composition remains. It is now generally printed under the latter title only. 53. THE LIFE AND DEATH OF CAPTAINE THOMAS STUKELEY, with his Marriage to Alderman Curteis Daughter, and valiant Ending of his Life at the Battaile of Alcazar. As it hath been acted. Printed for Thomas Pavyer, and are to be sold at his shop at the entrance into the Exchange. 4to. 1605. b. 1. 54. THE CAPTIVE. Com. Op. by Isaac Bickerstaffe. Acted at the Haymarket. 8vo. 1769. This is taken from the comic scenes of Don Sebastian. It was set to music by Mr. Dibdin, but was not acted with much applause. 55. THE CAPTIVE. Monodrama, by M. G. Lewis. Performed at Covent Garden, March 22, 1803. It consisted only of one scene, acted by Mrs. Litchfield; but the author had included in this single scene all the horrors of a madhouse; imprisonment, chains, starvation, fear, madness, &c.; and many ladies were thrown into fits by the forcible. and affecting manner of the actress. As a literary production it had little merit, and was never repeated; nor has it been printed. 56. THE CAPTIVE MONARCH. Trag. by Richard Hey. 8vo. 1794. VOL. 11. This piece is an alteratio cribed to Mr. Prince Hoare a French drama called Le rain; and is somewhat sim the Adelaide and Theodore dame Genlis. If we overlo objection of the main ind being too gloomy for an piece, it must be acknow to possess considerable in It was well received. Mu Dussek. See ALBERT AND LAIDE. 58. THE CAPTIVE PRI Trag. by Dr. Smith. Not or printed. See the accou the Author. had in 59. THE CAPTIVES. Tr John Gay. Acted at Drury nine nights with great app 8vo. 1724. Mr. Victor giv following anecdote relative play: Mr. Gay " enough with the late "Caroline, then Princess of "to excite Her Royal High "curiosity to hear the autho "his play to her at Le "House. The day was fixe "Mr. Gay was commanded "tend. He waited some ti "a presence-chamber wit "play in his hand; but b e merit. A redeem a son r, is desirous for two cap ■, and whom, point, he had of these per the other the ant, making that himself, master, is in nades him to servant to his order to ex ■ one, who is ed to be an his infancy nhim. The out; and the -ises from the incident, the is the whole very time the Cespair of ever n, the young e change upon with this very his despond ims his own so faithfully dous an en n, accompa Instances, very the catastro one of her emissaries, who had es. Trag. by cted at Drury 63. CARACTACUS. A dramatic Poem, by Mr. Mason. 4to. and 8vo. 1759. This piece is written after the manner of the Greek tragedy, with odes and choruses, and was never intended for the English stage. In the closet, however, it must always give ineffable delight to every mind capable of judgment; as it lays the strongest claim to immortality, and is one among a few instances, that poetical genius is so far from its decline at this time in these realms, that we have writers now living, some of whose works no British bard whatsoever, Shakspeare, Spenser, and Milton, not excepted, would have reason to blush at being reputed the author of. 64. CARACTACUS. Dramatic Poem, by W. Mason. Acted at 65. CARACTACUS. Ballet of Action. Invented by Mr. D'Eg bably a translation from a French opera of the same title. 67. THE CARAVAN; or, The Driver and his Dog. Serio-Comic Romance, by Frederic Reynolds. Acted at Drury Lane, 1803. Printed, Svo. N. D. This afterpiece was very attractive; and will long be remembered, as having introduced, and rested its chief point of interest on, a performer of the canine race, to produce the catastrophe of the drama. The Marchioness of Calatrava, with her infant son Julio, having fallen into the power of the governor of Barcelona, and the lady refusing to yield to his unlawful passion, a soldier seizes the boy, and plunges him from a precipice into the ri. ver below. A large piece of real water, with two liquid cascades tumbling into it, is actually exhibited on the stage. Into this Carlo (a dog belonging to the driver of the caravan) plunges from the rock, lays hold of the boy, and swims with him on shore. Never did Garrick, Betterton, or, by way of climax, Master Betty, obtain louder plaudits, than this four-footed actor from Newfoundland, during a long run of the piece. 68. CARDENIO. See The History of Cardenio. This play was acted at court in the year 1613, 71. THE CARELESS Hu Com. by C. Cibber. Ac the Theatre Royal. 4to. This comedy contains, p the most elegant dialogue, most perfect knowledge manners of persons in rea life, extant in any dramati that has yet appeared in an guage whatever. Yet such natural malevolence of ma and such our unwillingness stow praise, at least on the that Mr. Cibber's contemp would not allow him to hav the author of it; some attri it to the Duke of Argyle, to it was dedicated, some to M foe, some to Mr. Maynwariu As, however, during a long of years, in which it has con been performed with the g success, no claim has been any part of it, we surely m the deserved tribute of pra him who, by this prescr stands as the undoubted aut the whole, and to whom the lish stage is to this hour g obliged for a very consid share of its comic entertain during the course of every s When Mr. Cibber had v two acts of this play, be he threw them aside in desp meeting with a performer ca of doing justice to the chara BUS. very poor house, scarcely charges. Under these circumstances it cannot be supposed that the play appeared to much advantage; the audience only came there for want of another place to go to; but without any expectation of being much diverted. They were yawning at the beginning of it, but were agreeably surprised, more and more every act, till at last the house rung with as much applause as was possible to be given by so thin an audience. The next day there was a better house, and the third crowded for the benefit of the author, and so it continued till the thirteenth. The next year (a strong proof of this play having greatly pleased), upon the company's dividing, and one part of them going to the Haymarket, it was acted at both houses together for six nights running, in opposition to one another; Pack, who did it first, playing the part of Marplot at Drury Lane, and Dogget the same part in the Haymarket. To do justice to the author, it must be confessed, that although the language of it is very indifferent, and the plot mingled with some improbabilities, yet the amusing sprightliness of business, and the natural impertinence in the character of Marplot, make considerable amends for the abovementioned deficiencies, and render it even to this hour an entertaining performance. The dumb scene of Sir George with Miranda, and the history of the garden-gate, are BUX both borrowed from Ben Jonson's comedy of The Devil's an Ass. This play was dedicated to Lord Somers. Sir Richard Steele, speaking of it, says, "The plot and the "incidents are laid with that sub tilty of spirit which is peculiar "to females of wit, and is very " seldom well performed by those " of the other sex, in whom craft "in love is an act of invention, "and not, as with women, the ef"fect of nature and instinct." 262. THE BUSY BODY. Com. translated from The Theatre of Education of Madame de Genlis. 8vo. 1781; 12mo. 1787. 263. BUTHRED. Trag. Acted at Covent Garden. 8vo. 1778, 1779. Buthred (or, as it was called in Scotland, Blue-thread, and in Ireland Butter-head) is an anonymous tragedy, acted four nights to very patient audiences. Surely the reception of such pieces is more injurious to managers than all the abuse that disappointed authors could throw out against them. It is said to have been the work of Mr. Johnstone, who wrote The Reverie, Chrysal, and other pieces of merit. We relate this hearsay circumstance, but do not believe it. 264. BUXOM JOAN. Burletta, by Thomas Willet. Acted at the Haymarket. 4to. 1778. Taken from the song of "A Soldier and a Sailor," in Love for Love and, considered as a light summer vehicle for a number of pretty airs, has some merit. CAE 1. THE CABAL. As acted in George Street. 8vo. 1763. A despicable performance, occasion ed by the apprehension of Mr. Wilkes. C. 2. CABAL AND LOVE. Trag. translated from the German of Schiller. 8vo. 1795. Never acted; but if the speeches were carefully curtailed, it might be well adapted for performance. 3. THE CABINET. Com. Op. by Thomas Dibdin. Acted at Covent Garden, 1802, with very great success. The music, by Reeve, Moorhead, Davy, Corri, and Braham, possessed irresistible attractions; and the piece still continues very popular. Printed, 8vo. 1805. 4. THE CADY OF BAGDAD. Com. Opera, of three acts, by Abraham Portal. Performed at Drury Lane, 1778. The songs only published. This piece had no success. 5. CÆLIA; or, The Perjured Lover. A play, by Charles Johnson. Acted at Drury Lane. Svo. 1733. This play is on a domestic and familiar subject, has much pathos in it, and is very far from a bad piece; yet in the represent ation it met with no success. Epilogue by Henry Fielding. 6. CÆLINA; or, A Tale of Mystery. A Drama, in two acts, by John Wallace. 8vo. 1802. This is taken from a French play, called Cælina; ou, L'Enfant du Mystère, 7. CAERNARVON CASTLE; or, The Birth of the Prince of Wales. Musical Ent. by John Rose, Acted at the Haymarket, August 12, CÆS 1793. Printed 8vo. 1793. The fable is grounded on the old story of subjecting Wales to the sovereignty of England, by the death of Llewellyn, and giving it a Prince by the Queen's lying-in at the castle of Caernarvon. It is evidently a hasty composition, rather intended as a compliment to the Prince on his birth-day, than with any idea of constituting a finished drama. It was, however, received with approbation. Music by Attwood. 8. KING CESAR; or, The Negro Slaves. G. S. by J. C. Cross. 8vo. 1801. 9. The Tragedy of CÆSAR AND POMPEY; or, Casar's Revenge. Acted by the students of Trinity College, in Oxford. 4to. 1607. Of this play there was another edition, apparently an earlier one, without a date, and with no mention of its having been acted by the students of Trinity College: of this edition a copy is in the possession of Mr. Kemble. There was also a very ancient play on this subject, entitled The History of Cæsar and Pompey, exhibited before 1580. See Gosson's School of Abuse. 10. CÆSAR AND POMPEY. A Roman Tragedy, declaring their wars, out of whose events is evicted this proposition, only a just man is a free man. By Geo. Chapman. 4to. 1607; 4to. 1631. Acted at the Black Friars. The plot of this play is taken from the Roman history. Scene Rome and Pharsalia. In the second edition, the title-page runs thus: "The Warres |