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To coax the patriots to submission,
By songs and balls secure obedience,
And dance the ladies to allegiance.
Oft his camp muses he'll parade,
At Boston in the grand blockade,
And well invok'd with punch of arrack,
Hold converse sweet in tent or barrack,
Inspir'd in more heroic fashion,
Both by his theme and situation;
While farce and proclamation grand
Rise fair beneath his plastic hand.
For genius swells more strong and clear
When close confin'd, like bottled beer:
So Prior's wit gain'd greater power
By inspiration of the Tow'r;
And Raleigh, fast in prison hurl'd,
Wrote all the Hist'ry of the World;
So Wilkes grew, while in jail he lay,
More patriotic ev'ry day,

But found his zeal, when not confin'd,
Soon sink below the freezing point,
And public spirit, once so fair,
Evaporate in open air.

But thou, great favourite of Venus,
By no such luck shalt cramp thy genius;
Thy friendly stars, till wars shall cease,
Shall ward th' ill fortune of release,
And hold thee fast in bonds not feeble,
In good condition still to scribble.
Such merit Fate shall shield from firing,
Bomb, carcase, langridge, and cold iron,
Nor trust thy doubly laurell'd head
To rude assaults of flying lead.
Hence, in this Saratogue retreat,
For pure good fortune thou'lt be beat;
Not taken off, releas'd, or rescu❜d,
Pass for small change, like simple Pres-

cott;

But captur'd there, as fates befall,
Shall stand thy hand for't, once for all.
Then raise thy daring thoughts sublime,
And dip thy conq'ring pen in rhyme,
And changing war for puns and jokes,
Write new Blockades and Maids of

Oaks.

M'Fingal is now again interrupted by the mob; who, getting intelligence of this nocturnal convocation, thunder at the door. Before they break in, M'Fingal effects his escape through a private window, as well from the reader as from the mob; the poem closing on his flight to Boston.

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I AM a new correspondent, and will open my intercourse with you in a modest way. It shall be by asking a question, and that not a very important one. But if some of your critical readers will condescend to answer it, they will oblige me very much, especially if they decide in my favour: for I assure you, sir, that however unimportant this question may appear, I have had some disputes upon it; and, what is worse, I never could convince a single opponent, so as to bring him over to my opinion.

The question is about the title of a book; I mean that famous work of dean Swift, commonly called The Tale of a Tub. My opinion is, that the author wrote tail instead of tale: because the title, in this sense, would it has none. The tail, meaning the have a signification; in the other, outer end of a tub, is a shallow cavity, capable, when the tub is set that end upwards, of holding a little water, and but a little, easily seen through or sounded. A century ago, it was a common saying, of a thing or a discourse which had but little depth, that it was as shallow as the tail of a tub.

It is probable that the dean wrote this incomparable satire before he thought of the title; and then, finding the work so easy to be understood, or seen through, as to the substance it contained, he gave it this sarcastic title, The Tail of a Tub, a thing that every one could see to

the bottom of, or plainly understand, But, on the other hand, how can we suppose that he could entitle his work the tale or story of a tub? The work, in any other sense than the one I have mentioned, can have no resemblance to a tub, or the story of a tub. It is the story of Peter, Martin, and John, and as easy to be understood, or fathomed, as the tail of a tub.

If any of your curious readers should be possessed of an original edition of that work, and should find, according to my conjecture, that the sense and spelling of the title have been mistaken in all modern editions, and will let us know it through your Magazine, that the error may be corrected in future editions, he will do a piece of literary justice to the author, by restoring to him the credit of writing sense, in a case where he has long been supposed to have written nonsense; and (what I am afraid I have likewise a little at heart) he will gratify me, by proving that I was in the right.

QUERIST.

For the Literary Magazine.

HISTORY OF THE RUSSIAN STAGE.

OF all nations, the history furnishes us with details of the same kind in the progress and expansion of poetic faculties. The first fruits of poetry have universally been the praises of heroes, and the rhapsodists, or those who sung verses in honour of heroes, were the first actors. The Russians had poems and singers of this description even before christianity was introduced among them, or they were acquainted with the Greeks and Romans. The martial spirit and natural gaiety of the Russians are sufficient, amid the failure of historic evidence, to induce the belief, that, in very remote ages, they had as many poems in honour of heroes, as many songs of victory, as they, in the sequel, had buffoons and merry

andrews running about the country and diverting the people by their witticisms and their drolleries.These new rivals of Thespis every where met with the most favoura ble reception, and the joy manifested by the people on their commencement amounted to a species of madness. The peasant abandoned every thing, that he might see these farces; sometimes absorbed in pleasure, all the faculties of his soul were scarcely sufficient to enable him to hear the sounds by which he was enchanted; sometimes, transported with joy, he expressed his rapture in the most boisterous manner. These representations were commonly exhibited from Christmas to the festival of Epiphany. A poetic ardour suddenly inspired those who thus employed their talents to abridge the long winter evenings. Great volubility, animated gesticulations, much extravagance in the plot of the tale, and great prolixity in the recitation, were indispensible qualities for every one who attempted to amuse; but if to these he added obscene gestures and expressions, his acting was then perfect, and he was certain of obtaining universal applause. There was no fixed place for these representations; a paper lantern suspended to the roof, and the harmony of two hunting horns, announced to the passengers that for a few copecks they might procure the pleasure of seeing a farce, which was ready to begin whenever they pleased. This kind of parade is not at this day entirely banished from the Russian empire.

Theatrical representations were however almost as unknown in Russia as in Germany prior to the reign of Peter the great. Those which were then in vogue were confined to rhetorical exercises, in the form of dramas and comedies, which the masters of seminaries instructed their pupils to act. The subjects of these plays were usually taken from sacred history, like those of the tragedies which the jesuits, and other orders devoted to the education of

youth, were accustomed to teach their scholars to represent at the end of a course, or at the conclusion of a year. They thought it perfectly justifiable to take for models, as to the form, heathens such as Euripides, Sophocles, Plautus, and Terence; but far from thinking that the proper object of theatrical exhibitions was to form the minds of youth, and to make them acquainted with their native land by the representation of the manners and achievements of its great men, the purpose to which it was consecrated by the Greeks, superstition and ignorance persuaded them that they could not lawfully select any subjects excepting from the Bible.

With the manner of treating these subjects they gave themselves very little concern. The most absurd and ridiculous scenes, and the most disgusting vulgarity were introduced into them. The most sacred mysteries of religion were represented in a manner highly profane; and the ecclesiastics were so convinced of the simplicity of their pupils and the rest of the laity, as to imagine that they would not thence receive any unfavourable impressions. The seminaries and schools of the convents of Moscow, Kiow, Novogorod, &c., had they been better conducted, might have become establishments of the highest utility to the propagation of knowledge in Russia; but the monks of those times were contented to proceed with their age, instead of outstripping it; either because they were unable, from the want of means, or they imagined it was not fit that the people should be too much enlightened. If the bishop Demetrius Rostowsky, instead of causing religious plays of his own invention to be performed in his episcopal palace at Rostow, had composed some work on a subject taken from profane history, undoubtedly his nation, instructed by his example, would have soon developed the germ of its talent for the dramatic art, and would have distinguished itself in that career without waiting to receive the impulsion from foreigners.

The most celebrated of Rostowsky's performances were, "The Penitent Sinner," "Esther and Ahasuerus,” "The Birth of Christ, his Resurrection, and the Assumption of the Virgin Mary." They were interlarded with allegorical episodes. Wolkow, the first performer the Russians had to boast, acted in them with great success. The bishop Rostowsky died in 1709. The dramatic art was still in its infancy in Russia, when France had already the master pieces of Corneille, of Racine, of Moliere, and when Voltaire already announced the dawn of his future greatness. The compositions of the first Russian dramatist were exhibited till the middle of the last century, not only in the seminaries, but Wolkow's company likewise performed them with success at the imperial theatre.

The French who repaired to Moscow, during the reign of the czar Alexis, diffused in Russia a partiality for the drama. The polished manners and more refined taste of these foreigners procured them a favourable reception from the court. Most of Moliere's comedies were translated into the Russian language, and played with the former religious pieces, not only by the scholars of the convent of Iconospaskoi, but likewise at court, in a theatre established by youthful amateurs, at whose head was the princess Sophia, sister of Peter the great. The troubles which preceded and followed the accession of that monarch to the throne, seemed to have extinguished the love of theatrical exhibitions in Russia. There were no other actors at Moscow than some young surgeons, who, by means of folding-skreens, converted the great hall of the hospital into a theatre, and took delight in acting the most ridiculous Russian plays, as well sacred as profane. But scarcely had Peter the great created his new capital on the banks of the Neva, when it was visited by a company of German comedians, who drew together great crowds of spectators, though they represented only the

most wretched plays. Stahlin relates, that they one day announced, by a bill, that they intended to exhibit, at night, a piece truly admirable, and well worth seeing. Allured by this promise, a great number of spectators assembled; but when the actors were just ready to begin, they were obliged, by an order from the emperor, to leave the theatre without opening their mouths. The curtain rose amid the harmonious sounds of the whole band of music, and the spectators beheld a white wall, well lighted, on which these words were inscribed, in large characters, " Today is the first of April." This company was soon dispersed, and Petersburg as well as Moscow was again without a theatre.

Meanwhile the want of dramatic exhibitions had become so pressing, that some of the attendants, and the people belonging to the stables of the czar, formed among themselves a company of amateurs, and exercised their theatrical talents in a kind of hay-loft, which they had embellished, and lined with straw mats. During the reign of the empress Anne, some Italians arrived, and exhibited comedies and ballets; but the company was so weak, that one day an actress being prevented from appearing by her very advanced state of pregnancy, her part was filled by one of the male performers, an exchange which affordthe public no small amusement. At length, in 1737, the first Italian opera was acted. Two years afterwards a company of German come dians was invited; but on the death of the empress, the following year, they again quitted the country. Some French actors were then engaged for Russia; but the sudden and numerous changes which took place in the Russian government prevented them from proceeding thither till after the coronation of Elizabeth. It was about this time that the opera-house of Moscow was built under the direction of Stahlin; but the want of actors was felt there as well as at Petersburg. The young gentlemen of the school of

cadets performed the parts of mute persons, the singers of the imperial chapel sung in the choruses, and the children of the domestics executed the ballets.

Sumarokow, who was already known for his lyric and didactic poems, at length made his appearance as a dramatic writer. Some of the cadets, with a view to exercise themselves in declamation, had studied his first tragedy, entitled "Chorew." The empress being informed of the circumstance, was desirous of seeing these youths. They performed before her in a small theatre, and obtained universal applause.

Notwithstanding the partiality of the court for these exhibitions, no idea had yet been entertained of erecting a Russian theatre in the capital, when, in 1750, one was built at Jaroslaw. To this the German company that went to Petersburg in 1748 gave occasion. Fedor Wolchow, son of a merchant of Jaroslaw, had taken the greatest delight in these representations. He had strengthened this partiality by forming a connection with the German players; so that when he returned home, he fitted up a large saloon in his father's house for a theatre, and painted it himself; then mustering a small company, consisting of his four brothers and some other young persons, he represented sometimes the sacred pieces of the bishop Demetrius, sometimes the tragedies of Sumarokow, and Lomonossow, which had just appeared; and at others, comedies and farces of his own composition. The undertaking of Wolchow met with the greatest encouragement. Not satisfied with lavish ing applause upon him, the neighbouring nobility furnished him in 1750 with the requisite funds for erecting a public theatre, where money was taken for admission. The report of this novelty reached Petersburg, and in 1752 the empress sent for Wolchow's company. He was placed, with several of his young actors, in the school of the cadets, to improve himself in the Russian language, and

in particular to practise declamation.

At length, in 1756, the first Russian theatre was formally established by the exertions of Sumarokow, and the actors were paid by the court. A German company appeared in 1757, but it was broken up by the arrival of an Italian opera. The Opera Buffa, founded, in 1759, at Moscow, had no better success: its failure was favourable to that which remained at Petersburg, and which received so much the more encouragement. The fire works displayed on the stage after the performance, afforded great amusement to the public, and drew together more company than the music. At the coronation of the empress Catherine, the Russian court theatre acompanied her to Moscow, but soon returned to Petersburg, where it has been fixed ever since. The taste for dramatic exhibitions had at this period become so general, that not only the most distinguished persons of the court of the two capitals performed Russian plays, but Italian, French, German, and even English theatres arose, and maintained their ground for a longer or a shorter time. Catherine the great, desirous that the people should likewise participate in this pleasure, ordered a stage to be erected in the great place in the wood of Brumberg. There both the actors and the plays were perfectly adapted to the populace that heard them. What will seem extraordinary is, that this performance sometimes attracted more distinguished amateurs; and it is perhaps the only theatre where spectators have been seen in carriages with four and six horses. But what is still more surprising is, to see actors ennobled, as a reward for their talents, as was the case in 1762 with the two brothers Fedor and Gregory Wolchow. The former died the following year, while still very young. His reputation as a great tragic and comic actor will perhaps one day be conside rably abated; but the Russians will ever recollect with gratitude that

he was the real founder of the Russian stage.

They will likewise remember the services of Sumarokow as a tragic poet. He first showed of what the Russian language, before neglected, was susceptible. Born at Moscow in 1727, of noble parents, he zealously devoted himself to the study of the ancient classic authors, and of the French poets. This it was that rouzed his poetic talents. His early compositions were all on the subject of love. His countrymen admired his songs, and they were soon in the mouth of every one. Animated by this success, Sumarokow published by degrees his other poetical productions. Tragedies, comedies, psalms, operas, epitaphs, madrigals, odes, enigmas, elegies, satires, in a word, every species of composition that poetry is capable of producing, flowed abundantly from his pen, and filled not less than ten thick octavo volumes. His tragedy of Chorew was the first good play in the Russian language. It is written in alexandrine verses, in rhyme, like his other tragedies, as Hamlet, Sinaw and Truwor, Artistona, Semira, Jaropolk and Dimisa, the False Demetrius, &c.; and this first performance showed, that in the plan, the plot, the character, and the style, he had taken Corneille, Racine, and Voltaire for his models. Though Sumarokow possessed no very brilliant genius, he had, however, a very happy talent of giving to his tragedies a certain originality, which distinguishes them from those of other nations. He acquired the unqualified approbation of his countrymen by the selection of his subjects, almost all of which he took from the Russian history, and by the energy and boldness which he gave to his characters. But his success rendered him so haughty and so vain, that he could not endure the mildest criticism. Jealous of the fame acquired by Lomonossow, another Russian poet, he sought every opportunity of discouraging him; and it was a great triumph to Su

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