AN ELUCIDATION.

MISS K. WHITE was one of Mr. Rich's pupils, and, during her initiation, Mr. O'Brien of Drury Lane Theatre gave her some instructions how to perform the character of Sylvia, in "The Recruiting Officer."-One day, when he was thus employed, observing that the lady misconceived his directions, and repeated a passage very improperly, he told her she ought to consider the part she was speaking as a parenthesis, and that, therefore, it required a different tone of voice, and a greater volubility, than the rest of the sentence. "A parenthesis !" said Miss White. "What's that?"-Mrs. White, who happened to be present at her daughter's question, and blushing that she should thus betray her ignorance, instantly broke out in the following polite and sensible exclamation "O! what a limb of an actress will you make! What, not know the meaning of prentice! Why, prentice, ma'am, is the plural number of prentices:-O! you'll make the d-1 of an actress."

--

THESPIAN POLITENESS.

DURING one of Garrick's visits to his friend Mr. Rigby, at his seat in Essex, a wretched com

pany of strolling players occupied a neighbouring barn in the village, in which, with great applause, they were murdering the tragic and comic muses. Mr. Rigby was respectfully waited upon by the manager, (an invalided Sergeant of Marines,) to honour the company with a bespeak. This solicitation was complied with, and "The Constant Couple, or a Trip to the Jubilee," was announced for performance on the following night. The patron of the evening's entertainment, with his family, who were accompanied by the English Roscius, accordingly took their places in the stage box, (the only one in the house.) Garrick was immediately recognized behind the curtain: the humble children of Thespis immediately held a consultation; when it was unanimously resolved, that the old soldier, who was ready dressed to play the gay and gallant Sir Harry Wildair, should be deputed to make Mr. Garrick their united respects and congratulations on his arrival, which he did, in the following words:" Sir, the Dramatic Corps, which I have the honour to command, beg leave to return the two shillings, which you paid my wife at the box door, as they cannot behave so ungenteel, as to accept money from a brother actor for

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P

admission; and, at the same time, to present you, as a mark of their favour, with the Freedom of the House; and should you, sir, feel inclined to perform with them, until the opening of Drury Lane Theatre, their boards, and any character you may choose in the Stock List, and the wardrobe (which is, to be sure, rather out at the elbows,) are all much at your service."

IMITATION OF A COW.

MR. JAMES BOSWELL, the friend and biographer of Dr. Johnson, when a youth, went to the pit of Covent Garden Theatre, in company with Dr. Blair, and, in a frolic, imitated the lowing of a cow; and the universal cry in the galleries was, "Encore the cow! encore the cow!" This was complied with, and, in the pride of success, Mr. Boswell attempted to imitate some other animals, but with less success. Dr. Blair, anxious for the fame of his friend, addressed him thus: "My dear sir, I would confine myself to the cow."

STAGE CRITICISM.

DOCTOR, afterwards Sir John Hill, author of some farces, and a paper called "The Inspector," went into the green room of Covent Garden Theatre, and addressing himself to Mrs. Woffington, of celebrated memory, and the first of ac

tresses, he questioned her, whether or no she had seen "The Inspector" of that day?-To which she answered in the negative. The Doctor replied, "because, if you had, you would have seen my opinion of your performance, last night, in the character of Calista."—" I am much obliged to you, sir," replied the lady, "for your kind intentions towards me; but, unfortunately, the play of that evening was obliged to be changed to the Journey to London,' in which I played the part of Lady Townley."

6

THE REGULAR DRAMA, IN FRANCE. THE "Sophonisba," of Mairet, (Gentleman to the Duc de Montmorenci,) was the first tragedy in which the three unities were observed; it was acted in 1629. Mairet showed the true way, which Rotrou followed. The first scene, and almost the whole fourth act of Rotrou's "Venceslaus," are master-pieces. Corneille came after; and he may be said to have been the creator of the French stage.

TO MR. JOHN KEMBLE,

On seeing him in the Character of King Henry IV. WHEN Bolingbroke (weaken'd by sickness and

age)

Lectur'd Hal, he spoke feebly, no doubt;

But when Shakspeare brought forward the scene on the stage,

He meant that his King should speak out.

His precepts so wise, and his passions so clear, In pauses and whispers you smother.

Do you think 'tis not right that the audience

should hear

All that

passes

'twixt you

and your brother?

We know that you stick very close to cosTUME,
But, here, close to character too;

For, 'cause you are sick i'the Jerus'lem room,
You put on the face of a Jew.

At your mantle so fine, and your chin so besmear'd,

We laugh, when we ought to look grave: Either give all the rest of your actors a beard, Or else, (please your Majesty,) shave.

RYAN, THE ACTOR.

RYAN was a man whose temper was remarkably mild and inoffensive, but, at the same time, he was brave and intrepid. He was once, unhappily, obliged to give a proof of his courage, which ended fatally to an injurious aggressor. In the youthful part of his life, he happened to