" 262. Thus YEARS ADVANCING many as well as of all the other parts of tra

comforts bring; “And, rlxing, bear off many on their gedy then in use: but he himself ex wing

pressly tells us in the very fame chapter,

that he had no such meaning, faying, “Multa ferunt ANNIVENIENTES commoda fecum,

that 'to enquire whether tragedy be “ Multa RECEDENTES adimunt.

perfect in its parts, either considered “Aristotle considers the powers of the in itself, or with relation to the theabody in a state of advancement till the tre, was foreign to his present purpose.' 35th year, and the faculties of the mind in the passage from which Horace has, progreflively improving till the 49th; in the verses now before us, described from which periods they severally de- the office, and laid down the duties of cline. On which circumstance, applied the Chorus, the patage referred to by to this passage of Horace, Jafon de the learned critic, the words of AriftoNores elegantly remarks - Vita enim tle are not particularly favourable to the nostra videtur ad VIRILITATEM ufque, institution, or much calculated to requò in 6TATU pofita eft, QUENDAM commend the use of it. For Ariftotle QUASI PONTEM ætatis ASCENDERE, there informs us, that Saphocles alone, ab eaque inde DESCENDERE.—Whe- of all the Grecian writers, made the ther Addison ever met with the com- Chorus conducive to the progress of the mentary of De Nores, it is perhaps fable: not only even Euripides being iirpoñible to discover. But this idea culpable in this instance; but other of the ASCENT and DECLIVITY of the writers, after the example of Agathon, BRIDGE OF HUMAN LIFE, ftrongly re- introducing odes as little to the purminds us of the delightful Vision of pose as if they had borrowed whole Mirza.”

scenes from another play.' As the notes on the chorus are emi- “ On the whole, therefore, whatnently ingenious, we shall lay thein be- ever may be the merits or advantages fore our readers.

of the Chorus, I cannot think that the Though it is not my intention to judgement of Aristotle or Horace can agitate, in this place, the long disputed be adduced in recommendation of it. queition concerning the expediency, or As to the probability given to the reinexpediency, of the Chorus *; yet I presentation, by the Chorus interposing cannot dismiss the above note without and bearing a part in the action, the fome further observation. In the first public, who have lately seen a troop place then I cannot think that the judge- of fingers assembled on the stage, as a ment of two such critics as Aristotle Chorus, during the whole representaand Horace can be decisively quoted, tions of Elfrida and CARACTACUS, as concurring with the practice of wise are competent to decide for themselves, antiquity, TO ESTABLISH THE CHO- how far fach an expedient gives a more RUS. Neither of these two critics striking resemblance of human life have taken

up the question, each of than the common usage of our drama, them giving directions for the proper As to its importance in a moral view, conduct of the CHORUS, considered as to correct the evil impression of vicious an eftablished and received part of tra- sentiments, imputed to the speakers; gedy, and indeed originally, as they the story told, to enforce its use for Both tell us, the whole of it. Aristotle, this purpose, conveys a proof of its inin his Poetics, has not faid much on efficacy. To give due force to fenti. the subject; and from the little he has ments, as well as to direct their proper faid, more arguments might perhaps be tendency, depends on the skill and addrawn in favour of the omittion, than dress of the poet, independent of the for the introduction of the Chorus. It Chorus. is true that he fays, in his 4th chapter, “ Monsieur Dacier, as well as the that · Tragedy, after inany changes, author of the above note, cenfures the paused, having gained its natural forin.

modern stage for having rejected the This might, at tirit fight, seem to in- Chorus, and having loit thereby at least clude his approbation of the Chorus, half its probability, and its greatest or

namenti * Bishop llurd's note on the Chorus,

nament; so that our tragedy is but a the Chorus the author of the English very faint shadow of the old. Learned commentary thus remarks: critics, however, do not, perhaps, con- • This important advice is not always fider, that if it be expedient to revive easy to be followed. Much indeed the Chorus, all the other parts of the will depend on the choice of the fub ancient tragedy must be revived along ject, and the artful conftitution of the with it. Aristotle mentions musick as fable. Yet, with all his care, the ableft one of the fix parts of tragedy, and writer will fometimes find himself em. Horace no sooner introduces the Cho- barrassed by the Chorus. I would here rus, but he proceeds to the pipe and be understood to speak chiefly of the lyre. If a Chorus be really necessary, moderns. For the ancients, though it oar dramas, like those of the ancients, has not been attended to, had some peshould be rendered wholly musical; culiar advantages over us in this respect, the dancers also will then claim their resulting from the principles and pracplace, and the pretensions of Vestris tives of those times. For, as it hath and Noverre must be admitted as claf- been observed of the ancient epic muse, fical. Such a spectacle, if not more na- that the borrowed much of her state tural than the modern, would at least and dignity from the false theology of be consistent; but to introduce a groupe the pagan world, fo, I think, it may of spectatorial actors, {peaking in one be justly said of the ancient tragic, that part of the drama, and singing in ano- she has derived great advantages of prother, is as ftrange and incoherent a med- bability from its mistaken moral.' If ley, and full as unclaflical, as the dia- there be truth in this reflection, it will logue and airs of the Beggar's Ope- help to justify some of the ancient RA!"

choirs, that have been moft objected to 290.-Chaunting no odes between the acts, by the moderns.' that seem

“ After two examples from Euripi“ Unapt, or foreign to the general theme. des; in one of which the trusty Chorus " Nec quid medios, &c.

conceals the premeditated suicide of On this paffage the author of the Phædra; and in the other abets Medea's English commentary thus remarks:- intended murder of her children; both

How necessary this advice might be which are most ably vindicated by the to the writers of the Auguftan age can- critic; the note concludes in these not certainly appear; but, if the prac- words: tice of Seneca may give room for fufpi- • In sum, though these acts of fevere cion, it should feem to have been much avenging justice might not be according wanted; in whom I scarcely believe to the express letter of the laws, or the there is one single inftance of the Cho- more refined conclusions of the porch rus being employed in a manner con- or academy; yet there is no doubt, that fonant to its true end and character.' they were, in the general account, ef

“ The learned critick feems here to teemed fit and reasonable. And, it is believe, and the plays under the name to be observed, in order to pass a right of Seneca in fome measure warrant the judgement on the ancient Chorus, that, conclusion, that the Chorus of the Ro- though in virtue of their office, they man stage was not calculated to anfwer were obliged universally to sustain a the ends of its inftitution. Aristotle moral character; yet this moral was rahas told us just the fame thing, with an ther political and popular, than strictly exception in favour of Sophocles, of legal or philofophić. Which is also the Grecian Drama. And are such sur- founded on good reason. The scope mises, or such information, likely to and end of the ancient theatre being to strengthen our prejudices on behalf of serve the interests of virtue and society the Chorus, or to inflame our desires on the principles and sentiments already for its revival ?"

spread and admitted amongst the peo. 297.–Faithiul and fecret?-INle tegat com. ple, and not to correct old errors, and mjila.

initruct them in philosophic truth.' " On this nice part of the duty of “ One of the cenfurers of Euripides,



whose opinion is controverted in the D'ailleurs, peut on faire un si grand
above note, is Monsieur Dacier; who crime â un poete, de n'avoir pas fait en
condemns the chords in this instance, as forte qu’une troupe de femmes garde
not only violating their moral office, un secret? He then concludes his
but tranfgrefsing the laws of Nature and note with blaming Euripides for the
of God, by a fidelity, fo vicious and perfidy of Iphigenia at Tauris, who
criminal, that there women [the Choc abandons those faithful guardians
rus!) ought to fly away in the car of of her secret, by flying alone with
Medea, to escape the punishment due Orestes, and leaving them to the fury
to them. The annotator above, agrees of Thoas, to which they must have
with the Greek scholiast, that the Co- been exposed, but for the intervention
rinthian women (the Chorus) being free, of Minerva.
properly desert the interests of Creon, “ On the whole, it appears that the
and keep Medea's secrets, for the sake moral importance of the Chorus muft be
of justice, according to their custom. confidered with some limitations: or,
Dacier, however, urges an instance of at least, that the Chorus is as liable to be
their infidelity in the lon of Euripides, misused and misapplied as any part of
where they betray the secret of Xuthus modern tragedy."
to Creufa, which the French critick The merit of the poetical passagesabove
defends on account of their attachment quoted would appear in a much strong-
to their mistress; and adds, that the er light if we could have allowed room
rule of Horace, like other rules, is for the original. The difficulty of the
proved by the exception. · Besides talk would then have been more appa-
(continues the critic, in the true spirit rent, and the real excellence of the
of French gallantry) should we so heavi- version would be more readily acknow-
ly accuse the poet for not having made ledged.
an assembly of women keep a secret?'


HE Theatre in the Haymarket, un- distract it by an assemblage of unnatu-

opened on the 311t of May, and ex- of no-meaning painting.
hibited a scene of alteration and im- A few years afterwards, prompted
provement that has been planned with more by liberality than any

real occagreat taste and judgement.

sion, it became the business of Mr, Mr. Garrick, as chief proprietor of Harris to add to the pleasure and acDrury-lane, led the way a few years commodation of his beft patrons, the since in this fort of theatrical improve- public, and to decorate Covent-Garment. Meff. Adams were then thought den theatre. A nicer taste was consultto have worked a wonder, by having ed to affift the alterations, and though contrived to give the interior of an old the convenience and satisfaction of the gloomy theatre a new, a gayer, and audience were principally consulted, even a gaudy appearance. When the the house was rendered more ornafirst feelings of surprise were over, men mental, without sacrificing to decorabegan to reflect a little on the proprie- tion what ought to be, at least the fety of style adopted in the alteration, condary object in every playhouse, the and it was generally agreed, that preserving throughout the building a though the whole gave evidence of theatrical appearance. great kill and fancy in the architects, With these examples before him, it was but ill suited to the purpose, Mr. Colman had the difficult talk to @nce the audience part of a play-house atchieve, of calling forth the public ougiit by no means to divert the eye approbation to an alteration of the of the spectator from the ftage, and Hay-market theatre, and from the

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concurrent testimony of the public, it lowing manner:- The Aage-boxes, and appears he has succeeded most emic those over them, up to the cielings, nently,

are supported by futed columns, with Whether the merit belong wholly to water-leayed capitals, partly gilt and Rooker, oris to be shared between that white; the rest of the supports are panable artist and the manager, we hesi- nelled pilasters, green and white, with tate not to say there is great merit in gold mouldings, with an elegant denthe alteration, which in the strongest tal entablature over the whole, the sense of the word may be termed an frieze of which is painted green,

decoimprovement. The stile of it is whol. rated with gold feftoons, interspersed ly different from that of the alteration with masks and vases: the fronts of all of Drury-lane, or the more recent al- the boxes are gilt open work, froin teration of the theatre in Covent-Gar. the hand rail, which is covered with den. Without being liable to blame crimson morine, half way down; this. for the false gaiety of the one, it does ornament, and the entablatures, are, not partake of the folid magnificence by an elegant sweep, connected with of the other, which, however praise- and carried round the fronts of both worthy in itself, can only be praise- galleries; the cieling is painted blue, worthy in a winter theatre. It is neat with white ornament, consisting of without formality, and airy without wreathes of laurels, & c. the frontispiece inkgnificance; in short, the alteration conlists of fluted pilasters of stone cois exactly what it ought to be in a sum- lour, and a green curtain with gold mer theatre, lightly clegant, and not fringe. 'The motto is “Specias et tacco too extravagantly gay, or, to speak in tabere,” in a shield, decorated with other words, and in more familiar ftone-coloured foliage. phrase, it appears to be well drefied, Mr. Colman has changed his motto, without looking like a petit-maitre. but not without keeping his predecessor, What molt recommends it, is, that it Foote in view, by an obvious imitaconveys an idea of agreeable coolness tion of his stage inscription. Foote and placidity before that of any other wrote up, Quid rides de te fabula nar. impression.

ratur; Colman now says, Sperlas, et In order to give those who are fil- tu spectabere :--may he present as true a led in such matters a profesional de- mirror as his predecetór! scription of the alteration, we thall in- When the curtain drew up, Mr. form them that the Theatre-Royal in Palmer came forward, and aäurefred the Haymarket is fitted up in the fol- the audience in the following

P R O L O GUE: OF real novelty, we're told, there's none; While on each post, the flaming cill displays We know there's nothing new beneath the fun; Our old New Theatre, and new alu plays. Yet still, untir'd, a phantom we pursue; The hag of ashion thus, all paint and fiovaces, Soll cipeciation gapes for something new! Fills up her wrinkles, and her age renounces. To wbet your appetite, and picue your taste, Stage antwers itage: from other boards, as L.cre, Each bard serves some old dith in new puff Have lense, and nonsense, claim'd by turns your

patte; Crains with hard crusts the literary glutton, Here late his jelts Sir Jeffrey Dunftan broke; And, like Lord Peter, swears they're becf and Yet here too Lillo's mute sublimely spoke :

Here Fielding, foremost of the bum'rous train, Old magazines each manager too plunders, In comic maik indulg'd his laughing vein! Like quacks and mountebanks, cric. Wonders! Here frolic Toote your favour well could beg, Wonders!

Propp'd by his genuine wit, and only legi Detection fcorps; risks contradictions Alat; Their humble follower feels his mcriticis, Boafts a black swan! and gives us—a black cat! Yet teels, and proudly boasts, as much fuccess. Two magpies thus, all winter charm the ear; Small though his talents, Imaller than his size, The felt-ame note our cuckoo dwells on here! Beneath


(iniies his little Lares riie: For we, like them, our penny trumpets sound, And, oh, as Jove once grac'd Philemon's thatch, And Novelty's the word, the whole year round. Oft of our coitage may you lift the latch! What tho' our house Be threescore years of age, Oit may ve grees you's full of hope and fear, Let us new vamp the box, new lay the Itage, With bearty welcome, tho' but homely cheer! Long para raphs thull paint, with proud paride, May our old 109f its old fucce's maintain, The gildei front, and airy baluilrada;

Nur know th: Novelty of your!



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This prologue is the production of tered into the spirit of the part with Mr. Colman, and, in many of its turns remarkable vivacity, and promises to and allusions, is very happy.

make an useful actress. June 3. This evening Miss George July 10. This evening Miss Frodmade her first appearance in the cha- jham played Rofalind in As you like it, racter of Rosetta in Love in a Village, for the second time, and with so much and afforded such ample gratification ease, archnefs, and spirit, that we to a large and brilliant audience, that make no manner of doubt, but with enough can scarcely be said in her com- instruction she will become one of our mendation, or in praise of the mana- first comic actresses. Her figure is gena ger, whose affiduity discovered such a teel, her features beautifully feminine, theatrical jewel, and whose good taste her eyes fparkle with vivacity, her led him to bring it forvard as the most manners are unembarrassed, and her acessential ornament of histheatre, tion is full of character and propriety.

Since Mr. Colman produced Miss She speaks as if she had made ShakHarper, no one finger has been brought fpeare her peculiar study, and had out at either of our playhouses, with a' caught his meaning minutely, but at tithe of Mifs George's qualifications, the same time she delivers it with a or who has promised to prove so valuable grace that seems almost beyond the reach an acquisition to the stage. Miss George of art. Having seen and admired her is apparently very young, and poíTeiles father on the stage, we are extremely an agreeable person, with a set of fea- happy to find that his daughter protures suficiently recommendatory. Her mises so well, and appears to have immanner and deportment are not yet bibed fome of his genius. With attheatrically formed, as indeed it would tention and care me cannot fail of be a wonder if they were, but they fulfilling our prophecy. will doubtless improve by practice. July 5. A new comedy intituled Her voice is clear, powerful, and full A FRIEND IN NEED IS A FRIEND of melody

INDEED, was this evening introduced June 19 A very young lady about to the public. twelve years of age appeared in Sally, The prologue, which is the producin the farce of Man and Wife. She is tion of Mr. O'Bryen, the author of the rather neat and elegant in her person, play, was spoken by and of a pleasing countenance: The en

MR. P A L M E R. IN times long past, ere Fashion's powerful fway, With pomps and pageants, and processions vie, Dragg’d men and things, and heaven and carth To blind the sente, and glut the gaping eye:

As women hide in paint a wrinkled face, A sober knight, who would be what he chose. Or dwarfs conceal deformities in lace. Bought, and long wore, a pair of worsted hose:

Some, nobiy trampling upon nature, draw But itockings muft, like empires, feel disease; Such myftic moniters as no ex'e c'er saw; And Time, that alters all things, alter'd these. Or, fcorning idle words, sublimely glow From worsted they grew filk; for with much art To trance mankind in jig and raree show, His fempitress darn'd with filk each broken part; Or teize with frippery till your reaton songs, Till, like old boroughs, they became deranged, Like craw-fick itomachs cramm'd with nau. And e'en their very conftitution changed.

feous drugs. Thus chang'd, our manufacture of to-night Fare how he may, our poet sought but this, Fiift from the loom, as Farce, it saw the light. To paint plain life precisely as it is. Our weaver view'd the stuff with courteous eye, And all may trace the likeness, for you meet And bade it be wrought up to Comedy.

The pi&tures whence he draws in every street. And, when you see its texture, may you find Judge then, with temper, of our device bard, Threads like that weaver's lilk reinain behind. For 'eis true wisdom not to be too hard. Once on two legs it crept; then crawi'd on four; The poet, like the itatesman, when disgrac'd, And now it limps on three, as once before. Joins tactious crowds, and roars to be replac'd. Unfix'd its title too, as well as frame

Damn'd bards at bards triumphant hiss and For as its tigure chang’d, it chang'd its name;

grin, As fait as politicians change their friends, As the out-itate inan thunders at the in: Or as mankind all change to gain their ends. And each (fustain'd by kindred spirits near him)

Poets there are, of generous loul, who grudge Plagues you with OH! OH! OH!--or Hear him, The town the trouble from their talte to judoc;

Hcar him,


her way;

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