else: the Actors joined their voices to that of the Public, who never saw him in this part without a degree of approbation."

When this play was cast about the year 1706, Wilks played Jaffier; Mills, Pierre; and Mrs. Rogers, Belvidera. This Actress, after standing out a long siege of amorous courtship from Wilks, at last, "to save his life," says Cibber, yielded up the fortress; and the issue of this intrigue was a daughter, afterwards married to Charles Bullock, by approbation of Wilks. However ardent Wilks's passion for Mrs. Rogers was, it proportionally cooled; and the lady's temper not readily submitting to this, produced much bitterness and disagreement. They were, however, obliged of ten to play the lovers on the Stage, and particularly the parts of Jaffier and Belvidera, in which there are scenes of as much tenderness as in any play upon the stock list. Wilks bore up the character of the lover with much seeming: but, (if we can rely upon contemporary writers) Mrs. Rogers was so incapable of stifling her resentment in the embraces which she gives Jaffier, that she ever and anon" left visible and bloody marks of her jealousy. This, however painful to Wilks, was sport to the audience; and to behold this strange perversion of courtship, where love was turned into spite, and jealous rage took place of Cc 2 conjugal

conjugal embraces, the play, for this reason, was much frequented.

The finest representations of Jaffier and Pierre, during the course of the last century, were Betterton and Smith; the first of whom, says a contemporary writer, "possessed such tenderness, friendship, and love, conflicting with such rage, tenderness, and remorse, as exhibited the character in the most pathetic and impressive manner. Smith's person in Pierre was grand and commanding, with all the advantages of a fine, manly voice, and great theatrical talents. The audience always felt the force of the character given of him by himself,

"A fine, gay, bold-fac'd villain, as thou see'st me,"

as well as Bedamor's compliment,

"The Poets who first feigned a god of war,

"Sure prophecied of thee."

The figure and manners of the Actor represented the character of the Poet so truly, that both were in unison, and consequently reflected reputation on each other.

Wilks and Mills succeeded them with considerable reputation-To them Delane and Garrick. Garrick's

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Garrick's Pierre ('bating his person, which could never correspond with the Poet's description) was a fine, manly performance, and must have greatly eclipsed the Jaffier of Delane; and for this reason he was fond of the part; but the moment Barry appeared in Jafier, he declined Pierre. His friends pressed him to know the reason of it. To which he replied, "I will not bully the Monument." Here Roscius acted with his usual Stage prudence: Barry's commanding height must not only have diminished the person of Garrick; but his exquisite performance of the part, through all the scenes of rage, tenderness, and distress, must have thrown him in the back ground; and to a man of Garrick's universal great talents, this could not be either prudent or agreeable.

To them succeeded Powell and Holland. The former, undoubtedly, had considerable talents in parts of love and tenderness, like Jaffier; and whilst he could make way to the heart, was always sure of applause; but having no judgment equal to his pathetic powers, he failed in particular passages.

Holland's Pierre was respectable: indeed, he was so in all the rough manly parts of Tragedy and Comedy; but his study of Garrick, without having a portion of the divine fire of his original, rendered him, at times, stiff and mechanical. However,

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However, both these performers made the Tragedy of Venice Preserved very popular, and deservedly so.

Henry the IVth.

Upon Drury Lane Theatre assuming the firm of Cibber, Wilks, and Booth, the last-mentioned performer played Henry to Wilks's Prince of Wales; and both, as we have before observed, obtained great reputation in their respective parts. To them succeeded the elder Mills in the King, and his son in the Prince of Wales. The first had a considerable deal of merit in this part, from a liberal study of Booth, and an easy, dignified deportment of his own; but the son was a mere copier of Wilks, which, to those who did not see the original, appeared respectable. But mere

copyists, laying no claim to original talents, have but a secondary reputation, and are always considered as little better than rank and file men in the catalogue of Actors.

It is rather singular, that Henry the IVth was the last part which Mills played: he was taken ill a few days after he acted it; but not so bad, but that his name was announced in the bills for Macbeth. He, however, died on the morning of that day, (November 1736.) The Manager had not

time

time to alter the play, so Quin was obliged to supply his place. "I saw him," says Davies, hurrying to the playhouse between five and six on that evening for that purpose.

Milward was the successor of Mills in Henry, and was, in the pathetic parts, allowed his superior. His countenance was finely expressive of grief; and the plaintive tones of his voice were admirably adapted to the languor of a dying person, and to the spirit of an offended, yet affectionate parent.

Though Garrick's figure did not assist the personification of this character, the forcible expression of his countenance, and his energy of utterance, made ample amends. To describe the anguish, mixed with terror, which he seemed to feel, when he cast up his eyes to heaven, and pronounced these words,

"How I came by the Crown, O God forgive me!"

must ever be remembered by those who were present, with a feeling as difficult to describe as it is to forget.

Garrick taught Powell to play this part; and, as far as his feelings went, he was very impressive; but those who compared him with his great original,

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