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the hand of the clock, and it strikes One-the WoodDæmon carries off Hardyknute—Una is united to Oswy—this piece was written by Lewis—it has considerable merit for the sort of thing-it was brought out at D. L. in 2 acts, on the 1st of April 1807—it was enlarged to 3 acts, and brought out afresh at the Lyceum on the 1st of August 1811the title of it as printed is One o'Clock, or the Knight and Wood-Dæmon.
Mrs. Jordan acted 7 nights. 23. Love for Love. Valentine = Stanley : Foresight=Chatterley: Angelica = Miss Jameson : Miss Prue=Mrs. Jordan :--Chatterley played very well.
Feb. Betty acted 10 nights.
Betty : Adelgitha= Mrs. Weston :-with Weathercock. Tristram Fickle=Betty.
18. Chatterley's bt. Foundling of the Forest. Florian=Stanley : L'Eclair=Chatterley: Unknown Female=Mrs. Weston :-with Beehive. Mingle= Chatterley.
April 6. Stanley's bt. Renegade. Don Sebas tian= Stanley : Almeyda = Miss Jameson :-with Hunter of the Alps. Felix = Stanley:—and Tailors, in one act—there was a good deal of hissing at first but it afterwards subsided—the Bath Tailors had doubtless heard of the riot at Dowton's bt.-Stanley played Felix very well—this was Miss Jameson's last performance—she left the stage to be married - she was a very pleasing actress—just the actress wanted at Bath—but not good enough to have played principal characters in London.
Mrs. Campbell acted 6 nights.
10. Provoked Husband. Sir Francis Wronghead = Blisset : Lady Townly = Mrs. Campbell.
27. Winter's Tale. Leontes = Bengough: Florizel = Stanley : Autolycus = Chatterley: Clown = Woulds : Hermione = Mrs. Campbell : Paulina= Mrs. Weston : - Mrs. Siddons alone could have played Paulina better than Mrs. Weston.
May Sinclair acted — nights—and Incledon 4. 14. Blisset acted Justice Woodcock.
29. Merry Wives. Falstaff = Blisset : Sir Hugh = Chatterley :--this was Blisset's last app. on the stage.
June 12. Not acted 30 years, Cornish Shipwreck, or Fatal Curiosity. Wilmot = Bengough: Young Wilmot = Stanley: Agnes = Mrs. Weston :
-Fatal Curiosity was revived with an additional scene, which Lillo is said to have added in some edition of his play—but it is not in the 1st edition-nor in Colman's edition - nor in Lillo's works — Young Wilmot entered in a dying state, after he had been stabbed by his father—this was thought by some persons too shocking--and the play was not suffered to be finished-two ladies in one of the side boxes, who had talked almost incessantly during the former part of the play, now affected to be much distressed, and the gentleman who was of their party, was particularly vociferous in calling for the curtain to drop
-the Bath company had acted Fatal Curiosity at Bristol without
disturbance. 19. Love's last Shift. Loveless = Stanley. July 7. Fawcett acted Kalender, and King Arthur.
8. Education. Templeton= Fawcett : Sir Guy Stanch = Chatterley: Vincent Templeton = Stanley :—with Agreeable Surprise. Lingo = Fawcett : Mrs. Cheshire = Mrs. Egan :-she was a bad actress, but she looked and acted this part particularly well.
9. Fawcett acted Job Thornberry, and Caleb Quotem.
10. Fawcett's bt. Privateer. Capt. Ironsides = Fawcett : — the Privateer was only the Brothers turned into an Opera, and brought out at the Lyceum.
17. Deaf and Dumb. Julio = Mrs. C. Kemble : St. Alme= Stanley :- with Prize. Caroline - Mrs. C. Kemble.
24. Delusion, Personation, and Blind Boy Mrs. C. Kemble acted Pertilla, Lady Julia, and Edmund.
CUMBERLAND'S POSTHUMOUS PLAYS,
Cumberland in 1806 published his own Life in one vol. 4to.-as Tacitus says—“ suam ipse vitam “ narrare, fiduciam potius morum, quum arrogantiam “ arbitratus"-in the course of his work he gives his own opinion of most of the plays which he had then written.
Dr. Johnson says, that Dryden in his preface to Secret Love discusses a curious question, whether a poet can judge well of his own productions—and determines very justly, that, of the plan and disposition, and all that can be reduced to principles of science, the author may depend upon his own opinion—but that, in those parts where fancy predominates, self-love may easily deceive.
. Cumberland's first piece, the Banishment of Cicero, was printed in 1761 - this T. is founded on history, but great part of it is fiction-Clodia is in love with Frugi-he is in love with Tullia, the daughter of Cicero-he rejects the solicitations of Clodia—she instigates Clodius, who is her brother, and with whom she is too intimate, to kill Frugi Clodius kills Volumnius, supposing him to be Frugi -- Clodia stabs herself-the last scene lies in the Temple of Vesta-Frugi is killed fighting--Terentia and Tullia are forced off the stage by the followers of Clodius and Gabinius–Clodius says of Cicero
“ Be it my task to cast this Exile forth.”
In fact Cicero left Rome in the night, and without the knowledge of Clodius—this T. was not actedit is badly calculated for representation—Cumberland considers the dialogue between Cicero and Atticus in the 3d act one of his happiest efforts in point of poetry-many other parts of this T. are particularly well written, but it is liable to some serious objections—the subject is badly calculated
for the Drama --Clodius, and not Cicero, is the principal character--and the love episode of Frugi and Tullia is a poor piece of business—the Editors of the B. D. say that Clodius debauches the wife of Pompey in the temple of Juno--this is a good specimen of the inaccuracy with which some parts of the B. D. have been written-Clodius in the 1st scene of the 3d act expressly says, that it was Pompeia the wife of Cæsar with whom he had had an intrigue —the place, where the rights of the Bona Dea were celebrated, was not a temple, but the private house of the Consul or Prætor, from whence all the males for the time were excludedJuvenal in allusion to the well known story of Clodius, says in his strong language
Atque utinam ritus veteres, et publica saltem “ His intacta malis agerentur sacra : sed omnes “ Noverunt Mauri atque Indi, quæ psaltria p****
Majorem, quam sint duo Cæsaris Anticatones, “ Illuc, testiculi sibi conscius unde fugit mus, “ Intulerit, ubi velari pictura jubetur,
Quæcumque alterius sexûs imitata figuram est.”
Cumberland's posthumous plays were published in 1813 in 2 vols. 8vo.-- his daughter in her advertisement says---“ these Dramas, which are now pre“sented to the public, were originally intended by “ my father, as a bequest to me, together with his “ other posthumous works--but the unfortunate cir“ cumstances, which clouded the latter years of his
life, induced him to yield to the opinion of many “ of his friends, who had frequently urged him to “ resort to the publication of them by subscription