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Article PUBLIC AMUSEMENTS. Page 1 of 1
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Public Amusements.
PUBLIC AMUSEMENTS .
HAVING been pressed for room , on account ot the importance of those events which have lately happened in Ireland , we were obliged to postiinue our Register of the Theatricals . We now beg leave to present our readers with a mention of each piece in the rotation they appeared . J 2 . 3 . —The INQUISITOR , a play , was afted ' the first time at theHay-^ market . This piece is a free translation from the German , and abounds in the marvellous , the mysterious , and the terrific . The plot , however
defective , is carried on with some consistency ; but the principal incidents , which are evidently taken from our Romeo arid Juliet , are so travestried that they produced no inconsiderable degree of ridicule . The sentiments and diction are more congenial to the spirit of oriental pomp and extravagance , than to that rational refinement which should prevail in Europe at the end ofthe 18 th century ; and where the author descends to . familiarity , the expression is frequently msan and ludicrous .
The interest of the piece rests upon two points : the unqualified tyranny ofthe tribunal of the inquisition , and the omnipotence of the passion of love . If the writer wished to picture the violent emotions of the human heart , he has neglefted the proper means of attaining that important end ; for instead of natural expression , which in the drama is justly supposed to be the effeft of sudden impressions , we are struck with a constant and studious choice of pompous terms , an idle display of tinselled frippery in language , that shews a remoteness of thought from , that which is under immediate consideration ; and betrays a miserable alleviation and want of feeling .
Though the play was of a very gloomy nature , the audience were in a merry mood , and indulged in repeated bursts of laughter , in consequence of several ludicrous passages , which occurred in different scenes ^ . J 6 . — ' THROW PHYSIC TO THE DOGS , ' a musical farce of two ails , was performed the first time at the Haymarket . . This piece was unsuccessful , and did not deserve a better late than it met with . The only attempts at character were Quotion , , a compound of Dicky Gossip , Pangloss , Lingo , and
Scrub , and well performed by Fawcett ; a too cleanly housekeeper , who , in . her anxiety to keep every thing clean and dec .-iit , deprives her master ofthe ¦ use of his house ; and a brain-sick old man , who fancies himself transformed into a China Mandarin . Of p lot there was none ; and on the second attempt to produce it , it was consigned to oblivion . Th- music was b y Dr . Arnold , and very indifferent . Another objeft of dramatic criticism presented itself this montha lay
, p from the pen of Mr . BOADEX , entitled 'THE CAMBRO-BRITONS , ' which "inch was brought forward at the Summer Theatre on the nsr . The fable carries us back to the 13 th century , when our third Edward , in his attempt to reduce the principality of Wales to subje & ion , met with a gallant resistance from the brave Llewellin .
Tne legitimate interest given to the piece irises from the situation of Llewellin , nobly contending for his lawful throne and native dominions , against the encroaching spirit of an ambitious neighbour ; and from the treachery of his brother David , who deserts his family and cause , and joins their enemy , in the hope of obtaining possession of Llewellin ' s betrothed unstress . The illegitimate interest of the piece is derived from the stale though modern trick of introducing a hostand from the Harlequin-leap of a
Camg , brian hard from the summit of a rock into the sea . The maxim of ' -Nee Den s uiicrsit nisi digitus vhuiiee nodus , ' is treated with sovereign contenipt by the w . tiirs of the present day . VOL . XI . D d
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Public Amusements.
PUBLIC AMUSEMENTS .
HAVING been pressed for room , on account ot the importance of those events which have lately happened in Ireland , we were obliged to postiinue our Register of the Theatricals . We now beg leave to present our readers with a mention of each piece in the rotation they appeared . J 2 . 3 . —The INQUISITOR , a play , was afted ' the first time at theHay-^ market . This piece is a free translation from the German , and abounds in the marvellous , the mysterious , and the terrific . The plot , however
defective , is carried on with some consistency ; but the principal incidents , which are evidently taken from our Romeo arid Juliet , are so travestried that they produced no inconsiderable degree of ridicule . The sentiments and diction are more congenial to the spirit of oriental pomp and extravagance , than to that rational refinement which should prevail in Europe at the end ofthe 18 th century ; and where the author descends to . familiarity , the expression is frequently msan and ludicrous .
The interest of the piece rests upon two points : the unqualified tyranny ofthe tribunal of the inquisition , and the omnipotence of the passion of love . If the writer wished to picture the violent emotions of the human heart , he has neglefted the proper means of attaining that important end ; for instead of natural expression , which in the drama is justly supposed to be the effeft of sudden impressions , we are struck with a constant and studious choice of pompous terms , an idle display of tinselled frippery in language , that shews a remoteness of thought from , that which is under immediate consideration ; and betrays a miserable alleviation and want of feeling .
Though the play was of a very gloomy nature , the audience were in a merry mood , and indulged in repeated bursts of laughter , in consequence of several ludicrous passages , which occurred in different scenes ^ . J 6 . — ' THROW PHYSIC TO THE DOGS , ' a musical farce of two ails , was performed the first time at the Haymarket . . This piece was unsuccessful , and did not deserve a better late than it met with . The only attempts at character were Quotion , , a compound of Dicky Gossip , Pangloss , Lingo , and
Scrub , and well performed by Fawcett ; a too cleanly housekeeper , who , in . her anxiety to keep every thing clean and dec .-iit , deprives her master ofthe ¦ use of his house ; and a brain-sick old man , who fancies himself transformed into a China Mandarin . Of p lot there was none ; and on the second attempt to produce it , it was consigned to oblivion . Th- music was b y Dr . Arnold , and very indifferent . Another objeft of dramatic criticism presented itself this montha lay
, p from the pen of Mr . BOADEX , entitled 'THE CAMBRO-BRITONS , ' which "inch was brought forward at the Summer Theatre on the nsr . The fable carries us back to the 13 th century , when our third Edward , in his attempt to reduce the principality of Wales to subje & ion , met with a gallant resistance from the brave Llewellin .
Tne legitimate interest given to the piece irises from the situation of Llewellin , nobly contending for his lawful throne and native dominions , against the encroaching spirit of an ambitious neighbour ; and from the treachery of his brother David , who deserts his family and cause , and joins their enemy , in the hope of obtaining possession of Llewellin ' s betrothed unstress . The illegitimate interest of the piece is derived from the stale though modern trick of introducing a hostand from the Harlequin-leap of a
Camg , brian hard from the summit of a rock into the sea . The maxim of ' -Nee Den s uiicrsit nisi digitus vhuiiee nodus , ' is treated with sovereign contenipt by the w . tiirs of the present day . VOL . XI . D d