Jane Shore. It was not always thus; the time has been,
When this unfriendly door, that bars my passage,
Flew wide, and almost leap'd from off it's hinges,
To give me entrance here; when this good house
Has pour'd forth all it's dwellers to receive me ;
When my approaches made a little holiday,
And every face was dress'd in smiles to meet me:
But now 'tis otherwise; and those who bless'd me,
Now curse me to my face. Why should I wander,
Stray farther on, for I can die ev'n here?

THE WONDER! A WOMAN KEEPS A SECRET!

A COMEDY, BY SUSANNA CENTLIVRE.

THOUGH this drama still retain possession of the stage, it would seem that originally there was but little expected from it's production, since it was brought out so late as April 27th, 1714, at Drury-Lane, and was acted only six times the first season in the intervals of benefits. It met, however, with very considerable applause, and the authoress in her original preface speaks with admiration of the performance of Wilks and Mrs. Oldfield, as Don Felix and Violante, especially in Act v. Scene 2; of which she rather extravagantly observes, that "if Nature herself were to paint a love-quarrel, she could only copy them." In this scene also, Garrick, and several actresses, as Miss Macklin, Mrs. Yates, Mrs. Crawford, Mrs. Abingdon, Mrs. Pope, and, subsequently, Mrs. Jordan, were eminently successful.

The Wonder had lain unacted for fourteen years, when it was revived by Garrick at Drury-Lane, November 6th, 1756, and when he first assumed his very favourite part of Don Felix. He performed it with such success, that the Comedy was repeated ten times before the end of the year; and to his retirement from the stage he continued to play it with the greatest vivacity and humour. It was in this character, also, that he closed his dramatic career at Drury-Lane, after performing a series of his most admired parts, June 10th, 1776, for the benefit of the Theatrical Fund belonging to that house, which had been recently established by himself. In the extremely interesting collection of the reliques of Garrick, announced for sale by Messrs. Longman and Co. in March 1814, now in the possession of Mr. Charles Mathews, are mentioned the Rosettes worn by the great actor in his final performance; with an attestation that "These Roses were worn by the late David Garrick, Esq. in the character of Don Felix in the Wonder, the very last time he ever appeared on the stage: After taking his last farewell of the audience, he went to his dressing-room, where I attended him, and, by his permission, took the above Roses out of his shoes; as a memento of that very great man, for whom I had the highest respect.-William Davies, Theatre Royal, Drury-Lane."

It is doubtful if all the merit of the intricate and ingenious plot of this Comedy belong to Mrs. Centlivre; as some circumstances in Isabella's concealment, Violante's fidelity, and the consequent perplexities, appear to resemble some parts of a play by George Digby, Earl of Bristol, published in 1667, and called Elvira, or The Worst not Always True. The scene in both instances is laid in Lisbon.

Felix. Now would I give one of my eyes to be friends with her; for something whispers to my soul she is not guilty. [Aside; he pauses, then pulls a chair, and sits by her at a little distance, looking at her some time without speaking, then draws a little nearer to her.] Give me your hand at parting, however, Violante, won't you? [He lays his hand upon her knee several times.] won't you-won't you-won't you?

Violante. [Half regarding him.] Won't I do what?

Violante. Oh! exquisite trial of my friendship! Yet not even

this shall draw the secret from me.

That I'll preserve, let fortune frown or smile;
And trust to love, my love to reconcile.

Act 2. Sc. 1.

A CLAIM is made to the public favour on behalf of this drama in the Prologue, because "'tis English humour all," and likewise because the

- plot is new, and regularly clear,

And not one single tittle from Moliere."

The original hint of the piece, if there were one, has therefore not been traced. In it's composition the authoress is reported to have been assisted by John Mottley, who is said to have written a scene or two; but when it was finished, Wilks in the broadest terms condemned both the Comedy and the writer, which is, perhaps, the reason that he did not originally perform in it. A Bold Stroke for a Wife was first produced at the Theatre in Lincoln's Inn Fields, February 3rd, 1718, and met with such applause as to be placed on the list of acting-plays, though it ran for but about six nights the first Even down to the present time it is still occasionally acted and seen with pleasure, notwithstanding the absurdity of it's plot, and the inferiority of it's language; so great is the variety of it's action and situation, to keep alive the attention of an audience.

season.

The original performer of Colonel Feignwell was Charles Bullock, an actor of great natural ease and vivacity; the part of Periwinkle was played by the humourous Spiller, whose excellence was displayed chiefly in the delineation of eccentric old men; and Mrs. Bullock was Anne Lovely. In 1768 Shuter performed Feignwell, though in 1776 he took the part of Obadiah Prim, which was much better suited to his talents, and King and Woodward acted the ingenious adventurer; Quick was then the Antiquary, and Wewitzer "the real Simon Pure." The principal character in more modern times, has been excellently sustained by the Younger Bannister, Elliston, and Charles Kemble. In August 1823 this Comedy was reduced to two acts, and, with the addition of a few songs, converted into a piece for the English Opera House, called The Guardians Outwitted; for the exhibition of the versatile talents and rapid changes of character of Mr. Mathews, in the part of the enterprising lover: and certainly, if so preposterous a scheme of delusion could ever have succeeded, that performer was the most likely individual in existence to render it successful.

The scene of A Bold Stroke for a Wife is London, and the time of action comprises only a very few days. Much of the original is now omitted in representation from various parts of the piece, which is greatly improved by the abridgement.

Sackbut. full east.

Come, Mr. Periwinkle, we must turn [They turn; the Colonel sinks by the trap-door.

Colonel Feignwell. 'Tis done! now turn.

[They turn.

Periwinkle. Ha! mercy upon me! my flesh creeps upon

my bones.-This must be a conjurer, Mr. Sackbut.

Sackbut. He's the devil, I think.

Periwinkle. Oh! Mr. Sackbut, why do you name the devil,

when, perhaps, he may be at your elbow ?

Sackbut. At my elbow! Marry, heaven forbid !