MAR that gentleman, informs the public that this is the best of all his comedies; yet we cannot subscribe to that opinion. The admirable performance of a part in this play, however, was what first occasioned the afterwards celebrated Mr. Dogget to be taken notice of as an actor of merit. It appears to have been acted six nights successively. See Motteux's Gentleman's Journal, Feb. 1691-2. The scene in the Park near Kensington. The time thirty hours. 140, THE MARRIAGE NIGHT. Trag. by H. Lord Visc. Falkland. 4to. 1664. This play contains a great share of wit and satire, yet it is uncertain whether it was ever acted or not. It was published in the original edition of Dodsley's Collection; but omitted in that of 1780. 141. THE MARRIAGE OF OCEANUS AND BRITANNIA. An Allegorical Fiction, really declaring England's riches, glory, and puissance by sea. To be represented in music, dances, and proper scenes. Invented, written, and composed by Richard Flecknoe. 12mo. 1659. 142. THE MARRIAGE OF SIR GAWAINE. Op. by Dr. John Seally. Humbly inscribed to those who love antiquity for its nonsense more than for its sense. Printed in The European Magazine for May and July 1782. The hint of this piece, which was never acted, is taken from Percy's Retiques of Ancient Poetry, iii. 2. 143. "A newe and pleasaunt "Enterlude, intitled, THE MARI"AGE OF WITTE AND SCIENCE, "Imprinted at London, in Flete"stret, neare unto Sainct Dunstan's "Churche, by Thomas Marshe, "[1570.] The Players names. Nature, Witte, Will, Studie, Di MAR "ligence, Instruction, Science, "Reason, Experience, Recreation, "Shame, Idelnes, Ignoraunce, "Tediousnes, with three other "Women Singers." The date affixed to this piece, in the former edition of this work (1606), was taken from Chetwood, and has proved to be one of his numerous forgeries. 144. MARRIAGE PROJECTS. C. See THEATRICAL RECORDer. 145. THE MARRIAGE PROMISE, See THE INTRIGUING COURTIERS. 146. THE MARRIAGE PROMISE, Com. by John Till Allingham. Acted at Drury Lane. Svo, 1803, There is nothing very new in the characters of this piece; but some spirited dialogue, moral, manly, and impressive sentiments, and interesting incidents, rendered it very successful on the stage. Tandem and Consols are characters that have some claim to novelty. 147. THE MARRIED AND UNMARRIED; or, The Widow'd Wife. Acted at the Haymarket, Sept. 1, 1796. Afterwards printed under the title of THE WAY TO GET UNMARRIED; which see. 148. THE MARRIED BEAU; or, The Curious Impertinent. Com. by J. Crowne. Acted at the Theatre Royal. 4to. 1694. This play was esteemed a good one, and was frequently acted with general approbation. It has, however, been long laid aside. The story of it is taken from Don Quixote, and the scene lies in Covent Garden. In the preface to this piece the author has attempted a vindication of himself from the charges brought against his morals, and the looseness of his writings, by somę of his contemporaries, 149. THE MARRIED COQUET. Com. by J. Baillie. 8vo. 1746. This play was never acted, nor MAR even printed till after the author's death. It is no very contemptible' piece, nor has it any extraordinary merit; yet to the modesty and amiable diffidence of its author, perhaps, was owing its not being published in his lifetime. Were everywriter possessed of these good qualities, the town would not be so frequently pestered with the complaints of disappointed playwrights, nor would so many poor performances force their way into the world from beneath the press, which had judiciously been denied access to the theatres. 150. THE MARRIED LIBERTINE. Com. by Charles Macklin, 1761. This play was brought on the stage at Covent Garden Theatre; yet, after its first run, was no more performed, nor has yet appeared in print. A very strong opposition was made to it during every night of its run, which were no more than the nine necessary to entitle the author to his three benefits. Prejudice against the author seemed, however, to have been in great measure the basis of this opposition, which, although in some measure overborne by a strong party of his countrymen, who were determined to support the play through its destined period, yet showed itself very forcibly even to the last. We cannot, however, help thinking its fate somewhat hard; for although it must be confessed that there were many faults in the piece, yet it must also be acknowledged that there were several beauties; and we own ourselves apt to believe, that, had the play made its first appearance on Drury Lane stage, with the advantages it might there have received from the acting, and had the author remained concealed till its fate had been deter MAR mined, it might have met with as favourable a reception as some pieces which have passed on the public uncensured. What perhaps might also add to the prejudice against it, was a conjecture that was spread about the town, that Mr. Macklin, in his character of Lord Belville, had a view towards that of a man of quality then living and extremely well known; but this, we imagine, must have been merely conjecture. C. 151. THE MARRIED MAN. by Mrs. Inchbald. Acted at the Haymarket. 8vo. 1789. This piece is in three acts, and is taken from Le Philosophe Marié of Destouches. It was well received. 152. THE MARRIED PHILOSOPHER. Com. by John Kelly. Acted at Lincoln's Inn Fields. 8vo. 1732. This is a translation of the same piece of Destouches. 153. MARRY, OR DO WORSE. Com. by W. Walker. 4to. 1704. This piece was acted at Lincoln's Inn Fields, and revived in 1747; but with little encouragement. Scene in London. 154. THE MARSHAL OF LUXEMBOURG, UPON HIS DEATH-BED. Tragi-Com. Done out of French. 12mo. Said in the title-page to be printed at Collen 1695; and reprinted in 1710, with a frontispiece. 155. MARSHAL OSRICK. Play, by Thomas Heywood. Acted in 1602. Not printed. In this piece Heywood had the assistance of Wentworth Smith. 156. THE MARTIAL MAID. See Love's Cure. 157. THE MARTYRDOM OF IGNATIUS. Trag. by John Gambold. Svo. 1773. This tragedy was written in the year 1740, more than thirty years before it was published. By the strong recommendation of the Rev. Mr. Milner, this MAR play, slightly altered, was got up by Mr. Tate Wilkinson, and acted at Hull, Dec. 29, 1781, the part of St. Ignatius being performed by Mr. Stephen Kemble. It is, however, more pious than poetical. 158. THE MARTYR'D SOLDIER. Trag. by Henry Shirley. Acted at Drury Lane. 4to. 1638. This play met with very great applause, but was not published till after the author's death. The plot is taken from history, during the time of the eighth persecution; for which see Baronius, &c. 159. MARIE MAGDALENE. A Mystery, written in 1512. In this piece a heathen is introduced celebrating the service of Mahound, who is called Saracenorum fortissi-• mus; in the midst of which he reads a lesson from the Koran, consisting of gibberish, much in the metre and manner of Skelton. In the same performance, one of the stage-directions is, "Here en"ters the prynse of the devylls in "a stage, with hell onderneth the "stage." MS. Digb. 133, in the Bodleian Library. 160. A New Enterlude, never before this Tyme imprinted, entreating of THE LIFE AND REPENTAUNCE OF MARIE MAGDALENE: not only godlie, learned, and fruitefull, but also well furnished with pleasaunt myrth and pástime, very delectable for those which shall heare or reade the same. Made by the learned clarke, Lewis Wager. The Names of the Players. Marie Magdalene. Pride of Life. Cupiditie. Carnall Concupis cence. Simon the Pharisie. MaliciousJudgement. Fayth. Repentaunce. Justification. Love. MAR terlude., Imprinted at London, by John Charlewood, dwelling in Barbican, at the signe of the Halfe Eagle and the Key. Anno 1567. 161. MARY QUEEN OF SCOTLAND. A play under this title was advertised, among others, as sold by Wellington, in St. Paul's Churchyard, in 1703. 162. MARY QUEEN OF SCOTS. Trag. begun by Philip, Duke of Wharton, but left unfinished. Lady Mary Wortley Montague wrote an Epilogue for it, which is published among her Poems. Of the play, Mr. Walpole tells us, more than these four lines now remain : no "Sure were I free, and Norfolk were a prisoner, "I'd fly with more impatience to his arms, "Than the poor Israelite gaz'd on the serpent, "When life was the reward of every look." 163. MARY QUEEN OF SCOTS. Trag. A play with this title is in Mr. Stephen Jones's possession in MS. bound in a volume with Dr. Francklin's two printed tragedies, and bearing internal evidence of having been written by him. Indeed, a confirmation of the fact may be deduced from a reference to The European Magazine, vol. v. p. 178. 164. MARY QUEEN OF SCOTS. Trag. by the Hon. John St. John. Svo. 1789. The unities of time and place are greatly violated in this play; nor is that fault compensated by any thing striking in the incidents, characters, or dialogue. It was several times acted at Drury Lane theatre, and with applause; but never became popular, notwithstanding all the exertions of Mrs. Siddons, who re Foure may easely play this En- presented the queen. MAS 165. MARY QUEEN OF SCOTS. An Historical Tragedy, or Dramatic Poem, by Mrs. M. Deverell. 8vo. 1792. Of this lady's poetry we subjoin a short, but perhaps sufficient, specimen : "Q. Mary. Earth's summit of bliss I've long since reach'd: "Now in misery chain'd, each state I retrospect." 166. MARY STEWART, QUEEN OF SCOTS. An Historical Drama. Never acted. 8vo. 1801; Edinburgh. Though frequently incorrect in composition, and deficient in dramatic effect, this tragedy is not without some claim to praise. The sentiments are often energetic, and suitable to the characters by whom they are expressed; and the author in many places evinces a knowledge of the human heart. 167. MARY STUART. A Tragedy, by Frederick Schiller. Translated by J. C. M. Svo. [1801.] This piece is certainly one of the worst that the pen of Schiller has produced. The story is a violation of historical truth; the character of the heroine is degraded; and the whole is forced and unnatural. There are, however, some few sentiments which are beautiful and dignified. The translation is harsh and unpoetical. was never acted. It 168. MARY STUART. Dram. Poem, by James Grahame. Svo. Printed in a second volume of Poems, 180, 169. A MASQUÉ. By R. Govell. One of those destroyed by Mr. Warburton's servant. 170. The Device of a MASQUE for the Right Hon. Viscount Montacute, pronounced on account of the marriage of his sonne and heire to the daughter of Sir W. Dormer; and the marriage of the son and heire of Sir W. Dormer to the MAS daughter of Lord Montacute. By George Gascoigne. See Gascoigne's Works, p. 43, ed. 1587. 66 66 171. The Description of a MASQUE, presented before the Kinge's Majestie, on TwelfthNight, in honour of Lord Hayes, "and his bride-daughter and heir "to the Honourable the Lord "Dennye; their marriage having "been the same day at Court so"lemnized. By Thomas Cam"pion, Doctor of Physic." 4to. 1607. 172. A MASQUE, a Description of, with the nuptial songs at the Lord Viscount Haddington's marriage at Court, on Shrove-Tuesday at night, 1608. By Ben Jonson. Fol. 1640; 8vo. 1756. 173. THE MASQUE OF QUEENES, celebrated at Whitehall, Feb. 2, 1609. By Ben Jonson. Fol. 1640; 8vo. 1756. 66 174. "THE MASQUE OF THE、 "INNER TEMPLE AND GRAYE'S "INN, GRAYE'S INNE AND THE "INNER TEMPLE; presented be"fore His Majestie, the Queene's Majestie, the Prince Count Palatine and the Lady Elizabeth, their Highnesses, in the Banquetting House, at Whitehall, on Saturday the twentieth day of "Februarie 1612." By Francis Beaumont. 4to. no date; 8vo. 1778. This masque was represented with the utmost splendour and magnificence, and at a great expense to both the societies. By Dugdale's Origines Juridiciales we learn, that at Gray's Inn the readers on this occasion were assessed at 41. each; the ancients, or such as were of that standing, at 27. 10s. cach; the barristers 27. apiece; and the students 20s. each; out of which so much was to be taken as the Inner Temple did then allow. 175. The Description of a MAS MASKE, presented in the Banquetting Roome at Whitehall, on St. Stephen's Night last, at the marriage of the Right Honourable the Earl of Somerset and the Right Noble the Lady Frances Howard. Written by Thomas Campion. London: Printed for Lawrence Lisle, dwelling in Paules Church Yarde, at the Signe of the Tyger's Head. 4to. 1614. MAS 180. THE MASQUE OF THE GYPSIES. By Ben Jonson. 12mo. 1640. Printed with the translation of Horace's Art of Poetry. This piece was thrice presented before King James the First; at Burleigh on the Hill, next at Belvoir Castle, and lastly at Windsor, in August 1621. In subsequent editions it is called A Masque of the metamorphosed Gypsies. Fol. 1640; 8vo. 1756. 181. A MASQUE OF OWLS AT KENELWORTH. genPresented by the ghost of Captain Cox mounted on his hobby-horse, 1626. By Ben Jonson. Fol. 1640; 8vo. 1756. 176. THE MASQUE OF FLOWERS. Anonymous. 4to. 1614. This masque was presented by the tlemen of Gray's Inn, at the Court at Whitehall, in the Banquetting House, upon Twelfth-Night 1613, and was the last of the solemnities and magnificences which were performed at the marriage of the Earl of Somerset with the Lady Frances, daughter to the Earl of Suffolk. 177. A MASQUE OF THE TWO HONOURABLE HOUSES, OR INNS OF COURT, THE MIDDLE TEMPLE, AND LINCOLN'S INN; presented before the King at Whitehall, on Shrove-Monday at night, Feb. 15, 1613, by Geo. Chapman. 4to. no date. This masque was written and contrived for the celebration of the nuptials of the Count Palatine of the Rhine with the Princess Elizabeth. The machinery and decorations were by Inigo Jones. From Dugdale's Origines Juridiciales, p. 346, we find that this masque cost the Society of Lincoln's Inn no less than 2400/. 178. A MASQUE, presented at the House of Lord Haye, for the entertainment of Le Baron de Tour, the French ambassador, on Saturday, Feb. 22, 1617. By Ben Jouson. Fol. 1617; 8vo. 1756. 179. THE MASQUE OF AuGURES, with the several Antimasques; presented on TwelfthNight, 1621. By Ben Jonson. 4to. 1621; fol. 1640; 8vo. 1756. 182. A Royal MASQUE of the four Inns of Court. Performed about Allhollandtide, 1633. Anonymous. Of this masque a very full account is given in Whitlocke's Memorials of English Affairs, p. 18. But whether this piece itself was ever printed, we know not. 183. A MASQUE, presented at Ludlow Castle, 1634, on Michaelmasse Night, before the Right Honourable John, Earl of Bridgewater, Viscount Brackly, Lord President of Wales, and one of His Majestie's most honourable Privie Counsel. By John Milton. 4to. 1637; 8vo. 1645. The greatest of Milton's juvenile performances (says Dr. Johnson) is The Masque of Comus, nor does it afford only a specimen of his language; it exhibits likewise his power of description, and his vigour of sentiment, employed in the praise and defence of virtue. A work more truly poetical is rarely found; allusions, images, and descriptive epithets, embellish almost every period with lavish decoration. As a series of lines, therefore, it may be considered as worthy of all the admiration with which the votaries have received it. As a drama it is deficient. The |