By a certain farcical vigour of dialogue, and by considerable
neatness in the structure of his pieelia, Mr. J. Maddison Morton has made for himself a distinctive position. -Ho equally avoids the Scylla of those who write random nonsense andfthe Charybdis of those who produce feeble neatness. His subjects are not unfrequently taken from the Frerie4 stage, but no one can keep himself more clear from the objections ually made against translations. His dialogue is thoroughly English, and is written with that zest which can only be *lt when a man is really creating. Slasher and Crasher, produced at the Adelphi, is a good, broad specimen of his style; being well sustaiuud, forcibly written, and exactly adapted to Messrs. Wright and Bedford. These gentlemen represent a couple of poltroons who get so roughly rubbed in the con of the piece that one of them is t: * ultimately turned into a hero. When we say that the whole drama rests on a kick, which Mr. Siesher (Wright) is Supposed to have received in the most dishonourable manner some time before the rise of the curtain, and that this same kick, with alyts circumstances of force and locality, is the constant theme till the certain descends, our readers may conjecture that the humour is not of the most refined description. What of that?—an ounce of broad fun is worth a pouncl'of refinement to an Adelphi audience.
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