the blowing up of his grand substitute for gunpowder, and that Sir Abel's famous preparation for extinguishing flames, and his patent fire-escape, should be unmixed and unfixed,-must be charged to the same acccount. No author will stand trial, by the strict laws of probability ;-it is absolutely necessary to dramatise both incident and character before an effect can be produced. We may, however, allow much greater latitude to incident than to character, the former should never (in a domestic Drama) exceed the bounds of possibility,—nor should the latter appear so metamorphosed, that Nature cannot be recognized under the disguise.

Sir Abel Handy found an admirable representative in Mr. Munden. It was one of those characters which that eminent comedian prided himself in having created and made his own. He entered so fully into the humours of this whimsical schemist and hen-pecked Knight,-heightening his eccentricities with his rich comic fancy, that we are certain the performance of the actor went far, very far, beyond the conception of the author. Our recollection of Knight, the original Farmer Ashfield, is not so perfect as we could desire; but we remember Emery in the character, and in the plenitude of his genius. Nothing could exceed the beauty of his acting,-his arch humour-his unaffected pathos,-held our feelings in complete subjection—

"Sive risus essent movendi,

Sive lacrymæ."

There are certain actors whose loss may be pronounced irreparable; and Emery is one of them. Mr. Fawcett, in his younger days, was every thing that could be desired in Bob Handy. He danced and fiddled with spirit and vivacity, while the dialogue escaped from his lips so glibly, that it would have puzzled a conjurer to decide which went fastest, his tongue or his legs! Mrs. Davenport was truly characteristic in Dame Ashfield. Her tone, look, and gesture, in her ejaculations, touching Mrs. Grundy, proved that she regarded her obnoxious neighbour as she would a hollow tooth.-Though troublesome to keep, she was loth to part with her.

03 DG.

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Costume.

SIR PHILIP.-Black or purple velvet embroidered coat and breeches, white satin waistcoat, embroidered, white silk stockings, shoes, buckles, bag wig powdered, sword, ruffles, and cocked hat. MORRINGTON.-A dark suit, boots, round hat, and large ro

quilaure.

SIR ABEL HANDY.-Rich courc suit, white silk stockings, shoes and buckles, powdered wig, three-cornered hat, long white lace cravat, ruffles, and cane.

BOB HANDY.-Blue coat, bright buttons, white waistcoat, with coloured silk under-ditto, white breeches, silk stockings, and buckles. FARMER ASHFIELD.-Light coat, white buttons, red waistcoat, corduroy breeches, worsted stockings, shoes, buckles, and round hat. HENRY.-Shooting coat, pouch, shot-belt, &c. drab breeches, and

gaiters.

EVERGREEN.-Light brown coat, coloured waistcoat, drab breeches, blue stockings, gardener's apron, one corner turned up, and countryman's round hat.

GERALD.-Brown suit, dark grey coat, and boots.

POSTILLION.-Red jacket, with white buttons, yellow breeches, and top-boots.

JOHN.-Smart livery coat, waistcoat, and breeches, white stockings, and shoes.

MISS BLANDFORD.-Handsome white muslin dress, trimmed with white ribbon, ditto hat, with white feathers, white kid gloves, white shoes, and scarf.

LADY HANDY.-An extravagant silk dress, satin shoes, hat and feathers.

SUSAN.-Neat flowered muslin dress, black shoes, light straw or chip hat, trimmed with white ribbon.

DAME.-Light blue quilted petticoat, neat chintz gown, white stockings, black shoes and buckles, white apron. muslin cap and handkerchief, black mittens, red cloak, and black silk bonnet.

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Cast of the Characters as performed at the Theatre Royal,

The Conductors of this Work print no Plays but those which they have seen acted. The Stage Directions are given from their own personal observations, during the most recent performances.

EXITS and ENTRANCES.

R, means Right; L. Left; R. D. Right Door; L. D. Left Door; S. E. Second Entrance; U. E. Upper Entrance; M. D. Middle Door.

RELATIVE POSITIONS.

R. means Right; L. Left; C. Centre; R. C. Right of Centre; L.C. Left of Centre.

*** The Reader is supposed to be on the Stage facing the Audience,

R.

RC.

C.

LC.

L.

PROLOGUE,

Written by W. T. Fitzgerald, Esq.; spoken by Mr. Betterton.

IN ev'ry age, the trump of deathless fame
Proclaims the warrior's and the poet's name;
Painting and sculpture all their powers combine,
And laurels deck the bard's and hero's shrine.
No further can the parallel extend,

The poet's honours on success depend;

While Fortune's frown can ne'er molest the brave,
Nor blast the laurel springing from his grave.
An equal wreath impartial Fame supplies
To him who conquers, and to him who dies;
For British valour was displayed not more

On Nile's proud flood, than Helder's barren shore !
The chance of war the bravest may controul,
But leaves untouch'd the courage of the soul;
And England gives her heroes, ever dear!
The shout of triumph, or the starting tear.

Not so the bard—with him success is all!
When Fortune frowns, his air-built castles fall:
But if she smiles, he sails with prosperous breeze,
Like the small Nautilus o'er summer seas;
Whose little oars on ocean's bosom sweep,

Fearless of all the monsters of the deep.

[After a pause.] Oft at this bar, our author has been tried,

Where English judges take the pris'ner's side!

Guilty of faults no doubt he will appear,

But human errors find acquittal here

Where e'en the friendless always meet support,
From honest juries and an upright court.
Critics, who rule o'er politics and plays,

If you are adverse, vain the poet's lays!
"You, who with equal hands the balance hold,
"Whose just decision ne'er was bought or sold,
"But who to ev'ry candidate dispense

"His lot of humour, and his share of sense,"
Protect our author on the coming day,

And though you damn the Prologue-spare the Play :
To your decree each dramatist must bow,
Give but your aid, and that will “ Speed the Plough!"

The lines marked with inverted commas were omitted.