Chapter IX (3)

Melcombe, Lord, mentioned, i. 14, _note_ 1.

"Mery Play between the Pardoner and the Frere, the Curate and
Neybour Pratte, A," described, i. xlv.

Miller, James, his "Art and Nature" failed, i. 152, _note_ 1.

---- Josias (actor), ii. 262.

Mills, John, i. 332, ii. 70, _note_ 2, ii. 129, _note_ 2, ii. 259,
_note_ 1, ii. 262;
his friendship with Wilks, i. 259, ii. 223;
his honesty and diligence, i. 260;
his large salary, i. 260;
advertisement regarding his salary, 1709, ii. 78, _note_ 1;
Bellchambers's memoir of, ii. 362;
and the country squire, ii. 363.

Milward, William, i. 224, _note_ 2.

Mist, Nathaniel. See "Mist's Weekly Journal."

"Mist's Weekly Journal," ii. 163, _note_ 1, ii. 167, ii. 187.

Mohun, Lord, ii. 314;
implicated in Mountfort's death, i. 130, _note_ 1, ii. 342.

---- Michael, superior to his successors, i. xxiv.;
apprentice to Beeston, i. xxv.;
acted Bellamente, i. xxv.;
a captain in Charles I.'s army, i. xxix.;
his death, i. 96;
his admiration of Nat. Lee's elocution, i. 114;
Bellchambers's memoir of, ii. 326.

Montague, Captain, insults Miss Santlow, i. 76;
chastised by Mr. Craggs, i. 77.

Moore, Mrs., ii. 77, _note_ 1, ii. 94, _note_ 1.

Morley, Professor Henry, his edition of the "Spectator," ii. 54,
_note_ 1.

Mountfort, William, i. 98, i. 108, i. 170, _note_ 1, i. 237, ii. 314;
taken into good society, i. 83;
Cibber's account of, i. 127-130;
his voice and appearance, i. 127;
his Alexander the Great, i. 127;
his excellent acting of fine gentlemen, i. 127;
his delivery of witty passages, i. 128;
his Rover, i. 128;
his versatility, i. 128, i. 210;
his Sparkish ("Country Wife") and his Sir Courtly Nice, i. 129;
copied by Cibber in Sir Courtly Nice, i. 129;
his tragic death, i. 130, i. 188;
memoir of him, i. 130, _note_ 1;
Tom Brown on his connection with Mrs. Bracegirdle, i. 170, _note_ 1;
his comedy of "Greenwich Park," ii. 41;
copied by Wilks, ii. 241;
Bellchambers's memoir of, ii. 341;
full account of his death by the hands of Capt. Hill, ii. 342-345.

---- Mrs., i. 98, i. 237, ii. 343, ii. 367;
Cibber's account of, i. 165-169;
her variety of humour, i. 165;
her artistic feeling, i. 166;
her acting of the Western Lass, i. 166;
in male parts, i. 167;
plays Bayes with success, i. 167;
the excellence of her Melantha, i. 167;
memoir of, i. 169, _note_ 1;
leaves Betterton's company in 1695, i. 200;
her death, ii. 306;
Anthony Aston's description of, ii. 313.

Mountfort, Susanna, i. 334, _note_ 1.

Music in the theatre, i. xxxii.

Newcastle, Duke of, ii. 219;
(Lord Chamberlain), his persecution of Steele, ii. 193, _note_ 1.

Newington Butts, i. xlix.

Newman, Thomas, actor, one of their Majesties' servants, i. 88,
_note_ 3.

Nichols, John, his "Theatre, Anti-Theatre, &c.," ii. 66, _note_ 2,
ii. 168, _note_ 1, ii. 174, _note_ 2, ii. 176, _note_ 1, ii. 177,
_note_ 1, ii. 193, _note_ 1.

Nicolini (Nicolo Grimaldi), singer, ii. 48, ii. 51;
Cibber's high praise of, ii. 51;
praised by the "Tatler," ii. 52.

Noblemen's companies of players, i. xlvii.

Nokes, James, i. 98;
Cibber's description of, i. 141-145;
his natural simplicity, i. 141;
could not be imitated, i. 142;
his best characters, i. 142;
his ludicrous distress, i. 143;
his voice and person, i. 145;
and Leigh, their combined excellence, i. 147;
compared with Leigh, i. 154;
his death, i. 188;
Bellchambers's memoir of, ii. 346;
why called "Nurse Nokes," ii. 348.

Nokes, Robert, i. 141, _note_ 1, i. 143, _note_ 2, ii. 346.

"Nonjuror, The," a line in the epilogue quoted, i. 49;
cast of, ii. 185, _note_ 2.

Norris, Henry, ii. 77, _note_ 1, ii. 94, _note_ 1.

---- Mrs., said to be the first English actress, i. 90, _note_ 1.

Northey, Sir Edward, his "opinion" on the Patent, ii. 32, _note_ 1.

Oates, Titus, i. 133.

Odell, Thomas, his theatre in Goodman's Fields, i. 282, _note_ 1.

"Old and New London," referred to, ii. 104, _note_ 1.

Oldfield, Mrs. Anne, i. 157, i. 251, _note_ 1, i. 332, ii. 69, ii.
129, _note_ 2, ii. 358;
memoirs of, published immediately after her death, i. 5;
her acting of Lady Townly praised in high-flown terms by Cibber,
i. 51, i. 312, _note_ 3;
admitted into good society, i. 83;
her unpromising commencement as an actress, i. 159, i. 305;
compared with Mrs. Butler, i. 164;
her rivalry with Mrs. Bracegirdle, i. 174, _note_ 2;
Cibber's account of, i. 305-312;
her good sense, i. 310;
her unexpected excellence, i. 306;
Cibber writes "The Careless Husband" chiefly for her, i. 308;
her perfect acting in it, i. 309;
and Wilks playing in same pieces, i. 314;
proposed to be made a manager, ii. 69;
gets increased salary instead, ii. 71;
advertisement regarding her salary, 1709, ii. 78, _note_ 1;
riot directed against, ii. 166;
settles a dispute between Wilks, Cibber, and Booth, ii. 236;
her death, ii. 254;
copied Mrs. Mountfort in comedy, ii. 313;
Bellchambers's memoir of, ii. 367;
and Richard Savage, ii. 369.

Opera, i. 111;
control of, given to Swiney, ii. 48.

---- Italian, account of its first separate establishment, ii. 50-55;
decline of Italian, ii. 87-91.

Otway, Thomas, his failure as an actor, i. 114, _note_ 1;
his "Orphan," i. 116, _note_ 2.

Oxford, visited by the actors in 1713, ii. 133, ii. 135;
Dryden's Prologues at, ii. 134, ii. 136, _note_ 1;
its critical discernment, ii. 136.

---- Lord, Guiscard's attack on, referred to, i. 291.

Pack, George, ii. 77, _note_ 1, ii. 94, _note_ 1;
account of, ii. 169, _note_ 3.

Pageants formed part in receptions of princes, &c., i. xl. _et seq._

Painting the face on the stage, i. 182, _note_ 1.

Pantomimes, the origin of, ii. 180;
Cibber's opinion of, ii. 180;
"The Dunciad" on, ii. 181, _note_ 1.

"Papal Tyranny in the Reign of King John," cast of, ii. 269, _note_ 1.

Parish-clerks, play acted by, in 1391, i. xxxv.

Parliamentary reports on the theatres, i. 278, _note_ 1.

"Parson's Wedding, The," played entirely by women, i. xxxii.

"Pasquin" quoted, i. 36, _note_ 2.

Patent, copy of, granted to Sir William Davenant in 1663, i. liii.;
Steele's, ii. 174.

Patentees, the, their foolish parsimony, i. 164;
their ill-treatment of Betterton and other actors, i. 187;
the actors combine against them, i. 189;
their deserted condition, i. 194. (For transactions of the Patentees,
see also Rich, C.)

Pavy, Sal, a famous child-actor, i. xxxvi.;
Ben Jonson's epigram on, i. xxxvi.

Pelham, Hon. Henry, Cibber's "Apology" dedicated to, i. lv., _note_ 1.

Pembroke, Earl of, ii. 105, _note_ 1.

Pepys, Samuel, his "Diary," i. 119, _note_ 1, i. 161, _note_ 2, i.
182, _note_ 1, i. 267, _note_ 1, i. 303, _note_ 1.

Percival (actor), i. 183, _note_ 1.

Perkins, an eminent actor, i. xxvi.;
his death, i. xxxi.

Perrin, Mons. (of the Théâtre Français), ii. 221, _note_ 1, ii. 246,
_note_ 1.

Perriwigs, enormous, worn by actors, ii. 36, _note_ 1.

Phoenix, the, or Cockpit, i. xxvi.

"Picture, The," i. xxv.

Pinkethman, William, i. 313, i. 334, _note_ 1, ii. 129, _note_ 2, ii.
252, _note_ 1;
his inferiority to Anthony Leigh, i. 149;
his liberties with the audience, i. 152;
hissed for them, i. 153, _note_ 1;
his lack of judgment, i. 150;
plays Harlequin without the mask, i. 151;
his success as Lory in "The Relapse," i. 230;
Bellchambers's memoir of, ii. 348.

---- the younger, ii. 349.

Plays, value of old, for information on manners, i. xxi.;
old, no actors' names given, i. xxv.;
originally used for religious purposes, i. xxxiv., i. xxxv.;
their early introduction, i. xxxvii.;
began to alter in form about the time of Henry VIII., i. xlv.;
origin of, in Greece and England, i. xlviii.;
the alteration in their subjects noticed by Stow in 1598, i. xlviii.;
temporarily suspended, i. xlix.;
arranged to be divided between Davenant's and Killigrew's companies,
i. 91;
expenses of, i. 197, _note_ 3.

Players defended regarding character, i. xxii.;
not to be described as rogues and vagabonds, i. xlix.;
entirely suppressed by ordinances of the Long Parliament, i. li.

Playhouses, large number of, in 1629, i. xlix.

"Poems on Affairs of State," quoted, i. 170, _note_ 1.

"Poetaster, The," played by the Children of her Majesty's Chapel, i.
xxxvi.

Poet Laureate, Cibber appointed, 1730, i. 32, _note_ 1.

Pollard, Thomas, a comedian, i. xxvi.;
superior to Hart, i. xxiv.;
too old to go into Charles I.'s army, i. xxix.;
arrested for acting, i. xxx.;
his retirement and death, i. xxxi.

Pollixfen, Judge, ii. 315.

Ponsonby-Fane, Sir Spencer, his memorandum on the power of the Lord
Chamberlain, ii. 11, _note_ 1.

Pope, Alexander, ii. 151;
Cibber's "Letter" to, quoted, i. 3, _note_ 1;
Cibber's first allusion to Pope's enmity, i. 21;
an epigram comparing Pope and Cibber in society, i. 29, _note_ 1;
Cibber's opinion of Pope's attacks, i. 35;
some of Pope's attacks quoted, i. 36, _note_ 1;
his attack on Atticus (Addison), i. 38;
Cibber's "Letter" to, quoted, i. 44, _note_ 1, i. 45, _note_ 2;
epigram attributed to him, on Cibber's Laureateship, i. 46, _note_ 1;
his "Moral Essays," quoted, i. 307, _note_ 3;
attacks Cibber for countenancing pantomimes, ii. 182, _note_ 1;
"The Nonjuror" a cause of his enmity to Cibber, ii. 189, _note_ 1;
his "Epistle to Dr. Arbuthnot," ii. 189, _note_ 1;
his quarrel with Cibber, ii. 270-283;
Cibber's "Letter" to him, ii. 271;
his famous adventure, ii. 278;
Cibber's second "Letter" to, ii. 281;
his portrait of Betterton, ii. 339;
his attacks on Mrs. Oldfield, ii. 370. (See also "Dunciad.")

Porter, Mrs. Mary, ii. 129, _note_ 2, ii. 303, ii. 368;
Dogget plays for her benefit after his retirement, ii. 158;
accident to, ii. 254, ii. 365;
Bellchambers's memoir of, ii. 365.

Portuguese, the, and religious plays, i. xxxv.

"Post-Boy Rob'd of his Mail," i. 328, _note_ 1, i. 329, _note_ 1.

Powell, George, i. 157, i. 193, i. 203, _note_ 1, i. 228, i. 259, i.
334. _note_ 1, ii. 77, _note_ 1, ii. 94, _note_ 1, ii. 129,
_note_ 2, ii. 238, ii. 301, ii. 311, ii. 363;
offered some of Betterton's parts, i. 188;
his indiscretion as a manager, i. 204;
mimics Betterton, i. 205, i. 207, _note_ 1;
the contest between him and Wilks for supremacy at Drury Lane, i.
237-243, i. 251-256;
his carelessness, i. 240, i. 243;
deserts Drury Lane, i. 239;
returns to Drury Lane, i. 239;
arrested for deserting his manager, ii. 18;
arrested for striking young Davenant, ii. 19;
discharged for assaulting Aaron Hill in 1710, ii. 94, _note_ 1;
Bellchambers's memoir of, ii. 352.

Price, Joseph, account of him by Bellchambers, i. 146, _note_ 1.

Prince's Servants, The, before, 1642, i. xxvi.

Pritchard, Mrs., ii. 268, _note_ 1.

Profits made by the old actors, i. xxxii.;
of the theatre, how divided in 1682, i. 97.

Prologue-speaking, the art of, i. 271.

"Prophetess, The," i. 187.

"Provoked Husband," cast of, i. 311, _note_ 1.

"Provoked Wife," altered, ii. 233.

"Psyche," an opera, i. 94.

Puppet-show in Salisbury Change, i. 95.

Purcell, Henry, i. 187, _note_ 1, ii. 312.

Quantz, Mons., ii. 89, _note_ 1.

Queen's Servants, The, before 1642, i. xxvi.

---- Theatre in the Haymarket, success of Swiney's company in, ii. 1;
set aside for operas only, ii. 48;
its interior altered, ii. 79;
opened by the seceders from Drury Lane in 1709, ii. 87.

Quin, James, i. 224, _note_ 2, ii. 259, _note_ 1;
the chief actor at Garrick's appearance, ii. 262.

Raftor, Catherine. See Clive.

---- James, i. 330, _note_ 1.

Raillery, reflections on, i. 11.

Raymond, his "opinion" on the Patent, ii. 32, _note_ 1.

Red Bull Theatre, i. xxvi., i. xxix.;
used by King's Company after the Restoration, i. xxxi.;
drawing of the stage of the, ii. 84, _note_ 1.

Reformation of the stage, Cibber on, i. 81.

Rehan, Ada, a great comedian, ii. 289.

Religion and the stage, i. xxi., i. xxxiii.

"Renegado, The," i. xxv.

Revels, Master of the, his unreasonableness to Cibber, i. 275;
his fees refused to be paid, i. 277.

Rhodes, the prompter, ii. 333, ii. 339;
his company, at the Cockpit, i. xxviii.;
his company of actors engaged by Davenant, i. 87, _note_ 1.

Rich, Christopher, Patentee of Drury Lane, i. 181, _note_ 1, ii.
336, ii. 361, ii. 367;
description of, i. 233, _note_ 1;
admits servants to theatre gratis, i. 233;
his treatment of his actors, i. 252;
consults Cibber on matters of management, i. 253;
his principles of management, i. 262, ii. 6-8;
his tactics to avoid settling with his partners, i. 328;
his objections to an union of the two companies, i. 329;
permits Swiney to rent the Queen's Theatre, i. 331;
his foolish neglect of his actors, i. 334;
declines to execute his agreement with Swiney, i. 336;
wishes to bring an elephant on the stage, ii. 6;
introduces rope-dancers at Drury Lane, ii. 7;
silenced for receiving Powell, ii. 19, _note_ 1;
his share in the Patent, ii. 32, _note_ 1, ii. 98;
his dealings with Col. Brett, ii. 42-49, ii. 56-60;
Cibber on his misconduct, ii. 46;
his foolish mismanagement, ii. 60, ii. 65;
confiscates part of his actors' benefits, ii. 66;
ordered to refund this, ii. 68;
silenced by the Lord Chamberlain (1709), ii. 72;
his proceedings after being silenced, ii. 77, ii. 79, _note_ 2;
an advertisement issued by him regarding actors' salaries in 1709,
ii. 78, _note_ 1;
evicted by Collier from Drury Lane (1709), ii. 92;
his Patent revived in 1714, ii. 79, ii. 165;
his extraordinary behaviour to the Lord Chamberlain, ii. 98;
Genest's character of him, ii. 98, _note_ 1;
rebuilds Lincoln's Inn Fields Theatre, ii. 100;
his death, ii. 166, _note_ 1.

Rich, John, ii. 79, ii. 98, _note_ 2;
opens Lincoln's Inn Fields Theatre, ii. 166, _note_ 1;
an excellent Harlequin, ii. 181, _note_ 1;
manages the Lincoln's Inn Fields company, ii. 262;
opens Covent Garden, ii. 262.

"Richard III.," Cibber's adaptation of, i. 139;
his playing in, i. 139, i. 275;
cast of, ii. 288, _note_ 1.

Richardson, Jonathan, ii. 276.

Roberts, Mrs., one of Charles II.'s mistresses, ii. 212.

Robins, a comedian, i. xxvi.

Robinson, William, ii. 322;
Hart apprenticed to, i. xxiv.;
a comedian, i. xxvi.;
murdered by Harrison, i. xxix.

Rochester, Lord, ii. 138, _note_ 1, ii. 303.

Rogers, Mrs., i. 332, ii. 129, _note_ 2, ii. 169, _note_ 2, ii. 353;
her affectation of prudery, i. 135;
becomes Wilks's mistress, i. 136;
her eldest daughter, i. 136;
riot caused by, ii. 166.

Rogues and vagabonds, players not to be described as, i. xlix., i. 1.

"Roman Actor, The," i. xxv.

Roman Catholic religion, attacked by Cibber, i. 80.

Rope-dancers on the stage, ii. 7.

"Roscius Anglicanus." See Downes, John.

Rose Tavern, the, i. 303, _note_ 1.

Rowe, Nicholas, in love with Mrs. Bracegirdle, i. 172;
complains of French dancers, i. 317.

Royal Theatricals during George I.'s reign, ii. 208;
during previous reigns, ii. 209;
effect of audience on actors, ii. 214;
fees for, ii. 218.

Rymer, Thomas, ii. 324.

Sacheverel, Doctor, his trial hurtful to the theatres, ii. 91.

St. Giles's-in-the-Fields, Colley Cibber christened at, i. 7,
_note_ 2.

"St. James's Evening Post," ii. 198, _note_ 1.

St. Paul's Singing School, i. xlix.

Salisbury Court, the private theatre in, i. xxiv., i. xxvi., i.
xxviii.

Salvini, Tommaso, the great Italian tragedian, plays in Italian,
while his company plays in English, i. 325, _note_ 1.

Sandford, Samuel, i. 98, i. 327, ii. 244, _note_ 1;
the "Spagnolet" of the theatre, i. 130;
Cibber's account of him, i. 130-1;
his personal appearance, i. 131;
an actor of villains, i. 131, i. 137;
his Creon ("OEdipus"), i. 131;
the "Tatler" on his acting, i. 132, _note_ 1;
anecdote of his playing an honest character, i. 132;
"a theatrical martyr to poetical justice," i. 137;
his voice and manner of speaking, i. 138;
would have been a perfect Richard III., i. 138;
Cibber plays Richard III. in imitation of, i. 139;
Anthony Aston's description of, ii. 306;
Bellchambers's memoir of, ii. 346.

Santlow, Hester, her first appearance as an actress, ii. 95;
her manner and appearance, ii. 95;
her character, ii. 96, _note_ 1;
her marriage with Booth, ii. 96, _note_ 1.
(See also Booth, Mrs. Barton.)

Satire, reflections on, i. 37;
Cibber's opinion regarding a printed and an acted, i. 289.

Saunderson, Mrs. See Betterton, Mrs.

Savage, Richard, ii. 39, _note_ 1;
and Mrs. Oldfield, ii. 369.

Scenes, first introduced by Sir William Davenant, i. xxxii., i. 87,
_note_ 1.

"Secular Masque, The," i. 268, _note_ 1.

Sedley, Sir Charles, Kynaston's resemblance to, ii. 341.

Senesino (singer), ii. 53.

Sewell, Dr. George, his "Sir Walter Raleigh," ii. 186, _note_ 1.

Shadwell, Charles, his "Fair Quaker of Deal," ii. 95.

---- Thomas, his comedy of "The Squire of Alsatia," i. 148.

Shaftesbury, first Earl of, i. 134, _note_ 1.

Shakespeare, William (see also names of his plays), a better author
than actor, i. xxv., i. 89;
his plays, i. xxv.;
his plays depend less on women than on men, i. 90;
expenses of plays in his time, i. 197.

"Sham Lawyer, The," ii. 252, _note_ 1.

Shank, John, a comedian, i. xxvi.;
played Sir Roger ("Scornful Lady"), i. xxvi.

Shatterel, ii. 326;
superior to his successors, i. xxiv.;
apprentice to Beeston, i. xxv.;
a quartermaster in Charles I.'s army, i. xxix.

Shelton, Lady, ii. 303.

Shore, John, brother-in-law of Colley Cibber, i. 184, _note_ 1.

---- Miss. See Cibber, Mrs. Colley, i. 184, _note_ 1.

"Shore's Folly," i. 184, _note_ 1.

"Silent Woman," i. xxiv.

Singers and dancers introduced by Davenant, i. 94;
difficulty in managing, ii. 88.

Skipwith, Sir George, ii. 60.

---- Sir Thomas (one of the Patentees of Drury Lane), ii. 109;
does Vanbrugh a service, i. 217;
receives "The Relapse" in return, i. 217;
a sharer in the Drury Lane Patent, ii. 31;
assigns his share to Colonel Brett, ii. 32;
his friendship for Brett, ii. 39;
claims his share from Brett, ii. 59.

Smith, William, i. 327, ii. 324, ii. 346;
insulted by one of the audience, i. 79;
defended by the King, i. 79;
driven from the stage because of the King's support of him, i. 79;
taken into good society, i. 83;
Bellchambers's memoir of, ii. 319.

Sophocles, his tragedies, ii. 29.

Southampton House, Bloomsbury, i. 7, _note_ 3.

Southerne, Thomas, ii. 311;
prophesies the success of Cibber's first play, i. 212;
his "Oroonoko," i. 216, _note_ 1.

Spaniards, the, and religious plays, i. xxxv.

"Spectator," ii. 353.

Spiller, James, ii. 169, _note_ 2.

Stage, and religion, i. xxi., i. xxxiii.;
the, Cibber on the reformation of, i. 81;
audience on, forbidden, i. 234;
Cibber on the influence of, ii. 24-31;
shape of the, described, ii. 84;
doors, ii. 84, _note_ 1.

Statute regarding rogues and vagabonds, i. 1.;
against profanity on the stage, i. 1.;
against persons meeting out of their own parishes on Sundays for
sports, etc., i. 1.;
entirely suppressing players, i. li.

Steele, Sir Richard, i. 97, _note_ 2, i. 276, ii. 36, _note_ 1, ii.
109, ii. 128, ii. 151, ii. 217, ii. 251, ii. 257;
substituted for Collier in the Licence, ii. 162;
the benefits he had conferred on Cibber and his partners, ii. 162;
Dennis's attacks on, ii. 168, _note_ 1;
receives a Patent, ii. 173;
assigns equal shares in the Patent to his partners, ii. 174;
account of his transactions in connection with the theatre which
are ignored by Cibber, ii. 193, _note_ 1;
persecuted by the Duke of Newcastle, then Lord Chamberlain, ii.
193, _note_ 1;
his Licence revoked, ii. 193, _note_ 1;
restored to his position, ii. 193, _note_ 1;
the expiry of his Patent, ii. 193, _note_ 1;
assigns his share of the Patent, ii. 196;
brings an action against his partners, ii. 196;
account of the pleadings, ii. 196-208;
his recommendation of Underhill's benefit, ii. 351.

Stow, John, his "Survey of London" quoted, i. xxxv., i. xlviii.

Strolling players, i. xl., i. xlvii., i. 1.

Subligny, Madlle., a French dancer, i. 316.

"Summer Miscellany, The," ii. 272, _note_ 1.

Sumner, an eminent actor, i. xxvi.;
his death, i. xxxi.

Sunderland, Lady (the Little Whig), i. 320.

Swan Theatre, drawing of the stage of the, ii. 84, _note_ 1.

Swanston, Eliard, acted Othello, i. xxvi.;
the only actor that took the Presbyterian side in the Civil War,
i. xxix.

Swift, Jonathan, an attack on Cibber by him in his "Rhapsody on
Poetry" quoted, i. 52, _note_ 2.

Swiney, Owen, i. 97, _note_ 2, ii. 43, ii. 223, ii. 267;
his "Quacks," i. 247, _note_ 1;
account of his character, i. 329;
memoir of, i. 330, _note_ 1;
rents the Queen's Theatre from Vanbrugh, i. 330. i. 333. _note_ 1;
his agreement with Rich about renting the Queen's Theatre, i. 331;
Rich declines to execute it, i. 336;
his success at the Queen's Theatre in 1706-7, ii. 1;
his arrangement with his actors in 1706, ii. 9;
control of the opera given to, ii. 48;
his gain by the opera in 1708, ii. 55;
has joint control of plays and operas (1709), ii. 69;
forced to hand over the opera to Collier, ii. 102;
forced to resume the opera, ii. 107;
goes abroad on account of debt, ii. 108;
his return to England, ii. 108;
Cibber plays for his benefit, ii. 262.

"Tatler," the, i. 38, i. 132, _note_ 1, ii. 75, ii. 93, ii. 229,
_note_ 1, ii. 244, _note_ 1, ii. 244, _note_ 2, ii. 328, ii.
362, ii. 363;
its eulogium of Betterton, i. 118, _note_ 1;
recommends Cave Underhill's benefit, i. 155;
praises Nicolini, ii. 52;
its influence on audiences, ii. 162.

Taylor, John, his "Records of my Life" quoted, i. lxv., _note_ 1.

---- Joseph, ii. 334;
superior to Hart, i. xxiv.;
his chief characters, i. xxvi.;
too old to go into Charles I.'s army, i. xxix.;
arrested for acting, i. xxx.;
his death, i. xxxi.

"Tempest, The," as an opera, i. 94;
revival of, ii. 227.

Theatre, the, mentioned by Stow as recently erected, i. xlviii.

Théâtre Français, ii. 221, _note_ 1, ii. 246, _note_ 1.

Theatres, number of, before 1642, i. xxvi.;
more reputable before 1642, i. xxvii.;
less reputable after the Restoration, i. xxvii.;
evil, artistically, of multiplying, i. 92.

Theobald, Lewis, deposed from the Throne of Dulness, ii. 280.

Thomson, James, his "Sophonisba," ii. 368.

Tofts, Mrs. Katherine, i. 334, _note_ 1, ii. 51;
Cibber's account of, ii. 54.

"Tone" in speaking, i. 110, _note_ 1.

Trinity College, Cambridge, Caius Cibber's statues on the Library,
i. 59;
particulars regarding these, i. 59, _note_ 1.

Underhill, Cave, i. 98, i. 142, i. 327, ii. 307, ii. 346, ii. 347,
ii. 361;
his chief parts, i. 154-155;
Cibber's account of, i. 154-156;
his particular excellence in stupid characters, i. 154;
the peculiarity of his facial expression, i. 155;
his retirement and last appearances, i. 155, _note_ 2;
his death, i. 156;
Anthony Aston's description of, ii. 307;
Bellchambers's memoir of, ii. 350.

Underwood, John, originally a "chapel boy," i. xxxvii.

Union of Companies in 1682, i. xxxii., i. 96;
in 1708, i. 301;
causes that led up to, ii. 45, ii. 48.

Valentini (Valentini Urbani), singer, i. 325, ii. 51, ii. 55.

Vanbrugh, Sir John, i. 269, i. 274, i. 284, ii. 107, ii. 110, ii.
190, ii. 337, ii. 353, ii. 367;
his opinion of Cibber's acting of Richard III., i. 139;
his "Relapse," i. 216, i. 218;
his high opinion of Cibber's acting, i. 216;
his "Provoked Wife," i. 216-217;
in gratitude to Sir Thomas Skipwith presents him with "The Relapse,"
i. 217;
his "Æsop," i. 216, i. 218;
his great ability, i. 219;
alters his "Provoked Wife," ii. 233;
his share in the "Provoked Husband," i. 311, _note_ 1;
builds the Queen's Theatre, i. 319;
and Congreve manage the Queen's Theatre, i. 320, i. 325;
his "Confederacy," i. 325;
"The Cuckold in Conceit" (attributed to him), i. 326;
his "Squire Trelooby," i. 326;
his "Mistake," i. 327;
sole proprietor of the Queen's Theatre, i. 326;
lets it to Swiney, i. 330, i. 333, _note_ 1.

Vaughan, Commissioner, ii. 278, _note_ 1.

"Venice Preserved," ii. 224, _note_ 1.

Verbruggen, John, i. 108, _note_ 2;
mentioned, i. 157, i. 193;
hangs about Downes, the prompter, i. 74, _note_ 1;
note regarding, i. 157, _note_ 2;
Anthony Aston's description of, ii. 311;
Bellchambers's memoir of, ii. 354.

---- Mrs. See Mrs. Mountfort.

Vere Street, Clare Market, theatre in, i. xxxii.

Versatility, Cibber's views on, i. 209.

Victor, Benjamin, ii. 259;
a story told by him of Cibber's cowardice, i. 71, _note_ 1;
his "History of the Theatres," i. 110, _note_ 1, i. 297,
_note_ 1, ii. 259, _note_ 2, ii. 260, _note_ 1, ii. 261,
_note_ 1, ii. 264, ii. 270;
his "Letters" quoted, i. 58, _note_ 1;
his "Life of Booth," i. 5, _note_ 1, ii. 240, _note_ 2.

Villains, Cibber's views on, i. 131;
Macready's views on, referred to, i. 135, _note_ 1;
E. S. Willard mentioned as famous for representing, i. 135,
_note_ 1;
on the acting of, i. 222.

Vizard-masks (women of the town), i. xxvii. See also Masks.

Voltaire, his "Zaïre," ii. 248.

Walker, Obadiah, his change of religion, ii. 134.

Waller, Edmund, altered the last act of the "Maid's Tragedy," ii. 12.

Walpole, Horace, and Cibber, ii. 284.

Warburton, Bishop, mentioned, i. 106, _note_ 1, ii. 281.

Ward, Professor A. W., his "English Dramatic Literature," i. 187,
_note_ 1.

Warwick, Earl of, his frolic with Pope and Cibber, ii. 278.

Weaver, John, his "Loves of Mars and Venus," ii. 180, _note_ 2.

Webster, Benjamin, i. 88, _note_ 3.

"Wedding, The," i. xxv.

"Weekly Packet" quoted, ii. 171, _note_ 1.

Welsted, Leonard, satirically mentioned by Swift, i. 52, _note_ 2.

Westminster Bridge, difficulties in getting permission to build,
ii. 104.

Whig, the Little (Lady Sunderland), i. 320.

White's Club, Cibber a member, i. 29, _note_ 1.

Whitefriars, i. xlix.

"Whitehall Evening Post," Cibber sends verses to, regarding himself,
i. 47.

Whitelocke's "Memorials," ii. 209, _note_ 2.

Wigs. See Perriwigs.

Wildair, Sir Harry, i. 318.

"Wild-Goose Chase, The," i. xxv.

Wilks, Robert, i. 108, _note_ 2, i. 157, i. 270, i. 332, ii. 36,
_note_ 1, ii. 167, ii. 176, ii. 300, ii. 352, ii. 361, ii. 363,
ii. 368;
memoirs published immediately after his death, i. 5;
mistakes in his Hamlet, i. 100, _note_ 1;
lives with Mrs. Rogers, i. 136;
distressed by Pinkethman's "gagging," i. 153, _note_ 1;
his impetuous temper, i. 190, i. 191, _note_ 1, i. 191, _note_ 2,
ii. 127, ii. 150-155, ii. 171;
his return to Drury Lane from Dublin, i. 235;
his commencing as actor, i. 235;
the contest between him and Powell for supremacy at Drury Lane,
i. 237-243, i. 251-256;
his wonderful memory, i. 240, i. 242;
his diligence and care, i. 240, ii. 160;
his good character, i. 243;
made chief actor at Drury Lane, under Rich, i. 256;
his energy in managing, i. 257;
his disputes with Cibber, i. 258;
his friendship with Mills, i. 259;
as a prologue-speaker, i. 271;
the occasion of his coming to London, i. 304;
and Mrs. Oldfield playing in same pieces, i. 314;
made Deputy-manager by Brett, ii. 56, _note_ 1;
made joint-manager with Swiney and others in 1709, ii. 69;
advertisement regarding his salary, 1709, ii. 78, _note_ 1;
his characteristics as a manager, ii. 111, ii. 117;
his patronage of his friends, ii. 121;
his behaviour on Booth's claiming to become a manager, ii. 131,
ii. 141;
his favour for Mills, ii. 223;
his connection with Steele during the dispute about Steele's Patent,
ii. 193, _note_ 1;
his love of acting, ii. 225;
a genuine admirer of Cibber, ii. 226, _note_ 1;
attacked by Dennis, ii. 226, _note_ 2;
his excellence as Macduff, ii. 228;
gives the part to Williams, ii. 229;
but withdraws it, ii. 230;
complains of acting so much, ii. 232;
a scene between him and his partners, ii. 234-237;
benefits arising from his enthusiasm for acting, ii. 237;
and Booth, their opinion of each other, ii. 240;
formed his style on Mountfort's, ii. 241;
Cibber's comparison of Booth and Wilks, ii. 239-245;
his Othello, ii. 244;
death of, ii. 254;
memoir of, ii. 254, _note_ 4;
Patent granted to him, Cibber, and Booth, after Steele's death,
ii. 257.

Wilks, Mrs., inherits Wilks's share in the Patent, ii. 258;
delegates her authority to John Ellys, ii. 258;
her share sold to Fleetwood, ii. 261.

Willard, E. S., mentioned, i. 135, _note_ 1.

William of Orange, Cibber a supporter of, at the Revolution, i. 60;
made king, i. 70;
gives a Licence to Betterton, i. 192, _note_ 1.

Williams, Charles, Wilks gives him the part of Macduff, ii. 229;
but withdraws it, ii. 230;
hissed in mistake for Cibber, i. 179, _note_ 1.

---- Joseph, mentioned, i. 157, i. 200;
Bellchambers's memoir of, ii. 356.

Wiltshire (actor), leaves the stage for the army, i. 84;
killed in Flanders, i. 85.

Winchester College, Cibber stands for election to, and is
unsuccessful, i. 56;
his brother, Lewis Cibber, is afterwards successful, i. 56;
his father presents a statue to, i. 56;
communication from the Head Master of, i. 56, _note_ 2.

Wintershal (actor), belonged to the Salisbury Court Theatre, i. xxiv.

Woffington, Margaret, her artistic feeling, i. 166, _note_ 1;
an anecdote wrongly connected with her, ii. 266.

"Woman's Wit," cast of, i. 264, _note_ 1.

Women, their first introduction on the stage, i. xxxii., i. 89,
_note_ 1, i. 90.

Wren, Sir Christopher, the designer of Drury Lane Theatre, ii. 82.

Wright, James, his "History of Rutlandshire," i. 8;
quoted, i. 9, _note_ 1;
his "Historia Histrionica," i. xix.

Wykeham, William of, Cibber connected with by descent, i. 56.

"Ximena," cast of, ii. 163, _note_ 1.

York, Duke of (James II.), at Whitehall, i. 30.

Young, Dr. Edward, his "Epistle to Mr. Pope" quoted, i. 54, _note_ 1.

Young actors, dearth of, ii. 221.

END OF VOL. I.

FOOTNOTES

[Footnote 1: Colley Cibber's "brazen brainless brothers." According to Horace Walpole, "one of the Statues was the portrait of Oliver Cromwell's porter, then in Bedlam."]

[Footnote 2: Till the 25 Year of Queen _Elizabeth_, the Queen had not any Players; but in that Year 12 of the best of all those who belonged to several Lords, were chosen & sworn her Servants, as Grooms of the Chamber. Stow's _Annals_, p. 698.]

[Footnote 3: The Right Honourable Henry Pelham. Davies ("Life of Garrick," ii. 377) says that the "Apology" was dedicated to "that wise and honest minister," Pelham. John Taylor ("Records of my Life," i. 263) writes: "The name of the person to whom the Dedication to the 'Apology' was addressed is not mentioned, but the late Mr. John Kemble assured me that he had authority for saying it was Mr. Pelham, brother to the Duke of Newcastle." From the internal evidence it seems quite clear that this is so. In the Verses to Cibber quoted in "The Egotist," p. 69, the authoress writes:--

"_Some praise a Patron and reveal him:
You paint so true, you can't conceal him._
Their _gaudy Praise undue but shames him,
While_ your's _by Likeness only names him."_]

[Footnote 4: Cibber, in Chapter ix., mentions that he is writing his Apology at Bath, and Fielding, in the mock trial of "_Col._ Apol." given in "The Champion" of 17th May, 1740, indicts the Prisoner "for that you, not having the Fear of Grammar before your Eyes, on the ---- of ---- at a certain Place, called the _Bath_, in the County of _Somerset_, in _Knights-Bridge_, in the County of _Middlesex_, in and upon the _English_ Language an Assault did make, and then and there, with a certain Weapon called a Goose-quill, value one Farthing, which you in your left Hand then held, several very broad Wounds but of no Depth at all, on the said _English_ Language did make, and so you the said Col. _Apol._ the said _English_ Language did murder."]

[Footnote 5: This seems to be a favourite argument of Cibber. In his "Letter" to Pope, 1742, he answers Pope's line, "And has not Colley still his Lord and Whore?" at great length, one of his arguments being that the latter accusation, "without some particular Circumstances to aggravate the Vice, is the flattest Piece of Satyr that ever fell from the formidable Pen of Mr. _Pope_: because (_defendit numerus_) take the first ten thousand Men you meet, and I believe, you would be no Loser, if you betted ten to one that every single Sinner of them, one with another, had been guilty of the same Frailty."--p. 46.]

[Footnote 6: Cibber's "Apology" must have been a very profitable book. It was published in one volume quarto in 1740, and in the same year the second edition, one volume octavo, was issued. A third edition appeared in 1750, also in one volume octavo. Davies ("Dramatic Miscellanies," iii. 506) says: "Cibber must have raised considerable contributions on the public by his works. To say nothing of the sums accumulated by dedications, benefits, and the sale of his plays singly, his dramatic works, in quarto, by subscription, published 1721, produced him a considerable sum of money. It is computed that he gained, by the excellent Apology for his Life, no less than the sum of £1,500." "The Laureat" (1740) is perhaps Davies's authority for his computation. "_Ingenious indeed_, who from such a Pile of indigested incoherent Ideas huddled together by the _Misnomer_ of a History, could raise a Contribution on the Town (if Fame says true) of Fifteen hundred Pounds."--"Laureat," p. 96.

Cibber no doubt kept the copyright of the first and second editions in his own hands. In 1750 he sold his copyright to Robert Dodsley for the sum of fifty guineas. The original assignment, which bears the date "March ye 24th, 1749/50," is in the collection of Mr. Julian Marshall.]

[Footnote 7: Of Mrs. Oldfield there was a volume of "Authentick Memoirs" published in 1730, the year she died; and in 1731 appeared Egerton's "Faithful Memoirs," and "The Lover's Miscellany," in which latter are memoirs of Mrs. Oldfield's "Life and Amours." Three memoirs of Wilks immediately followed his death, the third of which was written by Curll, who denounces the other two as frauds. Benjamin Victor wrote a memoir of Booth which was published in the year of his death, and there was one unauthorized memoir issued in the same year. Bellchambers instances the Life of Congreve as another imposition.]

[Footnote 8: From this expression it appears that Cibber did not contemplate again returning to the stage. He did, however, make a few final appearances, his last being to support his own adaptation of Shakespeare's "King John," which he called "Papal Tyranny in the Reign of King John," and which was produced at Covent Garden on 15th February, 1745.]

[Footnote 9: "The Rehearsal," act iii. sc. 4.]

[Footnote 10: The christening of Colley Cibber is recorded in the Baptismal Register of the Church of St. Giles-in-the-Fields. The entry reads:--

"November 1671 Christnings
20. Colly sonne of Caius Gabriell Sibber and Jane ux"]

[Footnote 11: Mr. Laurence Hutton, in his "Literary Landmarks of London," page 52, says: "Southampton House, afterwards Bedford House, taken down in the beginning of the present century, occupied the north side of Bloomsbury Square. Evelyn speaks of it in his Diary, October, 1664, as in course of construction. Another and an earlier Southampton House in Holborn, 'a little above Holborn Bars,' was removed some twenty years before Cibber's birth. He was, therefore, probably born at the upper or north end of Southampton Street, facing Bloomsbury Square, where now are comparatively modern buildings, and not in Southampton Street, Strand, as is generally supposed."]

[Footnote 12: Caius Gabriel Cibber, born at Flensborg in Holstein in 1630; married, as his second wife, Jane Colley, on 24th November, 1670; died in 1700. He was, as Colley Cibber states, a sculptor of some note.]

[Footnote 13:

"Where o'er the gates, by his fam'd father's hand,
Great Cibber's brazen, brainless brothers stand."
(Final edition of "The Dunciad," i. verses 31-2.)

Bellchambers notes that these figures were removed to the New Hospital in St. George's Fields. They are now in South Kensington Museum.]

[Footnote 14: "It was found by office taken in the 13th year of H. 8. that _John Colly_ deceased, held the Mannour and Advowson of Glaiston of _Edward_ Duke of Buckingham, as of his Castle of Okeham by knights service."--Wright's "History and Antiquities of the County of Rutland," p. 64.

"In the 26. _Car._ I. (1640) Sir _Anthony Colly_ Knight, then Lord of this Mannor, joyned with his Son and Heir apparent, _William Colly_ Esquire, in a Conveyance of divers parcels of Land in Glaiston, together with the Advowson of the Church there, to _Edward Andrews_ of Bisbroke in this County, Esquire: Which Advowson is since conveyed over to _Peterhouse_ in Cambridge."--_Ibid._ p. 65.]

[Footnote 15: Fielding ("Joseph Andrews," chap. iii.), writing of Parson Adams, says: "Simplicity was his characteristic: he did, no more than Mr. Colley Cibber, apprehend any such passions as malice and envy to exist in mankind; which was indeed less remarkable in a country parson, than in a gentleman who has passed his life behind the scenes--a place which has been seldom thought the school of innocence."]

[Footnote 16: Glout is an obsolete word signifying "to pout, to look sullen."]

[Footnote 17: Bellchambers suggests that these two persons were the Earl of Chesterfield and "Bubb Doddington." As to the former he is no doubt correct, but I cannot see a single feature of resemblance between the second portrait and Lord Melcombe. "The Laureat" says (p. 18) that the portraits were "L----d C----d and Mr. E----e" [probably Erskine]. Bellchambers seems to have supposed that "Bubb" was a nickname.]

[Footnote 18: "Set the table on a roar."--"Hamlet," act v. sc. 1.]

[Footnote 19: Ter. _Eun._ i. 1, 18.]

[Footnote 20: _Ars Poetica_, 126.]

[Footnote 21: In William Byrd's collection, entitled "Psalmes, Sonets, & songs of sadnes and pietie," 1588, 4to., is the song to which Cibber probably refers:--

"My Minde to me a Kingdome is."

Mr. Bullen, in his "Lyrics from Elizabethan Song-books" (p. 78), quotes it.]

[Footnote 22:

"And so many a time,
When I have spoke of you dispraisingly,
Hath ta'en your part."--"Othello," act iii. sc. 3.]

[Footnote 23: This is Gibber's first allusion to Pope's enmity. It was after the publication of the "Apology" that Pope's attacks became more bitter.]

[Footnote 24: Horace, _Epis._ ii. 2, 126.]

[Footnote 25: Charles II.'s flight from his Scottish Presbyterian subjects, at the end of 1650, to take refuge among his wild Highland supporters, was caused by the insolent invectives of the rigid Presbyterian clergymen, who preached long sermons at him, on his own wickedness and that of his father and mother, and made his life generally a burden.]

[Footnote 26: Hor. _Od._ iv. 12, 28.]

[Footnote 27: "Os homini sublime dedit."--Ovid, _Met._ i. 85.]

[Footnote 28: Cibber is pardonably vain throughout at the society he moved in. His greatest social distinction was his election as a member of White's. His admission to such society was of course the subject of lampoons, such as the following:--

"_The_ BUFFOON, _An_ EPIGRAM.

Don't boast, prithee _Cibber_, so much of thy State,
That like _Pope_ you are blest with the smiles of the Great;
With both they Converse, but for different Ends,
And 'tis easy to know their Buffoons from their Friends."]

[Footnote 29: Arlington did not, however, die till the 28th July, 1685, surviving Charles II. by nearly six months.]

[Footnote 30: Cibber was appointed Poet-Laureate on the death of Eusden. His appointment was dated 3rd December, 1730.]

[Footnote 31: "Forsan et hæc olim meminisse juvabit."--Virg. _Æneid_, i. 207.]

[Footnote 32: As Laureate, and as author of "The Nonjuror," Cibber is bound to be extremely loyal to the Protestant dynasty.]

[Footnote 33: Curiously enough, Cibber's praise of his deceased companion-actors has been attributed to something of this motive.]

[Footnote 34: Bellchambers prints these words thus: "Lick at the Laureat," as if Cibber had referred to the title of a book; and notes: "This is the title of a pamphlet in which some of Mr. Cibber's peculiarities have been severely handled." But I doubt this, for there is nothing in Cibber's arrangement of the words to denote that they represent the title of a book; and, besides, I know no work with such a title published before 1740. Bellchambers, in a note on page 114, represents that he quotes from "Lick at the Laureat, 1730;" but I find the quotation he gives in "The Laureat," 1740 (p. 31), almost _verbatim_. As it stands in the latter there is no hint that it is quoted from a previous work, nor, indeed, do the terms of it permit of such an interpretation. I can, therefore, only suppose that Bellchambers is wrong in attributing the sentence to a work called "A Lick at the Laureat."]

[Footnote 35: The principal allusions to Cibber which, up to the time of the publication of the "Apology," Pope had made, were in the "Dunciad":--

"How, with less reading than makes felons 'scape,
Less human genius than God gives an ape,
Small thanks to France and none to Rome or Greece,
A past, vamp'd, future, old, reviv'd, new piece,
'Twixt Plautus, Fletcher, Congreve, and Corneille,
Can make a Cibber, Johnson, or Ozell."
Second edition, Book i. 235-240.

"Beneath his reign, shall Eusden wear the bays,
Cibber preside, Lord-Chancellor of Plays."
Second edition, Book iii. 319, 320.

In the "Epistle to Dr. Arbuthnot" there were one or two passing allusions to Cibber, one of them being the line:--

"And has not Colley still his Lord and whore?"

for which Cibber retaliated in his "Letter" of 1742.

In the "First Epistle of the Second Book of Horace" (1737), Cibber is scurvily treated. In it occur the lines:--

"And idle Cibber, how he breaks the laws,
To make poor Pinkey eat with vast applause!"]

[Footnote 36: Cibber's Odes were a fruitful subject of banter. Fielding in "Pasquin," act ii. sc. 1, has the following passage:--

"_2nd Voter._ My Lord, I should like a Place at Court too; I don't much care what it is, provided I wear fine Cloaths, and have something to do in the Kitchen, or the Cellar; I own I should like the Cellar, for I am a divilish Lover of Sack.

_Lord Place._ Sack, say you? Odso, you shall be Poet-Laureat.

_2nd Voter._ Poet! no, my Lord, I am no Poet, I can't make verses.

_Lord Place._ No Matter for that--you'll be able to make Odes.

_2nd Voter._ Odes, my Lord! what are those?

_Lord Place._ Faith, Sir, I can't tell well what they are; but I know you may be qualified for the Place without being a Poet."

Boswell ("Life of Johnson," i. 402) reports that Johnson said, "His [Cibber's] friends give out that he _intended_ his birth-day _Odes_ should be bad: but that was not the case, Sir; for he kept them many months by him, and a few years before he died he shewed me one of them, with great solicitude to render it as perfect as might be."

In "The Egotist" (p. 63) Cibber is made to say: "As bad Verses are the Devil, and good ones I can't get up to----"]

[Footnote 37: "Champion," 29th April, 1740: "When he says (Fol. 23) Satire is _angrily_ particular, every Dunce of a Reader knows that he means angry with a particular Person."]

[Footnote 38: Cibber's allusion to Pope's treatment of Addison is a fair hit.]

[Footnote 39: Juvenal, i. 79.]

[Footnote 40: Davies ("Dram. Misc.," iii. 511) says: "If we except the remarks on plays and players by the authors of the Tatler and Spectator, the theatrical observations in those days were coarse and illiberal, when compared to what we read in our present daily and other periodical papers."]

[Footnote 41: "_Frankly._ Is it not commendable in a Man of Parts, to be warmly concerned for his Reputation?

_Author [Cibber]._ In what regards his Honesty or Honour, I will make you some Allowances: But for the Reputation of his Parts, not one Tittle!"--"The Egotist: or, Colley upon Cibber," p. 13.

Bellchambers notes here: "When Cibber was charged with moral offences of a deeper dye, he thought himself at liberty, I presume, to relinquish his indifference, and bring the libeller to account. On a future page will be found the public advertisement in which he offered a reward of ten pounds for the detection of Dennis."]

[Footnote 42: "_Frankly._ It will be always natural for Authors to defend their Works.

_Author [Cibber]._ And would it not be as well, if their Works defended themselves?"--"The Egotist: or, Colley upon Cibber," p. 15.]

[Footnote 43: In his "Letter to Pope," 1742, p. 7, Cibber says: "After near twenty years having been libell'd by our Daily-paper Scriblers, I never was so hurt, as to give them one single Answer."]

[Footnote 44: "_Frankly._ I am afraid you will discover yourself; and your Philosophical Air will come out at last meer Vanity in Masquerade.

_Author [Cibber]._ O! if there be Vanity in keeping one's Temper; with all my Heart."--"The Egotist: or, Colley upon Cibber," p. 13.]

[Footnote 45: In his "Letter to Pope," 1742, p. 9, Cibber says: "I would not have even your merited Fame in Poetry, if it were to be attended with half the fretful Solicitude you seem to have lain under to maintain it."]

[Footnote 46: The best epigram is that which Cibber ("Letter," 1742, p. 39) attributes to Pope:--

"In merry Old England, it once was a Rule,
The King had his Poet, and also his Fool.
But now we're so frugal, I'd have you to know it,
That Cibber can serve both for Fool and for Poet."

Dr. Johnson also wrote an epigram, of which he seems to have been somewhat proud:--

"Augustus still survives in Maro's strain,
And Spenser's verse prolongs Eliza's reign;
Great George's acts let tuneful Cibber sing;
For Nature form'd the Poet for the King."
Boswell, i. 149.

In "Certain Epigrams, in Laud and Praise of the Gentlemen of the Dunciad," p. 8, is:--

EPIGRAM XVI.
_A Question by_ ANONYMUS.

"Tell, if you can, which did the worse,
_Caligula_, or _Gr--n's_ [Grafton's] Gr--ce?
That made a Consul of a _Horse_,
And this a Laureate of an _Ass_."

In "The Egotist: or, Colley upon Cibber," p. 49, Cibber is made to say: "An _Ode_ is a Butt, that a whole Quiver of Wit is let fly at every Year!"]

[Footnote 47: "The Laureat" says: "The Things he calls Verses, carry the most evident Marks of their Parent _Colley_."--p. 24.]

[Footnote 48: _A Line in the Epilogue to the_ Nonjuror.]

[Footnote 49: This allusion to time shows that Cibber began his "Apology" about 1737.]

[Footnote 50: Fielding has many extremely good attacks on Cibber's style and language. For instance:--

"I shall here only obviate a flying Report ... that whatever Language it was writ in, it certainly could not be _English_.... Now I shall prove it to be _English_ in the following Manner. Whatever Book is writ in no other Language, is writ in _English_. This Book is writ in no other Language, _Ergo_, It is writ in _English_."--"Champion," 22nd April, 1740.

Again ("Joseph Andrews," book iii. chap. vi.), addressing the Muse or Genius that presides over Biography, he says: "Thou, who, without the assistance of the least spice of literature, and even against his inclination, hast, in some pages of his book, forced Colley Cibber to write English."]

[Footnote 51: In later editions the expression was changed to "She here outdid her usual excellence."]

[Footnote 52: "Decies repetita placebit."--Horace, _Ars Poetica_, 365.]

[Footnote 53:

"For instance: when you rashly think,
No rhymer can like Welsted sink,
His merits balanc'd, you shall find,
The laureat leaves him far behind."
Swift, _On Poetry: a Rhapsody_, l. 393.]

[Footnote 54: "_Frankly._ Then for your Reputation, if you won't bustle about it, and now and then give it these little Helps of Art, how can you hope to raise it?

_Author [Cibber]._ If it can't live upon simple Nature, let it die, and be damn'd! I shall give myself no further Trouble about it."--"The Egotist: or, Colley upon Cibber," p. 9.]

[Footnote 55: Young's second "Epistle to Mr. Pope."]

[Footnote 56: Indirectly surely, William of Wykeham being a priest.]

[Footnote 57: I am indebted to the courtesy of the Head Master of Winchester College, the Rev. Dr. Fearon, for the information that this statue, a finely designed and well-executed work, still stands over the door of the big school. A Latin inscription states that it was presented by Caius Gabriel Cibber in 1697.]

[Footnote 58: Bellchambers finds in this sentence "a levity, which accords with the charges so often brought against Cibber of impiety and irreligion;" and he quotes from Davies ("Dram. Misc.," iii. 506) two stories--one, that Cibber spat at a picture of our Saviour; and the other, that he endeavoured to enter into discussion with "honest Mr. William Whiston" with the intention of insulting him. Both anecdotes seem to me rather foolish. I do not suppose Cibber was in any sense a religious man, but his works are far from giving any offence to religion; and, as a paid supporter of a Protestant succession, I think he was too prudent to be an open scoffer. A sentence in one of Victor's "Letters" (i. 72), written from Tunbridge, would seem to show that Cibber at least preserved appearances. He says, "Every one complies with what is called the _fashion_--_Cibber_ goes constantly to _prayers_--and the Curate (to return the compliment) as constantly, when prayers are over, to the _Gaming table_!"]

[Footnote 59: By the kindness of a friend at Cambridge I am enabled to give the following interesting extracts from a letter written by Mr. William White, of Trinity College Library, regarding the statues here referred to: "They occupy the four piers, subdividing the balustrade on the east side of the Library, overlooking Neville's Court. The four Statues represent Divinity, Law, Physic, and Mathematics. That these were executed by Mr. Gabriel Cibber our books will prove. I will give you two or three extracts from Grumbold's Account Book, kept in the Library. He was Foreman of the Works when the Library was built. I think Cibber cut the Statues here. It is quite certain he and his men were here some time: no doubt they superintended the placing of them in their positions, at so great a height.

'Payd for the Carridg of a Larg Block Stone Given by John Manning to ye Coll. for one of ye Figures 01:00:00.'

'May 7, 1681. Pd to Mr Gabriell Cibber for cutting four statues 80:00:00.' '27 June. Pd to ye Widdo Bats for Mr Gabriel Cibbers and his mens diatt 05: 18: 11. Pd to Mr Martin [for the same] 12: 03: 03.'"

In connection with these statues an amusing practical joke was played while Byron was an undergraduate, which was attributed to him--unjustly, however, I believe.]

[Footnote 60: 5th November, 1688.]

[Footnote 61: Fielding, in "Joseph Andrews," book i. chap. I: "How artfully does the former [Cibber] by insinuating that he escaped being promoted to the highest stations in the Church and State, teach us a contempt of worldly grandeur! how strongly does he inculcate an absolute submission to our Superiors!"]

[Footnote 62: Fielding ("Champion," 6th May, 1740): "Not to mention our Author's Comparisons of himself to King _James_, the Prince of _Orange_, _Alexander the Great_, _Charles_ the XIIth, and _Harry_ IV. of _France_, his favourite Simile is a Lion, thus _page_ 39, we have a SATISFIED PRESUMPTION, that _to drive_ England _into slavery is like teaching_ AN OLD LION TO DANCE. 104. _Our new critics are like Lions Whelps that dash down the Bowls of Milk &c._ besides a third Allusion to the same Animal: and this brings into my Mind a Story which I once heard from _Booth_, that our Biographer had, in one of his Plays in a Local Simile, introduced this generous Beast in some Island or Country where Lions did not grow; of which being informed by the learned _Booth_, the Biographer replied, _Prithee tell me then, where there is a Lion, for God's Curse, if there be a Lion in_ Europe, Asia, Africa, _or_ America, _I will not lose my simile_."]

[Footnote 63: Lucretius, i. 102.]

[Footnote 64: John Dennis, in an advertisement to "The Invader of his Country," 1720, says, "'tis as easy for Mr. _Cibber_ at this time of Day to make a Bounce with his Loyalty, as 'tis for a Bully at Sea, who had lain hid in the Hold all the time of the Fight, to come up and swagger upon the Deck after the Danger is over."]

[Footnote 65: "Champion," 29th April, 1740: "When in _page_ 42, we read, _Beauty_ SHINES _into equal Warmth the Peasant and the Courtier_, do we not know what he means though he hath made a Verb active of SHINE, as in _Page_ 117, he hath of REGRET, _nothing could more painfully regret a judicious Spectator_."]