress.
 [OTHELLO is rather taken aback.
 Enter MONTANO, IAGO, G1ATIANO, and NERISSA. (I.B. See how the
 unities are observed.) EMILIA whispers to OTIELLO, IAGO sees at
 once that she is telling the Moor everything, first runs through his
 wife, and then runs through the door.
 Othello. Precious villain! [Music, renolo, with bursts of melody.
 MONTANO and GRATIANO rush out, but at the door are stopped by the
 body of IAGO, who has been tripped up by the looking glass which
 was thrown out of window at the beginning of scene; they bring
 i m back, and CASSIO enters wounded.
 Othello (seeing at once by CAssIo's manner that he (OTHELLO) has
 been deceived). Fool! fool! fool! (Politely bows an apology to CASSIO,
 who thought the epithet intended for him.) Set you down this. (IAGO
 places a chair for him, which is indignantly kicked over by OTHELLO.)
 That in Aleppo once (...; .i .. .. to Aleppo; MONTANO appears
 V i .1' I took by -he tLr.::rr--..... IAGo to French bedstead, and
 Knocks his head against the post)-a turbann'd Turk (puts the hand-
 kerchief round his head, in ..'' ,', i,, and smote him thus. (Stabs
 hiinself in such a manner as to show hls accurate knowledge of anatomy.
 Then falls on IAGO, who falls on CASSIO, who falls on MONTANO,
 who falls on GRATIANO, who falls on whoever happens to be next, who
 utters a cry which falls upon the ears of the audience, as the curtain
Falls on the scene. TABLEAU.