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The Mirror of Taste, and Dramatic Censor, Vol. I, No. 4, April 1810   By: (-1820?)

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The Mirror of Taste, and Dramatic Censor, Vol. I, No. 4, April 1810 by S. C. Carpenter offers a fascinating glimpse into the cultural and literary landscape of early 19th century England. Carpenter's insightful commentary on various works of art, literature, and theater provides readers with a unique perspective on the tastes and opinions of the time.

The publication covers a wide range of topics, from reviews of the latest plays and novels to discussions of poetry, music, and painting. Carpenter's writing is engaging and informative, offering readers a window into the world of Regency-era London.

One of the highlights of the book is Carpenter's analysis of the contemporary theater scene. His reviews of popular plays and performances shed light on the dramatic trends of the time, while also providing valuable insights into the tastes of theater-goers in early 19th century England.

Overall, The Mirror of Taste, and Dramatic Censor, Vol. I, No. 4, April 1810 is a valuable resource for anyone interested in the cultural history of the Regency period. Carpenter's thoughtful commentary and detailed reviews make this publication a must-read for history buffs, literature lovers, and anyone with an interest in the arts of the early 19th century.

First Page:

THE MIRROR OF TASTE,

AND

DRAMATIC CENSOR.

Vol. I APRIL 1810. No. 4.

HISTORY OF THE STAGE.

CHAPTER IV.

ORIGIN OF COMEDY ARISTOPHANES DEATH OF SOCRATES.

Though the term "tragedy" has from the first productions of Æschylus to the present time, been exclusively appropriated to actions of a serious nature and melancholy catastrophe, there is reason to believe that it originally included also exhibitions of a pleasant, or comic kind. The rude satires, and gross mummery which occupied the stage, or rather the cart, of Thespis, were certainly calculated to provoke mirth in the multitude. By what has already been shown, the reader is apprised that the word, in its original sense, bore no relation whatever to those passions and subjects, to the representations of which it is now applied; but meant simply a dramatic action performed at the feast of the goat, in honour of Bacchus. Thus the different provinces of the drama then undistinguished, were confounded under one term, and constituted the prime trunk from which sprung forth the two branches of tragedy and comedy separately the first in point of time usurping the original title of the parent stock, and retaining it ever after.

Why human creatures should take delight in witnessing fictitious representations of the anguish and misfortunes of their fellow beings, in tragedy, and, in comedy of those follies, foibles and imperfections which degrade their nature, is a question which many have asked, but few have been able to answer... Continue reading book >>


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