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The stagey is its generic name; but it is an old, insular, home-bred staginess; not French, domestically British; not of to-day, but smacking of O. Smith, Fitzball, and the great age of melodrama; a peculiar fragrance haunting it; uttering its unimportant message in a tone of voice that has the charm of fresh antiquity. I will not insist upon the art of Skelt's purveyors.
What Mr Fitzball might be able to do by dint of great kicking, I have no means of judging; but I have no intention of placing the two authors in an antagonistic attitude on the present occasion, and therefore I trust the soul of Shakspeare will be left in peace. What I stated was, as a general proposition, that Shakspeare has done more harm than good to the English stage.
Borrow,” said I. “But,” said he, staring hard at me, “you—you were not born!” “And I was not born,” said I, “when the ‘Agamemnon’ was produced, and yet one reads the ‘Agamemnon,’ Mr. Borrow. I have read the drama of ‘Ambrose Gwinett.’ I have it bound in morocco with some more of Douglas Jerrold’s early transpontine plays, and some Æschylean dramas by Mr. Fitzball. I will lend it to you, Mr.
Fitzball and the green-room and all the rest of the Bohemia in which he had once dwelt, were too racy for his company, still found it hard to resist the alert intelligence with which he rose to every good topic, and the extraordinary heartiness and spontaneity with which the wholesome spring of human laughter was touched in him.
No, my dear Smith, Shakspeare was not "a bloody fool;" I should say he was very far from it; and you also added, that Fitzball would kick his soul out of his elbow in less than no time.
The stagey is its generic name; but it is an old, insular, home-bred staginess; not French, domestically British; not of to-day, but smacking of O. Smith, Fitzball, and the great age of melodrama: a peculiar fragrance haunting it; uttering its unimportant message in a tone of voice that has the charm of fresh antiquity. I will not insist upon the art of Skelt's purveyors.
"Maritana," a romantic opera in three acts, words by Fitzball, founded upon the well-known play of "Don Caesar de Bazan," was first produced at Drury Lane, London, Nov. 15, 1845. The text closely follows that of the drama.
I have it bound in morocco, with some more of Douglas Jerrold's early transpontine plays, and some AEschylean dramas by Mr Fitzball. I will lend it to you, Mr Borrow, if you like. He was completely conquered, 'Hake! he cried, in a loud voice, regardless of my presence, 'Hake! your friend knows everything. Then he murmured to himself. 'Wonderful man! Knows Ambrose Gwinett!
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