character. Taylor was his successor in the part, and might, even during the latter years of "Roscius," have played it when the other was indisposed. He is supposed to have been the original Iago, but after Burbadge's death he took Othello. The little that is known of the remaining actors enumerated in the folio would scarcely prove interesting reading. They were nearly all men of good position, who left behind at their deaths a very respectable amount of money and landed property. I cannot, however, omit a passing mention of another celebrated player of this period, who, although not concerned in the representation of Shakespeare's dramas, has been coupled with Burbadge by Sir Richard Baker as one of two actors "such as no age must ever look to see the like." Among other parts he was the original of Marlowe's "Jew of Malta," and "Tamerlane." In conjunction with Philip Henslowe, he built the "Fortune" in 1599, and, having accumulated considerable wealth, founded, as is well known, Dulwich College for six poor men and women, and twelve children. At first it was intended that the recipients of this bounty should be drawn exclusively from the theatrical profession, but it is said that the refusal of the pensioners to admit among them an old door-keeper of the theatre so disgusted the founder that he at once changed the conditions of the bequest. Since 1857 this charity has been entirely reconstituted. The revenue left by Alleyn was £600 a year; it is now £17,000. His excellences as an actor have been set forth by Jonson, who, comparing him with Roscius and Æsopus of Rome, says: "Who both their graces in thyself hast more Outstript, than they did all who went before; And present worth in all dost so contract, Heywood, in one of the prologues of the "Jew of Malta," speaks of him as— "Proteus for shapes, and Roscius for a tongue." One might be almost inclined to say that this was the golden age of acting as well as of the drama. There seems never to have been such a passion for dramatic entertainments as then; the art was thoroughly studied and understood, as how could it be otherwise under the reign of such dramatists as Jonson, Beaumont and Fletcher, and Shakespeare?* The actors lived in their fine old substantial city houses, or in grand country manors, such as Edward Alleyn inhabited at Dulwich, esteemed and sought after by the best people, and, if commonly prudent, dying rich and honored. Their worst enemy was the plague; while it raged, and that was pretty frequently, all theatres were closed, and they had to migrate into the country, which was not profitable. * Boys were regularly apprenticed to the profession in those days. Each principal was entitled to have a boy or apprentice, who played the young and the female characters, and for whose services he received a certain sum. We find in Henslowe's account an item for buying the services of one for eight pounds. Thus trained under great masters, it is not to be wondered at that they grew up to be such consummate masters of their art. CHAPTER II. THE CIBBERS. Colley Cibber, Wit, Actor, Playwright, and Poet-Laureate.-A Patriarch of the Stage, linking together two Great Eras.-His Career as Player and Author.-Theophilus Cibber's Name perpetuated in his Wife, one of the Great Tragedy Queens of the Time.-Colley Cibber's Daughter. Ir was malice alone, unmitigated by any show of truth or justice, that made Pope fix upon Colley Cibber as the second hero of "The Dunciad." Theobald might have deserved such a distinction, but there was no man of that day to whom the term "dullard" could be less appropriately applied than to the witty creator of Lord Foppington and Lady Betty Modish, to the author of "The Apology," of "The Careless Husband," the collaborateur of Vanbrugh in "The Provoked Husband," and one of the finest comedians of the age. Cibber is another instance of the remarkable longevity of actors; and as an extraordinary link, uniting far-sundered generations by a single life, he is second only to Macklin. He played with the great actors of the Restoration in their palmiest days, and lived to see Garrick in the zenith of his fame. He was born in 1671, in Southampton Street, Strand. His father, who was a sculptor and a native of Holstein, had come over to England previous to the Restoration: his handiwork may still be seen in the bassi-relievi on the base of the Monument, and in the figures of Raving and Melancholy Madness over the gates of Bedlam. His mother, whose maiden name was Colley, was of a good old Rutlandshire family. Neither in his youth nor his manhood was he a favorite with his associates; he had a mocking, jeering humor, which he confesses made him many enemies through life. He tried for a scholarship at Winchester, but failed. Already, however, he had conceived a predilection for the stage, and rather rejoiced in his failure. In 1690 he was admitted within the magic circle. He was known in the theatre by the name of Master Colley; after waiting for some time he obtained the honor of carrying on a message, in some play, to Betterton; but Master Colley was so terrified or so nervous that the entire scene was disconcerted by him. Betterton angrily demanded who the young fellow was. Downes, the prompter, replied, "Master Colley." Master Colley," replied the tragedian. has no salary," said Downes. down ten shillings a week and forfeit him five." And to this Cibber was indebted for the first money he ever received from his profession. "Then forfeit "Why, sir, he "No? Then put him There was at this time, and since 1682, only one theatre open in London; the Duke's company, which had formerly played at Dorset Gardens, had amalgamated with the King's company at Drury Lane, and the entire strength of the two corps, being united, formed, Cibber says, the most splendid combination of dramatic talent ever witnessed in this or any other country. Betterton, Montfort, Kynaston, Mrs. Betterton, Mrs. Barry, Mrs. Montfort, Mrs. Bracegirdle were only the emperors and empresses where all were kings and queens. Very small was the chance of tyros in such a company. The first part in which young Cibber made any success was the small character of the chaplain in Otway's "Orphan." "If he does not make a good actor I'll be!" cried Goodman, then retired from the profession. "The surprise of being commended by one who had been himself so eminent upon the stage, and in so positive a manner, was more than I could support; in a word, it almost took away my breath, and (laugh if you please) fairly drew tears from my eyes. I will still make it a question whether Alexander himself, or Charles the Twelfth of Sweden, when at the head of their first victorious armies, could feel a greater transport in their bosoms than I did then in mine, when but in this rear of the troop of comedians." As it has been before stated, there was but one theatre open in London. Monopolies, however, usually come to grief, and this was no exception; unparalleled as was the talent of the company, small as were the expenses-Betterton never received more than five pounds a week for himself and wife-the finances, whether from bad management or lack of public support, fell into disorder, salaries were lowered, and not paid even at the reduced ratio. To make amends, free benefits were given to the actors, which was the commencement of a theatrical institution that is only now on the wane. These gave noble and rich admirers the opportunity to present sums of money to their favorites, and Betterton is said to have realized over six hundred pounds by one such benefit. Nevertheless there were murmurings and dissatisfaction at this uncomfortable state of affairs, and the patentees adopted the high-handed course of taking away parts from some of the principals and giving them to inferior artists. Thereupon Betterton and Mrs. Bracegirdle seceded, and, appealing to the king, obtained a license to act stage-plays in the theatre in Portugal Street, Lincoln's Inn. This house had been originally a tennis court, and was converted into a theatre by Sir |