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researches of his industry were no less remarkable than the perspicuity of his intellect. Doctor Johnson was at one time the boast of every literary man in England; and to have produced him, was considered almost as much an honour to his country, as that conferred by the talents of Shakespeare and Milton. If they were the greatest English poets, he was the greatest English critick, that had ever existed.

The works of such a man must surely command the attention of every reader. We are therefore highly gratified in contemplating the prospect which this publication unfolds.

THE LIFE OF MRS. ELIZABETH CARTER, is now in the press, and will shortly be published by O. C. Greenleaf, in one large octavo volume. To the scholar, and even to the general reader, the life of the pious author of the translator of Epictetus will be equally interesting and instructive. The circumstances by which it was distinguished are not very remarkable, but they derive peculiar interest from the importance of the subject and the manner in which they are recorded. The letters of our authoress, with which it is occasionally interspersed, afford a forcible example of true epistolary style, whilst they indicate the strength of her mind and excellence of her character.

THE STAGE.

PANTOMIME AND MELO-DRAME.

Of all the perversions of taste, whether it be considered in relation to poetry, eloquence, painting, architecture, the stage, or any other object of that faculty, we cannot call to mind any more striking absurdity than that passion for extravagant show, and nonsensical pantomimick exhibitions which are the fashion of the times. It is said of theatrical exhibitions that they excite sympathy by a certain selfish illusion of the imagination, which places us for a time in the situation of the object of our sympathy. We experience, though in a less degree, the same kind of emotion which a real exhibition of events would produce. But in the monsters of the Pantomime and Melo-Drame, there can be no laudable pleasure, nor true feelings excited; they gratify our baser thoughts, and please our distempered fancies. They please as the stories of hobgoblins please children, or the stories of modern novelists love-sick girls'; but surely afford the reason no rational delight.Churchill is very happy in the Rosciad, in describing the absurdities of Pantomime; the more monstrous Melo-Drame was not then in being. 'Harlequin comes, their chief! see from afar,

The hero seated in fantastick car;
Wedded to novelty, his only arms

Are wooden swords, wands, talismans, and charms;

On one side folly sits, by some call'd fun,
And on the other, his arch patron Lun.
Behind, for Liberty a thirst in vain,
Sense, helpless captive, drags the galling chain.
Six rude mis-shapen beasts the chariot draw,
Whom reason loathes, and nature never saw;
Monsters with tails of ice, and heads of fire!
Gorgons, and hydras, and chimeras dire.
Each was bestrode by full as monstrous weight,
Giant, dwarf, Genius, Elf, Hermaphrodite.
The town, as usual, met him in full cry:
The town, as usual, knew no reason why.

But fashion so directs, and moderns raise

On fashion's mould'ring base, their transient praise.'

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Among the Pantomimes which the managers of the Boston Theatre have 'got up' this season, none has a more deserving claim to the admiration of the full grown children of the metropolis, than THE BRAZEN MASK. Excepting the Melo-Drame of THE PILGRIMS, we do not recollect to have ever witnessed a more splendid spectacle of nonsense and foolery. Those who have not seen this grand, heroick, sed rious Pantomime,' may perhaps thank us for some information respecting it. Be it known then, that the plot of the piece is not communicated to the spectator in the customary manner by action, look and gesture; but by a more 'miraculous organ' than any of those usually denominated 'organs of sense.' The various, passions, ideas, &c. of the dramatis persona, are conveyed to the spectators by means of a huge label, dangling from a pole, and brought on by some lubberly supernumerary. On those labels are painted, in large capitals, whatever the actors mean to express, or the incident which is then taking place. There are indeed two or three instances in which this ingenious method of conveying information is dispensed with; and in all these cases, the actions and looks of the performers, though very comical and pathetick, are utterly inexplicable. It would certainly be an improvement 40 have all, which the personages are supposed to say, painted on the brazen masks worn by the greatest part of them. Perhaps it would be some objection to this method, that their speeches would all appear to the spectators at one view; but this might be obviated by the actor's pointing to one or the other as circumstances required. Correct books of the plot, incidents,' &c. are sold at the box-office; but notwithstanding all this, the reason why the Baron should desert his castle and domains, and become the leader of a banditti, still remains an inscrutable mystery.

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THE GERMAN THEATRE.

IN our next Number we shall commence the publication of the celebrated German play from the Anti-Jacobin, which we shall occasionally accompany by Notes illustrative of the original dramas, which it is intended to ridicule. "THE ROVERS, or DOUBLE ARRANGEMENT," is said to be the production of Lord Grenville, and admirably exposes the system of German composition, and even of the Melo-Drame, a species of writing infinitely more ridiculous. The following is the

PLOT.

ROGERO, Son of the late Minister of the COUNT of Saxe Weimar, having, while he was at College, fallen desperately in love with MATILDA POTTINGEN, Daughter of his Tutor, Doctor ENGELBURTUS Pottingen, Professor of Civil Law, and MATILDA evidently returning his passion, the Doctor, to prevent ill consequences sends his Daughter on a visit to her Aunt, in Wetteravia, where she becomes acquainted with CASIMER, a Polish Officer, who happens to be quartered near her Aunt's; and has several Children by him.

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RODERIC, COUNT of SAXE WEIMAR, a Prince of tyrannical and licentious disposition, has for his Prime Minister and favourite, GASPAR, a crafty villain, who had risen to his Post by first ruining, and then putting to death ROGERO's father-GASPAR, apprehensive of the power and popularity which the young ROGERO may enjoy at his return to Court, seizes the occasion of his intrigue with MATILDA (of which he is apprized officially by Doctor POTTINGEN) to procure from his Master an order for the recall of ROGERO from College, and for committing him to the care of the PRIOR Of the Abbey of Quedlinburgh, a Priest, rapacious, savage, and sensual, and devoted to GASPAR's interests-sending at the same time private orders to the Prior to confine him in a Dungeon.

Here ROGERO languishes many years. His daily sustenance is administered to him through a grated opening at the top of a Cavern, by the Landlady of the Golden Eagle at WEIMAR, with whom GASPAR contracts, in the Prince's name, for his support; intending, and more than once endeavouring, to corrupt the Waiter to mingle poison with the food, in order that he may get rid of ROGERO for ever.

In the mean time CASIMER, having been called away from the neighborhood of MATILDA's residence to other quarters, becomes enamoured of, and marries CECILIA, by whom he has a family, and whom he likewise deserts after a few years co-habitation, on pretence of business which calls him to Kamschatka.

Doctor POTTINGEN, now grown old and infirm, and feeling the want of his Daughter's society, sends young POTTINGEN in search of her, with strict injunctions not to return without her; and to bring with her either her present lover CASIMERE, or, should that not be possible, ROGERO himself, if he can find him; the Doctor having set his heart upon seeing his Children comfortably settled before his death. MATILDA, about the same period,

quits her Aunt's in search of CASIMERE; and CECILIA having been advertised (by an anonymous letter), of the falsehood of his Kamschatka journey, sets out in a post-waggon on a similar pursuit.

It is at this point of time that the Play opens with the accidental meeting of CECILIA and MATILDA at the Inn at WEIMAR. CASIMERE arrives there soon after, and falls in first with MATILDA, and then with CECILIA. Successive eclaircissements take place, and an arrangement is finally made, by which the two Ladies are to live jointly with CASIMERE,

Young POTTINGEN, wearied with a few weeks search, during which he has not been able to find either of the objects of it, resolves to stop at WEIMAR, and wait events there. It so happens that he takes up his lodgings in the same house with PUDDINCRANTZ and BEEFINSTERN, two English Noblemen, whom the tyranny of KING JOHN has obliged to fly from their . Country; and who, after wandering about the Continent for some time, have fixed their residence at WEIMAR.

The News of the Signature of MAGNA CHARTA arriving, determines PUDDINCRANTZ and BEEFINSTERN to return to England. Young POTTINGEN opens his case to them, and entreats them to stay to assist him in the object of his search. This they refuse; but coming to the Inn where they are to set off for Hamburgb, they meet CASIMERE, from whom they had both received many civilities in Poland.

CASIMERE, by this time, tired of his "DOUBLE ARRANGEMENT," and havinglearnt from the Waiter, that ROGERO is confined in the Vaults of the neigh bouring Abbey for love, resolves to attempt his rescue, and to make over MATILDA to him as the price of his deliverance. He communicates his scheme to PUDDINGFIELD and BEEFINGTON, who agree to assist him; as also does Young POTTINGEN. The WAITER of the Inn proving to be a Knight Templar in disguise, is appointed Leader of the Expedition. A Band of Trouba-" DOURS, who happen to be returning from the CRUSADES, and a Company of Austrian and Prussian Grenadiers returning from the SEVEN Years War, are engaged as Troops.

The attack on the Abbey is made with great success. The Count of WEIMAR and GASPAR, who are feasting with the PRIOR, are seized and beheaded in the Refectory. The PRIOR is thrown into the Dungeon, from which ROGERO is rescued. MATILDA and CECILIA rush in, the former recognizes ROGERO and agrees to live with him. The Children are produced on all sides—and Young POTTINGEN is commissioned to write to his Father, the DOCTOR, to detail the joyful events which have taken place, and to invite him to WEIMAR to partake of the general felicity.

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A Play, which if it has a proper run, will do much to unhinge the present notions of men with regard to the obligations of civil society, and to substitute in lieu of a sober contentment and regular discharge of the duties incident to each man's particular situation, a wild desire of undefinable latitude and extravagance: and aspiration after shapeless somethings that can neither be described nor understood; a contemptuous disgust at all that is, and a persuasion that nothing is as it ought to be; to operate in short a general discharge of every man (in his own estimation) from every thing that laws divine or human, that local customs, immemorial habits, and multiplied examples impose upon him; and to set them about doing what they fike, where they like, and how they like, without any reference to any law, but their own will, or to any consideration of, how others may be affected by their conduct.'

THE ROVERS ;
OR,

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PRIOR of the ABBEY of QUEDLINBURGH—very corpulent and cruel,
ROGERO-a Prisoner in the Abbey, in love with Matilda POTTINGEN.
CASIMERE a Polish Emigrant, in Dembrowsky's Legion-married to CECILIA, but
baving feveral Children by MATILDA.

PUDDINGFIELD and BEEFINGTON-English Noblemen exiled by the Tyranny of
KING JOHN, previous to the signature of Magna Charta.

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RODERIC, Count of SAXE WEIMAR-a bloody Tyrant, with red hair and amorous complexion.

GASPAR-the Minister of the Count; Author of ROGERO's Confinement.

Young POTTINGEN-Brother to MATILDA.

MATILDA POTTINGEN-in love with ROGERO, and Mother to CASIMERE'S Chil dren.

CECILIA MÜCKINFELDT-Wife to CASIMERE.

LANDLADY, WAITER, GRENADIERS, TROUBADOURS, &c. &

PANTALOWSKY and BRITCHINDA-Children of MATILDA by CASIMERE.
JOACHIM, JABEL, and AMARANTHA-Children of MATILDA by ROGERO,
Children of CASIMERE and CECILIA, with their respective Nurses.

Several Children; Fathers and Mothers unknown.

The Scene lies in the Town of WEIMAR, and the Neighbourhood of the Abbey of

QUEDLINBURGH.

Time, from the 12th to the present Century,

Vol. 1.

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