DUBLIN, at the time when young Garrick arrived, was a city of many fascinations. Looking back now to its mimic king and queen, its court and courtiers, to its lords and ladies, who lived then in mean houses, in what are now the meanest slums of the city, to its music, its dancing and revels, it seems to resemble some of those delightful little German courts where an Elector or a Grand Duke reigned (and embarrassed himself), where travellers on the grand tour, like Wraxall, Nugent, or Doctor Moore, halted their chaise for weeks, and whence they could not tear themselves away. On the banks of the Liffey were none of the serious responsibilities of self-government; these were all looked after within the charmed circle of "The Castle." There was nothing, therefore, to disquiet or interfere with the lively round of pleasure, and a gay Lord Lieutenant, who was wealthy, eager for diversion, and extravagant in his tastes, was sure to stimulate yet further the passion of the town for amusement.

In this pursuit money was spent profusely. No wonder there was a constant stream pouring in of all that was titled, witty, or gifted in any way, and as there was plenty of money to reward those who could furnish amusement, everything that added to the charms of society, or to the attractions of the ball, concertroom, or stage, was irresistibly drawn Irish capital. Wealthy English

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dukes and earls, holding court at the Castle with ministers, privy councillors, chaplains, body guards, pages, musicians, and nearly all the incidents of royalty, were glad to ask over their titled friends and connexions, whose presence added to the attractions, and who often married into the greater Irish houses. No wonder that under such encouragement, that wonderful Irish stage should have flourished, and have furnished the British drama with a roll of names unsurpassed in any age or country.

The taste for music at that time was far in advance of the age-was as eager as it is to this hour in that city. Even now, when the Italian opera opens, there is festival time. The galleries fill to suffocation. Verdi and Gounod and Beethoven are listened to with delight, and applauded by unwashed hands, and the prima donna is drawn home to her hotel in a crowd of torches. In Garrick's day, a French tourist-quoted by Mr. Gilbert--found Corelli played and sung in every house. There was a philharmonic society, a royal academy of music, long before the London institution was dreamed of-a New Music Hall in Fishamble-street, another in Crow-street, a band of state musicians at the Castle, with a conductor of state music, a composer who wrote the "birth-day odes." pretty bit of homage was paid to St. Cecilia's Day, when their Graces went

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in state to the Cathedral, with all the court and nobility, and a great old organ there, with a large orchestra, led by Dubourg, pupil to the famous Gemimiani, played anthems and cantatas of Handel and Dr. Arne and the popular Corelli, to the delight of the charming Mrs. Delany. There were brilliant ridottos under the same patronage; there were Mrs. Hamilton's and Mrs. Walker's Assemblies; and, finally, just before Mr. Garrick arrived here, was Mr. Handel, with his " Messiah" and his oratorios, drawing the whole tide of fashion to the New Music Hall, and causing a frantic furore for oratorio music as has never since been equalled.

In Aungier-street, not very far behind the Castle, was the Theatre Royal, where the charming Mrs. Cibber had drawn audiences and admirers, and received such tokens as made her write afterwards to Garrick that "her love to Ireland was as great as his could be, and she always thought with respect and gratitude of the favours she received there." There was Mr. Stretch's Theatre, in Capelstreet, an inferior place of amusement; and there was the New Theatre, in Smock-alley (a racy and significant name), built but half a dozen years before the manager of which, Du Val, had engaged Garrick. Smock-alley was a miserable little lane, close to the river, and wide enough for only one carriage to pass. A fragment of the old theatre is still shown, forming part of the rere of a chapel; but there are plenty of ancient houses lining the alley, old as the old theatre, as may be seen from the stone "jams" of the windows--whose tenants were, no doubt, kept awake by the block and entanglement of carriages trying to get away by the Band-quay," instead of by Fishamble street, and by the shouts of the "footmen with flambeaux." Thus the Castle of Dublin lay exactly between two theatres, and within easy distance of each.

With Mr. Handel, at his Abbeystreet lodgings, heaped with money and honours, with Quin and the fascinating Cibber at the Theatre Royal, drawing great houses, it did seem to be an inappropriate time for a new attraction. But the manager had not miscalculated. On Monday, the

3rd of June, 1741, Mr. Handel gave his final performance of the "Messinh." On Saturday, the 12th, the approaching arrival was, considered of such importance that a paragraph was seen in the papers that Mr. Garrick was "hourly expected from England." The news of the English furore had travelled on long before him, and everyone was eager for some notion of the Goodman's fields' triumphs. The party did not come on Saturday; but on Sunday morning Mr. Garrick, Miss Wothington, and Signora Barberini, a dancing lady, arrived from Park-gate, Chester, by the packet.

There had been “relâche” at the theatre for some time. Mrs. Furnival had been playing in the “Careless Husband;" but such attraction was weak as against Mrs. Cibber. The company had now set off for Carlow, to act during the races. But there were other recruits. Gifford had come, and, two days after Garrick, arrived Delane, “the celebrated actor," who was to play at the rival theatre,

A Signora Avoglio, an Italian singer, had been announcing her last "concert of vocal and instrumental music," at the Music ball, Fishamblestreet, on the Wednesday following, for a long time before, but the first result of the new arrival was to tell upon her. The poor Italian lady could not struggle against the attrac tion of the new performers, who had fixed their opening performance for the same night. It was not surprising, therefore, to read: “N.B-The above concert is put off on account of the players' arrival from England who perform that night, and have given up the Wednesday following to Signora Avoglio for her performance.”

Margaret Woffington had been already the delight of the town. She had enchanted it by her gay and dashing acting in pumps and hose, as Sir Harry Wildair. From Smockalley to Fownes'-court, or George'slane, where she had acted in a Liliputian corps of children under Madame Violante, was but a ten minutes' ride in a chair. She was now "to open" on the Wednesday in this famous and popular character, while Garrick was kept over until Friday, in the great part of Richard. “On Wednesday next," it was to be read

in the journals "at the theatre in Smock-alley will be acted a comedy called the Constant Couple, or a Trip to the Jubilee.' The part of Sir Harry Wildair, by Miss Woffington." This shows how great was her single attraction.

The tradition of Garrick's success on the Friday reached the historians of the Irish stage. But unhappily no details were preserved. None of the papers were in the habit of giving criticisms or notices of performances at the theatres, but it is mentioned that many more were turned away than were admitted. The theatre was not unworthy of the young actor. It was built on the best principles then known; was spacious, and remarkable for the excellent opportunities it afforded for seeing and hearing.

The new Dublin theatres, too, boasted of a modern improvement which the London did not at that time enjoy, a spacious box room or saloon, "richly ornamented," where the company waited after the play was over, chatting and seeing each other until their carriages came up. They had boxes, "lattises" (which were the same as the London "green boxes,") pit, and two galleries; and on this night boxes, "lattises," and galleries were crammed. So, too, must have been the stage, which was often oddly enough crowded with strangers, who were scarcely to be distinguished from the performers. The Lord Lieutenant, the Duke of Devonshire and his Duchess were unfortunately in England at this time, so that he could have enjoyed no court attentions.

On the Monday following he made his second appearance in the "Orphan," with Mrs. Furnival as Monimia; while on the Tuesday, with something like desperation, Delane came on with his reading of "Richard." Every day the new actor's reputation increased, and there was a growing craze to see him in new characters. The poorer classes were at this time suffering great distress, and the heats during the month of June were more than usually oppressive. A sort of epidemic which arose from both these causes was fancifully set down to the overcrowded houses, and was long recollected as the Garrick fever.

His benefit was fixed for Thursday, the 24th, when he first astonished a Dublin audience by his favourite combination of deeply tragic and broadly humorous characters on the same night. "King Lear" was chosen at the particular desire of several persons of quality, with the "Lying Valet," also by desire, after it. Margaret Wothington played Cordelia, and was announced in the bills as Mrs. Woffington, a change which she had brought from London. On the first night she had been announced as Miss Woffington, and it is curious that she should have insisted on the same change being made at Covent Garden only the year before.

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The city was at this time full of persons of quality," with dramatic tastes, so that the particular desire may be assumed to have been expressed to the actor personally. He must have been overwhelmed with civilities and attentions, when we think such were heaped upon Tate Wilkinson, and others of a far lower stamp who came later. He went through all his round of London characters, playing in the Busy-Body," the "Fair Penitent," in "Love makes a Man," taking the character of Don Dismallo ThickScullode Half-Witto,the "Rehearsal," and "Old Bachelor." The Lords Justices, who were the Primate, Lord Chancellor, and Speaker, went in state to see the "Busy-Body." His second benefit was on the 8th of July, with "Richard," but presently he had to submit to a companionship which he would not have tolerated a little later, namely, playing the "Fair Penitent,' supported in an after-piece by M. Delamain, of the French opera, in such foolery as the following:- Act I. the Grecian Sailor; Act II. the Wooden Shoe Dance; Act III. the Old Woman with Pierrot in the Basket," &c. He also played Master Johnny the School-boy in the farce of the same name.

But his engagement was drawing to a close. On the 2nd of August the "Constant Couple" and "Lying Valet" were announced for the last time. He himself was to have another and final benefit, for which it was said he had selected the "Fair Penitent," but there was a natural curiosity to see him in a far more popular play. He had, indeed,

appeared as Hamlet in the little provincial towns, but that was under the name of "Mr. Lyddard." No important audience had yet witnessed his personation of the Danish prince, and he now resolved to try Hamlet for the first time before the Dublin public. He issued on the Saturday morning a curious personal

announcement :-

“MR. GAKRICK thinks it proper to acquaint the town that he did not take the "Fair Penitent" as was given out for his benefit, that play being disapproved of by several ladies and gentlemen, but by particular desire deferred it till "Hamlet" could be ready, which will be played on Thursday next, the part of Hamlet by Mr. Garrick, Ophelia by Mrs. Wothington."

Mr. Garrick's last benefit with so familiar a play was sure to have drawn an overflowing house. He was carried through the part by an immense deal of enthusiastic applause. Some points, however, were criticised, and, perhaps, objected to, as usual. It was observed," with some astonishment," that on the entrance of the Ghost, Hamlet remained silent for some moments as if stupefied with horror, so much so that it occurred to a few that the assistance of the prompter was required, whereas, "angels and ministers of grace," it was thought, should have been a sudden exclamation on the very first appearance of the spirit. But Mr. Garrick's pause kept the audience in a strange suspense and puzzle. The actor, too, had followed a bit of conventional by-play in drawing his sword, when Horatio wished to detain him, and following the Ghost round the stage, until it says, "I am thy father's spirit," when, with a very respectful bow, he put up his sword, as though his turning out to be a spirit who "could be depended on" quite aitered the case. Oddly enough, he left out the directions to the players, which excited some remark. But the most characteristic criticism was that upon his pronunciation. There is a popular Irish pronunciation of the letter a, which is, indeed, founded on harmony and good sense, supported by the custom of most foreign countries, by which the maide Cato je inate to sound wae ” Carto Waen tratrick, 1refore, began to declaim' matron"

instead of "martron," appayle" instead of "appal," "Horatio" instead of "Horartio," and, above all, "wind ' instead of "wynd," sensitive Irish ears were offended. It was considered however, a wonderful perfor mance, full of beauties, especially the scenes between Hamlet and Ophelia, and Hamlet and the Queen. In short, as an able critic who wrote to him anonymously two days after the performance, in a short time he would be "the best and most extraordinary player that ever these kingdoms saw.' It was noted, too, that he came on without being "attended by music,” which was always an accompaniment of the traditional "Hamlet; and further, what was remarkable and almost courageous behaviour in the year 1745, that he left out every word that could shock a modest ear.

It was hoped that he would play Hamlet again, but he performed it only once. Walker, the original Macheath, had now arrived from Covent Garden, and his aid enabled them to bring forward "The Recruiting Officer," with a "strong east." Kitely was taken by Walker, Silvia by Woffington, and Plume by Garrick. This was for the Thursday after the "Hamlet" Thursday, and to the notices was appended a significant “N.B.-This is the last time of Mr. Garrick, Mrs. Wollington, and Signora Barberini's performing, during their stay in this kingdom." Finally, on the Monday following (Aug. 23), a sort of dramatic travelling party-Garrick, Delane, Dr. Arne (Mrs. Cibber's brother, who had come over to give concerts), and Mrs. Cibber--set off together from Dunleary Harbour and embarked for England. Peg Wollington, it would appear, remained behind, and most likely sailed with the Smockalley company, who set off the next day for Liverpool, to play during the Preston Jubilee. Thus ended the first Garrick visit, which had now lasted a few days over two months, and it was long remembered. After his departure came a perfect theatrical langor and prostration.

Later on in Dublin the Latuous Lord Chesterfield was reigning. Hebadlaid himself out to conciliate the people by something like a parcial government, ata to dazz e the expriai by ʼn serios of brant shows. The Irish Cont seemed to gitter a.ch. There were

new amusements devised, and every amusement was under the patronage of the Earl and Countess of Chesterfield. There were new rooms made at the Castle, designed by the elegant taste of the Lord Lieutenant himself, and in these rooms were gorgeous festivals on birth-nights, when Lady Chesterfield appeared in rich Dublin poplin, and every lady strictly followed her example. Here was given the superb fête, where the "long gallery" was laid out with a series of what seemed little shops, where sweetmeats and rare wines were served, which was lit up by transparencies, as by moonlight; and where the guests walked to the sound of soft and exquisite music, coming from unseen flutes and other instruments, and where at each end fountains of lavender water played abundantly. The witty Earl's witty sayings to ladies of his Court went round. Pope's famous verses on the two dull lines, by Stanhope's pencil writ," were copied into Dublin newspapers. Those journals, indeed, and notably George Faulkener's, put forward, now and again, some versified adulation, in the shape of addresses to Hibernia on THY STANHOPE," in which he was magnified extravagantly.

In the interval the state of theatres had become rather deplorable, and sad disorders grown up. A sort of licence among the audience had been encouraged by the management, and by allowing the public to behave as they pleased in the theatre, the check of respect and decency had gradually been lost. The boxes and pit were deserted, while the stage was crowded, and the "Twopenny Gallery" became the scene of brawls and riots between "the footmen" and the mob. In this demoralization Sheridan was invited to become manager, and attempt a reform; and having remodelled scenery and scenic effects, and brought about something like order, determined to play boldly, and as the first card he was to play, thought of engaging Garrick.

Two years before, when he himself was free, some such idea had been in his head, and he had hinted a rather conceited proposal to Garrick of their playing alternately in London and Dublin-" dividing the kingdoms" between them, for he was con

vinced that Dublin was as well able to pay one actor for a winter as London was. They were to be like the two buckets in a well, said Mr. Sheridan. But this was based on the vanity of supposing that both buckets were of equal strength and weight; and the difference Sheridan was to discover later, by the sure test of thin houses and empty boxes. It is not surprising that a quarrel, or coolness, should have come later.

As a manager, his interest helped him to forget this estrangement. Garrick had gone to Bath with his friend, Colonel Wyndham, and there received Sheridan's letter. It was a most singular and characteristic proposal. Having heard, he said, that Garrick wished to pay a second visit to Ireland, he wrote to inform him that he was now "sole manager of the Irish stage" (!), and that he would give him "every advantage and encouragement that he could in reason expect." The basis of this agreement was to be a division of profits; and he frankly warned him to expect nothing from friendship, or, indeed, anything more than an actor could in strict right require. No wonder that Garrick, on this almost hostile invitation, should turn to his friend with, "This is the oddest letter I ever received in the whole course of my life." Colonel Wyndham said it might be odd, but that it was fair, open, and honest, and he advised him to accept. Rather uncertain as to his plans-for the London theatres were in sad confusion-and himself inclining in that direction, he took his friend's advice, and accepted.

He went down first to Lichfield, it may be supposed to see his family, and he determined to go on from thence to Ireland, without returning to London. This resolution seemed to hurt his friend, Mrs. Cibber, who thought it against his interests, and a little against the interests of friendship. With a break-up in theatrical matters so imminent, it was well to be on the spot. She would have been glad, wrote this engaging woman, to have had but two or three hours' conversation with him before he left. Garrick, we may suspect, was growing a little fatigued with this "friendship;" but wrote some handsome but routine compliments, saying that she was of the