, ▁found ▁a ▁place ▁among ▁a ▁host ▁of ▁similar ▁popular ist ▁plays ▁that ▁included ▁August ▁Friedrich ▁Ferdinand ▁von ▁Kot z eb ue ' s ▁" E do ardo ▁Stuart ▁in ▁S co zia " ▁and ▁the ▁sc ream ing ▁tab lo ids ▁" Il ▁principe ▁Eugen io ▁all ' ass ed io ▁di ▁Tam is var " ▁and ▁" Il ▁tr ion fo ▁di ▁Napole one ▁il ▁Grande " ▁aim ed ▁directly ▁at ▁a ▁cred ul ous ▁public . ▁They ▁shared ▁the ▁foot light s ▁with ▁an ▁even ▁more ▁imag in ative ▁" Mat ilde ▁o ss ia ▁I ▁Car bon ari " ▁in ▁ 1 8 0 9 ▁▁ ▁– ▁which ▁presented ▁the ▁unh appy ▁queen ▁with ▁a ▁fict it ious ▁daughter ▁( who ▁too ▁would ▁figure , ▁rather ▁later , ▁in ▁Ross ini ' s ▁" El is ab etta ▁reg ina ▁d ' In gh il terra " ▁but ▁sh orn ▁of ▁any ▁dis loy al ▁aspects ) ▁– ▁as ▁well ▁as ▁a ▁cut - price ▁" I ▁carbon ari ▁di ▁Dom bar " ▁( i . e . ▁Dun bar ) ▁of ▁similar ▁construction . ▁ ▁All ▁these ▁e ph em eral ▁plays ▁had ▁something ▁in ▁common , ▁and ▁were ▁fav oured ▁by ▁a ▁diss ident ▁public . ▁Need less ▁to ▁say , ▁it ▁was ▁not ▁long ▁before ▁this ▁" Jac ob in " ▁Queen ▁of ▁Scotland ▁was ▁given ▁a ▁musical ▁setting : ▁Pietro ▁Cas ella ' s ▁" M aria ▁Stu arda " ▁( F lor ence ,