The Mirror of Taste, and Dramatic Censor, Vol. I, No. 5, May 1810
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The Mirror of Taste, and Dramatic Censor, Vol. I, No. 5, May 1810

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Table of Contents
  • THE MIRROR OF TASTE,
    • AND
  • DRAMATIC CENSOR.
    • Vol. I.        MAY, 1810.        No. 5.
    • Contents
    • HISTORY OF THE STAGE.
      • CHAPTER V.
        • Conclusion of the Greek Drama.
        • MENANDER.
      • Conclusion of the Greek Drama.
      • MENANDER.
    • CHAPTER V.
      • Conclusion of the Greek Drama.
      • MENANDER.
    • Conclusion of the Greek Drama.
    • MENANDER.
    • BIOGRAPHY.
      • LIFE OF WILLIAM GIFFORD, ESQ. AUTHOR OF THE BAEVIAD AND MAEVIAD, AND TRANSLATOR OF JUVENAL.
        • (To be concluded in our next.)
      • (To be concluded in our next.)
      • FOOTNOTES:
    • LIFE OF WILLIAM GIFFORD, ESQ. AUTHOR OF THE BAEVIAD AND MAEVIAD, AND TRANSLATOR OF JUVENAL.
      • (To be concluded in our next.)
    • (To be concluded in our next.)
    • FOOTNOTES:
    • BIOGRAPHY—FOR THE MIRROR.
      • SKETCH OF THE LIFE OF THE LATE MR. HODGKINSON.
        • (Continued from page 297.)
        • (To be continued.)
      • (Continued from page 297.)
      • (To be continued.)
      • FOOTNOTES:
    • SKETCH OF THE LIFE OF THE LATE MR. HODGKINSON.
      • (Continued from page 297.)
      • (To be continued.)
    • (Continued from page 297.)
    • (To be continued.)
    • FOOTNOTES:
    • NOKES.
    • MISCELLANY.
      • THEOBALDUS SECUNDUS, OR SHAKSPEARE AS HE SHOULD BE.
        • NO. IV.
        • Hamlet Prince of Denmark, continued.
        • (To be Continued.)
        • King Lear.
        • Macklin and Foote.
        • Macklin afterwards failed.
        • Countess of Carlisle's opinion of the Drama, taken from her maxims to young ladies.
        • The general lover—An Ovidian rhapsody.
        • Humorous Epilogues after Tragedies.
        • TO THE CONDUCTOR.
        • A CHAPTER ON LOGIC;
        • Or, the Horse Chesnut, and the Chesnut Horse.
        • What is the literary world?
        • What are the most rare animals in the world?
        • Addison's pedigree of Wit.
        • Anecdotes of Macklin.
        • ANECDOTE OF QUIN.
      • NO. IV.
      • Hamlet Prince of Denmark, continued.
      • (To be Continued.)
      • King Lear.
      • Macklin and Foote.
      • Macklin afterwards failed.
      • Countess of Carlisle's opinion of the Drama, taken from her maxims to young ladies.
      • The general lover—An Ovidian rhapsody.
      • Humorous Epilogues after Tragedies.
      • TO THE CONDUCTOR.
      • A CHAPTER ON LOGIC;
      • Or, the Horse Chesnut, and the Chesnut Horse.
      • What is the literary world?
      • What are the most rare animals in the world?
      • Addison's pedigree of Wit.
      • Anecdotes of Macklin.
      • ANECDOTE OF QUIN.
      • FOOTNOTES:
    • THEOBALDUS SECUNDUS, OR SHAKSPEARE AS HE SHOULD BE.
      • NO. IV.
      • Hamlet Prince of Denmark, continued.
      • (To be Continued.)
      • King Lear.
      • Macklin and Foote.
      • Macklin afterwards failed.
      • Countess of Carlisle's opinion of the Drama, taken from her maxims to young ladies.
      • The general lover—An Ovidian rhapsody.
      • Humorous Epilogues after Tragedies.
      • TO THE CONDUCTOR.
      • A CHAPTER ON LOGIC;
      • Or, the Horse Chesnut, and the Chesnut Horse.
      • What is the literary world?
      • What are the most rare animals in the world?
      • Addison's pedigree of Wit.
      • Anecdotes of Macklin.
      • ANECDOTE OF QUIN.
    • NO. IV.
    • Hamlet Prince of Denmark, continued.
    • (To be Continued.)
    • King Lear.
    • Macklin and Foote.
    • Macklin afterwards failed.
    • Countess of Carlisle's opinion of the Drama, taken from her maxims to young ladies.
    • The general lover—An Ovidian rhapsody.
    • Humorous Epilogues after Tragedies.
    • TO THE CONDUCTOR.
    • A CHAPTER ON LOGIC;
    • Or, the Horse Chesnut, and the Chesnut Horse.
    • What is the literary world?
    • What are the most rare animals in the world?
    • Addison's pedigree of Wit.
    • Anecdotes of Macklin.
    • ANECDOTE OF QUIN.
    • FOOTNOTES:
    • SPORTING INTELLIGENCE.
      • BLODWELL ROCK.
        • WILTSHIRE PASTIME.
        • ST. GILES'S PASTIME
        • A singular circumstance.
        • Pedestrianism.
      • WILTSHIRE PASTIME.
      • ST. GILES'S PASTIME
      • A singular circumstance.
      • Pedestrianism.
    • BLODWELL ROCK.
      • WILTSHIRE PASTIME.
      • ST. GILES'S PASTIME
      • A singular circumstance.
      • Pedestrianism.
    • WILTSHIRE PASTIME.
    • ST. GILES'S PASTIME
    • A singular circumstance.
    • Pedestrianism.
    • DRAMATIC CENSOR.
      • From a Correspondent at New-York.
      • NEW-YORK THEATRICALS.
        • THE AFRICANS.
        • Mr. Cooper's second visit this season.
        • ALEXANDER.
        • MR. DWYER.
        • Grand Musical Performances.
      • THE AFRICANS.
      • Mr. Cooper's second visit this season.
      • ALEXANDER.
      • MR. DWYER.
      • Grand Musical Performances.
      • FOOTNOTES:
    • From a Correspondent at New-York.
    • NEW-YORK THEATRICALS.
      • THE AFRICANS.
      • Mr. Cooper's second visit this season.
      • ALEXANDER.
      • MR. DWYER.
      • Grand Musical Performances.
    • THE AFRICANS.
    • Mr. Cooper's second visit this season.
    • ALEXANDER.
    • MR. DWYER.
    • Grand Musical Performances.
    • FOOTNOTES:
    • ALFONSO,
    • KING OF CASTILE:
      • A TRAGEDY IN FIVE ACTS.
    • A TRAGEDY IN FIVE ACTS.
    • ALFONSO, KING OF CASTILE:
      • DRAMATIS PERSONAE.
    • DRAMATIS PERSONAE.
    • ACT I.
      • SCENE I.—The palace-garden.—Daybreak.
        • Ottilia enters in a night dress: her hair flows dishevelled.
        • End of Act I.
      • Ottilia enters in a night dress: her hair flows dishevelled.
      • End of Act I.
    • SCENE I.—The palace-garden.—Daybreak.
      • Ottilia enters in a night dress: her hair flows dishevelled.
      • End of Act I.
    • Ottilia enters in a night dress: her hair flows dishevelled.
    • End of Act I.
    • ACT II.
      • SCENE I. A hall in Cæsario's palace.
        • [Shouts heard without.]
        • [Exeunt.
      • [Shouts heard without.]
      • [Exeunt.
      • SCENE III.——A garden.
        • End of Act II.
      • End of Act II.
    • SCENE I. A hall in Cæsario's palace.
      • [Shouts heard without.]
      • [Exeunt.
    • [Shouts heard without.]
    • [Exeunt.
    • SCENE III.——A garden.
      • End of Act II.
    • End of Act II.
    • ACT III.
      • SCENE I.——A chamber in the palace.
        • Enter Ottilia and Inis.
      • Enter Ottilia and Inis.
      • SCENE II. The forest as before.
        • Enter Cæsario and Henriquez.
        • End of Act III.
      • Enter Cæsario and Henriquez.
      • End of Act III.
    • SCENE I.——A chamber in the palace.
      • Enter Ottilia and Inis.
    • Enter Ottilia and Inis.
    • SCENE II. The forest as before.
      • Enter Cæsario and Henriquez.
      • End of Act III.
    • Enter Cæsario and Henriquez.
    • End of Act III.
    • ACT IV.
      • SCENE I. Amelrosa's chamber.
        • Amelrosa in white robes, crowned with flowers, Estella, with a letter.
      • Amelrosa in white robes, crowned with flowers, Estella, with a letter.
      • SCENE II. St. Juan's cloisters by moon-light.—On one side a gothic chapel.
      • SCENE III.—A cavern.
        • Enter Melchior with a lamp, as from an inner cavern.
      • Enter Melchior with a lamp, as from an inner cavern.
      • SCENE IV.—[The inner cavern, partially lighted with lamps. In the middle, folding doors guarded with iron bars; on one side a rough hewn staircase leading to a small door above.]
        • Gomez, Marcos, and conspirators, discovered in listening attitudes.
        • End of Act IV.
      • Gomez, Marcos, and conspirators, discovered in listening attitudes.
      • End of Act IV.
    • SCENE I. Amelrosa's chamber.
      • Amelrosa in white robes, crowned with flowers, Estella, with a letter.
    • Amelrosa in white robes, crowned with flowers, Estella, with a letter.
    • SCENE II. St. Juan's cloisters by moon-light.—On one side a gothic chapel.
    • SCENE III.—A cavern.
      • Enter Melchior with a lamp, as from an inner cavern.
    • Enter Melchior with a lamp, as from an inner cavern.
    • SCENE IV.—[The inner cavern, partially lighted with lamps. In the middle, folding doors guarded with iron bars; on one side a rough hewn staircase leading to a small door above.]
      • Gomez, Marcos, and conspirators, discovered in listening attitudes.
      • End of Act IV.
    • Gomez, Marcos, and conspirators, discovered in listening attitudes.
    • End of Act IV.
    • ACT V.
      • SCENE I.—The interior of Orsino's hermitage.
        • Alfonso is discovered sleeping.
        • Enter Orsino and Ricardo.
      • Alfonso is discovered sleeping.
      • Enter Orsino and Ricardo.
      • Scene II.—A chamber in the palace.
        • Enter Henriquez and Melchior.
        • [The scene closes.]
      • Enter Henriquez and Melchior.
      • [The scene closes.]
      • Scene III.—A field of battle—alarums—thunder and lightning.
        • Soldiers cross the stage fighting.
        • Enter Orsino.
      • Soldiers cross the stage fighting.
      • Enter Orsino.
      • Scene IV.—Before the walls of Burgos—The storm continues.
        • Enter Cæsario.
        • End of Act V.
      • Enter Cæsario.
      • End of Act V.
    • SCENE I.—The interior of Orsino's hermitage.
      • Alfonso is discovered sleeping.
      • Enter Orsino and Ricardo.
    • Alfonso is discovered sleeping.
    • Enter Orsino and Ricardo.
    • Scene II.—A chamber in the palace.
      • Enter Henriquez and Melchior.
      • [The scene closes.]
    • Enter Henriquez and Melchior.
    • [The scene closes.]
    • Scene III.—A field of battle—alarums—thunder and lightning.
      • Soldiers cross the stage fighting.
      • Enter Orsino.
    • Soldiers cross the stage fighting.
    • Enter Orsino.
    • Scene IV.—Before the walls of Burgos—The storm continues.
      • Enter Cæsario.
      • End of Act V.
    • Enter Cæsario.
    • End of Act V.
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