[33] _Le théâtre anglais_ (1746-49) of Pierre de La Place contained in its 8 vols. synopses and partial translations of the following plays: _Othello_, _3 Henry VI_, Richard III, Hamlet, _Macbeth_, _Cymbeline_, _Julius Cæsar_, _Antony and Cleopatra_, _Timon of Athens_, _Merry Wives of Windsor_, _The Maid's Tragedy_, _Catiline_, _The Fair Penitent_, _Venice Preserved_, _Aureng Zebe_, _The Mourning Bride_, _Tamerlane_, _Siege of Damascus_ (by Hughes, 1720), _Busiris_, _Love for Love_, _The Innocent Adultery_, _Cato_, _The Funeral_ (Steele, 1702). This list, in which it will be noticed tragedy greatly predominates, represents fairly the English taste of the time. [34] Dr. Rundle, Letters, quoted by Morel, _James Thomson_, p. 82. [35] _Gil Blas_, Book 4, "Le Mariage de vengeance." [36] For various references to Thomson in Voltaire's Letters, see Morel, _op. cit._ pp. 192-194; and a letter on the French translation of _Tancred and Sigismunda_, p. 153. [37] The following list includes all eighteenth century tragedies, not mentioned in the text, that achieved any considerable popularity. These all became stock plays, and most were acted in the nineteenth century. Hughes, _Siege of Damascus_(1720); Fenton, _Mariamne_(1723); Jones, _Earl of Essex_ (1753), which superseded Banks's play as a stage favorite; Brown, _Barbarossa_ (1754); Francklin, _Earl of Warwick_ (1766); Hartson, _Countess of Salisbury_ (1767); Murphy, _Zenobia_ (1768), and _The Grecian Daughter_ (1772), which gave a famous part, Euphrasia, to Mrs. Siddons and later to Miss Fannie Kemble. [38] The eighteenth century was not blind to the absurdities of its tragedies, but made fun of them without stint. The number of burlesque tragedies is large and includes: Gay's _What d'ye Call It_ (1715); Carey's _Chrononhotonthologos_ (1734); Fielding's _Tom Thumb_ (1730); Foote's _Tragedy a la Mode_ (1764); and Sheridan's _Critic_ (1779). [39] Dedication to _The London Merchant_. [40] Dedication to _The London Merchant_. [41] Translated into English as _Dorval, or the Test of Virtue_(1767). [42] Translated 1770, and as _A Family Picture_ (1781). Also, cf. General Burgoyne's _Heiress_ (1786), which borrows from _Le Père de Famille_, and Holcroft's _Love's Frailties_ (1794), based on a German adaptation. [43] Criticised in _The Critical Review_, lv, 151, because of its introduction of a comic character. [44] The elder Colman was a leader in this revival. Besides the few comedies which remained on the stock list and "Philaster," which was frequently acted at this time, the following Elizabethan plays were revived in the decade 1778-88: _Bonduca_, _Bondman_, _City Madam_, _Duke of Milan_, _Knight of Malta_, _A King and No King_, _Marcella_ (based on _The Changeling_), _Maid of Honor_, _The Picture_, _The Pilgrim_, _Scornful Lady_ (altered as _The Capricious Lady_), _Triumph of Honor_, _Women Pleased_. CHAPTER X THE ROMANTIC MOVEMENT