On this point I hold an opinion diametrically opposite, and hope to convince the reader that the allegations against the German writers are entirely groundless. In no German play that I have ever seen is there to be found any thing of this species. The true character of the German theatre is the very antipodes to this. Strong bold sentiment--incidents numerous and interesting--a dramatis personæ of the boldest and most finished kind--and in fact every thing that can command the most marked and pointed attention of the reader or spectator. And all this notwithstanding the disadvantages of appearing in foreign dress; for it hardly need be stated how wretchedly many of the translations have been executed. That many of the German plays are highly exceptionable in their tendency is equally lamentable as it is undeniable. And when they are adapted for representation here, they ought to be altered and modified to suit the taste, the manners, and the state of society in this country. I allude to the Stranger, Lovers’ Vows, and others of this cast. But the depravation of taste of which such loud complaints are now made, and which is so freely charged to the account of the German theatres, existed on the London stage before any of the German plays were translated. I have not in my possession at this moment means of deciding with certainty when the first made its appearance. But from an examination of a small history of the stage, which now lies before me, I am inclined to believe that the Stranger was among the earliest of them, and that its first appearance was in the year 1798. One thing, however, is absolutely certain, that not one of them was acted previous to the year 1788: as “Egerton’s Theatrical Remembrancer,” published in that year, and containing “a _complete list_ of all the dramatic performances in the English language,” makes no mention of them. If I prove that this depraved taste existed anterior to 1788, it therefore finally decides the question. This, I presume, is tolerably plain and clear. I now proceed to fix a much earlier origin for those vile slang songs. To O’Keefe they may be fairly traced. His motley productions contained many of them, and paved the way for the deluge of them that has since followed; for his successful example has been too frequently copied since by other writers.