Charles Lamb remarks, in his ‘Essay on the Melancholy of Tailors,’ that “drink itself does not seem to elevate him.” This assertion seems contrary to that in the acting tragedy of ‘Tom Thumb,’ wherein Queen Dolalolla so enthusiastically exclaims:— “Perdition catch the railers! We’ll have a row, and get as drunk as tailors.” It is to be observed, however, that Fielding is not responsible for this illustration, which has been made by some adapter, who has had the temerity to do for the heroic tragedy in question what Cibber did for ‘Richard,’ and Tate for old ‘King Lear.’ The lines however were delicious when Wilkinson played Queen Dolalolla in the tragedy-style of Peg Woffington. The illustration is insulting; and therefore is it anonymous. The poets generally have, as I have shown, been complimentary to the tailors. Few of the sons of song have reviled the true “makers of men.” When they _have_ done so, they have not dared to expose themselves to the sartorian wrath by boldly avowing their name. None ever did so on so extensive a scale as the author of the three-act piece, called ‘The Tailors: a Tragedy for Warm Weather;’ and no author has remained so utterly uncomeatable by the public curiosity. What is the mystery about Junius, touching whom there are a thousand guesses, compared with the greater impenetrability of this secret author, about whom no man ever heard a conjecture? It is now nearly ninety years ago since a manuscript was sent from Dodsley’s shop to Foote, the manager of the “Little Haymarket.” The manuscript was that of the Warm Weather Tragedy, and Foote was requested to return the copy if it were not approved of. The great comedian knew better. The burlesque play of the anonymous author was acted with a strong cast. Foote himself was the Francesco; Shuter played Abrahamides, the Flint; Western did justice to Jackides; old Bannister was ponderous as Campbello; and gay Jack Palmer was just the man to enact that Lothario of stage-tailors, the seductive Isaacos. Mrs. Jeffries represented the false wife Dorothea, and Mrs. Gardner the faithful maid Titillinda. It was said by the critics of the period, that the radical fault of this burlesque play was, that “in burlesque, the characters ought to be persons of consequence, instead of which they are here tailors;” but the truth is, that the fault lies in the fact, that the tailors talk as correctly as persons of consequence, and are not half so bombastic as Nat Lee’s kings and queens. The profession exhibited much unnecessary susceptibility in being offended at this piece. Its tendency, if it have any at all, is rather to elevate than depress the public appreciation for the tailor, whether in his aspect of master or of “Flint” out upon strike. The entire action is devoted to the history of a strike for wages, with a supplemental love-plot annexed. The head master-tailor is a highly respectable individual, who has our sympathy because he