While under articles with the bookseller Mr. Planché amused himself as amateur actor at the then well-known private theatres in Berwick Street, Catherine Street, Wilton Street, and Pancras Street. The autobiographer says he there ‘murdered many principal personages of the acting drama in company with several accomplices who have since risen to deserved distinction upon the public boards.’ He adds, the probability, had he continued his line of art, of his becoming by this time ‘a very bad actor, had not “the sisters three and such odd branches of learning” occasioned me by the merest accident to become an indifferent dramatist.’ He says jocosely that finding nothing in Shakespeare or Sheridan worthy of him, he wrote for amateurs the burlesque entitled ‘Amoroso, King of Little Britain,’ which one of the company showed to Harley, who at once put it on the stage of Drury Lane in April 1818. There, night after night, Queen Coquetinda stabbed Mollidusta, King Amoroso stabbed the Queen, Roastando stabbed Amoroso, who however stabbed _his_ stabber, the too amorous cook--all to excellent music and capitally acted, whether in the love-making, the killing, or the recovery. Drury Lane Theatre is described by Mr. Planché as being at the time ‘in a state of absolute starvation.’ Yet it was a season in which Kean led in tragedy and Elliston in comedy, and David Fisher played Richard and Hamlet as rival to the former, and little Clara Fisher acted part of Richard the Third in ‘Lilliput.’ Drury Lane had not had so good a company for years; and besides revived pieces of sterling merit it brought out ‘Rob Roy the Gregarach,’ and the ‘Falls of Clyde;’ and Kean played Othello and Richard, Hamlet and Reuben Glenroy, Octavian and Sir Giles, Shylock and Luke, Sir Edward Mortimer and King John, Oroonoko, Richard Plantagenet (‘Richard Duke of York’), and Selim (‘Bride of Abydos’); Barabbas (‘Jew of Malta’), Young Norval, Bertram, and, for his benefit, Alexander the Great, Sylvester Daggerwood, and Paul in ‘Paul and Virginia.’ Nevertheless the success of ‘Amoroso’ was the _popular_ feature of that Drury Lane season. It made Mr. Planché become a dramatist in earnest. ‘At this present date,’ he says, ‘I have put upon the stage, of one description and another, seventy-six pieces.’ _A LINE OF FRENCH ACTRESSES._ The English stage has not been wanting in an illustrious line of right royal queens of tragedy. Mrs. Barry is the noble founder, and perhaps the noblest queen of that brilliant line. Then came Mrs. Cibber, Mrs. Pritchard, Mrs. Spranger Barry (Mrs. Crawford), Mrs. Siddons (who hated Mrs. Crawford for not abdicating), and Miss O’Neill, whom Mrs. Siddons equally disliked for coming after her. With all these the lovers of dramatic literature are well acquainted. Of the contemporary line of French tragedy queens very little is known in this country; nevertheless the dynasty is one of great brilliancy, and the details are not without much dramatic interest.