King John; and in this compliance, I think, he gained great advantage to himself: the deep tones of his voice, and the vehemence of his action, were well adapted to the turbulent and gloomy passions of John. In the scene with Hubert in the third act, his representation of the anxiety and distress of a mind which strongly labours with, and yet is afraid to discover, a secret big with horrour and death, was expressed with the feelings of one who is a master of the human heart. That accurate observer of the players' deficiencies, Churchill, could not withhold his approbation of Sheridan's action in King John, though in his panegyrick he threw some ludicrous strokes on his excesses in look and action. The play was acted several nights, and was honoured with the king's command.

Sheridan's success in King John heightened Garrick's jealousy, especially when he was informed by a very intimate acquaintance, that the king was uncommonly pleased with that actor's representation of the part. This was a bitter cup; and, to make the draught still more unpalatable, upon his asking whether his majesty approved his playing the Bastard, he was told, without the least compliment paid to his action, it was imagined that the king thought the character was rather too bold in the drawing, and that the colouring was overcharged and glaring. Mr. Garrick, who had been so accustomed to applause, and who of all men living most sensibly felt the neglect of it, was greatly struck with a preference given to another, and which left him out of all consideration; and though the boxes were taken

for King John several nights successively, he would never after permit the play to be acted.

The royal opinion of King John contributed to dissolve the union between these rival actors: it was impossible they could longer continue in one theatre. Meetings of friends succeeded to meetings, in order to reconcile disputes, and put an end to animosities, but in vain; these heroes of the stage resembled the two great chiefs of Rome; one could not bear an equal, nor the other a superiour.

Notwithstanding it was become impossible to adjust differences between the manager and Mr. Sheridan in such a manner as to bring them on the same stage, and upon the usual terms of acting; yet, when Mrs. Sheridan's comedy of the Discovery was offered to Mr. Garrick, he accepted it, and consented that Mr. Sheridan should play the principal part in the play, and receive for his labour the advantage of two nights profits, besides those of two more for the author.

He was indeed so warm in behalf of the Discov. ery, that he assured a publisher who afterwards bought a share in it, that it was one of the best comedies he had ever read; and that he could not do better than to lay out his money in so valuable a purchase.

This play, notwithstanding some scenes of it were rather heavy, was a great favourite of the publick. Sir Harry and Lady Flutter were the blooming offspring of Nature; their frivolous follies their quarrels and reconcilements, were the result of youthful gayety, and thoughtless inexperience.

The amiable author seemed to have a strong predilection in favour of Sir Anthony Branville, a coxcomb of the last age, whose whole behaviour is made up of formality and ceremonious scrupulosity. A lover without passion, and a fop deficient in vigour of absurdity, may be favoured with the simper of a Chesterfield or a Lord Froth, but will never raise an honest burst of laughter from an English audience.

Mr. Garrick, in acting this part, it was said, either did not, or would not, understand the idea of the author. However, his reputation for pleasing in Branville was so great, that he was very lately, I believe the year he left the stage, called upon by a royal command to revive the Discovery, and play Sir Anthony Branville.

This comedy, as well as all the other writings of Mrs. Sheridan, is a faithful picture of manners. But Sir Anthony Branville has hitherto produced little effect on the stage.

CHAPTER XXVII.

Mrs. Woffington.....Educated by Madame Violante....Acts among the Lilliputians of Dublin.....Her Sir Harry Wildair in London ......Lothario in Dublin.....Her chief stage excellence......Stoops to parts in low comedy......Lady Pliant and Mrs. Day......Colley Cibber her admirer, Cicisbeo and instructor.....Acts Ophelia and Cordelia with Mr. Garrick in Ireland.....Her quarrels with Mrs. Clive......Visits Ireland in 1751.... Her opinion of the conversation of women..... ...Returns to London in 1754.....Her character......Dies.

A SHORT Sketch of an actress so celebrated for beauty of countenance and elegance of form, as well as merit in her profession, as Mrs. Woffington, will be expected by the reader of this narrative.

Mrs. Margaret Woffington was born at Dublin in 1718. For her education, in the very early part of life, she was indebted to Madame Violante, a French woman of good reputation, and famous for feats of agility. She is occasionally mentioned in Swift's Defence of Lord Cartaret. From her instructions little Woffington learned that easy action and graceful deportment, which she afterwards endeavoured, with unremitting application, to improve. When the Beggar's Opera was first acted at Dublin, it was so much applauded and admired, that all ranks of people flocked to see it. A company of children, under the title of Lilliputians, were encouraged to represent this favourite piece at the Theatre Royal; and Miss Woffington, then in the tenth year of her

age, made a very distinguished figure amongst these pigmy comedians.

She appeared, for the first time in London, at the theatre in Covent-garden, in 1738. Her choice of character excited the curiosity of the publick; Sir Harry Wildair, acted by a woman, was a novelty; this gay, dissipated, good-humoured rake, she represented with so much ease, elegance, and propriety of deportment, that no male actor has since equalled her in that part: she acquitted herself so much to the general satisfaction, that it became fashionable to see Mrs. Woffington personate Sir Harry Wildair. The managers soon found it to be their interest to announce her frequently for that favourite character; it proved a constant charm to fill their houses.

In Dublin she tried her powers of acting a tragedy rake, for Lothario is certainly of that cast; but whether she was as greatly accomplished in the manly tread of the buskin'd libertine, as she was in the genteel walk of the gay gentleman in comedy, I know not; but it is certain that she did not meet with the same approbation in the part of Lothario, as in that of Wildair.

Her chief merit in acting, I think, consisted in the representation of females in high rank, and of dignified elegance, whose graces in deportment, as well as foibles, she understood, and displayed in a very lively and pleasing manner. The fashionable irregularities and sprightly coquetry of a Millamant, a Lady Townly, Lady Betty Modish, and Maria in the Non-Juror, were exhibited by Woffington with that happy ease and gayety, and with such powerful