long time after its production. Every author saw the ridicule which must attend a repetition of those turgid, incongruous, unnatural attempts which had so long usurped the place of tragedy. "Zorayda" was brought out, but was borne with for eight nights only. Its author was a man of considerable genius, had distinguished himself at Cambridge, having gained the Seatonian prize, but his heroine was found to be forestalled in Tilburina, and vain was the effort to restore to the stage any of those rhapsodies which Sheridan had thus banished. It would not be difficult for any one in the habit of reading the plays of the period to show the different passages that are burlesqued. Holcroft had at one time an idea of publishing a key to the "Critic"; such has been done for the "Rehearsal."

Parsons, as Sir Fretful Plagiary, quickly won the kindest interpretation of his peculiar view of the character, though he did not altogether please Sheridan. Miss Pope, as Tilburina, was hailed with great rapture; every one in a moment recognised the heroine they had been accustomed to see whining, raving, and killing herself and her lover, in the last act of every tragedy that had been produced for a quarter of a century. Her entrance in white satin, stark mad, according to custom, was the signal for a loud and long burst of applause; "nobody could ever desire to see anybody madder." She mangled her metre in the most approved fashion of the day. Bannister supported her with great tact as Don Ferolo Whiskerandos. His whimsical situation, his combat with the captain, "Am I a beef-eater now?" furnished. him with admirable opportunities for burlesque acting, of which he availed himself. Short as is the

part, it has always been a favourite with the public. The refusal to "stay dying all night," which was an impromptu expression of weariness the first night of dress rehearsal, was seized upon by Sheridan and immediately introduced. Indeed, several of the points were instantaneously struck off on that occasion. Mr. Waldron, as Sir Christopher Hatton, was more popular in that short and insignificant character than in any that he performed. It was said by Sheridan that he made more points by his toes than by his brains. The "Critic" loses nothing of its value by frequent repetition. Farren has in modern times been received as a skilful delineator of Sir Fretful Plagiary, and has deservedly been admired.

It is a well-authenticated fact that two days before the "Critic" was announced to be played Sheridan had not finished the last scene. Everybody was anxious and nervous; Mr. Linley and Dr. Ford were in no enviable state-they were joint-managers, and responsible. The performers looked at each other with dread and dismay. King, who had the part of Puff to sustain, was the stage manager. It was his especial duty to find out Sheridan, and to weary him with remonstrances on the backward state of things, but matters went on much as usual. Sheridan came to the theatre, made the customary promise that he was just going home to finish it; that, in fact, it was completed, and only wanted an additional line or two. His father-in-law, Linley, knew the only spur to his industry and his genius; he therefore ordered a night rehearsal, invited Sheridan to dine with him, gave him a capital dinner, and proposed a lounge to Drury Lane whilst the supper was preparing. Sheridan assented,

and they sauntered together up and down the stage previous to the rehearsal, when King stepped up to Sheridan, requested a moment's audience, and went with him into the small green-room, where there was a comfortable fire, a good arm-chair, a table furnished with pens, ink, and paper, two bottles of claret, a tempting dish of anchovy sandwiches, and the prompter's unfinished copy of the "Critic." King, immediately Sheridan entered the room, popped out, locked the door, when Ford and Linley made their pleasure known to him, that he was to finish the wine and the farce, but not to be allowed to stir out of the room until they were both at an end. Sheridan laughed heartily at the joke, set to in good earnest, and finished the work, to the great delight of all parties.

This last act contains an inimitable scene, almost unknown to the theatrical world, as it is rarely, if ever, performed. It boasts some of the most genuine hits at the winding-up of dramas and novels that have ever appeared. The family recognition of the Justice, and the wife of the highwayman, is admirable. It is a supposed hit at the tumid language of Home, the author of "Douglas," in the "Fatal Discovery," a tragedy of bombast and nonsense, which, singularly enough, was warmly patronised by Garrick, who had repudiated the popular play of "Douglas" as unfitted for the stage. We have had occasion to observe that there exists no copy of the "School for Scandal," excepting the Dublin edition, nor of the "Duenna," authorised by Sheridan himself; but fortunately we possess something like circumstantial evidence that the "Critic" was given in such a shape to the world as he could approve of; for, in the library of Mr. Henry Bohn, there exists a presentation copy to one

of the Duke of Marlborough's family with the undoubted autograph of the author. From this treasure we are enabled to produce an authentic version. It is a thin octavo volume, with a frontispiece beautifully engraved, having the masks of tragedy and comedy admirably executed, printed for T. Beckett, Adelphi, Strand, 1781. There are no very striking differences in the text from that which has been usually received as genuine; indeed, it is only in the stage directions and in the printing of the dialogue that there is much perceptible variation. Such, however, as is the original version, we have taken care that it should be preserved in the present volume. One or two of the passages, as they appear there, are rendered somewhat striking by the introduction of italics and capitals; thus, the accusation that Sheridan plagiarised from his fellow-labourers, who sent their plays for acceptance at Drury Lane Theatre, is unhesitatingly met and sneered at in the following dialogue, which is thus printed :

"Dangle. Sir Fretful, have you sent your play to the managers yet? or can I be of any service to you?

"Sir Fretful. No, no, I thank you; I believe the piece had sufficient recommendation with it. I thank you, though I sent it to the manager of COVENT GARDEN THEATRE this morning.

"Sneer. I should have thought now that it might have been cast (as the actors call it) better at DRURY LANE.

"Sir Fretful. O lud, no !—never send a play there while I live, harkee! [Whispers Sneerwell.]

"Sneer. Writes himself! I know he does!

Sir Fretful. I say nothing-I take away from no

man's merit-am hurt at no man's good fortune-I say nothing, but this I say-through all my knowledge of life I have observed that there is not a passion so strongly rooted in the human heart as envy.

"Sneer. I believe you have reason for what you say, indeed.

"Sir Fretful. Besides-I can tell you it is not always so safe to leave a play in the hands of those who write themselves.

"Sneer. What! they may steal from them, my dear Plagiary.

"Sir Fretful. Steal! to be sure they may, and egad! serve your best thoughts as gipsies do stolen children, disfigure them to make them pass for their own.

"Sneer. But your present work is a sacrifice to Melpomene, and HE, you know, never

"Sir Fretful. That's no security a dexterous plagiarist may do anything. Why, Sir, for aught I know, he might take out some of the best things in my tragedy and put them into his own comedy."

From the same stores that were opened for the use of Moore, and from which he has collected a vast quantity of amusing information as to the early career of Sheridan in the dramatic and literary world, have been collected proofs that many things were commenced by him which were never thoroughly carried out; several unfinished pieces attest his labours and his talents. He had meditated over many designs, of which slight sketches were drawn, the outlines of characters delineated, and heads of conversation prepared, all of which never arrived at that degree of perfection which would warrant their being given to the public in any other character than as literary curiosities. These, from the eminence of the author, are well