PARISIAN TRRATRICALS.
Historical epitomes have been common enough of late years, but cer- tainly none of them can rival in audacity a new drame entitled Paris, which shows to the patrons of the Porte St. Martin the fortunes of the French metropolis, in a long line, extending from the Druids in their old, Celtic forests to the Emperor Napoleon. This piece is the grand spec- tacle of the day.
M. Emile Angier has furnished the Parisians with a new drame, in which, according to a favourite modern usage, a lorette is the principal personage. He treats the lady in a manner not anticipated by any of his predecessors in the same line ; for when her wickedness becomes too un- bearable, he has her shot on the stage by a virtuous old gentleman, whose family she is bringing to ruin. The audience of the Vaudeville were not a little astonished at this use of a pistol in executing moral justice on a worthless female, though they had seen a gentleman shot very coolly at the Gymnase in Diane le Lys. The name of the new play is Le Harfaye d' °lyre"
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