Zenobia. in the plot, which is well conducted for stage bufiness; the versification is neither elegant nor flowing, however, by rising very little above measured profe, it has no taint of bombast; the sentiments are trite, yet in several places happily applied, and we readily admit, that there are many strong appeals to the tender passions, infomuch that we know several pieces much more poetical and correct, which cannot draw so many tears; what light it shews human nature in, and how the great purpose of instruction is fulfilled, we shall discover by an investigation of the characters. Pharafmanes is one of the most compleat, 'royal villains we remember to have met with, capable of crimes thoroughly attrocious, without one generous feeling; his love is evidently sensual, his fame barbarity; the sanguine slave of ambition, with every other hateful, turbulent passion; he moves before us, from beginning to end, an object of consummate deteftation; the author, intending to exhibit nature in a state of the utmost depravity, has well fulfilled his design. As to the acting of this obnoxious monarch, there are opportunities of exerting confiderable talents to advantage, and we imagine Mr. Mossop's executive powers might make him a very confpicuous character, while Mr. AICKIN stand's deficient both in dignity of deportment and extent of voice, which latter defect is rendered more palpable, by a laborious wildness of exertion, by vain, uncultivated attempts; in short, he reminds us of an unbroken steed, which is constantly upon the grand VOL. I. Hhh paw, Zenobia paw, without any grace or propriety of motion; a little restraint would throw him into more agreeable regularity, and mend his paces much. Rhadamistus is an honest man and tender husband, in point of filial respect also he is commendable, but as to heroism he cuts a very poor figure, being, as is apparent, timorous and disingenuous : in thefe failings he seems to be a mere tool of the plot, which greatly depends in its present form on his cenfurable conduct. The part was indisputably written for Mr. BARRY, whose performance happily sustains the author, wherever he has done justice to himself; but as many of the scenes manifest great inequality, we are not to be surprized, that capital abilities in fuch places, should so far border on infipidity as to pall; one third of this character omitted in action, would render him more interesting to an audience, and more advantageous to the performer. Teribazus, we may justly stile, the squib and cracker of tragedy, poffeffing an undisguised, generous and affectionate heart, yet precipitated by a violent degree of fretful impatience; there is an oddity of composition in this impetuous prince which Mr. HOLLAND delineated with masterly execution; his transitions were rapid, and his expres fion forceable; that power of voice which on many occasions he was too lavish of, here operated pleasingly, and made found literally an echo to the fense. Mr. PALMER appears in the situation of an unskilful rider on a high mettled horse; the part runs away Zenobia. away with him, and he is as near tumbling heels over head as possible. We wish, from real regard to this rising performer, that he would, before habit takes too ftrong poffeffion of him, clap a check rein on his expression, for it is a strict, critical truth, that being under is better than over the mark, and that many natural deficiencies are softened by a prudent limitation; spirit should enliven, but not wage war with propriety. Megistus is a very amiable personage, humane and parental in his attachments, humble in defires, and resolute in danger; we think the poet might have made him much more confiderable, however, as Mr. HAVARD, far in the decline of life, was designed for the part, it was probably adopted in point of length and feelings to his impaired faculties; it is certain, that gentleman did him great justice, a tender, sensible placidity of countenance and expreffion, gave the sentiments due effect. Mr. JEFFERSON, who has taken poffeffion of the old man, does not affect us so much as his predeceffor, though neither languid nor disagreeable. Zopiron seems little more than a filler up of the drama, he appears to possess some virtues, but has no opportunity of exerting any, and what he says, through the whole play, is of so little significance, that we are furprized Mr. PACKER can walk thro him without setting the audience asleep; this is one of many makeshift characters which, if totally omitted, would occasion little or no deficiency. 1 1 Zenobia. Tigranes seems to be a thorough paced pupil of tyranny, ready for all the dirty work his master can suggest, teeming with mischief, which, however, he cannot bring about. Mr. HURST does him no injustice, except by a Mossopian pomposity of utterance, which hangs too much about him in every character he performs: we think proper to intimate, that every imitative performer is fure to catch the defects of that person he aims at, much sooner than his beauties; and, as the latter, at second hand, grow much fainter, so the former rife to a stronger degree of difguft. : Zelmira is as water gruel a character as her husband Zopiron, and affords no opportunity for cutting a confpicuous figure; being no more than a foil, fhe cannot rife above the agreeable, and this Mrs. W. BARRY reaches. Zenobia engroffes more approbation than any other character; as a princess, wife and mother, she commands our applause; her situations are well varied, alarming and interesting; we heartily concur with the author, that Mrs. BARRY gives her many additional charms, that her action is a kind of Promethian heat to the princess, and that we have not lately seen so strong a degree of passion and pathos exhibited. This tragedy, with adequate performers may, nay must always please on the stage, but as to private perufal, we think it will afford very little pleafure, and lefs inftruction. CYMON 1 CYMON. A Dramatic ROMANCE. ANONYMOUS. THE title of this piece prepares us for an in vasion of critical rules, being professedly in the extravaganza strain, we are to consider it as a child of unrestrained imagination, rather than the offspring of nature and propriety; what has been already objected to ghosts, spirits, witches, &c. even decked by SHAKESPEARE's luxuriant fancy, must lie much more forceably against the enchanters and enchantresses of inferior pens; but while public taste shews such an unacountable eagerness to encourage found and pageantry, it is not wonderful, that authors and managers should throw out the most propable bait of folly, by calling any fort of monsters to their aid. Merlin and Urganda, two persons possessed of fupernatural powers, open the first act; from their converfation, it appears, that the former has entertained a passion for the latter, without meeting a suitable return; he charges her with loving Cymon, and upon her prevaricating, urges her having stolen that prince from his father, in search of whom an hundred knights are employed. What is a romance without knights ? By : |