Note 1 — Chapter X

That is, "The Beaux' Stratagem," by Farquhar, produced 8th March, 1707. Cibber played the part of Gibbet.

[2] "Lady's Last Stake; or, the Wife's Resentment," a comedy by Cibber, produced 13th December, 1707.

Lord Wronglove Mr. Wilks.

Sir George Brillant Mr. Cibber.

Sir Friendly Moral Mr. Keene.

Lady Wronglove Mrs. Barry.

Lady Gentle Mrs. Rogers.

Mrs. Conquest Mrs. Oldfield.

Miss Notable Mrs. Cross.

[3] "The Double Gallant; or, the Sick Lady's Cure," a comedy by Cibber, produced 1st November, 1707.

Sir Solomon Sadlife Mr. Johnson.

Clerimont Mr. Booth.

Careless Mr. Wilks.

Atall Mr. Cibber.

Captain Strut Mr. Bowen.

Sir Squabble Splithair Mr. Norris.

Saunter Mr. Pack.

Old Mr. Wilful Mr. Bullock.

Sir Harry Atall Mr. Cross.

Supple Mr. Fairbank.

Lady Dainty Mrs. Oldfield.

Lady Sadlife Mrs. Crosse.

Clarinda Mrs. Rogers

Sylvia Mrs. Bradshaw.

Wishwell Mrs. Saunders.

Situp Mrs. Brown.

[4] The plays from which Cibber compiled "The Double Gallant" are "Love at a Venture," "The Lady's Visiting Day," and "The Reformed Wife" (Genest, ii. 389).

[5] Eighteenpence was for many years the recognized price of plays when published.

[6] These were played on 14th January, 21st January, and 4th February, 1707, in the order Cibber gives them. The alteration of Dryden's plays was done by Cibber, and was called "Marriage à la Mode; or, the Comical Lovers."

Celadon Mr. Cibber.

Palamede Mr. Wilks.

Rhodophil Mr. Booth.

Melantha Mrs. Bracegirdle.

Florimel Mrs. Oldfield.

Doralice Mrs. Porter.

I have not seen a copy of this, so take the cast from Genest.

[7] An elephant was introduced into the pantomime of "Harlequin and Padmanaba," at Covent Garden, 26th December, 1811. Genest points out that one had appeared at Smock Alley Theatre, Dublin, in 1771-2.

[8] In Mr. Percy Fitzgerald's "New History of the English Stage" (ii. 436) he gives an interesting memorandum by the Hon. Sir Spencer Ponsonby-Fane regarding this point. It begins: "That the Chamberlain's authority proceeded from the Sovereign alone is clear, from the fact that no Act of Parliament, previous to the 10 Geo. II., c. 28 (passed in 1737), alludes to his licensing powers, though he was constantly exercising them."

[9] Langbaine, in his "Account of the English Dramatick Poets," 1691, says (p. 212): "Maids Tragedy, a Play which has always been acted with great Applause at the King's Theatre; and which had still continu'd on the English Stage, had not King Charles the Second, for some particular Reasons forbid its further Appearance during his Reign. It has since been reviv'd by Mr. Waller, the last Act having been wholly alter'd to please the Court."

I think there can be little doubt that the last reason suggested by Cibber was the real cause of the prohibition.

[10] Produced at Dorset Garden, 1681.

[11] Produced at Dorset Garden, 1690. See ante, vol. i. p. 187. I presume that the lines alluded to by Cibber are:—

[12] In the "Biographia Dramatica" (iii. 24) the following note appears: "Mary Queen of Scotland. A play under this title was advertised, among others, as sold by Wellington, in St. Paul's Churchyard, in 1703." But the work Cibber refers to is "The Island Queens; or, the Death of Mary Queen of Scots," a tragedy by John Banks, printed in 1684, but not produced till 6th March, 1704, when it was played at Drury Lane as "The Albion Queens."

[13] "The Unhappy Favourite; or, the Earl of Essex," produced at the Theatre Royal, 1682.

[14] "Virtue Betrayed; or, Anna Bullen," first acted at Dorset Garden, 1682.

[15] Bellchambers notes here that this order was superfluous, because the prohibition was inserted in the Patents given to Davenant and Killigrew. But, whether superfluous or not, I find from the Records of the Lord Chamberlain's Office that this order was frequently made. On 16th April, 1695, an edict was issued forbidding actors to desert from Betterton's company; on 25th July, 1695, desertions from either company were forbidden; and this latter order was reiterated on 27th May, 1697.

[16] I do not know whether it is merely a coincidence, but it is curious that, after Betterton got his License (on 25th March, 1695), an edict was issued that no one was to desert from his company to that of the Theatre Royal; while a general order against any desertion from either company to the other was not issued for more than three months after the first edict. The dates, as given in the Records of the Lord Chamberlain's Office, are 16th April and 25th July respectively. If this were intentional, it would form a curious commentary on Cibber's statement.

[17] Genest supposes that this incident occurred about June, 1704. But the Lord Chamberlain's Records of that time contain no note of it, and Cibber's language scarcely bears the interpretation that three years elapsed between Powell's leaving Drury Lane and returning to it, as was the case at that time; for he was at Lincoln's Inn Fields for three seasons, 1702 to 1704. I find, however, a warrant, dated 14th November, 1705, to apprehend Powell for refusing to act his part at the Haymarket, so that the audience had to be dismissed, and for trying to raise a mutiny in the company. He was ordered to be confined in the Porter's Lodge until further notice. On the 24th November Rich was informed that Powell had deserted the Haymarket, and was warned not to engage him. Now these desertions must have followed each other pretty closely, for he was at Drury Lane in the beginning of 1705; at the Haymarket in April of the same year; and about six months later had deserted the latter. The sequel to this difficulty seems to be the silencing of Rich for receiving Powell, on 5th March in the fifth year of Queen Anne's reign, that is, 1707. Unless the transcriber of the Records has made a mistake in the year, Powell was thus suspended for about eighteen months. It will be noticed that Cibber does not say that he was acting the night after his release, but merely that he was behind the scenes.

[18] Among the Lord Chamberlain's Records is a copy of a decree suspending all performances at Drury Lane because Powell had been allowed to play. This is dated 3rd May, 1698. His offence was that he had drawn his sword on Colonel Stanhope and young Davenant. The suspension was removed the following day; but on the 19th of the same month Powell was forbidden to be received at either Drury Lane or Dorset Garden.

[19] A warrant was issued to apprehend Dogget and take him to the Knight Marshall's Prison, on 23rd November, 1697, his offence being desertion of the company of Drury Lane and Dorset Garden. The Records contain no note as to the termination of the matter; but this is, beyond doubt, the occasion referred to by Cibber.

[20] Horace, Epis., i. 6, 68.

[21] At Drury Lane, 14th April, 1713.

[22] This is a pretty way of putting what Johnson, in his Life of Addison, afterwards stated in the well-known words: "The Whigs applauded every line in which Liberty was mentioned, as a satire on the Tories; and the Tories echoed every clap to show that the satire was unfelt." In the next paragraph Johnson describes the play as "supported by the emulation of factious praise."

[23] I confess I do not know Cibber's authority for this statement.

[24] "The Laureat" abuses Cibber for this sentence, declaring that he evidently considered "Sophocles" to be the name of a tragedy. But Cibber's method of expression, though curious, does not justify this attack.

[25] "Caviare to the general."—"Hamlet," act ii. sc. 2.

[26] Malone supposes that Skipwith acquired his shares from the Killigrew family, but in the indenture by which he transferred his interest to Brett, it seems as if he had acquired part of it from Alexander Davenant, and the remainder by buying up shares of the original Adventurers. The indenture will be found at length in Mr. Percy Fitzgerald's "New History of the English Stage," i. 252. Skipwith is described in the "Biog. Dram." (i. 487) as "a weak, vain, conceited coxcomb." The proportion in which the shares were divided among the various holders is shown by the "Opinion" of Northey and Raymond, in 1711, to have been this: Three-twentieths belonged to Charles Killigrew. The remainder was divided into tenths, of which two-tenths belonged to Rich; the other eight parts were owned by the Mortgagees or Adventurers. If Cibber's supposition is correct, two of these parts belonged to Shipwith.

[27] It is dated 6th October, 1707.

[28] As noted vol. i. p. 213, January, 1695, Old Style; that is, January, 1696.

[29] Davies ("Dram. Misc.," iii. 84) says: "The heads of the English actors were, for a long time, covered with large full-bottomed perriwigs, a fashion introduced in the reign of Charles II., which was not entirely disused in public till about the year 1720. Addison, Congreve, and Steele, met at Button's coffee-house, in large, flowing, flaxen wigs; Booth, Wilks, and Cibber, when full-dressed, wore the same. Till within these twenty-five years, our Tamerlanes and Catos had as much hair on their heads as our judges on the bench.... I have been told, that he [Booth] and Wilks bestowed forty guineas each on the exorbitant thatching of their heads."

[30] "The Laureat," p. 66, relates with great acrimony an anecdote of Colonel Brett's reproving Cibber harshly for his treatment of an author who had submitted a play to him. Cibber is said to have opened the author's M.S., and, having read two lines only, to have returned it to him saying, "Sir, it will not do." Going to Button's, he related his exploit with great glee, but was rebuked in the strongest terms by Colonel Brett, who is said to have put him to shame before the whole company. This is related as having occurred many years after the time Cibber now writes of; the suggestion being that Brett did not consider Cibber as a friend.

[31] This was the Countess of Macclesfield, the supposed mother of Richard Savage, who had a large fortune in her own right, of which she was not deprived on her divorce from the Earl of Macclesfield. Shortly after her divorce, probably about 1698, she married Brett. She lived to be eighty, or over it, dying 11th October, 1753.

[32] A comedy by Mountfort the actor, originally played at the Theatre Royal, 1691. The part of Young Reveller was then taken by the author, and we have no record of Cibber's playing it before 1708; but from this anecdote he must have done so ten years earlier.

[33] In Boswell's Life of Johnson (i. 174) there is a note by Boswell himself:—

"Miss Mason, after having forfeited the title of Lady Macclesfield by divorce, was married to Colonel Brett, and, it is said, was well known in all the polite circles. Colley Cibber, I am informed, had so high an opinion of her taste and judgement as to genteel life, and manners, that he submitted every scene of his Careless Husband to Mrs. Brett's revisal and correction. Colonel Brett was reported to be too free in his gallantry with his Lady's maid. Mrs. Brett came into a room one day in her own house, and found the Colonel and her maid both fast asleep in two chairs. She tied a white handkerchief round her husband's neck, which was a sufficient proof that she had discovered his intrigue; but she never at any time took notice of it to him. This incident, as I am told, gave occasion to the well-wrought scene of Sir Charles and Lady Easy and Edging."

[34] See note, vol. i. p. 301.

[35] 1707. See note on page 3 of this vol.

[36] The edict which ordered this division of plays and operas is dated 31st December, 1707. Each theatre is ordered to confine itself to its own sphere on pain of being silenced; and no other theatre is permitted to be built. A copy of the edict is given by Mr. Percy Fitzgerald ("New History," i. 258), but it is not a verbatim copy of the original in the Lord Chamberlain's Office, though it contains all that is of importance in it.

[37] At the Union, 1707-8, the Lord Chamberlain took measures to assert his supremacy. Under date 6th January, 1708, he orders that no actors are to be engaged at Drury-Lane who are not Her Majesty's servants, and he therefore directs the managers to send a list of all actors to be sworn in.

[38] Bellchambers notes that Mrs. Tofts "sang in English, while her associates responded in Italian."

[39] The whole passage regarding Nicolini is:—

"I went on Friday last to the Opera, and was surprised to find a thin House at so noble an Entertainment, till I heard that the Tumbler was not to make his Appearance that Night. For my own Part, I was fully satisfied with the Sight of an Actor, who, by the Grace and Propriety of his Action and Gesture, does Honour to an human Figure, as much as the other vilifies and degrades it. Every one will easily imagine I mean Signior Nicolini, who sets off the Character he bears in an Opera by his Action, as much as he does the Words of it by his Voice. Every Limb, and every Finger, contributes to the Part he acts, insomuch that a deaf Man might go along with him in the Sense of it. There is scarce a beautiful Posture in an old Statue which he does not plant himself in, as the different Circumstances of the Story give Occasion for it. He performs the most ordinary Action in a Manner suitable to the Greatness of his Character, and shows the Prince even in the giving of a Letter, or the dispatching of a Message. Our best Actors are somewhat at a Loss to support themselves with proper Gesture, as they move from any considerable Distance to the Front of the Stage; but I have seen the Person of whom I am now speaking, enter alone at the remotest Part of it, and advance from it with such Greatness of Air and Mien, as seemed to fill the Stage, and at the same Time commanded the Attention of the Audience with the Majesty of his Appearance."—"Tatler," No. 115, January 3rd, 1710.

[40] An excellent account of Mrs. Tofts is given by Mr. Henry Morley in a note on page 38 of his valuable edition of the "Spectator." She was the daughter of one of Bishop Burnet's household, and had great natural gifts. In 1709 she was obliged to quit the stage, her mental faculties having failed; but she afterwards recovered, and married Mr. Joseph Smith, a noted art patron, who was appointed English Consul at Venice. Her intellect again became disordered, and she died about the year 1760.

[41] Cibber's most notorious blunder in language was made in this sentence. In his first edition he wrote "was then but an Adept in it," completely reversing the meaning of the word "Adept." Fielding ("Champion," 22nd April, 1740) declares Cibber to be a most absolute Master of English, "for surely he must be absolute Master of that whose Laws he can trample under Feet, and which he can use as he pleases. This Power he hath exerted, of which I shall give a barbarous Instance in the Case of the poor Word Adept.... This Word our great Master hath tortured and wrested to signify a Tyro or Novice, being directly contrary to the Sense in which it hath been hitherto used." It is of course conceivable that the error was a printer's error not corrected in reading the proof.

[42] Nicolini was the stage name of the Cavalier Nicolo Grimaldi. Dr. Burney says: "This great singer, and still greater actor, was a Neapolitan; his voice was at first a soprano, but afterwards descended into a fine contralto." He first appeared, about 1694, in Rome, and paid his first visit to England in 1708. Valentini Urbani was a castrato, his voice was not so strong as Nicolini's, but his action was so excellent that his vocal defects were not noticed.—"General History of Music," 1789, iv. 207, 205.

[43] Colonel Brett, by an indenture dated 31st March, 1708, made Wilks, Estcourt, and Cibber, his deputies in the management of the theatre. Genest (ii. 405) says this was probably "31st March, 1708, Old Style," by which I suppose he means March, 1709. But I cannot see why he should think this. Brett entered into management in January, 1708, and was probably out of it by March, 1709. It may be that Genest supposes that this indenture marks the end of Brett's connection with the theatre; whereas it was probably one of his first actions. It will be remembered that he stated his intention of benefitting Cibber by taking the Patent (see ante, p. 42). A copy of the indenture is given by Mr. Percy Fitzgerald ("New History," ii. 443). It is dated 31st March in the seventh year of Queen Anne's reign, that is, 1708.

[44] On p. 328 of vol. i., Cibber says that Rich (about 1705) had led the Adventurers "a Chace in Chancery several years." From the petition presented in 1709 against the order silencing Rich, we learn that the principal Adventurers were: Lord Guilford, Lord John Harvey, Dame Alice Brownlow, Mrs. Shadwell, Sir Edward Smith, Bart., Sir Thomas Skipwith, Bart., George Sayer, Charles Killegrew, Christopher Rich, Charles Davenant, John Metcalf, Thomas Goodall, Ashburnham Toll, Ashburnham Frowd, William East, Richard Middlemore, Robert Gower, and William Collier. It is curious that everyone who has reproduced this list has, as far as I know, mistaken the name "Frowd," calling it "Trowd." The earliest reproduction of the list of names which I know is in the "Dramatic Censor," 1811, col. III.

[45] I do not know when Sir Thomas Skipwith died; but in 1709 the petition of the Adventurers, &c., is signed by, among others, Sir Thomas Skipwith.

[46] This anecdote shows that Rich had some sort of Committee of Shareholders to aid (or hinder) him. Subsequent experience has shown, as witness the Drury Lane Committee at the beginning of this century, how disastrous such form of management is.

[47] Dr. Doran ("Their Majesties' Servants," 1888 edition, i. 103) gives the following account of Goodman's connection with this plot:—

"King James having saved Cardell's neck, Goodman, out of pure gratitude, perhaps, became a Tory, and something more, when William sat in the seat of his father-in-law. After Queen Mary's death, Scum was in the Fenwick and Charnock plot to kill the King. When the plot was discovered, Scum was ready to peach. As Fenwick's life was thought by his friends to be safe if Goodman could be bought off and got out of the way, the rogue was looked for, at the Fleece, in Covent Garden, famous for homicides, and at the robbers' and the revellers' den, the Dog, in Drury Lane. Fenwick's agent, O'Bryan, erst soldier and highwayman, now a Jacobite agent, found Scum at the Dog, and would then and there have cut his throat, had not Scum consented to the pleasant alternative of accepting £500 a year, and a residence abroad.... Scum suddenly disappeared, and Lord Manchester, our Ambassador in Paris, inquired after him in vain. It is impossible to say whether the rogue died by an avenging hand, or starvation."

[48] This anecdote is valuable as establishing the identity of Captain Griffin with the Griffin who retired (temporarily) from the stage about 1688. See note on page 83 of vol. i.

[49] When Betterton and his associates left the Theatre Royal and opened Lincoln's Inn Fields Theatre. See Chapter VI.

[50] Indulto—In Spain, a duty, tax, or custom, paid to the King for all goods imported.

[51] In the "Answer to Steele's State of the Case," 1720 (Nichols's ed. p. 527), it is said: "After Mr. Rich was again restored to the management of the Play-house, he made an order to stop a certain proportion of the clear profits of every Benefit-play without exception; which being done, and reaching the chief Players as well as the underlings, zealous application was made to the Lord Chamberlain, to oblige Mr. Rich to return the money stopped to each particular. The dispute lasted some time, and Mr. Rich, not giving full satisfaction upon that head, was silenced; during the time of which silence, the chief Players, either by a new License, or by some former (which I cannot absolutely determine, my Memoirs being not at this time by me) set up for themselves, and got into the possession of the Play-house in Drury-lane."

[52] See ante, vol. i., p. 161.

[53] This warning is dated 30th April, 1709, and is a very peremptory document. Rich's treasurer is ordered to pay the actors the full receipts of their benefits, under deduction only of £40 for the charges of the house. See the Order for Silence quoted post, page 73.

[54] Mrs. Bracegirdle retired in February, 1707. Mrs. Barry played up to the end of the season, 1708, that is, up to June, 1708. She does not seem to have been engaged in 1708-9, but she was a member of the Haymarket Company in 1709-10.

[55] From Chapter XVI. it will be seen that Wilks's unfair partiality for John Mills, whom he forced into prominence at Booth's expense, was the leading reason for Booth's remaining with Rich.

[56] The Order for Silence has never, I believe, been quoted. I therefore give it in full. The theatre closed on the 4th of June, 1709, which was Saturday, and did not open again under Rich's management, the Order for Silence being issued on the next Monday.

"Play House in Covent Garden silenc'd. Whereas by an Order dated the 30^th day of Apr^ll last upon the peticon of sev^ll Players &c: I did then direct and require you to pay to the respective Comedians who had benfit plays last winter the full receip^ts of such plays deducting only from each the sume of 40l. for the Charges of the House pursuant to the Articles made w^th y^m at y^e theatre in the Haymarkett and w^ch were promis^d to be made good upon their removall to the Theatre in Covent Garden.

"And whereas I am inform^d y^t in Contempt of the said Ord^r y^u still refuse to pay and detain from the s^d Comedians y^e profits of y^e s^d benefit plays I do therefore for the s^d Contempt hereby silence you from further acting & require you not to perform any Plays or other Theatricall entertainm^ts till further Ord^r; And all her Maj^ts Sworn Comedians are hereby forbid to act any Plays at y^e Theatre in Covent Gardⁿ or else where w^thout my leave as they shall answer the contrary at their perill And &c: Given &c: this 6^th day of June 1709 in the Eighth Year of her Majesty's Reign.

"(Signed) Kent. "To the Manager or Manag^rs } of her Maj^tsCompany of Comedi^ns } for their Patentees." }

I have copied this from the Lord Chamberlain's Records.

[57] "Honoured Sir, July 1. 1710. "Finding by divers of your late Papers, that you are a Friend to the Profession of which I was many Years an unworthy Member, I the rather make bold to crave your Advice, touching a Proposal that has been lately made me of coming into Business, and the Sub-Administration of Stage Affairs. I have, from my Youth, been bred up behind the Curtain, and been a Prompter from the Time of the Restoration. I have seen many Changes, as well of Scenes as of Actors, and have known Men within my Remembrance arrive to the highest Dignities of the Theatre, who made their Entrance in the Quality of Mutes, Joynt-stools, Flower-pots, and Tapestry Hangings. It cannot be unknown to the Nobility and Gentry, That a Gentleman of the Inns of Court, and a deep Intriguer, had some Time since worked himself into the sole Management and Direction of the Theatre. Nor is it less notorious, That his restless Ambition, and subtle Machinations, did manifestly tend to the Extirpation of the good old British Actors, and the Introduction of foreign Pretenders; such as Harlequins, French Dancers, and Roman Singers; which, tho' they impoverish'd the Proprietors, and imposed on the Audience, were for some Time tolerated, by Reason of his dextrous Insinuations, which prevailed upon a few deluded Women, especially the Vizard Masks, to believe, that the Stage was in Danger. But his Schemes were soon exposed, and the Great Ones that supported him withdrawing their Favour, he made his Exit, and remained for a Season in Obscurity. During this Retreat the Machiavilian was not idle, but secretly fomented Divisions, and wrought over to his Side some of the inferior Actors, reserving a Trap Door to himself, to which only he had a Key. This Entrance secured, this cunning Person, to compleat his Company, bethought himself of calling in the most eminent of Strollers from all Parts of the Kingdom. I have seen them all ranged together behind the Scenes; but they are many of them Persons that never trod the Stage before, and so very aukward and ungainly, that it is impossible to believe the Audience will bear them. He was looking over his Catalogue of Plays, and indeed picked up a good tolerable Set of grave Faces for Counsellors, to appear in the famous Scene of Venice Preserved, when the Danger is over; but they being but meer Outsides, and the Actors having a great Mind to play the Tempest, there is not a Man of them when he is to perform any Thing above Dumb Show is capable of acting with a good Grace so much as the Part of Trincalo. However, the Master persists in his Design, and is fitting up the old Storm; but I am afraid he will not be able to procure able Sailors or experienced Officers for Love or Money.

"Besides all this, when he comes to cast the Parts there is so great a Confusion amongst them for Want of proper Actors, that for my Part I am wholly discouraged. The Play with which they design to open is, The Duke and no Duke; and they are so put to it, That the master himself is to act the Conjurer, and they have no one for the General but honest George Powell.

"Now, Sir, they being so much at a Loss for the Dramatis Personæ, viz. the Persons to enact, and the whole Frame of the House being designed to be altered, I desire your Opinion, whether you think it advisable for me to undertake to prompt 'em: For tho' I can clash Swords when they represent a Battel, and have yet Lungs enough to huzza their Victories, I question, if I should prompt 'em right, whether they would act accordingly.—I am

"Your Honour's most humble Servant, "J. Downes.

"P.S. Sir, Since I writ this, I am credibly informed, That they design a New House in Lincoln's-Inn-fields, near the Popish Chapel, to be ready by Michaelmas next; which indeed is but repairing an Old one that has already failed. You know the honest Man who kept the Office is gone already."

[58] The chief actor who remained with Rich was Booth. Among the others were Powell, Bickerstaffe, Pack, Keene, Francis Leigh, Norris, Mrs. Bignell, Mrs. Moor, Mrs. Bradshaw, and Mrs. Knight.

[59] An interesting advertisement was published on Rich's behalf in July, 1709, which gives curious particulars regarding the actors' salaries. I quote it from "Edwin's Eccentricities," i. 219-224, without altering the figures, which, as regards the pence, are rather eccentric:—

"Advertisement concerning the poor Actors, who, under pretence of hard usage from the Patentees, are about to desert their service.

"Some persons having industriously spread about amongst the Quality and others, what small allowances the chief Actors have had this last Winter from the Patentees of Drury Lane Play-house, as if they had received no more than so many poor palatines; it was thought necessary to print the following Account.

"The whole company began to act on the 12th of October, 1708, and left off on the 26th of the same month, by reason of Prince George's illness and death; and began again the 14th of December following, and left off upon the Lord Chamberlain's order, on the 4th of June last, 1709. So acted, during that time, in all 135 days, which is 22 weeks and three days, accounting six acting days to a week.

In that time £ s. d.

To Mr. Wilkes, by salary, for acting, and taking care of the rehearsals; paid 16868

By his Benefit play; 90149

Total 25915

To Mr. Betterton by salary, for acting, 4l. a week for himself, and 1l. week for his wife, although she does not act; paid 112100

By a benefit play at common prices, besides what he got by high prices, and Guineas; paid 7645

188145

To Mr. Eastcourt, at 5l. a week salary; paid 112100

By a benefit play; paid 5186

163186

To Mr. Cibber, at 5l. a week salary; paid 111100

By a benefit play; paid 51010

1621010

To Mr. Mills, at 4l. a week for himself, and 1l. a week for his wife, for little or nothing 112100

By a benefit play paid to him (not including therein what she got by a benefit play) 5814

170114

To Mrs. Oldfield, at 4l. a week salary, which for 14 weeks and one day; she leaving off acting presently after her benefit (viz.) on the 17th of March last, 1708, though the benefit was intended for her whole nine months acting, and she refused to assist others in their benefits; her salary for these 14 weeks and one day came to, and she was paid, 56134

In January she required, and was paid ten guineas, to wear on the stage in some plays, during the whole season, a mantua petticoat that was given her for the stage, and though she left off three months before she should, yet she hath not returned any part of the ten guineas 10150

And she had for wearing in some plays a suit of boys cloaths on the stage; paid 2109

By a benefit play; paid 6278

13267

Certainties in all 107738

"Besides which certain sums above-mentioned, the same actors got by their benefit plays, as follows:

£ s. d.

Note, that Mr. Betterton having had 76l. 4s. 5d. as above mentioned, for two-thirds of the profits by a benefit play, reckoning his tickets for the boxes at 5s. a piece, the pit at 3s. the first gallery at 2s. and the upper gallery at 1s.——But the boxes, pit, and stage, laid together on his day, and no person admitted but by his tickets, the lowest at half a guinea a ticket; nay he had much more, for one lady gave him ten guineas, some five guineas, some two guineas, and most one guinea, supposing that he designed not to act any more, and he delivered tickets out for more persons, than the boxes, pit, and stage could hold; it is thought he cleared at least 450l. over and besides the 76l. 4s. 5d. 45000

'Tis thought Mr. Estcourt cleared 200l. besides the said 51l. 8s. 6d. 20000

That Mr. Wilkes cleared by Guineas, as it is thought, about 40l. besides the said 90l. 14s. 9d. 4000

That Mr. Cibber got by Guineas, as it is thought, about 50l. besides the said 51l. 0s. 10d. 5000

That Mr. Mills got by guineas about 20l. as it is thought, besides the said 58l. 1s. 4d. 2000

That Mrs. Oldfield, it is thought, got 120l. by guineas over and above the said 62l. 7s. 8d. 12000

In all 88000

"So that these six comedians, who are the unsatisfied people, have between the 12th of October and the 4th of June last, cleared in all the following sums:

£ s. d.

Acted 100 times, Mr. Wilkes certain 25915

and more by computation 4000

Both 29915

Acted 16 times, Mr. Betterton certain 188145

and more by computation 45000

638145

Acted 52 times, Mr. Estcourt certain 163186

and more by computation 20000

363186

Acted 71 times, Mr. Cibber certain 1621010

and more by computation 5000

2121010

Acted — times, Mr. Mills certain 170114

and more by computation 2000

190114

Acted 39 times, Mrs. Oldfield certain 13267

and more by computation 12003

25267

In all 195732

"Had not acting been forbid seven weeks on the occasion of Prince George's death, and my Lord Chamberlain forbad acting about five weeks before the tenth of July instant; each of these actors would have had twelve weeks salary more than is above-mentioned.

"As to the certainties expressed in this paper, to be paid to the six Actors, the same are positively true: and as to the sums they got over and above such certainties, I believe the same to be true, according to the best of my computation.

"Witness my hand, who am Receiver and Treasurer at the Theatre Royal, Drury Lane,

"July 8th, 1709. "Zachary Baggs."

[60] It was opened 18th December, 1714.

[61] The Lord Chamberlain's Records enable an exact account to be given of the transactions which led to the formation of this Haymarket Company. After Rich was silenced, his actors petitioned the Lord Chamberlain on three separate occasions, namely, 10th June, 20th June, and 5th July, 1709, and in answer to their petitions, the Haymarket, which was then devoted solely to Opera, was permitted to be used for Plays also. In an Answer to the actors' petitions, the Lord Chamberlain permits the manager of the Haymarket to engage such of them as he wished, and to act Plays four times a week, the other days being devoted to Operas. This License is dated 8th July, 1709. This is, of course, only a formal sanction of the private arrangement mentioned by Cibber ante p. 69; and was resented by Booth and others who were in Rich's favour. They therefore petitioned the Queen direct, in despite of the Lord Chamberlain (see "Dramatic Censor," 1811, col. 112; Genest, ii. 426; Mr. Fitzgerald's "New History," i. 273), but no result followed, until Collier's advent, as is related further on.

[62] The description of the shape of the stage which follows is interesting and valuable. In early times the stage was a platform surrounded by the audience, not, as now, a picture framed by the proscenium. This is evident, not only from descriptive allusions, but from the two drawings which have come down to us of the interior of pre-Restoration theatres—De Witt's drawing of the Swan Theatre in 1596, reproduced in Herr Gaedertz's "Zur Kenntniss der altenglischen Bühne" (Bremen, 1888), and the well-known print of the Red Bull Theatre during the Commonwealth, which forms the frontispiece to Kirkman's "The Wits, or Sport upon Sport" (1672). In both of them the pit entirely surrounds the stage on three sides, while the fourth side also contains spectators in boxes placed above the entrance-doors. By gradual modifications the shape of the stage has changed, till now the audience is confined to one side. The doors used for entrances and exits, to which Cibber alludes, have disappeared comparatively recently. They may be seen, for instance, in Cruikshank's plates to Dickens's "Grimaldi."

[63] The Haymarket opened on 15th September, 1709, and there was no rival theatre till 23rd November, when Drury Lane opened; but from this latter date till the end of the season both theatres were open.

[64] Bellchambers has here the following note:—"The monarch alluded to, I suppose, was Victor Amadeus, King of Sardinia. Carlo Broschi, better known by the name of Farinelli, was born in the dukedom of Modena, in 1705, and suffered emasculation, from an accident, when young. The Spanish king Ferdinand created him a knight of Calatrava, honoured him with his friendship, and added to his fortune. He returned to Italy on his patron's death, and died in 1782."

[65] Francesca Cuzzoni and Faustina Bordoni Hasse, whose famous rivalry in 1726 and 1727 is here referred to, were singers of remarkable powers. Cuzzoni's voice was a soprano, her rival's a mezzo-soprano, and while the latter excelled in brilliant execution, the former was supreme in pathetic expression. Dr. Burney ("History of Music," iv. 319) quotes from M. Quantz the statement that so keen was their supporters' party spirit, that when one party began to applaud their favourite, the other party hissed!

[66] Horace, Epod. xvi. 2.

[67] See note on page 87.

[68] The trial opened on 27th February, 1710, and lasted for more than three weeks. The political excitement it caused must have done great harm to theatricals. Shadwell, in the Preface to "The Fair Quaker of Deal," mentioned post, page 95, says it was a success, "Notwithstanding the trial in Westminster-Hall, and the rehearsal of the new opera."

[69] In the British Museum will be found a copy of the report by the Attorney-General and Solicitor-General, who were ordered by Queen Anne to inquire into this business. Rich declared that Collier broke into the theatre with an armed mob of soldiers, &c., but Collier denied the soldiers, though he admitted the breaking in. He gave as his authority for taking possession a letter signed by Sir James Stanley, dated 19th November, 1709, by which the Queen gave him authority to act, and required him not to allow Rich to have any concern in the theatre. His authority was appointed to run from 23rd November, 1709.

[70] "Tatler," No. 99, 26th November, 1709: "Divito [Rich] was too modest to know when to resign it, till he had the Opinion and Sentence of the Law for his Removal.... The lawful Ruler [of Drury Lane] sets up an Attorney to expel an Attorney, and chose a Name dreadful to the Stage [that is Collier], who only seemed able to beat Divito out of his Intrenchments.

"On the 22d Instant, a Night of public Rejoycing, the Enemies of Divito made a Largess to the People of Faggots, Tubs, and other combustible Matter, which was erected into a Bonfire before the Palace. Plentiful Cans were at the same time distributed among the Dependences of that Principality; and the artful Rival of Divito observing them prepared for Enterprize, presented the lawful Owner of the neighbouring Edifice, and showed his Deputation under him. War immediately ensued upon the peaceful Empire of Wit and the Muses; The Goths and Vandals sacking Rome did not threaten a more barbarous Devastation of Arts and Sciences. But when they had forced their Entrance, the experienced Divito had detached all his Subjects, and evacuated all his Stores. The neighbouring Inhabitants report, That the Refuse of Divito's Followers marched off the Night before disguised in Magnificence; Door-Keepers came out clad like Cardinals, and Scene-Drawers like Heathen Gods. Divito himself was wrapped up in one of his black Clouds, and left to the Enemy nothing but an empty Stage, full of Trap-Doors, known only to himself and his Adherents."

[71] Barton Booth, Theophilus Keen, Norris, John Bickerstaffe, George Powell, Francis Leigh, George Pack, Mrs. Knight, Mrs. Bradshaw, and Mrs. Moore were Collier's chief performers. As most of them had signed the petition in Rich's favour which I mentioned in a note on page 79, it is not wonderful that disturbances soon arose. Collier appointed Aaron Hill to manage the company, and his post seems to have been a somewhat lively one. On 14th June, 1710, the Lord Chamberlain's Records contain an entry which proves how rebellious the company were. Powell, Booth, Bickerstaffe, Keen, and Leigh, are stated to have defied and beaten Aaron Hill, to have broken open the doors of the theatre, and made a riot generally. For this Powell is discharged, and the others suspended. Mr. Fitzgerald ("New History," i. 308 et seq.) quotes a letter from Hill, in which some account of this matter is given.

[72] Charles Shadwell's "Fair Quaker of Deal" was produced at Drury Lane on 25th February, 1710. In the Preface the author says, "This play was written about three years since, and put into the hands of a famous Comedian belonging to the Haymarket Playhouse, who took care to beat down the value of it so much, as to offer the author to alter it fit to appear on the stage, on condition he might have half the profits of the third day, and the dedication entire; that is as much as to say, that it may pass for one of his, according to custom. The author not agreeing to this reasonable proposal, it lay in his hands till the beginning of this winter, when Mr. Booth read it, and liked it, and persuaded the author, that, with a little alteration, it would please the town" (Bell's edition). If, as is likely, Cibber is the actor referred to, his abuse of the play and the actors is not unintelligible.

[73] Hester Santlow, the "Santlow, fam'd for dance" of Gay, married Barton Booth. She appears to have retired from the stage about 1733. Genest (iii. 375) says, "she seems to have been a pleasing actress with no great powers." Her reputation was none of the best before her marriage, for she was said to have been the mistress of the Duke of Marlborough and of Secretary Craggs. See memoir of Booth.

[74] Genest (ii. 430) has the following outspoken character of Rich: "He seems in his public capacity of Patentee and Manager to have been a despicable character—without spirit to bring the power of the Lord Chamberlain to a legal test—without honesty to account to the other proprietors for the receipts of the theatre—without any feeling for his actors—and without the least judgment as to players and plays."

[75] Rich's Patent was revived, as Cibber states (p. 78), in 1714, when it was the property of his son, John Rich.

[76] There is no more curious transaction in theatrical history than the acquisition of the entire right in the Patent by Rich and his son. Christopher Rich's share (see note on p. 32) was seventeen one-hundredths, or about one-sixth; yet, by obstinate dishonesty, he succeeded in annexing the remainder.

[77] In March, 1705.

[78] There has been some doubt as to the locality of the theatre in Little Lincoln's Inn Fields, in which Betterton acted, one authority at least holding that he played in Gibbons' Tennis Court in Vere Street, Clare Market. But Cibber distinctly states that Rich rented the building which Betterton left in 1705, and old maps of London show clearly that Rich's theatre was in Portugal Street, just opposite the end of the then unnamed street, now called Carey Street. In "A New and Exact Plan of the Cities of London and Westminster," published 30th August, 1738, by George Foster, "The New Play House" is given as the name of this building, and it is worthy of notice that Cibber, a few lines above, writes of "the New Theatre in Lincoln's Inn Fields." See also vol. i. p. 192, note 1, where I quote Downes, who calls Betterton's theatre the New Theatre in Lincoln's Inn Fields. About 1756 this house was made a barrack; it was afterwards an auction room; then the China Repository of Messrs. Spode and Copeland, and was ultimately pulled down about 1848 to make room for the extension of the Museum of the Royal College of Surgeons.

[79] The Licence to Swiney, Wilks, Cibber, and Dogget, for Drury Lane, is dated 6th November, 1710. In it Swiney's name is spelled "Swyny," and Cibber's "Cybber."

[80] Westminster Bridge was authorized to be built in the face of virulent opposition from the Corporation of London, who feared that its existence would damage the trade of the City. Dr. Potter, Archbishop of Canterbury, and others interested, applied for an Act of Parliament in 1736; the bridge was begun in 1738, and not finished till 1750, the opening ceremony being held on 17th November of that year. Until this time the only bridge was London Bridge. See "Old and New London," iii. 297.

[81] I presume the Noble Commissioner is the Earl of Pembroke, who laid the first stone of the bridge on 29th January, 1739.

[82] Collier seems to have relied on Aaron Hill in all his theatrical enterprises, for, as previously noted, Hill had been manager for him at Drury Lane.

[83] At the end of the season 1708-9. See ante, p. 69.

[84] Collier's treatment of Swiney was so discreditable, that when he in his turn was evicted from Drury Lane (1714) we cannot help feeling gratified at his downfall.

[85] Swiney's Licence for the Opera is dated 17th April, 1712.

[86] For a further account of Steele's being given a share of the Patent, which he got through Marlborough's influence, see the beginning of Chapter XV.

[87] See vol. i. 284-285.

[88] That is, he had been the chief of Collier's Company at Drury Lane at his opening in November, 1709. See ante, p. 94.

[89] Martial, x. 23, 7.

[90] This is a blunder, which, by the way, Bellchambers does not correct. "Cato" was produced at Drury Lane on 14th April, 1713. The cast was:—

Cato Mr. Booth.

Lucius Mr. Keen.

Sempronius Mr. Mills.

Juba Mr. Wilks.

Syphax Mr. Cibber.

Portius Mr. Powell.

Marcus Mr. Ryan.

Decius Mr. Bowman.

Marcia Mrs. Oldfield.

Lucia Mrs. Porter.

[91] "The Laureat" says these Irish actors were Elrington and Griffith, but I venture to think that Evans's name should be substituted for that of Griffith. All three came from Ireland to Drury Lane in 1714; but, while Elrington and Evans played many important characters, Griffith did very little. Again, I can find no record of the latter's benefit, but the others had benefits in the best part of the season. The fact that they had separate benefits makes my theory contradict Cibber on this one point; but what he says may have occurred in connection with one of the two benefits. Cibber's memory is not infallible.

[92] Genest's record gives Wilks about one hundred and fifty different characters, Dogget only about sixty.

[93] Horace, Ars Poetica, 121.

[94] See note on page 120.

[95] Johnson (Life of Addison) terms this "the despicable cant of literary modesty."

[96] 14th April, 1713. See note on page 120.

[97] Mrs. Oldfield, Powell, Mills, Booth, Pinkethman, and Mrs. Porter, had their benefits before "Cato" was produced. "Cato" was then acted twenty times—April 14th to May 9th—that is, every evening except Monday in each week, as Cibber states. On Monday nights the benefits continued—being one night in the week instead of three. Johnson, Keen, and Mrs. Bicknell had their benefits during the run of "Cato," and on May 11th the regular benefit performances recommenced, Mrs. Rogers taking her benefit on that night.

[98] The Duke of Marlborough is the person pointed at.

[99] Theo. Cibber ("Life of Booth," p. 6) says that Booth in his early days as an actor became intimate with Lord Bolingbroke, and that this "was of eminent advantage to Mr. Booth,—when, on his great Success in the Part of Cato (of which he was the original Actor) my Lord's Interest (then Secretary of State) established him as a Manager of the Theatre."

[100] There are five Prologues by Dryden spoken at Oxford; one in 1674, and the others probably about 1681.

[101] James II.

[102] Obadiah Walker, born 1616, died 1699, is famous only for the change of religion to which Cibber's anecdote refers. Macaulay ("History," 1858, ii. 85-86) relates the story of his perversion, and in the same volume, page 283, refers to the incident here told by Cibber.

[103] 1713. The performance on 23rd June, 1713, was announced as the last that season, as the company were obliged to go immediately to Oxford.

[104] Dryden writes, in one of his Prologues (about 1681), to the University of Oxford:—

[105] In a Prologue by Dryden, spoken by Hart in 1674, at Oxford, the poet says:—

Malone (Dryden's Prose Works, vol. i., part ii., p. 13) gives a letter from Dryden to Lord Rochester, in which he says: "Your Lordship will judge [from the success of these Prologues, &c.] how easy 'tis to pass anything upon an University, and how gross flattery the learned will endure."

[106] Theo. Cibber ("Life of Booth," p. 7) says that Colley Cibber and Booth "used frequently to set out, after Play (in the Month of May) to Windsor, where the Court then was, to push their different Interests." Chetwood ("History," p. 93) states that the other Patentees "to prevent his solliciting his Patrons at Court, then at Windsor, gave out Plays every Night, where Mr. Booth had a principal Part. Notwithstanding this Step, he had a Chariot and Six of a Nobleman's waiting for him at the End of every Play, that whipt him the twenty Miles in three Hours, and brought him back to the Business of the Theatre the next Night."

[107] The new Licence was dated 11th November, 1713. Dogget's name was of course included as well as Booth's.

[108] This must have been in November, 1713.

[109] The Right Hon. Thomas Coke.

[110] The dates regarding this quarrel with Dogget are very difficult to fix satisfactorily. In the collection of Mr. Francis Harvey of St. James's Street are some valuable letters by Dogget in connection with this matter. From these, and from Mr. Percy Fitzgerald's "New History" (i. 352-358), I have made up a list of dates, which, however, I give with all reserve. We know from "The Laureat" that Dogget had some funds of the theatre in his hands when he ceased acting, and this fact makes a Petition by Cibber and Wilks, that he should account with them for money, intelligible. This is dated 16th January, 1714—it cannot be 1713, as Mr. Fitzgerald says, for Booth was not admitted then, and the quarrel had not arisen. Then follows a Petition from Cibber, Booth, and Wilks, dated 5th February, 1714, praying the Chamberlain to settle the dispute. Petitions by Dogget bear date 17th April, 1714; and, I think, 14th June, 1714. Mr. Fitzgerald gives this latter date as 14th January, 1714, and certainly the date on the document itself is more like "Jan" than "June;" but in the course of the Petition Dogget says that the season will end in a few days, which seems to fix June as the correct month. The season 1713-14 ended 18th June, 1714. Next comes a Petition that Dogget should be compelled to act if he was to draw his share of the profits, which is dated 3rd November, 1714. In this case we are on sure ground, for the Petition is preserved among the Lord Chamberlain's Papers. Another Petition by Dogget, in which he talks of his being forced into Westminster Hall to obtain his rights, is dated "Jan. ye 6 1714," that is, 1715. After this, legal action was no doubt commenced, as related by Cibber.

[111] So full an account of Dogget is given by Cibber and by Aston, that I need only add, that he first appeared about 1691; and that he died in 1721.

[112] See memoir of Mrs. Porter at the end of this volume.

[113] On March 18th, 1717. Cibber is wrong in stating that this was Dogget's last appearance; for a week after he played Ben in "Love for Love" (March 25th, 1717), and made his last appearance, after the lapse of another week (April 1st, 1717), when he acted Hob in "The Country Wake."

[114] Downes ("Rosc. Ang.," p. 52) gives a quaint description of Dogget: "Mr. Dogget, On the Stage, he's very Aspectabund, wearing a Farce in his Face; his Thoughts deliberately framing his Utterance Congruous to his Looks: He is the only Comick Original now Extant: Witness, Ben. Solon, Nikin, The Jew of Venice, &c."

[115] "The Laureat," p. 83: "Thy Partiality is so notorious, with Relation to Wilks, that every one sees you never praise him, but to rail at him; and only oil your Hone, to whet your Razor."

[116] 1714.

[117] In the Dedication to Steele of "Ximena" (1719) Cibber warmly acknowledges the great service Steele had done to the theatre, not only in improving the tone of its performances, but also in the mere attracting of public attention to it. "How many a time," he says, "have we known the most elegant Audiences drawn together at a Day's Warning, by the Influence or Warrant of a single Tatler, when our best Endeavours without it, could not defray the Charge of the Performance." In the same Dedication Cibber's gratitude overstepped his judgment, in applying to Steele's generous acknowledgment of his indebtedness to Addison's help in his "Spectator," &c., Dryden's lines:—

The following Epigram is quoted in "The Laureat," p. 76. It originally appeared in "Mist's Journal," 31st October, 1719:—

In one of his Odes, at which Johnson laughed (Boswell, i. 402) Cibber had the couplet:—

"Ximena; or, the Heroic Daughter," produced on 28th November, 1712, was an adaptation of Corneille's "Cid." We do not know the cast of 1712, but that of 1718 (Drury Lane, 1st November) was the following:—

Don Ferdinand Mr. Mills.

Don Alvarez Mr. Cibber.

Don Gormaz Mr. Booth.

Don Carlos Mr. Wilks.

Don Sanchez Mr. Elrington.

Don Alonzo Mr. Thurmond.

Don Garcia Mr. Boman.

Ximena Mrs. Oldfield.

Belzara Mrs. Porter.

[118] A Royal Licence was granted on 18th October, 1714, to Steele, Wilks, Cibber, Dogget, and Booth. The theatre opened before the Licence was granted. The first bill given by Genest is for 21st September, 1714.

[119] Christopher Rich died before the theatre was opened, and it was under the management of John Rich, his son, that Lincoln's Inn Fields opened on 18th December, 1714, with "The Recruiting Officer." The company was announced as playing under Letters Patent granted by King Charles the Second.

[120] This refers to a riot raised by the supporters of Mrs. Rogers, on Mrs. Oldfield's being cast for the character of Andromache in Philips's tragedy of "The Distressed Mother," produced at Drury Lane on 17th March, 1712.

[121] Cibber on one occasion manifested temper to a rather unexpected degree. In 1720, when Dennis published his attacks on Steele, in connection with his being deprived of the Patent, he accused Cibber of impiety and various other crimes and misdemeanours; and Cibber is said in the "Answer to the Character of Sir John Edgar" to have inserted the following advertisement in the "Daily Post": "Ten Pounds will be paid by Mr. Cibber, of the Theatre Royal, to any person who shall (by a legal proof) discover the Author of a Pamphlet, intituled, 'The Characters and Conduct of Sir John Edgar, &c.'" (Nichols, p. 401.)

[122] Cibber refers to his remarks (see vol. i. p. 191) on the conduct of the Patentees which caused Betterton's secession in 1694-5.

[123] In addition to Keen, Bullock (William), Pack, and Leigh, whom Cibber mentions a few lines after, Spiller and Christopher Bullock were among the deserters; and probably Cory and Knap. Mrs. Rogers, Mrs. Knight, and Mrs. Kent also deserted.

[124] George Pack is an actor of whom Chetwood ("History," p. 210) gives some account. He first came on the stage as a singer, performing the female parts in duets with Leveridge. His first appearance chronicled by Genest was at Lincoln's Inn Fields in 1700, as Westmoreland in the first part of "Henry IV." Chetwood says he was excellent as Marplot in "The Busy Body," Beau Maiden in "Tunbridge Walks," Beau Mizen in "The Fair Quaker of Deal," &c.: "indeed Nature seem'd to mean him for those Sort of Characters." On 10th March, 1722, he announced his last appearance on any stage; but he returned on 21st April and 7th May, 1724, on which latter date he had a benefit. Chetwood says that on his retirement he opened the Globe Tavern, near Charing-Cross, over against the Hay-Market. When Chetwood wrote (1749) Pack was no longer alive.

[125] Francis Leigh. There were several actors of the name of Leigh, and it is sometimes difficult to distinguish them. This particular actor died about 1719.

[126] In the "Weekly Packet," 18th December, 1714, the following appears:—

"This Day the New Play-House in Lincolns-Inn Fields, is to be open'd and a Comedy acted there, call'd, The Recruiting Officer, by the Company that act under the Patent; tho' it is said, that some of the Gentlemen who have left the House in Drury-Lane for that Service, are order'd to return to their Colours, upon Pain of not exercising their Lungs elsewhere; which may in Time prove of ill Service to the Patentee, that has been at vast Expence to make his Theatre as convenient for the Reception of an Audience as any one can possibly be."

Genest remarks that this seems to show that the Lord Chamberlain threatened to interfere in the interests of Drury Lane. He adds: "Cibber's silence proves nothing to the contrary, as in more than one instance he does not tell the whole truth" (ii. 565). In defence of Cibber I may say that the Chamberlain's Records contain no hint that he threatened to interfere with the Lincoln's Inn Fields Theatre or its actors.

[127] In both the first and second editions Cibber writes 1718, but this is so obviously a misprint that I correct the text. Steele was elected for Boroughbridge in the first Parliament of George I., which met 15th March, 1715.

[128] "The very night I received it, I participated the power and use of it, with relation to the profits that should arise from it, between the gentlemen who invited me into the Licence."—Steele, in "The Theatre," No. 8 [Nichols, p. 64].

[129] The managers also expended money on the decoration of the theatre before the beginning of the next season after the Patent was granted. In the "Daily Courant," 6th October, 1715, they advertise: "His Majesty's Company of Comedians give Notice, That the Middle of next Week they will begin to act Plays, every day, as usual; they being oblig'd to lye still so long, to finish the New Decorations of the House."

[130] This revival was on 2nd December, 1718. Dennis, whose "Invader of his Country" was, as he considered, unfairly postponed on account of this production, wrote to Steele:—

"Well, Sir, when the winter came on, what was done by your Deputies? Why, instead of keeping their word with me, they spent above two months of the season in getting up "All for Love, or, the World well Lost," a Play which has indeed a noble first act, an act which ends with a scene becoming of the dignity of the Tragic Stage. But if Horace had been now alive, and been either a reader or spectator of that entertainment, he would have passed his old sentence upon the Author.

"'Infelix operis summâ, quia ponere totum Nesciet.'" [Ars Poetica, 34.] Nichols' "Theatre," p. 544.

[131] Cibber here skips a few years, for the report by Sir Thomas Hewitt is dated some years after the granting of the Patent. The text of it will be found in Nichols's "Theatre," p. 470:—

"My Lord, Scotland-yard, Jan. 21, 1721.

"In obedience to his Majesty's commands signified to me by your Grace the 18th instant, I have surveyed the Play-house in Drury-lane; and took with me Mr. Ripley, Commissioner of his Majesty's Board of Works, the Master Bricklayer, and Carpenter: We examined all its parts with the greatest exactness we could; and found the Walls, Roofing, Stage, Pit, Boxes, Galleries, Machinery, Scenes, &c. sound, and almost as good as when first built; neither decayed, nor in the least danger of falling; and when some small repairs are made, and an useless Stack of Chimnies (built by the late Mr. Rich) taken down, the Building may continue for a long time, being firm, the Materials and Joints good, and no part giving way; and capable to bear much greater weight than is put on them.

"My Lord Duke, "Your Grace's Most humble and obedient servant, "Thomas Hewett.

"N.B. The Stack of Chimnies mentioned in this Report (which were placed over the Stone Passage leading to the Boxes) are actually taken down."

[132] See ante, vol. i. p. 234.

[133] Cibber, vol. i. p. 94, relates how, when the King's Company proved too strong for their rivals, Davenant, "to make head against their Success, was forced to add Spectacle and Music to Action."

[134] In the season 1718-19, Rich at Lincoln's Inn Fields frequently produced French pieces and operas. He must have had a company of French players engaged.

[135] This is, no doubt, John Weaver's dramatic entertainment called "The Loves of Mars and Venus," which was published, as acted at Drury Lane, in 1717.

[136] The following lines ("Dunciad," iii. verses 229-244) are descriptive of such pantomimes as Cibber refers to:—

The allusion in the last line is to "Harlequin Sorcerer," in which Harlequin is hatched from a large egg on the stage. See Jackson's "History of the Scottish Stage," pages 367-368, for description of John Rich's excellence in this scene.

[137] In the "Dunciad" (book iii. verses 261-264) Pope writes:—

On these lines Cibber remarks, in his "Letter to Mr. Pope," 1742 (page 37): "If you, figuratively, mean by this, that I was an Encourager of those Fooleries, you are mistaken; for it is not true: If you intend it literally, that I was Dunce enough to mount a Machine, there is as little Truth in that too."

[138] Henry of Navarre, of whom it has been said that he regarded religion mainly as a diplomatic instrument.

[139] It is hardly necessary to note that this was the Scottish Rebellion of 1715; yet Bellchambers indicates the period as 1718.

[140] Cibber's most notorious play, "The Nonjuror," was produced at Drury Lane on 6th December, 1717. The cast was:—

Sir John Woodvil Mr. Mills.

Colonel WoodvilMr. Booth.

Mr. HeartlyMr. Wilks.

Doctor WolfMr. Cibber.

CharlesMr. Walker.

Lady WoodvilMrs. Porter.

MariaMrs. Oldfield.

[141] Genest (ii. 615) quotes the Epilogue to Sewell's "Sir Walter Raleigh," produced at Lincoln's Inn Fields 16th January, 1719:—

[142] Genest says it was acted twenty-three times.

[143] Genest remarks (ii. 616) that "Cibber deserved all the abuse and enmity that he met with—the Stage and the Pulpit ought NEVER to dabble in politics."

Theo. Cibber, in a Petition to the King, given in his "Dissertations" (Letter to Garrick, p. 29), says that his father's "Writings, and public Professions of Loyalty, created him many Enemies, among the Disaffected."

[144] "Mist's Weekly Journal" was an anti-Hanoverian sheet, which was prominent in opposition to the Protestant Succession. Nathaniel Mist, the proprietor, and, I suppose, editor, suffered sundry pains and penalties for his Jacobitism. In his Preface to the second volume of "Letters" selected from his paper, he relates how he had, among other things, suffered imprisonment and stood in the pillory.

[145] There can be little doubt that the "Nonjuror" was one of the causes of Pope's enmity to Cibber. Pope's father was a Nonjuror. See "Epistle to Dr. Arbuthnot," where the poet says of his father:—

[146] Produced 10th January, 1728. See vol. i. p. 311, for list of characters, &c.

[147] Meaning, no doubt, that the post of Poet Laureate was given to him as a reward for his services to the Government.

[148] 1733.

[149] In leaping from 1717 to 1728, as Cibber does here, he omits to notice much that is of the greatest interest in stage history. Steele's connection with the theatre was of a chequered complexion, and it is curious as well as regrettable that an interested observer like Cibber should have simply ignored the great points which were at issue while Steele was a sharer in the Patent. In order to bridge over the chasm I give a bare record of Steele's transactions in connection with the Patent.

His first authority was a Licence granted to him and his partners, Wilks, Cibber, Dogget, and Booth, and dated October 18th, 1714. This was followed by a Patent, in Steele's name alone, for the term of his life, and three years after his death, which bore date January 19th, 1715. Cibber (p. 174) relates that Steele assigned to Wilks, Booth, and himself, equal shares in this Patent. All went smoothly for more than two years, until the appointment of the Duke of Newcastle (April 13th, 1717) as Lord Chamberlain. He seems soon to have begun to interfere in the affairs of the theatre. Steele, in the eighth number of "The Theatre," states that shortly after his appointment the Duke demanded that he should resign his Patent and accept a Licence in its place. This Steele naturally and rightly declined to do, and here the matter rested for many months. With reference to this it is interesting to note that among the Lord Chamberlain's Papers is the record of a consultation of the Attorney-General whether Steele's Patent made him independent of the Lord Chamberlain's authority. Unfortunately it is impossible to decide, from the terms of the queries put to the Attorney-General, whether these were caused by aggressive action on Steele's part, or merely by his defence of his rights.

The next molestation was an order, dated December 19th, 1719, addressed to Steele, Wilks, and Booth, ordering them to dismiss Cibber; which they 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.

[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.

[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.

[152] Cibber himself, of course.

[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.

[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."

[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.

[156] The Earl of Burlington.

[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.

[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.

[159] Bishop Burnet.

[160] First edition, vol. i.

[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.

[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.

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

[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.

[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.

[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.

[167] For an account of this matter, see ante, page 70.

[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."

[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.

[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.

[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.

[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.

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

[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:—

[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.

[176] Sir John Brute.

[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."

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

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

[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.

[181]

[182]

[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).

[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."

[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.

[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.

[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.

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

[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.

[190] See ante, vol. i. page 234.

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

[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.

[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."

[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.

[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.

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

[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.

[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.

[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."

[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.

[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."

[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."

[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.

[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.

[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.

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

[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.

[208] Produced at the Haymarket, 1737.

[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.

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

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

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

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

Tha

[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."

[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.'"

[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 } of France { Mr. Hale.

Lewis the Dauphin } { 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.

[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.

[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.

[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.

[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."

[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."

[222] See ante, p. 272.

[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.

[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.'"

[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.

[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.

[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.)

[228] See "Historia Histrionica."

[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.)

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

[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 50s. 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."

[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.)

[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.

[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.)

[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.

[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.

[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.]

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

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

[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.

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

[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.

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

[244] Cibber says that Nokes, Mountfort, and Leigh, "died about the same year," viz. 1692.

[245] "Roscius Anglicanus."

[246] I find, on looking over the "Roscius Anglicanus," that Trinculo is termed Duke Trinculo, in a short reference to the "Tempest."

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

[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.

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

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

[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.]

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

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

[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.)

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

[256] "Tatler," No. 201.

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

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

[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.

[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.

[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."

[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.

[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: