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as soon as they are recognised, "throw an air of burlesque upon "the whole. The women, who "are generally pretty enough, to "be-witch us in a sense very dif"ferent from Shakspeare's, are " often employed in laughing with "each other, and sometimes with "the audience, at their dresses, "which they think frightful, but “which, in fact, conceal neither "their bright eyes, nor rosy lips, nor, scarcely, their neat silk "stockings. Now all this interruption to the solemn influence "of the scene may be avoided by an easy alteration in the per"formance. The fine words of "the incantations (partly Shak"peare's and partly Middleton's), "the highly-appropriate music of "Locke, the harmony of our best "voices may all be preserved, and "the scene rescued from its "sent violation, by stationing the "whole chorus behind the scenes, "partly on the ground and partly "aloft, to make their responses "in the intervals of the spells of "Hecate and her three attendants. "The music would indisputably "be heard with an effect more "suitable to the occasion; and "6 our eyes would not then per"suade us to think of the play"bill, instead of Macbeth."
4. MACBETH. Trag. with all the alterations, amendments, additions, and new songs. Acted at the Duke's Theatre. 4to. 1674. This alteration was made by Sir William Davenant.
Downes the prompter says, that Nat Lee, the poet, having an inclination to turn actor, had the part of Duncan assigned to him on this revival, but did not succeed in it. His name, however, stands against the character in the printed copy. It was performed with
great splendour. The admirable music by Mr. Locke is still retained.
5. MACBETH, the Historical Tragedy of (written originally by Shakspeare). Newly adapted to the stage, with alterations by J. Lee, as performed at the Theatre in Edinburgh. Svo. 1753. Language is not strong enough to express our contempt of Mr. Lee's performance. If sense, spirit, and versification, were ever discoverable in Shakspeare's play, so sure has our reformer laid them all in ruins. Criticism disdains to point out each particular mischief of this monkey hand; but yet, gentle reader, accept the following specimen of its attempt to improve the well-known incantation with which the fourth act begins:
No milk-maid yet hath been bedew'd. But thrice the brinded cat hath mew'd. 2. Witch. 3. Witch. Twice and once the hedge-pig whin'd, Shutting his eyes against the wind.
Up hollow oaks now emmets climb.
2. Witch. And Hecate cries, 'Tis time, 't is time. 3. Witch.
Then round about the cauldron go,
Toad (that under mossy stone,
6. MACBETH. Trag. by Wm. Shakspeare. Collated with the old and modern editions. 8vo. 1773.
7. MACBETH. Tragedy, by William Shakspeare. With Notes and Emendations, by Harry Rowe, &c. Printed at York. 8vo. 1799. The criticisms and emendations are more amusing than solid.
8. MACBETH. Trag. by Shakspeare. Revised by J. P. Kemble,
and now first published as it is acted at Covent Garden Theatre. 8vo. 1803.
9. THE MACKE (a game at Cards). A Play. Acted by Henslowe's Company, Feb. 21, 1594. Not printed.
10. MADAM FICKLE; or, The Witty false One. Com. by Thomas Durfey. Acted at the Duke's Theatre. 4to. 1677. This author, who, in regard both of plot and character, was certainly one of the greatest plagiaries that ever existed, has prefixed to this play a motto from Horace, viz. Non cuivis homini contingit adire Corinthum, which Langbaine has, humorously enough, explained to imply," That "he could not write a play without "stealing." At least, however, he has given no proof to the contrary of such explanation in the piece before us, which is wholly made up from other comedies. For instance, the character of Sir Arthur Old-Love is a plain copy of Veterano, in The Antiquary; as is also the incident of Zechiel's creeping into the Tavern Bush, and Tilburn's being drunk under it, &c. of the scene of Sir Reverence Lamard and Pimpwell, in The Walks of Islington and Hogsdon. There are also several hints in it borrowed from Marston's Fawn. The scene is laid in Covent Garden.
11. THE MAD CAPTAIN. Opera, by Robert Drury. Acted at Goodman's Fields. 8vo. 1733. Prologue spoken by the author.
12. A MAD COUPLE WELL MATCH'D. Comedy, by Richard Brome. 8vo. 1653. This play met with success, and was revived, with some very trivial alterations by Mrs. Behn, under the title of The Debauchee; or, The Credulous Cuckold, and reprinted in 4to.1677.
13. THE MAD GUARDIAN; or,
Sunshine after Rain. A Farce, in two acts, by T. Merchant. 8vo. No date. [1795.] This entertainment, which is said to have been performed with the most flattering approbation at the Theatre Royal, Manchester, was printed at Huddersfield, in a volume, including also the author's "Fu
gitive Pieces in Prose and Verse." The name of Merchant, we understand to have been a fictitious one, assumed at that time by Mr. Thomas Dildin.-There is little plot, but considerable humour, in this piece, which has been since acted, for a benefit, at Covent Garden, under the latter title only.
14. THE MAD-HOUSE. A Rehearsal of a new Ballad Opera, burlesqued, called THE MADHouse, after the manner of Pasquin, by R. Baker. Acted at Lincoln's Inn Fields. 8vo. 1737.
15. THE MAD-HOUSE. Mus. Ent. by W. C. Oulton. Acted in Dublin. 12mo. 1785.
16. THE MAD LOVER. TragiCom. by Beaumont and Fletcher. Fol. 1647; 8vo. 1778. This play is particularly commended by Sir Aston Cokain, in his copy of verses on Fletcher's plays. The scene lies at Paphos. The plot of Cleanthe's suborning the priest to give a false oracle, in favour of her brother Syphax, is borrowed from the story of Mundus and Paulina, in Josephus, book xviii. ch. 4.
17. THE MAD LOVER. There would seem to have been an opera, with this title [See ACIS AND GALATEA, Masque, by Motteux]; but we have not met with it; nor do we find it mentioned in any former list.
18. THE MADMAN. Burletta. Performed at Marybone Gardens. 4to. 1770.
19. THE MADMAN'S MORRIS.
Play, by Robert Wilson (in conjunction with Dekker and Drayton). Acted 1598. Not printed.
20. THE HISTORY OF MADOR KING OF BRITAIN. By Francis Beaumont. Entered on the book of the Stationers' Company, June 29, 1660; but not printed.
21. MADRIGAL AND TRULLETTA. A Mock Tragedy. Svo. 1758. This piece was written by Mr. Reed. It was performed at the Theatre Royal in Covent Garden, one night only (July 6), under the direction of Theoph. Cibber. It is intended as a ridicule upon some of the later performances of the buskin, and is executed with much humour; but was, says the author, " inhumanly butchered in "the representation."
22. A MAD WORLD MY MASTERS. Com. by Thomas Middleton. Acted by the children of Paul's. 4to. 1608; 4to. 1640; D. C. 1780. This is a very good play, and has been since borrowed from by many writers; particularly by Mrs. Behn, in her City Heiress; and by C. Johnson, in his Country Lasses.
23. THE MAGIC BANNER. See ALFRED.
24. THE MAGIC CAVERN; or, Virtue's Triumph. Pant. by Mr. Wewitzer. This splendid and entertaining piece was first acted at Covent Garden, Dec. 27, 1784, and had a very successful run. 8vo. 1785.
25. THE MAGIC FLUTE. Pant.
by J. C. Cross. 1800.
26. THE MAGIC GIRDLE. Burletta, by George Savile Carey. Acted at Marybone Gardens. 4to. 1770.
27. THE MAGIC OAK; or, Harlequin Woodcutter. Pantom. Acted at Covent Garden. Songs. c. only printed, 8vo. 1799.
29. THE MAGIC PICTURE. Play. Acted at Covent Garden. 8vo. 1783. This was an alteration of Massinger's Picture, by the Rev. Henry Bate. The alterer has given a new turn to the drama, by making the changes of the picture the effects of Eugenius's jealousy, instead of the magic art of Baptista; by which, however, though the improbability of the fable is lessened, the interest is also in some measure diminished.
29. THE MAGICIAN; or, The Bottle Conjuror. Historico-HeroiSatiri-Comic Drama. Acted at the Star and Garter Tavern, 1749. Not printed.
30. THE MAGICIAN NO CONJUROR. Comic Opera, by Robert Merry. Acted at Covent Garden, 1792. Not printed. It was performed only four nights, but possessed a considerable portion of humour.
31. THE MAGICIAN OF THE MOUNTAIN. Pantomime. Acted at Drury Lane, 1763. The good sense of the audience condemned this piece to oblivion, after, we think, two representations.
32. THE MAGNET. Musical Entertainment. Performed at Marybone Gardens. 8vo. 1771.— This magnet has little attraction without the aid of its music.
33. THE MAGNETICK LADY; or, Humours reconcil'd. Com. by Ben Jonson. Fol. 1640; 8vo. 1756. This play is in general esteemed a good one, yet did not escape the censure of some critics of that time: particularly Mr. Gill, master of St. Paul's school, or his son, wrote a satire against it; part of which (the whole being too long) we shall transcribe:
"But to advise thee, Ben, in this strict age,
"Abrick-kiln's better for thee than a stage.
"Thou better know'st a groundsil for to
"And better canst direct to cap a chim-
"Than to converse with Clio, or Polyhimny.
"Fall then to work in thy old age agen,
"Take up thy trug and trowel, gentle Ben,
"Let plays alone: or if thou needs will write,
"And thrust thy feeble muse into the light,
"Let Lowin cease, and Taylor scorn to touch
"The loathed stage, for thou hast made
But, to show how fiercely Ben But, to show how fiercely Ben could repartee on any one that had abused him, we present the reader with his answer.
Shall the prosperity of a pardon still "Secure thy railing rhymes, infamous
"At libelling? Shall no Star-Chamber
"Pillory, nor whip, nor want of ears,
"Nor degradation from the Ministry,
"Thinking to stir me, thou hast lost thy
"I'll laugh at thee poor wretched tike; go send
"Thy blatant muse abroad, and teach
"A tune to drown the ballads of thy
"For thou hast nought in thee, to cure
"But tune and noise, the echo of his shame.
folio pages in the black letter, must have taken up a considerable time in the representation, and was printed by Rastell in about 1533. It begins with a dialogue between Felicite and Lyberte : Fylycite.
Al thyngys contryvyd by mannys reason, The world envyrenyd of hygh and low estate,
Be it erly or late welth hath a season;
The substance of the allegory, says
wanting) is briefly this: Magni-
"A rogue by statute, censur'd to be logue, but the allusions are com
whipt, "Cropt, branded, slit, neck-stockt; go,
you are stript."
monly low. Although many moralities were written about this period, Magnificence and The Nigramansir, by Skelton, are the first that bear the name of their author.
34. MAGNIFICENCE. | A goodly into 'ide and a me | ry deuysed and 1.de by mayster Skelton, poet laureate, late de ceasyd.. 35. THE MAGNIFICENT LoSee University Library, Cam- VERS. Com. by Ozell. This is bridge, D. 4. 8. It contains sixty only a translation, intended for the
closet alone, of Les Amans Magnifiques of Moliere.
36. MAGO AND DAGO; or, Harlequin the Hero. Pant. by M. Lonsdale. Acted at Covent Garden, 1794. Not printed.
37. MAHMOUD; or, The Prince of Persia. Op. by Prince Hoare. Acted at Drury Lane, 1796 This piece was a compilation of incidents from The Guardian, The Arabian Nights Entertainments, The Persian Tales, &c. The music (the last that was composed by Storace) first introduced Mr. Braham (formerly of the Royalty) to a Theatre Royal. The piece afforded a good deal of entertainment, and was well received; and Mr. Hoare, we have heard, generously gave up the profits of it to Storace's widow. We have great pleasure in recording such acts as these. Not printed.
38. MAHOMET. Play. Acted by Henslowe's Company, Aug. 15, 1594. Perhaps THE TURKISH MAHOMET; which see.
39. MAHOMET. Trag. in the collection of Voltaire's plays translated under the name of Dr.Francklin. 12mo.
40. MAHOMET THE IMPOSTOR. Trag. by James Miller. Acted at Drury Lane. 8vo. 1744. This is little more than a tolerable translation of the Mahomet of Voltaire, whose writings indeed breathe such a spirit of liberty, and have contracted such a resemblance to the manners of the English authors, that they seem better adapted to succeed on the English stage without much alteration, than those of any other foreign writer. This play met with moderate success; its merits having fair play, from the ignorance of the prejudiced part of the audience with regard to its author, who unfortunately did not
survive to reap any advantage from it; for, being unable to put the finishing hand to it, he received some assistance in the completing of it from Dr. John Hoadly. The author died during its run; and, not long after his death, Fleetwood, then manager of Drury Lane Theatre, permitted the widow to attempt the performing of it, at that house, for her benefit; when, notwithstanding the dispute which had been for a long time subsisting between that manager and the town, with regard to the abating the advanced prices on entertainments (and which, as his patent was very near expired, he was by no means anxious to reconcile), had arisen to such an height, as to occasion nightly riots at the house, and a determination on the side of the audience to permit no representation till their proposed reformation was complied with; yet so favourable was the town on this occasion, that not only did the play go off without the least interruption, but the house was so full, as to enable the widow to clear upwards of an hundred pounds by the profits of it.
This was also the play which, in the year 1753, was the innocent cause of a considerable revolution in the dramatic world, in another kingdom, viz. that of Ireland; and which finally terminated in the entire abdication of a theatrical monarch, although he had with great labour and assiduity brought his domain into a more flourishing state than any of his predecessors had done: for through the too great warmth of party-zeal in a considerable part of the audience, which insisted on a repetition of certain passages in this play, which appeared to them applicable to some persons then in power, and