ROSINA, in all the copies of it which I have now be fore me, in 8vo. 1790, called the 13th. edition, in 12mo. 1805, Printed for Cawthorne's Minor British Theatre, and Mrs. Inchbald's edition, 1809, is called A Comic Opera; but in Oulton's continuation of Victor's History of the Theatres of London, (Vol. I. p. 120.) it is called ' A Musical Pastoral, Pastoral being used to denote a Rural piece, a name much more appropriate than Comic Opera. In Egerton it is called A Musical Entertain ment. It is founded, as the Author observes in the Advertisement, on the book of Ruth, on the story of Palemon and Lavinia, from Autumn, in Thomson's Seasons, and from 66 a pleasing Opera of Mons. Favart." This Opera is Les Moissonneurs, published at Paris in 1768; a translation, or rather an imitation, of which was published in London, in the year 1770, under the title of The Reapers: or The Englishman out of Paris.* In the advertisement To The Reader prefixed, the translator informs us, that when it was published at Paris, the following approbation was annexed to it. "By order of the Vice-Chancellor, I have read Les "Moissonneurs. Had no other entertainments been 66 ever represented on our Theatres but such as this, the 46 opinion of the dangerous tendency of frequenting them, "had never been asserted; but Moralists, even the "most severe, would have employed the same zeal in "exhorting us to repair thither, which they now shew "to prevent our appearing there." This Opera is certainly a very pleasing and excellent piece, abounding in good sentiment and instruction, It is not apparent for what reason the author has given his piece' this second title. In the translation the scene is laid in England, and the principal character, Allworthy, is represented as being deserving of his name. It is therefore plainly intended as a compliment to The Englishman. Possibly it might be on account of Foote's Englishman in Paris, produced in 1753, which certainly is not a favourable representation of our countrymen. Favart bad written a piece called The Englishman in Bourdeaux, of which a translation was published in 1763. But this I have not seen, very interesting, and with little that is objectionable in it. The principal alteration made by Mrs. Brooke, is, in introducing the characters of William and Phoebe, by way of giving more humour to the piece. In my own estimation she has not improved it by this measure; an opinion in which I am supported by a person of great taste and with a true relish for humour, as well as a due sense of the value of sentiment and the pathetic, whose name I do not conceive myself to be at liberty to mention. Had Mrs. B. merely made a free translation of Favart's Opera, and polished the poetry of the songs, preserving it as a first piece, I think she would have rendered a more essential service. We are, however, greatly indebted to her for what she has done. Rosina is one of the most pleasing after-pieces on the stage; it is a subject suited for Opera, and the songs are the most beautiful of any with which I am acquainted. In Ruth, Naomi, the character corresponding to Dorcas, is her step-mother; in Palemon and Lavinia, the person with whom Lavinia lives is her own mother; in The Reapers she is, again, the step-mother; but, in Rosina, she is an old servant of the family. The reason for this change I do not see. Fidelity and attachment in an old servant is truly amiable; but the lesson of a person born in higher life, when reduced by poverty, conforming to her situation, and bearing it with a cheerful resignation, and helping to support herself by her own industry, is an equally interesting and amiable sight. The character of Belville is a pattern for Country Gentlemen; he has much of the primeval simplicity of Boaz, in Ruth. It was my own happiness, at one period of my life, to live in a parish with a gentleman at the head of it but who has now been dead these eight years, and is gone, I trust, to the reward of his paternal care for all his dependents-to whom, while alive, I have frequently applied the following lines from Thomson: "The pride of Swains "PALEMON was, the generous, and the rich "Transmits from ancient uncorrupted times: "When tyrant custom had not shackled man, Autumn, 1. 221. Such of my readers as are acquainted with my former works, and my own history, will know that I allude to my residence at Hinxton, and to the late Edward GREEN, Esq. The alterations made by myself in this piece are not numerous, nor of any magnitude. It is printed from the copy printed for J. Cawthorn. Clare Hall, March 7, 1812. THE AUTHOR'S ADVERTISEMENT. THE favourable reception this little piece has met with from the public, demands my warmest acknowledgments: nor can I say too much of the support it has received, both from the music,* admirably adapted to the words, and the spirited and judicious performance of the several characters, which surpassed my most sanguine wishes. The decorations, designed and executed in that style of elegant and characteristic simplicity which the subject required, add greatly to the effect of the whole. The fable of this piece, taken from the book of Ruth; a fable equally simple, moral, and interesting; has already furnished a subject for the beautiful Episode of Palemon and Lavinia in Thomson's Seasons, and a pleasing Opera of Mons. Favart :t of both I have availed myself as far as the difference of my plan would allow; but as we are not, however extraordinary it may appear, so easily satisfied with mere sentiment as our more sprightly neighbours the French, I found it necessary to diversify the story, by adding the comic characters of William and Phoebe, which I hoped might at once relieve and heighten the sentimental cast of the other personages of the drama. Some of the songs, and a few short passages of the dialogue, (printed with inverted commas), though judiciously omitted in the representation from the apprehension of making the Opera too long, are here restored, as tending to mark the characters with more precision. By Mr. Shield. E. + See The Editor's Preface, p. 270. |