his, became possessed of the whole of Garrick's interest in the house, for the total consideration of thirty-five thousand pounds. For a young man utterly without capital-for what he realized by play-writing was barely a sufficient income-this must be considered as rather a bold stroke of business.

promises to pay. He is the genius of bankruptcy, cutting a holiday figure in gay attire, among the assembled solvencies of the earth, and by the fascination of his abundant pleasantry commanding their involuntary admiration. His life is a witty speculation—a brilliant headlong hazard to which he commits himself with a pleasant face The gospel and economy of wit are to him for Bible, prayer-book, day-book, ledger, cash-book, and treasury. His plays are an admirable exposition and illustration of the powers and character of the man. The utmost impression and effect which pure wit in the drama can produce is here produced. Every character, in his or her individual degree, is a wit; delivers himself or herself wittily-with a facetious circumlocution, and selection of phrases, calculated to produce a witty impression. When you have called Sheridan a wit, you have said all that can be said of him, to mark his intrinsic qualities of genius or of character. An electricity of wit pervades his entire personality. His visible conduct is the natural outcome of an undisciplined predominance of this principle; and his life is a failure, because wit was suffered to be its ascendant element instead of conscience.

It has been written that "Every one who looked on this transaction was astonished at the speculative disposition of Sheridan; they marvelled at the whole of this singular transaction from nothingness to the possession of an immense property." Truly, the " speculative disposition" of the man is wonderful, enormous, manifestly transcending the bounds of prudent calculation. That is the type of him. Did we not find him of old expecting to realize two hundred pounds for a school-boy's farce? Did he not melo-dramatically abscond with a young lady of eighteen, who had charmed him by her singing, and her fascinating syren face-confronted by the strongest evidence that she was a practised and practising coquette of the most portentous magnitude? Has he not fought duels as comico-absurd as any he caused to be represented on the stage, and written narratives of them, the speculative audacity whereof borders on the sublime? This egregious dispo- From the day that Sheridan undersition and ability to speculate, to make took the responsibilities of an enormous a sensation, to do and to say brilliant theatrical property, without any actual and striking things-this, if we mistake substratum of capital to sustain them, he not, is the ideal mainspring of his cha- became gradually involved in pecuniary racter. He is the incarnation of Sang embarrassments, from which no after skill Froid-an easy pleasantry personified. or integrity of purpose could deliver him. Wit is the central feature of his mind. He was thenceforth the chancellor of the Almost everything he does, almost every-impossible, replenishing his exchequer thing he says, has some bold peculiarity, from the illusory stores of some bank indicative of the underlying presence of of imagination. It was already whisthe witty principle. His cool indiffe-pered that the young author was living rence to the ulterior consequences of his far beyond his means; that he was assayings and performances, is but ano-sociating with the great and the wealthy, ther phasis of the prominent element of his constitution; for wit is essentially indifferent, and cares only for the present display. Thus he leaves his every act and word, as it were, behind him with a sort of unrepenting unconcern. His dramatic compositions are left for years with the printer's errors uncorrected; his pecuniary responsibilities are indefinitely postponed by a witty evasion; he is the crown prince of good fellowship, and speculates upon his expectations, till he is forced to abdicate by anticipation, and sell the reversion of his kingdom to meet his boundless

and giving liberal entertainments, while there were no visible funds from which his expenditure was drawn. He is distinguished, nevertheless, by an undeniable talent for raising ready money, which, ever with the pressure of affairs, is brought more and more into requisition. He has an occult power over all manner of brokers, usurers, monied acquaintances, and trades-people; can everywhere command illimitable credit. Such is the fascination of his address, his plausibility, his unimpeachable air of honour and good faith, that he could probably raise money enough on his

personal security to have paid off the national debt. None can doubt his liberality, his generosity, the strict integrity of his intentions; "honest man," is written in his countenance; he shall ultimately ruin himself through sheer repute of honesty. He can make it a pleasurable thing for you to become his creditor; nay, he has the skill to induce you to borrow that you may have the gratification of lending to him. Such a genius for the ways and means of private life no other man was ever known to have been endowed with.

with the repeated strokes and assiduous application of a masterly painter, who will spare no pains to perfect to the uttermost that which he has once considerately undertaken. Moore has shown us that of most of his productions there were several manuscripts, exhibiting gradual changes of plan, and variations of the composition, as the writer's inspiration became more clear, and had been more perfectly unfolded. It was the most difficult thing in the world for him to finish any thing, and even when he had succeeded in giving to it all the His commencement as a manager, graces of style of which it seemed sushowever, did not give the public any ceptible, he was scarcely ever satisfied. great promise of improvement in the It has been affirmed on good authority conduct of the theatre. The "Trip to that notwithstanding the incessant laScarborough," an alteration of Van- bour which he had for a long time beburgh's "Relapse," was his first pro- stowed on the "School for Scandal," it duction in this capacity, but yielded was at length announced for represenlittle satisfaction to either play-goers or tation before the actors had received performers. A succession of stock pieces, their respective parts. On reference to got up with indifferent spirit, and pre- the original manuscript, Moore found sented with little skill, contributed to that the concluding scenes bore evident create further disappointment, and to marks of haste, they having been written induce general regret at the exchange when there was no longer time for fasin the management. Audiences were tidiousness. On the last leaf there is gradually growing thin, when Sheridan inscribed in the author's handwriting, suddenly astonished and delighted them "Finished at last, thank God;" to which by the production of a new comedy, the prompter, something of a humorist, which has deservedly gained for him has added, "Amen. W. Hopkins.' a high and permanent reputation. On Singular as it may seem, there is no the 8th of May, 1777, the inimitable printed copy of this play authenticated "School for Scandal" was first success- by Sheridan; he could never complete fully represented. With this brilliant it to his mind, and so, with characterand captivating performance the town istie indifference, left it to circulate from was gratified beyond description. It is hand to hand without taking any steps indeed a composition of consummate skill to be assured of its correctness. and genius; light, airy, sparkling, every made an arrangement many years after where running over with wit; a genuine its appearance, with Ridgway of Piccaeffusion of an imagination alive to con-dilly for the purchase of the copyright, versational effect, and endued with a perfect mastery over the power of striking contrast. It is decidedly the most complete and effective of all the author's works. It was not produced rapidly, by a single felicitous effort, but was slowly elaborated into its present shape by a careful and scrupulous diligence. Sheridan's mode of writing was far more artistic than is generally supposed. His most brilliant turns of expression, and happiest gems of thought, were seldom the instantaneous effusions of his mind, but underwent, for the most part, a gradual transformation before reaching the final perfection in which we see them. His genius was not an intellectual daguerreotype, drawing portraits with the rays of the sun, but it worked

He

but when urged to furnish the manuscript, his answer was, "that he had been nineteen years endeavouring to satisfy himself with the style of the School for Scandal,' but had not yet succeeded.”

Could Sheridan have produced a new play every three months, he might perhaps have kept Drury Lane in a flourishing condition. But with his comparatively slow and collected manner of writing, this was obviously impossible; and as he took little interest in bringing forward suitable pieces by other writers, the affairs of the house soon became entangled. An obsequious critic, in reference to the success of the "School for Scandal," had observed to Garrick, "This, sir, is but a single play, and in the long run will be but a slender help

to support the theatre. To you, Mr. pondence between himself and Mr. King with these words:-" Poor old Drury, I feel that it will very soon be in the hands of the Philistines."

same time, his general heedlessness is indefensible, and he had occasionally to pay for it, being now and then compelled to silence some urgent claimant with money, by way of indemnity for the unwitting loss or destruction of a manuscript.

Garrick, I must say the Atlas that propped the stage has left his station;" and though, the Atlas replied, that he had been fortunate in finding "another The complaints urged against Sheridan Hercules to succeed him," yet it was were manifold. He neglected to open very soon apparent that the shoulders his letters, which on that account were of the successor were inadequate to the collected into an indiscriminate heap, burden he had assumed, and that the and oftentimes when their accumulation obsequious critic had given proof of rather alarmed the manager, they were some discernment Nothing could ex- consigned to the fire, and frequently ceed the mismanagement into which communications of importance were thus everything fell. Numerous were the sacrificed. Authors complained of the letters addressed to Garrick, respecting loss or neglect of their manuscripts, and the heedlessness and perversity of the even boldly asserted that their plots, innew manager. Mrs. Clive wrote, "Every- cidents, and conversations, were approbody is raving against Sheridan for his priated and brought out in such shapes supineness; there never was in nature that the parent only recognised his such a contrast as Garrick and Sheridan offspring by some feature which was -what have you given him that he unmistakeable. This latter accusation, keeps so?" But a letter from Hopkins, however, Sheridan unhesitatingly met the prompter will best show the chaotic and ridiculed in the " Critic;" and as and unsatisfactory state of the theatre's far as we can perceive, it is wanting in affairs:-"V "We played last night Much sufficient evidence to support it. At the Ado about Nothing,' and had to make an apology for three principal parts. About twelve o'clock Mr. Henderson, from Covent Garden, sent word that he was not able to play. We got Mr. Lewis, from Covent Garden, who supplied the place of Benedict. Soon after Mr. Parsons sent word he could not play; Mr. Moody supplied the place of Dogberry; and about four in the afternoon, Mr. Vernon sent word he could not play; Mr. Mattock supplied his part of Balthazar. I thought myself very happy in getting these wide gaps so well stopped. In the middle of the first act a message was brought me that Mr. Lamash, who was to play the part of Borachio, was not come to the house. I had nobody that could go on for it, so I was obliged to cut his scenes in the first and second acts entirely out, and get Mr. Wrighton to go on for the remainder of the part. At length, we got the play over without the audience finding it out. We had a very bad house. Mr. Parsons is not able to play in the 'School for Scandal,' to-morrow night; I do not know how we shall be able to settle that. I hope the pantomime may prove successful, and relieve us from this dreadful situation." These, and endless similar communications, could not fail to be distressing to Garrick, who, independently of the large pecuniary interest he had at stake, felt great anxiety for the welfare of Sheridan and his colleagues; he concludes a corres

Notwithstanding the general disorder into which the affairs of Drury Lane were falling, Sheridan involved himself, in 1788, by the purchase of additional interests in the theatre. His management still continued to give almost universal dissatisfaction; play-goers were growing mutinously disposed, and seemed likely to break out into visible rebellion. Sheridan had the fortune to appease them just at the right time, by a new production of his own-the memorable farce of "The Critic, or a Tragedy Rehearsed," the last dramatic effort of his genius. Being a clever travesty of the dramatic compositions of the day, and, in part, a satire upon a living author whose irritability was the occasion of much ridicule: it met with unbounded approbation. Cumberland, a voluminous play-writer, whose works are now almost forgotten, and never were worthy of being remembered, was broadly, but most ingeniously, caricatured, under the character of Sir Fretful Plagiary, who seems to have been introduced solely for the purpose, as he has no manner of connection with the piece. Puff and Dangle are also understood to have been well-known dabblers in the

theatrical business of the day. Boundless the joke, set to in good earnest, and was the amusement and joy of the play-finished the work to the great delight of goers accordingly. What so delightful all parties. as to see one's neighbours and acquaintances exhibited for the popular entertainment? The piece, however, has undeniable merits as a burlesque, and is as complete a satire upon the plays of the present day, as it is of those of the last generation. For a long time no tragedy could be produced at any theatre without the risk of creating laughter; and, accordingly, all managers were "bound to decline articles of that de-versation prepared, but none of which scription."

With the "Critic" ends the series of Sheridan's dramatic writings; for "Pizarro," which was brought out shortly afterwards, is only an adaptation to the English stage of Kotzebue's “Spaniards in Peru," and is in great part a mere translation. He appears to have meditated many other works, slight sketches of which were drawn, the outlines of characters delineated, and heads of con

were perfected, and remain now only as

There is an amusing anecdote, well | literary curiosities. authenticated, touching the manner in When a man by incompetency or which the "Critic" was completed. Two negligence has given proof that he is days before it was announced to be inadequate to the management of his played, Sheridan had not finished the own concerns, he usually feels justified last scene. Everybody was anxious and in undertaking those of the nation. nervous; Mr. Linley and Dr. Ford, With a dissolution of Parliament in being joint and responsible managers, 1780, Sheridan was accordingly seized were in no enviable state; the per- with an ambition to become a legis formers looked on each other with rue-lator; conceiving it to be "the peculiar ful faces. King, who had the part of excellence of the British constitution, Puff to sustain, was the stage manager; it was accordingly his especial duty to find out Sheridan, and to weary him with remonstrances on the backward state of things. But matters went on much as usual; Sheridan came to the theatre, made the customary promise that he was "just going home to finish it;" that in fact it was completed, and only wanted an additional line or two. His father-in-law, Linley, knew the only sufficient spur to his industry; he therefore ordered a night rehearsal, and invited Sheridan to dine with him, gave him a capital dinner, proposed a lounge to Drury Lane whilst the supper was preparing; Sheridan assented, and they sauntered together up and down the stage previous to the rehearsal, when King, stepping up to the remiss dramatist, requested a moment's audience, and went with him into the small greenroom, where there was a comfortable fire, a good arm chair, a table furnished with pens, ink, and paper, two bottles of claret, a tempting dish of anchovy sandwiches, and the prompter's unfinished copy of the “ Critic." King, immediately Sheridan entered the room, withdrew and locked the door, when Ford and Linley made their pleasure known to him, that he was to finish the wine and the farce, but not to be allowed to stir out of the room until both were at an end. Sheridan laughed heartily at

that a man could push forward into notice and distinction the talents or abilities, whatever they might be, with which Providence had endowed him." Through the interest apparently of aristocratic friends he sallies forth to canvass the constituency of Stafford. By his winning address, his infinite wit and drollery, his elegant deportment, his liberality of hand, he secures almost universal favour. Such a persuasive tongue, such a felicitous ingenuity in controverting or establishing conviction, such boundless courtesy and unhesitating prodigality of promise, such breadth of urbanity and immeasurable sympathy with all conditions of electors, could not fail with any human constituency to yield results. He was triumphantly returned to represent the burghers of Stafford in Parliament. Singular to say, many of his promises were scrupulously kept. Each voter who wanted a place found to his delight that one had been reserved for him; not a man who asked it but was gratified with an offer either at Drury Lane Theatre or the Opera House, and on repairing thither was promptly installed in his situation. Ever with successive elections he is enabled to accommodate new friends; for most of those who accepted posts under him quickly resigned them, as their salaries for the most part were only promises to pay, which were

realized, if at all, at such a distance of time as to wear out the patience of ordinary placemen. Sheridan, however, has unquestionably become a portion of the collective wisdom of the empire.

command, and he has the skill to combine them in grand and irresistible effect. To have heard him speak is now a distinction among men. Yet, doubt it not, he delivered many comparatively dull speeches. No man is uniformly great. Still, always with great occasion, Sheridan rises to the level of its require ments; by force of genius and incredible industry in the acquisition of informa tion, he invariably equals, and oftentimes exceeds the expectations of those who most intimately knew him, and who entertained the highest opinion of his powers. Burke declared his speech in the House of Commons, on the con

quence, argument and wit united, of which there was any record or tradition." Fox said of it, that "all he ever heard, all he ever read, when compared with

The first thing he has to do on taking his seat in the House of Commons, is to answer a petition against his election, involving charges of bribery and corruption. Some of "the lowest and most unprincipled voters" had been seduced into raising the accusation. The young member successfully defended himself and his constituency against the calumny; and "wished that some adequate penalties should be inflicted on those who traduced and stigmatized so duct of Warren Hastings in India, to be respectable a body of men." The peti-" the most astonishing burst of elotion, as almost uniformly happens in such cases, was instantly withdrawn; Sheridan was confirmed in his seat. He was listened to with great interest and attention by the House, his literary re-it, dwindled into nothing, and vanished putation having prepared for him a willing and favourable reception. It appears, however, that even those who were disposed to judge favourably of his capabilities, confidently concluded that "Nature never intended him for an orator." A certain indistinctness of speech, and considerable agitation and hesitancy of manner, impressed the majority that "his mental powers appeared to be very superior to his physical qualifications." On concluding his speech he went into the gallery where Woodfall was reporting, and with evident anxiety tried to obtain from him an opinion as to the probability of his ultimate success. Woodfall candidly advised him to abide by his previous pursuits, for that now he was certainly out of his element, and had little chance of ever becoming properly adapted to it. Sheridan, nevertheless, entertained a contrary belief; "I know that it is in me," said he, "and therefore out it shall come!"

like vapour before the sun." And even Pitt, Sheridan's most uniform and determined adversary, acknowledged that " the speech surpassed all the eloquence of ancient or modern times, and pos sessed everything that genius or art could furnish to agitate and control the human mind." The testimony of such judges is of the highest, most unquestionable character, and leaves nothing in the way of further eulogy to be ad duced.

Sheridan's parliamentary career, imperfectly delineated in his published speeches, extends over a space of upwards of thirty years, an eventful and exciting period of British history. During the whole of this time, his influence over the public affairs was manifest and considerable, though not, perhaps, so great as some of his ad mirers seem to fancy. In political insight he was probably inferior to none of the prominent men of the time; he saw into the future quite as far, and Accordingly, after many efforts, and knew as intimately as any what the much diligent study and preparation, commotions and distractions of the age it did at length" come out," with rather might signify; many a keen glance did astonishing effect. He rises into bound-he dart beyond him, many a wise warn less celebrity; becomes the most bril- ing vehemently deliver; no one had liant and attractive orator in England. a more clear or comprehensive underHe "has it in him," and ever as opportunities occur he makes it visible that here is a man of consummate gifts and cultivation. Hearing him, men learn to comprehend the magnificent powers of human speech. All the splendours of a rich composite eloquence are at his

standing of the political doctrines which he espoused, or adhered more consist ently to their consequences. Yet with all this, Sheridan had nothing of states. man-like ability. The man was not greater than his time; could in no case have successfully directed the tendencies