It must be owned that such a _little book_ as this has long been wanted; for of all writing, that relating to the stage is the most diffuse. It is scattered about in biography, criticism and anecdote, not unfrequently of great interest, but occupying so much "valuable" time, that to condense it, or to pick the wheat from the chaff, is no trifling task. So much for the amusement which our "Companion" may yield to the Londoner: his utility as a cicerone or guide will be more obvious to our country friends, who flock in thousands to see and hear comedy and tragedy at this play-going season. A young girl comes to town to see "the lions," and, with her "cousin," goes to the opera, where _one guinea_ is paid for their admission, or even more if they be _installed_. Two Londoners would buy their tickets during the day, and thus pay but 17_s_. Another party are dying to hear Braham sing, or Paton warble her nightingale notes among the canvass groves and hollyhock gardens of Drury Lane and Covent Garden; or to sup on the frowning woes of tragedy, the intrigues of an interlude dished up as an _entremet_, or a melodrama for a ragout; or the wit and waggery of a farce, sweet and soft-flowing like a _petit-verre_, to finish the repast. They go, and between the acts try to count the wax and gas, the feet, and foot lights till they are purblind; they return home and dream of Desdemona, sing themselves to sleep with the notes of the last song, are haunted with the odd physiognomy of Liston, and repeat the farce-laugh till the dream is broken. Next day it is mighty pleasant to read how many hundred people the theatre will hold, how many pounds they all paid to get there; and how the splendid pile of Drury Lane rose on the area of a cockpit: and how Garrick played Macbeth in a court suit, and John Kemble enacted the sufferings of Hamlet in _powdered_ hair. Upon all these subjects the Companion is conversant, although he does not set up for Sir Oracle, or shake his head like Burleigh. In short, he tells of "many things," from the cart of Thespis and the Roman theatres, with their 6,000 singers and dancers, to the companies on the present stages. Thus, we have the Origin of the Drama--Rise of the Drama in England--Early English Theatres--Descriptions of all the London Theatres--and a pleasant chapter on the Italian Opera. The Appendix contains pithy chronologies of the dramatists and actors, bygone and contemporary--origin of all the varieties of the drama--the topography of the stage and scenery, costume--expenses of the theatres--masquerades--play-bills and editions of plays, and a host of theatrical customs. In truth, the book is as full as the tail of a fine lobster, and will doubtless repay the time and research which its preparation must have occupied. There is also a, frontispiece of the fronts of the twelve London Theatres. * * * * * ORNITHOLOGY.