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piece of American fiction. Dunlap writes of the performance (American Theatre, ii, 20):

      The receipts were 817 dollars, a temporary relief. The play was received with warm applause, until Mr. Cooper, in the character of a young American officer, who had been treated as a brother by André when a prisoner with the British, in his zeal and gratitude, having pleaded for the life of the spy in vain, tears the American cockade from his casque, and throws it from him. This was not, perhaps could not be, understood by a mixed assembly; they thought the country and its defenders insulted, and a hiss ensued – it was soon quieted, and the play ended with applause. But the feeling excited by the incident was propagated out of doors. Cooper's friends wished the play withdrawn, on his account, fearing for his popularity. However, the author made an alteration in the incident, and subsequently all went on to the end with applause.

      A scene from the last act of "André"4 was produced at an American Drama Matinée, under the auspices of the American Drama Committee of the Drama League of America, New York Centre, on January 22nd and 23rd, 1917. There are many Arnold and André plays, some of which have been noted by Professor Matthews.5 Another interesting historical study is the stage popularity of Nathan Hale.

      We might go on indefinitely, narrating incidents connected with Dunlap as citizen, painter, playwright, author, and theatrical manager, for within a very short time he managed the John Street and New Park Theatres, retiring for a while in 1805.

      But this is sufficient to illustrate the pioneer character of his work and influence. Inaccurate he may have been in his "History of the American Theatre," but the atmosphere is there, and he never failed to recognize merit, and to give touches of character to the actors, without which our impression of the early theatre in this country would be the poorer. The name of William Dunlap is intimately associated with the beginnings of American painting, American literary life and the American Theatre. It is for these he will ever remain distinguished.

      As a playwright, he wrote so rapidly, and so constantly utilized over and over again, not only his own material, but the materials of others, that it is not surprising to find him often in dispute with dramatic authors of the time. A typical disagreement occurred in the case of the actor John Hodgkinson (1767-1805), whose drama, "The Man of Fortitude; or, the Knight's Adventure," given at the John Street Theatre, on June 7, 1797, was, according to Dunlap, based on his own one-act verse play, "The Knight's Adventure," submitted to the actor some years before.

      Only the play, based on the 1798 edition, is here reproduced. The authentic documents are omitted.

      PREFACE

      More than nine years ago the Author made choice of the death of Major André as the Subject of a Tragedy, and part of what is now offered to the public was written at that time. Many circumstances discouraged him from finishing his Play, and among them must be reckoned a prevailing opinion that recent events are unfit subjects for tragedy. These discouragements have at length all given way to his desire of bringing a story on the Stage so eminently fitted, in his opinion, to excite interest in the breasts of an American audience.

      In exhibiting a stage representation of a real transaction, the particulars of which are fresh in the minds of many of the audience, an author has this peculiar difficulty to struggle with, that those who know the events expect to see them all recorded; and any deviation from what they remember to be fact, appears to them as a fault in the poet; they are disappointed, their expectations are not fulfilled, and the writer is more or less condemned, not considering the difference between the poet and the historian, or not knowing that what is intended to be exhibited is a free poetical picture, not an exact historical portrait.

      Still further difficulties has the Tragedy of André to surmount, difficulties independent of its own demerits, in its way to public favour. The subject necessarily involves political questions; but the Author presumes that he owes no apology to any one for having shewn himself an American. The friends of Major André (and it appears that all who knew him were his friends) will look with a jealous eye on the Poem, whose principal incident is the sad catastrophe which his misconduct, in submitting to be an instrument in a transaction of treachery and deceit, justly brought upon him: but these friends have no cause of offence; the Author has adorned the poetical character of André with every virtue; he has made him his Hero; to do which, he was under the necessity of making him condemn his own conduct, in the one dreadfully unfortunate action of his life. To shew the effects which Major André's excellent qualities had upon the minds of men, the Author has drawn a generous and amiable youth, so blinded by his love for the accomplished Briton, as to consider his country, and the great commander of her armies, as in the commission of such horrid injustice, that he, in the anguish of his soul, disclaims the service. In this it appears, since the first representation, that the Author has gone near to offend the veterans of the American army who were present on the first night, and who not knowing the sequel of the action, felt much disposed to condemn him: but surely they must remember the diversity of opinion which agitated the minds of men at that time, on the question of the propriety of putting André to death; and when they add the circumstances of André's having saved the life of this youth, and gained his ardent friendship, they will be inclined to mingle with their disapprobation, a sentiment of pity, and excuse, perhaps commend the Poet, who has represented the action without sanctioning it by his approbation.

      As a sequel to the affair of the cockade, the Author has added the following lines, which the reader is requested to insert, page 55, between the 5th and 15th lines, instead of the lines he will find there, which were printed before the piece was represented.6—

Bland

      Noble M'Donald, truth and honour's champion!

      Yet think not strange that my intemperance wrong'd thee:

      Good as thou art! for, would'st thou, canst thou, think it?

      My tongue, unbridled, hath the same offence,

      With action violent, and boisterous tone,

      Hurl'd on that glorious man, whose pious labours

      Shield from every ill his grateful country!

      That man, whom friends to adoration love,

      And enemies revere. – Yes, M'Donald,

      Even in the presence of the first of men

      Did I abjure the service of my country,

      And reft my helmet of that glorious badge

      Which graces even the brow of Washington.

      How shall I see him more! —

M'Donald

      Alive himself to every generous impulse,

      He hath excus'd the impetuous warmth of youth,

      In expectation that thy fiery soul,Chasten'd by time and reason, will receive

      The stamp indelible of godlike virtue.

      To me, in trust, he gave this badge disclaim'd,

      With power, when thou shouldst see thy wrongful error,

      From him, to reinstate it in thy helm,

      And thee in his high favour.

[Gives the cockade.Bland [takes the cockade and replaces it]

      Shall I speak my thoughts of thee and him?

      No: – let my actions henceforth shew what thou

      And he have made me. Ne'er shall my helmet

      Lack again its proudest, noblest ornament,

      Until my country knows the rest of peace,

      Or Bland the peace of death!

[Exit.

      This alteration, as well as the whole performance, on the second night, met the warm approbation of the audience.

      To the performers the Author takes this opportunity of returning his thanks for their exertions in his behalf; perfectly convinced,

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