LITMIR.BIZ

51

See Nos. 72, 114.

52

Arthur Maynwaring was descended from the ancient family of the Maynwarings of Over Peover, Cheshire. He was born in 1668, at Ightfield, Shropshire, and was educated at the Shrewsbury Grammar School and at Christ Church, Oxford, where Smalridge was his tutor. Filled with prejudices against the Revolution, he came to London to study law, but a political satire which he published brought him under Dryden's notice, and the kind reception given him by several Whig statesmen, to whom he was introduced, caused him to change his views on politics, and after his father's death in 1693 he gave up the law and determined to push his fortunes at the Court. He was made a Commissioner of Customs and afterwards Auditor of the Imprests. He was admitted to the Kit-Cat Club, and in 1706 the interest of Godolphin procured him a seat in the House of Commons. Upon the fall of the Whig ministry in 1710, Maynwaring set up the Medley, a weekly paper in which the attacks of the Examiner were answered, and wrote various political pamphlets. But his health soon broke down, and he died in November, 1712. Mrs. Oldfield, the actress, was the sole executrix of his will, by which he divided his small property of some £3000 between her, a son that he had by her, and his sister. There appear to have been many good points in his character. His "Life and Posthumous Works" were published by Oldmixon in 1715. "Maynwaring, whom we hear nothing of now, was the ruling man in all conversations, indeed what he wrote had very little merit in it" (Pope, in Spence's "Anecdotes," 1820, p. 338). Steele says that Harley told him that he had to thank Maynwaring for his post of Gazetteer.

53

Swift.

54

"Encouragement of these volumes," in the octavo edition. The list of subscribers to the original octavo edition comprised the names of some four hundred of the most prominent persons of the day.

55

This motto was repeated at the head of each of the first 40 numbers in the folio issue.

56

These were the days on which the post left London for the different parts of the country.

57

White's Chocolate-house, five doors from the bottom of the west side of St. James's Street, was established in 1698. It was burnt on April 28, 1733, while kept by Mr. Arthur. Plate VI. of Hogarth's "Rake's Progress" depicts gamblers engrossed in play in a room in this house during the fire; see also Plate IV. Swift gives it a bad character in his "Essay on Modern Education;" it had a strong character for gambling (Timbs's "Clubs and Club Life in London," where, at p. 48, there is a sketch of White's from an old drawing). The house became a private club, as we now have it, about 1736.

58

Will's Coffee-house, named after Will Urwin, its proprietor, was the corner house on the north side of Russell Street, Covent Garden, at the end of Bow Street. The present house, 21 Russell Street, is probably part of the old building. Will's was ceasing to be the resort of the wits in 1709; it was in its glory at the close of the seventeenth century. The wits' room, where Dryden presided, was on the first floor.

59

The Grecian, in Devereux Court in the Strand, was probably the most ancient coffee-house in or about London. In 1652 an English Turkey merchant brought home with him a Greek servant, who first opened a house for making and selling coffee. This man's name was Constantine, and his house was much resorted to by lawyers, Greek scholars, and Members of the Royal Society. (See Thoresby's Diary, i. 111, 117.) Foote and Goldsmith afterwards frequented it. In Dr. King's "Anecdotes" there is a story of two gentlemen friends who disputed at the Grecian Coffee-house about the accent of a Greek word to such a length that they went out into Devereux Court and drew swords, when one of them was killed on the spot.

60

The St. James's Coffee-house was the last house but one on the S.W. corner of St. James's Street. It was frequented by Whig statesmen, and was closed about 1806. Swift and Steele were at a supper given by the keeper on the 19th November, 1710.

61

Cf. the Spectator, No. 31: "Laying down my penny upon the bar."

62

Wine.

63

A waiter. See Nos. 10, 26.

64

This introduction was repeated in Nos. 2 and 3 of the original issue.

65

"The reader is desired to take notice of the article from this place from time to time, for I design to be very exact in the progress this unhappy gentleman makes, which may be of great instruction to all who actually are, or who ever shall be, in love." (Original folio.) For Viscount Hinchinbroke ("Cynthio"), see No. 5.

66

April 7, 1709. Cibber acknowledges that Steele did the stage very considerable service by the papers on the theatre in the Tatler.

67

For further particulars of Thomas Betterton (1635-1710), see Nos. 71 and 167. Cibber says: "I never heard a line in tragedy come from Betterton wherein my judgment, my ear and my imagination were not fully satisfied.... The person of this excellent actor was suitable to his voice, more manly than sweet, not exceeding the middle stature, inclining to be corpulent; of a serious and penetrating aspect; his limbs nearer the athletic than the delicate proportion; yet, however formed, there arose from the harmony of the whole a commanding mien of majesty."

68

By Congreve, 1695.

69

Mrs. Elizabeth Barry on this occasion spoke an epilogue, written by Rowe. She was the daughter of Edward Barry, barrister, whose fortunes were ruined by his attachment to Charles I. Tony Aston, in his "Supplement to Cibber's Apology," says she was woman to Lady Shelton, of Norfolk, his godmother; and Curll tells us that she was early taken under the protection of Lady Davenant. She was certainly on the stage in 1673. At her first appearance there was so little hope of her success, that at the end of the season she was discharged [from] the theatre. It is probable that at this time she became acquainted with Lord Rochester, who took her under his protection, and gave her instructions in her theatrical performances. By his interest she seems to have been restored to the stage, and, improving daily in her profession, she soon eclipsed all her competitors, and in the part of Monimia in "The Orphan" established her reputation, which was enhanced by her performance as Belvidera in "Venice Preserved," and as Isabella in "The Fatal Marriage." "In characters of greatness," says Cibber, "Mrs. Barry had a presence of elevated dignity, her mien and motion superb, and gracefully majestic; her voice full, clear, and strong, so that no violence of passion could be too much for her, and when distress or tenderness possessed her she subsided into the most affecting melody and softness. In the art of exciting pity she had a power beyond all the actresses I have yet seen, or what your imagination can conceive. In scenes of anger, defiance, or resentment, while she was impetuous and terrible, she poured out the sentiment with an enchanting harmony.... In tragedy she was solemn and august, in comedy alert, easy, and genteel, pleasant in her face and action, filling the stage with a variety of gesture. She could neither sing nor dance, no not in a country dance. She adhered to Betterton in all the revolutions of the theatre, which she quitted about 1707, on account of ill-health." She returned, however, for one night with Mrs. Bracegirdle, April 7, 1709, and performed Mrs. Frail in "Love for Love" for Betterton's benefit. She died at Acton in 1713. Mrs. Barry, Mrs. Bracegirdle, Mr. Betterton, and Mr. Varbriggen were sworn as Comedians in Ordinary to her Majesty, 30th Oct., 2 Anne (1703). On the 3rd March, 1692, Mrs. Barry received £25 for acting in "The Orphan" before their Majesties, and on the 10th June, 1693, £25 for Caius Marius. (Lord Chamberlain's Records, Warrant Books, No. 20, p. 151; No. 18, pp. 30, 242.)

70

Mrs. Anne Bracegirdle was the daughter of Justinian Bracegirdle, of Northamptonshire. By the imprudence of her father, who ruined himself by becoming surety for some friends, she was early left to the care of Betterton and his wife, whose attentions to her she always acknowledged to be truly paternal. By them she was first introduced to the stage, and, while very young, performed the page in "The Orphan." Increasing in years, and in ability, she became the favourite

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