Venice Preserved. who ftruck out only a few occasional beauties, tho perhaps in them particular places superior to him. Mr. Mossop has the capability of excellence, but by having either an erring or laborious judgment, misapplies his talents grossly; in the two first acts, where open, genteel, generous freedom is required, he toils through a strained infipidity of expression: in the third, where Jaffier's honesty is impeached, he totally loses the gentleman, and bullies the confpirators like a bravo; there is a delicacy, even in the rapidity of paffion, which he seems unacquainted with. Before the fenate, and in the subsequent scene with Jaffier, his naturally contemptuous aspect, and his uncommon extent of voice, opperate happily; but, in the fifth act, he forgives his friend with a countenance as if he was going to knock him down. Mr. BARRY was a very agreeable, but, in the critical view, indefensible Pierre ; a melifluous flow of expression, and harmonious consonance of features, much better fuited to Jaffier, lessened an essential contraft, and rather contradicted the idea we have of this bold militarian; the eye and ear, however, were pleased, while judgment sat covered with a reluctant frown. Mr. QUIN, who was by many esteemed a standard of perfection, rolled most heavily through the part; he recitatived the calmer, and bellowed the more spirited scenes; in the line I could have hugg'd the greasy rogues, they pleas'd me; his execration of the fenate, and a few passages in the VOL. I X x Venice Preferved. the dying scene, he was very fortunate, but through all the reft much more like a heavy-headed, methodical, faturnine pedagogue, than what the author meant. Mr. BENSLEY is as formal, though not so important as the last mentioned gentleman, and aims much more at lavished applause than critical propriety, forgetting this indisputable truth in public life, that he who modestly steals through an arduous undertaking, is much more commendable than the person who confidently exposes inadequate abilities, and endeavours to pass them current by the stamp of felf-fufficiency. Mr. HOLLAND, in the character of Pierre, gave evident marks of the school where he originally studied acting, we mean the spouting-club, ftiff without dignity, and sonorous without meaning, totally void of originality, mounted and hobbling on the aukward stilts of imitation. Mr. AICKIN, in a modest prologue, lately placed himself beneath this gentleman, but he need not have paid his abilities fo bad a compliment. Renault was admirably supported by Mr. SPARKS, who shewed fomething in the representation of him that we have never feen hit off by any performer but himself; in giving the charge, in professing sycоphantic friendship for Jaffier, and in the confufion occafioned by Pierre's reproaches, he far outstripped all competition. Mr. BURTON gets through him without deferving praise, yet does not incur censure. If the part was about half as long again, there would be Venice Preserved. be danger of his setting an audience asleep, but, as it is, he passes off as an inoffensive relief to attention. We apprehend Renault to be more in Mr. GIBSON's compass, than any other tragedy part whatever. Mr. Havard was as pleasing in Priuli as the part would admit; nor was Mr. RIDOUT void of considerable merit. Mr. BANNISTER, at present, sustains it with ability at Drury Lane, and Mr. HULL should rescue it from less able talents at Covent Garden. Belvidera is an amiable, consistent character, constant and rational in affection, superior to the frowns of poverty, yet possessed of quick and delicate senfibility; she towers above misfortunes, while they affect circumstances only, but naturally sinks under an accumulation of unhappy effects wrought by them. Mrs. CIBBER and Mrs. BELLAMY, had each fingular merit in this part; however, the former, who had a countenance mostexquisitely formed to express anguish and diftraction, far furpassed her competitor in those scenes where deep and violent feelings occur, while the latter, from an amorous glow of features and utterance, excelled in the passages relative to conjugal affection; her description of the madness, such as it is, was preferable to Mrs. CIBBER'S, because more disengaged. Mrs. BARRY treads close on the heels of the two ladies mentioned, and, if not so strikingly confpicuous in particular places as either, she is more equal through Xx2 1 Venice Preserved. through the whole than both; what her countenance wants of expression, she makes up in a confiderable superiority of figure, being poffefsfed of a niore amiable dignity of appearance than any theatrical lady we remember. To fum up our opinion of this tragedy, we shall observe, that OTWAY seems to have had little else in view than catching the passions at any rate, which most certainly he has effected; breaches of decorum and delicacy were no objects of his caution, he wrote to the heart without properly remembering the head; wherefore, his plot, though tolerably regular, will, we apprehend, from what has been observed, appear defective. His language is free, and his verfification flowing, but the latter is not always correct, nor the former chaste; his sentiments are lively and pathetic, but in many places strained, and in more licentious. As to his characters, we cannot offer a better general criticism than that of Mr. ADDISON, who writes in one of the Spectators as follows : "The greatest characters in VENICE PRESERVED are those of rebels and traitors; had the hero of this play discovered the fame good qualities in defence of his country, that he shews for its ruin and fubverfion, the audience could not enough pity and admire him; but, as he is now represented, we can only say of him, what the Roman historian says of Cataline, that his fall would have been glorious, fi pro patria fic concidiffet, had he so fallen in the service of his ! country."? The THE MINOR. A COMEDY by Mr. FoOTE. T HE author of this piece has always been allowed a pleasing peculiarity in his dramatic writings; they evidently discover that excellent definition of wit, a quick conception and an easy delivery. The comedy now before us, was ushered originally into public view by a prelusive scene between Mr. FOOTE, in his private capacity, and two buckish critics of his acquaintance. In the first part of their discourse, some very sensible and spirited remarks on those objects most proper for ridicule occur. We may discover that a charge of too much personality in his fatire, led the author into this able de fence of himself: it being also a ticklish point, to expose even most egregious and prejudicial enthusiasm on the stage; he prepared the audience for what they were to expect, and has in the following pafsage, beyond confutation, justified his design; not only as free from cenfure, but as worthy national countenance and applaufe. Speaking of that burlesque upon religion and common sense, Methodism, he says emphatically: "This is madness, which argument can never cure; and should a little wholesome severity be applied, perfecution would be the immediate cry: Where then can we have recourse, but to the comic muse ? Perhaps the archness and severity of her smile may redress |