usual lines, and the dramatist stated, in her apology for their appearance, that she wished to leave behind her a few plays, some of which might continue to be acted 'even in our canvas theatres and barns; 'while she also desired to keep her name in the remembrance of lovers of the drama generally. The motive of the tragedy 'Rayner' was to exhibit a young man of an amiable temper, tempted to join in the proposed commission of a detestable deed, and afterwards bearing himself with diffidence and modesty. The play had been written many years before. The scene of the tragedy was laid in Germany, and its turning-point was the crime of murder. Between the two tragedies was placed a comedy, the 'Country Inn.' The second tragedy, 'Constantine Paleologus,' was written in the hope of being produced at Drury Lane, with Kemble and Mrs. Siddons in the principal characters; but those great actors declined to produce it. The subject of the play was taken from Gibbon's account of the siege of Constantinople by the Turks. But more than five of her plays were produced on the stage. Amongst these was 'Constantine Paleologus,' which, while declined at Drury Lane, was produced at the Surrey Theatre as a melodrama under the title of 'Constantine and Valeria;' Valeria being an imaginary conception, intended for Mrs. Siddons. The play was also produced at Liverpool, Dublin, and Edinburgh, in every case to large houses and with much success. Of the production in Edinburgh, in 1820, the writer herself, then on her last visit to her native land, was a gratified spectator.
In 1810 Miss Baillie produced her play of the 'Family Legend.' It was founded upon a Highland tradition relating to the feud between the lord of Argyle and the chieftain of Maclean. The tragedy, with a prologue by Sir Walter Scott, was brought out under Scott's auspices at the Edinburgh theatre. Henry Mackenzie, author of the 'Man of Feeling,' wrote an epilogue. The play had a genuine success. 'You have only to imagine,' wrote Scott to Miss Baillie, 'all that you could wish, to give success to a play, and your conceptions will still fall short of the complete and decided triumph of the "Family Legend." Everything that pretended to distinction, whether from rank or literature, was in the boxes; and in the pit such an aggregate mass of humanity as I have seldom, if ever, witnessed in the same place.' The tragedy was played for fourteen nights on the first representation, and it was produced on several subsequent occasions. Its success induced the managers of the Edinburgh theatre to revive the author's tragedy of 'De Monfort,' and in describing the reception of this drama one who was present wrote that 'the effect produced was very great; there was a burst of applause when the curtain fell, and the play was announced for repetition amid the loudest applause.' In 1815 the 'Family Legend' was produced for the benefit of Mrs. Bartley at Drury Lane Theatre, and in 1821 Mr. Kean brought forward 'De Monfort' again on the same stage.
In 1812 appeared a third series of 'Plays on the Passions,' consisting of two tragedies and a comedy on the subject of 'Fear,' and a musical drama on 'Hope.' By the publication of this volume Miss Baillie showed that she had abandoned her old ideas. The first of these new plays had for its principal character a woman under the dominion of superstitious fear. In the second drama the fear of death was made the actuating principle of a hero of tragedy. The hero of the third play, a comedy on 'Fear,' is represented as timid, and endeavouring to conceal his fear by a boastful affectation of gallantry. 'Metrical Legends,' the next work by Joanna Baillie, appeared in 1821. The poems were suggested by her visit to Scotland in the previous year. The patriot Wallace is the principal personage in one poem, and Lady Griselda Baillie in another. There were also included some dramatic ballads cast in the ancient mould. 'Poetic Miscellanies,' published in 1823, contained poems by Sir Walter Scott, Miss Catherine Fanshawe, Mrs. Hemans, and others. This collection of poems, which was made with a charitable object, had a very satisfactory pecuniary result. A deep affliction overtook the sisters Baillie in 1823 by the death of their brother, Dr. Matthew Baillie, who was tended by Joanna during his last illness with the utmost solicitude. The drama of the 'Martyr,' by Joanna Baillie, was published in 1826, though it had been written some time before. The play relates to the martyrdom of Cordenius Maro, an officer of the imperial guard of Nero, who had been converted to the christian faith. Miss Baillie accepted the unitarian view of Christ; and in her seventieth year put forward a publication on this question, entitled 'A View of the general Tenor of the New Testament regarding the Nature and Dignity of Jesus Christ.' In this work she clearly expressed her assent to the views held by Milton and others.
In 1836 Miss Baillie published three volumes of 'Miscellaneous Plays,' which, at the time of their composition, she had intended for posthumous publication. Three of these dramas were in continuation of the 'Plays on the Passions,' and completed the
