The Mirror of Taste, and Dramatic Censor, Vol. I, No. 6, June 1810
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THE MIRROR OF TASTE,
AND
DRAMATIC CENSOR.
Vol. I. JUNE, 1810. No. 6.
Contents
HISTORY OF THE STAGE.
CHAPTER VI.
THE ROMAN DRAMA.
THE ROMAN DRAMA.
FOOTNOTES:
CHAPTER VI.
THE ROMAN DRAMA.
THE ROMAN DRAMA.
FOOTNOTES:
BIOGRAPHY.
ACCOUNT OF LE KAIN.
The celebrated French Actor.
The celebrated French Actor.
FOOTNOTES:
ACCOUNT OF LE KAIN.
The celebrated French Actor.
The celebrated French Actor.
FOOTNOTES:
LIFE OF WILLIAM GIFFORD, ESQ. AUTHOR OF THE BAEVIAD AND MAEVIAD, AND TRANSLATOR OF JUVENAL.
(Continued from page 367.)
FOOTNOTES:
FOR THE MIRROR.
(Continued from page 367.)
FOOTNOTES:
FOR THE MIRROR.
SKETCH OF THE LIFE OF THE LATE MR. HODGKINSON.
(Continued from page 380.)
(To be continued.)
(To be continued.)
(Continued from page 380.)
(To be continued.)
(To be continued.)
MISCELLANY.
QUIZZICAL CRITIQUE ON THE SONG OF "BILLY TAYLOR."
ON THE CHOICE OF A WIFE.
FRENCH DRAMATIC ANECDOTES.
The influence of Bacon and Cabbage.
The influence of Bacon and Cabbage.
THE LUCK OF EDENHALL.
The ancient seat of Sir William Musgrave, in Cumberland.
"Cooke's unparalled Excellence!"
The ancient seat of Sir William Musgrave, in Cumberland.
"Cooke's unparalled Excellence!"
Ambrose and his Dog.
TO MUSIC.
Little things are Best.
A JEU D'ESPRIT.
Addressed to Miss C—— a little, short lady.
Satis parva res est. Amphitrion, Act 2, Sce. 2.
A JEU D'ESPRIT.
Addressed to Miss C—— a little, short lady.
Satis parva res est. Amphitrion, Act 2, Sce. 2.
From Poetical Tales, founded on facts.
THE PARSON AND THE NOSE.
The advantages of solitude for Study.
Favourite divertissements in Spain.
Longevity.
A specimen of the antiquity of Irish Bulls!!!
Theatre, Ambleside, Winandermere.
The advantages of solitude for Study.
Favourite divertissements in Spain.
Longevity.
A specimen of the antiquity of Irish Bulls!!!
Theatre, Ambleside, Winandermere.
FOOTNOTES:
QUIZZICAL CRITIQUE ON THE SONG OF "BILLY TAYLOR."
ON THE CHOICE OF A WIFE.
FRENCH DRAMATIC ANECDOTES.
The influence of Bacon and Cabbage.
The influence of Bacon and Cabbage.
THE LUCK OF EDENHALL.
The ancient seat of Sir William Musgrave, in Cumberland.
"Cooke's unparalled Excellence!"
The ancient seat of Sir William Musgrave, in Cumberland.
"Cooke's unparalled Excellence!"
Ambrose and his Dog.
TO MUSIC.
Little things are Best.
A JEU D'ESPRIT.
Addressed to Miss C—— a little, short lady.
Satis parva res est. Amphitrion, Act 2, Sce. 2.
A JEU D'ESPRIT.
Addressed to Miss C—— a little, short lady.
Satis parva res est. Amphitrion, Act 2, Sce. 2.
From Poetical Tales, founded on facts.
THE PARSON AND THE NOSE.
The advantages of solitude for Study.
Favourite divertissements in Spain.
Longevity.
A specimen of the antiquity of Irish Bulls!!!
Theatre, Ambleside, Winandermere.
The advantages of solitude for Study.
Favourite divertissements in Spain.
Longevity.
A specimen of the antiquity of Irish Bulls!!!
Theatre, Ambleside, Winandermere.
FOOTNOTES:
SPORTING INTELLIGENCE.
THE SOLDIER TO HIS HORSE.
Allusive to a military order for the destruction of the British cavalry horses, during the late retreat in Spain.
Colonel O'Kelly's famous horse Dungannon.
Allusive to a military order for the destruction of the British cavalry horses, during the late retreat in Spain.
Colonel O'Kelly's famous horse Dungannon.
THE SOLDIER TO HIS HORSE.
Allusive to a military order for the destruction of the British cavalry horses, during the late retreat in Spain.
Colonel O'Kelly's famous horse Dungannon.
Allusive to a military order for the destruction of the British cavalry horses, during the late retreat in Spain.
Colonel O'Kelly's famous horse Dungannon.
DRAMATICUS.
No. II.
Edward and Eleonora.
SOUTHERN.
OTWAY.
Candour and Modesty.
Charles Macklin.
Richard Fullerton.
A Dramatic Bull.
She would and she would not—or the kind Impostor.
High life below Stairs.
A hard fought theatrical battle.
What is it about?
Edward and Eleonora.
SOUTHERN.
OTWAY.
Candour and Modesty.
Charles Macklin.
Richard Fullerton.
A Dramatic Bull.
She would and she would not—or the kind Impostor.
High life below Stairs.
A hard fought theatrical battle.
What is it about?
FOOTNOTES:
No. II.
Edward and Eleonora.
SOUTHERN.
OTWAY.
Candour and Modesty.
Charles Macklin.
Richard Fullerton.
A Dramatic Bull.
She would and she would not—or the kind Impostor.
High life below Stairs.
A hard fought theatrical battle.
What is it about?
Edward and Eleonora.
SOUTHERN.
OTWAY.
Candour and Modesty.
Charles Macklin.
Richard Fullerton.
A Dramatic Bull.
She would and she would not—or the kind Impostor.
High life below Stairs.
A hard fought theatrical battle.
What is it about?
FOOTNOTES:
LITERARY INTELLIGENCE.
SHAW'S POEMS.
FOOTNOTES:
SHAW'S POEMS.
FOOTNOTES:
THE FREE KNIGHTS,
OR
THE EDICT OF CHARLEMAGNE:
A DRAMA IN THREE ACTS,
INTERSPERSED WITH SONGS.
A DRAMA IN THREE ACTS,
INTERSPERSED WITH SONGS.
OR
THE EDICT OF CHARLEMAGNE:
A DRAMA IN THREE ACTS,
INTERSPERSED WITH SONGS.
A DRAMA IN THREE ACTS,
INTERSPERSED WITH SONGS.
THE FREE KNIGHTS.
DRAMATIS PERSONAE.
Scene—Westphalia.
DRAMATIS PERSONAE.
Scene—Westphalia.
ACT I.
SCENE I.—A spacious cavern, veined with ore, marking the remains of a sulphur mine. In the back a sheet of water, with a lamp hanging over it; and cells with iron grating before them. At the right wing a large brazen door, at the left wing another with steps leading up to it. Everard discovered—knocking and trumpets.
SCENE II.—An open country, Corbey Abbey in the distance. At the right wing the gates of the town of Corbey; at the left wing the chateau of baron Ravensburg.
RECITATIVE—Ulrica.
AIR.
SONG—Christopher.
RECITATIVE—Ulrica.
AIR.
SONG—Christopher.
SCENE III.—A splendid gothic hall in the baron's chateau. Large folding doors in the centre. Two state chairs are brought on by two of the baron's servants.
Enter Ravensburg.
End of Act I.
Enter Ravensburg.
End of Act I.
SCENE I.—A spacious cavern, veined with ore, marking the remains of a sulphur mine. In the back a sheet of water, with a lamp hanging over it; and cells with iron grating before them. At the right wing a large brazen door, at the left wing another with steps leading up to it. Everard discovered—knocking and trumpets.
SCENE II.—An open country, Corbey Abbey in the distance. At the right wing the gates of the town of Corbey; at the left wing the chateau of baron Ravensburg.
RECITATIVE—Ulrica.
AIR.
SONG—Christopher.
RECITATIVE—Ulrica.
AIR.
SONG—Christopher.
SCENE III.—A splendid gothic hall in the baron's chateau. Large folding doors in the centre. Two state chairs are brought on by two of the baron's servants.
Enter Ravensburg.
End of Act I.
Enter Ravensburg.
End of Act I.
ACT II.
SCENE I.—An apartment in the baron's chateau. A door in the back scene, leading to a chamber.
Enter Christopher, hastily, through the stage door.
DUET—Christopher, Ulrica.
Enter Christopher, hastily, through the stage door.
DUET—Christopher, Ulrica.
SCENE II.—A vaulted cavern belonging to the free knights—nearly in the centre a large brazen door, in the archway a practicable parapet, and occasional apertures in the broken fragments of the rock.
Enter Everard, hastily through the doorway.
Enter Everard, hastily through the doorway.
SCENE III.—A wood.—Enter Falconers, severally.
GLEE.
GLEE.
SCENE IV.—The garden of Corbey abbey, with practicable gates, over which is a projecting tablet, with an inscription nearly effaced. In the back, an ascending avenue through pine trees: in the centre a statue of Charlemagne; on the base of which is written, "Charlemagne grants the power of sanctuary and of pardon to the abbots of Corbey forever."
End of Act II.
End of Act II.
SCENE I.—An apartment in the baron's chateau. A door in the back scene, leading to a chamber.
Enter Christopher, hastily, through the stage door.
DUET—Christopher, Ulrica.
Enter Christopher, hastily, through the stage door.
DUET—Christopher, Ulrica.
SCENE II.—A vaulted cavern belonging to the free knights—nearly in the centre a large brazen door, in the archway a practicable parapet, and occasional apertures in the broken fragments of the rock.
Enter Everard, hastily through the doorway.
Enter Everard, hastily through the doorway.
SCENE III.—A wood.—Enter Falconers, severally.
GLEE.
GLEE.
SCENE IV.—The garden of Corbey abbey, with practicable gates, over which is a projecting tablet, with an inscription nearly effaced. In the back, an ascending avenue through pine trees: in the centre a statue of Charlemagne; on the base of which is written, "Charlemagne grants the power of sanctuary and of pardon to the abbots of Corbey forever."
End of Act II.
End of Act II.
ACT III
SCENE I.—View of corbey abbey, open country and chateau.
Enter countess Roland and attendants.
SONG—Count.
QUINTETTO.
Enter countess Roland and attendants.
SONG—Count.
QUINTETTO.
SCENE II.—The interior of the abbey.
Enter the abbot and Agnes.
Enter the abbot and Agnes.
SCENE III.—a road near Corbey.
Enter Christopher.
SONG—Ulrica.
SONG—Christopher.
Enter Christopher.
SONG—Ulrica.
SONG—Christopher.
SCENE IV.—The grand aisle of the abbey, in the upper part of the sanctuary.
Enter Bernardo, St. Clair, and two other monks.
Enter Bernardo, St. Clair, and two other monks.
SCENES THE LAST.—The installation, &c. All the characters discovered.
CHORUS.
FINALE.
CHORUS.
FINALE.
SCENE I.—View of corbey abbey, open country and chateau.
Enter countess Roland and attendants.
SONG—Count.
QUINTETTO.
Enter countess Roland and attendants.
SONG—Count.
QUINTETTO.
SCENE II.—The interior of the abbey.
Enter the abbot and Agnes.
Enter the abbot and Agnes.
SCENE III.—a road near Corbey.
Enter Christopher.
SONG—Ulrica.
SONG—Christopher.
Enter Christopher.
SONG—Ulrica.
SONG—Christopher.
SCENE IV.—The grand aisle of the abbey, in the upper part of the sanctuary.
Enter Bernardo, St. Clair, and two other monks.
Enter Bernardo, St. Clair, and two other monks.
SCENES THE LAST.—The installation, &c. All the characters discovered.
CHORUS.
FINALE.
CHORUS.
FINALE.
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