ound himself by the side of Trumbull, fighting against the British and
serving a short while under General Sullivan.

In 1779, he was admitted to the bar, and there followed a long
succession of activities, in which he moved from place to place, finally
associating himself definitely with the early history of Vermont, and
Brattleboro in particular.

There is much interesting data in existence relating to Royall Tyler's
literary activities, as a writer of witty articles, sprightly verse and
autobiographical experiences--in a style which, while lacking in
distinction, is none the less a measure of the sprightliness of the
author's disposition. It is not my purpose to enter into a discussion of
anything but Royall Tyler as the author of "The Contrast." He wrote
several other plays besides,[2] one dealing with the wild-cat land
speculation in Georgia. But the play under discussion is fully
representative of his dramatic ability, an ability which would scarcely
be worthy of too much commendation were it not for the fact that Tyler
may be regarded as the creator of the Yankee type in American drama.

In 1787, Shays's Rebellion brought Tyler once more under the command of
Major-General Benjamin Lincoln, with whom he had served in the
Revolutionary War. As an aide, he was required to go into the State of
New York, and arrange for the pursuit and capture of Shays. It was, as I
have said, while on this mission in New York City that he went to the
theatre for the first time. He witnessed Sheridan's "The School for
Scandal," and in the audience on the occasion there very probably sat
George Washington. The latter was a constant frequenter of the little
John Street Theatre, where Wignell was the chief comedian. Apart from
_Jonathan's_ description of this "Colonial" Playhouse, as it looked
after the Revolution, we have Seilhamer's impression (i, 212), as
follows:

"... the theatre in John Street ... for a quarter of a century
was to New York what the Southwark Theatre was to Philadelphia.
Both houses were alike in appearance, but the New York Theatre
stood back about sixty feet from the street, with a covered way
of rough wooden materials from the sidewalk to the doors. It was
principally of wood and was painted red. It had two rows of
boxes, and a pit and gallery, the capacity of the house when
full being about eight hundred dollars. The stage was
sufficiently large for all the requirements of