business the writing of a play was. Author, manager, and actors had all to be considered and consulted. Whole acts were condemned and thrown out. Scenes were re-written, and new situations contrived. The preparation was often spread over years. And what is a most important proof of the character of the composition, its real value to the author was from the sale of the copyright,-the piece being written to be read, as well as to be seen. Goldsmith and other writers received large sums from this source. This feature, which seems extraordinary now, was then in the ordinary course. How few pieces would bear printing now! Even the smaller fry fell into the tone of the good models before them, and got up a showy dash and spirit and wit that was respectable. How few have heard of Mrs. Griffith, and yet she wrote a very spirited comedy. As I have said, these were the days when we could amuse ourselves at the play-house. There we were diverted with the strange side of human nature-those turns and crannies of the human heart, the oddities of our species, which it is not our luck to fall in with, or we have not time to look for or think about, which skilled men put before us. Mr. Thackeray has somewhere a pleasant burst of gratitude to Fielding and such writers, whose Amelia and Tom Jones, and Parson Adams and Uncle Toby, he says, are as real, or at least as well known to him, as Bayard or Richard I., or any other figure of history. They have been as much living characters;-they are as historical to us, as persons who have lived and died. But on the same principle, Mr. Hardcastle and Lady Teazle, Sir John Falstaff and the other figures of the stage, have a better vitality; for we can see them н н 2 in the flesh and blood, with their voice and bearing, with their humours and weaknesses, -their dress and gestures. Now that we have finished with this rather dismal dramatic prospect, it may be asked, what is recommended? Is there no remedy-and can nothing be done? It is only to be answered that the reform must come, if it come at all, gradually. The fault is to be distributed among all-for all are more or less accountable. Every one sees now the helplessness of the public in the matter of criticism. The audience should exercise a little of its old independence,-learn to be pleased or displeased, without being told when or why. Advertisement now takes the place of dramatic merit, as it does in the case of merchandise; and a piece well advertised by criticism, and the like means, is now a true success. Managers should have the courage to go back by degrees, and bring out pieces of the good old sort, and actors should study such pieces. That such would soon "pay," there can be no doubt. There should be some classification of theatres, and burlesques and "sensation" things confined to proper houses of their own. And very soon we might look for the return of those "palmy days of the drama " which seem to belong to the mythology, and find ourselves enjoying as hearty a laugh, and rich entertainment at our theatres, as ever audience did in the days of old Drury Lane, under the management of the great actor, and no less incomparable manager, DAVID GARRICK. APPENDIX. APPENDIX A. NUMBER OF NIGHTS THAT GARRICK ACTED. GENESTE, with unwearied diligence, seems to have searched all the collections of bills, as well as the notices in the papers, and noted the play and character for nearly every night. But there are many gaps. I have added up the various lists, and we may accept the following table as a fair average of his performances, allowing a small margin for inaccuracies. It will be remarked, how the number of performances gradually shorten : 1741-1742. Goodman's Fields 138 times.* 69 THE following is a list of his characters, based on Davies's, which has been carefully collated with Geneste and others. GOODMAN'S FIELDS, 1741-2.-Richard III.; Clodio, in Love Makes a Man; Chamont; Jack Smatter, in Pamela; Sharp, in Lying Valet; Lothario; Ghost, in Hamlet; Fondlewife; Costar Pearman, in Recruiting Officer; Aboan, in Oroonoko; Witwou'd; Bayes; Master Johnny, in Schoolboy; King Lear; Lord Foppington, in Careless Husband; Duretête, in Inconstant; Pierre; Capt. Brazen. At DUBLIN, in the summer of 1742.-Hamlet; Captain Plume. DRURY LANE, 1742-3.-Captain Plume; Hamlet; Archer; Millamour, in Wedding Day; Hastings; Sir Harry Wildair; Abel Drugger. 1743-4.-Macbeth; Regulus; Lord Townly; Biron, in Fatal Marriage; *Zaphna, in Mahomet. 1744-5.-Sir John Brute; Scrub; King John; Othello ; *Tancred. DUBLIN, 1745-6.-Faulconbridge; Orestes; Iago. (He never played Orestes in England.) COVENT GARDEN, 1746-7.-Hotspur; *Fribble; *Ranger. DRURY LANE, 1747-8.-Chorus, in Henry V.; Jaffier; "Young Belmont, in Foundling. 1748-9.-Benedick; Poet, Frenchman, and Drunken Man, in Lethe; Demetrius, in Irene; Iago; *Dorilas, in Merope. 1749-50.-*Edward the Black Prince; *Horatius, in Roman Father. 1750-51.-Romeo; Osmyn, in Mourning Bride: Gil Blas, in ditto; Alfred, in ditto. 1751-2.-Kitely; *Mercour, in Eugenia. 1752-3.-Loveless, in Love's Last Shift; *Beverley, in Gamester; *Demetrius, in Brothers. 1753-4.-*Dumnoris, in Boadicea; Faulconbridge, in King John; Virginius, in ditto; Lusignan, in Zara; Aletes, in Creusa. 1754-5.-Don John, in Chances; *Achmet, in Barbarossa; Don Carlos, in Mistake. 1755-6.-*Leontes, in Winter's Tale altered; *Athelstan; Leon; *Lord Chalkstone, in Lethe. 1756-7.-Don Felix. 1757-8.-*Wilding, in Gamesters altered; *Lysander, in Agis; King, in Henry IV., Part II.; Pamphlet, in Upholsterer. 1758-9.-Marplot; Antony, in Antony and Cleopatra; *Heartly, in Guardian; Periander, in Eurydice; Zamti, in Orphan of China. 1759-60.-*Oroonoko, as altered; *Lovemore, in Way to Keep Him; *Emilius, in Siege of Aquileia; Sir Harry Gubbin, in Tender Husband. 1760-61.-*Oakly, in Jealous Wife; Mercutio. 1761-2.-Posthumus; *Sir John Dorilant, in School for Lovers; Farmer, in Farmer's Return. 1762-3.- Alonzo, in Elvira; Sir Anthony Branville, in Discovery; Sciolto. 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