suddenly withdrawn, and The Curfew substituted in its place. The success of that

midable opponents; but in her later and original characters, she was, confessedly, without a rival; and, in the opinion of those who have witnessed and enjoyed them, must ever remain without an equal. It would be little to say, of a woman who was exemplary in every relation of life, that her reputation was unblemished; and if, in prudence, she baffled calumny, she equally disarmed envy by her benevolence: her manners were characterised by frankness and simplicity;—she never studied effect, nor betrayed the slightest degree of pretension; but she was superior to the affectation of concealing those rare talents which diffuse exhilaration through every circle, and which equally delighted her elder or younger associates. Her principles were never sacrificed to politeness; nor did she conciliate favour at the expence of truth. It was scarcely possible to meet her as an acquaintance without wishing to attach her as a friend. If the gay and the prosperous were charmed with her animation, the melancholy and the unfortunate were soothed by her kindness, or animated by her piety. The example of Miss Pope might alone silence the prejudices which once prevailed against her profession. To such a woman, rank could not have added dignity; nor was fortune necessary to extort respect; even the celebrity which offers homage to talents, falls short of the veneration inspired by genuine virtue!

play ensured attention to the author's remaining pieces. The opera of The Fisherman was accepted at Drury Lane, and that of Attraction at Covent Garden; of both these pieces, the music was actually composed, but irretrievably lost in the similar calamity of fire, which befel the sister theatres. The School for Authors was, in 1808, performed by the Covent Garden company at the Haymarket theatre with great applause. Shortly after Mr. James Tobin leaving England, no further notice was taken of his brother's manuscripts, till after the re-establishment of Drury Lane theatre, when he addressed the following letter to Mr. Whitbread.

"Sir,

Nevis, 1813.

"The interest which you have lately taken in the affairs of Drury Lane theatre, induces me to address you respecting two pieces, which have been for many years considered as accepted by the proprietors of the

old theatre; they are the productions of my late lamented brother, who when alive had some reason to complain of neglect, from those, who have since his death profited. so much by his labours. The Fisherman, an opera, has been several times altered and adapted to the stage; and was to have been brought out before I quitted England in 1809. The Faro Table was read in the green room, many years before that period, and was on the point of being played, when it was discovered, that it was a satire on Lady- After the death of this lady, it was again brought forward. I was sent for from the country to attend the rehearsals; it was announced in the bills; and two days before its intended representation, an election for Westminster having taken place, I was told it would be considered as a satire on another Lady, and the play was suppressed. Now, Sir, should there be no more peeresses or ladies of quality standing in the way, I

may justly require, that this piece, which I can venture to say will not disgrace the theatre, may be brought forward; and I have applied to you, being at this distance ignorant who are the acting managers at Drury Lane. I must refer you for particulars to Mr. Wroughton, to whose exertions the public and myself are much indebted for the performance of The Honeymoon and The Curfew.

"I remain, Sir, with respect, &c."

It was not till November 1816, that The Faro Table, under the title of The Guardians *, was performed at Drury Lane,

* It is painful to state the fact, that although this comedy was acted nine nights successively with decided applause, the customary remuneration was withheld from the author's representative, the Relict of Mr. James Tobin. Since this work has been in the press, the Fisherman has unexpectedly been produced at Drury-lane theatre, under the auspices of Mr. Elliston, who, as the original duke d'Aranza, is justly to be considered as patron of Tobin's fame; and, to the well-wishers of

-twenty years after its first acceptance. During that interval, various changes had occurred to those once connected with its eventful history; of the performers originally studied by the author, not one remained to take the allotted part; of the friendly critics, accustomed to sit in judgment over the author's manuscripts in Barnard's Inn, not one was present. And to the melancholy impression produced by the author's fate, was added that of his excellent brother, who, in 1815, had closed a life

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the drama, it must be pleasing to know, that this longneglected opera was spontaneously sought, accepted, and protected, with a zeal and ability never to be forgotten by the friends and admirers of the lamented author., That the cold reception of this piece, during the few nights of representation, corresponded little with the impressions previously received of its merits by men of acknowledged talents and taste, is undoubtedly a subject of deep regret; but these partial feelings of disappointment have been mitigated by the sentiments which honourable and liberal treatment must always inspire in candid minds but which, in the present instance, have unquestionably been heightened by the force of contrast.