dialogue, none who understand it can dispute; and if, instead of attaching themselves to the farcical romping of Bizarre and her ungallant lover, the modest critics of this play had devoted some attention to the dialogues between young and old Mirable, their nice sense of decency would have been less shocked, and they might have found themselves repaid by some of the most pointed, witty, and pithy writing in English dramatic literature. I am much obliged to such of my friends as lamented that I had to personate Farquhar's impertinent heroine; for my own good part, I would as lief be such a one, as either Jane Shore, Mrs. Haller, Lady Macbeth, or the wild woman Bianca. I know that great crimes have a species of evil grandeur in them; they spring only from a powerful soil, they are in their very magnitude respectable. I know that mighty passions have in their very excess a frightful majesty, that asserts the vigour of the natures from which they rise; and there is as little similarity between them, and the base, degraded, selfish, cowardly tribe of petty larceny vices with which human societies abound, as there is between the caterpillar blight, that crawls over a fertile district, gnawing it away inch-meal, and the thunderbolt that scathes, or the earthquake that swallows the same region, in its awful mission of destruction. But I maintain that freedom of expression and manner is by no means an indication of laxity of morals, and again repeat that Bizarre is free in her words, but not in her principles. The authoress of the most graceful and true analysis of Shakspeare's female characters has offered a better vindication of their manners than I could write; I can only say, I pity sincerely all those who, passing over the exquisite purity, delicacy, and loveliness of their conception, dwell only upon modes of expression which belong to the times in which their great creator lived. With respect to the manner in which audiences are affected by what they hear on the stage, I cannot but think that gentlemen, who wish their wives and daughters to hear no language of an exceptionable nature, had better make themselves acquainted with what they take them to see, or, at all events, avoid, when in the theatre, attracting their attention to expressions which their disapprobation serves only to bring into notice, and which had much better escape unheard, or at least unheeded. Voluminous as this note has become, I cannot but add one word with respect to the members of the profession to which I have belonged. Many actresses that I have known, in the performance of unvirtuous or unlovely characters (I cannot, however, help remembering that they were also secondary parts), have thought fit to impress the audience with the wide difference between their assumed and real disposition, by acting as ill, and looking as cross as they possibly could, which could not but be a great satisfaction to any moral audience.