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four Plays, written for Drury Lane Theatre, but ultimately withdrawn, from the system which the present Management has exercised against the statement of facts. London 1819. 8vo. pp. 207. This is

Author; preceded by

a

an appeal from the managers of Drury Lane Theatre to the public; and #must be said very fairly brought, ance the plaintiff not only opens his case by stating the leading facts, but produces evidence particularly as to these facts, and generally as to the merits. We are, however, indisposed to enter at any Fength into the question between this theatre and the public, or individuals. Our settled opinion has long been, that it was managed in a way so odious to good feelings, so opposite to taste and fadgment, and so repugnant to the interests of the literary and acted drama, that nothing was so desirable as a change of system; but for the expression of this unbiassed conviction we have been harged with we know not what of partal enmities where we had no partialities whatever, and personal hostilities against those whom we did not personally know, and had never previously mentioned in our writings, but to praise their desert and serve their interests. The more confirmed as we almost daily become of the insufficiency of the Drury Lane tactics, we are the less inclined to expose them. Not that we are more cal

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the tribunal of opinion for redress. His appears to be the story of a young and aspiring writer, of talents so considerable and versatile, that on presenting, in 1816, a comedy to the sub-committee of the theatre, he was encouraged to make alterations suggested by Mr. George Lamb, preparatory to its being performed. A second play was finished under the same delusive impressions. An opera was next written. Mr. Lamb, whose letters speak in warmly encomiastic terms of the author's abilities, and of the excellence of his pieces, having resigned, it became necessary to communicate with the new powers. From them not even an answer could be obtained. The author now applied personally for his manuscripts, and was told by the secretary, that he knew nothing about them. For eight weeks he danced attendance upon the Sub-committee, to endeavour to get back his own. The manager, Mr. Kemble, when visible, "was very sorry, but did not read the MSS.-had nothing to say to them; they were not in his department" (thus directly contradicting the public advertisemen's of the Committee!) the Secretary, Mr. Ward, to whom was assigned "the care and reading of the MSS." could, at the end of the time mentioned, and when the writer insisted on having his papers returned, find only two of the three plays, on one of which was written, "Worthy of consideration," and the casting of the characters set down. The history of the third is so curious, that we give it in the author's own

words.

To recover the remaining manuscript, I now was obliged to call almost daily at the Theatre: Mr. Ward never was to be seen; doubtless he thought that I should consider myself sufficiently fortunate in obtaining two out of three Pieces. Except on Fridays, the reply always was-'that he was not in the Theatre;' and, on the abovementioned day, he was most particularly engaged with the Sub-Committee.' Twice on those occasions I expressed a desire to send in a Note, either to him or to the Committee-the answer was, that they dare not take any message into the room." Being now totally unable to obtain any admittance to the Secretary, I wrote to him twice, minutely describing the manuscript, which, from its having been regu

PRICE 8d.

passage; finding that there was no escaping, he very bluntly told me, he "could not find it;" an answer which, however

satisfactory it might have appeared to him, I confess was not altogether so to me: it was agreed that I should call on the following day, and examine all the manuscripts that were in his possession. Accordingly I called the next day-" Sir," said Mr. Ward, "I have not your Play-it is not down in the list which Mr. Lamb sent to me." I then shewed to him the title plainly inserted in the list-" Then," said he, "one of the Committee has taken it; each of them has a key to the drawer where they are:" I however examined the drawer,

which was full of manuscripts, and found mine lying the undermost. "Well, Sir!" exclaimed Mr. Ward, "there is no name to it:" I then pointed out the title, written in capital letters at the top of the page in which the play commenced: "Sir," said he, "it is not in the first leaf, and how was I to know that it was in any other?" Such reasoning was unanswerable. Now, Sir," said Mr. Ward, "I have not read

your Plays I did not read any of the Pieces that Mr. Lamb had." It has already been seen that Mr. Kemble does not read the Plays that he has "nothing to do with them," - Query. Who does read them? During the search I made for my manuscript, Mr. Ward kindly entertained me by whistling, no doubt with a laudable intention of manifesting his perfect indifference, or perhaps to impress me with an idea of his gentility: indeed, in the few interviews that I was able to obtain, his manner was by no means calculated to alleviate the trouble and anxiety of which he was the occasion. On my observing that I had been treated in a most ungentlemanly manner, he left the room, doubtless, unwilling to be the hearer of his own praises.

I shall not remonstrate with the Acting Trustee, on the system which he has exercised towards me-that would be to suppose, he was not insensible to the feelings of a man; the honour of a gentleman: I shall not ask him why, to make way for the introduction of Dramas, which were universally allowed to have been destitute of every qualification, he has caused the faith of the Theatre to be violated-that would be to suppose he regarded faith; that he respected, not trampled upon, the Drama:-but I would appeal to the Public, in the hope of obtaining whose favour, I have endured an oppression the most irk some to a mind of sensibility-the oppression of a blockhead: I would ask the Countrymen of Shakspeare, the Cotemporaries of Sheridan, it such conduct be fit

ting the Director of a Theatre which hitherto has been the Sanctuary of the National Drama, but now is become the Altar of its immolation ?

Perhaps we have from sympathy, though we never wrote a play, a stronger feeling for the difficulties and distresses of authors than of theatrical managers: and it does appear to us that the line of conduct pursued towards Mr. Barber, was not only discreditable, but infamous. Who can paint the hopes of a young writer, the thirst for fame, the anticipations of success, all warmed into the firmest expectancy of fruition, and all destroyed in the most cruel and offensive manner? We cannot take upon ourselves to say, that his dramas, from their intrinsic merits, ought to have been acted; but we must think that the labour of mind and exertion of talent to which he was invited, the commendations bestowed upon him, the probable expense even of journeys to London and living there, formed powerful claims on every honourable heart, not to blast him merely because a predecessor in authority cherished, but, on the contrary, to, give him a fair and candid public trial.

Of the scenes from four plays which the author adds to his volume as specimens of his talent for dramatic composition, we can only say that they are insufficient for us to form a judgment by which we should chuse to abide. The comic is, we think, the most spirited and congenial of these examples; and to that style, should the writer not be sickened of dramatic efforts by the treatment he has experienced, we would ad

vise him to adhere.

The Satire, entitled The Times, we do not consider as very happy. The versification is loose and indifferent, and on several of the subjects agitated we conceive satire to be very ill employed. For instance, we cannot think the pure benevolence of Mr. Owen of Lanark a fit theme for ridicule. Were there more of that amiable and good man's disposition in the world, the Satirist's occupation would be gone.

The carelessness of the poetry is, how ever decisive against it, without the additional censure of its matter. Such lines as the following cannot be reconciled to any scale or measure:

She learn'd ignorance-fashionable vice

Make way there! - Nay, Gentlemen, don't en

croach

find

To be both Judge and Jury are inclin'd?
Absurdities, which darker ages saw,
Reviv'd, and sanction'd by the Common Law?
Christians, of prejudices so bereav'd,
They'll prove no others but themselves are sav'd?
For 'tis a constant rule with true believers,
Still to protest all others are deceivers.
Protectors of our Rights, who loudly bawl,
'Elective franchise should extend to all?'

See Men of Property, whon Tradesmen curse,
Estates-but not a shilling in the purse;
See Mothers, who are past their fiftieth year,
A rival in each growing Daughter fear;
See Fools, who for redress to Law-suits flee;

See Lawyers, that on both sides take a fee;
See Curates, for few pounds preach thrice a day;
Bishops in private, for ten thousand pray,
"But do"-'Faith, just as little as you guess,

Say Grace at dinners, and at churches-Bless!
Gallantry just verging on the grave,
Asham'd-lest sin it should be thought to leave.
See Charity convok'd in grave debate,
And anxiously appoint a day-to eat;
To give relief some measures must be ta'en,
Resolved to dine on Turtle and Champaign.
See Fashion still her patronage extend-
To all-but worth and modesty, a friend.
See England's Drama wither and decay,
Blasted by Peter's pestilential sway.
"Of Peter more! Of Peter sure you dream ?
"A heartless blockhead's an ignoble theme.
"Who hunts a rat?"-But when that rat doth
slip

Within the timbers of some first-rate ship, And gnaws t' admit the water's rushing sound, 'Till eighty inches in the hold are found!"Nay, then I do confess 'tis past a doubt, "All hands should join to turn the reptile out."

If dunces only in their station keep, Heav'n knows, for me they may in quiet sleep. "A child in its amusement 's seldom thrifty"But when the mischief-loving urchin's fifty"A child of larger growth his rattle handles"Then let him shift the scenes, or snuff the candles. When in a crew, where for each man there's Some one, with scarcely brains to pull a rope, The rudder takes, and will the pilot be, Steering on rocks" "Faith, toss him in the sea." "But have you thought what enemies you'll

scope,

make?

"Even our friends if we advise, forsake"What enemies! can any take offence, Because I censure vice, and want of sense?

I grieve that women will be lost to shame-
I grieve that statesmen e'er should fancy cause
To cramp our liberties-suspend our laws;
That Folly triumphs o'er the mimic scene,
And Wit's remember'd but as what has been;
That Nature yields to Fashion's childish sway,
And patriot feelings in each breast decay.
Where is the man who lives by Reason's rules,
Who wedded to no party, to no schools,
Indignant at my freedom, will exclaim
That in my satire I've forgotten shame ?

Can then a modest virtuous female blame?

guished for a love of literature and the arts; and even the pedantic James (as he is represented, we think with much of exaggeration) was friendly to the stage and its best writers. Shakspeare received special marks of his favour, and he was the patron of Ben Jonson. Beaumont, Fletcher, Ford, Massinger, and Shirley flourished under his reign; and, with the exception of honest Ben, the romantic school of the drama not only outstripped the classical, but reached its Augustan period. Of the Poets we have designated, Mr. Campbell gives brief and accurate descriptions. The civil wars, however, put an end to this dynasty of our dramatic bards.

Their immediate successors or contemporaries belonging to the reign of Charles I. many of whom resumed their lyres after the Interregnum, may, in a general view, be divided into the classical and metaphysical schools. The former class, containing Denham, Waller, and Carew, upon the whole, cultivated smooth and distinct melody of numbers, correctness of imagery, and polished elegance of expression. The latter, in which Herrick and Cowle y stood at the head of Donne's metaphysical followers, were generally loose or rugged in their versification, and preposterous in their metaphors. But this distinction can only be drawn in general terins; for Cowley, the prince of the metaphysicians, has bursts of natural feeling, and just thoughts in the midst of his absurdities. And Herrick, who is equally whimsical, has left some little gems of highly finished composition. On the other hand, the correct Waller is sometimes metaphysical; and ridiculous hyperboles are to be found in the elegant style of Carew.

Of Herrick, Mr. C. truly and prettily observes, that he has passages where the thought seems to dance into numbers from his very heart," ex. gr.

Gather the rose-buds while ye may,
Old Time is still a flying;
And that same flower that blooms to-day,
To-morrow shall be dying.

But we now come to an epoch made memorable by the name of Milton; who stood alone and aloof above his times, the bard of immortal subjects and of immortal fame. There is an admirable critique on the Paradise Lost, with which, however, we shall not enrich our pages, as it goes more into detail than our limits allow us conveniently to follow. A few sentences must

therefore suffice.

If we call diction the garb of thought, Milton in his style may be said to wear the costume of sovereignty. The idioms even of foreign languages contributed to adorn it.

He was the most learned of poets; yet his earning interferes not with his substantial English purity. His simplicity is unimpaired by glowing ornament, like the bush the sacred flame, which burnt but "was cot consumed."

Out of the Restoration sprung one eninent effusion of wit, namely, Hudi-bras; but the drama degenerated, owing to the infection of French and Spanish

Eterature. Davenant was, as far as costume and mechanism went, a great impower of the stage; and Dryden and Utway were its chief ornaments; the mer employing great genius in a wrong direction, and the latter doing bo little to establish what was pure and good. With Dryden, who died in its st year, we may close the seventeenth entury. To him Prior, Swift, Parnell, Rowe, and, above them all, Pope, sucKeded. The finest ear for melody gave all he wrote a peculiar grace and weetness, previously unknown to Engverse. No wonder that his contem

praries regarded him with the fondest

niration, and that a succeeding age Sould, with the exception of pseudoMicism aiming at notoriety by paradox, al him as one of the greatesmasters of the British lyre.

Mr. Campbell, in a strain of the "Indest argument, as well as of the feeling, combats the strange hypo,that Pope's poetic merits were because his images are drawn from Ar more than from Nature. Well does

observe that

The faculty by which a poet luminously sribes objects of art, is essentially the faculty which enables him to be • Baithful describer of simple nature; in second place, that nature and art are to

Teater degree relative terms in poetical ription than is generally recollected; 1, thirdly, that artificial objects and soners are of so much importance in ficas to make the exquisite description of Ma no less characteristic of genius than e description of simple physical appear[i. e. the similarly exquisite descrip-for this belongs to the argument.] The poet is "creation's heir." He deepens social interest in existence. It is surely liveliness of the interest which he

ites in existence, and not by the class Abjects which he chooses, that we most *rly appreciate the genius or the life of *f which is in him. It is no irreverence to eternal charms of nature to say, that hey are not more important to a poet's *y, than the manners and affections of species. Nature is the poet's goddess; w. by nature, no one rightly understands mere inanimate face-however charm#2 it may be or the simple landscape arating of trees, clouds, precipices, and

Bowers."

ex

ley, Ellis, &c. will not be the less desirable, nor the less read, because Campbell has followed comprehensively in the same delightful track.

Great pains have been taken to exclude every prurient passage which quotations from less refined times are so apt to introduce. In one instance only have we observed that a very gross image has escaped the Author's attention, or perhaps his understanding, for in such a matter it might be well to have to say, Where ignorance is bliss,

'Tis folly to be wise.

As this already popular publication needs no encomium of ours to recommend it, we shall conclude with insert

ing, merely for the sake of diversity, one or two specimens from poets of the era of which, in this Number, we have been speaking.

THE CHURCH BUILDER.

(Anonymous Author, 1711.)

A wretch had committed all manner of evil,

And was justly afraid of death and the devil; Being touched with remorse, he sent for a priest, He was wondrous godly, he prayed and confest; But the father, unmov'd with the marks of contrition,

Before absolution impos'd this condition:

"You must build and endow, at your own proper charge,

We know not what our readers may think of this sketch of a ship-lanch; but for ourselves we desire no finer A church," quoth the parson, " convenient and

poetry.

Mr. Campbell does not carry his history nearer our own times, but judiciously concludes with Pope. Our opinion of this Essay has already been given; and its elegance and excellence will, we presume, have been acknowledged even in the few extracts which we have given. It appears to us to be full of admirable thoughts, well expressed in a polished but not highly ornamented style. If labour has been bestowed upon it, it is labour to simplify and model on a pure standard. Possibly we might object to such words as "theorizing," page 11, and " tempested," page 164; but we dare say, if they have not dictionary, they may have poetical authority, with which we cannot, on the spur of the moment, charge

our memory.

large,

Where souls to the tune of four thousand and odd,

Without any crowding, may sit and serve God." "I'll do't," cried the penitent, "father, ne'er fear it;

My estate is encumbered, but if I once clear it,
The benefic'd clerks should be sweetly increas'd-
Instead of one church, I'd build fifty at least."
But ah! What is man? I speak it with sorrow,
His fit of religion was gone by to-morrow;
He then huff'd the doctor, and call'd him to

naught,

a groat.

There were churches to spare, and he'd not give When he mentioned his vow, he cried D- me, But all yesterday I was drunk with October. From HOLLA MY FANCY, 1709.

I'm sober,

Amidst the misty vapours
Fain would I know

What doth cause the tapours;
Why the clouds benight us,
And affright us,

Whilst we travel here below.

Fain would I know what makes the roaring thunder;

asunder,

And what these comets are on which we gaze with wonder :

Our ideas of the biographical notices and extracts will probably be seen hereafter more fully than they could be stated on a cursory glance through these And what the lightnings be that rend the clouds interesting volumes. A correct taste appears to us to pervade the whole; and we only regret that in many cases it was not more liberally indulged. But the Author was necessarily limited in extent, and after all it may be a matter of congratulation, that instead of attempting to supersede preceding writers, he has only added a charming com

Holla, my Fancy, whither wilt thou go?

Fain would I know the reason

Why the little ant All the summer season Layeth up provision, On condition

To know no winter's want;