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formed to night.”_" No, indeed! and why not?" -“Because he cannot bear Destouches."

“Gra. cious heaven! the piece is not Destouches’; the actors told me it was Sedaine's. The scoundrels always behave in this manner. The Emperor is right, he knows every thing. And now I recollect myself—Le Philosophe Mari,' not Le Philosophe sans le sçavoir,' is Destouches'. Well, such a thing shall never happen again. But what can we have to night?”_" The Emperor desires to have Le Tartuffe !'”_"• Le Tartuffe l'How can that be done? We have but very few actors' at Compeigne. I expect some this evening, but they will not arrive in time, and I have here no Orgon and no Cleanthes!"_" Never mind : let those two characters be omitted: I'll answer for it, the court will not perceive it." -" Very likely—but the Emperor !

But a thought just occurs to me. The players whom I expect will possibly dine at Senlis ; for as they were not to perform tomorrow, they will not hurry themselves: I will send for them, perhaps they might arrive in time by travelling post?" No sooner said than done! A chaise was immediately sent off on the Paris road, and with it a gendarme, who had orders

to inquire of all the vehicles he should meet, whether there were any actors in them.

The gendarme reached Senlis, and went from one ion to another, every where asking if any actors were there. Two travellers dining quietly together heard the question and dropped their knives and forks with affright. These were St. Phal and Grandménil, two actors of character and talent, but wbo were not great admirers of Bonaparte. On hearing the inquiry of the gendarme, they gave themselves up for lost. Their apprehensions were redoubled when the gendarme, after asking their names, desired them, without further ceremony, to step into the post chaise. They conceived immediately that they were to be conveyed to the Castle of Ham, and were not convinced of their mistake till they reached Compeigne, and were informed by the grand marshal that it had been found necessary to hasten their coming, because his majesty disliked “ Le Philosophe sans le Sçavoir," by Destouches; and “Le Tartuffe" (which he did like) must, in consequence, be performed. This explanation turned their fright into mirth, and every thing terminated to the gratification of all parties.


Philip Massinger, the immediate successor of Shakspeare, and second only to him as a dramatic poet, was often as majestic and generally more elegant than his master ; he was as powerful a ruler of the understanding, as the Bard of Avon was of the passions. . And yet, with such rare talents, Massinger appears to have maintained a constant struggle with adversity, and to have enjoyed no gleam of sunshine ; life was, to him, one long wintry day, and “ shadows, clouds, and darkness," sat upon it. There is a letter of his preserved, in which, he, with Field, and two or three others as necessitous as himself, solicits the loan of a few pounds, with as much humility and self-abasement, as if a mendicant asked alms. He was buried in the church-yard of St. Saviour's, Southwark, and it does not appear, from the strictest search, that a stone or inscription of any kind ever marked the: spot, where lies the dust of Massinger ; even the memorial of his mortality is given with a pathetic brevity, which accords but too well with the obscure and humble passages of his life. It simply states : “ March 20, 1639-40, buried Philip Massinger, a stranger."

THE HOUR BEFORE MARRIAGE.” This petit piece which was taken from Moliere's “ Forced Marriage” met with the following singular condemnation. When Mr. Shuter, in the character of Sir Andrew Melville, brought on two swords to demand satisfaction for Stanley's (Mr. Yates) refusing to marry his sister Miss Melville (Mrs. Mattocks); a candle was thrown upon the stage from the boxes as a signal of general censure, upon

which the curtain dropped, leaving the piece unfinished.


It is a curious circumstance, and one which strongly exhibits the revolutions of fashion, that the identical coat in which Garrick first played Fribble, in “ Miss in her Teens,” in the year 1747, and which was, at that period, the very height of foppery, should afterwards be worn by the representative of a grave, close, stock jobbing, money-loving citizen; yet such was actually the The coat of Fribble was the


dress in which Quick played Consol, in O'Brien's agreeable farce of “ Cross Purposes," in the year 1772 ; and which, such are the revolutions of


taste, did not appear more outré in the latter than in the former character.


The late Richard Russel, Esq. had a renter's share at Drury Lane Theatre, where he used to go almost every evening; and, notwithstanding his immense fortune, his penury was so great, that rather than give a trifle to any of the women who attended in the box lobby, to take care of the great coats, he used constantly to pledge his for a shilling at a pawnbroker's, near the Theatre, and redeem it when the performance was over, which cost him one halfpenny interest.


HAMLET excepted, it is doubtful whether any tragic character is more difficult for an actor truly to personate, than Macbeth. The following is an abstract of the account, which Tom Davies gives in his “ Miscellanies,” of different actors in that part-Betterton is celebrated in the Tatler, as being excellent in Macbeth ; but Cibber makes no particular mention of him in that character, which he acted to the very verge of life. Mills afterwards obtained it of Wilkes; but he was



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