"And all at once the old man burst in sobs:—'I have been to blame, to blame. I have killed my son.I have killed him—but I loved him, my dear son.May God forgive me! I have been to blame.Kiss me, my children.'Then they clung aboutThe old man's neck, and kissed him many times.And all the man was broken with remorse;And all his love came back a hundredfold;And for three hours he sobb'd o'er William's child,Thinking of William.So those four abodeWithin one house together; and as yearsWent forward, Mary took another mate;But Dora lived unmarried to her death."
"And all at once the old man burst in sobs:—'I have been to blame, to blame. I have killed my son.I have killed him—but I loved him, my dear son.May God forgive me! I have been to blame.Kiss me, my children.'Then they clung aboutThe old man's neck, and kissed him many times.And all the man was broken with remorse;And all his love came back a hundredfold;And for three hours he sobb'd o'er William's child,Thinking of William.So those four abodeWithin one house together; and as yearsWent forward, Mary took another mate;But Dora lived unmarried to her death."
"And all at once the old man burst in sobs:—'I have been to blame, to blame. I have killed my son.I have killed him—but I loved him, my dear son.May God forgive me! I have been to blame.Kiss me, my children.'Then they clung aboutThe old man's neck, and kissed him many times.And all the man was broken with remorse;And all his love came back a hundredfold;And for three hours he sobb'd o'er William's child,Thinking of William.So those four abodeWithin one house together; and as yearsWent forward, Mary took another mate;But Dora lived unmarried to her death."
"And all at once the old man burst in sobs:—
'I have been to blame, to blame. I have killed my son.
I have killed him—but I loved him, my dear son.
May God forgive me! I have been to blame.
Kiss me, my children.'
Then they clung about
The old man's neck, and kissed him many times.
And all the man was broken with remorse;
And all his love came back a hundredfold;
And for three hours he sobb'd o'er William's child,
Thinking of William.
So those four abode
Within one house together; and as years
Went forward, Mary took another mate;
But Dora lived unmarried to her death."
Yes, we all know the finely conceived and tenderly told story of love, anger, self-effacement, and forgiveness, but I do not think that any of us realised the manifold beauties of Dora's character until it was interpreted to us by Kate Terry. The portrait was painted in the most delicate tints, but beneath the surface of it the pure mind and devoted heart were ever apparent. The impersonation must have beentruly satisfying to the poet who always had a longing to see the children of his fancy on the stage.
The critic of theExaminerwas right when he spoke of Kate Terry's Dora as "still a thoroughly country girl, simple, yet shrewd, with depths of womanly feeling, and little feminine piquancies; meek as a mouse, but with something in her of the power of angels, she trips on her way of quiet loving-kindness in a shabby hat and cotton gloves, and morsel of silk cape over a dress with a narrow skirt. Her uncle gives her money for fine dress; but of that, and of all that she can call hers to give, the utmost toll is taken for the sustenance of the unhappy outcasts. How touching it all is, and true with the real poetry of life, we feel throughout; the interest in the character rises steadily as the play goes on, and culminates as it should in the last scene."
It would be very wrong to take leave of Dora without saying a word of praise with regard to the Farmer Allan of Henry Neville. It was a virile, as well as a pathetic, embodiment of a firmly drawn but not too sympathetic, and, consequently, very difficult character.
Soon after this, the rumour reached envious playgoers that Kate Terry was about to become the wife of Mr. Arthur Lewis—a gentleman very well known in literary and artistic circles—and that her marriage would involve her retirement from the stage.
Crowded were the houses that then assembled tosee their favourite as Juliet, Beatrice, Julia, Pauline, and in other great characters. On the 2nd September, 1867, she gave her farewell performance, and the occasion was thus recorded in theTimes:—
"It is seldom that the theatrical chronicler has to describe a scene like that at the Adelphi on Saturday, when Miss Kate Terry took her farewell of the stage as Juliet. Successes, demonstrations, and ovations of a kind may be made to order; but the scene of Saturday was one of those genuine, spontaneous, and irrepressible outbursts of public recognition which carry their credentials of sincerity along with them. The widespread feeling that the stage is losing one of its chosen ornaments had been manifested by the full houses, more and more crowded on each successive night, which, even at this deadest of the dead season, have been attracted to the Adelphi by Miss Terry's farewell performances. Their attraction came to its climax and its close on Saturday, when the theatre was crammed from the orchestra to the remotest nook in the gallery where a spectator could press or perch, with such an audience as we have never before seen gathered within its walls.
"At the conclusion of the tragedy, in the course of which Miss Terry was called for at the end of each act, except the fourth, when the good taste of the more intelligent part of the audience suppressed the demand, Miss Terry came on before the curtain in obedience to a thundering summons from every partof the house, and almost overcome with the combined excitement of the part and the occasion, stood for some moments curtseying and smiling under the showers of bouquets and the storm of kindly greeting. Nor when she had retired with her armful of flowers—looking in the white robe and dishevelled hair of Juliet's death scene, as she used to look in Ophelia—was the audience satisfied. Again Miss Terry was recalled, and again she appeared to receive the loud and long-continued plaudits of the crowd. Then the stalls began to clear. But the storm of voices and clapping of hands continued from pit, boxes, and gallery, through the overture of the farce, swelling till it threatened to grow into a tempest. The curtain rose for the farce; still the thunder roared. One of the actors, quite inaudible in the clamour, began the performance, but the roar grew louder and louder, till at last Mr. Phillips came on, in the dress of Friar Lawrence, and with a stolidity so well assumed that it seemed perfectly natural, asked, in the stereo-typed phrase of the theatre, the pleasure of the audience. 'Kate Terry!' was the reply from a chorus of a thousand stentorian voices; and then the fair favourite of the night appeared once more, pale, and dressed to leave the theatre, and when the renewed roar of recognition had subsided, in answer to her appealing dumb show, spoke, with pathetic effort, a few hesitating words, evidently the inspiration of the moment, but more telling than any set speech, to thiseffect:—'How I wish from my heart I could tell you how I feel your kindness, not to-night only, but through the many years of my professional life. What can I say to you but thanks, thanks and good-bye!' After this short and simple farewell, under a still louder salvo of acclamation, unmistakably proving itself popular by its hearty uproariousness, the young actress, almost overpowered by the feelings of the moment, retired with faltering steps, and the crowded audience poured out of the house, their sudden exiten massebeing in itself one of the most flattering tributes to the actress whose last appearance had drawn them together.
"We have to turn over the pages of theatrical history in order to find a parallel to this demonstration of affection coupled to gratitude. And after the excitement of it was over, we, who had learnt to love her perfectly portrayed art and sweet presence, sighed to think that she would no longer grace the stage." Continuing, theTimescritic said:—
"This remarkable manifestation of popular favour and regard is worth recording, not only as a striking theatrical incident, which those who were present can never forget, but because it proves that the frequenters of even the pit and gallery of a theatre where, till Miss Terry came, the finer springs of dramatic effect have very rarely been drawn on, can rapidly be brought to recognise and value acting of a singularly refined and delicate kind—so refined and delicateindeed that some of those who profess to guide the public taste have been apt to insist on its wanting physical power. On Saturday night it was made evident to demonstration, if other evidence had been wanting, that Miss Terry had wrought her spells over the frequenters of pit and gallery as well as of boxes and stalls. In the interests of refined dramatic art this is a cheering set-off to many indications that seem to make the other way. It shows that if the theatrical masses—those who are roughly lumped up as the 'British Public'—are unable to discriminate nicely between diamonds and paste, and so take a good deal of coarse glassware for real stones, they are nevertheless susceptible to the influence of refined, earnest, intelligent, and conscientious acting when they have the rare opportunity of seeing it. How well Miss Terry's acting merits all these epithets has been abundantly proved, not only through her recent course of farewell performances, in which she has filled a range of parts so widely different as to show a variety of power in itself as rare as the grace, refinement, intelligence, and feeling she has put into her acting from four years old to four-and-twenty."
Surely few actresses have won such heartfelt and well-merited words of praise as these? No wonder that the thousands to whom she had given endless delight grudged her her early won freedom from the perpetual anxieties of stage life.
The Romeo of that eventful evening was her long-time stage comrade, Henry Neville. For more than thirty years Kate Terry was absent from the stage, but her name lived as a sweet memory in the minds of those who had been fortunate enough to appreciate her rare and perfectly cultured gifts. In the spring of 1898 she was induced to emerge from her retirement to support her old friend, John Hare, in Mr. Stuart Ogilvie's comedy, "The Master," at the Globe Theatre. Unluckily, the part that she had consented to play afforded her few opportunities, the lady she represented being simply a sweet and gentle wife and mother, with a pleasant presence, a delightful smile, and a voice (the sweet voice of days gone by) characterised by very winning tenderness. In itself a charming part, but not one that gave scope for acting. But in this piece she had the intense satisfaction of seeing her clever and beautiful daughter, Miss Mabel Terry Lewis, make a marked impression on critical West End audiences. Indeed, this charming young lady was one of the chief attractions of "The Master."
In the autumn of the same year it was my privilege to sit by Mrs. Arthur Lewis (and to hear the ever-to-be-remembered Kate Terry voice) while her daughter was playing with John Hare and his company at the Theatre Royal, Birmingham.
The piece was T. W. Robertson's "Ours." JohnHare was in his original character of the Russian Prince Perovsky, and the Blanche Haye was Miss Mabel Terry Lewis. The young artiste played the part with an unaffected girlishness, imbued with true tenderness, that touched all hearts, and it was evident that this latest recruit from the famous Terry family was worthy to bear her honoured name.
It was pretty to watch the mother, the former heroine of a hundred stage victories, as with the skill of an expert she noted how her sweet young daughter won her way into the marked sympathy of her audience.
By way of interesting records of the early appearances of these famous Terry sisters, I am able to produce here some matter that I hope my readers will like to have brought under their notice.
The bills of the "Royal Entertainments" given "By Command" in 1852 and 1853 at Windsor Castle are now historic. It will be seen that in them both Kate Terry and her father took part. The bill of "The Winter's Tale" at the Princess's in which both of the sisters appeared was given to me by Ellen Terry. It dates (after one hundred and two nights) her first appearance as the baby boy Mamillius.
In Charles Kean's revival of The Tempest at the Princess's Theatre, 1856. The young actress was then twelve years oldKATE TERRY AS "ARIEL."In Charles Kean's revival of "The Tempest" at the Princess's Theatre, 1856. The young actress was then twelve years old.[To face page 120.
KATE TERRY AS "ARIEL."In Charles Kean's revival of "The Tempest" at the Princess's Theatre, 1856. The young actress was then twelve years old.[To face page 120.
KATE TERRY AS "ARIEL."
In Charles Kean's revival of "The Tempest" at the Princess's Theatre, 1856. The young actress was then twelve years old.
[To face page 120.
[See larger version]
I am permitted to producein extensothe letter in which Charles Dickens, writing to his friendMacready, referred to the impression made upon him by Kate Terry's acting with Fechter. There is a pleasant little history attached to this letter of which, when he wrote it, Dickens never dreamt. In due course, and in common, alas! with too many household gods, it came under the hammer of the auctioneer. Henry Irving, with that delicate tact and taste which distinguish his every action (and which must mean much preceding thought in the life of an over busy man), bought it, and, on a Christmas Day, sent it as the most delightful of Christmas cards to the Kate Terry of those bygone times.
The letter from Tom Taylor to Ben Terry, in which he signifies his warm approval of his daughter's acting in his greatest stage success, "The Ticket-of-Leave Man," is very noteworthy.
The Manchester bill (October 4th and 5th, 1867) shows that Kate Terry after her London farewell felt bound to say good-bye to her loyal friends and admirers in Lancashire; that Charles Wyndham was among her supporters; and that her sister Ellen (although she had declared that she had retired from the stage) came to the fore in honour of her sister.
The picture of Kate Terry as Ariel was taken in 1856 when she was only twelve years old!
ROYAL ENTERTAINMENT—BY COMMAND.Her Majesty's servants will perform at Windsor Castle,On Friday, February 6th, 1852,Shakespeare's Historical Play, in five acts, ofKING JOHN.King JohnMr Charles KeanPrince Henry (his son, afterwards King Henry III.)Miss RobertsonArthur (son of Geoffrey, late Duke of Bretagne, elder son of King John)Miss Kate TerryWilliam Longsword, Earl of SalisburyMr James ViningRobert Bigot, Earl of NorfolkMr G. EverettWilliam Mareshall, Earl of PembrokeMr WynnGeoffrey Fitzpiers, Earl of Essex (chief Justiciary of England)Mr StaceyHubert de Burgh (Chamberlain to the King)Mr PhelpsRobert Falconbridge (son of Sir Robert Falconbridge)Mr MeadowsPhilip Falconbridge (his half-brother, bastard son to King Richard I.)Mr Alfred WiganPhilip, King of FranceMr C. FisherLewis, the DauphinMr StantonArchduke of AustriaMr RyderCardinal Pandulph (the Pope's Legate)Mr GrahamChatillon, Comte de Nevers (ambassador from France to King John)Mr C. WheatleighGiles (Vicomte de Melun)Mr J. F. CathcartPeter of Pomfret (a Prophet)Mr ParsloeCitizen of AngiersMr AddisonEnglish KnightMr PauloEnglish HeraldMr RollesonFrench HeraldMr F. CookeAttendants on HubertMr Daly & Mr StoakesElinor (widow of King Henry II. & Mother of King John)Miss PhillipsConstance (mother to Arthur)Mrs Charles KeanBlanch (daughter to Alphonso, King of Castile & Niece to King John)Miss MurrayKing John's PagesMiss J. Lovell & Miss HastingsAttendants on ConstanceMiss Maurice & Miss CliffordDirectorMr Charles KeanAssistant DirectorMr George EllisTheatre arranged & Scenery painted by Mr Thomas Grieve.
ROYAL ENTERTAINMENT—BY COMMAND.
Her Majesty's servants will perform at Windsor Castle,
On Friday, February 6th, 1852,
Shakespeare's Historical Play, in five acts, of
KING JOHN.
King JohnMr Charles KeanPrince Henry (his son, afterwards King Henry III.)Miss RobertsonArthur (son of Geoffrey, late Duke of Bretagne, elder son of King John)Miss Kate TerryWilliam Longsword, Earl of SalisburyMr James ViningRobert Bigot, Earl of NorfolkMr G. EverettWilliam Mareshall, Earl of PembrokeMr WynnGeoffrey Fitzpiers, Earl of Essex (chief Justiciary of England)Mr StaceyHubert de Burgh (Chamberlain to the King)Mr PhelpsRobert Falconbridge (son of Sir Robert Falconbridge)Mr MeadowsPhilip Falconbridge (his half-brother, bastard son to King Richard I.)Mr Alfred WiganPhilip, King of FranceMr C. FisherLewis, the DauphinMr StantonArchduke of AustriaMr RyderCardinal Pandulph (the Pope's Legate)Mr GrahamChatillon, Comte de Nevers (ambassador from France to King John)Mr C. WheatleighGiles (Vicomte de Melun)Mr J. F. CathcartPeter of Pomfret (a Prophet)Mr ParsloeCitizen of AngiersMr AddisonEnglish KnightMr PauloEnglish HeraldMr RollesonFrench HeraldMr F. CookeAttendants on HubertMr Daly & Mr StoakesElinor (widow of King Henry II. & Mother of King John)Miss PhillipsConstance (mother to Arthur)Mrs Charles KeanBlanch (daughter to Alphonso, King of Castile & Niece to King John)Miss MurrayKing John's PagesMiss J. Lovell & Miss HastingsAttendants on ConstanceMiss Maurice & Miss CliffordDirectorMr Charles KeanAssistant DirectorMr George Ellis
Theatre arranged & Scenery painted by Mr Thomas Grieve.
ROYAL ENTERTAINMENT—BY COMMAND.Her Majesty's servants will perform at Windsor Castle,On Friday, January 7th, 1853,Shakespeare's Historical Play ofKING HENRY THE FOURTH.(Part Second)King Henry IV.Mr PhelpsHenry, Prince of WalesMr A. WiganThomas, Duke of ClarenceMr StirlingPrince John of LancasterMr G. EverettPrince Humphrey of Gloster)Miss J. LovellEarl of WestmorelandMr F. ViningLord Chief JusticeMr CooperScroop, Archbishop of YorkMr DiddearLord MowbrayMr H. MellonLord HastingsMr H. ViningSir John FalstaffMr BartleyPoinsMr H. MarstonPistolMr RyderBardolphMr WilkinsonRobinMiss Kate TerryJustice ShallowMr MeadowsJustice SilenceMr HarleyGowerMr GrahamDavyMr ClarkeMouldyMr StaceyShadowMr J. ChesterWartMr TerryFeebleMr S. CowellBull CalfMr R. RomerFangMr WorrellSnareMr H. VezinThe King's PagesMr Brazier and Mr TomlinsonDame QuicklyMrs W. DalyDirectorMr Charles KeanAssistant DirectorMr George EllisTheatre arranged & Scenery painted by Mr Thomas Grieve.
ROYAL ENTERTAINMENT—BY COMMAND.
Her Majesty's servants will perform at Windsor Castle,
On Friday, January 7th, 1853,
Shakespeare's Historical Play of
KING HENRY THE FOURTH.
(Part Second)
King Henry IV.Mr PhelpsHenry, Prince of WalesMr A. WiganThomas, Duke of ClarenceMr StirlingPrince John of LancasterMr G. EverettPrince Humphrey of Gloster)Miss J. LovellEarl of WestmorelandMr F. ViningLord Chief JusticeMr CooperScroop, Archbishop of YorkMr DiddearLord MowbrayMr H. MellonLord HastingsMr H. ViningSir John FalstaffMr BartleyPoinsMr H. MarstonPistolMr RyderBardolphMr WilkinsonRobinMiss Kate TerryJustice ShallowMr MeadowsJustice SilenceMr HarleyGowerMr GrahamDavyMr ClarkeMouldyMr StaceyShadowMr J. ChesterWartMr TerryFeebleMr S. CowellBull CalfMr R. RomerFangMr WorrellSnareMr H. VezinThe King's PagesMr Brazier and Mr TomlinsonDame QuicklyMrs W. DalyDirectorMr Charles KeanAssistant DirectorMr George Ellis
Theatre arranged & Scenery painted by Mr Thomas Grieve.
ROYAL ENTERTAINMENT—BY COMMAND.Her Majesty's servants will perform at Windsor Castle,On Thursday, November 10th, 1853,Shakespeare's Historical play, in five acts, ofKING HENRY THE FIFTH.The ChorusMr BartleyKing Henry the FifthMr PhelpsDuke of Glo'ster(brothers toMiss YoungDuke of Bedfordthe King)Mr RousbyDuke of Exeter(uncle to King)Mr CooperEarl of SalisburyMr F. CookeEarl of WestmorelandMr BelfordArchbishop of CanterburyMr Henry MarstonBishop of ElyMr LacyEarl of Cambridge(conspiratorsMr F. ViningLord Scroopagainst the King)Mr MeagersonSir Thomas GreyMr HarrisSir Thomas Erpingham(officers in KingMr AddisonCaptain GowerHenry's army)Mr J. F. CathcartCaptain FluellenMr Lewis BallBates(soldiers inMr J. W. RayWilliamsthe same)Mr HoweNymMr C. FentonBardolf(formerly servantsMr WilkinsonPistolto Falstaff)Mr Harley(now soldiers in same)Boy(servant to them)Miss Kate TerryCharles the Sixth, King of France.Mr LuntLewis, the DauphinMr Leigh MurrayDuke of BurgundyMr G. BassilThe Constable of FranceMr GrahamGovernor of HarfleurMr JosephsMontjoy (a French Herald)Mr MortimerIsabel (Queen of France)Mrs TernanKatherine (daughter of Charles & Isabel)Miss T. BassanoQuickly (Pistol's wife, an Hostess)Mrs H. MarstonScene at the beginning of the play lies in England, but afterwards wholly in France.DirectorMr Charles KeanAssistant DirectorMr George EllisTheatre arranged & Scenery painted by Mr Thomas Grieve.
ROYAL ENTERTAINMENT—BY COMMAND.
Her Majesty's servants will perform at Windsor Castle,
On Thursday, November 10th, 1853,
Shakespeare's Historical play, in five acts, of
KING HENRY THE FIFTH.
The ChorusMr BartleyKing Henry the FifthMr PhelpsDuke of Glo'ster(brothers toMiss YoungDuke of Bedfordthe King)Mr RousbyDuke of Exeter(uncle to King)Mr CooperEarl of SalisburyMr F. CookeEarl of WestmorelandMr BelfordArchbishop of CanterburyMr Henry MarstonBishop of ElyMr LacyEarl of Cambridge(conspiratorsMr F. ViningLord Scroopagainst the King)Mr MeagersonSir Thomas GreyMr HarrisSir Thomas Erpingham(officers in KingMr AddisonCaptain GowerHenry's army)Mr J. F. CathcartCaptain FluellenMr Lewis BallBates(soldiers inMr J. W. RayWilliamsthe same)Mr HoweNymMr C. FentonBardolf(formerly servantsMr WilkinsonPistolto Falstaff)Mr Harley(now soldiers in same)Boy(servant to them)Miss Kate TerryCharles the Sixth, King of France.Mr LuntLewis, the DauphinMr Leigh MurrayDuke of BurgundyMr G. BassilThe Constable of FranceMr GrahamGovernor of HarfleurMr JosephsMontjoy (a French Herald)Mr MortimerIsabel (Queen of France)Mrs TernanKatherine (daughter of Charles & Isabel)Miss T. BassanoQuickly (Pistol's wife, an Hostess)Mrs H. Marston
Scene at the beginning of the play lies in England, but afterwards wholly in France.
DirectorMr Charles KeanAssistant DirectorMr George Ellis
Theatre arranged & Scenery painted by Mr Thomas Grieve.
PRINCESS'S THEATRELAST FIVE NIGHTSof the seasonWhich will terminate on Friday next, the 22nd Instant, whenTHE WINTER'S TALEWill have completed an Uninterrupted Series ofONE HUNDRED AND TWORepresentationsOn Monday, August 18th; Tuesday, 19th; Wednesday, 20th;Thursday, 21st; and Friday, 22nd, 1856The Performance will commence with (37th, 38th, 39th, 40th, and41st times) a New FarceMUSIC HATH CHARMSMr Alfred Poppleton PertinaxMr David Fisher(an Englishman, residing in Paris)Captain BremontMr RaymondMadame Mathilde de La RocheMiss Carlotta LeclercqM. RabinelMr BrazierAdrien de BeauvalMr BarsbyLucilleMiss M. TernanVictoireMiss CliffordGuests—Mr Collis, Mr Warren, Miss Hunt, & Miss E. LovellAfter which (98th, 99th, 100th, 101st, & 102nd Times)Shakespeare's Play of TheWINTER'S TALEThe Scenery under the direction of Mr Grieve, and painted by MrGrieve, Mr W. Gordon, Mr F. Lloyds, Mr Cuthbert, Mr Dayes,Mr Morgan, Mr G. Gordon, and numerous assistants.Music and Overture composed for the occasion by Mr J. L. Hatton.Dances and Action by Mr Oscar Byrn.Decorations and Appointments by Mr E. W. Bradwell.Dresses by Mrs & Miss Hoggins.Machinery by Mr G. Hodsdon. Peruquier, Mr Asplin (of No. 13 New Bond Street).For authorities of Costumes, see End of Book, Published and sold in the Theatre.Performance terminates by a quarter past eleven.Leontes (King of Sicilia)Mr Charles KeanMamillius (his son)Miss Ellen TerryCamillo }{ Mr GrahamAntigonus } (Sicilian Lords){ Mr CooperCleomenes }{ Mr J. F. CathcartDion }{ Mr G. EverettTwo other Sicilian LordsMr Barsby & Mr RaymondElder of the CouncilMr RollestonOfficer of the Court of JudicatureMr TerryAn Attendant on young Prince MamilliusMr BrazierPolixenes (King of Bithynia)Mr RyderFlorizel (his son)Miss HeathArchidamus (a Bithynian lord)Mr H. MellonA MarinerMr PauloKeeper of the PrisonMr CollettAn old Shepherd (reputed father of Perdita)Mr MeadowsClown (his son)Mr H. SakerServant to the old ShepherdMiss Kate TerryAutolycus (a rogue)Mr HarleyTime, as ChorusMr F. CookeHermione (Queen to Leontes)Mrs Charles KeanPerdita (daughter to Leontes & Hermione)Miss Carlotta LeclercqPauline, (wife to Antigonus)Mrs TernanEmilia (a Lady)Miss CliffordTwo other ladies attending on the QueenMiss Eglinton & Miss M. TernanMopsa }{ Miss J. Brougham& }(Shepherdesses){Dorcas }{ Miss E. BroughamLords, Ladies & Attendants; Satyrs for a Dance; Shepherds,Shepherdesses, Guards, &c.Scene:—Sometimes in Sicilia. Sometimes in Bithynia.
PRINCESS'S THEATRE
LAST FIVE NIGHTS
of the season
Which will terminate on Friday next, the 22nd Instant, when
THE WINTER'S TALE
Will have completed an Uninterrupted Series ofONE HUNDRED AND TWORepresentations
On Monday, August 18th; Tuesday, 19th; Wednesday, 20th;Thursday, 21st; and Friday, 22nd, 1856
The Performance will commence with (37th, 38th, 39th, 40th, and41st times) a New Farce
MUSIC HATH CHARMS
Mr Alfred Poppleton PertinaxMr David Fisher(an Englishman, residing in Paris)Captain BremontMr RaymondMadame Mathilde de La RocheMiss Carlotta LeclercqM. RabinelMr BrazierAdrien de BeauvalMr BarsbyLucilleMiss M. TernanVictoireMiss Clifford
Guests—Mr Collis, Mr Warren, Miss Hunt, & Miss E. Lovell
After which (98th, 99th, 100th, 101st, & 102nd Times)Shakespeare's Play of The
WINTER'S TALE
The Scenery under the direction of Mr Grieve, and painted by MrGrieve, Mr W. Gordon, Mr F. Lloyds, Mr Cuthbert, Mr Dayes,Mr Morgan, Mr G. Gordon, and numerous assistants.
Music and Overture composed for the occasion by Mr J. L. Hatton.
Dances and Action by Mr Oscar Byrn.
Decorations and Appointments by Mr E. W. Bradwell.
Dresses by Mrs & Miss Hoggins.
Machinery by Mr G. Hodsdon. Peruquier, Mr Asplin (of No. 13 New Bond Street).
For authorities of Costumes, see End of Book, Published and sold in the Theatre.
Performance terminates by a quarter past eleven.
Leontes (King of Sicilia)Mr Charles KeanMamillius (his son)Miss Ellen TerryCamillo }{ Mr GrahamAntigonus } (Sicilian Lords){ Mr CooperCleomenes }{ Mr J. F. CathcartDion }{ Mr G. EverettTwo other Sicilian LordsMr Barsby & Mr RaymondElder of the CouncilMr RollestonOfficer of the Court of JudicatureMr TerryAn Attendant on young Prince MamilliusMr BrazierPolixenes (King of Bithynia)Mr RyderFlorizel (his son)Miss HeathArchidamus (a Bithynian lord)Mr H. MellonA MarinerMr PauloKeeper of the PrisonMr CollettAn old Shepherd (reputed father of Perdita)Mr MeadowsClown (his son)Mr H. SakerServant to the old ShepherdMiss Kate TerryAutolycus (a rogue)Mr HarleyTime, as ChorusMr F. CookeHermione (Queen to Leontes)Mrs Charles KeanPerdita (daughter to Leontes & Hermione)Miss Carlotta LeclercqPauline, (wife to Antigonus)Mrs TernanEmilia (a Lady)Miss CliffordTwo other ladies attending on the QueenMiss Eglinton & Miss M. TernanMopsa }{ Miss J. Brougham& }(Shepherdesses){Dorcas }{ Miss E. Brougham
Lords, Ladies & Attendants; Satyrs for a Dance; Shepherds,Shepherdesses, Guards, &c.
Scene:—Sometimes in Sicilia. Sometimes in Bithynia.
Thursday, 19th February 1863.
"My dearest Macready,—I have just come back from Paris, where the Readings—Copperfield, Dombey and Trial, and Carol and Trial, have made a sensation which modesty (my natural modesty) renders it impossible for me to describe. You know what a noble audience the Paris audience is! They were at their very noblest with me.
"I was very much concerned by hearing hurriedly from Georgey that you were ill. But when I came home at night she showed me Kate's letter, and that set me up again. Ah! you have the best of companions and nurses, and can afford to be ill now and then, for the happiness of being so brought through it. But don't do it again, yet awhile, for all that.
"Legouvé (whom you remember in Paris as writing for the Ristori) was anxious that I should bring you the enclosed. A manly and generous effort, I think? Regnier desired to be warmly remembered to you. He has been losing money in speculation, but looks just as of yore.
"Paris generally is about as wicked and extravagant as in the days of the Regency. Madame Viardot in the Orphée, most splendid. An opera of 'Faust,' a very sad and noble rendering of that sad and noble story. Stage management remarkable for some admirable, and really poetical effects of light. In the more striking situations, Mephistopheles surroundedby an infernal red atmosphere of his own. Marguerite by a pale blue mournful light. The two never blending. After Marguerite has taken the jewels placed in her way in the garden, a weird waning draws on, and the bloom fades from the flowers, and the leaves of the trees droop and lose their fresh green, and mournful shadows overhang her chamber window, which was innocently bright and gay at first. I couldn't bear it, and gave in completely.
"Fechter doing wonders over the way here with a picturesque French drama. Miss Kate Terry in a small part in it, perfectly charming. You may remember her making a noise years ago, doing a boy at an Inn in the 'Courier of Lyons'? She has a tender love-scene in this piece, which is a really beautiful and artistic thing. I saw her do it at about three in the morning of the day when the theatre opened, surrounded by shavings and carpenters, and (of course) with that inevitable hammer going; and I told Fechter 'that is the very best piece of womanly tenderness I have ever seen on the stage, and you will find no Audience can miss it.' It is a comfort to add that it was instantly seized upon, and is much talked of.
"Stanfield was very ill for some months; then suddenly picked up, and is really rosy and jovial again. Going to see him when he was very despondent, I told him the story of Fechter's piece (then in rehearsal) with appropriate action; fighting a duel with the washing-stand, defying the bedstead, andsaving the life of the sofa-cushion. This so kindled his old theatrical ardour, that I think he turned the corner on the spot.
"With love to Mrs. Macready and Katie, and (be still, my heart!) Benvenuta, and the exiled Johnny (not too attentive at school, I hope?), and the personally-unknown young Parr,—Ever, my dearest Macready, your most affectionate
"Charles Dickens."
"Canterbury, Fountain Hotel,Saturday, 15th August 1868.
"Dear Mr. Terry,—I am desirous of letting you know my opinion of Kate's acting of May Edwards in 'The Ticket-of-Leave Man,' here.
"My impression, in the most general form I can state it, is simply this, that I have never had any one character in any piece I have written, from first to last, impersonated so entirely to my satisfaction. She played with a grace, intelligence, and delicacy and truth of feeling which completely carried away the audience, and what is more—the author. If she had played the part in town I should think it would have doubled the success of the piece.
"You are quite at liberty to make this opinion of mine known in any quarter where you may think it useful to your daughter that it should be known.— Yours very truly,
Tom Taylor.
"Mr.B. Terry."
PRINCE'S THEATRE, MANCHESTER.ProprietorsThe Manchester Public Entertainments Company Limited.Beddoes Peacock, Thorncliffe Grove,Chorlton-upon-Medlock.Friday and Saturday, October 4th and 5th, 1867,FOR THEBENEFITof MissKATE TERRYAnd her last two appearances on any stage.The Performance will commence with an Original Drama,in Three Acts, called—PLOT AND PASSIONFouché (Duke of Otranto, Minister of Police)Mr J. G. WardeM. Desmarets (Head of Secret Department of Police) (first time)Mr F. J. CathcartThe Marquis de Cevennes (a Legitimist)Mr R. SoutarBerthier (Prince of Neuchatel, Grand Chamberlain)Mr J. G. NicholsonDe Neuville (Secretary to de Cevennes) (first time)Mr Charles WyndhamJabot (House Steward to Madame de Fontanges)Mr P. RaeGrisbouille (a Subordinate of Desmarets)Mr William MortimerMadame de FontangesMiss Kate TerryCecile (her maid)Miss Ellen LeighScene.—Acts 1st & 3rd, in Paris. Act 2nd, near Prague.Between the First and Second Acts of the DramaThe Band will play the "Kate Terry Valse"(published by Hopwood & Crew)Performed by command before the Sultan, Viceroy, & His RoyalHighness the Prince of Wales, by the Band of the 1st Life Guards.Dedicated by the composer, Mr Henry King of Bath, to Miss Kate Terry.On Friday to conclude with & on Saturday to commence with theLITTLE SAVAGEMajor ChokerMr ShephardMr John ParkerMr Charles WyndhamMr Lionel LarkinsMr J. RobinsJonathanMr R. SoutarLady Barbara ChokerMrs Chas. JonesKate DalrympleMiss Ellen TerryMusical DirectorMr WilliamsDoors open at seven o'clock. Performance to commence at half-past.Private Boxes £3. 3s. and £1. 11s. 6d.Prices:—Stalls 6/. Lower Circle 5/. Upper Circle 2/.Pit 1/. Gallery 6d.Box Office open from eleven to two.
PRINCE'S THEATRE, MANCHESTER.
ProprietorsThe Manchester Public Entertainments Company Limited.Beddoes Peacock, Thorncliffe Grove,Chorlton-upon-Medlock.
Friday and Saturday, October 4th and 5th, 1867,
FOR THE
BENEFIT
of Miss
KATE TERRY
And her last two appearances on any stage.
The Performance will commence with an Original Drama,in Three Acts, called—
PLOT AND PASSION
Fouché (Duke of Otranto, Minister of Police)Mr J. G. WardeM. Desmarets (Head of Secret Department of Police) (first time)Mr F. J. CathcartThe Marquis de Cevennes (a Legitimist)Mr R. SoutarBerthier (Prince of Neuchatel, Grand Chamberlain)Mr J. G. NicholsonDe Neuville (Secretary to de Cevennes) (first time)Mr Charles WyndhamJabot (House Steward to Madame de Fontanges)Mr P. RaeGrisbouille (a Subordinate of Desmarets)Mr William MortimerMadame de FontangesMiss Kate TerryCecile (her maid)Miss Ellen Leigh
Scene.—Acts 1st & 3rd, in Paris. Act 2nd, near Prague.
Between the First and Second Acts of the DramaThe Band will play the "Kate Terry Valse"(published by Hopwood & Crew)
Performed by command before the Sultan, Viceroy, & His RoyalHighness the Prince of Wales, by the Band of the 1st Life Guards.
Dedicated by the composer, Mr Henry King of Bath, to Miss Kate Terry.
On Friday to conclude with & on Saturday to commence with the
LITTLE SAVAGE
Major ChokerMr ShephardMr John ParkerMr Charles WyndhamMr Lionel LarkinsMr J. RobinsJonathanMr R. SoutarLady Barbara ChokerMrs Chas. JonesKate DalrympleMiss Ellen Terry
Musical DirectorMr Williams
Doors open at seven o'clock. Performance to commence at half-past.
Private Boxes £3. 3s. and £1. 11s. 6d.Prices:—Stalls 6/. Lower Circle 5/. Upper Circle 2/.Pit 1/. Gallery 6d.
Box Office open from eleven to two.
CHIEFLY AT THE QUEEN'S THEATRE
As the carrier-dove invariably, and often after a period of long absence, wings its way back to its first home, so in due time Ellen Terry, bringing with her her long-desired message, fluttered back to the stage. We have seen how in 1866 she appeared at the Olympic, playing Helen to her sister's Julia, in "The Hunchback." This was a special occasion, but in the following year she, to the great delight of the public, entered once more on a regular engagement. This was at the Queen's Theatre in Longacre, and it came at the right time. In the August of 1867 playgoers had mourned for the loss of their beloved Kate Terry. In the following October Ellen Terry was at hand to take her place in their hearts. In the previous June she had acted at the Holborn Theatre in a short-lived play by Tom Taylor, entitled "The Antipodes, or Ups and Downs of Life." In it she had the support of a good company, which included that wonderful actress Charlotte Saunders; but though the drama dealt more or less effectively with the racing element in England and the digging element in Australia, it gave little or no chance tothe performers, and is only mentioned here for purposes of record.
It was at the Queen's that the new laurels were to be won.
To the playgoers of to-day, who are accustomed to the theatres of Shaftesbury Avenue and the Charing Cross Road, and who are even inclined to regard the historic Strand as a decaying home for the players, it may seem strange to think of houses in Holborn and Longacre, but the Queen's was in its brief day very popular, and to mention it conjures up many happy memories. It was there that John L. Toole appeared in some of his best domestic comedy parts, with such actors as Henry Irving, Lionel Brough, Charles Wyndham, John Clayton, and Henrietta Hodson for his comrades; it was there that all London flocked to see Hermann Vezin in F. C. Burnand's convincing drama, "The Turn of the Tide" (founded upon the then deservedly popular novel, "The Morals of Mayfair"), and in W. G. Wills's first ambitious play, "Hinko"; and it was there that Shakespearean students revelled in Samuel Phelps's perfect impersonation of Bottom the Weaver, and George Rignold's striking, nay, almost startling, rendering of Caliban. Alas! for its many memories, the Queen's Theatre is no more, and, instead of stage, footlights, and auditorium, its walls encase the works of a Longacre carriage-building firm.
When, on its opening night, Ellen Terry joinedthis now defunct playhouse, its fortunes were controlled by Alfred Wigan, with Charles Reade—who, as we all know, was one of the greatest literary geniuses of his time—for an ally. I meet young people to-day who tell me they have never read this fine novelist's glorious romance, "The Cloister and the Hearth," and say they "don't think they should like it." I am truly sorry for them.
Charles Reade, although his works were greedily snapped up by the publishers, loved the stage, had great faith in his own plays, and took endless trouble over their production.
His drama, "The Double Marriage," was taken from his novel, "White Lies" (which had been suggested by a French play from the pen of Auguste Maquet, entitled "Le Chateau de Grantier"), and it was produced at the Queen's on October 24th, 1867.
It is said that when a quick critic found out the source of the plot, Charles Reade was very angry, and it seems difficult to believe that so great a man should annex another writer's story without acknowledgment.
The cast of "The Double Marriage" was not only a strong but a very interesting one. Ellen Terry and Fanny Addison played the heroines; Alfred Wigan was the hero, Charles Wyndham had an effective part, and in a smaller one Lionel Brough made hisdébuton the London stage.
Contrary to all expectation, and in spite of excellent acting, "The Double Marriage" did not attract the public. I shall always think that the play deserved a better fate. Years afterwards, on a provincial tour, it was revived by Arthur Dacre and his wife, the well-remembered Amy Roselle. Poor things! They had great faith in their venture, and had expended much money on special scenery and costumes. It was effective enough, and ought to have been attractive, but "bad luck" once more attended it, and I fear it was one of the many disappointments that led to the unfortunate Dacres' tragic end.
At the Queen's "The Double Marriage" soon gave way to a revival of Tom Taylor's perennial "Still Waters Run Deep." In this Ellen Terry played to admiration the by no means easy character of Mrs. Mildmay. Alfred Wigan resumed his original character of the self-contained John Mildmay; Mrs. Wigan was the Mrs. Sternhold; and Charles Wyndham (destined to become the best of all John Mildmays) the Captain Hawkesley. On December 26th a very interesting event took place. Garrick's one-act excision from "The Taming of the Shrew," dubbed "Katherine and Petruchio," was revived, and in it Ellen Terry played for the first time with Henry Irving. Critics very much differed as to the merits of the new "shrew" and her "tamer," and, indeed, they had not much chancein this abridged version of the comedy of displaying their ability, but in face of later theatrical history the meeting is noteworthy. It is a matter for regret that these distinguished artists have not included "The Taming of the Shrew" in their noble Shakespearean repertory at the Lyceum. Possibly they have been deterred by the perfect success made in the leading characters by their American contemporaries, Ada Rehan and John Drew. It has remained for them to show Shakespeare's comedy in all its glory. In her "Stray Memories," Ellen Terry has thus recorded the impression made upon her by Henry Irving in those early days:—
"From the first," she says, "I noticed that Mr. Irving worked more concentratedly than all the other actors put together, and the most important lesson of my working life I learnt from him, that to do one's work well one mustwork continually, live a life of constant self-denial for that purpose, and, in short, keep one's nose upon the grindstone. It is a lesson one had better learn early in stage life, I think, for the bright, glorious, healthy career of an actor is but brief at the best."
A very pleasant recollection of these days is Ellen Terry's appearance with John Clayton in Francis Talfourd's pretty comedietta, "A Household Fairy," which, with Mr. H. T. Craven and Miss Wyndham in the two parts that form the cast was first produced at the St. James's Theatre on December 24th, 1859.In later years it was admirably performed at the Globe Theatre, Henry Neville playing Julian de Clifford, and Lydia Foote, Catherine. But the sprightly, warm-hearted, and at the same time serious, "Kitty" of the Queen's added lustre to the author's meaning, and was, as he intended her to be, a veritable fairy of the fireside.
It was at this period of his career that he first played with Ellen Terry at the Queen's Theatre. Long AcreHENRY IRVING IN 1868.It was at this period of his career that he first played with Ellen Terry at the Queen's Theatre. Long Acre.[To face page 136.
HENRY IRVING IN 1868.It was at this period of his career that he first played with Ellen Terry at the Queen's Theatre. Long Acre.[To face page 136.
HENRY IRVING IN 1868.
It was at this period of his career that he first played with Ellen Terry at the Queen's Theatre. Long Acre.
[To face page 136.
[See larger version]
But at the close of this brief engagement Ellen Terry again saidau revoir(luckily it was notadieu) to the stage, and for seven years her gracious presence was withdrawn from us.
During this period she became the wife of Mr. Charles Wardell, a gentleman well known to playgoers as Charles Kelly, the name he adopted when, retiring from his position as an officer in a first-class cavalry regiment, he followed his inclinations and took to the stage. In parts of what may be called a stolid type Charles Kelly had, in his day, no rival, and his successes were many. The character of Richard Arkwright in Tom Taylor's interesting drama, "Arkwright's Wife," was, probably, his greatest original achievement; but, as we shall presently see, he did admirable work in Shakespearean drama as well as in the modern plays in which his services were highly esteemed, and always in request. He was also an excellent comedian. When John Hare first gave his inimitable performance of Lord Kilclare in "A Quiet Rubber" at the Court Theatre, the honours were pretty equally divided between him and CharlesKelly, who, as the hasty-tempered but high-minded Irish gentleman, Mr. Sullivan, gave a masterly sketch of Hibernian character.
We were all sorry when our well-beloved petrel once more betook herself to the freedom of the winds and the waves; but we waited patiently in the certain hope that she would again return to the shore fringed by the footlights.
We were all sorry when our well-beloved petrel once more betook herself to the freedom of the winds and the waves; but we waited patiently in the certain hope that she would again return to the shore fringed by the footlights.
In the earliest days of 1874 London theatre lovers who were not behind the scenes were puzzled as to who an "eminent actress" could be who, "after a long period of retirement," was announced to appear at the Queen's Theatre as the heroine of Charles Reade's drama, "The Wandering Heir." With Mrs. John Wood in the character the piece had already made its mark, but that talented actress was under contract to appear elsewhere, and horses had to be swopped in the middle of a stream. Until almost the last moment the secret of the vague announcement was well kept, and then to the general joy it was discovered that the "dark lady" was Ellen Terry.
Of course her admirers rallied round her to a man—and woman—and her difficult task of succeeding an eminent artiste in a newly created part was not only fulfilled to perfection but crowned with well won approbation. There was no false note about the praise. The "wanderer" was not extolled becauseshe was Ellen Terry, but because of the true excellence of her acting.
The enthusiasm of her reception and the appreciation of her critics must have warmed her heart and encouraged her, for she has said that from that time until the present she has never lost zest for her work.
Of this notable impersonation of Charles Reade's Philippa Chester (by the way, the play was no doubt suggested by the famous Tichborne case, which was then the talk of the hour), the critic of theDaily Telegraphsaid:—
"Miss Ellen Terry possesses exactly the qualifications demanded by such a character as Philippa, and the undiminished brightness and buoyancy of her style became at once apparent in the scene when the hoyden dwells with such delight on her love of boyish pastimes, yet shows how much she retains of girlish modesty and simplicity. Hardly less effective when the action is transferred to America, and Philippa appears in male attire, was her generous devotion to the interests of James Annesley—while the struggle under masculine garb to veil repeated signs of strong womanly devotion was most artistically indicated. Mr. Charles Reade's drama of 'The Wandering Heir,' which possesses a highly-interesting story wrought out with remarkable ingenuity, has thus become endowed with an additional element of attraction, and the prosperous career of a piece having a peculiar significance at the present time promises to be prolongedfar beyond the hundred nights it has already nearly attained."
When his tenancy of the Queen's Theatre came to an end, the energetic Charles Reade took his plays and his loyal little company over Westminster Bridge to "Astley's," of immortal memory, and there Ellen Terry distinguished herself not only as Philippa Chester, but as Susan Merton in the famous "Never Too Late to Mend," which, admirable as it was in its volume form, became even more popular when transferred by its masterly author to the stage. Even after this lapse of time the stirring drama, teaching as it does the most useful of lessons, is a good one to conjure with, and in the provinces, at least, is always sure to attract its faithful pit and gallery.
Ellen Terry speaks very affectionately of clever and determined Charles Reade, and cherishes the memory of the time when she served under his somewhat formidably waved banner. "Dear, lovable, aggravating, childlike, crafty, gentle, obstinate, and entirely delightful and interesting Charles Reade," she calls him—and we may be quite sure that while she, despite his foibles, understood his great genius and noble heart, he, in his turn, appreciated her sweet nature and unlimited talents. Before taking leave of "The Wandering Heir" I must make mention of Edmund Leathes, who was the original James Annesley of the cast. He was a gifted as well as a graceful actor, he made hisname as an author, and he vanished from us all too soon.
From the days of 1874 to these of 1901 Ellen Terry has always been with us. The carrier-dove had this time come home for good, and the message that she has constantly repeated has been ever a sweet one to those many thousands who, all unknown to her, not only admire but love her.
IN TOTTENHAM STREET
In 1875 Mr. and Mrs. Bancroft decided to make a bold experiment at the old Prince of Wales' Theatre in Tottenham Street. In that little playhouse which, thanks to their taste and admirable management, had become the favourite resort of playgoers far and near; in the birthplace and home of the sweet and memorable series of T. W. Robertson's comedies, they would soar to Shakespeare, and give an elaborate as well as an artistic production of "The Merchant of Venice."
As far as the company was concerned the cast presented few difficulties. Charles F. Coghlan, who was deservedly regarded as one of the finest and most powerful actors of his day, was to have his chance as Shylock, and, since Mrs. Kendal, who was playing with John Hare at the Court Theatre, was not available, all that was wanted was an ideal Portia.
She was found in Ellen Terry, and in some ways the engagement was the most eventful episode in her artistic career. April 17th was the night of the revival, and even those who had illimitablefaith in the Bancrofts were amazed at the scenic treat that had been prepared for them. It seemed incredible that such perfect pictures of Venice, exact in every detail, and painted and modelled from drawings specially taken from the beautiful city of the sea, could be displayed on the small stage. They charmed the eye and satisfied the mind. Venice in all its beauty seemed to have transported some of its loveliest spots to dingy Tottenham Street, and a convincing colour was given to the performance such as had not hitherto been seen.
The costumes were equally artistic and appropriate,—the parts had been well and very carefully distributed, the success of the production seemed assured,—but in spite of its undeniable, and in many respects unequalled, excellences, it proved unattractive, and had to be speedily withdrawn.
The disappointment centred itself, where it had been least expected, in Charles Coghlan's Shylock, and "The Merchant of Venice," without a strongly appreciative and audience satisfying Jew of Venice is doomed to collapse. It was in this way that the beautifully painted and firmly built house of cards tumbled down. It was, and is, inexplicable. Charles Coghlan had over and over again proved himself to be the best of actors. Critics, aware of his latent power, had thought him thrown away on the comparatively trivial parts he had been called upon to play, and felt certain that when he could "let himselfgo," he would electrify. The power was there—in after years it made itself manifest; but, for some strange reason, it lay dormant in his Shylock—or at any rate in his Shylock of 1875. There was no lapse of memory on the actor's part—no physical breakdown. The character had evidently been most carefully studied, and the delivery of Shakespeare's lines left little or nothing to be desired. Apparently the actor had made the fatal mistake of thinking that Shylock was one of those strong parts that would—in theatrical parlance—"play itself." He was utterly wrong. If Shylock does not reveal himself in his distinctly true colours, not even the ideal Portia can prevent his fading from the picture, and leaving Shakespeare's canvas a blank.
David Garrick's contemporary, Charles Macklin, whose name will ever live as the first appreciative impersonator of this superbly drawn character—as full of light as it is of shade—said of his first appearance in it, and when he had from the outset found his audience in sympathy with him:—
"These encomiums warmed but did not overset me. I knew where I should have the pull, which was in the third act, and reserved myself accordingly. At this period I threw out all my fire; and as the contrasted passions of joy for the merchant's losses and grief for the elopement of Jessica, open a fine field for an actor's powers, I had the good fortune to please beyond my wildest expectations.
"The whole house was in an uproar of applause. The trial scene wound up the fulness of my reputation; here I was well listened to; and here I made such a silent yet forcible impression upon the audience that I retired from this great attempt well satisfied.
"On my return to the green-room after the play was over, it was crowded with nobility and critics, who all complimented me in the warmest and most unbounded manner; and the situation I found myself in, I must confess, was one of the most flattering and intoxicating in my whole life.
"No money, no title, could purchase what I felt. And let no man tell me after this what fame will not inspire a man to do, and how far the attainment of it will not remunerate his greatest labours. By Heaven, sir, though I was not worth fifty pounds in the world at the time, yet let me tell you that I was Charles the Great for that night."
Soon after this success Macklin received an invitation to dine with Bolingbroke and Pope at Battersea. The latter's couplet on his performance—