The Irish Widow.

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Whittle. But, Captain, suppose I will marry your sister?

Widow. I have not the laste objection, if you recover of your wounds. Callaghan O'Connor lives very happy with my great aunt, Mrs. Deborah O'Neal, in the county of Galway; except a small asthma he got by my running him through the lungs, at the Curragh; he would have forsaken her, if I had not stopped his perfidy by a famous family styptic I have here: Oh, ho! my little old boy, but you shall get it. [Draws.

Sir Patrick.

Fait! what, are you wearing the breeches,

Pat, to see how they become you when you are Mrs. Weezel?

Widow. I beg your pardon for that, sir! I wear them before marriage, because I think they become a woman better than after.

SHE STOOPS TO CONQUER; OR, THE MISTAKES OF A NIGHT:

A COMEDY, BY OLIVER GOLDSMITH, M.D.

WHEN this entertaining drama was first produced, the public taste was enchanted by that species of composition called Sentimental Comedy, originally derived from France, and introduced on the English stage by Hugh Kelly's False Delicacy, acted at Drury-Lane in 1768. The prevailing characteristic of this style, was an unnatural affectation of polished language in the most ordinary affairs and ranks of life; which the French authors formerly considered as the proper distinction of the higher order of Comedy. For a few years Kelly's play continued to draw multitudes; when it's sway was overthrown by an unexpected blow of Foote's satire. This was the production of The Primitive Puppet-shew, including a piece called The Handsome Housemaid, or Piety in Pattens, at the Haymarket, February 15th, 1773; which was excellently performed by Foote himself, and contained numerous imitations of well-known performers, &c. In the opening address he informed his auditors that they would not discover much wit or humour in the piece; for his brother-authors had all agreed that it was highly improper, and beneath the dignity of a mixed assembly, to shew any signs of joyful satisfaction: and that creating a laugh was forcing the higher order of an audience to a mean and vulgar use of the muscles; for which cause he had resigned the sensual for the sentimental style.

It was, however, only by the strongest interest of common friends, that the Elder Colman was induced to bring out Dr. Goldsmith's Comedy; whilst Smith and Woodward, who were intended for Young Marlow and 'Tony Lumpkin, declined their parts. Lee Lewes and Quick succeeded to them, and were indebted to their excellent performance for much of their celebrity. She Stoops to Conquer was produced at Covent-Garden, March 15th, 1773, and was received with great applause, being played 13 times the first season. Shuter acted Hardcastle, Mrs. Bulkeley his daughter, and Mrs. Green Mrs. Hardcastle. Fawcett, Munden, Dowton, and W. Farren, have been the best modern actors in the former part, and perhaps Mrs. Davenport was never exceeded in the latter: Elliston and C. Kemble were both excellent in Young Marlow; and Bannister and Liston unequalled in 'Tony Lumpkin.

The chief incident of this Comedy, that of mistaking a family mansion for an inn, is related to have occurred to Goldsmith himself; but it has been also referred to the old play of Albumazar, revived by Garrick at Drury-Lane in 1773. From this circumstance Goldsmith originally intended to call his piece The Old House a New Inn.

Scene, an Alehouse Room.-Several shabby Fellows with Punch and Tobacco, 'Tony at the head of the Table, a little higher than the rest; a Mallet in his hand.

All. Hurrea! hurrea! hurrea! bravo!

First Fellow. Now, gentlemen, silence for a song! the squire is going to knock himself down for a song.

All. Aye, a song, a song!

'Tony. Then I'll sing you, gentlemen, a song I made upon this alehouse, the Three Pigeons.

Maid. The young gentleman, as you passed by in your present dress, ask'd me if you were the bar-maid? He mistook you for the bar-maid,

madam !

Miss Hardcastle. Did he? Then as I live I'm resolved to keep up the delusion. Tell me, Dolly, how do you like my present dress? Don't you think I look something like Cherry in the Beaux' Stratagem?

Act 3. Sc. 1.

BON TON; OR, HIGH LIFE ABOVE STAIRS :

A FARCE, BY DAVID GARRICK,

FROM the advertisement of the author attached to this piece, it appears to have been written long before it was produced; since he says that "this little drama, which had been thrown aside for some years, was brought out last season, with some alterations, for the benefit of Mr. King; in token of regard for one who, during a long engagement, was never known, unless confined by real illness, to disappoint the public or distress the managers." Garrick's gift, and testimonial to King's character, are perhaps the greatest praises which the professional morality of any actor can receive.

The Farce of Bon Ton was originally produced at Drury-Lane, March 18th, 1775, with an excellent Prologue, by the Elder Colman, delivered by King, descriptive of the notions of bon-ton in various classes of society. It was received with some applause, but was not repeated until the 27th, and then was withdrawn for alteration until April 4th, when it re-appeared in it's present form, and was performed eight times the same season.

It is allowed that this Farce possesses much greater merit than is commonly seen in benefit-pieces; that a more lively or agreeable entertainment can with difficulty be found upon the English stage; that the characters are well drawn, and the satire against foreign folly, vice, and dissipation, is justly directed; and that the moral is such as must be sanctioned by all. The contemporary critiques, however, observe of it, that though the profligate manners of the fashionable world may be accurately shewn in it, they have in themselves so much sameness, that the subject is opposed to any acute wit or lively humour. The names used by Garrick are also particularly forced and unnatural; but his intimate knowledge of stage-effect is visible through the whole piece, especially in the discovery at the end, which partakes of the character of the Spanish Drama. The part of David is also similar to that of the Spanish Coachman, in Bickerstaffe's 'Tis Well it's No Worse; and the general principle that vices are acquired by a residence in France and Italy, resembles General Burgoyne's Maid of the Oaks, which, however, was partly written by Garrick.

When Bon Ton was originally produced, Lord Minikin was performed by Dodd, and subsequently best by R. Palmer; King was Sir John Trotley, since excellently sustained by Dowton; Brereton was Colonel Tivy, afterwards acted by Holland; Parsons was Davy, Miss Pope Lady Minikin, and Mrs. Abington Miss Tittup, in which Mr. Mathews, Mrs. Dormer, and Miss Mellon, have also appeared to great advantage.

Sir John. Why, how now!-you are drunk too, sirrah. Davy. I am a little, your honour,-because I have been drinking. Sir John. That is not all-but you have been in bad company, sirrah! Davy. Indeed your honour's mistaken, I never kept such good company in all my life.

Sir John. The fellow does not understand me-where have you been, you drunkard?

Davy. Drinking, to be sure, if I am a drunkard; and if you had been drinking too, as I have been, you would not be in such a passion with a body-it makes one so good-natured.

Sir John. Thus, then, with the wife of one under this arm, and the mistress of another under this, I sally forth a Knight-errant, to rescue distressed damsels from those monsters, foreign. vices, and Bon Ton, as they call it; and I trust that every English hand and heart here will assist me in so desperate an undertaking.

Act 2. Sc. 2.