At the close of the Theatre, the 24th of October, 1807.

An ancient Proverb says, and says with reason, "'Tis wise, to play the Fool in proper season." Then sure this doleful season is most fit,

For lively Folly, cheerful child of Wit,

When every forehead wears a boding frown,

When War and Party-wrangling weighs us down,
When Nations, trembling at a Tyrant's nod,
Change, as he bids, their Laws, their King, their God.
These festive efforts shall such cares controul,
Suppress the sigh, and lift the languid soul,
Though crimes and mis'ries hold their public course,
We shift our scenes, unaw'd, by fears, or force,
And fill the fleeting hours without remorse.

And while the world's depress'd in sad dismay,
We play the Fool, but liberal, bold, and gay.
Thus do these Games our sportive Shield become,
And seasonable Folly cheers the gloom.

But well to play the Fool, requires some wit,
Not every one the motley garb will fit.

Some Fools want spirit-nay, some Fools want sense,

Yet think by gravity to make pretence.

Such solemn coxcombs sneer, and would decry
These playful scenes of polish'd pleasantry,
Tho' their dull intellects could ne'er aspire

To catch one genial ray of Classic fire.

Tho' they scarce read, and never wrote a rhyme,
They cry, "How can you thus abuse your time?
"Affairs are grown too serious now-a-days,
"You'd better think of politics than plays.
"Read, read the News-papers, and then beware
"Of fresh disasters from this horrid War.
"Who knows, how soon we may invaded be,
"Or what new changes in the Ministry ?"

We read and revel, yet with Swords as bright,
As theirs, that pore o'er Pamphlets all the night.
But gay Thalia shuns the clam'rous rout,
Of who's to save the State, who's in, or out:
Nor heedeth she, "who won the bloody day;"
Her more important question's,-what's the play?
Another set of Fools succeeds, for sneerers
And wits, a precious group, Electioneerers;
The worthy Esquire sells the old estate,
Possess'd with proud ambition to be great;
And what's his view of greatness? to be sent
An Independent man to Parliament;
And, truly Independent, forth he goes,
Of all the comforts his old home bestows:
See him in London, to a Chop-house sneak,
To famish on a solitary Steak.

}

Yet on each meagre meal more substance wasting, Than here would furnish hospitable feasting. Or see him round St. James's purlieus straying, With wond'ring eyes that wealthy world surveying, And half his income for a garret paying. Or at St. Stephen's, on a top bench waiting In fretful doze, while Statesmen are debating; Unknown, unnoticed, save by some pert Peer, Who thus accosts his neighbour with a sneer; "Who's that, my Lord? his Face I don't remember." "How should you? 'tis a Scotch, or Irish, member; "They come, and go, in Droves, but we don't know 'em. "They should have Keepers, like wild beasts, to shew 'em. "But wait a moment, 'till he gives his Vote, "And then you'll know his Nation by his Note." Thus Folly flies, but with a heavy wing: We love at lighter Fools our shafts to fling; We pant once more for folly-fostering Peace, Parent of mirth, and gay absurdities; Of all our ancient votaries we're bereft, And scarce a swadler's for a sarcasm left.

Now every wit with *public feeling glows, And on the common-weal his verse bestows; A Statesman's virtues, or a Nation's wrongs, Are the sole subject of his grateful songs, And every Muse is put in requisition,

To praise, or blame, some secret expedition;

Alluding to the great number of Party-Pamphlets published about this

time.

Party and Politics, alone, engage

The taste, and all the talents of the age,
And patriot Poets weave each chaplet now

To grace some Statesman's, or some Hero's, brow.
Then where's our Lyric Crown? whose humbler care,
The thriftless labours of the Drama share?
Why, these Rewards await us, your applause,
The various good our pleasing pastime draws,
And these consoling scenes, by Mercy sent,
To mitigate the ills they can't prevent.
The Poor, and Hungry, too, our tribute share,
And every play-bill proves a bill of fare.

Each Nation has its Eras, fix'd, and stated,
From whence all enterprise, and deeds, are dated.
The Greeks had their Olympic Games, and we,
THE PLAYS of equal notoriety.

Our hopes, our horrors-business, or pleasureOur actions, great or small, from these we measure; "When do you go to town?" his Lordship says,"I never go to town, before the plays."

Nimrod, to know when Sport commences, prays,-
"We don't begin our Hunting--till the plays.
Each anxious stranger thro' our city strays,
To seize on pleasant Lodgings-for the plays.
Miss, to her country friend, her pride betrays,
"Lord, how unhappy! sha'n't you see the plays?"
The Prudent Fair her purpos'd Purchase stays,
To find the newest fashions, at the plays;
Each beauty, in her glass, her charm surveys,
Intent on precious mischief, at the plays ;
Coy Nymphs postpone their Lovers claims to raise,
In hopes of something better, at the plays.
Grave Politicians calculate delays,

"The Question can't come on, before the plays."
"Will the French venture yet to cross the seas ?"
"I do not think they will, before the plays."
When this shut dome the famish'd wretch surveys,
He cries, "Well! times will better, at the plays."
'Tis my allotted office, to conclude

Our gay career in strains of Gratitude,
But 'tis, alas! my irksome duty too,
Always to utter that sad word, adieu.

With mix'd sensations of Delight and Pain,

This party-color'd province I sustain:

With warm emotions, grateful thanks I pay,

Charm'd, that we pleas'd; but griev'd, so short our sway.
Now, but one kind Farewell the Muse obtrudes,
Then, like our Lives, our Epilogue concludes,
Both end in Sighs, that all our joys are o'er,
Both end in Hopes, to meet again once more.

On no former occasion have our Theatrical Entertainments commenced with a greater promise of success than the present. To the Talents hitherto displayed on our Boards we have now to boast of some valuable acquisitions. In all the minor requisites of Scenery and Wardrobe our Theatre is greatly improved. We have our Orchestra led by Mr. THOMAS COOKE, whose musical abilities, either as a Composer or a Performer, have raised him to the situation of Leader in the Theatre of our Capital. In short, we know not in what particular our little Establishment is not complete. Let the saturnine sectary disclaim as he may against those elegant and useful enjoyments, and ignorantly predict their approaching termination: we congra

tulate our City on their present prosperity, and the promise of their future continuance. MONDAY gave us FARQUHAR'S Comedy of THE INCONSTANT, with the PANTOMIME of DON JUAN; and WEDNESDAY the Comedy of CYMBELINE, with the After-piece of the DESERTER. We cannot help noticing the debut of a new Performer in the part of Belarius, in the latter Play. His just conception of the part, and fine-toned voice, particularly the eager enthusiasm with which he gave out "Have with with you, Boys," combine to raise in us a strong expectation of future fame in that quarter. Arviragus sung a touching strain, “ With fairest Flowers while Summer lasts," in so sweet and feeling a manner, that we own ourselves to have been delighted with it.-[Kilkenny Paper, Saturday, October 10th, 1807.]

When now, in their seventh Season, the Performances of the Private Theatre of Kilkenny not only still retain the admiring Friends of former years, but still attract the Stranger's notice, we cannot surely fear the imputation of being too sanguine, when we say, that the successful career which they have had, for so long a period, can only be attributed to the attractions they have possessed. Some for a while might flock to the Theatre, to cheer a Friend, more than applaud an Actor-Charity for a while might induce others to become spectators, and, as she "covers a multitude of sins," might have forgiven a multitude of faults; but seven returning periods of dull exhibition would have out lasted any mortal friendship, or any christian charity. The continuance of those Plays, therefore, is a proof of their merits. Gil Blas tells us, that the Players who belonged to the Prince's Theatre at Madrid, were called, par excellence, a company of Comedians ;" and some appellation should be given, in the same way, to the Gentlemen of the Kilkenny Theatre, to distinguish their rank, among the Dilletante Performers of our time. The third night of performance was on FRIDAY last, when we had KING JOHN, with HIGH LIFE BELOW STAIRS. There is a good deal of spectacle in this Play; and all that could be done by the splendor of Attire, or the number of Attendants, was done for it with us; but, what was much better, it was well cast and well acted. There were two scenes, the one in which the King urges Hubert to the murder of the Prince, and the other in which he reproaches him, for his supposed obedience to the royal Mandate, that were most successfully given, Prince Arthur had a very interesting representative. So sweet a Prince was never personated by so sweet a Boy. Every gracious epithet bestowed on him by the Poet, was applicable to this Child; nor did his graceful and pathethic appeal for mercy lose any thing of its interest with the Audience, by the affecting influence it had upon the relenting Hubert, whose voice and manner, true to nature, greatly contributed to the pathos of the scene. Who enacted Faulconbridge-who could act it so well, as he who represented it this night ?-a Gentleman who, among all the various Characters that he fills, is never deficient in that self-possession which is so essentially necessary to theatrical success. Our Lady Constance is entitled to high praise. It was a performance that surpassed our expectation. The Play, on the whole, aíthough considered a heavy one, went off with very great effect.[Kilkenny Paper, Wednesday, October 14th, 1807.]

The BEAUX STRATAGEM was performed on MONDAY. Archer is a Gentleman in disguise. To justify Mrs. Sullen's passion for him, and to keep his station with the Audience, who are in the secret of his rank, every flight that he takes

should therefore "soar beyond the pitch of a livery." To retain the ease of a Gentleman was no difficult task to him who represented the Character on our Stage. Foigard amused us much, and was much applauded; without descending to vulgar and Farcical Exhibition, it was a representation that brought forward every point of the Character with characteristic humour. Our Scrub was excellent, and sulky Sullen could not have been in better hands. Every pruriency of expression which the Author gives to the Female Characters of this Comedy was wisely curtailed, if Ladies can account as wise, any curtailment of their speech. Among other advantages peculiar to such an Establishment as ours, the ear or the eye of delicacy is certain of never being wounded by any indecorum.

DON JUAN succeeded to the Comedy. The Hero of this interesting After-piece never appears but to make love, orto fight. Gallantry and valor are his only qualities. The performance of the Spanish Reveller was graceful and manly. The Supper Scene was particularly interesting; but when he is assailed by Demons at the conclusion of his riotous career, and thrown upon the ground, the length of his reclining person called to our mind the Poet's description of the fallen Satan-He, like him,

"Extended on the burning lake,

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Lay floating many a rood."

[Kilkenny Paper, Saturday, 17th October, 1807.] The BEGGAR'S OPERA, on FRIDAY, introduced to our Audience a Gentleman long distinguished for his musical talents and comic powers, in the character of Macheath; the Songs were all given with very good effect, particularly "The Judges are met," and "The Medley," and his manner of acting it, especially in the parting admonition to the Gang, exhibited a just sense of the effect to be produced by the Mock-Heroic. Filch was excellent, and Peachum a performance of the richest humor.

The RIVALS, always a favorite with the Kilkenny Audience, was performed on SATURDAY. It was cast, with the exception of Acres and Fag, in the same way it stood last year. The Characters of this Play are so happily adapted to the powers of the Company, that every repetition of it only adds to its effects.

The SCHOOL FOR SCANDAL was performed on MONDAY. The performance of Sir Peter Teazle was just, pointed, and critical, and Crabtree was raised by the Performer to a very prominent situation in this witty and delightful Comedy. In THE AGREEABLE SURPRISE, Lingo kept the Audience in continued laughter.-[Kilkenny Paper, Wednesday, October 21st, 1807.]

ROMEO and JULIET was performed on WEDNESDAY for the first time on our Stage, and was sustained throughout in a manner very creditable to the Company. It is well, where the talents necessary for representing the hapless Lover, are assisted by a prepossessing appearance, to justify to the Audience the sudden passion of his Mistress. Mercutio bantered him with ease and dexterity; and all the best parts of the Play, particularly the Garden and the Tomb-Scenes, were particularly effective.-[Kilkenny Paper, Saturday October 24th, 1807.]

The Tragedy of LEAR, with the After-piece of VALENTINE AND ORSON, concluded the Performances of the Season on SATURDAY last. Lear is a character that requires

a combination of many powers in the Actor. Its transitions are sudden. Grief succeeds to rage, and the strength of madness to the imbecility of years, so that a young man is in danger of being too forcible, in the representation of his feebleness, and an old man too weak, for the assumption of his violence; it is not, therefore, often undertaken on the public Stage. On ours it was represented with entire success; and all the well-known passages of “ Aye, every inch a King,”—“Cordelia is a Queen, '—" Old Lear shall be a King again," were given with all the force and the feeling they require. We had an excellent representative of Edgar. His scenes with the poor old King were so perfect, that the general effect of the Tragedy was considerably indebted to that character.

At the close of the Play Mr. LANGRISHE delivered an occasional Epilogue; we hear it was his own composition, and we believe so, for it was obviously written in the spirit of national humour, and inspired in the delivery a good deal of national feeling. Besides the COUNTESSES OF ORMONDE and CARRICK, the Families of WOODSTOCK, KILFANE, KNOCKTOPHER, FARMLEY, and the other resident Families of Rank and Fashion in our own County, we noticed among the Strangers in our Audience, who have honored us this season with their presence, the MARQUIS of ELY, the EARL of HARRINGTON, the EARL and COUNTESS of MEATH, the EARL and COUNTESS of CHARLEMONT, the EARL of MAYO, the COUNTESS of GLANDORE, the LORD LISMORE, the Hon. MONTAGUE MATTHEW, ST. GEORGE CAULFIELD, Esq. and his LADY, the LADIES JOHNSON and BURGOYNE, and their Families, with a general Assemblage of Fashionable People, whose names would exceed the limits of the space we could afford them.— [Kilkenny Paper, Wednesday, 28th October, 1807.]

PROLOGUE,

Written by Mr. J. Atkinson, and spoken by Mr. R. Power,
At the opening of the Theatre, the 10th of October, 1808.

With some ambition for dramatic ame,
Once more we come, your kind support to claim,
Happy, if this our recreation tends

To social objects, and to moral ends.
And as we thus the cares of life beguile,

Approv'd by you, and cheer'd by Friendship's smile,
With such an Audience, and in such a cause,
We dread no censure, tho' we miss applause.
Permit our Fancy then to dramatize,
And paint the living characters that rise;
To prove Theatricals are all the fashion,
We'll give Examples of our Ruling Passion.

"The times are out of joint-and fraught with cares,
"And all the Men, and Women, merely Players."
See one great actor, with ambitious rage,
To snatch renown, makes all the world HIS stage;
And, like us, Monarchs of the stage, you'll own,
Commands that World to bow before his Throne.
With SHAKSPEARE'S fancy, blending False, and True;
"Exhausting Plots, and then inventing new."
Like GARRICK, Master of the Thespian art,
He sports the Tragic, or the Comic, part.
Rul'd by no laws, he shifts his boundless scenes,

Casting new walks for Princes, Kings, and Queens.
Italian Operas, and Germanic plays,

Conspire, his Fortunes, and his Pride, to raise.
Europe has wept beneath his Tragic powers,
And every State confess'd his sway-but oURs.

His Melo-Drames, which first appear'd in France,
Spread North and South, thro' regions of Romance,
A grand spectacle of embattled hosts,

Of Castle-spectres, and of bleeding ghosts!
Macbeth, and Richard, he too well combines;
None his superior, in the Tyrant, shines!
And Mourning Venice all in Tears can tell,
That none performs her Bravo half so well:
While Rome, once more by Gothic fury sack'd,
Forebodes the bloody deeds he pants to act.
In Comic characters, he's quite the dash,
Now Filch-now Bobadil-now Captain Flash!
Nay more, to raise his reputation higher,
There's not a better Puff,-or greater Liar.

He more, in Pantomime, commands surprise,
From Camps, to Courts, like Harlequin, he flies.
From Egypt's desert, to the Baltic shore,
You trace his wonders, and his tricks explore.
O'er seas, and mountains, this Magician springs,
Transforms his Minions into Queens, and Kings.
He waves his sword, contrives some new design,
Enthrones himself, and crowns his Columbine.
And then, like Blue Beard, in fantastic state,
He claims the homage due a Chief so great!

But may the Fates, which have his powers employ'd, Soon give the World the Libertine Destroy'd!

His brother actor to Iberia came,

To shine at Court, and take a Monarch's name :

Deserting Naples, on new Plays to fix,

And gain, by Honors, what he lost by Tricks.

Madrid, enrag'd to see Usurpers come,

To play the Robbers, and proclaim Tom Thumb,
Call'd forth the Nation's Patriotic Rage,
To hiss this Mummer from the public stage.
Thus forc'd to end this Tragi-Comic Play,
He just rehears'd his part-and ran away.
But to console himself for lost renown,
"This cut-purse of the Empire stole the Crown."
Altho' in Mimic Life we thus engage,
"To fret, like him, our hour upon the stage,"
Tho' you behold us here in battle slain,
Unlike his heroes, we shall rise again.

And soon from Tragic Death restor❜d to Life,
Tir'd of heroic pomp, and regal strife,

We'll fly to mingle with the Comic throng,

Blending, with native mirth, the Dance and Song.---
But when the Curtain Drops, and Fiction's o'er
And we return to Social Scenes once more,
This constant object we shall still pursue,
The wish to please-and be approv'd by you.