‘SIR, I have patiently waited the proper moment in which to write to you. That moment I hope is now come. I should be guilty of injustice, were I any longer to delay expressing my sense of the propriety with which you have acted relative to the School for Arrogance, after you had every reason to suppose it mine. Such conduct, Sir, is highly honourable; and is not only productive of the best effects, but must secure the best and most permanent applause. That you had conceived disadvantageous ideas of me, I knew; though I have no doubt, but I shall ultimately convince you, that, even supposing me to be mistaken, my motives have been laudable. With me you were irritated; but you had the justice to forget the man, and promote the interests of the piece. This I hold it my duty to say to the world at large. I am, Sir, etc.’ The School for Arrogance is, in its plan, founded on _Le Glorieux_ of Destouches, but it is for the most part original. It is Mr Holcroft’s best play, with the exception of the Road to Ruin, and, perhaps, even this exception is doubtful. The last of these pieces is, no doubt, much more adapted for stage-effect; but I question whether the former would not be perused oftener, and with greater delight, in the closet. It is less eventful, less interesting, less showy and dazzling; but it has beauties more refined in the conception, and difficult in the execution. Such is the whole of the character of Count Conolly Villars, which is managed throughout with the nicest art. His pride of birth; the conflict between the feelings of love, and a sense of the honour of his family; and the rapid and delicate alternations of passion, arising from a constant fear of degrading himself, either by resisting or indulging the familiarity of others, are described without the violation of truth, perhaps, in a single instance. On the other hand, the contrast between the pride of wealth and that of ancestry, which the character of Lady Peckham gives the author an opportunity to display, has an effect equally forcible, whether we regard the immediate impression on the audience, or the moral lesson it conveys. The other characters are comparatively insignificant, though necessary and well supported. To expose the weaknesses of pride, as it is founded on the prejudice either of wealth or ancestry, may be said to form the whole business of the piece. This, however, is not done by pompous, laboured declamation, or satirical epigrams; but by shewing the effects of these prejudices on real characters and in natural situations. As this play is less known than some of Mr Holcroft’s other plays, we shall select the following scene for the entertainment of the reader. ‘_Enter_ COUNT, _bowing_. _Lady Peckham._ So, Sir! They tells me, Sir, that you and my foolish husband are colloguing together, for to marry my daughter! Is this troo, Sir? _Count._ (_with his usual polite haughtiness_) If it were, Ma’am?