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CRITICAL REMARKS.

ALI PACHA, the hero of this piece, was a very remarkable man. He was introduced to the notice of western Europe by the determined stand he made against the power of the Porte, and also by the great notice taken of him by European travellers, particularly lord Byron. Though any thing rather than a friend to freedom, in any shape, he yet must be considered as the person who principally contributed,-not intentionally, indeed,―to the present struggle of the Greeks for independence.

His character was stained by every crime; but that is not an uncommon account of an oriental despot. The cruelties attributed to him by Mr. Payne in this piece are not at all exaggerated; and in other respects we have the testimony of an English medical gentleman who was sent to attend him, "that, in the gratification of his depraved appetites, Ali Pacha, of all known modern sensualists the most sensual, exceeded whatever the most impure imagination can conceive, whether it may have drawn its sullied stores from scenes of highly-varnished debauchery, or from the obscurely. tinted perspective of the low haunts of infamy and vice.' Blackwood's Magazine, Vol. XIII. p. 529.

His death did not occur exactly as represented here. Instead of blowing himself up, he was murdered by an officer from Constantinople by the sultan's order, in spite of a solemn treaty, on the faith of which he had surrendered himself. It was an action as base and treacherous as those which had constantly stained his own life-yet the Porte triumphed in the exploit, and rewarded the murderer. In Mr. Waddington's most interesting book on Greece, the Turkish official account of the transaction is preserved, and it is such as would

reflect indelible disgrace on a government pretending to any character,-which, however, it is only fair to say, is not pretended to by the Porte.

It was

Mr. Payne availed himself of the temporary notoriety of Åli Pacha, and the popularity of the Greek cause, to produce this neatly executed trifle. tolerably well performed, and affords, from its incidents, scenes, grouping, costume, &c. many situations for brilliant spectacle, which were not lost. The conclusion produced a peculiarly striking effect.

ALI PACHA.--Crimson large gown, with full sleeves; blue long tunic, trimmed with fur, and gold embroidery; scarlet leather belt, embroidered with gold; green velvet cap, and green boots; white trowsers.

SELIM.-White long tunic, with very deep shawl border; white trowsers; very handsome crimson shawl, with deep border, gold fringe and embroidery; white turban, with rich ornaments.

ZENOCLES.-Crimson cap, with gold tassels; crim son fly jacket, with sleeves, richly ornamented with gold; white muslin tunic, with gold trimming and fringe; crimson leggings; yellow buskins.

HASSAN.-Black velvet fly, blue stripe vest and trowsers trimmed with gold; white turban, crimson shawl.

ISMAIL.-Brown long robe; yellow vest, and white trowsers and turban, embroidered with gold.

TALATHON.-Brown velvet long robe, trimmed with fox fur; rich flowered vest, embroidered all over; white trowsers, and turban.

MOUCTAR.-Black legs and arms, short white trowsers, leopard-skin fly, white vest, crimson sash, brass round the arms and legs, and brass fillet with the turban.

CITIZEN OF YANINA.-Brown long gown, and striped long vest, plain.

CITIZENS.-The same sort of dress.
SOLDIERS.-Turkish fly, and trowsers.

HELENA.-Rich green satin long robe, embroidered all over, silk turban, yellow muslin under-dress.

Cast of the Characters at the Theatre-Royal, CorENT.

Ali Pacha....

GARDEN.

Mr. W. Farren.
Mr. Abbott.

Selim

Zenocles, (a Suliot Chief).... Mr. T. P. Cooke.

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Mr. Farley.

Mr. Mears.

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Citizens, Soldiers, &c. &c.

The Conductors of this Work print no Plays but those which they have seen acted. The Stage Directions are given from their own personal observations, during the most recent performances.

The instant a Character appears upon the Stage, the point of Entrance, as well as every subsequent change of Position, till its Exit, is noted, with a fidelity which may, in all cases, be relied on; the object being, to establish this Work as a Standard Guide to the Stage business, as now conducted on the London boards.

EXITS and ENTRANCES.

R. means Right; L. Left; R. D. Right Door; L. D. Left Door; S. E. Second Entrance; U. E. Upper Entrance; M. D. Middle Door RELATIVE POSITIONS.

R. means Right; L. Left; C. Centre; R. C. Right of Centre; L.C. Left of Centre. The following view of the Stage with Five Peformers in front, will, it is presumed, fully demonstrate the Relative Positions.

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