and much envied, as favourites are always sure to be, by the rest of the courtiers. On one occasion, when the king was absent, some noblemen maliciously instigated the queen to make trial of the noble blood of the favourite, by causing a lion to be let loose upon him, saying, according to the popu lar belief, that "if the earl was truly noble, the lion would not touch him." It being customary with the earl to rise at break of day, before any other person in the palace was stirring, a lion was let loose during the night, and turned into the lower court. When the earl came down in the morning, with no more than a night-gown cast over his shirt, he was met by the lion bristling his hair, and growling destruction between his teeth. The earl, not in the least daunted, called out with a stout voice," Stand, you dog.' At these words the lion couched at his feet, to the great amazement of the courtiers, who were peeping out at every window, to see the issue of their ungenerous design. The earl laid hold of the mane, turned him into the cage, and placing his night-cap on the lion's back, came forth without ever casting a look behind him. "Now," said the earl, calling out to the courtiers, whose presence at the windows instantly convinced him of the share they had in this trial of his courage, " let him amongst you all, that standeth most upon his pedigree, go and fetch my night-cap." ALLITERATION. ALLITERATION is a figure which may be occasionally introduced with great beauty and propriety; Johnson often used it, and never improperly; but its too frequent introduction spoils the style, and is truly ridiculous. The following lines are no bad sarcasm on redundant alliteration: Rough repetition roars in rudest rhyme; As clappers clinkle in one charming chime." It is remarkable that the archiepiscopal see of Canterbury has been twice held by the sons of butchers. Cardinal Wolsey's father was a butcher of Gloucester. It was this circumstance which occasioned Fitt'st celebrated extemporaneous instance of alliteration: "Begot by butchers, but by bishops bred; How high his honour holds his haughty head." Churchill, in his "Prophecy of Famine," severely attacks the too frequent use of this figure: "Who often, but without success, have pray'd, For apt alliteration's artful aid.” This, I suspect, is principally levelled at Mr. Home, who, in his tragedy of "Douglas," has above 200 alliterative lines, some of them "laid on with a trowel;" for example: "My father feeds his flock, a frugal swain,”—Act II. Se. 1. "But when the matter match'd his mighty mind.”—Act. III. Sc. 1 ̧ "But, with the froward he was fierce as fire." Mason's poetry abounds with instances of a ridiculous fondness for alliteration. They who admire Virgil's "And vainly vent'rous, soar on waxen wing." With many others; such as a boisterous breath, wayward world, lovely lawn, soft serenity, liquid lustre, &c. T. Warton, likewise, appears to have been extremely attached to this figure; take two examples from his "Pleasures of melancholy:" "While sullen, sacred silenee reigns around.”—Verse 32. "The due clock swinging slow with sweepy sway."-Verse 209. Shakspeare often ridicules the affectation, which, at the time he wrote, was extremely prevalent, of beginning many words with the same letter. See, amongst other instances, the "Midsummer Night's Dream," Act 1. Sc. 2. "The raging rocks." &c, Act v. Sc. 1. “Whereat with blade," &c.; and "Love's Labour lost," Act IV. Sc. 2, "The praiseful Princess," &c. AUTHOR'S POCKET BOOK DURING one of my rambles last week I found a curious old pocket book secured by an humble piece of tape, which from its contents appeared to have been the Vade Mecum of some unfortunate Garreteer. I make use of the word Garreteer here according to the meaning which has been given of it by an English Lexicographer-" mean author;" though I am conscious of the absurdity of Entick's definition, for many, who live in garrets, can neither read nor write. Convinced that this pocket book contained the chief part of his Fancy's treasure, I felt very much for its late owner's loss, and heartily wished it was possible to restore it? but this I judged to be impracticable; for I guessed if I adversised it, the owner would be either ashamed to acknowledge it; or, (which is more probable,) not to be able to defray the expense of an advertisement. I therefore endeavoured to overcome all seriousreflections, and reap some benefit from what I had found. This pocket book, I own, has led me into many secrets relative to dramatists-one part was appropriated to-Thoughts for characters, another to names, another to plots and incidents,-another to jokes-another to sentiments, temporary allusions, &c. &c. in short any one with the least docility might with such an assistant be capable of producing a madern play, whether tragedy, comedy, opera, farce, spectacle, pantomime, or all united. By thoughts for characters I perceived that a favourite. word was sometimes sufficient to constitute one-for instance "Mr. Wiseacre is to foretel every thing that was told."This put me in mind of the fore-seeing Gentleman in the "Belle's Stratagem" which is a plagiary upon Congreve's Foresight. I say plagiary, Mr. Editor, as I adhere to the old words and despise the new ones, plagiarism and plagiarist, invented, I believe, by the author of the "Critic" though not to be found in his father's dictionary. Certain cants or phrases were other characteristics-these reminded me of"that's your sort"-" that accounts for it"-" my spouse and I"-" what do you think of that, eh?" Contradictory or paradoxical characters I perceived to be dramatic beauties -viz.-" an honest thief,"- 66 a kind assassin," and tender-hearted murderer." a I was very much diverted with the thoughts on names.— Titles I find are given to remarkable characters. A Baron is generally a villain-a Lord a seducer or fop, and a Baronet-some stupid old fellow. The names of the inferior dramatis persone are direct indications of their professions or intentions,-for instance Mr. Buckram is a tailor-Mr. Quirk a pettyfogger-Mr. Hammer a carpenter-Mr. Folio a bookseller-Mr. Thoughtful a student-Mr. Project a schemer, &c. &c. We must suppose the godfathers and godmothers of those respective persons most wonderfully antici pated their future vocations and ideas, when they bestowed on them names so very applicable? I know that in ancient times they gave names which accorded with the most remarkable events at the birth, or with the predicted faculties of the child; but, according to dramatists, the present is a wiser age. One hint it seems is sufficient for a plot, but two at the most, which constitutes a double plot.—If any droll incident occurs to the fancy, no matter how foreign to the generalsubject, it may be introduced in any place-this accounts for the several unconnected scenes with which modern plays abound. 66 The valuable jokes contained in this pocket book were in my opinion-miserable puns. Some applied to the very names in the piece—“ Mr. Tempest you are never calm,' "Mr. Egotist you annoy my ears with your II, (i. e. eyes.) Among these jokes were hints for equivoque scenes-an apothecary was to be suddenly mistaken for a painter-but if suddenly, how is it possibie that the audience should know "Who's Who?"-When there is no preparation for equivoques I always tremble for the author's jokes. By these memoranda I am convinced that if a dramatist can hit upon any strange event he may easily spin out five acts. A few scattered sentiments and some allusions to the times cannot fail of setting criticism at defiance. By the hints with which this pocket book has furnished one, I am convinced that the following are infallible receipts for writing a MODERN TRAGEDY. Let the scene be at a Castle, for a tragedy should be grand, and the chief characters noblemen, but one must be a consummate villain. The lines need not always be metricalsome may be lame-Let the language border upon bombast, and introduce a long and terrible oath-the more blasphemy the better. A secret should be the ground work of a tragedy, and it may remain a secret throughout the five acts-Let there be a grand procession-an awful tribunal—and thenexeunt omnes-the author and friends-the latter to disperse their encomiums and the former to receive their congratulations. A MODERN COMEDY-the hero must be an oddity and very poor-his servant a punster-the heroine may have little or nothing to do, but her servant with whom the hero's servant (like master like man) must be in love for the sake of stratagems, &c. must do a great deal and affect more airs than her mistress. The rest of the characters must be written expressly for the performers. Plots formerly were concealed till the last act, but, except in one case, and that is when there is no plot -they may be discovered by the fall of a screen, &c in the fourth act, and the last act may be employed in reconciling the parties, arranging estates, &c. &c. Immense sums must always be given by the benevolent, and instead of virtue being rewarded, as formerly, let prodigality be held up as a model. It appears by the memoranda in the pocket book, that AN OPERA can be very easily produced. This is only a vehicle for good music, therefore the airs, &c. must be written and composed long before the dialogue is thought of. About twenty years ago we had a very ingenious divertisement at the Theatre Royal, Covent-garden, composed of original dialogue and borrowed songs. When a dramatic work is neither tragedy, comedy, or opera, I find it is called A Play, or A Play with Songs. Hitherto I understood a PLAY to be the general name of any dramatic performance; but dramatists have certainly a right to introduce their productions by whatever appellation they think most applicable. We have had dramatic proverbs, now we have grand spectacles and Melodrames, the novelty of which renders them, it seems, very popular. By several memoranda under the head of Characters, denoting that the honourable such a one, the Duke of such a place, or an amateur of fashion would make admirable caricatures or old fellows, I perceive that personality is highly relished. Such pieces however can never have a long existence. All the pockets in this lately found pocket book were crammed with several loose papers-acts of plays-detached speeches, accounts of MURDERS for melo-drames-list of French plays to be translated-list of modern novels to be dramatised, &c. &c. I am certain the loss of this vade mecum must be very grievous to the owner, as, in all probability, they were the only full pockets he could boast of. |