^{page 1002 note 1} John Downes, Roscius Anglicanus, ed. M. Summers (London, n.d.), p. 21.

^{page 1002 note 2} Thomas Davies, Dramatic Miscellanies (London, 1785), iii, 288–289.

^{page 1003 note 3} Colley Cibber, An Apology for his Life (London: Everyman's Library, n.d.), p. 57.

^{page 1003 note 4} Ibid.

^{page 1003 note 5} Dramatic Miscellanies, iii, 32. A more complete picture of Wilks' style may be made from Davies' observation: “His greatest fault in deportment came from his aptness to move or shift his ground. It was said of him by some critic, that he could never stand still” (Dramatic Miscellanies, iii, 41), and Wilks' own observation (see below), “that there is little or no applause to be gained in Tragedy, but at the expence of lungs.”

^{page 1003 note 6} Davies, Dramatic Miscellanies, iii, 30.

^{page 1004 note 7} Thomas Davies, Memoirs of the Life of David Garrick, esq. (London, 1780), i, 56.

^{page 1004 note 8} Boswell's Life of Johnson, ed. G. B. Hill (Oxford, 1887), v, 38.

^{page 1004 note 9} Anon., A Short Criticism on the Performance of Hamlet by Mr. Kemble (London, 1789), pp. 12–14.

^{page 1005 note 10} Davies, Dramatic Miscellanies, ii, 100.

^{page 1005 note 11} The Theatrical Register (York, 1788), p. 52.

^{page 1005 note 12} Although John Hill concludes his treatise with this statement: “Let us acknowledge that among the capital parts of the modern theatre, some ought to be play'd with more truth, others with more spirit, and some with more graces: But let us not deceive ourselves so far as to suppose that there were not grounds for wishes of the same kind in the days of Wilks, of Booth, and Betterton.”—The Actor (London, 1750), p. 326.

^{page 1006 note 13} Anthony Aston, A Brief Supplement to Colley Cibber, esq. in Watson Nicholson, Anthony Aston (South Haven, Mich., 1920), p. 75.

^{page 1006 note 14} Ibid., pp. 75–77.

^{page 1006 note 15} Robert W. Lowe, Thomas Betterton (London, 1891), p. 86.

^{page 1006 note 16} Aston, Brief Supplement, p. 76.

^{page 1006 note 17} Ibid., p. 77.

^{page 1006 note 18} Colley Cibber, A pology, p. 212.

^{page 1006 note 19} Aston, Brief Supplement, p. 83.

^{page 1006 note 20} Ibid., p. 88.

^{page 1007 note 21} Ibid., p. 79.

^{page 1007 note 22} Thomas Betterton, The History of the English Stage (London, 1741), p. 62. There is some question about the authorship of this volume. It is certainly not by Betterton although the section entitled “The Duty of a Player” could have been taken as stated, from his papers. Certain passages are literally quoted from Gildon's Life of Thomas Betterton (London, 1710). Lowe (Thomas Betterton, p. 125) assigns the authorship to Edmund Curll, the publisher.

^{page 1007 note 23} Colley Cibber, Apology, p. 90; John Genest, Some Account of the English Stage (Bath, 1832), ii, 277.

^{page 1007 note 24} Theophilus Cibber, The Lives and Characters of the most Eminent Actors and Actresses of Great Britain and Ireland, from Shakespear to the Present Time. Interspersed with a General History of the Stage (London, 1753), p. 42. In spite of his impressive title page, Cibber never got beyond an epistle to Warburton and a life of Booth.

^{page 1008 note 25} Benjamin Victor, The History of the Theaters in London and Dublin from the Year 1730 to the Present Time (London, 1761), ii, 12.

^{page 1008 note 26} There are other instances of the employment of the dramatic pause in this period. “Wilks who above fifty years since acted Mark Antony, as soon as he entered the stage, without taking any notice of the conspirators walked swiftly up to the dead body of Caesar and knelt down; he paused some time before he spoke; and, after surveying the corpse with manifest tokens of the geratest sorrow, he addressed it in the most affecting and pathetic manner.”—Davies, Dramatic Miscellanies, ii, 241.

^{page 1008 note 27} Livesand Characters, p. 50.

^{page 1009 note 28} Ibid., pp. 50–51. Theophihis Cibber was a fine one to talk!

^{page 1009 note 29} Dramatic Miscellanies, i, 397.

^{page 1009 note 30} Lives and Characters, pp. 50–51.

^{page 1009 note 31} Robert Lloyd, The Actor. A Poetical Epistle (London, 1760), pp. 6–7.

^{page 1010 note 32} The Poetical Works of Charles Churchill (London, 1844), i, 37.

^{page 1010 note 33} Ibid., i, 92. Cf. the description of Garrick in the same scene (of Hamlet) as quoted above.

^{page 1010 note 34} Ibid., i, 103.

^{page 1010 note 35} Ibid., i, 95.

^{page 1011 note 36} Ibid., i, 99–100.

^{page 1011 note 37} Peregrine Pickle, Chap, xciv (Everyman's Library ed., 1930, ii, 241–242).

^{page 1012 note 38} Memoirs of Richard Cumberland (London, 1807), i, 80.

^{page 1012 note 39} The Actor, p. 99.

^{page 1012 note 40} Davies, Dramatic Miscellanies, iii, 502.

^{page 1012 note 41} Genest, Some Account of the English Stage, iv, 21. A contemporary estimate of Delane compares him with Quinn: “D-l-ne is also esteemed a just Player; and though he has often a more loud Violence of Voice, yet, either from an Imitation of Q ... n, or his own natural Manner, he has a Sameness of Tone and Expression, and drawls out his Lines to a displeasing Length: But that loud Violence of Voice is useful to him when Anger, Indignation, or such engrag'd Passions are to be express'd; for the shrill Loudness marks the Passion, which the sweet Cadence of Q ... n's natural Voice is unequal to.”—An Apology for the Life of Mr. T .... C ...., Comedian, London, 1740, p. 139.

^{page 1012 note 42} Edward Abbott Parry, Charles Macklin (London, 1891), p. 21.

^{page 1013 note 43} Davies, Dramatic Miscellanies, iii, 470. Chetwood presumably joined the staff of Drury Lane in the season 1722–1723, early enough to become well acquainted with the older style of acting.

^{page 1013 note 44} Parry, Charles Macklin, p. 67.

^{page 1013 note 45} Poetical Works, i, 64.

^{page 1013 note 46} The Actor, pp. 32–33.

^{page 1013 note 47} Macklin, according to John Taylor, at least in Macbeth was not notable for “studied grace of deportment, but he seemed to be more in earnest in the character than any actor I have consequently seen.” (Parry, Charles Macklin, p. 161). On the other hand, contemporary prints show Garrick always in an artistic pose employing a graceful gesture. In an engraving after Isaac Taylor, by T. Lowndes, published 3 August, 1776, Garrick is seen as Tancred in Tancred and Sigismundo as he cries:

Earl Osmond's wife

Heavens ! and did I hear thee right? marry'd? marry'd !

Lost to thy faithful Tancred! Lost for ever! (4.2)

The actor's countenance is grieving but not writhing. From the position of his cloak he must have turned suddenly towards the lady. Both arms are extended, the hands out, the left above the right, and the fingers of the right hand are spread, with the palm down; the knees are slightly bent, feet carefully apart, the right foot somewhat advanced.

Another engraving, published by J. Wenman, 1 August, 1778, shows Garrick as Demetrius in The Brothers reading the lines:

I prefer

Death at your feet, before the world without you. (2.1)

The actor faces stage right. His face is set, his feet arranged as in the scene from Tancred.

His right hand is raised head high, his left extended before his waistline, both palms out. A later line in the same play,

Necessity, for Gods themselves too strong, is weaker than thy charms (5.3) shows Garrick with his left hand on his breast, his right flung out dropping a dagger, and his head averted from a female on his left; his face is pained but there is no exaggeration in the pose. (Published by T. Lowndes, 11 October, 1777.)

As Benedict crying,

Ha the Prince and Möns. Beau! I will hide me in the arbor. (2.2)

Garrick is depicted leaning slightly to stage right, both knees somewhat bent, legs and feet gracefully apart; his left arm, crooked at the elbow, is raised shoulder high: the forefinger of his left hand rests at his nose. His right hand stretches forward, with the palm down, to balance the pose. (Published by J. Wenman, 1 July, 1778.)

Perhaps the most revealing of all the prints is undated and to be identified only by its title, “Mr. Garrick in Four of his Principal Tragic Characters.” Here is easily observed in such widely differing roles as Lear, Macbeth, Richard iii, and Hamlet, the emphasis upon grace of attitude, stance, and gesture. (In the Harvard College Theater Collection.) The difference between an actor of the Garrick school and Macklin is readily observed in an illustration chosen by G. C. O'Dell (Shakespeare from Betterton to Irving, New York, 1920, i, 370). Macklin, as Shylock, is surrounded by the other members of the cast in various statuesque poses, but he himself is quite devoid of “studied grace.”

^{page 1014 note 48} David Garrick, ii, 99–100.

^{page 1014 note 49} Samuel Foote, A Treatise on the Passions, so far as they regard the stage, with a critical Enquiry into the Theatrical Merit of Mr. G—K, Mr. Q—N, and Mr. B—Y (London, n.d.), p. 18. There is a curious attempt to take down Garrick's manner of reading Hamlet's famous soliloquy in Joshua Steele's Prosodia Rationalis: or an Essay towards establishing the measure and melody of speech (London, 1779), pp. 39–18. The reading of an older actor (Mossop?) is first given. It would be pleasant to be able to report that the modern reader can at last reproduce exactly Garrick's way with a soliloquy but the system of recording is intolerably complicated, and too many of the qualities of an actor are impossible of transcription. Steele's notation tells us little that we could not gather from the contemporary critics cited above.

^{page 1015 note 50} Genest, Some Account, iv, 468.

^{page 1015 note 51} The Actor, pp. 171–172.

^{page 1015 note 52} Thomas Wilkes, A General View of the Stage (London, 1759), pp. 234–235.

^{page 1016 note 53} Genest, Some Account, iv, 14.

^{page 1016 note 54} (London, 1744). For proof of authorship see Davies, David Garrick, i, 163–164.

^{page 1016 note 55} P. 17.

^{page 1017 note 56} Poetical Works, i, 106.

^{page 1017 note 57} A Treatise on the Passions, p. 24.

^{page 1017 note 58} Churchill, Poetical Works, i, 13 n.

^{page 1017 note 59} It is possible that she was somewhat overawed by Roscius. Thomas Campbell, in his Life of Mrs. Siddons (London, 1839), relates the story of their appearance in Richard the Third, concluding, “Garrick's acting that night must have been startling. From what his cotemporaries have said of it, we may guess that his impressiveness bordered upon excess. He made the galleries often laugh when he intended that they should shudder” (p. 41).

^{page 1017 note 60} Campbell, Mrs. Siddons, p. 117.

^{page 1017 note 61} See, among others, Helen Ormsbee, Backstage with Actors (New York, 1938). p. 102.

^{page 1017 note 62} Macready's Reminiscences, and Selections from his Diaries and Letters, ed. by Sir Frederick Pollock (London, 1875), i, 5.

^{page 1018 note 63} The Attic Miscellany; or Characteristic Mirror of Men and Things (London, 1789), i, 88. Cf. Mrs. Siddons' declaration that applauses in the midst of scenes “are really necessary, in order to give one breath and voice to carry one on through some violent exertions.”—Campbell, Mrs. Siddons, p. 142.

^{page 1018 note 64} A copy in The Harvard College Library is identified as from The Carleton House Magazine.

^{page 1018 note 65} Attic Miscellany, i, 156.

^{page 1019 note 66} Anon., The Modern Stage Exemplified (London, 1788), p. 10.

^{page 1019 note 67} Ibid.

^{page 1019 note 68} Macready's Reminiscences, i, 55–56.

^{page 1020 note 69} Ibid., i, 57. Young, an actor who admired Mrs. Siddons as genuinely as Macready did and who was more nearly her contemporary, declared that “She never sought by unworthy means to entrap her audience. She disdained to apply to any of the petty resources of trickish minds, in order to startle or surprise her hearers. There was no habitual abruptness, no harshness about her. You never caught her slumbering through some scenes, in order to produce, by contrast, an exaggerated effect in others.” (Campbell, p. 371). It is interesting to compare this statement with Young's description of the actress in Coriolanus (Campbell, p. 250), or Bartley's in The Earl of Warwick (Campbell, p. 158). When Bartley speaks of her entrance (“the giantess burst upon the view”), and of her “fine smile of appalling triumph,” and confesses that he was struck breathless, the modern reader may be permitted to wonder whether there may not have been some small application to the resources of trickery to startle and surprise the audience.

^{page 1020 note 70} The Attic Miscellany, i, 407.

^{page 1020 note 71} Published in J. Bell's British Library, 1 June, 1792.

^{page 1020 note 72} In the Harvard College Library.

^{page 1021 note 73} Modern Stage Exemplified, p. 23.

^{page 1021 note 74} Some Account, iv, 311.

^{page 1021 note 75} London, 1716, p. vi.

^{page 1022 note 76} Brief Supplement, p. 79.

^{page 1022 note 77} P. 16.

^{page 1022 note 78} David Garrick, i, 310.

^{page 1022 note 79} The Provok'd Husband (London, 1727), Dedication.

^{page 1022 note 80} Ed. cit., p. 62.

^{page 1022 note 81} The Fairy Queen: an Opera (London, 1692), Preface, sig. A 4.

^{page 1022 note 82} History of the English Stage, p. 46.

^{page 1023 note 83} Lives and Characters, p. 44.

^{page 1023 note 84} Mrs. Cibber, the unfortunate wife of Theophilus, clung to the older tradition of cadenced speech in the heyday of Garrick. “As Calisto, Mrs. Cibber sang, or at least recitatived, Rowe's harmonious strain in a key high-pitched, yet sweet withal, something in the manner of the Improvisatore.” (Campbell, Mrs. Siddons, p. 75.) According to Boucicault, who was perhaps wiser in theatrical tradition than in theatrical history, this was the common style of the day: “the great English tragedians before Kean used their treble voice —the teapot style. They did it as if they played on the flute.”—The Art of Acting (New York, 1926), p. 29.

^{page 1024 note 85} No. 40 (16 April, 1711).

^{page 1024 note 86} Brief Supplement, p. 77.

^{page 1024 note 87} Davies, David Garrick, i, 26.

^{page 1024 note 88} Wilks, General View of the Stage, p. 108, n.

^{page 1024 note 89} Boswell's Life of Johnson, ed. cit., i, 168.

^{page 1024 note 90} David Garrick, i, 98; i, 40.

^{page 1024 note 91} The Actor, p. 193.

^{page 1024 note 92} Wilks, General View of the Stage, p. 107.

^{page 1024 note 93} Anon., An Essay on the Stage, or the Art of Acting. A Poem (Edinburgh, 1754), pp. 7–8.

^{page 1025 note 94} The Actor, p. 194.

^{page 1025 note 95} Davies, Dramatic Miscellanies, i, 41.

^{page 1025 note 96} Ibid., i, 186.

^{page 1025 note 97} David Garrick, i, 40.

^{page 1025 note 98} Genest, Some Account, iv, 76.

^{page 1025 note 99} Lloyd, The Actor, pp. 9–10.

^{page 1026 note 100} The Actor, pp. 46–49.

^{page 1026 note 101} Ibid., pp. 194–195.

^{page 1026 note 102} A. W. Ward in The Encyclopedia Britannica (eleventh ed., Cambridge, 1910), viii, 532.

^{page 1027 note 103} See, for ex., iii, 6, 67; iv, 593; v, 197, 314, 315, 730, etc.

^{page 1027 note 104} The Actor, p. 7.

^{page 1027 note 105} Ibid., p. 14.

^{page 1027 note 106} Ibid., p. 53.

^{page 1027 note 107} Ibid., p. 93.

^{page 1027 note 108} Ibid., p. 122.

^{page 1027 note 109} Betterton, op. cit., p. 49.

^{page 1028 note 110} An Essay on the Stage, p. 5.

^{page 1028 note 111} William Cooke, The Elements of Dramatic Criticism (London, 1775), p. 188.

^{page 1028 note 112} Betterton, op. cit., p. 50.

^{page 1028 note 113} Cooke, op. cit., p. 183.

^{page 1028 note 114} General View of the Stage, p. 83.

^{page 1028 note 115} Ibid.

^{page 1028 note 116} Roger Pickering, Reflections upon Theatrical Expression in Tragedy (London, 1760), p. 20.

^{page 1028 note 117} Cooke, op. cit., p. 188.

^{page 1028 note 118} Op. cit., p. 38.

^{page 1028 note 119} Op. cit., pp. 87–88.

^{page 1028 note 120} Op. cit., pp. 200–201.

^{page 1028 note 121} T. Cibber, Lives and Characters, p. 51. Mrs. Siddons was also a student of the art of the sculptor to improve her “taste in drapery and attitude.”—Campbell, Mrs. Siddons, p. 254.

^{page 1029 note 122} An Essay on the Stage, p. 5; Wilks, p. 92; Hiffernan, p. 118; Pickering, pp. 19–20; Cooke, pp. 179, 190.

^{page 1029 note 123} Paul Hiffernan, M.D., Dramatic Genius, in Five Books (London, 1770), p. 73.

^{page 1029 note 124} The Gentleman's Magazine, v, (1735), 314.

^{page 1029 note 125} Aaron Hill, An Essay on the Art of Acting; in which the Dramatic Passions are Properly Defined and Described, with Applications of the Rules peculiar to each and Selected Passages for Practice (London, 1779), p. 11.

^{page 1030 note 126} Ibid., p. 10.

^{page 1030 note 127} The Gentleman's Magazine, loc. cit.

^{page 1030 note 128} Pp. 12–15.

^{page 1030 note 129} General View of the Stage, p. 118.

^{page 1031 note 130} Reflections on Theatrical Expression, p. 31. In the first instance he is referring to Hamlet and the Ghost; in the second to Oroonoko and Imoinda.

^{page 1031 note 131} Treatise on the Passions, pp. 11–12.

^{page 1031 note 132} Ibid., p. 12.

^{page 1031 note 133} Reflections on Theatrical Expression, p.31.

^{page 1031 note 134} History of the English Stage, p. 69. “You must never,” he cautions, “let either of your Hands hang down, as if lame or dead.... Your arms you should not stretch out side-ways, above half a Foot from the Trunk of your Body,” since the hands must always be in “View of your Eyes.” (Ibid., p. 103). It is worth noting that much of the material of Betterton's History including these instructions is taken from Charles Gildon's Life of Betterton (London, 1710). Since the instructions as to the use of the arms and hands coincide with Aston's report of Betterton's actual practice, quoted above, it seems entirely possible that they may have been, as The History declares, found among the actor's papers.

^{page 1032 note 135} The Actor, p. 177.

^{page 1032 note 136} Dramatic Genius, p. 79.

^{page 1032 note 137} Ibid., p. 118.

^{page 1033 note 138} Colley Cibber, A pology, p. 64.

^{page 1033 note 139} The Actor, p. 197.

^{page 1033 note 140} Pp. 9–10.

^{page 1033 note 141} Dramatic Genius, p. 78.

^{page 1033 note 142} Hill, The Actor, p. 191. Hill quotes this Tag from The Orphan,

To his temptation lewdly she inclin'd

Her soul, and for an apple damn'd mankind.

This tag was “for a long time deliver'd, by successive players, with such a religious observance of the rhyme, that there was almost as absolute a stop at the end of one of the lines, as at that of the other”—p. 192.

^{page 1034 note 143} General View of the Stage, p. 114. “However, the general criteria of the truly beautiful of acting in comedy, as well as the truly sublime of acting in tragedy, consists in the performers appearing to be the very characters they represent.”—Hiffernan, Dramatic Genius, p. 99.

^{page 1034 note 144} Genest, Some Account, ii, 277.

^{page 1034 note 145} General View of the Stage, p. 152.

^{page 1034 note 146} The Modern Stage Exemplified, p. 2.

^{page 1034 note 147} The Taller, no. 138.

^{page 1034 note 148} History of the English Stage, p. 48.

^{page 1035 note 149} David Garrick, i, 30.

^{page 1035 note 150} Pickering, Reflections on Theatrical Expression, p. 54. Actors have always disputed the virtue of the ability to produce Real Tears during a performance. Betterton remembered Mrs. Barry's declaration that “she never spoke these Words in the Orphan—Ah! poor CASTALIO!—without weeping.” (History of the English Stage, p. 55). John Hill, on the other hand, felt that Spranger Barry's real tears in Sciolto did not make his performance any more convincing. According to Hill, an actor needs not only to feel, but to know the tricks to express that feeling. (The Actor, pp. 41 ff.)

^{page 1035 note 151} The Gentleman's Magazine, xiii (1743), 254, quoting from The Champion.

^{page 1035 note 152} The Actor, p. 95.

^{page 1035 note 153} General View of the Stage, p. 83.

^{page 1035 note 154} The Actor, p. 40.

^{page 1035 note 155} Lewis Riccoboni, An Historical and Critical Account of the Theatres in Europe (London, 1741), p. 25. Diderot, whose work falls outside the scope of this essay, would of course have made short labor of Riccoboni, Hill, et al. As a matter of fact, the work to which he replied in his famous Paradoxe was a French translation (Garrick: ou les acteurs anglais) of John Hill's The Actor. I do not believe that it has been previously noted that Hill's work was in turn in part a translation of Remond de Sainte-Albine, Le Comédien. Hill makes only a middling kind of acknowledgment to Ste.-Albine in his Preface.

^{page 1035 note 156} The Actor, p. 4.

^{page 1036 note 157} Ibid., pp. 13–14.

^{page 1036 note 158} History of the English Stage, p. 51.

^{page 1036 note 159} General View of the Stage, p. 155.

^{page 1036 note 160} Dramatic Genius, p. 81.

^{page 1036 note 161} The Actor, pp. 183–184.

^{page 1036 note 162} The Theatrical Review, or Annals of the Drama (London, 1763), p. 213.

^{page 1036 note 163} The Actor, pp. 26–27.

^{page 1036 note 164} Ibid., p. 255.

^{page 1036 note 165} Hugh Kelly, Thespis: or a Critical Examination into the Merit of the Principal Performers belonging to Drury-Lane Theatre (London, 1766), p. 15.

^{page 1037 note 166} Ed. cit., iv, 243–244.