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GARRICK'S DEBUT, AND RETREAT.

A gentleman asking a friend, who had seen Garrick perform his first, and his last, character, if he thought him as good an actor when he took his leave of the stage of " Old Drury," as when he first played at Goodman's Fields, he gave for an answer the following

Extempore.

"I saw him rising, in the East,

In all his energetic glows;

I saw him setting, in the West,

In greater splendour than he rose."

MASTER BETTY.

THE 1st of December, of the year 1803, forms an era in the annals of the British stage, as having brought before a London audience, a juvenile actor of very extraordinary acquirements, at Covent Garden Theatre, as Achmet, in "Barbarossa." We allude to Master William Henry West Betty, who had just attained his thirteenth year, but had, in his previous provincial course, obtained the imposing name of the Young Roscius. The eagerness of the public to see this phenomenon was such, that three Theatres might have been filled with the crowd that sought ad

mission on that evening; and many very serious accidents happened, so great was the pressure. Such was his attraction, that he was soon engaged to perform, alternately, at Drury Lane, and Covent Garden; at the former of which the bills always announced him as the Young Roscius; at the latter, as Master Betty. This young actor was courted by noble Lords, was kissed and caressed by noble Dames, and even had the honour of being introduced to his Grace the venerable Archbishop of York. He, afterwards, performed Richard, Hamlet, Macbeth, Octavian, Romeo, Gustavus Vasa, Tancred, Osmyn, Orestes, Zanga, and several other first-rate characters, with various degrees of merit, but with astonishing success; receiving £50, and latterly, it is said, £100 per night for his performances. Master Betty took his leave of the public, with a benefit, at Drury Lane, May 17, 1806, after playing Tancred, and Captain Flash. He has, however, performed since he arrived at man's estate, but without any of that success which attended his former exertions.

STEPHEN GOSSON'S PHILIPPIC AGAINST

PLAYERS.

GoSSON was a contemporary of Spenser, and

Sir Philip Sidney; and, after his ordination, he officiated at St. Botolph's Church. The chief business of his life appears to have been to preach down dramatic performances of all kinds; and not satisfied with assailing the "Poor Players," in his parish pulpit, he gave them the advantages of a vociferous Philippic from Paul's cross; and thinking the triumph incomplete until he had attacked them from the press, he published, in 1579, "The School of abuse, a pleasant invective against Pipers, Players, Jesters, and such like caterpillars of the state." In this work the following highly finished picture occurs." In these places (says Gosson, speaking of play houses,) you shall see such pushing, shoving, and shouldering, to get at the women, such care for their garments that they be not trod on, such eyes to their laps that no chips light on them, such pillows to their backs, that they take no hurt, such nuzzling in their ears, to say, I know not what; such presenting of pippins, such toying, such licking, such smiling and smicking, such winking, such rivalship, and out-generalling, in settling who shall man them home, that, in good truth, it is no small part of the comedie to mark their behaviour."

ADVICE TO A DRAMATIST.

YOUR Comedy I've read, my friend,
And like the half, you pilfer'd, best;
But, sure, the drama you might mend;
Take courage, man, and steal the rest!

CIBBER, GARRICK, AND MRS. BRACEGIRDLE. THIS actress retired from the stage about 30 years prior to the appearance of our English Roscius, and, at that time, was visited by many persons of distinction, from whom she heard the most extravagant accounts of the young performer's merit. Colley Cibber, however, spoke of him with great contempt, admitting, that “he was well enough, but not superior to his son Theophilus." Mrs. Bracegirdle immediately reproved him, by saying, good-naturedly, "Come, come, Colley, tell me if there is not something like envy in your character of the new actor? The player who pleases every body must be a man of merit.”—The old critic felt the force of this judicious rebuke, and, taking a pinch of snuff, whispered, Why, 'faith, Bracey, I believe you are right; the young fellow is clever."

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CADORET, THE FRENCH MIMIC.

A PERSON named Cadoret, known by the

anagram Terodac, was so perfect a mimic that the audience really imagined, that they saw, and heard, the actors whom he imitated. In his part of Metromane, he so finely caricatured the actors of his time, that this was an additional reason, for forbidding the actors of the comic opera to speak, and confining them to song. It was imagined, that, by this means, the scene of Metromane, which so highly offended the actors who were imitated, would have been suppressed. But the author here found but little difficulty; as the comedians, then, (as they do at present,) rather sang, than spoke, the author set their declamation to music; and the notes so nearly agreed with the inflexions, and routine of the tragic actors, that the difference was scarcely perceptible.

CHARLES BANNISTER.

THIS gentleman, who was equally celebrated for his ready wit, as for his histrionic abilities, once asked the dramatic writer, Miles Pecer Andrews, when he intended bringing forth another Play. "Soon, very soon, (replied the author ;) for my Muse is big, and will soon be delivered.""Well, then, (rejoined the actor, very archly,) I'll come to the groaning."

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