The Repertory
THE PATENT THEATRES
attractions, managers throughout this period offered about
؛
.... ;ariety of dramatic types as had been offered earlier in the century;
أ
comedy, tragicomedy, liistory, as well as opera and masque. For
^ ;
٢crpiece, sliort comedy, farce, burletta, ballad opera and pantomime
Policy. The stated policies of the various patentees differed ill no
لء:
ئ
Garrick was fond of remin
tlie public in hi
prologues
b :: factors determined liis offerings. Dr Jolinson sounded for Ilim tlie first
tie cry in fovor of wliat they botli felt was legitimate drama, at tjie
c٠i;٠g of the tlieatre in 1747, inviting tlie public to share responsibility for
ice of repertory, if not actually to dictate it:
’Tis )ours this ttigbt to bid tbe retort comm
Of rescu ،1 lure, and revivin[ Scute
ن
To ebase tbe ebarms of sound, tbe pomp of
'For useful Blirtb, and salutary woe . . .
he opening of the 1750 season Garrick stated:
Sacred to
Shakespeare
was tbis spot design'd
To pierce tbe beart and humanize tbe mind
which he often rang clianges later, that if Harslets
proviso
ن؛ح؛اق
5٠
to work to
liave to set carpenters n.t poet
force lie w
،:؛
prov
the gaudy sliows for pantomime. This threat, tliough often repeated
:
Was
as far as the mainpiece went, nor was
the
ei
in force a
there
it might have to be.
ج
Athelstan , six years later, he analyzed tlie variable
؛:
taste ; h
tmgedyln hisaudience
)
٠
Tbe Greek-read critic, as bis mistress bolds ber
And bavin^ little love, for trifles scolds ber.
?c'ladi.
like the
؛د ؛
vary considerably in tlieir desires: Miss Bell, "melts
for d j
snow at Juliet's love,” wliile liorsey lady Mary “is all
ggers, blood, blood, blood, lago.” A tilird, "whose lieart defies all
ciix