The Mirror of Taste, and Dramatic Censor, Vol. I, No. 4, April 1810
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The Mirror of Taste, and Dramatic Censor, Vol. I, No. 4, April 1810

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Table of Contents
  • THE MIRROR OF TASTE,
    • AND
  • DRAMATIC CENSOR.
    • Vol. I       APRIL 1810.       No. 4.
    • Contents
    • HISTORY OF THE STAGE.
      • CHAPTER IV.
        • ORIGIN OF COMEDY—ARISTOPHANES—DEATH OF SOCRATES.
      • ORIGIN OF COMEDY—ARISTOPHANES—DEATH OF SOCRATES.
    • CHAPTER IV.
      • ORIGIN OF COMEDY—ARISTOPHANES—DEATH OF SOCRATES.
    • ORIGIN OF COMEDY—ARISTOPHANES—DEATH OF SOCRATES.
    • BIOGRAPHY—FOR THE MIRROR.
      • SKETCH OF THE LIFE OF THE LATE MR. HODGKINSON.
        • (Continued from page 212.)
        • (To be continued.)
      • (Continued from page 212.)
      • (To be continued.)
      • FOOTNOTES:
    • SKETCH OF THE LIFE OF THE LATE MR. HODGKINSON.
      • (Continued from page 212.)
      • (To be continued.)
    • (Continued from page 212.)
    • (To be continued.)
    • FOOTNOTES:
    • BARRY, THE PLAYER.
      • Antony in Julius Cæsar.
        • Varanes in Theodosius, or the Force of Love.
        • In Altamont in The Fair Penitent.
        • Othello.
      • Varanes in Theodosius, or the Force of Love.
      • In Altamont in The Fair Penitent.
      • Othello.
      • FOOTNOTES:
    • Antony in Julius Cæsar.
      • Varanes in Theodosius, or the Force of Love.
      • In Altamont in The Fair Penitent.
      • Othello.
    • Varanes in Theodosius, or the Force of Love.
    • In Altamont in The Fair Penitent.
    • Othello.
    • FOOTNOTES:
    • MISCELLANY.
      • THEOBALDUS SECUNDUS, OR SHAKSPEARE AS HE SHOULD BE.
      • NO. III.
        • Hamlet, Prince of Denmark, continued.
      • Hamlet, Prince of Denmark, continued.
      • Coffee and Chocolate.
      • MONUMENT IN HONOUR OF THE LATE DUKE OF BEDFORD. ERECTED IN RUSSELL SQUARE, BY R. WESTMACOTT, ASSOCIATE OF THE ROYAL ACADEMY.
      • O! NEVER LET US MARRY.
        • TO ROSA.
      • TO ROSA.
      • THE SABLE APPARITION, OR MYSTERIOUS BELL ROPE.
        • An extract from a Manuscript Novel.
      • An extract from a Manuscript Novel.
    • THEOBALDUS SECUNDUS, OR SHAKSPEARE AS HE SHOULD BE.
    • NO. III.
      • Hamlet, Prince of Denmark, continued.
    • Hamlet, Prince of Denmark, continued.
    • Coffee and Chocolate.
    • MONUMENT IN HONOUR OF THE LATE DUKE OF BEDFORD. ERECTED IN RUSSELL SQUARE, BY R. WESTMACOTT, ASSOCIATE OF THE ROYAL ACADEMY.
    • O! NEVER LET US MARRY.
      • TO ROSA.
    • TO ROSA.
    • THE SABLE APPARITION, OR MYSTERIOUS BELL ROPE.
      • An extract from a Manuscript Novel.
    • An extract from a Manuscript Novel.
    • COMMUNICATIONS.
      • TO THE EDITOR OF THE DRAMATIC MISCELLANY.
        • Every One has his Fault.
        • Prostitution of the Theatre.
        • Samuel Foote.
        • A spirited manager.
        • Moody.
        • Theatrical Licenses.
        • Mrs. Centlivre. The Busy Body.
        • Gay.——Beggar's opera.
        • A Wine merchant.
        • Garrick once more.
        • As it was damned.
        • Vindication of Lord Rochester.
        • An elegant translation.
        • Beware of a too free use of the bottle.
      • Every One has his Fault.
      • Prostitution of the Theatre.
      • Samuel Foote.
      • A spirited manager.
      • Moody.
      • Theatrical Licenses.
      • Mrs. Centlivre. The Busy Body.
      • Gay.——Beggar's opera.
      • A Wine merchant.
      • Garrick once more.
      • As it was damned.
      • Vindication of Lord Rochester.
      • An elegant translation.
      • Beware of a too free use of the bottle.
      • FOOTNOTES:
    • TO THE EDITOR OF THE DRAMATIC MISCELLANY.
      • Every One has his Fault.
      • Prostitution of the Theatre.
      • Samuel Foote.
      • A spirited manager.
      • Moody.
      • Theatrical Licenses.
      • Mrs. Centlivre. The Busy Body.
      • Gay.——Beggar's opera.
      • A Wine merchant.
      • Garrick once more.
      • As it was damned.
      • Vindication of Lord Rochester.
      • An elegant translation.
      • Beware of a too free use of the bottle.
    • Every One has his Fault.
    • Prostitution of the Theatre.
    • Samuel Foote.
    • A spirited manager.
    • Moody.
    • Theatrical Licenses.
    • Mrs. Centlivre. The Busy Body.
    • Gay.——Beggar's opera.
    • A Wine merchant.
    • Garrick once more.
    • As it was damned.
    • Vindication of Lord Rochester.
    • An elegant translation.
    • Beware of a too free use of the bottle.
    • FOOTNOTES:
    • DRAMATIC CENSOR.
      • DOMESTIC CRITICISM.
        • The Foundling of the Forest.
      • The Foundling of the Forest.
    • DOMESTIC CRITICISM.
      • The Foundling of the Forest.
    • The Foundling of the Forest.
    • A
    • NEW WAY TO PAY OLD DEBTS,
      • A COMEDY,
      • IN FIVE ACTS.
    • A COMEDY,
    • IN FIVE ACTS.
    • A NEW WAY TO PAY OLD DEBTS.
      • DRAMATIS PERSONAE.
    • DRAMATIS PERSONAE.
    • ACT I.
      • SCENE I.—The Outside of a Village Alehouse.
        • Enter Wellborn, Tapwell, and Froth, from the House.
      • Enter Wellborn, Tapwell, and Froth, from the House.
      • SCENE II.—A Chamber in Lady Allworth's House.
        • Enter Furnace, Amble, Order, and Watchall.
      • Enter Furnace, Amble, Order, and Watchall.
      • SCENE III.—A Hall in Lady Allworth's House.
        • Enter Overreach, Greedy, Order, Amble, Furnace, Watchall, and Marall.
      • Enter Overreach, Greedy, Order, Amble, Furnace, Watchall, and Marall.
    • SCENE I.—The Outside of a Village Alehouse.
      • Enter Wellborn, Tapwell, and Froth, from the House.
    • Enter Wellborn, Tapwell, and Froth, from the House.
    • SCENE II.—A Chamber in Lady Allworth's House.
      • Enter Furnace, Amble, Order, and Watchall.
    • Enter Furnace, Amble, Order, and Watchall.
    • SCENE III.—A Hall in Lady Allworth's House.
      • Enter Overreach, Greedy, Order, Amble, Furnace, Watchall, and Marall.
    • Enter Overreach, Greedy, Order, Amble, Furnace, Watchall, and Marall.
    • ACT II.
      • SCENE I.—Sir Giles's House.
        • Enter Sir Giles Overreach and Marall.
      • Enter Sir Giles Overreach and Marall.
      • SCENE II.—A Hall in Lady Allworth's House.
        • Enter Allworth, Order, Amble, and Watchall.
      • Enter Allworth, Order, Amble, and Watchall.
      • SCENE III.—The Country.
        • Enter Wellborn and Marall.
      • Enter Wellborn and Marall.
    • SCENE I.—Sir Giles's House.
      • Enter Sir Giles Overreach and Marall.
    • Enter Sir Giles Overreach and Marall.
    • SCENE II.—A Hall in Lady Allworth's House.
      • Enter Allworth, Order, Amble, and Watchall.
    • Enter Allworth, Order, Amble, and Watchall.
    • SCENE III.—The Country.
      • Enter Wellborn and Marall.
    • Enter Wellborn and Marall.
    • ACT. III.
      • SCENE I.—The Country.
        • Enter Lovell and Allworth.
      • Enter Lovell and Allworth.
      • SCENE II.—A Hall in Sir Giles's house.
        • Enter Sir Giles Overreach, Greedy and Marall.
      • Enter Sir Giles Overreach, Greedy and Marall.
    • SCENE I.—The Country.
      • Enter Lovell and Allworth.
    • Enter Lovell and Allworth.
    • SCENE II.—A Hall in Sir Giles's house.
      • Enter Sir Giles Overreach, Greedy and Marall.
    • Enter Sir Giles Overreach, Greedy and Marall.
    • ACT IV.
      • SCENE I—A Chamber in Lady Allworth's House.
        • Lovell and Allworth discovered.
      • Lovell and Allworth discovered.
      • SCENE II.—A Landscape before Tapwell's House.
        • Enter Tapwell and Froth.
      • Enter Tapwell and Froth.
      • SCENE III.—A Chamber in Sir Giles's House.
        • Enter Allworth and Margaret.
      • Enter Allworth and Margaret.
    • SCENE I—A Chamber in Lady Allworth's House.
      • Lovell and Allworth discovered.
    • Lovell and Allworth discovered.
    • SCENE II.—A Landscape before Tapwell's House.
      • Enter Tapwell and Froth.
    • Enter Tapwell and Froth.
    • SCENE III.—A Chamber in Sir Giles's House.
      • Enter Allworth and Margaret.
    • Enter Allworth and Margaret.
    • ACT. V.
      • SCENE I.—A Chamber in Lady Allworth's House.
        • Enter Lovell and Lady Allworth.
      • Enter Lovell and Lady Allworth.
    • SCENE I.—A Chamber in Lady Allworth's House.
      • Enter Lovell and Lady Allworth.
    • Enter Lovell and Lady Allworth.
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