Sent. I perceive it; instead of puzzling me, brother Hartshorn, you have puzzled yourself.

Harts. D--ce, if I know whereabouts you, are. Apothecary, or no Apothecary-will you turn out, and take the round of patients with me this afternoon.

Sent. As I can be no manner of service to you or them, I had rather be excus'd.

Harts. You had rather be excus'd! What the pestilence did you come here for?

Sent. For an experiment.

Harts. I'm obliged to you-You came for an experiment! Be so good to try the experi ment of going away again.

Sent. Bear with me a little longer, and It will give you perfect satisfaction.

Harts. Give me the satisfaction of getting rid of you. If you will not go out and visit the patients, go out and visit where you like, only don't let me be favour'd with your com-' pany any longer.

Sent. If I were Sentamour, wou'd you say this?

Harts. No, d-ee, no! To Sentamour my arms are open'd thus, as wide as I can stretch them-To Sentamour I say-Here is my heart, command it; it is yours!

Sent. I take you at your word, for I am Sentamour. Forgive me, my dear fellow. I was anxious to know the real character of Ju lia. I wish to see her under no restraint, and sound the secret feelings of her heart. I bor rowed Lindsay's name, not in the hope I cou'd

impose on your sagacity, but as a cover only for the moment, 'till I cou'd find how her affections stood, and where they pointed.

DRAMATICK ANECDOTES.

A FRENCH actor, accustomed to perform the part of Achilles, wished to have his portrait taken, and desired it might be in that character, stipulating to give the painter forty crowns for his work. This son of Melpomene had been a journeyman carpenter, and the painter, who was informed that he was a bad paymas ter, thought proper to devise a mode of being revenged should Achilles play him any trick; he therefore painted the figure in oil, the shield excepted, which was in distemper. The likeness was acknowledged to be great; but the actor, that he might pay as little as possible, pretended to find many faults, and declared he would only pay half the sum agreed upon. "Well," replied the painter, "I must be content; however, I will give you a secret for making the colours more brilliant. Take a sponge, dip it in vinegar, and pass it over the picture several times." The actor thanked him for this advice, applied the sponge, washed away the shield of Achilles, and instead of that hero, beheld a carpenter holding

a saw.

Ir is a common practice in Paris, to read new theatrical pieces in private assemblies, were they are supposed to undergo a kind of primary ordeal, and over each of which a lady

always presides. A tragedy called Alzaide, by Linaut, had been read at one of those societies, and obtained great praise; however, it had no success on the stage, which greatly afflicted this previous tribunal. Being assembled the day after its performance, there was a general silence; but the lady, who had first given her favourable suffrage, spoke at length and said"The piece however was not hissed."-"How the deuce could it ? replied a stranger, who happened to be present; "people cannot gape and hiss both at once."

WHEN Dancourt gave a new piece, if it were unsuccessful, to console himself he was accustomed to go and sup with two or three of his friends, at the sign of the Bagpipes kept by Cheret. One morning, after the rehearsal of his comedy called the Agioteurs, or Stockbrokers, which was to be performed, for the first time, that evening, he asked one of his daughters, not ten years of age, how she liked the piece?" Ah papa," said the girl, "you'll go to night and sup at the sign of the Bagpipes."

BOYER, a French dramatick author, had been fifty years writing and never successfully. That he might prove whether his condemnation might not be imputed to the prejudice of the pit, he gave it to be understood that the new tragedy of Agamemnon was the production of Pader D' Assézan, a young man newly arrived at Paris. The piece was received with general applause, and Racine himself, the

great scourge of Boyer, declared in favour of the new author. "And yet it is by Boyer, Mons. de Racine," exclaimed Boyer himself, from the pit. Imprudent man! The next day the tragedy was hissed.

THEATRICAL RETROSPECT,
FOR DECEMBER, 1806.

How hard is the lot to admonish our neighbours
When hatred 's the fruit we receive for our labours!
For the mind is oft panged when the frame's unresisting,
And like vipers new bruised, frets existence by twisting.

BOSTON THEATRE.

Nov. 28. Venice Preserved and Two Strings to your Bor.

Or the performance of Venice Preserved this event ing, little can be said, without repeating former re marks. We noticed the novelty of Mrs Stanley's costume in Belvidera. Though we have been ac customed to see Belvidera in plain black or white, we can make no reasonable objection to her wearing foil and spangles. That she possessed rich and costly raiment there can be no doubt; for Faffier tells Priuli that "out of his little fortune" he had treated her with "place, distinction, and observance;" and we afterwards hear Priuli bid him

"Reduce the glittering trappings of thy wife,

"To humble weeds, fit for thy narrow state."

Dec. 1. The Honey Moon and No Song no Supper, This elegant and popular comedy attracted a numerous and fashionable audience, who were highly gratified with its representation. Mr. Usher in Duke Aranza made very near approaches to excellence. Though " appearances are against him,” wẹ

are confident he possesses talents, which, when he has had time and opportunity to mature them, will render him a fair candidate for dramatick honours.

Mrs. Dykes is entitled to much credit for her performance of Zamora. Her appearance in the habit of a boy was modest and diffident, her conception of the whole character eiear, and her execution pleasing. Mrs, D. gives promise of becoming a chaste and pleasing actress in the sentimental line.

The principal characters had their last year's representatives, who gained their usual portion of applause.

The silly entertainment of No Song no Supper has been so often and so badly done, that its very name creates dislike.

Dec. 3. The few and High Life below Stairs. We have long esteemed Mr. Bernard's Jew as one of his beft performances; it is the most complete counterfeit in voice and action we ever witnessed. No look, no word, no step escaped, to let the spectator know that he who had so often tickled his lungs in Nipperkin and Diddler was concealed under the long coat and beard of Sheva. In many scenes he was eminently pathetick. He who could not be pleased with it, may boast of Stoicism, but can never "bring his heart into repute" for sensibility.

Mr. Fox in Charles Ratcliffe, though not perfect, was not destitute of merit.

Frederick, by Mr. Downie, had very slender claims to approbation.

Mr. Dickenson's Jabal was laughable enough; and now and then excited a smile at the expense of his fellow-servant Dorcas.

The only female part which merits notice was Eliza Ratcliffe, by Mrs. Powell, which was truly excellent.

Dec. 5. The School of Reform and The Romp This comedy is the latest production of Mr. MorF... VOL. 4.