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Article THE MIRROR OF THE SPIS. Page 1 of 5 →
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
The Mirror Of The Spis.
THE MIRROR OF THE SPIS .
NO . . II . ' Fye ! let confusion on such clullnesss seize ; Blush j-ou ' re so pleas'd , as we that so we please , '
TO PHILODRAMATICUS . SIB , AS j-ou profess to make the stage the objeft of your peculiar observation , permit me , through the medium of your miscellany , to enter ' a complaint against a species of entertainment which , in the manner if is at present conductedcalls loudly for reprehension .
, Among the various amusements by which public attention is engaged , none ' has been ' so much the subject of animadversion and censure as the pantomime , according to the manner in which it is usually represented ; yet none is found so successful in pleasing the multitude , or filling the pockets of our theatrical managers . When a piece is written , designed to represent scenes of real life ,
it in general fails to interest , . unless character be distorted into absurd caricature , and wit degenerate into indecent double entendres and humorous vulgarity : the fine touches of-Nature ' s delicate pencil are overlooked by the multitude , and the spirit of refined sentiment or sterling wit evaporates without being discernible to their gross perceptions . " Even the representation of Shakspeare ' s tragedies is attended to with the most languid indifference ; the eyes of our belles
and petit , matins are taken from the stage perhaps at the most interesting crisis , to ogle across the theatre : attention to an impassioned exclamation , or affefting soliloquy , is interrupted by an unmeaning compliment , or frivolous remark ; and our box-lobby loungers can smile and take snuff with the most placid composure over the fall of beauties or of heroes . But whenever an harlequinade is introduced , overflowing houses areniht after nihtrivetted with attention ; a
, g g , grinning ideot called the clown becomes the Momus who presides over a nation ' s mirth , and if he but stand upon one leg , or open his mouth a little wider than ordinary , the whole audience , from the stage-box to the one shilling-gallery , is convulsed with merriment . Yet partial as the million may be to this exotic amusement , it will be found that there is scarce any so inconsistent with common sense ,
or degrading to rationality . It may be supposed that when supernatural agency is once admitted in theatrical representations , a greater variety mig ht be then introduced than in those confined within the limits of possibility . ; yet , strange to tell , though it is near a century since the pantomime was first imported into this country , the principal characters arid the plot continue nearly
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
The Mirror Of The Spis.
THE MIRROR OF THE SPIS .
NO . . II . ' Fye ! let confusion on such clullnesss seize ; Blush j-ou ' re so pleas'd , as we that so we please , '
TO PHILODRAMATICUS . SIB , AS j-ou profess to make the stage the objeft of your peculiar observation , permit me , through the medium of your miscellany , to enter ' a complaint against a species of entertainment which , in the manner if is at present conductedcalls loudly for reprehension .
, Among the various amusements by which public attention is engaged , none ' has been ' so much the subject of animadversion and censure as the pantomime , according to the manner in which it is usually represented ; yet none is found so successful in pleasing the multitude , or filling the pockets of our theatrical managers . When a piece is written , designed to represent scenes of real life ,
it in general fails to interest , . unless character be distorted into absurd caricature , and wit degenerate into indecent double entendres and humorous vulgarity : the fine touches of-Nature ' s delicate pencil are overlooked by the multitude , and the spirit of refined sentiment or sterling wit evaporates without being discernible to their gross perceptions . " Even the representation of Shakspeare ' s tragedies is attended to with the most languid indifference ; the eyes of our belles
and petit , matins are taken from the stage perhaps at the most interesting crisis , to ogle across the theatre : attention to an impassioned exclamation , or affefting soliloquy , is interrupted by an unmeaning compliment , or frivolous remark ; and our box-lobby loungers can smile and take snuff with the most placid composure over the fall of beauties or of heroes . But whenever an harlequinade is introduced , overflowing houses areniht after nihtrivetted with attention ; a
, g g , grinning ideot called the clown becomes the Momus who presides over a nation ' s mirth , and if he but stand upon one leg , or open his mouth a little wider than ordinary , the whole audience , from the stage-box to the one shilling-gallery , is convulsed with merriment . Yet partial as the million may be to this exotic amusement , it will be found that there is scarce any so inconsistent with common sense ,
or degrading to rationality . It may be supposed that when supernatural agency is once admitted in theatrical representations , a greater variety mig ht be then introduced than in those confined within the limits of possibility . ; yet , strange to tell , though it is near a century since the pantomime was first imported into this country , the principal characters arid the plot continue nearly