racters introduced into the poem. The following lines, from the sketch of the curate, may be given as a fpecimen : For many years he walk'd his parish rounds, An etching, reprefenting the principal members of the club at a focial meeting, is given, by way of frontifpiece; and it is not deftitute of humour. Art. 47. Vulcan's Rebuke. Submiffively addreffed to the Worshipful Peter Pindar Efq. by his affectionate Coufin Paul Juvenal, Gent. &c. &c. 4to. 35. Scatcherd and Co. 1788. 6 The moft ftriking proof that can be given of Peter Pindar's preeminence, as a man of rhimes,' is his powerful attraction of the minor bards of the day, who follow him like the fmall birds that ufually attend the flights of the kingly hawk. But let us defcend to a more familiar allufion, and afk a fair queftion. Why fhould Master Peter bear fo hard on a certain unfortunate gentleman on account of one folitary creeper?-He, who, himfelf, fo prodigióufly fwarms! 'Tis aftonishing what a multitude of thefe poetical vermin crawl about and feed on him! Surely it is impoffible for him to maintain them all! Some of them, we fear, are in a fituation not much better than that of Churchill's Scotch fpiders. DRAMATIC. Art. 48. Ximenes; a Tragedy. By Percival Stockdale. 8vo. 25. Faulder. 1788. * Inftead of this tragedy, we fincerely with our Author had given. us a 9th fermon, for notwithstanding the ftrictures in a foregoing article, p. 57. he evidently merits more applaufe as a theological than as a dramatic writer. While we admire his ingenuoufnels in telling us, that the acceptance of his play was politely declined by Mr. Harris, the Manager of Covent Garden Theatre, and that his friend Mr. Jerningham, doubted its theatrical fuccefs, we were neceffarily led to fufpect that as a play it must have fome defect. Our perufal of it has convinced us that the fufpicion was not ill founded. The piece favours too much of his facred profeffion, and the fentiments and expreffions with which it abounds, are more calculated for the pulpit than the ftage. There is nothing in it worthy the name of plot, little that can intereft us, and as little to entitle it to the name of a tragedy. * Vide account of his Eight Sermons in the preceding part of this month's Review. The The chief business of this drama confifts in the Spaniards endeavouring to convert the Moors to Chriftianity; the fcene lies in Granada in Spain. Ximenes, regent of Spain, a pious old man, takes great pains, by prayer, and frequent quotations of Scripture phrafes, to enforce the perfuafion of the evangelical doctrine. In the fit fcene of the fecond act, he enlarges on the blefings of eternity, talks of the deathless regions' where we shall fee and know the Deity, where we shall converfe with worthy men made perfect, and range through infinite creation,' All the people of the court ufe fimilar language, and Giraldo, a Spanish officer, begins his prayer to the Supreme Being with the awful addrefs- Father of mercies!" If there be any character in this piece which interefts us, it is Leonora, a Spanish princefs, in love with Zaigri, a Moorish prince. She is forbidden by her father to marry him, on account of his being an infidel; but our apprehenfion for the deftiny of the lovers is foon removed by Zaigri becoming a profelyte to the Chriftian faith; his converfion being undertaken by the good Ximenes, who, adopting the language of St. Paul to Agrippa, firft interrogates him, Believeft thou this faith?' and then exclaims, I know that thou believeft. To which Zaigri, in the words of King Agrippa, replies, Almost thou perfuadeft me to be a Chriftian. Even the courtship between Zaigri and Leonora appears to have been theological and metaphyfical; for the latter fays, we should, there, converfe, As we were used, in facred dialogue, On virtue, on eternity, on God.' Leonora, too, occafionally, prays moft fervently; and in the fublime language of devotion, calls on the Father of the univerfe, the omniJcient Author of the human frame, &c.' The prayers and pious fentiments of the principal characters are all long and laboured; and we cannot but exprefs our furprise that it fhould never occur to the Author (who has fhewn himfelf by his writings to be a man of fenfe) during the progrefs of this devout compofition, that it would be totally incongruous with the fcenes of a play-house, and ill calculated to pleafe the audience of a theatre. On ferious reflection, however, we make no doubt, he must be convinced, that prayers, texts of Scripture, references to the Meffiah, catcalls, and the vociferous importunities of orange-women, together with the licentious clamours of the galleries, muft, when mixed together, form a moft heterogeneous medley. An Inquifitor-general is introduced on the age, who mercifully wifhes, for the benefit of the unbeliever, To plant the horrid ftake, to pile the faggot, To light the fire, and burn him into heavenand could the actual reprefentation of an Autó da fé have been brought about, this piece would have been better entitled to the appellation of a tragedy. At prefent, as we obferved before, there is little to render this term appropriate. The good Ximenes is indeed poifoned; but as at our firit acquaintance with him he is old, and finking through natural infirmity to the grave, we are little affected by the circumftance which haftens his diffolution; efpecially fince a year year elapfes from the time the poifon was first given, and he furvives long enough to fay many good prayers, to propagate the Gofpel, and terrify the Inquifitor-general, with threatening to make a bonfire of him, and hang him up as high as Haman. On fuch a fingular drama it is impoffible to pafs any encomium. We fhall therefore take leave of our reverend Author, lamenting that he has fo mifapplied his talents, and recommending to him, fhould he ever be tempted to try his abilities again as a play writer, ftudioufly to avoid the ufe of Scripture language, which, fpouted from the mouths of tragedians, would by all be confidered as indecent, and by many as profane. Art. 49. Select Dramatic Pieces; fome of which have been acted on Provincial Theatres, others written for Private Performance, and Country Amufement. By Doctor Jodrell. 8vo. 6s. Boards. Lowndes 1787. The dramatic pieces here felected are fix in number. The Boarding School Mifs; One and All; The Difguife; The Mufico; Who's afraid; and the Bulfe. The laft of thele titles wants explanation, and is therefore ill chofen. In the courfe of the piece, we are told that Fitzwarren, the day before he went away, placed in a vault, behind fome bricks, an iron cheft, containing a Bulfe of Diamonds, the richest that ever came into this country; the perfon, who did this, having the fecret of knowing the value of Bulfes without opening them. Thus the reader may form an idea of what is meant by the name given to the piece before us. The depofit was, it seems, intended as a provifion for the proprietor's fon and daughter. The fon, not being in the fecret, was on the point of felling the house, with the concealed Bulfe, and hence the difficulties in the courfe of the fable. As Dr. Jodrell has thought proper to exhibit his complaint against us, Reviewers, having, as he fays, experienced great viciffitudes of cenfure and approbation; we will not, in his abfence from this kingdom*, fend after him a fresh cause of difcontent. He bids defiance to our judgment and appeals to pofterity. To that tribunal we confign him, fincerely wishing that his works, at fome period, however late, may have their day of trial. God fend him a good deliverance! We are neither enemies to his prefent nor pofthumous fame. Art. 50. The diftreffed Family; a Drama, in four Acts. Tranflated from the French of Monfieur le Mercier. 8vo. Is. 6d. Elliot and Co. 1787. As this piece was read by Monfieur le Texier, in Lifle-street; as the whole has been before a number of audiences, and the polite circles have already formed their judgment of the original, a formal criticifm may be difpenfed with; and we fhall only fay, that in the rank of tender and pathetic comedy, this piece is entitled to a diftinguished place. The fentimental drama, though not equal to the comic fpecies, which displays the foibles and humours of man *Since the publication of his book, the author has been knighted; and has failed to the Eaft Indies, in quality of phyfician to the Nabob of Arcott. kind, may yet, while it gives a true delineation of life, be received with favour. It ferves the cause of virtue, and on that account is valuable. The tranflation may, in general, be allowed to have done juftice to the French writer, but is not always grammatical. I vex you! dear Charlotte, me! The rule requires that it fhould be I. We only mention this that the writers of dialogue may not imagine that Prifcian's head, because it is broken in real life, should, without occafion, fuffer in dramatic compofition. Art. 51. Imperfect Hints towards a New Edition of Shakespeare. 4to. 4s. fewed. Robfon, &c. 1787.. This is an account of pictures, prints, and engravings, that relate to Shakespeare, or have been taken from his plays. The profeffed defign of the publication is to furnish hints to the undertakers of Mr. Boydell's edition; the time being now at hand, as our author fays, when Shakespeare's works will receive every embellishment of grateful art; when a temple will be erected to his memory; and when the productions of the British artists will receive an eternal afylum. It is remarkable that this plan of uniting the fifter-arts of poetry and painting was firft fuggefted by Mr. Collins*, in his epiftle to Sir Thomas Hanmer: "O might fome verfe with happiest skill perfuade ! What wondrous draughts might rife from ev'ry page! Lifts the torn robe, and points the bleeding wound." Mr. Collins purfues his plan through feveral of Shakespeare's characters. The idea was worthy of a poet, and is now happily revived, at a time when the artifts of Britain poffefs fancy, tatte, and execution. The account of the various pictures and engravings contained in the pamphlet before us, will, probably, furnish feveral valuable hints for the completion of the prefent laudable and extenfive defign; which, we hope, when finished, will be an honour to the literature and the artists of our country, and the noble spirit of Alderman Boydell. N. B. A fecond part of these Hints is just come to hand; but we have not yet perused it. *For an account of his works, fee Review, vol. xxxii. p, 293. and lvii. p. 82. REV. July, 1788. G Art. Art. 52. Remarks on the favourite Ballad of Cupid and Psyche. With fome Account of the Pantomime of the Ancients. 12mo. Is. 6d. Stockdale. 1788. An elegant little tract, abounding with obfervations of more importance than could be expected on a fubject, at the firft view, rather unpromising. It is pleafant to fee the present state of our country in miniature, but nicely touched. Throughout the prefent reign, the patronage of the great, and more especially of the greatest, has conftantly promoted the advancement of the arts. Yet has their progrefs been oppofed by very hoftile circumftances. Civil fermentation and difquiet have often filled the minds of men with faction, or inflamed them into rage; and actual war, of such a nature as to drain, and apparently to exhauft, the refources of the country, interpofed for a while a ftill more dreadful obftacle. But the fecurity of peace has returned. Wealth has again increased beyond what was hoped; beyond what was imagined poffible. Virtuous attention has difcovered, and brought into action, the vigour of the ftate. We are respected abroad, for our resources have been fhewn; we are tranquil at home, for government poffeffes, as it ought, the confidence of the people.' This is agreeable, because it is true and this is, certainly, the time for genius to exert itself. Good taste is connected with morality; and while the pleasures of mankind tend not only to gratification, but to the refinement of the understanding, great good is likely to enfue. We agree with the author in thefe fentiments. After ftating the progrefs of the arts, and the cultivation of our language, he proceeds to the little ballet which has lately attracted the public notice. The art of dancing, he fays, confifts of two parts, the gymnaftic, and the mimetic, or imitative. The former is the effect of bodily vigour, and the love of exercise, refined in time to regular movements and fportive elegance. The fecond part confifts in imitation, conducted by regular geftures, and reprefenting events, paffions, and fituations. It may be divided into three fpecies; the tragic, comic, and farcical. The lat has been difplayed in our pantomimes, but without regard to elegance. With the ancients, the dance, united with mufic, was em ployed in the fervice of religion. Hence its dignity in former ages. At Rome, the priests, who guarded the facred Ancilia, were denominated Salii. The mimetic dance was united with mufic in the chorus of the drama. Unmixed pantomime was unknown to the Greeks, but, under Augustus, became fashionable at Rome. The two former, viz. the ferious and comic, have been revived by Noverre, and other artifts of his nation. Le Picq is the PYLADES admired by the ancients; and Veftris, the BATHYLLUS. In confequence of poffeffing fach artifts, the Ballet of Cupid and Psyche has been wonderfully performed. The expreffion of looks and geftures is an univerfal language, and its power has been fully exerted in this pantomime dance, where Veftris, like a,real divinity, feems to touch the ground by choice, not by neceffity. After giving fome critical ftrictures on the performance at the Opera House, the author proceeds to relate the very fingular fable of Cupid and Psyche, which forms the ground-work of Noverre's pantomine. The story is no where extant in any ancient writer, except Apuleius. It is beau tifully |