one in the vast hall was on a sudden seized with awe, united to a certain feeling of pleasure, as they observed a venerable figure in long robes, and with long white hair falling on each side of his agreeable and majestic countenance, gliding from the cutrance to the centre where the fileas were seated. He needed not to announce his name. Everyone felt that he was in the presence of Fionntuin, son of Eathoir. "Kings, chiefs, and men of learning," said the vision, "great is my joy to see this happy day, and behold so many of my kind on whose souls divine light so soon will dawn, and not only on them, but on all they rule within our seas. This light will come from one who is at hand, and to whom I leave the glorious task of instructing you in the heavenly scheme, which I only know in part, and which I am unfit to reveal. What I am permitted, I shall speak.' Then he proceeded in flowing words, while his hearers, with their hearts flooded with pleasure, sat en tranced, to announce that, before man was sent on earth, spirits created for happiness rebelled against the Master of sea, land, sun, moon, and stars; and that they were since that moment suffering pains not to be conceived. He then went on to describe the creation of man and woman, their pristine happiness, their fall through the wiles of the chief of the evil spirits, the after-wickedness of mankind, and the destruction (one family excepted) of the human race. The remainder of the oration chiefly related to the fortunes of the ancestors of those before him. He told of the preservation of letters after Babel; of the wanderings of the early Scots; and of their relations with Moses, when he was conducting the people of God from their thraldom. From the remainder of the discourse the fileas afterwards completed the full tale of their inscribed staves, soon to be changed for the characters introduced by Patrick and the rolls of vellum; and hence the perfect state of the annals of the Scots of Ireland, compared with those of all nations that see the sun rise and set. That evening, no fire or lamp was found burning through the length and breadth of the land, and all were watching in silence from the summits of the hills, in the direction of Teamor, for a tongue of flame from the next hill that lay between. Laeré, preparing to kindle the sacred fire in the great bawn of Teamor, whose flaming up was to set all the fires on all the hills in Erin ablaze, was dismayed on beholding, a small distance to the East, a lamp suddenly enkindled, and a man of a most attractive and venerable countenance gazing by its light on the leaves of an open book. This was the humble, the gentle, the fervent Apostle Patrick, who, being summoned to the Royal presence, preached the Word of Life. Small was his difficulty to turn the hearts of his hearers (the king excepted) from the practice of idolatry. The ground had been prepared by Finntan,and the seed sown by Patrick at once struck root, and soon the land was white with the Christian harvest. An indifferent person might naturally say here, "What charming picturesque histories of real occurrences there must have been in ancient Ireland! What variety! What force of local colour! What delightful dramatic situations must have been presented when we find such circumstantial and interesting narratives of what no one imagines ever occurred. Alas! the chronicles were of two classes, and that class which wrought with conscience have left only narratives as dry as chips. When many more manuscripts are edited, and some one connecting the delightful gossiping power of Herodotus and the discriminating judgment of Niebuhr, be born, many passages now considered fabulous will be accepted as historic; and we shall have a history of Ireland as fascinating, and at least as authentic, as those masterpieces left by Herodotus, Livy, and Macaulay. The writer of this paper begs to repeat his acknowledginents to Mr. Windele for access to his valuable MSS. VOL. LXV.-NO. CCCLXXXVI. 14 AN IRISH ACTRESS-ELIZABETH FARREN. PART II. original the scene lay amongst traders in London, and those traders of the lowest grade and most detestable manners, it will be conceived at once that in removing it to Portugal and making the characters noble, it was hardly possible to carry out more than the ad t." The traders of low degree to whom she alludes are both EARLY in 17×6, General Burgoyne's "Heiress," gave Miss Farren, for the first time at Drury-lane, an original part equal to her pretensions, Ludy Emily Gaylove. This play was repeated thirty times, to full houses, during that season, and was pronounced the best comedy since the "School for Scandal." It has little claim to originality, as the plot is bor-knights--the one an alderman, the rowed from Diderot's Père de Famille, and Mrs. Charlotte Lennox's Sister, condemned at Covent Garden in 1769, but the language is elegant and pointed. With much less merit to work with, the acting would have insured success. The cast included Miss Farren, Mrs. Crouch, Miss Pope, Mrs. Wilson, Messrs. King, Smith, J. and R. Palmer, Parsons, Bannister, jan., Aickin, and Baddeley. On the 15th of May, 1786, Murphy's “Way to Keep Him," was selected for the benefit of the Theatrical Fund, on which occasion Mrs, Siddons and Miss Farren appeared for the first time to ether as Mrs. Lor more at the Wilno, Belmour. For Kemble's benefit, in 1787, they also noted Ludy Restes and Beliile in " Ail in the Wrong. The walks of these two great actresses were so distires that opportunities seldom occurred of combining their attraction in the same play. In November, 17 6, Mrs. Cowley produced a comedy called "The School for Greybeards," in which the heroine was represcuted by Miss Farren, and the youthful lovers by John Ken,ble and John Falzer. It died after the first seas n, and is only mentioned here to record the cool effrontery with which the authoress guried over a pa'pable rob'cry of Mrs. Bein's “Lucky Chance," in incident, carater, and lan mage, bating only the girle en y which maproved manners wou'd no longer tolernte. A more decided literary theft was never perpetrated by an unölushing and wholesale plagiarist. She says in her preface: The top of the principal series was presented to me in an obsolete comedy; I say the idea, for when it is known that in the other a banker. It is rather curious that Mrs. Behn's play was hissed by a few fastidious auditors on the first night, for its palpable, and Mis. Cowley's for its supposed indecency, and that both ladies denied the charge in their prefatory remarks. In the latter case, the over-sensitive critics had certainly, as Addison says, sharp noses at an inuendo. Mrs. Cowley was a classic, and sometimes ventured on a Latin motto. She might therefore have read and understood what Cicero says of a literary pirate in his day, though she did not Chouse to apply it to herself: a Nazo vt sumpsisli multa, si fateris; vel, si Nej 18, arrij ni, "Fither you have ad pted many things from Nævius, if you coutess; or if you deny, you have stolen them.” Mrs. Cowley, for a lady of letters, made strar ge mistakes In another comedy she calls dracs an aristorrat, Sarely, if that grim personage be not an out-and-out leveller, who is ! In 17-7 and 1789 Miss Farren played a few nights at Leeds and York during the assize and race weeks, and drew crow led – houses, On a commaard by the Prince of Wal»«»«, during her second visit to the noth, the rea pts reached £107 108; a win at that time not often received at any theatre in Great Britain out of London. Tate Wa kinson speak sof her in these dateringterms: -“Miss Forren was he's in the highest esteem n York, both as an elegant, beautiful woman, and a charming actress, who received not only plaudits on the stue, but applause more listing from a docering list of persons of the first rank of both sexes, who daily paid their respects at the shrine of talent, combined with goodness; and what can be more properly attractive! In Miss Farren we behold not only a virtuous, sensible, and amiable woman, but that splendour of private worth made still more valuable by her chiefest pleasure and attention being employed in fulfilling the duties of a child, to render her mother's life truly happy." The compliment is laboured in expression, bu treads as if sincere in feeling. Perhaps Wilkinson found the fair subject not as liberal as she was attractive. Dramatic potentates and their exotic auxiliaries often fancy that each tries to overreach the other. The manager is apt to think that the "star" exacts more than the lion's share of the plunder; while the star inclines to view the manager as a three-handed as well as a three-headed Cacus, who levies undue toll on his or her fairlyearned honorarium and success. Tate Wilkinson says of Mrs. Jordan that she was an angel on the stage and in social intercourse, but a very Shylock in driving a bargain. On the other side, two of the most respectable of associated managers were familiarly misnamed Peachum and Lockit. But such suspicious and mistrusts are not confined to or characteristic of thentrical practice alone. Gay's satire is as sweeping as it is pungent. We hope for the honour of human nature that his view is coloured beyond the truth when he makes Jonathan Wild, thief and thief-taker, as Peachum, sing thus: "Through all the employments of life Each neighbour abuse, his brother; Jade and rogue they call husband and wife; All professions be-rogue one another: The priest calls the lawyer a cheat, The lawyer be-knaves the divine; And the statesman, because he's so great, Thinks his trade is more honest than mine." In 1759-90 Kemble committed high treason against the Bard of Avon, by reviving "The Tempest" with Dryden's monstrous interpolations, adding also a few of his own, and calling them Shakespeare's. The days of overwhelming decoration and machinery had not yet arrived, but the rage for mutilating the immortal text was still in all its deadly activity. This was Kemble's first sin in that wise, frequently committed again upon other plays, and scarcely atoned for by his truly classic illustrations of Brutus, Coriolanus, Hamlet, Lear, and Macbeth. The transformed "Tempest" commanded fifteen repetitions. Miss Farren contributed much to the success by her admirable and naive acting in Dorinda, an amusing, but utterly unjustifiable excrescence conceived by Dryden. How completely is the poetic desolation of Prospero destroyed by giving him any companion except the infant Miranda. On the 4th of July, 1791, the last performance took place at old Drurylane, Garrick's theatre, which was then pulled down to be rebuilt on the same site. Originally constructed by Christopher Wren, in 1674, it was worn out by long service, and had undergone several alterations and repairs; but no absolutely new theatre had been erected for one hundred and twenty years. Holland was employed as architect of the projected edifice, and in the meantime the company acted at the Opera House in the Haymarket. They opened on the 22nd of September with an incidental prelude, written by James Cobb. It was not printed, being so exclusively ephemeral, and applicable only to the occasion. Cobb, during twenty-four years continued to get as many dramatic pieces acted-all long buried in oblivion except "The Haunted Tower," "The Siege of Belgrade," and "Paul and Virginia," which are still alive, and have merit above par. His first theatrical effort was a prologue for Miss Pope's benefit, in 1773, which he sent to her anonymously. When submitted to Carrick, he praised it highly, and even suggested some slight alterations -a great compliment from one who piqued himself upon his skill in compounding prologues and epilogues. Poor Old Drury," Cobb's Prelude, had considerable humour. It was supposed to be represented by the actors in their own persons. Palmer and Barrymore began, and after lamenting the distresses of Wrighten, the prompter, gave a ludicrous description of the removal of the scenery from one house to the other. The ocean was washed away by a shower of rain, and the clouds were obliged to be transported under an umbrella. Alexander's triumphal car was smashed to An Irish Actress: pieces by a hackney conch at the corner of St. Martin's lane; and the jarvey, being bisaed for the accident, insisted that he was on the right side, and that Mr. Alexander, if he pleased, might take his number! Wighten next entered, bewailing his embarrassments, and his departure from old Drury. He was called for by a dozen at a time, who required his instructions as to what they were to do. A compliment was here introduced to Miss Farren. The call boy shouted out that Miss Farren wanted the prompter. "It can't be," exclaimed Wrighten; "everybody knows that Miss Farren never wants the prompter." Parsons then came on in a rage, and vowed he would never appear in comedy again. Tragedy was his vein, and the managers should not bully him out of it, as he was determined to be hard. Here he roared aloud; and Pullimore, from the gallery, called to him not to strain his lungs in bellowing like a bull, as he could hear him perfectly well. The audience, not understanding that this was a part in the piece, hissed poor Philmore,and cried, "throw him over," for what they considered an impertinent interruption. Wewitzer, as a French dancing-master, devoted to the classic models, propose that, according to the rul› of Monsieur Demostiene, action should be chiefly regarded; and therefore, that walle Parsons delivered the speech, he, Wewitzer, should embody the sentiments by conformable gestures, Upon this principle he o'geted to tie mail practice of starting at the entrance of the apparition, and insisted on the propriety of burung with grace and revence, as Hamit knows it to be the ghost of his paper' Tias prod:d roars of laughter. D'and came in as an Italian singer, declaring that nothing but opere should be performed in that place; and he and the French criti embraced fraternally, and retied, observing, that dancing and the opera should always go together, in contempt of sease and nature, Har lequin, and his usual pant ou mical associates, presented themselves, but were tod by Wrighten that there would be no employment for them, as the stering ment of the British dran a wond, for a season at leet, be_fuby sutlicicut for the entertain (Feb. ment of a British audience. Harlequin lamented his dismission, but thought he would soon be wanted, nevertheless, and gave the audience a parting proof of his magic power, He struck the scene, which rose, and formed a view of Mount Parnassus, with Apollo and other mythological deities. The Muses appeared in suecession, and the prelude concluded with a grand chorus. Searborough" was given, in which After a few nights, the “Trip to Miss Farren and Mrs. Jordan appeared together as Berinthia and↑ Miss Hoyden. Our heroine also acted Vibute to John Kemble's Don heavy illustration of comic jealousy, Flir. The latter must have been a But at Christmas, feeling the want of the usual pantomime, the managers were driven to a miserable substitute in the shape of a grand procession of the Hundred Knights of Chivalry, and the representation of a Medieval Tournament. This farrago was netel forty nights, and showed how little dependence could be placed on the "sterling merit of the British Drama," and the taste of the public. The two principal heroes fought on horse back, which was considered at that time a mighty feat. The large theatre in the Haymarket adapted for equestrian spectacles, but W.19 admirably not so well suited to the ordinary artists, who were obliged to elevate their voices beyond the natural pitch, in order to be Leard. In January, 1792, a tragedy was mentors crash, I would not begin she might depend on two flourishes previous to her entrance. At the rehearsal, during a scene of passion, she made an inordinate pause, and when all were in amazement lost, turned round with great state, and said, "Observe, Mr. Wrighten, I have stopped thus long, that you may remember at night the time I shall occupy in weeping!" When engaged in York, some time after, Wilkinson asked her what farce she would choose for her benefit, after the play: "Sir," said she, with a solemn stare, "why should I strike the anvil of my brain when there is nothing to hammer out I never murder my time in thinking of or witnessing such trash." But this strange being, with all her oddities, had merit both as an actress and a woman. In 1792 and 1793, the Drury-lane company, not being able to retain the Opera House, acted under their own patent at Colman's theatre, in the Haymarket. On the 3rd of February, 1794, a dreadful catastrophe occurred, Their Majesties having commanded "My Grandmother," "No Song, No Supper," and the "Prize," the crowd was so great at the pit door, when it was opened, that a gentleman was thrown down the stairs. The people pressing forward, others fell on him, and were trampled upon by those who were still rushing in. The groans and screams of the dying and maimed were heart-rending; while those who were literally treading their fellow-creatures to death, were unable, from the pressure behind, to recede from the mischief they were doing. The bodies were carried with all possible expedition to the neighbouring houses, and every means used to restore animation; but fifteen persons of both sexes were beyond recovery. Among the killed were Benjamin Ring, and J. C. Brooke, Esqrs., of the Herald's College. Nearly twenty others suffered material injury in bruises, broken arms and legs, some of whom survived only a day. This melancholy accident was not made known to their Majesties until after their return home. Since then no State visit was ever ventured upon at the little theatre in the Haymarket. The new Theatre Royal in Drurylane, which cost £120,000, being now internally completed in a most taste ful and elegant style, was opened on the 12th of March, 1794, with a grand selection of sacred music from Handel's works, commencing with the Coronation Anthem. The orchestra on the stage represented the inside of a Gothic cathedral. The house was crowded in every part. The first dramatic performance took place on the 21st of April, consisting of "Macbeth" and "The Virgin Unmasked." Long before the curtain rose the audience completely overflowed, to the disappointment of a much greater number than were gratified with a view of the superb spectacle which the house presented. It was the handsomest, the most commodious and complete theatre that had yet been erected in the British dominions. A prologue written for the occasion by General Fitzpatrick was spoken by Kemble. It turned chiefly on the fostering shelter which the freedom and tranquillity of this country give so happily to the liberal arts; and the erection of that theatre was properly represented as a monument to the genius of Shakespeare, more suitable "Than the proud pyramids' unmeaning mass." The tragedy was "mounted," to use a detestable modern phrase, with great magnificence of decoration, and some novelties in management. The Ghost of Banquo no longer exhibited his gashed throat, and shook his gory locks at Macbeth, in the banquet scene. The galleries condemned the omission, and shouted to Kemble, "What are you jabbering at an empty chair for !" They clamorously demanded the restoration of the timehonoured spectre, in all its familiar substantiality, and carried their point. Classical critics thought Kemble in the right, and approved of his "bending his eye on vacancy." We are commonplace enough to differ from them. Shakespeare certainly meant the ghost to Le there, and we think the situation less effective without him. Modern mechanical illusions, not known in 1794, invest the shadow now with awful solemnity. The traditionary high-crowned hats, the laced aprons, and comic dance of brooms by the witches, were most judiciously discarded. They were represented as preternatural hags, in mystical garb. Hecate's companion spirit |