In whose creative hand, the hues And call thee fairest of the Nine! Possessing more than vocal power, From love, the sire of nature sprung. Does hope her high profession meet? But ah! thou pulse of pleasure dear, Then for a beam of joy, to light On memory's sad and wakeful eye, Shall song its witching cadence roll? What visions rise to charm, to melt! Oh hush that strain too deeply felt, Oh cease that transport too severe ! But thou; severely silent art By heaven and love was taught to lend A milder solace to the heart, The sacred image of a friend. All is not lost, of that possest, For me, thou sweet memorial shine, * Alluding to the supposed Origin of Painting, from a Corinthian female sketching the shadow of her lover's profile, as ke lay asleep. 13/26 | 24 1418 24 1518 1630 ∞∞7, A. M. 3 P. M. 9, P. M 3, P. M 19 P M. Morning. Afternoon Morning Afternoon. 28 32 17 29 30 28 1822 28 1928 30 2024 24 217 4. 28 N. Cloudy Cloudy N W. Snow Snow 30 30.20 30 25/30-25 N.W IN W. Cloudy Fair Report. 17 29.55 29.65 29 80 W W Fair. Fair Fevers, 26 (29.60 29.65 29.80 N. W.'N W 'Cloudy Cloudy usms. Printed for JOHN COOK, by E. & E. HOSFORD, Albany. S. S loudy Cloudy Rheuma "Therefore as a STRANGER, bid it welcome." HAMLET. No. 18. SATURDAY, FEBRUARY 12, 1814. VOL. I. FOR THE STRANGER. THE THEATRE. In recurring to the different species of stage acting both in ancient and modern days, we have a complete index to the prevailing characteristicks of the nation at the time of such exhibitions. In the first crude representations of the East, the introduction of conjurers and of animals, the object of adoration, intermingled with dancing, and mystick ceremonies, we see the benighted ignorance and gloomy superstition of those who tolerated such absurdities. The periodical feasts and publick shows of the Romans in the earlier period of their history, which at first were ostensively in honour of the gods, to appease their wrath, or to supplicate their aid; while they are evidence of the strong martial character of the nation, shew us that their rulers knew well how to temper that propensity by their publick spectacles so as to effect their political ends. In a subsequent era of that nation when the combats of gladiators and the feats of mountebanks could only gratify their still more vitiated taste, we properly view them as a prelude to the speedy downfall of the Mistress of the world, to the lowest abyss of national infamy. We see her preparing for that national degradation which could suffer even an Emperor to enter the lists of Thespis, and contending for scenick fame only that he might more justly excite the disgust of his cotemporaries and the execration of posterity. The theological dramas as they were denominated which first appeared on the stage in Spain, Portugal, and France, more strongly than any other circumstance in the history of those nations, depict the wild fanaticism VOL. I. S of that day, the wretched state of learning and science, the despotick tyranny of the clergy, and the deplorable condition of the laity. But when we recur back to the time when eloquence flourished and the principles of liberty were cherished in Greece, we find the incidents of the drama more consonant with nature. The strange inconsistencies of Polytheism however deeply they were engraven on the minds of the people, were discarded from the stage; and subjects more fitted to the ordinary concerns of Fife, as well as to the capacities of the audience were introduced in their stead. The English Stage has perhaps undergone more numerous and sudden alterations than any other. When superstition and credulity held the reins, we see the drama polluted by the same traits of barbarity with those which have been enumerated. When however learning began to revive, when the fine arts began to be cultivated, when laws were substituted in the place of the mandates of Barons who were but little better than the chiefs of so many predatory gangs, the drama kept equal pace in improvement. In But not 'till the time of Elizabeth, emphatically called the golden age of England, do we discover the histrionick art divested of the trappings which had made it rather the business of the buffoon than the profession of the man of letters. that propitious reign to the English nation, every department of science seemed resuscitated with new life and vigour. The drama claimed equal applause as well on account of the great talents employed in composing, as of those engaged in acting. The great Shakespeare, equally the pride and boast of his own nation, as an honour to human nature and the admiration of the world, and of whom it may with truth be said in the forcible language of Doct. Johnson, "Existence saw him spurn her wide domain," raised the drama at once to the utmost perfection. If indeed Eschylus was the father of tragedy, to Shakespeare belongs the glory of improving with a master's hand upon his model. He was less an imitator than an original inven tor. The few instances thus cursorily enumerated serve to fortify the position assumed, that the character of the stage in every country is strikingly illustrative of the literature, intelligence and taste of the nation. It is not meant here to infer as a ne cessary consequence that where a taste for chaste theatrical amusements does not exist in the people, there can be no refinement. The evidence furnished in our own country would rebut the presumption. We do not know that there is more than one State in the union where theatres are prohibited; and it is universally acknowledged there is more learning, more general intelligence diffused among all classes of people in that State, than among the same population in any other. But we do say, and the history of centuries prove the assertion, that the amusement of the theatre has been, and is, an almost uniform concomitant to the cultivation of the social virtues. That the best, and most laudable productions are always selected for performance, or are always the most acceptable to the mixed audience of Theatres either in Europe or America, would be an absurdity to suppose. But still we ever have and ever must reprobate the idea of licensing plays for representation. And it cannot but be a matter of astonishment to every person who reflects upon the fact, that this mark of almost feudal vassalage should still be retained in a government like that of Great Britain. The only just and effectual restraint that should ever be imposed upon the representation of plays is the good sense of the community. (To be continued.) FOR THE STRANGER. We announced in a late number the publication of the Ele ments of Perspective, by Simeon De Witt, and we take this occasion to make a few remarks on the work. We have the more pleasure in noticing this as we believe it to be the first book on a scientifick subject that has issued from the Aibany press, and we hail it as the forerunner of greater attempts in the field of Learning. Our advance in Literature has been sudden and rapid, and we assert it on the best authority that books of merit, receive a more liberal patronage with us, than elsewhere. The New Edinburgh Encyclopædia, the American, Quarterly, and Edinburgh Reviews, have here a greater circulation, proportionably, than in any other part of the United States. |