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ORIAL INTRODUCTION.

opular tragedy is the production of the celebrated -, Richard Lalor Shiel, the author of "Adelaide," d "Bellamira." Mr. Shiel appears to have immatic inspiration from the transcendant powers of for the whole series of our author's dramas were ssly for that highly gifted actress. "The Aposduced at Covent Garden theatre, in 1816, and was mal part Miss O'Neill appeared in on the London array of tragic talent combined in the original cast, it did, young Charies Kemble, Macready, the ve, and Egerton, with the exquisitely beautiful and onation of the heroine by Miss O'Neill, secured for access, which its intrinsic merits could not singly ed.

matic incident worthy of record, that to this play y is indebted for the first decided appreciation of and fine talents, by a London audience. The part had been assigned to Booth, then a member of the Hen company, and in the zenith of his fame. The irritable tragedian resigned the part after a few rensidering it inferior to Charles Kemble's part of HeMr. Macready, in the exigency of the case, was enA Pescara. His success in the part was little inferior Neill in Florinda. Our recollections of the original play, are still vivid; it was, indeed, an exhibition ated talent, then common at the two great theatres in which the lover of the drama still dwel's with many reminiscence of the bye-gone glories of histrionic ex

hor's preface to this play will show the source from obtained his materials for constructing his plot. It is

"Sismundi gives a detailed account of a tragedy by Calderon, called 'Love after Death; or the Mountains of Grenada,' and founded upon the revolt of the Moors against Philip the Second. It is an his torical play, and embraces the principal events during a warfare of three years.

"The political condition of the Moors, as described by Calderon, appeared to the author to be highly dramatic. He has not consciously adopted a single incident in the plot, or line in the composition of the Spanish poet, but has endeavoured to catch his general tone and colouring in depicting the detestation which the cruelty of the Spaniards had naturally generated in the Moors. He mentions this to relieve himself from the imputation of having sought the illegitimate assistance of political allusion; and he hopes that, upon reflecting on the nature of the subject, the reader will consider the introduction of the Inquisition as unavoidable. It would be hard, indeed, to write a play upon any event in the reign of Philip the Second, without inveighing against the persecutor and the tyrant. It would be impossible in the present instance. If it be a fault, Schiller and Alfieri have fallen into it. It would be a very strange delicacy, indeed, were the author to spare the guilt, the ferocity, and the baseness of Philip, out of respect for such a man as the present king of Spain !"

That Shiel has skilfully availed himself of the hints which gave rise to " The Apostate," cannot be denied. The situation and incidents are strikingly dramatic in their character, and the leading personages in the drama are all sufficiently conspicuous, and contrasted enough to produce a well-concerted whole. As was usual with Shiel, his heroine is, perhaps, unduly prominent, but the powerfully drawn character of Pescara, as played by Macready, and subsequently with even greater effect by Booth, leaves an impression upon an audience fully equal to that produced by the woes and sufferings of Florinda.

The accumulation of intense suffering and overcharged horror with which this tragedy abounds, prevent it from sustaining its original position on the stage. From the London theatres it is entirely withdrawn; and in this country it only retains its place in the acting drama, from the superior powers of Booth, who occasionally "stars" it in Pescara. HT.

PROLOGUE.

WRITTEN BY WILLIAM WALLACE.

e realms, and boundless are the views
y wanders with the Tragic muse.
-night, o'er that expansive sphere,
nhood's sympathy-asks woman's tear?
-th land where oft, enthroned sublime,
se-loved chivalry in olden time!

-where late Britannia's conquering hand
ed the genius of the land,

right bes con lighted once again,
strate Europe blush, and burst her chain;
- the world that noblest chivalry

ing man-inmortal liberty!

he stern Philip's ruthless edict fell
rsecution, and her band of hell,
ruin o'er the Moorish race-
t chose his fancied scene to trace.
epresents, in virtue's bold relief,
sh lover and a Moorish chief;

ws a villain robed in guilt and shame,
h the villain bear the Christian name;
ed, when man in virtue's light you view,
he crescent or the cross to you!

t alone those springs, whose strong control
der force can wake and vex the soul,
es-but still, in softer strains, would prove
earer spell of mightier power to move-
man's sorrows, and a woman's love!
raise at least he claims to bless his lays-
cene immoral, nor offensive phrase,
ds the chaste ear of virgin modesty-
the pure ardor of young beanty's eye,
reads the crimson of ingenuous shame
traged innocence's cheek of flame!

though a foreign land the scene supplied― k not he chose a foreign muse his guide:ning wild Germany's uncultured schools, self-pleased Gallia's boasted borrowed rules, ative muse, to-night, by native arts,

ld please your judginents and subdue your heartsthis, her simple suit, by me she sends-

British justice!-Yet-as British friends!

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PESCARA.-Light brown tight pantaloons, trimmed with gold down the sides, jack et of m trone and gold, same style as Iago's, trimmed with bright scarlet satinround Spanish hat, white and scarlet plumes, sword, gauntlets, and russet boots. HEMEYA-Handsome Turkish fly of scarlet and gold, amber shirt of merino reaching below the knee, white merino Turkish trowsers, russet boots, scimitar scarlet turban, &c.

MALEC, HALY. ABDALLAH-Turkish flys of different colours. moderately trimmed with silver and gold, breastplates underneath, plain white shirts, Turk ish pantaloons, russet boots, white turbans, scimiters, & c.

ALVAREZ.-Black velvet jacket and trunks, puffed with yellow satin and gold, scarlet silk tights, russet shoes, red rosettes, gauntlets, Spanish hat, white plumes, lace collar, sword, &c.

GOMEZ.-Scarlet trunks and jacket, white puffs, lightly trimmed with gold, amber tights, russet boots, sword, hat, and gauntlets.

MOORS. Similar to Malec's, &c., but perfectly plain.

INQUISITORS.-Long black gowns, Inquisitorial caps, black robes over the gowns. SOLDIERS.-Steel breastplates, helmets, legs, and arms, russet boots, brown tights. FLORINDA.-Scarlet velvet train, handsomely trimmed with gold, white satin petticoat, handsomely trimmed lace veil of Spanish shape, suspended from back of head.

EXITS AND ENTRANCES.

R. means Right; L. Left: R. D. Right Door; L. D. Left Door; 8. E. Second Entrance; U. E. Upper Entrance; M. D. Middie Door.

RELATIVE POSITIONS.

R., means Right; L., Left; C., Centre; R. C., Right of Centre; L. C., Left of Centre.

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