of plays; the most important of which were Romeo and Juliet, Every Man in his Humour, Katharine and Petruchio, and Hamlet. He wrote nearly one hundred prologues; and though it was absurd to name them with those of Dryden, they have merit of their own, both for variety, as well as for ease and spirit. This is one incident of the old dramatic days which has now grown obsolete. No new play was then complete without this introduction, or conclusion; and very often, when in the hands of a skilful or lively actor, prologue or epilogue became even a greater feature of the night than the play itself. Thus Johnson's well-known Drury Lane Prologue had "a run "to itself, and had to be repeated night after night. The custom shows us that the audience came to enjoy their full night's pleasure, from the very first rising of the curtain; and the present languid, fitful way of taking our dramatic pleasure, may be one of the reasons why the practice has passed away. They were very familiar and "free and easy" in their tone.

Yet such familiarity had its benefit, and an effect on the decency and order of the stage. For the prologue and epilogue, allowing a certain licence, became a sort of guarantee that the regular business of the stage should be kept sacred from all such freedoms. Thus the audience could enjoy a kind of privileged intercourse with their favourite, which their own respect refused to tolerate in the play. Now, as this safety-valve is gone, the "gagging" has forced its way into the business of the play itself. It has been mentioned that Garrick was collecting for publication all his fugitive pieces, but his death put a stop to this plan. Two little volumes of his prologues and verses were later sent out; but the collection is not by any means complete. His plays and adaptations have been also published in four volumes. Those who would wish to see yet more of what this agreeable writer has left, may consult the third volume of "Dodsley's Collection," "The New Foundling Hospital for Wit," "Notes and Queries," passim; and some dramatic criticisms in the St. James's Chronicle, after his retirement from Drury Lane. Garrick had a very choice collection of Italian and French works, purchased abroad, and some of these have kept together. Book-buyers will sometimes have come on a stray volume at a sale-his book-plate at the beginning with Shakspeare's bust, and a shield and motto from Ménage, a little French hint as to the two duties of the bookborrower, his first being, to read it with all diligence, and then return it as speedily as possible.

INDEX.

Abington, Mrs., her dislike to Garrick, 367; her conduct to Garrick, 395,
396, 420.

Amateur performance of "Othello" at Drury Lane, 141.

Apreece, Mr. and Mrs., held up to ridicule by Foote, 174.

Baddeley, Mrs., her strange career, 380.

Baretti, 220, 221, n., 292.

Barrowby, Dr., 72.

Barry, acting with Garrick in Dublin, 88; his gratitude to Garrick, 96;
his début in London, 104; engaged by Garrick, 317; his grievances,
131, 318; deserts to the other house, 132; Romeo contest, 134; his
King Lear" rivalry with Garrick, 163; his decay, 364; his death,
456.

66

Bate, Rev. Mr., his play damned, 425, 426.

Beaumarchais, 296.

Bedford, The, and its coterie, 147.

Beighton, The Rev. Mr., portrait of, 199.

Bellamy, Miss, at Sheridan's house at Kingston, 81; at Dublin with Gar-
rick, 91; her treatment of him, 92, 144.

Bensley, Elia's sketch of, 381.

Bickerstaff, his fate, 362, 363.

Boswell, 214; at the Jubilee, 335; his absurd behaviour, 336, 337; 467.
Bower, Dr., his attack on Mr. and Mrs. Garrick, 235.

Bracegirdle, Mrs., Garrick's opinion of her playing, 249.

Bride, Miss, in "The Rosciad," 232.

Brown, Dr., his "Barbarossa," 155, n., 195.

Camden, Lord, 200, 207, 208, 459.

Carlyle, Dr., his acquaintance with the Violette, 99; his skill at golf, 199.
Chatham, Lord, his verses, 211.

Churchill, sketch of him at Vauxhall, 229, n.; his "Rosciad," 229; sitting in
the pit, ibid.; his strange letter for assistance, 234; his death, ibid.
Cibber, Colley, his dislike and depreciation of the new actor, 51, 52, 53.
Cibber, Mrs., meets Garrick in Dublin, 60, 61; her proposal to Garrick to
join her and Quin in taking Drury Lane, 85, 86; claims to play Estifania,
159; as Constance, 225; her death, 305; sketch of her, 373.
Chesterfield, Lord, neglect of Garrick in Dublin, 89.

Chinese Festival Riot, account of, 161-163.

Christie, Mr. (head of the auction firm), assisted by Garrick, 446.

Clairon, sketch of her acting, 285, 297; her battle with the Government,
299, 300.

Clive, her retirement, 322; her pleasant letter, ibid.; her skirmishing with
Garrick, 393, 394, 400; intercedes for Miss Pope, 399; her generous
testimony to Garrick's merits, 423, 424, 425, 437.

Clough, Arabella, David's mother, 3; her children, 4; touching letter to
her husband, 12; her death, 27.

Cobham, Lord, opinion of Garrick as compared with Betterton, 49, n.
Colson, drawn as Gelidus, 23, n.

Coventry, Lady, her patronage of Crisp's play, 153.

Crisp, his "Virginia," 153.

Cumberland's recollections of Garrick, 106, 249, 281, 340, 341.

Dance, the artist, his behaviour, 204.

Davies, Tom, 230, 382, 383, n., 388, 442-445.

Delavals, their amateur performance at Drury Lane, 141.

Denmark, King of, visit to Drury Lane, 319.

Devonshire, Duke of, lends Garrick £500, 168, n.

Dibdin, "his consummate impudence and ingratitude," 407, 408.

Dodd, Dr., 214.

Dodd, the actor, Elia's sketch of, 381, 382; Hoadly's ditto, ibid., n.
Docksey, 433.

Dodsley, account of his "Cleone," 190.

Drury Lane, its patents, 80, n.; charges on, 112; as laid out by Wren,
113; remodelled, 238; various reforms and improvements, 239–242;
pay list, 244, n.

Dublin, account of, in 1742, 59.

Essex, Earl of, 206, 207.

Farquhar, his daughter alive in 1752, 140.

Farington, his impression of Garrick's Hamlet, 278, n.

Fielding, Henry, his "Pasquin," 33.

Fitzpatrick, "Thady," account of, 147; his quarrel with Woodward, 151;
his attack on Garrick, 242; organizes a riot against Garrick, 243;
portrait of him in "The Rosciad," 231.

Fleetwood, account of, 65; his embarrassments, ibid.; revolt against, 69;
tricks his creditors, 79.

Foote, Samuel, his appearance at Drury Lane, 75; his critique on the
Suspicious Husband," 110; about to satirize Garrick and Lacy in
his "Tea," 118; quarrel with Woodward, 129; his uniform conduct
to Garrick, 129, 130; his plan for ridiculing Woffington stopped, 176;
his conduct to Garrick, 175, 178; his quarrel with Wilkinson, 179;
his ridicule of Delane, Ryan, and Woodward, 269, n.; his quarrel with
Hiffernan, 148; at the Jubilee, 330-335, 338; his dreadful accident,
339; contrast between Foote and Garrick, 340, 341; his witty and
cynical stories of the Jubilee, 342; his ingratitude to Garrick, 343,344;
opens the Haymarket, Feb., 1770, 345; great excitement on the open-
ing night to witness the "Handsome Housemaid; or, Piety in Pat-
tens," ibid.; his grotesque appearance having his false leg fitted on
before facing the audience, 346; "takes off" Mrs. Yates, Steevens,
Dr. Arne, Kelly, Cumberland, Cradock, and Garrick, ibid.; terrible
charge against, 348; death at Dover, ibid.

Forster, Mrs., granddaughter of Milton, 131.
Fox's critique on Garrick's acting, 281.
French, the, stage, account of, 297-301.
"Fribbleriad," the, 243.

Gainsborough, his "swearing letters," 320.
GARRICK, DAVID :—

Born at Hereford, 1; his baptism, 4, n. ; his brothers and sisters, ibid., n.;
patronage by Walmesley, ibid.; put to Lichfield school, 5; his master,
ibid.; boyish theatricals, 7; sent out to Portugal, 8; life there, and
return home, ibid.; letters to his father, 10-16; life at Lichfield, 12;
visit to London, 16; sent to Edial, 17; sets out for London, 20;
enters at Lincoln's Inn, ibid.; legacy from his uncle, 22; life at

66

99 66

Rochester, 23; starts as a wine merchant with his brother, 24; his
life, 26; plays for Cave, 28; and with Hogarth and Hoadly, ibid.; his
critiques, ibid.; his farce, 29; his verses to Woffington, 30; acquaint.
ance with Woffington, ibid.; Hanbury Williams, his rival, 31; his
letters to Lichfield, announcing his first appearance at Goodman's
Fields, 37; account of his debut, 38; bill, 40; praised by Pope, 43;
letters of excuse to relatives, 44, 45; his new farce, "The Lying Valet,'
47; encouraged and patronized by Mr. Pitt, Glover, Murray, and
others, 50; scene with Speaker Onslow, ibid., n.; his retort on Quin,
53; plays Bayes, ibid.; his “taking off the old actors, 54; quarrel
with Giffard, ibid.; attempts King Lear 56; provides for his brother,
57; resumé of his labours during the season, ibid.; plays at Drury
Lane, 58; sets off for Dublin with Woffington, 59; his success, 61;
there given the name of Roscius, 63; engages at Drury Lane with
Fleetwood, 64; keeps house with Macklin and Woffington, 66; refuses
to act, and organizes a revolt against Fleetwood, 68; his quarrel with
Macklin, 70; storm on his re-appearance, 72; his reply to Macklin's
"Case," 73; attempts Othello, 78; coolness with Sheridan, ibid.; ill-
ness, 79; his fitful intimacy with Woffington, 80; promises to marry
her, 81; his final rupture with her, 83; his farewell verses, ibid.;
second visit to Dublin, 86; his good humour to Bellamy, 92, 93; re-
turns to town and plays before the Prince of Hesse, 98; goes to Chel-
tenham, ibid.; his rivalry with Quin at the same theatre, 105; his
Pribble, 107; his illness, 108; plays Ranger, 109; joins with Lacy in
taking Drury Lane under a new patent, 112; terms of their agree-
ment, ibid.; Drury Lane remodelled, 113; his life at Tunbridge
Wells, 114; his engagement of Pritchard and Macklin, 115; opens
the theatre, ibid.; his reforms, 116; restores Macbeth," 117; ex-
planation of his "fitful intimacy" with Foote, 118; his "Romeo
adaptation, 119; brings out "Irene," 121; plays in "Merope
an angel," 122; stories connected with his courtship of the Violette,
123; his marriage, 126; his house in Southampton Street, 127;
attacks on him in pamphlets, 128; his re-appearance, 129; dispute
with Foote, ibid.; friendship with Hogarth, 130; Romeo contest with
Barry, 134; disorder at Covent Garden, 136-7; introduces pantomimes,
140; his first trip to Paris, 141; his adventure there, 142; presented
to the King of France, ibid.; produces "Every Man in his Humour,"
144, and "Gamester," 146; revives "The Chances," 154; brings out
"Barbarossa" 155; said to "mammock" Shakspeare's plays into
operas, 156; brings out his Chinese Festival, 161; his resolute be-
haviour, 163; his rivalry with Barry in Lear, ibid.; plays with the
débutante, Miss Pritchard, 164; plays Don Felix, ibid.; his Dramatic
School for Children, 165; his quarrel with Dr. Hill, 168; tries
Antony, ibid.; patronage of Tate Wilkinson, 170; pleasant picture of him
on an excursion, 171-74; scene at rehearsal at Drury Lane, 175; hinders
Foote from taking off" Woffington, 176; behaviour of Wilkinson,
177; story of his so-called "stinginess," 179, n.; dispute with Murphy
about the "Orphan of China, 181; produces it, 184; obtains a pension
for Ralph, 185; quarrel with Smollett, 186; declines "Douglas," 188;
his letter to Dodsley, 191; purchases a villa at Hampton, his life
there, 197; the Shakspeare Temple, ibid.; Hogarth's "Election" pic-
tures purchased by, 202; Hogarth's portraits of Mr. and Mrs. Garrick
(frontispiece), ibid.; life at Althorpe, 205; his verses on Lord Warwick,
206; friendship with Lord Camden, 207; with Pelham, 208; with War-
burton, 209; with Sterne, ibid.; with Lyttleton, 210; with Lord Chat-
ham, ibid.; with Burke, 211; with the Duke of Newcastle, 212; with

""like

Bute, ibid.; acquaintance with Walpole, ibid.; with Dr. Dodd, 214; with
Boswell, ibid.; with Steevens, ibid.; anecdotes of, 215-220; scene at
Baretti's trial, 220, n.; his dog Dragon, 221; author of "High Life
Below Stairs," 223; "King John" rivalry with Sheridan, 225; friend-
ship with Colman, 227; praised in "The Rosciad," 232; provokes the
author, 233; his "soreness," ibid.; appeal for Hogarth to Churchill,
234; his kindness to Rich, 235; attacked by Bower, ibid.; dissuaded
from bringing him on the stage, 237; declines in popular favour, ibid.;
clears the stage of loungers, reforms the scenery, &c., 237-241; his
transformation scene, 240, n.; quarrel with Fitzpatrick, 242; attack
on him by Fitzpatrick, and riots at Drury Lane, 243-5; his ode on
Fitzpatrick, 246; his one bad house, 247; visits Chatsworth to meet
Quin, ibid.; description of his physical advantages for acting, 249; de-
tailed account of his Richard, 250; of his King Lear, 251–254; of his
Hamlet, 254-258; his Macbeth, 258-262; discussion as to his height,
262; the King in "Henry IV.," 263; his King John and Paulcon-
bridge, ibid.; his Jaffer, 264; his Chamont, 265; his Romeo, ibid.;
Othello, ibid.; the Ghost in "Hamlet," 266; Lusignan, ibid.; Arbaces,
267; Bayes, 268–270; Sir John Brute, 270; Abel Drugger, 271; Lord
Townly, 272; Benedick, 273; Don Felix, ibid.; Lord Chalkstone, ibid.;
Leon, 274; Archer, 275; Marplot, 276; Sir Anthony Branville, 246, 277;
Virginius, 277; his "stage business," ibid.; Hastings, 279; his Fal-
staj, 281; sets off on the Grand Tour, 282; his journey to Paris, 283;
his Journal, ibid.; the state in which he found French society, 284;
and the French stage, ibid.; his intimacy with Clairon, 285; visit to
the theatre, ibid.; the French "Tancred," ibid.; the "dagger scene"
at Mr. Neville's, 286; sets off for Italy, 287; receives an invitation
from Voltaire, ibid.; meets Algarotti at Florence, 288; visits Rome,
ibid.; and Naples, 289; treated with distinction by the King, ibid.;
his little vanity, ibid.; received by the Duke of Parma, 290; goes on to
Venice, 291; his uneasiness at Powell's success, ibid.; seized with fever
at Munich, 292; writes his own epitaph, 293; returns to Paris, 294;
"Mr. Garrick's successor," ibid.; his generous advice to Powell, ibid.;
his life and amusements in Paris, 296-298; his sympathy for
Clairon, and generous offer, 299, 300; his epitaph on Hogarth, 301;
his return to England, 302; undecided whether he will re-appear,
ibid.; but persuaded by the King, ibid.; his re-appearance and ad-
dress, 303; the Theatrical Fund. 304; dispute with Colman as to the
"Clandestine Marriage," 306; their shares in its authorship discussed,
307; their reconciliation, 308, 309; fretted by Lacy, 312; plays before
Rousseau, 314; plays before the King of Denmark, 319; reconciled to
Murphy, 320; revives "The Nonjuror," 321; frequents clubs, 323;
his social arts, 324-5; little scene exhibiting his uneasiness at praise of
another, 325, n.; his vers de société, 325–328; "gets up" the Strat-
ford Jubilee, 328; account of it, 329-336; gets up a pageant at his
theatre, 337; account of Foote's behaviour to him, 346; "For you
know Foote hates me," 347; his generous exertions to save Foote,
348; Johnson's uniformly unkind conduct, 349-357; moves to the
Adelphi, 357; account of his house, 358; riot on the production of
Kelly's new comedy, 359; goes on visits, ibid.; warned by Junius,
360; his alarm, 361; Kenrick's libel, 362; Bickerstaff's piteous appeal
to him, 363. n. ; new dispute with Murphy, 365; alters "Hamlet," 368-
370; encouraged by scholars, 369; produces it, ibid.; his dreamy idea
of an edition of Shakspeare, 370, n.; description of the great actors
who appeared at Drury Lane, 371385; his humorous letters to
Stone, the "super," 384, 385, n.; goes to court, 386; account of his