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toninus, who was in love with her, dies-Theophilus at last becomes a Christian himself-he is tortured on the stage-before his death he sees, in a vision, Dorothea, Antoninus, and his 2 daughters, crowned, and in white robes-Dorothea is more glorious than the others--in the 1st 4 acts, Theophilus is attended by an evil Spirit as his secretary-Dorothea is attended by a good Spirit as her page.

Virgin Martyr was altered by Griffin, and brought out at Richmond in 1715-Griffin omits the good and evil Spirits-and the comic characters of Hircius and Spungius-in the 5th act, Dorothea appears to Theophilus instead of the good Spirit-the Ghost of Sapritius appears to him instead of the evil Spirit -Theophilus had ordered his daughters to be killed -but their lives are saved by the Captain to whom he gives the order-Griffin most absurdly changes the name of Theophilus to Theopilus-he consolidates the 3 Kings of Pontus, Epire, and Macedon into one character-in the dedication and Epilogue, he speaks slightingly of the play-perhaps with the view that he might not be suspected of having stolen it-Grif fin in 1715 was a young actor-he acted Sapritiusand Harper, Theopilus-the altered play was called, Injured Virtue, or the Virgin Martyr.

2. Unnatural Combat-this T. was printed in 1639-it is said to have been acted at the Globe-Malefort Sen. had poisoned his first wife to make room for a second-by the first he has a son-by the second a daughter, called Theocrine-the father and son are sworn enemies-the son had turned pirate and apostate-as the father is admiral of Marseilles, he is accused of having a secret understanding with his son

he vindicates himself on that point in a satisfactory manner-the son sends the father a challenge-the father eagerly accepts it-they meet in the 2d act— the son gives a hint of the cause of his enmity to his father- at the mention of the word mother, Malefort Sen. begins the combat-Malefort Jun. is killedTheocrine is to be married to Beaufort Jun. with her father's approbation-on the day appointed for the wedding, Malefort Sen. is anxious to the last degree that his daughter should be dressed to the best advantage-he is so lavish in her praises, that something more than fatherly love is suspected-he puts off the marriage-in the 4th act, he acknowledges to Montreville that he has an incestuous passion for his daughter - he enjoins Montreville to shut her up in the fort, of which he is master-and on no consideration to suffer him to see her again-Montreville carries Theocrine to the fort by force-Malefort is sorry that he had parted from Theocrine-he determines to gratify his lust at all hazards, if he can once more get Theocrine into his power-Montreville is for some time deaf to Malefort's importunities-he at last orders his soldiers to thrust Theocrine forth— she tells her father that Montreville has ravished her -and dies-Malefort is killed by a flash of lightning -Beaufort Sen., the governor of Marseilles, refers Montreville's sentence to the King-there are some comic characters-this is on the whole a fine play. 3. Duke of Milan-see D. L. March 9 1816.

As these 3 plays are not mentioned among the dramatic pieces "read and allowed" by Sir H. Herbert, whose account commences with 1622, they were probably acted before that time. (Gifford.)

Vol. 2.

4. Bondman-see D. L. June 8 1719.

5. Renegado-this T. C. was first acted April 17 1624-seemingly at the private house in D. L.-it is one of the few old plays printed with the castAsambeg = John Blanye: Mustapha = John Sumner: Vitelli Mich. Bowyer: Francisco = Wm. Reignalds Antonio Grimaldi Wm. Allen: Carazie = Wm. Robins: Gazet Ed. Shakerley: Donusa = Ed. Rogers: Paulina Theo. Bourne :-the Renegado is Grimaldi-on a solemn day of devotion at Venice, he had publickly insulted the religion of his country in the grossest manner-after which, he had turned pirate-he had carried off Paulina, the sister of Vitelli, and sold her to Asambeg, the viceroy of Tunis-Asambeg had fallen desperately in love with her-Vitelli comes to Tunis in the hope of redeeming his sister he is accompanied by Francisco, who is a Jesuit, and his particular friend-Vitelli is disguised as a merchant-here the play begins-Donusa, the niece of the Grand Signior, resides at Tunis-he recommends Mustapha to her for her husband-Donusa prevails on Mustapha to attend her to the Mart -she falls in love with Vitelli-she breaks a quantity of glass in his shop-and directs him to bring his bill to her on the next day-Vitelli visits her, and they soon become on the most intimate footing-Vitelli confesses to Francisco all that had passed between himself and Donusa-on his next visit to Donusa, he declines her solicitations-Asambeg and Mustapha overhear their conversation--Vitelli is sent to pri

son-and Donusa placed under a guard-Donusa is condemned to death, unless she can convert Vitelli to the religion of Mahomet-she attempts to do so, but is herself converted by Vitelli--Grimaldi in the 1st act is a hardened ruffian-Asambeg confiscates his property-in the 3d act, Grimaldi enters in rags-he is quite an altered man-he reflects on his past life almost with despair-Francisco infuses religious principles into him-and Grimaldi is seriously penitent-in the 5th act, Asambeg condemns Donusa and Vitelli to instant death-he suspends their execution for 12 hours at the request of Paulina— Donusa and all the Christians make their escape from Tunis in Grimaldi's ship-Gazet, Vitelli's servant, is a comic character-this is a very good play-there is no dramatic writer, who introduces allusions to the ancient mythology, and to the Greek and Roman History, with so much propriety as Massinger-but in this play he is not correct-he makes Donusa talk of Hippolitus, the Virgin huntress, &c.-things which a Turkish Lady cannot be supposed to have heard of. 6. The Parliament of Love was licensed June 3 1624, and acted at the Cockpit in D. L.--Gifford has vastly to his credit rescued it from oblivion—it existed only in an imperfect state in the possession of Malone-the Manuscript was in a forlorn condition-several leaves were torn from the beginningand the top and bottom of every page were wasted by damps, to which it had been formerly exposed-on examination Gifford had the satisfaction to find that a considerable part of the 1st act, which was supposed to be lost, yet existed-and that a certain degree of attention, which he was not unwilling to be

stow on it, might recover nearly the whole of the remainder.

This is a very good play-the plot is founded upon those celebrated Courts, or Parliaments, of Love, said to be holden in France during the 12th, 13th and 14th centuries, for the discussion of amorous questions, and the distribution of rewards and punishments among faithful and perfidious lovers

in France the existence of these Parliaments has been discussed with much warmth * but as their reality was not doubted in Massinger's time, he had sufficient authority for his fable-add too, that he has given the establishment a dignity which renders its decisions of importance. (Gifford.)

The 5th act represents a Court of Justice for offences connected with love-Perigot accuses Chamont, a nobleman, for having caused him to be tost in a blanket, and severely beaten-Novall accuses Dinant, a physician, for having by a potion reduced him to impotency-Chamont and Dinant allege that Perigot and Novall had attempted to debauch their wives-Bellisant is a young and rich lady, who indulges herself in all innocent pleasures, but preserves her virtue inviolate-Clarindore had made love to her somewhat rudely, and was by her orders turned out of doors-he made a second attempt, and she pretended to comply with his wishes, exacting however a promise of secrecy from him-he had immediately boasted of his good fortune-she arraigns him for breach of his promise-it turns out that he had passed the night with his own wife, whom Bellisant had engaged in her service, under the disguise of a Moor-Clarindore, Perigot and Novall are sen

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