ADVERTISEMENT.

THE following Address to the Publick has been induced by due reverence for the great names of Shakspeare and Dryden; and by a respect for Those (among a multitude of their living Admirers) who, glowing with that enthusiasm which such preeminent Poets only can inspire, look upon any change of their text as a profanation:—a profanation, which may, possibly, be the only mode of continuing some of their Plays before a modern Audience. For the arrangements ventured in the following Tragedy, various precedents might be quoted; frequent liberties having been taken with old Dramatists; and taken successfully, (at least upon the boards of a Theatre) with little previous explanation, or with no explanation whatever: but, in the present instance, it is particularly wish'd that an humble endeavour may not be misconstrued into an arrogant attempt.

Doctor Johnson observes, on Shakspeare's Antony and Cleopatra, that “the events, of which the principal are described according to History, are produced without any art of connection, or care of disposition;” which comment, according to the strict critical code, conveys no slight censure, though mildly express'd;—but he also tells us, that, “the Play keeps curiosity always busy, and the passions always interested;” and that “the power of delighting is derived principally from the frequent changes of the Scene:’”—now, when we consider what those changes are, he will be fouhd to praise, in one paragraph, that which he appears to condemn, in another.

But Johnson cannot be fairly convicted of incongruity in the above remarks: for, it is to be recollected, that they claim a bearing upon his general tenets; and that, in his admirable Preface to Shakspeare's Plays, he has defended the Poet's departure from the Unities. The authority of his opinion produces a powerful Ally to generous Taste, when inclined to rebel against scholastick Prescription; still, although “deliberately given,” it makes him, he says, “frighted at his own temerity.”

To behold the gigantic Doctor in a fright at his contemporary brethren, the majority of whom were pigmies to him in intellect, excites a smile! and may be cited, among repeated, and often, salutary instances, of the men of Method keeping the man of Genius in awe. He certainly labour'd to be beneficial; and to assuage the fury of the Aristotelian fire, raging in the bosoms of diminutive Literati; but he felt that he might be pouring oil; and encreasing the flames he wish'd to subdue.—It is, by no means, intended to insinuate that, when Johnson broached his opinions, there were not individuals of great talent, and erudition, alive, to oppose them; as, doubtless, there are now; but he, probably, dreaded an uproar of the dogmatical million, rather than the discussion of liberal men of letters, who were, comparatively few. Perhaps candour may open a walk between Aristotle and Johnson: the former may have exacted a path too narrow, and the latter have permitted a road too wide.

Be this as it may, Shakspeare's disregard of the Unities are traditionally received; and, to reduce his historical Plays to critical rules, is impossible: they grasp an age in a span; they comprise the events of years in a minute:—we may carefully resciad redundant scenes, and tenderly prune the exuberance of his dialogue, and they may flourish the better on a modern Stage;—to strike at the root of his general construction, is to eradicate the venerable Bard from the soil of our Theatre.

But the magick of his Muse is so powerful, he transports us from place to place, out-running Time with so sweet a velocity,

that we acknowledge much delight would be lost if we did not submit to the violence of the motion. We feel like men indulging in morning slumbers, sensible of visionary impossibilities, but unwilling to rouse our minds from the illusion: and when the enchantment is broken, by the termination of the Drama, a polish'd Auditor may exclaim, with the Poet's rude Caliban,

Horace has described him by anticipation:

Dryden in the Preface to his Play of “All for Love,” vaunts that he has observed the Unities of Time, Place, and Action, with more exactness than, perhaps, the English Theatre requires: —thus, while he volunteers a difficulty, he seems proud of shackling himself with fetters he holds in contempt, to shew how gracefully he can rattle them: In his boasted observance, however, of the Unities, he has not scrupled to falsify History; which he informs us he has done “by the privilege of a Poet.”

But the two Authors have told the same story in a different way; and, while Shakspeare has taken the broadest range, Dryden has concentrated his plan:—to mingle, therefore, their Dramas has presented no little difficulty;—to blend the regular Play of Dryden with the wild Tragedy of Shakspeare, creates a danger of entangling a chain of incidents.

The obvious question, then, is,—Why make such an attempt? to which the following answers are respectfully given:—

Shakspeare's Play has been, already, altered, abridged, &c. &c. —but it has stood the test of modern times less than many of our great Bard's revived Dramas, which are, now, kept before the Spectators, from year to year:—Something has been

wanting to render it what is termed a Stock Play:—Dryden's Play has been long upon the shelf; nor does it appear suited to the present taste, without much departure from the original; but there is much to be admired in both the Plays.

Under these circumstances, an amalgamation of wonderful poetical powers has been considered the best method to be adopted; and it is hoped, that the present arrangement will be found sometimes to have softened the violations of those Unities in Shakspeare, which it cannot easily encrease.

In respect to pruning for representation, it may be allow'd, that

A few lines of interpolation, here and there, will be observed; inserted merely for the purpose of connecting those beauties (which have long been dormant) of Two of England's greatest Poets.

DRAMATIS PERSONÆ.

[Attendant], [Messenger], [Ambassador], [Aegyptian], [Officer], [Soldier], [Guard 1], [Guard 2], [Guards]

Attendants, Messengers, Officers, and Soldiers.

Octavius Cæsar	Triumvir	Mr. Abbot,
Marcus Antonius [Mark Antony]	Triumvir	Mr. Young,
Æmilius Lepidus [Lepidus]	Triumvir	Mr. Barrymore,
Dolabella	Friend of Cæsar	Mr. Hamerton,
Mæcenas [Maecenas]	Friend of Cæsar	Mr. Crumpton,
Agrippa	Friend of Cæsar	Mr. Creswell,
Proculeius	Friend of Cæsar	Mr. Jefferies,
Thyreus	Friend of Cæsar	Mr. Murray,
Enobarbus	Friend of Antony	Mr. Egerton,
Canidius	Friend of Antony	Mr. Treby,
Ventidius	Friend of Antony	Mr. Terry,
Philo	Friend of Antony	Mr. Brook,
Alexas	Officer of Cleopatra's House	Mr. Chapman,
Diomedes	Officer of Cleopatra's House	Mr. Menage,
Mardion [Mardian], an Eunuch	Officer of Clepatra's House.
Cleopatra, Queens of Ægypt	Mrs. Faucit,
Charmion [Charmian]	Her Woman.	Miss Cooke,
Iras	Her Woman.	Mrs. Watts,
Octavia, Cæsar's Sister	Mrs. M'Gibbon.

SCENE—Ægypt, and dispersed in several parts of the Roman Empire.

ANTONY AND CLEOPATRA.

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