mies formed a party against Gil Blas, and to prevent a renewal of hostilities, was advised to have recourse to a stratagem. Mr. Spence, the admired author of an Essay on Pope's Odyssey, was the intimate friend of Mr. Moore. He gave his consent, that it should be circulated in whispers, that the Gamester was the production of his leisure hours. The story was believed, and had the desired effect. A tragedy founded on the ordinary transactions of life, and written in prose, is not common in England, and, perhaps, in the French and Italian drama, no instance of it can be found. Lillo seems to be the first, who made the distress of domestic life as interesting as the events that have attended heroes and unfortunate kings. His tragedy of George Barnwell is well known, and Fatal Curiosity has scenes that go to the inmost feelings of the. heart.

heart. With that precedent before him, Mr. Moore planned his fable, with a moral design to paint forth the dangers of a passion for play, and the combinations formed by sharpers against the man of honour. The play begins with a scene of distress, and shews a family beggared by the arts of Stukely, a detestable character, but neither strained nor over-coloured. Unfortunately there are in the world too many originals to sit for such a picture. On the first night of the play, this writer happened to sit in a front box near a noted gambler of that day, who shrewdly observed of Beverley, “The fellow from the very "ginning is not worth a suskin: who would "play a single rubber with him ?”

be

THE plot goes on in a regular climax, rising in every scene to higher misery, till at last

Stukeley's

Stukeley's villiany is fully detected, and Beverly, his victim, having swallowed a dose of poison, closes the whole with a most affecting catastrophe. Garrick throughout the play almost rose above himself. Mrs. Pritchard gave a specimen of the most natural acting that had ever been seen. She did not appear

to be conscious of an audience before her: She seemed to be a gentlewoman in domestic life, walking about in her own parlour, in the deepest distress, and overwhelmed with misery. The play, though finely acted, did not live beyond twelve nights. It was said to be too affecting; but, perhaps, the polite inhabitants of the west end of the town, and the citizens, addicted to play, did not like to see their ruling passion attacked by the moral doctrine of Mr. Moore. The play has been of late years brought into vogue by the judicious perform

ance

ance of Mr. Kemble, and the exquisite powers of Mrs. Siddons. The piece, of course, is universally known, and a further criticism is therefore unnecessary, The prologue*,

written and spoken by Mr. Garrick, is a fine satire against gaming, and a powerful dissuasive from that ruinous passion,

See the Appendix, No. IX.

CHAP.

CHAP. XXI.

BOADICEA a Tragedy, by Mr. GLOVER, the Author of LEONI DAS-The Story on which it is founded related by TACITUS and from him translated into the English History-Critical Examen of Mr. GLOVER'S Play-GARRICK, MOSSOP, and Mrs. CIBBER, excellent in their respective Parts The famous Mr. FOOTE engaged at Drury-Lane-Speaks an excellent Prologue written by GARRICK-The Tragedy of ZARA, as translated from VOLTAIRE, revived at Drury-Lane-GARRICK a venerable Old Man in the Character of LUSIGNAN-Mrs. CIBBER made her first Appearance several Years before, in the Character of ZARA, and now resumed it with improved TalentsVIRGINIA, a Tragedy, by the Rev. Mr. CRISP-The Story of APPIUS, the Decemvir, and VIRGINIA, the Daughter of VIRGINIUS, as related by Livx-The Play put into GARRICK'S Hands by Lady COVENTRY-A fine stroke of acting by GARRICK in the last Act.

IN the beginning of March, Garrick was ready with the tragedy of Boadicea, by Mr. Glover, the admired author of Leonidas. The subject is taken from a remote period, as related