CHAPTER IX.

[Illustration: Ad Lalauze, sc]

_A small Apology for writing on. The different State of the

two Companies. _Wilks_ invited over from _Dublin_. _Estcourt_,

from the same Stage, the Winter following. Mrs. _Oldfield_'s

first Admission to the _Theatre-Royal_. Her Character. The

great Theatre in the _Hay-Market_ built for _Betterton_'s

Company. It Answers not their Expectation. Some Observations

upon it. A Theatrical State Secret._

I now begin to doubt that the _Gayeté du Coeur_ in which I first

undertook this Work may have drawn me into a more laborious Amusement

than I shall know how to away with: For though I cannot say I have yet

jaded my Vanity, it is not impossible but by this time the most candid

of my Readers may want a little Breath; especially when they consider

that all this Load I have heap'd upon their Patience contains but seven

Years of the forty three I pass'd upon the Stage, the History of which

Period I have enjoyn'd my self to transmit to the Judgment (or Oblivion)

of Posterity.[326] However, even my Dulness will find somebody to do it

right; if my Reader is an ill-natur'd one, he will be as much pleased to

find me a Dunce in my old Age as possibly he may have been to prove me a

brisk Blockhead in my Youth: But if he has no Gall to gratify, and would

(for his simple Amusement) as well know how the Playhouses went on forty

Years ago as how they do now, I will honestly tell him the rest of my

Story as well as I can. Lest therefore the frequent Digressions that

have broke in upon it may have entangled his Memory, I must beg leave

just to throw together the Heads of what I have already given him, that

he may again recover the Clue of my Discourse.

Let him then remember, from the Year 1660 to 1682,[327] the various

Fortune of the (then) King's and Duke's two famous Companies; their

being reduced to one united; the Distinct Characters I have given of

thirteen Actors, which in the Year 1690 were the most famous then

remaining of them; the Cause of their being again divided in 1695, and

the Consequences of that Division 'till 1697; from whence I shall lead

them to our Second Union in----Hold! let me see----ay, it was in that

memorable Year when the two Kingdoms of _England_ and _Scotland_ were

made one. And I remember a Particular that confirms me I am right in my

Chronology; for the Play of _Hamlet_ being acted soon after, _Estcourt_,

who then took upon him to say any thing, added a fourth Line to

_Shakespear_'s Prologue to the Play, in that Play which originally

consisted but of three, but _Estcourt_ made it run thus:

_For Us, and for our Tragedy,

Here stooping to your Clemency,_

[This being a Year of Unity,]

_We beg your Hearing patiently._[328]

This new Chronological Line coming unexpectedly upon the Audience, was

received with Applause, tho' several grave Faces look'd a little out of

Humour at it. However, by this Fact, it is plain our Theatrical Union

happen'd in 1707.[329] But to speak of it in its Place I must go a

little back again.

From 1697 to this Union both Companies went on without any memorable

Change in their Affairs, unless it were that _Betterton_'s People

(however good in their Kind) were most of them too far advanc'd in Years

to mend; and tho' we in _Drury-Lane_ were too young to be excellent, we

were not too old to be better. But what will not Satiety depreciate? For

though I must own and avow that in our highest Prosperity I always

thought we were greatly their Inferiors; yet, by our good Fortune of

being seen in quite new Lights, which several new-written Plays had

shewn us in, we now began to make a considerable Stand against them. One

good new Play to a rising Company is of inconceivable Value. In

_Oroonoko_[330] (and why may I not name another, tho' it be my own?) in

_Love's last Shift_, and in the Sequel of it, the _Relapse_, several of

our People shew'd themselves in a new Style of Acting, in which Nature

had not as yet been seen. I cannot here forget a Misfortune that befel

our Society about this time, by the loss of a young Actor, _Hildebrand

Horden_,[331] who was kill'd at the Bar of the _Rose-Tavern_,[332] in a

frivolous, rash, accidental Quarrel; for which a late Resident at

_Venice_, Colonel _Burgess_, and several other Persons of Distinction,

took their Tryals, and were acquitted. This young Man had almost every

natural Gift that could promise an excellent Actor; he had besides a

good deal of Table-wit and Humour, with a handsome Person, and was every

Day rising into publick Favour. Before he was bury'd, it was observable

that two or three Days together several of the Fair Sex, well dress'd,

came in Masks (then frequently worn) and some in their own Coaches, to

visit this Theatrical Heroe in his Shrowd. He was the elder Son of Dr.

_Horden_, Minister of _Twickenham_, in _Middlesex_. But this Misfortune

was soon repair'd by the Return of _Wilks_ from _Dublin_ (who upon this

young Man's Death was sent for over) and liv'd long enough among us to

enjoy that Approbation from which the other was so unhappily cut off.

The Winter following,[333] _Estcourt_, the famous Mimick, of whom I have

already spoken, had the same Invitation from _Ireland_, where he had

commenc'd Actor: His first Part here, at the _Theatre-Royal_, was the

_Spanish Friar_, in which, tho' he had remembred every Look and Motion

of the late _Tony Leigh_ so far as to put the Spectator very much in

mind of him, yet it was visible through the whole, notwithstanding his

Exactness in the Out-lines, the true Spirit that was to fill up the

Figure was not the same, but unskilfully dawb'd on, like a Child's

Painting upon the Face of a _Metzotinto_: It was too plain to the

judicious that the Conception was not his own, but imprinted in his

Memory by another, of whom he only presented a dead Likeness.[334] But

these were Defects not so obvious to common Spectators; no wonder,

therefore, if by his being much sought after in private Companies, he

met with a sort of Indulgence, not to say Partiality, for what he

sometimes did upon the Stage.

In the Year 1699, Mrs. _Oldfield_ was first taken into the House, where

she remain'd about a Twelvemonth almost a Mute[335] and unheeded, 'till

Sir _John Vanbrugh_, who first recommended her, gave her the Part of

_Alinda_ in the _Pilgrim_ revis'd. This gentle Character happily became

that want of Confidence which is inseparable from young Beginners, who,

without it, seldom arrive to any Excellence: Notwithstanding, I own I

was then so far deceiv'd in my Opinion of her, that I thought she had

little more than her Person that appear'd necessary to the forming a

good Actress; for she set out with so extraordinary a Diffidence, that

it kept her too despondingly down to a formal, plain (not to say) flat

manner of speaking. Nor could the silver Tone of her Voice 'till after

some time incline my Ear to any Hope in her favour. But Publick

Approbation is the warm Weather of a Theatrical Plant, which will soon

bring it forward to whatever Perfection Nature has design'd it. However,

Mrs. _Oldfield_ (perhaps for want of fresh Parts) seem'd to come but

slowly forward 'till the Year 1703.[336] Our Company that Summer acted

at the _Bath_ during the Residence of Queen _Anne_ at that Place. At

that time it happen'd that Mrs. _Verbruggen_, by reason of her last

Sickness (of which she some few Months after dy'd) was left in _London_;

and though most of her Parts were, of course, to be dispos'd of, yet so

earnest was the Female Scramble for them, that only one of them fell to

the Share of Mrs. _Oldfield_, that of _Leonora_ in Sir _Courtly Nice_; a

Character of good plain Sense, but not over elegantly written. It was in

this Part Mrs. _Oldfield_ surpris'd me into an Opinion of her having all

the innate Powers of a good Actress, though they were yet but in the

Bloom of what they promis'd. Before she had acted this Part I had so

cold an Expectation from her Abilities, that she could scarce prevail

with me to rehearse with her the Scenes she was chiefly concern'd in

with Sir _Courtly_, which I then acted. However, we ran them over with a

mutual Inadvertency of one another. I seem'd careless, as concluding

that any Assistance I could give her would be to little or no purpose;

and she mutter'd out her Words in a sort of mifty[337] manner at my low

Opinion of her. But when the Play came to be acted, she had a just

Occasion to triumph over the Error of my Judgment, by the (almost)

Amazement that her unexpected Performance awak'd me to; so forward and

sudden a Step into Nature I had never seen; and what made her

Performance more valuable was, that I knew it all proceeded from her own

Understanding, untaught and unassisted by any one more experienc'd

Actor.[338] Perhaps it may not be unacceptable, if I enlarge a little

more upon the Theatrical Character of so memorable an Actress.[339]

[Illustration: SIR JOHN VANBRUGH.]

Though this Part of _Leonora_ in itself was of so little value, that

when she got more into Esteem it was one of the several she gave away

to inferior Actresses; yet it was the first (as I have observ'd) that

corrected my Judgment of her, and confirm'd me in a strong Belief that

she could not fail in very little time of being what she was afterwards

allow'd to be, the foremost Ornament of our Theatre. Upon this

unexpected Sally, then, of the Power and Disposition of so unforeseen an

Actress, it was that I again took up the two first Acts of the _Careless

Husband_, which I had written the Summer before, and had thrown aside in

despair of having Justice done to the Character of Lady _Betty Modish_

by any one Woman then among us; Mrs. _Verbruggen_ being now in a very

declining state of Health, and Mrs. _Bracegirdle_ out of my Reach and

engag'd in another Company: But, as I have said, Mrs. _Oldfield_ having

thrown out such new Proffers of a Genius, I was no longer at a loss for

Support; my Doubts were dispell'd, and I had now a new Call to finish

it: Accordingly, the _Careless Husband_[340] took its Fate upon the

Stage the Winter following, in 1704. Whatever favourable Reception this

Comedy has met with from the Publick, it would be unjust in me not to

place a large Share of it to the Account of Mrs. _Oldfield_; not only

from the uncommon Excellence of her Action, but even from her personal

manner of Conversing. There are many Sentiments in the Character of Lady

_Betty Modish_ that I may almost say were originally her own, or only

dress'd with a little more care than when they negligently fell from her

lively Humour: Had her Birth plac'd her in a higher Rank of Life, she

had certainly appear'd in reality what in this Play she only excellently

acted, an agreeably gay Woman of Quality a little too conscious of her

natural Attractions. I have often seen her in private Societies, where

Women of the best Rank might have borrow'd some part of her Behaviour

without the least Diminution of their Sense or Dignity. And this very

Morning, where I am now writing at the _Bath_, _November_ 11, 1738, the

same Words were said of her by a Lady of Condition, whose better

Judgment of her Personal Merit in that Light has embolden'd me to repeat

them. After her Success in this Character of higher Life, all that

Nature had given her of the Actress seem'd to have risen to its full

Perfection: But the Variety of her Power could not be known 'till she

was seen in variety of Characters; which, as fast as they fell to her,

she equally excell'd in. Authors had much more from her Performance than

they had reason to hope for from what they had written for her; and

none had less than another, but as their Genius in the Parts they

allotted her was more or less elevated.

In the Wearing of her Person she was particularly fortunate; her Figure

was always improving to her Thirty-sixth Year; but her Excellence in

acting was never at a stand: And the last new Character she shone in

(_Lady Townly_) was a Proof that she was still able to do more, if more

could have been done for _her_.[341] She had one Mark of good Sense,

rarely known in any Actor of either Sex but herself. I have observ'd

several, with promising Dispositions, very desirous of Instruction at

their first setting out; but no sooner had they found their least

Account in it, than they were as desirous of being left to their own

Capacity, which they then thought would be disgrac'd by their seeming to

want any farther Assistance. But this was not Mrs. _Oldfield_'s way of

thinking; for, to the last Year of her Life, she never undertook any

Part she lik'd without being importunately desirous of having all the

Helps in it that another could possibly give her. By knowing so much

herself, she found how much more there was of Nature yet needful to be

known. Yet it was a hard matter to give her any Hint that she was not

able to take or improve. With all this Merit she was tractable and less

presuming in her Station than several that had not half her Pretensions

to be troublesome: But she lost nothing by her easy Conduct; she had

every thing she ask'd, which she took care should be always reasonable,

because she hated as much to be _grudg'd_ as _deny'd_ a Civility. Upon

her extraordinary Action in the _Provok'd Husband_,[342] the Menagers

made her a Present of Fifty Guineas more than her Agreement, which never

was more than a Verbal one; for they knew she was above deserting them

to engage upon any other Stage, and she was conscious they would never

think it their Interest to give her cause of Complaint. In the last two

Months of her Illness, when she was no longer able to assist them, she

declin'd receiving her Sallary, tho' by her Agreement she was entitled

to it. Upon the whole she was, to the last Scene she acted, the Delight

of her Spectators: Why then may we not close her Character with the same

Indulgence with which _Horace_ speaks of a commendable Poem:

_Ubi plura nitent_--_non ego paucis

Offendar maculis_----[343]

_Where in the whole such various Beauties shine,

'Twere idle upon Errors to refine._[344]

What more might be said of her as an Actress may be found in the Preface

to the _Provok'd Husband_, to which I refer the Reader.[345]

With the Acquisition, then, of so advanc'd a Comedian as Mrs.

_Oldfield_, and the Addition of one so much in Favour as _Wilks_, and by

the visible Improvement of our other Actors, as _Penkethman_, _Johnson_,

_Bullock_, and I think I may venture to name myself in the Number (but

in what Rank I leave to the Judgment of those who have been my

Spectators) the Reputation of our Company began to get ground; Mrs.

_Oldfield_ and Mr. _Wilks_, by their frequently playing against one

another in our best Comedies, very happily supported that Humour and

Vivacity which is so peculiar to our _English_ Stage. The _French_, our

only modern Competitors, seldom give us their Lovers in such various

Lights: In their Comedies (however lively a People they are by nature)

their Lovers are generally constant, simple Sighers, both of a Mind, and

equally distress'd about the Difficulties of their coming together;

which naturally makes their Conversation so serious that they are seldom

good Company to their Auditors: And tho' I allow them many other

Beauties of which we are too negligent, yet our Variety of Humour has

Excellencies that all their valuable Observance of Rules have never yet

attain'd to. By these Advantages, then, we began to have an equal Share

of the politer sort of Spectators, who, for several Years, could not

allow our Company to stand in any comparison with the other. But

Theatrical Favour, like Publick Commerce, will sometimes deceive the

best Judgments by an unaccountable change of its Channel; the best

Commodities are not always known to meet with the best Markets. To this

Decline of the Old Company many Accidents might contribute; as the too

distant Situation of their Theatre, or their want of a better, for it

was not then in the condition it now is, but small, and poorly fitted up

within the Walls of a Tennis _Quaree_ Court, which is of the lesser

sort.[346] _Booth_, who was then a young Actor among them, has often

told me of the Difficulties _Betterton_ then labour'd under and

complain'd of: How impracticable he found it to keep their Body to that

common Order which was necessary for their Support;[347] of their

relying too much upon their intrinsick Merit; and though but few of them

were young even when they first became their own Masters, yet they were

all now ten Years older, and consequently more liable to fall into an

inactive Negligence, or were only separately diligent for themselves in

the sole Regard of their Benefit-Plays; which several of their

Principals knew, at worst, would raise them Contributions that would

more than tolerably subsist them for the current Year. But as these were

too precarious Expedients to be always depended upon, and brought in

nothing to the general Support of the Numbers who were at Sallaries

under them, they were reduc'd to have recourse to foreign Novelties;

_L'Abbeè_, _Balon_, and Mademoiselle _Subligny_,[348] three of the then

most famous Dancers of the _French_ Opera, were, at several times,

brought over at extraordinary Rates, to revive that sickly Appetite

which plain Sense and Nature had satiated.[349] But alas! there was no

recovering to a sound Constitution by those mere costly Cordials; the

Novelty of a Dance was but of a short Duration, and perhaps hurtful in

its consequence; for it made a Play without a Dance less endur'd than it

had been before, when such Dancing was not to be had. But perhaps their

exhibiting these Novelties might be owing to the Success we had met

with in our more barbarous introducing of _French_ Mimicks and Tumblers

the Year before; of which Mr. _Rowe_ thus complains in his Prologue to

one of his first Plays:

_Must_ Shakespear, Fletcher, _and laborious_ Ben,

_Be left for_ Scaramouch _and_ Harlequin?[350]

While the Crowd, therefore, so fluctuated from one House to another as

their Eyes were more or less regaled than their Ears, it could not be a

Question much in Debate which had the better Actors; the Merit of either

seem'd to be of little moment; and the Complaint in the foregoing Lines,

tho' it might be just for a time, could not be a just one for ever,

because the best Play that ever was writ may tire by being too often

repeated, a Misfortune naturally attending the Obligation to play every

Day; not that whenever such Satiety commences it will be any Proof of

the Play's being a bad one, or of its being ill acted. In a word,

Satiety is seldom enough consider'd by either Criticks, Spectators, or

Actors, as the true, not to say just Cause of declining Audiences to the

most rational Entertainments: And tho' I cannot say I ever saw a good

new Play not attended with due Encouragement, yet to keep a Theatre

daily open without sometimes giving the Publick a bad old one, is more

than I doubt the Wit of human Writers or Excellence of Actors will ever

be able to accomplish. And as both Authors and Comedians may have often

succeeded where a sound Judgment would have condemn'd them, it might

puzzle the nicest Critick living to prove in what sort of Excellence the

true Value of either consisted: For if their Merit were to be measur'd

by the full Houses they may have brought; if the Judgment of the Crowd

were infallible; I am afraid we shall be reduc'd to allow that the

_Beggars Opera_ was the best-written Play, and Sir _Harry Wildair_[351]

(as _Wilks_ play'd it) was the best acted Part, that ever our _English_

Theatre had to boast of. That Critick, indeed, must be rigid to a Folly

that would deny either of them their due Praise, when they severally

drew such Numbers after them; all their Hearers could not be mistaken;

and yet, if they were all in the right, what sort of Fame will remain to

those celebrated Authors and Actors that had so long and deservedly

been admired before these were in Being. The only Distinction I shall

make between them is, That to write or act like the Authors or Actors of

the latter end of the last Century, I am of Opinion will be found a far

better Pretence to Success than to imitate these who have been so

crowded to in the beginning of this. All I would infer from this

Explanation is, that tho' we had then the better Audiences, and might

have more of the young World on our Side, yet this was no sure Proof

that the other Company were not, in the Truth of Action, greatly our

Superiors. These elder Actors, then, besides the Disadvantages I have

mention'd, having only the fewer true Judges to admire them, naturally

wanted the Support of the Crowd whose Taste was to be pleased at a

cheaper Rate and with coarser Fare. To recover them, therefore, to their

due Estimation, a new Project was form'd of building them a stately

Theatre in the _Hay-Market_,[352] by Sir _John Vanbrugh_, for which he

raised a Subscription of thirty Persons of Quality, at one hundred

Pounds each, in Consideration whereof every Subscriber, for his own

Life, was to be admitted to whatever Entertainments should be publickly

perform'd there, without farther Payment for his Entrance. Of this

Theatre I saw the first Stone laid, on which was inscrib'd _The little

Whig_, in Honour to a Lady of extraordinary Beauty, then the celebrated

Toast and Pride of that Party.[353]

In the Year 1706,[354] when this House was finish'd, _Betterton_ and his

Co-partners dissolved their own Agreement, and threw themselves under

the Direction of Sir _John Vanbrugh_ and Mr. _Congreve_, imagining,

perhaps, that the Conduct of two such eminent Authors might give a more

prosperous Turn to their Condition; that the Plays it would now be their

Interest to write for them would soon recover the Town to a true Taste,

and be an Advantage that no other Company could hope for; that in the

Interim, till such Plays could be written, the Grandeur of their House,

as it was a new Spectacle, might allure the Crowd to support them: But

if these were their Views, we shall see that their Dependence upon them

was too sanguine. As to their Prospect of new Plays, I doubt it was not

enough consider'd that good ones were Plants of a slow Growth; and tho'

Sir _John Vanbrugh_ had a very quick Pen, yet Mr. _Congreve_ was too

judicious a Writer to let any thing come hastily out of his Hands: As to

their other Dependence, the House, they had not yet discover'd that

almost every proper Quality and Convenience of a good Theatre had been

sacrificed or neglected to shew the Spectator a vast triumphal Piece of

Architecture! And that the best Play, for the Reasons I am going to

offer, could not but be under great Disadvantages, and be less capable

of delighting the Auditor here than it could have been in the plain

Theatre they came from. For what could their vast Columns, their gilded

Cornices, their immoderate high Roofs avail, when scarce one Word in ten

could be distinctly heard in it? Nor had it then the Form it now stands

in, which Necessity, two or three Years after, reduced it to: At the

first opening it, the flat Ceiling that is now over the Orchestre was

then a Semi-oval Arch that sprung fifteen Feet higher from above the

Cornice: The Ceiling over the Pit, too, was still more raised, being one

level Line from the highest back part of the upper Gallery to the Front

of the Stage: The Front-boxes were a continued Semicircle to the bare

Walls of the House on each Side: This extraordinary and superfluous

Space occasion'd such an Undulation from the Voice of every Actor, that

generally what they said sounded like the Gabbling of so many People in

the lofty Isles in a Cathedral--The Tone of a Trumpet, or the Swell of

an Eunuch's holding Note, 'tis true, might be sweeten'd by it, but the

articulate Sounds of a speaking Voice were drown'd by the hollow

Reverberations of one Word upon another. To this Inconvenience, why may

we not add that of its Situation; for at that time it had not the

Advantage of almost a large City, which has since been built in its

Neighbourhood: Those costly Spaces of _Hanover_, _Grosvenor_, and

_Cavendish_ Squares, with the many and great adjacent Streets about

them, were then all but so many green Fields of Pasture, from whence

they could draw little or no Sustenance, unless it were that of a

Milk-Diet. The City, the Inns of Court, and the middle Part of the Town,

which were the most constant Support of a Theatre, and chiefly to be

relied on, were now too far out of the Reach of an easy Walk, and

Coach-hire is often too hard a Tax upon the Pit and Gallery.[355] But

from the vast Increase of the Buildings I have mention'd, the Situation

of that Theatre has since that Time received considerable Advantages; a

new World of People of Condition are nearer to it than formerly, and I

am of Opinion that if the auditory Part were a little more reduced to

the Model of that in _Drury-Lane_, an excellent Company of Actors would

now find a better Account in it than in any other House in this populous

City.[356] Let me not be mistaken, I say an excellent Company, and such

as might be able to do Justice to the best of Plays, and throw out those

latent Beauties in them which only excellent Actors can discover and

give Life to. If such a Company were now there, they would meet with a

quite different Set of Auditors than other Theatres have lately been

used to: Polite Hearers would be content with polite Entertainments; and

I remember the time when Plays, without the Aid of Farce or Pantomime,

were as decently attended as Opera's or private Assemblies, where a

noisy Sloven would have past his time as uneasily in a Front-box as in a

Drawing-room; when a Hat upon a Man's Head there would have been look'd

upon as a sure Mark of a Brute or a Booby: But of all this I have seen,

too, the Reverse, where in the Presence of Ladies at a Play common

Civility has been set at defiance, and the Privilege of being a rude

Clown, even to a Nusance, has in a manner been demanded as one of the

Rights of _English_ Liberty: Now, though I grant that Liberty is so

precious a Jewel that we ought not to suffer the least Ray of its Lustre

to be diminish'd, yet methinks the Liberty of seeing a Play in quiet has

as laudable a Claim to Protection as the Privilege of not suffering you

to do it has to Impunity. But since we are so happy as not to have a

certain Power among us, which in another Country is call'd the _Police_,

let us rather bear this Insult than buy its Remedy at too dear a Rate;

and let it be the Punishment of such wrong-headed Savages, that they

never will or can know the true Value of that Liberty which they so

stupidly abuse: Such vulgar Minds possess their Liberty as profligate

Husbands do fine Wives, only to disgrace them. In a Word, when Liberty

boils over, such is the Scum of it. But to our new erected Theatre.

Not long before this Time the _Italian_ Opera began first to steal into

_England_,[357] but in as rude a disguise and unlike it self as

possible; in a lame, hobling Translation into our own Language, with

false Quantities, or Metre out of Measure to its original Notes, sung by

our own unskilful Voices, with Graces misapply'd to almost every

Sentiment, and with Action lifeless and unmeaning through every

Character: The first _Italian_ Performer that made any distinguish'd

Figure in it was _Valentini_, a true sensible Singer at that time,

but of a Throat too weak to sustain those melodious Warblings for which

the fairer Sex have since idoliz'd his Successors. However, this Defect

was so well supply'd by his Action, that his Hearers bore with the

Absurdity of his singing his first Part of _Turnus_ in _Camilla_ all

in _Italian_, while every other Character was sung and recited to

him in _English_.[358] This I have mention'd to shew not only our

Tramontane Taste, but that the crowded Audiences which follow'd it

to _Drury-Lane_ might be another Occasion of their growing thinner in

_Lincolns-Inn-Fields_.

To strike in, therefore, with this prevailing Novelty, Sir _John

Vanbrugh_ and Mr. _Congreve_ open'd their new _Hay-Market Theatre_ with

a translated Opera to _Italian_ Musick, called the _Triumph of Love_,

but this not having in it the Charms of _Camilla_, either from the

Inequality of the Musick or Voices, had but a cold Reception, being

perform'd but three Days, and those not crowded. Immediately upon the

Failure of this _Opera_, Sir _John Vanbrugh_ produced his Comedy call'd

the _Confederacy_,[359] taken (but greatly improv'd) from the

_Bourgeois à la mode_ of _Dancour_: Though the Fate of this Play was

something better, yet I thought it was not equal to its Merit:[360] For

it is written with an uncommon Vein of Wit and Humour; which confirms me

in my former Observation, that the difficulty of hearing distinctly in

that then wide Theatre was no small Impediment to the Applause that

might have followed the same Actors in it upon every other Stage; and

indeed every Play acted there before the House was alter'd seemed to

suffer from the same Inconvenience: In a Word, the Prospect of Profits

from this Theatre was so very barren, that Mr. _Congreve_ in a few

Months gave up his Share and Interest in the Government of it wholly to

Sir _John Vanbrugh_.[361] But Sir _John_, being sole Proprietor of the

House, was at all Events oblig'd to do his utmost to support it. As he

had a happier Talent of throwing the _English_ Spirit into his

Translation of _French_ Plays than any former Author who had borrowed

from them, he in the same Season gave the Publick three more of that

kind, call'd the _Cuckold in Conceit_, from the _Cocu imaginaire_ of

_Moliere_;[362] _Squire Trelooby_, from his _Monsieur de Pourceaugnac_,

and the _Mistake_, from the _Dépit Amoureux_ of the same Author.[363]

Yet all these, however well executed, came to the Ear in the same

undistinguish'd Utterance by which almost all their Plays had equally

suffered: For what few could plainly hear, it was not likely a great

many could applaud.

It must farther be consider'd, too, that this Company were not now what

they had been when they first revolted from the Patentees in

_Drury-Lane_, and became their own Masters in _Lincolns-Inn-Fields_.

Several of them, excellent in their different Talents, were now dead; as

_Smith_, _Kynaston_, _Sandford_, and _Leigh_: Mrs. _Betterton_ and

_Underhil_ being, at this time, also superannuated Pensioners whose

Places were generally but ill supply'd: Nor could it be expected that

_Betterton_ himself, at past seventy, could retain his former Force and

Spirit; though he was yet far distant from any Competitor. Thus, then,

were these Remains of the best Set of Actors that I believe were ever

known at once in _England_, by Time, Death, and the Satiety of their

Hearers, mould'ring to decay.

It was now the Town-talk that nothing but a Union of the two Companies

could recover the Stage to its former Reputation,[364] which Opinion was

certainly true: One would have thought, too, that the Patentee of

_Drury-Lane_ could not have fail'd to close with it, he being then on

the Prosperous Side of the Question, having no Relief to ask for

himself, and little more to do in the matter than to consider what he

might safely grant: But it seems this was not his way of counting; he

had other Persons who had great Claims to Shares in the Profits of this

Stage, which Profits, by a Union, he foresaw would be too visible to be

doubted of, and might raise up a new Spirit in those Adventurers to

revive their Suits at Law with him; for he had led them a Chace in

Chancery several Years,[365] and when they had driven him into a

Contempt of that Court, he conjur'd up a Spirit, in the Shape of Six and

eight Pence a-day, that constantly struck the Tipstaff blind whenever he

came near him: He knew the intrinsick Value of Delay, and was resolv'd

to stick to it as the surest way to give the Plaintiffs enough on't. And

by this Expedient our good Master had long walk'd about at his Leisure,

cool and contented as a Fox when the Hounds were drawn off and gone home

from him. But whether I am right or not in my Conjectures, certain it

is that this close Master of _Drury-Lane_ had no Inclination to a Union,

as will appear by the Sequel.[366]

Sir _John Vanbrugh_ knew, too, that to make a Union worth his while he

must not seem too hasty for it; he therefore found himself under a

Necessity, in the mean time, of letting his whole Theatrical Farm to

some industrious Tenant that might put it into better Condition. This is

that Crisis, as I observed in the Eighth Chapter, when the Royal Licence

for acting Plays, _&c._ was judg'd of so little Value as not to have one

Suitor for it. At this time, then, the Master of _Drury-Lane_ happen'd

to have a sort of primier Agent in his Stage-Affairs, that seem'd in

Appearance as much to govern the Master as the Master himself did to

govern his Actors: But this Person was under no Stipulation or Sallary

for the Service he render'd, but had gradually wrought himself into the

Master's extraordinary Confidence and Trust, from an habitual Intimacy,

a cheerful Humour, and an indefatigable Zeal for his Interest. If I

should farther say, that this Person has been well known in almost every

Metropolis in _Europe_; that few private Men have, with so little

Reproach, run through more various Turns of Fortune; that, on the wrong

side of Three-score, he has yet the open Spirit of a hale young Fellow

of five and twenty; that though he still chuses to speak what he thinks

to his best Friends with an undisguis'd Freedom, he is, notwithstanding,

acceptable to many Persons of the first Rank and Condition; that any one

of them (provided he likes them) may now send him, for their Service, to

_Constantinople_ at half a Day's Warning; that Time has not yet been

able to make a visible Change in any Part of him but the Colour of his

Hair, from a fierce coal-black to that of a milder milk-white: When I

have taken this Liberty with him, methinks it cannot be taking a much

greater if I at once should tell you that this Person was Mr. _Owen

Swiney_,[367] and that it was to him Sir _John Vanbrugh_, in this

Exigence of his Theatrical Affairs, made an Offer of his Actors, under

such Agreements of Sallary as might be made with them; and of his House,

Cloaths, and Scenes, with the Queen's License to employ them, upon

Payment of only the casual Rent of five Pounds upon every acting Day,

and not to exceed 700_l._ in the Year. Of this Proposal Mr. _Swiney_

desir'd a Day or two to consider; for, however he might like it, he

would not meddle in any sort without the Consent and Approbation of his

Friend and Patron, the Master of _Drury Lane_. Having given the Reasons

why this Patentee was averse to a Union, it may now seem less a Wonder

why he immediately consented that _Swiney_ should take the _Hay-Market_

House, _&c._ and continue that Company to act against him; but the real

Truth was, that he had a mind both Companies should be clandestinely

under one and the same Interest, and yet in so loose a manner that he

might declare his Verbal Agreement with _Swiney_ good, or null and void,

as he might best find his Account in either. What flatter'd him that he

had this wholesome Project, and _Swiney_ to execute it, both in his

Power, was that at this time _Swiney_ happen'd to stand in his Books

Debtor to Cash upwards of Two Hundred Pounds: But here, we shall find,

he over-rated his Security. However, _Swiney_ as yet follow'd his

Orders; he took the _Hay-Market_ Theatre, and had, farther, the private

Consent of the Patentee to take such of his Actors from _Drury-Lane_

as either from Inclination or Discontent, might be willing to come over

to him in the _Hay-Market_. The only one he made an Exception of,

was myself: For tho' he chiefly depended upon his Singers and

Dancers,[368] he said it would be necessary to keep some one tolerable

Actor with him, that might enable him to set those Machines a going.

Under this Limitation of not entertaining me, _Swiney_ seem'd to

acquiesce 'till after he had open'd with the so recruited Company in

the _Hay-Market_: the Actors that came to him from _Drury-Lane_ were

_Wilks_, _Estcourt_,[369] _Mills_, _Keen_,[370] _Johnson_, _Bullock_,

Mrs. _Oldfield_, Mrs. _Rogers_, and some few others of less note: But

I must here let you know that this Project was form'd and put in

Execution all in very few Days, in the Summer-Season, when no Theatre

was open. To all which I was entirely a Stranger, being at this time

at a Gentleman's House in _Gloucestershire_, scribbling, if I mistake

not, the _Wife's Resentment_.[371]

The first Word I heard of this Transaction was by a Letter from

_Swiney_, inviting me to make One in the _Hay-Market_ Company, whom

he hop'd I could not but now think the stronger Party. But I confess

I was not a little alarm'd at this Revolution: For I consider'd, that

I knew of no visible Fund to support these Actors but their own Industry;

that all his Recruits from _Drury-Lane_ would want new Cloathing; and

that the warmest Industry would be always labouring up Hill under

so necessary an Expence, so bad a Situation, and so inconvenient a

Theatre. I was always of opinion, too, that in changing Sides, in

most Conditions, there generally were discovered more unforeseen

Inconveniencies than visible Advantages; and that at worst there would

always some sort of Merit remain with Fidelity, tho' unsuccessful. Upon

these Considerations I was only thankful for the Offers made me from

the _Hay-Market_, without accepting them, and soon after came to Town

towards the usual time of their beginning to act, to offer my Service to

our old Master. But I found our Company so thinn'd that it was almost

impracticable to bring any one tolerable Play upon the Stage.[372] When

I ask'd him where were his Actors, and in what manner he intended to

proceed? he reply'd, _Don't you trouble yourself, come along, and I'll

shew you_. He then led me about all the By-places in the House, and

shew'd me fifty little Back-doors, dark Closets, and narrow Passages; in

Alterations and Contrivances of which kind he had busied his Head most

part of the Vacation; for he was scarce ever without some notable

Joyner, or a Bricklayer extraordinary, in pay, for twenty Years. And

there are so many odd obscure Places about a Theatre, that his Genius in

Nook-building was never out of Employment; nor could the most

vain-headed Author be more deaf to an Interruption in reciting his

Works, than our wise Master was while entertaining me with the

Improvements he had made in his invisible Architecture; all which,

without thinking any one Part of it necessary, tho' I seem'd to approve,

I could not help now and then breaking in upon his Delight with the

impertinent Question of----_But, Master, where are your Actors?_ But

it seems I had taken a wrong time for this sort of Enquiry; his Head was

full of Matters of more moment, and (as you find) I was to come another

time for an Answer: A very hopeful Condition I found myself in, under

the Conduct of so profound a Vertuoso and so considerate a Master! But

to speak of him seriously, and to account for this Disregard to his

Actors, his Notion was that Singing and Dancing, or any sort of Exotick

Entertainments, would make an ordinary Company of Actors too hard for

the best Set who had only plain Plays to subsist on. Now, though I am

afraid too much might be said in favour of this Opinion, yet I thought

he laid more Stress upon that sort of Merit than it would bear; as I

therefore found myself of so little Value with him, I could not help

setting a little more upon myself, and was resolv'd to come to a short

Explanation with him. I told him I came to serve him at a time when many

of his best Actors had deserted him; that he might now have the Refusal

of me; but I could not afford to carry the Compliment so far as to

lessen my Income by it; that I therefore expected either my casual Pay

to be advanced, or the Payment of my former Sallary made certain for as

many Days as we had acted the Year before.--No, he was not willing to

alter his former Method; but I might chuse whatever Parts I had a mind

to act of theirs who had left him. When I found him, as I thought, so

insensible or impregnable, I look'd gravely in his Face, and told

him--He knew upon what Terms I was willing to serve him, and took my

leave. By this time the _Hay-Market_ Company had begun acting to

Audiences something better than usual, and were all paid their full

Sallaries, a Blessing they had not felt in some Years in either House

before. Upon this Success _Swiney_ press'd the Patentee to execute the

Articles they had as yet only verbally agreed on, which were in

Substance, That _Swiney_ should take the _Hay-Market_ House in his own

Name, and have what Actors he thought necessary from _Drury-Lane_, and

after all Payments punctually made, the Profits should be equally

divided between these two Undertakers. But soft and fair! Rashness was a

Fault that had never yet been imputed to the Patentee; certain Payments

were Methods he had not of a long, long time been us'd to; that Point

still wanted time for Consideration. But _Swiney_ was as hasty as the

other was slow, and was resolv'd to know what he had to trust to before

they parted; and to keep him the closer to his Bargain, he stood upon

his Right of having _Me_ added to that Company if I was willing to come

into it. But this was a Point as absolutely refus'd on one side as

insisted on on the other. In this Contest high Words were exchang'd on

both sides, 'till, in the end, this their last private Meeting came to

an open Rupture: But before it was publickly known, _Swiney_, by fairly

letting me into the whole Transaction, took effectual means to secure me

in his Interest. When the Mystery of the Patentee's Indifference to me

was unfolded, and that his slighting me was owing to the Security he

rely'd on of _Swiney_'s not daring to engage me, I could have no further

Debate with my self which side of the Question I should adhere to. To

conclude, I agreed, in two Words, to act with _Swiney_,[373] and from

this time every Change that happen'd in the Theatrical Government was a

nearer Step to that twenty Years of Prosperity which Actors, under the

Menagement of Actors, not long afterwards enjoy'd. What was the

immediate Consequence of this last Desertion from _Drury-Lane_ shall be

the Subject of another Chapter.

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.

---- Lady (Duchess of Marlborough), i. 67;

Cibber attends her at table, i. 68;

his admiration of her, i. 68;

her beauty and good fortune, i. 69.

Cibber, Caius Gabriel, father of Colley Cibber, i. 7, _note_ 2;

his statues and other works, i. 8;

his marriage, i. 8, _note_ 1;

his death, i. 8, _note_ 1;

presents a statue to Winchester College, i. 56;

employed at Chatsworth, i. 58;

statues carved by him for Trinity College Library, Cambridge, i. 59.

Cibber, Colley, Account of his Life:--

His Apology written at Bath, i. 1, _note_ 1;

his reasons for writing his own Life, i. 5, i. 6;

his birth, i. 7;

his baptism recorded, i. 7, _note_ 2;

sent to school at Grantham, i. 9;

his character at school, i. 9;

writes an ode at school on Charles II.'s death, i. 31;

and on James II.'s coronation, i. 33;

his prospects in life, i. 55;

his first taste for the stage, i. 58;

stifles his love for the stage and desires to go to the University,

i. 58;

serves against James II. in 1688, i. 61;

attends Lady Churchill at table, i. 68;

his admiration of her, i. 68;

disappointed in his expectation of receiving a commission in the

army, i. 71;

petitions the Duke of Devonshire for preferment, i. 73;

determines to be an actor, i. 73;

hangs about Downes the prompter, i. 74, _note_ 1;

his account of his own first appearances, i. 180;

his first salary, i. 181;

description of his personal appearance, i. 182;

his first success, i. 183;

his marriage, i. 184;

plays Kynaston's part in "The Double Dealer," i. 185;

remains with Patentees in, 1695, i. 193;

writes his first Prologue, i. 195;

not allowed to speak it, i. 196;

forced to play Fondlewife, i. 206;

plays it in imitation of Dogget, i. 208;

his slow advancement as an actor, i. 209, i. 215;

writes his first play, "Love's Last Shift," i. 212;

as Sir Novelty Fashion, i. 213;

encouraged and helped by Vanbrugh, i. 215;

begins to advance as an actor, i. 218;

better in comedy than tragedy, i. 221;

tragic parts played by him, i. 222;

his Iago abused, i. 222, _note_ 1;

description of his Justice Shallow, i. 224, _note_ 2;

leaves Drury Lane for Lincoln's Inn Fields, i. 232, _note_ 1;

returns to Drury Lane, i. 232, _note_ 1;

his "Love in a Riddle" condemned, i. 244-250;

accused of having Gay's "Polly" vetoed, i. 247;

his Damon and Phillida, i. 249, _note_ 1;

consulted by Rich on matters of management, i. 253;

his disputes with Wilks, i. 258;

his "Woman's Wit" a failure, i. 264;

distinguished by Dryden, i. 269;

attacked by Jeremy Collier, i. 274;

his adaptation of "Richard III.," i. 139;

his "Richard III." mutilated by the Master of the Revels, i. 275;

attacked by George Chalmers, i. 276, _note_ 1, i. 277, _note_ 1;

declines to pay fees to Killigrew, Master of Revels, i. 277;

his surprise at Mrs. Oldfield's excellence, i. 307;

writes "The Careless Husband" chiefly for Mrs. Oldfield, i. 308;

finishes "The Provoked Husband," begun by Vanbrugh, i. 311, _note_ 1;

invited to join Swiney at the Haymarket, i. 333;

leaves Rich and goes to Swiney, i. 337;

his "Lady's Last Stake," ii. 2;

his "Double Gallant," ii. 3;

his "Marriage à la Mode," ii. 5;

declines to act on the same stage as rope-dancers, ii. 7;

advises Col. Brett regarding the Patent, ii. 33, ii. 42;

his first introduction to him, ii. 33;

his account of Brett, 34-42;

as Young Reveller in "Greenwich Park," ii. 41;

made Deputy-manager by Brett, ii. 56, _note_ 1;

advertisement regarding his salary, 1709, ii. 78, _note_ 1;

made joint manager with Swiney and others in 1709, ii. 69;

and his fellow-managers, Wilks and Dogget, ii. 110, ii. 117, ii.

121, ii. 127;

mediates between Wilks and Dogget, ii. 122;

his troubles with Wilks, ii. 124;

his views and conduct on Booth's claiming to become a manager, ii.

131-133, ii. 140-143;

his meetings with Dogget after their law-suit, ii. 150;

his "Nonjuror," i. 177, _note_ 1, ii. 185-190;

accused of stealing his "Nonjuror," ii. 186, _note_ 1;

makes the Jacobites his enemies, ii. 185-187;

reported dead by "Mist's Weekly Journal," ii. 188;

his "Provoked Husband" hissed by his Jacobite enemies, ii. 189;

his appointment as Poet Laureate in 1730, i. 32, _note_ 1;

the reason of his being made Laureate, ii. 190;

his "Ximena," ii. 163, _note_ 1;

his suspension by the Duke of Newcastle, ii. 193, _note_ 1;

his connection with Steele during the dispute about Steele's Patent,

ii. 193, _note_ 1;

his account of a suit brought by Steele against his partners, ii.

196-208;

his pleading in person in the suit brought by Steele, ii. 199-207;

his success in pleading, ii. 198, _note_ 1, ii. 207;

assisted Steele in his "Conscious Lovers," ii. 206;

his playing of Wolsey before George I., ii. 216;

admitted into good society, i. 29;

elected a member of White's, i. 29, _note_ 1;

an epigram on his admission into good society, i. 29, _note_ 1;

Patent granted to Cibber, Wilks, and Booth after Steele's death,

ii. 257;

sells his share of the Patent to Highmore, ii. 258;

his sale of his share in the Patent, i. 297;

his shameful treatment of Highmore, ii. 259;

his retirement, ii. 255;

gives a reason for retiring from the stage, i. 178, i. 179,

_note_ 1;

his appearances after his retirement, ii. 261, ii. 263, ii.

264, ii. 268;

his remarks on his successful reappearances, i. 179;

his last appearances, i. 6, _note_ 1;

his adaptation of "King John," i. 6, _note_ 1;

his "Papal Tyranny in the Reign of King John" withdrawn from

rehearsal, ii. 263;

his "Papal Tyranny" produced, ii. 268;

its success, ii. 270;

his quarrel with Pope, ii. 270-283;

and Horace Walpole, ii. 284;

his death and burial, ii. 284;

list of his plays, ii. 286-287;

bibliography of, ii. 289-296;

Anthony Aston's "Supplement" to, ii. 297.

Cibber, Colley, Attacks on him:--

Commonly accused of cowardice, i. 71, _note_ 1;

threatened by John Bickerstaffe, for reducing his salary, i. 71,

_note_ 1;

accused of "venom" towards Booth, i. 123, _note_ 2;

abused by Dennis, i. 66, _note_ 1, ii. 168, _note_ 1;

his offer of a reward for discovery of Dennis, i. 41, _note_ 1, ii.

168, _note_ 1;

charged with envy of Estcourt, i. 115, _note_ 2;

Fielding's attacks upon, quoted (see under Fielding, Hy.);

his galling retaliation on Fielding, i. 286;

said to have been thrashed by Gay, i. 71, _note_ 1;

"The Laureat's" attacks upon (see "Laureat");

satirized on his appointment as Laureate, i. 46;

epigrams on his appointment quoted, i. 46, _note_ 1;

writes verses in his own dispraise, i. 47;

his Odes attacked by Fielding, i. 36, _note_ 2;

and by Johnson, i. 36, _note_ 2;

charges against him of levity and impiety, i. 58, _note_ 1;

accused of negligence in acting, i. 241, _note_ 1;

attacked by the daily papers, i. 41;

his disregard of them, i. 41, i. 44, _note_ 1;

on newspaper attacks, ii. 167;

on principle never answered newspaper attacks, ii. 168;

his famous quarrel with Pope, ii. 270;

"The Nonjuror" a cause of Pope's enmity to Cibber, ii. 189, _note_ 1;

attacked by Pope for countenancing pantomimes, ii. 182, _note_ 1;

his reply, ii. 182, _note_ 1;

his first allusion to Pope's enmity, i. 21;

his opinion of Pope's attacks, i. 35;

his Odes, i. 36, _note_ 2;

supposed to be referred to in Preface to Shadwell's "Fair Quaker of

Deal," ii. 95, _note_ 1;

attacked for mutilating Shakespeare, ii. 263;

accused of stealing "Love's Last Shift," i. 214, and "The Careless

Husband," i. 215, _note_ 1;

satirized by Swift, i. 52, _note_ 2;

his defence of his follies, i. 2, i. 19.

Cibber, Colley, Criticisms of Contemporaries:--

On the production of Addison's "Cato," ii. 120, ii. 127-133;

his description of Mrs. Barry, i. 158-161;

on the excellence of Betterton and his contemporaries, i. 175;

his eulogium of Betterton, i. 99-118;

his description of Mrs. Betterton, i. 161-162;

his account of Booth and Wilks as actors, ii. 239-245;

his description of Mrs. Bracegirdle, i. 170-174;

his description of Mrs. Butler, i. 163-165;

his high opinion of Mrs. Brett's taste, ii. 41, _note_ 2;

submits every scene of his "Careless Husband" to Mrs. Brett, ii.

41, _note_ 2;

on his own acting, i. 220-226;

his "Epilogue upon Himself," ii. 265;

on Dogget's acting, ii. 158;

his low opinion of Garrick, ii. 268;

his description of Kynaston, i. 120-127;

his description of Leigh, i. 145-154;

his description of Mrs. Leigh, i. 162-3;

his description of Mountfort, i. 127-130;

his description of Mrs. Mountfort, i. 165-169;

his praise of Nicolini, ii. 51;

his description of Nokes, i. 141-145;

his hyperbolical praise of Mrs. Oldfield's Lady Townly, i. 51, i.

312, _note_ 3;

on Rich's misconduct, ii. 46;

his description of Sandford, i. 130;

his description of Cave Underhill, i. 154-156;

his unfairness to Verbruggen, i. 157, _note_ 2;

his account of Wilks and Booth as actors, ii. 239-245;

on Wilks's Hamlet, i. 100;

praises Wilks's diligence, ii. 160, ii. 239;

on Wilks's love of acting, ii. 225;

on Wilks's temper, ii. 155, ii. 171;

a scene with Wilks, 234-237.

Cibber, Colley, Reflections and Opinions:--

On acting, i. 209, i. 221;

on acting villains, i. 131-135, i. 222;

on the prejudice against actors, i. 74-84;

his advice to dramatists, ii. 14;

on applause, i. 221, ii. 214;

on the severity of audiences, i. 175;

on politeness in audiences, ii. 247;

on troubles with authors, ii. 249;

on the effect of comedy-acting, i. 140;

on Court influence, ii. 103;

on criticism, i. 52;

on his critics, ii. 220;

on humour in tragedy, i. 121;

on the Italian Opera, ii. 50-55;

on the difficulty of managing Italian singers, ii. 88;

on laughter, i. 23;

on the liberty of the stage, i. 289;

on the validity of the Licence, i. 284;

on the power of the Lord Chamberlain, ii. 10-23;

his principles as manager, i. 190;

on management, ii. 60;

on judicious management, ii. 74;

on the duties and responsibilities of management, ii. 199-207;

on the success of his management, ii. 245;

on morality in plays, i. 265, i. 272;

on the power of music, i. 112;

on Oxford theatricals, ii. 133-139;

on pantomimes, i. 93, ii. 180;

on prologue-speaking, i. 270;

on the difficulties of promotion in the theatre, ii. 223;

on the Queen's Theatre in the Haymarket, i. 322;

on raillery, i. 11;

on the Revolution of 1688, i. 60-63;

on satire, i. 37;

on the reformation of the

on making the stage useful, ii. 24-31;

on the benefit of only one theatre, i. 92, ii. 139, ii. 178-185;

on the shape of the theatre, ii. 84;

on his own vanity, ii. 182.

---- Miscellaneous:--

Profit arising from his works, i. 3, _note_ 2;

frequently the object of envy, i. 33;

his obtrusive loyalty, i. 33, _note_ 1, i. 66;

banters his critics by allowing his "Apology" to be impudent and

ill-written, i. 43;

his easy temper under criticism and abuse, i. 50;

confesses the faults of his writing, i. 50;

his "quavering tragedy tones," i. 110, _note_ 1;

his playing of Richard III. an imitation of Sandford, i. 139;

his "Careless Husband" quoted, i. 148, _note_ 1;

his wigs, ii. 36, _note_ 1;

his treatment of authors, ii. 37, _note_ 1;

reproved by Col. Brett for his treatment of authors, ii. 37,

_note_ 1;

his dedication of the "Wife's Resentment" to the Duke of Kent,

ii. 46;

censured for his treatment of authors, ii. 251, _note_ 1;

his satisfaction in looking back on his career, ii. 115;

his acknowledgment of Steele's services to the theatre, ii. 162;

his dedication of "Ximena" to Steele, ii. 163, _note_ 1;

his omission of many material circumstances in the history of the

stage, ii. 193, _note_ 1;

Wilks his constant supporter and admirer, ii. 226, _note_ 1;

his "Odes," ii. 283;

hissed as Phorbas, ii. 309;

Aston on Cibber's acting, ii. 312.

Cibber, Mrs. Colley, her marriage, i. 184;

her character, i. 184, _note_ 1;

her father's objection to her marriage, i. 184, _note_ 1.

---- Lewis (brother of Colley), admitted to Winchester College, i. 56;

Cibber's affection for, i. 57;

his great abilities, i. 57;

his death, i. 57.

---- Susanna Maria (wife of Theophilus), ii. 267, _note_ 1, ii. 270,

ii. 285;

her speaking described, i. 110, _note_ 1.

---- Theophilus, ii. 187, _note_ 1, ii. 262;

mentioned ironically by Lord Chesterfield, i. 71, _note_ 1;

in "Art and Nature," i. 152, _note_ 1;

acts as his father's deputy in heads a mutiny against Highmore,

ii. 259;

account of him, ii. 285;

his "Life of Booth" quoted, i. 122, _note_ 1, i. 123, _note_ 2,

ii. 130, _note_ 2, ii. 140, _note_ 1.

"Circe," an opera, i. 94.

Civil War, the, closing of theatres during, i. 89.

Clark, actor, memoir of, i. 96, _note_ 3.

Cleveland, Duchess of, and Goodman, ii. 330.

Clive, Mrs. Catherine, ii. 260, ii. 268, _note_ 1, ii. 269;

her acting in "Love in a Riddle," i. 244, _note_ 1.

Clun, a "boy-actress," i. xxiv.

Cock-fighting prohibited in, 1654, i. lii.

Cockpit, The (or Phoenix), i. xxv.;

its company, i. xxvi., i. xxviii., i. xlix.;

Rhodes's Company at, i. xxviii.;

secret performances at, during the Commonwealth, i. xxx.

Coke, Rt. Hon. Thomas, Vice-Chamberlain, his interference in Dogget's

dispute with his partners, ii. 146.

Coleman, Mrs., the first English actress, i. 90, _note_ 1.

Colley, the family of, i. 8, i. 9.

---- Jane, mother of Colley Cibber, i. 8, _note_ 1.

Collier, Jeremy, i. 170, _note_ 1, i. 268, _note_ 2, i. 273, i. 274,

ii. 233, _note_ 2;

his "Short View of the Profaneness, &c., of the English Stage," i.

xxi., i. xxxiii., i. 272, i. 289;

his arguments confuted, i. xxxiii.

Collier, William, M.P., i. 97, _note_ 2, ii. 172, ii. 175;

procures a licence for Drury Lane, ii. 91;

evicts Rich, ii. 92;

appoints Aaron Hill his manager, ii. 94, _note_ 1;

his unjust treatment of Swiney, ii. 101, ii. 107;

takes the control of the opera from Swiney, ii. 102;

farms the opera to Aaron Hill, ii. 105;

forces Swiney to resume the opera, ii. 107;

made partner with Cibber, Wilks, and Dogget at Drury Lane, ii. 107;

his shabby treatment of his partners, ii. 108, ii. 141;

his downfall, ii. 109;

replaced by Steele in the Licence, ii. 164.

Comedy-acting, the effect of, i. 140.

"Common Sense," a paper by Lord Chesterfield, quoted, i. 71, _note_ 1.

"Comparison between the two Stages," by Gildon, i. 189, _note_ 1,

i. 194, _note_ 1, i. 194, _note_ 5, i. 214, _note_ 1, i. 216,

_note_ 1, i. 218, _note_ 2, i. 231, _note_ 2, i. 232, _note_ 2,

i. 233, _note_ 1, i. 254, _note_ 1, i. 303, _note_ 1, i. 306,

_note_ 1, i. 316, _note_ 2, ii. 328, _note_ 2, ii. 348, ii. 356,

_note_ 1, ii. 362.

Complexion, black, of evil characters on the stage, i. 133.

Congreve, William, i. 185, i. 274, i. 284, ii. 36, _note_ 1, ii. 110,

ii. 159, ii. 251, ii. 302;

Memoir of, mentioned, i. 5, _note_ 1;

his "Love for Love," i. 155, i. 197;

scandal about him and Mrs. Bracegirdle, i. 170, _note_ 1;

a sharer with Betterton in his Licence in 1695, i. 192, _note_ 1,

i. 197;

his "Mourning Bride," i. 199;

his "Way of the World," i. 200;

his opinion of "Love's Last Shift," i. 220;

and Vanbrugh manage the Queen's Theatre, i. 320, i. 325;

gives up his share in the Queen's Theatre, i. 326;

and Mrs. Bracegirdle, ii. 304.

Cooper, Lord Chancellor, ii. 149, ii. 174.

Coquelin, Constant, his controversy with Henry Irving regarding

Diderot's "Paradoxe sur le Comédien," i. 103, _note_ 1.

Corelli, Arcangelo, ii. 247.

Cory (actor), ii. 169, _note_ 2.

Court, theatrical performances at, see Royal Theatricals;

interference of the, in the management of the stage, i. 89.

Covent Garden, Drury Lane theatre sometimes described as the theatre

in, i. 88, _note_ 1.

Covent Garden Theatre, i. 92, _note_ 1.

Coventry, the old Leet Book of, i. xl.

Craggs, Mr. Secretary, ii. 96, _note_ 1, ii. 165, ii. 333;

chastises Captain Montague for insulting Miss Santlow, i. 77.

Craufurd, David, his account of the disorders in Betterton's company,

i. 315, _note_ 2.

Crawley, keeper of a puppet-show, ii. 301.

Creation, the, dramatized in the "Ludus Coventriæ," i. xxxviii.

Cromwell, Lady Mary, i. 267, _note_ 1.

Cross, Mrs., i. 334, _note_ 1.

---- Richard, prompter of Drury Lane, i. 181, _note_ 2.

Crowne, John, his masque of "Calisto," ii. 209.

Cumberland, Richard, his description of Mrs. Cibber's speaking, i.

110, _note_ 1.

Cunningham, Lieut.-Col. F., doubts if Ben Jonson was an unsuccessful

actor, i. 85, _note_ 1.

Curll, Edmund, his "History of the Stage," i. 96, _note_ 4, i. 174,

_note_ 2, ii. 357;

his "Life of Mrs. Oldfield," i. 305, _note_ 2;

his memoirs of Wilks, i. 5, _note_ 1.

Curtain Theatre, the, mentioned by Stow as recently erected, i. xlviii.

Cuzzoni, Francesca, her rivalry with Faustina, ii. 89.

"Cynthia's Revels," played by the Children of her Majesty's Chapel,

i. xxxvi.

"Daily Courant," quoted, ii. 175, _note_ 1.

Daly, Augustin, his Company of Comedians, ii. 289.

Dancers and singers introduced by Davenant, i. 94.

Davenant, Alexander, ii. 32, _note_ 1;

his share in the Patent, i. 181, _note_ 1.

---- Dr. Charles, ii. 324.

---- Sir William, i. 181, _note_ 1, i. 197, _note_ 3, ii. 179,

_note_ 1, ii. 334;

first introduces scenery, i. xxxii.;

copy of his patent, i. liii.;

Memoir of, i. 87, _note_ 1;

Poet Laureate, i. 87, _note_ 1;

receives a patent from Charles I., i. 87, _note_ 1;

from Charles II., i. 87;

his company worse than Killigrew's, i. 93;

he introduces spectacle and opera to attract audiences, i. 94;

unites with Killigrew's, i. 96;

his "Macbeth," ii. 229, _note_ 1.

Davies, Thomas, his "Dramatic Miscellanies," i. 3, _note_ 2, i. 41,

_note_ 1, i. 58, _note_ 1, i. 71, _note_ 1, i. 74, _note_ 1, i.

90, _note_ 1, i. 101, _note_ 1, i. 153, _note_ 1, i. 166, _note_ 1,

i. 179, _note_ 1, i. 181, _note_ 2, i. 192, _note_ 1, i. 214,

_note_ 2, i. 222, _note_ 1, i. 224, _note_ 2, i. 241, _note_ 1, i.

273, _note_ 1, i. 274, _note_ 1, i. 302, _note_ 2, i. 330, _note_

1, ii. 36, _note_ 1, ii. 211, _note_ 1, ii. 216, _note_ 1, ii. 226,

_note_ 1, ii. 230, _note_ 1, ii. 233, _note_ 3, ii. 240, _note_ 1,

ii. 263, _note_ 1, ii. 268, _note_ 1, ii. 325, _note_ 1, ii. 335.

_note_ 1, ii. 351, ii. 352, ii. 354, ii. 355, _note_ 1. ii. 358,

ii. 361, ii. 363, ii. 369;

his "Life of Garrick," i. lv., _note_ 1, i. 283, _note_ 2, ii. 259.

Davis, Mary (Moll), i. 91, _note_ 1.

Denmark, Prince of, his support of William of Orange, i. 67, i. 70.

Dennis, John, i. 41, _note_ 2, ii. 361;

abuses Cibber for his loyalty, i. 66, _note_ 1;

accuses Cibber of stealing his "Love's Last Shift," i. 215;

his attacks on Steele and Cibber, ii. 168, _note_ 1, ii. 176,

_note_ 1;

attacks Wilks, ii. 226, _note_ 2;

abuses one of the actors of his "Comic Gallant," ii. 252, _note_ 1.

"Deserving Favourite, The," i. xxv.

Devonshire, Duke of, ii. 305;

his quarrel with James II., i. 72;

Cibber presents a petition to, i. 73.

Diderot, Denis, his "Paradoxe sur le Comédien," i. 103, _note_ 1.

Dillworth, W. H., his "Life of Pope," ii. 278, _note_ 1.

Dixon, a member of Rhodes's company, i. 163, _note_ 1.

Dobson, Austin, his "Fielding" quoted, i. 286, _note_ 1, i. 287,

_note_ 3, i. 288, _note_ 1.

Dodington, Bubb, mentioned by Bellchambers, i. 14, _note_ 1.

Dodsley, Robert, purchased the copyright of Cibber's "Apology," i. 3,

_note_ 2.

Dogget, Thomas, i. 157, ii. 110, ii. 227, ii. 314, ii. 361;

his excellence in Fondlewife, i. 206;

Cibber plays Fondlewife in imitation of, i. 208;

his intractability in Betterton's Company, i. 229;

deserts Betterton at Lincoln's Inn Fields, and comes to Drury Lane,

i. 229;

arrested for deserting Drury Lane, ii. 21;

defies the Lord Chamberlain, ii. 21;

wins his case, ii. 22;

made joint manager with Swiney and others in 1709, ii. 69;

his characteristics as a manager, ii. 111, ii. 117;

his behaviour on Booth's claiming to become a manager, ii. 131,

ii. 141;

retires because of Booth's being made a manager, ii. 143;

his refusal to come to any terms after Booth's admission, ii. 145;

goes to law for his rights, ii. 149;

the result, ii. 150;

Wilks's temper, the real reason of his retirement, ii. 150-155;

shows a desire to return to the stage, ii. 157;

his final appearances, ii. 158;

Cibber's account of his excellence, ii. 158;

Anthony Aston's description of, ii. 308.

Doran, Dr. John, his "Annals of the Stage," i. 88, _note_ 3, i. 130,

_note_ 1, i. 161, _note_ 3, ii. 62, _note_ 1, ii. 284.

Dorset, Earl of, ii. 305;

has Leigh's portrait painted in "The Spanish Friar," i. 146;

when Lord Chamberlain, supports Betterton in 1694-1695, i. 192;

compliments Cibber on his first play, i. 214.

Dorset Garden, Duke's Theatre, i. xxxii.

---- Theatre, built for Davenant's Company, i. 88, _note_ 2;

the subscribers to, called Adventurers, i. 97, _note_ 1.

"Double Dealer, The," i. 185, _note_ 1.

"Double Gallant," cast of, ii. 3, _note_ 2.

Downes, John, his "Roscius Anglicanus," i. 83, _note_ 1, i. 84,

_note_ 1, i. 96, _note_ 3, i. 114, _note_ 1, i. 127, _note_ 2,

i. 130, _note_ 1, i. 141, _note_ 1, i. 146, _note_ 1, i. 163,

_note_ 1, i. 181, _note_ 2, i. 187, _note_ 2, i. 192, _note_ 1,

i. 197, _note_ 1, i. 197, _note_ 2, i. 316, _note_ 2, i. 320,

_note_ 2, i. 333, _note_ 1, ii. 158, _note_ 3, ii. 320, ii. 323,

ii. 328, ii. 330, ii. 332, ii. 334, ii. 340, ii. 341, ii. 342,

ii. 346, ii. 347, ii. 348, ii. 349, ii. 350, ii. 356, ii. 359,

ii. 360, ii. 361, ii. 362;

attended constantly by Cibber and Verbruggen in hope of employment

on the stage, i. 74, _note_ 1;

the "Tatler" publishes a supposed letter from, ii. 75.

"Dramatic Censor," 1811, ii. 57, _note_ 1, ii. 79, _note_ 2.

Dramatists, Cibber's advice to, ii. 14.

Drury Lane Theatre, i. 92, _note_ 1;

opened by King's Company, i. xxxii.;

built for Killigrew's Company, i. 88;

sometimes called "the theatre in Covent Garden," i. 88, _note_ 1;

desertion from in 1733, i. 283;

Company (1695), their improvement, i. 314;

its Patent, ii. 31;

its original construction, ii. 81;

why altered, ii. 81;

under W. Collier's management, 1709, ii. 91;

report on its stability, ii. 176-177.

Dryden, John, ii. 163, _note_ 1, ii. 210, ii. 251;

his prologue on opening Drury Lane, 1674, i. 94, _note_ 2, i.

322, _note_ 1;

a bad elocutionist, i. 113;

his Morat("Aurenge-Zebe"), i. 124;

his high praise of Mrs. Elizabeth Barry, i. 158;

his prologue to "The Prophetess," i. 187, _note_ 1;

his "King Arthur," i. 187, _note_ 2;

a sharer in the King's Company, i. 197;

his address to the author of "Heroic Love" quoted, i. 231, _note_ 1,

ii. 238, _note_ 3;

his indecent plays, i. 267;

his epilogue to "The Pilgrim," i. 268;

his "Secular Masque," i. 268, _note_ 1;

his prologue to "The Prophetess" vetoed, ii. 13;

his prologues at Oxford, ii. 134, ii. 136, _note_ 1, ii. 137,

_note_ 1;

expensive revival of his "All for Love," ii. 175.

Dublin, Wilks's success in, i. 235.

"Duchess of Malfy," i. xxv.

Dugdale, Sir William, his "Antiquities of Warwickshire" quoted,

i. xxxvi.;

mentions the "Ludus Coventriæ," i. xxxviii.

Duke's Servants, The, i. 87, _note_ 1, i. 88.

Duke's Theatre, ii. 336;

first theatre to introduce scenery, i. xxxii.

Dulwich College, built and endowed by Edward Alleyn, i. xxviii.

"Dunciad, The," i. 36, _note_ 1, ii. 181, _note_ 1, ii. 182, _note_ 1,

ii. 270;

on Italian opera, i. 324, _note_ 1.

Dyer, Mrs., actress, i. 136, _note_ 2.

Edicts to suppress plays, 1647-1648, ii. 322.

Edward, son of Henry VI., pageant played before, i. xl.

---- son of Edward IV., pageant played before, i. xlii.

Edwin, John, his "Eccentricities" quoted, ii. 78, _note_ 1.

E----e, Mr. [probably Erskine], his powers of raillery, i. 13, i. 14,

_note_ 1, i. 16.

Egerton, William, his memoirs of Mrs. Oldfield, i. 5, _note_ 1.

"Egotist, The," i. lv., _note_ 1, i. 36, _note_ 2, i. 41, _note_ 2,

i. 43, _note_ 1, i. 45, _note_ 1, i. 46, _note_ 1, i. 53, _note_ 1,

ii. 265.

Elephants on the stage, ii. 7, _note_ 1.

Elizabeth, Queen, and the Spanish Armada, allusion to, i. 64;

her rule of government, i. 65.

Elocution, importance of, i. 110.

Elrington, Thomas, his visit to Drury Lane in 1714, ii. 121, _note_ 1;

Cibber said to have refused to let him play a certain character, ii.

193, _note_ 1.

Ely, Bishop of, and Joe Haines, ii. 315.

Erskine, Mr., probably the person mentioned by Cibber, i. 13, i. 14,

_note_ 1, i. 16.

Estcourt, Richard, i. 166, i. 237. i. 332. i. 334, _note_ 1;

a marvellous mimic, i. 114;

yet not a good actor, i. 115;

said to be unfairly treated by Cibber, i. 115, _note_ 2;

could not mimic Nokes, i. 142;

his "gag" on the Union of the Companies in, 1708, i. 301;

his first coming to London, i. 304;

made Deputy-manager by Brett, ii. 56, _note_ 1;

advertisement regarding his salary, 1709, ii. 78, _note_ 1;

his Falstaff, ii. 300;

Bellchambers's memoir of, ii. 331.

Eusden, Laurence, poet laureate, his death, i. 32, _note_ 1.

Evans, John, his visit to Drury Lane in 1714, ii. 121, _note_ 1;

his Falstaff, ii. 300.

"Faction Display'd," ii. 233, _note_ 2.

"Fair Maid of the West, The," i. xxv.

Fairplay, Francis, a name assumed by Cibber on one occasion, i. 48.

"Fairy Queen," preface to, quoted, i. 110, _note_ 1.

Farinelli (singer), ii. 88.

Farquhar, George, ii. 251, ii. 367, ii. 369.

Fashionable nights, ii. 246.

Faustina (Faustina Bordoni Hasse), her rivalry with Cuzzoni, ii. 89.

Fees for performances at Court, ii. 218.

Fenwick, Sir John, ii. 62.

Fideli, Signor, i. xxvii.

Field, Nathaniel, originally a "Chapel boy," i. xxxvii.

Fielding, Henry, i. 202, _note_ 1, i. 287, _note_ 4, i. 288, _note_ 1,

ii. 269; attacks Cibber in "The Champion," 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;

in "Joseph Andrews," i. 10, _note_ 1, i. 50, _note_ 2, i. 61,

_note_ 1;

in "Pasquin," i. 36, _note_ 2;

attacks Cibber for mutilating Shakespeare, ii. 263;

manager of a company at the Haymarket, i. 92, _note_ 1;

Cibber's retaliation on, i. 286;

Austin Dobson's memoir of, quoted, i. 286, _note_ 1, i. 287,

_note_ 3, i. 288, _note_ 1;

said to have caused the Licensing Act of 1737, i. 286.

Fitzgerald, Percy, his "New History of the English Stage," i. 90,

_note_ 1, i. 320, _note_ 1, ii. 11, _note_ 1, ii. 32, _note_ 1,

ii. 49, _note_ 1, ii. 56, _note_ 1, ii. 79, _note_ 2;

ii. 94, _note_ 1, ii. 148, _note_ 1.

Fitzharding, Lady, i. 68.

Fitzstephen, William, his "Description of the City of London,"

i. xxxvii.

Fleetwood, Charles, ii. 264;

purchases from Highmore and Mrs. Wilks their shares of the Patent,

i. 285, ii. 261;

the deserters return to him, ii. 261.

Fletcher, John, his plays, i. xxv.

Footmen, admitted gratis to Drury Lane, i. 233;

this privilege abolished, i. 234, _note_ 1.

Fortune Theatre, i. xxvi., i. xxix.

Fox, Bishop, had charge of pageants in which sacred persons were

introduced, i. xlv.

French actors at Lincoln's Inn Fields, ii. 180, _note_ 1.

---- audience, conduct of, ii. 247.

"Funeral, The," i. 263.

Gaedertz, Herr, his "Zur Kenntniss der altenglischen Bühne," ii. 84,

_note_ 1.

"Gammer Gurton's Needle," one of the earliest regular comedies, i.

xlvii.

Garrick, David, i. 110, _note_ 1, i. 278, _note_ 1, ii. 259, ii. 270;

his influence in reforming the stage, ii. 263;

Cibber plays against, ii. 268;

Cibber's low opinion of, ii. 268;

Davies's Life of, i. lv., _note_ 1, i. 283, _note_ 2, ii. 259.

Gaussin, Jeanne Catherine, ii. 248.

Gay, John, said to have thrashed Cibber, i. 71, _note_ 1;

his "Beggar's Opera," i. 243;

his "Polly" forbidden to be played, i. 246, i. 278, _note_ 1.

Genest, Rev. John, his "Account of the English Stage," i. 83, _note_ 1,

i. 88, _note_ 3, i. 91, _note_ 2, i. 91, _note_ 4, i. 97,

_note_ 1, i. 110, _note_ 1, i. 149, _note_ 2, i. 156, _note_ 2,

i. 174, _note_ 2, i. 203, _note_ 1, i. 220, _note_ 1, i. 230,

_note_ 1, i. 267, _note_ 2, i. 268, _note_ 1, i. 269, _note_ 1,

i. 296, _note_ 1, i. 326, _note_ 3, ii. 5, _note_ 1, ii. 7,

_note_ 1, ii. 56, _note_ 1, ii. 79, _note_ 2, ii. 96, _note_ 1,

ii. 98, _note_ 1, ii. 123, _note_ 1, ii. 165, _note_ 1, ii.

169, _note_ 3, ii. 171, _note_ 1, ii. 186, _note_ 1, ii. 186,

_note_ 2, ii. 187, _note_ 1, ii. 198, _note_ 1, ii. 210,

_note_ 1, ii. 251, _note_ 1, ii. 267, ii. 269, ii. 324;

his opinion of Cibber's Richard III., i. 139, _note_ 2.

"Gentleman's Magazine," ii. 284.

Gentlemen of the Great Chamber, actors entitled, i. 88.

George I. has theatrical performances at Hampton Court, ii. 208;

his amusement at a scene of "Henry VIII.," ii. 216;

his present to the actors for playing at Court, ii. 218.

---- II., i. 32, ii. 219.

Giffard, Henry, i. 92, _note_ 1, i. 283, _note_ 1;

his theatre in Goodman's Fields, i. 282, _note_ 2;

purchases half of Booth's share of the Patent, ii. 259.

Gifford, William, doubts if Ben Jonson was an unsuccessful actor, i.

85, _note_ 1.

Gildon, Charles, his Life of Betterton, i. 118, _note_ 2, ii. 324,

ii. 337, _note_ 1, ii. 358.

Globe Theatre, i. xxvi., i. xxix.

Goffe, Alexander, a "boy-actress," i. xxx.;

employed to give notice of secret performances during the

Commonwealth, i. xxx.

"Golden Rump, The," a scurrilous play, i. 278, _note_ 1.

Goodman, Cardell, mentioned, i. 83, _note_ 1, i. 96;

prophesies Cibber's success as an actor, i. 183;

a highway robber, ii. 61, ii. 63;

his connection with the Fenwick and Charnock Plot, ii. 62;

he and Captain Griffin have one shirt between them, ii. 63;

Bellchambers's memoir of, ii. 329.

Goodman's Fields, unlicensed theatre in, i. 281;

attempt to suppress it, i. 282;

Odell's theatre, i. 282, _note_ 1;

Giffard's theatre, i. 282, _note_ 2.

---- Theatre, i. 92, _note_ 1;

closed by Licensing Act (1737), i. 92, _note_ 1.

Grafton, Duke of, ii. 260;

blamed for making Cibber Laureate, i. 46, _note_ 1.

Grantham, Cibber sent to school at, i. 9.

Griffin, Captain (actor), i. 334, _note_ 1;

admitted into good society, i. 83;

memoir of, i. 83, _note_ 1;

and Goodman have one shirt between them, ii. 63.

Griffith, Thomas, his visit to Drury Lane in 1714, ii. 121, _note_ 1.

"Grub Street Journal," ii. 258, _note_ 1.

Guiscard, his attack on Lord Oxford referred to, i. 291.

Gwyn, Nell, i. 91, _note_ 1, i. 182, _note_ 1, ii. 323;

and Charles II., ii. 211;

Bishop Burnet's opinion of, ii. 212.

Haines, Joseph, ii. 252, _note_ 1;

his _bon mot_ on Jeremy Collier, i. 273;

account of his career, i. 273, _note_ 1;

Aston's description of, ii. 314;

his pranks, ii. 315, ii. 325;

Life of, ii. 325, _note_ 1.

Halifax, Lord, i. 217, ii. 311;

a patron of the theatre, ii. 4;

his testimonial to Mrs. Bracegirdle, ii. 305.

Hamlet, incomparably acted by Taylor, i. xxvi.;

Betterton as, i. 100;

Wilks's mistakes in, i. 100.

Hammerton, Stephen, a famous "boy-actress," i. xxvi.;

played Amyntor, i. xxvi.

Hampton Court, theatrical performances at, ii. 208, ii. 214, ii. 219.

"Hannibal and Scipio," i. xxv.

Harlequin, Cibber's low opinion of the character, i. 150-152;

played without a mask by Pinkethman, i. 151.

"Harlequin Sorcerer," a noted pantomime, ii. 181, _note_ 1.

Harper, John, arrested as a rogue and vagabond, i. 283;

trial, ii. 260;

the result of his trial, i. 284;

his Falstaff, ii. 300.

Harris, ii. 334, ii. 346.

Harrison, General, murders W. Robinson the actor, i. xxix.

Hart, Charles, i. 125, _note_ 2, ii. 134, ii. 137, _note_ 1;

superior to his successors, i. xxiv.;

apprenticed to Robinson, i. xxiv.;

A "boy-actress," i. xxiv.;

a lieutenant in Charles I.'s army, i. xxix.;

arrested for acting, i. xxx.;

grows old and wishes to retire, i. xxxii.;

his acting of the Plain Dealer, i. 83, _note_ 1;

famous for Othello, i. 91;

his retirement, i. 96;

Bellchambers's memoir of, ii. 322.

Haymarket, Little Theatre in the, i. 92, _note_ 1;

opened by the mutineers from Highmore in 1733, ii. 259;

closed by Licensing Act (1737), i. 92, _note_ 1.

---- the Queen's Theatre in the (now Her Majesty's), i. 319;

its history, i. 319, _note_ 1;

opened for Betterton's Company, i. 320;

defects in its construction, i. 320, i. 326;

inconvenience of its situation, i. 322.

Hemming, John, i. xxvi.

"Henry VIII.," ii. 215.

Heron, Mrs., ii. 262.

Hewett, Sir Thomas, his report on the stability of Drury Lane, ii. 177.

Highmore, John, at variance with his actors, i. 283;

his purchase of the Patent, i. 283, _note_ 1;

the price he paid for the Patent, i. 297, _note_ 1;

purchases half of Booth's share of the Patent, ii. 258;

purchases Cibber's share, ii. 258: his actors mutiny, ii. 259;

he summons Harper as a rogue and vagabond, ii. 260;

sells his share in the Patent, ii. 261.

Hill, Aaron, on "tone" in speaking, i. 110, _note_ 1;

appointed by W. Collier to manage Drury Lane, ii. 94, _note_ 1;

defied and beaten by his actors, ii. 94, _note_ 1;

farms the opera from Collier, ii. 105;

on Booth's lack of humour, ii. 240, _note_ 2.

---- Captain Richard, his murder of Mountfort, i. 130, _note_ 1,

ii. 342.

"Historia Histrionica," reprint of, i. xix.;

preface to, i. xxi.

"Historical Register for 1736," ii. 263.

Hitchcock, Robert, his "Historical View of the Irish Stage," i. 165,

_note_ 1.

"Holland's Leaguer," i. xxv.

Holt, Lord Chief Justice, ii. 22.

Horden, Hildebrand, a promising actor, killed in a brawl, i. 302.

Horton, Mrs., ii. 260.

Howard, J. B., plays Iago in English to Salvini's Othello, i. 325,

_note_ 1.

---- Sir Robert, i. 192, _note_ 1.

Hughes, Margaret, said to be the first English actress, i. 90,

_note_ 1.

Hutton, Laurence, his "Literary Landmarks of London" quoted, i. 7,

_note_ 3, ii. 284, _note_ 1.

Irving, Henry, his controversy with Constant Coquelin regarding

Diderot's "Paradoxe sur le Comédien," i. 103, _note_ 1;

restores Shakespeare's "Richard III." to the stage, ii. 287.

Italian Opera, introduced into England, i. 324;

"The Dunciad" on, i. 324, _note_ 1.

Jackson, John, his "History of the Scottish Stage" referred to, ii.

181, _note_ 1.

Jacobites attacked in Cibber's "Nonjuror," ii. 185;

repay Cibber for his attack by hissing his plays, ii. 187;

hiss his "Nonjuror," ii. 189.

James II., ii. 134;

Cibber, at school, writes an Ode on his coronation, i. 33;

Cibber serves against, at the Revolution, i. 60;

his flight to France, i. 70;

his quarrel with the Duke of Devonshire, i. 72.

Jekyll, Sir Joseph, ii. 198.

Jevon, Thomas, i. 151, _note_ 1.

Johnson, Benjamin (actor), i. 99, _note_ 1, i. 194, i. 313, i. 332,

ii. 129, _note_ 2, ii. 252, _note_ 1, ii. 262, ii. 308;

Bellchambers's memoir of, ii. 360.

Johnson, Dr. Samuel, i. 215, _note_ 1, ii. 163, _note_ 1;

his opinion of Cibber's Odes, i. 36, _note_ 2;

his epigram on Cibber's Laureateship quoted, i. 46, _note_ 1;

his "Life of Pope," ii. 275, ii. 276, ii. 280, _note_ 1, ii. 281,

_note_ 1;

his "Lives of the Poets," ii. 27, _note_ 1, ii. 128, _note_ 1, ii.

370;

his famous Prologue (1747) quoted, i. 113, _note_ 1.

Jones, Inigo, ii. 209.

Jonson, Ben, i. 245;

out of fashion in 1699, i. xxiii.;

no actors in 1699 who could rightly play his characters, i. xxiv.;

his plays, i. xxv.;

his epigram on Alleyn, i. xxviii.;

on Sal Pavy, i. xxxvi.;

said by Cibber to have been an unsuccessful actor, i. 85;

this denied by Gifford and Cunningham, his editors, i. 85, _note_ 1;

his Masques, ii. 209.

Jordan, Thomas, his "Prologue to introduce the first woman that came

to act on the stage," 1660, i. 90, _note_ 1, i. 119, _note_ 1.

"Joseph Andrews" quoted, i. 10, _note_ 1, i. 50, _note_ 2, i. 61,

_note_ 1.

"Julius Cæsar," special revival of, in 1707, ii. 5.

Keen, Theophilus, i. 332, ii. 77, _note_ 1, ii. 94, _note_ 1, ii.

129, _note_ 2, ii. 169, _note_ 2;

Bellchambers's memoir of, ii. 364.

Kemble, John P., mentioned, i. lv., _note_ 1.

Kent, Duke of, ii. 46.

---- Mrs., ii. 169, _note_ 2.

Killigrew, Charles, ii. 32, _note_ 1;

his share in the Patent, i. 181, _note_ 1.

---- Thomas, i. 181, _note_ 1, i. 197, _note_ 3;

granted a Patent similar to Davenant's, i. liii., i. 87;

memoir of, i. 87, _note_ 2;

his witty reproof of Charles II., i. 87, _note_ 2;

his Company better than Davenant's, i. 93;

unites with Davenant's, i. 96.

"King and no King," special revival of, in 1707, ii. 5.

"King Arthur," i. 187.

"King John" mutilated by Colley Cibber, ii. 268.

"King John and Matilda," i. xxv.

King's Servants, The, i. 87, _note_ 2, i. 88;

before 1642, i. xxvi.;

after the Restoration, i. xxxi.

Kirkman, Francis, his "Wits," ii. 84, _note_ 1.

Knap, ii. 169, _note_ 2.

Kneller, Sir Godfrey, his portrait of Betterton, i. 117;

his portrait of Anthony Leigh, i. 146, ii. 349;

imitated by Estcourt, ii. 333.

Knight, Mrs. Frances, ii. 77, _note_ 1, ii. 94, _note_ 1, ii. 169,

_note_ 2.

---- Joseph, his edition of the "Roscius Anglicanus" referred to,

i. 87, _note_ 1, i. 90, _note_ 1.

Knip, Mrs., i. 182, _note_ 1.

Kynaston, Edward, i. 98, i. 119, ii. 324, ii. 334, i. 185, i. 327;

petted by ladies of quality, i. 120;

the beauty of his person, i. 121;

his voice and appearance, i. 121;

his bold acting in inflated passages, i. 124;

his majesty and dignity, i. 125-6;

lingered too long on the stage, i. 126;

Bellchambers's memoir of, ii. 339.

Lacy, John, superior to his successors, i. xxiv.

Lady of title, prevented by relatives from becoming an actress, i. 75.

"Lady's Last Stake," cast of, ii. 3, _note_ 1.

Langbaine, Gerard, his "Account of the English Poets," ii. 13, _note_ 1.

Laughter, reflections on, i. 23.