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diff --git a/44064-h/44064-h.htm b/44064-h/44064-h.htm index 812a1d8..dab0e16 100644 --- a/44064-h/44064-h.htm +++ b/44064-h/44064-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> -<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <title>The Project Gutenberg eBook of An Apology for the Life of Mr. Colley Cibber, Volume I (of 2), by Colley Cibber</title> <link rel="coverpage" href="images/cover-vol-i.jpg" /> <style type="text/css"> @@ -217,28 +217,11 @@ div.covernote { </style> </head> <body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 44064 ***</div> <h1>The Project Gutenberg eBook, An Apology for the Life of Mr. Colley Cibber, Volume I (of 2), by Colley Cibber, Illustrated by R. B. Parkes and Adolphe Lalauze</h1> -<p>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> -<p>Title: An Apology for the Life of Mr. Colley Cibber, Volume I (of 2)</p> -<p> Written by Himself. A New Edition with Notes and Supplement</p> -<p>Author: Colley Cibber</p> -<p>Release Date: October 29, 2013 [eBook #44064]</p> -<p>Language: English</p> -<p>Character set encoding: ISO-8859-1</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK AN APOLOGY FOR THE LIFE OF MR. COLLEY CIBBER, VOLUME I (OF 2)***</p> <p> </p> -<h4>E-text prepared by Jonathan Ingram, RSPIII,<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images generously made available by<br /> - Internet Archive/American Libraries<br /> - (<a href="https://archive.org/details/americana">https://archive.org/details/americana</a>)</h4> <p> </p> <table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> <tr> @@ -855,7 +838,7 @@ contemporary etching by G. Vander Gucht.</td> engraving by J. Basire.</td> </tr><tr> <td class="mnum">VIII.</td> -<td class="mtit"><span class="smcap"><a href="#Page_262">Scene Illustrating Steele's "funeral, or Grief à la +<td class="mtit"><span class="smcap"><a href="#Page_262">Scene Illustrating Steele's "funeral, or Grief à la Mode."</a></span> After the contemporary design by G. Vander Gucht.</td> </tr><tr> <td class="mnum">IX.</td> @@ -1460,7 +1443,7 @@ Epigrams you may find <i>An Epitaph on S. P.</i></p> <div class="i1"><i>The Stages Jewell;</i></div> <div class="i0"><i>And did act (what now we moan)</i></div> <div class="i1"><i>Old Men so duly,</i></div> -<div class="i0"><i>As, sooth, the</i> Parcæ <i>thought him one,</i></div> +<div class="i0"><i>As, sooth, the</i> Parcæ <i>thought him one,</i></div> <div class="i1"><i>He play'd so truly.</i></div> </div></div> @@ -1487,20 +1470,20 @@ appears by <i>Fitz-Stevens</i>, an Author who wrote in the reign of King <i>Henry</i> the Second. His words are, <i>Londonia pro spectaculis theatralibus, pro ludis scenicis, ludos habet sanctiores, Representationes mira<span class="pagenum"><a name="Page_xxxviii" id="Page_xxxviii">xxxviii</a></span>culorum, -quæ sancti Confessores operati sunt, seu +quæ sancti Confessores operati sunt, seu Representationes passionum quibus claruit constantia Martyrum</i>. Of this, the Manuscript which I lately mention'd, in the <i>Cottonian</i> Library, is a notable instance. Sir <i>William Dugdale</i> cites this Manuscript, -by the Title of <i>Ludus Coventriæ</i>; but in +by the Title of <i>Ludus Coventriæ</i>; but in the printed Catalogue of that Library, p. 113, it is named thus, <i>A Collection of Plays in old English Metre,</i> h. e. <i>Dramata sacra in quibus exhibentur -historiæ Veteris & N. Testamenti, introductis quasi +historiæ Veteris & N. Testamenti, introductis quasi in Scenam personis illic memoratis, quas secum invicem colloquentes pro ingenio fingit Poeta. Videntur olim coram populo, sive ad instruendum sive ad -placendum, a fratribus mendicantibus repræsentata.</i> +placendum, a fratribus mendicantibus repræsentata.</i> It appears by the latter end of the Prologue, that these Plays or Interludes, were not only play'd at <i>Coventry</i>, but in other Towns and Places upon occasion. @@ -2463,7 +2446,7 @@ the fourteenth year of our reign.</p> <td class="tdl"><span style="font-size:90%"> ————————— <i>Hoc est <br /> - Vivere bis, vitâ posse priore frui. + Vivere bis, vitâ posse priore frui. <br /> <br /> When Years no more of active Life retain,<br /> 'Tis Youth renew'd, to laugh 'em o'er again.</i></span></td> @@ -2979,7 +2962,7 @@ Aggressor into difficulties not easily got out of: Or to give the Case more scope, suppose your Friend may have a passive Indulgence for your Mirth, if you find him silent at it; tho' you were as intrepid as -<i>Cæsar</i>, there can be no excuse for your not leaving +<i>Cæsar</i>, there can be no excuse for your not leaving it off. When you are conscious that your Antagonist can give as well as take, then indeed the smarter the Hit the more agreeable the Party: A Man of chearful @@ -3292,7 +3275,7 @@ my way of thinking by <i>Horace</i> himself, who, in excuse of a loose Writer, says,</p> <div class="poem"><div class="stanza"> -<div class="i0"><i>Prætulerim scriptor delirus, inersque videri,</i></div> +<div class="i0"><i>Prætulerim scriptor delirus, inersque videri,</i></div> <div class="i0"><i>Dum mea delectent mala me, vel denique fallant,</i></div> <div class="i0"><i>Quam sapere, et ringi</i>——<a name="FNanchor_24" id="FNanchor_24"></a><a href="#Footnote_24" class="fnanchor">[24]</a></div> </div></div> @@ -3607,7 +3590,7 @@ year, by my Post,<a name="FNanchor_30" id="FNanchor_30"></a><a href="#Footnote_3 to an <i>unexceptionable</i> Prince, the serene Happiness of whose Reign my halting Rhimes are still so unequal to——This, I own, is Vanity without Disguise; -but <i>Hæc olim meminisse juvat</i>:<a name="FNanchor_31" id="FNanchor_31"></a><a href="#Footnote_31" class="fnanchor">[31]</a> The remembrance +but <i>Hæc olim meminisse juvat</i>:<a name="FNanchor_31" id="FNanchor_31"></a><a href="#Footnote_31" class="fnanchor">[31]</a> The remembrance of the miserable prospect we had then before<span class="pagenum"><a name="Page_33" id="Page_33">33</a></span> us, and have since escaped by a Revolution, is now a Pleasure which, without that Remembrance, I @@ -3653,7 +3636,7 @@ borrow, or pick your Pocket before you get home. He who assumes Praise to himself, the World will think overpays himself. Even the Suspicion of being vain ought as much to be dreaded as the Guilt -itself. <i>Cæsar</i> was of the same Opinion in regard to +itself. <i>Cæsar</i> was of the same Opinion in regard to his Wife's Chastity. Praise, tho' it may be our due, is not like a <i>Bank-Bill</i>, to be paid upon Demand; to be valuable it must be voluntary. When we are @@ -3768,7 +3751,7 @@ Hands when Anger is its Executioner; and tho' an outrageous Invective may carry some Truth in it, yet it will never have that natural, easy Credit<span class="pagenum"><a name="Page_40" id="Page_40">40</a></span> with us which we give to the laughing Ironies of a -cool Head. The Satyr that can smile <i>circum præcordia +cool Head. The Satyr that can smile <i>circum præcordia ludit</i>, and seldom fails to bring the Reader quite over to his Side whenever Ridicule and folly are at variance. But when a Person satyriz'd is us'd @@ -4490,7 +4473,7 @@ is a solid Comfort to me to consider that how insignificant soever my Life was at the Revolution, it had still the good Fortune to make one among the many who brought it about; and that I now, with<span class="pagenum"><a name="Page_67" id="Page_67">67</a></span> -my Coævals, as well as with the Millions since born, +my Coævals, as well as with the Millions since born, enjoy the happy Effects of it.</p> <p>But I must now let you see how my particular @@ -6318,7 +6301,7 @@ was contain'd in the following Verse:</p> when Nature besieges it? for though this good Creature so far held out her Distaste to Mankind that they could never reduce her to marry any one -of 'em; yet we must own she grew, like <i>Cæsar</i>, +of 'em; yet we must own she grew, like <i>Cæsar</i>, greater by her Fall! Her first heroick Motive to a Surrender was to save the Life of a Lover who in his Despair had vow'd to destroy himself, with @@ -7988,7 +7971,7 @@ Bills were chang'd, and at the Bottom inserted,</p> every Actor had one to pick out of it the Part he had chosen: Thus, while they were each of them chewing the Morsel they had most mind to, some one -happening to cast his Eye over the <i>Dramatis Personæ</i>, +happening to cast his Eye over the <i>Dramatis Personæ</i>, found that the main Matter was still forgot, that no body had yet been thought of for the Part of Alderman <i>Fondlewife</i>. Here we were all aground agen! @@ -8309,7 +8292,7 @@ Skipwith</i> in the least disobliged by so reasonable a Compliance: After which, Sir <i>John</i> was agen at liberty to repeat his Civilities to his Friend Sir <i>Thomas</i>, and about the same time, or not long after, -gave us the Comedy of <i>Æsop</i>, for his Inclination +gave us the Comedy of <i>Æsop</i>, for his Inclination always led him to serve Sir <i>Thomas</i>. Besides, our Company about this time began to be look'd upon in another Light; the late Contempt we had lain under @@ -8322,7 +8305,7 @@ them.<a name="FNanchor_245" id="FNanchor_245"></a><a href="#Footnote_245" class= <p>Of this Good-fortune perhaps I had more than my Share from the two very different chief Characters I -had succeeded in; for I was equally approv'd in <i>Æsop</i> +had succeeded in; for I was equally approv'd in <i>Æsop</i> as the <i>Lord Foppington</i>, allowing the Difference to be no less than as Wisdom in a Person deform'd may be less entertaining to the general Taste than<span class="pagenum"><a name="Page_219" id="Page_219">219</a></span> @@ -8498,7 +8481,7 @@ Alderman <i>Fondlewife</i>. If they hated me in <i>Iago</i>, in Sir <i>Fopling</i> they took me for a fine Gentleman; if they were silent at <i>Syphax</i>, no <i>Italian</i> Eunuch was more applauded than when I sung in Sir <i>Courtly</i>. If -the Morals of <i>Æsop</i> were too grave for them, Justice +the Morals of <i>Æsop</i> were too grave for them, Justice <i>Shallow</i> was as simple and as merry an old Rake as the wisest of our young ones could wish me.<a name="FNanchor_249" id="FNanchor_249"></a><a href="#Footnote_249" class="fnanchor">[249]</a> And<span class="pagenum"><a name="Page_225" id="Page_225">225</a></span> though the Terror and Detestation raised by King @@ -8579,7 +8562,7 @@ has thought himself injured when the <i>Comedian</i> pretended to wear a fine Coat! I remember <i>Powel</i>, upon surveying my first Dress in the <i>Relapse</i>, was out of all temper, and reproach'd our Master in very rude -Terms that he had not so good a Suit to play <i>Cæsar +Terms that he had not so good a Suit to play <i>Cæsar Borgia</i><a name="FNanchor_251" id="FNanchor_251"></a><a href="#Footnote_251" class="fnanchor">[251]</a> in! tho' he knew, at the same time, my Lord <i>Foppington</i> fill'd the House, when his bouncing <i>Borgia</i> would do little more than pay Fiddles and @@ -8923,7 +8906,7 @@ sure could not live above three Days, tho' favour'd and recommended to the Stage by some good person of Quality. Upon such Occasions, in Compassion to his fruitless Toil and Labour, I have sometimes -cry'd out with <i>Cato——Painful Præeminence!</i> So +cry'd out with <i>Cato——Painful Præeminence!</i> So insupportable, in my Sense, was the Task, when the bare Praise of not having been negligent was sure to be the only Reward of it. But so indefatigable was @@ -8993,7 +8976,7 @@ Class;) I will grant, I say, that in his <i>Beggars Opera</i> he had more skilfully gratify'd the Publick Taste than all the brightest Authors that ever writ before him; and I have sometimes thought, from the -Modesty of his Motto, <i>Nos hæc novimus esse nihil</i>,<a name="FNanchor_272" id="FNanchor_272"></a><a href="#Footnote_272" class="fnanchor">[272]</a> +Modesty of his Motto, <i>Nos hæc novimus esse nihil</i>,<a name="FNanchor_272" id="FNanchor_272"></a><a href="#Footnote_272" class="fnanchor">[272]</a> that he gave them that Performance as a Satyr upon the Depravity of their Judgment (as <i>Ben. Johnson</i> of old was said to give his <i>Bartholomew-Fair</i> in Ridicule @@ -9247,8 +9230,8 @@ I had more of our Master's personal Inclination than any Actor of the male Sex;<a name="FNanchor_281" id="FNanchor_281"></a><a href="#Footnote_281" class="fnanchor">[281]</a> and so much of it, that I was almost the only one whom at that time he us'd to take into his Parties of Pleasure; -very often <i>tete à tete</i>, and sometimes in a <i>Partie -quarrèe</i>. These then were the Qualifications, however +very often <i>tete à tete</i>, and sometimes in a <i>Partie +quarrèe</i>. These then were the Qualifications, however good or bad, to which may be imputed our Master's having made choice of me to assist him in the Difficulty under which he now labour'd. He<span class="pagenum"><a name="Page_255" id="Page_255">255</a></span> @@ -9439,7 +9422,7 @@ or useful Actor.</p> <div class="figcenter chapter-beginning" style="width: 400px;"><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a> <img src="images/i_p262.jpg" width="400" height="302" alt="Scene Illustrating Steeles Funeral, -or Grief à la Mode. After the contemporary design by G. Vander Gucht." title="" /> +or Grief à la Mode. After the contemporary design by G. Vander Gucht." title="" /> <div class="caption2">Ad Lalauze, sc</div> </div> @@ -9485,7 +9468,7 @@ might not have it always in our Power to say he had never intended to keep his Word, I remember in a few Years after this time he once paid us nine Days in one Week: This happen'd when the <i>Funeral</i>, or -<i>Grief à la Mode</i>,<a name="FNanchor_288" id="FNanchor_288"></a><a href="#Footnote_288" class="fnanchor">[288]</a> was first acted, with more than +<i>Grief à la Mode</i>,<a name="FNanchor_288" id="FNanchor_288"></a><a href="#Footnote_288" class="fnanchor">[288]</a> was first acted, with more than expected Success. Whether this well-tim'd Bounty was only allow'd us to save Appearances I will not say: But if that was his real Motive for it, it was @@ -10048,7 +10031,7 @@ is a more languid Conveyance than Sight. For as <div class="poem"><div class="stanza"> <div class="i0"><i>Segnius irritant animos demissa per aurem,</i></div> -<div class="i0"><i>Quam quæ sunt oculis subjecta fidelibus.</i><a name="FNanchor_322" id="FNanchor_322"></a><a href="#Footnote_322" class="fnanchor">[322]</a></div> +<div class="i0"><i>Quam quæ sunt oculis subjecta fidelibus.</i><a name="FNanchor_322" id="FNanchor_322"></a><a href="#Footnote_322" class="fnanchor">[322]</a></div> </div></div> <p>The Eye is much more affecting, and strikes @@ -10321,7 +10304,7 @@ Theatre in the </i>Hay-Market<i> built for </i>Betterton<i>'s Company. It Answers not their Expectation. Some Observations upon it. A Theatrical State Secret.</i></p></div> -<p>I now begin to doubt that the <i>Gayeté du Cœur</i> +<p>I now begin to doubt that the <i>Gayeté du Cœur</i> in which I first undertook this Work may have drawn me into a more laborious Amusement than I shall know how to away with: For though I cannot @@ -10676,7 +10659,7 @@ precarious Expedients to be always depended upon, and brought in nothing to the general Support of<span class="pagenum"><a name="Page_316" id="Page_316">316</a></span> the Numbers who were at Sallaries under them, they were reduc'd to have recourse to foreign Novelties; -<i>L'Abbeè</i>, <i>Balon</i>, and Mademoiselle <i>Subligny</i>,<a name="FNanchor_348" id="FNanchor_348"></a><a href="#Footnote_348" class="fnanchor">[348]</a> three +<i>L'Abbeè</i>, <i>Balon</i>, and Mademoiselle <i>Subligny</i>,<a name="FNanchor_348" id="FNanchor_348"></a><a href="#Footnote_348" class="fnanchor">[348]</a> three of the then most famous Dancers of the <i>French</i> Opera, were, at several times, brought over at extraordinary Rates, to revive that sickly Appetite which @@ -10911,7 +10894,7 @@ but three Days, and those not crowded. Immediately upon the Failure of this <i>Opera</i>, Sir <i>John Vanbrugh</i> produced his Comedy call'd the <i>Confede<span class="pagenum"><a name="Page_326" id="Page_326">326</a></span>racy</i>,<a name="FNanchor_359" id="FNanchor_359"></a><a href="#Footnote_359" class="fnanchor">[359]</a> taken (but greatly improv'd) from the <i>Bourgeois -à la mode</i> of <i>Dancour</i>: Though the Fate of +à la mode</i> of <i>Dancour</i>: Though the Fate of this Play was something better, yet I thought it was not equal to its Merit:<a name="FNanchor_360" id="FNanchor_360"></a><a href="#Footnote_360" class="fnanchor">[360]</a> For it is written with an uncommon Vein of Wit and Humour; which confirms @@ -10934,7 +10917,7 @@ them, he in the same Season gave the Publick three more of that kind, call'd the <i>Cuckold in Conceit</i>, from the <i>Cocu imaginaire</i> of <i>Moliere</i>;<a name="FNanchor_362" id="FNanchor_362"></a><a href="#Footnote_362" class="fnanchor">[362]</a> <i>Squire Trelooby</i>,<span class="pagenum"><a name="Page_327" id="Page_327">327</a></span> from his <i>Monsieur de Pourceaugnac</i>, and the <i>Mistake</i>, -from the <i>Dépit Amoureux</i> of the same Author.<a name="FNanchor_363" id="FNanchor_363"></a><a href="#Footnote_363" class="fnanchor">[363]</a> +from the <i>Dépit Amoureux</i> of the same Author.<a name="FNanchor_363" id="FNanchor_363"></a><a href="#Footnote_363" class="fnanchor">[363]</a> Yet all these, however well executed, came to the Ear in the same undistinguish'd Utterance by which almost all their Plays had equally suffered: For @@ -11197,7 +11180,7 @@ shall be the Subject of another Chapter.</p> <ul class="index"> -<li class="ifirst">Abbé, Monsieur L', a French dancer, i. <a href="#Page_xxvii">xxvii</a>., i. <a href="#Page_316">316</a>.</li> +<li class="ifirst">Abbé, Monsieur L', a French dancer, i. <a href="#Page_xxvii">xxvii</a>., i. <a href="#Page_316">316</a>.</li> <li>Acting, excellence of, about, 1631, i. <a href="#Page_xlviii">xlviii</a>.;</li> <li class="isub">Cibber's views on versatility in, i. <a href="#Page_209">209</a>.</li> @@ -11275,7 +11258,7 @@ shall be the Subject of another Chapter.</p> <li class="isub">the pleasure of, i. <a href="#Page_85">85</a>.</li> <li>Archer, William, his investigations regarding the truth of Diderot's "Paradoxe -sur le Comédien," i. <a href="#Page_103">103</a>, <i>note</i> 1;</li> +sur le Comédien," i. <a href="#Page_103">103</a>, <i>note</i> 1;</li> <li class="isub">his "About the Theatre," i. <a href="#Page_278">278</a>, <i>note</i> 1.</li> <li>Aristophanes, referred to, i. <a href="#Page_39">39</a>.</li> @@ -11450,7 +11433,7 @@ ii. 363, ii. 365;</li> <li>Betterton's Company (1695 to, 1704), their decline, i. <a href="#Page_314">314</a>;</li> <li class="isub">disorders in, i. <a href="#Page_315">315</a>.</li> -<li>Biblical narratives dramatized in the "Ludus Coventriæ," i. <a href="#Page_xxxvii">xxxvii</a>. <i>et seq.</i></li> +<li>Biblical narratives dramatized in the "Ludus Coventriæ," i. <a href="#Page_xxxvii">xxxvii</a>. <i>et seq.</i></li> <li>Bibliography of Colley Cibber, ii. 289-296.</li> @@ -11479,7 +11462,7 @@ ii. 363, ii. 365;</li> <li>—— Theatre, i. <a href="#Page_xxv">xxv</a>., i. <a href="#Page_xxvi">xxvi</a>., i. <a href="#Page_xxviii">xxviii</a>., i. <a href="#Page_xlix">xlix</a>.;</li> <li class="isub">its excellent company, i. <a href="#Page_xxiv">xxiv</a>., i. <a href="#Page_xxvi">xxvi</a>.</li> -<li>Blanc, Abbé Le, his account of a theatre riot, i. <a href="#Page_278">278</a>, <i>note</i> 1.</li> +<li>Blanc, Abbé Le, his account of a theatre riot, i. <a href="#Page_278">278</a>, <i>note</i> 1.</li> <li>"Blast upon Bays, A," ii. 266.</li> @@ -11778,7 +11761,7 @@ ii. 331, ii. 356, ii. 364.</li> <li class="isub">leaves Rich and goes to Swiney, i. <a href="#Page_337">337</a>;</li> <li class="isub">his "Lady's Last Stake," ii. 2;</li> <li class="isub">his "Double Gallant," ii. 3;</li> -<li class="isub">his "Marriage à la Mode," ii. 5;</li> +<li class="isub">his "Marriage à la Mode," ii. 5;</li> <li class="isub">declines to act on the same stage as rope-dancers, ii. 7;</li> <li class="isub">advises Col. Brett regarding the Patent, ii. 33, ii. 42;</li> <li class="isub">his first introduction to him, ii. 33;</li> @@ -12092,7 +12075,7 @@ Stage," i. <a href="#Page_xxi">xxi</a>., i. <a href="#Page_xxxiii">xxxiii</a>., <li>Cooper, Lord Chancellor, ii. 149, ii. 174.</li> <li>Coquelin, Constant, his controversy with Henry Irving regarding Diderot's -"Paradoxe sur le Comédien," i. <a href="#Page_103">103</a>, <i>note</i> 1.</li> +"Paradoxe sur le Comédien," i. <a href="#Page_103">103</a>, <i>note</i> 1.</li> <li>Corelli, Arcangelo, ii. 247.</li> @@ -12116,7 +12099,7 @@ Stage," i. <a href="#Page_xxi">xxi</a>., i. <a href="#Page_xxxiii">xxxiii</a>., <li>Crawley, keeper of a puppet-show, ii. 301.</li> -<li>Creation, the, dramatized in the "Ludus Coventriæ," i. <a href="#Page_xxxviii">xxxviii</a>.</li> +<li>Creation, the, dramatized in the "Ludus Coventriæ," i. <a href="#Page_xxxviii">xxxviii</a>.</li> <li>Cromwell, Lady Mary, i. <a href="#Page_267">267</a>, <i>note</i> 1.</li> @@ -12198,7 +12181,7 @@ i. <a href="#Page_85">85</a>, <i>note</i> 1.</li> <li class="isub">his quarrel with James II., i. <a href="#Page_72">72</a>;</li> <li class="isub">Cibber presents a petition to, i. <a href="#Page_73">73</a>.</li> -<li>Diderot, Denis, his "Paradoxe sur le Comédien," i. <a href="#Page_103">103</a>, <i>note</i> 1.</li> +<li>Diderot, Denis, his "Paradoxe sur le Comédien," i. <a href="#Page_103">103</a>, <i>note</i> 1.</li> <li>Dillworth, W. H., his "Life of Pope," ii. 278, <i>note</i> 1.</li> @@ -12305,7 +12288,7 @@ stage, i. <a href="#Page_74">74</a>, <i>note</i> 1;</li> <li>"Duchess of Malfy," i. <a href="#Page_xxv">xxv</a>.</li> <li>Dugdale, Sir William, his "Antiquities of Warwickshire" quoted, i. <a href="#Page_xxxvi">xxxvi</a>.;</li> -<li class="isub">mentions the "Ludus Coventriæ," i. <a href="#Page_xxxviii">xxxviii</a>.</li> +<li class="isub">mentions the "Ludus Coventriæ," i. <a href="#Page_xxxviii">xxxviii</a>.</li> <li>Duke's Servants, The, i. <a href="#Page_87">87</a>, <i>note</i> 1, i. <a href="#Page_88">88</a>.</li> @@ -12449,7 +12432,7 @@ i. <a href="#Page_320">320</a>, <i>note</i> 1, ii. 11, <i>note</i> 1, ii. 32, <i <li>"Funeral, The," i. <a href="#Page_263">263</a>.</li> -<li class="ifirst">Gaedertz, Herr, his "Zur Kenntniss der altenglischen Bühne," ii. 84, <i>note</i> 1.</li> +<li class="ifirst">Gaedertz, Herr, his "Zur Kenntniss der altenglischen Bühne," ii. 84, <i>note</i> 1.</li> @@ -12664,7 +12647,7 @@ i. <a href="#Page_320">320</a>, <i>note</i> 1, ii. 11, <i>note</i> 1, ii. 32, <i <li class="ifirst">Irving, Henry, his controversy with Constant Coquelin regarding Diderot's "Paradoxe sur -le Comédien," i. <a href="#Page_103">103</a>, <i>note</i> 1;</li> +le Comédien," i. <a href="#Page_103">103</a>, <i>note</i> 1;</li> <li class="isub">restores Shakespeare's "Richard III." to the stage, ii. 287.</li> <li>Italian Opera, introduced into England, i. <a href="#Page_324">324</a>;</li> @@ -12718,7 +12701,7 @@ stage," 1660, i. <a href="#Page_90">90</a>, <i>note</i> 1, i. <a href="#Page_119 <li>"Joseph Andrews" quoted, i. <a href="#Page_10">10</a>, <i>note</i> 1, i. <a href="#Page_50">50</a>, <i>note</i> 2, i. <a href="#Page_61">61</a>, <i>note</i> 1.</li> -<li>"Julius Cæsar," special revival of, in 1707, ii. 5.</li> +<li>"Julius Cæsar," special revival of, in 1707, ii. 5.</li> @@ -12914,7 +12897,7 @@ ii. 68;</li> <li>"Lucius Junius Brutus," by Lee, vetoed, ii. 13.</li> -<li>"Ludus Coventriæ," i. <a href="#Page_xxxviii">xxxviii</a>.;</li> +<li>"Ludus Coventriæ," i. <a href="#Page_xxxviii">xxxviii</a>.;</li> <li class="isub">these plays acted at other towns besides Coventry, i. <a href="#Page_xxxviii">xxxviii</a>.;</li> <li class="isub">a description of them, i. <a href="#Page_xxxviii">xxxviii</a>. <i>et seq.</i></li> @@ -12957,14 +12940,14 @@ ii. 138, <i>note</i> 1.</li> <li>—— Duke of, ii. 96, <i>note</i> 1, ii. 130, ii. 164, ii. 228.</li> -<li>"Marriage à la Mode," by Cibber, cast of, ii. 5, <i>note</i> 1.</li> +<li>"Marriage à la Mode," by Cibber, cast of, ii. 5, <i>note</i> 1.</li> <li>Marshall, Anne, i. <a href="#Page_161">161</a>, <i>note</i> 1;</li> <li class="isub">said to be the first English actress, i. <a href="#Page_90">90</a>, <i>note</i> 1.</li> <li>—— Julian, his "Annals of Tennis" quoted, i. <a href="#Page_315">315</a>, <i>note</i> 1.</li> -<li>Mary, the Virgin, and Joseph, characters in the "Ludus Coventriæ," i. <a href="#Page_xxxix">xxxix</a>.</li> +<li>Mary, the Virgin, and Joseph, characters in the "Ludus Coventriæ," i. <a href="#Page_xxxix">xxxix</a>.</li> <li>—— Queen, her death, i. <a href="#Page_193">193</a>.</li> @@ -12983,7 +12966,7 @@ ii. 138, <i>note</i> 1.</li> <li>Mathews, Charles (the elder), his powers of imitation referred to, i. <a href="#Page_115">115</a>, <i>note</i> 1.</li> -<li>Mathias, St., the choosing of, as an apostle, dramatized in the "Ludus Coventriæ," i. <a href="#Page_xxxviii">xxxviii</a>.</li> +<li>Mathias, St., the choosing of, as an apostle, dramatized in the "Ludus Coventriæ," i. <a href="#Page_xxxviii">xxxviii</a>.</li> <li>Matthews, Brander, ii. 289, <i>note</i> 1.</li> @@ -13220,7 +13203,7 @@ see also Rich, C.)</li> <li>Perkins, an eminent actor, i. <a href="#Page_xxvi">xxvi</a>.;</li> <li class="isub">his death, i. <a href="#Page_xxxi">xxxi</a>.</li> -<li>Perrin, Mons. (of the Théâtre Français), ii. 221, <i>note</i> 1, ii. 246, +<li>Perrin, Mons. (of the Théâtre Français), ii. 221, <i>note</i> 1, ii. 246, <i>note</i> 1.</li> <li>Perriwigs, enormous, worn by actors, ii. 36, <i>note</i> 1.</li> @@ -13700,7 +13683,7 @@ ii. 244, <i>note</i> 1, ii. 244, <i>note</i> 2, ii. 328, ii. 362, ii. 363;</li> <li>Theatre, the, mentioned by Stow as recently erected, i. <a href="#Page_xlviii">xlviii</a>.</li> -<li>Théâtre Français, ii. 221, <i>note</i> 1, ii. 246, <i>note</i> 1.</li> +<li>Théâtre Français, ii. 221, <i>note</i> 1, ii. 246, <i>note</i> 1.</li> <li>Theatres, number of, before 1642, i. <a href="#Page_xxvi">xxvi</a>.;</li> <li class="isub">more reputable before 1642, i. <a href="#Page_xxvii">xxvii</a>.;</li> @@ -13749,7 +13732,7 @@ ii. 244, <i>note</i> 1, ii. 244, <i>note</i> 2, ii. 328, ii. 362, ii. 363;</li> <li class="isub">his high opinion of Cibber's acting, i. <a href="#Page_216">216</a>;</li> <li class="isub">his "Provoked Wife," i. <a href="#Page_216">216</a>-<a href="#Page_217">217</a>;</li> <li class="isub">in gratitude to Sir Thomas Skipwith presents him with "The Relapse," i. <a href="#Page_217">217</a>;</li> -<li class="isub">his "Æsop," i. <a href="#Page_216">216</a>, i. <a href="#Page_218">218</a>;</li> +<li class="isub">his "Æsop," i. <a href="#Page_216">216</a>, i. <a href="#Page_218">218</a>;</li> <li class="isub">his great ability, i. <a href="#Page_219">219</a>;</li> <li class="isub">alters his "Provoked Wife," ii. 233;</li> <li class="isub">his share in the "Provoked Husband," i. <a href="#Page_311">311</a>, <i>note</i> 1;</li> @@ -13794,7 +13777,7 @@ ii. 244, <i>note</i> 1, ii. 244, <i>note</i> 2, ii. 328, ii. 362, ii. 363;</li> <li>Vizard-masks (women of the town), i. <a href="#Page_xxvii">xxvii</a>. See also Masks.</li> -<li>Voltaire, his "Zaïre," ii. 248.</li> +<li>Voltaire, his "Zaïre," ii. 248.</li> @@ -14066,7 +14049,7 @@ say nothing of the sums accumulated by dedications, benefits, and the sale of his plays singly, his dramatic works, in quarto, by subscription, published 1721, produced him a considerable sum of money. It is computed that he gained, by the excellent Apology -for his Life, no less than the sum of £1,500." "The Laureat" +for his Life, no less than the sum of £1,500." "The Laureat" (1740) is perhaps Davies's authority for his computation. "<i>Ingenious indeed</i>, who from such a Pile of indigested incoherent Ideas huddled together by the <i>Misnomer</i> of a History, could raise @@ -14363,7 +14346,7 @@ His appointment was dated 3rd December, 1730.</p> <p><a name="Footnote_31" id="Footnote_31"></a><a href="#FNanchor_31"> <span class="label">[31]</span></a> - "Forsan et hæc olim meminisse juvabit."—Virg. <i>Æneid</i>, i. 207.</p> + "Forsan et hæc olim meminisse juvabit."—Virg. <i>Æneid</i>, i. 207.</p> @@ -15408,7 +15391,7 @@ under" (p. 32).</p> <p><a name="Footnote_107" id="Footnote_107"></a><a href="#FNanchor_107"> <span class="label">[107]</span></a> <i>Ars Poetica</i>, 102. This is the much discussed question of -Diderot's "Paradoxe sur le Comédien," which has recently been +Diderot's "Paradoxe sur le Comédien," which has recently been revived by Mr. Henry Irving and M. Coquelin, and has formed the subject of some interesting studies by Mr. William Archer.</p> @@ -15838,7 +15821,7 @@ see also memoir at end of second volume.)</p> <p><a name="Footnote_143" id="Footnote_143"></a><a href="#FNanchor_143"> <span class="label">[143]</span></a> Creon (Dryden and Lee's "Œdipus"); Malignii (Porter's -"Villain"); Machiavil (Lee's "Cæsar Borgia").</p> +"Villain"); Machiavil (Lee's "Cæsar Borgia").</p> @@ -16212,7 +16195,7 @@ August, 1710. The advertisement in the "Tatler" (26th May, Reigns of K. Charles ii. K. James ii. K. William and Q. Mary, and her present Majesty Q. Anne; but now not able to perform so often as heretofore in the Play-house, and having had losses to -the value of near £2,500, is to have the Tragedy of Hamlet +the value of near £2,500, is to have the Tragedy of Hamlet acted for his Benefit, on Friday the third of June next, at the Theatre-Royal in Drury-Lane, in which he is to perform his Original Part, the Grave-Maker. Tickets may be had at the Mitre-Tavern @@ -16578,7 +16561,7 @@ and excellent woman, as well as a great actress. All the scandal about her seems to have had no further foundation than, to quote Genest, "the extreme difficulty with which an actress at this period of the stage must have preserved her chastity." Genest goes on to -remark, with delicious <i>naïveté</i>, "Mrs. Bracegirdle was perhaps a +remark, with delicious <i>naïveté</i>, "Mrs. Bracegirdle was perhaps a woman of a cold constitution." Her retirement from the stage when not much over thirty is accounted for by Curll, by a story of a competition between her and Mrs. Oldfield in the part of Mrs. @@ -16620,7 +16603,7 @@ in "The Champion."</p> <p><a name="Footnote_200" id="Footnote_200"></a><a href="#FNanchor_200"> <span class="label">[200]</span></a> - Æneid, i. 630.</p> + Æneid, i. 630.</p> @@ -16945,7 +16928,7 @@ and principal actors. In the year 1666, the whole profit arising from acting plays, masques, etc., at the King's theatre, was divided into twelve shares and three quarters, of which Mr. Killegrew, the manager, had two shares and three quarters, each share -computed to produce about £250, net, per annum. In Sir William +computed to produce about £250, net, per annum. In Sir William D'Avenant's company, from the time their new theatre was opened in Portugal-row, the total receipt, after deducting the nightly expenses, was divided into fifteen shares, of which it was agreed @@ -17113,9 +17096,9 @@ you in, get you in. By by. </p> <p> -<i>Lætitia.</i> By, <i>Nykin</i>.<br /> +<i>Lætitia.</i> By, <i>Nykin</i>.<br /> <i>Fondlewife.</i> By, Cocky.<br /> -<i>Lætitia.</i> By, <i>Nykin</i>.<br /> +<i>Lætitia.</i> By, <i>Nykin</i>.<br /> <i>Fondlewife.</i> By, Cocky, by, by."<br /> </p> @@ -17240,7 +17223,7 @@ written by himself."—Boswell's Johnson, ii. 340.</p> "The Relapse; or, Virtue in Danger," was produced at Drury Lane in 1697. Cibber's part in it, Lord Foppington, became one of his most famous characters. The "Comparison -between the two Stages," p. 32, says: "<i>Oronoko</i>, <i>Æsop</i>, and +between the two Stages," p. 32, says: "<i>Oronoko</i>, <i>Æsop</i>, and <i>Relapse</i> are Master-pieces, and subsisted <i>Drury-lane</i> House, the first two or three Years."</p> @@ -17250,7 +17233,7 @@ first two or three Years."</p> <p><a name="Footnote_244" id="Footnote_244"></a><a href="#FNanchor_244"> <span class="label">[244]</span></a> "The Provoked Wife" was produced at Lincoln's Inn Fields -in 1697; and, as Cibber states, "Æsop" was played at Drury +in 1697; and, as Cibber states, "Æsop" was played at Drury Lane in the same year. It seems (see Prologue to "The Confederacy") that Vanbrugh gave his first three plays as presents to the Companies.</p> @@ -17344,7 +17327,7 @@ Dogget's defection a few pages on.</p> <p><a name="Footnote_251" id="Footnote_251"></a><a href="#FNanchor_251"> <span class="label">[251]</span></a> - In Lee's tragedy of "Cæsar Borgia," originally played at + In Lee's tragedy of "Cæsar Borgia," originally played at Dorset Garden in 1680. Borgia was Betterton's part, and was evidently one of those which Powell laid violent hands on.</p> @@ -17575,7 +17558,7 @@ an (<i>or</i>)."</p> <table summary="characters" title="characters" style="margin-left: 2em;"> <tr><td class="tdl"><span class="smcap">Arcas</span></td><td class="tdl">Mr. Mills. </td></tr> -<tr><td class="tdl"><span class="smcap">Ægon</span></td><td class="tdl">Mr. Harper. </td></tr> +<tr><td class="tdl"><span class="smcap">Ægon</span></td><td class="tdl">Mr. Harper. </td></tr> <tr><td class="tdl"><span class="smcap">Amyntas</span></td><td class="tdl">Mr. Williams. </td></tr> <tr><td class="tdl"><span class="smcap">Iphis</span></td><td class="tdl">Mrs. Thurmond.</td></tr> <tr><td class="tdl"><span class="smcap">Philautus</span>, a conceited Corinthian courtier </td><td class="tdl">Mr. Cibber. </td></tr> @@ -17584,7 +17567,7 @@ an (<i>or</i>)."</p> <tr><td class="tdl"><span class="smcap">Mopsus</span></td><td class="tdl">Mr. Oates. </td></tr> <tr><td class="tdl"><span class="smcap">Damon</span></td><td class="tdl">Mr. Ray. </td></tr> <tr><td class="tdl"><span class="smcap">Ianthe</span>, daughter to Arcas</td><td class="tdl">Mrs. Cibber. </td></tr> -<tr><td class="tdl"><span class="smcap">Pastora</span>, daughter to Ægon</td><td class="tdl">Mrs. Lindar. </td></tr> +<tr><td class="tdl"><span class="smcap">Pastora</span>, daughter to Ægon</td><td class="tdl">Mrs. Lindar. </td></tr> <tr><td class="tdl"><span class="smcap">Phillida</span>, daughter to Corydon</td><td class="tdl">Mrs. Raftor. </td></tr> </table> @@ -17738,7 +17721,7 @@ to chastise you, with his Tongue only."</p> <span class="label">[286]</span></a> John Mills, in the advertisement issued by Rich, in 1709, in the course of a dispute with his actors, is stated to have a salary -of "£4 a week for himself, and £1 a week for his wife, for little +of "£4 a week for himself, and £1 a week for his wife, for little or nothing." This advertisement is quoted by me in Chap. XII. Mills's salary was the same as Betterton's. No doubt Cibber, Wilks, Dogget, and Booth had ultimately larger salaries, but they, @@ -18018,7 +18001,7 @@ afford an excuse for the Act. Bellchambers has the following note on this passage:— </p> <p> -"The Abbé Le Blanc,{A} who was in England at the time this +"The Abbé Le Blanc,{A} who was in England at the time this law passed, has the following remarks upon it in his correspondence:— </p> <p> @@ -18328,7 +18311,7 @@ ostensible cause.</p> Fielding, in the "Champion" for Tuesday, April 22nd, 1740, says of Cibber's refusal to quote from "Pasquin"—"the good Parent seems to imagine that he hath produced, as well as my -Lord <i>Clarendon</i>, a [Greek: Ktêma es aei]; for he refuses to quote anything +Lord <i>Clarendon</i>, a [Greek: Ktêma es aei]; for he refuses to quote anything out of <i>Pasquin</i>, lest he should <i>give it a chance of being remembered</i>." </p> <p> @@ -18734,7 +18717,7 @@ finest woman in real life to have supported." [Bell's edition.]</p> <span class="label">[346]</span></a> Mr. Julian Marshall, in his "Annals of Tennis," p. 34, describes the two different sorts of tennis courts—"that which was -called <i>Le Quarré</i>, or the Square; and the other with the <i>dedans</i>, +called <i>Le Quarré</i>, or the Square; and the other with the <i>dedans</i>, which is almost the same as that of the present day." Cibber is thus correct in mentioning that the court was one of the lesser sort.</p> @@ -18748,7 +18731,7 @@ an edict of the Lord Chamberlain, dated 11th November, 1700, by which Betterton is ordered "to take upon him y<sup>e</sup> sole management" of the Lincoln's Inn Fields company, there having been great disorders, "for want of sufficient authority to keep them to their -duty." See David Craufurd's Preface to "Courtship à la Mode" +duty." See David Craufurd's Preface to "Courtship à la Mode" (1700), for an account of the disorganized state of the Lincoln's Inn Fields Company. He says that though Betterton did his best, some of the actors neither learned their parts nor attended @@ -18761,14 +18744,14 @@ Drury Lane, where it was promptly produced.</p> <p><a name="Footnote_348" id="Footnote_348"></a><a href="#FNanchor_348"> <span class="label">[348]</span></a> Mons. Castil-Blaze, in his "La Danse et les Ballets," 1832, -p. 153, writes: "Ballon danse avec énergie et vivacité; mademoiselle -de Subligny se fait généralement admirer pour sa danse +p. 153, writes: "Ballon danse avec énergie et vivacité; mademoiselle +de Subligny se fait généralement admirer pour sa danse noble et gracieuse." Madlle. Subligny was one of the first women who were dancers by profession. "La demoiselle Subligny parut -peu de temps après la demoiselle Fontaine [1681], et fut aussi fort -applaudie pour sa danse; mais elle quitta le théâtre, en 1705, et -mourut après l'année 1736."—"Histoire de l'Opéra." Of Mons. -L'Abbé I have been unable to discover any critical notice.</p> +peu de temps après la demoiselle Fontaine [1681], et fut aussi fort +applaudie pour sa danse; mais elle quitta le théâtre, en 1705, et +mourut après l'année 1736."—"Histoire de l'Opéra." Of Mons. +L'Abbé I have been unable to discover any critical notice.</p> @@ -19132,360 +19115,6 @@ fn 91 played at Dorset Garden; "Pysche"["Psyche"] followed<br /> <p> </p> <p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK AN APOLOGY FOR THE LIFE OF MR. 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