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| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-03 20:39:32 -0800 |
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diff --git a/44065-h/44065-h.htm b/44065-h/44065-h.htm index 6efacbc..16ed3a2 100644 --- a/44065-h/44065-h.htm +++ b/44065-h/44065-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 II (of 2), by Colley Cibber</title> <link rel="coverpage" href="images/cover-vol-ii.jpg" /> <style type="text/css"> @@ -205,28 +205,11 @@ div.covernote { </style> </head> <body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 44065 ***</div> <h1>The Project Gutenberg eBook, An Apology for the Life of Mr. Colley Cibber, Volume II (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 II (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 #44065]</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 II (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<br /> - (<a href="https://archive.org">https://archive.org</a>)</h4> <p> </p> <table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> <tr> @@ -364,7 +347,7 @@ TOOKS COURT, CHANCERY LANE, LONDON. E.C.<br /> </tr><tr> <td class="num" colspan="2">CHAPTER XI.</td> </tr><tr> -<td class="chap"><a href="#Page_24">Some Chimærical Thoughts of making the Stage</a></td> +<td class="chap"><a href="#Page_24">Some Chimærical Thoughts of making the Stage</a></td> <td class="pag">24</td> </tr><tr> <td class="num" colspan="2">CHAPTER XII.</td> @@ -636,9 +619,9 @@ his single Payment of Three Guineas. This Subscription his Lordship so zealously encouraged, that from his Recommendation chiefly, in a very little time it was compleated. The Plays were <i>Julius -Cæsar</i> of <i>Shakespear</i>; the <i>King and no King</i> of +Cæsar</i> of <i>Shakespear</i>; the <i>King and no King</i> of <i>Fletcher</i>, and the Comic Scenes of <i>Drydens Marriage -à la mode</i> and of his <i>Maiden Queen</i> put together;<a name="FNanchor_6" id="FNanchor_6"></a><a href="#Footnote_6" class="fnanchor">[6]</a> +à la mode</i> and of his <i>Maiden Queen</i> put together;<a name="FNanchor_6" id="FNanchor_6"></a><a href="#Footnote_6" class="fnanchor">[6]</a> for it was judg'd that, as these comic Episodes were utterly independent of the serious Scenes they were originally written to, they might on this occasion be @@ -1156,7 +1139,7 @@ by G. Vander Gucht." /> <div class="chapquot"> -<p><i>Some Chimærical Thoughts of making the Stage useful: Some, to its +<p><i>Some Chimærical Thoughts of making the Stage useful: Some, to its Reputation. The Patent unprofitable to all the Proprietors but one. A fourth Part of it given away to Colonel</i> Brett. <i>A Digression to his Memory. The two Companies of Actors reunited @@ -1537,7 +1520,7 @@ had, and (I bless my self for the Folly) still have a quick Relish of whatever did or can give me Delight: This Gentleman could not but see the youthful Joy I was generally raised to whenever I had the Happiness -of a <i>Tête à tête</i> with him; and it may be a +of a <i>Tête à tête</i> with him; and it may be a moot Point whether Wit is not as often inspired by a proper Attention as by the brightest Reply to it. Therefore, as he had Wit enough for any two People, @@ -1573,7 +1556,7 @@ fifty pretty Lies of him; but as I chuse to be tender of Secrets of that sort, I shall only borrow the good Breeding of that Language, and tell you in a Word, that I knew several Instances of his being <i>un -Homme à bonne Fortune</i>. But though his frequent +Homme à bonne Fortune</i>. But though his frequent Successes might generally keep him from the usual Disquiets of a Lover, he knew this was a Life too liquorish to last; and therefore had Reflexion enough @@ -2739,7 +2722,7 @@ have sometimes infested the whole Body of our dignified Lovers of Musick with the same childish Animosities: Ladies have been known to decline their Visits upon account of their being of a different -musical Party. <i>Cæsar</i> and <i>Pompey</i> made not a +musical Party. <i>Cæsar</i> and <i>Pompey</i> made not a warmer Division in the <i>Roman</i> Republick than those Heroines, their Country Women, the <i>Faustina</i> and <i>Cuzzoni</i>, blew up in our Common-wealth of Academical @@ -2761,7 +2744,7 @@ purchase, to give as complete an Opera as the whole vocal Power of <i>Italy</i> could form. But when it came to the Proof of this musical Project, behold! what woful Work they made of it! every Performer would -be a <i>Cæsar</i> or Nothing; their several Pretensions to +be a <i>Cæsar</i> or Nothing; their several Pretensions to Preference were not to be limited within the Laws of Harmony; they would all choose their own Songs, but not more to set off themselves than to oppose @@ -3454,7 +3437,7 @@ Means were given me to enjoy the Fruits of it.</p> <p> <span style="margin-left:2em;">——<i>Hoc est</i></span><br /> -<span style="margin-left:2em;"><i>Vivere bìs, vitâ; posse priore frui.</i><a name="FNanchor_89" id="FNanchor_89"></a><a href="#Footnote_89" class="fnanchor">[89]</a> </span><br /> +<span style="margin-left:2em;"><i>Vivere bìs, vitâ; posse priore frui.</i><a name="FNanchor_89" id="FNanchor_89"></a><a href="#Footnote_89" class="fnanchor">[89]</a> </span><br /> </p> <p>Something like the Meaning of this the less learned @@ -4069,7 +4052,7 @@ at Noon, and before one it was not wide enough for many who came too late for Places. The same Crowds continued for three Days together, (an uncommon Curiosity in that Place) and the Death of -<i>Cato</i> triumph'd over the Injuries of <i>Cæsar</i> every +<i>Cato</i> triumph'd over the Injuries of <i>Cæsar</i> every where. To conclude, our Reception at <i>Oxford</i>, whatever our Merit might be, exceeded our Expectation. At our taking Leave we had the Thanks of the @@ -5905,7 +5888,7 @@ perform'd at vast Expence, as appears by the Description of the Decorations in several of <i>Ben. Johnson</i>'s Masques in King <i>James</i> and <i>Charles the First</i>'s Time;<a name="FNanchor_155" id="FNanchor_155"></a><a href="#Footnote_155" class="fnanchor">[155]</a> many curious and original Draughts of which, -by Sir <i>Inigo Jones</i>, I have seen in the <i>Musæum</i> of +by Sir <i>Inigo Jones</i>, I have seen in the <i>Musæum</i> of our greatest Master and Patron of Arts and Architecture, whom it would be a needless Liberty to name.<a name="FNanchor_156" id="FNanchor_156"></a><a href="#Footnote_156" class="fnanchor">[156]</a> But when our Civil Wars ended in the @@ -6772,7 +6755,7 @@ upon a common Audience.</p> <p><i>Wilks</i>, from his first setting out, certainly form'd his manner of Acting upon the Model of <i>Monfort</i>;<a name="FNanchor_185" id="FNanchor_185"></a><a href="#Footnote_185" class="fnanchor">[185]</a> as <i>Booth</i> did his on that of <i>Betterton</i>. But——<i>Haud -passibus æquis</i>: I cannot say either of them came up +passibus æquis</i>: I cannot say either of them came up to their Original. <i>Wilks</i> had not that easy regulated Behaviour, or the harmonious Elocution of the One, nor <i>Booth</i> that Conscious Aspect of Intelligence nor @@ -6876,7 +6859,7 @@ to my Ear as every Line that came from <i>Betterton</i> was charming;<a name="FNanchor_188" id="FNanchor_188"></a><a href="#Footnote_188" class="fnanchor">[188]</a> and yet it is not impossible, could they have come to a Poll, but <i>Wilks</i> might have had a Majority of Admirers: However, such a -Division had been no Proof that the Præeminence +Division had been no Proof that the Præeminence had not still remain'd in <i>Betterton</i>; and if I should add that <i>Booth</i>, too, was behind <i>Betterton</i> in <i>Othello</i>, it would be saying no more than <i>Booth</i> himself had @@ -6975,7 +6958,7 @@ myself seen carried so far, that a Gentleman in their <i>second Loge</i>, or Middle-Gallery, being observ'd to sit forward himself while a Lady sate behind him, a loud Number of Voices call'd out to him from the -Pit, <i>Place à la Dame!</i> <i>Place à la Dame!</i> When the +Pit, <i>Place à la Dame!</i> <i>Place à la Dame!</i> When the Person so offending, either not apprehending the Meaning of the Clamour, or possibly being some <i>John Trott</i> who fear'd no Man alive; the Noise was @@ -7012,7 +6995,7 @@ of bad Authors were what we could never intirely get rid of. But let us state both our Cases, and then see where the Justice of the Complaint lies. 'Tis true, when an ingenious Indigent had taken -perhaps a whole Summer's Pains, <i>invitâ <span class="pagenum"><a name="Page_250" id="Page_250">250</a></span>Minervâ</i>, +perhaps a whole Summer's Pains, <i>invitâ <span class="pagenum"><a name="Page_250" id="Page_250">250</a></span>Minervâ</i>, to heap up a Pile of Poetry into the Likeness of a Play, and found, at last, the gay Promise of his Winter's Support was rejected and abortive, a Man @@ -7138,7 +7121,7 @@ Life with me; having still Health and Strength enough to have been as useful on the Stage as ever, I was under no visible Necessity of quitting it: But so it happen'd that our surviving Fraternity having -got some chimærical, and, as I thought, unjust +got some chimærical, and, as I thought, unjust Notions into their Heads, which, though I knew they were without much Difficulty to be surmounted; I chose not, at my time of Day, to enter into new Contentions; @@ -7193,7 +7176,7 @@ period of twenty-one years from 1st September, 1732.<a name="FNanchor_200" id="F Just after it came into operation Wilks died, and his share in the Patent became the property of his wife. Booth, shortly before his death, which occurred in -May, 1733, sold half of his share for £2,500, to<span class="pagenum"><a name="Page_258" id="Page_258">258</a></span> +May, 1733, sold half of his share for £2,500, to<span class="pagenum"><a name="Page_258" id="Page_258">258</a></span> John Highmore, a gentleman who seems to have been a typical amateur manager, being possessed of some money, no judgment, and unbounded vanity. @@ -7292,7 +7275,7 @@ partner, Owen Swiney.<a name="FNanchor_206" id="FNanchor_206"></a><a href="#Foot which a committee of actors, including Mills, Johnson, Miller, Theo. Cibber, Mrs. Heron, Mrs. Butler, and others, were to rent Drury Lane from Fleetwood, -for fifteen years, at £920 per annum; but the arrangement +for fifteen years, at £920 per annum; but the arrangement does not appear to have been carried out, and Fleetwood continued Patentee of Drury Lane until 1744-5.</p> @@ -7418,7 +7401,7 @@ specimen of his style, that I quote it at length:—</p> <p><span class="pagenum"><a name="Page_266" id="Page_266">266</a></span></p> -<p>The representative of Lætitia (or <i>Cocky</i>) alluded +<p>The representative of Lætitia (or <i>Cocky</i>) alluded to in this Epilogue was Mrs. Woffington, with whom stage-history has identified the "Susannah" of the following well-known anecdote, which I quote from @@ -7455,7 +7438,7 @@ was writing his "Apology," Mrs. Woffington had not appeared in London. The "Apology" was published in April, 1740, and had probably been completed in the preceding November; while Mrs. Woffington -made her London <i>débût</i> on 6th November, 1740.<a name="FNanchor_214" id="FNanchor_214"></a><a href="#Footnote_214" class="fnanchor">[214]</a></p> +made her London <i>débût</i> on 6th November, 1740.<a name="FNanchor_214" id="FNanchor_214"></a><a href="#Footnote_214" class="fnanchor">[214]</a></p> <p>During the season 1741-2, "At the particular desire of several persons of Quality," Cibber made a @@ -7769,7 +7752,7 @@ Humour, and who, though he was fond of having Wits in his Company, was not so restrained by his Conscience, but that he lov'd to laugh at any merry Mischief he could do them: This noble Wag, I say, -in his usual <i>Gayetè de Cœur</i>, with another Gentleman +in his usual <i>Gayetè de Cœur</i>, with another Gentleman still in Being,<a name="FNanchor_219" id="FNanchor_219"></a><a href="#Footnote_219" class="fnanchor">[219]</a> one Evening slily seduced the celebrated Mr. <i>Pope</i> as a Wit, and myself as a Laugher, to a certain House of Carnal Recreation, @@ -8041,7 +8024,7 @@ January, 1709.</p> <p>The Refusal—Comedy—Drury Lane, 14th February, 1721.</p> -<p>Cæsar in Egypt—Tragedy—Drury Lane, 9th +<p>Cæsar in Egypt—Tragedy—Drury Lane, 9th December, 1724.</p> <p>The Provoked Husband—Comedy (in conjunction @@ -8205,7 +8188,7 @@ ridicule Colley Cibber's "Apology." Herman, 22s.</p></blockquote> <p><span class="pagenum"><a name="Page_292" id="Page_292">292</a></span></p> <p>A brief supplement to Colley Cibber, Esq; his lives of the late famous Actors and Actresses. <i>Si tu -scis, melior ego.</i> By Anthony, Vulgò Tony Aston. +scis, melior ego.</i> By Anthony, Vulgò Tony Aston. Printed for the Author, <span class="smcap">N.P.</span> (London): <span class="smcap">N.D.</span> (1747-8). 8vo. pp. 24 including title.</p> @@ -8241,13 +8224,13 @@ life, and writings of Mr. Colley Cibber. Not written by himself. With some anecdotes of the Laureat, which he (thro' an excess of modesty) omitted. <span class="pagenum"><a name="Page_293" id="Page_293">293</a></span>To which is added, The history of the life, manners and -writings of Æsopus the tragedian, from a fragment +writings of Æsopus the tragedian, from a fragment of a Greek manuscript found in the Library of the Vatican; interspers'd with observations of the translator. London (Roberts): 1740. 8vo. 1s. 6d.</p> <blockquote> -<p>A furious attack on Cibber. The Life of Æsopus is a burlesque +<p>A furious attack on Cibber. The Life of Æsopus is a burlesque Life of Cibber. Daniel. 7s. 6d.</p></blockquote> <p>The history of the stage. In which is included, @@ -8415,7 +8398,7 @@ of little value or interest.</p> <td class="tdc" rowspan="2"><i><span class="gesperrt">ASTON</span></i>.</td> </tr> <tr> - <td class="tdc">Vulgò <i><span class="gesperrt">TONY</span></i> </td> + <td class="tdc">Vulgò <i><span class="gesperrt">TONY</span></i> </td> </tr> </table> <hr class="r5" /> @@ -8564,7 +8547,7 @@ a Man (take him for all in all) I cannot look upon his Like again."</p> <p>His Favourite, Mrs. <i>BARRY</i>, claims the next in -Æstimation. They were both never better pleas'd, +Æstimation. They were both never better pleas'd, than in Playing together.—Mrs. <i>Barry</i> outshin'd Mrs. <i>Bracegirdle</i> in the Character of ZARA in the <i>Mourning Bride</i>, altho' Mr. <i>Congreve</i> design'd @@ -8813,7 +8796,7 @@ which sunk <i>Tom Dogget's</i> Progress in Tragedy from that Time.</p> <p style="margin-left:2em;"> -<i>Fælix quem faciunt aliena pericula cautum.</i> +<i>Fælix quem faciunt aliena pericula cautum.</i> </p> <p>But our present <span class="smcap">Laureat</span> had a better Opinion of @@ -9028,7 +9011,7 @@ Word.</i>—The Bishop, reflecting that his Honour and Name would be expos'd, (if he complied not) paid the Debt and Charges.—There were two Parts of Plays (<i>Nol Bluff</i> in the <i>Old Batchelor</i>, and <i>Roger</i> in -<i>Æsop</i>) which none ever touch'd but <i>Joe Haines</i>.—I +<i>Æsop</i>) which none ever touch'd but <i>Joe Haines</i>.—I own, I have copied him in <i>Roger</i>, as I did Mr. <i>Dogget</i> in <i>Fondlewife</i>.—But, now, for another Story of him.</p> @@ -9328,9 +9311,9 @@ of parts, and was prescriptively invested with the attributes of youth and agility. He possessed a considerable share in the profits and direction of the theatre, which were divided among the principal performers; and besides his -salary of £3 a week, and an allowance as a proprietor, +salary of £3 a week, and an allowance as a proprietor, amounting to six shillings and three-pence a day, is supposed -to have occasionally cleared about £1000 per annum.</p> +to have occasionally cleared about £1000 per annum.</p> <p>[On the 14th of October, 1681, a memorandum was signed between Dr. Charles Davenant, Betterton, and @@ -9396,7 +9379,7 @@ his pristine duties, and became an able second to Hart, with whom he was equally admired for superlative knowledge of his arduous profession.</p> <p><span class="pagenum"><a name="Page_327" id="Page_327">327</a></span></p> -<p>He is celebrated by Lord Rochester, as the great Æsopus +<p>He is celebrated by Lord Rochester, as the great Æsopus of the stage; praise, which, though coming from one of so capricious a temper, may be relied on, since it is confirmed by more respectable testimony. He was particularly remarkable @@ -9560,7 +9543,7 @@ universal applause.</p> <p>About the opening of the eighteenth century [that is, 18th October, 1704], Mr. Estcourt was engaged at Drury-lane -Theatre, where he made his débût as <i>Dominic</i>, in the +Theatre, where he made his débût as <i>Dominic</i>, in the "Spanish Friar," and established his efforts, it is said, by a close imitation of Leigh, the original possessor of that part. In the year 1705 [should be 1706], such was his merit or @@ -9754,7 +9737,7 @@ divested of influence or control, he accepted an engagement as an actor.</p> <p>Mr. Betterton's salary never exceeded eighty shillings a-week, -and having sustained the loss of more than £2,000, +and having sustained the loss of more than £2,000, by a commercial venture to the East Indies, in 1692, necessity compelled him to pursue his professional avocations. On Thursday, April the 13th, 1709,<a name="FNanchor_237" id="FNanchor_237"></a><a href="#Footnote_237" class="fnanchor">[237]</a> the play of "Love for @@ -9789,7 +9772,7 @@ should long before have secured.</p> course of the ensuing winter, and on the 25th of April, 1710 [should be 13th April], was admitted to another benefit, which, with the patronage bestowed upon its predecessor, -is supposed to have netted nearly £1000. Upon this occasion, +is supposed to have netted nearly £1000. Upon this occasion, he was announced for his celebrated part of <i>Melantius</i>, in the "Maid's Tragedy," from the performance of which he ought, however, upon strict consideration, to have been @@ -10133,7 +10116,7 @@ of public notice, it was Dryden's "Sir Martin Mar-all," and raised him to the highest pitch of popularity.</p> <p>According to Downes, the Duke of Newcastle gave a -literal translation of Molière's "Etourdi" to Dryden, who +literal translation of Molière's "Etourdi" to Dryden, who adapted the part of <i>Sir Martin Mar-all</i> "purposely for the mouth of Mr. Nokes;" and the old prompter has corroborated Mr. Cibber's assertion of his success. Nokes @@ -10535,7 +10518,7 @@ greatly in a pitiful character, that her acting has given success to plays which would disgust the most patient reader.<a name="FNanchor_253" id="FNanchor_253"></a><a href="#Footnote_253" class="fnanchor">[253]</a> When she accepted a part, it was her uniform practice to consult the author's intention. Her last new -character was the heroine of Smith's "Phædra and Hippolytus," +character was the heroine of Smith's "Phædra and Hippolytus," and though Mrs. Oldfield and the poet fell out concerning a few lines in the part of <i>Ismena</i>, Mrs. Barry and he were in perfect harmony. [<i>Valide</i>, in Goring's<span class="pagenum"><a name="Page_359" id="Page_359">359</a></span> @@ -10661,7 +10644,7 @@ the play." [As noted before, p. 252, Bullock was probably not the actor aimed at.]</p> <p>This piece was printed in 1702, as acted "at the Theatre -Royal in Drury-lane;" with a list of the <i>dramatis personæ</i>, +Royal in Drury-lane;" with a list of the <i>dramatis personæ</i>, but the names of the actors not annexed. Bullock, however, sustained the part of <i>Sir Tunbelly Clumsy</i>, in Vanbrugh's "Relapse," which had been previously performed @@ -11015,7 +10998,7 @@ not unknown.</p> <ul class="index"> -<li class="ifirst">Abbé, Monsieur L', a French dancer, i. xxvii., i. 316.</li> +<li class="ifirst">Abbé, Monsieur L', a French dancer, i. xxvii., i. 316.</li> <li>Acting, excellence of, about, 1631, i. xlviii.;</li> <li class="isub">Cibber's views on versatility in, i. 209.</li> @@ -11094,7 +11077,7 @@ not unknown.</p> <li class="isub">the pleasure of, i. 85.</li> <li>Archer, William, his investigations regarding the truth of Diderot's "Paradoxe -sur le Comédien," i. 103, <i>note</i> 1;</li> +sur le Comédien," i. 103, <i>note</i> 1;</li> <li class="isub">his "About the Theatre," i. 278, <i>note</i> 1.</li> <li>Aristophanes, referred to, i. 39.</li> @@ -11271,7 +11254,7 @@ ii. <a href="#Page_363">363</a>, ii. <a href="#Page_365">365</a>;</li> <li>Betterton's Company (1695 to, 1704), their decline, i. 314;</li> <li class="isub">disorders in, i. 315.</li> -<li>Biblical narratives dramatized in the "Ludus Coventriæ," i. xxxvii. <i>et seq.</i></li> +<li>Biblical narratives dramatized in the "Ludus Coventriæ," i. xxxvii. <i>et seq.</i></li> <li>Bibliography of Colley Cibber, ii. <a href="#Page_289">289</a>-<a href="#Page_296">296</a>.</li> @@ -11301,7 +11284,7 @@ Bickerstaffe, John (actor), ii. <a href="#Page_77">77</a>, <i>note</i> 1, ii. <a <li>—— Theatre, i. xxv., i. xxvi., i. xxviii., i. xlix.;</li> <li class="isub">its excellent company, i. xxiv., i. xxvi.</li> -<li>Blanc, Abbé Le, his account of a theatre riot, i. 278, <i>note</i> 1.</li> +<li>Blanc, Abbé Le, his account of a theatre riot, i. 278, <i>note</i> 1.</li> <li>"Blast upon Bays, A," ii. <a href="#Page_266">266</a>.</li> @@ -11605,7 +11588,7 @@ attacked by Jeremy Collier, i. 274;</li> <li class="isub">leaves Rich and goes to Swiney, i. 337;</li> <li class="isub">his "Lady's Last Stake," ii. <a href="#Page_2">2</a>;</li> <li class="isub">his "Double Gallant," ii. <a href="#Page_3">3</a>;</li> -<li class="isub">his "Marriage à la Mode," ii. <a href="#Page_5">5</a>;</li> +<li class="isub">his "Marriage à la Mode," ii. <a href="#Page_5">5</a>;</li> <li class="isub">declines to act on the same stage as rope-dancers, ii. <a href="#Page_7">7</a>;</li> <li class="isub">advises Col. Brett regarding the Patent, ii. <a href="#Page_33">33</a>, ii. <a href="#Page_42">42</a>;</li> <li class="isub">his first introduction to him, ii. <a href="#Page_33">33</a>;</li> @@ -11925,7 +11908,7 @@ Complexion, black, of evil characters on the stage, i. 133.</li> <li>Cooper, Lord Chancellor, ii. <a href="#Page_149">149</a>, ii. <a href="#Page_174">174</a>.</li> <li>Coquelin, Constant, his controversy with Henry Irving regarding Diderot's -"Paradoxe sur le Comédien," i. 103, <i>note</i> 1.</li> +"Paradoxe sur le Comédien," i. 103, <i>note</i> 1.</li> <li>Corelli, Arcangelo, ii. <a href="#Page_247">247</a>.</li> @@ -11949,7 +11932,7 @@ Complexion, black, of evil characters on the stage, i. 133.</li> <li>Crawley, keeper of a puppet-show, ii. <a href="#Page_301">301</a>.</li> -<li>Creation, the, dramatized in the "Ludus Coventriæ," i. xxxviii.</li> +<li>Creation, the, dramatized in the "Ludus Coventriæ," i. xxxviii.</li> <li>Cromwell, Lady Mary, i. 267, <i>note</i> 1.</li> @@ -12033,7 +12016,7 @@ Devonshire, Duke of, ii. <a href="#Page_305">305</a>;</li> <li class="isub">his quarrel with James II., i. 72;</li> <li class="isub">Cibber presents a petition to, i. 73.</li> -<li>Diderot, Denis, his "Paradoxe sur le Comédien," i. 103, <i>note</i> 1.</li> +<li>Diderot, Denis, his "Paradoxe sur le Comédien," i. 103, <i>note</i> 1.</li> <li>Dillworth, W. H., his "Life of Pope," ii. <a href="#Page_278">278</a>, <i>note</i> 1.</li> @@ -12141,7 +12124,7 @@ stage, i. 74, <i>note</i> 1;</li> <li>"Duchess of Malfy," i. xxv.</li> <li>Dugdale, Sir William, his "Antiquities of Warwickshire" quoted, i. xxxvi.;</li> -<li class="isub">mentions the "Ludus Coventriæ," i. xxxviii.</li> +<li class="isub">mentions the "Ludus Coventriæ," i. xxxviii.</li> <li>Duke's Servants, The, i. 87, <i>note</i> 1, i. 88.</li> @@ -12287,7 +12270,7 @@ i. 320, <i>note</i> 1, ii. <a href="#Page_11">11</a>, <i>note</i> 1, ii. <a href <li>"Funeral, The," i. 263.</li> -<li class="ifirst">Gaedertz, Herr, his "Zur Kenntniss der altenglischen Bühne," ii. <a href="#Page_84">84</a>, <i>note</i> 1.</li> +<li class="ifirst">Gaedertz, Herr, his "Zur Kenntniss der altenglischen Bühne," ii. <a href="#Page_84">84</a>, <i>note</i> 1.</li> @@ -12506,7 +12489,7 @@ Hutton, Laurence, his "Literary Landmarks of London" quoted, i. 7, <i>note</i> 3 <li class="ifirst">Irving, Henry, his controversy with Constant Coquelin regarding Diderot's "Paradoxe sur -le Comédien," i. 103, <i>note</i> 1;</li> +le Comédien," i. 103, <i>note</i> 1;</li> <li class="isub">restores Shakespeare's "Richard III." to the stage, ii. <a href="#Page_287">287</a>.</li> <li>Italian Opera, introduced into England, i. 324;</li> @@ -12560,7 +12543,7 @@ stage," 1660, i. 90, <i>note</i> 1, i. 119, <i>note</i> 1.</li> <li>"Joseph Andrews" quoted, i. 10, <i>note</i> 1, i. 50, <i>note</i> 2, i. 61, <i>note</i> 1.</li> -<li>"Julius Cæsar," special revival of, in 1707, ii. <a href="#Page_5">5</a>.</li> +<li>"Julius Cæsar," special revival of, in 1707, ii. <a href="#Page_5">5</a>.</li> @@ -12759,7 +12742,7 @@ ii. <a href="#Page_68">68</a>;</li> <li>"Lucius Junius Brutus," by Lee, vetoed, ii. <a href="#Page_13">13</a>.</li> -<li>"Ludus Coventriæ," i. xxxviii.;</li> +<li>"Ludus Coventriæ," i. xxxviii.;</li> <li class="isub">these plays acted at other towns besides Coventry, i. xxxviii.;</li> <li class="isub">a description of them, i. xxxviii. <i>et seq.</i></li> @@ -12803,14 +12786,14 @@ ii. <a href="#Page_138">138</a>, <i>note</i> 1.</li> <li>—— Duke of, ii. <a href="#Page_96">96</a>, <i>note</i> 1, ii. <a href="#Page_130">130</a>, ii. <a href="#Page_164">164</a>, ii. <a href="#Page_228">228</a>.</li> -<li>"Marriage à la Mode," by Cibber, cast of, ii. <a href="#Page_5">5</a>, <i>note</i> 1.</li> +<li>"Marriage à la Mode," by Cibber, cast of, ii. <a href="#Page_5">5</a>, <i>note</i> 1.</li> <li>Marshall, Anne, i. 161, <i>note</i> 1;</li> <li class="isub">said to be the first English actress, i. 90, <i>note</i> 1.</li> <li>—— Julian, his "Annals of Tennis" quoted, i. 315, <i>note</i> 1.</li> -<li>Mary, the Virgin, and Joseph, characters in the "Ludus Coventriæ," i. xxxix.</li> +<li>Mary, the Virgin, and Joseph, characters in the "Ludus Coventriæ," i. xxxix.</li> <li>—— Queen, her death, i. 193.</li> @@ -12829,7 +12812,7 @@ ii. <a href="#Page_138">138</a>, <i>note</i> 1.</li> <li>Mathews, Charles (the elder), his powers of imitation referred to, i. 115, <i>note</i> 1.</li> -<li>Mathias, St., the choosing of, as an apostle, dramatized in the "Ludus Coventriæ," i. xxxviii.</li> +<li>Mathias, St., the choosing of, as an apostle, dramatized in the "Ludus Coventriæ," i. xxxviii.</li> <li>Matthews, Brander, ii. <a href="#Page_289">289</a>, <i>note</i> 1.</li> @@ -13070,7 +13053,7 @@ Pelham, Hon. Henry, Cibber's "Apology" dedicated to, i. lv., <i>note</i> 1.</li> <li>Perkins, an eminent actor, i. xxvi.;</li> <li class="isub">his death, i. xxxi.</li> -<li>Perrin, Mons. (of the Théâtre Français), ii. <a href="#Page_221">221</a>, <i>note</i> 1, ii. <a href="#Page_246">246</a>, +<li>Perrin, Mons. (of the Théâtre Français), ii. <a href="#Page_221">221</a>, <i>note</i> 1, ii. <a href="#Page_246">246</a>, <i>note</i> 1.</li> <li>Perriwigs, enormous, worn by actors, ii. <a href="#Page_36">36</a>, <i>note</i> 1.</li> @@ -13557,7 +13540,7 @@ ii. <a href="#Page_244">244</a>, <i>note</i> 1, ii. <a href="#Page_244">244</a>, <li>Theatre, the, mentioned by Stow as recently erected, i. xlviii.</li> -<li>Théâtre Français, ii. <a href="#Page_221">221</a>, <i>note</i> 1, ii. <a href="#Page_246">246</a>, <i>note</i> 1.</li> +<li>Théâtre Français, ii. <a href="#Page_221">221</a>, <i>note</i> 1, ii. <a href="#Page_246">246</a>, <i>note</i> 1.</li> <li>Theatres, number of, before 1642, i. xxvi.;</li> <li class="isub">more reputable before 1642, i. xxvii.;</li> @@ -13607,7 +13590,7 @@ Union of Companies in 1682, i. xxxii., i. 96;</li> <li class="isub">his high opinion of Cibber's acting, i. 216;</li> <li class="isub">his "Provoked Wife," i. 216-217;</li> <li class="isub">in gratitude to Sir Thomas Skipwith presents him with "The Relapse," i. 217;</li> -<li class="isub">his "Æsop," i. 216, i. 218;</li> +<li class="isub">his "Æsop," i. 216, i. 218;</li> <li class="isub">his great ability, i. 219;</li> <li class="isub">alters his "Provoked Wife," ii. <a href="#Page_233">233</a>;</li> <li class="isub">his share in the "Provoked Husband," i. 311, <i>note</i> 1;</li> @@ -13652,7 +13635,7 @@ Union of Companies in 1682, i. xxxii., i. 96;</li> <li>Vizard-masks (women of the town), i. xxvii. See also Masks.</li> -<li>Voltaire, his "Zaïre," ii. <a href="#Page_248">248</a>.</li> +<li>Voltaire, his "Zaïre," ii. <a href="#Page_248">248</a>.</li> @@ -13915,7 +13898,7 @@ plays when published.</p> 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."</p> +à la Mode; or, the Comical Lovers."</p> <table summary="Marriage a la mode cast" style="margin-left: 2em;"> <tr><td class="tdl" style="width:5em;"><span class="smcap">Celadon</span> </td><td class="tdl">Mr. Cibber.</td></tr> @@ -14463,7 +14446,7 @@ and at the robbers' and the revellers' den, the <i>Dog</i>, in Drury Lane. Fenwick's agent, O'Bryan, erst soldier and highwayman, now a Jacobite agent, found Scum at the <i>Dog</i>, 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 +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, @@ -14527,7 +14510,7 @@ and got into the possession of the Play-house in Drury-lane."</p> <span class="label">[53]</span></a> 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 +full receipts of their benefits, under deduction only of £40 for the charges of the house. See the Order for Silence quoted <i>post</i>, page 73.</p> @@ -14650,7 +14633,7 @@ design to open is, <i>The Duke and no Duke</i>; 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 <i>George Powell</i>.</p> -<p>"Now, Sir, they being so much at a Loss for the <i>Dramatis Personæ</i>, +<p>"Now, Sir, they being so much at a Loss for the <i>Dramatis Personæ</i>, <i>viz.</i> 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' @@ -14712,7 +14695,7 @@ to a week.</p> <tr> <td class="tdc">In that time</td> <td></td> - <td class="tdr"><i>£ </i></td> + <td class="tdr"><i>£ </i></td> <td class="tdr"><i>s.</i></td> <td class="tdr"><i>d.</i></td> </tr> @@ -14868,7 +14851,7 @@ benefit plays, as follows:</td> <tr> <td class="tdl"></td> <td></td> - <td class="tdr"><i>£ </i></td> + <td class="tdr"><i>£ </i></td> <td class="tdr"><i>s.</i></td> <td class="tdr"><i>d.</i></td> </tr> @@ -14941,7 +14924,7 @@ following sums:</td></tr> <tr> <td class="tdl"></td> <td></td> - <td class="tdr"><i>£ </i></td> + <td class="tdr"><i>£ </i></td> <td class="tdr"><i>s.</i></td> <td class="tdr"><i>d.</i></td> </tr> @@ -15114,7 +15097,7 @@ 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 +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, @@ -15993,7 +15976,7 @@ of the Tragic Stage. But if <span class="smcap">Horace</span> had been now alive been either a reader or spectator of that entertainment, he would have passed his old sentence upon the Author.</p> -<p><span style="margin-left: 2em;">"'<i>Infelix operis summâ, quia ponere totum</i></span><br /> +<p><span style="margin-left: 2em;">"'<i>Infelix operis summâ, quia ponere totum</i></span><br /> <span style="margin-left: 2em;"><i>Nesciet.</i>'" [<i>Ars Poetica, 34.</i>]</span><br /> <span style="margin-left: 4em;">Nichols' "Theatre," p. 544.</span></p> @@ -16409,7 +16392,7 @@ before his Majesty at Hampton Court."</p> <span class="label">[155]</span></a> 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.</p> +of the Temple, which cost £21,000.</p> @@ -16483,11 +16466,11 @@ passion, he expresses an unfavourable opinion of Cibber's playing.</p> <p><a name="Footnote_162" id="Footnote_162"></a><a href="#FNanchor_162"> <span class="label">[162]</span></a> - From the Lord Chamberlain's Records it is clear that £10 + 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.</p> +theatre, £20 was allowed.</p> @@ -16496,16 +16479,16 @@ theatre, £20 was allowed.</p> <span class="label">[163]</span></a> The warrant for the payment of these performances is dated 15th November, 1718. The expenses incurred by the actors -amounted to £374 1<i>s.</i> 8<i>d.</i>, and the present given by the King, -as Cibber states, was £200; the total payment being thus -£574 1<i>s.</i> 8<i>d.</i></p> +amounted to £374 1<i>s.</i> 8<i>d.</i>, and the present given by the King, +as Cibber states, was £200; the total payment being thus +£574 1<i>s.</i> 8<i>d.</i></p> <p><a name="Footnote_164" id="Footnote_164"></a><a href="#FNanchor_164"> <span class="label">[164]</span></a> - M. Perrin, the late manager of the Theatre Français, was + M. Perrin, the late manager of the Theatre Français, was virulently attacked for giving <i>la jeune troupe</i> no opportunities, and so doing nothing to provide successors to the great actors of his time.</p> @@ -16798,9 +16781,9 @@ in the part, vol. i. page 100.</p> <p><a name="Footnote_189" id="Footnote_189"></a><a href="#FNanchor_189"> <span class="label">[189]</span></a> - In the Theatre Français a similar arrangement holds to this + 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 <i>Abonnés du +manager, was accused of a too great attention to his <i>Abonnés du Mardi</i>, to the detriment of the theatre and of the general public.</p> @@ -16825,10 +16808,10 @@ music.</p> <p><a name="Footnote_192" id="Footnote_192"></a><a href="#FNanchor_192"> <span class="label">[192]</span></a> Jeanne Catherine Gaussin, a very celebrated actress of the -Comédie Française, was the original representative of Zaïre, in +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 +9th June, 1767. Voltaire's "Zaïre" owed much of its success to her extraordinary ability.</p> @@ -17088,14 +17071,14 @@ act iii. sc. 1.</p> <p><a name="Footnote_211" id="Footnote_211"></a><a href="#FNanchor_211"> <span class="label">[211]</span></a> - Fondlewife's pet name for his wife Lætitia.</p> + Fondlewife's pet name for his wife Lætitia.</p> <p><a name="Footnote_212" id="Footnote_212"></a><a href="#FNanchor_212"> <span class="label">[212]</span></a> - Lætitia's pet name for Fondlewife. See vol. i. page 206.</p> + Lætitia's pet name for Fondlewife. See vol. i. page 206.</p> @@ -17483,7 +17466,7 @@ which Hart and Mohun were held:—</p> <p>"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 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 @@ -17573,7 +17556,7 @@ mansion, at Caen-wood.</p> whom I would have this sentence of Tully for an epitaph, which will serve for his moral as well as his theatrical capacity:</p> -<p style="margin-left:2em;">'<i>Vitæ bene actæ jucundissima est recordatio.</i>'"</p> +<p style="margin-left:2em;">'<i>Vitæ bene actæ jucundissima est recordatio.</i>'"</p> <p>In another part of his correspondence, he intimates that Betterton's "remains" had been taken care of, alluding, I suppose, to this post-humous @@ -17843,360 +17826,6 @@ fn 26 two of these parts belonged to Skipwith[Shipwith]<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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