Zenobia. in the plot, which is well conducted for stage bufinefs; the verfification is neither elegant nor flowing, however, by rising very little above measured prose, it has no taint of bombaft; the fentiments are trite, yet in feveral places happily applied, and we readily admit, that there are many ftrong appeals to the tender paflions, infomuch that we know feveral pieces much more poetical and correct, which cannot draw so many tears; what light it fhews human nature in, and how the great purpose of inftruction is fulfilled, we shall discover by an investigation of the characters. Pharafmanes is one of the moft compleat, 'royal villains we remember to have met with, capable of crimes thoroughly attrocious, without one generous feeling; his love is evidently fenfual, his fame barbarity; the fanguine flave of ambition, with every other hateful, turbulent paffion; he moves before. us, from beginning to end, an object of confummate deteftation; the author, intending to exhibit nature in a state of the utmost depravity, has well fulfilled his defign. As to the acting of this obnoxious monarch, there are opportunities of exerting confiderable talents to advantage, and we imagine Mr. MosSOP's executive powers might make him a very confpicuous character, while Mr. AICKIN ftands deficient both in dignity of deportment and extent of voice, which latter defect is rendered more palpable, by a laborious wildnefs of exertion, by vain, uncultivated attempts; in short, he reminds us. of an unbroken steed, which is conftantly upon the grand VOL. I. Hhh paw, Zenobia paw, without any grace or propriety of motion ¿ a little restraint would throw him into more agreeable regularity, and mend his paces much, Rhadamiftus is an honeft man and tender husband, in point of filial respect also he is commendable, but as to heroifm he cuts a very poor figure, being, as is apparent, timorous and difingenuous in thefe failings he feems to be a mere tool of the plot, which greatly depends in its prefent form on his cenfurable conduct. The part was indifputably written for Mr. BARRY, whofe performance happily fuftains the author, wherever he has done justice to himself; but as many of the scenes manifest great inequality, we are not to be furprized, that capital abilities in fuch places, fhould fo far border on infipidity as to pall; one third of this character omitted in action, would render him more interefting to an audience, and more advantageous to the performer. Teribazus, we may juftly ftile, the squib and cracker of tragedy, poffeffing an undisguised, generous and affectionate heart, yet precipitated by a violent degree of fretful impatience; there is an oddity of compofition in this impetuous prince which Mr. HOLLAND delineated with masterly execution; his tranfitions were rapid, and his expref fion forceable; that power of voice which on many occafions he was too lavish of, here operated pleafingly, and made found literally an echo to the fense. Mr. PALMER appears in the fituation of an unkilful rider on a high mettled horse; the part runs away Zenobia. away with him, and he is as near tumbling heels over head as poffible. We wifh, from real regard to this rifing performer, that he would, before habit takes too ftrong poffeffion of him, clap a check rein on his expreffion, for it is a strict, critical truth, that being under is better than over the mark, and that many natural deficiencies are softened by a prudent limitation; spirit fhould enliven, but not wage war with propriety. Megiftus is a very amiable perfonage, humane and parental in his attachments, humble in defires, and refolute in danger; we think the poet might have made him much more confiderable, however, as Mr. HAVARD, far in the decline of life, was defigned for the part, it was probably adopted in point of length and feelings to his impaired faculties; it is certain, that gentleman did him great juftice, a tender, fenfible placidity of countenance and expreffion, gave the fentiments due effect. Mr. JEFFERSON, who has taken poffeffion of the old man, does not affect us fo much as his predeceffor, though neither languid nor disagreeable. Zopiron feems little more than a filler up of the drama, he appears to poffefs fome virtues, but has hé no opportunity of exerting any, and what he says, through the whole play, is of fo little fignificance; that we are furprized Mr. PACKER can walk thro' him without setting the audience asleep; this is one of many makeshift characters which, if totally o mitted, would occafion little or no deficiency. Zenobia Tigranes feems to be a thorough paced pupil of tyranny, ready for all the dirty work his master can fuggeft, teeming with mischief, which, however, he cannot bring about. Mr. HURST does him no injustice, except by a Moffopian pomposity of utterance, which hangs too much about him in every character he performs: we think proper to intimate, that every imitative performer is fure to catch the defects of that person he aims at, much sooner than his beauties; and, as the latter, at fecond hand, grow much fainter, fo the former rife to a stronger degree of difguft. Zelmira is as water gruel a character as her husband Zopiron, and affords no opportunity for cutting a confpicuous figure; being no more than a foil, fhe cannot rife above the agreeable, and this Mrs. W. BARRY reaches. Zenobia engroffes more approbation than any other character; as a princefs, wife and mother, she commands our applaufe; her fituations are well varied, alarming and interefting; we heartily concur with the author, that Mrs. BARRY gives her many additional charms, that her action is a kind of Promethian heat to the princefs, and that we have not lately feen fo ftrong a degree of paffion and pathos exhibited. This tragedy, with adequate performers may, nay must always please on the stage, but as to private perufal, we think it will afford very little pleafure, and lefs inftruction. CYMON CY MON. A Dramatic ROMANCE. ANONYMOUS, THE title of this piece prepares us for an in vafion of critical rules, being profeffedly in the extravaganza strain, we are to confider it as a child of unreftrained imagination, rather than the offfpring of nature and propriety; what has been already objected to ghofts, fpirits, witches, &c. even decked by SHAKESPEARE's luxuriant fancy, muft lie much more forceably against the enchanters and enchantreffes of inferior pens; but while public tafte fhews fuch an unacountable eagerness to encourage found and pageantry, it is not wonderful, that authors and managers fhould throw out the moft propable bait of folly, by calling any fort of monsters to their aid. Merlin and Urganda, two perfons poffeffed of fupernatural powers, open the first act; from their converfation, it appears, that the former has entertained a paffion for the latter, without meeting a fuitable return; he charges her with loving Cymon, and upon her prevaricating, urges her having ftolen that prince from his father, in fearch of whom an hundred knights are employed. What is a romance without knights ? By |