“I am very far from tired, Madam, of encomiums on the performance at Richmond House, but I, by no means, agree with the criticism on it that you quote, and which, I conclude, was written by some player, from envy. Who should act genteel comedy perfectly, but people of fashion that have sense? Actors and actresses can only guess at the tone of high life, and can_not_ be inspired with it. Why are there so few genteel comedies, but because most comedies are written by men not of that sphere? Etherege, Congreve, Vanbrugh, and Cibber wrote genteel comedy, because they lived in the best company; and Mrs. Oldfield played it so well, because she not only followed, but often set, the fashion. General Burgoyne has written the best modern comedy, for the same reason; and Miss Farren[106] is as excellent as Mrs. Oldfield, because she has lived with the best style of men in England: whereas Mrs. Abington can never go beyond _Lady Teazle_, which is a second-rate character, and that rank of women are always aping women of fashion, without arriving at the style. Farquhar’s plays talk the language of a marching regiment in country quarters: Wycherley, Dryden, Mrs. Centlivre, etc., wrote as if they had only lived in the ‘Rose Tavern;’[107] but then the Court lived in Drury Lane, too, and Lady Dorchester and Nell Gwyn were equally good company. The Richmond Theatre, I imagine, will take root. I supped with the Duke at Mrs. Damer’s, the night before I left London, and they were talking of improvements on _the local_, as the French would say.” A few weeks later, he has dismissed the talk of London, and is occupied with his neighbours on the Thames. The following is a letter to Lord Strafford: “Strawberry Hill, July 28, 1787.