Of the fifth act, the only thing noticeable, (for rant and nonsense, though abundant as ever, have long before the last act become things of course,) is the profane representation of the high altar in a chapel, with all the vessels and other preparations for the holy sacrament. A hymn is actually sung on the stage by the chorister boys! For the rest, Imogine, who now and then talks deliriously, but who is always light-headed as far as her gown and hair can make her so, wanders about in dark woods with cavern-rocks and precipices in the back-scene; and a number of mute dramatis personae move in and out continually, for whose presence, there is always at least this reason, that they afford something to be seen, by that very large part of a Drury Lane audience who have small chance of hearing a word. She had, it appears, taken her child with her, but what becomes of the child, whether she murdered it or not, nobody can tell, nobody can learn; it was a riddle at the representation, and after a most attentive perusal of the Play, a riddle it remains. “No more I know, I wish I did, And I would tell it all to you; For what became of this poor child There’s none that ever knew.” Our whole information [84] is derived from the following words-- “PRIOR.--Where is thy child? CLOTIL.--(Pointing to the cavern into which she has looked) Oh he lies cold within his cavern-tomb! Why dost thou urge her with the horrid theme? PRIOR.--(who will not, the reader may observe, be disappointed of his dose of scolding) It was to make (query wake) one living cord o’ th’ heart, And I will try, tho’ my own breaks at it. Where is thy child? IMOG.--(with a frantic laugh) The forest fiend hath snatched him-- He (who? the fiend or the child?) rides the night-mare thro’ the wizard woods.”