Kitabı oku: «Their Majesties' Servants. Annals of the English Stage (Volume 2 of 3)», sayfa 18
Mrs. Barry survived her great husband nearly a quarter of a century. Although that great husband did not found a school of acting, he had his imitators. A Barry school required a manly beauty, and an exquisitely-toned voice, such as fall to the lot of few actors. Nevertheless, in 1788, a successor was announced in the person of an Irish player, Middleton, whose real name was Magann. He had abandoned the medical profession for the stage, some obstacles to his reaching which had actually rendered him partially and temporarily insane. He had fine powers of elocution, and in Romeo and Othello reminded the old friends of Barry – perhaps painfully – of their lost favourite. The imitation was, no doubt, strong; but it was stronger off the stage than on; for, with 30s. a week, Middleton strove to live in Barry's sumptuous style. Thereby, he soon ceased to live at all, ending a brief career in abject misery, and leaving his body to be buried by the charity of his fellow-players.
Mrs. Barry was sufficiently recovered from the grief of losing her husband, to be able to play Viola, for her benefit, two months after his decease. When she resumed her great part of Lady Randolph, she spoke a few lines, written by Garrick, in memory of the first and the most elegant and perfect of young Norvals. In those lines Barry is thus alluded to: —
"Of the lov'd pilot of my life bereft,
Save your protection, not a hope is left.
Without that peace your kindness can impart,
Nothing can calm this sorrow-beaten heart.
Urged by my duty, I have ventur'd here;
But how for Douglas can I shed the tear?
When real griefs the burden'd bosom press,
Can it raise sighs feign'd sorrows to express?
In vain will art, from nature, help implore,
When nature for herself exhausts her store.
The tree cut down on which she clung and grew,
Behold, the propless woodbine bends to you;
Your soft'ning pow'r will spread protection round;
And, though she droops, may raise her from the ground."
I will not divide the sketch of the story of Mrs. Spranger Barry from that of the greatest and most worthy of her three husbands. Her father was a gay, well-to-do, but extravagant apothecary in Bath, whose daughter, Miss Street, was one of the belles there, celebrated for her graceful figure, expressive beauty, and rich auburn hair. The handsome and clever girl was jilted by a lover, whose affection for the apothecary's daughter cooled, on a sudden accession of fortune occurring to himself. Poor Ariadne went for solace to the North, where, after some while, she found a Bacchus in a hot-headed, jealous, but seductive actor, named Dancer, who married her, and placed her, nothing loath, upon the stage.
Her friends were scandalised, and her widowed mother bequeathed her a trifling annuity, only on condition of her ceasing to be an actress. Mrs. Dancer declined; and the honest man to whom the annuity was thereby forfeited, surrendered the whole to her, and bade her prosper!
Prosperity, however, only came after long study and severe labour, and many trials and vexations. When Barry assumed the management of the Dublin Theatre, he found Mrs. Dancer a most promising actress, and her lord the most jealous husband in Ireland. Youth, beauty, genius, were the endowments she had brought to that husband; and he, on his death, left her in full possession of all she had brought with her, and nothing more. But these and a liberal salary were charms that attracted many admirers. An Irish earl was not ashamed, indeed, to woo the young, fair, and accomplished creature, with too free a gallantry; but all the earls in the peerage had no chance against the manly beauty and the silver tone of Spranger Barry.
Hand-in-hand with her new husband, she came to London. Garrick sat in the pit, at Foote's theatre, to witness her début. He approved; and forthwith she took a place at the head of her profession, – equal almost with her great namesake of the previous century, not inferior to Mrs. Pritchard or Mrs. Cibber, superior to Mrs. Yates, and not to be excelled till, in the evening of her days, Sarah Siddons came, to wish her gone, and to speed the going.
Mrs. Barry was otherwise remarkable, she had "a modest gaiety in her manners and address;" and though in Belvidera, Lady Randolph, Rutland, Euphrasia, Monimia, and Desdemona, she defied rivalry, she really preferred to act Lady Townley, Beatrice, the Widow Brady, Rosalind, and Biddy Tipkin. She acted tragedy, to gratify the house; comedy, to please herself; and she had a supreme indifference for the patronage of Ladies of Quality if she could only win the plaudits of the public at large. In the "Jubilee," however, she represented the Tragic muse.
Two years after Barry's death, his widow met with and married a scampish young Irish barrister, named Crawford, who spent her money, broke her heart, and was the cause of her theatrical wardrobe being seized by a Welsh landlord, for debt. The General who married the widow of Napoleon treated her with respect, but young Crawford only regarded the middle-aged but handsome and accomplished widow of Spranger Barry as a means whereby he might live. There is something supremely melancholy in the story of Mrs. Barry, after this time. She raised her young husband to such efficiency that in London, he played Pierre, to her Belvidera; and the bad fellow might have respected a woman who did this, and could also earn £1100 in sixteen nights of acting, in Ireland. In the latter country, whither Mrs. Crawford, as I regret to call her, went, after playing Zara, in 1781, thereby leaving a long-desired opening to Mrs. Siddons, – Mr. Crawford acquired a reputation for shabbiness. On his benefit night, in a supper scene, he provided no refreshments on the table, for the actors seated round it, and this omission produced a scene of unrehearsed effects, – of exposure of Crawford's meanness, on the part of the players, and indignation against him on the part of the audience. When he became lessee, after Ryder, his own unhappy wife could not trust him, and often refused to go on, till Crawford had collected the amount of her salary from the doorkeepers, – if they had taken as much. He was reduced to such straits that one night, on the desertion of his unpaid band, he himself, and alone, played the violin in the orchestra, dressed as he was for Othello, which he acted on the stage. The Irish audience enjoyed the fun, and even Mrs. Crawford was so attached to him, that when Jephson's "Count of Narbonne" was first produced, in which, from her age, she should have played the Countess, she chose to act Adelaide, that her husband might still make love to her, as Theodore!
All that she earned, Crawford squandered. Fortunately, the small annuity left by her mother was secured to her, and this Crawford could not touch. What became of this unworthy Irishman I cannot say; but he helped to spoil Mrs. Crawford, as an actress. Her health and spirits failed, and her acting grew comparatively languid. The appearance of Mrs. Siddons, in the best of her years, strength, beauty, and ability, quickened the jealous pulses of the older actress's heart, and she once more played Lady Randolph, with such effect, that the Morning Chronicle asserted, no competitor could achieve a like triumph. The younger actress at last outshone Mrs. Crawford, whose very benefits became unprofitable. Her last appearance on the stage was at Covent Garden, on the 16th of April 1798, in Lady Randolph, a character which Mrs. Siddons did not play that season, – her Mrs. Haller being the peculiar triumph of that glorious year.
Mrs. Barry, the original Euphrasia, died in 1801, having reaped honour enough to enable her to be free from envy of others, and having means sufficient to render her closing days void of anxiety. The Grecian Daughter, the Widow Brady, and Edwina, in Hannah More's "Percy," were the best of her original characters; of her other characters, Lady Randolph is the most intimately connected with her name. As between her and Mrs. Siddons, the judgment seems well-founded which declares that Mrs. Crawford was inferior to Mrs. Siddons in the terrific, but superior in the pathetic. At Mrs. Crawford's "Is he alive?" in Lady Randolph, Bannister had seen half the pit start to their feet. Mrs. Siddons was but a "demi-goddess," as Walpole has it, in comedy, where Mrs. Barry was often inimitable. Walpole saw both actresses in "Percy," and he most admired Mrs. Siddon's passionate scenes. When, years before, he saw Mrs. Barry in the same play, his mind was pre-occupied with politics, and he thought less of the actress than of passing events, of which he was reminded by passages in the play.
Mrs. Crawford, to take leave of her in her last name, was no admirer of the great actress by whom she was displaced; and albeit somewhat smartly, the old lady did not ill distinguish between the school to which she belonged and that founded by her comparatively young rival. "The Garrick school," she said, "was all rapidity and passion; while the Kemble school is so full of paw and pause that, at first, the performers, thinking their new competitors had either lost their cues, or forgotten their parts, used frequently to prompt them."
As we associate the name of Barry with that of Garrick, so do we that of Mossop with Spranger Barry. Mossop, whose career on the stage commenced in 1749, with Zanga, – type of characters in which alone he excelled, – died in 1773, at the age of forty-five. He was the ill-fated son of an Irish clergyman, and he was always on the point of becoming a great actor, but never accomplishing that end. His syllables fell from him like minute-guns, even in or-din-a-ry con-ver-sa-tion, and the nickname of the "tea-pot actor," referred to his favourite attitude with one arm on his hip and the other extended. In London, an evanescent success in Richard and similar characters, almost made of him a rival of Garrick. In Dublin, he ruined Barry by his opposing management, which also brought down ruin on himself. Of this "monster of perfection," or the "pragmatical puppy," as he was variously called, we learn something from the Dublin Journal of May 8th, 1772, which says, "A few days ago, the celebrated tragedian, Mossop, moved to his new apartments in the Rules of the Fleet." When Mossop repaired to London his powers had failed. He could not obtain "first business," declined to accept "second," and proudly died in poverty, at Chelsea, leaving for all fortune one poor penny.118
Garrick offered to bury him, but a kinsman who would have nothing to say to the actor, claimed the satisfaction of consigning him to the grave, whither, after all, his brother actors carried him. So ended the promising player who combined gastronomy with his study of the drama, and ordered his dinner according to the part he had to act; sausages and Zanga; rump-steaks and Richard; pork-chops and Pierre; veal-cutlets and Barbarossa; and so forth! The antagonism of the two Irish actors seems to have wearied the Dublin people, who, at last,
"Did not care a toss-up,
If Mossop beat Barry, or Barry beat Mossop."
Of some other actors who left the stage about the same period I will speak in the next chapter.
CHAPTER XXI
KITTY CLIVE, WOODWARD, AND SHUTER
As Mr. Wilks passes along, to or from rehearsal, there are two young girls of about sixteen years of age who gaze at him admiringly. Day after day the graceful actor remarks this more graceful couple, the name of the brighter of whom is Raftor. If not Irish, she is of Irish parentage, and of good family. Her father, a native of Kilkenny, had served King James, and got ruin for his wages. When Catherine Raftor was born, in 1711, she was born into a poor household, and received as poor an education as many countesses, her contemporaries; and here we come upon her, some sixteen years afterwards, watching Sir Harry Wildair entering or issuing from that gate of Elysium, the stage-door of the Theatre Royal, Drury Lane. If she knew but the "Sesame!" that would give admission to her she would be as happy as a houri!
She had the potent magic in her voice which won access for her to the elder Cibber, who awarded the young thing fifteen shillings a week,119 and then intrusted to her the little part of Ismenes in "Mithridates." In such solemn guise commenced the career of the very queen of hoydens and chambermaids. As for her companion in the occupation of gazing at Wilks, in the street, – a Miss Johnson, she was appropriated to himself by Theophilus Cibber, who made of her his first wife; but she failed to attain the celebrity of Miss Raftor, who charmed audiences by the magic of her voice, and authors by the earnestness with which she strove to realise their ideas. She had achieved a great reputation as a comic actress, when, in 1732,120 Miss Raftor married Mr. Clive, the brother of Mr. Baron Clive. In the following year121 Fielding thus writes a paragraph of her biography, in his manly dedication to her of the "Intriguing Chambermaid," in which she played Lettice: "As great a favourite as you are at present with the audience, you would be much more so were they acquainted with your private character, could they see you laying out great part of the profits which arise to you from entertaining them so well, in the support of an aged father; did they see you, who can charm them on the stage with personating the foolish and vicious characters of your sex, acting in real life the part of the best wife, the best daughter, the best sister, and the best friend."
"Kitty Clive," however, and her not very courteous husband, could not keep household together, and they separated. The lady was a little vivacious, and stood undauntedly persistent for her rights, whether at home or on the stage – against her husband, or against Mrs. Cibber, or Edward Shuter, or Garrick himself, who stood in more awe of her than she of him. She alone dared take a liberty with him, and, by a witty word well applied, to so incline him to irrepressible laughter as to render speaking impossible. None other dared so interfere with Roscius. But it was all done out of good nature, in which Mrs. Clive was steeped to the lips, and of which she was lavish even to young actresses who came, in her later days, to dispute the succession to her parts. To the most formidable and triumphant of these, good Miss Pope, she gave excellent counsel, warning, and encouragement, for which "Pope" never ceased to be grateful.
Mrs. Cibber and Mrs. Clive, as Polly and Lucy, in the "Beggar's Opera," must have exhibited a matchless combination of singing and acting. Mrs. Clive was as ambitious as Mrs. Cibber, and would fain have played, like her, leading parts with Garrick. Her most successful attempt in this way was her Bizarre to his Duretete, in the "Inconstant." One effect of her careful, earnest, but perfectly natural and apparently spontaneous acting was to put every other player on his mettle. That done, Mrs. Clive took care the victory should not be lost to her for want of pains to gaily secure it. She was a capital mimic, particularly of the Italian signoras, whom she did not call by nice names. For a town languishing for the return of Cuzzoni, she had the most unqualified contempt. She herself was inimitable; she wrung from Johnson the rarest and most unqualified praise; and over her audiences she ruled supremely; they felt with her, smiled with her, sneered with her, giggled, tossed their heads, and laughed aloud with her. She was the one true Comic Genius, and none could withstand her.
She had that power of identification which belongs only to the great intellectual players. She was a born buxom, roguish chambermaid, fierce virago, chuckling hoyden, brazen romp, stolid country girl, affected fine lady, and thoroughly natural old woman of whatever condition in life. From Phillida, in "Love in a Riddle," her first original character, to Mrs. Winnifred, in the "School for Rakes," her last, with forty years of toil and pleasure between them, she identified herself with all. But, in parts like Portia and Zara, which Mrs. Clive essayed, she fell below their requirements, though I do not know how the most beautifully expressive voice in the world could have been "awkwardly dissonant" in the latter part. Her Portia was too flippant, and in the trial scene it was her custom to mimic the most celebrated lawyer of the day. The laughter raised thereby was uncontrollable, but it was as illegitimately awakened as Dogget's when he played Shylock as a low comedy part.
After forty years' service Mrs. Clive took leave of the stage, April 24, 1769, in Flora, in the "Wonder," and the Fine Lady in "Lethe." Garrick played Don Felix; King, Lissardo; and Mrs. Barry, Violante; a grand cast in which, we are told, Mrs. Clive made Flora, in the estimation of the audience, equal to Felix and Violante. Drury Lane, had it been capacious enough, would have held twice the number that gained admittance. From these she took leave, in an epilogue, weak and in bad taste, written by her friend Walpole, who affected to despise the writers of such addresses, and, in this case, did not equal those whom he despised.
Mrs. Clive has the reputation of being the authoress of two or three insignificant farces, produced at her benefits, to exhibit some peculiar talent of her own. They had no other merit. Such was her theatrical, let us now accompany her to her private, career. The last editor of Walpole's Letters states, that to a youth of folly succeeded an old age of cards. This statement is mostly gratuitous. Isaac Reed says: "Notwithstanding the temptations to which a theatre is sometimes apt to expose young persons of the female sex, and the too great readiness of the public to give way to unkind suppositions in regard to them, calumny itself has never seemed to aim the slightest arrow at her fame."
She was quick of temper, especially if David attempted to fine her for absence from rehearsals; and no wonder, since for one hundred and eighty nights' performance this charming actress received but £300! but, as she said, "I have always had good health, and have ever been above subterfuge." When about to retire she wrote to Garrick, with some obliviousness as to dates: – "What signifies 52? They had rather see the Garrick and the Clive at 104 than any of the moderns. The ancients, you know, have always been admired. I do assure you I am at present in such health and spirits that, when I recollect I am an old woman, I am astonished."
In her retirement Mrs. Clive passed many happy years in the house which Walpole gave up as a home for herself and brother, next to his own at Strawberry, and which he playfully called "Clive-den." A green lane, which he cut for her use between the house and the common, he proposed to call Drury Lane. Here, at Cliveden, the ex-actress gave exquisite little suppers after pleasant little card parties, at which, in Walpole's phrase, she made miraculous draughts of fishes. Men and women of "quality" and good character, married and unmarried – actors, authors, artists, and clergymen – met here; where the brother of the hostess, a poor ex-actor, ill-favoured and awkward, told capital stories, and found the company in laughter and Walpole in flattery.
Of an evening, in summer-time, trim Horace and portly Clive might be seen walking in the meadows together; or Walpole and a brilliant company, gossiping, laughing, flirting, philandering, might be noted on their way across the grass to Strawberry, after a gay time of it at "Little Strawberry Hill." Not always without mishap, as Walpole himself has recorded in his narrative of his perilous passing of the stile with Miss Rich; and not invariably in the very sunniest of humours, for Miss Pope had seen Horace "gloomy of temper and dryly sarcastic of speech." The place was, perhaps, at its pleasantest, when Walpole, Mrs. Clive, and her brother, sat together in the garden, and conversed playfully of old dramatic glories. She was so joyous, that Lady Townshend said – her face rose on Strawberry and made it sultry. And Walpole himself remarked, in 1766, "Strawberry is in perfection; the verdure has all the bloom of spring; the orange trees are loaded with blossoms; the gallery is all sun and gold; and Mrs. Clive all sun and vermillion." When Hounslow powder mills blew up, Walpole described the terrific power of the explosion, by remarking, that it "almost shook Mrs. Clive!" Only the death of the last Earl of Radnor, of the Robartes line, made her almost look sad. The earl left her £50 as a memorial of his respect; and what with the heat of the summer of 1757, the unexpected legacy, and her assumption of respectful grief, she made up one of the drollest faces imaginable. One of her dear delights was to play quadrille with George Montagu, from dinner to supper, and then to sing Purcell, from supper to breakfast time. She left the place, even for short intervals, with reluctance; but her brilliant face was seen for a whole day in Palace Yard, where she sat to see the coronation procession of George III., with her great friends around her – Lady Hertford, Lady Anne Conway, Lady Hervey, Lady Townshend, Miss Hotham, Mr. Chute, and also her brother. Her only trials were when the tax-gatherer ran off, and she was compelled to pay her rates twice; or when the parish refused to mend her ways, as she said; or her house was broken into by burglars; or when she was robbed in her own lane by footpads. "Have you not heard," she wrote to Garrick, in June 1776, "of your poor Pivy? I have been rob'd and murder'd coming from Kingston. Jimey" (her brother) "and I in a post chey, at half-past nine, just by Teddington church, was stopt. I only lost a little silver and my senses; for one of them came into the carriage with a great horse pistol, to search for my watch, but I had it not with me." And then Garrick and other actors, with Governor Johnstone and his wife, met at Little Strawberry at dinner, and laughed over past perils.
In 1784 she came up to London to see Mrs. Siddons act. Mrs. Clive was born in the lifetime of Elizabeth Barry, who had acted before Charles II.; she had seen Mrs. Porter, Mrs. Oldfield, Mrs. Cibber, Mrs. Pritchard, Mrs. Yates, and Anne Barry; and finally, she saw Mrs. Siddons. Mrs. Clive listened to the new actress with profound attention; and on being asked, at the conclusion of the performance, what she thought of it: "Think!" said the vivacious old lady, in her ready way; "I think it's all truth and daylight!"
In the December of the following year, the long career of this erst comic muse came to a close. Walpole tells it briefly, unaffectedly and well. "It did not much surprise me," he says; "and the manner comforts me. I had played at cards with her, at Mrs. Gostling's, three nights before I came to town, and found her extremely confused, and not knowing what she did; indeed I had seen something of this sort before, and had found her much broken this autumn. It seems, that the day after I saw her, she went to General Lister's burial, and had got cold, and had been ill for two or three days. On the Wednesday morning she rose to have her bed made; and while sitting on the bed, with her maid by her, sank down at once, and died without a pang or a groan." So departed the actress, of whom Johnson said, that she had more true humour than any other he had ever seen. She originated nearly fourscore characters; among others, Nell, in the latter "Devil to Pay;" Lappet ("Miser"); Edging122 ("Careless Husband"); half a dozen Kittys; but chief of all, the Kitty of "High Life Below Stairs;" Muslin ("Way to Keep Him"); and Mrs. Heidelberg, in the "Clandestine Marriage."
Harry Woodward: to think of him, is to think of Captain Bobadil, – in which he never had equal, – and of Harlequin, in which he was second only to Rich. To remember Harry Woodward, is to remember the original French Cook, in Dodsley's "Sir John Cockle," wherein Woodward turned to good account the French he had learned at Merchant Tailors' school. He was also the first Beau in "Lethe;" and his Flash in "Miss in her Teens," his Jack Meggot in the "Suspicious Husband," his Dick in the "Apprentice," his Block in the "Reprisal," his Lofty in the "Good Natured Man," his Captain Ironsides in the "Brothers," and his Captain Absolute in the "Rivals," were all original and brilliant creations, in acting which, the best of his many brightly-endowed successors lacked something possessed by him, whose Slender and Petruchio are described as being perfect pictures of simplicity and manliness.
Look at him, in his boyhood; – he is a tallow chandler's son, rien que ça! living close by the Anchor brewery, in Southwark; – Mr. Child's brewery, whose daughter married with his clerk, Halsey; and then it was Halsey's brewery; and Halsey's only daughter married Lord Cobham; and from this pair, the brewery was bought by Halsey's manager and nephew, Ralph Thrale, on the death of whose son, Henry, it passed by purchase to his chief clerks, Barclay and Perkins. The brewery, now, is no more like what it was in Woodward's days than Drury Lane theatre is like the Curtain, the Fortune, or the Globe. As Woodward played beneath the Anchor gateway, there was probably little uneasiness in his mind at the idea of his helping and succeeding his sire in candle making; but when Woodward became a pupil at Merchant Tailors', I think it may have been otherwise. How young Woodward was ever sent thither, I cannot guess; but I conclude that his father, "the tallow chandler," was not aware, that among the statutes of the institution there was one which said that, "in the schoole at noe time of the yere, they shall use tallow candle in noe wise, but wax candles onely." Perhaps old Woodward supplied them to order.
I think if Woodward had never gone to Merchant Tailors', he never would have added lustre to the British stage. He was born about the last year of Queen Anne's reign,123 and was in Lawrence Pountney when he was some ten years old. The quick lad became a very good classical scholar, and in after years, he used to astonish and gratify the society which he most loved, by the aptness and beauty of his quotations; not for effect, for Harry Woodward, look you, was as modest as he was clever.
Well, learning to enjoy Horace, you will say, was no specific for turning a boy into a player. Perhaps not; but there was less satisfactory customs then prevailing among the Mercatores Scissores. The masters treated the boys who missed their election to St. John's, with canary and cake, as if to teach them that drinking was a solace for disappointment. Then the discipline was lax, and young Merchant Tailors of the Bench were seduced by the rather older Merchant Tailors of the Table, to taverns, and to ordinaries, where gaming was practised, and to the playhouse, where they learned something new from the Vizard Masks in the pit. Then, there was young Beckingham, the linen-draper's son, and a Merchant Tailor of the Table, who wrote a tragedy, "Scipio Africanus," to see which the whole school occupied a great portion of the Lincoln's Inn Fields' pit, and sent up applauding shouts for Quin, who acted Scipio, as well as for their schoolfellow, the author. These practices and the traditions of others may have influenced a lively and thoughtless boy, who was proud to play Peachum in the juvenile company, who acted the "Beggar's Opera," under the elder Rich, at Lincoln's Inn Fields. I cannot find exactly the date when Woodward commenced as a professional actor; but he was not more than a mere youth. There was a boy of his name, at Goodman's Fields, who played pantomime parts before Harry Woodward appeared there in 1730, – commencing then a career with Simple, in the "Merry Wives of Windsor," which ended at Covent Garden, on the 13th of January 1777, with Stephano, in the "Tempest." On the 10th of April, the then new comedy, "Know your own Mind," was acted, for his benefit, and on that day week, the lad who used to play under the gateway of the Anchor brewery, – to trudge, in all weathers, over old London Bridge, to Merchant Tailors' School, and who preferred the life of a player to that of a candle-maker, died; and with him, it was said, as Wildair with Wilks, Captain Bobadil died too.
Woodward was one of the most careful dressers on the stage; not as regards chronology, but perfection of suit; of fitness, no one then made account. Woodward played Mercutio in the full dress of a very fine gentleman of Woodward's day; it was unexceptionable as costume, though not fitting in the play. Then, he was one of the few lucky actors who never seemed to grow old. After nigh upon half a century of labour, his Fitzpatrick,124 in "News from Parnassus," was as young in look and buoyant in manner as the Spruce of his earlier days. He was also among one of the few judicious and generous actors, when in the highest favour with the town; at which season, he did not disdain, when it was needful, to go on as a soldier, to deliver a message; but then he delivered it like a soldier, and the frequenters of the joyous rooms under and over the "Piazza," made approving reference to that "clever little bit of Woodward's, last night."
Woodward always found a defender in Garrick. Foote, who abused hospitality by mimicking his host, called Woodward a "contemptible fellow," when he heard that the latter was about to dress Malagene so as to look like Foote. "He cannot be contemptible," said Garrick, "since you are afraid of him in the very line in which you yourself excel." Of course, being naturally a comic actor, Woodward had an affection for tragedy; but it was not in him to utter a serious line with due effect. His scamps were perfect in their cool impudence; his modern fops shone with a brazen impertinence; his fops of an older time glistened with an elegant rascality; his mock heroes were stupendously but suspiciously outrageous; his every-day simpletons, vulgarly stolid; and his Shaksperian light characters brimful and running over with Shaksperian spirit. Graceful of form, his aspect was something serious off the stage, but he no sooner passed the wing than a ripple of funny emotion seemed to roll over his face, and this, combined with a fine stage-voice, never failed to place him and his audience in the happiest sympathetic connection. "Bobadil was his great part, in which he acquired a vast increase of reputation and gave a striking proof of his genius;" but there were two other characters in which Woodward could hardly have been inferior, for it may be gathered from Wilkinson, that in Marplot, he was everything author or audience could wish, and that in Touchstone, he excelled at least all his contemporaries, and had no equal in it till Lewis came.
