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Remarks on the Watch-house.

This little piece affords a decided proof of the advantage of such a publication as that which we have undertaken. We are informed that the principal character was composed for the late Mr. Cooke, who excelled so much in the enunciation of the Scotish dialect, and for whom, notwithstanding all his varied excellence in many different walks of the drama, no play was brought out during the whole time of his engagements in London, calculated to show any new shade of those extraordinary powers with which he was so eminently gifted. To whatever cause this was owing, it is a curious fact in the history of the stage, and we are glad to be able, so early, to give a proof in "The New British Theatre," that the cause did not rest altogether with the public; for the character of Paukie M'Lucar in this piece, demonstrates that there was at least the disposition to furnish variety, and what is here merely sketched, might certainly have been expanded and filled up, so as to have shown the public this favorite actor in a character less disagreeable than that of the Man of the World, and more natural than Sir Archy M'Sarcasm.

The constable of the night is a broad and strong delineation of vulgar shrewdness and self-conceit, but we apprehend that the language is too purely Scottish to be well understood by any but the natives of Scotland. In this respect, indeed, we think the authors have erred.

The language which both Sir Archy and Sir Pertinax use, is not Scotish but imperfect English, to which Cooke had the power of adding that deep and full accent which the Scots, even after many years' residence in England, still retain. This error, however, admitted of easy amendment, had there been any disposition within the theatre to have indulged the public with more of Cooke.

On so slight a piece as this, it would be ridiculous to waste much criticism. The incidents are farcically extravagant, without being out of nature; but all the chief characters, with the exception of the constable, are caricatures. The sketch of Luny O'Rogherty is tolerably well conceived, but it is only an outline. The idea of his calling the hours too loud in going his rounds, is a characteristic trait as national as his love of a row.

Some of the expressions in this play may be objected to as rather too plainly transcribed from the vocabulary of common life, and as such we were disposed to have taken the liberty of altering them, but upon consideration, and regarding Shakspeare as the guide and example, we found that the expressions could not be changed without impairing the individuality of the characters, which in all dramatic composition is the principal excellence.

We have been furnished with a history of the design and composition of this piece, but it is inconsistent with our plan to publish such things.

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THE INTRIGUES OF A DAY,

A Comedy,

(2-8)

IN FIVE ACTS.

CHARACTERS.

MR. HARLEY, a wealthy Merchant in the City.

MR. FRANCIS, his Cousin, who has made a fortune in

India.

MR. WARREN, partner with MR. HARLEY.

MR. CLERMONT, first Clerk to MR. HARLEY.

SIR JAMES O'RYAN, an Irish Adventurer.
FABRICIO, an Ex-Jesuit.

RIMALDO, a Poet.

JOHN, Footman to MR. HARLEY.

THOMPSON, a Farmer.

ROBERTS, Friend to Mr. WARREN.

MRS. HARLEY, second wife to MR. HARLEY, related to

SIR JAMES O'RYAN.

EMILY, Daughter to MR. HARLEY, by his First Wife.

LUCY, Waiting Maid to MRS. HARLEY, and EMILY.

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