We cannot conclude this imperfect sketch better than by the following judicious observations from the _Quarterly Review_: "How high Miss Kemble's young aspirings have been--what conceptions she has formed to herself of the dignity of tragic poetry--may be discovered from this most remarkable work; at this height she must maintain herself, or soar a still bolder flight. The turmoil, the hurry, the business, the toil, even the celebrity of a theatric life must yield her up at times to that repose, that undistracted retirement within her own mind, which, however brief, is essential to the perfection of the noblest work of the imagination--genuine tragedy. Amidst her highest successes on the stage, she must remember that the world regards her as one to whom a still higher part is fallen. She must not be content with the fame of the most extraordinary work which has ever been produced by a female at her age, (for as such we scruple not to describe her Francis the First,)--with having sprung at once to the foremost rank, not only of living actors but of modern dramatists;--she must consider that she has given us a pledge and earnest for a long and brightening course of distinction, in the devotion of all but unrivalled talents in two distinct, though congenial, capacities, to the revival of the waning glories of the English theatre." [1] This disadvantage is greater on the stage, since the audience neither see nor hear more of Bourbon, and only four acts of the piece are performed. In the closet it will not be so obvious, as Bourbon returns in the fifth act. [2] This is an entire variation from history. * * * * * SPIRIT OF THE PUBLIC JOURNALS. OLD ENGLISH MUSIC. It was in the course of the sixteenth century that the psalmody of England, and the other Protestant countries, was brought to the state in which it now remains, and in which it is desirable that it should continue to remain. For this psalmody we are indebted to the Reformers of Germany, especially Luther, who was himself an enthusiastic lover of music, and is believed to have composed some of the finest tunes, particularly the Hundredth Psalm, and the hymn on the Last Judgment, which Braham sings with such tremendous power at our great performances of sacred music. Our psalm-tunes, consisting of prolonged and simple sounds, are admirably adapted for being sung by great congregations; and as the effect of this kind of music is much increased by its venerable antiquity, it would be very unfortunate should it yield to the influence of innovation: for this reason, it is much to be desired that organists and directors of choirs should confine themselves to the established old tunes, instead of displacing them by modern compositions.