The Mirror of Taste, and Dramatic Censor, Vol. I, No. 6, June 1810 — John Shaqi
The Mirror of Taste, and Dramatic Censor, Vol. I, No. 6, June 1810
History
The Mirror of Taste, and Dramatic Censor, Vol. I, No. 6, June 1810
Drama -- Periodicals; Theater -- Periodicals
When lo! descending from his seat,
The parson, full of holy heat,
At losing thus his labour,
Tweak'd one's stout nose, then graceful bow'd,
And said, "good sir, _you snore so loud,_
_I fear you'll wake your neighbour_."
J. M. L.
* * * * *
_The advantages of solitude for Study._
My garden neat,
Has got a seat
Hid from ev'ry eye sir;
There day and night,
I read and write,
And _nobody's_ the wiser.
* * * * *
_Favourite divertissements in Spain._
The theatres of this country, since the landing of the English, have,
among other dramas, called mysteries, frequently represented one
entitled _Las profecias des Daniel_ (prophecies of Daniel). No subject
can be better adapted than this, for combining a splendid variety of
pageantry in one oratorio, or sacred opera. The jubilee of adoration to
the golden colossus of Bel, the flaming _auto-de-fe_ for the refractory
holy children; the voluptuous dance exhibited during the meal of
Belshazzar; the sacrilegious use of the chalices of Jerusalem; the
sudden wrath of Heaven; the gloom of the thunder; the shadowy hand
writing on the wall, in characters of lurid fire; and the armed
irruption of the besiegers to renew a scene of purer triumph; all these
form a series of picturesque magnificence, which, says our
correspondent, you would enjoy to see some Sunday evening, at
Drury-lane. The popularity of this play may be ascribed to the continual
allusions of the Spanish patriotic writers to the seizure and supposed
profanation of sacramental vessels by the French.
Another new and very singular drama opens with Bonaparte, who
soliloquizes about Spain. Allegorical demons stand watching around, and
when he has confessed the whole atrocity of his purposes, they seize and
carry him off in a fiery car to the place of torment. Next appears
Ferdinand VII. a ballet of angels listen to his promises of virtuous
sway, and crown him during the dance with wreaths of victory. Finally
appears king George the third, who declares his horror for the tyrant,
his affection to the virtuous and native monarch; and who is entertained
by St. Iago and the virgin Mary, or by figures representing the genius
of Spain, and that of Christianity, with a performance in full chorus of
"God save the king."
* * * * *
_Longevity._
Public-domain text, read in full here on John Shaqi.
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