The materials for the foregoing Memoir have been derived from "The Naval Chronicle," "Marshall's Royal Naval Biography," "The United Service Journal," and "The Gentleman's Magazine."

21

No. II.

THE RIGHT HONOURABLE

ELIZABETH, COUNTESS OF DERBY.

MANY females have risen from the lower and middle classes of society to exalted rank: some on account of their personal charms, others from fortuitous circumstances; but, unfortunately, too few by a union of superior beauty with virtuous conduct. To the subject of the present memoir, however, this high praise is justly due.

Miss Eliza Farren was born in the year 1759, and her family was respectable, though not opulent. Her father, Mr. George Farren, was a surgeon and apothecary in the city of Cork; her mother was the daughter of Mr. Wright, an eminent brewer at Liverpool; her paternal uncle was a captain in the 64th regiment of foot, and was a gentleman distinguished by his literary taste and talent. Mr. Farren grew, unhappily, too fond of gay society: he dissipated by irregular habits the little fortune which his wife had brought him, failed in his profession, became a provincial actor, died, and left a young and destitute family, at an early period of life. The children were educated by Mrs. Farren, who devoted herself indefatigably to their care; but whose circumstances compelled her to bring them up to the stage. Kitty, the eldest of seven, was considered clever in the parts of chambermaids; Eliza was equally successful in the personation of such characters as Edward the Fifth in "Richard the Third; " and Peggy, the youngest, was, many years afterwards, wellknown on the London boards as the wife of Mr. Knight, an exceedingly clever actor in light and elegant comedy.

Miss Eliza Farren made her first appearance on the Liverpool stage, in 1773, as Rosetta, in "Love in a Village," being at that time only fourteen years of age. She performed this and many other characters with great success, not only at Liverpool, but at Shrewsbury, Chester, and other places where the company usually performed. At length, by the kindness of Mr. Younger, the manager, she obtained a letter of introduction to the elder Colman, at whose theatre in the Haymarket she appeared in the summer of 1777, in the character of Miss Hardcastle, in Goldsmith's comedy of "She Stoops to Conquer." That excellent mimic Edwin first appeared the same night as Tony Lumpkin; and the celebrated Henderson also made his début during that season. It may not be unamusing to quote a contemporary critic on the lady: "Miss Farren's first appearance on a London stage, appeared the most leading figure in this group, and from that circumstance is entitled to some indulgence from the critic pen. Her performance of Miss Hardcastle, though far short of Mrs. Bulkeley, who was the original barmaid, would not have disgraced either of our winter theatres. Her person is genteel, and above the middle stature; her countenance full of sensibility, and capable of expression ; her voice clear, but rather sharp, and not sufficiently varied; her action not directly awkward; and her delivery emphatic and distinct.”

On the 30th of August following, Miss Farren played the part of Rosina, in the "Spanish Barber," which was then first produced, and by her skilful performance greatly contributed to the success of the piece.

But the part which completely established her fame as an actress, was Lady Townley. Her first performance of that character was the result of the recommendation and entreaty of the inimitable Parsons, who removed every scruple which timidity on Miss Farren's part interposed, and at length prevailed upon her, though not without great difficulty, to try it for his benefit. The consequence was just what he had predicted the whole house was enraptured with the

performance; and Miss Farren was engaged that night for both the winter theatres, and played alternately at Drury Lane and Covent Garden, through the season, the first characters in tragedy, as well as in comedy.

It may be said that, throughout life, accidental circumstances greatly favoured Miss Farren. At Bath, Mrs. Siddons had played Almeida, in Pratt's tragedy of "The Fair Circassian," with great success. In bringing the piece forward at Drury Lane, it was Mr. Sheridan's intention that Mrs. Crawford should make her first appearance as the heroine. Through some disagreement, however, that lady was not engaged: the part of Almeida was consequently given to Miss Farren; and the piece had a nearly uninter rupted run of three-and-twenty nights. This was in the year 1780.

Mrs. Abingdon's desertion of Drury Lane for Covent Garden, was another fortunate circumstance, which at once placed Miss Farren, who succeeded her, in her proper sphere.

It was at about this period of her fame that the celebrated Charles Fox was observed to pay her particular attention, frequently dangling whole evenings behind the scenes for the sake of her company; but finding these attentions not meeting the success he anticipated, he gave up the pursuit to Lord Derby, who took every means in his power to promote her interest. He induced Lady Dorothea Thompson and Lady Cecilia Johnson to become her patronesses; by which means she was enabled to move in the first circles. She was

naturally anxious to rival women of the highest rank and fortune in every female and polite accomplishment; and so indefatigable were the pains she took to improve, that Miss Farren was justly considered as a finished pattern of female elegance and fashion. The platonic affection that was said to exist between Miss Farren and Lord Derby was, of course, productive of a great many squibs, &c. among the would-be-wits and idlers about town; but their conduct was so guarded as to be free from the aspersions of the most censorious or

malicious. His Lordship at that time was very painfully circumstanced with regard to his Countess: there had been a separation between them, but no divorce. At all the interviews between Lord Derby and Miss Farren, Mrs. Farren, who resided with her daughter, was present; and not a whisper of calumny was ever breathed against them.

The exalted estimation in which Miss Farren's conduct and character were held, induced Mr. King, on his succeeding to the management of Drury Lane theatre, to pay her all possible respect and attention. and attention. When the Duke of Richmond became enamoured of private theatricals, Miss Farren was appointed to preside over the stage business, at his house in Privy Gardens. To this employment she devoted much attention, as it introduced her to a wider circle of nobility; and she was caressed by numerous ladies of rank and fashion. At the little theatre which the Duke had caused to be fitted up, Lord Derby, Lord Henry Fitzgerald, Charles Fox, General Fitzpatrick, Lord John Townshend, the Hon. Mrs. Damer, &c. were accustomed to appear in the principal characters.

At this time Miss Farren had a house in the vicinity of Grosvenor Square, kept her carriage, and was received in the first circles. Occasionally, she played with great success in Ireland; where, also, she was much noticed by the nobility. On the opening of the new theatre of Drury Lane, in April, 1794, she delivered an amusing epilogue, written by George Colman the younger.

The following character of Miss Farren, when she was in her meridian, was written by an eminent critic of that day:

"It might be sufficient praise to say of Miss Farren's performances, if she had never deviated from the walk for which art as well as nature designed her, it might, perhaps, be sufficient praise to say, that, were we to collect every idea which has been suggested to us by books, or has been the result of our own observations on life, assisted by all that the imagination could conceive of a woman of fashion, we should find every idea realised, and every conception embodied, in the