Some account of the English stage, from the restoration in 1600 to 1830

SOME ACCOUNT

OF THE

C

ENGLISH STAGE,

FROM THE

RESTORATION IN 1660 TO 1830.

f fl R^o.

IN TEN VOLUMES.

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iarofia.v crvvsfc%x.(/.£v, - EVAGRIUS, p. 473.

IF ANY THING BE OVERLOOKED, OR NOT ACCURATELY INSERTED, LET
NO ONE FIND FAULT, BUT TAKE INTO CONSIDERATION THAT THIS
HISTORY IS COMPILED FROM ALL QUARTERS.

VOL II.

BATH :

PRINTED BY H. E. CARRINGTON.
SOLD BY THOMAS ROOD, GREAT NEWPORT STREET, LONDON

at <&tationm'

5L5VI

CONTENTS.

T. R. 1691.

Langbaine.

T. R. 1692.

Shadwell.

T. R. 1693-1694-1695.

L. I.F. 1695.

D. L. and L. L F. to 1697.

Collier.

D. L. and L. I. F. from 1698 to 1702.

Comparison between the two Stages.

D. L. to 1704-1705.

L. L F. and Haymarket to 1704-1705.

D. L. and Hay. to Jan. 10 1708.

D. L. 1708 and 1708-1709.

D. L. and Hay. 1709-1710.

Greenwich 1710.

D. L. to 1711-1712.

Swiney.

D. L. to 1714-1715.

L.I. F. 1714-1715.

D. L. and L. I. F. to 1718-1719.

N.B. For Corrections and Additions, see vol. 10 p. 255.

SOME ACCOUNT

OF THE

Stage from tf)e Restoration

IN 1660 TO 1830.

T. R. 1691.

Treacherous Brothers. Menaphori and Orgillus
(the treacherous brothers) = Mountfort and Hodgson :
King of Cyprus = Powell : Ithocles and Meleander
(in love with Marcelia) = Williams and Alexander:
Semanthe, Queen of Cyprus = Mrs. Bowtel : Marce-
lia (in love with Ithocles) = Mrs. Bracegirdle : Statilia
(disguised as Lattinius, and in love with Meleander)
= Mrs. Butler : Armena = Mrs. Jourden : — Menaphori
makes love to the Queen, and being repulsed by her,
he determines on revenge — he contrives to have a
sleeping potion administered to Ithocles and the
Queen — Orgillus conveys Ithocles to the Queen's
apartment — and Menaphon brings the King — Ithocles
and the Queen are found asleep on a couch, arm in
arm — the King sentences them both to death — in the
5th act Orgillus is seized with remorse — Menaphon

VOL. II. B

2 T. R. 1691.

stabs him to prevent a discovery — Orgillus survives
so as to declare the Queen's innocence — Menaphon
is executed — Ithocles is united to Marcelia — and Me-
leander to Statilia — this is a moderate T. by Powell
the actor — it came out in Hilary Term 1690 O. S.
that is in 1691 according to our present computation
— the Editors of the B. D. state it as printed in 1696
— they consider it, as Powell's third play — Mrs.
Knight begins the Prologue with—

" New plays is still the cry of the whole town,
" Therefore to day, young Powell gives you one ;
" The fellow never writ before this time."

Mrs. Butler in the Epilogue speaking of the author,

" Faith, Gentlemen, be kind to his first born."

The first edition of the Treacherous Brothers is
dated 1690 — Langbaine says that the main incident
—the soporifick potion — is borrowed from a romance
called the Wall Flower — it is introduced again in
Brutus of Alba 1696 — and in the Unnatural Mother
1698.

Distressed Innocence, or the Princess of Persia.
Isdigerdes (King of Persia) •=. Bowman : Hormidas
(his general and nephew — a Christian) = Mountford :
Theodosius (son to the Emperour Arcadius) = Powell:
Otrantes (formerly general) — Kynaston : Rugildas
(his friend — a villain) = Sandford : Audas (a Christian
Bishop) — Hodgson : Oruridana (supposed daughter
of Isdigerdes) = Mrs. Barry : Cleomira (wife to Hor-
midas— a Christian) = Mrs. Bracegirdle : — the temple
of the Sun is burnt — the Christians are falsely accused

T. R. 1691. 3

of having set fire to it — Isdigerdes orders a general
persecution — Hormidas and Cleomira are reduced to
slavery — Cleomira is " poisoned by philters," that is,
reduced to a state of insensibility by drugs — Otrantes
takes that opportunity to gratify his passion for her
—in the last act Otrantes is going to kill the king,
but is killed himself— Rugildas drags in Cleomira with
a dagger in his hand — Hormidas enters — the stage
effect produced at this moment is precisely the same
as that in the last act of Braganza — the scene how-
ever ends differently — Rugildas kills Cleomira — a
struggle ensues between him and Hormidas — they
are both mortally wounded — Orundana kills herself
from disappointment — it being made to appear, that
she is really the daughter of Otrantes, and that Cleo-
mira is the king's daughter — Isdigerdes puts a stop to
the persecution.

Settle in his dedication says " whatever fiction I
" have elsewhere interwoven, the distresses of Hor-
" midas and Cleomira are true history " —this play is
founded on the 39th chapter of the 5th book of Theo-
doritus — Settle has warpt the story in favour of the
Christians, for A£das, from a mistaken zeal, did pull
down a temple — Hormidas (properly Hormisdas) was
forced to lead the camels of the army, (as mentioned
in the play) — it was not however his wife, but the
wife of another person, who was taken from her hus-
band arid given to a slave — all the other circumstances
relating to Hormidas and Cleomira are fiction — Settle
makes his Persians talk of Minerva, CEdipus, Tarquin
&c. — on the whole this is far from a bad play.

Settle says in the dedication—" I grew weary of
" my little talent in Dramatics, and forsooth must be
" rambling into politics : and much I have got by it,

B 2

4 T. R. 1691.

" for, I thank 'em, they have undone me " — when
Dryden wrote his Absalom and Achitophel, and his
Medal, Settle answered them both — he was at that
time the poet of the Whigs — he afterwards became
so staunch a Tory, that he wrote a Heroick Poem on
the Coronation of James the 2d, and even a Pane-
gyrick upon Judge Jefferies — but before he could derive
any solid advantage from his change of party, the
Revolution took place, and from that period he lived
poor and despised till 1723-i — (Dr. Johnson and
B. D.) — political apostacy is so common, that it
rarely meets with the treatment, which it merits-
Settle had however prostituted his pen in so gross a
manner, that the contempt excited by his political
writings was even extended to his dramatic labours
—see City Ramble D. L. Aug. 17 1711.

King Edward the 3d with the Fall of Mortimer-
Mortimer, Earl of March (the Queen's paramour) =
Williams: Lord Mountacute = Mountfort : Edward
the 3d •=. Powell : Sir Thomas Delamore = Kynaston :
Sir Robert Holland =. Hodgson : Earl of Leicester =
Bowman: Earl of Exeter = Sandford : Tarleton
(Bishop of Hereford, and Chancellor of England) =
Leigh : Serjeant Eitherside^Nokes : Queen Mother
= Mrs. Barry : Maria (niece to Eitherside, in love
with Mountacute) = Mrs. Bracegirdle : — in the 5th
act the Queen Mother signs an order for the King's
confinement as a prisoner — this seems to be fiction—
in other respects the play differs but little from the
history — the author has added a comic underplot—
the Chancellor is of an amorous disposition — the
Serjeant pimps for him in hopes of preferment — he
brings Maria to the Chancellor, and insists that she

T. R. 1691. 5

should comply with his desires — the Chancellor is
attempting to ravish her, but is sent for by Mortimer
—at the conclusion, Mountacute marries Maria — the
Chancellor is condemned — Eitherside is spared at
Maria's request — the tragic scenes of this play are
moderate — the comic ones are very good — it is said
to have been written by Bencroft, and given by him
to Mountfort, which seems confirmed by the Epi-
logue

" And since the Author who did this prepare,

" Only expects your liking for his share,

*' Do not withdraw the profit from the Player."

The dedication is signed Will. Mountfort.

This play was revived at the Hay. in 1731, as " the
" Fall of Mortimer " — considerable changes were
made — the character of Tarletori was omitted — what
he had to say was divided between Mortimer and
Eitherside — the former of whom attempts to debauch
Maria — this alteration was greatly for the worse -
but in 1731, it would not do to exhibit a Bishop and
a Chancellor as a buffoon and a Tarquin.

In 1768 the altered play was republished, with all
the lines which were supposed to be applicable to the
then state of public affairs printed in Italics — to it
were also added some few pages by Ben Jonson, who
had begun a Tragedy . on the subject of Mortimer's
Fall — this republication was made for the sake of a
very severe dedication to the Earl of Bute by the
famous John Wilkes in which he says " The play is
" quite imperfect. Your Lordship loves the stage :
" so does Mr. Murphy, let me entreat your Lordship
" to assist your friend in perfecting the weak scenes

6 T. R. 1691.

" of this Tragedy, and from the crude labours of Ben
" Jonson and others to give us a complete play. It
" is the warmest wish of my heart, that the Earl of
" Bute may speedily complete the story of Roger Mor-
" timer"

The Fall of Mortimer is, by a strange mistake,
said in the B. D. to be the completion of Ben Jon son's
play — Mountfort's play was revived at Hay. March
11 1710.

Sir Anthony Love, or the Rambling Lady — Sir
Anthony Love =. Mrs. Mountfort : Valentine = Mount-
fort: II ford = Williams: Pilgrim =. Powell Junior:
Abbe (uncle and guardian to Volante) = Leigh : Sir
Gentle Golding = Bowen : Count Canaile =. Hodgson :
Count Verole = Sandford : Wait-well (Sir Anthony's
confidant) — Bright : Sir Gentle's Servant — Cibber :
Cortaut — Mich. Leigh: Floriante and Charlott
(daughters to Canaile) -=. Mrs. Butler and Mrs. Brace-
girdle : Volante = Mrs. Knight : — scene Montpelier
—Sir Gentle Golding had bought Lucia of her aunt
-Valentine at that time had a liking for her — Lucia
had robbed Sir Gentle of £500, and had set off
for France — she assumes the name of Sir Anthony
Love, and the manners of a gay young spark — she
becomes intimate with Valentine, and a great favour-
ite with the ladies — in the 4th act, Sir Anthony
receives Valentine in woman's clothes, and discovers
herself to him — in the last scene, Valentine and
Ilford enter as married to Floriante and Volante—
Sir Gentle marries Sir Anthony, supposing her to
be Floriante — he finds her to be Lucia, and settles
£500 a year on her as a separate maintenance — this
is a very good C. — Sir Anthony Love is an excellent

T. R. 1691. 7

character — Southerne says that he wrote it expressly
for Mrs. Mountfort, and that she acted it admirably.

Southerne is said to be the first dramatic poet who
had two benefits —in the dedication of Sir Anthony
Love he speaks of himself as being interested in the
3d and 6th representation — this however was not a
general practice — it is sufficiently clear from the
Epilogue to the Treacherous Brothers — and from the
Prologue to Alphonso, that Powell was to have but
one benefit for each of his plays — the case seems to
have been the same with regard to Underbill — see
the Epilogue to Win her and take her — Verbruggen
and Powell, in their dedication of Brutus of Alba
Oct. 16 1696, intimate that they are to have two
benefits.

King Arthur, or the British Worthy. King Arthur
= Betterton : Oswald (the Saxon King of Kent) =
Williams : Merlin (a British Enchanter) nzKynaston :
Osmond (a Saxon Magician) =: Sandford : Duke of
Cornwall = Hodgson : Grimbald (an earthy Spirit) =
Bowman : Philadel (an airy Spirit) = Mrs. Butler :
Emmeline (in love with Arthur) = Mrs. Bracegirdle :
— this Dramatick Opera (for so Dryden calls it) was
brought out at D. G. — it pleases in perusal, and still
more so in representation — the merit of it consists
chiefly in the characters of Grimbald and Philadel—
Arthur and Oswald are in love with Emmeline — she
is blind — but receives her sight by the art of Merlin
— Arthur is enjoined to destroy an enchanted wood
—he strikes a tree — Emmeline appears, and implores
him to spare the tree in which she is inclosed — Phi-
ladel strikes Emmeline with Merlin's wand — and
Emmeline turns to Grimbald — Arthur and Oswald

8 T. R. 1691.

fight — Arthur disarms Oswald, but spares his life—
in the 1st scene Dryden mentions St. George's day—
St. George was not heard of in Britain till about 500
years after Arthur's death — the Epilogue is good—
Dr. Johnson says, King Arthur does not seem to have
been ever brought on the stage — one would not
have expected so gross a blunder from such a man.
Scowrers. Sir William Rant =. Mountfort : Wild-
fire — Williams : Tope = Leigh : Whachum = Bow-
man : Sir Humphrey Maggot = Bright : Mr. Rant
(father to Sir William) = Kynaston : Ralph (Sir
William's valet) = Bowen : Jasper •= Will. Peer :
Lady Maggot = Mrs. Leigh: Eugenia and Clara (her
daughters by a former husband) = Mrs. Barry and
Mrs. Bracegirdle : Priscilla (their governess) = Mrs.
Cory: — the Scowrers are Sir William Rant, Wild-
fire and Tope — Whachum is a city wit and a Scow-
rer — he affects to be an imitator of Sir William —
Sir William, Wildfire and Tope are offended at
Whachum and his companions for presuming to imi-
tate them — they beat them — Ralph contrives to have
them taken up by the Constable and Watch — Sir
William and Wildfire fall in love with Eugenia and
Clara — the ladies agree to accept them, provided
they will reform — they promise to do so — Sir Wil-
liam is reconciled to his father — Lady Maggot is a
termagant, who hectors her husband, and endeavours
to confine her daughters — this is on the whole a very
good C. — it was revived at D. L. Aug. 22 1717—
the Prologue begins—

" Scowrers ! methinks I hear some Ladies say,
" How shall we bear the lewdness of this play!"

T. R. 1691. 9

In Ben Jonson's time the bucks and bloods of the
day were called Angry or Roaring boys — in Shad-
well's Scowrers — in Gay's Mohocks — Tope in this
play says — " Why I knew the Hectors, and before
" them the Muns, and the Tityre Tues ; they were
" brave fellows indeed ; in those days a man could
" not go from the Rose Tavern to the Piazza once,
" but he must venture his life twice" — it appears
from an Oration of Demosthenes against Conon, that
some riotous young men at Athens called themselves
avroXyKvQoi and idvQaXXot — Independents and ******.

Bussy D'Ambois, or the Husband's Revenge —
altered from Chapman by D'Urfey — D'Ambois =
Mountford : Montsurry = Powell : Monsieur =. Hodg-
son : Duke of Guise = Kynaston : King Henry 3d
of France = Freeman : Bariser — Verbruggen : (not
Alexander) Maffe = Bright : Fencing Master =
Bowen : Pyrrot = Sibber : (Gibber— a part of 9
lines) Tamira (wife to Montsurry) = Mrs. Brace-
girdle : Dutchess of Guise = Mrs. Lassels : Teresia
= Mrs. Cory : — the Editor of the Old Plays reprinted
in 1814-1815 says — " Bussy D'Ambois was printed
" in 1607 — it had been acted with applause — the
" groundwork of it was historical — D'Ambois lived
" in the time of Henry the 3d, and was celebrated for
" his personal accomplishments and his valour."

Chapman begins his play with a soliloquy by D'Am-
bois in mean apparel — Monsieur, the King's brother,
takes D'Ambois under his patronage, and sends him
1000 crowns — he introduces him to the King — Ta-
myra falls in love with D'Ambois — a Friar brings him
to her apartment by a secret passage — Monsieur is
so displeased at the favour which the King shows to

10 T. R. 1691.

D'Ambois, that he becomes his enemy — Tamyra's
woman tells Monsieur that her mistress had had a
secret interview with D'Ambois — Monsieur and
Guise make Montsurry jealous of his wife — in the
5th act he gives her two wounds, and forces her to
write a letter to D'Ambois — she writes it with her
blood — D'Ambois visits Tamyra by the secret pas-
sage, and is killed — Montsurry forgives Tamyra, but
banishes her from his house — in D'Urfey's alteration
she kills herself.

It appears from D'Urfey's dedication, that Hart's
performance of D'Ambois made Chapman's play, in
spite of all its faults, a favourite with the town—
D'Urfey was so struck with it, about 16 years ago,
that he was induced to revise the play — he has greatly
improved both the conduct and the language of it—
he piques himself on having made Tamira contracted
to D'Ambois before her marriage with Montsurry —
but it may be doubted, whether this be an improve-
ment— he has very properly turned the Friar, who
was privy to their intrigue, into an old female — he
represents on the stage the fight between D'Ambois
and 5 others, which Chapman had related very badly
— in the 4th act he has introduced a fencing master
—this is a botch — but it was absolutely necessary to
leave out a great deal, and consequently to add some-
thing— on the whole D'Urfey has made this play
quite as good as the generality of tragedies at this
time — he says that Mountfort, tho' he was modestly
very diffident of his own action, coming after so
great a man as Hart, yet had that applause from the
audience, which declared their satisfaction.

Alphonso, King of Naples. Cesario (General of

T. R. 1691. 11

Naples) — Mountfort : Ferdinand (Prince of Thessaly
—in love with Urania) — Powell : Alphonso = Bow-
man : Tachmas — Hodgson : Sigismond (a part of
about 17 lines) =: Gibber : Fabio (an impertinent
Courtier) = Bowen : Urania (Princess of Naples) —
Mrs. Bracegirdle : — Cesario and Urania are privately
contracted — the King wants his daughter to marry
Ferdinand — Cesario and Urania make their escape
from Naples in disguise — they are attacked by 4 ban-
ditti— Cesario kills one of them, and fights off with
the rest — Urania runs out — she is met in another
part of the wood by two of the banditti — they tie
her to a tree, and are going to ravish her — Cesario
drives them off, and unbinds Urania — Tachmas enters
in the -habit of a Hermit — he discovers himself to
Cesario as his brother — Ferdinand, with the King's
guards, surprises them — Cesario and Urania are car-
ried back to Naples — the King confines them sepa-
rately— Tachmas throws off his disguise, and excites
the soldiers to rescue Cesario — Cesario is discovered
in prison — Ferdinand, from a principle of honour,
gives him a sword — they fight, and are both mortally
wounded — Urania kills herself — this is an indifferent
T. by Powell— the Editor of the B. D. says that this
play is taken from the Young Admiral, which is very
incorrect — Powell has borrowed the short comic part
of Fabio from Shirley, and the 1st scene of the 2d
act — but little or nothing farther — the last 3 acts of
the two plays are totally different.

Greenwich Park. Sir Thomas Reveller — Leigh :
Young Reveller = Mountfort : Raison = Nokes : Sas-
safras = Underbill : Lord Worthy = Hodgson : Sir
William Thoughtless = Boweri : Bully Bounce =

12 T. R. 1691.

Bright : Beau = Bowman : Dorinda = Mrs, Barry :
Florella and Violante (daughters to Lady Hazard) =
Mrs. Mountfort and Mrs. Lassels : Mrs. Raison =
.Mrs. Knight: Lady Hazard = Mrs. Osborn : Aunt to
Dorinda = Mrs. Corey: — Sir Thomas Reveller is an
old Debauchee — Raison, a Grocer, and Sassafras, a
Druggist, are his drunken companions — Sir Thomas
allows his son but little money — and affects to be
very arbitrary with him — Young Reveller is kept by
Mrs. Raison — he brings her home to his lodgings—
on the approach of Sir Thomas, Raison, and Sassa-
fras, Mrs. Raison goes into Young Reveller's bed-
room, and locks the door — Sir Thomas suspects that
his son has a wench, and wants to go into the bed-
room— Raison (and Sassafras) prevents him — this is
borrowed from Limberham — Florella is in love with
Young Reveller — he likes her and her fortune, but
does not think himself obliged to constancy before

marriage Dorinda had been debauched by Lord

Worthy — she is kept by him — Lord Worthy returns
from abroad in the 1st act — Dorinda is violently in
love with Young Reveller — she pretends at first to be
virtuous — she invites him to dinner — and they come
to a good understanding — Young Reveller, not know-
ing that Dorinda is kept by Lord Worthy, tells his
lordship of his good fortune with her — Lord Worthy
discharges Dorinda, and marries Violante — in the
5th act, Florella and Mrs. Raison enter in boy's
clothes — they make love to Dorinda — she slights
them — Florella and Mrs, Raison quarrel— Florella
drives Mrs. Raison about the stage — she owns who
she is — Florella kicks Raison — in the last scene,
Young Reveller, knowing that his father is sure to

T. R. 1691. 13

oppose whatever he wishes, pretends to be averse
from marrying Florella — Sir Thomas insists that he
should marry her — Mrs. Raison promises her hus-
band to be constant for the future this C. was

written by Mountfort— there are some few dull
speeches in blank verse, but on the whole it is a very
good play.

Mrs. Mountfort in the Epilogue says —

" Well, Sirs, is't peace or war that you declare?

" I am ready arm'd, so is my Second here.

" If you're displeas'd with what you've seen to

" night,

" Behind Southampton House we'll do you right,
" Who is't dares draw 'gainst me and Mrs.

"Knight?"

Win her and take her, or Old Fools will be med-
dling— this is an indifferent C. by there are no

performers' names to the D. P. — but Dulhead was
probably acted by Underbill, to whom the author
gave the profits of his play, and for whom he seems
to have expressly written the part.

Love for Money, or the Boarding School. Jack
Amorous (in love with Betty Jiltall) =. Mountfort :
Sir Rowland Rakehell = Underbill : Deputy Nicom-
poop (husband to Lady Addleplot) = Dogget : Ned
Bragg alias Capt. Bouncer (kept by Lady Addleplot)
= Powell : Zachary Bragg (an old Grenadier — his
father) = Bright : Will Merriton = Hodgson : Mon-
sieur Le Prate = Bowen : Old Merriton = Freeman :
Singing Master = Kirkm an : Dancing Master = Bow-
man : Parson = Peer : Betty Jiltall = Mrs. Butler :
Lady Addleplot = Mr. Anthony Leigh : Mirtilla =

14 T. R. 1691.

Mrs. Bracegirdle : Miss Jenny = Mrs. Knight : Miss
Molly = Mrs. Davies : Oyley = Mrs. Leigh : Crowstick

— Mrs. Cory: Tearshift — Mrs. Osborn: Lady Stroddle

— Mrs. Richardson : — Sir Rowland had cheated Mir-
tilla, an infant orphan, to whom he was guardian, of
£3000 a year — old Merriton had pretended to assist
him in sending her to the Indies, but had really brought
her up at the Boarding School — Jack Amorous gets
some intimation of this, and passes off Betty Jiltall
for Mirtilla — he tells Sir Rowland he will marry her
and give him a discharge for all claims, on condition
of receiving £1000 a year — Amorous in the mean
time finding out that Betty Jiltall is unfaithful to him,
tricks her out of a settlement that he had made her
—she discovers his plot to Sir Rowland and offers to

marry him — to this he readily consents as supposing
her to be Mirtilla — the real Mirtilla marries Young
Merriton — the Singing and Dancing masters run off
with the two boarding school girls, Miss Jenny and
Miss Molly — Zachary Bragg by his stupid bluntness
shames his son in company, and hectors him into an
allowance — Scene Chelsey by the river — time 36
hours — a Farce, called the Boarding School or Sham
Captain, was taken from this play, and brought out

at D. L. Jan. 29 1733 Love for Money is on the

whole a good C. — but the scenes between Young
Merriton and Mirtilla are dull ; and the political part
(for Lady Addleplot is a great stickler against the
government) would have been better omitted—
D'Urfey, who in former times had abused the Whigs
not a little, was now become a friend to the Revo-
lution.

The Chances must have been acted between 1690

LANGBAINE. 15

and 1692, as Cibber had seen Mrs. Butler in the 2d
Constantia.

Merry Devil of Edmonton — Collier, in his collec-
tion of Old Plays 1825, gives us a cast of this C.,
which some person had written on Garrick's copy—
the revival must have taken place about this time, as
the names of Freeman and Hodgson do not occur
before 1690, and in 1692 Leigh and Mountfort died

— Fabel = Kynaston : Raymond Mountchensey =
Mountfort : Henry Clare = Hodgson : Frank Jerning-
ham = Alexander : Sir Arthur Clare = Sandford : Sir
Ralph Jerningham = Betterton : Sir Richard Mount-
chensey = Freeman : Sir John = Nokes : Banks —
Bright : Smug = Underbill : Bilbo =: Bo wen : Host
= Leigh : Brian = Bowman : Millisent — Mrs. Brace-
girdle : Lady Clare = Mrs. Leigh : Abbess = Mrs.
Cory.

LANGBAINE.

Gerard Langbaine published his account of the
Dramatick Poets in 1691 — the foundation of his
book seems to have been laid by Kirkman, who in
the dedication of Nichomede 1671 says — " I have
" added a Catalogue of all the English Plays hitherto
" printed — I have done it as perfectly as I can."

Langbaine's father was the friend of Selden and
Usher — Warton (as quoted in the B. D.) says of

16 LANGBAINE.

Langbaine himself — " His literature chiefly consisted
" in a knowledge of the novels and plays of various
" languages ; arid he was a constant and critical
" attendant of the playhouses many years — he had
" amassed a collection of more than 1000 plays,
" masques arid interludes" — this account is not quite
correct — Langbaine himself tells us that he was not
a great proficient in French — arid it is far from
clear that he understood any thing of Spanish or

Italian.

Langbaine is a great detector of Plagiarism — he

gives us a great deal of useful information in that
way — he seems however to have had wrong notions
with regard to plagiarism — in speaking of the
Duchess of Newcastle he says — " I know there are
" some that have but a mean opinion of her plays,
" but if it be considered that both the language and
" plots of them are all her own, I think she ought
" with justice to be preferred to others of her sex,
" which have built their fame on other people's foun-
" dations " —on the other hand he is perpetually cen-
suring authors (and Ravenscroft in particular) for
plagiarism, as if that were the worst fault of which a
writer could be guilty — the Duchess' plays are so
bad, that hardly any person would read them twice—
whereas many of those written by Ravenscroft &c.
(tho' not original) may be repeatedly read with plea-
sure— a judicious plagiary may be a good dramatic
writer — plagiarism is only censurable, when the pla-
giary attempts to make what he has borrowed, pass
for his own — or when he borrows from plays which
are not become obsolete — many of our old plays, from
certain circumstances, can never be brought on the

LANGBAINE. 17

stage in their original shape — this being the case, no
good reason can be assigned, why a modern author
should not borrow from them — or avail himself of

them Charles the 2d said to those who accused

Dry den of stealing, that he wished they would steal
as good plays themselves.

Langbaine is very particular in telling us to whom
the plays are dedicated — a circumstance which, 99
times in 100, is not of the slightest importance —
Langbaine is not to be depended on as to dates—
nor indeed as to references — he refers us to Livy for
the history of Julius Caesar — and to Ammianus Mar-
cellinus for that of Cambyses and Valentinian — Am-
mianus Marcellinus seems not to have mentioned
Cambyses, and his history concludes before the time
of that Valentinian who is the subject of Fletcher's
play.

Langbaine's chief fault seems to have been, that
he gives the date of the plays according to the copies
of them in his possession, without sufficiently consi-
dering whether his copies of those plays were of the
first edition, or not — but with all his faults, his
book forms the most valuable part of the Biographia
Dramatica — Langbaine has been servilely copied by
his followers in numberless instances.

VOL. II.

18 T. R. 1692.

T. R. 1692.

Rape, or the Innocent Imposters. Gunderic (King
of the Vandals) = Betterton : Genselaric (his Gene-
ral) =. Williams : Agilmond = Mrs. Butler: Briomer
= Hodgson: Albimer=:Zibber : (Gibber) Valdaura
=. Mr. Michael Leigh : Amalazontha (Queen of the
Vandals) = Mrs. Betterton: Rhadegonda (Queen of
the Goths) = Mrs. Lee: Eurione (her daughter) =
Mrs. Bracegirdle: — the Vandals had conquered the
Goths about 16 years before the play begins — Gun-
deric, being at that time very desirous of male issue,
had threatened to destroy his next child, if a
daughter— this induced his Queen to bring up Elis-
ismonda as a man, under the name of Agilmond—
the Queen of the Goths, to save her son Ambiomer's
life, had brought him up as Valdaura — Gunderic
wishes to secure the obedience of the Goths by mar-
rying Agilmond to Eurione — Eurione is in the habit
of walking in the garden at night — Genselaric, know-
ing this, conceals himself in an arbour — and when
she comes, he ravishes her — Agilmond enters the
garden, but on hearing Eurione's cries, he retreats
— he is met by Eurione's woman — and when Eurione
is found gagged and bound to a tree, Agilmond's
dagger, which he had dropt in the preceding act, is
seen lying by her — from these circumstances Agil-
mond is suspected of having committed the Rape —
Rhadegonda assembles the principle Goths, and tells
them that Valdaura is in reality her son — when Agil-
mond comes to visit Eurione, he is detained as a

T. R. 1692. 19

prisoner — Valdaura appears as Ambiomer and King
of the Goths — the Goths fortify themselves in the
Citadel — and when Gunderic advances at the head
of his troops, Ambiomer threatens, if he should be
attacked, to cut off Agilmond's head — Amalazontha
is frightened, and acknowledges that Agilrnond is a
woman — Genselaric is detected and killed — Eurione
stabs herself — Ambiomer and Elismonda are married,
and the Vandals and Goths are united in a firm
alliance — this T. is attributed to Brady — it has con-
siderable merit — see L. I. F. Nov. 25 1729.

Marriage-Hater Match'd. Sir Philip Freewit =
Mountfort : Van Grin =. Leigh : Sir Lawrence Lim-
ber = Sandford : Bias arid Solon (his sons) = Bright
and Dogget : Lord Brainless = Bowman : Capt,
Darewell = Hodgson : Callow = Bowen : Splutter =
Colly. (Cibber) Phoebe alias Love well = Mrs. Brace-
girdle : Lady Subtle = Mrs. Barry : La Pupsey =
Mrs. Butler : Berenice — Mrs. Lassels : Lady Bum-
fiddle = Mrs. Cory : Margery (daughter to Sir Law-
rence) = Mrs. Lawson : — Sir Solomon Subtle and
Sir Philip Freewit were particular friends — they were
both in love with Lady Subtle while she was single —
she was engaged to Sir Philip, but was so offended
at him, for seducing Phoebe, during the time that
he was paying his addresses to her, that she gave her
hand to Sir Solomon — Sir Solomon died at Ham-
burgh not long after his marriage, leaving his wife
and his property to Sir Philip — Phoebe is disguised as
Lovewell — Sir Philip is still fond of her, but is ex-
tremely averse from matrimony — Sir Solomon's pa-
pers are brought to England by Van Grin, who is

c 2

20 T. R. 1692.

tricked out of them by Sir" Philip in the disguise of a
Lawyer— Phoebe gets the writings out of Sir Philip's
closet, and refuses to restore them, unless he will
marry her — Sir Philip is forced to consent, but with
the intention of having the ceremony performed by a
sham parson — the sham parson proves to be really
in orders — at the conclusion, there are six other wed-
dings— Lady Subtle — Berenice — their two women-
Margery arid La Pupsey — are married to Van Grin
— Darewell — Bias — Solon — Callow and Lord Brain-
less— this is a very good C. by D'Urfey — Gildon in
a letter to the author says — " I have seldom seen
" such a variety of humours and characters, and
" these all new ones, in one play — I admire the hu-
" mour of La Pupsey and her lap dog has been so
" long neglected — I am sensible that Callow was so
" like the life, that the Rot me sparks openly declared
" their dissatisfaction at the satire : but 'tis a sign it
" hit them when they complain of the wound" £c.
—Callow was also meant to expose those persons,
who took commissions in the army, and yet were
enemies to the government.

Dogget established himself in the favour of the
town by his performance of Nicompoop and Solon
— Dogget was born in Dublin, and made his first
appearance on that stage, but not getting on there as
he wished, he came to England, joined a travelling
company, and was soon after engaged at T. R.
(B. D.)

Regulus — Persons in the Roman Camp before
Carthage — Regulus (Consul) = Betterton : Metellus
(Proconsul) = Kynaston : Fulvia (his daughter — in
love with Regulus) = Mrs. Barry : — Persons in Car-

T. R. 1692. 21

thage — Asdrubal = Mountfort : Xantippus (a Spar-
tan General) = Williams : Hamilcar (Prince of the
Senate) = Sandford : Gisgon = Leigh : Hiarbas = Un-
derhill: Batto = Dogget : — Elisa, the daughter of
Hamilcar, is in love with Xantippus — there is no
performer's name to this character — Asdrubal is a
young ambitious prince aiming to make himself King
—Gisgon a Senator, Hiarbas a luxurious Priest, and
Batto a rich citizen — at first join Asdrubal, and
afterwards accuse him of treason — they are hanged
—and he is given up to the rabble — the three comic
characters have not much humour — Crown is so kind
as to furnish Regulus and Xantippus with Sweet
hearts — he makes Regulus return on his parole of
honour, not to Rome, but only to the Roman Camp
—Xantippus is offended at the cruelties inflicted on
Regulus— he gets possession of one of the gates of
Carthage — Fill via enters with him — Regulus is dis-
covered in a chair bloody — he dies — Fulvia goes
mad — Xantippus, Elisa, and Hamilcar set off for
Sparta — in the course of the play, the Ghost of

Regulus' wife appears to him twice this is an

indifferent T. — the story is barren of incident, and
not well calculated for the stage — Crown has invented
an underplot, but not an interesting one— the play
was printed in 1694, but it certainly came out this
year, as Leigh and Mountfort acted in it.

The Editors of the B. D. are sometimes very un-
fortunate in their historical references — they send us
to Livy for the story of Regulus, but that part of
Livy is lost — for the illegible Manuscript of the 12
books of Livy, jocosely mentioned by Foote in the
Nabob, must reckon for nothing.

22 T. R. 1692.

All the fine stories, about the disinterested patriot-
ism of Regulus, and the cruelties inflicted on him by
the Carthaginians, may be true, but they do not rest
on any very solid foundation — it is impossible to
account for the silence of Polybius in a satisfactory
manner — Freinsheim, in his Supplement to Livy,
relates all the particulars he could collect about
Regulus from a variety of quarters, but in a note he
acknowledges, not only that Polybius is silent, but
that Diodorus has some things which seem repugnant
to the common story — he adds — " hence some most
" learned persons have suspected that these tragedies
" have been forged by bold men, and received by cre-
" dulous ones — but Cicero moves me in particular,
" to say nothing of other writers, not to admit this
" suspicion readily."

It is much to be wished that some person of abilities
would investigate the point.

Wives Excuse, or Cuckolds make themselves.
Friendall = Mountfort : Lovemore = Betterton : Wild-
ing — Williams : Wellvile = Kynaston : Springame =
Michael Leigh : Courtall = Bowman : Ruffle — Bright :
Mrs. Witwoud = Mrs. Mountfort : Mrs. Friendall =
Mrs. Barry : Mrs. Sightly = Mrs. Bracegirdle : Mrs.
Teazall = Mrs. Cory : — this C. is well written, but it
wants incident sadly — and as for plot there can
scarcely be said to be any — from the dedication it
appears that Southerne wrote half of the last act of
Cleomenes — and that Cleomenes had not been acted.

Cleomenes, the Spartan Hero. Cleomenes = Bet-
terton : Cleanthes (son to Sosybius — and friend to
Cleomenes) = Mountfort: Sosybius (properly Sosibius
— Ptolemy's first Minister) = Sandford : Ptolemy

T. R. 1692. 23

(King of ./Egypt) = Alexander : Pantheus (a Noble
Spartan) = Kynaston : Cassandra (Mistress to Ptole-
my) = Mrs. Barry: Cleora (second wife to Cleomenes)
— Mrs. Bracegirdle : Cratesiclea (mother to Cleo-
menes) = Mrs. Betterton : — Ptolemy is governed by
Sosybius and Cassandra — the influence of the mistress
is however superior to that of the minister — Cassan-
dra falls in love with Cleomenes — Ptolemy goes to
Canopus, and leaves his signet with Cassandra — she
declares to Cleomenes her passion for him — he treats
her with civility, but coldness — she orders Cleomenes
and all his friends to be placed in confinement, and to
be debarred from victuals — they are nearly starved—
Clean thes brings them food — he joins Cleomenes in a
desperate attempt to excite the ^Egyptians to liberty
—the attempt fails — Cleomenes and Cleanthes kill
one another — Pantheus kills himself — the women are

seemingly put to death by the order of Cassandra

Dryden has not deviated farther from history than a
fair poetical license may warrant — the additions which
he has made to the real story are chiefly — the scene
in which the Spartans are nearly starved — the love of
Cassandra for Cleomenes — the whole character of
Cleora — and nearly the whole of Cleanthes Ma-
lone says this T. came out in May — it is a tolerably
good play — some parts of it are very well written—
some absurd expressions occur — Cleomenes says —

" Now for a lucky pull at fate's last lottery"

Ordinem rerum Fati ceterna series rotat, cujus
TKJBC prima lex est, stare decreto — Seneca lib %. nat.
quces. cap. 35.

Cassandra, in the 3d act, says of the Apis—

24 T. R. 1692.

" Accurs'd be thou, grass-eating fodder'd God !
" Accurs'd thy temple ! more accurs'd thy priests !"

Collier properly observes that this rant is very much
out of character at Alexandria ; as no people were
more bigotted in their superstitions than the ^Egyp-
tians, or more likely to resent such an affront.

Dryden all through his play makes the last syllable
but one in Cleomenes long — whether this be ignorance
or a poetical license, it is in either case inexcusable

As Dryden came from the representation, he was

accosted thus by some airy stripling — •" Had I been
" left alone with a young beauty, I would not have
" spent my time like your Spartan " — " that Sir,"
said Dryden, " perhaps is true, but give me leave to
" tell you, you are no Hero."

From the Prologue it appears that the seats in the
Theatre were covered—

" Who to save coachire trudge along the street,
" Then print our matted seats with dirty feet."

Dryden in his preface tells us that his play was at
first forbidden, but that on the Lord Chamberlain's
reading it himself, it was allowed to be acted — the
only passage that could give any reasonable cause of
offence has been already quoted — he then proceeds to
say "Mrs. Barry, always excellent, has in this Tragedy
" excelled herself, and gained a reputation beyond
" any woman whom I have ever seen on the theatre"
— he afterwards explains some of the changes he had
made in the story, and unfortunately adds " the Son
" of Sosibius, whom I call Clean thes, was a friend
" to Cleomenes : but Plutarch says he at length for-

T. R. 1692. 25

" sook him" —this is a gross mistake — Plutarch does
not say a syllable about a son of Sosibius ; the person
of whom he speaks is Ptolemy the son of Chryserrnus.

Fairy Queen — this is Midsummer Night's Dream
turned into an Opera.

Act 1st — the alterations are slight till Bottom and
the other comic characters enter, then part of the
scene in the 3d Act is added to that in the 1st.

Act 2d — the Fairies enter — and then Demetrius
and Helena — when Titania re-enters, a dance is in-
troduced with additional singing — Titania Lysander
and Hermia fall asleep as in the original.

Act 3d — Helena enters, but not Demetrius — when
Lysander wakes — he speaks 3 new lines—

" Ha, Helen ! fairest of all womankind !
" More lovely than the Grecian beauty was,
" Who drew so many kings to wed her cause."

The person who made this alteration was ignorant
that Theseus, in whose time the scene is laid, lived
before the siege of Troy — the Duke indeed has no
name given to him, but we must suppose him to be
Theseus.

The Comic characters enter, and rehearse the
Mock-Tragedy as in the 5th act of the original-
Robin Goodfellow comments on the play — in Mid-
summer Night's Dream Theseus says — " The wall
" methinks, being sensible should curse again " —and
Bottom, "No, in truth he should not" — in the
Fairy Queen, Robin Goodfellow speaks the line that
belongs to Theseus, and Bottom makes the reply as
before, which is absurd, as Robin Goodfellow must
be supposed to speak to himself — when the play is

26 T. R. 1692.

over, Robin Goodfellow disperses the Clowns, as in
the original 3d Act — Bottom returns with the Ass*
head and Titan ia falls in love with him — after they
are gone out, Oberon and Robin Goodfellow enter—
the scene between Demetrius and Hermia is omitted
and they only cross the stage — Titania and Bottom
re-enter — as in the 1st scene of the original 4th Act
—the dialogue is shortened — singing and dancing are
introduced.

Act 4th — Oberon and Robin Goodfellow enter, and
then Lysander &c. — the scene proceeds (as in Shak-
speare's 3d Act) with omissions, till the four lovers
fall asleep — Oberon wakes Titania — then follows
machinery, singing &c. — the Fairies exeunt — and
Robin applies the juice of the flower to Lysander's
eyes.

Act 5th — The Duke, Egeus &c. enter — the four
lovers wake and go out to be married — Bottom wakes
and speaks his soliloquy — the Clowns enter and go
through the last scene of the original 4th Act — The
Duke and the serious characters re-enter — and after-
wards the Fairies— Oberon tells the Duke he will
feast his eye and ear — Juno appears in a machine—
the Peacocks spread their tails and fill the middle of
the Theatre — the scene changes to a Chinese Garden
—a Chinese man and woman sing — 6 Monkies dance
&c. &c. — Oberon and Titania speak a sort of Epilogue.

On the whole this play does not differ materially
from the original ; several slight changes are made in
the dialogue — the character of Hippolita is omitted
— Theseus' speech about " the poet's eye" &c. is sadly
mutilated — a great deal of machinery singing and
dancing are introduced — Downes tells us that the

T. R. 1692. 27

Court and town were wonderfully satisfied with the
Fairy Queen, but the expense attending it was so

great, that the company got very little by it the

Prologue complains of the beaux who stand on the
stage and interrupt the performance — the B. D. says
this Opera was acted at the Hay. — at this time the
theatre in the Hay. was not built — the Editor of the
B. D. was probably led into this gross mistake by the
titlepage which tells us that it was acted at the Queen's
Theatre, by which no doubt was meant Dorset Garden.
Henry the 2d, King of England, with the Death of
Rosamond. King Henry =. Betterton : Abbot = Sand-
ford : Prince Henry = Michael Leigh : Verulam =
Kynaston : Sir Thomas Vaughari = Leigh : Bertrard
= Dogget : Queen Eleanor = Mrs. Barry : Rosamond
= Mrs. Bracegirdle : — the original story of Rosamond
did not furnish materials for five acts — the author of
this T. was therefore obliged to make additions to it

—the character of the Abbot coalesces very well with
the story, but he occupies much too large a portion
of the play — the Abbot is an enemy to the King on
Becket's account — he does not scruple to promote
his revenge by any means — in the 5th act, he makes
Bertrard carry some wine and fruit to Rosamond, as
a present from the King — Bertrard, not knowing that
the wine is poisoned, drinks some of it twice — the
Queen forces Rosamond to poison herself — the King
enters before she dies — the Abbot had caused Sir
Thomas Vaughan to be mortally wounded by a ruffian

—Sir Thomas in return kills the Abbot this is an

indifferent play — the political part is dull — the love
scenes are not very interesting — the comic characters
of Sir Thomas Vaughan and Bertrard are good — but

28 T.R. 1692.

they are not characters of any great importance — Sir
Thomas is the King's pimp.

Henry the 2d, like Edward the 3d, is attributed to
Bancroft — hut the dedication is signed Will. Mount-
fort, tho* he was dead when this play was published
in 1693.

Volunteers, or the Stock Jobbers. Major General
Blunt (an old Cavalier Officer) = Leigh : Sir Nicho-
las Dainty (an effeminate Volunteer) = Bowman :
Sir Timothy Kastril = Bo wen : Col. Hack well Se-
nior n Dogget : Col. Hackwell Junior - Powell : Wei-
ford (a brave Volunteer) =. Hodgson : Nickum = Alex-
ander: Taylor (a part of 6 lines) = Penkethman :
Eugenia and Teresia (daughters to General Blpnt)
— Mrs. Mountfort and Mrs. Knight : Clara (daugh-
ter to Col. Hackwell Senior) = Mrs. Bracegirdle :
Mrs. Hackwell = Mrs. Leigh: Winifred (her daugh-
ter by a former husband) =. Mrs. Rogers : —Col. Hack-
well Senior is married to a second wife — she keeps
Nickum — and forces her husband to turn his daugh-
ter out of his house, as he had previously done his
son — Lettice brings her master to a room where he
finds Nickurn and his wife on a bed — she pretends
to have a fit, and the old Colonel is completely duped
by her— in the 5th act, he is sensible that she has
made him a cuckold — he is reconciled to his son
and daughter — Mrs. Hackwell makes her exit in con-
fusion— her daughter marries a dancing master — Sir
Timothy Kastril is beaten by Nickum — he plucks up
courage — and not only beats Nickum, but is inclined
to quarrel with any body — the outlines of this cha-
racter are borrowed from the Little French Lawyer
— at the conclusion, Col. Hackwell Junior, Welford,

T. R. 1692, 29

and Sir Nicholas Dainty marry Eugenia, Clara, and
Teresia — this is a tolerable C. but not equal to the
generality of Shadwell's plays — the Stock Jobbers
are rather hunters after Patents than Stock Jobbers
in the modern sense of the word — they have so very
little to do with the piece, that Shadwell should not
have given his play a second title on their account

Shadwell died before the Volunteers was acted

—the Prologue was written by D'Urfey and spoken
by Mrs. Bracegirdle — the persons who were liable to
be brought upon the Stage are supposed to rejoice
at Shadwell's death—

" MonDieu, cries Miss, as right as ever twang'd,
" These rhyming Satire rogues should all be

« hang'd.

" I live by law, a Protestant true blue, -\

" All taxes pay, and am to Church so true,
" I make my assignations in a pew." J

The Epilogue is quite serious and was spoken by
one in deep mourning — it is a compliment on Shad-
well.

Maid's last Prayer, or any rather than Fail. Gay-
man = Boman : Lord Malepert — Dogget : Granger
m Powell : Capt. Drydrub = Underbill : Sir Sym-
phony =: Bo wen: Garnish = Alexander: Sir Ruff
Rancounter = Bright : Jario (a page) = Betty Allin-
son : Porter = Pinki/man : Lady Malepert = Mrs.
Barry: Lady Susan Malepert = Mrs. Mountfort:
Lady Trickitt = Mrs. Bracegirdle: Wishwell = Mrs.
Betterton : Siam = Mrs. Leigh : Maria = Mrs. Rogers:
Judy — Mrs. Rachel Lee: — this is a moderate C. by
Southerne — Lady Susan is an old maid who, find-

30 T.R. 1692. S^

ing that her endeavours to get Granger for a hus-
band are not likely to succeed, takes up with Sir
Symphony —this gives the title to the play — there is
little plot — one incident is very good — Wishwell is
courted for the influence which she has over Lady
Malepert— she wants to confine Lady Malepert to
men who have rio recommendation but their money
— she is afraid of Gayman as Lady Malepert likes
him — Sir Ruff Rancounter, through the medium of
Wishwell, offers to give £1000 for passing a night
with Lady Malepert — Sir Ruff tells Gayman of the
appointment — Gayman contrives to have Sir Ruff
kept out of the way — and goes to Lady Malepert's
— Wishwell lets him in — and Lady Malepert receives
him as Sir Ruff — the lines, quoted by Ranger from
Congreve, are taken from an excellent song inserted
in this play, which Malone supposes to be his first
acknowledged essay presented to the public — on this
supposition the Maid's last Prayer, tho' not printed
till 1693, must have been acted sooner — probably
the latter end of 1692.

The Traytor was reprinted in 1692 with the fol-
lowing cast — Lorenzo = Kynaston : Sciarrah = Wil-
liams : Duke of Florence = Hodgson : Pisano =
Gibber : Florio (brother to Sciarrah and Amidea) =
Alexander : Cosmo = Harris : Depazzi (a comic cha-
racter) = Haines : Page = Tommy Kent : Amidea =
Mrs. Bracegirdle : Oriana = Mrs. Lassels : Morossa
(her mother) = Mrs. Cory : — Lorenzo, the Traytor,
is the kinsman and favourite of the Duke, but se-
cretly his enemy — the Duke is in love with Amidea,
and attempts to debauch her — her brother, Sciarrah,
is so offended at this, that he purposes to kill the

T. R. 1692. 31

Duke — Amidea prevails on him to postpone his pur-
pose— she threatens the Duke to kill herself — and he
asks her forgiveness for his attempt on her honour —
Pisano was engaged to Amidea — he deserts her, and
is on the point of being married to Oriana — Sciarrah
kills him — and by so doing forfeits his life to the
Duke— Lorenzo tells Sciarrah that he may obtain
his pardon by giving up his sister to the Duke — and
that otherwise she would be ravished after his death
—Sciarrah, to prevent this, kills Amidea — the Duke
comes to Sciarrah's house in the hope of enjoying
Amidea — on approaching her bed, he finds her lying
there dead — Lorenzo kills the Duke — he and Sciar-
rah fight — they are both killed — the Editors of the
B. D. tell us that the scene lies in London — this is
such a mistake as one would have supposed it hardly
possible to have been committed — the Traytor is
on the whole a pretty good play — it appears to have
been written by Rivers and to have been revised and
improved by Shirley — it was printed in 1635 — and
revived at T. R. between 1660 and 1682, when the
Traytor was considered as one of Mohun's best parts
—see L. I. F. Oct. 11 1718— and C. G. Feb. 10
1819.

Downes says — "Between these Operas" (King
Arthur, the Prophetess, and the Fairy Queen) " there
" were several other plays acted, both old and modern,
" as — Bury Fair — Wit without Money — the Taming
" of a Shrew — the Maiden Queen — the Mistress, by
" Sir Charles Sydly," &c. — Waldron in reprinting
Roscius Anglicanus has made several shameful blun-
ders—the worst of them is perhaps that which he
here makes — he omits two most important words—

32 T. R. 1692.

the Mistress — and enumerates the plays just men-
tioned in this manner — " Bury Fair — Wit without
" Money — the Taming of a Shrew — the Maiden
" Queen, hy Sir Charles Sedley," &c — any person
who knows that the Maiden Queen was written by
Dryden — and who has only seen Waldron's edition of
R. A. — must be puzzled to the last degree on finding
Dowries (apparently) attribute the Maiden Queen to
Sedley.

The Taming of a Shrew was doubtless acted as
altered by Lacy to Sauny the Scot — it was probably
at this time that Dogget acted Sauny.

Downes had lately mentioned " Love in, and Love
" out of Fashion," of which nothing more is known.

The Stage about this time lost three of its principal
performers.

Lord Mohun, a man of vile character, had by a kind
of sympathy of disposition contracted an intimacy with
one Captain Hill, whom nature seems to have in-
tended for a cut-throat — Hill had long entertained a
passion for Mrs. Bracegirdle, which she rejected with
the contempt it deserved — this Hill attributed, not
to his own demerits, but to her partiality for some
other person : and as Mountfort was a handsome man,
frequently acted with her, and always showed her
respect, he fixed on him, tho* a married man, as the
supposed bar to his success — being grown desperate, he
determined to employ violence, and with the assist-
ance of Lord Mohun and some soldiers whom he had
hired, he attempted to force her into a coach, as she
came out of the house where she had supped — but her
mother and the gentleman, at whose house she had
been, interposing till farther assistance could come

T. R. 1692. 33

up, she was rescued and safely escorted home — Lord
Mohun and Hill, thus disappointed of their prey,
with dreadful imprecations vowed vengeance on
Mountfort— Mrs. Bracegirdle's friends hearing these
threats immediately sent to Mrs. Mountfort, and re-
commended her to warn her husband not to come
home that night — but unfortunately no messenger
Mrs. Mountfort sent was able to find him — in the
mean time Lord Mohun and Captain Hill paraded
the streets with their swords drawn till about mid-
night, when Mountfort on his return home was met
and saluted in a friendly manner by Lord Mohun —
but while that scoundrel was holding him in conver-
sation, the assassin Hill, being at his back, first gave
him a desperate blow on the head with his left hand,
and immediately afterwards, before Mountfort had
time to draw and stand on his defence, he, with the
sword which he held ready in his right, ran him
through the body this last circumstance Mount-
fort declared as a dying man to his friend Bancroft
the Surgeon who attended him — (B. D.) — he was
stabbed on the 9th of December and languished till

the 10th, when he died Hill immediately made

his escape — but Lord Mohun was seized and brought
to his trial Jan. 31st 1692-3, when, it not appearing
that he directly assisted Hill in the assassination, he
was acquitted — 14 Lords found him guilty, and 69
not guilty, (from gome Magazine.)

Thus fell Mountfort in his 33d year, generally
lamented by his friends and by all lovers of the thea-
tre. (Cibber.)

In the preface to Mountford's works printed in
1720, he is said to be the son of a gentleman

VOL. II. D

34 T. R. 1692.

in Staffordshire, and to have spent his younger days
in that county — the editor of the B. D. thinks it pro-
bable that he went on the stage young — if he had
paid attention to what Downes says of Mountfort at
the Union, he would have seen it was more than
probahle — the cast of the Counterfeits in 1678 pats
the matter past a doubt, the part of the boy is said
to be acted by Young Mumford — the difference in
the spelling is immaterial, as at this time every name,
that could possibly be spelt two ways, was sure to be
spelt wrong — many instances have been given of this
— one more may be added — Downes calls Gibber,
Mr. Cyber.

Mountfort is said to have sung very agreeably and
to have danced finely.

Mountfort9 s characters.

D. G. 16?8. *Boy in Counterfeits.

1680. ^Barber's boy in Revenge.

T. R. 1682. *Alphonso Corso in Duke of Guise.

1684. *Heartwell in Dame Dobson — Metellus
Cimber — Nonsense in Northern Lass.

1685. *Sir Courtly Nice.

1686. Tallboy in Jovial Crew.

1687. Pymero in Island Princess — *Don Char-
mante in Emperor of the Moon.

1688. *Young Belfond in Squire of Alsatia—
*Lyonel in Fool's Preferment — *Dorenalus in In-
jured Lovers.

1689. *Wildish in Bury Fair - *Young Wealthy
in Fortune Hunters.

1690. * Charles the 9th in Massacre of Paris —

T. R. 1692. 35

* Silvio in Successful Strangers — * Antonio in Don
Sebastian — *Ricardo in Mistakes.

1691. *Menaphon in Treacherous Brothers—
*Lord Montacute in Edward the 3d — * Young Re-
veller in Greenwich Park — *Sir William Rant in
Scowrers — * Valentine in Sir Anthony Love— *Cse-
sario in Alphonso — Bussy D'Ambois — *Jack Amo-
rous in Love and Money — Raymond Mountchensey
in Merry Devil of Edmonton.

1692. *Cleanthes in Cleomenes — *Asdrubal in
Regulus — *Sir Philip Freewit in Marriage-hater
Matched — *Friendall in Wives' Excuse.

He was excellent in the Rover — he acted Alex-
ander— Castalio — Macduff — Sparkish.

* Originally.

Anthony Leigh died about a week after Mountfort
—In King James' time, Obediah Walker, Head of
University College Oxford, turned Papist — as he was
a very learned man and had been an eminent Tutor,
his conversion made a considerable stir — Leigh acted
the part of Teague in the Committee at the Univer-
sity— when hauling in Obediah with a halter about
his neck and threatening to hang him for not drink-
ing the King's health (according to his written part)
he put himself into a more than usual heat ; which
occasioned his Master to ask what Obediah had done
to deserve such usage ? — Leigh folding his arms with
a ridiculous stare of astonishment replied — " Upon
" my Shoule he has changed his religion " — this of
course every body applied to the real Obediah of
Oxford, and the jest was received with a triumph of

D 2

36 T. R. 1692.

applause — but Leigh was given to understand, that
the King was displeased at it. (Cibber.)

Downes says Leigh was eminent in Sir William
Belfond— Scapin — Old Fumble — Sir Jolly Jumble —
Mercury — Sir Formal — Spanish Fryar — Pandarus.

The Earl of Dorset had a full length drawn of
him in the Spanish Fryar — there is a fine print
taken from the picture.

Leigh's characters.

D. G. 1672. *Pacheco in Reformation.
1674. *Polites in Herod and Mariamne.

1676. *Sir Formal in Virtuoso— *Old Bellair in
Man of the Mode — *Count de Benevent in Wrang-
ling Lovers — *Tom Essence — *Fumble in Fond
Husband — *Zekiel in Madam Fickle.

1677. * Scapin — * French Conjuror — *Sir Oli-
ver Santlow in Counterfeit Bridegroom.

1678. *Malagene in Friendship in Fashion—
*Sir Patient Fancy — *Don Gomez in Counterfeits

— *Sir Frederick Banter in Squire Oldsapp — *^Elius
in ShadwelFs Timon of Athens.

1679. * Pandarus in Dryden's Troilus and Cres-
sida, — *Petro in Feigned Courtezans.

1680. *Gripe in Woman Captain — *Cardinal
in Caesar Borgia — *Dashit in Revenge — * Paulo in
Loving Enemies.

1681. *Sir Jolly Jumble in Soldier's Fortune—
*S} anish Fryar — *Teague O'Divelly in Lancashire
Witches — *Sir Anthony Merriwill in City Heiress—
*St. Andre in Princess of Cleve.

1682. * Antonio in Venice Preserved — *Sir OH-

T. R. 1692. 37

ver Oldcut in Royalist— * False Count — *Dashwell
in London Cuckolds — *Ballio in Jealous Lovers.

T. R. 1683. *Bartoline in City Politics— Bessus
in King and no King.

1684. *Beaugard's Father in Atheist — *Rogero
in Disappointment — *Jenkin in Dame Dobson — Sir
Paul Squelch in Northern Lass — *Abednego Suck-
Thumb in Factious Citizen — 2d Plebeian in Julius
Caesar.

1685. * Crack in Sir Courtly Nice— *Trappolin
— *Security in Cuckold's Haven.

1686. * Scaramouch in Dr. Faustus — *Don Ariell
in Banditti.

1687. *Sir Feeble Fainwou'd in Lucky Chance
— * Scaramouch in Emperour of the Moon.

1688. *Sir William Belfond in Squire of Alsatia
— * Justice Grub in Fool's Preferment — *lst Soldier
in Injured Love.

1689. *Lord Stately in English Friar— *La Roch
in Bury Fair — *Sir William Wealthy in Fortune
Hunters.

1690. *Teague O'Divelly in Amorous Bigot—
*Don Francisco in Successful Strangers — Geta in
Prophetess — *Mustapha in Don Sebastian — * Mer-
cury in Amphitryon.

1691. *Bishop of Hereford in Edward the 3d—
*Sir Thomas Reveller in Greenwich Park — *Tope in
Scowrers — *Abbe in Sir Anthony Love — *Lady
Addleplot in Love for Money — Host in Merry Devil
of Edmonton.

1692. *Gisgon in Regulus — *Van Grin in Mar-
riage-Hater Matched — *Sir Thomas Vaughan in
Henry 2d — * General Blunt in Volunteers.

38 T. R. 1692.

He also acted Colignii in the Villain — Ralph in
Sir Solomon — probably *Aldo in Limberham.

* Originally.

James Nokes died about this time — Malone says
his name was properly Noke, but that it was a com-
mon practice to add the letter s to names — Malone
is undoubtedly right — see the D. P. of the Slighted
Maid, and the Stepmother L. L F. 1663.

Davies says Nokes excelled in burlesque, and
quotes as a proof of it the following lines—

" So when Nurse Nokes to act Young Ammon

" tries,
" With shambling legs, long chin, and foolish

" eyes ;
" With dangling hands he strokes thj imperial

" robe,

" And with a Cuckold's air commands the globe;
" The pomp and sound the whole buffoon dis-

" played,
" And Ammon's son more mirth than Gomez

" made."

Nokes9 characters.

1659-1660. Florimel in Maid in the Mill.

L. I. F. 1661 . *Puny in Cutter of Colman Street.

1663. *Menanthe in Slighted Maid.

1664. *Sir Nicholas Cully in Comical Revenge —
* Con stable of France in Henry 5th.

1667. *Sir Martin Marrall.

1668. *Ninny in Sullen Lovers — *Sir Oliver
Cockwood in She wou'd if she cou'd.

T. R. 1692. 39

1669. * Sir Arthur Addel in Sir Solomon.

1670. *Barnaby Brittle in Amorous Widow.

D. G. 1671 . *Old Jorden in Citizen turned Gen-
tleman— *Mr. Anthony.

1672. probably Monsieur Paris in Gentleman
Dancing Master — *Bisket in Epsom Wells — *Nurse
in Fatal Jealousy.

1673. Polonius.

1676. *Bubble in Fond Husband— * Toby in
Madam Fickle.

1677' * Gripe in Scapin.

1678. *Sir Credulous Easy in Sir Patient Fancy
— * Squire Oldsapp — *Limberham.

1679. *Sir Signal Buffoon in Feigned Courtezans.

1680. *Nurse in Caius Marius — *Lady Beardly
in Virtuous Wife.

1681. *Sir David Dunce in Soldier's Fortune—
*Vindicius in L. J. Brutus — *Fetherfool in Rover 2d
part — Gomez in S. F. — Sir Timothy Treatall in City
Heiress — *Poltrot in Princess of Cleve,

1682. *Francisco in False Count — *Doodle in
London Cuckolds.

1683. Cokes in Bartholomew Fair.

1684. * Cringe in Factious Citizen
1686. *Megsera in Banditti.

1687- *Sir Cautious Fulbank in Lucky Chance.

1688. *Squire of Alsatia — *Cocklebrain in Fool's
Preferment.

1689. *Sir Humphrey Noddy in Bury Fair—
* Spruce in Fortune Hunters.

1690. *Don Lopez in Successful Strangers—
*Sosia.

1691. * Serjeant Eitherside in Edward the 3d —

40 THOMAS SHADWELL.

*Raison in Greenwich Park — Sir John in Merry
Devil of Edmonton.

* Originally.

THOMAS SHADWELL.

Shadwell died in 1 692 — Malone in his life of Drydeii
takes much pains to place his private character in the
best point of view — this honest bigotry is very fair —
but Malone seems to have adopted Dryden's enmity
to Shadwell, of whom he says — Vol. 3 p. 106 — "he
" lived much in taverns, and was equally noted for
" his love of eating and drinking, and the coarseness
" of his manners and conversation" — and again p. 144
— " his conversation is represented by his contempo-
" raries to have been extremely immoral and profane"
— Malone does not cite any authority for his asser-
tions ; nor is there any hint in the Biographia Britan-
nica that the case was as Malone states it — Malone
was the more bound to tell us from what source he
borrowed his accusation, as Shadwell lived at a time
when the spirit of party ran very high, arid when it
may fairly be presumed, that all which was said against
Shadwell was not true — Malone himself observes,
that we ought not to judge of Dry den's character from
the libels of the times — supposing Malone's assertions
to be true, upon what principle can we account for
ShadwelFs having inserted such little immorality and

THOMAS SHADWELL. 41

profaneness in his plays ? — he was certainly not re-
strained hy any fear of offending the audience ; and
Malone himself would hardly have denied that there
was less immorality and profaneness in Shadwell's
dramatic writings than in those of Dryden.

Shadwell's Epsorn Wells and Virtuoso are certainly
very indecent, but in the Prologue to the Squire of
Alsatia he says—

" B y the nicest Ladies need not fear,

" The quickest fancy shall extract none here."

Shadwell has no profaneness, whereas Dryden is
at times scandalously profane — let it likewise be re-
membered that Shadwell's dedications are free from
that servile adulation for which Dr. Johnson so justly
censures Dryden — Langbaine in 1691 says of Shad-
well — " his dramatic writings are sufficiently known
" to the world, but especially his excellent comedies :
" which, in the judgment of some persons, have very
" deservedly advanced him to the honour of being
" Poet Laureat ; an advancement, which he confesses,
" is chiefly owing to the patronage of the Earl of
" Dorset, that great judge of wit and parts, in whose
" favour it has been Shadwell's particular happiness
" for several years to have had an eminent share * * *
" let me have leave to add, that we are not to measure
" ShadwelPs merit by Dryden's standard, since So-
" crates never was more persecuted by Aristophanes,
" than Shadwell by Dryden's pen ; and with the same
" injustice : tho' I think, whoever shall peruse the
" modest defence of the former, in his epistle to the
" 10th Satire of Juvenal, will not only acquit him,
" but love him for his good humour and gentle tern-

42 THOMAS SHADWELL.

" per, to one who endeavoured to destroy his reputa-
" tion, so dear to all men, but the very darling of
" poets."

In the Biographia Britannica it is said of Shadwell
—"his friend Dr. Brady preached his funeral sermon,
" wherein he assures us, that our author was ' a man
" of great honesty and integrity, and had a real love
" of truth and sincerity, an inviolable fidelity and
" strictness to his word, an unalterable friendship
" wherever he professed it ; and a much deeper
" sense of religion, than many others, who pretend
" to it more openly — his natural and acquired abili-
" ties (continues the Doctor) made him sufficiently
" remarkable to all that he conversed with ; very few
" being equal to him, in all the becoming qualities
" and accomplishments of a complete gentleman."1

Malone does not bring the slightest proof of his
assertions — and, as Dr. Johnson observes, if accusa-
tion without proof be credited, who shall be innocent ?

Shadwell, in his dedication of the Libertine to the
Duke of Newcastle, says, that he had the birth and
education, without the fortune of a Gentleman ; and
that he had the honour to be daily admitted to his
Grace's public and private conversation — Shadwell
was likewise intimate with the Earl of Dorset and
Sir Charles Sedley — two of the leading Gentlemen
of the times — such persons surely would not have
suffered Shadwell to keep company with them, if his
manners had been coarse.

As to the charge of profaneness, it probably arose
from Shadwell's detestation of high church principles
— it is certain, from the 1st scene of the Lancashire
Witches, that Shadwell was a low churchman — it is

THOMAS SHADWELL. 43

probable from the sentiments which he thus publickly
expressed, that he might in conversation speak his
mind very freely of the high church party — but it is
hardly possible, that if his conversation had been
really and habitually profane, he would not, at one
time or other, have been profane in his writings.

Shad well is ridiculed by his adversaries for his
corpulency, and love of the bottle — Dryden in his
Vindication of the Duke of Guise (1683) says — " Og
" may write against the King if he pleases, so long
" as he drinks for him ; and his writings will never
" do the government so much harm, as his drinking
" does it good ; for true subjects will not be much
" perverted by his libels ; but the wine duties rise
" considerably by his claret — He has often called me
" atheist in print ; I would believe more charitably
" of him, and that he only goes the broad way, be-
" cause the other is too narrow for him * * * by his
" late fall at the Old Devil he broke no ribs, because
" the hardness of the stairs could reach no bones ;
" and for my part I do not wonder how he came to
" fall, for I have always known him heavy : the
" miracle is, how he got up again. I have heard of
" a sea captain as fat as he, who, to escape arrests,
" would lay himself flat upon the ground, and let the
" bailiffs carry him to prison if they could — if a
" messenger or two, nay, we may put in three or
" four, should come, he has friendly advertisement
" how to escape them."

By a messenger Dryden means a King's messenger,
intimating that Shadwell was liable to be taken up
for disaffection to the government.

44 T. R. 1693.

In a Session of the Poets, written about the same
time, it is said —

" Next into the crowd Tom Shad well does wallow,
" And swears hy his guts, his paunch, and his

" tallow,
" 'Tis he that alone best pleases the age ;

" Himself and his wife have supported the stage.

*********

" However to please so jovial a wit,

" And to keep him in humour, Apollo thought fit

" To bid him drink on " &c. (Malone.)

From these lines it appears that Mrs. Shadwell the
actress was ShadwelFs wife — she seems, after his
decease, to have been possessed of one (or more) of
the Adventurers' shares in the theatre, as in the pe-
tition presented to Queen Anne, Ann Shadwell,
Widow, is one of the petitioners.

Shadwell wrote or altered 17 plays — all his Co-
medies have merit — but some of them have too much
mere conversation — Epsom Wells and the Squire of
Alsatia are his best plays.

T. R. 1693.

Old Batchelor. Bellmour = Powell : Heartwell =
Betterton : Fondlewife = Dogget : Sir Joseph Wittol
= Bowen : Capt. Bluffer Haines : Setter — Under-

T. R. 1693. 45

hill : Vainlove - Williams : Sharper = Alexander :
Lsetitia = Mrs. Barry : Belinda = Mrs. Mountfort :
Araminta - Mrs. Bracegirdle : Silvia = Mrs. Bowman :
Lucy = Mrs. Leigh : — Congreve, having no acquaint-
ance with the Manager of the Theatre, found means
to be introduced to Southerne, who recommended
him to the notice and protection of Dryden — after
reading his Comedy over, Dryden declared he never
saw such a first play, though from the author's inex-
perience it stood in need of some corrections to fit it
for representation — these he readily supplied — so high
was the opinion entertained of Congreve, after Dry-
den's perusal of his play, that for some time before
its appearance on the stage, he was admitted to the
freedom of the theatre — and from this period he lived
in great intimacy with Dryden — Malone adds that the
Old Batch elor came out in Jan. 1692-3 — in the
Female Wits, Marsilia speaks of her play as likely to
be acted 17 or 18 nights together— to which Mrs.
Wellfed replies — " How Madam ! that is 3 or 4 more
" than the Old Batchelor held out/'

Malone says — " As at the time of Congreve's
" sitting down to compose the Old Batchelor, he is
" said to have been only 19, so at that of its represen-
" tation, we are told, by all his biographers, that he
" was but 21 — * * — at what time he began to write
" this C., has not been ascertained either by himself
" or his friend Southerne ; but if, according to the
" account given by the latter to Dr. Birch, 2 years
" only intervened between its composition and its
" performance he was 21, when he began to write it ;
" for assuredly, when it was first exhibited, he was 23
" years old — this fact is ascertained by the register

46 T. R. 1693.

" of Bardsey, in Yorkshire, from which it appears
" that he was baptized there, Feb. 10 1669-70."

Malorie is riot correct — Congreve has himself ascer-
tained at what time he wrote his play — and that he
was at that time about 19 — the Old Batchelor was
acted and printed in 1693 — Congreve says of it in
his dedication — " had it been acted when it was first
" written, more might have been said in its behalf;
" ignorance of the town and stage would then have
" been excuses in a young writer, which now, almost
"four years experience will scarce allow of."

Malone has removed all doubt as to the place of
Congreve's birth ; but he was commonly considered
as an Irishman.

Dry den says — " As for Comedy, Repartee is one
" of its chiefest graces, the greatest pleasure of the
" audience is a chase of wit kept up on both sides,
" and swiftly managed" — and in this who was ever
equal to Congreve ?

It is to be regretted, that Congreve, who in general
is so happy in the management of his plots, should
have concluded this play and Love for Love with a
Marriage in a Mask; a deception which perhaps
never happened and which (whether likely or not)
had been introduced in so many plays, that it was
stale to the last degree.

Congreve says he wrote this play to amuse himself
in a slow recovery from a fit of sickness — on which
Collier remarks, he will not inquire what his disease
was, but it must have been a very ill one, to be worse
than the remedy.

Richmond Heiress, or a Woman Once in the Right
— (D'Urfey dates his dedication May 6th 1693) -

T. R. 1693. 47

Quickwit =:Dogget: Tom Romance = Powell : Cun-
nington = Bowen : Frederick = Williams : Sir Quib-
ble Quere = Bright : Dr. Guiacum = Sandford : Stock-
job — Underbill : Rice ap Shinkin = Bowman : Sir
Charles Rom ance = Freeman : Hotspur = Hodgson :
Fulvia =. Mrs. Bracegirdle : Sophronia (a female plain
dealer) = Mrs. Barry : Mrs. Stockjob = Mrs. Bow-
man : Mrs. Squeamish — Mrs. Knight : Marmalette
= Mrs. Leigh : — Fulvia, the Heiress, is ward to Sir
Charles — she is privately in love with Frederick — to
avoid impertinent suitors, she pretends to be mad,
and is placed under the care of Dr. Guiacum — Fre-
derick engages Quickwit in his design on the Heiress
— Quick wit is sent to Dr. Guiacum's as a mad
Lord — Cunnington, who is mischievous and merce-
nary, discovers the plot to Sir Charles — and Quick-
wit is severely beaten — Sir Charles gives Cunning-
tori a letter, which he is to carry to Dr. Guiacum in
the disguise of a Quaker, who was Steward to Fulvia's
father — Quickwit contrives to exchange this letter for
another — he goes himself to Dr. Guiacum's as Zekiel,
and carries off Fulvia — Cunnington is treated as a
madman — he however makes his escape, and by his
means Fulvia falls again into her guardian's hands—
Quickwit contrives another scheme in Frederick's
favour — this would have been successful, if Fulvia
had not in the mean time been convinced by Sophro-
riia, that Frederick's love was more to her money than
her person — Sir Charles' wish was to have had Fulvia
married to his son — Sir Quibble Quere wanted like-
wise to have married her — she rejects all her suitors,
and the play ends without a marriage — it is a good
bustling C. but might be shortened to advantage —

48 T. R. 1693.

Waldron altered it, and brought it out at Richmond
in 1777 — his alteration is not printed — almost all the
principal actors are mentioned in a scene in the 1st
act between Quickwit, Sir Quibble, and Frederick.

Female Virtuosoes. Witless (a Cambridge scholar)
= Dogget: Cleri m on t = Powell : Sir Maurice Mean-
well (an honest rich citizen) n Underbill : Sir Mag-
got Jingle = Bowman : Sir Timothy Witless = Bright :
Meanwell — Hodgson : Trap = Bowen : Huff =
Haines : Lady Meanwell = Mrs. Leigh : Catchat (an
old maid) = Mrs. Mountfort : Mrs. Lovewitt = Mrs.
Knight ; Mariana = Mrs. Bracegirdle : Lucy (her
maid) — Mrs. Rogers: — this is a moderate C. by
Wright — it is professedly taken from Moliere.

The Learned Ladies came out at Paris in 1672 —
the Learned Ladies are Philaminta, Armanda, and
Belisa, the wife, daughter, and sister of Chrisalus—
his other daughter, Henrietta, is a woman of plain
good sense — she is in love with Clitander — he had at
first paid his addresses to Armanda, but being slighted
by her, he had transferred his affections to Henrietta
— Chrisalus approves of their union — Philaminta in-
sists that Henrietta should marry Trissotin, a bad
poet, with whose writings the learned ladies are
greatly enamoured — Clitander requests Belisa to
assist him in his love for Henrietta — she chooses to
think him in love with herself — in the last act, Aristus,
the brother of Chrisalus, pretends that Chrisalus had
lost an important lawsuit, and that his bankers had
failed — Trissotin declines the match with Henrietta
—she marries Clitander — Aristus acknowledges, that
what he had said was not true, but only a stratagem
— in the 3d act, Trissotin introduces Vadius to the

T. R. 1693. 49

learned ladies — Trissotin and Vadius begin with pay-
ing each other extravagant compliments — Trissotin
asks Vadius his opinion of a sonnet — Vadius, not
knowing it to have been written by Trissotin, calls it
a miserable composition — they come to a complete
quarrel — this is the most humorous thing in the piece
— Moliere has very well ridiculed the folly of false
wit, and a pedantic education — but as the subject was
rather dry, he should have confined his play to three
acts, instead of extending it to five.

In the Female Virtuosoes, the characters of Sir
Maurice Mean well — Mr. Meanwell - Clerimont —
Lady Meanwell — Mrs. Lovewit — Mariana and Catch-
at, correspond with those of Chrisalus — Aristus —
Clitander — Philaminta — Armanda —Henrietta and
Belisa — Sir Maggot Jingle reads his verses as Tris-
sotin does in the French play, but the person, whom
Lady Meanwell designs to marry Mariana, is not Sir
Jingle, but Witless — Witless is entirely a new cha-
racter— evidently written for Dogget —this play came
out at D, G. — it was revived at L. I. F. Jan. 10 17^1,
in order to anticipate Gibber's Refusal, which was
brought out at D. L. in Feb. 1721 — there is a striking
resemblance between the two plays, each of them
being taken from the same French Comedy — Gibber's
play is better than Wright's.

Wary Widow, or Sir Noisy Parrot— this C. was
written by Higden — Wliincop says — " the author
" had contrived so much drinking of Punch in the
" play, that the actors almost all got drunk, and were
" unable to get through with it, so that the audience
" was dismissed at the end of the 3d act" —this C,

VOL. II. E

50 T. R. 1693.

is not easily to be met with— it was sold at Mr.
Rhodes' Sale, in 182,5, for more than a Guinea.

Very Good Wife. Courtwitt - Powell : Wellborn
— Hodgson : Squeezwit =. Bowen : Jeremy = Mic.
Leigh : Bonavent = Alexander : Sneaksby = Haines :
Aminadab — Gibber : Venture — Bright : Hickman i=
Trefusis : Crack = Lawson : Widow Lacy = Mrs.
Knight: Annabella (wife to Courtwitt) = Mrs. Mount-
fort : Mrs. Sneaksby — Mrs. Leigh: Mrs. Carroll —
Mrs. Lassels : — this is a moderate C. by Powell — the
greater part of it is taken from Brome — even the
dialogue is frequently copied verbatim — the characters
of Courtwitt — Mr. and Mrs. Sneaksby — Amiriadab —
Jeremy — Crack and Hickman are borrowed from
the City Wit — Bonavent — Squeezwit — Venture — and
Mrs. Carroll from the Court Beggar — much less is taken
from the latter play than from the former one — the
first two scenes between the Widow and Wellborn
are copied almost verbatim from Hide Park, and the
3d scene till Annabella enters— Annabella, disguised
as a man, marries the widow — this is taken from the
Counterfeit Bridegroom, or (which is the same thing)
from Middleton's No Wit, no help like a Woman's—
the names of Bonavent — Venture and Mrs. Carroll
are from Hide Park — Powell was not a judicious
plagiary — he has altered for the worse, rather than
the better, what he has stolen.

Double Dealer. Maskwell = Betterton : Sir Paul
Plyant = Dogget : Careless = Alexander : Brisk =
Powell: Mellefont =. Williams : Lord Touch wood =
Kyriaston : Lord Froth m Bowman : Lady Froth =
Mrs. Mountfort : Lady Plyant = Mrs. Leigh : Lady
Touchwood — Mrs. Barry : Cynthia = Mrs . Brace-

T. R. 1693. 51

girdle : — this play is inferiour to Congreve's other
Comedies, but superiour to those of almost any other

writer Malone says it came out in Nov. 1693.

Dryden on this occasion addressed an Epistle to
Congreve in which he says —

" Maintain your post : That's all the fame you

" need ;

" For 'tis impossible you should proceed.
" Already I am worn with cares and age,
" And just abandoning th' ungrateful stage :
" But you whom every muse and grace adorn,
" Whom I foresee to better fortune born,
" Be kind to rny remains ; and O defend,
" Against your judgment, your departed friend!"

Love Triumphant, or Nature will Prevail. Al-
phonso (supposed son of Veramond) m Betterton :
Veramond = Kynaston : Garcia = Williams : Ramirez
= Alexander : Carlos = Powell : Sancho = Dogget :
Lopez = Underbill : Victoria and Celidea (daughters
of Veramond and Ximena) — Mrs. Barry and Mrs.
Bracegirdle : Ximena (Queen of Arragon) — Mrs.
Betterton: Dalinda =. Mrs. Mountfort: — Veramond
King of Arragon and Ramirez King of Castile had
been friends; and had married two sisters— in the
play they are enemies — Alphonso had fought with
Ramirez in single combat, and had taken him pri-
soner— he had been assisted in the war by Garcia
King of Navarre — Veramond, in the 1st act, declares
his intention of giving Victoria to Garcia — Alphonso
and Victoria have a love for one another beyond that
of a brother to a sister — they keep themselves how-
ever within proper bounds — in the 3d act Veramond

E 2

5C2 T.R. 1693.

taxes them with incest — Ximena says that Alphonso
is really the son of Ramirez and her sister — Ramirez
confirms what she says — Ximena requests her hus-
band to give his consent to the union of Alphonso and
Victoria — Veramond is so far from consenting to this,
that he banishes Alphonso, and sends Ramirez to a
dungeon — in the 4th act, Victoria is led in, as on the
point of being married to Garcia — the army, which
was encamped without the walls of Saragossa, sides
with Alphonso -they attack Veramond and his guards,
and beat them off the stage — Alphonso fights with
Garcia, and gets the better of him — but spares his
life at the desire of Celidea — Victoria, instead of
marrying Alphonso, as might naturally have been
expected, is seized with a romantic fit of honour, and
puts herself again into her father's power — Alphonso
is as romantic as Victoria — he presents himself, in
the last scene, unarmed to Veramond —Veramond is
at first inclined to put Alphonso to death— but, by
Celidea's interference, he is prevailed on to forgive
him — and all ends happily— Garcia marries Celidea
—that Ramirez should have given his son to Ximena,
to be brought up as the son of herself and Veramond,
is improbable — that he should have fought with Al-
phonso, knowing him to be his own son, is grossly
absurd — Dryden makes a lame excuse for this by
causing Ramirez to say —

" I sent him word he was my son, before
" The brattle, but the hand of fate was in it :
" The note miscarried, and we blindly met/'

The conduct of the plot is so unnatural, that it
almost warrants a suspicion, that the serious scenes

T. R. 1693. 53

of this play, tho' not acted till 1693, were written
before the extravagant notions of love and honour
were exploded — one thing is certain, that the tragic
part of this piece is very inferiour to any play which
Dryden had written for many years — two scenes are

in rhyme — tho' Dryden had left off rhyme there

is a comic underplot — Carlos and Sancho are two
Colonels, who are in love withDalinda, the daughter
of Don Lopez — Carlos is a clever fellow, but poor—
Sancho is a fool, but rich — Dalinda, who has no for-
tune, marries Sancho — the comic part of this play is
good ; it has not the slightest connexion with the
tragic part, except that when Alphonso takes up arms
against Veramond, Carlos joins him.

Dryden, both in the dedication and in the Prologue,
expresses his determination of not writing any more

for the stage Malone says this Tragi-Comedy

came out immediately after the Double Dealer — it
was coolly received at least ; if not damned.

Dr. Johnson says of Dryden — " Almost every piece
" had a dedication written with such elegance and
" luxuriance of praise, as neither haughtiness nor
" avarice could be imagined able to resist : when once
" he had undertaken the task of compliment, he no
" longer retains shame in himself, nor supposes it in
" his patron : of this kind of meanness, he never
" seems to decline the practice or lament the neces-
" sity, but he made his flattery too cheap ; that praise
" is worth nothing of which the price is known."

Malone, who is on all occasions a most strenuous
advocate for Dryden, attempts to excuse the servility
of Dryden's adulation by saying, that it was rather
the vice of the age than the man — but to what does

54 T. R. 1694.

this excuse amount ? — simply to this ; that some
(certainly not all) of Dryden's contemporaries were
as mean as himself — if a thing be wrong in itself, the
number of persons, who are guilty of it, cannot alter
its nature.

Dryden in a letter to the Earl of Rochester says
— '« I have sent you a Prologue and Epilogue which
" I made for our players, when they went down to
" Oxford — I hear they have succeeded — arid by the
" event your Lordship will judge how easy 'tis to pass
" any thing upon an University, and how gross flat-
" tery the learned will endure " — (Malone) — he
should have added — "and I am mean enough to
" write " — after all, his Prologues at Oxford contain
nothing more than some few handsome compliments,
and Dryden might have said of them, as Puff does
in the Critic, they are " quite cool — to what I some-
" times do."

T. R 1694.

Don Quixote part 1st — Don Quixote = Bowen :
Sancho = Dogget : Gines de Passamonte = Haines :
Don Fernando = Powell : Cardenio = Bowman : Am-
brosio — Verbruggen : Perez (a Curate) = Cibber :
Nicholas (a Barber) — Harris : Host = Bright : Mar-
cella — Mrs. Bracegirdle : Dorothea ~ Mrs. Knight :

T. R. 1694. 55

Luscinda = Mrs. Bowman : Teresa Panca — Mrs.
Leigh : Mary the Buxom = Mrs. Verbruggen late
Mrs. Mountfort.

Don Quixote part 2d — Don Quixote = Bowen :
Sancho = Underbill : Ambrosio = Verbruggen : Ma-
nuel — Powell : Cardenio =. Bowman : Duke — Gibber :
Bernardo (a Chaplain) =. Trefusis : Page = Michael
Leigh : Pedro (a Physician) = Freeman : Diego =
Harris : Marcella •=. Mrs. Bracegirdle : Dutchess =
Mrs. Knight : Luscinda =. Mrs. Bowman : Donna
Rodriguez — Mrs. Kent : Teresa = Mrs. Leigh : Mary
the Buxom = Mrs. Verbruggen : — both these Come-
dies were brought out at D. G. — the 2d part came
out in the Summer — the 1st part is a good play, and
the 2d a much better — the scenes in which Sancho
is Governour have great merit— D'Urfey has hit off
the characters of Don Quixote and Sancho very well,
and has introduced a good deal of humour of his own
in Mary the Buxom, tho* of the lowest species — in
the preface he says that these plays had good success
—that in the 2d part the character of Marcella was
of his own invention, and that the song introduced in
it was sung and acted by Mrs. Bracegirdle incompa-
rably well — that Mary the Buxom was entirely his
own — and by the excellent action of Mrs. Verbruggen
was allowed by the best judges to be a master-piece
of humour.

The Epilogue to the 1st part of Don Quixote was
spoken by Dogget, as Sancho riding on his Ass —the
last two lines of it are peculiarly indecent

Married Beau, or the Curious Impertinent. The
main plot of this C. is taken from the novel of the
Curious Impertinent in Don Quixote — the Married

56 T. R. 1694.

Beau is Lovely — he believes himself very handsome,
and desires to be thought so by all Ladies, but espe-
cially by his wife — he requests his friend Polidor to
attempt his wife's chastity — he feels confident that
she will reject Polidor's addresses, but is curious to
know whether she will do so, from a principle of
honour, or from regard for her husband — Mrs. Lovely
is a coquette, who loves to be courted and admired,
but aims at no more — she is nevertheless, in the 3d
act, taken in an unguarded moment, and yields to
Polidor's solicitations— she soon becomes very sorry
for what she has done —Polidor again solicits her —
she gives him a refusal —he suspects her of an incli-
nation for Thorneback — and tells Lovely that his wife
is not what she ought to be— in the last act, Polidor
once more pays his addresses to Mrs. Lovely — she
pretends to be in a rage, well knowing that her hus-
band is concealed, and within hearing — Lovely feels
quite satisfied of his wife's affection for him — this C.
is written by Crowne — it is chiefly in blank verse-
that part of it which concerns Lovely, Polidor and
Mrs. Lovely is good — the other part of it has little to
recommend it — there are no performers' names to
the D. P. — but Dogget acted Thorneback, and spoke
the Epilogue.

Fatal Marriage, or the Innocent Adultery. Biron
— Williams : Villeroy = Betterton : Carlos = Powell :
Count Baldwin = Kynaston : Fernando = Dogget :
Frederick =. Verbruggen : Fabian — Michael Leigh:
Jaqueline = Bowen : Sampson — Underbill : Isabella
zz Mrs. Barry : Victoria •=. Mrs. Bracegirdle : Julia
nMrs. Knight: Nurse = Mrs. Leigh: — the tragic
plot of this play is probable, the distress domestic,

T. R. 1694. 57

arid the language in general pathetic — the comic plot
is very fair — it ends with the 1st scene of the 4th act
— Fernando is very jealous of his young wife Julia
—Carlos has a design on her, but she is virtuous —
Fernando's daughter, Victoria, is in love with Frede-
rick— and he with her — he wants to send her a letter
— while he keeps Fernando in talk, his man, Jaqueline,
pins the letter to Fernando's coat — Victoria elopes
in boy's clothes — Fernando goes to Villeroy's wedding
— his son, Fabian, whom he had turned out of doors,
gives him a sleepy potion — they put him into a tomb,
and when he wakes, they make him believe he has
been dead — he is reconciled to his children and pro-
mises not to be jealous of his wife — the last scene of
the comic part seems to have been borrowed from
Boccace Day 3. Novel 8 — the Epilogue is very good
—the last two lines contain a truth, but such a truth
as one would hardly have supposed it possible for
Mrs. Verbruggen to have addressed in so pointed a
manner to the Ladies in the boxes.

The Fatal Marriage was revived at D. L. Dec. 2
1757 with the omission of the comic underplot — but
the name was not changed to Isabella till several years
after.

Canterbury Guests, or a Bargain Broken. Care-
less — George Powell : Sir Barnaby Buffler = Under-
bill: Justice Greedy = Bowen : Dash (a Scrivener)
= Dogget : Alderman Furr = Trefusis : Lovell = Ver-
bruggen: Durzo (a blunt sea Captain) m Bright : 1st
Innkeeper = M. Leigh : 2d Innkeeper and Jack Sawce
= Pinkerrnan : Toby — Kent : Hillaria (niece to Furr)
= Mrs. Verbruggen : Jacinta (his daughter) = Mrs.
Rogers : Arabella (sister to Lovell) = Mrs. Knight :

5S T. R. 1694.

Mrs. Dazie and Mrs. Breeder (women of the town)
= Mrs. Lawsoii and Mrs. Kent: — Alderman Furr
had promised Jacinta to Sir Barnaby Buffler — they
meet hy appointment at an Inn in Canterbury — at
night Toby, Sir Barnaby's servant, sees Hillaria, who
is in boy's clothes, go into Jacinta's chamber—he
listens to their discourse, and tells his master what
he had heard — Sir Barnaby determines to Break the
Bargain — Careless insists that he should repair Ja-
cinta's honour — Sir Barnaby gives his half brother,
Lovell, £400 a year to marry Jacinta — Careless and
Durzo marry Hillaria and Arabella — this is on the
whole a good C. — Sir Barnaby's letter to Jacinta,
and his contract to marry her, are founded on simi-
lar circumstances in the Generous Enemies — Justice
Greedy is taken from the New way to pay old debts ;
and Dash's mode of sitting at supper is suggested by
what is said of Marrall in the same play — the women
and children, who pretend to belong to Sir Barnaby,
are borrowed from Mons. de Pourceaugnac, but Ra-
venscroft had before introduced them in his Careless
Lovers — the characters of Careless and Hillaria are
taken from that Comedy — and those of Durzo and
Arabella from Ravenscroft's King Edgar and Al-
phreda — whole scenes are copied almost verbatim
from each of these plays — particularly the former—
in the 1st act Ravenscroft has made a strange mis-
take— Sir Barnaby says in his letter — " Esquire
" Careless is my next heir" — it should have been
Lovell — from p. 34 it seems probable that this play
was brought out in May — it was not printed till 1695,
but it must have been acted in 1694.

Innocent Usurper, or the Death of the Lady Jane

T. R. 1694. 59

Gray. Lord Gilford Dudley = Betterton : Duke of
Northumberland = Williams : Gardner Bishop of
Winchester = Sandford : Earl of Pembrook = Kynas-
ton : Duke of Suffolk = Bowman : Lady Jane = Mrs.
Barry: Dutchess of Suffolk = Mrs. Betterton: — this
play was published in 1694*, but the dedication is
dated Oct. 1693 —after the actors were nearly per-
fect in their parts the T. was prohibited from being
acted, of which the author complains with good
reason, more especially as it was written 10 years
before — if the persons in power had insisted that
Banks should change his title, and alter some few
passages, they would have acted with propriety — but
this is a sort of condescension of which Theatrical
Despots have seldom been guilty.

This T. is written partly in rhyme and partly in
blank verse — it is not a very bad play— Banks has
made the Dutchess of Suffolk an important charac-
ter— she is at first violently ambitious, and then she
runs mad — her madness is a most unjustifiable per-
version of the real fact — she died quietly in 1563.

A new Life of Lady Jane Grey was published in
1822 — notwithstanding her marriage, she is gene-
rally called Lady Jane Grey, but she signed her let-
ters Jane Dudley.

Mrs. Betterton's name does not occur after this
year — it seems highly probable that she did not act
after the division of the company — the Editor of the
B. D., in his life of Betterton, says that he married
Mrs. Saunderson in 1670— this is a very great mis-
take— Betterton was married in 1663 at the latest-
Mrs. Betterton's name appears to a part in the

60 T. R. 1694.

Slighted Maid, which was printed in that year—
for the last mention of her see D. L. June 4. 1711.

Her characters — selection only.

L. I. F. 1661. As Mrs. Saunderson — lanthe in
Siege of Rhodes — *Mrs. Aurelia in Cutter of Colman
Street — Ophelia.

1662. Juliet— *Belrnont in Villain.

1663. As Mrs. Betterton — *Porcia in Adventures
of Five Hours — *Pyramena in Slighted Maid.

1664. Queen Katharine — *Graciana in Comical
Revenge — Dutchess of Malfy — * Princess Katherine
in Henry «5th.

1665. Roxalana in Mustapha.

1667. *Mandana in Cambyses — probably Lady
Macbeth.

1669. *Mrs. Julia in Sir Solomon.

1670. * Amorous Widow — * Virginia in Unjust
Judge.

D. G. 1672. *Mrs. Jilt in Epsom Wells— *Dave-
nant's Lady Macbeth — *Erminia in Forced Marriage.
1673. *Empress of Morocco.

1676. * Belinda in Man of the Mode.

1677. *Florinda in Rover — *Florella in Abde-
lazar.

16?8. *Evandra in ShadwelPs Timon of Athens.

1679. *Jocasta in CEdipus — * Andromache in
Dryden's Troilus and Cressida.

1680. *Pulcheria in Theodosius.

1681. *Dutchess of Gloucester and *Lady Grey
in Crowne's Henry 6th, 1st and 2d parts — *Lucretia

T. R. 1695. 61

in L. J. Brutus — *Elvira in S. F. — *Eleanor in
Princess of Cleve.

1682. "Camilla in Royalist.

1690. * Queen Mother in Massacre of Paris.

1692. *Cratesiclea in Cleomenes — *Wishwell in
Maid's last Prayer.

1693. *Ximena in Love Triumphant.

* Originally.

T. R. 1695.

The Patentees, being now in possession of the
town, without any opposition, imposed their own
terms on the actors — the profits of acting were di-
vided into 20 shares, 10 of which went to the Pro-
prietors ; and the other moiety to the principal actors,
in such subdivisions as their different degrees of
merit might pretend to. (Cibber.)

Gibber says " These shares of the Patentees were
" promiscuously sold out to money-making persons,
«* called Adventurers — these men, tho' utterly igno •
" rant of theatrical affairs, were still admitted to a
" proportionate vote in the management of them—
" all particular encouragement to actors was by
" them of consequence looked upon as so much
" money deducted from their private dividends—
" while therefore the theatrical hive had so many

62 T. R. 1695.

" drones in it, the labouring actors we may be sure,
" were under the highest discouragement, if not a
" direct state of oppression."

The theatre in Dorset Garden had been built by
subscription — the subscribers were called Adven-
turers— of this Gibber seems totally ignorant — that
there were any new Adventurers, added to the ori-
ginal number, rests solely on his authority, arid in
all probability he is not correct — it appears from a
petition presented to Queen Anne in 1709 that
some of the Adventurers were persons of rank, who
might naturally have subscribed to the building of
a new theatre, or have inherited a claim on it, but
who could not be supposed to have obtained their
interest in the theatre, in the manner which Gibber
represents — some of the Adventurers were doubtless
mere money-making persons.

Tho* the success of the Prophetess and King Arthur
was in appearance very great, yet the whole receipts
of the theatre did not so far balance the expenses as
to keep the Proprietors out of a large debt— but this
was not all that was wrong — every branch of the
theatrical business had been sacrificed to the getting
up of these two Operas, on which the Patentees had
founded all their hopes — plays of course were neg-
lected, actors holden cheap, and slightly dressed—
while singers and dancers were embroidered arid
better paid — these measures created murmurings on
one side, and ill humour and contempt on the other
—owing to the loss of Nokes, Leigh, and Mountfort
the audiences were much abated — in this distress,
instead of exciting and encouraging the industry of
the surviving actors, the Patentees thought the surer

T. R. 1695. 63

way was to bring down their pay in proportion to
the diminution of the audiences — as there was only
one theatre, they imagined that nothing could shake
the right of their authority, arid that they might
impose what terms they pleased on the performers
— Betterton and the leading actors were alarmed—
they entered into a sort of association to stand or fall
together — several persons of the highest distinction
espoused their cause, arid sometimes in the Circle
entertained the King with the state of the Theatre—
at length their grievances were laid before the Earl
of Dorset then Lord Chamberlain, who took the
most effectual method for their relief— the learned of
the law were consulted — and they gave their opinion,
that no Patent for acting plays &c. could tie up the
hands of a succeeding Prince from granting the like
authority where it might be proper to trust it — but
while this affair was in agitation Queen Mary died
Dec. 28 1694, which of course occasioned a cessa-
tion of all public diversions — in this interim Better-
ton and his associates had more leisure to solicit
their redress — and the Patentees, now finding that
the party against them was gathering strength, were
reduced to make sure of as good a company as the
leavings of Betterton's interest could form — and
these of course would not lose this opportunity of
setting a price upon their merit, equal to their own
opinion of it, which was just double to what they
had before — Powell and Verbruggen, who had then
but £2 a week, were now raised each of them to £4,
and others in proportion— Johnson and Bullock also
were on this occasion first taken into the service of
the T. R.

64 T. R. 1695.

Forces being thus raised and war declared on both
sides, Betterton and his friends had the honour of an
audience of the King, who considered them as the
only subjects, whom he had not yet delivered from
arbitrary power; and graciously dismissed them with
promises of relief and support — accordingly a select
number of them were empowered by his Royal Li-
cense (not a Patent) to act in a separate theatre by
themselves — this great point being obtained, many
persons of Quality came into a voluntary subscription
of 20 and some of 40 Guineas apiece for erecting a
theatre within the walls of the Tennis Court in Lin-
coln's Inn Fields — but as it required time to fit it
up, it gave the Patentees more leisure to muster
their forces, who notwithstanding were not able to
take the field till Easter Monday in April, when they
opened with Mrs. Behn's Abdelazer — the house was
very full ; but whether it was the play, or the actors,
that were not approved of, the next day's audience
came to nothing — notwithstanding this, the per-
formers were assured that however bad the houses
might be, the Patentees would make good all defi-
ciencies—and so indeed they did, till the end of the
season, when demands came too thick upon them.

Mrs. Verbruggen and Williams returned to this
theatre without having acted at L. I. F. — they were
an important acquisition, but still the affairs of the
Patentees were in a very declining condition.

Previously to 1695 Gibber had made but a small
progress on the stage — the first applause he received
was in the Chaplain in the Orphan, with which he
was naturally much delighted — Goodman coming the
next morning to Rehearsal, as he often did for his

T.R.I 695. 65

amusement, inquired what new young fellow that
was, whom he had seen in the Chaplain — upon
which Mountfort replied, " that's he behind you" —
Goodman then turning about looked earnestly at
Gibber, and after some pause clapping him on the
shoulder rejoined " If he does not make a good
" actor, I'll be damned" — the surprise of being com-
mended by so good a judge, and in so positive a
manner, filled Gibber with the greatest transport.

Kynaston being ill one day, when the Double
Dealer was to be acted, Gibber by Congreve's re-
commendation played Lord Touchwood, and did it
So much to Congreve's satisfaction, that by his inte-
rest with the Patentees he was raised from 15 to 20
shillings a week — at the secession of the principal
actors, he was raised to 30 shillings.

Gibber gives a circumstantial account of the success
with which he one day acted Fondlewife — for this,
and other particulars, see Gibber's Apology.

There can be no doubt but that the acting at
T. R. was miserably inferiour to what it had been
— but perhaps Gibber's account is a little exagge-
rated— he had evidently a personal dislike to Powell
— every thing therefore that he says, directly or indi-
rectly, against him must be received with some
grains of allowance — Powell seems to have been
eager to exhibit himself in some of Betterton's best
parts, whereas a more diffident actor would have
wished to avoid comparisons — we know from the
Spectator that Powell was too apt to tear a passion
to tatters, but still he must have been an actor of
considerable reputation at this time, or he would not

VOL. II. F

66 T. R. 1695.

have been cast for several good parts before the divi-
sion of the company.

Philaster was revived with alterations by Settle—
Philaster — Powell : Pharamond = Cibbars : (Gibber)
King = Simpson : Dion = Powell Senior: Cleremont
= M. Leigh: Thraselin = Horden : Euphrasia, dis-
guised as JBellario, — Mrs. Rogers : Arethusa i= Mrs.
Knight: Megra = Mrs. Kent : Galatea — Mrs. Cibbars :
— in the titlepage the play is said to be revised, and
the last two acts to be new written — Settle has added
several speeches to the first three acts, and some new
scenes to the last two — but when he states these two
acts as new written, he exceeds the truth — there
still remain more than 8 Octavo pages of Fletcher's
play — in Settle's 4th act, Philaster, after he has
ordered Bellario to leave him, presents his sword
to Arethusa, and tells her to guide it to his heart-
instead of doing so, she falls on the sword and is
supposed to die — Bellario returns — Philaster is going
to kill himself but Bellario beats away his sword-
she is on the point of acknowledging her sex, when
some of the Courtiers come on — Philaster surren-
ders himself to justice — in the 5th act Philaster is
brought before the king as having killed his daughter
— Bellario, to save Philaster's life, proclaims herself
the murderer of Arethusa — two Messengers enter
and say that the Princess is recovered, and that she
had received her wound from her own hand — the
play ends as in the original.

L. i. F. 1695. 67

L. I. F. 1695.

The theatre in Little Lincoln's Inn Fields (as it is
frequently called) was opened with Love for Love.
Valentine ^Betterton: Ben = Dogget : Foresight =
Sandford : Tattle = Boman : Sir Sampson Legend ^
Underbill : Scandal = Smith : Jeremy = Bowen: Trap-
land = Trefusis : Angelica = Mrs. Bracegirdle: Mrs.
Frail = Mrs. Barry : Miss Prue = Mrs. Ayliff : Mrs.
Foresight = Mrs. Bowman: Nurse = Mrs. Leigh:-
the play was very well acted in all the parts, parti-
cularly in Ben — it was performed 13 days succes-
sively. (Downes.)

The character of Foresight is now become obso-
lete, as few or no persons, but those of the lowest
rank, have any faith in judicial astrology — but in
1695 there could not be a more fair subject for ridi-
cule, as persons of the first abilities were guilty of
that folly — Dryden, in a letter to his sons at Rome
written after this time, says — " Towards the latter
" end of Sep. Charles will begin to recover his per-
" feet health, according to his nativity, which casting
" it myself I am sure is true, and all things hitherto
" have happened according to the time that I pre-
" dieted them" — the famous Lord Shaftesbury, tho'
as to religion a Deist, had in him the dotage of As-
trology to a high degree — he said to Burnet, that a
Dutch Doctor had from the stars foretold him the
whole series of his life.

Pyrrhus King of Epirus — this is an indifferent T.
by Hopkins — the foundation of it is the death of

F 2

68 D. L. AND D. G. 1696.

Pyrrhus at Argos — see Plutarch — to this is added
a love episode— two Romans are improperly intro-
duced— as also the wife of Pyrrhus — the celebrated
discourse, which Plutarch represents as having passed
between Cineas and Pyrrhus, is put into her mouth
—there are no performers' names to the D. P.

DRURY LANE AND DORSET GARDEN 1696.

Gibber's great success in Fondlewife did not much
promote his rise in the theatre, there were few or
no other parts of the same kind to be had — nor could
people conceive from what he had done in that cha-
racter, for what others he was fit — if he solicited for
any thing of a different nature, he was told that it
was not in his way, but what was in his way was
not determined on — having then no other resource,
he resolved to write a character for himself — when
he had finished his play, yet the difficulty of getting
it on the stage was not easily surmounted — for at
this time as little was expected from him as an
author, as there was from him as an actor — but
Southerne happening to like it, immediately recom-
mended it to the Patentees, and it was accordingly
produced in Jan. 1695-6.

Love's last Shift, or the Fool in Fashion. Sir
Novelty Fashion — Gibber : Loveless =. Verbruggen :
Sir William Wisewoud = Johnson : Snap — Penketh-

D. L. AND D. G. 1696. 69

man : Elder Worthy = Williams : Younger Worthy
-Horden: Sly = Bullock : Lawyer = Mills : Amanda
= Mrs. Rogers : Narcissa = Mrs. Verbruggen : Hil-
laria = Mrs. Gibber: Mrs. Flareit = Mrs. Kent:
Amanda's Woman = Mrs. Lucas: — this is on the
whole a very tolerable C. — on the first night as
Gibber was going to prompt the Prologue, Southerne
took him by the hand arid said, " Young man I
" pronounce thy play a good one — I will answer for
" its success, if thou dost not spoil it by thy own
" action" — for this however, as well as for the play,
Gibber obtained much applause — Lord Dorset told
him that " for a young fellow to show himself such
" an actor and such a writer in one day was some-
" what extraordinary."

Vanburgh did Gibber the honour to write his
Relapse as a Sequel, or second part, to Love's last
Shift.

Don Quixote part 3d by D'Urfey — Don Quixote
= Powell : Sancho = Newth : Basilius = Horden :
Camacho = Bullock : Jaques = Penkethman : Car-
rasco =: Verbruggen : Gines de Passamonte =. M.
Leigh: Mary the Buxom = Mrs. Verbruggen: Te-
resa — Mrs. Powell : Quilteria = Mrs. Finch: Altesi-
dora=:Miss Cross : — the Puppetshow scene is very
good— the whole of this Comedy is equal to the
second part and very superiour to the first, yet such
is the caprice of the Public that it was not acted
with near the same success — it is evident from the
names of the Performers, that they were inferiour
to those who had acted the former parts, and it
appears from the preface that some things were

70 D. L. AND D. G. 1696.

badly managed in the representation — Collier falls
foul of these three plays and not without reason.

The Prologue is spoken by Horden and Miss
Cross. She boasts of her interest with the men :
Horden tells her —

" Child th' art three years too young."
Miss Cross. Perhaps as much too young, as you

too good.

Horden. Nay I confess th' art planted in a place,

Where like a Melon underneath a

glass,

The Town's warm beams soon ripe-
ness will produce,

No hot-bed like a Playhouse for that
use.

Miss Cross was called Miss because she was quite
a girl — she was afterwards called Mrs. Cross — the
case was the same with several other actresses-
Gibber in the Lady's last Stake calls two of his
female characters Miss Notable arid Mrs. Conquest,
tho' they are both unmarried — but one is a girl and
the other a woman.

Oronooko — Oronooko = Verbruggen: Aboan =
Powell : Lieut. G overnour = Williams : Stanmore =
Horden : Jack Stanmore = Mills : Blanford = Har-
land : Capt. Driver = Johnson : Daniel = Mich. Leigh :
Hottman = Sympson : Imoinda = Mrs. Rogers : Wi-
dow Lackitt = Mrs. Knight : Chariot Welldon = Mrs.
Verbruggen : Lucy Welldon = Mrs. Lucas : — South-
erne has professedly borrowed the plot of this play
from Mrs. Behn — her father was appointed Lieuten-

D. L. AND D. G. 1696. Jl

ant Govemour of Surinam, but died on his voyage
thither — she and the rest of her family proceeded to
Surinam, where she became acquainted with Oro-
nooko, whose history she has related in a very inte-
resting manner — Southerne's chief deviation from
the story is at the catastrophe, when he makes Oro-
nooko kill first the Governour, and then himself —
Oronooko was in fact put to death in a most cruel
manner — Southerne has greatly enlarged the part of
Aboan — he has also added a comic underplot — Oro-
iiooko was very successful — the Tragic scenes are
peculiarly interesting — it is the fashion to abuse the
Comic ones — they are certainly very indecent, but
they have a great deal of the vis comica in them — in
a moral light the alterations of this play have been
for the better, but in point of dramatic merit vastly
for the worse.

Agnes de Castro. Prince = Powell : Alvaro (in
love with Agnes) = Verbruggen : King = Simpson :
Lorenzo = Cibber : Agnes = Mrs. Rogers : Elvira
(sister to Alvaro) = Mrs. Knight: Princess = Mrs.
Temple : — scene Portugal — the Prince had been in-
timate with Elvira, but had abandoned her on his
marriage — she discovers that the Prince is in love
with Agnes — and makes the Princess acquainted with
it — this however does not dissolve the strict friend-
ship between the Princess and Agnes— act the 3d
begins with Elvira solus — in the next scene she stabs
the Princess in the dark, mistaking her for Agnes —
the Princess dies — and Agnes falls into a swoon — the
King &c. enter — Elvira accuses Agnes of having
killed the Princess — Agnes is committed to the cus-
tody of Lorenzo — in the 4th act, the Ghost of the

72 D. L. AND D. G. 1696.

Princess appears to Elvira, who immediately runs
rnad — in the 5th act, the King is convinced of the
innocence of Agnes — Alvaro aims a blow at the
Prince, Agnes shrieks, the Prince steps back, and
Agnes receives a mortal wound — the Prince kills
Alvaro, and is with difficulty prevented from killing
himself — this is a moderate T. attributed to Mrs.
Trotter— (afterwards Mrs. Cockburne) — it is said to
be founded on a French Novel, translated by Mrs.
Behn.

Bonduca, or the British Heroine — Britons — Cara-
tach = Powell : Venutius^ Horden : Macquaire (a
prince of the Picts) — Simpson : Nenni us =. Mills :
Hengo (a boy — nephew to Caratach) = Miss Allison :
Bonduca — Mrs. Knight : Claudia and Bonvica (her
daughters) •=. Mrs. Rogers and Miss Cross : — Romans
— Suetonius =. Verbruggen : Petilius = Harland : Ju-
nius = Hill : Macer = M. Leigh : — this is only a
wretched alteration of one of Beaumont and Flet-
cher's best plays.

Bonduca — this play is founded on history — Cara-
tach or Caractacus was carried as a prisoner to Rome
in the time of Claudius — see the 12th book of the
Annals of Tacitus — Bonduca or Boudicea put an
end to her life by poison in the time of Nero — the
slight anachronism, in bringing these two distin-
guished characters into the same play, is abundantly
compensated by the advantages resulting from it —
see the 14th book of the Annals of Tacitus — Pen i us
really killed himself as represented in this Tragedy
— Suetonius is a real character — most of the others
are fictitious — Judas is a comic part — Junius and
Petilius are sometimes comic and sometimes serious

D. L. AND D. G. 1696. 73

—the latter is a part of importance, but not much
connected with the plot,

Bonduca was revived with very considerable altera-
tions— the character of Penius is entirely omitted—
that of Petilius is greatly shortened —all that passes
in the original play between Junius and the second,
daughter of Bonduca is omitted — Junius is said to
be in love with a Grecian Captive whom he had left
behind him at Rome — he is killed in the battle — the
deficiency, thus occasioned, is supplied chiefly by the
love scenes between Venutius and Claudia — Comes,
(or Macquaire as he is called in the D. P.) is also in
love with Claudia — the name of Judas, is changed
to Macer.

Some Gentleman was so conceited as to suppose
that he could improve the original play — he bestowed
but four days' labour upon it, and then gave it to Powell,
who had it acted and printed — the whole was revised
and studied in a fortnight — Bonduca, thus shamefully
mangled, was acted, now and then, for several years,
particularly by the Summer Company — the original
play was revived at the Hay. July 30 1778.

Rival Sisters, or the Violence of Love. Antonio
= Powell : Sebastian (his friend and son to Vilarezo)
~ Verbruggen: Alonzo = Williams: Vilarezo (a noble-
man of Portugal) •=. Disney : Geraldo (an amorous
old man) = Johnson : Catalina and Beriuthia (in love
with Antonio) = Mrs. Knight and Mrs. Rogers : Al-
phanta^Miss Cross : Ansilva (Catalina's woman) —
Mrs. Verbruggen : — Antonio is in love with Berin-
thia, the younger daughter of Vilarezo — he refuses
his consent, and wants Antonio to marry his elder
daughter, Catalina — in the 4th act, Vilarezo makes

74 D. L. AND D. G. 1696.

Antonio drunk, and marries him to Catalina — An-
tonio supposed her to be Berinthia — when he finds
the mistake, he refuses to consummate his marriage,
and goes off with Berinthia — Sebastian pursues him
and kills him — Catalina is killed by a thunderbolt,
but before her death she acknowledges that she had
stabbed Ansilva, and had intended to poison her sister
— Berinthia, on Antonio's death, takes poison — there
is an indifferent underplot between Alonzo and Al-
phanta — and some good comic scenes between Ge-

raldo and Ansilva this T. was written by Gould

— there is a striking resemblance between it and
Shirley's Maid's Revenge — each of them is founded
on the 7th history of " God's Revenge against Mur-
" ther" by Reynolds — but the two pieces differ in
some material points — Gould's play is far from a bad
one.

Ibrahim 13th Emperour of the Turks. Ibrahim
m Verbruggen : Amurat — Powell : Achmet (chief of
the Eunuchs) = Mrs. Verbruggen : Mufti = Simpson :
Mustapha (father to Am urat) = Mills : Morena (the
Mufti's daughter) == Mrs. Rogers : Sheker Para =. Mrs.
Knight : — Sheker Para is one of Ibrahim's cast mis-
tresses— she maintains an influence over him by being
his procuress — she makes love to Amurat, but is
rejected by him — by means of Achmet she discovers
that Amurat is on the point of marriage with Morena
—she praises Morena's beauty to Ibrahim — he offers
Morena his hand — on her declining of it, he ravishes
her, and sends her back to her father — the Mufti
appeals to the Divan — Ibrahim is dethroned and
killed — Morena takes poison — Amurat and Sheker
Para kill themselves — Achmet is killed — the plot of

D. L. AND D. G. 1696. 7^

this T. is unexceptionable, but the language is poor
— in the 3d act there is a good song by D'Urfey —
Mrs. Pix is very loyal, and makes Amurat say, that
if the Sultan should send the bowstring, he would
fall on his obedient knees and die blessing hirn — in
the preface she says that she has made a mistake, and
that Ibrahim was the 12th Emperour.

Lost Lover, or the Jealous Husband. Wilmore =
Verbruggen : Wildman = Horden : Sir Amorous
Courtall — Powell : Smyrna — Gibber : Sir Rustick
Good-Heart = Johnson : Knowlittle (a fortuneteller)
= Haines : Dr. Pulse = Penkethman : Belira = Mrs.
Knight : Lady Younglove = Mrs. Kent : Olivia
(Smyrna's Wife) = Mrs. Verbruggen : Marina = Mrs.
Rogers : Orinda (an affected poetess) = Mrs. Gibber :
—Wilmore pretends to be on the point of marriage
with old Lady Younglove, but is in reality attached to
her daughter Marina — Smyrna is very jealous of his

wife — she likes Wildman, but is virtuous this is

an indifferent C. — it appears from the preface that it
was unsuccessful — Mrs. Manley was very imprudent
in allowing a play to be acted, which she says she
wrote in 7 days.

Pausanias the Betrayer of his Country. Pausa-
nias = Verbruggen : Argilius (a noble youth bred up
by Pausanias) = Powell : Artabazus (the Persian
Embassadour) = Gibber : Polsemon (one of the
Ephori) = Pinkethman : Anchilthea (mother to Pau-
sanius) = Mrs. Rogers: Pandora (a Persian lady,
mistress to Pausanias, but in love with Argilius) =
Mrs. Knight : Demetria = Mrs. Verbruggen: Maw-
kine (her daughter) = Mrs. Lucas : — for the history
on which this play is founded see Diodorus Siculus

76 D. L. AND D. G. 1696.

book llth — Pausanias is in league with the Persians —
in all his letters to Xerxes, he had desired him to kill
the bearers of them for fear of a discovery — as Pau-
sanias has a regard for Argilius, he is with difficulty
persuaded by Artabazus to give him letters to be car-
ried into Persia — Anchilthea snatches the letters from
Argilius — Argilius takes refuge in the temple of Nep-
tune— Pausanius enters to him —the Ephori overhear
their conversation — they advance with guards — Pau-
sanias kills Argilius — and forces his way through the
guards — a messenger says Pausanias is fled to the
temple of Minerva — Anchilthea gives orders that the

temple gates should be dammed up in reality the

mother of Pausanias neither said nor did any thing,
except that after her son had taken refuge in the
temple, she brought a brick and placed it at the en-
trance— the Lacedemonians followed her example—

and Pausanias was starved to death the Tragic

and Comic scenes of this play are but indifferent, the
author has followed history with sufficient exactness,
but he has made use of several improper expressions,
as Piazza, Forum, Miss Mawkine &c. — Demetria is
described in the D. P. as a rich Spartan Widow — in
the time of Pausanias no Spartan was rich or poor

this T. is said to have been written by Norton,

and brought on the stage by Southerne.

Mock Marriage. Willmot= Powell : Fairly —
Horden : Belfont = Verbruggen : Sir Simon Barter
— Johnson : Sir Arthur Stately = M. Leigh : Lord
Goodland = Disney : Clarinda = Mrs. Verbruggen :
Lady Barter rz Mrs. Knight: Marina = Mrs. Rogers:
Flavia =. Mrs. Finch : Landlady = Mr. Bullock :—
Willmot is honourably in love with Clarinda — but this

D. L. AND D. G. 1696. 77

does not prevent him from having a design on Flavia

—nor from keeping up his intimacy with Lady Barter

-in the 4th act, there are two Mock Marriages, that

is two marriages by a sham parson — this C. was

written by Scott, and brought out at D. G. — Gildon

says it was damned, but he seems to say this of every

play that was not acted above 3 times.

Younger Brother, or the Amorous Jilt. George
Marteen = Powell : Prince Frederick =: Verbruggen :
Sir Rowland Marteen = Johnson : Sir Merlin Mar-
teen (his elder son) = Pinkerman : Welborn = Horden:
Sir Morgan Blunder = Bullock : Mirtilla = Mrs.
Knight : Olivia = Mrs. Verbruggen : Teresia = Mrs.
Temple: Lady Youthly — Mrs. Harris : Lady Blun-
der (Sir Morgan's mother) = Mrs. Powell : Mrs.
Man age = Mrs. Willis : — Mirtilla, the Amorous Jilt,
had been first attached to George Marteen, the
Younger Brother — she then married Sir Morgan
Blunder for a convenience — Prince Frederick had
seen her in Flanders, and had fallen in love with her
— he follows her to England — they meet accidentally
—she promises him a private interview — George
Marteen had recommended a page to Mirtilla — the
Page is his sister Olivia in disguise — Mirtilla falls in
love with Olivia — in the 3d act, the house where
Mirtilla lodges is on fire — George Marteen, knowing
that his friend Prince Frederick is with Mirtilla in
her chamber, procures a ladder with some danger to
himself — they make their escape from the window —
the Prince carries Mirtilla to his own lodgings — she
pretends to be ill with the fatigues of the night, and
requests the Prince to leave her to her repose— this
is done with a view of entertaining her supposed

78 D. L. AND I). G. 1696.

Page — on the approach of the Prince, she hides
Olivia under the train of her gown — Olivia gets off
unseen — and Mirtilla retires with the Prince — in the
5th act, Mirtilla again makes love to Olivia — the
Prince discovers that Mirtilla is a jilt — but is recon-
ciled to her Olivia had been promised by her

father to Welborri whom she had never seen — on
seeing Welborn she falls in love with him, without
knowing who he is — he falls in love with her, but
without knowing her name — the Prince lives at Wel-
born's house — Olivia attends Mirtilla thither — in the
4th act, Welborn, supposing Olivia to be really Mir-
tilla's page, offers her half of his bed — she is in a
manner forced to accept of it — she gets up before
day — and leaves a letter for Welborn, in which she
informs him, that she is the lady whom he had seen
in the Mall — a similar scene occurs in the Royalist
— but Mrs. Behn has managed the matter better
than D'Urfey — WelfcmTs self-reproach, on reading
the letter, is exquisitely comic — at the conclusion
they are married — this play was written by Mrs.
Behn — it is on the whole a very good C. — but
it appears from the dedication that it met with
brutal teatment on the first performance — it was
brought on the stage by Gildon — tho' not acted till
1696, it was probably written several years sooner,
as Gildon says, that he had removed the old bustle
about Whig and Tory, which Mrs. Behn had intro-
duced in the 1st act — Mrs. Behn, in her history of
Oronooko, mentions Col. Martin, with whom she
was acquainted at Surinam — she adds — " he was a
" man of great gallantry, wit, and goodness, and I
" have celebrated him in a character of my new Co-

D. L. AND D. G. 1696. 79

" medy, by his own name, in memory of so brave

" a man."

Mrs. Behn died April 16 1689 — her name was
really Aphra — Langbaine calls her Mrs. Astrsea Behn,
but that was only her poetical name — she deserves a
very high rank among dramatic writers — all her comic
scenes are good, and many of them excellent — Mrs.
Centlivre, Mrs. Cowley, Mrs. Inchbald and other
females have distinguished themselves by their plays,
but no female is to be put in competition with Mrs.
Behn — Langbaine says, " Most of her comedies had
" the good fortune to please, and tho' it must be
" confessed she has borrowed very much, yet it is
" to her commendation that she improved whatever
" she borrowed."

Granger by mistake tells us that Mrs. Behn's
father resided at Surinam — he adds — " She gave
" Charles the 2d so good an account of that colony,
" — that he sent her to Antwerp during the Dutch war
" — here she entered with her usual spirit, into various
" intrigues of love and politics — she penetrated the
" design of the Dutch to sail up the Thames, and
" transmitted her intelligence to the King — but it
" was slighted, and even laughed at" — Sir Richard
Steele tells us that she understood the practic part of
love better than the speculative.

Brutus of Alba, or Augusta's Triumph — there are
no performers' names to the D. P. — Brutus is absent
in the Gallic war — he had left Arsaracus as the
guardian of his kingdom, and of Amarante who is
contracted to Locrinus the son of Brutus — Arsara-
cus makes love to Amarante — she rejects him—
Coreb, an evil spirit, offers Arsaracus his assistance

80 D. L, AND D. G. 1696.

— Amarante is attended by a good spirit in the
shape of a page — Locrinus returns — Coreb bribes
Hersius and Spungius to give Amarante and Sozi-
mon a sleeping potion — Amarante retires to rest in
her chamber — Coreb places Sozimon, while he is
asleep, by Amarante's side — Locrinus finds them in
that situation — this is riot represented on the stage,
but only related by Coreb— Sozimon is not one of
the D. P. — Arsaracus, with a band of ruffians,
attacks Locrinus (behind the scenes) — the ruffians
run away on the approach of Brutus' guards — Arsa-
racus clears up Amarante's fame, and has his life
given to him — the Editors of the B. D. tell us that
the plot of this Opera is chiefly taken from Tate's
Brutus of Alba — which is a gross mistake — it is rather
a Sequel to that play — Brutus and Locrinus are cha-
racters in both the pieces — but the scene in Tate's
piece lies in Sicily, and in the other in Britain — the
author of the Opera has borrowed the names of
Amarante, Ragusa, Arsaracus, and Sozimon from
Tate, but the characters are totally different — Her-
cius and Spungius, with the good and bad spirit are
taken from Massinger's Virgin Martyr — Brutus, who
returns with conquest from the Gallic wars, is meant
as a sort of compliment to King William, on whose
fate the welfare of Augusta (London) depends — a
good deal of the scenery and machinery is the same
as had been introduced in Albion and Albanius — the
best parts of the dialogue are borrowed from Mas-
singer — this Opera was brought out at D. G. — in the
titlepage it is dated 1697 — hut the dedication is
dated Monday Oct 16 1696— it concludes thus —
" We wish ourselves benefactors on Wednesdav and

D. L. AND D. G. 1696. 81

" Saturday next, the Visiting Days of George Powell
"and John Verbruggen" — the profits of the piece
seem to have been given to them : they style it the
offspring of an unknown parent.

Cornish Comedy. Gripe (father to Peregrine and
Claririda) = Johnson: Nie. Froth (an innkeeper) =
Penkethman : Shuffle (a cheating attorney) = Bul-
lock : Swash (a true country squire) = Leigh :
Sharper (a treacherous friend to Swash) — Powell :
Peregrine = Mills : Capt. Busy = Haines : Manley —
Harland : Trusty (uncle to Manley and Eugenia) =
Simpson : Freeman = Williams : Clarinda — Mrs.
Temple : Sue Froth = Mrs. Lucas : Eugenia =. Mrs.
Andrews: Margaret = Mrs. Mills: — Clarinda is pro-
mised to Manley — Gripe insists that she should
marry Swash — Trusty is determined, if possible, to
effect a match between his nephew and Clarinda—
for this purpose he bribes Sharper and Shuffle-
Shuffle forges a letter from the person who ma-
nages Gripe's concerns in the mines— Gripe on re-
ceiving the letter believes that his own mine is nearly
exhausted, and that a very profitable vein of ore has
been discovered on Manley's estate — Swash is arrested
for a pretended debt — under these circumstances
Gripe orders Clarinda to endeavour to regain Man-
ley's affections — a good deal is said about the tin
mines — this C. was brought out at D. G. — it is a
pretty good play - the author gave it to Powell, who
in his dedication to Rich says " You are so much
" the Gentleman in your candour and goodness, and
" the conduct of your whole administration among
" us, that nothing but the highest ingratitude can
" play the infidel with you— 'tis true you have un-

VOL. II. G

82 D. L. AND D. G. 1696.

" happily met with too many barbarous returns from
" rnurmerers and mutineers, but their revolt is their
" shame not yours; and against such poor apostacy,
" I here enter my public protestation and abhorrence"
when Powell wrote this he was a sort of Ma-
nager under Rich, he afterwards turned apostate
and joined the Company at L. I. F. for a season
or two.

Spanish Wives — there are no performers' names
to the D. P., but from the Epilogue it appears that
Mrs. Verbruggen acted the Governour's Lady — John-
son, Bullock, arid Mrs. Knight in all probability were
the Governour, the Friar, and Elenora, as they acted
those parts June 26 1711 — the Governour of Bar-
cellona is a merry old Lord, who has travelled, and
who gives his wife more liberty than is usual in
Spain — she likes Peregrine, an English Colonel, but
does not go to criminal lengths with him — the Mar-
quess of Moricada is very jealous of his wife Elenora
—she had been forced by her friends to marry him,
but is in love with Camillus, a Roman Count, to
whom she had been contracted — the Marquess and
his wife are on a visit at the Governour's — Andrew
is a Friar, who assists Camillus and the Colonel in
their amours, but is always unsuccessful — the best
character is Hidewell, who is retained in the service
of the Count — the part was probably acted by Pin-
kethman — in the 1st scene he enters as a country
fellow who sells fruit — the Marquess has him stripped
to the skin, and his clothes searched, but can find
nothing — Hidewell returns to the Count with a letter
concealed in the ferrule of his stick — at the conclu-
sion, Elenora makes her escape to Camillus — they

D. L. AND D. G. 1696. 83

have reasonable expectations of obtaining a divorce
for her — this is a very good Farce in 3 acts — it was
brought out at D, G. — Mrs. Pix in the dedication
says it was well received.

Neglected Virtue, or the Unhappy Conquerour.
King of Parthia = Powell : Artaban = Horden : Cas
tillio = Mills : Bretton = Bullock : Castillio Junior (a
foolish suitor to Amadine) = Pinkethman : Lycastes
(in love with Amadine) = Harland : Queen of Parthia
= Mrs. Knight : Alinda (daughter to the King) =
Mrs. Rogers: Amadine (daughter to Bretton) = Mrs.
Cross: Ariena (niece to Bretton) = Mrs. Temple:
—the tragic scenes of this play are contemptible—
the comic underplot is pretty good, as being chiefly
taken from the Pilgrim — Bretton, Ariena, and Ama-
dine are Alphonso, Juletta, and Alirida under differ-
ent names — notwithstanding that the scene is in
Parthia, the author introduces the mad Englishman,
as in the Pilgrim — in the 1st act, one of the cha-
racters speaks three words of French — another talks
of Plaster of Paris.

Joe Haines spoke the Epilogue as a Madman; on
one of the lines there is the following note, " here
" Mr. Haines made several pleasant digressions too
" long to be inserted, and to make place for them
" omitted some lines of this Epilogue" — the author
gave the play to the care of Horden, who wrote and
spoke the Prologue — Horden was a young man who,
with a handsome person, had almost every natural
gift that could promise an excellent actor, arid was
every day rising into public favour — he was unfortu-
nately killed in a frivolous quarrel at the bar of the
Rose Tavern. (Gibber.)

a 2

84 L. i. F. 1696.

This tavern seems to have been very near D. L.
Theatre, and to have been the usual place of resort
after the play — it is mentioned in the Epilogue to the
Constant Couple —

" Now all depart * * *

" And one with loving She retires to the Rose/*

From the next two lines and the Prologue to Sir
Harry Wildair, number Three appears to have been
a favourite room.

Gildon in his Comparison between the two Stages,
in 1702, lays the scene of one of his dialogues at the
Rose Tavern.

It seems most probable that Horden was killed
in 1697 — yet the name of Horden stands to one
or two small parts after that time — from what Cib-
ber says of Horden, it cannot be supposed that he
lost ground in the Theatre — Horden, who acted a
very small part in Imposture Defeated 1698, and an
officer in the Generous Conqueror 1702, was in all
probability a different person — Horden seems not to
have been on the stage more than 2 or 3 years.

L. 1. R 1696.

Cyrus the Great, or the Tragedy of Love. Cyrus
Betterton : Cyaxares (Uncle to Cyrus, and King

L. i. F. 1696. 85

of Media) = Smith : Abradatas (King of Susa) =:
Hudson : Hystaspes (kinsman to Cyrus) = Kynaston :
Croesus (King of Lydia) = Bowman : Artabasus —
Thurmond : Panthea = Mrs. Barry : Lausaria — Mrs.
Bracegirdle : Thomyris (Queen of Scythia) = Mrs.
Bowtell : — the Editor of the B. D. says that the plot
of this T. is taken from Scudery's Romance, which
is probably true, but it comes originally from a variety
of authors — the first scene discovers a field of battle
covered with dead bodies, supposed to be the remains
of Croesus' army, who is absurdly represented as
defeated in the neighbourhood of Babylon — some
Witches re-animate one of the dead men, and make
him foretell the fate of Cyaxares — this is taken from
the Ethiopica of Heliodorus — in the 2d act, Cyrus
orders Croesus to be burnt — he calls on Solon, as in
Herodotus — Panthea is brought in by Hystaspes as
a captive — Cyrus falls in love with her — she says
she is the wife of Abradatas — the characters of Abra-
datas, Panthea, and Hystaspes are from Xenophon's
Cyropsedia — that of Thomyris from Herodotus-
Banks has however made considerable alterations
in what he has borrowed from Xenophon and Hero-
dotus— Lausariia, the daughter of Croesus, is a ficti-
tious character— she is in love with Cyrus — Hys-
taspes is in love with Panthea — in the 5th act,
Croesus gives Cyrus an account of Balthazar's feast
from the book of Daniel — this is better written than
any other part of the play — this T. is romantic and
unnatural, but riot dull — Gildori tells us that the
Players damned it and would not act it for a while,
but at length it was acted, arid damned then in man-
ner and form — it seems however to have been laid

80 L. i. F. 1696.

aside rather on account of Smith's death than for
any other reason — Downes calls it a good play.

Love's a Jest by Motteux. Sam Gaymood (younger
brother to Sir Thomas) = Bo wen : Railmore = Bet-
terton : Sir Topewell Clownish = Underbill : Squire
Illbred = Trefusis : Airy = Bowman : Lord Lovewel
= Hodgson: Humphry = Trout: Plot = Bright:
Frankly = Bailey : Sir Thomas Gaymood = Freeman :
Francelia and Christina (his daughters) = Mrs. Bow-
tell and Mrs. Bracegirdle : Lady Single = Mrs.Barry :
Kitty (her sister) = Miss Howard: Doll Hoydon —
Mrs. Perrin: — scene Sir Thomas' seat in Hertford-
shire— time of action from noon till night — Lord
Lovewel proposes to Francelia — her father approves
of the proposal — but on Illbred's offering to take her
without a portion, he orders her to give him the
preference — Illbred is eventually married to Frankly

—a young gentleman who is disguised as a cham-
bermaid for the love of Kitty — Kitty is married to
him in the dress of a page — in the 4th act, Airy
makes love to Christina in Jest — the jest turns out
to be earnest — and at the conclusion they marry—
Railmore is united to Lady Single — and Lord Love-
wel to Francelia — this is a tolerably good C. — the dia-
logue is well written, but the first 4 acts want inci-
dent sadly, the 5th has plenty — Love's a Jest was
revived at D. L. Aug. 31 1711.

Country Wake. Young Hob = Dogget : Wood-
vill = Betterton : Sir Thomas Testie = Underbill :
Friendly irKenneston: (Kyriaston) Old Hob = Tre-
fusis: Lady Testie = Mrs. Barry : Flora = Mrs. Brace-
girdle: Lucia = Mrs. Bowman: Betty = Mrs. Leigh :

—Sir Thomas Testie is married to a young wife—

L. i. F. 1696. 87

she sees Woodvill and takes a fancy to him — she
introduces him to Sir Thomas as Betty's sweetheart
—Betty has not time to give Woodvill a hint, and he
is quite at a loss how to behave — Lady Testie comes
into WoodvilPs room in the dark — the stage direction
is — " he pulls her, and the scene shuts upon them"
— WoodvilPs last speech is very good, but it must
not be quoted — Friendly sends Hob with a letter to
Flora — Sir Thomas gets the letter from him — the
Wake takes place in the 4th act, at the conclusion of
it, Sir Thomas draws his sword on Hob — Hob's
wound is very slight indeed, but he fancies himself
dying — Sir Thomas is put into prison — Friendly and
Woodvill marry Flora and Lucia — Lady Testie be-
haves very generously to Woodvill — this is a good C.
by Dogget — Hob is an excellent character — but he
was riot originally put into the Well— this play has
been cut and carved in a strange manner — see D. L.
Oct. 6 1711— L. I. F. Jan. 11 1720— and L. I. F.
March 20 1732.

Husband his own Cuckold — there are no perform-
ers' names to the D. P. — Lady Crossit is very sub-
ject to the vapours — this is chiefly owing to her
partiality for .Dr. Lorman, her physician — on the
supposition that Sir John Crossit will be out of
town, she sends him an invitation — the letter falls
into her husband's hands — and he passes the night
with her, instead of Dr. Lorman — on leaving her,
he scratches her face severely — she supposes that
she has received this injury from Dr. Lorman — when
he next visits her, she pretends that he wants to ravish
her, and has him well beaten by the servants — this
is a moderate C. - it is written by John Dryden Jun.

88 L. I. F. 1696.

—his father in the preface says, that the circum-
stance, which gives the title to the play, really hap-
pened at Rome, where his son wrote it — it is dedi-
cated by the author to his uncle, Sir Robert Howard,
who wrote the Committee &c. — the motto is happy—

Et Pater jEneas, et Avunculus excitet Hector.

She Gallants. Sir Toby Cusifle (a knight and a
pimp) = Underbill: Bell amour ^Betterton: Sir John
Aery = Bowen : Vaunter = Dogget : Philabel (in
love with Lucinda) = Hodgson : Frederick = Thur-
mond = Courtall (twin-brother to Constanti a) = Bai-
ley: Angelica = Mrs. Bracegirdle : Lady Dorimen =
Mrs. Barry : Constantia =. Mrs. Bootell : Lucinda
(niece to Lady Dorimen) = Mrs. Bowman : Plackett
(Lady Dorirnen's woman) — Mrs. Leigh: — the She
Gallants are Angelica and Constantia — Angelica is
the daughter of Sir Toby Cusifle, who had brought
her up in the country, and had not seen her for
several years — Bellamour had entered into a matri-
monial engagement with Angelica, but had deserted
her, and made love to Lucinda — Angelica, in her
disguise as a man, exposes Bellamour at Lady Dori-
men's — Lucinda breaks with him, and gives her hand
to Philabel — Bellamour sends a challenge to Ange-
lica— she meets him at the appointed place, but in
the dress of a woman, and under a mask— a recon-
ciliation takes place between them — Frederick and
Constantia are mutually in love — she becomes a
She Gallant — his four sisters are all in love with
her — when they find her a woman, they are ready to
tear her to pieces — Sir Toby takes a great fancy to
Angelica — he promotes an affair between her and

L. I. F. 1696. 89

Lady Dorimen — in the 4th act Lady Dorimen gives
Angelica the plainest hints of what she wishes-
Angelica of course cannot avail herself of them —
the scene is a very good one — this C. was written
by Granville, afterwards Lord Lansdown — Dowries
says this play was " extraordinary witty, and well
" acted, but offending the ears of some Ladies, who
" set up for chastity, it made its exit" — it was re-
vived at D. L. in 1746 — see March 13 and April 5.
She Ventures and he Wins. Lovewell =. Hodg-
son: Squire Wouldbe = Dogget : Sir Charles Frank-
ford (in love with Juliana) = Bowman : Sir Roger
Marwood (in love withBellasira) = Scudamore : Free-
man (a vintner) i= Freeman : Chariot (a rich heiress
—sister to Sir Charles) = Mrs. Bracegirdle : Urania
(wife to Freeman) = Mrs. Barry: Juliana = Mrs.
Bowman: Bellasira = Mrs. Martyn : Dowdy (wife
to Squire Wouldbe) — Mrs. Bowtel : Mrs. Beldam
(her mother) =. Mrs. Leigh: — Chariot falls in love
with Lovewell and offers to marry him — he accepts
her offer — on the wedding day she leaves him, and
makes use of some artifices in order to ascertain,
if he has married her for her person or her fortune
—there is an underplot, in which Squire Wouldbe
wants to intrigue with Urania — she tells her husband
—they play him several tricks, and at last expose him
to his wife and the rest of the D. P. — this is an indif-
ferent C. by a young Lady.

City Bride, or the Merry Cuckold. Bonvile (the
Bridegroom) =. Boman : Friendly = Thurmond :
Compasse -=. Freeman : Justice Merryman (father to
Arabella) = Bright : Surnmerfield =: Scudamore : Ven-
ter - Arnold : Spruce — Bayly : Arabella (the Bride)

90 L. i. F. 1696.

= Mrs. Boman : Clara = Mrs. Boutell : Compasse's
Wife = Mrs. Perin : Nurse = Mrs. Lawson : Mrs.
Venter^: Mrs. Lacy: — it is clear from the names
of the performers that this C. must have been badly
acted — it is only an alteration of a Cure for a
Cuckold.

A Cure for a Cuckold was written by Webster
in conjunction with Rowley — it was not printed till
1661, but had doubtless been acted many years be-
fore that time — Lessingham is in love with Clare —
she sends him a letter in which she says—

" Prove all thy friends, find out the best and

" nearest,
" Kill for my sake that friend that loves thee

" dearest"

-Lessingham debates the matter in a Soliloquy-
he tells 4 of his friends that he has a duel on his
hands, and that he wants a second, who is to fight
himself — they decline his proposal under various
pretences — Bonvile agrees to accompany him to the
appointed place, notwithstanding that it is his wed-
ding day — when they arrive at Calais sands, Lessing-
ham tells Bonvile that he is come thither on purpose
to kill him — Bonvile refuses to fight him, and adds
that he may boast to Clare that he has killed his
friend, as all friendship between them is dead—

In Massinger's Parliament of Love — Leonora says
to Cleremond —

" I have heard thee boast,

" That of all blessings in the earth next me,
" The number of thy trusty, faithful friends,

L. i. F. 1696. 91

" Made up thy happiness : out of these, I charge

" thee,

" To kill the best deserver " — Cleremond has a
soliloquy — all his friends refuse to take a part in the
duel, except Montrose — when they come to the spot
— they fight and Cleremond is worsted — it seems
more probable, that Webster and Massinger should
both have borrowed from the same story, than that
either of them should have been guilty of flagrant
plagiarism — as they were contemporaries, and as
neither of the plays was printed till after the author's
death, it is impossible to determine which was the
first written — Webster's first play was printed in
1612 — his second and third in 1623 — Massinger's
first play was printed in 1622.

In the Cure for a Cuckold, Compass returns from

sea after an absence of 4 years — he finds that his wife

(who had supposed him to be dead) has a child about

a quarter of a year old — instead of being angry, he

claims the child — the real father refuses to resign him

—a friend recommends Compass to make a divorce

between himself and his wife — " within 2 hours you

" may wed again, and then the cuckold's blotted "—

this gives the title to the play — Compass calls his

second marriage "the shedding of horns " — Lessing-

ham marries Clare, and requests Bonvile's forgiveness

— this is on the whole a very good C. — but the plot

is not probable — Kirkman however, who published

the play, says, "the expedient of Curing a Cuckold

" (as here set down) has been tried to my knowledge,

" and therefore I may say Probatum est" — he adds,

that several persons remembered the acting of the C.

arid that it generally pleased well.

92 L. i. F. 1696.

Harris the actor brought out the City Bride with-
out any acknowledgment that it was stolen from
Webster — he has changed several of the names— his
alterations are not material, but they are all for the
worse — in particular, he has omitted Compasse in the
last scene, and consequently the best joke in the play.

Lover's Luck. Eager — Bowen : Goosandelo (a
silly fop) =. Bowman : Bellair (in love with Mrs. Pur-
flew) — Betterton : Sir Nicholas Purflew = Bright :
Alderman Whim = Underbill : Sapless (a Cheshire
Squire) = Dogget : Breviat (a Lawyer) — Freeman :
Jocond (Bellair's Page) = Mrs. Ayliff: Mrs. Purflew
(a great heiress) = Mrs. Bracegirdle : Vesuvia (a
woman of the town) =. Mrs. Leigh: Mrs. Plyantzi
Mrs. Bowman : Sprightly (an old housekeeper) =
Mrs. Lawson : — this is an indifferent C. by Dilke—
Downes says it filled the house for 6 days together,
and brought £50 on the 8th day, after which it was
laid aside — Sir Nicholas and the Alderman are joint
guardians to Mrs. Purflew — the former wants her
to marry Goosandelo and the latter Breviat — she is
in love with Bellair — Eager is a sharper, who lives
by pimping and cheating — he inveigles Sapless to
marry Vesuvia, but Bellair prevents the match — Sir
Nicholas and the Alderman employ Eager to intro-
duce them to Vesuvia — in the 4th act they both come
to her lodgings —Eager in disguise, with some bullies,
robs them of their money — this is the best scene in
the play — at the catastrophe Breviat is taken in to
marry Mrs. Plyant — Goosandelo marries the Page—
they both suppose they have married Mrs. Purflew.

Royal Mischief. Levan Dadian (Prince of Colchis
arid married to Bassima) = Bowman : Osman (in love

L. i. F. 1696. 93

with Bassima) = Betterton : Prince of Libardiau
(uncle to Levan, and husband to Homais) — Kynaston:
Ismael (a young officer) = Hudson : Acmat (an eunuch
belonging to Homais) = Freeman : Homais (despe-
rately in love with Levan) = Mrs. Barry : Bassima (in
love with Osman, but virtuous) = Mrs. Bracegirdle :
Selima (wife to Osman) = Mrs. Bowman: — this is
a strange play, but not a dull one— -it should have
been called Love and Murder — the catastrophe is
unusually bloody — Homais is killed by her husband
— Levan kills himself — Bassima is poisoned — Ismael
and Acmat are put to death — Osman is thrust into a
cannon and fired off — Selima is said to be

" Gathering the smoaking relicks of her Lord,
" Which singes, as she grasps them."

Few female writers are sufficiently attentive to
grammar, Mrs. Manley might have said —

" Which singe her, as she grasps them."

In the preface she allows that the principal objec-
tion made against this T. was the warmth of it ; but
says in her defence, that after some few speeches had
passed between Levan and Homais, she had shut the
scene upon them, judging it more modest to do so,
than to let the lovers agree before the audience, and

then retire, as resolving to perform articles Levan

however when he returns to the stage gives the audi-
ence a broad hint of what had passed — and Homais
when dying takes care to inform her husband that
Ismael was the person, with whom she was first
intimate.

The Epilogue was spoken by Miss Bradshaw.

94 L. i. F. 1696.

Mrs. BouteFs name does not often appear after the
Union — Curll says " She was low of stature, had
" very agreeable features, a good complexion, but a
" childish look: her voice was weak, but very mellow;
" she generally acted the young innocent Lady, whom
" all the Heroes are mad in love with ; she was a
" favourite of the town ; and besides what she saved
" by playing, the generosity of some happy lovers
" enabled her to quit the stage before she grew old "
—at this time she had been on the stage above 30
years ; and one would hardly have supposed that she
would have played such young parts as Francelia and
Constantia — Downes however does not give any inti-
mation that there was a second actress of the same
name— and Cibber does not mention her at all.

Her characters — selection only.

T. R. 1663. Estifania.

1666. Aspatia in Maid's Tragedy.

1668. *Theodosia in Evening's Love.

1669. *St. Catharine in Tyrannick Love.

1670. *Benzayda in Conquest of Granada.
167^. * Christiana in Love in a Wood — *Melan-

tha in Marriage a-la-Mode.

1673. ^Country Wife.

1674. *Fidelia in Plain Dealer.

1676. * Rosalinda in Sophonisba.

1677. *Statira.

1678. *Cleopatra in All for Love — *Semandra in
Mithradates.

1688. *Mrs. Termagant in Squire of Alsatia.

L. I. F. 1696. 95

1689- *Lady Credulous in English Friar — *Mrs.
Fantast in Bury Fair.

1696. *Thornyris in Cyrus the Great.

* Originally.

William Smith had left the stage between 1684 and
1688 — Cibber having remarked the unjust prejudice
the profession of an actor labours under, mentions as
a striking instance of it, that Smith (whose character
as a Gentleman could have been no way impeached,
had he not been a celebrated actor) had the misfor-
tune in a dispute with a Gentleman behind the scenes
to receive a blow from him — the same night an ac-
count of this was carried to King James, to whom
the Gentleman was represented as so grossly wrong,
that the next day his Majesty sent to forbid him the
Court for it — this indignity cast upon a Gentleman,
only for maltreating a Player, was looked upon as
the concern of every Gentleman — a party was soon
formed to assert and vindicate their honour, by hum-
bling this favoured actor, whose injury had been
judged equal to so severe a notice — accordingly the
next time Smith acted, he was received with a Chorus
of catcalls, which soon convinced him he should not
be suffered to proceed in his part — upon which, with-
out the least discomposure, he ordered the curtain to
be dropped, and having a competent fortune of his
own retired from the stage.

On the secession of the actors from the T. R.,
Smith was prevailed on by the persuasions of his
friends of high rank, and probably still more so, by
those of his old associates, to return to the stage—

96 L. i. F. 1696.

on his first appearance he was received with continual
shouts of applause — but unfortunately in 1696, on
the 4th day of Cyrus the Great, in which he had a
long part, he was taken ill and died.

Downes only commends him in general terms—
but Booth, in an inscription under Smith's picture,
speaks of him as almost equal to Betterton — Booth's
inscription is in Latin — Theo. Gibber has inserted it
in his Life of Booth — Booth could not have seen
Smith before he left the stage in King James' time-
in 1695 Booth was about 15 and at Westminster
School.

It seems probable that Smith had a commanding
person, and that what Otway says of Pierre's figure
was meant for Smith, who was to play the part-
Don Carlos, another of Smith's original parts, is
called by his father " Tall able slave "• — it was pro-
bably for this reason that he acted Leon and the
Rover, instead of Betterton.

Dr. Burney, who compiled the playbills now in the
British Museum, says — " Smith was greatly attached
" to James the 2d — he returned to the stage in 1691,
" but as the audience were much disturbed on account
" of his principles, and a riot ensued, he again with-
" drew — he joined the company in 1695, and con-

" tinued with them about 3 years " as it is not

said from whence this anecdote is borrowed, the
correctness of it may well be doubted— the supposition,
that Smith continued about 3 years on the stage is
clearly a mistake.

Dr. Burney seems to have intended a biographical
sketch of the principal performers — the 4 vols. which
I saw did not contain much information— the others

L. i. F. 1696. 97

I did not see — the Librarian not wishing any person
to have them, till they were better arranged — at that
time they consisted in great measure of loose papers.

Smith 's characters — selection only.

L. I. F. 1663. *Corrigidor in Adventures of five
Hours.

1664. Buckingham in Henry 8th — Antonio in
Dutchess of Malfy.

1665. *Zanger in Mustapha.

1667. *Sir William Stanly in English Princess
— *Sir John Swallow in Sir Martin Marrall.

1668. * Stanford in Sullen Lovers — *Courtall in
She wou'd if she cou'd.

1669. * Young Single in Sir Solomon.

1670. * Cunningham in Amorous Widow.

1671. *Foscaris in Women's Conquest.

D. G. 1671. *Prince of Salerne in Charles 8th.

1672. *Woodly in Epsom Wells — Ban quo.

1673. * Careless in Careless Lovers — Horatio in
Hamlet.

1676. *Sir Fopling Flutter in Man of the Mode
-*Don Carlos in do. — *Don Diego in Wrangling
Lovers — *Rashley in Fond Husband — ^Faithful
Shepherd in Pastor Fido.

1677' *Antiochus in Titus arid Berenice — *Ceesar
in Sedley's Antony and Cleopatra — * Rover in 1st
part — *Don Philip in Abdelazar.

1678. *Truman in Friendship in Fashion— *Lod-
wick Knowell in Sir Patient Fancy — *Peralta in
Counterfeits --probably Woodall in Limberham.

VOL. II. H

98 D. L. AND D. G. 1697.

1679. *Adrastus in (Edipus— *Hector in Dryderi's
Troilus and Cressida — *Sir Harry Fillamour in
Feigned Courtezans.

1680. *Marius Junior in Caius Marius — *Cha-
mont — *Machiavel in Caesar Borgia — *Marcian in
Theodosius.

1681. *Duke of Suffolk and *Edward Plantagenet
in Crowne's Henry 6th 1st and 2d parts — *Courtirie
in Soldier's Fortune — *Titus in L. J. Brutus — *Rover
in 2d part — * Edgar in Tate's Lear — *Lorenzo in S.F.

1682. * Pierre — * Royalist — *Don Carlos in False
Count — * Ramble in London Cuckolds — * Henry 8th
in Virtue Betrayed.

T. R. 1682. *Grillon in Duke of Guise.

1683. Leon.

1684. *Constantine the Great — Cassius.

1695. * Scandal in Love for Love.

1696. *Cyaxares in Cyrus the Great.

He also acted Warner in Sir Martin MarralL

* Originally.

D. L. AND D. G. 1697-

Gibber says, that the Patentees, to curry favour,
opened the upper Gallery for the footmen gratis,
which proved the greatest plague that a playhouse
ever had to complain of— it appears from the first

D. L. AND D. G. 1697. 99

speech in Wives' Excuse, that the footmen used before
this to be admitted at the 5th act — previously to this
however the servants had been a great nuisance to the
theatre — Dryden in his Epilogue at the Union says—

" Then for your lacqueys and your train beside,
" By whate'er name or title dignify'd,
" They roar so loud, you'd think behind the stairs
" Tom Dove and all the brotherhood of bears :
" They're grown a nuisance beyond all disasters,
" We've none so great, but their unpaying masters.
" We beg you, Sirs, to beg your men, that they
" Would please to give you leave to hear the play."

Tom Dove seems to have been a celebrated Bear-
ward — he is mentioned in the Town Fop — in the
Maid's last Prayer — in the Epilogue to the Rival
Sisters — and in the Prologue to the Pilgrim 1700.

Gibber says, that in consequence of this privilege
granted to the footmen, the Gallery often thundered
with applause, while the Pit and Boxes were in the
utmost serenity — see the end of D. L. 1736-1737.

Relapse, or Virtue in Danger — Loveless = Verbrug-
gen : Lord Foppington = Gibber : Young Fashion =
Mrs. Kent: Sir Tunbelly Clumsy .-Bullock: Worthy
= Powell : Coupler (a Matchmaker) = Johnson :
Serringe (a Surgeon) = Haynes : Bull (a Chaplain)
= Simpson : Sir John Friendly = Mills : Berinthia =
= Mrs. Verbruggen : Amanda =: Mrs. Rogers : Miss
Hoyderi = Mrs. Cross : Nurse — Mrs. Powell : — Dog-
get, who had differed with the actors at L. I. F.,
returned to the T. R. time enough to play Lory, but
after the first night he resigned the part, not thinking
it suited to his style of acting ; it was then given to

100 D. L. AND D. G. 1697.

Pinkethman — (Cibber) — this is on the whole a very
good C. — Vanburgh says, in the preface, that Powell
was so drunk the first night, and had worked himself
up to such a pitch of vigour, that he once thought it
was all over with poor Mrs. Rogers.

World in the Moon — an Opera hy Settle, acted at
D, G.— Palmerin Worthy = Williams : Sir Dottrel
Fondlove = Johnson : Frank Wildblood = Powell :
Ned Stanmore = Mills: Tom Dawkins = Penkethman:
Old Stanmore = Disney: Jacintha =. Mrs. Verbruggen:
Widow Dawkins = Mrs. Powell: Susan = Mrs. An-
drews : — Joe Haines has a considerable part in pro-
pria persona — he ought to have been mentioned as
one of the D. P. — this piece consists of two distinct
plots — WTi do w Dawkins comes up to town to request
Wildblood, who is her landlord, to put a fresh name
in her lease — she brings up her son Tom — Wildblood
and Stanmore take Tom Dawkins to D. G. to see the
Rehearsal of an Opera — they tell Joe Haines to have
some fun with him — in the other plot, Palmerin
Worthy and Jacintha are mutually in love — her father,
Old Stanmore, opposes their union — but at the con-
clusion he consents to it — this Opera, considered as
a mere vehicle for singing, dancing and scenery, is
far from a bad piece — the fault of it is, that the scene
changes alternately from the Theatre to Old Stan-
more's house, whereas the Rehearsal, after it is once
begun, ought to have proceeded (as in other plays)
without interruption — this however could not be done
according to Settle's plan — the Opera, which is re-
hearsed, is such a mere skeleton, that it would have
been impossible for the Carpenters to have changed
the scenes without the intervention of the other plot

D. L. AND D. G. 1697. 101

—the first scene of the Opera displays a Moon near
14 feet in diameter — hence the name of the piece —
the last set of scenes terminates at 50 feet deep, being
the extent of the house.

Female Wits, or the Triumvirate of Poets at Re-
hearsal— Praiseall = Gibber : A wd well = Mills : Lord
Whiffle = Thomas : Marsilia = Mrs. Verbruggen : Mrs.
WelIfed = Mre. Powell: Calista = Mrs. Temple :-
characters in Marsilia's play — Fastin = Powell : Amo-
rous zz Pinkethman : Lord Whimsicall = Verbruggen :
Lady Loveall =. Mrs. Knight : Isabella =. Mrs. Cross :
Betty Useful =. Mrs. Kent: — acted 6 times without
intermission — this C. was written by W. M. — it
was not printed till 1704, after the author's death,
but in all probability it was brought out in 1697>
as it must have been acted before Verbruggen went
to L. I. F., and after the World in the Moon —
see p. 33 — this play is not badly written, but it is
rather an unfair attack upon Mrs. Manley, Mrs. Pix
and Mrs. Trotter, who were sadly to blame if they
did not quiz their opponent for calling them a Trium-
virate of Poets — the Heroine of this piece is Mar-
silia or Mrs. Manley, whose Royal Mischief must be
read in order to understand the satire aimed at her
in this play— as Mrs. Verbruggen had a happy turn
for mimickry, she probably took off Mrs. Manley —
Mrs. Wellfed in the D. P. is said to be, one that re-
presents a fat female author, a good sociable well-
natured companion, that will not suffer martyrdom
rather than take off three bumpers in a hand — this
character is meant for Mrs. Pix, and is said to have
been excellently acted by Mrs. Powell— Mrs. Trotter,
as Calista, is bantered for pretending to understand

D. L. AND D. G. 1697.

Greek, and to set up herself for a Critic, but she is
treated less severely than the two others.

Act 1st begins with a long conversation between
the principal characters at Marsilia's lodgings — the
scene then changes to the stage at D. L. — Johnson
(seemingly the Prompter) — Pinkethman — Mrs. Lu-
cas and Mrs. Cross enter—

Mrs. Cross. Where's Mr. Powell, that we may try
a little before Marsilia comes ?

Johnson. At the tavern Madam.

Mrs. Cross. At the tavern in a morning ?

Johnson. Why how long have you been a member
of this congregation, pretty Miss, and not know
honest George regards neither times nor seasons in
drinking?

Mrs. Wellfed Calista and Praiseall enter — from
a proposal made by Praiseall it appears that what
Dry den calls the Scene-room was now called the
Green-room — yet at Macklin's trial in 1735, the wit-
nesses speak of the Scene-room, and not of the
Green-room.

Mrs. Knight enters.

Mrs. Cross. Pray dear Mrs. Knight, tell me your
opinion of this play: you read much and are a
judge.

Mrs. Knight. Oh your servant Madam ! why truly
my understanding is so small, I can't find the Lady's
meaning out.

Act 2d— Enter Calista and Mrs. Wellfed— -and
then Powell.

Mrs. Wellfed. Your servant Mr. Powell.

Calista. Sir, I am your humble servant.

Powell. Ounds ! what am I fell into the hands of

D. L. AND D. G. 1697. 103

two female poets? there's nothing under the sun,
but two bailiffs, I'd have gone so far to have avoided.

Calista. I believe, Mr. Powell, I shall trouble you
quickly.

Powell. When you please Madam.

Calista. Pray Mr. Powell, don't speak so care-
lessly : I hope you will find the characters to your
satisfaction ; I make you equally in love with two
very fine Ladies.

Powell. Oh never stint me, Madam, let it be two
dozen I beseech you.

Calista. The thought's new I am sure.

Powell. The practice is old I am sure.

Marsilia enters and they proceed to the Rehearsal
of her piece — in one of her speeches she intimates
that Powell was tall, and in another she calls Mrs.
Cross little Cherubim.

Mrs. Cross throws up her part, and Marsilia de-
clares she will play it herself.

Act 3d. Mrs. Cross is prevailed on to resume her
part — Powell lies dead on the stage.

Marsilia. Mr. Powell will you walk off or be
carried off?

Powell. I'll make use of my legs, if you please,
Madam — your humble servant.

Marsilia is grievously offended at a dance not being
practised as she likes, and vows that she will carry
all her plays to L. I. F.

The Actors come forward and conclude the piece
with a laugh at Marsilia.

This play was not the only attack on the female
wits : Gildon, in his Comparison between the two
Stages, is very severe on them.

104 D. L. AND D. G. 1697.

Nothing can be more absurd than to censure fe-
male writers merely as females — the prejudice against
them however arose to such a pitch, that Mrs. Cent-
livre in the Prologue to the Stolen Heiress thought it
advisable to speak of her play as written by a man-
Mrs. Fix in the Conquest of Spain did the same
thing.

Unhappy Kindness, or a Fruitless Revenge. Va-
leiio := Williams : Alphonso, King of Naples = Ver-
bruggen : Frederick (his brother, and usurper of the
throne) = Harl and : Sorano = Disney : Evanthe =
Mrs. Rogers : Queen Mother = Mrs. Powell : — this is
only a very bad alteration of a very good play.

Wife for a Month — this T. C. seems to have been
written by Fletcher without the assistance of Beau-
mont— it was revived by Rhodes' Company in 1660
or 1661.

Alphonso, the lawful King of Naples, was seized
with a deep melancholy at the time of his father's
death — this circumstance had enabled his brother,
Frederick, to usurp the throne, and to confine Al-
phonso in a monastery — Frederick falls in love with
Evan the — he is assisted in his attempt to debauch
her by her brother, Sorano, who is his creature—
Sorano gets Evanthe's papers into his possession —
he and the King find a copy of verses addressed to
her by Valerio, in which he says he would give his
life to possess her for a month — the King sentences
Valerio to marry Evanthe on the condition expressed
in his sonnet — Valerio marries Evanthe — on the first
night, Sorano, by the King's authority, tells Valerio
that if he should consummate his marriage, Evanthe's
life would be forfeited — the distress of the lovers

D. L. AND D. G. 1697. 105

produces some most interesting scenes — in the 5th
act, the Month is expired, and Valerio is supposed to
have been put to death — Evanthe is offered as a Wife
on the former condition — four suitors object to the
condition — Valerio in disguise accepts it — this is a
wretched scene, which detracts greatly from the merit
of this play in other respects In the 3d act, Fre-
derick expresses to Sorano a wish that his brother
was dead— Sorano gives Alphonso a poison — the
poison being of a hot nature, instead of killing Al-
phonso, cures him of his melancholy — Alphonso's
friends rise and restore him to the throne — Alphonso
confines Frederick and Sorano in the monastery
where he had been himself — he unites Valerio and
Evanthe — great part of this play is very finely writ-
ten ; but the plot is of such a nature, that no alte-
ration could fit it for a modern theatre — even in
1697 the audience thought the last scene of the 3d
act too plain — when Alphonso is poisoned, he is very
poetical and very unnatural.

Unhappy Kindness — Scot says in the preface—
" what with making some characters entirely new,
" and reforming others, I found by that time I had
" done, I had little or none remaining but the de-
" sign" — this is a barefaced falsehood — about half
the play is still Fletcher's, particularly the scenes in
which Valerio and Evanthe are concerned — the cha-
racter of Alphonso is materially altered — he pretends
to be foolish or mad, in order to save his life — the
Queen of the original play is the wife of Frederick —
she is here made the Queen Mother — Sorano is made
the lover instead of the brother of Evanthe — he still
assists the usurper in his design on Evanthe — in

106 D. L. AND D. G. 1697.

the last act, Alphonso fights with Frederick and kills
him — Alphonso and the Queen Mother are poisoned
— the original play is not improved in any respect,
except that the poor scene in the 5th act is omitted.
Scot in his preface attributes the little encourage-
ment which his play met with, to a thin town, and
the scarcity of money — it should seem from Bur-
net, that Parliament took the state of the coin into
serious consideration in 1695 — but the evil could
not be cured in a moment — in several of the plays
written about this time there are allusions to the
scarcity of coin.

The Epilogue to Unhappy Kindness was spoken by
Joe Haines in the habit of a Horse-officer, mounted
on an Ass — it is said to be written by Haines — and
so it might probably be — but it is inserted in Tom
Brown's Works 1730 (vol. 4 p. 313) with a print of
Joe Haines and his Ass on the front of the stage,
and with a view of the side boxes and pit.

Triumphs of Virtue. Duke of Polycastro (Vice-
roy of Naples) •=. Williams : Antonio (brother to Bel-
lamira) — Gibber : Perollo = Harland : Gusman and
Luperco (two debauchees and companions of An-
tonio) = Pinkethman and Bullock : Massetto (servant
to Bellamira) = Dogget : Fidelio — Disney : Montano
= Simpson : Lorenzo (brother to the Duke) = Leigh:
Bellamira =. Mrs. Rogers : Isidora (daughter to Mon-
tano) = Mrs. Cross : Duchess = Mrs. Finch : — An-
tonio in less than 3 years had by his dissipation
reduced himself and his sister to poverty — Perollo
is in love with Bellamira — he fixes the next day for
their marriage — in the mean time he is persuaded
by two court lords to break off his attachment to Bel-

D. L. AND D. G. 1697. 107

lamira, and to set out on his travels — the Duke had
fallen in love with Bellamira — he attempts to debauch
her — she is so offended at Perollo for deserting her,
and at Antonio for spending her portion, that she
apparently accepts the Duke's offers — she takes care
however to keep Isidora continually with her, and
forces the Duke to visit her rather as a brother than
a lover — Fidelio, who had been a servant to Bella-
mira's father, represents to Antonio that his sister's
prostitution was owing to himself — Antonio acknow-
ledges the truth of his reproach — Perollo returns to
Naples, and attributes Bellamira's supposed fall to
his own desertion of her — at the conclusion, Bella-
mira's Virtue has a complete Triumph — her inno-
cence is made to appear beyond a doubt — Perollo
marries her — Antonio reforms — and the Duke's love
subsides into friendship — this T. C. is far from a
bad play, either in the comic or serious scenes — the
author kept his name concealed, but gave the profits
to Mrs. Rogers — she says in the Epilogue that if the
Ladies will smile on her —

" Fll pay this duteous gratitude ; I'll do
" That which the play has done — I'll copy you.
" At your own virtue's shrine my vows Fll pay,
" Study to live the character I play."

We shall see presently how well she keeps her
word—

" The Lady doth protest too much methinks."

Woman's Wit, or the Lady in Fashion. Major
Rakish (an old Rakehell) = Penkethman : Young
Rakish (his son and companion) = Powell : Long-

108 D. L, AND D. G. 1697.

ville (in love with Olivia) = Gibber : Lord Lovemore
= Harland : Mass Johnny (Lady Manlove's son — a
schoolboy) = Dogget : Father Benedic (his tutor) —
Smeaton : Leonora (daughter to Lady Manlove) —
Mrs. Knight : Lady Manlove = Mrs. Powell : Emilia
(Longville's sister — secretly in love with Lord Love-
more) = Mrs. Rogers : Olivia (in love with Longville)
= Mrs. Gibber : Lettice (woman to Lady Manlove)
=nMrs. Kent : — Lord Lovemore is in love with Leo-
nora— Longville, knowing Leonora to be a coquette,
endeavours to break off his lordship's attachment to
her — for this purpose Lord Lovemore is concealed
in a closet — Longville makes love to Leonora — she
gives him hopes — Lord Lovemore comes forward,
and reproaches her with her falsehood — she has the
Wit to defeat Longville's scheme, and to set Lord
Lovemore at variance with him — in the last act,
Lord Lovemore sees Leonora's character in the true
light — she is vexed at losing him, but affects indif-
ference Major Rakish keeps young Rakish bare

of cash — the father and son are continually trying
to overreach each other — they both pay their ad-
dresses to Lady Manlove — she prefers Young Rakish
—he offers his father to resign her on condition of
receiving a settlement of £400 a year — Lady Man-
love is incensed, and agrees to marry the Major,
provided he will disinherit his son — Young Rakish
however carries his point, by promising to set aside
the marriage between Mass Johnny and Lettice — he
had contrived to have them married by a sham
parson— that part of this play which concerns Long-
ville, Lord Lovemore, Leonora, Emilia, and Olivia is
very dull — the other part is good — it was acted with

D. L. AND D. G. 1697. 109

success as the School boy — the outlines of Major and
Jack Rakish are taken from Greenwich Park — the
preface is so far curious, as it lets us into a circum-
stance of Gibber's theatrical life, which he suppresses
in his Apology — he says that during the time he was
writing the two first acts he was engaged at L. I. F.
— but that not liking his situation there, he returned
again to T. R. at the time he was in the middle of the
3d act — this C. seems to have been damned, or some-
thing like it — Gibber in his Apology does not choose
to tell the name of it — which was ridiculous, for the
play having been once in print could not be forgotten.
Plot and no Plot. Baldernoe =. Penkethman : Bull
Senior = Dogget : Bull Junior = Gibber : Belvil =
Harland : Rumour — Haines : Sue Frowzy = Mr.
Bullock : Friskit = Mrs. Kent : Sylvia = Mrs. Rogers :
— Bull Senior is left guardian to Belvil and Sylvia —
they are mutually in love, but are to forfeit a great
part of their fortunes, if they marry without the con-
sent of their guardian — Bull Senior wants Sylvia to
marry his son — Belvil engages Baldernoe &c. to assist
him in a design which he has formed against Bull
Senior — Sue Frowzy is described in the D. P. as a
Campaigning Bawd just arrived from Flanders —
Belvil makes her and her daughter, Friskit, pass
themselves on his guardian as a Countess and her
daughter — Baldernoe is disguised as a French Mar-
quis, who comes into England for political purposes
—Bull Senior, who is disaffected to the government,
puts his name down in Baldernoe's book for £1000,
to be expended in a grand expedition — Bull Senior is
taken up by a pretended order of Council, and com-
mitted, as he supposes to Newgate, but really to an

110 D. L. AND D. G. 1697.

old room in his own house, which had not been opened
for 20 years — he expects to be hanged — but having
hopes to make his escape from prison by BelviPs
means, he releases him and Sylvia from his authority
over them — Belvil in return sets aside the marriage
between Bull Junior and Friskit — the ceremony had

been performed by Baldernoe this is a good play

on the whole, but rather too political — it is a cut on
the Jacobites — it is in some respects a singular Co-
medy— Baldernoe is in the D. P. called a Player in
disguise — Joe Hairies in the Prologue says the cha-
racter was meant for himself — and some things occur
in the dialogue, which are only applicable to him—
for instance — Baldernoe says " sbud I never pre-
" tended to Honesty, I set up for Religion once"—
the 2d act is in the Playhouse before the Curtain—
the characters speak from the Stage, Stage box, and
side boxes — this Dennis says had a happy effect—
Foote, who has done much the same thing in the
Orators, in all probability borrowed the hint from
this play — Miss Alison says in the Epilogue—

" No; 'tis decreed, since Lovers are so plenty
" No maid shall tread our stage of five and
" twenty."

She had previously said, that she herself had not
sustained an irreparable loss — in the play she had
acted a very young Beau, a part of eleven lines only,
but those very good — Plot and no Plot was revived
at C. G. April 23 1746.

Cinthia and Endimion, or the Loves of the Deities.
Cupid is in love with Psyche — Apollo is in love with
Daphne — Endimion is in love with Cinthia — but

D. L. AND D. G. 1697. Ill

with the respect due from a mortal to a goddess
— Cinthia is in love with Endimion, but she will not
acknowledge her love for him — Syrinx gives Endi-
mion a drug, which she pretends Cinthia had sent to
him — he drinks it, and falls into a profound sleep —
Cinthia supposes him to be dead — she puts on a
sable veil, and darkness ensues — the Oracle says that
Endimion's sleep will cease when Cinthia shall give
him a kiss — Cinthia kisses Endimion, and he awakes
— at the conclusion, Endimion is turned into a
star, and made immortal — Syrinx is punished — and
Daphne turned into a laurel, for the slights which
she had showed to Apollo — this is an Opera in 5
acts, and in rhyme — it was written by D'Urfey, and
has considerable merit for the sort of thing — if the
Queen had lived it was to have been brought out at
Court — there are no performers' names to the D. P.
— but it appears from the Epilogue that Dogget acted
Collin — a country fellow who rails against the Gods.
jiEsop. (not Esop) — JEsop = Cibber : Learchus
(father to Euphronia) = Dogget : Oronces = Harland :
Doris (nurse to Euphronia) •=. Mrs. Verbruggen : Eu-
phronia = Mrs. Temple: — Persons who come to
j*Esop — 1st Tradesman, Quaint, and Sir Polidorus
Hogstye = Pinkerman : Roger = Haynes : Fruitful
(an Innkeeper) = Smeaton : Hortentia (a learned
Lady) = Mrs. Kent : Aminta (an amorous Lady) =
Mrs. Willis : Mrs. Forge-will = Mrs. Finch : Mrs.
Fruitful = Mrs. Powell : — Oronces and Euphronia
are mutually in love — Learchus insists that his
daughter should marry .ZEsop — at the conclusion
,ZEsop resigns her to Oronces — Vanburgh in his pre-
face says, that he founded his play on a French

D. L. AND D. G. 1697.

piece by Boursaut — that in the translation he had
not at all stuck to the original — that he had written
a new <5th act — arid had added the character of Sir
Polidorus Hogstye to the 4th — this is a very good C.
— particularly in the character of Doris — Gibber says
he was as much applauded in J3sop as in Foppington
— Vanburgh lays the scene at Syzicus (Cyzicus) in
the reign of Croesus, by way of accommodating his
play to the time of JEsop, but he makes use of num-
berless expressions in the dialogue which do not suit
that time — Vanburgh printed the 2d edition of his
play with the addition of a second part — it consists
of three scenes — in the 1st he attempts to vindicate
the conduct of the Patentees to the Players, with
some wit, but not much argument — the two other
scenes with the Country Gentleman and the Beau
are good.

Roman Bride's Revenge by Gildon — this play is
scarce — there are some good lines in it, arid it is
evidently written by a man of education — but on the
whole it is a poor T. — the catastrophe is the same as
in Zenobia— (see D. L. Feb. 27 1768) — there are no
performers' names to the D. P.

Humorous Lieutenant. Demetrius = Cibber :
Lieutenant = Pinkethman : Leontius = Mills : Anti-
gonus = Harland : Celia = Mrs. Verbruggen : Leu-
cippe = Mrs. Bullock: (a mistake for Bullock) Go-
verness to Celia =. Mrs. Powell: — an edition of this
play was published as acted at D. L. in 1697 — in the
titlepage it is improperly styled a Comedy, and a
second title " the Generous Enemies" is added.

Sham Lawyer, or the Lucky Extravagant. Care-
less =. Cibber : Serjeant Wrangle = Bullock : Homily

D. L. AND D. G. 1697. 113

(a Curate) —Johnson : Spade (a Sexton) = Haines :
Famine (Servant to Wrangle) = Pinkethman : Friend-
ly (in love with Florella) = Harland : Olympia = Mrs.
Knight : Florella (wife to Wrangle, and in love with
Friendly) = Mrs. Rogers: Mrs. Vernish =. Mrs. Powell :
— the Sham Lawyer is Friendly — the Lucky Extra-
vagant is Careless — Olympia is a young rich widow
— she falls in love with Careless, and at the conclu-
sion they are married — the outlines . of Careless*
character are evidently borrowed from Wit without
Money — there is however no very great resemblance
between Careless and Valentine-— and still less be-
tween Olympia and Lady Hartwell — a considerable
part of this C. is taken from the Spanish Curate —
Wrangle, Homily, Spade, Friendly, and Florella are,
with some alterations for the worse, the same charac-
ters as Bartolus, Lopez, Diego, Leandro, and Ama-
ranta — the part of Famine is borrowed from that of
Penurio in Women Pleased — in the 2d act Wrangle
is discovered roasting an egg at a candle — this is from
the same play — a good deal of the dialogue is borrowed,
but Fletcher's blank verse is turned into prose — this
C. is attributed to Drake — it is said in the titlepage
to have been damnably acted — it is on the whole a
good play, but the author is highly censurable for
pillaging two of Fletcher's best Comedies, which in
1697 were not become obsolete.

VOL. II. I

114 L. i. F. 1697.

L. I. F. 1697-

Unnatural Brother by Filmer — this T. was unsuc-
cessful— it wants incident and is rather dull — but the
part of Dampierre, the Unnatural Brother, is written
with great spirit — Beaufort, the Governour of Lyons,
is in love with Elvira the wife of his nephew, Gram-
mont — he discloses his passion to his other nephew,
Dampierre, who undertakes to plead his cause with
Elvira — Dampierre is himself in love with her — in
the 3d act he attempts to ravish her, but is prevented
by the entrance of Montigny— Dampierre endeavours
to persuade Grammont that Elvira and Montigny
have a criminal passion for each other — this Gram-
mont will not believe at first, but by the contrivance
of Lysette he is at last convinced of it — Elvira, on
being reproached by Grammont for her supposed
guilt, stabs herself — Dampierre in the mean time had
poisoned his accomplice Lysette with a pair of gloves

—before her death she discovers Dampierre's villainy,
to Leonora — Grammont kills himself — Beaufort re-
solves to turn hermit — Dampierre is led off to prison

—this play was printed without the names of the per-
formers, but it appears from the 4th act of Novelty,
that Betterton acted Grammont, and Mrs. Barry,
Elvira.

City Lady, or Folly Reclaimed. Bellardin (son
to Sir George) = Bowman : Bevis (younger brother
to Sir George) = Underbill : Sir George Grumble =
Bright : Lovebright = Hodgson : Pedanty = Harris :
Burgersditius (his tutor) = Freeman : Jasper = Bo wen:

L. I. F. 1697. 115

Lady Grumble = Mrs. Barry : Lucinda = Mrs. Bow-
man : Secreta = Mrs. Leigh : — Lady Grumble is lately
removed from the City to Covent Garden — she affects
quality in every thing, but at last renounces her Folly
—this is a poor C. by Dilke — it was acted 3 times.

Anatomist, or the Sham Doctor — the Doctors
Underbill : Crispin (the Sham Doctor and servant to
Young Gerald) = Bowen : Old Gerald = Bright :
Young Gerald = Hodgson : Syrnon = Trout : Beatrice
= Mrs. Lawson : Doctor's Wife = Mrs. Leigh : An-
gelica = Mrs. Bowman : — Young Gerald and Angelica
are mutually in love — Old Gerald wants to marry
Angelica — the Doctor consents — his Wife sides with
the young people — as Crispin is talking to Beatrice
in the 2d act, the Doctor knocks at the door of his
laboratory — Crispin places himself at his full length
on the table, and pretends to be the dead body which
the Doctor expected — the Doctor sends Beatrice for
his instruments — Crispin is frightened — he afterwards
pretends to be a Doctor — at the conclusion Young
Gerald and Angelica enter as married — the Doctor
and Old Gerald are reconciled to them — this is a good
Farce in 3 acts by Ravenscroft, who says in the dedi-
cation, that when William the Coriquerour came into
England, one of his Nobles married a wife of the

very ancient family of the Ravenscrofts the Loves

of Mars and Venus, a musical piece written by Mot-
teaux, was acted with the Anatomist — after the Pro-
logue there was a musical Introduction, and each of
the acts of the Anatomist concludes with an act of
Mars and Venus, supposed to be exhibited for the
amusement of the characters in the other piece —
Mars and Venus has not much to recommend it, but

i 2

116 L. I. F. 1697.

the music — Bowman, Mrs. Bracegirdle, and Mrs.
Ayliff acted Mars, Venus, and Euphrosyne — the Ana-
tomist was very successful, and continued on the
acting list for several years— it was afterwards reduced
to two acts, with the Doctor turned into a Frenchman
-see D. L. Nov. 18 1743.

Provoked Wife. Sir John Brute = Betterton :
Constant = Verbruggen : Heartfree = Hodgson : Rasor
= Bowen: Justice = Bright : Lady Fancyfull = Mrs.
Bowman : Lady Brute = Mrs. Barry : Bellinda = Mrs.
Bracegirdle : Madamoiselle = Mrs. Willis : — Mrs.
Bowman was the daughter of a particular friend of
Betterton, who engaged him in a venture in the East
Indies, by which he lost the greater part of his pro-
perty— Betterton, infinitely to his credit, took his
friend's daughter into his house and educated her at
his own expense — she came upon the stage and was
married to Bowman — Curll says — " she was a very
" pretty player both in her person and performances
« — she was particularly remarkable for acting Eury-
" dice in CEdipus."

The Provoked Wife is an excellent C. — Downes
does not even mention it — Mrs. Barry and Mrs.
Bracegirdle tell us in the Epilogue that the third and
sixth nights were given to the company, and it appears
from the Prologue to the Confederacy, that Vanburgh,
till he became Manager did not make any profit of
his plays — he gave the Relapse and ^Esop to D. L.
to oblige Sir Thomas Skipwith — and the Provoked
Wife to L. I. F. to oblige Lord Halifax.

Novelty, or Every Act a Play — written by Motteux
and other hands.

Act 1st is a moderate Pastoral.

L. I. F. 1697. 117

Act 2d is a pretty good C. called All without
Money — it is professedly taken from the French—
Needmore (a beau, much in debt) = Scudamore :
Speed wel (a witty, sawcy valet) = Bowen : Freeman
= Arnold : Theodosia's Brother = Bailey : Le Soupe
(a French traiteur) = Freeman : Theodosia — Mrs.
Prince : Dorothy (her woman) = Mrs. Lawson : Clara
= Mrs. Budd : — Needmore is in love with Theodosia
—he has invited her to supper, but has no money to
purchase a supper with — Speedwel goes to Theodosia,
and tells her in confidence that the neighbours have
reflected on her character for visiting Needmore — she
sends word that she cannot come to supper, but after-
wards changes her mind — Speedwel to get rid of
Theodosia tells her, that he has just heard in the
street that her brother is dangerously wounded — he
enters quite well — Freeman and Clara join the party
—Needmore and Speedwel are again reduced to a
nonplus — Le Soupe refuses to send a supper — Speed-
wel at last gets the company out of the house by pre-
tending that the landlady's daughter lies sick of the
small pox — Needmore determines to reform — Garrick
in the Lying Valet is greatly indebted to this little
piece — he has however improved what he has bor-
rowed.

Act 3d is Hercules — a very poor Masque — Miss
Bradshaw acted one of the children.

Act 4th. Unfortunate Couple. Grammont = Bet-
terton : Dampierre (his kinsman) •=. Freeman : Elvira
— Mrs. Barry : Lysette (her woman) ~ Mrs. Lawson :
Leonora = Mrs. Bowman : — this short Tragedy is
taken from the Unnatural Brother, but with this alter-
ation, that Grammont stabs Dampierre — Dampierre

118 L. i. F. 1697.

has a flat dying speech — in the original play he has a
good exit.

Act 5th is Natural Magic, a Farce after the Italian
manner — Paritalone (an old miser) = Trefusis : Cyn-
thio (in love with Isabella) = Arnold : Pasquarel (his
man) = Sorin : Mezzetin (Pantalone's man) = Knap :
Nicholas (a clown) = Trout: Columbina (Pantalone's
maid) = Mrs. Lawson : — to Isabella, Pantalone's niece,

there is 110 name the scene lies at a country house

near Naples — this piece is very well calculated for
representation — and the dialogue is not badly written.

Boadicea Queen of Britain T. by Hopkins Britons

— Cassibelan (the General — in love with Camilla) =
Bettertori : Boadicea — Mrs. Barry : Camilla (her
daughter — in love with Cassibelan) — Mrs. Brace-
girdle: Venutia (her sister — in love with Paulinus)
= Mrs. Bowman : — Romans — Paulinus (a General
— in love with Venutia) = Kyriaston : Decius (a
General — in love with Camilla) = Hodgson : Cas^a
(friend to Decius) = Sandford : — this T. is written in
rhyme — Downes says it was successful — there are
some good lines in it, but on the whole it is a poor
play — the plot is founded on history — but love is the
great business of it — the Epilogue was spoken by
Mrs. Bowman — it is not bad—

" Once only smutty jests could please the town,
" But now (Heav'n help our trade) they'll not go
" down,"

—speaking of Camilla's rape she adds—
" My Sister only (to my sorrow) rifled :
" Pray tell me Gentlemen, and tell me true,
" Might not I well have claim'd that kindness too?

L. i. F. 1697. 119

" Maids may indeed in such a case miscarry,
" But what are rapes to us wise folks that marry?
" Thieves may bolt easily into open houses,
" And force will still excuse us to our spouses."

Intrigues at Versailles, or a Jilt in all her Humours.
Duke de Sanserre = Betterton : Guillamour (a young
English Lord) = Verbruggen : Count de Brissac =
Bo wen : Count de Tonnere = Bowman : Count de
Fiesque = Hodgson : Sir Blunder Bosse (a dull sordid
brute) — Underhill : Madame de Vandosme = Mrs.
Barry : Dutchess de Sanserre = Mrs. Bracegirdle :
Countess de Brissac =. Mrs. Bowman : Grossiere
(confidant to Vandosme) = Mrs. Leigh: La Busque
(confidant to the Dutchess) = Mrs. Lawson : Daubray
(a spy employed by the Duke) = Mrs. Willis : — the
Jilt is Vandosme — the Count de Fiesque is so much
in love with her, that he puts up with her capricious
humour — Vandosme, notwithstanding her intimacy
with Fiesque, promises to meet Tonnere at the
Duke's — when she gets there, she falls in love with
Guillamour — he goes out — Tonnere puts her in mind
of her promise to him, and attempts to detain her—
she drops the mild manner in which she had addressed
Tonnere in the 1st act, and threatens to stab him
with a knife — Vandosme receives a visit from Guil-
lamour, and another from Sir Blunder — she admits
the latter merely for the sake of a handsome present
which she expects from him — yet such is the strange-
ness of her humour, that she takes a liking to him

and returns his money this C. was written by

D'Urfey — it is on the whole a good play — but the plot
is too complicated.

120 L. i. F. 1697.

Innocent Mistress. Sir Francis Wildlove = Ver-
bruggen : Sir Charles Beauclair = Betterton : Cheat-
all (brother to Lady Beauclair) = Bowen : Beaumont
= Hodgson : Spendall = Bowman : Flywife alias Allen
= Underbill : Mrs. Beauclair (niece to Sir Charles)
= Mrs. Bracegirdle : Bellinda (daughter to Lord
Belmour) = Mrs. Barry : Lady Beauclair = Mrs.
Leigh : Peggy (her daughter, a forward, ill bred
girl) = Mrs. Howard: Mrs. Flywife (kept by Fly-
wife) = Mrs. Lassels : Arabella = Mrs. Prince: «Eu-
genia = Mrs. Lawson : Jenny = Mrs. Willis: — this is
a pretty good C. by Mrs. Pix — Sir Charles Beauclair,
when a younger brother, had been persuaded to
marry a rich vulgar widow ; he afterwards becomes
master of a great estate, and is in love with Bellinda
— she is equally attached to him, but is a woman of
strict honour — Flywife had been abroad for several
years in order to avoid his wife and was supposed
to be dead — in the 5th act he recognizes Lady
Beauclair as his wife; and Sir Charles is infinitely
delighted at being able to marry Bellinda — the man-
ner in which Sir Charles gets rid of his wife has
been copied in Speed the Plough, and more parti-
cularly in the Opera of Virginia — see D. L. Oct. 30
1800.

Mourning Bride. Osmyn = Betterton : King of
Granada = Verbruggen : Gonzalez = Sandford : Gar-
cia = Scudamore : Heli = Boman : Zara = Mrs. Barry:
Almeria = Mrs. Bracegirdle : Leonora = Mrs. Boman:
— this T. was acted 13 days without interruption—
(Dowries) — there are some fine lines in it, but on
the whole it cannot be called a good play — the genius
of Congreve comes in, and goes out with Zara—

L. I. F. 1697.

Churchill calls the Mourning Bride " Ccmgreve's
" favoured Pantomime" — and Collier makes some
severe, but just criticisms on it — " when Zara, in
" the 5th act finds the dead body, she falls into a
" most terrible fit of fustian—

6 Ha ! prostrate ! bloody ! headless ! O— start

' eyes,

' Split heart, burst ev'ry vein, at this dire object :
' At once dissolve and flow ; meet blood with

1 blood ;
* Dash your encountering streams, with mutual

« violence,

« 'Till surges roll, and foaming billows rise,
' And curl their crimson heads, to kiss the

* clouds ! '

" One would think by this rant that Zara had
" blood enough in her veins to fill the Bay of Biscay,
" or the Gulph of Lyons— at this rate a man may
" let the Thames out of his little finger ! call you
" this Poetry ! the figures and flights of Poetry
" are bold, but then the fancy should be natural,
" the figures just, and the effects hold some propor-
" tion with the cause " — five of these six lines, toge- /
ther with some others quoted by Collier, are not to be
found in the modern editions— as Congreve revised his
T. he probably omitted them himself, and he would
have acted wisely, if he had omitted still more — for
Collier has attacked several other passages in a way
not to be answered.

The Editor of the B. D. says the scene lies in
Valentia — read Granada.

Congreve in the dedication to the Princess Anne

L. r. F. 1697.

says, he hopes to convince her that a play may be
so written (in spite of the licentious practice of the
modern theatre} as to become an innocent and not
unprofitable entertainment — the author of the Old
Batchelor &c might as well have spared this remark.

Italian Husband — (the dedication is dated Dec. 16
1697) — Duke of Radiano = Verbruggen : Marquis
Alfonso = Hodgson: Rodrigo (Gentleman of the
chamber) = Thurmond : Dutchess of Radiano = Mrs.
Bowman:— this is far from a bad play, particularly
when compared with the generality of Tragedies
written about this time — Alfonso is sent to Radiano
with letters from the Great Duke — he is astonished
at finding in the Dutchess a person with whom he
had been in love —Rodrigo informs Radiano that he
had seen the Dutchess in a very improper situation
with Alfonso — Radiano pretends to forgive Alfonso,
but afterwards murders him in a mariner perhaps too
horrid for representation — the body of Alfonso is
placed on abed— Radiano opens the curtains to show
it to his wife, and then strangles her — she is placed
by Alfonso's side — and Radiano orders that she
should be left in that situation till her father, the
Great Duke, shall have seen her — this T. is in 3
acts — it was Ravenscroft's last play — he wrote or
altered 12 plays — he had not much originality, but
he was a judicious plagiary — his merit as a dramatic
writer has been vastly underrated.

Rule a Wife and Have a Wife — a new edition of
this play was printed in 1697> as acted at L. I. F.—
Michael Perez, the Copper Captain = Kynaston :
Cacafogo = Underbill : Estifania = Mrs. Boutell : Mar-
garita = Mrs. Barry : Leon is omitted — the part was

COLLIER. 123

probably acted by Betterton — the cast seems to be-
long, not to 1697, but to some former year.

COLLIER.

Collier's famous " View of the Immorality and
" Profaneness of the English Stage" came out in
March 1697-8 — and it did not come before it was
wanted — things had gotten to such a pitch that
Ladies were afraid of venturing to a new play, till
they were assured that they might do it, without
risking an insult on their modesty — or if their curio- J
sity was too strong for their patience, they generally
came in Masks — (Cibber) — The Spectator says
" Such incidents as these make some Ladies wholly
" absent themselves from the Playhouse ; and others
" never miss the first day of a new play, lest it should
" prove too luscious to admit of their going with any
" countenance to the second."

Dryden and several other Dramatic writers are apt
to be profane — for which Collier justly censures them
— nor can any thing be said in their defence — he
cites a Statute of James the 1st expressly made
against the Playhousef

By this Statute it was forbidden, under a penalty
of £10, to speak or use the name of the Deity, in
a jesting or profane mariner on the stage.

COLLIER.

In the Laureat 1740 it is said, that soon after the
publication of Collier's book, several informations
were brought against the players, at the instance
and expense of the Society for the reformation of
manners, for immoral words and expressions, contra
bonos mores, uttered on the stage — several informers
were placed in the pit, and other parts of the
house, to note down the words spoke, and by whom,
to be able to swear to them — and many of them
would have been ruined by these troublesome pro-
secutions, had not Queen Anne, well satisfied that
these informers lived upon their oaths, and that
what they did, proceeded not from conscience, but
from interest, by a timely Noli prosequi, put an end
to the inquisition.

Gildon in his Comparison between the two stages
1702 makes Sullen say — But did you hear the news?

Ramble. What news?

Sullen. The trial between the playhouses and in-
formers, for profane, immoral, lewd, scandalous,
and I don't know how many sad things, uttered
and spoken on the stage.

Critick. Who were the persons that spoke them
and what were the words ?

Sullen. Betterton, Bracegirdle, Ben Johnson, and
others ; but the words may not be repeated — are you
so cunning ? for ought I know, Critick, you are a
spy * * *

Ramble. Why thou scandalous rascal ! dost thou
take us for reformers and trepans ?

Sullen. Nay I don't accuse you of being any way
reformed ; but they say they have made it criminal
to repeat the words ; is not that strange ?

COLLIER.

Critick. Ay by my faith is it; but however if the
charge was well proved against the actors, they ought
to be fined ; but why not the poets ?

Sullen. The poets have been in the pickle already,
and now they are for sousing the actors — the first
two were fined ; but the latter was acquitted.

Queen Anne was quite right in putting a stop to
a set of rascally informers — yet it is much to be
wished that the Act of Parliament might be enforced
against one or two of our present performers, as in
several of our modern plays, the name of the Deity
is introduced in a manner, that must disgust every
person, who has a proper sense of religion — and as
Angelo says —

" The law hath not been dead, tho' it has slept."

Dr. Clarke in his exposition of the Church Cate-
chism observes, that all light, irreverent, and trivial
use of the name of God at all, in common conver-
sation, is prohibited in the sense and full intent of
the third commandment.

Collier has great merit, but he frequently goes too
far — he has such a bias on his mind that he sees
Profaneness where there is none — he is angry with
Valentine for saying in his pretended madness " I
" am Truth" &c— words as free from profaneness
as possible — this he contends is a scandalous allusion
—and a very scandalous one indeed it would be, if
it were any allusion at all — this absurd objection has
had so much attention paid to it, that in Bell's edi-
tion of Love for Love from the D. L. prompt book,
the word truth has been changed to honest all through
the scene, except in one place.

COLLIER.

Collier is so prone to find fault that he abuses
Dryden for taking liberties with Jupiter, Mahomet,

the Devil &c. he is sometimes so vehement, that

instead of exciting indignation he rather excites
laughter, as when he says " there are few of these
" last quotations, but what are plain blasphemy ;
"they look reeking as it were from Pandsemonium,
" and almost smell of fire and brimstone — this is an
" eruption of Hell with a vengeance —these are out-
" rageous provocations enough to exhaust the judg-
" merits of heaven, and sink the Island in the sea."

He sometimes contends rather for victory than
truth — not content with pointing out the indecency
of the English Stage, he attempts to show that
our dramatic writers are more indecent than the
Greek and Roman ones — and as far as Tragedy is
concerned, he proves his point — as ^Eschylus, So-
phocles, Euripides and Seneca are perfectly correct,
| whereas our Tragic Poets display no small degree of
ingenuity by bringing in indecency where one would
I least expect it* — but when he comes to the Comic
writers he states the matter most unfairly — Terence's
Quid turn fatue? is, in every sense of the word, as
neat an Inuendo as any in Congreve — Plautus has

* See in particular Massanissa's description (in Lee's Sopho-
nisba) of what passed between himself and Sophonisba —
" All this in publick, but from sight removed" —

The other 7 lines must not be quoted.

See also Lothario's description of himself and Calista — Brutus,
in Lee's Tragedy talks of s**** pleasures.

In Heroic Love, the purpose of Achilles and Briseis, when they
go off the stage together, is too plain to be mistaken.

COLLIER.

many expressions which would not have been suf-
fered on our stage even in Charles the 2d's time —
Aristophanes makes use of the plainest words the
Greek language could furnish him with — he always
calls a spade, a spade, which is never done on the
English stage Ovid says of the stage in his time —

" Est et in obsccenos deflexa Tragcedia risus,

" Multaque prceteriti verba pudoris habet.
" Quid si scripsissem, mimos obsccena jocantes,

" Qui semper vetiti crimen amor is habent ?
" In quibus assidue cultus procedit adulter,

" Verbaque dat stulto callida nupta viro.
" Nubilis hos virgo, matronaque, virque, puerque

" Spectat ; et e magnd parte Sena t us adest.
" Nee satis incestis temerari vocibus aures,

" Assuescunt oculi multa pudenda pati.
" Cumque fefellit amans aliqua novitate maritum,

" Plauditur, et magno palma favore datur.
" Quoque minus prodest, pcena est lucrosa Poetce,

66 Tantaque non parvo crimina Prcetor emit."

Tristium lib. 2.

Collier was a most pertinacious disputant, but if
Ovid's testimony had been cited against him, he would
not have found it very easy to have set it aside.

He is extremely angry at the abuse thrown on the
Clergy on the Stage : and not indeed without some
reason, as it is so gross, that it would now be con-
sidered as illiberal even by those who are not over-
burthened with religion — he quotes many passages
and might have quoted many others — for instance
Dry den in Troilus and Cressida says — " Helenus is a
" Priest and keeps a whore ; he'll fight for his whore,

128 COLLIER.

" or he's no true Priest " — Troilus is going to kill
Thersites, but spares him —

< ' Thou hast deserv'd thy life for cursing Priests."

No one is more scurrilous than Crown e — in Thy-
estes the Priest says — " Why should we lie?"

Philisthenes. 'Cause ye are Priests.
It is your trade to lie, you live by lies.
Priest. Who shou'd murder you ?
Phil. Need I doubt that, when I am among

Priests ?

Priest. Why do you wrong us thus ?
Phil. How, I wrong you ?
Can any one wrong Priests ? Kings wrong them-

sejves,
And -all the world, they do not hang you all.".

These things are said of Heathen Priests, but they
are so worded as to be applicable to modern times ;
besides that there may not remain any doubt how
they were meant, Dryden has kindly given us a key—

" For Priests of all religions are the same."

In the Spanish Friar, Gomez says to Dominic—
" Put Pride, Hypocrisy, and Gluttony into your scale,
" Father, and you shall weigh against me : nay and
" sins come to be divided once, the Clergy puts in for
" nine parts, and scarce leaves the Laity a tythe "-
the Epilogue says—

" Thus do the Clergy at your vices bawl
" That with more ease they may engross them all ;
" By damning yours they do their own maintain
" A Churchman's godliness is always gain ;

COLLIER.

" And vice no more a Clergyman displeases

" Than Doctors can be thought to hate diseases."

Crown makes Jack Cade say " the chief use of
" Priests is to eat pig; we can eat pig as well as they"
—and Warwick—

- " How ! cheat a Priest ?

" Then he deserves the kingdom for his cunning."

All this Collier would have done better to have
passed over with the contempt which it deserved, or
at least to have remonstrated gently on the subject —
instead of which he is all fire and fagot — for with a
High Churchman, to jest even with the paring of a
Priest's nail is ludere cum sacris.*

* Gibbon says — " To a philosophic eye the vices of the Clergy
" are far less dangerous than their virtues " — a passage at which
the Clergy have infinitely more cause to be offended than at all the
ribaldry ever bestowed upon them.

The Retort Courteous.

In the reign of Henry the 4th, Manuel, the Greek Emperour
of Constantinople, came into England — Laonicus Chalcondyles, a
Byzantine Historian of the times, in his description of the manners
of the English (p. 38 Venetian Edition) says — " A very simple
" custom prevails among them as to their wives and children, so
" that when any one by invitation comes into the house of his
" friend, he is received in hospitality after he has first kissed the
" wife — and in the roads (or streets) they present their wives to
" their friends — * * * nor do they consider it as a disgrace that

" their wives and daughters should be thus kissed " Gibbon's

interpretation of this passage is — (Chap 66) — " The most singular
" circumstance of their manners is their disregard of conjugal
" honour and female chastity. In their mutual visits, as the first
" act of hospitality, the guest is welcomed in the embraces of their

VOL. II. K

130 COLLIER.

He is so weak as to suppose that four lines of
Dryden about Tithes " steal many a pound in the
" year " — as if the farmers in the country were ac-
quainted with the play of King Arthur, and influenced
by it — the Song however appears to have been
popular—

" wives and daughters : among friends they are lent and borrowed
" without shame ; nor are the islanders offended at this strange

" commerce, and its inevitable consequences Informed as we

" are of the customs of old England, and assured of the virtue of
" our mothers, we may smile at the credulity, or resent the in-
" justice of the Greek, who must have confounded a modest salute
" with a criminal embrace " — Gibbon in a note adds — " If the
" double sense of the verb Kvu (osculor et in utero gero) be equi-
" vocal, the context and pious horror of Chalcondyles can leave
" no doubt of his meaning."

The pious horror of Chalcondyles exists only in Gibbon's imagi-
nation— he does not say one syllable of disapprobation more than
has been already quoted ; and less could hardly have been expected
from a person used to the manners of Constantinople, where (as
Gibbon himself says) the noble matrons never appeared in public
without a veil, and the noble maids had their faces invisible to the
nearest kindred.

Gibbon seems to have been misled, partly by the Latin version,
and partly by the pruriency of his own mind, which was ever on
the alert in search for indecency — Porson, in the preface to his
letters to Travis, has given a masterly criticism on Gibbon's History,
in which, after praising Gibbon in the most handsome manner, he
adds — " A less pardonable fault is that rage for indecency, which
" pervades the whole work, but especially the last volumes — if the
" history were anonymous, I should guess that these disgraceful
" obscenities were written by some debauchee, who having, from
" age, or accident, or excess, survived the practice of lust, stilj
" indulged himself in the luxury of speculation."

It would be well worth while to compare the last volumes of
Gibbon's work with the text of the Byzantine historians.

COLLIER. 131

" We ha' cheated the Parson, we'll cheat him

" again ;

" For why shou'd a blockhead ha1 one in ten ?
" For prating so long like a book-learn'd Sot,
" Till pudding and dumplin burn to pot."

Collier concludes the whole with long quotations
from the Fathers against the Stage, which are nothing
to the purpose — not merely because the Fathers are
of no authority (whatever Collier and his party may
think) any farther, than as what they say is consonant
to reason and good sense ; but because the Theatres
in their days were different from what they have been
even in the worst of modern times — Chrysostom
speaks of women swimming in the Theatres as a
common practice — and whoever wishes to see the
exploits of the Empress Theodora while she was an
Actress may find them in a note in Gibbon Ch. 40—
from which it appears that Nell Gwyn and her asso-
ciates in their conduct at the Theatre were almost
Vestal Virgins in comparison with Theodora.

The persons who attempted to answer Collier's
book, should have objected to him that Chrysostom
used to sleep with Aristophanes under his pillow, as
that would have been no bad argument against a man
who lays so much stress on the authority of the
Fathers — they should likewise have reminded him
that St. Paul did not think it beneath him to quote a
verse from the Thais of Menander, as Jerom says—
or from one of Euripides' plays according to Socrates.

Collier relates a story from Tertullian, which de-
serves to be remembered — A Priest was exorcising a
Devil out of a woman arid asked him how he dare

K 2

132 COLLIER.

come into a Christian? "How dare I," says the
Devil, " why I caught her on my own ground — she

11 was at the Theatre " this Collier relates gravely

—as SL joke, the Repartee of the Devil is a most happy
one.

Tom Brown says that Tertullian condemned dra-
matic representations for this wise reason — the Scrip-
ture says, we cannot add one cuhit to our stature-
hut the actors by using buskins attempted to prove
the scripture untrue.

On the whole Collier is well worth reading, he is
sometimes too violent, but he is never dull.

On the appearance of his book the Poets of course

were up in arms Dryden in the preface to his

Fables says— "Mr. Collier in many things has taxed
" me justly; and I have pleaded guilty to all thoughts
" and expressions of mine, which can be truly argued
" of obscenity, profaneness, or immorality, and re-
" tract them — if he be my enemy, let him triumph
« — if he be my friend, as I have given him no per-
" sonal occasion to be otherwise, he will be glad of
" my repentance — yet it were not difficult to prove,
" that in many places he has perverted my meaning
" by his glosses, and interpreted my words into
" blasphemy and obscenity of which they were not
" guilty — besides he is too much given to horse-play in
" his raillery, and comes to battle like a Dictator from
" the plough " — he then makes a witty, but profane re-
mark, and adds — "perhaps it became not one of his
"function to rake into the rubbish of ancient and mo-
"dern plays" — but how could Collier place the inde-
cency of the Stage in a striking point of view, without
reading the indecent plays ? — or how could a Clergy-

COLLIER. 133

man be more in the line of his profession than in
writing against Immorality and Profaneness ?

Congreve and Vanburgh both wrote an answer to
Collier — Gibber observes that the former seemed too
much hurt to defend himself, and that the latter felt
his antagonist so little that he only laughed at his
lashes.

Collier wrote a reply to both — to that to Congreve
he has affixed a happy Motto —

Fortem animum prcestant rebus quas turpiter
audent. Juv. S. 6.

He contends that the libertine characters on the
stage are often rewarded, seldom punished, arid when
they are, the correction is strangely gentle and dis- j
proportioned " just as if a man should be set in the
" Stocks for Murder, or shamed a little for firing a
" town."

He fights the battle over again about the Clergy,
and insists that the addition of Clerk to a person's
name is at least equal to that of Gentleman — but to
this it may be replied, that tho' a Gentleman will riot
be the less a Gentleman for going into Orders, yet it
does not by any means follow, that because a man is
japanned, he immediately becomes equal to a Gen-
tleman.

In his reply to Vanburgh he is riot equally enter-
taining, but he maintains his cause triumphantly in

both Collier adds that Dennis frankly confesses

that Lewdness is promoted by the Stage — on which
he observes " this is clear dealing : and I suppose
" the main reason of his saying that the PJay-house
" contributes so much to the happiness of the nation."

134 COLLIER.

Dr. Johnson says of Collier " he was a fierce Non-
" Juror and formed for a controvertist ; with suffi-
" cient learning, with diction vehement and pointed,
" tho' often vulgar and incorrect : with unconquer-
" able pertinacity : with wit in the highest degree
" keen and sarcastic, and with all these powers
" exalted and invigorated by just confidence in his
" cause. * * * he lived to see the reward of his
" labour in the reformation of the Theatre."

Collier's book was thought so laudable a work, that
King William soon after it was published, granted
him a nolo prosequi, when he stood answerable to
the law, for giving absolution to two criminals just
before they were executed for High Treason — (Cib-
ber) — see Campaigners T. R. 1698.

Congreve in the Way of the World has indirectly
/ paid Collier the highest compliment : as that Comedy
has no profaneness and less indecency than the rest
of his plays.

The Fathers, on whose authority Prynne and Col-
lier lay so great a stress, were sometimes very queer

fellows.

Clement of Alexandria, in his address to the

Gentiles, does not scruple to relate the origin of
the Phallus — the story is curious, but beastly — see
pp. 29 30.

Augustine says — " Sed quid hoc dicam, cum et ibi
" sit Priapus nimis masculus, super cujus immanissi-
" mum et turpissimum fascinum seder e nova nupta
"jubebatur"

Cyprian was consulted about some virgins who had
made a vow of continence, and yet had been found
in bed with men; they acknowledged the fact, but

D. L. AND D. G. 1698. 135

asserted that they were notwithstanding immaculate
—he condemns the practice (as does Chrysostom
Vol. 6 p. 230 Savile's edition) and says in his 4th
Epistle — " Nee aliqua putet se hac excusatione defendi,
" quod inspici et probari possit, an virgo sit : cum et
" manus obstetricum et oculus scepe fallatur — et si in-
" corrupta inventa fuerit virgo edparte suiqud mulier
" potest esse ; potuerit tamen ex alia corporis parte
" peccasse, quce violari potest, et tamen inspici non

"potest" if so gross a passage as this of Cyprian,

can be produced from any English play that was
ever acted, then down with the Stage at once.

D. L. AND D. G. 1698.

Campaigners, or Pleasant Adventures at Brussels.
Col. Dorange = Mills : Min Heer Tomas (a fat Bur-
gomaster) — Penkethman: Sieur Bondevelt (an
affected Flanderkin) = Johnson: Marqui Bertran (a
Frenchman) = Cibber : Mascarillo (his footman) m
Bullock : Van Scopen (footman to Don Leon when
Ambassador) = Fairbank : Don Leon (a noble Spa-
niard) = Sympson : Kinglove = Thomas : Prince Lan-
devile (an Italian) — Evans : Angellica (sister to Don
Leon ) = Mrs. Knight : Anniky (wife to Min Heer
Tomas) = Mrs. Powell : Madam la Marquise (wife
to Bertran) = Mrs. Verbruggen : Gusset (woman to

136 D. L. AND D. G. 1698.

Angellica) = Mrs. Kent: Fardell (a nurse) — Mrs.
Lynsey— time 35 hours — about 15 months before
the play begins Angellica was in London — she had
one night admitted Col. Dorange to her bed, believ-
ing him to be his sister — the Col. had joined his
regiment, and at the conclusion of the peace had
come to Brussels in search of Angellica — Van Sco-
pen, the footman of the Spanish Ambassador is so
dressed that his livery resembles Col. Dorange's
regimentals — Gusset in the dark throws a bundle to
Dorange from a balcony — she supposes him to be
Van Scopen — the Col. humours the mistake — and
follows Angellica and Gusset to a house where An-
gellica has a child at nurse — he knows Angellica,
but she does not know him, as he has had the small
pox, since they met — at the conclusion, he is con-
vinced that he is the father of Angelica's child, and
is happy to marry her — in the mean time Dorange
has an intrigue with Madam la Marquise — he gives
her 100 pistoles according to promise — Bertran re-
turns, and discovers Dorange — Dorange confesses
the truth, but protests he did not know who the
Lady was — Bertran gives back the purse to the Col.,
with the exception of one pistole, which he throws
to his wife, as a sufficient payment for a woman of
her trade — this is a very good scene — in the 3d act,
Anniky by means of a pistol &c. extorts from her
husband a bond for £3000, and domineers over him
in other respects — she has a mortal dislike to a mon-
key— in the 4th act, Min Heer Tomas procures a
monkey, recovers the bond, and brings his wife to

subjection the Campaigners are Prince Landevile,

Col. Dorange, Kinglove, and Bertran — Bertran is

D. L. AND D. G. 1698. 137

absurdly made to speak broken English — the other
foreigners speak correctly — this is a good C. — it was
written by D'Urfey — he has prefixed to it a long pre-
face in answer to Collier — he says that the first
time he ever saw Collier was under the Gallows—
where he pronounced the Absolution to wretches
justly condemned by law to die, for the intended
murder of the King, and the subversion of the Pro-
testant religion — In the play D'Urfey has introduced
a song, called the New Reformation—

" New reformation begins through the nation,

####=*###*

" And stubborn Non-jurors,
" For want of employment, now scourge the lewd

" times.

***#**##*

" Dull clod-pated ralliers,
" Smiths, cobblers and Collier s9
" Have damn'd all our rhimes.

#=*####*##

" Cuckolds and Canters,
" With scruples and banters,
" Th' old Forty One peal against Poetry ring.
" But let state revolvers,
" And Treason- Absolvers,
" Excuse if I sing,
" The scoundrel that chooses
" To cry down the Muses,
" Would cry down the King."

The Prologue is also against Collier — in the Epi-
logue Cibber mimicked the French singers.

Phaeton, or the Fatal Divorce. Phaeton (son of

138 D. L. AND D. G. 1698.

the Sun by Clymene, in love with Lybia and married
to Althea) =. Powell : Epaphus (son of Jupiter by lo)
= Williams : Merops (king of ^Egyptand the Indies)
= Mills: Althea — Mrs. Knight: Clymene (second
wife to Merops) = Mrs. Powell : — Lybia, daughter to
Merops by a former wife, is a Mute — Althea had
saved Phaeton's life, and fled with him from Samos
—at the opening of the play they are in ^Egypt —
Phaeton is distracted between his love for Althea,
and his love for Lybia— Epaphus and Clymene pre-
vail on him to give the preference to Lybia — Me-
rops orders Althea to quit ^Egypt — she obtains a
respite for a day — Phaeton excuses his conduct as
well as he can to Althea — she sends her children to
Lybia with a crown arid a robe as a present — Lybia
puts them on — the consequence is her own and her
father's death — Phaeton is earned off in a swoon—
Althea stabs herself — the ^Egyptians tear Althea's
children to pieces — and elect Epaphus King — this
T. is attributed to Gildon — he began it with bor-
rowing some hints from the French Opera of Phae-
ton, but the Medea of Euripides accidentally falling
into his hands, he finished his play chiefly from the
Greek Tragedy — he has blended the character of
Phaeton in a strange manner with that of Jason, so
that little remains of the story of Phaeton, as related
by Ovid— even Epaphus is made his friend— the unities
of time and place are preserved, and the whole is pro-
fessedly written in imitation of the ancients ; yet we
have the modern expressions of Madam and my Lord
— and are likewise treated with a Ghost— notwith-
standing all these faults this play is far from a bad
one — the language in particular is more natural than

D. L. AND D. G. 1698. 139

that of the generality of the Tragedies written at this
time.

Satiny the Scot, or the Taming of the Shrew.
Sauny = Bullock : Petruchio — Powell : Woodall =
Johnson : Wirilove = Mills : Tranio = Harland : Ge-
raldo=: Thorn as: Snatchpenny = Penkethman : Jamy
= Haines : Margaret the Shrew = Mrs. Verbruggen :
Biancha = Mrs. Gibber: — to Sir Lyonel Winlovearid
Lord Beaufoy (the father of Margaret and Biancha)
there are 110 performers' names — this alteration of
Shakspeare's play was published in this year for the
first time — it is attributed to Lacy, and with much
probability — yet it is strange that Langbaine, who
was so partial to Lacy, should not mention it — Lacy
has changed the scene from Padua to London, arid
turned Grumio into a Scotchman — this character is
enlarged, and a good deal of humour is thrown into
it, but of the very lowest king — Lacy no doubt acted
Sauny — Winlove and Geraldo are nearly the same
characters as Lucentio and Hortensio — Woodall is
an elderly suitor to Biancha — Jamy is Biondello —
Snatchpenny is hired to personate Winlove's father
—the dialogue is reduced to prose, and considerably
altered — in most cases for the worse — the 5th act is
in a great degree new — Margaret, being returned
to her father's house, determines to have another
struggle for superiority — she scolds till she is tired,
and then becomes sullen — Petruchio proceeds to
bury her alive — she submits — this is a bad altera-
tion of the Taming of the Shrew, enough however
is retained of the original to make it a pretty good
play.

Shakspeare was a considerable plagiary- but in

140 D. L. AND D. G. 1698.

no play so much as in this — he has taken the Induc-
tion, and the characters of Petruchio, Grumio, Ka-
tharina &c. from the Old Comedy of the Taming of
a Shrew— sometimes the very words are borrowed—
the characters of Lucentio, Tranio, the Pedant &c.
are taken from the Supposes — in this instance
Shakspeare has not improved what he has borrowed
— the story is better managed in the Supposes — of
the old play Sir John Harrington said " read the
" book of the Taming of a Shrew, which has made
" a number of us so perfect, that now every man
" can rule a Shrew in our country, save he that has
" her." (Malone.)

Shakspeare should have made Sly wake, as in the
old Taming of a Shrew— that is, after the play had
been acted — the Tapster tells Sly his wife will scold
him — Sly replies " Will she ? I know how to tame
" a shrew, I dreamt upon it all this night."

Lacy's alteration was acted at the T. R. on April
9th 1667 — in his play as printed, the Induction is
omitted.

Imposture Defeated, or a Trick to cheat the Devil.
Hernando = Powell : Bond = Gibber : Guzman Sen.
= Johnson : Guzman Jun. = Evans : Pedro (Her-
nando's servant) = Pirikethman : Artan (a Devil) =
Mills : Duke of Venice — Thomas : Alonza = Horden :
Lucy (wife to Bond) = Mrs. Powell : Marcella = Mrs,
Temple: Serena = Mrs. Andrews: — Hernando, who
is ruined by gaming, sells himself to the Devil — he
wishes to acquire wealth under colour of being a
physician, and desires that he may be enabled to
cure all diseases — Artan replies that this is beyond
his power — but that Hernando shall be enabled to

D. L. AND D. G. 1698. 141

give immediate health to those who are to live — he
adds, that if the patient is to recover, he will stand
at the bed's head — but at the feet, if he is to die — in
the 3d act, Hernando is called in to the Duke, who
is dangerously ill — the Duke promises him his niece
Marcella, if he can cure him — Artan takes his stand
at the foot of the bed, and swears not to move — Her-
nando orders Pedro to turn the bed suddenly round
— the Duke recovers — Artan, in the last act comes to
fetch away Hernando — Hernando escapes his clutches
by means of a paper or phylactery given him by his
father's Confessor — this is rather a bungling con-
trivance— Bond, the usurer, pretends to be blind in
order to avoid serving an expensive office — Lucy
gives her paramour several valuable presents — Bond
sees what is going on, but dares not own that he sees
it — in the 4th act, Bond, to prevent the loss of a cas-
ket of jewels, acknowledges that he can see — Guz-
man Jun. enters with the Duke's officers — Bond
promises to give Young Guzman his daughter Serena,
and to restore the mortgage of his father's estate, if
he can procure the Duke's pardon for him — Young
Guzman procures the pardon, as being Hernando's
friend — Bond's detection gives the first title to
the play — this C. is said to have been written by
Powell in the short space of a week, to assist the
company in the summer vacation — that part of it
which concerns Bond seems to have been stolen from
Mrs. Fix — see Deceiver Deceived, L. I. F. 1698 —
the other part is perhaps taken from some other
play — a good deal of singing and dancing is intro-
duced— on the whole this is a pretty good Comedy.
Victorious Love by Walker. Zaraida is an Eu-

142 D. L. AND D. G. 1698.

ropean who had been shipwrecked at Gualata, when
an infant — she had been brought up with the young
prince Barnagasso, and was afterwards married to
him — the Emperour of Tombut, hearing of her un-
common beauty, had seized on her as she passed
his frontiers — Barnagasso makes war on him, but is
taken prisoner — Barsiloa, the victorious general of
Tombut, finding that Barnagasso and Zaraida are
man and wife, demands their liberty — this he does
by virtue of a sacred law, which entitled him to make
any request to the Emperour — the Emperour refuses
him, and is about to kill Barnagasso, and force Za-
raida to become his wife — the General, enraged at
his repulse, enters with his friends and drives the
Emperour off the stage — the latter dies having been
previously poisoned — there are two Ghosts — this is
on the whole a poor T., the hasty production of a
young man of 18, who acted one of the characters,
probably Dafila, a youth who is in love with Zaraida
and stabbed by the Emperour in the 2d act— Mrs.
Cross was the Heroine — it does not appear who acted
the other characters — the dedication is dated July 14.

Revengeful Queen — this is an indifferent T. by
Will. Philips — it is printed without the names of the
performers — it has a strong resemblance to Dave-
nant's Albovine King of the Lombards, and to Mid-
dleton's Witch — Philips says that he took his plot
from the 4th and 5th pages of Machiavel's History
of Florence — he adds, that he was not aware that
Davenant had written a drama on the same subject
till after he had finished his own play — the Witch at
this time existed only in Manuscript.

Fatal Discovery, or Love in Ruins this T. is

D. L. AND D. G. 1698* 143

scarce — it was written by an anonymous author on
the same subject with the Mysterious Mother — in the
preface to it, Powell retaliated on Dryden for the
attack which he had made on the D. L. company —
see Heroick Love L. I. F. 1698 — Dryden appears to
have been of a changeable disposition — in 1667 he
entered into a close engagement with the King's Com-
pany— in 1678 they complained of him for breach of
articles — in 1681 he had attached himself entirely to
the Duke's Company — in 1695 he had ceased to write
for the stage, but he continued in his attachment to
Betterton and the old actors — in 1698 he paid them
a handsome compliment at the expense of their op-
ponents— in a letter dated April 11 1700 he says —
" the Revolt of Capua will be played at Betterton's
" house within this fortnight — I am out with that
" Company, and therefore, if I can help it, will not
" read it before 'tis acted, though the author much
" desires I shou'd " — in the Spring of 1700, Dryden
exerted his poetical talents for the last time, in the
service of the D. L. Company, on whom in 1698 he
had made a wanton attack.

Caligula. This T. is written in rhyme — it seems
to have been printed without the D. P. — two copies
are certainly in that state — it appears from the Pro-
logue that Powell acted Caligula — Crowne has been
very injudicious in the choice of his subject — it was
hardly possible to write a good play on the story of
Caligula —he was a monster of wickedness, but none
of his actions were of such a nature as to produce a
good effect on the stage — Crowne has drawn the cha-
racters of the Emperour and his wife, Csesonia, ac-
cording to history — but the principal incident seems

144< D. L. AND D. G. 1698.

to be fictitious — Valerius Asiaticus had kept his wife
Julia in the country — she comes to Rome contrary to
his orders — the Emperour ravishes her — and she
poisons herself— in the last act Caligula is killed by

Cassius Chserea &c. according to the real fact

Crowne says in his Epistle to the Reader — " I have
"for some few years been disordered with a distemper,
"which seated itself in my head, threatened me with
" an Epilepsie, and frequently took from me not only
" all sense, but almost all signs of life, and in my
" intervals I wrote this play."

Crowne wrote 12 Tragedies — 6 Comedies — and a
Masque — most of his Tragedies are indifferent — some
of them are bad — his Comedies have considerable
merit — Sir Courtly Nice continued on the acting list
for many years — it was revived for the last time at
C. G. April 28 1781.

Downes says that Crowne wrote a C. called Justice
Busy, he adds — " it was well acted, yet proved not a
" living play — however Mrs. Bracegirdle, by a potent
" arid magnetic charm in performing a song in it,
" caused the stones of the streets to fly in the men's

"faces" this C. is not printed — Downes alone

mentions it — it does not appear in what year it came
out.

Cibber says Wilks returned to the T. R. in 1696—
but this is one instance, among many others, of Gib-
ber's inaccuracy as to dates — Wilks was certainly
engaged at Dublin in 1698, (see Irish Stage) and
could not return to the T. R. till the autumn of that
year — probably not till the autumn of 1699 — he might
receive an invitation to England in 1696, but (to use
Gibber's own words) his engagements in Ireland were
too strong to be suddenly broken from.

D. L. ANDD.G. 1698.

Wilks first came on the stage in Ireland — from
thence he was recommended toBetterton about 1691
— his 1st appearance was in Lycippus in the Maid's
Tragedy — when he had to address Betterton in the
5th act, he was so struck with awe that he had much
ado to get through the few lines he had to speak —
however he soon shook off his apprehensions and
began to rise in the esteem of the audience — he
pressed for an addition to his salary, which every body
but the Patentee thought he deserved — his request
not being complied with, he accepted an advantageous
offer made him to return to Ireland — when he went
to take his leave of Betterton, that great actor ex-
pressed some concern at his leaving the company, "I
"fancy," said he, "that Gentleman " (pointing to the
Patentee who happened to be present) " if he has not
" too much obstinacy to own it, will be the first that
" repents your parting, for if I foresee aright, you
" will be greatly wanted here " -Wilks told Chetwood
that this speech gave him infinite pleasure, and made
him resolve to search into himself to find out what
Betterton's known judgment seemed to promise he
might find— from that time he grew more assiduous,
and thought every moment lost, that was not laid out
upon his studies. (Chetwood.)

On his return to the T. R. he was but a raw actor
in comparison with what he afterwards attained to be
—he was however young, erect, of a pleasing aspect,
and on the whole gave the town sufficient hopes of
him— Powell was at this time the principal actor at
D. L., and in possession of all Mountfort's parts —he
was much hurt at Wilks' success — their interests
clashed continually- a downright quarrel ensued —in

VOL. II. L

146 D. L. AND D. G. 1698.

consequence of which Powell went over to L. I. F.
for one season* — but not liking his situation there he
returned to D. L. — at last he became a martyr to
negligence, and quietly submitted to the advantages
and superiority that Wilks had gained over him.
(Gibber.)

Curll, in his History of the Stage 1741 , says that
the King in the Island Princess was the first part
Wilks played at his return to England — this is an in-
excusable mistake, as he might have seen in Gibber's
Apology that the part was Palamede in Marriage a-la-
Mode — the author of the Laureat says — "I remember
" I had the pleasure to see Wilks play Palamede on
" his first appearance after his return from Ireland-
he spoke a Prologue written by Farquhar ; and was
" received with great and general applause."

Powell seems to have been formed by nature for a
first rate actor, but to have ruined himself in a great
measure by his negligence and drunkenness — Gibber
acknowledges that Wilks in the part of Palamede, fell
short of Powell, and missed a good deal of the loose
humour of the character, which the latter hit off more
happily — Powell had from nature much more than
Wilks — in voice and ear, in elocution in Tragedy,
and humour in Comedy he had greatly the advantage
of him — yet by his neglect of this natural superiority,
he suffered Wilks to be of thrice the service to the

* It is sufficiently clear that Powell was two seasons at L. I. F.
— his name does not appear in any of the D. L. plays printed in
1702 — it does appear in 6 of the L. I. F. plays printed in 1702 —
he did not return to D. L. till June 1704.

D. L. AND D. G. 1698. 147

theatre — nor was his memory less tenacious than
Wilks', but he trusted too much to it, and idly deferred
the studying of his parts — whereas Wilks never lost
an hour of precious time, and was in all his characters
perfect to the greatest nicety — to be master of this
uncommon diligence is adding to the gifts of nature
all that is in an actor's power — and this duty of study-
ing perfect, whatever actor is remiss in, he will pro-
portionably find, that nature may have been kind to
him in vain — for tho' Powell had an assurance that
covered this neglect much better, than a man of more
modesty could have done, yet with all his intrepidity,
the concern for what he was to say would very often
make him lose the look of what he was to be — while
therefore Powell presided at D. L. his idle example
made this fault common to others — but when Wilks
became Stage Manager he was indefatigable himself
and took delight in keeping the other actors to their
duty — to be employed on the stage was the delight of
his life, arid he never left it, till he left the world.
(Cibber.)

Chetwood says, that Wilks was not only perfect in
every part he acted, but in those that were concerned

with him in every scene and the author of the

Laureat assures us, that he has known Wilks lay a
wager and win it, that he would repeat the part of
Truewit in the Silent Woman, which consists of 30
lengths, without misplacing a single word.

Besides this Wilks had the advantage of a sober
character in private life, which Powell not having the
least regard to, laboured under the disfavour, not to
say contempt of the public, to whom his licentious
courses were no secret— even when he did well, that

148 D. L. AND D. G. 1698.

natural prejudice pursued him — neither the Hero,
nor the Gentleman, the young Ammon or the Dori-
mant, could conceal from the conscious spectator the
true George Powell — and this sort of disesteem or
favour every actor will feel, and more or less have his
share of, as he has, or has not, a regard to his private
life and reputation. (Gibber.)

In this last remark Gibber is too severe on Powell

—for tho' the Public have an undoubted right to cen-
sure an actor for his neglect and drunkenness, yet
they have no business to concern themselves, with any
faults that he may have, unconnected with the stage

—but whatever truth there may be in the remark, it
comes with a bad grace from Gibber, whose private
conduct was so reprehensible, and whose love of
gaming rendered him a negligent father, and unkind
to his family and relations— this attention to the
Gaming-table would not, we may be assured, render
him fitter for his business on the stage — after many
an unlucky run, he has arrived at the theatre, hummed
an Opera tune, and then walked on the stage with
great composure very imperfect in the part he was to
act — Davies says that he has seen him at fault, where
it was least expected, in parts which he had acted a
hundred times — for instance in Sir Courtly Nice—
but Gibber dexterously supplied the' deficiency of his
memory by prolonging his ceremonious bow to the
Lady, and drawling out "your humble servant Madam "
to an extraordinary length — then taking a pinch of
snuff and strutting deliberately across the stage, he
would gravely ask the Prompter " what is next?"

L. i. F. 1698. 149

L. I. R 1698.

Queen Catharine, or the Ruins of Love. Duke of
Gloucester = Arnold : Duke of Clarence — Verbrug-
gen: Owen Tudor = B^tterton : Sir James Thyrrold
(a villain, in the Queen's service) = Thurmond : King
Edward the 4th •=. Scudamore : Earl of Warwick =
Kynwaston : Malavill = Baily : Lord Dacres = Free-
man : Queen Catharine (relict of Henry the 5th, and
married to Owen Tudor) = Mrs. Barry : Isabella (her
ward) = Mrs. Bracegirdle: — this T. was written by
Mrs. Pix — it is a poor play both as to plot and lan-
guage, but without any egregious fault — it is founded
on history, but almost all the incidents seem to be
fictitious.

Heroic Love. Agamemnon = Betterton : Achilles
= Verbruggen : Ulysses = Sandford : Nestor — Bow-
man : Chryses — Kynaston : Patroclus — Scudamore :
Chalcas = Freeman : Chruseis = Mrs. Barry : Briseis
= Mrs. Bracegirdle : — Agamemnon and Chruseis are
deeply in love with each other — Chryses demands his
daughter — Agamemnon and Achilles quarrel — Aga-
memnon sends Talthybius to Achilles' tent for Bri-
seis— he protests however to Nestor, that he does not
mean to be naughty with her — Chruseis becomes
jealous of Briseis — Agamemnon wishes t- exculpate
himself, but Chruseis on one hand, and Briseis on
the other, will not give him an opportunity to speak
—Briseis arrogates as much to her beauty as Achilles
does to his arms — she returns to Achilles — he doubts
whether she has been true or false to him— he grows

150 L. i. F. 1698.

amorous — and they make their exit together — Chru-
seis, after a long struggle, leaves Agamemnon — he
falls into a swoon — and the wise Ulysses concludes
the play with —

" Fate holds the strings, and men like children

" move
" But as they're led: success is from above."

This T. is unnatural — some parts of it however are
well written — particularly the amorous passages—
Downes tells us that this play was well acted, and
mightily pleased the Court arid City — Dryden ad-
dressed a copy of complimentary verses to Granville
in which he says " Thou copiest Homer" — this is so
far from being true, that one is disgusted to the last
degree by the principal characters being here repre-
sented so totally different from what Homer repre-
sents them — Agamemnon is as complete a lover as
ever sighed in romance — Chalcas tells him that mil-
lions are concerned — he replies—

" And can they better die than for Chruseis ?

" The world's a worthless sacrifice for her

" More worth than thousand worlds. Let chaos

" come,

" Confusion seize on all, whene'er we part ;
" Int'rest, ambition, piety, renown,
" Pity, and reason, I have weigh'd 'em all,
"But O how light! when love is in the scale."

— Agamemnon observes of Achilles—

" Brave as he is, oft when the trumpet sounds,

« Hell loyter

" For a parting kiss from his Briseis."

L. J. F. 1698. 151

Ulysses says of Chruseis—

" The sick, who know they perish for her sake,
" Crawl from their tents, to gaze upon her face,
" And looking on her feel returns of strength."

Walpole very properly observes, that it was for-
tunate for Granville that he had an intimacy with the
Inquisitor-general, (Pope) how else would such lines
as these have escaped the Bathos ?

" When thy Gods

" Enlighten thee to speak their dark decrees."

The Editors of the B. D. say the language of this
play is sublime, yet easy — take a specimen or two —
Chruseis says to Briseis—

" Survey me well, and as you look grow humbler."
Briseis. I have survey'd, and I confess you fair,
I like you well — but like myself much better.

Briseis says to Agamemnon—
" Stir not to stop me — For 1*11 look thee dead."

—And to Achilles in the 5th act —

" Curse me if I forgive thee such a thought."

— Chruseis in the 4th act says —

" Let all be Helens, perjur'd Devils all.
" Let every Husband, be a noted Cuckold."

We should have been obliged to the author, if he
had told us in what Greek or Latin writer he ever
saw Helen spelt as He//en.

152 L. i. F. 1698.

It is riot easy to conceive why Granville calls the
Father Chn/ses and the daughter Chraseis : he ought
to have been consistent and not have followed the
Latin in one name and the Greek in the other.

Dryden, in his Address to the author, says of the
Actors at L. I. F.

" Their setting Sun still shoots a glim'ring ray,
" Like ancient Rome, majestick in decay :
" And better gleanings, their worn soil can boast,
" Than the Crab- Vintage of the neigh'bring
" coast."

With the first two of these lines Downes concludes
his R. A. applying personally to Betterton, what
Dryden says of the old Actors in general.

Dryden says of the stage —

" It so declines that shortly we shall see,

" Players and plays reduc'd to second infancy.

#*######

" They plot not on the stage, but on the town,

" And in despair the empty pit to fill,

" Set up some foreign monster in a bill :

" Thus they jog on ; still tricking, never thriving;

" And murd'ring plays, which they miscall re-

" viving.

" Scarce can a poet know the play he made,
" 'Tis so disguis'd."

Unnatural Mother — this T. is the production of a
Lady — it is written in prose, and is a poor piece—
the scene lies at Levo, a province in the kingdom of
Siam — there are no performers' names to the D. P.

L. I. F. 1698. 153

—it appears from the Epilogue that Bowen acted
Chavo, a country fellow, and not a bad part.

Beauty in Distress. Ricardo — Verbruggen : Don
Vincentio = Betterton : Don Fabiano = Hodgson :
Don Ferdinand (Governour of Lisbon) = Kynaston :
Placentia = Mrs. Bracegirdle : Laura (a widow lady)
= Mrs. Barry : Morella arid Melinda (sisters to Viri-
centio) — Mrs. Moore and Mrs. Prince : — scene an
antichamber in Don Vincentio's house in Lisbon-
time of action from 5 to 8 in the Evening — this T.
was written by Motteux — it is not a pleasing play—
the plot is complicated, but not interesting — the
incidents are numerous, but not well managed.

Deceiver Deceived. Melito Bondi — Betterton :
Gervatio (his steward) — Bowen : Fidelio (a noble
Venetian with a small fortune — in love with Ariana)
= Verbruggen : Count Andrea (in love with Olivia )
= Hodgson : Count Insulls (a rich fool — intended by
Bondi as a husband for his daughter) z= Bo wm an :
Actwell =. Trefusis : Olivia (second wife to Bondi)
= Mrs. Barry : Ariana (his daughter — in love with
Fidelio) = Mrs. Bracegirdle : Lady Temptyouth (a
female pimp) = Mrs. Leigh : Lucinda (brought up by
Lady Temptyouth) = Mrs. Prince : — Bondi is a se-
nator of Venice who had counterfeited blindness to
avoid being president of Dalmatia — he had done this
at the suggestion of Gervatio — he had experienced
so many inconveniences from his supposed blindness,
that he is enraged at Gervatio for his advice — he
canes Gervatio — Gervatio secretly determines to be
revenged on him — he promises Fidelio to get Ariana
for him with a large fortune — Bondi sees Fidelio
court Ariana, but dares not acknowledge that he

154 L. i. F. 1698.

sees him — Andrea passes through the room where
Bondi is, and kisses Olivia's hand — Lady Tempt-
youth says he is her French taylor — and Bondi dares
not contradict her — Actwell pretends to be a famous
oculist sent to Bondi by the Duke — Bondi is fright-
ened for fear Actwell, under pretence of curing him,
should make him really blind — Bondi affects to re-
cover his sight by means of the sacred girdle of St.
Silvester — Gervatio owns to Olivia and Ariana that
Bondi was never really blind — Olivia is alarmed, as
she is conscious that Bondi had seen the liberties
which she had suffered Andrea to take with her—
Gervatio gets her out of the scrape — Andrea and
Fidelio enter disguised as Friars— they tell Bondi
that the Senate had confiscated his property and
doomed him to imprisonment, for pretending to be
blind and forging a miracle — Bondi, by the advice of
Gervatio, makes over his bonds and mortgages to
Ariana — Ariana marries Fidelio — Bondi is forced to
forgive them — Gervatio owns that the supposed
decree of the Senate was only a contrivance for the
sake of Ariana — Insulls is taken in to marry Lu-
cinda — this is a pretty good C. — it was written by
Mrs. Fix — she taxes Powell (and seemingly with
great justice) of having stolen a considerable part
of his Imposture Defeated from her play — see the
Prologue.

Pretenders, or the Town Unmaskt. Sir Bella-
mour Blunt (a plain dealer) = Kynaston : Sir Wealthy
Plainder (a rich curmudgeon, pretending to be poor)
= Underbill : Lord Courtipoll (pretending to be a
statesman) = Thurmond : Capt. Bownceby (pretend-
ing to be a captain) = Bright : Breakage (a bankrupt

L. i. F. 1698. 155

merchant, pretending to be rich) — Trefusis : Nicky-
crack (a knave, pretending to honesty) = Bowen :
Vainthroat = Bowman : Prim (Lord CourtipolPs va-
let, pretending to be of a gentleman's family) =
Baily : Widow Thoroshift (pretending to have a vast
fortune) = Mrs. Moor : Minx (kept by Lord Courti-
poll, pretending to have been bred in the country) =
Mrs. Peryng: Ophelia (daughter to Sir Wealthy) =.
Mrs. Bowman : Sweetny (a boarding landlady, pre-
tending to piety) = Mrs. Leigh : Nibs (a tatling
wench, pretending to secrecy) = Mrs. Lawson : Doll
= Mrs. Willis: — this is an indifferent C. by Dilke.
Fatal Friendship. Gramont (Count Roquelaure's
younger son) = Betterton : Castalio = Verbruggen :
Bellgard (brother to Felicia) = Thurmond : Count
Roquelaure = Kynaston : Felicia (privately married
to Gramont) = Mrs. Bracegirdle : Lamira (a young
widow) =: Mrs. Barry: — this T. was written by Mrs.
Trotter — the story is domestic, and the play on the
whole not a very bad one, but the distress arises
from improbable circumstances — Gramont and Fe-
licia had been privately married — Castalio had been
thrown into prison, and a fine had been imposed on
him, on Gramont's account — Gramont, for the sake
of restoring Castalio to his liberty, arid notwith-
standing that he is passionately fond of Felicia, is
induced to marry Lamira — he does not however con-
summate the marriage — Castalio was in love with
Lamira, but had concealed his love from Gramont,
notwithstanding their particular friendship— in the
last scene Castalio reproaches Bellgard for promoting
the union between Gramont and Lamira, tho' he had
promised to promote an union between himself and

156 L. i. F. 1698.

Lamira — Castalio and Bellgard fight — Gramont in-
terposes— and accidentally gives Castalio a mortal
wound — Gramont kills himself — Count Roquelaure
takes Felicia and her child under his protection —
Lamira retires to a convent.

Feigri'd Friendship, or the Mad Reformer. True-
love is in love with Lady Generous ; Richley is his
pretended friend, but secretly his rival — Eugenia is
in love with Lord Frolicksome — in order to reform
him from his mad pranks, she disguises herself as a
man, and pretends to he more extravagant than his
lordship — hence both the titles of this C. — at the
conclusion Richley's treachery is discovered — True-
love and Lord Frolicksome marry Lady Generous
and her sister Eugenia— this is an indifferent C. by
an unknown author — as it is printed without the
names of the performers, and without a date, it is not
easy to ascertain when it was acted — L. I. F. is called
the new house — Lady Generous says (p. 41) " 'tis
" hard in this scarcity of money to raise £500" — this
passage must have been written before the circula-
tion of the new coin in 1697 — Collier is twice alluded
to — on the whole it seems most probable that this
play was brought out in 1698 or 1699 — compare the
Epilogue with Tom Brown's letter in 1699.

D. L. 1699. 157

D. L. 1699.

Love and a Bottle. Roebuck = Williams: Love-
well = Mills : Mockrnode (a young squire who sets
up for a beau) = Bullock : Lyrick (a poet) = John-
son: Pamphlet and Rigadoon (a bookseller and a
dancing master) = Haynes : Club (servant to Mock-
mode) = Pinkethman : Brush (servant to Lovewell)
= Fairbank : Leanthe = Mrs. Maria Allison : Lu-
cinda = Mrs. Rogers : Pindress (her woman) = Mrs.
Moor : Trudge = Mrs. Mills : Mrs. Bullfinch = Mrs.
Powell: — Roebuck is a very spirited character — he
divides his time between Love and a Bottle — at the
opening of the play he arrives in London from
Ireland — he is followed by Mrs. Trudge, who has
a child by him — Leanthe is sister to Lovewell— in
love with Roebuck — and disguised as Lucinda's page
— Lovewell and Lucinda are mutually in love — in
the last act, she is offended at him and offers to
marry Roebuck — Leanthe contrives to have herself
married to Roebuck instead of Lucinda — Love-
well and Lucinda are reconciled — Mockmode is taken
in to marry Trudge — the marriage is set aside—
and Trudge gets £500 — this was Farquhar's first
play — it is a good C. — the Prologue and Epilogue
were written by Haines — the latter is very good, and
was spoken by himself in mourning—

" I come not here your Poet's fate to see,
" He and his play may both be damn'd for me
" No, Royal Theatre, I come to mourn for
" thee.

158 D. L. 1699.

" Vivitar ingenio, that damn'd Motto there

(looking up at it)

" Seduced me first to be a wicked player.
" Hard times indeed ; O Tempora, O Mores !
" I know that stage must down where not one

" Whore is.

********

" O Collier ! Collier! thou'st frighted away Miss

" Cross,

*********

" We've lost the only touchole of our house."

He concludes with saying he will hire the playhouse
for a boarding school—

" D'ye think the maids won't be in a sweet con-

" dition

" When they are under Joe Haines' grave tuition ?
" They'll have no occasion then, I am sure, to

" play,
" They'll have such comings in another way."

The Rise and Fall of Massaniello, in 2 parts, by
D'Urfey— the 2d part is dated 1699, and the 1st part
1700 — it is not said in the titlepage that these plays
were acted, and there are no performers' names to
the characters — but Pinkethman's name stands to
the Prologue to the 1st part, and Mrs. Rogers in
the Epilogue intimates that she had acted the
Duchess of Mataloni — Miss Campian in the Epi-
logue to the 2d part speaks of herself as having
played Fellicia.

An English History of Masaniello was published
in 17^9 — it seems correct arid impartial — Tomaso
Anello of Amalfi, commonly called Masaniello, was

D. L. 1699. 159

a young Fisherman of Naples — the lower inhabitants
of that city were much oppressed with taxes — parti-
cularly by a new tax on fruit — their discontent broke
out into tumult on the 7th of July 1647 — they elected
Masaniello their general — various outrages were com-
mitted— the Viceroy retired into the castle — the
original charters of the privileges granted by King
Ferdinand and Charles the 5th being found, and the
Viceroy having promised to comply with the demands
of the people, great hopes of tranquillity were enter-
tained on the 10th of July — but an accident blew up
the flames of discord to a greater height than ever —
500 banditti came into the market place — they said
they were sent for by Perrone — Perrone was a bandit,
who had at first joined Masaniello, but who seems
afterwards to have been bought over by the Duke of
Mataloni and his brother Don Pepe — some words
ensued between Perrone and Masaniello — 6 muskets
were fired at Masaniello, who had the good luck to
escape unhurt — Perrone and about 150 of the ban-
ditti were killed — Don Pepe was taken and put to
death — the Duke escaped — but his palace was burnt,
(July 12th) and his picture hung up with this inscrip-
tion— " This is the Duke of Mataloni, Rebel to his
" Majesty, and Traitor to the most faithful people "
— on the llth of July the treaty of accommodation
was at last perfected — Masaniello waited on the Vice-
roy by his particular desire — he then for the first
time, and at the persuasion of the Archbishop, threw
off his mariner's dress, and appeared on horseback
in a magnificent habit — as he passed through the
streets, he was justly honoured with the title of The
Saviour of his Country — On the 13th the articles of

160 D.L. 1699.

capitulation were publickly read in the Cathedral —
the Viceroy &c. solemnly swore to observe them in-
violably for ever, and to procure without delay the
ratification of them from his Catholick Majesty—
Masaniello, who from the 7th day of July to the Sun-
day following, had behaved himself with so much
wisdom and kingly authority, to the great surprise of
every body, grew delirious all on a sudden — many
and various are the reflections that have been made
upon his sudden madness — some are of opinion, that
that stupendous height of power to which he arrived,
as it were in an instant, made him giddy and turn'd
his brains — others will have it to be occasioned by the
great and continual fatigues he underwent, scarce
ever allowing himself time to take the natural refresh-
ments of food or sleep — but, the most probable and
received opinion is, that the Viceroy had given him
an intoxicating draught, which, by inflaming his blood,
should make him commit such extravagancies, as
would oblige the people to despise and forsake him.

On the 16th of July Masaniello was murdered with
the approbation of the Viceroy — at the time of his
assassination the people seemed stupified and motion-
less, but on the next day they buried him with great
solemnity — he was about 24 years old at the time of
his death— the Archbishop acknowledged that in the
several conferences he had with him with respect to
the treaty of accommodation, he had often been
amazed at the solidity of his judgment, and the sub*
tilty of his contrivances — he had given a proof of his
disinterestedness by remaining poor in the midst of
wealth — and of his loyalty by making the people often
cry out, " long live the King of Spain"— Such was

D. L. 1699. 161

the rise and fall of a man, who in the space of 4
days had raised an army of 150,000 men, and made
himself master of one of the most populous cities in
the world— during his short, but stupendous reign, his
orders were without reply — his decrees without ap-
peal— and the destiny of Naples might be said to
depend on a single motion of his hand.

The Rebellion of Naples, or the Tragedy of Mas-
senello is said to have been written by a Gentleman,
who was an eyewitness of the facts on which he has
founded his play — it is printed in ISmo with the date
MDCII — an I having probably been put for an L—
it is clear from the address to the reader that the
play was published about 1651 — T. B. the author of
this piece has dramatized the principal events in a
tolerable manner — it concludes with the funeral of
Massenello — a Herald proclaims a general pardon —
Massenello revives and speaks the Epilogue— in the
3d act, Agatha, the 2d wife of Massenello, stabs Flora,
the daughter of Massenello by a former wife, in the
face — Massenello breaks Agatha's neck between his
hands — Antonio, the son of the Viceroy, falls in love
with Flora, and means to marry her — in the 5th act,
Ursula, Massenello's daughter by Agatha, poisons
Flora — as also her Grandmother — the latter uninten-
tionally— Flora dies — Ursula is cut in pieces, and
thrown to the dogs — as T. B. professed to write a
true account of the story, he ought not to have in-
troduced circumstances, which not only did not
happen, but could not happen —Massenello was too
young to have a marriageable daughter — D'Urfey
does not seem to have borrowed any thing from this
play.

VOL. II. M

162 D. L. 1699.

D'Urfey begins with the breaking out of the in-
surrection— in the 3d act, Blowzabella, Massariiello's
wife, enters awkwardly dressed in the Duchess of
Mataloni's jewels — the Duchess is brought in in a
mean habit— Massaniello falls in love with the Duchess
— Blowzabella takes a fancy to the Prince of Bissig-
nario — a bandit shoots a pistol at Massaniello, but
misses him — Perone and the other banditti are car-
ried off — the Duke of Mataloni assumes the disguise
of a bandit — in the last scene of the «5th act, he
contrives to carry off the Duchess.

In the 2d part, there is a scene in the Cathedral,
according to the history — Blowzabella gives an enter-
tainment to the Vice-Queen &c. — Massaniello re-
sumes his Fisherman's dress — his brother Pedro
dissuades him from laying down his authority — Cosmo
promises to put the Duchess into his power — Cosmo
and Pedro seize the Duke and Duchess of Mataloni,
with Fellicia, who is the niece of the Vice-Queen—
the 4th act begins with the Duke and Duchess in
prison — the Duke stabs Cosmo — he effects his escape
—but the Duchess is retaken — Pedro ravishes Fel-
licia— the Prince of Bissignano gets the key of Mas-
saniello's apartment from Blowzabella — the Duchess
having defied Massaniello's love, and dared his cruelty,
he orders her to be seized, stripped naked, and to
have her head cut off — the Duke &c. enter — the Duke
shoots Massaniello — the play concludes thus — " the
" scene opens and discovers the trunk of Massaniello,
" headless and handless, dragged by horses, his head
" and hands fastened to a pole, with an inscription,
" and behind these the bodies of Blowzabella, and
" Pedro hanging upon gibbets " D'Urfey should

D. L. 1699. 163

have concluded with the funeral of Massaniello — he
has very injudiciously written his play in 2 parts —
which is a bad plan, except when particular circum-
stances make it expedient — his plays are far from
had ones, but their merit consists chiefly in the low
humour which he has thrown into the comic charac-
ters— D'Urfey's great fault is, that any person who
reads his play, without having read the history, would
form very wrong notions of Massaniello — D'Urfey
makes Blowzabella an important comic part, this
may be tolerated, but Massaniello's love to the
Duchess is a monstrous fiction — In the history (p.
187) Massaniello's wife, his mother and two sisters
are said to make a visit to the Vice-Queen in a new
coach, which the Duke of Mataloni had bespoken for
his wedding day.

The two parts of Masaniello were reduced to one
by Walker, and brought out at L. I. F. July 31 1724.

Love without Interest, or the Man too hard for the
Master. Wildman (in love with Letitia) — Powell :
Jonathan =. Penkethman : Sir Fickle Cheat = Bullock:
Trulove (in love with Honoria) = Mills : Wrangle =
Johnson : Sobersides = Newth : Letitia (niece to Sir
Fickle, secretly in love with Wildman) = Mrs. Ver-
bruggen : Honoria (her sister, in love with Trulove)
=i Mrs. Rogers : Eugenia — Mrs. Kent : Jenny = Mrs.
Wilkins : — this is a poor C. — it seems from the
Epilogue that the author gave it to Penkethman —
Sir Fickle Cheat puts the writings relative to his
nieces' fortunes into the custody of his man Jonathan,
who sells them to Wildman and Trulove — they give
the papers to Letitia and Honoria — hence both the
names of this C. — Sir Fickle Cheat marries Wild-

M 2

164 D. L. 1699.

man's cast mistress, Eugenia — in the short characters
of Wrangle and Sobersides the author has borrowed
a hint from the Forced Marriage of Moliere — the
Prologue was spoken by Haines — it is the Prologue
which he wrote for the Northern Lass, when revived
in 1684 — with the alteration of about 6 lines.

Island Princess, or the Generous Portuguese-
Islanders — King of Tidore = Evans : Governour of
Ternate — Johnson : King of Bakam — Bullock :
Quisara = Mrs. Rogers: Panura = Mrs. Wilkins :—
Portuguese — Armusia = Powell : Ruidias = Mills :
Piniero — Thomas : — this is Fletcher's play turned
into an Opera — the alteration is a very bad one — it
is worse than Tate's alteration in 1687, and much
worse than the play as acted in 1669 — the original
required only a slight alteration to fit it for represen-
tation— Motteux has mutilated it sadly, particularly
in the characters of Ruidias, Piniero, and Panura—
this Opera seems to have come out in the summer,
as Powell desires the audience to spare the play for
the sake of the players, who were—

" Left by their rulers for themselves to strive/'
In a poem written in 1702 it was said—

" Motteux and D'Urfey are for nothing fit,
" But to supply with songs their want of wit.
" Had not the Island Princess been adorn'd
" With tunes and pompous scenes, she had been

" scorn'd :
" What was riot Fletcher's no more sense con-

" tains " &c. (Malone.)

The Constant Couple, or a Trip to the Jubilee

D. L. 1699. 165

came out the latter end of the year — Sir Harry Wil-
dair — Wilks : Col. Standard = Powell : Beau Clincher
= Pinkethman : Alderman Smuggler =. Johnson :
Clincher Jun. = Bullock : Dicky = Norris : Vizard —
Mills : Tom Errand — Haines : Lady Lurewell =. Mrs.
Verbruggen : Parly — Mrs. Moor : Angelica •=. Mrs.
Rogers : Lady Darling = Mrs. Powell : — Lady Lure-
well, and the outlines of the two Clinchers are
borrowed from Madam Fickle — Norris from his
peculiar happiness in hitting off the character of
Dicky in this play, (and Sir Harry Wildair) lost his
own name of Henry and was frequently called in the

playbills Jubilee Dicky this Comedy was very

successful, which Farquhar attributes to Wilks' acting
—and adds that when Wilks leaves the stage, Sir
Harry may go to the Jubilee — it will appear presently
that he was out in his conjecture.

One of Farquhar's biographers says that this play
was acted 53 times at D. L. and C23 at Dublin — but
this Malone contends cannot be true, as after the
failure of Boyer's Achilles, they revived at D. L. the
Fox, the Alchemist, the Silent Woman and towards
the end of the season the Pilgrim — exertions, which
would scarcely have been necessary, if the Constant
Couple had attracted 53 audiences — he considers it
as more probable that it was not acted often er than

1 8 or 20 times at the utmost Farquhar's biographer

may have exaggerated the matter, but Malorie's com-
putation is certainly under the mark — Mrs. Centlivre
in the preface to Love's Contrivance says — •" I believe
" Mr. Rich will own he got more by the Trip to the
" Jubilee with all its irregularities, than by the most
" uniform piece the stage could boast of ever since."

166 D. L. 1699.

Gildon is very severe on this play, but he allows
that never did any thing such wonders.

Malone himself in his Supplement to Shakspeare
tells us, that Farquhar had 3 benefits on account of
the success of his Comedy — in this he is quite correct.

" D. L. July 13 1700 — last play this summer — for
" the author — in consideration of its great success,
" and in answer to a scandalous Prologue spoken
" against it at the other house — a Comedy called the
" Constant Couple." (From Manuscript in British
Museum.}

Achilles, or Iphigenia in Aulis. Achilles = Powell :
Agamemnon = Wilks : Ulysses and Calchas = Cibber:
Areas = Mill s : Iphigenia — Mrs. Rogers: Clytem-
nestra=:Mrs. Knight: Eriphile — Mrs. Wilkins:—
this is a moderate T. by Boyer — he borrowed it from
Racine — and Racine founded his play on the Iphi-
genia in Aulis of Euripides — the argument of which
is as follows — when the Greeks were ready to sail
for Troy, they were detained in Aulis for want of a
wind — Calchas said, that Iphigenia the daughter of
Agamemnon must be sacrificed to Diana, and that
then the Greeks would have a favourable voyage —
Agamemnon sent for his daughter under the pretence
of marrying her to Achilles — Clytemnestra accom-
panies Iphigenia to the camp — when she finds the
truth, she reproaches her husband, and puts herself
under the patronage of Achilles — Iphigenia resolves
to submit willingly to her fate for the sake of Greece
—as she is on the point of being sacrificed, Diana

substitutes a stag in her place the Greek play is

a very good one — Achilles is highly offended that his
name should have been made use of, without his

D. L. 1699. 167

knowledge — but he is so far from being a lover (as he
is absurdly represented in the modern plays) that
when Clytemnestra, in the 4th act, offers that Iphi-
genia should supplicate his assistance in person, he
objects to it, as it would be a breach of decorum—
Euripides has a very fine scene between Agamemnon
and Merielaus — they at first quarrel, but are after-
wards reconciled — the fabulous conclusion of the
play rendered it totally unfit for a modern Theatre,
without a material alteration in that respect.

Racine, in the preface to his play, after stating the
manner in which the Greek Tragedians have treated
the story of Iphigenia, refers us to another story
mentioned by Pausanias — (book 2 ch. 22) — namely,
that Iphigenia was really the daughter of Theseus
and Helen, but given by her mother to Clytemnes-
tra, &c. — this supposition Racine has eagerly laid
hold of— but he has not been consistent, as he has
made two women out of one — he has introduced
Eriphile as the daughter of Theseus and Helen, and
as originally called Iphigenia — and another Iphigenia
as the daughter of Clytemnestra — he had a right to
select which of the two stories he liked best, but as
the two stories are incompatible, he had no right to
blend them together — besides he makes Pausanias
say more than he really does, and he carefully con-
ceals from his readers the main point, viz. that Helen

gave her daughter to Clytemnestra Boyer's play

is little more than a translation from Racine — every
entrance and exit is the same till the last scene of the
5th act — Racine, according to the custom of the
French Theatre, makes Ulysses enter and relate to
Clytemnestra what had happened — Boyer changes

168 L. i. F. 1699.

the scene — an altar is raised — the principal characters
are arranged near it — Calchas delivers the Oracle,
and Eriphile kills herself, in the sight of the audience
—this T. was brought out in Dec. — it was acted 4
times.

L. I. F. 1699.

Xerxes — (the dedication is dated April 20) —
Xerxes =. Verbruggen : Artabanus and Mardonius
(his Generals) = Betterton and Hodgson : Aranthes
= Scudamore : Poet = Boin : (Bowen) Tamira (wife
to Artabanus) = Mrs. Barry : — scene Persia — the
play begins after the retreat of Xerxes from Greece
— he affects to return triumphant — Mardonius re-
monstrates with him, and is sent to prison — in the
3d act, Xerxes surrounds the house of Artabanus
with his guards — Tamira is taken prisoner — she
will not confess where her husband is concealed—
and is put to the rack by the order of Xerxes — in
the 4th act, Xerxes makes love to Tamira — in the
5th act, Aranthes &c. set Mardonius at liberty —
Xerxes and Artabanus fight and kill one another —
Tamira stabs herself — this is a poor T. by Gibber—
it seems to have lived but one day, as the Tatler, in
a humorous inventory of theatrical goods to be sold,
mentions the imperial robes of Xerxes never worn
but once.

L. j. r. 1699. 169

In the 2d act Mardonius says —
" I am unarted, Sir, in any grace of speech."

— And soon after —

" Sound a fresh alarm !

" And let the martial din ungrave the dead."

In the 3d act, two conspirators are brought in
dead — Xerxes is much vexed at this, and swears—

" By Heav'n, I'll have them rackt to life again."

Gibber's Motto is — Quot homines, tot sententice —
it should have been —

— JPopulus me sibilat, at mihi plaudo.

The Prologue intimates that girls might read Col-
lier's book for the sake of knowing which are the
indecent plays.

Rinaldo and Armida. Rinaldo (the hero of the
Christian army) •=. Betterton : Ubaldo — Thurmond :
Carlo = Scudamore : Armida (a heathen enchantress)
— Mrs. Barry : Urania (a Christian enchantress) =
Mrs. Boman: — Dennis in histitlepage calls this play
a Tragedy, but it is rather a serious Opera — it is
founded on the Jerusalem Delivered of Tasso, and is
supposed to take place in the time of the 1st Crusade
— Armida had fallen in love with Rinaldo, and had
conveyed him to the top of a mountain in the Ca-
naries, where the scene lies — Rinaldo had become
enamoured of Armida, and had devoted his life to
pleasure — Godfrey's army had begun the siege of Je-
rusalem— but the city cannot be taken till Rinaldo
has returned to the Christian camp, and cut down

170 L. i. F. 1699.

an enchanted grove — of this grove Dennis says no-
thing, as it did not suit his plan — but Dryden has
introduced it with very good effect in King Arthur
—at the opening of Dennis' play, Ubaldo, Carlo,
and Urania come in search of Rinaldo — Ubaldo
presents an adamantine shield to him — Rinaldo sees
himself in it, and is ashamed of his effeminate dress
— he is distracted between his love of fame, and his
love for Armida— he determines to leave her — she
stabs herself — Urania foretells that Rinaldo and Ar-
mida, after they are both dead, shall be restored to
life, and live for ever in the Canaries — Armida dies
in ecstacy at the hope of this re-union, and Rinaldo
wishes to find death at Jerusalem, that he may be
restored to Armida — Dennis has materially altered
the catastrophe — in Tasso, Rinaldo leaves Armida
in the Canaries — but they have afterwards an inte-
resting interview near to Jerusalem — a translation

of Tasso by Hoole was published in 1797 Rinaldo

and Armida is not a bad play — the last scene of the
4th act has considerable merit — if Dennis expected
the audience to keep their countenance at the follow-
ing line, he was a little unreasonable—

" Be gone then, and for ease to Hell repair."

Gildon in 1702 says — " this piece surprised riot
" only D. L. but indeed all the town — nobody ever
" dreaming of an Opera at L. I. F. — 'tis true they
" had heard of Homer's Iliad in a nut-shell * * *
" this vagary continued for a while — not a fop in
" town but ran to see the Celebrated Virgin (Mrs.
" Bracegirdle) in a Machine — but this merry time
" lasted not always — Rinaldo's enchanted mountain

L. i. F. 1699. 171

" sunk, as it arose, by magic, and there's now not
" so much as a molehill seen on't."

Gildon has here made a strange mistake — Mrs.
Bracegirdle did not act in this play — nor does any
person appear in a machine.

Love's a Lottery and a Woman the Prize — this
comic piece in 3 acts was written by Joseph Harris
the actor — it is printed without the names of the
performers — the plot is improbable — some parts of
the dialogue are not bad.

Princess of Parma. Dona (the famous Admiral
of Genoa) = Betterton : Barbarelli (the head of the
popular faction) •=. Verbruggen : Almira (Princess of
Parma) •=. Mrs. Bracegirdle : Julia (pretended friend
to Almira) = Mrs. Barry : — this is an indifferent T.
by Smith — it seems to be founded on the history of
Genoa, but love is the chief business of it — Doria and
Almira are mutually attached to each other— Almira
exacts a promise from him, that if any thing should
happen to her, he would transfer his affections to
Julia — on Almira's supposed death, Doria imme-
diately marries Julia — all this is very improbable —
Doria, on finding Almira alive, reproaches himself
for what he has done, but declines to enter into an
explanation with her — Barbarelli kills Julia — Doria
again hopes to be happy with Almira — she says that
thinking him false she had poisoned herself— her
attendant sets all to rights, by saying she had substi-
tuted some reviving drops for the poison — Barbarelli
is in love with Julia — she wavers between him and
Doria, but is determined that her love shall give way
to her ambition — this part of her character is evi-

172 L. i. F. 1699.

dently borrowed from Lyndaraxa in the Conquest of
Granada.

False Friend, or the Fate of Disobedience. Emi-
lius i= Verbruggen : Brisac alias Don Lopez (a French
nobleman) = Scudamore : Bacurius = Hodgson : Vice-
roy of Sardinia (father of Emilius and Adellaida) =
Bowman : Lorenza (in love with Adellaida) =
Thurmond: Adellaida = Mrs. Barry: Appamia=r
Mrs. Bowman : Louisa (sister to Brisac) = Mrs.
Bracegirdle: Zelide (an Indian slave) = Mrs. Law-
son : — this T. was written by Mrs. Pix — the False
Friend is Appamia — Emilius and Louisa are pri-
vately married — he wishes to conceal his marriage
from his father for a short time, arid places Louisa
under the care of Appamia — Appamia is herself in
love with Emilius — Brisac and Adellaida are also
privately married — at the conclusion Emilius and
Brisac fight — Brisac is mortally wounded — Adellaida
is forced off in despair — Louisa is poisoned by Appa«
mia's means — Emilius kills himself— Appamia is
reserved for the sentence of the law — the Viceroy
determines to retire from the world — the plot of this
play is not bad — the language is very poor — and the
whole is rather dull.

Friendship Improved, or the Female Warriour
T. by Hopkins — Zoilus (Usurper of Sicily) = Bet-
terton : Maherbal (his general) = Verbruggen : Ar-
chias (an old nobleman) = Arnold : Locris (the Fe-
male Warriour) = Mrs. Bracegirdle: Cyllene (her
sister) =. Mrs. Moor : Semanthe = Mrs. Barry : Ory-
thia = Mrs. Porter : — Locris, the younger daughter of
Zoilus and Semanthe, had been brought up as a man
— she and Cyllene are in love with Maherbal — in the

L. i. F. 1699. 173

5th act, Maherbal discovers Locris to be a woman—
his Friendship is immediately Improved into love —
this is a love Tragedy in rhyme — the plot is romantic
arid unnatural to the last degree — some parts of the
play are well written.

Iphigenia came out early in Dec. — Orestes — Bet-
terton: Pylades = Williams : Iphigenia = Mrs. Brace-
girdle : Queen of the Scythians = Mrs. Barry: — this
play is founded on the Iphigenia in Tauris of Euri-
pides— Orestes after killing his mother became mad at
intervals — he consulted the oracle of Apollo, and was
enjoyned to fetch the image of Diana from the Cher-
sonesus Taurica — Iphigenia was become the Priestess
of Diana in that country— Orestes with Pylades arrives
in the Chersonesus Taurica— they are about to be sa-
crificed according to the custom of the country — Iphi-
genia, on finding them to be Grecians, promises to save
one of them, on condition that he will carry a letter
for her to Argos — Pylades is with difficulty prevailed
on by Orestes to undertake the charge of the letter,
and to leave him to his fate — Iphigenia gives Pylades
the letter, and exacts a solemn oath from him to de-
liver it — Pylades desires that he may not be consi-
dered as guilty of perjury, if, in case of shipwreck, he
should be saved himself and lose the letter — Iphigenia
says that for the greater security, she will tell him
the contents of her letter — she does so — and Orestes
discovers her to be his sister — at the conclusion,
Orestes, Pylades, and Iphigenia make their escape
with the image — Dennis has altered the plot much
for the worse — the Queen of the Scythians falls in
love with Orestes — Orestes and Pylades fall in love
with Iphigenia— Orestes does not discover Iphigenia

174 L. i. F. 1699.

to be his sister till just at the last — this discovery in
Euripides is peculiarly interesting — in Dennis it is
flat — Orestes marries the Queen arid carries her to
Greece — he gives Iphigenia to Pylades — as this T.
is neither good nor bad, one would be tempted to
call it indifferent, but that must not be, as Dennis
elsewhere says, that indifferent and execrable in
Poetry are all one — Dennis says his play was well
received on the 1st night, but more coolly on the 3d
and 4th — Downes tells us it did not answer the ex-
pense of the dresses — Dennis properly observes in
the preface, that the writing of good verses may
make a man a good versifyer, but the forming of a
fable alone can make a Dramatic Poet — it is strange
that a man of education like Dennis should spell
Pylades with an i — the rule is so plain and simple,
that any deviation from it is inexcusable — in Grecian
names the Latins turn u into y — Pulades in Greek
is Pylades in Latin — in English we follow the Latins.
Kynaston, Sandford and Williams seem to have
left the stage about this time.

Gibber says Kynaston continued on it till his me-
mory and spirit began to fail — at this time he could
hardly have been more than 60 — notwithstanding the
praise bestowed on him by Gibber, Davies had been
informed by some of the old Comedians, that owing
to his early representation of female characters he
had contracted some disagreeable tones in speaking
when Powell was one day during the time of per-
formance discharging his stomach, Kynaston asked
him, " if he was sick?"-—" How is it possible to be
" otherwise," said Powell, " when I hear you speak."

L. I. F. 1699. 175

Kynastorfs characters — selection only.

In Rhodes' Company 1659-1660. Arthiope in
Unfortunate Lovers — Princess in Mad Lover — Ag-
laura in ditto — Ismenia in Maid in the Mill.

In i860 — after he had joined the old actors —
Olympia in Loyal Subject — in 1661 Silent Woman.

1664. Sir Dauphine Eugenie in Silent Woman.

1665. *Guyomar in Indian Ernperour.

1666. Younger Loveless in Scornful Lady.

1667. *Black Prince.

1669. King of Tidore in Island Princess.

1 670. *King of Granada in Conquest of Granada.

1672. * Valentine in Love in a Wood.

1673. *Harcourt in Country Wife.

1674. *Freeman in Plain Dealer.

1675. *Morat in Aureng-Zehe.
1677- *Cassander in Rival Queens.

1683. Tigranes in King and no King.

1684. *Maximus in Valentinan altered — Antony
in J. C. — Sir Philip Luckless in Northern Lass.

1685. *Lord Beaugard in Sir Courtly Nice —
Rollo.

1686. *Don Antonio in Banditti.

1687. *Bellmour in Lucky Chance.

1689. * Elder Wealthy in Fortune Hunters.

1690. *Muley Moluch in Don Sebastian.

1691. *Mr. Rant in Scowrers — * Merlin in King
Arthur — Fabel in Merry Devil of Edmonton,

1692. The Tray tor.

1693. *Lord Touchwood in Double Dealer.

1694. * Count Baldwin in Fatal Marriage.
1696. * Friendly in Country Wake.

* Originally.

176 L. i. F. 1699.

He also acted Cassio — arid the Copper Captain.

Sandford's characters — selection only.

L. L F. 1661. *Worm in Cutter of Colman Street.

1662. *Malignii in Villain.

1664. *Wheadlein Comical Revenge.

1669. *Wary in Sir Solomon.

D. G. 1672. * Jasper in Fatal Jealousy — *Ban-
quo's Ghost in Davenant's Macbeth.

1676. *Sir Roger Petulant in Fond Husband—
*Sir Arthur Oldlove in Madam Fickle.

1679. *Creon in GEdipus.

T. R. 1690. *Benducar in Don Sebastian— Gri-
pus in Amphitryon.

1691. * Osmond in King Arthur.

1692. *Sir Lawrence Limber in Marriage-Hater.
L. I. F. 1695. * Foresight.

1697- * Gonzalez in Mourning Bride.
1698. * Ulysses in Heroick Love.

* Originally.

The Tatler (No 134) says, when poor Sandford
was on the stage, I have seen him groaning upon a
wheel, stuck with daggers, impaled alive, calling his
executioners with a dying voice cruel dogs and villains
—and all this to please his judicious spectators, who
were wonderfully delighted with seeing a man in
torment so well acted.

On the English stage we act murders to show our
intrepidity, and adulteries to show our gallantry, with
this difference only, that the first are done in the sight

L. i. F. 1699. 177

of the audience ; and the other wrought up to such
a height on the stage, that they are almost put into
execution, before the actors can get behind the scenes.

Anthony Aston says — " Sandford, although not
" usually deem'd an actor of the first rank, yet the
" characters allotted him were such, that none besides,
" then, or since, ever topp'd ; for his figure, which
" was diminutive and mean, (being round-shoulder'd,
" meagre-fac'd, spindle-shaiik'd, splay-footed, with a
" sour countenance, and long lean arms) rendered
" him a proper person to discharge lago, Foresight
" and Malignii * * * his energy was, by his
" voice and action, enforced with great soundness of
" art and justice — he acted strongly with his face,
" and was (as King Charles said) the best villain in
" the world."

Williams seems to have joined Betterton in 1699-
1700 — and not to have acted after that season — he is
said to have been a good actor, but too fond of his
bottle.

His characters — selection only.

D. G. 1673. 2d Gravedigger in Hamlet.

1677» *Hadland in Counterfeit Bridegroom.

1678. *Troilus in Destruction of Troy.

1679. *^Eneas in Dryden's Troilus and Cressida.

1680. *Polydore.in Orphan — *Theodosius.

1681. *Henry 6th in both parts of Crowne's play
— *Tiberius in L. J. Brutus — *Beaumond in Rover

2d part — * Bastard in Tate's Lear — *Bertran in
Spanish Fryar — * Prince of Cleve — *Sir Charles Me-
riwill in City Heiress.
VOL. n. N

178 L. i. F. 1699.

1682. *Townley in London Cuckolds.
T. R. 1685. *Sir Petronell Flash in Cuckold's
Haven.

1686. *Don Fernand in Banditti.

1689. * Ranter in English Friar.

1 690. *Bacon in Widow Ranter— *Don Sebastian
— * Am phi try on.

1691 . *Mortimer in Edward the 3d— * Wildfire in
Scowrers — * Oswald in King Arthur.

1692. Sciarrah in Tray tor.

1693. *Vainlove in O. B.— *Mellefont in D. D.

1694. *Biron in Fatal Marriage.

1696. * Elder Worthy in Love's last Shift-
* Lieutenant Governor in Oronooko.
D. L. 1699. *Roebuck in Love and a Bottle.

* Originally.

Tom Brown, in a letter dated Sep. 12 1699, com-
plains that each of the Companies had recourse to
low expedients for filling their houses — Wright in his
Historia Histrionica (which was published this year)
says that plays could hardly draw an audience, unless
some foreign regale was expressed in the bottom of
the bill.

D. L. 1700. 17f)

D. L. 1700.

Pilgrim was revived. Pedro = Wilks : Alphonso =
Johnson : Roderigo = Powell : Governour of Segovia
= Simpson: Mad Scholar = Thomas : Mad Parson
= Haines : Mad Englishman and Stuttering Cook — .
Cibher: Mad Welchman-Norris : Mad Taylor =.
Pin^eman : Alinda =. Mrs. Oldfield : Juletta = Mrs.
Moor : — Alphonso is a choleric old Gentleman — he
wants his daughter Alirida to marry Roderigo — she
is in love with Pedro, who is disguised as a Pilgrim
— Alinda elopes — her woman Juletta follows her—
Alphonso goes in pursuit of his daughter — Pedro falls
into the hands of Roderigo, who is an outlaw — Rode-
rigo orders him to be hanged — the other outlaws
refuse to hang him — Alinda, who is disguised as a
boy, prevails on Roderigo to set Pedro at liberty—
Alphonso goes to look for his daughter in a madhouse
—Juletta forges a letter to the keeper, and persuades
him that Alphonso is mad — he is treated accordingly
—at the conclusion, Pedro and Alinda are united —
Roderigo reforms, and is promised a pardon — this is

one of Fletcher's best plays Langbaine in 1691

says that it had been revived some years since with a
new Prologue — but he does not tell us at what theatre
—it was now brought out with alterations by Van-
burgh —Van burgh has reduced the blank verse of the
original to prose, and has made some slight additions
to the mad scene, but his play does not differ mate-
rially from Fletcher's -it was stipulated that Dryden

180 D.L. 1700.

should have the benefit of the 3d performance, in
consideration of his having enriched the piece with a
Prologue and Epilogue, a Dialogue between two Mad
Lovers, and other additions. (Malone.)

The Secular Masque, written by Dryden and tacked
to the end of this play, was doubtless intended to
have been produced March 25th 1700, on which day
the new year at that time began— it is a singular cir-
cumstance that Dryden, as well as some other eminent
men of that day, should have fallen into an errour
respecting the beginning of the century, conceiving
that the 17th Century closed on the 24th of March
1699 and that the new century began on the following
day — in conformity to which notion a splendid Jubilee
was celebrated at Rome in the year 1700 — by this
kind of reckoning the second century began in the
year 100, and the first, in opposition to the decisive
evidence of the word itself, consisted of only ninety
nine years. (Malone.)

Gildon, in his Comparison of the Two Stages in
1702, after mentioning the success with which Henry
the 4th and Henry 8th had been revived at L. I. F.,
makes one of the speakers in the dialogue say " The
" battle continued a long time doubtful, and victory
" hovering over both Camps, Betterton solicits for
" more auxiliaries from the same Author, and then
" he flanks his enemy with Measure for Measure —
" nay then says the whole party at D. L. we'll even
" put the Pilgrim upon him — ' ay faith so we will,
" says Dryden, and if you will let my Son have the
" profits of the 3d night, I'll give you a Secular
" Masque ' — ' done,' says the House and so the bar-
" gain was struck."

D. L. 1700. 181

Vanburgh offered Gibber the choice of any part in
the Pilgrim ; but he, seeing the principal characters
were not in his line of acting, very properly chose
the two small parts of the stuttering Cook* and mad
Englishman — he very sensibly observes, that Actors
are apt to measure the goodness of a part by the
quantity or length of it, but that he thought none bad
for being short, that were closely natural, nor any the
better for being long, without that valuable quality.

Farquhar was the means of bringing Mrs. Oldfield
before the Public— he accidentally at a tavern kept
by a near relation of hers, heard a person reading a
Comedy in a room behind the bar, with such just
vivacity and humour of the characters, as gave him
infinite satisfaction and surprize — his curiosity was
so prevalent that he made a pretence to go into the
room, where he was astonished at her beauty and
discourse — he pressed her to pursue her amusement,
but was obliged to depart without that satisfaction —
he afterwards introduced her to Vanburgh — it was
some time before they could prevail on her to come
on the stage, tho', as she afterwards told Chetwood,
she longed to be at it, and only wanted a few decent
entreaties — (Chetwood) — she joined the company in
1699, but remained about a year almost a mute, till
Vanburgh gave her the part of Alirida — (Cibber) —
she had the Pilgrim for her benefit July 6 1700.
(Malone.)

Dryden died on the 1st of May — Curll (in his Life
of Mrs. Oldfield) says, that he died on the 3d night

* In the original play, the Servant in the 2d act did not stutter,

D. L. 1700.

of the Pilgrim — Malone, with good reason, does not
believe this to have been the case — in the last speech
of the Pilgrim, as acted in 1700, the Governour says
— " You shall share with us an Entertainment the
" late great Poet of our age prepared to celebrate
" this day — let the Masque begin" — Malone observes
— "it should seem from this speech that the Secu-
" lar Masque was not acted till after Dryden's death"
—it seems more probable, that the Secular Masque
was acted on the 25th of March, and that the new
Edition of the Pilgrim was not printed till after
Dry den's death.

The Prologue and Epilogue have always been
reckoned among Dryderi's happiest effusions ; in the
former he has retaliated on Blackmore for his recent
attack in the Satire against Wit — (Malone.) — he be-
gins the Epilogue thus—

" Perhaps the parson stretch'd a point too far,
" When with our theatres he wag'd a war.
" He tells you, that this very moral age
" Receiv'd the first infection from the stage.
" But sure, a banish'd court, with lewdness

" fraught,

" The seeds of open vice, returning, brought.
" Thus lodg'd (as vice by great example thrives)
" It first debauch'd the daughters and the wives.
" London, a fruitful soil, yet never bore
" So plentiful a crop of horns before.
" The Poets, who must live by Courts, or starve,
" Were proud, so good a government to serve ;
'* And mixing with buffoons and pimps prophane
" Tainted the stage, for some small snip of gain.

D.L. 1700. 183

" For they, like harlots, under bawds profest,
" Took all the ungodly pains, and got the least.
" Thus did the thriving malady prevail,
" The Court, its head, the Poets but the tail.
"The sin was of our native growth, 'tis true ;
" The scandal of the sin was wholly new.
" Misses there were, but modestly conceal'd ;
" Whitehall the naked Venus first reveal'd ;
" Who standing as at Cyprus, in her shrine,
" The strumpet was ador'd with rites divine."

Dryden concludes with —

" In short, we'll grow as moral as we can,
" Save here and there a woman or a man :
" But neither you, nor we, with all our pains,
" Can make clean work; there will be some

" remains,
" While you have still your Gates, and we our

" Haines."

Dr. Johnson is wonderfully candid in his remarks
on Dryden's turning Papist, but would he have been
equally so, if Dryden had turned Presbyterian in-
stead?— he says " that conversion will always be
" suspected that apparently concurs with interest.
" He that never finds his errour till it hinders his
" progress towards wealth or honour, will not be
" thought to love Truth only for herself. Yet it
" may easily happen that information may come at a
" commodious time ; and as truth and interest are
" not by any fatal necessity at variance, that one
" may by accident introduce the other. I am willing
" to believe that Dryden, having employed his mind,

D. L. 1700.

" active as it was, upon different studies, and filled
" it, capacious as it was, with other materials, came
" unprovided to the controversy, and wanted rather
" skill to discover the right than virtue to maintain
" it. But inquiries into the heart are not for man ;
" we must now leave him to his Judge" — he had
before observed that Dryden's conversion at any
other time might have passed with little censure—
but how could it pass without censure at any time,
after what Dryden had written against Popery ? or
how could the author of the Religio Laici be said to
come unprovided to the Controversy? — the Religio
Laici was published with a preface in 1682 — many
passages of which " smell confoundedly of the fagot,"
and either directly or indirectly contradict others in
the Hind and Panther, which was published in April
1687.

The facetious Tom Brown attacked Dryden in two
dialogues — one of which is called " The reason of
" Mr. Bayes' changing his religion" — in 1691 he
published " The reasons of Mr. Haines the Player's
" conversion arid reconversion" — in this last dialogue
Bayes (Dryden) and Haines are the speakers — the
latter relates a miracle — Bayes boggles about believ-
ing it-

Haines. Why, Mr. Bayes, couldst thou read over,
and translate, and consequently believe, the history
of St. Xavier, (for otherwise why didst thou print
it?) and canst thou with any face startle at my single
miracle ? oh thou uncircumcis'd infidel playwright !
this 'tis to swallow the legend of Garagantua and
boggle at poor Tom Thumb.

D. L. 1700. 185

Bayes. Faith, Mr. Haines you and I have had the
worst luck of any two converts in the universe — we
could get nobody breathing to believe one syllable of
our conversion.

Haines. I complained of this to an honest justice
of my acquaintance — " really says he, your case is
" extremely mortifying and sad — but should you
" abjure all religion, why then you would have the
" same reputation in the world still, as you have at

" present" Haines endeavours to persuade Bayes

to be re-converted — " first of all, set the fear of inte-
" rest before your eyes ; you have been as true to
" that principle, I am sure, as a City usurer to his
" wicked principle of not lending."

Bayes. No matter for that, Sir, I have sacrificed
that principle long ago.

Haines. Secondly, consider the fashion, Mr. Bayes,
which they say you have dutifully followed in all the
turnings and windings of the Government, from your
panegyrick upon Oliver Cromwell down to your pa-
negyrick upon the Prince of Wales — burn thy Hind
and Panther, and then the Religio Laici and the
Spanish Friar will come in play again — but if King
James ever come in, I'll give thee a note under my
hand and seal to return to the Roman Church, nay,
rather than fail, I'll bear thee company myself.

In a subsequent Dialogue Tom Brown makes Ti-
mothy say that a conversion has taken place which
no body could ever have expected—

Freeman. A conversion and that a remarkable one
too ! why then I fancy, Tim, that your friend Mr.
Bayes is returned to his primitive church.

Timothy. Nay the Lord knows which is Mr. Bayes'
primitive church.

186 D. L. 1700.

In the Laureate 1687 it is said to Dryden—

" Tell me, for 'tis a truth you must allow,
" Who ever chang'd more in one moon than thou?
" Even thy own Zimri was more stedfast known,
" He had but one religion, or had none.
"What sect of Christians is't thou hast riot

" known,
" And at one time or other made thy own ?"

In the following lines Dryden is said to have been
bred a baptist, and afterwards to have turned an in-
dependent.

Dryden seems to have been indignant at being

classed with Haines — but in this instance Tom Brown

is quite right, as Dryden had made himself fair game

—when he turned Papist, he must have wished the

Spanish Fryar, with the appendages to it, buried in

oblivion — In the dedication, he boasts that he has

dedicated a Protestant play to a Protestant patron

—in the Prologue he says —

" Though 'tis no more like sense in ancient plays,
" Than Rome's religion like St. Peter's days."

In the 1st act he ridicules Processions — in the 2d
the Invocation of Saints — in the 3d Auricular Con-
fession— the whole of Dominic's character must have
given great offence to the Catholics — Gomez in the
3d act observes — " They say every thing in the world
" is good for something, as a toad, to suck up the
" venom of the earth ; but I never knew what a
" Fryar was good for, till your pimping showed me"
— The Epilogue is said to be written by a friend, but
it is written so well, that one is tempted to suspect

D. L. 1700. 187

that this anonymous friend was Dryden himself — at
least it may be supposed, that if he had not approved
of the sentiments, he would not have accepted of
the Epilogue—

" There's none I'm sure, who is a friend to love,

" But will our Fryar's character approve :

########

" Our Church, alas! (as Rome objects) does want
" These ghostly comforts for the falling saint :
" This gains them their whore-converts, and

" may be,

" One reason of the growth of Popery.
" So Mahomet's religion came in fashion,
" By the large leave it gave to fornication.
" Fear not the guilt, if you can pay for't well,
" There is no Dives in the Roman hell.
" Gold opens the strait gate, and lets him in j
" But want of money is a mortal sin.
" For all besides you may discount to heaven,

" And drop a bead to keep the tallies even.

**##*•*##

" Hence to their Prince they will superior be ;

" And civil treason grows Church-loyalty :

" They boast the gift of heaven is in their power ;

" Well may they give the God they can devour.

" Still to the sick and dead their claims they lay ;

" For 'tis on carrion that the vermin prey.

" Nor have they less dominion on our life,

" They trot the husband, and they pace the

" wife.

" Rowse up you cuckolds of the northern climes,
" And learn from Sweden to prevent such crimes.

188 D. L. 1700.

" Unman the Fryar, arid leave the holy drone, -v
" To hum in his forsaken hive alone ;
" He'll work no honey when his sting is gone. J
" Your wives and daughters soon will leave the

" cells,
" When they have lost the sound of Aaron's

" bells."

Dryden concludes his Epilogue to the Princess of
Cleve thus —

" But damn'd confessing is flat Popery."

Malone is very peremptory, and not only has no
doubts of Dryden's sincerity himself, but will not
allow any body else to have any, as he was uniform
in his adherence to his new faith till the time of his
death — but how could he be otherwise? if he had
turned Protestant again, he would have exposed
himself to the contempt of every person of sense
on either side — the conversion and reconversion of
Joe Hairies was equally a subject for laughter, but
Dryden had some character to lose — (see D. L, 1701
for Haines.)

Tom Brown however will not allow this, he says
— " What reputation you have to lose is a mystery
" to me, or to any one else that knows you — that
" little you had has been lost and forfeited many
" years ago — The City and Country Mouse ruined
" the "reputation of the Divine, as the Rehearsal
" ruined the reputation of the Poet — so that upon
" this score Mr. Bayes, whatever adversaries shall
" fall upon you for the future, you may well com-
" fort yourself that you have no reputation to lose

D. L. 1700. 189

" to them — * * * * You know what your great
" master Horace says, Servetur ad imum qualis ab
" incepto processerit — and I am sure, you have kept
" close to the text — as you began with a very indif-
" ferent religion, so (heaven be praised) you have not
" much mended the matter since in your last choice
" — and in my opinion, it was but reason that your
" Muse, which appeared first in a Tyrant's quarrel,
" should employ her last efforts to justifie the usur-
" pations of the Hind."

Many of the sentiments, which Dryden has inserted
in his Religio Laici, and in the preface to it, are ex-
cellent— they would have done him great credit, if he
had not abandoned them — when he did abandon them,
they could not fail to rise up in judgment against him
— let any person read the Religio Laici with impartia-
lity and attention, and then judge if Dryden was
likely to have turned Catholic under a Protestant
king.

Malone concludes his life of Dryden by saying,
" to make Dryden better known to his countrymen
" than he hitherto has been ; to delineate the man
" rather than the poet, has been the principal object

" of the preceding pages" the public are much

obliged to Malone for his life of Dryden — how far
he has done Dryden any service by calling the atten-
tion of the reader to his private character, may well
be doubted — Malone says, " the age or rather the
" Ministers of William the 3d do deserve to be de-
" tested for their neglect of so great a poet" — if the
King and his Ministers had overlooked Dryden's po-
litical writings, and granted him a pension, they
would have done well — but surely they do not deserve

190 D. L. 1700.

detestation for not granting a pension to a man who
was well known to be disaffected to the government
— was such a thing ever done? — if Dr. Johnson had
written as much against the Tories, as Dry den has
written against the Whigs, would he have received a
pension from George the 3d?

Dryden wrote 27 plays — some of his Tragedies
(particularly the early ones) are bad — not so much
from a want of genius for the drama, as from his
having complied with the bad taste of the times in
which he lived — he wrote, and professed to write,
merely to please the audience — yet All for Love,
Don Sebastian and King Arthur must be allowed to
have considerable merit — some of his Comedies are
good, and the comic scenes in some of his Tragi-
comedies are excellent.

If Dryden had lived in later times, he would pro-
bably have written as good Tragedies as any of his
contemporaries — he had not only genius but a
thorough knowledge of the stage — his judgment was
good, for he always preferred Shakspeare to any
other dramatist — and that at a time when Shakspeare
was not in fashion — if in his later Tragedies he did
not entirely avoid his former faults, it may be attri-
buted to this cause — that it is very difficult to reform
bad and inveterate habits.

Dryden wrote about 40 Prologues and Epilogues,
besides those to his own pieces — on the whole between
90 and 100 — Quantity and Quality both taken into
consideration, we have no writer who has any pre-
tensions to be put on a level with Dryden in this
species of composition — his Prologues had such repu-
tation, that for some time a play was considered as

D. L. 1700. 191

less likely to be well received, if some of his verses
did not introduce it — the price of a Prologue was two
Guineas, 'till being asked to write one for Southerne,
he demanded three ; " not," said he, " young man
" out of disrespect to you, but the Players have had
" my goods too cheap." (Dr. Johnson.)

It appears that the King's Company sometimes
performed at Oxford — Dryden wrote 8 Prologues or
Epilogues addressed to that University — he concludes
one of his Prologues with paying Oxford an elegant
compliment at the expense of his own University —

" Oxford to him a dearer name shall be

" Than his own mother University.

" Thebes did his green, unknowing, youth engage;

" He chooses Athens in his riper age."

This was a wanton insult, as it does not appear
that he had sustained any ill usage at Cambridge —
if he had (as Dr. Johnson observes) he knew how to
complain — Dr. Johnson adds — " He obtained, what-
" ever was the reason, no fellowship in the College ;
" why he was excluded cannot now be known, and
" it is in vain to guess " — Dr. Johnson himself
assigns a very sufficient reason, when he says " It
" will be difficult to prove that Dryden ever made
" any great advances in literature: as he distinguished
" himself at Westminster under the tuition of Busby,
" and resided afterwards at Trinity College in Cam-
" bridge, it is not to be supposed that his skill in the
" ancient languages was deficient, compared with that
"of common students; but his scholastick acquisi-
" tions seem not proportionate to his opportunities
" and abilities. He mentions but few books, and those

192 r>. L. 1700.

" such as lie in the beaten track of regular study ;
" from which if ever he departs he is in danger of
" losing himself in unknown regions."

Reformed Wife — this is an indifferent C. by Bur-
naby — from the dedication it appears that it came
out on a Wednesday in Lent — it is printed without
the names of the performers to the D. P. — but Pin-
kethman no doubt acted Sir Solomon Empty, as that
character says — " there's that dog, that sly rogue,
" that arch son of a whore, that Pinkethman; there's
" always more in that fellow's face, than his words "
— Astrea, Sir Solomon's wife, pretends to dislike
men ; but in the 1st act she gives Capt. Freeman a
purse, and makes an assignation with him — she calls
herself Ceelia — Freeman, not knowing Cselia to be
Astrea, relates to Sir Solomon what had passed
between him and Cselia — and even shows him a
letter from her — the letter has no direction, but
Sir Solomon knows the hand — Astrea is vext at
finding what Freeman had done — but tells him to
keep his assignation — she is frightened at the dis-
covery, and resolves to reform — in the 5th act, Sir
Solomon hides himself in the Garden room — Astrea
and her woman, being aware that he is within
hearing, form their conversation in such a man-
ner as to make Sir Solomon believe the letter was
written to Clarinda — when Freeman enters she
affects not to know him — Clarinda owns that the
letter was written to her — she marries Freeman, and
Sir Solomon is convinced of his wife's virtue — Lady
Dainty thinks it right for a lady of rank to be always
in a delicate state of health — she affects to differ from
the vulgar in every thing — Cleremont, in the 4th act,

D.L. 1700. 193

advises her to throw away her physic, and to take
him as a cure for her complaints — he carries her off
in his arms, and marries her — Gibber in the Double
Gallant has adopted a great deal of Lady Dainty's
character verbatim — he makes Careless act in part
as Cleremont does in this play.

Grove, or Love's Paradise. Amintor = Powell :
Arcadius (Emperour of the East) z= Mills : Parmenio
(his favourite) = Gibber : Adrastus =. Toms : Aurelia
= Mrs. Rogers : Phylanthe (her friend) = Mrs.
Temple: Sylvia (a Eoman Lady) = Mrs. Oldfield: —
this is an Opera by Oldmixon, who says that it was
at first intended for a Pastoral, but the dignity of the
characters in the last 3 acts raised it to the form of a
Tragedy — Arcadius is a real person, but the whole
of the piece is fiction — Eudosius the Prince of Thrace
is living near the Gulph of Venice, under the name
of Amintor — he had resigned the throne of Thrace
to his brother Adrastus, and had privately married
the Emperour's daughter Aurelia — the Emperour
arrives in Italy and is reconciled to his daughter — -
Adrastus and Phylanthe are united — the language of
this piece is not bad, the plot is romantic and con-
temptible.

Perjured Husband, or the Adventures of Venice.
Count Bassino = Mills : Alon zo~ Thomas : Pizalto
(anoble Venetian) i=Norris : Ludovico (a Frenchman)
= Fairbank: Aurelia = Mrs. Oldfield : Placentia (wife
to Bassino) = Mrs. Kent : Lady Pizalta = Mrs. Moore :
Lucy (her woman) = Mrs. Lucas : — this T. was
written by Mrs. Carroll, afterwards Mrs. Centlivre —
the Tragic scenes are bad, the Comic ones are good
—Bassino, the Perjured Husband, is in love with

VOL. II. O

194 D. L. 1700.

Aurelia — she is betrothed to Alonzo, but in love with
Bassino, not knowing him to be a married man—
Placentia comes to Venice — Bassino promises to be
constant to her in future ; but drops a letter from
which it appears that he means to marry Aurelia that
night — Placentia, disguised as a man, stabs Aurelia
— Bassino enters at the moment, and kills Placentia

— Alonzo fights with Bassino, and kills him In

the comic part Lady Pizalta falls in love with Ludo-
vico — she sends him a letter by Lucy — they meet-
she unmasks, and he falls in love with her — Pizalto,
tho' an old man, wants to debauch Lucy — she swindles
him out of 1000 pistoles, without granting the favour
he had bargained for — Ludovico comes to Lady
Pizalta's house disguised as Lucy — Pizalto lays hold
of him, supposing him to be Lucy — Ludovico is
discovered — Lucy pretends that she dressed him in
her clothes, with a view of making him meet Pizalto
instead of herself — she threatens Pizalto to discover
all to her mistress — he is forced to acquiesce in the
pretence which she has made.

July 9. Never acted, Courtship a-la-Mode. Sir
John Win more — Powell : Capt. Bellaim Wilks :
Alderman Chollerick = Johnson : Willie (a Scotch
servant) = Bullock : Sir Anthony Addle — Norris :
Dick Addle (his son) = Pinkethman : Ned Chollerick
(nephew to the Alderman) = Toms : Freelove = Mills:
Decoy = Mrs. Powell : Flora and Melintha (daughters
to Sir Anthony) — Mrs. Rogers and Mrs. Moor : Ti-
mandra = Mrs. Temple : Lucy — Mrs. Kent : — this is
an indifferent Comedy — it was written by Crauford
and given by him to Pinkethman — Alderman Chol-
lerick wants to marry Melintha, and means Dick

D. L. 1700. 195

Addle to many his niece Timandra — at the catas-
trophe Sir John Winmore, Capt. Bellair and Ned
Chollerick are married to Timandra, Flora and Me-
lintha — they are assisted by Decoy, who is a mercenary
and rapacious match-maker — Freelove is married to
Lucy, Sir John Winmore's cast mistress.

Richard the 3d was revived as altered by Gibber
—it seems to have been printed without the names
of the performers to the D. P.— this alteration is
neither better nor worse than some other alterations
that have been made from Shakspeare, but as it still
keeps its place on the stage, it requires a more par-
ticular examination.

Gibber begins his play very quietly — like Homer —

" Nan fumum ex fulgore, sed ex fumo dare lucem
" Cogitat."

After some few speeches we are told—

" King Henry and ill fortune are familiar ;

" He ever threw with an indifferent hand,

" But never yet was known to lose his patience."

This allusion to the gaming table was very natural
in Gibber, the utmost that can possibly be said against
it is, that it is an allusion not likely to have come into
Lord Stanley's head, as gaming was not so fashionable
in his time as in Gibber's.

When King Henry enters, he says —

" Would I were dead, if Heaven's good will were

" so."

This line is taken from Henry 6th part 3d.

o 2

196 D. L. 1700.

Next comes such a jumble of metaphors as one
does not often meet with —

" When life's but a short chase, our game content,
" Which most pursued, is most compelled to fly ;
" And he that mounts him on the swiftest hope,
" Shall often run his courser to a stand."

That the King should not know so distinguished a
Nobleman as Lord Stanley is somewhat improbable ;
particularly as his Father had had several appoint-
ments under government, and been Chamberlain to
the King himself — (Dugdale) — nor is it very likely
that a Lieutenant of the Tower appointed by Henry
the 6th should be continued in office by Edward the
4th, and entrusted with the care of a prisoner of so
much consequence Lord Stanley says—

" The English are high-mettled, Sir, and 'tis
" No easy part to sit 'em well — King Edward
" Feels their temper, and 'twill be hard to throw
" him."

Here Gibber seems to compare the English to a
high-mettled horse, but it is not easy to comprehend
what he means— the whole scene is wretched till
Henry's last speech.

When Tressel enters Gibber borrows from Henry
4th, part 2d — what is said about Priam is so ill timed
that it does Shakspeare no credit, and was not worth
transplanting — Dryden observes that no man is at
leisure to make sentences and similes when his soul
is in an agony — Shakspeare says of Hotspur " his
" spirit lent a fire, even to the dullest peasant in his

D. L. ]7oo. 197

" camp"— this is with manifest impropriety applied
to Prince Edward, who was a youth.

King Henry. This Prologue lets me in
To a most fatal Tragedy to come.

This allusion to the stage is out of character.
The description of Prince Edward's death is in
part from Henry 6th part 3d — Shakspeare says —

" Speak like a subject, proud ambitious York!

*********

" Whilst I propose the self-same words to thee."

Gibber says—
" Propose the self-same rebel words to thee."

It is difficult to conceive what Gibber meant by
rebel words — if he meant rebellious words, this would
be in direct opposition to the context — the Prince of
Wales, speaking with his father's mouth, could not
speak rebellious words to the Duke of York.

" The self-same words, rebel, to thee"

would be sense.

What is said about the frosty Caucasus &c. is from
Richard the 2d — while Gibber was borrowing why
did he omit?

" Or cloy the hungry edge of appetite
" By bare imagination of a feast."

Tho' to say the truth all these lines are too fanciful
for a person in Henry's situation — Richard the 2d
says —

198 D. L. 1700.

" By heaven, I'll hate him everlastingly
" That bids me be of comfort any more,"

This Gibber adopts but with his usual rage for
change — Henry's last speech is altered from Richard
the 2d Act 5th.

Hitherto Gibber has not given us any of the ori-
ginal play — in Gloster's Soliloquy, which follows, he
foolishly omits the first 4 lines — the conclusion is in
part from Henry 6th part 3d — it would have been
better if he had inserted 6 lines more.

" Why I can smile and murder while I smile;

" And cry content to that which grieves my heart ;

" And wet my cheeks with artificial tears

" And frame my face to all occasions:

" Can I do this and cannot get a crown?

" Tut ! were it further off, I'll pluck it down."

Instead of which Gibber gives us 4 poor lines of
his own.

The scene between the King and Gloster is taken
from Henry 6th part 3d — with the addition of 3 or
4 insipid lines by Gibber — the Soliloquy is concluded
from one of Gloster's in Richard the 3d — this scene,
which Gibber has adopted, is riot written in Shak-
speare's happiest manner, and is inferiour to the

scenes which Gibber has omitted the 1st Act of

the original play required nothing but curtailment,
and some unimportant alterations, but Gibber has
omitted Clarence's dream and Queen Margaret's
curses, which, as Dr. Warburton observes, are fine
and artful — she prepares the audience, like another
Cassandra, for the following Tragic revolutions.

D. L. 1700. 199

Act 2d begins with an unimportant scene — Lord
Stanley proposes to Tressel to go to Court (where
Tressel, as a friend to Henry 6th could have no
business) and speaks of Gloster's love to Lady Anne,
which he could not possibly know — in Shakspeare
Tressel attends on Lady Anne, but is a mute — Glos-
ter enters —

" 'Twas her excuse to avoid me — Alas !

" She keeps no bed—

" She has health enough to progress far as

" Chertsey,

" Tho* not to bear the sight of me.
" I cannot blame her —

These lines do Gibber credit — the conclusion of
Gloster's speech and what he says about Edward are
from Henry 6th part 3d — then follow some dull
lines by Gibber.

The first 5 lines of Lady Anne's speech are from
Henry 6th part 1st — what is said of Henry 5th is not
at all suitable to Henry 6th — however as her speech
in the Original is in part of it very poor, and as some-
thing was wanted, they may pass — Steevens in a
note says that Gibber was so thoroughly convinced
of the ridiculousness and improbability of this scene,
that he thought himself obliged to make Tressel
say—

" When future chronicles shall speak of this,
" They will be thought romance, not history."

If this play were altered so as to leave out this
scene, the loss would not be great.

" My dukedom to a beggarly denier."

<200 D. L. 1700.

Gibber changes this most absurdly to—
" My dukedom to a widow's chastity."

Persons who lay wagers do not lay a dukedom
against a quality.

In the Soliloquy, Gloster says—

" But first Pll turn yon' fellow in his grave."

Gibber foolishly alters this to St. Harry — he met
with the expression in Caryl's English Princess, or
Death of Richard the 3d,

Gibber has improperly omitted the scene with King
Edward &c. — to this scene there is a note by Stee-
vens, which is particularly worth attention, as it com-
pletely vindicates Milton from a charge which has
been repeatedly brought against him — that of cen-
suring Charles the 1st for reading Shakspeare — it
appears clearly by the extract which Steevens gives
from the Iconoclastes, that Milton does not censure
the King for reading Shakspeare.

The scene in the original after King Edward's
death is but indifferent ; nor has Gibber much im-
proved it by his alterations or additions.

Act 3d — Shakspeare begins this act with—

" Welcome, sweet Prince, to London, to your
" chamber."

On which Pope remarks that London was anciently
called the King's Chamber — this appellation however
was not confined to London, as when this same Prince
Edward came with his father to Coventry in 1474,
St. Edward in a Pageant welcomed him to his cham-
ber— see Hist. Histrionica.

D. L. 1700.

Gibber has altered the beginning of this act very
badly — it required nothing but the omission of some
unimportant lines — the first 20 wanted no alteration.

Then the Prince might have said, as in the Ori-
ginal,

Say, Uncle Gloster, if our Brother come,
Where shall we sojourn till our coronation ?

Glo. Where it seems best unto your royal self.
If I may counsel you, some day, or two,
Your Highness should repose you at the Tower :
Then where you please, and shall be thought

most fit
For your best health and recreation.

Prince. I do not like the Tower of any place —
Did Julius Caesar build that place, my Lord ?

Glo. He did, my gracious Lord, begin that

place ;
Which, since, succeeding ages have re-edify'd.

Prince. That Julius Caesar was a famous man ;
With what his valour did enrich his wit,
His wit set down to make his valour live :
Death makes no conquest of this conqueror,
For now he lives in fame, tho' not in life.

Glo. So wise so young, they say, do ne'er live
long. (Aside)

Prince. I'll tell you what, my Cousin Buck-
ingham.

Buck. What, my gracious Lord ?

Prince. An if I live until I be a man,
I'll win our ancient right in France again,
Or die a Soldier, as I liv'd a King.

Glo. Short Summers mostly have a forward
Spring. (Aside)

202 D. L. moo.

Thus the scene might have proceeded with the
change of one word only — mostly for lightly.

When the Duke of York enters, Gibber has judi-
ciously adopted some few lines from a former scene.

" With what a sharp-provided wit he reasons" &c.

These 4 lines, which belong to Buckingham, Gibber
has improperly divided between Stanley and Tressel,
the latter of whom has no business on the stage at all.
When Gloster directs Buckingham to infer the bas-
tardy of Edward's children, Shakspeare makes Glos-
ter add—

" Nay, for a need, thus far come near my per-

" son :—
" Tell them, when that my mother went with

" child

" Of that insatiate Edward, noble York,
" My princely father, then had wars in France ;
" And, by just computation of the time,
" Found, that the issue was not his begot."

Gibber makes Gloster say—

" Nay, for a need, thus far come near my person ;
" Tell 'em, when my mother went with child

" of me,

" My princely father then had wars in France,
" And by true computation of the time,
" Found, that the issue was not his begot."

Thus these lines are printed in the grand edition of
Gibber's works in 1721 — in the play as printed from
the D. L. Prompt-book by Bell in 1773 these lines
are omitted — some person had the sense to see that

D. L. 1700. 203

Gibber had made Gloster attempt to prove himself a
bastard instead of his brother.

Gloster, according to Gibber, says —

" Catesby, go thou with speed to Doctor Shaw,

" and thence
" To Fryer Beuker "—

the folio edition calls this Friar, Peuker— his name
was properly Pinker or Penker — he was Provincial
of the Augustine Monks arid a popular man — Dr.
Shaw was a famous preacher and brother to the
Lord Mayor — see Rapin for the account of the Ser-
mon he preached at St. Paul's, and the Farce con-
certed between him and the Duke of Gloster, which
the Duke spoilt by not entering at his cue.

Gloster concludes the scene with a Soliloquy of
above 20 lines — this may be considered as the acme
of Gibber's poetry — it would be doing him injustice
not to quote a part of it.

"Conscience! 'tis our coin, we live by parting

" with it ;

t( And he thrives best, that has the most to spare.
" The protesting lover buys hope with it,
" Arid the deluded virgin short liv'd pleasure ;
" Old Greybeards cram their avarice with it.
" Your lank-jawed hungry judge will dine upon't,
" And hang the guiltless, rather than eat his mut-

" ton cold:' &c.

A great deal has in this act been omitted about
Hastings, part of which Rowe has borrowed, and
put into Jane Shore.

The beginning of the next scene, according to

204 D. L. 1700.

Gibber, is stupid enough, notwithstanding the soft
music — when Gloster enters, the dialogue between
him and Lady Anne is Gibber's, and not bad.

Buckingham's account of what had passed at
Guildhall and the scene with the Mayor &c. is not
materially altered.

" When holy and devout religious men

" Are at their beads, 'tis hard to draw them

" thence,
" So sweet is zealous contemplation."

Who but Gibber would have omitted these 3 lines ?
—the act concludes with a contemptible Soliloquy
by Gloster.

Act 4th — the 1st scene of this act in the original
play is bad — it required alteration, but Gibber has
not altered it happily — he attempts to be pathetic,
but is not very successful.

In both the plays Gloster gives orders that no per-
son should be admitted to the Princes — this being
done, Shakspeare with his usual judgment places the
1st scene of this act before the Tower, and the Queen
is refused to see her children — Gibber with his usual
impropriety places the scene in the Tower, and the
Queen seems to have gained admission without any
difficulty — she is even so absurd as to attempt to take
the young Princes away with her, just as if they had
been common children— Gibber's additions to this
scene are poor stuff.

When the King proposes to Buckingham to mur-
der his nephews, all is so well written, that no man
who had a grain of modesty would have made any
alteration — but Gibber makes some changes for the

D. L. 1700. 205

worse — if any one has a doubt of Gibber's stupidity,
let him compare this short part of the scene with the
original — Richard, in Shakspeare, says—

" Ah, Buckingham, now do I play the touch,
" To try if thou be current gold, indeed."

Gibber ruins the Metaphor by changing gold to
friend — but the keeping up of a Metaphor with
propriety, is a thing of which Gibber had not the
most distant notion — not content with this he adds
5 lines of his own, and more contemptible lines have
seldom been written -

" I tell thee, cuz, I've lately had two spiders
" Crawling upon my startled hopes — now tho'
" Thy friendly hand has brush'd 'em from me,
" Yet still they crawl offensive to my eyes ;
" I wou'd have some friend to tread upon 'em."

Gibber, (p. 89 of his Apology) in censuring Lee's
rant about the passing of the Granicus, observes —
" If Le Brun, who was famous for painting the
" battles of Alexander, had seen this lofty description,
" what one image could he have possibly taken from
" it? in what colours would he have shewn us Glory
" perch? d upon a beaver ? how would he have drawn
"Fortune trembling?'9 Sec.— Gibber's criterion is
not a bad one — and if, in one of the editions of his
play, he had favoured us with a frontispiece to re-
present /Spiders crawling on hopes — we should have
been vastly obliged to him.

Tyrrel is improperly omitted, and the remainder
of the scene is badly altered.

In the next scene Shakspeare has given Tyrrel

206 D. L. 1700.

a good soliloquy — this Gibber omits, and gives the
King a poor soliloquy in exchange — in Shakspeare,
Tyrrel says the Chaplain of the Tower had buried
the young princes but he does not know where — in
Gibber, Tyrrel says he thought to ask the King's
pleasure as to the burial — the King answers—

" I have it — I'll have 'em sure — get me a coffin
" Full of holes, let 'ern be both cramm'd into it,
" And hark thee, in the night-tide throw 'em down
" The Thames — once in, they'll find the way to
" the bottom,"

In 1674 some bones were found in the Tower,
which were judged to be those of the two princes,
they were in consequence put into a marble urn, and
buried among the Kings at Westminster Abbey—
(Rapiri) — which would hardly have been done, if the
Thames story had been considered as entitled to any
degree of credit.

The long scene between Richard and the Queen,
in the original, is one of the worst that Shakspeare
ever wrote — Dr. Johnson says part of it is ridiculous,
and the whole improbable — Gibber properly retains
but a small part of it — his own additions are flat
enough — after the Queen's exit, Rat cliff tells the
King that Richmond is off the coast — Shakspeare
says—

K. Rich. Some light-foot friend post to the

Duke of Norfolk —

Ratcliff thyself — or Catesby, where is he ?
Cat. Here, my good Lord.
K. Rich. Catesby, fly to the Duke.

D. L. 1700. 207

Cat. I will, my Lord, with all convenient haste.
K. Rich. Ratcliff, come hither : Post to Salis-
bury ;

When thou com'st thither — dull unmindful villain,

(to Catesby)

Why stay'st thou here, and go'st not to the Duke ?
Cat. First, mighty liege, tell me your highness'

pleasure,

What from your Grace I shall deliver to him.
K. Rich. O, true, good Catesby — bid him levy

straight

The greatest strength and power he can make,
And meet me suddenly at Salisbury.

Cat. I go. (exit}

Rat. What may it please you, shall I do at

Salisbury ?
K. Rich. Why, what would'st thou do there,

before I go ?
Rat. Your highness told me, I should post

before.

K. Rich. My mind is changed — Stanley what
news with you ?

Dr. Johnson observes that Richard's precipitation
and confusion in this scene is very happily represented
by inconsistent orders and sudden variations of opi-
nion Gibber omits nearly the whole of this and

sends Catesby coldly with a message to the Duke of
Norfolk — that Gibber as a writer should be insensible
of the merit of these lines is not surprising, but that
as an Actor he should not see how much these sudden
transitions were in favour of the person who was to
play Richard, is really wonderful.

208 D. L. 1700.

In the following scene with Stanley there was little
need of change, but Gibber omits 5 good lines, and
as usual alters for the worse —when Stanley says that
Richmond means to claim the crown — Richard
replies -

" Is the chair empty ? is the sword unsway'd ?
" Is the king dead ? the empire unpossess'd ?
" What heir of York is there alive, but we ?
" And who is England's king, but great York's

" heir ?
" Then, tell me, what makes he upon the seas ? "

A 3d Messenger enters and says —

My Lord, the army of great Buckingham—
K. Rich. Out on ye, owls ! nothing but songs
of death ? (he strikes him)

There take thou that, till thou bring better news.
3 Mess. The news I had to tell your Majesty

Is &c.

K. Rich. Oh, I cry you mercy :

There is my purse to cure that blow of thine.

This is perfectly natural ; why omit it ?
" Off with his head — So much for Buckingham."

This line is not Shakspeare's, tho* quite worthy of
him — is it possible that Gibber in some happy moment
could produce it out of his own head ? — if not, from
whence did he get it ? — perhaps from some obscure
play with a slight alteration.

Act 5th Scene 1st— " Thrice is he armed" &c.—
these lines are from Henry 6th part 2d.

Scene £d — Norfolk describes the wretched state of

D. L. 1700. 209

the enemy — Richard proposes to give them dinners,
and their horses provender — and then fight them—
these two speeches are taken (with alterations) from
Henry the 5th, and are crammed in here with pecu-
liar impropriety — to imagine Richard capable of
showing the enemy any favour is absurd to the last
degree — nor was he very likely to throw out such a
proposition in jest — besides there is not the smallest
ground for supposing that Richmond's army was in
this condition-^Rapin expressly says that the inha-
bitants of the country furnished Richmond on his
march with all that he wanted — Gibber did not look
into History, for fear of damping his " Muse of fire"
by too great attention to dull matter of fact.

This short scene, as written by Shakspeare, did
not require the alteration of a single syllable.

When Richmond re-enters, Gibber has very pro-
perly consolidated two short scenes — in other respects
they are altered for the worse.

When Richard and his party return to the stage,
the scene, as written by Shakspeare, required only a
very slight alteration — Gibber has altered it very
badly — he again tells us of the distressed state of
Richmond's army — even if the fact had been as he
represents it, there was no occasion for repetition —
according to Gibber, Richard re-enters from his tent
—part of his soliloquy is taken from Henry the 5th
—the reflections of the sober Chorus are not at all
suited to the agitation of mind in which Richard must
be supposed to be— -it concludes with 6 poor lines by
Gibber.

In the original play the Ghosts first address Richard
and then Richmond, as if they were both asleep

VOL. II.

210 D.L. 1700.

within a short distance of each other — in represen-
tation this no doubt was managed by that sort of
double stage which Capel describes — this manifest

absurdity Gibber has of course removed what the

Ghosts say in Shakspeare is not capital, nor has
Gibber much improved it.

Richard's speech when he wakes, as Dr. Johnson
observes, has something in it very trifling and some-
thing very striking — alteration was therefore necessary,
but the less the better Gibber gives it thus —

" Give me a horse — bind up my wounds !

" Have mercy Heav'n ! ha ! soft ! 'twas but a

" dream ;

" But then so terrible it shakes my soul :
" Cold drops of sweat hang on my trembling flesh ;
" My blood grows chilly, and I freeze with horror:
" O Tyrant conscience! how dost thou afflict me?
" When I look back, 'tis terrible retreating ;
" I cannot bear the thought, nor dare repent :
" I am but man ; and Fate, do thou dispose me—
" Who's there ?" Enter Catesby.

It might be altered thus, without changing a sylla-
ble, except the word Jesu —

" Give me another horse— bind up my wounds —
" Have mercy heav'n ! ha! soft I did but dream—
" O coward Conscience, how dost thou afflict me!
" Cold fearful drops stand on my trembling flesh :
" Methought, the souls of all that I had murder'd
" Came to my tent : and every one did threat
" To-morrow's vengeance on the head of Richard.
" My conscience hath a thousand several tongues,
" And every tongue brings in a several tale,

D. L. 1700. 211

" And every tale condemns me for a villain :

" All several sins, all us'd in each degree,

" Throng to the bar, crying all — guilty ! guilty !

" I shall despair — there is no creature loves me ;

" And if I die, no soul will pity me—

" Nay wherefore should they ? "

Enter Ratcliff.

Rat. My Lord

JRic. Who's there ?

Gibber makes Richard say — " Who's there?" —
before Catesby enters — as if he were calling for his
attendant — which is flat — Shakspeare makes Richard
say — " Who's there ? " — in a state of alarm, at Rat-
cliff's entering uncalled for.

Dr. Warburton in a note says — "the players, among
" their other innumerable absurdities in the represen-
" tation of this tragedy r, make Richard say, instead
" of « O coward conscience, O tyrant conscience ! '
" whereby a great blunder is committed : for Richard
" had entirely got the better of his conscience, which
" could, on no account, therefore, be said to play the
" tyrant with him."

After Ratcliff's entrance, not a syllable should have
been altered — Shakspeare makes Richard conclude
the scene with saying —

" Come, go with me

" Under our tents ; I'll play the eaves-dropper,
" To hear, if any mean to shrink from me."

This Gibber omits — he makes Richard say—
" Conscience avaunt, Richard's himself again."

D. L. 1700.

This line seems to be Gibber's — and if so — it does
him credit.

In Shakspeare, Richmond wakes — Oxford &c.
enter — Richmond addresses his troops — his speech
might have been shortened to advantage — but no
other change was wanted.

Henry the 5th says — act 3 scene 1 —

" In peace, there's nothing so becomes a man,
" As modest stillness, and humility :
" But when the blast of war blows in our ears,
" Then imitate the action of the tyger."

Gibber makes Richmond speak these lines — taking
care however to alter the 2d of them without any
good reason — and the 4th, much for the worse-

" Let us be tygers in our fierce deportment."

The word then, which corresponds to when, should
on no account have been omitted.

In Shakspeare, Richard, Ratcliff &e. re-enter — in
this short scene not one syllable should have been
altered, till Norfolk enters, then some curtailment of
the scene would have been proper — Gibber makes
two absurd changes — in Shakspeare, Richard calls
Richmond's followers " a scum of Brittains " — that
is of persons born in Bretagne — Gibber confounds
this distinction, and says " a scum of Britons."

Shakspeare makes Richard say—

" Our ancient word of courage, fair St. George,
" Inspire us with the spleen of fiery dragons
" Upon them ! — Victory sits on our helms."

This Gibber changes to —

D.L. 1700. 213

" And thou, our warlike Champion, thrice re-

" nown'd

" St. George, inspire me with the rage of lions :
11 Upon 'em — Charge — follow me."

The whole legend of St. George is silly enough,
(see C. G. Jan. 21 1778) but the mention of St.
George naturally put Shakspeare in mind of his
dragon, whereas there is no connexion between St.
George and lions.

In the field of battle, Richard has some few lines
given him from Henry the 6th part 2d — when he calls
for a horse — Shakspeare makes Catesby say—

" Withdraw, my Lord, I'll help you to a horse."

Instead of which Gibber gives us three flat lines —
Catesby was not likely to prose at such a time, nor
Richard to suffer him, if he had been so inclined.

The short dialogue between Richard and Richmond
is altered from Henry 6th part 2 — the last 6 lines of
the dying speech are spoken by Northumberland in
the 1st scene of Henry 4th part 2d.

The joy which Gibber makes Richmond express at
hearing the fair Elizabeth is coming to congratulate
him, is absurd to the last degree, as his was a mere
political match, and nothing but his engagements,
which were too strong to be broken through, induced
him reluctantly to marry her.

Caryl's play differs so widely from Shakspeare's
that Gibber could make but very little use of it, from
thence however he has borrowed that beauty which
he repeatedly bestows on Elizabeth, and of which,
history and Shakspeare know but little — Caryl says —

D. L. 1700.

" In this day's booty they the crown have found,
" Behold the noblest spoil of Bos worth Field."

Gibber—

" Among the glorious spoils of Bosworth field
" We've found the Crown."

Caryl makes Richmond say to Richard -

" How great thy fame had been, hadst thou been
" good."

This is well expressed — but it seems to have been
a maxim with Cibber that to dilate a thought was
to improve it—

" Had thy aspiring soul but stirr'd in virtue,
" With half the spirit it has dar'd in evil,
" How might thy fame have grac'd our English
" Annals!"

Downes mentions Richard the 3d as one of Bet-
terton's best characters — the English Princess might
probably continue on the acting list while rhyming
tragedies were in fashion, but it does not appear
that Shakspeare's play, or any alteration of it, had
been acted between 1660 and 1700.

Cibber to crown all, acted Richard himself — his
action in Tragedy is said in general to have been
bad — and as it is well known that his voice was a
weak one, we need no Ghost come from the grave to
tell us that he was unfit for Richard— he says himself
that Sandford was peculiarly qualified to have played
the part, and that he acted it in Sandford's manner,

D. L. 1700. .

and was complimented by Vanburgh on the strictness
of the imitation.

Dr. Johnson with his usual judgment observes —
" this is one of the most celebrated of Shakspeare's
" performances ; yet I know not whether it has not
" happened to him as to others, to be praised most,
" when praise is not most deserved — that this play
"has scenes noble in themselves and very well con-
" trived to strike in exhibition cannot be denied —
" but some parts are trifling, others shocking, and
" some improbable."

Generally speaking, the only mode of altering
Shakspeare's plays with propriety is, to omit the
weak parts —to transpose, where transposition may
be made to advantage — and to add some few lines
when necessary — in this play something more was
requisite — and if Gibber had contented himself with
modestly altering those scenes, which are least worthy
of the author and yet essential to the plot, he would
have made him " a dish fit for the Gods, and not
" have hewed him as a carcase fit for hounds."

Whoever attempts to adapt an old play to the
stage, more especially one of Shakspeare's, should
lay it down as a rule, to make no alteration, but what
is necessary or at least expedient — whereas Gibber
changes out of mere wantonness — the alterations
which he makes, without rhyme or reason, are more
than any body would believe, who had not compared
the two plays —to enumerate them would be tiresome.

One has no wish to disturb Gibber's own Trage-
dies in their tranquil graves, but while our indigna-
tion continues to be excited by the frequent represen-
tation of Richard the 3d in so disgraceful a state,

216 D. L. 1700.

there can be no peace between the friends of unso-
phisticated Shakspeare and Gibber.

The Editor of Bell's Shakspeare observes, that this
Tragedy is admirably altered by that excellent judge
and ornament of the stage, Colley Gibber—

.Qf a,i£i rov opqtov ayei &g0f ug TOV OJAOIGV.

Homer.

In the tent scene this able Commentator says that
Gibber has brought the Ghosts on the stage but
once, tho' Shakspeare had introduced them twice
—it would have been as well if he had taken the
trouble just to have looked into the original play,
and seen if the fact were as he stated it, or not.

It would not be difficult to make a much better
alteration of this play than Gibber has made — what
he has done well, or even decently, might be left as
it is — the passages from the 3 parts of Henry the 6th
might be retained, if that should be judged expe-
dient— but the speeches from Henry 4th and Henry
5th should be sent back to their proper places—
except perhaps the dying speech, which Gibber has
adopted with infinitely more judgment than any
thing else that he has borrowed — Richard the 3d
itself has plenty of materials for 5 acts.

The Public has been so long used to Gibber's play,
that such an alteration would probably be as coolly
received as Colman's Lear — however it would be
worth while to try the experiment.*

To the advocates for Gibber's Richard I only wish

* The experiment was made at C. G. March 12. 1821.

D. L. 1700. 217

to make one request — that they would never say a
syllable in favour of Shakspeare.

Malone observes that proportionate to our respect
and veneration for Shakspeare ought to be our care
of his fame and of those valuable writings he has
left us ; and our solicitude to preserve them pure and
unpolluted by any modern sophistication, or foreign
admixture whatsoever.

Davies exposes himself to the last degree of con-
tempt from the real friends of Shakspeare, when (in
page 3d of the 1st Vol. of his Dramatic Miscellanies)
he says, Gibber in his Richard the 3d has very dex-
terously made up a very pleasing pasticcio from a
diligent perusal of all Shakspeare's historical plays,
scarcely making use of a line or thought which was
his own.

Even Murphy (in his life of Garrick p. 21) says,
that the new matter introduced by Gibber was, with
great judgment, selected from Shakspeare himself.
Fielding, who with so much wit and judgment
exposed Gibber's presumption with regard to King
John, seems to have said nothing against his Richard
the 3d.

Dr. Valpy, in the[ advertisement prefixed to his
alteration of King John, says — " Gibber succeeded
" in his alteration of Richard the 3d, because he
" collected a Cento of Shakspeare's expressions and
" speeches."

Garrick concludes the Prologue to the Desart
Island with a line which he had often spoken as
Richard—

" A little flattery sometimes does well."

218 D. L. 1700.

It is strongly to be suspected that he thought he
was quoting Shakspeare. *

As Porsori says on a different occasion, if the per-
sons who have only read Gibber's Richard the 3d
were divided into companies of ten, and if every one
who had read the original play were to wait upon a
company, many decads would go without a cupbearer.

The author of the Laureat says — " the play of
" Richard the 3d was altered from Shakspeare; that
" is, it was vamped up by a modern poetical botcher ',
" who, besides mangling and leaving out many beau-
" tiful and just images in the original, had pillaged
" his other plays to enrich this one — when it came to
" be acted, this mender of Shakspeare chose the
" part of Richard for himself, and screamed through
" 4 acts without dignity or decency : the audience,
" ill-pleased with the Farce, accompanied him with
" a smile of contempt ; but in the 5th act, he dege-
" nerated all at once into Sir Novelty ; and when in
" the heat of the battle at Bosworth Field, the King
" is dismounted, our Comic- Tragedian came on the
" stage, really breathless, and in a seeming panick,
" screaming out this line thus — A tfarse, a ffarse,
" my kingdom for a Harse — this highly delighted
" some and disgusted others of his auditors ; and
" when he was killed by Richmond, one might plainly
"perceive that the good people were not better
" pleased that so execrable a tyrant was destroyed,

* A similar mistake occurs in a " Cure for Romance " 1819 —
" Does not our Shakspeare say, Fathers have flinty hearts " — cer-
tainly not ; this half line was added to Romeo and Juliet by Gar-
rick.

I, i. F. 1700. 219

" than that so execrable an actor was silent — as to
" Vanburgh's flattering our Apologist in the character
" of Richard, he might please him for ought I know;
" and he might have a very bad taste; for certainly
" the general taste was against him."

In an advertisement at the end of the Generous
Choice 1700 it is said—" this day is published the
"last new Tragedy called Richard the 3d, written
« by Mr. Cibber."

L. I. F. 1700.

At the latter end of the last year, or the beginning
of this, Betterton, who had before revived Henry 8th,
revived Henry 4th — the Wits of all qualities (says a
Contemporary) have lately entertained themselves
with a revived humour of Sir John Falstaff in Henry
4th, which has drawn all the town more than any new
play that has been produced of late, which shows that
Shakspeare's wit will always last : and the Critics
allow that Betterton has hit the humour of Falstaff
better than any that have aimed at it before. (Ma-
lone.)

Henry 4th part 1st was printed in 1700 — in the
titlepage it is said to have been revived with altera-
tions— Falstaff = Betterton : Hotspur = Verbruggen :
King — Berry: Prince of Wales = Scudam ore: Prince

220 L. i. F. 1700.

John = Baily : Northumberland — Boinan : Worcester
=2 Freeman : Westmoreland = Pack : Owen Glen-
dower = Hodgson : Douglas =. Arnold : Sir Walter
Blunt = Trout : Sir Richard Vernon = Harris : Bar-
dolph ir Bright : Francis = Bowen : Katherine Percy
n:Mrs. Boman : Hostess = Mrs. Leigh : — Lady Mor-
timer is omitted — to Poins, Mortimer &c. there are
no names — the alteration of this play is attributed to
Betterton — it does him credit as he has only made
some judicious omissions — the speeches in the 2d act
between the Prince and Falstaff, when each of them
speaks as the King, are very properly retained — as
also the character of Glendower, with great part of
the scene at the beginning of the 3d act — no good
reason can be assigned why the scene between the
Prince and Fal staff should be curtailed, and the other
scene totally omitted, on the modern stage.

The great success, with which Betterton had re-
vived the 1st part of Henry the 4th, induced him to
revive the 2d part — it was not however printed till
after his death — but it is pretty clear that it was
revived not long after the 1st part, and that Better-
ton acted Falstaff— see D. L. Dec. 17 1720 Bet-
terton acted Falstaff in the Merry Wives at Court in
March 1704, arid at L. I. F. for his benefit on May 16.

" When Falstaff stands detected in a lie," Shak-
speare makes him only say — " By the Lord, I knew
" ye as well as he that made ye" — on the stage Fal-
staff has for many years past begun his speech with—
"Do ye think I did not know you ?" — it does not
appear who was the author of this happy addition—
the words are not in Betterton 's alteration.

Measure for Measure as altered from Shakspeare,

L. I. F. 1700.

was next revived — Malone supposes in Feb. 1699-
1700 — Shakspeare has borrowed the plot and con-
duct of his play in a great degree from the old play
of Promos and Cassandra in 2 parts — but with this
material difference, that Cassandra (Isabella) sacri-
fices her virtue to save her Brother — Promos breaks
his promise and orders Andrugio (Claudio) to be
killed — he is saved by the kindness of the Jailer-
Cassandra appeals to the King for justice, who sen-
tences Promos (Angelo) first to marry Cassandra
and then to be executed — Andrugio shows himself
alive, and Promos is pardoned at Cassandra's request.
Measure for Measure, or Beauty the best Advo-
cate. Angelo = Betterton : Claudio = Verbruggen :
Duke of Savoy = Arnold : Escalus = Berry : Provost
= Freeman : Balthazar — Pack : Friar Thomas —
*** : Isabella = Mrs. Bracegirdle: Julietta = Mrs.
Bowman: Mariana = Mrs. Prince: — scene Turin —
this alteration is attributed to Gildon — in order to
make Shakspeare more palatable he has introduced
4 musical entertainments — as each of these has a
dance, they must in representation have occupied a
very large portion of the play — all the comic charac-
ters are omitted— Claudio is represented as privately
married to Julietta, and Angelo to Mariana— the
Duke is reduced to a part of no great importance

Davenant soon after the Restoration altered

Measure for Measure to the Law against Lovers—
from Davenant Gildon has borrowed whatever suited
him, but without any acknowledgment.

Act 1st — the whole of the original first act is
omitted, except the scene between the Duke and
Friar, part of which is transposed — Balthazar is

L. i. F. 1700.

informed by a friend of Angelo's severity— Angelo
and Escalus then enter ; and soon after follows the
first scene between Isabella and Angelo — Escalus en-
courages Isabella instead of Lucio — at the close of
it Isabella asks when she shall come again — Angelo
answers as soon as the Opera is aver — the act finishes
with the 1st entertainment.

Act 2d begins with the 2d scene between Angelo
and Isabella — she refuses his proposal — and he says—

"Consider on it, and at ten this evening

" If you'll comply, you'll meet me at the Opera."

The 2d musical entertainment comes next — then
the scene changes to the prison — the Duke and Friar
enter — the Duke explains his motives for having made
Angelo his deputy — he has then an interview with
Claudio, and afterwards with Julietta — these two
scenes are by Gildon.

Act 3d. the Duke, Friar and Claudio enter— and
then Isabella — this scene is from Shakspeare with
alterations — that between Claudio and Isabella is
enlarged, partly from Davenant — the scene between
the Duke and Isabella is altered — the 3d entertain-
ment is next performed — at the close of it Isabella
enters.

Act 4th begins with a 3d scene betwen Angelo and
Isabella — the first part of it is from Davenant, the
conclusion is by Gildon — Angelo gives Isabella a
casket of jewels, and she promises to meet him at the
royal grotto — in the next scene the Duke and Isabella
settle their plan with Mariana— then comes the prison
scene — the Provost receives Angelo's letter — he is
prevailed on to let Claudio and Julietta have a fare-

L. i. F. 1700.

well-meeting — Isabella enters to the Duke nearly as
in the original.

Act 5th. Angelo and Escalus enter, and then the
Duke — this act is sadly mutilated — the Duke does
not re-enter as a Friar — Isabella tells the Duke An-
gelo had promised her marriage —here Gildon is
guilty of an inexcusable blunder — in Davenant's
alteration Angelo offers to marry Isabella ; but in
Gildon's he does not give the most distant hint of
marriage if Gildon was aware of the contradic-
tion and meant Isabella to assert a falsehood, he is
equally to blame — the Duke in his last speech desires
Angelo (as in Shakspeare) to forgive the Provost for
having showed him the head of Ragozirie for Claudio's
—here we have another instance of the manner in
which Shakspeare has been improved — the scene
between the Provost and the Duke in the original 4th
act, where Ragozine is mentioned, had been omitted
— and according to Gildon, it is not clear that the
Provost had sent Angelo any head at all — the play
concludes with the 4th entertainment — on the whole
this is a very bad alteration — a good deal however of
the original play is retained.

Generous Choice. It appears from the Prologue
that this C. came out in Lent — it is an indifferent
play by Manning — from the Motto it seems not to
have been successful — there are no performers' names
to the D. P. — Don Philip had been contracted to
Donna Cornelia — and had also seduced Donna Olivia
under a promise of marriage — the Ladies, who are
both in love with him, follow him to Valencia, dis-
guised as men— their brothers call Don Philip to an
account for his conduct — he fights with them, and

224 L. i. F. 1700.

disarms them — at the conclusion, Don Philip marries
Olivia, and Don Frederick marries Cornelia—
Eleanora, who is a woman of intrigue, and an im-
portant character, goes into a nunnery —two Servants
of the name of Anthony are introduced — they prove
to be twin brothers, and are so like as not to be dis-
tinguished the one from the other — this produces
some confusion, but no particularly comic effect—
Manning may have borrowed these characters from
the Comedy of Errors, but it seems more probable
that he has borrowed them from the Two Harlequins,
an Italian piece which was brought out at Paris in
1691, and which was acted in French at L. I. F. in
1718.

Way of the World. Mirabell = Verbruggen :
Fainall = Betterton : Witwoud - Bowen : Sir Wilfull
Witwoud — Underbill : Petulant = Bowman : Wait-
well = Bright : Mrs. Millamant — Mrs. Bracegirdle :
Mrs. Mar wood = Mrs. Barry : Lady Wishfort — Mrs.
Leigh : Mrs. Fainall = Mrs. Bowman : Foible = Mrs.
Willis : — Dryden, in a letter dated March 12th, speaks
of this play as lately brought out — tho' Congreve was
at this time at the height of his reputation, yet this
admirable Comedy was coolly received — at which he
was so highly offended and disgusted, that he resolved
to commit his quiet and his fame no more to the
caprices of an audience.

Dr. Johnson says — " whatever objections may be
" made either to Congreve's comic or tragic excel-
" lence, they are all at once lost in the blaze of ad-
" miration, when it is remembered, that he had pro-
" duced his first four plays, before he had passed his
" 25th (27th) year — T>efore other men, even such as

L. i. F. 1700. 225

" are sometime to shine in eminence, have passed
" their probation of literature; or presume to hope
" for any other notice, than such as is bestowed on
" industry and inquiry — among all the efforts of early
" genius, which literary history records, I doubt
" whether any one can be produced, that more sur-
" passes the common limits of nature, than the plays

" of Congreve but he treated the Muses with in-

" gratitude, for having long conversed familiarly with
" the great, he wished to be considered rather as a
" man of fashion than a wit — and when he received
" a visit from Voltaire, disgusted him by the despi-
" cable foppery of desiring to be considered not as
" an Author, but as a Gentleman — to which the
" Frenchman replied, that * if he had been only a
" Gentleman, he should not have come to visit him."

Shakspeare excepted, Congreve is certainly our
best Comic writer — and the highest compliment ever
paid to Sheridan was, when he was called the Modern
Congreve.

Fate of Capua — Persons in the Carthaginian inte-
rest— Virginius = Betterton : Pacuvius = Hodgson :
Marius Bios i us — Berry : Vibius Viri us = Bayly :— -
Persons in the Roman interest — Junius = Verbrug-
gen: Perolla (son to Pacuvius) = Scudainore : Decius
Magius^Boman : Favonia (daughter to Pacu-
vius) =: Mrs. Barry : — it appears from one of Dry-
den's letters that this play came out about April —it
begins not long after the battle of Cannae — the Ca-
puaris, after a struggle between the two factions, call
in Hannibal —Perolla proposes to assassinate Han-
nibal, but is dissuaded by his father — see Livy book
23 — in the 5th act, the Romans are on the point of

VOL. II. Q

226 L. I. F. 1700.

taking Capua- see Livy book 26 — Pacuvius invites
some of the Senators to supper — each of them drinks
a bowl of poison — this play is chiefly historical — but
Southerne has interwoven with the political events
some very interesting domestic scenes — Virginius
had introduced his friend Junius to his wife Favonia
— Junius had fallen in love with her, but that he
might not injure Virginius, he had absented him-
self from Capua for several years, arid was supposed
to have been killed at Cannae — he had however
recovered of his wounds, and is one of the Roman
Knights whom Hannibal puts into the hands of the
Capuans — Favonia likewise had been secretly in love
with Junius — Virginius renews his friendship with
Junius, and brings him to his house — in the 3d act,
Junius finds Favonia asleep on a couch — he kisses
her hand, and retires — Virginius enters so as to see
that a man had just left his wife, but not so as to see
who the person was — Virginius and Pacuvius con-
demn Favonia to death — in the 5th act, she drinks
the poison which Virginius had given her — as she is
dying, Virginius and Junius enter— they fight, and are
both mortally wounded — Junius, before he dies, con-
vinces Virginius of Favonia's innocence — in the last
scene, Decius Magius, having interceded with the
Romans in favour of his countrymen, but without
success, poisons himself with the other Senators —
this is quite contrary to history, but no more than
a fair poetical licence — Magius in fact was sent by
Hannibal to Carthage as a prisoner — a tempest car-
ried the ship to Cyrense — Magius made his escape,
and put himself under the protection of Ptolemy —
Vibius Virius and 27 Senators poisoned themselves —

L. I. F. 1700.

Pacuvius is not mentioned by name — this is a good
T. — but it was not successful at first — and it does
not seem to have been ever revived — Downes says it
was well acted, but did not answer the Company's
expectation.

Ambitious Step-Mother. Memnon (formerly Ge-
neral) = Betterton : Artaxerxes = Verbruggen : Ar-
taban (in love with Cleone) =. Booth : Mirza (first
Minister of state) = Freeman : Magas (Priest of the
Sun) = Bowman : Cleanthes =. Pack : Orchanes =
Baily : Artemisa = Mrs. Barry: Amestris — Mrs.
Bracegirdle : Cleone (daughter to Mirza) = Mrs.
Bowman : — the Ambitious Step-mother is Artemisa
— she had formerly been wife to a Persian nobleman,
but had afterwards married the King — Memnon had
been banished — Artaxerxes, the King's son by a
former wife, had been disgraced, and had accompa-
nied Memnon in his banishment — he is in love with
Amestris, Memnon's daughter — at the opening of
the play, the King is said to be in a dying state —
Artaxerxes and Memnon return — Artaxerxes wishes
to see his father — the Queen will not allow him to
do so — in the 3d act Artaxerxes and Amestris are
married — the grand festival of the Sun is celebrated
— at the conclusion of it, Artaxerxes, Memnon and
Amestris are taken prisoners by the Queen's party
— Artaban, the King's younger son by Artemisa, had
publickly avowed his intention to dispute the throne
with Artaxerxes, but he strongly reprobates his
mother's violation of religion and publick faith—
Cleone is in love with Artaxerxes -he and Memnon
are separated from Amestris, arid confined in the
temple of the Sun — Cleone enters to them disguised

Q 2

228 L. i. F. 1700.

as a boy, and offers to assist them in making their
escape — they suspect her of treachery — she kills her-
self—declares who she is, and gives them a key—

— Mirza attempts to ravish Amestris — in the struggle,
she draws his own poniard, and stabs him — he after-
wards stabs her with the assistance of Orcharies—
Artaxerxes and Memnon kill themselves — Artaban
assumes the regal power — he spares his mother — but
excludes her from any share in the government — this
T. is said to have been printed in 1700 — (B. D.)^-it
was well acted and answered the company's expecta-
tion— (Dowries) — it is a good play, but Rowe is
guilty of a great breach of decorum in making his
Persians as well acquainted with the Grecian Mytho-
logy, as if they had been born in the middle of Athens

—he falls into the same absurdity in some other of
his plays — this fault indeed is so common in Trage-
dies, that it would be tiresome to notice every instance
of it, and it is the more inexcusable as it requires
nothing more than common sense to avoid it.

Booth was at this time about 20 — he first went on
the stage at Dublin (see Irish Stage) — returned to
England in 1700 or 1701 — got acquainted with Bow-
man and was consequently introduced to Betterton —
Rowe, who was at Westminster with Booth, gave him
the part of Artaban — his first appearance at this
theatre was in Maximus in Valentinian — he was
received with great applause, and Betterton con-
ceived a high opinion of him Verbruggen acted

Valentinian. ( Theo. Cibber.)

D. L. 1701. 229

D. L. 1701.

Love makes a Man, or the Fop's Fortune. Oodio
= Gibber : Don Lewis = Penkethman : Carlos =
Wilks : Sancbo = Norris : Antonio = Bullock : Cha-
rino = Cross : Don Duart = Mills : Governor of Lis-
bon = Simpson : Don Manuel = Toms : Angelina =
Mrs. Temple : Louisa =. Mrs. Verbruggeri : Elvira =
Mrs, Knight: Honoria = Mrs. Moor: — this C. is
taken from two of Beaumont and Fletcher's plays—
the Custom of the Country and the Elder Brother.

The Custom of the Country was printed in 1647
— it was revived at T. R. in Jan. 1667 — Dryden, in
the preface to his Fables, says — " there is more in-
" decency in the Custom of the Country than in all
" our plays together, yet this has been often acted
" on the stage in my remembrance : are the times
" so much more reformed now, than they were 25

"years ago?" this play is very indecent, but

what Dryden says is an exaggeration — the Custom
which gives the name to this Comedy — namely, that
the lord or master should have the first night's lodg-
ing with every woman married to his tenant or
bondman, is said by Bayle to have prevailed at one
time in Italy, till it was properly suppressed by some
Cardinal — Blackstone, in his Commentaries on the
laws of England, is of opinion that it never pre-
vailed in England, but he supposes that it certainly
did in Scotland — (Theobald and note by R.) — this
custom furnishes a good scene in the Country Lasses,
and is alluded to in the Follies of a Day.

230 D. L. 1701.

Arnoldo and Rutilio are brothers — the former is 011
the point of marriage with Zenocia — to free themselves
from the Custom of the Country they leave Italy —
on their voyage, Zenocia is taken prisoner by a
sea captain called Leopold — she is carried into Lis-
bon, and given as a present to Hippolyta, with whom
Leopold is in love — Arnoldo and Rutilio had defended
themselves with great valour, and at last make their
escape by leaping into the sea — they get safe to land,
but are in great distress — Arnoldo is carried by a ser-
vant to the house of Hippolyta, who makes love to him
—he rejects her addresses — an interview takes place
between him and Zenocia — Hippolyta overhears their
conversation, and is going to strangle Zenocia — the
Governor of Lisbon enters, and sets Zenocia at
liberty — in the mean time Rutilio fights with Duarte,
the Governor's nephew, and apparently kills him—
he takes refuge in the house of Guiomar, Duarte's
mother — she promises him her protection — the body
of Duarte is brought in — but she keeps her word,
and sends Rutilio off in safety — he next gets into a
scrape with the officers of the police — he is freed
from their clutches by Sulpitia, who keeps a house
for the accommodation of ladies of fortune — he is at
first much delighted with the employment assigned
to him by Sulpitia, but in the next act he enters
quite worn out — three of his predecessors in office
come on, and a short scene ensues, which in repre-
sentation must have produced a ludicrous effect —
Duarte, who had recovered from his wounds, enables
Rutilio to quit the service of Sulpitia — Rutilio makes
Guiomar a visit supposing her to be in love with him
— she gives him up to justice — Duarte discovers him-

D.L. 1701. -231

self to be alive — Guiomar marries Rutilio — Hippo-
lyta gives her hand to Leopold — Arnoldo and Zenocia
are re-united — Langbaine says that this was accounted
an excellent play — Rutilio is a capital character, but
Gibber was under an indispensable necessity of omit-
ting the best parts of it.

The Elder Brother was printed in 1637 — after the
Restoration it was revived by the King's Company—
Langbaine says it had been acted with good applause
—Brisac, a French Gentleman, has two sons —
Charles the elder is a scholar, Eustace the younger
is a courtier — a lord called Lewis wishes to have
his daughter Angellina married to one of Brisac's
sons — Charles is not inclined to marry — Lewis con-
sents to give his daughter to Eustace, provided that
Charles will resign his birthright — Brisac undertakes
that he shall do so — Miramont, the brother of Brisac,
a humourous gentleman, is entirely attached to
Charles — he and Andrew the servant of Charles en-
deavour to persuade him to marry — Charles on see-
ing Angellina, falls in love with her, and carries her
off to his uncle's — at the conclusion they are united
— this is a good play, but the last two acts are rather
deficient in incident.

Cibber has jumbled Fletcher's two plays together
in a strange manner — he makes the scene in his last
three acts lie at Lisbon, as it does in the Custom of
the Country —but with this material difference —
Arnoldo and Zenocia have the strongest reason for
quitting their country, whereas the scholar and the
lady, in Love makes a Man, might have stayed quietly
at home, as they do in the Elder Brother — the cha-
racters of Antonio, Charino, Sancho, Don Manuel

I

D. L. 1701.

and Louisa, do riot differ materially from Brisac,
Lewis, Andrew, Leopold and Hippolyta— Clodio is as
superiour to Eustace as he is inferiour to Rutilio —
Don Lewis is perhaps a better character than Mira-
mont — Elvira is very judiciously changed into the
sister instead of the mother of Don Duart — in other
respects Gibber's alteration is much for the worse ;
and generally speaking whatever is good in Love
makes a Man is to be attributed to Fletcher, and
whatever is flat to Gibber — Gibber's language is
miserably inferiour to the original — one little addition
does him credit — when Carlos has seen Angelina he
calls for an Ovid.

Humour of the Age. Railton — Wilks : Justice
Goose = Johnson : Quibble = Bullock : Pun = Pen-
kethman : Freeman = Toms : Wilson — Mills : Tre-
milia = Mrs. Rogers : Lucia = Mrs. Verbruggen :
Miranda = Mrs. Oldfield : Pfert = Mrs. Moor: — this
C. is attributed to Baker — it consists of 5 acts of
sensible, but dull dialogue, with scarcely any plot or
incident — Freeman marries Tremilia, supposing her
to be a Quaker, and to have no fortune — she turns
out to be no Quaker, and to have a good fortune —
Wilson and Justice Goose marry Lucia and Miranda
— Miranda had been formerly kept by Railton.

Virgin Prophetess, or the Fate of Troy. Grecians
—King Menelaus = Mills : Ulysses = Captain Griffin :
Neoptolemus = Sympson : — Trojans — Paris = Wilks :
Ast^anax (a youth) = Carnaby : Acestes (servant to
Cassandra) = Toms : Cassandra (the Virgin Pro-
phetess) = Mrs. Rogers : Queen Helen = Mrs. Old-
field : — this is a serious Opera, and in every respect
a wretched piece ; but if the scenes were executed

I

D. L. 1701. 233

according to the description, it must have been a fine
Spectacle — in the 1st act six white Elephants are
introduced at Troy — an absurdity hardly excusable
even in an Opera — Settle's language is bad, and his
deviations from the real story are disgusting — at the
close of the 2d act, Diana descends in a chariot, and
tells Cassandra, that if a royal virgin shall offer her-
self to the Grecian swords, and be killed, then the
doom of Troy shall be reversed — Cassandra goes to
the Grecian Camp in the hope of being killed — Me-
nelaus sends her back in safety — in order to make
Cassandra a part of more importance, she is repre-
sented as bringing up Astmnax — and no mention is
made of Andromache — Cassandra has a statue of
Diana which, for ornament or decency, is dressed in
a robe — Cassandra is in the habit of kissing this
robe before she pays her orisons to the deity — Acestes
poisons the said robe, with a view of poisoning Cas-
sandra— Ast^'anax kisses the robe — goes mad and dies
— in the last act, Troy is taken and set on fire —
Merielaus fights with Paris and kills him — Helen leaps
into the flames from the top of a tower — the fate of
Cassandra is left in an uncertainty — the manner of
Helen's death is perhaps taken from the Supplicants
of Euripides, in which a similar incident occurs—
Sojhocles speaks of Paris as killed by Philoctetes —
others say he was killed by Pyrrhus.

Sir Harry Wildair being the Sequel of the Trip
to the Jubilee — (published in May) — Sir Harry Wil-
dair = Tilks : Col. Standard^ Mills : Fireball (a Sea
Captain, •=. Johnson : Mons. Marquis (a sharping Re-
fugee) — Cibber : Clincher (the Jubilee Beau turned
Politician)— Pinkethman : Dicky (servant to Wildair)

234 D. L. 1701.

— Norris : Lord Bellamy = Simpson : Lady Lurewell
= Mrs. Verbruggen : Angelica = Mrs. Rogers : Parley
= Mrs. Lucas : — Sir Harry Wildair had gone abroad
and left his wife — she had caused a report of hex-
death to be raised — she appears in the play disguised
as Beau Banter — Dicky assists her in her plan — Sir
Harry, on his return to England, renews his acquaint-
ance with Lady Lurewell — they are becoming very
intimate, but are interrupted by Beau Banter — in
the 4th act, Lady Lurewell expects Clincher — he is
brought to her apartment dead drunk — Col. Standard
reproaches her for preferring such a man to himself
—she is affected with the justice of nis reproach — in
the 5th act, she sees Angelica dressed in a shroud,
and takes her for a Ghost — Sir Harry on seeing the
Ghost runs and embraces her — the great success of
the Constant Couple induced Farquhar to write a
Sequel to it — this is a tolerable C., but like most
second parts very inferiour to the first — it was re-
vived at L. I. F. Feb. 1. 1737-

Unhappy Penitent. Duke of Lorrain =. Wilks :
Charles the 8th King of France (betrothed to Mar-
garite of Flanders, but in love with Ann of Brittanie)
=: Mills: Archduke of Austria = Williams: Duke of
Brittanie =. Capt. Griffin : Margarite of Flanders -
Mrs. Rogers : Ann of Brittanie — Mrs. OldfieM :
Madame de Bourbon = Mrs. Powell : — this is ar in-
different T. by Mrs. Trotter — the whole business of
it is love — Margarite's conduct is not very natural—
at the end of the 3d Act she is privately married to
Lorrain — a letter is forged as from the Kiri£ to her,
in which he intimates that they have been on terms
of the greatest familiarity -she is persuaded not to

D. L. 1701. 235

vindicate herself from this unjust aspersion, for fear
the King should put Lorrain to death — she then
solemnly vows to dedicate her whole life to heaven,
if her innocence should be cleared up — the forgery
is discovered — she repents of her vow, but keeps it
— Lorrain and Margarite are greatly distressed at
being separated — but no one is killed, and the play
can hardly be called a Tragedy — the King marries
Ann of Brittanie.

Mrs. Oldfield in the Prologue says —

" But now the peaceful tattle of the town,
" Is how to join both houses into one,"

The Bath, or the Western Lass. Sir Carolus
Codshead = Johnson : Crab (a sharp-witted country
fellow) = Gibber : Lord Lovechace — Griffin : Col.
Oldgame = Mills : Charles Codshead — Penkethman :
Harry Codshead — Bullock : Sir Oliver Oldgame =
Norris : Lydia (a Viscountess — wife to Sir Oliver)
= Mrs. Knight : Gillian Homebred (the Western
Lass) •=. Mrs. Verbruggen : Sophronia (daughter to
Sir Oliver) = Mrs. Rogers : Delia (wife to Sir Caro-
lus) = Mrs. Kent: — to Transport and Sir Sackfull
Simile there are no performers' names — Hairbrain
and Mrs. Du Grand are even omitted in the D. P.—

yet these parts are all of some little importance

Sophronia is in love with Transport, but prevailed
on by her friends to marry Lord Lovechase — Lydia
approves of this, in order to conceal her own intrigue
with his Lordship — Transport has an appointment to
come to Sophronia's room, which he is to know by
finding a Japan stand at the door — the stand has
been moved j and he goes into Lydia's chamber — this

236 D. L. 1701.

is the main incident in the piece — Crab marries the
Western Lass — he passes himself on her as a Cap-
tain in the Militia — the first scene is said to lie in the
King's Bath — that is, in a room adjoining to the
Bath — the Serjeant of the Bath complains of Hair-
brain — the Colonel replies — " His bathing naked is
" very nauseous, 'tis true, but then he has your
" Guides for his example" — this is a tolerable C.
by D'Urfey.

The famous Joe Haines died this year — he is said
to have been a person of great facetiousness and
readiness of wit, which together with his inimitable
performances on the stage as a Comedian, introduced
him not only to the acquaintance, but the familiarity
of persons of the first rank — (JS. D.) — his forte seems
to have been in speaking Prologues and Epilogues,
particularly those written by himself.

Joe persuaded a Clergyman that the Players were
a set of people that wished to be reformed — that he
would get him appointed as Chaplain to the theatre
with a handsome salary — and that he would have
nothing to do, but to summon the company to prayers
every morning by ringing a bell — he was accordingly
introduced by Haines with a bell in his hand behind
the scenes — this he frequently rang, crying outsat the
same time — "Players — Players— come to prayers"
— while Joe and some other of the actors were en-
joying the fun, Hart came in, and finding out the
imposition was very angry with Haines — this was
certainly well meant — but if a man could be such a
flat as to be taken in by Haines in this way, he almost
deserved what he met with — in consequence of this

D. L. 1701. 237

or of some other quarrel with Hart, Haines went to
the other theatre as has been already mentioned.

Quin told the following story of him — in James
the 2d's time when Popery was a sure road to pre-
ferment, he among others professed himself a con-
vert and declared that the Virgin had appeared to
him — Lord Sunderland sent for Haines, and asked
him about the truth of his conversion and whether
he had really seen the Virgin ? — " Yes my Lord I
"assure you it is a fact" — " How was it pray?"
" Why as I was lying in my bed, the Virgin appeared
"to me and said — Arise Joe" — "You lie, you
" rogue," said the Earl, "if it had really been the
" Virgin herself, she would have said Joseph, if it
" had only been out of respect to her husband."
(Dames.)

Haines, upon his admission into the house after his
return from the Church of Rome, acted Bayes and
spoke his Recantation -prologue in a white sheet,
with a burning taper in his hand — the Prologue is
printed in Tom Brown's works — vol. 4 p. 213.

Anthony Aston says — " Joe Haines is more re-
" markable for the witty, tho' wicked pranks he
" play'd, and for his Prologues and Epilogues, than
" for acting — he was, at first, a dancer — after he had
" made his tour of France, he narrowly escap'd
" being seiz'd, and sent to the Bastile, for personat-
" ing an English Peer, and running 3000 livres in
" debt in Paris ; but happily, landing at Dover, he
" went to London * * * however, this affair
" spoiFd Joe's expiring credit; for next morning, a
" couple of bailiffs seiz'd him in an action of £20,
" as the Bishop of Ely was passing by in his coach

238 D. L. 1701.

" — quoth Joe to the bailiffs, ' Gentlemen, here's my
" cousin, the Bishop of Ely, going into his house ;
" let me but speak to him, and he'll pay the debt
" and charges' — the bailiffs thought they might ven-
" ture that, as they were within three or four yards
" of him — so, up goes Joe to the coach, pulling off
" his hat, and got close to it — the Bishop order'd
" the coach to stop, whilst Joe (close to his ear) said
" softly — * My Lord, here are two poor men, who
" have such great scruples of conscience, that, I
" fear, they'll hang themselves' — « very well,' said the
" Bishop— so, calling to the bailiffs, he said, < You
" two men, come to me to-morrow morning, and I'll
" satisfy you' — the men bowed and went away—
" Joe, (hugging himself with his fallacious device)
" went also his way — in the morning, the bailiffs
" (expecting the debt and charges) repaired to the
" Bishop's ; where being introduced — « Well,' said the
" Bishop, * what are your scruples of conscience ? '
" — ' Scruples! (said the bailiffs) we have no scru-
" pies : we are bailiffs my Lord, who, yesterday,
" arrested your cousin, Joe Haines, for £20 — Your
" Lordship promised to satisfy us to-day, and we
" hope your Lordship will be as good as your word'
" — the Bishop reflecting that his honour and name
" would be expos'd, (if he complied not) paid the
" debt and charges."

Among Tom Brown's letters from the Dead to the
Living, there are 3 long ones from Joe Haines to his
friends at Will's Coffee house in Covent Garden —
they contain but little or no Theatrical information.
Fatal Mistake, or the Plot Spoil'd — this is a
wretched T. in rhyme — Gildon says it is attributed

D. L. 1701. 239

to Haines, but that he was not the author of it—
the Epilogue was probably written by Haines,

Haines' characters — selection only.

T. R. 1672. *Benito in Assignation.

1673. *Sparkish in Country Wife.

1674. *Lord Plausible in Plain Dealer.
1677. *Harlequin in Scaramouch &c.

1684. Bulfinch in Northern Lass.

1685. "Bramble in Cuckold's Haven.

1693. *Captain Bluff.

1694. *Gines de Passamonte in Don Quixote
1st part.

1697- * Syringe in Relapse — * Roger in .ZEsop.

1698. Jamy in Sauny the Scot.

1699. * Pamphlet and *Rigadoon in Love in a
Bottle— *Tom Errand.

1700. Mad Parson in Pilgrim.

He also acted the Clown in Othello.

* Originally.

Anthony Aston says no one played Noll Bluff, and
Roger in J3sop like him — Malone tells us that he
acted Bayes after Lacy's death.

240 L. i. F. 1701.

L.L F. 1701.

Double Distress. Cleomedori and Cyraxes (Ge-
nerals to Darius) = Booth and Verbruggen : Rheu-
sares (a Median Lord) =. Arnold : Darius (King of
Persia) = Bowman : Tygranes = Husbands : Cythe-
rea (supposed daughter of Rheusares)=:Mrs. Brace-
girdle : Leamira (Princess of Persia) =: Mrs. Barry :
— this is a poor T. by Mrs. Pix — it is written partly
in rhyme and partly in blank verse — Mrs. Pix should
have stuck to Comedy, and not have meddled with
Tragedy.

Czar of Muscovy. Demetrius (the Czar, an im-
postor) = Hodgson : Zueski (the rightful heir) =
Booth : Alexander = Bowman : Bosman (the Czar's
General) — Berry : Carclos (General of the Cossacks)
= Arnold : Manzeck (Vaivode of Sendomiria) =
Freeman : Zarrianna =. Mrs. Barry : Marina (daugh-
ter to Manzeck) = Mrs. Bowman : Sophia (the old
Empress) — Mrs. Leigh: — the play begins with De-
metrius and Marina coming from the altar as just
married — Zueski requests Demetrius to pardon Zar-
rianna, who is daughter of the late Duke Boris-
Demetrius grants his request, but on seeing Zar-
rianna he falls in love with her — Manzeck who had
greatly assisted Demetrius in gaining the throne, is
highly offended at the slight shown to his daughter
— Marina was in love with Alexander, but, by a
forged letter, she had been made to believe that he
had deserted her — Demetrius finds Zueski and Zar-
rianna together — he condemns Zueski to death—

L. i. F. 1701. 241

Zueski's life is preserved by Bosman — Zarrianna con-
tinues firm in her attachment to Zueski, but, in the
4th act, she is obliged to dissemble with the Czar-
Alexander and Marina are reconciled — a conspiracy
is formed against the Czar — the conspirators are suc-
cessful, but Demetrius and Carclos contrive by a
stratagem to get Zarrianna and Marina into their
power — Carclos is in love with Marina — just as they
are about to ravish the women, Zueski and Alex-
ander enter — Demetrius and Carclos are killed — and
the play ends with the proclamation of Zueski as
Emperour — this is an indifferent T. — it is attributed
to Mrs. Fix — almost the whole of it is written in
prose — it appears from the Prologue that it came out

in Lent the Editor of the B. D. sometimes makes

his remarks on a play without having read it — of this
we have here a flagrant instance — he says — " this T.
" is founded on some of the incidents of the then
"recent history of the great Czar Peter" — in fact
there is not one single syllable about the Czar Peter
—for that part of the Russian History, on which this
Tragedy is really founded see Guthrie.

Ladies Visiting Day — that is Lady's Visiting Day,
for Lady Dolt is the only person who keeps a visiting
day — Polidore =. Verbruggen : Sir Testy Dolt — Dog-
get: Courtine=rBetterton : Supple — Trout : Capt.
Struts Bright : Sir Thrifty Gripe - Leigh : Saunter
= Bowman : Ned = Pack : Fulvia — Mrs. Bracegirdle :
Lady Dolt = Mrs. Bowman: Lady LovetoyzrMrs.
Barry : Flora = Mrs. Budd : Lettice = M rs. Porter :
Visiters to Lady Dolt = Mrs. Leigh, Mrs. Lawson &c.
— Sir Testy Dolt trusts Polidore with his wife on the

VOL. n. B

L. i. F. 1701.

supposition that he could not injure him — this is
borrowed from the Country Wife — as likewise the
behaviour of the Ladies at the discovery of Polidore's
supposed misfortune — Polidore is really in love with
Fulvia — and only pretends love to Lady Dolt — he
writes her a letter, which falls into Sir Testy's hands
— but as it is directed to Mrs. Flora, the Lady Dolt's
woman, Sir Testy believes it was really meant for
Flora— and makes Lady Dolt answer it — Sir Testy
is guardian to Fulvia — Polidore offers him £500 for
his consent — Fulvia enters dressed as a man, and
offers Sir Testy £1000— Polidore challenges Fulvia
— they meet — Fulvia pretends she cannot draw her
sword — Polidore exchanges his sword for hers — and
on drawing hers finds only a hilt in his hand—
Fulvia discovers herself, and they are married—
Courtine is in love with Lady Love toy — as she is
fond of foreigners, and every thing that is foreign,
he disguises himself as Prince Alexander of Muscovy
—she marries him as such — this incident seems very
unnatural, but it appears to be really founded on a
fact— Granger says—" the Duke of Albemarle died
" in 1688 — his widow, as she had an immense for-
" tune, was determined to give her hand to nobody but
" a sovereign prince — Lord Montagu therefore courted
" and married her as Emperour of China — the story
" was brought on the stage by Cibber in the Double
" Gallant " — Granger did not know that Cibber had
borrowed the story from this play — the Lady's Visit-
ing Day is a pretty good C. — it is attributed to Bur-
naby — Cibber in the Double Gallant (see Hay. Nov.
1 1707) has adopted a great part of it — he has omitted
the scenes which are founded on the Country Wife,

L. i. F. 1701. 243

and which are the best in the play, but he had a
good reason for not making any use of them.

Jew of Venice, altered from Shakspeare's Mer-
chant of Venice by Granville. Bassanio = Betterton :
Shylock = Dogget : Antonio = Verbruggen : Gratiano
= Booth : Lorenzo = Baily : Duke of Venice = Har-
ris : Portia •=. Mrs. Bracegirdle : Nerissa = Mrs. Bow-
man : Jessica = Mrs. Porter.

Act 1st — the first scene is greatly curtailed and
altered for the worse — the scene between Portia and
Nerissa is likewise badly altered — one of Granville's
elegant additions deserves to be quoted — Portia says
if she should be forced to marry the Dutchman she
should become " La Signora Gutts I oh hideous !
" what a sound will that be in the mouth of an Ita-
" liaii?" -— when Shylock enters the scene is not ma-
terially altered.

Act 2d — the characters of Launcelot and Gobbo
are totally omitted — the act begins with Shylock's
telling Jessica that he is invited out to supper—
Jessica elopes with Lorenzo — then comes an Enter-
tainment at Bassanio's — the Masque of Peleus and
Thetis is introduced, by way of bribing the audience,
and making Shakspeare go down more palatably—
this scene of course is Granville's, except that he
makes Bassanio speak what Lorenzo says about
Music in the 5th act of the original — Dr. Johnson
says, the Masque has here and there a pretty line, but
it is not always melodious, and the conclusion is
wretched.

Act 3d begins with the Casket scene — some lines
are judiciously inserted from what the Prince of
Arragon says in the original— Portia's speech, after

R 2

244 L. i. F. 1701.

Bassanio has chosen the right casket, is sadly muti-
lated— some poor lines are added to the part of
Gratiano — Antonio's letter is not read — after Bassanio
goes out, Portia speaks a part of what Shakspeare
has given her in a subsequent scene — and the rest is
omitted — then follows a short scene of about a page
and half between Shylock, Antonio and the Jailer —
Shylock speaks the most striking parts of what he
says in the original to Salario and Tubal, but the
whole is huddled together — Tubal is omitted and of
course Shylock's transitions from grief to joy at
Tubal's news — this part of Grariville's alteration is
disgracefully bad — his object evidently was to exalt
the character of Bassanio as much as possible and
to depress that of Shylock.

Act 4th is not materially altered — but some lines
are most injudiciously omitted — Bassanio speaks
part of what belongs to Gratiano — he offers Shylock
the whole of his own body instead of the single pound
of flesh due from Antonio — arid, lastly, draws his
sword (a likely circumstance in a Court of Justice)
to defend his friend.

Act 5th is not very different from the original, but
there is a contemptible speech of 15 lines about Magic
given to Bassanio — on the whole this is a very bad
alteration — it must however be allowed that Gran-
ville has not used Shakspeare so ill as some others

have done at the end of the 3d act he makes

Shylock say to Antonio — " But thou art caught and
" thou shalt pay the whole thief's bill " — these and
some few more expressions unsuitable to the part
are thrown into it — which occasioned Rowe to say
in his account of Shakspeare " though we have seen

L. i. p. 1701. 245

" the Merchant of Venice received and acted as a
" Comedy, and Shylock acted by an excellent Come-
" dian, yet I cannot but think that the character was

" tragically designed by the author " this is so

plain, that it is strange that Granville should not see
it — or that seeing it, he should presume to alter it —
Dogget we may be sure acted Shylock without buf-
foonery— Downes speaks of it as one of his best
characters.

The Prologue was spoken by the Ghosts of Dryden
and Shakspeare — a good thought if it had been
properly pursued.

Dryden says that the generality of people

" Our scenes desert, some wretched Farce to see,
" They know not nature, for they taste not thee"

Shakspeare is made to say—

" These scenes in their rough native dress were

" mine,

" But now improv'd, with nobler lustre shine ;
" The first rude sketches Shakspeare's pencil

" drew,

" J3ut all the shining master -strokes are new.
" This play ye Critics shall your fury stand,
" Adorn* d and rescued by a faultless hand."

Dryden concludes with—

" Be to my ashes kind,

" Indulge the pledges I have left behind."

Granville, much to his credit, gave the profits of
this play to Dryden's son — to which circumstance
the last line alludes — Higgons wrote this Prologue,

246 L. i. F. 1701.

but Granville must have been the vainest of mortals
to have suffered it to have been spoken — The Epi-
logue says—

" Each in. his turn the Poet and the Priest

" Have view'd the Stage, but like false Prophets

" guess'd :

" The man of zeal in his religious rage
" Would silence Poets and reduce the stage.
" The Poet rashly, to get clear, retorts
" On Kings the scandal, and bespatters Courts."

The Priest is of course Collier — the Poet, Dry den,
whom Granville here means to censure for having in
his Epilogue to the Pilgrim exposed the Mysteries of
the Court to the view of the profane—

Aula locus sacer est — extra meite.

Love's Victim, or the Queen of Wales. Rhesus
(King of Wales) = Betterton : King of Bayonne =
Booth : Dumnacus (King of the Andes in Gaul, but
driven out of his country by the Romans) = Hodgson :
Chief Druid — Boman : Tyrelius (son of Rhesus and
Guinoenda, about 12 or 13 years of age) = Mrs.
Porter : Morganius = Pack : Guinoenda (Queen of
Wales) = Mrs. Bracegirdle : Queen of Bayonne =
Mrs. Barry: Manselia (daughter of Rhesus and
Guinoenda) = Miss Willis : — the author concludes his
preface with saying — " the printer having a copy,
" where the names of Guinoenda and Morganius
" were not alter'd to Alboina and Pelagins, (perhaps
" Pelagius) as used on the stage, too much was
" printed off, before I reflected on the mistake, to
" alter it " — this T. is attributed to Gildon — it is on

L. i. F. 1701. 24*7

the whole very far from a bad play — the author tells
us it was favourably received — he adds that he has
borrowed most of his incidents from the Andromache,
Helena, and Alcestis of Euripides — that the fable is
partly fiction and partly built on the 8th book of
Caesar's Commentaries — the part which is borrowed
from Caesar relates to the character of Dumnacus
— Csesar says — " Dumnacus suis finibus expulsus,
" errans, latitansque, solus extremas Galilee reg tones
" petere coactus est" — after which nothing more is
said of him — Guinoenda and her children had been
cast away on the coast of Bayonne — the King had
made love to her, which she had rejected — during his
absence she takes shelter in a temple to avoid the
Queen's vengeance — Dumnacus, the Queen's father,
assists her in getting Guinoenda and her children
into her power — they are rescued by the Chief Druid
—these incidents are borrowed from Andromache -
Rhesus enters just escaped from shipwreck, and finds
Guinoenda in the temple — by her advice he pretends
to bring the news of his own death— and when the
King returns, they persuade him to let Guinoenda
perform the last rites to her husband at sea — these
incidents are from Helena — Rhesus is discovered and
sent to prison — Dumnacus and the Queen raise forces
against the King — Dumnacus is killed — the British
army lands — Rhesus escapes from prison and joins
them — he fights with the King and kills him — the
Queen pretends that Rhesus is still in her custody,
but offers to set him free, if Guinoenda will drink the
poison which she has prepared for her — this Guino-
enda agrees to — Rhesus enters — the Queen attempts
to stab him, but being hindered, she stabs herself —

248 D. L. 1702.

Guinoenda dies, after having particularly recom-
mended her children to her husband's care — the cir-
cumstance of her sacrificing of her own life to preserve
his, is taken from Alcestis, but not managed nearly
so well as in Euripides.

Cure for Jealousy — this play is printed without the
names of the performers — it is an indifferent C. by
Corye— Scrapeall is very jealous of his young wife
Arabella, but without reason — he engages his clerk,
Dash, to have Arabella murdered — her woman is
dressed up in such a manner as to make Scrapeall
believe she is her mistress* Ghost — Scrapeall on
seeing her falls down speechless — on his recovery,
he seems quite Cured of his Jealousy — there is an
important underplot.

D. L. 1702.

Comical Gallant, or the Amours of Sir John Fal-
staffe — this is an alteration of the Merry Wives of
Windsor by Dennis — the D. P. are much the same
as in the original, except that Dennis has added one
new character, the Host of the Bull, who is brother
to Mrs. Ford — Mrs. Dorothy Tearsheet is substituted
for Mrs. Quickly — she enters but once — Fenton is
represented as nephew to Mrs. Ford — his character
and that of Ann Page are enlarged — those of Dr.
Cains and Sir Hugh are shortened — Dennis has

D. L. 1702. 249

written about half of the dialogue afresh, and mate-
rially changed the conduct of the piece.

Act 1st begins with Fen ton and the Host of the
Garter — then comes a scene between Fenton and
Anne Page— Shallow, Slender and Sir Hugh enter
— Falstaffe discharges Pistol and Nym — Mrs. Page
and Mrs. Ford compare the letters — the act concludes
with a poor scene between Page and Ford.

Act 2d — Mrs. Dorothy comes to Falstaffe with a
message from Mrs. Ford and Mrs. Page — Ford visits
Falstaffe as Broom — this scene is materially altered—
Dr. Caius and Sir Hugh quarrel, and are reconciled.

Act 3d — the scene lies at the Bull Inn — Falstaffe
and Mrs. Ford meet by appointment — Mrs. Page
enters disguised as Capt. Dingboy — she pretends to
have an intrigue with Mrs. Ford, and frightens Fal-
staffe by discharging a pistol at him — on the approach
of Ford Falstaffe is carried off in a buck basket-
Mrs. Page beats Ford — her peruke falls off, and she
is discovered.

Act 4th — Falstaffe, and Ford as Broom, have a
second meeting — the Host of the Bull tells Ford that
Falstaffe and Mrs. Ford are to meet at Herne's oak
— Anne Page has a scene with Fenton, and another
with Slender — the latter is chiefly from Shakspeare's
1st act.

Act 5th — Mrs. Ford says her husband is gone to
London — Falstaffe enters to Mrs. Ford and Mrs Page
as Herne the Hunter — a terrible symphony is heard
— Falstaffe secretes himself in a tuft of trees — the
pretended Fairies bring in Ford, dressed as Falstaffe
—they sing a song, and beat Ford to stockfish — Fal-
staffe escapes unhurt — Ford is cured of his jealousy

250 D. L. 1702.

—Slender and Dr. Cains enter — both of them in

women's clothes and masked — Fenton and Anne

Page enter unmasked — Slender and Dr. Caius fight

—the Host of the Garter, disguised as a Parson, had

manned Dr. Caius to Slender Falstaffe's second

meeting with Mrs. Ford, with his escape in woman's
clothes, in the original 4th act, is totally omitted—
the Comical Gallant is a very bad alteration of Shak-
speare's play, particularly as to the character of Ford
— the change of Broom for Brook was not made by
Dennis— see L. I. F. Feb. 22 1723.

Dennis tells us, that when the Merry Wives was
revived in Charles the second's time, no character
pleased to a height except Slender as acted by Win-
tershal — and that Falstaffe in the Comical Gallant
was by no means acted to the satisfaction of the audi-
ence— it is to be regretted that this play is printed
without the names of the performers — Powell was
probably Falstaffe — Dennis adds some very good
observations on the Drama in general.

Generous Conquerour, or Timely Discovery. Al-
merick =Wilks : Rodomond = Mills : Malespine (a
villain, minister of state) = Cibber : Gonzalvo —
Griffin : Adelan (his son, in love with Cimene) =
Toms : Tancred — Horden : Armida (supposed
daughter to Gonzalvo) — Mrs. Rogers : Cimene (sup-
posed daughter to Almerick) — Mrs. Oldfield : Irene
(wife to Gonzalvo) = Mrs. Kent : — Almerick the Goth
had conquered Lombardy, and killed the King in
single combat — he had adopted the young Lombard
Prince, Rodomond, and had made him his general-
he wants Rodomond to marry his only child, Cimene
— she is in love with Adelan — Almerick and Rodo-

D. L. 1702.

mond are in love with Armida— Armida is in love
with Rodomond — Almerick sentences Rodomond to
death — Armida, to save his life, consents to marry
the King, hut takes poison — at the catastrophe, Ar-
mida turns out to be Almerick's daughter, and the
supposed poison proves to be harmless — there is an
underplot — Malespine forms a conspiracy against the
King — in the 5th act, he dethrones him, and confines
him in prison — Rodomond and Adelan excite the
citizens to rescue the King — they defeat Malespine's
party — and Malespine is carried off for execution —
this T.was written by Higgons — Gildon is very severe
on it, and with justice ; but it was ridiculous to write
60 pages on the examination of so poor a play — the
author in the 4th act says —

" The Gods, and God-like Kings can do no
" wrongs."

Inconstant, or the Way to win him. Young Mira-
bel = Wilks : Capt. Duretete = Bullock : Old Mirabel
— Penkethman : Dugard = Mills : Petit = Norris :
Bisarre = Mrs. Verbruggen : Oriana^Mrs. Rogers :
Lamorce = Mrs. Kent : — this excellent Comedy was
not very successful — nearly the whole of the first four
acts (with the exception of the nunnery scene) is
taken from Fletcher — sometimes the very words are
borrowed — yet Farquhar in the preface is disinge-
nuous enough to say, that he has taken the hint of
this play from the Wild Goose Chase — he has how-
ever improved the original, particularly in the cha-
racter of Old Mirabel and in the 5th act : which last
has singular merit — for the fact on which it is founded,
see the preface.

D. L. 1702.

Modish Husband. Lionel = Wilks : Lord Promise
(the Modish Husband) = Gibber : Sir Lively Cringe
= Bowen: Will Fanlove (a pimp) = Pinkethman :
Harry (his son) = Bullock : Lady Cringe = Mrs. Ver-
bruggen : Lady Promise = Mrs. Rogers : Camilla —
Mrs. Oldfield :— this is a moderate C. by Burnaby—
Lord Promise intrigues with Lady Cringe — he en-
courages Lionel to make love to Lady Promise, in
order to divert her attention from his own amours-
Lionel does this, but is more inclined to an intimacy
with Lady Cringe — in the 4th act he presses her very
warmly — Sir Lively knocks hard at the door — Lionel
is sent into the closet — when Sir Lively enters,
Lady Cringe blows out the candle — she holds her
husband with one hand, and Lionel with the other,
protesting that the only man she loves in the world
is him she has hold of — Lionel makes his escape—
the last scene lies in a garden at night — Camilla en-
ters in boy's clothes — Lady Cringe mistakes her for
Lionel — Camilla humours the mistake — they retire to
an arbour — Camilla feigns sickness — Lady Cringe is
sadly disappointed — the play ends with the marriage
of Lionel and Camilla — Sir Lively Cringe is described
in the D. P. as one who is not so wicked as to believe
ill of women — he considers cuckolds and fairies as
things only talked of — Burnaby seems to have bor-
rowed the hint of this character from the Contented
Cuckold 1692 — Lionel, in the 2d act, tells Lady
Cringe that he dares not mention the lady's name
with whom he is in love, but that he always wears her
picture — she snatches it from him, and is agreeably
surprised at finding it prove a looking glass.

False Friend. Don John = Cibber: Lopez (his

D. L. 1702.

servant) = Pinkethman : Don Pedro = Wilks : Don
Guzman = Mills : Don Felix = Capt. Griffin : Galindo
(servant to Guzman) = Bullock : Jacinta (woman to
Leonora) =. Mrs. Oldfield : Leonora = Mrs. Rogers :
Isabella (sister to Guzman, arid in love with Don
John) = Mrs. Kent: — scene Valencia — this is on the
whole a very good play — in one respect it is a singular
Comedy, as it ends with the death of the principal
character— it is taken from La Trahison Punie of
D'Ancour — Vanburgh has improved what he has
borrowed— Don John is in love with Leonora, but
without any intention of marriage — Don Guzman
and Leonora are mutually attached — her father, Don
Felix, opposes their union, and forces his daughter
to give her hand to Don Pedro — in the 3d act, Don
John gets into Leonora's bedroom in the dark — she
alarms the house — Don Guzman enters with his
sword drawn — Don Pedro brings in a light — he can-
not ascertain which of the two gentlemen came with
a design to force Leonora, and which of them came
to her assistance — in the 5th act Don Pedro stabs
Don John, supposing him to be Don Guzman — Don
John before his death acknowledges his treachery to
Don Pedro, who was his friend — Mrs. Oldfield says
in the Epilogue —

" Indeed you men are fools, you won't believe,
" What dreadful things we women can forgive."

Gildon says an unhappy accident interrupted the
False Friend on the 4th day, Gibber was hurt, and
could not act his part — he adds, that this was not the
only reason of its want of success.

Funeral, or Grief a-la-Mode. Lord Hardy = Cib-

254 D. L. 1702.

ber : Trim = Pinkethman : Carnpley — Wilks : Trusty
= Mills : Lord Brumpton =. Thomas : Sable = John-
son : Puzzle = Bowen : Lady Brumpton = Mrs. Ver-
bruggen : Lady Sharlot* =. Mrs. Oldfield : Lady Har-
riot = Mrs. Rogers : Tattleaid = Mrs. Kent : Madam-
oiselle d'Epingle = Mrs. Lucas : Mrs. Fardingale =
Mr. Norris : Kate Matchlock = Mr. Bullock : — Lady
Sharlot's making of her escape in the Coffin is bor-
rowed from the Knight of the Burning Pestle — Lady
Brumpton when she comes on in Widow's weeds says
— " I protest I wonder how two of us thus clad can
" meet with a grave face" — this is adapted from
Cicero — " Cato mirari se aiebat quod non rideret
" haruspex haruspicem cum vidisset" — The Funeral
was successful, and deservedly so.

During the season of 1702-1703, the bills of the
Theatres were sometimes inserted, but without any
regularity, in the paper called the Daily Courant.

June 3. Bartholomew Fair 9. Sea Voyage.

July 11. Mrs. Moor's benefit. Epsom Wells with
(2d time) Pinkethman's Epilogue.

Aug. 22. Jovial Crew — last play till after Bartho-
lomew Fair.

Sep. 18. Emperor of the Moon. Pinkethman
acted Harlequin without a mask.

Oct. 16. Rule a Wife 17- Prophetess.

20. Ibrahim Emperor of the Turks, with
dancing by Mrs. Bicknell.

23. Constant Couple.

26. Pinkethman *s bt. Love makes a Man —

* Chandos was formerly spelt Shandos.

D. L. 1702.

all persons that come behind the scenes are desired
to pay their money to none but Mr. Pinkethman.

In the Daily Courant for Oct. 12th Pinkethman
proposed to present [the town on his night with a
Medley which was to consist — 1st of the Death of
King Henry 6th— 2dly of scenes from JEsop — and 3dly
of the School boy — Richard the 3d, the Beau, and
School boy by Gibber — The Genealogist, Country
Gentleman, and Major Rakish by Pinkethman — the
alteration was made by particular desire.

The School boy was printed in 1707> but without
the names of the performers — in the observations on
this Farce in the B. D. for Daredevil read Beaugard's
father — and for Revel read Reveller.

30. King Lear 31. Plain Dealer.

Nov. 13. Relapse. Miss Hoyden by Mrs. Hook,
the new Actress lately come from Dublin.

14. Island Princess 19- Old Batchelor.

21. For bt. of Wilks. Macbeth.

26. Never performed,. She wou'd and she wou'd
not, or the Kind Imposter. Trappanti = Pinketh-
man : Don Manuel = Gibber : Don Philip z= Husband :
Octavio — Mills : Soto — Bullock : Hypolita = Mrs.
Verbruggen : Flora = Mrs. Moor : Viletta = Mrs.
Knight : Rosara = Mrs. Hook : — this is a very good
C. by Gibber.

Dec. 8. For the Author — the Bath or the Western
Lass — Boxes 5s. — Pit 3s. — Middle Gallery 2s. —
Upper Gallery Is. and 6d. — the Devonshire Girl
made her 1st appearance as a dancer on this night.

14. Never acted, Twin Rivals. Elder Wou'dbee
= Wilks: Younger Wou'dbee =. Gibber: Trueman =
Mills : Richmore = Husband : Subtleman = Pinketh-

256 D. L. 1702.

man : Balderdash and Alderman — Johnson : Teague
= Bowen : Steward z= Fairbank : Aurelia — Mrs.
Hook : Constance — Mrs. Rogers : Steward's Wife =
Mrs. Moor: Mandrake — Mr. Bullock -.—this part was
afterwards called Mrs. Midnight — this is a good Co-
medy on the whole — Mandrake is a finished character,
but Farquhar has been guilty of an indecorum in not
making Elder Wou'dbee express more concern for
his father's death.

21<J. Lancashire Witches. (Bills from British
Museum.)

On the death of Dr. Burney I was very desirous of
purchasing his valuable collection of playbills, and his
Son was so kind as to promise me the refusal of them
in preference to any individual —but to my great dis-
appointment they were purchased by Parliament with
the rest of Dr. Barney's library and lodged in the
British Museum — I had then no resource, but to
copy them where they were — I am much obliged to
Mr. Burney for giving me an introduction to Mr.
Baber of the Museum, and to Mr. Baber for afford-
ing me every accommodation which I could reason-
ably expect — but the following account would have
been more correct and more full, if Dr. Burney's
materials for the history of the stage had fallen into
my own hands.

Dr. Burney's bills are sometimes in print, some-
times in manuscript, and sometimes both in print
and manuscript — the printed bills are cut from the
Newspapers in which the plays were officially adver-
tised, but Dr. Burney was possessed of few real play-
bills till of (comparatively speaking) late years — of
the manuscript bills the authority rests solely on Dr.

L. i. F. 1702. 2,57

Burney — I have had no opportunity of comparing
them with the newspapers from which they were
compiled— they are no doubt generally right, but
they are not to be relied on implicitly — they con-
tain some mistakes and many inaccuracies — these
Dr. Burney would probably have corrected, if he had
published his intended work — after making every
possible deduction from the merit of Dr. Burney's
collection, it must be acknowledged, that he has
done more towards elucidating the history of the
stage than any other person whatsoever

Ubi plura nitent, haud ego paucis

Offendar maculis.

L. I. F. 1702.

Tamerlane. Bajazet = Verbruggen: Tamerlane =
Betterton : Moneses = Powell : Axalla = Booth :
Stratocles = Pack : Omar = Freeman : Prince of
Tanais = Fieldhouse: Dervise = Arnold : Arpasia =
Mrs. Barry : Sell ma = Mrs. Bracegirdle : — the author
of the Laureat says that Verbruggen was taken ill
after playing Bajazet 3 or 4 nights, and that the part
had never been well acted since — this is probably
not correct, it can hardly be supposed that Verbrug-
gen would not resume Bajazet on his recovery

VOL. II. S

258 L. i. F. 1702.

this is on the whole a good T. — but Rowe has
grossly misrepresented the character of Tamerlane
—he has borrowed something, but not much from
Saunders' Tamerlane.

Antiochus the Great, or the Fatal Relapse. An-
tiochus — Powell : Ormades =. Booth : Antenor (bro-
ther to Leodice) — Bowman : Leodice = Mrs. Barry :
Berenice^ Mrs. Bowman : — Antiochus had forsaken
Leodice, whom he had seduced — he marries Bere-
nice, the daughter of the King of ^Egypt — Berenice
was secretly in love with Ormades, an ^Egyptian
Prince — he follows her to Babylon — in the 3d act,
Antiochus is reconciled to Leodice — in the 4th, he
renews his love to Berenice — Berenice makes Or-
mades a visit, but merely with a view to take a final
leave of him — the King surprises them together—
Ormades kills himself — Berenice avows her love to
Ormades, and her hatred to the King — in the 5th
act, Leodice poisons herself and the King — Berenice
determines to return to .ZEgypt, and to devote her life
to the memory of Ormades — this is a poor T. by
Mrs. Jane Wiseman — perhaps the person whom
Downes mentions as acting Roxalana in Mustapha
— Mrs. Wiseman has taken great liberties with the
story on which she has founded her play — Laodice
was not the mistress, but the wife of Antiochus — he
divorced her and married Berenice — her father died
about two years after the marriage — Antiochus re-
moved Berenice from his bed — and recalled Laodice
with her children — she, knowing his fickle temper,
caused him to be poisoned, and secured the throne
to her son — Berenice, with all the ^Egyptians who
attended her, was barbarously murdered — Mrs. Wise-

L. i. F. 1702. 259

man has been guilty of a most unpardonable mistake
in calling her play Antiochus the Great — she should
have called it Antiochus Theos — see the history of
the Seleucidae in the Universal History.

Altemira — Clorimon (late General of the Army—
in love with Altemira) = Betterton : Lycidor (in love
with Altemira) = Booth: King of Sicily (an Usurper)
— Powell : Mellizer (the true King) = Arnold : Alte-
mira (in love with Lycidor) = Mrs. Barry : Candace
= Mrs. Bowman : — Candace is in reality Altemast,
the son of Mellizer — he is secretly in love with Alte-
mira—he had disguised himself as a woman — and had
obtained her confidence — Clorimon had retired to a
cell — the army forces the King to restore him to his
command — Lycidor is taken prisoner — the King
sends Clorimon orders for Lycidor's immediate exe-
cution— Clorimon, to oblige Altemira, saves Lycidor's
life, arid sets him at liberty — the King sends Clo-
rimon to prison — Altemira, fearing that the King-
would ravish her, takes poison — she seems to die —
the King offers to stab himself, but is prevented—
he resigns his crown to Mellizer, and determines to
spend the rest of his life in a cell — in the 5th act,
Altemira is discovered in bed — Clorimon enters — on
the approach of Lycidor, he conceals himself—
Altemast comes in in his proper habit with a friend-
he runs at Lycidor with his sword— Clorimon inter-
poses— they fight — Clorimon kills Altemast — and
Lycidor kills the friend — Clorimon and Lycidor fight
—Altemira, who had only swallowed an opiate in-
stead of poison, rises hastily from her bed, and runs
to part them — Altemast acknowledges his love for
Altemira, and then dies — Clorimon resigns Altemira

260 L. i. F. 1702.

to Lycidor — Mellizer, in the last scene, enters and
stands at the door for 5 or 6 pages, tho' his only son
dies on the stage in the interim— when the three
principal characters have settled matters to their
satisfaction, (for they were not to be interrupted by
an inferiour actor) he coolly comes forward and
says —

" Virtue and Love in all so brightly shin'd,
" That to my wonder I my grief resign' d ;
" And would not interrupt what you have done,
" No, not to close the eyes of a dead son/'

This is a posthumous T. by the first Earl of
Orrery — it is an indifferent play — like the rest of his
lordship's tragedies, it is written in rhyme, and is
full of Love and Honour — it was shortened, and fitted
for representation by Charles Boyle, his lordship's
grandson — Lord Orrery is, as usual, very loyal —
Clorimori acknowledges that Mellizer is the rightful
King, but as the Usurper is King de facto, he thinks
it his duty to adhere to him — he says to Altemira —

" Though I my power and Mellizer esteem,

" Yet I love honour more than power or him.'*

— And to the King —

" Why do the Gods give only him the will
" To wrong me, whom I only dare not kill ?"

The King observes—

" Whatever crimes are acted for a Crown,
" The Gods forgive when once that Crown's
" put on/'

L. i. F. 1702. 261

Lord Orrery is so fond of this sentiment, that he
had previously introduced it in Tryphon —

" Tho' Tryphon did by blood the Crown obtain,
" Yet a Crown worn doth wash off ev'ry stain."

Candace instigates Altemira to kill the King — she
replies—

" Nothing to such a crime my will can bring,

" Though he a Tyrant is, he is a King :

" And though those ways which made him so, I

" blame,
" Yet I must always reverence that name."

In the 2d act, Lord Orrery is not very polite to
the Ladies—

" Let 'em disguise their weakness as they can,
" No woman yet e'er doated on one man."

Gentleman Cully. Townlove (the Gentleman
Cully) = Booth : Faithless = Cory : Flash = Powell :
Ruffle = Freeman : Ce'nsor = Verbruggen : Sophia =
Mrs. Martin : Aurelia =. Mrs. Prince : Lady Rakelove
(an amorous old woman) — Mrs. Leigh: Betty (a
country wench) = Mrs. Budd : — this C. wants inci-
dent sadly, yet on the whole it is far from a bad
play — Faithless, Flash arid Ruffle pay their addresses
to Sophia — she has reason to believe that their view
is chiefly to her fortune ; and the piece ends without
a marriage — the Gentleman Cully is a good character
—he comes up to London for the sake of enjoying
the pleasures of the town, but, tho' not deficient in
sense or spirit, he is made a dupe by the women
— this play came out in the heat of the summer — it

262 L. i. F. 1702.

has been attributed to Charles Johnson — Johnson
however in his Prologue to Love and Liberty, in
1709, styles that play the effort of a Virgin Muse.

Sep. 24 (and Oct. 7) Shakspeare's Cymbeline.

Oct 5. Guardian, or Cutter of Coleman Street.

9. Never acted there, Alchemist.

13. Underbill's bt. never acted there, Tempest
— Duke Trincalo by Cave Underbill, who performed
it originally.

21. Beau's Duel — the last new Comedy — with an
additional scene — a new Prologue and Epilogue—
and a whimsical song by Pack.

Beau's Duel, or a Soldier for the Ladies. Capt.
Bellmein = Booth : Toper = Powell : Ogle (a fortune-
hunter) = Pack : Sir William Mode = Bowman : Col.
Manly = Cory : Careful = Fieldhouse : Mrs. Plotwell
= Mrs. Lee : Clarinda = Mrs. Prince : Emilia = Mrs.
Porter : — this is a good C. by Mrs. Carroll — Ogle
and Sir William Mode fight a sham duel with foils-
Careful wants to compel his daughter Clarinda to
marry Sir W. Mode — she is in love with Manly-
Mrs. Plotwell is a very good character — she had
been mistress to Bellmein, but on coming into an
independent fortune, she turns virtuous, still retain-
ing a gay humour — she is married to Careful in the
disguise of a quaker, and by Bellmein in the dis-
guise of a parson — she plagues Careful so much,
that he consents to forgive his daughter for having
married Manly, on condition of being freed from his
wife — Bellmein marries Emilia — Mrs. PlotwelPs mar-
riage and her subsequent conduct is stolen from the
City Match — Mrs. Carroll has copied many of the
speeches verbatim.

L. I. F. 1702. 263

Nov. 9- Villain.

Dec. 7« Friendship Improved 10. Scornful

Lady.

11. Indian Emperour 29. Country Wife.

31. Never acted, Stolen Heiress, or Salamanca
Doctor Out-plotted. Palante = Powell : Eugenio =
Booth: Sancho = Dogget : Francisco = Paek: Gra-
vello = Freeman : Rosco (his servant) — Bright : Tris-
tram (servant to Sancho) = Leigh : Governour of
Palermo = Bowman : Count Pirro = Griffith : La-
rich = Fieldhouse : Euphenes (father to Palante) =
Arnold : Lucasia = Mrs. Barry : Lavinia = Mrs.
Prince : Laura (woman to Lucasia) = Mrs. Lawson :
—Mrs. Carroll has stolen this C. from May's Heir.

May's Heir, or as we should now say Heiress, is
an excellent play — it was printed in 1620, and had
been acted by the Company of the Revels — the scene
lies at Syracuse — Polymetes raises a report that
his son, Eugenio, had died at Athens — his daughter,
Leucothoe, is in consequence supposed to be an
Heiress — Count Virro, who is rich, pays his addresses
to her, for the sake of her fortune — this is just what
Polymetes wanted — Philocles and Leucothoe fall mu-
tually in love — Psecas, Leucothoe's woman,' betrays
the confidence which her mistress had reposed in
her — Polymetes overhears a conversation between his
daughter and Philocles, in which they agree to be
married — they meet at the appointed place, but Po-
lymetes surprises them, and the officers of justice
take Philocles into custody, it being death by law for
any one to steal an Heiress — in the mean time Eu-
genio returns disguised as Irus— he tells Polymetes
that his son is alive — Polymetes enjoins him to be

264 L. i. F. 1702.

silent — Irus gives the same information to Virro—
Virro engages Irus to kill Eugenio, and writes him a
promise for 500 crowns when the murder shall be
committed — Leucothoe supplicates the King for Phi-
locles' life — the King promises a pardon, on condi-
tion that she will sacrifice her virtue to him — she
refuses — he makes a vow not to pardon Philocles—
he afterwards repents of his vow — Philocles is tried
and condemned — Eugenio throws off his disguise—
Leucothoe is no longer an Heiress — and all ends hap-
pily— in the underplot, Francisco, who has no fortune,
is in love with Lucy — Franklin, her father, wants
her to marry Shallow — she pretends to be with child
—in the last act, Francisco and Lucy are married-
Francisco takes the cushion, which had given Lucy
the appearance of pregnancy, and throws it at Shal-
low— Francisco turns out to be the younger son of a
nobleman, and the brother of Philocles — Franklin is
reconciled to his daughter — at the conclusion of the
4th act, a foolish Constable and Watchman take up
Eugenio — this scene is evidently borrowed from

Much ado about Nothing Mrs. Carroll's whole

play is wretchedly inferiour to May's, particularly in
point of language — the alterations which she has
made in the plot are not very material — but they are
all for the worse — Shallow is turned into Sancho — a
Doctor of Salamanca — Francisco persuades him to
change his dress — to drop his pedantic manners—
and to affect a dislike to learning — Francisco pre-
sents himself to Larich as the Salamanca Doctor —
the trick takes at first, but it is afterwards disco-
vered— the small part of Tristam is new — Gravello
— Pirro — Palante — Larich — Lucasia and Lavinia are

L. i. F. 1702. 265

nearly the same characters as Poly metes — Virro—
Philocles — Franklin — Leucothoe and Lucy — Mrs.
Carroll concealed her sex — the Prologue spoken by
Mrs. Prince says —

" Our author fearing his success to day,
" Sends me to bribe your spleen against his play,
" And if a Ghost in Nelly's time could sooth ye,
" He hopes in these that flesh and blood may

" move ye,

" Nay, what is more, to win your hearts, a Maid!
" If ever such a thing the playhouse had."

The Prologue to the Conquest of Spain, by Mrs.
Pix, speaks of the author as a man.

Gildon has annexed to his Life of Betterton the
Amorous Widow, or the Wanton Wife, with the fol-
lowing cast — which was in all probability the cast of
1702 or 1703 — Barnaby Brittle = Dogget : Lovemore
= Betterton : Cuningham = Verbruggen : Merry-'
man = Underbill : Sir Peter Pride z= Freeman : Jef-
frey = Fieldhouse : Clodpate = Bright : Mrs. Brittle
= Mrs. Bracegirdle : Lady Laycock = Mrs. Leigh :
Philadelphia = Mrs. Porter: Lady Prided Mrs. Wil-
lis : Damaris = Mrs. Prince : Prudence = Mrs. Hunt.

266 COMPARISON BETWEEN THE TWO STAGES.

COMPARISON BETWEEN THE TWO STAGES.

A Comparison between the two Stages — in dialogue
— was printed in 1702 — it is attributed to Gildon—
after the Comparison has been pursued to some length
— Critick says — In the Theatre Royal there is an old
snarling Lawyer master and sovereign, a waspish,
ignorant, pettifogger in law and poetry — one who
understands poetry no more than Algebra — he would
sooner have the grace of heaven than do every body
justice — what a plague has he to do so far out of his
way ? can't he pore over his Plowderi and Dal ton,
and let Fletcher and Beaumont alone ?

Ramble. I'll be hanged, but thou owest that old
fellow a spite.

Sullen. Besides your exception is naught ; that
Gentleman is not Sovereign as you call him.

Critick. No ! pray who is ?

Sullen. A Gentleman of superior quality and a

Gentleman of good sense.*

Critick. I know whom you mean, and I grant he

has a share in the Patent, but not any in the manage-
ment of the house, for I tell you the other is Monarch
of the Stage, tho* he knows not how to govern one
province in his dominion, but that of signing, sealing,
and something else, that shall be nameless.
Sullen. We'll spare your explanation.

* Sir Thomas Skip with.

COMPARISON BETWEEN THE TWO STAGES. 267

Critick. Nay, since you won't have it, I will tell
you, faith and troth I meant a

Sullen. Hold

No more is said, but Gibber makes it pretty plain
what is meant — he tells us that " he had more of
" Rich's personal inclination than any actor of the
" male sex " —the merit of the new plays is next
discussed — and the dialogue is concluded with some
observations on the players.

Ramble. Of all the men and women upon earth
commend me to the immortal pair, Batterton and
Barry.

Sullen. They are indeed excellent, and what is
stranger, never to be worn out.

Critick. I doubt you're mistaken there, for Batter-
ton wears away apace — his activity is at an end, and
his memory begins to die.

Ramble. But there's a young one to succeed him,
Verbruggen.

Critick. A fellow with a crackt voice, he clangs
his words, as if he spoke out of a broken drum.

Ramble. Ay but Powell

Critick. Is an idle fellow, that neither minds his
business, nor lives quietly in any community.

Ramble. And Mrs. Bracegirdle

Critick. Is a haughty conceited woman, that has
got more money by dissembling her lewdness, than
others by professing it.

Ramble. But prithee look on this side; there's
Gibber, a poet and a fine actor.

Critick. And one that's always repining at the
success of others, and upon the stage makes all his
fellow actors uneasy.

268 D. L. 1703.

Sullen. But Penkethman the flower of

Critick. Bartholomew Fair, and the idol of the
rabble : a fellow that overdoes every thing, and spoils
many a part with his own stuff.

Ramble. Then there's the noble Ben's namesake —

Critick. Is or might be a good Comedian, but he
has the vice of all actors, he is too fond of his own
merit.

Sullen. Oh but Bullock

Critick. Is the best Comedian that has trod the
stage since Nokes and Leigh, and a fellow that has a
very humble opinion of himself.

Ramble. There's Mrs. Rogers, Mrs. Oldfield, Mrs.
Verbruggen

Critick. The last is a miracle, but the others mere
rubbish, that ought to be swept off the stage with the
filth and dust.

Gildon has some good passages on the private
conduct of the actresses, but they will hardly bear
quotation.

D. L. 1703.

Jan. 1. Island Princess — 9. Unhappy Favourite.
27. Tunbridge Walks, or the Yeoman of Kent
was published on this day — Reynard — Wilks : Wood-

D.L. 1703. 269

cock (the Yeoman of Kent) = Johnson : Maiden =
Bullock : Squib = Pinkethman : Loveworth = Mills :
Hillaria (sister to Reynard) = Mrs. Verbruggen : Be-
linda (daughter to Woodcock) = Mrs. Rogers : Mrs.
Goodfellow = Mrs. Powell : Penelope (her niece)
= Mrs. Moor : Lucy = Mrs. Lucas : — this C. is attri-
buted to Baker — it is a good play, but rather deficient
in incident — Reynard and his sister live by their wits
—they dissemble their relationship that they may the
better assist each other in their plots — Reynard, in
the disguise of a rich country fellow, marries Belinda
with her father's consent — when he discovers the
trick, he is with difficulty reconciled — Hillaria marries
Loveworth — Squib, who pretended to be a captain in
the militia, turns out to be a taylor — and Maiden
proves to have no estate — Squib marries Penelope—
a bite on both sides.

Feb. 1. A Concert with Fairy Queen in one act,
and the best scenes of Marriage a-la-Mode in 2 acts.
3. For bt. of the Devonshire Girl — Constant
Couple.

12. Pinkethman's bt. Tunbridge Walks — no mo-
ney to be returned after the Curtain is drawn.

18. Not acted 10 years, Rover. Willmore — Wilks :
Hellena = Mrs. Oldfield.

March 11. A new Comedy by D'Urfey, called the
Old Mode and the New, or Country Miss with her
Furbeloe. Frederick (son to Sir Fumbler, but not
on friendly terms with him) — Wilks: Sir Fumbler
Oldmode = Johnson : Maggothead (Mayor of Coven-
try) = Pin^eman : Queenlove = Mills : Monsieur de
Pi stolen Bo wen : Tom Pistole alias Don Tomazo
(his son) = Cibber : Abram (an old Steward) =

€70 , D. L. 1703.

Bullock: Miss Gatty = Mrs. Moor: Lady Oldmode
— Mrs. Moor : Probleme (a prating Nurse) — Mrs.
Knight : Lucia (daughter to Sir Fumbler) =: Mrs.
Oldfield : — here is an evident mistake with regard to
Mrs. Moor — as Mrs. Hook had played Miss Hoyden,
she might probably play Miss Gatty — Sir Fumbler is
a lover of the fashions in Queen Elizabeth's days —
in the first part of the play his wife humours him in
her dress — in the last act, she enters dressed in the
new fashion— Miss Gatty is 15 years old — she pre-
vails on her guardian to let her leave off her bib and
apron, and to be dressed as a woman — she is quite
delighted with her Furbelow — the greater part of this
C. is very dull — the last scene of the 4th act, and the
whole of the 5th are good.

13. Old Mode and New — the play is said to be
shortened an hour in action — this must have been a
great improvement.

April 10. Never acted, Fair Example, or the Modish
Citizens — to begin exactly at^-pastfive — Sir Charles
= Mills : Sir Rice-ap- Adam = Johnson : Whimsey =
Penkethman : Springlove •= Cibber : Symons =
Norris : Fancy •=. Bullock : Mrs. Whimsey — Mrs.
Verbruggen : Florinda (Mrs. Symons) •=. Mrs. Knight :
Lucia = Mrs. Oldfield: Flora = Mrs. Lucas: Mrs.
Furnish = Mrs. Powell : Lettice •=. Mrs. Mills : Mrs.
Fancy, tho' a part of some consequence, is omitted
in the D. P. — this C. consists of 3 distinct plots—
Springlove had been in love with Lucia, and would
have married her, but his father threatened to disin-
herit him — she had married Sir Rice —he is old and
jealous — Springlove insinuates himself into Sir Rice's
favour — Lucia tells him that Springlove has a design

D. L. 1703. 271

on her — he is so far from believing her, that he
leaves them purposely together — her virtue is proof
against all temptations — Springlove changes his love
into admiration for her — hence the first title of the
play — the Modish Citizens are Whimsey, Symons,
and. their wives — Whimsey is in love with Mrs. Sy-
mons— Symons is in love with Mrs. Whimsey — the
women are in a Confederacy — each of them pretends
to make an assignation with the other's husband-
about 3 hours before the appointed time, Symons
and Whimsey meet at a tavern — they get dead drunk,
and fall over one another — Sir Charles had infused
certain ingredients in their wine — thus ends the 3d
act — in the 5th act, Symons and Whimsey are dis-
covered in the dark — they had been conveyed to
Symoris' house, and passed the night there — their
wives enter — Sir Charles discloses the plot between
Mrs. Whimsey and Mrs. Symons — they come to

terms with their husbands Sir Charles lives by his

wits — Fancy is a great believer in dreams — Sir
Charles wishes to be intimate with Mrs. Fancy — she
fairly tells him — no money, no Swiss — he borrows
£100 of Fancy, and gives them to Mrs. Fancy — she
performs conditions — in the last scene, Mrs. Furnish
the Milliner enters — Sir Charles is discovered to be
her son — Mrs. Whimsey and Mrs. Symons reproach
him for passing himself on them for a man of quality
—he retaliates on them as before mentioned — Fancy
demands his £100 of Sir Charles — he says he had
paid them to Mrs. Fancy — she acknowledges he had
paid her, and then says aside that she had given
him a receipt for his money — this C. was written by
Estcourt, who was afterwards an actor — it was not

272 D. L. 1703.

printed till 1706— the serious scenes between Spring-
love and Lucia are dull — the comic scenes are very
good — from what Estcourt says in the preface, it
appears that this play and the Confederacy were both
taken from the same French piece, viz. the Modish
Citizens by D'Ancour — the characters of Whimsey
— Symons — their wives — Sir Charles and Mrs. Fur-
nish have a strong resemblance to Gripe — Money-
trap — Clarissa — Araminta — Dick and Mrs. Amlet—
Lettice is woman to Mrs. Whimsey, but there is no
character in this play which corresponds to Flippanta
—Flora is woman to Lucia, and agent to Springlove.

19. Emperour of the Moon.

30. At Dorset Garden — Cheats of Scapin and
School boy.

May 13. The Queen's Theatre in D. G. is fitting
up for an Opera, and will be ready in June.

May 13. Fatal Marriage — 14. Relapse,

19. Volpone for Johnson's bt. was deferred to 21st
on account of the hot weather.

28. Funeral.

June 4. Never acted, Love's Contrivance or Le
Medicin malgre Lui. Bellmie^Wilks : Sir Toby
Doubtful — Johnson : Selfwill — Bullock : Octavio —
Mills : Martin (formerly servant to Bellmie, but now
a maker of fagots) = Norris : Lucinda (daughter to
Selfwill) = Mrs. Rogers : Belliza (her cousin) = Mrs.
Oldfield : Martin's Wife = Mrs. Norris -.—this is a very
good Farce in five acts — it was written by Mrs. Car-
roll— see the dedication of the Platonick Lady — in
the preface she says — " some scenes I confess are
" partly taken from Moliere " — Mrs. Carroll has here
been guilty of great disingenuity — by her 2d title she

D. L. 1703. 273

acknowledges her obligations to one of Moliere's
Farces, but she endeavours to conceal that she has
borrowed the scenes, in which Sir Toby is concerned,
from Moliere's Forced Marriage — some of them are
little more than a mere translation — Bellmie and
Lucinda are mutually in love — Selfwill insists that
his daughter should marry Sir Toby — Martin, in the
street, cries oranges, four for a penny — Sir Toby
thinks them cheap, and calls Martin in — Martin offers
Lucinda half an orange — she strikes it down — Self-
will discovers a letter concealed in it — this incident
is new — Lucinda pretends to be dumb — Martin had
beaten his wife — she in revenge tells SelfwilPs ser-
vant, that her husband is a great physician, but that
he will not acknowledge himself as such, unless he
be soundly cudgelled — SelfwilFs servants find Martin
making fagots — they beat him till he confesses he is
a Doctor — when he is brought to Lucinda, he insists
that every body should leave the room — he discovers
himself to Lucinda — and desires her to write to Bell-
mie— Selfwill enters and seizes the letter — Martin
runs off — Lucinda frightens Sir Toby by telling him
how gay she means to be after her marriage — Sir
Toby determines to consult some learned person
whether he shall be a cuckold or not — Bellmie is dis-
guised as a Philosopher — he talks incessantly, and
will not let Sir Toby explain his case — Sir Toby
consults another Doctor — Bellmie is again disguised
—in this scene he affects to doubt of every thing-
Sir Toby tells Selfwill he is resolved not to marry—
Bellmie and Octavio enter as married to Lucinda and
Belli za — Selfwill makes his exit in a rage.

VOL. II. T

274 D. L. 1703.

9. For Capt. Griffin's bt. Virtue Betrayed. Henry
8th = Griffin.

12. For bt. of Wilks. Volpone. Mosca = Wilks.

17. Macbeth— 18. Love's last Shift.

19. Forbt. ofNorris. Oronooko = Wilks : Daniel
= Norris.

23. Never acted, Vice Reclaimed, or the Passionate
Mistress. Wilding = Wilks : Fondle = Bullock : Sir
Feeble Goodwill = Johnson : Gainlove = Williams :
Apish = BickerstafF : Ralph = Norris : Annabella =
Mrs. Rogers : Mrs. Haughty = Mrs. Knight : Widow
Purelight (a rich Quaker) = Mrs. Kent : Lucia =
Mrs. Temple : Malapert (woman to Mrs. Haughty)
= Mrs. Lucas: Mrs. Rhenish = Mrs. Powell: — the
Passionate Mistress is Mrs. Haughty — she is kept by
Fondle, and in love with Wilding — he likes her, but
is not very constant — in the 4th act, she attempts to
stab him in a fit of jealousy — he takes the dagger
from her — they are reconciled — on the approach of
Fondle, he conceals himself in the next room — Fondle
wants something out of his coat pocket — he opens
the clothes press, and discovers Wilding — Malapert
pretends that he came to her — in the 5th act, Mrs.
Haughty takes in Fondle to marry her — he supposes
her to be Annabella — the manner in which this mar-
riage is brought about is by no means probable —
Mrs. Haughty vows solemnly to be virtuous for the
future— hence the first title of the play — Sir Feeble
Goodwill wishes to marry the Widow for the sake of
her money — he pretends to turn Quaker, and she
accepts him — Gainlove marries Lucia — Annabella is
in love with Wilding — he is gay, and averse from
marriage — at the conclusion, he becomes so much in

D. L. 1703. 275

love with her, that he is happy to take her on honour-
able terms— this is a moderate C.by Wilkinson— it was
revived at L. I. F. Oct. 22 1719, as the Quaker's
Wedding.

30. Humour of the Age, with an Interlude of City
Customs by several Aldermen's Ladies — to be per-
formed by Cibber, Bullock, and Norris.

July 1. Mrs. Bicknell acted Miss Hoyden for her
bt. — if Mrs. Hook did not play Miss Gatty, Mrs.
Bicknell probably did.

3. For bt. of Mrs. Lucas. Pilgrim with a new
Epilogue by the little girl, who played Queen Bess in
Anna Bullen — probably Miss Younger.

5. Newman's bt. Timon of Athens.

6. Mrs. Kent's bt. Tunbridge Walks.

7« School boy — with select scenes of Nikin
from Old Batchelor, and the last act of Love's Con-
trivance.

14. Spanish Wives revived.

16. Not acted 16 years, Fool's Preferment or
the Three Dukes of Dunstable, with a new Prologue
to introduce the reading of that spoken by Betterton
at Oxford, and a new Epilogue to answer it.

The Company acted at Bath during the Summer.

At Bartholemew Fair Aug. 22 (or 24) at Parker's
and Dogget's Booth — Bateman, or the Unhappy
Marriage — Sparrow = Dogget.

Aug. 24. At Pinkethrnan's, Bullock's and Simp-
son's Booth — Jephtha's rash Vow. Toby = Pinketh-
man : Ezekiel = Bullock. (Bills from British
Museum.)

All for the Better, and the Patriot were printed in
1703 — it does not exactly appear when they came out.

T 2

276 D. L. 1703.

All for the Better, or the Infallible Cure. Don
Alphonso = Husbands : Woodvil and Johnson (Eng-
lish Gentlemen) = Wilks and Mills: Lopez (an old
Merchant) = Johnson : Antonio — Bicherstaff: Manuel
— Toms : Old Mendez = Simpson : Young Mendez
m Fairbank : Isabella (daughter to Mendez) — Mrs.
Rogers : Henrietta (wife to Lopez) •= Mrs. Wilkins :
Daria (a woman of intrigue) = Mrs. Kent: Elvira
(her companion) = Mrs. Moor : Clora (Henrietta's
woman) = Mrs. Lucas : Donna Theresa = Mrs.
Powell : Nurse = Mrs. Norris : — scene Madrid — this
is an indifferent Comedy — it is attributed to Manning
— that part of it which concerns Alphonso and Isa-
bella is stolen from the Spanish Gipsy, but it is not
so well managed as in the old play — there are two
underplots.

Patriot, or the Italian Conspiracy. Cosmo di
Medici = Mills : Julio and Lorenzo (his sons) = Wilks
and Husbands : Rimini (a Florentine Captain, of
Rinaldo's faction) = Capt. Griffin : Teraminta (daugh-
ter to Rinaldo, arid wife to Julio) = Mrs. Rogers :
Honoria (wife to Cosmo) = Mrs. Kent : — this T. is
professedly an alteration of Lee's Lucius Junius
Brutus — it is attributed to Gildon, who in his preface
gives his reasons for the changes he has made — in
particular he says, that tho' in his first alteration under
the old name he had taken away all reflections on
Monarchy, yet the Master of the Revels refused to
license it — and that in consequence of this refusal he
was under the necessity of transferring the scene
from Rome to Florence — and of substituting Cosmo
di Medici for Brutus — this change is very detrimental
to the play, as fiction cannot interest one like truth

D. L. 1703. 277

— Gildon's play is however far from a bad one —
about half of it is borrowed from Lee — in the scenes
which are borrowed, Gildon either makes use of Lee's
own words, or changes them judiciously — he omits
Brutus' pretended want of sense, and all that relates
to Lucretia — he retains the love scenes — the conspi-
racy— the scenes between Brutus and Titus — with
the catastrophe.

Mrs. Verbruggen was too ill to go with the Com-
pany to Bath — she died some few months after.
(Gibber.)

Anthony Aston says of her — " She was all art, and
" her acting all acquired, but she dressed it so nice,
" it looked like nature ; there was not a look, a mo-
" tion, but what were all designed ; and these at the
" same word, period, incident, were every night in
" the same character alike, and yet all sat charmingly
" easy upon her — her face, motion, &c. changed at
" once, but the greatest and usual position was laugh-
" ing, flirting her fan, and a Je ne sale quoi with an
" affected titter — she was loath to accept the part of
" Chariot Welldon, as having thick legs and thighs,
" corpulent and large posteriours — but yet the town
" received her with applause, for she was the most
" pleasing creature that ever appeared — she was a
" fair fine woman, plump, full featured, her face of a
" fine smooth oval, full of beautiful and well-disposed
" moles, as were her neck and breast — whatever she
" did was not to be called acting, she was the charac-
" ter she represented and the most easy actress in
" the world — she never attempted Tragedy — Me-
" laritha was her masterpiece — and Hillaria in Tun-

278 D. L. 1703.

" bridge Walks could not be said to be acted by any
" one but her."

Aston is mistaken in saying she never played in
Tragedy, as she acted Achraet in Mrs. Fix' Ibrahim,
a part of some importance — she had acted Sir An-
thony Love and other breeches parts before she played
Chariot Welldon.

Aston adds — " She was the best conversation pos-
" sible ; never captious, or displeas'd at any thing
" but what was gross or indecent ; for she was
" cautious, lest fiery Jack should so resent it, as to
" breed a quarrel ; — for he wou'd often say—
" « Darnmee ! tho' I don't much value my wife, yet
" no body shall affront her' — and his sword was
" drawn on the least occasion, which was much in
" fashion at the latter end of King William's reign."

Gibber says that Mrs. Verbruggen in the Western

Lass transformed herself into a most awkward animal

—and D'Urfey speaks highly of her performance in

Mary the Buxom — these two parts are as different

from Melantha and Hillaria as possible.

Her characters.

T. R. 1681. As Mrs. Percival — *Winifred in Sir
Barnaby Whigg.

1684. *Phillis in Atheist — * Juliana in Disap-
pointment— * Susan and *Mrs. Jenkin in Dame
Dobson — Constance Holdup in Northern Lass.

1685. *Prudentia in Duke and no Duke— *Gir-
tred in Cuckold's Haven — Matilda in Hollo.

D. L. 1703. 279

1686. *Nell in Devil of a Wife— *Lucia in Ban-
ditti.

1687. As Mrs. Mountfort — Panura in Island Prin-
cess— *Diana in Lucky Chance — *Bellamante in
Emperour of the Moon.

1688. *Isabella in Squire of Alsatia.

1689. *Mrs. Gertrude in Bury Fair — * Maria in
Fortune Hunters.

1690. *Feliciana in Successful Strangers — *Mo-
rayma in Don Sebastian — *Phsedra in Amphitryon.

1691. *Florella in Greenwich Park— Sir Anthony
Love.

1692. *Mrs. Witwoud in Wives' Excuse — *Eu-
genia in Volunteers — *Lady Susan Malepert in
Maid's last Prayer.

1693. "Belinda in Old Batchelor— *Armabella in
Very good Wife — *Catchat in Female Virtuosoes-
*Lady Froth — *Dalinda in Love Triumphant.

1694. As Mrs. Verbruggen — *Mary the Buxom
in Don Quixote 1st and 2d parts — *Hillaria in Can-
terbury Guests.

1696. *Narcissa in Love's last Shift— -* Mary the
Buxom in Don Quixote 3d part — *Charlott Well-
don in Oronooko — * Olivia in Younger Brother —
*Ansilvain Rival Sisters — *Ciarinda in Mock Mar-
riage— * Olivia in Lost Lover — *Achmet in Ibrahim
— *Demetria in Pausanias — *Governour's Lady in
Spanish Wives.

1697' *Marsilia in Female Wits — *Jacintha in
World in the Moon — *Berinthiain Relapse — * Doris
in jEsop — Ceelia in Humorous Lieutenant.

1698. * Madame la Marquise in Campaigners —
Margaret the Shrew in Sauny the Scot.

280 L. i. F. 1703.

1699. *Letitia in Love without Interest — *Lady
Lurewell in Constant Couple.

1700. No new character.

1701. * Louisa in Love makes a Man — * Lucia in
Humour of the Age — *Lady Lurewell in Sir Harry
Wildair — * Western Lass in the Bath.

1702. "Lady Brumpton in Funeral — *Lady
Cringe in Modish Hushand — *Bisarre in Inconstant
— *Hypolita in She wou'd and she wou'd not.

1703. *Hillaria in Tunbridge Walks — Helena in
Rover — *Mrs. Whimsey in Fair Example.

* Originally,

She also acted Abigail in Scornful Lady — Me-
lantha in Marriage a-la-Mode — Bayes — *Madame
Bernard in Country House — see D. L. June 16
1705.

L. I. F. 1703.

Governour of Cyprus by Oldjnixon. lopano =
Betterton : Virotto (in love with Lucinda) = Booth :
Phorsano (the Governour of Cyprus) = Powell :] Issa-
menea (wife to lopano) = Mrs. Barry : Lucinda (sis-
ter to lopano — in love with Virotto) = Mrs. Bowman :
— lopano, a Spanish Lord, on his voyage from the

L. i. F. 1703.

West Indies, had been taken by the Turks and re-
taken by Virotto — he left his wife arid sister at Cy-
prus and went to sea with Virotto — Phorsano by
threats prevailed on Issamenea to marry him — this
she did supposing To pan o to be dead — Phorsano after
a month is tired of Issamenea and falls in love with
Lucinda— Issamenea is greatly enraged at being de-
serted— Virotto and lopano return — the latter is dis-
guised as a Moor, and presented to Phorsano as the
person who had by Phorsano's desire killed lopano—
Phorsano employs lopano to destroy Virotto, and
Issamenea engages him to kill Phorsano — Issamenea
poisons herself and stabs the supposed Moor — Virotto
kills Phorsano — this play was no doubt founded on
a Novel called the Governour of Cyprus or the Loves
of Virotto and Dorothea — the novel is advertised at
the back of the D. P. of Widow Ranter—the Tra-
gedy is far from a bad one.

Fair Penitent. Lothario — Powell : Horatio =
Betterton : Sciolto = Bowman : Altamont = Verbrug-
gen: Calista •= Mrs. Barry: Lavinia = Mrs. Brace-
girdle : — Dr. Johnson observes that this is one of
the most pleasing Tragedies on the stage — yet such
is the caprice of the public, that it did not answer
the expectations of the company. (Downes.)

During the run of this play one Warren, who was
Powell's dresser, claimed a right of lying for his
master arid performing the dead part of Lothario—
about the middle of the scene Powell called aloud
for Warren ; who as loudly replied from the stage,
" Here Sir" — Powell (who was ignorant of the part
his man was doing) repeated without loss of time
" Come here this moment you Son of a Whore or

282 L. i. F. 1703.

" I'll break all the bones in your skin"-— Warren
knew his hasty temper, and therefore without any
reply jumped up with all his sables about him,
which unfortunately were tied to the handles of the
bier and dragged after him — but this was not all—
the laugh and roar began in the audience and fright-
ened poor Warren so much, that with the bier at his
tail, he threw down Calista and overwhelmed her,
with the table, lamp, books, bones &c. — he tugged
till he broke off his trammels and made his escape, and
the play at once ended with immoderate fits of laughter
— Betterton would not suffer the Fair Penitent to be
played again, till poor Warren's misconduct was

somewhat forgotten this story was told to Chet-

wood by Bowman.

The plot of the Fair Penitent is almost entirely
borrowed from the Fatal Dowry — of this however
Rowe does not give the slightest hint — he changes
the scene to Genoa.

The Fatal Dowry was written by Massinger with
the assistance of Field — it was printed in 1632, and
had been acted at Blackfriars — the scene lies at Dijon
in Burgundy — the Marshal Charalois had died in
prison, in consequence of debts contracted for the
general good — his creditors will not suffer his body
to be buried — Young Charalois' advocate addresses
the Court in his behalf, but only receives a rebuke—
Romont is so zealous in the cause of his friend Cha-
ralois, that he is sent to prison — Charalois offers to
surrender himself as a prisoner for his father's debts,
on condition that his father's body shall be buried—
the offer is accepted by the creditors — Rochfort re-
signs his situation as President of the Court — he is

L. i. F. 1703. 283

succeeded by Novall Senior — Rochfort according to
custom has a right to ask a favour of the Court-
he requests the liberty of Romont — Novall Senior
consents to it, but with reluctance — Rochfort is so
struck with the noble behaviour of Charalois, that he
pays his debts, and gives him his daughter, Beau-
melle, in marriage — she, tho' in love with Young
Novall, makes no objection to the match, but con-
tinues her attachment to Novall, and grants him some
improper, but not gross liberties — Romont remon-
strates with her on her conduct, and is treated by
her with the utmost contempt — he hints his suspi-
cions to Rochfort, who will not listen to him — and
to Charalois, who quarrels with him in defence of
his wife — Romont extorts from Young Novall a writ-
ten promise to have no farther connexion with Beau-
melle — in the 4th act, Charalois detects Novall and
Beaumelle in such a situation as leaves no possibility
of doubt — he forces Novall to fight — and kills him —
Beaumelle is penitent — he accuses her to Rochfort
—she acknowledges her guilt — Charalois kills her —
Old Novall enters with officers, and arrests Charalois
for the murder of his son — the last scene lies in the
Court of Justice — the Judge pronounces, that the
injuries, which Charalois had sustained, make him
worthy of the mercy of the Court, and that tho' he
had gone beyond the letter of the law, yet he is
acquitted — Pontalier, the friend of Young Novall,
stabs Charalois — Romont kills Pontalier — and has
the sentence of banishment inflicted on him — Roch-
fort is broken hearted, but does not die — in his
character the love of justice, and the affection of a
parent, are blended in a very interesting manner.

284 L. i. F. 1703.

Cumberland, in the Observer, has entered into a
long discussion on the comparative merit of the two
plays — he gives the Fatal Dowry a decided preference
—so does Gifford in his introduction to Massinger
—but in matters of taste every one has a right to
judge for himself— and this is a point on which dif-
ferent persons are very likely to come to different
conclusions — Massinger has drawn the character of
Charalois in a very masterly manner — part of this
Rowe omits, and sinks the rest into the gentle Alta-
mont — but then to make amends, he has drawn the
characters of Calista, and particularly Lothario, in
a manner vastly superiour to the Lady and Gallant
in Massinger — with Calista we sympathize, but for
Beaumelle we feel little concern, as she is an abso-
lute wanton, and sacrifices her honour to a contempt-
ible wretch, of whom we may truly say with Kent—

" a Tailor made him " In the Fatal Dowry the

Father is much more interesting than in the Fair
Penitent — Gifford says that Horatio sinks into per-
fect insignificance in comparison with Romont—
Cumberland observes, that as Rowe had bestowed
the fire and impetuosity of Romont on his Lothario, it
was a very judicious opposition to contrast it with the
cool deliberate courage of the sententious Horatio
—with regard to the language of the two plays, the
superiority may be given to Rowe — he does not soar
so high as Massinger — nor does he ever sink so low
—Massinger has contaminated some of his best
scenes with comic and low expressions — when Cha-
ralois in the 1st act offers to surrender himself a pri-
soner, one of the creditors says-

L. i. F. 1703. 285

" Let's shut him up ;

" He is well shaped, and has a villainous tongue,
" And, should he study that way of revenge,
" As I dare almost swear he loves a wench,
" We have no wives, nor never shall get

" daughters,
" That will hold out against him."

Even Gifford acknowledges that the Dirge and
Song are worth nothing — he is confident that Mas-
singer did not write a line of the first part of the 2d
scene in the 2d act — it matters not whether the scene
be written by Field or Massinger — it is a part of the
Fatal Dowry — in the 3d act, when Young Novall goes
out — Romont says —

What a perfume the muskcat leaves behind him!
Do you admit him for a property,
To save your charges, lady ?

Beaumelle. 'Tis not useless,
Now you are to succeed him.

Romont. So I respect you, * * *
That I choose rather not to understand
Your nasty scoff, than —

Beaumelle. What, you will not beat me,
If I expound it to you !

When Romont enters at NovalPs house, we have
a poor conceit — the Page says—

Colbrand d'ye call him ? he'll make some of you
Smoke, I believe.

The manner in which Beaumelle is discovered, is

286 L. i. F. 1703.

too indecent to be particularly described — when Cha-
ralois forces Young Novall to fight — he says —

« Guard thy life,

" Or, as thou hast lived like a goat, thou shalt
" Die like a sheep."

In the 5th act, Liladam, Young NovalPs parasite,
is arrested by his tailor — here we have a comic scene,
but not a good one — Old Novall refuses to assist
him — Liladam says he was originally a tailor — pro-
mises to give back his clothes — and to work out the
loss sustained by the wear of them It is with reluc-
tance that one points out the blemishes in the Fatal
Dowry, but when a comparison is made between this
play and the Fair Penitent, to pass them over with
little or no notice, as Cumberland does,* is manifest
partiality — the grand objection to Massinger's play
is, that Charalois kills Beaumelle in cold blood — if
he had killed her, when he found her in ipso facto
with Novall, there would have been some excuse for
him.t

Gifford in the Introduction to his Edition of Mas-
singer says " It is told in the preface to the Bond-

* As quoted by Gifford.

f The first Oration of Lycias was written in defence of a per-
son who had killed Eratosthenes, whom he had found in his wife's
chamber, and in bed with her — it appears from this oration, that
the laws of Athens allowed a husband to kill an adulterer on the
spot — the husband says to the judges — " the laws not only ab-
" solve, but enjoined me to inflict this punishment " — it does not
appear from the oration, what punishment the laws allowed the
husband to inflict on the wife.

L. i. F. 1703. 287

" man 1719 that Rowe had revised the whole of
" Massinger's works with a view to their publication ;
" unfortunately however he was seduced from his
" purpose by the merits of the Fatal Dowry : he
" conceived the ungenerous idea of appropriating
" the whole of its merits, and from that instant
" appears not only to have given up all thoughts of
" Massinger, but to have avoided all mention of
" his name."

" It may seem strange that Rowe should flatter
" himself with the hope of evading detection : that
" hope however was not so extravagant, as it may
" appear at present ; the works of Massinger, few of
" which had reached a second edition, lay scattered
" in single plays, and might be appropriated without
" fear."

Massinger's play was so little known in 1758 that
in the preface to the Insolvent, (see Haymarket
17«58) which is likewise taken from it, it is said,
that the Fatal Dowry has often been enquired after in
vain.

The bookseller, who re-published the Bondman
in 1719, in a short address to the reader says — " I
" have been informed that Massinger's plays were
" revised by Rowe before his death and designed by
" him for the press" — this passage certainly does not
warrant Gilford in his attack on Rowe — and he seems
to have had no better authority — the bookseller did
not pretend to say that he knew Rowe had intended
an edition of Massinger — he had only been told so —
when therefore Gifford assigned Rowe's motive for
laying aside his projected edition of Massinger, he
ought to have stated his opinion as a probable con-

288 L. i. F. 1703.

jecture, and not have asserted the point absolutely —
the thing is not unlikely in itself, but it rests on no
sufficient authority — Gifford in one point is probably
incorrect — he seems to take it for granted that Rowe
had revised Massinger before he wrote the Fair Peni-
tent— Rowe was only 30, when the Fair Penitent
was acted — in 1709 he undertook his edition of
Shakspeare — and if he revised Massinger, it was pro-
bably after that time — the shuffling manner in which
the bookseller speaks of the person who altered the
Bondman, shows that he was riot much to be re-
lied on.

Rowe in the preface to his Lady Jane Gray says,
that Smith had designed to write a play on the same
subject, and that Smith's papers had been put into
his hands, but that he could not take from them
more than 30 lines at the most — he adds — " I should
" have made no scruple of taking 3, 4, or even the
" whole 5 acts from him ; but then I hope I should
" have had the honesty to let the world know they
" were his, and not take another man's reputation
" to myself."

On Jan. 5. 1825 the Fatal Dowry was revived at
D. L. with alterations — these alterations are attri-
buted to Knowles.

Act 1st — The play begins with some new, but un-
necessary lines — Beaumont says of the suitors—

" They will find, I trow,

" A judge less lenient in the proud Novall,
" Who is to-day invested."

Novall, at the time when this speech is spoken,
neither is nor could be invested, as Rochfort had not

L. i. F. 1703. 289

resigned the presidentship the act is ended in

part with some speeches between Rochfort and
Romont from the original 2d act — to these is added
an offer from Rochfort of a purse towards defraying
the expenses of the Marshal's funeral — Romont
replies—

" From any other

" I had holden this an insult, and from you
" Deem it a wrong"

—Romont is here made to talk like a madman—
such an offer ought to have been declined with
civility.

Act 2d — When the Funeral Procession enters, the
scene is on the whole improved, as Massinger had
inserted some contemptible comic speeches — yet there
is an indecorum in making Rochfort offer his daughter
to Charalois at such a time — Massinger has managed
this much better.

Act 3d — When Romont and Beaumelle are left to
themselves — Romont says —

" Madam, I so respect you * * *
" That I choose rather not to understand
" Your hasty scorn."

Beaumelle had not as yet expressed any scorn —
the speech, in which she had expressed her scorn,
is omitted.

Act 4th — The scene between Romont and No vail
Junior is improved — out there was no occasion to
make Romont come on in a mask and a domino —
circumstances, which can hardly fail to remind one
of a modern Comedy — the remainder of the act is

VOL. II. U

290 L. i. F. 1703.

materially altered — after Romont is gone out, Bella-
pert enters, and tells Novall Junior, that Beaumelle,
in answer to his letter, consents to leave Dijon with
him, and is waiting for him by the garden gate—
the scene changes to the garden — Charalois enters
— and then Beaumont — Charalois, on seeing Young
Novall and Beaumelle, rushes off the stage — he kills
Young Novall — Beaumelle rushes in — Charalois re-
enters, and the curtain falls.

Act 5th — Scene a Churchyard — Romont enters,
and then Charalois — they are reconciled — Rochfort
&c. enter — Charalois accuses Beaumelle — Rochfort
condemns her — Charalois takes off a black cloth from
the grave of his father, and discovers Beaumelle dead
upon it — Old Novall enters with guards — Charalois
is condemned — he kills himself.

The material changes made in the last two acts are
much for the worse — in the original play, there is
not the shadow of a doubt as to Beaumelle's guilt—
her father condemns her — and then Charalois kills
her — this is bad enough on the part of Charalois —
but in the altered play, there is no proof of Beau-
melle's guilt except a letter, which would hardly be
sufficient foundation for a divorce — in Massinger,
Rochfort urges Charalois not to call his daughter an
adultress, before he is sure that she is one — Charalois
replies—

" I took them in the act :

" I know no proof beyond it"

—in the altered play, Rochfort gives this charge to
Beaumont, and Charalois replies—

" Sir, his senses will avouch it,
" I know no proof beyond it."

L. I. F. 1703. 291

Beaumont's senses could not avouch any thing, as
he stands on the stage, when Charalois runs out,
and kills Young No vail —besides it is a mockery of
justice in Charalois to bring Beaumelle's cause be-
fore her father, after he had killed her— the making
of the last scene pass in a Churchyard is absurd and
puerile — in Massinger it passes in a Court of Justice.

Different Widows, or Intrigue a-la-Mode. Sir
James Bellmont = Powell : Sir Anthony Loveman -
Pack : Dandle = Leigh : Careless = Cory : Valentine
= Booth : Squire Gaylove (son to Lady Gaylove) =
Wellar : Lady Gaylove = Mrs. Lawson : Angelica =
Mrs. Prince : Lady Loveman -Mrs. Porter : Lady
Bellmont (mother to Sir James) = Mrs. Leigh : —the
Different Widows are Lady Gaylove and Lady Bell-
mont— they are sisters — Lady Gaylove pretends to be
a great observer of decorum, but is in reality fond of
encouraging intrigues — Lady Bellmont is prudent —
Sir James Bellmont is a good character, the rest of
this C. has not much to recommend it — it was pub-
lished without a date, and without the author's
name — it has every appearance of being a summer
play — it probably came out in 1703, as Powell re-
turned to D. L. in June 1704 — the Prologue alludes
to the Stage Coach, which on Feb. 2. 1704 is called
the last new Farce.

Love Betrayed, or the Agreeable Disappointment
by Burnaby. Moreno, Duke of Venice = Verbruggen :
Sebastian = Booth : Taquilet = Dogget : Drances =
Powell : Rodoregue = Fieldhouse : Pedro = Pack :
Villaretta = Mrs. Bracegirdle : Viola (disguised as
Csesario) = Mrs. Prince: Laura (her confidant) —
Mrs. Lawson : Dromia (an old lady) = Mrs. Leigh :

292 L. i. F. 1703.

Emilia, a part of some importance, is omitted
in the D. P. — 50 lines are professedly taken from
Twelfth Night — the plot and main incidents come
from the same source — the dialogue is written afresh
—in a word this C. is rather to be considered as a
very had alteration of Shakspeare's play, than as a
new one — Moreno — Drances — Rodoregue and Vil-
laretta are taken from the Duke — Sir Toby — Antonio
and Olivia — Taquilet is servant to Villaretta and is
made to believe that she is in love with him, but he
has no similarity in other respects to Malvolio—
he fights with Viola, as Sir Andrew does in the
original — Pedro, Sebastian's servant, is a new cha-
racter.

April 28. Mrs. Porter's bt. never acted, As you
Find it. Hartley = Verbruggen : Sir Pert = Bow-
man : Sir Abel Single = Dogget : Bevil = Betterton :
Ledger = Powell : Jack Single — Pack : Orinda = Mrs.
Bracegirdle : Eugenia = Mrs. Barry: Mrs. Hartley
= Mrs. Bowman : Chloris = Mrs. Lee : Lucy = Mrs.
Prince : — Jack Single marries Chloris, who pretends
to a vast deal more virtue than she possesses in
reality — his father, Sir Abel, refuses to forgive him,
tho* he had himself made Chloris an offer of mar-
riage—Hartley neglects his wife, and is ready to
intrigue with any other woman — in the last scene
he meets a masked lady in the Park by appointment
— she unmasks and proves to be his wife — he pro-
mises to reform — Bevil marries Orinda — this play
was written by the Hon. Charles Boyle — it was
printed in 1703 — and again in 1739 with the works
of his grandfather, the first Earl of Orrery — it would
not be easy to find a more dull C. — the poet, like

L. i. F. 1703. 293

Bayes, has forgotten the plot — the dialogue is sen-
sible.

June 1. Mrs. Lee's bt. — Rival Queens.

2. For bt. of Mrs*. Elford, a dancer — Theodosius.

7. Mrs. Prince's bt. — Fair Penitent.

14. Villain. (Bills from B. M.)

Fickle Shepherdess by Amintas (a mad

shepherd — in love with Urania) = Mrs. Bracegirdle :
Damon and Alexis (in love with Clorinda) = Mrs.
Bowman and Mrs. Prince : Claius (father to Amintas
and Amaryllis) = Mrs. Lawson : Adrastus (priest of
Ceres) — Mrs. Lee: Merialchas = Mrs. Willis : Do-
rylas = the little boy: Clorinda (the Fickle Shep-
herdess) = Mrs. Barry : Amaryllis (in love with
Damon) — Mrs. Porter : Urania (in love with Amin-
tas) = Mrs. Alison : Flavia = Mrs. Martin : — this
piece was printed in 1703 — it appears from the Pro-
logue that it came out in the Spring — it is a bad
alteration of Randolph's Amyntas — the Pastoral is
reduced from 5 acts to 3 — and the blank verse to
prose — the name of Laurinda is changed to Clorinda
-the Editors of the B. D. say — " the Fickle Shep-
" herdess was played entirely by women — the scene
" lies in Arcadia" — this is very incorrect — the part
of Dorylas was played by a boy, and the scene lies
in Sicilia.

Amyntas, or the Impossible Dowry, was written
by Randolph — it is said to have been printed in 1638
—many years before the piece begins, Philoebus, the
son of Pilumnus, was in love with Lalage— she mar-
ried Claius, and died in childbed of Amyntas and
Amaryllis — Philoebus died of grief — Pilumnus p'rayed
to Ceres to revenge him on Claius — Ceres by an

i)

£94 L. i. F. 1703.

oracle declared that marriages should be unhappy in
Sicily, till the blood of Claius had quenched and
kindled fire — Claius left Sicily — in process of time,
Amyntas had fallen in love with Urania, the daughter
of Pilutmms — Pilumnus, as the Priest of Ceres, had
a right to receive a dowry for his daughter, instead
of paying one — Ceres gave another oracle about the
dowry —

" That which thou hast not, maist not, canst not

" have,

" Amyntas, is the dowry that I crave.
" Rest hopelesse in thy love, or else divine
" To give Urania this, and she is thine."

Amyntas, conceiving it Impossible to give the re-
quired Dowry, lost his wits — here the play begins —
Damon and Alexis are in love with Laurinda — she
shows a preference to neither of them — at last she
says, that the nymph, who shall first come out of the
temple of Ceres on the ensuing morning, shall deter-
mine the point for her — Amaryllis comes out the
first — she is in love with Damon — Damon refuses to
abide by her determination — she is resolved to deter-
mine the point — Damon stabs her, but riot mortally
— he makes his escape, it being death to shed blood in
the sacred valley — in the mean time Claius had re-
turned to Sicily after an absence of 16 years— by his
skill in herbs he restores Amyntas to his senses —
Claius and Damon are on the point of being sacri-
ficed— Amyntas expounds the first oracle in such a
manner that Claius and Damon are acquitted —
Urania, supposing it Impossible that her Dowry
should be paid, is about to make a vow of perpe-

D. L. 1703-1704. 295

tual virgin! ty— Amyntas addresses Ceres— she answers
him by Echo — Amyritas perceives that the Dowry
which he is to give for Urania is himself as a husband
—Amyntas, Damon, and Alexis marry Urania,

Amaryllis, and Laurinda this is on the whole a

very good Pastoral — there are some comic characters.

D. L. 1703-1704.

As Queen Anne was at Bath, the Company did
not leave that city till October, on the 6th day of
which they opened with Love makes a Man.

7. Tunbridge Walks 8. Pilgrim.

11. Silent Woman 12. Virtue Betrayed.

15. Rover 18. Emperor of the Moon.

19- Tray tor, or Tragedy of Amidea.

20. Love's Contrivance 22. Relapse.

23. For bt. of Wilks— Hamlet.

26. For bt. of Mrs. Moor— Love's last Shift.

27. Mills acted King Lear for his bt.

28. For the bt. of Will. Bullock, the Young Jubilee
Beau, and his man Dicky — Constant Couple.

30. Cibber acted Sir Courtly Nice for his bt.

Nov. 2. Unhappy Favourite 4. Spanish Fryar.

6. Not acted 20 Years, Love and Danger. This

296 p. L. 1703-1704.

seems to be the second title of some play, or, more
probably, an old play with a new name.

10. ^Esop— • 12. Plain Dealer.

18. Old Batchelor. Heartwell = Capt. Griffin.

20. Venice Preserved 26. Fair Example.

27. Macbeth 29i Rule a Wife.

In several of these bills the names of the Singers
and Dancers are mentioned, but those of the per-
formers are omitted.

Dec. 2. Never acted, Lying Lover, or the Ladies
Friendship. Young Bookwit = Wilks : Old Bookwit
— Capt. Griffin : Lovemore = Mills : Latine = Gibber :
Frederick = Toms : Storm = Pinkethman : Charcoal
= Bullock : Penelope = Mrs. Rogers : Victoria = Mrs.
Oldfield : —acted 6 times — see Lyar C. G. Jan. 12
1?62.

N.B. At this time it was not customary to men-
tion in the bills even the names of the performers in
a new play — the casts of the new pieces are given
from the plays as printed.

11. Timon of Athens 15. Funeral.

22. Don John, or the Libertine.

29. Not acted 12 years, Squire of Alsatia — all the
parts to be performed to the best advantage,

Jan. 8. Ibrahim Emperor of the Turks.

24. From the Daily Courant. (B. M.)

Her Majesty having been pleased to issue her royal
commands for the better regulation of the Theatres,
a copy thereof is as follows.

Anne R.

Whereas we have already given orders to the Master
of our Revels, and also to both the Companies of
Comedians acting in D. L. and L. I. F. to take special

D. L. 1703-1704. 297

care, that nothing he acted in either of the Theatres,
contrary to religion or good manners, upon pain of
our high displeasure, and of being silenced from fur-
ther acting — and being further desirous to reform all
other indecencies and abuses of the stage, which have
occasioned great disorders and justly give offence —
our will and pleasure therefore is, and we do hereby
strictly command, that no person of what quality so-
ever presume to go behind the scenes, or come upon
the stage, either before or during the acting of any
play — that no woman be allowed, or presume to wear
a vizard mask in either of the Theatres — and that no
persons come into either house without paying the
price established, for their respective places — all
which orders we strictly command all the Managers,
Sharers and Actors of the said companies to see
exactly observed and obeyed — and we require and
command all our Constables and others appointed to
attend the Theatres, to be aiding and assisting to
them therein — and if any persons whatsoever shall
disobey this our known pleasure and command, we
shall proceed against them as contemners of our royal
authority, and disturbers of the public peace.

Given at our Court of St. James' the 17th day of
Jan. in the 2d year of our reign.

Jan. 26. Never acted, Love the Leveller, or the
Pretty Purchase. Aridramont = Wilks : Algernoon
(Constantia's uncle) =. Griffin : Dewcraft = Williams :
Semorin = Mills : Sallamack — Bickerstaff : Dorman-
tle = Thorns : Sordico = Johnson : Festoliri = Pin-
kethman : High Priest = Bullock : Priest = Norris :
Princess Constantia =. Mrs. Rogers : Princess Dow-
ager = Mrs. Knight: Dutchess Semorin = Mrs. Cox :

298 D. L. 1703-1704.

Sordico's Wife = Mrs. Moore :— Andramoiit had killed
Count Raymond in a duel, which he had fought in vin-
dication of the Princess Constantia's honour — she is
desirous to see him — when they meet, she gives him
a valuable family jewel — Sallamack and Dormantle,
the sons of the Princess Dowager, demand the jewel
— Andramont refuses to resign it — a challenge ensues
—the Princess Dowager, whose pride is excessive,
does every thing in her power to break off Constan-
tia's regard for Andramont — she carries her off to
her own house, and attempts to poison her by force—
Semorin, Algernoon and Andramont enter with the
King's guards — Andramont and Constantia are united
with the King's consent — there is a comic underplot
— Sordico consents to prostitute his wife to Dewcraft
for a sum of money, and is angry with her for not
agreeing to the proposal — Dewcraft next bribes the
High Priest to assist him in his amour — he persuades
the Lady that the God Senphan is in love with her,
and means to introduce Dewcraft to her in the dark
as Senphan — this is taken from the story of Mundas
in Josephus book 18 ch. 3— this play was written by G.
B. — the serious part of it is indifferent — the comic
part is tolerably good — Sordico is an excellent cha-
racter— the scene lies in Crete, and the characters
are Pagans, yet many modern expressions are intro-
duced— in the 5th act, we have a Chocolate house,
and the Maid talks of Sir Thomas, Major Mettleman
and Lord Pickerup — such gross inconsistencies prove
an author to be destitute, not only of judgment, but
of common sense.

Feb. 3. For bt. of Wilks— not acted 12 years,
Maid's Tragedy. Amintor =. Wilks.

D. L. 1703-1704. 299

5. Chances 24. Cams Marius.

March 6. Never acted, Albion Queens — on account
of the extraordinary charge in the decoration — Boxes
5s.— Pit 3s.— First Gallery 2s.— Upper Gallery Is.
—this T. was acted March 21st for the 7th time at
common prices — it had been prohibited by the caprice
of the Licenser — (see Island Queens T. R. 1684)—
the author had at last the good fortune to prevail with
a Nobleman to second his petition to Queen Anne,
for permission to have it acted — the Queen had the
good sense to refer the merit of the play to the opinion
of that noble person, although he was not her Lord
Chamberlain, and upon his favourable report it was
soon after performed. (Gibber)

The Editor of B. D. says that this play was re-
printed in 1704 with the names of Booth and Mrs.
Porter to the D. P. — the two assertions are incom-
patible— an edition of the play was printed with the
following cast, but without a date — Norfolk — Wilks :
Cecil — Powell, Keen &c. : Morton = Mills : Davison
= Booth : Gifford — Bickerstaffe : Queen Mary =
Mrs. Oldfield : Queen Elizabeth = Mrs, Knight :
Dowglass (the Page) = Mrs. Porter : — as the names
of Powell and Keen stand to the part of Cecil, it is
highly probable that this was the first edition, and it
could not have been printed in 1704 — the Editor of
the B. D. probably knew that the play was acted in
1704, and might conclude, that tho' it had no date,
it was printed in that year — he was not aware that
Booth and Mrs. Porter never acted at D. L. till the
re-union of the two Companies in Jan- 1707-8 — the ex-
pression of " et cseteri " seems to have been added
with propriety to the part of Cecil, as it is certain

300 D. L. 1703-1704.

that Powell did not play it originally — and by no

means clear that Keen was at D. L. in 1703-1704

Another difficulty occurs — the Albion Queens is said
on March 10th 1711 not to have been acted for 6
years — these intimations in the bills are frequently
wrong — it is more probable that this bill should be
incorrect, than that Banks should have printed his
play with Mrs. Porter's name to Dowglass, if she
had not acted the part— in 1711 Miss Sherburn was
Dowglass.

18. Jovial Crew 25. Bartholomew Fair.

28. Mrs. Oldfield's bt. School Boy with last act of
Le Medicin malgre lui — (Love's Contrivance.)

April 4. Gibber's bt. Not acted 3 years, Richard
the 3d— Richard = Gibber.

20. Mills' bt. 2d part of Conquest of Granada.

22. Greenwich Park 26. Committee.

May 31. Mrs. Knight's bt. Not acted 6 years,
Comical Revenge.

June 5. Bullock's bt. Miser. Timothy Squeeze
= Bullock.

10. Mills' bt. Not acted 6 years, Psyche.

13. Wilks' bt. Rival Queens. Alexander = Wilks
(1st time in England.) Clytus = Capt. Griffin.

15. For bt. of Capt. Griffin. Not acted for several
years, King and no King — the King and no King
(Arbaces)= Wilks.

17. Powell's bt. Volpone = Powell — his bt. was in-
tended for Whit-Tuesday at L. I. F., to which theatre
he had belonged during the season — he seems to have
come to D. L. in June.

19. Mrs. Rogers' bt. Not acted 3 years, Tempest.
Prospero — Powell.

D.L. 1703-1704, 301

21. Not acted 5 years, Fond Husband. Rashly =
Powell.

23. Norris' bt. Not acted 3 years, Marriage-hater
Matched. Solon = Norris.

29. Williams' bt. Fatal Marriage.

July 5. Not acted 4 years, Taming of the Shrew,
with some scenes from Le Medicin malgre lui.

7. Not acted 4 years, Orphan. The men's parts
by Young Gentlemen for their diversion— these Young
Gentlemen were from Oxford — Phillips who acted
Chamont performed afterwards.

11. Secret Love. Celadon = Wilks.

Aug. 2. Empress of Morocco.

4. London Cuckolds 9- Heir of Morocco.

10. Lancashire Witches. Young Hartfort by Pin-
kethman with his Epilogue on an Ass.

18. Not acted 5 years, Sir Martin Marall.

23. Not acted 6 years, Titus Andronicus — last
play. C Bills from British Museum.)

At this time the power of the Lord Chamberlain
over the theatres and actors was considered as abso-
lute— when Powell left D. L. and went to L. I. F., no
notice was taken of it, as the Lord Chamberlain
favoured Betterton's Company — but when he left
L. I. F. and returned to D. L., he was the next day
taken up by a messenger, and confined in the Porter's
Lodge for about 2 days.

Dogget had been previously served much the same
trick as Powell — he returned to D. L. in 1697— but
after some time, he thought the Patentee had not
dealt fairly by him, and would act no more — the Pa-
tentee applied to the Lord Chamberlain for redress,

302 D. L. 1703-1704.

and a messenger was in consequence dispatched to
Norwich, where Dogget was at that time, to hring
him up in custody — Dogget, who had money in his
pocket and the cause of liberty in his heart, was not
at all intimidated at the summons — he was particu-
larly cheerful on his journey, and as he found his
expenses were to be paid, he took care at every inn
he came to, to call for the best — on his arrival in
town he immediately applied to Lord Chief Justice
Holt for his habeas corpus — as his case was some-
thing particular that eminent lawyer took peculiar
notice of it, for Dogget was not only discharged, but
the process of his confinement (according to common
fame) had a censure passed upon it in Court — the
officious agents in this affair, finding they had mis-
taken their man, whispered something in Dogget's
ear that took away any farther uneasiness from him,
as he afterwards told Cibber.

The arbitrary power occasionally exerted on the
persons of the actors, was perhaps in some measure
owing to this circumstance, that they were formerly
considered as the King's menial servants — at the
Restoration about 10 of the King's company were
put on the Royal Houshold Establishment, having
each ten yards of scarlet cloth, and a proper quan-
tity of lace, allowed them for Liveries, and in their
warrants from the Lord Chamberlain they were styled
" Gentlemen of the Great Chamber." (Cibber.)

How long this lasted does not appear — it appears
however that it lasted to Queen Anne's time, as the
alteration of "Wit without Money" is dedicated to
Thomas Newman, Servant to her Majesty, one of

L. i. F. 1703-1704. 303

the Gentlemen of the Great Chamber, and Book-
keeper and Prompter to her Majesty's company of
Comedians in the Hay.

L. L F. 1703-1704.

The playbills were very irregularly inserted in the
Daily Courant.

Sep. 21. Never acted there, Sir Courtly Nice. Sir
Courtly = Powell.

27. Don Carlos — tickets delivered for the Sullen
Lovers will be taken.

Oct. 5. Not acted 28 years, Sullen Lovers. Sir
Positive Atall, with a Prologue on the death of the
Royal Oak Lottery, and an Epilogue on Maister Ob-
servator, by Powell.

Some person had evidently made his remarks on
the Theatre under the name of Observator — the
author of the Portsmouth Heiress 1704 in his pre-
face calls the Observator, a most flagitious author of
inspired dullness, the most worthless and impudent
scribbler upon earth.

25. 2d time for 16 years, Woman Captain.

Nov. 1. Marry or do Worse was printed in 1704 as
acted at L. I. F., but without the names of the per-
formers— from a manuscript observation on my copy
it seems to have been acted on Nov. 1 1703 — Trapum

304 L. i. F. 1703-1704.

is a country Justice, very jealous of his young wife,
Athelia — Freewit wishes to be intimate with her — she
has no objection — Snap, Freewit's servant, and Betty,
Athelia's woman, do their utmost to promote the in-
trigue— Trapum however is riot made a cuckold —
Snap disguises himself as a seller of oranges-
Trapum discovers him, and intends to give him a
severe beating — Snap makes his escape in a Parson's
gown — Freewit takes the gown from him, and visits
Athelia in it— he also is discovered —but Silvia pre-
tends that he came to make love to her — at the con-
clusion, Freewit marries Silvia — she is Trapum's
daughter — but as she has been brought up by her
aunt, he does not know who she is, till the last scene
— Snap marries Betty in a mask — he supposes her to
have a large fortune — the scene lies at some town in
the country — not in London, as the Editor of the
B. D. tells us— this C. is attributed to Walker — from
the preface it appears to have been unsuccessful, but
it is not a bad play — Yates revived it for his benefit
at D. L. March 30 1747-

29. Acted there but twice, Double Dealer.

Jan. — Abra-Mule, or Love and Empire came out
about the middle of this month, and was acted 14
times — Mahomet the 4th (Emperor of the Turks) =
Betterton : Pyrrhus (his Grand Visier) = Verbruggen:
Solyman (Mahomet's brother) = Powell : KislerAga
=. Bowman: Abra-Mule = Mrs. Bracegirdle : Zaida
(her confidant) =. Mrs. Porter : Marama (a creature
of Solyman's) = Mrs. Leigh : — Abra-Mule is sold to
Mahomet by a Tartarian merchant — she and Pyrrhus
are mutually in love — the Superintendent of the Se-
raglio, out of friendship to Pyrrhus, is in no hurry

L. i. F. 1703-1704. 305

to introduce Abra-Mule to Mahomet — in the mean
time Solyman, hy the assistance of Marama, gets
access to Abra-Mule's apartment, and falls in love
with her — when Abra-Mule is presented to Mahomet,
he becomes so enamoured of her, that he offers to
marry her — in the 4th act, Pyrrhus visits her in the
disguise of a black slave — they are surprised by Ma-
homet, and Pyrrhus is led off to be racked — the Divan
deposes Mahomet, and Solyman succeeds to the throne
— he renews his addresses to Abra-Mule — she stabs
herself — the wound proves slight, arid Solyman, after
a violent struggle with himself, resigns her to Pyrrhus
—Pyrrhus had been preserved from the rack by the
Soldiers to whose custody he had been committed—
this is on the whole a tolerable T. — it is attributed to
Dr. Trapp.

26. Comical Revenge 27. Timon of Athens.

29. Anatomist with Mars arid Venus.

Feb. 2. Country Wit with the last new Farce of
the Stage Coach — this F. is printed with the following
cast, which was probably the original one — Nicode-
mus Somebody = Dogget : Capt. Basil = Booth : Fetch
= Pack : Tom Jolt = Trout : Macahone = Tattnel :
Micher = Freeman : Isabella = Mrs. Prince : Dolly =
Mrs. Hunt : — this is a pretty good Farce in one act
—it is a mere trifle, yet Farquhar is said to have been
assisted by Motteux in writing it — the scene lies at
an Inn between Chester and London — Capt. Basil
and Isabella are mutually in love — they meet unex-
pectedly at the inn — Micher, who is her uncle, is
carrying her down into the country, that she may be
married to Squire Somebody — in the night Capt.
Basil and Isabella are going off together — they are

VOL. SI. X

306 L. i. F. 1703-1704.

disappointed — Fetch, Basil's servant having dropt the
key of the gate — Basil gets a Parson, who is a pas-
senger in the coach, to marry him to Isabella.

3. Valentiniari 5. Theodosius.

8. Underbill's bt. (Edipus 9- Rover.

11. Scornful Lady. Savil = Dogget.

12. Duke and no Duke, with Acis and Galatea,
and the Musical Entertainments performed in the
Mad Lover.

14. Julius Caesar.

19. Dogget's bt. Othello = Betterton : Desdemoria
= Mrs. Bracegirdle: — with songs and dances, and
comical dialogues by Dogget.

24. Never acted, Liberty Asserted. Ulamar :=
Booth : Beaufort (the General of the English that
come to the assistance of the Iroquois against the
French) = Powell : Count Frontenac (Governour of
New France) = Bowman : Miramont (his kinsman)
= Betterton : Zephanio (head of the Angians) =
Freeman : Sakia — Mrs. Barry : Irene (daughter to
Zephanio) = Mrs. Bracegirdle : Okima = Mrs. Porter :
— acted 10 times — Sakia is an Indian of the Huron
nation — 12 years before the play begins, she had been
taken prisoner, with her son, Ulamar, by the Iroquois
— Ulamar had become the General of the Iroquois—
he and Beaufort are sworn friends — they are both in
love with Irene — the Iroquois decree that Irene should
be given to Beaufort — Beaufort, on finding that she

is in love with Ulamar, resigns her to him the

French and Iroquois make peace — on the subsequent
night, the French attack the Iroquois, and take Angie
—Frontenac condemns Ulamar to death — he had re-
ceived positive orders from France to destroy Ulamar

L. i. F. 1703-1704. 307

by any means whatsoever — just as Ulamar is going to
be shot, Sakia enters — Frontenac knows her to be
his wife, and she tells him that Ulamar is their son
— this produces a happy catastrophe — Frontenac, at
the time when he married Sakia, was called Mira-
mont — he had succeeded to the title of Frontenac
after their separation — hence Sakia, till the last scene,
supposes that the other Miramont is her husband-
in the 5th act, Frontenac endeavours to persuade
Ulamar to join the French — Ulamar instigates Fron-
tenac to Assert his Liberty, and with the assistance
of the English and Iroquois, to make himself inde-
pendant of France — at the conclusion Frontenac
declares he will be no longer a slave — Scene Angie in
Canada — this is on the whole a moderate T. — Dennis
has filled it with invectives against the French — it
was revived at C. G. April 23 1746.

Feb. 28. — the company was commanded to play at
Court — the play was Sir Solomon.

Dowries says, that between Feb. 1704 and April
1706 four plays were commanded to be acted at Court
by the performers of both houses.

1. All for Love. Antony = Betterton : Ventidius
= Verbruggen : Dolabella = Wilks : Alexas = Booth :
Cleopatra = Mrs. Barry : Octavia = Mrs. Bracegirdle.

%. Sir Solomon. Sir Solomon = Betterton : Pere-
grine Wary = Wilks : Single = Booth : Sir Arthur
Addell = Dogget : Old Wary = Johnson : Ralph z=
Penkethman : Timothy = Underbill : Mrs. Julia =
Mrs. Bracegirdle : Mrs. Betty = Mrs. Mountfort.

3. Merry Wives of Windsor. Falstaff= Betterton :
Ford = Powell : Sir Hugh Evans = Dogget : Dr. Caius

x 2

308 L. i. F. 1703-1704.

= Pinkethman : Page = Verbruggen : Host = Bul-
lock : Mrs. Ford = Mrs. Bracegirdle : Mrs. Page =
Mrs. Barry : Ann Page = Mrs. Bradshaw.

4. Anatomist — Dowries does not mention the names
of the performers — they were probably most of them
the original ones.

These 4 plays were well acted, and gave great satis-
faction.

March 13. Humorous Lieutenant.

16. Liberty Asserted. Crimalhaz = Betterton :—
this is a palpable mistake in the Manuscript, either
of the play, or the character — Crimalhaz was Better-
ton's part in the Empress of Morocco.

21. Underbill's bt. Sir Solomon Single, as it was
acted before the Queen.

25. Never acted, Love at first Sight. Lovewell^:
Powell : Gripeall — Fieldhouse : Sir Nicholas Empty
= Pack : Courtly = Booth : Sir John Single = Trout :
Timothy = Knapp : Hector = Leigh : Watchman =
Miller : Melissa = Mrs. Price : (Prince) Fidelia = Mrs.
Potter : (Porter) Celinda = Mrs. Bradshaw : — the
D. P. of this play are most vilely printed — Hector is
said to be son to Sir John Single, tho' in fact he is
son to Gripeall — Medler, a part of some importance,
and Gripeall's wife are omitted — this is a very poor
C. by Crauford — it seems to have been acted but once.

30. Subscription Music with a new Farce called
Squire Trelooby — it appears to have been acted by
select comedians from both houses — Squire Trelooby
:=Dogget: Wimble = Cibber : Lovewell = Betterton :
Tradewell = Johnson : Physician = Pinkethman : Apo-
thecary = Pack : Julia = Mrs. Bracegirdle: Nerina =

L. i. F. 1703-1704. 309

Mrs. Prince : — Somebody translated Moliere's Mons.
de Pourceaugnac, and printed it, with the above cast,
in April 1704.

April 6. Tamerlane 8. Man of the Mode.

20. Amorous Widow. Barnaby Brittle = Dogget.

22. She wou'd if she cou'd. Sir Oliver Cockwood
-Dogget.

26. Dogget acted Ben for his bt.

29. Spanish Friar. Gomez = Dogget.

May 9. Don John, or the Libertine Destroyed — to
begin exactly at ^ past 5, and not to dismiss, tho* the
audience should be small.

Pinkethman had a booth at May Fair, which lasted
16 days at the East Corner of Hyde Park — there
seem to have been no plays at the Theatres during
this Fair. ( B. M.)

In the Epilogue to the Bath D. L. 1701, Pinketh-
man complains, that he had made grimaces to empty
benches, while Lady Mary, the rope dancer, had car-
ried all before her at May Fair —

" Gadzooks, what signified my face ?"

16. Betterton's bt. the Merry Wives of Windsor,
as it was performed before her Majesty at St. James'.

20. Mrs. Barry's bt. All for Love as it was per-
formed at St. James'.

23. Mrs. Bracegirdle's bt. Squire Trelooby.

June 1. Mrs. Boman's bt. Love for Love, with a
new Prologue, and a song by Boman called the Misses'
lamentation, for want of their vizard masks at the
playhouse.

6. Mrs. Leigh's bt. Squire Trelooby.

310 L. i. F. 1703-1704.

8. Leigh's bt. Caesar Borgia — Borgia =. Verbruggen.

24. Fieldhouse's bt. a new Farce called the Wit of
a Woman — Capt. Gayford is in love with Aurelia,
the daughter of Boastwit — Aurelia, in order to pre-
vent her father from suspecting her of being in love
with Gayford, tells him of Gayford's designs on her
—Boastwit entrusts her with the writings relative to
her fortune — she elopes with Gayford and marries
him — Boastwit is reconciled to them — this is an in-
different piece in 3 acts — it is attributed to Walker,
and printed without the names of the performers.

26. For bt. of Miss Evans and Miss Mountfort.
Amorous Widow. Damaris = Miss Mountfort: with
dances and an Epilogue by Miss Evans — Miss Mount-
fort called herself Mrs. Mountfort the next season.

30. For bt. of Short and Mrs. Willis. Not acted
5 years, Comical Transformation, or the Devil of a
Wife, with Mars and Venus — and singing and dan-
cing by Mrs. Willis* two daughters, who never ap-
peared before.

July 4. Cory's bt. the Villain by the Gentleman,
who played Machiavel last year in imitation of Sand-
ford.

10. Not acted for several years, Ignoramus.

14. For bt. of J. Smith. Circe.

24. For bt. of Short and Mrs. Willis. Madam
Fickle, with a song by the eldest Miss Willis, and a

dance by the youngest, not 5 years old Their

former bt. was probably a bad one — it will appear
that it was. not uncommon for a performer to have a
second bt. when the first failed.

27. Maid in the Mill in 3 acts.

L. i. F. 1703-1704. 311

Aug. 1. Match in Newgate, with the dialogue in the
Mad Lover by Boman and Pack — representing a
drunken Officer and a town Miss.

9. Don Quixote and Cheats of Scapin Note

we shall not dismiss, let the audience be what it will ;
and begin punctually at half past six at the furthest.
17. Not acted 6 years, Unfortunate Couple —with
Comical Transformation, and Wit of a Woman—
with a new Prologue and Epilogue by a Comedian

from Dublin, who never appeared here before

the Unfortunate Couple is the 4th act of Novelty —
see L. I. F. 1697- (Bills from B. M.)

Rival Brothers— the running title of this play is
A Fatal Secret, or the Rival Brothers — it is an in-
different T. by an unknown author — it had been
acted at L. I. F. and was printed in 1704, but without
the names of the performers — the plot is nearly the
same as that of the Orphan — both the plays seem to
have been founded on the same novel.

Betterton and his associates seem to have been
very successful for some few years after their removal
to L. I. F. — but about this time their affairs began
to decline owing to a variety of causes — they were
too old to mend in their acting, whereas their com-
petitors were greatly improved — the theatre was but
small and poorly fitted up — their system of manage-
ment which had been hastily formed, deprived Bet-
terton of that authority, which is necessary for any
person who undertakes to govern a company — he
often complained to Booth of the difficulties he
laboured under in this respect — and the novelties of
French Tumblers &c. introduced at D. L. took with
the multitude arid procured better houses. (Cibber.)

312 L. i. F. 1703-1704.

The author of Courtship a-la-Mode 1700 says in
his preface — " My play was entered at L. I. F., where
" Betterton did me all the justice I could reasonably
" expect ; but his example was not followed — for
" Bowman kept the first character of my play for 6
" weeks and then could hardly read 6 lines of it—
" how far this way of management makes of late for
" the interest arid honour of that house, is easy to be
" judged — some, who valued their reputation more,
" were indeed rarely or never absent — to these I give
" my thanks ; but finding that 6 or 7 people could
" not perform what was designed for 15, I was obliged
" to remove it after so many sham rehearsals, and in
" less than 20 days it was acted at D. L."

If Betterton's influence with Bowman, who had
married his adopted daughter, was so small, what
must it have been with the rest of the company ?

Betterton to gratify the desires and fancies of the
Nobility and Gentry engaged from abroad the best
dancers and singers, but they, being exorbitantly ex-
pensive, procured small profit to him and his company,
but vast gain to themselves. (Downes.}

To recover to Betterton and his friends their due
estimation a new project was formed, that of building
them a stately theatre in the Haymarket — Capt.
Vanburgh opened a subscription for that purpose,
which was filled by 30 persons of quality at £100
each, in consideration whereof every Subscriber for
his life was to be admitted, to whatever entertainments
should be publickly performed there, without farther
payment for his entrance — (Cibber.) — while this plan
was in agitation, it was suggested to Betterton, that
he should assign over to Vanburgh his License to

D. L. 1704-1705. 313

perform — and for the future have no concern with
the theatre but as an actor — to this he readily assented
— he had now been on the stage above 40 years, and
found the infirmities of age beginning to make inroads
on his constitution — he was therefore desirous of
repose and of being relieved from the fatigues of
management — in the latter end of 1704 he assigned
over his license and his whole company to Vanburgh.
(B. D. and Dowries.)

D. L. 1704-1705.

Christopher Rich got a footing in this theatre
March 24th 1690-91 by Alexander Davenant assign-
ing to him all his interest in that theatre, which in
1687 he derived from a similar assignment made to
him by Charles Davenant, probably his brother — and
from that time Rich had been considered as the prin-
cipal Manager there — In the dedication of the World
in^the Moon to him in 1697* that piece which was
acted at D. G., is said to have been played under his
own roof— this information we derive from Malone,
but neither he nor Cibber gives a satisfactory account
how Rich who had only a certain interest (tho* a large
one) in the theatre, contrived to act as sole Proprietor

314 D. L. 1704-1705.

—Gibber indeed explains the arts by which he main-
tained himself in that authority, but not how he
acquired it originally — he appears to have been a man
of great cunning, and intimately acquainted with all
the quirks of law — he was as sly a tyrant as was ever
at the head of a theatre, for he gave the actors more
liberty, and fewer days pay than any of his prede-
cessors— he would laugh with them over a bottle and
bite them in their bargains — he kept them poor, that
they might not be able to rebel, and sometimes merry,
that they might not think of it.

The Company which had been left at D. L. on the
secession of Betterton and his associates, after strug-
gling with unequal force against those excellent per-
formers, began in the course of a few years to remove
the prejudices which had been entertained against
them, and to claim their share of applause — they had
the advantage of youth ; and having had the oppor-
tunity of exhibiting themselves in several new plays,
where comparisons to their disadvantage could not
be made, they came to be viewed in a more favourable
light — by the acquisition of Mrs. Oldfield and Wilks,
and the visible improvement of Gibber, Pinkethman,
Johnson and Bullock, the reputation of the company
was by this time much greater than in 1695 — all the
credit of this was due to the performers and none to
the Patentee, who had no conception himself of
theatrical merit either in authors or actors — yet his
judgment was governed by a saving rule in both — he
looked into his receipts for the value of a play, and
from common fame he judged of his actors — he had
purchased his share of the Patent solely with a view
to make money by it — his taste about every thing to

D. L. 1704-1705. 315

be exhibited on the stage was just upon a level with
that of the multitude, whose opinion and whose
money weighed with him full as much as that of the
best judges — he earned this notion so far that he was
once actually in treaty for an extraordinary large
Elephant, who was to make his appearance at Dorset
Garden in any play or farce at a certain sum — but
from the jealousy which so formidable a rival had
raised in his dancers, and by his bricklayer's assuring
him, that if the walls were to be opened wide enough
for his entrance, it might endanger the fall of the
house, he gave up this project.

Such was the conduct of the Patentee, nor was it
easily to be altered, while he possessed the secret of
making money out of disorder and confusion — for
however strange it may appear Gibber had often ob-
served him inclined to be cheerful in the distresses
of his theatrical affairs, and equally reserved and
pensive, when things went smoothly forward with a
visible profit — upon a run of good audiences he was
more frightened to be thought a gainer, which would
make him accountable to others, than he was dejected
with bad houses, which at worst he knew would
make others accountable to him. (Cibber.)

As so much has been said against Rich (and seem-
ingly with good reason) it would be unfair not to
notice what has been said in his favour.

The Stage Beaux tossed in a Blanket was printed
in 1704 — the author in his dedication to Rich says
— " I should here make a panegyric on your several
" good qualities ; but I know by that I should rather
" offend than please you, who are much fonder of
" doing good deeds, than of hearing of them when

316 D. L. 1704-1705.

" done — I will not therefore enumerate your private
" acts of generosity, or benefits done to particulars,
" tho' I easily could ; but I can't but take notice of
" those from which the publick derives a benefit, I
" mean your management of the theatre."

Estcourt did not print his Fair Example till 1706
— he dedicated it to " the serene Christopher Rich
" Esquire, chief Patentee, Governour, and Manager
" of her Majesty's Theatre Royal " — he begins his
dedication by calling Rich — " Dreadless Sir " — after
some preliminary observations, he adds — " You have
" a genius extraordinary — great natural gifts — a wit
" just and fruitful — an understanding clear and distinct
« — a strength of judgment and sweetness of temper,
" yet I will be unjust to your character, rather than
" injurious to your modesty — You have a noble idea
" of poetry, and can tell what a play is worth better
" than he that wrote it * * * how heartily welcome
" a good play is to your temper ! and what an open
" house you have kept for the author and his friends
" on the 3d day ; nay sometimes the 6th and 9th !—
" * * how did you send for your own money and
" recruit your actors with it, when there was no other
" ammunition in the camp " &c.

Sep. 11. Jovial Crew 13. Squire of Alsatia.

16. Titus Andronicus 22. Don John.

23. Unhappy Favourite 28. Bartholemew Fair.

29. London Cuckolds 30. Oronooko.

Oct. 4. Feigned Innocence or Sir Martin Marrall,
with the School boy.

5. Empress of Morocco 10. Traytor.

11. Love makes a Man 12. Constant Couple.

14. Not acted 9 years, Mithradates.

D. L. 1704-1705. 317

18. Spanish Fryar. Dominic = Estcourt: — his 1st
appearance on the English stage.

20. Taming of the Shrew 23. Silent Woman.

21. Rover. Wilmore - Wilks : Ned Blunt =
Estcourt.

24. Sir Courtly Nice. Sir Thomas Calico (Crack)
= Estcourt.

26. Old Batchelor. Capt. Bluff = Estcourt.

28. Estcourt's bt. Committee. Teague = Estcourt.

Nov. 3. Pilgrim 4. Hamlet. Gravedigger =

Estcourt.

8. Not acted 20 years, Northern Lass. Bulfinch
= Estcourt acted about 7 times.

11. Venice Preserved. Antonio = Estcourt.

14. Squire of Alsatia. Sir W. Belfond = Estcourt.

18. Not acted 5 years, Rehearsal. Bayes = Estcourt.

22. Albion Queens.

25. Not acted 5 years, Henry 4th. Falstaff=
Estcourt.

27. Plain Dealer — at the bottom of the bill —
" Note the Theatre in Dorset Garden is repaired from
" the damage done by the late great winds ; and will
" be ready to act in by the latter end of this week,
" or for Entertainments of music and dancing."

Dec. 2. Macbeth.

6. The Company intended to have performed this
evening at D. G., but deferred the performance on
account of the bad weather.

7. Never acted, Careless Husband. Sir Charles
Easy = Wilks : Lord Foppington — Cibber : Lord
Morelove = Powell : Lady Betty Modish = Mrs. Old-
field : Lady Easy = Mrs. Knight : Lady Graveairs =
Mrs. Moor : Edging — Mrs. Lucas : — this is in some

318 D. L. 1704-1705.

respects a good C., but it is rather dull— scenes of
mere conversation require abilities vastly superiour to
those of Gibber to make them pass off well.

20. Emperor of the Moon. Scaramouch =. Estcourt .

26. Northern Lass. Squelch = Johnson: Howdee
= Gibber : Widgin = Bullock : Nonsense =. Norris.

Jan. 2. Careless Husband, with singing and dancing
by Mrs. Cross — her 1st appearance there for 5 years.

10. Second time for 10 years, Comical Revenge.
Sir Nicholas Cully = Dogget: Palmer^ Estcourt :
Sir Frederick Frolic = Wilks.

15. Old Batchelor. Fondlewife = Dogget.

16. Never acted, Arsinoe Queen of Cyprus — this
contemptible Opera was acted 15 times.

18. Never acted, Farewell Folly, or the Younger
the Wiser — Pedro is an old miser— he had agreed
that his son, Frederick, should marry Isabella, the
daughter of Alonce — he alters his mind and wants to
marry her himself — Alonce consents, on condition
that Pedro should forfeit 20,000 crowns, if he should
break off the match — the ceremony is to be performed
as soon as Alonce's son, who is a Captain of Dragoons
in the French army, shall arrive — Diego is a clever
servant — he pretends to be the Captain, and takes up
his abode at Pedro's house, not only with 30 Dra-
goons, but with several women arid children, who are
supposed to belong to them — the Dragoons eat up all
Pedro's provisions — drink his wine — and turn his
linen into shirts, aprons &c. — Pedro consents to

resign Isabella to his son this is a pretty good

Farce — it is attributed to Motteux, who would have
improved his piece considerably, if he had reduced
his 3 acts to 2 —it was printed in 1705, without the

D. L. 1704-1705. 319

names of the performers, and with the first title
changed to the Amorous Miser — acted about 6 times.

26. Timon of Athens 31 . Hamlet. Polonius

= Dogget.

Feb. 6. Plain Dealer. Manly = Griffin.

8. For bt. of Mrs. Cross. Secret Love. Florimel
= Mrs. Cross.

15. Tunbridge Walks. Woodcock = Estcourt.

16. Never acted, Gibralter, or the Spanish Adven-
ture— Wilmot and Vincent are English Colonels —
they had been taken by a French ship, and carried
into Gibralter — they had paid their ransom, and ob-
tained their passports — they linger for some hours at
a village in the neighbourhood of Gibralter, for the
sake of Leonora and Jaquelinda, the nieces of Don
Diego, with whom they are in love — the fortress is
supposed to be taken behind the scenes in the 5th act
— Admiral Rooke in 1704 bombarded Gibraltar, but
to very little purpose — some bold men ventured to go
ashore, in a place where it was not thought possible
to climb up the rocks; yet they succeeded in it:
when they got up, they saw all the women of the
town were come out to a chapel there, to implore the
virgin's protection : they seized on them, and that
contributed not a little to dispose those in the town
to surrender — (Unmet) — Wilmot in the 1st scene
says — " On this night the female inhabitants of the
"adjacent towns pay their devotions to Sancta Maria's
"shrine, which is in this village; Gibraltar at this in-
"stant of time has not so much as a swabber's daughter
"left in it " — temporary allusions are bad things, as
they soon become obsolete, and then hang as a dead
weight on a piece, but they generally help it forward

320 D. L. 1704-1705.

at first — notwithstanding that Gibraltar had been
lately taken, and that this C. has considerable merit,
it was acted but twice — it was written by Dennis.

Feb. 20. Gibralter with alterations. Duenna = Mr.
Norris : — the names of the other performers are not
known.

22. Mrs. Oldfield's bt. Chances 26. Relapse.

27. For bt. of Wilks. Careless Husband 14th time.
March 1. Greenwich Park.

15. Estcourt's bt. Not acted 6 years, She wou'd if
she cou'd. Sir Oliver Cockwood = Dogget : Sir
Joslin Jolly = Estcourt : Gatty = Mrs. Cross.

18. Never acted, Quacks, or Love's the Physician.
Sir Patient Carefull = Norris: Clitander = Mills : Dr.
Medley = Bullock : Dr. Ticklepulse = Pinkethman :
Dr. Refugee = Cibber : Harry (servant to Clitander)
= Estcourt: Freckle = Keen : Lysette (niece to Sir
Patient) = Mrs. Moor : Lucinda (his daughter) = Mrs.
Temple : Doris = Mrs. Powell : — this F. in 3 acts is
taken from Moliere — "Love's the best Doctor " came
out at Paris in Sept. 1665 — Swiney has made some
alterations and additions, but he has not improved
what he has borrowed — Clitander and Lucinda are
mutually in love — Lysette tells Sir Patient that his
daughter is very ill — this is only a stratagem — he
sends for several Physicians — the Physicians have a
consultation — they talk of horses &c., but say nothing
about the young lady — when her father enters, each
of them tells him that his daughter is ill of a different
distemper — Clitander assumes the disguise of a Phy-
sician— he assures Sir Patient, that Lucinda's disease
is in her mind — that it proceeds from a desire of
being married, and that in order to cure her, they

D. L. 1704-1705. 321

must pretend to get her a husband — Clitander is
married to Lucinda in jest, as Sir Patient supposes

— but the marriage proves to be a real one this

piece was acted after having been twice forbidden:
Swiney in the preface says — " this play was to have
" been stifled, because the other house were to act
" one on the same subject."

March 31. ^Esop.

April 11. Committee. Obediahzz Johnson.

14. King and no King.

21. Not acted 6 years, Evening's Love.

23. Never acted, Tender Husband, or the Accom-
plished Fools. Capt. Clerimont =. Wilks : Humphry
Gubbin = Pinkethman : Sir Harry Gubbin = Bullock :
Clerimont Senior = Mills : Pounce ~ Estcourt : Tip-
kin — Norris : Biddy Tipkin — Mrs. Oldfield : Mrs.
Clerimont = Mrs. Cross : Fainlove — Mrs. Kent :
Aunt — Mrs. Powell: Jenny = Mrs. Sapsford : — acted
about 7 times — this is a good C. by Steele — the
Romances of that time are well ridiculed in it, but
this circumstance is rather against it at present, as
nobody reads them ; they have long since given place
to novels — Capt. Clerimont's disguising of himself as
a Painter is taken from the Sicilian of Moliere— the
last Editor of the B. D. tells us that this play was
acted in 1703— Malone, in 1800, says of Mademoiselle
de Scuderi — " this venerable spinster, whose fruitful
" pen produced the Grand Cyrus, Cleliee, Ibrahim
" and various other somniferous Romances, which
" our patient ancestors in the last century read with
" much delight both in French arid English, died at
" Paris on June 2 1701 at the great age of 94<."

VOL. II. Y

322 D. L. 1704-1705.

April 30. For bt. of Mills. Love's last Shift— last
play till after May Fair.

May 16. Amphitryon 23. Prophetess.

28. Not acted 5 years, Soldier's Fortune.

June 5. Capt. Griffin's bt. Volpone.

9. Mrs. Cross' bt. Evening's Love. Jacinta =
Mrs. Cross.

12. Wilks' bt. Not acted 20 years, Royal Merchant,
or the Beggar's Bush. Goswin = Wilks : Clause =
Keen: Wolfort = Williams: Hubert = Mills : Hemps-
kirke = Bickerstaffe : Vandunke = Bullock : Higgen
zzEstcourt: Prigg — Norris, alias Jubilee Dickey:
Jaquiline = Mrs. Cox : Bertha = Mrs. Rogers :— this
is a very good, but slight alteration of one of Beau-
mont and Fletcher's best plays — the 1st scene of
Act 3d (which required more alteration than any
other part of the play) is well enough managed : in
Act 4th when the Beggars are forbidden by their king
to go to the wedding, a happy parody on Othello is
introduced—

" Farewell the plumbed pottage, and the minced

" pies ;
" The charming seasoned gravy, the life-reviving

" pig ;

" Together with all pride, pomp and circumstance
" Of glorious eating ; O Farewell!
" Prince Prigg's occupation's gone."

The name of the play is changed much for the
worse ; and the last scene of act 3d between Goswin
and Gertrude (or Bertha) is improperly omitted — the
characters are from the play as printed in 1706.

D. L. 1704-1705. 323

June 14. For the advantage of Estcourt. Sir
Solomon Single. Betty •=. Mrs. Mountford, with an
Epilogue on her first appearance on this stage — she
was at L. I. F. during the former part of the season.

16. Mills' bt. Not acted 6 years, Young Coquet —
the Coquet by Mrs. Cross — with Country House —
Madam Barnard, which was originally performed by
Mrs. Verbruggen, acted by her daughter, Mrs. Mount-
fort — Barnard is an old lawyer, who had retired to
the Country — his second wife is very fond of com-
pany— Barnard is so alarmed at the expense at which
he lives, and so pestered with visitors, that he turns
his house into an Inn, hangs up a sign, and dresses
himself and his brother as drawers — the expedient
answers his purpose — Erastus is in love with Mari-
amne, Barnard's daughter — Colin, Barnard's servant,
had killed a royal stag which had taken shelter in the
barn — Erastus tells Barnard that this offence is suffi-
cient to ruin him, but that if he will give him his
daughter, he will bear him harmless — Barnard con-
sents— the scene lies in Normandy — this is a good
Farce — it is said to be a translation from the French
—it was not published till about 1715 — it must have
come out between 1697 and 1703 — it is printed in
Vanburgh's works without the names of the per-
formers, and without any intimation that it had been
acted — some additions were perhaps made to this
piece after it was published — Janno and Mawkin were
originally very small parts— yet we find them acted
by good performers — the name of Luca appears twice
in the bills — yet there is no such name in the piece
as printed — Luca and Colin are probably the same
character— see C.G.April 18 1735— and Aprils 1758.

Y 2

324 D. L. 1704-1705.

The Young Coquet is not noticed in the B. D.—
at least not hy that name — they had at this time a
practice of advertising plays in the bills by a new
name, or by the second title, which makes it very
difficult sometimes to ascertain what play was really
acted.

23. Bullock's bt. Tender Husband.

80. Newman's bt. Royal Merchant with Purcell's
Frost scene in King Arthur.

July 13. King Lear.

25. Not acted 20 years, Loyal Subject. Arenas =
Mills : Theodore (his son) = Wilks : Duke of Mos-
covy = Williams : Putskie (brother to Archas) =
Griffin : Boroskie = Keen : Burris = Bickerstaffe :
Ancient, or Ensign, to Archas = Johnson : Alinda,
alias Young Archas = Mrs. Rogers : Olympia (sister
to the Duke) — Mrs. Finch : Honora and Viola
(daughters to Archas) = Mrs. Temple and Mrs. Norris:
Petesca = Mrs. Cox : Lady= Mrs. Tapsford : — this
cast is taken from an edition of the play printed in
1706 — the great Duke of Moscovy cashiers Archas,
the Loyal General, for a supposed affront which he
had received in his father's lifetime — Archas hangs
up his arms in a temple, and vows never to use them
again — the Tartars invade Moscovy — the Duke's
soldiers refuse to march unless Archas be restored to
his command — Archas is prevailed on to resume it
—he defeats the Tartars — the Duke, at the instiga-
tion of Boroskie, refuses to see Archas, and directs
him to retire to his house in the country — Boroskie
offers the soldiers money — they refuse it — the Duke
visits Archas — Archas shows him all his rooms but
one — the Duke, having received a hint from Boroskie,

D.L. 1704-1705, 325

insists on seeing that room — it proves to contain a
large treasure — the Duke's father had deposited it
there, and taken an oath from Arenas and Boroskie
not to revreal it, unless his son should be reduced to
distress — the Duke carries off the treasure, and en-
joins Archas to send his daughters to court — in the
4th act, the Duke invites Archas to supper — Theodore
gives him warning that he is in danger — Archas is
offended — at the banquet the Duke orders his servants
to bring cloaks for the guests — Archas has a robe of
death given to him — the Duke tells Boroskie not to
exceed his command — Boroskie, who is an enemy to
Archas, puts him to the rack — Theodore and the
soldiers threaten to fire the court, unless Archas be
restored to them safe and well — Archas appeases the
soldiers— the Duke is very sorry for what had hap-
pened to Archas, and vows vengeance on Boroskie -
in the 5th act, the soldiers seem determined to revolt
from the Duke — Archas again appeases them — he is
on the point of killing Theodore — Putskie enters
with Young Archas — he says he will kill Young Ar-
chas, if Archas should kill Theodore — the Duke
enjoins Archas on his allegiance to spare his son—
Archas obeys — in the first 4 acts Young Archas is
disguised as Alinda — at the conclusion, the Duke,
Young Archas and Burris marry Honora, Olympia
and Viola this is one of the plays in which Flet-
cher carries loyalty to its utmost pitch — Archas shows
no resentment for the injuries which he had received
from the Duke, but is extremely angry with his son
for resenting them — the play is a very good one —the
elder Sheridan is said to have made an alteration of

326 L. I. F. AND HAY. 1704-1705.

the Loyal Subject ; it seems to have been acted at
Dublin, but not to have been printed.

July 29. Loyal Subject — last performance.
from B. M.)

L. I. F. AND HAYMARKET r/04-1705.

The bills of these Theatres were very irregularly
inserted in the Daily Courant.

L. I. F. Oct. 2. Metamorphosis, or the Old Lover
Outwitted — 3d time — this is a good Farce by John
Cory — probably the actor — it is printed without the
names of the performers, but there is a second Pro-
logue designed for Verbruggen in the habit of Trick-
well the Astrologer — Cory has borrowed the plot, arid
sometimes the very words from Albumazar, but in
order to conceal the theft, he has the impudence to
tell us in the titlepage that this Farce was written
originally by Moliere — Albumazar was printed be-
fore Moliere was born — and Moliere has no piece that
resembles this Farce.

16. For bt. of Mrs. Evans and Mrs. Mountfort.
Sir Mannerly Shallow. (Country Wit) — Betty Frisque
— Mrs. Mountfort with an Epilogue — and Stage

Coach.

Nov. 3. Sophonisba.

9. Henry 4th. Fal staff =:Betterton his 1st appear-
ance this season.

L. I. F. AND HAY. 1704-1705. 32?

Dec. 4. For the Author — the Biter — Sir Timothy
Tallapoy = Bettertoii : Pinch (the Biter) — Pack :
Clerimont (Sir Timothy's nephew) = Verbruggeri :
Friendly = Booth : Scribblescrabble (a city solicitor)
— Leigh : Bandileer (a foot soldier) = Knap : Trick
(servant to Friendly) = Fieldhouse : Mrs. Clever =.
Mrs. Barry : Lady Stale = Mrs. Leigh : Mariana =
Mrs.Bracegirdle: Angelica (daughter to Sir Timothy)
= Mrs. Mountfort : Mrs. Scribblescrabble = Mrs.
Lawson : — Sir Timothy is a rich East India merchant
—a great affecter of Chinese customs — and a sworn
enemy to the Biters — he is in love with Mariana —
she is privately married to Clerimont — Lady Stale
is very desirous of marrying Friendly — Sir Timothy
had engaged his daughter to Pinch whom he had not
seen — at their first meeting, Pinch bites Sir Timothy,
and Sir Timothy breaks Pinch's head — at their second
meeting, Pinch says that he is Squire Pinch and come
to marry Sir Timothy's daughter — Sir Timothy in-
sists that it is impossible his friend Sir Peter Pinch
could have a son who is a Biter — he treats Pinch as
an impostor, and confines him in the cellar — Sir
Timothy, by the persuasion of Mariana, gives his
daughter to Friendly — he had been previously tricked
out of a settlement on him — Lady Stale, on finding
that Friendly is to be married to Angelica, makes her
exit in despair — Sir Timothy, on finding that Ma-
riana is already married to Clerimont, makes his
exit in a rage — the scene lies at Croydon at the time
of the Fair — Downes says that this C. in 3 acts was
acted but 6 times — it is very far from a bad play —
the story, that Rowe laughed vehemently at his own

328 L. i. F. AND HAY. 1704-1705.

jokes, tho' the audience did not sympathize with him,
is related by Dr. Johnson, who speaks of Rowe as
having failed ignominiously in Comedy — Dr. Johnson
probably never read the play — other writers have
spoken of it contemptuously, who seem to have fol-
lowed each other " not like hounds that hunt, but
" that make up the cry."

The Biters were riot unlike the Humbuggers, and

a fair subject for ridicule — the best story about biting

is told in the Spectator — a condemned felon sold his

body to a surgeon — when he had pocketed the cash

— " bite," says he, " I am to be hanged in chains."

Dec. 12. Abra-Mule, or Love and Empire.

Jan. 9. Man of the Mode.

Feb. 8. All for Love 20. Amorous Widow.

22. For the author — Gamester with a new scene.
Young Valere = Verbruggen : Hector (his valet) =
Pack : Lovewell (in love with Lady Wealthy) — Bet-
tertori : Sir Thomas Valere — Freeman : Dorante
(his brother, in love with Angel ica) = Corey: Mar-
quess of Hazard (a supposed French Marquess, but
really Mrs. Security's nephew) = Fieldhouse : Ange-
lica (sister to Lady Wealthy) = Mrs. Bracegirdle :
Lady Wealthy (a coquetish widow) = Mrs. Barry :
Mrs. Security = Mrs. Willis : Favourite — Mrs. Hunt :
-Young Valere is in love with Angelica — he re-
peatedly promises her to leave off gaming, but breaks
his word — in the 4th act, Angelica wins all his money,
and her own picture which she had given him set
with diamonds — at the conclusion they are reconciled
— there is a dull underplot between Lovewell and Lady
Wealthy — Young Valere and Hector are excellent

L. I. F. AND HAY. 1704-1705. 329

characters — this C. was printed in 1705 without the
name of the author— Love at a Venture 1706 is said
in the titlepage to be written by the author of the
Gamester, and the dedication is signed Susanna
Carroll.

March 1. For bt. of Pack and Mrs. Bradshaw-
Agreeable Disappointment — this is the 2d title of
Love Betrayed.

3. Betterton's bt. Othello.

10. Mrs. Barry's bt. Don Sebastian and Judgment
of Paris.

31. For bt. of Cave Underbill. Virtuoso — it being
the last time of acting in this house.

Haymarket.

April 9-* Vanburgh opened his new Theatre (now
the Opera house) with a Prologue written by Garth,
and spoken by Mrs. Bracegirdle — after which was
performed the Triumph of Love set to Italian Music
(B. M.) — this Opera was unsuccessful, and the per-
formers, being liked but indifferently by the gentry,
were in a little time sent back to their own country;
they were the worst that ever came from thence.

The first play acted was the Gamester — then fol-
lowed the Amorous Widow — Duke and no Duke —
She wou'd if she cou'd, and half a score of old plays,
acted in the clothes brought from L. I. F. — the audi-
ences fell off greatly — Downes thinks the Company
would have succeeded better, if they had opened the
house with a new play, or an English Opera. (Downes.)

* Gibber blunders as usual, and says this house was finished in
1706.

330 L. I. F. AND HAY. 1704-1705.

April 14. Indian Emperour. Cortez — Powell.

23. Merry Wives of Windsor.

24. Never acted, Consultation — this is perhaps
the piece alluded to by Swiney in his preface to the
Quacks— it was acted about twice.

26. Humorous Lieutenant. Lieutenant = Boweii.

27. Gamester 28. Venice Preserved.

30. Don Quixote. Don Quixote = Bowen :— and
every thing else as it was originally.

May 8. Not acted 4 years, Henry 8th.

Conquest of Spain — this T. is not mentioned in
the manuscript bills, but Downes says it came out in
the beginning of May and expired on the 6th day —
he attributes it to Mrs. Pix — it is founded on All's
lost by Lust, and was printed without the names of
the performers to the D. P. — Betterton probably
acted Julianus.

All's lost by Lust was written by Rowley — it was
printed in 1633 — the Moors invade Spain — Rodori-
que the King of Spain, sends Julianus, at the head
of an army, to oppose the Moors — he defeats them,
and takes their King, Mulymumen, prisoner — during
the absence of Julianus, Rodorique attempts to de-
bauch his daughter, Jacinta — she is virtuous, and he
ravishes her — she is confined in a castle under the
custody of Lothario, who is the King's pimp — he falls

asleep she gets his keys, and makes her escape to

her father — Julianus, in revenge, sets Mulymumen
at liberty, and joins him, with several Spanish lords
in his army, against Rodorique — Rodorique, in the
5th act, is compelled to seek a shelter in Biscany —
and Mulymumen becomes King of Spain — he offers
to marry Jacinta — she scorns him — he orders Juli-

L. I. F. AND HAY. 1704-1705. 331

arms' eyes to be put out, arid Jacinta's tongue to be
cut off— he gives Julianus a sword — they fight —
Mulymumeri seizes Jacinta, and places her before
him — Julianus, in making a pass at Mulymumen,
kills his daughter — this part of the plot is founded on
history — the other part, according to Langbairie, is
taken from a novel — Antonio, a Spanish nobleman,
in the 1st act, marries Margaretta privately — she is
of humble birth— at the end of the 3d act, Antonio
marries Dionysia — Margaretta requests her husband
sometimes to see her secretly — Lazarello visits her
in the dark, at the time appointed by Antonio, and
with his consent — Margaretta and her woman stran-
gle Lazarello, supposing him to be Antonio — in the
last scene, Antonio dies of .a wound which he had
received from Mulymumen — Margaretta and Dionysia
kill themselves — this is far from a bad play — the
author acted Jaques, who is brother to Margaretta,
and a comic character — All's lost by Lust was re-
vived at the Red Bull, March 23, 1661.

Mrs. Pix is greatly indebted to the old play — she
has however materially altered both parts of the plot,
and written nearly the whole of the dialogue afresh
-Theomantius, a Prince of Spain, and Jacincta are
mutually in love — Julianus does not join the Moors,
but Theomantius does — Rhoderique is taken prisoner
—Julianus assists him in making his escape, and is
mortally wounded in defending him — Jacincta dies
of a wound which she had received in a scuffle
between the Moors and Spaniards — Theomantius
kills himself — in the other part of the plot, Margaretta
is of noble birth — Antonio does not marry a second
wife — but his pretended friend, Alvarez, tells Mar-

332 L. I. F. AND HAY. 1704-1705.

garetta that her husband had married Delia —Alvarez
attempts to debauch Margaretta, but is killed by
Antonio — Mulymumen at the dying request of Juli-
anus, sets Antonio and Margaretta at liberty — the
comic scenes are omitted —Rowley's play, with all

its faults is the better of the two In the Conquest

of Spain, Julianus is a pattern of loyalty — when
Jacincta tells him that she has been ravished by the
King, he replies -

" Saidst thou the King ? then all revenge is lost,
" And we must bear our heavy load of shame
" Nor once attempt to wash thy stains in blood."

As no man is wise at all times, he is thrown off
his guard in the 5th act, and calls the King,
4 ' Ungrateful Tyrant" — he afterwards says that if he
had been father of a hundred children, and the King
had condemned them all to slavery or death —

" He had lamented, but ne'er sought revenge."

Jacincta tells Theomantius that he is far more guilty
than Rhoderique.

May 24-. Amphitryon 28. Scornful Lady.

30. Not acted 0 years, Adventures of Five Hours.

June 2. Othello — last time this season.

8. Not acted by this company for 9 years, Rule a
Wife — the principal characters to be performed by
those who played them, when it was revived in King
Charles the second's time.

This could only be true of Betterton and Mrs.
Barry, who acted Perez and Margarita, Smith who
acted Leon was dead, and Mrs. Cook who was Esti-
fania had left the stage several years.

L. I. F. AND HAY. 1704-1705. 333

18. Not acted these many years, Virtuous Wife—
acted 3 times.

25. Love for Love — acted all by women — on 27
and 29 this play was repeated — the last performance
at Hay.

AtL. I. F.July 26. Orphan— 27. Sir Courtly Nice.

Aug. 1. Never acted, Cares of Love, or a Night's
Adventure. Beltran arid Florencio (two Gentlemen of
Granada) = Powell and Booth : Don Pedro (a Spanish
Captain) = Cory : Corillo (his Ensign) = Weller :
Antonio (in love with Lucinda) •=. Mynns : Host =
Knapp : Julio — Miller : Lisena (a Lady of Granada) =
Mrs. Bradshaw : Lucinda = Mrs. Allison : Lucretia =
Mrs. Baker : — scene Toledo at the time of the Bull-
Feast — Florencio and Lisena had been mutually at-
tached— he had become jealous, but without sufficient
reason — she follows him toToledo — assumes the name
of Agnes, and passes herself on the Host for his niece,
whom he expected, but had never seen — Florencio
and Beltran fall in love with Lucinda and Lucretia —
the ladies fall in love with them — Antonio, Pedro and
Corillo make love to Agnes — she promises each of
them to meet him — but purposely disappoints them
all — at the conclusion Florencio and Lisena are re-
conciled— Beltran and Antonio marry Lucretia and
Lucinda — this is an indifferent C. by Chaves — it was
acted about 3 times.

Aug. 14. Not acted 20 years, City Politics. (Bills
from B. M.}

Congreve is said to have had a share in the Hay.
but to have resigned it at the close of the season.

Zelmane, or the Corinthian Queen was printed in
1705— it had been acted at L. I. F. — Amphialus

334 L. I. F. AND HAY. 1701-1705.

(General of Corinth, and Prince of the Blood) =
Verbruggen: Arcanes (his brother) = Booth : Arbaces
(Prince of Scythia, the Queen's foster brother) —
Cory : Zelmane (Queen of Corinth) = Mrs. BaiTy :
Antimora (the Arcadian Princess, prisoner to Zel-
mane) = Mrs. Bracegirdle : this is a poor T. both

as to plot and language.

The Lunatick was printed in 1705, but without
having been acted — it is dedicated to the Three
ruling B s at the new house in L. I. F. — the un-
known author is very severe on the three leading per-
formers— he taxes them with cheating the inferiour
actors, &c. —but as he is enraged at them for having
postponed his piece, his assertions do not seem to
deserve much credit — Mrs. Barry, Mrs. Bracegirdle,
and Betterton, were probably the persons whom he
addresses as a "most arbitrary and most Hermaphro-
dite Conjunction" — as to the piece itself, it is a
moderate C. in 3 acts — Manly Senior and Manly
Junior are in love with Valeria and Emilia, the
daughters of Littlegood — Manly Senior had been
contracted to Valeria, but as his father had disin-
herited him, Littlegood refuses to complete the
engagement — he orders Emilia to marry Shortsight,
who is an old man, and uncle to Manly Senior and
Manly Junior — the ladies, with the assistance of
Quickwit, their father's servant, treat Shortsight
very scurvily — they make Littlegood believe that
Shortsightis mad, and pretend to be mad themselves—
Manly Senior and his brother enter disguised as
Doctors — they marry Valeria arid Emilia — Manly
Senior proves to be rich — Littlegood is reconciled
to his daughters, and Shortsight to his nephews—

D. L. AND D. G, 1705-1706. 335

this play was eventually acted, but with alterations
and additions — see Female Advocates D. L. Jan. 6
1713.

D. L. AND D. G. 1705-1706.

Sep. 22. Relapse 25. Loyal Subject.

27. Tunbridge Walks. Maiden by a Gentleman
(Carnaby) being his 1st appearance.

Oct. 2. She wou'd if she cou'd 3. Unhappy

Favourite.

4. Rover — 5. Spanish Fryar — 6. Royal Merchant.

9. Evening's Love 10. King and no King.

11. Love's last Shift 12. Comical Revenge.

16. Rule a Wife. Estifania = Mrs. Mountfort.

18. Not acted 6 years, Night Walker, or the Little
Thief. Little Thief = Mrs. Mountfort.

22. Old Batchelor 23. Soldier's Fortune.

25. Squire of Alsatia. Sir W. Belfond = Pin-
kethman.

29. Lancashire Witches.

30. Never acted, Hampstead Heath — this C. was
acted 3 times— it was only an alteration of an Act at
Oxford — D'Urfey, in the preface to his Modern Pro-
phets, says that Baker had by conjuring brought
Oxford upon Hampstead Heath— it required no great
conjuring to effect this, as by far the greater part of
the scenes in an Act at Oxford might just as well be

336 D. L. AND D. G. 1705-1706.

supposed to take place on Hampstead Heath — such
parts of the dialogue as related particularly to Oxford,
were of course omitted, or written afresh — the cast
of Hampstead Heath was — Bloom (a young gentle-
man just come from the University) = Wilks : Capt.
Smart = Mills : Calf — Bullock : Deputy Driver —
Johnson : Chum (a poor scholar attending Bloom) =
Pinkethman : Lampoon =: Cibber : Berynthia = Mrs .
Mountfort : Arabella = Mrs. Oldfield : Mrs. ap Shin-
ken = Mrs. Lucas.

An Act at Oxford was written by Baker, and
printed in 1704— Bloom (a Gentleman Commoner) =
Wilks : Capt. Smart = Mills : Calf (an Essex Squire)
=. Bullock: Deputy Driver (a Stock-jobber and re-
former of manners) = Johnson : Chum (a servitor)
= Pinkethman : Lampoon (a pretender to wit) -
Cibber: Berynthia (a rich heiress) = Mrs. Rogers:
Arabella (wife to Driver) = Mrs. Moor : Mrs. ap
Shinken =: Mrs. Lucas : — Capt. Smart was to have
been married to Berynthia, but as he had spent his
fortune, he is slighted by her — he makes Chum as-
sume the character of a young rich Jew — in the 4th
act Bloom visits Berynthia with a view of reading a
play to her — she throws away the play, and makes
love to him — she calls in a fat parson, but Bloom is
not inclined to matrimony — Berynthia marries Chum
—the ceremony is performed by Smart in disguise —
Chum uses her harshly — Smart discovers to Beryn-
thia his plot on her — and she agrees to marry him —
Mrs. Driver comes to Oxford without her husband's
consent — he follows her — in the 3d act Bloom and
Mrs. Driver are on the point of retiring to a private
room — they are interrupted by Berynthia — at the

D. L. AND D. G. 1705-1706. 33*7

conclusion Driver and his wife are reconciled—
Calf marries Mrs. ap Shinken supposing her to be an
heiress — Lampoon turns out to be a dancing master
— Bloom begins the play with the first two lines of
Homer in Greek — in the 5th act, one scene lies
in the Theatre at Oxford — the Doctors, the Under-
graduates, and the Ladies are discovered seated in
their proper places — Bloom as Terrse Filius makes
an oration — in the 1st act, Driver observes, that the
University had suffered the players to come down
among them to affront the London Grand Jury, who
had voted them corrupters of virtuous prentices and
modest chambermaids, and ordered their wicked Bills
to be torn down by the religious Counter officers -
this is not a bad C. on the whole, but too much is
said, and too little done — it was forbidden to be re-
presented, probably through the influence of the
University, or of some zealous member of it — they
would have acted more wisely, if they had not troubled
themselves about what was going forward at D. L. —
more especially as the play itself had little or nothing
in it, that could give a reasonable cause of offence.
Nov. 2. Love makes a Man.

6. Hamlet. Ophelia — Mrs. Mountfort.

7. Constant Couple 8. Volpone.

12. Emperor of the Moon 16. Plain Dealer.

20. Never acted, Basset Table. Sir James Courtly
= Wilks: Lord Worthy = Mills : Sago (a druggist)
= Johnson : Sir Richard Plainman (father to Valeria)
— Bullock : Capt. Hearty =. Estcourt : Ensign Love-
ly = Bickerstaff : Buckle (servant to Lord Worthy) =.
Pinkethman : Lady Reveller = Mrs. Oldfield : Mrs.
Sago = Mrs. Cross . Lady Lucy = Mrs. Rogers :

VOL. II. Z

338 D. L. AND D. G. 1705-1706.

Valeria (a girl fond of philosophical experiments) =
Mrs. Mountfort : Alpiew (womun to Lady Reveller)
= Mrs. Lucas : — acted 4 times — Lady Reveller is a
coquetish widow who keeps a Basset Table — Lord
Worthy is in love with her — she slights him — in the
5th act Sir James pretends to ravish her — Lord
Worthy comes to her assistance — and she marries him
in consequence — Mrs. Sago loves gaming and ex-
pense—she has had an intrigue with Sir James, but
affects to be fond of her husband — Sir James and
Lively marry Lady Lucy and Valeria —this is on the
whole a good C. — it was written by Mrs. Carroll.

Dec. 3. Never acted, Perolla and Izadora. Perolla
(son to Pacuvius) = Wilks : Pacuvius = Gibber : Bla-
cius (father to Izadora) = Mills : Hannibal — Williams :
Portius = Keen : Izadora = Mrs. Oldfield : — Gibber
in his dedication to the Earl of Orrery says, that
he borrowed the story from the famous romance of
Parthenissa written by his Lordship's Grandfather,
and that he had little more than the trouble of blank
verse to make it fit for the Theatre — the plot however
is in part founded on the 23d book of Livy — Perolla
and Pacuvius are real characters — Blacius is repre-
sented as the brother of Decius Magius — Pacuvius
is a friend to the Carthaginians — Perolla and Blacius
are friends to the Romans— Perolla and Izadora are
mutually in love — their union is equally opposed by
Pacuvius and Blacius, who are mortal enemies —
three persons, at the instigation of Pacuvius, attempt
to assassinate Blacius — Perolla enters, and assists
Blacius in repelling the attack — he refuses to tell
Blacius who he is — Blacius is sent to prison — Perolla,
with some friends disguised as Africans, sets Blacius

D. L. AND D. G. 1705-1 706. 339

at liberty — he falls however again into the hands of
Hannibal, and is brought to the scaffold — Izadora,
to save her father's life, avows herself the first con-
triver of Blacius' rescue from the prison — Perolla
takes the blame of Blacius' rescue on himself — Han-
nibal generously pardons Blacius, and unites Perolla
with Izadora — Pacuvius kills himself — this is not a
very bad T., but Gibber has introduced too much
historical narrative — with no small degree of im-
propriety he calls Pacuvius and Blacius in the D. P.
Romans — they are riot Romans but citizens of Sa-
lapia, at which place the scene lies — Gibber says he
had a favourable 3d and 6th day — the Prologue is
sensible, arid some of the lines are well written.

Dec. 10. Jovial Crew 12. Funeral.

13. Venice Preserved 17. Sir Courtly Nice.

19. Henry 4th 121. Greenwich Park.

22. Caius Marius 28. Northern Lass.

Jan. 1. Timon of Athens.

5. Man of the Mode 22. Oronooko.

25. Amphitryon 28. Rehearsal 29. Pilgrim.

Feb. 12. For bt. of Wilks. Bonduca.

23. Estcourt acted Sir Solomon Single.

26. Mrs. Oldfield's bt. Tender Husband.

28. Arsinoe — with 4th act of Old Batchelor, and
dancing by Miss Santlow, being her first app. on
the stage.

March 2. Not acted 5 years, King Arthur.

5. Estcourt's bt. Tempest. Trincalo, with a new
Epilogue to the brothers of the bottle, by Estcourt.

12. Gibber's bt. King Arthur.

25. For bt. of Mrs. Rogers. Island Princess.

340 D. L. AND D. G. 1705-1706.

26. For bt. of Mrs. Cross. Secret Love. Flori-
mel = Mrs. Cross.

27. Mrs. Knight's bt. Virtue Betrayed. King
Henry — Estcourt : — with a new Epilogue by the child
who acts the Princess Elizabeth — This child was
Miss Younger — Mrs. Saunders, the Actress, in a
letter to Curll (published in his History of the Stage)
says, that Mrs. Younger was born Sep. 2 1699, and
came into the house when she was about 7 years old ;
her first part was the Princess Elizabeth.

28. Mrs. Mountfort's bt. Committee. Ruth = Mrs.
Mountfort.

29. By subscription, Camilla, this is a contempti-
ble Opera by Swiney.

April 2. For bt. of Mills. Indian Queen.

3. For bt. of Mrs. Evans. Careless Husband.

8. Never acted, Recruiting Officer. Capt. Plume
= Wilks: Capt. Brazen = Cibber : Kite = Estcourt :
Bullock = Bullock : Ballance = Keen : Worthy =
Williams : Costar Pearmain = Norris : Thomas Ap-
pletree = Fairbank : Sylvia = Mrs. Oldfield : Melinda
= Mrs. Rogers : Rose = Mrs. Mountfort : Lucy =
Mrs. Sapsford : — acted 10 times.

On Sep. 16 1706 the Recruiting Officer was acted
at Bath — several persons of quality were present—
the news of the victory gained by the Duke of Savoy
and Prince Eugene, reached Bath that day — Estcourt
added to the Song in the 2d. act—

" The noble Captain Prince Eugene
" Has beat French, Orleans and Marsin,
" And march'd up and relieved Turin,

." Over the hills and far away." (B. M.)

D. L. AND D. G 1705-1706. 341

April 16, Miss Santlow's bt. — not acted 12 years,
Valentinian. Valentinian = Wilks : Lucina = Mrs.
Oldfield.

27. Conquest of Granada part 2d.

June 18. Towards defraying the charge of repair-
ing and fitting up the Chapel in Russel Court —
Hamlet.

22. Cibber says that the generality of the specta-
tors, as well as the most approved actors (in 1707-8)
had been for some time calling for a re-union of the
two Companies, as the only expedient to recover the
credit of the Stage — an attempt for the re-union of
the two Companies had certainly been made about
this time, and as certainly been defeated by the
opposition of Rich — Farquhar, in a Prologue which
was spoken on this evening, observes —

" For to one house confin'd, you then must praise
" Both cursed Actors, and confounded Plays."

July 9. at D. G. Arsinoe 31st time with a Pro-
logue by Cibber. (Bills from British Museum.)

Fashionable Lover, or Wit in Necessity was printed
in 1706. Plotwell (servant to Farewell) = Pinketh-
man : Farewell = Wilks : Peregrine (in love with
Jessinda) = Toms : Sir Thomas Freegood = Capt.
Griffin: Villmore (his nephew) = Mills : Wisehead
= Bullock : Trustwell (his servant) = Norris : Mean-
well = Keen: Jessinda (daughter to Mean well) =
Mrs. Temple : Viletta (daughter to Wisehead) = Mrs.
Oldfield : — this is a moderate C. by an unknown
author — the characters of Peregrine, Villrnore, Sir
Thomas Freegood, Meanwell, the Vintner, the Sur-
geon, the Frenchman and Jessinda are stolen from

342 L. I. F. AND HAY. 1705-1706.

the Bride with great part of the dialogue — these
scenes appear to more advantage in their original
shape — there is an underplot, which concerns Fare-
well and Viletta, and which is either new or borrowed
from some other play — Farewell is called the Fashion-
able Lover as being a gay young man.

The Bride is on the whole a good C. — it was
written by Nabbes and printed in 1640 — Goodlove
courts the Bride, apparently for himself, but really
with an intention to give her to his adopted son,
Theophilus — Theophilus, not knowing this kind
intention, and at the instigation of Raven, runs off
with the Bride on the wedding day — Raven is nephew
to Goodlove, and very desirous of being his heir-
for this reason he secretly hates Theophilus, and
uses various artifices to prevent his reconciliation
with Goodlove — in the 4th act, he attempts to kill
Theophilus — the latter turns back arid wounds Raven
—the lovers, after their elopement, are involved in
difficulties, but at the conclusion, they are united
with the consent of all parties — Raven acknowledges
his villany, and Theophilus turns out to be really the
son of Goodlove.

L. I. F. AND HAY. 1705-1706.
L. I. F.

Sep. 12. 4th time for 20 years City Politics.
Oct. 3. Not acted 5 years, Unhappy Choice, or
the Dutchess of jVMfv.

L. I. F. AND HAY. 1705-1706. 343

8. Match in Newgate — this is the 2d title of the
Revenge.

17- Committee. Teague = Bowen — newly arrived
from Ireland.

12. Gamester 19. Timon of Athens.

20. Old Troop. Raggou = Bowen.

The last time of the Company's acting there.

HAY.

Oct. 30. Never acted, Confederacy. Brass = Pack :
Dick = Booth : Money trap = Dogget : Gripe =. Leigh :
Clarissa = Mrs. Barry : Flippanta — Mrs. Brace-
girdle : Corinna = Mrs. Bradshaw : Araininta =. Mrs.
Porter : Mrs. Amlet = Mrs. Willis : Mrs. Cloggit =
Mrs. Baker : — this excellent C. was written by Van-
burgh, and acted 10 times — see Fair Example D. L.
1703.

Dogget in Moneytrap used to wear an old thread-
bare black coat, to which he had put new cuffs,
pockets, lids, and buttons, on purpose to make its
natural rustiness more conspicuous : the neck was
so stuffed as to make him appear round-shouldered,
and give his head the greater prominency: his square-
toed shoes were large enough to buckle over those he
wore in common, which made his legs appear smaller
than they really were — he could with great exactness
paint his face so as to represent 70 — 80 and 90
distinctly, which occasioned Sir Godfrey Kneller to
tell him one day, that he excelled him in painting ;
for that he could only copy nature from the originals
before him, but that Dogget could vary them at
pleasure, and yet keep a close likeness — (Wilkes)—

344 L. I. F. AND HAY. 1705-1706.

Dowries says that Johnson excelled in this sort of
painting ; and Waldron tells us that Garrick's skill
in preparing his face for Lear or Lusignan was as
remarkable as his performance.

Nov. 7- Indian Emperour— — 8. Adventures of
five Hours.

9. Man of the Mode 10. Aurenge-Zebe 12.

Amorous Widow.

13. Hollo Duke of Normandy, or the Bloody
Brother.

1 6. Duke and no Duke. Trappolin = Bo wen :
with Stage Coach.

17. Fatal Marriage. Fernando = Dogget.

22. Love for Love.

23. Never acted, Ulysses — Ulysses = Betterton :
Telemachus — Booth : Eurymachus (King of Samos)
= Verbruggen : Antinous (a nobleman of Ithaca)
— Husband : Mentor = Bowman : Penelope = Mrs.
Barry : Semanthe (daughter to Eurymachus) =
Mrs. Bracegirdle :— at the opening of the play
Ulysses had retnrned to Ithaca — he is concealed
under the name of ^Ethon — Telemachus and Se-
rnanthe are privately married — Eurymachus engages
.ZEthon to assist him in his designs on Penelope-
Penelope, to save the life of Telemachus, makes a
•sort of promise to marry Eurymachus — in the 3d
act, she offers to stab herself, but is prevented by
Ulysses — he discovers himself to her, and also to
Telemachus— in the 4th act, Telemachus guards the
door of his mother's apartment — he refuses admission
to Eurymachus — they fight — Eurymachus is killed—
Semanthe enters just as he is dying — Telemachus
had been so foolish as to impart the secret of his

L. I. F. AND HAY. 1705-1706. 345

father's return to Antinous, whom he believed to be
his friend— Antinous is privately in love with Pen-
elope— he gets her into his power, and prevails on
the Ithacans to side with him against Ulysses—
Semanthe, in consequence of her father's death, de-
termines to separate herself from Telernachus — but
she lends him her Samian soldiers, by whose assist-
ance he rescues Penelope, and drives off Antinous —
in the 3d act the scene opens and discovers Pallas in
the clouds— never was a God or Goddess introduced
on the stage with less occasion — Pallas does not
speak, or contribute to the conduct of the plot in the
slightest degree— this T., being new dressed and
excellently performed, had a run of 9 nights, but was
not so successful as the Ambitious Step-Mother and
Tamerlane — (Downes.} — it is the worst of Howe's
plays — he has made the story somewhat more proba-
ble than in Homer, but less interesting — the Episode
of Telemachus and Semanthe encroaches too much
on the main plot, and rather puts Ulysses and Pen-
elope into the back ground,

Dec. 3. Cheats of Scapin — Scapin — Bowen : —
with the comical part of the Spanish Friar.

7. She wou'd if she cou'd 11. Orphan.

12. All for Love 1?. Way of the World.

19. Rival Queens— 20. Sir Solomon— 22. Othello.

27. Never acted, Mistake. Don Carlos = Booth :
Sancho (his servant) — Dogget : Lopez (servant to
Lorenzo) =. Pack : Don Lorenzo = Husband : Don
Alvarez (father to Leonora; = Betterton : Don Felix
(father to Lorenzo) = Bright : Metaphrastus (Tutor
to Camillo) = Freeman : Leonora = Mrs. Bowman :
Jacinta (her servant) = Mrs. Baker : Camillo = Mrs.

346 L. I. F. AND HAY. 1705-1706.

Harcourt : Isabella — Mrs. Porter : — acted 9 times—
this excellent C. is taken from the Amorous Quarrel
of Moliere — Vanburgh has however improved what
he has borrowed — Carlos and Leonora are in love—
their quarrel in the 4th act gives the title to the
French play — Camillo, the daughter of Alvarez, is
brought up as a son, in order to retain the possession
of an estate — she contrives to get herself married to
Lorenzo in the night — he supposes her to be Leonora
- Vanburgh 's title applies to this part of the plot —
the merit of the play consists greatly in the characters
of Sancho, Lopez and Jacinta.

Jan. 3. Never acted, Faithful General. Galerius
(Emperor of the East) = Booth : Marus (the Faithful
General) — Betterton : Theodorus (his son) = Ver-
bruggen : Artimesia (daughter to Marus) — Mrs.
Porter: Constantia (sister to the Emperor) = Mrs.
Bradshaw : —acted 3 times — this T. is founded on
the Loyal Subject — those parts of it, which are not
written by Fletcher, are bad — the scene lies at
Byzantium in Greece — the Young Lady who produ-
ced the Faithful General seems to have had no mean
opinion of her abilities — her time however would
have been better employed in mending her own linen
than in mangling Fletcher — her T. is intolerably long
— the players in the representation made a free use
of the pruning-knife to her great annoyance — when
she printed it, she was determined, like Dogberry,

to bestow all her tediousness on the reader In the

preface to the Loyal Subject, as re- printed in 1706,
it is said, that the original play had been well re-
ceived on its revival — and that when the legitimate
offspring of Fletcher appeared on the stage the very

I, I. F. AND HAY. 1705-1706. 34/7

same day as the By-Blow did, the town quitted the
impostor to embrace the legitimate.

Jan. 8. Spanish Fryar. Gomez = Dogget.

9- Love for Love — acted all by women.

10. Unhappy Favourite 11. Caesar Borgia.

12. Don Sebastian 18. Sophonisba.

19. Never acted there, Provoked Wife with alter-
ations— (see D. L. Jan. 11 17^6) — acted 3 times.

28. Squire Trelooby with a new 2d act — and Eu-
rope's Revels — (B. M.) Downes says that Van-
burgh in writing Squire Trelooby was assisted by Con-
greve and Walsh, and that it was highly applauded,
in great measure owing to Dogget's performance of
the Squire — it seerns however to have been acted but

6 times in this season any person who reads

Downes and Gibber, without having seen the Farce
published under the same name in 1704, or the bills
for L. I. F. in 1703-1704, would conclude that
Squire Trelooby was now acted for the first time.

Feb. 7- Never acted, Revolution of Sweden.
Count Arwide = Betterton : Gustavus = Booth : Vice-
roy of Sweden (under the King of Denmark) =
Husband : Beron (a Swede, his favourite) — Mynns :
Archbishop of Upsal (in the Danish interest) — Bow-
man : Erici (Lieutenant to Gustavus) = Cory : Con-
stantia (wife to Arwide) — Mrs. Barry : Christina
(wife to Beron) •=. Mrs. Harcourt : — Arwide is the
great friend of Gustavus, and his principal assistant
in the delivery of their country from the tyranny of
the Danes — Constantia falls into the hands of the
Viceroy — Arwide surrenders himself to the Viceroy
on his promise that Constantia should be set at liberty
— the Viceroy is so far from keeping his promise,

348 L. I. F. AND HAY. 1705-1706.

that he confines Arwide and Constantia in separate
prisons — the Viceroy is in love with Constantia—
Beron offers to release Arwide on certain conditions
—Arwide agrees to them — Beron substitutes a paper
of a very different nature from that which he had
read to Arwide — Arwide signs it, supposing it to be
the other — Beron shows the paper, which Arwide
had signed to Constantia — she is so indignant at her
husband's supposed treachery, that when they meet
she will not enter into any expostulation with him
about the terms to which he had consented — in the
4th act, Gustavus allows the Viceroy and Archbishop
to depart in safety from Stockholm, on condition of
giving up their prisoners — Constantia reveals to
Gustavus her husband's apparent treason, and ob-
tains from him a promise to secure Arwide's life—
Gustavus receives Arwide with coolness — in the 5th
act, Gustavus is elected King of Sweden — Arwide is
accused of treason — the paper which he had signed
is produced against him — Christina is about to ex-
plain the trick which had been put on Arwide, but she
falls into a swoon, in consequence of a wound which
she had received from Beron— Arwide is condemned
to death — Gustavus in vain attempts to persuade the
Senate to pardon him— Christina revives, and clears
up Arwide's character — Beron is sent to prison — and
Christina dies — this T. was written by Mrs. Trotter
— on the whole it is not a bad play — for the history
on which it is founded see Vertot's Revolution of
Sweden — Mrs. Trotter omits the early part of Gus-
tavus' exploits — at the beginning of her play he is en-
camped in the neighbourhood of Stockholm — Arwide
and Christina are real characters, but almost all that

L. I. F. AND HAY. 1705-1706. 349

they say and do in this T. is fiction — Vertot tells us
that Gustavus (at a time prior to the beginning of
the play) was on the point of being betrayed to the
Danes by a gentleman called Peterson, but that
Peterson's wife enabled him to make his escape —
Mrs. Trotter calls this lady Christina — and absurdly
changes the name of Peterson to Beron — in the play
Christina appears disguised as Fredage, the nephew
of Beron and Christina — Coristantia is entirely a fic-
titious character — she is introduced for the sake of the
love scenes — if in the 3d act she had acted with com-
mon sense, she would have spoilt the remainder of

the play Downes says this T. expired on the

6th day.

Feb. 21. Never acted, British Enchanters, or No
Magick like Love. Arnadis (a Knight, in love with
Oriana) =. Verbruggen : Constantius (Emperor of
Rome, in love with Oriana) = Booth : Arcalaus (an
Enchanter) = Bowman : Ccelius (King of Britain) =
Betterton : Florestan =. Husbands : Arcabon (an En-
chantress) — Mrs. Barry : Oriana (in love with Ama-
dis) = Mrs. Bracegirdle : Urganda — Mrs. Bowman :
Corisanda = Mrs. Porter: — Coelius insists that his
daughter, Oriana, should marry Constantius — the
marriage ceremony is interrupted by ill omens — these
are occasioned by Urganda, who is a good Enchant-
ress, and the friend of Amadis — Arcalaus and Arcabon
are the brother and sister of Ardan, whom Arnadis
had killed — they get Amadis and Oriana into their
power — Arcabon advances to stab Amadis — she falls
in love with him, and sets him at liberty — he rejects
her love — Arcalaus attempts to ravish Oriana —
Amadis is discovered — again in chains — Arcalaus

350 L. I. F. AND HAY 1705-1706.

prepares to kill Amadis — Arcabon seizes Oriana, and
holds a dagger to her breast — Arcalaus desists — Ur-
ganda frees Amadis and presents him with a sword
— a battle ensues between the good and evil Spirits—
the latter are defeated, and Arcalaus is killed by
Amadis — Constantius kills himself — Amadis and
Florestan are united to Oriana and Corisanda — this
is a pleasing piece by Granville — it is called a Tra-
gedy, but it is rather an Opera in the old sense of
that word— it was acted 12 times — Arcabon is the
best character — see Hay. March 22 1707.

March 4. Mrs. Barry's bt. Tamerlane.

7. Temple of Love, this Opera consisted entirely
of singing and dancing — Mrs. Bracegirdle had a part
in it — it lasted but 6 days, and did not answer ex-
pectation. (Dowms.}

11. Mrs. Bracegirdle's bt. Provoked Wife.

14. Julius Caesar 28. King and no King.

April 1. Verbruggen's bt. Circe.

5. Never acted, Wonders in the Sun, or the King-
dom of the Birds — this Opera was written by
D'Urfey: it was performed 5 or 6 times, and did
not pay half the expenses of getting it up — (Dowries.)
—After a long Prologue which is sung, Gonzales
and Diego enter in the World of the Sun — the
machine, by which they had ascended, is seen hang-
ing in the air — Gonzales is a Spaniard and a Philo-
sopher— Diego is his man, very cowardly, and very
peevish on finding himself involved in distress by
following his master — the Daemon of Socrates appears
to them — he promises Gonzales his assistance, and
stands by him through the whole piece, but invisible
to every body except Gonzales and Diego — in the

L. I. F. AND HAY. 1705-1706. 351

last act Gonzales and Diego are carried to the King-
dom of the Birds — at the conclusion they get into
their machine, and the Daemon wishes them a good
voyage — this eccentric piece has not much to re-
commend it but it is quite good enough for an Opera
—the idea of bringing the Birds on the stage is
probably borrowed from the Birds of Aristophanes,
but there is not any similarity between the two plays
D'Urfey, in describing the manners of the in-
habitants of the Sun, which are quite different from
those of the earth, seems to have taken a hint from
Brome's Antipodes.

The titles of this Opera explain a passage in the
dedication of the Recruiting Officer, which would
otherwise be unintelligible — Farquhar says — " My
" play came out on the 3d night of D'Urfey's, who
" brought down a huge flight of frightful Birds upon
" me : * * * with these three I engaged his
" whole empire, which, I think, was as great a Won-
" der as any in the Sun/'

April 11. Husband's bt. CEdipus.

15. For bt. of Hodgson and Mrs. Bignall. Fatal
Marriage.

26. For bt. of Mrs. Willis and Mrs. Porter. Mea-
sure for Measure.

30. King Lear.

May 2. Mrs. Leigh's bt. Rival Queens.

15. Bowen's bt. Humorous Lieutenant.

At the close of the season, Capt.Vanburgh allowed
Verbruggen, Booth and the Younger part of the
Company to act during the summer ; this they did ;
but their profit did not amount to half their usual
salaries. (Doumes.)

352 L. I. F. AND HAY. 1705-1706.

July 31. Playhouse to lett, with Sgnariarella the
Blacksmith of Paris, and a burlesque Farce called
Mock Pompey — no doubt the 5th act of the Play-
house to be lett— the 2d act of the Playhouse to be
lett is taken from Sganarelle, or the Imaginary
Cuckold of Moliere— Sgnanarella was possibly a
mistake in the manuscript bills for Sganarelle— it
seems highly probable that the Company on this
evening acted the 1st, 2d and 5th acts of the Play-
house to be lett, turning Sganarelle into a Black-
smith— Bowen acted the part.

Aug. 16. Don Quixote— the two parts made into
one by the author.

23. London Cuckolds — last play till after Bartho-
lomew Fair. (Bills from B. M.)

The Company did not act after the Fair — Downes
at the conclusion of his Roscius Anglicanus says that
there were no plays from Aug. 24 to Oct. 15.

Adventures in Madrid. Gaylove = Booth : Bell-
mour = Husband : Don Gomez — Freeman : Jo (a
cowardly servant to Bellmour) — Pack : Gusman (in
love with Lisset) = Bowen : Don Philip (in love with
Emilia) — Cory : Laura (a lady under the care of
Gomez) — Mrs. Bracegirdle : Clarinda =. Mrs. Barry :
Lisset = Mrs. Bicknell : Emilia (sister to Gaylove,
and in love with Don Philip) =. Mrs. Boman : — Don
Gomez is an old rascal who had endeavoured to have
his nephew, Don Philip, killed on his voyage to the
Indies — he had forced his niece, Clarinda, to pass for
his wife, and had sent her maid Lisset to prison — she
escapes from thence and appears in the play dressed
as a man- she passes herself on Don Gomez for an
Eunuch used to the care of a seraglio, and gains his

L. I. F. AND HAY. 1705-1706. 353

confidence — Gaylove and Bellmour are English gen-
tlemen in the suite of the Embassador — they fall in
love with Laura and Clarinda — and the Ladies with
them — the Embassador's house joins that of Don
Gomez — there is a secret passage between them,
known only to Laura and Lisset — Don Philip on his
return to Madrid tries to get his sister out of Don
Gomez' clutches by force, but failing in his attempt
he applies to the Inquisitor General — in the last scene
the Inquisitor takes Don Gomez into custody, and is
satisfied that Clarinda is not really married — most of

the characters determine to go to England this C.,

in 3 acts, is attributed to Mrs. Pix — on the whole it
is a good play — it is said in the titlepage to have been
acted at the Hay., but it is printed without a date —
the Prologue makes it certain that it came out in the
summer ; and highly probable that it was in 1706 —
it must have been before 1707 as Mrs. Bracegirdle
acted in it.

Downes begins his Roscius Anglicanus in 1660,
and concludes it with the Summer of 1706 — it was
published in 1708 — his Motto is — Non Audita narro,
sed Comperta — the latter part of Dowries' work is
much less valuable than the former, as he seldom
mentions the Actors, who performed in the plays—
with regard to the new plays this is generally speaking
of no importance, as most of them are published with
the performers' names— but one regrets exceedingly
that he did not tell us how the revived plays were
acted, and what was the original cast of the Liber-
tine, Virtuoso, Lancashire Witches, True Widow and
some few other new plays — Downes should have con-
sidered that tho' the information he had it in his power

VOL. II. A A

354 D. G. AND D. L. 1706-1707.

to give might not be very valuable at the time of
publication, yet it would become so in the course of
10 years — he seems to have thought of nothing but
the present, and never dreamt that his pamphlet
would be in high estimation 100 years after his death.
Most of the plays, printed in the early part of
Charles the second's time, were printed without the
names of the performers to the D. P. — it is from
Downes alone that we know who the performers were
that acted in many of these plays — this circumstance
alone shows the great obligations which we are under
to Downes — if he had given us the cast of such old
plays as were revived in his time, his work would
have been invaluable.

D. G. AND D. L. 1706-1707.

The new Theatre in the Hay. did not answer — it
was soon found, that almost every proper quality and
convenience of a good Theatre had been sacrificed,
or neglected, to show the spectator a vast triumphal
piece of architecture — Vanburgh became tired of the
concern, and at the end of the season 1705-1706 he
made an offer to Mr. Swiney of his theatre &c. at a
rent of £5 for every acting day — Swiney was at that
time Rich's prime agent in stage affairs, but without
stipulation or salary — Rich, who depended chiefly
upon his Singers and Dancers, not only consented

D. G. AND D. L. 1706-1707. 355

that Swiney should rent the Hay., but also that he
should carry with him such performers as might be
willing to join him — with the exception of Gibber—
the Hay. had not been long opened before Rich and
Swiney quarrelled — Gibber originally intended to
have continued with Rich, but they differed about
terms and Gibber engaged with Swiney — for particu-
lars see Gibber.

DORSET GARDEN.

Oct. 23. By the deserted company of Comedians
of the Theatre Royal — On Thursday next being the
24th of Oct. will be acted the Recruiting Officer-
in which they pray there may be singing by Mrs.
Tofts in English and Italian ; and some dancing.

30. Pastor Fido — acted all by women.

Nov. 2. Relapse. Miss Hoyden by Mrs. Cross.

16. Emperour of the Moon — being the last play
at this Theatre till after Lady day next.

21. Emperour of the Moon. Scaramouch = Est-
court : Harlequin — Pinkethman.

23. Libertine Destroyed.

28. Relapse. Pinkethman performing his own part.

DRURY LANE.

30. Recruiting Officer —the true Serjeant Kite is
performed at D. L.

Wilkes in his View of the Stage, printed in 1759,

A A 2

356 D. G. AND D. L. 1706-1707.

says — " The hint of this character was furnished by
" a serjeant in the regiment to which Farquhar be-
" longed — his real name was Jones."

Dec. 3. Rehearsal. Bayes = Estcourt.

5. Love's last Shift 10. Island Princess.

19. Love makes a Man.

Jan. 1. Tempest. Trincalo = Estcourt: Hippolito
= Mrs. Mountfort : Dorinda = Mrs. Cross.
9. Timon of Athens 23. Macbeth.

13. Not acted 5 years, Sea Voyage.
Feb. 4. Oronooko.

20. For the advantage of Estcourt. Recruiting
Officer. Plume = Powell.

March 4. Never acted, Rosamond. King Hemy
= Hughs: Sir Trusty = Leveridge: Page =. Holcomb :
Queen Elinor — Mrs. Tofts : Rosamond = Mrs. Gallia :
Grideline (wife to Sir Trusty )= Mrs. Lindsey :—
Scene Woodstock Park — this Opera was written by
Addison — it was acted 3 times.

March 11. Mrs. Mountfort's bt. Sir Solomon
Single. Sir Solomon = Estcourt : Peregrine = Powell :
Ralph = Pinkethman : Betty = Mrs. Mountfort.

25. Miss Santlow's bt. Committee. Teague —
Estcourt : Day = Pinkethman : Ruth = Mrs. Mount-
fort.

April 3. For bt. of Bickerstaff and Leigh. Tun-
bridge Walks. Squib = Pinkethman : the Yeoman
— Estcourt.

14. Love for Money, or the Boarding School.
Lady Addleplot = Estcourt : Jiltall = Mrs. Cross.

22. Venice Preserved.

29. For bt. of Mrs. Cross. She wou'd and she
wou'd not.

HAY. 1706-1707. 357

Recruiting Officer. Balance = Capt. Griffin.

June 4. Squire of Alsatia, (Bills from B. M. )
Operas were chiefly acted during this season.

HAY. 1706-1707.

This Theatre opened Oct. 15 under the direction
of Swiney — the detachment of Actors from D. L.
gave a new spirit to those at the Hay., and plays
hegan to recover their former esteem.

Oct. 15. Spanish Fryar 17- Committee

19. Hamlet.

21. Rover 22. Royal Merchant.

23. Jew of Venice 25. Fatal Marriage.

26. Henry 4th part 1st. FalstafF = Betterton :
Hotspur — Verbruggen : King — Keene : Prince of
Wales = Wilks: Vernon = Booth : Glendower =. Hus-
band: Douglas = Mills.

29. London Cuckolds 31. Gamester.

30. King Lear. Lear = Betterton : Edgar = Ver-
bruggen: Edmund = Mills : Gloster = Freeman : Kent
= Minns : Gentleman Usher (probably) Bowen :
Ruffians =. Kent and Peer : Cordelia = Mrs. Brace-
girdle : — this cast is from a copy of Lear, which had
been the Prompter's book ; and must belong to this
season as Mills and Mrs. Bracegirdle acted together.

Nov. 2. Maid's Tragedy. Amintor = Wilks : Me-

358 HAY. 1706-1707.

lantius = Betterton : King •=. Mills : Evadne = Mrs.
Barry : Aspatia = Mrs. Bracegirdle.

4. Rival Queens.

7- Careless Husband. Sir Charles Easy = Wilks :
Lord Foppington = Cibber : Lord Morelove = Mills :
Lady Betty Modish = Mrs. Oldfield : Lady Easy =
Mrs. Barry : Lady Graveairs = Mrs, Porter : Edging
= Mrs. Bignall.

9. Man of the Mode. Sir Fopling Flutter = Cib-
ber : Dorimant = Wilks : Mrs. Loveit = Mrs. Barry :
Harriet — Mrs. Bracegirdle.

11. Sir Solomon Single.

13. Spanish Fryar. Dominic = Bullock : Gomez
= Norris : Torrismond = Betterton : Lorenzo =
Wilks : Bert-ran = Mills : Raymond = Keen : Leonora
= Mrs. Barry : Elvira = Mrs. Oldfield.

14. Never acted there, Recruiting Officer. Kite =
Pack : Worthy = Mills : Melinda = Mrs. Porter : Rose
= Mrs. Bignall : Lucy is omitted — rest as originally.

19- Tamerlane. Morieses = Wilks : — rest as
originally.

20. Rule a Wife. Leon =. Mills : Copper Captain
= Wilks : Estifania = Mrs. Bracegirdle : Margarita =
Mrs. Barry.

21. Valentinian. ^Ecius = Betterton : Valentinian
= Verbruggen : Maximus =. Booth : Lucina = Mrs.
Barry.

22. Sir Courtly Nice. Sir Courtly = Cibber :
Crack = Bowen : Hothead = Bullock : Testimony =
Norris : Surly = Verbruggen : Lord Bellguard =
Mills : Farewell =. Booth : Leonora = Mrs. Oldfield :
Violante = Mrs. Bradshaw : Aunt = Mrs. Leigh.

25. Never acted, Platonick Lady. Belvil = Wilks :

HAY. 1706-1707. 359

Sir Charles Richley = Booth : Sir Thomas Beamont =
Betterton: Sharper =. Gibber : Robin (servant to
Belvil) = Pack : Equipage (servant to Sharper) =
Norris : Lucinda (niece to Sir Thomas) = Mrs.
Bracegirdle : Isabella = Mrs. Oldfield : Mrs. Dowdy
= Mrs. Willis : Toylet (maid to Isabella) = Mrs. Bick-
nell : Mrs. Brazen (a match maker) = Mr. Bullock :
Peeper (maid to Mrs. Dowdy) = Mrs. Leigh : — acted
about 4 times — Sir Charles and Isabella had been
contracted in their childhood — Sir Charles is in love
with Lucinda — Isabella is in love with B'elvil — with
whom she had become acquainted at Paris — Belvil is
in love with Lucinda, not having heard of Isabella
for 5 years — Lucinda gives the title to the play — she
is however in love with Belvil — in the 3d act, Isabella
enters dressed as a country girl — she passes herself
on Lucinda as the daughter of one of her tenants —
at the conclusion, Belvil proves to be the nephew of
Sir Thomas, and the brother of Lucinda — he marries
Isabella — Mrs. Dowdy is a rich Somersetshire widow,
who comes up to London to learn breeding — Belvil,
at the instigation of Sir Thomas, makes love to her
— he gets the writings of his estate out of her hands

—she marries Sharper this is on the whole a

good C. — it is dedicated to the generous encouragers
of Female Ingenuity — the author complains of the
unjust prejudice entertained against female writers

—but does not put her name to the dedication, so
that it is not possible to ascertain from it, whether
she was at this time Mrs; Carroll or Mrs. Centlivre
— Whincop says that she acted a part in her C.
called Love at a Venture, and that about 1706 she
performed Alexander the Great, the Court being

360 HAY. 1706-1 707.

then at Windsor — she married Centlivre who was one
of the Queen's Cooks — the precise time is uncertain.

Nov. 28. At the bottom of the bill— Note that John-
son was last night engaged to act in this Theatre only.

29- Unhappy Favourite. Essex =i Wilks : South-
ampton = Mills : Burleigh = Keen : Queen Elizabeth
= Mrs. Barry : Rutland = Mrs. Bracegirdle.

Dec. 2. Committee. Teague = Bowen : Obediah
= Johnson : Col. Careless = Wilks : Col. Blunt =
Mills: Abel = Bullock: Ruth = Mrs. Barry: Mrs.
Day — Mrs. Leigh : Arbella = Mrs. Bracegirdle.

3. Volpone. Volpone = Mills : Mosca = Wilks :
Corbacci o = Johnson : Voltore = Keen : Corvino =
Cibber : Sir Poll tick Wou'dbe = Norris : LadyWou'd-
be = Mrs Leigh : Celia = Mrs. Oldfield.

5. She wou'd if she cou'd. Sir Oliver Cockwood
= Norris : Sir Joslin Jolley — Underbill : Courtallm
Wilks: Freeman •=. Mills : Lady Cockwood =. Mrs.
Barry : Gatty = Mrs. Bracegirdle : Ariana is omit-
ted : Mrs. Sentry = Mrs. Leigh.

6. Ambitious Step-Mother as originally.

7. Never acted there, Tender Husband. Hum-
phry Gubbin — Cibber : Mrs. Clerimont = Mrs. Brad-
haw: Fainlove = Mrs. Porter: Aunt = Mrs. Leigh :
—rest as originally.

10. Hamlet = Betterton: King = Keen: Horatio
= Verbruggen : Laertes = Booth : Ophelia = Mrs.
Bracegirdle.

11. Confederacy. Moneytrap =. Norris : Gripe =
Bowen : — rest as originally.

13. Northern Lass. Sir Philip Luckless =. Wilks :
Tridewell = Mills : Anvil = Bowen : Howdee = Cibber:
Nonsense nNgrris: Northern Lass = Mrs. Bicknell.

HAY. 1706-1707, 361

14. Comical Revenge. Dufoy = Bowen : Sir
Frederick Frolick = Wilks : Sir Nicholas Cully =
Norris : Palmer = B ullock : Wheedle = Keen : Col.
Bruce = Verbruggen : Lord Beaufort =. Boman : Loui s
= Booth: the Widow = Mrs. Oldfield : Graciana
and Aurelia are omitted.

16. Never acted, Almyna, or the Arabian Vow.
Caliph Almanzor = Bettertori : Abdalla = Wilks :
Grand Vizier = Keen : Chief of the Dervis = Bowman :
Almyna (daughter to the Vizier) Mrs. Barry : Zora-
dia (her sister) = Mrs. Bracegirdle : By reason of the
extraordinary charge for habits, Boxes 5s — Pit 3s —
1st Gallery 2s — Upper Gallery Is— acted about 3
times — Almanzor, having found his wife guilty of
adultery, had made a solemn Vow, that any woman
whom he might in future espouse, should be put to
death on the following morning — several unfortunate
females had been sacrificed in this manner — in other
respects the Caliph is a worthy character — in the 1st
act, he adopts his brother Abdalla, for his successor —
Abdalla requests his permission to marry Almyna —
Almanzor grants his request but with reluctance, as
he has a very bad opinion of the whole female sex —
Abdalla had been in love with Zoradia, but on the
return of Almyna from ^Egypt, where she had been
educated, he transferred his affections to Almyna—
Zoradia had carefully concealed her passion for
Abdalla from her friends — but in the£d act, Almyna
by her importunities extorts a confession from her —
Almyna is very desirous of being married to the
Caliph, in the hope of being able to prevail on him to
break his Vow — the Caliph, on seeing Almyna, falls
in love with her — she is however ordered to ex-

362 HAY. 1706-1707.

edition in the usual manner — just as the Mutes are
going to strangle her, Almanzor interposes, it not
having been his intention that she should be really
killed —in the mean time Abdalla attempts to rescue
Almyna by force — he is wounded by the Vizier—
Zoradia is accidentally wounded by Abdalla — the play
concludes with their death— on the whole this is not
a bad T. — it is attributed to Mrs. Manley, but the
author is spoken of in the Epilogue as a man — the
plot is evidently founded on the beginning of the
Arabian Nights' Entertainments — Mrs. Manley in the
preface acknowledges that she borrowed something of
a hint from them.

27. London Cuckolds. Ramble — Verbruggen :
Townly = Husband : Doodle = Johnson : Wiseacre =
Bullock : Dash well — Bo wen : Arabella = Mrs. Brad-
shaw : Eugenia = Mrs. Porter : Engine = Mrs. Leigh.

30. Rival Queens. Alexander = Verbruggen :
Clytus = Booth : Statira = Mrs. Bracegirdle : Roxana
= Mrs. Barry.

Jan. 1 . Never acted there, Silent Woman. Morose
= Betterton: Sir Amorous La Foole = Bullock : True-
wit = Wilks : Otter — Fairbank : Sir John Daw =
Gibber: Cutbeard =. Norris : Dauphine = Booth:
Clerimont = Mills : Silent Woman = Mrs. Oldfield.

3. Unhappy Favourite. Nottingham = Mrs.
Bradshaw.

4. Never acted there, Wit without Money — this
C. as acted at the Hay. (with alterations and amend-
ments by some persons of quality) was printed with-
out a date — it seems to have come out on this evening
— the alterations are not material, and consist of
slight changes in the dialogue, some of which are for

HAY. 1706-1707. 363

the worse — the whole is printed as prose — it is
dedicated to Newman the Prompter, who is said
to have " once belonged to a house (D. L.) where
vivitur ingenio was the motto, till sound got the
better of sense, and turned it out of doors — he was
now where Wit was encouraged, arid the Player
reaped the fruits of his labour, without toiling for
those, who had always been the oppressors of the
stage" — see May 25, for the characters.

9. She wou'd if she cou'd. Sir Joslin Jolley =
Bullock.

11. Hamlet =. Wilks : 1st Gravedigger = Johnson.

14. For the encouragement of the Comedians
acting in the Hay., and to enable them to keep the
diversion of plays under a separate interest from
Operas — By Subscription — Julius Caesar, Brutus =
Betterton : Cassius = Verbruggen : Antony —Wilks :
Julius Caesar = Booth : Octavius— Mills : Cas^a —
Keen : Decius = Husband: Cinna (probably the Poet,
not the Conspirator) = Bo wen : LigariusirBoman :
Plebeians = Johnson, Bullock, Norris and Cross :
Calphurnia— Mrs. Barry: Portia^Mrs. Bracegirdle:
—with a new Prologue — Boxes opened to the pit,
and none admitted without subscribers' tickets — 1st.
Gallery 2s. upper Gallery Is.

Lord Halifax proposed a subscription for reviving
3 plays of the best authors with the full strength of
the company ; and by his influence it was soon com-
pleted — every subscriber was to have 3 Tickets for
the first day of each play for his single payment of 3
Guineas . ( Gibber. )

17. Sir Courtly Nice. Testimoriy=Johnson.

364 HAY. 1706-1707.

18. Man of the Mode. Medley- Mills : Old Bellair
=Norris : Young Bellair = Booth.

20. Rover. Willmore=: Verbruggen :Blunt=:Under-
hill : Hellena=z Mrs. Bracegirdle : Angellica=Mrs.
Barry : Florindarr Mrs. Boman.

21. By Subscription. King and no King.

25. Indian Emperour. Montezuma = Betterton ;
Cortez= Mills : Guyomar^ Booth : Odmar=Keen :
Almerian: Mrs. Barry : Cydaria - Mrs. Porter : Ali-
bech = Mrs. Boman.

28. Ot bellow Betterton : lago = Verbruggen : Cas-
sio = Booth : Desdemona = Mrs. Bracegirdle.

29. Spanish Fryar. Torrismond = Booth : Loren-
zo = Verbruggen.

Feb. 1 . Never acted there, Aurenge-Zebe.

3. Adventures of five Hours. Don Henrique =
Mills : Don Antonio = Betterton : Don Octavio =
Booth : Don Carlos = Boman : Camilla = Mrs. Barry :
Porcia = Mrs. Porter : rest omitted — Betterton play-
ed Henrique originally.

4. Never acted, Marriage a la Mode, or the Comi-
cal Lovers — by Subscription — Celadon — Gibber :
Palamede = Wilks : Rhodophil = Booth : Melantha
= Mrs. Bracegirdle : Florimel = Mrs. Oldfield: Dora-
lice = Mrs. Porter : — this play consists of the comic
scenes of Dryden's Marriage a la Mode and Secret
Love put together — the plan of consolidating these two
underplots was a very good one, and effected by Gib-
ber— this alteration seems to have been acted but 3
times the first season.

The Editor of the B. D. says there are but 6 charac-
ters in this play — if instead of looking at the D. P.

HAY. 1706-1707. 365

he had read the piece itself, he would have seen that
there are several more.

7. Amorous Widow 12. Rule a Wife.

14. Royal Merchant. Florez = Wilks : Higgen
and Clause are omitted : Vandunke= Bullock : Prigg
=: Norris : Wolfort=Booth : Hubert=Mills : Bertha
=Mrs. Bradshaw : Jaqueline—Mrs. Bignall.

15. Never acted there, Henry 8th. King— Betterton:
Wolseyrz: Verbruggen : Buckingham = Booth : Nor-
folk—Mills: Surry= Gibber : Lord San dys= Bullock:
Queen— Mrs. Barry : Anne Bullen— Mrs. Bradshaw.

17. Northern Lass. Mrs. Train well— Mrs. Powell.

18. Wilks' bt. never acted there, Caius Marius.
Marius Senior ziBetterton : Marius Junior— Wilks :
Sulpitius=: Johnson : Granius— Booth : Citizens =
Gibber and Norris ; Lavinia = Mrs. Bracegirdle :
Nurse=Mr. Bullock.

20. Unhappy Favourite. Rutland = Mrs. Brace-
girdle : — her name does not appear in the bills after
this day.

22. Never acted there, Venice Preserved.

25. Mrs. Oldfield's bt. Tender Husband.

March 1. Never acted there, Orphan. Castalion:
Wilks: Chamont— Verbruggen : Poly dore = Booth :
Acasto=Keen : Chaplain— Gibber : Monimia=i Mrs.
Oldfield.

3. Indian Emperour. Cortez — Wilks.

6. Mrs. Barry's bt. Don Sebastian — Verbruggen :
Dorax = Betterton : Almeyda = Mrs. Barry : — rest
omitted.

8. Never acted, Beaux Strategem. Archer =
Wilks : Scrub = Norris : Aim well = Mills : Foigard
= Bo wen : Boniface = Bullock : Sullen = Verbrug-

366 HAY. 1706-1707.

gen: Gibbet = Gibber : Count Bellair = Boman : Sir
Charles Freeman =Keen: Mrs. Sullen = Mrs. Oldfield :
Cherry = Mrs. Bicknell : Dorinda = Mrs. Bradshaw :
— Farquhar died in April during the run of his play

he had an infinite deal of humour — Wilks told

him, that Mrs. Oldfield thought he had dealt too
freely with the character of Mrs. Sullen in giving
her to Archer, without such a proper divorc.e, as

might be a security to her honour " to salve

that/'— replied Farquhar, " I'll get a real divorce —
many her myself, and give her my bond, she shall
be a real widow in less than a fortnight."

While Farquhar was at Trinity College Dublin,
he sent to a Gentleman to borrow Burnet's History
of the Reformation — the Gentleman sent him word,
he never lent any book out of his chamber, but if he
would come there, he might make what use of it he

pleased a little while after, the owner of the book

sent to borrow Farquhar's bellows — who replied " I
never lend my bellows out of my chamber, but if
you will be pleased to come here, you shall make
what use of them you please." (Chetwood.)

Farquhar wrote 7 plays and one Farce — he may
be fairly considered as our best writer of Comedy,
next to Shakspeare and Congreve— all his plays are
good — the Beaux Strategem, Recruiting Officer and
Inconstant are excellent — his death is the more to be
regretted as his last play is the best.

March 10. Gibber's bt. Careless Husband.
18. Betterton acted the Spanish Fryar for his bt.
22. British Enchanters with alterations — and
Never performed, the Cuckold in Conceit.

Cibber says (p. 263) that Vanburgh in the same

HAY. 1706-1707. 367

season (1705- 1706) gave the publick three plays trans-
lated from the French, viz. the Cuckold in Conceit,
Squire Trelooby and the Mistake — Cibber, instead of
the Cuckold in Conceit, should have said the Confed-
eracy— the Cuckold in Conceit is not printed, and it is
by no means certain that it was written by Vanburgh.
An edition of the British Enchanters was published
in 1736 with an advertisement to this effect — " When
" Musical performances were confined to one Theatre,
" and Dramatic to the other, it became necessary to
" lengthen the ensuing poem with alterations and
" additions, to supply the place of what was of neces-
" sity left out: which additions are herewith printed,
" having never been published before " — the additions
are of no great importance — they were no doubt
made at this time — the regulation with regard to
musical performances did not take place till Jan. 1?08
— the British Enchanters originally concluded very
properly with the conclusion of the story — but after-
wards Urganda was seized with prophetic fury and
proclaimed the distant doom—

" Of kings unborn and nations yet to come."

And that the audience might not be incredulous—
the Scene represented Queen Anne and all the
triumphs of her Majesty's reign — on which Urganda
expatiated in 32 lines.

March 24. Verbruggen's bt. Oronooko = Verbrug-
gen : Imoinda = Mrs. Oldfield.

27. For bt. of Mills. Never acted there, Constant
Couple. Sir Harry Wildair = Wilks : Col. Standard
= Mills: Smuggler = Johnson : Clincher Senior =
Bowen : Clincher Junior = Bullock : Dicky = Norris :

368 HAY. 1706-1707.

Vizard = Husband: Lady Lurewell = Mrs. Oldfield :
Angelica = Mrs. Bradshaw : Lady Darling = Mrs.
Powell.

31. For the bt. of Will. Bullock as the saying is —
Beaux Strategem 8th time — Lady Bountiful - Mrs.
Powell.

April 1. Keen's bt. Julius Caesar.

3. Booth's bt. Never acted there, Theodosius.

14. British Enchanters and Stage Coach.

21. Never acted, Phaedra and Hippolitus. Theseus
= Betterton : Hippolitus = Booth : Lycon = Keen :
Phaedra = Mrs. Barry : Isinena = Mrs. Oldfield.

In the Hippolytus of Euripides, Phaedra falls in love
with Hippolytus — this is owing to Venus, who is angry
with Hippolytus for not paying her any honours — he
is entirely devoted to hunting and to such sort of
exercises — Phaedra condemns herself for her passion
—her Nurse with difficulty extorts from her an ac-
knowledgment that she is in love — the Nurse reveals
to Hippolytus Phaedra's love for him, having previ-
ously sworn him to secrecy — Hippolytus not only
rejects the Nurse's proposition with indignation,
but inveighs bitterly against the whole female sex
— Phaedra hangs herself — she had affixed to her hand
a tablet in which she accuses Hippolytus of having
ravished her — Theseus on his return home finds the
tablet— Hippolytus in vain pleads that his chastity is
inviolate — Theseus had implored Neptune to destroy
Hippolytus — and Hippolytus is killed by a monstrous
bull— the scene lies at Troezen, to which place Theseus
had retired from Athens, as an expiation for having
killed Pallas, who was a relation.

Seneca, in his Hippolytus, represents the story

HAY. 1706-1707. 369

somewhat differently — he makes Phaedra more des-
perately in love — the Nurse exhorts her to get the
better of her passion — Phaedra threatens to kill her-
self— the Nurse excites Hippolytus to love, but cau-
tiously, and without revealing Phaedra's passion for
him — Phaedra herself makes love to Hippolytus
without any reserve — he draws his sword on her — •
she desires him to kill her — he throws away his sword,
and leaves her — on the return of Thesus, the Nurse
informs him that Phaedra is determined on death —
Phaedra enters with the sword of Hippolytus — she
tells Theseus that she had been ravished by the per-
son to whom the sword belongs — Theseus knows the
sword to be his son's — he prays to Neptune — and the
death of Hippolytus is circumstantially related as in
Euripides — Phaedra kills herself — Theseus is con-
vinced of his son's innocence — Seneca's language is
very inferiour to that of Euripides — he has perhaps
drawn the character of Phaedra in a better manner—
in one respect his play is certainly superiour to the
Greek Tragedy — he omits Venus and Diana, whom
Euripides had, without any sufficient reason, made
two of his D. P. — the scene lies at Athens.

The English play was written by Smith — he lays
his scene in Crete — of which place he describes The-
seus in the D. P. as the King — Hippolytus and Ismena
are mutually in love — the latter is a captive Princess,
and the daughter of Pallas, whom Theseus had
killed — Lycon is a minister of state, but he in some
degree acts the part of the Nurse — news are brought
that Theseus is dead — Phaedra conceives hopes that
Hippolytus may be won »to her love — she takes care
to tell him that she has shunned the bridal bed of

VOL. II. B B

370 HAY. 1706-1707.

Theseus — Phaedra, on finding that Hippolytus slights
her offer of marriage, and that he is in love with
Ismena, seizes his sword, and attempts to kill herself

— Lycon disarms her, and carries off the sword-
Theseus returns — Lycon persuades him that Hippo-
lytus has a violent and incestuous passion for Phaedra

—Hippolytus is led off guarded— Phaedra believes
him to be dead — she declares his innocence, and stabs
herself — Hippolytus enters — Theseus gives Ismena
to him — and Hippolytus exclaims—

- " Oh Extasie of Bliss !
" Am I possess'd at last of my Ismena ?"

This T. was acted 4 times — Addison in the Spec
tator, No. 18, says that it was hardly heard on the
3d night, and considers the bad reception it met with
as disgraceful to the nation — but his judgment was
in this instance no doubt influenced by his friendship
for the author.

When Phaedra enters in the 1st act several of the
speeches are taken from Euripides — they are the best
in the play — the producing of Hippolytus' sword as
an evidence against him is judiciously borrowed from
Seneca ; but on the whole this is an indifferent T.—
in the diction Smith is inferiour to Seneca, and very
inferiour to Euripides ; nor has he managed the cha-
racter of Phaedra so well as either of them — the gross
perversion of the character of Hippolytus is disgusting
to the last degree — one property of manners is resem-
blance : and this is founded upon the particular cha-
racters of men as they have been delivered to us by
history — that is, when a poefe has the known character
of this or that man before him, he is bound to repre-

HAY. 1706-1707. 371

sent him such ; at least not contrary to that which
fame has represented him to have been : thus it is
not in a poet's choice to make Ulysses cholerick, or
Achilles patient, because Homer has described them
quite otherwise : yet this is a rock on which ignorant
writers daily split ; and the absurdity is as monstrous,
as if a painter should draw a coward running away
from battle, and tell us it was the picture of Alexander
the Great— — Hippolytus had been introduced on the
French Stage, but whereas the poet ought to have
preserved the character as it was delivered to us by an-
tiquity, and to have given us the picture of a rough
young man of the Amazonian strain, a jolly huntsman,
and a mortal enemy to love, he has chosen to give
him the turn of gallantry, sent him to travel from
Athens to Paris, taught him to make love, and trans-
formed the Hippolytus of Euripides into Monsieur
Hippolyte. (Dryden.)

Dr. Johnson calls this a scholar's play \ but how
can this be said with propriety of a T. in which the
author has followed Racine rather than Euripides or
Seneca ?

If it be alleged that Hippolytus would not do on
the English Stage in his real character as a woman
hater, the answer is easy, Smith should have recol-
lected what Horace says of Homer —

Qua

" Desperat tractata nitescere posse, relinquit"

In the 1st scene of the 3d act Phaedra says to Lycon

" Has happy Phaedra aught

"In the wide circle of her far stretch'd empire"£c.

B B 2

372 HAY. 1706-1707.

This is said of Crete — in the first place, it does
not appear that Phaedra ever reigned in Crete — and
if she had reigned there, still it would have been ridi-
culous to have spoken in so pompous a manner of
such an island as Crete — in what ancient Greek
author did Smith ever find Hercules called Alcides ;
or Hippolytus' mother called Camilla ?

More might be said of the language of this Scholar's
play, but when the whole of a poem is insipid, it is
not worth while to point out its faults minutely ; as
when we have once tasted of palled wine, we stay not
to examine it glass by glass. (Dryden.)

April 28. Mrs. Bradshaw acted Ophelia for her bt.

30. Mrs. BignalPs bt. Never acted there, Pilgrim.
Pedro = Wilks : Alphonso = Johnson : Roderigo =
Mills : Lopez — Bullock : Mad Scholar = Keen : Mad
Englishman = Gibber : Mad Taylor — Bovven : Mad
Priest — Pack : Mad Welchman = Norris : Alinda =
Mrs. Oldfield: Juletta = Mrs. Bignall.

May 2. Mrs. Porter's bt. Not acted 4 years, and
never there, Liberty Asserted. Beaufort = Mills:
Frontenac = Keen : Irene = Mrs. Porter : Okima =
Mrs. Bradshaw : — rest as originally.

9. For bt. of Knapp, Mynns, and Newman. Venice
Preserved. Jaffier = Wilks : Pierre = Verbruggen :
Renault = Gibber: Priuli = Boman: Bedamar =
Booth : Antonio = Pack : Belvidera = Mrs. Barry.

25. Pack's bt. Wit without Money. Valentine =
Wilks: Franci sco = Mills: Lovegood = Keen : Lance
= Bullock: Shorthose = Norris : Lady Hartwell =
Mrs. Oldfield : Isabella = Mrs. Porter : — with Stage
Coach. Nicodemus Somebody = Pack.

28. For bt. of Cave Underbill. Mourning Bride
— all the parts performed to the best advantage.

HAY. 1706-1707. 373

June 2. Amphitryon. Jupiter = Wilks : Sosia=
Pack : Mercury = Fairbank : Amphitryon = Mills :
Gripus = Norris : Phoebus — Boman : Alcmena =
Mrs. Barry: Phaedra is omitted.

5. Norris' bt. Beaux' Strategem.

10. Never acted there, Fortune Hunters. Young
Wealthy = Wilks : Sir William Wealthy = Bullock :
Elder Wealthy = Mills : Spruce = Norris : Sham-
town — Pack : Littlegad = Boman : Lady Sly = Mrs.
Leigh : Sophia = Mrs. Bradshaw : Maria = Mrs. Old-
field : Mrs. Spruce = Mrs. Bignall : — last time of the
company's acting this season.

Summer Company.

June 13. London Cuckolds. Dash well = Norris.

18. Hamlet = Wilks: Ghost — Mills: Osrick=
Norris.

20. Fond Husband. Bubble = Bullock : Fumble
= Johnson : Rashley = Mills : Ranger = Verbruggen :
Sneak = Norris : Emilia = Mrs. Bradshaw : Maria =
Mrs. Porter.

25. Fatal Marriage. Biron = Booth: Villeroy =
Mills : Count Baldwin = Keen : Fernando = Norris :
Frederick — Verbruggen : Sampson= Bullock : Isa-
bella= Mrs. Barry : Victoria = Mrs. Porter.

27. Timon of Athens. Timon=Mills: Apeman-
tus= Verbruggen : Alcibiades = Booth : Poet= Nor-
ris : Phoeax = Bullock : ^Elius = Johnson : Evandra
= Mrs. Porter : Melissa =Mrs. Bradshaw.

July 1. Lancashire Witches. Teague O'Divelly
= Bullock: Sir Timothy Shacklehead= Norris: Tom
Shacklehead = Johnson : Young Harfort = Pack.

374 HAY. 1706-1707.

4. Taming of the Shrew. Petruchio = Mills :
Sauny = Bullock: Woodall= Johnson : Snatchpenny
=Pack : Winlove —Booth : Margaret the Shrew =
Mrs. Bradshaw.

10. For bt. of Husband and Pack. City Heiress.
Sir Timothy Treatall — Cross : Tom Wilding =
Mills: Sir Antony Meriwill = Bullock: Foppington
= Pack: Lady Galliard=Mrs. Bradshaw: City
Heiress =Mrs. Bicknall : Mrs. Clackit= Mrs. Powell :
— rest omitted.

22. Unfortunate Dutchess of Malfy, or the Unna-
tural Brothers. Bosola=Mills : An tonio= Booth :
Duke Ferdinand = Verbruggen : Cardinal = Keen :
Doctor= Bowen : Mad Taylor =Pack : Mad Parson
= Johnson: Mad Doctor = Bullock: Dutchess =Mrs.
Porter: Julia = Mrs. Bradshaw.

25. Acted there but thrice, Lancashire Witches,
with all the risings, sinkings, and flyings of the
Witches, as they were originally performed — an
accident prevented the acting of the Fond Husband,
but this play will certainly be performed.

26. Feigned Innocence. Sir Martin Marrall=
Bullock : Warner= Booth : Moody ^Johnson : Sir
John Swallow=Mills : Mrs. Mellicent=Mrs. Porter:
Rose=Mrs. Bradshaw.

30. Old Troop. Raggou= Bowen : Captain=
Keen: Lieutenant = Verbr uggen : Cornet = Booth :
Lancashire Trooper == Johnson : Ferretfarm= Bul-
lock : Two Neighbours=Norris and Pack : Biddy
=Mrs. Porter.

Aug. 1. Sophonisba. M assinissa= Booth : Han-
nibal Verbr uggen : Maherbal=Keen : Rosalinda
=Mrs. Bradshaw : Sophonisba=Mrs. Porter.

HAY. 1706-1707. 375

12. Bartholomew Fair. Cokes = B ullock : Waspe
Johnson: Rabby Busy = Pack: Justice Overdo ==
Keen: Littlewit = Norris : Quarlous = Mills : Edge-
worth = Booth : Ursula = Mr. Cross : Mrs. Welborn
= Mrs. Porter.

19. Caesar Borgia. Borgia = Verbruggen: Palante
= Booth : Ascanio Sforza — Bowen : Bellamira=
Mrs. Porter.

22. Last play till after the Fair. (Bills from
B. M.)

Mrs. Bracegirdle and Mrs. Oldfield became this
season for the first time members of the same com-
pany— Mrs. Oldfield was in the prime of life, and
had risen rapidly in the public favour ; Mrs. Brace-
girdle was perhaps a little on the decline, but not
much.

A Life of Mrs. Oldfield was published in 1730-
the anonymous author of it says — " As Mrs. Oldfield
" daily improved in her profession, a dispute was set
" on foot (whether first started by themselves, or by
" the Town, I will not pretend to determine) whe-
" ther she or Mrs. Bracegirdle could best perform a
" part in Comedy — this contest, however it first
" began, grew at last so considerable, that it was
" agreed to make the Town the judges — Mrs. Brace-
" girdle accordingly acted Mrs. Brittle on one night
" — and Mrs. Oldfield acted the same part on the
" next night — the preference was adjudged to Mrs.
" Oldfield — at which Mrs. Bracegirdle was very
" much disgusted — and Mrs. Oldfield's benefit being
" allowed by Swiney to be in the season before Mrs.
" Bracegirdle's, added so much to the affront, that
" she quitted the stage immediately" — that Mrs.

376 HAY. 1706-1707.

Bracedirdle and Mrs. Oldfield played Mrs. Brittle
in a contest for superiority may be perfectly true,
but it is by no means certain — a reference to the
Bills in the British Museum would determine the
point — Mrs. Bracegirdle acted Rutland on the 20th
of Feb. — Venice Preserved was acted on the 22d —
and Mrs. Oldfield's benefit was on the 25th — it is
possible that the Amorous Widow was played twice
in the interval, but it does not seem very probable —
it is also possible, that Mrs. Bracegirdle and Mrs.
Oldfield might have acted Mrs. Brittle on two suc-
cessive nights before Feb. 20 — in CurlPs Life of
Mrs. Oldfield 174<1, the dispute between Mrs. Brace-
girdle and Mrs. Oldfield is slightly mentioned, but
nothing is said about the character of Mrs. Brittle —
the affront shown to Mrs. Bracegirdle about her
benefit would be a sufficient cause for her retire-
ment from the stage — it was very unfair in Mrs.
Oldfield's friends to press the matter ; and ungrate-
ful in the public not to support their old favourite
— but such sort of things happen too often on the
stage Gibber well knew the cause of Mrs. Brace-
girdle's retirement, but says nothing about it, as she
was then alive and would not have been pleased with
the repetition of it.

Sep. 18 1748 (Sunday) Late at night the corpse
'of Mrs. Bracegirdle was brought from her late dwel-
ling in Howard Street in the Strand, and interred in
a very handsome manner in the cloisters of West-
minster Abbey. (B. M.}

Gildon, in the Comparison between the two Stages,
1702, attacks Mrs. Bracegirdle's private character.

HAY. 1706-1707. 377

Sullen. But does that Romantick Virgin still keep
up her reputation ?

Critick. D'ye mean her reputation for acting ?
Sullen. I mean her reputation for not acting — you
understand me —

Critick. I do ; but if I were to be saved for be-
lieving that single article, I could not do it : 'tis all,
all a juggle, 'tis legerdemain ; the best on't is, she
falls into good hands, and the secrecy of the intrigue
secures her ; but as to her innocence, I believe no
more on't than I believe of John Mandevil.

Tom Brown, in his description of the playhouse,
is still more severe on Mrs. Bracegirdle — Among
Tom Brown's Letters from the Dead to the Living,
there is one from Mrs. Behn to the famous Virgin
Actress — and another from the Virgin to Mrs. Behn.
Gildon and Tom Brown seem to have had no
foundation for their ill nature, but the extreme diffi-
culty with which an Actress at this period of the
stage must have preserved her chastity.

Mrs. Bracegirdle was perhaps a woman of a cold
constitution.

Anthony Aston says — " Mrs. Bracegirdle, that
" Diana of the stage, had many assailants on her virtue,
" as Lord Lovelace and Mr. Congreve, the last of
" which had her company most ; but she ever resisted
" his vicious attacks, and, yet was always uneasy at
" his leaving her — she was very shy of Lord Love-
" lace's company, as being an engaging man, who
" drest well : and as, every day, his servant came to
" her, to ask her how she did, she always return'd
" her answer in the most obeisant words and beha-
66 viour, that she was indifferent well, she humbly

678 HAY. 1706-1707.

,

" thanked his Lordship she was of a lovely height,

" with dark brown hair and eye-brows, black spark-
" ling eyes, and a fresh blushy complexion ; and,
" whenever she exerted herself, had an involuntary
" flushing in her breast, neck and face, having con-
" tinually a chearful aspect, and a fine set of even
" white teeth ; never making an exit, but that she
" left the audience in an imitation of her pleasant
" countenance — genteel comedy was her chief essay,
" and that too when in men's cloaths, in which she
" far surmounted all the actresses of that and this
" age — yet she had a defect scarce perceptible, viz.
" her right shoulder a little protended, which, when
" in men's cloaths, was covered by a long peruke—
" she was finely shap'd, and had very handsome legs
" and feet ; and her gait, or walk, was free, manlike,
" and modest, when in breeches — her virtue had its
" reward, both in applause and specie ; for it hap-
" pen'd, that as the Dukes of Dorset and Devonshire,
" Lord Hallifax, arid other Nobles, over a bottle, were
" all extolling Mrs. Bracegirdle's virtuous behaviour,
" * Come,' says Lord Hallifax — ' you all commend
" her virtue, &c. but why do we not present this in-
" comparable woman with something worthy her
" acceptance ?' — his Lordship deposited 200 guineas,
" which the rest made up 800, arid sent to her, with
" encomiums on her virtue — she was, when on the
" stage, diurnally charitable, going often into Clare-
" market, and giving money to the poor unemploy'd
" basket- women, insomuch, that she could not pass
" that neighbourhood without the thankful acclama-
<c tions of people of all degrees ; so that, if any
" person had affronted her, they would have been in

HAY. 1706-1707. 379

" danger of being killed directly ; and yet this good
" woman was an actress."

Mrs. Anne Bracegirdle's characters -^-selection only.

D. G. 1680. *Page in Orphan.

T. R. 1688. *Lucia in Squire of Alsatia.

1691. * Maria in Edward 3d — *Emmeline in King
Arthur — *Tamira in Bussy D'Ambois altered.

1692. * Phoebe alias Love well in Marriage-Hater
— *Rosamond in Henry 2d. — Amidea in Traytor.

1693. *Araminta in Old Batchelor— * Cynthia in
Double Dealer.

1694. *Marcella in Don Quixote — * Victoria in
Fatal Marriage.

L. I. F. 1695. * Angelica in Love for Love.

1696. * Flora in Country Wake — * Angelica in
She Gallants.

1697- ^Belinda in Provoked Wife — *Almeria in
Mourning Bride — *Mrs. Beauclair in Innocent
Mistress.

1698. *Briseis in Heroick Love.

1699. *Iphigenia in ditto.

1700. * Isabella in Measure for Measure altered
— *Millamant — *Amestris in Ambitious Stepmother.

1701. * Portia in Jew of Venice.

1702. *Selima in Tamerlane — Mrs. Brittle.

1703. *Lavinia in Fair Penitent.
1703-1704. *Abra-Mule in ditto— Desdemona —

Octavia in All for Love — Mrs. Julia in Sir Solomon
— Mrs. Ford — * Julia in Squire Trelooby.

380 HAY. 1706-1707.

L. I. R and Hay. 1704-1705. * Mariana in Biter
— ^Angelica in Gamester.

Hay. 1705-1706. *Flippanta— *Semanthe in Ulys-
ses— *Oriana in British Enchanters.

1706-1707. Cordelia — Aspatia in Maid's Tragedy
—Harriet in Man of the Mode — Estifania — Rutland
— Arbella in Committee — Gatty in She wou'd if she
cou'd — Ophelia — Statira — Portia in Julius Caesar—
Hellena in Rover — Melantha in Marriage a-la-Mode
— Lavinia in Caius Marius.

* Originally.

John Verbruggen's name does not appear in the
bills after this season — he died before April 1708.

Verbruggen had the words perfect at one view, and
nature directed them into voice and action, in which
last he was always pleasing, his person being tall,
well-built and clean ; only he was a little in-kneed,
this gave him a shambling gait, which was a careless-
ness and became him — his chief parts were Edgar
— Bajazet — Oronooko — the Rover and Cassius—
when he acted Cassius to Betterton's Brutus, you
might behold the grand contest, viz. whether nature
or art excelled ; Verbruggen wild and untaught, or
Betterton in the trammels of instruction — in Edgar
Verbruggen showed his judgment most, for his mad-
ness was unlimited — in his addresses to Cordelia and
Imoinda he was tender and soft — when in Oronooko
he said " Ha ! thou hast roused the lion " &c., he

spoke this like a lion in the Rover, never were

more beautiful scenes than between him and Mrs.

HAY. 1706-1707. 381

Bracegirdle in Hellena, for what with Verbruggen's
untaught airs and her smiling repartees, the audience
were afraid they were going off the stage every mo-
ment.

Verbruggen was nature without extravagance, and
freedom without licentiousness — he was vociferous
without bellowing — nature was so predominant in
him that his second thoughts never altered his prime
performance — in Oronooko he was the unpolished
hero — (Anthony Aston.) — the author of the Laureat
says, he was excellent in Ventidius — Chamont—
Pierre — and Cethegus — Gibber scarcely mentions
him, and seems to have studiously avoided it.

Verbruggen 's characters — selection only.

T. R. 1688 — as Mr. Alexander — * Termagant in
Squire of Alsatia.

1693. * Sharper in Old Batchelor — *Careless in
Double Dealer.

1694 — as Verbruggen — *Ambrosioin Don Quixote
1st and 2d part — * Frederick in Fatal Marriage—
*Lovell in Canterbury Guests.

1695. * Loveless in Love's last Shift.

1696. * Oronooko — * Prince Frederick in Younger
Brother.

1697. * Loveless in Relapse — at L. I. F. ^Constant
in Provoked Wife — *King of Granada in Mourning
Bride — *Sir Francis Wildlove in Innocent Mistress.

L. I. F. 1698. *Achilles in Heroic Love.
1699. * Xerxes in ditto.

382 HAY. 1706-1707.

1700. Hotspur — *Claudio in Measure for Measure
altered — *Junius in Fate of Capua — *Mirabell in
Way of the World — *Artaxerxes in Ambitious Step-
mother.

1701. Valentinian in ditto — * Antonio in Jew of
Venice.

1702. *Bajazet.

1703. *Altamont.

1703-1704. At Court— Yentidius— Page in Merry
Wives — at L. I. F. Csesar Borgia in ditto.

L. I. F. 1704-1705. * Young Valere in Gamester.

Hay. 1706-1707. Edgar— Horatio in Hamlet-
Ramble in London Cuckolds — Alexander — Cassius
— the Rover — lago — Lorenzo in Spanish Fryar—
Wolsey — Chamont — Don Sebastian — * Sullen — Pierre
— Ranger in Fond Husband — Apemantus — Duke
Ferdinand in Dutchess of Malfey — Lieutenant in Old
Troop — Hannibal in Sophonisba.

* Originally.

Mrs. Leigh's name does not appear after this season
— in Oct. 1707 Mrs. Powell acted her parts in the
Committee and Fortune Hunters — Mrs. Leigh's name
stands to Scintillia in the French Conjuror as Mrs.
Eliz. Leigh — Cibber particularly notices her in the
Mother in the Chances, Aunt in Sir Courtly, and
Lady Wishfort.

It is sufficiently clear that in and about 1702 there
was another actress of the same name, it cannot be
supposed that Anthony Leigh's widow could act Mrs.
Plotwell in the Beau's Duel, Chloris in As you find

D. L. AND D. G 1707-1708. 383

it, and some other young parts, to which the name
of Mrs. Leigh stands— Eli. Leigh, probably the wife
of Francis Leigh, signed a petition, with other per-
formers, to Queen Anne in 1709— this actress seems
to have played decent parts at first, and then to have
sunk into obscurity.

D. L. AND D. G. 1707-1708.

Oct. 1 8. In order to complete the Company, Re-
cruiting Officer. Plume = Bickerstaffe : Brazen =
Weller : Kite= Estcourt : Balance = Capt. Griffin :
Worthy = Burkett : Sylvia := Mrs. Moore : Melinda
= Mrs. Knight : Rose = Mrs. Babb : Lucy = Mrs. Cox.

The Company was very weak, and stood much in
need of Recruits.

21. Committee. Teague = Estcourt : Ruth — Mrs.
Mountfort — a Prologue to the Town by Mrs. Babb.

23. Tunbridge Walks. Reynard = Bickerstaffe :
Yeoman = Estcourt : Squib = Pinkethman : Maiden
= Carnaby : Hillaria = Mrs. Knight : Mrs. Good-
fellow = Mrs. Kent : Lucy = Mrs. Lucas.

25. Love makes a Man. Clodio = Bickerstaffe :
Don Lewis = Pinkethman: Govern our = Capt. Grif-
fin : Louisa = Mrs. Moore : Elvira =Mrs. Knight.

28. Sir Solomon 29. Timon. Apemantus=

Griffin.

384 D. L. AND D. G. 1707-1708,

31. Reformed Wife — this play was acted twice—
it was probably revived from some intimation having
been received of the use which Gibber had made of
it in the Double Gallant — see Hay. Nov. 1.

Nov. 4. Emperor of the Moon — 6. Squire of Al-
satia.

8. Spanish Fryar— 18. Rehearsal — 20. Tempest.

22. Not acted 5 years, (Edipus. CEdipus= Powell :
—he probably joined the company at this time, as his
name had not been mentioned before, and was stu-
diously mentioned afterwards.

25 and 26. Powell acted Don John and Plume.

28 and 29. Powell acted Macbeth and Armusia
in I. P.

Dec. 2. Northern Lass. Sir Philip Luckless =
Powell : Bulfinch == Estcourt : Nonsense = Pinketh-
man : Northern Lass = Mrs. Mountfort.

4. CEdipus. Jocasta = Mrs. Knight.

10. Timonof Athens = Powell: Poet=Pinkethman.

11. Not acted 5 years, (acted March 27 1706)
Virtue Betrayed. King= Estcourt: Piercy= Powell.

17. Not acted 3 years, Rule a Wife. Leon =
Powell: Estifanjar: Mrs. Mountfort.

26. Northern Lass. Widgine = Leigh : Mrs. Fit-
chew = Mrs. Knight : Constance Holdup = Mrs.
Lucas : — with an Equi-vocal Epilogue after the old
English manner, compiled and spoken by the most
famous singer Signor Pinkethmano, upon an Ass
that never appeared but twice on either stage.

27. Tempest. Prospero = Powell 1st time for
4 years.

30. Not acted 4 years, (acted Dec. 10 1705) Jovial
Crew. Springlove = Powell.

-i>. L. AND D. G. 1707-1708. 385

Dodsley in his edition of the Jovial Crew gives the
complete cast of the play — no doubt as it was acted
on this day — Oldrents = Capt. Griffin : Hearty = Pin-
kethman : Springlove = Powell : Vincent = Weller :
Hilliard = Carnaby : Justice Clack = Provost : Tall-
boy = Pack : Rachel = Mrs. Knight : Meriel= Mrs.
Moor : Amie = Mrs. Cox : — Dodsley seems to be
corect as to Pack, but he was at the Hay. Nov. 18th
—an edition of the Jovial Crew was printed (proba-
bly) in 1708 — with the cast of the play at D. L. — at
the Hay. — and again at D. L. after the union of the
two companies — Dodsley reprinted these three casts.

Jan. 1. Not acted 5 years, King Lear. Lear =
Powell.

7. Not acted 5 years, Comical Revenge. Sir-
Frederick Frolick = Powell : Palmer =: Estcourt.

9. Spanish Fryar = Estcourt : Torrismond = Powell

10. GEdipus = Powell.

There seem to have been no plays from the 10th
to the 15th. (Bills from B. M.)

Rich, who had acted as sole Manager at D. L. for
several years, could never be persuaded or driven to
any account with the other Proprietors — Sir Thomas
Skipwith, in the summer of 1707> made over to Mr.
Brett the large share which he had in the Theatre,
and which Malone supposes him to have derived from
some of the Killegrew family — Brett produced his
Deed of Conveyance to Rich — Rich made no oppo-
sition to it — Brett, by his intimacy with the Vice-
chamberlain, affected a re-union of the two com-
panies— Swiney was made director of the Operas-^-
the actors were all ordered to return to D. L.— there
to remain (under the Patentees) her Majesty's only

VOL. II. C C

386 D. L. AND D. G. 1707-1708.

company of Comedians — (Cibber) — the Court seems,
at this time and for some years after, resolved to make
the concerns of the Theatre (per fas et nefas) en-
tirely dependant upon the Lord Chamberlain.

Cibber says (page 244 of the Octavo Edition) that
the Theatrical union was effected in the same year as
the union between England and Scotland — that is in
1707,* and mentions as a proof of it, that Estcourt,
who then took upon him to say any thing, added a
4th line to the Prologue of the play in Hamlet ;

" For us and for our Tragedy,
" Thus stooping to your clemency,
( This being a year of Unity}
" We beg your hearing patiently."

Unfortunately Cibber tells us (page 312) that the
re-union of the companies was in 1708.

Cibber is very near right in both his statements, as
the union really took place in 1707-8, but the appa-
rent contradiction between his two accounts puzzled
me exceedingly till I saw the playbills — for who would
have imagined that the union commenced in the middle
of a season? — the bills are always of great importance,
but never more so than on this occasion.

Capt. Griffin seems not to have acted after the
Union of the two companies in Jan.

Griffin, who belonged to the King's Company, left
the stage about 6 years after the Union in 1682 — he
seems to have gone into the army and to have re-

* The Union between England and Scotland took place on the
first of May 1707

HAY. 1707-1708. 387

turned to the stage in 1701 — this is by no means
certain ; but it seems more probable, than that Capt.
Griffin should have gone on the stage without having
previously been connected with it — Capt. Griffin
played elderly parts, such as Griffin would naturally
have played on returning to the stage after an absence
of about 13 years — Downes says that Griffin excelled
in Surly — Sir Edward Belfond and the Plain Dealer
-Capt. Griffin acted the Plain Dealer in 1705— Sir
Courtly Nice and the Squire of Alsatia were per-
formed while Capt. Griffin was at D. L., but it does
not appear, who acted Surly and Sir Edward Belfond.
Capt. Griffin is mentioned by Cibber, with Better-
ton — Smith — Mountfort — Mrs. Bracegirdle and Mrs.
Oldfield, as being much noticed off the stage by per-
sons of consequence.

HAY. 1707-1708.

Oct. 13. Recruiting Officer — 14. Beaux Strategem.

15. Taming of a Shrew 16. Spanish Fryar.

18. Never acted there, Love's last Shift. Sir No-
velty Fashion = Cibber : Loveless = Wilks : Elder
Worthy = Booth: Younger Worthy = Mills : Sir

o c 2

388 HAY. 1707-1708.

William Wisewou'd — Johnson : Snap = Norris : Sly
= Bullock : Narcissa = Mrs. Oldfield : Amanda =
Mrs. Rogers, her 1st appearance on that stage :
Hillaria = Mrs. Bradshaw : Flareit = Mrs. Saunders.

20. Constant Couple.

21. Committee. Bookseller = Norris: Mrs. Day
= Mrs. Powell : Arbella = Mrs. Rogers : — rest as
before.

22. Bartholemew Fair. Rabby Busy = Cibber :
Mrs. Wellborn = Mrs. Bradshaw: Mrs. Littlewit =
Mrs. Saunders.

23. Sir Courtly Nice — Surly is omitted: Aunt =
Mrs. Powell: — rest as before.

25. Unhappy Favourite. Rutland = Mrs, Rogers.

28. Silent Woman. Morose = Johnson.

29. Lancashire Witches. Sir J. Shacklehead =
Bo wen.

30. Wit without Money 27. Pilgrim.

31. Fortune Hunters. Widow = Mrs. Powell.
Nov. 1. Never acted, Double Gallant, or Sick

Lady's Cure. Atall = Cibber : Sir Solomon Sadlife
= Johnson : Careless =• Wilks : Clerimont = Booth :
Old Willfull = Bullock : Capt. Strut = Bowen : Sir
Squabble Splithair = Norris : Saunter = Pack : Sir
Harry Atall = Cross : Supple = Fairbank : Lady Sad-
life = Mrs. Cross : Lady Dainty = Mrs. Oldfield :
Clarinda = Mrs. Rogers : Sylvia = Mrs. Bradshaw :
Wish well = Mrs. Saunders: — acted only 4 times —
Cibber in his Apology (p. 274) says — " this play was
" made up of what little was tolerable, in two, or
" three others, that had no success" — in the Pro-
logue to the Double Gallant he asserts a barefaced
falsehood —

HAY. 1707-1708. 389

" For, tho' from former scenes some hints he

" draws,
" The Ground-Plot's wholly chang'd from what

" it was."

The plays from which Gibber compiled the Double
Gallant are Love at a Venture — the Lady's Visiting
Day, and the Reformed Wife.

Love at a Venture was printed in 1706 — it was
written by Mrs. Carroll, and had been acted at the
New Theatre in Bath by the Duke of Grafton's Ser-
vants— his Grace was probably Lord Chamberlain —
Bellair makes love to Beliza as Col. Revel, and to
Camilla as Mr. Constant, an Oxfordshire Gentleman
who is come up to town about a lawsuit — Beliza
admits the addresses both of Col. Revel and Sir
William Freelove — Camilla is in love with Bellair —
the night before the play begins, as she was stepping
out of a boat, she fell into the Thames — Bellair
jumpt in after her and saved her life — she appoints
Bellair to visit her at Beliza's lodgings — Beliza accosts
Bellair as Col. Revel — Bellair insists that his name
is Constant, and protests that he does not know Col.
Revel — Camilla writes a note to Bellair, and desires
him to visit her immediately — Bellair enters as Col.
Revel — both the ladies are present — a pretended
King's Messenger arrests Bellair * as Col. Revel, and
carries him off — he soon after re-enters as Constant
— Robin, Bellair's servant, and Sir William Freelove
assist him in imposing on the ladies — Bellair, in his
own person, requests Mr. Positive, Camilla's father,
to accept him for his son-in-law — Positive says he
has disposed of his daughter already — Sir Thomas

390 HAY. 1707-1708.

Bell air enters — an explanation takes place — and it
appears that Bellair is the person to whom Positive
has engaged his daughter — and that Camilla is the
lady whom Sir Thomas Bellair had insisted that his
son should marry — Beliza marries Sir William Free-
love — in the course of the play Bellair has ran in-
trigue with Lady Cautious — on the approach of her
brother, Sir William Freelove, she hides Bellair in a
closet — Sir William puts out the candle — he goes to
the closet, tells Bellair to retire, and places himself

in his room Love at a Venture is on the whole a

good play — almost every scene in which Atall is con-
cerned, is borrowed from it — the author of the
Laureat says — p. 112 — " a lady offered a play to
" the perusal of Gibber, in which she had drawn
" the character of an impudent fellow, who acted
" under his own appearance two different persons,
" and persuaded his mistress to believe him not to
" be himself, in opposition to her own senses—
" this character Cibber scouted extremely — the poor
" lady was beat out of her design ; but as Cibber
" had the play sometime in his hand, he culled out
" this very character, and had it acted as his own"
— there is no reason to suppose that Cibber took
the part of Atall from Mrs. Carroll's manuscript
—the play was in print — it is however highly pro-
bable that Cibber might discourage Mrs. Carroll,
and prevent her play from being brought out in
London.

For the Lady's Visiting Day see L. I. F. 1701.

The character of Lady Dainty (with the exception of
her affected illness and somewhat more) — her mar-
riage with Prince Alexander — the scenes in which

HAY. 1707-1708. 391

Clarinda is in boy's clothes — that about the letter at
the end of the 3d Act, and some others, are taken from
the Lady's Visiting Day — many speeches are copied
verbatim, others are somewhat altered — the cha-
racters of Capt. Strut— Sir Squabble Splithair and
Saunter are from the same Comedy — they all come
in the 1st Act of the Double Gallant, and propose to
Sir Solomon for his Niece — the Capt. likewise enters
in the 5th Act — these 3 parts (or at least Capt. Strut)
continued on the stage for many years, but are now
omitted in representation — and what is very repre-
hensible, they are omitted in the modern editions of
the Double Gallant, without any intimation that they
ever existed.

For the Reformed Wife see D. L. 1700.

In the Double Gallant, the scene in the 3d act
between Lady Dainty and Situp, with the Doctor,
Apothecary and Careless — as likewise the greater
part of what she says about her visits— and Careless'
courtship in the 4th Act are taken from the Reformed
Wife almost verbatim — from that play Cibber has
boiTOwed many of his names — as Sir Solomon —
Freeman — Careless — Clerimont — Lady Dainty — Cla-
rinda— and Sylvia — Cibber has greatly improved the
character of Lady Sadlife, and put the whole very
well together.

Nov. 6. Maid's Tragedy. Calianax = Norris : Di-
philus = Keene : Aspatia = Mrs. Rogers : — rest as
before.

8. Indian Emperour. Cortez = Wilks : Cydaria
zzMrs. Bradshaw : Alibech = Mrs. Rogers: — rest as
before.

11. Tender Husband. Fairilove = Mrs. Saunders :

392 HAY. 1707-1708.

Mrs. Clerimont = Mrs. Cross : — rest as Dec. 7 1706.

14. Royal Merchant — Higgen again omitted.

15. Venice Preserved. Pierre = Mills.

18. She wou'd if she cou'd. Sir Joslin Jolley =
Bullock: Rakehell = Pack : Ariana^Mrs. Rogers:
Gatty = Mrs. Cross : Sentry = Mrs. Saunders : — rest
as Dec. 5 1706.

19. Henry 4th. Falstaff =Betterton : Hotspur =
Booth : Worcester =: Gibber.

20. Marriage a-la-Mode. Melantha = Mrs. Cross:
Doralice = Mrs. Rogers : — rest as before.

22. Wilks acted Hamlet.

25. Never acted, Royal Convert. Hengist = Booth :
Aribert = Wilks : Seofrid (Hengist's first minister) =
Mills: OfFa (a Saxon prince) = Husband : Oswald
(friend to Aribert) = Keen : Rodogune (sister to Offa)
=. Mrs. Barry : Ethelinda (a British Lady) = Mrs.
Oldfield: — acted 7 times — Hengist and Aribert are
the sons of Hengist, the first Saxon invader of
Britain — Aribert had been privately married to Ethe-
linda— and had been converted by her to Christianity
— Hengist had called in Offa to his assistance against
the Britons, and had promised to marry Rodogune
— the day had been fixed for the ceremony, but Hen-
gist had put it off — OfFa threatens Hengist with ven-
geance— Rodogune treats him with disdain — Hengist
had accidentally seen Ethelinda — he had fallen in
love with her, and had carried her off from the cot-
tage in which Aribert had concealed her — Ethelinda
had been committed to the care of Seofrid — Seofrid,
on being told that she is married to Aribert, connives
at her escape — the King is enraged — Aribert acknow-
ledges that Ethelinda is his wife, and that he is a

HAY. 1707-1708. 393

Christian — Hengist orders him to be sacrificed to the
Saxon Gods — Rodogune, who is in love with Aribert,
rescues him from the Priests — Ethelinda had been
overtaken in her way to the British camp, and is
brought in as a prisoner — Rodogune, on finding that
Aribert is fixed in his attachment to Ethelinda, con-
demns her to the rack — the King, in attempting to
get Ethelinda once more into his power, is mortally
wounded — Aribert'g friends set him and Ethelinda
at liberty — he succeeds to the crown, and dismisses
Rodogune with honour — she makes her exit in a rage
this is on the whole a good T. — Cranmer's pro-
phecy in Henry the 8th is a gross piece of flattery at
the expense of all propriety — but Rowe does still
worse, and concludes this play with a prophetic com-
pliment on Queen Anne, and the Union of England
and Scotland.

Dr. Johnson observes, that Rodogune is a personage
truly tragical, of a high spirit and violent passions,
great with tempestuous dignity, and wicked with a
soul that would have been heroic, if it had been vir-
tuous— Gibbon supposes that Procopius may have
suggested to Rowe the character and situation of
Rodogune — Procopius, in the 4th book of his Gothic
war ch. 20th, relates the story of an English Heroine
more circumstantially than Gibbon does — in particular
he mentions her brother, of whom Gibbon says nothing.

So little did Procopius know of this country, that
the account he gives of it is fabulous to the last de-
gree— he likewise supposes Britannia and Brittia to
be two different Islands, and it is the latter which he
says was inhabited by the Angles, Frisions, and Britons
— and from whence the forsaken Princess of the

394 HAY. 1707-1708.

Angles crost the sea with an army, took her betrothed
husband prisoner, and obliged him to dismiss the
wife, whom he had married contrary to his agreement.

Procopius wrote a Secret History — it is called
AvexSora (Anecdota) — that is things not published—
hence the modern word Anecdote — which is used im-
properly, when it is applied to any story already made
public.

Dec. (). Careless Husband. Lady Graveairs =
Mrs. Rogers.

13. Never acted, Lady's Last Stake, or the Wife's
Resentment. Lord Wronglove = Wilks : Lord
George Brilliant = Gibber : Sir Friendly Moral —
Keen : Lady Wronglove = Mrs. Barry : Miss Notable
= Mrs. Cross : Mrs. Conquest^Mrs. Oldfield : Lady
Gentle = Mrs. Rogers : — acted 5 times — this is a tole-
rable C. by Gibber, but somewhat heavy — the Editor
of the B. D. says the plot is in part taken from the
Reformed Wife ; which is quite a mistake.

20. Never acted there, Country Wit with a new
Epilogue by Gibber.

26. Unhappy Favourite, with the last new vocal
Epilogue composed and performed by the famous
Signor Cibberini, after the newest English, French,
Dutch and Italian manner — this was the 3d time of
the Epilogue, and on the same night as Pinkethman's
Epilogue at D. L. — Gibber seems to have had a talent
for burlesque singing ; he says of himself, that no
Italian Eunuch was more applauded than he was,
when he sung in Sir Courtly.

27. Never acted there, Macbeth — Macbeth = Bet-
terton : Macduff= Wilks : Banquo= Mills : Duncan
ir Keen: Lenox zz Booth : Seyton = Cory : Hecate=

D. L. 1708. 395

Johnson : Witches = Norris, Bullock and Bowen :
Lady Macbeth = Mrs. Barry : Lady Macduff = Mrs.
Rogers : — with Cibberini's Epilogue.

Jan. 1 . Never acted there, Jovial Crew. Oldrents
= Keen : Hearty = Cross : Vincent = Wilks : Hil-
liard = Cibber : Springlove = Mills : Oliver = Booth :
Justice Clack = Norris : Tallboy = Bullock : Randal
= Johnson : Courtier = Bowen : Rachel = Mrs. Big-
nall : Meriel = Mrs. Cross: Amie=:Mrs. Saunders :
— Dodsley adds — Martin = Bullock Junior : Scent-
well = Husband : Poet = Norris.

8. Mrs. Oldfield acted Estifania for her bt.

10. Wilks' bt. Macbeth with Cibberini's Epilogue.

After this the Hay. was made over to Swiriey for
Operas, and the actors joined those at D. L. under
Rich and Brett. (Bills from B. M.)

D. L. 1708.

The first play acted by the united companies was —

Jan. 15. Hamlet. Hamlet = Wilks : Ghost =
Booth: Horatio = Mills : Laertes = Powell : Polonius
= Johnson : Fop = Cibber : Gravedigger = Estcourt :
Queen^ Mrs. Knight: Ophelia = Mrs. Mountfort.

16. Recruiting Officer 17. Maid's Tragedy.

19. Love's last Shift 20. Jovial Crew.

21. Careless Husband 22. Unhappy Favourite.

23. Fortune Hunters 24. Henry 4th 26.

Relapse.

396 D. L. 1708.

28. Beaux Strategem 29. Committee.

No performers' names to most of these plays.

31. Rival Queens. Alexander = Powell : Clytus
= Booth : Statira = Mrs. Rogers : Roxana = Mrs.
Barry.

Feb. 2. Sir Courtly Nice. Crack rrPinketh man :
Surly = Keen.

3. Amphitryon. Mercury =. Estcourt : Phaedra =
Mrs. Bicknell : Bromia = Mrs. Powell: — rest as at
Hay.

4. Love makes a Man. Clodio = Gibber : Carlos
= Wilks : Don Lewis = Pinkethman : Sancho =
Norris : Antonio = Bullock : Charino = Cross : Don
Duart = Mills : Angelina = Mrs. Bradshaw : Louisa
= Mrs. Rogers : Elvira = Mrs. Oldfield.

5. Tender Husband. Humphry Gubbin = Pinketh-
man : Pounce = Estcourt : Mrs. Clerimont = Mrs.
Cross : Fainlove = Mrs. Porter : — rest as at Hay.

6. Country Wit. Ramble = Booth : Sir Mannerly
Shallow = Pack : Sir Thomas Rash = Norris : Merry
=: Mills : Lord Drybone = Fairbank : Booby = Bul-
lock : Porter = Johnson : Betty Frisque = Mrs. Bick-
nell : Lady Faddle = Mrs. Powell : Isabella = Mrs.
Saunders : Christina = Mrs. Bradshaw : Porter's
Wife = Mrs. Willis.

7. Never acted there, Love for Love. Valentine
= Wilks : Foresight = Johnson : Ben = Cibber : Tattle
= Pack : Sir Sampson Legend =. Estcourt : Scandal
= Booth : Jeremy = Bowen : Trapland = Norris : An-
gelica = Mrs. Oldfield : Mrs. Frail = Mrs. Barry : Miss
Prue = Mrs. Bicknell : Mrs. Foresight = Mrs. Rogers :
Nurse = Mrs. Willis.

9. Never acted, Irene, or the Fair Greek. Maho-

D. L. 1708. 397

met the Great (Emperor of the Turks) = Powell :
Aemet = Keen : Balbanus = Booth : Aratus = Mills :
Vizier (the confederate of Valide) = Smith t Pyrrhus
(brother to Irene) = Husband : Mustapha = Cory :
Valide (Mahomet's mother) = Mrs. Barry: Irene =
Mrs. Rogers : Zaida = Mrs. Porter : — Aratus, the
captive Prince of Corinth, and Irene, the Fair Greek,
were betrothed — Mahomet had forced Irene to become
his concubine — Aratus still wishes to many her — she
declines his offer from a sense of honour — Valide
endeavours to involve Mahomet in love and luxury,
that she may herself retain the management of state
affairs — Acmet and Balbanus endeavour to rouse
Mahomet from his lethargy — in the 4th act he con-
demns them to death — the last scene lies in the Divan
— Irene is brought in dressed in imperial robes-
Mahomet places her on the throne — all the persons
present declare her worthy of the Sultan's love — he
stabs her — Aratus and Mahomet fight — Aratus is
killed — Mahomet confines his mother to her apart-
ments for life — scene Constantinople — this is an in-
different T. — Goring in his dedication says — " Irene
" appeared to the greatest disadvantage on the stage,
" strip'd of her ornaments of music, and in many of
" her characters suffering very much in the action "
— that this play was acted only 3 times was probably
not the fault of the actors — it sems to have been well
cast, Mrs. Barry played a part of little importance,
and Mrs. Porter was a mere confidant — the Music
was prohibited, as the Hay. was appropriated to
Operas — if a regulation of this sort had always sub-
sisted, the friends of the legitimate drama would have
had reason to rejoice.

398 D. L. 1708.

12. Estcourt's bt. Rehearsal. Bayes = Estcourt :
with (never acted) Mr. Bayes' Practice— an Interlude
called Prunella, done from the Italian. (B. M.)—
this Interlude was performed in the Rehearsal — some
of the songs are sung by the characters in the Re-
hearsal— it was meant as a burlesque on the Italian
Opera— it might amuse in representation, but it is
dull in perusal — it seems to have been written by
Escourt himself.

14. Mithradates = Powell : Ziphares - Wilks :
Pharnaces = Mills : Archil aus = Keen : Aquilius =
Booth : Pelopidas = Husband : Semandra = Mrs.
Oldfield : Monima = Mrs. Bradshaw.

16. Double Gallant.

19. Mrs. Barry's bt. Not acted there for 13 years,
Aurenge-Zebe. Aurenge-ZebezzPowell: Emperour—
Betterton : Morat = Booth : Nourmahal = Mrs. Barry :
Indamora = Mrs. Rogers : Melisinda = Mrs. Porter.

21. Marriage a-la-Mode. Melantha = Mrs. Cross :
Doralice = Mrs. Porter : Olinda = Mrs. Sauriders :
Philotis = Mrs. Bignall : — rest as before.

23. Spanish Fryar. Dominic = Estcourt : Torris-
mond = Powell : — rest as Hay. Nov. 13 1706.

24. Not acted 5 years, Chances. Don Johnz:
Wilks : Don Frederick = Mills : Antonio = Pinketh-
man : Duke= Booth: 1st Constantia = Mrs. Brad-
shaw : 2d Constantia = Mrs. Oldfield.

26. Northern Lass. Sir Philip Luckless = Wilks :
Anvil = Bowen: Howdee = Gibber: Widow = Mrs.
Knight : Northern Lass = Mrs. Bignall : Holdup =
Mrs. Willis.

28. Lady's last Stake.

March 1. Gibber's bt. Love for Love. Ben =

D. L. 1708. 399

Dogget : — Gibber did not act — at the bottom of the
bill — Note, Dogget is to act but 6 times.

4. Powell's bt. Indian Emperour. Montezuma
= Betterton : Cortez = Powell.

6. She wou'd if she cou'd. Sir Oliver Cockwood
= Dogget : Sir Joslin Jolley = Estcourt : rest as before.

8. Not acted there for 5 years, Marriage-Hater
Matched. Sir Philip Freewit = Wilks : Van Grin =
Pinkethman : Sir Lawrence Limber = Johnson : Bias
= Bullock: Solon = Dogget: Capt. Dare well -Mills:
Lord Brainless = Pack : Callow = Bowen : Lady
Subtle = Mrs. Knight : La Pupsey — Mrs. Moor :
Berenice = Mrs. Bradshaw : Love well alias Phoebe =
Mrs. Rogers : Lady Bumfiddle = Mrs. Powell.

9. Soldier's Fortune. Beauguardu: Powell : Sir
David Dunce = Johnson : Sir Jolly Jumble = Bullock :
Courtine=:Wilks: Fourbin = Bowen : Lady Dunce =
Mrs. Knight : Silvia = Mrs. Rogers.

11. Betterton acted Henry 8th for his bt.
13. Chances. Mother = Mrs. Powell : Landlady =
Mrs. Willis.

15. Dogget's bt. Old Batchelor. Heartwell-
Betterton : Bellmour = Wilks : Foridlewife = Dogget :
Sir Joseph Whittol = Bullock : Bluff = Estcourt :
Setter = Fairbarik : Vainlove = Booth : Sharper =
Mills: Lsetitia = Mrs. Barry : Belinda^Mrs. Rogers:
Aramint a = Mrs. Bradshaw : Silvia = Mrs. Bignall :
Lucy = Mrs. Saunders.

16. jiEsop. .ZEsop^Cibber : Governour^Norris :
Oronces— Mills: Doris = Mrs. Saunders : Euphronia
= Mrs. Oldfield: Sir Polidorus Hogstye and Quaint
= Pinkethman : Sen ator= Estcourt : Roger = Cross :
Hortensia^Mrs. Moor.

400 D. L. 1708.

18. Mills' bt. Funeral. Lord Brumpton= Keen:
Puzzle = Estcourt : Bumpkin = Leigh: Gravedigger
^Cross: Lady Brumpton=Mrs. Rogers: Lady Har-
riet=Mrs. Oldfield : Lady Sharlot=Mrs. Bradshaw:
Mademoiselle D'Epingle=Mrs. Willis : — rest as ori-
ginally.

22. Betterton acted Mithradates for Mrs. Rogers'
bt. — she did not act.

23. Royal Merchant. Higgin=Estcourt : — rest as
before.

25. Booth's bt. Mourning Bride. Osmyn =
Booth: King =Po well : Gonzalez = Keene : Zara =
Mrs. Barry : Almeria^Mrs. Bradshaw : Leonora =
Mrs. Porter.

27. Not acted 5 years, Scornful Lady. Elder
Loveless =Po well : Younger Loveless = Mills : Savil
=Dogget: Welford = Booth : Sir Roger = Gibber :
Morecraft = Bullock : Scornful Lady = Mrs. Barry:
Martha =Mrs. Bradshaw : Widow = Mrs. Moor.

April 6. Recruiting Officer.

7- Jovial Crew. Hearty =. Pinkethman : Meriel
= Mrs. Cross : Dodsley says Mrs. Moor : — rest as
at Hay.

8. Pinkethman's bt. Beaux' Strategem, with a
new Epilogue written by Estcourt and to be spoken
by Pinkethman on an Ass.

10. Not acted 5 years, Bury Fair. Wildish =
Mills ; Oldwit = Johnson : Sir Humphry Noddy =
Bullock : Lord Bellamy = Husband : Trim— Cibber:
La Roche = Bowen: Valet = Norris : Philadelphia
(disguised as Charles) = Mrs. Porter: Gertrude =
Mrs. Bradshaw : Mrs. Fantast=Mrs. Moore: Lady
FantastzzMrs. Powell: Lucy = Mrs. Saunders,

D. L. 1708. 401

15. Keene's bt. Tamerlane. Bajazet = Keene:
Selima = Mrs. Bradshaw : — rest as originally.

17' Not acted 4 years, Greenwich Park. Sir
Thomas Reveller^ Pinkethman : Young Reveller =
Gibber : Raison = Johnson : Sassafras = Bullock :
Lord Worthy = Mills : Florella = Mrs. Oldfield : Do-
rinda = Mrs. Rogers: Mrs. Raison = Mrs. Knight:
Violante = Mrs. Moore.

19. Mrs. Knight's bt. Oronooko = Wilks : Aboan
= Powell : Lieut. Governour = Keene : Blandford =
Bickerstaffe : Capt. Driver = Johnson : Daniel = Pin-
kethman : Imoinda = Mrs. Rogers : Widow Lackitt
= Mrs. Knight : Charlotte Welldon = Mrs. Bradshaw:
Lucy Welldon = Mrs. Bignall.

21. Silent Woman. Morose = Johnson : Otter =
Estcourt : Epicoene = Mrs. Knight : Lady Haughty
= Mrs. Saunders: Mrs. Mavis — Mrs. Bradshaw: —
rest as at Hay.

22. Rover. Willmore = Wilks : Ned Blunt = Est-
court : Frederick = Gibber : Don Antonio = Pack :
Sancho = Norris : Hellena = Mrs. Oldfield : Angellica
= Mrs. Barry: Florinda = Mrs. Porter.

24. Macbeth. Macduff= Powell.

26. For the bt. of a young orphan child of the late
Mr. and Mrs. Verbruggen. Squire of Alsatia. Sir
William Belfond = Pinkethman : Belfond Senior =
Bullock: Belfond Junior = Wilks: Sir Edward Bel-
fond = Keen : Mrs. Termagant = Mrs. Knight : Te-
resia = Mrs. Oldfield : Ruth = Mrs. Powell.

27. Johnson's bt. Volpone = Powell : Corvino =
Mills : Bonario = Booth : Lady Wou'dbe = Mrs. Kent :
Celia = Mrs. Rogers : — rest as at Hay.

29. Mrs. Bradshaw's bt. Man of the Mode. Shoe-

VOL. II. D D

402 D. L. 1708.

maker = Bowen : Harriet = Mrs. Bradshaw : Belinda
= Mrs. Rogers : Pert — Mrs. Bicknell : Orange-
woman = Mr. Cross: — rest as at Hay.

May 1. Unhappy Favourite. Rutland = Mrs. Ro-
gers:— rest as at Hay. — last play till after May Fair.

19- For bt. of Mrs. Bicknell. Marriage a-la-Mode.
Melantha=Mrs. Bicknell: — rest as before.,

20. For bt. of Norris. Beaux Strategem.

21. Bickerstaffe's bt. Love for Money. Jack Amo-
rous =Wilks: Sir Rowland Rakehell = Johnson :
Nicompoop= Norris : ISf eel Brag = Powell: Old Brag
=Pinkethman : Le Prate = Bowen: Will Merri ton
= Bickerstaffe : Jiltall = Mrs. Cross : Lady Addle-
plot=Mr. Estcourt : Miss Jenny = Mrs. Bicknell :
Miss Molly = Mrs. Saunders : Oyley = Mrs. Powell.

25. For the author's widow and children, Con-
stant Couple. Lady Lurewell =Mrs. Knight : An-
gelica = Mrs. Bradshaw: Parly =Mrs. Moore: —
rest as before.

29. For bt. of Mrs. Cross. Tender Husband.

31. Never acted, Persian Princess, or the Royal
Villain. Artaban= Wilks : Mirvan= Booth : King
of Persia= Husband : Memnon (his uncle) = Keen :
Oxartes = Mills : Amestris (the King's sister) = Mrs.
Bradshaw : — Artaban is the Prince Royal of Arme-
nia— Mirvan is his younger brother — he had revolted
to the Persians — Artaban is taken prisoner by them
—Artaban and Mirvan are in love with Arnestris—
the King had promised Amestris to Mirvan — she is
privately married to Artaban — in the 3d act, the
King is poisoned — Mirvan usurps the throne — Ar-
taban makes his escape from prison with Amestris—
Memnon joins their party against Mirvan — Artaban

D. L. 1708. 403

commits Amestris to the care of Oxartes — she is
taken from him by superiour force — Mirvan is about
to ravish her — on hearing the approach of Oxartes
and his friends from without, he is going to kill her
— Oxartes &c. rush in — they fight with Mirvan's
guards — Oxartes bears off Amestris — Artaban kills
Mirvan — this is not a very bad T. — it appears from
the preface that Theobald was but 19 when he wrote
it, which is some little excuse for his Persians, who
talk about ^Eneas &c. — the Epilogue is good, but it
must not be quoted, as it turns on love's disasters.

June 1. For the author, Persian Princess — seem-
ingly the last time.

4. For the box-keepers. Venice Preserved. Jaf-
fier= Thurmond lately arrived from Ireland : Anto-
nio = Pinkethman : — rest as at Hay.

5. Never acted, Maid's the Mistress. Beauford =
Powell : Sir David Fancy = Johnson : Gaylove =
Mills : Squire Empty — Bullock : Roger (servant to
Sir David) = Norris : Nicholas (servant to Empty)
Bright : Chariot (maid to Harriot)— Mrs. Bicknell :
Lady Fancy (Sir David's second wife)= Mrs. Knight :
Harriot (Sir David's daughter)^ Mrs. Bradshaw:-
Beauford and Harriot are mutually in love — Sir
David insists that his daughter should marry Empty,
as her uncle had left her £10,000 on that condition

—in case of her refusal the money is to go to
Empty — in the 3d act, Empty comes up to town for
the first time in his life — Beauford passes himself
on him for Sir David — Chariot and Harriot had
changed clothes — Empty believes Chariot to be the
Mistress — she pretends that Empty made love to
her 6 months ago, and that she is with child by him

D D 2

404 D. L. 1708.

— this circumstance, with Beauford's threats as Sir
David, induces Empty to renounce all claim to the
legacy — Sir David no longer opposes his daughter's
union with Beauford — .this C. was written by Ta-
verner — it is on the whole a pretty good play — but
the underplot (which concerns Gaylove and Lady
Fancy) is rather flat.

10. For bt. of Husband and Newman. Love for
Love. Scandal = Husband : Mrs. Frail = Mrs. Barry :
— her last appearance this season — rest as Feb. 7.

11. For bt. of Cory and Fairbank. Hamlet
Polonius = Cross : Osrick = Norris : Ophelia = Mrs.
Bradshaw : — rest as Jan. 15 — being the last time
of the company's acting this season.

Summer Company.

June — London Cuckolds. Dash well = Norris.

17. Sophonisba 19. Taming of the Shrew.

22. Lancashire Witches — 24. Feigned Innocence.

26. Sea Voyage. Marine = Mills : Du Pier =
Johnson : Franville ^Bullock : Hazard^ Pack : Fru-
gal— Norris : Aminta= M rs. Bradshaw : Clarinda =
Mrs. Porter : — this was D'Urfey's alteration with the
original title restored.

July 1 . Tirnori of Athens. Apemantus =. Keen.

3. Don John. Don John — Mills: Lopez = Booth :
Jacomo = Johnson : Maria = Mrs. Porter.

8. London Cuckolds. Arabella = Mrs. Moor.

10. Empress of Morocco. Crimalhaz — Booth :
Laula = Mrs. Kent: Morena — Mrs. Porter.

13. Country Wit. Mrs. Frisque = Mrs. Bradshaw:
Christina^ Mrs. Porter: — rest as before.

D. L. 1708. 405

20. Not acted 15 years, Successful Strangers.
Don Francisco = Bullock : Don Lopez = Norris :
Silvio = Mills : Antonio = Booth : Sancho = Pack :
Feliciana = Mrs. Bradshaw : Dorothea = Mrs. Porter.

27. Don Carlos. Don Carlos == Booth : King=
Keen : Marquis of Posa= Young Bullock : Queen
= Mrs. Porter.

29. Tempest. Prospero= Mills : Trincalo= Bul-
lock : Hippolito= Bullock Junior: Sycorax = Mr.
Cross.

Aug. 4. Debauchee, or a New way to pay old
Debts. Careless = Mills : Tom Saleware = Norris :
Watt = Pack: Sir Oliver Thrive well = Keen : Lord
Loveless = Bickerstaffe : Sim = Bullock : Lady
Thrivewell = Mrs. Bradshaw: Mrs. Saleware = Mrs.
Moor : Clara (disguised as Bellamy) = Mrs. Porter :
Mrs. Crostill=Mrs. Finch : Phoebe = Mrs. Saunders :
— with an Epilogue by Norris to his brother Sale-
wares of the City — this Epilogue was not new, but
the same that was spoken, when this C. came out at
D. G. in 1677> with the second title of the Credulous
Cuckold. (Bills from B. M.)

On the re-union of the Companies, plays were
acted with more than usual exactness and the
audiences were greatly improved — this success
pleased all parties except Rich — Rich devised some
expedients for making Brett disgusted with his situ-
ation— Cibber however thinks that Brett would not
have withdrawn himself from the Theatre, if Sir
Thomas Skip with had not reclaimed his share in
the Patent — see Cibber.

On March 31 1708 (probably O. S.) Brett assigned
his share in the Patent to Wilks, Estcourt and Cib-

406 D. L. 1708-1709.

ber — a printed copy of this assignment is in the
British Museum — it is very odd that Gibber should
not mention it — he only says in general terms, that
Brett, on becoming a sharer in the Patent, assured
him, that he should think it of no use to himself,
unless it could in some shape be turned to his
advantage.

It does not exactly appear at what time Brett
ceased to interfere in the management of the Theatre.

D. L. 1708-1709.

The Theatre opened earlier than usual— the whole
of the Company however did not appear ^at first —
the principal parts were acted by Powell and Thur-
mond, until Wilks, Gibber, and Booth with Mrs.
Oldfield resumed their usual characters — Betterton
performed but seldom ; owing to the gout and other
infirmities of old age — whenever he did appear, he
gave no signs of the loss or failure of his powers,
but displayed all his former judgment and genius.
(B. M.)

Aug. 26. Bartholomew Fair.

Sep. 3. Emperor of the Moon. Dr. Baliardo =
Johnson : Scaramouch = Bullock : Harlequin = Bick-
erstaffe : Don Cinthio = Powell.

D. L. 1708-1709. 407

4. Lancashire Witches. Bellfort = Powell.
7. Recruiting Officer. Plume = Th urmond : Wor-
thy = Powell : — at the bottom of the bill — " the play-
" house in Little Lincoln's Inn Fields is to be let for
" a Tennis Court, or any other use, (except a play-
" house) enquire of Mr. John Hall in Little Russel
" Street, and you may be further informed."

9- Hamlet. Hamlet = Thurmond 1st time in Eng-
land : Laertes = Powell : Ophelia = Mrs. Bradshaw.
11. Sophonisba. Hannibal = Keen : Massanissa
Powell : Rosalinda = Mrs. Bradshaw : Sophonisba
=zMrs. Rogers.

14. Macbeth. Macbeth = Powell : Lady Macbeth
= Mrs. Knight.

18. Amphitryon. Jupiter = Powell : Gripus =
Johnson : Alcmena = Mrs. Knight : Phaedra = Mrs.
Saunders.

21 and 23. Powell acted Leon and Essex.
Oct. 2. Spanish Fryar. Dominic = Leigh : Gomez
= Johnson: Torrismond=: Thurmond : Leonora =
Mrs. Knight : Elvira = Mrs. Oldfield 1st appearance
since June.

5, Sir Courtly Nice. Sir Courtly n:Cibber 1st ap-
pearance this season : Crack = Leigh : Leonora =
Mrs. Oldfield : Violante = Mrs. Bradshaw.

7. Love for Love. Valentine = Wilks : Sir Samp-
son =. Estcourt, being their 1st appearance this
season : Mrs. Frail is omitted — rest as Feb. 7.

9. Thurmond's bt. Othello = Thurmond : lago —
Keen : Roderigo = Bowen : Desdemona = Mrs.
Bradshaw : Emilia = Mrs. Powell.

12. Love makes a Man. All the parts to the best
advantage, the whole company being now in town.

408 D. L. 1708-1709.

13. Chances 14. Jovial Crew.

15. Committee. Teague = Estcourt : Obediah =
Johnson : Day = Pinkethman : Careless =* Wilks :
Blunt = Mills : Abel = Bullock : Ruth = Mrs. Brad-
shaw : Arbella = Mrs. Rogers : Mrs. Day = Mrs.
Powell.

16. Macbeth ^Betterton 1st appearance this season:
Macduff = Wilks.

18. Greenwich Park 19. Rover. Angellica =

Mrs. Knight.

21. King Lear = Betterton: Edgar = Wilks: Ed-
mund = Mills : Kent is omitted : Gloster = Cibber:
Gentleman Usher = Pinkethman : Cordelia = Mrs.
Bradshaw.

22. Northern Lass 25. Squire of Alsatia.

23. (Edipus= Powell : Adrastus = Booth : Creon
= Mills: Tiresias = Cibber : Jocasta = Mrs. Knight :
Eurydice •=. Mrs. Bradshaw.

26. Relapse. Lord Foppington = Cibber : Love-
less = Wilks : Young Fashion — Mrs. Kent : Sir
Tunbelly Clumsey = Bullock : Lory = Pinkethman :
Worthy = Mills : Beriiithia = Mrs. Knight : Amanda

= Mrs. Rogers : Miss Hoyden = Mrs. Cross: In

the edition of the Relapse printed in 1708 (and pro-
bably in the first edition) Mrs. Kent's name stands
to Young Fashion — this has the appearance of being
a misprint for Mr. Kent — but as her name stands to
the part in the bill for this evening, it seems most
probable that she played the part originally — on Feb.
2 it was given to Bickerstaffe — Mr. Kent was alive
on Oct. 30 1706, but his situation in the Theatre
was at that time so low, that he acted one of the
Ruffians in King Lear.

D.L. 1708-1709. 409

28. Henry 4th. part 1st. Falstaff = Betterton :
Hotspur = Powell : King = Keen : Prince of Wales

= Wilks : Gleridower = Gibber : Carriers - Johnson
and Bullock : Lady Hotspur = Mrs, Bradshaw :
Hostess = Mrs. Powell : — probably not acted.

The playhouse was shut up in consequence of the
death of Prince George of Denmark, and did not
open till Dec. 14.

Dec. 14. Never acted, Fine Lady's Airs, or an
Equipage of Lovers. Col. Blenheim = Wilks : Sir
Harry Sprightly = Mills : Nicknack (a beau merchant)
= Cibber : Major Bramble (a factious old fellow) =
Johnson : Master Totty = Bullock : Knapsack = Pin-
kethman : Shrimp (Sir Harry's servant) = Norri s :
Lady Rodomont = Mrs. Oldfield : Mrs. Lovejoy (her
cousin) = Mrs. Bradshaw : Lady Toss-up = Mrs.
Porter : Orange-woman = Mr. Pack : — acted 4 times
— this C. was written by Baker — D'Urfey in his pre-
face to the Modern Prophets says it was deservedly
hissed — it is very deficient in plot and incident, and
consequently dull in several of the scenes, but it can-
not be called a very bad play — Lady Rodomont is a
coquette — her lovers are Col. Blenheim, Major
Bramble and Nicknack — at the conclusion she marries
Blenheim — Sir Harry wants Mrs. Lovejoy to go into
keeping — she likes him, but declines his offer — she
tricks Nicknack into a marriage with her — Major
Bramble marries Lady Toss-up — Master Totty — a
great boy — is a good character — his Grandmother
sends him up to town and consigns him to the care
of Sir Harry — Sir Harry turns him over to Shrimp

—Shrimp and Knapsack take him first to the Rose
Tavern, and then to a brothel — Master Totty has

410 D. L. 1708-1709.

his pocket pickt of a hundred pound bill — this C.
was revived at D. L. April 20 1747.

18. Not acted 10 years, Epsom Wells. Rairis =
Powell: Bevil = Mills: Woodly = Wilks : Clodpate
= Johnson : Bisket = Bullock : Fribble = Pinkethman:
Cuff — Pack: Mrs. Woodly is omitted: Carolina =
Mrs. Oldfield: Lucia= Mrs. Porter : Mrs. Jilt = Mrs.
Moor : Mrs. Bisket = Mrs. Saunders : Mrs. Fribble
=Mrs. Baker.

21. Not acted 7 years, Hollo. Rollo = Powell :
Aubrey is omitted : Otto= Booth : Latorch=Keen :
Hamond = Thurmond : Cook = Leigh : Pan tier =
Pack : Yeoman of the Cellar = Norris : Sophia =
Mrs. Knight : Edith = Mrs. Bradshaw.

22. Love's last Shift 28. Country Wit.

30. Old Batchelor. Fondlewife = Gibber : Bluff =
Johnson : Laetitia = Mrs. Knight : Silvia = Mrs.
Porter :— see March 15 1708.

31. Bury Fair.

Jan. 2. Scornful Lady. Savil = Johnson : Lady
= Mrs. Knight:— see March 27 1708.

4. Silent Woman. An edition of this play was
published in 1709 with the following cast— Morose
— Johnson : Truewit = Wilks : Sir Amorous La-
Foole = Bullock : Sir John Daw = Cibber: Otter =
Estcourt: Sir Dauphine Eugenie = Booth : Cleri-
mont = Mills: Cutbeard = Norris : Silent Woman =
Mrs. Knight: Mrs. Otter = Mrs. Powell: Lady
Haughty = Mrs. Saunders : Lady Centaure = Mrs.
Baker : Mrs. Mavis =Mrs. Bradshaw.

7. Indian Emperour. Montezuma= Betterton :
Cortez = Powell : Odmar = Mills.

8. Careless Husband. Lady Easy = Mrs. Knight :

D. L. 1708-1709. 411

Lady Graveairs = Mrs. Rogers : Edging = Mrs.
Saunders : — rest as at Hay. Nov. 7 1706.

10. Don John. Don John = Powell : Jacomo =
Johnson : Antonio = Gibber.

11. Never acted, Rival Fools — all new written.
Sir Oliver Outwit = Pinkethman : Young Outwit =
Wilks : Cunningham = Booth : Sir Gregory Goose
= Bullock : Simple (his man)= Gibber : Sir Thread-
bare Gentry (a decayed Knight) = Pack : Priscian
(a poor scholar) = Keene : Lucinda (niece to Sir
Oliver) = Mrs. Oldfield : Governess = Mrs. Willis :
Mirabel (her niece) = Mrs. Porter : Lady Gentry =
Mrs. Finch : Credulous is omitted in the D. P. — this
is only an alteration of Wit at several Weapons.

Wit at several Weapons is a tolerably good C. — it
was written by Beaumont and Fletcher — Sir Perfi-
dious Oldcraft refuses to make his son any allowance,
and insists that he should live by his wits — Wittypate
Oldcraaft enters into a confederacy with Sir Ruinous
Gentry and Priscian, who are two sharking compa-
nions— they meet Sir Perfidious and Sir Gregory,
and beg money of them as a poor soldier and a poor
scholar — Wittypate in disguise pretends to examine
Priscian in Greek and Syriac — he gives him and Sir
Ruinous two angels — Sir Perfidious and Sir Gregory,
each of them, give them the same sum — Sir Perfidious
had put his nephew, Credulous, to Cambridge — Witty-
pate fears his father should disinherit him, arid make
Credulous his heir — Wittypate and his companions
waylay Credulous on the road, and persuade him to
join them in a robbery — the person robbed is Lady
Gentry in man's clothes — Wittypate in his own shape
tells his father that Credulous is taken up for a robbery

D. L. 1708-1709.

— he is brought in by Sir Ruinous as a Constable-
Lady Gentry threatens to prosecute him — Sir Per-
fidious gives 100 marks to stop the prosecution — in
the last act, Wittypate &c. get more money out of
Sir Perfidious — Wittypate explains to his father the
tricks which he had put upon him — Sir Perfidious is
pleased to find his son can live by his wits, and pro-
mises him £200 a year — there is an important under-
plot— Sir Perfidious wants his niece to marry Sir
Gregory — she behaves to Sir Gregory with civility
while her uncle is present, but treats him scurvily
when they are alone — she falls in love with Cunning-
ham— she has a fortune — he has more wit than money
—at the conclusion they are married — Sir Gregory
marries Mirabell — Pompey, Sir Gregory's man, is a
silly fellow, who is made to believe that Oldcraft's
niece is in love with him.

The Rival Fools was acted but 5 times — Cibber
has the impudence to say in the Prologue—

" From sprightly Fletcher's loose confed'rate

" Muse,
" Th' unfinished hints of these light scenes we

" choose."

—but his'play was written with such careless haste
and each weapon of wit was so lamely fought—

" That from the old we may with justice say,
" We scarce cou'd cull the trimming of a play."

The changes Cibber has made are not very mate-
rial, they consist chiefly in the dialogue, which he has
reduced from blank verse to prose, putting in and
leaving out, as he thought proper— on the whole the

D. L. 1708-1709. 413

alteration is not a bad one, it deserved to have met
with more success.

Jan. 17. Soldier's Fortune — 19. Heir of Morocco.

18. Rehearsal. Bayes = Estcourt : Johnson =
Wilks: Smith = Mills: Prettyman = Powell : Vol-
scius = Gibber : — the other characters by Johnson :
Pinkethman : Bullock : Norris : Leigh and Fairbank.

21. Spanish Fry ar. Dominic = Estcourt : Torris-
mond= Powell : Leonora =Mrs. Knight : — rest as at
Hay. Nov. 13 1?06.

25. London Cuckolds. Ramble =Powell : Townly
= Mills : Dashwell = Pinkethman : Arabella =Mrs.
Bradshaw : Eugenia == Mrs. Porter.

26. Henry 8th. King=Betterton: Wolsey=Keen:
Buckingham==Booth: Cranmer= Gibber: Gardiner
= Johnson : Norfolk— Mills : Surry =Powell : Lord
Sands = Bullock: Queen = Mrs. Knight: Anne
Bullen= Mrs. Bradshaw.

29. Man of the Mode. Mrs. Loveit=Mrs. Old-
field: Emilia = Mrs. Porter : Orange-woman = Mr.
Pack : — rest as before.

Feb. 1. Fatal Marriage. Biron=Booth: Baldwin
=Keen : Fernando = Norris : Jaqueline = Bowen :
Sampson = Bullock : Victoria=Mrs. Porter.

2. Relapse. Young Fashion = Bickerstaffe.

5. Never acted, Appius and Virginia. Appius
(Chief of the Decemvirs) = Booth : L. Icilius (be-
trothed to Virginia) =Wilks : Virginius=Betterton:
Claudius = Keen : Numitorius = Corey : Horatius =
Thurmond : Valerius = Husband : Virginian: Mrs.
Rogers : Cornelia (her aunt) = Mrs. Knight : — this
is a dull T. by Dennis — it was acted 4 times — for the
history see Livy b. 3. ch. 44 &c.

414 D. L. 1708-1709.

11. Rival Queens. Roxana = Mrs. Knight.

12. Marriage a-la-Mode 15. Chances.

16. Fond Husband. Bubble = Bullock : Fumble
= Johnson: Rashley = Powell : Ranger = Mills : Sir
Roger Petulant = Leigh : Sneak = Pinkethman :
Emilia = Mrs. Rogers : Maria = Mrs. Knight.

19- Not acted 6 years, Alchemist. Abel Drugger
= Pinkethman : Face = Powell : Subtle = Gibber :
Ananias = Johnson : Tribulation = Pack : Sir Epicure
Mammon = Estcourt : Kastril = Bullock : Surly =
Mills : Dapper = Norris : Lovewit = BickerstafFe :
Dol Common is omitted : — Dr. Johnson in his Dic-
tionary says Alchemist, but Ben Jonson did not spell
the name of his play in that manner.

25. Indian Emperour = Keen 26. Volpone.

March 2. Amphitryon. Sosia = Pack : Mercury
= Estcourt : Phaedra = Mrs. Bicknell.

5. Conquest of Granada. Almanzor = Powell :
Ozmyn= Wilks : Abdelmelech = Mills : Boabdelin
= Husband: Aim abide = Mrs. Rogers: Lyndaraxa
= Mrs. Knight.

8. Emperor of the Moon. Scaramouch = Estcourt :
Harlequin = Pinkethman.

12. Love for Love. Mrs. Frail = Mrs. Porter.

14. Mrs. Rogers' bt. Constant Couple. Lady
Lure well =. Mrs. Oldfield.

15. Pilgrim. Juletta = Mrs. Moor.

18. Powell's bt. Never acted there, Gamester.
Young Valere = Powell : Hector = Pack : Sir Thomas
Valere = Norris ; Love well = Booth : Count Cogdie
= Cibber : Angelica = Mrs. Bradshaw : Mrs. Secu-
rity = Mrs. Willis.

D. L. 1708-1709. 415

19. Venice Preserved. Jaffier = Thurmond : Bel-
videra = Mrs. Rogers.

21. Booth acted Oronooko for his bt.

24. Othello = Betterton : lago = Gibber : Cassio
= Booth.

26. Gibber's bt. Alchemist — with a new Epilogue
by Gibber in the character of Nobody.

29. Pack's bt. Gamester. Lady Wealthy = Mrs.
Porter.

April 4. To every body — For Pinkethman's bt.
Alchemist with a new Epilogue spoken by Pinketh-
man and Jubilee Dicky, representing the figures of
Somebody and Nobody — Pinkethrnan hoping himself
to be Somebody that night (or Nobody) it being his
Jubilee day.

5. Mrs. Porter acted Roxana for her bt.

7« By the desire of several persons of quality for
Betterton's bt. Love for Love. Valentine = Betterton :
Ben — Dogget: Angelica = Mrs. Bracegirdle : Mrs.
Frail — Mrs. Barry : — with a new Prologue by Mrs.
Bracegirdle, and a new Epilogue by Mrs. Barry —
the Boxes to be opened to the Pit, and no person to
be admitted without printed tickets, which will be
delivered at a Guinea each — Tickets delivered for
Othello arid the Great Mogul will be taken.

This was Betterton's famous benefit — there had
not been known so great a concourse of persons of
distinction as at that time ; the Stage itself was
covered with Gentlemen and Ladies, and when the
curtain was drawn, it discovered even there a very
splendid audience — all the parts were acted to per-
fection ; and no one was guilty of the affectation to
insert witticisms of his own — (Tatler) — the Epi-

say^
? J

416 D. L. 1708-1709.

logue was written by Rowe and spoken by Mrs.
Barry — Mrs. Bracegirdle supporting Betterton on
the other side — it concluded thus—

" What he has been, tho' present praise be dumb, *\
" Shall haply be a theme in times to come
" As now we talk of Roscius and of Rome. J
" Had you withheld your favours on this night,
" Old Shakspeare's Ghost had ris'n to do him

" right ;

" With indignation had you seen him frown
" Upon a worthless, witless, tasteless Town ;
" Griev'd and repining you had heard him say
" Why are the Muses' labours cast away ?
" Why did I write, what only he could play
" But since like friends to Wit, thus throng'd you

" meet

" Go on, and make the gen'rous work complete ;
" Be true to merit, and still own his cause,
" Find something for him more than bare applause :
" In just remembrance of your pleasures past,
" Be kind, and give him his discharge at last :
" In peace and ease life's remnant let him wear,
" And hang his consecrated buskin there."

At the last word Mrs. Barry pointed to the top of
the Stage.

Davies by a gross mistake says that Mrs. Brace-
girdle and Mrs. Barry had retired some years, when
they both returned to the stage at Better-ton's bt.—
Mrs. Bracegirdle had retired about 2 years, and Mrs.
Barry about 10 months — at the close of the season
1707-1708, she had evidently no thoughts of retiring,
as on June 10th Mrs. Frail was said to be her last

D. L. 1708-1709, 417

appearance that season — Dogget was not engaged,
and only acted for one night.

April 9- Don Sebastian. Don Sebastian = Wilks :
Dorax = Betterton : Antonio = Booth : Mufti = John-
son : Mustapha = Estcourt : Muley Moluch =. Mills :
Almeyda = Mrs. Knight: Moray m a = Mrs. Porter.

11. Mrs. Bradshaw's bt. Humorous Lieutenant.
Demetrius=Booth: Leontius=Betterton : Lieutenant
= Powell: Antigonus is omitted : Seleucus = Keen :
Charinthus = Bullock : Menippus = Norris : Celian:
Mrs. Bradshaw : Leucippe = Mr. Pack : Governess
= Mrs. Powell.

12. Recruiting Officer. Rose = Mrs. BicknelL

14. Mrs. Bicknell's bt. Not acted 6 years, Country
Wife. Horner = Wilks: Pinch wife = Powell: Sparkish

= Gibber : Sir Jasper Fidget = Bullock : Harcourt =
Mills : Quack = Estcourt : Country Wife = Mrs.
Bicknell : Alithea = Mrs. Bradshaw : Lady Fidget is
omitted, but Mrs. Powell played the character on the
29th.

15. Bickerstaffe's bt. Beaux Strategem — Mrs.
Oldfield's last appearance this season — the Tatler
requests the reader to go to Bickerstaffe's benefit —
he calls him (in joke) his near kinsman — this bill
shows that the assertion of the Patentees with regard
to Mrs. Oldfield is not quite correct.

25. Bullock's bt. Epsom Wells. Carolina = Mrs.
Bradshaw : Mrs. Woodly = Mrs. Knight : — rest as
before — the Tatler says, tho' Bullock is a person of
much wit and ingenuity, yet he has a peculiar knack
of looking like a fool, and is therefore well qualified
for the part of Bisket in this play.

27. For bt. of Husband and Mrs. Willis. King

VOL. II. E E

418 D. L. 1708-1709.

Lear = Betterton : Cordelia by a young Gentlewoman
for her diversion.

28. For bt. of Cross. Old Batchelor. Belinda =
Mrs. Cross.

30. For bt. of Norris. Marriage-Hater Matched.
Solon = Norris : La Pupsey is omitted — rest as March
8 1708.

May 2. Thurmond's bt. All for Love. Anthony
m Thurmond : Veritidius = Powell : Serapion =
Keen : Cleopatra = Mrs. Knight : Octavia = Mrs.
Finch.

3. Never acted, Modern Prophets, or New Wit for
a Husband. Ned Whimsey = Booth : Father Marogne
= Bo wen : Zekiel Magus = Johnson : Lord Noble =
Powell : Squire Crump = Norris : Cub Develing
(Lord Noble's black foot m an )= Pack : Sir Charles
Courtly = Mills : Limbeck — Bullock : Scirefacias =
Cory : Sal Magottile = Fairbank : Betty Plotwell =
Mrs. Bickiiell : Clora (very freakish in love matters) =
Mrs. Bradshaw : Fidelia (daughter to Magus) = Mrs.
Porter : Kate Spunge (a hostess at Enfield) = Mrs.
Powell : Mrs. Guiacum (widow to a late physician,
who was one of the prophets) = Mrs. Willis :— acted
3 times — Zekiel Magus is a grand impostor and sham
prophet — Marogne is a knavish French priest — he
designs to debauch Betty Plot well, and lets her into
the secret roguery of the sham prophets — she pre-
tends to be inspired — in the 4th act, the scene
changes to Bunhil Fields — Dr. Guiacum had pro-
mised to rise from his grave on the 25th of May 1707
— various persons are assembled to see the result of
his prophecy — at the conclusion of the play, the sham
prophets are taken into custody — the scenes in which

D L. 1708-1709. 419

they are concerned have not much to recommend
them to a modern reader — the other part of this C.
is better — it was written to expose some enthusiastic
impostors, who seemed to have been much talked of
in 1707 — D'Urfey supposes that the run of his play
would have been longer, if it had been acted sooner.

May 7. Mrs. Moor's bt. Hamlet. Osrick^ Gibber.

12. Never acted, Busy Body. Marplot = Pack :
Sir Francis Gripe = Estcourt : Sir George Airy =
Wilks: Sir Jealous Traffick = Bullock : Charles =
Mills : Whisper = Bullock Junior : Miranda = Mrs.
Cross : Patch = Mrs. Saunders : Isabinda = Mrs.
Rogers : — acted 7 times — Miranda's making of an
assignation with Sir George by telling him not to
come to the garden gate, and her dumb scene are both
taken from the Devil is an Ass — Mrs. Centlivre has
improved what she has borrowed — Whincop tells us
that Wilks threw down his part at Rehearsal, and
swore no audience would endure such stuff, Sec. &c.
— this story is so very improbable, that as Whincop
cites no authority for it, it seems not to deserve any
attention — the whole of what Whincop says is cer-
tainly not true — he tells us that the Busy Body was
acted in the next season for 6 nights running in oppo-
sition at D. L. and the Hay. — the Busy Body was
acted at D. L. on Nov. 26th, and on the 28th the
Committee was the play — the Busy Body was acted
at the Hay. for 3 nights following in Oct. — and then
laid aside.

17. For bt. of Carnaby and Birkhead. Love
makes a Man. Elvira = Mrs. Porter : — and by way
of a Prologue the Stage Coach — Nicodemus Some-
body = Pack : Capt. Basil = Booth : Micher = Norris:

E E 2

420 D. L. 1708-1709.

Macahone = Bowen : Tom Jolt = Bullock : Isabella
= Mrs. Bradshaw.

18. For bt. of Cory and Mrs, Mills. Comical
Revenge. Col. Bruce = Booth : Widow — Mrs.
Knight : Graciana = Mrs. Rogers : Aurelia = Mrs,
Porter : — see Hay. Dec. 14 1706.

19. Rover. Hellena = Mrs. Bradshaw — 20. Mac-
beth = Betterton.

24. Constant Couple. Lady Lurewell = Mrs.
Knight.

25. Recruiting Officer. Costar Pearmain = Pin-
kethman.

26. Committee. Arbella = Mrs. Porter.

28. For bt. of the Executor of Mrs, Pix. Busy
Body.

June 2. Troilus and Cressida. Troilus = Wilks :
Hector = Powell : Achilles = Booth : Agamemnon =
Mills: Ajax = Keen: Ulysses = Thurmond : Ther-
sites = Betterton : Pandarus = Estcourt : Cressida =
Mrs. Bradshaw : Andromache = Mrs. Rogers : — this
was Dryden's alteration.

3. For the bt. of Cave Underbill the old Comedian
— Hamlet. Gravedigger = Underbill : — with a new
Prologue and Epilogue — rest as before.

The Tatler says (May 30) " I wish to recommend
" to my friends Honest Cave Underbill, who has been
" on the stage for three generations : my father ad-
" mired him exceedingly when he was a boy — there
" is certainly nature excellently represented in his
" manner of action, in which he ever avoided the
" general fault in players of doing too much — it must
" be confessed he has not the merit of some ingeni-
" ous persons now on the stage, of adding to his

D. L. 1708-1709. 421

" authors ; for the actors were so dull in the last age,
" that many of them have gone out of the world,
" without ever having spoken one word of their own
" in the theatre.

" Poor Cave is so mortified, that he quibbles, and
" tells you that he pretends only to act a part fit for
" a man with one foot in the grave — that is — a grave-
" digger — all admirers of true Comedy it is hoped
<c will have the gratitude to be present on the last day
" of his acting, when if he does not happen to please
" them, he will have it even then to say, that it was
" his first offence."

Cibber says, (p. 129) " the Tatler recommended
" Underbill to the favour of the town upon Hamlet's
" being acted for his benefit, wherein, after his age
" had some years obliged him to leave the stage, he
" came on again, for that day to perform this old
" part ; but alas ! so worn and disabled, as if himself
" was to have lain in the grave he was digging ; when
" he could no more excite laughter, his infirmities
" were dismissed with pity : he died soon after, a
" superannuated Pensioner in the list of those who
" were supported by the joint sharers under the first
" Patent granted to Sir Richard Steele."

Cibber, who is never to be depended on as to dates,
is on this occasion more inaccurate than usual-
Underbill could hardly with propriety be said to have
left the stage some years, as he acted Jan. 20 1707 —

and perhaps later By the first Patent Cibber

probably means the License, which was afterwards
turned into a Patent ; but even the License was not
granted till more than 5 years after Underbill's bt. —
Cibber evidently supposes that this was the last time

422 D. L. 1708-1709.

Underbill acted the Gravedigger, whereas he acted
the part again Feb. 23 1710 at D. L. (Bills from
B.M.)

The old Patentee having regained the dominion of
the theatre, instead of profiting by past experience,
and endeavouring to conciliate the regards of the
actors, returned to his former oppressive behaviour
towards them — some were reduced in their pay,
Gibber and others were threatened with the same fate
—but the most material grievance, which they all had
to complain of, was in regard to their benefits.

During the reign of King Charles, an actor's benefit
had never been heard of — the first indulgence of this
kind was given to Mrs. Barry in King James' time in
consideration of her extraordinary merit — but there
this favour rested to her alone ; till after the division
of the Company in 1695, at which time the Patentees
were soon reduced to pay their actors half in good
words and half in ready money — in this precarious
condition, some particular actors compounded for
their arrears by taking the chance of a benefit play-
in a year or two these benefits grew so advantageous,
that they became at last the chief article of every
actor's agreement — now tho' the agreements of the
actors on their return to D. L. were only verbal, yet
that made no difference in the honest obligation to
keep them — but honour was a thing about which the
Patentees did not much trouble themselves — no
actor therefore could have his benefit fixed this
season, till he had first signed a paper signifying his
voluntary acceptance of it, on condition of paying
one third to the Patentees, any claims from custom
to the contrary, notwithstanding — the actors were

D. L. 1708-1709.

forced to comply with what they considered the se-
verest injury, but they applied to the Lord Chamber-
lain for redress — the Patentees were warned at their
peril to refuse the actors full satisfaction — they de-
murred— and an order for Silence was sent to the
theatre — Swiney had permission to enter into a treaty
with such of the actors at D. L. as might be thought
fit to head a company, and be joint sharers with him
at the Hay. — see Gibber.

An advertisement was published in vindication of
Rich.*

Some persons having industriously spread about
what small allowances the chief actors have had this
last winter from the Patentees of D. L., it was thought

necessary to print the following account the whole

company began to act on Oct. 12th 1708 and left off
the 26th of the same month by reason of Prince
George's illness and death — they began again Dec.
14th and left off June 4th 1709 upon the Lord Cham-
berlain's order ; so they acted during that time in all
135 days, which is 22 weeks and 3 days, accounting
6 acting days to a week.

Wilks acted 100 times, for which and for £. s. d.
taking care of Rehearsals he received 168 6 8

For his benefit certain 90 14 9

He is computed to have cleared by
Guineas at his benefit in addition to
the above sum 40 0 0

Total £299 1 5

* Reprinted in Covent Garden Journal 1810.

424 D. L. 1708-1709.

Betterton acted 16 times — had a salary £. s. d.
of £4 a week for himself and £1 for

his wife who did not act 112 10 0

For his benefit at common prices ... 76 4 5

And more by computation 450 0 0

Total £638 14 5

Estcourt acted 52 times-
He received at £5 a week 112 10 0

For his benefit certain 51 8 6

And more by computation 200 0 0

Total £363 18 6

Gibber acted 71 times—

His salary at £5 a week Ill 10 0

His benefit certain 51 010

And more by computation 50 0 0

Total £212 10 10

Mills acted times — had £4 a week

for himself and £1 for his wife, who

did little or nothing 112 10 0

For his benefit certain 58 1 4

And more by computation 20 0 0

Total £191 11 4

Mrs. Oldfield had £4 a week for 14 weeks
and one day only, as she left off acting
after her benefit March 17th 1708(O.S.)
and refused to assist others at their

benefits — she acted 39 times 5613 4

For her benefit certain 62 7 8

And more by computation 120 0 0

For sundries 13 5 7

Total £252 6~~7

D. L. 1708-1709. 425

So that these 6 Comedians, who are the unsatisfied
people, have in the course of the season received
between them in total £1957 3s. Id.

This statement was signed by the Treasurer — it
is not quite correct as to the dates, and there seem
to have been two trifling mistakes about Mills and
Gibber — an explanation is added with regard to the
large sum Betterton is supposed to have cleared at
his benefit — Note — Betterton received £76 4s. 5d. as
above mentioned for two thirds of the profits of a
benefit play, reckoning his tickets for the boxes at
5s. apiece — for the pit at 3s. — for the first gallery
at 2s. — for the upper gallery at Is. — but the boxes
pit and stage were laid together on his day, and no
person admitted but by his tickets, the lowest at half
a Guinea each* — one Lady gave him 10 Guineas —
some two, and most one Guinea — he delivered tickets
for more persons than the boxes pit and stage could
hold, and it is thought that he cleared £450 at least
over and above the £76 4s. 5d.

Wilks seems to have been allowed about fifty shil-
lings a week as Stage Manager.

A petition was presented to the Queen signed by
Charles Killegrew, Dr. Charles Davenant, Sir Tho-
mas Skipwith Baronet, Christopher Rich, William
Collier, Lord Guildford, Lord Harvey, Ann Shad-

* See the bill — if any persons were admitted for half a Guinea,
it must have been on the stage.

426 D. L. 1708-1709.

well widow and about 11 other persons, as pro-
prietors of the two Patents.

They complained of the interference of the Lord
Chamberlain, and stated in particular, that orders
had been sent from his Lordship in Nov. and Dec.
1705 to the Patentees and their managers, players
and performers, relating to the establishing of ano-
ther playhouse ; and restraining the petitioners' power
to treat with such actors as they should think neces-
sary to their business other orders were sent them

in Dec. and Jan. 1707* for restraining the petitioners
from acting any Operas, and from employing such
persons as they conceived fit for dancing and singing,
under the penalty of silencing.

On April 30 1709 the petitioners' treasurer was
ordered to pay monies to their actors, without their
consent or agreement ; and on the 6th of June last,
the petitioners and actors were silenced for not so
doing.

They added, that such orders were, as the peti-
tioners were advised, contrary to the rights and pri-
vileges conveyed by the Patents, and tended to
subvert the same and destroy the property of those
claiming under them — and as the petitioners were
refused redress by the Lord Chamberlain, although
they frequently applied for the same, they at last had
recourse to her Majesty and prayed relief from the
said orders.

Another petition was presented to the Queen
signed by B. Booth, Theo. Keene, Jno. Bickerstaffe,

* That is on the re-union in Jan. 1708. N.S.

D. L. 1709-1710. 427

Fran. Leigh, Hen. Fairbank, Ja. Carnaby, Jo. Downes,
Geo. Powell, George Park, John Cowdy, Thomas
Harman, Mat. Burkhead, Fran. M. Knight, M. Bick-
nell, Henrietta Moore, Kat. Finch, Susannah Cox,
L. Bradshaw, Mary Powell, Eli. Leigh, Elis. Willis,
M. Kent, Cath. Baker, all performers at D. L.
Theatre.

This petition stated that in consequence of the
order for silence on June 6th they were deprived of
the means of supporting themselves and families : that
they had thrice petitioned the Lord Chamberlain to
permit their performing, as it was the conduct of the
Managers alone, which offended his Lordship ; and
as they could not engage elsewhere without being
liable to an action at the suit of the Managers for
breach of contract, they humbly prayed her Majesty
to order that Theatre to be re-opened. (From Dra-
matic Censor 1811.)

This petition must have been presented before Sep.
22, as Mrs. Bicknell acted Rose, at the Hay. on that
evening — the name of Park in the petition is probably
a mistake for Pack.

D. L. 1709-1710.

Sep. 6. Recruiting Officer. Plume = Powell :
Brazen = Bickerstaffe : Kite = Pack : Balance =

428 D. L. 1709-1710.

Keen : Worthy = Booth : Bullock = Leigh : Pear-
main =n Norris : Sylvia = Mrs. Moor : Melinda = Mrs.
Bradshaw : Rose = Mrs. Bignell : — this play was
probably advertised by Rich in hopes of being able
to act it ; but there is every reason to believe that
it was not acted.

Rich seems to have imagined that the order of
silence, like others of the same kind, would be re-
called of course, after a reasonable obedience had
been paid to it ; he therefore for some time kept
together such actors, as had not been invited to the
Hay. or preferred following the fortune of D: L. —
the principal of these was Booth.

When it appeared that the Lord Chamberlain was
resolved not to revoke the order of silence, William
Collier, Esquire (one of the Petitioners) who was a
Lawyer of an enterprising head, Member for Truro,
and from his convivial qualities a favourite with the
persons in power, obtained a License for himself.

His next object was to get possession of D. L.
Theatre. Rich still kept it in his hands without
making use of it, and was not obliged to pay rent
unless he actually did use it ; Collier therefore con-
ceived it would be the interest of the joint landlords
to grant a lease to one who had an undoubted autho-
rity to act plays, and who by so doing would be liable
to pay the rent, especially as he tempted them with
an offer of raising it from £3 to £4 a day — his pro-
ject succeeded, the lease was signed, but the means of
getting into possession were left to his own discretion
—this he effected by the assistance of a rabble —
Rich however had gotten intelligence of his design

r>. L. 1709-1710. 429

time enough to carry off every thing that was worth
moving, except a number of old scenes. ( Gibber.')

A humourous account of this is given in the Tat-
ler — " The lawful Ruler of D. L. set up an Attorney
" to expel an Attorney and chose a name dreadful
" to the Stage, who alone seemed capable to beat
" Divito out of his intrenchments — on Nov. 22d a
" night of public rejoicing, the enemies of Divito
" made a bonfire for the populace, and distributed
" plenty of liquor— the artful rival of Divito observ-
" ing them prepared for enterprize, presented the
" Proprietor of the neighbouring Theatre, and showed
" his deputation under him — war immediately en-
" sued upon the peaceable empire of Wit and the
" Muses — but when they had forced their entrance,
" they found that the experienced Divito had de-
" tached all his subjects and evacuated all his stores
" — the neighbouring inhabitants report that the
" refuse of Divito's followers marched off the night
" before disguised in magnificence — Door-keepers
" came out clad like Cardinals, and Scene-drawers
" like Heathen Gods — Divito himself was wrapped
"up in one of his black clouds, and left to the
" enemy nothing, but an empty stage, full of trap-
" doors, known only to himself and his adherents."

Collier made an affidavit, the substance of which
was, that when the house was shut, he enquired
and was advised that the Patent was of no effect,
unless it was supported by the Crown, which was
not the case, as Rich refused to make the required
submission — that he was also informed, that if any
persons claiming under the Patent should submit to
her Majesty's pleasure and wave or surrender their

430 D. L. 1709-1710.

right in the said Patent, that her Majesty would per-
mit them to open the house and act — that he made
the required submission to the Attorney and Solicitor
General, and obtained leave to employ the actors,
who were then in a very low condition — that on the
22d of Nov., which was a day of general rejoicing, he
gave them money to drink her Majesty's health — that
in the evening, he told them to act as soon as they
pleased, showing them the authority of Sir James
Stanley — that they accordingly entered the Theatre
****** ^at he (Collier) had the consent of a
majority of the other renters for what he had done.
(Dramatic Censor for 1811.)

All the performers, whom Rich had retained in a
state of inaction, came over to the service of Col-
lier, but as the Patentee had taken care to remove
every rag of their clothing, they were but poorly
equipped for a public review ; and consequently at
their first opening they were very little able to annoy
their rivals at the Hay. (Gibber.*)

Thus ended Rich's power over D. L. — he seems in
his public capacity of Patentee and Manager to have
been a despicable character — without spirit to bring
the power of the Lord Chamberlain to a legal test-
without honesty to account to the other proprietors
for the receipts of the theatre — without any feeling
for his actors — and without the least judgment as to
players and plays.

Nov. 23. By her Majesty's License and Authority.
Aurenge-zebe. Aurenge-zebe — Powell : Emperour =
Keene: Nourmahal = Mrs. Knight: Indamora =
Mrs. Bradshaw : — the theatre opened on this even-
ing under the direction of Aaron Hill. (B. M.J

D. L. 1709-1710. 431

24. Spanish Fiyar. Dominic is omitted : Gomez
= Norris : Torrismond = Powell : Queen = Mrs.
Knight : Elvira = Mrs. Moore.

25. Unhappy Favourite. Essex = Booth : South-
ampton = Powell : Burleigh = Keen : Queen Eliza-
beth = Mrs. Knight : Rutland = Mrs. Bradshaw.

26. Busy Body. Marplot = Pack : Sir Francis
Griper Norris: Sir George Airy = Powell: Sir Jea-
lous Traffick = Leigh : Charles = Booth : Miranda
— Mrs. Moore.

28. Committee. Teague by one who never ap-
peared on the stage before — (probably Miller) — Obe-
diah = Norris : Careless = Booth : Blunt = Powell :
Abel = Pack: Ruth = Mrs. Bradshaw.

30. Not acted 6 years, Orphan. Castalio = Booth :
Chamont = Keen : Polydore = Powell : Monimia =
Mrs. Bradshaw.

Dec. 2. Ellington made his first appearance on the

stage in the character of Oronooko see Irish

Stage 1732.

3. Love for Love. Valentine = Booth : Foresight
= Norris : Tattle = Pack : Sir Sampson = Leigh :
Scandal = Keen : Angelica = Mrs. Bradshaw : Mrs.
Frail = Mrs. Knight : Miss Prue = Miss Santlow
— her first appearance as an actress.

6. Country Wit. Ramble = Booth : Sir Manner-
ly Shallow = Pack : Sir Thomas Rash = Norris:
Merry = Powell : Booby = Leigh : Porter = Spiller :
Betty Frisque = Mrs. Bradshaw.

7. Amphitryon. Jupiter = Powell : Sosia = Pack :
Mercury = Leigh : Gripus = Norris : Alcmena = Mrs.
Knight.

10. Timon of Athens. Timon = Powell : Ape-

432 D. L. 1709-1710.

mantus = Keen : Alcibiades = Booth : Evaridra =
Mrs. Knight: Melissa^Mrs. Bradshaw.

14. Libertine. Don John =. Powell.

15. Recruiting Officer. Plume = Elrington : Rose
= Miss Santlow.

17. Never acted there, Confederacy. Brass =
Pack : Dick = Booth : Money trap = N orris : Gripe =
Leigh : Clip = Miller : Clarissa = Mrs. Knight : Flip-
panta = Mrs. Bradshaw: Corinna = Miss Santlow:
Araminta = Mrs. Moor.

22. Julius Caesar. Brutus = Booth : Cassius =
Powell.

27. Emperor of the Moon, with a new Italian
Night scene. Scaramouch — Layfield : Harlequin =
Spiller.

31. Sophonisba. Hannibal = Keen : Massinissa
= Powell.

Jan. 3. Never acted, Elfrid, or the Fair Incon-
stant. Athelwold = Booth : King Edgar = Powell :
Ordgar (the friend of Athelwold, in love with Or-
delia) = Keen : Egbert (in love with Ordelia) = Cory :
Elfrid — Mrs. Bradshaw : Ordelia (in love with Ord-
gar) = Mrs. Knight: — acted 5 times — in the 1st act
Ordgar informs Athelwold that the King and Eg-
bert are coming to his house — Athelwold requests
Elfrid to seclude herself in her chamber, and to let
her sister Ordelia pass for her — she agrees to this,
but is secretly displeased, that Athelwold has pre-
vented her from being married to the King — Ordelia
requests Egbert riot to disclose Athelwold's plan to
Edgar — he promises to be silent, but does not keep
his word — the King on seeing Elfrid falls in love
with her — Egbert recommends the King to send

D. L. 1709-1710. 433

away Athelwold under pretence of business of im-
portance, and then to make an attempt on his wife —
Athelwold takes leave of Elfrid — she promises not
to see the King, but privately determines to throw
herself in his way— Athelwold sets off on his journey,
but returns — in the 5th act, the King enters from
Elfrid's chamber — in the dark he mistakes Athel-
wold for Egbert, and tells him how happy he had
been — Athelwold draws his sword on the King —
Elfrid enters — Athelwold stabs her — the King kills
Athelwold — Athelwold and the King exchange for-
giveness— Egbert had been killed by Ordgar — this
T. was written by Aaron Hill — on the whole it is
not a bad play — but Hill became so dissatisfied with
it, that he dramatized the story a second time, and
brought it out at D. L. Dec. 10 1731, as Athelwold
—in the preface to Athelwold, he calls his first play
an unpruned wilderness of fancy, and allows that he
had taken too great a liberty with the character of
Elfrid — he speaks too ill of his first play, and evi-
dently thinks too well of the second — in Elfrid he
manages some parts of the story much better than he
has done in Athelwold — he has judiciously laid his
scene in Athelwold's house, and confined his play to
two hours and half.

5. Elfrid— the Epilogue by] Miss Santlow — Hie
first she ever spoke.

9. Elfrid with, never acted, Walking Statue, or the
Devil in the Wine-cellar. Toby (Sprightly's servant)
mPack: Sir Timothy Tough = Norris : Corporal
Cuttum =i Spiller : Sprightly = Bickerstaff . Leonora
(daughter to Sir Timothy) — Mrs. Moore: — Toby

VOL. II. F F

434 D. L. 1709-1710.

undertakes to deliver a letter to Leonora in the disguise
of an Exchange Girl — Sir Timothy suspects him,
and finds the letter in a bandbox — while he is read-
ing it, Toby makes his escape — Cuttum is carried by
four men to Sir Timothy's house as a Statue — Sir
Timothy, after surveying the Statue, goes out of the
room — Cuttum leaps down from the frame, and
stalks towards Leonora — she is frightened, and cries
out — Cuttum gets upon the frame again, but in his
hurry he puts the wrong leg forward — Sir Timothy
discovers the mistake — Cuttum runs off — Leonora
makes her escape in the confusion which this occa-
sions— Sir Timothy's servants are carousing in the
cellar — Toby makes his appearance in a mask with
horns — they take him for the Devil — at the conclu-
sion Sprightly and Leonora enter as married — this
Farce in one act is much better calculated for repre-
sentation than perusal — it was written by Hill, and
was published with Elfrid.

12. Never acted there, Anatomist. Sham Doctor
(Crispin) = Pack : — with Walking Statue.

14. Powell's bt. CEdipus. OEdipus = Powell:
Adrastus = Booth : Creon = Keen : Ghost = Elring-
ton : Jocasta:= Mrs. Knight : Eurydice = Mrs. Brad-
shaw.

16. Cheats of Scapin and Walking Statue.

18. Mrs. Knight's bt. Mourning Bride. Osmynn:
Booth: King = Powell: Gonzalez = Keen : Zara =
Mrs. Knight: Almeria = Mrs. Bradshaw.

20. Tempest. Prospero = Powell : Dorinda =
Miss Santlow.

21. Booth's bt. Othello = Booth: Iago = Keen :
Cassio = Powell : Desdemona — Mrs. Bradshaw.

D.L. 1709-1710. 435

23. Rival Queens. Alexander - Powell : Clytus
zr Booth.

25. Not acted 6 years, (acted June 24 1708)
Feigned Innocence. Sir Martin Marrall = Norris :
Warner = Powell.

26. Mrs. Bradshaw's bt. Abra-Mule. Mahomet =
Keen : Pyrrhus = Powell : Solyman = Booth : Abra-
Mule — Mrs. Bradshaw.

28. Keene's bt. Valentinian. ^Ecius = Keen :
Valentinian = Powell : Maximus =. Booth : the Eu-
nuch = Miss Santlow, being her first appearance in
boy's clothes : Lucina = Mrs. Bradshaw : — with a
new Prologue by Keen, and a new Epilogue by Miss
Santlow.

31. Mrs. Moor's bt. Successful Strangers. Don
Francisco = Spiller : Don Lopez — Norris : Silvio =
Powell : Antonio = Booth : Sancho = Pack : Felici-
ana = Mrs. Moor: Dorothea = Mrs. Knight.

Feb. 4. At the desire of Isaac Bickerstaffe Esq.,
for the benefit of his Cousin John Bickerstaffe. Don
Quixote 2d part — with a new Prologue by Bicker-
staffe and a new Epilogue by Miss Santlow.

6. Don Quixote = Bickerstaffe : Sancho = Leigh.

7. For the bt. of your humble Servant Francis
Leigh. Gamester — with an Epilogue by Miss Sant-
low in boy's clothes.

11. Pack's bt. Mistake. Carlos = Booth : Sancho
= Norris: Lopez — Pack: Lorenzo = Elrington : Leo-
nora = Mrs. Bradshaw.

14. Miss Santlow's bt. Hamlet = Powell : Ophe-
lia =. Miss Santlow: — with an Epilogue in boy's
clothes.

16. Spanish Fryar i= Leigh : Raymond = Keen.

V F 2

436 D. L. 1709-1710.

18. Norris' bt. Cains Marius. Old Marius = Pow-
ell: Young Marius = Booth: Sulpitius is omitted:
Lavinia = Mrs. Bradshaw : Nurse z= Mr. Norris.

23. Hamlet. Gravedigger = Underbill : Horatio
= Booth.

%5. Never acted, Fair Quaker of Deal, or the
Humours of the Navy. Commodore Flip = Leigh :
Capt. Mizen = Pack : Capt. Worthy = Booth : Rove-
well = Powell: Sir Charles Pleasant = Bickerstaffe :
Cribbage = Elrington : Dorcas Zeal = Miss Sant-
low : Arabella Zeal = Mrs. Bradshaw: Belindas
Mrs. Moore : — this is a laughable C. by Charles
Shadwell : it was acted with success, and was of
great service to this theatre — Miss Santlow was be-
fore this season only admired as an excellent dancer,
but she now met with a most favourable reception as
an actress ; the gentle softness of her voice, the
composed innocence of her aspect, the modesty of
her dress, and the reserved decency of her gesture,
made her seem the Fair Quaker she represented.
( Cibler.)

The author in his preface says, that " 3 years ago
" he put this C. into the hands of a famous comedian
" belonging to the Hay., who took care to beat down
" the value of it so much, as to offer to make it fit to
" appear on the stage, on condition of having half the
" profits of the 3d day and the dedication entire, that is
" as much as to say, that it might pass for one of his,
" according to custom — when Booth saw it, he said with

" a little alteration it would please the Town"

there can scarcely be a doubt but that the actor al-
luded to was Gibber, who observes of this play, that
having some low strokes of natural humour in it, it

D. L. 1709-1710. 437

was rightly calculated for the capacity of the actors

who played it and the taste of the multitude the

author says that the 4 principal characters were par-
ticularly well performed — and the actors, of whom
Cibber speaks with so much insolence, retained their
parts after they had joined Cibber &c. — the Pro-
logue" tells us that the author was son to the Laureat
— Capt. Thompson who altered this play (see D. L.
Nov. 9 1773) and the editor of the B.D. seem not to
have read the Prologue, as the former calls the author
nephew to the Laureat, and the latter leaves it
doubtful whether he was son or nephew.

March 7. Tamerlane — 11. Lancashire Witches.

21. Never acted there, Woman Captain. Usurer
(Gripe) = Norris : Woman Captain = Mrs. Brad-
shaw : = with a new Prologue and Epilogue.

23. Maid in the Mill. Antonio = Booth : Otrante
= Powell: Bustopha =Pack : Maid in the Mill
(Florimel) = Miss Santlow : Ismenia = Mrs. Cox :
Aminta = Mrs. Moor.

27. Mistake, and never performed, a Bickerstaff's
Burial, (Burying) or Work for the Upholders. Mezro
= Norris : Captain = Bickerstaff : Boatswain = Spiller :
Sailors = Pack and Miller : Lady Mezro = Mrs.
Knight : Isabinda = Mrs, Cox : a Lady — Mrs. Kent :
Lucy = Mrs. Spiller: — this is a laughable Farce by
Mrs. Centlivre — the scene lies in an island in which
it is the Custom of the Country (see D. L. May 5
1715) for a wife to be buried with her husband, if he
should happen to die first — and vice versa — Lady
Mezro is married to an old man whom she hates—
but on hearing that her husband is ill, she is frightened
out of her wits — he recovers— Lady Mezro pretends

4-38 D. L. 1709-1710.

to die — the proper officers seize Mezro with a view
to bury him with his wife — news are brought that
Lady Mezro had eloped with the Captain of an Eng-
lish ship which had touched at the island — Mezro is
delighted — the plot of this little piece is taken from
one of Sinbad's Voyages in the Arabian Nights — it
appears from a note prefixed to Gallic Gratitude,
(see C. G. April 30 1779) that a French Farce, with
a plot similar to Mrs. Centlivre's, was published in
1710.

30. For Mrs. Centlivre's bt. Gamester and Bicker-
staffe's Burial.

April 15. Royal Merchant. Florez = Powell :
Clause = Keen: Prigg = Norris : Wolfort = Booth:
—rest omitted.

18. Northern Lass by Miss Santlow.

21. Oronooko= Booth: Aboan = Powell : Daniel
= Norris : Imoinda = Mrs. Bradshaw : Widow — Mrs.
Knight.

22. Julius Csesar = Keen : Calphurnia — Mrs.
Knight : Portia = Mrs. Bradshaw : — with a new
Prologue and Epilogue by Keen and Mrs. Bradshaw.

27. Never acted, Squire Brainless, or Trick upon
Trick — acted three times.

The Editor of the B. D. (see Trick upon Trick)
says this C» was written by Aaron Hill, and is not
printed — he adds that it was condemned on the very
first night.

May 1 2. For the bt. of Cave Underbill. Tempest.
Duke Trincalo by Underbill, who acted it originally.

17. For the author of the Farce, Caius Marius,
with, never acted, Twin Adventurers, or the Blunder-
ing Brothers.

D. L. 1709-1710. 439

18. Othello. Roderigo = Pack.

23. For bt. of Booth and Keen. Gamester. Young
Valere = Booth : Hector = Pack : Sir Thomas Valere
:=Norris : Lovewell = Elrington: Angelica = Mrs.
Bradshaw : Widow (Lady Wealthy) = Mrs. Knight :
— with a new Prologue by Keen, and a new Epilogue
by Pack on a Pad Nag, in the character of a Town
Miss travelling to Turibridge.

26. For bt. of Powell and Elrington. Sea Voyage.

30. For bt. of Pack and Mrs. Bradshaw. Con-
federacy with Pack's new Epilogue.

June 2. For bt. of Commodore Leigh and Coxen
Birkhead. Fair Quaker — 13th time or more.

6. Love for Love. Jeremy = Miller. (Sills from
B. MJ

Underbill's last performance at D. L. was May 12,
but he acted on Aug. 26 at Greenwich.

Among Tom Brown's Letters from the Dead to
the Living there is one from Leigh to Underbill, and
another from Underbill to Leigh.

Anthony Aston speaks very unfavourably of Under-
bill— but Cibber and Downes put it past a doubt that
he was a good actor — Aston says, that Underbill was
more admired by the actors than the audience — that
his few good parts were — the Gravedigger in Hamlet
— Sancho Panca in 1st part of Don Quixote — Ned
Blunt — the Host in the Villain — and particularly
Lolpoop — that he was 6 feet high and corpulent —
that his face was long and broad — his nose flattish
and short — his upper lip thick — his mouth wide and
his chin short — that his voice was churlish and his
action awkward — that he would often leap up with
both legs at a time, when he conceived any thing

440 D. L. 1709-1710.

waggish ; and afterwards hug himself at the thought
— Aston concludes with saying, that tho' Underhill
was much cried up in his time, yet he was so stupid
as not to know why.

Downes in 1708 says — " Sir William Davenant,
" 40 years ago, judged Underhill the truest Comedian
" in his company."

UnderhiWs characters — selection only.

L. I. F. 1661. Sir Morglay Thwack in Wits-
Cutter in ditto — Gravedigger in Hamlet.

1663. Clown in Twelfth Night.

1664. *Cunopes the Jailor in Rivals — Gardiner in
Henry 8th — * Palmer in Comical Revenge.

1667. ^Trincalo in Dryden's Tempest — *Moody
in Sir Martin Marrall.

1668. Modelet in Man's the Master.

1669. * Timothy in Sir Solomon.

D. G. 1671. *Sir Simon Softhead in Mama-
mouchi — *Pedagog in Mr. Anthony.

1672. * Justice Clodpate in Epsom Wells.

1676. Probably *Jacomo in Libertine — *Sanco in
Wrangling Lovers — *Old Jollyman in Madam Fickle.

1677. * Blunt in Rover 1st part.

1 678. * Sir Noble Clumsey in Friendship in Fashion
— *Pimpo in Squire Oldsapp.

1679. *Thersites in Troilus and Cressida altered
— *Tickletext in Feigned Courtezans.

1680. *Sulpitius in Caius Marius.

1681. *Blunt in Rover 2d part.

1682. * Wiseacre in London Cuckolds.

HAY. 1709-1710. 441

T. R. 1684. * Turbulent in Factious Citizen.

1685. 'Hothead in Sir Courtly Nice.

1686. *Don Diego in Banditti.

1687. *Don Baliardo in Emperor of the Moon.

1688. *Lolpoop in Squire of Alsatia.

1689. *Oldwit in Bury Fair.

1690. *Mufti in Don Sebastian.

1691. * Sassafras in Greenwich Park — *Sir Row-
land Rakehell in Love for Money.

1693. *Setter in Old Batchelor.

1694. *Sampsonin Fatal Marriage — *Sir Barnaby
Buffler in Canterbury Guests.

L. I. F. 1695. *Sir Sampson Legend.

1696. *Sir Thomas Testy in Country Wake-
*Sir Toby Custfe in She Gallants.

1697. *Doctor in Anatomist.
1700. * Sir Wilful Witwou'd.

1702. Merryman in Amorous Widow.
Hay. 1706. Sir Joslin Jolley in She wou'd if she
cou'd.

* Originally.

HAY. 1709-1710.

The actors who were chosen to enter into partner-
ship with Swiney were Wilks, Dogget, Gibber and
Mrs. Oldfield — Dogget, who was veiy sensible of

442 HAY. 1709-1710.

Mrs. Oldfield's merit as an actress, objected to have
a petticoat concerned in the management, and hoped
that if instead of a share, they offered her to fix
her own terms for an engagement, she would not think
herself slighted — this was instantly agreed to, and
she received it rather as a favour than a disobligation
—her demands were £200 a year and a clear benefit,
which were readily signed to —her easiness on this
occasion made the Managing Actors some years
after, when the establishment was in prosperity, with
less reluctancy advance her £200 to 300 Guineas,
with her usual benefit, which upon an average for
several years at least doubled that sum.

The first thing the confederated actors did was to
set about altering the theatre so as to obviate the in-
conveniences of its original construction : which they
accomplished as well as the time would permit — their
audiences exceeded their expectations ; they were
their own masters, and the profits of their industry
went into their own pockets — yet with all this fair
weather, the season of their uninterrupted prosperity
was not yet arrived ; for the great expense and thin-
ner audiences of the Opera (of which they were
equally directors at that time) were a constant draw-
back upon their gains ; yet not so far, but that their
income this year was better than in their late season
at D. L. (Gibber.)

The trial of that Incendiary Dr. Sacheverel, which
began Feb. 27 and lasted till March 23, was of great
disservice by keeping the higher ranks from the
Theatre — Burnet says, all other business was at a
stand ; for this toook up all men's thoughts.

Sep. 15. Othello ^Betterton.

HAY. 1709-1710. 443

20. Hamlet = Betterton : — tho' at this time above
70 he acted Hamlet with the manner, gesture and
voice of youth. ( Tatler.}

%%. Recruiting Officer. Plume =Wilks : Brazen
= Gibber : Kite = Estcourt : Bullock = Bullock :
Balance = Boman : Worthy = Mills : Pearrnain =
Johnson : Appletree = Bullock Junior : Sylvia = Mrs.
Oldfield : Melinda = Mrs. Porter : Rose = Mrs.
Bignell.

24. Love for Love. Valentine =Wilks: Foresight
= Johnson : Ben = Dogget : Tattle = Gibber : Sir
Sampson — Estcourt : Scandal = Husband : Jeremy
= Bowen : Trapland = Bullock : Angelica = Mrs.
Oldfield : Mrs, Frail = Mrs. Porter : Miss Prue =
Mrs. Bignell : Mrs. Foresight = Mrs. Cross : Nurse
= Mrs. Willis.

27. Chances. Don John = Wilks: Don Frederick
— Mills: Antonio = Pinkethman : 1st Constantia^
Mrs. Porter : 2d Cons tantia = Mrs. Oldfield.

29. Marriage a-la-Mode. Melantha = Mrs. Bignell.

Oct 1. Love makes a Man. Sancho = Bowen :
Don Duart = Mills : Louisa = Mrs. Oldfield : Ange-
lina = Miss Willis: Elvira = Mrs. Porter : — rest as
before.

4. Unhappy Favourite. Essex = Wilks : South-
ampton = M ills : Burleigh = Gibber : Queen = Mrs.
Barry : Rutland = Mrs. Oldfield : Nottingham = Mrs.
Porter.

6. Sir Courtly Nice. Sir Courtly = Gibber : Sir
Timothy Callico = Pinkethman : Hothead = Bullock :
Testimony = Johnson : Surly = Estcourt : Lord Bel-
guard = Mills : Farewell = Bullock Junior : Leonora

444 HAY. 1709-1710.

= Mrs. Oldfield : Violante = Mrs. Bignell : Aunt —
Mrs. Powell.

8. Fatal Marriage. Biron = Husband : Villeroy
= Wilks : Fernando = Dogget : Frederick = Mills :
Jaqueline — Bowen : Sampson = Bullock : Isabella
= Mrs. Barry : Victoria = Mrs. Porter : Nurse = Mrs.
Powell : Carlos and Julia are omitted.

11. Never acted there, Busy Body. Marplot =
Dogget : Sir Francis Gripe = Estcourt : Sir George
Airy = Wilks : Sir Jealous Traffick = Bullock :
Charles = M ills : Miranda = Mrs. Cross: Patch =
Mrs. Saunders : Isabinda = Mrs. Porter: — this C.
was acted 3 nights successively — after which it seems
to have been laid aside.

17. Never acted there, Epsom Wells. Woodlyrz
Wilks : Bevil = Mills : Rains = Bullock Junior :
Clodpate = Johnson : Bisket = Bullock : Fribble =
Pinkethman : Mrs. Woodly = Mrs. Bignell : Caro-
lina = Mrs. Oldfield: Lucia = Mrs. Porter: Mrs. Jilt
is omitted : Mrs. Bisket = Mrs. Saunders : Mrs. Frib-
ble = Mrs. Baker.

21. Spanish Fryar. Dominic = Estcourt : Gomez
= Johnson : Torrismond is omitted : Colonel =
Wilks: Queen = Mrs. Barry: Elvira = Mrs. Oldfield.

22. Love's last Shift. Elder Worthy is omitted:
Snap = Pinkethman : Amanda = Mrs. Porter : Hil-
laria = Mrs. Bignell :— rest as Oct. 18 1707.

25. Fortune Hunters. Spruce = Johnson.

28. Constant Couple. Angelica = Mrs. Porter :
Parly = Mrs. Saunders : — rest as before.

29. Rover. Willmore = Wilks : Ned Blunt = Est-
court : Hellena = Mrs. Oldfield : Angellica = Mrs.

HAY. 1709-1710. 445

Barry : Florinda = Mrs. Porter : Moretta = Mrs.
Saunders.

31. Pilgrim. Jaques = Bo wen : Mad Priest =.
Estcourt : Mad Welchman = Dogget : Mad Taylor
= Pinkethman : — rest as April 30 1707.

Nov. 4. Hamlet = Wilks : Horatio = Mills : Fop =
Bowen : Gravedigger = Johnson: Queen = Mrs.
Porter: Ophelia = Mrs. Cross.

5. Rule a Wife. Leon is omitted : Copper Cap-
tain = Wilks : Estifania = Mrs. Oldfield : Margarita
= Mrs. Barry: — with Stage Coach.

8. Beaux Strategem. Scrub — Pinkethman : Sul-
len = Estcourt : Dorinda — Mrs. Porter: — rest as ori-
ginally.

9. Amphitryon. Jupiter = Wilks : Sosia = Cross :
Mercury = Estcourt : Gripus = Johnson : Amphitryon
=Mills : Alcmena=Mrs. Barry: Phaedra =Mrs. Big-
nail : Bromia=Mrs. Powell.

11. Wit without Money. Lovegood is omitted :
Shorthose = Pinkethman : — rest as May 25 1707.

15. She wou'd if she cou'd. Sir Oliver Cockwood
= Dogget: Sir Joslin Jolley=Estcourt : CourtaH =
Wilks: Freem an = Mills: Lady Cockwood = Mrs.
Barry: Gatty^Mrs. Cross: Ariana=Mrs. Porter:
Sentry =Mrs. Saunders.

18. Rehearsal. Bayes = Estcourt : Johnson =
Wilks : Smith = Mills : Gentleman Usher = Pinketh-
man : Physician = Cross : 2 Kings of Brentford =
Bullock and Bowen : Tom Thimble = Dogget : Thun-
der = John son.

19- Amorous Widow. Barnaby Brittle = Dogget :
Lo vem ore = Wilks : Cunningham = Mills : Merryman
= Pinkethman : Clodpole = Bullock : Sir Peter Pride

446 HAY. 1709-1710.

= Johnson : Wanton Wife = Mrs. Oldfield : Lady
Lay cock = Mrs. Powell : Philadelphia = Mrs. Porter :
Damaris = Mrs. Bignall : Prudence _ = Mrs. Saunders:
Lady Pride = Mrs. Willis.

28. Macbeth. Lady Macbeth = Mrs. Barry.

Dec. 3. Indian Emperour. Monte zumanrBet-
terton : Cortez = Wilks : Almeria = Mrs. Barry.

8. Old Batchelor. Nykin = Dogget : — rest omitted.

12. Never acted, Man's Bewitched, or the Devil to
do about her. Faithful = Wilks : Sir David Watchum
= Johnson : Squire Num = Dogget : Capt. Constant
= Mills : Clinch (his servant) = Pinkethman : Trusty
(steward to Sir Jeffrey Constant) =Estcourt : Roger
(Sir Jeffrey's tenant) = Bullock : Manage (servant to
Faithful) = Cibber: Lovely = Husband : Sir Jeffrey
Constant = Boman : Slouch (servant to Num) =
Cross : Belinda (supposed daughter to Trusty) =.
Mrs. Oldfield : Laura = Mrs. Cross : Dorothy (maid
to Belinda) = Mrs. Saunders : Maria = Mrs. Porter :
Lucy (maid to Laura) = Mrs. Bicknell : — Faithful
and Laura are mutually in love — she is a rich heiress
and ward to Sir David — he keeps her confined, and
means to marry her himself — he seldom goes from
home except to the coffeehouse — on his arrival there
in the 2d act, Constant and Faithful pretend to fight
— Faithful is said to be wounded — his friends request
Sir David, whose coach is at the door, to lend it to
them for a short time — Sir David orders his coach-
man to carry Faithful home — the coachman carries
him to Sir David's house, supposing that his master
meant him to do so — Sir David is in a violent pas-
sion on finding Faithful in his house — Faithful affects
at first to consider himself as at an inn, but after-

HAY. 1709-1710. 447

wards makes an apology for his intrusion — in the
4th act, Faithful and Manage enter in disguise —
Laura pretends to be mad — Manage undertakes to
cure her, provided Sir David will find some person
into whom he may send the Devil when he comes
out of Laura — Faithful offers himself — Laura affects
to recover her senses — and Faithful acts the mad-
man so furiously, that Sir David is frightened and
runs off — the lovers make their escape and are mar-
ried— in the other part of the plot, Constant is in
love with Belinda — Sir Jeffrey and Trusty had
equally opposed their union — in the first scene Con-
stant arid Clinch enter in mourning — Constant tells
Trusty that his father had died suddenly — Trusty
now readily consents that Belinda should marry
Constant — Belinda, to prevent Trusty from blaming
her when he shall discover the cheat, pretends to
prefer Num to Constant — Trusty insists that she
should marry Constant directly — in the last act, Sir
Jeffrey Constant enters — Trusty at first believes him
to be a Ghost — Belinda proves to be the daughter
of an Irish peer — Sir Jeffrey is reconciled to his son
— Lovely marries Maria — this is a very good C., or
rather Farce in 5 acts, by Mrs. Centlivre — she has laid
the scene at Peterborough — she was born at Holbeach
in Lincolnshire, which is at no great distance from
Peterborough — the Man's Bewitched was acted but
3 times — its progress was stopped by a foolish pique
— see Mrs. Centlivre's preface — the Farce of the
Ghost is taken nearly verbatim from this play, but
the scenes are rather jumbled together, and do not
appear to the same advantage as in the original.
17. Macbeth = Betterton.

448 HAY. 1709-1710.

Jan. 5. Tender Husband. Tipkin = Dogget.

7« Oronooko = Wilks : Driver = Johnson : Daniel
= Pinkethman : Imoinda = Mrs. Oldfield : — rest
omitted.

11. Silent Woman. Otter = Estcourt.

12. Funeral. Mad. D'Epingle = Mrs. Bignall.
14. Alchemist. Face = Wilks: Dapper = Dogget.

18. Jovial Crew. Oliver=Mills.

19. Wilks' bt. Man of the Mode. Dorimant =
Wilks: Sir Fopling Flutter = Gibber: Medley =
Mills : Old Bellair = Pinkethman : Young Bellair =
Bullock Junior : Shoemaker = Bowen : Mrs. Loveit
= Mrs. Oldfield: Belinda = Mrs. Rogers : Harriet =
Mrs. Cross: Emilia=Mrs. Porter: Pert = Mrs. Big-
nail: — with a new Prologue.

21. Relapse. Young Fashion is omitted : Berinthia
= Mrs. Oldfield : — rest as before.

Feb. 1. Don Quixote part first. Don Quixote =
Bowen : Sancho =. Dogget : — rest omitted.

4. King Lear. Lear = Betterton : Edgar = Wilks:
Edmund = Mills : Cordelia = Mrs. Rogers.

11. Scornful Lady. Elder Loveless = Wilks :
Younger Loveless — Mills : Savil = Dogget : More-
craft =. Bullock : Sir Roger = Gibber : Poet = Bowen :
Scornful Lady = Mrs. Oldfield : Martha = Mrs. Big-
nall : Abigail^ Mrs. Willis.

13. Chances, with Schoolboy. Master Johnny =
Cibber: Major Rakish = Pinkethman : Young Rakish
= Mills.

18. Never acted there, Country Wake. Hob =
Dogget: Woodvill = Wilks: Sir Thomas Testy =
Bullock: Lady Testy — Mrs. Rogers. Florae Mrs.
Oldfield:— rest omitted.

HAY. 1709-1710. 449

March 4. Never acted there, False Friend. Don
Felix is omitted : Isabella = Mrs. Porter : — rest as
originally at D. L. 1702.

9. Betterton acted Old Batchelor.
11. Never acted there, Edward the 3d. Lord
Mountacute = Wilks : Mortimer = Mills : Edward
the 3d = Bullock Junior : Tarleton Bishop of Here-
ford and Chancellor m Bullock : Serjeant Eitherside
^Dogget: Queen Mother = Mrs. Barry: Maria =
Mrs. Rogers.

13. Mrs. Barry's bt. Indian Einperour.

16. Recruiting Officer. Kite = Evans from Dublin.

27. Mrs. Porter's bt. Richard 3d = Cibber : King
Henry = Wilks : Queen = Mrs. Porter : Lady Anne
= Mrs. Rogers.

April 10. Committee. Teague = Estcourt.

13. At the desire of several persons of quality—
for Betterton's bt — Maid's Tragedy. Melantius =
Betterton : Amintor = Wilks : Calianax = Pinketh-
man : Evadne =: Mrs. Barry : Aspatia is omitted.
To which will be added three designs, representing
the three principal actions of the play, in imitation
of so many great pieces of history painting, where
all the real persons concerned in those actions will
be placed at proper distances, in different postures

peculiar to the passion of each character in the

first advertisement was added — " This has been often
" performed in the theatres abroad, but never yet
" attempted on the English stage."

Betterton, being suddenly seized with the gout,
submitted by extraordinary applications to have his
foot so far relieved, that he might be able to walk
on the stage in a slipper, rather than wholly disap-

VOL. II. G G

450 HAY. 1709-1710.

point the audience — he was observed that day to have
exerted a more than usual spirit, and met with suit-
able applause — but the consequence of tampering
with his distemper was, that it flew into his head
and killed him. (Cibber)

Betterton was buried in Westminster Abbey — an
account of his funeral may be seen in the Tatler for
May 4th — where his Othello is particularly com-
mended.

April 14. Spanish Fryar. Dominic = Evans:
Queen = Mrs. Barry : — the last time of her acting
this season.

17. Love makes a Man. Louisa = Mrs. Rogers.

20. Never acted, Force of Friendship. Lothario =
Wilks : Anselmo = Mills : Leonato (father to Aspatia)
= Bowman : Sebastian (brother to Julia) = Husband :
Aspatia = Mrs. Rogers : Julia = Mrs. Porter : — An-
selmo was contracted to Julia, but had deserted her
—he and Lothario are great friends — Anselmo is in
love with Aspatia — as there is a hereditary hate be-
tween his family and hers, he desires Lothario to
court her for him — Lothario and Aspatia fall mu-
tually in love — Lothario is naturally in an awkward
predicament— but Aspatia is perfectly at liberty — yet
she is so destitute of common sense, that she says,
she will give her hand to Anselmo, if Lothario should
request her to do so — in the 4th act Lothario offers
to resign Aspatia to Anselmo — the marriage however
does not take place — in the 5th act, Sebastian and
Anselmo fight— Julia interposes, and is mortally
wounded — Anselmo is killed— this T. was written
by Charles Johnson — it is a poor play both as to
plot and language — scene Verona.

24. Bo wen's bt. Before the four Indian Kings —

HAY. 1709-1710 451

Macbeth When these Kings paid a visit to Lon-
don, after they had seen most places of curiosity, a
play was at length advertised for their diversion — the
Mob took care to attend in order to survey the swarthy
Monarchs— the curtain was drawn, but in vain did
the players attempt to perform — the Mob, who had
possession of the upper gallery, declared that they
came to see the Kings, " and since we have paid
" our money, the Kings we will have" — whereupon
Wilks came forth, and assured them the Kings were
in the front box — to this the Mob replied, they could
not see them, and desired they might be placed in
a more conspicuous point of view — "otherwise there
" shall be no play" — Wilks assured them he had no-
thing so much at heart as their happiness, and accord-
ingly got four chairs, and placed the Kings on the
stage, to the no small satisfaction of the Mob, with
whom it is a maxim to have as much as possible
for their money.

Murphy relates this transaction in his Gray's Inn
Journal No. 74, but he is not accurate ; he supposes
it to have taken place at D. L., and speaks of three
Indian Kings instead of four.

The Epilogue was printed in this manner.

" The Epilogue to be spoken Before the four Indian
" Kings, at the Queen's Theatre in the Hay. this pre-
" sent Monday, being the 24th of April.

" As Sheba's Queen with adoration came

#*#*###

" so wing'd by her example four

" Now seek protection on Britannia's shore.
" O Princes, who have with amazement seen
" So good, so gracious and so great a Queen ;

G G 2

452 HAY. 1709-1710.

" Who from her royal mouth have heard your

" doom
" Secur'd against the threats of France and

" Rome ;

" Awhile some moments on our scenes bestow,

*******

" Thanks therefore to your majesties are owing,
" By your most humble servant William Bowen ;
" That he with grateful satisfaction sees,
" An audience, that even avarice must please ;
" And has it in his power from hence to date,
" The bless'd beginnings of a kinder fate.
" May fortune in return your labours crown
" With honour, safety, riches, and renown :
" And that success attend your arms in fight
" Which he has by your means obtained this
" night.

" Price one penny."

Some person had attached this Epilogue to my
copy of the Excommunicated Prince, merely because
they happened to be both of the same size.

April 29. Bullock's bt. Amorous Widow with a
Farce in one act called the Mayor of Quinborough —
see Mayor of Quinborough in llth Vol. of Dodsley's
Old Plays 1744 — Bullock no doubt acted the Mayor.

May 1. For the Author. Force of Friendship
with a short Farce called Love in a Chest — the Force
of Friendship seems to have been acted but twice.

Love in a Chest. Faschinetti — Pinkethman : Car-
pegna= Bullock: Cardinal Cantelmi = Cross : The-
resa (niece to the Cardinal) — Mrs. Bicknell : Cas-
sata (wife to Faschinetti) = Mrs. Saunders : Louisa

HAY. 1709-1710. 453

(wife to Carpegna) = Mrs. Baker: — Sebastian is
omitted in the D. P. — Theresa and Sebastian are
mutually in love — Faschinetti, who is an old fellow,
is in love with Theresa — Sebastian visits Theresa
disguised as a perfume woman — Faschinetti detects
him — Theresa coaxes Faschinetti to prevent him
from telling her uncle — in the 3d act, Faschinetti
enters to Theresa dressed as a perfume woman-
Theresa's page says the Cardinal is coming up stairs,
and three servants after him with cudgels in their
hands — Theresa conceals Faschinetti in a Chest, and
sends him home to his wife — Carpegna makes love
to Cassata — Faschinetti hears their conversation —
becomes out of the Chest, and threatens his wife —
Theresa enters and turns the tables on Faschinetti —
this is a tolerable Farce — it was written by C. John-
son, and is printed with the Force of Friendship.

3. Beaux Strategem. Mrs. Sullen = Mrs. Porter.

4. Henry 4th. Falstaffrr Evans.

6. Fond Husband. Bubble = Bullock : Fumble =
Johnson : Rashley = Wilks : Ranger — Mills : Sneak
= Pinkethman : Emilia = Mrs. Rogers : Maria = Mrs.
Porter.

11. Husband's bt. Not acted 10 years, Villain, or
the Officers in Winter Quarters — this play had no
second title originally.

15. Villain. Villain = Gibber : Brisac = Thur-
mond : Beaupres = Wilks: Clairmont = Mills : Bou-
tefou = Bowen: Scrivener's Son (Colignii) = Bullock:
Host = Johnson: Belmont = Mrs. Rogers : Charlotte
= Mrs. Porter: — as Cibber tells us that he played
Richard the 3d in imitation of Sandford's manner, it

454 HAY. 1709-1710.

is probable that he did the same on this occasion —
Malignii was one of Sandford's best parts.

16. Chances. 2d Constantia = Mrs. Bignall.

19. Fatal Marriage. Isabella = Mrs. Rogers.

25. Smith's bt. Unhappy Favourite. Queens
Mrs. Barry being the last time of her acting that
part.

29. Never acted there, Yeoman of Kent. (Turi-
bridge Walks.) Reynard = Wilks : Yeoman = John-
son = Squib = Pinkethman : Maiden = Bullock : Love-
worth = Mills: Hillaria = Mrs. Porter: Lucy =
Mrs. Saunders.

June 1. Not acted 3 years, Bartholemew Fair.
Cokes = Bullock : Waspe = Johnson : Quarlous =
Mills : Rabby Busy = Gibber : Little wit = Bowen :
Graces Miss Willis : — rest omitted.

5. London Cuckolds. Ramble = Mills : Doodle =
Johnson : Dashwell = Bowen : Wiseacre = Bullock :
Arabella = Mrs. Bignall : Peggy = Miss Willis : — rest
omitted.

9. Silent Woman = Mrs. Porter : Lady Haughty =
Mrs. Saunders.

13. Wilks' bt. Careless Husband. Sir Charles
Easy = Wilks : Lord Foppington = Gibber : Lord
Morelove = Mills: Lady Betty Modish = Mrs. Old-
field : Lady Graveairs = Mrs. Rogers : Edging =
Mrs. Bignall : Lady Easy = Mrs. Barry: — this was
her last appearance on the stage.

16. Sir Martin Marall = Bullock : Warner = Mills.

22 Gibber's bt. Othello. Othello (for the 1st time
in England) = Wilks : lago = Gibber : — with a new
Epilogue intended to be humorous by Gibber, on all
mankind being actors on the stage of the world — the

HAY. 1709-1710. 455

Tatler says — " I shall steal incog, out of curiosity to
" observe how Wilks and Gibber touch those places,
" where Bettertori and Sandford so very highly ex-
" celled" The Tatler did not find much to com-
mend— Gibber says Wilks failed in Othello, and tho'
he mentions lago as one of his own best parts in
Tragedy, yet the author of the Laureat says — " I
" have often heard him blamed as a trifler in that
" part ; he was rarely perfect, and abating for the
" badness of his voice and the insignificancy and
" meanness of his action, he did not seem to under-
" stand either what he said, or what he was about."

29. Mrs. Oldfield's bt. Chances, with one Act of a
Comical Tragedy called the Rival Queens, with the
Humours of Alexander the Great. Alexander =
Cibber : Clytus = Estcourt : Roxana = Mr. Bullock :
Statira = Mr. Bullock Junior : and all the rest to the
most ridiculous advantage — the Editor of the B. D.
attributes this piece to Colley Cibber, and says it was
printed in 1729, and then only at Dublin.

July 5 or 6. Dogget's bt. Old Batch elor. Nykin
= Dogget: Bellmour = Wilks : Laetitia = Mrs. Old-
field : — rest omitted.

15. For Estcourt's bt. Recruiting Officer. Lame
Serjeant Kite = Estcourt.

19. Bo wen's bt. Committee. Teague — Bo wen :
Careless = Wilks : Abel = Bullock : Ruth = Mrs. Old-
field : — with Cheats of Scapiri — Scapin by your
humble Servant Will. Bowen.

21. Mrs. Rogers' bt. Constant Couple with Stage
Coach — Squire Somebody = Dogget.

26. Mills' bt. Hamlet. Gravedigger(lst time) =
Dogget. (Sills from B. M.)

456 HAY. 1709-1710.

The Life of Betterton by an anonymous author
was published in 1710 with a dedication to Richard
Steele Esquire — this is generally attributed to Gildon
—it consists of 176 pages, more than 150 of which
have nothing to do with Betterton — Gildon gives a
list of 73 plays in which Betterton acted, but he does
not tell us in what character — consequently it is im-
possible to say with certainty what parts he acted in
about 15 of the plays— Gildon adds that Betterton
acted in many others too long to insert — if Gildon
had made his list of plays as complete as he might
have done, and had mentioned Betterton's parts, his
book would have been of great value — as it is, it is
but of little.

Downes mentions as his best parts — Pericles-
Bondman — Caesar Borgia — Loyal Subject — Mad
Lover — Richard the 3d — King Lear — Solyman the
Magnificent — Hamlet — Macbeth — Timon of Athens
—Othello— GSdipus— Jaffier— Henry 8th— Falstaff.

Gibber says, that after Mountfort had acted Alex-
ander with success for several years, Betterton, on
his death, took the part, and acted it with so new a
lustre, that it filled the house for three days together
— he particularly commends Betterton in Othello-
Hamlet — Hotspur — Macbeth and Brutus.

Anthony Aston says — " Betterton (although a su-
" perlative good actor) labour'd under an ill figure,
" being clumsily made, having a great head, a short
" thick neck, stoop'd in the shoulders, and had fat
" short arms, which he rarely lifted higher than his
" stomach — his left hand frequently lodged in his
" breast, between his coat and waistcoat, while, with
" his right, he prepar'd his speech— his actions were

HAY. 1709-1710, 457

" few, but just— he had little eyes, and a broad face,
" a little poek-fretten, a corpulent body, and thick
" legs, with large feet — he was better to meet, than
" to follow ; for his aspect was serious, venerable,
" arid majestic ; in his latter time a little paralytic
" — his voice was low and grumbling ; yet he could
" tune it by an artful climax, which enforc'd universal
" attention, even from the fops and orange-girls — he
" was incapable of dancing, even in a country-dance;
" as was Mrs. Barry — but their good qualities were
" more than equal to their deficiences — while Mrs.
" Bracegirdle sung very agreeably in the Loves of
" Mars and Venus, and danced in a country-dance
" as well as Wilks, though not with so much art and
" foppery, but like a well-bred gentlewoman * * *
" Betterton was the Phoenix of the stage — the most
" extensive actor from Alexander to Falstaff * * *
" I have often wished that he would have resigned
" the part of Hamlet to some young actor, who might
" have personated, tho* not have acted it, better—
" but no one else could have pleased the town, he
" was so rooted in their opinion — his younger cotem-
" porary, (Betterton 63, Powell 40 years old) PowelJ,
" attempted several of Bettertori's parts, as Alexander,
" Jaffier, &c. but lost his credit ; as, in Alexander,
" he maintained not the dignity of a King, but Out-
" Heroded Herod ; and in his poison'd, mad scene,
" out-rav'd all probability ; while Betterton kept his
" passion under, and show'd it most (as fume smokes
" most) when stifled. Betterton, from the time he
" was dress'd, to the end of the play, kept his mind
" in the same temperament and adaptness, as the
" present character required — if I was to write of

458 HAY. 1709-1710.

" him all day, I should still remember fresh matter
" in his behalf."

Betterton was a dramatic writer, but most of the
plays attributed to him were merely alterations — he
was kind and friendly both to authors and actors—
Booth always spoke of him with respect and venera-
tion ; and he was of great service to Booth by his
instructions. (Davies.)

Bettertorfs characters.

Betterton acted, while in Rhodes' company, be-
tween Feb. 1659 O. S. and June 1661, Loyal Subject
—Mad Lover — Pericles — Bondman — Deflores in the
Changeling &c.

At L. I. F. 1661. Solyman the Magnificent in the
1 st and 2d parts of the Siege of Rhodes — Elder Pal-
latine in Wits — Bondman — *Col. Jolly in Cutter-
Hamlet — Alvaro in Love and Honour.

1662. Mercutio — *Brisac in Villain.

1663. *Don Henrique in Adventures of five Hours
— Sir Toby Belch — *Iberio in Slighted Maid- —
*Filamor in Step-Mother.

1664. *Philander in Rivals— Henry 8th— *Lord
Beaufort in Comical Revenge — Bosola in Dutchess
of Malfy — *Owen Tudor in Lord Orrery's Henry 5th.

1665. * Solyman the Magnificent in Mustapha.

1666. Macbeth in Shakspeare's play.

1667. *Cambyses in ditto — * Richard the 3d in
English Princess.

1668. No new character.

1669. *Sir Solomon in ditto.

HAY. 1709-1710. 459

1670. *Lovemore in Amorous Widow — * Virginias
in Unjust Judge.

1671. *Ladislaus in Juliana.

D. G. 1671. *Charles 8th in ditto— * Art in Mr.
Anthony.

1672. *Bevil in Epsom Wells — Davenant's *Mae-
beth — *Alcippus in Forced Marriage.

1673. *Townlove in Morning Ramble — *Crimal-
haz in Empress of Morocco.

1674. No new character.

1675. *Alcibiades in ditto.

1676. * Libertine — *Solyman the Magnificent in
Ibrahim — *Dorimant in Man of the Mode — *King
Philip in Don Carlos — *Lord Bellamour in Madam
Fickle — *Sylvano in Pastor Fido.

1677' * Titus in Titus and Berenice — * An tony in
Sedley's Antony arid Cleopatra — * Orestes in Circe
— *Belville in Rover 1st part — *Orontes in Siege of
Babylon — *Abdelazar in ditto.

1678. * Achilles in Destruction of Troy— * Witt-
more in Sir Patient Fancy — *Goodvile in Friendship
in Fashion — *Welford in Squire Oldsapp — *Vitelli
in Counterfeits — *Timon of Athens as altered by
Shadwell.

1679. *CEdipus — *Troilus as altered byDryden—
*Galliard in Feigned Courtezans.

1680 *Caesar Borgia in ditto — *Castalio— *Theo-
crin in Loyal General — *Caius Marius in ditto —
*Varanes — * Lorenzo in Loving Enemies.

1681. *Duke of Gloucester and *Earl of Warwick
in Henry the 6th by Crown 1st and 2d part — "King
Lear as altered by Tate — *L. J. Brutus in ditto—
*Beaugardin Soldier's Fortune— *Torrismond— *Tom

460 HAY. 1709-1710.

Wilding in City Heiress — *Duke Nemours in Prin-
cess of Cleve.

1682. Maffier — *Piercy in Virtue Betrayed.
T. R. 1682. *Duke of Guise in ditto.

1683. Michael Perez — Othello — Arbaces in King
and no King.

1684. *^cius in Valentinian altered — *Crispus in
Constantine— *Beaugard in Atheist — *Alphonso in
Disappointment — Brutus in J. C.

1685.

1686 new

1687. *Gaymari in Lucky Chance.

1688. *Rheusanes in Injured Lovers.

1689. *Lord Bellamy in Bury Fair.

1690. * Admiral of France in Massacre of Paris—
*Dorax — * Jupiter in Amphitryon.

1691. *King Arthur — Sir Ralph Jerningham in
Merry Devil of Edmonton.

1692. *Gunderic in Rape — *Regulus in ditto—
*Lovemore in Wives Excuse — *Cleomenes in ditto

-* Henry 2d.

1693. *Old Batchelor— 'Double Dealer— *A1-
phonso in Love Triumphant.

1694. *Villeroy — cast for Lord Gilford Dudley.
L. I. F. 1695. * Valentine in Love for Love.
1696. * Cyrus the Great in ditto — *Railmore in

Love's a Jest — * Woodvill in Country Wake — *Bella-
mour in She Gallants — *Bellair in Lover's Luck—
*Osman in Royal Mischief.

1697- *Grammont in Unnatural Brother — *Sir
John Brute — *Cassibelan in Boadicea — *Duke de
Sanserre in Intrigues at Versailles — *Sir Charles
Beauclair in Innocent Mistress — *Osmyn in M. B.

HAY. 1709-1710. 461

1698. *Owen Tudor in Queen Catharine— * Aga-
memnon in Heroic Love — *Don Vincentio in Beauty
in Distress — *Gramont in Fatal Friendship — *Bondi
in Deceiver Deceived.

1699. *Artabanus in Xerxes — *Rinaldo in Rinaldo
and Armida — *Doria in Princess of Parma — *Zoilus
in Friendship Improved — *Orestes in Iphigenia.

1700. Falstaff in Henry 4th part 1st, and probably
in 2d part — *Angelo in Measure for Measure altered
— *Fainall — * Virginius in Fate of Capua — *Memnon
in Ambitious Stepmother.

1701. *Courtine in Lady's Visiting Day — *Bas-
sanio in Jew of Venice — *Rhesus in Love's Victim.

1702. *Tamerlane — *Clorimon in Altemira.

1703. *Iopano in Governour of Cyprus — *Horatio
in F. P.

1703-1704. *Mahomet 4th in Abra-Mule— *Mira-
mont in Liberty Asserted — Antony in All for Love
— Falstaff in Merry Wives — *Lovewell in Squire
Trelooby.

1704-1705. *Sir Timothy Tallapoy in Biter—
*Lovewell in Gamester — probably *Julianus in Con-
quest of Spain — at Hay.

Hay. 1705-1706. *Ulysses in ditto— *Don Alvarez
in Mistake — *Marus in Faithful General — * Count
Arwide in Revolution of Sweden — *Cselius in British
Enchanters.

1706-1707. Melantius in Maid's Tragedy— * Sir
Thomas Beamont in Platonick Lady — *Almanzor in
Almyna — Morose in Silent Woman — Indian Empe-
rour — Don Antonio in Adventures of five Hours —
Spanish Fryar — *Theseus in Phaedra.

1707-1708. No new character.

HAY. 1709-1710.

D, L. 1708. Old Emperour in Aurenge-Zebe -
Mithradates.

1708-1709. "Virginias in Appius and Virginia—
Leontius in Humorous Lieutenant — Thersites in
Dryden's Troilus and Cressida.

1709-1710. No new character.

* Originally.

Mrs. Barry in one respect was more fortunate than
any actress that has succeeded her — it so happened,
that some of our best Tragedies came out during the
time that she was at the head of her profession — and
what an advantage a new part is to a performer, pro-
vided it is a good one, every body knows, who knows
any thing of the Theatre — she was the original Moni-
mia, Belvidera, and Isabella—" these 3 parts" (says
Downes)" gained her the name of famous Mrs. Barry"
—add to these Zara (M. B.) — Ambitious Stepmother
— Arpasia — Calista— Rodogune — Athanais — Pha3dra
— and then compare them with the characters that
any other Tragic actress has performed originally,
and the advantage will be manifest.

Anthony Aston says — " She was not handsome,
" her mouth opening most on the right side, which
" she strove to draw t'other way, and at times com-
" posing her face, as if sitting to have her picture
" drawn — she was middle-sized and had darkish hair,
" light eyes, dark eyebrows, and was indifferent
" plump — she had a manner of drawling out her
" words, which became her, but not Mrs. Bradshaw
" and Mrs. Porter her successors —her face ever

HAY. 1709-1710. 463

" expressed the passions — it somewhat preceded her
« action, as her action did her words — in Tragedy,
" she was solemn and august ; in free Comedy, alert,
" easy, and genteel, pleasant in her face and action ;
" filling the stage with variety of gesture."

Gibber does not say a syllable about her acting in
Comedy ; nor does Downes enter into any particu-
lars, he only tells us in general terms, that many of
the Comedies in which she played, were very well
acted.

Gildon in his Comparison between the two Stages
in 1702 makes Sullen say of Mrs. Barry — " What
" think you of the renowned Cleopatra ?"

Critick. By that nickname, so unfortunate to poor
Antony, as the other has been to many an honest
country Gentleman, I should guess whom you mean.

Sullen. You take me right.

Critick. In her time she has been the spirit of
action every way ; nature made her for the delight
of mankind ; and till nature began to decay in her,
all the town shared her bounty.

Ramble. I do think that person the finest woman
in the world upon the stage, and the ugliest woman
off on't.

Sullen. Age and intemperance are the fatal ene-
mies of beauty ; she's guilty of both ; she has been
a rioter in her time ; but the edge of her appetite is
long ago taken off; she still charms (as you say)
upon the stage ; and even off I don't think so rudely
of her as you do : 'tis true, time has turned up some
of her furrows, but not to such a degree.

Ramble. To the degree of loathsomeness upon my

464 HAY. 1709-1710.

faith ; but on the stage, I am willing to let her still
pass for an heroine.

Critick. And still off on't too, if all be true that
is said of her.

Tom Brown says of Mrs. Barry — " Should you lie
" with her all night, she would not know you next
" morning, unless you had another £5 at her service."

Mrs. Barry's characters.

D. G. about 1673. Queen of Hungary in Mus-
tapha.

1675. *Draxilla in Alcibiades.

1676. *Mrs. Loveit in Man of the Mode— "El-
vira in Wrangling Lovers — *Theodosia in Tom Es-
sence— *Emilia in Fond Husband — *Constantia in
Madam Fickle.

1677. *Phoenice in Titus and Berenice — *Lucia in
Cheats of Scapin — *Clorinia in French Conjuror—
*Euplaste in Constant Nymph — *Hellena in Rover
1st part — *Leonora in Abdelazer.

1678. *Mrs. Good vile in Friendship in Fashion—
* Clara in Counterfeits — *Polyxena in Destruction of
Troy — * Sophia in Squire Oldsapp.

1679. * Cornelia in Feigned Courtezans.

1680. *Lavinia in Caius Marius — *Monimia —
*Athenais — *Corina in Match in Newgate — "Olivia
in Virtuous Wife — *Camilla in Loving Enemies —
*Woman Captain.

1681. * Lady Dunce in Soldier's Fortune — *Tera-
minta in L. J. Brutus — *La Nuche in Rover 2d part
— *Cordelia in Tate's Lear — *Leonora in Spanish

HAY. 1709-1710. 465

Fryar — *Lady Galliard in City Heiress— *Princess of
Cleve in ditto.

1682. *Belvidera— *Anna Bullen in Virtue Be-
rayed — * Arabella in London Cuckolds.

T. R. 1632. *Marmoutier in Duke of Guise.

1683. Margarita in Rule a Wife— Panthea in King
and no King.

1684-. *Lucina in Valentinian altered — *Portia in
Atheist— *Fausta in Constantine — Mrs. Fitchew in
Northern Lass.

1685. *Leonora in Sir Courtly Nice.

1686. *Laura in Banditti.

1687. *Lady Fulbank in Lucky Chance.

1688. *Barzana in Darius — *Oryala in Injured
Lovers.

1689- No new character.

1690. * Marguerite in Massacre of Paris — *A1-
meyda in Don Sebastian — *Alcmena in Amphitryon.

1691. * Queen Mother in Edward 3d— *Dorinda
in Greenwich Park — *Eugenia in Scowrers.

1692. * Cassandra in Cleomenes — *Fulvia in Re-
gulus — *Lady Subtle in Marriage-hater — *Mrs.
Friendall in Wives' Excuse — * Queen Eleanor in
Henry 2d — *Lady Malepert in Maid's last Prayer.

1693. *Lsetitia in Old Batchelor— *Sophronia in
Richmond Heiress — *Lady Touchwood— ^Victoria
in Love Triumphant.

1694. * Isabella in Fatal Marriage — cast for *Lady
Jane Gray in Innocent Usurper.

L. I. F. 1695. Mrs. Frail.

1696. * Panthea in Cyrus the Great— * Lady Sin-
gle in Love's a Jest — *Lady Testy in Country
Wake — *Lady Dorimen in She Gallants — *Ura-

VOL. II. H H

466 HAY. 1709-1710.

nia in She Ventures and He Wins — *Homais in
Royal Mischief.

1697. *Lady Grumble in City Lady— *Elvira in
Unnatural Brother — *Boadicea in ditto — *Lady
Brute — *Zara in M. B. — *Bellinda in Innocent
Mistress — *Vandosme in Intrigues at Versailles.

1698. *Laura in Beauty in Distress — *Lamira in
Fatal Friendship — *Chruseis in Heroick Love—
* Queen Catharine in ditto — * Olivia in Deceiver
Deceived.

1699. *Tamira in Xerxes — *Armida in Rinaldo
and Armida — * Julia in Princess of Parma — *Adel-
laida in False Friend — *Semanthe in Friendship
Improved — * Queen of the Scythians in Iphigenia.

1700. *Favonia in Fate of Capua— * Mrs. Mar-
wood — *Ambitious Stepmother.

1701. *Leamira in Double Distress — *Lady Love-
toy in Lady's Visiting Day — * Queen of Bayonne in
Love's Victim — *Zarriana in Czar of Muscovy.

1702. *Arpasia in Tamerlane — *Altemira in ditto
— *Lucasia in Stolen Heiress.

1703. *Calista — *Issamenea in Governour of
Cyprus — * Eugenia in As you find it — *Clorinda in
Fickle Shepherdess.

1703-1704. *Sakia in Liberty Asserted — Cleopa-
tra in All for Love — Mrs. Page.

L. I. F. and Hay. 1704-1705. *Mrs. Clever in Biter
— * Lady Wealthy in Gamester — *Zelmanein ditto.

Hay. 1705-1706. *Clarissain Confederacy — *Pe-
nelope in Ulysses — *Constantia in Revolution of
Sweden — *Arcabori in British Enchanters.

1706-1707. Evadne in Maid's Tragedy— Lady
Easy — Queen Elizabeth in Unhappy Favourite—

GREENWICH. 1710. 467

Ruth in Committee — Lady Cockwood in She wou'd
if she cou'd — * Almyna in ditto — Roxana — Calphur-
nia — Angellica in Rover — Almeria in Indian Empe-
rour — Camilla in Adventures of five Hours — Queen
Katharine in Henry 8th — * Phaedra in ditto.

1707-1708. *Rodogune in Royal Convert— *Lady
Wronglove in Lady's last Stake — Lady Macbeth.

D. L. 1708. *Valide in Irene — Nourmahal in
Aurenge-Zebe — Scornful Lady.

1708-1709. She acted for Betterton's bt., but was
not engaged.

Hay. 1709-1710. No new character.

* Originally.

In the Churchyard of Acton is the following me-
morial for Mrs. Barry, viz.

Near this Place

Lies the Body of Elizabeth Barry,
Of the Parish of St. Mary le Savoy,
Who departed this life the 7th of Novem. 1713.
Aged 55 years. (OurlL)

GREENWICH. 1710.

Pinkethman had a theatre for the Summer — he
opened on June 15.

HH 2

468 GREENWICH. 1710.

July 1. Hamlet = Powell : Ghost = Elrington : Po-
lonius = Spiller : Horatio = Bullock Junior : Grave-
digger = Leigh : Marcel! us = Shepherd : Rosen crantz
= Ryan : Fop =. NoiTis ; Queen = Mrs. Powell : Ophe-
lia =. Mrs. Spiller.

6. Rival Queens. Alexander = Powell : Clytus =
Elrington : Hephesti on = Bullock Junior.

12. Fair Quaker. Mizen (by desire) = Powell.
15. Macbeth = Powell : 1 st Witch = Pinkethrnan.
Aug. 3. CEdipus = Powell : Adrastus=Ryan.

7. Busy Body. Marplot = Spiller.

12. Powell's bt. Royal Merchant. Merchant =
Powell : Higgen = Spiller : Prigg = Norris.

17. For the entertainment of Esquire Bickerstaff,
who will honour Pinkethman with his presence. Fond
Husband. Bubble m Norris.

24. For bt. of Jubilee Dicky, alias Norris. Sea
Voyage. Captain = Elrington : Lieutenant = Powell.

26. Pinkethman's bt. The Rover. Willmore=:
Powell : Ned Blunt by the famous true Comedian
Cave Underbill to oblige Pinkethman's friends ; with
an Epilogue by Pinkethman on an Ass — this was
Underbill's last appearance.

28. Elrington's bt. Caius Marius. Old Marius =
Powell : Young Marius = Elrington : Nurse = Mr.
Norris : — with a mimic Prologue by Elrington.

Sep. 7. Sir Courtly Nice = Powell : Sir Timothy
Callico = Pinkethman : — with the famous scene be-
tween Brutus and Cassius by Powell and Thurmond.

9. Powell's bt. Relapse — with a new Prologue
by Powell, and a new Epilogue by Powell and Mrs.
Spiller, on the hardships suffered by Lawyers and
Players in the long vacation.

HAY. ANDD. L. 1710-1711. 469

11. Spiller'sbt. Confederacy. Dick = Powell.

23. For benefit of Pinkethman and Powell. Maid
in the Mill. Otrarite = Powell : Bustopha = Spiller.

30. Tamerlane = Shepherd : Bajazet = Elringtori :
Moneses = Powell : Dervise = Norris. (Bills from
B.M.)

HAY. AND D. L. 1710-1711.

Collier, at the close of the season 1709-1710, had
reaped so little advantage from his theatrical con-
cerns, that he exerted his court interest to support
him in another scheme, which was, that in considera-
tion of his giving up D. L. with the clothes scenes
and actors to Swiney and his partners, he himself
might be put into equal possession of the Hay. with
the singers &c. and be made sole director of the
Opera — accordingly by permission of the Lord Cham-
berlain a treaty was entered into, and in a few days

ratified by all parties on the foresaid conditions

This was that happy crisis of Theatrical liberty, which
the labouring actors had long sighed for, and which,
for above 20 years following, was so memorably for-
tunate to them — there were however two hard articles
in this treaty, which, though it might be policy in
the actors to comply with them, were yet very un-
fair and despotic — the 1st was, that £200 a year
should be payed to Collier, while master of the

470 HAY. AND D. L. 1710-1711.

Opera, by the comedians at D. L. as the Licence
for acting plays was supposed to be more profitable
than that for acting Operas — the 2d was, that when-
ever an Opera should be acted on a Wednesday,
D. L. was to be shut — this last article, however par-
tial in its intention, was in its effect of great advan-
tage to Swiney, Gibber, Wilks and Dogget, as the
Thursday's audience was visibly the better for there
having been no play the day before — but it fell hard
on the hired actors, who were only paid in proportion
to the number of acting days ; and a Nobleman of
the first rank, then in a high post, and not out of
court favour, said openly behind the scenes — " it was
" shameful to take part of the actors' bread from
" them to support the silly diversion of people of
" quality." (Gibber.)

HAYMARKET.

There seem to have been no plays in the early part
of the season.

Oct. 4. Recruiting Officer 6. Love for Love.

7. Chances — there are no more bills in the Daily
Courant till Nov. 4.

Nov. 4. Beaux Strategem.

6. Love makes a Man. Angelina = Mrs. Bradshaw.

7. Spanish Fryar. Dominic =Estcourt : Gomez
= Norris : Torrismond = Booth : Lorenzo = Wilks:
Bertran = Mills : Queen — Mrs. Porter: Elvira =
Mrs. Bradshaw.

8. Committee 10. Pilgrim.

11. Hamlet = Wilks : Ghost is omitted: King =

HAY. AND D. L. 1710-1711. 471

Keen : Laertes = Booth : Horatio = Mills : Fop —
Bowen : Gravedigger — Johnson : Queen — Mrs.
Porter: Ophelia = Mrs. San tlow.

14. Fatal Marriage. Biron = Booth: Isabella =
Mrs. Rogers :— rest as Hay. Oct. 8 1709-

15. Northern Lass. Sir Philip Luckless = Wilks :
Sir Paul Squelch = Johnson : Tridewell = Mills :
Widgine = Bullock : Bullfinch is omitted : Anvil =
Bowen : Howdee = Cihber : Nonsense = Norris :
Northern Lass = Mrs. Bignall : Widow = Mrs.
Knight: Holdup =Mrs. Willis.

16. Sir Courtly Nice. Leonora — Mrs. Porter.

17. Royal Merchant. Florez - Wilks : Higgen
and Clause are omitted: Prigg = Norris : Vandunke
= Bullock: Wolfort = Booth : Hubert = Mills : Ber-
tha = Mrs. Porter : Jaculin z= Mrs. Santlow.

18. Macbeth. Macbeth = Mills : Macduff=W7ilks:
King^Boman: Lenox = Thurmond: Hecate = John-
son : Witches =. Dogget, Pinkethman, and Bullock :
Lady Macbeth = Mrs. Knight : Lady Macduff^Mrs.
Porter: — last play at Hay.

D. L.

Nov. 20. Unhappy Favourite. Essex n Wilks :
Southampton = M ills : Burleigh =Keen : Queen =
Mrs. Knight: Rutland = Mrs. Rogers: Nottingham
=rMrs. Porter.

21. Rover. Ned Blunt = Johnson : Hellena = Mrs.
Bradshaw : Angellica=Mrs. Knight.

23. Confederacy. Brass = Pack: Dick = Booth :
Moneytrap = Dogget: Gripe — Bowen: Clarissa is

472 HAY. AND D. L. 1710-1711.

omitted : Flipparita = Mrs. Bradshaw : Corinna =
Mrs. Santlow : Mrs. Amlet=: Mrs. Willis: Araminta
zzMrs. Porter.

25. Volpone. Volpone = Powell : Mosca = Wilks :
Corbaccio = Johnson : Corvino = Mills : Voltore —
Keen : Sir Politick Would-be = Norris : Lady Would-
be = Mrs. Knight ; Celia — Mrs. Rogers.

27. Old Batchelor. Heartvvell = Keen : Bellmour
= Wilks : Fondlewife = Dogget : Sir Joseph Wittol
= Bullock : Bluff = Johnson : Vainlove and Setter
are omitted: Sharper — Mills: Lsetitia^: Mrs. Knight:
Belinda = Mrs. Rogers : Araminta — Mrs. Bradshaw:
Silvia = Mrs. Bignall : Lucy — Mrs. Saunders.

28. Silent Woman = Mrs. Knight.

30. King Lear. Lear = Po well : Edgar = Wilks:
Edmund = Mills : Kent = Keen : Gloster = Gibber :
Gentleman Usher = Pinkethman : Cordelia = Mrs.
Rogers.

Dec. 1. Epsom Wells. Kick=Cibber: Cuff=
Pack: Mrs. Woodly = Mrs Knight: Carolina = Mrs.
Bradshaw :— see Hay. Oct. 17 1709.

2. Henry 4th. Falstaff = Estcourt: Hotspur =
Booth : King = Keen : Prince of Wales = Wilks :
Francis = Norris : Carriers = Johnson and Bullock :
Lady Hotspur = Mrs. Santlow : — rest omitted.

4. Sir Martin Marall = Bullock : Warner = Powell :
Old Moody = Johnson : Mellicent = Mrs. Porter :
Rose = Mrs. Saunders : Mrs. Christian = Miss Willis:
—rest omitted.

5. ^Esop. ^Esop= Gibber: Learchus = Dogget:
Sir Polidorus Hogstye = Pinkethman : Beau = Pack :
Fruitful = Norris : Oronces — Bullock Junior : Doris

HAY. AND D. L. 1710-1711.

= Mrs. Saunders : Euphronia = Mrs. Santlow : Hor-
tensia — Mrs. Porter.

7. Fair Quaker. Belinda = Mrs. Porter.

9. Oronooko = Booth : Aboan = Powell : Gover-
nour = Thurmond : Capt. Driver = Johnson : Daniel
= Pinkethman : Imoinda = Mrs. Rogers : Widow =
Mrs. Knight : Charlotte Welldon = Mrs. Bradshaw :
Lucy Welldon = Mrs. Bignall.

1 1 . Amphitryon. Jupiter — Wilks : Sosia = Cross :
Mercury — Estcourt : Gripus — Norris : Amphitryon
= Mills : Alcmena = Mrs. Knight : Phaedra = Mrs.
Bignall : Bromia^Mrs. Powell.

12. Busy Body. Charles = Mills : Miranda = Mrs.
Santlow: Isabinda = Mrs. Porter : — rest as originally.

14. Funeral. Puzzle = Estcourt : Lady Brumpton
= Mrs. Rogers : Lady Sharlot = Mrs. Porter : Lady
Harriet = Mrs. Bradshaw : — rest as usual.

15. Relapse. Berinthia = Mrs. Knight : Miss Hoy-
den = Mrs. Bignall : — Young Fashion is still omitted.

16. Maid's Tragedy. Amintor = Wilks : Melan-
tius = Mills : Calianax = Pinkethman : Evadne = Mrs.
Knight: Aspatia = Mrs. Porter.

18. Rehearsal. Fisherm an = Johnson: Hey ho =
Norris : — rest as Nov. 18 1709.

21. She wou'd if she cou'd. Lady Cockwood =
Mrs. Knight : Gatty = Mrs. Santlow.

22. Tunbridge Walks. Belindas Mrs. Rogers.

29. Recruiting Officer. Sylvia = Mrs. Bignall.

30. Never acted, Marplot, or the 2d part of the
Busy Body. Marplot = Pack : Don Perriera = Dog-
get : Col. Ravelin = Wilks : Charles Gripe = Mills :
Don Lopez (brother to Donna Perriera) = Bowen :
Lorenzo (servant to Don Perriera) = Norris :

474 HAY. AND D. L. 1710-1711.

Donna Perriera (in love with Charles) = Mrs. Sant-
low : Mademoiselle Joneton = Mrs. Bradshaw :
Marton (her sister, in love with Col. Ravelin) = Mrs.
Cox : Isabinda = Mrs. Porter : Margaritta (woman to
Donna Perriera) = Mrs. Willis : — acted 6 times —
Charles had come to Lisbon to settle the affairs of
Sir Jealous Traffick, who was dead — he had brought
Marplot with him — Isabinda follows him in the dis-
guise of a boy — Marplot suspects Col. Ravelin of
having an intrigue on his hands — he follows him to
his lodgings under pretence of giving him back his
snuff box — the Colonel turns him out of the room,
and makes his own exit through a trap door which
he has in the chimney — Marplot returns — on not
finding the Colonel, he fancies that he is gone up the
chimney— Marplotgoes up the chimney, and descends
by the chimney of the next house into a room where
Charles arid Donna Perriera are together — Charles
makes his escape — Marplot is taken by Don Perriera,
and confined by him — Margaritta lets him out — Don
Perriera pretends to go from home for three days—
his wife entertains Charles at supper — Don Perriera
is determined to sacrifice them both to his vengeance
—he sends for two Priests to confess them — Isabinda
bribes the Priests — one of them goes with her, and
she is herself dressed as the other — she gives her
dress to Charles who escapes — Don Perriera finds no
person with his wife, but Isabinda, who is then dressed
as a woman — he asks his wife's forgiveness — Charles
makes his acknowledgements to Isabinda — Made-
moiselle Joneton is an affected French lady — the
Colonel is in love with her — he likewise pays his ad-
dresses to Marton — at the conclusion, Marton goes

HAY. AND D. L. 1710-1711.

into a convent — the Colonel marries Joneton — this
C. was written by Mrs. Centlivre — it is on the whole
a good play, but very inferiour to the first part.

Jan. 8. Mrs. Sullen = Mrs. Oldfield : — she had not
acted for a considerable time.

9. Amorous Widow 11. Tender Husband.

12. Villain. Francibel = Miss Willis.

15. Love's last Shift. Narcissa = Mrs. Oldfield.

16. Venice Preserved. Jaffier = Wilks : Pierre =
Mills : Renault = Gibber : Priuli = Boman : Antonio
=: Pinkethman : Belvidera = Mrs. Rogers.

18. Othello. Othello = Booth : lago = Gibber :
Cassio = Powell : Brabantio = Keen : Roderigo =
Bowen : Desdemona = Mrs. Bradshaw : ^Emilia =
Mrs. Saunders.

19. Jovial Crew. Meriel — Mrs. Santlow.

20. Never acted, Generous Husband, or the Coffee-
house Politician. Veram ant = Booth : Flyblow (his
servant — a pimp) = Norris: Postscript (a coffee-
house politician) = Dogget : Dypthong (a critic) =
Johnson : Carizales (a rich old man) = Keen : Tortfil
= Bullock : Secondine = Mills : Fictitia, disguised as
Philadel = Mrs. Bradshaw : Viola her maid, disguised
as Valentine = Mrs. Bicknell : Florida = Mrs. Porter :
Lucia = Mrs. Santlow: — to Doris there is no per-
former's name — Mrs. Saunders probably acted the
part — Tortfil is father to Fictitia, Florida and Lucia
- — he had married Lucia to Carizales, or rather sold
her for a sum of money — Fictitia had eloped from
him, being inlove with Veramant — Florida is a female
philosopher — Carizales is jealous of Lucia, and con-
fines her to the house — in the 1st act, Flyblow runs
in with two letters— he thrusts one privately into

476 HAY. AND D. L. 1710-1711.

Lucia's bosom, and gives the other into her hand—
Carizales seizes the latter, which is merely a blind,
but has no suspicion of the other, which comes from
Veramant — Veramant is in love with Fictitia, but
not knowing where she is, and (as he says) for the
sake of keeping himself in exercise, he had formed
a design on Lucia, whom he had not seen — Doris is
an old woman and servant to Carizales — she is bribed
by Veramant to betray her mistress — she persuades
Lucia to run away from her husband — Fictitia, as
Philadel, goes to the house of Carizales at the time
when Veramant is expected — Carizales sees Fictitia
and Lucia together — he becomes sensible of his folly
in marrying a young wife, and determines to punish
himself rather than her — Lucia is overcome by his
generosity — Veramant marries Fictitia — Florida had
intended to marry Dypthong — Tortfil receives two
letters, which make him suppose that his fortune is
ruined — Dypthong declines the match, and Florida
gives her hand to Secondine — this C. was acted 3
times — it was written by Charles Johnson — on the
whole it is a tolerable play — Flyblow and Doris are
very good characters — Postscript, Dypthong and Flo-
rida say a good deal, but are not very entertaining —
that part of the plot which concerns Carizales, is
founded on a novel by Cervantes, called the Jealous
Estremadurari.

25. Scornful Lady = Mrs. Oldfield— 26. Constant
Couple.

27- Indian Emperour. Montezuma = Keen : Cortez
= Wilks : Guyomar= Booth : Odmar = Mills : Al-
meria = Mrs. Knight : Cydaria = Mrs. Santlow :
Alibech = Mrs. Porter.

HAY. AND D. L. 1710-1711.

29. Rehearsal. Thunder = Johnson : Lightning
— Miss Younger.

Feb. 1. Rule a Wife. Leon = Powell : Perez -
Wilks: Cacafogo = Bullock: Estifania = Mrs. Old-
field: Margarita = Mrs. Knight : Old Woman = Mr.
Norris.

2. Confederacy. Clarissa =: Mrs. Knight.

3. Never acted there, Jew of Venice. Shylock —
Dogget: Bassanio = Booth: Antonio — Mills : Gra-
tiano = Bullock Junior : Lorenzo = Ryan : Portia =
Mrs. Bradshaw : Nerissa = Mrs. Bignall.

5. Recruiting Officer. Rose = Mrs. Saunders :
Pearmain =: Norris.

9. Funeral. Lady Harriet = Mrs. Oldfield.

10. Alchemist. Dol Common = Mrs. Saunders.

12. Love for Love. Scandal = Booth : Miss Prue
-Mrs. Santlow.

13. Northern Lass. Bullfinch = Estcourt.

17. Timon of Athens. Tirnon = Powell : Ape-
man tus = Keen : Alcibiades = Booth : Senators =
Johnson, Norris, Bullock and Leigh : Poet =. Pin-
kethman : Evandra = Mrs. Knight : Melissa = Mrs.
Bradshaw.

19. Careless Husband. Lady Easy = Mrs. Knight.

22. Man of the Mode. Harriet = Mrs. Santlow.

24. Aurenge-Zebe = Powell : Emperour is omitted :
Nourmahal = Mrs. Knight : Indamora = Mrs. Brad-
shaw.

26. Spanish Fryar. Queens Mrs. Knight.

27. Orphan. Castalio = Powell : Chamont = Keen :
Polydore = Booth : Acasto is omitted : Chaplain =
Pack : Page = Miss Younger : Monimia = Mrs.
Bradshaw.

478 HAY. AND D. L. 1710-1711.

March — . Wit without money. Shorthose =
Norris.

8. Bartholomew Fair. Edgeworth = Bullock Junior.

10. Not acted 6 years, Albion Queens. Norfolk =
Wilks : Cecil = Elrington : Morton = Mills : Davison
= Booth : Queen Mary = Mrs. Oldfield : Queen
Elizabeth =. Mrs. Knight : Dowglass = Miss Sherburn.

17- Caius Marius. Old Marius = Powell : Young
Marius = Booth : Sulpitius is omitted : Metullus =
Boman : Granius = Ryan : Sylla = Bullock Junior :
Citizens = Pinkethman, Norris and Leigh : Lavinia
= Mrs. Bradshaw : Nurse = Mr. Bullock.

20. Abra-Mule. Mahomet = Keen : Pyrrhus =
Powell : Solyman = Booth : Abra-Mule = Mrs.
Bradshaw.

24. Hamlet. Ghost = Boman: Queen = Mrs.Knight.

April 2. Beaux Strategem. Sullen = Keen.

7. Never acted, Injured Love, or the Lady's Satis-
faction. Young Scrape = Dogget : Snuffle (his tutor
— a pretender to sanctity) = Johnson : Rashlove =
Wilks : Thrivemore = Mills : Capt. Cruize — Cibber:
Sir Bookish Outside = Bullock : Sir Saveall Scrape
= Norris : Tipple (servant to Thrivemore) = Pin-
kethman : Surefriend = Elrington : Fidelia, disguised
as Ogle = Mrs. Oldfield : Lucie, disguised as Frolick
= Mrs. Bicknell : Lady Outside (sister to Fidelia) =
Mrs. Knight : Widow Richlove = Mrs. Bradshaw :
Charmilla (daughter to Rashlove and Fidelia) =Mrs;
Santlow : Wrinkle = Mrs. Willis : Pomade =. Mrs.
Saunders : — acted 6 times — Rashlove, on his return
from the Indies, had in a fit of jealousy left his wife
Fidelia, and her companion Lucie, on a desert island
-Thrivemore had been shipwrecked on the same

HAY. AND D. L. 1710-1711. 4/79

island — Capt. Cruize, on seeing their signals of dis-
tress, had gone to their relief, and had brought them
safe to England — the women, before they met with
Thrivemore, had put themselves into men's clothes —
Thrivemore had been in love with Amabella, and had
gone out to the Indies to make his fortune — during
his absence Amabella had married an old man, and
had become the Widow Richlove — here the play
begins^ — in the course of it, Fidelia convinces Rash-
love of her innocence — he is very sorry for the injury
which he had done to her — she discovers herself and
forgives him — Thrivemore, in the 4th act, sees Ogle
kiss the Widow — he challenges Ogle — Ogle promises
to give him satisfaction — Ogle, as Fidelia, in a soli-
loquy observes, that as the men call her to an account
for their offended honour, and the women for their
honour not offended, she can only give each sex
satisfaction by resuming her petticoats— Lady Out-
side had made love to her supposing her to be a man
— Sir Saveall intends his son to marry Charmilla—
Young Scrape gets Thrivemore to write a letter of
introduction to Sir Bookish as from his father — the
contents of the letter are such, that Sir Bookish
turns Scrape out of doors — the scene is a good one,
but must not be particularly described — in the 5th
act Scrape enters disguised as a woman — Snuffle
picks him up as such — Sir Saveall promotes his son's
marriage with Lucie, whom from her dress he sup-
poses to be a man — he does riot know his son—
Thrivemore and Capt. Cruize marry the Widow and
Charmilla — this is a good C. by an unknown author.
April 19. Mrs. Porter acted Amanda for her bt.

480 HAY. AND D. L. 1710-1711.

£1. Valentinian. Licinius = Bullock : Lysias =
Mrs. Porter.

30. For bt. of Norris. Committee. Ruth = Mrs.
Oldfield : Arbella = Mrs. Porter.

May 1. Mrs. Bradshaw's bt. Fatal Marriage.
Isabella = Mrs. Bradshaw.

3. Keen's bt. Hamlet. Ghost = Booth : Laertes
= Powell.

4. Pack's bt. Busy Body. Miranda=Mrs.Bicknell.

5. Old Batchelor. Setter = Norris : Laetitia =
Mrs. Oldfield.

8. Bullock's bt. Henry 4th. Vernon = Bullock
Junior.

15. For bt. of Mrs. Saunders and Mrs. Cox. For-
tune Hunters.

18. Husband's bt. CEdipus = Powell : Adrastus^
Booth: Phorbas = Husband : Jocasta = Mrs. Knight :
Eurydice = Mrs. Bradshaw.

21. Thurmond's bt. Don John. Don John =
Mills : Antonio = Thurmond : Jacomo = Johnson :
Leonora = Mrs. Knight : Maria = Mrs. Porter.

22. Not acted 3 years, Squire of Alsatia. Sir Wil-
liam Belfond = Pinkethman : Squire = Bullock : Bel-
fond Junior = Wilks : Sir Edward Belfond = Keen :
Mrs. Termagant = Mrs. Knight : Teresia = Mrs. Old-
field: Isabella = Mrs. Rogers : Ruth = Mrs. Powell.

24. For bt. of Cory and Mrs. Willis. Marplot.

26. Not acted 3 years, Sir Courtly Nice.

29. For bt. of Elrington and Mrs. Mills. Gamester.
Young Valere = Mills : Hector = Pack : Sir Thomas
Valere = Bullock : Love well = Elrington : Angelica =
Mrs. Bradshaw : Lady Wealthy = Mrs. Porter.

HAY. AND D. L. 1710-1711. 481

31. For bt. of Commodore Flip, alias Leigh. Fair
Quaker.

June 4. For the Widow of the late famous Trage-
dian Mr. Betterton — Man of the Mode.

The Tatler after giving an account of Bettertori's
Funeral adds — " his wife, after a cohabitation of 40
" years in the strictest amity, has long pined with a
" sense of his decay, as well in his person as his
" little fortune ; and in proportion to that, she her-
" self decayed both in her health and reason: her
" husband's death, added to her age and infirmities,
" would certainly have determined her life, but that
" the greatness of her distress has been her relief
" by a present deprivation of her senses."

7. Royal Merchant. Higgen =z Estcourt.

12. The last play this season.

Summer Company.

June 26. Not acted 6 years, Governour of Barce-
lona, or the Spanish Wives. Hidewell = Pack : Friar
= Bullock: Go vernour = Johnson: Camill us = Mills :
Marquess of Moncada=iNorris : Col. Peregrine =
Booth : Titup (the Governour's wife) = Mrs. Brad-
shaw : Eleanora = Mrs. Knight.

29. Successful Strangers. Guzman = Bullock Jun.

July 3. Not acted 4 years, Soldier's Fortune. Beau-
guard = Powell : Sir Davy Dunce = Johnson : Sir
Jolly Jumble = Bullock : Courtine = Mills : Four-
bin = Norris : Lady Dunce = Mrs. Knight : Sylvia
— Mrs. Rogers.

VOL. II. I I

482 HAY. AND D. L. 1710-1711.

6. Oronooko. Daniel = Pack.

10. Sauny the Scot. Petruchio = Powell.

13. Gamester. Lovewell — Booth : Dorante =
Norris.

17. Sophonisba. Massinissa = Booth.

27. Not acted 20 years, Volunteers. Sir Nicholas
Dainty = Pack: Sir Timothy Kastril = Bullock : Ge-
neral Blunt = Cross: Col. Hack well Sen. = Norris:
CoL Hackwell Jun. = Booth : Welford = Mills : Nick-
urn = Bullock Jun. : Eugenia = Mrs. Bradshaw : Clara
= Mrs. Porter: Teresia = Mrs. Saunders: Mrs. Hack-
well = Mrs. Powell : Winifred = Miss Willis.

Aug. 3. For the Principal Actors. Lancashire
Witches. Mills — Booth — Johnson — Bullock — Bul-
lock Jun. — Norris — Pack — Elrington — Mrs. Powell
-Mrs. Bradshaw — and Mrs. Cox — Witches by Birk-
head — Ryan — Mrs. Mills and Mrs. Willis.

17. Never acted, City Ramble, or a Playhouse
Wedding. Common-Council-Man = Johnson : Ri-
naldo = Booth : Coun t = Norris : Carlo = Mills : Don
Garcia = Bullock : Chevalier = Bullock Jun.: Vale-
rio = Elrington : Young Gentleman = Ryan : Viola
= Mrs. Bradshaw : Lucia = Mrs. Rogers : Jenny —
Miss Sherburne: Common-council-man's Wife =
Mrs. Knight: Old Woman = Mrs. Willis -.—Settle
in the preface says, that at the recommendation of
Booth he set about forming a Comedy from the
Knight of the Burning Pestle, and the Coxcomb of
Beaumont and Fletcher — Settle has in general writ-
ten the dialogue afresh — he has very properly marked
what he has taken verbatim — viz. 2 speeches from
the Knight of the Burning Pestle, arid about 5 short
scenes from the Coxcomb — the characters of Rinaldo

HAY. ANDD. L. 1710-1711 483

(Ricardo) Valerio, Viola, the Ruffian and his Trull,
are from the Coxcomb — to this part of the plot, Set-
tle has added the Chevalier, who falls in love with
Viola, and who, on finding her affections engaged to
Rinaldo, determines to retire to a religious cell—
the characters of Don Garcia, Carlo and Lucia are
in a great degree the same as those of the Merchant,
Jasper and Luce in the Knight of the Burning Pes-
tle— instead of Master Humphrey, Settle has substi-
tuted a Count, who is designed by Don Garcia to
marry Lucia — to this character Settle has made a
considerable addition — a boy is dressed up in girl's
clothes — the Count gets drunk, and goes home with
the supposed girl to her lodgings — the old woman,
who keeps the house, sees them in bed together, and
has them carried before Don Garcia as a magistrate
—Settle's serious additions are bad — the comic ones
are good — the principal thing which Settle has bor-
rowed from the Knight of the Burning Pestle, is the
idea of making the Common-council-man and his
wife sit on the stage, and criticize the play — about
25 lines are spoken by way of Prologue — in the mid-
dle Gallery side-box are seated the Common-council-
man, his wife, and Jenny their daughter, as specta-
tors, the Common-council-man calls to the speaker
of the Prologue and tells him he is come to that
nursery of debauchery, the lewd playhouse, with a
resolution to make a reformation — he comes down
with his wife to sit on the stage, but they will not
suffer their daughter to come so near the players—
an actress takes Jenny's scarf and mask and sits in
her place in the Gallery side-box, while she acts Phil-
lis — her real lover acts Damon —they are married by

ii 2

484 HAY. AND D. L. 1710-1711.

the interference and consent of her father, who mis-
taking them for two of the performers says " I am
" so pleased to see a couple of honest stage-players
" — Oddfish, man I thought you had all lived in
" common."

Settle's reputation, which had once given so much
uneasiness to Dryden, was now sunk so low, that in
order to give his play a better chance for success he had
determined to conceal his name, only the secret hap-
pened to take air ; which induced him to bring out
his piece in the long vacation, as he was hopeless of
stemming the common torrent against him, when the
town was full.

Aug. 24. Bartholemew Fair. Littlewit = Norris :
Rabby Busy = Pack : Win wife = Elrington : Edg-
worth = Bullock Jun. : Ursula = Mr. Cross : Win
Littlewit = Mrs. Saunders : Purecraft = Mrs. Powell :
—see Hay. June 1 1710.

28. For the Author. City Ramble. 3d time.

31. Never acted there, Love's a Jest. Sam Gay-
mood = Pack : Railmore = Mills : Sir Topewel Clow-
nish — John son : Squire Illbred = Bullock : Lord
Lovewel = Elrington : Airy — Boman : Plot — Norris :
Frankly — Bullock Jun. : Sir Thomas Gaymood =
Cross : Christina = Miss Willis : Lady Single = Mrs.
Porter : Francelia = Mrs. Bradshaw : Kitty = Miss

Sherburn : Doll Hoyden — Mrs. Willis : last play.

(Bills from B.M.)

D. L. 1711-1712. 485

D. L. 1711-1712.

Collier, at the close of the last season, finding that
the direction of the Opera did not turn out so good
a post as he expected, and observing the prosperity
of the Theatre, began to meditate an exchange of
situation with Swiney, who had visibly very fair
pretensions to that he was in, by his being first
chosen by the Court to rescue the stage from the
disorders it had suffered under its former Managers
— yet Collier knew that sort of merit could stand in
no competition with his in being a Member of Par-
liament— he had therefore recourse to his interest at
Court (where mere will and pleasure was the only
law that disposed of Theatrical rights) to oblige Swi-
ney to let him be off from his bad bargain for a bet-
ter— to this it may be imagined that Swiney demur-
red, and, as he had reason, strongly remonstrated
against it — but as Collier had listed his conscience
under the command of interest, he kept it to strict
duty and was immoveable ; insomuch that Vanburgh,
who was a friend to Swiney, and, who by his inti-
macy with the people in power, better knew the mo-
tive of their actions, advised Swiney rather to accept
of the change, than by a non-compliance to hazard
his being excluded from any post or concern in either
of the Theatres — in short, it was not long before
Collier had procured a new Licence for himself,
Wilks, Dogget and Cibber, exclusive of Swiney, who
by this new regulation was reduced to his Hobson's
choice of the Opera — Collier likewise drove his part-
ners to the last inch of a hard bargain (the natural

486 D. L. 1711-1712.

consequence of all treaties between power and neces-
sity) and forced them to make his share a Sinecure
of £700 a year. (Cibber.)

From the beginning of the season lyil-l?!^ Cib-
ber dates the prosperity of the stage — by the inde-
fatigable industry and good management of himself
and his brother-managers the audiences exceeded all
that had been seen in 30 years before — as the Queen's
License was only a grant during pleasure, they felt
themselves obliged to a conduct that might not un-
deserve that favour — they were all three of them at
this time in the vigour of their capacities as actors,
and their success enabled them to pay at least
double the usual salaries to the other actors — in 20
years they never had a creditor, who had occasion to
come twice for his bill ; every Monday morning dis-
charged all demands, before they took a shilling for
their own use ; their daily receipts exceeded their
imagination, they seldom met as a board to settle
their weekly accounts without the satisfaction of
joint-heirs just in the possession of an unexpected
estate ; and they took a pleasure in reforming the
false measures, absurdities and abuses that had pre-
vailed in the Theatre— such a sudden change in
their condition, it may easily be imagined, could not
but throw out of them a new spirit in almost every
play they appeared in ; nor did they sink into that
negligence, which is apt to follow good fortune ; in-
dustry, they knew was the life of their business ; as
it not only concealed faults, but was of equal value to
greater talents without it ; of which the falling off
of Betterton's company at L. I. F. had been a proof.

Sept. 22. Amorous Widow. Jeffery - Pack.

D. L. 1711-1712. 487

£5. Recruiting Officer — as before.

27. Love for Love. Scandal = Booth : Trapland
— Norris : Miss Prue = Mrs. Santlow: Mrs. Fore-
sight = Mrs. Rogers : — rest as at Hay. Sep. 24 1709.

29. Not acted 10 years, Madam Fickle. Lord
Bellamour = Powell : Manley — Booth : Sir Arthur
Oldlove = Norris: Capt. Tilbury = Bullock : Zekiel=
Pack: Toby = Dogget : Old Jolly man = John son :
Young Jollyman= Bullock Jun.: Madam Fickle =
Mrs. Bradshaw : Constantia = Mrs. Porter : Arbella
= Miss Sherburn : Silvia = Miss Willis.

Oct. 2. Unhappy Favourite — as Nov. 20 1710.

4. Love makes a Man. Don Lewis alias Testy =
Pinkethman : Carlos = Wilks : Clodio alias Dismal
= Gibber: Don Antonio = Bullock : Don Duart —
Elrington : Sancho = Norris : Angelina = Mrs. Brad-
shaw: Louisa — Mrs. Rogers.

6. Chances. Antony = Norris : — rest as before —
with a Farce in one act called the Country Wake
(revived with alterations) — Hob=Dogget: Sir Thomas
Testy = Bullock : Friendly = Pack : Flora = Mrs.
Santlow : and all the other parts to the best advan-
tage.

This Farce was printed in 1715 with the names of
the performers to the other parts, viz. Dick = Norris :
Old Hob = Leigh : Betty — Mrs. Saunders : Hob's
Mother = Mrs. Willis : — the Country Wake was
doubtless revived for the sake of Dogget' s acting in
Hob — in order to bring it within the compass of one
act, Dogget has omitted not only all that relates to
Lady Testy &c., but also Hob's part in the 5th act
—the principal addition made is this — when Sir
Thomas Testv has read the letter he orders Hob to

488 D. L. 1711-1712.

be thrown into the Well — his father and mother pull
him out — Hob fights and gets the hat as originally—
at the close of the Farce, Dick stops Sir Thomas
Testy with a pistol — Friendly and Flora enter as
married — Sir Thomas says " I won't be reconciled "
— Dick replies — " Won't you — why then Mr. Pack
" give out the play, and Mr. Newman let down the
" curtain " — Pack is said, instead of the original song
(the Dragon of Wantley) to have sung London City's
Triumph, or my Lord Mayor's Show — this song is an
abuse on the Lord Mayor— in the Country Wake
originally Friendly does not sing a song, but one

might be introduced in 1711 notwithstanding

that this Farce was brought out while Dogget was on
the stage, and that it was printed in 1715 with Dog-
get's name in the titlepage, yet Hob or the Country
Wake has been attributed to Colley Cibber.

8. Oronooko — as before.

9. Spanish Fryar. Torrismond = Powell : Queen
= Mrs. Knight: Elvira = Mrs. Oldfield.

10. Strategem. Sullen — Keen : — rest as originally.

11. Scornful Lady. Welford = Booth: Poet =
Norris : — rest as Feb. 11 1710 at Hay.

12. Lancashire Witches — as Aug 3 1711.

13. Not acted 15 years, Philaster. Philaster —
Wilks: King — Keen: Pharamond — Cibber : Dion
= Mills : Old Captain = Bullock : Bellario = Miss
Sherburn : Arethusa = Mrs. Porter : — acted several
times.

16. Fair Quaker of Deal. Belinda is omitted—
the other principal characters as originally.

17. Rover. Willmore = Wilks : Ned Blunt = Est-
court : Hellena — Mrs. Oldfield : — the other parts to

D. L. 1711-1712. 489

the best advantage — this expression is often used —
and it is frequently said— N.B. by her Majesty's com-
mand no persons to be admitted behind the scenes.

18. Albion Queens. Giffard^Keen.

19. Busy Body. Miranda = Mrs. Bignall : Isa-
binda = Mrs. Porter : — rest as originally.

20. Macbeth — with all the decorations proper to
the play, and all the principal parts new dressed —
Macbeth = Mills : Macduff = Wilks : King = Keen :
Ban quo = Powell : Lenox — Booth : Seyton = Elring-
ton: Hecate = Johnson: Witches = Dogget, Pinketh-
man and Bullock : Lady Macbeth = Mrs. Knight :
Lady Macduff=: Mrs. Porter.

22. Volunteers. Hop = Burkhead.

23. Careless Husband. Lady Easy = Mrs. Knight.

24. Old Batchelor. Capt. Bluff = Estcourt : Vairi-
love = Booth : Setter = Norris : Lsetitia = Mrs. Old-
field : Silvia = Miss Willis :— rest as Nov. 27 1710.

26. Rehearsal. Prettyman = Powell : Volscius =
Gibber : Fisherm an = Johnson : Heigh ho= Norris :
Pallas = Bullock :— rest as Nov. 18 1709 at Hay.

27. Hamlet = Wilks : Ghost = Booth : King =
Keen : Horatio = Mills : Laertes = Powell : Fop rz
Bowen : Queen = Mrs. Knight : Ophelia = Mrs.
Santlow.

29. Libertine Destroyed. Antonio = Powell :
Lopez = Booth.

30. Timon of Athens 31. Rule a Wife.

Nov. 1. Silent Woman. Morose = Johnson: True-
wit = Wilks : Sir Amorous La Foole = Bullock : Torn
Otter = Estcourt : Sir John Daw = Gibber : Cutbeard
•=. Norris : Dauphine Eugenie = Booth : Clerimont
= Mills: Silent Woman = Mrs. Oldfield: Mrs. Otter

490 D. L. 171 1-171 2.

= Mrs. Powell : Lady Haughty — Mrs. Saunders :
Dol Mavis = Mrs. Bignall.

2. Relapse. Young Fashion is still omitted :
Coupler = Johnson : Syringe — Norris : Beririthia =
Mrs. Oldfield : Miss Hoyden — Mrs. BignaU : — rest
as D. L. Oct. 26 1708.

3. Indian Emperour. Cortez = Powell.

5. Pilgrim. Mad Taylor = Pinkethman : Alinda
= Miss Willis :— rest as at Hay. April 30 1707.

6. Henry 4th part 1st. Douglas = Mills : Kate,
Hotspur's wife = Mrs. Bradshaw : — rest as Dec. 2 1710.

7. Confederacy. Clarissa — Mrs. Knight.

8. Funeral. Lord Brumpton = Keen : Puzzle =
Estcourt : Lady Brumpton = Mrs. Rogers : Lady
Harriet = Mrs. Oldfield: Lady Sharlot=Mrs. Porter:
D'Epirigle^ Mrs. Bignall : Tattleaid is omitted — rest
as originally.

9. She wou'd if she cou'd — as before.

10. King Lear. Cordelia = Miss Sherburn.

12. Never acted, the Wife's Relief, or the Husband's
Cure. Riot =. Cibber : Volatil (in love with Arabella)
rr Wilks : Sir Tristram Cash = Dogget : Young Cash
(his nephew) — Pack : Horatio (in love with Aurelia)
= Booth : Spitfire — Norris : Slur = Elrington : Ha-
zard = Bullock Junior : Valentine (in love with Tera-
minta) = Ryan : Arabella = (ward to Riot) = Mrs.
Oldfield : Cynthia (his wife) = Mrs. Rogers : Tera-
minta (in love with Valentine) = Miss Willis : Aurelia
(in love with Horatio) = Miss Sherburn: — acted about
7 times — this C. is only an alteration of Shirley's
Gamester by Charles Johnson— of this Johnson is so
far from making any acknowledgment, that he tells
us he bestowed the labour of 6 months on his play.

D. L. 1711-1712. 491

The Gamester was printed in 1637 — it had been
acted at D. L. — by the Gamester is meant Hazard-
Wilding however is also a Gamester — Wilding had
married a widow, chiefly for her fortune — he makes
love to Penelope, who had been left to the care of
his wife — his wife promises obedience to him in all
things — he asks her to assist him in his design on
Penelope— she resents the proposal — but on farther
reflection she desires Penelope to give him some en-
couragement— in the 3d act, Penelope, according to
a plan concerted between herself and Mrs. Wilding,
promises to admit him to her chamber at night, pro-
vided he will come in the dark, and not speak — he
assents to the conditions — Wilding tells Hazard of his
good fortune — Hazard is very lucky at the gaming
table — Wilding loses all his money, but is so desirous
of continuing to play, that he offers Hazard, for £100,
to let him go to Penelope in his room — Hazard gives
him the money — in the next act, Hazard boasts how
happy he has been — Wilding is vext at his description,
and vastly disconcerted when his wife tells him that
she had supplied Penelope's place — Wilding concludes
that the best way of hushing up the matter in silence,
will be to get Hazard to marry Penelope — Hazard, who
really likes Penelope, consents — they are married —
Hazard then tells Wilding, that on the night of the
assignation he found Mrs. Wilding and Penelope
together — that they were prepared to give Wilding a
moral lecture — and that he and Penelope had had no
private meeting — there are two underplots — Barna-
cle offers Hazard, who is a man of known courage,
a hundred pieces to let his nephew gain himself a
reputation by beating him — Hazard takes the money

492 D.L. 1711-1712.

—Barnacle's nephew, at Hazard's suggestion, gives
him a box on the ear— several persons are present —
the nephew becomes so quarrelsome, that Barnacle
gives Hazard the same sum to tame him — Hazard
does this effectually — the other underplot occupies a
large portion of the play, but it is a very dull one-
Beaumont and Delamore were friends — but on a
frivolous quarrel they fight, and Delamore is sup-
posed to be killed — at the conclusion Delamore is
said to be out of danger — Beaumont and Delamore
are to marry Violante and Leonora — on the whole
this is a very good play — for Garrick's alteration of
it see D. L. Dec. 22 1757-

The Wife's Relief does not differ materially from
the Gamester — C. Johnson retains the dull underplot
— but has greatly improved it by curtailing it — Shir-
ley had slurred the conclusion of his piece — Johnson
has enlarged the last scene very happily, by making
Riot suffer severely from the jokes of the company,
before he is undeceived — Spitfire is a new character
—he is maintained by Young Cash, and pretends to
be valiant — at the conclusion of the 3d act, Slur takes
him by the middle, and hangs him by his belt against
the side of the stage — Slur takes down Young Cash's
courage instead of Volatil — in the Gamester, Sir
Richard Hurry is very desirous that Beaumont should
marry Leonora instead of Violante — Johnson has
consolidated the characters of Sir Richard and Old
Barnacle in that of Sir Tristram — in the ,5th act, Sir
Tristram is in prison on a pretended charge of trea-
son— this is a bad addition — on the whole the Wife's
Relief is a good play — Johnson has written most of

D. L. 1711-1712. 493

the dialogue afresh — his language is very inferior to
Shirley's except when he borrows from Shirley.

23. Squire of Alsatia. Lolpoop = Leigh.

24. Aurenge-Zebe. Aurenge-Zebe = Powell : Em-
perour = Keen : Morat = Booth : Nourmahal = Mrs.
Knight: Indamora = Mrs. Rogers : Melisinda = Mrs.
Porter.

26. Sir Courtly Nice. Surly = Keen :— rest as at
Hay. Oct. 6 1709.

27. Othello = Booth : lago = Gibber : Cassio =
Powell: Brabantio^Keen: Roderigo = Bowen : Des-
demoria = Mrs. Bradshaw: ^Emilia = Mrs. Saunders.

29. Man of the Mode. Harriet = Mrs. Santlow.

Dec. 3. Not acted 5 years, Virtue Betrayed, or
Anna Bullen. Piercy = Wilks : Henry 8th = Powell :
Wolsey = Gibber : Northumberland = Keen : Roch-
ford = Mills: Anna Bullen = Mrs. Oldfield : Lady
Diana Talbot = Mrs. Rogers: Lady Eliz. Blunt =
Mrs. Porter.

8. Alchemist. Dol Comm on = Mrs. Saunders : —
rest as at D. L. Feb. 19 1709-

10. Committee. Bookseller = Norris : Ruth=Mrs.
Oldfield: Arbella = Mrs. Porter: — rest as at D. L.
Oct. 15 1708.

13. Not acted 5 years, Mithridates. Mithridates
= Mills : Ziphares = Wilks : Pharnaces = Powell :
Aquilius = Booth : Archelaus = Bowman : Semandra
= Mrs. Oldfield : Mommas Miss Sherburn.

18. Tender Husband — for the entertainment of
the new Toasts and several Ladies of Quality —
Pounce = Pack : Mrs. Clerimont = Mrs. Bradshaw :
Fainlove is omitted — the rest as originally.

21. Feigned Innocence. Sir Martin Marall =

D. L. 1711-1712.

Bullock: Warner = Powell : — the other parts to the
best advantage — with School-boy. School-boy = Gib-
ber : Major Rakish = Pinkethman : Young Rakish =
Mills.

31. Northern Lass. Sir Philip Luckless = Wilks :
Sir Paul Squelch = Johnson : Tridewell = Mills : Bui-
finch = Estcourt : Widgin = Bullock : Capt. Anvil =
Spiller: Nonsense = Norris : Ho wdee = Gibber : Pate
= Bullock Jun. : Northern Lass = Mrs. Bignall :
Widow Fitchew = Mrs. Knight: — in the edition of
1717 Powell's name stands to Capt. Anvil.

Jan. 7« Tempest, or the Enchanted Island, revived
—no performers' names.

19. Never acted, Perplexed Lovers. Timothy
(servant to Col. Bastion) = Pack : Col. Bastion =
Wilks: Belvill = Booth: Lord Richlove = Mills : Le
Front (his valet) =. Bo wen : Sir Roger Merry man
(father to Belvill and Constantia) = Leigh : Col. Mer-
ryman (father to Camilla) = Bullock : Constantia =
Mrs. Santlow: Camilla = Mrs. Oldfield : Rorella =
Mrs. Saunders -.—acted 3 times — Sir Roger Merry-
man wants Constantia to marry Lord Richlove—
Belvill wants her to marry a friend of his, who is
not one of the D. P. — she is in love with Col. Bastion
—he is in love with her — Belvill and Camilla have a
similar attachment — Camilla assists Constantia in her
amour with Bastion — they have a private door be-
tween the two houses — Florella is a mercenary
chambermaid in the interest of Lord Richlove — in
the 1st act, she furnishes him with a key to Con-
stantia's garden — Constantia in the dusk runs into
Lord Richlove's arms, mistaking him for the Colonel
— the Colonel fights with Lord Richlove and disarms

D.L. 1711-1712. 495

him — in the 3d act, Florella admits Lord Richlove
into Constantia's bedchamber — he attempts to ravish
her — Col. Bastion rescues her — Constantia deter-
mines to elope with Bastion— in the dark she first
mistakes Le Front for Bastion, and then Belvill—
Belvill mistakes Constantia for Camilla, as she comes
out of Camilla's house — in the 5th act, Timothy
enters as a Scotch pedlar — Constantia proposes to
buy some muslin of him — Colonel Bastion comes out
of the pack — at the conclusion, Bastion and Belvill
marry Constantia and Camilla — in the course of the
play other perplexities occur — the Time is from five
in the evening till eight in the morning — this is a
tolerably good C. — but not so good as the generality
of Mrs. Centlivre's plays — it should be observed to
her credit, that, contrary to the usual practice of
authors, she speaks of it in the preface less favour-
ably than it deserves — she tells us that most of the
plot was taken from a Spanish play — the Epilogue,
designed to have been spoken on the first night, con-
tained a compliment on the military talents of Prince
Eugene (who was then in England) and the Duke of
Marlborough — party matters were at this time car-
ried to such a height, that the Managers thought it
advisable not to let it be spoken without a license,
which could not be procured till the second night—
and even after the Vice Chamberlain's license was
obtained, Mrs. Oldfield was recommended, by letters
sent to her, not to speak it — this fuss about the Epi-
logue was detrimental to the play.

Jan. 25. Royal Merchant — there are no characters
to this, and several other of the plays.

Feb. 5. Fatal Marriage.

496 D. L, 1711-1712.

6. Taming of the Shrew with Walking Statue.

11. Not acted 3 years, Humorous Lieutenant.
Demetrius =Wilks: Lieutenant =Pinkethman : Leon-
tius = Powell : Celia = Mrs. Oldfield : Leucippe =
Mr. Pack : — the cast of this play is from the B. M.

14. JEsop — 18. Amphitryon — 23. Epsom Wells.

21. Not acted 4 years, Comical Revenge.

March 8. Mourning Bride — there are no cha-
racters in this bill— but from the bill for May 7th,
it appears that Booth, Keen and Mrs. Bradshaw
acted Osmyn, the King and Almeria.

17- Never acted, Distressed Mother. Orestes =
Powell : Pyrrhus = Booth : Pylades = Mills : Phcenix
= Bowman : Andromache = Mrs. Oldfield : Hermione
= Mrs. Porter: Cephisa = Mrs. Knight: Cleone =
Mrs. Cox : — acted about 9 times — this T. is taken
from Racine — it was adapted to the English stage by
Philips — it is a dull play, for what can be more dull
than four principal characters with their four confi-
dants, who come on and go off, talk a great deal arid
do nothing till the last act ? — Philips has deviated
from history — he has not given the characters Grecian
manners, nor does his language make up by any means
for other deficiencies — in short this T. has no one cir-
cumstance to recommend it, except that it affords
scope for good acting — the word Madam occurs 54
times — the Epilogue, supposed to be written by Addi-
son, was wonderfully successful — tlio' it does not
appear to have any extraordinary merit, and com-
pletely turns the distress of Andromache into ridicule.
April 5. Julius Csesar revived — no characters.
7- Powell's bt. Henry 4th part 1st. Falstaff = Powell :
— the Spectator says — " The haughty George Powell

D. L. 1711-1712, 497

" hopes all the good natured part of the town will
" favour him, whom they applauded in Alexander,
" Timon, Lear and Orestes, with their company
" this night, when he hazards all his heroick glory in
" the humbler condition of honest Jack Falstaff."

12. Committee. Teague = Griffith from Ireland :
-for Griffith see Irish Stage 1731.

22. Estcourt's bt. Love for Love.

25. Booth's bt. Hamlet.

28; For bt. of Mrs. Porter, who is on her recovery
from a severe fever. Amorous Widow.

29. Johnson's bt. Volpone, or the Fox. The
Fox = Powell: Mosca = Wilks : Old Corbaccioz=
Johnson.

May 1. Rival Queens, with Death of Alexander,
revived.

3. Rover. Ned Blunt = Griffith : Hellena = Mrs.
Bradshaw.

5. Pinkethman's bt. Love makes a Man — with a
new Epilogue by Pinkethman riding upon an Ass.

6. Mrs. Bignall's bt. Constant Couple. Sir Harry
Wildair = Wilks : Lady Lurewell = Mrs. Oldfield :—
Dancing by Mrs. Bigriall.

9. Mrs. Rogers acted Belvidera for her bt.

12. For Mrs. Bradshaw's bt. will be revived, the
History and Fall of Caius Marius written by Shak-
speare and altered by Otway. Old Marius = Powell :
Young Marius = Booth : Lavinia^Mrs. Bradshaw.

13. Bullock's bt. Old Batchelor. Capt. Bluff =
Johnson : — rest as before — with Stage Coach. Ni-
codemus Somebody = Pack : Capt. Basil = Booth:
Jolt the Coachman = Bullock : Macahone = Bullock
Jun.

VOL. II. K K

498 D. L. 1711-1712.

16. Bowen's bt. not acted 7 years, Duke and no
Duke with Schoolboy — no characters — Bowen usu-
ally played Trappolin.

19. Leigh's bt. Love for Love. Sir Sampson
= Leigh : Angelica = Mrs. Bradshaw : Mrs. Frail =
Mrs. Knight : — rest as before.

22. Pack's bt. Othello. lago - Keen : Roderigo
= Pack : — the rest as before.

27. For bt. of Husband and Elrington — not acted
5 years, Don Sebastian — no characters.

29. Mrs. Saunders' bt. Unhappy Favourite.
Rutland — Mrs. Bradshaw: — rest as before.

June 2. Mrs. Powell's bt. (Edipus revived.
(Edipus = Powell : Adrastus = Booth : Creon —
Keen : Tiresias =. Boman : Jocasta = Mrs. Knight :
Eurydice =: Mrs. Bradshaw.

5. For bt. of Mrs. Mills. Macbeth with a Farce
called the Petticoat-Plotter. Plotwell (servant to
True-love) = Pack : Thrifty = Bullock : True-love =
Elrington : Sir Simon Scrape-all = Norris : Nicom-
poop (servant to Thrifty) = Leigh : Ananias = Spil-
ler : Isabella (daughter to Thrifty) •=. Miss Sherborn :
Mopsa (her maid) = Miss Willis: — to begin exactly
at six, this being the last time of acting till Whit-
Monday.

The Petticoat-Plotter is a tolerably good Farce by
Hamilton — it was not printed till 1720— but it was
then printed with the original cast — Thrifty refuses
his daughter to True-love, and promises her to Sir
Simon, who is an old fellow — the Petticoat-Plotter is
Plotwell — he gets into Thrifty 's house in the disguise
of a Spanish woman — Thrifty believes him to be
Theodosia, who had lived with his late brother—

D. L, 1711-1712. 4()9

True-love disguises himself as Ananias Scribe — the
true Ananias makes his appearance — and True-love
is obliged to take himself off — True-love and a Par-
son are conveyed into Thrifty's house in two chests
- Plot well ties Sir Simon and Nicompoop together,
and turns them into the street — True-love marries
Isabella — and Thrifty is reconciled to his daughter

Mrs. Centlivre, in her Bold Stroke for a Wife,

seems to have borrowed the hint of " another Simon
" Pure" from this Farce, she has however greatly
improved what she has borrowed.

9. Thurmond's bt. not acted 3 years, Don Quixote.
Don Quixote = Bowen : Sancho = Leigh : Marcella
=: Mrs. Bradshaw : Mary the Buxom = Mrs. Bignall :
—with Dancing by Thurmond.

10. Recruiting Officer. Sylvia = Mrs. Bignall:
Rose = Mrs. Sherburn : — Miss Sherburn seems to
have taken the name of Mrs.

12. Comical Revenge. Sir Frederick Frolick^
Wilks: Sir Nicholas Cully = Dogget : Palmer z=Est-
court : — this was his last time of acting. ( B. M.)

17. For bt. of Box keepers. Jovial Crew.

19. For bt. of Bickerstaff and Newman. Indian
Emperour. Orbellan = Bullock Jun. : Alibechn
Mrs. Rogers: Cydaria = Mrs. Sherburn : — being posi-
tively the last time of the Company's acting this
season.

Summer Company.

July 1. Not acted 15 years, Destruction of Jeru-
salem 2d part. Titus Vespasian = Booth . Phraartes
= Mills: John — Powell: Tiberius — Keen : Beren-

KK2

500 D. L. 1711-1712.

ice = Mrs. Rogers : Clarona — Mrs. Bradshaw : —
N. B. The Company will continue to act every Tues-
day and Friday during the Summer season.

4. Taming of the Shrew, or Sauny the Scot.
Petruchio = Mills: Sauny = Bullock: Woodall— John-
son : Lord Beaufoy — Keen : Gerald o = Husband :
Winlove — Bickerstaffe : Jamy = Norris : Shrew =
Mrs. Bradshaw : — with Petticoat-Plotter.

11. Not acted 8 years, City Politicks. The Po-
desta = Bullock : Florio = Powell : Artall = Booth :
Crafty = Pack : Dr. Panchy — Cross : Bricklayer =
Pinkethman : Rosara = Mrs. Bradshaw : Lucinda =.
Miss Willis : Bartoline, the principal character, is
omitted.

18. Sophonisba. Massinissa = Booth : Rosalinda
= Mrs. Bradshaw: Sophonisba = Mrs. Rogers.

22. Not acted 12 years, Love and a Bottle. Roe-
buck = Mills : Lovewell = Bullock Jun. : Mockmode
= Bullock : Lyrick = Johnson : Pamphlet = Norris :
Club = Pinkethman: Brush = Pack: Leanthe^Miss
Willis : Lucinda = Mrs. Rogers : — rest omitted.

29. Orphan. Castalio = Booth : Chamont — Keen :
Polydore = Powell : Monimia = Mrs. Bradshaw.

Aug. 1. Not acted 10 years, Guardian, or Cutter
of Colman Street. Cutter — Powell : Col. Jolly =
Keen : Worm = Norris : Puny = Pack: Truman Jun.
— Booth: Aurelia — Mrs. Saunders : Lucia = Mrs.
Bradshaw : Mrs. Barebottle = Mrs. Willis : Tabitha
= Miss Willis : — with a new Prologue proper to the
play to be spoken by Pack.

12. Don Carlos. Don Carlos = Booth : Don John
= Powell: Queen = Mrs. Bradshaw : — rest omitted.

26. Bartholemew Fair— last play. (B. M.)

D. L. 1711-1712. 501

All the bills for this season (except 4 or 5) are
from the original numbers of the Spectator in my
own possession.

Richard Estcourt died in August — the Editor of
the B. D. by mistake says that he died in 1713, and
had quitted the stage for some years.

Estcourt was engaged in Dublin about 1698 —
where he acted Sir Joslin Jolly in She wou'd if She
cou'd, and Old Bellair in Man of the Mode — his 1st
appearance at D. L. was in the Spanish Fryar, which
he acted in imitation of Antony Leigh — he had a sad
propensity to that unjustifiable practice of putting in
his own jokes — Chetwood says he generally enter-
tained the audience with a variety of little catches
and flights of humour, which pleased all but the
Critics.

The Spectator for Jan. 1st 1711-12 contains an
advertisement from him to say that he should on that
day open the Bumper Tavern in James Street C. G.,
and that his wines would be sold wholesale and retail
with the utmost fidelity by his old servant Trusty
Antony (probably Anthony Aston) who had so often
adorned both the Theatres in England and Ireland-
he does not give the least intimation that he means to
leave the stage.

The Spectator says May 5th — " If I were to speak
" of merit neglected, misapplied or misunderstood,
" might I not say that Estcourt has a great capacity?
" but it is not the interest of those who bear a figure
" on the stage that his talents were understood : it
" is their business to impose upon him what cannot
" become him, or keep out of his hands any thing
" in which he would shine."

Gibber on the contrary tells us that Estcourt was

,502 D. L. 1711-1712.

on the whole a languid and unaffecting actor — that
he had seen, in Estcourt's writing, just observations
on almost every speech of Falstaff but that on the
stage he could never put them into practice-
Steel's partiality to the man evidently warped his
judgment of the actor — Davies likewise thinks that
Gibber speaks slightingly of him through envy —
Gibber however seems to be perfectly correct, for
an admirable Mimic may be (and often is) an indif-
ferent actor — when Downes calls him Histrio natus
he means no more than that he had a natural turn
for Mimicry — for which reason Bayes was probably
one of his best characters — Estcourt's forte lay in
conversation — he was a most pleasing companion.

Estcourfs characters.

D. L. 1704-1705. Spanish Fryar— Ned Blunt in
Rover — Crack in Sir Courtly Nice — Capt. Bluff—
Teague in Committee — Gravedigger in Hamlet—
Bulfinch— Antonio in Venice Preserved — Sir William
Belfond in Squire of Alsatia — Bayes— Falstaff in
Henry 4th part 1st — Scaramouch in Emperour of the
Moon — Palmer in Comical Revenge — Yeoman of
Kent — Sir Joslin Jolley — *Harry in Quacks — *Pounce
— Higgen in Royal Merchant.

1705-1706. *Capt. Hearty in Basset Table— Sir
Solomon Single in ditto — Trincalo — Henry 8th in
Virtue Betrayed — *Kite.

1706-1707. Lady Addleplot in Love for Money.

1707-1708. Prologue in Hamlet — Mercury in Am-
phitryon— Sir Sampson Legend — Senator in (Esop
— Puzzle in Funeral—Tom Otter,

OWEN SWINEY. 503

1708-1709. Sir Epicure Mammon — Mustapha in
Don Sebastian — Quack in Country Wife — *Sir Fran-
cis Gripe — Pandarus in Troilus and Cressida.

Hay. 1709-1710. Surly in Sir Courtly Nice— Mad
Priest in Pilgrim — Sullen — * Trusty in Man's Be-
witched— Clytus in Mock Rival Queens.

After this time he does not seem to have played
any new character.

* Originally.

OWEN SWINEY, OR RATHER MAC SWINEY.

On the Union of the two companies in Jan. 1708,
Swiney was appointed sole director of the Operas.

In 1710-1711, Swiney was joined to the principal
actors in the management of D. L.

In 1711-1712, Swiney was compelled to accept of
the Opera-house, in the sinking condition in which
Collier had left it — at the close of the season he found
the receipts so far short of the expenses, that he
was forced to go abroad; where he continued 20
years ; during which time there was scarcely any
English Gentleman, who in his tour of France or
Italy did not renew or form an acquaintance with
him : and after his return to England his grey hairs
and cheerful disposition found a general welcome
among his acquaintance. (Cibber.}

504 D. L. 1712-1713.

Swiney had a bt. at D. L. on the 26th of Feb. 1735.

Swiney and Gibber, in their old age, were danglers
after Mrs. Woffington — for Swiney's death and legacy
to Mrs. Woffington, see the end of C. G. 1756-1757-

D. L. 1712-1713.

Sept. 20. Careless Husband. Lady Graveairs =
Mrs. Porter.

23. Chances and Country Wake.

25. Amorous Widow.

Oct. 2. Rule a Wife 7- Oronooko.

4. Hamlet. Ghost = Booth : Ophelia = Mrs.
Mountfort.

8. Spanish Fry ar. Dominic = Bullock.

10. Old Batchelor. Lsetitia = Mrs. Knight.

13. Committee. Ruth = Mrs. Mountfort.

14. Othello. Iago = Keen: Roderigo = Pack.

15. Epsom Wells 16. Strategem.

17. Feigned Innocence and School boy.

18. Distressed Mother with the original Epilogue.

20. Squire of Alsatia. Teresia = Mrs. Mountfort.

21. Indian Emperour 22. Constant Couple.

23. King Lear. Cordelia = Mrs. Bradshaw.

30. She wou'd if she cou'd. Gatty = Mrs. Oldfield.

31. Pilgrim. Pedro = Bullock Jun. : — Wilks seems
to have resigned the part to a young actor, whom he
was at this time fond of instructing.

Nov. 1. Unhappy Favourite. Essex = Wilks.

D. L. 1712-1713. 505

3. Tender Husband. Fainlove = Mrs. Porter.

7. Never acted, Successful Pyrate. Arviragus =
Booth : Aranes (an Omrah in Zaida's train) = Wilks:
Boreal (Admiral to Arviragus) = Mills : De Sale
(his Lieutenant) = Keen : Piracquo = Husband : Sir
Gaudy Tulip (an old Beau) = Pinkethman : Judge
Bull = Bullock : Serj eant Dolt = Bullock Jun. : Coun-
sellor Smooth = Pack : Chicane (a broken lawyer)
= Norris: Jollyboy = Leigh : Zaida=Mrs. Porter :
Lesbia(wife to Tulip) = Mrs. Saunders : Lydia (wife
to Piracquo) = Mrs. Spiller : — this play (as Charles
Johnson properly calls it) was acted about 5 times
— the Successful Pyrate is Arviragus — he had gotten
possession of Madagascar, and was become King of
the Island — Zaida, the grandaughter of Aurenge-
Zebe, was on her voyage to Persia — she is taken
prisoner with Aranes and the rest of her suite —
Aranes and Zaida are mutually in love — Arviragus
falls in love with Zaida — he condemns Aranes to death
—in the last act, he discovers that Aranes is his son—
Aranes had been preserved by Boreal — Arviragus
resigns Zaida and his throne to Aranes — De Sale,
Piracquo &c. form a conspiracy against Arviragus —
they are discovered, and brought to their trial in the
last act — Dolt is Counsel against the prisoners, and
Smooth for them — the serious scenes of this play are
indifferent — the comic ones are good — a 3d edition

of it was published in 1713 in the last edition of

the Biographia Dramatica we are informed that the
Hero of this play was the famous Pirate, Capt.
Avery — this is probably correct, as Arviragus, in the
last act, says his name was Averio — both the Edi-
tors of the B. D. say that the Successful Pyrate is

506 D. L. 1712-1713.

taken from an old play called Arviragus and Phi-
licia, and in their account of that play they tell us
that Arviragus was a British Prince who reigned in
the time of Claudius Ceesar — here we have a pal-
pable contradiction, as the Arviragus of C. Johnson
was certainly a Pirate, and the scene lies in Mada-
gascar— the last editor of the B. D. seems to have
received the account of Capt. Avery from Isaac
Reed's, or from Kemble's notes, and to have added
it to the account of the Successful Pyrate in the
former edition, without taking the trouble to consi-
der, if the two accounts would coalesce — in fact
there is not the slightest resemblance between Arvi-
ragus and Philicia and the Successful Pyrate, except
in the name of Arviragus.

Nov. 13. Rival Queens 17» Volpone.

18. Mourning Bride. Osmyn = Booth.

24. Busy Body.

27. Love for Love. Angelica = Mrs. Oldfield.

28. Never acted, Heroick Daughter (or Ximeria)
—acted about 8 times — see Ximena at D. L. Nov. 1
1718.

Dec. 12. Sir Courtly Nice.

13. She wou'd if she cou'd. Lady Cockwood^
Mrs. Knight : Gatty = Mrs. Mountford.

16. For the author, Successful Pyrate.

17. Old Batchelor. Nykin = Dogget : Bellmour
= Wilks : Bluff = Johnson : Vainlove =: Booth : Set-
ter = Norris : Leetitia — Mrs. Oldfield : Belinda =
Mrs. Mountfort: Araminta = Mrs. Bradshaw: Lucy
= Mrs. Saunders : — rest omitted.

18. Not acted 3 years, Wit without Money — no
characters.

D.L. 1712-1713. ,50?

19. Confederacy.

27. Not acted 4 years, Double Gallant. Lady Sad-
life = Mrs. Bicknell : Clarinda and Wishwell are
omitted — the rest as originally — this C. was acted 3
times following.

Jan, 5. QSdipus. Eurydice =: Mrs. Norris.

6. Never acted, Female Advocates, or the Frantick
Stock-jobber. Sir Feeble Dotard = Norris : Bite —
Pack: Sir Charles Transfer^ Bullock: Capt. Stan-
worth = Booth : Heartly = Mills : Smart (Mrs. Free-
love's man) =. Spiller : Friendly = Bowman : Mrs.
Freelove = Mrs. Porter : Charlotte = Mrs. Mount-
fort : Olivia = Mrs. Bicknell: — acted but once — this
is a moderate C. — it is attributed to Taverner — the
greater part of it is taken from the Luriatick — see the
end of L. I. F. and Hay. 1704-1705 — many scenes
are copied verbatim, or with slight alterations — the
characters of Sir Feeble Dotard — Bite — Sir Charles
Transfer — Charlotte and Olivia are nearly the same
as those of Shortsight — Quickwit — Littlegood —
Emilia and Valeria — Capt. Stan worth, Heartly and
Friendly have a considerable resemblance to Manly
Sen., Manly Jun. and Trusty— this play being in 5
acts, and the Lunatick in 3, some additions were
necessary — Mrs. Freelove is a new character — she
and Capt. Stanworth had been very intimate — she is
still fond of him — he refuses to marry her — and she
marries Sir Charles — in the 5th act, Bite enters
dressed in an Alderman's gown — Sir Feeble is in-
dicted before him, for having, contrary to the laws
of nature, wanted to marry Charlotte — Olivia is
Counsel against Sir Feeble, and Charlotte pleads in

508 D. L. 1712-1713.

defence — this scene is well written — and hence the
first title of the play.

Jan. 10. Comical Revenge. Sir Frederick Frolick
= Wilks: Dufoy = Bowen : Sir Nicholas Cully =
Dogget : Palmer = Bullock : Wheedle = Keen : Col.
Bruce = Booth : Widow = Mrs. Knight : Graciana =
Mrs. Bradshaw : Aurelia = Mrs. Porter,

12. Recruiting Officer. Kite = Pack: Rose = Miss
Younger.

14. Bartholomew Fair. Edge worth = Bullock Jun.

19. Amphitryon. Mercury = Leigh : Alcmenazz
Mrs. Bradshaw.

22. Man of the Mode 28. ^Esop and Stage

Coach.

29. Never acted, Humours of the Army. Major
Young Fox = Wilks : Wilmot = Powell : Bisket =
Pinkethman : Col. Hyland (a Scotchman) = Bullock :
Major Cadwallader (a Welshman) = Dogget : Major
Outside (an Irishman) = Gibber : Capt. Wildish =
Booth : Capt. Hearty = Mills : Capt. Mattematics (a
French Refugee and an Engineer) = Bowen : Briga-
deer Bloodmore (Commander in Chief) = Keene .
Lieutenant Blunder = Leigh : Ensign Rag = Bicker-
staff: Ensign Standard = Ryan : Serjeant File-Off =
Pack : 1st Soldier=Spiller : 2d Soldier i= Johnson :
Belvedera = Mrs. Mountfort : Victoria (daughter to
Bloodmore) = Mrs. Oldfield : Leonora (his ward) =
Mrs. Porter: Mrs. Bloodmore = Mrs. Knight : Clara
(disguised as Belvedera's footman) = Miss Younger ;
1st Trull = Mr. Norris : 2d Trull = Mr. Bullock Jun. :
— Scene the Camp near Elvas — Time 6 hours — this
C. was acted 6 times — Wilmot is a Cornish Gentle-
man— he was in love with Belvedera — she was in

D. L. 1712-1713. 509

love with him — but from female caprice had treated
him scurvily — Wilmot in despair had enlisted himself
as a private soldier — his wish is to lose his life in
battle — Belvedera follows him to Portugal — she is
dressed as a man, and obtains a Lieutenant's com-
mission— in the 4th act, under the direction of Ser-
jeant File-Off, she drills some soldiers — she strikes
Wilmot — he presents his piece at her — is taken into
custody — and tried for his life — the lovers discover
one another, and are reconciled — Young Fox arrives
from England — he and Victoria fall in love — her
parents insist that she should marry Bisket — a rich
fellow who supplies the army with bread and forage-
Leonora is in love with Young Fox — he writes a letter
to Victoria to inform her that he should be disguised
as Bisket — the letter is purposely given to Leonora
by a servant who affects to take her for Victoria —
Bisket and Leonora are married in the dark — he
supposes her to be Victoria — she supposes him to be
Young Fox — this being done, Victoria's parents no
longer oppose her union with Young Fox — this is a
pretty good C., but it is very unlikely that Wilmot
and Belvedera should not know one another till just
at the last — as Charles Shadwell, who wrote this
play, was in the Army, and had served in Portugal,
he has probably represented the Humours with fidelity
— the Humours of the Army was revived at D. L.
April 23 1746— Brooks' Female Officer is taken
from it.

Feb. 9. Northern Lass. Bulfinch = Leigh.

11. Spanish Fryar. Torrismond = Powell.

12. Humorous Lieutenant. King — Keen.

,510 D. L. 1712-1713.

13. Love for Love. Sir Sampson = Leigh : An-
gelica = Mrs. Bradshaw : Miss Prue = Mrs. Bignall.

14 Not acted 3 years, Richard the 3d — no
characters.

16. Double Gallant. Clarinda= Mrs. Mountfort.

19. Never acted, Cinna's Conspiracy. Cinna =
Booth : Augustus = Powell : Maximus = Mills : Emi-
lia = Mrs. Oldfield : Livia = Mrs. Knight: — acted 3
times — it appears from the Epilogue that this T. is
taken from Corneille — it is cold and regular, abound-
ing in declamation and barren in incident — the 2d
Act consists of a discourse between Augustus, Cinna
and Maximus, in which Augustus consults them
about resigning the empire, as he really did Maecenas
and Agrippa — see Dio Cassius 1. 52 — little seems to
be recorded by the Roman Historians about Cinna's
Conspiracy — Suetonius is silent — Dio Cassius, 1. 55,
gives a long conversation between Augustus and Livia
on the subject, but mentions the fact in half a dozen
words— it is from Seneca, De dementia lib. 1. cap.
9., that we learn, that Augustus called China into his
closet, convinced him he was acquainted with all the
particulars of his conspiracy, and then forgave him
— this constitutes the plot of this T. as far as history
is concerned ; the love scenes are of course fiction —
Emilia is represented as the daughter of Toranius,
who was the tutor of Augustus, and whom Augustus
had proscribed during the Triumvirate — Augustus
heaps favours on her, but she is intent on revenging
her father's death — Cinna and Maximus are in love
with Emilia — she is in love with Cinna, and had
plighted her faith to him on condition that he would

D. L. 1712-1713. 511

kill Augustus — in the 4th act, the Emperour becomes
acquainted with the Conspiracy — Maximus declares
his love to Emilia, and urges her to a speedy flight
with him — she refuses — in the 5th act, Augustus re-
presents to Cinna the ingratitude and folly of his
conduct — Emilia and Maximus avow their part in the
Conspiracy — Augustus forgives them — he unites
Cinna and Emilia — and reconciles them to Maximus
— Corneille in the 5th act has made a very judicious
use of what he found in Seneca, but he has not been
happy in his additions to the story.

Gibbon says — " The tendei respect of Augustus
" for a free constitution which he had destroyed, can
" only be explained by an attentive consideration of
" the character of that subtle tyrant — a cool head,
" an unfeeling heart, and a cowardly disposition,
" prompted him, at the age of 19, to assume the mask
" of hypocrisy, which he never afterwards laid aside
" — with the same hand, and probably with the same
" temper, he signed the proscription of Cicero, and
" the pardon of Cinna."

This play has been ascribed to Cibber, but Math
little probability, as no reason is assigned, why he
should conceal his name.

Feb. 24. For the author of the Farce. Fair
Quaker and a Woman will have her Will.
28. Scornful Lady zz Mrs. Oldfield.
March 2. Mrs. Oldfield's bt. Heroick Daughter.
3. Silent Woman. Otter = Pack : Silent Woman
— Mrs. Knight : — rest as before.
9. Powell's bt. Virtue Betrayed — as before.
12. She wou'd if she cou'd. Ariana zz Mrs. Porter.
14. Albion Queens.

512 D. L. 1715M713.

16. Mills' bt. Julius Caesar. Brutus = Booth :
Antony = Wilks : Cassius = Powell : Julius Caesar =
Mills: Cas£a=Keen: Plebeians = Johnson — Pin-
kethman — Bullock — Norris — Cross — Leigh : — wo-
men are omitted.

19. Never acted there, Heroick Love— no cha-
racters.

23. Booth's bt. Unhappy Favourite. Essex =
Booth.

28. Orphan. Castalio = Booth : Polydore = Powell.

April 6. Pinkethman's bt. Julius Caesar.

13. Mrs. Porter's bt. Distressed Mother — Boxes
and Pit laid together — Tickets 4s. each.

14. Never acted, Cato. Cato = Booth : Syphax
= Cibber : Juba = Wilks : Portius = Powell : Sem-
pronius = Mills : Marcus = "Ryan : Decius = Boman :
Lucius =. Keen : Marcia = Mrs. Oldfield : Lucia =
Mrs. Porter.

May 9. Cato 20th time — the 3d Edition was pub-
lished April 29th— and the 4th on May 14th — Cibber
says more of Cato than he does of any other play-
he was Manager and acted in it — yet he tells us that
Cato came out in 1712 — this instance alone would
be sufficient to show that his authority as to dates is
not worth a farthing.

As Addison had made the Managers a present of
whatever profits he might have claimed from his play,
they thought themselves obliged to spare no cost in
the proper decorations of it, and it proved a sort of
second season to the Managing Actors, each of whom
this year cleared £1350. (Cibber.)

The great success attending this Tragedy was
owing partly to its intrinsic merit, and partly to

D.L. 1712-1713. 513

Booth's acting, but chiefly to party spirit — the Whigs
applauded every line in which Liberty was mentioned,
as a satire on the Tories ; and the Tories echoed
every clap to show that the satire was unfelt — the
universality of applause, however it might quell the
censure of common mortals, had no other effect than
to harden Dennis in fixed dislike — but his dislike was
not merely capricious — he found and showed many
faults — he showed them indeed with anger, but he
found them with acuteness — (Dr. Johnson} — Den-
nis* remarks are particularly worthy of notice — they
may easily be met with, as Dr. Johnson has inserted
a large part of them in his Life of Addison.

Perhaps the most exceptionable passage in the
whole play is that in which Cato expresses an appre-
hension that he has been too hasty in killing himself

—the sentiment is very proper in itself, but it is the
sentiment of Addison, not of Cato — Cato neither
had, nor could have any doubt on the point, as it was
a maxim of the Stoicks, that it was often the duty of
a wise man to depart out of life — the Epicureans ex-
pressed their opinion by an allusion to the Theatre

— " if you do not like the part assigned you on the

" Stage of life, make your exit " Cicero makes

Cato himself say — Scepe officium est sapientis descis-
cere a vita, si id opportune facere possit — and he says
of Cato — Sic dbiit e vita, ut causam moriendi nactum
se esse gauderet—vetat enim dominans ille in nobis
Deus injussu hinc nos suo demigrare — cum vero cau-
sam Justam Deus ipse dederit, ut tune Socrati, nunc

Catoni * * * nee, ille * * tanquam a deo evocatus
atque emissus exierit.

Perhaps Addison is also not quite correct in making

VOL. II. L L

514 D. L. 1712-1713.

Cato show so much apathy on the death of his son,
for Cato with all his austerity had a great deal of
natural affection ; and Plutarch tells us, that he did
riot bear the death of his brother with so much phi-
losophy as might have been expected.

On the whole Cato is read with peculiar pleasure,
there are many scenes which one would wish to im-
press upon one's memory, but the love business is
very unworthy of Addison.

May 10. Mrs. Rogers' bt. Funeral. Lady Brump-
ton^Mrs. Rogers : Lady Harriet = Mrs. Bradshaw:
Lady Sharlot = Mrs. Porter.

12. Never acted, Wife of Bath. Frariklyn (a rich
yeoman of Kent) = Pinkethmari : Doggrell= Pack :
Chaucer — Wilks : Doublechin (a monk) = Bullock:
Meri t = Bullock Jun. : Astrolabe (an astrologer) =
Ryan : Alison (the Wife of Bath) = Mrs. Bicknell :
Busie (Myrtilla's woman) = Mrs, Saunders : Myrtilla
(a lady of quality) = Mrs. Porter : Florinda (Frank-
lyn's daughter) = Mrs. Mountfort : — acted about 3
times — the scene lies at an Inn between London and
Canterbury — the time of action is thrown back be-
yond the Reformation, but the manners and senti-
ments are, generally speaking, modern — a company
of Pilgrims are on their road to Canterbury — Myrtilla
is inclined to turn Nun — Alison dissuades her from
her purpose — she has herself had five husbands, and
is ready for a sixth — Chaucer is in love with Myr-
tilla— she is very superstitious, and intends to consult
Astrolabe — Chaucer bribes Astrolabe, and borrows
his dress — he directs Myrtilla to keep her eyes fixed
on a looking glass — he takes off his disguise, and she
sees him in the glass in his proper shape as her lover

D. L. 1712-1713. 515

—(see Cheats 1662) — at the conclusion, Myrtilla
marries Chaucer — Merit and Florinda are mutually
in love — her father wants her to marry Doggrell — in
order to disgust Doggrell, who piques himself on his
family, she makes him believe that one of her ances-
tors was hanged— he declines the match — Franklyn
is enraged — he locks up his daughter in her chamber,
and sends Doublechin to read her a lecture on obe-
dience— Doublechin falls asleep — she takes the key
out of his hand — makes her escape — and marries
Merit — Doggrell is taken in to marry Busie in a nun's
dress — he supposes her to be Myrtilla — Alison is
borrowed from Chaucer's Tale of the Wife of Bath,
and is a good character — but this C. on the whole
is an indifferent play — it was written by Gay, who
brought it out with alterations at L. I. F. Jan. 19
1730 — he improved the dialogue, but did not much
improve the plot.

13. Mrs. Bradshaw's bt. Venice Preserved. Jaffier
inBooth: Pierre =Mills: BelvideramMrs.Bradshaw.

16. Aurenge-Zebe.

18. Bullock's bt. Henry 4th part 1st. Falstaff=
Bullock : Hotspur = Booth : Prince of Wales = Wilks :
King = Keen : Douglas = Mills : Carriers = Johnson
and Leigh ; — rest omitted.

21. Pack's bt. Humorous Lieutenant. Leucippe
= Mr. Pack.

25. Norris' bt. Love for Love. Miss Prue = Miss
Younger.

27. Mrs. Knight's bt. Comical Revenge.

29. Mrs. Mountfort acted the Fair Quaker for
her bt.

June 3. Bowen's bt. Don John. Don John =

L L 2

516 D. L. 1712-1713.

Mills: Jaoomo = Bowen : Antonio - Booth : Leonora
= Mrs. Knight : Maria = Mrs. Porter : — with a Wo-
man will have her Will.

.5. Bickerstaffe's bt. Macbeth.

9. Leigh's bt. Epsom Wells with (never acted)
the Merry Wives of Broad Street.

10. Birkhead's bt. Royal Merchant and Walking
Statue— with dances by Jubilee Dicky's Youngest
Son and a Gentleman for his diversion.

12. For bt. of Ryan and Mrs. Cox. Lancashire
Witches — performers' names, but no characters.

15. For the Author. Fond Husband.

D'Urfey had been the delight of the most polite
companies from the beginning of Charles the second's
reign to that time, yet tho' an universal favourite,
towards the close of his life, he stood in need of as-
sistance to prevent his passing the remainder of it in
a cage like a singing bird ; for after having written
more Odes than Horace and about 4 times as many
Comedies as Terence, he found himself reduced to
great difficulties by the importunities of a set of men,
who of late years had furnished him with the accom-
modations of life, and would not, as we say, be paid
with a song ! — Addison said this in No. 67 of the
Guardian, and recommends him to the public notice,
observing that he remembered King Charles leaning
on Tom D'Urfey's shoulder more than once, and
humming over a song with him — and that many an
honest Gentleman had gotten a reputation in the
country by pretending to have been in company with
Tom D'Urfey — in No. 82 Steele reminds his readers
that the Fond Husband was to be acted for his old
friend's benefit that day, adding that Charles the 2d

D. L. 1712-1713. 517

honoured 3 of the first 5 nights of this Comedy with
his presence — Steele then compliments the play and
the actors who were to perform it.

D'Urfey wrote or altered 29 plays which were acted
— hesides 3 which he printed in 17^1, and which
were never acted — He has sometimes been spoken of
with a contempt which his writings did not deserve—
his two Tragedies are bad — his alterations from Shak-
speare and Fletcher do him no great credit — but his
Love for Money — Marriage-Hater Matched — Rich-
mond Heiress — Don Quixote and Campaigners are
certainly good plays — and even the worst of his Co-
medies are not without a tolerable degree of merit.

There is a print of D'Urfey engraved from a Sketch
taken at Knoll — he is represented as looking at some
music, with two large vols. under his arm.

D'Urfey was buried March 11 1724. (B. M.)

17. Miss Willis' bt. Don Quixote. Don Quixote
= Bowen : Sancho = Leigh : Ambrosio = Booth :
Cardenio = Boman : Manuel = Pack : Bernardo =
Norris : Mary the Buxom^Mrs. Bignall : Marcella
= Mrs. Bradshaw: Teresa — Mrs. Willis.

18. Boman's bt. Caius Marius. Marius Sen.
= Powell: Marius Juri. =: Booth: Sulpitius is omit-
ted : Metellus = Boman : Clowns — Pirikethmari and
Norris: Laviriia zzMrs. Bradshaw: Nurse = Mr.
Pack.

23. For bt. of Mrs. Mills and Mrs. Saunders.
Tempest. Ferdinand — Wilks : — the last play this
season as the company are obliged to go immediately
to Oxford. (Bills from B. M.)

William Peer died about June 15 — he was an actor
at the Restoration with Bettertori, Kynaston and

M8 D.L. 1712-1713.

Han-is: he distinguished himself particularly in two
characters— one of them was the Speaker of the
Prologue to the play in Hamlet : this he performed
with such an air as represented that he was an actor,
and with such an inferior manner as only acting an
actor, as made the others on the stage appear real great
persons and not representatives : this was a nicety
in acting as none but the most subtle player could so
much as conceive — his other great part was I ho
Apothecary in. Romeo and Juliet as altered to Cains

.Mai-ins as his excellence lay in so small a coin

pass, the Managers enlarged his sphere of action by
making him Property-man — this made Peer's sub-
sistence very comfortable — but it frequently happens
that men lose their virtue in prosperity, who were
shining characters in the contrary condition : good
fortune indeed had no effect on the mind, but very
much on the body of Peer ; for in the 70th year of
his age he grew fat, which rendered his figure unfit
for his two capital parts : he had now unfortunately
lost the distress necessary for the countenance of the
Apothecary, and was too jolly to speak the Prologue
with proper humility : it is thought this calamity went
too near him : it did not a little contribute to shorten
his days : as there is no state of real happiness in
this life, Peer was undone by success, and lost all,
by arriving at what is the end of other men's pur-
suits, his ease.

On his death there was no demand due to him
from the house, but the following bill.

£ s. d.
For hire of 6 case of Pistols 0 4 0

A Drum for Mrs. Bicknell in the Pilgrim 044
A truss of straw for the Madmen 0 0 8

D. L. 1712-1713. 519

£ *. d.
Pomatum and Vermillion to grease the

face of the stuttering Cook 0 0 8

For boarding a setting dog 2 days to

follow Mr. Johnson in Epsom Wells 006

For blood in Macbeth 003

Raisins arid almonds for a Witch's

banquet 008

(Guardian No. 82.)

Booth, on his great success in Cato, began to set
more value on himself — as the License had been
granted to Wilks, Dogget and Gibber in compliment
to their merit as being the three best actors on the
stage, it was natural that Booth, who in the estima-
tion of the town, now stood on a level with them,
should be inclined to push his Court interest for his
advantage— his interest there was very considerable
— he was intimate with Lord Bolingbroke — and Lord
Bolingbroke was Secretary of State — ( Theo. Gibber}

at the beginning of the Winter, a new License

was issued, in which Booth's name was added to that

of the former Managers still a difficulty remained

with regard to the scenes, dresses &c., which were
the property of Wilks, Dogget and Cibber, and not
in the power of the Crown to dispose of— the Lord
Chamberlain therefore only recommended this point
to be adjusted among themselves — Wilks, by way of
indemnification, proposed setting a high value on
their stock, but Dogget declared nothing but the Law
should make him part with his property, and having
said this, he left the theatre, and never returned to it
as a regular actor or Manager Dogget who was

520 D L. 1712-1713.

as much obliged as the others to act on the stage
and assist in the management, though he refused to
do either, still demanded his whole share in the pro-
fits— after many fruitless endeavours to bring him
back, they offered him half a share, if he had a mind
to quit the stage, and make it a sinecure — this he de-
clined—after being two years in Chancery, and
obtaining a decree in his favour, he gained much less
than had been offered him. (C. Cibber.)

It is difficult to say what could induce Dogget, who
was fond of money, to throw himself out of a large
annual income— if having done himself so much cre-
dit some years before, by defending his person against
the attack of that Theatrical Despot, the Lord
Chamberlain, he had a mind now to distinguish him-
self by defending his property, the case was quite
different ; for as the License was a mere favour from
the Crown and granted only during pleasure, the
Crown might without injustice to Wilks, Dogget and
Cibber have recalled it totally ; and a fortiori might
insist on their receiving Booth into partnership, whose
merit as an actor entitled him to that distinction— and
as to their property in scenes dresses &c., neither
Booth nor his friends objected to his paying a reason-
able sum for the share he was to have in them.

Cibber thinks, with much probability, that Dogget
repented of his conduct when it was too late — he
was so immoveable in what he thought was right or
wrong, that he could never be easy under any kind of
theatrical government ; and was generally so warm
in pursuit of his interest, that he often out-ran it
— Cibber remembered him three times, for some
years, unemployed in any theatre, from his not being

D.L. 1713-1714. 521

able tcrbear, in common with others, the disagreeable
accidents, that in such societies are unavoidable.

D. L. 1713-1714.

Sep. 22. Macbeth 26. Julius Csesar.

29. Pilgrim. Mad Englishman = Norris.

Oct. 1. Rover 3. Othello 5. Old Batchelor.

7. Mrs. Santlow returned to D. L. arid made her
1st appearance in the Fair Quaker.

8. Venice Preserved 10. Indian Emperour.

12. Love for Love. Ben = Dogget.

13. Unhappy Favourite. Essex = Wilks.

14. Not acted 6 years, Evening's Love.

15. Amorous Widow — 17- Hamlet — 19. Cato.
21. Chances and Country Wake. Hob^Dogget :

Flora — Mrs. Santlow : 22. Constant Couple.

23. Sir Courtly Nice. Leonora =. Mrs. Porter.

24. Distressed Mother 26. Recruiting Officer.

28. Rule a Wife and School boy.

30. Committee 31. Caius Marius.

Nov. 2. Silent Woman 4. Spanish Fryar.

5. Tempest 6. Amphitryon.

9. Double Gallant. Sir Harry Atall = Leigb.

11. Wife's Relief. Sir Tristram Cash = Dogget :
Arabella = Mrs. Mountfort.

13. Royal Merchant — 14. Humorous Lieutenant.

522 D. L. 1713-1714.

16. Squire of Alsatia. Teresia = Mrs. Mountfort.

17. Mourning Bride 18. Love makes a Man.

19. She wou'd if she cou'd — 20. Country Wake.

21. King Lear — 23. Strategem — 24. Volpone.

25. Never acted, Apparition, or the Sham Wed-
ding. Sir Tristram Gettall (uncle to Welford) =
Norris : Plotwell (servant to Friendly) = Pack : Sir
Thomas Eitherside (father to Aurelia) = Bullock :
Davvbwell (pretended friend to Welford) •= Keen :
Welford zzBooth: Mendwell (Old Welford in disguise)
=. Bowman : Friendly (in love with Clarinda) = Mills :
Foist (a lawyer) = Spiller : Aurelia = Mrs. Mountfort:
Clarinda (in love with Friendly) = Mrs. Santlow :
Buisy (woman to Aurelia) = Mrs. Saunders: Mrs.
Ahigail Eithevside (an old maid) = Mrs. Baker:—
scene London — time from eleven in the morning till
twelve at night — Old Welford is supposed to have
been drowned on his return to England — Sir Tris-
tram, with the assistance of Foist, forges a deed, in
which Old Welford gives all his property to Sir Tris-
tram, and leaves his son at Sir Tristram's mercy -
Plotwell pretends to be Foist's clerk, and nearly gets
the deed out of Sir Tristram's hands, but a note
from Dawbwell puts Sir Tristram on his guard — Sir
Tristram afterwards drops the note, and DawbwelFs
treachery is discovered — Sir Thomas Eitherside in-
sists that Aurelia should marry Sir Tristram — she is
first married properly to Welford, and then married
to Sir Tristram by Plotwell in the disguise of a par-
son— in the 5th act, Sir Tristram wants Aurelia to go
to bed — she laughs at him — Plotwell enters dressed
as a nurse with a child in his arms — he tells Sir
Tristram that the child is Aurelia's — Friendly, and

D. L. 1713-1714.

then Claririda in man's clothes, acknowledge openly
their intimacy with Aurelia — Sir Tristram sends for
his nephew — Welford promises to release Sir Tris-
tram from his wife on certain conditions — just as
Sir Tristram is going to sign the agreement, Dawb-
well enters, and disconcerts Welford's scheme-
Mend well throws off his disguise, and sets all to
rights — this C. was written by a Gentleman of Oxford
— it is very far from a bad play — the 5th act has a
strong resemblance to the 5th acts of the Beau's
Duel and the City Match — Dawbwell in the 4th act
marries Mrs. Abigail, supposing her to be Aurelia—
this is an improbable incident, and as it does not
much contribute to the conduct of the plot, it would
have been better omitted — as likewise the appearance
of Old Welford to Sir Tristram as his own Ghost.

26. For the Author. Apparition — last time.

27. GEdipus.

Dec. 1. Bartholomew Fair — 2. Northern Lass.

5. Comical Revenge 7« Feigned Innocence.

9. Funeral 10. Albion Queens.

1 1 . Confederacy 1 2. Man of the Mode,

15. Aurenge-Zebe 16. Epsom Wells.

18. Scornful Lady. Savil = Johnson.

21. Alchemist.

Jan. 2. Richard the 3d.

5. Never acted, the Victim. Achilles = Booth :
Agamemnon = Wilks: Ulysses = Keen : Menelaus
— Mills : Areas - Ryan : Euribates — Bullock Juii. :
Iphigenia =. Mrs. Porter : Eriphile = Mrs. Oldfield :
Clytemnestra =Mrs. Knight : —this T. was written
by Charles Johnson, and acted 6 times — Whoever
is acquainted with the Iphigenia in Aulis of Euri-

524 D. L. 1713-1714.

pides, will not receive much satisfaction from the
perusal of this play, or of Boyer's on the same sub-
ject—see Achilles D. L. 1699 — Charles Johnson's
play is in most respects the same as Racine's, but he
has added the character of Menelaus, and opened the
play differently — when the Victim was published
Boyer re-printed his play, and charged C, Johnson
with plagiarism — Johnson has certainly borrowed the
outlines of the last scene from Boyer, but he seems
not to have borrowed any thing more— he makes
Achilles not enter till just before the death of Eri-
phile, which is absurd, as Iphigenia might have been
sacrificed in the mean time, without his having done
any thing to prevent it — Boyer manages this better.

26. Virtue Betrayed.

28. Tender Husband. Mrs. Clerimont=: Mrs. Big-
riall.

Feb. 2. Never acted, Jane Shore. Hastings =
Booth: Dumont = Wilks: Gloster - Gibber : Bell-
mour = Mills : Catesby = Husband : Ratcliffe = Bo-
man : Jane Shore — Mrs. Oldfield : Alicia = Mrs.
Porter : — acted 19 times — great expectations seem
to have been formed of this play before its appear-
ance— it was announced for publication in the Daily
Courant Jan. 31st— and in the following paper,
Tickets were advertised for sale at the principal
Coffee-houses for the 3d and 6th nights of represen-
tation, on which nights the boxes and pit were laid
together, and the Tickets' were 10s. and 6d. each.
(B. M.)

Sir Thomas More is supposed to have written his
history of Richard the 3d about 1513, the 4th year of
Henry the 8th, at which time Jane Shore was alive

D. L. 1713-1714. 525

— Malone (in his work against Ireland p. 44) gives a
long and very interesting quotation from it— it ap-
pears that not only Jane Shore's death, but her coy-
ness to Hastings is a poetical fiction— her connexion
with him was notorious — Shakspeare in Richard the
3d says —

" Commend me to Lord William (Hastings)
" Arid hid my friend for joy of this good news,
" Give Mistress Shore one gentle kiss the more."

Feb. 15. Jane Shore 10th time for the author at
common prices.

March 1. Mrs. Oldfield's bt. Jane Shore 16th time.

2. Not acted 6 years, Richmond Heiress.

13. Philaster. Bellario = Mrs. Santlow.

29. Powell's bt. Albion Queens. Cecil = Powell.

31. Lancashire Witches — still no characters.

April 3. Not acted 10 years (acted March 11 1707)
Sir Solomon Single.

5. Mrs. Porter's bt. Careless Husband. Boxes and
Pit laid together.

6. Cato. 10th time this season.

10. Not acted 10 years, She wou'd arid she wou'd
not — there are no characters in the bill ; but the cast
of this play in Gibber's works 1760, and as reprinted
singly by Tonson in 1766, is almost to a certainty
the cast of this evening — it is the same as the cast
of May 20 1715, except that Bullock's name stands
to Soto and Mrs. BignalPs to Flora — she seems in
1715 to have given up the part to her sister — in the
play as printed Diego is omitted in the D. P.

16. Mrs. Rogers' bt. Rover. Hellena = Mrs.
Rogers.

D. L. 1713-1714.

26. Keen's bt. King Lear. Lear = Booth.

27. Never acted, The Wonder ! a Woman keeps a
Secret. Don Felix = Wilks : Lissardo = Pack : Col.
Briton = Mills : Gibby = Bullock : Don Pedro -
Bullock Jun. : Don Lopez = Norris : Violante = Mrs.
Oldfield : Flora = Mrs. Saunders : Isabella = Mrs.
Santlow : Inis = Mrs. Cox: — this excellent C. was
written by Mrs. Centlivre — it was acted only 6 times

—it is in a considerable degree borrowed from the
Wrangling Lovers — see D. G. 1676.

May 2. Mrs. BignalPs bt. Humorous Lieutenant.
Lieutenant = Bo wen : — with dances by Prince, Mrs.
Bignall and Mrs. Younger, who never danced on
the stage before — Mrs. Younger was Mrs. BignalPs
sister.

5. Pack's bt. Amorous Widow. Barnaby Brittle
= Pack : Merrymun — Norris : Lady Laycock = Mrs.
Knight.

17. For bt. of Husband and Boman. Timon of
Athens. Timon = Powell : Alcibiades = Booth :
Evandra = Mrs. Porter : Melissa = Mrs. Bradshaw.

21. Norris' bt. Sir Solomon Single. Sir Solomon
= Keen : Sir Arthur Addell = Norris : Peregrine =
Wilks: Single = Booth : Wary = Johnson : Timothy
Bullock : Ralph = Leigh : Mrs. Julia •= Mrs. Sant-
low: Mrs. Betty = Miss Younger: Alice = Mrs.
Willis.

26. Love for Love. Sir Sampson Legend = Bul-
lock.

June 2. For bt. of Cross and Cory. Henry 4th
part 1st. Falstaff = Bullock : Francis — Norri s : Kate
=Mrs. Santlow: Hostess •=. Mrs. Willis.

4. For bt. of Newman and Mrs. Baker. Tempest.

D. L. 1713-1714. 527

Prospero = Powell : Caliban = Johnson : T riricalo =
Bullock : Ferdinand = Ryan : Hippolito = Mrs.
Mountfort : Dorinda = Mrs. Santlow.

7- D'Urfey's bt. Richmond Heiress — at the desire
of several persons of quality, and to entertain them
and other of his friends, there will be a new Oration
by way of Prologue, written and to be spoken by
D'Urfey, part of it designed for a new Comedy of
his, called a Wife worth a Kingdom — with a variety
of songs.

11. Booth acted Oronooko.

14. For bt. of Bullock Jun. and Ryan. Indian
Emperour. Cortez = Powell : Cydaria = Miss
Younger.

18. Macbeth. Banquo = Powell : — last play this
season.

Summer Company.

June 25. Not acted 50 years, (this is doubtless said
at random) Puritan, or the Widow of Watling Street,
written by Shakspeare in King James the first's
reign — with a new Prologue and Epilogue. George
Pyeboard - Mills : Capt. Idle = Keen: Nicholas St.
Antlings (servant to Sir Godfrey) = Bullock : Sir
Godfrey Plus (brother-in-law to the Widow) = John-
son: Skirmish = Bickerstaffe : Frailty = Norris : Cor-
poral Oath =. Bo wen: Edmond (son to the Widow)
= Pack : Sir Oliver Muckhill = Leigh : Sir John Pen-
nydub = Bullock Jun. : Sir Andrew Tipstaff = Ryan :
Puttock (a serj eant) = Cross : Widow Plus = Mrs.
Willis : Mary and Frances (her daughters) = Miss
Younger and Miss Willis : — there are several Puri-

528 D. L. 1713-1714.

tans in this C., but Nicholas gives the title to the
play — in the 1st scene, the Widow Plus, with her
children, enters in mourning as just come from the
funeral of her husband — she makes great protesta-
tions of never marrying again — Pyeboard is a scholar
who lives by his wits — he pretends to be a fortune-
teller— he assures the Widow that her husband is in
purgatory, and that he will never get out of it, un-
less she shall marry again — Idle is put into the Mar-
shalsea for a robbery — at Pyeboard's suggestion, he
asks Nicholas, who is his kinsman, to steal his mas-
ter's gold chain — Nicholas refuses to steal it, as being
against the letter of the commandment — but he agrees
to nym or filch it for a day or two— Sir Godfrey is
much disturbed at the loss of his chain — Nicholas
tells him that Idle can get it again by conjuration —
Sir Godfrey obtains Idle's release from prison for
that purpose — Idle pretends to conjure, and then
directs Sir Godfrey to the spot in his garden where
Nicholas had placed the chain — in the last scene the
Widow, Mary, and Frances are going to church to
be married to Capt. Idle, Sir John Pennydub and
Pyeboard — Idle and Pyeboard are discovered to be
cheats — the Widow and Frances marry Sir Oliver
Muckhill and Sir Andrew Tipstaff — Pyeboard is a
clever fellow, and as he does nothing that is very
bad, one is rather sorry that he is left in the lurch

this is a good play.

29. London Cuckolds. Townly = Mills : Doodle
= Johnson: Wiseacre — Bullock: Dashwell =
Bowen : Loveday = Ryan : Arabella = Mrs. Brad-
shaw : Eugenia = Mrs. Porter : " Peggy = Miss
Younger.

D. L. 1713-1714. 529

July 13. Taming of the Shrew. Tranio = Bul-
lock Jun.

20. Not acted 4 years, Gamester. Young Valere
= Mills : Hector = Pack : Sir Thomas Valere = Bul-
lock : Dorante = Norris : Lo ve well = Ryan : Marquis
of Hazard = Bowen : Cogdie = Bullock Jun. : Ange-
lica = Mrs. Bradshaw : Lady Wealthy = Mrs. Porter :
Security = Mrs. Willis.

27. Not acted 6 years, Old Troop— (no charac-
ters)— with, not acted 5 years, Country Wedding.
Roger = Pack : Joan = Mrs. Willis : — see C. G.
March 20 1739.

On July 31 the Cheats of Scapin and the Country
Wedding were advertised for Aug. 3d, but not acted
as Queen Anne died Aug. 1st.

Aug. 31. At South wark Fair Pinkethman opened
a booth at which was performed the celebrated droll
of the Constant Lovers. Buzzard = Pinkethman :
Sir Tim. Little wit = Bullock : Trip- Jubilee Dicky.
(Bills from B. M.)

Besides the Puritan, six other plays were formerly
attributed to Shakspeare.

1. Pericles— see Marina at C. G. Aug. 1 1738.

2. Locrine —this is a historical T. — Brutus begins
it with relating his adventures, and more especially
his arrival in Albion — he divides his kingdom between
his three sons — he gives the Northern part of it to
Albanact — the Southern to Camber — and the re-
mainder to Locrine, whom he crowns as King — Lo-
crine marries Guendolen the daughter of his uncle
Corineus — Brutus dies — Humber, King of the Scy-
thians, lands in Albion — he defeats Albanact —Alba-
nact stabs himself — Locrine defeats Humber— Hum-

VOL. II. M M

530 D. L. 1713-1714.

ber throws himself into the river which still bears his
name — Locririe falls in love with Estrild the wife or
concubine of Humber — he keeps her at first privately,
but on the death of Corineus, he divorces himself
from Guendolen, and brings Estrild to court — Guen-
dolen and her brother Thrasimachus take up arms
against Locrine — they gain a victory over him—
Locrine and Estrild kill themselves — their daughter
Sabren throws herself into the river, which, from her,
is now called the Severn — she is the same character
as Sabrina in Com us — there is a comic underplot
which is not void of low humour.

3. Life and Death of Thomas Lord Cromwell —
Cromwell is the son of a blacksmith at Putney — he
goes to Antwerp as secretary to some merchants—
but not liking that mode of life, he sets out on his
travels— he is robbed by some banditti — arid relieved
by Frescobald, a Florentine merchant —he saves the
Earl of Bedford's life by a stratagem —he returns to
England, and is rapidly promoted to several high
offices — in his prosperity he is kind to those who had
formerly befriended him — particularly to Frescobald
— Gardiner Bishop of Winchester suborns two false
witnesses to accuse Cromwell of treason — at the con-
clusion of the piece he is beheaded — the author of
this play has deviated from history in several points,
especially as to the cause of Cromwell's fall — but the
circumstances which relate to Cromwell and Fresco-
bald are founded on a historical fact— see Burnet's
History of the Reformation vol. 1. p. 172.

4. London Prodigal — the London Prodigal is
Matthew Flowerdale — he uses his wife ill and deserts
her — he games away all his money, and is reduced

D. L. 1713-1714. 531

to beggary — at the conclusion, he is reconciled to his
wife, and promises to reform — he is however so
worthless a fellow, that his reformation is hardly to

be expected this is not only a poor C., but a very

profane one— Malone observes — " the sacred name
" is oftener introduced in this play than any that
" I remember to have read : being published before
"the stat. 3 Jac. 1. c. 21. neither the author, or
" printer had any scruple on the subject."

5. Yorkshire Tragedy — the murder on which this
short drama is founded, was committed in 1604, and
a ballad was made upon it in the following year, of
which probably this tragedy is only an enlargement
—(Malone.} — at the opening of the play, the Hus-
band has reduced himself to beggary by gaming — he
beats his wife, and involves his brother in a debt, for
which he is imprisoned — the Master of a College and
other gentlemen remonstrate with him — the Husband
kills two of his children — wounds his wife, but not
mortally — he is taken up for the murders — and at

the conclusion repents this is not a bad play—

Dr. Farmer says it was not written by Shakspeare —
Malone is undecided — Steevens with much proba-
bility supposes it to be a genuine, but hasty produc-
tion of Shakspeare, who as Manager of a Theatre
might naturally adapt to the stage the popular narra-
tive of an extraordinary murder — the play has all the
marks of an unpremeditated composition, and was
probably meant for representation no longer than
whilst its original continued fresh in the memory of
the audience. (Steevens.}

6. Sir John Oldcastle part 1st.— Sir John Old-

M M 2

532 D. L. 1713-1714.

castle was a favourer of Wickliff 's opinions, and for
that reason much hated by the Clergy — at the open-
ing of the 2d act, the Bishop of Rochester's Sumner
fixes a citation to the gate of Oldcastle's house—
Harpool, Oldcastle's servant, makes the Sumner eat
the citation — the Bishop complains to the King —
the King treats his complaint as frivolous — the Earl
of Cambridge, Lord Scroop, &c. endeavour to en-
gage Oldcastle in a conspiracy against the King — he
pretends to come into their scheme, but reveals it to
the King— the King sets off for France— the Bishop
of Rochester contrives to have Oldcastle sent to the
Tower — he comes to the Tower to confer with Old-
castle— Oldcastle and Harpool force the Bishop to
take off his cloak — Oldcastle makes his escape in it
— he comes with his wife to a small inn at St. Albans
—they are pursued, but make their escape in the
clothes of a carrier and his daughter, who had slept
in the same room with them — Oldcastle is taken up
on suspicion of having committed a murder — but is
set at liberty — Lord Powis invites Oldcastle to go
with him into Wales, where he would be in safety —
Oldcastle accepts the invitation, and the play ends-
Sir John, the Parson of Wrotham, is an important
character Steevens treats this play with more con-
tempt than it deserves ; it is unworthy of Shakspeare,
but far from a bad one — Sir John Oldcastle, Lord
Cromwell and other dramatic chronicles have no great
degree of merit, but they may fairly be considered as
better plays than many of the tragedies written in
the time of Charles the 2d, which excite disgust by
their absurdities.

D. L. 17 J 3-171 4. 533

The Prologue to Sir JohnJOldcastle is remarkable.

" The doubtful title, gentlemen, prefix'd

" Upon the argument we have in hand,

" May breed suspence, and wrongfully disturb

" The peaceful quiet of your settled thoughts.

" To stop which scruple, let this brief suffice :

" It is no pamper'd glutton we present,

" Nor aged counsellor to youthful sin,

" But one, whose virtue shone above the rest,

" A valiant martyr, and a virtuous peer;

" In whose true faith and loyalty, express'd

" Unto his sovereign and his country's weal,

" We strive to pay that tribute of our love

" Your favours merit. Let fair truth be grac'd>

" Since forg'd invention former time defac'd."

Malone says this sarcasm seems to point at Sir
John Oldcastle in the old Henry ,5th, or at Sir John
Falstaff — he supposes, with great probability, the play
of Sir John Oldcastle to have been written after the
representation of the 1st part of Henry 4th and before
that of the 2d part.

Howe mentions a tradition that Falstaff was origi-
nally called Oldcastle — in Shakspeare's first scene be-
tween Falstaff and the Prince, the latter calls him
" my old lad of the castle" — which Theobald consi-
ders as a proof of the tradition — Fuller in his Church
history (as quoted by Warburtori) says that stage
poets have been very bold with the memory of Sir
John Oldcastle — the best is, Sir John Falstaff hath
relieved the memory of Sir John Oldcastle, and of
late is substituted buffoon in his place - — Stecvens

534 D. L. 1713-1714.

insists that Oldcastle was not a character ever intro-
duced by Shakspeare and that he never did occupy
the place of Falstaff — see his note at the beginning of
Henry 5th — Dr. Farmer says old lad of the castle, is
the same with old lad of Castile — a Castilian ; and no

argument that Falstaff was ever called Oldcastle

Dr. Farmer's explanation may well be questioned, but
on the supposition that it is correct, why may not
the words " my old lad of the castle" still allude to
the name of the person to whom they are addressed ?
— if they do not prove the point in dispute ; they
may surely be considered as a fair argument towards

a proof Dr. Farmer candidly gives a quotation

from Amends for Ladies a play by Field in 1639,
which seems to prove the contrary to his own opinion.

" Did you never see

" The play where the fat knight, hight Oldcastle,
" Did tell you truly what this honour was."

In the 2d part of Henry 4th Act 1st — Falstaff now
says to the Chief Justice — " Very well, my lord, very
«Well"— in the 4to. Edition of 1600 this speech
stands thus —

" Old. Very well, my lord, very well : — "

Theobald observes that this is a strong proof of the
tradition ; and that the play being printed from the
stage manuscript, Oldcastle had been all along
altered into Falstaff except in this single place by an
oversight ; of which the printers not being aware,
continued these initial traces of the original name.

In confirmation of Theobald's assertion, it may be
observed, that when the name of a character is

D. L. 1713-1714. 535

changed it happens not unfrequently that the original
name occurs in the course of the play — this is the
case in the Virtuous Wife— in the first scene one
female only is on the stage — some of her speeches
are given to Matilda and some to Jenny Wheedle-
in a Mad Couple well Matched, Thrivewell is called
Sir Valentine in the D. P., but never in the play-
in the play he is called Sir Oliver 5 times, and Sir
Anthony 4 times — similar mistakes occur in many
other plays — in the 3d act of the School for Grey-
beards 1786 Sebastian says " Don Philip has only
" to betray you" — there is no such character as Don
Philip — the name had been changed to Don Gaspar
—in the last scene of the same act Don Philip is said
to enter — yet the speech, which immediately follows
his entrance, is given to Don Gaspar — 3 subsequent
speeches with the exit are given to Don Philip — such
is the carelessness of an author and printer even in
modern times.

Steevens is unconvinced by Theobald's remark
and says — " Old. might have been the beginning of
" some actor's name : thus we have Kempe and
" Cowley instead of Dogberry and Verges in the 4to.
« Edition of Much ado about Nothing 1600."

But if some actor whose name began with Old had
played Falstaff, how happens it, that we have never
heard of him ?

In Act 3d Scene 2d Shallow says — " Then was
" Jack Falstaff, now Sir John, a boy and page to
" Thomas Mowbray Duke of Norfolk" — Reed quotes
a poem in which Sir John Oldcastle says he was page

to Sir Thomas Mowbray Steevens will not allow

that this coincidence proves any thing — he talks of

536 D. L. 1713-1714.

the credulity of Field, Fuller, and others ; and at-
tempts to draw from the quotation a conclusion
favourable to his own opinion. — (Note. An eminent
Divine observes " when men aim at being thought
" wiser and more knowing than others, and labour
" to possess the world with an idea of their sagacity ;
" they can have no satisfaction in any opinion that is
" commonly received in the world, for how will they
" appear wiser than other men by professing to believe
" what other men believe as well as they ? give them
" any thing that looks like a new discovery, and they
" will struggle hard with their reason, but they will
" find something to say in defence of it.")

In the Epilogue Shakspeare says — " If you be not
" too much cloy'd with fat meat, our humble author
" will continue the story, with Sir John in it, and
" make you merry with fair Katharine of France :
" where, for any thing I know, Falstaff shall die of
" a sweat, unless already he be kill'd with your hard
" opinions ; for Oldcastle died a martyr, and this is

" not the man " this (says Theobald) looks like

declining a point, that had been made an objection
to him — Unless Falstaff was originally called Old-
castle it will be very difficult to assign a sufficient
reason why Shakspeare should mention Oldcastle at
all in his Epilogue—

What was he to Oldcastle, or Oldcastle to him ?

Or how could Falstaff suffer from the hard opinions
of the audience, because the character of Oldcastle
had been misrepresented in an obscure play ?

Steevens says there is an absolute certainty that
the old Henry 5th must have been condemned by any
audience before whom it was represented — sup-

D. L. 1713-1714. 537

posing this to be the case, and that Falstaff, as he
argues, was always called Falstaff, is it probable that
the author of Sir John Oldcastle should think it
necessary to write an explanatory Prologue ? would
a piece that was damned induce him to call the title
of his own play doubtful? in the old Henry 5th, Old-
castle is one of the Prince's loose companions, but
he does not say or do any thing, which could occasion
the writer of the Prologue to call him a glutton, and
an aged counsellor to sin — his age is not specified,
and he is so far from being a prominent character,
that he only speaks about 34 lines.

On the supposition that the popular character of
Falstaff was originally called Oldcastle, an explana-
tion was requisite.

Sir John Oldcastle obtained his peerage by marry-
ing the heiress of Lord Cobham — for renouncing the
spiritual dominion of the Pope and exposing the vices
of the clergy, he was burnt as a heretic ; thus he fell
a sacrifice to unfeeling rage and barbarous supersti-
tion, tho' every way qualified to be the ornament of

his country the author of the 1st part of Sir John

Oldcastle has done him justice — Malone in his 1st
note says that Oldcastle was engaged in a traitorous
design against Henry 5th — this and other calumnies
were laid to the charge of Oldcastle — but Fox in the
1st Vol. of his Acts and Monuments, has given us a
very laboured and satisfactory vindication of him.
( Gilpin.)

Such being the real character of Oldcastle, serious
Protestants would naturally be offended at the gross
liberties, which Shakspeare had taken with him.

The Dancer who speaks the Epilogue to Henry 4th

538 D. L. 1713-1714.

part 2d says — "I was lately here in the end of a dis-
" pleasing play " — Steevens thinks it highly probable
that the play alluded to was the old Henry the 5th,
but he does not give the shadow of a reason why this
was highly probable.

In 1779 2 Vols of Old Plays were printed with the
following advertisement— " Mr. Steevens being of
" opinion that these 6 dramatic pieces, which have
" been occasionally quoted in the notes to the last
" edition of Shakspeare, are requisite in an entire
" state to his illustration ; I have undertaken to pub-
" lish them without departure from the original copies:
" their claim to be preserved is built on their having
" suggested such plans as his superiour genius and
" judgment enabled him to improve &c.

J. Nichols."

One of these plays is Henry the 5th — which is a
poor play, but not so bad as Steevens represents — if
it had been still worse, this circumstance alone would
not have authorized Steevens to pronounce with cer-
tainty, that it must have been damned — he allows
that Shakspeare seems to have taken not a few hints
from it, and that it comprehends in some measure
the story of the 2 parts of Henry the 4th as well as

of Henry the 5th in the old play the Prince's

companions are Tom, Ned, arid Sir John Oldcastle—
Gadshill is the Prince's man and a thief — Shakspeare
borrows the name of Gadshill — he calls Poins Ned,
and why should it be thought improbable that he
should use the name of Oldcastle, till that name gave
offence ?

Shakspeare (as Dr. Warburton remarks) was not
scrupulous — in the Merry Wives he calls his French

D.L. 1713-1714. 539

quack Caius, a name at that time very respectable,
as belonging to an eminent arid learned Physician,
one of the founders of Gonvil and Caius College in
Cambridge.

Dr. Johnson observes on the Courtship between
Henry 5th and the Princess Katharine — " I know
" not why Shakspeare now gives the King nearly
" such a character as he made him formerly ridicule
" in Percy " — the reason probably was this, that
Shakspeare met with a similar scene in the old play
—the King says—

" I cannot do as these Countries do,
" That spend half their time in wooing :
" Tush wench, I am none such.
" But wilt thou go over to England ? "

It appears from the Bills that Booth's name was
not inserted in the License, when the Theatre opened
for this season — Dogget acted Sir Tristram Cash on
Nov. llth, and probably Hob on the 20th- there can
scarcely be a doubt, but that he had left the stage on
Dec. 18, when Johnson played Savil — Colley Cibber
says that the new License was issued about the begin-
ning of the Winter — Dogget returned to the stage for
3 nights in 1717 — see D. L. March 18 — For his coat
and badge see D. L. Aug. 1 1716.

As an actor Dogget was an original and the strictest
observer of nature of any of his contemporaries ; he
borrowed from none of them, his mariner was his

540 D L. 1713-1714.

own : he was a pattern to others, whose greatest
merit was, that they had sometimes tolerably imitated
him : in dressing a character to the greatest exactness
he was remarkably skilful ; the least article of what-
ever habit he wore seemed in some degree to speak
and mark the different humours he presented : he
could be extremely ridiculous without stepping into
the least impropriety to make him so : his greatest
success was in characters of lower life — in songs arid
particular dances too of humour he had no competitor:
Congreve was a great admirer of him, and in the
parts of Fondle wife and Ben no author and actor
could be more mutually obliged than they were—
(Cibber) — besides these two characters Downes par-
ticularly commends him in the Jew of Venice and
Solon in the Marriage-hater Matched.

Anthony Aston says " Dogget attempted to play
" Phorbas in CEdipus, but when he said ' Oh I wish
" Phorbas had perished in that very moment ' the
" audience burst into a loud laughter, and Dogget's
" progress in Tragedy was stopt from that time —
" Cibber was likewise hissed in that character a few
" nights after — Dogget was the most faithful and
" pleasing actor that ever was, for he never deceived
" his audience, because while they gazed at him, he
" was working up the joke, which broke out suddenly
" in involuntary acclamations and laughter — he was
" the best face painter and gesticulator — and a tho-
" rough master of several dialects — tho' ignorant of
" the Scottish dialect he was a most excellent
" Sauny.

" Dogget in person was a little, lively man — in
" behaviour he was modest, cheerful, and complaisant

D.L. 1713-1714. 541

" — he sung in company very agreeably, and in
" public, very comically — he danc'd the Cheshire
" Round full as well as the fam'd Captain George,
" but with much more nature and riimbleness — I
" have had the pleasure of his conversation for one
" year, when 1 travelPd with him in his strolling com-
" pany, and found him a man of very good sense,
" but illiterate ; for he wrote me word thus — Sir,
" I will give you a hole instead of (whole) share — he
" dress'd neat, and something fine — in a plain cloth
" coat, and a brocaded waistcoat — but he is so recent,
" having been so often at Bath — satis est. * * *—
" while I travelPd with him, each sharer kept his
" horse, and was every where respected as a gentle-
" man."

Dogget died the latter end of Oct. 1721 — he was
buried at Eltham.

Doggers characters.

T. R. 1691. *Deputy Nicompoop in Love for
Money.

1692. *Batto in Regulus— * Solon in Marriage-
hater — *Bertrard in Henry 2d — *Col. Hackwell Sen.
in Volunteers— *Lord Malapert in Maid's last Prayer.

1693. * Fondle wife — * Quickwit in Richmond
Heiress — * Witless in Female Virtuosoes — * Sir Paul
Plyant — *Sancho in Love Triumphant.

1694. *Thornback in Married Beau — *Sancho in
Don Quixote 1st part— *Fernando in Fatal Marriage

- Dash in Canterbury Guests.

542 D. L. 1713-1714.

L. I. F. 1695. *Ben in Love for Love.

1696. *Hob in Country Wake— *Vaunter in She
Gallants—* Squire Wouldbe in She Ventures and he
Wins — * Sapless in Lover's Luck.

D. L. 1697- *Mass Johnny in Woman's Wit-
*Lory — *Guzman in Triumphs of Virtue — *Bull
Senior in Plot and no Plot — *Collin in Cinthia and
Endimion — *Learchus in JSsop.

1698. -v

1699. > Seemingly not engaged.

1700. J

L. I. F. 1701. *Jevv of Venice— * Sir Testy Dolt
in Lady's Visiting Day.

1702. *Sancho in Stolen Heiress.

1703. *Taquilet in Love Betrayed— *Sir Abel Single
in As you find it.

1703-1704. *Nicodemus Somebody in Stage Coach
— Savil in Scornful Lady — Sir Arthur Addell in Sir
Solomon — Sir Hugh Evans — * Squire Trelooby in
ditto — Barnaby Brittle— Gomez.

D. L. 1704-1705. Sir Nicholas Cully in Comical
Revenge — Polonius — Sir Oliver Cockwood in She
wou'd if she cou'd.

Hay. 1705-1706. *Moneytrap — *Sancho in Mis-
take.

1706-1707—1707-1708. Not engaged.

D. L. 1708. Engaged to act 6 times.

1708-1709. Not engaged— he acted for Betterton's
benefit.

Hay. 1709-1710. Marplot— Tom Thimble in Re-
hearsal— *Num in Man's Bewitched — Tipkin in
Tender Husband — Dapper in Alchemist — Serjeant
Eitherside in Edward 3d — 1st Gravediggerin Hamlet.

D. L. 1713-1714. 543

D. L. and Hay. 1710-1711. 1st Witch— *DonPer-
riera in Marplot — *Postscript in Generous Husband
—* Young Scrape in Injured Love.

D. L. 1711-1712. Toby in Madam Fickle— * Sir
Tristram Cash in Wife's Relief.

1712-1713. *Major Cadwallader in Humours of
the Army.

Dogget probably acted Shallow in Betterton's alte-
ration of Henry 4th. (Davies.)

* Originally.

Mrs. Bradshaw seems to have left the stage at the
close of this season — Curll in 1741 says — " She was
" taken off the stage, for her exemplary and prudent
" conduct, by Martin Folkes Esq. a Gentleman of a
" very considerable estate, who married her, and
" such has been her behaviour to him, that there is
" not a more happy couple" — Gildon speaks highly
of her, and says that her maxim was to make herself
mistress of the words of her part and leave the rest
to nature — she came on the stage as a girl — she
spoke the Prologue to Royal Mischief in 1696, and
acted one of Hercules' children in the 3d act of No-
velty 1697-

Mrs. Bradshaw's characters — selection only.

L. I. F. 1703-1704. Anne Page.

Hay. 1705-1706. *Corinna in Confederacy.

1706-1707. Violante in Sir Courtly Nice— Mrs.
Clerimont in Tender Husband — Arabella in London
Cuckolds— Anne Bullen in Henry 8th — *Dorinda in

544 D. L. 1713-1714.

Beaux' Strategem — Angelica in Constant Coupl<
Ophelia — Emilia in Fond Husband — Melissa in Shad-
well's Timon — Margaret the Shrew in Sauny the
Scot — Lady Galliard in City Heiress — Julia in
Dutchess of Malfy — Rosalinda in Sophonisba.

1707-1708. * Sylvia in Double Gallant.

D. L. 1708. Angelina in Love makes a Man — 1st
Constantia — Araminta in Old Batchelor — Lady Shar-
lot in Funeral — Mourning Bride — Selima in Tamer-
lane— Charlotte Welldon in Oronooko.

1708-1709. Estifania— Desdemona — Ruth in Com-
mittee— Cordelia — Lady Percy — Angelica in Game-
ster— Celia in Humorous Lieutenant — Alithea in
Country Wife— Hellena in Rover — Cressida.

1709-1710. Rutland — Monimia — Angelica in Love
for Love — Betty Frisque in Country Wit — Flippanta
— *Elfrid in ditto — Abra-Mule in ditto — Lucina in
Valentinian — Leonora in Mistake — Lavinia in Caius
Marius — * Arabella Zeal in Fair Quaker — Woman
Captain — Imoinda — Portia in Julius Caesar.

Hay. and D. L. 1710-1711. Elvira in Spanish
Fryar — Lady Harriet in Funeral — * Mademoiselle
Joneton in Marplot — Portia in Jew of Venice — Isa-
bella in Fatal Marriage.

1711-1712. Madam Fickle in ditto.

1712-1713. Alcmena in Amphitryon — Marcella in
Don Quixote.

* Originally.

D. L. 1714-1715. 545

D. L.

In consequence of the Queen's death in the Sum-
mer, the License was to be renewed — as Collier had
made the last penny of the Managing Actors they
felt themselves under no obligations to him ; and as
they knew they must pay the £700 a year he had
levied on them, to some person, they wished to pay
it to Steele in preference to any body else, since the
stage was under obligations to him for his writings,
there being scarcely a Comedian of merit, who had
not been recommended to the Public in the Tatler ;
and the house had been frequently filled by the in-
fluence of his pen — they therefore wished him to get
the License renewed with his own name inserted in
it, instead of Collier's — this Steele easily obtained
through the Duke of Marlborough — (Gibber) — on
the change of the Ministry Collier became a non-
entity.

On Oct. 18 a new License was granted to Steele,
Wilks, Gibber, Dogget and Booth.

On Dec. 18 the new theatre in L. I. F. was
opened — in consequence of this the Managing Actors
represented to Steele, that as he now stood in Col-
lier's place, his pension of £700 per Ann. was liable
to the same conditions that Collier had received it
upon — which were, that it should be payable only
during their being the only company permitted to
act, but in case another should be set up against them,
that then his pension should be liquidated into an
equal share with the other persons concerned in
the License — while they were offering to proceed

VOL. II. N N

546 D.L. 1714-1715.

Steele stopt them short, hy assuring them, that as he
had come among them by their own invitation, he
should always think himself obliged to come into any
measures for their ease and service— he also told
them that he had reason to think he could get the
License (which subsisted only during pleasure) en-
larged into a more ample and durable authority — this
was a prospect beyond their hopes, and what they
had long wished ; for tho' they had no reason to com-
plain of the personal severities or behaviour of any
one Lord Chamberlain, yet the several officers under
him, who had not the hearts of Noblemen, had often
treated them with that insolence of office, which
narrow minds are apt to be elated with j and a Pa-
tent they knew would free them from this abject
state of dependence — they therefore desired Steele to
lose no time in making his applications — Steele said
to them he had reason to think a Patent would be
more easily obtained, if they were willing that it
should be granted to him only, for his life arid 3
years after ; he promised that he would then assign
it over to them in conjunction with himself — to this
they assented ; and in a few days Steele told them
that his Majesty being apprized that others had a joint
power with him in the License, it was expected
that they should under their hands signify that his
petition for a Patent was preferred by the consent
of them all — such an acknowledgment was imme-
diately signed, and the Patent was thereupon passed.
(Gibber. }

Steele in 1719-1720, having a dispute with the
Lord Chamberlain, published a State of the Case, in
which he inserted a copy of his Patent — the Patent

D. L. 1714-1715. 54?

is dated Jan. 19th in the 1st year of our reign — that
is in 1714-1715 — here we have another striking proof
of Gibber's inaccuracy as to dates — he says they re-
ceived the Patent Jan. 19 1718.

Sep. 21. Recruiting Officer 23. Old Batchelor.

24. Pilgrim.

Oct. 5. Indian Emperour 6. Jovial Crew.

7. Othello 9. Julius Csesar 11. Constant

Couple.

12. Sir Solomon 13. Oronooko.

14. Not acted 3 years, Love's last Shift.

15. Richard the 3d 19. Feigned Innocence.

20. No play on account of the Coronation.

22. Double Gallant. Clarinda = Mrs. Mountfort :
Sylvia = Mrs. Santlow: Lady Sadlife = Mrs. Bicknell.

25. Rule a Wife 27. Silent Woman.

26. Unhappy Favourite. Essex =Booth.
Nov. 3. Venice Preserved. Jaffier = Booth.
9. Scornful Lady— -12. Fatal Marriage.

15. Spanish Fryar. Dominic = Bullock : Gomez
= Norris : Torrismond = Booth : Lorenzo = Wilks :
Bertran = Mills : Queen = Mrs. Porter : Elvira = Mrs.
Oldfield.

16. Lancashire Witches— —18. Albion Queens.

19* Emperour of the Moon — revived at the parti-
cular desire of several persons of Quality — no cha-
racters.

24f. Love makes a Man. Louisa = Mrs. Rogers:
Angelina = Mrs. Santlow: Elvira = Mrs. Porter.

27. Man of the Mode. Old Bellair =r Norris : Young
Bell air = Bullock Jun. : Harriet = Mrs. Mountford :
Lady Woodvil = Mrs. Knight.

29» Squire of Alsatia.

NN 2

,548 D. L. 1714-1715.

30. Love for Love. Ben = Griffith from Ireland.

Dec. 2. Comical Revenge. Widow — Mrs. Oldfield.

6. Committee. Teague = Griffith : Careless =
Booth : Blunt = Mills : Obediah = Johnson : Day =
Norris : Abel =. Bullock : Mrs. Day = Mrs. Knight :
Ruth = Mrs. Mountford : Arbella = Mrs. Porter.

16. Wonder 17. Royal Merchant.

18. King Lear. Lear— Booth: Cordelia = Mrs.
Santlovv.

22. Not acted 9 years, Island Princess — no cha-
racters.

From Dec. 22 to 27 there are no bills for either
Theatre — no reason is assigned for this omission.

Jan. 5. Marriage a-la-Mode. Rhodophilm Booth:
Melantha = Mrs. Bicknell : Florimel = Mrs. Mourit-
fort : — rest as usual.

6. Committee. Teague = Bowen.

12. Island Princess. Pinkethman performing his
own part.

14. jEsop. Quaint and Sir Polydorus Hogstye =
Pinkethman : with Country Wake.

15. Othello. Othello = Booth: lago = Cibber:
Cassio — Wilks : Roderigo = Bowen : Desdemoria =
Mrs. Porter: jEmilia^Mrs. Saunders.

22. Hamlet. Hamlet = Wilks : Ghosts Booth:
King = Evans from Ireland : Gravedigger = Johnson :
Queen = Mrs* Porter : Ophelia = Mrs. Mountfort.

24. Julius Caesar. Brutus = Booth : Antony =
Wilks : Cassius = Elrington from Ireland : Julius
Csesar = Mills : Casca is omitted : Portia = Mrs.
Porter.

25. Pinkethman's bt. Love makes a Man. Louisa
=. Mrs. Porter : Elvira = Mrs. Mountfort.

D. L. 1714-1715. 549

26. Recruiting Officer. Kite = Evans.

29. Sir Courtly Nice.

Feb. 3. Spanish Fryar = Evans : Torrismond —
Elrington.

4. Never acted, Country Lasses, or the Custom of
the Manor. Modely = Wilks : Hear tvvel I = Booth :
Freehold = Mills : Sir John English = Johnson :
Lurcher (his nephew) = Bickerstaffe : Tim Shackle-
figure (Sir John's steward) =. Norris : Doublejugg
(his butler) = Birkhead : Vultur — Quin : Carbuncle
= Cross : Sneak = M iller : Longbottom — Bowman
Jun. : Aura = Mrs. Santlow : Flora = Mrs. Mount-
fort : — acted about 4 times — Flora and Aura pretend
to be Country Lasses, and to be a part of Freehold's
family — Heartwell and Modely fall in love with them
— Heartwell marries Flora — he is told that it is the
Custom of the Manor, for the Lord of it to have
the privilege of a husband on the first night, when the
daughter of one of his tenants is married — Heartwell
is highly incensed, till he is informed that he is him-
self the Lord of the Manor, as having married Flora
to whom the Manor belonged — this part of the plot is
founded on Fletcher's Custom of the Country — in the
4th act Modely is making love to Aura with too
much violence — Freehold enters with two thrashers
—they seize Modely — Aura runs off — Freehold tell
Modely that Aura's lover shall call him to an account
for his behaviour to her — Aura, disguised as a man,
fights with Modely — she pretends to be killed —
Modely is taken into custody — in the last scene Aura's
sex is discovered — she and Modely agree to marry,
if they should continue to like one another at the end
of two years — in the modern editions of the play

,550 D.L. 1714-1715.

months are substituted for years— there is an impor-
tant underplot — Lurcher passes himself on Sir John
for a nobleman — his creditors are disguised as his
servants — in the night they bind Sir John and his
family — Sir John is told that his guest has been
robbed of £400 — he secretly makes up the loss— at
the conclusion, Lurcher acknowledges the trick .he
had put on his uncle, and obtains his pardon — this is
on the whole a good C. — particularly in the character
of Freehold — the robbery is taken from A Mad World
my Masters — (see the 5th vol. of Dodsley 1744)—
it had been before made use of by Mrs. Behn ; but it
is clear that Charles Johnson borrowed from the ori-
ginal play, and not from Mrs. Behn, as there is no
such character in the City Heiress as the running
footman — besides he sometimes copies the very words
from Middleton — see Lady of the Manor at C. G.
Nov. 23 1778— and Farm House at D. L. May 2
1789.

Feb. 10. Humorous Lieutenant.

12. Henry 4th part 1st Falstaff= Evans: Hot-
spur = Elrington : King = Mills : Prince of Wales =
Wilks : Carriers = Johnson and Pinkethman : Kate
= Mrs. Santlow : Hostess = Mrs. Willis.

15. Amorous Widow. Barnaby Brittle = Bowen :
Philadelphia = Miss Younger.

19. Distressed Mother. Orestes = Elrington.

21. Caius Marius. Old Marius = Mills : Young
Marius := Booth: Sylla = Elrington : Granius — Ryan :
Sulpitius = Bickerstaffe : Ruffian and Apothecary =
Pinkethman : Lavinia — Mrs. Porter : Nurse = Mr.
Norris.

22. Funeral, Lady Brumpton = Mrs. Mountfort :

D. L. 1714-1715. ,551

Lady Harriets Mrs. Santlow: Kate Matchlock — Mr.
Miller.

23. Jane Shore with, never acted, What d'ye call
it. Squire Thomas (Sir Roger's son) = Johnson :
Jonas Dock = Pinkethman : Peter Nettle = Norris :
Sir Roger =MilIer : Steward = Quin : Sir Humphry
= Cross : Justice Statute = Shepherd : Ghost of a
child unhorn = Norris Jun.: Kitty (the Steward's
daughter, alias Kitty Carrot) = Mrs. Bicknell : Dor-
cas (Peascod's sister) = Mrs. Willis Sen. : Joyce
(Peascod's daughter left upon the parish) = Miss
Younger : Aunt = Mrs. Baker: — Sir Roger enjoyns
his Steward to make a play for him at Christmas—
the Steward writes the play in such a manner that
Squire Thomas, who is to act Thomas Filbert,
should marry Kitty Carrot — he contrives to have
them really married — this is a happy thought as the
Squire had debauched Kitty — the play is a good bur-
lesque Tragedy — the parts of Timothy Peascod and
the Sergeant are played by Jonas Dock and Petei*
Nettle — Peascod is to be shot for a deserter — he
obtains a reprieve — Filbert is sent by the Justices
for a soldier — Kitty in a fit of madness or despair
says —

" Bagpipes in butter, flocks in fleecy fountains,
" Churns, sheep-hooks, seas of milk, and honey
" mountains."

These lines are in ridicule of Belvidera's —

" Murmuring streams, soft shades, and springing

" flowers,
44 Lutes, laurels, seas of milk, and ships of

" amber."

552 D. L. 1714-1715.

Filbert is discharged — he and Kitty go off to be
married — this Tragi-Comi- Pastoral Farce was written
by Gay — a 3d edition of it was printed in 1716.

25. Chances. Don John — Wilks : Antonio = Pin-
kethman : Duke = Booth: 1st Cons tantia = Mrs.
Porter: 2d Constantia — Mrs. Oldfield.

28. Tender Husband. Aunt = Mrs. Saunders.

March 8. Love for Love. Ben = Bickerstaffe.

14. Mrs. Porter's bt. Orphan. Castalio — Wilks :
Chamont = Mills : Polydore = Booth : Chaplain =
Gibber: Monimia = Mrs. Porter : Serena = Mrs.
Santlow.

19. Johnson's bt. Volpone and What d'ye call it.

21. Elrington's bt. Mithridates. Mithridates =
Elrington : Ziphares = Wilks : Pharn aces = Booth :
Aquilius = Evans : Semandra = Mrs. Oldfield : Mo-
nima = Mrs. Santlow : — Booth by Powell's death suc-
ceeded to the character of Pharnaces — so late as
Dec. 13 1711 he acted Aquilius a part of 27 lines —
Theophilus Cibber in his life of Booth says — " that
" Wilks, Cibber and Booth when Managers often
" acted inferiour parts, thereby setting a good example
" to the other performers — such was the policy of
" those times — these great men had judgment enough
" to know that a good actor could show himself a
" master of his profession in many a character that
" has since been despised by some who are far be-
" neath them in merit : and indeed so conscious of
" their weakness (notwithstanding all their parade)
" that they never venture to appear but in the most
" shining characters, the beauties of which support
" the actor, and place him in the most advantageous
" light, while they prudently decline any other, where

D. L. 1714-1715. 553

" it is necessary for the actor to help to support the
" part — Mr. Gibber, though justly esteemed the first
" Comedian of his time, and superiour to all we have
" since beheld, has played several parts (to keep up
" the spirit of some Comedies) which you will now
" scarcely find one player in twenty, who will not re-
" ject, as beneath his Mock-Excellence."

March 28. Evans' bt. Virtue Betrayed. Henry
8th — Evans : Piercy = Wilks : Wolsey = Cibber :
Rochford = Mills : Anna Bullen = Mrs. Oldfield :
Lady Eliz. Blunt = Mrs. Porter : Princess Elizabeth
by the little child.

April 2. Pinkethman's bt. Epsom Wells. Woodly
= Wilks: Bevil = Mills: Fribble = Pirikethman :
Bisket = Norris : Justice Clodpole = Johnson : Mrs.
Woodly = Mrs. Bignall : Carolina = Mrs. Oldfield :
Lucia = Mrs. Porter : Mrs. Bisket = Mrs. Saunders :
— rest omitted.

4. Mrs. Saunders' bt. Man of the Mode. Sir
Fopling = Cibber : Dorimant = Wilks : Medley =
Mills : Old Bellair = Pinkethman : Young Bellair =
Booth : Shoemaker = Bowen : Mrs. Loveit = Mrs.
Oldfield : Belinda = Mrs. Porter : Pert = Mrs. Bignall.

19. Bickerstaffe's bt. Strategem. Boniface =
Evans : Sullen = BickerstafFe : Dorinda = Mrs. Mount-
fort : — rest as usual.

20. Never acted, Lady Jane Gray. Lord Guil-
ford Dudley =. Booth : Pembroke = Elrington : Gar-
diner Bishop of Winchester = Cibber : North umber-
land = Mills: Suffolk = Boman : Sussex — Ryan:
Lieutenant of the Tower— Quin : Sir John Gates =
Shepherd : Lady JaneGray = Mrs. Oldfield : Dutchess

554 D. L. 1714-1715.

of Suffolk =: Mrs. Porter : — this T. on the whole does
Rowe great credit — he represents Lady Jane as not
married till after the death of Edward the 6th — this
deviation from the real fact may perhaps be excused,
but no excuse can be admitted for his making of
Pembroke in love with Lady Jane — Pembroke's son
was married or contracted to Lady Jane's sister.

Rowe died in 1718 — he wrote 7 Tragedies and
one Comedy — his Fair Penitent and Jane Shore are
superiour to any Tragedy that has been written since
that time.

April 30. Bowen's bt Constant Couple. Sir
Harry Wildair = Wilks : Standard = Mills : Smug-
gler = Johnson : Clincher Senior = Bowen : Clincher
Junior = M iller : Dicky = Norris : Lady Lurewell =
Mrs. Oldfield : Angelica = Mrs. Santlow : Parly =
Mrs. Saunders.

May 3. For the bt. of Ryan and Miss Younger.
Cato.

5. For bt. of Mrs. Centlivre. Busy Body with a
Farce in one act, called the Custom of the Country
—no characters — the Editor of the B. D. says this
Farce was Bickerstaff's Burying with a new title —
which is highly probable — but the rest of the account
in the B. D. is very incorrect.

7. For bt. of Miller arid Mrs. Cox. Double Gal-
lant. Old Wilfull = Miller.

10. Quin's bt. Wit without Money and School
boy — no characters — Wilkinson says Quin acted the
small part of the Lieutenant of the Tower (in Lady
Jane Gray, or Richard the 3d) with so much pro-
priety, that it first recommended him to public notice

D. L. 1714-1715. 555

—and observes that a performer will never convert
an audience to a belief, that he is worthy to be trusted
with a hundred or a thousand lines, if he does not
speak six- with great care, attention and propriety ;
but that when a young actor disliking the part
allotted him, or thinking it not of sufficient conse-
quence, is negligent of his duty, he is certain to incur
the censure of every judicious spectator.

Quin's 1st appearance on the stage was at Smock
Alley in Abel in the Committee — he also acted Cleon
in Shadwell's Timon of Athens and the Prince of
Tanais in Tamerlane. Chetwood was the first who
persuaded him not to smother his talents in Ireland
(where at that time there was no great encouragement
for merit) but to try his fortune in London — whither
Chetwood, by his kind recommendation, soon after
followed him. (Chetwood)

12. For the author, Lady Jane Gray. 10th and
last time.

17, Forbt. of Boman and Mrs. Baker. Jane Shore.

18. Not acted 6 years, Country Wife. Hornem
Wilks : Pinchwife = Booth: Sparkish = Cibber : Sir
Jasper Fidget = Norris : Harcourt = Mills : Dorilant
=rRyan : Margery = Mrs. Bignall : Lady Fidget =
Mrs. Saunders : Alithea = Mrs. Santlow : Mrs.
Dainty Fidget = Miss Younger : Mrs. Squeamish =
Miss Willis : Lucy is omitted.

20. She wou'd and She wou'd not. Trappanti =
Pinkethman : Don Manuel = Cibber : Don Philip =
Booth : Octavio = Mills : Soto is omitted : Diego =
Norris : Hypolita = Mrs. Mountfort : Flora = Miss
Younger : Viletta = Mrs. Saunders : Rosara = Mrs.
Santlow.

556 D. L. 1714-1715.

24. For bt. of Miss Willis. Careless Husband.
Lady Graveairs = Mrs. Mountfort.

27. For bt. of Mrs. Mills. Hamlet. King =
Bickerstaffe : Horatio = Mills : Laertes = Ryan : —
rest as before — with singing by Miss Booth.

31. Love's last Shift. Sir Novelty = Gibber:
Loveless = Wilks : Elder Worthy = Ryan : Younger
Worthy = Mills: Snap = Norris : Narcissa = Mrs.
Oldfield : Amanda = Mrs. Porter : Hillaria = Mrs.
Bicknell : Flareit = Mrs. Saunders.

June 2. Constant Couple and Custom of the
Country.

3. Before the Prince— For D'Urfey's bt. — Court
Gallantry, or Marriage a-la-Mode —before it an Ora-
tion on the Royal Family and the prosperous state of
the nation, written and spoken by D'Urfey, being his
2d appearance.

6. For bt. of Shepherd and Mrs. Horton. Jovial
Crew. Oldrents = Shepherd : Hearty = Cross : Clack
= Norris : Vincent = Ryan : Hilliard is omitted :
Oliver = Booth : Springlove = M ills : Randal = John-
son : Tallboy = Miller : Rachel = Mrs. Bignall : Meriel
= Mrs. Santlow : Amie = Mrs. Horton : with Country
Wake.

Shepherd was probably the actor who played in
Pinkethman's Theatre at Greenwich in the Summer
of 1710.

Mrs. Horton was one of the most beautiful women
that ever trod the stage : the first notice that was
taken of her was at Windsor in the Summer of 1713;
where she acted Marcia in Cato, in a company of

miserable strollers, who were drawn thither on account

f

of Queen Anne's making it the place of her resi-

D. L. 1714-1715. 557

dence several months in the year — Cato and his
Senate met with little respect from the audience ; and
poor Juba, was so truly an object of ridicule, that
when he cried out in a transport of joy, on hearing
Marcia's confession of her passion for him, " What
" do I hear ?"— Lord Malpas, wilfully mistaking the
actor, loudly said from behind the scenes, Upon my
wordy Sir, I do not know : I think you had better be
any where else : — and this joke is said to have put an
end to the play — however Mrs. Horton was so supe-
riour in merit to the rest, and so attractive in her
person, that she was soon after very powerfully recom-
mended to the Managers of D. L. who engaged her
at a moderate salary — such is the account which
Davies gives us — Victor says, that Booth seeing her
act Cupid, in a Droll called Cupid and Psyche in
South wark Fair 1714, and being pleased with her
performance, brought her to D. L. the year after,
when she made her 1st appearance in Melinda in the
Recruiting Officer.

June 10. For bt. of Chetwood Prompter and King
Box-keeper. Tempest — last play this season.

17. For the bt. of the Young Persons who perform
the play. Don Carlos. Don Carlos = Young Mills :
King = Young Bom an : Don John = Young Ray :
Queen = Miss Younger : Dutchess of Eboli = Miss
Willis : — with a Prologue by the child who acted the
Princess Elizabeth.

Summer.
Greenwich Park, not acted 6 years, was advertised

D. L. 1714-1715.

for June 21, but put off till 24, on account of the hot
weather.

28. Bartholomew Fair. Cokes = Miller : Quarlous
= Mills : Waspe = Johnson : Busy — Bickerstaffe :
Overdo = Shepherd : Edgworth = Ryan : Littlewit =
Norris : Win wife = Quin : Ursula = Mr. Cross : Win.
Littlewit = Mrs. Saunders: Mrs. Wellborn = Miss
Willis.

July 1. Greenwich Park. Young Reveller = Mills :
Sir Thomas Reveller = Miller : Raison = Johnson :
Sassafras = Shepherd : Florella = Mrs. Porter : Do-
rinda = Mrs. Horton : Mrs. Raison = Mrs. Saunders.

6. Sir Martin Marrall and Custom of the Country.

8. Lancashire Witches— —12. Tempest.

15. Greenwich Park. Florella = Miss Younger.

19. Not acted 10 years, Indian Queen — no charac-
ters— acted 3 times.

26. Not acted 6 years, Flora's Vagaries — no cha-
racters.

Aug. 5. Not acted 10 years, Bonduca — no charac-
ters.

9. Bonduca with a new Farce called the Contri-
vances, or More ways than One — no characters—
Captain Rovewell is in love with Arethusa, the
daughter of Argus — Argus means to marry her to
Squire Cuckoo — Rovewell gains admission into Ar-
gus' house as the Squire's Sister — Argus discovers
him — Robin enters disguised as a lawyer, and with
some soldiers — while he is talking to Argus, the sol-
diers get between him and the house — Robin trips
up his heels — the soldiers blindfold and gag him —
Rovewell carries off Arethusa arid marries her — he
proves to be the son of a gentleman who was an old

D. L. 1714-1715. 559

friend to Argus — Argus is reconciled to his daughter
— this is a very good ballad Farce in one act by Carey
— it was acted 4 times.

19. Not acted 25 years, Surprisal — no characters
— the Surprisal was reprinted in

23. Bonduca 4th time — last play.

A Wife well Managed was printed, and probably
acted in 1715. Don Pisalto designed for Norris :
Father Bernardo = Shepherd : Teague = Miller :
Lady Pisalto — Mrs. Baker : Inis = Miss Younger : —
Lady Pisalto is in love with Father Bernardo — he is
in love with her — she writes him a letter of invitation,
and sends it by Teague — Don Pisalto gets the letter
from Teague — Lady Pisalto, in the dark, receives her
husband very kindly as Father Bernardo — Don Pi-
salto beats her and Inis soundly — Father Bernardo
finds Lady Pisalto asleep — she wakes — he kisses her
with ecstasy — Lady Pisalto and Inis beat him — Don
Pisalto shows his wife her letter — she begs pardon,
and he forgives her — this is a laughable Farce in one
act — the plot is taken from the Husband his own
Cuckold— (see L. I. F. 1696)— but Mrs. Centlivre
has improved what she has borrowed.

Powell died Dec. 14th, he was buried the 18th,
when his funeral was attended by all the male actors

,560 D. L. 1714-1715.

at D. L. (B. M.)~ Davies is so rash as to affirm
that he was alive in 1717, and that he had formerly
seen a playbill for his benefit dated that year — Powell
was brought up to the stage, his father being an actor
—his name stands to several parts as Powell Jun. —
Addison, in No. 40 of the Spectator, having spoken of
him as sometimes raising applause from the ill taste of
the audience, (that is by ranting) adds " I must do
" him the justice to own, that he is excellently formed
" for a Tragedian, arid when he pleases, deserves the
" admiration of the best judges ; as I doubt not but
" he will in the Conquest of Mexico, which is to be
" acted for his own Benefit to-morrow night April
" 17th 1711."

Powell's example ought to be a warning to all
actors not to be their own enemies — he had very good
natural requisites for the stage ; he was able to act
Comedy and Tragedy, and on Mountfort's death he
succeeded to most of his parts ; he seems to have
wanted nothing but industry and sobriety to have
made him the first actor of his time, Betterton ex-
cepted — but by being seldom sober, and frequently
imperfect, he lost himself to a great degree in the
estimation of the audience ; and had the mortification
of acting under the management of Gibber, whom
he had despised, and of Wilks, who was a successful
rival.

Booth told Gibber that he had been at one time
too great a lover of the bottle, but that having ob-
served what contempt and distress Powell had plunged
himself into by that vice he took up a resolution
(which he strictly observed) of utterly reforming it —

D. L. 1714-1715. 561

Chetwood says that Booth drank very hard at one
time, but it never marred his study or his stomach.

Powell's characters — selection only.

T. R. 1687. *Don Cinthio in Emperor of the
Moon.

1688. *Shamwell in Squire of Alsatia.

1690. *Muley Zeydan in Don Sebastian.

1691. *Edward 3d in ditto— *Palmer in Sir
Antony Love — *Ned Brag in Love for Money.

1692. *Col. Hackwell Jun. in Volunteers— *Gran-
ger in Maid's last Prayer.

1693. *Bellmour in Old Batchelor— "Torn Ro-
mance in Richmond Heiress — *Courtwitt in Very
Good Wife— -* Brisk in Double Dealer— * Carlos in
Love Triumphant.

1694. *Don Fernando and *Manuel in Don Quix-
ote 1st and 2d part — * Carlos in Fatal Marriage—
* Careless in Canterbury Guests.

1695. Old Batchelor— *Philaster as altered by
Settle.

1696. *Don Quixote in 3d part— *Aboan_-* George
Marteen in Younger Brother — *Caratach in Bonduca
altered.

1697. * Jack Rakish in Woman's Wit— * 'Worthy in
Relapse.

1698. Petruchio in Sauny the Scot — * Caligula in
ditto.

1699. Armusia in Island Princess — *Col. Standard
— *Achilles in ditto.

1700. Roderigo in Pilgrim.

VOL. II. O O

562 D. L. 1714-1715.

L. I. F. 1702. *Moneses— *Toper in Beau's Duel.

1703. *Lothario — *Drances in Love Betrayed.

1703-1704. Sir Courtly Nice— Sir Positive Atall
in Sullen Lovers — *Solymaii in Abra-Mule— Ford.

D. .L About June 1704. Volpone — Prospero—
Rashly in Fond Husband.

D. L. 1704-1705. *Lord Morelove in Careless
Husband.
1706-1707. Capt. Plume— -Peregrine in Sir Solomon.

1707-1708. CEdipus — Libertine— Macbeth — Sir
Philip Luckless in Northern Lass — Timori of Athens
— Piercy in Virtue Betrayed — Leon — Springlove in
Jovial Crew — King Lear — Sir Frederick Frolick in
Comical Revenge — Torrisrnond.

1708. Laertes — Alexander the Great — Mithridates
— Aurenge-Zebe — Cortez in Indian Emperor— Beau-
gard in Soldier's Fortune — King in Mourning Bride
— Elder Loveless in Scornful Lady — Macduff.

1708-1709. Ramble in London Cuckolds — Quar-
lous in Bartholemew Fair — Bellfort in Lancashire
Witches— Worthy in Recruiting Officer — Massinissa
in Sophonisba — Jupiter in Amphitryon — Essex-
Hotspur — Rains in Epsom Wells — Rollo in ditto—
Prince Prettyman — Surry in Henry 8th — Face in
Alchemist — Almanzor in Conquest of Granada-
Young Valere in Gamester — Humorous Lieutenant
— Pinchwife— Ventidius — Hector in Troilus and
Cressida.

1709-1710. Southampton in Unhappy Favourite-
Sir George Airy — Polydore— Cassius — *King in El-
frid — Warner in Sir Martin Man-all — Valentinian in
ditto — Silvio in Successful Strangers — Hamlet—
Caius Marius — *Rovewell in Fair Quaker — Otrante
in Maid in the Mill — Goswiri in Royal Merchant.

L. i. F. 1714-1715. 563

Greenwich Summer of 1710. Capt. Mizen — the
Rover — Dick in Confederacy.

D. L. 1710-1711. Cassio— Castalio.

1711-1712. Lord Bellamour in Madam Fickle—
Banquo — Henry 8th in Virtue Betrayed — Pharnaces
in Mithridates — Leontius in Humorous Lieutenant—
* Orestes — Falstaff in Henry 4th — John in Destruc-
tion of Jerusalem — Florio in City Politics — Cutter in
Cutter of Coleman Street.

1712.1713. *Wilmot in Humours of the Army-
*Portius in Cato.

1713-1714. Cecil in Albion Queens.

* Originally.

He also acted Capt. Anvil, and Palamede in Mar-
riage a-la-Mode.

L. I. F. 1714-1715. *

Christopher Rich had for some years employed
himself in rebuilding this theatre — as for the order of
silence, he seemed little concerned about it, while it
gave him so much uninterrupted leisure to indulge
his passion for architecture.

However reprehensible Rich's conduct had been as
Manager of D. L. yet still it must be allowed that a

o o 2

5(54 L i. F. 1714-1716.

more arbitrary stretch of power was never exercised,
than that by which he had been prohibited for so
many years from making use of the right given him
by his patent — on the accession of George the first,
this right was restored to him, but he did not live to
open L. I. F — it was opened by his son, John Rich,
who collected some Recruits, and seduced 7 or 8
actors in one day from D. L. — this circumstance
obliged the Managers of that theatre to postpone
many of their best plays — Wilks, Gibber, and Booth
had a great advantage on this occasion in being the
principal actors themselves, yet their dividends at the
end of the season did not amount to more than a
third of their usual profits — however they recovered
their loss the following year. (Gibber chiefly.)

In some theatrical accounts the Performers, who
go from one theatre to another, are frequently called
Deserters, which generally speaking is improper, for
no man can be said to desert a post, in which he is
not under an obligation to continue ; but on the pre-
sent occasion these 8 actors may be called Deserters
with propriety, for tho' they were under no legal obli-
gation to continue at D. L., yet they left that theatre
in a most unhandsome manner ; and no doubt any
one of them, if he had been discharged without notice,
would have considered himself as 111 used.

Gibber says— " The chief of these deserters were
" Keen, Bullock, Pack, Leigh son of the famous
" Tony Leigh, and others of less note : it is true they
" none of them had more than a negative merit, in
" being only able to do us more harm by leaving us
" without notice, than they could do us good by re-
" maining with us ; for though the best of them could

L. i. F. 17 J 4-171 5,

" not support a play, the worst of them hy their ah-
" sence could maim it, as the loss of the least pin in
" a watch may obstruct its motion."

The insolence with which Gibber speaks of Bullock
and Pack (to say nothing of Keen and Leigh) is too
bad — he is very liberal in his commendations of his
predecessors, but he does not speak well of any
of his Contemporaries cordially, except Dogget arid
Mrs. Oldfield.

Christopher Bullock and Spiller were certainly two
of the actors whom Gibber does not condescend to
mention by name — Cory and Knap might be the
others — Husband probably returned from Ireland —
it is clear that Gibber does not reckon Mrs. Rogers
and Mrs. Knight among the 7 or 8 deserters, as being
women — Mrs. Kent also left D. L.

Weekly Packet Dec. 18. This day the new play-
house in L. I. F. is to be opened and the Recruiting
Officer is to be acted by the Company that act under
the Patent; tho' it is said that some of the Gentlemen,
who have left D. L. for that service, are ordered to
return to their colours upon pain of not exercising
their lungs elsewhere]; which may in time prove of
ill service to the Patentee, that has been at vast ex-
pense to make his theatre as convenient for the re-
ception of an audience as can possibly be. (B.M.')

From this paragraph it seems highly probable, that
the Lord Chamberlain had threatened some of the
deserters with the weight of his authority — Gibber's
silence proves nothing to the contrary, as in more
than one instance he does not tell the whole truth.

The new theatre was finely decorated : the scenes
were new ; the stage was more extended than that

566 L. i. F. 1714-1715.

at D. L. and superbly adorned with looking-glasses
on both sides — a circumstance which Quin said was
an excellent trap to catch actresses, who admired
their own persons more than they attended to the
duties of their profession. (JDavies.)

By the company of Comedians under Letters Pa-
tent granted by King Charles the 2d.

Dec. 18. Recruiting Officer — no characters, or
names of the performers — John Leigh from Ireland
made his 1st appearance this evening in Plume — he
was a person of some education, with a particularly
agreeable form and genteel address, insomuch that he
gained the appellation of Handsome Leigh — a good
figure however was his principal merit as an actor.
( Chetwood )

Jan. 3. Orphan. ChamoritrrKeen.

4. Old Batchelor. Heartwell — Keen : Bellmour
= J. Leigh : Fondlewife = Bullock Jun. : Sir Joseph
Wittol = Bullock : Lsetitia^Mrs. Kent: Belinda =
Mrs. Cross: Silvia = Miss Schoolding : — afterwards
Mrs. Moreau. (Chetwood.}

Feb. 3. Oronooko. Oronooko = Keen : — with a
Farce in one act called the Slip — taken out of a Mad
World, my Masters — Trickwell = Bullock Jun. : Sir
Anthony Bounteous (his uncle) = Hall : Constable
= F. Leigh : Roger = Spiller : Gentleman = Cory :
Trick well's Companions =Knap, Bullock the youngest,
and Coker : — this is a very good Farce — Christopher
Bullock takes the robbery from Middleton, as Charles
Johnson does in the Country Lasses, and retains that
part of the original Comedy, about the pretended
players, which Johnson omits — the principal differ-
ence between the play and the Farce is, that Trick-

L. i. F. 1714-1715. 567

well does not return at the conclusion of the Farce,
and obtain his uncle's pardon — see a Mad World, my
Masters in the 5th vol. of Dodsley 1744 — this seems
to have been the first night of the Slip — the Country
Lasses came out the next evening at D. L. — it does
not appear whether C. Bullock was, or was not, aware
of Johnson's play — but he certainly played him a
slippery trick as to the Cobler of Preston — in his
preface to that Farce he says — " I cannot forbear
" giving my friendly advice to a certain author to set
" his invention at work, and let his next design be
" entirely new ; or perhaps my design may jump
" with his, and give it the Slip"

Feb. 9. Gamester with a Musical Entertainment
called the Beau Demolished.

10. The Medley composed of the Country House
— Slip — Beau Demolished and Country Wake— the
Medley was acted 5 times.

14. London Cuckolds.

16. Never acted, Perplexed Couple, or Mistake
upon Mistake. Sir Anthony Thin wit — Pack : Octavio
— J. Leigh : Morecraft (father to Leonora) —Bullock :
Crispin (servant to Octavio) = Spiller : Sterling =
Griffin : Uncle to Lady Thinwit=: Schoolding : Leo-
nora =. Mrs. Cross: Lady Thin wit — Mrs. Knight:
Isbel (\vomanto Leonora) = Mrs. Spiller: — acted 3
times — this C. is attributed to Molloy — it is a tole-
rably good play — the greater part of it is borrowed
from Moliere's Cuckold in Conceit— that piece being
in 3 acts, some additions were necessary.

March 14. For bt. of Mrs. Rogers. Ibrahim
Emperour of the Turks — Morena by i\Hss Rogers
being her first appearance on the stage.

568 L. i. F. 1714-1715.

31. Mrs. Knight's bt. Not acted 6 years, Theodo-
sius. Athanais = Miss Rogers.

April 4. Hall's bt. Henry 4th. Falstaff = Hall :

—Hall came from Ireland, and had been a sharer in

the Old Smock Alley Theatre — he was corpulent and

had a thickness of speech, but understood music.

(Chef wood.)

18. Husband's bt. Sophonisba. Rosalinda = Miss
Rogers : Sophonisba = Mrs. Rogers.

19. For the bt. of your humble Servant Francis
Leigh. Emperour of the Moon. Scaramouch —
Bullock : Harlequin = Spiller.

30. Love makes a Man. Clodio — Bullock Jun. :
Don Lewis = Spiller : Carlos = J. Leigh.

May 6. Cory's bt. Not acted 6 years, Common-
wealth of Women. Aminta = Mrs. Rogers' Daughter.

7. Miss Russel the Dancer was married to Bullock.

13. Tamerlane. Selima = Mrs. Rogers' Daughter.

21. Fair Quaker = Mrs. Rogers' Daughter.

24. Knap's bt. Valentinian. Valentinian —
Thurmond from Ireland : ^Ecius = Keen : Lucina =
Mrs. Rogers.

June 2. For the Author, a new Farce called the
City Ramble, or the Humours of the Cornpter — with
Country Wake, and Dances by Thurmond Jun. lately
arrived from Ireland.

City Ramble. Twang (the Turn-key) = Bullock :
Justice Hardhead = Hall : Ezekiel Prim (a Presbyte-
rian Parson) — Griffin : Abraham (a Quaker) =. Pack :
Mordecai (a French Jew) — Knap : Sir Humphry
Halfwit = Schoolding : Rachel (Abraham's wife) =
Mrs. Hunt : 1st Whore — Mr. Leigh : — this cast is
given from the Farce as printed — but according to

L.I. F. 1714-1715. 569

the bill Spiller acted in it on the first night — this
Farce has not even the shadow of a plot, hut the
dialogue is written with a tolerable degree of low
humour — the City Ramble was reprinted and revived
in 1736 — see C. G. March 27.

14. Valentinian with a new Farce, called Love in
a Sack. Sir Arthur Addlepate = Griffin : Philip (his
man) = H. Bullock : Courtly =: Corey : Capt. Debo-
nair = Spiller : Aurelia (his wife) = Mrs. Finch :
Olivia (Sir Arthur's daughter) = Mrs. Vincent : Jenny
=1 Mrs. Hunt : — Sir Arthur is in love with Aurelia
—he writes her a letter — with her husband's appro-
bation, and at the desire of Courtly, she allows him
to visit her — he disguises himself as a Chimney-
sweeper— Courtly and Debonair meet him in the
street — they affect to take him for Smut, and detain
him — he is impatient to be gone — Sir Arthur makes
love to Aurelia — Jenny tells him the Captain is
coming up stairs — Sir Arthur conceals himself in
his chimneysweeper's sack — he is discovered — and
forced to consent to his daughter's marriage with
Courtly — this is a moderate Farce by Griffin the
actor — nearly the whole of Sir Arthur's character is
stolen from that of Lorenzo in May Day — see vol.
4th of Old Plays re-printed in 1814-1815— Griffin
sometimes uses Chapman's own words — in the ori-
ginal the old man is not discovered — but the lady's
husband says — " fetch me a coal-sack, I'll put him in
" it, and hang him up for a sign."

Summer.
June 23. Never acted, the Dotting Lovers, or the

570 L. i. F. 1714-1715.

Libertine Tamed — in which Mrs. Thurmond appears,
who never acted on this stage — Lord Gaylove — J.
Leigh : Sir Butterfly Ayrewould =. Bullock : Sir Ti-
mothy Treedle = Bullock Jun. : Col. Winfield =
Keene : Choleric (father to Clarinda) = Griffin :
Bounce = Hall : Decoy (servant to Lord Gaylove) —
Pack: Witful = Knap: Thump = F. Leigh : Cos-
melia = Mrs. Thurmond: Lady Youthful = Mrs.
Kent : Clarinda = Mrs. Cross : Prate = Mrs. Hunt :
Giddy n Mrs. Clarke : — th& Doting Lovers are Sir
Butterfly and Lady Youthful — neither of them how-
ever can with any propriety be said to dote — the
Libertine is Lord Gaylove — he is in love with Cos-
melia, but averse from matrimony —this is a mode-
rate C. by Hamilton — Lord Gaylove, Cosmelia, Sir
Timothy Treedle, Bounce, and Witful are stolen,
with a considerable part of the dialogue, from the
characters of Fowler, Penelope, Sir Nicholas Treedle,
the Tutor and Brains in the Witty Fair One — Col.
Winfield and Clarinda have a strong resemblance to
Aymwell and Violetta — but Shirley's play is much
better than Hamilton's — the Doatirig Lovers was
acted 2 or 3 times.

July 8. Jew of Venice. Portia = Mrs. Thurmond.

Aug. 11. Not acted 10 years, False Count. False
Count = Spiller : Isabella = Mrs. Moor : Julia = Mrs.
Thurmond.

18. Not acted 10 years, Fair Penitent.

31. For the bt. of Tim Buck to release him out of
prison. Devil of a Wife and Love in a Sack — last
play this season. (Bills from B. M.)

D. L. 1715-1716. 571

D. L. 1715-1716.

Oct. 6. Daily Courant. His Majesty's company
of Comedians give notice, that the middle of next
week they will begin to act plays as usual every day ;
they being obliged to lie still so long, to finish the
new decorations of the House.

1 3. The theatre opened with Country Wife.

14. OldBatchelor 15. Strategem.

17. Busy Body. Sir George Airy by a nephew
of Mr. Wilks :— in 1714 Wilks sent him to Dublin
with a Letter to Ashbury the Manager of that
theatre — he says of him — " He was bred an Attorney,
" but is unhappily fallen in love with that fickle mis-
" tress the stage, and no arguments can dissuade him
" from it. I have refused to give him any couiite-
" nance, in hopes that time and experience might
" cure him : but since I find him determined to make
" an attempt somewhere, no one I am sure is able
" to give him so just a notion of the business as
" yourself — if you find that my nephew wants either
" genius or any other necessary qualification, I beg
" you will freely tell him his disabilities; and then it is
" possible, he may be more easily persuaded to return
" to his friends and business, which I am informed
" he understands perfectly well" — this letter is the
more remarkable, as few persons have sacrificed
more to their passion for the stage than Wilks him-
self; the person who succeeded him in the post under
government, which he gave up, told Cibber that he
had made a fortune of fifty thousand pounds from
thence — there was however this difference between

572 D. L. 1715-1716.

the conduct of the uncle and of the nephew ; the
uncle did not resign his place, till he had acted
Othello in such a manner, as gave him every reason-
able prospect of success ; whereas the nephew threw
himself out of a line of life, for which he was well
qualified, to adopt one, for which he had no qualifi-
cations at all.

If it were possible to make stage-struck young men
form a proper estimate of their abilities, it would often
(as Garrick expresses it)

" Bring them back to reason — and their shop."

William Wilks, after playing one season at Smock
Alley, was engaged at D. L. at 30s. a week, and died
before he had reached his 30th year, or a higher sa-
1 ary . ( Chetwood.)

If Robert Wilks had continued in his office, we
should not at this time have known, that such a man
had ever existed — as it is, he will never be forgotten.

Oct. 18. Jane Shore and What d'ye call it.

22. Careless Husband. Lady Easy = Mrs. Porter.

26. Rule a Wife 27. Chances and School boy.

29. Not acted 5 years, Maid's Tragedy.

Nov. 2. Love makes a Man 3. Silent Woman.

5. Not acted 7 years, False Friend.

9. F. Leigh, who had returned to this Theatre,
acted the Spanish Fryar — Torrismond =. Booth : —
rest as usual.

10. Scornful Lady 11. Lancashire Witches.

12. Hamlet. Queen = Mrs. Porter: Ophelia^

Mrs. Santlow.

14 Double Gallant 18. Tempest.

17. Timon of Athens. Timon ~ Pooth.

D.L. 1715-1716. 573

19. Man of the Mode. Young Bellair — Ryan.

28. Not acted 4 years, Relapse.

29. King Lear. Lear = Booth: Edgar = Wilks :
Edmund = Mills : Cordelia = Mrs, Santlow.

30. Wit without Money.
Dec. 1. Love's last Shift.

2. Distressed Mother with, never acted, the Bulls
and the Bears— acted 3 times— this Farce, with
several others, is not noticed in the B. D. — which is
no discredit to the compilers of that work — without
the playbills, it is not wonderful that obscure pieces,
which have not been printed, should escape notice

the author of the Confederates, 1717> makes

Cibber say—

" Urge me no more ; against the stream you drive,
" My Bulls and Bears I would as soon revive."

and in a note he tells us that the Farce was Gibber's.

3. Humorous Lieutenant 5 ^Esop.

6. Richard the 3d. Richard = Cibber : King
Henry =. Wilks : Buckingham =. Mills : Queen — Mrs.
Porter: — in the 12mo edition of Gibber's works there
is the following cast — which must have been the cast
of the play about this time — Richmond = Ryan :
Norfolk = Boman Sen.: Tressel = W. Wilks : Lieut-
enant of the Tower = Quin : Tyrrel = Walker : Blunt
— Wright : Oxford •=. Boman Jun. : Lady Anne =. Mrs.
Horton : — rest as above.

7. Royal Merchant 9 Epsom Wells.

12. Relapse. Lord Foppingtoii = Cibber : Love-
less = Wilks : Young Fashion — Walker : Worthy
= Mills: Sir Tunbelly Clumsey = Leigh : Lory =
Pinkethmau : Coupler =. Johnson : Berinthia = Mrs.

574 D. L. 1715-1716.

Oldfield : Miss Hoyden = Mrs. Bignall : Amanda =
Mrs. Porter.

13. Venice Preserved.

I?. Not acted 7 years, Lady's Last Stake. Lord
Wronglove = Wilks : Lord George Brilliant = Gibber :
Sir Friendly Moral = Mills : Lady Wronglove = Mrs.
Porter : Miss Notable = Mrs. Younger : Mrs. Con-
quest = Mrs. Mountfort : Lady Gentle = Mrs. Sant-
low : Hartshorn = Mrs. Saunders.

26. Emperor of the Moon.

30. Rover. Wilmore = Wilks : Blunt = Johnson :
Belville = Mills : Sancho = Norris : Hellena = Mrs.
Mountfort: Angellica = Mrs. Porter: Moretta — Mrs.
Saunders : Valeria = Mrs. Younger.

31. Not acted 3 years, Philaster. Philaster =
Wilks : Pharamond = Gibber : Dion = Mills : Gomic
parts by Norris, Leigh, Miller and others : Bellario
= Mrs. Santlovv : Arethusa = Mrs. Porter.

Jan. 3. Philaster. King= Quin : Megra = Mrs.
Saunders.

4. Greenwich Park.

5. Unhappy Favourite. Essex = Wilks : South-
ampton = Mills : Queen = Mrs. Porter : Rutland =
Mrs. Oldfield.

7. Othello. Othello = Booth : lago = Gibber :
Cassio= Wilks: Ludovico= Mills: Roderigo^Bowen:
Desdemona=Mrs. Santlow: ^Emilia = Mrs. Saunders.

9. Love for Love 10. Macbeth. Banquo =.

Booth.

11. Recruiting Officer. Kite = Leigh : Sylvia^
Mrs. Bicknell : Rose = Mrs. Younger.

12. Tender Husband 13. Caius Marius.

D. L. 1715-1716. 575

17. Not acted 7 years, Soldier's Fortune. Beau-
gard = Mills : Sir David Dunce — Johnson : Sir Jolly
Jumble= Miller: Courtine= Wilks : Fourbin=Norris :
Lady Dunce = Mrs. Mouritfort: Sylvia^Mrs. Santlow.

21. Orphan as before.

23. She wou'd and she wou'd not. Soto = Birk-
head : Octavio = W. Wilks :— rest as May 20 1715.

25. Silent Woman. Sir Amorous La Foole =
Miller : Silent Woman = Mrs. Oldfield : Dol Mavis
= Mrs. Younger.

26. Volpone.

Feb. 1. Oronooko; Oronooko = Booth : Aboan =
Mills : Imoinda = Mrs. Oldfield : Widow = Mrs.
Saunders : Charlotte Weldon = Mrs. Bicknell : Lucy
Weldon = Mrs. Younger.

3. Relapse with, never acted, the Cobler of Preston.
Kit Sly (a Jacobitical Cobler) = Pinkethman : Sir
Charles Briton z= Ryan : Squire Jolly = Walker : Con-
stable = Leigh : Joan Sly = Mrs. Willis : Cicely
Gundy (an ale wife) = Mrs. Baker : Betty (dressed as
a Spanish Prin cess) = Mrs. Willis the younger: —
acted about 10 times — C. Bullock's Cobler of Preston
had been brought out at L. I. F. on the 24th of Jan.
—both the pieces are founded on the Introduction to
the Taming of the Shrew — in Johnson's Farce, Sir
Charles and Jolly, on returning from hunting, find

Kit Sly he lies drunk and asleep — Sir Charles orders

him to be carried to his house — Sly is discovered in
a rich bed — Sir Charles' servants attend him dressed
as Spaniards — they make him believe that he is a
Spanish Lord — he gets drunk again, and is carried
to his own home — in the 2d act, Sly sits down to
work — the servants enter — tell him again that he is

576 D- L. 1715-1716.

a Lord -and bring him back to Sir Charles' house
—they threaten to hang him for rebellion — he makes
a confession— and says that for the future he will
mix loyalty with his liquor— C. Johnson has contrived
very badly in making the trick be played on Sly a
second time — more especially as Sly is sober, when
the servants find him in his stall — his Farce is like-
wise too political for the stage — there are several cuts
on the Jacobites ; in particular Sly says — " Are you
" sure now that I am your natural Lord and Master ?
" I am devilishly afraid I am but a Pretender "
the last words are printed in Italics — the Pretender
is likewise abused in the Prologue It seems pro-
bable that some Cobler had made himself conspicuous
at Preston in the time of the rebellion.

9. Funeral. Tattleaid = Mrs. Saunders.

11. Lady Jane Gray — 25. Mithridates as before.

18. Amorous Widow. Lady Lay cock = Mrs.
Saunders.

March 3. Henry 4th. Falstaff= Mills: Hotspur
— Booth : King — Boman : Prince of Wales = Wilks :
Francis = Norris : Carriers = Johnson and Miller :
Lady Hotspur = Mrs. Santlow : Hostess = Mrs. Willis.

5. Mrs. Oldfield's bt. Man of the Mode with a new
Epilogue by Mrs. Oldfield recommending the cause
of Liberty to the Beauties of Great Britain.

6. Rover. Pedro = Quin : Frederick = Ryan :
Floririda = Mrs. Horton.

8. Constant Couple — with a mimick night scene,
after the Italian manner, as it was performed 14
years ago.

10. Never acted, Drummer, or the Haunted House.
Sir George Truman ~ Wilks : Vellum = Johnson :

D. L. 1715-1716. 577

Tinsel = Gibber : Fantome = Mills : Butler = Pin-
kethman : Coachman = Miller : Gardiner = Norris :
Abigail = Mrs. Saunders : Lady Truman = Mrs. Old-
field: — Dr. Johnson says — " tho' Addison, in many
" of his papers in the Spectator &c., had displayed
" powers truly Comic, yet it was not supposed that
" he had tried a Comedy on the stage, till Steel e,
" after his death, declared him the author of the
" Drummer ; this however he did not know to be
" true by any cogent testimony ; for when Addison
" put the play into his hands, he only told him it
" was the work of a Gentleman in the Company ;
" and when it was received, as is confessed, with
" cold disapprobation, he was probably less willing
" to claim it. Tickell omitted it in his collection ;
" but the testimony of Steele, and the total silence
" of any other claimant, has determined the pub-
" lick to assign it to Addison" — see L. I. F. Feb.
2 1722.

March 12. Gibber's bt. Hamlet, with Mrs. Old-
field's last new Epilogue.

17. For the Author. Drummer. 3d and last
time.

22. Booth's bt. Julius Caesar.

24. Wilks' bt. Careless Husband.

April 2. Miller's bt. Jovial Crew. Hearty = Pin-
kethman : Hilliard — Bickerstaffe : Amie = Mrs.
Younger.

7. Mrs. Santlow's bt. Lady's last Stake — Pit and
Boxes laid together.

9- Johnson's bt. Comical Revenge. Palmer —
Johnson 1st time.

VOL. II. P P

578 D. L. 1715-1716.

14. For bt. of Norris, alias Jubilee Dicky. Amo-
rous Widow. Barnaby Brittle — Norris.

16. Mrs. Mountfort's bt. Maid's Tragedy. Amin-
tor = Wilks: Melantius = Booth : Calianax = Pin-
kethman : Evadne •= Mrs. Porter: Aspatia = Mrs.
Mountfort.

19. Mrs. Bicknell's bt. Northern Lass.

21. Bickerstaffe's bt. Hamlet. King = Bickerstaffe.

24. Humorous Lieutenant.

26. For bt. of Mrs. Saunders. She wou'd if she
cou'd.

28. Ryan's bt. Man of the Mode.

May 1. Quin's bt. Othello — no characters.

11. For bt. of Cross and Wilks' Nephew. Henry
4th. Falstaff= Mills: King = Thurmond :— he had
been at L. I. F. the former part of the season.

14. Mrs. Baker's bt. Constant Couple, and Cus-
tom of the Country.

18. Mrs. Younger's bt, Amphitryon and School
boy.

21. Walker's bt. Cato — no characters.

25. For bt. of Shepherd and Chetwood the Promp-
ter. Northern Lass and Contrivances.

29. D'Urfey's bt. Soldier's Fortune with an Ora-
tion written and spoken by D'Urfey.

30. Evening's Love (no characters) and Country
Wake.

June 1. Thurmond's bt. King Lear.

5. For bt. of Wilks' brother the Office keeper.
Hamlet.

9. For bt. of King the Boxkeeper. Sir Courtly
Nice— last play this season.

D. L. 1715-1716. 579

15. By particular desire Constant Couple. Clincher
Jun. = Miller.

Summer.

June 19. Not acted 10 years, Ignoramus, or the
English Lawyer — there are no characters in the bill
— but an edition of the play was printed in 1736 with
the following cast, which must have been the cast
about this time — Ignoramus = Norris : Cupes = Birk-
head : Trico = Miller : Torcol = Cross : Antonio =
Wilks' Nephew : Theodore = Shepherd : Dulmari =
Leigh : Pecus = Cole : Bannacar = Walker : Pyro-
pus = * * * : Polla = Mrs. Baker : Rosabella = Miss
Willis: Surda=i Mrs. Willis: Dorotheas: Mrs. Mills.

26. Bonduca. Carat ach = Mills.

July 3. Not acted 20 years, Assignation, or Love
in a Nunnery — no characters.

12. Not acted 7 years, Country Wit. Sir Man-
nerly Shallow = Miller : Christina = Mrs. Horton.

19. Pilgrim. Pedro = Quin : Alphonso = Johnson :
Mad Englishman = Miller : Juletta = Mrs. Horton.

Aug. 1. This being the day of his Majesty's happy
accession to the throne, there will be given by Mr.
Dogget an Orange colour Livery with a Badge re-
presenting Liberty, to be rowed for by 6 watermen
that are out of their time within the year past — they
are to row from London Bridge to Chelsea — it will
be continued annually on the same day for ever —
they are to start exactly at 4 o'clock. Note. This
coat and badge are still rowed for on the 1st of Aug.

p p 2

580 L. I.F. 1715-1716.

Dogget paid this compliment to George the 1st as
being a staunch Whig.

9. Not acted 20 years, Duke of Guise. The Ad-
miral (of France) = Mills : King = Walker : Duke =
Ryan : Cardinal = Quin : Marguerite = Mrs. Horton :
—acted 3 times — here is some strange mistake in the
M.S. — in the Duke of Guise there are no such cha-
racters as the Admiral and Marguerite ; these cha-
racters are in the Massacre of Paris — the King,
Duke of Guise, and Cardinal are in both plays— one
would conclude that the Massacre of Paris was the
play really acted, were it not that the Duke of Guise
is said to be acted again Oct. 30 1716 — if the Duke of
Guise was the play on this evening, Mills and Mrs.
Horton in all probability acted Grillon and Marmou-
tier.

23. Tempest— last play. (Bills from B. J\L)

L. I. F. 1715-1716,

Oct. 4. Spanish Fryar. Dominic = Bullock :
Gomez = Spill er.

7. Wife's Relief. Riot = Thurmond : Young Cash
= Pack : Spitfire — Spiller : Arabella = Mrs. Thur-
mond : Cynthia = Mrs. Rogers.

10 and 12. Bullock Jun. acted Brazen and Sir
Novelty Fashion.

22. Unhappy Favourite. Essex by a Gentleman

L. I.-F. 1715-1716. 581

for his diversion — probably Rich the Patentee-
Queen = Mrs. Knight : Rutland = Mrs. Rogers Jun.

24. Never acted before, 2 Farces, Lucky Prodigal,
or Wit at a Pinch, and Woman's Revenge.

Lucky Prodigal. Gerard (an old gentleman) = Grif-
fin : Charles (his son, in love with Lucinda) = Smith :
Merlin (his man) = Spiller : A false Marquis (a
Frenchman) = C. Bullock : Andrew (an usurer) =
Knapp : Jaquinett (Gerard's man) = H. Bullock :
Madame Bertrand (an old lady) = Mrs. Kent : Lu-
cinda (her niece, in love with Charles) — Mrs. Vin-
cent : Priscilla (her woman) = Mrs. Spiller -.— this is
a good Farce — it is professedly taken from the French
—it has a strong resemblance to the Intriguing Cham-
bermaid, both the Farces being borrowed from the
same piece — see D. L. Jan. 15 1734.

Woman's Revenge, or a Match in Newgate. Vi-
zard = Bullock Jun. : Mixum = Pack : Bevil = Thur-
mond : Freeman = Husband : Think well = Bullock :
Tom and PadwelL = Spiller : Mother Griffin = Mr.
Griffin: Corinn a = Mrs. Thurmond: Mrs. Mixum =
Mrs. Hunt : Celia = Mrs. Vincent : Miranda = Mrs.
Spiller : — this piece is in 3 acts — it is taken by C.
Bullock from the Revenge, or a Match in Newgate
acted at D. G. in 1680 — the story, which Vizard tells
Mixum as he is shaving him, is improved — an 8th
edition of this Farce was printed in 1758.

26. 3d time, for the Author, Lucky Prodigal and
Woman's Revenge.

28. Fond Husband. Bubble = Bullock.

Nov. 10. Unhappy Favourite. Essex = Rich: —
his name seems to have been in the bill.

17. Devil of a Wife with, never acted there, Pet-

582 L.I.F. 1715-1716.

ticoat Plotter — there are no characters in the bill —
Pack and Bullock no doubt resumed the parts of
Plotwell and Thrifty, which they acted originally at
D. L. June 5 1712.

29. Plain Dealer. Manly = Keen : Jerry Black-
acre = Pack : Novel = Bullock Jun. : Freeman =: J.
Leigh: Fidelia =. Mrs. Rogers Jun.: Olivias Mrs.
Cross.

Dec. 3. Not acted 16 years, Prophetess with new
habits, scenes, dresses and decorations. Boxes 6s.
-Pit 4s.— 1st Gallery 2s. and 6d.— 2d Gallery Is.
and 6d. — acted 16 times — Rich revived this play 3 or
4 times, as it gave him an opportunity of displaying
his talent for machinery.

15. Squire of Alsatia. Sir W. Belfond = Spiller.

Jan. 3. Provoked Wife. Sir John Brute = Keen :
Heartfree — J. Leigh: Constant = Husband : Razor
= Pack : Lord Rake = Bullock Jun. : Lady Fanciful
= Mrs. Cross : Lady Brute =. Mrs. Knight : Belinda
= Mrs. Thurmond.

4. Royal Merchant. Florez = J. Leigh : Clause
= Keen : Vandunke = Bullock.

24. Confederacy, with a new Farce, called the
Cobler of Preston. Toby Guzzle = Spiller : Snuffle
= C. Bullock : Grist = Bullock : Sir Jasper Manley
= Ogden: Clerimont = Coker : Dorcas Guzzle =
Mr. Griffin : Dame Racket (an alewife) = Mr. Hall :
—this F. in one act was written by C. Bullock — in
the preface, he acknowledges that the success which
he had met with in his business was chiefly owing to
Wilks' instructions — regrets that he had offended
Wilks by bringing out this piece — and adds — " it is
" true I did hear there was a Farce in Rehearsal at

L. i. F. 1715-1716. 583

" D. L. called the Cobler of Preston, and that it was
" taken from Shakspeare — I thought it might be of
" as good service to our stage as the other — so I set
" to work on Friday morning, Jan. 20, finished it
" on the Saturday following, and it was acted the
" Tuesday after — which expedition, I hope, will be
" an excuse for the many faults that are in it" — C.
Bullock's Farce is a mere trifle, but on the whole
better than Johnson's piece, as he avoids all political
allusions — and manages the trick played on Sly in
a more probable manner — Dorcas Guzzle and Dame
Hacket had quarrelled — they come to Sir Jasper for
justice — he refers them to Guzzle — Guzzle orders
them to be ducked in the river — when Guzzle has
gotten drunk and fallen asleep, Sir Jasper's ser-
vants dress him in his own clothes, and place him
where they found him — Dame Hacket and his wife
beat him — he beats them in return — Guzzle finds a
purse in his pocket — and this makes them all friends
—Bullock makes considerable use of Shakspeare's
own words — his Farce was acted about 16 times— a
5th edition of it was printed in 1767.

Jan. 28. Prophetess — No person can be admitted
to stand on the stage.

Feb. J. Never acted, Fatal Vision, or the Fall of
Siam — this T. is printed without the names of the
performers — it is far from a bad play, but it is so re-
mote from any thing in real life that it does not
please — the plot is romantic, intricate, and not very
clearly unravelled.

21. Never acted, Perfidious Brother. Sebastian
= Keene : Roderick = Smith : Beaufort = J. Leigh :
Gonsalvo = Corey : Luciana (wife to Sebastian) =

584 L. i. F. 1715-1716.

= Mrs. Rogers : Selinda (daughter to Gonsalvo) =
Mrs. Rogers Jun. : — acted 4 times — Sebastian and
Roderick are brothers, and nephews to Gonsalvo—
Sebastian returns to Brussels after an absence of
two years — he brings his friend Beaufort with him
— on the next morning Roderick tells Sebastian, that
Luciana had been false to him, while he was away,
with one Bellario, and that he suspected her of being
too partial to Beaufort — Sebastian, tho* hitherto very
fond of Luciana, is yet so egregiously foolish as to
believe all that Roderick says without the slightest
proof— he accuses his wife of adultery and quarrels
with his friend — in the 5th act, Gonsalvo gets into
Luciana's chamber, and attempts to ravish her — she
cries out — Beaufort comes to her assistance — Rode-
rick makes Sebastian believe, that he and Gonsalvo
found Luciana and Beaufort in shameful privacy-
Sebastian gives Beaufort a challenge — he accepts it
—Roderick stabs Gonsalvo, supposing him to be Se-
bastian— Gonsalvo acknowledges the guilt of himself
and Roderick — Sebastian and Luciana are reconciled
— Beaufort is united to Selinda — the merit of having
written this play is disputed between Theobald and
Mestayer — the latter was a Watchmaker — Theobald
says in his preface, that Mestayer brought him the
story wrought up into something meant for a Tra-
gedy ; and that he agreed to make it fit for the stage
on certain conditions — he hints that Mestayer did not
understand either English or grammar — Mestayer
published his play — he allows that he had revised it
—he adds— " upon the perusal of the following sheets,
" you will find the plot entirely my own ; not so
" much as an entrance being vary'd by the Corrector,

L. i. F. 1715-1716. 585

" excepting one scene, or incident in the 2d act " —
Theobald says — " I labour'd at it four months almost
" without intermission ; and believe I may pretend
" to have created it anew " — it is hardly possible that
this assertion should be true — the difference between
the two plays is so little, that the alterations made
in the dialogue, might have been made in 10 days, as
well as in 10 years — on the whole Theobald seems
to have acted in a very dishonorable manner — the
dispute itself is about the wool of a goat — Mestayer

calls Theobald the Deputy Manager of L. I. F.

there is a striking similarity between the plot of this
play and that of the Unnatural Brother — (see L. I. F.
1697) — particularly in one point — in each of the
plays, the uncle wishes to seduce the wife of one of
his nephews, and engages his other nephew to pro-
mote his design — Filmer, in the preface to the Un-
natural Brother, allows that he borrowed his plot
from the romance of Cassandra — Mestayer in all
likelihood did the same — Filmer has managed the
story considerably better than Mestayer has done.

March 6. For bt. of Mrs. Rogers. Fatal Vision
7th and last time.

10. Never acted, Every Body Mistaken — this piece
is said to have been in 3 acts — it is supposed not to
have been printed — the Masque of Presumptuous
Love seems to have been introduced in it — this con-
temptible masque is on the story of Ixion and Juno
— it consists of airs and recitative — and was acted 3
times.

19. For bt. of Bullock. Sea Voyage. Franvil^
Bullock: Appetite = Spiller : with, never acted, Ad-

586 L. i. F. 1715-1716.

ventures of Half an Hour — the part acted by Spiller
in the Sea Voyage was probably Frugal — see Com-
monwealth of Women p. 33 — Frugal says — " For
" my part I confess an appetite " — this short speech
belongs to the Surgeon in the original play — see Act

3 Scene 1 Adventures of Half an Hour. Tagg

— Pack : Aminadab (his apprentice) = C. Bullock :
Capt. Courtal mOgden: Landlord = Hall : Mrs. Tagg
= Mrs. Schoolding : — Tagg had dogged his wife to
a tavern — he arid Aminadab disguise themselves as
fiddlers — they play to Courtal, Mrs. Tagg and other
company — Tagg throws off his coat, and presents a
blunderbuss — they disarm him, and make him drink
his love and duty to his wife — the scene changes to
the street — Tagg and Aminadab place themselves on
their hands and knees as a bench — Courtal and Mrs
Tagg sit down on them — Tagg catches the Captain
and his wife together at his own house — Mrs. Tagg
begs pardon — Courtal challenges Tagg — this trifle in
one act was written by Christopher Bullock.

April 3. Don Quixote part 2d, with, never acted,
Humours of Purgatory. Don Lopez = Griffin : Don
Silvio (in love with Constantia) = Ogden : Guzman
(a physician) = Schoolding : Cardus (an apothecary)
= Knapp : Julia (wife to Don Lopez) — Mrs. Moor :
Constantia (his daughter — in love with Silvio) = Mrs.
Robertson : — Don Lopez had made his Will, and left
his estate to the Church — he is so Hypochondriack
that he first insists that he is dying, and then that he
is actually dead — he is placed in a coffin, and carried
into a dark room in his own house — Silvio persuades
him he is in Purgatory — he eats and drinks heartily

L. i. F. 1715-1716. 587

and then falls asleep — when he wakes, Julia tells him
that all which had happened was only a dream — he
determines to burn his Will, and gives his daughter
to Silvio — this is an indifferent Farce by Griffin, who,
in the preface, speaks of himself as an actor of one
year's experience — the Humours of Purgatory was
acted about 3 times.

16. Thurmond's bt. Hamlet. Hamlet = Thurmond :
Polonius = Griffin : Queen = Mrs. Knight : Ophelia
i=Mrs. Cross.

17. For bt. of Mrs. Bullock the Dancer. Henry
4th. Falstaffm Bullock: King - Keen.

21. For bt. of Shaw a Dancer. Royal Merchant
with dances, and an Epilogue by Spiller on an Ass —
Pit and Boxes laid together.

24. Mrs. Thurmond's bt. Pilgrim. Alinda with
a new Epilogue by Mrs. Thurmond.

27. Never acted, Northern Heiress, or the Humours
of York. Gamont = Leigh : Welby (his friend — in
love with Louisa) = C. Bullock : Sir Loobily Joddrel
(a fool) = Bullock : Bareface (a fop) = Pack: Cap-
tain Tinsel (a half pay officer — in debt) = Coker :
Sir Jeffrey Hearty = Hall : Ralph = Morgan : Isabella
(the Northern Heiress) =: Mrs. Thurmond : Louisa
(sister to Gamont — in love with Welby) — Miss
Rogers : Lady Greasy = Mrs. Hunt : Miss Dolly (her
daughter) = Mrs. Chantrell : Lydia (maid to Isabella)
= Mrs. Spiller : Lady Ample = Mrs, Knight : — acted
3 times — Isabella is in love with Gamont — he is in
love with her, but not without a view to her fortune
—she wishes to put his love to the test, and pretends
to have lost her fortune — he discovers the trick, and

588 L. i. F. 1715-1716.

continues his addresses to her — at the conclusion,
Gamont, Welby, Sir Jeffrey and Tinsel — marry Isa-
bella, Louisa, Lady Ample and Miss Dolly — Bare-
face marries Lydia, supposing her to be Isabella—
this is a moderate C. by Mrs. Davys — Lady Greasy
is the best character — she is the widow of a tallow-
chandler, who had been Lord Mayor of York.

May 11. Spanish Fryar. Elvira = Mrs. Cross.

14. Never acted, Catoof Utica — this T. is printed
without the names of the performers — it was trans-
lated from the French, and acted 3 times — when a
play is founded on history, an author is at liberty to
make such additions to the original story as do not
contradict any known fact of importance — Addison's
love scenes are bad, but they coalesce sufficiently
well with the story — whereas the monstrous fictions,
which Des Champs has introduced into his play, are
disgusting — even the manner of Cato's death is per-
verted— the scene in the 3d act between Cato arid
Ca3sar is finely written — but the finest writing in the
world would not compensate for the absurdity of sup-
posing them to have a personal interview — Des
Champs has drawn the character of Cato with spirit
— but the Cato of Addison is more like the Cato of
Plutarch.

Cato the Censor had a son by his first wife, who
married the sister of Scipio ^Emilianus — Cato in his
old age, married the daughter of one of his clients
called Salonius — by her he had a son to whom he
gave the name of Salonius — Salonius in process of
time became Praetor — and his son Marcus, Consul-
Marcus was the grandfather of Cato of Utica.
(Plutarch.)

L.I. F. 1715-1716. 589

June 12. For the bt. of the Young Actors. Busy
Body — last play this season.

Summer.

June 29- Not acted 7 years, Woman Captain. Sir
Humphry Scattergood — J. Leigh : Gripe = Griffin :
Sir Christopher S wash — Bullock: Sir Nicholas Peak-
goose — Bullock Jun. : Blunderbuss = Spiller : Hilde-
brandrrHildebrand Bullock : Woman Captain = Mrs.
Thurmond: Phillis = Mrs. Spiller.

July 13. Devil of a Wife. Jobson = Spiller.

Aug. 8. Feigned Courtezans. Galliard = J. Leigh :
Sir Harry Fillamour=: Smith : Sir Signal Buffoon =
Bullock: Tickletext = Griffin : Petro = Spiller : Julio
— Bullock Jun.: Cornelia = Mrs. Cross : Marcella=:
Mrs. Thurmond: Laura Lucretia = Mrs. Spiller: —
acted 3 times.

10. Love for Love. Tattle = Thurmond Jun. who
never acted before — he had only danced — he was son
to the other Thurmond and husband to Mrs. Thur-
mond— he was esteemed a very good stage dancer,
and when engaged at D. L., contrived many profitable
Pantomimes for that theatre. (Chetwood.)

17. Aurenge-Zebe — last play. (Bills from B. M.)

590 D. L. 1716-1717.

D. L. 1716-1717.

Sept. 29. Country Wife. Alithea = Mrs. Younger :
Mrs. Dainty Fidget = Mrs. Horton : — rest as May 18

Oct. 2. Henry 4th. Falstaff = Mills : King -
Thurmond.

4. Love makes a Man. Louisa = Mrs. Horton :
Angelina = Mrs. Santlow : Elvira = Mrs. Mouritfort.

9. Love for Love. Mrs. Foresight =r Mrs. Horton :
Miss Prue = Mrs. Younger.

11. Spanish Fryar.

12. Old Batchelor. Heart well is omitted : Sir
Joseph Whittol = Bowen : Belinda = Mrs. Mountfort.

13. Macbeth. Lady MacdufF= Mrs. Horton.
15. Strategem - 20. Julius Caesar.

17. Unhappy Favourite. Essex = Wilks.

22. Distressed Mother. Orestes = Mills : Andro-
mache, with the Epilogue, =. Mrs. Oldfield.

24. Rover - 26. Busy Body.

27. Amorous Widow. Clodpole = Miller : Bar-
naby Brittle = Gibber : — he acted the character on
this and some other occasions, seemingly in conse-
quence of Norris' indisposition, who took care how-
ever not to give up the part — Gibber was applauded
and said to Mrs. Oldfield " Nanny how do you like
"your new husband ? " —She replied, "Why very
" well, but not half so well as Dicky Norris " — " How
" so ? " — " Why you are too important a figure ; but
" Norris has such a diminutive form and so sneaking
" a look, he seems formed on purpose for horns, and

D. L. 1716-1717. 591

" I always make him a cuckold with a hearty good
" will." (Chetwood and Davies.~)

30. Duke of Guise and Stage Coach. Squire
Somebody = Miller.

Nov. 1. Jane Shore and What d'ye call it.

2. Love's last Shift 3. Scornful Lady.

5. Not acted 7 years, Tamerlane — this T. was
acted 6 times following — on the 3d night Mills who
acted Bajazet being suddenly taken ill, Quin was
with much persuasion prevailed on to read the part
— he succeeded so well that the audience gave him
great applause — the next night he made himself per-
fect in the words, arid acted the part with encreased
approbation . ( Chetwood. )

12. Double Gallant. Wish well = Mrs. Saunders.

13. Wit without Money. Valentine = Wilks :
Francisco = Mills : Lance = Miller : Shorthose =
Norris : Lady Hart well = Mrs. Oldfield : Isabella =
Mrs. Porter.

14. Greenwich Park. Young Reveller = Mills :
Dorinda = Mrs. Horton.

16. ^Esop.

19. Not acted 8 years, Hemy 8th. with the Coro-
nation, and the author's old original Prologue — no
characters — acted 5 nights successively, with the ex-
ception of the 22d, when the Man of the Mode was
the play.

26. She wou'd and she wou'd not.

27. Tender Husband. Sir Harry Gubbin = Miller :
Mrs. Clerimont = Mrs. Bignell.

Dec. 1. Othello 3. Venice Preserved 4.

Silent Woman.

5. She wou'd if she cou'd. Sir Oliver Cock wood

592 D. L. 1716-1717.

= Norris : Sir Joslin Jolly zr Leigh : Courtall= Wilks :
Freeman = Mills : Lady Cockwood = Mrs. Hunt :
Ariana = Mrs. Porter : Gatty = Mrs. Santlo w : Sentry
= Mrs. Saunders.

10. Bartholemew Fair 11. Funeral.

12. Not acted 3 years, Mourning Bride.

14. Comical Revenge. Dufoy = Bowen: Sir
Frederick Frolick = Wilks : Sir Nicholas Cully =
Norris : Palmer = Johnson : Col. Bruce — Booth :
Mrs. Rich = Mrs. Oldfield : Jenny = Mrs. Saunders :
— rest omitted.

17^ Never acted, Cruel Gift. Lorenzo (General
of Lombardy) = Booth : Learchus (son to Antenor)
= Ryan : King of Lombardy = Mills : Antenor
(prime minister of state) = Quin : Cardono (friend
to Lorenzo) = Walker: Hermit = Boman : Agonistus
= W. Wilks : Leonora (Princess of Lombardy) =
Mrs. Oldfield: Antimora (supposed sister to Lorenzo)
— Mrs. Porter : — Lorenzo is privately married to
Leonora — she is in the habit of admitting him to her
bovver by a secret passage — the King sees him there,
and orders him to be seized as he comes out — Lo-
renzo is carried to prison — his friends attempt to
rescue him, but fail in the attempt — the King is so
enraged, that he commands Lorenzo to be put to
death — and his heart to be brought to the Princess —
in the last act, Learchus enters with a man's heart
in a golden cup — he offers it to Leonora, as a present
from her father — hence the name of the play— the
Hermit discovers himself to be the Duke of Milan,
and the father of Lorenzo — the King is sorry that he
has killed Lorenzo — Learchus brings in Lorenzo,
whose life he had preserved — he is rewarded with

D.L. 1716-1717. 553

the hand of Aritimora — this is an uninteresting T. by
Mrs. Centlivre — she has borrowed her plot from
Boccace Day 4. Novel 1., but has made considerable
alterations — in the original story the Princess is not
married to her lover — his heart is really presented to
her, and she takes poison— see Tancred and Gis-
munda in the llth vol. of Dodsley 1744— Mrs. Cent-
livre has added an Episode.

27. Tamerlane. Tamerlane = Booth : Bajazet=
Mills: Moneses = Wilks : Axalla = Walker : Prince
of Tauais — Ryan : Dervise = Quin : Arpasia = Mrs.
Oldfield: Selirna-Mrs. Santlow.

29- Maid's Tragedy,

Jan. 1. Richard the 3d 2. Recruiting Officer.

5. King Lear. Gloster~Quin: Kent=Bickerstaffe.

9. Oronooko. Widow Lackit = Mrs. Saunders.

11. Soldier's Fortune 12. Hamlet. Fop =

Bowen.

16. Never acted, Three Hours after Marriage.
Dr. Fossile = Johnson : Plotwell = Gibber : Under-
plot = Pinkethman : Sir Tremendous = Bowman :
Dr. Possum = Norris : Dr. Nautilus = Leigh : Ptisan
= Miller: 1st Player = Walker : 2d Player = Quin :
Sailor = Bickerstaffe : Mrs. Townley = Mrs. Oldfield :
Mrs. Phoebe Clinket = Mrs. Bicknell: Sarsnet = Mrs.
Hunt : Prue = Mrs. Willis : — acted 7 times — Fossile
enters in the 1st scene with Mrs. Townley whom he
had just married — he intercepts a letter to her from
Plotwell, which makes him jealoas — she explains the
words of the letter in such a manner as to pacify him
— his niece, Mrs. Phoebe Clinket, has an itch for
writing plays — as her pieces had been rejected at the
theatre, she gets Plotwell to father a Tragedy for

VOL. II. Q Q

D. L. 1716-1717.

her — some parts of it are read — Sir Tremendous and
the two Players find so much fault with it, that she
faints— when Plotwell enters, Mrs. Townley affects
not to know him — Plotwell and Underplot had laid a
wager who should first make Fossile a cuckold — in
the 2d act, Plotwell is disguised as a physician, and
Underplot as a patient — in the 3d act, Plotwell is
disguised as a Mummy, and Underplot as a Crocodile
— Fossile enters with Possum and Nautilus — Nautilus
is about to try if he can pierce the skin of the Cro-
codile with his sword — Possum wants to make an
experiment on the Mummy with a knife — Plotwell
and Underplot leap from their places — the Doctors
are frightened — Mrs. Townley prevails on Mrs. Clin-
ket to own that Plotwell and Underplot came in
masquerade by her desire— a sailor enters with Mrs.
Townley's child which his wife had nursed — Mrs.
Townley affects to take the child for a bastard of
Fossile's — at the conclusion, it appears that Mrs.
Townley's husband had returned from the Indies, and
claimed his wife — this is on the whole a tolerably
good C. — some parts of it are well written — it is
printed in 3 acts, but was divided on the stage into
5 — Gay says he wrote it with the assistance of two
friends — he does not name them, but they have always
been considered as Pope and Dr. Arbuthnot — it has
been supposed that Pope's dislike to the players was
occasioned by the cool reception of this play — but
this may be doubted, as in the play itself it is said
" a Parrot and a Player can utter human sounds,
" but we allow neither of them to be a judge of wit"
— a Player is sometimes a bad Critic for an obvious
reason — the nature of his profession tempts him to

D. L. 1716-1717. 595

prefer a bad play in which he has a good acting cha*
racter, to a good one, in which there is no character
that suits his abilities— but still the above attack is
unwarrantable to the last degree •, nor did Pope ever
say any thing more severe against the Players, after
he became their professed enemy — Sir Tremendous
was evidently meant for Dennis — the Editor of the
B. D. supposes with much probability, that Pope in-
troduced this character, and that Dr. Arbuthnot sup-
plied the terms of art which occur in the characters
of the physicians — one speech does the Triumvirate
very little credit — Sir Tremendous says— " O what
" felony from the Ancients! What petty larceny from
" the Moderns ! There is the famous Iphigenia of
" Racine, he stole his Agamemnon from Seneca, who
" stole it from Euripides," &c. — Racine could riot
steal his Iphigenia from Seneca, as the French play
represents the intended sacrifice of Iphigenia by Aga-
memnon, and the Latin play the murder of Agamem-
non by Clytemnestra and jEgysthus — Dennis himself

would not have made such a mistake The scene,

in which the Mummy and Crocodile are concerned,
seems to have given much offence to the audience,
but without sufficient reason ; as Fossile is repre-
sented as a collector of curiosities, there was no
absurdity in supposing him to have bought a Mummy
and a Crocodile.

The Rehearsal was revived on the 7th of Fe4). by
the Command of the Prince of Wales — Cibber acted
Bayes — when the two Kings of Brentford came from
the clouds into the throne again, Cibber instead of
what his part directed him to say, made use of these
words, " Now, Sir, this Revolution I had some

QQ 2

5{j6 D.L. 1716-1717.

" thoughts of introducing by a quite different con-
" trivance ; but my design taking air, some of your
" sharp wits, I found, had made use of it before me ;
" otherwise I intended to have stolen one of them in
" the shape of a Mummy ^ and the other in that of a
" Crocodile " — this produced a roar of applause—
when the play was over, Pope came behind the scenes
in a violent passion and attacked Gibber very sharply :
Gibber irritated at this replied, " since you have at-
" tacked me in such a manner, you may depend upon
" it, that as long as the play continues to be acted, I
" will never fail to repeat the same words over and
" over again " — Gibber did as he had threatened for
several times when the Rehearsal was acted, and to
this he attributes Pope's animosity to him — ( Gibber's

letter to Pope) Pope was not irritated without

reason ; Gibber's cut on Three Hours after Marriage
was in every point of view improper : as Manager it
was injudicious, as Actor it was insolent, and as the
Author of two plays damned for their dullness, it was

unpardonable Three Hours after Marriage was

revived at D. L. March 15 1746.

The Confederates (1717) was written in ridicule
of Three Hours after Marriage — the real author of
this Farce is said to be Capt. Breval, but he calls
himself Joseph Gay, kinsman of John Gay — the
frontispiece represents Dr. Arbuthnot in a Highland
dress, Pope as a very little man, and Gay with a fool's
cap in his hand — under it are 4 lines from the Pro-
logue to the Sultaness — (see Feb. 25) — the 1st scene
is at the Rose Tavern — Pope enters solus, Dr. Ar-
buthnot joins him, and then Gay ; the latter relates
the ill success of their piece — the 2d scene is in the

D. L. 1716-1717. 597

Green-room — Mrs. Oldfield protests she will leave
the stage, as having been hissed — Mrs, Bicknell re-
plies—

" Avert, ye Gods ! such fate from Drury Lane :
" For to keep Wilks we then shall strive in vain ;
" Malicious Rich would in our loss delight,
" And 'twould be nuts to Rogers and to Knight."

—after Mrs. Oldfield has made her exit, Gay enters,
Mrs. Bicknell flatly tells him that they will not be
hissed for nothing, and that if he wishes them to act
in his play again, he must make them a handsome
present — the 3d and last scene is at the house of
Bernard Lintott the bookseller — Gibber declares he
will not be a Mummy any more — Pope pacifies him
by promising to bring his Heroick Daughter to per-
fection— Gay repeats what Mrs. Bicknell had said—

this throws Pope and Arbuthnot into a dilemma

Lintott refuses to advance the money — the Confe-
derates are relieved from their difficulties by a purse
of gold which Three Ladies send to Pope— —this
Farce is in verse — it is well written, but the Satire is
too personal ; Pope revenged himself on Breval by
putting him into the Dunciad.

Jan. 24. Cato. Porti us — Walker : — rest as origi-
nally.

28. Old Batchelor. Heartwell = Bickerstaffe.

29- Timon of Athens. Timor) — Booth : Evandra
= Mrs. Porter.

31. Volpone. Volpone= Mills : Mosca = Wilks :
Corbaccio = Johnson : Corvino = Gibber : Bonario =.
Ryan: Lady Would-be = Mrs. Sauriders : Celia=:
Mrs. Santlow : — rest omitted.

598 D. L. 1716-1717.

Feb. 2. Orphan. Acasto = Boman : Page — Mrs.
Younger.

5. Emperour of the Moon.

7. Rehearsal. Bayes — Gibber.

13. Amphitryon 16. Rule a Wife.

25. Never acted, Sultaness. Bajazet (brother to
the Sultan) = Booth : Acomat (Grand Vizier) —
Mills: Osmyri = Ryan : Roxana (the Sultaness) =
Mrs. Porter : Atalida (a daughter of the house of
Ottoman) = Mrs. Oldfield -.—acted 3 times — Bajazet
and Atalida are mutually in love — Roxana is in love
with Bajazet — the Sultan is absent from Constanti-
nople— he had invested the Sultaness with his autho-
rity— at the conclusion Bajazet is killed by Roxana's
Mutes — Roxana is stabbed by a black slave of the
Sultan — Atalida stabs herself— this T. is professedly
taken from Racine — it was adapted to the English
stage by Charles Johnson— it is a dull play — the first
4 acts are mere conversation without incident — the
Prologue says—

" Some Wags have been, who boldly durst

" adventure

" To club a Farce by Tripartite — Indenture :
" But let them share their dividend of praise,
" And their own Fools-cap wear, instead of

" Bays."

the last line alludes to the Prologue to Three Hours
after Marriage, in which a Fools-cap was flung down
on the stage — this wanton attack on that Comedy
procured C. Johnson a place in the Duncjad.

This play is printed in 8vo. — before this time plays
had generally been printed in small or large 4 to. —

D. L. 1716-1717. 599

the Apparition and some other plays had been printed
in 12mo.

March 1. Sir Courtly Nice. Surly = Thurmond.

9. Mithridates 13. Careless Husband.

18. Before their Royal Highnesses —for Mrs.
Porter's bt. Amorous Widow. Barnaby Brittle =

Dogget — Pit and Boxes laid together Cibber

thinks, with much probability, that Mrs. Porter
would not have requested this favour of Dogget, if
she had not had a hint given her that it would
be granted — and that Dogget's motive was an ex-
pectation that the Managers would make him some
proposals, or that the Court or Town might express
a desire for his return to the stage — he adds, be
this as it may, this was his last time of acting —
Gibber's mistake is the more inexcusable, as there
can scarcely be a doubt, but that he played Lord
Foppington on the night that Dogget acted Hob.

25. By his Majesty's command. For Mrs. Sant-
low's bt. Love for Love. B en = Dogget.

April 1. By his Majesty's command. Relapse and
Country Wake. Hob = Dogget: — this was his last
appearance.

2. Humorous Lieutenant, with a new Entertain-
ment, called the Shipwreck, or Perseus and Andro-
meda. Andromeda — Mrs. Bignall : — acted with Gro-
tesque characters. (B. M.)

4. Pinkethman acted Young Reveller in the Game-
ster for his bt. and spoke an Epilogue on an Ass.

11. Mrs. Mountfort's bt. Marriage a-la-Mode.
Florimel =. Mrs. Mountfort.

22. Tempest at common prices.

25. Miller acted Sir Joseph Wittol for his bt.

600 D.L. 1716-1717.

29. Tamerlane. Selima^Mrs. Porter.
May 2. Ryan acted Cassio for his bt.
3. Cruel Gift 7th and last time.

8. Bowen's bt. Don John. Jacomo = Bowen.

9. Quin's bt. Macbeth — no characters.

10. For bt. of Chetwood and Mrs. Moor. Caius
Marius. Sylla^Ryan: Metellus = Boman : Cinna
= Quin : Granius = Walker : — rest as Feb. 21 1715.

11. Never acted, Lucius, the first Christian King
of Britain. Lucius = Booth : Vortimer = Ryan : Ar-
minius (Prince of Albany )= Mills: Honorius (King
of Gallia) = Thurmond : Prince of Cambria = Bow-
man : Sylvius = Miss Younger : Rosalinda = Mrs.
Oldfield: Emmelin (sister to Honorius) = Mrs. Hor-
ton : — acted 3 times — the scene lies in Aquitain —
this T. was written by Mrs. Manley — it is a poor play
— the plot is romantic, and seemingly fictitious—
Bede mentions the conversion of Lucius to Chris-
tianity, but no other particulars about him — the
later historians may possibly have supplied Mrs.

Manley with some hints for her play Bede is

distinguished in the Calendar (see May 27) as the
Venerable Bede — the reason of the Epithet was this
— his scholars having a mind to fix a rhyming title
on his tomb-stone, as was the custom in those times,

a Monk wrote —

Hac sunt in fossa

Bedce ossa

The Monk, not being able to fill up the second line,
fell asleep — when he awoke, he found that an angel
had supplied the vacancy with the word Venerabilis.
(Wlieatley on the Common Prayer.)

May 14*. Rule a Wife. Cacafogo — Leigh.

D. L. 1716-1717. 601

15. Volpone. Voltore = Quin : Celia - Mrs.
Younger.

16. Sir Courtly Nice. Hothead = Miller.

27. D'Urfey's bt. Greenwich Park — a new Ora-
tion on several heads, for the entertainment of the
Court and the audience his friends, will be spoken by
himself on the stage.

29. For the bt. of the Orphan children of the late
Mr. Farquhar. Recruiting Officer,

June 3. Chances. Duke = Thurmond.

5. Love makes a Man. Don Lewis = Miller.

10. Tempest. Prospero = Mills : Caliban = John-
son : Ferdinand = Ryan : Ventoso = Norris : Musta-
cho = Leigh : Dorinda= Mrs. Younger : Miranda =.
Mrs. Willis Jun. : Sycorax = Mr. Cross.

14. For the benefit of Norris to make up the defi-
ciency of his last. Constant Couple. Sir Harry
Wildair = Wilks : Lady Lurewell = Mrs. Oldfield,
who perform this once for Norris, it being the last
time of their acting till winter: Beau Clincher =
Bowen : Angelica = Mrs. Younger.

18. By particular desire of several Ladies of Qua-
lity. Fatal Marriage. Biron = Booth : Villeroy =
Mills : Isabella = Mrs. Porter : Victoria = Mrs.
Younger : — an exact computation being made of the
number which the Pit and Boxes will hold, they are
laid together, and no person can be admitted without

tickets by desire the Play is not to begin till 9

o'Clock, by reason of the heat of the weather — nor
the house to be opened till 8.

24. By particular desire of several Ladies of Qua-
lity. Northern Lass. Sir Philip Luckless = Wilks :
Northern Lass = Mrs. Bignall : Widow = Mrs. Moor.

602 D. L. 1716-1717.

27. Acted but twice these 10 years, Ignoramus, or
the English Lawyer. Ignoramus = Norris : — rest
omitted.

July 2. Sir Martin Man-all. Sir Martin = Miller :
Warner = Mills : Moody = Johnson : — with Country
Wake. Hob = Bickerstaffe.

4. Lancashire Witches and Cheats of Scapin.

9. Never acted on the British Stage, the Eunuch
—translated from Terence by L'Estrange and Echard
— Thais is a Courtezan— her mother lived at Rhodes
—a merchant gave the mother a little girl, Pamphila,
who had been stolen from Attica — she brought her
up, as if she had been her daughter — at her death,
her brother sold the girl — Thraso bought her as a
present for Thais, not knowing that there was any con-
nexion between them — Thais had left Rhodes, and
had settled at Athens — here the play begins — Phsedria
is in love with Thais — she requests him to absent
himself for two days, as Thraso had made a demur
about giving Pamphila to her — Phsedria consents—
Chserea, his younger brother, sees Pamphila, and falls
desperately in love with her — Parmeno, Phsedria's
servant, presents Chserea to Thais, as the Eunuch
whom Phaedria had bought for her — while Thais is
at supper at Thraso's, Chserea ravishes Pamphila—
Thais comes home, a quarrel having taken place
between her and Thraso — Thraso, with a ragged
regiment of his servants, attempts to take back Pam-
phila— Chremes claims her as his sister — and at the
conclusion gives her to Chserea for his wife — Gnatho
proposes that Thais should show some favour to
Thraso, as Phsedria (whose father is alive) is riot able
to maintain her — they agree to his proposal — Thraso

D.L. 1716-1717. 603

is a soldier, who by his own vanity, and by the flat-
tery of his Parasite, Gnatho, fancies himself of vast
importance, but is really a great fool — the Eunuch is
an excellent C. — it was acted twice.

July 16. Bartholomew Fair.

18. Unlucky Lover, or the Merry London Cuckolds.

23. Not acted 6 years, Sea Voyage.

30. Not acted 20 years, Little French Lawyer.
La Writ = Norris : — acted twice.

Aug. 6. Not acted 3 years, Old Troop. Raggou
= Bowen : Captain = Ryan : Lieutenant = Thurmond:
Cornet =. Wilks Jun. : Flay-flint = Quin : Ferret-farm
rz Shepherd : Bumpkin = Miller : Tell-troth = Bicker-
staffe : Lancashire Trooper =. Johnson : Dol Troop
= Mrs. Hunt : Biddy = Mrs. Willis Jun.

9. Unlucky Lover. Doodle = Johnson : Dashwell
= Bowen : Wiseacre = Shepherd : Ramble = Ryan :
Townly=Mills : Loveday= Wilks Jun. : — rest omitted.

13. Not acted 15 years, Titus Andronicus, altered
from Shakspeare. Aaron r= Quin : Titus = Mills :
Bassianus = Walker : Lucius = Ryan : Marcus =
Bom an : Saturninus = Thurmond : — rest omitted —
acted 4 times.

22. Not acted 20 years, Scowrers. Sir William
Rant = Ryan: Wildfi re = Wilks Jun.: Tope = Bicker-
staffe : Sir Humphrey Maggot = Shepherd : Whachum
=. Miller : Mr. Rant = Quin : Lady Maggot — Mrs.
Hunt : Eugenia = Mrs. Seymour : Clara = Mrs.
Willis Junior. ( Bills from B. M.)

Southwark Fair.
Bullock and Leigh kept a booth in Angel Court.

604 L. i. F. 1716-1717.

Sep. 9. Penkethman and Pack's booth opened with
a new Droll called — Twice Married and a Maid
Still, or the Bedding makes the Bargain Fast. Old
Merriwell = Pinkethman : Tim = Pack: Vincent —
Quin : Peregrine = Ryan : Trusty = Spiller : Lucia
= Mrs. Spiller.' (B. M.}

L. I. F. 1716-1717.

Oct. 6. Hamlet = Elrington from Ireland being his
1st appearance on that stage.

10. Bury Fair. Sir Humphry Noddy = Bullock :
Trim = Bullock Jun. : Gertrude = Mrs. Thurmond :
Mrs. Fantast = Mrs. Moor.

13 15 and 18. Elrington acted Oronooko, Plume,
and Essex.

20 and 23. Elrington acted Hotspur and CEdipus.

24. Royal Merchant. Higgen = Pack.

27. Julius Ca3sar. Brutus = Keen : Cassius —
Elrington*

29. Devil of a Wife with Pyramus and Thisbe —
this little piece is taken from the Midsummer Night's
Dream — Leveridge says — " I have made bold to dress
" out the original in Recitative and Airs after the
"present Italian mode " — D. P. Bottom = Spiller:
Peter Quince = Bullock : Flute = 11. Bullock :— Per-
sonaggi — Semibreve the Composer — Knap ; Crotchet

L. i. F. 1716-1717. 605

= H. Bullock : Gamut = Cocker : Pyramus and Pro-
logue = Leveridge : Wall = Randal : Lyon = Cook :
Moonshine — Reading: Thisbe^Mr. Pack : — the 1st
scene differs but little from Shakspeare — then comes
the Mask — when the Wall has sung — Gamut observes
— " This is the most musical partitiori I ever heard "
—Semibreve replies — " This is nothing to what we
" have abroad, and by degrees I am in hopes to bring
" our dull English to this polite taste " — here is no
absurdity, as the Clowns may with more propriety be
supposed to be Englishmen, than Athenians as Shak-
speare makes them — Crotchet wonders whether the
Lion be to sing — Semibreve answers — " Never
" wonder at that, for we that have study'd the Italian
" Opera may do any thing in this kind " — Pyramus
dies singing — Crotchet says — " I'll assure you the
" man died well, like a Hero in an Italian Opera. to
" very good Time and Tune " — Pyramus and Thisbe
sing the Epilogue — One thing is very badly managed
—Bottom &c., who in the 1st scene are represented
as about to act the Mask, do not really act in it.

Nov. 3. Not acted 12 years, Twin Rivals. Elder
Wou'dbe = Elrington : Younger Wou'dbe = Bullock
Jun. : Trueman = Leigh : Richmore = Husband :
Subtleman = Spiller : Alderman = Bullock : Man-
drake = Mr. Pack: Constance = Mrs. Rogers: Au-
relia = Mrs. Rogers Jun. : — acted about 6 times.

9 and 13. Elrington acted Biron and Torrismond.

26. Love makes a Man. Carlos = Elrington.

Dec. 4. Never acted, Woman is a Riddle. Sir
Amorous Vainwit = Bullock Jun. : Charles Court-
well — Elrington : Col. Manly = Leigh : Aspin (his
servant) = Spiller: Vulture (a stock-jobber) = Bullock:

606 L. i. F. 1716-1717.

Butler = Ogden : Miranda (Courtwell's sister) = Mrs.
Cross : Lady Outside = Mrs. Rogers : Clarinda =
Mrs. Spiller : Necessary (Lady Outside's woman) =
Mrs. Elsom: Betty (Miranda's woman) = Mrs. ***:
— acted about \C2 times— Miranda gives the title to
the play — she is in love with Col. Manly — she has a
private entrance into his apartment — she leaves letters
for him on his table — and returns for his answers—
the Colonel is very desirous to find out who she is,
and how she gets into his room — in the 3d act, Betty
enters through a moveable pannel in the wainscot-
she is in the dark, and cannot find her way back
again — Aspin enters with a light — she blows it out—
Col. Manly enters, and lays hold on Betty — he sends
Aspin for a candle — in the mean time, Betty gives a
sudden spring, and makes her escape — the Colonel
is more puzzled than ever — after a scene between
Lady Outside and Clarinda, Miranda enters with a
dark lantern— she sits down to write— the Colonel
takes up the lantern, and seizes Miranda — he is struck
with her beauty — she contrives to blind him with her
snuff, arid gets off — in her letter she had promised to
send a chair for him to the Piazza in Covent Garden
— the Colonel is brought to Miranda's lodgings in a
chair — she pretends her brother is coming, and re-
quests him to hide himself — Sir Amorous is then
brought in — Miranda affects to be in love with him
— and gives him bills to the amount of £10,000 —
Miranda's maid says her brother is just come to town
— they dress Sir Amorous in woman's clothes— the
Butler enters as Miranda's brother — he beats Sir
Amorous — Sir Amorous runs off, and attempts
to leap from the balcony — he hangs upon a hook by

L. I. F. 1716-1717. 607

his petticoats — a footman with his flambeau stands
just under Sir Amorous — Betty extricates him from
his awkward situation — Miranda sends Betty for Sir
Amorous' clothes — he pulls off the gown and petti-
coat he had on— just as he is in his shirt, the Butler
breaks open the door — Sir Amorous runs up the
chimney — the Butler threatens to fire at him — Sir
Amorous tumbles down in a very dirty condition—-
the Butler locks up Sir Amorous, and secures his
coat in which he had placed the bills — Betty unlocks
the door, and introduces Clarinda to Sir Amorous in
the dark as Miranda — the Colonel, who had been
concealed all this time, is conducted by Betty into
his own lodgings — Aspin enters drunk — the Colonel
is astonished at finding himself at home — he goes
out and locks the door — Betty brings in Sir Amo-
rous through the secret passage— she carries out
Aspin, supposing him to be the Colonel — the
Colonel re-enters with a light, and to his great sur-
prise finds Sir Amorous — Courtwell enters — Sir
Amorous and the Colonel explain what had hap-
pened to them — Courtwell concludes that Miranda
had been making use of the private passage between
the two houses — he finds on trial that it was so —
he introduces Sir Amorous and the Colonel to Mi-
randa by the secret door — Miranda gives her hand
to the Colonel — Sir Amorous finds that he is married
to Clarinda instead of Miranda — he had seduced
and deserted her — it was for her sake that Miranda

had pretended to be in love with Sir Amorous

there is an important underplot—Lady Outside is a
rich widow — she had made a vow against matrimony,
but is very desirous of having a crowd of admirers

608 L. i. F. 1716-1717.

— Courtwell, Sir Amorous and Vulture pay their
addresses to her — at the conclusion, Courtwell bribes
Necessary to hide him in her lady's chamber — by his
desire Miranda, Col. Manly &c. come with music
to Lady Outside's apartment — she enters as just
risen from bed — Miranda says they are come to wish
her joy, and insists that she is married to Courtwell

—Lady Outside denies it — Courtwell enters from
her bedroom in a nightgown and slippers — he ad-
dresses Lady Outside as his bride — Necessary says
her mistress is wedded and bedded — Courtwell pri-
vately tells Lady Outside that he has a parson and a
license ready — and advises her to marry him to save
her reputation — she consents — this is a good C. by
C. Bullock — the time of action is from four o'clock
in the afternoon till eleven at night — CourtwelFs trick
is taken from Ram Alley, or the Parson's Wedding
— a marriage in the dark is in general an improbable
circumstance, but Sir Amorous' marriage is so well
managed that it is not improbable.

The Editor of the B. D. says that this play was the
occasion of a dispute between C. Bullock and Savage,
and that the fact was really this — a Lady having trans-
lated a Spanish piece for her amusement, gave a copy
to each of them — Bullock got his play ready for repre-
sentation before Savage — whatever truth there may
be in this story, one thing is certain — namely, that
there is very little resemblance between the two plays

—see Love in a Veil D. L. June 17 1718 — Clarinda
in Woman is a Riddle, and Fidelia in Love in a Veil
are, each of them deserted by her lover — but with
this difference — Clarinda had been seduced by Sir
Amorous — Fidelia is said (p. 68) not to have for-

L. j. F. 1716-1717. 609

feited her honour — Clarinda is a part of no import-
ance— Fidelia is an important character — in both
plays Aspin is a cowardly servant — but the Aspin in
one play does little or nothing, like the Aspin in the
other — Dr. Johnson says Savage gave Bullock Wo-
man's a Riddle, and two years afterwards wrote Love
in a Veil, another Comedy, borrowed likewise from
the Spanish — it is however to be observed, that Dr
Johnson, notwithstanding his intimacy with Savage,
does not pretend to speak from his own knowledge ;
he only quotes Jacob's Dramatic Poets.

Dec. 13. Plain Dealer. Widow = Mrs. Knight.

18. Not acted 14 years, Inconstant.

Jan. 8. Indian Emperour. Montezuma = Keen :
Cortez =. Elrington : Guyomar = Bullock Jun. : Al-
meria = Mrs. Knight : Alibech •=. Mrs. Rogers : Cy-
daria = Mrs. Cross: with Country Wake. Hob =
Spiller.

17. Not acted 14 years, She Gallants.

28. Don Sebastian. Don Sebastian = Elrington :
Dorax =. Keen : Antonio = Bullock Jun. : Muftis
Bullock : Mustapha = Pack : Emperour = Leigh :
Almeyda — Mrs. Rogers : Morayma = Mrs. Cross :
Johayma = Mrs. Kent.

9. Prophetess. No admission behind the scenes.

11. Never acted, Artful Husband. Sir Harry
Freelove =. Elrington : Winwife= Keene : Stockweli
= Spiller : Frank Flash (Lady Upstart's nephew) i=
Pack: Ned (Sir Harry's servant) — Knapp : Belinda
= Mrs. Thurmond : Mrs. Win wife = Mrs. Rogers :
Lady Upstart (a rich widow) = Mrs. Knight : Maria
(a pretended Frenchwoman — in the service of Lady
Upstart) — Mrs. Schoolding : Decoy (a procuress) =

VOL. II. R R

610 L. i. F. 1716-1717.

Mrs. Kent : — acted 15 times — this play consists of
two distinct plots — Mrs. Winwife is very extravagant
—her husband remonstrates with her, but without
effect — he then changes his plan, and pretends to be
as extravagant as herself — at the end of the 4th act,
he tells her that he has summed up his estate, and
finds that he has enough to support them for a twelve-
month— she thinks herself on the brink of ruin, arid
requests him to retire into the country — all this (with
the outlines of Mrs. Decoy's character) is taken from
the Lady of /Pleasure — Taverner has sometimes bor-
rowed even Shirley's words — in the other plot, Be-
linda has been cheated out of £10,000 by the widow's
late husband — she endeavours to obtain justice from
the widow — but in vain — Sir Harry falls in love with
Belinda, and she with him — Stockwell employs Mrs.
Decoy to assist him in seducing Belinda — Sir Harry
makes love to the widow with a view to recover the
mortgage of his estate — Stockwell wants to marry
her for her money — she gives the preference to Be-
linda, who is disguised as Sir Modish Pert — they are
married — in the 5th act, Lady Upstart complains bit-
terly to Maria that her husband has not done his duty
by her — Sir Harry and Stockwell take her part against
Sir Modish — Sir Modish offers to dissolve the mar-
riage on condition of receiving £10,000 and the
mortgage of Sir Harry's estate — the widow gives him
the money and the deed — Sir Modish declares he was
married some months ago to Maria — at the conclusion
Belinda enters in her proper dress, and gives her
hand to Sir Harry — Frank Flash had married Maria
—the preference which the widow gives Belinda, as
Sir Modish, over her other suitors, arid her marriage

L. i. F. J 716-1 717. 611

with her, are taken from the Counterfeit Bridegroom,
or (which is the same thing) No Wit, no Help, like a
Woman's — Taverner has made considerable additions
to what he has borrowed, arid produced a very good
C.— see Female Chevalier Hay. May 18 1778 -arid
Bank Note C. G. May 1 1795.

March 11. Mrs. Rogers' bt. Theodosius. Vararies
=. Elrington : Theodosius — Leigh : Marcian — Keene :
Athanais =. Mrs. Rogers Jun. : Pulcheria = Mrs.
Knight.

13. Never acted, a Farce in 2 Acts — Footman
turned Gentleman.

16. Elrington's bt. Rival Queens. Alexander —
Elrington : Clytus = Keene : Lysimachus = Leigh :
Statira =. Mrs. Rogers : Roxana = Mrs. Knight.

28. Bullock's bt. Macbeth = Keene : Macduff=
Elrington.

April 11. Husband's bt. Prophetess — for that
night only the front of the Gallery will be adorned
with the original pictures of Shakspeare, Ben Jonsori,
Dry den and others.

13. For bt. of Mr. and Mrs. Spiller. Island Prin-
cess. Armusia = Elrington : Governour = Keene :
Quisara = Mrs. Spiller : with a new Comi-Tragi-
Mechanical Prologue in the gay style, written arid to
be spoken by Spiller.

22. Cheats. Harlequin — Lun : Punch = Shaw :
Scaramouch — Thurmond.

23. Unhappy Favourite. Not tingham = Mrs, Hay-
wood lately from Ireland.

25. Ophelia = Mrs. Thurmond.

29. Mrs. Schoolding's bt. Fortune Hunters.
May 10. Love for Love. Ben = Spiller 1st time.

R 11 2

612 D. L. 1717-1718.

16. For bt. of Griffin, Coker, and Mrs. Robertson.
Jew of Venice. Jew = Griffin : Portia — Mrs. Thur-
mond : — with, never acted, the Masquerade, or an
Evening's Intrigue — in the B. D. this Farce is said
to be written by Griffin.

June 2,5. Gamester. Young Valere = Leigh : Sir
Thomas Valere = Bullock : Hector = Spiller : Cogdie
=. Bullock Jun.

28. Emperour of the Moon. Harlequin = Spiller :
Scaramouch = Bullock.

July 10. Not acted 8 years, City Politics. Leigh
-Smith— Spiller— Bullock— Bullock Jun.— Hall-
Mrs. Bullock Jun. (late Mrs. Rogers Jun.)— Mrs.
Spiller — the cast might probably be — Bartoline =
Spiller : Craffy = C. Bullock : Florio = Leigh : Artall
— Smith : Dr. Panchy = Hall : Rosaura = Mrs. Bul-
lock : Lucinda = Mrs. Spiller : Bullock Sen. would
no doubt retain the part of the Podesta, which he
had acted at D. L. July 11 1712.

N.B. Several regular Operas were performed in
the course of the season. (Bills from B. M.J

D. L. 1717-1718.

Oct. 1. Rover 5. Henry 8th.

3. Sir Courtly Nice. Farewell- Wilks Jun.
9. Love makes a Man 12. Maid's Tragedy.

D. L. 1717-1718. 613

11. Timon of Athens. Apemaritus = Mills.

14. Spanish Fry ar. Dominic = Leigh : Torrismond
= Booth : Lorenzo =. Wilks : Bertran = Ryan : Queen
= Mrs. Porter: Elvira = Mrs. Mountfort.

15. Henry 4th. part 1st. Falstaff= Mills.

16. Funeral. Lord Brumpton = Quin : Cabinet

17. Rehearsal - 18. Evening's Love— still no
characters.

19. Cato -- 21. Love's last Shift.

22. Othello. Cassio = Ryan - 23. Busy Body.

24. Chances. 2d Constant! a = Mrs. San tlow.

2.5. Little French Lawyer. Lawyer — Norris :
Dinant •=. Mills : Cleremont = Ryan : Champernel (a
lame old gen tleman)= Thurmond : Sampson (a foolish
advocate) = Miller : Vertaign (a judge — Lamira's
father) = Boman : Beaupre (his son) = Walker : Ver-
clone (Champernel's nephew) = Wilks Jun. : — the
characters of Lamira — Anabell — Charlotte and the
Nurse are omitted — see June 30 1720 — Dinant is in
love with Lamira, but she, instead of marrying him,
by her father's persuasion marries Champernel—
—Dinant persists in his addresses to Lamira — she
plays him a trick or two— and he in return engages
some gentlemen of his acquaintance to disguise them-
selves as thieves, and take Lamira and her friends
prisoners, as they are going to her country house —
Dinant gets Lamira completely into his power— he
frightens her, but does not hurt her — at the conclu-
sion, he renounces all dishonourable intentions to-
wards her — Cleremont marries Anabell, Champernel's
niece — Cleremont is a very lively character — he and
Dinant in the 2d act are to fight with Beaupre and

614 D. L. 1717-1718.

Verdone — Lamira contrives to send Dinant out of
the way — Cleremont with difficulty prevails on La
Writ, the little French Lawyer, to be his second—
they disarm their opponents — La Writ becomes very
fond of fighting and renounces the law — he gets beaten,
and returns to his profession— the politeness of the

French Duellists is admirably ridiculed the Editor

of Beaumont and Fletcher in 1778 observes that this
play used to be frequently performed with the greatest
applause, till modern refinement banished it from the
theatres — the C. is a very good one, and it is highly
probable that it might have been a favourite between
1660 and 1700 — but neither Langbaine nor Dowries
mentions it as having been revived — see D. L. Oct.
7 9 10 1749, and C. G. April 27 1778.

Oct. 26. Orphan 28. Strategem. Mrs. Sullen

= Mrs. Porter.

29. Lancashire Witches 30. Jovial Crew.

31. Not acted 12 years, Adventures of Five Hours,
no characters.

Nov. 4. Tamerlane — 6. Country Wit — 7. ^Esop.

8. Northern Lass. Widgin= Miller: Widow =
Mrs. Horton.

9. Richard the 3d 11. She wou'd and She

wou'd not.

13. She wou'd if she cou'd 16. Julius Csesar.

15. Old Batchelor. Lsetitia = Mrs. Oldfield 1st
appearance this season.

18. Recruiting Officer. Plume = Wilks : Brazen
= Cibber: Balance = Quiri : B ullockm Miller : Kite
= Leigh: Worthy — Mills : Appletree = Pinkethman :
Pearmain =Norris : Sylvia — Mrs. Bicknell : Meliiida
— Mrs. Horton : — Rose and Lucy are omitted.

D. L. 1717-1718. 615

19. Caius Marius. Cinna = Quin 20. Relapse.

21. Venice Preserved 23. Careless Husband.

25. Love for Love. Miss Prue = Mrs. Santlow :
Mrs. Foresight = Mrs. Horton.

27. Double Gallant. Careless = Wilks Jun.

28. Oronooko 29. Wit without Mbney.

Dec. 3. Rule a Wife. Margarita = Mrs. Horton.
4. Constant Couple 5. Tempest.

6. Never acted, Nonjuror. Dr. Wolf = Cibber :
Heartly = Wilks: Col. Woodvil = Booth: Charles =
Walker : Sir John Woodvil = Mills : Maria = Mrs. Old-
field : Lady Woodvil = Mrs. Porter: — this is a good
C. — it still continues to please as the Hypocrite —
(see D. L. Nov. 17 1768) — it is taken from Moliere's
Tartuffe — Cibber omits Dorina the Chambermaid
(an important character) and Sir John WoodviPs
Brother and Mother, but then he improves the in-
sipid part of the daughter into one of the best Co-
quettes on the stage — Charles is borrowed from Med-
bourne's Tartuffe, but is altered greatly for the bet-
ter— this C. was acted 23 times — the success of it
seems to have galled Gibber's enemies.

Advertisement in Daily Courant Dec. 28 1717—
this day is published a translation of Moliere's Tar-
tuffe or the French Puritan by Medbourrie, in which
may be seen the plot, characters, incidents and most
part of the language of the Non- Juror. (S. M.}

The Epilogue to Sir Walter Raleigh says —

" Yet to write plays is easy, faith, enough
" As you have seen by — Cibber — in Tartuffe.
" With how much wit he did your hearts engage !
" He only stole \X\vplay ; — he writ the title-page"

616 D. L. 1717-1718.

These attacks have more ill-nature than wit, as
Gibber could never mean to conceal his obligations
to Moliere.

The writing of this play was an event of great im-
portance to Gibber — on his presenting of the dedica-
tion to George the 1st, his Majesty ordered him
£200 for it — and Gibber attributes his being ap-
pointed Poet Laureat to the persecution he met with
in consequence of writing the Non-juror — on the
other hand it procured him many bitter enemies, it
being written in favour of the Hanover succession
and against the Non-jurors and Jacobites who at that
time abounded in London — Gibber deserved all the
abuse and enmity that he met with — the Stage and
the Pulpit ought NEVER to dabble in politics.

The Non-juror was successful ; as the persons, who
were offended at the political part of it, did not think
it prudent to manifest their resentment at the time
—but in every play that Gibber produced afterwards,
they took care to be revenged on him, and paid him
to the full the arrears they owed him.

Dec. 31. Macbeth = Mills: Macduff=Wilks: Ban-
quo = Booth : Hecate = Johnson : Witches — Pinketh-
man, Norris, and Leigh : Lady Macduff = Mrs.
Horton : Lady Macbeth = Mrs. Porter : — she had pro-
bably played the part from the time Mrs. Knight
quitted D. L.

Jan. 4. Not acted 5 years, Indian Emperour — no
characters.

8, Never acted there, Way of the World — charac-
ters newly dressed.

11. Jane Shore. Belmourir Walker.

D.L. 1717-1718. 617

18. For Pinkethman — to make up the deficiency
of his last year's bt. Humorous Lieutenant. Lieut-
enant = Pinkethman : King = Thurmond : Leontius
= Mills: Celia = Mrs. Oldfield.

20. Silent Woman. Lady Haughty = Mrs. Saun-
ders : Dol Mavis — Mrs. Younger.

21. Fair Quaker — 22. Strategem. Boniface =
Cross.

23. Scornful Lady— 31. Country Wife.
27. Old Batchelor. Lucy — Mrs. Saunders.
Feb. 1. Hamlet — 4. Orphan — 6. Greenwich Park.
8. Othello. Desdemona = Mrs. Santlow : JEmilia
= Mrs. Saunders.

13. Fatal Marriage.

14. Way of the World. Mirabell = Wilks : Fain-
all = Booth: Witwoud = Cibber: Sir Wilful Wit-
woud = Pinkethman : Petulant = Boman : Waitwell
= Leigh: Millamant = Mrs. Oldfield : Lady Wish-
fort = Mrs. Saunders: Mrs. M ar wood = Mrs. Por-
ter: Foible = Mrs. Willis : Mrs. Fainall = Mrs. Hor-
ton : Mincing n Miss Willis.

19. Never acted, The Play is the Plot. Capt.
Carbine = Walker : Sir Barnaby Bindover = Johnson :
Ringwood = Pinkethman : Peter Pirate (a broken
bookseller) = Gibber : Machone = Miller : Buskin =
Norris : Truncheon = Bowen : Spangle = Shepherd :
Jeremy (servant to the Captain) = Oates : Betty
Kimbow (landlady of an inn) =. Mrs. Leigh : (a mis-
take for Mr. Leigh) — Fidelia (daughter to Sir Bar-
naby) = Mrs. Mountfort : Prudentia (his sister — an
old maid) =Mrs. Saunders : Jenny =Mrs. Garnet : Mrs.
Buskin =Mrs. Baker : — acted 6 times — Carbine and
Fidelia are mutually in love — her father wants her to

618 ». L. 1717-1718.

marry Ringwood, who is a Colonel in the Militia —
Carbine visits her in the disguise of a Cambridge
scholar — he is discovered — in the 3d act, Betty Kim-
bow, who is in Carbine's interest, enters as a Coun-
tess— Fidelia, who is in the plot, introduces her to her
father — Betty pretends that her daughter, Lady
Mary, is dying, and wishes particularly to see Fidelia
—Sir Barnaby at last consents to let his daughter go
with the Countess — they retire for Fidelia to put on
her hood — Sir Barnaby picks up a chandler's bill
which Betty had dropt — he finds that the Countess
is Betty Kimbow, arid threatens to send her to jail
— Machone is in the service of Sir Barnaby, and
very faithful to him in opposition to the young people
— Capt. Carbine receives a letter from a brother
officer, from which he learns that Machone is a de-
serter—Jeremy pretends to be an Irishman — while
he and Machone are drinking, Carbine enters with
three dragoons, and secures Machone — Machone
begs Carbine's pardon for what he had done, and pro-
mises to assist him for the future — a Company of
Strollers arrive at the inn — the Captain promises
Spangle, that if he can get Sir Barnaby's consent to
let them act a play in his hall, he will give him 20
guineas — Sir Barnaby consents — the play is on the
story of Andromeda — the Captain acts Perseus—
Fidelia, Andromeda — Ringwood, the Monster — and
Betty Kimbow, a sea nymph, called Cymodoce — the
other parts are acted by the Strollers — Machone lets
Carbine and Fidelia out of the house — they return
after having been married — Sir Barnaby is recon-
ciled to them — Peter Pirate takes in Prudentia to
marry him this play was written by Breval — it is

D. L. 1717-1718. 019

a tolerably good Comedy, or rather Farce in 5 acts
-Peter Pirate, Col. Ringwood and Prudentia are
very dull characters — Betty Kirnbow and the Strol-
lers are very good ones — the burlesque Tragedy is ex-
cellent— the last two acts were turned into a Farce
called the Strollers— see D. L. July 16 1723.

March 1. King Lear. Kent = Thurmond : Glos-
ter=: Cibber : — the latter resumed his part, as Quin
had left D. L.

8. Cato. Marcus = Williams : Lucius = Thur-
mond.

17- Unhappy Favourite. Essex = Wilks : South-
ampton = Mills : Burleigh = Cibber : Queen = Mrs.
Porter; Rutland = Mrs. Oldfield: Nottingham = Mrs.
Horton.

24. Bartholomew Fair. Quarlous = Mills : Busy
— Cibber : Cook Ursula = Mr. Leigh : — see June 28
1715.

April 19- Miller's bt. Amorous Widow. Barnaby
Brittle = Cibber.

23. Tender Husband. Fainlove = Mrs. Willis Jun.

No bills of importance in May.

Summer.

The Managers constantly permitted the younger
part of their company to perform plays three nights
a week all the Summer under the direction of Mills ;
there being at that time no summer entertainments
in or near London — so says Victor speaking of this
season — it appears however that the Company seldom

620 D. L. 1717-1718.

acted after Bartholemew Fair began, that Fair being
succeeded by another at Southwark.

June 17. Never acted, Love in a Veil. Sir Charles
Winlove = Mills : Aspin (his servant) =. Miller: Don
Philip (contracted to Leonora) =. Thurmond : Lo-
renzo (Governour of Valencia) = Williams : Diego =
W. Mills : Leonora (daughter to the Governour) =
Mrs. Seymour: Fidelia = Miss Willis : Flora (wo-
man to Leonora) = Mrs. Garnet : — Norris acted
Alonzo, but that character was not in the play till

July 22 Sir Charles and Fidelia were mutually

in love— he had fought with his rival, and had
wounded him mortally, as was supposed— he had left
Madrid in consequence, and had been at Valencia
about a fortnight — since he had been there, he had
fallen in love with Leonora — he had only seen her in
a Veil, and does not know who she is — Fidelia comes
to Valencia with a letter of recommendation to Le-
onora— Alonzo supposes that his daughter had gone
off with Sir Charles — he had been informed that they
had taken the road to Valencia — he requests Lorenzo
by letter to secure them — Leonora meets Sir Charles
by appointment — she takes off her veil — Lorenzo with
officers arrests Sir Charles— he finds Leonora, but
as she had put on her veil again, he supposes her to
be Fidelia — he sends her by one of the officers to his
own house, ordering her to be kept as a prisoner, but
to be treated with respect — Don Philip and Sir
Charles are great friends — Don Philip prevails on
Lorenzo to let Sir Charles be a prisoner at large —
Sir Charles visits Leonora at her own house, and by her
invitation — Aspin fires a pistol behind the scenes -

D. L. 1717-1718.

the family is alarmed — Sir Charles gets into the court
yard, and conceals himself in a chair — Don Philip
looks into the chair — Sir Charles makes signs to him
to take no notice — when Lorenzo is gone out, Don
Philip taxes Sir Charles with endeavouring to sup-
plant him in Leonora's affection — Sir Charles denies
the charge, not knowing who Leonora really is — in
the 4th act, Don Philip asks Fidelia if she knows
Sir Charles —she acknowledges her affection for him
—Leonora thinks it advisable to drop her acquaint-
ance with Sir Charles — she tells Fidelia what had
passed between them— and writes to Sir Charles to
appoint an interview with him at another place — in
the 5th act, Alonzo arrives at Valencia — Sir Charles
shows Don Philip Leonora's letter — he supposes it to
come from Fidelia — says his apartment has a door
into another street — and recommends Sir Charles to
have the lady carried thither by the back way — Aspin
conducts Leonora and Fidelia to Don Philip's apart-
ment, which is in Lorenzo's house — Leonora is sur-
prised to find where she is — Sir Charles is surprised
at finding Fidelia — he agrees to marry her — Alonzo
is reconciled to them — the wounded gentleman is
said to be perfectly recovered — this is a tolerably good
C. by Savage — for the supposed resemblance be-
tween it and Woman is a Riddle see L. I. F. Dec.
4 1716.

July 8. Titus Androriicus = Mills : Aaron =: Bick-
er staffe.

11. Not acted 10 years, Love for Money. Jack
Amorous = Mills : Sir Rowland Rakehell — Johnson :
Deputy Nicompoop = Norris : Will Meri ton = Wil-
liams : Ned Brag = Wilks Jun. : Zachary Brag =

D. L. 1717-1718.

Shepherd: Le Prate = Miller : Old Meritori = Bic'k-
erstaffe : Coupee m Birkhead: Betty Jiltall = .Mrs.
Garnet: Lady Addleplot = Mr. Leigh : Miss Jenny
= Aliss Tenoe: Miss M oily = Miss Willis: Oyley =
Mrs. Moor: Mirtilla = Mrs. Seymour: Lady Strod-
dle = Mrs. Willis : Crowstich = Mrs. Hunt : — acted
4* times.

Ji2. By the desire of several persons of Quality—
for the benefit of the Author— Love in a Veil (4th
time) with the addition of some new scenes, and a
new character to be performed by Norris— this cha-
racter was Alonzo.

05. Bonduca. Caratach = Mills.

Aug. 15. Not acted 30 years, Love in a Wood.
Ranger = Mills : Dapperwit = Wilks Jun. : Gripe =
Norris: Sir Simon Addleplot = Miller : Valentine —
Walker: Vincent = Williams : Lady Flippant = Mrs.
Moor: Christ iana = Mrs. Seymour: LydiaizMrs.
Garnet: Mrs. Creesbite = Mrs. Willis: Mrs. Joy-
ner — .Mrs. Hunt: Martha = Miss Tenoe: Lucy =
Miss Seal.

22. Bonduca, or the British General. Venutius
= Williams : Comes = Thurmond : Suetonius = Wal-
ker : Hengo = Miss Lindar : Corporal Macer the
Starved Soldier = M iller : rest omitted— see Bon-
duca T. R. 1696.

Pinkethman had a theatre at Richmond. (/>///.9
from B.M.)

William Bovven was killed— probably between Feb.
19 and July 11 — as he acted in the Play's the Plot,
and did not act La Prate in Love for Money, a part
which he played originally — see also May 25 1719-

He was extremely angry at being told that Ben

D. L. 1717-1718. 623

Johnson acted Jacomo in the Libertine better than
he did — this was given against him by the whole
company, but Quin seems to have offended him more
than any body else — in consequence of which he
sent for Quin to a tavern ; and when he had entered
the room, clapped his back against the door and drew
his sword, threatening to pin Quin to the wainscot,
if he did not draw that moment — Quin, having mildly
remonstrated to no purpose, drew in his own defence,
arid endeavoured to disarm Bowen, who pressed so
furiously upon him, that he received a wound of
which he died in three days — however when the loss
of blood had weakened his rage, he acknowledged
his folly and madness — and Quin on his trial was
honourably acquitted.

Bowen had a strong voice which made him con-
sidered as an actor of spirit — he was born in Ireland
in 1666 and played on the Irish stage several years ;
he came to D. L. about 1689 — he left a natural son
who was neglected by him, and who justly obtained
the nick-name of Rugged and Tough — one day a
Clergyman was catechising the children at St. Cle-
ment's in the Strand, where Rugged and Tough thrust
himself in among the rest — when the following dia-
logue took place. Parson. " What is your name?"
Rug. " Rugged arid Tough." Pars. " Who gave
you that name ?" Rug. " The boys in our Alley,
Lord damn them for it."

Mr. Rugged and Tough, having afterwards an in-
clination to travel, contrived to do it at the expense
of government. (Chetwood.)

624 D. L. 1717-1718.

Bowen's characters — selection only.

T. R. 1689. "Coachman in English Friar.

1691. *Sir Gentle Golding in Sir Antony Love —
*Monsieur Le Prate in Love for Money.

1692. *Sir Timothy Kastrill in Volunteers.

1693. *Sir Joseph Wittol in Old Batchelor.

1694. *Don Quixote in 1st and 2d part.
L. I. F. 1695. * Jeremy in Love for Love.
1697' ^Crispin in Anatomist — * Razor in P. W.
1700. Francis in Henry 4th — *Witwood.

D. L. 1702. *Puzzle in Funeral — *Teague in Twin
Rivals.

Hay. 1704-1705. Humorous Lieutenant.

L. I. F. and Hay. 1705-1706. Teague in Com-
mittee— Raggou in Old Troop — Trappolin — Scapiri.

Hay. 1706-1707. Crack in Sir Courtly Nice-

Anvil in Northern Lass — Dufoy in Comical Revenge

—Dash well in London Cuckolds— Osrick — *Foigard

—Beau Clincher — Ascanio Sforza in Caesar Borgia.

D. L. 1710-1711. Gripe in Confederacy— Rode-
rigo in Othello.

1712-1713. Jacomo in Libertine.

1714-1715. Barnaby Brittle.

* Originally,

L. i. F. 1717-1718. 625

L. L F. 1717-1718.

Oct. 5. Not acted 20 years, Cymbeline, or the
Fatal Wager, altered from Shakspeare — no characters.

15. Old Batchelor. Lsetitia = Mrs. Thurmond.

17. Not acted 10 years, Fair Example.

21. Squire of Alsatia. Squire = Bullock.

23. Artful Husband. Sir Harry Freelove = Bul-
lock Jun. : Mademoiselle (Maria) = Mrs. Bullock : —
rest as before.

26. Fatal Marriage. Victoria = Mrs. Thurmond.

Nov. 9. Don Quixote. Mary the Buxom = Mrs.
Giffard, being her 1st appearance on the stage.

15. Sauny the Scot. Sauny = Bullock : Peg the
Shrew = Mrs. Thurmond.

16. Unhappy Favourite. Essex = Keen.
26. Wife's Relief. Riot = Bullock Jun.

28. Busy Body. Marplot = Pack : Patch = Mrs.
Giffard.

Dec. 3. Never acted, Artful Wife. Sir Francis
Courtal = Bullock Jun. : Lord Absent = Keene :
Lovell i= Leigh : Lady Absent = Mrs. Rogers : Lady
Harriet (sister to Lord Absent) = Mrs. Thurmond :
Ruth (niece to Lady Absent) = Mrs. Bullock : Mrs.
Forward (woman to Lady Absent) = Mrs. Spiller : —
acted 3 times — Sir Francis pays his addresses to Lady
Absent and Lady Harriet — he had seduced Ruth —
Lord Absent neglects his wife, not from any dislike
to her, but from his natural indolence — Lady Absent
purposely leaves a letter from Sir Francis, and his
picture, on her toilet — Lord Absent finds them —
when his wife has raised his jealousy, she tells him,

VOL. II. S S

626 L. i. F. 1717-1718.

that she will make an assignation with Sir Francis in
the summerhouse, arid that he shall hear all that
passes — the interview takes place in the 5th act — Sir
Francis makes love with too much violence — Lady
Absent cries out — Lord Absent and the rest of the
company enter — Lord Absent reproaches Sir Francis
for his breach of friendship — and forces him to marry
Ruth — Lady Harriet gives her hand to Lovell — this
C. is well written, but it wants incident sadly — for
this reason it is very inferiour to the Artful Husband,
to which it is evidently meant as a counterpart — the
Artful Wife was written by Taverner.

7- Fair Example. Sir Charles = Leigh : Sir Rice
ap Adam = Griffin: Wh imseyir Spiller : Springlove
= Bullock Jun. : Symonds = Pack : Fan cyn: Bullock:
(his part originally) Florinda (Mrs. Symonds) = Mrs.
Thurmond : Lucia = Mrs. Bullock : Flora = Mrs.
Spiller : — Mrs. Whimsey, the principal female cha-
racter, is omitted — Mrs. Rogers played the part Oct.
l?th.

9. Provoked Wife. Lady Fanciful = Mrs. Spiller :
Mademoiselle^ Mrs. Bullock.

12. Never acted, Perjuror. Justice Bindoverrz
C. Bullock : Spoilem = Spiller : Thoroughpace = H.
Bullock : Bellmour = Williams : Justice's Clerk •=.
Griffin : Merry Andrew and Joseph Idle (actors) =
Scot and Egleton : Actress = Mrs. Finch : Isabella =
Mrs. Robertson :— the scene lies in a country town—
the Perjuror is Thoroughpace, who is a constable,
and who had usually been in league with the Justice
— Bellmour gains him over to his interest by a promise
of 500 Guineas — he gets a warrant from the Justice
to bring the players before him — Bellmour and a

L. i. F. 1717-1718. 627

Parson disguise themselves as players — Spoilem is
the master of the company — while the Justice is exa-
mining him, Bellmour and Isabella are married — the
Justice takes the Actress into a private room— Bell-
mour, Isabella and Thoroughpace overhear their con-
versation, and threaten to expose the Justice, unless
he will pay the fortune of Isabella, who is his ward
— he is forced to submit — this is a tolerable Farce in
one act by C. Bullock — Spiller in the Prologue says—

" In these short scenes my character is shown."

Spoilem is called James Spoilem as James was
Spiller's Christian name.

14. Never acted, Mangora King of the Timbusians,
or the Faithful Couple— Spaniards— Hurtado^ Leigh:
Mosquera and Nuno (in love with Isabella) = Bullock
Jun. and Smith : Gavot (the Admiral) = Rogers :
Father Jaques (to be played as the Spanish Fryar) =
Bullock : Miranda (Hurtado's wife) = Mrs. Knight :
Isabella (in love with Mosquera) = Mrs. Bullock :
Francisca( Miranda's woman) = Mrs. Finch : — Indians
—Mangora — Williams : Sir i pus (his brother) r=
Ogden : Malivag (a priest) = Knapp : Spirit — Giffard :
Ilogen (wife to Siripus) = Mrs. Kent: — acted 4 times
— the scene lies at Paraguay in America — the Spa-
niards had built themselves a fort — they exchange
bawbles with the Indians for gold and silver — they
are on good terms with Mangora, till Mangora arid
Siripus fall in love with Miranda — Siripus conceals
his own passion, and instigates Mangora to use force
— a battle ensues — Nuno, Mangora and Father Jaques
are killed — the Spaniards are driven out -Siripus

9. s2

628 L. i. F. 1717-1718.

takes the women prisoners— he threatens to ravish
Miranda — Hurtado surrenders himself to the Indians
— Siripus employs him to promote his love for Mi-
randa— on finding that they are man and wife, he
orders them both to be murdered — Gavot arrives
with fresh troops — he defeats the Indians, and puts
Siripus to death — Mosquera and Isabella are united
— Hurtado and Miranda give the 2d title to the play
— Sir Thomas Moore calls his T. a trifle — the language
is very poor — but there is no particular fault to be
found with the plot — Father Jaques is a pretty good
character Victor's account of this play is scanda-
lously incorrect — he says that he was told by several
of the actors who performed in it, that Sir Thomas
gave them many good dinners and suppers during the
Rehearsals— that they all laughed at it, but their
necessities compelled them to act it — the lines, which
he quotes about the Guards, are not in the play as
printed, and probably were never in it — those which
he had often heard repeated — namely—

" By all the ancient gods of Rome and Greece,
" I love my Daughter better than my Niece" &c.

—could not possibly have been in it, as no one of the
characters has either niece or daughter — Victor adds
that the play is partly in rhyme — this is another mis-
take—the play is written in blank verse, with the
exception of the Songs, and the Comic part of the
Friar, which is properly written in prose.

Jan. 2. Amorous Widow. Barnaby Brittle — Pack :
Wanton Wife = Mrs. Bullock : Lady Lay cock = Mrs.
Knight.

L. i. F. 1717-1718. 629

7. Henry 4th part 1st. Hotspur = Quin, being his
1st appearance on this stage : — he had acted at D.L.
Nov. 19 and perhaps later.

11. Fair Penitent. Horatio = Quin : Calista =
Mrs. Thurmond.

Feb. 1. Tamerlane. Tamerlane = Quin : Bajazet
rrKeen : Moneses = Leigh: Axalla = C. Bullock :
Arpasia = Mrs. Thurmond: Selima = Mrs. Bullock.

3. Never acted, Bold Stroke for a Wife. Col.
Feign well = C. Bullock : Obediah Prim = Pack : Peri-
winkle = Spiller : Tradelove = Bullock : Sir Philip
Modelove = Knap : Simon Pure = Griffin : Mrs.
Lovely = Mrs. Bullock : Mrs. Prim = Mrs. Kent :—
this Farce, in 5 acts, was acted 6 times — Mrs. Cent-
livre says the plot is entirely new, and the incidents
wholly owing to her own invention.

13. Aurenge-Zebe. Morat = Quin.

18. Never acted, Scipio Africanus. Scipio = Quin :
Alucius (a Spanish prince) = Smith : Trebellius and
Lucilius (Roman officers) = Leigh and Ogden : Lelius
= Corey : Almeyda and Semanthe (Spanish females
of rank) = Mrs. Thurmond and Mrs. Bullock :
Axarte (mother to Semanthe) = Mrs. Kent : — acted
4 times — the scene lies in Scipio's camp near New
Carthage, which city he had just taken — Almeyda
and other captives present themselves before him—
he falls in love with Almeyda — she is in love with
Alucius — Alucius visits her disguised as a Roman—
he is discovered and thrown into prison — Almeyda
acknowledges that he is her betrothed husband —
Scipio gets the better of his passion, but with diffi-
culty— he gives Almeyda to Alucius — Alucius from
gratitude becomes a friend to the Romans — there is

630 L. i. F. 1717-1718.

an underplot — Trebellius and Lucilius are in love
with Semanthe — she is in love with Trebellius — Lu-
cilius ravishes her — Trebellius fights with Lucilius
and kills him — Semanthe dies — this is a poor T. by
Beckingham — the history, on which it is founded, is
related by Livy in the 49th and 50th chapters of his
26th book — and more concisely by Polybius (book 10
p. 593) — and Valerius Maximus (book 4 chap. 3)—
Scipio really restored to Allucius a beautiful captive
who was betrothed to him, but nearly the whole of
the play consists of fictitious love scenes — a bother
has been made about the continence of Scipio—
Bishop Hurd in one of his sermons (vol. 3 p. 279)
says — " The continence of Scipio has been much and
"justly applauded — but he went a step too far, in
" seeing his captive — he risked the honour of that
" virtue, which a pagan historian (Valerius Maximus)
" finds so divine in one who was a young man, a
" bachelor and a conqueror " — the continence of
Scipio, when reduced to the simple fact, amounts to
this — he did not debauch, or ravish, a Spanish virgin
—he did not suffer pleasure to interfere with matters
of importance — this was the more to his credit, as
he was so far from being " an absolute Joseph," that
Polybius expressly tells us, he was fond of women.

March 1. Ryan's bt. Julius Caesar. Brutus =
Keen: Antony = Quin : Cassius = Ryan, being his
1st appearance on that stage : Julius Caesar = Leigh :
Portia — Mrs. Rogers: Calphurnia = Mrs. Knight.

3. Leigh's bt. Macbeth — Keen : Macduffzz Leigh.

11. Quin's bt. Tamerlane. Axalla = Ryan.

April 19- Never acted, Coquet, or the English
Chevalier. Bellamy = Ryan : Ranger (his servant)

L. i. F. 17J7-1718. 631

= Spiller: Monsieur Caprice (father to Julia and
uncle to Fantast and Flavi a) — Griffin : Le Bronze =.
C. Bullock : Valere = Leigh : Leander = Diggs : Le
Grange = Egleton : Mademoiselle Fantast (the Co-
quet) = Mrs. Spiller: Madam Fillette = Mr. Pack:
Julia = Mrs. Thurmond : La Jupe (servant in Ca-
price's family) = Mrs. GifFard : Flavian Mrs. Robert-
son : — acted 3 times— the scene lies at Paris — Bel-
lamy, the English Cavalier, is put into prison for a
short time on account of a duel — while he is there
La Jupe brings him a letter and 100 pistoles, but will
not tell him from whom they come — he refuses to
accept the money, except as a loan — Bellamy had
fallen in love with Julia — she had fallen in love with
him and sent him the money — he has an aversion
from matrimony, but at the conclusion he marries Julia

Madam Fillette is a match-maker — Le Bronze

is a rascal who lives by polygamy — he has already
married 17 wives — he and Fillette are in confederacy
— she introduces him to Fantast as a Marquis — they
are nearly married, but in the last scene he is dis-
covered and kicked — Leander and Flavia are on the
point of marriage — he wishes to put her constancy
to a trial, and desires Valere to pay his addresses to
her — Valere is secretly in love with her — Flavia at
first reproaches Valere for his treachery to his friend
Leander — but on finding that Leander had enter-
tained unworthy suspicions of her, she gives her hand
to Valere — this C. was written by Molloy — it is a
pretty good play — Bellamy, Ranger and Fillette are
the best characters — the Coquet was revived at the
Haymarket Nov. 23 1793 with alterations.
May 3. Gamester. Young Valere = Giffard.

632 L.I. F. 1717-1718.

June 4. Artful Husband — last play.

The bills for this season seem not to be perfect—
at least there are not so many for this theatre as for
D. L. — several regular Operas were performed in
the course of the season.

The Lady's Triumph by Settle was printed in
1718, and was doubtless acted in this season, as Mrs.
Giffard and Mrs Thurmond played in it Sir Cun-
ningham Plotwell = Bullock : Sir Charles Traplove
— Ryan: Jocaril (his servant) = Spiller : -Timothy
Lackwit Esquire — Pack : Capt. Man worth = Leigh :
Muckland = Griffin : Lady Plotwell = Mrs. Thur-
mond : Charlotte (daughter to Muckland) = Mrs.
Bullock: Lucy = Mrs. Spiller: Bettrice - Mrs. Gif-
fard : — Lady Plotwell, who is 18, is married to an
Alderman who is 56 — Sir Charles is very desirous to
seduce her — she gives him encouragement, but with
a view of betraying him to her husband — on his first
visit to her, he is hid under a carpet— Sir Cunningham
puts his great coat, which is dusty, on the carpet and
beats it — Sir Charles receives the blows — on his
second visit he is concealed in an empty fountain—
the fountain is made to play, and Sir Charles is tho-
roughly soaked — on the third visit he is brought in
by Jocaril in a crate with some china — Sir Cunning-
ham beats the crate violently, and Sir Charles has his
face and hands much cut with the splinters of the
china — the Lady's Triumph is complete, but not ob-
tained in a very honourable manner in the un-
derplot, Capt. Manworth and Charlotte are mutually
in love — her father has engaged her to the Squire —
she pretends to be very fond of the Squire, and to
hate the Captain — she agrees to marry the Squire

L.I. F. 1717-1718. 633

privately, but instead of doing so, she keeps him all
night in the street, and passes the time with the Cap-
tain to whom she is married — in the morning she
throws the blame on the Squire, and pretends that
the Captain has ruined her — news are brought that
the Captain is come into a good estate by the death
of his brother — Muckland persuades his daughter to
marry the Captain — the Squire marries Lucy — the
5th act consists of a Masque which is founded on the
story of Mundus in Josephus (book 18 chap. 4) and
which is performed for the entertainment of Lady
PlotwelPs guests — the Masque is poor stuff — the rest
of the play is pretty good — it is an Opera rather in the
old than in the modern sense of the word — Settle hav-
ing introduced a good deal of scenery and machinery.

Summer.

June 20. Not acted 30 years, Tartuffe, or the Hy-
pocrite— C. Bullock, Spiller, Sec.

30. Committee. Obediah = C. Bullock.

July 24. Not acted 20 years, Lucky Chance. Gay-
man = Leigh : Sir Feeble Fainwoud = Bullock.

Aug. 6. For bt. of Leigh and Spiller, not acted 4
years, Tunbridge Walks. Reynard = Leigh : Squib
= Spiller : — the rest of the parts to the best advan-
tage— with Hob, or the Country Wake. Hob = Spil-
ler: Friendly = Leigh : — last play. (Bills from 13. M.)

Husband seems to have gone to Ireland at the

close of this season — see Irish Stage 1732-1733

Giffard, who acted on the 3d of May, was after-

634 D. L. 1718-1719.

wards well known as an Actor and Manager

Mrs. Schoolding was now Mrs. Moreau.

Theophilus Keen (or Keene) seems not to have
acted after the close of this season ; Quin played
Balance Sep. 29 — Chetwood by mistake says Keen
died in 1719 — he was a very good scholar and had
been instructed for the stage by Ashbury of Dublin
—in 1714 he went to L. I. F., where having some
share in the government of the theatre he put himself
into improper parts, such as Oronooko, Essex, and
Edgar ; whereas in Gloster and other characters of
that sort, no actor of his time excelled him ; he had
a good figure and voice ; but his person wanted ele-
gance for the tender characters the ill success of

the theatre in which he was a sharer is said to have
broken his heart ; he was buried by a subscription
from both houses ; it was what is termed a walking
funeral, and there were upwards of 200 persons in
deep mourning — his life was published by Savage.

This is Chetwood's account, who is riot correct-
Keen's usual part at D. L. was not Gloster, but
Kent, (see Nov. 30 1710) and he certainly never
acted Edgar at L. I. F.— see Oct. 15 1720.

D.L. 1718-1719.

Sep. 20. Hamlet.

24. Strategem, with the same Entertainments that

D.L. 1718-1719. 635

were performed yesterday before his Majesty at
Hampton Court.

George the 1st ordered the great Hall at Hampton
Court to be fitted up as a theatre, intending to have
plays acted there twice a week during the summer
season, but before the theatre could be finished, half
the month of Sep. elapsed, and only 7 plays were
acted there before the Court returned to London.
(Gibber.)

Sep. 25. King Lear.

27. Henry 4th. Hotspur = Elrington : King =
Thurmond.

Oct. 2. Relapse.

4. Venice Preserved. Belvidera = Mrs. Porter.

7. Sir Courtly Nice. Sir Courtly = Cibber :
Crack =: Pinkethman : Hothead =. Miller : Testimony
= Johnson : Surly — Thurmond : Farevvel =. Booth :
Lord Bellguard — Mills : Leonora = Mrs. Porter :
Violante = Mrs. Younger.

8. Spanish Fryar. Torrismond = Elrington.
10. Constant Couple^ 11. Oronooko.

14. Love for Money 15. Love for Love.

17. Volpone — 18. Nonjuror — 21. Jane Shore.

20. Recruiting Officer. Balance = Thurmond :
Thomas Appletree = Pinkethman.

22. Country Wife. Mrs, Squeamish = Mrs. Willis
Jun.

24. Rule a Wife — 25. Cato — 27. Chances.

29. Busy Body. Marplot = Miller : — he had pro-
bably played the part from the time that Pack left
D.L.

30. Tender Husband. Sir Harry Gubbiri = Miller.
Nov. 1. Not acted 6 years, Ximena. Don Carlos

636 D. L. 1718-1719.

= Wilks : Don Gormaz = Booth : Don Sanchez =:
Elrington : Don Alvarez (father to Carlos) = Gibber :
Don Ferdinand (King of Castile) = Mills : Ximena
(daughter to Gormaz) = Mrs. Oldfield : Belzara =
Mrs. Porter : — at the bottom of the bill it is said that

this play was never printed it came out Nov. 28

1712, when even the names of the performers were
not in the bills; but in all likelihood the cast of 1718
did not differ from the cast of 1712, except in the
characters of Alvarez and Sanchez ; Gibber tells us
he did not act in this play originally, and Elrington
seems to have been in Dublin in 1712-1713 ; he was
besides at that time too young an actor to have been
intrusted with so good a part — Keen probably acted
Alvarez originally, and Powell, Sanchez.

Gormaz and Alvarez are hereditary enemies — the
King reconciles them — and they agree to the union
of Carlos and Ximena, who are mutually in love -
the King appoints Alvarez to be governour to his son
who is a boy — Gormaz is offended at this — he quar-
rels with Alvarez, and gives him a blow — they fight
— Alvarez is disarmed — Carlos, to revenge the insult
which his father has received, challenges Gormaz—
they fight — Gormaz is supposed to be killed — Xi-
meria implores the King to avenge her father's death
— Alvarez implores the King to show mercy to his
son — the King puts off the decision of the affair to
the next day — in the night, Carlos at the head of
some volunteer troops defeats the Moors — this takes
place between the 4th and 5th acts — the King is in-
clined to pardon Carlos — Sanchez suggests that Xi-
mena has by law a right to have her cause defended
by a champion — he offers himself to be her champion

D. L. 1718-1719. 637

— Ximena accepts his offer — Carlos and Sanchez go
off the stage to fight — Carlos vanquishes Sanchez —
gives him his life — and enjoins him to lay his sword
at the feet of Ximena— he does so — she supposes
that Carlos is killed— the King undeceives her — news
are brought that Gormaz has recovered from his
wounds — and all ends happily — this play was written
by Cibber, who has borrowed the greater part of it
from Corneille's famous Tragedy called the Cid — a
word which in Moorish language means Master, and
which Corneille applies to Don Rodrigo (Carlos)
—the principal difference between the two plays is,
that in the Cid Gormaz is really killed— Chimene
(Ximena) claims the right to have her cause defended
by a champion, and promises to reward with her
hand any person who, as her champion, should prove
victorious — the result is nearly the same as in Gibber's
play till the conclusion, when the King puts off the
marriage of Rodrigo and Chimene for a year, that
she may get the better of a point of honour — he had
before decreed that she was to be married to the con-
queror— Cibber properly omits a dull Episode about
the Infanta, but he substitutes an Underplot, which
is about as dull — Sanchez was betrothed to Belzara
— he slights her, and is secretly in love with Ximena
— in the last scene, the King insists that Sanchez
should complete his engagement with Belzara — Cib-
ber, in a long address to the reader, attempts to show
that he has improved the plot, but his arguments are
not very convincing — his play is miserably inferiour
to the Original, particularly in point of language —
Gibber's language is bad— except in some passages

638 D.L. 1718-1719.

(chiefly in the character of Gormaz) which were pro-
bably translated from the Cid.

Gibber, in the address, likewise tells us that several
of his plays had met with most favour after the author
had no farther stake in them — Richard the 3d did not
raise him £5 on his 3d day, tho' for several years
afterwards it seldom failed to bring a crowded audi-
ence— Love makes a Man lagged on the 4th day, and
only supported itself by the help of some French
Tumblers, who forced the town to see it, till it had
laughed itself into their good graces — She wou'd and
she wou'd not did not pay charges on the 6th day,
tho' it afterwards brought him as Manager much more
than he was disappointed of as Author — it was at
first a moot point whether the Careless Husband
should live or die, but the houses it afterwards filled,
reproached the former coldness of the audience — the
Lady's Last Stake was another, tho' riot an equal in-
stance of the same nature — in his letter to Pope 1742
he says that Richard the 3d— Love makes a M an and
the Double Gallant had been in a course of acting for
30 or 40 years — and that Love's last Shift had kept
its station on the Stage for 47 years, without ever
lying one winter dormant.

Love's last Shift is announced at D. L. Oct. 14
1714 as not acted for 3 years — but Gibber's inaccuracy
on this occasion is very excusable.

Nov. 4. Tamerlane. Bajazet = Elrington.

6. Indian Emperour — ' — 7« Lancashire Witches.

8. Maid's Tragedy. Aspatia = Mrs. Thurmond,
1st appearance at D. L.

10. ^Esop 12. Jovial Crew. Milliard - Walker.

D. L. 1718-1719. 639

13. Julius Caesar. Brutus = Booth: Antony =
Wilks : Julius Caesar = Mills : Portia = Mrs. Porter :
Calphurnia = Mrs. Horton.

17. Rehearsal 18. Silent Woman.

19. Northern Lass. Widow — Mrs. Horton.

21. Country Wit 24. Love's last Shift.

25. Othello. Cassio= Wilks 26. Bartholomew

Fair.

27. Macbeth. Macduff^Elrington : — rest as before.

28. Greenwich Park. Florella = Mrs. Younger.

29. Humourous Lieutenant.
Dec. 1. Committee.

2. Orphan. Castalio= Booth: Chamont = Elring-
ton : Polydore = Mills : Acasto = Boman : Chaplain
=. Gibber : Monimia = Mrs. Porter.

3. Not acted 12 years, All for Love. An tony =
Booth: Ventidius = Mills: Dolabella = Wilks : Alexas
i= Gibber : Cleopatra = M rs. Oldfield : Octavia = Mrs.
Porter : — all the habits being entirely new, with deco-
rations proper to the play — acted about 8 or 9 times
— Gibber says the expense amounted to near £600,
a sum unheard of for many years on the like occasion.

10. Gibber acted Barnaby Brittle.

11. Tempest. Prospero = Mills : Caliban = John-
son: Trincalo = Miller : Ferdinand = Wilks: Ventoso
= Norris : Hippolito = Mrs. Bicknell : Ariel = Miss
Lindar : Dorinda = Mrs. Santlow : Miranda = Mrs.
Willis Jun.

13. Man of the Mode 15. Fair Quaker.

16. Strategem. Foigard = Miller.

19. Way of the World 20. Hamlet.

Jan. 3. Not acted 12 years, Csesar Borgia. Borgia
= Booth : Bellamira^: Mrs. Porter : — acted twice.

640 D. L. 1718-1719.

9. Mourning Bride. Osmyn = Booth : King —
Elrington : Zara = Mrs. Porter: Almeria = Mrs.
Thurmond.

16. Never acted, Masquerade. Sir George Jea-
lous = Wilks : Ombre = Elrington : Smart = Miller :
First and Second Figure in the Masquerade = Gibber :
Whisper (servant to Sir George) = Norris : Soph-
ronia = Mrs. Oldfield : Lady Frances Ombre = Mrs.
Thurmond: Cselia=:Mrs. Horton : Fidget (her wo-
man) = Mrs. Garnet : — acted about 7 times — Ombre
is very fond of his wife — she is completely addicted
to gaming — she believes that she is ruined past re-
demption— he pays her debts — she promises to re-
form, and to retire into the country Sir George

is much in love with Sophronia, but perpetually
jealous — he gets hold of half of a torn letter written
by Sophronia — this puts him in a rage — she gives
him the other half of the letter — and he is ashamed
of his jealousy — in the 4th act, he sees her embrace
Fidget, who is dressed in Smart's clothes — Sir
George is more jealous than ever— she offers to sa-
tisfy him, but on condition of their eternal separation
—he accedes to the proposal — and she explains the

mistake— at the conclusion, they are reconciled

Smart had seduced Caelia — she passes for his wife,
but is only his mistress— he uses her very ill— he
makes love to Sophronia, and offers her a promise of
marriage under a penalty of £5000 — she accepts his
offer — as he is just going to sign the bond, she sub-
stitutes another bond for the same sum, in favour of
Cselia, but without any conditions this is a toler-
able C. by Charles Johnson — but it wants incident,
and is sometimes dull — the masquerade does not

D. L. 1718-1719. (Hi

contribute at all to the plot — Sir Walter Raleigh
came out on the same night at L. I. F. as the Mas-
querade did at D. L. the Epilogue to that T. con-
cludes thus —

" Wit cannot fall so fast, as folly rises ;
" Witness the Masquerade — at double prizes.
" Yet if you are not pleas'd with what We've plaid,
" Go see old Shirley drest in Masquerade."

There is some resemblance between the characters
of Oaibre and Lady Frances, and those of Sir
Thomas Bornwell and Aretina in the Lady of Plea-
sure, but Ombre's scheme for reclaiming his wife
differs from that of Bornwell — Johnson's enemies
were not aware that he had borrowed much more
from Moliere than from Shirley — the circumstances
which excite Sir George's jealousy are taken from
Don Garcia of Navarre —with a good deal of the dia-
logue.

28. Julius Csesar. Cassius — Elrington.

Feb. 12. Richard the 3d.

14. Never acted, Chit-Chat. Bellamar = Wilks :
Worthy =. Booth : Alamode = Gibber : Lurcher =
Miller: Townly = Mills: Moderna = Mrs. Thur-
mond : Marlove (her friend) = Mrs. Porter : Flo-
ririda (sister to Worthy) = Mrs. Oldfield : — Worthy
had lately married Moderna — he is very fond of his
wife — she was in love with Alamode, but had been
prevailed on by Marlove to marry Worthy — Worthy
wishes Bellamar to marry his sister — he pays his ad-
dresses to her, and she accepts them — Marlove and
Lurcher endeavour to break off the match — he wants
to many Florinda himself — she had been intimate

VOL. II. T T

612 D. L. 1718-1719.

\vith Bellamar, and wishes to prevent his marriage
with any body — Bellamar accidentally discovers an
intrigue between Alamode and Moderna — Lurcher
tells Worthy that Bellamar's attachment is more to
his wife than his sister— Moderna, by Marlove's per-
suasion, rather encourages her husband in his sus-
picions— in the last act, Worthy sees a man carry
Moderna into an arbour in Spring Garden — he
rushes after them, and finds Alamode with Moderna
instead of Bellamar — Worthy renounces his wife, and
gives his sister to Bellamar- —this C. was written
by T. Killegrew — never was a play better named —
some parts of the dialogue have merit, but there is
a want of incident — Killegrew in the last line of the
Prologue acknowledges that there is little or no plot
— the play, owing to the great zeal of the author's
friends, was acted eleven times.

March 7- Never acted, Bus iris. Myron (son to
Jiusiris) •= Booth : Busiris — Elrington : jVJemnon —
Wilks : Nicanor (an old general) = Mills : Barneses
ir Walker: Syphoces — Thurmond: Mandane (daugh-
ter to Nicanor) = Mrs. Oldfield : Myris = Mrs.
Thurmond : — acted 9 times — Myris was sister to
the King of ^Egypt — she had instigated Busiris to the
murder of her brother — and then married him — Bu-
siris had put to death many of the late King's friends,
and among them Memnon's father — Memnon joins
with Rameses and Syphoces in a conspiracy against
Busiris, whose pride and cruelty are excessive — Ni-
canor and Myron return after having gained a vic-
tory, in which Nicanor had saved Myron's life — My-
ron is violently in love with Mandane— he is repre-
sented as generous and brave, but as a slave to his

D. L. 1718-1719. G4<3

passions — Memnon and Mandane are on the point of
being privately married — Nicanor celebrates his
daughter's birthday — he invites Myron and others to a
banquet — Nicanor is sent for by the King — he re-
quests Myron to pass the night at his house— Myron
ravishes Mandane— he repents of what he had done
—Memnon and Nicanor are made acquainted with
what had happened to Mandane — Nicanor joins the
conspirators — a battle ensues — Memnon and Myron
fight — Myron is killed — Rameses is mortally wound-
ed— Memnon and Mandane kill themselves — Busiris
is defeated — he dies of his wounds — Myris is torn in
pieces by the populace — the scene lies at Memphis—
Busiris was really King of -ZEgypt, everything else is
fictitious — this T. was written by Dr. Young — on the
whole it is an indifferent play — the last scene of the
2d act between Busiris and Myris is good — the lan-
guage is too frequently bombast, but some parts of it
are well written — Myron was one of Booth's best
characters.

March 31. Mrs. Thurmond acted Hypolita for
her bt.

April 6. Mrs. Bicknell's bt. Henry 8th. no cha-
racters.

13. Feigned Innocence, or Sir Martin Marall.

14. Norris acted Fondle wife for his bt.
I?. Distressed Mother.

20. Bickerstaffe's bt. All for Love. Bickerstaffe
being lame cannot as usual wait upon his friends.

27. For bt. of Wilks Jun. Careless Husband.
Sir Charles Easy = Wilks, being his first appearance
since his late illness.

May 4. Tamerlane. Bajazet^ Mills.

T T 2

644 D. L. 1718-1719.

8. Boman's bt. Fatal Marriage.

11. For bt. of Wilks the Office-keeper. Amphi-
tryon. Jupiter = Wilks : Amphitryon = Mills : Alc-
mena = Mrs. Thurmond : Phaedra = Mrs. Bickriell.

&5. For the Widow Bo wen to make up the defi-
ciency of her last bt. She wou'd if she cou'd.

Summer.

June 8. Bondman — not acted since the reign of

Charles the 1st if the players had looked into

Downes, they might have seen that Betterton had
acted the Bondman.

Pisander = Walker : Leosthenes = Williams : Ti-
moleon = Mills: Archidamus (Praetor of Syracuse)
— Thurmond: Timagoras (his son)=W. Mills:
•Diphilus = Bowman: Cleon (a fat old lord) = Shep-
herd : Asotus (his son) = Miller : Gracculo — Norris :
Cleora (daughter to Archidamus) = Mrs. Thurmond :
Ti m an dra = Mrs. Garnet : Corisca (wife to Cleon)
= Mrs. Hunt : Zanthia = Mrs. Baker : Olympia —
Mrs. Moore : — the Syracusans are afraid of being
subdued by the Carthaginians — Timoleon is sent
by the Corinthians to their assistance — they invest
him with the supreme power — he sets out with
the principal Syracusans to oppose the Carthaginians
— Leostheries is in love with Cleora — on taking
leave of her, he expresses his fears of the temp-
tations to which she might be subject — she, to
appease his jealousy, directs him to tie a bandage
over her eyes, which, she says, no one shall untie
but himself — she also promises not to speak dur-

D. L. 1718-1719. 645

ing his absence — Pisander, a noble Theban, is in
love with Cleora — for her sake he had caused himself
to be sold as a slave to her father— he had assumed
the name of Marullo — his sister, Statilia, is likewise
the slave of Cleora — she is called Timaudra — Ma-
rullo excites the slaves to rebellion — they give into
his views the more easily, as they had in general been
cruelly treated by their masters — after the rebellion
has broken out, Marullo solicits an interview with
Cleora — he gives her a hint that he is a person of
rank — respectfully acquaints her with his love for her
— and assures her that she shall be in perfect safety
—Cleora expresses her gratitude by signs — Timoleon
&c. defeat the Carthaginians — Leosthenes kills their
admiral with his own hand — on their return to Syra-
cuse they find the gates shut on them — the slaves sus-
tain the first assault — Timoleon directs the Syracu-
sans to attack the slaves with the whips with which
they had been used to correct them — the slaves throw
down their arms and run away — (see Justin b. 2
c. 25) — Cleora requests Leosthenes to secure Ma-
rullo from punishment — this excites his jealousy—
when Marullo is taken into custody by the magis-
trates, he is found in Cleora's chamber — Leosthenes
becomes still more jealous — Cleora visits Marullo in
prison — Marullo is brought before Timoleon — Leos-
thenes sets forth his claims on Cleora — Marullo dis-
covers himself to be Pisander — makes the best ex-
cuse he can about the rebellion — and reproaches
Leosthenes for having deserted Statilia, to whom he
had been contracted — Cleora gives her hand to Pi-
sander— Leosthenes and Statilia are reconciled — the
slaves are pardoned — Cleori, Asotus and Corisca are

D.L. 1718-1719.

comic characters — during the rebellion, Gracculo and
Zanthia treat Asotus and Corisca with the same cruelty
and insolence, with which they had formerly been

treated themselves after Sicily had become a Roman

province the Slaves broke out into rebellion — they
were particularly exasperated against Damophilus
and his wife, but they treated their daughter with
great respect — see Freinshem's Supplement to Livy
b. 56 ch. 35 — Massinger has evidently borrowed a
hint from this story.

The Bondman is one of the best of Massinger's
plays — Gifford says it was brought out at the Cock-
pit in D. L. Dec. 3 1623 — on this revival a second
title — Love and Liberty — was added — the last scene
in the 3d act, and some of the exceptionable passages
were omitted — but the alterations made were slight —
Marullo's speech about the Athenian mules is taken
from Plutarch's life of the elder Cato — the Editor of
the B. D. attributes this alteration to Betterton, but
without sufficient reason— the bookseller in a short
preface says — " I shall not say any thing of the Gen-
" tleman's abilities that took the trouble to alter this
" play; but this I am sure, he would not have taken
" the pains, if the goodness of the play had not

" spoken for itself" the players did not know that

Betterton had acted the Bondman — it cannot be sup-
posed that the bookseller knew more than they did—
the alteration was perhaps made by Walker — in all
probability by some person, whose name, if mentioned
would not promote the sale of the play — the book-
seller therefore made a mystery about the matter — if
he could with any degree of truth have attributed the
alteration to Betterton, he would have spoken out.

1. i. F. 1718-1719. 647

June 26. Never acted, Earl of Warwick, or the
British Exile. Warwick = Mills : Earl of Bedford =
Williams : Earl Douglas (supposed father to Eliza) =
Cory : Lord Douglas (his son) — Walker : Bernard (a
villain — dependent on Earl Douglas) = Thurmond :
Eliza = Mrs. Thurmond : — acted 3 times — this T. is
attributed to Tolson — it is a poor play — the plot
abounds with improbabilities.

28. Titus Andronicus 31. Sir Solomon,

Aug. 16. Not acted 3 years, Fair Penitent — last
play. (Bills from B. M.)

Leigh either died or was too ill to act, before the
theatre opened in the autumn — Shepherd played Kite
Sep. 22 — it is certain from Gibber that he was son to
the famous Anthony Leigh —and from his own adver-
tisements—D. L. Feb. 7 1710— and L. I. F. April 19
1715 — that his name was Francis — he must conse-
quently be a different person from Michael Leigh,
who originally acted Daniel in Oronooko and some
other parts — the name of Leigh is generally printed
without any distinction — it seems however sufficiently
clear, that M. Leigh either died, or left the stage about
1698, and that F. Leigh acted Tristram at L. I. F. on
the 31st of Dec. 1702.

L. I. F. 1718-1719.

Sep. 26. Don Sebastian. Don Sebastian — Leigh :
Dorax = Evans, lately arrived from Ireland : Bendu-
ear = Quin : Morayma = Mrs. Bullock.

648 L. i. F. 1718-1719.

29. Recruiting Officer. Kite = Evans : Balance =
Quin.

30. Henry 4th 1st part. Falstaff = Evans : Hot-
spur zz Quin.

Oct. 1. Spanish Fryar. Dominic = Evans : Tor-
rismond = Ryan : Raymond = Quin : Queen = Mrs.
Knight: Elvira = Mrs. Bullock.

3. Fair Quaker. Flip = Evans: Mizen — Pack :
Fair Quakers Mrs. Moreau.

4. Rival Queens. Alexander = Evans : Clytus =
Quin: Lysimachus = Ryan : Statira — Mrs. Rogers :
Roxana=Mrs. Knight.

7- Tamerlane. Tamerlane = Evans : Bajazet =
Quin: Moneses — Leigh : Axalla = Ryan : Arpasia
= Mrs. Rogers : Selima = Mrs. Bullock.

11. Not acted 20 years, Traytor — the alterations
made on this revival are attributed to C. Bullock—
the edition of 16()2 was printed from the playhouse
copy with alterations, amendments, and additions —
it differs from that of 1718, hut not materially — in
171 8 a scene between Depazzi and Sancho was added
to the 1st act — and in the .5th act the Duke's picture,
which Lorenzo has been in the daily habit of stabbing,
is omitted — on the comparison of these two plays it
seems riot improbable that C. Bullock might restore

some passages from the edition of 1635 Lorenzo,

the Traytor = Quin : Sciarrah = Ryan : Duke = Leigh:
Florio — Egleton: Cosmo = C. Bullock: Depazzi =
Bullock : Sancho = Spiller : Amidea — Mrs. Bullock :
Oriana — Mrs. Seymour: — the whole to be new
dressed— acted about 4 times.

15. Fair Example. Mrs. Whirnsey=i Mrs. Rogers :
Flora = Mrs. Giffard : Mrs. Fancv — Mrs. Moreau.

L. i. F. 1718-1719. 649

16. Cato = Evans: Juba = Leigh : Syphax=:Quin:
Sempronius = Ogden : Portius = Ryan : Marcus =
Diggs: Marcia = Mrs. Bullock: Lucia = Mrs. Sey-
mour : Decius = Bohemia : — this Actor is usually
called Boheme, hut that he was at this time called
Bohemia is sufficiently clear.

Boheme made his first appearance on the stage at
a Booth in Southwark Fair, which in those days
lasted two weeks, and was much frequented by per-
sons of all distinctions and of both sexes ; he acted
the part of Menelaus in the best Droll Victor ever saw,
called the Siege of Troy — after the entertainment
was over Victor's curiosity led him behind the scenes
to inquire aftor the new actor, who had much pleased
him ; there he was told that Boheme was engaged by
the Manager of L. I. F. for the ensuing season.

Oct. 17. Cato = Evans, being his last performance
before he leaves the kingdom.

18. Not acted 15 years, Double Dealer. Mask well
— Quin : Sir Paul Plyant •— Pack : Careless =. Ryan :
Brisk = C. Bullock : Melleforit = Leigh : Lord Touch-
wood = Cory : Lord Froth = Spiller : Lady Touch-
wood = Mrs. Rogers : Lady Froth = Mrs. Bullock :
Lady Plyant = Mrs. Knight: Cynthia = Mrs. Sey-
mour : — all the characters new dressed.

21. Fair Quaker. Flip = Spiller : Fair Quaker =
Mrs. Mountfort, being her 1st appearance on that
stage.

Nov. 8. Spanish Fryar = Bullock : Gomez — Griffin.

4. Tamerlane — Evans : Bajazet = Quin.

1 1 . Woman's a Riddle. Courtwell — Ryan : Lady
Outside = Mrs. Bullock: Miranda = Mrs. Moreau.

13. Macbeth — Quin : Macduff =. Leigh: Banquo

650 L. j. F. 1718-1719.

= Ryan : Lady Macbeth = Mrs. Knight : Lady Mac-
duff = Mrs. Bullock.

24. Not acted 15 years, Platonick Love, or the
Innocent Mistress — Leigh— Ryan — Bullock— Pack
-Spiller— Griffin— C. Bullock— Mrs. Bullock— Mrs.
Seymour— Mrs. Knight — Mrs. Moreau— the Innocent
Mistress came out at L. I. F. in 1697 — Platonick
Love seems to be a new title added on this occasion.

27. Julius Caesar. Brutus = Quin : Antony —
Leigh: Cassius^Ryan : Calphurnia = Mrs. Knight:
Portia = Mrs. Bullock.

Dec. 2. Island Princess. Quisara = Mrs. Bullock.

6. Unhappy Favourite. Essex = Ryan : Burleigh
ir Quin: Queens Mrs. Knight: Rutland = Mrs.
Seymour.

13. Not acted 20 years, Coriolanus written by
Shakapeare —acted 3 times— no characters.

Jan. 3. Provoked Wife. Sir John Brute = Quin :
Lady Brute = Mrs. Knight : Lady Fanciful = Mrs.
Spiller.

16. Never acted, Sir Walter Raleigh. Sir Walter
= Quin : Howard = Ryan : Young Raleigh = Leigh :
Gundamor = C. Bullock : Lord Cobham — BoheimYz :
Salisbury = Cory : Lady Raleigh = Mrs. Seymour :
Olympia (Salisbury's daughter) = Mrs. Bullock : —
acted 13 times — this T. was written by Sewell — it is
a moderate play — the characters of Sir Walter and
tioward are well supported — the other characters
have not much to recommend them, and the story is
by no means well calculated for the stage — the love
Episode between Young Raleigh and Olympia is bad
— Raleigh's son was killed in the expedition to Guiana,
arid it does not appear that he had another son —

L. i. F. 1718-1719. 651

Olympia stabs herself very foolishly — Sir Walter con-
cludes the 4th act with —

" My Fame thus safe, I fly from care and strife,
" And gently tread the downward path of life ;
" No more expose myself to Fortune's sport
" The noise of war, or whispers of a Court ;
" In letter'd solitude unenvied reign :
" Admire the hills, but live upon the plain."

There are some other good passages.

31. Provoked Wife. Lady Brute = Mrs. Seymour.

Feb. 7. Never acted, the Younger Brother, or the
Sham Marquis. Vilnaissarice = C. Bullock : Car-
buncle (an honest Innkeeper) = Bullock : Sir Tris-
tram Topeit (father to Arabella and Lusinda) =
Griffin : Bellair Jun. = Ryan : Jerry (his servant) =
Spiller : Bellair Sen. =: Leigh : Horatio ~ Egleton :
Sir William Wiseman •= Ogden : Lusinda = Mrs.
Bullock : Maria = Mrs. Spiller : Violetta (sister to
Horatio) =Mrs. Seymour: Arabella = Mrs. Robertson:
Housekeeper — Mrs. Willis Sen. : — acted 3 times —
this is a tolerable C., but rather deficient in incident,
as the main circumstance takes place just before the
play begins — Vilnaissance and his three companions
rob Maria of money and jewels to a large amount —
they likewise rob Sir William — they arrive at Car-
buncle's very late at night — they pretend to be a
French Marquis and his servants — Bellair Jun. is
reduced to pecuniary difficulties — but without having
done any thing dishonourable — his hopes for the
future depend on his brother — and on Maria, with
whom he is in love — Maria is a Coquette, and has
£2000 a year — she slights Bellair Jun., and marries

652 L. i. F. 1718-1719.

the Sham Marquis — notwithstanding the notice which
Bellair had given her that Vilnaissance was an im-
postor— in the last act, Bellair Jun. is taken up on
suspicion of having committed the robbery — he ap-
peals to his brother who takes part against him — he
proves his innocence with the assistance of Carbuncle
-Vilnaissance and his friends are sent to prison—
Maria swoons, and is carried off — Bellair Jun. is
reconciled to Sir William, who is his uncle — he mar-
ries Violetta — Horatio marries Lusinda — scene Can-
terbury— the unknown author of this play, in his
preface, refutes the notion of its having been written
by a nobleman, who had concerned himself in the
success of it.

21. Royal Merchant. Clause = Quin : Higgeri =
Pack: Ginkes = Griffin : Boor =: Spiller.

26. Hamlet = Ryan 1st time.

28. Never acted, 'Tis well if it takes — Loveless —
Leigh : Prate (his servant) =. Spiller : Oldish = Bul-
lock : Charles (his son) = Ryan : Easy (servant to
Charles) = Pack : Careful (Corinna's steward) =
Quin: Boy = Billy Bullock: Corinna = Mrs. Bullock:
Beatrice (her maid) — Mrs. Spiller : Alicia (daughter
to Oldish) = Mrs. Moreau : Mrs. Wishit = Mrs.
Knight : Isabella (her daughter) = Miss Willis : Lucy
(her maid) = Mrs. Giffard : — acted 5 times — Corinna
is in love with Loveless— she follows him to Oxford
where the scene lies — she is disguised as a gentleman
—and Beatrice as her man, Ferret — Corinna assumes
the name of Feignwell, and takes an apartment at
the widow Wishit's, where Loveless lodges — she dis-
covers that Loveless pays his addresses to Alicia — in
order to find out what passes between them, she hires

L. I. F. 1718-1719. 653

herself to Alicia as a female servant — Beatrice, in the
disguise of an old woman, recommends Maria (for
so Corinna calls herself) to Alicia — Beatrice gives
Loveless a very bad character — Loveless and Alicia
quarrel — he falls in love with the supposed Maria —
Corinna orders Careful to hire a handsome house,
and to give it out that his mistress, Corinna, is come
to Oxford — Corinna in her assumed character as
Feignwell pretends to be related to Corinna, and
promises to introduce Loveless to her— this being im-
possible, she sends Ferret with an excuse, but assures
Loveless he shall be well received — she receives him
accordingly in her proper character — he falls in love
with her — after a short conversation she pretends to
be taken ill — she soon after re-enters as Feignwell —
Prate is ordered to retire— but having a good deal of
curiosity, he hides himself under a table — after Love-
less had made his exit, Corinna goes into the next
room to dress hersef as a woman — she leaves the
door open to the no small amusement of Prate — Co-
rinna and Beatrice enter in their proper habits—
Prate overhears what they say — Loveless returns —
the table is moved, and Prate is discovered — he tells
his master that Feignwell, Maria, and Corinna are the
same person — the play ends with the marriage of
Loveless and Corinna — there is an important under-
plot— Charles and Isabella are in love — Lucy excites
a quarrel between them — they discover Lucy's
treachery and turn it to their own advantage — Oldish
had wanted to marry Isabella — Isabella tells Lucy
that she will marry him, provided that he will make
a settlement on his son — the settlement is obtained,
and in the last scene Charles and Isabella enter as

0,54 L. i. F. 1718-1719.

man and wife — this C. was written by Taverner — it
is on the whole a good play — the plot is lively, hut
not probable — Corinna's character is in a considerable
degree taken from that of Aurora in Gil Bias.

March 19. Don Sebastian. Dorax=:Quin.

30. Hamlet. King = Quin: Poloriius^ Griffin.

April 11. Not acted 20 years, Circe. Circe = Mrs.
Bullock.

May 1. Mrs. Keen's bt. Island Princess.

French pieces and Operas were frequently acted in
the course of this season.

The Two Harlequins was published in 1718 — it is
said in the titlepage to have been acted by the French
Comedians at L. I. F. — it is printed the one side in
French and the other in English — the two Harlequins
are twins, and so like as to be mistaken the one for
the other— in this consists the humour of the piece ;
which is a pretty good Farce in 3 acts — Harlequin
Sen. is servant to Gerontes at Paris, where the scene
lies — Harlequin Jun. is just arrived from Italy — Isa-
bella is a young lady who has a small fortune, and
who supports herself chiefly by the card table — she
has two lovers — Octavio and Gerontes — the former
is young and stingy — the latter is old and generous—
Columbine, Isabella's maid, is in the interest of
Gerontes — he gives her a casket of jewels to be pre-
sented to her mistress — Isabella declines to accept
them, and Columbine gives them to Harlequin Jun.,

L. i. F. 1718-1719. 655

mistaking him for his hrother — Harlequin Sen. of
course denies that he has received the jewels — Ge-
rontes sees them in the hands of Harlequin Jun. and
claims them — Harlequin Jun. takes him for a cheat
and beats him — in the last scene, the Two Harlequins
enter at the same time— this clears up the mistake —
and the piece concludes with the marriage of Gerontes
and Isabella — see Generous Choice L. I. F. 1700.

Fair of St. Germain— Ozell in 1718 published a
translation of this piece, which had been acted by the
French Comedians at L. I. F.— it is a Farce in 3
acts, vastly better calculated for representation than
perusal— it has little or no plot, but the dialogue is
sprightly, and the incidents are laughable — Angelica
is the ward of the Doctor, who wants to marry her
— she has eloped from him with an intention of mar-
rying Octavio— the Doctor comes to the Fair to look
for her — Columbine, who had formerly lived with
Angelica, promises Harlequin 50 pistoles for his as-
sistance in cheating the Doctor — at the conclusion,
Octavio and Angelica are united — Harlequin, Colum-
bine, Mezzetin, Scaramouche, Octavio, Angelica,
&c. assume various characters at the Fair.

Summer.

June 24. Tartuffe with a new Farce called the
Rival Queens, or the Comical Humours of Alexander
the Great.

25. Tunbridge Walks before the play Rival
Queens. (Bills from B. M.)

Mrs. Rogers either died or left the stage about this

L i. r. 1718-1719.

time — she was probably ill on Nov. 11 as she did riot
play her usual character — she seems to have been a
very respectable actress, but not a first rate performer
— after the secession of Mrs. Barry and Mrs.
Bracegirdle in 1695 she acted the principal serious
parts at D. L. for several years.

Curl! says that Mrs. Rogers was so much disap-
pointed at Mrs. Oldfield's getting the part of Andro-
mache, which she expected herself, that she raised
a posse of profligates, fond of tumult and riot, who
made such a commotion in the house, that the Court
hearing of it sent four of the Royal Messengers and
a strong guard to suppress all disorders — Curll's ac-
count is confirmed by Cibber, who says — " we had
" been forced to dismiss an audience of £150, from
" a disturbance spirited up by obscure people, who
" never gave any better reason for it, than that it was
" their fancy, to support the idle complaint of one
" rival actress against another, in their several pre-
" tensions to the chief part in a new Tragedy."—
doubtless the Distressed Mother — Mrs. Rogers did
not complain without some reason — the circumstance
above mentioned, together with the general superi-
ority of Mrs. Oldfield in Comedy and Mrs. Porter
in Tragedy, probably induced her to join Rich in
1714.

Mrs. Rogers in her younger days carried her the-
atrical prudery to such a height, that she did riot
like to act any part that was not virtuous ; and in the
Epilogue to the Triumphs of Virtue, 1697, she made
a vow of chastity — it is true that she broke this, but
then her motive must be her excuse, as it was to save
the life of her lover who in despair had threatened to

L. I. F. 1718-1719. 657

destroy himself— with which act of mercy Cibber
once heard her reproach Wilks — " Villain! did not
" I save your life ?" — Wilks in return gave birth to
her first-born, a daughter — (Cibber) — the person
married to Christopher Bullock.

Mrs. Rogers* characters — selection only.

T. R. 1692. * Winifred in Volunteers.

1695. *Bellario in Philaster by Settle.

D. L. 1696. * Amanda in Love's last Shift— *Im-
oinda.

1697« *Evanthe in Unhappy Kindness — * Amanda
in Relapse — *Bellamira in Triumphs of Virtue.

1699. *Lucinda in Love and a Bottle — *Island
Princess as altered by Tate — * Angelica in Constant
Couple — *Iphigenia in Achilles.

1702. *Lady Harriet in Funeral — * Leonora in
False Friend — *Oriana in Inconstant — * Constance
in Twin Rivals.

1703. ^Belinda in Tunbridge Walks— *Lucinda
in Love's Contrivance — *Annabella in Vice Re-
claimed.

1703-1704. *Penelope in Lying Lover.

1704-1705. *Alinda in Loyal Subject.

1705-1706. *Melinda in Recruiting Officer.

Hay. 1707-1708. Rutland— *Clarinda in Double
Gallant — Aspatia in Maid's Tragedy — Alibech in
Indian Emperor — Ariana in She wou'd if she cou'd
— Doralice in Marriage a-la-Mode — Lady Grave-
airs in Careless Husband — *Lady Gentle in Lady's
last Stake— Lady Macduff.

VOL. II. U U

658 L. I,F. 1718-1719.

D. L. 1708. Statira — Louisa in Love makes a
Man — Belinda in Old Batchelor— Lady Brumpton.

1708-1709. Arabella in London Cuckolds— So-
phonisba — Isabella in Fatal Marriage— Almahide in
Conquest of Granada — Belvidera — *Isabinda in Busy
Body — Andromache in Dryden's Troilus and Cres-
sida.

Hay. 1709-1710. Cordelia— Lady Testy in Coun-
try Wake — Lady Anne in Richard the 3d— Belmont
in Villain.

D. L. 1711-1712. *Cynthiain Wife's Relief.

1713-1714. Hellena in Rover.

L. I. F. 1714-1715. Queen Elizabeth in Unhappy
Favourite — Lucina in Valentinian.

1715-1716. Nourmahal in Aurenge-Zebe.

1716-1717. *Lady Outside in Woman's a Riddle
— Almeyda in Don Sebastian— * Mrs. Winwife in
Artful Husband.

1718-1719. Arpasia in Tamerlane —Lady Touch-
wood.

* Originally.

Mrs. Susanna Mountfort did not act after this sea-
son— she was the daughter of the celebrated actor and
actress — in the edition of her father's plays 1720, she
is said to have lately quitted the stage.

Victor published some Memoirs of Booth in 1733,
(see Gibber's life of Booth) in which he said that
Booth and Mrs. Mountfort at one time lived together,
but he finding in 1718 (a year before his marriage
with Mrs. Santlow) that Mrs. Mountfort had formed

L. i. F. iris-1719. 659

an intimacy with a Gentleman of the name of Min-
shull, repayed her the £3200 which she had deposited
in his hands, and obtained a legal discharge — after
that, Mr. Minshull to her great misfortune became
the guardian of her money — Victor calls her an
agreeable actress and adds — " I forbear to mention
" the misfortunes that attended that unhappy woman,
" occasioned by her conduct, which first bred a differ-
" ence and separation between her and Booth, and
" soon after brought on her death."

Mrs. Bellamy tells us that she had the following
anecdote from Colley Cibber — as Mrs. Mountfort
during the time of her disorder was not outrageous,
she was not placed under any rigourous confinement,
but was suffered to walk about her house — one day
in a lucid interval she asked what play was to be per-
formed that evening ? and was told it was to be
Hamlet — whilst she was on the stage, she had acted
Ophelia with great applause — the recollection struck
her, and with all that cunning which is frequently
allied to insanity, she found means to elude the care
of her attendants and got to the theatre, where con-
cealing herself till the scene when Ophelia was to make
her appearance in her mad state, she pushed on the
stage before the person who played the character that
night, and exhibited a far more perfect representation
of madness* than the utmost exertions of theatrical
art could do — she was in truth Ophelia herself, to
the amazement of the performers, as well as of the
audience — nature having made this last effort, her
vital powers failed her, and she died soon after.

GOO L. i. p. 1718-1719.

Mrs. Mount/art's characters — selection only.

L. I. F. 1703-1 70 4-. Damans in Amorous Widow.

1704-1705. Betty Frisque in Country Wit.

D. L. June 14 1705. Betty in Sir Solomon— 1st
appearance there.

1705-1706. Estifania— Little Thief in Night Walker

— Ophelia — Ruth in Committee *Rose in Recruiting

Officer.

1706-1707. Hippolito in Tempest.

1707-1708. Northern Lass.

1712-1713. Belinda in Old Batchelor— Clarinda
in Double Gallant — Fair Quaker.

1714-1715. Elvira in Love makes a Man — *Flora
in Country Lasses — Lady Brumpton — Hypolita.

1715-1716. Mrs. Conquest in Love's last Stake —
Hellena in Rover — Lady Dunce in Soldier's Fortune
— Aspatia in Maid's Tragedy.

1716-1717. Florimel in Marriage a-la-Mode.

1717-1718. Elvira in Spanish Fryar.

* Originally.

END OF VOL. II.

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PN Genes t, John

2581 Some account of the

G4 English stage

v.2