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THE BEAUX' STRATAGEM:

A COMEDY, BY GEORGE FARQUHAR.

Ir is generally related as an interesting circumstance connected with the
present drama, that it was the last literary production of it's author; it
having been conceived, commenced, and concluded, within six weeks, during
most of which he was suffering under that settled disease which brought him
to his death. As he was fully sensible of his approaching end, and even
foretold, that which actually happened, that he should expire before the first
run of his play was over,—his last employment does anything but credit to
even the moral character of Farquhar; however it may prove the undimi-
nished power of his talents and imagination. He lived long enough to learn
the decided success of his piece, and, in a short advertisement to the first
edition of it, to ascribe much of that favour to the friendship and talents of
Wilks, who performed Archer. Such, however, are the intrinsic merits of
this most entertaining Comedy, that, notwithstanding it's licentiousness,
from the frequency of it's representations, the place which it still retains
upon the stage, and the applause which it still excites,-it must ever hold a
high rank in the national drama, independently of the aid of any actor.
Wilks was nevertheless a sincere friend to Farquhar, and proved it in a
manner far more evident, than by well performing a character which would
be of nearly as much advantage to himself as to his author ;-for on the
decease of the latter, about the end of April, 1707, the following affecting
letter was found with his papers addressed to the actor. "Dear Bob, I
have not any thing to leave thee to perpetuate my memory, but two help-
less girls :-look upon them sometimes; and think of him who was to the
last hour of his life thine-George Farquhar." Wilks accepted this be-
quest, and brought up his charge with the kindest attention and liberality.
This Comedy was originally produced at the Haymarket Theatre, March
8th, 1707, under the title of The Stratagem, which it retained in the play-
bills as late as 1787, though it was printed with the modern name.
It ap-
pears to have been played about ten nights only for the first season, from
the interruption of benefits, but subsequently was performed very often.
The story and characters were probably partly copied from life, according
to Farquhar's reported custom; the scene is laid at Lichfield, and the time of
action commences in the evening and ends about midnight the day after.

The most eminent performers of Archer have been Wilks, Ryan, and
Garrick; Mills was the original Aimwell; Norris played Scrub; and Mrs.
Oldfield and Mrs. Porter were much admired in Mrs. Sullen, and Dorinda.

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Enter Aimwell in a chair, carried by Archer and Scrub, Lady
Bountiful, and Gipsey. Aimwell counterfeiting a swoon.

Lady B. Here, here, let's see-the hartshorn drops-Gipsey, a glass of fair water; his fit's very strong. Bless me, how his hands are clenched!

Archer. For shame, ladies! what d'ye do? why don't you help us? Pray, madam, [To Dorinda.] take his hand, and open it, if you can, whilst I hold his head.

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Archer. What footman, pray, mistress, is so happy as to be the subject of your contemplation?

Cherry. Whoever he is, friend, he'll be but little the better for it.

Archer. I hope so, for I'm sure you did not think of me.
Cherry. Suppose I had?

Act 1. Sc. 1.

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CATO:

A TRAGEDY, BY JOSEPH ADDISON.

THE author is said to have planned this drama when he was on his travels, though for several years only the first four acts were finished, which he used to shew to such persons as were likely to spread their admiration. It was probably with a little insincerity that he requested Hughes to add the remainder, for when some scenes were brought him a few days after, Addison had written half an act; which he at last completed alone, to prevent any dispute concerning the rest. When the piece was taken to the theatre, the author read it once, but his strong feelings of diffidence induced him then to resign it to Cibber, who delivered it so much to his satisfaction, that he solicited him to perform Cato. With all his vanity, Cibber knew his own powers better, and preferred the part of Syphax; Wilks took Juba; and both agreed that Booth would best personify the virtuous Roman in voice, figure, and judgment. As this performer was then young, and might possibly think himself injured in being cast for so venerable a character, Wilks himself carried the part to his residence to point out it's importance, and persuade him to accept it; and all were delighted with his consenting and manner of playing it. Neither Addison nor Booth had acquired their greatest eminence until the appearance of Cato, but their reputation was then established; and Booth received so many presents, that Dr. Garth said, "It is probable that Cato may have something to live on after he dies." The hero of this Tragedy was also repeatedly performed with transcendent excellence by the late J. P. Kemble.

This Tragedy was produced at Drury-Lane, April 14th, 1713, when Steele relates that he undertook to pack an audience, as the author became anxious and fearful as the time of performance approached. There was, however, but little danger, for so much was Cato considered as a party-play, that both sides were emulous in applauding it; and their shouts at length reached and relieved Addison in the green-room. The piece was played twenty nights the first season, with only three interruptions of benefits; and the third edition of it was published only ten days after it's first appearance. Pope furnished the Prologue, Dr. Garth the Epilogue, and the Queen wished to have the dedication, but the author published his play without one.

The historical materials of Cato are taken from his life by Plutarch; the scene is "a hall in the governor's palace in Utica ;" and the time appears to be about one day; February 5th,-Year of Rome, 708, Before Christ, 46, - when Cato stabbed himself after reading Plato's Immortality of the Soul,

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Juba. Hail, charming maid! how does thy beauty smoothe The face of war, and make ev'n horror smile!

At sight of thee my heart shakes off it's sorrows;

I feel a dawn of joy break in upon me,

And, for awhile, forget the approach of Cæsar.

Marcia. I should be grieved, young prince, to think my

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JANE SHORE:

A TRAGEDY, BY NICHOLAS ROWE.

THE dramatic adventures of this very celebrated personage, were derived from an unfaithful narrative in A Select Collection of Novels and Histories, Lond. 1729, 6 volumes, 12mo., wherein she is made the victim of a cruel decree of Richard III.,-though Sir Thomas More saw her about 1513,— thirty years afterwards-in a field near the city, gathering herbs for her food. She was then a beggar, "old, lean, withered, and dried up, nothing being left but shrivelled skin, and hard bone; so that some deemed her to have been never well-visaged :" and perhaps the popular tradition of her distressing death refers to her deserted and wretched old age, since she died in the 18th year of Henry VIII., 1526.

The historical period of this interesting play is fixed to Friday, June 13th, 1483, when Earl Rivers and Lord Grey were beheaded at Pomfret; and the Protector Gloucester suddenly accused Lord Hastings at the Tower of witchcraft, in conjunction with Jane Shore. Her penance is commanded Act iv. Scene i., before the death of Hastings, though it did not actually take place until Sunday, the 15th, which agrees with the remark of Dr. Warton upon this Tragedy, that the unities of time are neglected in it. Jane Shore, however, is one of Rowe's most interesting and affecting pieces, it's domestic scenes and private distresses lay hold upon the heart, and the interview between the heroine and Alicia in Act v., is extremely affecting; the madness of the latter being excellently well painted. Dr. Warton censures some of the speeches as being too florid, and inconsistent with the distresses and situations of the characters, yet there is a strong nervous spirit in it resembling that of the old English dramatists, and the piece is said to have been written in imitation of Shakspeare.

This Tragedy was originally produced at Drury-Lane, February 2nd, 1714, with such strong expectations, that some days previously Tickets were advertised for the Author's nights,-the 3rd and 6th-" at the principal Coffee-houses; the Pit and Boxes to be laid together, admittance 10s 6d." The last benefit was the 9th night "at common prices," and the whole run was nineteen nights the first season. Cibber performed Gloucester, Booth Hastings, Mills Belmour, and Wilks Shore; Mrs. Oldfield was Jane Shore, and Mrs. Porter Alicia. Mr. J. P. Kemble was one of the best performers of the Protector, and Mrs. Siddons of the heroine, whom she first personified at Drury-Lane, in October, 1782; though Miss O'Neill also revived it with great excellence at Covent-Garden, July 1st, 1815.

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