ling all one's fine thoughts. My comedy of 'Tears and Smiles' was to
be called 'Name it Yourself,' when out comes a 'Name it Yourself,' in
England, and out comes too a 'Smiles and Tears,' with a widow, an
Irishman, and almost all my _dramat. pers._ I wrote the 'Indian Princess,'
and an 'Indian Princess' appears in England. Looking over the old English
dramatists, I am struck with the 'Damon and Pythias' of Edwards as a
subject, but am scarcely set down to it, when lo, the modern play in
London; and what is worse, with the fine part of Pythias absolutely
transformed into a snivelling fellow, who bellows like a calf at the
prospect of dying for his friend. 'Wallace' was purloined from me in like
manner, and several other heroes: at length I fix upon 'Epaminondas', as
a 'learned Theban' of so philosophical a cast of character, that even the
French had not thought of him for the boards. I form my plot, and begin
_con amore_, when I am told that Dr. Bird has written a 'Pelopidas' and an
'Epaminondas,' comprehending the whole life of the latter."

Then, having finished with his diatribe against coincidence--a diatribe
which excellently well shows the channels in which Barker's literary mind
ran, and likewise the closeness with which he followed the literary
activity of the period among his associates, he continued in his narrative
to Dunlap:

"'Tears and Smiles' was written between May 1 and June 12, of 1806, with
the character of a Yankee intended for Jefferson. By the way, such a
Yankee as I drew!" he writes. "I wonder what Hackett would say to it! The
truth is, I had never even seen a Yankee at the time."

Then, in view of Barker's political tastes which, in consideration of the
dramatists of those days, one must always take into account, he wrote a
piece called "The Embargo; or, What News?" borrowed from Murphy's
"Upholsterer," and produced on March 16, 1808.

Between this play and 1809, "The Indian Princess" was written, and what
Barker has to say about it will be quoted in its proper place.

Right now, we are letting him enumerate his own literary activities, which
were many and continuous.

In 1809, he Americanized Cherry's "Travellers," a dramatic method which
has long been in vogue between America and England, and has, in many
respects, spoiled many American comedies for English consumption.

In 1812, at the request of Manager Wood, Mr. Barker made a dramatization
of Scott's "Marmion," and, strange to say, it w