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girdle, and a powder-flask hung about their neck with a great silk riband. Some of them carried firelocks, and others blunder-busses; they had all good shoes, with silk stockings, and every one a cap of cloth of gold, or cloth of silver, of different colours, on his head, which was very delightful to the eye."

      "The Beggars' Opera," in our own country, is another instance of the admiration that thieves excite upon the stage. Of the extraordinary success of this piece, when first produced, the following account is given in the notes to "The Dunciad," and quoted by Johnson in his "Lives of the Poets." "This piece was received with greater applause than was ever known. Besides being acted in London sixty-three days without interruption, and renewed the next season with equal applause, it spread into all the great towns of England; was played in many places to the thirtieth and fortieth time; at Bath and Bristol, &c. fifty. It made its progress into Wales, Scotland, and Ireland, where it was performed twenty-four days successively. The ladies carried about with them the favourite songs of it in fans, and houses were furnished with it in screens. The fame of it was not confined to the author only. The person who acted Polly, till then obscure, became all at once the favourite of the town; (Lavinia Fenton, afterwards Duchess of Bolton.) her pictures were engraved and sold in great numbers; her life written, books of letters and verses to her published, and pamphlets made even of her sayings and jests. Furthermore, it drove out of England, for that season, the Italian Opera, which had carried all before it for ten years." Dr. Johnson, in his Life of the Author, says, that Herring, afterwards Archbishop of Canterbury, censured the opera, as giving encouragement, not only to vice, but to crimes, by making the highwayman the hero, and dismissing him at last unpunished; and adds, that it was even said, that after the exhibition the gangs of robbers were evidently multiplied. The Doctor doubts the assertion, giving as his reason that highwaymen and housebreakers seldom frequent the playhouse, and that it was not possible for any one to imagine that he might rob with safety, because he saw Macheath reprieved upon the stage. But if Johnson had wished to be convinced, he might very easily have discovered that highwaymen and housebreakers did frequent the theatre, and that nothing was more probable than that a laughable representation of successful villany should induce the young and the already vicious to imitate it. Besides, there is the weighty authority of Sir John Fielding, the chief magistrate of Bow Street, who asserted positively, and proved his assertion by the records of his office, that the number of thieves was greatly increased at the time when that opera was so popular.

      We have another instance of the same result much nearer our own times. Schiller's "Rauber," that wonderful play, written by a green youth, perverted the taste and imagination of all the young men in Germany. An accomplished critic of our own country (Hazlitt), speaking of this play, says it was the first he ever read, and such was the effect it produced on him, that "it stunned him, like a blow." After the lapse of five-and-twenty years he could not forget it; it was still, to use his own words, "an old dweller in the chambers of his brain," and he had not even then recovered enough from it, to describe how it was. The high-minded, metaphysical thief, its hero, was so warmly admired, that several raw students, longing to imitate a character they thought so noble, actually abandoned their homes and their colleges, and betook themselves to the forests and wilds to levy contributions upon travellers. They thought they would, like Moor, plunder the rich, and deliver eloquent soliloquies to the setting sun or the rising moon; relieve the poor when they met them, and drink flasks of Rhenish with their free companions in rugged mountain passes, or in tents in the thicknesses of the forests. But a little experience wonderfully cooled their courage; they found that real, every-day robbers were very unlike the conventional banditti of the stage, and that three months in prison, with bread and water for their fare, and damp straw to lie upon, was very well to read about by their own fire sides, but not very agreeable to undergo in their own proper persons.

      Lord Byron, with his soliloquising, high-souled thieves, has, in a slight degree, perverted the taste of the greenhorns and incipient rhymesters of his country. As yet, however, they have shown more good sense than their fellows of Germany, and have not taken to the woods or the highways. Much as they admire Conrad the Corsair, they will not go to sea, and hoist the black flag in emulation of him. By words only, and not by deeds, they testify their admiration, and deluge the periodicals and music shops of the hand with verses describing pirates' and bandits' brides, and robber adventures of every kind.

      But it is the play-wright who does most harm; and Byron has fewer sins of this nature to answer for than Gay or Schiller, and the modern dramatizers of Jack Sheppard. With the aid of scenery, fine dresses, and music, and the very false notions they convey, they vitiate the public taste, not knowing,

      "—————-vulgaires rimeurs

       Quelle force ont les arts pour demolir les moeurs."

      In the penny theatres that abound in the poor and populous districts of London, and which are chiefly frequented by striplings of idle and dissolute habits, tales of thieves and murderers are more admired, and draw more crowded audiences, than any other species of representation. There the footpad, the burglar, and the highwayman are portrayed in unnatural colours, and give pleasant lessons in crime to their delighted listeners. There the deepest tragedy and the broadest farce are represented in the career of the murderer and the thief, and are applauded in proportion to their depth and their breadth. There, whenever a crime of unusual atrocity is committed, it is brought out afresh, with all its disgusting incidents copied from the life, for the amusement of those who will one day become its imitators.

      With the mere reader the case is widely different; and most people have a partiality for knowing the adventures of noted rogues. Even in fiction they are delightful: witness the eventful story of Gil Blas de Santillane, and of that great rascal Don Guzman d'Alfarache. Here there is no fear of imitation. Poets, too, without doing mischief, may sing of such heroes when they please, wakening our sympathies for the sad fate of Gilderoy, or Macpherson the Dauntless; or celebrating in undying verse the wrongs and the revenge of the great thief of Scotland, Rob Roy. If, by the music of their sweet rhymes, they can convince the world that such heroes are but mistaken philosophers, born a few ages too late, and having both a theoretical and practical love for

      "The good old rule, the simple plan,

       That they should take who have the power,

       That they should keep who can,"

      the world may, perhaps, become wiser, and consent to some better distribution of its good things, by means of which thieves may become reconciled to the age, and the age to them. The probability, however, seems to be, that the charmers will charm in vain, charm they ever so wisely.

      Influence of Politics and Religion on the Hair and Beard

       Table of Contents

      Speak with respect and honour

       Both of the beard and the beard's owner.

       HUDIBRAS,

      The famous declaration of St. Paul, "that long hair was a shame unto a man" has been made the pretext for many singular enactments, both of civil and ecclesiastical governments. The fashion of the hair and the cut of the beard were state questions in France and England from the establishment of Christianity until the fifteenth century.

      We find, too, that in much earlier times men were not permitted to do as they liked with their own hair. Alexander the Great thought that the beards of his soldiery afforded convenient handles for the enemy to lay hold of, preparatory to cutting off their heads; and, with the view of depriving them of this advantage, he ordered the whole of his army to be closely shaven. His notions of courtesy towards an enemy were quite different from those entertained by the North American Indians, amongst whom it is held a point of honour to allow one "chivalrous lock" to grow, that the foe, in taking the scalp, may have something to catch hold of.

      At one time, long hair was the symbol of sovereignty in Europe. We learn from Gregory of Tours that, among the successors of Clovis, it was the exclusive privilege of the royal family to have their hair long, and curled. The nobles, equal to kings in power, would not show any inferiority in this respect, and wore not only their hair, but their beards, of an

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