manager was furious, and again refused the play. The author made a firm stand, and declared he would not be trampled on. An interview took place, when it was arranged that the difference should be referred to the arbitration of Whitehead. He was then staying at Bath, and to this place the distressed "Orphan" was sent for its health. Whitehead would not consent to be the arbitrator of the whole difference, but agreed to give a candid opinion on the merits of the play. On reading it, he was so pleased that he went beyond his promise, and not only praised the drama, but said that the manager ought to accept it, and predicted that it would be a favourite with the public. This healed the breach, and the "Orphan" was re-accepted. Garrick, as was his custom, read it to the company, with his usual powerful intonation, giving every passage its full effect, but as he went on he suggested some emendation. In the fifth act he proposed a large alteration; Whitehead who was present, gave him the following delicate and witty reproof: "Mr. Garrick," said he, "there are so many beauties in this play, that for the sake of us who may hereafter write for the stage, I beg we may have no more." This specimen of Whitehead's conversational talent would make us suspect Boswell's judgment, when in speaking of Mason's "Life of Whitehead," he remarks: "I do not think it was quite necessary to attempt a depreciation of what is universally esteemed, because it was not to be found in the immediate object of the ingenious writer's pen; for, in truth, from a man so still and so tame, as to be contented to pass many years as the domestic companion of a superannuated lord and lady, conversation could no more be expected, than from a Chinese Mandarin on a chimney-place, or the fantastic figures on a gilt leather screen." Boswell's flunkeyism may have had some hero worship in it not to be found in Whitehead's; but after all, there is nothing
