character
appeared under the identical title of _The Theatrical Review_ both in
1758 and 1772. The latter collected the ephemeral dramatic criticisms
of John Potter, a well-known writer for the stage.]

All that is worth noting of the _Theatrical Review_ of 1763 now is
that among its contributors was an extremely interesting personality.
He was a young man of good education and independent means, who had
chambers in the Temple, and was enthusiastically applying himself to a
study of Shakespeare and Elizabethan dramatic literature. His name,
George Steevens, acquired in later years world-wide fame as that of
the most learned of Shakespearean commentators. Of the real value of
Steevens's scholarship no question is admissible, and his reputation
justly grew with his years. Yet Steevens's temper was singularly
perverse and mischievous. His confidence in his own powers led him to
contemn the powers of other people. He enjoyed nothing so much as
mystifying those who were engaged in the same pursuits as himself, and
his favourite method of mystification was to announce anonymously the
discovery of documents which owed all their existence to his own
ingenuity. This, he admitted, was his notion of "fun." Whenever the
whim seized him, he would in gravest manner reveal to the Press, or
even contrive to bring to the notice of a learned society, some
alleged relic in manuscript or in stone which he had deliberately
manufactured. His sole aim was to recreate himself with laughter at
the perplexity that such unholy pranks aroused. It is one of these
Puck-like tricks on Steevens's part that has spread confusion among
those of my correspondents, who allege that Peele has handed down to
us a personal reminiscence of the great dramatist.

The _Theatrical Review_, in its second number, offered an anonymous
biography of the great actor and theatrical manager of Shakespeare's
day, Edward Alleyn. This biography was clearly one of Steevens's
earliest efforts. It is for the most part an innocent compilation. But
it contains one passage in its author's characteristic vein of
mischief. Midway in the essay the reader is solemnly assured that a
brand-new contemporary reference to Alleyn's eminent associate
Shakespeare was at his disposal. The new story "carries with it"
(asserts the writer) "all the air of probability and truth, and has
never been in print before." "A gentleman of honour and veracity," run
the next sentences, which were designed