children but by Robert, his eldest son, afterwards Fellow of St. John's College, and a venerable Doctor in Divinity. William, whom we may justly style the Sweet Swan of Isis, was educated in grammar learning under Edward Sylvester, and, in academical, in Lincoln College, under the care of Mr. Daniel Hough, in 1620-21, or thereabouts, and obtained there some smattering in logic; but his genius, which was always opposite to it, led him in the pleasant paths of poetry; so that, though he wanted much of University learning, yet he made as high and noble flights in the poetical faculty, as fancy could advance without it."-Wood's Athenæ Oxon.

This "Sweet Swan of Isis," as Wood calls him, was silly enough to insinuate, in some of his social moments, that Shakspeare had particular reasons for his annual visits to his father's tavern; he even went so far as to say, "that it seemed to him, that he writ with the very spirit that Shakspeare wrote with, and was contented enough to be thought his son." This idea, hazarded "when he was pleasant over a glass of wine with his most intimate friends," has been since circulated by Malone, and other respectable writers, as not destitute of foundation; though

the circumstances of the story are evidently improbable, as gallantry, and more especially adultery, were by no means the fashionable vices of that age; and as Shakspeare, more particularly, seems remarkable for the chastity and amiable purity of his morals.

On the death of Jonson, D'Avenant succeeded to the vacant laurel; and although we cannot subscribe to the extravagant encomiums bestowed upon his poetry by Cowley and others, his contemporaries, and reiterated by Dr. Aikin, and other eminent critics of the present day; yet the zeal and fortitude which he displayed in his long and arduous struggles for the revival of the Drama, which had been entirely suppressed by the gloomy fanaticism of the times, and the success which at length attended his efforts, entitle him to the esteem and gratitude of every friend of the stage.

THEATRES, SCHOOLS OF morals.

SIR RICHARD PHILLIPS, in an Essay in the Monthly Magazine, after extolling Theatres as Schools of Morals, Manners, and Social Refinement, insists that in every town where they exist on a good footing, they have polished the inhabi

tants, and raised them above the trammels of ignorance and superstition.

He then proceeds to describe them, as objects worthy of special legislative protection and public support, and ascribes all the vices with which they have been charged, partly to the jealousy of religious fanaticism, and partly to their want of efficient and regular patronage. In the shifts of necessity arise, (says he,) the low character of provincial companies, and if Theatres were sustained by any public assessment under liberal controul, the recompense of performers would be certain, and the profession become as moral in example as in its tendency.

He proposes, therefore, that every country town, and every other town containing above 10,000 inhabitants, should be provided with a substantial Theatre, built at the public expense, to let, rent free, to any suitable Manager, on providing properties, and a respectable company. The whole then to be subject to the controul of two inspectors, to be chosen triennially by the town, and these, with the Manager, to decide on any questionable points.

Abstracts of the accounts to be published annually, signed by the three; and deficiencies, if

any, to be supplied by the public in such way, as that the Manager shall not get less than a fixed annual sum for his own trouble, or not less than £250 or £500 per annum, according to the size of the place.

As one means of rendering them useful to the lower classes, in keeping them out of public houses, the prices to the galleries should be reduced to half on Saturday and Monday nights, and known prostitutes should be refused admission, and taken into custody, if they appear in the purlieus of the theatre, while no liquors should be allowed to be sold within the house.

The building of such Theatres would, it is estimated, cost from £2000 to £5000 each; and as greater attendance would, on this plan, be secured, indemnity to the Manager would seldom be required; and, if required, could never exceed a few pounds per night.

If sobriety and honesty prevail more on the Continent than in Britain, Sir Richard ascribes it to the general habit of frequenting Theatres, especially on Sunday evenings; when, for want of rational relaxation, those who labour through the week, indulge habitually in drinking. He conceives he does not violate prejudice by recom

mending the Theatres, instead of the Church or Chapel: but, in making his choice, he thinks Theatres ought to be preferred to public houses; and that if the latter are allowed to be opened, the former ought, in reason, not to be closed.

DICKY ROBINSON, THE COMEDIAN. DICKY ROBINSON was a comedian of the early part of the seventeenth century, and famous for acting women's parts. He appears, by the following verses of Cowley, addressed to Sir Kenelm Digby, and prefixed to "Love's Riddle," to have been in great vogue:

"Nor has❜t a part for Robinson, whom they

At school account essential to a play."

He played Wittipol in Ben Jonson's comedy, "The Devil is an Ass," and is very highly complimented by Jonson. During the Civil War he followed the fortunes of the King, and obtained a commission in the royal army. He was murdered at the Siege of Bassinge-House, by Harrison, who shot him through the head after he had laid down his arms, exclaiming, in the blasphemous cant of the times, " Cursed be he that doeth the work of the Lord deceitfully!"