did. His suspension, for it was nothing more, lasted till January 28th,

1720. Steele, in the seventh number of "The Theatre," January 23rd, 1720, alludes to his suspension as then existing, and in No. 12 talks of Cibber's being just restored to the "Begging Bridge," that is, the theatre. The allusion is to an Apologue by Steele ("Reader," No. II.) which Cibber quotes, and applies to Steele, in his Dedication of "Ximena" to him. A peasant had succeeded in barricading, with his whole belongings, a bridge over which an enemy attempted to invade his native country. He kept them back till his countrymen were roused; but when the forces of his friends attacked the enemy, the peasant's property was destroyed in the fray and he was left destitute. He received no compensation, but it was enacted that he and his descendants were alone to have the privilege of _begging_ on this bridge. Cibber applies this fable to the treatment of Steele by the Lord Chamberlain, and there can be no doubt that this Dedication must have caused great offence to that official, and contributed materially to Cibber's suspension, though Steele declared that the attack upon his partner was merely intended as an oblique attack on himself. The author of the "Answer to the Case of Sir Richard Steele," 1720 (Nichols's ed., p. 532), says that Cibber had offended the Duke by an attack on the King and the Ministry in the Dedication of his "Ximena" to Steele. He also says that when the Chamberlain wanted a certain actor to play a part which belonged to one of the managers, Cibber flatly refused to allow him, and was thereupon silenced. (The actor is said to have been Elrington, and the part Torrismond; but I doubt if Elrington was at Drury Lane in 1719-20.) A recent stage historian curiously says that the play which gave offence was "The Nonjuror," which is about as likely as that a man should be accused of high treason because he sang "God Save the Queen!"

Steele then, being made to understand that the attack on Cibber was the beginning of evil directed against himself, wrote to two great Ministers of State, and presented a Petition to the King on January 22nd, 1720, praying to be protected from molestation by the Lord Chamberlain. The result of this action was a revocation of Steele's Licence (_not_ his Patent specially, which is curious) dated January 23rd, 1720; and on the next Monday, the 25th, an Order for Silence was sent to the managers and actors at Drury Lane. The theatre accordingly remained closed Monday, Tuesday, and Wednesday, January 25th to 27th, 1720, and on the 28th re-opened, Wilks, Cibber, and Booth having made their submission and received a Licence dated the previous day.

On the 4th of March following the actors of Drury Lane were sworn at the Lord Chamberlain's office, "pursuant to an Order occasioned by their acting in obedience to his Majesty's Licence, lately granted, exclusive of a Patent formerly obtained by Sir Richard Steele, Knight." The tenor of the Oath was, that as his Majesty's Servants they should act subservient to the Lord Chamberlain, Vice-Chamberlain, and Gentleman-Usher in Waiting. Whether Steele took any steps to test the legality of this treatment is doubtful; but, on the accession of his friend Walpole to office, he was restored to his position at the head of the theatre. On May 2nd, 1721, Cibber and his partners were ordered to account with Steele for his past and present share of the profits of the theatre, as if all the regulations from which his name had been excluded had never been made. This edict is signed by the Duke of Newcastle, and must, I fancy, have been rather a bitter pill for that nobleman. How Steele subsequently conducted himself, and how much interest he took in the theatre, Cibber very fully relates in the next few pages. After Steele's death a new Patent was granted to Cibber, Wilks, and Booth, as will be related further on. It may be noted here, however, that the date of the new Patent proves conclusively that Steele's grant was never superseded. The new power was dated July 3rd, 1731, but it did not take effect till September 1st, 1732, exactly three years after Steele's death, according to the terms of his original Patent.]

[Footnote 150: This is one of Cibber's bad blunders. The Case was heard in 1728. Genest (iii. 208) refers to the _St. James's Evening Post's_ mention of the hearing; and, in the Burney MSS. in the British Museum, a copy of the paragraph is given. It is not, however, a cutting, but a manuscript copy. "Saty. Feb. 17. There was an hearing in the Rolls Chapel in a Cause between Sir Richard Steele, Mr. Cibber, Mr. Wilks, and others belonging to Drury-Lane Theatre, which held five hours--one of which was taken up by a speech of Mr. Wilks, which had so good an effect, that the Cause went against Sir Richard Steele."--St. James's Evening Post, Feb. 17 to Feb. 20, 1728. In its next issue, Feb. 20 to Feb. 22, it corrects the blunder which it had made in attributing Cibber's speech to Wilks.]

[Footnote 151: This was in the Dedication to "Ximena." The passage will be found quoted by me in a note on page 163 of this volume.]

[Footnote 152: Cibber himself, of course.]

[Footnote 153: This Coronation was tacked to the play of "Henry VIII.," which was revived at Drury Lane on 26th October, 1727. Special interest attached to it on account of the recent Coronation of George II.]

[Footnote 154: This was in 1718. On 24th September, 1718, the bills announce "the same Entertainments that were performed yesterday before his Majesty at Hampton Court."]

[Footnote 155: In Whitelocke's "Memorials" there is an account of a Masque played in 1633, before Charles I. and his Queen, by the gentlemen of the Temple, which cost £21,000.]

[Footnote 156: The Earl of Burlington.]

[Footnote 157: "Calisto" was published in 1675. Genest (i. 181) says: "Cibber, with his usual accuracy as to dates, supposes that Crowne was selected to write a mask for the Court in preference to Dryden, through the influence of the Duke of Buckingham, who was offended at what Dryden had said of him in Absalom and Achitophel--Dryden's poem was not written till 1681--Lord Rochester was the person who recommended Crowne." I may add that Dryden furnished an Epilogue to "Calisto," which was not spoken.]

[Footnote 158: Boman, or Bowman, was born about 1651, and lived till 23rd March, 1739. He made his first appearance about 1673, and acted to within a few months of his death, having thus been on the stage for the extraordinary period of sixty-five years. He was very sensitive on the subject of his age, and, if asked how old he was, only replied, that he was very well. Davies speaks highly of Boman's acting in his extreme old age ("Dram. Misc.," i. 286 and ii. 100). Mrs. Boman was the adopted daughter of Betterton.]

[Footnote 159: Bishop Burnet.]

[Footnote 160: First edition, vol. i.]

[Footnote 161: Davies ("Dram. Misc.," i. 365) says: "Wolsey's filching from his royal master the honour of bestowing grace and pardon on the subject, appeared so gross and impudent a prevarication, that, when this play was acted before George I. at Hampton-Court, about the year 1717, the courtiers laughed so loudly at this ministerial craft, that his majesty, who was unacquainted with the English language, asked the lord-chamberlain the meaning of their mirth; upon being informed of it, the king joined in a laugh of approbation." Davies adds that this scene "was not unsuitably represented by Colley Cibber;" but, in scenes requiring dignity or passion, he expresses an unfavourable opinion of Cibber's playing.]

[Footnote 162: From the Lord Chamberlain's Records it is clear that £10 was the fee for a play at Whitehall during the time of Charles I. If the performance was at Hampton Court, or if it took place at such a time of day as to prevent the ordinary playing at the theatre, £20 was allowed.]

[Footnote 163: The warrant for the payment of these performances is dated 15th November, 1718. The expenses incurred by the actors amounted to £374 1_s._ 8_d._, and the present given by the King, as Cibber states, was £200; the total payment being thus £574 1_s._ 8_d._]

[Footnote 164: M. Perrin, the late manager of the Theatre Français, was virulently attacked for giving _la jeune troupe_ no opportunities, and so doing nothing to provide successors to the great actors of his time.]

[Footnote 165: After the death of Wilks and Booth, and the retirement of Cibber, the stage experienced a period of dulness, which was the natural result of the want of good young talent in the lifetime of the old actors. Such periods seem to recur at stated intervals in the history of the stage.]

[Footnote 166: "Venice Preserved" was acted at the Haymarket on 22nd February, 1707, but Dr. Burney's MSS. do not give the cast. On 15th November, 1707, Pierre was played by Mills.]

[Footnote 167: For an account of this matter, see _ante_, page 70.]

[Footnote 168: Davies ("Dram. Misc.," iii. 255) has the following interesting statement regarding Cibber and Wilks, which he gives on Victor's authority:--

"However Colley may complain, in his Apology, of Wilks's fire and impetuosity, he in general was Cibber's great admirer; he supported him on all occasions, where his own passion or interest did not interpose; nay, he deprived the inoffensive Harry Carey of the liberty of the scenes, because he had, in common with others, made merry with Cibber in a song, on his being appointed poet laureat; saying at the same time, he was surprised at his impertinence, in behaving so improperly _to a man of such great merit_."]

[Footnote 169: John Dennis, in an advertisement to the "Invader of his Country," remarks on this foible. He says:--

"I am perfectly satisfied that any Author who brings a Play to _Drury-Lane_, must, if 'tis a good one, be sacrificed to the Jealousie of this fine Writer, unless he has either a powerful Cabal, or unless he will flatter Mr. _Robert Wilks_, and make him believe that he is an excellent Tragedian." The "fine Writer" is, of course, Cibber.]

[Footnote 170: "In the trajedy of _Mackbeth_, where _Wilks_ acts the Part of a Man whose Family has been murder'd in his Absence, the Wildness of his Passion, which is run over in a Torrent of calamitous Circumstances, does but raise my Spirits and give me the Alarm; but when he skilfully seems to be out of Breath, and is brought too low to say more; and upon a second Reflection, cry, only wiping his Eyes, What, both my Children! Both, both my Children gone--There is no resisting a Sorrow which seems to have cast about for all the Reasons possible for its Consolation, but has no Recource. There is not one left, but both, both are murdered! Such sudden Starts from the Thread of the Discourse, and a plain Sentiment express'd in an artless Way, are the irresistible Strokes of Eloquence and Poetry."--"Tatler," No. 68, September 15th, 1709.

The extraordinary language of Macduff is quoted from Davenant's mutilation of Shakespeare's play. Obviously it is not Shakespeare's language.]

[Footnote 171: Charles Williams was a young actor of great promise, who died in 1731. On the production of Thomson's "Sophonisba" at Drury Lane, on February 28th, 1730, Cibber played Scipio, but was so hissed by a public that would not suffer him in tragic parts, that he resigned the character to Williams. (See Footnote 201, vol. i. anchored on page 179.) This would seem to indicate that Williams was an actor of some position, for Scipio is a good part.]

[Footnote 172: "In the strong expression of horror on the murder of the King, and the loud exclamations of surprize and terror, Booth might have exceeded the utmost efforts of Wilks. But, in the touches of domestic woe, which require the feelings of the tender father and the affectionate husband, Wilks had no equal. His skill, in exhibiting the emotions of the overflowing heart with corresponding look and action, was universally admired and felt. His rising, after the suppression of his anguish, into ardent and manly resentment, was highly expressive of noble and generous anger."--"Dram. Misc.," ii. 183.]

[Footnote 173: This revival took place 11th January, 1726. The play was acted eleven times.]

[Footnote 174: Jeremy Collier specially attacked Vanbrugh and his comedies for their immorality and profanity, and for their abuse of the clergy. Even less strict critics than Collier considered Vanbrugh's pieces as more indecent than the average play. Thus the author of "Faction Display'd," 1704, writes:--

"_Van_'s Baudy, Plotless Plays were once our boast, But now the Poet's in the Builder lost."]

[Footnote 175: Davies ("Dram. Misc.," iii. 455) says that he supposes Cibber prevailed upon Vanbrugh to alter the disguise which Sir John Brute assumes from a clergyman's habit to that of a woman of fashion.]

[Footnote 176: Sir John Brute.]

[Footnote 177: Cibber's meaning is not very clear, but if he intends to convey the idea that it was for this revival that Vanbrugh made these alterations, he is probably wrong, for when the play was revived at the Haymarket, on 19th January, 1706, it was announced as "with alterations."]

[Footnote 178: Mrs. Oldfield played Lady Brute, whose lover Constant is.]

[Footnote 179: Wilks played Constant; Booth, Heartfree; and Cibber, Sir John Brute.]

[Footnote 180: Cibber begins the seventh chapter of this work with an account of Betterton's troubles as a manager. See vol. i. p. 227. See also vol. i. p. 315.]

[Footnote 181:

"Ye Gods, what Havock does Ambition make Among your Works!"--"Cato," act i. sc. 1.]

[Footnote 182:

"And, in despair their empty pit to fill, Set up some Foreign monster in a bill. Thus they jog on, still tricking, never thriving, And murdering plays, which they miscall reviving."

"Address to Granville, on his Tragedy, _Heroic Love_."]

[Footnote 183: "During Booth's inability to act, ... Wilks was called upon to play two of his parts--Jaffier, and Lord Hastings in Jane Shore. Booth was, at times, in all other respects except his power to go on the stage, in good health, and went among the players for his amusement His curiosity drew him to the playhouse on the nights when Wilks acted these characters, in which himself had appeared with uncommon lustre. All the world admired Wilks, except his brother-manager: amidst the repeated bursts of applause which he extorted, Booth alone continued silent."--Davies ("Dram. Misc.," iii. 256).]

[Footnote 184: Aaron Hill, quoted by Victor in his "Life of Barton Booth," page 32, says: "The Passions which he found in Comedy were not strong enough to excite his Fire; and what seem'd Want of Qualification, was only Absence of Impression."]

[Footnote 185: Wilks can have seen Mountfort only in his early career, for he did not leave Ireland till, at least, 1692; and in that year Mountfort was killed.]

[Footnote 186: Wilks first played Othello in this country on June 22nd, 1710, for Cibber's benefit. Steele draws attention to the event in "Tatler," No. 187, and in No. 188 states his intention of stealing out to see it, "out of Curiosity to observe how _Wilks_ and _Cibber_ touch those Places where _Betterton_ and _Sandford_ so very highly excelled." Cibber was the Iago on this occasion. Steele probably found little to praise in either.]

[Footnote 187: The Earl of Essex, in Banks's "Unhappy Favourite," was one of Wilks's good parts, in which Steele ("Tatler," No. 14) specially praises him. Booth acted the part at Drury Lane on November 25th, 1709.]

[Footnote 188: See Cibber on Betterton's Hamlet and on Wilks's mistakes in the part, vol. i. page 100.]

[Footnote 189: In the Theatre Français a similar arrangement holds to this day, Tuesday being now the fashionable night. M. Perrin, the late manager, was accused of a too great attention to his _Abonnés du Mardi_, to the detriment of the theatre and of the general public.]

[Footnote 190: See _ante,_ vol. i. page 234.]

[Footnote 191: Arcangelo Corelli, a famous Italian musician, born 1653, died 1713, who has been called the father of modern instrumental music.]

[Footnote 192: Jeanne Catherine Gaussin, a very celebrated actress of the Comédie Française, was the original representative of Zaïre, in Voltaire's tragedy, to which Cibber refers. She made her first Parisian appearance in 1731; she retired in 1763, and died on 9th June, 1767. Voltaire's "Zaïre" owed much of its success to her extraordinary ability.]

[Footnote 193: Cibber has been strongly censured for his treatment of authors. "The Laureat" gives the following account of an author's experiences: "_The Court sitting, Chancellor Cibber_ (for the other two, like M----rs in _Chancery_, sat only for Form sake, and did not presume to judge) nodded to the Author to open his Manuscript. The Author begins to read, in which if he failed to please the _Corrector_, he wou'd condescend sometimes to read it for him: When, if the play strook him very warmly, as it wou'd if he found any Thing new in it, in which he conceived he cou'd particularly shine as an Actor, he would lay down his Pipe, (for the _Chancellor_ always smoaked when he made a Decree) and cry, _By G--d there is something in this: I do not know but it may do; but I will play such a Part_. Well, when the Reading was finished, he made his proper Corrections and sometimes without any Propriety; nay, frequently he very much and very hastily maimed what he pretended to mend" (p. 95). The author also accuses Cibber of delighting in repulsing dramatic writers, which he called "Choaking of Singing birds." However, in Cibber's defence, Genest's opinion may be quoted (iii. 346): "After all that has been said against Chancellor Cibber, it does not appear that he often made a wrong decree: most of the good plays came out at Drury Lane--nor am I aware that Cibber is much to be blamed for rejecting any play, except the Siege of Damascus in the first instance."]

[Footnote 194: In the preface to "The Lunatick" (1705) the actors are roundly abused; but the most amusing attack on actors is in the following title-page: "The Sham Lawyer: or the Lucky Extravagant. As it was _Damnably_ Acted at the Theatre-Royal in Drury Lane." This play, by Drake, was played in 1697, and among the cast were Cibber, Bullock, Johnson, Haines, and Pinkethman.

Bellchambers notes: "Such was the case in Dennis's 'Comic Gallant,' where one of the actors, whom I believe to be Bullock, is most severely handled." I think he is wrong in imagining Bullock to be the actor criticised. Dennis says that Falstaffe was the character that was badly sustained, and I cannot believe Bullock's position would entitle him to play that part in 1702. Genest (ii. 250) suggests Powell as the delinquent.]

[Footnote 195: Cibber's account of Booth is so complete that there is little to be added to it. Booth was born in 1681, and was of a good English family. He first appeared in Dublin in 1698, under Ashbury, but returned to England in 1700, and joined the Lincoln's Inn Fields Company. He followed the fortunes of Betterton until, as related by Cibber in Chapter XII., the secession of 1709 occurred. From that point to his retirement the only event demanding special notice is his marriage with Hester Santlow (see p. 96 of this volume). This took place in 1719, and was the cause of much criticism and slander, some of which Bellchambers reproduces with evident gusto. I do not repeat his statements, because I consider them wildly extravagant. They are fully refuted by Booth's will, from the terms of which it is clear that his marriage was a happy one, and that he esteemed his wife as well as loved her. Booth's illness, to which Cibber refers above, seized him early in the season of 1726-27, and though after it he was able to play occasionally, he was never restored to health. His last appearance was on 9th January, 1728, but he lived till 10th May, 1733.]

[Footnote 196: See memoir of Mrs. Oldfield at end of volume.]

[Footnote 197: Mrs. Porter met with the accident referred to in the summer of 1731. See Davies, "Dram. Misc.," iii. 495. She returned to the stage in January, 1733.]

[Footnote 198: Wilks died 27th September, 1732. He was of English parentage, and was born near Dublin, whither his father had removed, about 1665. He was in a Government office, but about 1691 he gave this up, and went on the stage. After a short probation in Dublin he came over to London, and was engaged by Rich, with whom he remained till about 1695. He returned to Dublin, and became so great a favourite there, that it is said that the Lord Lieutenant issued a warrant to prevent his leaving again for London. However, he came to Drury Lane about 1698, and from that time his fortunes are closely interwoven with Cibber's, and are fully related by him.]

[Footnote 199: "The Laureat," p. 96: "As to the Occasion of your parting with your Share of the Patent, I cannot think you give us the true Reason; for I have been very well inform'd, it was the Intention, not only of you, but of your Brother Menagers, as soon as you could get the great Seal to your Patent, (which stuck for some Time, the then Lord _Chancellor_ not being satisfied in the Legality of the Grant) to dispose it to the best Bidder. This was at first kept as a Secret among you; but as soon as the Grant was compleated, you sold to the first who wou'd come up to your Price."]

[Footnote 200: Among the Lord Chamberlain's Papers is a copy of a warrant to prepare this Patent. It is dated 15th May, 1731, and the Patent itself is dated 3rd July, 1731, though it did not take effect till 1st September, 1732. The reason for this is noted on page 196.]

[Footnote 201: "The Grub-Street Journal," 7th June, 1733, says: "One little Creature, only the Deputy and Representative of his Father, was turbulent enough to balk their Measures, and counterbalance all the Civility and Decency in the other scale.... To remedy this, the Gentleman who bought into the Patent first, purchased his Father's Share, and set him down in the same obscure Place from whence he rose."]

[Footnote 202: In "The Case of John Mills, James Quin," &c., given in Theo. Cibber's "Dissertations" (Appendix, p. 48), it is stated that "such has been the Inveteracy of some of the late Patentees to the Actors, that when Mrs. _Booth_, Executrix of her late Husband, _Barton Booth_, Esq; sold her sixth part of the Patent to Mr. _Giffard_, she made him covenant, not to sell or assign it to Actors."]

[Footnote 203: "I must own, I was heartily disgusted with the Conduct of the Family of the _Cibbers_ on this Occasion, and had frequent and violent Disputes with Father and Son, whenever we met! It appeared to me something shocking that the Son should immediately render void, and worthless, what the Father had just received Thirty-one Hundred and Fifty Pounds for, as a valuable Consideration."--Victor's "History," i. 14.]

[Footnote 204: Cibber, in Chapter VIII. (vol. i. p. 283), alludes to this trial, and gives the first of these two suppositions as the reason of Harper's acquittal, but Victor ("History," i. 24) says that he has been informed that this is an error.]

[Footnote 205: "He was a Man of Humanity and strict Honour; many Instances fatally proved, that his Word, when solemnly given, (which was his Custom) was sufficient for the Performance, though ever so injurious to himself."--Victor's "History," i. 25.]

[Footnote 206: See _ante_, Chapter IX. (vol. i. Footnote 367 anchored on page 330)]

[Footnote 207: "The clamour against the author, whose presumption was highly censured for daring to alter Shakspeare, increased to such a height, that Colley, who had smarted more than once for dabbling in tragedy, went to the playhouse, and, without saying a word to any body, took the play from the prompter's desk, and marched off with it in his pocket."--"Dram. Misc.," i. 5.]

[Footnote 208: Produced at the Haymarket, 1737.]

[Footnote 209:

"Enter Ground-Ivy.

_Ground._ What are you doing here?

_Apollo._ I am casting the Parts in the Tragedy of King _John_.

_Ground._ Then you are casting the Parts in a Tragedy that won't do.

_Apollo._ How, Sir! Was it not written by _Shakespear_, and was not _Shakespear_ one of the greatest Genius's that ever lived?

_Ground._ No, Sir, _Shakespear_ was a pretty Fellow, and said some things that only want a little of my licking to do well enough; King _John_, as now writ, will not do----But a Word in your Ear, I will make him do.

_Apollo._ How?

_Ground._ By Alteration, Sir; it was a Maxim of mine when I was at the Head of Theatrical Affairs, that no Play, tho' ever so good, would do without Alteration."--"Historical Register," act iii. sc. 1.]

[Footnote 210: These appearances took place on January 12th, 13th, and 14th, 1741.]

[Footnote 211: Fondlewife's pet name for his wife Lætitia.]

[Footnote 212: Lætitia's pet name for Fondlewife. See vol. i. page 206.]

[Footnote 213: An allusion to his own phrase in the Preface to "The Provoked Husband." See vol. i. page 51.]

[Footnote 214: The name "Susannah Maria" naturally suggests Susanna Maria Arne, the wife of Theo. Cibber; but the anecdote cannot refer to her, because she was married in 1734, some years before Cibber began his "Apology."]

[Footnote 215: Davies ("Dram. Misc.," iii. 501) says: "Mr. Garrick asked him [Cibber] if he had not in his possession, a comedy or two of his own writing.--'What then?' said Cibber.--'I should be glad to have the honour of bringing it into the world.'--'Who have you to act it?'--'Why, there are (said Garrick) Clive and Pritchard, myself, and some others,' whom he named.--'No! (said the old man, taking a pinch of snuff, with great nonchalance) it won't do.'" Davies (iii. 502) relates how Garrick drew on himself a rebuke from Cibber. Discussing in company the old school, "Garrick observed that the old style of acting was banishing the stage, and would not go down. 'How do you know? (said Cibber); you never tried it.'"]

[Footnote 216: "Papal Tyranny in the Reign of King John."

KING JOHN Mr. Quin. ARTHUR, his Nephew Miss J. Cibber. SALISBURY Mr. Ridout. PEMBROKE Mr. Rosco. ARUNDEL Mr. Anderson. FALCONBRIDGE Mr. Ryan. HUBERT Mr. Bridgewater. KING PHILIP } { Mr. Hale. LEWIS the Dauphin } of France { Mr. Cibber, Jun. MELUN, a Nobleman } { Mr. Cashell. PANDULPH, Legate from Pope Innocent Mr. Cibber, Sen. ABBOT } of Angiers { Mr. Gibson. GOVERNOR } { Mr. Carr. LADY CONSTANCE Mrs. Pritchard. BLANCH, Niece to King John Mrs. Bellamy.]

[Footnote 217: "_On_ CIBBER'S _Declaration that he will have the last Word with Mr. POPE._

QUOTH _Cibber_ to _Pope_, tho' in Verse you foreclose, I'll have the last Word, for by G--d I'll write Prose. Poor _Colley_, thy reas'ning is none of the strongest, For know, the last Word is the Word that lasts longest." "The Summer Miscellany," 1742.]

[Footnote 218: This play was produced at Drury Lane, 16th January, 1717; and the performance of "The Rehearsal" referred to took place on the 7th February.]

[Footnote 219: The Earl of Warwick was the young nobleman, and it is said in Dillworth's "Life of Pope" that "the late Commissioner Vaughan" was the other gentleman.]

[Footnote 220: "But Pope's irascibility prevailed, and he resolved to tell the whole English world that he was at war with Cibber; and, to show that he thought him no common adversary, he prepared no common vengeance; he published a new edition of the 'Dunciad,' in which he degraded Theobald from his painful pre-eminence, and enthroned Cibber in his stead."--Johnson's "Life of Pope."]

[Footnote 221: "Unhappily the two heroes were of opposite characters, and Pope was unwilling to lose what he had already written; he has therefore depraved his poem by giving to Cibber the old books, the old pedantry, and the sluggish pertinacity of Theobald."--Johnson's "Life of Pope."]

[Footnote 222: See _ante_, p. 272.]

[Footnote 223: It has been generally stated that Cibber died on 12th December, 1757, but "The Public Advertiser" of Monday, 12th December, announces his death as having occurred "Yesterday morning." The "Gentleman's Magazine" and the "London Magazine," in their issues for December, 1757, give the 11th as the date.]

[Footnote 224: Mr. Laurence Hutton, in his "Literary Landmarks of London" (p. 54), gives the following interesting particulars regarding Cibber's last resting-place: "Cibber was buried by the side of his father and mother, in a vault under the Danish Church, situated in Wellclose Square, Ratcliff Highway (since named St. George Street). This church, according to an inscription placed over the doorway, was built in 1696 by Caius Gabriel Cibber himself, by order of the King of Denmark, for the use of such of his Majesty's subjects as might visit the port of London. The church was taken down some years ago (1868-70), and St. Paul's Schools were erected on its foundation, which was left intact. Rev. Dan. Greatorex, Vicar of the Parish of St. Paul, Dock Street, in a private note written in the summer of 1883, says:--

"'Colley Cibber and his father and mother were buried in the vault of the old Danish Church. When the church was removed, the coffins were all removed carefully into the crypt under the apse, and then bricked up. So the bodies are still there. The Danish Consul was with me when I moved the bodies. The coffins had perished except the bottoms. I carefully removed them myself personally, and laid them side by side at the back of the crypt, and covered them with earth.'"]

[Footnote 225: Shakespeare's "Richard III." was produced at the Lyceum Theatre on 29th January, 1877. It was announced as "strictly the original text, without interpolations, but simply with such omissions and transpositions as have been found essential for dramatic representation." In Richard Mr. Irving's great powers are seen to special advantage.

The cast of Cibber's play in 1700 was--

KING HENRY VI., _designed for_ Mr. Wilks. EDWARD, PRINCE OF WALES Mrs. Allison. RICHARD, DUKE OF YORK Miss Chock. RICHARD, DUKE OF GLOUCESTER Mr. Cibber. DUKE OF BUCKINGHAM Mr. Powel. LORD STANLEY Mr. Mills. DUKE OF NORFOLK Mr. Simpson. RATCLIFF Mr. Kent. CATESBY Mr. Thomas. HENRY, EARL OF RICHMOND Mr. Evans. OXFORD Mr. Fairbank. QUEEN ELIZABETH Mrs. Knight. LADY ANN Mrs. Rogers. CICELY Mrs. Powel.]

[Footnote 226: A beautiful Portfolio of Sketches of Mr. Daly's Company has been published, in which is a portrait of Miss Rehan as Hypolita, with a critical note by Mr. Brander Matthews.]

[Footnote 227: This is a specimen of that commonest of blunders, the confusing of the dates of the first month or two of the year. The edict was issued February, 1647-8, that is, 1648. What Bellchambers calls the "subsequent" October was therefore the preceding October. (L.)]

[Footnote 228: See "Historia Histrionica."]

[Footnote 229: Nell Gwyn made her first appearance not later than 1665. Pepys, on the 3rd of April, 1665, mentions "Pretty, witty Nell, at the King's House." (L.)]

[Footnote 230: Should be for the remainder of his life. (L.)]

[Footnote 231: Vide Davies's "Dramatic Miscellanies," vol. iii. p. 264.

Another anecdote of the same kind is found in a "Life of the late famous comedian, J. Haynes," 8vo. 1701, which, as it preserves a characteristic trait of this valuable actor, is worth repeating.

"About this time [1673] there happened a small pick between Mr. Hart and Jo, upon the account of his late negotiation in France,{A} and there spending so much money to so little purpose, or, as I may more properly say, to no purpose at all.

{A} Soon after the theatre in Drury-lane was burnt down, Jan. 1671-2, Haynes had been sent to Paris by Mr. Hart and Mr. Killegrew, to examine the machinery employed in the French Operas.--_Malone._

"There happened to be one night a play acted, called 'Cataline's Conspiracy,' wherein there was wanting a great number of senators. Now Mr. Hart being chief of the house, would oblige Jo to dress for one of these senators, although his salary, being 50_s._ per week, freed him from any such obligation. But Mr. Hart, as I said before, being sole governor of the playhouse, and at a small variance with Jo, commands it, and the other must obey.

"Jo being vexed at the slight Mr. Hart had put upon him, found out this method of being revenged on him. He gets a Scaramouch dress, a large full ruff, makes himself whiskers from ear to ear, puts on his head a long Merry-Andrew's cap, a short pipe in his mouth, a little three-legged stool in his hand; and in this manner follows Mr. Hart on the stage, sets himself down behind him, and begins to smoke his pipe, laugh, and point at him, which comical figure put all the house in an uproar, some laughing, some clapping, and some hollaing. Now Mr. Hart, as those who knew him can aver, was a man of that exactness and grandeur on the stage, that let what would happen, he'd never discompose himself, or mind any thing but what he then represented; and had a scene fallen behind him, he would not at that time look back, to have seen what was the matter; which Jo knowing, remained still smoking. The audience continued laughing, Mr. Hart acting, and wondering at this unusual occasion of their mirth; sometimes thinking it some disturbance in the house, again that it might be something amiss in his dress: at last turning himself toward the scenes, he discovered Jo in the aforesaid posture; whereupon he immediately goes off the stage, swearing he would never set foot on it again, unless Jo was immediately turned out of doors, which was no sooner spoke, but put in practice."]

[Footnote 232: Bellamente is not a female, but a male character. By referring to the mention of this matter in the "Historia Histrionica," it will at once be seen how Bellchambers's blunder was caused. (L.)]

[Footnote 233: "My old friends Hart and Mohun, the one by his natural and proper force, the other _by his great skill and art_, never failed to send me home full of such ideas as affected my behaviour, and made me insensibly more courteous and human to my friends and acquaintance."--"Tatler," No. 99.]

[Footnote 234: The following extract from a pamphlet, called "A Comparison between the Two Stages," will amply evince the popular estimation in which Hart and Mohun were held:--

"The late Duke of Monmouth was a good judge of dancing, and a good dancer himself; when he returned from France, he brought with him St André, then the best master in France. The duke presented him to the stage, the stage to gratify the duke admitted him, and the duke himself thought he would prove a mighty advantage to them, though he had nobody else of his opinion. A day was published in the bills for him to dance, but not one more, besides the duke and his friends came to see him; the reason was, the plays were then so good, and Hart and Mohun acted them so well, that the audience would not be interrupted, for so short a time, though 'twas to see the best master in Europe."

I suspect that Mohun was born about the year 1625, from the circumstance of his acting _Bellamente_, the heroine of Shirley's "Love's Cruelty," in 1640, when he had probably reached, and could hardly have exceeded, the age of fifteen years. (B.)

As has been before pointed out, Bellamente is not a female character. He is the husband of Clariana, and could scarcely be played by a boy. If Mohun represented the character in 1640, he must have been considerably older than Bellchambers imagines. (L.)]

[Footnote 235: This account, though generally rejected, appears to me more deserving of credit than Chetwood's notoriously neglectful habits, in gleaning intelligence, or making assertion.]

[Footnote 236: "I have lately been told by a Gentleman who has frequently seen Mr. _Betterton_ perform this Part of _Hamlet_, that he has observ'd his Countenance (which was naturally ruddy and sanguin) in this Scene of the fourth Act where his Father's Ghost appears, thro' the violent and sudden Emotions of Amazement and Horror, turn instantly on the Sight of his Father's Spirit, as pale as his Neckcloath, when every Article of his Body seem'd to be affected with a Tremor inexpressible; so that, had his Father's Ghost actually risen before him; he could not have been seized with more real Agonies; and this was felt so strongly by the Audience, that the Blood seemed to shudder in their Veins likewise, and they in some Measure partook of the Astonishment and Horror, with which they saw this excellent Actor affected."--"Laureat," 1740, p. 31.

----"I have seen a pamphlet, written above forty years ago, by an intelligent man, who greatly extols the performance of Betterton in this last scene, commonly called the closet scene."--Davies's "Dramatic Miscellanies," vol. iii. p. 112, ed. 1784.]

[Footnote 237: In Gildon's "Life," &c., 1710, there is a copy of Rowe's "Epilogue," stated to have been spoken by Mrs. Barry "at the Theatre Royal, in Drury-lane, April the 7th," and this mistaken date has been perpetuated by the "Biographia Dramatica." [In spite of this contradiction of Gildon and the "Biographia Dramatica," they are right, and Bellchambers is wrong. The date was 7th April, 1709.]]

[Footnote 238: This lady, who was remarkably handsome, married Boman, the actor.]

[Footnote 239: This curiosity, I believe, is still preserved in the Earl of Mansfield's mansion, at Caen-wood.]

[Footnote 240: Pope, in the postscript of a letter to Cromwell, writes thus:--

"----This letter of death puts me in mind of poor Betterton's, over whom I would have this sentence of Tully for an epitaph, which will serve for his moral as well as his theatrical capacity:

'_Vitæ bene actæ jucundissima est recordatio._'"

In another part of his correspondence, he intimates that Betterton's "remains" had been taken care of, alluding, I suppose, to this post-humous forgery.]

[Footnote 241: Mrs. Brown swore she went herself, but appears to have been mistaken.]

[Footnote 242: Bellchambers seems to have had a craze on the subject of Mrs. Bracegirdle's character, which he vilifies on every possible opportunity. His opinion here appears to me very questionable.]

[Footnote 243: Sandford played Worm in "The Cutter of Coleman Street" as early as 1661. (L.)]

[Footnote 244: Cibber says that Nokes, Mountfort, and Leigh, "died about the same year," _viz._ 1692.]

[Footnote 245: "Roscius Anglicanus."]

[Footnote 246: I find, on looking over the "Roscius Anglicanus," that _Trinculo_ is termed _Duke Trinculo_, in a short reference to the "Tempest."]

[Footnote 247: "Dramatic Miscellanies," vol. ii. p. 323.]

[Footnote 248: "That Verbruggen and Cibber did not accord, is plainly insinuated by the author of the Laureat. It was known that the former would resent an injury, and that the latter's valour was entirely passive. The temper of Verbruggen may be known, from a story which I have often been told by the old comedians as a certain fact, and which found its way into some temporary publication.

"Verbruggen, in a dispute with one of King Charles's illegitimate sons, was so far transported by sudden anger, as to strike him, and call him a son of a whore. The affront was given, it seems, behind the scenes of Drury-lane. Complaint was made of this daring insult on a nobleman, and Verbruggen was told, he must either not act in London, or submit publicly to ask the nobleman's pardon. During the time of his being interdicted acting, he had engaged himself to Betterton's theatre. He consented to ask pardon, on liberty granted to express his submission in his own terms. He came on the stage dressed for the part of _Oroonoko_, and, after the usual preface, owned that he had called the Duke of St. A. a son of a whore. 'It is true,' said Verbruggen, 'and I am sorry for it.' On saying this, he invited the company present to see him act the part of _Oroonoko_, at the theatre in Lincoln's-inn-fields."--"Dramatic Miscellanies," vol. iii. p. 447.]

[Footnote 249: "A fellow with a crackt voice: he clangs his words as if he spoke out of a broken drum."--"Comparison, &c.," 1702.]

[Footnote 250: "History of the Stage," p. 136.]

[Footnote 251: There was also a David Williams; perhaps the person who played the _2d Grave-digger_, in "Hamlet." (B.) [Genest gives this part to Joseph Williams.]]

[Footnote 252: "Dramatic Miscellanies," vol. iii. p. 209.]

[Footnote 253: "Life of Betterton," p. 16.]

[Footnote 254: Downes expressly mentions her as Mrs. Betterton for _Camilla_ [should be _Portia_], in the "Adventures of Five Hours," 1663; and she also acted by that name, a few months after, in the "Slighted Maid." This error originated with the "Biographia Britannica," but Mr. Jones, the late slovenly editor of the book alluded to, had ample means to correct it. (B.)]

[Footnote 255: "You'll have Pinkethman and Bullock helping out Beaumont and Fletcher."--Tatler, No. 89.]

[Footnote 256: "Tatler," No. 201.]

[Footnote 257: "Dramatic Miscellanies," vol. ii. p. 133.]

[Footnote 258: "Dramatic Miscellanies," vol. iii. p. 465.]

[Footnote 259: It is supposed that she was engaged in a tender intercourse with Farquhar, and was the "Penelope" of his amatory correspondence. She lived successively with Arthur Mainwaring, one of the most accomplished characters of his age, and General Churchill; by each of whom she had a son.]

[Footnote 260: This fact is firmly denied in Cibber's "Lives of the Poets," and with a pointed reference to Johnson's admission of it.--Vol. v. p. 33.]

[Footnote 261: Savage, however, was _not_ silent; though he abstained from putting his name to the poem, he indisputably wrote upon Mrs. Oldfield's death. It is preserved in Chetwood's "History."]

[Footnote 262: What can be more ridiculous than the following anecdote?

Mrs. Oldfield happened to be in some danger in a Gravesend boat, and when the rest of the passengers lamented their imagined approaching fate, she, with a conscious dignity, told them their deaths would be only a private loss;--"But I am a public concern."--"Dramatic Miscellanies," vol. i. p. 227.]

[Footnote 263: The bitterness of Pope's muse subsided upon no occasion, where the name of Mrs. Oldfield might be aptly introduced. Thus in the "Sober Advice from Horace," one of his inedited poems:

Engaging Oldfield! who, with grace and ease, Could join the arts to ruin and to please.]

* * * * * *

Transcription note:

The original spelling and grammar have been retained. Footnotes have been moved to the end of this work. Minor adjustments to hyphenation and other punctuation have been made without annotation.

Typographical Changes to this volume:

pg 44 Sir Thomas Shipwith[Skipwith], had trusted pg 103 of so grave and stanch[staunch] a Senator pg 113 have been in our Power so throughly[thoroughly] to pg 159 he expresly[expressly] wrote for him pg 241 upon the Model of Monfort[Mountfort not corrected] pg 349 The "famous Mr. Antony[Anthony] Leigh," pg 370 nor can their[there] be a doubt pg 289 Added heading [Bibliography of Colley Cibber] fn 26 two of these parts belonged to Skipwith[Shipwith]