DRAMATIC REGISTER. COVENT-GARDEN. •i/IMMNIBIO A Musical Drama from the pen of Mr. MORTON was per formed on Tuesday, under the title of " The Knight of Snow doun." This piece is founded on WALTER SCOTT'S poem of " The Lady of the Lake." It opens exactly as the poem does, but dif fers much from the original story in its progress. Ellen, instead of rejecting Sir Roderick Dhu for Malcolm, bestows her affec tions on the former, who in consequence does not fall beneath the sword of the victorious James, but lives to become the hus band of the Lady, and the friend of the Monarch. From the above slight outline a correct idea of the plot of r• The Knight of Snowdonst" may be formed. The subordinate parts are characters partly taken from the poem, and partly sup• plied by the Author; or, more properly speaking, by the Pro prietor of this Drama. Togo at large into a detail of these would, I am sure, be to trespass too far on the good nature of my read ers, and this (though I sometimes make pretty free with them) I shall always endeavour most sedulously to avoid. The fine romantic scenes furnished by the poem on which this Play is founded, render it impossible for an audience to be alto gether disgusted with it. There is, however, much to condemn, not only in the progress of its action, but in the delineation of the characters. These for the most part consist of fine outlines poorly filled up, so as to have a bad general effect, though at times the colouring is high, and the grouping unexceptionable. I have often been amused by the efforts of various persons to ~fiee me in prose the substance of a well told poetical tale. For a time the parties hive gone smoothly on, till they came to some part, the effect of which they despaired to give in a proper man ref in any but the original words. These indistinctly remem bered, they have proceeded to repeat as well as they could, but unfortunately forgetting or adding one or two syllables that re cited as excellent, appeared miserably poor; while the awkward manner in which the poetical quotation has been amalgamated with the prose narration, rendered the whole " flat and unpro fitable," and sometimes highly ridiculous. Such, to a certain degree, was the effect of this performance upon me. The Au thor of " The Kni.ght of Snowdovn," while professedly copying " The Lady of the Lake," anxious to give the spirit of the poem, has frequently attempted to quote SCOTT in prose, and, doing this, frequently caused that which was much admired in the original to be laughed at as thus repeated. The scene in which James finds Refferick in his retreat, is highly animated, and deserves considerable praise. It might, however, have been made more interesting had the dramatist adhered more closely to the story as told by the poet. In the poem the exhausted James is relieved by the hospitality of his foe, and after sharing a frugal repast, they lay down to rest each above mistrusting the other. Here we admire the security in which the generous warriors repose, each knowing an enemy is so close, while the vigour of James may (reasonably enough) be sup posed to be restored by such salutary rest. In the play Roderick gives refreshment to his foe, and immediately leads him on his way. By this arrangement, we not only lose the noble spec tacle which might be afforded of the confidence which hostile chiefs in feudal times could repose in each other, hut in thus going forth and going forth to fight, it cannot but appear that Roderick. takes his foe somewhat at a disadvantage. Would it not be better, if instead of thus hastily going forward they were to lay down as in the poem ? The scene might close in upon them, and much unnecessary inconsistency and ridiculous hurry of action would thus be avoided without opposing any impedi ment to the progress of the play. tcannot but think the character of B,iar might have been in troduced with great advantage, but as the dramatist did not think proper to make use of his prediction, ha takes no notice of NAfIONAL lii him. In consequence of this arrangement Roderick is rescued by his followers when tailing bent ath the sword of .7u:hes. 'Wild with shame and anguish at having been vanquished in fight, he is at first inconsolable, but ultimately determines oa attempting the rescue of the young Douglas in order to retrieve his character. He and his followers succeed in getting into the castle in which the young chieftain is confined, and any one would imagine a man anxious to retrieve the credithe had lost, would head his troops and fly to the assistance of the young Douglas in person. This was at least my idea on the sub ject, and I really blushed for Roderick when I saw him desirehis troops to go on without him, and do what they could. I did not expect Sir Roderick Dint would have thought be could retrieve his character by telling his men if they could save the young Douglas to play " Roderick vich Alpine Dhu," and if not, le strike up his (Roderick's) death knell I Many other parts I could point out equally exceptionable, but it is my intention now to dismiss the subject as briefly as possible. The comic characters are miserably drawn, and fail even of pleasing the galleries. The songs arc almost wholly dutitute of every thing like poetical merit. The music awl scenery are singularly beautiful. Some of the scenes are strik ingly grand. That where _Roderick calls up his followers in as instant, and as quickly dismisses them, is peculiarly line ; and tfe effect all that could be wished, and more than we are accustom ed to expect. The actors exert themselves to the utmost, and with considerable success. Boasting these advantages, " Knight of S'nuivrlnun," with all its faults, may still merit some countenance as a pleasing spectacle. LYCEUM. Press of matter last week prevented my noticing Mr. Th kioNn's new Opera of The Peasant Boy. This piece postzeitis considerable interest. The leading features are as fuflows r--' An Italian Duke (Hor.r.AND) goes to the wars ; his Cousin (RAvsioNn) becomes anxious for the title and estates; he at ttunpts to woo the Duke's Niece, but is rejected. flisappointed • in love, he resolves on murder ; and as the Duke is about to re turn at that precise per:ad, he determines to murder him. A rencontre ensues, in which, after receiving a slight wound, Al berti is rescued by the sudden appearance of Lltd , rvico (I.ovr- GROVE), who pursues the assassin, and wounds him in the right hand. The assassin Illontalci dies, and to escall2 the pursuit, which is close upon him, drops his cloak, mash, ard dagger, :it the door of a peasant's cottage. ./u/icni, the peasant's son (Mios KELLY) comes out, and in the act of examining the vkak is seized by the Duke's servants. He is thrown into prison ; and at length brought to trial; when, at the moment oisentencu i , Lwlo►•iro aippears, and Montatvi is convicted of the crime. The music, wall the exception of a chorus ar.l two or three songs front W 1 NTER, is by KILL T.Y. It Will he seen from the above, that The Peasant Boy has fio very high preten,:ions to novelty of plot. The business is Et:La:- rally well managed, and the attention of the audience seldom v.:ffered to wanchr fron! the stage. The language is good fur the most part, but here and there I remarked passages at the time, which could only haw: escaped Mr. Di/dor:Ws notice, 41134 consequent correction, through hurry and want of reflection, The characters are drawn with considerable strength, the comic ones excepted, which are very indifferent. I really pitied poor LOVEGROVE in a character of this description. He however did his best. The audience is seldom offended with any strong int. consistency of character, but I really felt stocked at the Wane of feelings displayed by the heroine in the flippant lenity w1;13, which she accosts her lover the moment afrer the unhappy Julian, attenthd by his disconsolate friends, is borne oil to trisi. Whatever abhorrence she maybe suppovtl to feel for the crime with which he is charged, and however well assured sbe might be of his guilt, still I coLteud that a wornitu possessing cornsnoss