a tragic playwright. Even the title must be sacrificed in order not to let the public too soon into the mystery of the story. First it was The Cruel Lover. Then Julia, or the Fatal Constancy. The author also objects to one of the actors, although of good repute in theatrical history—“Gentleman Smyth,” as he was usually called; and begs his correspondent to keep out of the play “that most detestable of all actors and coxcombs.”
Many who knew the writer amid the pleasures, politics, and wit of Dublin, wondered how he could be studious enough for a tragic subject. The talent, however, was within him, and the way to the London stage smooth. None of the perplexities of an unknown author could be felt where the manager, the first tragic actor of the day, and an eminent dramatic critic figured as his personal friends. To Malone was confided preliminary matters and the prologue; to Courtenay, the epilogue; to the manager, all his moral influence over performers; and to Kemble and his great sister, the embodiment of sentiment and situation in the principal characters. To prepare the way more favourably, the Count of Narbonne was played shortly before; and a new edition printed, edited by Malone.
On the 17th April, 1787, appeared at Drury Lane, Julia, or the Italian Lover. A brilliant audience received it well. Kemble acted the principal character admirably, and also spoke the prologue; he is said on that night to have even outshone the talents of his sister, and by his exertions to have brought on serious illness. Delay became, therefore, unavoid-
