culpable-Prospects on it at best unfavourable and precarious, especially to thofe not born in that line-inimical and forbidding to females, particularly in an unprotected state-their critical fituation-fingularly expofed to obloquy unmerited, infidious machinations, infurmountable embarraffments and final mifery-Bellamy a melancholy inftance.-Remonftrance.-Talents, fortitude and good conduct have raised fome from obfcurity Fitz-Henry, an excellent actress, a good wife, a fenfible, discreet and provident mother-In fortune and merit ranked with Pritchard-Their debut on the ftage of life-various struggles, perfeverance and fuccess. -Cards, their origin and end.-Theatrical pursuits ineligible to thofe more favourably circumftanced.—— Shakspeare, his character, genius and writings-mangled by critics as well as actors.-Digreffion.-Afiatic fcene.-Mercenary views and conduct of Europeans.-Immenfe Acquifitions-their probable confequences.Wealth inefficacious in cafes of confcience.-Tranfition to fubjects less forbidding.-Domestic prospects.-Man governed by caprice and fashion.-Shakspeare and nåture difcarded.-Stage reformation defirable--abuses there no argument for its fuppreffion; Prynne, Collier, &c.-under proper regulation might anfwer excellent moral purposes.-Advice to novices.-Vanity of fome theatrical ladies-inattention to their parts-contrasted with the Jane Shore of the poem-manner of per forming the part.-Author's obligations to a late amiable and worthy character deceased.—Satire an unfavourable line of writing-often perverted evil tendency of grofs expreffions and licentious details.-Peter Aretin and his followers reprobated.-Conclufion.

Intemperate Youth! could Youth alas! reflect?
Here's ample caufe thy Frenzy to correct.

Whyte's Parms

Theatre line 622.

Esdair a

THE

THEATRE.

WHEN Pritchard her decifive exit made,

And the laft plaudits were to Cibber paid,
The Tragic Muse her comely treffes tore,
That she should look upon their like no more:
Nor vain her fears-now frantic o'er the Stage,

Beyond all temperance, our Heroines rage;
To very tatters every passion rend,
As if they studied only to offend.

'Tis true, 'tis pity they fo ftrut and strain

5

To tire our patience, and contempt to gain.

ΙΟ

'Tis fuited well to make the groundlings ftare;

And then their action—hold, good cenfor! there

Froth and extravagance the herd admire,

Probatum eft, and smoke's a proof of fire.

Trick'd in forc'd attitudes and foreign grace,

15

Foreign indeed to fubject, time, and place,

On

On fluttering pinions of burlefque they rife,
And facrifice the heart to catch the eyes.
Some, in the oppofite extreme, are cool;
Languid by principle, and tame by rule;
Exploding Art, they reft on Nature's laws;
But, partially conceived, betray her caufe ;
Provoke to laughter where 'twas meant to weep,
Or chaunt with drawling lullabies to fleep.
Twice fifty moons in Lily's labyrinths bred,

20

25

Talk not to them of breaking Prifcian's head:

Tho' oft the car uncultur'd idioms grate,

And mangled metre oft disgust create,

Against advice, even at their own request,
They, as a breach of privilege, protest

Your jus et norma,-frivolous! abfurd!
Originality is all the word.

Shall genius be confined by fervile lore,

30

And not ftrike out new paths untrod before?

If from the ancient schools the line you draw,

35

When Nature to confummate Art gave law,

Their practice and their followers they contemn;
What's Moffop, Garrick, Sheridan to them?

More elegance and grace they set to view

"Than all their pedant difcipline e'er knew;"

40

Or if fome grains of merit they allow,

The scene is chang'd, and things are different now;

New