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able; for though he would ride before sometimes, this once understood, and submitted to, every thing was conducted with liberality and propriety. His daughter, he rather educated above the par of his fortune, or expectation; but as he designed her for the stage, this may be his excuse. Nothing was spared to accomplish her in the highest degree-music, dancing, French, Italian, &c. insomuch that it appeared, on his bankruptcy,.no less a sum than twelve hundred pounds had been expended on her education. She had talents to imbibe these instructions with advantage to herself in her profession; which, indeed, were her principal advantages; as her natural genius for the stage, independent of these qualifications, was not alone sufficient to give her any considerable rank in the theatre.

"His conduct to his son deserves particular notice; as he not only took care to give him the best education in his power, to fit him for the many situations which the versatility of the boy's temper led him to, but constantly added the best and most forcible advice relative to his moral character. Speaking of Macklin as a man, there is nothing which points out his innate character more, than his letters to his son on this subject. They are not the letters of a man writing with a view to aggrandize himself or family; they do not consist, either in the frivolous exteriors of education, or the saws and subtleties of mere worldly prudence, or with a view to the parade of literary abilities they are the warm effusions of his

own heart, appreciating the high value of moral character; and he inculcates this leading principle with all the authority of his long experience with the world, and the anxious solicitude of a tender, benevolent father.

"The world has, from time to time, been presented with letters on various occasions; many of which, though written by men of genius and integrity, smell more of the lamp than the heart; and are relished more, as the productions of a scholar, than the man of long experience. But if all the letters which Macklin wrote to his son and daughter, were properly collected and arranged, we have no doubt they would be found a very useful and entertaining volume. They would tell us, what few men from themselves are privileged to tell us, the many temptations which attach to the inequalities of life-the miseries of poverty, and the vices which sudden and high fortunes are subject to. They would calculate for us the value of time, the riches of health and industry, the pride of independence, the calamities and contempts which follow prodigality; and, above all, the grand secret of being useful and conciliating to our fellow-creatures. From what we have seen of these letters, and from those which we have heard to be in the late miss Macklin's possession, we have a right to expect these benefits, as well as to conclude, they might more strongly inculcate this useful and never-to-be-forgotten maxim, That honesty is the best policy.'

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ANECDOTES of SPRANGER BARRY.

[From the same.]

ARRY was born on the 19th of November, 1719. He was descended from a genteel family, who long resided in the vicinity of Dublin; but as his parents could not afford to give him an university education, after having gone through the grammar-school, and the ordinary course of English literature, he was bound apprentice to a silversmith in Dublin; and soon after he was out of his time, married a lady of decent fortune in that capital, and set up on his own account. It is in vain, however, to circumscribe nature; with such a number of concurring qualities for the stage as Barry possessed, the dull entertainment of a shop, with the still more insipid detail of mechanical profession, (with what ever lucrative advantages they were attended,) could not long retain him in that situation. A very few years settled the account of profit and loss in the silversmith way; and as a new business was to be chosen, the stage, which before had engaged a considerable part of his attention, now engrossed him solely; and in the winter of 1745 he made his debut in the character of Othello, under the management of the late Mr. Thomas Sheridan.

"The state of the Irish stage before Mr. Sheridan's management had been at a very low ebb.Whilst Ashbury and Elrington were managers, it supported a considerable degree of credit; but after their death, matters were so ill directed, and so much under the government of chance, that few

performers of any eminence were even so much as sought after; and dramatic performances, of course, till about the year 1740, were sunk into the lowest contempt.

"Sheridan, who took the management a few years afterwards, remedied these abuses with that zeal and ardour which he was well known to possess in all literary and scientific pursuits. Born a gentleman, and educated at Trinity col lege, Dublin, he laboured to ren der the profession he had chosen as respectable in the eyes of the world as he could. He was countc. nanced in this by all the old friends of his father (Dr. Sheridan) and Swift; whilst the members of the college, with that esprit du corps for which they ever distinguished themselves, rallied round him as his principal supporters.

"Othello, as we before observed, was the character Barry first appeared in; and never did a young actor, perhaps, shew such judgment in the choice of a part. The harmony of his voice, and the manly beauty of his person, spoke him alike the hero and the lover; and those who before doubted of the poet's consistency in forming a mutual passion between such characters as the black Othello, and the fair Desdemona, were now convinced of his propriety. They saw, from Barry's predominant and fascinating manner, that mere colour could not be a barrier to affection; and they united in opinion with the heroine of the play, of seeing

Othello's visage through his mind.

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"In short, so much did Barry establish his reputation as an actor in this and some other subsequent parts, that Garrick, who was then playing in Dublin, and at the same theatre, wrote over several letters to his friends in confirmation of his uncommon talents; and in one particularly described him, as the best lover he had ever seen on any stage. Lacy likewise was in Dublin at the same time, upon the recruiting service for Drury Lane, the patent of which he had just obtained through the favour of the duke of Grafton*, and imme. diately engaged him at a very considerable salary for the next season.

"It must be confessed, that the Irish stage shone with unrivalled lustre at that period; and it brings an incontestable proof of the sterling merit of Barry, that he could, at once, start into such high reputation amongst such a cluster of celebrated performers. Victor, who was present at several of those performances, speaks highly of the infinite pleasure they afforded him; particularly in the Fair Penitent, where Garrick acted Lothario; Sheridan, Horatio; and Barry, Altamont. To see them all now in one play (says he many years after this period) would be a pleasure 'greatly to be envied.'

"On Barry's arrival in London, he was introduced to Macklin, whom Lacy had engaged at the same theatre, and who, as we be fore observed, had given many proofs of his being a good preceptor. It is true, nature had been so lavish to Barry in figure, voice, and manners, that he wanted little as,

sistance from art; yet this assistance is necessary to the sublimest genius; even Shakespeare felt its benefit, as we are to ascribe some of the most finished of his pieces to that period when he was better acquainted with the principles of his profession. Macklin offered his services to his young countryman with a zeal well known to be congenial to his temper, viz. to lower his old adversary Garrick, who had just listed under Rich at Covent Garden; and as this veteran of the stage not only knew his art scientifically, but was likewise well acquainted with all its finesse and dexterity, there is every presumption to believe that Barry benefited by his precepts.

"Barry's task was critically arduous. With very little assistance in his line of parts but himself, he had to contend with an actor who was generally esteemed by far the first of his day, and who, beside this, had the warm support of his countrymen, naturally inclined to be partial in objects of national competition. With these advantages against him, he, however, took the field; and though justice obliges us to decide that Garrick was the best general actor of the two, as well as the best general, yet in particular characters, we have no hesitation in pronouncing Barry his superior. There are not many now living who remember both these extraor dinary actors in the meridian of their powers; but to those few we appeal, whether in Othello and Jaffier, Castalio, Essex, Orestes, Romeo, &c. Garrick could equal him: in short, in all the scenes of

Lacy is said to have attracted the notice of the duke of Grafton, by attending his hunting parties, riding with uncommon spirit, and having always, when opportunity offered, some elegant and savory refreshment to offer to his grace. These qualities, it is said, produced an intimacy, which smoothed his way to the patent. C3

love

love and domestic tenderness he stood alone; but in the blended passages of rage and heartfeit affertion, (such as in several passages of Othello,) he can only be remembered with enthusiasm.

"But a competition of a more particular nature soon offered itself in the rival representation of Romeo and Jullet. In the infancy of Garrick's management, he revived this favourite play of Shakespeare's, which had lain upon the shelf for near eighty years, and very properly appropriated the principal parts to Barry, Mrs. Cib. ber, and Woodward; and the revival deservedly met with the greatest applause. But in one of those revolutions which take place in theatrical affairs, Barry, disgusted with being under the controul of a rival, who certainly had it in his power not to shew him fairplay, revolted to Rich, and brought with him Mrs. Cibber, reinforced by Quin, Mrs Woffington, and others. These formed a grand opposition; and as the tragedy of Romeo and Juliet had so lately brought overflowing houses to .Drury Lane, it was one of the first plays seized upon for representation at Covent Garden; and no doubt a skilful manœuvre in turning the enemy's cannon against

themselves.

"Garrick appeared, however, not to be discomfited. What he wanted of the lion's skin in the combat, he endeavoured to lengthen out by the fox's tail: he therefore concealed his design of opposing them play to play, whilst he secret ly studied the part of Romeo him self, and instructed miss Bellamy, then a rising young actress with promising powers, in the character of Juliet. Seemingly secure of no opposition, Rich announced the

night of representation; whilst Garrick, equally ready to take the field, suddenly called the public to the same entertainment on the same night at Drury Lane. The matter was now at issue, and the public were to judge between the merits of two of the greatest actors of their day.

"This tragedy ran so many nights at both theatres, that, al though it was admirably acted, the repetition began to disgust the town, as they found they were put under the necessity of sacrificing their amusement to the jealousy of rival actors. They expressed their resentment in many squibs and paragraphs, which have been long since consigned to oblivion, except the following, which it is thought Garrick wrote himself, in order to get rid of a contest, which he was sensible he had the worst of, both in fame and profit:

'Well, what's to night?' says angry Ned,
As up from bed he rouses;
Romeo again!' and shakes his head;

Ah! pox on both your houses!' "Accident, however, put an end to this controversy. After twelve successive nights, Mrs. Cibber's strength failing her, another play was obliged to be given out; which Garrick taking advantage of, had the parting blow, which he closed with a diverting epilogue, spoken by Mrs. Clive.

"Parties were much divided about which of the Romeos had the superiority; but the critics seemed to be unanimous in favour of Barry. His fine person and silver tones spoke the very voice of love. The lover was likewise his predominant character in private life; whilst Garrick wanted these requisites, at least in that eminent degree. The Drury Lane hero (said they) is the mo dern, the Covent Garden hero the 'Arcadian

• Arcadian wooer ;' and, indeed, those who saw him in the several tender interviews with his beloved Juliet, (even many years after this contest,) must confess he was the Romeo which Shakespeare drew.

"In this dispute the friends of Garrick often wanted to compromise it, by giving Barry the superiority in the three first acts, and Garrick in the two last; and some of them supported this opinion, by frequently leaving Covent Garden in the middle of the play, to see it finished at Drury Lane, But this finesse did not succeed. Romeo's meeting with Paris in the tomb scene, and his last interview with Juliet, were as fine specimens of Barry's abilities as any in the course of the play. But what seems to decide the superiority now, better than any speculation at that time, is this, that Barry was a favourite Romeo with the public whilst he had any remaining powers of health and juvenility; whilst Garrick, with his usual prudence, gave it up for life after this contest. "In King Lear (which was likewise a bone of contention between the rival performers) Garrick, however, had the advantage; for though Barry was very impressive in some passages, Garrick's was a finer study, and a more perfect general ex hibition. The best judges of that day thought so, as appears by the two following epigrams, which were much talked of at that time.

On the two Lears.

The town has found out different ways
To praise the different Lears:
To Barry they give loud huzzasz
To Garrick only tears.
Ano:ber.

A Kingnay, every inch a King 3
Such Barry doth appear;
But Garrick's quite a different thing;
He's every inch King Lear,

"For twelve long years did Barry meet his antagonist in the tented field, wherein both generals reaped many and deserved laurels. Garrick had a greater variety of parts, both in tragedy, comedy, and farce, which undoubtedly, as a general actor, gave him the pre-eni nence: but Barry had enough for fame; and in some characters, which we have already mentioned, he had no competitor.

"But neither fame nor profit will sometimes compensate for the love of vanity. Whether Barry envied Garrick the superiority of manage ment, by which he could always draw out his talents to greater advantage, or whether actuated by simple vanity, he was determined to wield a manager's truncheon; and, under the impulse of this mad ambition, opened a negociation, about the year 1757, with the proprietors of the Music Hall, Crow Street, Dublin, for the purpose of erecting a new theatre there, in opposition to Mr. Sheridan.

"It was generally thought, at that time, that Macklin (between whom and Barry there was always a

constant friendship) was his principal adviser. Amongst Macklin's oddities, he was always a great projector, and, like most people who take up this character from a certain restlessness of temper, his projects were generally unsuccessful, both to himself and friends. One should imagine that common sense would be Barry's best counsellor in an affair of this kind. He was at the pinnacle of fame and salary in London, where it was the interest of managers to find him a suitable heroine. He had saved no fortune, to enable him to make experiments; and he must have known (did he think proper to take it under his consideration) the Dublin, half a Ꮯ Ꮞ

century

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