VOLUME THE FIRST.

NOTE. 510 copies printed on this fine deckle-edge demy 8vo paper for England and America, with the portraits as India proofs after letters. Each copy is numbered, and the type distributed. No.

AN APOLOGY FOR THE LIFE OF MR. COLLEY CIBBER WRITTEN BY HIMSELF A NEW EDITION WITH NOTES AND SUPPLEMENT BY ROBERT W. LOWE WITH TWENTY-SIX ORIGINAL MEZZOTINT PORTRAITS BY R. B. PARKES, AND EIGHTEEN ETCHINGS BY ADOLPHE LALAUZE IN TWO VOLUMES VOLUME THE FIRST LONDON JOHN C. NIMMO 14, King William Street, Strand MDCCCLXXXIX

Chiswick Press PRINTED BY CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. E.C.

PREFACE.

Colley Cibber's famous Autobiography has always been recognized as one of the most delightful books of its class; but, to students of theatrical history, the charm of its author's ingenuous frankness has been unable altogether to overweigh the inaccuracy and vagueness of his treatment of matters of fact. To remove this cause of complaint is the principal object of the present edition. But correcting errors is only one of an editor's duties, and by no means the most difficult. More exacting, and almost equally important, are the illustration of the circumstances surrounding the author, the elucidation of his references to current events, and the comparison of his statements and theories with those of judicious contemporaries. In all these particulars I have interpreted my duty in the widest sense, and have aimed at giving, as far as in me lies, an exhaustive commentary on the "Apology."

I am fortunate in being able to claim that my work contains much information which has never before been made public. A careful investigationvi of the MSS. in the British Museum, and of the Records of the Lord Chamberlain's Office (to which my access was greatly facilitated by the kindness of Mr. Edward F. S. Pigott, the Licenser of Plays), has enabled me to give the exact dates of many transactions which were previously uncertain, and to give references to documents of great importance in stage history, whose very existence was before unknown. How important my new matter is, may be estimated by comparing the facts given in my notes regarding the intricate transactions of the years 1707 to 1721, with any previous history of the same period. Among other sources of information, I may mention the Cibber Collections in the Forster Library at South Kensington, to which my attention was drawn by the kindness of the courteous keeper, Mr. R. F. Sketchley; and I have also, of course, devoted much time to contemporary newspapers.

In order to illustrate the "Apology," two tracts of the utmost rarity, the "Historia Histrionica" and Anthony Aston's "Brief Supplement" to Cibber's Lives of the Actors, are reprinted in this edition. The "Historia Histrionica" was written, all authorities agree, by James Wright, Barrister-at-Law, whose "History and Antiquities of the County of Rutland" is quoted by Cibber in his first chapter (vol. i. p. 8). The historical value of this pamphlet is very great, because it contains the only formal account in existence of the generation of actors who preceded Betterton, and because it gives many curiousvii and interesting particulars regarding the theatres and plays, as well as the actors, before and during the Civil Wars. As Cibber begins his account of the stage (see chap. iv.) at the Restoration, there is a peculiar propriety in prefacing it by Wright's work; a fact which has already been recognized, for the publisher of the third edition (1750) of the "Apology" appended to it "A Dialogue on Old Plays and Old Players," which is simply a reprint of the "Historia

Histrionica" under another title, and without the curious preface.

Following the "Historia Histrionica" will be found a copy of the Patent granted to Sir William Davenant, one of the most important documents in English stage history. A similar grant was made to Thomas Killigrew, as is noted on page 87 of this volume.

These documents form a natural introduction to Cibber's History of the Stage and of his own career, which commences, as has been said, at the Restoration, and ends, somewhat abruptly, with his retirement from the regular exercise of his profession in 1733. To complete the record of Cibber's life, I have added a Supplementary Chapter to the "Apology," in which I have also noted briefly the chief incidents of theatrical history up to the time of his death. In this, too, I have told with some degree of minuteness the story of his famous quarrel with Pope; and to this chapter I have appended a list of Cibber's dramatic productions, and a Bibliography of works by, or relating to him.

viii

Anthony Aston's "Brief Supplement to Colley Cibber, Esq; his Lives of the late famous Actors and Actresses," of which a reprint is given with this edition, is almost, if not quite, the rarest of theatrical books. Isaac Reed, says Genest, "wrote his name in his copy of Aston's little book, with the date of 1769—he says—'this Pamphlet contains several circumstances concerning the Performers of the last century, which are no where else to be found—it seems never to have been published'—he adds-'Easter Monday, 1795—though I have now possessed this pamphlet 26 years, it is remarkable that I never have seen another copy of it.'" Of Aston himself, little is known. According to his own account he came on the stage about 1700, and we know that he was a noted stroller; but as to when he was born, or when he died, there is no information. He is supposed, and probably with justice, to be the "trusty Anthony, who has so often adorned both the theatres in England and Ireland," mentioned in Estcourt's advertisement of his opening of the Bumper Tavern, in the "Spectator" of 28th and 29th

December, 1711; and he was no doubt a well-known character among actors and theatre-goers. He would thus be well qualified for his undertaking as biographer of the actors of his time; and, indeed, his work bears every mark of being the production of a writer thoroughly well acquainted with his subject. This valuable pamphlet has been, until now practically a sealed book to theatrical students.

ix

The three works which make up this edition—Cibber's "Apology," Wright's "Historia Histrionica," and Aston's "Brief Supplement"—are reprinted verbatim et literatim; the only alterations made being the correction of obvious errors. Among obvious errors I include the avalanche of commas with which Cibber's printers overwhelmed his text. A more grotesque misuse of punctuation I do not know, and I have struck out a large number of these points, not only because they were unmeaning, but also because, to a modern reader, they were irritating in the highest degree. The rest of the punctuation I have not interfered with, and with the single exception of these commas the present edition reproduces not only the matter of the works reprinted, but the very manner in which they originally appeared, the use of italics and capitals having especially been carefully observed.

The "Apology" of Cibber has gone through six editions. I have reprinted the text of the second, because it was certainly revised by the author, and many corrections made. But I have carefully compared my text with that of the first edition, and, wherever the correction is more than merely verbal, I have indicated the fact in a note (e. g. vol. i. p. 72). The only edition which has been annotated is that published in 1822, under the editorship of Edmund Bellchambers. Whether the Notes were written by the Editor or by Jacob Henry Burn, who annotated Dickens's "Grimaldi," is a point which I have raisedx in my "Bibliographical Account of English Theatrical Literature" (p. 373). I have been unable to obtain any authentic information on the subject, so give Burn's claim for what it is worth. The statement as to the latter's authorship was made in his own handwriting on the back of the title-page of a copy of the book, sold by a well-known bookseller some years ago. It was in the following terms:—

"In 1821, while residing at No. 28, Maiden Lane, Covent Garden, the elder Oxberry, who frequently called in as he passed, found me one day adding notes in MS. to Cibber's 'Apology.' Taking it up, he said he should like to reprint it; he wanted something to employ the spare time of his hands, and proferred to buy my copy, thus annotated. I think it was two pounds I said he should have it for; this sum he instantly paid, and the notes throughout are mine, not Bellchambers's, who having seen it through the press or corrected the proofs whilst printing, added his name as the editor.—J. H. Burn."

Whether Burn or Bellchambers be the author, the notes, I find, are by no means faultlessly accurate. I have made little use of them, except that the Biographies, which are by far the most valuable of the annotations, are reprinted at the end of my second volume. Even in these, it will be seen, I have corrected many blunders. Some of the memoirs I have condensed slightly; and, as the Biographies of Booth, Dogget, and Wilks were in all essential points merely a repetition of Cibber's narrative, I have not reprinted them. In all cases where I have made any use of Bellchambers's edition, or have hadxi a reference suggested to me by it, I have carefully acknowledged my indebtedness.

Among the works of contemporary writers which I have quoted, either in illustration, in criticism, or in contradiction of Cibber, it will be noticed that I make large drafts upon the anonymous pamphlet entitled "The Laureat: or, the right side of Colley Cibber, Esq;" (1740). I have done this because it furnishes the keenest criticism upon Cibber's statements, and gives, in an undeniably clever style, the views of Cibber's enemies upon himself and his works. I am unable even to guess who was the author of this work, but he must have been a man well acquainted with theatrical matters.

Another pamphlet from which I quote, "The Egotist: or, Colley upon Cibber" (1743), is interesting as being, I think without doubt, the work of Cibber himself, although not acknowledged by him.

Many of the works which I quote in my notes have gone through only one edition, and my quotations from these are easily traced; but, for the convenience of those who may wish to follow up any of my references to books which have been more than once issued, I may mention that in the case of Davies's "Dramatic Miscellanies" I have referred throughout to the edition of 1785; that Dr. Birkbeck Hill's magnificent edition of Boswell's "Life of Johnson" is that which I have quoted; and that the references to Nichols's reprint of Steele's "Theatre," the "Anti-Theatre," &c., are to the scarce and valuablexii edition in 2 vols. 12mo, 1791. My quotations from the "Tatler" have been made from a set of the original folio numbers, which I am fortunate enough to possess; and I have made my extracts from the "Roscius Anglicanus" from Mr. Joseph Knight's beautiful facsimile edition. The index, which will be found at the end of the second volume, has been the object of my special attention, and I have spared no pains to make it clear and exhaustive.

Robert W. Lowe.

London, September, 1888.

PUBLISHER'S PREFACE.

The twenty-six portraits and eighteen chapter headings in this new edition of Colley Cibber's "Apology" are all newly engraved. The portraits are copperplate mezzotints, engraved by R. B. Parkes from the best and most authentic originals, in the selection of which great care has been taken. Where more than one portrait exists, the least hackneyed likeness has been chosen, and pains have been taken to secure those pictures which are likely to be esteemed as rarities. The chapter headings are etched by Adolphe Lalauze, and the subjects represent scenes from plays illustrating the costumes, manner, and appearance of the actors of Cibber's period, from contemporary authorities.

London, October, 1888.

LIST OF MEZZOTINT PORTRAITS.

NEWLY ENGRAVED BY R. B. PARKES. VOLUME THE FIRST.

LIST OF CHAPTER HEADINGS.

NEWLY ETCHED FROM CONTEMPORARY DRAWINGS BY ADOLPHE LALAUZE. Volume the First.

THE PREFACE.

Much has been Writ of late pro and con, about the Stage, yet the Subject admits of more, and that which has not been hetherto toucht upon; not only what that is, but what it was, about which some People have made such a Busle. What it is we see, and I think it has been sufficiently displayed in Mr. Collier's Book; What it was in former Ages, and how used in this Kingdom, so far back as one may collect any Memorialls, is the Subject of the following Dialogue. Old Plays will be always read by the Curious, if it were only to discover the Manners and Behaviour of several Ages; and how they alter'd. For Plays are exactly like Portraits Drawn in the Garb and Fashion of the time when Painted. You see one Habit in the time of King Charles I. another quite different from that, both for Men and Women, in Queen Elizabeths time; another under Henry the Eighth different from both; and so backward all various. And in the several Fashions of Behaviour and Conversation, there is as much Mutability as in that of cloaths. Religion and Religious matters was once as much the Mode in

publick Entertainments, as the Contrary has been in xxii some times since. This appears in the different Plays of several Ages: And to evince this, the following Sheets are an Essay or Specimen.

Some may think the Subject of this Discourse trivial, and the persons herein mention'd not worth remembering. But besides that I could name some things contested of late with great heat, of as little, or less Consequence, the Reader may know that the Profession of Players is not so totally scandalous, nor all of them so reprobate, but that there has been found under that Name, a Canonized Saint in the primitive Church; as may be seen in the Roman Martyrology on the 29th of March; his name Masculas a Master of Interludes, (the Latin is Archimimus, and the French translation un Maitre Comedien) who under the Persecution of the Vandals in Africa, by Geisericus the Arian King, having endured many and greivious Torments and Reproaches for the Confession of the Truth, finisht the Course of this glorious Combat. Saith the said Martyrology.

It appears from this, and some further Instances in the following Discourse, That there have been Players of worthy Principles as to Religion, Loyalty, and other Virtues; and if the major part of them fall under a different Character, it is the general unhappiness of Mankind, that the Most are the Worst.

A DIALOGUE OF PLAYS and PLAYERS.

Lovewit, Truman.

Lovew. Honest Old Cavalier! well met, 'faith I'm glad to see thee.

Trum. Have a care what you call me. Old, is a Word of Disgrace among the Ladies; to be Honest is to be Poor, and Foolish, (as some think) and Cavalier is a Word as much out of Fashion as any of 'em.

Lovew. The more's the pity: But what said the Fortune-Teller in Ben. Johnson's Mask of Gypsies, to the then Lord Privy Seal,

Trum. Ben. Johnson? How dare you name Ben. Johnson in these times? When we have such a crowd of Poets of a quite different Genius; the least of which thinks himself as well able to correct Ben. Johnson, as he could a Country School Mistress that taught to Spell.

Lovew. We have indeed, Poets of a different Genius; so are the Plays: but in my Opinion, they xxiv are all of 'em (some few excepted) as much inferior to those of former Times, as the Actors now in being (generally speaking) are, compared to Hart, Mohun, Burt, Lacy, Clun, and Shatterel; for I can reach no farther backward.

Trum. I can; and dare assure you, if my Fancy and Memory are not partial (for Men of my Age are apt to be over indulgent to the Thoughts of their youthful Days) I say the Actors that I have seen before the Wars, Lowin, Tayler, Pollard, and some others, were almost as far beyond Hart and his Company, as those were beyond these now in being.

Lovew. I am willing to believe it, but cannot readily; because I have been told, That those whom I mention'd, were Bred up under the others of your Acquaintance, and follow'd their manner of Action, which is now lost. So far, that when the Question has been askt, Why these Players do not revive the Silent Woman, and some other of Johnson's Plays, (once of highest esteem) they have answer'd, truly, Because there are none now Living who can rightly Humour those Parts; for all who related to the Black-friers, (where they were Acted in perfection) are now Dead, and almost forgotten.

Trum. 'Tis very true, Hart and Clun, were bred up Boys at the Black-friers, and acted Womens Parts, Hart was Robinson's Boy or Apprentice: He acted the Dutchess in the Tragedy of the Cardinal, which was the first Part that gave him Reputation. Cartwright, and Wintershal belong'd to the privatexxv House in Salisbury-court, Burt was a Boy first under Shank at the Black-friers, then under Beeston at the Cockpit; and Mohun, and Shatterel were in the same Condition with him, at the last Place. There Burt used to Play the principal Women's Parts, in particular Clariana in Love's Cruelty; and at the same time Mohun acted Bellamente, which Part he retain'd after the Restauration.

Lovew. That I have seen, and can well remember. I wish they had Printed in the last Age (so I call the times before the Rebellion) the Actors Names over against the Parts they Acted, as they have done since the Restauration. And thus one might have guest at the Action of the Men, by the Parts which we now Read in the Old Plays.

Trum. It was not the Custome and Usage of those Days, as it hath been since. Yet some few Old Plays there are that have the Names set against the Parts, as, The Dutchess of Malfy; the Picture; the Roman Actor; the deserving Favourite; the Wild Goose Chace, (at the Black-friers) the Wedding; the Renegado; the fair Maid of the West; Hannibal and Scipio; King John and Matilda; (at the Cockpit) and Holland's Leaguer, (at Salisbury Court).

Lovew. These are but few indeed: But pray Sir, hat Master-Parts can you remember the Old Black-friers Men to Act, in Johnson, Shakespear, and Fletcher's Plays.

Trum. What I can at present recollect I'll tell you; Shakespear, (who as I have heard, was a muchxxvi better Poet, than Player) Burbadge, Hemmings, and others of the Older sort, were Dead before I knew the Town; but in my time, before the Wars, Lowin used to Act, with mighty Applause, Falstaffe, Morose, Volpone, and Mammon in the Alchymist; Melancius, in the Maid's Tragedy, and at the same time Amyntor was Play'd by Stephen Hammerton, (who was at first a most noted and beautiful Woman Actor, but afterwards he acted with equal Grace and Applause, a Young Lover's Part); Tayler Acted Hamlet incomparably well, Iago, Truewit in the Silent Woman, and Face in the Alchymist; Swanston used to Play Othello; Pollard, and Robinson were Comedians, so was Shank who us'd to Act Sir Roger, in the Scornful Lady. These were of the Black-friers. Those of principal Note at the Cockpit, were, Perkins, Michael Bowyer, Sumner, William Allen, and Bird, eminent Actors, and Robins a Comedian. Of the other Companies I took little notice.

Lovew. Were there so many Companies?

Trum. Before the Wars, there were in being all these Play-houses at the same time. The Black-friers, and Globe on the Bankside, a Winter and Summer House, belonging to the same Company, called the King's Servants; the Cockpit or Phœnix, in Drury-lane, called the Queen's Servants; the private House in Salisbury-court, called the Prince's Servants; the Fortune near White-cross-street, and the Red Bull at the upper end of St. John's-street:xxvii The two last were mostly frequented by Citizens, and the meaner sort of People. All these Companies got Money, and Liv'd in Reputation, especially those of the Black-friers, who were Men of grave and sober Behaviour.

Lovew. Which I admire at; That the Town much less than at present, could then maintain Five Companies, and yet now Two can hardly subsist.