The Mirror of Taste, and Dramatic Censor, Vol. I, No. 5, May 1810

In Short

This fifth issue of The Mirror of Taste, and Dramatic Censor gathers a diverse blend of theatrical history, biography, local performance reviews, and complete dramatic texts. It traces the Greek comic tradition from Aristophanes to Menander, recounts the difficult early life of English satirist William Gifford, and offers sharp assessments of contemporary actors appearing on American stages. Woven throughout are backstage anecdotes, reflections on Shakespearean adaptations, and multi-act verse drama. It endures as a vivid record of transatlantic performance culture, highlighting how nineteenth-century audiences read, judged, and experienced the performing arts.

The Story

The volume opens with an installment in a serial history of the stage, focusing on the Greek transition from the "middle comedy" to the "new comedy." It contrasts the fierce, personal, and unchecked satire of Aristophanes with the refined, gentle, and moral philosophy of Menander. Though Menander brought dignity back to the theater through elegant dialogue and pictures of real life, his elevated taste often failed to win over the broader Athenian public during his lifetime.

Following this historical account, the journal pivots to biography with an autobiographical memoir by William Gifford, author of The Baviad and Maeviad. Gifford details his humble, troubled beginnings in Devonshire: a wild father who repeatedly ran off to sea, early orphanhood, and a hateful apprenticeship under a cobbler. Starved for resources, the young Gifford secretly studied algebra by tracing problems on scraps of smoothed leather with a blunted awl before finding patrons who helped foster his literary career.

The issue then turns directly to the working theater of the early 1800s. Brief anecdotes introduce eccentric theatrical managers like Mr. Whiteley, alongside sharp critiques of classic comic actors such as Mr. Nokes, whose silent, lugubrious facial expressions could provoke roaring laughter before he spoke a single word. Critical commentary compares famous English actors to classical painters—likening Mrs. Pritchard to Correggio and Michael Angelo to Macklin—and denounces Nahum Tate’s historical revisions of Shakespeare’s King Lear as a literary crime. Readers are also treated to brief moral maxims on the edifying power of tragedy and comedy, a satirical Ovidian love poem, and lighthearted greenroom witticisms.

The latter portion of the magazine assesses contemporary performers across American theaters, offering frank reviews of Mr. Tyler, Mr. Twaits, Mr. Simpson, Mrs. Young, and the widely anticipated performer Mr. Dwyer. These reviews evaluate vocal technique, posture, and natural charisma, often defending actors against hasty audience reactions.

Finally, the journal presents full dramatic scenes from Alfonso, a verse tragedy centered on political treachery and familial anguish in Castile. The villainous Caesario plots to overthrow King Alfonso using hidden explosives, driven by a desire to avenge his father, the exiled Orsino. Caesario's wife, Princess Amelrosa, discovers her husband's plot with horror. When the uprising reaches its climax, Orsino himself confronts his rebellious son. Realizing Caesario cannot be turned from his murderous course, Orsino stabs him to protect the kingdom, then dies of grief beside his son's corpse as peace is restored to the throne.

How It Unfolds

The rise of new comedy The chronicle of the Greek stage records the decline of envenomed personal satire following Aristophanes. Menander emerges to reform the drama, using refined philosophy and natural dialogue to elevate comedy into an instrument of moral instruction.

A cobbler's secret studies William Gifford recounts his harsh childhood, lost inheritance, and painful shoe-making apprenticeship. Lacking paper and ink, he solves mathematical equations by carving problems into pieces of leather using a dull awl.

Portraits and stagecraft Essays and anecdotes profile celebrated theatrical figures. Critiques evaluate legendary actors by comparing their artistic styles to Renaissance master painters, while commentary sharply rebukes corrupt adaptations of Shakespearean plays.

Appraising the American company The editor presents candid reviews of current stage talent. Each actor's strengths and flaws are unpacked, from vocal mannerisms to physical presence, preparing theatergoers to judge performances with a discerning eye.

Tragedy in Castile Dramatic scenes from the play Alfonso depict a vengeful conspiracy against the crown. The plot culminates in a tragic confrontation where an exiled father slays his own traitorous son to preserve the king's life.

The People

• Menander: An Athenian playwright who seeks to rescue comedy from crude personal abuse by introducing moral rectitude, subtle wit, and realistic human characterizations.
• William Gifford: A struggling orphan and apprentice who yearns for education, overcoming severe poverty and lack of materials to master mathematics and literature.
• Mr. Nokes: A comic actor who delights audiences through silent distress and grave solemnity, turning unuttered confusion into a powerful performance tool.
• Macklin: An accomplished actor and formidable personality whose precise, anatomical approach to his craft mirrors the bold accuracy of Michael Angelo.
• Caesario: A vengeful, ambitious prince in Alfonso who schemes to destroy King Alfonso under the guise of loyalty, driven by old family grievances.
• Orsino: The father of Caesario, whose devotion to duty forces him to choose between parental love and his loyalty to the monarch.
• Amelrosa: The Princess of Castile, torn between her devotion to her father and her love for her treacherous husband, Caesario.

In Its Own Voice

"I beat out pieces of leather as smooth as possible, and wrought my problems on them with a blunted awl..."

Gifford recalls the drastic measures he took to study mathematics without paper.

"...he sunk into such a mixture of piteous pusillanimity, and a consternation so ruefully ridiculous and inconsolable, that when he had shook you, to a fatigue of laughter, it became a moot point, whether you ought not to have pitied him."

The author describes the unique power of the comic actor Mr. Nokes.

"There's many a prince, whose couch is strown with roses, / Finds their sweet leaves but serve to harbour aspics..."

Orsino reflects on the burdens of royal power while watching the sleeping King Alfonso.

What It's Really About

At its core, the collection explores the nature of artistic taste and the moral responsibility of the stage. Across its varied items—from ancient Greek stage histories to modern performance reviews—the text argues that drama ought to elevate, refine, and instruct its audience rather than pander to low impulses or crude appetites. It examines the contrast between superficial popularity and lasting merit, showing how true genius often requires disciplined study and moral integrity. In its biographical and dramatic selections, the volume also wrestles with themes of hardship, loyalty, and the tragic consequences of unchecked ambition, emphasizing that civic duty and personal virtue must ultimately guide human conduct both on the stage and in public life.

Why Read It Today

This volume appeals to readers interested in theatrical history, nineteenth-century literary culture, and early American journalism. Reading it feels like flipping through a cultural scrap-book where formal scholarship sits right alongside gossip, verse, full-length play scripts, and dry greenroom humor. The prose captures the opinionated, elevated style of early periodical writing, balancing sharp critical judgment with genuine enthusiasm for the performing arts.

Modern readers should be prepared for the magazine's eclectic structure, which shifts rapidly between distinct genres and subjects without smooth transitions. The dramatic excerpts feature the heightened, ornamental blank verse typical of nineteenth-century stage tragedies, while the biographical sections contain period-specific phrasing and references. Despite these archaic touches, the writing remains accessible and charming. The editor's passionate defense of high artistic standards—coupled with vivid glimpses into the real lives of actors and writers—makes this issue an enjoyable, surprisingly intimate artifact of early romantic-era theater culture.