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PR623 B34 1812





1. Tue Macaroni. Com; by sleep, is perfectly original, and ad-
Robert Hitchcock. Performed at mirably conducted. Macbeth's so-
York. Svo. 1773. It was once liloquies, both before and after the
acted at the Haymarket.

murder, are masterpieces of un2. THE MACARONI. Farce. matchable writing; while his reaWe are told that such a piece exists diness of being deluded at first by in MS. which was written some the witches, and his desperation time between 1770 and 1780, but on the discovery of the fatal ambiwas, probably, never performed; guity, and loss of all hope from though the copy which our inform- supernatural predictions, produce ant had seen had several passages a catastrophe truly just, and formmarked for omission, in the same ed with the utmost judgment. In manner as plays belonging to thea- a word, notwithstanding all its irtres usually have. Might it not be regularities, it is certainly one of an abridgment of the foregoing the best pieces of the very best article ?

master in this kind of writing that 3. MACBETH. Trag. by W. the world ever produced. The Shakspeare. Fol. 1623. This play plot is founded on the Scottish is extremely irregular, everyone history, and may be traced in the of the rules of the drama being writings of Hector Boethius, Buentirely and repeatedly broken in chanan, Holingshed, &c. in Heyupon : yet, notwithstanding, it wood's Hierarchy of Angels, and in contains an infinity of beauties, the first book of Heylin's Cosmoboth with respect to language, graphy. The entire story at large, character, passion, and incident. however, collected from them all, The incantations of the witches is to be seen in a work, in three are equal, if not superior, to the volumes 12mo. entitled Shakspeare Canidiu of Horace. The use this Illustrated, vol. i. The scene in author has made of Banquo's ghost, the end of the fourth act lies in towards heightening the already England. Through all the rest of heated imagination of Macbeth, is the play it is in Scotland, and inimitably fine. Lady Macbeth, chiefly at Macbeth's castle at Indiscovering her own crimes in her verness. VOL. 111.



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 « 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 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 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 liy “ illusions must be broken by a « halves ; and that we cannot or 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. or that, be the success as it may, “ Their presence would be inju“ we are sure in the event to be. o rious in such a scene, supposing “ come wretched and unhappy." o 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 « ideas that should attend us in of praise to the chef characters, “ this part of the play. The men as performed 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 « 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. 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 inäuence 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

No milk-naid yet hath been bedewid. pre

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 whind, "aloft, to make their responses Shutting his eyes against the wind. "in the intervals of the spells of

1. Vüch. "Hecate and her three attendants. Up hollow oaks now emmets climb.

2. Wirch.
The music would indisputably And Hecate cries, 'Tis time, 't is time,
“ be heard with an effect more

3. W'irch.
“suitable to the occasion; and Then round about the cauldron go,
our eyes would not then per-

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

1. IIitch. vill, instead of Macbeth."

Nights and days has, thirty-one, 4. MACBETH. Trag. with all Swelter'd venom sleeping got) the alterations, amendients, 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 8vo. 1799. The criticisms and this revival, but did not succeed emendations are more amusing in it. His name, however, stands thav solid. against the character in the print- 8. MACBETH. Trag. by Shaked copy. It was performed with speare. Revised by J. P. Kembic,

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M A D and now first published as it is Sunshine after Rain. A Farce, int acted at Covent Garden Theatre. two acts, by T. Merchant. 8vo. Svo, 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 “ Fies Durfey. Acted at the Duke's gilive 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 ever existed, 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 u play without hearsal of a new Ballad Opera, stealing." At least, however, he burlesqued, called The MADhas given no proof to the contrary House, atter the manner of Pasof such explanation in the piece quin, by R. Baker. Acted at Linbefore us, which is wholly made coln's Inn 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. 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 from 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 u. Tie 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 Delauchee; or, The Credulous Performed at Marybone Gardens. Cuckold, and reprinted in 4to.1677. 410. 1770.

13. THE MAD GUARDIAN; or, 19. The Madman's Morris,

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