"And how do you like it?"

"It wants correction."

"What do you mean by correction? I am sure there are no grammatical errors.”

"Unless I had the book before me, it is impossible for me to explain my meaning precisely, or point out the parts which I think would be better for your revisal. As far as I recollect, there are some false or confused metaphors, easily remedied when you look it over again, and I recommend it to your severe attention before it is put into the prompter's hands."

"Sir, I have bestowed the utmost attention on it. I am proud of it. It has received every attention, sir."

"But there are few literary productions that could not be made more perfect. There appears to be an incongruity in the character of the heroine. Joan of Arc is first brought forward as a person really inspired, as in Shakspeare's drama, or at least believing herself to be directly inspired from above; subsequently, she represents herself as inspired only by her patriotism; and finally, she is a prophetess, again inspired by Heaven, and possessed of foreknowledge, which she communicates in a letter to her countrymen, sent from the stake."

The author vehemently defended his heroine and his play, but agreed to take it back and rewrite it.

Early in March, it being generally known that Hodgkinson had determined on leaving New-York for Boston, there to commence manager of the Haymarket theatre on his sole account, Mr. Henderson offered the lease of the house to Mr. Dunlap, if the proprietors agreed, for the sum of five thousand dollars per year. Such an agreement was subsequently entered into.

The receipts in the new theatre were now uniformly below the expenses, except on the night Cooper played Romeo, March 9th, when the amount was 735 dollars. It became necessary either to stop or retrench. Chalmers was utterly useless. He would only play first comedy or tragedy, and the public justly preferred Hodgkinson, in one or both, and Cooper in the last. He was perfectly at his ease-did nothing-received his salary—dined with Hodgkinson every day, and sat by his Madeira, as long as he and friend Williamson, the singer, found it convenient or agreeable. If the host said, "I must go to the theatre to dress," the friends were unmoved by the hint. If it was repeated, Chalmers would say, “Very well, Hodge, leave the big bottle with us, we will take care of it."

It was, however, hinted to the free and easy gentleman, that salaries must be reduced and more work done, and he chose to give up his situation, provided he might take his benefit. This was agreed to, and he was allowed to make his own bill. The entertainments were, The Road to Ruin

and readings by Mr. Chalmers, with songs, &c. &c. under the unintelligible title of Melocosmiotis. The incomprehensible title, and the novelty of readings from the stage, succeeded to the comedian's wishes. The house was nearly full. The receipts were 1177 dollars. After the comedy, in which he played Goldfinch, Melocosmiotis commenced. Chalmers, in full dress, was discovered seated on the stage. He read passages of prose and poetry. The pit hissed-the gallery called for Melocosmiotis. Chalmers knew that the bait had taken, he saw the trap full; he laughed in his sleeve, and gravely rose, and bowed whenever he was saluted with a hiss.

The next night Robin Hood and Next Door Neighbours were played to 99 dollars. Zorinski was got up with care and expense, and produced 293 dollars receipts.

The tragedy of André was performed for the first time on the 30th of March, 1798. The receipts were 817 dollars, a temporary relief. The play was received with warm applause, until Mr. Cooper, in the character of a young American officer, who had been treated as a brother by André, when a prisoner with the British, in his zeal and gratitude, having pleaded for the life of the spy in vain, tears the American cockade from his casque, and throws it from him. This was not, perhaps could not be, understood by a mixed assembly; they thought the country and its defenders insulted, and a hiss ensued-it was soon quieted,

and the play ended with applause. But the feeling excited by the incident was propagated out of doors. Cooper's friends wished the play withdrawn, on his account, fearing for his popularity. However, the author made an alteration in the in cident, and subsequently all went on to the end with applause. The applause of a theatre! The play was printed, and is forgotten. A portion of it was incorporated with a holiday drama, which the author afterwards put together, and called The Glory of Columbia-her Yeomanry, which was likewise published, and is occasionally murdered for the amusement of holiday fools. The tragedy of André was thus cast:

The General, Mr. Hallam; André, Hodgkinson; Bland, Cooper; M'Donald, Tyler; Melville, Wil liamson; Seward, Martin; British Officer, Hogg ; American Officer, Miller; Mrs. Bland, Mrs. Melmoth; Honora, Mrs. Johnson. Children, Miss Hogg and Master Stockwell.

Our friend Cooper was at this time rather in the habit of neglecting such parts as were not first, or exactly to his mind. Young Bland was not the hero of the piece, and very little of the author's blank verse came un-amended from the mouth of the tragedian. In what was intended as the most pathetic scene of the play, between Cooper and Hodgkinson, the first, as Bland, after repeating, "Oh, André-oh, André," as often as Jemmy Thomson" wrote "Oh, Sophonisba," approached the unfortunate André, who in vain waited for his

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cue, and, falling in a burst of sorrow on his neck, cried, loud enough to be heard at the side scene, “Oh, André-damn the prompter!—Oh, André ! What's next, Hodgkinson?" and sunk in unutterable sorrow on the breast of his overwhelmed friend, upon whose more practised stage cleverness he relied for support in the trying scene-trying to the author as well as actor and audience.

The Nestor of histrionics, Colley Cibber, says, "to show respect to an audience is worth the best actor's labour; and, his business considered, he must be a very impudent one that comes before them with a conscious negligence of what he is about."

It was now necessary to know Mr. Hodgkinson's intention definitely, and Mr. Henderson, having requested an answer to the query, whether he intended to continue in New-York, it was given in the negative. He said that he had written to the proprietors of the Haymarket theatre, that unless he could have the Federal Street theatre for the winter, and the Haymarket for the summer, he would not take either. The Federal Street theatre was then being rebuilt, and the proprietors offered it to him. He said if he staid in New-York, it would be as an actor only: that he had a letter from the Federal Street proprietors, in which they expressed their satisfaction in his acceptance of their offer. "You wrote to them that you would come?" "Yes. But the terms are not yet settled. At any rate, I will never be a