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THE

DRAMATIC CENSOR*

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^ /

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oi'r .^A/n-o^ in^^ -///.('rtff'.*^ ^^a/f^/i€/.

THE

DRAMATIC CENSOR5

OR,

CRITICAL COMPANION.

y

Si quid novifti lediiis iftis>
Candidus imperd : finoD^ Ims utore mecunu

VOLUME THE FIRST.

K

I

* «<• 0 * * •* ■* -J ■' t •>

rf •# ^ >* <4 * -J ^ ^ 0 -»

LONDON:

frinted for J. B S L L, near Exeter-Exebange^ in the Strand^
andCETHERINGTON, at York.

MDCCLXX.

r

THE KEW YOK

XT

PUB^^C TJBBARY

661816A

a^: :0 \ lenox and
tii.d.:n fO" idat^Ons

• • «

* • •

• .-•

«-

; v:

• f •

c.«* •* ••

• • «• • •

• *

c - • « ►

' •• » • •

UNKNOWN,

And wiihing peribnally to remain fo^

The DRAMATIC CENSOR,

As a mark of per f eft efteem,

'^nd a natural tribute to the mofl; powerful, utiiverlal
abilities that ever graced the Englifli ftage.

Thus dedicates.

On mofl: dilinterefl:ed principles.

His Firft Volume of Critical Obfcrvations,

TO

David Garrick, Efq;

r~ v ♦ . ■

ADVERTISEMENT

A.

S mvft writers^ l^ih for and tx^amfi iie /bge^
baoe ^Uber dealt cut entbufiaftk itiufi tar fulfm»e fa^
megerics^ the obvious utility of an imfariidmedimm ke^
iween fiicb extremes Jirfi fyggefied Jbe foncmug
work : m man^ wbo is not titber tgad^orj^fy^ earn
be hardjf enougb to deny^ tbat a weU-regulated drama
is worthy fuppori in the moft poUfljed^ learned w im*
rai fiate ; nor^ on tbe other Jide^ tan we contend im
favour of many eftablijbed pieces % humour has iee»
too often made the fubtle conveyance of very licentious
JentimentJ^ and many pernicious cbarailers are placed
in too fair a point of view ; to deveUpe vice from this
poetical mafquerade ; to firip off the JerpenCs fiimng
ioat^ and to fbew tbe poifon wbicb lurks within^ is
the Dramatic Censor' j leading principle i to point
out^ in a plain manner j and unadorned flik^ the beau^
ties and defeSs of each piece ; to tbrow out bints re-
fpeSing tbe performance of every char alter worth »a-
tice ; and to give a concife general idea of the plays
taken into confideration^ tbe fcope of bis defign.

Far from glancing an eye towards infaUibity of
• opinion^ the following ftriSures and illuftrations an
fubmitted with all due deference to the public^ as
meant for ufeful information ; bow far tbey anfwer
this defireable purpofe^ candid readers on perufal muft
determine.

The

ADVERTISEMENT.

The Dramatic Censor will gratefully receive^
arid refpedfully ufe any remarks fuitable to his plaD,
he may be favoured with^ by letter 4^reAed to the
care of Mr. £V//, publifher of this work, near
Esceter- Exchange^ Strand.

THE

m

THE

DRAMATIC CENSOR.

RICHARD THE tlllRD.

As altered from Shakespeare by Gibber.

V^RITICISM is undoubtedly the moft
elaborate and ungracious of all literary compoH-
trons : paQlng cenfure muft ever be painful to a
liberal mind, and has no palliation, ho balancing
pleafure but contrafted praife ; however, the ge«
neral advantages arifing from candid inveftiga-
tion, equally feparated from partial indulgence
or malevolent fcverity, dcfervc fome degree of
honed approbation, and ftrengthen the feelings
to undertake with becoming refolution fo hdzard*
ous a ta{k«

Dramatic compofitions are of a nature too
nice and complicate, for all admirers of the (lage
to confider with that attentioQ which is neceflTary
CO underftand them properly j hence much o^

Vot. !• B the

4 The DRAMATIC CENSOR.

the true relifh and folid improvement derivabte'^
from the iii is loft, and often changes the theatre*
from what it literally may be, a profiuble fchool
of moral inftrudion, to the fphere of ufelefs or
prejudicial diflfipation.

This confideration has given rife, to the fol*
lowing work, in which the various opinions are
diffidently fubmitted to, not dogmatically ob<
truded upon our' feveral readers ; where we
(Irike out neW and ufeful lights, we doubt not
being allowed fonie credit for them ; where we
appear fallible, indulgence is hoped for ; fince
however we may err in the extenfive fcenc
before us, our warmeft wilhes are to be
right. •

The hallowed flirine of Shakefpeare every
friend of intrinfic merit muft approach with re-
verence ; yet why, amidft the meridian blaze of
fiis brightnefs, (hould we decline difcovering
and pointing out thofe dark fpots which his ge-
nius (hares in common with the fun ; Implicit
admiration, as well as implicit faith, argues a
narrownefs or fycophancy of mind, which we
hope ourfelves free from ; and fhall as much as
poflible follow that excellent maxim, to extenuate
nothings nor to fet down aught in malice.

To purfue all the nice and intricate diftindicns
of claflical criticifm, would occafion prolixity ;
appeal only to the judments of learned readers,
and therefore be totally incompatible with our
^efign \ which is merely to try each drama as

Tlic DRAMATIC CENSOR. f

*pifture of' nature at the bar of nature ; and
the manners of tbofe nations where the fcene of
each is laid.

Well knowing how infipid prefiitory matter
generally is, thus much only is offer^ by way
of Introdudion ; and we hope the candid reader
will from hence fugged Whatever elfe mfty feem
cflential.

Of all thofe various fubjefts which have en^
gaged the Tragic Mufe, none are of equal
force and dignity to hiftoriCal ones v from a
multiplicity of great and interefting cVentS, they
roufe and command more paHions than any
other ; of this Shakefpsaire Wasf a moft com-
petent judge, and happily availed himfelf ; I fay
happily, becaufe he not bnly thereby gained
a wide fruitful field for the exertion of his amaz-
ing talents ; but in a political fenfe did honour
to his country, by delivering faithfully manjr
memorable events, in a much niofe ftriking
manner than any hiftorian could polTibly do ; he
has alfo thereby indulged that commendable na*
tional vanhy which makes Bt-itons fond of fee-
ing Britons diflingui(hed on the theatre of life.

Richari> THi; thir£>, as afted, tho'effen-
tially Shakefpeare's, is much indebted for its
variety, compaflnefs and fpirit, to the late
Colley Cibbcf, whofe thorough acquaintance
" with the Stage, • well qualified him for regulat-
ing a plot, and arranging pf fcenes, which is

B 2 * indeed

^

4 The DRAkATIC CENSOR.

Indeed ^ inore thap a kind of draunatic mecha^
mfm, yet iodifpenfibly requifite*

The laureat has been blamed for mutilating
<^her pl^ys of beaotii^; podges to enrich this j^
^ut, tho* I admit it to be literary depradation» I
jpuft rather vindicate than cenfure hiih ; there is
little, if any dilhonefty in ftealing jewels merely
to ornament the juft owner ^ befides it (hews what
Gibber was never accufed of, naodefty, — by
avpidin^- ftudio.u0y the iofertioo of his own in*
adequate ftyfF.

Thi$ play opens with well-imagined pro-
priety, as a plain, fioiple introduction is the beft
preparative to a focceflion and climax of inte-
reding events ; expectation ftrained. at the be-
ginning Qioil commonly produces a faint unaf^
fefting cat^ropjie y the previous character of
Henry, and the mpde of his introduction, pre«
judi^e us in bis favpur; bis philofophical re-
flections are (uitabk^ to his depre0ed fituation^ z^
well as bis, t^rn of mind ; apd Trefrel's pa-
thetic narration not only ferves to caife our ten^
dereft cQ^cerp for an unhappy king and father^
by^ prepares us with great judgment for what
we (n^ expeCt to 0nd in Glolt^^r, which de-
fcription naturally arifing out of the cir-
cun)ftanpe, has far greater merit than thofe
lugged in headlong merely for fake of expl%-
Dation.

Notwithftanding fome good critics have con-
demned foliloquies in general a$ unnaturaU yet

wc^

The DRAMATIC CENSOR. |

t

muft venture to contend for their propriety )
fioce nothing is commoner than for people ia
private life, warmly poflefled of any fubjeft, to
iaik as if in converfacion, tho' alone: in this
light, Glofter is very jqilty brought to view,
and I doubt if 1^ aay other means fo ftriking
and copious a pidlure could hav« been given of
his ixrhole heart in a fkft appearance ; nor could
any other character have given fo happy a de*
Mneation of him as he does of himlelf.

The firft a^ concludes properly with putting
a period to Henry's life, which indeed could noc
have been prefer ved any longer with fuitaUe im*
portance ; ^ and Richard gives an extended idea
of bis ambitious remoFfele& principles ia a very

chara&ertftic foliloquy.

The fliort fcene, with which the fecoad a^

l^^ins is a juft preparation for the funeral of
Henry i and tiiofe obfequies being partly fhewt^

keep the unfortuoate monarch in our remem-
brance till more buftling events fuperfede him ;
Lady Ann's introdudion is aflTedting, but h^r
yieldiag to him whole blinds are dill r^
with the blood pf her huiband aod father ; i vn-
decs her future misfortunes rather juft puoilhr
ment than motives for pity ^ however, the fcene
is wrought up in a very mallerly manner ; and ii»
the performance gives fcope for capital aAing ;
^he concluding part of this ad introduces thf
duke of Buckingham, the Queen-dowager, and
acquaints us with king Edward's death; Ri-
chard

$ The DRAMATIC CENSOR.

chard alfo unveils part of his: defign refative to
prince Edward^ wbofe approach and deitinatiori
CO the cower he announces.

The young King and his brother^ the duke of
York, make a moft pleafing appearance 19 the
firii fcene of the. third aft; chat folid good fenfe
difcoverable in, ope, and the (hrewd, pregnant
fimplicicy of the other, are admirably ftruck oSi
after: their departure for the tpv^er, Richard'^ ear-r
neft difclofiire of his viewi to Bqckidghao) opens
a wider field for expe6tatiod i ap^ his, method of
feicuring his cou0n to his intereit ihews Glofter
;ui able politicUn, fit. to avail himfelf of Buck*
kjngham's weal;:, venal difpofitipn. :

Lady. Ann^s treataient in the. fudce^diog fcene
manifefts her hufband's brutality more ftrongly ^
jrer, as I have already hinted, feems no more than
a juft confequence of that unpardonable vanity
«rhich led her into fuchan unnatural connection.

Buckingham's illuftration of the method uied
by him to work on the citizens, and his treat-
ment of them when they enter, (how him verfcd
in court chicanery; particularly throwing in a
remark, *tis hard — J be mayor Jbould lofe bis tii le
wiib bis office. Richard's bypocrify is here
painted in a capital manner i and is mod adini*
irably affiftcd by the aflbnied paffion of his cou-
Cn on one fide, with the lycophantic credulity
'«f the citizens oh the other; his rcluftance and
their . perfuafions, like well-adapted lights and
Aadcs, engage and pleafe the attention s which
4 is

The DRAMATIC CENSOR. 7

is well varied by Richard's fudden tranfition to
a ftate of ambidous exultation, and from thence
to a ftruggle with confcience, which appears to
lodge a conftant thorp in bis bread.

In the beginning of the fourth a£):, our fiseU
lings are turned upon objeds of real ftrong pity ;
cur tears which l^ave ceafed fince the firft, are
here called forth again judicioudy in behalf of
an unhappy mother and her helpiefs infants ^
the charader^ introduced to furnilh frelh matter
for concern are well brought forward, and the
Queen's grief is wrought up in an aflfcfting
manner ; however, I mud be of opinion, that
the fcene is not near fo interelling as it might
have been made ; that lady Ann and the dutchefs
of York are here mere non-eflentials, that the chil-
dren do not aflfed us as they ought, and that all
the Queen's fpeeches, except the lafl: three, are
far too unimportant for her heart-rending fitua-
tion.

Richard, now difcovered as King, works up-
on Buckingham, by diftant inGnuation, to tffcGt
bis main purpofe, that of deftroying the chil*
dren ; his cautious earneftnefs, and the duke's
confciencious diffidence, arc extremely well con-
traded ; the King's impatience at Buckingham's
coldnefs, his indifference at the news brought by
lord Sranley, his enquiry after, and remarks on
bis wife Ann, with his fubfequent contemptuous
treatment of his lukewarm coulin, exhibit great
and madcrly di verification of adion.

The

S The DRAMATIC CENSOk.

The fcchc between Tirrel, DIghton and
Foreft) (hould fdr two reafons havd been
made longer ; firfl to hare raifed our pit/ morc«
even by the immediate murderers ; next, to have
given Richard more time for his appearance at
the Tower : there are but ten lines from going td
meet Tirrel in his clofet, before that impious
tool comes on with his followers quite prepared i
had he mentioned the premium and the King't
ftvour to lull their fcruples, the bufinefs would
have been conduced more confidently.

The King's fdlilocjuy is mafterly ; anxious
hope and guilty ambition quiver in every fylla-
ble ; nor is the fucceeding fcene lefs chara6berif-
ticj Cate(by*s entrance is well contrived, and
gives a good opportunity for that fiery fpirit
breakingout, which fo much animates the remain*
der of the piece *, Richard's interview with the la*
dies, tbo' not ei&ntial, in fome meafure deferves its
place, as in it the tyrant is devoted to deftruc-
tion by a itaother'sCurfe: the following part of
this ad is as rapid, arid as well a conduced fcries
of interefting events as ever was exhibited in any
drama, and it concludes with a very bold, flrik*
ing climax of paffion.

The three firfl: fcenes of the fifth aft are merely
preparatory to what follows, and therefore ju-
dicioufly jQiort ; Richmond (hews hithfelf fuf-
ficientiy, and ftands well contrafted to his anta-
gonift. Richard's fcene in the tent is' as welt
imagined, to engage the feelings of fpeftators-
and to Chew the power of adion as pofiible ; nor

could

the DRAMAft^ fcENSOR. 9

could ghofts ever be mbre jnftifiabk *tfian here 5
however we muft offer a doubt whether fuch falfe
creations of the brairt ; fhould ever be called to view ^
Cnce it is mod: certain that they play upon our
paflionsin flat and abfurd contradiftion to our rea*-
fon ; let this point be determined as it may^ Cibbcr
Ihewed juft critical judgment in rejefting the fecond
introduftioti of thofe imaginary exiftenccs ; tvhich
we find in Shakefpear's Richard ; becaufe in re^rc-
iehtatioh one would have flattened the other, and
both mufl: have confequently palled : after many
martial excurfions, in which the leaditig character
is very happily exhibited 5 the cataflirophe is wrought
up to a moft pleaflng event in his death ; a circam*
ftance as confonant to llri<5t poetical juftice, as it
is to hiftorical truth : Richmond's conclufive fcenc
dirplays a generous, patriotic difpofltion, and is as
agreeable as the place it fl:ands in will admit.

Having thus given a general delineation of the

plot and arrangement of fcenes ; it becomes ne-

cefTary to enquire for the moral, without which no

dramatic piece can have intrinfic worth ; in hifl:o-

rical plays we cannot expert much focial inftrudion,

as they chiefly appeal to national tranfaftions ;

however from Richard the Third we may draw

this uieful conclufion, that no degree of fuccefs

and grandeur ; no gratification of lawlefs ambition,

however fplendid j can dill the voice of confcicnce ;

which though unheard by the world, fpeaks in

thunder to the guilty wretch, who bears fuch a

painful monitor in bis bofom.

C The

lo The DRAMATIC CENSOR.

The chara&ers of this piece are many in num-
bers yet exhibit no great variety of contrail : after
Richard, Henry, Richmood» the Queen and Chil«
dren ; all the refl: are of a (inular complexion :
Richard is truly in point of figure, fenciments^ Ian*
guige and conduft— himielf alone i^ however hifto-
rical relation admits doubts of that monarch's perfo-
nd deformity, it was certainly well judged to make
)i]f external appearance, on the ftage, emblematic
of his mind % and for fake of Angularity drefCng^
him only in the habit of the times may be dtten«
fibk I but what excufe can be made for (hewing
him, at Us firft entrance, in as elegant a drefs, as
when king, I am at a lofs to fugged i does he not
after his Tccne with Lady Ann, profefs a defign of
ornamenting bis perfon more advantageouQy i
Macbeth when king is always diftinguifhed by a
fccond dreis, why not Richard ? a (liil greater
br^cb of propriety appears in putting mourning
upon none of the per fens at court but the ladies and
the children } though Richard pays all other exttrr
nal refpeft to the circumftanceof his brother's deaths

Through three a&$ Richard appears the clofc
diflembling politician, and aflfords no great variety
fit aStioti ; indeed his foliloquys are fo long and fo
frequent ; that very few who attempt to reprefcne
him avoid falling into an infipid famepefs.

In the fourth and fifth a£ts he breaks out like
a fiame which has been long fmothered ; and
through the impctuoficy of agitating circumftancea
betrays many peifermers into the error of out
decoding Herod.

The

The DRAMATIC CENSOR." it

The Public have fct up Mr. Garrick as a
ftandard of perfeftion in this' laborious, difficult
part ; and if we conGder the efientials, his claim to
fucfa diftin6tion will immediately appear indifputa-
ble^ a very deformed perfoh never rifes above^
and feldom up to the middle flature ; It is genenily
attended with an acutenefs of features and fpright*
linefs of eyes ; in thefe three natural points our
Rofcius ftands unexceptionable ; variations of voicc^
and climax of exprefTion, in both which hf
jOtands without an equal % graceful attitudes, ner-
vous a£Uon, with a well-regulated fpirit, to ani*^
mate within natural bounds every paflage, even
from the coldeft up to the mod inflamed.

Mr. Garrick alfopreferves a happy medium, and
dwindles neither into the buffoon or brute ; Ofie, or
both of which this charader is made by moft o|her
performers : ^tis true, there are many paflages which
have a ludicrous turn, yet we may reftaflbreds
that he who occafions lead laughter is moft right i
m refpeft of marking particular places with pccu*
liar emphafis, fome exceptions miay be taken, or
doubts raifed againft every perfon I have ever ieeo
in the part ^ however, tracing minute lapfes of this
kind, which after all noay be (nere matter of opi-
nion, would occafion too great a digrellion ; I (hall
therefore only mention three which ftrike me mod i
the firft is,-^/<ij9i mffelf aknt — which words I hav$
heard exprefled in a tone of ^confident exultatipPt
ai if be was fingularly above the red of mankind ^
whereas advertiatg to his own unhappy com pofipon*
k Ihould be jutteitd with heart- fek difcotitent ; and
' . ' ■■ C a in*

12, The DRAMATIC CENSOR,

^ _ ■ - • . >

ipdeed the three preceding lines, which exclude
him fropd all fecial intercourfe, fhould be expreffivci
of concern. — The fecond paffage is, where Buck-
Jngham folicits Richard for his proi^ailb, and Ri«
chard piedita^es in theie lines,

I do r^^iemher me, that Henry the fi^th
Did prophefy, that Richmond iheuld be king.
When Richmond was a litde peevFih boy*
•Tis odd — a king— perhaps —

The laft line is often fpoke without a tone of
continuation to the word,^ perhaps j which is moft
evidently intended : the third place is in thefc

lines.

Hence, babbling dreams, ye threaten here in vain ;
Con/cienciy ^tt^trx/— ^Richard's himfelf again*

It is ufual to (peak this couplet in one continued
^liniax of paflion ; whereas the two words marked
in Italics, fhould be uttered in a lower tone, ex-
preffive of mental agony — Confcience bring the
^nftant difturber oS his peace, and a great bar ta
bis refolution ; the latter part of the line rifes to a
kind of triumphant exultation, which not only ya^
ries, but gives force to the expreffion.

Having placed Mn Garrick far before all
other tompctitors in this charader. as.fupporang.
every fcene throughout the whole with very capital
merit ; it would be ungenerous not ta ackr^ow-
ledge, that Mr. Mossop difplays great powers, Mr.
Sheridan much judgment, and Mr. Smith con-:
fiderable fpirit •, but bad the firft more delicacy, .
with lefs labour ; the fecond more harmony, an4,
lefs ftiflFnefs 5 the third more' variation, with lefs-
levity, their niqrit vSroukJ rife fcverak degrees beyond,,
IV bat it is. '" . Henry's *

\

The DRAMATIC CENSOR. rj

Henry's ch^rader is compofed of pathetic dig^
qky:; in reprcfentation it Ihould be ftudioufly re-
menibered, that his griefs, tho' a diftr.eflcd king and
father, fhould not be blubbered like tho(e of a fchool-
boy ;, but fboUld paint feelings worthy the monarch
and the man-^The part is admirably drawn, and
highly finilhed, yet cannot I reniember any per-
former doing it tolerable jufl;^^^^ except Mr.
PiGGES J who is now, I believij, retired from the
ftage.

Richmond requires little more than a good fi-
gure, free, deportment, with fmooth, fpirited ex*
predion \ yet our theatres have not often filled it
with ability; the late Mr.. Palmer, tho' no trage^
dian^ came ncareft the idea I can form of it«

The Queen, tho' not wrought up tg the pitch hec

circumftancea ieem to admit, is a character of

much refpcft and attention j Mrs. Prit chard did

more for it in a£tion, than the Author in writing ;

it is now given to fecond and third rates, for what

reafon is hard to fay, as there never was^ nor pep*

haps ever will be, an adtrefs of higher eftimation,

than the lady jufl: named : what fhe did not think

beneath her is certainly equal to any exifting merit,

and the public have an undoubted right to expeft

capital performance, wherever it can be introduced %

nor (hould the ridiculous word, confequencej deter

managers from fulfilling the point of duty.

Ihe fentiments. and verfification of this tragedy
;te rather familiarly-nervous, than flowing and
affluent ; however, the language all through is
wiiforraly charaderiftic, unlefs we objedl toa perfon

in

%4. The DRAMATIC CENSOR.

in Henr/s fituation ftq)ping afide to the allufioot
of frojfy Cau fa/us and Dicembet fnw. Since it if
crefpafling upon probability and nature, to make a
cbaradter deeply diftreiled or torn with paf&on vent
poetical fimilitudes ; for which reafon alfo we muft
condemn thofe lines, in the laft fpeecb of the
fourth aft, tho' the thought is really fine, that
ijpcak of the fever-wom wretch : they arc gene-
nerally omitted,' but more, I believe, to relieve the
ador's utterance, than from any idea of impro*
priety.

. Upon the whole, Richard appears much bet-
ter calculated for reprefentation than perulal, as in-
deed every buftling piece muft be; however,
talle and judgement will not by^ny means hold k
Kght in the cldfet

HAM

Tlw DRAMATIC CENSOR. t^

HAMLET.

Written by Mr. William Shakespxarz.

T,

HE opening of this tragedy is extremely well
deviied % the dme of night, the place, the cha-
raders, and what they fpeak, all moft naturally
ooncur to raife an awful preparatory apprehenfion for
the appearance of . that fupematural agent on whom
the main aftion totally depends i and indeed fo art-
fully has Shakefpeare wrought upon his great pa*
tronefst nature ; fo powerfully does he eng^e our
paffions upon this pccafion ; that even thofe who
laugh at the idea of ghofts, as old womens' tales,
guinoc avoid lending an eye and ear of (erious at-»
tention to* this of Hamlet^s father.

Introducing him previoufly to fome of the in-
ferior characters, brings him with double force up-*
oil the principal one ; and Horatb's determining
to acquaint the prince with fd ftrange ^nd alarm-
iog a circumftance is very natural.

The lingularity of Hamlet's appearance as a
mourner, when all the reft of the court are in a
ftate of feftivity and congratulation, raifes our idea
of his filial affe£tion and concern ; his indifferent,
contemptuous replies to the King, and his catching
fo eagerly at the vford feems^ ufed by his mother,
are a happy commencement of his charafler*
Laertes's foliciting leave to travel feems merely caU

2 culated

• » -

i6 The DRAMATIC CEJfSOR.

Culated to keep him out of the way, and to learn
fencing agaioil the fifth a£L .

The firffi foliloquy of Hamlet is particularly
ftriking and ^flentiali -a8 Ic iays open in a pathetic^
beautiful manner, the caufe of his melancholy, and
paints his mother's frailty with (Irong feeling^^ yet
preferves a defioite refpeft.

The fcene which introdudes Horfttio, ^ Btc. t6
Communicate the ckcumftance of the preceding
night fucceeds naturally i and the broken mode
of converfation, in tines and hatlF-lines, is fa art^
fully contrived, is executed in fo maflerly a maner^
that the fpeiaators, tho' they preVioufly know the
fubjeA, are yet agreeably lured on to hear it re-^
lated, and thoroughly fympatbize in the tranfitionr
of Hamlet; whofe interrogations concerning the
awful an^baflkdor of heaven are fucb, as give ^i
a ftronger feeling of the Ghoft than even his ap^
pearance does ; on the prince'fr <ietermination to
watch^ notwithftanc^ing bis violent agitation, he
might have ufed a phrafe kfs cenfurable than the
following,

ril fpeak to it, tbo* hell itfelf flioufd gape.
And hid me hold my peace.

Laertes's (hort advice to Ophelia is pregnant
M^ich affedion and good fenfe; as Polonhis is in-
troduced to haftep his fon on board, I could wi(h
thofe excellent maxims for youth in the firft fcenc;
of the fccond aft, and which are always omitted
in reprefentation, were tranfpofed to this place^
and given perfonally by the father to his fon : fucb
a treafure of ufcful inftruiflioo (hould upon no ac-

counfi

Tte DRAMATIC CENSOR; rjr

cbuiit be loft tb the ftagfc« Foloiiiiis'a obfefViKiDns
to (^helik are prudedt abd d^fcriticiye of pattrnal
afie^bn.

The remarks of Hamlet aixi his frtdndsi Wheo tri«
iixtd lapon the platfdrknL» ait very (loKiicaUy
thfowa by the author upion a fir dtffnrent fubje^
from what has broug^ tHein there ^ and wkh the
iMerireiitloii of a flonrilh of niiartial tmfifc ulfaej' in
the Ghoft with ai machor more eflTeft^ than at hii
fkft appeataae^.

The princess 4ddb«ft begins with becbming awcj
^I appi<thend rifH too foddenly into exprefSooi ,
ill applied to the venerable, i/trc^li-knowDi bebved
figure then before hlmi terror does Imked con-
^Oiind ffeafon^ but ftldoM givtt bl^th tt^d pafiiMiUte)
][^efumptrve efl^fioh ; Mfhei*efi»'6 I <nuft be h^d]^
enough to offer an objeSion sg^inft (he fttltoWing
lines, as to their import i

Be thou a fpirit of healtli, or golflh darmid^
Be thy intents wicked^ or chaHtable^

Nor can I b)r any means atcquiefce in opinioni
thac a heart fo flurtercfd and aiitCted aS Hamlet^s is|
CidUld poflibly diftatc multiplied images \ ffioft cer^
tainly we diioDver much omre of die poet and
f^»fcy than Hmstble feeiihg inl

-^— tell
Why ^y Ima he^ed in canonized earth,

Havfi burft their feannents ? Why the fepulehra

Wherein we faw thee quietly interr'd,

Hatfi op*(i i{s ponderous and marble Jaws,

To caft thee up aigain ?

' ' * » i .

Vol, I. D Bcfides,

7

/

i8 The DRAMATIC CENSOR-

^ Bfrfidesy in the ftriftneft of obfervatioD, it is
worthy notice, that Hamlet in one line calls the ap-*
pearance in view, a fpirit^ and immediately mate^
rializes him, by mentionihg the corporeal appur-
tenance of bmai the coodofion of this (cene is ad«
mirably compofed of broken fentences; terror^
pafiion and aflumcd refolution.

In the fucceeding iceoe, a narration of a very af-f
fedUng nature is delivered by the Ghoft* id langu^e
worthy that inimitable author, who. created charaq*
ters from the force of imagination, and, from the
fimie ioexhauftible four ce, furnifhed a peculiar
mode of expreffion for each.
. This Roman cathdic opinion of purgatory is in<»
f:ulcated through the whole of this interview y and
funeral rites, or preparatives thereto, particularly
peodoned in this line,

Unhoufel'd, unaiiointec]^ unaneard*

But whether Shakefpearc may thence be deepied a
favourer of popi(h principles, remains a matter of
much doubt *, and the determination, could we
come at if, would be of no confeiqilence to bur
prefcnt purpofe •, however, let the religious bent
bD what it may, we muft admit the Ghoft's (limu^
latiori to revenge, fumifhes a very grofs idea of im«>
mortality, which (boukl be freed from the paflTions
and remembrances'of clay ; nor does the palliative dif*
lin6tion which forbids any violence againfl/ the Queen^i
take off the imputs^tiQn of mortal frailty, h^g ng a-
bout an exiftencc merely fpiritual \ an abrupt de-
parture^ and thofe beautiful lines with which the
Qhoft difappcarsji ar? a very happy coqclufion to

V- .1 • th«

The DRAMATIC CENSOR. 19

the feme* which fpiiiijaut to a greater leng^hi would
l^ve loft much of its force m^ beauty^

Ilamkst'i enfuingifoliloquy i| very n^tur^l^ an^
Jiighly tkffftS&vt of : the iinp^flions kfc upon;biai 1
his conyec&eion with Hortf io ancf Mairellu^ is ju-
dicioullf evafive: fi^ the drcumftance ju& learned
jof his fitther's deotK, does n6c admit iti policy of
commomcaticRi y and if it didy a repetition would
pall the aiidieoce : howewr, tho' this kem alcoge-
therluu the merit of pldsfiog propriety* I can by
tjomeans, unlefs Hamlet ib<r# affiimes his frenzy*
tronanend the light expceffions to his father'3 ih^ide
— Truepemy-'^'^knrtitg in the cilim^i — 0ld nwk-^
wohky /c0M0r-^-efpecrally « 'he is calling upon his
friends* in ^ moft fokmot :;iei^ble» msm^r^ fo^ft
promife of fecriecy. ,» >

Thus ends thefirft aA; which, is fo full of bulL-
nefs* and that of foiittporiant a nature* that per-
4nif» no aujtboi! but Shakcfpeiire could have produced
any tbo^ ifw** relatbe to the (^mt ftory* worthy
of attoii^n I yet what follows fliews us the pofUbU
lity md execii&ve power. . »

Fotonittt comnnences ihe fecond aA wi^hOplie**
lia* who, in a^erypi^itiquc manner* ofiakesher
father and tb€f andfenceacquainted withe the prince*s
diftra6iion ** which the fly c^ ftatefman* imputing
to Hamlet's pi^flSon for his^ daughter* determines to
avail himfclf of with the King i as appears by hijs
reading a letter and commenting upon it in the nexjt
feene ; which* with the Qoeerfs admittifjgjove ^j»
a probabljp caufe of her fortes phrena^y* determirics'
thcm^to feel his inclination tlpon that point : PoIjqn*

D % nius.

«

»d The DR A M &.TIC CSK 3 aR.

\

iiiwi likea bufy< iififul €MNief/wd(Ntidcei tbii^
and enoiunten Haliifeti whofe pretoncirof mi
knowtni; hitii» etcAfiodi. Much pointed ^tiie, and
(i^ft^^ agfteable repafca^s } iMtn ^ilionce, Bo^ckiUid^

tiQt being able to deduce any tbingisfefiiV ratiRi^
and mak«» way for two iodiar coort^pi^^ who^
under a Veil of ^rieifdftiipt eodcawuplD worm out
the fecret % }»Vi^ aiades tkeir ^Itgn in a diffeccot
and Ttimt maAarly manarr i diere could not be f
tnorepregoantt. riql\.aiid phibfophroal diiSrrtaeioii
4ipon Ib^ bK)de o£ his own nrind» and the^exceUcnce
of humin natttre, than 9w felbwihgit}egant|ucaQa
of pbetkal^ p^ofe dieli vdrtd by, Hamfei^

<^ I have b^ late, btit wh^srefore I know noft loft aH
^< min^ V foregone id) ckiftom of exerdfe^ and indeed
*' it goes fo heavily with my diffisofitioti ; ^ that tbf
^ g6odly ^^e dSkeearth/itema to mc a Acril pro*
^^ montary vtM»m()ft4txefltenec;^iiapytheair, thia
^^ maje(6cal roof fretted vfith golden five V why itap- .
^} pears io me doihii^but^ ibol and pafta^nital cpn>
^ gregatton of Vapours-: What a piece ftf work ia
*^ man ? how noble in fealboj bow infinite in
^* facukiesi \vk fbrnl' andi Moving how cxpreij and
"^ admSrikble ! in adktn how t^kt an ^mgell in apU
^^ prehertCion how Mte ^Godf tbe beauty of thb
<* Wctfld !r the Patagbnof ailimals t'^ ; >

' In the foregoing paflage wfe have ^s^ toncilc and
Ixautiful a delineation ofhumannatur^as thought can
conceive or words exprdfs ;. and the immediacy tfan«
ficron to mention of the players^ who^ though ieem-
^ngly intruders are .material agents for the plot^ ia
txceUehtly contrived by the author ^ fince Hamltt«

2 ♦ a%

n R4M A T I C C E»3 OR; m

n veiiMy juftly fap{>Qfe fr6mlii»|m^
mediattly fuggoft^ th4t ufil for th^ ASoM in tii^
|>rdM9k>Q» ^ vhich fooa after be jmket of iheiiu
: Wbdo Potoiiitt eiitris to tdr> 1^ the cAmc^
lUaosi the Frkvie^gftin (iflume^hbjftilc (^
ftpaMce^ and ittdttd h pkafir^If witty widi tlui
;taMbold fiitefitmru liis wc|pocnelQ tlio Pkqrert k
.iPoHmdAptfid to didnodb of behamDiir hcbal put on 4
but fe^ b»»t ;q ibfl \^f of bcr ifojw ^^ lik^ p picct
of uncurrent gold bttng crac^ked tndriie fiAg*,'' b
|iqt C9mmfSQ4^t)^tddl|ca|ae r ^taftep£c^fr

-qjjftS^y* ^?d walWBg * nc?iftalw jft |hjB firljt linp ^

l|»t. ^flpige he p^n^s pup rcfpj&ain^ Pyrrb^w, aip

plfa^gJVid n«^i^ qr€U|Q(Unoe$, tjhoug^ of cb^

.flprtsu^ki^d. .

From the imagery of thofe fpfflphiss wbich tl^

PUycr repcftt*, i? appears pWrtly ih«l they» an4 tha

iccpc to the third 4ft flre oot only ioteodcd a& pr^pv

fftoiqr means to cOQfVHft the King^ guilt) \m ane

talib aqe^itf to reatite the cbairidieiis of the main

l^ipp( i KhQrefpee the matter^ manpert and ad^iw

iar« ^Ukntly piqpftfed a^ a contraft of fiftlon^ to

W\m%k-iff ic^SkTftha i^udiofioe ibgiild thiidc truths

; TbfiTA ift AQr^ feDticnent in the whole ch«ra£)3er of

Hamlet, nof tudaed any other mote worthy a good

heart and ^reat noiod,, than hU reply to Pobnius ;

who fay5, he •* will ufc the Playcrfi a? they dcfcrve.*

** Much better— ufe every mm according to his

" deferts, and who flialPfcapc whipping ? Ufe them

" after youf own honour and dignity j the Icfi they

" djtfcrvp, the more merit is in your bounty/*

.At

1ft The DRAMATIC .CENSOR.

^ At the begUuiingxyf the foliloquy which con^'
eludes the (tcotui^&^ Hamlet ^ves him^lf a^Ui*^
fional force and reality, by alluding to the Flayer^
fiAiiious fectkigs, compared with hisown fsbftaiiti^
/caufe xif grief; the- defign of roufing confcious guik
in bis uncle, by a representation limilar to the
murder of his Father, is^pofittcand well ihtrodoced*,
iior a n^iUion ot inftances fwniih indobit^le prooff

^- . That murder, tho' it have no tongue, will fpeak
' ' . Wkhniioft mitaculou^oi^an. . >

W$' remarks that the fpirit he has fcen may be a
devil, and that the devil may have power to afTume
a'plcafing Ihape,' favour Very ftrbngly of a weak
Tuperftitious mind ; and give tHi no exalted idea of
the prince's head, however favourably we toay
Judge of his heiaft.

In the firft fcerie of the third aift, we find the King
eager to get at the caufe of his Jfephew's fuppofed
frenzy ; the Play being mentioned, ai^d an invitatii)fi
for the court to T^e it, hi^ Majefty from pidlitical
reaibns agrees i and Ophelia is left to try what ex*
'planation (he can bring her lover to— the celebrated
foliloquy — io bt^ inr not U be — is here introduced,
and exhibits a beautiful chain of m€firal rea(bmng|
the Qbje£):ion thrown in againft fuicide,

■ ■ I The dicad of (bmething after'deatfa,
• ■ • •

is concife, perfuafive, and highly cdnfonant with tho

true principles of moral philofophy •, Critics have

with juflice pointed out the inconfmcnCe of tha^

parenthcfis which ftile^ the future world

An^undifcovercd cour^try, from whofe bourne
Nolravelkr returns.

^'rf^ N.otwit^aading^

7-

t

The P^RAMATIC CENSOR. a^

Notwidiftanding the mafter^^fpriog; of this, very^ plaf
is fueh a trarcllcr ; tharcforc a palpaWc, flat contra*
di&ion to the above. a(&rtk>n ; the author no doobi
meant a corporeal traveller, but it isi ftretching ior
dulgence very far to admit fqch a. latitude of ezprcf-
lion.

. * The converfation between Hamlet and Ophelia
is finely im^ned to puzzle tte fpies who watch hit
words and a&ions \ and though it exhitntsmadnels9
yet as Polonius remarks of a former fqene — there is
metbcdin it ; Shakefpeare, in all his pieces, fcems t^
have had great regard to the capital charafters both
te to ftrength apd variety \ the feigned madnefs ia
tins piece tends greatly to the latter, and gives
much fcope, particularly in this fcene, for powerful
^tm — the King's propofition of fending the prince
to England, tboqgh a fl:range fcheme, ihews the
apprehendon which con fcious guilt fixes on his

mind.

Htmlet's advice to the Players is ,as juft and fenr
fible a lecture upon ;feveral theatrical excellencies and
errors as ever was penned ; but few who perform
the part have a right to deliver it ; being in many
inftanccs guilty therofi^lvcs of tbpfe very abfurditiea
which thty recommend a reformation of.

Hamlet's behavit^r in the fcene of tbe|)lay is
extremely chara^leridic ^ .his fportive replies to
Ophelia, and his faitiiric^l taunts to the King, fuit
the (late of things h^pily : Indeed the mock repre^
'fentation and every oth^r circumilance are very well
condufbd towards the grand point ;. and his mar.
Jcfty's abrupt tetrc45 fuifiwntly evinces his guilt;.

the

K

t4 TbeDRAMATIC CENSOiL

ijie enfiring converfttion with RofenciFam and
Guildtoftero pkmily fliews the juft opinion Hamlec
tmcrtatiis of court fycophants, 2nd bis playing upon
Polonius is pliant, as well at pdignanc

The King's foliloquy is a moft fiojflied piece! c^
argumentative, pathetic contrition i and fur4
Tiifhesa tery ihArtidhre piAuf e of a gailty nikid :
of Hamlet's, whkh inim^diaqbly fucceeds, we cskm
not fpeak favourably^ ias it greatly derogates not
Only from ad anriable but even a comthon caoral
fch^adler.

ftevcnge, when tnoft provoked, rathct vioi-

fitds human feelings; however, as in fome in^

fiances, the heart cannot decline k, and what mo^t

pi evoking than the death of a father ? Yet life for

life is the utmoit that can be required ; for a mortal

vice or^ faHittg premeditatefy to plunge t^bt pen*

ptftr^tdr into a ftate of infinite ftiifery, bad we
power, would be giving nature a diabolical bent ^

therefore when Hamlet refolves upon taking his

Unckf in fome peculiar ad of (in, that bis heels

may kick at heaven, he certainly forms a defigp^

and utters fentiments more fuftable to an afiafiin 6f

the bafcft klnd^ than a virtuous prince and a feel*

ing man. /

In thatexcejfettt fcene of thei clolct where, the

l^riAce fo beautifuDy and fo powerfully reoionftratea

to hia soother Upon her guilty and fliameful fituatlon ^

there appears a» incidenc which rather calb another

Ihide upon our hero's character ; that is the death

of Polonius : It happens evidently throogb^ a

miftake, fuppofmg. him the King: Xet «tiiij.thc

miftakc

The DRAMATIC CENSOR. 25

miftake is difcovered, he has not Gomrrion humanity
enough to regret taking the life of an innocent
inofFcnfive old man, nay the Father of a Lady too
for whom he pjofeffcs a regard 5 but by the fol-
lowing lines feems to hold the matter light :

Thou wretched, rafli, intruding fool, farewel,
I took thee for thy betters, take thy fortune ;
Thou findft to be too bufy is fome danger;

In the concliifive fpeech of the aft, 'tis true he feems
to feel, but we apprehend too flightly •, and making
himfclf the vindiftive minifter of heaven, is ar-
raigning providence, for influencing punilhmenc
where no guilt hais appeared ; by the fame mode of
argument every ra(h, or bad man may palliate the
moil: inordinate aftions.

Indeed why Polonius Ihould be killed, in flat
contradiftion to every degree of poetical juftice, is
rather myfterious •, if meant merely as a caufe foe
Laertes's refentmcnt, and Ophelia's madnefs, I muft
confefs that both might have been brought about on
a better principle, as I hope will appear from fome
general ftriftures on the ^lot.

The Ghofl's, appearance gives great force to, and
raifes a very beautiful climax of pafTion in this
fcene ; and it is impolTible to form an idea of afty
thing better calculated for aftors to flrike, or an
audience ta feel in •, the circumftances and expref-
fion are fo highly deferving of each other •, that the
performance muft be languid indeed, and feelings
totally benumbed, if both eyes and hearts are not
much intcrefted.
Vol- I. E The

z6 The DRAMATIC CENSOR,

The King's refolution of lending Hamlet to
England feems juftly precipitated by the unjuftifiablc
event of Polonius*s death j the fcene in which the
King enquires for the body contains fome pointed
expreflions, and the Prince's departure is of that
unaflfcdling nature, that I doubt whether one fpeda-
tor out of a thoufand ever faid I hope he will come
dgain, though from fuch a voyage fo late in the
piece it feems very doubtful.

Ophelia's diftraftion is an extreme pretty varia-
tion of a6lion ; and is defcribed with a forceable
delicacy, worthy of Shakefpeare's pen ; Laertes is
ulhered in with a ftrange inlinuation importing no
lefs than a propofition to chufe him King ; how
this became neceffary, or is reconcileable I cannot
fee as in a preceding fcene the King fays, that he
cannot enforce any law againfl Hamlet on account
of the murder committed, becaufe.

He's loved of the diftraded multitude,
Who like not in their judgement, but their eyes;
And where tis {o^ th* offenders fcourge is weigh'd.
But never the offence.

Nay fpeaking of the matter afterwards to Laer*
tes, the king delivers himfelf thus

Why to a public court I might not go.
Is the great love the people bear him ;
Who dipping all his faults in their affedion,
Would like the fpring that turneth wood to ftone.
Convert his gyves to graces.

Now if Hamlet was fo extremely popular, how
is it poffible to fuppofe that Laertes by complaining
of a private injury, fliould fuperfede him in the peo-.
pie's favours, and gain their voices to the prejudice

1 of

The DRAMATIC CENSOR. 47

of his birth right ; be(idcs Laertes's attack upon, and
Janguage, to a monarch, without knowing a fyllable
of the matter he contends about, makes him an ab-
folute dra wean fir equally the foe of juftice, reafony
and decorum ; indeed the author ftems to have been
fenlible of this, making the king fay

Will you^ Jn revenge of your dear father's death
Deftroy both friends and foes i

Ophelia's fecond introduction relieves and gives
fome fparks of life to a converfation full of falfe
fire and impotence ; wherein one party appears a
bluftering fool, and the other a daftard villain : as
to the confpiracy againft Hamlet's life, it feems the
ne plus ulfra of a forced cataftrophe ; a plan,which
bj approving it^ (hews Laertes to be as much an
intentional murderer as the King.

There is a degree of deteftation mingled with
contempt, and that difagreeable feeling both thefc
characters raife ; the Queen's account of Ophelia's
mournful end is juflly admired ; and tho' the lady
while in her fenfes, faid very little to afFeft us, yet
here the poet teaches us to feel for the event which
has deprived her of life.

Nocwithftanding Mr. Voltaire's objedions t© the
firft fcene of the fifth aft, as being inconfiftent
with the dignity and decorum of tragedy, are in a
great meafure true ; yet the charafters are To finely
drawn ; fuch pointed fatirc and fuch inftrudtive
moral fentiments arife, as give it great eftimation
and raife it far above infipid proprety ; fome expre-
fllons of the grave digger in anfwer to Hamlet's

E 2 queftion

28 The DRAMATIC CENSOR.

queftion, how long a corfe will be in the ground be-
fore it rots 5 however true, are oflfenfively indelicate.
The funeral of Ophelia is indeed a maimed and to
me, an irreconcileable piece of work.^ — She is we find
allowed Chriflian burial, is attended by the king
queen and whole court yet the clergyman refufes
funeral fcrvice ; fappofmg her death doubtfull, tho*
the queen in the foregoing a£t imputes it without
refervation to an accident ; and I venture to prefume
there is no medium between admiflion to confe-
crated ground with all ufual ceremonies ; and a to-
tal cxclufion from the whole ; but the author feems
to have been in a date of difficulty -, he would haye
a grave, and made the bed apology for it he could.
The encounter of Hamlet and Laertes is . fup-
ported with an excefs of fpirit on both fides ancj,
if . we confider the real ftate of things, rather bla-
meably on the^part of the former ; he has killed the
father and in confcquence deprived the fitter of her
fenfcs ; yet when a grieving, injured brother and fqn
vents an explanation, yery excufable in his fituation ;
the prince, even at the interment of a Woman he
pretends love for ; indulges a mofi: outrageous de-
gree of paflion 5 interrupts a facred ceremony and
ofiers his leffon in ftile of a challenge to Laertes ;
nay after moft infulting behaviour, when feparated
' — he retorts accufation upon the challenged perfgq
in the following irritative taunt,

Hear you Sir,

What is the reafon you abufe me thus ?

I Jov'd you ever— but tis no matter.

Let Hercules himfelf do what he may, .

The wt will mew, the dog will have his day,

There

The DRAMATIC CENSOR. 29

There is indeed a palliative excufe made by Ham^
lee to Laertes for this inconfiftent behaviour at the
beginning of the laft fcene — where he fays 5

m ■ ■■This prefence knows.
And you muft needs have heard, how I am punifh'd
With a fore diftraSfion ; what I have done»
That might your nature, honour and exception
Roughly awake ; I here proclaim was madnefs.

Now if it be confidered, that his madnefs has
been but ajfumedj this appears a mean prevarication,
to a man whom he has moil deeply injured, and
who, to his knowledge, never meant him wrong ;
to fay that this paflion was put on to deceive the
court, weighs but little, as we find in the adion, di-
Ihevelled haij, ungartered Stockings, &c. are laid
afide for a compofed appearance ; and immediately
after the blufter we find him not only regular in
converfation with a coxcomb meffenger of the
King's, but punftual in the terms of the challenge ;
and coolly fenfible in fulfilling it hfcre the courts
without any deCgn, more than the credit of vic-
tory in view.

Another faint apology is made in a fcene with
Horatio, where the prince feems to be forry that
the bravery of Laertes's grief fhould fo far provoke
him ; but all this fcene, except a very few lines, }i
left out in the reprefentation ; and indeed, tho*
meant to account for Hamlet'3 coming back, it
draws fuch a ftrange pidure of his getting at the
King's difpatches, and forging others, to turn the
defign of his death upon Rofencraus and Guil-

dcnftern.

go The DRAMATIC CENSOR.

denftern, that we lament fuch low chicanery in a cha-
raflfr of dignky ; one who had no occa^fiont but
much to the contrary, to appear a volunteer in tvs
uncle^s proportion of fending him to England ;
however, as the tranfadlion of his fpcedy return
fhould be accounted for, I wifh fomewhat more
like a narrative was preferved in aftion.

Oftrick is a whimfical mufhroom of fancy, and
tho* Shakefpeare prefents his audience with a Danifli
' beau^ he took the conftituent parts from EngliQi
court-butterflies of his days, and even furnifhes
him with the equivocal punning ftile, which took
its rife and fafliion from that fecond Solomon, James
the firft, whofe pedantry and hatred of witches
were equally confpicuous.

The lafl: fcene, if there arc two good fencers,
(which by the bye feldom happens) muft pleafe the
eye confiderably •, yet fuch a flaughter of charac-
ters mufl: cloy the moft fanguine critic that ever
• thirfted for theatrical blood-fhcd, and pity muft ex-
tend very far indeed, to attend even the expiring
hero of this piece with any degree of patience.

Having thus progreffively delineated the plan, it
becomes necefiary to make fome general ftriftures
upon the whole, tojuftify thofe occafional remarks
which have been made.

At the opening of the play, we find that a very
remarkable apparition has been fcen by the palace-
guard two nights together -, yet fo refolute and fe-
crct have thefe foldiers been, that no mention is
made of ir, except to Horatio, who difbelieves the
ftory i but on his watch the third night, is con-
vinced

the DRAMATIC CENSOR. 31

vinced by ocular demonftration ; upon which, he
very naturally determines to mention it to Hamlcc
in particular, as fcemingly moft interellcd in the
appearance ; this, in conjundion with Bernardo
and Marcellus, he does the next morning ; here \t
feems a little irreconcileable, that Horatio, the par-
ticular and intimate friend of the prince, (hould be
in Elfinoor two days, or more, as we muft fup-
pofe from circumftances, before he paid refpefts
to his royal patron ; thefe, I confefs, are minutiae,
yet claim notice in the ftridlnefs of criticifm.

Hamlet's aflumed madnefs might undoubtcdif
have been made the inftrument of fome important
fccret purpofe relative to his father's murder, and
his own juft refentmcnt; yet, as it now appears,
anfwers no other end, than merely cajoling the
the King, diflrefling the Queen and Ophelia, bam-
ming Polonius and the courtiers, and giving great
fcope for capital a<5ling ; which lafl: article feems
much more the author's intention through this piece
than decorum and confidence.

The King not being able, cither by his fpies, or
even condefcending to be a liftener himfelf, to find
out the bottom of this frenzy, which, through
confcious guilt to him looks terrible, forms a refo-
folutioh of fending him to England, under pre-
tence of receiving tribute ; but, as appears after-
wards, that the complaifant Englilh monarch
ihould put to death the heir of the Danifli crown
upon mere requefl:.

Strange! that he who found means to deftroy his
,his own brother, in the plenitude of power and po»

pular.

i ■'
<

j2 The DRAMATIC CENSOR.

pular efteem, fhould take fuch a round-about me*
thpd CO difpofe of a nephew he feems to fear i and
full as ftrange is it, that Hamlet, who has fo much
caufe to fufpeA his uncle's intention, and who has
fuch powerful motives for ftaying at, home, fhould
tamely, without objeftion, go upon the voyage.

On returning, we. do not find him taking any
ftep towards punifhing the murderer i nay,^ molt po*
litely undertakes to win a wager for him •, how un-
worthy for him then does the cataftrophe come
about ! . when wounded with a poifoned weapon
himfelf, when he hears of his mother's being poi-
foned, then and not before, urged by defperation,
not juft revenge, he demolifhes the king of fhreds
and patches, as he properly ftiles his uncle in the
third ad.

From this view, it is, with all deference, appre-
hended, that, after his deteftion at the play, if his
majefty, upon the principle of felf-defence, ha4
formed a defign of taking the prince off by inftru-
ments at home -, if that defign had been made
known to the Queen ; had fhe, through maternal
affedion, put Hamlet on his guard ; and had that
prince taken meafures worthy the motives of ftinyu-;
lation, a tyrant of fome confequence and uniformity
would have been (hewn in Claudius 5 a tender mo-
ther in the Queen, and a hero in Hamlet ; the In-
nocent charadlers, PoloniUs and Ophelia, might
have been faved 5 and death' prevented from ftalk-
king without limitation at the cataftrophe : as it
ftainds, no lefs than eight of the characters are dif-

pofcd

V

the DRAMATIC CENSOIt. 3^

pofed of that way, four in view at one time upon
the ftage.

In refpeft cf charaders, we are to lament that
the hero, who is intended as amiable, fhould be fuch
an apparent heap of inconQftency ; impetuous, tho^
philofophieal ; fcnfible of injury, yet timid of re-

feqtmeqt ; fhrewd, yet void of policy ; fgll of
filial piety, yet tame under oppreffion j boaftful in
expreflion, undetermined in action : and yet from
being pregnant with great variety, from affording 1
many opportunities to exert found judgment and
^xtenfive powers, he is as agreeable and ftriking an
objeft as any in the Engli(h drama.

In the performance of this chara6ler, we muft,
as in RicHARp, place Mr. Garrick far before
any gthcr competitor ; his reception of, and addrefs
to the Gholt ; his natural, piifturefque attitude,
terror-ftruck featpres, low, tremulous expreffion,
riling in harmonious gradation, with the climax of
his ipeech and feelings, all give us the mofl: pleaf-
ing, I had almpft faid, aflonifhing fenfibility *, in all
the pointed parts of the dialogue his matchlefs eyes,
anticipate kis tongue, and imprefs the meaning up-
on us with double force ; no man ever did, nor
poffibly, ever will, fpeak hemiftics, broken fen-
tences, and make tranfitions with fuch penetrating
cffc<St •, in this lies the indifputable fuperiority of our
modern Rofciusj that, where other performers,
and good ones too, pafs unnoticed, he is frequent*
ly great ; where an author is languid, he gives him
ipirit; where powerful, due fupport j out of many
inftances, I (hall fcleft only two. Firft, where
Vol. I. F Ham-

34 The DRAMATIC CENSOR.

Hamkt fays to his interpofing friends — I f(^^ fl-
way — then turning to the Ghoft — Go on- — FU fd^
low. — His variation from extreme paffion to reve-
i^ential awe, is fo forceably expreffed in eyes, features,
attitude and voice, that every heart rtiuft feel \ the
fccond is in the third aft, where the Queen fays,
the Ghoft is but the coinage of bis brain ; his turn-
ing ihort from looking after the apparition with
wildnefs of terror, and viewing his mother with pa-
thetic concern is moft happily executed.

.Mr. Barry gave confiderable pleafure in Ham-
let, which was, however, chiefly derived from a
fine figure and mufical voice ; but declamation and
originality were wanting.

Mr. Sheridan, under the difadvantage of a
moderate perfon, and ftill more moderate voice, by
theefFcftspf found judgment, undoubtedly ftands
fecond •, in the lighter fcenes, he wants, *tis true,
cafe and levity \ but in the foliloquies, and the
third aft clofet fcene, he is, or has been, truly ex*
cellent.

Mr. Ross has the eafe of a gentleman and dig«
nity of a prince j but wants weight for the decla-
mation •, poignancy of expreflion for the fpirited
parts, and variation of countenance for the vehe-
ment paflions; however, he might juftly gain
more critical appLufe, if he would forget the au-
ditnce \ glow with his charafter, and be more afll-
duous in the fupport of every fcene, not drop
fome, as if unworthy his notice.

The whole part of the King, except his folilo-
quy, is truly wretched for an aftor : and, to fay

3 truth.

The DRAMATIC CENSOR. 3$

troth, I never faw one who did not make a very
infipid figure in it, the late Mr. Sparks excepted;
he was great in the forementioned foHloquy, re*
fpedlable in every paflage of the lead regard, and
fo peculiarly happy in falling, when ftabbed, from
the throne, that we may truly fay, a good end apo^
logized for a very bad charafter.

Polonigs is drawn with fome tintof the whimfi-^
cal, yet I cannot fuppofe him meant for that laugh*
ing-ftock, that buffoon of Tragedy, he is gene>
rally reprefented ; wherefore I muft be bold to af-
fert, that Mr. Mack LIN, who, while his capabili*
ties lafted, (hould never have been feparated from
the.ftage, was far the beft of many I have feen -, he
Ihewed oddity, grafted upon the man of fenfe, and,
as I remember, retained mod of that fcene at the be*
ginningof thefecondad, which good fcnfeand Shake-*
ipeare*s friends muft lament the general omilTion of.
— Mr. Shuter, whom nature conceived, and
brought forth in a Bt of laughter, may mean ex*
tremely well, but, in this charafler, his literally
happy contenance plays rather againft him. Mr.
Taswell and Mr.. Arthvr fteered a medium
courfe, which, if it did not reach capital propriety,
yet defcrved confidcrable praife.

Laertes is a charaaer no way remarkable, unlefs

as contributing to the cataftrophe ; unlefs by join*

ing in, and executing a villainous device for the de-

ftrudion of Hamlet ; Mr. Lee, whofe abilities

ftrengtbened many fecond and third parts, while

they marred principals^ made more of Laertes

confiderably than any other performer has done for

(everal years.

F 2 The

/

|6 The DRAMATIC CENSOR.

vTbe Gfaoft is moll admirably written i and ac^
cording to ,the idea I form of fupernatural utter-
ance, adapted to fupernatural appearance. Mr*
QuiN has never been excelled, nor by many de*"
grees equalled ; folemnity of expreffion was hii
excellence in tragedy, and, if I may be allowed
the remark, his fault/ Tbo* not diredkly to my pur-
pic^e at prefent, I cannot help obferving that Shake-
fpeare's fame as an adtor, was difputed only be-»
caufe he wrote, as plainly appears, for the mode of
fpe^ingi Mr. Garrick, by moft excellent ex-*
atnple, has eilablKbed ; he certainly, as a judgd
and lover of nature, defpifed the titum-ti, mono^
tpnqus fing^fong then fa(hionable^ and indeed equal-*
ly admired, till within lefs than thefe lad thirty
years % for this reafon, he was judged to be but a
middling performer, except in the Ghoft; and
tbere» with propriety, no doubt, he aflumed porn-^
polity^ which^ on other occafions, lefs commend*
able, would have rendered him a very popular
afl:or.~»Want of aftion in the Ghoft throws a
damp on the narration i if a fpirit can afliime cor-^
poreal appearance, there can be no reafon to fup*
pofe imaginary arms motionlefs, no more than ima-
ginary legs; however, fome peculiarity in this
point, 9S well as the tones of expreffion, Ihould
bi obferved.

Horatio is the only amiable man in the piece, yet
except his firft fcene, is very inconfiderable : what
could be made of fuch a charafter, Mr. Havard
(hewed in full; and it would be wronging Mr,
Hv^l^'s fenfibflity/ for fuch feelings as aduat^

Ham-

f"

The DRAMAriC CENSOR. ^f

Hamlet's friend, not to acknowledge he does him
great juftice.

The Gr4v4-digger was never in better prcferva-
tion than with Mr. Yates. — The Q^een Ihould
be an objeft of deteftation or pity, ye^ is neither,
but an odd compound of both. — Mrs. Pritchard
here, as in many others much more intereftrng-^
when (hall we fee her like tf^^/n.-^Opbelia found

a great friend. in Mrs. Gibber, and has no reafoa

«

to complain of her intimacy with Mifs Macklin^.

As to the verfification and dialogue of this piece,
they are flowing without monotony, poetical witb^
out bombaft, eafy without flatnefs, and always
fpeak to the heart, where there is opportunity or
occafioD. To tranfcribe all the beautiful paffagea
would feem a defign to fill up \ and to produce on-^
]y few, where there is abundance^ muft be deemed
partiality \ wherefore I refer to tl^e reader's tafte
and the. piece itfelf } prefuming to conclude my re-
marks on it with one general obfervation, which is,
that no play can afford more entertainment on the
ftage, or improvement in the clofet, tho' abound-
ing with fuperfluities and inconfiftencies ; feveral of
xhe former are omitted in performance^ mod of the
latter muft remain ; all the moral we can deduce is,
that murder cannot lie hid, and that confcience ever
fiiakes a coward of guilt.

The S TR A-

38 The DRAMATIC CENSOR.

THE STRATAGEM.

A Comedy. By Farqjthar.

A

S Mr. Pope declared an honcft man the nobleft
work of God, fo Mr. Addifon pronounced a good
tragedy to be the nobleft work of man ; whether
he advanced this opinion from intending to raife
fuch a mafterly and permanent monument to his
own reputation upon the ftory of Cato ; or if he
did, hew much he failed in the great attempt, we
ihall not at prefent pretend to determine; but ra-
ther yield to Dryden*s aflertion, that an epic poem
is undoubtedly the mod arduous and comprehenfive
effort of human genius.

The tragic mufe confeffedly claims great pre-
eminence over her fifter the comic; yet if we con-
fider, that a knowledge of ourfelves and the world
are the bed pofleflions of our minds, the laughing ,
lady, tho* fhe muft yield precedence to dignity,
may certainly, upon juft principles, boaft a greater
fhare of utility ; the elevated paflions and incidents
with which we are treated by the former may
warm, melr, and ^ftonifli our feelings ; while the
latter, playing with fancy in its natural, or fome
other fiamiliar fphere, exhilerates our fpirits, puts
judgment in good humour, and pleafantly prepares
us to receive fbme occafional neceffary lalhes of
corrcdion, applied to our vices or follies.

There

The DRAMATIC CENSOR. 39

There is one remark relative to the dramatic
fillers well worth notice ; that, as the elder is lefs
general, fo (he is more.Iafting; her characters and
paDSons are the fame through ages j while the
younger is forced to draw exifting peculiarities ;
which, when their parent, faihion v^niihes, dif^
appear wich her, and become obfolete ; thus the
comedies of Shakefpeare and Ben Johnfon exhibit
mafterly genius, yet as the originals they took their
pictures from are unknown, their force and beauty
are in a great meafure loft. When Mr. Gar-
rick's Fribble was firft played, a fmall hat helped
confiderably to mark the petitenefs and inGgnifl-
cancy of his figure ; what fort of a hat muft he
wear now to diftinguifli him frpm the prefent Lili*
putian head -covers.

We are told, that Wilkes played all his -
fine gentlemen in full-bottomed wigs as Cibber
did the fops alfo^ how ft range would any thing of
that kind appear at prefent, when even bifhops
wear crop eared bobs j the coxcomb and fine'
lady of every feven years vary confiderably in al-
moft every point of converfation and deportment,
as they do every fingle year in regard of drcfs 5
wherefore the writer of the prefent day, if he has
genius fuitable, muft have great advantage of his
predeceflbrs, prevailing manners and originals be-
ing on his fide.

There have been inftances of men very little con-
vcrfant in life writing tolerable tragedies 5 but I
don't remember one, nor do I believe an inftance
can be given, of any perfon writing a comedy of

merit.

40 The DRAMATIC CENSOR.

merit, whofe intereourfe with, and knowledge of
fociety has not been pretty extenfive.

Unities of time and place and place are, (IriALy
applied, critical trammels, ferving no purpofe but
to check the noble flights of genius ; the fame lati'*
tude of imagination, which can move us from a
chamber to a jdrect, and thence to a grove, may un^
doubtediy reconcile much greater tranfitions ; avoids
kig this very allowable liberty has made moft of
our modem tragedies fo barren of incident, that they
ar^ heavy and palling to a degree \ but tho' mode-
rate freedom is contended for, poetical licentiouf^
nefs (hould b(e avoided *, a child to be born in the
firft aft, and appear fixteen or feventeen years old
in the fifth, as we find in the Winter's Tale,
throws contempt upon probabilky, and overflr^s
the utmoft ftretch of credibiky j fuch a lapfe of
time is totally unwarrantable ; indeed as comedy is
a delineator of familiar life, the unities (hould be
much more punAually obferved in her compofi-
tions than thofe of tragedy.

Thus much premifed, let us proceed to the inve-
Aigarion of Mr. Farquhar's laft produftion ; an
odd, yet it is hoped, not very blameable compofi*
tion for a dying author s whofe genius, like an ex-
piring taper, has here thrown out feveral ftronger
flalhes of light, than when in a perfeft date of ex»
iftence.

The Stratagem, more properly lb called

' than Beaux Stratagem, takes its name and birth

from the declining circumftances of two genteel

fpirited young fellows, who, from tkcir own ac-

county

The DRAMATIC CENSOR. 41

. t •

cpunt, have, fpent their fortunes, and rather chofe
to retire from the circle of gay life, before necefiit/
fubjeAed them to contempt; having feen many ex-
amples of worthy, fenfible men, who, wanting fuU
pockets, were not onlylhunned, but publicly. ridi-
culed by coxcombs of their former acquaintance,
wbofe finances remained ftill unimpaired.

The defign of our adventurers, travelling to
pick up a fortune in a matrimonial way, tho* not
ilri&ly honourable, is no way chimerical or impro-
bable i and laying the firft fcene in a public-houfe,
gives ah opportunity of opening the play, and its
general defign, with humour as well as propriety.

The buftle of Boniface and the pertnefsof Cher-
ry are extremely charadteriftic, nor can any thing
be better fuppprted than the forward, felf-fufficient,
talkative landlord is with his guefis in the firfi: fcene ^
the.praife of his beer, his pundtuality refpe£ting its
age, its killing his wife, with the help of ufque-
baugb, his [refignation upon that circumftance, his
tranfition to the charadtets of lady Bountiful, the
Qther ladies, and Mrs. Sullen, is a well-exprefied
chain of conne£ted, humorous • nothingnefs, which
is not a little enlivened by making every^ perfon old
Bonny mentions, a fubjcift of appeal to the tan«
kard; his curiofity in founding Archer about his
niaft:er, and Archer's whimfical refer vc work a co^
mic efitfl:.

The fcene of explanation between Aimwell and
Archer feems rather efientially the efieft of their
fituation and fcheme th^n merely a defigned, infor-
mation to the audience; and Boniface cojrnes in

ypt. J, G happily

'4i The D R A M AT I C C EN S OR;

► happily to prevent its Being tedious v tKec6nvcrf*ki6ki
concerning fupper is well wrought up, ahd ArcbcrH
obje<5^ons to pig and onions judicioufly cbrowtv
in; whether we cbnfidcr them ais involuntary ohes^
forgetting his afiumed ftation, ot as d^figii of giv^
ing Aimwell a better opportunity of 0iewiilg Wni-
felf the matter, ;

Boniface's comipents and conjedtuits ufofl the
nioney which Aimwell commies to his carief, arc
fiich as might be cxpeiSled from fuch a perfoh^ who
appears, under cover of fpecious, open blontneft,
to be a rogue himfelf, and an ^ncourager of other
rogues — Cherry's diflike of his principfes^^recom-
mends her-r-but when (he recals the Words, m^ fa^.
iher I and fays—** I deny it— my mother was ^ :
♦* good free-hearted, j^nerbiis woman ; aiid I caoHs
** tell how far her good- nature might haWf^nded for-
^* the good of her family,*'— fli'e ^cl|)^es too
much Upon the houncjs of delicacy^

Archer's enfuing dialogue with her it fpirkedt
pleafing and natural j females of an inn^^rer deemed
Jawful ganle both fbt* gemeel and fertile travellers i
what he ifays to her is common ^pi^ce flattery, there-,
fore well-adapted to a' gallant footman ; her replfca
are the right ftrain of bar-maid fmartrtefi and wit s^
her catching at a flip of exprcflion when he ftys — ?
^« There's a fwarm of Cupidr, my little Venus,
^* which ha$ done the bufinefs much better,'* — that
being rather above the reft of his (lifc-r-is well
thrown ip, arid his cohfqfion Upon the linexpeQed
queftions rcfpefting his nartie, parifh, &c. npt onjy
gives Cherry a playable feafop for vi^i^ing him as

•^l)e t>RAMAtlC CENSOR. 4^

iluMojLis ch^ra^er^ but alfo affords him ^ very good
ppportunity of exhibicitig equivocal looks and ek-
{)re(non : the fhort^ fubfequent repartees are tx*
tremely pleafaiit; their concluding with a feCond
Jkifs, and ^oniface^s calling Cherryi give a timely
j^rmination to the firft a,^.

At the beginning of the fecond adl:^ Mrs: Sullen,
A married, and Porinda^ a (ingle lady» are intro-
tluced^by. their con verfation, we find^ that the
^rmer has been bred up in^ and is fond of town«>
life; chat the latter has palTed her time id, and is
reconciled to rural retirement, or at mojR: a country
*Qwn. *

^rs. Sullen, aflet rallying country pleafures;
-ftnd\gtvi|)g no Very favourable idea of her lord and
vCiafter, in a defcription ta incoaGftent with decency,
4is his behaviour is wltk good-nature and good fenfe,
.approaches the liquire, on. his entrance, with be-
coming affability, to which he make^ very brutal
returns; indeed Sullen appears to have no manner
of bufinefs here but to draw his own pifture when
rfober, as > he does afterwards when drunk; on order-
ing. Scrub to get ready for (having his head, the
lady throws oiit a moft Ihameful hint concerning
. his tenniples ; which, to make it more grofs, is in
reprefentation twice repeated, this gives Scrub,
.who catches her meaning, an opportunity of raif-
-inga gallcry-laugh, by the mean, pitiful, panto-
mimical aSion of reprcfenting his matter's horns
with two fingers ; this piece of behaviour Chews
• the lady to be void of fenfeas well as modefty ; a
fcrvarit, and fuch a fervant as Scrub eipecially, is a

G a. ftrange

'44 the D R A M AT I C C E NS O R;

ftrange confidante for fuch an explanation. I hear^
lily wi(h the ftage ladies would omit the paflage,
and go dircftly to '' Inveterate ftupidity ! Did yoa
** ever know," &c.

The remainder of this fcene'has fpirit, yet offers
Dut a very faint exculpation for Mrs. Sullen's mode
of thinking and fpeaking *, except in that line where
Ihe fays to Dorinda *, '* if I go a ftep beyond ttie
bounds of honour, leave me ; the mention of going
to church immediately after fuch a converfation, is
I believe not at all unnatural in a fine lady.

The fliort enfuing fcene is of very little confe-
quence except containing fofne very ju(l and keen
remarks upon the impreflion that AimwelPs, exter-
nal appearance is likely to make ; the fatire tho' on-
ly pointed at a country congregation might be as
Juftly applied to many thqufands in this metropo-
lis who are equally devoted to outfide (how, and
unmeaning curiofity.

Gibbet's account of his plunder is pleafant and
fatirical ; Boniface's mention of his two guefts natu-
ral, and their joint endeavours to found Archer,
with his evafive anfwers are truly comic ; the intro-
dudipn of Cherry^ with her childifh repetition of
love's eatechifm, prefcrves a flow of fpirits — I could
wilh the qucftion where love goes out had been omit-
ted ; the difco very of Archer not being a footman
is well thrown in and the girf s propofition of mar-
riage tho fomething forward, by no means unnatu-
ral, how fhe (lands poffcffcd of two thoufand pounds
immediately at her own difpofal admits fome doubt ;.
Archer's hefitation falls well in \ cbery's taking ic

as

The DRAMATIC CENSOR. 4^

as a confirmation of his fupef lor rank juftifies her dlf*
cerhmcnt 5 and the friendly hint concerning her fai.
ther (hows her heart in a very favourable light.

Archer's foliloquy is very pertinent, pleafant and
lively s but fomewhat ungenerous 5 where fpcaking
of one who has offered fo Aibftahtial a proof of con«
^dence and regard ; he fays — ** if the wench would
promife to die when the money were fpent — £ gad
one would marry her." this may be gallant, but i«
mean and mercenary alfo; notwithftanding rhimes
or tags as they are called, appear peculiarly abfurd
in comedy-, I am willing to forgive the four following
for that good fenfe they exhibit, and that certain
truth they fo agreeably convey in verfc almoft
as eafy and natural as profe.

For whatfoe'er the Sages charge on pride.
The angels fall, andtwenty faults befide ;
On earth Fm fure, 'mongft us of morul callings
Pride iaves man oft, and woman too from falling.

The ladies again prefent themfeives and inform us
that the fingle one has received one of love's inftan«
taneous l}ghtening*winged darts from Aim well's eyes
while at church ; Mrs. Sullen's raillery in thisfcene
is extremely fuitable both to character and oc9afion.

There is great judgement in refervingone charac-
ter or more to the third, nay even the fourth ad ;
tiiis reinforcement Farquhar has mofl happily avail-
ed himfclf of in the parts of Scrub and Foigard i the
the former of whom is moft certainly a child of
whim, yet fo near nature and fo fraught with laugh-
ter that he muft pleafc \ the latt<:r is as much withia

4 the

46 The DRAMATIC CENS

the rules of critical propriety n^ poSiblei and att

object of real entercainmcnt.

Scrub'? packet of news concerning the ftraagc
gentleman cannot be unfolded properly wjtbouc
having a powerful! tStA ; the conjectures he relates,
And his own, of Aimweirs being a Jef^it, bccaufc
bis footman talks french, muft dilate even the rigid '
inufcles of ftoififm.

Love, like necedity, being a parentof invention 9
rW« muft admit the young lady's fending Scrub la
cultivate an intimacy with Aimweil's footman as ^
natural piece of policy ; iervants being in general a
communicative index to the fortune, fan^Iy, con-
ncdionsand qualities of their matters and miftreffes,i
which Archer in his converfation with Scrub feems
well acquainted with, and pro&ts by ^ as we ihall
find upon coming to that fcene.

Aimwell and Archer fupport different feelings in
their fucceeding fcene becomingly 5 the former
ipeaks of <his miftrefs with all the rapture of real
^afiion V the latter dwells upon their original view
her fortune ; yet fteps fomewhat afide and with
much pleafantry mentions his own adventure with
Cherry ; his burlefque heroics

The nymph who with her twice ten hundred potinds
With brazen engine hot, and coif clear ftarch'd
Can fire a gueft, in warming of the bed

Are not only a juft reproof to AimwelPs rqman-
tick allufions ; but alfo laughable fatire upon thofe
poetical writers, who appropriate high flown ftrained

image*

The DRAMATIC CENSOR^ 4f

images and pompous verfification to the moft trifiing
circumftances.

Boaffaoe's difpofition of introducing his guefts to
cachotlier, is truly that ofa country land lord and his
auempt to find out Aimwcll ; when he replies ta his
invi^iionof Gibbet"^^^ who (hall I tell him fir would
is very cctifift«nt with impertinent curiofity and
low cunning.

Gibbet's ruily appemranee and ^enigmatical mods

of converfation are certainly well adapted to his chai^-

racier ; Aimwell's quefHons are fuitabte and hint

a juft fufpicion of the pretended captain; Bom-

face's preparative for Foigard's appearacK^e hi t

blundetirfg affedlatkKi oi knowing men and lan«

gbages is very: laughable ; and the Pried *is joining

ctompnahj^ enriches the (hort fcene he is concerned ia

Very cbnfiderably.

Archer and Scrub, ate now exhibited in a diver«»

ting ftSaite t)f j&miliarity ; the droll fimplicicy of the
latter is % well drawn contrail to the polite (brewdn
Heft of the former J who artfully feels the fimple-
fon^s pulfe a^ under friend(hip*s i^iTumed veil^
winds imo the fubjcft he has in view ; this whim-
fical tete ^ tete never fails, even with indifferent per-
formance^ fetting the rifible faculties at work;
jScrub^s terrible fecret of being in love with Gipfey is
a rooft forceable ftroke of , low humour ; and the
(Chain of explanation which arifes from it concerning
fbc French count, the Prieft and Mrs. Sullen is ex*
tremely natural; opening part of the plot feemingly
without any defign of the author ; the tranfition to
gcr^b's various employments very properly puts^

( flop

)»« The DRAMATIC censor;.

ftop to the converfation and the ladies appear in rerf
fit feafon.

Mrs. Sullen*s throwing down her fan by way of
lure to a footman^ though a fmart agreeable fellow,
fiiews her in the light of a giddy headed coquette, of
ibmetbing worfe ; it would have been an allowable
method of beginning converfation with a gentleman,
but to a fervant in livery violates decorum ; befides
it does not anfwer the intention, for Scrub is forced
to aft as mailer of the ceremonies at laft.

Archer in bis converfation with the ladies, ufes
judicioufly that ftrained ftile of exprefiion which we
may fuppofe a coxcombly valet would be fond of ^
and lady Howd'ye's me0kge is as poignant a piece
of fatire upon the unconneAed jargon, and unintel-*
figibic lumber of words a fafhionable footman's
fcull is loaded with, as ever was penned— his reply
to Mrs. Sullen's furprize at bis not being better pro-
vided for, came from the author's heart, though
now commonly omitced — " I was offered a lieute^
** nant's commiffion — but that*s not proviGon for a
^* gentleman/* — This feems a contempt thrown on
fobaltern gentlemen — but Farquhar felt the for-
ceable truth having been in that ftation himfelf ; if
it was too little forty years ago, what is it now
when every article of life is advanced above a third ?
and yet military pay remains unaugmented, though
judges and fcveral officers of ftate, who had falaries
large enough before, have been confiderably in-»
creafed. — Reader excufe this fhort digreffion, ftrong
feelings for a very rdpeftable and fcrvice^bte fct.of
gentleman have forced ic froip me, ^

Dorinda^5

The DRAMATIC CENSOR* 49

Dorinda's mFormation that Archer probably is a
companion of my lord's in diiguife, rather palliates
her fifter's favourable difpofition towards him ; but
Mrs. Sullen true to the unblushing principles of a
vicious heart, throws off all refcrve in thefe words.
— ** I chofe the count to fcrve me in a defign upon
** my hufband ; but I fliould like this fellow better
•* in a defign upon myfelf;" — after luch an explicit
declaration9 who can fay that this lady deferved a
better hufband than Sullen ? — negle^ on one fide ;
long acquaintance, frequent inter views, and very
engaging qualiHcations, might warp even virtue
at an unguarded feafon ; but at nrft fight, and fuch
inferior rank, 'tis literally too grofs.

SuUen's behaviour is fuch as we may expefb. from
him ; after his exit, a defign is mentioned, which
as the play is performed, cannot pofiibly be difco-
vered i for it never comes to aflion nor expla-
nation; the author is not to blame, for by
means of the Frenchman, Mrs. Sullen means to
awaken her hufband's jealoufy y but that charafler
being totally omitted, that matter remains in the
dark, unlefs fomethihg can be picked up from what
Foigard fays afterwards— but how a fpeftator is to
know that for the projeA here hinted at I cannot
tell.

Lady BountifulPs chara£^er is amiable, and Aim-
vitlVs feigned.ficknefs well contrived to gain admif-^
fion to his miftrefs ; the buftle occafioned by his
miftake is well conduced, but there is a line fre-
quently introduced to create laughter in the upper
regions, which occafions me to wifh Shakefpeare's
Vol. I, H excellent

^ The DRAMATIC CENSOft.

excellent rule was more enforced by managers, and
better obferV^ecJ by pcrfdrmcrs — ^* let your clowns
•' fpeak no more than is fet down^' — or if thrs is too
ftrait a limitattoil for the mihifters of Momus — ^I
^ould at leaft have them confult decency ih tWr
ewn additional wit, nor facrifice decency for a little
fmuggled applaufe. — I have heard what foHbws fre-
quently fpbke,— ^« you Ihall tafte my water, 'th a
cordial I can aflute you and of my own making -/^
*vhich Scrub facetidufly enforces, by faying, t' do^
*' tafte it fir, for my lady makes very good water ;'•
another ftrokc 6f Mrs. Sulfen, for which we muft
criniinate the Author, is very offbnfive; wliett
Archer fays, ^' I find myfelf very ill at thib
minute -,'* Ihe replies (afide indeed) with this em-
phatic bbfervation— ** I faney friend I could find 4
*• way to cure you.'*

Aim weirs introducing his footman to the ladles^
is what I believe no peer 6r commcfner e^er dJd in
fimilar circumftanCes i notwithftanding the apology
of kis underfi:anding pictures.

Foigard*s cbnverfation with Gipfey, entirely ap-
pertains to the under plot of introducing the Count
into Mrs. Sullcn's dofet 5 the prieft is herein well
charafterized, too many I fear of that fraternity
having made a very bad ufe of their influence over
Families.

The pifture fcene between Mrs. Sullen and Archer^
if we can reconcile the lady's amorous cdndfeffcen-
f)on, contains many pleafing allufiohs and delicate
compliments •, particularly comparing the duke 6f
Marlbrovigh then in the zenith of glory to 'Alexan->
4 dirj

T^ DR A M A TIC CENSOR. 51

{^tt ; the hint of his own difguile thrown Qut in
Jupiter's approach to Leda, and a(kif)g the lady if
IbjP did not fecve the painter who prefbo^ed tq d^aw
ber bceafts, as Jupiter did Salmoneus for imitating
I^s, thaler \ are wieli iip^ginedt though in a roman-
tic Qrajp ; what follows refpeAing the bed-chami^r»
13 as^ e](traordinary a ^oup-de-mait> of gallantry a«
can be met with ; confidering the circumftances of
foch d^^rent rank^ fo flight; an acquaintance^ tim^
pf t;h|& day, and company at hand \ if the ^ttajck b?
truly BrrtUh, as Archer infmuateSy then are Briton'$
Lio^s in Ipve. — Scrub's entrance is critical an4.
lupky ; his confufed manner of telling the pri^ft'a
plot^ humorous and natural.

The comparative view of coxnpfiments from their
lovers, for Mrs. Sullen honeftly owns Archer fuch^
between her and Dorinda is very fpirited ; but both
t^ ladies rather call a blulh upon the cheek of mor
liefty, when one fays—" y0U can't think of thp
*« man, without the bedfcHoyir I find." To which
;he knowing young lady replies — ** I don't fin4
^^ any thing unnaturaJ in that thought ; while the
^^ mind is converfant with fielh and blood, it muij;
♦* conform to the hy mours of its company ?** Anot-
t^ier paflage not very defensible, is-^" mine (poke
^« the foftcft moving things-^ mine had his moving
** things too ?'•-— This reply' is generally delivered
with fuch an illuftrative etpphafis, that there needs
no ghoft to tell what the charader, or at leaft thp
aiflrefs means ; I wilh this arch mode of exprefliGPft
«s ^ is caUedj was reformed all together ; and it

H z fooa

si The DRAMATIC CENSOR.

foon would be, if public refentment, inftead of tp«
plaufe attended it.

In the latter part of this fcene the author labours,
and with fome effed, to make Mrs. Sullen apolo^
gize for herfelF ^ when (he fpeaks of her own heart,
and the violence done her feelings by a brutifii in-
fenfible hufband ; fome rays of partiality will break
in upon us for her unhappy fuuation ; yet her rc-
lapf6 in thefe lines banifti them all — " to confcfi
the truth, I do love that fellow — and if I met him
drcfs'd as he ftiouid be— and I undreft as I fliould
be — look ye fifter, I have no fupernatural gifts—
I can't fwear' I could reflft the temptation— ^
though I can fafely promife to avoid it 5 and
that's as much as the beft of us can do i'*— a
very pretty compliment truly — not refill: temptation,
then where is virtue ? — Avoiding what may endan-
ger it, is moft certainly prudent, but refitting fol^-
citatton, and curbing our own paflions prove inte^
grity— the chaftity of a Nun locked up within
grates and walls is ao merit 5 but if the fame perfon
amidft the gay world guides her fteps in the right
path, this ispofitive virtue, which I believe a great
majority of the fair fex are- capable of, and rife^
far above that degree of mere negative virtue, which
Mrs. Sullen palms upon her icx^ having no other
principle herfelf.

Archer who feems to have no real honefty from
the beginning, confirms it by his remark upon Aim-
weirs faying, when he fpeaks of Dorinda, " 'tis
!! a pf7 to deceive her^ nay if you ftick to thofc

principle*

The DRAMATIC CENS0R.' si

** principles, ftop where you arc ;*' Foigard's
prevarication and Archer*s detcftipn are whimfically
iroll — the pricft's catch at Tipperary, and faying he
went to fchool at Kilkenny, is as natural and plea^
iant a blunder as I have met with.

The (hort fccne between Boniface and the rot-
bers is only introduced to let the audience know the
dcfign on Mr. Su lien's houfe.

A new charafter, Sir Charles Freeman, without
whom the cataftrophe could not have been btought
about, makes, bis appearance at the beginning of
the fifth aA, and not only from the landlord, buc
from the fquire's perfonal appearance and convcrfa-
tion, gains a confirmaticm of the difpofition of hi^
hopeful brother-in-law.

The fcene. between Archer ind Mrs. Sullen is
fupported with great warmth and vivacity ; the
eclairciifement is wrought up to a flrong pitch of
paflion, and becomes very critical, when Scrub*s
fright, in a very convenient and laughable manner,
interrupts it j but Archer's remark upon his difap-
pointment, is grofs to the laft degree, and (hou!d
never be fpoke-^** the very timorous flag will kill
in rutting time.? Scrub's miftaking him for one
of the thieves is a natural eflFccl of fear, and varies
the dialogue picafingly. — The feizing of the rob-
bers and the difpofal of them fall well in ; Gibbet's
remark that he muft fave fume part of his money
t6 bring him off at the fcflions, is a keen juft
ftroke of fatire againft that vile perverfion of juftice
which for bribes protefts rogues whq can pay welL

Ar-

^4 The DRAMATIC CENSOR:

Archer's availing himfclf of a flight wound CD
draw lady Bountiful and Mrs* Sullen afide^ that
Aimwell may addrefs Dorinda to morcefFc^ give$
ijhe plot a probable progrefs i Dorinda's generous
objedion to a bafty marriage, and its delicate cfftSt
upon her lover are very agreeable incidents, npt a
little heightened by Foigard's diilatisfa^ion at being
fo often called to no purpofe. — Archer's reproadi to
Ainr)well ftiews him in a very unfavourable lights—
The uncxpe^ed intelligence brought by Sir CJ^harlqs
Freeman of Aimwell's fucceeding to his brother's
title and eftate opens our views to a favourable conr
clufion, which till this remains judiciouQy dpubl-
ful ; Archer's cQofufion upon hearing of S'ur
Charles's arrival (hows con;imen^ble aiid natur^
fpirit 5 Dorinda*s next change is very well ima-
gined, and the reafbn (he affigns for it fliows re-
fined gcnerofuy, which is, that as Aimwell ha^
I candidly acqaiotcd her with hjs poverty, flie thinks
it her duty to let him know his good fortune before
their marriage-
Archer's immediate demand of half the lady's for-
tune is mean and unmannerly ; and Aimwell's replies
are fomewhat ftrange for the fituation^f things. As
this comedy is pLiyed, we find Foigard moft ab-^
furdly introduced to fpeak'of the robbery as being;
told to him, t ho' the audience has already feen him ia
prefcnccof the fame charafters placed as a guard over
the thieves; thi$, by the author, was put into the
Frenchman's mouth ; however, a flight alteration may
bring propriety to the pricft ; only making him tnttr

with

The DRAMATIC CENSOR. 55

with-— ^rrj. Jure there has been another robbery-^
Chen the mention of Boniface falls in aptly.

Cherry's billctdoux fhows honcft attachmenr,
Und fure never was fo Gontcmptible a return made
for gcnerofity, as Arclier*s difpofing of fuch a girl;
With two thoufand pounds fortune, to be Gipfey's
futceiffbr in |i)orrnda*s fervice.

The fcehe of feparation between Sullen and hk
Wife has a peculiar degree of humour, and deli-
neates both the charaflers pleafantty : upon Sullen^
refufiog to refund his lady's fortune. Archer makes
a moft exrrardinary propofition ; firft, withrefpeft
to the ten thoufand pounds Aini^ell feligns in his fa-
vour, then by putting the (quire's bank notes and writ-
ingsinto Sir Charles's hands; thefe baak notes, &c« we
find, were taken by Mr. Gibbet; how Archer
came by them we do not fo clearly perceive, un-
lefs he picks his pocket when firft feized ; but al-
K>wing he does, as may be juftifiable, what righc
does that give him over the papers, that he fiiould
lay ten thoufand pounds mortgage on them? and
how amazing a compliance is the fquire^s acquief^
cence to fuch a demand ? Inftead of faying his
head, I think, he (hould reply, *' my pocket aches
" confumedly ;" but all of a fudden, he grows the
beft-natured brute imaginable, and invites t!iem to
l)e as merry as they pleafc in his houfe and at hit
cxpcnce. .

If wit be an effential of comedy, this piece is
certainlj^eficient in ^'^^t P9|5£i -for we find k^ixct
any ofl^ho^yModiec^^rii^ which

claim that title; however, the dialogue is eafy,

• fpiritcd

56 The Dramatic censor.

fpiritee and natural throughout, wdl varied, and
well adapted to the feveral charafters; the humour
forcible, and maintained without defcending too
low; the characters well grouped, and the fcenes
arranged with judgment ; yet it is to be lamented,
that there are few moral fentiments, that the plot is
in many places reduced to pitiful expedients for fup«
pore ; that the prineipal man and woman are defpi-
cable wretches ; that human nature k (hewn in a
very unfavourable light ; that feveral paiTages raife
grofs ideas ; that the voluntary divorce is abfurd y
that Archer and Mrs. Sullen are left in a very unfa-
tisfaftary, or oflFenfive ftate ; that the whole piece
is toully without a moral ; and that the four follow-
ing conclufive lines have no meaning at all, or elfe a
very bad pne ;

Both happy in thefr feveral flates we find,
Thofe parted by confent, and thofe conjoined i
Confent, if mutual, faves the lawyer's fee ;
Confeot is law enough to fet you free^

Thus Mr. Farquhar diffolves the marriage-knot,
with as much eafe and expedition as Alexander did
the Gordian of old ; one would think his method
had been pretty generally inculcated, and was well
received among the great world at prefent;

In sefpedl of charafters we perceive, that Ar-
cher Is a gay, fenfible, gallant, but unprincipled^
young fellow v whofe chief wi(h is to repair a (hat*
tered fortune, and obtain pleafure at any rate, ha-
zarding honefty for the one, and focial, as well a^
moral obligation for the other *, his attack upon
Cherry may pafs, but his romantic' one upon Mrs,

Sullen

The DRAMATIC CENSOR. s7

Sullen is abfurd as well as vicious ; the view of
gain, one main point, is in no fhape anfwered
there ; yeC notwithftanding thefe objedions, he is a
very agreeable, and therefore dangerous dramatic
object ; vices fh6uld never be drefled up in pleaf-^
ing colours ; however, fuch he is drawn by the au-»
thor, and now we (hall m^^ely confider him in the
mode of aAion.

The attributes for fupporting this part, are viva-
city of deportment, fignificancy of look, and pert
volubility of expreffion ; every one of which Mr.
Garrick pofleiling, it is no wonder his performance
ihould be capital ; the fcenes in which he particu*'
. larlarly oucftrips competition are thofe with Cherry
—where he delivers lady Howd'ye's mcffage, and
the pidure fcene with Mrs. Sullen.

Mr. Smith is very fprightly, agreeable and cha-«
raifteriftic ; nor is Mr. Lee without confiderable
merit ; but (till we mud infift that Mr. Garrick,
both as footman and gentleman, maintains his ufual
great fuperiority, tho* not fo much as where
xAore forceable powers are wanting.
* I have been fo unfortunate as to fee Mr. Sheri-
DAN walk through this charadter ; and have Heard >
of Mr. Mossop's undertaking it; but the report
cannot be true, as it mUft nearly reduce^ him to
thcitate of the King of the Antipodes in Cronon,
that is making a topfy-turvy part of it, and ftand^
ing upon his head.

Aimwell, who is only a plain, unafFeding gen-
tleman, found better fupport by far from Mr. Rossi
and the late Mr. Palmer, than from any other

Vol. I. I pcN

5? .laie DRAMATIC CENSOR. .

pcrfiwi i htve feen ; Sullen i% well enough in the
handsof Me^. Gibson and Burton ; but wa$ in-
defaibabJy becter in pofib^on of Kfc. Quin, rey of
Mr. Luxe Sparks ; Mn Love exhibits the igpo^
rant, jocuqd effrontery of Boniface equal to apy
one I hav^ever fcen ; and Mr. Moody is extrenie^
charafteriilic in Fjoigaf d ; ya I muft be of opinion^
that if criticifm would enjoy a feaft of ori^naUtjr
from the Hibernian prieft, ic muft be found in the
performance of Mr. Sj^arks^dow at Drury-Janr.

Scrub is a yety marked and ftriking cbaxader^
Ample yet cunning, fi)i;ward thp' tim id i a tattkr
a&^ng iecr^y ; and a fool afTuming wifdom ^
hk tortious ace happily grotefiq^ue, and pregnant
wth nu^ch pJkaiknjry i a performer oouft have very
faint comic powers who cannot kieep an audienc^ ia
good huniour with t;hi& part ; and y^ U>mt very
capital ones bav^e mn, wiJd ; Mr. Tas* Cimjir
g^d applaufr^ but entirely from, making droll
f^ccs; Mc« Wood WAR i^. took the famie p^tb, with
fomc variations for the. bctt^ ; ^^. Smvti;r ^o
has the fault of being rather too conijjcal v while.
Mo Wesxoin^ by, an adiwir^ble najyqte of pf^tifpr-
nuncc, moft certainly, iltandft Mnriyajjlpd in. the
.part* and thrjjws all cJ|ibot4«», mechanical a<^ing far
behind.

As to t!ie ladies, tb^ q14 we is z very gpod vpr
man, but n<;iUiQt h^re nor th^rc iq aitign ; Mrs^
Sullen has been fufficiently animadyfsrt^d on to (j^tvt
that fee is very ccnfqrabje, yet IJie muft always
gain attention ai:id refpetO; from an audience ; Mrs»
Pritchard and Mrs. Worf ingtqn had ^aph

"^ great

I

Thd DRAMATIC CENSOR. ^

great merit in this part, but undoubtedly prefer-
ence was due to the former ; who, with a figure
m hippilf adapted, aftd left tivaeJty, ftai pH^
ferved the charader, without rendering the licen-
ttous pafiages fb ofiTennvely intetRgibfe ; or dwin*
dling fo much into the aflredted coquette ; of living
performers, I can only &y, that Mrs. Barry gives
Jatisfadion upon very juft principles ; yet I muft
own 9 wi(h to fee Mrs^. Abington, who is happily
devoted to comedy, and that alone, in- poflcflTion of
this part j firftbecaofe her attributes are extremely fui-
table I and next, becaufe the fmall number of charac-
ters 0ie plays, does not often enough gratify the pub*
]ic defireof feeing her : in refpeft of Mrs. Lzssino*
erKGHAM, who performs it at Covent-garden, I
wi(h her a better income off the fbge than (he makes
on it ; and (hould be very glad to fee Mri. Bulk-
ley fill up her prefent caft ; which, tlio* confined^
is of too much conlequence to be dallied with.

Dorinda is amiable^ but not interefting i what
could be made of her was to be found in the pla-
cid, modeflr fenfibility of Mrs. Palmer, who, cho^
(he never could equal great undertakings^ allways
made fcconds of this kind pteafingjy refpedable :
every thing we wifli for in Cherry Mifs Pope fur-
ni(hes ; but Mifs Ward, tho* ihe means we!!^ is
far toa faint.

i 2 The R E-^

fk> The DRAMATIC CENSOlt,

THE RECRUITING OFFICER.

t

*

A Comedy. By Fakqjjhak.

T

H E opening of this comedy is peculiar in
two refpedls ; firft, as no other begins in the fame
tnanner ; and next, as its title is verified in the firfl:
fcene ; there is one eflfential towards drawing cha-
rafters in a mafterly manner, a ftrift intimacy with,
and a thorough knowledge of the ftation of lif^
reprefented 5 this requifite Mr. Farquhar thorough-
ly pofiefTed in the piece under confideration ; the
military life he not only liked, but was himfelf
immediately connefted with ; therefore we may
naturally fuppofe his portraits drawn from flriking
likenefTes, and are highly finilhed ; however, as
examination will prove this pointy either for or
9gainfl: the author, better than fuppoOtion, let u$
proceed to axrandid trial.

The charafter of a good recruiting fcrjeant is as
complicate for low policy, or more fo, than any
other *, be mufl: have fmoothnefs and volubility of
longue, feeming generofity, profeffed good-nature,
pliable compliance to flatter different tempers, un^'
blufhing confidence, unbounded lies, a ft ill con«
fcience, and an unfeeling heart ; thefe qualifications
muft be the teft of Kite's charafter.

The firft fpeech of this non-com miffioned ofBcer
to the mob, is a mafterly piece of military elocu-
lion J it touches with ftrong propriety upon thofc.

^ points.

the DRAMATIC CENSOR. €i

points moft likely to itnprcfs the fimple, the idle,
tnd the diflfolute ; introducing himfelf to Coftar
Fearmainy by oflfering his cap to* try on, and the
countryman's apprehenfions of fuch an experiment
arc highly in charafter; the ferjeant*s account of
the bed of honour, the recruit's difguft at being fa
luted by the title of brother) and his being footbed
into good huaiour by fome compliments thrown
out upon the importance of his figure, render this
fcene highly pleafing.

Captain Flume is well introduced, as bearing h?s
own drum ; but he appears to have a (Irange idea
.of .fmart riding and expedition, when be (peaks of
one huntdred and twenty miles in thirty hours r nt
the enfuing fcene. Kite preferves his chara&er af
humoui*, and throws out fome excellent ftrokes ia
mentioning the recruits he has picked up ; one tH'
particular conveys juft fatire, tho* perhaps hpt ge^
nerally underftood 5 fpeaking of a Wclfli parfon he
has enliftcd, the captain a(ks, ♦* Can he write ?"•
to which Kite replies, ^V Hum, be plays rarely
^^ upon the fiddle ;'V this alludes to a. fcandalous
Circumftance then common, and I fear now 10 Be
met with too often among curates in Wales ; I
fiiean ftipcnds fo low as ten pounds a year, which
occafioned many to work as day labourers 5 but; the
nioft ufual method of ,. eking out fuch pitiful
allowances was to keep hedge-alehou&s, and
every lunday-afternoon, in particular, to amufe
^heir parilhioners with fome tunes on the fiddle :
the circumftance of Mrs. Molly at the Caftlc feemi
to have no connexion with {he piece, except to

01OW

fr» The DRAMATIC CENSOR.

ihow fome part of Plume's chara6ter» and to give a
bint of the fbadows which freqacBClf fill up mili-
t^H'y BHifier foUs*

Worthy whofe Mme is no otherwife exemplified
ifi hia charadter than aG» a tame and wd maf Mid a
finiple brer ; opens the impof tanc (ecret of his beirig
in love; and Pkune wi<b iftUEb |)leartotry raUtds
the romantic fwatn^ throwing oat bmi lifcMl ob-
fervations upon liDve policy ; but whatever juftiec
there may be in the following piece 6f advicd ; it k
ttry unb^mcoitaing the due referveof a Ibige; the
captain fpeaking of what he would do to win a coy
fnifirei$9 fpeaks thus <* the very firft thing that
I would do^ fhould'be to lie with her chambermaid ;
and hire three or four wenches in the neighbourhood
to Te]f)ort I had got them with chiid^'-^nor is a paf-
lage fome lines after more juftiHable^ where meni^
€nit^ Sylvia, the honourable captain declares he
Would have debauched her if he could, and conti'-
nucs— •* (he was i pert obftinate fool and would lofe
her maidenhead her own way*'~the anecdote ^
Sylvia's fending ten guineas to Mrs Molly doei
credit to her feelings i and places her in efteem of
the audience before (he makes her appearance.

In the next fcene the ladies are very well contrafted^
Melinda-s affef^ation of refined notions is verf
genteely repulfed by Sylvia^ who plea(iRgly blends
good fenfc with vivacity^— if any double cntendiie is
allowable ; the foUowir^ would certainly appear fo
but for the lufcious intimation of theatric expreOion i
and the grofs enforcement of Melinda's reply— Syl-
via fays—" I <;an do every thing with my father

but

The DRAMATIC CENSOR, eff

but ^wk and ffaoot flying ; and I am furs I can da
eirery thing my mother could~-were I put to the
tryar'^-^-to this her friend, without much dehcaey^
rejoins ^^ — ^you are in a fair way of being put toiti
for I am told your capuin is come to town**— a-
notjier paflage in Melinda's part of this fcene is to
me highly cenfurable; to Sylvia's declaration of being
tked of h^ fesf: the expe&ive lady replies-^^ yoa
sm tired of an appendix to our fex, that you cant
fo handfoin^iy get rid of in peticoats, as if you w^e
in breechc6ii*'-^he fucceeding. altercation between
the female friends is extremely well devtfed, aixi fup«
ported wtih much vivacity — the retorts arife natu-^
rally from each other, ^nd run into pit pat dialogue
which adequately performed, cannot SsHi to pleafe.

SyJvia*s retraat is well timed to prevent excefs,
but a remark of Lucy's after Ihe goes oflF is in-
fannoufly grof|--^Melinda propofes this queftion
^ did you not fee the proud nothing how (he fwelied
\ipon the anival of her fellow?'* to which (he re-
ed ves the following anfwer fpom her maid, who
feems replete with the fame ideas as her delicate mif-
trefs. ^^ Her fellow has not been here long enough
to occafion any great fwelling" yet this and the
other escceptionabk paflagcs I have pointed out
might be very eafily foftened ; or if entirely omitted
would be no lofs in point of Wit or humour.

Juftice Ballance who opens the fecond ad with
Plume fpeaks in the true Engli(h (li)e, f6r it is cer«
tain that the people of this iQand in general bear th^
taxes occafioned by war with great fpirit, when their
fleets and armies furniih the news papers wilh a vi^

lent

$4 The DRAMATIC CENSOR:

kilt cffiuGon of bloo(j ; whi^h (bme may interpret at
a mark of national inhumanity, but rather appears
cp me the eficft of a noble fpirit, which pants for
fuperxority in the fields of fame, and facrifices
weaker feeBngs to principles of glory.

Plume's frequent mention of Sylvia interrupts
the juftice's political bent pleafingly; and when
Ballance fpeaks of a di(honourable deGgn upon Syl-
via, as no more than fimilar to what he once had
himfelf on a country gentleman's daughter \ the
captain's diftinflion between a friend and aftranger
ihews gratitude with delicacy of principle ; but ,
flatly contradicts his declaration to Worthy already
noted ; which avows the defign he here difclaims.

Sylvia is well introduced and t he juftice called up-/
on conveniently to leave her with Plume i their en-
counter is polite and delicate ; but tho' the author
feems to have meant a refined compliment in the
circumftance of the captain's will ; I cannot conC*-
der it as any other than a very fufpicious one ; had
it been fent to her on the eve of the battle, provifio-
nally ; it would have been what (he calls it ; but to
be the bearer of it himfelf, to make perfonal men-
tion take? off much of the obligation ; the lady's hint
of his lictle boy at the caftle is arch and pleafant, and
Plume's following confufion very natural,

Juftice BaHance after fpeaking of his fon's deatl^.
addreflcs his daughter with much intentional a(fe<5lron
and prudent propriety, intimating that as her fortune
is increafed from fifteen hundred pounds only, to
twelve hundred a year cftatc -, he expefts her views
(hqujj be. more extended, and defires her tb thinks

The DRAMATIC CENSOR/ 6$

no niore of captain plutne-^wh^n we fay that the
jtiftice here fpeaks with propriety we only mean as
a roan of the world ; for it is plain that the vanity
of family connexions chiefly influences him, whicli
many a father ere now has mifl:aken for happinefs ;
befides if^ as he fays he could like Plume as a mere
ion in law to receive fifteen hundred pounds
portion, it is mean and mei^cenary tothmk him un-
worthy the ^ fame lady with twenty thoufand ; nor
can we conceive what idea he mufl: have of his '
daughter's mind, to fuppofe flie could from fuch
principtes (hake off regard for a man ihe has en*
tertained upon favourable terms — the favour aflced, ^
that Sylvia will never marry without his confent ;
and his. promife never to difpofeof her without her
own, are ftrdkes which give agreeable fehfations to '
a feeling mind.

Melinda's letter, which (he hints at the end of the
firft a&, ftarts fome motives of perplexity by alarming
tbejuftice with apprehenfions of Plume's defign upon
his daughter, and the old gentleman's fentiments in
cdnfequence of it are very fpirited y but we apprc*
hend there are two intrufions upon decorum in the
fcene with Worthy ; firft Ballance's charging him '
with privacy to Plume's di(honourable intentions ;
and then refufing his author, which is cruelty to an
innocent perfon ; nor does it appear from the letter
that he is enjoined fccrecy; next Worthy's defend-
ing to fuch a pitifull difcovery as picking up a bit
of a torn letter, undoubtedly if a man of fpirit heard
an injurious report raifed he wodld becominly infift
upon an^ explanation i if the matter did not claim
Vol I. K fuch

iuch feripus prx)ce4are| the £}(ne fpirl^ ^mM ferbim^
above ps^cping iniqfwgmcauof papcrr-ihe easpU^
oatioa arifing from the nmiter inftken MtUad^'i
Iptter ratbq^ an «? rcfl^pcc,,^baa efl^nfi^lo t^« plofc.
Kite and th? two re^rui^s (^(pceqd y^r% happiiyi
to enliven the Utter pirt of f h« a^^ ^hlgh v« owft
c^inftder as rather, dqll in ^he pfcp^iug ^jpf pe% j ijJUe.
fong». the def(;ription of a ioldie^^f^ impoit^cc^
giving the recruits title* of dignity a#d inw<fein
cing tb|^ lifting money under cplpur of b^ngtbe

Ring's pldl^rc are all adipii;a% well ifl?aginc4 v the
ferjeant'3 explauatton Qf Carolus top i% u:vLy lapgl^
able ; Pluxne!s joiniiig, ifi their mjri^h a^d th? cqwi--.
tryman*s fpirit of keeping on. hjs hat tp. Gipvf^ ip^
pendente are fukat^ly in charafter ; Kite's^rpugbni^
before bis officer oa th^ir mentiop of gpipg bope^.
and the captain's interppfition on the fide pf Pear^
iiiain and AppMree is a true piece of rjecruiijiig
policy^ which whil& it prpcnotcs^ humour in. tbe
fc^ne caries on fucc^fi^fplly the defigj[i, qf; fecjadiig.
tl|e men as voluntiers V th^ finefle of givjpg them>
their choice tp go.or fiay ^terxrha^tUing; thf^ ferje^ok
is^ excellent ; as is alfp the^p^e of fe^tipg Cp(}:^r;t(^
inveigle, iys fin^pjecpmpa^QO.

The merit of th\s fc^ne Jics in a v^fy.jfldiwpui^
hi^moi^ous Goqtraft pf . charadera wbpt W€;U kfipmi

li%, playir^j ugoq the. Qmplicjity.of.thofcrwha; di>:,
not ; an4 it U fp niuch in> nature tbaijva) tborougb^
aojuaint^i^e with it^ amoqg ypung^ fellqwis* in t^
copntry, wQuI4 ^^^^tMnly mudi^ ia?|>$4^ (be; t^9f^
€^jfecrui£ing.n(ienrqA

!«.

Tift DRAMATIC CENSOR. €7

Plome and Worthy cbtamence the third Jidt viritk
a fcene, no further wdrth notice than as k fliewt
uPhime to hfave sr commendaUe indifferetfce for a
'WOOKun, wtfoft he iuppofes alter 'd in her affeit^ioA
"bf a fre& ^tstfitbh of fortune ; and his gailtant-
jng the cdbntry inarket^l» Rbfe, to prove hi^ frei^
dM ofhcirt^' » a very pleafihg pretty incident i in-
^4^ dveiy one of the charadters contribute to
-heighten and aflift each other, and Ihe Ilory which
KiCt tftfai^ irp to en^^ BoUock^s^ attention, while
^thecaptm Cakes off his fiflfer, is a cirramftkhc^ of
bigh wrought hiimourr; Bulteck's complaint to thi
JufticC. concerning' Rofe^ furtiilHesa very Idugha^
ideftent

ThcTpo^cy^trf introdiicmg^ new cfiaraft^rsUn tix
Xikda&^ifhich #aarrcmarkcd upon fai the St a if •
^^Eif^'is bfetc iifed to very ^good pu>pofe ; BuU
lock ^nd Rofe have been abvady broii^t forward^
as feafondblei^ntivtofcrs^ of the aAion ahi dialoi^e ^
^ third now 4ppearSy4J)e&cedous Captain Brazen^
for whom I doubt nOt there were many originals iri
Parquhar's tinrie, and I c6uld pofht out feveral of
wcry fimUar features at the prefent day.

Thi^ milijtary fprigy whofe peculikr leadings dia^
^^er^tci^pe^s t<> he unlitnited^ effrontery, is ex-
hibiced at his firft entfante, and through the fcene^
wth n^uch/ ju<]gment, with fuch Heohg outlines^
as plainly- evince a greater ^are vof originate
sty than inoagination ; )4s: tu^id addrefa ^6 Wor*
thyi bis pert obfervation of the juftice;the for*
ivard introdudion of binifelf to that gentleman ;
bK turning the w^rd laconick, through ignorance,

K z into

69 The D R A M ATI C C'EN SO R.

jnto a proper name ; and his difcuflion upon t\ .
name are ludicroufly whinificaK

The affeftation of a general acqa^tance ; thie
jDoa(l of courage, and the rhapfodical fpkited
narration concerning Frank Plume of Northacxip-
tonfliire, are excellent ingredients to charaderize
the empty, opinionated coxcomb i and Brazen's de^
parture fo confonant to his entrance difmifles him
with gke.

Rofe exhibits a very natural pidure of that fim*
pie pride and pleafure which we may fuppofe pof-
fefles the heart of an unfufpefting country girl
upon being addrefled by fuch a man as Plume i
and her fpirited attempts at improved beha«
viour before the juftice are extremelyv plescfant, as
is alfo the captain^s attack upon her without feeing
BallaiKe ; from whence an agreeable cOnfufioh
strifes, which terminates the fcene laughably.
, Modeft Mrs. Melinda, and her modeft maid
3Lucy next make their appearance ; the former, in
her fecond fpcfecb, utters a fentiment which we may
pronounce the e0en(:e of infamy, ^< Flanders lace
«< is -as conftant a prefent from officers to their
^^ women, as fomething elfe is from their women
^' to them i" and the lattw- replies in a very know-
ing ftrain, which her miftrefs takes care to enforce
by explanation ; in ihoft, as this fcene has no ten^
dency but raifing offenfive ideas, I wi(h and recom-
mend the omiflion of it : Brazen, in bis addrefs to
the lady, and rhpdomontade declarations, prefcnts
^ diverting peculiarity of chara^r i and MeKnda's

The D R A M A T I C CE N S O R. ^

Encouragement of him, to mortify Worthy, fuits
well a coqucttilh heart.

' Pfume's tipfy condition varies the aftion and
dialogue of his charader fcafonably, giving him an
additional fupply of fpirit and humour 5 but Wor-
thy's fetting on Plutae to recover Melinda from his
iJval, and Ihecring off ,as if afraid to plead his own
tauie, (hew that gentleman in a very ftrange lights
eitherf ool or coward at leaft ; the encounter between
Flume and Brazen is whimfically imagined, and ge-
jherally gives fatisfaftion; the lighing fA/vain conies in
conveniently to take off his condefcending miftrefi,
who kindly flies t6 him when apprehenfivc of dan-
ger, and without any other retreat forfafety. '
Sylvia appears at this, point of time metamorpho*
fed into the appearance of a young fellow, a cir-
cumftance not very confiftent with delicate refervc/
nor even common modefty, tho'authorized by ma'
ny examples in private life, and frequently adopted^
on the itage ; when iShakefpeare wrote, no woman «
appeared on the ftage, therefore Rofalind, Imogen,
Portia, &c. were well calculated ; bbt at prefent, T
imagine plots might be carried on u^on mofe pro-
bable principles of deception ; in this ftate, how-
ever, Sylvia makes a very agreeable figure, and
plays upon the rival odicers with great archnefs i
in their feveral offers we find the author exhibithig
keen fatire againft the army, when Brazen fays,
** you fhall receive your pay, and do no duty," the'
lady makes this very poignant return, " then you,
mud make me a field officer,'* and a little lower
there is a moft excellent ftroke againft making men'

2 of

70 The DRAMATIC CENSOR.

of HttleeducstiOQ and k& r^igioop milicary cbiip*
lains.

Kite*s mediod of introduciogand pccommending;
^imfelf to the fuppofed recririt is highly artful^ aa4
lakiiig her off while the captamsare engaged a go04
fnctbod of terminating (he r^couptner ii^iihottt
l^loodlhed; as. to Plume'a diftin&ion of fighfii^
for a man^ and not for a womaOi it appear^ to me
irreconcileable ; anafiront is the fpur ta |h$iifur«
^d CO a maiv<tf Cpirit comes with equsil force .foiffll
fjifcry q^arter», and without an affront,^ u& cttiraf
real courage 11^11 draw his fword,. >

Roiie's commuaicatiQn of her intereflf whSi Fltute

to Sylvia in the $rft fqene in the fourth aA^ ia weH

li)trodtt€ed to aiacm that lady with j^oofyf ;i atid

ber method of (buncUng PlumVs real difpofitiM to^

awards the ^rl^ is natoral ; Bullock j cho* he h^Vbiil

:i.finall'f}iafe of the dialogue, ^eatly enlivens it <witii

t^ee or. foor humourous remarks. — I could wifii

Sylvia'ft reply^ to Rofe, when (he iay;^ will

^you be fo kind to me. Sir, aa the capiaiii

would,'* was more confident with the cbanu^r of

H young lady ^ Plume's »planatioii^ of bis clpfign

in gallanting ^ Role, is fatisfadlory to his miflire!6^

^^ exculpates* him from a blameable intention. <iip«

on-^unfufpcding innocence, Sylvia again goes too

&r^ when (he fays to Plume, ^^ lie with a commos

foldier! would not you rather lie with a common

woman ?**
Melinda and Lucy, in their fhort fcene, drop

feme expreflions fimilar to thofe we have remark-

•d upon already— Worthy^, who> as it appears^

&ewed

The DRAMATIC CENtSOK. f%

i^iBe4 ^ lit^ tefentmcnt when the lady put
bcriiblf under hi^protcdioa ; comes poflefled wfdi
the faqae feeli^ and [Hays upon her paffion wkH
fofse degree of good fen&, which draws^ her inM
ibei dUrmma cf behaving like a vifj^o^ and pr(>^
diiceft aa unexpefted^: undefigiied receptioQ to Bra-^
2&K vbich is the only material cireulnftanced arif^
kig from the interview between the lady and hef
mwt loners.

Kite's appearance and condmfl: as a fertunt-teHer,^
is a noioft fatycical burla£que upon^ the credulity oi
thofe. ^eak minded perfons who believe in the pre*
^Silm knoy^Itidge oEfuch gentry; bis appropria-
49iv.of (be.fan^mofiin^and deideS) to Qerreftl*ial cir^
QffmmQiWCtisi and ftations^ is a whimlical bam ap^
qi^hc^M;b^ntmyitholQgy I that fucoeffion of charadeni'
t^. ayiibor ortgin^y brou^ forward' in thi$ fcenc
itj90>mmiGhi.and( very properly curtailed' in reprr-
fiMmtiopv toconfefsthe truth, except fome litdir;
ulfU tOjthetplor,. and a joke or two about the^ JDevik
ttti^rr the^ tahle^ there is nothing deferving noK
ticc: i$ whaldtsmainsi

Plume^s difcovery of Melinda's being the Caufe'
tlidt) ^IWa.was lent, intothe country, occurs agree-
a^vi. and: the compliments he pays the fair fex f6r"^
htyif)g4U)tertaioed an injurious opinion ofher^ d6^'*
fefv^iratter: a ibetter epithet tha» pretty ; however^'*
Icppld^wUkthey bad notbeen twifted into rhime^
b^isMi'^.WaLKEs bvedto fpeak an epilogue to ^
eV€q^ a^ aod as : he pleaftd \ the audience, f^ar^ .
cjuhar thought it a duty to pleafe- him; ^

At the beginning of the fifth aft we find Syl-
via

n

yz The DRAM ATIG CENSOR^

yia in cuftody, and brought before the jufticc, as it
appears, for . reducing Rofe; her intimacy with
military weddings is not very charadtcrifticv for a
young lady of fortune and genteel education i and
when ihe fpeaks of- paying whores with a pinch, it
is ftill a greater trcfpafs on due bounds ; indeed the
whole fcene nneans little, and but for honeft Bul-^
lock, would be very infipid.

Mclinda and Worthy, according to conjuror
Kite's predidion, Hieet, when after fome alterca-
tion, in which he charges her with cruelty, and Ihe
bim, with bafe defigns upon her virtue, which he
repents not having put in practice; they patch up
aftrange, unprincipled accommodation ; the three
enfuing fcenes contain fmall matter of entertain-
ment, nor is that of the juftices aAd recruits much to
be admired ; Sylvia's behaviour before the bench, is^
confiftent with her defign of provoking them to
prefsher; yet, fome of her remarks might as well
have been omitted, particularly that when the con-
liable charges her with a rape, and receives this re-
ply, '* is it your wife or daughter, booby ? I ra-
wifticd them both yeftcrday."

Brazen's rencounter with Worthy ; their feroci
ous intentions ; their battle and no battle, with
Luey's method of diOipating the ftorm fhew the
author hard fet to accomplifli his cataftrophe, which
is ftill more plainly evinced by Ballance's (hort in»
terview with his fteward ; the remainder of this a£b
hurrio^ on without any manner ^of fpirit, humour^
Wtricacy or furprize.

the DRAMATIC CENSOR. 73

To confider the plot of this comedy in general, we
(hall fipd it vague, unconnected) and depending
on very^ low /hifc39 the fragn[icnt of a torn letter
being a main inftrumienH one remarkable incon-
gruity is, that Sylvia (hould appear in a fuic of her
brot|ier's cloaths. before her father without difco-
very, thouj^^ find^ on the fteward*s bare mentioa
of thpfe cioaths, he . immediately fees into the de-
ception ; Silvia's contrivance of being giv^n to
Plunge as a recruit, is a pitiful, equivocal method of
keeping her promife given in the fecond aft, that
flie would . never give herfelf away without her fa-
ther's confent ; Ballance's way of foundipg whe-
ther Plume is privy to the fcheme, and the cap-
tain's generous method of difcharging the fuppofed
recruit, to oblige his friend, are circumftainces of
merit. AH the under-plot of Lucy is a mere
make-lhift) and utterly contemptible.

Plume is an agreeable well drawn charader ;' fen*
fible, eafy and fpirited ; poflfefTed of courage with-
out being fond of fhewing it ; feeling to love yet free
from amorous weaknefs, gallant but not vicious ;
liberal in fentiment^ unafFeded in expreflion, and.dif-
cngaged in aftion *, a credit to his author and a com-
pliment to the army, confidered in this amiable
light it i% not to be wondered that- fo few performers
hit him. off happily in reprefentation ; the eafe of
an accomplifhed gentleman, and the milder virtues
are much more, difficult to exhibit pleafingly, than
Iqw huniour, ftrong paffions or fafliionable vices — a
vpry humane honed man may aflume fuccefsfully
the tyrant or villain in full contract to ,hLS own na-

yoL, I. L cure s

<

74 ^hc DRAMATIC CENSOR;

ture ; but it is impofTible to put on the port and de-
ftieanour of a gcDtleman, unlefs the alitor is really^
one, at leaft, in external appearance i the late Mr*
Palmer was nDUch refpefted in this part, and in-
deed for the dfunken fcene, defer ved extenfive ap-
plaufe; but in all the reft^ had far too great a taint
of the coxcomb, which was fo very natural to him in
private life^that he could hardly ever (hake it oflPoa
the ftage. Mr. Ryan, under the heavy difad-
vantages of advanced years and a mod unfavourable
voice,, fupported the captain with charafteriftic fpi-
rit, but we mufk give Mr. Smith an undoubted
fuperiority for uniform eafe, elegance and fuitable
vivacity \ being the unaflfedcd gentleman in pri-
vate life, he is neceflarily fo on the ftage ; and it
may with critical juftice be faid, that he is both ai
much and as little of an ador in this part; as any.
one who ever undertook it.

Mr. Lee figured Plume extremely, well, and had
confiderable merit in performing it 5 but from la-
borious attempts, which are ufual with him, to
make more of the charaQ^er ^than the author in-
tended, he abated much of that pleafure the pro-
priety of more fpontatleous adion muft give in
this part.

Brazen is very happily contrafted to his brother^
officer i free without eafe, talkative without fcttfe,
vain Without confequence, full of falfe fire, yet not
without fome fparks of real courage ; Farquhar in
drawing this military coxcomb, has preferved du^
refpedt for the army ; he has indeed rendered him.
/jdicutousy but not contemptible j we may laugh

at

the DRAMATIC CENSOR, 75

^t his follies, but cannot frown at his vices^ for un-
lefs fooie few harmlefs invafions of, truth, to flatter
his own vanity, may be deemed vice, he does not
appear to have any s as a gallant, he appears more
venal than a^tedtionate ; as a companion, more
diverting than rational, and as a tpan, more made op
of unpremeditated whim, than fubtile defign.

The* CiBBEK was l^ no means inlipid in this
{>art, but he often pleafed upon wrong principles,
particularly here ; as he ran into the evident abfur*
dity of adding Abel Drugger's grimace to the ele*
gant deportment of Foppington ; both which are
totally inconfiflent with firazen, and utterly incon-
gruous to each other ; the fmart aad the beau are
^ach a diftinft fpecies of foppery, and fhould be
carefully, marked.

Mr. Woodward, as in every thing he does^
difplays much pleafantry; yet, like the laft mention-
ed gentleman, makes us laugh in contradiction to
judgment, by uflng a fententious quaintnefs of
exprefllon inftead of the precipitate, fnip-fnap,
rhapfodical mode of utterance, as is plainly in-
i;ended for the charafter i we muft alfo lament, as
we fliall often have ocpafion to do> that fo many
of Harlequin's mifplaced, paatomimical beauties
Ihould be tranfplanted with fuch unlimited luxu-
riance into the chafier fcenes of com«dy.

After faying thus mych of two capital come-
dians, I hope it will not be thought partial to remark,
that Mr. 0'BinEN*s perfon, manner, and execu-
five powers^difplaycd ^he true Je ne feat j»^; of aft-
ing J and that^criticifm had very little left to wifla for

L 2 even

4'

f6 The DRAMATIC CENSOR.

I

even on hts firft appearance; though amore ticklilh
part never fell to the lot of a young beginner.

Balance is a confiftent, fenfible, worthy country-
gentleman* and, as drawn, much more becoming
a commiflTion of the peace than many real magi-
ftrates ; in performance, no peculiar excellence
can be expefted •, however, Mr. Qum made him
cxtre:mely refpefkable, and Mr. Sparks was (eve-
ral degrees above any prefent competitor ; ihany
parts affift the adlor, but this is one of a larger
number which lie heavy on him •, therefore doing it
^uftice claims the greater merit.

Serjeant Kite, with moderate executive abiiities,
muft pleafe, as he fpeaks to the feelings in every
line i there appears WiiXt difficulty in reprefentation,
and yet moft, who have undertaken him, vary from
ftrifl: propriety •, fome turn hini into a noify bully,
and others into a fubtle fycophant : 'that he is^ part-
ly comprized of both we own, yet they fhoul^be
fo blended that neither may vifibly predominate ;
his cunning fhould foften his cortfeqoence, and felf-
fufficiency render his art plaijfible. Mr. BEftRy— r
a good aftor in fome things— was here heavy to a
degree's Mr. Anderson quite infipid ; nor is
Mr. Morris, though nearer the mafk by far, whi?
we could wifh.

Bullock need not feek for a more adequate friend
th^n Mr. Dunstall •, as to tjie Recruits, they are
laughable fimpletdns, that feldom fail of proper ef-
fp6l ; to diftinguifli any in theft parts, where all we
have feen are fo much upon a levels would be partial,
gpd fitting dowp the whole would be giving an un^

pcccfTary

The DRAMATIC CENSOR. 77

necdTary catalogue of names, moft of which are
but Itole and fome not at all known.
' Worthy, who in no degree deferves his name, be-
ing void, 'is far as vftftej of virtae as well as vice^
is fuch an unfcafoned water-gruel, tame, pitiful
lover, that he muft be an eftimftble performer who
Ihields ^ him from abfolute contempt, which by a
well-adapted placidity of performaijce; Mn Hull
agreeably effefts, having judgment to inform him
where mediocrity is merit.

Sylvia, the^ capital lady, has fpirit' and fcnfcir
but the former runs her into female quixotifm, and
the latter often dwindles into licentioufnefs ^ her
difguife and the fituation it confequently throws
her into is very iridelicate ; the fchemc by which (he
obtains her wifhes, wild, improbable, and culpa-
ble— yet while Mrs. Woffington filled this cha-
rafter, there was not a more agreeable one on the
ftage, equally degagie in the female and male fem-
blancc, fhe raviflied in both j rendering even ab-
furdities pleafing by the elegance of her appearance
and vivacity of her expreflion j.as far as her figure
would admit, Mrs. Pritchard was excellent:
at prefcrnt, Mifs Macklin juftly enjoys a confider--
able fhare of reputation in it, having fpirit of ex-
preflion, fenfibility of look, delicacy of cmphafis,
and gentility of deportment.

Melinda is a vicious heap of inconfiftencies, with
a ihallow head and bad heart, without a fingle cir-*
cumftance.or fpeech worth notice, except fome
which call for cenfure ; I .never faw any body cx-
bibip her who defervcd the lead mention in criti-

^ cifm-»

y$ The DRAMATIC CENSOR,

cifm ; Lucy is an obfcure, worthlefs etx^iQe o( th$
undcr-plot — Rofe is a pleafing, well-drawn pi(aurc
of riiral innocence and humourous ficnplicicy ^ in
performance, I fhall fay juft the fame of her as of
Cherry in the Stratagem.

The unities of time and place are. toleral^ly wcM
preferved in this comedy ; but the plot has no trace
of a moral, and the cataflrophe is huddled up with*
cut any degree of poetical juftice^-^Sylvia* by the
bye, a dangerous leflbn for young ladies— -in conr
feqpence of hazarding her virtue, obtains her
Wilhes — Mclinda gains the man flie has ufed infa^^
mouily, and Worthy gets the woman he would
have debauched ; while poor, inofFen five Brazen is
left, unrepining, tp folace himfelf with, twenty re-*
cruits inftead of twenty thoufand pounds : in ihorc^
it appears that our author, whofe dialogue is unaf-^
feded and pleafant, conlidered entertainment more
than inftru£tion ^ fo that I fhall venture to affirm^
the Recruiting Officer, though it may make us merry,
both in the clofet and on the ftage, will ncvpr Icav^
?ny ufcful itnpreffions from either.

MAC-

The DRAMATIC CENSOR. 7^

MACBETH.

Written by Sha&bspeare.

P.

Reternatural beings afford the wideft, liioft
luxuriant field for genius to fport, and ideas to ve-
gitate in ; of this hting truly fenfible, and willing to
give his mufe of fire unlimited fcope» Shakefpeare
has in feveral pieces availed himfelf, but in none more-
powerfully than the tragedy now before us ; how-
ever, though critically we muft admire that charadte-
riftic peculiarity of fentiment and expreffion which
diftinguilh the Witches, if is neverthelefs ne-
cefTary to remark, that exhibiting fuch perfonages
and phantoms,, as never had any exiftence but iw
credulous or heated imaginations^ tends to impref$^
ibperftitious feelings and fears upon weak minds ^
for which reafon, I conlider every dramatic piece
which treats the audience with a ghoft, fairy or
witch, 'as improper for^oung, unexperienced fpeo-
tators in particular; if, as is well known, old wo*
men3 ftpries of fuch,. imprefs a timidity upon
every child who hears their terrifying tales, a timi-
dity which lafts to the conclufion of life ; may we
not infer apprehenfions of their having a more
forceable affedb from being realized on the ftage.

l^ may be faid; that interdiding fuch poetical
auxiliaries would cramp genius, and deprive us of
many unparalleled beauties ; to t^iis tne anfwer is
|tlain>^ that nothing which has not a gpod effefl:, or

ar

«o TKe DRAMATIC CEl^SOR.

at le^ an inoffenfive tendency (hoi^ld^e deemed
beautiful, or (land in eflimation.

Frorh what is thus prcmifed, we hope, no other
charge will be laid againfl: Shakefpea^e, than the
barbarous and credulous tafte of the tiikies in which
he wrote, and to which he fubmitted, with pofliblf
an oblique delign of flattering the favourite opi-
nion of Jati^s the fifll ; yet allowing this to be.
really the cafe, it cannot exculpate his preternatural
beings, asi fuch, from rational cenfure for the rea--
fons aflfigned above, notwithftanding the author
bad hiftorical tradition ^ countenance his intro-
du<5lion of them ; after this general, and, we
hope, juft obje£tion againft the weird fifters, we are
to take the piece as it Hands, and confider diftin^t-
ly its feveral component parts.

Macbeth commences with all the apparatus of
terror — a ftorm ! a defart ! and three withered hag$
of little lefs than infernal appearance ; their ihort con«
ference is full of meaning, and a kind of oracular
obfcurity ; their fuddcn difappearance gains a de-
fire in the fpec^ators to fee them again, and to know
in what fort of bufmefs fuch extraordinary agents are
to be employed •, but I know not why they ihould
fink under the ftage, immediately after pronounc-
ing thefe words, ** Hovft through tlie fog and
" filthy air.'^

The King' i; appearance to bear an account of
the battle *, that account, related by a wound- .
ed officer, jpirith fuch energy of dcfcription, and ;
fo much to the honour of Duncan's generals;,
are good preparations to pgfief$ us of the heroic

part

The tJRAMAtlC CENSOR. St

part of Macbbth's cKarader-^but why this expreft
of yiflory Ihould be fent by fo imperfeift a meficm-
ger as one, whofe pounds, yet green, wanted the
afliftgnce of a furgeon, I cannot think ; if the
whole relation had come from Rofle, it would have
been rather more fuitable, and would have given
his charafter fomewhat more importance. ^

The witches, at their next meeting, queftion each
other concerning their feyeral employments, and the

«

replies fhew them pregnant with that diabolic tna-
levolence which is charged againft them ; the threats
vented agatnft the failor, whofe wife had refufed* one
of them chefnuts, ftrike every feeling mind with
fympathetic terror ; their prep;iration for Macbeth
has ibqiething myftically foremn in it;

The notice taken of thefe odd appearances by
Banqup, is fuch as would naturally occur to a man
of fenfe and fpirlt s and their alternate climax of
congratulation to Macbeth much in chara£ter ; him
they bail in plain and pofitive terms of prophecy,
which throws him, very judicioufly, intoaftateof
filent and confufed refleflion ; the author well
knew, that no words at this period would equal the
niofe fuitable Ipeech of countenance and adtion ;
therefore makes Banquo, whofe open, didnterefted
heart takes no alarm, fill up a well-adapted pauTe
of the principal charaifter, by queftioning the fillers
coticerning himfelf ; their replies to him are flatter-
ing, but senigmatical, and feem to roufe Macbeth
CO a curiofity of further information, which. How-
ever, is properly checked, for this time^ by the
departure of the Witches : in his fpecch to them.

Vol. I. M ther#^

^ The DRAMATIC CETSTSO^.

diere appears kn obfervatfon lAeohfiOtbf 4hli vriutt
is tnenciohed in the ptecedtng Omti Macbeeb
feys,

But haw of Cawdcnr? ThetbaneW GiwdorKvet

Apr9jper}us geiHkman.

An unfuccefsful rebel taken priibnei^ W Cavr4
dor muft be, by Dancanls fentencing of him €»
death) could not juftly be called profperws^ tU
pecially by the general who has lately overthrown
him, but this is by no means a material lapfe %
wbait we Bnd a little further on, fhews more
firar^e confulion^ when Macbeth obfeives^ that
Cawdor lives, and afks,

WKy do yoii dre(s m^ iabtr bprrow'^rob^ i^

Angus makes this' reply,

— — Who was the thane yti lives.
But \xtAet heavy juclgmept bears that life,
AVhicblic defervesto'lofc— whether "he Ivas

Cbttlbkt'd with NotWay, or did line the rebel
With Bid<feri help' ^nd ^vantage ; '6r, that' With bdtit
Hekbdiir'd'in his eouhtryV wreck,' i kno\lr nbti
Btie treafons eapttal, confeis'd, and prov'^
Have overthrown him.

It is worthy of remark^ that Angus was prefeor
when Rofle particularifed Cawdor's rebellious con-
dud to the king, notwithftanding he here exprefles^
iuch ignorance of thecaufeof his impeachment.

Macbeth's feelings upon this unexpedled acqui-
(Ition, verifying in part the predidion which has
been fo lately pronounced to him, the dawnings of
ambition which break out upon his unconneded me-
ditation, are extremely natural ; but his adverting
to murther, for obtaining the ftace of royalty in

view

^iev, flicw l^Qirmich too; Aifccptiblc of villwiottt

TM^ are tn^f clfcufhftfnoes tnd. csxnisi to
fapng iidioufr thie mof|; unfhougb; of changes in hu->
than affai(S» wiierc%e that man who preaiidttatei|
the woi^ means at firft, mod have by nature a
^eep dq>ravation of heart; and fuch Maebech will
appear infefbed with from the whole of that fpeech
which bcf^s ^ Two fiiiths are told,'' &c. n9(witb*
ftanding focpewhat likcpaUiatiQaisoflTercd ip two or
tbnoplinffs ^ iixd^ed bis concrluuqn feeix^s tobapjlh what

^itk frpip fj^qdl^tpr^ bis b^rbarpuf i^eg^ fo rud:dienlj^
CQoceiT^d ; I have dw^lt upon this circqmfta^ce t^
l^rcnQtboi v^y opiniQP» th^t (he. aptjior m^pant tq
dra^ him a detj^ftable n^oftert which fOme critic^
liaYi^ ra(b^ difputed* allowing him ^ gei)e|ou^ difT
pofitiqn, which we $nd no in^ance of ; qye^ the
confcientious ftru^les which we (h^l pf^^^tly[
fii^ hiai Ql^^dr «5it|H ipig^t arJf? iii. the nv)ft
vill^nQW i»frti|r|!-^K<^ does a bad ai^k^n prefir,
^tci^f or wi^hp^jc knpwip^ it ^ be; fecb, n^ajf
ftand in fome meafM.ri; ^^ciif<sable i bi^t wlj^cn a mai^
has fcrufttjiovii^ weigb^ *iyf^ ^^^^^7^ cirf^jjtp/tance
in the laceft ka\e of nsfle^ipii } a^ i^ ^ d^er-
«i9n«^m vh«F q^ursi gr^tin^d^! ai|4i9ffiijc«, frauld
»10W» ^ in«ft l)(f j^opnppfcd of t]ie^ worft nsjreriafe. .
•JFo CJorrpb^r^tg the gepccf^, Idea of M«?bccb*s cb*-
fa<%r, vUf h I hftv^ here offered, ap^ w.bi«?h, will
Ik enjyged Mppri v»licn ^? go thrp^4 «k 1i*<4ei
jjie^c i 1« as vifiw him in t^ v^sry new fc^i^ wlKye

«4 The DRAMATIC CENSOR. -

after a moft cordial reception from the king, with
unbounded promifesof future favours, he i$^fo pof-*
fdTed of his bafe puipofe, that, void of e^en
common gratitude, be replies, upon Duncan's ^ap-
pointing Malcolm prince of Cumberland,

The prince of Cutnherland [ that is a fiep
On which I muft fall down, or clfp o'er-lea{l : ^ ^
. For iq my way i^ lies-r-Stars hide your fires,
]Let no| night fee my black and deep dejires |
Xhe eye wjnk at the end — yet let that be,
Which |he eye fears, when it is done, to feie.

' From this pafiage it appears, that not tontent with
thefimple ide^ of regidde, he determines to cue

off the whole fa^nily, in return for being ioadb4

•

with honours by royal favour ; and at the veVy iii-
ftknt, when this, unfufpe£ling monarch and frren4
places; hinhfelf ^ipon his hofpitable reception ; if
this does not prove Macbeth an exception to the fy^
tirift* s remark, Nmo repente fuit turfijfims\ I do^nt
Jcnow what can, " ' ♦ ;.

• tikdy Macbeth, and her huAand's letter^ are ju-
diciouQy introduced, but fure fuch fympathetip
barbarity was never in nature, as fuddenl^, on the
Ifi'ftkilt,' breaks out in thefe words^

' ^ 61ami$ thou art and Cawdor-r^anc) Ib^lf bi^
• ' ^ ' What ^hou art promifed.

What follows accufes Macbeth of a milky foft-
pefs in his nature, of which he does not feem atall
poflefltd; *forunfuccefsfuI ftruggles of confcience
cannot juftljr be called fo ; however, that he may
•ppt hgve the whole load of aggfayated guilt to bear
aldne, our author has made this matchlefs lady—?
I lament fp deteftaljle. though ^ poflible pi^uit pf th^

. The DRAMATIC CENSOR. 85

f fmr fex--exert uncommon talents of temptation %
on hearing of th§ king's vifit, with moft unrelent-
ing precipiution of thought, (he dooms the royal
Vififlaar— Her invocatbn to fpirits of evil influence
is worthy of a powerful imagination, and Mac-
beth's interruptiveentrance, extremely well timed,
but we muft offer fome depbt whether the word
blankef of Ac dark, does not convey a low and im-
proper idea.

Macbeth's mention of Duncan's approach with^
out making any previous reply to his wife's cordial
recepdon, is a natural efFeft of what fit^ neareft
his heart; and her coming to the main point at
cmce, is well devifed for working him ^p to htr
great purpofe ; her confining the fendmenjt of mur*
Cher in le(s than a line, and warning Jhiip to dif-
guife thofe looks which appearltoo intelligible, rm-*
prefs us with a ftrong idea pf her policy, aa does
her fecond hint of Duncan's death, and prpmii^g to
take a great part of the dreadful bufinefs on herfeU
The Ihort fcene before the c;aftle has nbCking ma-
terial in it, except the following truly poetical] re-
inark made by Banquo ;

— This gueft of fui^imer.
The temple-haunting j^rtlet, 4oe8 approve
By his lov'd mafonry, that beavVs breath
3mells wooingly here — ^No jutting freeze,
Buttrice, nor coigne of 'vantage, but this bird
JHlatb made his pendant bed, and procreant crs^I^ :
Where they moft breed and haunt, I faave obferv*d.
The air is delicate*

Lady Macbeth's drained compliment to the king
fid;^ 9^0 merit| as being natural, no truth being

more

1$ Th^ DRAti^ATfC CJ^^^SfOl^

t^ WW tl« fajr^fc finite.

wm^fpMh op ii)o4e of q^cflipp oouklriim ^9
iuitablQ 9^ tb^t 0^ (blilofmf ; itcW^rp ^ b^wiMx
hawcucif, tNt!CWr great a^tbpi;, RMrfuifigcqqgy^
M ito^ inipme* ipntencfl ^^r'd uppp, p^^rity^

peated on the ftage, where the ear muft iqeviu^
l^ WQ qHV^k fof cooceptiQa: in m ajtcrat^qp, ot

fatp^e a(teni|<s tjo render cbq Ijr^s I fpqak p^ mpr^
ipt^J^bl^ i?u^ lllfo moft ot^ei; p{ui4phraf9$, ^hcj
46flFpy tt^ ciflbiuf t %irit.

. Jh^ ti^Sk^^mf t^% if h^ cpuU h\iK gairveafe
cnreninthi^ li(Ct: b^ woidd juQi]^ cbe life to^qapof,
isrratbef w'^ldlx impk^is; but th^ ipcvicable tendgpr
r4 p^ipiftin^nt: of a ^pnfciencc Ipaded with gijtilt i$
very ^ir^ ^. cpmmendably in^yl|pated i the argUT
gVinentf fpi dppUving the (number 4re fa foroeablei
th|S^ vififk^ I'V^ ^be mcft^ hardened heai^ pfder
fDch cpavi^iipo^ would procted— Where he. S9r«
ibnifies pity» and mounts her aftride on the Iflqfi^
fancy t^es a very vigprpqs flight, nor dcus e^i^pref-
fion fall bftfvath, yet I |p afraid t^M^ leave pro-,
pricty behind, the foibwing lines s((e iQ my opii^n
very exceptionable.

-r— I have no fgur
To pric|$: the fides of niy intent, but oiilj
Vaulting ambition, which o'er-ka|>8 itf^lf
J^dfi^QHtbA other. ^

IV dMbddf t1ttMM$, ! that QlbMMM May ^be 'k
j^ to|)trkk its fides, fcMs iMr&nik^flfb b!Si#lefi|iie ;
and tKen furniiig'llte j^Hr 4fito rMeHber tl^» ^^fttt
it may vault over, AtAotd Xii /:gAm of

^^/, con^bora^ li»^idea; iodecd A^
fliould always end at

The deep damiiMbitMdf his ukiAg^ off.

For pity — heaven^ ehertfbimaAd' ambition, all
upon the full gtllbp, are ftrat ned figUi:es at ^ leaft ;
not at all adapted to a man "detiberating upon one
elf the'fou^eft, Mi>ft^
«6U^tt.

' Ludy Ma^cbeth icomti to fpeak in leather ^plainer
tettsis ; ^et, ttnlefs^e allo^ gitat la^tude )Df 6xh
|>feffi6n, what follows evidently admits of ob^ec-
lion.

^Wksih^ hope drunk

It t » *

^iWerein yoa ditft yourfelf ? Hath It^flept fince,
And'Waldci itnowto took (b pale^and fickly^

Suj^pofewc^afsover the literal acceptatibn oF
%9pf ^ bring tfrunk, furely we muft blame a lady of
Aighr rank for defcetifdmg to fuch a vulgar and' nau^
!feous . alhi&on as the paienefs and (icknds dfun in-
ebriated ftate ; nor is her comparifon of the cat 1^
the adage mucfa more the effeft of good breeding.

Macbeth*s reply to the very groFs rebuff he ha3
juft received is as concife, fignilicant and fk)ble a
tme as ttVer was uttered 5 but his bloody-mindcA
-virago's next fpcech, towards the cbndufiont
bounds humanity with fuch a feqtiment as no wo-^
Iri^n fiiQuld utter, nor any Tatioaal being bear ;

yet

y

09 The DRAMATIC CENSOR.

yet that ftrapgC) horrid pidure of dafhing a foiil^
ing infant's braij^s out^ aiid laying a plan for com*
pIi)qateddeftfu£tiQa» ocpafions Macbeth to fay

Bring forth men children only,

For thy undaunted nietalihouldcDinpQfe

Nothing but males.

Should hcnot rather have faid^ _^

Bring forth fierce tygers only.
For thy relendefs nature ihould cooipofe
, Nothing but bcafts.

If it (hould beurged, that fuchfcharafters have been^ ^
and may be ; I iliil contend, that they are ainong the
frightful deformities and eflential concealments of
nature, which (hould be excluded from the ftage.

The midnight interview of Macbeth and Banquo
at the beginning of the fecond adt, very properly
uflicrs in the dreadful bufinefs then in agitation ;
that prophetic heavinefs of heart mentioned by the
former, his prcfenting a freflimark of favour from
the king to lady Macbeth, his fpeaking of the
three weird fillers, and Macbeth's affefiing to flight
the remembrance of them, tho* not very obvious,
are :yet confiderable beauties : I could heartily wifh
this paflage did not occur

^ — — ^ There^s huftandry in heaven.

Thtix candles are alLout

, What a poverty of idea and expreffion! yet wfc
^find the ftars called r^^i^/ifi by our author, in bis Ro-
meo and Juliet alfo — how much nM)re worthy of hinv
felf and of his fubjed, is what Lorenzo calls them
in the Merchant of Venice, pattens of bright gold f

In

TJie DRAMATIC CENSOR. 89

In Macbeth's foliloquy, where a vifionary dagger
Arikes his mind^s eye, the abrupt introdudion of
that alarming objeA is very judicious and beauci«
ful ; nor can any thing be more natural than the
eScd it has on Macbeth, which .is moft admirably
defcribed, and ftrongly inxprcffed by a nervous
iucceifioQ of breaks, which^ for a dozen or four-
teen lines, xife into a powerful climax of confuGon
—the momentary paufe of unclouded reafon which
relieves itnagination from her painful load, and the
quick return of coward confcience diverfify the fen-
timent and adtion in a moft interefting manner;
the pifture of midnight, as favouring witchcraft,
rapes and murther, concludes this inimitable foli-
loquy with a due folemnity of terror ; a foliloquy
of fuch unfpeakable merit, that, like charity, ic
ttizy apologize for a multitude of faults.
Lady Macbeth, at her entrance, gives as a piece
of information not very defenfible, uniefs it is
meant as Tome palliation of hercharader — thefalfe
fire of liquor, for which (he feems to have very
little occaBon, mull be, in her fituation, rather a
dangerous rcfource : the remainder of her fpeech is
happily disjointed by earneft expedation and jealous
apprehenfion. — The remark, that a likenefs of her
father in Duncan's deeping appearance, prevented
her from doing the bufmefs herfclf, lets in a gleam
of humanity upon this female Bend.

The entrance of Macbeth, bis high -wrought

confufion, and every fyllable of the enfuing fcene,

exhibit an unparallelled combination .of judgment

and genius, calculated to awake the 4rowficft feel-

yoi^.l N ings

90 The DRAMATIC CJENSOR.

ings, and to alarm the moft rcfolute heart— the
pidure of the grooms crying but in difturbed
dreams — one " Heaven Wefs us, and amen the
" other/* with the inimitable defcription of ffeep,
and the idea of nature's general friend being mur*?
thered in that fleep, are aftoniftiing efforts of men-
tal ability, and, for fo much, certainly place
Shakefpeare beyond any degree of comparative
merit.

The rcfufal of Macbeth to go again into the
fcene of blood, is an apt ftroke of well-timed re-
morle ; indeed his bringing the daggers from the
place they (hould have been left in, is an extreme
well-judged mark of confufion; however, I would
rather have forfeited that inftance of judgment,
than have heaped fuch favage inhumanity upon the
female ; her boaft of having hands crimfoned like
thofe of her hufband, carries the offenfive colour-
ing ftill higher : what fucceeds, on the interrup-
tion of knocking, is exprcffed very charaftcrifti-
cally.

To what end Shakefpeare could introduce (b ini
congruous a charafter as the porter, who is corti-
mendably omitted in reprefentation, I believe no
mortal can tell -, at fuch an interefting period, to
turn the moft ferious feelings into laughter, or ra-
ther into diftafte, by a ftring of ftrainsd quibbles is
an infult upon judgmenr, and muft fill the imagi-
nation with a chaos ^of idea — Sdme more fuitable
paufe might have been made to give Macbeth time
for compofing his ruffled figure ; the (hort fcene
between him, Macduff and Lenox, is well calcu-

' lated

Tl^c ORAMATiC CENSOR, gi

latcd ; Lenoxes remarks upon the night are very
confiftent with thofe furperftitious principles, on
which this play is chiefly founded ; and Macduflr's
exclamatory entrance difcoycrs Duncan's murther
properly.

The fuccefllve entrances and exits of various
tbarafters, the real grief of fomc, apd the feigned
forr ow of others, Macbeth's apology fpr bis. poli-
tical ftroke of killing the grooms, by an affcft*
ing piAure of Duncan's fuuation, and the rapid re-
folution of enquiring judicially into fo unaccount-
able an event, are all well arranged and happily ex-
prefTcd ; l)ucthe amazing precipitate flight of Mal«
colm and Donalbain, without any apology, ex<^
cept the paltry one of inftantai^qus fear, places
thrfe fprigs of royalty in a contemptibly light, and
its eflFcd on the ftage proves the juftice of this re-^
mark; for when one fays, " Til to England,'*
and the other comically replies, " To Ireland I,'*
nine times out of ten, the audience are thrown into
a horfe-laugh.— ^I could wifli this circumfl:ance was
altered, as it eaflly might be, by giving a few
fp^eches of fpirit and dutiful affe£lion to one or
both the princes, expreflive of their particular de-
termination to difcover, and revenge their father's
death ; which might be over-ruled by MacdufF*s
reprcfentation of the danger they ftand expofed
to, and that for their greater fecurity it would be
better to retire, till the unavoidable convulfions of
ftate were fubfided, or till proper meafyrcs could
he taken to eftablifli the legal fqcceflion ; this:, I
appjrehe^d^ would have carried them off with fome

; ' N 2 grace.

at The DRAMATIC CENSOR.

grace, whereas in their prefcnt difpofition thef
make fuch a wretched figure, that we can fcarce
forget it, when Malcolm appears to a0ert his right
at the head of an army.

The continuation of omens between Roflfe and the
old man feems to have little meaning unlefs to keep
reflection in an unremitted date of terror ; and un-
ufual events are catried to a very ftrange pitch in-
deed,- when Rofle aflerts that he was eye-witnefs of
Duncan's hories eating one another.

Macduff's account that Macbeth is already named
and gone to Scone to be inved^d with royalty, is
a great trelfpafs on time, their being tut twenty
lines, or thereal;)outs, from the Jiealing away of
the princes, as it is properly phrafed, and his
acicount of every thing being thus fettled in conS>
quence of their fuppofed criminal efcape.

Introducing the witches at the end of the fecond
ad is a very feafonable relief to a feeling mind^
from the painful weight of horror which fome pre-
ceding fcenes mud: have laid upon it ; and, in fuic-
able muflc, they continue the ftdry predidively as a
kind of chorus ; their rejoicing in the rtiifchief al-
ready done, and that which yet lies in the wonib of
time, fhews a difpofition worthy fuch agents as the
fubordinate fiends of darknefs.

Banquo's refleftions, with which the third ad be-
gins, are well adapted to the circumftances 5 and
ahd his doubts of Macbeth's elevation by honour-
able means, natural ; as is alfo his adverting to the
prophecy in favour of his^ own pofterity ; the new
king's frefh profcflionsof fricndihip to, andhofpi-
2 table

The DRAMATIC CENSOR. 93

table invitation of his former colleague and friend,
fix, if poffible, a deeper ftamp of bafenefs on his
charafter 5 but at the fame time exhibit ftrength of
policy; and the fucceding foliloquy points out,
nervoufly, motives for a frelh inftance of barba-
rity ; the firm untainted dignity of Banquo's na-
ture, joined to the prediction of his childrens fuc*
ceffion to the throne, are ftrong motives of jea*
loufy to roufe the blood- ftained ufurper's unrelent-
ing difpofition, which takes the fure, though mean«
e(t method of removing his fears, by afifaflina-
tion;

In refpefl: of Macbeth's fcene with the mur-
derers, I apprehend he ufes too much circumlocu-
tion, efpecially as we perceive, by what he fays at
their^ entrance, that thofe ruffians have been made
acquainted with a main part of the affair. Ban-
quo*s oppreflion of them ; being poiTtfled of
this, does it not feem more natural, . that the
tyrant would after this line, *' We are men, my
liege,'* immediately come to, •* Both of you
know, Banquo is your enemy;" than run into
the uneflential, digreffive, though juft comparifon
of men and dogs ? I know it may be urged, that
murtherous intentions are communicated with flow
and jealous caution ; this is undoubtedly the cafe
in particular characters and circumftances.— -It is
mafterly to make king John wind about the difpofi-
tion of Hubert gradually, he being a perfon of
fytnt confideration and doubtful principles ; but for
Macbeth to expatiate fo much at large, with fuch
fellows as he fecms to pick out, appears a wafte of

words ;

94 The DRAMATIC CENSOR.

words ; had there been any paffage to indulge the
author's fancy, or to favour the performer's a^lion
and utterance, then a little fuperfiuity would ftand
particularly excufeable with an audience ; and find
lome indulgence even from a critical reader ; as the
fcene (lands, I have ever obfervcd it to pall in re-
prefentation.

What fucceeds between Macbeth and his lady is
well adapted to their unavoidable perturbation j but
would have fallen in better as a continuation, than
making two diftin£t fcenes ; Macbeth's exit, after
the murtherers have left him is fuperfluous 5 every
thing he advances, in this (hort conference, fliews
a ftriking, poetical, yet natural pidure of mental
gloom and heart-felt agony; his invocation of
night, and defcription of its folemn approach, are
pleafing effufions of genius.

The fcene of the murtherers, Banquo's faH, and
FIeancc*s efcape, is partly trifling, partly Ihock-it
ing> and feidom fails of proving laughable ; I wilh
fomething better had been fubftituted, and the cir-
cumftance referred to a relation of it by the mur-
therer, I could alfo wilh, that decorum had
not fufFered by fucb a ragamuffin's entrance into a
room of ftate, amidft the whole court ; I appre-
hend no neceffity for this, and am therefore induced
tp blame it.

ConGdering the place, hurry of fpirits, &c. I
am bold to cenfuxe all the following fpeech, except
the firft heniiftich, and the laft, marked in Italics ;
tl^tey are much certainly as any man, fo fituated,

would

The DRAMATIC CENSOR. 85

would have faid, therefore what comes between is
furperflous.

Then comes my fit again-^{t \i?ii elfe been perfeft.
Whole as the marble, founded as the rock.
As free and general as the cafing air ;
But now Vm cabin'd, cribb'd, confin'd^ bound in
To faucy doubts and fears.)— 5«f BanqUo's Jafe^

Mad the affair been communicated in a pbopet
place, the difappointed ufurper might have thrown
out much more extended, fpirited remarks on the
ill-Wding failure of his foremoft wi(h ; reproaches
on the murtherer for executing his charge imper-
feftly 5 execTations againft fortunej for throWinj^
any painful rubs in his way ; with other matter^
which might have been fuggefted, would have adi
ded much, at leaft to the afting merit of his cha-
rafter.

Banquo's ghoft, whieh, without being too ludn
crous, we may call the raw-hedd-'and-btoody-bbnes
of tragedy, is ncverthelefs well ihtroduced to thitiW
Macbeth into thofc violent agitations which nature
muft feel, and fuch as furnifh e^ctenfive powers to
almoft unlimked fcope to fhew themfelvcs 5 elite *
words of both Macbeth and 'his lady Are beautifully

•

applicable through the whole fcent-, which (Con-
cludes, fo far as the ghoft is concerned, whh as
forceable a climax of impaflioned terror as ever
any author penned 5 the refleftions which follow,
in the conclufive part of the fcene, are fuch as na-
turally arife from the fubjefl:, and are nervoufly cx-
preflTed ; Macbeth's decerminatioh to confult the
witches, plainly indicates the agitation and weak-

nefs

1

g6 The DRAMATIC CENSOR.

nefs of a guilty heart and a fuperititious head ; I
Ihould be glad to know how he is fo well acquaint*
ed with their places of rendezvous, as to know ex-
adly the fpot of confultation.

The witches receive, in the following fcene, a
(harp rebuke from their fuperior, Hecate, for deal-
ing in any mifchief which did not originally fpring
from her ^ fhe delivers herfelf in a fanciful ftile,
and opens with propriety their bufinefs at the pit of
Acheron.

That remarkable incantation, which begins the
fourth a& ; the myfterious ceremony pradlifcd ;
the emblematic ingredients collefted for enchant-
ment^ and the arrangement of them, (hew a more
peculiar luxuriance of fancy than any other author
ever compared into fuch narrow bounds ^ the mu*
fie alfo, as in two forpier fcenes, has a very jufl
and pleafing effe<%.

Macbeth's mode of addreffing the witches feems
too much of the compulfive ^ influenced by, and
giving credit to fuch beings, we may naturally
enough fuppofe his approach would have been in a
milder ftrain i however, he brings to view a num-
ber of ftriking images refpeding their power.

A number of ftrange, indeed very ftrange appa-
ritions, or fucking ghofts, prefcnt themfeives, and
deliver flattering, dubitable predidions, well cal-
culated to miQead credulity ; and Macbeth's eager-
ly catching at the moil favourable interpretation,
ihews coward confcience, like a drowning man,
catching at every broken reed for fupport ; the
long train of (hades, reprefexiting the fucqeflipn of

royalty.

The DRAMATIC CENSOR. 97

>it>yaky, h well enough calculated to imprefs addi-
tional uneafineis upon the tyrant ; but fuch a fuper-
abundance and variety of fpeftrcs, palls even tcr-
ror, fatigues imagination^ and oflfends fight: a
dance is very well introduced here to relieve at ten-

Cion.

One would naturally fuppofe, that Macbeth had
Csjoycd a fdl fufficiency of fuch agreeable company,
yex we find him rather difpleafed that they are
gone ; the intelligence of Macduff 's flight to Eng-
land is well thrown io to give fpirit and an opening of
bufinefs ; 'his wife and children being devoted to de-
firu<Slion in confequence, we might reafonably ex-
pe& from what has been already (hewn of Mac-
bath's jealous, impatient cruelty.

The neao: fcene of Macduff's lady and fon, where
nurtherers come and demolilh the latter in view of
the audience, is, if I can be allowed the phrafe,
£irdcally horrid ; as difgraceful an oddity, as ever
invaded Shakefpeace's mufe, and therefore with
great juftiee omitted in reprefentation.

The fcene between Malcolm and Macduff is very
happily conduced ; a politic fufpicion makes the
, former reprobate himfelf, that he may come more
perfe£tly at the thane of Fife's real difpofition ; whofe
honeft, patriot principles mufi: ever warm and
^eafe attention^ thofe reflexions he throws out
on vices which fliame and endanger royalty", are in*
ftrudive and beautiful ; his fhort pifture of the late
king Duncan and his queen, to roufe the prince,
[ th^ ion to emulation, nobly pathetic ; and this
proving the key to unlock Makolm's- referve,

Voic. I. O ihcws

9^8 The DRAMATIC CENSOR.

ihews great judgment.— A doftor, brought iir
merely to introduce mention of Englifh Edward's
power to cure by a touch — that very dubitable cir-
cumftance of tradition — is at beft trifling,, or a pal^
try compliment to the reigning monarch ; nothing
at all to the matter in queilion, and only breaks in
abruptly upo» a very interefting continuation, I
mean, ^he heart-felt intelligence that RoiTe brings
of the fatal tragedy a£ted in Macduff's family;
his firfl fpeaking of general griefs, the miferies of
Scotland, is a well-judged preparative for a more
confined and peculiar concern, relative to one of
the charafters prefent ; indeed, MacduflF's enquiry
for Scotland, before his wife and children, (hews
great magnanimity of mind ; and Rpflc's diffident
manner of revealing their lamentable fall is fenfibly
humane y hence the fcene, by degrees of mod: ex*
zA proportion,, prefents a climax of grief which
never fails to work a general and fuitable eSe^
and concludes with a pleafmg, fpirited denunciation
of revenge againlt the blood-ftained ufurper ; thus
the fourth a£t terminates, leaving, as eyery fourth
aft in particular fhould do, . an impatient ex^
peftation. imprelTed upon the audience for what
[ muft follow.

Lady Macbeth's phyfiqian, and one of the ladies
of her bedchamber, beg)n the fifth ad, with a few
preparatory and pertinent fpeeches, for a circum-
dance not expeded ;. the tormenting effeds of a
thorny confcience galling that female fiend beyond
all power of difgqife or compofure, a circumftaiKe
(he more pleafing', as it approaches us unawaces, and.

beau*

The DRAMATIC CENSOR. 95

1)eautifully vindicates the juftice of providence,
even here upon this bank and Jhoal of time.

Walking and fpeaking, while actually afleep, has
been verified by many hundred inftances, there-
fore her lady (hip is brought to view in as juftifiable
and afFefting a fitnation as could poflibly have
been imagined — her disjointed mode of fpeaking,
the imaginary fpot on her hand — the con fu fed ap*
pl^henfions of Macbcth^s timidity, fimilar to what
Ihe expreffed at the time the adion was really com-
mitted ; and the explanation thrown in by the atcen--
<jants are admirably combined ; we may alfo ven-
ture to pronounce the heavy figh flie vents, on de-
Ipairing to clear herfelf of blood, a ftrikingefFu-
iion of a guilty heart; her departure is finely and
moft -naturafly precipitated "by adling over again the
confufion which arofe from knocking at the gate.
Four loyal leaders appear next, as on their way to
join the lawful prince ; their converfation has little
material in it^ fave properly acquainting the au-
dience that the tyrant coops himfelf in Dunfinane
caftle, beleagured with his crimes n;iore painfully
and clofely than by his foes.

Macbcth's exprefFions at his entrance moft plainly
evince a difturbed brain and forced refolution 5 fly-
ing for fafety to the prediction of the witches is a
well-timed, additional proof of that fupcrftitious
weaknefs, which, ftimulated by ambition, has hur-
ried him into all his guilt and confequent misfor*
tunes.

The expreffions he w&s to the fcr vant or ofBcerwho
enters with intelligence of the Englifh army are low

O z and

661816 ^

iQO The DRAMATIC CENSOR.

and grofs, far beneath even a private gentleman t
and why Shakefpeare fliould make a monarch run
into fuch vulgarifms is not eafy to guefs '; for the
rage or grief of a king (hould always preferve pe«
culiar dignity, without which the author cannot
boaft a cbafte prefervation of chara£ter ; the fol-
lowing fpeech, howevtr, makes full amends for
a thoufand venial flips ; the breaks in the two firft
, lines a^Ford a beautiful variety of aflion, tones of
voice and countenance — thofe which fucceed are as
fine declamatory reflexions arifing froni the con-
fcioufnefs of guilt and general diflike, in a fenfible
man, as fevered criticifm could relifli ; nor is it
^afy to determine which claims preference the fenti*
ment or verfification.

Take thy face hence^-^Seyton— I am fick at heart
When I behold— Seyton, I fay— This pufli
Will chear me ever or difeafe me now.
1 have Ihred long enou^ i my May of life
Is fallen into the feaf , the yelloW leaf.
And that >^hich Ihould accoippany old ^ge.
As honour^ love^ obedience, troops of friendd,
J muft not look to have i bbt^ in their ftead,
Curfes, not loud, but deep, mouth^^honour, breathy
Which the poor heart would fain deny, but dare not

Macbeth's reply to the ph^fidah, on hearing of
his lady's flirong mental indifj^ofition, is nd le(s
worthy of capital genius^ no lefs fatisfaftory ia
fpeaking, hearing or reading :

Canft thou not minifter to a iitiind difeas*<),
•Pluck from the memory a rooted forrow ;
li^e out the w'rittfti troubles of ih^ brain s

Andf

Thft DRAMATIC CENSOR. loj

And, with fome fwecti oblivious antidotSi
Cleanfe the ftuff 'd bofom of that p«nleU9 loid^
Which weighs upon the heart.

Nothing could be more happily mtl-aduced frocn
the iridrate they iheblcate^ and the paufe they give to
Marbeth*^ rage, than the two fbl-egolhg fpcechcs ;
they are a dltlely relief to the pcrformer*s expref-
fion, which otherwife nlufl: have been kept too
much on the ftrain, and a delicious treat to every
intelligent mind amongft an audience.

The fcenc which follows^ fo indeed every inter-
mediate fcene of this a£t appears, only ferves to
bring the cAt^ftf bphe nearer to view, ahd to cir-
ciiirtlcribfe the pHncipal chafaftet within harfowcr
bounds; th^t eiptdtsLtion of his fate may take
wing imohgft the audience r-they exprefs a firmer,
tho' not fo outrageous a fpirit in the aflailing par-
ty, and therefore appear as a natural eontraft to the
defenfive fide.

Macbeth, at his next appearance^ again breaks
out with fiafhes of falfe fire, vaunting the im-
pregnable ftrength of his fortrefs, — Notwithftand-
ing we have exprefled, and really entertain a
diflike of frequent quotation, yet fo (Irong a temp-
tation lies here in our way we cannot refid it % and
the more readily give way, being fenfible that every
reader of refined conception will rather thank us, than
pafsany cenfure,— Befides^ having pointed out fcve^
ral paffages which, we apprehend, of a contrary rta^
ture — it feems a neceflary point of juftice to the
author. — Upon hearing afcreamof women^ Mac-
beth obfervcs,

102 The DRAMATIC CENSOR.

I have almoft forgot the tafte of fears ;

The tivtke has been, my fenfes would hare cooFd

To hear a night-lhriek ; and my jfell of hair

Would, at a difmal treatife, roufe and ftir

As life were in it — I have flept full with horrors —

Direnefs, familiar to my flaught'rous thoughts.

Cannot once ftart me — Wherefore was that cry !

Seyh The queen, my lord, is dead.

Macb. She (hould have dy'd hereafter.—
There would have been a time for fuch a word«
To-morrow, and to-morrow, and to-morrow
Creeps in a petty pace, from day to day.
To the laft fyllable of recorded time ;
And all our yefterdays have lighted fools
The way to dufty death. — Out, out, brief candle!
, Life's but a walking (hadow ! a poor player I

That flruts and frets his hour npon the ftage^
And then is heard no more.— It is a tale,
Tpld by an ideot, fiill of found and fury^
Signifying nothing !—

The foregoing fpeech has the firft principle of
intrinlic merit to an eminent degree, moral inftruc-
tion ; an equal number of lines never yet exhibited
a fuller, more compleat pifture of the vanity of
human life; and our author has, with great ad-
drefs, again ufed the method of reaKzing his cha-
radler, by making Macbeth fpeak of the player as
a fiftitious, tranfitory reprefentative — The tranfition
upon a meffenger*s entrance, whp mentions Birn-
ham-wood as moving, is truly fine ^ Macbeth has
reftcd his fecuriry upon the fandy foundation of equi-
vocal promifes, and now, the broken reeds falling
away one by one, he plunges gradually into the
rage and depths of defperation ^ his refolution to
2 Mly

The DRAMATIC CENSOR; 103

laliy out Teems rather the effeft of fatal» inevitaUe
cteftruflion than real courage.

The bufinefs now encreafes, and juftly hurries on
to a rapidity of material events i the tyrant is, as
himfelf aptly expreflfes it, tied to a (lake, and
therefore through compullion muil fight ; as to
the combat, wherein that unfledged warrior, young
Siward, fails, it feems to have very little bufinefs
in the piece, unlefs to encreafe a torrent of blood
already exceeding all due bounds.

Macduff's encounter with Macbeth raifes expec-
tation to the very top of its bent ; and juftice fits
trembling in every humane bofom forjo eflential a
facriBce to her as the tyrant ; the intrdduAion of
Macbeth* s fole remaining hope, that of being in«
vulnerable to any perfon borri of woman, (hews
« gre^t judgement, and bis feelings, on being told
the fallacy of his charm, are expreffed in very apt
terms. — Why the author chofe to execute fo great
a culprit behind the fcenes, thereby depriving the
audience of a mpft fatisfadory circumftance is not
eafy to imagine ; death certainly is made, in this
inftance, too modeft ; and the bringing on a head
defeats every trace of the author's new-born falfe
delicacy*— the prefent mode of repreftnution is
much better.

What follows Macbeth's fall is, like the remain-
der of every tragedy when the plot is revealed,
and the principal characters are difppfed of, a mat-
ter of very little confequence ; therefore is con-
fined, as it ought to be, within the bounds of ju-
dicious brevity i Malcolm, however, gives a piece

of

104 Th« DRAMATIC CENSOR.

of hiftoric information concerning the firid' inftitu-
tion of earldoms in Scotland, which a tythc of everf
aiidience would not eUe know.

As Mocbeifa, in reprefentation, dies before the
audience, it appeared ncceflary, according to dra*
matic cuftoff), fo give hkn fome conclulive Knes»
wiiich Mr. Garrick, as I have been told, has
happily fijpplied, as noticing would be more fuita-
ble or ftriking, as to make him mention, with dy-
ing breath, his giiilt, delufion, ihe witches, and
thofe horrid vi^ons of future puniihment, which
ftiuil^ver appall and torture the laft moments of
fuch accumulated crimes.

It has ^en already hinted, and may be laid
down as an Irrefragable maxim, tiiat moral tenden-
cy is the firft great and indifpenfible merit of any
piece written for the ftage ; in which light I am
afraid the tragedy before us, though a favourite
child of genius, will not hold a very diftinguilked
place ; fate, neceffity^ or pred^ftination has em-
barrafled the moft inqifative philofophers, Ihe moft
p^ful thcologifts, and ftill remains matter of much
perplexity to tbofe who endeavour to devdope it ;
Shakcspiare there^fore, who was no doubt, an able
monalift, ihou}d have declined any fubjeft which
glanced an eye that way, yet we find his Macbeth
firongly inculcates power of predi&ion, even in the
WQr& and moft contemptible agents ; inculcates a
fupernatural influence of one mortal b^ing over an-
other : It is but a very weak defence to fay he only
wrote According to the accepted notions of ^bofe
imts from whence he drew his plotr-admitted^-'

but

Pf^

the DRAMATIC CENSOR, m$

btic whsfteiFer fends to weaken reafon, to mifkad tte
underftandiflg^ and tntimidate the heart, fhould
001 be tifed as a (ubjed for ckamattc compofition^
whkrb adorns fi£tion with her mod perfuafive
liharms $ weak minda are ever more liable to re^
cctve pirejudicia]^ than advantageous impreiTions i
wbcxefore, any charafter, incidents, or fcntiments,
which may work the former effed, fhoiild be in«
duftrioofly avoided i if the ftage, upon ibmie occa-
fions^ does not improve^ it Ihould at lead leave an
audience no worfe than it finds them, equally
voiding vice and credulity.

That I do not charge our author with pro*"
mulging principles of faulifm without reafon, let
me produce two paflages^ exclufive of the prophe-
cies, which are derived from that fource— at the
end of Lady Macbeth's firft foliloquy, (he fays
All that impedes thee from the golden round,
Which fate and nutaphjji^al aid doth feem
To have crowned thee with. .
Macbeth alfo,ju ft before the murderers are intfo*

duced to him in the third aft, exprefles him felf thus
To make them kings ! the feed of 3anquo kings !
Rather than fo, come fate into the lift.
And champion me to the utterance.——
The very word fate, if it has any meaning at all,
canboaft but an unfavourable one to moral fitnefs;,
it is a term crept into common ufe, and eftablifhed
by cuftom •, how frequently do we hear, upon the
accidental or violent death of any perfon, this ab-
furd remark made — it was his or htv fate — a mi-
nute inveftigation of this point would run me into
an unpardonable digreffion from my propofed fub-

to6 The D R A MAT IC C E N SO R.

je6t, wherefore I have only darted fome hirits: for
abler critics to elucidate or fet afide, as may feem
fit; and (hall only add, that the plot of Macbeth^
though the unities of time and place are much in-
fringed upon, does not ftrikein reprefentation with
any offenfive ideas of improbability ; but rifes by very
juft degrees to a cataftrophe, which is well wrought
up ; the moral is the fame as that of Richard the
Third , fhe wing that a guilty conscience is a conftaat
tormentor, and that a royal, as well as a private
murderer is obnoxious to punifliment.

Among the natural characters, if Macbeth and his
lady defer ve fuch an epithet, there is very little va-
riety or contraft ; all the okh, except the principal,
are tolerably honeft ; as to the heroine, fhe ftacrds
alone.

To delineate Macbeth is not eafy ; the author
feems like Prometheus, to have made a man of his
own, but to have ftolen his animation rather from
Hell than Heaven : by the account we hear of him,
previous to his entrance, magnanimity and courage
appear confpicuous in hisconduft ; yet, no fooner
does he prefcnt himfclf, but with all the weaknefs
of unpraftifed youth, he receives a ftrong impref-
fion from old women's prognoftiqations ; and with
all the aptnefsof a ftudied villain fuggefts the molt
pernicious praftices, which from that moment^ with
a very few flight intervals, take entire poffeflion of
his heart ; from his future proceedings^ we perceive
him more aftuated by jealous apprchenfions than
found policy ; more influenced by rage and defpa-
ration, than any degree of natural refolution ; cre-
dulous

The DRAMATIC CENSOR. 107

duloas, iinpatienr, Viridifbive, amUcious without a
Ipark of honour ; cruel without a gleam of pity — in
Ihort, as compleat a tool for minlfters of tempta-
tion to work upon, as ever fancy formed, arid too
difgraceful for nature to admit amongft her works.

However confidered in the view of theatrical
aftion, there is not one perfonage to be found in
our Edglifli drama, which more ftrongly imprefles
an audience, M^hich requires more judgment and
greater : powers to do itjuftice ; many pafiages are
intricate, Tome heavy, but for the greater part, pow-
erfully : inipaflioned ; the mental agitation he is
thrown into, requires expreffion peculiarly forcible,
of a&ion, look and utterance, even fo far as to
make the hearts of fpeAators fhrink, and to thrill
their blood ; indeed, every afliftance from externals
is given the aAor, fiich as daggers, bloody hands,
gbofts, &c. but thefe muft be treated judieioufly,
or the effed, as I have fometimes feen it, may
take a ludicroustum.

Through all the foliloquies of anxious reflexions
in the firft ad ; amidft the pangs of guilty appre^
henfions and pungent remorfe in the fecond ; through
all the diftraftcd terror of the third ; ail the impe*
tuouscuriofity of the fourth, and ail the defpara-
tion of the fifth, Mr. Garrick (hews uniform,
unabating excellence ; fcarce a look, motion, or
tone, but takes poffeflion of our faculties: and leads
them to a joCt: fenfibility.

As Shakespeare rifes. above himfelf in many
places, fp does thishis greateft and be(l^cot)[unentator^
wb9 not only prefents his beautie to the imagina-

P % tion,

^o8 The DRAMATIC CENSOR.

jtion, but brings them home feelingly to ^e, iicAt i
f moDg 4 tboufand other inft^nces of alaigft ittx^or
xnantic mtrit^ let us turn pvir r^cplle&ion of)}y, to $
few in the charader of IV^c^eth ; who •ever iaW
the immortal aStox ftart at, and trace the imagk.arjF
^agger previous to Puncap's murder, without em-
bpdying byfyippathy, unfwbftaptial air into the ^
Jar(ping (hape of fuch a weapon ? Whofcyer betrd
the low, but piercbg notes of His voice when the
^ed U dom^ repeating thofe inimitable paiTages
^hich mention the (leeping grooms and ipurdi^r of
Peep, without feeling a vibr.atiQn of the nerVes^
Who ever faw the guilty diftrai^ipo of features to
^umes on Banquo's appea-rance at the fe^, with-
out facrificing reafon to real appr ehenfion from a
fnimic ghoft y who has heard his fpee^h, affci xt<
Reiving his death wound, pttered with theutfhoft
9gony of body and mind, but trembles at the i^
9f future punifhmcntji and almoft pitiesjbe escpii'ing
wretch, though ftajned with crimes of the dccpeft
0ie?

. fheatrical performance to mod fpeiSUtors appeari
9 mechanical difpofition of limbs, and a' parotted
mode of fpeech \ fo indeed it really is too oftei^
but intrinGc merit foars far beyond fuch narrow, bn?^
fen limits, (he traces nature through her varioui
windings, dives into her deepeft receOes, and
{hatches ten thoufand beauties which plodding mer
thod can never difplay 5 the dulled comprehen*-
Ifion may be taught to enter on this fid^ or that 5 tQ
ftand qn a particular board \ to raifc t;h? voice here.

ip^j

The DRAMATIC CENSO R. 105

Bod fall it thH€ ; bot uiilefs motion tnd uttj^ranee
are regulated by a cultivated luipwledge of Ui^, and
ifilf born intell^nt feeliogSy no greater degree of
excellence can be^ stained than unaflfeding propri*
ty. 5 Jikc a fair field whofe native ferrilky offcMl pro-
duces a beauteous luxuriant crop of fpoiltaneousr ve-*
getadon, wbiich art can only regulate, not enrich i
Mr. GAitRicK^s matdilefs genius not only capti-
vates onriportive fenfes, but alfo furnilhes high re-
liQied fubf^andal food for our minds to ftrengthen
by.

Mr. Qvivtj whofe fole merit in tragedy was de-
elamatton or brutal pridCj was undefcribably cum*
berfeme in Macbeth $ his &Ce, which had -no pof-
fible variation from its naturd grace, except flern-
pefs and feftivicy^ could not be expe(Sbed to exhibit
the acute fenfations of this charafter ; his figure was
void of the eflential fpirit, and his voice far too mo-
notonous for the tranfitions which fo frequently oc-
cur i yet, w^derful to be told, he played k feveral
years with confiderable applaufe.
- Mr. Sheridan (hewed more variety bf afting in
this part than any other, and made an aftonifhing
good ufe of his limited powers ; without any ex-
aggeration of compliment to that gentleman, we
muft place him in a very reputable degree of com-
petu>n ^th Mr. Gar rick in the dagger fcene,
wd at,the fame time confefs a doubt, whether any
performer ever fpoke the words, " this is a forry
figbt^"^ bettcr.*-as to the third, fourth,Jand fifth afts,
his meaning well, was all we could ever perceive
tQ recommend him.

Mr.

tiO The DRAMATIC CElfSOK.

I4r. Barry as ^h capital ador—iridecd a very
capital ofte in his pfioper caft, made,^ inour com^
pircb^iifil^ny but a lidcewarm affair o£ Macbeth, his
porous harmony of fettut-es and voice, could but
faintly, if at all, deCcftbe pafliotls incident to a ty^
rant, in fuch circuoiftances as. he is placed. ; htsconn*
manding Bgtire, and other fequtfucfs^ pteferved hiin
iironxbeing^nfip^d^ though:f^r bene^Jiimrelf; .

Mr. ppw5LLT--light li^ the afties. of the refpeft*
able dea4T— w^ tseyoiidj d^ubt, pirtially received
in this tragedy ; the rcquifice force of expre0iqri
and 9 ,prpper difppfuipa:of feaCures- were ti^ndrig ;
^ftcr thcmurder, his feelings; d'v^indkd into a kind
of boyiHi whintperingy^nd his countenance rather
dcfcribed bodily, than mental pain i in the /third
aA, he feemed unequal: to : the arduouS; tatk of de>-
fcribing extreme horror, ^nd in the fifth, Macbeth'a
weight ^f defparation bore him down ; even ther fo-
liloquies appeared too fententioufly heayy for:his:ex^
prefiion ; as his playing the part was cert^nly matter
of choice il^I am Torry he ever nliftook his own abi-^;
Jities fo.much, nocwithftanding he met public in-
dulgence, a compliment, in fome meafure, due even
to the failings of a performer, who ; dlfplayed fa
much intrin0c merit, as he did oa nK)fe fuitable.
occafions, . .V , ' ?

Mr. I:3(oLLAND, that induftrious, ufeful, labo-
rious^. imitative aftor,: idolized his great inftru6tcr-
too muph to beany thiiig original ; in Macbeth we
deem him particularly unhappy. j , aiming to be
great, he, firequently loft, all trace, of. charafter. : un-.

: T tunably V

I

The DRAM AT I C CENSOR. 1 1 1

<unably ftifF in all his declamation ; mechanical in
adion ', ungracious in attitude ; afFefbed in feeling ;
^inharmonious in tones ; irregular in emphafis j and
wild in paflion ; yet having an agreeable perfon,
Significant afpeft, and powerful voice, he often
pleafed his audience, and kept attention aMrake,
while judgmemiwas obliged to flumberj or fcefc
fafety in filence from popular prejudice*

Aitiong nlany theatrical circumftances much to
be lamented, is that terrible neceflity wbitrh forces
Mr. Smith into an undertaking fo oppofite to
every one of his requifites, except figure 5 we are
confident his good fenfe agrees with us, that fad*
dling him with the part is an impofition upon that
good nature and integrity which ftimutate him to
work through: thick and thin, for the fupport of
Covent Garden houfe.

. Macduff is a part of no great adlion, except on
difcovery of the King's murder, and the fburth aft
fccne ; Mcffrs. Ryan and Havard both did him
great juft ice, yet we muft be of opinion that Mr,
Reddish depifts him with fuperior ftrength and
beauty ; his feelings are manly, yet tender ; fpirited
without excefs ; and to us convey whatever an au*
thor intended, or an audience can wifh.

Banquo's chief merit is as a ghoft 5 here Mr.
Ross made the moft ftriking, pifturcfque appear-
ance we have ever fcen, and with peculiar grace
even beautified horror : All the reft of the men in
this play are unworthy notice.
- Lady Macbeth, as to the deteftable compofition
of her charafter, has been fufHciently animadverted

on .

i

J12 The DRAMATIC GENSOlt,

pRi therefore; little more is necefiary tb^n to dbktve^
that though there does not appear much call for
capital merit, yet feveral firlt-rate a£b*efies hav^
made but a languid figure in reprefenting her.

Notwitbftanding Mr$«. Wqffinot.on was ex*
tremeJy well received, and really did th^ part as
weU as her deplorable tragedy voice would admit ;
we mud place Mrs. Pritchard foremoft ; who
made a very }ufl: dtftindion, in the fcene where
Banquo*s ghoft 'appears ; between reproving Mac?
beth^s behaviour with paflion, or the ana^iety of ap*^
prehenfion^ left he (hould betray his guilt ^ this lat«
ter method Ihe happily purfued, and here,^ as well
as in thefleeping fcene, gained manifeft fuperiority^
Mrs. Yates, at prefent, comes neareft the point oi
praife, but certainly difplays no very confpicoous
merit in the character; and to mention Mrs«
Barry would be to injure her, as it certainly does
not a^ all coincide with her capabilicies^

The witches I fhould take no notice of, but for
a fuppofed amendment in Ipeaking and drefling
thofe characters at Coveot Garden ; as beings
out of the courfe of nature^ Shakespbare fur-
nifhed them with a peculiarity of fty}e, why theii
(hould we not fuppofe he meant a peculiari-
ty of deportment and utterance ?J He certainly
did, as much as for Caliban ; a languid proprietf
of natural exprelTion deftroys in them» pleafing
and charaderiftic oddity — ^as to drefling them in
the Sybillic tafte, it makes them rather Roman
than Scots witches, ^nd facrifices eftablifhed na-
tional ideas, at the fhrine of falfe decorum, for-

• 3 did

n^ieST";

Ihe D^lAMATICCENSOil. 113

did appearance, ugly features, and advanced age,
dubbed any female a witch in the times of credu-
lity-; even now, a very dJfagreeable woniany^ bent
with age, and virrapped jn , fiUhinjcfs, is ftigmatized
with that title, though not lb fcrioufly, north of the
Tweed ;.p^y, Macbeth himfclf ftiles thttrTMbf
hags, raoft .certainly alluding to perfonal appear-
ance.— If an alteration of drefs is to take place In this
play, I could . wifti the charaftiers were dreffed in
habits of the.tihdes, which wpuld be pleafing, afid
we apprehend neceffary. V ^; . i

Macbeth, fpr its boldnefs of fentiment, ftrength
of yerfification, variety of paffions and preternatu-
ral beings, defer ves to be effeemed a firft rate trage*
dy, containing a number of beauties never exceed-
ed, and many blemiftes very cenfurable ; daheer-
^ pus in reprefpntatjon, as has been faid, to weak
. minds ; unintelligible to moderate conceptions 'in
..many places, »upon perufal ; therefore, chiefly calcu-
lated for foundvjnderftanding, and eftabliflicd rcfoJu-
tion of principles, eitheron the ftagcor in theftudjr.

TH,E

114 The DRAMATIC CENSOR.

tHE BEGGAR'S OPERA,
' Written by Gay.

N

Otwithftanding we confcfs a partiality for m»-
fic whetv jt is coir/pofcd of fwect, fignificant and
perfuafive founds,, yet the Opera, ferious or comic,
but efpecially the former, is a fpecies of the drama
not at all defenfible ; it carries abfurdity in its
front, and abfolutely puts nature out of counte-
iiancti to prove this would be fuperflupus, as we can-
npt pay any reader fo bad compliment as to fuppofe
that a fingle hint does not bear fatisfadory convic^
tion.

Shocked as every man of real tafte, feeling and genius
mull be, at the predominance of thofe dear-bought»
uneflential exotics, Italian operas. Gay had a mind
10 exercife his unbounded talent of fatire againft
them; and that goo4 fenfe, a little embittered,
might go down with a more fafhionable gout, as .
apothecaries gild pills, he called in mudc to his
aid, and fuch muOc too as was relifhable by, not
caviare to the million ; thus, as I have read of
fome army, who defeated their enemies by (hoot-
ing back upon them their own arrows, lo he (truck
deep wounds into the emaciated fignori of that
time, by (hewing fuch fterling wit and humour as
they were unacquainted with, decorated with the
reigning tafte of the day-^r-the. thought was happy,
the execution equal to the deHgn, and the fuccefs
fuitable to both.

In

w^

The DRAMATIC CENSOR.. 115

wggar s Opera*

In the very name of thi^ piece, the author fecms
to have ifTued z keen (haft of ridicule, and making
the author a beggar is a noble farcafm on fortune
and public tafte, which have fuSered mod excel*
lent talents to pine under a thoufand difadvantages,
of unmerited penury and even contempt ; no one
knew better than Gay the neglcd which too com-
n^only attends, literary merit *, he knew, felt, and
with great poignancy of expreHion declared it.

This piece opens with Jonathan Wild, the reign-
ing thief-maker and thief-taker of that time, under
the title of Peachum, perufing his tyburn-rcgifteri
his fong, in -eight lines, contains more Qf the fpirit
of truth and fatire than would animate fome poems
of eight fcore ; the fucceding fcene with Filch ex-
bibits many excellent remarks, and his account of
the gang when looking out for proper facrifices, is
|)0t only an admirable, but a very ufeful piAure to
the profligate j Mrs. Peachum's expreffions of plea*
fure, that there has been no murder committed for
fome time recommend her to favour ; and Peach-
urn's reply, (hewing what money will do in criminal
profecutions, is^ I am afraid, too juft ; mentioh
of Macheath naturally falls in, and we are pre*
pared to receive him, at lead, as an agreeable high-
wayman : his attachment to Polly comes aptly into
the converfation, and the plot very properly begins
to dawn.-— Speaking of Polly's being in love,
Peachum difcovers a very fuitablc felfithnefs, and
where he remarks of what fervice flie may be to
fcim, by afting on political principles^ the exprcf-
.fion^ as well as fome preceding ones, glow^s .wi;:h

Q 2 fatiric

U6 The D It AM A T I C C E 1^ S'OI^. .

latiric meaning—" My daughter to nie IhdUld be,
*' like.acourt-IacJy to a tainiftcr of ftite, i kdV tb*
^^« the whole gang."

Mrs. Peachum's fcene with Filch hi^s nbtftidg buf
feme ftrokes of low humour to recoftimend it, yet
in that light is very fatisfaSory, ^nd always WOfkif
ft very lagghable efFeft. x

Polly is introduced by her father under fuch cir-
cumftances as engage favour ; her mother's vio- .
lent entrance is much in chat'adtcr 5 the famtirig too,.
and the remedy for it, are powerful burlefque on
fimilar incidents to be met in graver pieces ; the
daughter's filcncc on her marriage being difcovercd,
is a very probable effefl: of confufion and appre-
henfion, nor does a word of the confequent dia-
logue fail of due influence \ the impatience of the
parents, one through pride, the other through in-
tereft, give a fine opening for Polly'is delicate, in-
terefting apology of a fincere pallidh for the mati
(he Kas married 5 and Peachum's defign of taking
off his new fon-in-Iaw, feems the growth of a
mind fortified againft any feelings of humanity.

It is matter of wonder how feveral of biir gay
ladies and fine gentlemen can hear the following
Ipeech without blulhing confcious guilt ; " If flic
*^ had had only an intrigue with the fellow, why
•* the very beft families have excufed and huddled
*' up an affair of that fort ; 'tis niiarriage, huf*
" band, that makes it a blemifh.'* What Peach-
um replies has a luxuriancy of merit, ^^ But mo-
" ney, wife, is the true fuller's earth for reputa*
«* tions J there is not a fpot or ilain but whiat it can

<* take

The B^R AM At 1 6 G Kl^'^ O'ft. ny^

Bihar's Opera.

'^ take ouc^ •/' whkt briHiantj wft* gieft«'al, what?
compared fatire I mounted on the unfhakable batS)^
dftrutftdotttSiis (Bert! frhtiinctf cbrrfaift P Htow-ef-
lEtitiaily fbperidrto an affirt ilatiOrt e^f lihe fente tnffe^
dldnts a'Ad N&, Footers pfedfimt^y ^ to the j^rtltKfete^
iWfr.^ eo&nah's M^n knd Wife, ^hich- diflfercnct ii^
only mentioned here to (hew how much the 6appy
tfititigfit of one man of genius rtiay be enervated by
paffing thrbbgh the iniaginatiort of morfier.

The parents endeavouring ta perfoade cfceir
dafaghtfer that ^n impeachnfietit of the niati ffie tovcs,
aftd is fifer hufband alfo, nrtuft: recommend her to
fheir favour, has fomcthing in it (hocking, yet
^ords a very engaging^ pathetic tranJitron in Pol-
ly's character ; and her foliloquy upon hearing un-
feetl the plan for Macheath's deftruAion, dcfcrvcs
ftiuch better delivery, much more expreffive features
than it is in general fjlvoured with*^the breaks arc
fine, the fentiments tender, the defctiptiOh livdy,
!ill dreficd in a naivete of language, which finds a
paflTage to the heart, by nature's aid alone.

'f he hero is brought fortvard tvtth great advan-
Vamige, the bold fpifited fymphony which intro-
dutes him has a fimilar efFedt to thofe flDuri(hes of
martial muftc in fome tragedies, and he comes
Very opportunely to give the firft aft addrtionat
life towards its conclufion \ Polly's diftrefs for his
freftfnt 'danger, vdry naturally difappears at the figlit
dnd afFedtionate addrefs of her hulband, but with
equal propriety foon returns again, with a variati-
on tvhich'pleafingy touches the audience; his re-
In^ance to -fiy, and hi^SjRnder refolution to part for

tiS The DRAMATIC CENSOR.

Beggar- sOpera*

z time rather than hazard his fafety, ratfes delicate
feelings.

As only the firft fong has been particularized, k,
may be necefiary to obferve, that to avoid repetition
as much as pofllble, all the muGcai part will be
taken notice of in our general view of the[pxece, on
doling the remarks.

In the firft fcene of the fecond ad we are pre-,
fented with a fet of charafters not at all refpedable
by profeflion, yet* amufing, and fomewhat inftruc-
live from their converfation, which however we
deem too full of found fenfe, and genteel, keen fa*-
tire for fuch perfonages — befides there are fome fo*
phiftical juftifications of highwaymen, rather dan-
gerous for difTolute minds ; in thej drama this
ihquld be rarely mi^ddled with, as natural vice gains
more confirmation from delufive (hew and falfe ar-
guments, than natural virtue does from moral in-
ftruftion — however placing even thieves above
courtiers in friendly attachments, as the author has
judiciouQy done in what follows, muft conliderably
palliate the objedUon we have raifed : 6ne fays,
•* Whois there here who would not die for his
friend ?" another replies, *' who is there here who
would betray him for intereft ?" To which a third
returns, ^* Shew me a gang of courtiers who caa
fay as much**. *Tis very plain from this, and many
other inimitable paffages, that our author knew
courtiers in general exceeding well, whatever his
knowledge of thieves might be.

Macheath's fhort interview with his gang meanis

nothing more than acquainting them with the x^j^r

' foa

The DRAMATIC CENSOR. 119

Beggar* J Opera^

fon of his difappearance for fome time ; by Mai
o'che Mint*s mentioning Moorfields as the place oi
their rendezvous^ we may Iearn» that part of the
town was then as reputable as fome fpots of it are
at prefent. — What fucceeds this fccne, previous to
the introduflion of the ladies, and their converfa*
tion, however natural, are by no means proper for
public reprefentation ^ the dialogue has great fpirit^
and is Enlivened by feveral fmart repartees, but the
fubjeft of adion, and the charadters are fo much
founded upon licentioufnefs, as not to be defenfible ;
iinproper prejudicial ideas mufl: arife, and we hear-
tily condemn the whole from this principle, that
vice is never more dangerous than when (he fmiie$»
covering her deformities with a veil of pleafantfy.

Indeed, apprehending Macheath in the midft of
his jollity, by the treachery of two proftitutes, may
convey good warning to fome who aflbciate with
fucb wretches \ yet we are apt to think this fcene is
more apt to enflame the paflTions than to corred: the
condudl of youth ; and delicate tafte muft be offend-
ed at many feotiments too grofs for its tender reliih«

Lockit's reception of Macheath, and his re-
marks upon the fetters at difierent prices, Ihew the
gaoler in true, humourous, yet fhockk^ colours j
it being a miferable perverfion of juftice to treat
culprits not according to the enormity of their
crimes, but ftrcngth of their pocketS«-r^he perplex-
ity of Macheathr arifing from his apprehenfion of
Lucy's reproaches, falls well in, and her timely
appearance confirms his fear ; however, we muft
ag)iin pafs cenfure upon our author for making Lu-

mo rTfce DRAMATIC C£NSaR.

Beggar^ J Ote^.

.fy fpefk.of.ber.Jjoad of iofamy i from a'promijc bf
.marrUge and her jeaJoufy pf PoI|y EwchiMsn, rt|ic
^plotn^ght Jaave beea fviTicJept^y wrPWght up wj^-
.jQut allufiQps fo very fepfgal,, I. ipcan^with x^^t^^o

^, the, audience ; Macheath's endeavouring to Jop.th

^hcrinip a^gpod- humour that iqay fervc hiij^^rticp-

Jar.purpofe, , though ungcnerowjs, is polite sand ^in

.charafter 5, the words wjiich.l^ucy fp^aks at igoj^pg

^ off, " Llopg to be made ,an hopeft wo.gaan,** are. a

filrong. andpleafantftroke of rjdic:Ule agaioft jt^vfe

^who vainly api^gine that virtue is. wmprizf d in .any

cxtsernal ceremtony, and that a cpere compjianpe. JKJth

- eftabUflicdcuftom can fanclify vice.

^ The iatife, which occurs b.etween . ^S9tch^m_f^^

^ockit coi^cerning their accounts, are ^ip^fjterjy ;

^aqd the IbRg»> which I canppt avoid qROting^ ,,ipimi-

•rtabl?;

When ypu cenfur? the age,

£e cautious and fage.

Left the courtiers offended' {bould be|
If you mention vice or bribe,
^Tisr fo -pat to ^11^ the tribe.

That- each cries (hat- was levePdat ;ne« >

I*^ bav^ heai*d a ihort-- anecdote of §iroRobeit
'••Walpole, agalnft whom Gay chiefly brafidiSied
< iiis-pen,cin -refptaof, thisJbng,! wbkhffti^^ied'an

- agreeable - and polfcic preiepccL of mind ;: bekig( in
''the ftag^-boxy at the firft representation of ;the ii^pe-
'*r2Li ft^nH>ft^MV6rral encore attended Lockit's ippg^
' 'andalleyes^^t the fame time: were fixed on Sir^Ro-
X'bcrt, who, noting the mattpr, joined i hta^tilyi in
J the plaudit, -and encored it a fecond time with jiia

fogic

I

fiogl^ voice: ^ whkh npt only bii^ted the pqetic^l
ihafit but gained a general huz^zs^ from the au^
dience. >

71tt thictf<aIfQr ^nd ga6ter quarrelling tipon a
jnrinciple of hanouf^ is alfo ^dmirs^bly farcaftical
iipon: rboft -known fcoun^eh wha pretend a jear
jmif fof rpputatlon, and who infolently quarrel up-
oa fyif|qi>p)es they at^ t<^|ally unacqainted with-r^
iiotbvag is eonimoner th^n for proftitutes to com^
i»fmfi vehement burkf^uf^ alterqacion? about virtue^
md gamblers about honefty.

Lucy's tttferpofition ^ith her father It) favour d^
her gallant^ and his obdurate lefufaU mai^feft a
ftriA knowledge of nature^ as dors her dcterrninar
lion to eflfeftthc captain*s freedom at alay ratej
^ incidett eyfcr fcH tn ftiore opportunely than
PoUyl's cDtraoce at this critical point pf time; it
reduoia Macheath to a. peculiar dilemma^ and con*
trafts the ladies very agr^bly i their different feet
ioga are estprefl<;d with a degree of very nice diilin(>
ti^o;, tendernefs is well oppofed* by veh^menc^e of
Ji&£i;^oo^ and the whde fcene furnift^es extreme
ageoeaJDle aftiQa%-4^Po%'s patience fo long under
fueh oirciimftances, and at laDi: breaking out iota
womanilk rdentment, .is a good delineation of a
female mind, under fome reftraint of delicacy, yeC
ftiTcep^c of pfldvocadoh upon tender points ; the
9ttQrei^ia well conceived) judiciouQy conduded^
ind «»ughc into a humourog? climax ( the timely
iotecisention of Peacbum prevent a£lual hoftilities^^
sodiatifiss a plealing touch of the pathetic ; while
Ucff^ireiblucion of jftealiiig her father's keys (q g|vp
^Toii.L R Mac-

V22 The DRAMATIC CENTS OR,

^acheath his libercy,puts cjrpeAatiot) into a f refh de-
gree of fufpence, and concludes the fecond adl at a
critical period.

A (uppofition of HiiS daughter's cohnhrance at
the captatn^s efcape, gives rife to Lockit's treating
her fomewhat roughly at the beginning of the third
a£t } but, in the trui^ fpirit of corruption, which we
may (lile ex officio, indeed the efitA of his nature as well
as place, he enquires for the perquifite, and is not a lit-
tle chagrined at finding the girl poflefled of genero-
fity.j— In the (hort fubfequent fcene, where Filch is
introduced, we can by no means approve his grofs
anfwer to Lockit's obfervation, that he looks like a
ftjotten herring ; it is certainly orily fit for the me-
ridian of St. Giles's.

The charafter of a highwayman is wdl prefenrcd
in Macheath's making a gaming- houfe his firf): afy-
lum after enlargement, and fitting him up with oc*
cafional finery of external appearance, iheWs the
author not only a judge of nature, bottheftage$
for fuch fort of colleftors general aim at making a
gallant figure, to appear what they are not; and
change of ^ di^efs often give^ an ador fome novelty
with tht audience 5 *this fcene, however,, imports
little mofe than to (hew the difiipated turn of our
hero. '

PfealchiJrti, Lockif, and the tally- woman, Mrs.
Dye Trapes, furnifti us with a difli of coiivefiatipa
cenfurable throughout, though it always pleaies by
the force of a£kion ; the fubrjed is too mean for the
public ear,, the charadbrs mentioned too defpicable
for notice,'' except from the poHcc, and the old
• • * - 4 lady's

The DRAMATIC CENSOR. 123

lady'8 fiQcrc^cs of her abominable trade irtfaipnous. ; I
would therefore recommend feme other means. of
difcbverbg ' Macheath, and heartily wi(h a total
omilfion of fuch ftuflf as no perfon can learn any
thing from, which it: would not be better to be ig-
norant oL

. The defign of poifoning Polly in a glafs of
firong^ waters, renders Lucy a . right Newgate bird^
and makes her, though the faA is not perpetrated» an
objeft of deteftation ; and we apprehend unne,cef-
farily, unlefs we carry the idea of burlefque con-
ftantly in view, and confider the author as. ridi-
culing the poifoncd bowls of tragedy, fo often,
tieedlefsiy adminiftered, and fo often miracMloqdy
efcaped ; another Biliingfgate fentiment :we find
furniihed to Lucy in this fcene, it comes imme-
diately after thcfe words, " I vow, Polly, I (hall
" take it ijionftroufly ill, if you refufe me.**

Macfaeath's appearing in coftody fufprizes and
alarms attention ; his interview with the real and
wouM-be wif^ is very expreffivc of the clrcum-
Itance,, and good performtnce may call forth fome
drops of. pity for a very unworthy objeft.^^Th?
different applications of the female? to their fcveral
fathers call up tender fenfations, buti I apprehend,
tbcy are rather mifplaced 5 for as PoUy is certainly
the leading cha^a£i;er, and offers the moft pathetic
addrefs, hers ihould have come lad; by way of ^lir
max.

The fenfible rcfolution, and commendable though
divided tendernefs of Macheath, in his fqng as he
goes off to the Old-bailey, recommend Wm cpnQ-

' R 2 derably

tn 'Tfee DR AMATI C C EKSO Rs-

ller^bly to favoiiri and {^^ therefore artfti% thrbwa
in. ; . . .

As Itatiat^ opieras depend a good dealpm dancmg
IheritV we Urid Gay has a ftroke eveA 4tt riisr, bf
iotf oducing a hop among rive Neui^atergentrjr^ iOi
lyhich, by way of making a ftrange, yet fackieai modi*
ley , the cdndemned hole immediately fui^bds; and^
like other great men in foaae fertous pieces^ the piptahl
fi^s through all weathersi^^high fpirits, iow fyi*
rits, loVe and defp^s^ir $ he has no lefs tSiaiiten aiki
tt) go through fuccefllvely, yet Jbjiadidwfly vwed
(bat he muft be a bkter bad vocal psrformer in«-
€eed^ ^ho palls l^is audreiu± with them ; the Soi^
lowing fi)ort fcenes betweeh him and >his fribndsi
^ t4)at with tht ladie% claim ix) gneat; lliare df
praife,, iior do they m^rit iny ccnfure*
^ That very UDexp€;aed turn the cataftrofAe t^kes
is thus a^piplogtycd for by the Beggar, *1 |a thii
^vkind of drama, Vis no matocr how abfurdly
4* thii=ig5 ate brqught about— fo you rabbie there,
^^ flin -fend cry a repriew/^-rr^-Thus, by :a kind of
J>oetical, 6r rather operatreal legerd'cmam, hey I
jpafe tTnifery is.gonejj anc^ leaves joy ^nd tcheacrfiiU
jpefe in its placei •

To e^artiitie Hifhie plot of this piece by iftri& rules
tf d^iticiftn^ as ^he author ^ docs notv4>y >any
^neans frretend to regularity^ would be top Tcvicrc ;
yet the unities- are not grofsly intruded tppn, ex*-
9ept in one place— -there are but three (hort fpeeches
find a dance between Macheath's ijclng taken ta
^fial and bis appearing in tte condemned bole»
^hich could fcarcf happen till 4 day afoer 4t teaft^

' ' , • - i as

Thfe dramatic: CENSO R. f 25

is pr rimers, though ioanA gmlty^ are not put there
till after ftntence.

. The dial^ue of this (^era has great cafe, fpirk and
corredbels 1 the fcndments are always juQ^^ though
Ibctietifioesfalanieabk ; the fatire kimitable, and the
fodgs witbout^one exception, bating ihat of Mrs%
Trapes, an unparallelled treafure of brilliant al-
hifions, inftrufihre ideals, fhrevvd tendency, fami-
Har expreflion, and unaflfcded verfification : they
hare the pWn outward femblance of common bal-
lads^ yet teem with a luxuriance of ima^nation,
truth and policy, moft amazingly compaded into
Hn incredible narrow com pafs, which, in my efti'^
matiooH cnndes them to be ftiled the qqintefience of
Inent*

Yet afw tjffertng this impartial tribute at the
fiirkie ^ Gay's genius, it gives us concern to be
under a neceiHty of remarking, that a moral was
tiie lafi: point in his view, if it entered there at all ;
arki, in this refpe<^, a gloomy cloud cads its dark
fhade ov^jT the ihine of prjrifc he muft otberwife
have commanded ; if young minds, which indeed
tlie mttfic he-Ips, leave a theatre untainted with any
pejudicial impreflion after feeing the Beggar's
Op'£-RA i «iF no fooliih young perfon of either fex
admires Macheath as any other than a diverting
ftage-chara£):cr ; if his fliew and falfe courage do
not delude the one fcx, nor his gallantry attrad the
other, then the piece may Hand as inoffenfivc; but
I fear it does not often work an ^ffedt of fuch me-t
^iocrity, therc^fore am bold 10 ^all it a comppfitiaa

made

I

125 The DRAMATIC CENSOR.

Beggar* s Opera m

made up of ingredients much more noxious than
falutary, fo pleafingly reliflied* fo flatteringly
gilded, that fcarce any eye or tafte can refift the
powerful, dangerous temptation; it itands» like
light and heat, alluring paflions, which play like
moths around it, till they fall a prey to thedehi*
five objeft of their delight.

In refpedt of characters, the itien are all errant
icoundrels, and the females, except Polly, vicious
jades \ neceffarily there can be but a very faint de-
gree of light and (hade, which undoubtedly con-^
flitute not only a great part of dramatic beauty but
propriety; for all angels, or all devils, is but a
very partial, uninftrudlivc pifture of human nature;
but indeed our author's choice of charaflers would
not admit of much variety, wherefore we heartily
lament his prodituting fcch exquifite talents to fo
«3ncdifying, or rather immoral a fubje<5t. :

Macheath has fomething fpecious, but not one
raluablc fymptom in his compofition ; hisprofef^
fion is not only to rob men of their properly^ but
fenntales of their characters and peace ; there is an
appearance of courage, without afpark of reality;
for at the trying moment, we find he applies to the
true refource of a coward, liquor ; in (hort, he is
a contemptible knave, yet an agreeable gallant, and
therefore, as we have already obferved, the more
dangerous and cenfurable for public exhibition.

In the performance of this part, fpirited bold-
ncfs of figure^ flafliy gentility of deportment, and
an e}^prcffive, not a refined tafte of finging, ^rc

nccefi-

The DRAMATIC CENSOR. 127

JBeggar^s Opera •

neceflkry *, under this idea of requifites, we cannot
fay chat any performer within our knowledge has re-
prefented; him in a capital manner ; Mr^ Beard's
appearance and manner -of Tinging were all that
could be wifhed, but his fpeaking was intolerable,
and he appeared too much of the gentleman i Mr.
Lowe's voice was more happy, but his expreflion
lefs charaderiftiCy and his fpeaking, if pofTrble,
worfej Mr. Vernon's Mufical knowledge is ex-
tenlive, his merit in afting great, but his figure ra-
ther inadequate, and his voice totally fo ; Mr.
Mattocks is far too faint in appearance and every
degree of expreflion.

If the managers of Drury-Iane would do them-
felves and the public juftice, Mr. Bannister, who
looks, walks and fings the parr, take all together,
—better than any who have been mentioned, (hould ;
undoubtedly be put in poflcflion of it ; and indeed
of many others, which are miferably mutilated by
the prefent pofleflbrs. — Mr. Digges, whom wq
mentioned in our remarks upon Richard the Third,
was not without great' irierit in the captain.

Peachum and Lockit are admirably drawn for
their ftations, and vvith a very natural diftinftion;
the former being more in the world, has more e:^-
tended ideas, more fhrewdnefs, and is a knave of
greater latitude ; Mr. Macklin and Mr. Yates
were indifputably fuperior to any competitors in
in this pgrt j but for general drynefs and a juft cy-
nical, turn of humour, Mr. Macklin ftood, in

our

LtB The DRAMATIC CENSOR.

pm opicuoQ^ forcmofti aic prefent k^docs oot de-
&rve JKHtce at either hoafe*

Lodcic i& obyious and eafy to hitv yet all we
ba(ve feen never exceeded m/ediccritjr ; iooie fink
hitn into in abfolute bkck^guard* which there is
^Q re^foa for i and others feften the aatural gloom
of his ftation coo nioch ; the late Mr. Biert was
we apprehend, the moQ: tolerable of any perfon. for
fcvcral yeari.-^Filch is wdl defcribed by the au-
thor, and never wasV nof never need be bejter eiB-
prcffed than by Mr« Persons of Drury-lane, who^
if it would not fee a> an auk ward compHnnefvc,
looks, deports, and fings thp pickpocket to per«*
fcftion.

. Polly is an agreeaWe young woman, imprudenr*
yet delicate, and conftant inafFoftion} (be com-
mits a breach of filial duty, 'tis true, in point of
her fecret marriage, but fuch parents as hers appear
to deferve little confidence v np cbarader in the
drama has furnilbed fo many young ady^qturers as
tbisy fcveral of whom have made ample proviHoa
for them fclves through her iatroduAion intaUfe^
and, upon the whole, there never wa^a part in
which fo many unequal performers made a tojdraf J
ble dand *, out of a large number in pi^r recollecf i
tion,^ the following ladies defended ccfofiderablf f
praife, Mifs Noblris, Mifs Falknbr, {|nd Mrs, f
Chambers.

Mrs. Pinto fung it better, and brpi^ght mpr*
money by far than any perfon Cnce the ftrft feafofl
of exhibition ; Mrs, Arne alfo had great mufical

merit^

1

r

DRAM JLTIG GENSO*. ^^9

ineiyt».bu^ aoicber <ef tfaef<) poflbflkd^ (badoitf oia^
iognv-^^rs. JCf|rii£]t waa to. the Q]»e^:hcaft9.JfuvJ:0i&
^rocdi alL :vr btve oijCD^ned, and the opljtfi^vfiblt
ijpcakmgr&nidkiringfscithat WQ tfimei^ ^

iinderftanding to be pleaibd.witfc.fcnfibilSty rfc^W^
tenance, emphafis, and fbund, we could wi(h Co
fee Mifs Ma ckl in do the part at prefent.

Lucy is a cbaracfler, who, through weaknefs or
vice, has forfeited her virtue ; fhe is compofed of
violent pafllons, and, as we have ihewn, of a bad
heart; yet, even .with moderate merit, muft
pleafe in aAing s Mrs. Clivb, though (he fqualled
the fongs did the pa^t^noremft ice than any body elfc^
We prcfume Mfsi M^TT.Qlk^would fccw^mprc
charadler and fpirit i||Hli]ij|n JiR]|ft)f e now on the ftage«

Mrs Peachum Via§j»3Cti^l^^ well reprefented
by Mrs* Macklin, and does not fuffcr injury
from Mrs. Vincent j but, wc apprehend,, would
be much better in pofTeflion of ^rs« Grssn;
as to Mrs, Dye, and the other ladies, we (hall
. take no notice of them, as we cordially widi
they were never to be feen agaia.

From obfcrvations already made, wc have (hewn
that there is fcarce any moral deducible from
the Beggar^s Opera ; that it is, upon the
whole, a loathfome, infectious carcafe, cloathed
in an angelic garb ; that it is founded upon fo-
lid fenfe and fatiric truth, yet rifes into a fuper-
ftru6lure of licentioufnefs •, that it is highly en*
tertaining^ not at all inftrudive ; that it is an ex-
quifite biirlefque upon Italian operas, and not a
^fittlc fo . ypati yiciue j that it is inflammatory

Vol. I § with

ije The DRAMATIC CENSOHr

wiih bumour, and vulgar with elegaDce« ia
lhorc» it is one of thofe bewitching CTtts, whi^
offended reafon ihuft wiOi had never been brpughc
10 light, vhile delighted uftp miift lan^t tt^e
inny idea of iu annihila^iv . - '

OTHELLO.

T6e DRAMATIC CENSOR.

io t H E L L Oi

I

Writteil by ^HAkispkARi.

• i

I

T is very much to be wifhcd that it!igii mtttfi
ip^ould rather bend their thoughts to fadniliar cit'*'
cumftances m life, than thoJfe wh|clr concern ele-
vated feeh'ngs and abftraft paflions j the latter may
indeed furni(h matter to genius of a dignified na^
ture, but the fornier thofl etlFeftuatly iippeal td gend*
ral inftru(EUon ; thus we may fafely afl(ert, that
though our author^s Julius Csfai: is , eqUal to an^
piece, ancient or modern, for 4mi>oitance of fgbje^^
greatnefs of bharaftef, and lijbefality of fentiinent^
yet feebler efforts of genius itairy in their nature and
tompofidon a greater degt^ee of focial utility ; not
that we confidel: the noble fpirit of patriotifm, as
too great or copious for any Britiih tx)fom, at lead
an/honeft one ; but it is not fo relatiVe td torn mod
domeftic concerns, as many other feelings wHich
tirork efTential advantage, or overbearing mifery.

Thu^ much we premife in favour of this tragedy
founded on that fever Of the mind, jealoufy, which
DoAor Young mod emphatically calls ** ,the Hydm
of calamities ^^^ a pafSon often arifing in every fta*
tlon of life from (parks of inflammation^ at fiiil
Jcarce perceptible, into ^'a conflagration df thi^
fouir

0th EiLo commences with a f^eiie betweeti Ro^
iiorigo and lago, deligned to let the audience kno#
that the latter Is chagrined at bis general, the Moor,

Sa fyt

*3% the mkUATtt't^mok.

OthtUk

for not promoting hitn according to his defire,and
that tW forihtr h^ a very affoftionate teiktre for
the commaQdcr*5 new married ladyj it appears
plain that the amorous fimpteton is made an abfo-
lute tool tp.tjievdeep defigns^ of lago, who, nit>t
caring to appear himfelf as the Moor's enemy, fets
on the glib-toQgued coxcomb to alarm Brabantio
with the elopement of his daughter ; this fcene is
\eclL written, but the p^fTages hereafter pointed at^
are egregioufly offenfive, and if 'performers will
liot, voluntarily ofi^it them, ought to be condemned in-
,to obfcurity, at leaft from the ftage, by public re;
puirt6.--*-Ia|;o^s iecpnd fpeech to Brabantio under the
irin^ow, beginning, ** Sir, you are robb\l,** is moft
grofsly conceived 5 and what immediately fucceeds
tbcfe words of tb? iame charafter^ if poflible^ worfe^
** beciRife we come to 4o you fervice^ you think us
rijf6aQ§.*' Iag6'3 departure and leaving Rodorigo ta
be the old Senator's guide is very poHcic.

Upon appearing, with Othello we find the double-
dealb^g Ancient, working into Othelb's^onfidence by
^ecioms pro^elTions of attachment to his inclination
and intereft; which prepares us for his future mfi^
dious tranf^^ions \ while the Moor s contempt ot
Brob^tio^s refentment, (hows that, true dignified
fecuruy of n^ind, which confciou$ innocence bellows
-r-the following fcenes till he. appears before the
fenate are rathcf triflfng, favc that a meiiage from
the ftatfe /aves Othello the difgrace of going as a
prifoner. . .

The fenate fcene has ever been deemed an impor-
tant one, and inclecd with confidcrable jaftice \

the

the Dramatic Censor; ig^

*the psHernal fedidgs of Brabaritio iditd the generous
tohfidtnce of OtiRrflo are well fupported;^ but the
charge of gaining Defdcmoria by fpells arid rried?-.
ciites, however corifdnant to a Venetian law, againft
fucii pradliecs, I could wilh had been rejeftedby Our
author! for the farhefeafon I urged againft witches ;
the gfcar'probabHity of fuch tharaders, and chimci
lital notions impreffing; "irrational ideas upon weak
minds ; indeed Brabantt6*s reafon for fopjfoGng that
liis daughter could not have been won by any fair
means to a match 'fo fecmingly*^ prepoficrous, fe
ftrongi but not a fufficient: apology for h\i charge^
which fllo^s him like fome tnodcrn fenators to be
fione of the ^ifeft — King James wrote a book of
Demonolbgy but can ahy man in hts fenfes Call it t
rational, though a royal produftion.

In4iis firft addrefs to the ftnatc, we perceive thi

Moor apologizing with ill the fmoothnefs and flowr
of eloquence for his deficiency in that refpeft, he is
nervous cohcife iand figurative, therefore his modeft
opinion of himfclf feem ftrong fymptoms of afFeftii-
tion, wefiiid Brabantio in his reply poflfcired witli
the true old womanifli, credulous bbftinacy \ flick-
ing: elofe to conjuration^ which indeed the diikp
very properly rfcprove^.

Othillo's narration, though litef ally fine, flib-
jefts him to an imputation of felf fufiiciehcy ; that
he might relate his iftory for the entertainment of
£>efdemona, and that (he might conceive an afiec-
tion for one concerned in fo many great and intereft-
ing events, is very confifteht with him as a polite
Wairiori and with her as an admirer' of military

134 The DRAMATIC CENSOR.

atchievementsrifing almoflinto the (If nin of romance^
biit for the moor to aim fo mucli at recapitulatioD o^
what mud be known to mol^, if not all of the ftateifr
men who employed him as a gct^eral^ ihews-as ^^
Shakefpeare unbridled fancy» and ftudied more gjivh
ing the performer afine fpeecb, than preferving deli-
fcacy of charadcr, yet whatever obj^&ion wc riuf^
is much, if not entirely foftenedf by the great
pleafure it always gives in recital.

Defdemopa'a appearance and candid declaratiofi
in favour of the n>oor, gives a very fatisfadtory rc^
futation to her father^s myfterious allegations ; what
follows concerning Cyprus, we can by no means fee
any neceflTityfor ; as every part of the plotmi^hc
have been prcfervcd with e^ual force, by keeping
the chara&ers all through at Venice; we have de*^
.clared ourfclv^ fo unclaflical as not to be {he
friends of ftri^ limitation, but cannot counteiiance
the introduflion of a fca-voyage, where there is no
.occafiQQ for it ; Othello might have appeared as
much in his. military capacity, by receiving orders
to pdgke difpoQtions at home againft a Turkilh ia«
vaHon, as by going abroad.

The enfuing fcene between lago ^nd Rodorigo
fliews the former in a more extended light of knave-
ry, and his manner of working upon the ihaHow
fopling is happily executed ; however, wc can
by no means approve fucb a character as Rodorigo
in tragical comppfuion ; he is only to be laughed
ar, and that cannot be deemed a proper feeling for
ferious pieces ; befides through the whole he i$
literally a non*e(Iencial, and as he fays himfelf,
% that he is not a hound that hunts, but one that

2 .' •* filW

The DRAMATIC CENSOR. 135

^^ fills up the cry ;**•-— would he were ftatioued

xbpfe fuiublf , not only bccaufe ^c di%FaCes mor^

nnbpDttailt concerns by his Jevicy, but alfo becauft

iiis conferences with lago are upon an offen(i\te fab^

jed^ and furhifli m^ny naufeous ideas, fet« forth in

^grofs^expreflion* ^ . • - '»

c lagO'S foliloquy, which concludes the firft a6l, it

'a matter -piece of villainous machination, finelj^

^tten for a judicious a£tor,- and very artfull]^

throwis pU|: his chief naotive of refeiitnnent againft

the^neral ; but if his exprdHon of jejiloufy had

4)een more obliquely wordcd,^ it trould have been

inore commendable* . ^

): It is very judicious to retrench conQderaUy thofe

trifling fcenes at the beginning of the fecond aft v

but why the folio viring fpeeches of Montano and a

gentleman flK>uld be omitted I know not, lincek

ftprm is mentioned, nothing could be put in their

mouths ^fpedators of ^iftra^ted elements,^ more

natural or more confiftently poetipal than thefii

iihcs ; ' * . t

Mon. Methinks the wind hath fpoke aloud at lat^'t
A fuller Uaft ne'er (hook our battlements i
If it hath ruffian'd fo upon the fea.
What ribs of oak, when mountains melt on them.
Can hold the mortife ? — ^What (hall we hear of this t

Gen. A fegregation of the Turkilh fleet;
For do but ftand upon the foaming (hore.
The chiding billows feem to pelt the clouds ;
The wind-fhak*d furge, with high and monftrous

main^
Seems to caft water on the burning bear,*
And quench the guards o* th' ever*iixed {Kklc.
I never did like moleilation yiew
: Qq th* e^chafed flo9d. tiad.

Had tbe precedbvg poflag^ bolcmgrd to capital
cb^rader^) tbey wo^licl ha.v& bc^n €$xtf\&\y retaioed s
^c in : theatrical paring k ferim^ r^lr* itQ filler
cbefinftlkr pan^ ^s inconfider alblQ «i poflilDle, fi'Qm
g paltry, f^lfifii notion that tbcrebsf they bec^ni^

a better foil to the principal onei; lbt$ itisikf^

^%x3»y,fkK in noaoy^pla^s ; andiatthe fmieiinir
firrions^ both tbc ; author, and public {a(br, befi4«s
li^ precf ding fppe^be^ . ftrc lahfaltf ely; ^0en{i«l ;!•
raHe fi pr q>4r^iive njm^y for ^ef^iye-of Qthf?Ijp>
I lagpV jtrc4ta2«nt3 0f , '^iniiia, mA, his : iieSfi^jJoctf
on wives in general, not only before ftraegsss^ . \»^
even before DeBertima, is bruially unpolice '> a mi*
/cubte &tft «) gt^e tibe for Oxhello'^ arriv^ s . <HS^
iideatlitrJine aftect^is, '^Nay, it is tm^^w^k^
i^ I anj « Turk/ ! ad^niis «o joftificatipn & jst |s
tttiunQd in 4}Q9king by the f^n^ wdfe.gujiiharitiai .
"wfaioh include shdjabovecpjotatloisvro pregnant with
Jieaiatiful ipropriet j.-r-Tfae .. laft Jioe; i of. jl . feriacr
fpeech is alfo fulfortie ; it comes after this, " ;3aJP9
:^ yQtff i^ijuries-^d^vils being pff€n4ed •/* and all
the ancie^tt^s poetieal reflexions basre. a m<ift 4>lenii* '
Jul lack of dcfifablc nveaning % they^ do indeed ve-
rify his own renvaf k of coming firth trains and
ill" J to be pkin, the whole of this fcenc, tilt Jago-s
remarks' on Pcfdemona*s freedom tvjth Caffio, is
cither trifling pr aboniinable •, what depravity of
JlXiadnatipji could tepipt Shalccfpeare to introduce
the words, in lago's fide-lpcech after thcfe, " Your
•* fingers to ypqr lips/* it i? imppQible t^ con--
ceive ;. % they are not only indecent, but other*
wife improper, as they imply an uneafincis at the

fft-

fi^ &igM Ciffio, li^hkh fhouid rather p\ci(t
iWfi; i& irapparcfrtiy Tories for bis purpofe.

Othello's Tihtraricfc ftKfcves and chitmi attention
J^ fo infltfid in interval j the rapturfi of nltetin^
itfe, iftef ftiiituil dahger, U expri^dfed equal i&
e^tfry idei aKfing frbtn afFeSioh of Heart arid firft
df ini^rtatiOn,' and tht intct-Vitw gtvis tiiore fatis-
Mlbrt tJ* fenfibilit^ % l^iftg madfc jadi^^
ifcoft;

lidetftibufn^lS of fehthdtot ^g^}tl pfe^siits unpar^'
cteiikttj^ fe*iweeA fagtt irtid Rodtrf^, e\?di fo tnuch
flis to^ Mthc ^dotatibrr ; indeed to ^6 the fta^e juf-
^^ ffiK tehe is muth iiWd crbmrtietidabjjr curtailed
ill Aijrfeftiitarioii ; lagb'i J^blWy att'd rtietliod of
yii6rkiifj^ up kbderigJ3 tb tjo^rrei with Caffio,
Ipeafc ahafetd gteibi for mJfeiilef; his ftbfequenr
iMfteijo^ offeiftf fome p^K^^^^^^ his bafenefs, by

\ l&rphtgagain Upon th6 ftring bf jealouf]^, ahd opens
hW futurc^ieWs more isrtf lirge i upoh Ms going off
tJA^^ut&or has introduced a herald tb proclaim fef-^
ti^ltjr; and i*e prefume rtor improperly, however
tEe dii^atres reje^ hirh. " „

Bfittging Dthdllo and Beftfemon^ fbt no other '
rfeifoh fhiii to giVc CiOid charge bf the court-virch^*
wttdi a ^eiieifal n^vef dbes in fuCh a miinrter to his
inferior officer, is trifling with the IS«loor*^ impor-^'
tince, slnd nla'kes his return during th6 quarrel, too
idiprobibty fudddn ; lago^s inflammatory JTpeecheS
to CaflTib refpeftirig Defdcmona, and the* cdnfuitl-
lAatTori of the Moor's nuptials, are far too lufciouS
for effentiil' publit fcfcrve, or even delicate privacy

T the

1'

liS The DRAMATIC CENSOR*

— the manner of.working<u{k the quarrel^he Quar-
rel ttfelf, and the drunkeoneis of CafliQ, «re.vioIimC>
iiatrufions upon the decorum qf trag^y.. / ^ *,

CaiTio, like a tame gudgeon, (w,allows :thc .b4k laid,
for him as eaHIy as..any defigning koav^couidl wUh^ .
and- makes as foolifli a figure as aay hot-headed, in^^
cibriated fopl we. have met with : y^ don't fay.^^-
that nature's bounds are at al} violated, ^ bt^t.w^. jcon*
ceive fiich pidures unworthy <he more deBcata^pd^ -
mafterJy beauties of this piece : if any tbifJg qui pal* \_
liate critical refentment, it muft be |he, re^ci^abk,
figure that Othelk) naakes in . (uppreffii^ the rip^ i.^
lego^s able hypocrify, jybich artfuljy crinunatcs thc-t
friend he feems to.excufe -, and CaOio's, inimitable;
refeftions wbpn he is, rathqr miraculoufly^ rcftorod,.
to reafon y lago'suFginghim tO; fue for his placpv,
again, through Defdemona^s influence, is a ^decp anc^f
fcnfible train laid,* full offeeming advantage, fraught f. .
withperils and death ; his turning the eafy, bej?cvor>^
lent difpofition of Defdemona into the materials of;
ruin for herfelf and Caflio, is the very .eQerKe.of dia- .
abolical contrivance, — Roderigo's entrance isp^s-
calculated, for^no other purpofe than to k^ep him in^
fame degree of remembrance, b&t lago's conclufion^
of the aift, (heWs intricate conr^plication, and great,
depth ..pfdefign. ♦

From feveral fcenes fcattered through ouryauthor's,
pjays, we are apt to imagine, he trifled with propd--
cty to rejax his genius, jiyhatelfe could give . birth ^
to what we tpeet at the beginning of the third a£t,
a,clown> bandying ftrange quibbles, and quaint con-

/ cei^

^

The DR AMA'TIC CENSOR. 139

' ceit^ with fome ferenading muficians ; if Shake-
^ Ipeare'i audiehce abfohitcly required fodi pitif&I dia-
^ 'logtle,fuch puppet- (hew wit, tafte n^uft have been
> 'in a viery gothic ftate, truly ; and the queftion natu-

- ' rtUy follows, how the admirers of fueh peddling dia-

- ' ICguej could rclifh the fubKmer .flights of his geni-
• ' us-; we might as well fuppofe one ear to be lequally
^ "driighfcdwith afolo'by Giardini, and-the braying of
'^ ^an'afs, the picking of agrindftorte,or whetting of a.

- 'few-r-Thisadl therefore very judicioufly begins in
' «prefentation with Dcfdemona, -flSmilia and Caffidj

•wJio wc-firid has preferred his petition, and is pro-
'mifed cotjntenance. — 'His diffident, rctfeat upon
•Cttttello'sencrance, is the natural, delicate cScdi of
' a&Qffible, ingenuous tnind, confeious of tranfgref-
* fion, 'and lago's Ihort remark upon that circum-
•4Bancej - cxquifitely. imagined' 5 Pcfdemona's unli-
-mitred gcnerofity of temper beams forth in her
warm method of importuning the Moor in favour
of his liedtenahtj and while it recommends her to

•■ * ■ • •

public favour, gives lago's Tinifter defigns addi-
tionaLforce ; Othello's compliance with her re-
quefl-, though cordial and affcSionate, yet fupports
by its delay the confequence and refentment ' of an
offedded commander; atf inftantaneous pardon would
have Ihewn too much pliancy in him, and muft have
deblilitated the plot, gfeitly.

Nothing can exceed Othcllo-s beautiful exclama-
tion on his wife's going'pff ; it fcems the iqvolun-
ury efFufioh of abundant affeftion, which has fenfe
iid;d fincerity enough rather to vent its raptures in

Ta the

HO Thj DRAMATIC GE!!^?QR.'

the bcloye^ objed*? abfcnce, than ^^zjdy pjr. flattq^-
ingly to her face i lagQ^s diftant, fubtlie cqtraiice
Upon tbe gran^ part of his defign, is admirable, ^
is ]ndted^t)e whole progreis of this fccne. wherein
Othello ftieyirs much qpennefs of temper and warm^
of hearty both which his infidipus s^nciei^t yorks qn
with great judgment and propriety i the doubts ]^e
raifes wUh f^ch hypocritical diffidence, s^rc judji^«
ouHy fuggefted^ and Othello's impatient curipfity»
(extremi^ly natural ^ lagp's reEedions upon the f^^ '
peripr yalye pf a^i7^4 ^Ji9«^, to richer, ar^ fp wc^I
^npwn, th^t quoting them would be fopcrflvipusrT^
his pi6ture pf jealoufy alfois amazingly ftriking, aqd
Otbcljo's g<gncrou§ diCJain pn being fuppofed fl^if-
pabte of fo illiberal a paflion, moft nobly ejfpiftf^
cd-^hp^ pjcculiacly pleafipg, nay inftruAive^ is b^
fpeech tp th^t purpofe ? I muijk pre£;nt i% ^^ps^agf^
4id reader.

Why, why is this?.
Thiokft d)9a I'd ipal^e » lift of jjpalouijr.
To follow fiill ^he changes of the moon
• With frefh fiifpicions ? No, to b^ once in dpu^^
Is oiice to be refolved. [Exchange me for a goat.
When I (ball turn the bufinds of my ibul^
To itich exfufFolate and blown furmiies.
Matching diy inference] 'Tis not to make me jeakm^
To. fay wy wife 19 fkir» feed; well^ lores company. $.
Js free of fpeech, fings, plays and dancfs iifc;U | *
\Y^here virtue isj tbefe are moft virtuous; .
Nor from mine own weak merits, will I d/aigr

Tbc AnjJleft fear, or idoi^bt of bcr revolt*

W^r

Tha p^Jli^ftATIC CENSOR.

And on the proof there is no more but this» '
Away at once with Love and Jeaioufy.

The. inc|ofcd| Pf ff^^ U gencr^ly pmi^^^^

ftag^, and vft^ apprchepd f rpppjly-rrey^nr tbinp wfeiif h
fol)oy^s riles By fuchjuft de^re^^ and fujch cogi-
pleat artifices are uf^d to in^prpye )ippn the MoorV
unfufpeding nature^ that though vie ^()^(l: pity, we
we can Mrfl.ly blaKpe the agitappn be is thrown inta
—the ^ntcqd^iS^io^n, ^f pcfdcmopa tp ipt^rrupt the
fcenp already lippg $«it(H?g^ botii f^r the iqadience
and pe^fpFm^, is m^ judmoi^i ^Bd the littife
tircumftance of ti^: handkerchief veiy well con*
ceived ; lago's making it, though apparently ia-
fignificant, an inftrunicnt of importance, proves
the author well acquainted ¥B;ith the natqre pf jea-
loufy^ indeed^ it is aftonilhing hoii^ 4nv critics

couJ4 ?^yU at this iofide^t, ^ fymfi have done,
after the foJlfwiijg: un^y g»ble ^m^ogjt iv iti

•^-r^Txiflesi light af air
Jl^ to t^p jf alou^? ?9n^i:i^S!l^PjH^. I^tpijjf
As proofs of holy writ

4^0K pfcfon wnaficjMainted; with. Shi^cfpca«?s
sftonifliing ideas aiad unUioi^d expreffioo, would
. 6ip|^f$ Qth^Ufi hadi reached the top of bk bent,
in his iCooferoMie wkh^ lago already mentioned, yet
lye Bodv bhn retiirQing, filled with feven-fold rage^
fyA a^nft ^t perfen .who has made him acquaint-
ed wth bi9i mifery, and bext aga^nft bi& unhappy
injH?^ vifp-rrThe^-c newr WM, amjdft many other

W)^r»UsU(») i);aii||es, snfiOK

ma?-

The D R A M AT I C CENSOR. -1-42

max^of paffion than what IqIIqws,^ and qqiCeJufti-
~ fiable, though poetical ; for Othello bcjng ena-
moured of fame and the military "charafter, which
be fuppofes tiis prcfcnt difgrace will render hini, un-
fit for ^ it Naturally arifes, that they fliQuld occur
even in the very whirlwind of rage, which, on his
' ieeipg lago, rifes ftili higher, and carries the human
Bcart as i^r as it can go upon fuch an occaHbh.

I had been happy ^ if the general camp
(pioneers and all) had tajledher fweet hody^

*' '^ ' So I had nothing knowrt — Oh^ now for ever - '

^ ' Farcwel the tranquil mind Ji— Farewel coirtclit ! -
FkrewF thfe plumed troops JAid the kigwar^ .

.». . Thafmake ambition virtue t^^Oh fercwd !kw .

. ;. ' Fai^wel; the neighing {leed and the fliriU trump !
The fpirit-ftirringdrucp, th' ear-pierfiing-fifeji
The royal banner, and all quality, ; . \,
Frlde^ pomp, and circu^mftahceof j^orious war !
And', oh ye mortal engines, whofe rude throats ,
Th* imniortal J6\re*s dread'clamours counterfeit,
«* Farewd !—rOl3ieIlp*s occupation's gone ! *

I could wifti the two firft lines, marlced by Ita-
lies, had not conveyed an iridelicate idea, which, if
poffible, is lefs allowable Ifi tragic than comic com-
pofkions, though Shakefpearc lias unhappily load-
ed this excellent play with fuch.
► Ja^o*s fubtle laflfedaiibn of chagrin ^t Othello's
: bdifterous treatment erf • him, and his blunt metjiod
,of expreffion are refined ftrokes ' of policy- td itcal
thie moor's calmer reafon ; and at tte fame time
\plant the dagger ftill deeper in his hearti^After
^ this lint of lajgo's, " But h6w,- how - Umfxdy my
' <* lord ?*' I wi(h he was to ^ Tcirward into his

143 The DRAMATIC CENSORi ,

next Jpqcch, by whieh^a wretched brjeachof dccta-
cy^^^yldj. be avoided ; his cxpreflion I cannot ven-
ture ta quote, and in that fpeech alfo his mention of
goats and monkeys, &c. flioiild undoubtedly be re^
trenched. ,. ; .. . .. ,,

Where he is defcribiog Caffio's dre^m, the pic-
ture is drawn in much* too glaring poloqrs ; the
painting need not have been fo (Irong for a man of
Othello's apparent quick conception . and delicate
fenfibility ; the handkerchief is extremely well in*
trod\iced, and Othello's dreadful refolution, .what
might he reafonably f xpefted JProm, a precipitate^
vindiftive temper, perplexed with iiich violent ex-
tre^q^es; howeyer, ^ecjqnot approve thealDmila-
lation of his refolution tp the Pontic fca, which nc-
ver feels an ebb ; though the thought is beauciful,
it fuits not the circgmftance of charafter.

Why Emilia, in the (hort fcene with Defdernona,-
where Shakefpeare has again produced his facetious, ,
word-qatching clown,* Ihpuld throw out a hint of j
QtheUo's being jealous, or why his w|fQ fliouI4,
fuggeft a thought of jealoufy of him, nrierely for
lofineai) handkerchief, though a particular one, is^
noteafy to accpunt forj the re-entrance of Othello,^
teeniing with cpnfirmed rage, fills us with anxious
expeftation, and his being confined to the fingle^

circumftance of the handkerchief Ihows that our

_ ' - *

author knew how to make the fm'alleft matters im-"
portant; yet we know not for what reafon magic v
Ihould be placed in the web of it, unlefs to flartle
Defdemona, and to give the author an opportunity
oT indulging his fancy in fome fine lines ; Defde-
J mona's

144 fhe tikAMki'it C^U^bK. '

nit^n^i u^rrg Cuttiffi Mt St fu^l^ i^ tidie is txtiU
lehtly eotiMvicf if6 itiistiii kef \\iMh6 M itiUfe i
and his |>VeHIbg Qii point, iUit he t\ipp6(^i her
zhM to heit thrbtygh guU^, HcWi ya^^MHi eijiidi
CO any other paflage in the play.
■ th<; fbn'OiOJh^ tpttci ef ^ttiilii « liaBIi to
C¥6 cA)|e^i6hi ; ^i thi M llri«i Tenths iihhed^i^
to protfeiiii a groft brfe'ath 6f firtie, ind Wict aj"
^ofe ^hidi c6m'e aft^r ^xKitii^ ^ AiiithiiiM aAdfidn.

'tis tiot a year or two inews us a m^n,
Th°^ are aU but ftomacB, and v^e are'alt btA: {oM S
•fTiey eat lis huhgWy-^i^d, 'i^hiiH tKn^re fUf,
fley klS is vip i^tt.

' As to tht mtienci 6ti^ri ffbtlf ffie firft libi b|f'
fome critics, that it p1<ce^ Othello's nd^tialkfo tat
back as 6M of thd periods cbei'dn meh^idn^'edf, U,
I apprehend', a ft rainid itit^rpr^tatibh • for, if th^
li6f Whb piayi MtnlM I^y's ariy eiriphafis oh the
ttiro pciitim ^oi-ds, and ex^reflcs tb«i laiHi Moll
fbrccibly— *^^ 'Tis* Aot^y^ir 6t Tftvo mews" us «
« ihart,'*— th^ri the fcrife fe dbvioufiy this 5 iiovT
can you, #hb haVe bceri fd ihdrt a fpaec married,
think 6f knowing the tilirhs* of d toah's :ten1jper,
i#hich requires even years to explain ? The fol-
lowing fccnei whrfre Iag(y and ^allib iri cfoheeirried,
Iiait nothing material in it, uhtefs Itieivihg more
gbodriefs o^ heart in feefdembnii and more hypb^*
cHfy in lago, who artfulljT fcems to Wonder at tU
ftoftii hittirelf has raifed*.

After this Iceiie, which property concludes thif
tl^rd z& ^ it is played, Shakefpeare brings iii 9^
mere cxcfelceace of the plot, Biahca, CaffibV

cour-^

The DRAMATIC CENSOR. 145

cooreezarTy of whom, being totally excltsded from
the ftage, we (hall fay no more than cxpreft won-
der how che author coakl incumber his piece with
iuch a defprcable non-^effential.

As if the moor had n&t been fufEcicndy wrought
up, which certainly he has been, Shakefpeare, kk
fcyeral pages at the beginning of the fcmrth a6l,
laborioufly, and froni fever^l pafTages we may add,
in a beaftly manner,^ endeavours to thrpw frefti fuel
on his flames, extending the matter tp fuch a
kngth as adtion could not render fbfFerable, and in
jonany places tending to the ridiculous y wherefore
we would rcconimend pmiflion of every line which
precedes-^ ** Get me fome poifon, lago ;** the
fpace of time fince we h^ve feen Othello befbre,
and the tepiper he laft appeared in, fufEcicntly juf-
dfy his coming on here, , fixed in the refolutioh of
f^rriiicing his wife.

Lodovico appears deputed by the ftates of Ve-
nice on a yery. odd errand, no lefs than difplacin^
Qthello froflu the government of Cyprus, and fub-
itjtuting CaQio in his room ; our author knew
Kttle of, or would not underftand any fort of mili-
tary regulation, when he qpuld raife a fimple lieu-
tenant at once to be governor of an ifland, which
was thought worthy the care of the. general in
chief, a? we have reafon for fuppofing Othello to
be ; indeed we can perceicve no ufe for the new
charadter of Lpdovico •, however, the fcene where
he firft comes on, gives great fcope of natural
and powerful a6):ion in Othello, whofe jealoufy pre-
dominates over every other confideration •, lago^s
Vol I. U ' giving

146 The DRAMATIC CENSOR.

IPtbelh.

giving a bad im predion of bim to Lodovico, is

much in charader.

Othello's founding of Emilia is very fuitable,

and his following interview with Defdemona, mclc-

ingly pathetic. lago's viperous heart is rendered^ if

poSibic, more odious by his pretended concern fpr

Defdemona's pitiable (ituation, and the miflf between
him and -Emilia rifes well to ftiew her refiftive fpiric

in contrail to the gentlcnefs of her miftrefs.-— After

Defdemona has made an interefting exculpatory ap

peal to Heaven, the ladies give place to Rodo-

rigo, who finding himfelf dallied with, upbraids

lago with finider dealings ; as we wifhed from the

beginning, not to fee this difgraccful mufliroom of

tragedy, we (hall only fay of this fcene,.that it fcrves

the intended purpofe well enough*

The Moor is prefented to view, at his next en-
trance, in quite a different mode of behaviour, he is
determined on his great revenge, the plan is laid,
and therefore very naturally, he wears a partial
calm, in external appearance, which is like that ge-
neraly proceeding the elementary (hock of an earth-
quake 5 the prologue of more affured and terrible
deftrudion \ if Defdemona was to chaunt the lament-
able ditty, and fpeak all that Shakefpeare has allot-
ted for her in this fcene, an audience, as Foigard
fays, would not know whether to laugh or cry, and
jSEmilia's quibbling diifertation on cuckold-making,
is contemptible to the lalt degree.

The fifth adk commences with lagp appointing
Rodorigo to the honourable poft of an aifaflin,
which we think Ibmewhat like placing a ferpent's

ftino:

mSr

, The DRAMATIC CENSOR. 147

Otbelh. - . -

iling in the tail of a butterfly ; a flrange jumble of
events enfue, amidfl: whicK lago plays at bo-peep
with murder, and fecures the poor coxcomb he has
robbed, by privately ftabbing him ; the introduc-
tion of Othello at a window is quite fuperfluous, and
indeed all thefe tranfaftons might have been referred
riiore properly to narration, which would, nay does
fall very naturally in at the unraveling of the plot :
I own myfelf defirous of having the fifth aft begin
with the bed fcene ; and what -ffimelia leaves un-
told of the fray, would come extreniely well from
Caffid : If the whole was done as Shakespeare
wrote it, and Bianca produced howling over her
gallant, the fcene would be intolerable ; eVchas it
1^, much ihortcned, it rather intrudes up6n more
xnaterial feelings.

There is fomewha^ affeftingly folemn in Dcfde-
mona's fituation, and Othello's appearance when ihe
is in bed \ pity never received a more powerful cat!
than to fee fleepihg innocente at the brink of '^e-
ftruftion ; nor did her tender ear ever catch founds
more pathetically interefting, than Othello*s reflec-
tions previous to her waking •, every foft Xehfation
is put into a rremulative ftate ; and the fufceptiblc
fpeftator mufl: feel an exquifite (hare of painful.
; pleafure, to fee a determined murderer who moves
us more to compaflion than deteftation, which
Ihould attend fuch aftions, fliews that our author
had when he pleafed,an almofl: niagic power over the
human heart, and could place the paflions upon rea-
fon's throne. — No converfation was ever m6re in
nature, than what pafles between the Moor and his

' U 2 wife?

148 The DRAMATIC CENSOR.

wife? every half Hne, for brevity of expreflion, is
mod judicioufly adopted^ recommends him to our-
favour, without making her lefs pitiable.

The aft of murder is fucceeded by a mod: beau-
tiful wildnefs of confufion ; nothing could be more
happily fancied that ^Emilia's approach at fuch a
crilis ^ the firene with her alfo is carried on with pe-
culiarfpirit and propriety-p-^e revival of Defdemona
ftom a ftate of fuffocation, and her txptring without
any frefii violence, we apprehend to be rather ab^
iurdy therefore highly approve Othello's (tabbing
her with a dagger, after the words — ^' I that am
cruel*' drawing blood, accounts naturally for
gaining power of fpeech, and may yet be mortal-—
ipeaking of Caflio's freedom with his wife, the
Moor ufes fome very grofs cxprelfions— all the re-
inainder of this^aft exhibits an interefting tr^n of
explanations, which though already known to the
^udience, pleafe, as they lead to ftrid): poetical juf-
tice ; however Othello's violent exclamation, be*
ginning, " whip me ye devils,*' is rather bombaf-
tkal and profane — ^^milia's death is quite unne*
ceflary, as it cannot tend to render lago more de*
tefbble than he is already, nor has Ihe done any
thing to merit puniOiment^-^whcrefore it feems as if
Shak£SP£ar£*s tragic mufe determined, like Re-
nault in Venice Prcferved, to fpare neither fcx nor
age, and rejoiced, as Mr. Cumberland has it in his
inimitable prologue of all prologues to the Bro*
thers, to appear

^ From ihouldcr to the flank all drenchM in gore.

Kot.

The DRAMATIC CENSOR. 149

f^otwithftanding fuiddc is a real aft of coward-
icei an irrational and an irreligious efcape from men-
tal jpaioy yet we can hardly blame Othello forapply*
ij)g that defperate remedy to fuch compKcated woes )
and there is foniething very noble in reminding the
ftate of Venice with almoft his laft word«g
that he finilhed his life in the fame manner, whicli
he bad txnce ufbd to vindicate the public honour of
hi$ masters ; lago is moft properly denoted, to ut^
ter contempt as well as abhorrence, and referving
hunfor legal punifhment in its utmofl: feverity, is
more confonant to poetical juftice, than adding h^vsk
(0 ttiQ heap of the dain would have been ; it was ex«
tr^n>ely judicious al(b to wrap up the whole in one
Ipeecb after Othello's death.

This tragedy* upon the whale, contains many paf«
feges fuWinaely beautiful ; a number very triflings
(ome abfurd9 fl^d too many Ijceqti^us, y»t mean at
written by Shakefpcarc— except tranfporting the
charaftcrs from Venice to Cyprus, which Wight
have eafily been avoided-, the plan is foffki^
ently regular, pleafingly progrefllve, ^nd well caK
CQjated to touch rnpft fcnfibly the feeJings of horror
Jttid pity \ the perfonages are well contrtfted, aod
co-derate properly to the main aftuHi, though Ro*
dorigOt Bianca, and the clown difgrace their company
much ; the ftage, however, has baniftied two of
them, and If the third was conligoed to oblivion, it
would be for the author's credit.

Indeed it is to be wi(bed, that inllead of fo many
fyllable hunting editions of Shakefpeare as have ^^
)^ared s a. committee of able critics had unite^I their

abili-

«'»

150 The DRAMATIC CENSOR.

Otbelh.

abilities to ftrike out the inflgnificant and ofTenOve
paffages which fo often, occur ; this would bring his
merit into a more compaft, uniform view, and con-
fiderably Icffen the heavy public tax arifing from
extending his works at lead three volumes more than
are creditable to himfelf, or ufeful to his readers ; luch
an editk)n regulated by all thofe already publiflied,
without the incumbrance of multiplied, conjeftural
noteSjUnlefs there are very obfcurealluConSjif prepared
by impartial ability, would bean acceptable offering
to delicate taftc, and muft, we apprehend, meet what
it would certainly deferve, general fuccefs — fuch a
work we would cordially recommend to Mr. Gar-
rick, and fuch fuitable aflTiftants as his extenfive
connexions in the literary world muft eafily procure
him — we hope what is here offered will be confider-
ed as a hint only, founded on united regard for the
father of the driama, the delicate dignity oftheftage,
and the morals of readers as well as auditors.

Othello, though he does not require all the pow-
ers of tragical expreffion, certainly calls for feveral
of the greateft — he is open, generous, free, fubjeft
to violent feelings, not, as himfelf expreffcs it, tajify
jmIous^ yet rouzed by that pernicious pa0ion above all
violent reftraint; weak in his confidence, partial in
difcernment^ fatal in refolution — ^if we may venture
to fay, that any performer ever was born for one
part in particular, it muft have been Mr. Barry for
the Moor •, his figure was a good apology for iDef-
demona's attachment, even if (he had not fcen a fair,
ififtead of black vifage in his mind, and the harmony

of

The DRAMATIC CENSOR. 151

OtbilU.

of his voice to tell fuch a tale as he defcribes,
"muft have raifed favourable prejudice in any one
who had an ear or heart to feel.

There is a length of periods and an extravagance
of pailion in this part, not to be found in any other,
for fo many fucccffive fcenes, to which ^hich Mr^
Barry appeared peculiarly fuitable, he happily ex-
hibited the hero, the lover, and the diftraded huf-
iband ; he rofe through all thepaQions to the ut-
rood extent of critical imagination, yet ftill appear-
ed to leave an unexhaufted fund of exprefllon be-
hind ; his rage and tendernefs were equally inte-
refting, but when he uttered thefe words, *' rude
am I in my fpeech," iq tones, as Jofi asfeatbend
fnow that melted as they felly we could by no means
allow the found an echo to the fenfe— though we
are not at all fond of this gentleman's aflion in ge-
neral, yet refpeding both it and attitude, particular-
ly when called by iEmilia after the murder, he was
in. this character extremely agreeable.

Mr. QuiN — I am forry to mention him fo often
difadvantageoufly— was — though Othello is in the
vale of years, not a very probable external appear-
ance to engage Dcfdemona, his declamation was as
heavy as his perfon ; his Cones monotonous; his
paffions bellowing, his cmphafis afFe6ted,and his un-
der ftrpkes grpwlin^-^I remember once to fee this
eftcemcd performer play the Moor, in a large pow-
dered major wig, which, with the black face, made
fuch a magpye appearance of his head, ^s tended
greatly to laughter ; one ftroke however, was not

' amifs,

the DRAMATIC CENS.OR. 152

amtfs, coming on in white gloves, by pulling off
"whichthe black hands, became more realized.

Mr, Ross and Mr. Powell were pretty mucfh off
a footing in this part ; the ^former figured it better,
and fpoke mdft of the pafTages as well ; biut (:he lat-
ter appealed more to the heart, and wore the paflions
with natural* grace ; however both were very ht
ftort of that capital merit, a London audience hx^e
a right to expeft*

If it was poffible for fpeftators to be pleafed with
meaning abne, uttered through very ungracious,
inadequate organs, Mr. Sheridan mighe ftand
high in^ public e(Hmation ; but execution being as
necefiary as conception, we can^ only afford him tke
praife of barren propriety. •

lago is excellently drawn as a flow, fubtle, iraf-
cU)Ic villain, dead to every good, or tender feeling,*
iBean, hypocritical and vindidtive, bafe enough to
do any bad aftion underhand; but void of refolution
to avow or vindicate his wickednefs — to paint this
con^piica^, we may add monftrous charader
happily in reprefcntation, is by no means eafyj Mr.
R Y AN in his plaufibility and eafc was very com-
mendibic^ but appeared greatly deficient in defign ;
Mk. Sparks was heavy and laborious, Mr. Sheri-
dan is excellent in the foliloquics, but void of eafi?
and infinuation in the dialogue ; Mr. Holland
hunting after a meaning he never found, and Mr.
Lee crowds in a multitude of meanings the author
never intended; thus ive introduce Mr. MACKLm
to an indifputable preeminence for undierftanding
the part as well, and expreffmg it through the whole
2 with

Thi DRAMATIC CENSOR. ^55

bihelb.

with more equal and fuicafole merit, than any other
performer we have feen ; and this we do not ad^
yarice upotk^ private opinion but from comparative
ykm of the efl^ wrought by him and others upon
. various audiences : to couch otzr praile in very odd
terms, he has got the indifputable, involuntary ap*
plaufe of as many curies in lago, as in Shylock. .
. Caflio is a very amiable, but, except his drunken
icene which we efteem difgraceful to tragedy, a very
uninterefUng perfonage, the late Mr. Palmer did
Itim great juftice, and tbeprefent Mr. PalAcer, a
tiiing young A<Aor does not fall much behind in
execution, to which is added the advantage of a
much more foldier-like appearance, a perfon much
better framed to make women fmlfe.

The babbling hound Roderigo receives confide-

Table pleafantry from Mr. Pyjj r ; but if it is not

proftituting Mr. King's fterling merit, to mention

him firft in fuch a part, we rnuft give him the

lead, and fay, that if the reptile can be made fufier*

able, it is his by hijs performance : which, equal to

feme very arduous taflcs, can neverthelefs. when

occaGon calls, condefcend agreeably and make

triSesinterefting: this is no fmall point of praife; for

many capital affcors, thinking a character beneath

tiieir dignity, throw contempt on it and the audience ;

but Mr. King's great good fenfe and refpeft for

the public, prevents him from fo ridiculous a ftart

cf vanity — I wilh every theatrical gentleman woul(^

follow the excellent example, and comparatively

/peaking, take as much pains with two or three

lengths, as two 6r three and twenty.

Vol. I. . X Brabandio

^4 Th« DRAMATIC CENSOR.

SbtbtttiQ w^Ue concerned is offome inipaFtafiQe»
thcHJgh his cofnphdnt is rat^rGhHdi&; yjeei&yafiidiq
weak eeprs of a facheif claim ttfptOi aiid cdU upon
general fyoipatiiy^ as they Iprbg fiK>m the fair kmv^
tail) of paternal af&dioa: Mx» Be R;aY, though hluln
bofttig in grief was Im cbaiaiSleriftic fauk, Siood weU
in this part ; we b^rT^ had the anxiety to fee Mr^
Anderson murder, and the pain to fiear thtt oof-
tive tragedian Mr. Lo\rs gnowl it forth; isiut nevei
wilh to feel fiioh imeUedtual o^ifery ag^n.

Defdemona is a part of no fliining qualffic^Cjims,
every point of fa^adion that can ari$^ it^m her
unvarying gendefiefs, and more than criticifm ^xwid
clatm, may be enj^jy^ed ftom Mrs. Barry^' who
looks and expre&s it much better than Mo.
Yates, to wtorn alio we nmft pp^r, £nne years
ago, Mrs. Bellamy in tliis charader;

Emilia has much more life than her isiftre& aii4
Slews a 'well contrafted fpim^ Mrs. Ho9icins does
not. fell (hort of our wjlhes, and we remember m
have cecdved fome pleafure from tH»t imcuhavatei
genius Mrs. Hamilton in reprriencing h^r«

To offer a geners^I (^>inion of this tragedy, mr
deem it, .properly retrenched, a moift noble enter*^
tainmetit on the ftage*, and a luxurious, yet whole*
fome feaft for the clolet; it racher wants iMifloefs, an J
therefotie in feme places lies heavy on aSiion ; bui
It ke.eps an texceHent mor^al in view, aiid ibroeablj^
inculcates it all along; the fatal efie6ls of jealoufy f
by well wrought paflioi^s, elevated fentitTients and d
dreadful cataftropbe flawing the very dangecoas

2, QMdt

rr*

ThcDMAMATlCCENSOtt. t^

Othello.

confequerices • of indulging, even upon the mod
probable piioofiy futh (}ernfcioug^ iJngdvemaUe |)re-
judices in the human heart.

Having thrbtigh ^n unaccountable l^pfe 6f me^
mory forgot to mention Mr. Mossop, both ia*tfcts
tragiidy and Macbeth ; it ii hoped ^ l-e^r \4U
accept our opinion of that gentleman h^rei th6i}gti
not in the regular courfe df our p]ah-^no pe?fbOn«?
in our remembtaiice pofieffi» a vdce of nioiQ
ftrength add variety tbaa Mh Mos^op^ e^d w«
bdieve be Underftands his author is weU «s any 6t)ei
yet an infuperible aukwardnefs of aSii3n^ and a
moft irkfbme laboHoufnels of elcprefllion^ rtodei* him
peculiarly offenfive to cli^aiifejudgtiient in Miicbeth %
a number of unlucky attempts at ottitudt^ ungraoe^
ful diftortions of feature, an oyer (trained oflTe^ition
ofconiequence, and many ill-applied painful pSbfe^
banilhing nature, loudly proclaim the tliere ajftor^^
in Othello^ though liable to feveral of the faflfi^
objedions, we deem him much happier, the Mpor^ii
wildnefs of pafllon he defcribes extremely well, and
under all difadvantages mof): certainly (lands iec6a4
to, though far beneath Mr. Barry.

r ,

X 1 t O V g

156 The DRAMATIC CENSOR.

LOVE IN A VILLAGE.

An Opera, by Mr. Bickerstaff,

T

HOUGH as ad vocate3 for nature, > we have
declared critical waragainft operatical compofitions
in general — an inftancc of dangeious refolution ac
prefent-— we only mean to try fuch pieces as theyl
appear^ confidering the fongs as part of the dialogue
•?«*^the piece now before us has met with very un-
common fuccefs, from what caufe it has arifcn, whe-
ther indulgence of the town, merits of perf rmancca
or excellence of the author, may probably appeal
from inveftigation.

■ This opera has fiiffered heavy charges of pla-
giarlfm \ many we know to be true, but the greater
part, we hope, arefalfe; however, fuppofe every
imputation juft, the author might at leaft make the
defence a yoiing clergyman did, who being re-
proached with preaching one of Tillotfon^s fermons,
replied, — '* Sir, if you know this matter, not one in a
•* hundred of my congregation does; I am cer-
*^ tain, it is much better than any thing my own
head could produce ; and I hope you will allow
i do my flock more juftice by borrowing; elfe-
where, than palming my own fluff upon them.'*
Far be it from us to fuppofe this abfolutely our Ife-
thor's cafe, we only mention the matter in a friendly
way to fliew that If it really was, he has a very modefi
and good defence to offer.

This

The DRAMATIC CENiSOR. 157

lovi in a Village*

This piece opens with za air between two ladies,
wherein the piftures of hope are mofl amazingly
diverfificd — in the firft verfe (he is mentioned i^ a
nurfe, a fairy, a painted vapour, a glow-worm fire^
and a temperate fwcet — in the fecond ihe conies
upon us, a foft foother, a balmy cordial, a bright
profpeft, and a fure friend— in the third we find
her a kind deceiver, a dealer out of pleafuits, and a
proprietrefs of dreams ; now admitting every cmio
of theie allufions juftifiable, though I doubt whether
a kind, or any other deceiver ^ can be the fureft
friend — yet certainly there never was fuch a figura-
tive heap crammed into fo narrow a compafs by any
other writer — ftrong effe6t of luxuriant fancy!

The enfuing dialogue of this fcene, which is plea-
fant and natural enough, lets us agreeably into fome
light concerning the ladies themfelves, the old jut
tice and his maiden fitter; but I am forry our bard
flipped by decency to make two well-bred young
ladies fpeak in the following words — '* this liiltH^
** nous father of yours, he follows ihe about the
**^hoofe like a tame goat," to which the magii-
ftrate's daughter, rather knowingly replies — "HI
*' aflure you he has been a wag in his time/* Ro-
fetta*s fpirit of freedom in Ipve is pretty, and the
Tcafon Ihe afligns for her occafional elopement very
iatisfaftory. l.ucinda's touching upon young Mea-
dows's paflionfor her falls well in, and extends our
view of the plot in a pleafing manner 5 it gives Ro-
fetta alio fome fcope of adling in her feigned refcnt-
ment at the fuppofition.

Young

i66 The DRAMATIC CENSOR.

wc only oflfcr a hope that no young perfon will re-
ceive it as a prudential maxim — the four laft lines
pf the fong terminate in a ftrange aukward jipgle — -
left, coft, bkft, loft.

The entrance of juftice Woodcock is very charac-
tcrillic, afibrds a good variation of circumftance, '
and throws the lovers into an unexpected dilemma ;
Lucinda's device to impofe upon the old gentleman,
though not at all new, is at leaft well adapted, the
felf-fufficient magiftrate's abrupt treatment of Eu-
ftace before he knows any thing of him is a naturif
confequence of ignorant pride buoyed up with a
commiflion of the peace \ and that very pride mak-
ing him enter into a contradidtory altercation with
bis precife filler, produces very humorous eficfts,
and indeed ufeful ones to the young pair who are
flieltered by the very pains Mrs. Deborah takes to
defeat their happinefs ; this is making a whimfical,
iand very natural ufe of the juftice's oddity; if any
perfon would wifha more laughable fcene than this
the^ rifible faculties muft be unufually rigid — how-
ever we muft blame Lucinda for mentioning five
hrats at a birth, in her fong to the old maid, it is
not within the pale of delicacy ; when Woodcock
gives a fpecimen of his finging I wilh fo grofs a
depradation had not been committed upon Damon
and Phillida ; befides tho' fung by a humourift I
4on*t think it very fui table to his daughter's pre-
fence, what follows after the old man's departure
Ijetween the lovers, means very little except to men-
Uqp that his obftinacy is a circumftance much in

their

Tlie DR AM ATIC CENSOR: i6i

their favour— in their reciprocal declaration of an-
changiog conftancy a line which might be cenfured
creeps in. r ,

And fair creation fink in night
When I my dear deceive.

The paflTion could not be very lading Which only
continued till night fhrouded creation^ which, to our
view, It does once every four-and twenty' hours; ^t
which time the fun ceafes to fpread his light; and the
ftars very frequently feem to leave their orbits ; if
this alludes to nature's diilblutk>n, as we firppofe^
the expreffion (hows too great a ftretch of poetic li-
cence: in'fhoi't, the whole fong, though imitative
of, is infinitely beneath that of Handel's SUfanna,
vrhofe tune it has borrowed.

Rofetta's foliloquy,. examining into the IJtate of
her heart, is pretty enough ; the enfuing fcene be-
tween her and Young Meadows alfo, has a fhare of
fpirited natural pieafantry; that reciprocal pride
which agitates the lovdrs, and throws them into fret-
lul altercation is juftly conceived, and by no means
ill expreffed 5 nor does the fpirit evaporate by being
drawn out too far j the juftice's appearance falls in
Well, and occafions them to huddle up a kind of rcr
conciliation.

Juftici Woodcock's amorous attempt upon Ro-
fctta is laughable enough; but we wi(h the young
lady had not difcovered fo ftrorig an idea of his pur-
pofe, as to let fall thefe words, " if ever I was to
" make ajlip^ it Ihoul'd be with an elderly gentleman
—indeed all the remainder of this fcene, though arch

y ' \ ■ has

9S

9

i5* The DRAMATIC CENSOR.

has much too ftrdng a taint of indelicacy ; HaWt^otn^
however changes it ft»r the bettn* with bis blunt
agreeable raillery — Sir William Meadows's Icttcr'foi^
' wards the plot — Woodcock's felf-fufikiepcy ki fup-
pofing himfelf fo wife that noiie of his child reri)
n^ould do an indifcreet thing is whin^ljical^ and Haw«
thorn's vindicatiiQti of youth (f^fible. ^ut of all the
poetical thefts ever committed^ of all inftances odF
mending things for the worfe, as my coumrymacfe
has it) fure nothing is equal tK> whac we lluU pco^
i^t t Hawthorn lings as follows : :

My l>oIly was the iairefl^';^^^
Her breididifch)fed theiweefedf ip^g;; ^

And if for fiimmer you would fef k^
'Twas painted in her eye, her cheeks . , .
, Her fwelling bofom tempting ripe^
Of Fruitful autun^n was the type j
But when my tcridertale I tbld,
1 found her heart wsw winter cold.

The mt A thing at t'he'end of the firit line, tht>* jV
fiifiedby Virgirs noted mentiort of Wofnan, is a nidft^
flrangc exJ)fcflion adapted toa favouritfc i!niftfcrs ; and
however fummer may be allowed to glowbn therf'tf^^
of beauty, yet we prefuiiie it tdo felafing d 'fijgurfe
Jbr the eye, which is hot hefe otnamehted With
iparkling vivacity, but the meridian blaze-^^niatk
inow what follows— jalfimilating his niiftfefsS btA)m
to tf«//^»^/ ripenefs, by which we ifind tht fair thiftg
was arrived at,, or pad, the full btotDin of liife, fure
fuch a compliment was never paid bfcfbre ; 1)ut ouf
author having begun with ii)t'ing, Was determirrei
to lug in the four feafons fucceffively at aAy rate.

The

r*

The DRAMATIC CENSOR. 1^3

TheJs^otifiil foog whif h gave birtb to this ftrauge
imitation runs xh^ la the Village Op^a :

. My Dolly was the fnow drop fair.
Curling endifie ii?as her hair s
Th^ im!^^ jifflaininc her br-ettch.
White kidney bean^ her evc^ tef t^u
Two daiftes were her lovely eyiesi
Her Weafts iii fwelling mufhroofns rUe^
Her waift the Ar^iit and pprigbt £r,
But all her heart wa$ cucumber.

If weconfider thU as fung by a Gardener, the al-
lufions appear ftrikingly charafleriftic, though com-
paring the eyes to daijies^ does not convey ^ very
obvious or juftijBaWe ideaj however, kis ^n^p^JR-
blc upon the whok to upline hojv any waiter cwl^
fiumble upon fb inadequate an imiratipn»^ withoRC
any manner pf neceffity for fo doing, unlcfs nsefp
i^iarreniiefs of inventlont 4nd a refoliuj^n tp paake
Hawthorn (ing at aU.eretnts, in a plaintive (If aintacy
^ite djfl^ent f|prn wh^t he commenda^Iy pref<rrv^
thfoogh the reft of the piece^

In the fccoe^ betv^een Hodge and Madge we fin^
fQQre brutality breaking put from the clown, thaa
bomour from cutler of them ; however^ his fongis
f)pc without merit *, |5U>^ta[*s intervention creates ^
jkind pf buftle tolerably agreeable, and thrown ]^^8^
\tiXo a whim^cal dilemma *, the reflexions and ibng
pf Rpi^tt^ upon his behaviour to Ma^rgery areex**
^emelj pretty, exhibiting indifputable truth, an4
fQS3p^ ufeful hints to the fair fex \ her compaflion for
the deluded girl fpe^s fenfibility and gpodjtiefs of
«f iieart — Madge's (udden dcfigh of trying Loindon

Y2 .to

i64 The DRAMATIC CENSOR.

Love iff a Fillage^ . ,

to repair her misfortunecs, is not at all unna-
tural though it feeths ftrangely abrupt.:

The converfation between Lucinda an<i Rofetta,
furnifhes information that a plan is laid for the
fprmer to|eIope with Euftace. — Hawthorn, though
the occafion of his entrance appears dubitable, is
judicioufly introduced as what he fays, not only
raifes an agreeable cqriority in the young ladies,
but the audience alfo ; fome fenfible remarks up-
on marriage and the qualifications of a hufband
cnfue,, whiqh concludes the fccond aft with a ve-
^ ry pleafing and fpirited trio fupported adequately

by the feveral charadters.

Sir William Meadows, a hearty, plain old

gentleman begins the third aft with Hawthorn,
their fcene means nothing more than to throw fome
glimmering of light on the plot -, indeed the fong
"with which it concludes has confiderable merit, per-
haps the moil, for folid fenfe and natural exprelTion
of any inthe whole pieces Rofetta's change of
drcfs feems to have no meaning except topleafe the
vanity of external appearance, fo incident to moft
ladies on, and indeed oflT the ftage ; her confeflion of
love for young Meadows even in his fervile capa-
city is ingenuous ; and her pride objecting to rank
only, (hows commendable fpirit, by Hodge we find
that Lucinda's fcheme of elopement is difcovered
by her aunt Mrs. t)eborah, this gives an agree-
able turn of fym pathetic concern in Rofetta, who
generouQy fe^^ls for a friend, though her own con-
cerns are in fo profperous a line ofdireftion.

2 ' The

The'DRAMATIC CENSOR. 165

Love in a FiUage

The .pld maid's haughty rigid treatment of her
jiieoe-i^ v^^y:Ghara£beri(lic and. ^,dif play of her
own .houfcwifcly difpofitioa trply humorous j her
reflexions, upon the ill eSeds. of reading are the na-
tural produce of a narrow mind, uncultivated by
education, yet vain of its dcfcftive powers, Lucinda
at laft fets her aunt at defiance but upon what prin-
ciple or what the thought is fhe hints atf we know
liot. ^

Hodge's foliloquy means very little unlefs to ac-
quaint us with his hopes of Rofetta's favour, which
from the great change in her appearance, and her
behaviour to him juft before, we think he has little
right to expefl: ; the fong is a veryftrange infignificanc
jumble of ruftic liccntioufnefs, containing fame
truth, little fenfe and lefs humour.

Young Meadows, with as unmeaning a change
of drefs, as Rofetta's now appears and exprefles.un-
eafinefs fuitable to an anxious lover at his miftrefs's
delay ; the fmile in his fong which likens beauty
enflirining merit, to a curious calket containing gems^
defcrves rather a better Epithet than pretty, but the
verfification is not fo eafy as it might have been:
the lover's furprize at feeing his father inftead of
the lady IS a well conceived circumftance, and what
follows does much credit to his honeft difinterefted
feelings ; Sir William's aflumed difpleafure works
up the converfation pleafingly and Hawthorn is a
good medium to keep up the defign of coming at
young Mcadows's real inclinations.

Rofetu

»66 The DRAMATIC CENSOR.

Rofttca is introduced 9it a happy pgtnt of
time' and the difeorery tbac the young peopk^s
inclkiacions and their ^ parents intentions exact-
ly eoincide is very well unfolded ; in the
midft of her own happineis remembering l.ucin-
da*s perplexed fituation, and tnterefting her friends
for that young lady, throws frtii light on Rofetta^s
charafler, and recommends her to an increafe of fa-
vour • — Hawthorn's refolution, exprcfled in his fong,
of not giving up his Tural enjoyments for the buftle^
imoke and noife of London ; is the juft effufion of
a difengaged mind tolerably expreifed.

The next Icene, though (bort, contains confider-
able. humour ; the oddity of Woodcock and his
fitter is extremely well prefervedjj and well played
upon by the loirers^ the diaic^ue runs judieioufly
into a pit pat ftrain and introduces the cataftrophe
pleafantly. Sir William's charaftcr of Euflace jufti-
fies his claim to Lucinda, and making the juftice*s
obftinate contempt of of Mrs. Deborah's uhder-
fiandiE^ a motive for agreeing to his daughters mar-
riage, clofes the piece as an audience would wifh^
without any forced incident.

The unities of time and place are we^l enough
obferved in this piece, the plot is regularly
carried on, and though it is rather too (imple can-
not be objected to as uninterefting or tedious ; the
Icenes are ranged b an agreeable ftate of connec-
tioa without fupcrfluity or fcantinefs ; the dia-
logue has eafe and fome gleams of fpirit, but not
a fpark of wit ^ the fongs in general exhibit the

moft

Tbe DRA/MATIC CENSOR. 167

jsqxA tnte^ backricyed fecitifntnts^ in awkward

y^figtatioo ^ . with federal flips oi gramitiar» add

not a fbadow of genius ; as to the eflence of dr»-

maAc' ttlefit; a morat^' there U no trace of it to

ht diftovered'^he ytmng ones vtry fomaiitically tua

iS way. from their parents aifKl for fuch ^ notable

Ir^acbof filial duty they baire their wilhes fulftlied^

XiUciflKia does Ml {be Can towards an elope (nenc

And g(^ h^r Iwtt too ; though there are no very

l^rnicious inferentes arifing flroin tbefe incidents^

yet they fecons^m^nd indiferetion,. asid are void of any

ufefiil tendency ; ^nd brings them at beft under

(idle if^0pped denomination of merely inoflFenfiv^«

Yfiih t^pe& to charafters^ the joftice is a wett

drawn» opinionated^ ignorant, po&ive old cox^

comb ; moftly in the Wrong withteK jtrty ill irteafk*-

Ingi acid ^hen in the tight, void of fciifibie iti»-

toiti^ ; Sit WilH«m Meadows a ' pliant, gOo*

huntUMired barontt^^ in whom ibme peculiarity is^

attempted, without the Icaft degree of fiic<:ef$b

ynkft moft ^IHhg repetition of •^ let me never do aa

ill turn'* lays i^ny t^aim to merit— Young Me^r

dOws is a mere laving milfclbp^ witii nothing but^

^fiiiiJtereftednefs to mark hin^ and yet Euftwc

is friwch more a cyphcr-^Kodge fe a clown mo^

deratelf well depia^ ; Rofttta and Lucinda twa

young ladies of indeptedenC jtfwJkdplei who think.

they, have aa^exdufive rigjtf to plcbfethemfelvts».

iii4t{iout the Ua& appeal to parbnCal jurifdiaiobi.

and Mrs. Dtborda a formal antiquated virgfti».

naki of judgement which (be has not, and m^-

cioufly:

'j68 _ The DRAMATIC CENSOR.' '

cioufly fond of preventing that happinefs in^<y-
therSt (he nc^er has enjoyed herfelf and defpairft
of ever tafting. : r

^he part • of Woodcock was doubtlefs defign-
cd for Mr. Shuter, and I prefamc it will be
admitted that na author ever judged an- aftor'^
cCapability better ; there is a ftrong peCilliarity
of humour, moflr^happily hit oflF in perforrtiahce%
the charafter owes its commanding influence tnuch
more to features- ha|>pily laiighable, and expreflidfi
truly comic, than the writer 's genius ; and \\»^hoU!t
'exaggeration if may be faid that Mr. SnuiifeR i#i
this whimfical juftice, mult have force enough tb
dilate even the rigid mufcles ofmethddifm*; ifit
was poffible to tranfplant a groaning congfi^dti^
on from Moorfields, or Tottenham Court, into
Covent Garden, even while their ears tingkd with
.a fire and brimftone harangue ; they mud uii*
bend their gloomy brows, and fmilingly obey the
irrefiftable force of matchlefs humour.

Young Meadows has very little a6Hng m^rit,
therefore is well adapted to that faintnefs of ex-
jpreffion fo difcoverable in Mr. Mattocks, who
n^verthelefs fqpports the fongs, and even fpeaks
-better than Mn Du Bellamy, a gentleman
we never wifh to hear /peak in public, both in
juftice to himfelf and to the audience: Mr. Do dd
of Drury Lrane did this part much better
than cither of the performers above mentioned .;
• there is an agreeable manner and a fenfible vivacity
about him, that the others are entire ftrangers ta-

Hawthorn

The DRAMATIC CENSOR. iBg

Hawthorn as he Hved, fd we may fay he dicdVith
Jiar. trudy great intelligent Englifli finger Mr.
Beard ; who cxpreflcd open hearted glee With
rmazing pleafantnefs and propriety i every perfon
11 this light of comparifon appears to great dif-
idfiantage v however Mr, Morris is far from con-
temptible, indeed gives a much better idea of the
charader than any other perfon we have feen.

That inoflfenfive perfonage Euftace finds very
tolerable accom nidation with Mr. Dyer ; and it is
no fmall degree of merit to prefervefuch an un-
fcafoned charafter from the charge of infipidity i
Mr. DuNST all's Hodge deferves a great deal
of praife, and yet we cannot help thinking if Mr.
King was often feen in the part he would difcover
tonfiderably more of critical humour \ Sir William
Meadows may be done by any body without much
chance of praifc or cdofure,

Lucinda has too little aiJling for Mrs. Mat-
tocks, who makes as much of the fpeaking as it
will admit and fupports the *f4>ngs agreeably — Mrs.
Pinto's Rofetta, a$ to the finging, unexceptiona-
ble •, but for the reft, mercy deliver us ! the part
will not readily appear more delicately pleafing
I throughout than by Mrs. Bad d el v*^ performance,
whofe figure, voice and manner ail happily concur to
fcaft both eyes and ears — of the country girl we can
<)nly fay that Mrs. Baker make$ a very pretty
Madge.

The general merit of Love in a Village we muft

confine merely to being inoflfenfive as to its tendett-

Vol. L ^ Z . 'Cy»

J70 The DRAMATIC CENSOR.

Lavt iM a FUUgt.

<ijt with fom^ fpiriCi an agreesble 0iiU'e of f^Te
and regularity ; moft of the characters fpeak as-
they ought and the circuinllance& are well connect-
ed but if we look for fterling fenfe, brilliant wit with
keen ufeful fadre -, which fa much abound m thq
Bexar's Operas we nnHt fay that thi«' piece is no-
thing fnore than Ihowy bale fncttle, favoured with a-
very indulgent ftamp of public favourto give it ft,
Idnd of critical currency ; to which, we apprehend,
&Ie£t mulic adapted with real tafte contributed not
a little i any perfon who reads the Village Opera may
foon perceive what ufe Mr. BickerftalFhas made of iL

R O M E <3

The £) ft AM ATI C CENSOR. 171

ROM EC AND JULIET.

Altered from Shakespeare by GARkicit;

A

S we have already bmted it is matter of ^^
£(onUhment how Shakefpeare coiuld be fo negU«»
g^pc of uniformity^ or fo fervile to depraved taftc,
a$ to incumber fceiies» which reach true fublimityt
with others that may juftly be ftyled poetical
l^abb^ing ; and it is equally odd, how the audiences
which relifhed one, could poffibly digeft the o*
fhet', however we have felf evident proof of this
JaOientdble inequality in mod: of his be0: pieces.

Romeo and Juliet, in which our author has
taken very unufual^ and very fuccefsful pains with
his female character, has many weeds in its ori«
gmal ftate to cho^k u^ fome beautiful flowers
of genius ; we may venture to (ay without prun-
ing it would bftve piade but an aukward apr
pearance in reprefentarion ; Otway, a mod ex-
cellent painter of the tender paflions, faw its lux->
uriance in that point, felt and tranfplanted whole
fcenes into his plot of Caius Marius, which was
an a£t of gothic depradation ; producing a mofl:
unnatural connexion which only ferved to prove
that endeavouring to keep paCe with Shakefpeare
he fell far beneath himfelf.

We have feen an alteration of this tragedy by
Mr. Thcpphilus Cibber which was not void of

Z a merit }

' /

tji the DRAMATIC CEl^SOR.

Romeo and JuRer^

merit \^ and we rccoUeft fome tolerable endeavours
of Mr. Sheridan far that purpofe but Mr. Gar*
RICK appearing oUr author's nnoft capable friend, we
{hall flick CO what he has enriched the ftage^ and
obliged the pubfic with.

Notwithftanding a quarrel among domefticks,
in confequerice of animofities which prevail in the
fevcral families they are employed by, is highly na-
tural, we can by no means countenance even that fmall
part of the ludicrous fcene with which the play now
begins^ nothing can be expreifed in morecharaderiftit
terms ; but we think it an ungracious commence-
ment, nay unneceffary ; for the enmity of the Capu^
lets is fufliciently made known, without fuch mobbilh
fcuffling; wherefore, we cannot but be of opinion, that
the neceflicy of fome ftrolHng companies, which for
want of number obliges them to cry, ** down with
the Capulets, &c,** behind the fcenes, forces them to
an amendment — Benvolio and Montague fhould
certainly appear firft, and their (hort fcene, which
contains many beauties, would be a delicate opening,
indeed what precedes is a farcical prelude to gravt
events, not unlike a merry andrew (kipping be-
fore a funeral,

Romeo's abftrafted difpoficibn of mind is prettify
introduced through Montague's afFedionate con-
cern, and Benvolio's friendly feelings, which appear
fo amply verified in the courfe of the play, not
only recommend himfclf but the perfons fpoken
of to favour ; Capulet and Paris are only intro-
duced to fhew that , the latter is encouraged as

% a fuitor

r^v*?*^'

The DRAMATIC CENSOR. 173

Mm^o stnJ Juliet.

a luicor to JuHet, confequently their brief interview
ofitrs iK^hiog Worth a particular remark.

Mercutio, that peculiar offspring of fpirited ima-
^nation* even at his entrance ftrikes out the path of
whim i Romeo's entrance and the queftions occa;
fiOned by it, (how much natural eafe *, the breaks in
that Tpeech where he afks about the fray, and men-
tions his love are mafterly ; but we apprehend hi$
coming to the fubjeft thus at once, is no way con*
Ment with that impenetrable fecrecy charged againft
him' in a former fcene : indeed concealing it from his
f^her Is not furprizing; but after avoiding Benvolio
when fingle, to communicate the point imm^edi-
ately before another perfon, and fuch an humouriil
too ; from whom he can exped: little but ridiculct
rather o'erfteps, as we fuppofe, the bounds of na-
tural propriety.

A touch of fuperftitious weaknefs we find thrown
into Romeo's character in the mention of a dream»
but as it introduces fo beautiful a defcription of the
queen of dreams, her equipage and various influence
upon various charadlers, we muft rather be pleafed
than o£Fended : tranfcribing Mercutio's whole fpeeda
would infringe too much on our refolution of
very limited quotation, and yet we fcarce know
how to decline it ; examining the proportions haw-
ever is not difpenliblc, for though we may admire
general beauty, it Would be wrong to pafs unnoticed
what appear to us particular lapfes.

Poetry in her defcriptions ihpuld not only delight
the imagination but if requifice* fhould bear optical

e^caipination

174 tfcc DRAMATIC CENSOR.

examination upon canvafs ; now let us view Queen
Mab) Hie is defer ibed as bekig the fite of an agat^
itone which, as ft is for the fore finger of an alder-
man cannot be fuppofed very fninute> indeed her
chariot, the lliell of a hazlenut, confirms this Id<a $
yet (he, bcr waggoner, waggon and chariot by the by
are firangely confounded, the vehicle and all are
drawn by a team of little aton^ie^ ; whofe number
by the word ttam is limited to Hx or eight i though
five hundred of thefe fame atomie9,^//^i»i/^i I have
heard them called — would not make up her oiajef-
ty's conGftence alone-^the traces of fmail fpider'a
web may do well enough ; but how it happens that
the collars, which in harnefs are the mod fubftantfal
part,fhould be reduced to watry moon(hine beams,
we cannot fay-^this may be deemed word catcfaii^,
but if we confider that fancy in her mod whimfical
flights, may withoutfeat of limitation take judgment
to her aid, it follows that any deviation however flight,
however furrounded with beauties, ihould be pointed
our, and for that re^fon only the ^bove bints have
been fuggefted r as to Mab's operation upon the
parfon, lovers &c. nothing can be nnidre humourous or
fenfible, affording the beft original for dreams 5 thofe
thoughts and wiQies which moil imprefs our waking
imaginations — before I pafs from this cekbrated
Ipeech I cannot avoid mentioning an extraordinary
circumftancc which plainly tends to (hew ^hat men
of very found undcrftanding often do very weak
things.

Mr. Sheridan when he did, or attempted to do
Homeo, an undertaking he never fliould have dif-

graced

The DRAMATIC CENSOR. 175

graced bimfeif wkh i fonie three a? four and twenty
yenrs fincc in Dublin, by an amazing ftroke of in^
jiidtcious monopoly annexed this wbimfical pidturis
to his own fighiiigt lovefick part ; and whatcarrica
fwprizc ftill higher ia» that he (bould do (o when it
ixras extremely difficult to fay which (hewed moft
abfufdity, his taking the fp^ech, or bis pedantic
manner of fpcaking it.

Taking Romeo to Capulet's ball by way of di^
rertiQg his imagination, and that proving the means
toenflame his palfions, are well deHgned inciden&i
toward$ opening and carrying on the plot.

Lady Capulet and Nurfe appear next ; however
great a favourite the loquacious old dame may be
widi the majority of an audience ; criticifm and tafte
unite in (he wi(h that no fuch peribnage had appear*
ed^^indelicacy is very natural to nurfc^, but why
the reformer of this play fhould have retained fyvear-
hig by her maidenhead we cannot think — ^Juliet's
introdudlion has a degree of pleafing (implicity in it#
and we ap^ehend a very agreeable qfeful fcen^
migfac have been druck out between the mother and
daughter on the fubjeft of marriage % far preferably
to Mrs. Nurfe's trifling rhapfody of circumftantial
nothingnefs ; which though extremely natural, noeana
nothing but to raife fome laughs, which we deem
highly difgraceful to the nature, bent and dignity of
tragic pompofitions *, befides the old lady's hint ot
Juliet's failing backwards, Is only fit for the ears of
a parcel of goflfips who have wiflied decency good
night and locked the door upon her,

Gregory's

I

i;6 The DRAMATIC CENSOR,

Rcmeo aadJuSef*

Grcgory*s familiar' low comedy mcffagc whidi
concludes the fccnc, is totally iDCOiififtent with com-
inon EngUfh decorum, much more the pride and
dtftance of Italian .quality ; Nurfe from her ftation
may claim fome liberty, but fuch headlong behayi*
our from other fcrvants is vcfy cenfurabic,

Capulet in welcoming the guefts to his mafquc-
radc fpjcaks to the ladies of their corns in a manner
which may be jocular yet it is not polite ; but I fup-
pofe having their faces covered is his apology ; the
little difputc about time between the old fellows isr
well fu^gefted ; Tibalt's fiery temper fhews itfelf;
jproperly upon dfftinguifhing Romeo's voice ; and
he is reftraincd from violence upon very hofpitable
and ]uft principles by Capulet who manifefts com-
mendable fpirit— Romeo's addrcfs to Jufiet isf
inodeftly afftftiopate, and her repliies cordiaHy deli-
cate ; however with refpeft to the liking (he takes,
we mufl fuppofe love flies with lightning's Twiftcft
wings into her bread 5 it rather indicates feelings of
forward fufceptibility — it is judicious to feparate the
lovers after a (hort interchange of words, and Juliet's
method of finding out who was her new favourite
very proper.

At the beginning ofthefecond aft Romeo pre-^
fents himfelf in a ftate of amorous penfivenefs, view-
ing the manfion of his miftrefs *, and upon going oflF
is fought for by his two friends, one of whom, Mer-
cutio, in the flow of raillery throws out fome ex-
preffions highly exceptionable ; we heartily wifli he
had conjured no further than the lady's foot and

leg;

IPS'!

The DRAMATIC CENSOR. 177

ieg $ and chac he had mentioned fome other place
fbrraiGng a fpirity than what he points at in the
next fpeech-^wo pafiages more unpardonably grofs
than diofe fainted are icarce to be met & they call
loudly for obliteration ; it is not what fucK a man as
Mercutio m^ht probably fpeak we are to con-
fider, but what is fit fior readers to perufe^ or fpec-^
tators to hear.

In the next fcene Romeo» "who has romantically

leaped the garden wall of a known foe^ without any

leare or aOlgnatioh from the lady^ is by the poet's

unlimited power brought to a fight of Juliet % who^

by a happy effort of imagination, is made to xt*

veal her love for Romeo, not fufpe&ing his pre ->

fence ; her jufiificadonof him from the quarrel of

thdr families is fenfible and fanciful } nor do we

know any thing better conceived .^han his fudden

reply upon mentioning that his name is the only im-*

pediment to ther wiflies and his own^

The diffident turn of exprefiion he ufes on being
charged with an abrupt approach is extremely
beautiful, and JuHet's apprehenfion for his cOming
iaxo b hazardous a place very natural ; indeed the
whole fcene is fo intereflangly tender— that we think
even a defpairing old maid could not fee it without
ibme fympathy : to trace all its beauties would force:
us into a tedious repetition of multiplied eulogiuma
and leave us little to fay on the following parts of
the piece ; thcrcfprc let it /uffice to obferye that the
lovers exprds mutual affedion, and exchange their
viWs in a moft becoming manner % the interruption
Vol. L a a W

ijB The DRAMATIC CENSOK.

^ Romeo and JuSh^

by nurfe caufes a Bne agitatiori of fpirits, and dif*
jointed cagernefs of expreflion 5 if in fuch a glare of
beauties, there be otie more ftriking than another, it i%
that of Juliet's forgetting^ or pretending to forgeb
Why (he called Romero back.

Fryar Lawrence is introduced with a juft degree
of benign, nioral dignity ; and his fliort differtatioa
on the 'contrafte qualities of particular herbs, which
he aptly compares ro thofe feeds of . virtue rand
vic^, wliicb inhabit the human breaft, is not' only-
beautiful, but pregnant with much folid fenfe and
edifying truth ; in nothing is providence more de^'
lightfully manifefled than in the vegetable world ^
nor can any fubjeft lead fpeculation into a more
captivating maze *, the aflimilation of grace and rude
will, CO poifon and medicine is nerVoully philofophi-
c^l, luxuriantly inftrudtive j having faid thus much
in favour of the Fryar's fololoquy, we muft la-
ment, as abfolutc foes to dramatic rhimes, the.
rinodc of ver^lficatio^ adopted, indeed the mcafure
is not fo monotonous for a fpeaker, as jingle in
general is, yet we apprehend blank vierfe would fuit
nature, the author's fentimcnts, and the performer's
utterance much better, by way of encouragin«^
fome abler pen to undertake fo delirable an alter^
ation we diffidently fubmit what follows to can-
did tafte;

On frowning night the grey ey^ morning finiles.
Checkering with ftreaks of light thecaftern clouds :
Now ere the fan his burning eyeadratice

the DRAMATIC CENSOR. 179

To drink night's dews, and chear approaching day ;

' This ofief cag6 muft carefully be fiird
^ With b^eful weeds» and flowers of precious juice.
How wond'rous is the powerful grace repos'd.
Within the beauteous vegetable world !
Nor is there ought which fprings from earth fovile^
But by fome, fair efFedl its birth repays
T6 parent fearth : yet furely, mifapplied, »

Becomes pernicious ; ftumblihg o^er abufe :
Virtue herfelf, when tainted wi^ excefs,

, May turn to vice ; and vice her form aiTume .

. By adipn dignified. Within the rrnd
Of this freflx blooming flowV"— death-pregnant poilba
And falutary medicine refide :
Being fmelt it cheers with that fenfe every part ;
But tailed, ftops th' arrefted pulfe of life :
In man as well as herbs we may perceive
Like contraft foes encamp'd — grace and rude will :

1

And where the latter is predominant,

That canker death with fpeed the plant deftroys«

What paflcs between the Fryar and Rcmeo i$,
Citable and pleafing % we muft be of opinion that
the change of affedion froo) Rofalinc to Juliet i&
judiciouQy omitted, as it certainly fcrved no pur-
pofe but throwing an imputation upon Romeo's
conftancy, which tainted, muft make him lefs the,
objcft of approbation and pity 5 there is a moft com-
mendable prudent paternal tendernefs in the cxpref-
fions of Lawrence.

Benvolio and Mercutio appear, ftill upon the hunt
for Romeo, when the latter indulges his odd hu-^
mours in as odd expreffions ; his pifture of Tibak,
wjio appears a man of mere fire and quarrel, fccms

A a 2 not

i8o The DRAMATIC CENSOR.

not to bear a juft refeinblance \ bullies are for the
moflparc cowards, but very feldom coircombs i com-
paring Romeo to a dried herring wanting its roe is 4
very lotv pun, anci molt pitiful quibbling conceit y
the fcene with nurfe and her finipleton attendant,
is an extraordinary jumble of matter contemptibly
ludicrous •, her meilage concerning Juliet has relation
to the plot, but we wifh it had been delivered in a
inore (uitable manner^ than by thi9 comic ambafla^
drtfs.

As if Avhat we complain of was not more than
fufficiently farcical, ftage policy, to pleafc the up-
per regions, generally prcfcnts Peter as beiaring an
enormous fan before his miftrefs ; fkipping alfo and
grinning like a baboon ; the beating which he gets
for not refenting Mercutio's raillery, is a very mean,
pantomimical, yet fure motive of laughter.

The impatience eicpreffed by Juliet to heat the
confequence of her meflage is exprefied in lines
charmingly poetical, without any violence to nature
or ftrain of imagination ; and the nurfe's behaviour
in what follows natural but we, wifh (he had not
mentioned Romeo's cUmhing a hhrd^s neftSoon^ not
that Juliet niuft, bearfbe burden foon atmgbt.

In the next fcene, where Juliet ihduid have, beeit
allowed more time to appear, we find Fryar Lawr
rence h^s agreed to marry the young couple, and,
feems tenderly interefted, but drops a very ungenjir^
pus infinuation when be concludes the adl: thus
-r- by yei*r leaves you fliajl not ftay alone.
Till holy church incorporates two in one,

^ *

Whicb conveys an idc^ pf fufpicjon without any

pawfo

• I

Tfie DRAMATIC CEN^SOR. x»i

ciatifev* for cbe lovefs don't bint at retirement^ but
Ifeem inipatient for his btfnediAion.

At the beginning of the third aft we meet Mer-
cutio ag^ fraught witli quatntnefi and quibble ; hts)
quMTel with Tibalt is fuch as might be expeded
from ftidi blades^ and taking Rbmeo*s quarrel upon
himfelf (hews fomcthing of gencitifity ; after receive
ibg his death wound be utters a ftr ange incoherent
itbapibdy, and io nmch preferves uniformity that
his death commonly proves a very laughable inci-*
dent : it is reported as sm expreffion of Shakefpeare'a
that he was obliged to kill Mercutio in the third aftt
to fave himfelf ; whatever he may have thought of
the charadter or whatever has been thought fince, if
be never had been brought to light in this play, though>
a fiiie effort of genius would have been waved, pror:
pri^ muft have been much better preferred 5 it
may be faid leis fpiHt would have been the confe*
quence, we can V grant this, but Shakefpeare'smufe
on fuch a fubjeft could never have wanted more in*.
Cerefting matter^

Romeo's eoj^ement with Tibalt Ihews great fenr
fibility of friendfliip ; we have heard him bear refkcn
dons, andofalevere nature vested agauift himfelf wkh
philofophk refohition, but, roufed by Mercutio'a
death, be takes revenge which occafions conftquences^
of a very fcrious nature, whence the plot takes an
important turn.

I remember to have heard an anecdote relative xo

die part of Tibalt, Which, though trifiihg, I cannot

omit ; an itinerant barn^fpoutiog hero, who had (hip4

|)ed too much beer aboard, performing it, forgoi

y%\i» he was to be killed ^ and thereupon fought

I

%U The DRAMATIC CENSOR.

Romeo furioufly for near ten mbiuices, nor would
give up the contell till his lady cried out whh trc^
mendous voice from behind»~Dennis, Dennis. —
curfe the fellow why don't ydu die, — her tongue, ta
him the emblem of thunder laid himilat tmmediate-
ly ; on coming off he was faluted with many i;e*:
proaches forhaving forgot himfelf ; forgot myfelf, na
iays he, I knew what I was about, and confidened.
that Tibalt was a flout young fellow who would
take a great deal of killing. To fay truth the r^mark^
was not amifs ; for we may fuppofe,as he is drawn^
Tibalt himfelf feems to think fo.

After a feries of fcuffling the prince prefents him-,
fclf — indeed fuch a prince was never feen ; a juftice.
of peace or a high conftable to interfere where riots,
happen in the ftreet is well enough, but for a fov^
^jgn, however petty, to appear fo.often upon fud\
occafions is a ftrange proftitgtion of dignity-'-^be*
fides in the firft fcene, where no miTchief is done,
he threatens their lives upon any future breach
of the peace ; yet in this, where two have Ipfl their,
lives one of them his own kinfman, he good naturcd- .
ly talks of fines for punifhment— we apprehend fa
much tilting and the purport of this fcene would haver
been much better in relation than action, Benvolio's
account, though fine at prefent, would have had moro
merit if otherwife introduced — and the play would
have been freed from a monflrous. incumbrance of
multiplied battles.

Juliet's fotiloquy beginning *^ gallop apace^' is. a
little in the extravagant ftyle, but her fituation and
violent affection fomewhat apologize for her flights %
riurie*s entrance gives an alarming turn of pafTion,

and

the DRAMATIC CENSOR. i»}

and pity puts on her plaintive countenance for the
young lady's painful fituation ; this fcene is wrought
Up with moft mafterly judgment — Juliet's fuppofi^-
tion that Romeo's dead, is fine, then hearing that
a kinfman is killed by her hufband, and that in
confequence he i& banilhed-hcr charging Romeo with
a favage fpirit, and curbing nurfe for calling reproach,
on him, though (he herfelf has done it, are circum-
ftances happily ima^ned ; and nothing can exceed'
the climax of impaflfioned expreflTion in which Juliec
defcants upon her misfortune ; the gleam of comfort
given in expedbation of feeing her hufband, concludes
the fcene well, and unbends the fympathetic feelings.
good adbing moft unavoidably raife in an audience.

Romeo's fcene with his ghoflly father is an effort
of genius equal to any degree of pr^ife, and affords,
powerful expreffioD a very copious opportunity of
difplaying itfelf, fo as to work irrefiftably on the
human heart ; the Fryar's prudent advice is well
contrafted to the diftrefTed lover's frantic ravings ;
and his whole behaviour (hows adlive, cordial good-
nefs of heart.

The garden fcene, for that between Capulet and
Paris contains nothing but appointment of Juliet's
marriage-day with the latter. Is poetical and pretr ;
ty, but as we apprehend, cut rather too fhort in
reprefcntation } on account perhaps of relieving,
the performers; which is a poifit (hould always
be confulted yet not fo far as to omit any beau-
tics that may pleafc and ornament -, the alternate
defires and fears of Romeo's (laying are natural
•ffe&s of wifhing, and intimidated affedion.

The

il4 The DRAMATIC CEKSOC

The following interview between Juliet and hcT'
parents plates her in ii very compafionabfc fitua-
tion ; while Capulet exerts a degree of parental au-
riiorfcy, too common wc fear, whidi reficfts no great
credit upon Iris htad or heait-^ Jufiet^ appeal td'
ilurfe as her fole isemaining friend is pathetically pret-^
ty, but the unfeeKng wretch's reply detcftablc.

What paffcs between Juliet and the Fryar at the'
beginning of the fourth a£l is ^xpreflTive of aflFedting*
iblemoity ; a crifis of the utmoft 'importance is at^-
rivcd 5 grief afiails her on one fide and apprehenfion
on the tJtber, whHe weeping love cafts tcar-fifled^
eyes alternately on both ; in this perplexity her ap*
plication to the Fryar is very natural, nor can wa
blame, in her ch"cumfl«nces, thofc exprcffions of
defpair fhe lets fall ; however we thirric ibme argu**
ments ^ainft Ae very idea of fuicide WouW have
fallen fuiiably and with force from her holy, tender^
hearted confeffor ; what he propofes of having her*
buried alive, td efcape Paris is as wild and rom^nrtic'
'a device as ever entered into any drama, it might
do in a novel, but in a reprefentation of nature, i^ no^
way juftifiabje ; however we are apt to forgive even
abfurdity, when it contributes to foch an affcfting*
cataftroplie.

We cannot help thinking that all through this'
a£t Juliet's entrances and exits are crouded upon one^
another too much ; there are but three iines ipdkcn*
between, her leaving the Ffya(r*s cell^nd Jlppearing
in h«r father's houfe ; the foHloquy (he fpeaksprc*^
vious to drinking the cofttent^ of her phial, is beatf^^

- ' tift*

X^ DRABJiATie CENSOR. 185

^riful beyond defcription ; terror and pity are aker-
xuidy called- upon in a moft forceable manner.

* In ttie next fcene Gapulet hot only appears a
-MSi&t old wife, but alio blandiers ftrangely ; the cur «»
^^-t>ell is an EnglHh infticution by William tbe con-
queror ; therefore improper for an Italian to nientioil'i
^fides that bell rings at eight in the evening; yet lie
ipedcs of three o'clock in the morning, and thefe**
<ond cock ; this noight be eafily reftified by faying
the mdtin bell : Nurfe's remarks before Ihe attempti
to wake Juliet are contemptible, at fuch jl crifis^
and commonly%ake an audience laugh when they
(hould cry^-wbat^hc parents and the Friar fay, after'
.the fuppofed death is difcovered, may pafs without
die cenfure of flatnefs, but merits no degree of pr^fc |*
it dcfcrves note, that from what Capulet here, fay sj
great preparations have been made for the wed-
ding V though in the third ad he declared it (hould
be private, on account of his kinfman Tibalt's recent
death.

Though not abfolutely eflential, nothing could be
better dcvifed than a funeral proceffion, to render
this play thoroughly popular; as it is certain that
three*^fourths of every audience are more capable of
enjoying found and ihew, than folid fenfe and poetical
imagination % ftage*pageantry cannot be very pleaf-
ing at any time to judicious taft^, but, if at alt
oommendable, it is upon this ocCafion,— The dirge
as it ftands at prefent we diffidently Conceive liable
to fomb objedions.— In the firft chorus, ^Vdifmal
•* mean,'* favours much of tlie baillad ftile ; in'
the fiiccceding air, comparing Juliet*s eyes to
^VoL. I. B b ireaking

i8d The DRAMATIC CENSOR.

Rcmfo Mid JuBfU

breaking day, is but paying an awkwafd connpU-
ment of brightkfs, and makes hf r, like the^ wtxn^
grey-eyed. In the third air, *^ look down belcm^*
is a tautologous mode of expreffion, though (omf^
what countenaqced by cuftom ; for it is impoffiblc
to k)ok down, without looking below ; or to lopk
Up without looking above.

Romeo pleafing himfelf with fatisfa6tory dreami
is very , natural, and a good preparation for that
material change of feeling, which Balthazar's heart*
rending intelligence occaGons. — The tranfitron ta
afionifhment, of grief is amazingly fine; and his
difmifldon o£ the melancholly mefTenger by broken
fentcnces,- very natural — Nothing was eycr depid-.
cd better in the whole fcope of poetical painting,
than the apothecary, and his (hop; yet we mu(t
think Romeo's recollf ftion too coolly minute for a
perfon in hisdiftreflfcd flate of mind ; what pafles
between him and the apothecary contains fome ufe-
f jl, pathetic reflcftions. — What occurs betweciji the
friars John and Lawrence, is merely to acquaint the
audience that a letter to Romeo of Juliet's fituation
has mifcarricd.— We do not perceive any panicu'ar
material ufc in bringing Pari^ to the monument, un^.
lefs to facriBce him in view of the audience, without
having committed any crime to merit death ; con*
fidered as a rival, he is fo unknown to himfelf, and
fcems to have been fincere in his regard by vi^ting,
the grave of his intended bride:

Romep's fpeech upon approaching the monu-
ment, has much tendernefs, aflumed policy, and
real fire; the brief, yqt cordial faiewel be takes of

'a

/"

W^'

The DRAMATIC CENSOR. 187

a raichfui domeftic^ we have always confidered as
truly affcfting.

Though Paris^s appearance gives room for feme
gobdafting, we apprehend the fcene would have
bcert more uniformly folemn without him 5 difco-
vering Juliet ih her inanimate ftate, by breaking
open the tomb, catches the eyes, and Romeo's re-
£f£lions previous to drinking the poifon, arrefts
the hearts of fpedators; nature is brought to her
moft critical feelings at the-moment Juliet awakes,
and her hufoand's affedtibnate tranfpprts, forgetting
what he has^one, fills the audience with a moil
cordial fympa^hy of iatisfaftion^ which is Toon
daftied in b(^ by the poifon's operating.-^Romeo'*
diftra&ion and her tendernefs are fo exceliently
wrought up, that^ we cannot fuppofe any heart fd
obdurate as not to be penetrated. — Her behaviour
after his death, catching ais it were his frenzy, and
pafling from grief to diftraftion, is a mafterly va*
riation in Juliet ; wiiat follows her paying the debt
of nature, is judicloufly. contracted into a narrow
compafs ; indeed we will venture to aSirm, that no
play ever received greater advantage from alteration
than this xragedy, elpeciatly in the laft aA ^ bring*
hg Juliet CO life before Romeo dies is undoubtedly
a change of infinite merit.

The whole dying fcene does Mr. Garrick great
credit, as being worthy the marchlefs author he has
fumifhed it to, and we muft venture to affirm,
that his prejudice in favour, even of Shakefpeare's
fauks, was the only reafon why he did not retrench

B b 2 aQ4

^i

4«j The DRAMATIC CENSQIt.

^A add oior^, which in* particular places he ogighjc
certainly to have done.

. The plot of Romeo and Juliet is romantic and
irregular ; the charafbets oddly conceived an^
ftrangely jumbled; the fcenes very unequal in mat*
ter^-^fome extremely infignificant, others enchan&-
ingly beautiful ; the ^unities are violently, yet
not pflfenfively broken, and the cataftrophe, which
hangs in the balance of fufpenfe, as long as it (hould
remain doubtful, is equal, if not fqperior, to any
in the Englilh drama, as it now Hands ; in refped
of moral» fome very ioftrudtive lefibns may be
drawn from this piece, firft from the lovers, that
difobedience in children, or doing what they know
is totally againft parental inclinations brings a train
of perplexities, and produces the niofl: fatal confe*
quences. — Parents may learn that family quarrels
lire not only unfocially abfurd, but pregnant with
mifery to them and their offspring ; they may alfo
perceive, that compelling youth in the article of
marriage is an unnatural, dangerous exertion of
authority % and dueltifts . may infer from Tibalt*«
fall^ that the f word of fate hangs fufpended by a
cobweb-thread over a turbulent difpofitton.

The hero of this piece is veiled with very warni
paflions, with much love, and what in that cafe
may well be expected, little prudence ; he fixes his
affe£i;ions upon a particular object, and determines
to have her at any r^te ; the two valuable qualifica->
tions of courage and friend (hip he feems happily
po(&(^d of> but, upon the. whole, ; (hews rather an
iroi^ than a great mind ^ ardent in affection,

vehe^

P-^TT

, The DRAMATIC QE:NSQfl. 189

Romta and Juliet.

vcheiricnc in r»ge, pc^gqaQCi m grief i tlms equip-
ped, and fo cir^iimftaDC^d as h^ is, up wqnj^ef he
affords capital calents. a fine; cp'ponuQicy of difplay-
ing thetnfelve^ -y and d cbars^^er. upon tbe fiage w^s
never fupported with more luxuriant m^rit than this
by MeE Garrick and Barry, of Barry and
Garrick *, for when thoie inijpicab)^ pcrfprmers
contefted it fixteeo or feventeen years fmce, it w^s
extremely difficult to fay who ihould ftanc} jfirft ;
we fhall offer a comparifon upon ftridt irppartiality,
and leave declfion to the unprejudiced reader.

As to figure, though there is no neceflity for a lover
b^ing 1^11, yet we apprehend Mr. Barry hada pecu-
liar advantage in this point ; his amorous harmony of
features, meltiqg eyes, and unequalled plaintivenefs
of voice, fremed to promife every thing we could
wifh, and yet the fuperior grace of Mr. Garrick!s at-
titudes, the vivacity of his countenance, and the fire
pfbis expref&on, (hewed there were 'many efiential
beauties in which his great competitor might be ex-
jeelled: thofe fcenes in which they ■ noofi: evidently
rofe above each other, are as follow— Mr« Barry
the Ganden fcene of the fecond ad<*-^Mr. GarriciL
the friar fcene in t^e third-- Mr. Barry the garden
fcene.in,tbe fourth-Mr. Garrick in the firft fcene^
dcfcription, of the Apothecary, &c. fifth aft— Mf^
Sarry fitfi: part of the tomb fcene, and. Mr. Gar-
rick fropfi where the poifon operates to the end. *

Having- feen this play three times at each .houfe;
during the; contention, and having held the critical
k^\t in as juA an equilibrium as ppiTibJe, by cnot only

190 TheBRAMATIC CENSOR.

Romeo and JuUef^

my own feeKngs but rhoie of the audience in gene-

ral, I peroeiTed that Mr. Gar rick conimapded

moft applaufe-^-Mr. Barry moft tears : defirous of

crating this difference to its fource ; I found that as

dry forrow drinks our blood, fo aftonifhment

checks our tears ; that by a kind of eleArical merit

Mr. Garrick ftruck all hearts with a degree of in-

cxprcirible feeling, and bore conception fo far

beyond her ufual fphere that fofter fenf utions lay hid

in woqder.

Aft^rtwofuch truly capital performers we can

fcarce mention any other adventurer with patience ;
however, to fpeftators who never had fecnthem,
Meflfrs. Powell and Ross might have given
confiderable fatisfadtion *, their figures and voices
fuited well, but powers, couiitenances, and judg^
ment to execute the molt interefting fcenes, . were
greatly waoting; Mr. Smith, at prefent, buftles
through the part with moft inexpreflive monotony
at Covent-garden, and Mr. Cautherly, without
one requifite whatever of a principal performer^
hobbies through it at Drury-lane ; fuch an attempt
is hardly to be, conceived under the difadvantage of
awkward deportment, limbs void of fymnietry^
jadion without meaning, voice without power, and
ieatures of moft &dt&,\vt. exprd&on.

Mercutio never was nor never will be in better
hands than Mr. Woodward's: Grimace and at-
tttudd, which fo often diminiih that gentleman's
merit in other charaders, are here of fingular ad-
vantage, and the peculiarity of ftile is admirably fee
foith by his peculiarity of e^prcffion ; cfpccially in

the

The DRAMATIC CENSOR. 19^

the , capital fpeech relative to Queien Mab<-— notwith-
Handing Mr* Macklin was extremdy well received*
yet wecaniiot ai^rd)end hini in wy Ihape qualified
for tbepart ^afaturnine caft of countenance^ fententl*.
ous utterance, hollow toned voice, and heavinefs of de •*
portmpnt, ill fuited the whimfical Mercucio ; they •
might hav^ done for what Otway has ftrangely met^
amorphof^d hin^ to, a mere cynic ; bpt tQoded to mar
Stiakefpeare'ft iptention % however the author's fenfe .
was critically preferved in this, as well as all ofher
charaftcrs by the threatricdl neftor^Mr. Obrien
undoubtedly ftood fecond, and the late Mr. Pal*
MER was not without conliderable merit : as to Mr.
DoDD we conceive him totally inadequate.

Mr. Havard rendered the friar extremely re-
fpefiable, nor was Mr. Rid out far behind; the
former bad more of cbarafteriftic placidity, the lat-
ter flicwcd more nei^ffary weight of exprcflion, Mr.
Hull, whofc propriety of fpeaking is at all times
unqucftionable, wants fomething of folcmnity, not
through dcfeft of judgment or knowledge of nature,
but a limitation of powers, which often check, in
that gentleman, very eminent degrees of capital me-
rit-*Mr. Love— why have I occafionto mention fuch
a murderer of blank vcrfr, fuchacoflic of tragedy-^
who bolts from a fonoroias, rumbling, untuneablo
throat, the fmooth, philofophic, generous fentiments
of the friarin a mode cxa6Hy refembling the harmo-
nious notes of a Newgate turnkey brow-beating unr
happy prifoners % we moft however albw him the me-
rit of a figure and countenance very weUadapted--.Mr,

Ban-

152: The-DR A M ATIC C £ NS O R.

Rohe9 and JnBett "

BANNisTiSfL would do tiife pliiy CrtilAt i^ this part 1
indeed coo >mticb as ic i^ nowpAebed togethiTi

Capujtt had great juftice done ifaim b)r Md&s^
Sparks and Bt^Ri^r ,but is at putfent wrctthedly off,
whether we irtcw hkn m- that tfioft tragical of ^
ti'agediaiis Mr* Oibson^ orthe lefs ofien&ve though
water-gruel, Mr. Burton— Bfenvdio Aaffered ik>
darnagefro* Mr. Moz^ eh, though a very poor
creature, laul mak« a tetter figure reprefented
by Mr* Packer ; at to that itnirkiag fetf-kitpor*'
t*nt figureof:an a&of, Mr. I>avis, who fpcaks*
as he walks, by a kind of inftinft^ and whom to
mention is a wafte of words, we wonder how cve»
confummate igoorance with its tonftant cohipanionr
could make him think of the ftagt ; or how any
manager could ever Aife hkn in ariy other light than^
as a dumb euQUch in (bmeof the Turkilh plays— thef
other male cbara^ef s in this piece Wc prefume not
Worthy remark. ^

Juliet, bating too quick a fufoeptibility of love, i&
a moft amiable lady; flie is tender, affe^onate and
donftant *, poiTcfled of liberal fentinf^nts and deli-
. cate feelings ; rather romantic in fome notions, but
jufti6ably fo from age and (ituationof mind '; fen(i-'
ble of filial ducy,y£t not ficm enough in oppofing it
to palTion ', her cifi^im (lances are deeply aifeAing and
her cataftrophe fpiritedly affedioQate^ though as aa^
aft of fuicidenot very moral. ,

- The competition between Mrs. Gibber and Mrs
Bellamy, who bad both great merit in this cha-
rader, feemed nearly to admit the fame ftate of
comparifon as we have adopted for the contending

3 heroes

The DRAMATIC CENSOR. 193

Rvmee end Jului-

heroes ; one excelled in amorous rapture, the other
cMlod eireiy jpowiTrOf diftrefs and defpair to her aid ;
Mrs. Bellamy was an objedt of love, Mrs. Cib-
B£R of admiration ;.Mliir Bellamy's execution was
more natuia), Mr$. Cibb£r's more forceable ; in the
former there were traces of nonage ; in the latter too
much of the woman.

toAj Ca^Iee is no body, yet weoace faw l/k%.

¥itiTeHAiiii make her rc^pe&sd^le i miftrefs nufCr^

to^R^Kua^Hire hanse obje£):ed, as^ acharadlef incon*'

fiftent with tr^^y, though ^highly finilhed from,

Mure \ was moftv admirabiy reprefenccd by MiSb

Ma^k-lik, and we thidk her petulant impertirienGt

/*]8vei7 well&ipporced by Mrs. Pitt } upon the

whole,this play is i» a truly deplorable ftateof afliopi

at ppefent \a both houfes ; and as^ fixteen yeari jigo,

it was hard Co fay which company excelled mofti^

the conten^n now feems cd be, who are moft con^

temptible.

Romeo and Juliet, though it exhibits noiie of die
fewring fiights of genius, y^t has many poetical beau-
tiesi expreflbd Fn fmfooth, nervous, agreeable ver*
fificatieni and takes, in feveral places, tender pof^
feffioB of the paflSons I k conveys very inftruiftiw
admonitions, rifes ^juft degrees to a ftrrkingcon*
eliifien, and mud be altowtd^ the caiiJid praife of
great intrir, whether (een in public or pcrufed itt
^ivate.

Vol. I. Cc THE

194 the DiK AM ATIC censor;*
THE PROVOK'D HUSBAND.

■■■.•• . . ,

A Comedy.

Altered from VANBirROH'by Cibber.

T

HE Laureat, in bis preface cd. thkLpiay^ has
taken confiderable pains to do Sir John juftice^ . by
attributing the plan and mod of the charadkers on*
ginally to him ; . h6^e7ef, % comparifoQ between
the Provok'd Husband and Vanborgh's Jimnurf
to London will prove^ thit Cibber fli^wcd great
judgment and tafte in the ufe iA ttiofe; material::
which fortunately fell into his hands. - ^

Though folrloquy is perh4)s not the mod: coni*
mendable opening of a play, yet wh^t^Lord Town-
ley offers at the beginning of this comedy, le|s an
audience well into the grounds of that uqeaCnefii
which fits heavy on his mind \ tlie gl^qii be ex-
prefTes at the danger his wife's Fepu;^ipn is in froxn^
her courfe of life, convej^ a very iipftrudivc
intimation to ladies in the gay world^ and his
'chuQng calm meafures Brft to effcd: a roformatipDa
(hews a^ generous, prudent^ tender <;afl: of mind^
—The fcene with lady Townly exhibits, much
fpirited gentility, the debate i$ carried/ Qi% with

great good manners on both fides, and a.bappy

•

prefcrvation of temper is maintained ; for though
his lordfhip warms a little, yet it is like a man of
fen (e and rank ; his mode of prefenting the bill is
delicate, and her mannet of receiving it pl^afantly

whim-

The PRAMATIC CENSOR. 195

whimlicai, as is indeed all fhe fays through the re-
mainder (rf* the fc^ne.

'The (hort converfation between lord Townly and
1^7 Grace is well conduced, and mention of
Manly falls in aptly, of whom both give a good
preparative charadtcr 5 1 cannot, however, help
being of opinion, that this gentlemap rather feems
too forward in advifing rigid treatment, when lord
Townly afks his advice \ ncvcrthclefs, it occafions a
fenfible and inftrudiive altercation between him and
IfKly Grace, who argues, agjiinft her own opinion,
that Ihe m^y come n^ore efFedually at his. — This
fcene takes a. very agreeable turn, where Sir Francis
Wronghead and his family are mentioned, of
whom Manly gives a fatirical and laughable ac-
count, (hewing that he has. a generous concern for
their welfare, though hc cannot avoid defpifing
their folly.

If introducing fuch a person as John Moody in-
to the prefence of a nobleman and his fifter can be
juftified, it may be truly faid, that he gives great
Jifc to the fcene, both from peculiarity of dialedh
and fentiment ; as to the propriety of his appear-
ance, we cannot think there is any breach of de-
corum ; Lord Townly being poffeffcd of a fenfible
affability, and having his curioficy raifed by Man-
ly's pifture of the Wronghead family, might very
well wave general diftindtions in favour of honeft
John ; who feems one of thofe unpoli(hed, natura^l
produAions well worth invcftigaflon j if quality,
which is too often the cafe, never ftoops to a view
of the lower ranks of life, but, like a lion, with

C c 2 fuper-

196 The DRAMATIC CENSGR;

fupercilious abftraAion, ftalks only in its own cir**
cle, it muft be very deficient in a ntoft eflcntial
branch of knowledge. — Human nature is a volume
of great variety^ and he who ftudies it nidfl:, is
ilioft likely to be pradtteally wife ; wherefore we
hcirtily join with lady Grace, in ** loving nature
•* let her drcfs be never fo homely •**
' Moody's familiar fakrtatioh of ManJy, his inti*^
mation that his lady is in great good*humour from
a free circulation of cafh 'r his account of the equi-
page ; the difpofition of the younger children
at Joan Growfc's; the misfortune oPthc coach,
its contents of live lumber Wkhin, and non-
elTentiat lumber without ; the cargo of provifions^
the fuccef&on of crofs events, and the fuperftitious
ftrefs he lays on ChiMermas-day, are ludicrous ta
the higheft' degree, and as highly a finifted piece
of dramatic painting, as we have ever met with 1
nor can any thing be more in ehara£ler than where
John gives himfclf fuch fuperiority over his mailer,
as a (hrewd and refolute hufband; indeed every
line of this fccne fhews a rich vein of unifoi^m hu-
mour.

After John's departure, the other charafters are
called off in an eafy, commendable manner, by
lady Grace's propofition of cards, which occurs
from the difdourfe without any appearance of de*
flgn,— Manly's fhort foliloquy contains fome deli-
cate remarksj and any where but contluding an
aft of a comedy, we Ihould fey the following l^nes
had merit 5 but rhime on the ftage is certainly
abominable, except in prologues and epibgues;

Would

The DRAMATIC CENSOR; 197

^•- Would women regulate hlcchiNr their Uvesi
Wliat halcyon days were in the gift of wives !
VaiQ royers.thcn would cixvy what they hate, ^ 9

X^^

And only fools would mock the married life. /

. One of thofe worthy gentlemen, *' whofe oc-
^* caGonal chariots,** according to the count's
own phrafe, "roll upon the four aces/' is pre--
fented to us at the beginning of the fecond aft,,,
with an old lady who lets lodgings ; the (harper,
like all of his kind, from a duke* to a link^bo/,
feems bent upon his pwn emolument at any rate ;
from his recommending Sir Francis's family to
lodgings calculated for that purpofe, and his con-
yerfation with Mrs. Motherly, a very inftruftivc
leiToo may be drawn, of the caution which fhould
bp pbferved with refpeft to placing confidence of a
ferio us nature in pcrfons who are only externally
known to us^ the Count's intrigue wijh Myrtilla
\% mentioned with a proper degree of impatience
by her aunt, but if Oie had left out, or foftened
the following remark, it would have been better :
when the Count fays he will marry her neice, the
reply runs thus, — " Very likely! — If you would
not do it when flie was a maid; jour ftomach
is not fo Iharp fee now, I prefume.** The
fcheme ftruck out between thefe worthy perfonagcs
is infamoufly politic, and I believe entirely confif-
tcnt with a depravation of nature too frequent in
li/e.-^Baffet's fhort fcene with Myriilla only con-
firms her imprudent copduft, and conveys rather
gcofs ideas.^— Her foliloquy contains truth, but not
very proper to be told upon a ftage.

Lady

tgt The DRAMATIC CENSOR.

Lady Wronghead'S ignorant affedacion ot pp-
litenefs is extfemely well defcribcd^in her firft ap-
pearance ; and Sir Francis's rufticated obfervations
tipon introducing his fpn and daughter are an ex-
cellent preparation for a more intimate acqaintance
with his charafter ; nor are the young fquire and
ftis fifter lefs fuccefsfuily delineated in what they
fay. — The unpoliflied roughnefs of the boy, coun-
tenanced through fympathy by his father ; and the
f)ert, pettled forward nefs of the girl, equally fup-
ported by the mother, exhibit a moft diverting
pidure of parents fooliflily indulgent, and children
confequently abfurd.

Manly*s fccne with Sir Francis is pregnant with
genuine humour, and fliews the baronet in a very
entertaining view of ftupid felf-fufficiency ; his
fcheme of repairing his fortune by parliamentary
^onnedlons, both juftifies his title to the name of
Wronghead, and gives a very keen ftrbke of ob*
lique fatire to that abominable praAice of proftitut-
ing the legiflative capacity to mercenary private
views; it is impoflible for any thing to be better
ipplied, or if rightly taken, more ufeful than the
ridicule here thrown in a mafterly manner upon
both the knaves and fdols of policy ; Manly's ob-
fervations are all poignant without the leaft degree
of fuperfluity, and lead Sir Francis into a whimfi-
cal, involuntary explanation of his defigns ; his
treatment of Ballet (hews the gentleman and man
of penetration ; while the gambler's unmeaning
fiamiliarity exhibits contrafted an empty, imperti-
nent coxcomb. — Agreeable, however, to thofc fu-

perficial

The DRAMATIC CENSOR. 199

pcrfidal notions of gcpUUty, formed fey her (bal*
lour -lady (hip. — His confcious feeling of Manly'f
fufpicion is very natural to an unprincipled rafcal,
apd ))ts retreat wellTtimed.

Thofe remarks made upon Manly by Mifs and
her Qianu are extremely fuicable to weak females^

■

who too often millake plain-dealing for rudenefs
and. ilL humour ; her ladyihip*s contempt of pe-
cuniary expectations is alfo very confiilent with a
vain heart, elevated by vifionary greatncfs, and her
intention of throwing a rub in the way of Manly's
marriage with lady Grace, manifefls a mifchievous
bent, which littlenefs of mind is ever prone to.^
Dick's impatient call of appcrite, the introdudlioii
of a full tankard, the confcquent remarks, and
John Moody's account of the misfortune their
coach has met with, all happily concur to give this
ifcene peculiar fpirit*— But we wifh John had not
retained the carter's es^preflTion 9f " kiffing,** &c.
— The young fquire's advice of. bringing himi)e-
fore the parliament, is an admirable (ting; to the
perveriion of privilege.

Lord /Townly.and lady Grace, begin the third
aft with fome juft remarks on falhionable exceflcs ;
from which their conyerfation, by ^n eafy tranfition^
turns upon Manly, when we meet with the efFeft
of lady Wronghead'js policy in a letter concerning
that gentleman ; lady Grace's communication of it
)to her brother is commendabte, and his flownefs to
entertain a bad opinion without better grovnds,
added to his remark, that '^ onkaown friends for (he

"moft

coo The DRAMATIC CENSOR.

^^ moft pare prove iocxet enemies/' ihews not only
goodnels of heart, buc a knowledge of lifi: aUb :
ibe fequeqt interview between Udf Grade and
Manly is a piece of cpUoquial delicacy much to bt
admired^ the explanation which the lady is \a want
of, rifes upon her by very juft degrees ; the gallant
juftifics himfelf upon the principles of conlcious in^
noqence, which occafions an edairciflement that a^^
greeably embarrafles his mi(lrefs.-p--oHer Ibliloquy afr
ter he goes oflf^ contains fentiments worthy of vir*
tuous fenfibilicy.

Lord and lady Townly are well introduced by
Trudy's account of them ; they are both warmed
by difference of opniop, and fupport their feveral
arguments with charadteriftic ipirit ; (he takes- the
lead in juftifying her own diflfipated life, and h^
very pathetically refutes her flimfy affertions, which
gives rife co a ferious turn of rqpartee ; it appearv
greatly to his lordfhip's credit, that neither the pre->
judice of his own circumftances, nor the foil car y^
life he leads, weighs fo much with him as x jea-
lous apprehenfion of his lady's reputatioa \ feeling[
drongly, as we may fuppofe, Csdar's excellent
maxim, that a wife (hould not even be fufpe6faed ;
that critical point-of refentment to which the alter*
cation rifes, parting from her, carries him off the
Itage with refpeA, and leaves her in a kind of maze^
but infenfibility coming to her afiiftance, foon ba^
niihes ufeful refleftion.

' Lady Grace's appearance gives the fine lady a
frefii opportunity of indulging her Bow «of fpirits,

which

The DRAMATIC CENSOR, api

which fhe does in a vein of great pleafantry, by de-
fcribing what (he ironically calls the comforts of
matrimony •, her piftures of life, and raillery of
lady Grace's grave turn, are as entertaining efFuGons
of a volatile imagination, as any our Englifti dra-
ma affords ; and inftrudion is very well mingled
with mirth in the prudent remarks delivered by the
fingle lady to the married one.

Lord Townly, calmed from the occafional impe-
tuofity wc faw him touched with lately, appears in
conference with his friend ; after a full and fatisfac-
tory explanation of lady Wronghead's mean device
to prejudice Manly's character; his Lordftiipaflures
that gentleman of his lifter's affeftionate efteerfi, and
ratifies M^nly's wilhes with his own warm approba-
tion.

There is fomething Very generous, after fuch de»
figned injury upon fo tender a point, in Manly's rc-
folution of faving the Wronghead family from ruin,
even againft their own inclinations — there is alfo a
turn of confiderable natural beauty at the conclufion
of this fcerie, where lord Townly adverts to his own
fituation, and mentions Manly's prcfpedl of fuperior
happinefs ; we think the aft would have ended bet-
ter without the couplet, which is tagged to ir,
though* pretty enough— ^for the fubjedt and fenti-
tncnt are compleated withthefe words-*' how much
** the choice of temper is preferable tp beauty.**

Mrs. Motherly and her niece informs us at the

beginning of the fourth aft, that worthy Count

Baffct has palmed ^ forged note of ^ five hundred

VaL. I. D d pounds

ixn rht DRAMATrc CEKSOR.

pounds dipon ibeff, the (retefbion of which has oo-
cafioned the latter to let Manly into the plan that i^
laid againft Sir Frands : what follows between Mnr«-
titla and the young Squh'e, « commcniljr omitted:
in reprciicritatiooi not we apprehend through a de-
ficiency of merit, but to cuitail the piece which oer*-
tainly exceeds uCuai, and definable bounds.

Sir Francis, filled with frefh importance hettkr
having been dt St. Stephen^s chapel y difplays
his confcquence, perfeverance and patriotifai, in v^
diverting colours to Mrs. Motherly, who in tte
true ftile of fuch oblighig ladies, echoes every tfamg
the baronet advances with moft courtly admiration 4,
Manly ^s entrance gives rife to a fcene of infinite
merit-^A fcene we could wi(h read every morning.
after prayers in the houfe of commons ; though if
it had as flight «n etfeft as ttie devotion has, it may
as well be let alone ;. k is impoflTible to defcribe a
pidlare more -ftrongiy fatirical than Sir Francis's in-
terview with the hoiniilers ; chimerical iiop^ of pre^
ferment, from a fqueeze by the hand, end to a
member of fuch importance, who fcarce knew, liks
imany others, what fide he voted on, are fubjedt
both for laughter and pity — a man wading beyond
his depth not abletofwim, arid catching at twigs
for fupport, is highly emblematic of Sir Fcancis^
whofe Ignorance kys a fnare to entrap faimfelf«

The ladies and their gallant attendant count Baflef^

change the converfation to more detached matters \

his intruding himfelf a fecond time upon Manly^

who in a former fcene treated him with conteinp^

ft fliows

JTie DRAMATIC CENSOR, 203

€bow3. palpably the ffirvile coxcotpb : Sir Francis's
blundi^ring xnifcoacepti^n, efpeciaUy refped^ing the
fiimrper's cwiiagt, is admirably rallied, by Manl]^ ;
Mifs bfeaka ouc, with ao exceUea^ fQedmen oi her
city iflipwrveflfKint, iti the rhapfodical jourjjwl of
jaxMreecHngs^ wbicb. fee repeats ; Sir Frawi&^s ret-
mark on Jenny's fnappilh behaviour to ha fnama?-
^ there's your fine growing fpiritr for you, now fake
«^ it down an you <:an," is a very juft reproof tg
ibe ridioilouj^ Mt\dulg«n€$ which has encouraged it^
ibe jea^ufy conceived againft the daughter, fliows
br l9d)(lbip 4x>i b^. vidoqs. as well as vaia and filly-^
ier l&yiagholdof tlwpromifc. Sir Ft ancis fancies
iie has got.^ % thoulapd*^ year, isf \^jr oatuc^*
md produces a whimHcal altercation, cpneerning the
txpence^i (h» has ateeady run. tQ^ %we. P^ich^rd^s
conftant stfien&ion to^ eating, is. charaA^^riftic and
feeins act iah^itance frooi bis wife father : we appriCr
bend the £(^loMuJ9g fpee^b of ehe barontttfs,, upQn;hi$
lady^s prQpo0ng to buy fome lace a$ fine as a cob*^
web» is.an exce^lieiit Hr^ke of political. f^re« and
forced feeling : •• Very fine, here I mun, faft,, tiU
•*' I annu almoft femi(hed; for the good of my country,
*'- while mad am is laying me out one hundredpounds
^ a day, in lacei a& fine as a cobweb,fo.r dk honour of
*^ my fianbily ! ods fielb^ things had need go Well at
^' this rate."

The condufive foaie of this aft, relates to Baffet's
plot of fecuring Mifa Jenny, to which the young
lady herfelf feemft ,moft forwardly confenting—
Mirtilla: wh49f has hitherto appeared in a light of

D d 2 pity.

204 The DRAMATIC CENSOR.

Provok'dHuJbimdd

pity, ftands here an objeft of ccnfurc ; but wc muft
confider what (he fays, as calculated to draw her
deceiver more deeply into the fnare laid for him i
what he fays of wanting to be bufy with her again,
and her reply, that he will foon have one to find
him fufiicient employment, are fentiments not ftrift-
ly delicate.

The Count's differtation in foliloquy, upon af-
fumed rank and (harping principles, is admirable;
we heartily wi(h what follows, was confpicuoufly hung
up, in every capital gaming houfe throughout the
kingdom — " Since our mpdern men of quality, are
♦« grown wife enough to be (harpers ; I think (harp-
«^ers are fools that don't take up the airs of men of
Equality/' .

The converfation which pa(res between Manly
and lady Grace, at the beginning of the fifth aft,
gives us a good and nece(rary idea, of the intere(ting
crifis his lady's condudi: has brought things to in lord
Townly's family ; and their mutual defire of miti-
gating matters, furniflies a favourable piflure of
their friendly feelings^

Sir Francis's fcene very judictoufly (hows a fehfe
of error, urging its way upon his dull comprehen-
fion, and Manly's laying hold of the opportunity to
point out his frightful fituation in its real colours,
Ihews good fcnfe, and a generpus mind— the poor
'wcll-meaning baronet, is involved in fuch a heap of
dilemma's, that even the laughter which his ignor-
ant confufion raifes, muft be mingled with fome
touches of concern \ the means of his extrication

.arc

The DRAMATIC CENSOR. 405

Provoked Hujband,

are very artfully kfc in fufjpence at the end of the
fcene.

What paffes between lady Townly and TruAy at
the toilet, manifcfts the very cffence of fafhionable
infenfibility, a vacant head, and a callous heart— ^
the defcription of what pafled the night before is
inimitable — taking the money from Poundage,
fhpws a difhoneft meannefs which an infatuation to
gaming, and a want of money will fubjed the high-
eft, as well as lowed claiTes of life to ; it points out
too, moft fatirically, the light in which tradefmen,
and their circumftances are held in, by many of the
gay world, who, being unprincipled themfelves,
think none of inferior rank in life have any right to,
or bccafion for pundlual integrity.

The fquabble between Poundage and the mercer,

' is moft happily imagined, for bringing lord Townly

oh with the true dignity of an honourable noblemani^

which is far above a right honourable knave ; and

an injured hulband 5 one provocation is excellently

grafted upon another, tojuftify the violent agitation

he appears in ; and his firft reproach to the lady>

ftrikes home at one mainpoint of difgrace, her diffipa-

ted folly brings on him ; his arguments are keen, yet

confiftent with decorum, and fpirited without being
outrageous ; while her replies, confiding of faint

{allies of falfe wit, evidently (how the badnefsof her

caufe, and give his lordftiip fuch openings for con-

viftion, as afford reafon, triumphant admiflion tp

bear down all her principles, but fome embers of

pride, which light into a Ihort flame.

The

t^ The D It A M ATTIC C E N S QR.

Tbe.<;f ifis t9 w^ich m«b^r% are bi;oughc wbea M^n-
Jy and lady Grace appear alarms attention, and evea
lhr0«F$^ fome gkams of pity on the charadbeR of her
kijSttuated ladyfliipi here the pathetic truly rifes upo9
U6^ ^ white we tremble for the unhappy wife, w^
muftapplaud andfympathiize wi(h the determined hufr
l»rK]» who paints the guilt, and pronounces fentencc
wthall ^e teader firmi^f^ of a jud: and humane
judge.

Lady Townly*s feeling? cf remorfe advaivce upf
on us in a pleafing» becaqfe an unexpe^d manoer^
and fo much as we havie blamed her errors,, we ace
^{o prepared to receive her feni&ble pecantation^
which works |hat happy, agreeable ^e£t upoa hi$
lordihip it muft dp upon every generous mind \ as
miHcretiod h the higheft crime chargeable againft
ber, the arguments of exculpation ibe oflbr^ ai^
very admifllWe,. and the effcft of reconciliation \s^
I prefume^ to the wifh of every auditor ^ in (horl;,
this turn of afikirs, fo gradu^tly^ ^4 wicb fqch
probability brought about, is far fuperior to S^
John Vanburgh's original fuggeftion of turning the
iady but of doors. — The buiband's authority Is
well maintained as the piece now ftanda, without
any exertion of hardening fevcrity, which may
ftartle, but generally renders vice more obftinate.

Though the firft part of the mafqucrade fcene
Is, for lake of reducing the play to more bearable
compafs, ufually omitted, yet it cont^m many e»^
cellent ftrokes of farire; what follows deferves
psrticular attention and praife •, in refpedl of thc^

moft

Tte DRAMATIC CENSOH. sof

moft irrational and prodigal aflemblies» lady Giac^
fcnfijbty obferres,**-** Of all poblic diverfims, I
^ am amaKd that this^ which is fo very expenfivc^
^ and has fo little fo Ihew for it, can draw fo mudi
'*« company together ;** to which lord Townly re-
plies,— ^*« Oh, if It was not ctpcnfive, ilic better
«^ would ncft come into it i and baoaufe money taft
** purchafc a Ticket^ the common people fcorn t*
« be left out of it*^

Bafiet^s choice of the mafquerade for perpetraN
ing his bafe dcfigns, h not only natural to fuck a
character, but alfo points out the danger of fuch a
Itnde^vous, where vice or villainy may play their
gtmc under covers Manly 's feheme of ffiend^
deteftion is judicioufly laid, the Wronghtad family
1^ well refcued, and flrrid poetical juftice is done
fcy obliging the Iharper to tnarry one he 4ias dt**
bauthed, and would have impofed on an unfufpeft*
fag country lad.

The laft fccne,^ whteh is indeed bat merely i
tonclufion, contain) nothing more than a more for-
mal exchange of maftrimonial engagements between
lady Grace and Manly ; as it was neceffary to in*^
ttoducc the ferious charaders once more, we appre-
knc thofe lines which Lady Townly fpeaks at thie
tnd of their reconciliation fcene, would h^vc been
fimch better referved to the laft \ indeed thofe
rhimes which at prcfcnt conclude the piece, aro
only an enlargement of the fame thought.

This-

2o8 .The DRAMATIC censor; .

Pro^oJCd Husband*

, This coinedy» though not ftridly conformabk
.to the niccft rules of time and place, is ncverthe-
Jcfs fufBciently . regular j the fcencs are well ar-
ranged, the ferious and ludicrous happily mingled ;
the plot well digcfted, and the cataftrophe'much to
be admired ; the language of the polite characters
is eafy and nervous, of the lower ones humorous
andfpirited : the fentiments are adequate and in-
ftrudive, feldom trefpailing upon delicacy, and the
inoral is a mofl excellent one, fllewing how follies of
a different nature involve domeflic concerns in dif-
ferent perplexities.

Lord Townly is a charader of very amiable
qualifications, fenfible, polite^- generous, tender
and refolute, preferring ^indulgence, till he finds
pernicious effeAs arifing from it ; his provocations
jare interefting and often repeated, yet all borne
.with patience, till the honour and dignity of a
hufband feem top much endangered, and every trace
of, difcretion, on the female fide, vani(hes.
* From this view it is eafy to perceive, that his
Jordlhip cannot Jae well reprefented by the requifites
of mediocrity; from a great variety of perfor-
mers we have feen, Mr. Ross muft be fcleded, as
manifefting much fuperiority in this charader ; his
figure, deportment, and expreffion ^ are , happily
fuited: in the fcences of leaft importance, he (hews
polidied eafe, in thofe of confequence, pathetic
feeling and fpirited refcntment ; he rcmonftratcs,i
reproves, chaftifes and forgives with dignity. — Mr.
Barry is not without confiderable merit, but as
freedom, either in aflion or expreffion, never ap-
peared

T*he DRAMATIC C1ENS0R. ao^

pcared about this gfentfeman in comedy, he cannot
iifely fcecome a competitor with one pofTeffed of
both ; where tears are mingled with embraces, he
/noft be allowed to ftand foremoft.— Mr* Ryah
Jrcceivtd and deferved much praife, but he made
lanjentabic life of the 15 ng-fong manner, and tra-
gediied a great part of it abominably ; Mr. Sut-
:r.idan was as fententioufly pedantic as any fuper-
cilious fellow of a college in Chriftendom, unva^
«Tring and infipid through the whole; Mr. Mossop
liaughty as a bafliaw, vulgar as a ffage-coachman,
l»ifterous as a tavern-keeper, and awkward as a.
country dancing-mafter ; pumping up every fen-
tence" from the bottom of the ftomach •, ftalking
backward and forward, Bke a Jack- tar on the quar-
tW'deck, and clenching his fifts, as if lady Town-
ly was every moment to feel the cfFefts of them.—
Mr. Powell had "fenfibllity, and was not void of
cafe; but he wanted much of the nobleman, anj
fell very (hort of the charafter, except in the laft
fcene y Mr. Holland was a perfeft type of prim
Stiff, the mercer from Ludgate-hill, both in utter-
ance and appearance ; we never wiQi to fee fuch a
paftcboard peer again 5 Mr. Smith has freedom
and elegance ; but a mod: lamentable fameneis of
expreflion hangs intolerably heavy on the ears of
an audience in his performance'of this part ;* in the
effential of dignity he labours under a fimihr dc-
fcd with Mr. Powell..
Manly appears pofleffed of a found undorftand-
. ing, is friendly, conftant and difcemmg, farcafti-
cal and rather rigid in his opinions : careful of his
YoL. I. E c own

a»Q The DRAMATIC CENSOR.

own principles^ and cautioas of other peoples \
Mr. Sparks, whofe figure and voice were both
unfavourable to him for fucha part» had neverthe**
lefs a manner fo fignificant that we have been at a
lofs ever to find his equal •, in thofe fcenea where Sir
Francis is made his butt, he threw out his infinua-
tions with fuch forceable meaning, that while
fpedlators laughed at one, they could not avdd
fmiling uUb the other 5 in the third a6t fcenc
where lady Grace fhcws the letter (he has received
to his difad vantage, he fupported a degree of g^^
teel delicacy very little to be expelled from his ge<*
neral mode of performance *, and indeed {uperior
to any other perfon we have fecn.

Mefi*. Clarke and Packer wanting eflential cha«
raderiftic (hrewdnefs and cynical pleafantry, only
reach that infipid medium which juft avoids cenfure,
yet never can reach praife •, Mr. Reddish would
certainly do either this part or lord Townly much
better than they (land at prefent in either houfe.

Sir Francis Wronghead is an admirable portrait
of falfe confequence, ignorant fclf-fufficicncy and
undircerning good-natdre ; a tame hu(band, a fooU
i{h parent and a credulous friend ; po(re(red of a
genteel independency, yet vainly grafping at ima-
ginary promotion, to the great prejudice of his
real circumftances, — Mr. Macklin, beyood all
doubt, filled the author's ideas of this part, and
conveyed them to the audience admirably j confe*^^
quential (tupidity fat well painted in his counter
nance, and wrought laughable efife(5ls without the:
paltry refource of grimace; where he a(fe6ted t(3
be very wife^ a laborious,, emphatic flyne(s markec3

, The DRAMATIC CENSOR, an

(he endeavour htimoroully ; Mobile the puzzles be-
tween political and domeftic concern^ occafioncd
much' food for merriment.

Mr. Yates purfued the fame track, but with
much fainter execution ; in him there was a kind
of unaiFcfting petitnefs which much reduced the
ftcrling value of propriety. — Mr, Arthur moved
io a fimilar line of direction, but dill further on
the decline. — Mr. Shuter, forgetting every trace
of charafler, burlefques it with ten thoufand un-
meaning tr^nficions of countenance, and as many
ill-applied breaks of voice 5 Mr. Love is as in-
fipid as the lad mentioned gentleman is wanton ;
the former (hews an uncuhivated luxuriance of hu-
hiour ; the latter an abominable narrownefs of
conception, united to a matchicfs drynefs of utterance.
One general deficiency, which all the performers
we have mentioned, labour under in this part, is
making very iniperfeft attempts at theYorkfliirc
dialed; from which, for the moft part, they are
Xs different as if they were fpeaking the Iriffa brogue.
Qbunt Baflet, a fuperficiai, forward, gambling,
fafluonable rafcal, poITcflfed of cunning enough to
form the knave, but void of judgment to hide it ;
gaping like a hungry pike for prey, and fnapping
at every thing till at length he hooks himfelf j
pert without wit, and fhewy without elegance ;
Mr. Woodward ufed to do him ftrift juftice,
nay, indeed, make more of him than could be ex-
pedted 5 Mr. Dyer and Mr. Dodd reprcfent him
without leaving any material wifh of criticifm un-
&tisfied»

E e 2 ^ Squire

212 ThcDRAMATIC CENSOR.

?ro<vQfCdHuJband^

Squire Hich^rd is an ill-educated» headllrong^
brainlefs boy, taking advantage of the indulgence
which has fpoiled him, and following his own wild
inclinations,' without aflcing why or wherefore % he
carlnot complain of his intimacy with Mr. Hamil«
JON at Co vent-garden— -but is much better in pof-
feffion of Mr. William Palmer at Drury-lane,
who pofleffes confiderably more of the natural vis co-
jViica, in fuch a calt, than any other performer on
cither ftage.

John Moody, a very natural, well drawn ruftic ;
not without fenfe, yet pofiefling lefsthan he imagines i
a kind of humourift, fond of his own jokes, which
he pafles without referve, from a freedom allowed
him by his mafter; his bluntnefs is pleafing, and
his caricature painting, fhews maftcrly though un-
polilhed fatire; Mr. Dunstall hits off the manner
and appearance of this charadter extremely well, but
dialed is wanting in all the John Moody's, as well
as Sir Francis's we have feen 5 Mr. Sparks makes
an Hibernian, and Mr.BuRTON, nothing at all of him.

Lady Townly is drawn a female of peculiar fpirir,
poffefling good qualities, which however are all
fwallowed up in a vortex of fafhionable follies j
yet not abfolutely vicious, though verging clofe upon
vice 5 a laughable yet melancholy ; an entertain-
ing xhough a pitiable obje6l ; miftaking elegance
and vivacity for more valuable qualifications j def-
pifing any conceflion to the authority of a huf-
band, yet a perfeft flave to her own capricious
inclinations — Mrs. Woffington had a mod fuit-
d)le appearance, and mode of expreffion ; but ra-
.(ber indulged too much coquettifh pertnefs in the

Th«DRAMATICTCENSOR. 213

lacter, and fomewhat or affectation in the former 5
for which reafon we muft prefer Mr$. PritcharDji
as preferving the true woman of falhion much bettcrt
both of thefe ladies, however, were remarkably de-
ficicnt ip the tender part of the reconciliation fcenc ;
Mrs. CiBBBR and Mrs. Bellamy, each made r^
mantic attempts upon her ladyfhip, being moft in*
fipidly unvariable till the fifth a6t, where indeed they
had both merit — Mrs. Clive gave criticifm an idea^
that lord Townly had married his cook-nuid, vul-^
gar in the polite fcenes, and diiTonant in the pathe^t
tic one ; Mrs. Yates is a mere fifth aft lady ; Mrs^
A.B INGTON all but the fifth ; and Mrs. Barr v more
confident through the whole than any one we havo
mentioned.

Lady Grace appears a mofi: amiable and pleading
contraft to her volatile fifter ; poffeffed of refervc
without prudery, iebd folid fenfe without formality $
willing to partake reafonable pleafures^ defptfing
extravagant, pernicious and irrational ones ; the de**
licateeafe and modeft fenfibility of this charafter, were
never better rcprefenced than by Mrs^ELMv, wbcfc
merit Teemed almofl: totally confined to her, and
Selima in Tamerlane ; Mrs. Bulkley's very ami-
able appearance, eafy deportment, and unafi^cfted
delivery of her ladylhip*s inftruftive fentiments^
have given us, and we doubt not the public, very
fingular fatisfaftion ; as to 9II others within our
knowledge, filencc is the greatefl: favour we caa
ihew.

Lady Wronghead is a bounce-about, clumfey imi-
tator of polite life, without a fingle requifite for that

3 ^ fphefe>

. it4 the D R A MA T I C C E N S (DR.

fphere, ignorant to a degree, yet afiuoiing know^
ledge fuperior to her important lord and mafter $
Tain, pofitiTe, and not of very rigid virtue ; an im-
pertinent wife, a gofiiping companion, and a fool-
ifh mother-— this odd compound never appeared
more diverting, than in the perfon and manner of
Mrs. Macrlik, who exhibited petulant buftling
aflFeftatioQ, with infinite humour — Mrs. Clive
looked and fpoke many of the paflages, particular-
\ ly thofe where contempt is thrown upon Sir
Francis, with a very eminent degree of merit, in
which (he is clofely traced by Mrs. Green ; nor
does Mrs. Pitt fall far behind ; as to Mrs. Hop'*^
iLtNS, (he wanes both fpirit and humour. '

Mifs Jenny is a very natural fprout from the old
ftock already defcribed ; talkative, pert, fiHyi
fond of herielf and credulous to flattery \ a mofl: ex*
cellent objeft for any fmooth-eWfigued coxcomical,
[ fortune-hunting blade to make a prey of; withjuft wit
enough to play unbecomingly on the fuflferance of her
father, and folly enough to ruin herfelf *, this vacant
Hoyden, who certainly (hould have fpoke Yorkfliire,
as weU as her brother, fits with a very pleafant por«
lion of eafy humour upon Mifs Pope •, Mifs Mi-
nors, fince Mrs. Walker, was happy in this, as
well as the whole girlifh caft ; but for Mifs Ward !
we heartily wilh flie was well provided for off
the ftage ; why fuch languid dawnings of merit,
cfpecially in the female fex, (hould be plunged into
fo precarious and difficult a ftate of life, is not eafy to
be accounted for •, efpecially where there is a parent,
who knowing the advantages, fees alfo,^ perhaps

feels, t}ic rcvcrfc.

To

The DRAM A TIC CENSOfL «i^

To Mrs. Pritchard's great praife be it fpoken,
(he never gave her children encouragement to a
theatrical ftation, though (he had reached eminence
fo confpicuoufly herfelf, and fupported it fo well to
the laft, that like an evening fun, her fetting^chough
not foVefplendent, was full as agreeable as her aie-
ridian rays of excellence: Mrs. Palmbr's own
ftrong inclination for the drama overcame, not at all
unhappily, her mother's prudent prejudice.

This Comedy, if not abfolutcly firft, yields pre-
cedence to very few on the Englifh (tage, whether
we confider its language, characters, humour, fpiric
or moral ; and however Mn Pope, who never could
write a play himfelf, and therefore envied Cibber»
might anatomize that gentleman ; we very much
doubt whether any play he ever wrote, deplumecl
of fancy and harmonious numbers, contains more
yfeful inftrufbion, than this play which the Laureat,
with fo much tafte and judgment, fitted for the
theatre ; upon the whole, we are bold to recom-
mend the Provok'd Hufband, as a very entertain-
ing, valuable compofition, both in reprefentatbn and
perufal.

CYRUS

1

titf Hic DRAMATIC CENSOR*

7

/'

y R u s.

A TR AG ED Y by Mr. Hooxe^

T

HIS piece is the offspring of a virgin modem
mufe: the word niodern is introduced to apologize
prtoioujly for any deficiency in the nobler flights of
genius which miy appear. Pubhc tafte has beeri
inDpregnated with fuch Gallic frigidity for twenty
years paft, that the glow of a warm imagination would
be rejefted as too powerful 5 wherefore mpft, if not
all the tragedies, within the date mentioned, have
been, as Aaron Hill emphatically obferves, elaborate
efcapes from genius ; cold, creeping tales, dragging
a plot unafieftingly along, through five tedious
fleep-infpiring afls : mere correftnefs is the pobr
equivalent for that noble enthufiafm which Shake-
Ipeare m particular, and fome other dramatic au-
thors, treated their fympathizing audiences with,
and at prefent oflFer to thofe who are not embafraffed
with the enervatmg falfe delicacy of criticifiii — yet
hold : let us not even feem to hint that the play now
under notice comes under fuch a charge, but candid-
ly examine, and impartially decide*

Mr. Hoole does not wifli to deny fome obliga-
tions to that great Italian dramatift Metaftafio, how
he has availed himftlf of fuch an origimal, is not
within our plan; fince we only profefs examining
and illuftrating pieces as they appear, unlcfs where

one

r^

The PRAMATIC CENSOIl. • ai^

pi^e is prpfeiTedly c^ll^ an alteration of s(iiQther-n>
our criticif(ps ^re inegnt to be ^s pl^in and ufpfi^) as
poffibie *, ourdcHre beiqg much morebe^t upon Ihew^
|r^ a Hflowledge cif DW^re, qf\d ^n iptenpon pf prq-
lapotjng fpcjal welfar«, than pedantically to difplajf
U^iirning in ip^ltiplj^d coi^e^qr^, upon immatef^)
paflkges, which from beipg temporary, bfCOir^^
Qbfci|F€.

Cy^ys pp^fis with IVfandiPf, daug^tcp cjf A<ty^
m^%i «iBd Af^afi^, daughter of H^rpagvis ; the for,
mcr, whQ Ipft % fpn, ^nd thought him mpFdprc4
fw^pty years agp, mentions, that (he expe&§ within
l\^ d^y tp fee her ^hild % her irnp^tjpnce at h^ dpli^

berate approach is wpH cxprelTe^^, and paints 9 mq?
|her'» fpcliBgf, fo fitHsted, injyft polpursr^-frofn
what paffpi we fiad, that Aftyages, his grandfather^
yrhp had devoted thi^ Cyrus to d^th, i^hil^ iin in-t
f«t, npw feetn§ IP qapnfienanFe his pijblic appp^fa^ce :
the pld fnpn*«"ph'^ determining fo facrifif:e the ypup^
priaee, even before hj? birth, hecaufe of a d^^e^rq
wjiifh pofiendpd his pfurpation pf the kjngdfwpj|
ftfws bitn rMicwlonfly fHpcrilit^)i|s^ ape} pqpardofl-r
fbly cruisK

In the firft fcpn^ we g|fp lpar«i, thaf Gambyfcs W3^
(»Mit(hed to prevent Mandane's having apy i|i,Qre chiW
drcB I hpwever, we think Afpafia's ipentipnipg what
the pnocei^ ha4 known fo very long, ^nd rumipatec^
Bf^ fo pnucb, is merely making her a tool for opening
ih^ plpt^ vft are to}d (po, th^i: Miapdane^ thpDgij
icr fon counts twenty, is hcrfelf but thirty-two : thi$
nay pleafe a capital aArefs,^ as few ladies like to ac-
Vol. L F f knowledge

2i8 The DRAMATIC CENSOR.

^ . Cyrus*

knowledge even that age, till a dozen or fourttcn
years older ; but is at any rate a very trifling circum-
ftance to mention. • Afpafia alfo tells Mandane ano-
ther tircumftance already well known to her, and
much better mentioned afterwards; indeed it is
fome introduftion to Harpagus, but we wifh the
plot did not open fo mechanically. '

By Harpagus it appears, that Cyrus is arrived up-
on the borders of the kingdom, but mud not pafs them
till Aftyages*s pcrmiQion is fignified ; this very juftly
Simulates maternal impatience, and occafions Mun-
dane, ks it is improper for her to appear in pertbn, to
fend Afpafia for intelligence of who \.\\e prince re-
fcmblesj if, however, (he had only mentioned a likenefs
of his father, without remembring herfelf, the ftroke
would have been more delicately natural— -befides
the choice of her meffenger is not, we apprehend,
quite juftifiable ; as things are circumftanced, Har-
pagus would certainly have been much fitter than
his daughter : however, he ftays to give the princefr
fome gleams of double joy, the return of her huf-
band, as well as fon, which he only hints ; and for
what reafcm fuch obfcurity is aflumed, we cannot
perceive, unlefs the ftatcfnian fuppofes Mandane in-
capable of keeping a fccret, however important to
herfelf; or thinks happinefs better adminiftered By
halves: the lady nevcrthelefs is fatisfied with the
bare fuggeflioh, nor alks once after probability, tho'
Harpagus afligns no reafon for his myfterioiis re-
ferve.

The

The DRAMATIC CENSOR. 219

tht ftateffnan in his foliloquy ifftimates, that re-
venge for a murdered fon enflames his breaft, and
that he wears an outfide (how of loyalty to make ven«
gcance mpre fcCure. .We could have wiflied that the
uneflentiai obfolete Scotticifm kefjy though admitted
byforne leading authors, had not been ufed in the
kft line: to imitate the beauties of capital writers is
very commendable, but peculiarities are much better
kft to themfclves.

We find from what Cyrus mentions at his en*
trance, that Mithranes, his fuppofed father, has
made him acquainted with iiis real origin ; here a
queftion obviouQy arifes, why the old man fhpuld
fo foon diclofe this fecret, which it feems fo necef-
f;M7 to keep s (ince we cannot perceive that commu-
nicating it tends' at all to forward the prince's hap«
pinefs, nay rather unnecef&rily changes his tran^
quil ftate to agitated perplexity ; a piece of ufcful
information, however, accrues, which is that an ini-
poftpr has ufurped his name, and is ready to impofe
upon Aftyages *, the dream of that old mpnarch is
tjold by Cyrus to Mithranes, who knew it, and the
confequences, before his birth; this again feems
ftrange filhing for revelation of a plot •, but what fol-
. lows from where Mithranes takes up the ftory is mod
agreeably imagined, and fuitably expreifed; the
reception of Cyrus in his infant flate, , dopmed to
death by a favage parent, is pathetic, with be'auti-
ful fimplicity ; and the prince's defire of paying
fome tributary drops to the memory of her, who
adopted and took care of him as a fon, fpeaks ten-

F f 2 der

•'1

aao The DRAMATIC CENSOk;

dcr kudabte gmttude^ the fiiHoiwing pttt bf ^his
ftene a^logizei for a caucioves, tondfcrhand methlxl of
working, by repitr^hcSng t^e aSbAed commton of
Aftyag^s fuTpicious^ as a proof of whidi^ his fa^^
cHiicing Harp^us's foA, upoh fuppofition^ that
die father had faV^ Cyrus^ ii >m*y judiciouQy bf-
fered % that fpeech whereki CyrUB feems eagor ta
ad&rt his rights (hews t {^afing glow of ipirkcd
imagination, and the two lad lines of it cotitain a
fentimentof iiminfic merit

That king wffl ticVer gtliand Ms people's lig^ts^
Wh6 wants ^e cd^age to affi^ his 6#n*

This is a truth Inb Ifnan can den^ ; but leaft refb^
liAidn (hodd bbconie rafhnd^s, and firtrnieTs bbtlt^
nacy ; a tnonarch bughi:, Without the aid o^ hRa^
dous cbtirtieris, tb kno# the t!xaSt b^Her bf fepjk-^
r^ibn betwteh his own royal prerogative knd jtifl
popuHir piivileges; filkl duty feetes to make a
ftrohg impreflSbn upon the young prince ', afa ittipk^
tSent, natural defife of feeing his unkiiowii parMt^
animates, but the eool advice of Mitbraties check!
hill) into a prudent ^nd foleitm prooitfe to keep
hii¥)felf concealed under the nam^ of Alcsus ahd
his ifon, /tffl fit ocdafion ferves/

Where the old man touches upon reproof^ and
ittradte, as bring no longer in the charader <rf k
parent, imth C^rus^^ grateful^ tendet teffly, Hit
beaut^ul paffages, as is alio what follows y

—I will fiek yon hallow'd roof, to ntife
Devotion *8 voice, and fupplicatcthegbds
To hrcadic a -hero's Ipirit in this breaft^.

a That

TM DitAMATIC CENSOR. itt

Tiwi whtothe, Hp'oifig bgui:^ (hall bru^ to light
The wi£h'd events of this auT^icious dajr.
My foul) enlai^g'd to thpughtsof confcious greatnelst
May hail with virtuous pride its birth to glory.

There is nothing more becoming of human na*
ture than a ju)[t, reverential reliance on providence :
io biigin every deed with heaven^ is worthy a found
underftanding, a great mind, and a pious heart ;
therefore the author who inculcates fuch a principle,
without the leafl: taint of enthuiiafm i who expre(^
it, with fuch a noble engaging fimplicity as Mn
HootE has here done, commands the approbation
of religion, morality and tafte.

In the firft fpecch of Harpagus, vfrhich acquaints
us, that Aftyages has fent him to enquire whether
his grandfon is arrived, we find an un^ardmabk
grammatical Qip«

To learn if Cyrus yet approach the borders
approach f\uT^\y for approaches fingular, we would
gladly have prefumed this an error of the pre(s, but
that the meafure fays otherwifc ; wherefore we would
recommend a change, fuppofe thus.

To learn4f Cyrus Uuchis jet the borders*

By this tranCpofltion and change of a word
concord is preferved, withoiot rendering the kak
weaker, or the verfification leCs harmonious.

•Froai the converfation of Mithranes and Harpa*
gQ&k apipears,. that Aftyages bears his grandfon fso^
great good will, -wherefore they determine that an
in^dlor,. who has ufurped his name^ (hall fall in
ihe way of thofe perils aimed at the real Cyrus 4.
the remark which Harpagus makes,^ that Media's

heir

222 The DRAMATIC CENSOR.

' Cyrus*

heir has been trained up to virtue in her fafclt
fchool, an humble ilation, is pretty, but not de-
, fenfible.j becaufe^.ti*e wtncsto adorn and fupporc
> a throne require pradical knowledge of life ; he
who knows not vice, nor has any opportunity of
running into it, can poflfefs but negative virtue at bed;
CO be furrounded with temptation, yet ftill to fdar
above it, is the true purity of mind ; a man who
cannot get ftrong liquors claims no merit from fo-
briety, nor a female locked in a cloifter from cha*^
ftity ; pofitive virtue is the' child of free eledlion,
and, we apprehend, whatever pleafing pidturcs
may be drawn from education totally abllra£ted,
not on^ in a hundred of fuch characters would
make a tolerable king, or even a ufeful member of
fbciety ; fpeculation prefents us with many ideas
very pleafing, which pradicc immediately proves
chimerical.

The approach of Cambyfes is again intimated,
and they fejparate, lead from the king's jealous
temper of mind fome dangerous confequences
might arife.

At the beginning of the fecond aft,' Mithranes
exprefles apprehenfions for the abfence of Cyrus,
but is interrupted by the appearance of CambyfcSt
whom he knows, though in difguife, yet does noc
feem to know ; the ftranger folicits guidance to
Ailarte's altar, where a grand annual facrificeis
that day to be held, which the old man promifes,
and mentions the expedled appearance of Cyrus; fome
explanation fccms approaching, when the fudden

ap.

The DRAMATIC CENSOR. 223

appearance of Aftyages makes it neceflary for
Gamby fes to retire. ^

The gloomy monarch founds Mithranes's attach-
menf on the principle of gratitude, which is ac-
knowledged.— On mention of Cyrus's being prc-
fcrved, Mithrancs takes an extraordinary alarm;
we fay extraordinary, becaufe there is no reafon to
imagine, from his cordial beginning, that Aftyages
me^ns any other than the fidtitious charafterof Cy-
rus ; indeed, he explains it immediately after ; the
liftening of Cambyfes is a moft pitiful condefccn-
tion in any perfon of his rank; though mifapprc-
henfion of Mithranes's accepting the murtherous
chargie gives rife to fomewhat interefting afterwards.
The old man's mentioning Cyrus under the name
of Alcseus, to perpetrate the monarch's command^
16 natural and politic,

The paternal impatience of Cambyfes which hur-
ries him into the path of deftrudlion on his fon!s ac-
count, is affedionate and noble *, his appearance,
and tht danger confequent thereto, muft agitate
feeling fpeftators confiderably \ the circumftance of
being taken prifoner affords him a good opportu-
nity of Ihcwing an invincible fpirit* whici> caufes
a difcovery of his real character, and furnifhes him
with reproaches of a very flinging nature againft his
cruel father-in-law.

As tyrannic guilt is ever trembling for its own
fafety, his threats of fatal nature might reafonably
be expefted, as alfo Cambyfes's contempt of them.
•^The charge of affaflinating Cyrus is well levelled
aod flrikes home alfo : the bine he throws out of

ven*

\

a24 The DRAMATIC CENSOR.

Tengcance banging over the royal perfecutor ia
well imagined *, in (hort, both charadters are es>.
cellently con traded through the whole fceh^, con-
fident innocence buoys up one, cumbro«)s guik
ftaggers the other,

Cambyfes departs with becoming fpiric and mora)
^gnity, leaving Aftyages pregnant with appr&i
kenfion of lurking dangers,«^In about fifteen linet
after her hufband's being carried off a prifoner,
Mandane appefars poifefied of his difagreeable fitua^
tion, which feems a violent breach of probability;
being abfent twenty years, (he but thirteen
when he was banifhed, how does the princefs fo
fuddenty, amidft fuch buftling circumftance^, know
him? Or, if he was pointed out to her as the
perfon, is it pofiibie to imagine but after fo long
an abfence (he would have forced an interview with
him for an exchange of mutual tendernefs ; as it
is, we muft fuppofe (he has flowq by him without
taking the lead: notice ; a paflkge in the third ad
intimates (he has not feen hinn ; if not, who has
told her To fuddenly of his fitUation ? The applicatioir
to her father is of a very tender, perfgafive nature,
much in favour of capital performance, and conduft^
ed without running into bombaftic extravagance,
like that of Aimeria in the Mourning Bride, whea
fhe pleads for Ofmyn in the fourth a& of that play.

Aftyages endeavours to alarm her feelings as a
daughtei*, by acquainting her of the danger b^ ap-r
prehends furrounding him, yet grants fecii^rity of
Kfe to the ptifoner, in compliance with her tears ;
but expreflfes a firdfi refolution of renewing his bsL-i
nifhment. — The king, no fooncr departs than Cyrua

ap.

/

The DRAMATIC CENSOR, zzg

appears, wbgiii Mandane charges with breaking
importumhf on her grief-^the word importunelj we
can by no means approve,

Cyrus's apology for fo unceremonious an ap-
proach, is danger which courfes him at the heels;
dangers which arifes, according to his own ac-
count, from (elfKiefence \ the fympathy of blood
is hinted at in Mandane's firft fpeech to the ftartlol
prince, who tells the circumftance of having re-
fcued Afpafia from threatened vidation, in terms be-
comingly modeft ; his narration is interrupted by
the appearance of that lady, who urges informa-
tion how he efcaped with life from the danger her
fafety had involved him in.

Cyrus continues his tale with unadorned truth,
and fignifies, by a pleafing degree of natural
painting, his antagonift's fall ; the name of Man-
dane being mentioned, her fon, as we might expe6t,
is (truck with amaze ; at this very critical period an
officer and guards are introduced, who give the fcene
quite another turn, by arrefting the real Cyrus for
having killed the ufurper of his name. Thofe
beams of pity which fo lately lightened over Man-
dane's breaft, now turn to the clouds of rage a-
gainft him who appears the murtherer of her fon ;
Cyrus's folemn oath to Mithranes prevents his re^
vealing himfelf 5 ftrong grief fways the mother,
anxiety for her perturbation agitates the Ton, while
Afpafia feels commendable, grateful concern for
tlie unhappy fituation of her deliverer.

Mandane, unable to exprefs or bear her connplt-

cated miferies, hurries off with a fpeecl^ exprefling

Vol. I. G g fomc

\-

zz£ The DRAMATIC CENSOR,

fiune f<!U£hes €ff frenzy % AfpaQ^'is 0pq), wt^
fcrrtd dccUtatiQn of apprebetjfi0n for Cyi^*3
fafcty, fhews much gtp^0&tj of Cemper^ ev«n
admkting whiit fhc bierfelf, after be 13 gonei t>ints
at, love for -his perfon i this lady's folHpquy ««-
eludes the fecond a4l, with t;ofef able fpirit, but ic
KHift b^ of opinioifi tl\at the fcenc ihroughoiit is
much ofiorc intercftidg from jts orcu cnfl:ance§ ^
exprcffion ; the former have too great a firpHiwdc
to Meropc* and the kiter f^lls far beflfath tlic im-
f»fiioRcd ideas of th^ tragedy ;, though Mf r. Hoolc
ha$ happily avoided \ht ftrained, metapbofical nt-
fifiGackKQ, which inciUBbcr$ .Aaron HiH^s brillianqF

of imagination.

At the beginning of the ithir4 aft, Mithr^ies,
dreading MdtxJaoe'fi refentn^nt tag^inft Cyrus 8S

Akasua, inforres Ijer of the fecret fo; ^ong kept

fro^ her; but at the i^ine time warns s^^inftaa
kida^woeof tbofe tranfportjB which might difco* ,
cover it to her father; maternal joy for having
foued a fcn fo long loA> and fo lately to all appetf-
xmo^ killed, is confidcraWy danrped by tlie fu^
Wn of Cacnbyfes 5 from fopie breaks it appe^»
^at Miihranes's prudent reftriiftion is pece0ary to re-
train Mandane ; the heart violently agitated is ever
Jpfon^ fead^vertentiy to difclofc, what undifturbed
iiautiow would teach it to conceal ; wherefore i^

. fuch c^&i a friend V afiiftaace becomes effentiafc

AAyages, true to his villainous prii^iples, fpenas
much pleafed at, and grateful for, the death of
hlm*^ fuppofes his grandfon ; this affords Mi-
thranes a good opportunity to confult the fafcty of

L ..; , Cyrus,

The DRAMATIC 1CEN30R. ii/

Gyros^ as Alofl^ whicb the king pfit9rrds.<^«^
^sBit^ikie^ in his foiiiiotpiy, he determines ta iacrifioe
thofe who have contributed to his murderoiis pi&r^
poffei I bcncQ fllrife fre% fears for the prince, on.
wfaflite defith kcmi to have conceived hsnuoxerabld
stud sAtnoR unavoidable attaicks.

Harpagus cdmes iii feaifbnably to avert fome tm-
jatnding iUs hoai ovit hero, by fhewing Kinnfetf
ivarm in his attachcmnt to Aftyages; Afpafia's flip*
pUdKion in favour of Akseus works an alarnif in
her fithor'sbrcaft ; imroduciirg Cyrus ' to Aftyagcs
asaprifoi^r ferves no pafJ)ofe that we can per*
«eive, eiloept giving rife to^ a fpeecb beautifilHy'
fenfiUe : wheh Aftyages nf^kes a favourable reiharkr
<»i th^ priixce's perfonal appearance, the ftatefman
^us emphatically replies ; .

» « • • •

Appearance oft deceiyes;^ Ij6t al\^ys ddea^ -
The polifti'd ooui^t ii{p\^ th^ faii^ft fbittiSi
Ami in the fimple niftkf s hon^Iy cell.
Nature fpmetiaies aflfumes a nameleis grace^
Which {reatnefs cannot reach.

. Harpagus's ungracious addr^fs to Cyfus^ wheft
he approaches the king, is alfo politrcally caki|latj?4
to turn afide any fufpicion of a dilguifcd charafter j
but why AftyageB ftiould call: the fbn of Mkferancs
anperfori of lowly birth, or why Afpaiia, in her
folilo^uy ai the end of the fedond tt€iy fhould hint
pride's placing her above the offspring of^ a man
who, It appears, had formerly been , in favour at
court, and obtained the rural retirement He wifhed
from royal patronage, is hard to fay : Mithranes,
though a voluntary exile from grandeur and buft-'

s »

tzt The PRAMATIC CENSOR;

Cjrus*

ling life, by no circumftance iippears a mean cba-
rafler, therefore rufticity of birth fhould not be
charged againft Alcasus.

Harpagus's difguife of his real fentiments ajFcer
Aftyages goes off, even to Afpafia, (hews cautious
integrity ; he hints prudently alfo his fufpicion of
love in the warmth of his daughter's folicitation, and
warns her of a pafTion attended by ynfeen danger.
i— Upon her departure, we find the loyal ftatefoiaa
paying cordial homage to his prince ; quere, whe-
^ther freeing Cyrus from his chains does not break
in upon the cautious plan he has before purfued ;
for fuppofe the king was to fee or hear of fuch an
indulgence (hewn to a prifoncr, even by the perfon
who a few nninutes before has rather behaved
harfhly to him, mufl: it not wake (lumbering faf**
picion to a ftate of dangerous aftiyity ?

Paying fome tributary tears to the meniory of
his own fon, and Cyrus's generous fympathy are
pleafing tranfitions ; when Harpagus reprefcnts
private griefs as below the notice of royalty, he
draws ias fine a declaration of noble humanity from
the prince as ever fell from any pen.

— ^ Does royalty
Exempt the brcaft from every focial tyo
Which links mankind I Shall kings, my Harpagm^
Forget, that one infpiring breath to life awak*d
The prince ancl p^afant ? and (ball be
The public voice proclaiqfis his people's father,
, Not ftel thofe for rows which his children feel ?

The prince's concern for his father's imprifonmenr,
^nd bis tpother's grief, is well adverted to, and occa-,

(ions

The DRAMATIC CENSOR, aag

tions Hafpagus to renew the charge of fecrecy firfl:
given by Mithranes ; this creates a perplexity in the
following fcenewith Mandafife» where fhe owns him
as her fon, and he (huns her tender approaches, which
terminates the aA in a critical and interefting man-
mer: however, we cannot help thinkipg Cyruses be*
haviour to a tender mother, when it appears (he has
been informed of his identity ; a punftuality too ri-
gid for nature and probability, his myfterous refer ve
naturally throws her into a ftate of dubitation bor*
Bering on ^amazement.

A£t the fourth begins with Mandane alone— ^wc
have a (Irong objection to that paflage in her foJilo-
quy which ftiles fufpenfe, life's deadlieji calm j in the
firft place we know hot ^ny calm that can be deadly,
unlefs the Deep of death be ftiled one ; and what re-*
lation fi^fpenfe has, either to deadly or calm^ is not
cafy to perceive : fufpenfe we apprehend to be an
agitated ftate of thought poffefling the mind, where
tefledtion hangs in a medium between hope and fear;
if the former is confirmed, joy takes place of fuf-
penfe— ^if the latter, defpair may come, and that in-
deed dcferves the epithet deadly ; but in each in-
ftance every idea of a calm vanifhes, for pleafgre is
as tumultuous as grief.

That afiedtionate tranfport which a faithful couple,
fo long parted as Cambyfcs and Mandane, might be
fuppofed to. feel, is interrupted by the former's fup-
pofmg his fon newly Qain ; however, he is informed
otherwife, and mutual fatisfadtion again difplays
plcafing beams. The following dcfcription of Cy-
rus

tyy Tb« DRAMATIC CEilSOR*

rUs by his fadie^ it ia poetiailiy expreiled^ * it i»
hbcifally oMimed :

Whel« yo» tiiU pbpbrs fliadrthe (fichftled pool^
I late beheld a youth^ wboie boJU&hhoii
Attra&ed ray regard s I turn'd to gaze
While vjrith light fteps he bounded o'er the turff.
His aubitrA locks flowM graceful down his back ;
Quick was his piercing eye : his manly flioulders
A fpottcd tyger*s dreadful fpoils adorn'd,
Some gallant trophy of his fylvan watrs.

The turn which enfues froni Cambyles*^ hca;rifig
that Mithranes has informed Mandane of hpf foil's
exiftencc is truly fine, as thereby the plot g^lris &ti
alarnming intricacy ; having heard Mithranes'pfO^
mife the affaflinatioh of Cyrus to. Aftyages j h6
Very naturally fuppofcs, that the old ttian, thfOugh
anribitious views, wants to palm his own fon/CpOri
a wifhing, and therefore a credulous ftiothef ; of
this Mandane is the more readily convinced by re-
flefting upon the onintelligibie behaviour of the
young man in his late interview with her.

The refolution of Cambyfes to take revenge on
his own fon in the charafter of Alcseus, fets every
tender fear of nature at work; when Cyrus ap-
proaches— by the bye — he appears too quickly— his
mother's change of looks very juflly alarms him,
and in his turn he folidts for an exchange of mater-
nal and filial tenderncfs, which occ^fions a power-
ful conflift of pafTion in her brcaft ; but viewing
him both in the light of an impotlor and' her*(bn*s
murderer, flie ufesa kind of deceit, and for fake

of

r^

The DBiAMATlC CENSOR, tji

ftf « more {bcr<ec ccnifcrefice!, the prbce ap^oiscs
(ko^itt that very pirtof tbc wood where Caunbyfes
has jixed on t;o make him a £icri&cc«r-Mandane^s
folUoquy is in a disjointed flile, well fuited to her
fitiiiition % hm ilQW Ihe Ihouid bint the grief of
Alc9PUs'$ nvKbeff on feeing him bathed in blood,
we <Anxm reconqiI(?i «s the death of 9arce, Mi-
ihrsm'^ wtfe, he hioifelf beii^ well known at
CQttTt* Q^\d fcircc efcape her knowledge.

Afpafia'a ipcntlori of Alcseus^ like water upon
flamtaa, makes Mandane*-$ fury blaze the higher j
and Carries her off teeming with the bitternefs of
revenge.-*- What paiTcjs between Afpafia and Har-
pagua appears only calcuiajoed to give ilrong feet-
iog a neCeOkry paufe: however, k is not with-
out feveral ple^ng fentimcnta, agrecabty ex-
prefl^d; the lady's dutiful condefcenfion to hqr
kind father's Cs)rdial advice, evM though that ad-
vice counterafls impafiioned inclination, furniihes

the idea of ^ iwoft wniable Riind.

Mandane, it appears, has fought out Mithranes,
Aad for fome time diflfembles her rage, to nuke it
harft forth *^lh trebled fury, which naturally throws
the gwltlefiold man into aftonifliroent; nothing
can be more ftrikingly imagined than the princefs's
miftaken triumph, in fuppofing (he (ball have fom
for fon'i Mithranes's diftrafted confufion to think
the prince fliould he in fuch danger,, aqd by a father's,
hand, fills the hutiiane bread with terror j this
,whole fcene is Wrought up in a mofl: mafterly man^
acr, and every fpcech, pathetic^ fupplicativc re-^

roon^

Aji The t>R AMATIC CESSOft.

monftrances on one fule with furious, unbelieving
obftinacy on the other, fpeaks molt forceabiy to
the heart, which muft throb with terror and an-
xiety.

When Mithranes goes oflF, Mandane's mind is
, thrown into a very different ftate of convulfion, we
- have lately feen her filled with rage almoft favage,
.but behold her now, on Harpagus's alTuninGethat
Alcseusis really Cyrus, . plonged into the utmoft
poignancy, nay diftraibion pf grief, which barely
leaves her power to fpeak the place and impending
mifchicf; this fends off Harpagus on the wings of
loyalty for prevention-, her foliloquy is beau-
tifully wM, and we may venture to fay, that no
fourthra£t ever hung an audience naore in fufpence
at ics conclulion, than this does, which we deem a
point of infinite merit 5 if there is any fault, it
muft be, that there is no incrcafc of feeling left for
the fcenes which are to come.

The fifth aft prefents us at its commencement
with Mandane wandering, (he knows not whiiher,
under the impulfe of diftrafted agitation; to her
Mithranes enters, after a fruitlefs fearch for Cyrus ;
the mention of whofe name occafions an increafe of
his unhappy mother's frenzy ; on the return of
teafon, (he knows Mithranes, and fends him to At
larte's fountain ; Cambyfes's appearance with htt
fword bloody, ftrikcs every tender idea with appre-
benfion, that he has effefted the deftruftion of hfs
fon ; and totally overbears afHifted Mandane ;
Cyrus's entrance, however, gives a fre(h turrt,
though nature ftill trembles for his danger from a

miftakeA

'>

file t)RAMATiG CENSOR, i^i

tniftaken father V rage: the lady's fituation fhould
certainly have claiitied fome alBilance from her
hufband, previous to every other * conjlideration i
when unaflKied revival enables her to fpeak, an ec*
tclairciiTement enfues oF a Vei'y tender and pleaung
bature; yet in expreflion we father deem it faiht %
the play (hoUld undoubtedly have been fo planned
as to have cdncluded here^ yet we find a great deal
of bufinefs to enfue^ Afty^es comes . unawares
- upon Cambyfes and his daughter, the former of
» whom is again made pri(bner % on being informed
of a rebellious tumult by Harpagus^ the . king's
fage threatens the late happy couple with death ; but
ihey are^releryed by a lucky thought of the ftatef--

. Cyrus next appears rheditaclng prettily on his
tbange of fortune, and reveals himfelf to Afpafia^
tiiis whole (cene muft be deemed non-efTentiaU aild
vciy flat after what has preceded; the prince's de-
temiination of adifting his endangered grandfather
(hews dutiful tendernefs, and a very generous mind;
Harpagus, afcer long imothering revenge for a
. inurdered Ton, now openly attacks Aftyages, and
as the event fliews they aire reciprocally wounded}
, the royal nionfter dies, with fome gleams of re-
penunce, yet ftrangely languid .when compared to
his enormous gulk; Harpagus expires recommend"*
ing his daughter to Cyrus: Cambyfes and Man*
danenbw appear; it is to be lamented that, after
•II her futfcrings, a father's death fhould render ^
ker happinefs imperfcft*

•"f

Vol. r. H h At

134 The DRAM ATie CENSOR:

Afpafia*s being totally unprovided for is a great
imperfedtion 5 Cyrus only recommends her coldly
to his mother for comfort, though, in the pre-
ceding fcene, When (he mentions bis exaltationi he
replies, ^

Rife, fair Afpa&a^
And know, the daughter of my Harpagus,
In her defence, may jaftly daim tba^ IKe
Her father''9 troth prcferv'd.

Upon a general fiiryey of this tragedy, we find
the plot plea(ingty intricate, agreeably regular, aiid
pregnant with many affbding circtrnillances to the
concluiionof the firft fcene of the fifth aft ; what
follows is a mere facrifice to partial jullice, which,
we apprehend, might have been effedled with more
brevity and merit by Tome very prafticable tranf-
poficions of incidents.

The charaftcrs of this piece are in no refpeft
ftriking; Adyages is a mod unnatural tyrant,
more known by what is fpoken of him, than by
any thing he fays himfelf; he is hateful to the au-
dience, without any afting merit to affift the per-
, former-, he is moft infipidly vile, timorous, rruel
and credulous. — Mr. Clarke is much to be pitied
when burdened with fuch an ungracious load ; what
can be done for the defpicable monarch in aftion,
be does, and certainly defcrves the author's
thanks.

Cambyfes is a very odd mixture of fomebody

• * *

and nobody — here — there — and no where ; brought
from his exile to do nothing — taken prifoner — fet
atjibercy in a moft unaccountable manner; taken

3 pri-

The PftAMATIG CENSOR. 23^

prffoner agiikri edarged again merely for a happy

c^aftropbe ; be Teems to hare fome traces of a good

hufl;>aDd and a good father^ but no other marking

qualification, whatever; nor has he above half a

i^O^en fpeecbes which defervc notice:— Mr. Smith's

IMfformance gave him tolerable fpirit, and ftrug-

^dd fyccefsfi^lly wltb an inconvenient fituation,

; Cytus is aa^iable> and utters many fentimenis

worthy a v»:tuous» well - cultlvaced mind ; ytt

upon chc whole we mu^ deem him a^ unfeafoned a

tero adi evec gave name to a dramatic piece^ ibm?

iMecviews with, bis mother aiie, in refp^d of the

uneflential fecrecy prefer ved^ ridiculous ; an4

tivoughout the |)iece,. h^ iecikis QOQ ^uqh an en-

jfine of the plpt — Mr. Pow«i.l's pjeafulg ^pptar^

aoce and fimabie pdwers taiftd tlic prince &r abov<(

that degree of mediocrity,, ia which the ftUthos

has placed hiih ; had there been more ^V0ui7ajbj<}

oppomuMties for execution, we are perfbaded, ill

would not b^ve been waging; but reaching eveiK

the languiii term of praife, agreeable^ w^s asr

much as a^y; performer coutd hope to arrive at« :

• Mr. Wfto«^<>H'r€)Nt his of Jjate been moft cruelly

obtruded on %he- public in tl>>is part^ cruetfy for

lumfelf ao^-the audience, fince even tbofe who

force him to the undertaking muft admit, that his

'if-

alntities are as much beneath.even the lafnguid^Jy^:
rus^ as Mr. Powell's were beyond himj but ic
feems to be a received managericai maxim at pre-
ftnt, to give the public neck-beef where they have
a • right to expeft venifon ; no very grateful return
for that amazing encouragement which is afforded.

H h 2 Har-

i

t36 The DRAMATIC CENSOrt.

Harpagus appears to be a ftatefmaa of com*
mendable principles; be feels juft refentment for
the murder of a fon, yet fuppre0bs bis reirenge
(itl a regular train of events conies to place Cynia
on his grandfather's throne; his diffimuiatioii with
Aftyages is very defenfible, and hiscbaraddr
equal throughout; his death is not quite con?
jBftent with poetical jiiftiee, but nece&ry ; Mr.
Hull, though better calc-ulated for exlvbisii^
amiable and tender feelingSt than any which boiv
der upon gloomy and fanguinary deligqs, repfefeiitf
Harpagus with merit at* leaft equal to any other
inale chara^r in the piece.

MithraneS'S loyal and parental attachment to,
Cyrus ; his anxious concern for the princc' s lafetyi^
tod the evident pains he has taken to inftil priiid*-
j^les Worthy that elevated ftation hit royal pupil
feems defigned for» render him. highly eftiaiable ;
he is thrown inta very interefting fituaticns, and
haa a manifcft advantage over every other cba«^
s«ifter» except Mandate ; it Would be mjuftice not
tp allow Mr. Bei^slev confider^ble praifein the
performance of this part ; yet^ we apprehend, the
play would have been much bet^r tt& at firftf if,
Mr/ PQWELI4 had done Mithranes^ Mr. Smite
Cyrus, ai)d Mr. Bsnsi^^y Camby(es; it (hould
at prefeiit undwbtedly ftand thus ; Mr^ Smith
Gyrus, J^r. Bbn3L£Y Caipbyfcs, and Mr. Hvl^
Mithraee$--rthougb, by the bye, fo rich is Co-
vent-garden ill merit, we know not an apology (or
Harpagus, to fupply fuch a change* ei^ept Mr.
g^Joif, whQ rp]|ht ipuch naorc rcafonably b?

W(leci

jT

the DRAMATIC CENSOR. 237

trufted'with the murder of foch a part, than Sif-
fredt and many others he ftands in polfeflion of;
*befide9 getting rid of Mr.WROvoHTOK at any
mth mach to be wiflied.

Corifaocrs of Vixp. Yatis** very forceable cx-
pr«!iCoi!i, the author has endeavoured, and not
unhappily, to furni(h her ftveral opportunities of
d{f{daying capital talents i through every change of
tend^rnefs, fage, fear, ' affcAion and diftraftion;
(he fliews powers which muft work ftrongand na*
tura( feelings upon the audience i tears, appreheri-
fions, and even a degree of ^oniflihient wait on
herMandane; judicious tranCtions of voice, hap-
py variations of countenance, and pidurefque atti*
todes unite to make this the mdl finiihed piece of
female a£):ion we remember to have feen, except
Mrs. CiBB£R*s Alicia and Conftance ; indeed it 13
fo much beyond what we behold atprefent in general,
that it is not furprifing to hear people fay, inftead
of ^« We are going tp fee Cyrus,'* We are going
to fee Mrs. Yates,

Afpaiia is a very inoScnfive, though unneceflary
young lady, very loving and very dutiful, intro-
duced we know not why ; difpofed of at laft w6
bow nPt bow ; no abilities could make any thing
of her in performance, therefore Mrs. Mattocks,
whom we cannot admire in tragedy, is as fuffera-
bleas any oneelfe,

The plot of Cyrus is in many places wrought up
With pleafing perplexity, but falls into a patched-up
cataftrophej the firft, fecond and fifth aAs are lan»
ipid^the tlurd ^d fourth ftriking and fpirited ; the

language.

i

tsi The DRAMATIC CENSOR.*

langui^, abatiag fooie few llips^ cbs^e^ the fentU
mentsjnfty though not very poeticaly and theveiv
fificaiion unaflpefi^ hut ner^de^ ^ in (hort, Mr.
Hoole has fuccefsfully aTaifed himfelf oi sigpod
origuial to fabricate 9 piece that z&s prettily i with-
out being in any (hape gr^at, it is in iqfny reipc^
pleafing.

The ftrong (imilarity to Merope and Douglai»
vith a coipparifon» leflen its merit; as it waatf
the fencirnenta!, pathetic dignity of the fixmer^
and the paftoral, pi^urefque (implicity of the lat^
ter ; public opini<m has run much in favour of
this piece ui raprefei^tioni and thci managers hgvc
fobftantiai regfon to ^call it a good play ; but vc
dire believe neither one fide nor the other will conr
lend for much merit in peru(al.

«

T H E

•%Ti " .

, The DRAMATIC CENSOR, ijjf

«

THE CLANDESTINE MARRIAGE.

A Comedy.

By Mefl*. Garrick and CoLMAN.

V? E have cUher obferyed, or meant to obfcrvc,
that fpirit and propriety of charafter, vivacity of
xlialqgue, wit, and variety of incidents, are the
conftituent parts of a gopd comedy ; many of late
have got into the (tile of mere fentiment, and chit-
chat picked up from novels, which they are vain
and idle enough to fuppoTe compleat dramas ; if
fuch authors are right, Ben Johnfon, Wycherley,
Congreve, Farquhar and Cibber, were undoub-
tedly wrong; licencioufnefs, 'tis true, has difap-
^peared, but in general it feems as if wit and plea*
fantry, who were too long united with fo bad a
companion, had followed their old ally ; how
far the child of poetical partnerihip now before us
has fallen into or avoided the fafliionabic languor
let candid confideration declare.

Fanny, merchant Sterling's youngeft daughter,
is acquainted hy the maid Betty, at the opening of
the play, that her hulband is juft come from Lon-
don ; as Fanny is fearful that any hint of her fecret
match with Lovewell (hould efcape, fhe drives
to check, but with little effedt, the maid's bab-
bling impatience, whofe frequent mention of what
Ihe is defired to be fo cautious of, fprinkles the
fcene with laughter •, but we apprehend, however
natural in priv^e, the pregnant (late of Fanny

need

1

%4^ Tlic DRAMATIC CENSQIL

CUmdeJiitu Marn^^i

med not have been IQ much infifted on.^— Love-
well finding Fanny in tears, occafionedl)y her 4]^
prehenfive fituation, fooths her in terins becoming-
ly tender. — She preffingly 01^ making their maf
riage public, which he otjeds to, both on account
of her fitter's approaching nuptials t/^it& Sir John
Melville ; the mercenary, vain difpofition of her £a«
ther, and the ignorant ambition of her aunt Mrs.
lieildelberg : however, he promlfes to make tfab
difcovery foon, and Conceive* fiavburabfe hopds
from his affinity to lord Ogleby : this fatisfies the
lady, who, on going out» is met by her father.

The merchant charges Lovewell with following
his daughter, and upon the young nian^s mention
of himfelf as a hufband for her. Sterling, citizen-
like, hints a deficiency in pecuniary qualificacion 4
Lovewel^s arguments of perfuafion are all an^
fwered and defeated, by his not having the recom-^
mcnidatory ftufi Sterling's peculiarity through this
fcene is entertainingly expreiled, and the confufioti
that Lovewell is thrown into by urging him to a
promife of mentioning the matter no more, is very
natural; his efcape from the dilemma is alfo welt
conceived in promifing that things ifhall go no far-
thcr.

On being informed of lord Ogleby's fpeedy ap-
proach, after fome humorous remark^ on the
peer's letter, Sterling breaks out with put fe-proud
fufficiency reipefting bis own tafte and ability for
entertaining perfons of the firft rank \ ignorant
ofientation is here (hewn in gtaring colours^ add the
whole fcene is agreeably fuftained ; the foliloquy

of

Thet>RAMATIC GENSOR. t+i

t^d^iae Marriagi*

oF Love well opens; his defign of making Sir John
Melville a confidant ; that through hinn Lord
Ogleby's approbation and cbnfent may be ob^'
kained.

The ehfuing fcene between Mifs Sterlihg and

Fanny, exhibits a ftropg contraft of difpoficion^ the

former (hews coquettilh extravagant vivacity \ the

latter modell fenfibilicy \ the ladies are fupported

in their different lights with tbnfiderable meritj

ai^ Mifs Sterling's raillery of her grave filler,

g^es great fpirit to the fcene \ her notions of gay

life are very happily exprefled, and one of her

fatirical ftrokes is excellent \ fpeaking of her finery^

Ihe lets fall this tart and pleafant farcafm^ on the

folly and profufion of licentious gallantry— ^" The

^' jeweller fays I (hall fet out with as many dia-

^* monds as any body in town, except Lady Bril-

*' liant, and Polly — what d*ye call it— Lord Sqiian*

** der's kept miftrefs.**

Mrs. Heidelberg's entrance^ produces a fre(h

vein of humour \ her bpiniatcd confequence, igno*

rant vulgarifm of esipreffion, and impertinent buftle^

mark her chara<5ter i^roogly ; her abrupt behaviour

to Fanny, and her partiality for Mifs Sterling, (hew

further w;hat we are to expeft firom the old lady %

from their converfation, we may perceive that the

favourite niece entertains fome doubt of her lovcr^

Sir John Melville, which Mrs. Heidelberg endea-^

vours to fct afide by interpreting his coldnefs polite

delicacy ^ this cccafions the yourig lady to give a

pleafant (ketch of Lord Ogleby's amorous tendency*

Sterling's anxiety about the elegance of his enter-

Uinmentj his fiftcr's inftruftion for pdlite beha*

Vol, \i 1 i vlouvi

•tJy,

a4« the DRAMATIC CENSOft.

vibori ^nd Cantdn the Swifs domeftic*$ appearance,
all Cd-opcriati td end this aft in an agree^le prepa-
rative rtlan^er foi'what is to cdme.

The fecond a6l opens in an apartment adjacent
to LdrdOgleby's bed-chamber; Brulh, thenoble-
rnan'S valet, appears gallahtihg Sterling's chamber-
ii:aid, in the true ftraih bf iniitativc tjuality ; his
coxcombry a nd the girl's coming fimplicity are ex-
tremely well fupported.

Nothing can be more haf)pily imagined, or betj
conduftcd than the introduction of Lord Oglel
^hofe Egiirfe dnd manners make irrefiftable appeals
to laughtct'; hor is the Swifs fycophant Canton any
Ivay Uhequal to the ennobled oddity, his matter •,
Canton's infinuatibn that both the MUs Sterlings?
fcem attached to his Lbrdfhip, is not only a fine
attack upon the peer's weak fide, but works up
Oglcby to a moft ludicrous opiilion of his influence
amongfl: the ladies ; the merchant's praife of the
accommodation his houfe affords, and his inten-
tion of hurrying the feeble peer from one fpot to
another, for fake of viewing what he prefume^
tafteful improvements, keeps 'up the dialogue ;witfi.
much pleafantry. '

• Sir John Melville's entrance is only to draW
Lovewell into k private conference, which mighty
have beeii effefted, as. we apprehend, much better .
withbut neceffitating the baronet to come upon
fuch a trifling errand — Sterling's inadvertt;nr attack.
\3pOn Ggleby's conftitution and appearance, fliews
plainly the forward, unrtfcrved trader, who will,
fpeak his joke at any rate ; a circumftanee plainly
irkfome to bis Lordlhip, though he fcems t'o pals,
it off agrceabl/. The

T%e t) n A M A T I C CE N SOU. «43

The cnfuing unfinrfhcd fcene between Sir John
MclvHle and Lpvewcll, fecnFi3 a mere excreffence,
the lopping off which would make no gap nor
«ny way mutilate the piece; in that between my
lord, the merchant, Mrs. Heidelberg, and the two
young ladies, ' we apprehend Sterling's clumlanel^
of tafte i$ rather too much difplayed *, the humour
feenos tq confefs a drain upon that point, but t^kes
an agreeable turn when his lordfliip's vanity inter-
prets the prefent of a nofegay from Fanny as lovi?,
mji that of another from, Mi(s Sterling as jealoufy ;
the, iiJent fituation of Sir John and Lovewell
through fo long a icene, mighty and undoubtedly
•iQuld have been avoided; for though Sir Johofs
^xplai^tion affords fome little grounds for a£tioQ
jn jLovewell, when he finds the baronet's a0^£tion
placed on his wife; yet the converfation is much
too Iqngfor what it turns upon, and rat>her damps
^lattfpiflt which ^happily erJiyens nK>fl: other pares
^^ .this pieccp

.•5ir John's interview with Fanny, (hews that
i^entleman in no favourable point of view, as there-
by he difcovers inconilancy to one fifter, gnd rude^
i<Sfs 10 the other; this fcene alfo is heavy^ though
the }adry ihews good fenfe and. commendable feel-'
ings-^Mifs Sterling's appearance gives an enliven-
ing curn^; her refemment hurries off the falfe gatlanc
in serins of natural confufion, and fal^ in heavy
^ ceproaches on her innocent fifter, whofe perplexed
-fituation and delicate relignation, render her an
amiable objed of favour and pity with the audi-
. ence; her foliloquy at the end of this aft leaves
n^atters in a .ftate -of tender fufpenfe.

l\ % According

N

144 The DRAMATIC CENSOR.

Accordipg to that excellent rule ot variety^
praftifed in a particular manner by Congreve, th<P
introduftion of new char^fters in each of the thi^ec
firft afls, we are prefented with the lawyers who,
are to fettle marriage contradts, &c. at the bjSgia*
jiing of the third ?6t of this piece, their icene ts
an extreme pleafant and fevere fatire upo.n thofe
/ maggots of the law, as Farquhar emphatically

(tiles them, who breed and live in the rotten parts
pf it— there is fomcthing peculiar ly keen levelled
againft felf-icpportant old praditioners, who pre-
tend not to know young ones, where Flower ad-
drefies Freeman, concerning the length of his prac-
tice at the bar : Sterling's confequential boafting of
' t)is wealth, and the ferjeant's methodical particu-
larity, concei^niog (he ^larriage articles, are highly
(Aara(5teriftic..

Sir John Melville's entrance, demanding a private
audience of Sterling, fends oflf the lav^yers, and
brings on a converfation in which the barpnet gra-
dually difcovers his affc6lion for Fanny; ^ circum-
fiance wljich naturally furpri;^es her father ; ho^-
(pver, by $ prpper application to his interefled dif-
pofitionj that is by abating thirty (houfand pounds
pf the fortune pjropofed with Mi& Sterling, be ob-
tains the citi?er)'s cpnfent; this point is eflfeft-
^d in a natural ^nd laugha^ble manner ; Sir
John appears to have no. idea of delicacy where
paflipn, is. conce;:ned, nor the citizen of honefty,^
v^hen gold preponderates the oppofite fckle; a,
doybt arifes abpu.t Mrs. ^Heidelberg's confent, and
the rperchaat appears anxious to keep the traoA
aftion a fecrct from her— it is impoltible for any

% thing

The D R AM AT I C C EN SO R, t^g

jfUfgfdefliHe Marriage.' ^ » '

tbipg to be more cbaradcriftic than Sterling's folir
Jpqgy« which ends with the following very fenfible,
a: Willy fttirical remark, ^* Well, thus it is that
i« the children of citjjen^^ who have acquired for-
♦f. tunes, prove perfqfis of falhion; and thus it is
H that perjTons of faftiion, who have ryined their
.♦• foi^iines, reduce the next generation to cits/*
. In the following fcene we perceive, that Mife
IScerUpg has fanned the flamesi of her aunt's pafllon,
by relating the difpQvery (he made of Sir John and
her fitter i the oW lady^s refentmept breaks forth
in a torrent of whkpfical exprcflions; the baronet's
appearance OccaQons the young lady to retire,
wh^.heis Mwrmly reprehended by Mrs. Heid^i-
)3erg for flighting her elder neice in favour of the
younger ) Sterling makes his appearance, and is
thrown into a diverting ftate of confuGon, by be-

. jng charged with his giving copfcnt to the affair
juft mentioned ; this fcene is executed with remark-

.^blc fpirit, and Mrs. Heidelberg's declaration at
going off, that Hue won't give the family a far-
thing, i§ a fevere fting to the citizen, who appear*'
quite fubfervient to his fitter's influence from pe-
cuniary conn^eratipns ; which ^ makes him paint
the jtpatter to Melville ^s of great cpnfequence ;
who propofcs to obtain lord Ogleby's interett in his
. favour •, here the a£t concludes, leaving the audience
ggain in a very agreeable tt^te of dubitation,
. Mrs. Heidelberg, Mifs Sterling, and the mer-
chant, open the fotirth adl with the old lady's de-
flared intention of fending Fanny to townj which
§tf rlipg diffidently oppofc§, but is treated in a very

cava-

%
\

t^ Tb€l5llAMATlC CENSO«.r

cavalier manner by his pt}rre-{>roud filler, M^hkh
draws from bim a foliloquy of merit c^ncie^iHbg
the tyranny of females, where they can fafely uforp
power 5 at the condufion of it -we find cWfi^^jt^t
remark — ** So abfokite with hfcr' moriey I'^-^bUt
*^ to fay truth, nothing but money cun piekjt \i%
*' abfolute— and fo we mull even alake the%ft <jf

Loncl Ogleby and his Swi(s confidant iappear
^lext conferring upon the circumftancc of 'Faiirty^s.
being fcnt to town, which occafions hiis lord tfiip^ to
make fome humorous remarks up6n,ari the^mtly,
"but her, wlipm, as it appeai^s, -he' thinks -taopc.
-than tolerabk, fuppofing (he^as a tAidef4^4}itiir;
jCanton's adulation and the peer^s laughable ^^{^
^^rc moft humorowlly djfplayed.

The ifollowifT^ fcene between Loveweir atid his
'wife confifts of a propofition from him to 'nytkc
-lopd'Ogleby acquainted with their carriage, as^thc
•moft probable method of fctnovingiheir perplexi-,
ly J hi3 lord Ihip appears, and the lady islrftcbyhdr
^hufband to o^n the affair,^-^For fome time their
-cqnverfation is all preparatory for the mam point,
and the amorous nobleman, from the lacJy^svei^
natural confufKm, draws fome favourable conclii-
fions concerning his influence upon her j the exprcf-
fions he throws out afide (hew a rich' vien of hu-
mour j the mention of'Sir John*s addreflcs occar
ficms a pleafing milconftru&imi, as Ogleby's folly
caufe^ him to think that the lady's diflike proceeds
from an attachment to tim.— Canton's intcrruptivc
fntrancc is very well cwceiycd to divide the fcene,

. whicb^

TlteiyRAMATlC CENSOR ^47

Ckmdt/HMi Marriage.

wfaicb^ we deeoii to be highly and uniformly ft-
Diiihed.

His lordfhip^s faHto(|tiy alfb is worthy of what
preicedes it.-^Ih his conferenici with Sterling and
Mi&i the mifconftru^lioh is made excellent life of
oh both iides; p^icularly as appearances deceive
one party, while vanity miftdads the OtHier from
leat truth ; lord Ogleby's manner of opening his
defign of niarrying Fanny to her father is executed
with gre^t judgement^ and the following fcene with^
LovcWcil is a mdft ihtercfting continuation of that .
mtfapprehenfiony which furnilhes fuch entertaining:
materials to this adt.

There is a very artful and r^ular climax of hu^
0)our^ which rifes with every Trefh charadier, and!
keeps the peer, for an ufual length of dialogue,;
fo fm* from palling that even at the end of the ady
we wifh for more of him 5 his triumph over Sir
John's pretehfibns to Fanny gives a moft agreeable
variaticn of pleafanrry, and, we are doubtful if any
dtamiatic charafter was ever better fupported fo long:
together.

The fifth afl: begins with Lovewell and Fanny at
the crifis of their anxiety, dreading a difcovery^
vrhich neverthclefs it now appears abfotetcly necef-
faf y to make; by Mrs. Betty we ate informed,,
with her "ufual circumlocution, that they are in dan-
ger from fome eaves-droppers -, her taking miff is
very foitabfe to one whom confidence makes pert.
' Fanny, Upon returning from a look-out, rcqucfts
I^veweU to retire, which he obligingly compUer^
wkht^.Mifi Sterling,, full of envious jtralouly and
, - . * fufpicion,.

U9 The DRAMATIC CENSOR.

fufpicton, begins the next fcene with her aunt, on
Whofe affeSuonate feelings (he works by an artful,
appearance of violent grief; it appears, that Ihe
fuppofes Sir John Melville to be in Fanny's chain «
ber» lodged there with a dtfign of running away
with her next morning \ the apprbach of Brulh
drives off thefe two ladies.

This gallant vatet^ elevated With liquor^ pays
addrefles to. the chambermaid, and fpeaking of the
wine he has been drinking^ throws out coxcomi-"
tally this ftroke oP well -conceived fatire^ *^ I am a
*' little eleftrified, that's the truth on't ; lam not
*^ ufed to drink port, and your mafter's is fo heady^
** that a pint of it overfets a claret- drinker." — His
Clofe attack upon the girl, and her apprehenfion of
being dcte£ted, occalion fome mention of Mill
Sterling, of whom Mr^ Brufh exprefTes him(elf
rather freely, and in her hearing, as (he happens
to be upon the liflen ; this, and his declaring an in*
tention of entering Mrs. Heildelberg's apartment,
if the chambermaid refifts,^ bring that old lady and
Mifs Sterling forward^ brimful of rage. and re-
proaches ; Brufh however fcampcrs off, and leaves
his fweetheart to encounter them ; fuppoQng her id
Fanny's plot, they brow-beat fevercly, and examine
hcrftriftly; however being totally ignorant of the
matter, they only put her into an unavailing frights

Mrs. Heidelberg goes off to reftify her head-

'drcfs, and leaves Mifs Sterling on the watch^ who

feeing Betty come out of her fifter's room^ taxes

her with having material fecretsin her cuftody 5 Mr*

Sterling and Mrs. Heidelberg enter at this p9int of

lime^

• Th« t) R A M At 1 C C fe K § O R. 449

^Stimiipine Marriage.

tti(Ae^ the firft enquiring why he is difturbed) and
^e laft acquainting hitn with the fuppofed Villainy
€)F Sir J'x>hn Melville's being in Fanny's bed*cham*
'ber r this alarms the father, who is not willing^
lowever, to have It made a public matter, by a*
•waking lord Oglfcby and the whole family*

The citizen's defign of making Sir John marry
lis youngeft daughter privately in the mgrning^
throws the eldeft into fo violent an agitation of fpi-
fits, that (he and her aunt breakout, in fpite of
his interpofition \ their cries bring forth Canton
4ind his lordfhip, the lawyers, &c. in very laughable
appearances.

The ladies take great pain$, on bis lordfhip'^
cordial enquiry after Fanny's fafety, to perfuade
him that (he is on the point of running away with
his nephew Sir John \ however the peer's opinion of
h^r being attached ihviolabiy to him bars all the paf^
feges of belief : his confidence even interferes fo far
as to call Fanny out of the chamber ; ju(t as he
mentions his nephew as the concealed party. Sir
John comes on at the oppofite fide, which invali-^
dates a main part of the charge. — Nothing can be
more fuitable than the lawyers making their remarks
in terms of praftice.

Betty now opens the door, and lets out her mi*
ftrefs iti a great flutter of fpirics, which operates fo
ftrongly as to occaOon her fainting \ this incident
draws Love well from his retreat^ who, in the
warmth of anxiety, avows his regard for her, and
after fome altercation, the marriage is declared i
this ftrikes all with a(loAi(hment5 and caufes Ster«
Vol, L K k ^ iing

tSa The DRAMATIC CENSOR.

Ifdg CO threatBD them with being turned but ot his
boufet from which rigid determination arifei a mo&
pleafing firoke of generoficy in lord Ogleb/s tem-
per, which promises them an afyium with him :;
the plot thus woond up to a crtfis of explanatian»
the young couple are made happy by the father's
confent, the real good wifhea of fome, and the feem-
log forg^venefs of all.

The language of this piece is fpirited, and la ge*
neral chafte, though not tiegant ; the feodmcacs
juft without brii^ance^ the incidents wtll ranged^
the plot pkafingly unfolded, judicioufliy conduAed^
and well wrought up to the cacaftrophe.i as to wit^
it' traces natuial converfation of the prefett day fo
clofe, as not to have a fpark throughout the five
afts s and for morale it has not the Ibadow of one,
which the authors feemed confcioas of» when, ia«
ftead of adverting to fo efiential a point, they a*
dopted the pitiful, though claflkal, mode of condu^
fion by begging s^plaufe from the audience i wUch
is a little like Merry- Andrew's bidding bis audience
ibout, when he has played tricks before them : im
an efnlogue, fuch a fugar-fop may be dropped to
fweeten the acidity of critical opinion ; but at the end
of a play, it muft certainly be deeioed a pi«ce of
poetical fycophantifm .

Lord Ogleby, though pronounced a very nearre«»
lation of lord Chalkftone, is moft certainly as much
an original, and as much a child of laughter, as
any character on the ftage—harmlefslf vain, plea^
^ntly odd, commendably generous ^ a coxcomb
not V(u4 of ienfe, a OE^fter full of whim, a iovei

futt

Thi I>RAMATIC CENSOR. «^i

-All} of isiftkWf yet » rahii^l^k friend i podeiied of
^Mteaie fe^Kiigfif and Bice honour : the peculiarkies ^f
^h^iMcvitpiTtsiit fiYpported with etmnenc abili-
titsf bf tbar moO: exceHent comedian Mr. Kmo»
Hho AolwithftaMMlii^ bis chief prarfe derrres from
bring a chaffit deKneator of tMwt^ here (liikts out
4a the waitr colovr paintiog of fife, a moft bematiful
itoid llFikiDg caf icatore, concehred with fonie degree
tt |k>elicat ejttravagaMev ftt (o meliorated by his
emeuti^s theft f ho^filRds^ whe have i^e¥er feen fuch a
lMm$A btititg as Lord OgldbjF, muft, amidft iwv^
knear ybiirft^ of laughter, a4}ow, nay wifli there may
be foch a naarn whofe foibfes^ are fo inofieofircb

If Mr. KiNf^ fhe^ more mierk; in any one pa&
fage than another, it is where SterKng fays to the young
eoi^d ^* Lotne welly yoo (haTM^ve my houfe^ and,
madam^ you i&att foUow himp;*' to which the peer
w)tfe iintam good natiire< tepKes, *^ and if they d6|
I ftal( reeetw i^m itm mine." — Though if dee§
iios always foHow that what an a£tor feeJs mod h^
canexpiefe b^ ^ yet we may venture to fay a kind
of fymptftiteiii: unifen givesi (his fhort (entcnce pecu-*
har foride a^ beauty m Mr. K t ng*s utterance.

Sir pdm Melviile is chief con^ion^maker of the
pkoe^ of indiffenene prindple^ and inOpid qudlificatw
ons; eafe and gentility of deporment, which are the
only requtfites neccflhry for this gentleman, wer^
equally wanting in the late Mn Hollawd, and the
prefenc Mr. Aickim : however, tolerable propriety ij
as much as this water- grucJ baronet deferves, and fo
fer he receiTcd no injury from thefe gentlemen.

K k z SterKng^

a^a The DRAMATIC eEN^OR.'

. Clandefiim Marriage.

Sterling is a well drawn uniform cbarader, mouni;-
ed upon the ftilcs of property^ aiming at and tioaftr
Jng of tafte he has not : grappling at pelf of which jie
has afuperfluicy ; fel6{h and pofitive, where he ^Wi^
excercife authority ; oftentatious, methodical and ig-
norant ; thus compounded he gives confi^erable Ufp
to thofe fcenes where he is concerned » when affift^
by Mr. Yates's inimitable talents for fuch thar
rafters ; but in the hands of Mr. Love fmks bene^b
criticifm, and feems only calculated \o lull aitencioQ
to deep ; it is a^reat pity this monotonous gentleH
man rofe any higher than Serjeant Flower } the florid
unvarying importance of phyfiognprny he comr
inonly wears, being better adapted to % lumber
headed lawyer, than any other charafter. -

Lpvewell engages an audience by his t^der fenti?
meats, and affet^ionate fincerity ; his fitgatioi) aflfc^si
and bis manners pleafe us; Mr. jPoweli. n^v'er
made a more agreeable figure in comedy, nor per*
haps fo good a one as in this part, which being placed
in a ftation of life that he bimfelf had filled not long
before ; and being happily fuited not only to his ex*
Cernai appear^ce^ but his internal feelings alfo, he
latisfied moft agreeably eyery point pf expieji^tion \
even Mr. Cauthe&ly, though far be^e^lh thtr
original, is not an infuSerable Lovewell.

The lawyers' are drawp In a mafterly manner, and
for the re^fon aflSgned above, we think Mr. Lovs
had merit in the Serjeant — would he had never been
removed ; however, it mud be allowed that Mr«
Bransby is a worthy fucceflbr, as. he fgpports ^
Icaft the Wti^ht of the cbaradt^r with equal merit,

% Canton

The DRAMATIC CENSOR.; «5j

daidejfime Marriage*

Oncon is an admirable delineation of a foreigd
iycophimt playing upon a vain Englifh nobleman ;
the pidure is inftruAive, and held to view in a very
Juft advantageous point of light by Mr. Baddelbt;
who breaks exprefCon well into the Swifs Dialed^
and cringes through the part in a very charaderiftic
manner.

Bruih is an eiccellent contraH: of the alTuming
£ngU(h V4let, and while in view, claims fome notice
— the Jate Mr. Palmer defcrved arjd met more ap?
plaufc than could be expected to attend fo fliort a
cbarad:er, ^here tipfey he was highly laughable; his
fucceflfor and name-fake if not quite fo pleafant i has
ocyerthclefs a confiderable (hare of merit.

As Farquhar faid in refpeft of Sir Harry Wildair,
that when Mr, Wilks died. or left the ftage he
might really go to the jubilee ; fo without exaggera*
tion w6 may fay that Mrs. Heidelberg was loft to
the public when Mrs. Clive retired; the igno-^
rant affedlation, volubility of exprefllon, and happy
difpofitiqn of external appearance, Ihe was fo remar-
kable for, will render it difficult to find an equiva-
lent ; in many charafi|.ers (he. proved herfclf miftrels
of a fund of laughter, r but was in none more luxuri*
antly droU than in this, every line of the author
was very becomingly enforced, and many paffages
were much in)proved by emphatic illuftration, in
liich undertakings we have never feen her equal, and
doubt if ever we may, Mrs. Hopkins is fcarce
a fhadow of her,

, Mifs Sterling, a charafter quite unfinifhed, fays
a good deal to Very little purpofe is eat up with am-
bition

f54 The DRAMATIC CENSOR:

ij^CM^ and I am afraid, with envy : (neicema xo
Imvc m> comcDcodafale piaKiplfa about ker, her
Srft fccne indeed exhibiis a confidtraUa OiA-e of
iNmakfs fpirit cfaougb, mlM fotto#a lathar fpeaks
nakToI^neew

She is kft 9C tl^ cata^i^ht hi a -food imde^
irrminedy and we may add, notwithftanding her foi^
JMks, ai» uafacisfadory ftai6) the authors bave
made f^Mviething of her ac firft, t<v drop her in^
Slothing at M ; in. this view, Ibe m^ rai^r be a
4lead weight upon any performer ; however, Mift
PbpB^, furtnounting di^vamages, renders th6
joong lady rather rtK>rc than toferabte.

Fanny has a manifeft advantage oF her fifler in
firapKcity of manners, difintercftedhefe of affcc-
fiof>^ and delicacy of feeRrtg ; her fitoatioti aWb
kappily enforces theamiabte parts of her chara6leri
Mrs. Palmer, th^ originaf rn this part, fpoke
more both to the head and heart, than Mrs. Bad*
PELY either does or can do j fome lucky hits, with
a more pleafing figure, make her' pais off apon
general opinion as well as hef predeceflbr, but
tvhere crrcicifm interferes, w- mtrft think much
more favourably of the pift than the preflrnt.

Betty will never again be performed with merit
^qual to the lady, who with much juftice declined
the infertion of her name in the drama for fo in-
fignificant a charafter ; a charafter far below her
capabilities; almoft as far ^ as it is above Mrs.
l.ovE*s execution, of whom it was irterrally crueh
tu make an a^flrcfs — yet by fome unaccountable fa-

. tatity.

■ ^' ■ -

The DRAMATIC C EN son. 9s§

CUmd^UMi Marriage*

talUyt this unhappy lady is (faavcd on for nianf
things, wUch would iiaye i3een much better m
other hands, and codd. not be worftin aoy.^-^Why«
why will managers fe hx tniftake the judgmeoc
of ai^ audience, as to venture the iptrufion of i^Mfh
creatures as uiiderftand little, an4 exprefs lefs.

The chambermaid, according to what is faid of
her, was as well figured and played as ever (he wiH
be, by Mifs Pltm)^. /

To fpeak of the piece id a complicate view, it
certainly has a great deal of ading merit— a tho-
rough knowledge of life and charaAer iselientsat
to draw comic fcenes fuccefsfuUy *, of this the
Clanp&stine Mauri age is a pleafing proof;
however, ibme of the fcenes are heavy, and a feiv
trifling ; the dialogue is not ^ fpirhsd and ^afy as
Farquhar's, nor fo luxuriant and nervous as Coil''
grevc's, yet agreeably difengagcd j the fadre well
pointed^ and the fentiments lively, though not ge^
oerally inftrutflive: if ftanding the teft of clofet
criticifm be the faireft and mod eftimable degree of
merit, wc mufl: not venture to place this i»ece a*
mbng the foremoft ; but in reprefentation, we are
willing to allow it efvery point of approbation^
which the indulgent public has faviMJred it with^
and much more than many others can claim, whkh
polTcls thofc very requifites the Clandestine
Mareiage wants.

THE

tsS The DRAMATIC CENSOR.
THE FAIR PENITENT.

A TRAGEDY by Mr. RowE^

X HIS dramatic compoHcion "was wrote at a
time when genius received nouriftiment from the
beams of royal favour, ere *the mufes of this ifle
were germanized Into ftone ;< and ftands to this
day in eftimation at, leaft equal to any except thofe
of Shakefpeare. It opens with Horatio and Alta-
mont, two perfons of rank in Genoa, from whom
we learn, that it is the Iatter*s bridal d^y .; there
appears to be flrong links o( friendmip between
chefe two charaders, and that Sciolto, a nobleman,
father to Altambnt*s bride, has (hewn particular
marks of favour to Horatio, on account of being

Altamont's brother-in-law and friend ; his attach-

» ■

ment to Altamont arofe from a peculiar mark of
filial duty (hewn by him to a dead father, in yield*
ing himfelf to prifon, that his father's corpfe, which
had been arrefted by rigid creditors, might .obtain
the ufual rites of burial.

Sciolto at his entrance expredcs him(clf in terms
fuitable to the feelings of a tender parent, on the
day which difpofes of a favourite daughter according
to his wilhes, and as he imagines of her own ', this
fcene is mere congratulation, except where Alta-
mont ^mentions the coldnefs and concern of his
bride ; this the father naturally interprets to arife
from) tb$ real or artificial coyncfs of her fex, and

con-

Th^DRAMATIG GfeNSOR; i$f

TmrPenitenU

conducts ttem ofF with fome lines of pbetical} yet^
we thinks exceptionable exprelfioni

Lothario^ a. young lord of diffolute principles^
iteith fai& confidante RoiTano, appear next; front
the exprefldons at firft dropped by Lothario wc
find^ there is a tooted enmity fubfifting between
him and SciQlto's connexions, chiefly on account
of Califta, pF whofe unfortunate credulity^ and his
own triumph oyer her virtue, hcgives a mod fan*
cifuly but highly cenfurable d^lhription \ vice is
here adorned with irrefiftable charms to an un«
guarded mind, and ■ therefore prefented to public
view in her mod dangerous garb i reafon and judg<»
ment commiferatihg the betrayed, mult condemn
tlie betrayer \ yet we fbar the luxuriance of fancy,
liere. worJcs a quite contrary efiedt ; leFs merit in
the writing would have leflened the danger, either
in perufal or reprefcntation 5 grofs licentioufnefs^
difgufts, bqi: the refine^ fort, like palatable poifoni
introduces deftru£lion;Unperceived.

Luqilla appears on nicflage from her miftrefs
Calida, and addreiles the gay deceiver in pathetic
terms^ his replies are much in character, and the

* -

(cene has corrfiderable fpirit in action ; but we.
doubt whether delicacy ahdl juft rtferve are not too,
violently pffended by the maid*s proclaiming hef
ttlift^efs•s.fi^uadon before a third perfon: Horatio's
unexpcfted approach (hortens their conference, and
in the hurry of retiring, Lothario drops the letter
juft received from Califta by her maid.— This the
friend of AltamOnt takes up^ s^nd though good
Vol. 1. LI * man*

^5^ t!ie DllAMAtlC CEKSQBt.

manners would hare tMig^ him to dedtne perofal
of it, as feeing the foperferlpticn — ^To Lothario-^
yet a curioiity ftitndbced by fri^fidlhi{^ occafibns
him TO examine the oVnttnts, which tffird'a moft
atarniing and painful difctovery, «JOt oHJy c* Ca-^
fifta's pf evions but fiibfequent guilt, by foHciring an
hiter^ridw ' with hitn who has uddone tier, evetl with
a man who is known as* the determined foe of At^
|[amont.~ The fo^pquy occaQoned by tbi^iatal Itt^
itx is well fuited W a man in Hofacio*s cridcaL and
dif^fjgreeabl^ fituation \ refleftion ieems more n> em*
barrafs him, and he is wrapped tn the perplexity of
tliought when his wife appears.
' Lavinia at htr entrance Aiakes a very naturat en*
cjuiry, why Horatio has left eveti the marriage ce«
itmony ; for this no Apology is oSTered^ as we dci
not perceive a reafbn to fofpeA Califtft before dis-
covery of the letter lUft found, nor aity other caufe
fbr abfenting htmfelf from the immediate celebra*
tion of his friend^s nuptials; the refolution of not
acquainting Altamoht with the dreadful difcovery
IS tender, generous, fenfible and ftiendlyP— La-^
vinia's concern at her hufbandV eonlufed, '^oin*
tcHigrWc behaviour is prettHy exprefled^ but we
cbnccive an exception againft the fuliowing pafiage ;
in the midR of fympathetic anxiety, whkh nataratly
rpeaks to the point ta biice, flie utters the following
ftiperfluous fimile ; •

— — The fick man th«$,
'Acknowledging the fiimtncnw of his, fete.
Lifts trp his feeble ihaflds and eyer for mercyy
AnB with confu&on thiitks upon his audit. .

Ho-

The cyBi^MATre censoil ^s^

HwauQ $ wkrrw ot a lubjcft which fccms to ^S-^

k^jajm i^ ide^lyi cQcreaf^ the alarm ii;bich hi> *

wiitL hasj^ieady taken, and ocqUipQi her to touci^

JHin cWith^ t^nfjer^ft ppi^ts, of 4>fF(?ftion, which,

j^weveri.oply fiwwj frpp;^ hiip warm dc^Uraftons of

(^gW[d without cqmii^ to aqy point of explMoatioa ^

thefe. ^ipi^rate prpperly upon LayiniaV gpod fcnfe^

vhJcKdec^iii)C$ farther enquiry ft and change her;*e«

Ijpieft (0 hi^ appearit^ amidft the jocund proceed^

a^ tlie day s thisi produces fron) H<>ratio foppe fine rer,

Ik^ons 4]|>Q^ vicipus and iqcdnftaqt wom^n, wbom

Im contra^s ddiately to his wif^i , wkh wbi^h the

£rfl; abends.

CaJi^ fweUed with perturbed ^aigitatito pf mind,
l^ifia t^ fecopd a^ with rfifgfal of CQXQfprt from
X^cilla, who offers^ butin vain» foine cordial fen*,
^ble ad?iicei the wretched bride, prepo^clTed a-
^infl h^ ocw bulband, indulge^ the nK>ft gloomy^
ideas and Of^effionsof drfcpntent; her deicriptioii
of what (be fliould deem an eligible ab^^racflipor
iroei the world, is extremely pi^Surefque, but ta»,
poetical \, it breathes the air of romantic, rachec
than natural grief ^ the pride of heart, which had
not power td cWk fatal delu(k>n and ^be lofs of
virtue, yet foars above worldly ccnftire, wd urgei^
her to entertain thoughts of death, rather than
public &amer; this, we believe, h^ been tPQ ofteor
the cafe in reality, and is therefore a comn>endabi«
pifture held up to ftartle young minds from fimiliur
iodiferetion ^ infatuation is admirably depid^ed m
her refolution to (^^ Lotharik), though it forlnds any

LI 2 claim

The DRAMATIC CENSOR.

claim to the charaflcr of Penitent^ and (hews it is
not fo much a fenfe of guilt, as an impatience of
being crdiTed in her wilhcs, that agitates her.^—Thiif .
IS no doubt natural, but renders hermuch lefs asi
objed of pity than real contrition would have done y
female wealcnefs, inSuenced by ill-groUnded IoV4?,'
is finely and inftruflively defcribed in this fcene. -

Upon Altamont's approach,- Califta forms tht
refolution of guarding her real thoughts from dif*^
covery; the amorous bridegroom addrefles her iiy
terms of rapture, to which (he makes a cold and
dubious return ; and even goes fo far as to tell him
their union is not founded on the principles of hap-*'
pinefs; Sciolto, replete with parental joy, gives di-
rcdtions for every mark of fcftivity, and pronoun^*
cing an emphatic nuptial benediction, retires with
all the charaflers, except Horatio, who in folilbquy
canvafTcs again the fubjedl which fits fo heavy on
his heart ; he fuppofes and wi(hes the tetter to be
forged, but feems to draw very unfavourable con-*
cluQons from Caltfta's confufed and gloomy de«*
portment ; this occafidns him to throw out a ge-
neral, and ^therefore illiberal reflexion againft thd
whole fex, adverting to- the (trained (imilitude of
origbal fin in Eve.

Lothario now comes forward acquainting Rof«
fano with his lofs of the letter, which villain-lik^
he does not regret, as it may be the means of infanvy
^nd wretchednefs to the unhappy woman he has
ruined, but as he wants to make it an inftrumenc
Qf bi5 antipathy againft Alcamont^

W^7^

''-I

DRAMATIC CE*1^ So k: iU

* Horat^ here tnters, as it appears^, in fearch ol
Lothario i^f§iiAt encounter is natural, and their diT^-
piute is wrought up not only by juft degrees, biit
in terms f^itable to the dignity of thofe who ard
dWputants ; the cool determination of Altamont^S
friends is beautifully contrafted to the petu^
knt, oftentatious impatience of his antagonift %
the one reafbns like a man of fenfe and virtueJ
the other prevaricates like an iinprincipled cox-'
comb; when the charge of forgery is btx>ughc
Iiome, which Lothario only anfwers in the doubt-
ful ftiie,f Horatio utters a mod beautiful farcafmr
againfl: him and all other pernicious reptiles of .his
depraved nature, .which we cannot avoid quoi>
ing ;

Away— ^no woman could defcend fo low ;
A (kipping, dancing, worthlefs tribe ye are,
, Fit only . for yoiirfclvcs : . yc herd together.

And when the circling glafs warms your vaiQ heart%
You talk, of I^eauties which you never faw.
And fancy raptures which you never knew.
Legends of faiifits, who never yet had being.
Or being, ne'er were faints, are not fo falfe
As the fond tales which you recount of love#

The word fond in the laft line is npt of very ob-
vious meaning, unlefs to thofe who know, that in
Yorkfliire and^ feme other parts of England, it im-
plies (illy ; even in this fenfe, we think, either the
epithet of foul or bafe tales would have fulted pre-
meditate fcandal much better. '

In the progrefs of this altercation, Horatio (hews
bimfelf not only a man of real courage, but alfo
the aftivc, warm friend j nor does Lothario ^"**

tH "JV PR A'MATJC CENSm.

4N>r€ 6f cQOimwablc fpiwt, if eircrtccj h « i)cticc
qH)r<s s wc cHii\k the dn^qgib ^ HoMpe^ MNigpi
mber biirry him to itu^kr^m^ lyhtenTe laoiliimf
ibe maiucr before $ ihN perfofi i tbecbaik^

ttflc^ioR wlikh ipfi;^y^t$ a Wow froQi >¥$ ao^or
9ift ; thoEV is imicb digfitty »9d coot dei^oiifiafHwl
in Horatio's bdrf tcf^^tioii of (be Aimm>n$;
Tbe corKluQve fpeefrh ^ thi$ ad* wbicb ^^v^
in fome very bcauuful lines exceUent iiiftru£|ioit M
ibe fair (tXr \h we apprehend^ eiscepiiooaUe i mi
only fron> betng mn lb much into rbimcs/buf bei
cmfe it nectfiicates the fpeakcr to ftep out of chin
T9€ker» and address the audience, ^ ctrcunxftaoce faf ^
no means defenfrble. * -

At the beginning of the third a£t it appears^ that
Sciofto has difcovered hts daughter's ftit]eni>eha-
viour, and reproves it in terms of high difpleafure;
the fimile which clofes his firft fpeech 4s ftrained,
and, like moft others in dramatic compofidon, for
perfluous ; his threats are of a very ferious nftturet
and occafion Caliila to make fome remarks upon
the fubordinate (late of her fei, which her proud
heart feems ill calculaxed to brook ; Horatio ap*
proaches, and intimates how critical the fubjeft he
comes upon is, therefore refolves to enter upon it
in the g/entleft manner j whatever jufticc may ap*
pear in his dtfign, we agree with Galifta, that ftcaK
ing upon her is a breach of decorum inconfiftent
with perfons of rank.

^ahfta's diflike of Altamont is a very fufiicient

leafon wh'y l^e (hould bold his moft incimate friend

at

p^ • t

Til* DRAMATIC CENSOU, *«•

it difiauiGC^ ftet infiofiifiioB of tiiljf :bcidgs oaitie
poifiriri vicfwi upon Horaiio't deliver iog ibat ex^
ceKenic fts«Mfiuv ^^To t^egoedift co be htppy,**
aid meactotouig that *^ Gtiitc h the ioyrce of ibr^
roWy^^ eke author hat fliewQ himfclf well acquainc*^
tA wlcb confcbifls JedHigs by miikiog the lady Vm^
dttrsr the word guilt % k being certaifi^ chat thofe
iPbo^haire done ZU are mod ready to catch at t^ kQr>
potariba of ici Horado feizea this opporcumty ta
prefs^^tbo macter do&r^ #bich only ierving morevtor
hiftaaie CaKfta'a^rag^ be, atvleogth, as a proof oC
lite aflenion ibews Jier the letter to I^har4o j uoa^
faiefo r^ft fo palpable a convidiont (he trieiai
very natural effort of female policy, winch is by
' ttariog the letter, to difarm^hioi at leaft of po*
Stive proof.

Atfhis critical crifis, while (be is fuddled with n^^
and iiif fidend covered with . coofufion, Altaoionc
cooies forward, with frefli decburaiions of tlove,bu(^
wAm^ a fkatund alarm at feeing his bpde aird Hora-
tio in ^acb- a fituation ; Califta here, by throwing^
iflftHaimaony materials on the mmd of her huf«
iMid, md urging^ a quarrel of fatal nature betweetf.
mhe f rirods, (hews berfelf highly caf^nable of plu^ig^'
ing into one degree of iniquity to fcreen^ aaothers
stnd thae even a iacrHice of blood is not too muciv
^ ber iH-founded pride ; this we allow to be ftrifb-
ly hi tiatute, but the grounds of m execrable dia«
nSter^ at ker dtiarture Sat ragesin lome very
|M^i rhimes.

The ibitowing' fcene between the friends tal^s at
Ml irfaieH may be caqpeded \ tiie piejudiced hM^ -

tfi* ?rheDRAMATICXENSOR; ,

grctom;/v?ho thiok;s the tA>}t& of hU wUhcs free
fF6^ every criminal impucacion, charges Hordiio
with ill behat^ibur^ who C6 exculpate hhnfelf is bc->
crayed into to explanation refpefting Califta^' rather
btameabte ; yet from a perfon in his agitation 6f fpi*
fits probable enough. Fired by the charge of guilty
levelled at her he loves, a charge merely fupported
by aiiEercion ; Altamont indulges violent retentmenty
tven fo far as to throw ofFall traces of friendfhip ; we
have another blow given in this fcene ; as fuch a cif->
cumftance generally creates laughtjcr, and is at any
fate difgraceful to perfons of rank, we wonder aD
author of Mr. Rowers delicMry, could? repeatedly
introduce it.'

' jEIora tio's reluftance to endangei^ the life even of aor
ungrateful friend, and adverting to a tikenefs of hit
father, are proofs of a great and tender mind, which
tirged beyond all bearing, atlength ads on th6 ef-^.
iehtial principle of felf defence. Lavinia's feaf<»)ablc.
ititerpoOcion prevents fatal confequences^ yet caonob
i^rinkleany drops of patience on Altamont's ioQam-*;
ed heart ; who behaves with almoft.as much bru-*
t&l roughnefsto her as he has done with favagefury
t^ hts friend ; in Ihort we mud deem Altathonf,
through this whole fcene, both a fool and a mad-
ifiah ; had Horatio been drawn with as little fenfe
and' tendernefs, poor well-meaning Lavlnia^ mqft
hivie brought herfelf into a moll painful ^tvatipn ^
however, the manly tendemefsnofbef hu(band balms
in fome meafure the ftings a brother's unkindncb
has planted in her heart, and (he returns it properly
by an affe£tiot\ate declaration of atuchment, in %)»,
laft ipecch of the aft, where, however, pleafing

2 fcntiments

r

the DRAMATIC CENSOil. 2%

ientiments ahd nature are ag^ti injured hy ihnitb
'tehfid rhfmc j though: had thb latter been avoided^
•the former hiight haVe palled wfthout objeftion,
'TOiy perhaps widi fbme degree oF praife :

" A foiiIt)quy begins the. fourth aft, wherein Al-
;taniont fcems to ftartd fctf<6nVi6ted of foll;^ in quai'-
^ling'with his friertd fbr a \v6man, who repays hJs
tajftures with coldncfs and diftlain i upbn his exit
Lothario and Califta appear ; the ^^y gajlant eit-
deavouVing to fobth his deetiwd and enraged mif-
trcfs, who fliews a juft refentment iagaihftthe fallS-
hood which has plunged her itito niifery ; his iip-
fcraiding her with having married tiie man he hatei,
is an artful flroke of exculpation relative to hittiftlF,
dnd (timiilates her rage confiddrably : Altamont^s
"Appearance at this period is well contrived, and
what Galifta fays previous to his coming in view
t)Hng^ him forward in a ilHking manner ; Lotha-
rio's fate is properly pi-ecipitated j his dying words
fbit the tenor of his paft cbriduft, and he expires in
the lame charafter he has maintained through life*
' Califta^s defperation at his fall, and the irrefifta-
bfc proof of her own guilt, is a natural effcft of
-ftrong paflions ; Altamont's immediate confcffiou
of forgivenefs, fhews him to have at leafl: as much
weiknefs as humanity 5 the voice of Sciolto heard
from without, ftrikes his daughter with a frefli de-
gree of confufion ) upon the old man's entrance,
the traces of blood alarm fufpicioH in him, Whidh
-being confirmed by what Altamolit repliesi his ff^f*

Mm ry

»66 the DftAMATlG GENSdtk-

ty breaking all ties of paternal tendemefs aims at
Califta's life, which is faved by her hqlband's hUr
mane interpofition, even contrary to her ftrong
perfuafivcf fupplicatbns for death at a father's hand ^
Sciolto's ftart of phrenzy being pafledofiF, he in-
dulges refledion and reproach in a truly pathetic
manner ; the pidurc Califta gives of her own re*
tirement, contrition, and mournful cataftrophe is
extremely affefting.

After (he diiappears, we are ftrqck with the idea
of feme fatal refolution* and melted with the old
man's tears -, who, on hearing that Lothario's fadi-
on are afiembled threatening ruin, feemspleafed with
an opportunity of carrying vengeance even among
the friends oi that young lord ; after a fbliloquy
of Altamont's, which indeed means very little, La^
vinia ^nters in confufion, and lets us know, that ihe
has juft been refcued from a mob, with whom her
hui^and is dill engaged at hazard of his life.

Horatio foon enters tp diifipate her apprehen-
lions ; but treats Altamont with that jufl and firm
contempt his behaviour in the fprmer afl: merited ;
the fifter pleads amiably for her brother, and the

unhappy man makes very tender concefllons. r

Horatio, we think, highly blameable, for fo gro& a
refledlion as " an infamous, believing. Britilh huf-
. band : "to taunt him with io cutting a misfortune b-
inhuman 5 and the ftigma of Britifo huibands,
thoiigh perhaps proverbial amongft the Italians, is
very illiberal ;; too much fo to be adopted % Alta-
mont is fiir too figurative in the fpcech which.

^ . ' begins^

1

The DRAMATIC CENSOR. sS;

Fair Penitent^

begins, *• I have wronged thee much," and Lavi-
nia's carrying on the alluGon with' which it con*
dudes, is an unpardonable trefpafs upon ferious
feelings. ' ^ \

Akamont's tears touch Horatio with fympathy,
and it is to be wiihed, that they alone had wrought
the dcfirable eflfcft of tendernefs •, as the panto-
mimical ftrofce of felling down is utterly contenopti-
blc 5 and the two fpeeches occafioned by it, rather
laughable t ' this whole fcene is very inadequate to
the reft' of the play, and the chafadters are carried
off with a jingHng tag fpoken by Lavinia, which has
more found than meaning,

Notwithftanding good language, ftriking cha-

nt6ters, and a well conduced plot may difdain the

' ' • » _ ' .

adventitious affiftance of proceffions, rooms hung

Vath bli^, &c, we cannot help allowing that this

latter decoration, with Lothario's body in view,

gives a neceflary folcmnity to the fifth aft, which

Califta opens with a foliloquy of moft mafterly

compofition ; Sciolto's appearance at fuch a time of

'^^ght, in fuch a place, and what he- fays, prepare

^ for a fcene peculiarly interefting ; nor are our

^armcft expeftations deceived in the progrefs of it j

Ae fiither and daughter now lulled from the turbu-

knce of p^ffion, mutually unfluice their hearts, and,

^f the phrafe is allowable, let flow a fpring-tide of

forrow.

Hete, in fpite of guilt, we muft feel for the un-
"^Ppy fair one, and fympathize with the hoary
"^^retchcd fire. Who fees him lift up the dagger

M m a with

%6i The D R A M AT I C C EN S OR.

Fair TenttenU

with unrcfolvcdand txcmbling ha^d, btit Ihudders r
who hfiarjf his diftraftion at the thpughts of hi&
daughtcr'3 tafting death, hut feds pity vibrating in
every nerve? however, recommending felf-defbr^c-^
tion to his cKiJd, is ec^^ly unworthy the Chrifti^,
the parent, anji the man.

Rctjutning to. the pleafurc her in^nt ye^s: gave^
him, and his forgivenefs of her,^sMre cirjcmnl^nce^
thoroughly pathetic \ liis paring caf r|esr the qlim^X
of tendernefs^s l^igh^it can well gQ: ; tb&ftu:ce^d-T
ing fcene .bet.weea. Alfapipt^t and Galifta i&eic)i)i^e^
ly languid, and ftecpj to have little clfc iiv; y\p^i%
than giving a frefh inflance of that amorous weak-)
nefs which fo entirelyxule^ the; injured hufband.

Horatio comes, wifh the, melancholy informatipif
of Scioltp*s l^eipg mortally "W(ounded 5 whjch hurries
Califta into the tremepdous afl: pf fuicide; aaeX'
ample Alcampnt feems inclined to follow, but for
the prevention of his. friend ; Cajifta lives tQ re-
ceive the blefling of her expiring father^ which is^
extended alfo to Horatio and hisfoo^ Califta tnakjcs
fome attonement to h^r hufband witjb her laft- breath 1^
Altamont declares an indifference for life, and Hq-,
ratio concludes the piece by rhlming forth an^eyiT
dent and verv excellent Riorah

The titlcof this tragedy h^s by many critics been
deemed a mifnonier ; for, fay they, the lady's be-
haviour in no fliape entitles her to the charafter of
a Penitent ;. this charge we cannpt wholly, admit,
though we muft in general,; in feveral places Ihe
(peaks of contrition, and very feelingly too, not-

withftanding

it
\

IT

r

Tb^ DRAMATIC CENSOR* 265

withftandfng that pride and ber firft love fixed on
liQtbariq feem to rule her heart : in the fourth ad;
fcene with him (he expreiles herfelf thus ;

Thi boui^ of iblly zni of fend delight.

Are v^sfted alt and fled^.tfaofe that remaia»

Aft doom'd to wpeping^ ^gpiik and urpentatKe : :

After all, a lapfe iri title, fiippofe one proved,
h but a very flight objeft for criticifm to fix on j
it is like faulcons preying "upon flies j efpccially in
refpeft of this piece, which exhibits a regular plot 5*
fcenes well arranged, charadters happily delineated,
elegant verflfication, anc^inftrudive fentiments. .

Sciolto is a nobleman in principles as well as
rank; apparently nice in his honour, delicate in his
patronage, and warni in his parental afle£tion ; ea-
ger for the happinefs of a darling daughter, and the
ion of a valued friend, whom he has married her to,
on the moil generous, diflnterefted principles *, his^
miferable difappointment in fuch a commendable
expedition, places him in a fituation that wakes the
tenderefl: paOions.

' * Of all the perfo^fmers we have feen in this cha-
radber, Mr. Powelu fl:ood eminently foremofl: ;.
there was a degree of the pathos about this gentler
maji in old men never furpafled in our recollection,,
except by Mr. Garrick, who muft have carried
^very line of Sciolto to the heart 5 however, the.
tranfitions of countenance, the breaks of exprefllon,.
and melting cadences of gr4ef, were as happily fup-
plied by Mr. Powell as public tafte could wifli;

long.

%^o The DRAMATIC CENSOR.

long, very long, will the parental parts in tragedy
labour under the material deficiency of his untiaiely
lofs.
. Mr. Bjerry ufed to blubber through the part
from beginning to end, and Mr. ^?ARKswasmoft
laborioufly uncouth; Mr. Aickin makes a very
meagre figure in it at prefent inDrury Lane, wan-
ting both charafterillic fprrit and tenderaefs; zt
Covent Garden there is not even a faint apology for
the part.

Altamont is pofiefied of generous ancifincere, but
very weak principles ; fo much the dupe of love
that every other feeling gives way : he is introduced
under fuch unlucky circumftances, and. plays fb
much upon himfelf, that to^n audience be appears
much more languid, than the author intended, and
for this reafon, he is in general given to fome a£tor
as infipid as they imagine him; this (lamps
him contemptible, and indeed lays him a dead
weight upon the play ; we remember Mr* Bar-
ry, by exertion of fingular merit, making him
as refpeftable as . any other charader in the piece,
though Mr. Gar rick did Lothario, and Mr.
Sheridan Horatio, upon the fame occafion i in-
deed he fo much out-figured his competitors, in the
race of fame, and illuftrated fo beautifully a charader
fcarce kno\irn before, that he appeared to great ad-
vantage ; we have alfo feen Mr. Ross with padcular
fatisfadion, and undoubtedly, if his fits of negli-
gence could be kept off, he has every requifite to
hear up Altamont agreeably.

Mr,

The DRAMATIC CENSOR, 271

'penitent*

Mr. DvER, who Ihould never rife above Treffcl,
n tragedy, has been often flioved on for him,
hich has ever reminded us of a fmarc tavern wai-
ter ; full of himfclf^ fnip, fnapping the harmonious
lines of Rowe into fritters of poetry ; we could
name fome others equally trifling, but not having
vrords fuitable to th^ wretchednefs of their attempts,
i^e (hall pafs them as the managers fliould have done,
unnoticed.

Horatio is an amiable and valuable charader,
yet hurried by the zeal of friend fhip into trepafles
t3pon decorum ; his intention wc approve, but his
manner of accofting Califta, and fligmatizing Alta-
ixvont is very cenfurable ; his reafoning feems cool,
yet his proceedings are precipitate : Mr. Quin was
greatly admired in this part, for what we cannot
fay, unlefs mere weight and pompoGty of expreffion
-were deemed a meritorious contraft tq the fpirited
vivacity of Lothario ; his perfon was no doubt fuita-
bly adapted, but a laborious formality of adion of-
fended the critical eye, and a monotonous cadence of
voice palled the diilinguifliing car — Rowe's golden
lines hung heavy on his exprelHon, and by thek
meafured harmony, led him into mod wcArifome
recitative of tragedy.

One paffage, for which he gained loud applaufc,
defcrved nothing but laughter ; we mean where he
fays to Lothario, " Pll meet thee there :** fctting*
himfelf in a ftudied pofition, to Ihew protuberance, of
belly in the moft ftriking point of view, he gathered
his hands towards his fides, and after apaufe of fome

ftrconds

-•»>'»

472 The DRAMATIC censor; ,

ftur Penite?rt»

feconds flioved them forwards very ungtactoufly to
midwife his fhort reply into Lothario's hearing; this
gentleman had a fine level, and deep torte of voice,
but mifapplied them fo barbaroufly, that he growled
with the one, and chanted with the oth^r.

Mr. Sheridan whofe voice ind perfon, as wie
liave before obferved, rather fpeak agaihft him,
fefpecially in points of importance; neverthelcfs
made a more mafterly figure in this part than any
perfon we have feen ; he broke with chaftc judg-
ment the lines into good fenfe, without violating juft
harmony ; he fuftained the fedatenefs of the charac*
ter, and the fpirit of it, with equal propriety, and
had the merit of much greater uniformity, than any
competitor we (hall, or can mention; cool Without
femenefs, firm without brutality.

Mr. Mossop, with an excellent voice, and a very
juft idea of his author's meaning, was neverthelcfs un-
couth ; painfully fententious when calm, ungeii-
teely violent when warm, ofi^enfively confequcntial
in deportment, abominably adftere in feature^ full of
difagreeable confequence, and moved methodically
by the afFedted rules of premeditate deportment ;
yet he too had his numerous admirers.

Mr. Barry was never mdrc miftaken than fn
'this character, which in his reprefentation wanted as
much as a fine figure and a pleanfig voice would
admit; he could not be difagreeable, but was — what
muft he be now?— mdft egregioully faint and in-
fipid.

Mr.

1^

The DRAMATIC CENSOi^. a7J

Tah- Penitent. , . '

• Mf. BensleV is very inadequate tb what might

f

•be ' wMhcd and expeft^d, yet tolerable enough for
the prefent wretched (late of capital a£ling, which
teriks below emy idea even of moderatei itidulgcnt
tritictffn •, if^ where there are many others, we Ihould
particularife one fault, it may be allowable to fay
that this gentleman is too fond of aiming at vehe-
mence of expreffion, without confidering propriety
of charaAcr, or the unftrained extciit of his natural
powers; we wifh him to confider this as a friendly,
nor a. fevere or prejudiced hint.

Lothafiois the moft reprdachable oharafter our
moral author ever drew, and indeed as dangerous
a one as we know ; like the foake with a beailiteous
variegated fkin, which lures the unguarded hand tp
a ^ifonous Couch ; this licentious gallanr, gUds his
'pernicious principles with very deJufive qualifica*
lioriS^,' efpecially for the fair fex, which canijot be
HK>r6 plainly evinced than by a declaration which hias
often been taade at the fepTcfentation of this piece,
by volatile, unthinking females ; who have not
fcrupted faying, that they would rather be deceived
by fuch a pretty fellow as Lotharb^ than counte-
nance fuch a conftant, paflive, inlipid creature as
Altamont; yet, upon examination, we do not find
one trace of intrinfic merit in^ his<:ottipofition; he
is fprightly, voluble, amtifrous and poJTefled of fonie
courage 5 but tbfe reverfe Ihews him vain, fupet-
ficial, ineonftaht and malevolent ; capable not only
of ruining a credulous woman who loves him* but
ortpretenceof refentment againft the map who has
Vol I. N H iparried

P7+ The DRAMATIC CEJ^JSOR.

married her, forward to expofe tier fi^ikl we^kiiieiSy
and his own idhum^n criutnph over :bcr uof^fpe^^^-
ling virtue. . ,

Mr. Garrick*5 executioo of t^t^part ^ii^kye^
very emphatic, vivacity, and placed ihim ja$ 4n\ipb 9r
'jbove competition* as the extent ^ ^the ctarft^
¥roi;^ld admit ; Mr. Barry was elegant, ^t wai^
ed lure s /Mr. Smith looks the gallant well, and
does pot fpeak him much amifs ; Mr. H01.L4NP
milre]^e£bnted him in every partici)}ar % labprioas
in the declamatory fcenes, turbulent in the fpirited
lOnes, and coarfe in thofe of foft^r nature. Mr.
I^EP^piSH is by no means adapted |o this tragedf
coxcomb: figure and e3i:pr^(non arc both much a^
(gainft him j^however, he haS the.fatijsfa&ion^f over-
;matching any other male charafler in the play* as it
fiands at prefent in Prury-lanCi Wc remember to
jhavc feen one Mr. Lacy, a moft k^&uri^it, }^V^
;ilvated theatrical vegetable, (hew gireat merijc in I>
tharioi merely from expreflivf variety ^of X(>i<^»
and a markiiig cpuntenance ; with porh^ps Ici^^judg-
vwxit p) gMide hifn thao any perfon ju a capital light
ever pdfle&di It being abfolutely certain, tt^ ^
ftumbled upon great ftrpkes by a kipd<)f iii^i^fti^
iinpulfe, witboMt knowing why or wherefore,

Califta is a lady of infuperablp pifidc.and 4^iok9t

paffions ; eaify ^f belief, wwr^i in ^irflion, pflscipi'

tide id refentnqents fhe appeal^ ]n no |ia]Aopi;abj^

vpqint of view, except frocp her credulity j afl4

ibough wc contend for her rbeing a penitei:^, yft p^

- f^adily admit ihe is a relu^^^ pne % |bc is pRC up^

rr

The DRAMATIC CENSOR. 275

on Gompulfi^e^ not vokmtary principles ; and there-
htt$ from circQOiftances peculiarly diftrefsfol, alone
exdces pity ; great powers, and deep feelings, ane
KoefSiry to dtr her juftice on thei ftage. ^

Mcs, CiBMR, beyond ^v'ery point of difpute,
itvipifli^ hot only conten[>{)orary meHr, but What,
has dfiieceeded even to this day 1 the idea of haughh
tinefa fto fatiiei' failed kiy yet her pungent and iH>
'eqijftUed diftrefe made ample amends: fn the firft
k^M of ihe.fif^h ^ her counitenance fo aptly paint-
ed JKMTor and defpair, her titf illing voice fo pene-
trated thft bear^. that w^ may fay from experiencei
^ height of critical pleafore ftrained nature into sa
degree of oiental pain. ~^

Mrs. Bbllamy wanted confeqaence ftUl more
than Mrs. Cibber, was lefs exprefllve in features,
and more limited in voice ;r yet the paflagesof ten-
deroeis were well fbpported by her ; of thefe two
ladies we muA. make one general remark, eqoally
chargeable to both ; that is» haying a ftrong taint
«f the old fafluoned titumti utterance*

Mn. WoFFiNGTON, througb aa unaccountable
tnin of public caprice, was/very well received in
Calift^ though all her merit was comprehended in
elegance of figure ; fhe was a Lady . Townly in
iieioics, and barked out the penitent with as diflo-

nant notes of voice as ever oSeoded a cridcal ear ;

• ■ ■ . • . . . ....

we allow ibe was very pleafmg to the eye, but^bi^
ly ofienlive to cultivated tafte.

Mrs. YATJEsiappily conveys the pride afed vie.
knee of^Califta, but, as we apprehend, falls ver)

N n 2 fhort

276 The DRAMATIC CENSOR;

ihort of her diftrefs ; in this charafter, as wdl as
fome others, we are to lament, that the ladyjuft
memioned, fliould indulge a mafculine .extravagance
of Frenchified adion ; that fhe fhould faw the air
with her arms, and labour for altitude where it is
rather Tuperfluous ; this may pleafe tKe mtlfion^
bxit is no point off real merit, and can only be deem*
ed a pitiful trap to catch proftituted applaufe.

Mrs. BarrY) notwithftanding the difad vantage
of an inexprefiive, though eng.^ging countenance,
(lands in our view next to Mrs. Cibbbr. ; if ihe is
fainter in the pathetic than that lady, and lefs con-
fequeqtial than Mrs. Yates, yet flie ^ cenainly
more uniform through the who}e. than either ; and
has a very evident advantage of both in figure and
deportment. ^ .

Lavinia is a mere make-fhift to eke out the pieced
amiable ; and what (he fays is pretty enough ; yt
don't remember to have evet feen her rendered more
• agreeable than by Mrs. StepheiA ; who, in thirf,
as well as all other medium parts, marks the author'Ss
Iheaning with very juft and agreeable fenfibility.

The genius of Rowe feemed to -confift in rich-
nefs of fancy, purity of language, jufthefs of images,
and harmony of numbers ; but was undoubtedly

too poetical for the drama, of which every piece he

*

wrote, as well as this, is an evident proof ; indeed,
the abfurd manner of theatrical (peaking in his
time might lead him to monotony in compofition,
and jingling rhimcs ^at thecnd 3f aftsj the only
^ cenfurabic

The DRAMATIC CENSOR. %^'j

cenfurable pare of the Fair P£NiTEHTt we hav*
jjtuticed out in bur animadverrions upon Lothario';
if no prejudice is done by him to young minds, ve
jcm& pronounce this one of our bcft tragedies, con-
fidcred in the feveral lights, of chara^ri fentimenti
zegi^ricy, plot; fpirit, and jiathos^

The

Tke MERCHANT df VENICE*

Wriiistoby Snarjes^Ibaiib*

Wi

£ have n^tVtJl ^xed th^ ftilt of tt^ig;B^,
comedy, nor that of the mingled fpecies to this piece,
becaufe it does not properly come under any of
thofe denominations ; at the opening, we are pre*
fented with Antonio, who, confeffing himfelf low*
fpirited, is rallied by twofriends, as being thoughtful
on account of his merchandize, which charge^ how^
ever, he denies; BafTanio, Lorenzo, and Gratiano en-
Cer upon their conver&tion^ the latter alfo attacks An*
tonio upon his glocmiy vlfi^, and jefts very plea-
iantly on the afl^^fttiott of gravity, worn by fome
men as a fembl&rlde' 6^ wifdodi ; the exit of thia
humorift is fo whimOcd) ^^ fudden, that it would
feem as if he was only fcfbught on to teize the mer-
chant with his rhapfodical ledure.

The manner of BafIanio*s difclofing his neceflitous
condition, is very pleafing andfuitable to confidential
friendlhip ; his aflimilation of venturing a fre(h proof
of the merchant's kindnefs, after fome he has alrea-
dy made away with, to the fchool-boy's (hooting
one arrow in fearch of another, is fraught with
beautiful fimplicity ; Antonio's reproof for his
friend's ufing fuch circumlocution is affeftingly ge-
nerous ; as is the manner of pfomifing affiftance
iiHRn he hears Baflanio's defign : to lend even when
we have the means in immediate poiTel&on is a very
2 . liberal

/MO Jrefc pi(<tfK*fe, l9y§iin^^iipoWtWfighlc.of.gfe^
^i^ 4|»MCi> ,vijr^^ ^n^ grfiftt >a^ ^Ij^ i itjisfip

thefe f«n?Je8 w/? ft?4, (hf»t •Pp^j^'s feiihor, i>f wUU
has fixed the determinatiop p[ ^r fPACi[i^> upoa
chufing jighf fisHi»,th^ Wflcsfis (f^i&U* *Wer and
Joad^ ftbe/Anac pfberrich.e$» beauty* ^pd'thiB.o^dity
pf winning bArby.a .kind pf jparriippfli^ .IfWx^.
ba$ ii^wn nj?py ,fuitt)rs s of ^ wboro, ^p#ra;ely^
JPorpa-giveu a xery Ipijierojis aa<3 ^arcaftical aqcpun^
4irpcqallj of .tl\e ^ngliflj tfarpa aqd the Sppts il^ir^^
.wpon Neriffa's mentipaflf 3aflr?inio, b^ppioipri,!^^
lens jnito Che ftviQur,^

Baj^nio and,.Shy IqcV appTq^(?fi i^j^t j the fpi;9?e«;»
;w ,U afipeaijs, fplUciting .^Jpwi.of t^i;?e 4»PV#^
.4flp^, on th? p'/^^it pf AntPoip .» ^ the /pw j^s f
•W^ pecijllv <;hat?^tcr, SaAKESPjEAw:;>flQ;prdiqg
to the cuftom'of his unbounded genius, basfurxu^b-
fld^4in with ^.peculi^ mode of f^ W^fon-

4wf^ *ippn xhe hazir(J;5,^t?ejading property j» ii5*,i?
^Jic jufuri^r to a Jia^rrr-Upcjn 4^tooip*s .^tr^JQ^
the Ifraelite makes us acquaii^ ^puvijtb |i|$ .fQOtlv^
lOfantjpathy ^ainft theiMrehant : the 6i;ft^ wWch,
Jhlskq^i^outj;mM3e^^r^is^ibq)V3 Sh^Ioqk p be flin-
jty-^€^(ed: ip4ej^v'bdtiQgthlis{iaAi^
filing 'hio3» Ipy a juft fouadstipnrfpr diQike j bowr

accofts

Wo Tte DRAMATIC CENSOR.

Mertbant if Venice*

tkccofts Antonio With a fair face : when mentien is
»ade of neither lending or taking money upon
advantage, Shylock enters into the defence of ufury
by a fcripturai allu&on. Here, our author, though
tie highly fupports chara£ter, deviates from delicacy
concerning the- (beep: in Antonio^s reply diere is ii
moft veritable ftrokeof fatire upon thofe, who juftf-
fy not only error, but infamy from holy writ \

Mark you this Ballanio,

The devil can cite Scripture for his purpofe : '

Shylock, like other purfe-proud knaves, who take
liberties with thofe who bo^ow money of them, ra-
ther rates the merchant, who by generous and fpi-
rited contempt, reduces the mercenary fycophant
to fubtle fawning ; the penalty he propofes on thfe
bond, fhews him fo provident a villain, that he preT-
pares even for a poflibility of wrecking his mortd
hatred ; there is fomething very artful when Baf**
fanio declares againft the merchant's figning fucb A
bond, in Shylock^s throwing an imputation of vil-
' lainy on Chriftians, through their fufpicion of othef
men.

The fecond ad begins with a fcene, omitted in
reprefentation, but why we know not, between
the prince of Morocco and Portia^ as preparative to
his trying the caflcets. '

Launcelot, the Jew's man, in a very whimfical
foliloquy, communicates an intention of running
away from hismafter ; the contention between hi^
confcienqe and the fiend, is truly laughable ; old
<jobbo's introdu£tion means no more than ta ^ve

Launcclo(

Tte BRAMATIC CENSOR. 18 1

ia^ncekit an opporrimity to difpfay his quibbKng,

J8r&rd-cMGhfir>g Imm6ar ; we wifti the fccne had i

T)etter tendency than rticrc whim : upon Bai&mVs

-^fftrance, the Athei* and ion attack hrm* in a very

-^kW Hrfannct, to take the latter into his fervice^

^bicb he good naturedly confentstoj this piece

^ g0od luck octaHons a diflertation upon the

jfidictrfotis ftudy of pilmeftry, divertingly fatirical.

- When Gratiaho corned to folicit the liberty of

j^ngto Belmdilt with'fiafTanio, he is wafrned to

'*heck' his? Ikipping fpirit, to which he makes a very

iuditrbus profcffion of gravity.

"When Launcelot appears, taking leave of Jeffica;
we do not approve the exprefli-pn of her ** facher*i
koufe being Hell, and he a merry devil," nor do we
xelifh Launcelot's infinuation of her being got by
a Chriftian : after, he goes off, the young Jewefs
. fignifies her hopes of delivery from bondage, by
the affiftance of her lover Lorenzo •, tfhe riext (hort
icene is nothing ttiore than prep^rati\^e for putting^
the faid defiga into eitecutidn.
. In rfie fcene betweeii Shylock, Launc6lbt and Jef-
fica^ we find the Jt^-fo mu<ih alarmed at the idea of
maflcing in the iSfeetSj that beeves Jeffica a very
pundbaal and pofitive charge to fhut out even the
found of Ihallow foppery^ as he calls k*— v^e wonder
our author did not make the Jew nfierition having
Antonio bound, whidi, with exulting hopes of get-
ting thti forfeit, wduM have made him much more
refpcSftaiWe in this fcehe, wherein He is now rather
• 'Vot. L O o • Ian-

ttz The DRAMATIC CENSORS

Merchant ofVetnih

languid ; telling his daughter the circuaiftaDce,nughc
have agreeably concrafted her humanity to his male^
yolchce.

The introdufbion of a fong by Lorenzo, under
Jeffica's window, affords her more fuitablc time for
change of drefs, thau the author has allowed, and
is plealihg enough ; yet we hold it rather inconfiftent
with the elTential privacy of ftealing her away ;
however (he gets fafc into her lover's arms, well fur-
nifhed with jewels and ducats : Morochius*s trial
of the calkets affords fome very noble flights of
fancy, and plaufiblCjCho' fallacious reafoning for his
jixing on the golden one, which inftead of the lady,
furnilhes him with an excellent lelTon in the follow*
ing lines.

All that gtifters is not gold ;

Often hav^ you heard that told :

^any a man his life hath fold

But my outfide to behold :

Gilded wood may worms enfold^— &c. &c.

In the (hort fucceeding fcene,between Salahio and
Solarino, an admirable defcription is given of the
Jew's diftradion at his daughter's elopement ; fome
Jiints are thrown out judicioufly to wake Our appre- .
henfion for Antonio's bond,and a mofl amiable pi&ure
is drawn of his unlimited friendftiip for Baflanio.

The prince of Arragon appears next as a fuitor of
Portia •, thisfcene, as well as thofe of Morochius, is
omitted in reprefentacion, and we think very
bUmeably, as the progrcffive regularity of defign
is thereby interrupted, ^uid many excellent re&^lons

withheld

iTie DR AM AT I C CEN S PR. 28 j

JMerchant tfFenicti

wuhheld from the audience 6a a tram of IbphilEtical
dedtidions s the firft candidate perfuaded his erring
judgment to fix on gold, the fecpnd has fenfe
enough on reading the labe], ^' who chufeth me
Aall gain what many men defire," to rejeftexter*
nal oftentadon) yet is fo vain as to think highly of
his own def^ts, and therefore chufes where the in*
fcription of the cafket runs thus» *^ who chufes liie
ihall get as much as he deferves/' prefuming that
the lady only can be the reward of his exalted me^
lit ; the fatire couched in his finding the portrait of
an idiot is keen and comprebenfive^

Ac the beginning of the third ad, Salanio and
Solarinc^ acquaint the audience^ with Antonio^s lofs
of a rich Ihip i Shylock^ foaming with rage, joins

. thenii \ never were tranfitions from one paflion to
another better fupported than in this fcene ; dif-
tradion> grief, and malevolence fucceed and^ crols
each other admirably, nor can any thing be more
happily conceived than the Jew's juftification of his.

. own cruelty upon the common rights and fenfatii^
ons of rmture, equally incident to his tribe and
Ghtij^tians ; upon Tubal's appearance, hjs agitation
rifes flill higher, and every line that pafTes between -
them is excellently imagined to difplay the united
powers of adion and utterance.

BaiEinio now appears as the third candidate for
Portia, and has the advantage of her good wifhes for
his fuccefs; his refledions, previous to fixing a
choice, are mod fenfibly argumentative;^ and beauti-
fully juft \ fancy and judgment form a cordial union

O 0 a •—he

?«4 ThePEAMATJC CENSOR.

•—he fucceed&fiiappily £o htm&lf, 4nci agreeaUiy to
the lady, by rjejefling the ca&eft of glariQg ttd merr^
cenary flxow ; by fiiclog on hutyible and unpraj»it0ng
kad i tbisjuftl&esth^&eDSiogly od4 defiga of Por«
tta's fatber, who i^ appears me^at by tha .pc^o&dr
choice, to get ber a^hufband of folid UBderftaoding ^^
the courtfliip of Gratiana and ISEerjff^ is ibmer
what odd i Portia^^ prejudice, in fivour of Baflknio^
arifes naturally eqoogb from previous kmydtdg^^
of bim, hut for the other couple to ma^ £> fuddea^
a matrioKHital contract, (h'ains the bounds of probar
bility } and for Gratiano,;wha(nov!es.ia the fpheceof
a gcntlcoian, fd inftantaneoufly tp pick up, a waiting
voman for his wife, is rather a precipic^e apd unacr
countable piece of matchripakiiagi hQW6ver,adoubb
vedding if fixed on, to the fati$fa£tion of all paities
— the intrx)du&ion of Lorenzo and Jsffica, before^^
they could be afbertained of BafTanto'is, authority Ur.
entertaio them,is father exoeptipnahle ; how^evrer, thc^
letter braogbt from Aptonio,,. acquairuing Us fri^^
with the ftate of bankruptcy he is reduced to^. gLvea>
a fine turn to affairs; Ba>ffanip*s method of . unfok}"
ing the lamentable cafe txx Portia, is ipaibe^caUy de-^
liatre, and hef defire of paying the bohd^ evea;
twenty times over, to avoid the fatal penaky,. atniar
bly generous; as is.alfo difpatchingher deftincd
hufcand for die refcue of bbi fricftd,. even, before
xwrriage ritca. ^e celebrated.

The enfiing fcene w^here Antonio Tc^UcitaSIijtr
lock has notliing mo^e ip it ,diAa a confiro^at^on qSj
the Jew's unrelenting dec^uxioacion to abi^c by his
2 bondi

^r^HAMATig CENSOR. ^9^

i^ad \ w<e %re cerjtiia our author oiight; \kV9t vttj
puc^ iipprgye^ bpth chjaraflicr? ii^ t;)^$ tnt/^m^vi^
u|d e3?|XH>*pg thein occurred tp his im^ina^w^
^rj^ders pf impor^^ce OgiQqld nQ¥er b/^^ Wpughj; oi^
or trifling pijrpofes. . ,

T&e fcene where Pprcia giires ch^rg? pf her houfe
f^ family t^ JLiorenzo^ tl^t (he aod N^ri^ Hiaf
IP CQ fL pippaftery, during her hufbawd's abfcace^
s pr^lt^y ^vifed, to kef^p thq iptend^d ^i^amotr
^hof^ fip(^^(9 and, at the farn^ tifne,t toj^plogize
•pr ^^r abfencc ; the intimation (he drppsr to her con-
^dante^qf afTuniingnGiarcuIiae appearances^ gwaketis
:ur^^^ikjr in, ap audiepce^ amd, at the faoje tigie leaver;
iujt <?V!4'!p^?y i" fufpenca : tber? ia m widftlifiate ia-
Tiuuatm at the beginning pf ?prt^*s (pee?hi when.
Die mentiocys the change of habit, which we wUh,
i^as onutted ^ by the laft Une of this fcene k ap-
pears, that; twenty rrjiles will carry them to'Venice ;
yet,upon.]?ajai^niQ*s fetfing put for fteltnont, we hear
Df his Qnab»Jcing on fl»p board % this (eems one of
Khe incon&ftcocies our author was very apt to ilip
into.

Launcetot^s wittldfms with Jeffica, are in a ftraia
^f drollery, but hi^ allglion to Scylla and Chiiiryb-
liis, is irather tpp claflTical for fuch a chara£ber,' and
his very impercioent behaviour is hafdly ji^ftifiable
in a fer vant ^ the <;ircuiuibnce mentioned by . Lo«^
vcnzo, relative to bis amour with a Moorifli woman,
lias no wit pr humour to apologize for ' meittioning
the matter before Jeflka. ^ ^

On

ttS the DRAM A tic CENSOR.

Merchant of Vmiu

On Shylock's being introduced to the court of ja-
£ciEU:ure, to which he has applied for the penalty of
llxs bond, the duke pathetically interpofes in the mcf*
chanc^^ favour j to which the Iffaelite replies^ with
all the Ihrewdnefs of determined cruel tjr, urging
his antipathy asl a fuflicient reafon, foi^^afting afide
every humane principle ; perfuaGon only feems to
invigorate his hellilh refolution, . which not even
fbe offer of enormous pecuniary advantage pan alter :
when mattersaxe at thiscrifis,the appearance of Portia
as a lawyer, recommended by Doftor Bellario brings
on the trial ; however, Portia previoufly gives a moft
nervous and beautiful recommendation of mercy,
which is fo worthy the approbation and recolleftion
of every individual that we fhouJd be blameableiri
fiot quoting of it.

The quality of mercy is not ftrain'd ;
Itdroppeth as the gentle rain from heav'n
Upon the place beneath ; it is twice blefs'd ;
It blcflctb him that gives, and him that takes |
*Tis mighticft in the mightieft , it becomes
The thron'd monarch better than his crown ;
Hh fceptre (hews the forcQ of temporal pow'r.
The attribute to awe and majefty ;
Wherein doth fit the dread and fear of kings :
But mercy is above this fceptred fway.
It is enthroned in the hearts of kings.
It IS an attribute to God himfelf 5 '
And earthly power doth then (hew likeft Gocfs,
When mercy feafons jufticc— therefore Jew,
Though juftice be thy plea, conCder this.
That in the courfe of jufticc none of us

^ ^ Shool4

The DRAMATIG CENSdk, 487

ti^chani of Venice. • /

Should fee {Avz^6xk^'''>wedo,prayformer<y
Anii that fame prayer doth teach us all
To render the deedsof mercy*

However we may admire the expreflion and be-
nevolent tendency of this fpeech, yet an obvious ob*
jeftion lies agalnft the paffage marked by italics;
which, as it evidently refers to the Lords's Prayer^
ought not to be even hinted at, where a Jew was ia
<juefti6a, as it would rather work an irritative than
lenitive effeft.

Shylock's fervile and rapturous adoration of the

fuppofed lawyer, for fuftaining the folidity of tte

bond, is inimitably expreffed by exclamations ; and

the caufe works up againft Antonio to a very piathe- -

tic crifis; when a very natural and moft agreeable

turn of Portia'sjdefeats the Jew's blood-thirfty hopes,

frees the merchant,and gives general joy : there is not

any incident in any drama, which ftrikesfofudden and

fo powerful an efFcft j the retorts of Gratianp arc

admirably pleafant, and the wretched ftate to which

Shy lock is in his turn reduced, is fo agreeable a fa-

crificc to juftice, that it conveys inexpreffible fatiC-

fa(5bion to every feeling mind ; the lenity of Antonio

i^ judicioufly oppofed to the malevolence of his inex- ,

orable perfecutor.

Upon the Jew*s leaving court, Gratiano fpeaks

thus to him : " In chriftening thou (halt have two

godfathers, had I been judge thou Ibculdfl: have

had ten more, to bring thee to the gallows, not the

font 1^** in this fpeecK our author has made a very

ccnfurabl? flip, by furnilhing Gratiano, who is a

Venetian,

aSS The DRAM AT tC C E N S OR.

Venetian^ with an obfervation that refers to the En-
glifh mode of trial by jury^ which the words quoted
certainly imply.

What foHows to the end of this ad, is only a ftra*
fagem of the ladies to get tbofe rings from their
hixibands, which they had made them fwe^rnotto
part ¥fitb; hence arifes fome matter to^ke forward
a piece which fliould undoubtedly have ended witk
cbe trials as no event of equal force could follow the
merchant's acquittal.

At the beginning of the fifth ad, LoreDzo and
Jeflica,in aftrainof tender dalliance, play upon thtt
Idea of a ferene moon^lrght night very agreeably,
till they are interrupted by a meflTenger^ (ignifying
Portia's return, and Launcelot roaring out infimple
ecftacy his mafter's approach i Lorenzo^ howeyer^
willing to enjoy the beauty of the night, indulges
fanciful fpeculation in the following elegant ftr^n :

How fwieet the moonlight fleeps upon this banlty
Here wifl we fit, and let the founds of mufic
Creep in our ear s ; fofi^ flillnefs and the night
Become the touches of fwect harmony :
Sit Jeffica ; look how the floor of Jieav'n,
Is thick inlaid with' pattens of bright gold :
There's not the fmalleflrofb which thoubeholdff
But in his motion like an angel iings ;
SttU choiring Voi theiyoung ey'd ch^rubiins :
Such harmony is m immortal fouls*; *
But whilft this muddy Vefture of defcay*
Poth clofe us in ; we cannot hear it.

"What follows upon Jeflka's remarkv tbar'mufi^
does not nnake her chearful, we venture alfb to give

our

irhe b R A M At I C C EN SOR. c8^

\t^r'Aant of Venice*

t^r readers as the fubjcft of general approbation, a-
inong the tafteful admirers of poetical excurlions.

The reafoh is your fpirits are attehtive.
For do but note a wild and wanton herd.
Or race of youthful and.unhandled colts ;
Fetching mad bounds, bellowing and neighing loud^
If they perchance but hear a trumpet found
* Or any air of piuiic t6uch their ears,
You (hall perceive them make ^ mutual {land \
Their favage eyes turn'd to a modeft gaze,
By the fweet powtr of mufic : < thus the poet
Did feign that Orpheus drew trees, ftoneis and fiobds)
Since nought fo ftocki(h^ hard and fall of rage.
But mufic for a time doth change its nature.
Jbe man that hath no mujic in htmfeify
And is not mov^d with concord of fweet founds^
ts fit for treafom^firatagem dndfpoih ;
The motions ofhisfpirit are dull as nighty
And his affections dark. As Erebus ':
Let nofuch man he trufledk

. Though, the linc^ in ttalics h;ive been often iqu5te(Jj

^d received, as conveying an irrefragable maxim, ^6

^uft contend that there is confiderably more fan(fy

than truth in them, as experience fulficieritly proves^

from a multitude of inftanccs of bad ears Being

Annexed to good hearb; let it fufficfe to fay; thatohe

Of the greatcll writers one of "thbdeepeft fcholahi

^ne of thie moft moral arid peateable tncti of the

prefent age, has fo little tclifh fof mufic, that being

fcarried to hear Alexander's Feaft, ai fet by Han-

13 EL, he (hook his head, and laid, the })erf6rmahc^

only convinced bim, that infipid, jingling founds^

Vol. I. P P might

^90 The DRAMATIC CENSOR. 1

. Merchant tfVeme$.

might ipoil the beft written piece in the world \

from hence we may deem Shakefpeare*s compiimeot

to harmony r father parriaily ^nthnfiaftic ; were it

really the cafe, we have no reafon to fear any thing

firpm our political commotion's, while mufic is fo

much admired as to join proceflions, attend dinners,

&c. nor can a libel, if fung, have any treafonable ef-

feA i never was firitsdn more muTically Inclined than

at prefent, therefor^ cpnfequeotly ifee from all ap-

prehenfions of finoeagems and fpoils.

• Upon Portia's entrance, ihe fees a light burning

in her own hall, which by a ftretchof propriety, ihe

aflimilates to a good deed ip a bad world ; had tbe

candle's beams been en>reloped with a deep nightly

gloom, the alluApn might have been allowable }

but when tbe moon b^ fuch pow^r as defciiption

gives it in .this fcene, the taper's Ug^t muft have been

Very dim and impcrfcdt,

.' Keeping the^ charadlers fo long out of doors, when

they might as well have been houfed, is a wanton

breach of probability ; however, there they are, and

we muft enjoy the moon-ftiine with them : after

fome very fliQrt congratulations^ a quarrel ft'artsup

between Gratiano and Neriffa, concerning the ring

•which ihc pbtaioed from him as the lawyer's clerk—

there is gp- abominable expreffion in the third line

.pfGratiano's firft fpeech on this matter.

Thisdifpute catching Portia's ear, flie juftifics

Nerifla's rcfentmcnt, which occafions Gratiano ^^

rap off that Baffanio gave his ring away j here

frcfti and very entertaining perplexity arifcs frotf»

wcU

I-

The DRAMATIC CENSOR. 291

Merchant of Fenice*

wcH affuiDtd jealoufy, on the partof the women; and
the arch caufe they give for real jealoufy to their huf-
bands, the difcovery of Who really got the rings,
and the charafteri the ladies aflumed, brings thtf
piece to a very natural^ pleafant and (atisfadory coii*
clufion.

This play breaks in upon the unities of tiihe and
place materially, however, the plot is not very ir-
regular, and the fcenes fall inta a tolerable arrange*

ment ; we muft confider the fifth adl but as a kind

»

of after-game> though agreeably fupported ; and
repeat our wi(h, that ^hylock'^ defeat, with a dif-
covery of the ladies in court, had formed the cata*
ftrophe.

Though we cannot trace a general mora), yet
ftom many pafTages, ufeful, inllrudive inferences
may be drawn, particularly the choice of the calkets,
which (h^ws that humifity and judgmcfnt obtain nae-;
ritorioufly, what oftentation and, vanity lofe ; from
the Jew's fate may be learned, that perfcvering cru*'
cky is very capable of drawmg ruin on itfcH— in
thofe fcenes where fentiments andexpreflionsof dtg*
oity ajrc requificci we find them amply provided^ ia
lefs material pallages, both are trifling.

SKylock) whofe p^uUarity of charader and lan-^
guage we have Hinted, is a moft difgraceful pi£hire
of human nature ; he is drawn, what we think
man never was, all fliade, not a gl'eatn of light ;
fubtle, felfifb, fawning, irrafcible and tyrannic ^ as
he is like no dramatic perfonage but hi^ifelf, the
mode of reprelentation fhould be particular ; as to

Pp* figure

«92 The DRAMATIC eENSOR.

Merchant qfVemt^^

figure and features, any perfon and countenance, by
drcfs and. other affiftance, niay be made (uitablc \
however, there is no' doubt but Mr. Macklin Teaks
the part as much better th^n any other perfon as he
plays it ; in the level fcenes his voice is moft hap-
pily fuited to that fcntentious gloorninqfs of cx-
preffion the author Intended ; which, with a fuHqn
folemnity of deportment, marks the charafEer
ftrongly ; in his malevolence, there is a forcible and
terrifying ferocity ; in the third aft fcene, "where
alternate pafllpns reign, he breaks the tones of ut*
terance^ and varies his countenance admirably ; in
the dumb a£lion of the trial fcene, he is amazingly
^iefcifiptive ; and through the whole difplays fuch
unequalled merit, as juftly entitles him to that very
conxprehenfiye, though cpncife compliment, paid
"him many years ago, *' This is the Jew, thajt
Shakespeare drew/*

We remember to have lIben.Mr. Sheridan in
|his part with great pleafure y he feemed to have a
Very happy conception, yet fell fomewhat (hort in
|he eijecutiye part ; through the firft fcene we deem
him quite equal to Mr. Macklin, and it> that fpeec|;i
^herc the Jew tells Antpnio of the abgfe he has vent-
ed on him, wemuft allow him fome little fuperiority;^
but in the third and fourth afts^ comparifon muft
£([iew him to difadvantage. .

Hpweycr v^e admire Mr. King in a gres^t varietjT"
pf hi$ undertakings, we cannot fo far warp opiniors
^s to think him capital in the Jew i weight, delign^
and extent of powers, are wanting j the cruelty does

not

The PRAMATIC CENSOR 2^3

l^ercbant of Vemce.

not fit ea(y on his features, nor the violent paflTipns
fin his voice \ which though agreeably diftindt, and
fiappily voluble in comic dialogue, cannot trace na-
ture through any violent tranfitions ; to this we may
attribute hiscftrangement frbm the tragic walk ; had
he utterance equal to his judgement, eafy figure
and marking countenance, he would be as confpicu-
ous a favourite with the queen of tears, as he now
moft juftly is with the queen of fmiles ; after all, hisi
Shy lock is by no means fo deficient as many prin-
cipal parts which might be pointed out at boih

Jioufesv . ,

......... ,

Mr, Yates, to the difgrace of propriety, and
the utter difgufi: of critical tafte, apologized for this
part at Prury-lane for feveral years, and as a high
ifeaft has entertained his particular friends with it
lately at Covent Garden ; it is laughable enough
to fee how, on benefit nights, performers thruft
themfelyes into the moft ridiculous undertakings, as
jf it was the beft way of (hewing gratitude, to ob-
trude their own deficiencies on tbofe perfons whd
immediately come for. their emolument : there arc
many parts in which Mr. Yates claims much
riefped, icarce one in which he CQuld be nio're con-
temptible th^n Shylock y a quaint, fnip fnap mod6
pf expreflioi^, enervates the author's meaning ; a
flillbnant har(hnef$ of tone, mars every line, and
^ total barrennefs of power caufes infipidity to fiag
^very fcene ; if he dpes conceive the author's mean-
ipg, « we doubt not he may, his'performance leaves

t94 TKe DRAMATIC CENnSOR.

Merchant of Femce*

it an unrcvcalcd fccret to the audkncc — may this
gfttulemaD never mutilate a line of blaok verfe
^aiti.

Mr. Sparks and Mr« Berrt both 6gured the
merchant well, but wanted that fmooth^ elegant pla-
ciditf with which the charafter is drawn \ the latter
w^ drowfyt the fomier induftrious. to make fonoe-
ibiog of the party which he could never hit oflf i
we have heard of Barry^s doing the part in Dublin,
and form a very favourable idea of him, a& we alfo
^o of Mr. Rossi's capabalities > but of all who have
come immediately under our notice, wemufFconfi*
derably prefer Mr. Rrodish v thoUg^ i^5^ ^^*
ftds us to allow Mr. Clarke a coniunendable 0iarc
fif merit alfo.

BaffiuuQ, in our opinion, has not for feveial years
Wn happily dlfp6(^d of*, M^^^4^ and Ha«
VAII9 canted him very nmch in the old ftile„ and
iferc noc at all adequate in extemai appearance $
Mr* BiNSLBY, at prelenr, wants greatly tbatmelbw
flow of exprej^oa, which ieveral of the beautiful
palTages that occur in this part require \ ia tb^
jb4al fcene he wants as well as the gentlemen above
oa^ed <£d ir that pathetic expreflion of voice and
CQUtfenance which tender friendfllip' fb deeply
wounded claims-, indeed it is very coaamon fiof
the pieribrmers, during this awful tranfa^onai to
be M^^bolly inattentive,, except when fpeaking,. which
is a moft unpardonable faulty as every word
that paflfes fliould be re-ecbo*d by the featiyea of
perfons fo materially interefted^ ' ^

Mr t

The DRAMATIC CENSOR. ^95
Mr. Cauthehly — why do we meet with this

f

mifapplied young man, daggering under the weight
of Shakerpeare's pregnant fentiments and nervdu!l
lines \ if there is any refpeft due for die public, any
pity left for him, we requeO: that his inadequate^
parroted abilities, may never be incumbered with
aQy thing more important thah a mere walking
gentleman ; his vacant look and unvarying deliver]^
of Baflaoio^s reflections, are a flat contraftion to the
tenor of tjbem ; we haVe feen him much bettetr
performed in the country, and never worfc any
where.

Gjadano is a fportful blade, who received great
fpirit from the aninfiated and charadteriftic per-
-Ibrmancc of the late Mr. pALMEk; Meflf. DvEit
and DoDD, who, confidering diflference of age,
manifeft a very fimilar degree of merit, preferve
the whim of this part agreeably enough ; but to do
him ft rid juffice, he Ihould be in Che much abler
hands of Mr. Kino.

Launcclot, another child of laughter, was reprt-
fented with extreme pleafant propriety by Mr.
WooDWAkb; why be (hould grow too great to do
it at prei£nt| we know not; the archnefs and tiXA^
plicity requifite, were blended by him judiciouf)f •
Mr. Shuter, as in many other things, touches
the rifible faculties with his Uumour-pregnant
face, but moved upon no principles except thofe of
mere mumndcry ; fo much himfelf, that he very
fcldom can be any thing elfc. '

Mr,

1?

39^ the DRAMAtiC CEKSOft.

' Merchant bf Venice

Mr. William Palmer, of Drury Lanethcatr^i
who fortunately pofiefies the Naivete of low comedy^
exhibits chis quibbling fimpl^ton with extreme plea-
iant propriety, and in appearance juftifies his com-"
pl^nt of having ribs eafily felt from (hbrtnefs of
commons; while comical Ned, of Covent Garden,
contradids that obfervation by very evident externaft
of good cheer — Old Gobbo has no claim upon Mr.
Parsons for any deficiency ; we don't recolleA any
other pcrfon worth notice.

Portia has fallen to the lotof leveral capital la-
dies ; and indeed (he not only requires, but merits
the exertion of eminent abilities ; Mrs. Wofping-
TON, whofe deportment in a male cha rafter, was
fo free and elegant, whofe figure was fo proporti-
onate and delicate, notwithftanding a voice unfa-
vourable for declamation, muft, in our opinion^
ftand foremoft \ her firft fcene was fupported with
an uncommon degree of fpirited archnefs ; her be-
haviour during BafTanio's choice of the calkets, con**
veyed a ftrong pifture of unftudicd anxiety ; the rn-
lal fcene (he . fuftained with amiable dignity, the
fpeech upon mercy (he marked as well as any body
elfes and, in the fifth a(5t, (he carried on the (hani
quarrel in a very laughable manner ; to fum up all,
while in. petticoats, (he (hewed the woman df folid
fenfe, and real fa(h2on \ wl^en in breeches, the man
of education, judgment and gentility — Mrs. Abing-
TON treads fo much in her (leps, and has fo 'many
of the happy requifites juft mentioned, that we make

no

w

The DRAMATIC CENSOR. 297

' Merchant of Femci.

no fcruple of placing her fecond upon the whole ;
nay, infome particular places, we think her equa!.
Mlfs Mackljn undoubtedly fpeaks the part in
an unexceptionable manner, but we deem her rather
too. petit in perfon and expreflion; Mrs. Clive,
whoobtained no fmall (hare of applaufe, was a ludi-
crous burlefque on the charadler, every feature and
limb contrafted the idea Shakespeare gives us of
Portia; in the fpirited fcene (he was clumfy, and
fpoke them in the fame ftrain of chambermaid deli-
cacy (he did Lappet orFlippanta; in the grave
part— fure never was fuch a female put into breech-
ACS before! — (he was aukwardly di(ronant ; and, as if
confcious (he could not get thrpujgh without the aid
of trick, flew to the pitiful refource of taking off
the peculiarity of fome judge, or noted lawyer ; from ^
which wife ftroke, (he created laughter in a fcene
where the deepeft attenuori (hould be preferVId, till
Gratiano*s retorts upon the Jew, work a contrary
cffeft.

Mrs. Yates, with an amazing degree of conde*
fcen(ion, has lately voiichfafed to perform Portia,
for that night only — thai night only^ the phrafc Is fo
modeft, that we repeat it— if (lie can do the part bet-
ter than any body elfe, (he public in general, and the
managers m particular, have a right to expeft her iii
it whenever the play is done ; if (he is hot fo capa-
ble as the perfon in po(re(non of it, why (hould (he
impofc upon her friends, even for one night ; this
is one out of many low, theatrical (ineffcs, thrown
out as baits to catch gudgeqns ; however, if this la-
VoL, I. Q^q dy

1

2gZ The 'dramatic CENSOR.

(dj thinks critidfqi has any caufe to languim for a
repetition of her Portia^ flie is utterly miftaken ^
fince it is certain tl^at, deducing her great name, and
fome merit in the fourth a6t» (he has fhewp nothing
mqre than that capital talents may oecafionally dwin«
dlip into very middling execution.

Nerifla, as a mere foil to Portia^ is of (b little con*^
iequence^ that we ihall only mention the horrid im-
propriety of managerical condudt at Covent Garden,,
CO pufh oh Mrs.ViNCENT for her; a lady fo much
advanced In years, and who, in the bloom of life,
was but very ill calculated for reprefen ting any thing,
in boy's cloaths — (hame, where is thy bluCh-—

Prom a critical retrofpe^Sfc we may aflert, that oyr
author has not only well chofen, but alfo well fup-
ported the Cbveral chara<fters in this piece % that the

. inddfnts are affefting, many of the fentiments fub*
lime, aiid the yerfification worthy of Shakes*^
P£AR£ I fome of the profe dialogue finks into th

. word catching^ fo fafhipnable in his day, and which,

^ ^Kording to our apprehenlioq, he meant to ridi-^
rule ) diere is an alteration of this play, called the
Jew Qf Venice, by Lord Landfdown, who has
taken pains to preferve regularity ; yet in fo doing,

, like odier alterers, has greatly enervated the piece
he meant to. improve: odr author ha$ as few fuper-
flmties, or cenfurable paflages, in his Merchant of
VsNiCB^ %B any piece he ever wrote % and, if It is
not among the moft powerful efforts of bis genius,
it certainly yields precedence to very few, either in
the ftudy or theatre^.

Th^

The DIl AM ATIC CENSOR. a

.9?

The C OMMIS S A R Y.

A Comedy by Mr. Foots,

J. .• . . . •■ I

CRiticlfms upon authors or performers who have
paid the <]ebt of nature, are apt to be confi^ered bjr
iQany perfons as the efFeft of prejudice, good na-
turcdly weak, or envioufly fcvere ; thofe upon liv-
v^g perfons, of either cham£l;er^ are generaUy fup-
pofed as the offspring of intercfted views, perfpnal .
atF^^hment, or partial antipathy : l^owever, as we
i^vc heither to endeavoured, an4 we boperfiicceI$fuI«
1y, to hold ti)[e ballance with anunbiau^ band; as we
difclajrn. all <:onneAions with, or perfonal, ini}uence
^om the pieces or a6h>rs confidered ; as w^ have
indifcriminately praifed the/&me autfiors and per^
&)ra)ers in one place, whom we have c^niured in an*
other^ it is ardently hoped we fhall ^d, tbrougH
our whole undertaking, uninipeached with fervile
fl^ery^ or iilibeml cenfxire ; and that what weofifor
will be received as real^ though ofteii, perhaps, very
£aUible opinion ^ we have already Ih^ttdtbt com«
moa &te of aU fimilar produ£)^ns ; that is, being
deemed too mild by Cbme, too tart by others i as it if
hnpoffible to pleafe all, we Ihall fltill fteer a ftead^^
fnedium courfe, and prove onrfelves ftri^ friends of
the drama, though fome of its fons and profelytes
fiiould look upon us with indignant eyes.

If to laugh vice and folly out of countenance, is
Bmore certain, as well as more plealant method of

<^q 2 reforming

30O The DRAMATIC CENSOR;

reforming national conduft into prudenceand virtue,
than dry declamation, or brow-beating authority ;
if to fhoot folly as it flies, and to catch living man-
ners, be the grand tafte of merit in comic writings,
we mufl: examine how far the gentleman now before
us, hasi in the piece we are going toconfider,anfwcr-
ed thofe valuable purpofes. *
' Some' perfons of ^ Io'v(r extraftion, low capacities
for any thing but gain, low fortunes and lower prin-
ciples, .having accumulated princely fortunes by
plunder from their bleeding country, and thofchar-
cjy fons of war whor were fighting for the common li-
berdes ofEurope, became fo extravagantly vain of
tTieir fudden ill gotten pelf, that they wanted roihine
forth what* nature never defigned them for, and art
could not make them accompliflied gentlemen ^, one '
particularly, though in the vale of years, aimed as
rgnorantly at cutting a figure in the gay and great
world ; unbounded richjss feeure fuch - reptiles
from- legal punifliment 5 who then can be fitter game
for dramatic fatire to hunt with her keen lafli through
the iMzes of ridicule ?

• Availing himfelf moft happily of fucfa a)uxuriant
fubjeft, the author of theCoMMissARV has titled his
piece from the very ftation in which ilbme of the ra-
pacious blood vfuckers moved, and lays the fcene of
it in the houfe of a lady, Mrs. Mechlin, for whom,
if we are Tightly informed, there is an infamous liv-
ing original 5 , her handmaid Jenny remarks, upon
loud knocking at the door, that the Commiflfar.y's
lodging in their houfe, occafions bufinefs enough for

. ^ a porter j

^-^ i

""C

Tte DR AM AT I C G E NSO R/ 30^.

a poiter ; upon her letting in Simon, who enquires
for Her miftrcfs, a converfation enfucs; by which wfe
learn, that the good gentlewoman of the houfe has
fummoned him in an earneft manner ; being ^s ap*
piears, a praftifed and ufeful agent for her under-
faknd iniquitous purpofes : upon expreflihg. himfeir
rather difagreeably, the maid gives a warm rhapfo
dical account of her miftrcft's character and confe-
quence, which he adds fpirits to, by timely interrup-
tions of a fneering, ironical nature; at length, when
Ihe has run herfelf out of both words and wind, he,
in the felf-fame manner, revcrfes the pidlure Ihe has
drawn, while ihe fupports the force and vivacity of
. his defcription as he did hers ; this is a very pteafing
pit pat, and judicious manner of revealing Mrs^
Mechlin's, or any other charafter, infinkely beyond
the dull narrative mode adopted by many dramatic
Writers.

Simon's ftriking portrait enflames Jenny, who ohf
Hearing her miftrefs at the door, puts him into an
appr^henfion that Ihe'U reveal his fentiments; how-^
ever, fhe gives the matter a whimfical turn, and
brings him off — nothing can be more naturally cba*
xa^teriftic than Mrs, Mechlin's importance, difplay-^
ed in wearinefs and fretful breaks ; the coachman is
alfaftirniflied with expreffions highly fuitable, and
though, the craving, extortionate difpofition of fuch
fellows, may be deemed a trifling, it isyet a juft ob-
ie6t of expofitioi^ and is here placed in a very laugh-
able point of view.

What

/

x^>fti^ c^ \^I merited; fatire, darted, ^.^^of^. ^
the gjr^t world, w^o bef)x)?r, t^c^ fecb vi jc a-
gepts, cvcR churd^ prirfFjmcpttupqp th^^
fl«ttsrQrlM?lpt)p.<3Dpcea|:th^^^ '?X.iparry?P& «

calk pf noiftrfifsj or maHipg^ ^y ^fo|d i4 coM^ffign,
an hpp^fb 0111)4 iquft necejSarily ftar^ d.t> .^^P^gH
wrapp?di in a; rpijy c;affflCt fin4; che ifiippycrijhed
54fudgq.ofapeji)ar^ousCyroh^^^ .

Tbc ftrpHepE a pe^rl nejcklafreWpngjpg to ^h^f,
iriio isgPQe CO Mrs, Cornielys's, is an exqwifitc, i;er
rocmbrancc to many of; the fajt fe^i who laviAi
l^tb, bieauty, and fortjgine, nQt. oa)y in $pllO.
Square, biK ia many other; plaice of polite .leiprj. 1
tebicK reduce tjieip often to ^ l^^^mefiU rsfpycc^
of paucnAig, iwf oply their ippv.cabij?& for Arntkprer
fent fupply, but alfo their honours for the , indKlr
gcnce; of a Iktle ^edi? frofl) forji;uflat6 aw:agwiife
. Upon Jienny's gpujg.out, bcr miftr«fe Jlsi:e0terini^
upon the communication of an important, conceip^i
but is interrupted by the appearance of Widow
luQveit ; this amorous elderly lady conjes as :wc find
iqx>n a tpatdmoi^l errand ; to provide herfelf with
a comfiDtrtable huO^and, by the kind, able affiAanceof
her match-making friend, Mrs. Mechlin ; the foUy
of age, and efpecially in the fetpakfes:, huQtii)g af^*^
ter a matrimonial conne£Uon with youth, is very
humorqufly fet forth in this fcene ^pretended grief
for one hulband^ attended by warm wifhes for, ano«
ther, is poignant fatire againft hypocritical forrow ;

and

MATICCfel^SOll. \m

Coifit^ns more ufeful meaning ' thkn ' Che following
femark ; ** I wonder they doh^t add a claufc to ifie
aft to prevent the old fioh marrying clandcfttbcly,
as Well as the yobngs I am fare there areas irtarty

'dnfifilfiibl^ mktchesf'acftiis time of

After the widdv^s departure, Mrs. McchKrf opcJs

ihd Commiflary's (Jhkf after, circfumftanfces, andpij-
tufiaiiries to Simon, whom fiic ' engages in 'a de*
fign (he hits ' fdritied of nanicing hei' dptilent lodger
ttf a ^iece of hei' cJWn, who has befen ddbaudficd tij
a^muficiati ; the part (he alfignj him to*ajppeair in,

is^'ddrtefhcrof iVlffi Ddfy*s, undef ihc dharafter 6f
a Sfcbc^sfcaVPs daughter j fart of *hisririto ffic

^referif to Another bt^portiirtity^and^n foliftiquy ft-

'fledts^ Upton thtf prcd^oufnefsoF^her bW bufinefe,
whicfr occafions'hef toBrbp'' lEvieffe, though qb][iq[dc
hints agamft fonie di(r6Iiite))<fir{bhs'bf f^ffifbn'. '
Upon Dolly Mechllri^s appearance; 'the* provideofe

'iuht -urges fier io lign adDnditidnal ^bohd in reiuhi
fb^ RdpiY^ her to ib^ad vanlagebiiii a miarrii^; the
Hiiece's hefltation^cipon this matter ehfhtiies'her %>

' tnuch, that ihe eriters into ^ V^rb Jretapttillatibi! bf
the favours (he has tonf<irred, arid ^gmatizes the
cHafaAer of • Dr. Catglit with joftTeverity ; this ih-
timidates the yoang Woman to compliance ; the ap-
proach of Ifstac t^iAigusi brother to the Cbmniiflafy,
6reaks brif their conference.

Tliis' rough dtiieh^ having mfef ^it^ nobody But
a ftenchrtian, who Can^f fpcak Efaglilhjto give him
an infwer, ventS'his lige upon the ilarmed talrt;
upon Mrs, Mcchlih*s appearance^ he domplainTof the

unin-

^ * T ^tr '

^4 The DRAMATIC CENSOR.

uninteUiglble- domeftic, and in cynical terms throws
out a v^ry commendable farcaftPi againfl: thofe who
arc fo fond of exotic reptiles.

Ifaac being difpatched upftairS^ to her brother,
Paduafoy, a filk mercer, is introduced to Mrs.
Mechlin ; from what paffcs between them, we de-
rive a pleafing and ufeful expofition of tricks which
are often played upon the credulous admirers of
foreign manufadure3; Mrs. Mechlin's device of
having fome old filks feized at her houfe, as con-
traband,that, by being publicly burnt, they may
ferve as a kind of advertifement where fuch goods
can be had, is excellent; fuch impofitionis^ are a
glaring mark of fafhionable folly, and if there mufl:
be fuc|i a prevalent weaknefs, we entirely agree with
Mrs. Mechlin, that perfons of her fort, who fell goods
of home fabrication under foreign titles, deferve a
premium rather than cenfure.

The two brothers and Mrs. Mechlin, begin the
fccond aft, when the CommiflT^j^ ,teeming with
ideas of gentility, rates the more rational cit in a
ludicrous ftile, and by having the lady of his party,
whofe bufinefs it is to flatter his peculiarities, he
humouroufly .triumphs in his fuppofed advantage of
tafte and judgement ; the extreme folly of a man
advanced in years, putting himfelf under tuition for
thofe accomplifliments which only appertain to
youth, is here expofed with infinite pleafantry ; the
diflertation upon fencing, the fuppofed quarrel,
the confufion of Wilkins,' Hopkins, and Jenkins,
ais names of the perfon quarrelled with; Ifaac's
interruptions, and at laft fencing with Mrs. Mech-

;.!ff"

The DRAMATIC CENSOR. ^bjf

Jin, whor proves too many forhim, a[fe pafla^esof
^ much bmnour as can Weil be imagthed^ indeed
their tffe£t in aftiok) prove it.

The tranfitfon to Zac l»'ungus*s marriage^ li a va-
riation of merit, and his adcount of the lady's pt-*
digree, makes a ftrong fatirieal appeal to rifible fa-
cbkie^ i the latter part of this fcene is fuftained
yfii^ great fpiriti and throws out fome excellent
Wfits of the wretched dependency a perfdn of inferi-^
or rank mu(t reduce hinifelf to, who ridiculoudy
marries A WOtdan merely for the pride of blood*

The introdu^ion ©f Mr* Gruel, a matter of

oratory, gives a frefli turn to converfatioil^ and fees

the Commiffairy^s whimfical weaknefs in a divcf-

(teg pdiitt of view I it is impofTible tiot to feel

ftrongly, the account he gives of thofe means'

by wfiich we fpeak, and of the diftinAions be^

^eofia fmail mouth and a large one, illu(brated by

whiftlhig and bawling— Gruel's pedantic, itiethodi*

cat mode of ejcpreffion, is a keen reproach to thofe

^^0l4io undertake to teacA others, What they are not

pable of themfelves; and the oratiofl> which

ungus delivers, as a fpecimen of his abilities^ is a

uly laughable piece of circumloeution^ mentbti

^Df his riding-mafter being in waiting, carries off

"ithis oratorical pupil, who apologizes for his ab*

^upt departuref by obftrving, that his dcfife to be

^ ^niflied gentleman, as foon as poflible, puts it

out of his power to ftick long to any one thing.

Gruel's tei^ing Mrs, Mechlin with an e*planatloa

of female, eloquence, confirms his character as a for^

Vofe, I. R r mal,

%^

306 The DRAMATIC CENS oil:

mat, opinionated coxcomb— fome perfons have
thoughCj that too great contempt is thrown by our
author upon oratory ; . but we can by no me^s
find out any deGgn of that nature ; the art of
t^Jf 1' fpcaking in public is certainly dcferving of high
^^t/^cftimation ; and, it ia to be wifhcd, it was more
happily cultivated ; but enthufiafm upon every occa*
fion, merits ridicule ; if fanguine or ihter(^fj pro-
feffors pretend to make orators of perfoi
neither conception nor expreffion fc
if in general, they only teach people
follies by rul.e, certainly fuch. inftrU(
be ftigmatized as knaves or fools, ant
ed pupils beconie Bt objects for laugi

Dr. Catgut*s fcene with Mrs. Mechlini
(trong coloui-s, the abfurdities of a man
nius will be long admired, but whofe conci:'
much obfcured it with a^ cloud of indifcretians, to
give them no worfe a title : his declining the pro-
feflion, in which the public has allowed him pecu-
liar merit, to commence poet, for which charafter
he has not the fmalle(t capability, is well hit ofif^
and the two ftanza's introduced, are an excellent
burlefque upon the inGgnificant, namby-pamby flile
of modem fong- writing, fo much admired when
equipped with a tune ; at the latter, end of this
' fcene, we find the doftor meditating.a cheat on his

good acquaintance, Mrs. Mechlin, under the fem-^
blance of friendfliip.

{ The third aft opens with Harpy, a* lawyer,
young Loveit, the widow's fon, and Jenny 5 it ap*

2 pears.

Tte DRAMATIC censor: 307

'Vommiffiny,'

pears, chat the iumeft attorney, knowing Mrs. Mecb*
lin's abilities to find provifion and employment for
both fexes, has brought Loveit for her afliffance,
/which (he promifes, and immediately points out the
means, a rich widow, of fixty, who wants a hufband ;
this proportion pi'oving agreeable to all, the young
adventurer and Harpy go off, to make room for the
iCbmmiflary and his riding-mafter, who how ad-
.▼ance upon us — Fungus, full of his matrimonial
tranfadion, and no doubt to give Mr. Bridoun a
teore exaked idea of his approaching confequence,
t|aeftions Mrs. Mechlin, in a whimGcal manner, a<-
bout, his intend^ bride, whom he touches up with
ladyfhip in every (hort fentence ; having promifed
to irh prove hisdrefs, after a fliort kflbn, he and Mr;
Bridoun proceed to bufinefs.

His ambition of riding a long-tail'd horfe in Hyde
Park, or in clouds of fummer-dufl: on the King's
iload, his afking if the carpenters have brought home
hisnewhorfe, his fuggeftion of natural- born gen-
tlemen, and the introduftion of his palfrey, are a
fund of fatiric drollery ; his preparation for mounts
' ing^ taking his pofition, and falling oflF, are extrava-
gantly laughable ; it has been objected by fome
over-nice critics, that this fceneis too pantomimical
for comedy, but we think not ; if every man, as
Triilram Shandy obferves, has his natural hobby-
horfe, why ihould a wooden-headed CommifTary
be denied his artificial one? beBdes, the whim is
not at all inconfiftent with other parts of the cha-
rafter, which keep within tic bounds of probability

R r a —Mrs.

:te$ The DRAMATIC CEHS.^R.'

J^Mts. Mechlia*$ anc^ouDciog the appriOPcb of LiKlf
Sacharifia, terminates this fcenc» and makes i-Qon
fbr the amorous widow, whp comes to know hov
her matrimopial expcAations are likely to &cceef}»
.when fbe receives int^lligeDce, much to her facbr
fa&ion ^ this Ibort interview is not without CQO&
derable pleafaotry,

Dolly, as Lgdy S«:barifla, and Jenny the m^udi;
baveaihorttete-ra-tcte previous to Fungus's entrance
in which the latter folicits employinent, as fenranc
fo the former, when married, but is refiiied on xcouat
of their knowing each other too well ; this rqmlR^
foggefts a reientment, which Jenny turns juA as tht
Commiflary appears new rigged.

The follpwbg fcene of cou^tfliip is exGellcDtly
wrought up, the lady's Caledonian preciQon, Ftior
gus's aqkward feryilicy, hb ffaidied addrefs, and the
artful conduA of Mrs, Mechlin, all co-operate^
Jike lights and (hades in painting, to rend^ the
pifture eypreffive and pleaQng : when our Coounifi-
iary^sjgrand i^dal concern is fettled, young hcxfot
comes .according to appointment, and prepaiti to
encounter lys gilded unknown bride---but loji ta
dafib their mutual hopes, bis niother fteps forwaid i
he fuftains the fliock with fome pl^^^try, but tbm
old lady difiblves into tears ; a circumftance wbich
^prizes Mrs. Mechlin, aad occafions fotne confu*
fion, till the matdwoaking lady proihifes to fettUs
matters fome. other way ^ for this purpoTe, whea
Fyn^s and Dolly appear, (be attributes Mrs. Lo^

The DRAMATIC CENSOR. 309

veit^ agkatfon of Ipints tx> the ill behaviour of her

y^xmn being brought nbw to the grand crifis,
UBll^kilXy both for MrSi Mechlin and her neice.
Dr. Catgut comes in abruptly, accofts his intimatf
nqiMmtance DoUy» with great freedom i at which.
Fungus naturally pricks up his ears, but with great
^pngd(3ncq dill al^rti^ his lady's nobility of bloody
^ richnef^ pf pedigree, till the Po&or's perfeve*
rancc^ and bis brother Ifaac's appearance more a«
vakfn him» and neceffitate Mrs. Mechlin to ac-
fciiowlcdge the impofture, which ihe does with more
affiirance, having Zachary bound in a penal obli*
gatipn to confummrate the propofed marriage ; this
eccafions him to make a (harp re6le£Uon upon her
htrpy^Iike difpoiition, which fiie anfwers with a fa*
tkical firoke of great keennels and general tenden*
cy ; iMimatii:^ — we wifh the rhimes had been o«
mitfeed^-rthat flie only preys on the follies of manr
kind^whik ihe Commiflary tribe devour the viials
pi a wholte nation with unrelenting rapacity.

J9ariitotie Iwmieif, could not have defired a ftriA*
ef prefcrv^ipn of time and place than is maintained
in this comedy ; the plot is regular, and the fcenes
iiicermingled well % but we think there is a lapfe of
poetical juftiee at the cataftrophe, in (pfFcring fuch a
woman as Mrs. Mechlin to go off triumphant,
thon^ aM; the expence of a fool : Ifaac Fungus might
have been furniflhed with fome difcovery relative to
her, th^t mi^ht have given him aa opportunity of
retaliation i we think alfp, thatjnaking the Com-

.miflary

310. The DRAMATIC CElflSOR:

miflary himfclf renounce his childifli purfuits,
would have fuftained the part better at la(l,' and
(hewn a conciufive efTeS: from the dilemma be has
efcaped^ and the penalty he has brought himfelf
tinder-

We do not remember to hive perufed or heard
any dramatic author, whofe dialogue (hews a great-
pt degree of fpontaneous, entertaining fpirit' than
Mr. Footers ; if it is not enriched with abfolute wift
there are neverthelefs many peculiar emanations of
fentimehts, and much pregnancy of exprelTion ; his
charadlers are always' alive, his incidents oouvelle, his
fatire poignant, and all his fcenes free from that lan-
guor which moft writers occaGonally fall into ; his
perfonages, at lead the ftriking ones, are all drawn
from life, and with fuch a happy degree of execu-
tion that they are not more generally feen than
known ; and this, we are bold to affirm, is the true
way to make the ftage a falutary fchool of manners.

Zachary Fungus and his brother, are moflr excel-
lently contraftcd ; the one a dupe to extravagant
notions of gay life, the other pent up in the narrow
compafs of mechanical ideas ; the former a" coxco-
mical fool, the latter a rational, though unpoiiihed
trader — Mr. Footc's perfot-niers being as trafifient as
fwallows, who appear only in fummer, and almoft
every year change their ftation, we cannot pretend
10 enquire into the merit of any but thofe moft
known. ' ^

The author of this piece has not a greater flow of
imagination in writing,^ than he has of force and ra-
pidity

H5»

i,

The D RAM AT I C q E N S Q R, 3 1 1

pidity in rcpreC^ntatipn ^ as no man can compcfe, 19
i>o perfpfmer can aft in his ftile,^ except by very"
faint and inadequate iniitation ; his features and utte*
ranee are equally well calculated to tickle the livelieft
fportive feelings*, which is evident from the laugha-
ble effeft he works upon numbers of fpeftators^ who
frequently cannot comprehend the allufive meaning
couched in what he fays ; but admire it, as Boniface
does Greeks for the facility with which it is fpoken.

In the Commiflary he manifefts indefcribable eafe
aod vivacity ; literally obferving ShaTcefpeare's rule
of fuiting the aftion to the word, the word to the
aftion ; particularly in the riding fcene, where it is
hard to fay which excels moft, his gefture, his Iooks»
or his utterance ; in fhor.t, thougli chiefly confined
to.his own produftions at prefent, we will venture to
afiert, that if natural difpofition had not bent this
gentleman to write in a peculiar manner, and to fupport
that peculiarity by his oWn performance, he y;rould
have done many charafters much more ju (lice than
hey have met from other hands ; as it is, both as
author and aftor, he may juftly cry out with Ri*
chard, though upon a far more comfortable principle,
*' I am myfelf alone.*^

Ifaac Fungus, it is true, requires no very material
tjilepts in reprefentation; however, Mr. Sowdon de-
ferves praife for fupporting him in a charafteriftic
manner ; and of this gentleman we muft add, that'
when in Drury Lane theatre, as well as on the Dub-;
lin ftage, he fuftained many charafters of capital
importance, much better than the prefent pofleflbrs
of them do in any of the houre;$.

Mr.

Its rht DRAMAYtC CEMSOR.

Mr. SHtitER ^ftd thie old widow with lingular
humoar, and Mr. Sparks was ndt Auch amifs iil
the reprefcntition of her } Mr. Parson* was mach
better in iJoftor Catgut than probably we (hall fed
agai0) though as tothdfick, monkey-face, M¥Sum-»
JWERSj looked it inimitably— Mr. Westok is t& .
well in the Coachman, that we hearSly wiffi fot
more of hinl ; and Mrs. Gardner, liiifs b8F the?"
convenient Mrs. Mechlin with talents worthy warrn'
^pplaufe ; this lady is much wanted atDrUry Lane^
fo fave fcveral of Mrs. Cliv^'s parts from th^di-ead^
ful mutilation they undergo at prefent ; as to all a^^
thef perforis we have fecn, in this piece they are totally
effaced from the table of memory.

It would be a point of criticaHhjaftice, nor to fay'
that-Mr. Wilkinson, whopofTeffes good imitative
faculties, may give pleafure in the CoNfMi^sFARv;
to thofe who have not fcen the original ;* but, for'
our parts, we muft declare againft FootE, as wdf
as GarrkIk^ at fecond-hand. < • .

We /hall take leave of this comtdyi with hearCify^
wifliing, for public good, that the authofir's patent
was a- wimter, iriftead of a fummer one ; the mental
> gloom, for which Britons are fo rentarkable, is not
iDacerially pr6Vrient in the fiiil-fhine, as the cloudy
feafon ; wherefore, it would be better if this dra»
'iDatk: electrician was to pradlicc when enrhwfiafm,
fpleen and fuicide, moft commonly \iy baleful iiegc
to the hunfah fpir its and undetftanding.

The DRAMATIC CENSOR. 313

Venice preserved.

o

A Tragedy by Otwav*

TWAY has been defcrvedlydiftinguiHied as
a tragic writer by the epithet tend(;r ; indeed his
two living pieces^ the ORi>HAN,and that we arc now
entering upon, never fail to call a melting tribute *
frdm the heart, evidenced by tear-filled eyes j yet
wc may juftly compare them to a couple of females
pofle0ed of bewitching features^ manifefting offen*
five defprmity of Ihape*

Among the exceptionable paffages an<J (circum-
ftances we niuft pafs previous ccnfure at large upon
every fcene where Aquilina is concerned, as fuper-
fluouQy prejudicial to regularity, qfFenfive to dc-
cency^.impotently ludicrous^. and contemptibly ab-
furd; .as a juftification for the author, it is faid, the
buffoon fenator Antonio, was introduced tp carica-

V

ture the Earl of Shafte(bury, by order of Charles the

fccond 1 a monarch more remarkable for uneffcntial

. < ^ < . ... -J

humour and licentious difTipation, t^an moral feel-
ings or folid fenfc. His late majefty, we* have been
informed, once ordered the fcenes we condemn to
be reftored in adlion ; which is not fo much to be
wondered at,- if we confider his very limited know-
ledge of the Englifh language 5 however, the audi-*
ence exerted their iindoubted right to critical autho-
rity, andfnatching them even from royal influence,
fcntenced mofl: juftly fuch vile excreflcnces toobli*
Vol. I. Sf vion:

-1

r

314 The DRAMATIC CENSOR,

Fenke Prefernred.

vion : we ivi(h they were omitted in print as well
as on the (tage«

VENICE Preserved opens with Priiili, a fcna-
tor, upbraiding JafHer as the inftrumentof difgrace
and perplexity to his family, by having (tolen hin

' daughter ; the old man's taunts are fevere, and in
fomfe places illiberal, JafEcr^s defence is the real de-
licate offspring of a modeft mind deeply affeded ;

' hifi defcription of the circumftarice which engaged
Bdvidera's affedlion, is poetically interefting, and
juftifies her dealing into a match with the perfon
who gallantly preferved her life at hazard of his
own : Priuli's unrelenting nature, as well as the po-*
verty of his fon-ln-Iaw, are laid open with natural
ilrikipg propriety ; from what he fays in his laft
fpeech of this fcene, we arc apt to pronounce drefs-
ing JafHer in rich cloaths an impropriety ; it is not
to be fuppofed that a man, who is upon the errand
of foliicitation for pecuniary afliftance, (hould equip
himfclf with fplendid garments ; or, if he had done
fo, Priuli muft naturally have faid, inftead of *' re-
duce the glittering trappings of thy wife^^ reduce
thy glittering trappings- — Yet we have often fcen
the author's meaning revcrfcd — Jaffier wearing a
fuperb fuit, and Belvidera equipped with a plain
black velvet, which is as humble an appearance as
any lady can afTume on the ftage ; one point we
think the author might have availed himfelf of in
this fcene, which would have prevented the charge '
of difobedience againft Belvidera, and the abufe of
confidence in Jaffier's clandeftinely marrying her ;
I that

The DRAMATIC CENSOR. 315

that is, CO have made It appear Priuli had denied his
confent to make them mutually happy ; the fatHcr's
carrying his refentment even to the fecond genera-
tion, and wilhing that a helplefs infant may want
bread, is afliockiqg, and therefore blameabic plfturc
of depraved nature ; he might have, been drawn an
obftinate, without being piftured a favagc parent ;
the following line of Jaffier*s is a grofs breach of

mtfafure

But I might fend her back to you with contumely

The account of JafEer's circumftances, given by

himfelf' in his foliloquy after Priuli's departure,

fpeaks to a feeling heart afFeflingly •, Pierre, at his

entrance, and in fome fpeeches afterwards, makes us

agreeably acquainted with his own charafter ; the

diflertation upon villainy and rogues in power are

admirable 5 however, fomething further on, where.

men^on is made of Aquilina, Pierre finks much in

our efteem 5 wherefore the mode of reprefentation,

by omitting all thofe paflages, does our author a

piece of juftice he Ihould have done himfelf.

There is a great degree of dramatic policy in
making Pierre unite Jaffier's fufFcrings with thofe
<>f the public ; the feelings of poverty zrt an excel-
lent ground for artifice to work upon ; an honeft
mind, incumbered with care, may be very fufcep-
tible of fuch impreffions, as in a ftate of freedom it
^ould effeftually refift ; the pi 61 u re drawn both of
^^ne national and Jaffier's private fufferings, is very
<3iftinft, and highly finifhed ; the different parts of
Pierre's narrative, arc finely imagined and power-

$ f 2 ^ fully

3i6 The D.RAMATIC CENSOR.

fully enforced ; his mention of Priuli, as having
Cgned the legal authority for plundering Jaffier's
dwelling, falls in well to roufe . that unfortunate
man's mind into a ftate of defperation; which pur^
pofe he more efFeftually compleats, by his intrcH
duftion of Belvidera as the capital figure in that
group of diftrefsful irtiages which he has prefented
to view ; Jaffier's manner of receiving the ipclaa-
choly tidings, his melting only at the fufFeringsof
her he loves, recomn^ends his charafter much j and
his reludtance to enter upon vindiftive meafurcs of 4
public nature, though irritated by private wrongs,
is commendable; however, we find that Pierre fo
far touches th6 mafter-ftring of his heart, as to pre-
cipitate him into a fym pathetic degree of refent*
ment ; in confequence of which, an aOignation is
made .to meet on the Rialto at midnight, which
Pierre very improperly calls his evening ^2\k of me-
ditation ; lonely would we apprehend fuit the fe^fon
jniich better than evening,

' After his friend's exit, Jaffier, in a Ihort and apt
foliloquy, defcants on his own diftrefsful ftate i
juftly remarking, that fenfibility, in fuch-a fituation,
m lift be ^ fource of pain ; Belvidera's entrance im-
mediately^ after the excellent preparation we have
juft received for her, is' happily defigned -, fte
comes upon us in the double view of a mbft op^
prefled daughter, and unhappy, though amiable .
wife J the tender treatment (lie affords her afflifted
|iu(band amidft misfortunes, as it ftands forth an in-
riifputable teft of inviolable affedion, fo it conveys

The DRAMATIC CENSOR. 317

Venice PrtfirveJ*

fn admirable leiTon^to the fair fex.; intim^ting^ t^ft
flie who will not endcavpur to fmooth the thorny
pillow of adverfity, docs not j)y any means dcfcrvc
to participate the luxuriant down of profpcrity 5 in-
deed, this fcene abounds wjth. thofe foft fenfations»
which ourautbor inevery view expreflfesfo beautifully ;
and it clofes with a ftriking affiniiiaiion of Jailer's
misfortunes to a (hipwreckecl merchant, in which is
couched a delicate compliment to his faithful part-
ner ; yet, cxclulive of pitiful jingle, tb^re rjever were
more indifferent lines th^a the triple; which carries
them off the flage.

Having difavowed all connexion witti the fc^njeis
of Aquilina^ we (hall begin the feqond acS: where k
commences in reprefentation ; here W€ find JaiB<y>
on the Rialtp, uttering in foliloquy, thofe gloomy
fentiments confequent to hisdefperatecircumftancesi
but his* adverting to the old woman's notion of Sa(^
tan's perfonally appearing for the. work of temptar
tion is ridiculous — The cynical encounter between
him and Pierre, before th^y know . each other, is
fui^ble ; ^nd in a direct, compliment to canihe fid&r
lity, throws an oblique, yet cutting apd juft farcafm
on human hypocrify : Pierre's contemptuous nitny
tion of pricfb and prayings though fomewhat found-*^
ed in truth, is cenfurabje *, religion ihould not bo
treated lightly, even by a profligate upon the ftage^
but Qtway unfortunately, hved when geniqs was
^employed to fneer or laugh every degree of decency
pqt c^ copnter^anc^, nor indeed was. fuch depravity

of

3i8 The DRAMATIC CENSOR.

Fenice Pnfefvedm

of national tafte to be wondered at, when the court
was an abfolute fountain of iniquity.

Pierre's enquiry for Bel videra, and giving his
friend feme money for prefent exigence, is an artful
preparative for his main defign, though we cannot
think the purfe fo delicately introduced as it fhould
have been ; indeed, JafEer's obfervation upon tt
Ihews, that he efteems it as a bribe, and for no .very
amiable purpofe ; Pierre however purfues his plan,
and by mention of Priuli, again agitates Jaf&er to
the purpofe in view, who vents his paflion in terms
very illiberal, even allowing for peculiar provoca-
tion ; his readinefs to blaft with curfes almQfl the
whole city, is a touch of madnefs ; and his infinua-
tion refpeding the wives and daughters of fenators
abominably grofs : Pierre's method of explaining
his purpofe is well conceived ; in his friend's reply
to the propofed oath of fercecy, there is another line
contemptibly low,

Green-ficknefs girls, &c,
and we would prefer a material objeflion againfl:
JafBer's wild declaration, that he could kill even an
honeft fenator, through the antipathy he h^ enter*
tained againft knavifh ones^

From fome paffages in this fcene, we are led to
confider the confpirators as men of fublime cha-
radlers, how far their principles and conduft fulfil
the idea, we (hall difcover on a general furvey of the
piece 5 the place of this copference, a public bridge,
feems, though at midnight, but ill chofen for the
fubjed: which engages their attention j a fubjeft of

fuch

p^'-^n^

The DRAMATIC CENSOR. 515

Vitnce Preferred* ^

fuch deep concern, as required the moit cautious,
impenetrable fecrecy ; yet from the tenor of their
words, the cbaraders fpeak out as if indifferent wbq

heard them.

By the b(x>k we are told, that the next fcene lies
at the hou{e of AquiHna,. a noted Greek courtezan,
which place of rendezyous we cannot deem very

. reputable for perfons aiming at the gioripus cha*^
rafters o^ heroes and patriots ^ in fuch a houie,
however, Renault, a capital chara&er in the confpi^
racy, prefents himfelf, ruminating in fome emphatic
lines, upon that dangerous and turbulent impuife of
the mind — Ambition, which, with great propriety,

' he aflimulates to a beautiful elevation of profpeA,
placed on a fandy precarious foundation.

From his rpply to Spinofa, we perceive the old
gentleman is of a tefty difpofition, indeed, fo impor-
tant a tranfaflion, (hould not be dallied with ; there-
fore, his impatience for the other confpirators, is a
natural and prudent feeling ; his reBedion upon
Elliott, as an Englilhman, is beneath the tragic
mufe \ it feryes the purpofe of occafioning a little
miff, which Bedamar reconciles ; this Bedamar, as
the author has drawn him, might very well have
pafied for an untitled knave ; but that hiflory in- •
forms us he was the Spani(h ambaffador, who offici-
ally fomented the confpiracy, with a view to ruin
the ftate of Venice ; wherefore, ic is ftrange that our
author did not make him a more con fpicuous acting
perfonagCf

The

^20 The t)it A M A T I Q C ENS O R.

The compBrnertts f«rlp^cfc^y^ jpiid by the conipi-
rators to each other in the Roman titles they appro^
friate, is truly whimficalt ds to Brutus and Gaffius
they may be admitted patrons of liberty; but for
Cataline and Gethegus, wh6 wife notorious 4bns of
faSion they feem an odd todple to introducfe ; Hc-
nault^s deft:r?|^tioh of the Venetian ftate is Very
ftqking, and fuHy juftifies taking violent meafures
for redrefs ; however, we can by no means approve
the following exultation of Pierre, which fcemsthe
cruel efilirion of a mind delighting in mifchief i

How lo^rely the Adriatic whore

Drcflcd in her flames— will fhinei^evourlng janjfs !

Such as (ball burn her to the wa^ bottom.

And hiis. in her foundation.

A man of public fpirit muft ever enter upon fuch
tranfaftions with relu6tance, though ncceffary, and
lament the inevitable diftreffes confequent to civft
commotions •, his preparative fpeeches for the ir^tro-
duftion of Jaffier are pleafingly cjfpreffcd ; and Jaffier
himfclf, except where he too talks of fetting the city
in flames,lhcws a confiderable fliare of fpirit-^his of-
fering Belvidera as a pledge of his faith is as ftrange
and uncouth a drcumftance as ever we mi^t. In
the firft fceile of this aft he tcUs Pierre, that he
has lodged heir at the houfe of a friend \ M hOw
appears, that Aquilina is. that friend 5 a very tH cho-
fen one for the delicate and modeft Belvidera ; whd
from her own account, has been afleep in the houfe
of a courtezan, a houfe too frequented by a number
of difiblutc perfons C there is, however, fomethtng

fo

The DRAMATIC CENSOR. 321

Fitdce Preferved.

fo feriogfly afitfting in the facrifice Jaffier makes of
tendernefs to his new connexion, fuch melting mat-
ter to fteal upon the heart in Belvidera^s exprelBoiiSy
that an audience, and almoft a reader, muft forgire
the palpable breach of propriety we have juft point-
ed out. \ '

After thb lady's departure, little could be faid to
engage attention, wherefore the author has judicK
oufly brought the aft to a fpeedy Condufion \ biic
there is great reafon to wifh that he had notdif-
^raced his genius, by exhibiting fuch a group of
ilrained images in eight or ten bombaft lines, which
domain little poetry, and lefs meaning ; the laft
Speech carries off the friends laughably, we wilh
Something more fuitable was fubftituted.

Jumping over the jack- pudding feiiator and A-
^uilina, who intrude themfelves for three Bartholo-
xjiew Fair pages upon lis jn print, we commence
^he third aft with Belvidera's foliloquy, which on
account of a material objeftion againft fome part of
^t, wc chufc to tranfcribe.

Pm facriiic'd — Fm fold-— betrayM to fiiame^
Inevitable ruin has inclos'd me ;
Nofimur was I to my hid npmr^d^
To wHgh and weepingy fonder mj condition |
But the old hoary wretch^ to wbofifalfi can
My peace and honour was entrufted^ came
Like Ttarquin gbaftly with infernal luft^

0 thou Roman Lucrec^ ! thoucouldft find friends
To vindicate thy wrong

1 qever bad but one and he's proved falfe :]

He that ihould guard my virtue has betray'd it*

"Vol, L - T t The

. 3J2 The DRAMATIC CENSOR.

Venice Frefertnd*

The fiyd lifles marked by Italics in the foregoing
. foUloquy are fuperfluous, without any degree of
beauty to prtead an; excufe for inferting them ; there
. is no reafon to think Belvidera would tell herfelf of
. the ill uf^ge (he has received from Renault, and as to
informing the audience, they are much better made
.acquainted with the circumftarice by her neceffarily
.opening the mat^^r afterwards to Jaffier.

Upon her. hulband's appearance, (he complains
very ju(lly of his cold, and culpable behaviour, to
which he. returns fume tender, but unfatisfadory ex-
pre(rions ; Belvidera plays every engine of female
artiBce, *to wind into the meaning of his myfteriqus
condud, which he ref^fts till (he mentions the vil-
lainy of her occafional guardian ; this leads to the
^Ifcovery : We cannot exprefs fufi^cient abhorrence
pf the favage entertainment he propofcs for her in
feeing her father, and three- fourtl\s of the citizens
malTacred — What idea he muft have of his wife's
humanity we know not,; but what follows would dif-
grace the mouth and feelings of an obdurate fcalp-
ing Indian,

Nay, the throats of the whole fenate *

Shall bleed, my Belvidera. He amongft. us
Who fparcs his father, brother, or his friend,
Isdan^n'd. — Hpw rich and beauteous will the face
Of ruin look when thefe wide ftreets run blood i
I and the glorious partners of my fortune,
iShouting and flriding o'er the pioflrate dead
Still to new wafle ; - whilft thou far off in fafety.
Smiling (halt fee the wonders of our daring,
And when night comes withpraife and love receive me.

W^

ThcDRAMATIC CENSaR. - 333

Venice Prefir-ved*

Wc apprehend faying tbefi wide ftrects is an er-
ror, as they are in a room during this fcene ; adr
mitting JaSitr pointed out of a window tp (lipw the
feat of aftion, /i^<?/^ would be the gram matjfal term,-
but wc fhould prefer the word Qur to jithcr % how-
ever, this is a blcn^ilh little wor|h t^otice, where the
whole paffage is (hocking to humanity — ^A delicate ,
woman to praife and love her huiband for pUyipg
the affaflVn <;ven upon her own father, fopj^ce ^fuch
a one as a pleafed fpeAatrefs of outrageous crueltyj^ ;
makes her in idea a rival to Roman Tullia,; who, ,
after caufing the death of an ^gcd,fire, whirled her \
chariot triumphantly over Jiis mangled Jimbs. .

Belvidera very naturally flii^ink^.at.what (he h|is
heard, but in reproving her huf^and for a^oci^ing •
with fuch aa abandoned bloodrthirfly ci;ew, (he de- .
fcendsto fon)emean,unbecoming epithets.Hispaltryy
becaufe ill-grounded panegyric upon thq confpiratorSy
Jeads her to a dire<5tly full and |)ofirive charge againft
Renault, which (huddcrs JajSier, though we really .
cannot find the an>orous old gentleman fo much to
blame \ he received, upon very odd terms, a wo- .
man who had been lodged in a brothel by her huf-
band ; it was net a very unnatural fuppoiitioo that
a lady fo circumftanced might be adapted to his \
purpofe *, neverthelefs, upon hearing his attack, .
JafBer, who having sfted as fool or knave, or both,
now determines to play the nudman, breaths the
fpirit of revenge, from which Belvidera fccms to
draw fome comfort -, her affedtionate departure and
repetition of Remember twelve, pleafe much. .

Til When

1

324 The DRAMATIC CENSOR.

• Vtnice ?refern)$d.'

When Pierre ' approaches, he rallies his friend as
being uxorious, in the following pafiage :
Hunt a wife on die dull/9/?.

We have often fcen it printed, and fomttimes heard
it fpoke JoiU but the change is totally abfurd, and
breaks the allufion^ which evidently points to the
chacd : that Jaffier Ihould reveal to his friend as
an objeft of ftri^ confidence what he has juft heard
from his wife Is probable, but that any author Ihould
have the aflbrance to affront an audience with fuch
grofs ftuff, fuch fulfome defcription as we find in
this fiiort fcene» is fbrprifing : it ftiould be much
foftenedj or much curtailed.

Pierre's defire of having the matter reft for fome-
time iis prudent, and Jaffier's confent to bear the
wrong for the prefent, commendably reluf^aht;
Renault's entrance produces, as might well be ex-
peftcd, a ferio comic encounter, which feems juft
kindling to a flame, when the confpirators entering,
put a flop to the matter.

' During Renault's charge, which is delivered with
poliric energy, Jaffier manifefts that diflike to his af-
fociates and their meafures, which the invalion of his
wife's virtue has created ; he who a fmall time fince
fcemed to triumph in a general effuCon of blood,
now calls Renault a hbrrid flave for uttering fuch ^
fanguinary orders, and flinks away from the conclu-
five meeting in a very ftrange manner. Renault,
who wifhes him dead, on account of his wife, im-
mediately pronounces liim an objeft of fufpicion and

danger \

ThcDRAMATIC CENSOR; 325

danger ; this darms the gfserous feel^ings of Pierre's
f liendlhips who a&its lus merit, and mentions the
circumffaKKX of Bdvidera I much heat enfues, ge-
neral deftruAioD to their fcheme and lives Jkems im-
pending, when Renault's peevilh cetrear, and a
iQighty odd conceffion of the other confpirators, re-
fliOFes. harmony.

Pierre (hews to confiderabfe advantage in this
fcene, as being a rogue crifibme prindpie, but the
triplet with which be concfaides the a£l, is truly la-
mentable.

' By what pafles in the firft fcene of the fourth a6l:
wt perceire, that- Belvidera has infiuenccd Jaffier to
diicorer the confpiracy ; which, though a breach of
faith (he paints, and with fome juftice, inta virtuous
light > for moft certain it is, that moral and focial
honefty direda us rather to break than obfcure an
engagement of evil tendency ; the anxious fulpenfe
of his mind is very natural, till removed by the men*
tion of Renault's attack upon his wife's virtue ; her
pfifture of the impending dangers is drawing in
ftriktng colours, and her perfuafion determines
Jaffier •„ however, the author, to foften his breach
of faith, by- making it in foaie meafure an aA of
neceflky, introduces an officer, who takes him pri-
fooer^.in confequence of an order from the fenate,
by him they are condufted off.

The Duke and fenators in council appear next ; to
whom Priuli gives a general intimation of furround-
ing perils ; his information comes, he fays, from
uqkriown hands ; this takes fome blame from Jaffier

3 alfo 5

326 The DRAMATIC CENSOR.

alfo; when introduced, headdre&s himreU;Cothe
court with that bhintnefs which a ihtnd agitated like
his might well fii^e(t ; and his contempt of their >
threats fhews commendable fpiric i by the book it
appears, that be lias brought a wricten Kdof his ;
friends which we ha^c alfoifcen: performers produce,
on firft mentioning; the matter ; thia^is improper,
for we cfflinorfiippofr,' tbaf ^whcttTfjich an ample
difcovery is in their uviewj aoadimay^be ftized by '
force,. that the;ienators would put tbcmlc Ives un-
der the obligation of an oath ; wherefore Jafiier in- .
ftesid of fhewing a lift \whcn b6 utters thefe words
*' whofc n^mes are here cnrolled**-rrfiiouJd at the '
word i&^r^ dap hiahaqd on his brcaft — by which the
fenate may be ipd to think tihe fecrec tics beyond their
rc^ch, except through his voluntary confeflion.

Though ADtonio's fpecchcs in this fcene are ludi-
croufly. impertinent,- yet they occafion a- fine farcafm
upon authority, whici!),7iQfte^d of m^ntainifig impar-
tial juflice, meanly hcrids to indulge viciosus great- :
nefs; we mean where the Duke orders AquHina*s
houfe, as Ihe is a.fcnator's niiftrefe, to be feanbed
wUb decency. : ' ,

Jaffier's compunction for what he has done, car-
ries on his charadcr with uniformity ; upon his be- '
ing ordered off, Pierre^ and the other confpirators
appear in cuftody, which cannot proceed from Jaf- .
ficr's information, which has been only juft deliver-
ed in ; fo that though he may be feid to confirm '
their crimination, yet he is not the original caivfeof
their ruin : Pierrc*a addrefs is fpccious and fpirited,

be

The DRAMATIC CENSOR. 327

• ¥mc€ Freferved,

he wears his chains with an admirable grace, and by
a kind of popular fophiftrjr, (urns ignominy inco
orhamient.- '

Nothing wais ever beccef imagined tot afiion than
confrpntirig thefr40lds ; I^erfe's cordial undifguifed
iddrefs, upon > feeing Jaffier in -cuftody, diminiihes
the latter greaiiy, he Idlens in our view, and by the
confeflion of his guilt, becomes contemptible ; while
the other rogues, by an unbending fpirit of perfe-
verance claim fome allowance of pity and praife. v

Aftc^the court breaks up, Jaffier and Pierre arc
judicioufly left to a conference, wherein we find them
contrafted in a mafterly manner ; confcious guile
cloaths one with contrite fubmiflion, deeply pro*
voked refcntment warms the other to violent dif-
dain ; each ;s fuftained with the genius of ability,
a.id wc.arc alternately prejudiced in favour of both.
Jaffier's great and tender anxiety for the life of his
friend, is amiable ; and Pierre's generous contempt
of an exiitence under the burti^n of difgrace, is truly

noble \ ,nor can we deem his pa(fion rigorous, when

I

calling afide all Jaffier's concefTions, he fwears never
to hold friendly intercourfe with him again.
. Every fpedator, .or reader, who is acquainted with
the human mind, who can fee and forgivethe failings
of a fellow-creature, plunged amidft inextricable
toils of, perplexity, muft here fympathizc in the per-
turbation of JafRcr, who is now wrought up to look
^pon jhis beloved and Ipving wife, as the great fourcc
of his moft pungent mifcry : the conflidl between
love, honour, and injured friendfliip, rifcs to the

^ borders

3^8 The DRAMATIC CENSOR.

borders of diftraftion, ifvhen Bel videra appears^ who,
copfcioQs of cbe dagger flie lias |3rlanted in her huf-
band's heart, fears co fee him, yet has ao otiier
guardian, no fl:^lier but his love ibtf (be can fly to \
in this latneti table fbte they appeoadi each other^
when Jaffier givies a pitiable relation of the toi^h
treatment, the opprobrious terms he has received^
yrhich drawjs from Belvidera an aggravatit^ account
of die ^ntencc paOed upoo Pierre ; this works upon
Jaificr in a powerful manner, and his paffion gather
like thofe hurricanes which lie fometame embodied in
a gloomy cloud, before they niih forth widi hrrefiit^
able impetuofity ; vengeance points a fimgutne dag*
ger towards the unhappy Belvidera, the i^Stdtonate
iiuiband wifhes her away, yet rrfolves upon a iacri-
fice, and even sums the fatal blow, dll beautifully^
difarmed by the melting embraces of the woman,,
who apparently rules, amidft the utmoft turbuienci
ofpaflfion, his captivated, amorous Keart.

This, turn of the feene has a. very pleafirig
forceable effeft, it feldom fails to draw from/enfHx
Ut;y tears of joy, and deputing Belvidera as a media
trix to intercede with her father for his friends
leaves an audience in agreeable fufpence at the e
of the fourth aft.

Priuli openjs the 6fth aft with refleftis^ on hi
own painful fituation ; by his foliioquy, tc appears
that family pride is the foundation <3i unnatural be-
haviour to his unhappy daughter ; what the autho
meant by puttii^ on a veil to obfcure Belvidera
know not, but fhe approaches her father ihroudecS

/ in

f

The DRAMATIC CENSOH; igi^

in one, and addrefies him for fome rime as a fup*

pUant unknown i wHen difcovered) the fight of h^r

MTdrks parental feelings in the old man^s breaft^

i0v^htch (he improves, by remrndii^ hioi of the like-

:^Qi^s (he bears to her mother ; mentbn of h^rihuf*

..|3|9i¥]> however, calls forth a ftart of refeotQientii

l;>i|t it foon paf&s ofF^^ when (he relatc;$ the danger

iter life is in \ her dory is told with great perf|]aOoo,

jms^d operates fuccefsfuUy to the point (he has ip

nriew, PriuU relents with unlimited tendern^fs, and

promifes to fave the confpirators \ there is. a pretty;

tender conceOion at the clofe of the fcene, in the fa-^

ther's af kRQwdedging hta p^ har&nef$» atid pro*

iQtfit^' fatwe prole&ion. ;

Aqutlina and Antonio, as to what they iky, here

. tnlerveoe agfil^ v^ry abfufdly % hOweirer, (bmething

- iaci^4«iRly wai^Ung to prevent J^ffier's unmedkce

entrance ppon she departure of his wife and father*

ift^iaw, as e^xajnimtiw of what foHowa will plainly

C^itice: hi9 fplHcquy borders too oiuch u^ the

bcdl^noicc (jif ain, and carries prefumptuoiis btprfor

With it ^ adinining pungent diftrefs capable. 6ffuc^

exrcratioosi it is. a natural extremity which fliould

not be given u> the public ear ; on Belvtdera^is ap*

^roadi, overjo^d we may prefume with what (he

flippofes agreeable tidings, Jaffier turns from her,

and infHkiedis^ely mentions that PriuU's mercy ex-

^ ^t«d itfelf too late v this is the circumftance which

^alU for a f^ra^n of the hrft fcene from this, for

'i£ Jalfier appears the very inftant that Priuli goes

ofiFtbe ftage^ how can he know that be has promifcd

Vol. I. U u t»

^!

;530 The DRAMATIC CENSaR.

to faire the confjptrators'; or how Is there time for
rPriuir$ ntokiDg the triaU wbich^ according to the
foltoliwg line he>has done, though im&iccefsfiiUy.

Thy fiitber's ill-tioi'd mercy came toa late.

To rett^ove this inconfiftence, which we cannot
«b1annie'the author for^ as he wrote an intervening
fcene, which gave time for. Jaffier 'to be acquainted
with the matter, we would recommend an alteration
of the pafiage to fuch gentlemen as hereafter repre-
fent the charafter, to the following or fimtlar eStft :

Thy father's mercy, ihould he now relent,
Wb«M come too late- — ^the doom is fix'd
Of all my poor, betr^y'd, unhappy friends ;
They are fummonM to prepare for fate's black hour,
i ,YetIftiUKvc. ,

The (hbck of this information eaufes Belvidera to
court fate even fronf) a huiband's hands, wbicb^
does fo mudi in the melting manner, that his dt-
ftraiftion foftens into fympathetic tears, and che
fcene becomes inexpreflibly pathetic, efpeciaUy wfatre
he pronounce^ a blefliDg on his unbappy wife ; anH
(he, ftutig with the thoughts of party, parodys it in-
to a curfe : mention of their tender infant carries
•grief to its ucmoll extent, and the parting of this
wretched couple, eiigroflcs all the t(;ndereft feelings
of humanity.

Belvidera's foliloquy, we think, would be better
omicced, as it runs into a drain of bombaftic mad-
nefs, not properly deducible from, orfaitcd to her
ritu;irion 9 what ihc fpeaks alfo when her father

■ ' com

The DRAMATIC CENSOR, -sjt

comes on is contemptible, and truly deferves G av's
' bur Idque, wbkfa^ though we are not fond of buf-
kfilue in general, wethrnk deferves notice here.

Munmtring ftreams, foft (hades, and fpringing flowers^
Ltnesjlaoittls, feasofmilk,andihips.ofamb^, :

are thus laughably ridiculed by Kitty Carrot, in the
/What d^ccall it :

' Bijgpipes In butter, flocks in fleecy mountains,
ChurAs, iheep-hooks, feas of milk, and honey moun-
tains. ^

"^ We now encounter Pierre at the place of execu-
tion, where, as the author has wrote the part, he ei-
* prefl'es fome difrefpeflful ideas of religious prepa-
' ration for death ; thcfe fpeeches, which Otw ay
certainly wrote to flatter a licentious age, are conl-

m

mendably omitted in reprefentation, for there are too
many perfons ready to flight facred inftitutions, with-
out the ccHintenance and information of dramatic
poets. ^ •

Exclufive of what we thus objeft to, Pierre^ de-
portment is galtant and praife-worthy \ JafGer, On
whom forrow has impreflcd her deepeft feal to mark
him as her owh, comes to take a final leave of that
friend, who, as he thinks, has been wholly brought to
infamy and death, by his ungrateful breach of con-
fidence 5 the pungent contrition bf one 'charafter,
and the generous forgivenefs, nay, tender cbndefcen«'
iion of the other, are moft ihtereftingly hiirigted :
we wifli Jaffier's propofidon of killing not only Ms
^wfc but infant alfo did not occur : Pierre's defire of

U u 2 evading

)

J32 The DRAMATIC CENSOR.

ibvadihg an ignominious death is very natural to a
brave ^an, and cboi^ as a Chri0ftan Jaffier fi^ iti
right to take life, especially his own^ we cannot €(k
bow amind fo frenzied as bis could have a^d other-
wife ; however, we think our author n^ght bavefur-
^lii(hcd his piece with a better cataftrc^hcj^ as m tjse
proper place (kail be pointed out.

Pierre^ ei^piring with a laugh of exultation, ispe-
culi^ and well imagined ; JafEer' alfo concedes
chara^riftically, with thofe pathetic fenfations of
conjugal aSe^ion which feem to have effcded bis
ruin.

In the next (cene Belvidera's madnefs is much
better fupported than where it firft fcixies her, is
every cxpreflTion points at her huiband. f rotn ap
invincible antipathy to all embodied ghofts^ except
that moit pardonable one of Hamlet's father* wc
think the appearance of JafHer 4nd his friend would
have been more juftifiable ^ the e0eft of imagioa^
tion, than rifing through trap-doors with wbicenecl
faces 4ncl bfoody Ihirts, thofe childilh fineffcs of the
ilage. Belvfdcra's dying fo fuddenly of diftraftion,
which is rather flighty than raging, feems on exag-
gcration of phyfical confcquences *, however, fhcicr-
ipinates an obje£( of that pity, which through every
preceding fi^^^^ ftjc, has fo powerfully excited »
Priuli's refoiunon of retiring from the world is na-
tur^l, bijt his fpeecb, apd the piece frc di%raced by
a moft mifcrablc couplet* , /.

We obfcfved, that .the, cataftrophe, t)f this pi??
wi^ht,havc be?n thrown intp a* better form,^ though

perhaps

The D RA M A T IC C E N S O R. 333

'SC^mcf Preferred*

jp^rhaps noc with fv^b rigid adherence to poetical
juilice. If lyc confidcr 'that not one charaftcr ex-
cept tlic Duke, Pfiuli and the Officer is left alive,
V^KicE PiiBSfERVHD muft appear a mod fanguiiic
produ^ion, a aacre theatrical (hatnbles; wherefore Jc
k apprebended, tbac if the author, juft when Jaf-
£kr h ^ting the dagger, had introduced FriuU wish

#

a ^rdon fpr Pierre, the furprize and change muft
luiye been very pleafing to an audierKe ; by this the
, fasber would have tflfentialty foftened his charafler,
l\ft iB^iopate qpgple would have been made happy,
4NMI Pkrrc, the ntK>ft parddnable of the confpirators,
i^uldhavt been faved to ferve the date, whidi evlil
ffinifi(6aons had urged him to deftroy The fenators
alfo would have been partly relieved from the posi-
tive and general charge of perjury, which now lies
againl^ them for the breach of their conditional oath,

for ibkmnl)r %^^ to Jaffier*

Among fifteen male perfonages in this play, not
one moral .chara(fter appears — ^What an unfavoura-
ble pidure of human mture I calculated to make us
hk^, not only a pait, but the w^hole of our fpccies ;
«butof fo large a. rtumber there are but four of ar^
4&\T\% merit, tHofe only we (hall confider, the others
^beingmef e under cnigines of the plot.

Jalfier is weak, irrefolute, rafli, afFcftionate, crtrel,^
friendly, treacherous ; an unnatural compound of
foch contrarieties as never were jumbled in the heart
of man; yet he is introduced under fqch circum-
ftaftces, and is furniftied with fo many fine paflages

r

'fottsapieal Utterance, that we know but few parts in

3 which

-334 The DRAMATIC CENSOR."

, Venice Frefirnfei,

ivbich a firfl rate a£tor can more deeply engage the
attention and applaufe of an audience.

Mefirs. Garrick and Barry had fuch an equa-
lity of merit in the /eprefentation of JafBer, that to
place either 6r(l would rather be partial, and to draW;
a fair parallel requires the hiceft equHibfe of criticifflEi,
as they have feverally wade us feel, fo we fhall pre-
fent them to the public, and hope Aich -great oc^-
nals may not fuffer from our inadequate paintii^.
, In the firft fcene Mr. Barry's appearance ftrikes
particularly, his external ftrongly apologize for Bel*
,. videra*s attachment, excluGve of gratitude for faying
her life ; when he defcribeis plunging after her intb
the Adriatic, there is a fcope, aa expanfion of- ^ure>
which fills the idea conveyed in this paflkge

Like a rich conqueft in one hand I bore her.
And with the other dafli'd thofe faticy waves.
Which tbrong'd and pcefs'd to rob me oi my fmt*
Indeed, through the whole firft aft, and the firft
fcene of the fecond, this gentleman coulcj not be fur-
paflfed ; but, where Belvidera is delivered to thecon-
fpirators, we mud gi^ Mr. Garrick confidcrable
preferjence, for lopks moft powerfully expreflive,
and piercing hote$ of txprefHon. In the firft fceqp
of the third ad; equality again took place ; the (horc
fubfcquent interviews with Pierre and Renault were
manifeftiy on Mr, G arric.k*s fide, whofc nierit has
caufed us to lament, that what the author has written

fo cenfural;>ly, fhould be rendered fo agreeable in

«

adton. Before the fcnate,:and through the follow-
ing fcene we muft alio place him firft, from a fupe-

rior

The DRAMATIC CENSOR. ^33

lidr figoificancc of feature to exprefs vjolcot sta-
tion of mind. jUppti Belvidera's entrance, Mn
Baeey muft be admitted to lead, till Behridera tells
htm of the tortneots which are preparing for hit
friends, then Mn Gar rick fteps forward and beg-
gars defcription, by .an anjazing variety of tran&
tions, cones, and jdAiirefque attitudes ; the diftraft*
cd confufion whicb flames in his cpu(itenance, and
the gleams of iove which Ihed monientary foftnels
on the ftern gbw of rage, exhibit more complicated
beauties than any other piece of theatrical executioQi
we have feen* ^ In the laft fpeech of the fourth ad,
Mr. Barry was peculiar^ happy. Through the
whole fifth a£t, we nwfl: lean to Mr. G^rrick^
whofe peculiar etceUence inbreaks and half Ibes is
univcffally acfcnowlttdged, and of Aich Jafier is in
tftis aft chiefly made up. If gHdls mufl: appear,
weihall acknowledge:Mr. Barry tht mpftftrStiog
we have fcen.

Mr. Ry ak was d^nrved very ^ refpeftable in this
4:hara£ter, yet, exdufive of the lafl: fcene of tRk
fourth a£t, where we admit* his merit, he neitiier

A

fpoke nor looked in our remembrance chgrafteriftt-
cally. . /

Meflfrs. Powell and Ross were as near a parallel
as the two great competitors above mentioned, the
one dcfcrved praife for tender, the other for amorous ,
cxpreflion ; however, neither could reach the Violent
paffions of Jaffier by many degrees, want of power
prevented the former, and negligence or dutitnefs of

feeling the latter.

Pierre

3 j<5 The DRAM AT I C CE N S 0 1? .

: Pknre defciUxsibimfelf as a fine, gay, bol4«^faced
iDiUain, and a v^illain he truly is, labouring' for t6e
ddftitu6tion of his native country, on themoft pak^y
prietcoce of provocation, no other than being rivalled
vfk, a> favourite courtezan, yet he has the aflTurahce to
talk of liberty ; indeed, from ^ pi^ure Otwat
faoft drawn of this conlpira^y, Jie i^ems to htfve had
b political vi^w^ which was to throw an o^iuofi ^m
all tfaofo who hadi rctfifted the iirst Chaklbs^b
mcafures, and tliofc who had fpiiit enough ta caEi>-
|)b}0 of bk^'a prooeedings. A ^outtiy poet, and
^tVtf Oir WAV was. fu£h| vide his laean^ fycopharnic
^^iCation, i'^illtyec ihew popular fprrit iaan /uni-
^^v^^ralple light ; oodiing could tend more tt> this
than tP^kiog the doofpirators a fet of complete, dfSt-
ffe^tf^^ouodrel^^. Asa proof of our iidggBftion,
w^ r^r v^ the Epilogue, and if fuch be the tenden-
:f y:.^tii<,pi^ce» it is unworthy coumcoatice In a free
ftate.

\^^hcn three of the fbllowtng names are pcrufcd,
iR ^ ppifi^y appear (braoge, that; we venture to
-^fif^M^. §!^lgiPAN furemqft in Pierre, but atj we
ijifjifsp^ife, pr plight ?p have prpMUOCfid his judgcnenc
at lead upon an equality to that of any performer with*
iH' Q^V knowledge \ as in this part bis powers ope-
.ra^ed o^ore happily than in any other of equal fire ; as
in the vdefcriptive, the perfuarive, and the dii<iainful
jparts > the vindication, the reproach, and the for-
^ivenefs of Jaffier, he was equally excellent ; it is
bjufj jui(l.tP ^ve him precedence of thofe competitof s

who

:. ! .. i

the DRAM'AtIC CENSOR. 337

Peince Preferred, •

who (truck, out only a few occafional beauties, tho*
perhaps in them particular places fuperior to him.

Mr. Mossop has iht capability of excellence, but
by having cither an erring or laborious judgmenr>
mifappliefi his talents grofsly ; in the two firft afls,
where open, genteel, generous freedom is required^
he toils through a ilrained infipidity of expteflion :
in the third, where Jaffier's honefty is impeached,
he totally lofes the gentleman, and bullies the con-
fpirators like a bravo y there is a delicacy, even m
the rapidity of paffion, which he feems unacquainted
with. Before the fenate, and in the fubfequent
icene with JafEer,his naturally contemptuous afped",
and liis uncommon extent of voice, opperate happi-
ly 5 but, in the fifth aft, he forgives his friend with
a countenance as if he was going to knock him down.

Mr. Barry was a very agreeable, but, in the cri-
tical view, indefcnflble Pierre ; a melifluous flow of
^xpreflion, and harmonious confonance of features,
much better fuited to Jaffiier, Icffcned an cllcntial
contraft, and rather contradiftcd the idea we have
of this bold militarian ; the eye and ear, however,
were pleaied, while judgment fat covered with a re-
luftant frown. *

Mr, QtJiN, who was by many eftcemcd a ftandard
of perfe&ion, rolled moil heavily through the part ;
he recitatived the calmer, and bellowed the more
fpifiteld fcenes 5 in the line

I could have hugg*d the greafy rogues, they pleas'd me;

his execration of the fenate, and a few paffages in
Vol. I X X the

338 The DRAMATIC CENSOR.

Venice Prefif'ued*

the dying fcene, be was very fortunate, but through
all the reft much more like a heavy-headed, metho-
dical, faturnine pedagogue, than what the author
meant.

Mr. Bensley is as formal, though not fo impor-
tant as the laft mentioned gentleman, and aims
piuch more at lavilhed applaufe than critical pro-
priety, forgetting this indifputable truth in public
life, that he who modeftly fteals through an arduous,
undertaking, is much more commendable than the
perfon who confidently expofes inadequate abilities,
and endeavours to pafs -them current by the ftamp
of felf-fufEcicncy.

Mr. Holland, in the charafter of Pierre, gave
evident marks of the fchool where he originally ftu-
died afting, we mean the fpouting-club, ftifF with-
out dignity, and fonorous without meaning, totally
void of originality, mounted and hobbling on the
aukward (lilts of imitation. Mr. Aickin, in a
rhodeft prologue, lately placed himfelf beneath this
gentleman, but he need not have paid his abilities
fo bad a compliment.

Renault was admirably fupported by Mr. Sparks,
who (hewed fomething in the reprcfentation of him
that we have never fecn hit oflFby any performer but
himfelf -, in giving the charge, in profcfTirig fyco-
phantic friendlhip for Jafficr, and in the confufion.
occafioned by Pierre's reproaches, he far outftripped
all competition. Mr. Burton gets through him
without deferving praife, yet does not incur cenfure.
If the part was about half as long again, there would

be

TheDRAMATIC CENSOR. 33^

be danger ot his fctting an audience afleep, but, as
it is, he paffcs off as an inofFenfive relief to atten-
tion. We apprehend Renault to be more in Mr.
Gibson's compafs, than any other tragedy part
whatever.

Mr. Havard was as pleafing in Priuli as the
part would admit ; nor was Mr. Ridout void of
confiderable merit.. Mr. Bannister, at prefent,
fufiiains it with ability at Drury Lane, and Mr.
Hull (hould refcue it from lefs able talents at Co-
vent Garden.

Belvidera is an amiable, confident character, con-
ftant and rational in affe6lion, fuperior to the frowns
of poverty, yet poffcfTcd of quick and delicate fen-
Ability j fhe towers above misfortunes, whik they
aflfedl circumftances only, but naturally finks under
an accumulation of unhappy effeds wrought by
them.

.. Mrs. CiBBER and Mrs. Bellamy, had each fin-
gular merit in this part ; however, the former, who
had a countenance moftexquifitely formed to exprefs
anguiih and diftradion, far furpafled her competi-
tor in thofc feenes where deep and violent feelings
occur, while the latter, from an amorous glow of
features and utterance, excelled in the paflages rela-
tive to conjugal aflFcdion 5 her defcription of the
madnefs, fuch as it is, was preferable to Mrs. Gib-
ber's, becaufe more dii'engaged.

Mrs. Barry treads clofe on the heela of the two
ladies mentioned, and, if not fo ftrikingly CQnfpicu-
ous in particular places as either, fhe is more equal

X X 2 through

]

340 The DRAMATIC CENSOR.

through the whole than both \ what her countenance
wants of expreffion, (he makes up in a confiderable
fuperiority of figure, being j^flcffed of a niorc ami-
able dignity of appearance than any theatrical lady
we remember.

To fqm up our opinipn of this t«3gedy, we (hall
obferve, that Otway feem$ to have had little elfe
ia view ihan catching the paflions at any rate, which
moft certainly he has efitded ; breaches of decorum
^nd delicacy were no objeds of his caution, he wrote
to the heart without properly remembering the bead;^
wherefore, bis plot, thoqgh tolerably regular, will,
we apprehend, from what has been obferved^ appear
fkfcflive. His language is free, and his verfifica-*
tioh Sowing, but the latter is not always correal, nor
the former chafte ; his fent^iments are lively and par
thetic, but in many places drained, and in more li-
centious. As to his chara£ters, we cannot offer aj
better general criticifm than that of Mr. Addisqi^ ,
who writes in one of the Spediators as follows :

** Thegreateft charaflicrs in Venice Presj^ved
are thofeof rebels and traitors ; had the heroof this>
play difcovered the fame good qualities in defence
of his country, that he (hews for its ruin^and fubver^*
(ion, the audience could not enough pity and admire
him ; but, as he is now reprefentcd, we can only fay
of him, what the Roman hiftorian fays of Catalinc,:
that his fall would have been glorious, >? fro pairia.
fie concidiffet^ had he fo fallen in the fcnrice of his

country.';

Tbc

The DRAMATIC CENSOR. 341

The M in O R.

A CaMEDY by Mr. F o o t e.

j^ HE author of this piece has alwavs been al-
lowed a pleafiAg peculiarity in his ..dramatic wri*
tings ; they evidently difcover that excellent defini-
tion of wit, a quick conception and an eafy deli-
i^ery. The comedy now before us, was ulhered ori-
ginally into public view by a prclufive fccne bc-
:wccn Mr. F<3ote, in his private capacity, and two
bucki(h critics of his acquaintance. In the firil part
of their difcourfe, ibme very fenfible and fpirked re-
marks on thofe objefts moft proper for ridicuk occur.
We may difcover that a charge of too much perfo-
nality in his fatire, led the author into this able de^
fence of bimfclf : it being alfo a ticklifh point, to ex-
pofe even moft egregious and prejudicial enthufiafxn
on the ftage ; he prepared the audience for what
they were to expert, and has in the following paf-
iage, beyond confutation, juftified his deiign \ not
only as free from cenfure, but as worthy national
countenance and applauCe.

Speaking of that burlefque upon religion and
c6mmon fenfe, Methodifm, he fays emphatically :
^' This is madnefs, which argument can never cure;,
and fhould a little wholefome feverity be applied,
perfccution would be the immediate cry : Where
then can we have recourfe, but to the comic mufc ?
perhaps the archncfs and fevctity of her fmile may

redrefs.

342 The DRAMATIC CENSOR.

Minor.

redrefs an evil that the laws cannot reach, or reaton
reclaim."

Sir William Wealthy and his brother Richard,
open the firft aft. A difference of opinion relative
to education, is the fubjed of their converfation ;
the baronet is ledlured with a confiderable (hare of
good fenfe by the merchant, for giving his fon a
falhionable education ; and he judicioufly retorts
upon the cit, thofe prejudices which arife from con-
tradled ideasand adefeftiveknoweldgeof life. From
the latter part of this fcene we find, that one is a li-
beral, the other a rigid father-, that' Sir William
has tenderly laid a fcheme for the reformation of his
fon, while Richard has difcarded a daughter for
fome trifling trefpafs.

Capias, the attorney's letter, is humourouQy cha-
rafteriflic ; and Shift, who is recommended as a pro-
per agent for Sir William's dcfign, gives, in his con-
verfation with that . gentleman, a moft ludicrous ac-
count of his birth, parentage, and education ; the
pifture of his progrefs through life, is in the true
Hogarth fti!e of dramatic painting ; and the ludicrous
account of his own abilities, makes Sir William lay
open his defign for the reformation of his difBpated
heir ; a defign commendably laid ; as fevere feelings
of thofe ill confequences which gaming in particular
produces, arc moft likely to work a change of con-
duft in thoughtlefs youth. Shift's readinefs to en-
ter upon any fervice for his own emolument, and
the defign expreffed in his foliloquy, of (ticking to
the moft profitable party, fulfil the idea furoiflicd
by his name.

The

The DRAMATIC CENSOR. 343

Minor,

The Minor, and one of his gambling friends ap-
pear next. The former difplays elevated notions of
fafliion, elegance and falfe honour ; the latter expref^
ies himfelf happily in a kind of knowing cant.
The intimation of Mrs. Cole's having called, is a
good preparative for her appearance, and fome
poignant ftrokes upon her hypocritical connexion
are thrown out. Sir William entering as the baron
gives a new turn to converfacion, and (hews the foa
in a frefli view of vicious prodigality ; that of tak*
ing an Italian opera-finger into keeping upon molt
extravagant terms, which he deems moderate:
A mod excellent ftroke of keen fatyre occurs from
the Minor's obfervation, that he only knows her to
be a handfome woman by report, againft thofe chil-
dren of faftiionabie profufion, who expend large
fums for unenjoyed fuperfluities. Upon Loader's
going off to condud Mrs. Cole, the young gentle-
man lets fall a remark which we apprehend, many
perfons of diftindlion might juftly apply to them-
felves : " to fay truth, I am fmcerely fick of my ac-
quaintance ; but, however, I have the firft people of
the kingdom to keep me in countenance ; death and
the dice level all diftinftions."

Never was a better pidture drawn of debauched en-
thufiafm, than prefcnts itfclf in the old baud, whofc
whole converfation exhibits a natural, laughable jumble
of afFcfted fanftity and real vice ; the confcientioufnef$
fhe boafts in her infamous profedion, of not tip-
ping Sir Timothy Totter, an old trader, is admi-
rably' fuggefted J and advertifmg in the regiftcr-of-
3 • fice.

344 The DRAMATIC CENSOR.

fice) to* decoy young girls into a ftate of proftitu-
tion, is well levelled againft places where, we doobt
not, moft iinifter |nrafi:ices have been carried on^ to
the ruin of many an unfofpeding fcmidfi ; dm fcene
mud afford real entertainitient to all agei, md con«
fiderabie inftrudicn to the younger pm-t of Mi audi-
ence« upon whom externals frtqpj^ntlf niake preju-
dicial impreflTione. What Sir George fays of the
new birth teachers, well deferves quccaiian : ^* No
wonder thefe preachers have plenty of prbfelylcs^
while they have the addrefe fo comfortably co blend
the hitherto jarring interefts of the two worlds."

At the commencement of the fecond ad):, our
Minor and Transfer, a money-jobber, meet for the
purpofc of raifing fonie cafh for Sir George's pre-
fcnt occafions. In this fcene the ufurer is fuppoi^ted
much in charaAer< the difficulties he rdatcs of meet-
ing any ready money, the expedient he propofes Of
fumifliing fome goods, are in the true ufurious ftrain i
the yoGng baronet's refentmcnt of fuch a ftrange,
and to him unintellrgible propofition, ^ natural ;
and Loader's interpofit ion when Transfer difappears,
plainly manifefts the blood-fucking gambler, who,
having got a pidgcon, determines to unfcather him
at any rate. Upon Transfer's fecond appearance,
the p^recipitation of prodigal youth into any
terms that may fupply its cravings, and the
rapacious advantages tdken of it by avaricious
knavei, are fet forth in a mafterly manner ; Loader
alfo is confpicuous for fo readily giving away what
' Is not his own,

, Richard

The DRAMATIC CENSOR, 345

Richard Wealthy comes to cxpoftulate with his
nephew upon the life be leads, and £^ys fome very
Kttional tbii^gs. His remark upon what are ufaally
; ts^Jed debts pf liofiour^ b pregnant with ufefui truth.
** Here's a piroftitution of words — Honour!-^
'Sdeath^ that a rafcal who has picked your pockety
.iballjuve his crilm^ gilded with the ipoft facred ^t-
ftiflAion^ and his plunder pun^Ually paid^ while the
indttftrious mechanic, who minifte^s to your very
w^ts^ HiaU have his debts Relayed, and his d^mannd
treated 4s infelent/*

The Minoi^ however^ deaf to roafon^ treats his
uncle^s advice with levity^ which occafions the latter
to ftaft afi0ther topic relative to apropofedtxiarriage
with his. daughter ; by the by/ he calls her an only
daughter^ though we find by. the piece he has three,
Lucy« whom he has turned out of his houfe, Char-
lotte^ wfadm be identions in the firft fcen^, and Mar-
gery, named by Sir George in this. This, however,'
IS not a very material flip^ — The young gentleman's
behaviour on mention of the snatch, ihews the taint
he has received of family pride, and the converfacion
. is pieafantly conducted, till the cit roufes into a com*
mendable feeling of the light treatment he has met,
md uttets ibme very hOme truths.

The Baron^i behaviour on bearing a foap- boiler

tnentioned as Sir .George's anceftor, is in the true

: fttle 6f Germanic pride, which is idle and imperti-

iienc enough to value antiquity of defcenc more than

X 'pergonal merit. By Mr. Loader's affiduity to raife

«a(h» we hare Shift introduced as an audione^r,

Vol. I. - y y named

346 The DRAMATIG CENSOR. „

, Minor*

named Smirk, from him we collcft fevcral ftrokcs
of fterling humour ; his relation of the ^cciderit
which occafioned him to fucceed Mr; Prig, is a fund
of mirth, and his debate about what wig to wear hi
his. public capacity, appeals ftrongly to laughter.
There is hot perhapis a greater degree of impofition
than at au£liohs^ efpecially the middle fort, and it is
to be wi(bed, that our author had.enlarged more up*
on the foHy of numbers who frequent fuch pkces,
and the knavery of a great majoricy of fuch as
xonduA them; however, be feems to have aimed
at Httle more than expofinjg the coxabmbly infigni-
ficance of a particular ^ell known perfon.

At the beginning of the third aft, we find^ur
Minor has embarrafled his circumftahces xnoft vio-
lently 5 however, his refleftion is interrupted by Mrs..
* Cole's introduftion of a young female^ as a miftrefs
for Sir George : his firfl: approaches to the Jady fa-
▼our of the rake, but upon her pathetic addrqfs, he
indulges her with patient, generous, humane atten-
tion I {he relates her artlefs, yet affb£ting tale, with
fgch fuccefs, that (he wqrks an intended inftrument
of her rurn into a kind and difinterefte^ proteftor. ;
this fcene not only raifes tender lenfatidns, but alfo
a curiofity in fpeftatofs to know more of Lucy than
fhechufesto difcover ; it gives us mpft amiable
impreffions of Sir George, who appears not to be
vicious for want of virtue, but for want of refieAion
and prudence ; and it ftands an inconteftible proof
that our author's genius, though the parent of foiiles^
can produce natter q( a ferious and importaxit na*

The DRAMATICCENSpR. .347

turc, with a glow of. exprelTioa equal to that which
cloath^ the lighter and more fpirited parts of hia
c^mpoiitions. ^

. S\t Williapi Wealthy and his brother Richard
now appear, fignifying^ that matters are brought to
a cataftrophe ; Shift acquaints them^ that the Minor
has idifcovered Loader and another gamefter in the
a& of jfraud ; upon his words the twQ worthy difci-
pies of cinque and quatre are driverl in with keen
reproaches and deep thrjeat^. Sir Williap is attacked
too as the ^aron by his enraged Ibn, and pious Mrs.
Cole meets as fevere a rebuff in her turn ; conftables
being introd^ced^ Sir William is neceffit^ted to dif-
coyer himfelf i upon being proved his father, the
youDg gentleman acknowledges him With dutiful
afJFedtion ; the gamefters, through Sir William's con-
neftion, (land convifted, and young Wealthy ac-
knowledges himfelf in fault, but pleads a ftrong ar-
gument of exculpation, or rather rcconciliation,which
on his going off Shift explains. To render his ge*
nerous treatment of the young lady more engaging,
a moll beautiful incident drikes us in the difcovery
of her being Mr. Richard Wealthy*s banifhed daugh-
ter, who has been reduced to fuch a perilous ftate by
her father's rigidity : the cit being convicted of, and
repentant for unjuftifiable .behaviour, confents to
make the young couple happy, in a matrimonial
union ; thus the piece agreeably Aides into a ter-
mination, upon the (Iridtefl principles of moral* and
poetical juft ice. ,

Yy 2 The

^348 The DRAMATIC CENSOR.

Mmrs

The Epilogue, by Shift, is an excellent and plca-
farit burlcfquc upon- the ftrained, rhapfodica!, figu-
rative mode of expreffion, adopted by the faints of
Tottenham Court and Moorfields, to fupply the
ptace of that reafon which nature has denied them,
or enjoying, they fupprcfs for venal, impious pur-
pofes.

The author at prefcnt under confideration, among
many other dramatic excellencies, has one not to
be found in the writings of many who enjoy a great
ftiare of public cftimation ; that is, never incum-
bering his audience with make-fhift, explanatory
fcenes : all his perfonages appear to fome pleating
9nd ^(Tential purpofe \ thofe of ten lines fpeaking as
much for the ftation they are placed in, as thofe
who have a hundred or more to repeat 5 there arc
no forced incidents, no laboured fentiments, but a
regular fucceflion of fcenes, a dependent connexion
of events, ajudicious contrail of charafters, a con-
ftant and copious fupply of keen fatire, folid fenfe,
focial benevolence, or pleafant repartee. Above
all, he moft fuccefsfully proves, that the pitiful
refourfe for humour in Charles's days is to-
tally unneceffary, where there is real genius to
emanate fpotaneoufly. Thus much we have thought
due to Mr. Foote ; but as we profefs, neither to
praife nor cenfure without reafon of our fide, let us
examine from the view we have jufl: had of his
Minor, whether he merits fuch approbationor

not.

Th.

The DRAMATIC CENSOR 345

Tht Minor conveys a forceable and extenfive
moral. The two brothers, as parents, fhew that a
kind, patient, prudent father, is nSore likely to work
falutary eSe£ts for his child, than a rigid, impetu-
ous, and pofitive one. From Lucy's happy deli-
verance we may learn^ that pcrfevcring virtue can
difarmvice, and create a protestor when lead ex-
pefted. By Loader we perceive, that a time of
difcovery, jfliame, and punifhment, waits upon the
moil plaufible villainy. And Mrs. Cole difcovers
that hypocrify is at beft a paultry veil, which rather
hides the wearer from felf- perception, than from
Ihe penetrating glance of reafon's eye •, and that en-
thufiafm is parent of vice, making fuppofed fanc-
tity an attonement for the breach of every obliga-
tion human and divine.

Young Wealthy, in point of charafter, is an eafy,
fenfible, well principled, but diffipated gentleman,
capable of difcovering his unworthy attachments,
but not refolute enough to break through them, till
ftung to the quick by the terrifying frown of im-
pending ruin, and an abfolute difcovery of fraud.
When this comedy was done at Drury-Lane, Mr.
Holland reprefented theMinor, but was egregioufly
defcflive in eafe and vivacity. We have feen two
or three others, whofe names we forget, figure
away in it very inadequately. Mr. J. Aickin, laft
fummcr, feemed to convey the author's meaning
with propriety, but wanted an effcntial (howinefs of
pcrfon, and fell rather fliorc in point of fpirit.
* Sir

S50 The DRAMATIC CENSOR.

Minor ,

3ir Williatp^s acting merit, lies entirely in the
Paron affumed, which Mr. Baddely hit off with ^
very maftcrly degree of execution. If Mr. Castle
does not rife up to an equality of merit, he yet dc-
fcrves confiderable approbation^ Richard Wealthy
was never fo well as in the Hands pf Mr. Burton^
who looked ^nd fpoke him very refpcftably.

Lpader, who is, the bcft drawn gamefter W
know, fat eafy upon Mr. Davis, whofe conception
aHid exprelfion, as an ador. Teem beft adapted to the
charai^eriftic jargon of this part ; there is a kind o^
baftard gentility in his deportment, and a becoming
effrontery of countenance to delineate happily a fix*
lo-four gentleman. Mr. Kearny reduced Loader,
laft fummer, to fuch a prick-in-the-belt, Field-lane
Iharper, that the Minor muft be confidered as a
fodl, to be one moment impofed on by fo legible a
knave.

Shift, is a part of extreme difficult execution ; every
line of which, tells from Mr. Footers unequalled
rapidity of cxpreflion. However, Mr. Bannister
has great merit in his firft fcene 5 but when he in-
troduces his happy imitations, we are forry to recoi-
led a paffage in the preluGve fcene, which con-
demns mimicry of performers in very juft terms.
In the Auftioncer, there is a moft laughable peculia-
rity ftruck out by Mr. Foote.

Transfer is a well drawn ufurer ; he was well re-
prefcntcd by Mr. Blakes, much better by Mr.
Weston, excellently well by Mr. Parsons.

Mr.

The DRAMATIC CENSOR; 351

Minor.

Mr. Foote's excellence in the tranfitions and
contraft parts of Mrs._ Cole's character is fp wcll»
fo univerfally known, that we Ihall not attempt to
defcribe) particularly, that merit which we cannot
find words equal to. '

Lucy^i though a fhort charafler, made a mod
delicate and engaging part of the evening's enter-
t^nment, when peribnated by Mifs Fritchard^
afterwards Mrs. Palmer : nor does (he appear the
leaft languid, when reprefented by Mrs. Jeffi^rie^.
, Upon the whole, we apprehend, it cannot be
deemed an error of judgment, or partial favour, to
prdnoun&e this comedy, one of the mo(t entertain-
ing, original, and'ufeful pieces, now in poflefllon of
the ftage.

We have feen, and with concern, the Minor late-
ly advertifed at Drury-Lane in two acts : it is
illiberal to farcify the comedy of a living author, fo
di(lih£tly fituaied as Mr. Foote ; and we hope,
the managers will never again countenance fuch un^
fair theatrical depredation.

%

K IN G

i

352 The DRAMATIC CENsdR*

KING LEAR.

A T R A G E D Y.

Altered from Shakefpe^re, by Tate and Colman^

T. /
HE perfon who eptets upon dramatic altera-
tion, without being a Qave to his origidal, (hould
nearly as poflible, confine hraifelf to pruning luxu-
riancesi corre(5ting irregularity, rationalizing bom-
\ baft, and elucidating obfcurity •> cautious of adding^
■unlefs where unavoidable gaps arc made^ and con-
(neftion confeqiiently wanting; it is moft allowable
chat Shakespeare's Kjng Lear ^ery much
' Wanted fuch afliftance as we have mentioned.
/, ,Tate*s opening of the play We apprehend prefer-
able to that adopted by Colman ; for the JBaftard
makes us much better, that is much more decently
acquainted with his illegitimacy in the fptiloquy
fpokcn by him, than Glofter's account; the antipa-*
thy he bears to Edgar as ftanding before him, is alfo
well intimated, and Lear's charafter is properly o-
})encd in the (Jiort following fcene between Glofter
and Kent, wherein alfo the former expreflcs ftrong
refentmcnt againft his fon'Edgar, and warm attach-
ment to Edmund, by whofe cunning his pafldon is
raifed.

Where Lear divides his kingdom upon the childifk
principle of afking which daughter loves him bed,

COL-

rr

tlw DftAMATIC CENSOR. 55^

CoLilAN has preferved that UQJuftifiablc^ cynical
fougbneist which Shak£3psarb has ftamped upon
Cordelia) in the barren^ churlilh anfwer fhe gives her '
£ither ; this Tatb has confiderably fofteaed, by
S^iog her attachment to Edgar, the caureof fucb
reply : we thinks however, that the whole affair
might have been thrown into a much better lighr^
by making the old monarch divide his kingdom oi)
the marriagfc of his daughters, with thofe perfons he
apprpyed \ Cordelia^s refufing the perfdn of his
choice froni a fecret , inclination elfewhere, would
hayejreicued him from the extreme folly now charge-
abfe^againft hiip, and the fucccfsful daughters mighf
Have made prdfeffions equally flattering from a feem-
ing gratitude, as they now do from af]fe£ted duty ;
Lear's feeing iiito,- and declaring a knowledge of
Cordelia's attachment^ would have furni(hed ftrong
additional reafon for Edgar'^ Eight \ the rough, ho^
neft interpofition of Kent, is a drcumftance extreme^
ly pleating ; in this, as well as many other fcenes of
the play, Tate has enervated the verification, by
endeavouring to give it a fmootherflbw) Where#
fore CoLMAM has (heWn greater judgment and
more modcfty, by only retrenching, not altering
the originaL

We can by no means agree With the laft mcri*
tioned gentleman, that the love epifode* of Edgai?
and Cordelia is fuperfluous or unaffeftingj we muft
rather contend in oppoficion to the frigidity of criti-
cifm, that natural and very pleafing fenfations are
raifed by it, without any invafion upon ihe main df-

\Qh.\. Zx ftrefi

N

r*

~ 1

^ ne D R A M A T I C GBN iS O II.

ftrefs of the piece ; to enter into a minute ddcnce
of this ojMiiion, is not confiftent with our plan, ifC
only advance It for the reader^ confldcration and ar-
bitration, app^ling to audiences, as Mr. Colma^
in hts preface has dbne^ from whofe fceltngs we ima-
gine abundant proofe will rife in favour of what we
thus take upon us to approve.

What Goneri! and Regan fay after Leart depar-
ture, is judicioufly omitted by Tate, as their cha-
rafters are thereby unneceffarily, and too foon laid
open;^ his introducing the BalVard, in colour of
friendlhip to Edgar, is aHb judicious^ and Itts us
well into the fcope of his defign ; the foUowhig
fccne between Glofter and Edmund, however, he
has mutilated.abomihably, by improper omifTionand
pitiful verfifitation^-, the Baftard^sexcellentfoHloquy
he has ftratigely mangled i neverthelcfs, we think,
without lofing any part of the fpirit, Mr. Colman
might have rendered the laft fcntcnce of it more dc»

licate.

We can j:)y no means conceive why Kent*s firft
fpeech, when difguifed, Ihouldhave been curtailed ;
as to the ftiprt preceding fcene between Goneril and
her fteward, we deem it trifling and uqefTential, as
what it relates to needs no fuch preparative, there-
fore, we commend Tate for leaving it out ; but
we muft immediately after cenfure his curtailing
what the original author fo happily penned for Kent
and the King j the introduftory paffagcs to Gone-
ril*s ill treatment of her royal father,, are much bet-
ter

Tlie DRAMATIC CENSOR. 355
|er in ShakbspsarE) than in tither of , the altera-

COM,

As « co|i>parative view renders it impracticable to

t I

trace the ftory in cbe taann^r we have done in other
pieces, it willg, we hope, be deemed allowable to re*
mibd our readers, that after improvidendy partit^
with hi& all, aban^omog bis only dutiful child, apjd
bonaflung his firmeft friend, old Lear now prefents
hia)&lf before his eldeft daughter, who, on mere
pretence of injury, behavea with ungrateful Infii-
lencei here the Idngfs natural impatience is judifia*
bly wrought uoy even to a bitter and pathetic exe-^
cration of his ui^iuciful child : though Tatb had
coofidcrable merit in bis traqfpofidcHi of the hifl
fcene of the firft ^&^ yet we think }Ax. ColuaiH
has &cwa more critical knowie^ge of nature an4
the ftage, by reftpring. fpme pafl^ges which ii^ere q-
mitted, and ^y coqck)di|^g the aA with Lear's curfef
as nothing could be f^id after to any ef&6^»

Atthe begHining of the ieeoRd'ad,wefindttfe
Baftard, with n>oft villainous^ hypocrify^ carrying
on his defign againft £dgar'$ life, which Glofter
ci'eduioui^y. ponies into *, ihis'fcene is mucfi better
in Cot MAN dian Tate, as is the following inter-
view, wher<. Kent fo chara£beri{tically catechifcs Go-
neril's infignificant GentlemanUfher.

The Duke of Corivvall and< his wife Regap appear
next^ UP9^: ^ /^i^^ ^^ Glofter, whofe misfortune in
the fupp^fed,^ unnatural behaviour of his eldeft foq,
they condole, and oSer their authority to punilb the
offender y Regan's laying a ftireis upon his being an

7$zz aflbclate

•^iS

•56 The DRAMATIC CENSOR.

nfibciate with her father's riotous knights, as (hi calls
them, is a good opening of her intended behaviour
'(o the good old king. Mr. Colmak obje£b to
making the daughters entertain a criminal paflion 6x
Edmund, but if we can once fuppofe them capable
of filial ingratitude^ all other vices, as Dr. Yoxtng
emphatically has it, may feem virtues in them ; for
(his reafon, we approve the intimation Tate has
furniftied Regan with, of her prejudice in favour of
Edmund. When Kent and the Gentleman Ulher ap«
pear,CoLMAN has agam judicioufly prefcrvedfcveral
paflages which the laqreat ftrangely flipped over, er
wretchedly metamorphofed : we know not any
fcene written with more fpiric and originality than
(his ; Kent's honeft, fcarcaftical bluntnefs, is finely
Contrafted to the courtly water^fly'^ fuppie nothing-
(ie($) however, decorum is certainty intruded up-
'pn, for fuch language lo he ufed in pretence of
9 joint ruler of the ftate, is unpardqaabfe ; and we
' heartily agree thai Kent deferves fonie punifhment^
^ (mt mtich regret fo farcical an incident as a pair of
moveable ftocks, fo conveniently placed in a-noble<!
iQan^s'caftle, as to be forth coming on the inftant.
'^Kent^s going to fieep in fuch a fituatioh ts ludicrous
^Hb \ we are amazed when alteration was on foot,
f his incident was not changed for one more probiEi*>
^le, and equally conducive to the plot; efpecially
lyhen fiich a change might be made with die gre^ti^
fafe imaginable. We have feen the Genri^maa
yiher make a very pantomimical flroke, by pulli-
^ at Kent when his legs are faft ^ Aich a aianaevj^e ]

cannpl

t

The D R A M A Tl C CENSOR. 35;

- <:annoc fml of caufing laughter, but are fuch viola-

- 4ioDS of the fine feelings fuffcrable ?

In Edgac'^ folitoquy, as altered by Tatb, we find
that he ddes not fly his enetnies, as in Colmav^
from a paltry fear of the danger which hangs over

- kspdribn, but from agenerous, laudable motive of
waiting an opportunity of ferving the woman he
loves, and who has made To great a facrifice on bis
account ; for this purpofe he has refolution to put
on the wretchedeft appearance, and to encounter a
fituation worfe than] death : this places him in a de-
gree of eftimacion with the audience, which other-
wife he could not have obtained.

The ftocks again prefent themfclvesto view,
merely as an objeft of inflammation to the old king,
who being already nettled, fires at the treatment his
meflenger has met, and indeed well he may, not
knowing what perfonal provocation that nleflfenger
had given ; the appearance of Corn wall knd Regan
brings matters to a pathetic and flfrikihg explanati-
on; Shakespeare, in this fcene, has particularly
fummoned the amazing powers of his genius to exerc
them Pelves. The trinfitions of Lear are beautiful ;
from paflion he falls to condefcenfion and tendernefs,
mingled with grief; then flames again, while the two
unnatural hags, as hejuftly calls them, alternatciy
flab a dagger in his aged heart.

Mr. CoLMAN, by flicking clofer to the original
than Tate, has an advantage in this fcene, but Is in
pur apprchenfion unpardonable, for omitting the fol-

i

I -

j

i

i .358 Tiic DRAMATIC CENSORr

^ lowing beautifal thought, fuggeftcd by SnAKfi-
f PE ARE) and iliqs cooiooendably expfdSed by Tate.

The wickd, ¥dien catspar'd with the more wicked
Se^ bemitifid ; and not to be the woift-
Stands in fome rank of praife.

The ohl sian's fecond copdefcenfion in what im-
mediately follows Ibould not hare been neg^ded,
as humanity therefrom feeis a very affeding fenfa*

tion %

NowGoncril

Thou art innocent again~ri) go with thee i
Thy fifty yet does double five and twenty.
And thou art twice her love.

Concluding the a£t with the old king'a e^it, is To
obvioufly rights that we are aftonifhed Shake-
spfARi; fhould have added fo much phlegmatic
jftufF as he has done.

At the beginning of the third z^y we find unhap-
py Lear ihelterlefs, ftruck with phrc^izy,, wandering
through a mod tremendous ftorm, over a blafted
heath ; without friend or confolation but what i^e
finds in old faithful Kent, and the unhinged ftate of
bis mind, which fenders him infenfible of external
injuries, though fevere ; a number of beautiful^ mo-
ral fentiments adorn his diflrai£l;ed ideas, particularly
where he warns concealed guile to tremble at ele-
mentary threatenings, aiad juftly makes his own in-
nocence a fhield againft fear.

As we have inclined to admit Edmund's intrigue
with Goneril and Regan, fo we approve his foliio-
quy, and the complimentary notices he receives from

' thofe

.- «

The DRAMATIC GEN^SdR. ^$y^

thofe ladies J Glofter's conference with htm ton*
cernmg a mode of relief for the did king, we prefer
in Tate ; GordeKiris prettily' introduced, and die
fentimentt^lhe titters rendtf her extremely amiable 5
fo material ah obfeft of the pibt as ffit is, (hbuld not
be left fongiinfeen $ her fiftaldutyis plealibgly dif^
plkyed, and we wilh diat lb meritorious afpeech af
whatfellowi fliould have Been overlooked byTxTE,
when he mi^'have^fe much- improved' the* ^mg
inerrt of ConftlSr, by putting it hr her mouth ; ii
occui^miftefirK^fccnetrf the third afit, as SiwAitfi-
spBARE wrote it, and dif^lays a mofif fanciful pict
fore of Lear^i dbplbraUe fituation ; a few verbal al-
t^atidns^ iitauld fuit it to the purpofe we niention,
md^the introdli£tion of it is recontoended to any la^
dy who performs' Cordelia-- Suppdfc it run thus :

Oh, Glofter, X have heard the poor unhappy king,
/Contending with the fretful elements;
Bidstha wind btow^the earth into the fea.
Or fweQ the curlU waters 'bayre the main^
Tha^ things mi^t change Qr ccafe s tears his white?

hair,
(Which th' impietuous blafts with eyelefs rage
Catch in their fury and make nothing of Jl
Strives Jn his litde world of man, t' outfcortt
The too and fro conflicting wind and rain ;
This inght,wherein the cubdrawn bear would couch;
The lionj and the belly-pinch'd wolf.
Keep their fur dry — ^Uiibonneted he runs^
An^bi4s what will take alh

The preceding fpccch is a poetical gem which
moft undoubtedly Ihould not be loft^ efpecially

when

^6a The DRAMATIC CENSQR,

when it may be perfenred with fo much ptppriety.:
The great defe£t qf Shakespeare's Cordciia i^
that ihe makes too inconfideraUe a figure^ is top
feidom in vieWy and has not matter for a capital ac«-
Creis to difplay extenfivt talents in. Colman h^,
too implicidy maintaiiied this poyjerty of^ chaca^rt,
and even Tate's improvement, falls flioit x)t
wiiat might have been i every alterer of Sh aki^;
SJPEARS fliould remember, there w^ere no feipalf^
performers in his days, and improve according
to the prefent time, fuch parts as neceflity^ not wa^t;
f f genius or knowledge, made him abbreviate. r .

Edmund's villainous deGgn upon, PQrderui. fiUff
up, but cannot blacken thecharader of ^^rnan whp
isiavage enough to premeditate the deathpf Usown
father; and the circumftance is well cpn^^yedcp
raife a tender anxiety in an audience, for the fafety
of fo dutiful and amiable a princefs, whofe pious
affe&ion njakes her determines amidft many perils,
to^feek for and eherilh, that very father who has
treated her with fuch unprovoked fe verity.

I^ear and KeQt again offer themfelves to view %
when it appears, that an interval of calmnefs, a
ray of reafbn breaks in upon the former, who, after
fome very pregnant and affeding remarks upon his
own condition, and the (hocking caufe of iCT—fiHat
ingratitude ; fubmits to the perfuafion of his trufty
follower, ^nd confents to take iheirer in a hovel.
Their appioach to this wretched refuge for diftref-
fed royalty, calls Edgar, in his^ bedlamite garb^and
expreffion upon the ftage« ]^t was a moft n^afterly
3 thought

'T6e foRAMAtlC CfiNSdk. 3«i

Thought of SHAtC£8P£ARE» CO make thb aflTume'ci
fnadman caufe an inflailtarieous return of Lear'^
frenzy : indeed, thi* beautiful diftinftion he has made
i>etween real and afFcftcd riiadnefs^ cannot be fufK-
cicntly admirfed. In $11 Edgar's flights, we rfiay
plainly perceive a laboilred difFUfioh of ideas, a me-
thodical ft raid of images, and a ftudied wildriefsi^
adverting to no particular leading fubjedl j iri the
execution of this; our authoir has beeti simazing-'
]y faccefsful; beyortd imagination liixuriditt; . From
Lear We have not a fyllable but direfts either to the
original caufe of his frenzy, of collaterally alluded
CO it, Amohg many other tnatthlefs beauties \irhich
occur in this fcene. We Cannot find wordai fo exprefii
our feelings of the king's fuppofing that nothing
could deduct tiatUfe to fo wrttthed a ftate ai

* ■

Edgar's, but unkind daughters ; confequehtly that
be, like himfelf, is an unhap^^y father i that fpeecli
which begins, **^ fervihg man prbud of heart/* W6
deem inimitable; as Well as that of Lear,* whichi
folk>ws it/

' The incident of Edgar's feving CoMcIl^ frofn
the Baftard's ruffians, is not only as we think, d^-
fencible, but worthy of pfaife ^s a happy thoughr<*
and w^ll calcu'laited for adion -, as is the princefs'rf
cordial attd becominfg depbrtmcftt to htr exiled de-
liverer, when he makes Mmfelf Knov^ri. This fcen'tf
ivtt hsLS^ and ever Will have, except upon unfeeling,
ftoical fcriticifm^ a Vei'y engaging efFcft ; it ehriChe^
and recommends both the charaftcrs fo much, that
We muft prpnoufntc Mr; Golman's otyediCto to ir#
Vol. f. A a ^ fis

•^n'l

36a Tbc DRAMATIC .CEN§ajR.

as the whimfical ofF$pring of judgpti^nt tQO iquc^m^
iflily chaftc ; efpeciatly where, m his preface, im
fneers at Cordelia's embracing the ragged Edgar.
We are forry for that g^tl^man's notions of
love and gratitude, if he thinks jthey are confined ^o
externals : If the princefs, through faUe deltcacyf
had fliunned Edgar, merely on acQCH^Qt of his miean
attire, Ihe muft appear unworthy th^ regard of hilPs
pr any other worthy i^an. Th^ matter appesyrs IQ
us in ;fo fair a point of vieW) di;^t WJ^ ^re tK)ld tp fii}t)
if Sh AicE^p^ ARE,, that cQii)pttept and Ufewr^l jiidge
of human nature, was alive, he wc^d conli^ci' tb|9
addition ^ an prnanient alfo< Critics juppn the
drama, ihquld ^ot only have.goqd heads». Iwt fi^\*
ing hearts ^ if either requifite i$ wanting, w$ (ho\^4
chufe to fpare the former, ^pd try nsit*:e at bei Qwa
bsar, without Ariftotelian kgiflatiqa.

Wc heartify wi(h that the injigmfic^Ol:, cm A
oflFenfive fcene^ where Glofter's eyes ari5 put^iit,
bad been left tp njirr^tiqn ; t}ie Ai^geft of it, wfeik
in adion, is fhocking, and Corhwairs fcufflc with
his domcftic, ludicroqs j both circumftahcts wm\d
have approached well in dcfcriptioo, and fo the
ftage would have l?cen favcd from very ynbecom.ing
tranfaftions : however, both the altcrer$, through a
reverence even for.SHAKEspEARE*sb)cmifhe$,orw^
of invention, have prefer ved what we thu$o)bi^ to.^

We are not much pleafed wi||i Tat^^s firft
fcene of the fourth ad, where the Baftard an4
Regan are produced for jio purpofe, but for her 10
give him a pidurftr ^nd for him to drop a note be

TbiiDRAMATIC CENSOR. s^j

Jias received from Goncril, wliich latter proves a
inottve of jealoufy. Mr. Colm an's attaching him-
"^f to thex>riginal,'and beginning with Edgar's To-
Jiloqiiy, is commendable. Gbfter's contrition for
the harih ufage of his dutiful fon^ and Edgar's
pious concern for bis father^s fitu^tioh, afe-pleaiing^
ly exprefled : it is aftonifhing that what follows
(faould be negleftcd by one altercr, and fo man-
gled by the other ; it is addreflfed by Glofter to
Edgar, and is the conclufive part of a fpeech, the
be^nning of which is retained by Col man*

HeavVs deal fo ftiH,
Let the fuperflucus and luft-dified maft.
That Ihives your ordinance, that wiH not fee
Becaufe he does not feel i feel your power quickly :
So diftributlon fhall undo fuccefsj /

And each man have enough.

Tate's introduftion of Cordelia, with Kent (till in
feaq^ of her father, is pleafingly imagined ; what
paffes between them and poor, dark Gloceftcr, de-
ferves approbation ; and the mention of a popular
rifing in favour of the old king is well thrown in.
Goneril's fucceeding interview with her ftcward and
th^ duke of Albany her hufband, is much more ex-
plicit and fatisfadory in Colman's than Tate's ; it
gives like wife more time for Edgar to change his
frantic habiliments into thofe of a peafant.

In the next fcenc, . the defcription of Dover cliff
engages and gratifies tafte abundantly ; though
making Glofter fancy he has falleh down fuch a pre-
cipice, is a bold, it is no unnatural ftretch of imagi-' .
natiQPi where a mind is agonized like his by a com-

A a a z bination

SH The DRAMATIC censor;

^ination of painful and difl:ra£ting events, and
|iiri(he$ to put a period to woe by terminating exift-r
pnce ; fplenatic perfons we^ know, by 4 multitude of
inftances, conceire and credit as great adfurdities s
and .why the mere matter of falling on the ftage
(hould be laughable we know not. Of this we are
pertain, that a Glofter, otherwife refpedable, would
never occafion even a critical fmile ; but Mr. CoLr
MAN judges, perhaps, from fome inftances at Go-
vent-Garden •, and if thefe influenced him, he would
have been prudent in cutting out three fpurths of
the part: befides, as the matter appears in his alte*
nation, Glofter ftands within a foot df the extreme
verge of the cliff, yet ijpon hearing the king, whom
be knows to be ma^, he never mentions fafcr foot-
ipg* P^^ ^^^^ ^^^^ mentions the refolution of end-
ing his lif? in fuch a manner. Now, in the origi-
nal and Tate, there is a very good reafon for no^
continuing fuch a determination ; fuppofing him-
fclf preferved >y a providential interpofition, he
refolves to bear his af^iftions with a becoming re-
fignation. If this incident was lefs defenfible iq
point of probability, it gives fo fine a warnrng
agair^ft the worft pf crimes^ fuicide, and inculcates
fo ufefui, fo moral a leffon of bearing up under
temporal affliftion, that we cannot entertain any
^oubt of the propriety in retaining it.

Lear's ma^nefs is finely, though npt quite fo

charafteriftically fupported in this fcene as in the third

aft. Though women have been the caufe of his

wretchednefs, we wifh what he fays of them in the

' ^ccj^

The DRAMATIC CENSOR. 3%

fsngJLear*

fpccch that begins in both, the alterations: ^ Be«
hold yon fimpcring dame/* had been totally omitted^
it is, indeed, confiderably foftwied from Shake-
speare, but as rjifing fulfome ideas is its only
tendency, we wifli it ftrucjc entirely our.

The encounter between Edgar and Gonerirs gen-
tleman-uffier, we by no means like, it brings^n un-
fiecefTary death upon the ftage^ (he lady's attach-
ment to Edmynd, and murderous dcfigns upon her
l)u(l)and, might have been difcoyere(} jn a much
more fuitable ipanner,

. po];,MAfi's beginning the fifth a A with I,ear
upon his couch, is certainly better than making {(
end the fourth, as Tate has done : however, the
Icene is very much indebted to that gentkman for
tljf merit we fiqd in it ; nor dp we remepfiber pne
of more affefiing nature upon the fingle fepling of
pity, Mr* Colman certainly did right to adppt it;
we deem him alfo commendable fqr omitting the
ihort ip^erview between Gonerjl and an- a^t? nd^nt,
lyhere Ihe mentions the dcfigjn of poifoping hpr ri-
val fitter.

By the B^ft^rd's foliloquy, we find \\\m in frefli
deGgns of villaii*.y 5 we do not fee why Gloftcr
Oiou\d be brought in meerly for Edgar tq leav^ him
teneath a tree •, ho weverTAx e has given him a refpeft-
^blc fpeecb, which Cowman, fpr what reafpn wc can-
not tell, has curtailed ; eighteen lines furqifh a (>et*
ter paufe for the fkirmifti that is fuppofed than
(even ; efpecially when they are fuited to the cir-
fDmftances.

The

§iS The D R A M A T C G E IN^b %

The turn of Kirtg Lear's being dtfeated is ehea-
frically coneeivtdf ; from this point the ahtreri go
pretty near hand in Asnd tbgeiher to the catafffopihe ;
Wherefore, we Ihall no^ only trace the foHowfng
fcenes in their fuccclfion, as Tate has ranged thenfi :
^hen Edgar difguifed has given a challenge to his
brother Edmund, we are prefentcd \irith Lear, Kent,
and Cordelia in prilbn, where a Happy ftroke occurs
in the king's being overpowered at the difcovcfy of
Kent's being his trufty Caiui ; though this* ftene is
not very ftriking, it ftill commands attention.

The encounter between the two brothers is very
fpirited, and making Edgaf the fbccefsful inftruttienC
of Edmund's pUnifhmcnt, i^ a pleafing rnftance of
poetical juftice ; we could have wifhed the ladies
abfent, for their contention abou't the Baftard, is ra!-
tber laughable, diis Colmau has prudently avotded.
' Lear, in prifon, attended by his faithful datughteri
^gain calls Upon our feelings ; the attempt to aflaf-
linate him alathis human appf eh^nlSon, ' and the
hzppy effeA of his defperation, raifes a degree of fa-
tisfadlory aftonilhment.

Edgar's approach with Albany confirms the royal
prifoners fafetyj and different evel^Js fall in very na-
turally -, we muft not only give Tate great praife
for bringing about a happy cataftrophe, by probable
circuniftances •, but, in point of juftice endeavour to
prove, that his diftnbution 6f the charafterfe U much
better than that in the original, or that In Mr. Cot-

mu*i fuppofcd amendment of the alteratioii.

That

ThcpRAMATIC CENSPR. j^y

K^ liar.

That Lear, a? a ram and rigid father dcfcryes pe-
nifecnent is very obviou$, this i? Sufficiently iofl^/?di
by bis madn^s, therefore favin^ his. iife was u^*^
doubtedly juft ; Qlofter comes under the fame prp-
4iqiment of blame, for purfuing even the life of an
innoceiit fon *, thp ungrateful dapgh^r^ d^i^rve the
ijgojLir f>( jufticc, and could not f^l more prop^rjiy
than by the barbarity of each other ; and the Baftard
loles his life mpft rigbteoufly, by the Jhand of liis in-
jured brother •, Cordelia's piety merits the higheft
reward of temporal happinefs, which Tatb has gi-
yen l?/^r, by a connexion with the man of b^r heart i
the becoming a queqn, tl^rpygh France's g?neroi»
behaviour, as we dp not bear pf any previous ^t-
tachmefit in his favour, capnot be d^^ed (b dc;lica|De
pr adequate a compenfation for her virtues, as he-^
ftowing her on Erdgar, who is thereby alfo rwoffi^
penfed in a peculiar manner.for both the love ^d
loyalty be has ipanifpfted ; the old king's cppfent^
with Qloft^r's ^nd Kent's hearty bleffing, ftied a
briUioAce on Tat£'$ U& fcene, bigJiIy pleaitng to
every good and tender mind ; it adds great force to
the old king's reftoratipn, ^and furnifhes, to our ap-
prebenlion, as fatisfa^ory and cprnpleat a catadrophe
as pny in the whole (cope of dramatic cohfipofHian. -

We perfcftly join in opinion, that Lear ihould
fpeak lad, but think. Mr. Coi.man: might have a«.'
voided the trouble of patching up a coocluding
ipcecb, when that we find in Tate, preceding £d*
gar's, is fufficient without any alteration or addition j
it 11 matter of no little furprize, that the folicifm of

bringing

3^8 The DRAM At IC CENSOS.

King Lekfi-

bringing Cordelia to view, as queei) of France, with-
mxc any mention of her royal cpnfort, or any accent
dance equal to her ftation^ (hould not have ftruckf
Mr. CoLMAN*s critical obfervatiort*

Upon the whde, we muft remark, that ih refpeft
of the two alterations, Tate had no guide but his
Awn judgment, which, though very fallible in Trrnxf
places, has yet operated fuccefsfully upon the whole ^
Mr. CoLMAN had his labours, as well as the origi-
sal to work upons and has (hewed great modcfty iii
avoiding additions, confiderable merit in reftorin^
fb much of Shakespeare, but has certainly weak-
ened the piece, both for adion and perufal, by re-
jcding fo juftifiable, pleafing, fiatui^l anrf relative
an epifode, as the loves of Edgar and Cordelia \M
the credit of Shakespeare, Tate, Colmak, and
advantage of the ftage, we wifli an able cridc, lUti
Gari^ick, for inftance, would undertake a ibtrid"
leration upon medium principles, betweenf the lad^
tudeof Tate, and the circumfcription of Colmast;

King Lear's chara6ler, as a man, we know na^
thing of, except from theconcife pifture of his beings
choleric and raih $ there are no opporctmities of
difplaying either virtues or vices ; the impetuofity
of his temper firft makes him a very culpable f*^
iher^ and afterwards, mingled with pride, tuns him
intodiftra^tion ; the unnatural cruelty of his daugh?^
ters, renders him an objcft of pity, and Shake-
»fiARE\s If refiftable genius has drawn him a charaft'^
cr of admiration.

The DRAMATIC CENSOR. 36^

MSftg teat* < . ^

To enter upon the Vcprefcfltatron of this odd and
Solent old monarchy is a daring flight of theatrical
refblotioh ; a wide and various complication of re-
€]xrifites,are elTential to placing him in a proper and
firiking point of view ; efpeciallf an imaginatiotl
paffeflcd of the feme fine fi^cnzy which ^rft drcW
litm into Ifght ; his fttoations, fentinAents, and lan-
guage being pecaKar, fo muft his tones, looks and
gdflares be, mechanical aflirig, whidi may pafs a-
gf eeablf enough in other fmsdler creations of th^
br^, miiH kere flatten ideatda very palling degree.
Come forth the mait whom nature has happily
ibrmed' to animate with unrivalled excellence this
Iiermioft farrourite theatrical produ^on-^GAniticic
' come forth I fcarlcfs of fevcrcft critidfm j we, who
have fingolarly and repeatedly felt the mofl: mdc-
fetibaMe fenfations from this gentleman^s perform-
anee of King Lear, are obliged to confefs, that had
he pleafed us leis, we fhould have been able to fay
mwc ; there is a tranfcendant degree of merit which
checks the boldeft flight of pralfe, and here moft
certainly wehave' encountered it ; butthenibre dan-
ger the more honour — therefore, we ruffi featlefs a-
mtdftan^ abundance of beauties, hoping we (hallfe-
k&j w'iriiifome Judgment, though fatisfadion is be^
wiWcred with variety.

It muft be remembered, that Lear is a monarch
who, amidfl: the infirmities cf age, has all the pride
of royalty about him, and confequcntly aims at fup-
porting external dignity, as far as the decline of
ftrength will admit ; this natural ftruggle betweeA
Vol. L B b b vanity.

I

370 The DRAMATIC CENSOR.

King Leaf $

vanity, and debilitation, is as happily difplayed as
poflfible, in the confcquential feeblenefs of Mr. Gau-
rick's deportments \ ftrength and a£tiyity.of fpiric
are by him moft. judicioufly united to nervelefs
limbs \ in the fudden ilarts of paflion^ you perceive
the quick flow of blood giving momentary firmnefs
to his finews>which paflingofF^ an increa(e of languor
fucceeds ; in his execration of Goneril, at the end
of the firft a£t, his face difplays fuch a combination
of painful,enraged feelings, as fcarce any countenance
but his own CQuld defcribe, though fo happily piftur-
cd that the dulled mind mud conceive and feel.

In the fecond a<5l, where he parlies between Gone-
ril and Regan, who alternately reje<3: him» rage and
tcndcrnefs^ fupprefled fury and afFcdiongte conde-
fcenfion, are mingled happily till the conclufive
fpeech, where his breaks. of vcttce, and variation of
features, furpafs the fined conception that has noc
been impreffed by him, and leave thofc who have
feen him without words to defcribe.

At the beginning of the third aft, we plainly per-
ceive the elementary conSid re-imaged jn his di-
drawled looks, while the eyes are alfpfeaded by a
fuccedlon of expreffive, driking attitudes ; but a pe-
culiar beauty is, the unparalled force with; which he
fpeaks, ^' Have his daughters brought him. to thi$
paffi ;'' and many other fimilar pafiages, which pafs
almod unnoticed from the mouth of every other
Lear we have leen : in Ihort, through the whole of
the madnefs^ he cuu competition fhort by mod evi-
dent fupcriority. Through the fifth ^aft, efpecially

in

The DRAMATIC CENSOR. 371

King Lear. ,

, in the couch and prifon fcenes, his critical judgment,
and happy powers, iinitedly exert themfclvcs witH
equal, though not fuch unparallelled fucccfs ; howe*
ver, where he fays, " Pray do not liiockme, &c.'*to
Cordelia, and •* Did I riot fellow ?'* after demo-
lilhing the ruffians, we conceive his merit to reach
beyond all expeftation *, after thefe faint outlines of
excellence, fo ftrongly felt by the heart, and fo fully
approved by the head, permit us, reader, to prophe-
cy, that as no man will ever draw a charader of
more importance and variety than Shakespeare's
Lear, fo we apprehend no perfon will ever fhew a
more powerful, correft, affcding,' original, and
cliafte piece of afting than Mr. Garrick^s perform*
ance of him Tias done.

Mr. Barry, with a conimendable degree of
ambition, entered the lifts of <:ompetitiori, as we
think, fixteen or eighteen years ago, and met with
an extenlive fliare of deferved applaufe ; like a
plaufible, fliowy piece of painting, with fine tints,
and a few mafterly touchcfi of the pencil, he entirely
gratified fotne judgments, and for a while captivated
thofe of more penetration 5 but, to carry on the a!*
luGon, when harmony of parts, and ftri^t propriety
of expreffion were minutely fought after, the piece
loft great part of its efFeft, and funk in value ; in
(hort, this performer, to whom nature was prodi-
gally kind, in many reqiiifites, wanted what his
great competitor eminently poffeffed ; we mean ori-
ginal perception ; his ading, efpecially in Lear,
was too dependent upon inftrudtion, and prefented

. Bbba ilfelf

^

372 The DRAMATIC CENSOR.

itfelf the offspring of a hundred different critical opi-
nions jumbled ; it was very evident he felt more
ihe ideas of his initruAing friends, than what the au*
thor furnifhed him to fay ; however, it is but jufiice
to allow that be availed himfelf happily of friendly «
intimation^ and was, in m^ny parts of the firft, k^
cbnd and fifth ads, truly (Irikihg ; nay, through
the whole, he ffood in high vtfpc&y unlels whcA
compared with much more capital merit.

We cannot help fmiling to hear the fanguine ad«,
miters of Mr. Powell, for many that e:u:ellen<
young aflor had juftly gained, fay, that he was
mar as great as Mr. Garrick ; one at fir(t would
fuppofe the expreflion ironical fatire, but, as we be* %
lieve fome had perfuaded themfelves to believe ]| ^\
really was fo, it becomes our duty, from the moft
impartial, ^d we hope liberal difTedion of merits to.
iay, that his deferving funk amas^ipgly from a criti*
cal comparifon i his dejportment wa$ abominable,
not a trace of majefty in it ; his tranfitions in the
violent parts, wanted efiential volubility, and mofi:
of his attitudes were injudicioufly difpofed ^ in - the.
tender flrokes and feeblenefs of expreOion^ efpecially
' thofe which occur in the firft fcene of (he fifth a^
he was excellent ; but, if moft part of the third and -
fourth afts had been omitted when he perfor^med the .
charadler, it would not havediminilhed fatisfadioo ; -
we alk>w him more nature, but UU expreflion shan
Mr. Barry^ but place him far far beneath Mr.
Garrick in both.

The DRAMATIC CENSOR, 373

Mr, R06S cxhiWti liis ufual and difguftful inequa-
lity wmarkaWy in thh pait -, one foenc ddcrvinj
f^ppn^bitjofit the next comeoipt ; in ihorc, we djxm
it coo pQoderous a weight for his abilides tm fuftaia
vfhh juft $raCc; Mr. Dsqg£S, whom we have fomcr
iKrhere mcnttoned, did Ibme fcenes of Lear, the mad-
nefs in particular, great juftice, but was rather te«
dtoiil and unaffe&ing upon the whole ; we have
beard* but hope it is not true, that the poor old mo-
murch has fu£&red theatrical aflaffination from the re«
knckfs iattempts of Meflrs. Quin and Mossop, who,
we are confident, mufi: have tortured every fy liable
of him.

Edgar, asdrawn by Tate, is an amiable and in«
ttrefiifig diara£ter, dutiful to his father, unfufpeft-
ing to his hafe brother, oonftant in love, ftedfa^ in
loyalty, reiblute in danger ; Mefirs. Ryan and Ha-
VAED fupported this charader vfitk great abilities,
and With fuch parallel merit, that we hardly know
how to grant a preference, yet are rather inelincd to
the former, las throwing more wildncfs of expreflion,
and extravagance of a^ion into the afTumed mad-
nefs : Mr. Smith and Mr. ReddisiI (particularly
the latter) give confiderable pleafure at prefent, and,
we think, upon juft principles; the former, howe-
ver, is injured as a performer by Mr. Colman's pal-
pable mutilation of the part, in his alteration.

GlofVerisa charaftcr of no confpicuous qualities ;

theBaftard juftly calls him credulous, and we are

willing to confidcr him as a weak, honefl: man ; up-^

^ on the ftage Mr. Sparks made him extremely re-

fpcdablc

-*1

4

374 The DRAMATIC CENSOfe.

; King Lear,

fpcftablc, aftd Mr. Berry was not far behind s at
prefent — oh heav'ns ! — he is in tl>e feeble hands of
Mr. Burton at Drury Lane, and incumbers the
tottering abilities of Mr. Gibson at Covent Garden.
Do kind, condefcending managers, relieve thefe o-
verburthened gentlemen, by putting Mr. Hull and
Mr. Bannister in their places.

Kent we admire as a worthy, undifguifed, uniform
miracle of a courtier ; bold enough to fpeak truth,
where fiie feldom comes, in the prefence of a king,
and honeft enough to follow that king's fortunes
when deprived not only of his power. But even the
common comfort^ of life ; the character is 6nely
imagined, and happily introduced ; we don't re-
member, nor indeed don't deflre to fee it better fuf-
tained than by Mr. Clarke, who hits off the cyni*
cal roughnefs well, and yet preferves the gentleman s
Mr. Bransbv muft excufe us, if we fay, he lather
puts us in mind of a reduced life-guard-man, than a
difguifed peer.

TheBaftard is a complicated villain of thexlecpeft
die, performed with fome degree of merit by the late
Mr. Palmer, who had, however, too rriuch levity
of figure and deportment in him ; the prefent Mr.
Palmer's appearance is much better, and his a&ing
as well ; Mr. Bemsley's idea of Edmund is juft»
and his expreflion adequate ; nor was Mr. ClarkB
any way deficient in the reprefentation of hino.

The Gentleman Uflier was formerly exhibited
with a fund of exquifite whim by Mr. Wood-
ward, and is pleafantly enoygh fituated with

Mcffrs.

, TheDRA,MATIC CENSOR, 375

Meflrs. Dyer and Dodd ; but fct forth by Mr*
CusHiNGy he is the exaft typeof ** Coming up, fir,
«— Gentlemen, did you call— —

Gonerii and Regan are charaders infamoufly
black, but not as Dr. Warton feems to doubt im-
poffible or even' improbable ; for we have too many
originals of filial ingratitude in real life, to verify
fuch mimic reprefentations of it, Shakespeare^s
ftrong painting, and placing the circumftances in the
firft Iphere of life, may make the matter from appa-
rent exaggeration dubitable ; but human tranfadtons
prove, in this point, as well as many others, what be-
nevolent feelings reludantly admit, and with great
difficulty conceive.

In the light of female monders, which undoubted-
ly they appear, it would be a coarfe compliment to
fay any ladies looked or played them thoroughly in
chara(9:er ; therefore, we fliall not criticife any who
have appeared in the two elder Gflers ; what they
uttered has come no doubt againft original feeling,
and it would be rather cruel to try their merit in fuch
difagreeable undertakings ; poffibly no two were
ever more unlike the barbarity they reprefent than
Mrs. Stephens and Mrs. W. Barry, nor any two
more agreeable to the audience, under fuch ungraci-
ous circumftances : ungratefully cruel to a benevo-
lent father, faithlcfs to their hufbands, and vindidive.
to each other ; all reprcfentation muft fall (hbrt of
what the author apparently defigned ; and indeed
we are glad that what muft (hock nature in the faint-
eft view, cannot come forth with the addition of

richer

37« The DRAMATIC CENSOR,

ficber eoloiiring ; we alfo tbkik, that fuch pfl^fl»re9
•f the houuB %>eciei» as f epreient a eomplicanoB <^
vices, without one gleam of vimie, flio«kl be feldow
fiiewn to the public.

Cordelia is finely c^^pofed to her fifters, and (htms
with double hiftre imm their darknels ; dutiful un«
dcr (cvere provocation to the contrary ; firm and
difinterefied in her attachment to Edgar ; there is
nothing extraordinary of ading merit in Tate's,
and much tefstn CoLMAN^s ; in compliment toljear,
flie is generally ^ven to the firft adrefs, whether fit
for her or no ; dcHcacy of figure, and tendetnefs of
expreffion, are all the requifites which fcem neceflary
for her ; Mrs. Cibber was no doubt very pleafidg,
but during our remembrance too much of the wo-
man ; as Mrs. Yates is at prefcnt, with tlie unfuf-
ferable addition of an imperious, uncharafteriftic af-
pe£t : Mi^. Bellamy looked the part amiably ,but
tuned the words moft monotonoufly : MrSr Far-
RY fpeaks and feels it extremely well, but rather
outfigures it ; and we apprehend that very deferv-
ing young aftrefs, Mrs. Bulkeley — why is fhe fo
negleded by the managers ? — would render Corde-
lia nK>re agreeable than any other lady now on the
ftage.

This tragedy, in its original Hate, exhibits a beau-
tiful colledion of poetical fiowers, choaked up with
a profufion of weeds, the unretrenched .produce of
luxuriant fertility ; and it was*^ an undertaking of
great merit to root up^ the latter, without injuring
the former ; how far Tate, the firfl: idventurer,

and

The DRAMATIC CENSOR. 377

^iitg Lear* '■

and CoLMAN, his fupervifor, have fucceedcd, we
hope the reader m^y collect from our atiimadverfipns.

The language of King Lear is of mixed nature^
verfe and profe 5 where the former occurs^ we find
it bold, nervous, figurative, and^ with fome few
exceptions, flowing ; the latter is compafl, preg*»
pant ^d fpirited \ the charaAers are various, an4
moilly very interefting, well grouped to ihcw each
Other; tbeplpt is rather disjointed, and the fcenes
frequently intrude upon the unities of time an(}
pUce ; but tl^e cataftropbe, fo happily conceived by
Tat£, atones for all the unreformed irregularities ^
^d, we may venture to f^y, that from his band^
the public have received a drami^tic piece^ which ap^
peals fo powerfully to the pillions, that when per-^
formed with fuicable abilities, it proves rather a dc'^
^ree of painful pljeafure, and ihrinki nature back
upon herfclf*

In the ciofet it muft fMrnifh particular gratifica^
tion to critical judgment, but will always be caviare
to the generality of readers.

VolJ. Ccc man

3j;8 The DRAMATIC CENSOR.

MAN AND W I F E.

A Comedy by Mr, Colman.

Jl H E comedy we are juft entering upon, is in-
troduced like Mr. Footers Minor, by a pre-
lude ; but has bad a manifefl: advantage of this in
the propriety and force of aftion, by the author*^
viva voce appearance to reprefent himfeif ; befides,
it will appear, by compirifon, that there was not
only much more occafion for the one than the
other, but a far greater fliare of executive power alfo
manifefted ; we fhali not draw a parallel, as every
reader may do that at pleafure by turning a few
leaves back.

* Jenkins and,Townly, the one a partridge-lhooter,
as he fays himfeif, the other any thing you pleafc,
Commence Mr. Colman*s prelude with reading
the bill of the play, which occafions one to alk, and
the other to hint who the. author is ; whet> immcr
diately the bard appears cloathed in. mourning 5 ob-
vioufly to excite two fenfations, extremely confo-
nant to comedy -, grief for a deceafed friend, and
pity for the author's ticklifti fituation. However
melancholy this fable figure made us when iirft ex-
hibited, we cannot help fmiling at the idea of in-
troducing mirthful fcenes with fo melancholy an
objed ; fomewhat fimilar to a hearfe preceding the
lord mayor's Ihew.

tfie DR AM AT I C C E NS O ft. 379

Han and Wife*

But what is the purport of Nfr. Dapper wit and
friend's converfation : firft, a facetious ftroke upon
Mn Colman's fingular gdod fortune in having
annuities repeatedly bequeathed him ; fecond, an
unnecefiary intimation of the lofs fuftained in Mr«
Powell, Which the audience well knew without
being fb informed of the matter ; third, a promife^
which has not yet been fulfiHed, of diligently im-
ja^oving public entertainment j fourth, a pitiful
conipliment to public good-nature ; fifth, a moft
extraordinary defence of Mr. Garrick's Ode,
and a laborious, unintelligible affimilation of Mc.
Fq6te*s fatirical wit to Fuller^* earth, whrcih we
can reconcile no otherwife than in the following
round-about matter. Gay fays, " Gold is the
true Fuller's earth to take out every fpot aAd ftain •,''
now as .Mr. Foote's wit is univerfally allowed
fierling^hk brother manager catchcd the idea^ per-
haps, from thence.

. The managerical parley founded in this exquifite
fcene to fwceten Mr. Garrick for anticipating his
pageant, was very juftly compared by a wag to the
carefies of a proilitute, who, while ffae embraces
her gallant, picks his pockets. ' As Mr. Colman is
deemed, and indeed has proved himfelf a claflfical
writer in general, we wonder how the following Hi-
bernicifm, among fome other flips, could efcape his
pen : Dapperwitfpeakingof the pageant and mafque-
rade, fays, ** Thbfe you fhall fee Sir, and perhaps
they may appear to more advantage, and be feen
with more fatisfaftion at the Theatres- Royal than

C c c 2 Stratford

#8o The DRAMATIC CENSORS

Strttford itself;** What liberal elegance ot pbrale-

Ology ! ITSELF*

Ha<riDg ikretched this prelude, which by. fiO
means incurs the cenfure of being too witty % we
are confident enou^ to pronounce the favouraUe
reception it met, zs an aln^oft unpar^teled proof of
critical koity : indeed, it content fuch petitioning
foppUcation, that mercy could not refufe her ftnilet^
however impardal underftanditig was obliged to
frown. As to the performance of Meflieors VLxpll^
Pvfik and Waoi^GHtON bore up a dead weight of
infipidity ^reeable enough.

The firft (cene of Man and Wifi, opefns in ^
public houfe, full of that buftle and confufion which
an oyierflow of company bccafions : ih gouty Land^
Ibrd hobbles about, exert'mg his lungs though ho can«
bot make much ufe of his feet ; Luke the wattftr^s di^
redions to his fubftitutes, and naming the rbom^
after Shakespeare's plays, are pleafant enou^i
the introduAioii bf Buck, and hii converfadon ^ith
the waiter, have nature and fpirit; Snarl feems in*
troduced for nothing but to complmn of his bed |
mention of the little army that walked o^er him, is
not ftridly delicate. After the departure of theft
three, fre(h hurry is occafioned by the arrival of the
Birmingham coach, which, as we are informed, htt
b^n overturned ; from (his mcident fome humour*
ous remarks arife, efpecially thofe made by the foL^
faring pafTengpr, whofe idea of flying, as it is called^
Cbnveys a wbimfical effedt. Indeed, all the paflTen*'

Z gcr^

The DRAMATIC CENSOR. 3B1

gerst chough Oiort^ 9tt well fupported^ ^iid the
JLandlady'js account of the jobike is very laughable.

We da HOC much approve the ftage c^)acbti}dnt
iv^ho is drawn a civil creatute, contrary to the welU
known behaviour of fuch gentry : his haflening thfe
pafiengers (ho^ld have been in a more peremptory^
ftiie s when the other paflengers are gone, we perceive
colonel Frankly remaining; who, op being, told
the coacb is fetcing oflF) d^laf%s he ^11 go iiofut«-
ther : from his fpHloquy we colki^i that a Idve^
pSair has brought him to Stratford, and tha€ fait
Aiiftrefi has reached it the day before^

Marcourti a co)icdmb of the current year, and
irival to Frankly, now enters in thbtip of the riding
mode t hia l^idOgue ia pleafaAt, fpirited and fatiri^
joali but we apprehend hii iritimate mention of
JPeers^ with a very flight alteration, is borrowed
from Ck)dio in the Fop's Fortune ; the common
afiedlation of riding, though fcarce out of the
ftreets \ the journal of vifiting on horfeback} the
farcaftkral ftrokes againft enormous club-wigs^ LHli^
.putian hats, and fomd other peculiarities of the
reignihg fillhion are humourduHy conceived and
adequately expre&d. The foliowiAg ftroke met
with particular applaufe, and in a great meafure de^
ferved it, where Frankly fays, " Do you intend to
ihew yourfelf as one of the Cbaradefs cf SHAKa^-
SPEARE." Marcourt replies, «' No faith j fuch an
original did not exift in his days." We agree with
our author, that perhaps an exadt fimilitude cannot
be traced 5 but are not Dftrick, Lucio, &c. Mar-
court's

SU The DRAMATIC CENSOR.

figned mifinterpretacipn ; one finds fault with every
article, and the other vindicates the whole ; nil Crofs
at length repents coming toStratford, vrhich he juft'-
]y calls a ridiculous journey ; but the lady maintains
warmly her tafte for fa(hion and confequenee, which
draws from her hufband a ftroke of well applied^
ufcful fatire, ^* Becaufe a countefs, who has a room
as long as Pall Mall, gets the whole town together
at her route, you muft have a route too, and fqueeze
all your company into two clofets and a cupboard-—
nay, laft winter^ when the town run mafque-
rade mad^ you got a ridiculous party of fops and
flirts to make fools of themfelves, and called it a maf-
querade.'*

Several other obfervatlons occur previous to men-
tion of their daughter's marriage i upon which, a
frefb and material difference of opinion arifes, which
the author has thrown into well adapted dialogue,
which at laft riJTes into a date of natural, well-de-
feribed aggravation, which Kitchop's Approach op-
portunely checks a little ; immediately after, a mef-
fage intimates, that Marcotirt is come to wait on
Mr6» Crofs, this draws her off the ftage, and leaves
the two gentleman to a tete-a-tefe, in which Crofs
^nentions, that he has taken fuch fteps as may expe*
dite his daughter's marriage with Mr. Kitchen i it
is a ft range thought, however, for a father who has
difpofal of his child, and does not feem afraid of his
wife, to take a houfe at fuch a time in Stratford, for
a month, that his daughter, being a parifhioner, may

therebjr

i

thereby have ah K^portUnity of be^ng married by
bmSiimt we iniag^ne a painful necel&cy in the plci
i^iti<d fear >thfe Clrange. fhifc.
. "jffhtti (^harlotte^ppraachi^ we do not Bud htr i
fij^i^ dtrpa%*ifig idamief^ bJEx:aufe parencs defigii
{}ii]pc>{ing ^er againft iaclii^tion s but ;a daughter of
{)oiitical fine0ei prpt^nding adt)uie£::ence on tacli
fide, that (he may baVe the better opportunity of
deceiving both t fo^ this purpofe fiie cprdiaHy clofes
^ith Mr. .Kitchen and her father, but urges w^i-m-
\y the propriety of aSing with fccrecy ; this^ Mr.
Ctiofs, and the imaginary huiband^ coime into tea*
dily : when the youog lady urges that the jubilee
^flbrds^ a good opportunity for putting their fcheme
in pradice,^ Kitchen throws but the following
ycry Ifenfible remark : " Intrigues carried on in thi
face pf the world, are always lead liable to detec-
tion ; and now-^a-days oioft people feeni to iGt
upon that principle/' After this^ an alTignation i^
made by Charlotte for Kitchen to mei^ her, when
ihe has flipped on her mafquerade dnef$^ a blu^
TurkiOi habit.

' When the gentlemich difappcar, Charlotte fpecu-
iatcs on the weight and intricacy of bufinefs >vhich
engages hei" attention : comparing herfelF to a mi- '
hiftet who, under Various appearances, attends td
hothing but his own fepatate intereft is wcllenough^
but likening a young lady to the direftion-poft of a
kigh road is certainly— excufc the pun, a piece of
wooden wit.
Vol. I. Ddd That

Sl6 The DRAMATIC C EN SOI?.

Man andWfiw

That indifper\fiblc iitcnfil in lovc-raflEaus, the
chambeMnaid, now approaches with vintdligebce
that colonel Frankly is arrived, and has fcnl a letter
by her, ' which Ihc delivers. On being aikedy , if
any pcrfon faw it delivered toher?^ fhe replies, No
one but Sally, Charlotte's youngeft fitter ; of whom
ihe gives an arch defcription, juft previous to her
entrance ; yet what the yonng lady fays, wl>en before
US) we mutt pronounce much in the ftrain of medio-
crity. She is curious indcjbd and forward, but ptters
nothing, that we can perceive, to raife aiaugh or
fix attention ; .her defire to be concerned ifa what fhe
fuppofes mifcbief, is natural enough v and Letticc
feems prepared to gratify «Taat..girlifli inclination,
but intimates they are not fufficiently abftraiftcd
from company. . The propofition of Sally's telling
a fib or two, is right fervant-maid inftru£tion, but
when Lettice calls her a little- devil^ it is rather. the
language of a cook or fcullion, than that of a wait-
ing-woman ; and tliere is an unpardonably fulfomc
idea conveyed in Mifs Sally's knowing parody on
Hodge's fong of the Sheep* s be^d and Carrol^ with^
out the leaft degree of humour, at leaft perceptible
to us.: thus ftrangdy concludes the fccond adl,
which has fo little fpirit or bufioefs, thajt we find
nothing commendable in it after Mr. and Mrs.
Crofs, except its. brevity. •

Five pages of the book, between the fccond and

third afts^ are filled with the order of that aftonilh-

ing intfoduftion the pageant, which has apparently

as little connexion with the general tenor of this

3 piece

The DRAMATIC CENSOR. 387

Mm and Wife.

piece as any other,' and feems only to have bcfh an
occafional device for fkimming the rich cream of
curiofity, which for a few nights of anticipation it
certainly did with fome degree of fuccefs ; but va-
hiflied quickly upon the appearance of that at Dru^
ry^Lanc.

Haying thus had occafion to mention the Jubi-
LEE) it becomes' our duty to fay^ that a mbft extraor-
dinary tt^adnefs has this winter feized the London
audience, for repeatedly, in crowds, following
near nirtety n'^hts, what will by no means bear cri-
tical diflfedion.; the real Jubilee at Stratford, if noC
poiiticaly intended as an introduflion to what has
fitice been exhibited here, deferves no better title than
theatrical idolatry 5 the mimic one carrying a wood-*
cny or pafteboard reprefentation of Shakespeare
about the ftage in a kind of Jord mayor's fhew tri-
umph, and pantomiming thofe excellent characters
vvhich he has fo\ richly fufpplied with affluence of
language and fentimem, is.not only a mere money-
trap, but a fevere, thoujgh oblique fatire alfo upon
public cafte, which hence feems more to enjoy emp-
ty, unmeaning parade than folid fenfe, or the noblefl:
, flights of powerful and Juxuriant.fanQy. '• '

It muft becorifefied, there is an agreeable di(h of
dramatic falmagundy.difhed up at Drury Lane, in
which an excellent admirably performed Hibernian is
themofthigh'-i'diflied ingredient,garnifhed with fome
very tolerable ballads ; that the characters are welldif-
pofed, and in diimb (how tolerably well fupported we
aUbacknowledge,but that public appetite fiiould feed

Pddi^ fo

jjtj. The DRAMATIC CENSOR.

ib long Md greedily upon one daioty, is almoiS: be^
yond tht bounds of credibitity ; and for tn^agirsta
fun it (o ehormouQy, as far beyond the bounds of
)ufttlic2ltion y fo^ aidnnftcin|[ there areipdli arid chi^
df en cnoiiigh tp tfrfwcr the end of fuch unpac^Ueled
repetition, what apology can be made to the mlany:
ienfible^ dijftihguifhing friends 6f 4he thesttre^ iilho
pud eUhitr t^bXcnt themfelves half a (eafon, or have
thi& mUmrtiery irhpofed upon their tafte and feelicKg^
ip Con^u^(5tton with, tnany of the feebleft worn o^t
piays \ t^hich have lieither Written or a6ting merid
(0 go d6wi>, without fpn^e fdch poprular fugar-piUmb,
%Q fweeten them,

Oh.Sif AR£8t>^AKB, SjiAKKsi'JSAiiE, what a fpec"^
Ude art thou made ; how is thy mufe of fird cabhidi
ptibhHi co^fin% by fuch m^amcal repr^fentauon ;;
fAethinks, if thou Wert alive again, the (hallow jor
^ct who profecuted thee for dealing voiifon woui4
^ fooner forgiven^ than thofe who make thy great
i^aifie a bait for gudgeons •
^ ^avihg faid.thushiucH in Warm finterity againft
ihje very nature of what has fo much engaged pub^
^t attention, we muft return to Man and Wiff,!
pply obferving, that at Covent Garden the pageant
ikras, in regiilated, faintly repr^fented, aird ihfipid to.
;he )dSi degree; however it el|:ied out ia piece nob
Ipnger thian fi>me farces, to the principal part of im,
^yeplnjg's entertainment v though the authbr ba^si
^ce, with grea(t modefty:, reduced it prb|)er]y to anr
ifce^gamc ; ^£ting ili|yon the fanie principle they dre
^M^4 ^y in ii^^ royal Sd«k*]^rdsy that is of ck^

ting

The DRAP^AtlC CENSOft. 38^

ting dowii a fhip of the lin^) i^hen (he does not navi>-
j^te wetl, iftto a frigate.

At the end df the fecotid aft we Had feme (mA\
irttimation of a plot in favour of Charioteers mar-
riage wkh eoioncl Frankly, and now at the begin-
*dDg di the thirds we fiild her prepared for the maP-
querade 5 while Lettice^ the trufty confident, ap-
}^t for iShie purpofe of deception in the blue
Tttrkifii habit, which was mentioned as a fignal for
Kitchen. From what Charlotte fays in this ftene,
sat $tid that her Mamma, aiming at high life, ba&
il^Vit^ the ftiaiques to h^r houfe, previous to their
^ing to rite amphitheatre ; and that from this cif r
cUmftartc^, liHe amulitig Mafcourt and Kitchen fhuft
arife, while the young lady purfue§ her own incli*^
(vatJon with the colonel. SalJy^ part is to make a
fool, as (he phrafes it, of the beau, while Letticte
plays upon the Turtle merchant.

Matcourt's approach huf ries ofF Charlotte and
Lettice, leaving Sally to play her part, who in a
Ihort foliloquy, profeflcs great dextcrhiy in the art of
fibbing; and comparing her (iftcr*s lovers, inclines
her approbation to the colonel : what paffcs between
this fprtghtly young fprig of intrigue, in point of
flialbgucj is mere whip fyllabub ; much froth, very
Jiitle fubftance. Qne turn of Marcourt's is well
cnoi%h, when (he throws out— not very modeftly,
fome encomiums uponr Wm : he fays, " What a
fenfifale little creature it i$ !** The fcheme Ihe ha$
bfcen taught to manage, is putting Marcourt upon a
ll^png fccnt, by foggefting that her fifter is bent

ppon

J90 The DRAMATIC CENSOR.

ManandWifi.

opon deceiving him in favour of Kitchen 5 therefore
advifcs ftri£l attention to the lady in the Turkifti
habit. There is at the conclufion of ih« fcene, a.
little ftage-trick of Sally's laughing,* as Marcourt
is going off, and when he turns to falu^e her, afTum^
ing gravity of countenance, which told extremely
well in aftioq, being happily- executed.

Mrs. Crofs and Letticc now appear: the former
in high fpirits, fir ft from an idea of confcquencc in
the malks aflembling at her houfe, andnext from a
fuppofition that her favourite is furc of Char-
lotte; penurious extravagance and aukward ele-
gance, are admirably touched upon in this fpeech of
the city lady, " Have they ftuck the ends of fper-
jnaceti in the Girandoles \ and have you fent to the
apothecary's for a fufficient quantity of Cream of
Tartar to make Lemonade ?"- .

Seeing fome mafks (he goes off, and leaves Let*
tice to entertain the audience with a foliloquy of very
little purport, and Icfs hunwnar ; .Kitchen comes
forward, to whom the maid difcovcrs bcrfclf, and
impofes upon him an infinuation, that X^harlotte's
inclination is entirely, with him, but that Mrs. Crofs*s
prejudice in favour of his rival, makes a little policy
effential ; Kitchen alfo fwallows greedily the bait of
delufion, and is going poft hafte to meet his miftrefs
near the great bobtb, but feeing Marcour t at hand,
Lettice defires him to ftay -, upon tlje fmart*s en-
trance, a flight altercation j concerning the fupppfed
MifsCharlotte^enfues between the gentlciiien i Mar-
court not only prcffing by woids,^bu? ufmg force to

make

The DRAMATIC CENSOR. s^i

make Lucyynmalk; (hefcreams, which brings Mr.
and Mrs, Crofs, the former of whom reproves the
forward gaUant \ the fpirit of contradidion between
the Man and Wife now again exerts itfclf pretty
brilkly, concerning whether the lady (hall Onmafk or
no •, however, ^.ucy removes her concealrncnt ; this
furprifcsGrofSjWhoafksfor his daughter; fomecon-
fuGon enfues, and from what Kitchen has privately
intimated, he triumphs over Mrs. Crofs's difap-
pointmenc — ^JHiere a Mr. Fleece appears, who comes
for the very purpofe of telling that Charlotte is mar-
ried to Colbncl Frankly ; this Mr. Fleece, we find,
was appointed agent to take the houfe to make
Charlotte a parifhioner, and to have the banns of
marriage pubiiflied \ but was impofed on by the
young lady to a6t diametrically oppoGte to the in--
clination and intention of both her parents ; the un-
lucky rivals bear their difappoinlment with patiirnce ;
but Mrs. Crofs threatens turning her. daughter out
of doors, \yhich Crofs warmly oppofes, and to
thwart his wife, fays, he will receive them with open
arms ; the happy couple appear next, and matters
are ' agreeably compromifed — One. exprefGon of
Kitchen's^ we cannot pafs unnoticed 5 fpeaking of
bimfelf and'Marcourt, he fays, " I have been roaft-
cd a little it is true, but not fo much as my friend'
here — he got into the wheel and turned
himself" — Oh glorious Hibernicifm! exacftly pa-'
rallel to Captain 0*Blunder's expreffion of not being
by when the taylor took meafure of him for a fuit of
cloathsi who ever imagined, before our author, that

a turn*

39^ The DRAMATIC CENSOR.

a tufoifvt ppppy in pffiq? rp^fts b]n?fejff^\iv^h#t piny
thi; he did npMdd, tp ^^ve the wit ^44Ui9a^i brilr

yppn a rewfp^ of this comedy, if it qvift i^
called fo, we find the firft aft^at Jkaft tjip foijgier pgrt
c)f it, at^w^M^ laMghahk buftk,tho^raxl^r fartif^,
theJ^tl^r is f^tif ically pfejifent ; ibe ife^jMid aft biegiftf
a^eeablj?, butjs aft^^ird^ cgriE^iewflyJofipid : the
third ^ft CQqfifts of Iab<)5rH)«j5 intriqicy^;wUhou«iui*
t*ire tQ authorize, hjipour.tf)iii.j^«t or iflcidw*
tagr^tjfyjtbe fufpcnoc dhm^.^i the irfot id found-
ed upooa 9ioft pitifpi dewiqp, Wd unravelled poorfy*
We find th^t the ^it,^thpr foemi unacquainted wieb ee^^
iwiical hpurs^ which .are preqifeJy okftrved ia noarr
ridges by publicatipg of bapnis, pay, by licence, un^r
lefe it be fpecial \ we are prejented with two cha*
ra4lier^ h^biijied for thexnifquecAde^ and h^ar of o».
thers bfip^ jcome ; is it probable that they .could he
thu« prepared, when thi5 forenoon ii®$ (Engaged ai
zf, the Ju|>ilee, or incfeed^ny whcue* for ^ maiked,
Iji^l] btffire feven o'clock at foon^tft -r- yet Colo-*
ncl Fr^pkily aod bis i)r:ide jyft cQjne from Qhurcb^at.
this t^Mfnc \ though chc^atrimonia) ceremony, undef
f^hfircyift) fences a$ we iDencion, cannot be cele-.
braced Wi^ltfs betvyeen eight and twelve iu the fore-
npQQ i jp^rlwps the aiutbor i^ight^bave been led into
tWs |ipti(t^kf, by entering the hopopr^bJe ftate ICm^
fclf in i;be evening through fpecial authftrUy*

In point of charafier there is variety, bptno^hingi
very original ; the dialogue is cafy, and in forne*
p4ac«s fpirited y tl)e huiv^our rather trite, yet, ?ntpr-
:. taining 5f

*nie DRAMATIC CENSOR. 5^3'

Kmmng \ and^ ^ tO the moral, we fliall give Mr.
Colman's words at the conclufion ; *< we derive^
fay»Gro&, fptaking of hisiiaughcer's marriage^frotn
this incident, one material piece of inftruftion, that
tio family Can be well governed where there is a dif-
•agreertent amort gft tuosE w-ho ^re placed at djie
head of k^-^and that nothing is fo neceffary as har-
mony art ohgft thos& whofe inierefts are fo. inn-
tnately c6nncftedds those of Man and Wife/* by
the words pa^^ularized it will appear this ientenCQ
is not Tcmarfcable for elegance or compafttTefs.

Mr. Col MAN, in a previous advertifement, 'has
J)aid a getitcel ^compliment to the performers for
thtir great excellence in the reprefentation ; this^ Ve
thinfe, extremely liberal, confidering him in the
double light of manager ^and author^ though we
t:oirfd wifh the ^yofd great had been onjktcd -^ in-*]
clecd, we have tieard hisapptobatiw inierpjrctcd dif-:
ferenriy j firft as a defign'to recommend -the hoofej;
fecond as a verbal bribe to engage the a^lors! on M$
^ide, in the contention Vith his bpotbcr patentees^'
and laft, to approve his own great talent in writidg
for, and adapting charafters to the executive facul-
ties df each performer ; however, we al-e apt tt> in-
terpret hispraife more ingenuoufly, and fiiall juftify
in general the idea he thereby inculcates* •

Crofs is a peevifli, filly fellow, who after his fifft
fcene, becomes mighty inconfidcf able, and an infipid
engine of the plot ; Mr. SHutER being freer from
grimace in this Vharafter than any other, is ex-;
tremely deferving of applaufe ; but we apprehend
Vol. 1. E c e the

j39:4 The DRAMATIC: CENSOR:

. Man andWfg^

.the drynefs of humour atmtd ati woqid haye fougd
,bcttcf fupporf in Mr, YatjSs.' r« ^ . . ,

r. MarcOurl?, b/ Mr.WooDtv^ARiD, has ftot,as we re-
rmjcrpteeiiont touch of Harlequin \ his^^^gageepcr^
liii^ ia admirably ,^preffqd| ;and • flo , part that wc
•have iver fecn was bctia^r fig^re<I, Grr:^etter drdjed'.
••• Kitchen^ who has^;mofe aov^lty and uniformity
^about him than .any otJ;\er charafler in the piece,
fclltyibft happily into chehands pf Mr. Dunstall,
i^roughv him nature articulated every line with, a-
grceablc unafFefted humour ^ without . grimace^ or
, fibeffc of any. fort, he fuftained the author, becoming-
ly, and without one laborious effort gave every ia-
: tdligeot fpedator fmgular fatisfadion.

'The Landlord^ who could be little clfe than
Bonniface in the gout, was hobbled through well
enough by Mr. Morris: Luke, the waiter, re-
ceived great fpirit from, and flood much indebted
to Mr. Lew?s, whofe voluble and fpirited expref-
fion rendered fo fbort a part very . confpicuous^
, Buck and Mr. Davis did not difagree, he looked
the riotous BacchanaJian well, and exprelTed his in-
ebriated flate with fomc degree of pleafantry. Mr.
WiGNEL tragedized Snarl fo laughably, that, for
the few lines he fpoke, it becomes matter of great
doubt, whether he was not the mod comical
perfonage of the drama. Mr. Quick fpoke the
Hofller well enough, but was far too petit to figure
fuch a character ; Mr. Barnshaw would have
looked it exquifitely. Mr. Fox!, in the firfl paf*
fcnger, performed the ceremony of difpatchinga
2 toafl

The DR A M ATIC CENSO:B:- 395

JSanandmfe.

toaft and Ibrtie mulled wine deactcfroufly 5 nor was
be at all. amifs in delivering the blunt expreffions
put into his mouth. As to Mr, HJERSERTi therQ
fiirdy never was fuch a lifclcfs. frefli-wacter Tailor '
fccn before. x

Mrs, Crofs is as pofitive as her hufb^nd^Jbut ga-
ther more filly and violent ; devoted with ideas
contemptibly narrow, to a lavifh imitation of per-
fons in high life ; fond of what (he does not un-
der Hand, and opiniated of judgment (he has not^
a perverfc wife and indifcreet mother 5 fucH arc
her outlines ; however, the pifture is but very faint-
ly finifhed, it received confiderable animation from
that corredlnefs and vivacity which always diftin-
guiflies Mrs. Green's performance of fuch cha-
ra(^ers. Charlotte is, confidered in the theatrical
view, as mere a trifle as ever hung heavy on the
^ drama 5 with juft cunning fufficient to pick up a
hufband, and infipidity enough to fet an audience
aQeep, Sally, her younger fitter, is in no (hape
comic, except in fome ftrokes where, confidering
her age, a charge of couched licentioufnefs may be
brought againft her ; (he was performed with very
confiderable merit, Lettice fat eafy enough on Mrs* j
Mattocks, but is fuch a chambermaid as never
appeared before ; extremely eager to forward in-
trigue, without having any thing to do or fay worth
notice. The Landlady is well drawn, and had great
jufticedonc her by Mrs. Gardner, whofe capability
is equal to much more material undertakings. As
to the two female pa(rengers, we have really forgot

£ e Q. 2 them,*

J$5 The DRAMATIC CENSOR.

fhem^ and therefore avdd offering any opinion, a3
^t would be equally tender of thofe who play one^
ti thofe who play ten lengths.

As af^ce, Man and Wife may do on the ftagd
after a Tragedy, by no means after a Comedy^ and
in the clbfet can never g^in any degree ^f eftimatioiw

ZENOBIA.

The DRAMATIC CENSOR. 397

Z E N O B I A,

A T R A G E D y. AwoNYMOtrs.

O

Pehing the drama with foliloquy, unlcft whit
the charadef fpeaks appertains peculiarly tp felf,
we cannot entirely approve ; and what Zclmira of-
fers at the beginning of this tragedy, we deem an
uneffcntial, faint, trite effort at defciiptiori ; what
(he fays to her hufband Zopiron, concerning the
havoc which ambition caufc$, is expreffed in termt
commendably humane; a mod hateful pidure of
Pharafmanes \% given, and we are informed, that he
holds ill captivity a beauteous dame, diftingui(bed
by the name of Ariana, for who fe virtue 2clmira
conceives tender apprehenfions ; the entrance of
Zenobiais well prepared, by mention of the diftrefs
her mind appears to wear ; and her fainting under
-a load of forrow when Ihe comts in view, affcfts
the tender mind : there is fomething pretty in her
fenfe of obligation for the tender affiduity of her at-
tendants, and their difinterefted attachment ; but wc
think them very ftrange, very improper meflengers
to fupervife and bring intelligence of the impend-
ing battle ; it muft convey an Amazonian idea to
fuppofe them capable of fuch a charge '; befides,
Zopiron, who now difappears fo oddly, might have
cither undertaken the matter himfelf, or recom-
mended a proper meffenger.

In

398 The DRAM A TIC" CENSOR.

ZcnohtHs

In the conference between Zenobia and Zelmira,
Kiarafmanes's brutal, bloody charader, is lit in a
clearer light, by the dircft charge of fratricide, in
murdering Mithridates, an amiable . monarch, whofe
virtues, exclufive of natural ties, (hould have fccUred
bim from fuch violence % it appears too, that the
tyrant i legally holds the crown of Armenia, given
to his cldeft fon Rhadamiftus by Mithridates :
a crown Pharafmanes fcized by force of arms, pur-
fuing even the fife of his plundered child- On Zcl-
mxra's charging, Rhadamiftus wfth the murder of
liis wifc^ Zenobia gives a nervous and pathetic ac-
count of the affair, from whence we learn that prince
was fcnt when young to Mithridates* court, where
21^ early affedion grew between him and Ze-
TK>bia, to whom he was married. At length, dri-
ven to defpair by the unnaturaf rage of Pharaf-
manes, the royal couple determined to feek an afy-
lum in death, for which purpofe they plunged into
the river Araxes ; in the tranfport of relation, Ze-
nobia, known to Zclmira only as Ariana, flips out
her real name, which feems to promife further ex-
planation 5 but the entrance of Tigranes, an officer
and creature of Pharafmanes flops it,

The appearance of fome captives ftrikes Zeno-
bia with apprehenfion that the Romans have been
vanquiihed, but Tigranes informs her they are only
fome pcrfons who were intercepted going to the Ro-
man camp, for which the king has fcntenced them
to be impaled alive ; the latter end of this line we
think liable to objedion.

They fuflfer death in mifery odcrtnent.

Tht

\

The J) R AM 3^TJ C C E N S OR. 599

The word; mi/iry Stems fuperfluDu fly annexed to
torment^ zs not tending to add any^ force, butr4ther
furniftiipg a poverty of idea 5 there may be mifery
without tprmpnt, but there ^^innot be torlncnt witft-
outnjIfeFy. Upon viewing the unhappy objeflsof
UQitlenthig tyranny> Zenpbia tenderly recQgnize$
Mfgift^s, for.whom Ihe prof^ffes moft friendly re-
gard, as, he does for her, an^ on the aurhoriry of
bciing beIo(ved by Pharafmane^, (he takes him under
her proteftion. This meeting is extremely well
conceived, and the caufe of Jier efteem for theold
man judic^oufly concealed.

In the fcene between Tigranes and Zelmira we are
informed, that Teribazus, the younger fon of Pba-
rafmanes, love$ Zenobia -, a (hort (ketch of th^c
young princc'3 charader is given by Tigranes, who
afterwards drops a dlftant intimation of being him«
felf a foe to Zenobia ; here Teribazus prefents hini-
felf, and makes kind enquiry of Zelmira for Ari*
ana : Zenobia comes in upon his words, and en-
quires concerning the fate of war, when ihe is in-
formed, that the king has condefcended to treat of
peace, and that an ambafTador from the Roman
camp is to have audience in Pharafmanes's tent ;
from this Zenpbia cannot draw any prefage in her
own favour, however, proceeds to an immediate and
warm intcrceffion for Megiftus, whom fhe calls
more iban father ; fhe drops alfo fome unfavourable
hints of Tigranes's ofBcioufnefs in the aft of cri-
mination ; the prince, glad of an occafion to oblige
the objed of his affetflion, promifesnot only life but

liberty

40O TheDkAMAtIC dEK&Ott.

liberty to the dd man^ and rcprorcs Tigranes with
cxMiGderable afperity.

This dcfirabte poirtt gifted, Zenohia^s medtal
gloom appears for fame time gilded with the eti-
Hv^ening rayi of heart- felt fatisfaftioti ^ in the fuH
^ow of her ftcHngs, and to account far bemg fo in-
tereftcd for Mcgiflus, (he reveals herfclf aic large^
and relates how the g6od old man reftucd her^ when
floated iar from Rhadamiftes ; relbu^ her ^uft ex-*
piring^from the floods arid with her faved a Ijoy of
ivhich ftie then was pregnant 5 the remaindef dfchis
fcene, where (he mention^ Kving with Megtftus^
fcpar^tion from her child, captivity with Pharaf-
manes, and the grief of her hufband loft, is poeti-*
'cally pathetic, well calculated for capital aftion,
without any ftrain or exaggeration of nature*

That dramatic writers, forty years fince, ^hefl
aftors chauntcd according to tlie fkJw of verfe, pay-
ing more refpeft to harmony of expreffl<>n than
meaniflg,^ Ihould tag their ads with thofc paltry
Unnatural clap traps; rhimes, is not at ail furprifing ;
but for a poet of this day to intrude them upon pub-
lic tafte, is what we could not reafonably expeft, and
mutt therefore blame in this play, efpecially thofe
at the end of the firft aft, which are fervilely fimilar
to one of Andromache's fpeeches in the Dlftreffed
Mother ; we have alfo an bbjeftion to fpeaking of
fpirit, in the ftile of a diftinft fcx, when the moft
ignorant hiuft know, that the corporeal compofition
only, admits fuch a diftindion •, the paflagc runs

Till

The P R A MA T IC C E N S O R. 40 1 -

Zenobia'

Till you fliall bid this fad, world weary fpirit.
To peaceful regions wing her Weary flight.

There is anpther line in this fcene cenfurable, as
being both in idea and expreffion cxaftly fimilar to
a paflage in Dryden's Virgil ; Zenobia, fpeaking-
of her hufband's fatal cataftrophe, fays,

the lafl difmal accents

That trembled on thy tongue came bubbling up—- .

Speaking of a fea-nymph*s departure under water, '
Dryden has it thus.

And her laft words came bubbling up in air.

At the beginning of the fecond a<5t, Tigranes pre-
fents himfelf ruminating, in a fhort foliloquy, upon
feme terms of reproach, uttered againft him by,
Teribazus, which occaGons him to declare refent-,
ment againft the Prince, marking Zenobia alfo as,
an dbje6l: of hatred ; Pharafmanes approaches this
minifterial topi of tyranny, and like the true man
of blood, regrets that propofcd negotiation from
the Roman camp, has flopped the glorious havoc
of impending battle 5 then enquires, whether the
captives have fuflfered death according to bis fen-
tcnce ; this gives Tigranes's malevolence an oppor-
tunity of accujTmg Teribazus, by infinuation of fuf-
pending their fate ; thus he touches the monarch's,
impatience, \vho expreffes himfelf in terms of fevc-
rity againft the Prince, juft as Zenobia enters, who
fupplicatcs in pathetic terms, mercy for the cap-
tives 5 , this fuit, from an amourous inclination,
Pharafmanes grants \ the perfuafion of one, and
Vol., I. Fff the

408 The DRAMATIC CENSOR.

the compliance of the other, are agreeably condud* ^
ed in this fcene % upon mention of Megiftus, as a
parent, the monarch propofes not only giving life,
but railing him to a date of fplendor, which Ze«
nobia prettily declines.

Being acquainted by Teribazus that the Roman
embafly is arrived, Pharafmanes, after hinting re^*
fentment to his Ton, and rhiming out a compliment
to the lady, goes off to grant an audience ; this
gives Teribazus an opportunity of urging again his
paffion to Zenobia, which (he admits with refpeft,
but cannot return ; the real caufc/of her coldnefs
is well and naturally concealed; as it occafions
Teribazus firft to fuppofe his father is the happy ri-
val, and afterwards leaves him ftrongly agitated
with impaffioned dbubt ; to fay truth, the Prince
is here pidturcd a kind of Drawcanfir in love, ready
to kill any and every body who dare thwart his dar-
ling inclination ; when he feems left in a ftrange
ftate of confufion, without a fy liable of ar^ confc-
quence to fay, Zopiron comes in and gives him a
ihort account of the embafly, and of the feiiate's
refolution concerning Armenia, which Teribazus
iuppoling himfelf immediate heir to, rejoices at, and
with fome juftice, though not ftridt filial duty,
wilhes his father's defeat.

One obviouis point of enquiry arifes here, how
Zopiron fhould know what the Roman ambafiador
has in charge before the public audience has taken
ptace ; as he knows not that Flaminius is Rhada-
miftus, nor has had any previous conference with.

bim;

The D R A M At 1 C C EN SOR; 46$

him : the general idea of peace is publicly known^
but the referved claim upon Armenia, Pharafmanes
himfelf is not acquainted with, till made fo hf
the ambafTadon

Tho' it is fomething odd,, that a reprefetitativd
of the Roman fenatc (hould enter upon private con-
verfation with an unknown perfon, before he has
fulfilled his public charge, yet, we find Rhada-^
miftus, in his affumed charafter, unattended, joins
Zopiron,to converfe, as we perceive^ upon very inte^
reding matter in an open camp ; after afking for
the monarcfi, he exprefles himfelf in very indelicate
terms of Pharafmanes, which is amazing in one
who bears the olive branch ; whatever his thoughts
might be, fure it muft be deemed j, not only impo-
litic, but highly cenfurable, to fpeak in fuch a man^
ner before one who> for ought he knows, may re-
late it to the prejudice of his humane errand ; how-
ever, he accidentaly lightson a moft convenient per-
fon in Zopiron, who advifes him to fpeak home
truth ; this feems' to awaken Rhadamiftus's reafon^
which tho* he has already fpoke in a moft unreferved
manner J he thinks not fo well adapted to Pharaf-
manes's camp ; Zopiron's vifage ftriking a favour-
able impreflion, he afks Zopiron's name and quali*
ty, which certainly (hould have been known before
he had vouchfafed conference ; on being told that
he is delegated to plead the rights of Armenia,
Rhadamiftus fcems to have heard of -him, and men-
tions his own real name without revealing himfelf.

Fffz Zopiron

404 The D fe A M AT IC C ENS O R.

Zopiron profefling warm attachment to his law*
ful prince, though unknown, and even fuppofec/
dead, he receives information of the unhappy
youth's being alive; here Rhadamiftus gives a
ftrbng, lively and affcdling pifture of his own
wretchednefs, and mentions Zenobia in a melting
manner ; but, when the author throws him into a
fwoon, we are furprized at the mifplaced extrava-
gance of palTion, which reprcfents the prince rather
as a child than a hero, incapable of checking that
grief which unreftrained fo palpably tends to fet a-
fide the difguife he thinks it necefTary to wear j be-
fides, falling and grovling about the flage on fuch
an occaOon, is rather a mean theatrical trick, than
any flight of nature i a kind of frenzy fucceeds the
fainting fit, merely calculated for adion, without
any trace of propriety ; from this Rhadamiftus dif-
covers himfelf, and relates his defign of perifliing
with Zenobia, but that chance, and the humanity
of fome Roriians, who had found him inanimate
on the Araxes' banks, had preferved him to toil
through a life of woe ; the afliftance promifed by
Rome on knowing his real charaftcr is mentioned ;
on hearing that the Armenian's confider his brother
Teribazus as heir to their crown, his grief makes a
ftrange propofition of yielding to another what the

•

Roaians are gencrovifly endeavouring to recover
tor him •, in fl:iorr, this fcene, which concludes
with a gingiing rcfolucion of fcolding Pharafmancs,
is extravagant in fome parts, flat in others, and
puch tco tedious upon the whole ; we think alfo,

it

The DRAMATIC CENSOR. 405,

it might have been much more happily introduced
after than before the firft^ fcene of the next a<5t.

When Pharafmanes receives, on his throne, Rha-
damiftus, as the Roman ambalTador, we find the
former entertains moft contemptuous notions of rc-
publicans. However, his cxpreffions arc tolerably
decent till Rhadamiftus, forgetting his peaiccable er-
rand, and indulging an ungovernable fpirit of fpeak-
ing ill-timed truth, offends him. The monarch/
with great colour of juftice, fires at reproachful ac-
cufations ; and hence arifes verbal contehtion, un-
worthy of, and difgraceful to private gentlemen,
much more, fuch exalted characters. Pharafmanes,
contrary to the law of nations, draws upon the
brawling ambalTador, [ and Rhadamiftus urges his
fury by an unlimited licence of exprcffion. We
much approve the following paffage relative to Mi-
thridates* death :

The hand of hcav'n
Shook from the. blafted tree the withered fruiL

But at the fame time cannot help fuppofing it boir-''
row'd from a much more beautiful one to the fame
purpofe, fpoken by ^geon, in the laft fcene of
the fourth aft of OEdipus. The whole conference,
now before us, is a mofl indelicate piece of politi-
cal fquabble, leaving matters nearly in the ftate they
were before it took place.

Zenobia, and Magiftus, now appear to difcufs a
tender point, the fafe)ty and ficuation of her infant
fon. Maternal anxiety, and faithful attachment, arc
pleafingly fct forth. Impatient to fee her child, Ze-
nobia

i

4o6 The DRAMATIC CENSOR.

Zenohiiii

nobia propofcs flying from Pharafmancs*s camp ;
but Mcgiftus objcdls to the danger of fuch a mea-
fure, and prudcntially hints that revealing herfclf to
the ambaflador of Rome is a more probable pie-
Chod of anfwering her purpofe j the fuggeftion ftrikesr
her, and furnifhcs a frefh gle^m of comfort. Their
converfation is interrupted by Tigranes, who comes
as^ mcflcnger from the king, . to know when Zeno-
bia wilf make her royal admirer happy, by marri-
age ; thirroMfcs her indignation, which (he vents in
fpirited terms. Herrefufal is imputed, by Tigra-
nes, to a prejudice in favour of Teribazus, which,
however, fhe difciaims, yid leaves him with fome
ftingrngobfervations on his own bafe charafter, which
makes him, afrcrti, declare his intention of working
her ru'm. To him R.hadamiftus approaches^ who
tome what cooled himfcif, fuppofes the king's in-
temperance may, by this time, be moderated alfo.
His fentiments are very pacific ; but Tigranes af-
furcs bim of vindiftive refolutions upon the fide of
Pharafmanes; however, promifcs to convey the
prince's humane fentiments to his royal maftcr.

In afucceeding foliloqiiy, we perceive nature
checking Rhadamittus, for waging war againft his
father, though a cruel one 5 apprehenfion of meet-
ing, and perhaps d^ftroying, an unknown brother, in
battle, alfo (hakes him : During this agitation of
mind, Teribazus joins him •, and utters, in his firft
fpeech, this ftrange accumulation of epithets, where-
in the jull gradation of cliniax is forgot j

A wretched, ruln'd, mifcrablc prince

Befidej

The DRAMATIC CENSOR. 407

Be fides the diflbnance of four r's jarring in this line,
what occafion, after telling us that he is y^retched,
is .there for adding the word miferable ; but our
author feenls fond of this mode of expreflion. In
the prdgrefs of this conference we are again, there-
fore, fuperfluoufly made acquainted with Pharafma-
ncs*s crimes, upon Teribazus's mentioning Rhada-
miftus with afFeftion, though an unknown brother-
Sentiments of tender nature arife \ and, as Flaminius,
the latter. propofes affiftance to the former; who
howtver declares, that filial duty will not fuffer him
to affail, with violence, even a tyrannic parent. One
material apprehenfion he mentions, iYiat of lofing
the lovely captive, Ariana; wherefore he requefts
Rhadamiftus to convey her from the camp ; this fa-
vour is readily and cordially promifed, with an in-
treaty, that Teribazus will alfo retreat to the Roman
refuge ; this is declined, and he goes off to fend the
idol of his affcftion, while he watchfully prevents
any interruption of her interview with the ambaf-
fador.

Megiftus now leads on Zcnobia, and a few lines
are fpoke before Rhadamiftus fully perceives what
objed ftands before him; tranfported doubr, for
fome time, agitates him, after he has recognized
her features and perfon, during which, ihe per-
ceives, knows, and yet doubts alfo, the hufband
(he has long thought dead.

Thefc meetings arc fo frequent in tragedies, the
Mourning Bride, Oroonoko, &c. that the author
hiiift poiTcfs uncooioion abilities who ftrikes out any

thing

'4o8 The DRAMATIC CENSOR.

Zenobia*

thing new or more afreding than we have fecn.
Whatever poflfibility there is of working fuch an ef-
fcft, we cannot compliment the piece before us, in
that light; the prince, as ufual, ftands in an atti- •
tude, and the lady faints ; befides, the incident hangs
too long upon attention. When the faithful pair
are realized to each other, Zenobia prefcnts Megif-
tus as the preferver of herfelf and child, Upon which
occafion, we think Rhadamiftus too languid.
How much ftronger is the glow of love and grati- ■
tude in Oroonoko, who forgives even the villain
who has kidnapped him, as being the means of'
finding his beloved Imoinda ? Without forccable ac-
tion this fcene, efpecially as a child is in the cafe, is
much fainter than any one we know, of a fimilar na-
ture. Indeed, the poet feems'confcioas that his
mufe flaps her pinions heavily, by hurrying the afl:
to a conclufion. Tigranes being feen, Rhadamiftus
goes off to meet him ; Megiftus briefly mentions the
pleafing accompliftiment of his prayers, in Zenobia's
happinefs •, and flie promifes him Angular regard.
— Would flie did not deliver herfelf in rhime.

Aft the fourth commences with the two princely
brothers •, Teribazus thanking Rhadamiftus for his
promifcd care of the captive, and warning him
againft any amorous impreflions. This precaution
occafions fome dubious expreflions to fall, which
alarm the fufpicion, and cnflame the impetuofity, of
Teribazus, who, neverthelcfs, cools upon being de*
fired to continue the beauteous objed within his amo-
rous father's reach, and chufing rather to truft Ro-
man

■»-^J»-

The DRAMATIC CEisrSOb: 409!

man integrity^ requefts ags^in the condudive care
of Flamtnius. Here Tigranes enters^ ai}d gives in-
fortnatk)!! that the king is approaching to have a
private interview with the ambafiador \ this fends
off Teribazus, ^nd the monarch foon appears.
^ After a few preparative lines, Pharafmanes men-
tions that Rhadamiftus is alive, to Flaminius^ know-
ledge % therefore^ demands hb head from Paulinus
the Roman general's hands. Here the tyrant, if
poflible, gives his charafier a deeper tinge of guilt ; *
and Rhadamiflus, though in vain^ expqftulates with
him on the principles of parental tendernefs and ge«
neral humanity } thcie failing to touch his inexora^
ble hearty the parley is broken off^ and vengeance
denounced on either fide^

Pharafmaees^ determined on the decifion of war^
refolves, during the intermediate hours of peace, to
profecute his impaflfionate purpofe on Ariana^ and
alks Tigranes, if (he has confented to make him
happy ; on being informed of her peremptory, nay
fcornful, refufal, he declares, that love itfclf (hall be
his flavc* However, a gleam of generous feeling
(hoots acrofs the gloom of his du(ky mind, and
lights him to the milder path of perfuafion i for
which purpofe he o^rders Megiftus, whom he fuppo-
fes the father of Zenobia, to be brought before him j
the old man, at his entrance, fpeaks in the ftile of
hefitative apprehenfionj to which the monarch re-
plies in terms of friendly profeffiooy for fake of his
imagined daughter. Speaking of the diftrcfs which

Vol. L G g g preys

4IO The DRAMATIC CENSOR.

preys upon Zenobia's mind, Megiftus mentions an
abfcnt hufband, long feparated, as the caufe of
her woe. This alarms the monarch, who declares
he will remove, by violence, fuch an impediment
to his own uncontrolable paflion ; and defires an
immediate interview with his beauteous captive,
ordering Megiftus to condud her, which charge he
refpeftfully declines •, and when urged by Pharaf-
manes, with the glaring argument of royal fplendor^^
he cxpreffes bimfclf in the following agreeable paf-
fage, which, without much originality, has yet Tome
(hare of poetical and philofophical merit \ it might
naturally flow from an humble ftation, yet it is by
no means unworthy an exalted mind :

Oh ! not for tne fuch fplendor — I have lived
My humble days in virtuous poverty ;
To tend my flock, to watch each rifing fiow'r.
Each herb^ each plant, that drinks the morning dew ;

And lift my prayers to the juft Gods on high.

Thefe were my habits, thefe my cares.

Thefe hands fufficed to anfwer my defires.

And, having nought, yet nought was wanting to mc.

Pharafmane?, ill calculated to parley with his own
turbulent paffions, contemns cool reafon, and threat-
ens the mod fatal meafurcs, if his defires are not
complied with, leaving Megiftus to ruminate there-
on. The old man might have been furnifhed with
an excellent foliloquy ; and, indeed, one of eight
or ten lines feems neceffary to place the exit of Pha-
rafmanes, and the entrance of Zenobia at a proper
diftance from each other ; as it is, (he treads upon
the heels of incenfed royalty. The princefs hurries

' off

The DRAMATIC CENSOR> 411

off her faithful guardian, appointing a place of meet-
ing, that fufpicion may aot arife from their being
feen together. Teribazus enters, upon the old man's
departure, and renews his fuit to Zcnobia, which
fhe interrupts, and overturns, by a moft unaccount-
able declaration, that the ido] of her love is in the
camp. Nay, upon further queftion, fhe flill more
furprifingly, and we may add inconfiftently, de-
clares, without referve, Flaminius is that rival.
From what precedes, it would feem as if (he had
interefted the prince to recommend her flight to the
Roman camp under care of the Roman anibafTador.
That flight being ready for execution, how is it pol-
(ible (he (hould, ib palpably, ftrike out the means of
prevention; nay, even the hazard of, either difco-
vering Rhadamiftus, qr, fubjefting his life to dan-
ger, from a tempeft of jealoufy raifed in his bro-
ther's breaft. Yet, fuch is her conduft ; and Rha-
damiftus, entering upon the difcovery, is juftly ac-
cufed by Teribazus. The dilemma Zenobia has
reduced herfelf and huf^and to, is manifefl, as in
this bungled fcene (he fpeaks but two lines and a
half, and thofe with little or no meaning.

Teribazus, though almoft frenzied with rage, fo
far remembers the facred charadter of an ambalTa-
dor, that he poftpones his refentment to the next
day's battle. This is polite, and generous ; but
how can we account for his leaving the woman he
iOves with a profeffed rival, who is, as he knows,
going to quit the camp, and has his own requeftf
to take the fair one with him. How to reconcile

G g g 9 fuch

4ia ThcDRAMATIC CENSOR.

fuch contrarieties we cannot tel^ and fuppofe no<^
thing could urge an intcliigent author into thenoi
but the utmofl: diftrefs and penury of plot ; or, ao
implicit compliance with Mr. Bays's maxims^ thsH:
to elevate and furprize is eligible at any rate.

Soon after Teribazus goes off, Zoptron enters,
and haftens the departure of Rhadamiftus, with
Zenobia ; who fcarce dif^ppears, when Pharafmar
nes, with his obfequious Tigranes^ approach. The
monarch declares his intention, of abiding the event
of war, and lends for his fon, Teribazus ; ta whom,
on his appearance, he urges an accufation of giving
countenance to his foes \ this the priqce denies with
becoming fpirit ^nd refpeft. On a fecond cbargei
of thwarting his father's amorous .inclination, he
difclaims any attachoient to Zenobia, and points
put ambition as the prefent ruler of his heart. Ti-
granesji who was difpatched to iee that the Roman
ambaflador h^ left the camp, returns % and informs.
Fharafnunes, that Zenobia and M^giftus are fled
with the dmbaflador : This roufes the tyrant, who
orders a purfuit i which point pf fervice the irrita*
ted Teribazus takes upon himfelf, confiderably in
|he Quixote ftile ; not in refpeft of words, but
the inconfiftency of the behaviour. To lay truth,
there is a laughable mixture of confequence and
weaknefs, rage and childiflinefs, fet forth in the
monarch alfo ; whofe conclufion of the ad is at
inuch below the temper of mind, he has Utherta
^ewpt aspolfible.

3 A?

v^x-^

r

The DRAMATIC CENSOR. 41*

At the commencement of the fifth aft, Pharafma-
n^ s prefents himfelf to' ust in a ftate of agitated re-
flexion 5 jealoufy and vengeance fire his imagina-,
tion, to ^ defperate refolution^ when Tf ribazus brings
him the agreeable intelligence, that he overtook, and
has, after faint refiftance, made prifoners the fugi^
fives. They are brought on chained, and fuftain, with
becoming fortitude, threats of a fanguinary nature^
from the enraged monarch. Rhadamifius throws
put a hint to his brother, that he will repent the
forward zeal which has brought them into fuch a
Situation. Teribazus, wild with refent/nent, hav*
ing heard Zenobia di^clare the fupp^fcd Flaminius
her hufband, treats his brother with difdain, and
vows eternal hofiiiity with Rome. Rhadamiftus^
pleading the priviledge of hisftation for lafety, is
^mfwer-ed by Pharafmanes, that he has forfeited all
title to relpe^t and protedion. Zenobia remon-
ftrates, in favour of her hufband, with force and
feeling \ which rather feems to precipitate his fate.
Nothing can be more languid than Rhadamiftus's
behaviour through this whole fcene ; when dragged
pff to execution, his wife foftens into fupplication^
and, on Pharafmanes's declaration, that her complin
ance with his amorous defires, is the only path to
mercy, ihe very pathetically offers her infant fon, as
a plea for milder treatment ; finding the monarch
inexorable, fhe gives full fcope to the diftradion
of grief : here Teribazus appears, and feems dif-
pofed to footh her, notwithftanding he has been thf
caufe of die pungent woe, fiie f^els.

On

:ft4 The DRAMATIC CENSOR.

Zenohia*

On the hint, that Flatninius is his brother Rhada-
miftus^ Teribazus entertains ftrong and natural fur-
prize ; and, with a great deal of juftice, aiks, why
fb important a fecret was kept from him ; on Ze-'
nobia's anfwer, which contains but a weak apology,
the prince refolves, afFeftionately, to favc his bro-
iher, for which purpofe he goes off. Zenobia,
however, does not draw any favourable confequence
from this unexpeAed turn ; but feems to think her
hufband^s fall is inevitable ; which melancholy re-
fiedion is confirmed by Zopiron, who brings intel-
ligence, that Rhadamiftus is leading forth to execu-
uon; this, v^ alarming crrfis, infpir^s ZenoUa
with a defptrate remedy, which (he haftens to put
in pradice ; but leaves the audience in doubt what
it may be.

Rhadamifhis appearing guarded, Teribazus joins
kirn, and enters into a private conference. The ex-
planation of affinity gives the former a fine oppor-
tunity of manifefting fraternal tendernefs, by grant-
ing unlimited forgivenefs to the perfon who has ef-
fcded his ruin. Indeed, the pifture he gives of bis
own difingenuous policy is a powerful exculpation
of Teribazus, and places him in the faireft point of
"view chat their condud and circumftances will admit.
However, his brother, on the propofal of a refcue,
even at the expence of their inhuman father's life,
fiiews true filial dignity, moft amiable perfevering
tendernefs, in rejeSing the idea of prcferving his
t>wn life, and even his love, by the facrifice of a
parent. Tigranes, with a frcfli fcntencc frooi Pha-

rafmanes.

[«■

The DRAMATIC CENSOR. 41^

Zenobia.

rafoianes, orders the guards to 'plunge Rhadamiftu^
into a dungeon, where his generous brother deter-
termines to attend him.

Tigranes, in a fliort fdiloquy, after the princes
are departed, feems to plan great matters for him*
felf, but is fo much the embrio of a villain, that we
fcarce khow what to make of him ; Zopiron now
appears with a fufpenfion of Rhadamiftus^s fea-
tence, by order of the king, and, as he fays, the
queen •, mention of the queen furprizcs Tigranes,
from whofe enquiry we find, that Zenobia hascon-
fented to be, and adually is, by a very (hort cere-
mony, the wife of Pharafmanes ; Zopiron's account
of the tranfadlion, has fome ihare pf merit, atid gives
CO critical perception a gleam of the cataftrophe.

When the royal pair arc difcovered, the monarch ^
expreflbs him£blf in afFedionace terms, while Zeno-
bia's words wear a cold and myderious gloom ; on
folliciting freedom, and fafe condudl to his friends^
for the Roman ambafiador, Pharafmanes^s impe-
tuous, brutal temper kindles, and mention of an
interview makes him not only reverfe the pardon he
fo lately granted into a frefh order for immediate
execution, but alfo treat his unhappy bride with the
moft fevere indignity j till at length by the opera- ,
tion of poifon he has drank from his nuptial cup,
his feelings are changed from rage to agony ; Ze-
nobia's triumph at his approaching fate, is moft cer-
tainly founded in juftice, and affords an excellent
crandtion in a(5ting, but. we mud contend that it fa«
vours rather too much of mafculine ferocity, efpe-

cially

/I

4i6 the DRAMATIC CENSOR.

cially in thofe lines of exultation fht %eaks after
Pharafmanes dies.

Upon the entrance of Rhadacniftusi freed from
captivity and danger, he flies with rapcare U> the
embrace of his beloved Zenobia i who firems^ like
Romeo, to lofe awhile the remembrance of poiion in
rapture ; Rhadamiftus in one line pays the tribute (^
filial forrow to an unworthy father, and die nei^
moment warmly applauds Zenobia for the virtuous
adion of murdering him.

When Zenobia feels the deadly draught ixrorking
in her veins, fome padietic firokes occur, but fo in-
ferior to thofc of the lafl: fcene of Romeo md Juliety
which they evidently, though faintly refemble, that
comparifon ikews them in a trifling point of view i
6ur heroine's conclufion would lofe much of its ef-^
fe£t but for the mention of her child : Rhadamiftus
is very feebly fupported for his cireumftances, ;ind
making the impetuous, hot-headed Teribazus, a*
midft fuch a fccne of confufion, woe, and the dif"
appointment of his own heart, draw the cool, mo-
ral inference which the author fixes from his piece^
feems rather a compliment to the performer^ than
ftriftnefs of propriety, which would have given the
Condufive fpeech to Megiftus, or rather 2^piron,
as the charader lead intercfted, confequently fitteft
for fpecuiative remarks : the fix lines of rhime arc
alfo as impovcrifhed jingle as ever we met in any
decent piece.

The unities of this tragedy are well prefervcd,
there are fome-furpri^cs, and many intcrcfting events

in

The PR AMAtf (Q CENSOR, 4%y.

in the plot, which is weU conduced for &^ tjufi-^T
nefs^ the vcrfifiGation is D€ithcr clegaat nor flowing^^
however, by rifir^ very little above me^fuifed profe^
it has no taint of bombaft ; the fentioients are trite,
yet in (everal places happily applied^ and we rea-
dily ^aA% that there are niany ftrong appeals to
die tender paQions, infomuch that wc know feveral
pieces much more poetical and correft, which can-
not draw fo many tears ; what light it (hews human
nature in, and how the great purpofe of inftru^ion
Is fulfilled, we &aU difcover by an inveftigation of
l;he cbarndlers, ^

^ Pharafmanes is one of the lAoft compleat, 'royal
villains we remember to have mtt with, capable of
crimes thoroughly attrocious, without one generous
fueling; his love is evidently f«ifual, his famebar-
Ijirity ; the fanguinc flavc of ambition, *ith cVcr y^
other hateful, turbulent paflSon ; he moves bef(^e.
us, from beginning to endj an 6b^£k of confummate
deteftation ; the author, intending to exhibit nature>
in a ftate of the utmoft depravity, has well fulfilled
bis deiign* As to the adting of this obnoxious mo-
narch, there are opportunities of exerting confidera-
ble talents to advantage, and we imagine Mr. Mos^
sop's executive powers might make him a very
conrpicuous chara£lcc, while Mr. Aickin ftand^
deficient both in dignity of deportment and extent
of voice, which latter defc<3: is. rendered more palpa-
ble, by a laborious wildnefs of exertion, by vain^ un-
cultivated attempCJi in fliort, he reminds us. of an
wbroken ftfied^ which is conftancly upon the grani
y^jL. i. H h h paw.

^

4iS The DRAMATIC CENSOR.

paw, without any grace or propriety of motion \
a little reftraint would throw him into more agree-'
able regularity, and mend his paces much.

Rhadamiftus is an honeft man and tender hufband,
in point of filial refpedt alfo he is commendable, bud
as CO heroifm he cuts a very poor figure, being, as
18 apparent, timorous and difingenuous : in thefe
failings he fcems to be a mere tool of the plot, which
greatly depends in its prefent form on his cenfura-
ble condu£l. Th^ p^rt was indifputably Written for
Jllr. Baiirv, whofe .performance happily fuftains
tiie author, wherever he has donejuftice to himfetf^
but as many of the Icenes manifefl: great inequality,
we are not to be furprized, that capital abilities in
fuch places, (hould (b far border on infipidity as to
pall ; one thirxl of this character omitted in a^dn^ ,
would render him more interefting to an audience,
and more advantageous to the performer.

Teribazus, we niay juftly ftile, the fquib and
(Tracker of tragedy, poiTeffing an undifguifed, gene-
rous and afTedtionate heart, yet precipitated by a
violent degre^<* of fretfyl impatience ^ there is an
oddity of compofition in this impetuous prince
n^hich Mf. Holland delineated with mafterly exe-
cution I bisf tranfitions were rapid, and his exprcf-
fion forceable \ that power of voice which on many
occafions he was too lavifh of, here operated plea-*
fingly, ai^d made, found literally an echo to the
fenfe.

Mr. Palmer appears in the fitqation of an un-
^Iful rider on a high mettled horfe i the part runs

- away

the DRAMATIC CENSdR. 419

away with hitn^ and he ik*as near tumbling heeb over
head as poflibk; We wi(h, firom real regard to this
lifing perfotmer^ that he would) before h^Ut takes
too ^ftrong pofleffion bf him, clap a check rein on
his expredion^ for it is a ftrid/ critical truths that
being under is better than over the mark^ and that
Oiariy natural deficiencies are foftened by a prudent
limitation ; fpirit Ihould enliven^ but not wage war
with propriety;

Megifttts is a very amiable {:terfonage,hurnane and
parental in his attachments^ humble in defires, and
refolute in danger ; we think the poet might have
made him much more cohliderable^ however, as Mr.
Hayard, far in the decline of life, was defigned
for the part, it was probably adopted in point of
length and feelings to his impaired faculties ; it is
certain, that gentleman did him great jufticcj a ten^
der, fenfible placidity of countenance and exprefiion,
gare the fentiments due eflFeft.

Mn Jefferson, who has taken pofieflion of the
eld man^ does not affe^l us fo much as hrs prede-
ceflbr, though neither languid nor difagreeable.

Zopiron feems little more than a filler up of the
drama, he appears to poflefs fome virtues, but has
no Opportunity, of exerting any^ and what he fays^
through the whole play, is of fo little Ggnificance^
that we are Ibrprizcd Mr. Packer can Walk thro*
him without fetting the audience afleep ; this is one
of many makcftiift charafters which, if totally o*
tnitted, would occafion little or no deficiency.

H h h 2 ^ Tigranes

410 Th€ DRAMATIC CENSOR.

Tigraoies feems to be a thorough paced pupil of
tyranny^ ready for all the dirty vork tiis mafter can
fuggcft* teaming w^th inifcfaief^ whkh, hovcTer, ht
cannot bring aboiif • Mr. Hujlst does him no i|H
jtiftke, except by a MoflTppian pompofity of utter*
ance, which hangs too much about him in every cha-
radier he perfprjus : we think proper to intimate^
that e^^ery imicaiii^e performer is fure to catch the
defedls of that perfon he aims at, much Iboner than
hb beauties ; and, as the 'latter^ac fecond baod, grow
much faintl^r^.fo the former rife to a Wronger idegree
©fdifgMft.

Zeimira -n as water gtuel a cfaaraScr as her hus-
band Z<3pfron,.and2)(rords noopporcumty fbrcuttkig
a conffMcuoiis figure i bring no more than a foil, fhe
cannot rife above the agreeablie, and: tbia Mns»
W. Barry r^ache^.

Zenobia engroiTcs more approl^aiton thaci any o^
ther charafter ;= as a princefs* wife and mother,,
ihe convmands our applaufe \ her fituatioBS ace well
varied, alarming and interefting;, we heai'tiJy con*-
cur with the author, that Mrs. Barry gives her
many additional charms^ that her aftion isa kind of
Promethian heat to the princefs, and that we have
not lately feen fo ilrong a di^ree of paflion and pa-
thos exhibited.

This tragedy, with adequate performers may^
nay muft always pJeafe on tlie'ftage, but as to pri-
vate perufal, wctWnk it will afford very little plea^
fure, and lefs inftruflion.

CYMON

The DRAMATIC CENSOR. 42^

■\ I

C Y M O N,

\ V

A Draxnatic ROMANCE. Anonymous*

T

H E title of this piece prepares us for an ii>-
vafion of critical rules, being profeffedly in the ex-
travaganza ft rain, we are to conftder it as a child
of unreftrained imagination, rather than the off-
fpring of nature and propriety ; wh^t has been al-
ready obje(^ed to ghofts, fpirits, witches,. &:c
even decked by Shakespeare's luxuriant fancy^
inuft lie much more forceably againft.tbe enchaiite]:^
and enchantf efles of inferior pens i but while pub-
lie tafte (hews fuch an unacountable eagernds to en-
courage found and psigeantry, it is not wonderful^
that authors and manager; fl)ould throw otit the
moft propable bait of foUy, by calling any iort ei
monfters to their aid.

Merlin and Urganda, two perfons poflefTed of
fupernatural powers, open the firft ad ; from theiff
converfation, it appears, that tl)e former has enter-
fained a pallion for the latter, without meeting
a fuitable return ^ be chaises her with teving Cy-
mon, and upon her prevaricating, urges iier hav-
ing ftolen that prince from his father,, in fearch of
whom an hundred knights are e;mployed» What is
a romance without knights i

By

411 The DRAIVIATIC CENSOFl;

By what Merlin fays^ Urganda inftead of fiilBll-
iog her appointed truft^ which was to guard the
peace and innocence of the Arcadian^, has funk
them into folly and vice ; here a fong occurs^
founded on that mod hackheyM thought* that art
impure fountain muft produce taihted dreams^ and
fo of ill examples from a throne*

Merlin^ proof againfl the foliidtatiohs and re-
Ddonftrafices of Urganda, declares revenge againft
her, and in the myftef ious language of a conjurer^ ]
hySy th^t Cyition^s cure fhall be her wound i this
alarms the enchantfefs^^ appreh^ndon, (He ponders
tn his wordsy when her attendant Fatitha apt>ears,
wb6 feems to form dreadful ideas of Merlin's dif-
pleafure, afid urges her miftrefs to avoid impending
3Is, by marrying him ^ this her attachment td
Cymon prevedtsj from which feveral pleafant re-
marks oil female weaknefs a rife, and Cy monks'
ftate of idiotifm is fet forth at large ; the inequali-
ty of maglck to the poWer of love is tdleraWy well
explained in a fong We meet here.

Among other fpirited remSu-ks, we think whaC
follows deferves quotation^ ** 'tis the bufinefs of
beauty to make fools, and not cure them ; even T,
poor, I could have made twenty fools of wife men,
k) half the time that you have been endeavouring to
inake your fool fenfible;" on feeing. Cymon at i
diftance, Fanma propofes to retire, but Urganda
deGres her aflfiftance to divert him^ and in a fong,
Tery like ali others which relate to enchantment, in-
vokes not only her attendant fpirics, but the power

3 of

The DRAMATIC CENSOR. 4aj

of muGc to influence him \ here the prince appears^
islouded with melanchoUy, a converf^ion eofues,
wherein many lines are fpoke, yet very little is
faid ; Urganda Tooths^ and Fatima raUies the lim-
pie youth, who anfwers with fuch dubious infenfiv
bilitys that no direffc inference can be drawa*
through five pages ; in ordei: to waken his feelings,
Urganda ihews him a delightful profpeft, of
which Cupid and his fqite make a part ; however,
the blind god owns his inability to conquer Cymon,
and feems rather nettled at being called on fuch "a
fruitlefs errand.

Cymbn's falling aflecp, amidft exhilerating cntcr-
tainmentv is a powerful proof of dulnefs ; on be-
ing awakened, he exprelTes a defire of going, and'
makes a pretty allufion, in fong, of his own cafe
to that of an encaged linnet ; at length, Urganda,
by way of working on his gratitude, grants ^im li-^
berty, and gives him a magical nofegay which can-
not create, but is capable of improving paflion \ he
receives both with a kind of puerile joy, and con-
cludes the f}rft aft with a fong on liberty, very
mjuch in the namby pamby drain, but well enough
fpr a fimpletqn.

Two fliepherdeffcs prefent themfelves at the be-'
ginning of the fecond aft, one in full fret at being
fprfaken, the other offering conciliatory advice ; Ur-
ganda's fruitlefs pafTion, though an enchantrefs, is
ipentioned ; from further explanation, it appears,
jtjaf ppe Sylvia is the objc6t of jealoyfy, as her

beauty.

424 The DRAMATIC CENSOR.

beauty feems to be an objeft of general adoiiracion
anoong the rural fwains.; after a very wdmamik
fcfolution of making her as uneafy as poffible^ de-
uFing pleafurei from ber pdrv the fitters are accoft-
cd by Lifx:o> a merry blade, who gires a fpecimen
of bis difpofition in a fpirited fong. His contempt
of fighing lovers is well expreflcd ; his contrafting
of Sylvia, who Ihuns gallants as induftriouQy [as^
other girls follow them, is alfo pleafing ; Lhico's
lecond fong is not a bad receipt for difengaged
peace of mind, but as to the poetry it is as moderate
as may be.

Upon being told by the angry (hepherdefs that
his prefcription wont effeft her cure, he thinks her
cafe deierves only to be laughed at ^ in a few lines
further he mentions, that Sylvia has feduced Da-
mon her G(ler*s fwain ; here the fcale is turned, and
fi^e who preached patience, being now touched her-
ftlfy breaths terrible threats *, at lei^th, both females '
are fo difconcerted at Linco's light treatment of
their ferious concerns, that they go off and leave
him to enjoy his laughter in another fong, which has
more fpirit than poetry, more found than meaning.

Merlin next appears, and in foiiloquy acquaints
us, that he has fown the feeds of mutual affe&ion
between Sylvia and Cymon ; by a touch of his ma-,
gical wand he communicates to a bafket of flowers,
the power of infpiring the heart with love, then
goes off uttering the fame line concerning Cymon's
cure he pronounced to Urganda in the firft aft %

iboa

theBfeAMATiC CEKSOR. 4*5

Toon as he di%pe^r5, the fimple pfince approaches
With his bird, tb which he determines giving liber-r
ty, having obtained the like happlnefs himlelf. On
feeing Sylvia as (he lies repofed on a bank^ he coii^^
fefles aftonifhrnent, and jti a fpeech of much natural
fimplidty, gives us to Underftand^ that new fenfa-
tions have entered his mind ; the ait* he fing? is in
a fuitable ftile^ and aSbrds very good opportunity
for a£tion.

Sylvia^s waking occafidns a Very pleafing and dif-
fident interview ; her fong is pretty, andtheafto-
fiilhed heQution between her and Cymon-has ad
agreeable, natural, effe A ; but is rather too great H
fiihilitude to th^ of Hypolita and Dorindain Dry*

The progreffive explanation of theif artlefs j>af-
fion is Vi^ry happily condufled ; her giving^ a^ A
token of remembrance^ the nofegay enchanted by
Merlin, and his ejcchanglng that prefented him by
tJrganda^ are well conceived incidents for conttnU«
ing and embarralTing the plot* The duet^ which
Concludes the fecond adt^ turns upon a fanciful ap
prKiation of inconftancy to fading flowers^ which
charm the fenles for a Ihort feafoni and foon grow
obnoxious* '

Urganda enters with her Confidant at the beginning
of the third ad^ making enquiry after Cymon $ and
h again rallied by Fatima for fo eagerly purfuing
fuch worthlcfs game* We apprehend this convex
hient lady's fehcme for making matters eafy, bf

^VoL*L III the

t^. cnchantrcrs's marrying Mer)*^. ^: r^jf ing^
mo^. as a' ^allanV Is tcjp fipcntfpMs;.. %Wef j, 1^-
ljp,mq(l be' a$ lUltlc of aiCPjij^jffTsWuth^uj&igi^s^Q^

"CyrnQn^s^rapjuj-pus cntranf;^. wifj!.* npf^y Q^

^i^'r^^^r-y! ^^' ">»ft?%»'? ^F»«f^<J?» ^hk;|\;is,, c^
the. youn^^npM h^* at^ laft. cot^<^y;4. a^ fiC'P'V. %

the ihoftagreeaUt fenfations^ and oirthe cpiic^ripi^
ofra^very^iaf),wroys,ai^^ which. h9..fuig8, cpmcf^ io
bis,vievi|^; arfidbt of fo,l»;:?{«l . anfi, tqjf iy^- aj^ol^
j'r^v co^rcioitt,%; of t|ie^d|.9^?g %^..rc/J^^gQ^,^
F^^?,?V^".^». he endepvoyfs,to h,i,d?.^lv<3,>^j>fe5

the change that applies in him, he i)ceya4eata,,,tiU
^, forced, to ihew .the fl<)we^s, _ tSj^.eqr^^^jin:
^k*'^^% #OYf s . m ."?!#/»., attd .biy .di/tpal^
'"yfefV. «^akes cnguiry^ bow^ b^^^ cam?. i)y ,ttiC-, prj;,
fent ;. Fatima caufes him^ to flip opt shfOt k, wa9,.fli,t

but gi*e$'traiiirpprte'd ^d^ fqjl .liberty to !fol|QS«
his^pwn inc|4r>^tiqrK.^ ho^Yeyc^^, aftey ^ hc^ Sf?.^;.offi^

pfdcrcd Facima to watch his motions, ii^^s,ij^
cxij with^ fong of. .fyripjjs impott^

Sylvia pow^ appears-, at jhc dof^L of Doccas'^s 50^
tagCv witii Cympn's prqfenr in ih^r .hand. la.a Igm
Kloquy and two. air s^ (h« confirfifes fingijlar- fadfi^
fadion* Tognp.wbat mingled witb^ occaftonal .doubt^

\

L!Hc6 liftchs ^nue the is mging, and payVk dfli-
^itt fcpmplimcht, hot only to the harmony qt h^
^tcei bat ttie innocence of her difpofition. ^hels
t^hef ttajtkdt at LincQ* s o vet-hearing licr private
"ifidugtiti iipoQ men a fubje^ ; tit acquaints nef,
tlii^ ftic is io appear before thci deputy gbvertipr:
to ahtw'er foriie complatnts^ which HavS been aodged
agiiini^ hfer by a feepnefdefs { however, Jiepromiires
hiy iVie^(^y Nuance. I^gnorant oi any criine, 6ut
tfi^ of being too hahtHbrne, iKe readily consents to
zhiM Msfiimrhoni

ikittiisy a deaf 6l^ vfotn^n^ jn whiojle care ^ylm
i&S btitt ftkj aTppeki'Si* and expfefle^ Keveral jealous^

apprchehfions concerning her charge ; ' but upbn ^ •
5^v^ appsjf^fit williAgii^fs to go, and Lincb'a

dF p^Oteaidri, flie agrees. The old wo-
^^^s il^e^loti il' well deicribtd, and, from wKat^
ay lay^iJSyhii^sicJeiltity ap^ ^or-

dcSitk fbn^ 0^ tiie danger young inexperienced fe-
mal^s ftaad efxpofed to in thefe days, compared
Witfc tfie' tiniie of her own youth, is trufy hiMsboi-
fBiis: HoweVer, vfe doubt Whether there ever wat
^ ag^ of aibfcjute general .conftancy in love; but
fatiir^ makes it a ciilq, to prefer things pa(tto the'

Dditui, the magiftfate^ hearang a ifi^epherde^ and
ng redrefs of her complaint, is next pro-
dcitfid'^ his worihip, in a very feW lines, exhibits a-
atdrdus tncfinations, which the female, either through
fdii" ot cunning, fcehis tdf favour^ artfully * inVrodu-

I 11 1 ci^

.>

-*■?"

4«8 The DRAMATIC CENSOR.

cing Sylvia's name ; ag^nfl: whom, being . wound
up by the prefect complainant, he utters fevcro
threats, Linco entering while Dqrys is kiflin^ th^
fhepherdefs's hand, protefts agajinft prejudiced h-
vour; and, to corroborate his argument, fings an
air pregnant with good fenfe as weil a^ humour,
which the magiftrate feems nettled at^ and. the (feep-
herdefs intipiatcs, that J^inco, being a friend to Syl-
via, is hq' foe ; this oqcafions the piagiftrate to in-
Xift upon Sylvia's immediate appearance. Th? in.r
terruption given him by Linco, whQ at Icaft-goc^
out for the fuppofetl culprit, is wbiniGcal ; here the
Ih^pherdefs departs with full and warno aflyrance^i
pf proteftion.

There is fomething extremely well imagined in
making Sylvia's charms inftantaneoufly ftrike the.
the old fpn pf vice 5^ for certain it is, that be who
makes juftice give way to one fet of features, will
alfai n'^ake her fubfervient to anpthcr that has
more force, pr noveUy. H? attempts queftioning.
with authority. But is unable tp abft raft his idcaisi.
fropi her beauty •, confequently, utters himfclf in
very incoherent fentences. This fcepe i§ condufted
with particular pleafantry. At length, Linca
advifes Sylvia, by way of making her caufc jnore
fi^re, to. fmg; .this fte complies \ff\thj^ and fa
powerful an ?fFeft is wrought uppn thp overwhelm-
ed Dorqs thereby, that he throws off all difguife,
and expreffcs himfelF in the tendered terms i at
vhich critical point of time the (hepherdefs re-enters,^

:>: J ■ Y

The DRAMATIC CENSOR. 439

10 cnqujr? if jGcntcncc/vs paffcd; this nettles Doras,
who anfwer? fretfvilly, but protnifing to fpcak with
her in the juftice's chanpberjj fends her pfFj then
renews his prpfcflions of favour to Sylvia, with
which, 4nd a fpirited fong by Linco, the third aft
concludes in a very pleafing manner, as fufpenfc
is judicioufly (uftained, and the huniour well va-
ried, , ;

yrganda, hurricaned with violent perturbation
pf mipd cooimences the fourth a£^ 5 and^ after ^ foli-
loc]^uy, or rather incantation, raifes a daemon pf re*
vcnge 5 who, like a very conpplaifant fiend,. ecchoes
his miftrelTes purppfe in a fong, which galls up fpme
of his infernal aflfociates ; after performing certain
jpyftical rit^s they follow the enchantrefs.

LincQ draws in Damon and Dorilas by force,
charges them with being jealous of Cymon and Syl-
via, which makes them fo forward to carry that
helplcfs fair before Urganda ; upon being rallied fe-
verely by Liqco, and pinched rather too clbfe^ the
Ihepherd feems to hint as if* he could not excul-
pate hia)fclf to the governor for fuch behaviour ;
however, the laughing blade feems to treat fuch an
apprehenfion very lightly ; and even when Dorus
perfonally orders him to join in the fearch for Cy-
mon and Sylvia, he makes feveral very ludicrous
cvafions, jetting even in the face of authority ; this
irritates the magittrate to difmifs him, and, in ri^turnj i
be gives Dorus a feyere rub, as never doing juftice^
but in conformity to his inclinations, or pafllons ; in
pb^dienqe to' which alfo he fets her at defiance. The

loft

43* Tke OR A M A t IC t^V^ Oft

iofs of Ms place fies eaty an chii (Sf^tig^^tiil-
ilFK)uri#» i^bo fcetns to tlihik, ^ m^.ttt:& (land, it ii
tf Iktdc confeqaence. We appf^heikl Kis fbnjg
points a€ got t>oli^I AiCpme^ fbf fdihe ydiri pa^,
Iiowev«r» they are touched Wirft sL nt^f j^UtlelidDd.

Fatmia now appears opod the watibh^foi^ Cynilon,
in obedience to her miibefs's orders } NT 6'rfifi e66)^
upon her, and on account of her niifchievou^ eV-
mpd, deteF«iiies Co ptwift her. Hie (56rijui*r'i)c-
ing invifibfe, be very convcnieiirijr h^ifrt #hat ttii?
female fpy remarks concerning CytoOtt and SjflVik;
kis changing what fiie has written td kttkri of bf66dy
amd quite a diflferent pwrporc frorh wlftf (he infehd-
^1 gives a good ' opportunity fbfdfeTciiptive a£i:lon.
On feeing Merlin (fee Corrfcifes ftrbrtg fear^ and ibothf
his conrpaifion inr pitifoi tetnlS ^ this he will gfaht
on one condition only, a pefitive injundion of fi«
knee, which Fatinra (eents to think, as nine tenths
of^ tho female' world would do, a terrible tax upon
Idquachy ; however^ according^ t6 the trite pro-
vefb, thfltneed^muft wheti (bniebody dti^es^ ahd'
up^ MerHn'i perfuafion, file eoilf^nts, 9s a defeat^
t^ Vrgandi^s curioQtf,^ ttf aftfwef nd oAcrwifc than'
by thb-naonofy Habits ay and nth

Oh the* MSgician^ dtparturtf; iii his dr^dn-dfawri^
ctofiot,' the ter rififed" waidng wtomarf def^aqts oh her '
^ptorable fituation irr folibquy, aiid fe^nls td thmk
ki& cfuel^, in taxing the tongue fbmirriercifully^ is
^tbout precedent, A fongup<iii'tBc words ftiel^ is
cinfifted-tOj carries her off agteMbly*

Cytrioii^

ffxifmfMifLiiSj^f^ HovroNiie fbrnakt;- acid^iVtitw
l^ii; vovi^roi Gcyifi^ay^ wHdi muobi ffervoun Wpm

£y^T({)flWts^wi^ piromtfe '€ilt a({fftanfeei Ttii

^5 A[inig3 1^ ^kUi^ i;i^tt' v/r may call / Ai^ yb^wt;^
^4^11 of lave J ist in tbeurue- paftorai^ ftrainj ai«i
4fi|Stcw^ wtmb poetical mericiokhefr ia verfificacioii or

yiiil^QypsxiO'MA:^ Sj'lviaiafse^intefcUan^ng^ n^fii

Qlfua^; Dilnacii Dortksv afftd^ a' {meet oF tB^ti^
q|lr|T^di9n9i> iiiho^fkftvta«mi; aiKi<^fieer)w«rds>ateennfpi
tQt^^ tHftnipiironevs*; tfaisengatncsi Gymori'to it<^
fi^3;iQCf 9 > hs - rc^ek . feme* by < forces, < bitt* wbtle bus II
P^^fuipg>; a: pan o£ the runaways, others of them^
^«^ pQr^/at thsiff hiead^ fdrround-Syivfei^ wfibii

iqgi .ppfc^es }tho^ Ic^ of hU'miftre&j and uttdii
hijsfanxiaiisforimg^jntan air >b6Fdet4ng upon freritfi
iVt;itbiftibfgtfining{of thjOf fift^i afl,* we meet U^^^
g^^ar- ai^drFa^a ( the t6Miep gkmng 'with cdrlN
o^y,. ct^ *\mtx^ labouring' unde# MerKh^s limitii^
tipq^* of' fpee^hvi The enchanireis tries inter rog8ti<)ll
is^^every ^$pe wiiibQutbeitig able toobt^ih a-f^I^
fa^t^y ^airfwen; from wh^rtee^th^ fcerte has^ fdrtift
huqn^u^ bw: is indifputiablf too lomg. Faftiftiat
isratJcB^h difmifled.by,'hcr enraged miftrcfs, td
wJboin iParus enttrs, whdnileets' but a rough rece^
tion^tiil he mentions Sylria V the thoughts of havih^
her in captivity fooths Urganda, (he enquires afceY

' Cymoni^

43^ The DRAMATIC CENSOR.

Cymon, and being xoformed that he could not bt
takeis file detenniaes to glut her. refentment on the
unhappy obje£t of his love i for which purpofe, Ihe
firft dooms Sylvia to deaths but on fecond thoughts
changes her fentence to confinement in tbtf black
tower^ one of her enchanted caftles.

The innocent yiflim appears, is threatened and
ih^wn the gloomy fpot of her dcftin'd captivity^ which
(he looks on with becoming intrepidity, and fmgs an
air which turns on this pretty, inft^rudive, though
common thought, that innocence is an impregnable
ihield againft the mod gloomy terrors of fate ; as
they are forcing Sylvia to the tower, the dreary
profpeft, by n>eans of Merlin's fupcrior power,
changes to one of comfort and magnificence ; this
ftrikes the defeated enchantrefs with ihame and ter^
ror, (he tries her wand, but finds its power blaftedj
and is ridiculed by her triumphant competitor^ A
flourifti of martial mufic is heard, which caufes her
to enquire the meaning of it, to which Merlin re-
plies that the hundred knights fcnt by Cymori's fa^
thcr, in qucft of him, have been drawn together^
and are preparing to grace the nuptials of Gymon
and Sylvia; he reminds Urganda, that her ill treat-'
mcnt of him has counteraded all herfchemes ; how-*
ever, he (hews fome dawning of pity for her fallen
ftate, which (he contritely thinks herfclf unworthy
of, then breaking her wand retires with a juft re*

mark, that power abufcd deferves to be fo annihi-
lated,

\- . Hert?

TheDkAMAtlC CEI*fSdfe; 4^^

Here d grand proceffion of the knights is intro^
duced, and indeed the execution of this pageantry^
oh the ftage is equal to any idea we can form of fuCh
ah affair ; but from this/ aiid niahy other pompous
attraflipns thrown out to catch public curioJity of
late years, we are under a neceflity of iremafkingi
that fuch luxury of fliow^ indicates a lamentable de-
cay of tafte : when the eyes ufurp the ' place of, oi
too much influence the ears in dramatic exhibitions^
judgment li deduced to a di^plorable ftate of fervi*
lity; however, this is criticifing rather unfairly^
while we review a piece founded uport magic ; irt
that light the author of Cymon has been remarkably
modeil, and introduced as few monftrolities as pof^
fibk

After the procefiion. Merlin gives a kind of
nUptial benediflion to the happy lovers ; a chorus
is fung to iVIerlin^s praife, after which, Lihcb recohi"*
mends humourdufly the old proverb, be riierry and
wife ; this brings on alternate tinging. With inter*
tiiingled chorus's by the feverai characters, and fqf
ends the romance.

We have already hinted that our bard, upon fo
iniaginary a pian,'might, if he would, have overleap*
ed the bounds of criticifm, nature and probability,
itiuch ihore than he has done, without any violent
apprehenfions of cenfure ; as to the ftile^ all fupcf*
natural agents are infipidi except thofe written by
Shakespeare, therefore, Merlih ahd Urgahd^
Cannot be iuppofed to utter any thing muth wotth
notice ; indeed, they fbmctimes entertain us With
Vol. L Kkk rhirtie?,

^^^'y^

424 The DRAMATIC CJEINSQR;

rhime, whiqh we grant unfn;)tural enough , buttbeu*
prpfe would do as well for any other perfonages.

Upon the whole, we cannot greatly applaud our
author for purity,tho* we allow him fpirit of ftilc, nor
fay much for novelty of fentiment, notwithftandingj^
it muft be admitte(i> he has made good ufe of fome
eftab)i(hed maxims ; his plot has not much intri*
cacy, yet is pleafing, the fcenesi are placed in tolera-
ble fucceiTion^ and if there are t\ot the nioft poignant
ftrokes of humppr, there is little danger of atten-^
tion's drowfing.

The fongs might have ,been much better, or c.op-'
fiderably worfe, mediocrity is the mo(l impartial
charafler^ we can give ; natwithftanding a moral
was very little to be expedied from a piece of tbij
Icin^, yet we find one bptb pleafing and inftruftive,
which is, that perfeyering innocence peed not defpair
under the mod apparent and terrifying difficulties,
pf finding eSedual alTiftance ; that power, derived
from evil principle^, is of very fallible apd perilha-
ble nature, and th^t uafpotted virtue \s the mpfl
valuable poffeflion of life.

In refpeft of the charafters we fi,nd Cymon by
enchantment a fool, and by the fame means reftored
to a ftate of fenfibiliry j Mr. Vernon, who has
fingular merit as an ador, fupports him in bo^ fi*
tuacigns with commendable ability.

Merlin is as good natured a conjuror as ever we
have met, however^ his inte.rpofition on the fide of
diftrefTcd innocence, does not proceed fo much from
fympathy, as from jealous refentment conceived a-

gainft

t^fc t)RAMATrC CEN^Ok. 4^5

Igkinft Utgandi, fbr pfdFerrmg Cytndn toWrh in the
fdeiis df !c)ve 5 hence fuch fatvoorible events ^Jfc
^ fender him aq iim'fable ^gent 5 tvhat he fays w
"does, f enquires vtry Mtrie f(M"cte^f aftion, he depends
upon ^lahi, level, declamatory otteranct, ^nd ftood
lb for rcffpeiftabfe in the liands trf Mr. Bensley, yet
^c tlAttk hitti coitfiderably irhproted by Mr. Ban-
insttR.

£)6rus is a gobd, becaufe too true pifture of fudi
magiftrates as hold jufticc in the leading^ftrings
•-of Aeir own p^ons, -ahd %}md hfer about a^ ca-
price w iritereft- dfrdfts t liit ^mforous incliriatkHi
throws hibi into hdghabfe cirttrmftances, and Mt.
f^AtistoNs*^ perfbrm^ncfe of him foftains the iaiuthor's
Iritfetttiiohs mbft happily 5 it iis cbnfiderAIe mertt
fdt aSfon to ^eep equal pac6 t^ith the wrtiing ;
Ibut to Wi^hten it ^ the gehtleman htfw before 6s
^do^s in tfhife part, ^dcfervcs a gr^er ftretch of praife,

- liiiitb h ia chartftdr of great Vivacity, uniformly
pleafant from beginning lb end, not only agreeable
froni the apthfeft of his eiipi^flions, but frdna their
-^hlrhdtthg, ben6vb!erit^tend^ni(ry 5 uppn ihils View 4t
is not to be wbhdei*ed ^th^t Mr. King (houlddilalte
the brows of fevered critieifin, and obtain the plea-
fin^ ^tribute of 'general appUiffe ; wc^nt recollddt
atadre drfengaged, ch&de;p}ece of adifig, and tbo*
We <kkit* pre tend to detertriine flVufical merit, yet '
we are bold to affcft, that the fongs of linco come
with as much meaning and eriterrainme^nc to t!he ear,
H^ ^^s in their ftile pdflibly c^n do. ^

Kkk2 ■ The

I

4a6 The DRAMATIC CEN5QR.

The Dampn pf Revenge has only a foog, wluch
WP ^ppi'^hcnd Mr. Champn|;s9 executes much tp
(he fatUfa£lion of his hearers j the Shepherds are fo
|ncon(iderab)e that to praiie or cenfure the p,er-
formers of them woqld be a \?afte of criticifto.

Mrs.BADDELE Y has merit in Urg^nda,but hs^s too
pla(:id ^ fet pf features, and top melodious a voi^
tor the paflions and gloomy fentiments of fuch a
part. Mrs. Scott, though inferior, makes a tole-
rable Ihifc in the enchantrefs.

^atima is compofed pf fpirited archnefs, and \s
fupportcd ^ith a very capital degree of pleafantry
by that excellent comic aftrefs Mrs. Abington 5
^e apprehend, if the author, inftead of the trifling
uppn yes and pp, had thrown a kind of amprous in-
- tprpourfe betvjrecn this character and LjncOjboth parts
vvppjd haye received con fiderable addition, and two
. perfprpiers of general eftimation, would haye been
prefpnted tothe aufiienqe in a more ftriking light.

Sylyia, though ihe did not abfolqtel^ dip with
Mrs.. AnN^, has faUen into very eyideftt cpnfuinp-
fiye fymptom^ i' not but wp allqw Mifs Radl^v
: fperit, bpth as an ad^irefsand a finger,

The Sbepherdefies cannpt be in better hands than

^hPfeof Mifs Reynoi-ds and Mifs Plyi^ , nor is

' MifsBufiTQN unworthy favourable notice in pne pf

^hcm at prcfcnt. Mrs. Br a pshaw, in Dorcas,

' fills up the author's idea, and grajilies any cxpcdta-

. pon fpe6latpr$ may form.

This romance was certainly iptended ^$ a n^ere
{heatrical reprefentation, and as fuch it affords very

agreeable

*■»'

The DRAMATIC CENSOR. 437

agreeable entertainment ; as to the clofet, it can on*
]y amufe very young, or very weak minds, on each
of which the notion of enchantment mud work a
prejudicial efied, and therefore we cannot juftly it*
frpmfnend it to peruf^l.

)8C)9C(*)}9C)8C

CATd

43^ tte t> R A^ A tl C t fe i^S 0 *J ,:

T O.

A TRAGEDY. iBy Mir. A'DDiisbfr.

X H E moral tendency of all Mr. Addison's
works, the ftrength of expreffion, the harmony df
▼erfiBcation, the purity of fentiment, and the afiu-
enceof idea, which fo eminently diftinguilh hispro«
duftions, have (tamped great eftimation on -his
name as an author *, perhaps his independent circum-
fiances and ftation might to the obfequious or ig-
norant add fome luftre : were we to judge of the
play now before us by the complimentary copies of
verfo which precede it, we fhould naturally prc-
fume it one of the moft dorre^ and amazing efforts
of genius ; yet, Mr. Dennis, a bold and laborious
, critic, undertook to point deficiencies in every
fcene, and though his remarks wore in general th^
appearance of fnarling, yet many of his ftriftures,
and thofe very fevere ones, were indifputably juft ;
his review,however,we have not been able ta procure
a copy of, and retain but a very flight recolledion
of it, therefore what we offer will neither incur the
cenfure due to his apparent malevolence, or rob him
of ^ any praifc his ingenuity may deferve ; we fhall
trace the piece as we have done others, not hunt ^f«
ter trifling flips, nor, on account of a great name,
flip over material ones, we confefs an exalted idea of
the author, but \«ill riot 'bcJ^lind to hh ^uXti.

Cato

•^-hc DRAMATIC CEl^SO^. 435

Cato commences with Fortius and Marcus, the
former cooly and the latter impetuoufly l^enting
the perilous ft^te of their father and their cour^t^yi'
they are both fdrniffied with o,bferya^ions worthy of
great and patriotic minds,but Marqus diminifhes much
by introducing his andprous pafCqn >yhen mattc»
of fo much deeper cpncern claini attention, and For-
tius difgraces, his dignity by mean dilTimulation i the
advice he gives Marcus is worthy a philofpphcr,but
when we conlider it fprings from ^ defire of \freaning
him from the obje6l of his o\yn affcdioq, it finks
under the denomination of plaufiblc artifice ; thu$ .
the elder brother beconaes lefs an pbjeft of eftima-
tion ip this fcene than the younger : on the appear-
ance of Semprpnius, Marcus retires to prevent his
mental agitation from being difcpvercd.

Semproniusnot immediately feeing Fortius, hint^
at a confpiracy , but goes to no point of explanation,
as the yovitb catches his eye ; under a previous pro-
feflion of difiin^ulation, he fpeaks as a fon of Liber-,
ty, mourning her approaching fate : a fine compli-
ment to Cato occurs, that of his virtues rendering
the penurious and (battered remains of Rome's fc-
nate awful ; it is aftonifhing why our author (hpuld
have blended fo much love withva fubjedl lb foreign
to it, yet Sempronius mentions his pafllon for Mar-
cia, as does Juba fometime after,, fo that there arc
four fwains employed in fighing even while Caefar
is at, and ready to ftorm their gate^. Fortius indeed
juftly mentions, that it is a mpft unfavourable fea-
ibn to court his filter, and goes off with a fpirited

refolution

4+0 The DRAMATIC CENSOR. .

rcfolution of encouraging the foldiers to fulfil their
duty as Romans.

On his departure Sempronius, in foliloquy, giv^
us to underftand, that h^ expeAs Syphax^ a Kumi«
dian chief, to grant him alTiftance in matters of mif-
chief ; then informs us, that Cato's refufal of Marcia
to his wilhes roufcs refentment, and thence intimates
a defign of giving up Cato to Csefar ; Syphax's Ap-
pearance brings this point to further explanation, the^
Numidian general declares his troops ready for a re-,
volt,but at the fame time acknowledges and laments
Juba's firm attachment to the virtuous Roman ;
Sempronius, however, urges a fre(h trial to bring
over that young prince. We admire Mr. Addi-»
son's idea of hypocritical patriotifm, where on thci
principles of deception he makes Sempronius fpeak

thus :

ril conceal

My thoughts in paflion ('tis thefureft way)

1*11 bellow out for Rome and for my country^

And mouth at Ceefar till I Ihake die fenatej

Your cold hypocrify's a ftale device ; ^

A worn-out trick-^ Wouldft thou be thought in earned

Cloath thy feignM zeal in rage, in £re, in fury.

He goes oft to cultivate a fpirit of mutiny vl*
mongft the Roman foldiers, and leaves his friend to
work, if poflible, upon Jubaj the young prince
immediately appears, and taxes Syphax with looks
of gloomy coldnefs, defiring an explanation ; the
old man, in a fhort, blunt reply, throws a farcafti-
cal charge on,and difclaims Roman diOTimulation %
this draws from Juba a liberal compliment in favour

of

The DRAMATIC CENSOR. 44*

Cart.

of his allies ; in return, Syphax enters into a fpiritcd
cotpparifon of Numidian worth, but confines him*'
fclf to martial excellence, while Juba very fcnfibly
concrafts the moral and fociai virtues ; this warms
the rough impatience of the old general, who give^
his expreifion fuch fcdpe, that the prince is under a
ncGeffity of giving a check, which ftOmachs the ve-
^a-an, and caufes him to try the pathetic, by mak«
ing mention of Juba's dying father ; afterwards he
touches upon Juba's love as the foundation of his
other attachn^nts, and paints the fuperior charm&
of tbofe beauties who may be met with in his own
court of Zama, but the royal youth nioft fenfibly
returns, that his regard is fixed upon internal not ex-^
ternal merit i here Marcia and Lucia appear^ which
caules Syphax to retire, execrating the former^ as
being conicious that a fmile from her can overturn
all the power of his perfuafion.

The intercourfe between Juba and his miftr^fs wci
deem extremely infipid, the lady indeed judicioufly
reproves her lover's whirling at fuch an interefting
point of time, and fends him off to more materia)
concerns with becoming refolution ; Lucia, who
feems to have fofter and lefs noble ideas than Mar-
cia, upbraids her with giving the good-natured prince,
2|s fhe oddly ftiles him, fuch treatment : Cato's
daughter, however, manifefts great good fenfe in
proceeding upon the principles of felf-denial, rather
than efFcminate the public caufe; Lucia confcfles
herfelf unequal to fuch fortitude, hence arifes a dif-
covery of her attachment to one of Marcia's bro*'

Vol. L L U thcFS^

44« The DRAMATIC CENSOR.

ihcrs, which, on enquiry, proves to be Fortius-,
this makes Marcia commiferate and plead the caufe
of Marcus, Lucia confefles great perplexity betweet^
the two lovers, which Marcia ftrives to foften by a
friendly and pious obfervation, that prefent forrow
under celeftial influence, may lead to future happi-
ncfs. She concludes the aft with a very beautiful
. fimile, harmonioufly, but unnaturally expreflfed in
rhimc.

Aft the ffcond introduces the Roman fenate in
expeftation of Cato, who, after a few prefatory lines
appears. In his addrefs to the fenate, he informs
them with juft dignity of, fentiment, how affairs
(land, and obferves the neceffity, from Csefar's near
approach, of determining upon defenfive or fub-
miflive meafures : Sempronius, according to what
he mentions in the firft aft, delivers himfclf with
all the impetuofity of a zealot for liberty, he draws
an irritative pifture of pad tranfaftions, and con-
cludes with a bold figure of being called to vin-
diftive meafures by the mourning fliades of de-
parted citizens,

Cato, ir^ return, with' political, as wetlasphito-'
fophical moderation obfcrve?, that impaflTiohed ar-
guments and refolutions are fcldom founded in rea-
fon, and that thofe who are intruded with the lives
of fellow fubjcrfts, fliould avoid wafteof blood, up-
on principles of falfe fame ; the opinion of Lucius
runs in a mild and pacific rurn,\vbich occafions Senf-
pronius to drop a malevolent infinuation againft
him ; however, Cato maintaining a juft eqiiilibrium^

3 of

The DRAMATIC CENSOR; 4.43

of deliberation,draws a juft and inftrudive line of dif*
tindtion, between an overheated rapidity of opinion,
and a frigid coldncfs ; wifely obferving, that though
it is neceflary to avoid romantit- f aflinefs, it is in-
cumbent on brave m«q and free fpirits to ufe with
becoming intrepidity, all thofc means which provi-
dence has put into their hands ; from what he fays,
refiftance upon prudential and virtuous principles,
feems to be his refolution, which he clofes with l
glorious obfervation upon the intrinfic value of un-
corrupt liberty.

Being acquainted by Marcus that an ambaflador
from Caefar demands admittance, with the fenatc's
concurrence, he orders the admiflTion of Decius, who
greets him m friendly terms, and is anfwered with a
moft elevated refcrve, where they only appertain to
hinxfelf ; but with much forceable and expletive
dignity where public concerns are touched upon.

Through the whole of this admirable interview,
out" hero throws a5de the paltry condderation of
felf with princely contempt, and his fpiritcd terms
for the good of his country, 'outftretch all praife ;
the author has alfo contrived to fuftain Decius in fo
agreeable a light, that it requires almoft ftoical Urm-
nefs not to think with him, that Cato's un(hakeable
perfcverance is rather too rigid, and that he fpeaks
more in the ftile of conqueft than unequal compe-
tition.

Upon the departure of Caefar's reprefentative,
Sempronius is forward to thank Cato for his refo-
liute conduct ; and takes an opportunity of being

L 1 1 a rough

Ij

t

444 The DRAMATIC CENSOR.

rough with Lucius ; for which he receives an elc-»
gant reproof from Cato ; feeing Juba approach the
fcnators retire, when a (hort interview fucce^ds be-
tween that prince and Cato, who tells the Nuraidian
what refolution the fenate have taken 5 after approv*
ing what he hears, Juba, by a diffident round about
method, makes abfurd mention of Marcia ; to
which her father replies with keen and fuitable bre-
vity, leaving the lover in a ftate of aftonilhcd per*
plexity.

In this condition of mind Syphax finds bisi royal
matter, and artfully tries therefrom to work up the
paflion of refentment, for which deep purpofe he
fooths his vanity with praife, and again recalls the
idea of his father, then comes plump on the object
cf his affedion, pointing out a way to make her his
in fpite of Cato, which expedient we find to be car-
rying her off by force ; this Juba rcjefts with laud-^
able and confummate difdain, giving Syphax fome
very fevere and juft reproofs for fo unworthy a pro-
pofition 5 thefe warm the old man into expreffiona
improper for a fubje<5t, and Juba is in confequence
irritated fo far as to give him the {tinging appeila^
tion of traitor, a term which awakens his caution,
and waf ns him of having ovefftepped the bounds
of p^fudence ; this indlfcretion he endeavours to ^re-
pair by humble conceflion, which not taking im*
mediate efftdl, he mod artfully difclaims all appro^
bation of the fcheme he propofed, and ftys the de-
fign of carrying off Marcia by force, was only fug-
gcftcd to palliate the paiins of bis prince's^Iove ; this

work*

The DRAMATIC C^NSOR^\ 445

works happily oh Juba*s tender, unfufpcfting nature,
and the praftifed politician worms himfelf into an
additional degree of confidence, by fpeaking in high
terms of Cato's precepts and example ; falling into
this trap of deception, the prince offers kind recon-
ciliation, and withdraws ; however, 5yphax, id a
Ihort foliloqoy, points out the difference of age and
youth with refpcd to affronts, and refolves upon an
entire attachment to Cxfar.

Sempronius*s entrance brings on further expla-
nation, and upon Syphax's enquiry how Cato de-
ports himfelf amidft furroundtng perils, he receives
the folk) wing anfwer, replete with poetical beauty.

Thou haft feen mount Adas
When ftorms and tempefis thunder on its brows.
And oceaos break their billows at its feet ;
It (lands unmov'd and glories in its height.

There never was a finer idea ftruck out of a great
man remainir)g unfhaken, amidft many violent af>
faults of frowning fortune. Syphax mentions the
impc^bility of gaining Juba to their fide, to which
Sempronius makes a kind of ludicrous reply, and
the defign of gaining Marcia for him occurs \ upon
comparing notes they feem to think every point of
the profped favours their defign ; as an affiftant to
the Roman mutineers, Syphax promifes that the
Numidians under his command (ball be ready at
the moment, and he draws a moft faticvfal fimili-
tude between the ftorm of [edition, and tbofe over-
whelming Whirl winds which often rife in the African

defarts 5 nothit^ caa be more elegantly expre(ftd,

but

446 ^ The DRAM ATIC CENSOR.

Cad.

but the jingle is very oSenfiTe to criticiim fouockd
on nature.^ = -

The third adi: opens with Marcus and Portrus
converfing upon the love affkir, which ; we. have al-
ready condenfined as a very cenfurable intrufion Up-
on the dignity of this piece, .

We Bnd Marcus, as at the beginning, overheated
with paflion, and Fortius endeavouring to mitigate
him ^ the former deputes the latter to be his advo*
cate, to follicit Lucia's favour for him ; this .the
latter attempts to decline, and feems to feel fome
touches for playing a double dealing part, howe-
ver, he dare not fpeak openly, therefore, upon Lur
cia's appearance, is left by his brother to plead the
caufe of his Icve ; ^nd how does he do it ? by ad-
vifing the lady to aft as hypocritically as him&if.
This, iiowever, (he gcncroudy declines, and vows
not to enter the nuptial tie with Portius, however
warmly inclined thereto, while fuch family afliiftion
is likely to flow from their union. This refolution
alarms the impatient feelings of Portius, who chacges
the fair one with coldnefs, and exclaims in terms
frantically inconfiftent with the idea we have hi-
therto formed of his charafter. The lady's faint-
ing is a mod laughable circumftance, and the whole
fcene, which ends as it bcgap, is fuch a laboured,
unfiniftied aim at uneflfential paffion, that we hear-
tily wi(h it annihilated.

When Lucia retires, Marcus comes forward to
enquire his fate, and forms an explanation of it from
the confufed countenance of his brother. This in^r

terview

The D JR A M A TIC CENSOR. 447

cervkw is made up of as ilrange and uninterefting
materials as the former, nor can we chink how the
author could have carried them off with any grace,
had not a martial fymphooy roufed their attention;
it is fome plea m faivour of the young heroes, that
love has not totally enervated patriotifm, but that,
as Fortius obferves, they are warmed to aftion by '
the trumpet's voice.

Sempronius having ripened his mutineers to ac-
tion, now appears at their head, encouraging them
to pef fevere, this is promifed ; when Cato enters,
with philofophic fortitude he queftions the muti-
neers concerning the motives of their bafe conduft,
and rates them with irrefiftable proofs of their in-
gratitude ; Sempronius, who perceives their fpirits
finking, curfes their timidity, and when Lucius
recommends their contrition to Cato*s mercy, urges
fcvereft execution, evidently to fcreen himfelf;
however, Cato declining every trace of cruelty,
dooms them to death in the mildefl manner, obfeiv-
ing, with great propriety.

When by juft vengeance guilty mortals perifli,
T^e gods behold their punifhment with pleafure.
And lay th* uplifted thunderbolt afide.

When this matter is fettled, and Cato goes oflF,
we perceive the mutineers have confidered Scrapro-
nius*s behaviour as calculated to deceive Cato in
their favour ; however, they find, too late, that
their imperfed, daftardly behaviour, as well it might,
has Bred him to the mod eager rcfentment, and are
carried off to meet an ignominious fate. Indeed,

they

448 The DRAMATIC CENSOR.

they are the (Irangeft inftruments of fedidou we
have ever met, aad fecm to be introduced for no
other reafon than to give Cato two or three good
fpeeches, and to infmuatc^ that his awful prefencc
was fufficient to look ctien out of their lives.

This fcheme being rendered abortive, Sypbax
enters, cells Senfipronius that his Numtdian troops
are all mounted, and advifes an attack upon the gate
where Marcus bokls Watch, by feizing of which,
they may gain Caefar's camp ; here Cupkl mterferei
again, and reminds Se^npronius, that 'Marcia b left
behind \ this difficulty ftarted, Syphax, like an
adept \a the arts of intrigue, as well as thofe of po-
litical treachery, propofes carrying her off, and for
profecuting this matter with more certamty, pro*
mifes tx) furm(h SempronHis, not only with the ha*
bit of Juba, but his -guards alfo, by means of which
he nsay gain eafy accefs to Marcia's chamber ; this
delightful mafqutrade kheme, io confident with
tragedy, and this in particular, is highly relifhed by
Sempronius, who draws from i( the moft favourable
omens ef fuccefs, and concludes the third ad with
,a pompous, high-flown affimikcion of hisprojeded
adventure to the Rape of Praferpine.

The two ladies favour U6 wiih their appearance^
at the beginning of the fourth a<5l ; Lucia ^hll com-
plaining of her wonderful perplexity, reminds Mar-
cia of her nmiiar fituation, between Jubaand Sem^
pponrus, but places thofe lovers in a famt point of
xiew when, compared with her inimitable Fortius x
tt is true^ love will be partial,, but need not be madr

unpollcc.

The DRAMATIC CENSOR. 449

4inpolite. Marcia declares diQike of Scmpronius,
and Approbation of Juba, but dutifully ibppofes fhe
has no vAW of her own during Gatd's life. At the
found of approaching feet thefe female friends re-
tire, and m^ke way for Sempronius, as Juba, to
appear ; during his exultation at the near com-
pletion of his bold wifhes, Juba, to his utter aflo*
nl(hment enters, thus confronted, nothing but the
death of one or both can decide their contention ;
this lot f^Us upon Sempronius, who dies with a
Tindidive execration in his mouth, while Juba goe$
to acquaint Cato with fo itrange and interefting an
event.

Lucia and Marcia, atlarmed with the dath of
"fwords, agaiin come forward, when the royal habit
of Numidia being perceived on a dead body, Mar-
cia, with the precipitate fear« of love, immediately
-concludes it to be Juba, and throwing off all referve
proclaims her paffion in the warmcft, mcfft undif-
guifed terms s at wliich critical junfture, her living
lover comes within hearing, and becomes a tran-
fportcd witnefs of her amorous explanation ; till
enable longer to contain, he prefents "himfclf to her
aftonifhed view, and heals her poignant woe; (he
feems to regret that her lieart Tias been fo fully fet
to view, but generoufly confirms the prince's hap-
pinefs, by repeating her declarations of regard ;
Ifhus they are fent off the ftage tolerably happy, after
the moft ridiculous, bo-peep tranfaftions, that ever
»difgraccd any piece of ferious <ompofition ; the

Vol. I. M m m whole

450 The DRAMATIC CENSOR.

Cat$i

whole love epifode is indlfputably pitiful, but this
kft mentioned fcene deferves fovereign contempt.

Cato and Lucius next come forward, the latter
cxpreffing furprize at Sempronius's conduft, the for-
mer, like an able pradical judge of life, declaring,
that general depravity takes away all fubjcfts of fur-
prize.

Fortius, with looks indicating deep concern, ap«
proaches, and is queftioned by his father if Caefar
has (bed more Roman blood, an interrogation ani«
ipated with the true fpirit of greatnefs, fignifying,
that no other caufe fhould move fuch apparent an^cie**
ty. On being told of Syphax's perfidious retreat,
and that an attack is made upon Marcus'$ poft, he-*
roically forgetting the apprehenfions of a tender pa-
irent, he is only concerned for his fon's behaviour,
and fends off Fortius exprefs to fee that his. brother's
duty is fulfilled. On the appearance of Juba,
covered with ihame for his general's treacherous be-
haviour, Cato maniftfis great liberality of mind, in
ipftening a charge of guilt the young prince levels
againd himfelf, as being a Numidian, of which cha<-
rafter Syphax has jufl: given fo abominable a fpe-

cimen.

Fortius's return and abrupt mention of Marcus
alarms our hero's fears, leaft his fon has been any
way deficient, but, upon hearing the manner of
his fall, after a very gallant defence, the illuitrious
Roman utters a mod noble and comprehenfive ex-
clamation in two words— /*» yi//jr/f^i— Never did
any author fuit expreOion to character and circum*

dance

The DRAMATIC CENSOR 451

ftance better than Mr. Adi!)ison has done in this
Weli-adtpted ftroke of fignificant brevity : Syphax^s
fate is aplealing facrifice tojuftice, and draws fronl
Cato )a iide of real dignity, mixed with paternal ten-
iaerneft.

On meeting the corpfe of his fon in foch a mang-
led condition, any father, pofTeffed of mere natural
feelings, would manifeft a weaknefs^ though an a-
miable one i but Cato, buoyed up by uncommon
refolution, and the love of his country^ fupports thb
fliock of fo afFedbing an obje£t with admirable firm-»
nefs I nay^ draws a pleafing picture of death obtain^
ed upon fo glorious an occalion, and fpeaks of it in
fuch infpirative terms, that the frownS' of the kin^
of terrbrs melt into fmiles.

Pointing out the example of the dead to the liv-
ing fon is judicious and afFefting, and we are of Opi-»
nion, that an almoft unparalleled magnimity of mind
is manifefted in letting forrow^s melting tribute fall
for the miferies of his country, though he irefufed
it to the deceafe of a beloved fon.

His defcription of Rome's decay rifcs in a beau-
tiful climax, and concluded with a fevere flroke upon
Casfar, as a political patricide ; thedifdain he (hews
at any idea of folliciting or receiving Caefar's mercy
is noble, his advice to Fortius worthy of a philofo*
phcr, the attention paid to the fafety of his friends
generous, and the leave he takes of them pathetic J
if he had not been carried off by the monotonous
jingle of metre. We do not perceive one idea or eX-
preffion, throughout this fccne, which we could wifli

M m m 2 altered

452 The DRAMATIC CENSaK.

altered ia any Ihape v- nor do we know where ratio-
nal fenfations can be more profitably gratified than*
by an adequate repre&ntation of it.

Though we cannot admit of an equality with
Hamlet's celebrated foliloquy, yet we readily place
that of Cato, at the beginning of the fifth a£t^ before
any other we have met ; the chain of reaibning.k
well compared, the fentiments reach a very uncom*-
mon degree of elevation, and infbrudlion pours
forth from every linc^ the intrufion of Fortius^
through filial anxiety for bi& father's fafety, is ror
proved rather fternly by Cato,. however,, he foon
calms, and colleds himfelf againft the worfl: events
that fortune may have in (lore, gives his mourning
fon hopes, and retires to take the refre(hment o£
fome fleep to recruit his exhaufted fpirits.

Marcia joins her brother Fortius, who comforts
her with the idea that Cato is more compofed, and
has determined to live for the lervice of Rome^
When Lucia comes on,, we find her ftiU harping oa
the love affair, amazingly out of fcafon, as we thinks
efpecially as (he feems to draw an uncouth inference
in her own favour, from the melancholy circum.-
fiance of Marcus's death, a circumftance not very
fit for an aSedionate fi fter'^ ear. Lucius coming on,,
gives an account of Cato's pleafant fituation in his
fleep, which we think rather too clofe upon Cato%
exit, for him to fall afleep, and Lucius to watch
him fo minutely as he has done ; befides, orders
were given that no perfon (hould approach him,
but this even in the view we place it is a very venial

flip»

The DRAMATIC CENSOR. 455

Cato*

flip ; by intelligence Fortius brings^ there are hopes
'c^ fuccours to relieve Utica, and to placfe Cato in t
probability of redeeming the glory, or ftaying the
fate of Rome-, but this tranfient dawn of comfott
foon paiTes off on the wings of an alarm raifed Iby
hearing a groan from Cato's chamber.

By the fuddennefs of this, after Lucius's account^
dne would be almoflled to think Cato had ftabbed
himfelf in his fleep ; that he has given the fatal
wound is confirmed by his appearance in an expir-
ing condition ; theaddrefs he makes to hisafflidled
children and mourning friends, is very confonant to
his charadter : Benevolence,, paternal tendernefs and
invincible refolution, atteod his laft moments, and
be falls into eternity an ob]e<5l of admiration^ though
a very dangerous and cenfurable fubjeft of imitation
for any man, in any ftation.

Lucius concludes the piece with deducing a difFufe
general moral from Cato's fall» which obferved in a
national fenfe, as the author undoubtedly meant it,
furniOies very ufeful, political inftrudlion, and
warns us againft the perilous confequences of civil
commotions which with undiftinguilhing rage fweep
away the mod virtuous, as well as the molt vicious
characters, nay, indeed, oftner fall heavy on the
former as foes tQ licentioufhefs, than the latter who
thrive in and confequently are mod a&ive to fup-
port it.

Having thus gone through a piece which at its
firfi: reprefentation, from feveral caufes made a great
noife> and met uncommon approbation, even from

contending

454 The DRAiVlATIC CENSOR.

contendiftg parties. We cannot help dbfervJng laftcr
due acknowlecJgrnent of its ufeful pblidcal, and iii
inany places nibral tefidency, that'(!hc aiithdr hiS in
ieveral fcenes trifled with his Ydbjcft tlf iftg^ty anA
^e/cdhfefs much fufprizcd, tli^t a perfoh *6f Mr.
Addison's ji^dgemcAt, flldu'ld h^Vc i^ndrVated hii
jgenius, which had much hiore dignity thirt'fbftnefs,
with fuch infipid love fcenes, fo iftC0rigrfl6trs'to the
reft of his piece, efpecially when a riiore uniform
plan could have been purfoed, by introducing Cief^r
in his camp difp^tchihg Decius on his embaffy, tnak«*
ing him treat the jJrofifcred treacherous iaflSftance 6i
Scooprdnlus with contempt, arid bringing him ^er
Cato*s death upon the ftage tOOflfer fortiejuft ftric-
tures on the impropriety of his killiiig hinirdf,
which even as a Roman Cabfar might have done,
fince it is very certain that a life of fo much publit
confequence fhould not be facrificed to fclfifti pride,
admitting that fuicide in Other cafes might be jufti-
lied.—

We are forry that felf-deftruflion is piked in fo
fair a point of view, and therefore think the cataf-
Itrophe of this tragedy highly cenfurable becaufe evi-
dently pernicious.

In point of charaSler, as a man, Cato ftrlkes us
with awful, yet agreeable fenfations >, he is a cool
philofoper, a warm patriot, a refolute chief, iatri
eloquent fenator, a tender parent, and an afTcftio-
nate Triend ; but ias the brighteft compofition nriani-
Tefts fpecks. To we find this greiatt man tainted with
Yuch *a degree of inflexible pride, that when he

fliould

•^'he D RAMAT^'iC CENSOR. 455

fliould ftand moft collcded, be gives way to that
powerful principk, ati4 rafli^ flicsi froca his coun-
try,' children and faithful aflbciatcs, into the arms of
death.

To perfbnate this chari^jfteij happUy, requires
confequence both of perfpn and <;ountenance ; ame-
Muous extepfive fullnels of Yokc and depth of
judgment ^ theatrical chicane cannot be of any
^ryice ;. ^e doubt not, but it mil feem treafoa
^infl: the majeily of e(labli(hed criticifm^ to doubt
Mr. Quin's fuperiority within the laft thirty years ;
yet we muft venture the bold affertion, that deduiSt-
ing his figure, afpedl and fuitaj^l^ voice, he was as
erroneous as fuch attributes would admit ; his adi-
on bad a laboyred ^menefs ip it ;. his utterance ap-
peared more fubfervient to the cadences of mea^fure
than the periods of fenfe, and his tones frequently
fwelled into offenGye poinpofity ; in fome of the
lines to Deci^s, he ftruck out beauties ; in receiving
the news of Marcus's fall, he was fine, and wept
for his country in the following fcene like a great
man i but his foliloquy and mpfl other parts of the
charafter, were chaunted in a very culpable manner^
fo far that we will be hardy enough to afiert, to a
nice ear he proved himfelf more of thp methodical

fpouter, than the affluent orator.

Mr, Sheripan wants face and figure much, but

fpeaks the author unexceptionably ; and by keeping

bis voice more within its compafs than in parts of

greater force and variety, muft render impartial

criticifm great pleafurc 5 for a dumb Cato we Ihould

have

456 The DRAMATIC CENSOR.

htve given Mr. Quin great pre-eminence, but for
a fpeakipgone prefer Mr. Sheridan, with all his
imperfe£lions» as coming nearer the author and na-
ture.

Mr. Mossop, from what we have obferved, can
never be admUed as a declaimer; fuch emphafis
hunting as he is guilty of, fhames oratory ; and IlifF-
cned awkwardnefs of deportment iH fuppKes the
place of eafe and dignity : Mr. Ross was too
much of the gentleman, too little of the hero in
externals; and, as to fpeaking the part, his utmoft
merit only reaches the praifc of delivering his part
in the manner of a well-tutored fchool-boy at Mr.
Rule's, or any other academy. Mr. Walker dif-
covered, four or five years fince, at Covent Garden,
a very confiderable (hare of merit, but not enough
CO ferve as a (landing di(h for public entertainment.

As we cannot remember all the perfons we have
feen in the feveral parts of this play, it is hoped that
mention of thofe who (Irike our recolledion will
faffice.

Fortius appears to be fenfible, and virtuoufly in-
clined, but dilTembles (faamefully with his brother,
and is in aftion very in(ipid : Mr. Bensley's re-
prefentation of him gives us tolerable fatisfaftion*

Marcus is of an undifguifed, generous, warm tem-
per, and, if tolerably fupportcd, always claim rc-
fpciSt on the ftage : Mr. Ryan did him originally,
and we doubt not with great merit, but was too
much in the vale of years when we faw him to look

3 any

The DRAMATIC CENSOR. 457

any thing like the charafter 5 however, we fuppofe
he did it for the fame reafon a ftrolling player of
fixty, once gave for retaining the part of the School
fiby, I have done it, fays he, forty years ago, and
therefore think I have a right to do know. Mr.
DviER has afforded us fatisfaftion in this character,
and Mr.WROUGHTON, tho* la, la; was more fuffcrable
than in any other part we have feen him play,
• Juba is a well-difpofed young prince, and feems
to have ideas of cftabliftiing fame on worthy prin-
ciples ; his attachment to Cato would, however, re-
dound much more to his honour, if there was not
reafon to fuppofe his tovefor Marcia the foundation
of it. In point of aSion, he cannot be rendered
very ftriking, being too much in the ftile of medio-
crity ; the bcft we remember to have feen was Mr.
DiGGES, who gave him much more force and va-
riety than Mr. Smith, though we think the latter
a ^ tolerable Numidiaii prince.

Sempronius is a rogue of very black dye, who
does not fcruple to attempt giving the laft ftab to
expiring liberty, and who wants to betray the mpft
virtuous citizen, merely on account of being re*
fufed the objeft of his amorous paffion. He is a
fair-faced villain, and couches dark defigns- under
the veil of patriotic profeffions; extent and weight
of expreffion are effential to this part, wherefore, we
are induced to pronounce Mr. Mossop the beft with-
in our knowledge 5 Mr. Sparks was extremely re*

Vol. U N n n fpeftable.

458 TheDRAMATIC CENSOR.

fpedable, and we have received fome plcafure from
Mr. Clarke, in this treacherous fenator.

Syphax is a rogue alfo, and difloyal to his princei
but he isfo upon racher aftronger principle thanSenv
pronius, for having conceived a fixed antipathy a«
gainft the Romans, whofe polilbed manners he in-
jterprets effeminacy, and being enraged at Juba'i
attachments to Caco, he endeavours to perfuade him
therefrom, which being declined with harfh terms,
the tefty old Numidian takes the peribnal.affrdDt
clofe to heart, and thoroughly connects himfelf with
Scmpronius's views. This charafter wc deem bet*
ter drawn than any other in the piece, and fupport'*
ed with great uniformity of fpirit.

Mr. The. Cibber, in our judgment, formed a
more adequate idea of Syphax than any other per*
former > his diiBmulaiion and teftincfs was defcrib-
ed excellently by that judicious comedian ; but be
retdned fo much of the cant, which is now happily
exploded, that we could only applaud him for what
be meant, not what he did. Mr. Gibson is a
mighty lukewarm ^ reprefentative of the old Numi-
^n, but unlefs Mr. Huli. Ihould venture on him,
is as well as any other perfon at prefent in Covent
Garden. Indeed, to ixy truth, take it for all in al),
there never was fuch a man^d fpe6):acle feen at i
Theatre Royal, as this tragedy was in April,
I770,^at that houfe ; and however ftramge the aifcr-
tion may ieem, k is ftri€tly true, that Mr« Ga&d-
NfiOEL manifefted more charaAeriftic merit in Liicius,
than any other perfon inihe whole drama. Of all

the

The D R A MAT I C C EN SOR. 459

the Dccius's we have feen, we don't recoUeft one
AifEciently to authorize particular mention.

Marcia is a lady poffeffed of juft and elegant fen«
timents, a worthy offspring of the great Cato, except
where (he is rendered rather ridiculous by the meta-
morphofe and fall of Sempronius : Mrs. Wor-
FiNGTON gave that importance to the charafter by
her figure and aftion, which Mr. Addison left for
the adtrefs to fupply 5 Mrs. Bellamy fuftained the
part very well, fo did Mrs. Hamilton 5 as to Mift
Miller, lately, llie was inoffenfive, and that's as
high as moft of the young performers can reach.

Lucia is a very tender-hearted fair one, violently
enamoured, yet fays or does very little worthy the
the leaft notice ; a good tragic adlrefs might be ren-
dered infipid by fuch a part, no wonder then that
Mrs. Mattocks fliould move through it without
any degree of praife ; Mrs. Stephens's manner and
cxpreflion is better (calculated to make things of
this fort agreeable, than any other theatrical lady we
know.

Party is of a very dangerous nature to dramatic
reprefentations, but both wbigs and form ukiti^
tVis piece as a compliment to themfelves, ftrenuouily
fupported it, and gave a fandion it never deferved,
for we muft abfoluteJy deny its theatrical exccJlexwe ;
it is certainly a morale colloquial poem of great me*
rit, but a tragedy full of defeds ; it Jhould be im*
mortal in the clofet, but cannot joftly claim polTcf-

fion of the ftage.

Nnn2 AS

46o The DRAMATIC CENSOR.

AS You LIKE It.

A Comedy by Shakespeare.

X HIS paftoral comedy, for fuch it may proper-
ly beftiled, opens with Orlando and Adam, the for-
mer a young gentleifian, recounting to the latter,
ftevvard of the family, the fcanty provifion made for
him by the will of his father, and the cruelty of his
elder brother, who treats him with much contempt,
not only neglefting his educaUon, but putting him
under the fevere neceffity of affociating with menial
fervants ; this, he conftfles, rankles in his mind, and
he exprefles a commendable determination to bear
it no longer. Here his elder bi-other, Oliver, ap-
pears, and accofts him in achurlifh manner, to which
he replies at firft with complacence, but,, upon irri-
tation, makes fpirited retorts, apd their conference
rifes to a quarrel, which the old man endeavours to
foften ; Orlando claims his fmall patrimony, or
more refpeftful ufage ; the former feems mod a-
greeable to Oliver, who partly promifes it, and then
not only difmifles his brother with much malevo-
lence, but forbids Adam his houfe alfo.

From an interview between Oliver and Charles,
the wreftler, we find that Duke Senior is bani(hed
by his brother, but that Rofalind, en account of the
afFe£lion Celia, Duke Frederic's daughter, bears her,
docs not go into exile with him 5 upon Charles's

mention

The DR A M A TI C CE N SO R. 461

As ym Like it*

mention that he hears Orlando has a private inten-
tion of wreftling with him, fuggefts to Qliver amoft
brutal idea, no lefs than the deftruaion of his inno"
cent brother, and this he cultivates by bribing the.
wreftjcr to exert all his fuperior,ftrength againft him,
with the utmoft malevolence ;. and after this ready,
agent of his malice difappears, gives a>?jhiofl: ex-
traordinary reafon for his hatred of Orlando, no o-
ther than4he many amiable qualities of that youth,
which he is either unable or unwilling to imitate. >
Rofalind and Celia fucceed this worthy blade,
the former expreffing a dcjeftion of fpirirs, on ac-
count of her father's exile, the latter offering cor-
dial confolatipn, which prevails, and produces fport-
ive mention .of love, which Celia rather feems to,
think dapg<?rous to play with ; fome fpeeches, when^
fortune is propofed as a fubjedl of their . mockery,
we, cannot help- tranfcribing, on account of the truth:
and pleafantry of thofe ideas they create. " Bene-
^ts, fays .Rofalind, are mightily mifplaced, and the,
bountiful, blind lady doth moft miftake in her gifts.
to womeiv:'* to which Celia prettily replies, " 'Tis.
true, for thofe that fhe makes fair, fhe fc^rce
makes honeft, and thofe that (he makes honeft^lhe
makes very ill-favoured :*V however, we think, ac-^
cor^ing^to a cuftpm of Shakespeare's, |hey.p!ay
too long upon words, and wear imagination thread-,
bare ; the clown appears as a meflenger, and defires.
Celia to go to her father, in that familiar ftile adopt-
ed by fuch gentry ; his afluring the truth of what he

has

46t The DRAMATIC CENSOR.

htA fiiid up6n hi§ henour^ occafions an egregious but
laughable quibble of terms.

When Le Beu enters, he acquaints the ladles that
they have loft much fport ; upon enquiry into the
Mture of the amufement they have tnifTed^
it appears to be a wreftling match, wherein three
young fellows have had many bones broke, are in
danger o( their lives, while their aged father is di-
ftrafted with grief at their misfortune, which^ as the
clown fenQbly oblerres, muft be notable fport for
ladies.

Duke Frederic, with Orlando, Charles, &c. enter,
the duke humanely pitying Orlando's inequality of
peffon for an athletic cqiitention, has endeavoured
to diffuade him from the trial, but in vain ; where*
fore Frederic defires the yoUng ladies to try their
petfuafion \ this kind tafk they readily undertake,
a(nd delicately enter upon the fubje€l ; however, the
young man appears to be under a gloominefs of
mind, which makes life or de^th a nfiatter of indif^
fbrence to him ; the ladies feeing him fb hazardoufly
bent afford him all they can, good wilhes for fuc*
cefs.

The wreftler Vaunts his fuperiority with great ap*-
parent confidence, while Orlando fliews engaging
contraft modefty ; this contention, though an odd
incident for the ftage, occafions an agreeable anxiety,
and the effeft of it, Orlando*s vidtory, very plesafing
fenfations *, making Rofitlind and her <:oufin ei^nd
favour to the weaker party, is a juft, and genteel
compliment to female generofity.

Upon

The DRAMATIC CENSOR. 46^

Ssnu like it*

Upon enquiry who OrUndo is, and Ending Um
the fon of Sir Rowland de Boys, Duk^ Fr^dene
i^m$ to entertain ftrong prejudice againd hi^ father,
and goes <^ abruptly, Roralind here mention^ the
affedionate regard kir father had for Sir Rowland*
which prejudices her in favour of Orlando, to whooi
(he and her coufm offer congratulation for his efcap^
and unexpected fuccefs j upon their going off he drops
a hint in two lines of a particular effcif): Rofalind ha»
had on him. Here Le Beu enters, and acquainta
Orlando, that whatever fair appearance Duke Frci-
deric might wear, his teipper is of a dangerous, un-
ceruin nature, and cannot fafely be trufted, therefore
advices his departure,

Orlando's enquiry which was the duk/e's dauglv*
tcr, is anfwcred by inforniation, that Rofalind, the
taller, is daughter of the banilhed» and CeJia pf the
reigning duke ; who, by Le Beu's intimation, en-
tertains a diQike of his niece, which is foon likely to
appear; Orlando thanks his friendly advifer, and
they go off feverally.

Celia and Rofalind re-enter, from what occurs be-
tween them we perceive, that Rofalind has fuddcnly
conceived more than a friendly regard for Orlando.
The duke now giakes his appearance in great wrath,
though from what immediate provocation we know
not, and dooms his niece to Aidden baniffament ;
Rofalind modeftly pleads her innocence, and Celia
urges her friendftip as motives for remiffion of fo
harfh a fentence, but the duke feeros immoveable in
his whimfical feverity, and even limits the extent of

Rofalind^s
I

i

•464 The DRAMATIC CENSOR,

Asyoii Like iti

Rafalind's flay. Celiacs determination to fl^a^^ the
cxileof her coufin and friend, manifefts mod amiable
and tender generality of mind ; they determine to
feck Duke Senior in the foreft of Arden, agree to
difguife themfelves, Rofalind as a man, Celia as a
Ihephcrdefs, and go ofF with a compofure of mind
truly philofophical.

The fecond adl commences with the old duke and
his faithful followers, as forrefters ; we have more
than once objected to frequency and length of quo-
tation, notwithftanding confiderable pains might
have been faved thereby ; however, we are now
come to a fpeech fo replete with moral meaning and
poetical beauty, tbat we cannot avoid prefenting it
as a treat to the reader.

Now my co-mates, and brothers'in exile.
Hath not old cuftom made this life more fweet
Than that of painted pomp ? are not thefe woods
More free from peril than the envious court ?
Here feel we but the penalty of Adam,
The feafon's difference, as the icy phang.
And churlifli chiding of the winter's wind ;
Which, when it bites, and blows upon my body.
Even till 1 fhrink with cold — Ifmileand fay
This is no flattery— Thefe are counfcUors
Xhat feelingly perfuade me what I am —
Sweet are the ufes of adverfity.
Which, like the toad, ugly and venomous.
Wears yet a precious jewel in his head.
And this our life, exempt from public haunt,
Finds tongues in trees, books in the running brooks,
Sermons in (tones and good in ev'ry thing.

Jaques*s

The DRAMATIC CENSOR. 465

JU you Like it*

JaqiH^s's account of the fcqucftcred (lag, which
i^^Ilows this excellent fpeech, the fatire therein
couched againft that moft abominable perverfion of
nature, ingratitude, is pathetically plcafing, but wc
are rcfolved to refift the temptation of trapfcnbing it,^
and therefore refer thofe to the play who with a pc-
rufal of it, affuring every competent judge, thar
tafte cannot have a higher, or niore valuable grati-
fication.

When thefe rural philofophers, as we may call
them, retire, Duke Frederic, and fome attendant
lords appear \ the duke intent upon finding ogt his
eloped daughter 5 as we remember, this (Ijort fcene
is omitted in reprefcntation, and in perufal feems of
very little importance, unlefs we receive it in the
light of mere connexion, nor can it be then very
material ; however, fearch is ordered for the runa-
ways, and as Orlando is fuppof ed of the party, his el-
der brothcir is called upon.

The fcene changing to Oliver's houfe, OrUndb
appears knocking at the door, an4 is anfwered by
Adam ; a moft feeling converfation enfues, wherein
Adam fpeaks powerfully to every generous fenfati-^
on ; his ofTering the fmall fum his oeconomy has
faved, to Orlando's ufe, is truly affefting; his reli-
ance on that general providence which caters for
beads of the field, and birds x)f the air, is worthy a
pious, fenfible heart ; and the diftimflion he makes
between temperate and licentious youth admirably
inftruftivc. Orlando's grateful fenfe of this good
and afFedlionate old Reward's behaviour, is by no

Vot.jl. Ooo means

^6 The Dramatic censor.

means inadequate, and their going off ftamps a re-
gard which rouift render them both acceptable to tht
audience whenever ihey appear.

Rofalindr in her mafcultne habit, with Celia and
^e Clown now prefent themfelves, much weafied
with their journey ; however, the Clown indolge*
his quaint witticifms. Corin,' an old (hepherd^ and
Sylvius,^ a young one, come forward, the latter men-
tioning his love for Phoebe^ the former advifing him^
to a moderation of his paflion ; Rofalind fympa-
thizes with Sylvius ; they aft Corin for his aflift-*
ance in refpeft of fomcrefre(hment, and receive an
hofpitabk anfwer ; upon his telling them that the
farm and flocks he belongs to are to be fold, Rofin
lind and Celia exprefs a delire of becoming pur-
chafers, and conftitute the old (hepherd their agent
for that purpofe.

A very infignificant fcene between Jacques, Ami-
ens, &c, enfucs, indeed, there is a fohg which, 'by
the help of Dr. Arne^^s very agreeable mufic, ren-
ders it tolerable*

Wc next perceive Orlando fuftamtng Adam, who
faints for want of food, with very tender care 5 aiift
proddifing to procure fomethii^, he defires the good
old man to reft under fdtne fhelter till he corned
back.

Duke Senior and his lords appear next, to whoni
Jaques comes wirte mirthful afpedt, occafioncd, ^
])e fays, by a conference he has had with a motley
fool, of which he gives a beautiful and inftruflive
account i upon their fittihg down ta^ rural enter-

• ■' tammcnty

The DRAMATIC CENSOR. 467

Ms^u Like it.

tainmcnt, they are accoftcd by Orlando, whbfe fud*
den, unreferved attack, occaGons the duke to en?
quire what the caufe of fuch an abrupt intrufioa
may be, which he explains by a plea of neceflity ;
on receiving a cordial invitation to fit at the table>
lie foftens into grateful gentlenefs, and expreffcj
iiinifelf in the following truly poetical lines.

I thought that all ttnngs had been favagehere.

And therefore put I on the countenance

Of fti^m commandment— But whate'er ye are

That in this defari inacc^Jfible^

Under the (hade of melancholy boughs,

Lofe and ne^le£i the creeping hours of time.

If ever you have look'd on better days.

If ever been where bells have knolled to church.

If ever fat at any good man's feaft.

If ever from your eye-lids wiped a tear.

And know what 'tis to pity and be pitied,

Lpt gend^nefb spy ftrong enforcement be,

In the wWch thought I blu(h and hide my fword.

Notwitbftanding the evident beautiesin thisfpeech,
we cpnceive two objedions, gne is to the word inac*
•ceffibU^ which puts us in mind of what an Iriib judge
fomcefaid to the higti flieriff of a county^ ^* Really,
Mr. Sheriff, the roads to this town ^xzimpc§ahle\^
JO which the fheriff very properly replied, "*Pray
thep, bow did your lordfhip get hither :** fo might
the duke alk Orlando how he got into the inaccef-
fible place — The word defart alfo fcems very much
«nifapplied when fpcaking of a forcft, for, as we
apprehend, the terra properly implies a wafte traft
of country, with ftarce any trace of vegetation ; our

O o o ^ fecond

it68 The DRAMATIC CENSOR.

' ^ As you Like if*

Tecond objeftion to the mnnner of placing the
words lofe and ncgled, they fhould certainly be tran-
fpofed.

The duke's replying to Orlando upon thofe ideas
he has fuggeftcd, is prettily imagined, and the young
man's attention to his old friend extremely amiable.
This unexpected gueft, and the account he has given,
draws from the duke a moft ufeful, confolatory and
philofophical remark : That however unhap[iy we
may be, there are others as much or more fo.
Jaques here delivers that mafterly pifture of human
life, componly called the Seven Ages, which we
Ihould think it our duty to tranfcribe, but that it
has been fo often quoted and parodied, that fcarce
any perfon can be unacquainted with it.

Orlando entering with Adam, they receive a kind
welcome, and partake of the entertainment, while
Amiens fings that agreeable and fenfiblc fong,
** Blow, blow, thou winter's wind." The duke
Jearns who Orlando is, and mentions in the conclu-
five fpeech of this aft, the regard he had for that
young man's father.

Duke Frederic appears at the beginning of the
third aft, demanding Orlando of his brother Oliver
In angry terms, and upon not receiving a fatisfaftory
anfwer, he orders a fequeftration of Oliver's efFefts,
with banilhment of his perfon ; this (hort fcenc is
often omitted in reprefentation, but we think it
fhould always be retained. *

Orlando now conftituted one of Duke Senior*s
followers, as a tribute to his love, hangs up a copy

of

The DRAIMATIC CENSOR. 4%

As you Like it,

ot vcrlcs, addrefled to Rofalind, in a tree, expref*
ling his paflTion in an agreeable foliloquy*

Corin and Touchftone entertain us with a coaver-
fation which exhibits feveral ftrokes of fenfible^ tho'
whimfical fatire, but delicacy is much offended by
feveral paflages ; however, the following fpecch of
Corin makes amends for many (lips : ^^ Sir, I am a
true labourer, I earn that I eat, .get that I wear, ow6
no man hate, envy no man's bappinefs, glad of
other men's good, content <vith my harm, and the
grcatcft of my pride is to fee my ewes graze and my
lambs fuck.**

Rofalind comes in reading Orlando^s verfes oci
herfelf, v(rhich the Clown very humoroufly burlefques;
Celia enters reading another poem of amorous ten*
dency \ after fending off the Clown and Corin, ihc
enters into a cor\/ercnce with her coufin Rofalind,
upon the verfes and the writer of them, and after
teizing her with fufpenfe, informs her that Orlando
is the man, which throws RofalirvJ into a pretty,
natural palpitation of heart. Seeing Orlando and
Jaques approach, they draw back, whije a (hort
difcourfe paffes between thofe gentlemen, the latter
of whom cynically rails at.the former's foft amoroui
tendency, which brings on retorts from each fide noi
of the ciyilell nature \ when Jaques goets off, Rofa-
lind approaches with confidence, under favour of
her difguife, and rallies Orlando with very pleafing
vivacity ; her diftinftions . refpcdling the paces of
time are peculiarly pleafant.

The

470 The DRAMATIC CENSOR.

As you Like f f«

The piAure drawn of a lover, and the method of
cure for amorous feelings, fhew a juft idea of na-
ture. Ro(aliod's mode of drawing in Orlando to
woo her, as hU miftfefs, is an agreeable device, for
diis purpofe fhe takes him off to fhew him her cor,
that he may call every day.
' A icene of fixne little laugh fucceeds between the
Clown and Audry, which is generally concluded vx
reprefentation by a moft pitiful and fulfome rfaime
€0 the woman's name. Rofaiind and Celia fucceed^
ipcpreflTmg fo^ie doubts concerning Orlando's con-"
fiancy ; the old fhepherd comes on, and acquaims
them^ chat the love-flck fwain, Silvius, whom they
have often ei^quired after, is at handt with his hard-
beafDed miftrefs ; when the Sylvan pair enter, they
KAen; on finding Phoebe obfiinateiy bent againft
Silvius's folicitation, Rofaiind fteps in to bis affifl:^
mnce, and catechifes the fcornful ftepherdefs with
great humour ; checking him alfo for proflituting
bis praife so encreafe that vanity which damps his
itiit. Phofbe throws out a few hints of tender re*
^ard for Ro&lind, which are treated with difiiain«
ind Silvius is ordered to purfue her. After Rofk^
lind and Celia go off, WefindPhoeb$ lavifk JA
jpraife of the^fdrmer, as a captivating youth ; how-
^rer, fhe fofte^s ib far in favour of Silvius, that (be
admits of his wooihg ; then exprefTes fome refent-
xnent at the freedom with which Rofaiind treated
her, determines on writing a fharp letter in return,
which Silvius promifes to deliver^ and thus the aft
coacludes.

In

TheDRAMATIC CENSOR. 471

Jby9U Liki iu

In the (irft fcene of the fourth aA, we are enter-
tained with a good deal of fpiriced quibbileand word-*
catching, between Rofalind ar\d Orlando ; one paf*
fage is fo peculiarly beautiful, that it3 merit wiU fu£«
ciently apologize for its appearing here* . When Qm
lando fays he will love for ever and a day, fhe repKea,
^^ Siay a day without the ever : no, no, OrJahdo^
men are April when they woo, December when tbejf
wed ; oiaids are May when they are maids, but the
iky changes when diey are wives. I will be mom
jealous of thee than a Barbary cock pidgeon over bis
hen ; more clamorous than a parrot againCk rain \
more new fangled than an ape ; more giddy in tnjr
defires than a monkey^ I will weep for nothing, like
Diana in the fountain ; and I will do i\m when you
are difpofed to be merry. I will laugh like a byen^
and that when you are aQeep.'' -

When Orlando goes off to attend "the duke at dtn*
ner, Rofalind profef&s regard for him even toa ra»
mantic degree of warmthy and Ibe gives a ^bimfical
^count of Cupid. Here a Ihort fcene between
Jaquesand ibme other forrefters intervene* but is o^
mitted in reprefeniation, fo that Silvius comes oa
diredtly to Rofalind with Phoebe's letter, which is no
fooner perufed but Rofalind ftiles it ranik abufe;,
however, on com municati ng the contents, it appears*
the enamoured (bepherdds has ftrung togetherfeve^
ral jingling couplets of compliment \ Silvius is con»
founded by his meflage and the ftrange interpretation
' xti it, which caufes Rofalind to fend him with a
charge to *Photfbc, that (he muft love him.

Here
3

47i The DRAMATIC CENSOR.

As you Liki itl .

* Here Oliver approaches the l^es, enquiring lor
iheiv totcagr, Cdia points out res ficuation i hbwe^ '
ver, from appearance, he judges them to be the
perfons he feeks for ; upon being confirnied in
this opiniofl, he prefents a bloody napkin to Rofa-
Und, and Orlando's excufe for not coming accord-
ing to appointmenr. The defcription of his own
perikMs fituation, and the generous interpofition of
Orlando to fave his life, are fet forth with much
poetical beauty ; but ablurdity, in point 6i circum*
ftances, ftrikes our perception plainly ; for how
could all he mentions have happened during the (horc
intervah of Orlando's abfence; particularly, how
has he had time to change from the wretched ftate
of being ragged and overgrown with hair, in which
he lay under the oak, to his prefent appearance ; in-
deed, he talks of being led to the duke, who or-
dered him array and entertainment: but, upon the
whole, we think matters are oddly hudled together,
merely to favour a flight of fancy.

The hurt Orlando has received in his fkh'milh
with the lionefs, overpowers the fpirit of Rofalind,
that (he faints under the depreffion, and is led home

by Cclia and Oliver.

At the beginning of the fifth aft, Touchftone

and Audry oStx themfelves to view, and are joined

by William, a fimpletop, upon whofe weakncfs,

Touchflione indulges his own fuppofed wit very

liberally ; an account of Audry, at laft be breaths

out moft terrible threats if JWilliam fhould cntertaa

any thoughts of that amiable creature ; this is a

fccne

M*

The DRAMATIC CENSOR 4^^

Icenc which makes us laugh without our knowing
why, and confifts more of mere whim than good
fenfe or ufeful fatire ; upon a fummons by the old
fliephcrd they go off.

Orlando ^nd Oliver next appear, the former, as
Well he may, expreffmg fomefurprize that Gelia, as
Aliena Ihduld have fo fudden and forceable an effedk
tipon the latter ; it is indeed an affair of much hade,
however Oliver not Only acquaints us with his own
paffion, but alfo informs us, that Aliena has ex-
changed love with him 5 when Duke Frederic ba-^
ftiihed Oliver, order was given to fequefter all hh
poffeffion, and from the condition in which Orlandb
found htm, it is reafonable to think thofe orders
had been amply fulfilled j yet here he propofcs giv-*-
ing his eftate to Orlando, and turning (hepherd him^
fclf fpr the fake of Aliena.

WhcnRofalind comes on^ after expreffing con-
cern for Orlando's accident, flie confirms Oliver'*
account of the love affair between him and Celia;
vrc wi(h a hint, with which her obfervation upon
the propofed marriage concludes, was made deli-
cate. On Orlando's exprefiing concern that his
happlneis is not fo near as his brother's (he comes
to the point, and promifes, if he is fo inclined, that
when bis brother is married, he Ihali marry Ro-
falind} Silvius and Phoebe joining company, thfe
feveral parties exprefs themfelves prettily as their di(i-
pofitions lead ; their converfatidn h a fort of crofs
{Hirpofes, which Rofalind ends by fatisfying all
paAies with a firing of senign^atical promifes.
Vol. I. P P P I«

\ -

i

474 The DRAMATIC CENSOR.

As you Like c^

In rcprcfentation Duke Senior ivith his followers
come next; to thepi enter Rofalind, Silvius and
Phoebe 5 the heroine under favour of difguife urges
a previous compaf): on all fides ^ from her father
flie extrafts a promife, that upon refbpring hia
daughter he will give her to Orlando, from Orlando
that he will receive her, from Phoebe that fhe will
marry her,or declining that, Silvius; then goes off as
Ihe fays to make all doubts even.

Touchftonc and Audry coming forward, the
company are entertained with fomc free, fignifi*
cant remarks, by the former : his proofs of being a
courtier, and his dllTertation upon quarreling, are
admirable ; we have not met a fevercr reproof of
the falfe fire and romantic honour of formal duellifts,
than this affair of Toudhflone's, upon a caufe feveii
times removed.

Rofalind, reftored to the cuftomary appearance
of her fex, enters, is recognized by her father and
lover, rejefted as a woman by Phoebe, and thus her
compaft with all parties becomes fulfilled. Matters
being brought to this agreeable conclufion, Jaques
de Boys comes on, and acquaints the duke of his
jeftoration 5 Duke Frederic having been checked in
the career of his wickednefs, and perfuaded to refign
the dukedom by a religious hermit, with this fa-
vourable account, and a profe epilogue, which never
fails of working a very pleafing eflfed, the comedy
of As vou Like it concludes.

This piece confidered at large has a very roman*
tic air, the unities foffer fevcre invafiojn, feveral

I f(^nes

, /

The DRAMATIC CENStDR. 475^

As you Like it. ^ ',

fccncs are very trifling, and the plot is hurried on ta
an imperfeft cataftrophe : we hear fdmething of
Oliver's being punifhed as an unnatural, abomina-
bte brother, but have a ftrong objeftion to crown-
ing fuch a monfter with fortune and love. An in-
terview between the dukes would have afforded an
opportunity for genius and judgment to exert them-
felves commendably ; however, with all its faults^
there IS not a more agreeable piece on the ftage; the
charadlers are various, and all Well fupported ; the
incidents, if not ftriking, are certainly pleafing ; the
fentiments, with very few exceptions, are pregnant
with ufeful meaning ; and the language, though
quaint in fome places, (hews in general ftrength and
fpirit worthy of Shakespeare's pen.

Duke Senior is an amiable character, fuftained
wjth philofophical dignity, turning the frowns of
fortune, as every man fhould do, into the means and
motives of inftrudtion : what he fays is not of fuffi-
dent length to conftitute a very confpicuous part in
aftion, but if a performer has any declamatory me-
rit, he may (hew it to advantage here. We have
naobjedtion to Mr. Burton in this noble exile, but
wifli Mr. AcKMAN may never thinkof him, except
as a feaftupon his own benefit night, that happy fea-
fon when annuals vegetate into charafters of confe-
c^ucnce in the drama, and large capital letters in the
bills-.

Duke Frederic is a notorious villain, of whom na
performer can poflibly make any thing, wherefore
wc Oiall not mention any body. Jaqucs, a cynical

.? p p 2 fpecU'

476 The DRAMATIC CENSOR.

As you Like i$%

fpcculatift, poffcfling much good f(?nfe with great
oddity: Mr. Qum wasan^bjeftof much admir
ration in this part, but from the opinion we have aU
ready delivered of that gentleman's declamatory abi-
lities, it is impofllble to admit that praife the par-
tial, milled public allowed him, Mr Sheridan
wants nothing criticifm can demand, he looks the
part well enough, and fpeaks it with the fame degree
of emphatic, defcriptive feeling with which the au«
thor wrote. M^ Digges did it confiderable
juftice ; Mr, Sparks and Mr. Berry both had
merit, but were too laborious and heavy; Mr.
X^ove's utterance of Jaques's fine, flowing periods,
puts us in mind of liquor gurgling through tht dif-
fonant paflage of a narrow-necked bottle.

Orlando, without any ftriking qualifications, id
an agreeable perfonage, and never can appear to
more advantage thaa through the late Mr. Pai-
MEj^*s reprefentation of him ; thei;e was a degree of
fpiritcd eafe manifeftcd by him not eafily met
with, and his perfonal appearance was moft hap«
pily adapted; Mr Dexter, a performer of me*
rit, in feveral parts, rendered this young man very
pleafingi and Mr. Ross, gave as much fatisfa£tion
upon the whole as any audience could reafonably
eKped; as to Mr. Reddish, he does not look at
^11 like the charadler, and fpeaks it too fcntentloufly,
wherefore we cannot allow him that approbation he
jpoftly defervcs, ^nd we are glad to give hinif

Adam

The D RAM ATIG C ENSpRr 47f

. Adam is^moftintereliing oldimn, and though
little feen, muft always remain in the recolleAion of
a diftinguifhing fpedacor y we dont recollect to have
received greater pleafurc from any body than Mr.
Moody, in this faithful fteward; whofe tender
fenfibility muft fit well alfo upon the feelings and
cxpreflion of Mr* Hull.

Touchftone, in fentiment and expreflfion, is made
up of whim, a charafter quite outre ; therefore in
a^ion cannot be tied down ta any exaft line of na^
ture. Mr. Macklin marked the meaning of this
charadler very ftrongly, but wanted volubility j
Mn WooawAR p is ej^tremely pleafant,and indulges
an extravagance not cenfurable ; however, in refpeft
of pointedi;ier$ and fpirit properly mixed, a forceable
yet free articulation, Mr. King ftands foremoft'ia
our eftimation.

We remember to have had the Angular pleafure
of feeing no lefs than five ladies perform Rofalind
with great merit, whofe names we fhall fet down ia
the fucceOion allotted them by our judgment ; Mrs.
BarrY| Mrs. Pritchard, Mrs. Woffinotoj^,
Mifs Macklin, and Mrs. Hamilton ; the three
former had a very evident fuperiority over the two
latter, and the two firft we deem fo equal in merit,,
that we only prefer Mrs. Barry as having a more
agreeable, cbarafteriftic appearance > Mrs. Wof-
fington's figure was uj;iexceptionable, but her ut-
terance and deportment were too ft:rongly tint^ured
with affcftation, efpecially for the rural fwain ; there
is a peculiarity and embarrafifmcnt of exprefiion iit

this

4^8 The DRAMATIC CENSOR.

this part which requires good natural parts or able
inftruftion, to hit it oflF happily.

Celia has a good deal of pretty, unimpaflioned
fpeaking, as well calculated for Mrs. Baddely and
Mrs. W. Barry as poffible, nothing is wanted in
the part which thofe ladies cannot agreeably furnifti ; "
and Audry in Mrs. Bradshaw*s hands, defenres
the tribute of laughter, for being well figured, and as
wellfpoke. . y

It is almofl: needlefs to remark, that as not one of
Shakespeare's pieces is without abundant beau-
ties, fo not one can claim the praife of being free
from egregious faults 5 however, in As you Like
IT, the latter fall very (hort of the former ; and we
make no fcruple to affirm, that this piece will afford
confiderable inftruftion from attentive pcriifal, with
great addition of pleafure from adequate reprefenta-
ticpn.

' We arc now come to the end of our firft volume,
with the very Angular fatisfadtion of not having one
material objeftion, cither public or private, offered
againft our humble endeavours, notwiriiftanding^
that living authors and performeris have been treated
with undifguifed, and we hope liberal freedom ; if
any perfon mentioned in the foregoing fheets can
prove a trace of partial, interefted friendfhip, un-
becoming timidity, or determined malevolence ; if
the praife and ccnfure alternately bellowed on the
lame perfons do not appear founded upon reafon and
nature, or at lead the offspring of involuntary etror,
the authors of this work will then give up all claim

to

The DRAMATIC CENSOR, ^yp

^Jbyou Like ih

to the unbiaffed veracity they originally profeffed ;
and they once again declare, that no connexion or
view whatever, (hall, in the continuation of this
work, warp opinion : feverai attempts have beea
made for that pq/pofe, but without eflfeft ; which
they hope will prevent any future ones ; critics, like
the Roman, (hould exercife juftice, even upon a
fon. ,

It was intended to add an inveftigation of each
peirformer's particular requtfites and defeds, but by
f efpeftablc advice, which we IhalL always follow^
that part of our defign is deferred to the laft number
of the fecpnd volunie ; to which alfo we fhall add a
diDTertation upon public elocution in general, and lay
down rules by which moft of our criticifms on per-
formance may be tried.

:Wc have nothing, further to ^dd at prefcnt, but
cordial gratitude for the very candid reception wc
have met ; and hope that our flips, as feverai there
muft be in fuch a variety of confiderations, may be
pointed ouf with the fame fpirit of kind cenfure, wc
Jiave ufed to others ; in the fuJnefs of heart we de-
clare that praife in every inftance has given us con-
fiderable pleafure, and the irkfome jneceffity of find-
ing fault, has furnifhed an equal degree of pain.

The liflof theatrical mufhrooms isalfo by defire
poftponed to the end of the next volume, when it
will no doubt be confiderably enriched.

The End of the FIRST Vclume.

I N D E X

Ta the DRAMATIC CENSOR.

V O L U M E I.

\

. • ' • r •

Page

ji^S you Uki it • * - ^^

Biaux Stratagtm - • •* . « 38

Beggar* s Opera • - » 1 14

Cato . . . • . . 433

Clandejiine Marriage • • 041

' Comnujfary - - • • 299

Cymon • 1. . - 421

CjFTw . - -^ - 416

fair Penitint - *. ' ^^ 256

Ilamht : »■ • . * • • re

King tear m . * . • 3j;2,

Love in a Village m -• • Ijj6

Macheth • • «i yg

Merchant of VeniU - '. • , 27S

-M«ar • - -

Othelk - - " ^ ■

Provoked Husland * ^ -- 194

Recruiting Officer - • • * 60

Richard the Third * - - ^ It

Romeo and "Juliet - •■ « 17,1

Fi?«/V< Preferved - - - 313

Zenobia • -^ * • 397

341
131

s-t