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About Google Book Search Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web at|http: //books .google .com/I THE DRAMATIC CENSOR* s ^ ^ / "^ I 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