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" pray, sir, then how came you to dinner here ? "
" Sir" said Joe, " I saw a venison pasty carried
in here ; and, by this means, have din'd very
heartily of it. My name is Joe Haines " (said he),
" I belong to the theatre." " Oh, Mr. Haines" (con-
tinued the gentleman), "you are very welcome;
you are a man of wit. Come, bring t'other bottle,"
which being finish'd, Joe, with good manners, de-
parted, and purposely left his cane behind him,
which he design'd to be an introduction to another
dinner there. For next day, when they were gone
to dinner, Joe knock'd briskly at the door, to call
for his cane, when the gentleman of the house was
telling a friend of his the trick he play'd the day
before. " Pray call Mr. Haines in. So, Mr.
Haines," said he ; " sit down and partake of
another dinner." "To tell you the truth," said
Joe, " I left my cane yesterday on purpose." At
which they all laugh'd. Now Joe (altho' while
greedily eating) was very attentive to a discourse
on humanity begun, and continued, by the stranger
gentleman ; wherein he advanced, that every man's



326 COLLEY GIBBER

duty was to assist another, whether with advice,
money, cloaths, food, or whatever else. This sort
of principle suited Joe's end, as by the sequel will
appear. The company broke up, and Joe and the
gentleman walk'd away (Joe sighing as he went
along). The gentleman said to him, " What do
you sigh for.-*" "Dear sir" (quoth Joe), "I fear
my landlord will, this day, seize my goods for only
a quarter's rent, due last week." " How much is
the money .-' " said the gentleman. " Fifty shil-
lings," said Joe, "and the patentees owe me ten
pounds, which will be paid next week," " Come,"
said the gentleman, " I'll lend thee fifty shillings
on your note to pay me faithfully in three weeks."
Which Joe, with many promises and imprecations,
sign'd. But Joe, thereafter, had his eyes looking
out before him, and, whenever he saw the gen-
tleman, would carefully avoid him ; which the
gentleman one day perceiv'd, and, going across
Smithfield, met Joe full in the face, and, in the
middle of the rounds, stopp'd him. Taking him
by the collar, " Sirrah," said he, " pray pay me
now, you impudent, cheating dog, or I'll beat you
into a jelly." Joe fell down on his knees, making
a dismal outcry, which drew a mob about them,
who enquir'd into the occasion, which was told
them ; and they, upon hearing it, said to the gen-
tleman, that the poor man could not pay it, if
he had it not. "Well," said he, "let him kneel
down and eat up that thin sirreverence, and I'll



COLLEY GIBBER 327

forgive him, and give up his note." Joe promised
he would, and presently eat it all up, smearing his
lips and nose with the human conserve. The
gentleman gave him his note ; when Joe ran and
embrac'd him, kissing him, and bedaubing his face,
and setting the mob a-hollowing.

The second part of their lives, with the con-
tinuation of Joe Haines's pranks, the author hopes
a fresh advance for. In the interim, he thanks
his friends.




MEMOIRS OF THE ACTORS AND AC-
TRESSES MENTIONED BY CIBBER

Taken from Edmund Bellchajnbers's edition of the
•■'■Apology,''' 1822

WILLIAM SMITH

|HIS judicious actor, who is said to have
been originally a barrister, came into
the Duke's Company, when acting under
Sir William D'Avenant, in Lincoln's Inn Fields,
about the year 1663. He rose soon after to the
duties of Buckingham, in " King Henry the
Eighth," and subsequently filled a range of charac-
ters distinguished by their variety and importance.
Sir William Stanley, in Caryl's wretched play of
the ** English Princess," procured him additional
estimation and applause, which were still farther
enlarged by his performance of Stanford in Shad-
well's "Sullen Lovers." Mr. Smith was the
original Chamont in Ot way's " Orphan," and
played many parts of as much local consequence
in pieces that are now forgotten.

Note. — All passages enclosed in square brackets are by the
present editor, who is also responsible for the notes marked (L.).

328



COLLEY GIBBER 329

Chetwood informs us that Mr. Smith was zeal-
ously attached to the interests of King James the
Second, in whose army, attended by two servants,
he entered as a volunteer. Upon the abdication
of that monarch, he returned to the stage, by the
persuasions of many friends, who admired his per-
formances, and resumed his original part of Wil-
more in the " Rover ; " but having been received
with considerable disapprobation, on account of
his party principles, the audience was dismissed,
and he departed from public life in the manner
already mentioned. It is difficult to reconcile
these discrepancies. Chetwood's minuteness looks
like credibility, and Gibber has committed a mis-
take in stating that Mr. Smith "entirely quitted"
the stage at this secession, he having returned in
1695, when, at the earnest solicitations of his sin-
cere friends, Mr. Betterton and Mrs. Barry,
strengthened by the influence of Congreve over
many of his connections in high life, he consented
to sustain the part of Scandal in that author's
comedy of '• Love for Love," upon its production at
the new theatre in Little Lincoln's Inn Fields,
when his inimitable performance imparted an extra
charm to that admirable play. Continued peals
of applause attested the satisfaction which his
auditors felt at the return of their old favour-
ite, and it seems singular that Congreve should
have wholly overlooked this memorable event, in
the "prologue" at least, where the defection of



33° COLLEY GIBBER

Williams and Mrs. Mountfort is thus obscurely
stated :

" Forbear your wonder, and the fault forgive
If in our larger family we grieve
One falling Adam, and one tempted Eve."

Mr. Smith continued on the stage till about
twelve months after this period, when, according
to Downes, having a long part in Banks's tragedy
of "Cyrus," 1696, he fell sick on the fourth day
of performance, and died from a cold, as Chetwood
relates, occasioned by cramp, which having seized
him while in bed, he rose to get rid of it, and
remained so long in his naked condition, that a
fever ensued from disordered lungs, and, in three
days, put an end to his existence.

We have but a slender clue to the stage-man-
agement of Mr. Smith, which was exercised over
the Duke's Company in Dorset Garden, conjointly
with Betterton and Doctor D'Avenant, when the
famous agreement which bears their signatures
was concluded with Hart and Kynaston, for an
union of the theatres. It has been said that
Booth [who wrote an epitaph on Smith] applied
to him for an engagement, which was refused
from a fear of offending his relatives, but with
that kindness of expression and deportment so
warmly distinguished in his epitaph. This asser-
tion, however, is unfounded, for when Mr. Smith
died. Barton Booth was a Westminster scholar



COLLEY GIBBER 331

and in the fourteenth year of his age ; the charac-
ter of this eminent comedian must, accordingly,
have been drawn up from such intelligence as
the writer acquired at a subsequent period.

It only remains to be remarked, that Chetwood
has placed Mr. Smith's original return to the stage
in the year 1692 ; but, not to insist upon the
known looseness of this writer's information, let
us ask if a political offence would be so vehe-
mently remembered, after the lapse of four years,
as to drive an estimable actor from the harmless
pursuance of his ordinary duties ? Gibber is
doubtless correct in the floating date of this fact,
which must have happened previous to the revolu-
tion. Mr. Smith was a principal actor in Lee's
later tragedies, but in the " Princess of Cleve,"
4to, 1689, we find the part he would naturally
have played to Betterton's Nemours supported
by Mr. Williams.

Smith's value as an actor may be immediately
felt by a reference to the parts he enjoyed under
Betterton, with whom he lived, till death, in the
most cordial manner, enhancing his fame by hon-
ourable emulation, and promoting his interests by
unbroken amity. No instance has been recorded
of their dissention or dispute, and from the notice
which Betterton extended to Booth, he very possi-
bly communicated that high account of his de-
parted friend, which the latter has recorded with
such spirit and fidelity.



332 COLLEY GIBBER

From Gibber's admission, it appears that Smith's
moral qualities and professional excellence pro-
cured him an extensive reception among people of
rank, a patronage which his polished manners con-
tinued to exact, till society, by his death, sustained
one of its deepest deprivations. (B.) Chetwood's
story is now incapable either of proof or disproof.
The known facts about Smith's retirement are,
that his name appears to Constantine the Great,
to Courtine in Otway's " Atheist," and to Lorenzo
in Southerne's " Disappointment," in 1684 ; that
it then disappears, and does not again occur till
1695. It is probable that he retired in 1684, as
it is unlikely that his name should not appear
in one or other of the 1685 bills, (L.)

CHARLES HART

Charles Hart was the great-nephew of Shak-
speare, his father, William, being the eldest son of
our poet's sister Joan. Brought up as an appren-
tice under Robinson, a celebrated actor, he com-
menced his career, conformably to the practice of
that time, by playing female parts, among which
the Duchess, in Shirley's tragedy of the " Cardi-
nal," was the first that exhibited his talents, or
enhanced his reputation.

Puritanism having gathered great strength, op-
posed theatrical amusements as vicious and pro-
fane institutions, which it was at length enabled to
abolish and suppress. On the nth day of Febru-



COLLEY GIBBER 333

ray, 1647,' and the subsequent 22cl of October,
two ordinances were issued by the Long Parlia-
ment, whereby all stage-players were made liable
to punishment for following their usual occupation.
Before the appearance of this severe edict, most of
the actors had gone into the army, and fought
with distinguished spirit for their unfortunate mas-
ter ; when, however, his fate was determined, the
surviving dependants on the drama were com-
pelled to renew their former efforts, in pursuance
of which they returned, just before the death of
Charles, to act a few plays at the " Cockpit "
Theatre, where, while performing the tragedy of
" Rollo," they were taken into custody by soldiers,
and committed to prison.^ Upon this occasion,
Hart, who had been a lieutenant of horse under
Sir Thomas Dallison, in Prince Rupert's own regi-
ment, sustained the character of Otto, a part which
he afterwards relinquished to Kynaston, in ex-
change for the fierce energies of his ambitious
brother.

At the Restoration, Hart was enrolled among
the company constituting his Majesty's servants,
by whom the new Theatre Royal, Drury Lane,
was opened on the 8th of April, 1663, with Beau-

* This is a specimen of that commonest of blunders, the con-
fusing of the dates of the first month or two of the year. The
edict was issued February, 1647-4S, that is, 1648. What Bell-
chambers calls the " subsequent " October was therefore the
preceding October. (L.)

* See " Historia Histrionica."



334 COLLEY GIBBER

mont and Fletcher's play of the " Humourous
Lieutenant," in which he sustained a principal
character for twelve days of successive repre-
sentation.

About the year 1667,' Hart introduced Mrs.
Gwyn upon the dramatic boards, and has acquired
the distinction of being ranked among that lady's
first felicitous lovers, by having succeeded to
Lacy, in the possession of her charms. Nell had
been tutored for the stage by these admirers in
conjunction, and after testifying her gratitude to
both, passed into the hands of Lord Buckhurst, by
whom she was transferred to the custody of King
Charles the Second.

The principal parts, according to Downes, sus-
tained by Mr. Hart, were Arbaces, in " King and
No King ; " Amintor, in the " Maid's Tragedy ; "
Othello, Rolla, Brutus, and Alexander the Great.
Such was his attraction in all these characters,
that, to use the language of that honest prompter,
" If he acted in any one of these but once in
a fortnight, the house was filled as at a new play ;
especially Alexander, he acting that with such
grandeur and agreeable majesty, that one of the
court was pleased to honour him with this com-
mendation : * that Hart might teach any king
on earth how to comport himself.' " His merit

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



COLLEY GIBBER 335

has also been specified as Mosca, in the " Fox,"
Don John, in the " Chances," and Wildblood, in
an " Evening's Love ; " which, however, according
to the same authority, merely harmonised with his
general efforts, in commanding a vast superiority
over the best of his successors.

Rymer has said that Hart's action could throw
a lustre round the meanest characters, and by
dazzling the eyes of the spectator, protect the
poet's deformities from discernment. He was
taller and more genteelly shaped than Mohun,
on which account he probably claimed the choice
of parts, and was prescriptively invested with the
attributes of youth and agility. He possessed
a considerable share in the profits and direction
of the theatre, which were divided among the
principal performers ; and besides his salary of
;^3 a week, and an allowance as a proprietor,
amounting to six shillings and threepence a day,
is supposed to have occasionally cleared about
;i^ 1,000 per annum.

[On the 14th of October, 168 1, a memorandum
was signed between Dr. Charles Davenant, Better-
ton, and Smith, of the one part, and Hart and
Kynaston, of the other, by which the two last
mentioned, in consideration of five shillings each
for every day on which there shall be a play at the
Duke's Theatre, undertake to do all they can to
break up the King's Company. The result of this
agreement was the union of 1682. This agree-



336 COLLEY GIBBER

ment is given in Gildon's " Life of Betterton "
(p. 8), and in Genest (i. 369). I suppose it is
a genuine document, but I confess to some doubts,
based chiefly on my belief that Betterton was too
honest to enter into so shabby an intrigue.]

DecHning age had rendered Hart less fit for ex-
ertion than in the vigour of life, and certain of the
young actors, such as Goodman and Clark, became
impatient to get possession of his and Mohun's
characters. A violent affliction, however, of the
stone and gravel, compelled him to relinquish his
professional efforts, and having stipulated for the
payment of five shillings a day, during the sea-
son," he retired from the stage, and died a short
time after.

Hart was always esteemed a constant observer
of decency in manners, and the following anecdote
will evince his respect for the clergy. That witty,
but abandoned fellow, Jo Haynes, had persuaded
a silly divine, into whose company he had unac-
countably fallen, that the players were a set of
people who wished to be reformed, and wanted a
chaplain to the theatre, an appointment for which,
with a handsome yearly income, he could undertake
to recommend him. He then directed the clergy-
man to summon his hearers by tolling a bell to
prayers every morning, a scheme in pursuance of
which Haynes introduced his companion, with a
bell in his hand, behind the scenes, which he fre-
' Should be for the remainder of his life. (L.)



COLLEY GIBBER 337

qiiently rang, and cried out, audibly, " Players !
players ! come to prayers ! " While Jo and some
others were enjoying this happy contrivance. Hart
came into the theatre, and, on discovering the im-
position, was extremely angry with Haynes, whom
he smartly reprehended, and having invited the
clergyman to dinner, convinced him that this
buffoon was an improper associate for a man of
his function.'

* 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 pre-
serves a characteristic trait of this valuable actor, is worth re-
peating.

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

" There happened to be one night a play acted, called ' Cata-
line'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
50J-. 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, put son 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 be-

' Soon after the theatre in Drury Lane was burnt down, Jan., 1671-71, Haynes
had been sent to Paris by Mr. Hart and Mr. Killegrew, to examine the machin-
ery employed in the French operas. — Malone.



338 COLLEY GIBBER

MICHAEL MOHUN

The life of Michael Mohun, though passed in
its early stages beneath a different teacher, was
chequered by the very shades which distinguished
that of Hart, with whom he acquired his military
distinctions, and reverted to a theatrical life. He
was brought up with Shatterel, under Beeston, at
the " Cockpit," in Drury Lane, where, in Shirley's
play of " Love's Cruelty," he sustained the part of
Bellamente, among other female characters,' and
held it even after the Restoration.

Having attained the rank of captain in the royal
forces, Mohun went to Flanders upon the termina-
tion of the civil war, where he received pay as a

hind 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 anything 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, re-
mained 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 turn-
ing 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 prac-
tice."

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



COLLEY GIBBER 339

major, and acquitted himself with a distinguished
credit. At the Restoration, he resumed his pris-
tine duties, and became an able second to Hart,
with whom he was equally admired for superlative
knowledge of his arduous profession.

He is celebrated by Lord Rochester as the
great ^sopus of the stage ; praise which, though
coming from one of so capricious a temper, may be
relied on, since it is confirmed by more respectable
testimony. He was particularly remarkable for
the dignity of his deportment, and the elegance of
his step, which mimics, said his lordship, attempted
to imitate, though they could not reach the sublim-
ity of his elocution. The duke's comedians, it
would seem, endeavoured to emulate his manner,
when reduced by age and infirmity, a baseness
which the same noble observer has thus warmly
reprehended :

" Yet these are they, who durst expose the age
Of the great wonder of the English stage.
Whom nature seem'd to form for your delight.
And bid him speak, as she bid Shakespeare write.
These blades indeed are cripples in their art,
Mimick his foot, but not his speaking part.
Let them the Traytor or Volpone try,
Could they
Rage like Cethegus, or like Cassius die ? "

(Epilogue to Fane's " Love in the Dark.")

Mohun, from his inferior height and muscular
form, generally acted grave, solemn, austere parts,



340 COLLEY GIBBER

though upon more than one occasion, as in Valen-
tine, in " Wit without Money," and Face, in the
" Alchemist," — one of his most capital characters,
— he was frequently seen in gay and buoyant as-
sumptions to great advantage. He was singularly
eminent as Melantius, in the " Maid's Tragedy ; "
Mardonius, in "King or No King ; " Clytus, Mith-
ridates, and the parts alluded to by Lord Rochester.
No man had more skill in putting spirit and passion
into the dullest poetry than Mohun, an excellence
with which Lee was so delighted, that, on seeing
him act his own King of Pontus, he suddenly ex-
claimed, " O Mohun, Mohun, thou little man of
mettle, if I should write a hundred plays, I'd write
a part for thy mouth ! " And yet Lee himself was
so exquisite a reader that Mohun once threw down
a part in despair of approaching the force of the
author's expression. The Tatler has adverted to
his singular science ; ' "in all his parts, too,"
says Downes, "he was most accurate and cor-
rect ; " and perhaps no encomium can transcend
the honours of unbroken propriety.

About the year 1681, there are some reasons to
suspect that the King's Company was divided by
feuds and animosities, which their adversaries in



' " 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.



COLLEY GIBBER 341

Dorset Garden so well improved, as to produce an
union of the separate patents. Hart and Kynaston
were dexterously detached from their old associates,
by the management of Betterton, whose conduct,
though grounded upon maxims of policy, can de-
rive no advantage from so unfair an expedient.
Upon the completion of this nefarious treaty,
Mohun, who found means to retain the services of
Kynaston, with the remnant of the royal company,
continued to act in defiance of the junction just
concluded, as an independent body. Downes, in
his " Roscius Anglicanus," so far as the imperfect
structure of its sentences can be relied on, expressly
asserts this ; and yet if " the patentees of each
company united patents, and, by so incorporating,
the Duke's Company were made the king's, and im-
mediately removed to the Theatre Royal in Drury
Lane," what field did Mohun and his followers se-
lect for their operations to pitch their tents, and
hoist their standard ? Till some period, at least, of
the year 1682, this party were in possession of
their antient domicile, as Mohun at that time
acted Burleigh, in Banks's " Unhappy Favourite,"
and sustained a principal character in Southern's
"Loyal Brother," with, for his heroine, in both
pieces, the famous Nell Gwyn.'

' The following extract from a pamphlet called " A Comparison
between the Two Stages," will amply evince the popular estima-
tion in which Hart and Mohun were held :

" The late Duke of Monmouth was a good judge of dancing,



342 COLLEY GIBBER

[Bellchambers is here very inaccurate. The
union of 1682 was, no doubt, opposed by some
of the King's Company, from November, 1681,
when the memorandum between Davenant, Bet-
terton, Hart, and others, was executed, and the
date of the actual conclusion of the union. This
is clearly indicated in Dryden's prologue on the
opening of Drury Lane by the united company on
1 6th November, 1682. But, whatever the opposi-
tion had been, it had ceased then, because in the
cast of the " Duke of Guise," produced less than
three weeks later, appear the names of Kynaston
and Wiltshire, whom Bellchambers represents as
supporting Mohun in his supposed opposition
theatre. (L.)]

and a good dancer himself ; when he returned from France he

brought with him St. Andre, then the best master in France.
The duke presented him to the stage, the stage to gratify the


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