The disputed point as to the first theatre in America has also been very thoroughly discussed by Judge Charles P. Daly in his brochure, "The First Theatre in America." (Dunlap Society, New Series, No. 1, 1896.) In 1755, the Reverend Samuel Davies, whose eloquence made him quite as much an actor as a divine, complained of conditions in Virginia, declaring that plays and romances were more read than "the history of the Blessed Jesus." The real narrative of Colonial acting, however, begins with William Hallam's appearance in Williamsburg in "The Merchant of Venice," on September 5, 1752; thereafter, as is so excellently traced in Seilhamer, the American Theatre, with its different itinerant companies, began to flourish. The theatre was such a recreation to the Colonial people that, in many ways, it figured as the one source of official entertainment; especially on occasions when the Royal Governor had to show hospitality to visiting people. For example, the _Maryland Gazette_ for November 17, 1752, declares that "The Emperor of the Cherokee nation, with his Empress and their son, the young Prince, attended by several of his warriors and Great Men, and their Ladies, were received at the Palace by his Honour the Governor, attended by such of the Council as were in Town on Thursday, the 9th instant, with all the Marks of Courtesy and Friendship, and were that Evening entertained at the Theatre with the Play (the Tragedy of 'Othello'), and a Pantomime Performance which gave them great surprise, as did the fighting with naked swords on the Stage, which occasioned the Empress to order some about her to go and prevent them killing one another." The spirit of the theatre-going at this period has been excellently suggested by John Esten Cook in his novel, "The Virginia Comedians," but the reader who will consult rare files of Colonial newspapers will find therein many advertisements which will throw light on some of the social details of the theatre. It is enough here to suggest that, in the reading of the different plays here offered, some consideration be paid to the general theatrical atmosphere which created and fostered them. In several of the Introductions the editor has had occasion to mention the exercises and dialogues and plays given in the colleges before the Revolution. These were the distinctive forms which time and occasion created; otherwise the early American dramatist framed his pieces in imitation of English and German tradition. However, as soon as the national period began, another interesting dramatic experiment was put into effect. This has been noted by W. W. Clapp, in his chapter written for Justin Winsor's "Commemorative History of Boston." He says: "[It was] the custom in the earlier days of the theatre to signalize passing events by such appropriate notice as the resources of the stage would permit."