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heard him make the same remark in a select party of friends, when Garrick, always jealous for the honour of Shakespeare, began to repeat the description of Dover Cliff. "That," said Johnson, "is by no means applicable. "Man is there a considerable object; half

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way down hangs one that gathers samphire; dreadful trade! In Congreve's

"lines, Man has no concern; inanimate na"ture produces the effect." In this view of the matter, Johnson was certainly right. Almeria proceeds to Anselmo's tomb, and in a flood of grief invokes her husband by his name. Osmyn says,

Who calls that wretched thing that was Alphonso?
Whence is that voice, whose shrillness from the grave,
And growing to his father's shrowd, roots up
Alphonso?

He comes forward, and, to his surprize, finds

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Almeria. The scene between them is exquisitely tender. The contrivance of the poet to lead to this discovery will not easily be matched in any other play. The sequel of the plot cannot be much commended. By the fiery spirit of Zara, Osmyn is involved in the utmost danger, but is set at liberty in the fourth act, and appears no more till the last scene, in which he makes no considerable figure. The catastrophe gives us a two-fold pleasure; vice meets with the fate it deserves, and virtue is triumphant. The play, amidst some tumour and bombast, has many speeches, and a number of sentiments, clothed in just expression, and will at all times deserve to keep its rank on the stage.

GARRICK was used to say, that a good play was the roast beef of Old England, and that

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song and gawdy decorations were the horseredish round the dish. But that kind of garniture he was now determined to provide for the public. Rich had formed a strong combination, and had encouraged Barry to breakthrough his articles, and desert from his station at Drury-Lane. In order to retaliate, and attack the great Mr. Lun at his own weapons, he had concerted his measures, and, in conjunction with Woodward, laid the plan of a pantomime, entitled Queen Mab. It was exhibited in the Christmas holidays, with splendid decorations, a great pomp of machinery, and every thing that could elevate and surprize. Woodward was a most excellent Harlequin, and through the rest of the season the success was so great, that Rich began to tremble on his throne.

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GIL BLAS, a Comedy, by EDWARD MOORE-The Hint from a Passage in the Romance of LE SAGE-An Account of MOORE's Fable-The Play had no great Success-A Prologue of Humour spoken by WOODWARD-ALFRED, a Masque, altered by DAVID MALLET, from the Original written by THOMSON and Himself—It was a feeble Performance, and of Course was short-lived-BEN JONSON's Comedy of EVERY MAN IN HIS HUMOUR, with some Alterations by GARRICKBEN JONSON's Fable well conducted, and his Characters copied from Life-Prologue by WILLIAM WHITEHEAD, Esq.-Dr. HILL'S Attack on GARRICK-GARRICK's Epigram in Answer.

THOUGH Garrick had said in his Prologue at the opening of the season, that he might be forced to quit Poets, and set Carpenters to work, nothing could be farther from his thoughts. In the month of February 1751,

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he presented the comedy of Gil Blas, by Edward Moore, the author of the Foundling. The story of Aurora, in the celebrated romance of Le Sage gave the ground-plot of Mr. Moore's fable. Before the play appeared, strong prejudices were entertained, and even impartial critics thought it a bold and hazardous undertaking. The work of Le Sage was in every body's hands, and the reader had formed an idea of Gil Blas according to his own imagination. This made it difficult for Garrick to personate such a character to the satisfaction of men, who went to the theatre with their own preconceived notions. The scene lay in Spain, and it was observed at the time, that in several instances there was a total departure from the manners of that country, The plot of the piece was conducted with considerable dramatic art; the dialogue was natural

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