CHAPTER IX.

GARRICK, it has been said, "dearly loved a lord." There are few men who, having been born in a position of mediocrity and having risen to eminence, have not prized the recognition which rank at one time had it in its power to bestow. The surest way to approach Garrick with a play was through some aristocratic patron. In the case of Lady Coventry, then the reigning beauty of England, who had brought him "Barbarossa," it would have been more than human on Garrick's part to resist. He was, however, too much disposed, even in the management of his theatre, to yield to aristocratic patronage, and the evenings when he was not acting were not seldom spent in the houses of titled folk. His closest association with the art and literature of his time came later in life. He was not a common visitor even at Johnson's, preferring, not without justification, the compliments and homage that he received in his favourite haunts to the ironical and occasionally churlish greeting of his former companion. Quarrels were already beginning to multiply upon his hands, but the period at which they were to influence and sadden his life was not yet reached. His affection for rank gained

him the dislike of the coffee-house frequenters of similar tastes who were unable to obtain his privileges.

Garrick, moreover, was not a formidable antagonist. Kind-hearted, timid, vain, conscientious, vacillating, he receded from a position almost as soon as he had occupied it. A stinging A stinging epigram might make his assailant wince, but in presence of a front continuously hostile, Garrick receded. His forgiveness was sublime, and the instances in which he benefited those by whom he had been injured were very numerous. To seek the relative proportions of goodness and of weakness in this conduct would be "to consider too curiously." As yet, however, those subsequently to be his bitterest enemies attacked him with moderation or through his company only. Hill, self-styled Sir John, had already begun attacks on Garrick, of which more will be heard anon, and Rich at Covent Garden was making himself disagreeable in more ways than one, especially by setting his actors to mimic Garrick's peculiarities. Strengthened by the accession of Sheridan, Mrs. Woffington, and Miss, or, as she was now called, Mrs. Bellamy, Covent Garden had been able to make a decent show in spite of the secession of Barry, who, with the sanguine faith in himself not uncommon in his profession, had hoped that his desertion of Rich would ruin the fortunes of the theatre.

Meantime at the Haymarket, Miss Barton, subsequently to render Garrick marvellous service as Mrs. Abington, had made an unobtrusive débût.

With the opening of the season of 1755-56 Garrick found himself the poorer for the loss of Mossop. Early in the season Garrick had a further experience of the capabilities of the British mob. At the production, Saturday, 8th November, of the "Chinese Festival" the occupants of the gallery, undeterred by the presence of the king, by whom the spectacle was commanded, began a riot on account of the engagement of Noverre and other dancers, whom they assumed to be French, but who were in reality Swiss.) Foote refers to these in the Mirror, and speaks of the patriot gingerbread-baker in the Borough who would not suffer these dancers from Switzerland to appear, because he hated the French. (The disturbance was renewed each time that the "Chinese Festival" was represented. Gar2 rick, however, who had, it is said, spent eighteen months in the preparation of the pageant, which had been designed before the outbreak of war, stood to his guns and was supported by the aristocratic patrons of the house. The mob meanwhile, urged on by misrepresentations such as that the dresses were French and so forth, grew unmanageable.

(On the 18th matters attained a climax. The

gentry in the house drew their swords and stood in defence of the dancers. They were, however, too few to resist the rioters, who bore down all before them and inflicted, it is said, a thousand pounds' worth of damage on the house. Before logic so irrefutable Garrick bowed his head, and the piece was withdrawn. A proposition to sack Garrick's house

had been made, and an attempt, fortunately unsuccessful, to carry out the scheme had followed.)

A striking scene, described only by Tate Wilkinson, and passed over without notice by both Davies and Murphy, occurred the following Friday) Dressed for Archer, Garrick made his appearance on the stage. His advent brought murmurs of " Pardon! pardon!" On this Garrick advanced to the front and firmly but respectfully explained his views as to the damage in fortune and reputation he had received from the malignancy of individuals. He acknowledged past favours, but declared that "unless he was that night permitted to perform his duty to the best of his ability, he was above want, superior to insult, and would never-never appear on the stage again." While he was giving dignified utterance to these worthy and honourable sentiments the house subsided into complete silence. The justice of what he said carried conviction, and at the close of his speech "they broke," says Wilkinson, " into such an universal applause as shook old Drury.",)

Garrick's behaviour was admirable. (This was, however, the beginning of the defeats that ultimately drove him from the stage. Wholly irresistible and admirably effective is a reconciliation such as this, and the parties to a quarrel are better friends than before. Heroic measures must not, however, be vulgarized, and alternate quarrels and reconciliations pave the way to final separation.

The Winter's Tale, or Florizel and Perdita,” an adaptation by Garrick from Shakespeare, was the

first important novelty of the season.) This was produced on 21st January, 1756. It is, like other mangled versions of Shakespeare, included in the collected edition of Garrick's works. Under the title of "The Sheep Shearing" a version by MacNamara Morgan had been given at Covent Garden two years previously. Garrick seems to have been spurred by the success of this to his effort. His adaptation is in three acts, and is fully described in Genest's account of the English Stage.

The words are mostly Shakespeare's, but the greater portion of the first three acts is excised. Garrick, who played Leontes, spoke the prologue, which is brisk and sparkling. He talks of his

house

"You cannot miss the sign, 'tis Shakespeare's head,"

and describes the various liquors to be obtained -champaign (sic), French brandy, love potions, etc., for various tastes; then continues, turning to the gallery

"For you, my hearts of oak, for your regale,
There's good old English stingo mild and stale

[the latter a dubious recommendation].
For high, luxurious souls, with luscious smack,
There's Sir John Falstaff in a butt of sack :
And if the stronger liquors more invite ye,
Bardolph is gin, and Pistol aqua-vitæ.

But should you call for Falstaff, where to find him,
He's gone-nor left one cup of sack behind him.
Sunk in his elbow-chair, no more he'll roam;

No more with merry wags to Eastcheap come;
He's gone to jest, and laugh, and give his sack at home."