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Thus, on the road, no more than mortal men,
Arrived at Ludlow, all were kings again!

DUTCH THEATRICALS.

"I BELIEVE it is well known (says Mr. D'Israeli) that the actors on the Dutch theatre are, generally, tradesmen who quit their aprons at the hour of public representation. This was the fact when I was in Holland fifty years ago. Their comedies are offensive by the grossness of their buffooneries. One of their comic incidents, was a miller, appearing in distress for want of wind to turn his mill: he had recourse to the novel scheme of placing his back against it; and, by certain imitative sounds behind the scenes, the mill is set a-going. It is hard to rival such depravity of taste. I saw one of their most celebrated tragedies; that one was Gysbert Van Arnstel,' by Vondel, that is, Gysbert of Amsterdam,' a warrior, who, in the civil wars, preserved this city by his heroism. It is a patriotic historical play, and never fails to crowd the theatre towards Christmas, when it is usually performed successively. One of the acts concludes with a scene of a convent: the sound of warlike instruments is heard the abbey is stormed-the nuns and

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fathers are slaughtered, with the aid of blunderbuss and thunder: every Dutchman appears sensible of the pathos of the poet, but it does not here conclude. After this terrible slaughter, the conquerors and the vanquished remain ten minutes on the stage, silent and motionless, in the attitudes in which they happened to fall! and this pantomimic pathos is received with loud bursts of applause from the audience."

NED SHUTER, AND THE HIGHWAYMAN. AT the close of the season in which Shuter, the comedian, first became so universally and deservedly celebrated in his performance of Master Stephen, in " Every Man in his Humour," he was engaged for a few nights in a principal city in the north of England. It happened that the stage-coach in which he went down, and in which there was only an old gentleman and himself, was stopped on the other side of Finchley-common, by a single highwayman. The old gentleman, in order to save his money, pretended to be asleep; but Shu ter resolved to be even with him: accordingly, when the highwayman presented his pistol, and commanded Shuter to deliver up his money instantly, or he was a dead man," Mo

ney!" returned he, with an idiotic shrug, and a countenance inexpressibly vacant;—“ O Lud, sir, they never trust me with any; for nuncle, here, always pays for me, turnpikes, and all, your honour!" Upon which the highwayman gave him a few hearty curses for his stupidity, complimented the old gentleman with a hearty slap on the face to awaken him, and robbed him of every shilling he had in his pocket: while Shuter, who did not lose a farthing, with great satisfaction and merriment pursued his journey, laughing heartily at his fellow traveller.

KEAN AND KEMBLE.

WHILE Kean was rehearsing upon the Birmingham stage, during one of the late summer months, a conversation ensued regarding the merits of the two rival tragedians; and, after all present had expressed, pretty unequivocally, their likes and dislikes, Kean wound up the agreeable colloquy by the following piece of dexterity:"I have been told (said he, striking into the conversation) that most people imagine they cannot praise me, without detracting, in some measure, from the fair fame of John Kemble; this is a mistake,--let every tub stand on its own

bottom, say I. John Kemble was an actor, a very great actor, but however great an actor he was, I can show you one thing he could not do." So saying, Kean, with the elasticity of an Harlequin, cut a somerset, to the no small amusement of these histrionic critics.

BADDELEY'S WILL.

THIS will bears date April 23, 1793, and proves his benevolent attention to the infirmities and distresses of his brother performers:"To his faithful friend and companion, Mrs. Catharine Strickland, generally called and known by the name of Mrs. Baddeley, he bequeaths his life's interest in his house in New Storestreet; and in his freehold messuages, garden, &c. After her decease, the above estates, with certain monies to arise from the insurance of an annuity, to go to the society established for the relief of indigent persons belonging to Drury-lane Theatre. The house and premises at Moulsey to be used as an asylum for decayed actors and actresses; and when the net produce of the property amounts to £360 per annum, pensions are to be allowed. Especial care to be taken to have the words Baddeley's Asylum,' in the front of

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the house. His executors to publish, every year, his letter, as it appeared in The General Advertiser,' April 20, 1790, respecting the disagreement with his unhappy wife, to prevent the world looking upon his memory in the villainous point of view, as set forth in certain books, pamphlets, &c. One hundred pounds, three per cent. consolidated bank annuities, which produce three pounds per annum, is left to purchase a twelfthcake, with wine and punch; which the ladies and gentlemen of Drury-lane Theatre are requested to partake of, every Twelfth Night, in the great Green-Room.”

A LADY'S QUALIFICATION.

AT a rehearsal of "Venice Preserved," when a new actress, highly recommended to Garrick, was to make her debut as Belvidera, she repeated that tender exclamation, "Would you kill my father, Jaffier?" with so much sang-froid, that Garrick whispered her in the ear, and in much the same tone,-" Can you chop cabbage, madam?"

GARRICK AND HOGARTH.

GARRICK and Hogarth, sitting together at a tavern, mutually lamented the want of a pic

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