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MAC “ 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 Shake o 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 or conduct of the agents.

“ number of these should not exThe danger of ambition is ceed six ; and there is indeed “ well described ; and I know not “ much reason to believe, with " whether it may not 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 apo " 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 vopoem ; but is, perhaps, at the “cal performers who are brought 6 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


the 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 s 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. os 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. After 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. Siddous, he adds, “but my as singers; and, whatever they “pleasure, and, I am persuaded, “may intend, their countenances,



MAC as soon as they are recognised, great splendour. The admirable “throw an air of burlesque upon music by Mr. Locke is still re" 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. 8vo. 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 erer discover. “ stockings. Now all this inter- able in Shakspeare's play, so sure "ruption to the solemn iniiuence 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-niaid yet hath been bedew'd. « sent violation, by stationing the But thrice the brinded cat hath mew'd.

2. Witch. " 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, 'Tis time, 't is time. “ be heard with an effect more

3. Witch. " suitable to the occasion; and Then round about the cauldron go, our eyes would not then per

And poison'd entrails in it throw. o suade us to think of the play- Toad (that under mossy stone,

1. Witch. lill, instead of Macbeth." Nights and days has, thirty-one,

4. MACBETH. Trag, with all Swelter'd venom sleeping got) the alterations, amendinents, ad. Boil first in the enchanted pot, &c. &c. ditions, and new songs. Acted at 6. MACBETH. Trag. by Wm. the Duke's Theatre. 4to. 1674. Shakspeare. Collated with the old This alteration was made by Sir and modern editions. 8vo. 1773. William Davenant.

7. Macbeth. Tragedy, by Downes the prompter says, that William 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 ihis 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. Kemble,

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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 FiDurfey.

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 ihis 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 Rehe could not write a play without hearsal of a new Ballad Opera, stealing." At least, however, he burlesqued, called The MADhas given 10 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. 1778. 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 Wulks of Isling- verses on Fletcher's plays. The ton and Hogsdon. There are also scene lies at Paphos. The plot of several hints 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 Man 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.



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 jea21. MADRIGAL AND TRULLET- lousy, instead of the magic art of TA. A Mock Tragedy. Svo. 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 CONthor, “ 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 reconciled. 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. 1900.

escape the censure of some critics 26. The Magic GIRDLE. Bur- of that time: particularly Mr. Gill, Jetta, 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.

« But to advise thee, Ben, in this strict Acted at Covent Garden. Songs.

age, &c. only printed, 8vo. 1799.

“Abrick-kiln's better for thee than a stage.



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Thou better know'st a groundsil 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 “ And better canst direct to cap a chim

was printed by Rastell in about ney,

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, * Take up thy trug and trowel, gentle

The world envyrenyd of hygh and low

estate, Ben,

Be it erly or late welth hath a season; “ Let plays alone: or if thou needs will

Welth is of wysdome the very tiews wrice,

probate. " And thrust thy feeble muse into the

The substance of the allegory, says 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

it such." But, to show how fiercely Ben wanting) is briefly this : Magni

two could repartee on any one that had abused him, we present the reader Counterfet Countenance, Crafty

servants and favourites, Fansy, 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,

is next delivered to Despare and " All which thou hast incurr'd deservedly,

Mischefe, who offer him a knife “ Nor degradation from the Ministry, and a 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 bawl himself; when Good Hope and ing fool ?

Redresse “ Thinking to stir me, thou hast lost thy to take the rubarbe of repentance,

appear, and persuade him « I'll laugh at thee poor wretched tike;

with some gostly gurmes, and a

few drammes of devocyon. He be" Thy blatant muse abroad, and teach

comes acquainted with Circumit rather “ A tune to drown the ballads of thy lows their directions, and seeks for

speccyon and Perseverance, fol. 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 com

monly low. Although many mowhipt, 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


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