THE TOBACCONIST.
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L his farce is an alteration of Ben Jonson's Alchymisi \but it bears about as close a resemblance to that beautifulplay as a dry and withered stick does to the oak fromwhich it was originally cut. The relationship in eithercase cannot be denied, though all the exterior signs of ithave been utterly annihilated.—" Quantum mutatus abillo." The alterations have been made with very little regardeither to the language or character of the original. Theremay be some excuse for translating Ben Jonson's ancientverse into the prose of modern times, inasmuch aB prose isthe peculiar language of farce, and if a fine comedy mustof necessity be cut down into an after-piece, such a changewas requisite — but what apology is there for the additionsnot being in the style of the old play. The patch-work isincongruous and monstrous, and is moreover as little inkeeping with the characters as with the phraseology of theoriginal. The injury that has been done to Ben Jonson'smasterpiece can only be understood by a comparison ofthe two works ; all the nicer traits of character, the admi-rable gradations of the plot, have utterly evaporated inthe alembic of the modern, and left only a dull residium —coarse, tasteless, and valueless. The character of Abel Drugger, which is here made the* »_..■,..•««* principal feature of the piece, is with Ben Jonsoa nothingmore than a shadow, that throws out sjore distinctly thefigures of Face and Subtle, and in proportion as he isbrought forward, the others suffer in interest and reality.The very desigu of the play is turned topsy-turvy ; it is asif life should begin with old age, and end with childhood.The object of the old poet was to mock the prejudices ofhis age, while the purpose of the modern author is only toraise laughter by any extravagance, however foreign tothe purpose. This is the reason why many of our inferioractors, find it much more easy to fill up the light sketchesof modern ingenuity, than to embody the more perfectcreations of the older times. However fanciful the three principal characters may ap-pear, Ben Jonson evidently drew them from real life. Sub-tle was most probably intended for Dee, the friend of thecelebrated Kelly, the most impudent of all impostors.This latter was born at Worcester, about the middle ofthe sixteenth century, and he accompanied Dee in his tra-rvels abroad, to Germany ; where, for a time, they deceivedthe Emperor Rodolph. Dee fled in time to escape punish-ment^^while Kelly, more impudent, or less cunning, re-mained behind till the bubble burst, and the Emperorfound out the fraud ; the Alchymist was thrown intoprison, whence he endeavoured to escape, but broke hisleg in the attempt, and died a wretched death in conse-quence. Doll has some traits in common with a youngPole named Laski, who was the friend and partner of theirexploits, and who, indeed, played a conspicuous part in alltheir mummeries, Abel Drugger is a character of a more general cast ; witha few variations, and those chiefly of outward costume,Jifs prototype, might be round in tjje present day. The qb- ject of pursuit would perhaps be different, but the mindwould be essentialty the same. It would have been betterfor the general fame of Jonson if he had many such por-traits from real life, but he was at all times, more thepainter of habits than of men, of follies than of passions. Francis Gentleman was born in York-street, Dublin,the 23d of October, 1728, and received his education inthat city, where he was schoolfellow with the late Mr.Mossop, the tragedian. At the age of fifteen, he obtaineda lieutenant's commission in the same regiment whereinhis father was major ; but making an exchange to a new-raised company, he was dismissed the service by his regi-ment being reduced at the conclusion of the war in 1748.On this event he indulged his inclination for the stage, andaccordingly appeared at Smock Alley Theatre, Dublin, inthe character of Aboan, in the play of Oroonoko. Not-withstanding an unconsequential figure and uncommontimidity, he says, he succeeded beyond his most sanguineexpectations : but having some property, and hearing thata legacy had been left him by a relation, he determined tocome to London, where, it appears, he dissipated the lit-tle fortune he possessed. He was then engaged to per-form at the theatre in Bath, and remained there sometime. From thence he went to Edinburgh, and afterwardsbelonged to several companies of actors, at Manchester,Liverpool, Chester, and other places. Growing tired of apublic life, he settled at Mai ton, a market-town abouttwenty miles from York, where he married, and had someexpectation of being provided for by the Marquis of Gran-by, to whom he was recommended by a gentleman whohad known his father. With this hope he removed to Lon-don ; but soon had the mortification to find all his prospects•clouded by the sudden death of his patron. In 1770 he 3 h is a.nhoi of— Sejanut, T. flvo. 1751.— Oroenoko, T.:red. I2.no. HBO.— 7V« Strat/urd Jubilee, C. 8vo.9.— 77« i'u&aHf or, £jK» and finW, T. Bye. 1770.—; 7Wwo»i>/, C. Bvo. 1771.— Cupid's Revenge, Past. . 1772.— TAB PaiithsouUei, D. E. Bto. 1773.— Iffte ;.jA »7/e,C. Bvo. 1774. ic is alto author of the following pieces, none of which'■! ue.-i. published:— Oiman, T. [About W61.J— Zopld- T. 1754.— Richard II. T. Altered. 1754.— 77ie Men.il. It. S. IT59.— Tltt Fmth Court, Int. 1760— Thewomb*, F. 1771.— Orphe-vj and Evrydice, Set. Op. $rolofitte;
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