The Mirror of Taste, and Dramatic Censor, Vol. I, No. 2, February 1810

Metadata

Gutenberg ID

26628

Title

The Mirror of Taste, and Dramatic Censor, Vol. I, No. 2, February 1810

Language

en

Book source

Project Gutenberg

Description max 80 words

This 1810 volume offers a sweeping history of the dramatic arts, tracing the evolution from ancient Greek rituals to contemporary London theatres. Through essays on figures like Thespis and Aeschylus, alongside satirical sketches of actors and managers, the text explores the intersection of morality, religion, and entertainment. A witty, critical, and historically rich examination of the stage's origins and enduring power.

Summary up to 500 words

The Mirror of Taste, and Dramatic Censor, Vol. I, No. 2, published in February 1810, serves as both a historical treatise and a satirical commentary on the theatre. The work begins with a detailed account of the drama's origins, noting its early presence in Eastern nations and its integration with religious worship in India, Spain, and France. The narrative then focuses on Greece, crediting Attica with refining the art. It details the humble beginnings of tragedy at the 'feast of the goat' and credits Thespis with introducing the first actor and fiction, a move that initially provoked the opposition of lawgiver Solon. Aeschylus is celebrated as the 'Father of Tragedy' for his innovations, such as adding a second and third actor, dividing plays into acts, and constructing proper theatres with scenery. The text transitions to a critique of the modern stage, particularly in London. The author, Samuel James Arnold, adopts a persona of a censor or critic who engages in a dialogue with a theatre manager. This manager is depicted as a man of 'false taste,' obsessed with spectacle ('silk banners,' 'Peruvian suns') rather than substance. The critic argues that the theatre should be a 'school of morality' and urges a return to the principles of Shakespeare, whom he idealizes as a figure of true genius. The manager reacts with ridicule, dismissing the critic's arguments about dialogue and small theatres, preferring 'melo-dramas' and 'pantomimes.' The volume includes several burlesque sketches and anecdotes. One recounts the disastrous benefit performance of 'Othello' at the 'Noah's Ark' theatre in Philadelphia, where the actor Purcell played the Moor to the audience's roaring laughter, and the epilogue was delivered by a drunken man who was hissed off the stage. Another story highlights the physical risks of Harlequin performers, detailing an accident where an actor fell through a window. A humorous poem describes King Charles II arriving at Drury Lane only to find the actress playing the queen unshaven, leading to a comedic delay. The final section presents a full play, 'The Brothers,' which functions as a moral fable. The plot involves a complex web of mistaken identities, secret marriages, and familial conflicts. Key characters include Sir Rowland, his son Charles, and the villainous Lord Austencourt. The narrative builds to a dramatic climax where Lord Austencourt, believing himself to be the rightful heir, attempts to seize property and force a marriage. However, a twist reveals that the true heir is Charles, and the villainous Lord Austencourt is actually the illegitimate son of the late Lord Austencourt, having been swapped with the legitimate heir as an infant. The play concludes with the restoration of justice, the exposure of fraud, and the reconciliation of families, emphasizing themes of virtue, forgiveness, and the triumph of truth over ambition and deceit.

LLM editorial rating

4.2/5

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Categories

• Drama
• Periodicals