Critical Strictures on the New Tragedy of Elvira, Written by Mr. David Malloch | Page 7

and had been made
some time before Elvira was presented; in fact, he had applied it
originally to Johnson's Irene. See LJ, pp. 69, 306.]
[Footnote E: (P. 22) "... a Simile of a Bundle of Twigs formed into a
Rod ... Mr. Malloch's original Profession ..." Garrick's epilogue to
Elvira contains the following lines:
A single critick will not frown, look big, Harmless and pliant as a
single twig, But crouded here they change, and 'tis not odd, For twigs
when bundled up, become a rod.
One of Mallet's duties, when he was janitor of the High School of
Edinburgh, had been to assist in the floggings, either by applying the
instrument of punishment himself (see LJ, p. 209) or by lifting the boys
up on his back at the command of tollatur and exposing the proper
portion of their anatomy to the master's birch (John Ramsay, Scotland
and Scotsmen in the Eighteenth Century, Blackwood, Edinburgh and
London, 1888, i. 24 n.)]

[Footnote F: (Pp. 23-24) "... keen Distress of a Belvidera,... Dignity of
an Elizabeth;... wild Madness of a Lear." The authors are listing what
they conceive to be the most impressive tragic roles of Mrs. Cibber,
Mrs. Pritchard, and Garrick, who played respectively Elvira, the Queen,
and the King in Elvira. Belvidera in Otway's Venice Preserved was by
all accounts one of Mrs. Cibber's best parts. It had been assigned to her
in the majority of the Drury Lane performances since 1747, and she had
appeared in it as recently as 16 November 1762. Mrs. Pritchard had
played Queen Elizabeth in all the Drury Lane performances (1755-1760)
of The Earl of Essex by Henry Jones and of the play of the same name
by Henry Brooke (1761-), but had appeared in neither role more
recently than 30 December 1761. A role of Elizabeth which she had
presented more recently (18 December 1762) and had been appearing
regularly in since 1748 was the Queen Elizabeth of Shakespeare's
Richard III as altered by Cibber. It is probably this last named
Elizabeth that the authors of Critical Strictures had in mind. The choice
is unusual, critics generally having considered Lady Macbeth to be her
finest tragic role. Garrick had played Lear on 31 December 1762
(Drury Lane Calendar, as above, pp. 237-238, 268, 313-315, 338).]
* * * * *

PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY
FIRST YEAR (1946-47)
Numbers 1-4 out of print.
5. Samuel Wesley's Epistle to a Friend Concerning Poetry (1700) and
Essay on Heroic Poetry (1693).
6. Representation of the Impiety and Immorality of the Stage (1704)
and Some Thoughts Concerning the Stage (1704).
SECOND YEAR (1947-1948)
7. John Gay's The Present State of Wit (1711); and a section on Wit

from The English Theophrastus (1702).
8. Rapin's De Carmine Pastorali, translated by Creech (1684).
9. T. Hanmer's (?) Some Remarks on the Tragedy of Hamlet (1736).
10. Corbyn Morris' Essay towards Fixing the True Standards of Wit,
etc. (1744).
11. Thomas Purney's Discourse on the Pastoral (1717).
12. Essays on the Stage, selected, with an Introduction by Joseph Wood
Krutch.
THIRD YEAR (1948-1949)
13. Sir John Falstaff (pseud.), The Theatre (1720).
14. Edward Moore's The Gamester (1753).
15. John Oldmixon's Reflections on Dr. Swift's Letter to Harley (1712);
and Arthur Mainwaring's The British Academy (1712).
16. Nevil Payne's Fatal Jealousy(1673).
17. Nicholas Rowe's Some Account of the Life of Mr. William
Shakespeare (1709).
18. "Of Genius," in The Occasional Paper, Vol. III, No. 10 (1719); and
Aaron Hill's Preface to The Creation (1720).
FOURTH YEAR (1949-1950)
19. Susanna Centlivre's The Busie Body (1709).
20. Lewis Theobold's Preface to The Works of Shakespeare (1734).
21. Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela
(1754).

22. Samuel Johnson's The Vanity of Human Wishes (1749) and Two
Rambler papers (1750).
23. John Dryden's His Majesties Declaration Defended (1681).
24. Pierre Nicole's An Essay on True and Apparent Beauty in Which
from Settled Principles is Rendered the Grounds for Choosing and
Rejecting Epigrams, translated by J.V. Cunningham.
FIFTH YEAR (1950-51)
25. Thomas Baker's The Fine Lady's Airs (1709).
26. Charles Macklin's The Man of the World (1792).
27. Frances Reynolds' An Enquiry Concerning the Principles of Taste,
and of the Origin of Our Ideas of Beauty, etc. (1785).
28. John Evelyn's An Apologie for the Royal Party (1659); and A
Panegyric to Charles the Second (1661).
29. Daniel Defoe's A Vindication of the Press (1718).
30. Essays on Taste from John Gilbert Cooper's Letters Concerning
Taste, 3rd edition (1757), & John Armstrong's Miscellanies (1770).
31. Thomas Gray's An Elegy Wrote in a Country Church Yard (1751);
and The Eton College Manuscript.
32. Prefaces to Fiction; Georges de Scudéry's Preface to Ibrahim
(1674), etc.
33. Henry Gally's A Critical Essay on Characteristic-Writings (1725).
34. Thomas Tyers' A Biographical Sketch of Dr.