pany, was actually present at the moment his uncivil refusal was announced. Begging pardon of the Duke of Northumberland for interfering, the prince desired that a servant might be despatched to the singer, with orders for his immediate attendance. The Modenese soon made his appearance, when a chair was placed for him, and every one, except his Sovereign, stood up. "Does your grace permit a public singer to sit in your presence?" exclaimed his highness; "have the goodness to excuse me; we manage these gentlemen better in Italy. Farinelli, stand in yonder corner of the room, and sing in your best manner to this company, who honour you with their notice." The warbler trembled, and obeyed. After performing to the satisfaction of all present, he retired with a humble bow, at the same time receiving from his Sovereign a nod of approbation. The beaux turned up their hands and eyes in silent admiration; but experience and good sense have long confirmed the necessity of the Duke of Modena's lesson to the English nation.

VOL. I.

L

JOHN KEMBLE.

WHILE this tragedian was performing on the Dublin stage the part of Mark Anthony, in "All for Love," he happened to look up, and perceiving a pedantic old figure, who was leaning over the upper box, with a listening trumpet to his ear, he began to smother a laugh. This, at first, appeared agitation, it being the most pathetic scene of the play, where he is surrounded by his wife and children; but no longer able to contain himself, to the great astonishment of the audience, his laugh became loud and immoderate, and it was some time before he was able to finish the character.

PLAY HOUSES IN THE TIME OF CHARLES I.

THE following whimsical enumeration of the play-houses in the reign of Charles I. occurs in "The Muses' Looking-glass," by Thomas Randolph.

Flowerdew. It was a zealous prayer

I heard a brother make, concerning play-houses.
Bird. For charity, what is it?

Flower. That the Globe,

Wherein, quoth he, reigns a whole world of vice,
Had been consum'd; the Phenix burnt to ashes;
The Fortune whipp'd for a blind whore; Black-friars,

He wonders how it scap'd demolishing

I' th' time of Reformation. Lastly, he wish'd

The Bull might cross the Thames to the Bear-garden,
And then be soundly baited.

THE BONAPARTIST ACTRESS.

NOTWITHSTANDING the imperial whims in regard to the Drama, yet the actors were in general partial to Napoleon. The following anecdote well serves to illustrate the truth of the above assertion. It was during the change in the dynasty of France, that Mademoiselle Suzanne, who had appeared at the Comedie Française in Paris, with no very flattering success, returned to Bourdeaux. She bore, however, a very bad character among the people of that city, who recollected the excessive fondness which she had manifested, the preceding year, for the violet, the favourite flower of the Bonapartists. On making her first appearance after her return, no sooner was she recognized, than she was ordered from all parts of the house to shout Vive le Roi! She obeyed. Vive madame! was next called for-again she complied. A tri-coloured cockade was then thrown upon the stage, with this injunction: "Mademoiselle Suzanne, pick up that cockade and burn it immediately." The actress

fetched a candle, and reduced this insignia of rebellion to ashes. Satisfied with this amende honorable, the audience permitted poor Finette to begin her part, and, for once, to perform the character of a hoyden, with the humbled look and contrite tone of the penitent.

GARRICK'S RETORT ON QUIN.

POPE QUIN, who damns all churches but his own,
Complains that heresy infects the town,
That Whitfield Garrick does corrupt the age,
And taints the sound religion of the stage.
-Thou great infallible! forbear to roar;
Thy bulls and errors are rever'd no more.
Where doctrines meet with general approbation,
It is not heresy, but reformation.

DENNIS'S TRAGEDY OF 66 LIBERTY AS-
SERTED."

DENNIS had a most extravagant and enthusiastic opinion of his tragedy of" Liberty asserted." He imagined that there were some strokes in it so severe on the French nation, that it never would be forgiven, and that Louis XIV. would not make a peace with England, unless he was given up as a sacrifice to national resentment. So far, indeed, did poor Dennis carry his appre

hensions, that, when the congress for the peace of Utrecht was in contemplation, he waited on the Duke of Marlborough, who had formerly patronized him, to entreat his grace to use his interest with the plenipotentiaries, that they should not consent to his being given up. The Duke told him, with great gravity, that he was sorry it was not in his power to serve him, as he really had no interest with any of the ministers at that time; but said, that he fancied his case was not quite so desperate as he seemed to imagine, adding, "I have taken no care to get myself excepted in the articles of peace; and yet I cannot help thinking, that I have done the French almost as much harm as Mr. Dennis himself."

CREBILLON.

In his last illness, Crebillon expressed great regret, that he should not live to finish the play which he had in hand, having gone through two acts of it only. The physician who attended him, begged that he would bequeath him the two acts. Crebillon turned to him, and, with a smile, repeated a line from one of the acts:

Say, shall th' assassin be the dead man's heir?"