Mr. _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-shank'd, Splay-footed, with a sour

Countenance, and long lean Arms) render'd him a proper Person to discharge

_Jago_, _Foresight_, and _Ma'lignij_, in the VILLAIN. But he fail'd in

succeeding in a fine Description of a triumphant Cavalcade, in _Alonzo_,

in the MOURNING BRIDE, because his Figure was despicable, (although his

Energy was, by his Voice and Action, enforc'd with great Soundness of Art,

and Justice.)--This Person acted strongly with his Face,--and (as King

_Charles_ said) was the best Villain in the World.--He proceeded from the

_Sandfords_ of _Sandford_, that lies between _Whitchurch_ and _Newport_,

in Shropshire.--He would not be concern'd with Mr. _Betterton_, Mrs.

_Barry_, _&c._ as a Sharer in the Revolt from _Drury-Lane_ to

_Lincoln's-Inn-Fields_; but said, _This is my Agreement_.--_To_ Samuel

Sandford, _Gentleman_, Threescore Shillings a Week.----Pho! pho! _said

Mr._ Betterton, _Three Pounds a Week_.----_No, no, said_ Sandford;--_To_

Samuel Sandford, _Gentleman_, Threescore Shillings a Week. For which _Cave

Underhill_, who was a 3/4 Sharer, would often jeer _Sandford_; saying,

_Samuel Sandford, Gent, my Man._----Go, you Sot, said _Sandford_.--To

which t'other ever replied, _Samuel Sandford, my Man_ Samuel.

[Illustration: CAVE UNDERHILL.]

_CAVE UNDERHILL_, and Mr. _DOGGET_, will be the next treated of.

* * * * *

_CAVE UNDERHILL_, though not the best Actor in the Course of Precedency,

was more admired by the Actors than the Audience--there being then no

Rivals in his dry, heavy, downright Way in Low Comedy.--His few Parts

were, The first Grave-digger in HAMLET,--_Sancho Pancha_, in the first

Part of DON QUIXOT,--_Ned Blunt_, in the ROVER,--_Jacomo_, in the

LIBERTINE, and the _Host_, in the VILLAIN:--All which were dry, heavy

Characters, except in _Jacomo_; in which, when he aim'd at any Archness,

he fell into downright Insignificance.--He was about 50 Years of Age the

latter End of King _William's_ Reign, about six Foot high, long and

broad-fac'd, and something more corpulent than this Author; his Face

very like the _Homo Sylvestris_, or _Champanza_; for his Nose was

flattish and short, and his Upper Lip very long and thick, with a wide

Mouth and short Chin, a churlish Voice, and awkward Action, (leaping

often up with both Legs at a Time, when he conceived any Thing waggish,

and afterwards hugging himself at the Thought.)----He could not enter

into any serious Character, much more Tragedy; and was the most confin'd

Actor I ever saw: And could scarce be brought to speak a short _Latin_

Speech in DON QUIXOT, when _Sancho_ is made to say, _Sit bonus Populus,

bonus ero Gubernator_; which he pronounced thus:

_Shit bones and bobble arse,

Bones, and ears Goble Nature._

He was obliged to Mr. _Betterton_ for thrusting him into the Character

of _Merryman_ in his _Wanton Wife_, or _Amorous Widow_; but _Westheart

Cave_ was too much of a Dullman.--His chief Atchievement was in

_Lolpoop_, in the _'Squire of Alsatia_; where it was almost impossible

for him to deviate from himself: But he did great Injustice to Sir

_Sampson Legend_ in _Love for Love_, unless it had been true, that the

Knight had been bred a Hog-driver.--In short, _Underhill_ was far from

being a good Actor--as appear'd by the late _Ben. Johnson's_ assuming

his Parts of _Jacomo_--the Grave-digger in _Hamlet_--and Judge _Grypus_

in _Amphytrion_.--I know, Mr. _Underhill_ was much cry'd up in his Time;

but I am so stupid as not to know why.

* * * * *

Mr. _DOGGET_, indeed, cannot reasonably be so censur'd; for whoever

decry'd him, must inevitably have laugh'd much, whenever he saw

him act.

Mr. _Dogget_ was but little regarded, 'till he chopp'd on the Character

of _Solon_ in the _Marriage-Hater Match'd_; and from that he vegetated

fast in the Parts of _Fondlewife_ in the _Old Batchelor_--_Colignii_, in

the _Villain_--_Hob_, in the _Country Wake_--and _Ben_ the Sailor, in

_Love for Love_.--But, on a Time, he suffer'd himself to be expos'd, by

attempting the serious Character of _Phorbas_ in _Oedipus_, than which

nothing cou'd be more ridiculous--for when he came to these Words--(_But,

oh! I wish_ Phorbas _had perish'd in that very Moment_)--the Audience

conceived that it was spoke like _Hob_ in his Dying-Speech.--They burst

out into a loud Laughter; which sunk _Tom Dogget's_ Progress in Tragedy

from that Time.

_Fælix quem faciunt aliena pericula cautum._

But our present LAUREAT had a better Opinion of himself;--for, in a few

Nights afterwards, _COLLEY_, at the old Theatre, attempted the same

Character; but was hiss'd,--his Voice sounding like _Lord

Foppington's_--_Ne Sutor ultra Crepidam._

Mr. _Dogget_ was a little, lively, spract Man, about the Stature of Mr.

L----, Sen. Bookseller in B--h, but better built.--His Behaviour modest,

chearful, and complaisant.--He sung in Company very agreeably, and in

Public very comically.--He danc'd the _Cheshire Round_ full as well as

the fam'd Capt. _George_, but with much more Nature and Nimbleness.--I

have had the Pleasure of his Conversation for one Year, when I

travell'd with him in his strolling Company, 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_.--He gave his

Yearly Water-Badge, out of a warm Principle, (being a _staunch

Revolution-Whig_.)----I cannot part with this _Nonpareil_, without

saying, that he was the most faithful, pleasant Actor that ever was--for

he never deceiv'd his Audience--because, while they gaz'd at him, he was

working up the Joke, which broke out suddenly in involuntary

Acclamations and Laughter.--Whereas our modern Actors are fumbling the

dull Minutes, keeping the gaping Pit in Suspence of something delightful

a coming,--_Et parturiunt Montes, nascitur ridiculus Mus_.

He was the best Face-player and Gesticulator, and a thorough Master of

the several Dialects, except the _Scots_, (for he never was in

_Scotland_) but was, for all that, a most excellent _Sawney_. Whoever

would see him pictur'd, may view his Picture, in the Character of

_Sawney_, at the _Duke's Head_ in _Lynn-Regis_, in _Norfolk_.----While I

travell'd with him, each Sharer kept his Horse, and was every where

respected as a Gentleman.

_Jack Verbruggen_, in Point of Merit, will salute you next.

_JACK VERBRUGGEN_, that rough Diamond, shone more bright than all the

artful, polish'd Brillants that ever sparkled on our Stage.--(_JACK bore

the BELL away._)--He had the Words perfect at one View, and Nature

directed 'em 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, which gave him a shambling Gate, which was a

Carelessness, and became him.--His chief Parts were _Bajazet_,

_Oroonoko_, _Edgar_ in King _Lear_, _Wilmore_ in the _Rover_, and

_Cassius_, when Mr. _Betterton_ play'd _Brutus_ with him.--Then you

might behold the grand Contest, _viz._ whether Nature or Art

excell'd--_Verbruggen_ wild and untaught, or _Betterton_ in the Trammels

of Instruction.---In _Edgar_, in King _Lear_, _Jack_ shew'd his Judgment

most; for his Madness was unlimited: Whereas he sensibly felt a

Tenderness for _Cordelia_, in these Words, (speaking to her)--_As you

did once know_ Edgar!--And you may best conceive his manly, wild Starts,

by these Words in _Oroonoko_,--_Ha! thou hast rous'd the Lyon [in] his

Den; he stalks abroad, and the wild Forest trembles at his Roar:_--Which

was spoke, like a Lyon, by _Oroonoko_, and _Jack Verbruggen_; for Nature

was so predominant, that his second Thoughts never alter'd his prime

Performance.--The late Marquess of _Hallifax_ order'd Oroonoko to be

taken from _George Powel_, saying to Mr. _Southern_, the Author,--That

_Jack_ was the unpolish'd Hero, and wou'd do it best.--In the _Rover_

(_Wilmore_) never were more beautiful Scenes than between him, and

Mrs. _Bracegirdle_, in the Character of _Helena_; for, what with

_Verbruggen's_ untaught Airs, and her smiling Repartees, the Audience

were afraid they were going off the Stage every Moment.--_Verbruggen_

was Nature, without Extravagance--Freedom, without Licentiousness--and

vociferous, without bellowing.----He was most indulgently soft, when he

says to _Imoinda_,--_I cannot, as I wou'd, bestow thee; and, as I ought,

I dare not._--Yet, with all these Perfections, _Jack_ did, and said,

more silly Things than all the Actors besides; for he was drawn in at

the common Cheat of Pricking at the Girdle, Cups and Balls, _&c._ and

told his Wife one Day that he had found out a Way to raise a great

Benefit.--_I hope_, said she, _you'll have your_ Bills _printed in_ Gold

Letters.--_No, no, better than that_, said he; _for I'll have the

King's-Arms all in Gold Letters_.--As Mr. _Verbruggen_ had Nature for

his Directress in Acting, so had a known Singer, _Jemmy Bowen_, the same

in Music:--He, when practising a Song set by Mr. PURCELL, some of the

Music told him to grace and run a Division in such a Place. _O let him

alone_, said Mr. _Purcell_; _he will grace it more naturally than you,

or I, can teach him_.--In short, an Actor, like a Poet,

_Nascitur, non fit._

And this Author prizes himself on that Attempt, as he hath had the

Judgment of all the best Critics in the Character of _Fondlewife_ in the

_Old Batchelor_.--_If you wou'd see Nature_, say they, _see_ Tony

Aston--_if Art_, Colley Cibber;--and, indeed, I have shed mock Tears in

that Part often involuntarily.

* * * * *

Mrs. _VERBRUGGEN_ claims a Place next. She was all Art, and her Acting

all acquir'd, but dress'd so nice, it look'd like Nature. There was not

a Look, a Motion, but what were all design'd; and these at the same

Word, Period, Occasion, Incident, were every Night, in the same

Character, alike; and yet all sat charmingly easy on her.--Her Face,

Motion, _&c._ chang'd at once: But the greatest, and usual, Position was

Laughing, Flirting her Fan, and _je ne scay quois_,--with a Kind of

affected Twitter.--She was very loath to accept of the Part of _Weldon_

in _Oroonoko_, and that with just Reason, as being obliged to put on

Men's Cloaths--having thick Legs and Thighs, corpulent and large

Posteriours;--but yet the Town (that respected her) compounded, and

receiv'd her with Applause; for she was the most pleasant Creature that

ever appear'd: Adding to these, that she was a fine, fair Woman, plump,

full-featur'd; her Face of a fine, smooth Oval, full of beautiful,

well-dispos'd Moles on it, and on her Neck and Breast--Whatever she did

was not to be call'd Acting; no, no, it was what she represented: She

was neither more nor less, and was the most easy Actress in the World.

The late Mrs. OLDFIELD borrow'd something of her Manner in free

Comedy;--as for Tragedy, Mrs. _Verbruggen_ never attempted it.

_Melanthe_ was her Master-piece; and the Part of _Hillaria_ in

_Tunbridge-Walks_ cou'd not be said to be Acted by any one but her.--Her

Maiden-Name was _Percival_; and she was the Widow of Mr. _Mountford_,

(who was kill'd by Lord _Mohun_) when Mr. _Verbruggen_ married her.--She

was the best Conversation possible; never captious, or displeas'd at any

Thing but what was gross or indecent; for she was cautious, lest fiery

_Jack_ shou'd so resent it as to breed a Quarrel;--for he wou'd often

say,--_Dammee! tho' I don't much value my Wife, yet no Body shall

affront her, by G--d_; and his Sword was drawn on the least Occasion,

which was much in Fashion at the latter End of King _William's_

Reign;--at which Time I came on the Stage, when Mr. _Dogget_ left it;

and then the facetious _Joe Haines_ was declining in Years and

Reputation, tho' a good Actor and Poet, his Prologues exceeding all ever

wrote.--[_Vide_ Love and a Bottle.]

* * * * *

_JOE HAINES_ is more remarkable 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

escaped being seiz'd, and sent to the _Bastile_, for personating an

_English_ Peer, and running 3000 Livres in Debt in _Paris_; but, happily

landing at Dover, he went to _London_, where in _Bartholomew-Fair_, he

set up a Droll-Booth, and acted a new Droll, call'd, _The Whore of

Babylon, the Devil, and the Pope_. This was in the first Year of King

_James_ II. when _Joe_ was sent for, and roundly admonish'd, by Judge

_Pollixfen_ for it. _Joe_ reply'd, _That he did it in Respect to his_

Holiness; _for, whereas many ignorant People believed the_ Pope _to be

a_ Beast, _he shew'd him to be a fine, comely old Gentleman, as he was;

not with Seven Heads, and Ten Horns, as the_ Scotch _Parsons describe

him_. However, this Affair spoil'd _Joe's_ expiring Credit; for next

Morning, a Couple of Bailiffs seiz'd him in an Action of 20_l._ as the

Bishop of _Ely_ was passing by in his Coach.--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 venture 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 bow'd, and went away. _Joe_ (hugging himself with his

fallacious Device) went also his Way. In the Morning, the Bailiffs

(expecting the Debt and Charges) repair'd to the Bishop's; where being

introduced,--_Well_, said the Bishop, _what are your Scruples of

Conscience?_--_Scruples!_ (said the Bailiffs) _we have no Scruples: We

are Bailiffs, my Lord, who, Yesterday, arrested your Cousin_, Joe

Haines, _for 20l. 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.--There were two Parts of Plays (_Nol

Bluff_ in the _Old Batchelor_, and _Roger_ in _Æsop_) which none ever

touch'd but _Joe Haines_.--I own, I have copied him in _Roger_, as I did

Mr. _Dogget_ in _Fondlewife_.--But, now, for another Story of him.

In the long Vacation, when Harlots, Poets, and Players, are all

poor,--_Joe_ walking in _Cross-Street_, by _Hatton-Garden_, sees a fine

Venison-Pasty come out of _Glassop's_, a Pastry-Cook's Shop, which a Boy

carried to a Gentleman's House thereby.--_Joe_ watch'd it; and seeing a

Gentleman knock at the Door, he goes to the Door, and ask'd him if he

had knock'd at it: _Yes_, said the Gentleman; _the Door is open'd_.--In

goes the Gentleman, and _Joe_ after him, to the Dining-Room.--Chairs

were set, and all ready for the Pasty. The Master of the House took

_Joe_ for the Gentleman's Friend, whom he had invited to Dinner; which

being over, the Gentleman departed. _Joe_ sat still.--Says the Master of

the House to _Joe_, _Sir, I thought you would have gone with your

Friend_!--_My Friend_, said _Joe_; _alas! I never saw him before in my

Life_.--_No, Sir_, replied the other: _Pray, Sir, then how came you to

Dinner here?_--_Sir_, said _Joe_, _I saw a Venison-Pasty carried in

here; and, by this Means, have din'd very heartily of it_. _My Name is_

Joe Haines, (said he) _I belong to the_ Theatre.--_Oh, Mr._ Haines,

(continued the Gentleman) _you are very welcome; you are a Man of Wit:

Come, bring t'other bottle_; which being finish'd, _Joe_, with good

Manners, departed, and purposely left his Cane behind him, which he

design'd to be an Introduction to another Dinner there: For, next Day,

when they were gone to Dinner, _Joe_ knock'd briskly at the Door, to

call for his Cane, when the Gentleman of the House was telling a Friend

of his the Trick he play'd the Day before.--_Pray call Mr._ Haines

_in_.--_So, Mr._ Haines, said he; _sit down, and partake of another

Dinner_.--_To tell you the Truth_, said _Joe_, _I left my Cane Yesterday

on purpose_: At which they all laugh'd.--Now _Joe_ (altho' while

greedily eating) was very attentive to a Discourse on Humanity begun,

and continued, by the Stranger Gentleman; wherein he advanced, that

every Man's Duty was to assist another, whether with Advice, Money,

Cloaths, Food, or whatever else. This Sort of Principle suited _Joe's_

End, as by the Sequel will appear. The Company broke up, and _Joe_, and

the Gentleman, walk'd away, (_Joe_ sighing as he went along.) The

Gentleman said to him, _What do you sigh for?_--_Dear Sir_, (quoth

_Joe_) _I fear my Landlord will, this Day, seize my Goods for only a

Quarter's Rent, due last Week_.--_How much is the Money?_ said the

Gentleman.--_Fifty Shillings_, said _Joe_, _and the Patentees owe me

Ten Pounds, which will be paid next Week._--_Come_, said the Gentleman,

_I'll lend thee Fifty Shillings on your Note, to pay me faithfully in

three Weeks_. Which _Joe_, with many Promises and Imprecations,

sign'd.--But _Joe_, thereafter, had his Eyes looking out before him;

and, whenever he saw the Gentleman, would carefully avoid him; which the

Gentleman one Day perceiv'd, and going a-cross _Smithfield_, met _Joe_

full in the Face, and, in the Middle of the _Rounds_, stopp'd him.

Taking him by the Collar, _Sirrah_, said he, _pray pay me now, you

impudent, cheating Dog, or I'll beat you into a Jelly_.--_Joe_ fell down

on his Knees, making a dismal Outcry, which drew a Mob about them, who

enquir'd into the Occasion, which was told them; and they, upon hearing

it, said to the Gentleman, _That the poor Man could not pay it, if he

had it not_.--_Well_, said he, _let him kneel down, and eat up that thin

Sirreverence, and I'll forgive him, and give up his Note_.--_Joe_

promis'd he would, and presently eat it all up, smearing his Lips and

Nose with the human Conserve. The Gentleman gave him his Note; when

_Joe_ ran and embrac'd him, kissing him, and bedaubing his Face, and

setting the Mob a hollowing.

* * * * *

_The_ SECOND PART _of their_ LIVES, _with the Continuation of_ JOE

HAINES'_s Pranks, the Author hopes a fresh Advance for.----In the_

Interim, _he thanks his Friends._

_FINIS._

MEMOIRS OF THE ACTORS AND ACTRESSES MENTIONED BY CIBBER,

TAKEN FROM EDMUND BELLCHAMBERS'S EDITION OF THE "APOLOGY," 1822.

WILLIAM SMITH.

This judicious actor, who is said to have been originally a barrister,

came into the Duke's Company, when acting under Sir William D'Avenant,

in Lincoln's Inn Fields, about the year 1663. He rose soon after to the

duties of _Buckingham_, in "King Henry the Eighth," and subsequently

filled a range of characters distinguished by their variety and

importance. _Sir William Stanley_, in Caryl's wretched play of the

"English Princess," procured him additional estimation and applause,

which were still farther enlarged by his performance of _Stanford_ in

Shadwell's "Sullen Lovers." Mr. Smith was the original _Chamont_ in

Otway's "Orphan," and played many parts of as much local consequence in

pieces that are now forgotten.

NOTE.--All passages enclosed in square brackets are by the present

editor, who is also responsible for the notes marked (L.).

Chetwood informs us that Mr. Smith was zealously attached to the

interests of King James the Second, in whose army, attended by two

servants, he entered as a volunteer. Upon the abdication of that

monarch, he returned to the stage, by the persuasions of many friends,

who admired his performances, and resumed his original part of

_Wilmore_ in the "Rover;" but having been received with considerable

disapprobation, on account of his party principles, the audience was

dismissed, and he departed from public life in the manner already

mentioned. It is difficult to reconcile these discrepancies. Chetwood's

minuteness looks like credibility, and Cibber has committed a mistake in

stating that Mr. Smith "entirely quitted" the stage at this secession,

he having returned in 1695, when at the earnest solicitations of his

sincere friends Mr. Betterton and Mrs. Barry, strengthened by the

influence of Congreve over many of his connections in high life, he

consented to sustain the part of _Scandal_ in that author's comedy of

"Love for Love," upon its production at the new theatre in Little

Lincoln's Inn Fields, when his inimitable performance imparted an extra

charm to that admirable play. Continued peals of applause attested the

satisfaction which his auditors felt at the return of their old

favourite, and it seems singular that Congreve should have wholly

overlooked this memorable event, in the "prologue" at least, where the

defection of Williams and Mrs. Mountfort is thus obscurely stated:

Forbear your wonder, and the fault forgive

If in our larger family we grieve

One falling Adam, and one tempted Eve.

Mr. Smith continued on the stage till about twelve months after this

period, when, according to Downes, having a long part in Banks's tragedy

of "Cyrus," 1696, he fell sick on the fourth day of performance, and

died from a cold, as Chetwood relates, occasioned by cramp, which having

seized him while in bed, he rose to get rid of it, and remained so long

in his naked condition, that a fever ensued from disordered lungs, and,

in three days, put an end to his existence.

We have but a slender clue to the stage-management of Mr. Smith, which

was exercised over the Duke's Company in Dorset-garden, conjointly with

Betterton and Dr. D'Avenant, when the famous agreement which bears their

signatures was concluded with Hart and Kynaston, for an union of the

theatres. It has been said that Booth [who wrote an epitaph on Smith]

applied to him for an engagement, which was refused from a fear of

offending his relatives, but with that kindness of expression and

deportment so warmly distinguished in his epitaph. This assertion,

however, is unfounded, for when Mr. Smith died, Barton Booth was a

Westminster scholar, and in the fourteenth year of his age; the

character of this eminent comedian must, accordingly, have been drawn up

from such intelligence as the writer acquired at a subsequent period.

It only remains to be remarked, that Chetwood has placed Mr. Smith's

original return to the stage in the year 1692; but, not to insist upon

the known looseness of this writer's information, let us ask if a

political offence would be so vehemently remembered, after the lapse of

four years, as to drive an estimable actor from the harmless pursuance

of his ordinary duties? Cibber is doubtless correct in the floating date

of this fact, which must have happened _previous_ to the revolution. Mr.

Smith was a principal actor in Lee's later tragedies, but in the

"Princess of Cleve," 4to, 1689, we find the part he would naturally have

played to Betterton's _Nemours_, supported by Mr. Williams.

Smith's value as an actor, may be immediately felt by a reference to

the parts he enjoyed under Betterton, with whom he lived till death in

the most cordial manner, enhancing his fame by honourable emulation,

and promoting his interests by unbroken amity. No instance has been

recorded of their dissention or dispute, and from the notice which

Betterton extended to Booth, he very possibly communicated that high

account of his departed friend, which the latter has recorded with such

spirit and fidelity.

From Cibber's admission, it appears, that Smith's moral qualities and

professional excellence, procured him an extensive reception among

people of rank, a patronage which his polished manners continued to

exact, till society, by his death, sustained one of its deepest

deprivations. (B.) Chetwood's story is now incapable either of proof or

disproof. The known facts about Smith's retirement are, that his name

appears to Constantine the Great, to Courtine in Otway's "Atheist," and

to Lorenzo in Southerne's "Disappointment," in 1684; that it then

disappears, and does not again occur till 1695. It is probable that he

retired in 1684, as it is unlikely that his name should not appear in

one or other of the 1685 bills. (L.)

CHARLES HART.

Charles Hart was the great nephew of Shakspeare, his father, William,

being the eldest son of our poet's sister Joan. Brought up as an

apprentice under Robinson, a celebrated actor, he commenced his career,

conformably to the practice of that time, by playing female parts, among

which the _Duchess_, in Shirley's tragedy of the "Cardinal," was the

first that exhibited his talents, or enhanced his reputation.

Puritanism having gathered great strength, opposed theatrical amusements

as vicious and profane institutions, which it was at length enabled to

abolish and suppress. On the 11th day of February, 1647,[227] and the

subsequent 22d of October, two ordinances were issued by the Long

Parliament, whereby all stage-players were made liable to punishment for

following their usual occupation. Before the appearance of this severe

edict, most of the actors had gone into the army, and fought with

distinguished spirit for their unfortunate master; when, however, his

fate was determined, the surviving dependants on the drama were

compelled to renew their former efforts, in pursuance of which they

returned, just before the death of Charles, to act a few plays at the

"Cockpit" theatre, where, while performing the tragedy of "Rollo," they

were taken into custody by soldiers, and committed to prison.[228] Upon

this occasion, Hart, who had been a lieutenant of horse, under Sir

Thomas Dallison, in Prince Rupert's own regiment, sustained the

character of _Otto_, a part which he afterwards relinquished to

Kynaston, in exchange for the fierce energies of his ambitious brother.

At the Restoration, Hart was enrolled among the company constituting his

Majesty's Servants, by whom the new Theatre Royal, Drury-lane, was

opened on the 8th of April, 1663, with Beaumont and Fletcher's play of

the "Humourous Lieutenant," in which he sustained a principal character

for twelve days of successive representation.

About the year 1667,[229] Hart introduced Mrs. Gwyn upon the dramatic

boards, and has acquired the distinction of being ranked among that

lady's first felicitous lovers, by having succeeded to Lacy, in the

possession of her charms. Nell had been tutored for the stage by these

admirers in conjunction, and after testifying her gratitude to both,

passed into the hands of Lord Buckhurst, by whom she was transferred to

the custody of King Charles the Second.

The principal parts, according to Downes, sustained by Mr. Hart,

were _Arbaces_, in "King and No King;" _Amintor_, in the "Maid's

Tragedy;" _Othello_, _Rolla_, _Brutus_, and _Alexander the Great_.

Such was his attraction in all these characters, that, to use the

language of that honest prompter, "if he acted in any one of these

but once in a fortnight, the house was filled as at a new play;

especially _Alexander_, he acting that with such grandeur and agreeable

majesty, that one of the court was pleased to honour him with this

commendation--'that Hart might teach any king on earth how to comport

himself.'" His merit has also been specified as _Mosca_, in the "Fox,"

_Don John_, in the "Chances," and _Wildblood_, in an "Evening's Love;"

which, however, according to the same authority, merely harmonised

with his general efforts, in commanding a vast superiority over the

best of his successors.

Rymer has said that Hart's action could throw a lustre round the meanest

characters, and, by dazzling the eyes of the spectator, protect the

poet's deformities from discernment. He was taller, and more genteelly

shaped than Mohun, on which account he probably claimed the choice of

parts, and was prescriptively invested with the attributes of youth and

agility. He possessed a considerable share in the profits and direction

of the theatre, which were divided among the principal performers; and

besides his salary of £3 a week, and an allowance as a proprietor,

amounting to six shillings and three-pence a day, is supposed to have

occasionally cleared about £1000 per annum.

[On the 14th of October, 1681, a memorandum was signed between Dr.

Charles Davenant, Betterton, and Smith, of the one part, and Hart

and Kynaston, of the other, by which the two last mentioned, in

consideration of five shillings each for every day on which there shall

be a play at the Duke's Theatre, undertake to do all they can to break

up the King's Company. The result of this agreement was the Union of

1682. This agreement is given in Gildon's "Life of Betterton" (p. 8),

and in Genest (i. 369). I suppose it is a genuine document, but I

confess to some doubts, based chiefly on my belief that Betterton was

too honest to enter into so shabby an intrigue.]

Declining age had rendered Hart less fit for exertion than in the vigour

of life, and certain of the young actors, such as Goodman and Clark,

became impatient to get possession of his and Mohun's characters. A

violent affliction, however, of the stone and gravel, compelled him to

relinquish his professional efforts, and having stipulated for the

payment of five shillings a-day, during the season,[230] he retired from

the stage, and died a short time after.

Hart was always esteemed a constant observer of decency in manners, and

the following anecdote will evince his respect for the clergy. That

witty, but abandoned fellow, Jo Haynes, had persuaded a silly divine,

into whose company he had unaccountably fallen, that the players were a

set of people, who wished to be reformed, and wanted a Chaplain to the

Theatre, an appointment for which, with a handsome yearly income, he

could undertake to recommend him. He then directed the clergyman to

summon his hearers, by tolling a bell to prayers every morning, a

scheme, in pursuance of which Haynes introduced his companion, with a

bell in his hand, behind the scenes, which he frequently rang, and cried

out, audibly, "Players! players! come to prayers!" While Jo and some

others were enjoying this happy contrivance, Hart came into the theatre,

and, on discovering the imposition, was extremely angry with Haynes,

whom he smartly reprehended, and having invited the clergyman to dinner,

convinced him that this buffoon was an improper associate for a man of

his function.[231]

MICHAEL MOHUN.

The life of Michael Mohun, though passed in its early stages beneath a

different teacher, was chequered by the very shades which distinguished

that of Hart, with whom he acquired his military distinctions, and

reverted to a theatrical life. He was brought up with Shatterel, under

Beeston, at the "Cock-pit," in Drury-lane, where, in Shirley's play of

"Love's Cruelty," he sustained the part of _Bellamente_, among other

female characters,[232] and held it even after the Restoration.

Having attained the rank of captain in the royal forces, Mohun went to

Flanders upon the termination of the civil war, where he received pay as

a major, and acquitted himself with distinguished credit. At the

Restoration, he resumed his pristine duties, and became an able second

to Hart, with whom he was equally admired for superlative knowledge of

his arduous profession.

He is celebrated by Lord Rochester, as the great Æsopus of the stage;

praise, which, though coming from one of so capricious a temper, may be

relied on, since it is confirmed by more respectable testimony. He was

particularly remarkable for the dignity of his deportment, and the

elegance of his step, which mimics, said his lordship, attempted to

imitate, though they could not reach the sublimity of his elocution. The

Duke's comedians, it would seem, endeavoured to emulate his manner, when

reduced by age and infirmity, a baseness which the same noble observer

has thus warmly reprehended:--

Yet these are they, who durst expose the Age

Of the great Wonder of the English Stage.

Whom Nature seem'd to form for your delight,

And bid him speak, as she bid Shakespeare write.

These Blades indeed are Cripples in their Art,

Mimick his Foot, but not his speaking part.

Let them the _Traytor_ or _Volpone_ try,

Could they

Rage like _Cethegus_, or like _Cassius_ die?

(Epilogue to Fane's "Love in the Dark.")

Mohun, from his inferior height and muscular form, generally acted

grave, solemn, austere parts, though upon more than one occasion,

as in _Valentine_, in "Wit without Money," and _Face_, in the

"Alchemist,"--one of his most capital characters,--he was frequently

seen in gay and buoyant assumptions to great advantage. He was

singularly eminent as _Melantius_, in the "Maid's Tragedy;" _Mardonius_,

in "King and No King;" _Clytus_, _Mithridates_, and the parts alluded to

by Lord Rochester. No man had more skill in putting spirit and passion

into the dullest poetry than Mohun, an excellence with which Lee was so

delighted, that on seeing him act his own King of Pontus, he suddenly

exclaimed, "O, Mohun, Mohun, thou little man of mettle, if I should

write a hundred plays, I'd write a part for thy mouth!" And yet Lee

himself was so exquisite a reader, that Mohun once threw down a part in

despair of approaching the force of the author's expression. The

"Tatler" has adverted to his singular science;[233] "in all his parts,

too," says Downes, "he was most accurate and correct;" and perhaps no

encomium can transcend the honours of unbroken propriety.

About the year 1681, there are some reasons to suspect that the king's

company was divided by feuds and animosities, which their adversaries in

Dorset-garden so well improved, as to produce an union of the separate

patents. Hart and Kynaston were dexterously detached from their old

associates, by the management of Betterton, whose conduct, though

grounded upon maxims of policy, can derive no advantage from so unfair

an expedient. Upon the completion of this nefarious treaty, Mohun, who

found means to retain the services of Kynaston, with the remnant of the

royal company, continued to act in defiance of the junction just

concluded, as an independent body. Downes, in his "Roscius Anglicanus,"

so far as the imperfect structure of its sentences can be relied on,

expressly asserts this; and yet if "the patentees of each company united

patents, and, by so incorporating, the duke's company were made the

king's, and immediately removed to the Theatre Royal in Drury-lane,"

what field did Mohun and his followers select for their operations, to

pitch their tents, and hoist their standard? Till some period, at least,

of the year 1682, this party were in possession of their antient

domicile, as Mohun at that time, acted _Burleigh_, in Banks's "Unhappy

Favourite," and sustained a principal character in Southern's "Loyal

Brother," with, for his heroine, in both pieces, the famous Nell

Gwyn.[234]

[Bellchambers is here very inaccurate. The union of 1682 was, no doubt,

opposed by some of the King's Company, from November, 1681, when the

memorandum between Davenant, Betterton, Hart, and others, was executed,

and the date of the actual conclusion of the union. This is clearly

indicated in Dryden's Prologue on the opening of Drury Lane by the

united company on 16th November, 1682. But, whatever the opposition had

been, it had ceased then, because in the cast of the "Duke of Guise,"

produced less than three weeks later, appear the names of Kynaston and

Wiltshire, whom Bellchambers represents as supporting Mohun in his

supposed opposition theatre. (L.)]

CARDELL GOODMAN.

Cardell Goodman, according to his own admissions, as detailed by Cibber

elsewhere, was expelled the university of Cambridge, for certain

political reasons, a disgrace, however, which did not disqualify him for

the stage. He came upon it, accordingly, by repairing to Drury-lane

theatre, where Downes has recorded [what was probably] his first

appearance, as _Polyperchon_, in the "Rival Queens," 4to. 1677. Here,

although we cannot trace his success in any character of importance, Mr.

Cibber has adverted to his rapid advances in reputation. He followed the

fortunes of Mohun in opposing the united actors, but, about three years

afterwards, resorted to them, (in 1685,) and sustained the hero of Lord

Rochester's "Valentinian." It is about this period that his excellence

must have blazed out as _Alexander the Great_, since Cibber, who went

upon the stage in 1690, says Goodman had retired before the time of his

appearance.

The highest salary enjoyed at that period we are now treating of, was

six shillings and three pence per diem, a stipend that was by no means

equal to the strong passions and large appetites of a gay, handsome,

inconsiderate young fellow. He was consequently induced to commit a

robbery on the highway, and sentenced upon detection, to make a summary

atonement for his fatal error; but this being the first exploit of that

kind to which the scantiness of his income had urged him, King James was

persuaded to pardon him, a favour for which Goodman was so grateful,

that, in the year 1696, he shared with Sir John Fenwick in a design to

assassinate King William, who spared his life in consideration of the

testimony he was to render against his accomplice. This condition,

however, Goodman did not fulfil, as he withdrew clandestinely to the

continent, to avoid giving evidence, and died in exile.

Having been selected as a fit instrument for her abandoned pleasures by

the Duchess of Cleveland, Goodman, long before his death, became so

happy in his circumstances, that he acted only at intervals, when his

titled mistress most probably desired to see him; for he used to say, he

would not even act _Alexander_, unless his Duchess were in front to

witness the performance.

RICHARD ESTCOURT.

Richard Estcourt, according to the biographical notice of Chetwood, was

born at Tewksbury, in Glostershire, in the year 1668, and received a

competent education at the Latin grammar-school of his native town.

Influenced by an early attachment to the stage, he left his father's

house, in the fifteenth year of his age, with an itinerant company, and on

reaching Worcester, to elude the possibility of detection, made his first

appearance as _Roxana_, in the "Rival Queens." Having received a correct

intimation of this theatrical purpose, his father sent to secure the

fugitive, who slipped away in a suit of woman's clothes, borrowed from one

of his kind-hearted companions, and travelled to Chipping-Norton, a

distance of five-and-twenty miles, in the course of the day.

To prevent such excursions for the future, he was quickly carried up to

London, and apprenticed to an apothecary in Hatton-garden, with whom,

according to some authorities, he continued till the expiration of his

indentures, and duly entered into business; which, either from want of

liking or success he soon afterwards renounced, and returned to his

favourite avocation.[235] Chetwood, on the contrary, asserts that he

broke away from his master's authority, and after strolling about

England for two years, went over to Dublin, where his performances were

sanctioned by ardent and universal applause.

About the opening of the eighteenth century [that is, 18th October,

1704], Mr. Estcourt was engaged at Drury-lane Theatre, where he made his

débût as _Dominic_, in the "Spanish Friar," and established his efforts,

it is said, by a close imitation of Leigh, the original possessor of

that part. In the year 1705 [should be 1706], such was his merit or

reputation, that Farquhar selected him for _Sergeant Kite_, in the

"Recruiting Officer," a character to which Downes has alluded in terms

of unqualified praise. It is asserted in the "Biographia Dramatica,"

that Mr. Estcourt was "mostly indebted for his applause to his powers of

mimicry, in which he was inimitable; and which not only at times

afforded him opportunities of appearing a much better actor than he

really was,--by enabling him to copy very exactly several performers of

capital merit, whose manner he remembered and assumed,--but also, by

recommending him to a very numerous acquaintance in private life,

secured him an indulgence for faults in his public profession, that he

might otherwise, perhaps, never have been pardoned." As if an actor, in

defiance of peculiar incapacity, associated emulation, and public

disgust, could maintain, for twelve successive years, the very highest

station in the Drury-lane company, attainable by talents, such as he was

only flattered with possessing!

That Estcourt was happy in a "very numerous acquaintance," there is no

reason to conceal or deny. He was remarkable for the promptitude of his

wit, and the permanence of his pleasantry, qualifications that

recommended him to the most cordial intercourse with Addison, Steele,

Parnell, who has honoured him in a Bacchanalian poem, by the name of

Jocus, and other choice spirits of the age, who enjoyed the variety of

his talents, and acknowledged the goodness of his heart. He was highly

in favour with the great Duke of Marlborough, but those who know his

grace's character, will hardly be surprised to learn that he did not

improve his fortune by that dazzling distinction. Estcourt's honours,

indeed, were strictly nominal, for though constituted providore of the

Beef-steak Club,--an assemblage comprising the chief wits and greatest

men of the nation,--he gained nothing by the office but their badge of

employment,--a small golden gridiron, suspended from his neck by a bit

of green riband.

If the foregoing remarks should be held sufficient to redeem his

dramatic character from the obloquy with which it has so long been

attended, the following anecdote will perhaps be accepted as ample

evidence of his great talent for private mimicry.

Secretary Craggs, when very young, in company with some of his friends,

went, with Estcourt, to Sir Godfrey Kneller's, and whispered to him that

a gentleman present was able to give such a representation of many among

his most powerful patrons, as would occasion the greatest surprise.

Estcourt accordingly, at the artist's earnest desire, mimicked Lords

Somers, Halifax, Godolphin, and others, so exactly, that Kneller was

delighted, and laughed heartily at the imitations. Craggs gave a signal,

as concerted, and Estcourt immediately mimicked Sir Godfrey himself, who

cried out in a transport of ungovernable conviction, "Nay, there you are

out, man! By G--, that's not me!"

About a twelvemonth before his death, having retired from the stage,

Estcourt opened the Bumper tavern, in Covent-garden, and by enlarging

his acquaintance, most probably shortened his days. He died in the year

1713 [should be 1712], and was buried near his brother comedian, Jo

Haynes, in the church-yard of St. Paul's, Covent-garden.

THOMAS BETTERTON.

Thomas Betterton was born in Tothill-street, Westminster, in the year

1635 [baptized 11th August, 1635], his father at that time being

under-cook to King Charles the First. He received the rudiments of a

genteel education, and testified such a propensity to literature, that

it was the steadfast intention of his family to have had him qualified

for some congenial employment. This design, the confusion and violence

of the times most probably prevented, though a fondness for reading

induced them to consult his inclinations, and he was accordingly

apprenticed to Mr. Rhodes, a respectable bookseller, residing at the

Bible, in Charing-cross.

This person, who had been wardrobe-keeper to the theatre in Blackfriars,

before the suppression of dramatic amusements, on General Monk's

approach to London, in the year 1659, obtained a license from

the [governing powers] to collect a company of actors, and employ

them at the "Cockpit," in Drury-lane. Here, while Kynaston, his

fellow-apprentice, sustained the principal female parts, Betterton was

distinguished by the vigour and elegance of his manly personations. The

fame of Beaumont and Fletcher was then at its zenith, and in their plays

of the "Loyal Subject," and the "Mad Lover," added to "Pericles," the

"Bondman," and the "Changeling," Mr. Betterton established the

groundwork of his great reputation.

Sir William D'Avenant having been favoured with a patent before the

civil wars broke out, obtained a renewal of that royal grant upon the

Restoration, and in the spring of 1662 [should be June, 1661], after

rehearsing various plays at Apothecaries'-hall, he opened a new theatre

in Lincoln's-inn-fields, where Rhodes's comedians, with the addition of

Harris, and three others, were sworn before the Lord Chamberlain, as

servants of the crown, and honoured by the sanction of the Duke of York.

Here Sir William D'Avenant produced his "Siege of Rhodes," a play in two

parts, embellished with such scenery and decorations as had never been

before exhibited on the boards of a British theatre. The parts were

strongly cast, and this drama, assisted by its splendid appendages, was

represented for twelve days, successively, with unbounded approbation.

At this period Mr. Betterton first assumed the part of _Hamlet_,

deriving considerable advantage from the hints of Sir William D'Avenant,

to whom the acting of Taylor [who had been instructed by Shakespeare]

had been formerly familiar. Downes expressly declares that this

character enhanced Mr. Betterton's reputation to the utmost, and there

is much collateral evidence to substantiate its brilliant

superiority.[236]

Mr. Betterton was so favourably considered by Charles the Second, that,

upon his performance of _Alvaro_, in "Love and Honour," he received that

monarch's coronation-suit for the character, as a token of esteem.

Public opinion kept pace with his efforts to secure it, and by evincing

unparalleled talent in such diversified parts as _Mercutio_, _Sir Toby

Belch_, and _Henry the Eighth_, (the last of which was adopted from his

manager's remembrance of Lowin) he speedily attained to that eminence in

his art, above which no human exertion can probably ascend.

At the king's especial command, it has been asserted by some of his

biographers that Mr. Betterton went over to Paris to take a view of the

French stage, and suggest such means as might ensure a corresponding

improvement upon our own. They even go so far as to term him the first

who publicly introduced our moving scenes, though Sir William D'Avenant,

to whom that honour decidedly belongs, had attached them, less

perfectly, perhaps, in 1658, to his "Cruelty of the Spaniards in Peru."

By or before 1663, Mr. Betterton had married Mrs. Saunderson, a

performer in the same company, of matchless merit and unsullied virtue,

though that event, by the "Biographia Dramatica," and other incautious

compilations, is referred to the year 1670. This lady, it may be

remarked, was single, while denominated mistress; the appellation of

miss not being made familiar to the middle classes, till after the

commencement of the ensuing century.

The duke's company, notwithstanding the favour and excellence to which

Betterton, Harris, Smith, and other members were admitted, began to

feel its want of attraction so forcibly, that Sir William D'Avenant was

induced to try the effects of a new theatre, which was accordingly opened,

with unparalleled magnificence, in Dorset-garden, Salisbury-court,

notwithstanding an earnest opposition by the city of London, in November,

1671. Opinion, however, still inclining to their antagonists, dramatic

operas were invented, and soon enabled the players at this place to

achieve a triumph over merit unassisted by such expensive frivolity.

At the death of D'Avenant, on the 17th of April, 1668, Mr. Betterton

succeeded to a portion of the management, and so great was the

estimation in which both he and his lady were held, that in the year

1675, when a pastoral, called "Calisto; or, the Chaste Nymph," written

by Mr. Crown, at the request of King Charles's consort, was to be

performed at court by persons of the greatest distinction, they were

appointed to instruct them in their respective parts. In 1682, an union

was effected with the rival company, which Mr. Betterton continued to

direct, till Rich, in 1690, obtained possession of the patent, and

dispossessed him of importance and authority.

Exasperated by ill treatment, Mr. Betterton confederated with the

principal performers to procure an independent license, which being

granted by King William, they built a new theatre in Lincoln's-inn-fields,

by subscription, and opened it on the 30th of April, 1695, with

Congreve's comedy of "Love for Love."

In 1705, enfeebled by age and infirmity, this distinguished veteran

transferred his license to Sir John Vanbrugh, who erected a handsome

theatre in the Haymarket, at which, divested of influence or control, he

accepted an engagement as an actor.

Mr. Betterton's salary never exceeded eighty shillings a-week, and

having sustained the loss of more than £2,000, by a commercial venture

to the East Indies, in 1692, necessity compelled him to pursue his

professional avocations. On Thursday, April the 13th, 1709,[237] the

play of "Love for Love" was performed for his benefit, an occasion which

summoned Mrs. Barry and Mrs. Bracegirdle from their retirement, to aid

this antient coadjutor by the resumption of those parts they had

originally sustained. Congreve is said to have furnished a prologue,

though withdrawn and never submitted to print, which was delivered by

the latter lady, the former reciting an epilogue from the pen of Rowe,

which remains in lasting testimony of his affectionate regard. From this

address the following lines are worthy of transcription:

But since, like friends to wit, thus throng'd you meet,

Go on, and make the generous 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 a discharge at last;

In peace and ease life's remnant let him wear,

And hang his consecrated buskin here.

This hint, however, proved unavailing, and "Old Thomas" still continued

to labour, when permitted by intermissions of disease, for that

subsistence his age and his services should long before have secured.

Mr. Betterton accordingly performed at intervals in the course of the

ensuing winter, and on the 25th of April, 1710 [should be 13th April],

was admitted to another benefit, which, with the patronage bestowed upon

its predecessor, is supposed to have netted nearly £1000. Upon this

occasion, he was announced for his celebrated part of _Melantius_, in

the "Maid's Tragedy," from the performance of which he ought, however,

upon strict consideration, to have been deterred; for having been

suddenly seized with the gout, a determination not to disappoint the

expectancy of his friends, induced him to employ a repellatory medicine,

which lessened the swelling of his feet, and permitted him to walk in

slippers. He acted, accordingly, with peculiar spirit, and was received

with universal applause; but such were the fatal effects of his laudable

anxiety, that the distemper returned with unusual violence, ascended to

his head, and terminated his existence, in three days from the date of

this fatal assumption. On the 2nd of May his remains were deposited with

much form in the cloisters of Westminster-abbey.

Mr. Betterton was celebrated for polite behaviour to the dramatic

writers of his time, and distinguished by singular modesty, in not

presuming to understand the chief points of any character they offered

him, till their ideas had been asked, and, if possible, adopted. He is

also praised in some verses published with the "State Poems," for

extending pecuniary assistance to embarrassed writers, till the success

of a doubtful production might enable them to remunerate their generous

creditor. Indeed, Mr. Betterton's benevolence was coupled with such

magnanimity, that upon the death of that unhappy friend to whose

counsels his little fortune had been sacrificed, he took charge of a

surviving daughter, educated her at considerable expense, and not only

made her an accomplished actress, but a valuable woman.[238]

Among many testimonies of deference to his judgment, and regard for his

zeal, the tributes of Dryden and Rowe have been brilliantly recorded. He

was naturally of a cheerful temper, with a pious reliance upon the

dispensations of providence, and nothing can yield a higher idea of his

great affability, than the effect his behaviour produced upon Pope, who

must have been a mere boy, when first admitted to his society. He sat to

the poet for his picture, which Pope painted in oil,[239] and so eager

was the bard to perpetuate his memory, that he published a modernization

of Chaucer's "Prologues," in this venerable favourite's name, though

palpably the produce of his own elegant pen.[240] As an author, Mr.

Betterton's labours were confined to the drama, and if his original

pieces are not entitled to much praise, his alterations exhibit some

judicious amendments.

EDWARD KYNASTON.

Edward Kynaston made his first appearance in 1659, at the "Cockpit" in

Drury-lane, under the management of Rhodes, to whom, in his trade of

bookselling, he had previously been apprenticed. Here he took the lead

in personating female parts, among which he sustained _Calis_, in the

"Mad Lover;" _Ismenia_, in the "Maid in the Mill;" the heroine of Sir

John Suckling's "Aglaura;" _Arthiope_, in the "Unfortunate Lovers;" and

_Evadne_, in the "Maid's Tragedy." The three last of these parts have

been distinguished by Downes and our author as the best of his efforts,

and being then but a "mannish youth," he made a suitable representative

of feminine beauty. Kynaston's _forte_, at this period, appears to have

consisted in moving compassion and pity, "in which," says old Downes,

"it has since been disputable among the judicious, whether any woman

that succeeded him so sensibly touched the audience as he."

At the Restoration, when his majesty's servants re-opened the "Red Bull"

playhouse, in St. John-street, next shifted to Gibbons's tennis-court,

in Clare-market, and finally settled, in 1663, at their new theatre in

Drury-lane, Kynaston was admitted to their ranks, and played

_Peregrine_, in Jonson's comedy of the "Fox." He also held _Sir

Dauphine_, a minor personage, in the same author's "Silent Woman," and

soon after succeeded to _Otto_, in the "Duke of Normandy," a part which

was followed by others of variety and importance.

In derogation of Cibber's panegyric, we are assured by Davies, upon the

authority of some old comedians, that, from his juvenile familiarity

with female characters, Kynaston contracted some disagreeable tones in

speaking, which resembled the whine or cant that genuine taste has at

all times been impelled to explode. When George Powel was once

discharging the intemperance of a recent debauch from his stomach,

Kynaston asked him if he still felt sick. "How is it possible to be

otherwise," said Powel, "when I hear you speak?" Much as Kynaston,

however, might have been affected by the peculiarities of early

practice, we cannot consent, upon evidence such as this, to rob him of

the laurels that have sprung from respectable testimony.

In 1695 he followed the fortunes of Betterton to Lincoln's-inn-fields,

and supported a considerable character in John Banks's "Cyrus the

Great," produced the year after this removal. The time of his retirement

is not known, but it appears from our author that he continued upon the

stage till his memory and spirit both began to fail him. He had left it,

however, before 1706, when Betterton and Underhill have been specified

by Downes, as "being the only remains of the Duke of York's servants,"

at that time before the public. Kynaston died wealthy, and was buried in

the church-yard of St. Paul's, Covent-garden.

Kynaston bore a great resemblance to the noted Sir Charles Sidley, a

similitude of which he was so proud, that he endeavoured to display it

by the most particular expedients. On one occasion, he got a suit of

laced clothes made in imitation of the baronet's, and appearing publicly

in it, Sir Charles, whose wit very seldom atoned for his ill-nature,

punished this vain propensity in his usual mischievous manner. He hired

a bravo to accost Kynaston in the Park, one day when he wore his finery,

pick a quarrel with him on account of a pretended affront from his

prototype, and beat him unmercifully. This scheme was duly put in

practice, and though Kynaston protested that he was not the person his

antagonist took him for, the ruffian redoubled his blows, on account of

what he affected to consider his scandalous falsehood. When Sir Charles

Sidley was remonstrated with upon the cruelty of this transaction, he

told the actor's friends that their pity was misplaced, for that

Kynaston had not suffered so much in his bones as _he_ had in his

character, the whole town believing that it was he who had undergone the

disgrace of this chastisement.

WILLIAM MOUNTFORT.

William Mountfort, according to Cibber's estimate, was born in 1660, and

having, I suppose, joined the king's company at a very early age, about

the year 1682, "grew," in the words of old Downes, "to the maturity of a

good actor." At Drury-lane theatre, he sustained _Alfonso Corso_, in the

"Duke of Guise," in 1682. His rise was so rapid, that in 1685 we find

him selected for the hero of Crowne's "Sir Courtly Nice," "which," says

Downes, "was so _nicely_ performed," that none of his successors, but

Colley Cibber, could equal him. Perhaps the last new character assumed

by Mountfort was _Cleanthes_, in Dryden's "Cleomenes," a play to which

he spoke the prologue.

I here present the reader with a narrative of those circumstances

attending the death of Mountfort, which have so long been misunderstood

and misrepresented.

A Captain Richard Hill had made proposals of marriage to Mrs.

Bracegirdle, which were declined from what Hill appeared to consider an

injurious preference for Mountfort, between whom, though a married man,

and the lady, at least a platonic attachment was often thought to

subsist. Enraged at Mountfort's superior success, and affecting to treat

him as the only obstacle to his wishes, Hill expressed a determination

at various times, and before several persons, to be revenged upon him,

and as it was proved upon the trial, coupled this threat with some of

the bitterest invectives that could spring from brutal animosity.

Among Hill's associates was Lord Mohun, a peer of very dissolute

manners, whose extreme youth afforded but a faint palliative for his

participation in the act of violence and debauchery to which Hill

resorted. This nobleman, however, who seems to have felt a chivalric

devotion to the interests of his friend, engaged with Hill in a cruel

and perfidious scheme for the abduction of Mrs. Bracegirdle, whom Hill

proposed to carry off, violate, and afterwards marry. They arranged with

one Dixon, an owner of hackney carriages, to provide a coach and six

horses to take them to Totteridge, and appointed him to wait with this

conveyance over against the Horse-shoe tavern in Drury-lane. A small

party of soldiers was also hired to assist in this notable exploit, and

as Mrs. Bracegirdle, who had been supping at a Mr. Page's in

Prince's-street, was going down Drury-lane towards her lodgings in

Howard-street, Strand, about ten o'clock at night, on Friday the 9th of

December, 1692, two of these soldiers pulled her away from Mr. Page, who

was attending her home, nearly knocked her mother down, and tried to

lift her into the vehicle. Her mother, upon whom the blow given by these

ruffians had providentially made but a short impression, hung very

obstinately about her neck, and prevented the success of their

endeavours. While Mr. Page was calling loudly for assistance, Hill ran

at him with his sword drawn, and again endeavoured to get Mrs.

Bracegirdle into the coach, a task he was hindered from accomplishing,

by the alarm that Page had successfully given. Company came up, on which

Hill insisted on seeing Mrs. Bracegirdle home, and actually led her by

the hand to the house in which she resided. Lord Mohun, who during this

scuffle was seated quietly in the coach, joined Hill in Howard-street,

the soldiers having been previously dismissed, and there they paraded,

with their swords drawn, for about an hour and a half, before Mrs.

Bracegirdle's door. Hill's scabbard, it ought to be remarked, was

clearly proved to have been lost during the scuffle in Drury-lane, and

Lord Mohun, when challenged by the watch, not only sheathed his weapon,

but offered to surrender it. These were strong points at least in his

lordship's favour, and deserve to be noted, because the prescriptive

assertion that Mountfort was treacherously killed, is weakened by the

establishment of those facts. Mrs. Brown, the mistress of the house

where Mrs. Bracegirdle lodged, went out on her arrival, to expostulate

with Lord Mohun and his confederate, and after exchanging a few words of

no particular importance, dispatched her maid servant to Mountfort's

house,[241] hard by in Norfolk-street, to apprise Mrs. Mountfort of the

danger to which, in case of coming home, he would be subjected. Mrs.

Mountfort sent in search of her husband, but without success, and the

watch on going their round, between eleven and twelve o'clock, found

Lord Mohun and Hill drinking wine in the street, a drawer having brought

it from an adjacent tavern. At this juncture Mrs. Brown, the landlady,

hearing the voices of the watch, went to the door with a design of

directing them to secure both Lord Mohun and Hill, and some conversation

passed upon that subject, although her directions were not obeyed.

Seeing Mountfort, just as he had turned the corner into Howard-street,

and was apparently coming towards her house, Mrs. Brown hurried out to

meet him, and mention his danger, but he would not stop, so as to allow

her time for the slightest communication. On gaining the spot where Lord

Mohun stood, Hill being a little farther off, he saluted his lordship

with great respect, and was received by him with unequivocal kindness.

Lord Mohun hinted to Mountfort that he had been sent for by Mrs.

Bracegirdle, in consequence of her projected seizure, a charge which

Mountfort immediately denied. Lord Mohun then touched upon the affair,

and Mountfort expressed a hope, with some warmth, that he would not

vindicate Hill's share in the business, against which, while disclaiming

any tenderness for Mrs. Bracegirdle, he protested with much asperity.

Hill approached in time to catch the substance of Mountfort's remark,

and having hastily said that he could vindicate himself, gave him a blow

on the ear, and at the same moment a challenge to fight. They both went

from the pavement into the middle of the road, and after making two or

three passes at each other, Mountfort was mortally wounded. He threw

down his sword, which broke by the fall, and staggered to his own house,

where Mrs. Page, who had gone to concert with Mrs. Mountfort for her

husband's safety, hearing a cry of "murder" in the street, threw open

the door, and received him pale, bleeding, and exhausted, in her arms.

Hill fled and escaped, but Lord Mohun, having surrendered himself, was

arraigned before parliament as an accomplice, on the 31st of January,

1693, and, after a laborious, patient, protracted, and impartial trial,

acquitted of the crime, in which he certainly bore no conspicuous part.

Mountfort languished till noon the next day, and solemnly declared, at

the very point of death, that Hill stabbed him with one hand while he

struck him with the other, Lord Mohun holding him in conversation when

the murder was committed. From the fact, however, of Mountfort's sword

being taken up unsheathed and broken, there is no doubt, without

insisting upon the testimony to that effect, that he used it; and that

he could have used it after receiving the desperate wound of which he

died, does not appear, by his flight and exhaustion, to have been

possible. Some of his fellow-players, it seems, had sifted the evidence

of a material witness, the day after his death, and at this evidence

they openly expressed their dissatisfaction. Mountfort, it was

indisputably shown, too, _went out of the way to his own house_, in

going down Howard-street at all, as he ought to have crossed it, his

door being the second from the south-west corner. These circumstances

will perhaps support a conjecture that some part of the odium heaped

upon Lord Mohun and Hill has proceeded from the cowardice and

exasperation of a timid and vindictive fraternity, coupled with the

individual artifices of Mrs. Bracegirdle, to redeem a character which

the real circumstances of Mountfort's death, dying as her champion,

severely affected. Cibber's assurance of her purity, may merely prove

the extent of his dulness or dissimulation, for on calmly reviewing this

case in all its aspects, chequered as it is by Hill's impetuosity, Mrs.

Bracegirdle's lewdness, and Mountfort's presumption, I cannot help

inferring that he fell a victim, not unfairly, to one of those casual

encounters which mark the general violence of the times. The record of

his murder is therefore erroneous, and we may hope to see it amended in

every future collection of theatrical lives.[242]

SAMUEL SANDFORD.

Samuel Sandford made his first appearance upon the stage, under

D'Avenant's authority, in the year 1663,[243] at the time when that

company was strengthened by the accession of Smith and Matthew Medbourn.

The first part for which he has been mentioned by Downes, is _Sampson_,

in "Romeo and Juliet;" he soon after sustained a minor part in the

"Adventures of Five Hours," fol. 1663; and when D'Avenant produced his

comedy of the "Man's the Master," he and Harris sung an eccentric

epilogue in the character of two street ballad-singers. Sandford was the

original _Foresight_, in "Love for Love," and though Mr. Cibber has

exclusively insisted upon his tragic excellence, he must have been a

comedian of strong and diversified humour. When Betterton and his

associates seceded to the new theatre in Lincoln's-inn-fields, he

refused to join them as a sharer, but was engaged at a salary of three

pounds per week. As Sandford is not enumerated by Downes among the

actors transferred to Swiney, in the latter end of 1706, when Betterton

and Underhill, indeed, are mentioned as "the only remains" of the duke's

company, it is clear he must have died during the previous six years,

having been referred to by Cibber, as exercising his profession in 1700.

His ancestors were long and respectably settled at Sandford, a village

in Shropshire; and he seems to have prided himself, absurdly, upon the

superiority of his birth.

JAMES NOKES.

James Nokes formed part of the company collected at the "Cockpit," in

1659, and is first mentioned by Downes for _Norfolk_, in "King Henry the

Eighth," some time after D'Avenant's opening in Lincoln's-inn-fields.

Upon this assumption Mr. Davies has expressed a very reasonable doubt,

and conjectured, with much plausibility, that it was sustained by

Robert Nokes.

In Cowley's "Cutter of Coleman-street" [1661], the part of _Puny_ was

allotted to Nokes, whose reputation at that period appears to have been

but feebly established, as the more important comic characters were

intrusted to Lovel and Underhill. We find the name of Nokes affixed to

_Lovis_, in Etherege's "Comical Revenge," 1664, but his performance of

that part, whatever merit it might have evinced, acquired no

distinction. [This is wrong; Nokes played Sir Nicholas Cully: the part

of Lovis was acted by Norris.] The plague then beginning to rage,

theatrical exhibitions were suspended, in May, 1665, and the company

ceased to act, on account of the great fire, till [about] Christmas,

1666, when their occupation was resumed in Lincoln's-inn-fields, and

Lord Orrery produced his play of "Mr. Anthony." In this piece there was

an odd sort of duel between Nokes and Angel, in which one was armed with

a blunderbuss, and the other with a bow and arrow. Though this frivolous

incident procured Nokes some accession of public notice, it was Dryden's

"Sir Martin Mar-all," [1667,] which developed his powers to their

fullest extent, and raised him to the highest pitch of popularity.

According to Downes, the Duke of Newcastle gave a literal translation of

Molière's "Etourdi" to Dryden, who adapted the part of _Sir Martin

Mar-all_ "purposely for the mouth of Mr. Nokes;" and the old prompter

has corroborated Mr. Cibber's assertion of his success. Nokes added

largely to his reputation, in [1668], by performing _Sir Oliver_, in

"She would if she could;" and strengthened Shadwell's "Sullen Lovers,"

by accepting the part of _Poet Ninny_.

Nokes acted _Barnaby Brittle_ at the original appearance--about 1670--of

Betterton's "Amorous Widow," and [in 1671] performed _Old Jorden_, in

Ravenscroft's "Citizen turned Gentleman," a part which the king and

court were said to have been more delighted with than any other, except

_Sir Martin Mar-all_. His _Nurse_, in "Caius Marius," 1680, excited

such uncommon merriment, that he carried the name of Nurse Nokes to his

grave. In 1688, he supported the hero of Shadwell's "'Squire of

Alsatia," a play which was acted in every part with remarkable

excellence, and enjoyed the greatest popularity. We find no farther

mention of him, subsequent to this period, though included by Cibber

among those who were performing under the united patents, in 1690, when

he first came into the company. According to Brown, who has peculiarly

marked out his "gaiety and openness" upon the stage, he kept a

"nicknackatory, or toy-shop," opposite the spot which has since received

the denomination of Exeter Change. The date of his death is uncertain,

but there is some reason to presume that it happened about the year

1692.[244]

WILLIAM PINKETHMAN.

The first mention of Pinkethman, by Downes, is for the part of _Ralph_,

in "Sir Salomon," when commanded at court, in the beginning of [1704],

but he had been alluded to, two years before, in Gildon's "Comparison

between the Two Stages," as the "flower of Bartholomew-fair, and the

idol of the rabble. A fellow that overdoes every thing, and spoils many

a part with his own stuff." [He was on the stage as early as 1692.] He

is again mentioned in the "Roscius Anglicanus" for _Dr. Caius_, in the

"Merry Wives of Windsor," and continued to act in the Drury-lane company

till his death, about the year 1725.

Pinkethman was a serviceable actor, notwithstanding his irregularities,

and performed many characters of great importance. He was the original

_Don Lewis_, in "Love makes a Man," 1701, a proof that his talents were

soon and greatly appreciated. His eccentric turn led him, in too many

instances, from the sphere of respectability, and we find him in the

constant habit of frequenting fairs, for the low purpose of theatrical

exhibition. His stage talents were marred, it is true, by an extravagant

habit of saying more than had been "set down" for him; and though this

abominable blemish is fully admitted, still its toleration proves that

Pinkethman must have been an actor of uncommon value. His son was a

comedian of merit, who played _Waitwell_, in the "Way of the World," at

the opening of Covent-garden theatre, in December, 1732, and died in

May, 1740.

ANTHONY LEIGH.

The "famous Mr. Anthony Leigh," as Downes denominates him, came into the

duke's company, about the year [1672], upon the deaths of several

eminent actors, whose places he and others were admitted to supply. He

played _Bellair_, _sen_., in Etherege's "Man of Mode," at its production

in 1676. In 1681, Leigh supported _Father Dominic_, in Dryden's "Spanish

Friar;" a piece, which, according to the "Roscius Anglicanus," was

"admirably acted, and produced vast profit to the company." Leigh's

success was so great in this character, that a full-length portrait was

taken of him in his clerical habit, by Sir Godfrey Kneller, for the Earl

of Dorset, from which a good mezzotinto engraving is now in the hands of

theatrical collectors. In 1685, we find him allotted to _Sir Nicholas

Calico_, in "Sir Courtly Nice;" in 1688 he supported _Sir William

Belfond_, in Shadwell's "Squire of Alsatia," and these parts, with a few

others, appear to have constituted his peculiar excellence.

The satirical allusions of such a random genius as Brown, are rarely to

be relied upon, or we might suspect Leigh, from the following extract,

to have been distinguished by pious hypocrisy:--

"At last, my friend Nokes, pointing to a little edifice, which exactly

resembles Dr. Burgess's conventicle in Russel-court, says he, 'your

old acquaintance Tony Leigh, who turned presbyterian parson upon his

coming into these quarters, holds forth most notably here every

Sunday.'"--"Letters from the Dead to the Living" [1744, ii. 77].

CAVE UNDERHILL.

Cave Underhill was a member of the company collected by Rhodes, and

which, soon afterwards, submitted to the authority of Sir William

D'Avenant. He is first mentioned by Downes, for his performance of _Sir

Morglay Thwack_, in the "Wits," after which he sustained the

_Grave-digger_, in "Hamlet," and soon testified such ability, that the

manager publicly termed him "the truest comedian" at that time upon his

stage.[245] Underhill, about this time, strengthened the cast of "Romeo

and Juliet," by playing _Gregory_, and though the custom of devoting the

best talent which the theatres afford, to parts of minor importance, has

ceased, it is a practice to which the managers, were public amusement

consulted, might safely recur. In Shakspeare's "Twelfth Night," which,

says Downes, "had mighty success by its well performance," Underhill

soon after supported the _Clown_, a character in which the latter

attributes delineated by Cibber, could alone have been employed.

Underhill's reputation appears to have been speedily established, as we

find him intrusted by Cowley, in [1661], with the hero of his "Cutter of

Coleman-street;" and he is mentioned by Downes for especial excellence

in performing _Jodelet_, in D'Avenant's "Man's the Master." His first

new part after the accession of James, was _Hothead_, in "Sir Courtly

Nice;" on the 30th of April, 1695, he distinguished himself by his

chaste and spirited performance of _Sir Sampson Legend_, in Congreve's

"Love for Love," and in 1700, closed a long, arduous, and popular

career of original parts, by playing _Sir Wilful Witwou'd_, in the "Way

of the World." [He continued on the stage till 1710.]

A brief account of this valuable comedian has been furnished by Mr.

Davies, which, for the satisfaction of our readers, we shall proceed to

transcribe.

"Underhill was a jolly and droll companion, who, if we may believe such

historians as Tom Brown, divided his gay hours between Bacchus and

Venus, with no little ardour. Tom, I think, makes Underhill one of the

gill-drinkers of his time; men who resorted to taverns, in the middle of

the day, under pretence of drinking Bristol milk, (for so good sherry

was then called) to whet their appetites, where they indulged themselves

too often in ebriety. Underhill acted till he was past eighty. He was so

excellent in the part of Trinculo, in the Tempest, that he was called

Prince Trinculo.[246] He had an admirable vein of pleasantry, and told

his lively stories, says Brown, with a bewitching smile. The same author

says, he was so afflicted with the gout, that he prayed one minute and

cursed the other. His shambling gait, in his old age, was no hindrance

to his acting particular parts. He retired from the theatre in

1703."--"Dram. Misc.," iii. 138.

On the 31st of May, 1709, Underhill applied for a benefit, and

procured it, upon which occasion he played his favourite part of the

_Grave-digger_, and received the following cordial recommendation from

Sir Richard Steele:--

"My chief business here [Will's Coffee House] this evening, was to speak

to my friends in behalf of honest Cave Underhill, who has been a comic

for three generations; my father admired him extremely when he was a

boy. There is certainly nature excellently represented in his manner of

action; in which he ever avoided that general fault in players, of doing

too much. It must be confessed, he has not the merit of some ingenious

persons now on the stage, of adding to his authors; for the actors were

so dull in the last age, that many of them have gone out of the world,

without having ever spoken one word of their own in the theatre. Poor

Cave is so mortified, that he quibbles and tells you, he pretends only

to act a part fit for a man who has one foot in the grave; _viz._ a

_Grave-digger_. All admirers of true comedy, it is hoped, will have the

gratitude to be present on the last day of his acting, who, if he does

not happen to please them, will have it then to say, that it is the

first time."--"Tatler," No. 22.

GEORGE POWELL.

The father of George Powell was an actor in the king's company at the

time of its junction, in 1682, with the duke's. Powell's access to the

theatre was, therefore, easy; and we are intitled to suspect, though the

time is not to be ascertained, that he began to act at a very early

period.

Even, according to Cibber's allowance, when Powell was appointed to the

principal parts abandoned by Betterton and his revolters, they were

parts for which, whether serious or comic, he had both elocution and

humour. It is remarked by Davies,[247] that Cibber "seems to have hated

Powell," and if so, we have a ready clue to the neglect and asperity

with which he has treated him.

Powell succeeded Betterton, it is supposed, in the part of _Hotspur_,

when that excellent comedian exchanged its choleric attributes, in his

declining years, for the gaiety and humour of _Falstaff_. _Edgar_, in

"King Lear," was also one of his most successful characters, but of

this, owing to his irregularities, he was dispossessed by Wilks. To such

a height, indeed, was the intemperance of this actor carried, that Sir

John Vanbrugh, in his preface to the "Relapse," 4to, 1697, speaking of

Powell's _Worthy_, has exposed it in following manner:

One word more about the bawdy, and I have done. I own the

first night this thing was acted, some indecencies had like to

have happened; but it was not my fault. The fine gentleman of

the play, drinking his mistress's health in Nantes brandy,

from six in the morning to the time he waddled on upon the

stage in the evening, had toasted himself up to such a pitch

of vigour, I confess I once gave up _Amanda_ for gone, and am

since, with all due respect to Mrs. Rogers, very sorry she

escaped: for I am confident a certain lady, (let no one take

it to herself that is handsome) who highly blames the play,

for the barrenness of the conclusion, would then have allowed

it a very natural close.

To the folly of intoxication he added the horrors of debt, and was so

hunted by the Sheriffs' officers, that he usually walked the streets

with a sword (sheathed) in his hand, and if he saw any of them at a

distance, he would roar out, "Get on the other side of the way, you

dog!" The bailiff, who knew his old customer, would obligingly answer,

"We do not want you _now_, Master Powell." Harassed by his distresses,

and unnerved by drink, it is hardly to be wondered at if his reputation

decreased, and his ability slackened; but that his efforts were still

marked by a possession of the very highest qualities that criticism can

attest, is proved by the following extract from the "Spectator:"

Having spoken of Mr. Powell as sometimes raising himself

applause from the ill taste of an audience, I must do him the

justice to own, that he is excellently formed for a tragedian,

and, when he pleases, deserves the admiration of the best

judges.--No. 40.

Addison and Steele continued their regard for this unhappy man as long

as they could render him any service, and that he acted _Portius_, in

"Cato," on its appearance in 1713, must have been with the author's

approbation. The last trace we have of Powell is confined to a playbill,

for his benefit, in the year 1717, since when no vestige has been found

of his career. He lies buried, it has been said, in the vault of St.

Clement-Danes; but though the period of his death may be fixed not far

from the date of this document, it cannot be minutely ascertained.

[Genest says Powell died 14th December, 1714.]

In the intervals of excess Powell found time for repeated literary

labour, having written four plays, and superintended the publication of

three more. His fault was too great a passion for social pleasure, but

though the irregularities this passion produced, disabled him from

exerting the talents he was allowed to possess, still his excellence on

the stage is not to be disputed. He was esteemed at one period of his

life a rival to Betterton, and had the prudence of his conduct been

equal to the vigour of his genius, he would have held, as well as

reached, that lofty station for which nature had designed him.

If the testimony of Aston can be relied on, Powell was born in the year

1658, being incidentally mentioned by that facetious writer, as

Betterton's junior by three and twenty years.

JOHN VERBRUGGEN.

John Verbruggen, it appears from the assertion of Mr. Davies, was a

dissipated young fellow, who determined, in opposition to the advice of

his friends, to be an actor, and accordingly loitered about Drury-lane

theatre, at the very time when Cibber was also endeavouring to get

admittance, in expectation of employment. On the death of Mountfort,

whose widow he married, Verbruggen was intrusted, I have no doubt, with

the part of _Alexander_, his fondness for which was such, that he

suffered the players and the public, for many years, to call him by no

other name. [He seems to have been called Alexander from his first

appearing on the stage, till 1694.] It is mentioned in more than one

pamphlet, that Cibber and Verbruggen were at variance, and hence the

animosity and unfairness with which the latter has been treated.[248]

The first part to which Verbruggen can be traced, is _Aurelius_, in

"King Arthur," 4to, 1691 [he played _Termagant_ ("Squire of Alsatia") in

1688]: in the year 1696, Mr. Southern assigned him the character of

_Oroonoko_, by the special advice of William Cavendish, the first Duke

of Devonshire; and as the author informs us in his preface, "it was

Verbruggen's endeavour, in the performance of that part, to merit the

duke's recommendation." A further proof of Mr. Cibber's partiality, is

the constant respect paid to Verbruggen by such judges of ability as

Rowe and Congreve, for whose pieces he was uniformly selected. His

_Mirabel_, in the "Way of the World," and _Bajazet_, in "Tamerlane,"

were parts of the highest importance, and it will be difficult to show

that an ordinary actor could have been intrusted, by writers of equal

power and fastidity, with duties of which he was not thoroughly

deserving. When Verbruggen died it is impossible to ascertain. He

played _Sullen_, in the "Beaux' Stratagem," at its production in 1707,

and as Elrington made his appearance in _Bajazet_, in 1711, there is

some reason to conclude that Verbruggen's death occurred during that

interval. [He died before April, 1708.]

Though Gildon, a scribbler whose venality was only exceeded by his

dulness, has mentioned Verbruggen in the most derogatory terms,[249]

there is ample evidence in the bare record of his business, to justify

the most unqualified merit we may incline to ascribe. Chetwood alludes

to him, in pointing out Elrington's imitation of his excellencies, as "a

very great actor in tragedy, and polite parts in comedy,"[250] and the

author of the "Laureat" enumerates a variety of important characters, in

which he commanded universal applause.

JOSEPH WILLIAMS.

Joseph Williams,[251] who was bred a seal-cutter, came into the duke's

company, about the year 1673, when but a boy, and according to the

practice of that period, being apprenticed to an eminent actor, "served

Mr. Harris." I find him first mentioned by Downes, for _Pylades_, in the

serious opera of "Circe;" his next character of importance being

_Polydore_, in the "Orphan," 1680; and, same year, _Theodosius_, in Lee's

tragedy of that name. The Union in 1682, without diminishing his merit,

appears to have lessened his value, by the introduction of Kynaston and

others, who had more established pretensions to parts of importance.

The secession of Williams from Betterton's company, just before the

opening in 1695, has been noticed and explained by Mr. Cibber, in a

subsequent passage. Greatly, as I have no doubt, he has depreciated the

merit of this actor, no materials remain of a more recent date than

those already quoted, by which we may conjecture his talents, or enforce

his estimation. Williams is not to be confounded with an actor of the

same appellation, who was at Drury-lane theatre in the year 1730, and

relieved Cibber of _Scipio_, in Thomson's "Sophonisba," a curious

account of which is given in the "Dramatic Miscellanies."

ELIZABETH BARRY.

Elizabeth Barry, it is said, was the daughter of Edward Barry, Esq., a

barrister, who was afterwards called Colonel Barry, from his having

raised a regiment for the service of Charles the First, in the course of

the civil wars. The misfortunes arising from this engagement, involved

him in such distress, that his children were obliged to provide for

their own maintenance. Lady D'Avenant, a relation of the noted laureat,

from her friendship to Colonel Barry, gave this daughter a genteel

education, and made her a constant associate in the circle of polite

intercourse. These opportunities gave an ease and grace to Mrs. Barry's

behaviour, which were of essential benefit, when her patroness procured

her an introduction to the stage. This happened in the year 1673, when

Mrs. Barry's efforts were so extremely unpropitious, that the directors

of the duke's company pronounced her incapable of making any progress in

the histrionic art. Three times, according to Curll's "History of the

Stage," she was dismissed, and by the interest of her benefactor,

re-instated. When Otway, however, produced his "Alcibiades," in 1675,

her merit was such, as not only to excite the public attention, but to

command the author's praise, which has been glowingly bestowed upon her

in the preface to that production. We find her, next season, filling

the lively character of _Mrs. Lovit_, in Etherege's "Man of Mode;" and

in 1680, her performance of _Monimia_, in the "Orphan," seems to have

raised that reputation to its greatest height, which had been gradually

increasing. The part of _Belvidera_, two years afterwards, and the

heroine of Southern's "Fatal Marriage," in 1694, elicited unrivalled

talent, and procured her universal distinction.

When Mrs. Barry first resorted to the theatre, her pretensions to notice

were a good air and manner, and a very powerful and pleasing voice. Her

ear, however, was so extremely defective, that several eminent judges,

on seeing her attempt a character of some importance, gave their opinion

that she never could be an actress. Upon the authority of Curll's

historian, Mr. Davies[252] has compiled what appears to me an apocryphal

tale of her sudden rise to the pinnacle of excellence, though there is

no reason to dispute her criminal intimacy with the Earl of Rochester. I

am not inclined, while doubting the precise anecdote of his assistance,

to deny that much advantage might have been derived from his general

instructions.

Mrs. Barry was not only remarkable for the brilliancy of her talent, but

the earnestness of her zeal, and the ardour of her assiduity. Betterton,

that kind, candid, and judicious observer, bore this testimony to her

eminent abilities, and unyielding good-nature, that she often exerted

herself so greatly in a pitiful character, that her acting has given

success to plays which would disgust the most patient reader.[253] When

she accepted a part, it was her uniform practice to consult the author's

intention. Her last new character was the heroine of Smith's "Phædra and

Hippolytus," and though Mrs. Oldfield and the poet fell out concerning a

few lines in the part of _Ismena_, Mrs. Barry and he were in perfect

harmony. [_Valide_, in Goring's "Irene," 1708, was her last new part.]

Mrs. Barry must have closed her career with this performance, being

mentioned by Steele, in the "Tatler," when assisting at Betterton's

benefit, on Thursday, April 7th, 1709, as "not at present concerned in

the house." She died on the 7th of November, 1713, aged fifty-five

years, and was buried in Acton church-yard. Mr. Davies ascribes her

death to the bite of a favourite lap-dog, who, unknown to her, had been

seized with madness, and there seems to be no grounds for disturbing his

supposition.

MRS. BETTERTON.

When Sir William D'Avenant undertook the management of the duke's

company, he lodged and boarded four principal actresses in his house,

among whom was Mrs. Saunderson, the subject of this article.

Mrs. Saunderson's first appearance in D'Avenant's company, was made as

_Ianthe_, in the "Siege of Rhodes," on the opening of his new theatre in

Lincoln's-inn-fields, in April, 1662 [should be June, 1661]. She played

_Ophelia_ soon afterwards, and that part being followed by Shakspeare's

_Juliet_, evinces the consideration in which her services were held.

[About] 1663, she married Mr. Betterton, and not in 1670, as it is

erroneously mentioned in the "Biographia Dramatica," and other worthless

compilations.[254]

The principal characters sustained by Mrs. Betterton, were _Queen

Catharine_, in "Henry the Eighth;" the _Duchess of Malfy_; the _Amorous

Widow_; those enumerated in the text, and many others, not less

remarkable for their importance than their variety. On the death of her

husband, in April, 1710, she was so strongly affected by that event, as

to lose her senses, which were recovered, however, a short time previous

to her own decease. Mr. Cibber may be right in stating that she only

enjoyed the bounty of her royal mistress for about half a year; but, in

that case, the pension could not have been granted directly he died, as

we find that Mrs. Betterton was alive on the 4th of June, 1711, more

than thirteen months after, and had the play of "Sir Fopling Flutter,"

performed at Drury-lane for her benefit. Mrs. Betterton, though

prevented from performing, by age and infirmity, enjoyed a sinecure

situation in Drury-lane theatre, till she withdrew from it, in 1709, and

was paid at the rate of [one pound] a-week. The "Biographia Britannica"

says she survived her husband eighteen months, but the precise date of

her decease has never been discovered. [Mrs. Betterton made a will on

10th March, 1712. In all probability Bellchambers is right in supposing

that the annuity was not granted till some time after her husband's

death.]

BENJAMIN JOHNSON.

This excellent actor, who was familiarly known by the appellation of his

great namesake, Ben Jonson, came into the Theatre Royal, from an

itinerant company, as Mr. Cibber relates, about the year 1695. He was

bred a sign painter, but took more pleasure in hearing the actors, than

in handling his pencil or spreading his colours, and, as he used to say

in his merry mood, left the saint's occupation at last to take that of

the sinner.

Johnson's merit was evinced as _Sir William Wisewould_, in Cibber's

comedy of "Love's Last Shift," 4to, 1696; but I find him first mentioned

by Downes, for _Justice Wary_, in Caryl's "Sir Salomon" [about 1704 or

1705]; the old prompter, in a species of postscript to his valuable

tract, then terms him "a true copy of Mr. Underhill," and instances his

_Morose_, _Corbaccio_, and _Hothead_, as very admirable efforts. Johnson

passed over to the management of old Swiney, in 1706, with other members

of Betterton's company, and established a very high reputation by his

chaste and studied manner of acting. When Rich, in 1714, opened his new

theatre in Lincoln's-inn-fields, Booth, Wilks, and Cibber, the managers

of Drury-lane, solicitous to retain in their service comedians of merit,

paid a particular respect to Johnson, by investing him with such parts

of Dogget, who had taken leave of them, as were adapted to his powers.

Here he continued with fame and profit, till August, 1742, when he

expired in the seventy-seventh year of his age. Mr. Davies, who appears

to have been familiar with his excellencies, has given a description of

Johnson, which, for its evident taste and candour, I shall do myself the

pleasure to transcribe.

"That chaste copier of nature, Ben Johnson, the comedian, for above

forty years, gave a true picture of an arch clown in the _Grave-digger_.

His jokes and repartees had a strong effect from his seeming

insensibility of their force. His large, speaking, blue eyes he fixed

steadily on the person to whom he spoke, and was never known to have

wandered from the stage to any part of the theatre."--"Dram. Misc.,"

iii. 140.

WILLIAM BULLOCK.

This excellent actor came to London, as we see, about 1695, deriving his

engagement from the distress in which Drury-lane theatre was involved by

the desertion of Betterton, and other principal performers. He quitted

this establishment in 1714, owing, as Mr. Cibber insinuates, to the

ungovernable temper of Wilks; and passed over to John Rich, at the

opening of Lincoln's-inn-fields. He is first mentioned by Downes, for

the _Host_, in Shakspeare's "Merry Wives of Windsor" [about 1704 or

1705], and appears to be pointed at in Dennis's "Epistle Dedicatory" to

the "Comical Gallant," where the irascible writer thus addresses the

Hon. George Granville:--

"Falstaff's part, which you know to be the principal one of the play,

and that which on all the rest depends, was by no means acted to the

satisfaction of the audience, upon which several fell from disliking the

action, to disapproving the play." [As noted before, p. 252, Bullock was

probably not the actor aimed at.]

This piece was printed in 1702, as acted "at the Theatre Royal in

Drury-lane;" with a list of the _dramatis personæ_, but the names of the

actors not annexed. Bullock, however, sustained the part of _Sir

Tunbelly Clumsy_, in Vanbrugh's "Relapse," which had been previously

performed under the same auspices, and from its nature, most probably by

the same actor.

William Bullock was a comedian of great glee and much vivacity, and in

his person large, with a lively countenance, full of humourous

information. Steele, in the "Tatler," with his usual kind sensibility,

very often adverts to Bullock's faculty of exciting amusement, but

sometimes censures his habit of interpolation.[255] In Gildon's

"Comparison between the Two Stages," 1702 [p. 199], he is termed the

"best comedian since Nokes and Leigh, and a fellow that has a very

humble opinion of himself." Bullock's abilities have been ratified by

the sanction of Macklin, who denominated him a true theatrical genius;

and Mr. Davies saw him act several parts with great applause, and

particularly the _Spanish Friar_, when beyond the age of eighty. He died

on the 18th of June, 1733. [Genest, iii. 593, points out that Bullock

was acting in 1739.]

JOHN MILLS.

Our first notice of this actor is found in the "Roscius Anglicanus,"

where Downes, who seems anxious to dispatch his subject, says summarily

that "he excels in tragedy," but without making the remotest allusion to

any characters in which his talent had been displayed.

John Mills the elder was, in person, inclined to the athletic size; his

features were large, though not expressive; his voice was full, but not

flexible; and his deportment was manly, without being graceful or

majestic. He was considered one of the most useful actors that ever

served in a theatre, but though invested by the patronage of Wilks with

many parts of the highest order, he had no pretensions to quit the

secondary line in which he ought to have been placed. Steele[256] taxes

him very broadly with a want of "sentiment," and insinuates that by

making gesture too much his study, he neglected the better attributes of

his art.

On the death of Betterton, or soon after, Wilks, who took upon himself

to regulate the theatrical cast, gave _Macbeth_, with great partiality,

to Mills, while Booth and Powell were condemned to represent the

inferior parts of _Banquo_ and _Lenox_. Mills, though he spoke the

celebrated soliloquy on time,--

To-morrow, and to-morrow, etc.,

with propriety, feeling, and effect, wanted genius to realise the

turbulent scenes in which this character abounds. So much, indeed, was

his deficiency perceived, that the indignation of a country gentleman

broke out one night, during the performance of this play, in a very odd

manner. The 'squire, after having been heartily tired with Mills, on the

appearance of his old companion, Powell, in the fourth act, exclaimed,

loud enough to be heard by the audience, "For God's sake, George, give

us a speech, and let me go home."[257]

I recollect an incident of the same sort occurring at Bristol, where a

very indifferent actor, declaimed so long and to such little purpose,

that an honest farmer, who sat in the pit, started up with evident

signs of disgust, and waving his hand, to motion the speaker off, cried

out, "Tak' un away, tak' un away, and let's have another."

One of the best parts sustained by Mills, was that of _Pierre_, which he

acted so much to the taste of the public, that the applause it produced

him exceeded all that was bestowed upon his best efforts in every thing

else. He also acted _Ventidius_ with the true spirit of a rough and

generous old soldier, and in _Bajazet_, by the aid of his strong, deep,

melodious voice, he displayed more than ordinary power.

It is supposed that Mills died in [December], 1736, respected by the

public as a decent actor, and beloved by his friends as a worthy man.

THEOPHILUS KEEN.

Theophilus Keen received his first instructions in acting from Mr.

Ashbury, of the Dublin theatre, in which he made his appearance about

the year 1695. He most probably came into the Drury-lane company with

Johnson and others, when Rich had beaten up for recruits. On the opening

of the new house in Lincoln's Inn Fields, he went over to it, and,

according to Chetwood, had a share not only of the management, but in

the profit and loss, which latter speculation proved so disastrous to

him, that he died in the year 1719, of a broken heart. He was buried in

the church of St. Clement-Danes, and so much does he seem to have been

respected, that more than two hundred persons in deep mourning, attended

his funeral.

The influence he possessed in the theatre sometimes led him to assume

such parts as _Edgar_, _Oroonoko_, and _Essex_, while his excellence lay

in _Clytus_, and characters of a similar cast. His figure and voice,

though neither elegant nor soft, were good, and his action was so

complete, that it obtained for him the epithet of majestic, and when he

spoke those lines of the _King_, in "Hamlet," where he descants upon the

dignity that "doth hedge" a monarch, his look and whole deportment were

so commanding, that the audience accompanied them always with the

loudest applause.

MRS. MARY PORTER.

This valuable and respected actress, who was not only an honour to the

stage, but an ornament to human nature, obtained the notice of Betterton

by performing, when a child, the _Genius of Britain_, in a Lord Mayor's

pageant, during the reign of Charles or James the Second. It was the

custom for fruit-women in the theatre formerly to stand fronting the

pit, with their backs to the stage, and their oranges, &c. covered with

vine leaves, under one of which Betterton threatened to put his little

pupil, who was extremely diminutive, if she did not speak and act as he

would have her.

Mrs. Porter was the genuine successor of Mrs. Barry, and had an elevated

consequence in her manner, which has seldom been equalled. One of her

greatest parts was Shakspeare's _Queen Catherine_, in which her

sensibility and intelligence, her graceful elocution and dignified

behaviour, commanded applause and attention in passages of little

importance. When the scene was not agitated by passion, to the general

spectator she failed in communicating equal pleasure; her recitation of

fact or sentiment being so modulated as to resemble musical cadence

rather than speaking. Where passion, however, predominated, she exerted

her powers to a supreme degree, and exhibited that enthusiastic ardour

which filled her audience with animation, astonishment, and delight.

The dislocation of her thigh-bone, in the summer of 1731, was attended

with a circumstance that deserves to be recorded. She lived at

Heywood-hill, near Hendon, and, after the play, went home every night

in a one-horse chaise, prepared to defend herself against robbery, with

a brace of pistols. She was stopped on one of those occasions by a

highwayman, who demanded her money, and having the courage to level one

of her pistols at him, the assailant, who was probably unfurnished with

a similar weapon, assured her that he was no common thief, and had been

driven to his present course by the wants of a starving family. He told

her, at the same time, where he lived, and urged his distresses with

such earnestness, that she spared him all the money in her purse, which

was about ten guineas. The man left her, on which she gave a lash to the

horse, who suddenly started out of the track, overturned her vehicle,

and caused the accident already related. Let it be remembered to this

good woman's credit, that notwithstanding the pain and loss to which he

had, innocently, subjected her, she made strict inquiry into the

highwayman's character, and finding that he had told the truth, she

raised about sixty pounds among her acquaintance, and sent it, without

delay, to the relief of his wretched family. There is a romantic

generosity in this deed that captivates me more than its absolute

justice.

About the year 1738, Mrs. Porter returned to the stage, and acted many

of her principal characters, with much vigour and great applause, though

labouring under advanced age and unconquerable infirmity. She had the

misfortune to outlive an annuity upon which she depended, and died in

narrow circumstances, about the year 1762. [She published Lord

Cornbury's comedy of "The Mistakes," in 1758, by which she realized a

large sum of money.]

Though her voice was harsh and unpleasing, she surmounted its defects by

her exquisite judgment. In person she was tall and well shaped; her

complexion was fair; and her features, though not handsome, were made

susceptible of all that strong feeling could desire to convey. Her

deportment was easy, and her action unaffected; and the testimony upon

which the merits of Mrs. Porter are placed, entitles us to rank her in

the very first class of theatrical performers.

MRS. ANNE OLDFIELD.

Anne Oldfield was born in the year 1683, and would have possessed a

tolerable fortune, had not her father, a captain in the army, expended

it at a very early period. In consequence of this deprivation, she

went to reside with her aunt, who kept the Mitre tavern, in St.

James's-market, where Farquhar, the dramatist, one day heard her reading

a few passages from Beaumont and Fletcher's "Scornful Lady," in which

she manifested such spirit, ease, and humour, that being struck by her

evident advantages for the stage, he framed an excuse to enter the room,

a little parlour behind the bar, in which Miss Nancy was sitting.

Vanbrugh, who frequented the house, and was known to Mrs. Oldfield's

mother, received a communication from that lady of the very great warmth

with which his friend Farquhar had extolled her daughter's abilities.

Vanbrugh, who seems to have been a zealous and sincere friend to all by

whom his assistance was courted, immediately addressed himself to our

heroine, and having ascertained that her fancy tended to parts of a

sprightly nature, he recommended her to Rich, the manager of Drury-lane,

by whom she was immediately engaged, at a salary of fifteen shillings

_per_ week. Her qualifications soon rendered her conspicuous among the

young actresses of that time, and a man of rank being pleased to express

himself in her favour, Mr. Rich increased her weekly terms to the sum of

twenty shillings.

The rise of Mrs. Oldfield was gradual but secure, and soon after the

death of Mrs. Verbruggen she succeeded to the line of comic parts so

happily held by that popular actress. Her _Lady Betty Modish_, in 1704,

before which she was little known, and barely suffered, discovered

accomplishments the public were not apprised of, and rendered her one

of the greatest favourites upon whom their sanction had ever been

bestowed. She was tall, genteel, and well shaped; her pleasing and

expressive features were enlivened by large speaking eyes, which, in

some particular comic situations, were kept half shut, especially when

she intended to realise some brilliant idea; in sprightliness of air,

and elegance of manner, she excelled all actresses; and was greatly

superior in the strength, compass, and harmony of her voice.

Though highly appreciated as a tragic performer, Mrs. Oldfield, in the

full round of glory, used to slight her best personations of that sort,

and would often say, "I hate to have a page dragging my train about. Why

don't they give Porter those parts? She can put on a better tragedy face

than I can." The constant applause by which she was followed in

characters of this description, so far reconciled her to Melpomene, that

the last new one in which she appeared was Thomson's _Sophonisba_. Upon

her action and deportment the author has expressed himself with great

ardour in the following lines:

Mrs. Oldfield, in the character of _Sophonisba_, has excelled

what, even in the fondness of an author, I could either wish

or imagine. The grace, dignity, and happy variety, of her

action have been universally applauded, and are truly

admirable.

Thomson's praise, indeed, is not more liberal than just, for we learn,

that in reply to some degrading expression of _Massinissa_, relating to

Carthage, she uttered the following line,--

Not one base word of Carthage, for thy soul!--

with such grandeur of port, a look so tremendous, and in a voice so

powerful, that it is said she even astonished Wilks, her _Massinissa_;

it is certain the audience were struck, and expressed their feelings by

the most uncommon applause.[258] Testimony like this is sufficient to

protect her claim to tragic excellence, eclipsed as it certainly is by

the superiority of her comic reputation.

_Lady Townly_ has been universally adduced as her _ne plus ultra_ in

acting. She slided so gracefully into the foibles, and displayed so

humourously the excesses, of a fine woman too sensible of her charms,

too confident in her strength, and led away by her pleasures, that no

succeeding _Lady Townly_ arrived at her many distinguished excellencies

in the character. By being a welcome and constant visitor to families of

distinction, Mrs. Oldfield acquired a graceful carriage in representing

women of high rank, and expressed their sentiments in a manner so easy,

natural, and flowing, that they appeared to be of her own genuine

utterance. Notwithstanding her amorous connexions[259] were publicly

known, she was invited to the houses of women of fashion, as conspicuous

for unblemished character as elevated rank. Even the royal family did

not disdain to see Mrs. Oldfield at their levees. George the Second and

Queen Caroline, when Prince and Princess of Wales, often condescended to

converse with her. One day the Princess told Mrs. Oldfield, she had

heard that General Churchill and she were married: "So it is said, may

it please your royal highness," replied Mrs. Oldfield, "but we have not

owned it yet."

In private, Mrs. Oldfield was generous, humane, witty, and well-bred.

Though she disliked the man, and disapproved of his conduct, yet the

misfortunes of Savage recommended him to her pity, and she often relieved

him by a handsome donation. Her influence with Walpole contributed to

procure his pardon when convicted, on false evidence, of murder, and

adjudged to death, a fate which his most unnatural mother did her utmost

to enforce. It is not true that she either allowed this poet an annuity,

or admitted his conversation,[260] but still the benefits she did confer

upon him were quite numerous enough to warrant his celebration of her

memory. The goodness of her heart, and the splendour of her talents, were

topics upon which Savage might have ventured to insist, without

endangering his piety or wounding his pride. Dr. Johnson has sanctioned

the silence of this author,[261] on the grounds of Mrs. Oldfield's

condition; but that dogmatic man would have shown a truer taste for

benevolence, had he recommended the most ardent devotion to individuals

of any stamp, who were actuated by so glorious a principle.

Pope, who seems to have persecuted the name of player with a malignancy

unworthy of his genius, has stigmatised the conversation of Mrs.

Oldfield by the word "_Oldfieldismos_," which he printed in Greek

characters; nor can there be a doubt that he meant her by the dying

coquette, in one of his epistles. That Mrs. Oldfield was touched by the

vanity of weak minds, and drew an absurd importance from the popularity

of her low station, may be fairly inferred, and might have been fairly

derided;[262] but Pope, with his usual want of candour, has appealed to

less tangible failings, and tried, as in most cases, much more to

ridicule the person than correct the fault. I do not dispute the

brilliancy of his sarcasm, but I would rather hail the rigour of his

justice.[263]

Mrs. Oldfield died on the 23d of October, 1730, most sincerely lamented

by those to whom her general value was not unknown.

INDEX.

Abbé, Monsieur L', a French dancer, i. xxvii., i. 316.

Acting, excellence of, about, 1631, i. xlviii.;

Cibber's views on versatility in, i. 209.

Actors, their names not given in old plays, i. xxv.;

join Charles I.'s army, i. xxix.;

the prejudice against, i. 74-84;

taken into society, i. 83;

their delight in applause, i. 85;

entitled Gentlemen of the Great Chamber, i. 88;

must be born, not made, i. 89;

their private characters influence audiences, i. 243-251;

their arrangement with Swiney in 1706, ii. 9;

refused Christian burial by the Romish Church, ii. 29;

badly paid, ii. 64;

dearth of young, ii. 221.

---- the old, played secretly during the Commonwealth, i. xxx.;

arrested for playing, i. xxx.;

bribed officers of guard to let them play, i. xxx.

Actress (Miss Santlow), insulted, i. 76.

Actresses, first English, i. 87, _note_ 1, i. 90, i. 119;

who were Charles II.'s mistresses, i. 91;

difficulty of getting good, ii. 222.

Addison, Joseph, i. 245, ii. 36, _note_ 1, ii. 151, ii. 163, _note_ 1,

ii. 251;

Pope's attack on, i. 38;

his opinion of Wilks's Hamlet, i. 100;

his view regarding humour in tragedy, i. 123;

his play of "Cato," ii. 120;

its great success, ii. 127-133;

presents the profits of "Cato" to the managers, ii. 129;

its success at Oxford, ii. 137;

his "Cato" quoted, ii. 238, _note_ 2.

Admission to theatres, cheap, before 1642, i. xxvii.

Adventurers--subscribers to the building of Dorset Garden Theatre,

i. 97, _note_ 1;

their interest in the Drury Lane Patent, ii. 32, _note_ 1;

Rich uses them against Brett, ii. 57;

names of the principal, ii. 57, _note_ 1.

Agreement preliminary to the Union of 1682, ii. 324, ii. 328.

"Albion Queens, The," ii. 14, _note_ 1.

"Alexander the Great," by Lee, i. 105.

Allen, William, an eminent actor, i. xxvi.;

a major in Charles I.'s army, i. xxix.

Alleyn, Edward, caused the Fortune Theatre to be built for his company,

i. xxviii.;

endowed Dulwich College, i. xxviii.;

Ben Jonson's eulogium of, i. xxviii.

"Amphytrion," by Dryden, i. 113.

Angel, a comedian, ii. 347.

Anne, Queen (while Princess of Denmark), deserts her father, James II.,

i. 67, i. 70;

pensions Mrs. Betterton, i. 162;

at the play, i. 185;

forbids audience on the stage, i. 234, _note_ 2;

her death, ii. 161.

Applause, i. 221;

the pleasure of, i. 85.

Archer, William, his investigations regarding the truth of Diderot's

"Paradoxe sur le Comédien," i. 103, _note_ 1;

his "About the Theatre," i. 278, _note_ 1.

Aristophanes, referred to, i. 39.

Arlington, Earl of, his death, i. 31, _note_ 1.

Arthur, son of Henry VII., pageants at his marriage, i. xliii.

Ashbury, Joseph, the Dublin Patentee, i. 236, ii. 364;

engages Mrs. Charlotte Butler, i. 165;

memoir of, i. 165, _note_ 1.

Aston, Anthony, quoted, i. 109, _note_ 1,

i. 110, _note_ 1, i. 116, _note_ 1, i. 167, _note_ 1, i. 167,

_note_ 2, ii. 354;

on his own acting of Fondlewife, ii. 312;

his "Brief Supplement" to Cibber's Lives of his Contemporaries,

reprint of, ii. 297;

his description of Mrs. Barry, ii. 302;

Betterton, ii. 299;

Mrs. Bracegirdle, ii. 303;

Dogget, ii. 308;

Haines, ii. 314;

Mrs. Mountfort, ii. 313;

Sandford, ii. 306;

Underhill, ii. 307;

Verbruggen, ii. 311.

Audience on the stage, i. 234, ii. 246.

Audiences rule the stage for good or evil, i. 112;

authors discouraged by their severity, i. 176.

Authors abusing managers and actors, ii. 249;

managers' troubles with, ii. 249;

Cibber censured for his treatment of, ii. 251, _note_ 1.

Bacon, Lord, quoted, i. xlv.

Baddeley, Robert, the last actor who wore the uniform of their

Majesties' servants, i. 88, _note_ 3.

Balon, Mons., a French dancer, i. 316.

Banks, John, the excellence of his plots, ii. 15;

his "Unhappy Favourite," ii. 244.

Baron, Michael (French actor), i. 175.

Barry, Mrs. Elizabeth, i. 98, i. 110, _note_ 1, i. 185, i. 188,

i. 192, _note_ 1, i. 251, _note_ 1, ii. 300, ii. 302, ii. 306,

ii. 320, ii. 337, ii. 365;

Cibber's account of, i. 158-161;

her great genius, i. 158;

Dryden's compliment to, i. 158;

her unpromising commencement as an actress, i. 159;

her power of exciting pity, i. 160;

her dignity and fire, i. 160;

the first performer who had a benefit, i. 161;

her death, i. 161;

her retirement, ii. 69;

Anthony Aston's description of, ii. 302;

Bellchambers's memoir of, ii. 357.

Beaumont and Fletcher's "Wild-Goose Chase," published for Lowin and

Taylor's benefit, i. xxxi.

Beeston, Christopher, ii. 326.

"Beggar's Opera," i. 243, i. 318.

Behn, Mrs. Aphra, i. 195.

Bellchambers, Edmund, his edition of Cibber's "Apology" quoted,

i. 5, _note_ 1, i. 14, _note_ 1, i. 35, _note_ 2, i. 41, _note_ 2,

i. 58, _note_ 1, i. 71, _note_ 1, i. 106, _note_ 1, i. 123,

_note_ 2, i. 133, _note_ 1, i. 141, _note_ 1, i. 146, _note_ 1,

i. 152, _note_ 1, i. 161, _note_ 2, i. 163, _note_ 1, i. 170,

_note_ 1, i. 179, _note_ 2, i. 183, _note_ 1, i. 197, _note_ 3,

i. 202, _note_ 1, i. 251, _note_ 1, i. 278, _note_ 1, ii. 17,

_note_ 1, ii. 51, _note_ 1, ii. 88, _note_ 1, ii. 185, _note_ 1,

ii. 252, _note_ 1, ii. 254, _note_ 1;

his memoir of Mrs. Barry, ii. 357;

Betterton, ii. 333;

Mrs. Betterton, ii. 359;

W. Bullock, ii. 361;

Estcourt, ii. 331;

Goodman, ii. 329;

Hart, ii. 322;

B. Johnson, ii. 360;

Keen, ii. 364;

Kynaston, ii. 339;

Anthony Leigh, ii. 349;

John Mills, ii. 362;

Mohun, ii. 326;

Mountfort, ii. 341;

James Nokes, ii. 346;

Mrs. Oldfield, ii. 367;

Pinkethman, ii. 348;

Mrs. Porter, ii. 365;

Powell, ii. 352;

Sandford, ii. 346: Smith, ii. 319;

Underhill, ii. 350;

Verbruggen, ii. 354;

Joseph Williams, ii. 356.

Benefits, their origin, i. 161;

Mrs. Elizabeth Barry the first performer to whom granted, i. 161,

ii. 67;

part confiscated by Rich, ii. 66;

Rich ordered to refund the part confiscated, ii. 68;

amounts realized by principal actors, ii. 78, _note_ 1.

Betterton, Mrs. Mary, i. 98, i. 327, ii. 336;

said to be the first English actress, i. 90, _note_ 1;

Cibber's account of, i. 161-162;

without a rival in Shakespeare's plays, i. 162;

her unblemished character, i. 162;

pensioned by Queen Anne, i. 162;

her death, i. 162;

Bellchambers's memoir of, ii. 359.

---- Thomas, i. 98, i. 162, i. 175, i. 181, _note_ 2, i. 187,

_note_ 1, i. 188, ii. 64, _note_ 2, ii. 128, ii. 211, _note_ 1,

ii. 215, ii. 237, ii. 244, _note_ 1, ii. 306, ii. 308, ii. 311,

ii. 320, ii. 324, ii. 346, ii. 352, ii. 358. ii. 359, ii. 363,

ii. 365;

improves scenery, i. xxii.;

taken into good society, i. 83;

famous for Hamlet, i. 91;

Cibber's eulogium of, i. 99-118;

his supreme excellence, i. 100;

description of his Hamlet, i. 100;

Booth's veneration for, i. 101, _note_ 1;

his Hotspur, i. 103;

his Brutus, i. 103;

the grace and harmony of his elocution, i. 106;

his success in "Alexander the Great," i. 106, i. 108;

his just estimate of applause, i. 109;

his perfect elocution, i. 111;

description of his voice and person, i. 116;

Kneller's portrait of, i. 117;

his last appearance, i. 117;

his death, i. 118;

the "Tatler's" eulogium of, i. 118, _note_ 1;

Gildon's Life of, i. 118, _note_ 2, ii. 324, ii. 337, _note_ 1,

ii. 358;

Mrs. Bracegirdle returns to play for his benefit, i. 174;

ill-treated by the Patentees, i. 188;

makes a party against them, i. 189;

obtains a licence in 1695, i. 192, _note_ 1, i. 194;

mimicked by Powell, i. 205, i. 207, _note_ 1;

his versatility, i. 211;

his difficulty in managing at Lincoln's Inn Fields, i. 228;

as a prologue-speaker, i. 271;

inability to keep order in his Company, i. 315;

said to be specially favoured by the Lord Chamberlain, ii. 18;

declines management in, 1709, ii. 69;

advertisement regarding his salary (1709), ii. 78, _note_ 1;

his superiority to Wilks and Booth, ii. 245;

Anthony Aston's description of, ii. 299;

and the puppet-show keeper, ii. 301;

Bellchambers's memoir of, ii. 333.

Betterton's Company (1695 to, 1704), their decline, i. 314;

disorders in, i. 315.

Biblical narratives dramatized in the "Ludus Coventriæ," i. xxxvii.

_et seq._

Bibliography of Colley Cibber, ii. 289-296.

Bickerstaffe, Isaac (author), ii. 288.

Bickerstaffe, John (actor), ii. 77, _note_ 1, ii. 94, _note_ 1;

threatens Cibber for reducing his salary, i. 71, _note_ 1.

Bignell, Mrs., ii. 77, _note_ 1, ii. 129, _note_ 2.

"Biographia Britannica," ii. 360.

"Biographia Dramatica," i. 184, _note_ 1, i. 278, _note_ 1, i. 330,

_note_ 1, ii. 14, _note_ 1, ii. 332, ii. 336, ii. 337, _note_ 1,

ii. 359, _note_ 1.

Bird, Theophilus, an eminent actor, i. xxvi.

Blackfriar's Company, "men of grave and sober behaviour," i. xxvii.

---- Theatre, i. xxv., i. xxvi., i. xxviii., i. xlix.;

its excellent company, i. xxiv., i. xxvi.

Blanc, Abbé Le, his account of a theatre riot, i. 278, _note_ 1.

"Blast upon Bays, A," ii. 266.

"Bloody Brother, The," actors arrested while playing, i. xxx.

Booth, Barton, i. 157, ii. 36, _note_ 1, ii. 77, _note_ 1, ii. 94,

_note_ 1, ii. 95, _note_ 1, ii. 110, ii. 128, ii. 129, _note_ 2,

ii. 167, ii. 230, ii. 232, ii. 320, ii. 361, ii. 363;

Memoirs of, published immediately after his death, i. 5;

story told by him of Cibber, i. 63, _note_ 1;

his veneration for Betterton, i. 101, _note_ 1;

his indolence alluded to by Cibber, i. 103;

his reverence for tragedy, i. 121;

his Morat, i. 122;

his Life, by Theo. Cibber, quoted, i. 122, _note_ 1, i. 123, _note_ 2,

ii. 130, _note_ 2, ii. 140, _note_ 1;

his Henry VIII., i. 123, _note_ 2;

is warned by Powell's excesses to avoid drinking, i. 260;

as a prologue-speaker, i. 271;

elects to continue at Drury Lane in 1709, ii. 70;

his marriage, ii. 96, _note_ 1;

the reason of the delay in making him a manager, ii. 114;

his success as Cato, ii. 130-133;

his claim to be made a manager on account of his success, ii. 130;

supported by Lord Bolingbroke, ii. 130, _note_ 2;

his name added to the Licence, ii. 140;

the terms of his admission as sharer, ii. 144;

his suffering from Wilks's temper, ii. 155;

his connection with Steele during the dispute about Steele's patent,

ii. 193, _note_ 1;

Wilks's jealousy of, ii. 223;

a scene with Wilks, ii. 234-237;

and Wilks, their opinion of each other, ii. 240;

his deficiency in humour, ii. 240;

formed his style on Betterton, ii. 241;

Cibber's comparison of Wilks and Booth, ii. 239-245;

his Othello and Cato, ii. 243;

memoir of, ii. 254, _note_ 1;

Patent granted to him, Wilks, and Cibber, after Steele's death,

ii. 257;

sells half of his share of the Patent to Highmore, ii. 258.

Booth, Mrs. Barton (see also Santlow, Hester), insulted by Capt.

Montague, i. 76-78;

sells the remainder of Booth's share to Giffard, ii. 259.

Boswell, James, his "Life of Dr. Johnson," quoted, i. 36, _note_ 2,

i. 46, _note_ 1, i. 215, _note_ 1, ii. 41, _note_ 2, ii. 163,

_note_ 1.

Bourgogne, Hotel de, a theatre originally used for religious plays,

i. xxxv.

Boutell, Mrs., mentioned, i. 161, _note_ 1, i. 167, _note_ 2.

Bowen, James (singer), ii. 312.

Bowman (actor), memoir of, ii. 211, _note_ 1;

sings before Charles II., ii. 211.

---- Mrs., ii. 211, _note_ 1.

Bowyer, Michael, an eminent actor, i. xxvi.

Boy-actresses, i. 90;

still played after the appearance of women, i. 119.

Bracegirdle, Mrs. Anne, i. 98, i. 182, i. 188, i. 192, _note_ 1,

ii. 300, ii. 302, ii. 312, ii. 337;

admitted into good society, i. 83;

Cibber's account of, i. 170-174;

her good character, i. 170-172;

her character attacked by Bellchambers, i. 170, _note_ 1;

Tom Brown's scandal about her, i. 170, _note_ 1;

attacked in "Poems on Affairs of State," i. 170, _note_ 1;

her best parts, i. 173;

her retirement, i. 174;

memoir of her, i. 174, _note_ 2;

her rivalry with Mrs. Oldfield, i. 174, _note_ 2;

declines to play some of Mrs. Barry's parts, i. 188-9;

her retirement, ii. 69;

Anthony Aston's description of, ii. 303;

her attempted abduction by Capt. Hill, ii. 342.

Bradshaw, Mrs., ii. 77, _note_ 1, ii. 94, _note_ 1, ii. 303.

Brett, Colonel Henry, a share in the Drury Lane Patent presented

to him by Skipwith, ii. 32;

his acquaintance with Cibber, ii. 33;

Cibber's account of, ii. 34-42;

admires Cibber's perriwig, ii. 35;

and the Countess of Macclesfield, ii. 39-41;

his dealings with Rich, ii. 42-49, ii. 56-60;

makes Wilks, Estcourt, and Cibber his deputies in management,

ii. 56, _note_ 1;

gives up his share to Skipwith, ii. 59.

---- Mrs. (see also Miss Mason, and Countess of Macclesfield),

Cibber's high opinion of her taste, ii. 41, _note_ 2;

his "Careless Husband" submitted to her, ii. 41, _note_ 2;

her judicious treatment of her husband, ii. 41, _note_ 2.

Bridgwater (actor), ii. 260.

Brown, Tom, ii. 348, ii. 350;

his scandal on Mrs. Bracegirdle, i. 170, _note_ 1.

Buck, Sir George, his "Third University of England," quoted, i. xlviii.

Buckingham, Duke of, ii. 210.

"Buffoon, The," an epigram on Cibber's admission into society, i.

29, _note_ 1.

Bullen, A. H., his "Lyrics from Elizabethan Song-books," i. 21,

_note_ 1.

Bullock, Christopher, ii. 169, _note_ 2.

---- Mrs. Christopher, i. 136, _note_ 2.

---- William, i. 194, i. 313, i. 332, ii. 169, _note_ 2, ii. 252,

_note_ 1;

Bellchambers's memoir of, ii. 361.

Burbage, Richard, i. xxvi.

Burgess, Colonel, killed Horden, an actor, i. 303;

his punishment, i. 302, _note_ 2.

Burlington, Earl of, ii. 209.

Burnet, Bishop, his observations on Nell Gwynne, ii. 212;

on Mrs. Roberts, ii. 212.

Burney, Dr., his "History of Music," ii. 55, _note_ 1, ii. 89,

_note_ 1;

his MSS. in the British Museum, i. 174, _note_ 2, ii. 198,

_note_ 1, ii. 224, _note_ 1.

Burt (actor), superior to his successors, i. xxiv.;

apprenticed to Shank, i. xxv.;

and to Beeston, i. xxv.;

a "boy-actress," i. xxv.;

a cornet in Charles I.'s army, i. xxix.;

arrested for acting, i. xxx.

Butler, Mrs. Charlotte, i. 98, i. 237, ii. 262;

Cibber's account of, i. 163-165;

patronized by Charles II., i. 163;

a good singer and dancer, i. 163;

a pleasant and clever actress, i. 164;

compared with Mrs. Oldfield, i. 164;

goes to the Dublin theatre, i. 164;

note regarding her, i. 164, _note_ 1.

Byrd, William, his "Psalmes, Sonets, etc.," i. 21, _note_ 1.

Byron, Lord, a practical joke erroneously attributed to him while at

Cambridge, i. 59, _note_ 1.

Cambridge. See Trinity College, Cambridge.

"Careless Husband," cast of, i. 308, _note_ 1.

Carey, Henry, deprived of the freedom of the theatre for bantering

Cibber, ii. 226, _note_ 2.

Carlile, James, memoir of, i. 84, _note_ 1;

is killed at Aughrim, i. 84, _note_ 1, i. 85.

Cartwright (actor), belonged to the Salisbury Court Theatre, i. xxiv.

Castil-Blaze, Mons., his "La Danse et les Ballets" quoted, i. 316,

_note_ 1.

Catherine of Arragon, pageants at her marriage with Prince Arthur,

i. xliii.

"Cato," by Addison, cast of, ii. 120, _note_ 1;

its success, ii. 127-133;

at Oxford, ii. 137;

its influence, ii. 26;

Cibber's Syphax in, i. 122.

Chalmers, George, his "Apology for the Shakspeare-Believers," i. 276,

_note_ 1, i. 277, _note_ 1.

"Champion" (by Henry Fielding), quoted, i. 1, _note_ 1, i. 38,

_note_ 1, i. 50, _note_ 2, i. 63, _note_ 1, i. 69, _note_ 1,

i. 93, _note_ 2, i. 288, _note_ 1, ii. 54, _note_ 2.

Charke, Charlotte, ii. 285.

---- (musician), husband of Cibber's daughter, ii. 285.

Charles II. mentioned, i. 120, i. 133;

his escape from Presbyterian tyranny, i. 22;

Cibber sees him at Whitehall, i. 30;

writes a funeral oration on his death while still at school, i. 31;

Patents granted by him to Davenant and Killigrew, i. 87;

wittily reproved by Killigrew, i. 87, _note_ 2;

called Anthony Leigh "his actor," i. 154;

his Court theatricals, ii. 209;

and Bowman the actor, ii. 211;

his opinion of Sandford's acting, ii. 306.

Chesterfield, Lord, his powers of raillery, i. 13, i. 14;

refers ironically to Cibber in "Common Sense," i. 71, _note_ 1;

opposes the Licensing Act of 1737, i. 289.

Chetwood, William Rufus, Cibber acts for his benefit, ii. 265;

his "History of the Stage," i. 165, _note_ 1, i. 207, _note_ 1,

i. 244, _note_ 1, ii. 140, _note_ 1, ii. 169, _note_ 3, ii.

319-320, ii. 331, ii. 356, ii. 364.

"Children of her Majesty's Chapel," i. xxxvi.

"Children of Paul's," i. xxxvi.

Churchill, General, ii. 369, _note_ 2.