moral inculcated by the fable. It surely cannot be meant that they are opposed to truth, because they are fictions, fables, or parables. Mr. Murray knows full well that by such fictions, fables, or parables. men are induced to listen to the voice of the teacher, and remembers with delight and reverence Jotham's beautiful fable of the trees, Nathan's fable of the poor man and the lamb, the parable of Dives and Lazarus, the sower, the ten virgins, the prodigal son, and many others, which are so instructively interspersed through the prophetical and other scriptures. Now, a poem, a play, a novel, or a romance, is a fable, or parable, of more or less length-the play written in a form to be recited by one or more persons-otherwise in nothing differing.

The general assertions of ignorant or misinformed writers or declaimers against stage-plays, as "that nothing is represented in them but gallantries, or extraordinary adventures, and discourses far distant from serious life,"-" that plays are full of wicked maxims,” -"that they notoriously minister to vice and immorality,"—" that by their lewdness they teach vice," are so notoriously untrue, and such gross libels upon the thousands of good men who have attended to their representation and encouraged their authors and those who studied to give them force and effect by recitation and action, that they are unworthy of notice at this time and in this state of society.

That many plays and other books may be found immoral in their tendency, and disgusting from their vulgar and obscene expressions, is too true. That some of the very many plays represented on the stage are objectionable, is likewise true; but that entertainments such as are described by Archbishop Tillotson and others are the favourites of the present time, is utterly untrue, and the assertion an indecent outrage upon those to whom it is addressed.

The stage, as well as the press, brings before the public a great variety of literary effusions of unequal merit. But the stage can never produce works so vile as issue from the press; for men will endure to read that which, if spoken from the stage, no audience would tolerate for a moment. Shall we therefore abolish the press ?

There are many who cannot, and still more who will not, read, but will receive the lessons of wisdom when impressed by the exertions of others. Evil maxims in plays are hurtful, but good maxims

must be beneficial; and none will deny that there are plays whose whole and sole tendency is to good. The time may come when all shall be such.

With these extracts we will conclude this chapter, and proceed to chronicle events in our eventful history.

CHAPTER XXVIII.

Boston Theatre and Mr. Powell-Miss F. Hodgkinson-AlphonsoMrs. Gannett-Mrs. Wignell-Mrs. Hodgkinson-Miss BrettMessrs. Claude and Clarke-Mr. Hodgkinson's Bankruptcy as a Merchant, &c. in Philadelphia-Death of Mrs. Hodgkinson and Miss Brett, 1803.

MR. S. POWELL was this winter (1802-3) the manager of the Boston theatre, and Mrs. Powell the principal ornament of it. Mr. Powell had the use of the plays written by the New-York manager at this time, always remunerating him honourably.

When The Voice of Nature was brought out, Miss F. Hodgkinson was introduced to the public. She was the oldest child then living of Mr. and Mrs. Hodgkinson, and a beautiful girl. She has since proved an amiable and worthy woman.

One of the first effects of Mr. Cooper's departure was, that Mr. Fennell, who had been relieved and released by the aid of the manager, increased his demands, and threatened to go to Philadelphia. He however remained through the season.

Lewis's tragedy of Alphonso was brought out and applauded; but no attention was paid to the theatre at this time, the receipts not being generally more than half the expenses.

Col. Wm. Smith recommended Deborah Gannett,

and wished that she should have an opportunity of delivering an oration from the stage, she having served three years as a soldier in the war of the revolution. It was an ill-judged exhibition, and failed accordingly.

On the 16th of March, 1803, Holcroft's melodrame A Tale of Mystery was performed in America. This was the first play of the kind seen in the New World; indeed, this kind of mixed drama was a novelty even in Europe. It was received with pleasure amounting to delight. The characters were thus played :-Bonamo, Tyler; Romaldi, Hodgkinson; Francisco, Fennell; Stephano, Martin; Montano, Johnson; Michelli, Jefferson; Piero, Hogg; First gardener, Prigmore. Selina, Mrs. Johnson; Fiamella, Mrs. Hogg. Miss Hodgkinson danced "a shantruse."

On the 30th of March, the manager's play of The Blind Boy, with a dialogue epilogue, was performed to a thin audience-parts much applauded. Its second night was better attended. It was never popular.

At this time Mr. Cooper was playing Hamlet, Macbeth, and Richard, successfully in London.

Holcroft's comedy of Hear both Sides was received from James Brown, the friend of the manager of the New-York theatre, and brother of his friend, C. B. Brown.

A play called The Tournament was brought out with expensive scenery and decorations, but without salutary effect upon the treasury.

In May, 1803, Mrs. Wignell gave notice that, as principal, she had engaged the theatre of Philadelphia, and that the business would be as usual carried on by Wignell and Reinagle. A letter had been addressed to her, on hearing a report that she intended leaving America, to which the following is the answer :—

W. DUNLAP, Esq.

Baltimore, May 30th, 1803.

Dear Sir,-Before this time you must have seen by the papers that I have bound myself a slave for four years. Doubts and fears for the consequences of such an arduous undertaking prevented my answering your kind and friendly letter before. As I did not make up my mind to the task until the last moment, and as circumstances would have obliged me to remain in this country at least to the end of the next winter, it is more than probable I should have accepted your proposal, and be assured this is the only reason for my apparent neglect. Believe me, with all respect,

Your obedient and obliged friend,
ANNE WIGNEll.

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Mrs. Hodgkinson had been for some time in declining health, and was in June, 1803, evidently too ill to exert herself in her profession. On Wednesday the 15th, she appeared so unwell when playing "Letitia Hardy," that the manager spoke to her husband on the subject, hoping he would withdraw her. He said she could play any speaking part;" that "those who took benefits must not put her in the bills for too much;" that "she could not sing, but could do any speaking part." In consequence, she was announced for Mrs. Haller, in The Stranger, for Monday the 26th. She performed the part, looking so as to make the writer's heart ache. Near the conclusion of the play she