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Catholic family of that ilk. She "had the honour of being nearly related to the illustrious families of Maitland, Duke of Lauderdale and Drummond, Earl of Perth." The Jacobite fourth Earl of Perth seems to have been the patron of Captain Trotter, of whom he wrote in 1684 that he was "an ornament to his country." Apparently the gallant captain was attached to Trinity House, where his probity and integrity earned him the epithet of "honest David," and where he attracted the notice of George, first Lord Dartmouth, when that rising statesman was appointed Master. Captain Trotter had served the Crown from his youth, "with great gallantry and fidelity, both by land and sea," and had been very successful in the Dutch wars. He had a brother who was a commander in the Navy. We get an impression of high respectability in the outer, but not outermost, circles of influential Scottish society. Doubtless the infancy of Catharine was spent in conditions of dependent prosperity. These conditions were not to last. When she was four years old Lord Dartmouth started on the famous expedition to demolish Tangier, and he took Captain Trotter with him as his commodore. In this affair, as before, the captain distinguished himself by his ability, and instead of returning to London after Tangier he was recommended to King Charles II. as the proper person to convoy the fleet of the Turkey Company to its destination. Apparently it was understood that this would be the final reward of his services and that he was to "make his fortune" out of the Turks. Unhappily, after convoying his charge safely to Scanderoon, he fell sick of the plague that was raging there, and died, in the course of January 1684, in company with all the other officers of his ship. Every misfortune now ensued; the purser, who was thus left to his own devices, helped himself to the money destined for the expenses of the voyage, while, to crown all, the London goldsmith in whose hands the captain had left his private fortune took this occasion to go bankrupt. The King, in these melancholy circumstances, granted an Admiralty pension to the widow, but when he died early in the following year this was no longer paid, and the unfortunate ladies of the Trotter family might well murmur:—

      "One mischief brings another on his neck,

       As mighty billows tumble in the seas."

      From the beginning of her fifth year, then, Catharine experienced the precarious lot of those who depend for a livelihood on the charity of more or less distant relatives. We dimly see a presentable mother piteously gathering up such crumbs as fell from the tables of the illustrious families with whom she was remotely connected. But the Duke of Lauderdale himself was now dead, and the Earl of Perth had passed the zenith of his power. No doubt in the seventeenth century the protection of poor relations was carried on more systematically than it is to-day, and certainly Mrs. Trotter contrived to live and to bring up her two daughters genteelly. The first years were the worst; the accession of William III. brought back to England and to favour Gilbert Burnet, who became Bishop of Salisbury in 1688, when Catharine was nine years old. Mrs. Trotter found a patron and perhaps an employer in the Bishop, and when Queen Anne came to the throne her little pension was renewed.

      There is frequent reference to money in Catharine Trotter's writings, and the lack of it was the rock upon which her gifts were finally wrecked. With a competency she might have achieved a much more prominent place in English literature than she could ever afford to reach. She offers a curious instance of the depressing effect of poverty, and we get the impression that she was never, during her long and virtuous career, lifted above the carking anxiety which deadens the imagination. As a child, however, she seems to have awakened hopes of a high order. She was a prodigy, and while little more than an infant she displayed an illumination in literature which was looked upon, in that age of female darkness, as quite a portent. She taught herself French, "by her own application without any instructor," but was obliged to accept some assistance in acquiring Latin and logic. The last-mentioned subject became her particular delight, and at a very tender age she drew up "an abstract" of that science "for her own use." Thus she prepared for her future communion with Locke and with Leibnitz. When she was very small, in spite of frequent conferences with learned members of the Church of England, she became persuaded of the truth of Catholicism and joined the Roman communion. We may conjecture that this coincided with the conversion of her kinsman, Lord Chancellor Perth, but as events turned out it cannot but have added to the sorrows of that much-tried woman, her mother. (It should be stated that Catharine resumed the Anglican faith when she was twenty-eight years of age.)

      She was in her tenth year when the unhappy reign of James II. came to a close. Mrs. Trotter's connections were now in a poor plight. The new Earl of Lauderdale was in great distress for money; Lord Dartmouth, abandoned by the King in his flight, was thrown into the Tower, where he died on October 25th, 1691, in which year the estates of the Earl of Perth were sequestered and he himself hunted out of the country. Ruin simultaneously fell on all the fine friends of our infant prodigy, and we can but guess how it affected her. Yet there were plenty of other Jacobites left in London, and Catharine's first public appearance shows that she cultivated their friendship. She published in 1693 a copy of verses addressed to Mr. Bevil Higgons on the occasion of his recovery from the smallpox; she was then fourteen years of age. Higgons was a young man of twenty-three, who had lately returned from the exiled court in France, where he had distinguished himself by his agreeable manners, and who had just made a name for himself by poems addressed to Dryden and by a prologue to Congreve's Old Batchelor. He was afterwards to become famous for a little while as a political historian. Catharine Trotter's verses are bad, but she addresses Higgons as "lovely youth," and claims his gratitude for her tribute in terms which are almost boisterous. This poem was not only her introduction to the public, but, through Bevil Higgons, was probably the channel of her acquaintance with Congreve and Dryden.

      Throughout her life she was fond of writing letters to celebrated people; she now certainly wrote to Congreve and doubtless to Dryden. A freedom in correspondence ran in the family. Her poor mother is revealed to us as always "renewing her application" to somebody or other. We next find the youthful poet in relation with the Earl of Dorset, from whom she must have concealed her Jacobite propensities. Dorset was the great public patron of poetry under William III., and Catharine Trotter, aged sixteen, having composed a tragedy, appealed to him for support. It was very graciously granted, and Agnes de Castro, in five acts and in blank verse, "written by a young lady," was produced at the Theatre Royal in 1695, under the "protection" of Charles Earl of Dorset and Middlesex, Lord Chamberlain of His Majesty's Household. The event caused a considerable commotion. No woman had written for the English stage since the death of Mrs. Behn, and curiosity was much excited. Mrs. Verbruggen, that enchanting actress, but in male attire, recited a clever, ranting epilogue at the close of the performance, in which she said:—

      "'tis whispered here

       Our Poetess is virtuous, young and fair,"

      but the secret was an open one. Wycherley, who contributed verses, knew all about it, and so did Mrs. Manley, while Powell and Colley Cibber were among the actors. We may be sure that little Mistress Trotter's surprising talents were the subjects of much discussion at Will's Coffee House, and that the question of securing her for the rival theatre was anxiously debated at Lincoln's Inn Fields. Her success in Agnes de Castro was the principal asset which Drury Lane had to set that season against Congreve's splendid adventure with Love for Love.

      Agnes de Castro is an immature production, and shows a juvenile insensibility to plagiarism, since the subject and treatment are borrowed implicitly from a French novel by Mlle. de Brillac, published in Paris and London a few years before.[2] The conception of court life at Coimbra in the fourteenth century is that of this French lady, and is innocent of Portuguese local colour. But, as the dramatic work of a girl of sixteen, the play is rather extraordinary for nimble movement and adroit theatrical arrangements. It is evident that Catharine Trotter was well versed in the stage traditions of her own day, and we may wonder how a highly respectable girl of sixteen found her opportunity. The English playhouse under William III. was no place for a very young lady, even if she wore a mask. There is a good deal of meritorious character-drawing in Agnes de Castro. The conception of a benevolent and tenderly forgiving Princess is well contrasted with the fierce purity of Agnes and the infatuation of the Prince. Towards the close of the first act there is a capital scene of exquisite confusion between this generous and distracted trio. The opening of the third act, between Elvira and her brother Alvaro, is not at all young-ladyish, and has some strong turns of feeling. The end of the play, with the stabbing of the Princess and the accusation

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