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 lighted. "God save the King " was the overture, and every one rose uncovered. "Rob Roy" was represented as if positively in the Highlands; the characters were natural, the scenery perfectly adapted, the dress and manners quite true to the story. I may truthfully say that I saw a good picture of the great outlaw, his Ellen, and the unrelenting Dougal. I would, were it possible, always see "Rob Roy" in Edinburgh, "Le Tartuffe " in Paris, and "She Stoops to Conquer" in England. "Rob Roy," as exhibited in America, is a burlesque; we do not even know how the hardy mountaineer of this rigid country throws on his plaid, or wears his cap or his front piece, beautifully made of several tails of the red deer; neither can we render the shrill tone of the horn bugle that hangs at his side, the merry bagpipe is wanted, also the scenery. I would just as soon see "Le Tartuffe" in broken French, by a strolling company, as to see "Rob Roy" again as I have seen it in Kentucky. It is almost to be regretted that each country does not keep to its own productions; to do otherwise only leads to fill our minds with ideas far different from the truth. I did not stay to see "Rosina;" though I liked Miss Stephens pretty well, yet she is by no means equal to Miss Foote.

Edinburgh, October 28, 1826. To-day I have visited the Royal Palace of Holyrood; it is both interesting and curious, especially the chapel and the rooms where the present King of France resided during his exile. I find Professor Jameson is engaged with Mr. Selby and others in a large ornithological publication, and Mr. Ed. Roscoe has written, suggesting that I try to connect myself with them; but my independent spirit does not turn to the idea with any pleasure, and I think if my work deserves the attention of the public, it must stand on its own legs, not on the reputation of men superior in education and literary