THE following epigram is rather severe, but it is too good to be lost. Willis is a pretty poet, certainly, but he does not show much depth of thought, or much knowledge of human nature. We are inclined to think that Willis is a little of the yellow complexion, and pretends to forget, not poetry, but poets' names. This undoubtedly is one cause why the epigram has been written: it might else, perhaps, have remained unwritten:

EPIGRAM.

Unwritten honours to thy name belong,
Willis! immortal both in prose and song.
Unwritten poetry thy pen inspires—
Unwritten Music too, thy fancy fires-
And worse than all, Philosophy divine
With her unwritten beauties-all are thine!
Oh! how much greater praise would be thy due
If thine own prose had been unwritten too!

TALMA, THE TRAGEDIAN.

TALMA, the celebrated tragedian, was born at Paris in the year 1770, and is said to have given the first indication of his histrionic talent when only eight years old, in an old tragedy entitled Tamerlane, which was performed by boys.

His fondness for theatrical amusements introduced him to Sir John Gallini, who at that time superintended an amateur French company, which performed at the Hanover Square rooms: under his auspices he appeared in several comedies. Kemble and Mrs Siddons were at this period in the zenith of their reputation, and the former had just succeeded in reforming the absurdities of theatrical costume, which had hitherto disgraced the drama.

The performance of these two eminent professors decided Talma's vocation, as well as formed his taste; he obtained, through the interest of Molé the actor, an engagement at the Theâtre Francais, and made his debut in the part of Seide, in Voltaire's tragedy of

Mahomet; but it created no particular sensation in the minds of the audience, which had yet to discover that a new light had risen upon their drama.

After performing a variety of insignificant characters, accident lifted him at once to the summit of his profession. Chenier's tragedy of Charles IX. was put in rehearsal, when Saintfal, the principal actor, returned his part with a sneering recommendation to the author, to'give it to young Talma.' Chenier took him at his word; Talma accepted the part with delight, and feeling that his future fame and fortune depended on that night's success, not only devoted all his energies to the study of it, but directed his attention in so especial a manner to give it effect, by strict fidelity of costume, that the audience, equally surprised and delighted, continued to him, throughout the representation, the tumultuous approbation with which they greeted his first appearance.

Thus the tragedy was completely successful, and the fame of the actor established. His greatest triumph, however, was yet to follow. Ducius had translated the Othello of Shakspeare, but not daring to contend so far against French prejudices as to exhibit the murder of

Desdemona on the stage, he had furnished a new catastrophe of a more fortunate description. Talma alone was bold enough to prefer the original termination, and after considerable hesitation, resolved, with the consent of the author, to risk the attempt. This success astonished even himself, and most honourably rewarded his intrepidity. From this moment he became the paramount tragedian, and though occasionally annoyed by criticism, the personality of some of which brought him on one occasion into personal contact with their author, he continued at the summit of his profession till his death.

He acquired a handsome fortune, and was not only generally esteemed by men of rank and talents for his powers of fascination in private society, but was also a favorite of the emperor Napoleon.

The death of Talma took place at Paris in 1826. As soon as it became known, public respect was shown to his memory by the closing the doors of the Comedie Francais. The funeral took place at the cemetery of Père la Chaise, agreeably to his directions.

The procession consisted of a magnificent hearse, fifteen mourning coaches, Talma's

own carriage, and several empty ones ; a number of literary and theatrical characters followed on foot, and the whole was closed by a body of 4 or 5000 persons; a vast concourse of the citizens filling the cemetery and surrounding the tomb. Funeral orations or eulogies were delivered at the grave by Lafon, the colleague of the deceased, and by two tragic writers, on whose works Talma had by his talents great scenic popularity.

Thus ended the career of Talma, the great, the generous, the noble-hearted Talma, the Roscius of the French stage, who produced a revolution equal to that created by Garrick on the English.