[30] Its only appearance on the stage recorded by Genest was in Capell's adaptation, acted six times by Garrick in 1759.
[31] Brutus (1734), Zara (1736), Alzira (1736), Mahomet (1744), Merope (1749), Orphan of China (1759), Orestes (1769), Almida (1771) (from Tancrède), Semiramis (1776). See, also, Hoole's Cyrus (1768), Cradock's Zobeide (1771), Murphy's Alzuma (1773), and Brooke's Imposter (1778), not acted.
[32] Professor Lounsbury seems mistaken in finding a "sudden cessation of interest in Voltaire" after 1750. Shakespere and Voltaire, pp. 304, 305. He neglects the later popularity of The Orphan of China and the continued popularity of plays earlier translated.
[33] Le théâtre anglais (1746-49) of Pierre de La Place contained in its 8 vols. synopses and partial translations of the following plays: Othello, 3 Henry VI, Richard III, Hamlet, Macbeth, Cymbeline, Julius Cæsar, Antony and Cleopatra, Timon of Athens, Merry Wives of Windsor, The Maid's Tragedy, Catiline, The Fair Penitent, Venice Preserved, Aureng Zebe, The Mourning Bride, Tamerlane, Siege of Damascus (by Hughes, 1720), Busiris, Love for Love, The Innocent Adultery, Cato, The Funeral (Steele, 1702). This list, in which it will be noticed tragedy greatly predominates, represents fairly the English taste of the time.
[34] Dr. Rundle, Letters, quoted by Morel, James Thomson, p. 82.
[35] Gil Blas, Book 4, "Le Mariage de vengeance."
[36] For various references to Thomson in Voltaire's Letters, see Morel, op. cit. pp. 192-194; and a letter on the French translation of Tancred and Sigismunda, p. 153.
[37] The following list includes all eighteenth century tragedies, not mentioned in the text, that achieved any considerable popularity. These all became stock plays, and most were acted in the nineteenth century. Hughes, Siege of Damascus(1720); Fenton, Mariamne(1723); Jones, Earl of Essex (1753), which superseded Banks's play as a stage favorite; Brown, Barbarossa (1754); Francklin, Earl of Warwick (1766); Hartson, Countess of Salisbury (1767); Murphy, Zenobia (1768), and The Grecian Daughter (1772), which gave a famous part, Euphrasia, to Mrs. Siddons and later to Miss Fannie Kemble.
[38] The eighteenth century was not blind to the absurdities of its tragedies, but made fun of them without stint. The number of burlesque tragedies is large and includes: Gay's What d'ye Call It (1715); Carey's Chrononhotonthologos (1734); Fielding's Tom Thumb (1730); Foote's Tragedy a la Mode (1764); and Sheridan's Critic (1779).
[39] Dedication to The London Merchant.