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guished by the title of Daffodils; a species of men, who, without hearts capable of sensibility, or even manhood enough to relish, or wish for, enjoyment with the sex, yet, from a desire of being considered as gallants, make court to every woman indiscriminately; whose reputation is certain to be ruined from the instant these insects have been observed to settle near her; their sole aim being to obtain the credit of an amour, without ever once reflecting on the fatal consequences that may attend thereon in the destruction of private peace and domestic happiness. This character, although a very common one, seems to be new to the stage, and is, in the importance to the world of rendering it detestable to society, undoubtedly worthy of an able pen. The author of this farce has taken as broad steps towards this point as the extent of so small a work would give scope for; yet his catastrophe is somewhat unnatural, and his hero's disgrace not rendered public enough to answer the end entirely. As to the second title of it, there seems no apparent reason for the annexing it, unless it was to afford occasion for a humorous prologue, written and spoken by Mr. Garrick, the author of the piece.

74. THE MALL; or, The Modish Lovers. Com. by J. D. Acted at the Theatre Royal. 4to. 1674. This play has been ascribed to Dryden; but its style and manner bear little resemblance to those of that author; and therefore it is reasonable to imagine it the work of some more obscure writer.

75. MALVINA. Trag. 8vo. 1786. Anon. Printed at Glasgow.

76. MAMAMOUCHI; or, The Citizen turn'd Gentleman. C. by Edw. Ravenscroft. 4to. 1675. This play

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is wholly borrowed, and that even without the least acknowledgment of the theft, from the Mons. Pourceaugnac and the Bourgeois Gentilhomme of Moliere. It was printed under the latter title only, 4to. 1672, and was acted at the Duke's Theatre. At the end is a prologue, spoken at the Middle Temple; by which it appears that the author was a student there.

77. MANAGEMENT. Com. by Frederic Reynolds. Acted with success at Covent Garden. 8vo. 1799. A pleasing mixture of the amusing and pathetic.

78. THE MANAGER AN ACTOR IN SPITE OF HIMSELF. Int. by Charles Bonnor. Acted at Covent Garden, June 1784. Not printed. This lively piece was founded on La Fête de Campagne; ou, L'Intendant Comédien malgre lui, Comédie Episodique. Par M. Dorvigny. First performed at Paris, in 1784. It was well calculated to show the great versatility of talent possessed by Mr. Bonnor, who successively personated nine different characters, with very great humour and effect.

79. THE MANAGER IN DIS TRESS. Prelude, by George Colman. Acted at the Haymarket. 8vo. 1780. This piece has considerable merit.

80. THE MANAGERS. Com. 4to. 1768. It relates to the differences then subsisting among the proprietors of Covent Garden Theatre.

81. MAN AND WIFE; or, The Shakspeare Jubilee. Com. by Geo. Colman. Acted at Covent Garden, with good success. 8vo. 1770. This short piece was composed for the purpose of introducing a procession of Shakspeare's characters,, before Mr. Garrick's Jubilee could be prepared for representation at

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Drury Lane. The character of Sally is an imitation of that of Babet, in the comedy of La Fausse Agnes, by Destouches; and there are some traits of the character of Kitchen, in the third volume of The Connoisseur.

82. MAN AND WIFE; or, More Secrets than One. Com. by S. J. Arnold. Acted at Drury Lane, with considerable success. Syo. 1809.

83. MANGORA, King of the TIMBUSIANS; or, The Faithful Couple. Tragedy, by Sir Thomas Moore. 4to. 1718. This play was brought on the stage at the Theatre in Lincoln's Inn Fields. It is, with respect to plot, language, and every other essential of dramatic writing, a most contemptible piece; though it was acted four nights.

84. THE MAN HATER. Com. by Ozell. This is only a translation from The Misanthrope of Moliere.

85. THE MAN HATER. Com. translated from the French, and printed in Foote's Comic Theatre, vol. v. 12mo. 1762.

86. MANHOOD AND WISDOME: A Masque of muche Instructione. Anonymous. 4to. 1563. For this date and description we have only Chetwood's authority, who is never to be trusted. The piece was so rare above an hundred years ago, that it appears never to have been seen by Kirkman.

87. THE MANIAC; or, Swiss Banditti. Serio-Comic Opera, by S. J. Arnold. Acted by the Drury Lane Company, at the Lyceum, 1810. Not printed. This was a heavy and tedious performance; the principal character being a sort of female counterpart of Octavian, in The Mountaineers. It was, however, by the aid of some pretty

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music, by Bishop, and good scenery, made to run several nights.

88. THE MANIAC MAID; or, Euphemia's Flights. Mus. Interl. by J. P. Roberdeau. Acted at the Portsmouth Theatre, 1804. It was a simple, but pathetic tale, framed for the purpose of displaying a female singer in Ophelia's melodies, and several other airs of the same cast. Not printed.

89. THE MAN IN THE MOON. Dramatic Sketch, in one act. Advertised for the opening of the Haymarket Theatre, 1799, but withdrawn. We believe this piece was written by Mr. Brewer.

90. MANLIUS CAPITOLINUS. Tragedy, by Ozell. 12mo. 1715. This is a translation, in blank verse, from the French of Mons. de la Fosse. We believe it was never intended for the English stage, but was acted at Paris threescore nights successively, at the time that the Earl of Portland was ambassador at the French court. The subject of it is from history, and is to be found in the 6th book of Livy's 1st decade. The translator observes, that La Fosse studied some time at the University of Oxford.

91. THE MAN MILLINER. Mus. Farce, by John O'Keeffe. Acted at Covent Garden, 1787. Printed in his works. 8vo. 1798. It was unsuccessful on the stage.

92. THE MAN OF BUSINESS. Com. by George Colman. Acted at Covent Garden. 8vo. 1774. This performance was attended with moderate success. Plautus, Terence, and Marmontel, have contributed, says the author, to enrich this play. The Deux Amis of Monsieur Beaumarchais also suggested some hints of the fable; but the traces of them in this comedy are so little apparent, that it might be questioned if that au

93. THE MAN OF ENTERPRISE. Farce, by Charles Shillito. Acted at the Norwich Theatre, and, as we understand, with success. Printed at Colchester, in 8vo. 1789. It is a diverting performance.

94. THE MAN OF FAMILY. A Sentimental Comedy, by Charles Jenner. 8vo. 1771; 12mo. 1771, Dublin, Dedicated to Mr. Garrick, and taken from Diderot's Père de Famille.

95. THE MAN OF HONOur. Com. by Francis Lynch. At what time this play was written or published we do not exactly know, but imagine it must have been about 1730, or between that time and 1740, as The Independent Patriot, by the same author, came out in 1737.

96. THE MAN OF HONOUR. Com. by Wm. Davies. Svo. 1786. Never acted.

97. THE MAN OF MODE; or, Sir Fopling Flutter. Com. by Sir George Etherege. Acted at the Duke's Theatre. 4to. 1676; 1684; 1693. This is an admirable play; the characters in it are strongly marked, the plot is agreeably conducted, and the dialogue truly polite and elegant. The character of Dorimant is perhaps the only completely fine gentleman that has ever yet been brought on the English stage; at the same time that in that of Sir Fopling (designed from Beau Hewitt) may be

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traced the groundwork of almost all the Foppingtons and Petit Maitres which appeared in the succeeding comedies of that period. It is said, that Sir George (who is supposed to have drawn young Bellair from his own character) intended the part of Dorimant as a compliment to the famous Earl of Rochester, designing in that character to form a portrait of his Lordship, wherein all the good qualities he possessed (which were not a few) were set forth in the most conspicuous light; and a veil thrown over his foibles, or at least such a gloss laid on them as to make them almost appear so many perfections. Sir Richard Steele, in The Spectator, No. 65, censures this play with some severity, and concludes his strictures on it in these words: "To speak plain"ly of this whole work, I think

nothing but being lost to a "sense of innocence and virtue "can make any one see this comedy, without observing more frequent occasion to move sorrow and indignation, than mirth "and laughter. At the same "time I allow it to be nature, "but it is nature in its utmost "corruption and degeneracy." It has, however, been defended by the celebrated John Dennis, and Lord Orford; the latter of whom, speaking of the licentious indecency of the stage when this play was written, says, "The same age produced almost the best come

dy we have, though liable to "the same reprehension. The "Man of Mode shines as our first

genteel comedy; the touches "are natural and delicate, and "never overcharged. Unfortu

66

nately, the tone of the most fa "shionable people was extreme"ly indelicate; and when Addi❤

MAN son [Steele], in The Spectator, anathematized this play, he forgot that it was rather a satire on the manners of the court, than an apology for them. Less licentious conversation would not have painted the age." Lord rford's Works, vol. ii. p. 315. 98. THE MAN OF NEWMARKET. omedy, by the Hon. Edward oward. Acted at the Theatre oyal. 4to. 1678. Scene, London. 99. THE MAN OF PARTS; or, Trip to London. Farce, by aac Jackman. 12mo. 1795, Dubn. This miserable piece was cted in Crow Street Theatre. 100. THE MAN OF QUALITY. arce, by Mr. Lee. Acted at Drury Lane. 8vo. 1776. A poor teration of Vanbrugh's Relapse.

101. THE MAN OF REASON. Com. by Hugh Kelly. Performed Covent Garden. 1776. This was cted only one night, and is not rinted. The author of Mr. Kelly's Life says, "it must be acknowledged that it was inferior to his other works, and was supposed to have suffered greatly by the misconception of "the actor (Mr. Woodward) who 'performed the principal charac

'ter in it.".

102. THE MAN OF TASTE. Comedy, by James Miller. 8vo. 1735. This play was acted at Drury Lane, with considerable success. The plot of it is borrowed partly from the Ecole des Maris, and partly from the Precieuses Ri dicules, of Moliere.

103. THE MAN OF TASTE. Com. As it is acted by a summer company, near Twickenham. 8vo. 1733. Such is the title-page; but the running-title is quite different; being THE POETICAL FOP; or, The Modes of the Court. In this piece Mr. Pope is ridiculed, under

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the name of Mr. Alexander Taste, a poet, who, in spite of deformity, imagines every woman "he sees in love with him," &c. It had been previously published in 1732, under the title of MR. TASTE, THE POETICAL FOr, &c. which see.

104. THE MAN OF TASTE. Farce, Anonymous, 1752. This piece was performed at Drury Lane, but is nothing more than Miller's piece cut into a farce by throwing out that part of the plot which is taken from the Ecole des Maris, and retaining only that which is borrowed from the Precieuses Ridicules.

105. THE MAN OF TEN THOUSAND. Com. by Thomas Holcroft. Acted at Drury Lane, without success. 8vo. 1796. Political prejudices certainly operated strongly to condemn this piece, which was acted but seven nights.

The

106. THE MAN OF THE MILL. Burlesque Tragic Opera. music compiled and the words written by Signor Squallini. 8vo. 1765. A poor parody on The Maid of the Mill.

107. THE MAN OF THE WORLD. Com. by Charles Macklin. Acted with great success at Covent Garden, 1781. 4to. 1793. This play, which in respect to originality, force of mind, and well-adapted satire, may dispute the palm with any dramatic piece that has appeared within the compass of half a century, was received with the loudest acclamations, in Ireland, about seventeen years before, under the title of The True-born Scotchman, in three acts. In London, however, an official leave for its exhibition was repeatedly denied; and our audiences are indebted for the pleasure they have since derived from it, to the death of

MAN Mr. Capell, the late sub-licenser of the Theatres Royal. This scrupulous petty placeman had long preferred what he conceived to be the bias of a court, to the innocent gratification of the public. His sagacity on a former occasion, also, should not be forgotten. He once prohibited the rehearsal of an opera, because he thought the situation of Pharnaces too nearly resembled that of the Young Pretender; nor, till a minister of state interposed his authority, would our guardian eunuch of the stage indulge the lovers of music with, this favourite

entertainment.-Peace to his ashes!

He has consigned the care of his own works to the publisher as well as ostensible author of Mr. George H-ge's Letter to himself. Provident dulness could have dug no deeper grave for its literary remains.

But to resume our subject. The reception afforded to Mr. Macklin's comedy, as well as to his own astonishing performance of the principal part in it, must have gratified his warmest expecta

sions. Before the conclusion of his epilogue had reminded us how much our fathers [our grandfathers might very well have been added] were delighted by the efforts of his youth, we felt no weak propension to reward the labours of his age. The Man of the World, indeed, began its career during the last weeks of an expiring season (May 10, 1781); but the length and vigour of its course were reserved for the following winter. The actors, in general, were fortunate in the characters they attempted: but if words, proportioned to the exertions of Miss Younge, were at command, she should receive more distinct applause:

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"Her worth demands it all, "Pure and unmix'd on her the sacred drops should fall."

Her modes of pleasing, diversified with endless variety, seemed to have reached their highest point; and, on this occasion, were invigorated by ardent zeal for the success of the meritorious veteran.

The plot of the play is briefly this: a crafty subtle Scotchman, thrown upon the world without friends, and little or no education,

directs the whole of his observa

tion and assiduity (in both of which he is indefatigable) to the pursuit of fortune and ambition. By his unwearied efforts, and meannesses, he succeeds; but, warned by the defects of his own education, he determines to give his eldest son the best that could be obtained, and for this purpose puts him into the hands of a clerhonour, who, by teaching him gyman of learning, integrity, and good precepts, and showing him the force of good example, makes him the very reverse of what the father intended; viz. not a man educated the better to make his court to the great, and extend the views of false ambition-but to

make himself respected, independent, and happy. Thus he defeats the views of his father, who wants to marry him to a lady of rank and fortune, but to whom he cannot direct his affections, and marries the daughter of a poor officer, little better than a dependant on his mother, but who has virtues and accomplishments to adorn any situation. In short, the latter feels the just consequences of an overvaulting ambition; while the son, seeking his own happiness inde pendent of fortune or honours, in the concluding lines, thus avows and rejoices in the principles that he is governed by: