Tokely very much at home drinking punch, and Mr. Liston (the only sensible man on board) wishing himself in any other situation. If any thing were wanting to complete the dizziness of brain produced by all this, it was supplied by the music of Mr. Bishop, who kept firing a perpetual broadside on the ears of the audience. From the overture to the finale, we heard nothing but ‘Guns, drums, trumpets, blunderbuss, and thunder!’ Never since the invention of French Operas was there such an explosion of dissonant sounds. If this is music, then the clashing of bells, the letting off of rockets and detonating balls, or the firing a pistol close at your ear on an illumination night, is music. John Du Bart is taken from the French; and from the plot and sentiments, it is not difficult to guess the date of the French piece. It turns upon the preference due to an elected over an hereditary prince; and the chief actors are made to utter such sentiments as this, that ‘treason consists in supporting a monarch on the throne in opposition to the voice of the people.’ We wonder it is suffered to be acted—since _the hundred days_ are over! THE BEGGAR’S OPERA _The Examiner._ _November 6, 1815._ We are glad to announce another interesting Polly at Drury-Lane Theatre, in the person of Miss Nash, from the Theatre-Royal, Bath. We are glad of every thing that facilitates the frequent representation of that inimitable play, the Beggar’s Opera, which unites those two good things, sense and sound, in a higher degree than any other performance on the English or (or as far as we know) on any other stage. It is to us the best proof of the good sense as well as real delicacy of the British public, to see the most beautiful women in the boxes and the most veteran critics in the pit, whenever it is acted. All sense of humanity must be lost before the Beggar’s Opera can cease to fill the mind with delight and admiration.