Dorington, ‘The Man of Ten Thousand,’ may be considered as a benevolent Timon. After living in the most splendid and profuse hospitality, he suddenly loses his immense wealth, and with it his friends; but he does not at the same time lose either his senses or his philosophy. He preserves in the midst of the most mortifying reverses, the same calm dignity, and evenness of mind. Great as this effort of heroism is, it is managed in such a manner as not to appear unnatural or extravagant. Olivia, his mistress, is by no means so interesting a character. She is the blemish of the piece. Her notions of virtue are too fastidious by half, and she exacts conformity to her standard of perfection, with a dogmatical severity, which would scarcely sit well on a Stoic. Neither is her behaviour explained to Dorington in so satisfactory a manner as it ought to have been. The subordinate characters of Herbert and Annabel are described with extreme tenderness and simplicity. They exhibit an amiable picture of those qualities which often spring directly from a guileless heart, without the artificial refinements of sentiment or reason. Hairbrain is a character of the same school, and must have had a very good effect in the hands of Bannister, who played it. Kemble and Miss Farren were the representatives of Dorington and Olivia. ‘Knave or Not,’ as well as ‘The Man of Ten Thousand,’ was brought out at Drury-Lane. Its success was not very flattering. The advertisement prefixed by the author to the published play, will explain some of the reasons of this, as well as describe the most striking features of the play itself.