[175] Davies ("Dram. Misc.," iii. 455) says that he supposes Cibber prevailed upon Vanbrugh to alter the disguise which Sir John Brute assumes from a clergyman's habit to that of a woman of fashion.

[176] Sir John Brute.

[177] Cibber's meaning is not very clear, but if he intends to convey the idea that it was for this revival that Vanbrugh made these alterations, he is probably wrong, for when the play was revived at the Haymarket, on 19th January, 1706, it was announced as "with alterations."

[178] Mrs. Oldfield played Lady Brute, whose lover Constant is.

[179] Wilks played Constant; Booth, Heartfree; and Cibber, Sir John Brute.

[180] Cibber begins the seventh chapter of this work with an account of Betterton's troubles as a manager. See vol. i. p. 227. See also vol. i. p. 315.

[181]

[182]

[183] "During Booth's inability to act, ... Wilks was called upon to play two of his parts—Jaffier, and Lord Hastings in Jane Shore. Booth was, at times, in all other respects except his power to go on the stage, in good health, and went among the players for his amusement His curiosity drew him to the playhouse on the nights when Wilks acted these characters, in which himself had appeared with uncommon lustre. All the world admired Wilks, except his brother-manager: amidst the repeated bursts of applause which he extorted, Booth alone continued silent."—Davies ("Dram. Misc.," iii. 256).

[184] Aaron Hill, quoted by Victor in his "Life of Barton Booth," page 32, says: "The Passions which he found in Comedy were not strong enough to excite his Fire; and what seem'd Want of Qualification, was only Absence of Impression."

[185] Wilks can have seen Mountfort only in his early career, for he did not leave Ireland till, at least, 1692; and in that year Mountfort was killed.

[186] Wilks first played Othello in this country on June 22nd, 1710, for Cibber's benefit. Steele draws attention to the event in "Tatler," No. 187, and in No. 188 states his intention of stealing out to see it, "out of Curiosity to observe how Wilks and Cibber touch those Places where Betterton and Sandford so very highly excelled." Cibber was the Iago on this occasion. Steele probably found little to praise in either.

[187] The Earl of Essex, in Banks's "Unhappy Favourite," was one of Wilks's good parts, in which Steele ("Tatler," No. 14) specially praises him. Booth acted the part at Drury Lane on November 25th, 1709.

[188] See Cibber on Betterton's Hamlet and on Wilks's mistakes in the part, vol. i. page 100.

[189] In the Theatre Français a similar arrangement holds to this day, Tuesday being now the fashionable night. M. Perrin, the late manager, was accused of a too great attention to his Abonnés du Mardi, to the detriment of the theatre and of the general public.

[190] See ante, vol. i. page 234.

[191] Arcangelo Corelli, a famous Italian musician, born 1653, died 1713, who has been called the father of modern instrumental music.

[192] Jeanne Catherine Gaussin, a very celebrated actress of the Comédie Française, was the original representative of Zaïre, in Voltaire's tragedy, to which Cibber refers. She made her first Parisian appearance in 1731; she retired in 1763, and died on 9th June, 1767. Voltaire's "Zaïre" owed much of its success to her extraordinary ability.

[193] Cibber has been strongly censured for his treatment of authors. "The Laureat" gives the following account of an author's experiences: "The Court sitting, Chancellor Cibber (for the other two, like M——rs in Chancery, sat only for Form sake, and did not presume to judge) nodded to the Author to open his Manuscript. The Author begins to read, in which if he failed to please the Corrector, he wou'd condescend sometimes to read it for him: When, if the play strook him very warmly, as it wou'd if he found any Thing new in it, in which he conceived he cou'd particularly shine as an Actor, he would lay down his Pipe, (for the Chancellor always smoaked when he made a Decree) and cry, By G—d there is something in this: I do not know but it may do; but I will play such a Part. Well, when the Reading was finished, he made his proper Corrections and sometimes without any Propriety; nay, frequently he very much and very hastily maimed what he pretended to mend" (p. 95). The author also accuses Cibber of delighting in repulsing dramatic writers, which he called "Choaking of Singing birds." However, in Cibber's defence, Genest's opinion may be quoted (iii. 346): "After all that has been said against Chancellor Cibber, it does not appear that he often made a wrong decree: most of the good plays came out at Drury Lane—nor am I aware that Cibber is much to be blamed for rejecting any play, except the Siege of Damascus in the first instance."

[194] In the preface to "The Lunatick" (1705) the actors are roundly abused; but the most amusing attack on actors is in the following title-page: "The Sham Lawyer: or the Lucky Extravagant. As it was Damnably Acted at the Theatre-Royal in Drury Lane." This play, by Drake, was played in 1697, and among the cast were Cibber, Bullock, Johnson, Haines, and Pinkethman.

Bellchambers notes: "Such was the case in Dennis's 'Comic Gallant,' where one of the actors, whom I believe to be Bullock, is most severely handled." I think he is wrong in imagining Bullock to be the actor criticised. Dennis says that Falstaffe was the character that was badly sustained, and I cannot believe Bullock's position would entitle him to play that part in 1702. Genest (ii. 250) suggests Powell as the delinquent.

[195] Cibber's account of Booth is so complete that there is little to be added to it. Booth was born in 1681, and was of a good English family. He first appeared in Dublin in 1698, under Ashbury, but returned to England in 1700, and joined the Lincoln's Inn Fields Company. He followed the fortunes of Betterton until, as related by Cibber in Chapter XII., the secession of 1709 occurred. From that point to his retirement the only event demanding special notice is his marriage with Hester Santlow (see p. 96 of this volume). This took place in 1719, and was the cause of much criticism and slander, some of which Bellchambers reproduces with evident gusto. I do not repeat his statements, because I consider them wildly extravagant. They are fully refuted by Booth's will, from the terms of which it is clear that his marriage was a happy one, and that he esteemed his wife as well as loved her. Booth's illness, to which Cibber refers above, seized him early in the season of 1726-27, and though after it he was able to play occasionally, he was never restored to health. His last appearance was on 9th January, 1728, but he lived till 10th May, 1733.

[196] See memoir of Mrs. Oldfield at end of volume.

[197] Mrs. Porter met with the accident referred to in the summer of 1731. See Davies, "Dram. Misc.," iii. 495. She returned to the stage in January, 1733.

[198] Wilks died 27th September, 1732. He was of English parentage, and was born near Dublin, whither his father had removed, about 1665. He was in a Government office, but about 1691 he gave this up, and went on the stage. After a short probation in Dublin he came over to London, and was engaged by Rich, with whom he remained till about 1695. He returned to Dublin, and became so great a favourite there, that it is said that the Lord Lieutenant issued a warrant to prevent his leaving again for London. However, he came to Drury Lane about 1698, and from that time his fortunes are closely interwoven with Cibber's, and are fully related by him.

[199] "The Laureat," p. 96: "As to the Occasion of your parting with your Share of the Patent, I cannot think you give us the true Reason; for I have been very well inform'd, it was the Intention, not only of you, but of your Brother Menagers, as soon as you could get the great Seal to your Patent, (which stuck for some Time, the then Lord Chancellor not being satisfied in the Legality of the Grant) to dispose it to the best Bidder. This was at first kept as a Secret among you; but as soon as the Grant was compleated, you sold to the first who wou'd come up to your Price."

[200] Among the Lord Chamberlain's Papers is a copy of a warrant to prepare this Patent. It is dated 15th May, 1731, and the Patent itself is dated 3rd July, 1731, though it did not take effect till 1st September, 1732. The reason for this is noted on page 196.

[201] "The Grub-Street Journal," 7th June, 1733, says: "One little Creature, only the Deputy and Representative of his Father, was turbulent enough to balk their Measures, and counterbalance all the Civility and Decency in the other scale.... To remedy this, the Gentleman who bought into the Patent first, purchased his Father's Share, and set him down in the same obscure Place from whence he rose."

[202] In "The Case of John Mills, James Quin," &c., given in Theo. Cibber's "Dissertations" (Appendix, p. 48), it is stated that "such has been the Inveteracy of some of the late Patentees to the Actors, that when Mrs. Booth, Executrix of her late Husband, Barton Booth, Esq; sold her sixth part of the Patent to Mr. Giffard, she made him covenant, not to sell or assign it to Actors."

[203] "I must own, I was heartily disgusted with the Conduct of the Family of the Cibbers on this Occasion, and had frequent and violent Disputes with Father and Son, whenever we met! It appeared to me something shocking that the Son should immediately render void, and worthless, what the Father had just received Thirty-one Hundred and Fifty Pounds for, as a valuable Consideration."—Victor's "History," i. 14.

[204] Cibber, in Chapter VIII. (vol. i. p. 283), alludes to this trial, and gives the first of these two suppositions as the reason of Harper's acquittal, but Victor ("History," i. 24) says that he has been informed that this is an error.

[205] "He was a Man of Humanity and strict Honour; many Instances fatally proved, that his Word, when solemnly given, (which was his Custom) was sufficient for the Performance, though ever so injurious to himself."—Victor's "History," i. 25.

[206] See ante, Chapter IX. (vol. i. Footnote 367 anchored on page 330)

[207] "The clamour against the author, whose presumption was highly censured for daring to alter Shakspeare, increased to such a height, that Colley, who had smarted more than once for dabbling in tragedy, went to the playhouse, and, without saying a word to any body, took the play from the prompter's desk, and marched off with it in his pocket."—"Dram. Misc.," i. 5.

[208] Produced at the Haymarket, 1737.

[209]

"Enter Ground-Ivy.

Ground. What are you doing here?

Apollo. I am casting the Parts in the Tragedy of King John.

Ground. Then you are casting the Parts in a Tragedy that won't do.

Apollo. How, Sir! Was it not written by Shakespear, and was not Shakespear one of the greatest Genius's that ever lived?

Ground. No, Sir, Shakespear was a pretty Fellow, and said some things that only want a little of my licking to do well enough; King John, as now writ, will not do——But a Word in your Ear, I will make him do.

Apollo. How?

Ground. By Alteration, Sir; it was a Maxim of mine when I was at the Head of Theatrical Affairs, that no Play, tho' ever so good, would do without Alteration."—"Historical Register," act iii. sc. 1.

[210] These appearances took place on January 12th, 13th, and 14th, 1741.

[211] Fondlewife's pet name for his wife Lætitia.

[212] Lætitia's pet name for Fondlewife. See vol. i. page 206.

[213] An allusion to his own phrase in the Preface to "The Provoked Husband." See vol. i. page 51.

Tha

[214] The name "Susannah Maria" naturally suggests Susanna Maria Arne, the wife of Theo. Cibber; but the anecdote cannot refer to her, because she was married in 1734, some years before Cibber began his "Apology."

[215] Davies ("Dram. Misc.," iii. 501) says: "Mr. Garrick asked him [Cibber] if he had not in his possession, a comedy or two of his own writing.—'What then?' said Cibber.—'I should be glad to have the honour of bringing it into the world.'—'Who have you to act it?'—'Why, there are (said Garrick) Clive and Pritchard, myself, and some others,' whom he named.—'No! (said the old man, taking a pinch of snuff, with great nonchalance) it won't do.'" Davies (iii. 502) relates how Garrick drew on himself a rebuke from Cibber. Discussing in company the old school, "Garrick observed that the old style of acting was banishing the stage, and would not go down. 'How do you know? (said Cibber); you never tried it.'"

[216] "Papal Tyranny in the Reign of King John."

King John				Mr. Quin.
Arthur, his Nephew				Miss J. Cibber.
Salisbury				Mr. Ridout.
Pembroke				Mr. Rosco.
Arundel				Mr. Anderson.
Falconbridge				Mr. Ryan.
Hubert				Mr. Bridgewater.
King Philip	}	of France	{	Mr. Hale.
Lewis the Dauphin	}		{	Mr. Cibber, Jun.
Melun, a Nobleman	}		{	Mr. Cashell.
Pandulph, Legate from Pope Innocent				Mr. Cibber, Sen.
Abbot	}	of Angiers	{	Mr. Gibson.
Governor	}		{	Mr. Carr.
Lady Constance				Mrs. Pritchard.
Blanch, Niece to King John				Mrs. Bellamy.

[217] "On Cibber's Declaration that he will have the last Word with Mr. Pope.

Quoth Cibber to Pope, tho' in Verse you foreclose,
I'll have the last Word, for by G—d I'll write Prose.
Poor Colley, thy reas'ning is none of the strongest,
For know, the last Word is the Word that lasts longest."
"The Summer Miscellany," 1742.

[218] This play was produced at Drury Lane, 16th January, 1717; and the performance of "The Rehearsal" referred to took place on the 7th February.

[219] The Earl of Warwick was the young nobleman, and it is said in Dillworth's "Life of Pope" that "the late Commissioner Vaughan" was the other gentleman.

[220] "But Pope's irascibility prevailed, and he resolved to tell the whole English world that he was at war with Cibber; and, to show that he thought him no common adversary, he prepared no common vengeance; he published a new edition of the 'Dunciad,' in which he degraded Theobald from his painful pre-eminence, and enthroned Cibber in his stead."—Johnson's "Life of Pope."

[221] "Unhappily the two heroes were of opposite characters, and Pope was unwilling to lose what he had already written; he has therefore depraved his poem by giving to Cibber the old books, the old pedantry, and the sluggish pertinacity of Theobald."—Johnson's "Life of Pope."

[222] See ante, p. 272.

[223] It has been generally stated that Cibber died on 12th December, 1757, but "The Public Advertiser" of Monday, 12th December, announces his death as having occurred "Yesterday morning." The "Gentleman's Magazine" and the "London Magazine," in their issues for December, 1757, give the 11th as the date.

[224] Mr. Laurence Hutton, in his "Literary Landmarks of London" (p. 54), gives the following interesting particulars regarding Cibber's last resting-place: "Cibber was buried by the side of his father and mother, in a vault under the Danish Church, situated in Wellclose Square, Ratcliff Highway (since named St. George Street). This church, according to an inscription placed over the doorway, was built in 1696 by Caius Gabriel Cibber himself, by order of the King of Denmark, for the use of such of his Majesty's subjects as might visit the port of London. The church was taken down some years ago (1868-70), and St. Paul's Schools were erected on its foundation, which was left intact. Rev. Dan. Greatorex, Vicar of the Parish of St. Paul, Dock Street, in a private note written in the summer of 1883, says:—

"'Colley Cibber and his father and mother were buried in the vault of the old Danish Church. When the church was removed, the coffins were all removed carefully into the crypt under the apse, and then bricked up. So the bodies are still there. The Danish Consul was with me when I moved the bodies. The coffins had perished except the bottoms. I carefully removed them myself personally, and laid them side by side at the back of the crypt, and covered them with earth.'"

[225] Shakespeare's "Richard III." was produced at the Lyceum Theatre on 29th January, 1877. It was announced as "strictly the original text, without interpolations, but simply with such omissions and transpositions as have been found essential for dramatic representation." In Richard Mr. Irving's great powers are seen to special advantage.

The cast of Cibber's play in 1700 was—

King Henry VI., designed for	Mr. Wilks.
Edward, Prince of Wales	Mrs. Allison.
Richard, Duke of York	Miss Chock.
Richard, Duke of Gloucester	Mr. Cibber.
Duke of Buckingham	Mr. Powel.
Lord Stanley	Mr. Mills.
Duke of Norfolk	Mr. Simpson.
Ratcliff	Mr. Kent.
Catesby	Mr. Thomas.
Henry, Earl of Richmond	Mr. Evans.
Oxford	Mr. Fairbank.
Queen Elizabeth	Mrs. Knight.
Lady Ann	Mrs. Rogers.
Cicely	Mrs. Powel.

[226] A beautiful Portfolio of Sketches of Mr. Daly's Company has been published, in which is a portrait of Miss Rehan as Hypolita, with a critical note by Mr. Brander Matthews.

[227] This is a specimen of that commonest of blunders, the confusing of the dates of the first month or two of the year. The edict was issued February, 1647-8, that is, 1648. What Bellchambers calls the "subsequent" October was therefore the preceding October. (L.)

[228] See "Historia Histrionica."

[229] Nell Gwyn made her first appearance not later than 1665. Pepys, on the 3rd of April, 1665, mentions "Pretty, witty Nell, at the King's House." (L.)

[230] Should be for the remainder of his life. (L.)

[231] Vide Davies's "Dramatic Miscellanies," vol. iii. p. 264.

Another anecdote of the same kind is found in a "Life of the late famous comedian, J. Haynes," 8vo. 1701, which, as it preserves a characteristic trait of this valuable actor, is worth repeating.

"About this time [1673] there happened a small pick between Mr. Hart and Jo, upon the account of his late negotiation in France,{A} and there spending so much money to so little purpose, or, as I may more properly say, to no purpose at all.

{A} Soon after the theatre in Drury-lane was burnt down, Jan. 1671-2, Haynes had been sent to Paris by Mr. Hart and Mr. Killegrew, to examine the machinery employed in the French Operas.—Malone.

"There happened to be one night a play acted, called 'Cataline's Conspiracy,' wherein there was wanting a great number of senators. Now Mr. Hart being chief of the house, would oblige Jo to dress for one of these senators, although his salary, being 50s. per week, freed him from any such obligation. But Mr. Hart, as I said before, being sole governor of the playhouse, and at a small variance with Jo, commands it, and the other must obey.

"Jo being vexed at the slight Mr. Hart had put upon him, found out this method of being revenged on him. He gets a Scaramouch dress, a large full ruff, makes himself whiskers from ear to ear, puts on his head a long Merry-Andrew's cap, a short pipe in his mouth, a little three-legged stool in his hand; and in this manner follows Mr. Hart on the stage, sets himself down behind him, and begins to smoke his pipe, laugh, and point at him, which comical figure put all the house in an uproar, some laughing, some clapping, and some hollaing. Now Mr. Hart, as those who knew him can aver, was a man of that exactness and grandeur on the stage, that let what would happen, he'd never discompose himself, or mind any thing but what he then represented; and had a scene fallen behind him, he would not at that time look back, to have seen what was the matter; which Jo knowing, remained still smoking. The audience continued laughing, Mr. Hart acting, and wondering at this unusual occasion of their mirth; sometimes thinking it some disturbance in the house, again that it might be something amiss in his dress: at last turning himself toward the scenes, he discovered Jo in the aforesaid posture; whereupon he immediately goes off the stage, swearing he would never set foot on it again, unless Jo was immediately turned out of doors, which was no sooner spoke, but put in practice."

[232] Bellamente is not a female, but a male character. By referring to the mention of this matter in the "Historia Histrionica," it will at once be seen how Bellchambers's blunder was caused. (L.)

[233] "My old friends Hart and Mohun, the one by his natural and proper force, the other by his great skill and art, never failed to send me home full of such ideas as affected my behaviour, and made me insensibly more courteous and human to my friends and acquaintance."—"Tatler," No. 99.

[234] The following extract from a pamphlet, called "A Comparison between the Two Stages," will amply evince the popular estimation in which Hart and Mohun were held:—

"The late Duke of Monmouth was a good judge of dancing, and a good dancer himself; when he returned from France, he brought with him St André, then the best master in France. The duke presented him to the stage, the stage to gratify the duke admitted him, and the duke himself thought he would prove a mighty advantage to them, though he had nobody else of his opinion. A day was published in the bills for him to dance, but not one more, besides the duke and his friends came to see him; the reason was, the plays were then so good, and Hart and Mohun acted them so well, that the audience would not be interrupted, for so short a time, though 'twas to see the best master in Europe."

I suspect that Mohun was born about the year 1625, from the circumstance of his acting Bellamente, the heroine of Shirley's "Love's Cruelty," in 1640, when he had probably reached, and could hardly have exceeded, the age of fifteen years. (B.) As has been before pointed out, Bellamente is not a female character. He is the husband of Clariana, and could scarcely be played by a boy. If Mohun represented the character in 1640, he must have been considerably older than Bellchambers imagines. (L.)

[235] This account, though generally rejected, appears to me more deserving of credit than Chetwood's notoriously neglectful habits, in gleaning intelligence, or making assertion.

[236] "I have lately been told by a Gentleman who has frequently seen Mr. Betterton perform this Part of Hamlet, that he has observ'd his Countenance (which was naturally ruddy and sanguin) in this Scene of the fourth Act where his Father's Ghost appears, thro' the violent and sudden Emotions of Amazement and Horror, turn instantly on the Sight of his Father's Spirit, as pale as his Neckcloath, when every Article of his Body seem'd to be affected with a Tremor inexpressible; so that, had his Father's Ghost actually risen before him; he could not have been seized with more real Agonies; and this was felt so strongly by the Audience, that the Blood seemed to shudder in their Veins likewise, and they in some Measure partook of the Astonishment and Horror, with which they saw this excellent Actor affected."—"Laureat," 1740, p. 31.

——"I have seen a pamphlet, written above forty years ago, by an intelligent man, who greatly extols the performance of Betterton in this last scene, commonly called the closet scene."—Davies's "Dramatic Miscellanies," vol. iii. p. 112, ed. 1784.

[237] In Gildon's "Life," &c., 1710, there is a copy of Rowe's "Epilogue," stated to have been spoken by Mrs. Barry "at the Theatre Royal, in Drury-lane, April the 7th," and this mistaken date has been perpetuated by the "Biographia Dramatica." [In spite of this contradiction of Gildon and the "Biographia Dramatica," they are right, and Bellchambers is wrong. The date was 7th April, 1709.]

[238] This lady, who was remarkably handsome, married Boman, the actor.

[239] This curiosity, I believe, is still preserved in the Earl of Mansfield's mansion, at Caen-wood.

[240] Pope, in the postscript of a letter to Cromwell, writes thus:—

"——This letter of death puts me in mind of poor Betterton's, over whom I would have this sentence of Tully for an epitaph, which will serve for his moral as well as his theatrical capacity:

'Vitæ bene actæ jucundissima est recordatio.'"

In another part of his correspondence, he intimates that Betterton's "remains" had been taken care of, alluding, I suppose, to this post-humous forgery.

[241] Mrs. Brown swore she went herself, but appears to have been mistaken.

[242] Bellchambers seems to have had a craze on the subject of Mrs. Bracegirdle's character, which he vilifies on every possible opportunity. His opinion here appears to me very questionable.

[243] Sandford played Worm in "The Cutter of Coleman Street" as early as 1661. (L.)

[244] Cibber says that Nokes, Mountfort, and Leigh, "died about the same year," viz. 1692.

[245] "Roscius Anglicanus."

[246] I find, on looking over the "Roscius Anglicanus," that Trinculo is termed Duke Trinculo, in a short reference to the "Tempest."

[247] "Dramatic Miscellanies," vol. ii. p. 323.

[248] "That Verbruggen and Cibber did not accord, is plainly insinuated by the author of the Laureat. It was known that the former would resent an injury, and that the latter's valour was entirely passive. The temper of Verbruggen may be known, from a story which I have often been told by the old comedians as a certain fact, and which found its way into some temporary publication.

"Verbruggen, in a dispute with one of King Charles's illegitimate sons, was so far transported by sudden anger, as to strike him, and call him a son of a whore. The affront was given, it seems, behind the scenes of Drury-lane. Complaint was made of this daring insult on a nobleman, and Verbruggen was told, he must either not act in London, or submit publicly to ask the nobleman's pardon. During the time of his being interdicted acting, he had engaged himself to Betterton's theatre. He consented to ask pardon, on liberty granted to express his submission in his own terms. He came on the stage dressed for the part of Oroonoko, and, after the usual preface, owned that he had called the Duke of St. A. a son of a whore. 'It is true,' said Verbruggen, 'and I am sorry for it.' On saying this, he invited the company present to see him act the part of Oroonoko, at the theatre in Lincoln's-inn-fields."—"Dramatic Miscellanies," vol. iii. p. 447.

[249] "A fellow with a crackt voice: he clangs his words as if he spoke out of a broken drum."—"Comparison, &c.," 1702.

[250] "History of the Stage," p. 136.

[251] There was also a David Williams; perhaps the person who played the 2d Grave-digger, in "Hamlet." (B.) [Genest gives this part to Joseph Williams.]

[252] "Dramatic Miscellanies," vol. iii. p. 209.

[253] "Life of Betterton," p. 16.

[254] Downes expressly mentions her as Mrs. Betterton for Camilla [should be Portia], in the "Adventures of Five Hours," 1663; and she also acted by that name, a few months after, in the "Slighted Maid." This error originated with the "Biographia Britannica," but Mr. Jones, the late slovenly editor of the book alluded to, had ample means to correct it. (B.)

[255] "You'll have Pinkethman and Bullock helping out Beaumont and Fletcher."—Tatler, No. 89.

[256] "Tatler," No. 201.

[257] "Dramatic Miscellanies," vol. ii. p. 133.

[258] "Dramatic Miscellanies," vol. iii. p. 465.

[259] It is supposed that she was engaged in a tender intercourse with Farquhar, and was the "Penelope" of his amatory correspondence. She lived successively with Arthur Mainwaring, one of the most accomplished characters of his age, and General Churchill; by each of whom she had a son.

[260] This fact is firmly denied in Cibber's "Lives of the Poets," and with a pointed reference to Johnson's admission of it.—Vol. v. p. 33.

[261] Savage, however, was not silent; though he abstained from putting his name to the poem, he indisputably wrote upon Mrs. Oldfield's death. It is preserved in Chetwood's "History."

[262] What can be more ridiculous than the following anecdote?

Mrs. Oldfield happened to be in some danger in a Gravesend boat, and when the rest of the passengers lamented their imagined approaching fate, she, with a conscious dignity, told them their deaths would be only a private loss;—"But I am a public concern."—"Dramatic Miscellanies," vol. i. p. 227.

[263] The bitterness of Pope's muse subsided upon no occasion, where the name of Mrs. Oldfield might be aptly introduced. Thus in the "Sober Advice from Horace," one of his inedited poems: