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The Project Gutenberg EBook of The Mirror of Taste, and Dramatic Censor, by Samuel James Arnold This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Mirror of Taste, and Dramatic Censor Vol I, No. 2, February 1810 Author: Samuel James Arnold Editor: Stephen Cullen Carpenter Release Date: September 15, 2008 [EBook #26628] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK MIRROR OF TASTE, DRAMATIC CENSOR *** Produced by Barbara Tozier, Nigel Blower, Bill Tozier and the Online Distributed Proofreading Team at http://www.pgdp.net [Transcriber's Note: Typographical errors are listed at the end of the text. The printed book contained the six Numbers of Volume I with their appended plays. The Index originally appeared at the beginning of the volume; it has been included at the end of the journal text of Number 1 (Project Gutenberg EBook #22488), before the play. Pages 109-188 refer to the present Number.] THE MIRROR OF TASTE, AND DRAMATIC CENSOR. Vol. I. FEBRUARY 1810. No. 2. HISTORY OF THE STAGE. CHAPTER II. RISE AND PROGRESS OF THE DRAMA IN GREECE--ORIGIN OF TRAGEDY--THESPIS--AESCHYLUS, "THE FATHER OF THE TRAGIC ART"--HIS ASTONISHING TALENTS--HIS DEATH. It has been already remarked that at a very early period, considerably more than three thousand years ago, the Chinese and other nations in the east understood the rudiments of the dramatic art. In their crude, anomalous representations they introduced conjurers, slight of hand men and rope dancers, with dogs, birds, monkies, snakes and even mice which were trained to dance, and in their dancing to perform evolutions descriptive of mathematical and astronomical figures. To this day the vestiges of those heterogeneous amusements are discernible all over Indostan: but that which will be regarded by many with surprise, is that in all countries pagan or christian the drama in its origin, with the dancings and spectacles attending it have been intermixed with divine worship. The Bramins danced before their god Vishnou, and still hold it as an article of faith that Vishnou had himself, "in the olden time" danced on the head of a
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