After this scene, which was rendered very interesting to the English, by our “God save the king” being played on the french stage, and to the whole audience by the last phrase, which was received with unbounded applause, the real lord Athol arrives. In this dilemma the courage of lady Athol does not desert her. She makes signs to her husband, who discovers the truth, and recollecting that Edward had once saved his life at Rome from the hand of an assassin, he determines to rescue him from the danger of his present situation. He accordingly pretends to confess to Argyle, that in assuming the name of Athol, he (Athol) had deceived him, and that he is the pretender after whom he is seeking. In this character, therefore, Athol is arrested, and in the mean time Edward, conducted by the faithful steward of lady Athol, makes his escape in a boat. The whole then is disclosed, and on the arrival of the duke of Cumberland, Athol is pardoned for this pious fraud, the duke declaring that he is convinced that the king himself, would, under similar circumstances, have acted in the same manner. There is a kind of counterplot or episode, in which the celebrated miss Murray appears as the sister of Athol, but her character is not material to the general story of the play. Argyle, who is in love with her, asks her of her Edward (while he appears as Lord Athol) and this puts him into another dilemma, from which he is also saved by the presence of mind of lady Athol. Mademoiselle Contat played lady Athol most admirably, and the part of Edward was performed in a very interesting and natural manner by _St. Fall_, who rose infinitely above himself in the character assigned him. From this imperfect account you will at least be able to observe what occasions were given both in the scenes and in the dialogue, for such applications, as the friends of royalty took care to make, and which were applauded with a degree of ardour, which I never saw equalled either in England or France.