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. 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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