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M AC “ This play (says Dr. Johnson) " that of many others, has always “ is deservedly celebrated for the “ been lessened by a circumstance, “ propriety of its fictions, and " which I would fain submit to “ solemnity, grandeur, and variety“ the consideration of managers, “ of its action; but it has no nice " the introduction of a chorus or discriminations of character: the " of witches much more numerous “ events are too great to admit the " than was intended by Shak“ influence of particular disposi. “ speare. According to the ut. “ tions, and the course of the ac- “ most latitude allowed by any “tion necessarily determines the “construction of his play, the « conduct of the agents.
“ number of these should not ex“ The danger of ambition is " ceed six ; and there is indeed or well described ; and I know not “ much reason to believe, with “ whether it may noi be said, in “ Mr. Ritson, that Hecate should “ defence of some parts which now « not have more than three visible
seem improbable, that in Shak- « attendants. The direction · En.
speare's time it was necessary to " ter Hecate and the three other “ warn credulity against vain and “ witches,' when there are already “ illusive predictions.
“ three upon the stage, is probably “ The passions are directed to erroneous, no other three having " their true end.
Lady Macbeth “ before been mentioned. As far “ is merely detested; and though “as relates to the witches, it ap" the courage of Macbeth pre- pears to mean Manent; in the
serves some esteem, yet every way that in the printed copies “ reader rejoices at his fall." “ of many plays, all the characters,
Mr. Harris, in his Philosophical « who are to remain upon the Arrangements, observes of this stage, are enumerated after every tragedy:
“ entrance. However this may “ It is not only admirable as a “ be, the score, or more, of vo
poem ; but is, perhaps, at the “cal performers who are brought " same time one of the most moral “ on in russet cloaks, and drawn " pieces existing. It teaches us up in rank for full ten minutes « the danger of venturing, though " in front of the stage, are in« but for once, upon a capital “ truders upon the scene of Shak• offence, by showing us that it speare, who well knew how his “ is impossible to be wicked by “ illusions must be broken by a “ halves; and that we cannot near and distinct view of many
stop ; that we are in a manner “ real, substantial persons, in the “ compelled to proceed; and yet “ business of his incantations. " that, be the success as it may, “ Their presence would be inju“ we are sure in the event to be. - rious in such a scene, supposing « come wretched and unhappy." • it possible that a crowd of mere
An anonymous critic objects, hags could be collected to sing and we think justly, to the stage as we wish them. As it is, they practice of a numerous chorus of are fatal to the whole course of witches. Atier paying a tribute or ideas that should attend us in of praise to the chief characters, “ this part of the play. The men as performe' by Mr. Kemble and " are mostly comedians, as well Mrs. Siddor's, he adds, “but my “as singers; and, whatever they “ pleasure, und, I am persuaded, may intend, their countenances,
as soon as they are recognised, great splendour. The admirable “ throw an air of burlesque upon music by Mr. Locke is still reo the whole. The women, who tained. " are generally pretty enough, to 5. , MACBETH, the Historical " be-witch us in a sense very dif- Tragedy of (written originally by "ferent from Shakspeare's, are Shakspeare). Newly adapted to “ often employed in laughing with the stage, with alterations by J." each other, and sometimes with Lee, as performed at the Theatre " the audience, at their dresses, in Edinburgh. Svo. 1753. Lan" which they think frightful, but guage is not strong enough to ex" which, in fact, conceal neither press our contempt of Mr. Lee's " their bright eyes, nor rosy lips, performance. If sense, spirit, and “nor, scarcely, their neat silk versification, were ever discover
stockings. Now all this inter- able in Shakspeare's play, so sure “ ruption to the solemn intiuence has our reformer laid them all in " of the scene may be avoided by ruins. Criticism disdains to point
an easy alteration in the per- out each particular mischief of this " formance. The fine words of monkey hand; but yet, gentle “ the incantations (partly Shak- reader, accept the following spe"peare's and partly Middleton's), cimen of its atteinpt to improve " the highly-appropriate music of the well-known incantation with
Locke, the harmony of our best which the fourth act begins : “ voices may all be preserved, and
1. Witch. " the scene rescued from its pre
No milk-naid yet hath been bedew'd.
2. Witch. “sent violation, by stationing the But thrice the brinded cat hath mew'd. « whole chorus behind the scenes,
3. Witch. partly on the ground and partly Twice and once the hedge-pig whin'd, aloft, to make their responses Shutting his eyes against the wind. " in the intervals of the spells of
1. Witch. "Hecate and her three attendants. Up hollow oaks now emmets climb.
2. Witch. “ The music would indisputably And Hecate cries, 'T is time, 't is time. “ be heard with an effect more " suitable to the occasion; and Then round about the cauldron go, our eyes would not then per
And poison'd entrails in it throw.
4. Macbeth. Trag, with all Swelter'd venom sleeping got)
7. MACBETH. Tragedy, by Downes the prompter says, that Williaın Shakspeare. With Nat Lee, the poet, having an in- Notes and Emendations, by Harry clination to turn actor, had the Rowe, &c. Printed at York. part of Duncan assigned to him on Svo. 1799. The criticisms and this revival, but did not succeed emendations are more amusing in it. His name, however, stands than solid. against the character in the print- 8. MACBETH. Trag. by Shak. ed copy. It was performed with speare. Revised by J. P. Kembie,
after every this may
'e, of voe brought id drawn I minutes
of Shakhow his en by a
s, in the
ntations. be injuipposing of mere
to sing is, they
us in he nien
is well er they
M'A D and now first published as it is Sunshine after Rain. A Farce, in acted at Covent Garden Theatre. two acts, by T. Merchant. Svo. 8vo. 1803.
No date. [1795.] This enter9. The Macke (a game at tainment, which is said to have Cards). A Play. Acted by Hen- been performed with the most slowe's Company, Feb. 21, 1594. flattering approbation at the TheNot printed.
atre Royal, Manchester, was print10. MADAM Fickle; or, The ed at Huddersfield, in a volume, Witty false One. Com. by Thomas including also the author's “ Free Durfey. Acted at the Duke's gitive Pieces in Prose and Verse." Theatre. 4to. 1677. This author, The name of Merchant, we underwho, in regard both of plot and stand to have been a fictitious one, character, was certainly one of the assumed at that time by Mr. greatest plagiaries that everexisted, Thomas Dildin.-There is little has prefixed to this play a motto plot, but considerable humour, in from Horace, viz. Non cuivis ibis piece, which has been since homini contingit adire Corinthum, acted, for a benefit, at Covent which Langbaine has, humorously Garden, under the latter title only. enough, explained to imply, “ That 14. The MAD-House. A Re« he could not write a play without hearsal of a new Ballad Opera, “ stealing.” At least, however, he burlesqued, called The Mavhas given no proof to the contrary House, after the manner of Pasof such explanation in the piece quin, by R. Baker. Acted at Linbefore us, which is wholly made coln's Ion Fields. 8vo. 1737. up from other comedies. For in- 15. THE MAD-HOUSE. Mus. stance, the character of Sir Arthur Ent. by W.C. Oulton. Acted in Old-Love is a plain copy of Vete- Dublin. 12mo. 1785. rano, in The Antiquary; as is also 16. The Mad Lover. Tragithe incident of Zechiel's creeping Com. by Beaumont and Fletcher. into the Tavern Bush, and Tilburn's Fol. 1647; 8vo. 1779. This play being drunk under it, &c. of the is particularly commended by Sir scene of Sir Reverence Lamard and Aston Cokain, in his copy of Pimpwell, in The Walks of Isling- verses on Fletcher's plays. The ton and Hogsdon. There are also scene lies at Paphos. The plot of several bints in it borrowed frorn Cleanthe's suborning the priest to Marston's Fawn. The scene is give a false oracle, in favour of her laid in Covent Garden.
brother Syphax, is borrowed from 11. The MAD CAPTAIN. Opera, the story of Mundus and Paulina, by Robert Drury. Acted at Good- in Josephus, book xviii. ch. 4. man's Fields. Svo. 1733. Pro- 17. The Mad Lover. There logue spoken by the author.
would seem to have been an opera, 12. A MAD COUPLE well with this title (See ACIS AND GAMATCH'D. Comedy, by Richard LATEA, Masque, by Motteux); Brome. 8vo. 1653. This play but we have not met with it; nor met with success, and was revived, do we find it mentioned in any with some very trivial alterations former list. by Mrs. Behn, under the title of 18. THE MADMAN. Burletta. The Debauchee; or, The Credulous Performed at Marybone Gardens. Cuckold, and reprinted in 4to. 1677. 4to. 1770.
13. THE MAD GUARDIAN; or, 19. The Madman's MORRIS.
Farce, in ant. Svo. Lis enter
to have Abe most
the Theo „vas print
volume, 's “ Fus -2d Verse." ve under
M A G
M A G Play, by Robert Wilson (in con- 28. The MAGIC PICTURE. junction with Dekker and Dray- Play. Acted at Covent Garden. ton). Acted 1598. Not printed. 8vo. 1783. This was an altera.
20. The HISTORY OF MADOR 'tion of Massinger's Picture, by King or BRITAIN. By Francis the Rev. Henry Bate. The alterer Beaumont. Entered on the book has given a new turn to the drama, of the Stationers' Company, June by making the changes of the pic29, 1660; but not printed. túre the effects of Eugenius's jea
21. MADRIGAL AND TRULLET- lousy, instead of the magic art of TA. A Mock Tragedy. Śvo. 1758. Baptista; by which, however, This piece was written by Mr. though the improbability of the Reed. It was performed at the fable is lessened, the interest is also Theatre Royal in Covent Garden, in some measure diminished. one night only (July 6), under the 29. THE MAGICIAN; or, The direction of Theoph. Cibber. It is Bottle Conjuror. Historico-Heroiintended as a ridicule upon some Satiri-Comic Drama. Acted at of the later performances of the the Star and Garter Tavern, 1749. buskin, and is executed with much Not printed: humour ; but was,' says the au- 30. The MAGICIAN NO CON.. thor, “'inhumanly butchered in JUROR. Comic Opera, by Robert “ the representation."
Merry. Acted at Covent Garden, 22. A MAD WORLD MY Mas- 1792. Not printed. It was perTERS. Com. by Thomas Middle- formed only four nights, but poston. Acted by the children of sessed a considerable portion of Paul's. 4to. 1608; 4to. 1640; humour. D. C. 1780. This is a very good
31. THE MAGICIAN OF THE play, and has been since borrowed MOUNTAIN. Pantomime. Acted from by many writers ; particu- at Drury Lane, 1763. The good larly by Mrs. Behn, in her City sense of the audience condemned Heiress; and by C. Johnson, in this piece to oblivion, after, we his Country Lasses.
think, two representations. 23. THE MAGIC BANNER. See 32. THE MAGNET. Musical ALFRED
Entertainment. Performed at 24. The Magic Cavern; or, Marybone Gardens. 8vo. 1771.Virtue's Triumph. Pant, by Mr. This magnet has little attraction Wewitzer. This splendid and en
without the aid of its music. tertaining piece was first acted at 33. The MAGNETICK LADY ; Covent Garden, Dec. 27, 1784, or, Humours reconcile. Com. by and had a very successful run.
Ben Jonson. Fol. 1640; 8vo. 8vo. 1785.
1756. This play is in general 25. The MAGIC FLUTE. Pant. esteemed a good one, yet did not by J. C. Cross, 1800.
escape the censure of some critics 26. The Magic Girdle. Bur- of that time: particularly Mr. Gill, letta, by George Savile Carey. master of St. Paul's school, or his Acted at Marybone Gardens. 4to. son, wrote a satire against it; part of 1770.
which (the whole being too long) 27. THE MAGIC OAK ; or, we shall transcribe : Harlequin Woodcutter. Pantom.
or But to advise thee, Ben, in this strict Acted at Covent Garden. Songs.
age, &c. only printed, Svo. 1799.
“Abrick-kiln's better for thee than a stage.
riest to of her d from aulina, . 4. There opera,
M A G • Thou better know'st a groundsis for to folio pages in the black letter, lay,
must have taken up a considerable “ Than lay the plot or ground-work, of
time in the representation, and a play, " And better canst direct to cap a chim
was printed by Rastell in about ncy,
1533. It begins with a dialogue «« Than to converse with Clio, or Poly- between Felicite and Lyberte :
himny. “ Fall then to work in thy old age Al thyngys contryvyd by mannys reason,
Fylycite. agen, 6. Take up thy trug and trowel, gentle
The world en vyrenyd of hygh and low
Be it erly or late welth hath a season; " Let plays alone : or if thou needs will
Welth is of wysdome the very trewe write, ." And thrust thy feeble muse into the The substance of the allegory, says
probate. light, « Let Lowin cease, and Taylor scorn to
Mr. Warton (who had never seen touch
than Mr. Garrick's, The loathed stage, for thou hast made of which the first leaf and title are But, to show how fiercely Ben wanting) is briefly this: Magni
But, to show how fiercely Ben ficence becomes a dupe to two could repartee on any one that had
servants and favourites, Fansy, abused him, we present the reader
Counterfet Countenance, Crafty with his answer.
Conveyance, Clockyd Colusion, “ Shall the prosperity of a pardon still “Secure thy railing rhymes, infamous Courtly Abusion, and Foly. At Gill,
length he is seized and robbed by “ At libelling? Shall no Star-Chamber Adversyte, by whom he is given peers,
up as a prisoner to Poverte. He « Pillory, nor whip, nor want of ears, " All which thou hast incurr'd de- Mischefe, who offer him a knife
is next delivered to Despare and servedly, “ Nor degradation from the Ministry,
anda halter. He snatches the knife, * To be the Denis of thy father's school, to end his miseries by stabbing “ Keep in thy bawling wit, thou bawls himself; when Good Hope and ing fool ?
Redresse appear, and persuade him “ Thinking to stir me, thou hast lost thy end;
to take the rubarbe of repentance, “ I'll laugh at thee poor wretched tike; with some gostly gummes, and a
few drammes of devocyon. He beThy blatant muse abroad, and teach
comes acquainted with Circumit rather so A tune to drown the ballads of thy lows their directions, and seeks for
and Perseverance, fol
speccyon father : " For thou hast nought in thee, to cure
happiness in a state of penitence his fame,
and contrition. There is some “ But tune and noise, the echo of his humour here and there in the dia
shame. “ A rogue by statute, censur'd to be logue, but the allusions are comwhipt,
monly low. Although many mo“ Cropt, branded, slit, neck-stockt; go, ralities were written about this you are stript."
period, Magnificence and The Ni34. MAGNIFICENCE. | A goodly gramansir, by Skelton, are the interlude and a me ry deuysed first that bear the name of their and made by | mayster Skelton, author. poet | laureate, late de ceasyd.. 35. THE MAGNIFICENT LOSee University Library, Cam
Com. by Ozell. This is bridge, D. 4. 8. It contains sixty only a translation, intended for the