Of her beauty there is no doubt, nor of its effects. In Hull's poor tragedy, "Henry II.," she played Rosamond to the Henry of Smith; and this handsome couple went on making love to one another, on the stage, till they believed in it, and fairly ran away together. When Smith, in his older and wiser days, was living in well-endowed retirement, at Bury St. Edmunds, a remark made by him, affirming the fidelity of his married life, caused his excellent wife to look up at him. He blushed; murmured something of having forgotten "_one_ slip," and never boasted again. He had the grace of repentance. Of comedies, and operas, and farces that have been forgotten, I will say nothing. Mrs. Lennox showed more dramatic power in her novels, and Mrs. Griffiths more good purpose in her hints to young ladies, than they did in their plays. O'Brien found his pieces condemned, through his adoption of the suggestions of his aristocratic friends. Bickerstaffe, ex-page to Lord Chesterfield, in Dublin, and an ex-officer of marines, not yet compelled to fly the country in dishonour, gained less renown by "Lionel and Clarissa" (Mattocks and Miss Macklin), of the entire originality of which he boasted, than he did by the "Padlock" (Mungo, by Dibdin), which he borrowed from the Spanish; or by the "Hypocrite" (Cantwell, by King), which was a refitting of Cibber's "Nonjuror," with the addition of Maw-worm. Kelly's sentimental comedies were only tolerated by the Wilks party, whom he had offended by his political writings, when they were brought forward under an assumed name, but they had not merit enough of their own to live. Even Cumberland's "West Indian" (Belcour, King; Major O'Flaherty, Moody), and his "Fashionable Lover" (Lord Abberville, Dodd; Aubrey, and Augusta Aubrey, by the Barrys), have departed from the scene, with his "Brothers." All Cumberland's _dénouements_ may be conjectured before the curtain falls on his second acts. Of the "Brothers," George Montagu writes to Walpole: "I am glad it succeeds, as he has a tribe of children, and is almost as extravagant as his uncle, and a much better man." Cumberland lacks that most at which he most aims, facility to delineate character. He has less power of style than purity of sentiment. Of his fifty-four pieces, one alone, the "Wheel of Fortune," survives. In all, he exhibits more regard for modesty than he furnishes matter for amusement.