what were these to "a scuffle nicely managed," the "English falling back," and "two or three Englishmen rolling down the hill, a meeting-house on fire, with flames and smoke issuing from it, the smoke and confusion producing an effect scarce credible," as described in the author's letter given above?

Wignell, finding that fire and smoke pleased the public, determined to give them a volcano. Morton's Columbus was got up with all the taste, splendour, and skill of such a manager, such a company, and such a scene-painter as Holland, combined. Wignell spoke the prologue, Cooper played Columbus, Mrs. Merry Cora, Mr. Moreton Alonzo. And, notwithstanding that the John Street hill was turned into a volcano, and Columbus advertised for the same night, September 11th, 1797, the combined corps of Boston and Charleston were obliged to retreat soon after, and not with flying colours.

Wignell closed his temporary establishment with loss, but credit; and drew off his forces to their winter-quarters.

CHAPTER XVI.

Critics - Critiques - Plays, Players, and Playwrights - Remarks of John Wells, Esq. on altering the titles of English Plays and passing them for American- A Hint to English Dramatists on the same Subject.

In the year 1796, that memorable year in the theatrical history of the New World which gave to New-York a band of distinguished actors, at the head of whom stood Mr. and Mrs. Johnson and Mr. Jefferson; and to Philadelphia, Mrs. Merry, and Messrs. Cooper and Warren; a company of critics was organized, who may not unaptly be characterized as sharp-shooters.

These gentlemen were regular frequenters of the New-York theatre, enjoyed its productions as men of education and lovers of literature, and wished to correct the abuses existing in the costume, demeanour, and general conduct, of the actors on the stage.

Messrs. John Wells, Elias Hicks, Samuel Jones, William Cutting, Peter Irving, and Charles Adams, formed themselves into a species of dramatic censorship, and by turns put down their remarks on the play of the evening, meeting next evening to criticise the critique, and give it passport to the press. The last named of these gentlemen was

only distinguished as being the son and brother of presidents of the United States; others are known as distinguished by their own talents and attainments. They signed with the initials of their names, the last letter being the actual writer. Finding that these initials led to the detection of the offenders against the liberty of murdering plays at will, they inserted other letters to mislead, but still continued the last as the initial of the writer. The letter D is frequently inserted, although no person whose name begins with that letter belonged to or wrote for the club; the rogues intended to throw some of the credit on the writer of this work. We will review these effusions of the box critics of that day—for the pit had even then ceased to be the centre from which public opinion was to be enlightened on subjects of theatrical taste.

Farquhar's Inconstant, injudiciously revived by Hodgkinson, they condemn; and do not approve Cumberland's Wheel of Fortune, a play which, with Cooper's Penruddock, and other alterations of the cast, became a favourite. They speak respectfully of Mr. Hodgkinson's Penruddock, and of Mrs. Johnson's Emily Tempest-of Mr. Jefferson's Daw they say it had "confirmed the favourable impression he had made." Of Prigmore, who played Tempest, they say, "We have desisted from remarking on our old acquaintance, Prigmore, in the hope he might (at least by accident) afford us something to applaud. But that same

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uniformity of acting, which has ever characterized him, still continues, and we can find in him no other difference than may be found in a 'cocked up hat' and a 'hat cocked up."" They speak of attempts behind the scenes to get up applause, by beginning to knock or clap "whenever the manager has delivered any thing extremely witty or sentimental. Whether it is by direction of him whose sole ambition is the lust of praise,' or proceeds from the officiousness of some candidate for managerial favour, we shall not pretend to determine."

6

Mr. King and Mr. Cleveland, in Woodville and Harry, they censure altogether.

The farce of The Flitch of Bacon they condemn in toto. Of The Agreeable Surprise they speak in terms of high praise, and especially Hodgkinson's Lingo-but they justly censure him for casting the part of Widow Cheshire to a man of the name of Lee-a heavy, stupid, vulgar fellow, with no requisite for the stage but a bass voice and some knowledge of music. So was the Widow Cheshire per

sonated on the 9th of March, 1796.

O'Keefe's Young Quaker calls forth the approbation of our sharp-shooters, and they praise Mr. Hallam's Clod, and Mrs. Hallam's pretty Dinah Primrose. Of No Song No Supper the approbation is full, particularly of Hodgkinson's matchless Robin. Jefferson falls under the lash as Endless, but, for once, Prigmore is praised, and he deserved it, in Crop. He played the part and sung the songs in perfection. Miss Broadhurst, a little, timid,

gentle creature, is always a favourite with these Mohawks.

It appears by the remarks of this band of scalpers and tomahawkers on The School for Scandal, that they truly estimated its beauties and immoralities, and that they had seen the play played in times past. They remark: Though Mrs. Hallam in Lady Teazle, and Mr. Hallam in Sir Peter, equalled our expectations, we could not forget that Mr. and Mrs. Henry formerly appeared in those characters: we could not but remember that such things were, and were most precious to us. They praise Dibdin's Quaker, but justly remark, that play-house representations of Quakers are unnatural, and generally disgusting.

It appears by Critique No. 8, that the body of critics had been called "liar and assassin," but they say "they are none"-and go on as usual. They talk of Hodgkinsons "bawling," and of Poor Vulcan, that it is "insipid, tasteless, and unentertaining"-praising the "modest diffidence" of Miss Broadhurst in all she does.

In remarking on the comedy of Know Your Own Mind, and its performance, they ask "Why was not the part of Miss Neville given to Mrs. Johnson, or Mrs. Hallam?" [It was played by Mrs. Cleveland.] "Where was Mr. Hallam when the part of Captain Bygrove was cast upon Mr. Munto, who, whenever he appears "in uniform,' perpetually reminds us of a servant in livery." Madame Gardie, the fascinating dancer and pantomime