he asks her, must he betray truth, virtue, and his friend? But love is strongest: to that af and he con

fection all other motives give way,

sents to make a discovery of the plot in full senate. He enters with Belvidera, and delivers a list of his associates. Pierre is brought in a prisoner, and, though in a wrong cause; behaves with the greatest fortitude, and spurns from him the man that betrayed him. Jaffier is conscious of his treachery; a sense of honour takes possession of him, and his love, which subdued his friendship, is for a time extinguished. He calls Belvidera the cause of his perfidy; her tears and false persuading love made him a traitor to his friend, and he resolves that she shall fall a sacrifice. He is on the point of killing her, but his affection once more revives, and from his unnerved arm he drops his poniard. Even in that moment,

friendship

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friendship mingles with his conflicting passions; he charges Belvidera to fly to her father, and save his friend, or all future quiet is lost for ever. To the last, he does not forget his love of Belvidera; he addresses her in the most pathetic terms. The bell tolls for the execution, and strikes terror through the audience. He takes the last farewel of his wife, and hastens to his friend; to save him from the rack, he gives Pierre the death-blow, and then dispatches himself. Belvidera loses her senses, and dies in that wretched condition. In this manner, Jaffier, struggling with alternate virtues, and never firm and constant in any one of them, is the author of his own misery. Such is the character, in which Garrick called forth all his powers. The various passions, expressed by Otway with the greatest energy, were perfectly suited to the genius of

Garrick.

Garrick. He was supported by the enchanting melody of Mrs. Cibber. Barry, it must be ac knowledged, did not shine in the part of Pierre. The character was not suited to him: his voice was too soft and tender for that rough hero. He felt himself fitter for Jaffier; and, during the run of the play, kept his eye on Garrick, resolved, with all the ideas he could glean from that great master, to enter the lists with him at a future day. This he did on CoventGarden stage, with such harmonious notes, that he was allowed to rival Garrick, and, in some passages, to surpass him.

CHAP.

CHAP. XIII.

The FOUNDLING, a Comedy, by EDWARD MOORE-Criticism on the Play-The Farce of LETHE revived, and meets with Opposition-GARRICK's Alteration of ROMEO and JULIET The Catastrophe first altered by OTWAY, and greatly improved by GARRICK ROMEO given to BARRY, who acquits kimself with great Applause-Mrs. CIBBER charms every Ear in the Part of JULIET-The Play of MUCH ADO About NOTHING-GARRICK in BENEDICK, and Mrs. PRITCHARD in BEATRICE.

AFTER the run of Venice Preserved, the first new piece was the comedy of the Foundling, by Edward Moore, the elegant author of Fables for the Female Sex. The situation of Fidelia fixes our attention, and her amiable qualities interest us in her favour. A

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cloud

cloud hangs over her real condition, and in the mean time, she appears to be a helpless Foundling. New perplexities arise in the progress of the fable, and all is involved in mystery, till, towards the end of the piece, her true history is brought to light by unexpected but probable means. Being acknowledged by her father, Sir Charles Raymond, she is married to young Belmont, who, with the spirit of a young rake, had formed a dishonourable scheme to ruin her virtue. The character of Rosetta, who is in love with Colonel Raymond, but chuses to coquette with a man of his jealous temper, is lively, gay, and entertaining. The dialogue in the two first acts, is carried on with wit, humour, and great vivacity. The three last acts are of a serious cast, without any intermixture of pleasantry. It is to be regretted, that Mr. Moore did not make a better use

of