The Mirror of Taste, and Dramatic Censor Vol I, No. 2, February 1810   By: Samuel James Arnold (1774-1852)

The Mirror of Taste, and Dramatic Censor Vol I, No. 2, February 1810 is a captivating and insightful publication that provides a comprehensive look at the cultural and theatrical landscape of early 19th century England. Samuel James Arnold does an excellent job analyzing and critiquing the plays and performances of the time, offering valuable insights and commentary on the various aspects of the theater.

The writing style is engaging and easy to follow, making it a pleasurable read for both theater enthusiasts and those interested in historical literature. The publication offers a unique glimpse into the social and cultural norms of the era, providing readers with a better understanding of the time period.

Overall, The Mirror of Taste is an invaluable resource for anyone looking to explore the world of 19th century theater and gain a deeper appreciation for the cultural influences of the time. Highly recommended for history buffs and literature lovers alike.

First Page:

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 huge serpent whose tail encompassed the world. That very dance which we call a minuet, has been proved by an ingenious Frenchman, to be the same dance originally performed by the priests in the temple of Apollo, and constructed by them, to be symbolical of the zodiac; every figure described by the heavenly bodies having a correspondent movement in the minuet: the diagonal line and the two parallels representing the zodiac generally, the twelve steps of which it is composed, representing the twelve signs, and the twelve months of the year, and the bow at the beginning and the end of it a profound obedience to the sun... Continue reading book >>