tails of the theatre. It is enough here to suggest
that, in the reading of the different plays here offered, some
consideration be paid to the general theatrical atmosphere which
created and fostered them.

In several of the Introductions the editor has had occasion to
mention the exercises and dialogues and plays given in the colleges
before the Revolution. These were the distinctive forms which time
and occasion created; otherwise the early American dramatist framed
his pieces in imitation of English and German tradition. However, as
soon as the national period began, another interesting dramatic
experiment was put into effect. This has been noted by W. W. Clapp,
in his chapter written for Justin Winsor's "Commemorative History of
Boston." He says:

"[It was] the custom in the earlier days of the theatre to signalize
passing events by such appropriate notice as the resources of the
stage would permit."

In other words, the event called forth from the Manager, because of
commercial possibilities, certain spectacular scenes to attract the
patriotic notice of the people. Manager Hodgkinson, on September 20,
1797, celebrated the launching of the frigate _Constitution_.[3] On
January 8, 1800, at the New York Theatre, an "Ode on the Death of
General Washington" was recited by Mr. Hodgkinson, written by Samuel
Low. It is interesting here to note likewise that Royall Tyler
pronounced a Eulogy on Washington at Bennington, Vermont, on
February 22, 1800.

[3] Dunlap, himself atune to the hour, wrote "Yankee Chronology; or,
Huzza for the Constitution"--"a musical Interlude, in One Act, to
which are added, The Patriotic Songs of the Freedom of the Seas, and
Yankee Tars," produced at the Park Theatre, New York, 1812. Dunlap
wrote many pieces of like character.

A patriotic effusion, celebrating the capture of the British frigate
_Guerriere_, was produced on October 2, 1812. In 1813, to
commemorate the victory of Perry, a piece was mounted, entitled,
"Heroes of the Lake; or, the Glorious Tenth of September." Another
piece, equally as suggestive in its title, was "The Sailor's Return;
or, Constitution Safe in Port."

When the Marquis de Lafayette visited the United States in 1825, and
was taken to the theatre, the occasion was celebrated by an
appropriate "drop." In other words, the Manager, even in those days,
had the commercial instinct fully developed.

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In the preparation of th