that
the experiment, so far as he could judge, had succeeded; during the
ten nights, compared with the ten nights preceding, an addition of
one-third having been made to the number of persons visiting the
theatre. Still, he did not feel justified in pledging himself to
continue the arrangement in future seasons. There was indeed no
further trial of the double-performance system in lieu of half-price.

It is rather curious to find the plan of half-price having any sort
of effect upon dramatic literature, yet we find, in the "Autobiography
of Thomas Dibdin," 1827, the following advice, given him by Lewis, the
stage-manager at Covent Garden, in regard to writing for the stage,
and apropos of Mr. Dibdin's comedy, called "Liberal Opinions":

"MY DEAR TOM,--This will be your first five-act production, and don't
be offended if an old practitioner ventures to offer (from the respect
he bears you) the fruits of his long experience. Half-price is a very
proper privilege for those whose time or pockets do not afford them an
opportunity of visiting the theatre earlier; but it is often the bane
of an author on the first night of a five-act play. The new-comers
know nothing of the foregone part of the drama; and having no context
with which to connect allusions in the fourth and fifth acts, are apt
to damn without consideration that which they are no judges of--

And what they cannot comprehend deny.

"To be fore-armed against this contingency, contrive to make some
character (either in the heat of passion, or in any way you please)
briefly run over all the foregoing parts of the story, so as to put
everyone in possession of what they otherwise would have lost by
absence; and, take my word, you will reap the benefit of it."

Mr. Dibdin expresses so much gratitude for Mr. Lewis's counsel, and
recommends it so earnestly to the consideration of all young
dramatists, that we cannot doubt that some effect upon subsequent
writings for the stage must in this indirect way have resulted from
the half-price system, and in avoidance of its disadvantages, as set
forth by the stage-manager of Covent Garden Theatre.

CHAPTER XXI.

THE DRAMA UNDER DIFFICULTIES.

For such a triumph as fanaticism enjoyed over the fine arts in England
during and for some time after the great Civil War, no parallel can be
found in the history of any other nation. And it was not, be it
remembered, the work of a capricious and cruel despot; it was t