Then we have Kean, at a place called the Trou de Charbon, the “Coal Hole,” where, to the edification of the public, he engages in a fisty combat with a notorious boxer. This scene was received by the audience with loud exclamations of delight, and commented on, by the journals, as a faultless picture of English manners. “The Coal Hole” being on the banks of the Thames, a nobleman—LORD MELBOURN!—has chosen the tavern as a rendezvous for a gang of pirates, who are to have their ship in waiting, in order to carry off a young lady with whom his lordship is enamored. It need not be said that Kean arrives at the nick of time, saves the innocent Meess Anna, and exposes the infamy of the Peer. A violent tirade against noblemen ensues, and Lord Melbourn slinks away, disappointed, to meditate revenge. Kean’s triumphs continue through all the acts: the Ambassadress falls madly in love with him; the Prince becomes furious at his ill success, and the Ambassador dreadfully jealous. They pursue Kean to his dressing-room at the theatre; where, unluckily, the Ambassadress herself has taken refuge. Dreadful quarrels ensue; the tragedian grows suddenly mad upon the stage, and so cruelly insults the Prince of Wales that his Royal Highness determines to send HIM TO BOTANY BAY. His sentence, however, is commuted to banishment to New York; whither, of course, Miss Anna accompanies him; rewarding him, previously, with her hand and twenty thousand a year! This wonderful performance was gravely received and admired by the people of Paris: the piece was considered to be decidedly moral, because the popular candidate was made to triumph throughout, and to triumph in the most virtuous manner; for, according to the French code of morals, success among women is, at once, the proof and the reward of virtue. The sacred personage introduced in Dumas’s play behind a cloud, figures bodily in the piece of the Massacre of the Innocents, represented at Paris last year. She appears under a different name, but the costume is exactly that of Carlo Dolce’s Madonna; and an ingenious fable is arranged, the interest of which hangs upon the grand Massacre of the Innocents, perpetrated in the fifth act. One of the chief characters is Jean le Précurseur, who threatens woe to Herod and his race, and is beheaded by orders of that sovereign.