T3ae IOOG lOSCll T S 'tU/tf/// V / & Hern JepCtf'i'ijgi Xubli+ht i DccV f , by B . Ox>+bv £ C?»> brtu>ne/v < 4 ROSCIUS IN LONDON BIOGRAPHICAL MEMOIRS OF ®Stlliant Bettp, FROM THE EARLIEST PERIOD OF HIS INFANCY. INCLUDING THE HISTORY OF HIS IRISH, SCOTCH, AND ENGLISH ENGAGEMENTS. WITH ANALYTICAL STRICTURES ON HIS Acting at the London Theatres. DEDICATED TO RICHARD BRINSLEY SHERIDAN, Esq. M.P. “ ’Tis he — I ken him by his gait : He rises on the toe : that spirit of his In aspiration lifts him from the earth.” Shakespeare. LONDON: PRINTED EY J. SWAN, FLEET STREET, FOR B. CROSBY AND CO. STATIONERS* COURT, PATERNOSTER ROW. 1805 , Mo i £ r . : :TT 1 . v ■ ' ■ Jill 0 . v , )' j. ;i J : . Ji *’•* • f £ *< IV/ i . 3 JUI 40 vU . >\* \! wjW .. iv.'s ^ , *V<)fak ■> f »i ‘->1 . ia ^A0IIT3H» 7H 1 : 'isn <•> JAUOm . .1 .n ! f *\j u j'ii i) uii.I j rti 5 .0 / r .(>V . >ti . II .»)■>’’ fX )/!■’.£ . /■),! . ):::] . t -5, Uv *# 6 DEDICATION. D c% -«? ae. TO RICHARD BRINSLEY SHERIDAN, Esq. M.P. fyc. SIR, From your liberal patronage of theatrical, as well as of dramatic, merit ; and from your acknow- ledged superiority in the walks of elegant literature, the Editor of the succeeding sheets has ventured to solicit the distinguishing honour of prefixing your cO Cv? name to the humble produce of his exertion. Not presuming on its literary merit, his only claim to praise is on the score of industry. If he have succeeded in collecting the most important facts con- cerning Master Betty, the juvenile wonder of the day ; if he have succeeded in forming a just estimate of his extraordinary powers; he has completed the task which it was his most anxious wish to perform ; and, having so done, he flatters himself, that he shall also succeed in gratifying that part of the British Public which is most solicitous respecting the interest and dignity of the Stage. Proud, if the approving smile of Taste and Genius should greet his feeble efforts, the Editor, with all due respect, assumes the honour of subscribing him- self, sir, YOUR MOST OBEDIENT, £- MOST DEVOTED, HUMBLE SERVANT. V’ V . ' »■ * . ■ Jj ' )tf J ' ) > r: | ' ' ■■ V; -'‘ ~\/o I f )) ( ; ’ O't : • ••* lo ■ * : • >•' ' c v. ' • • *’ ' fi ! ■ )/ i\ ' \ Y{ : J /Otlrl) Wino*/* 'off :-rr. ; -.J*/* ' •’ V : } trjf, » ;y«i .ii )i ■ Off) £ ' )F:-r i-fiop M ; ' < '• V,. ••■•'• b . ; - ■; • - J« r io : ' ') \ * . : U " $: - - .0 • t ■: - - • . »- ; < J; : 4 - ; . ■ • i 3 ‘ r > bi - 1 >•* ij • ■ ii • I J iJ k 5 - 1 > ■ » : " : ' )! I m n > * '>.10 I •' ■ ■ ' ) : - ) l 3i ii : >.!, )l.J f i , t4 !•> Via - n u . ■ » ' . * BIOGRAPHICAL MEMOIRS MASTER BETTY, $c. W henever an individual, by an extraordinary exertion of talent, or happy turn of fortune, is enabled to obtain distinc- tion, curiosity is anxious to learn the particulars of his birth, family, and connexions. The anxiety is a laudable one, for it originates in a feeling of interest for the person who hap- pens to be immediately concerned. In few instances has the public enquiry been more solicit- ous than it is, at the present moment, respecting that “ bright and particular star,” which illumines our theatrical sphere. We recollect the attraction of a Garrick, a Barry, a Crawford, and a Barren; but, as far as relates to numbers, even their magnetic powers were feeble, compared with those of Master Betty, more generally known by the appellation of the Young Roscius. The attempt to gratify the general thirst for information, which prevails, respecting this surprising youth, and his re- ception on the London boards, we flatter ourselves, will pro- cure its merited proportion of praise. To render our narration as complete as possible, we shall commence with stating, from the best-authenticated docu- ments, that our hero is not, as has been reported, a native of Ireland, but that he owes his birth to the soil of Britain. He B 2 was born at, or near Shrewsbury*, on the 13th of September, 1791; and consequently completed his thirteenth year in September last. Mr. Betty, the father, was the son of Dr. Betty, a physician of the first eminence at Lisburn, near Bel- fast, in the north of Ireland, at whose death he became pos- sessed of a handsome, independent fortune. His wife was Miss Mary Stanton, the daughter of a respect- able gentleman in the county of Worcester. She was a lady of good education and high accomplishments, and brought him a respectable fortune, part of which is understood to be entailed on the young gentleman who is the subject of these memoirs. It has been repeatedly said, that Miss Stanton had been formerly a performer on a public stage, or that she had been in the frequent habit of acting in private theatres ; nei- ther of which reports, we are assured, has the smallest foun- dation in truth. The name of Stanton happens to belong to several families of the histrionic profession, in various parts of the kingdom ; and it is probable, that this circumstance, from the identity of names, may have induced the supposition, that the family of Mr. Betty was included in the number. To the prevailing taste of his mother, however, it is likely that Master Betty is indebted for the origin of his penchant for the stage ; for it is known that Miss Stanton always discovered a strong predilection for the amusements of the theatre, and that she and her sisters, in their own family, used frequently to divert themselves with reciting plays and other pieces of poetry. Recitation is, indeed, a fascinating art ; and, under due re- striction, it improves the organs of speech, enables the pos- sessor to express himself with elegance and precision, ex- pands the mind, and elevates the soul. At the birth of his son, Mr. Betty lived within a small distance of Shrewsbury, whence he removed, a few years * “ William Henry West Betty, son of William Henry and Mary, born the 13th of September, 1791; christened September 18, 1791. “ A true copy of the register of St. Chad’s, Shrewsbury, taken March 4, 1796. Witness, T. Stedman, Minister. John Saxton, Clerk.” 3 after, to the neighbourhood of his native place, in the north of Ireland, where he occupied a farm, and also carried on some business relating to the linen manufactory, near Bally- nahinch, in the county of Down. In this situation he re- mained, until the dawning genius of his son burst forth, and rendered it necessary for him to give up his employments, in order to attend him in his theatrical progress. It should be remarked, that Mr. Betty, as well as his lady, has always been partial to theatrical amusements ; that he has been occasionally in habits of intimacy with some of the most eminent professors of the dramatic art, both in England and Ireland; and hence it is natural to suppose, that the sub-, ject of acting would be frequently introduced in the family, when Master Betty must necessarily have imbibed some no- tions respecting it, and perhaps some inclination towards it, at a very tender age. Mr. Betty is also spoken of, as one of the first fencers in the kingdom, which naturally enough accounts for the very superior skill which the Young Roscius possesses in this ele- gant acquirement, so essential to the profession of an actor. Being herself an accomplished speaker, and residing in a district where the English language is spoken in its worst state of depravity, Mrs. Betty, with the most laudable anx- iety, conceived it requisite to attend, personally,' to the edu- cation of her son. To the graceful and ornamental acquire- ment of recitation she paid particular attention. Master Betty was, therefore, exercised, at an early period, in the habit of reciting passages from the best authors, and was taught to pronounce the English language with propriety. The conduct of his mother, in this respect, was not dictated, in the slightest degree, by any views concerning his future des- tination in life, but was founded in her knowledge of the im- portance of elegant and correct speaking, as a branch of edu- cation ; and she saw that he could not possibly acquire it by any other means, in the remote situation where they resided. It is presumed, indeed, that Mrs. Betty, so far from having designed her son for the theatrical profession, would have been deeply offended at the most distant suggestion of that 4 nature. He was her only offspring; he was descended, both by the father’s and mother’s side, from families of some con- sideration in their respective countries ; she loved him with the most passionate fondness, and possessed, in their full force, the usual prejudices against a profession, which in it- self is of the highest respectability, but is too frequently de- graded by the irregular and imprudent conduct of its mem- . bers. For the art of dancing, without a knowledge of which, neither ease nor elegance can be attained, it is presumed our young actor is indebted to his mother; for, being an accom- plished woman, it is not probable that she would neglect a branch of education, so indispensible in genteel life. Chance appears to have determined the destination of our infant Roscius. Previously to the summer of 1802 , he had never yet seen a play. In the summer of that year, Mrs. Siddons was engaged to perform for a few nights at Belfast. The play of Pizarro was consequently produced with much splendor, that lady personating the character of Elvira. As Mr. Betty and his son happened to be in the town, they were induced to visit the theatre ; and, from this moment, the fate of our young hero was decided. He was struck with won- der and admiration. The recitation of Mrs. Siddons, and the majesty of her deportment left an impression on his mind, of which he could not divest himself. Nor is it surprising, that a young, an intelligent, an ardent, mind should be transport- ed, should be “ rapt, inspired,” on beholding at once, and on the first time of witnessing a scenic exhibition, all that was grand, impressive, dignified, rfiajestic, and sublime, in the art of acting. On his return to Ballvnahinch, Master. Betty’s conversation dwelt wish rapture on the character of Elvira, and the fascinations of the drama. He committed to memory the speeches of Elvira ; employed himself in reciting them in imitation of Mrs. Siddons; every thing Avas neglected for his favourite object; and every thing that was not connected with it became tiresome and insipid. His juvenile and spon- taneous efforts having excited the attention and occasional admiration of his parents, and some of their friends, he felt his 5 strong propensity so far encouraged, that he one day told his father, with a look of such enthusiasm, and a voice so pathetic, that those who heard him will never forget the expression, “ that he should certainly die, if he must not be a player.” His importunities becoming irresistible, and his parents finding all opposition unavailing, they were at length induced to think seriously of the practicability of indulging him. In pursuance of the resolution which he had formed, Mr. Betty returned with his son to Belfast, with the view of con- sulting Mr. Atkins, the manager, and to obtain his opinion, as to the boy’s qualifications. In the presence of that gen- tleman, Master Betty repeated some passages from the part of Elvira, with, it is said, the wild and unskilful vigour of untutored genius. Mr. Atkins was much struck with what he had heard, but wished to have the opinion of Mr. Hough, his prompter, for whose judgment he had a considerable deference. That gentleman was accordingly sent for, and immediately discerned, in the boy’s recitation and action great capabilities for a first rate actor. He gave him a few instructions, and at the same time pointed out to him the part of Rolla, as a much fitter object of his study than that of Elvira ; to which he had been directed by his feelings, on seeing the performance of Mrs. Siddons. Mr. Betty and his son again returned to Ballynahinch, and our young declaimer happening to find Aaron Hill’s tragedy of Zara in the house, began to study the part of Osman, in addition to that of Rolla and some others. About this periods the theatres throughout Ireland were shut, in consequence of the proclamation of martial law, and Mr. Hough was left at leisure to accept an invitation, which he had received from Mr. Betty, to spend a short time at Ballynahinch. He was there received, by the little hero of the buskin, as his “guar- dian genius,’’ his “directing angel.” Mr. Hough soon found that his pupil possessed a docility even greater than his genius ; for, whatever he was directed to do, he coiild instantly execute, and was sure never to for- get. He found that his feelings were capable of taking the impression of every passion and sentiment, and <5f expressing 6 them in their appropriate language. Whatever was properly presented to his mind, he could immediately lay hold of, and seemed to seize, by a sort of intuitive sagacity, the spirit of every sentence, and the prominent beauties of every remark- able passage. Thus it is evident, that whatever his instruc- tions may have been. Master Betty is in possession of a very superior strength of intellect ; and of a most enthusiastic at- tachment to the profession which he has adopted. Under Mr. Hough’s tuition, he perfected himself in the parts of Osman, Rolla, Douglas, and several other leading characters ; and, on that gentleman’s return to Belfast, he felt himself justified in informing the manager, that he had found “ a diamond in a rough quarry.” Induced by this, and other favourable reports which he received, and solicitous to bring forward some extraordinary novelty, on account of the extreme depression of the times*, Mr. Atkins offered Master Betty an engagement to play at Belfast, for four nights. Accordingly, on the 16th of August, 1803, he an- nounced the tragedy of Zara, the part of Osman to be under- taken by a young gentleman only eleven years of age. At the particular request of the manager, the drums had been ordered to beat an hour later at night, and the doors of the theatres were opened an hour sooner than was customary, to afford the public a suitable opportunity of beholding the reported wonder. The singularity of the exhibition drew together a great crowd of people, who were equally astonished and enraptured at his performance. On his entrance, not the slightest mark of embarrassment was evident; and he went through the whole part without any confusion or mistake. The applauses were of course tu- multuous and incessant ; the actors of the regular company were confounded to see themselves so completely schooled by a mere infant ; and even those who had formed the most sanguine expectations concerning him, were astonished at his success. Next day, little Betty formed the common topic of conver- sation in all parts of the town. Persons of sober judgment, * This was shortly after the lamented death of Lord Kilwarden. 7 whom curiosity had not prompted to witness his performance, treated the panegyrical reports respecting him with scepti- cism and derision. They naturally enough supposed, that his acting must be like that of other children whom they had seen ; that he had been drilled into the assumption of a few attitudes and stage tricks, and had learned to look the audi- ence in the face, and to speak boldly. When assured that he had excited the deepest sympathy in the spectators, and that many parts of his acting, even in an old performer, would have been thought admirable, they listened to the seemingly idle report, as they would have done to “ a tale told by an idiot. ” Happily, however, for precocious merit, the impulse of curiosity is so powerful, that very few people are capable of resisting the inclination of judging for them- selves. Accordingly, even the most sceptical determined to witness Betty’s next performance. In the evening of the succeeding day, he appeared in the interesting character of Young Norval. His performance of this part, it was justly thought, would afford a fair test of his real capability, as the character, without requiring any vio- lent stretch of the imagination, might in some degree be as- similated to his years and figure. In his portraiture of the gallant Norval, Master Betty not only confirmed the favourable impression of his first perform- ance, but displayed new excellences of a high order, and such as are generally supposed to be of the most difficult at- tainment. The jealousy, rage, and despair of Osman, were considered as more easy to represent than the chastened spi- rit and modest heroism of the noble Douglas. But he sur- mounted every obstacle, and performed the part with such unaffected, yet energetic simplicity, that the most incredulous were satisfied, and " Those, who came to laugh, remain’d to praise.” His next part was Rolla, which, although not so well adapted to his juvenile appearance, he sustained with great force, correctness, and effect. His character was now high 8 in the public estimation, and he concluded his engagement with the part of Romeo, in a very superior style of excel- lence. Master Betty’s success, and the great promise of his talents, determined his parents to facilitate the progress of that ca- reer which he had so successfully commenced; and, on an invitation from Mr. Jones, the manager of the Crow-Street Theatre, Dublin, an engagement was made for the boy to perform nine nights. That his son might be in possession of e Tr ery possible advantage, in point of instruction, Mr. Betty solicited Mr. Hough to attend him in his excursion to Dublin, and also in his future engagements. That gentleman, having conceived a strong attachment to the boy, as well as a san- guine hope of his future eminence, accepted the proposal, and immediately resigned his situation in the Belfast theatre. From that period, to the present, he has devoted his whole time and attention to the improvement of his pupil; and> from his professional skill, and his general knowledge of theatrical concerns, he has been of the most essential service in superintending his conduct, forming his engagements, &c. The voice of fame had preceded Master Betty’s arrival, and the people of Dublin were prepared to receive him with the most liberal kindness. In that city, he was announced as the Young Gentleman who had acquired the appellation of the Infant Roscius, being only twelve years old. His first appearance was on Monday the 28th of November, 1803, in his favourite part of Young Nor - val. The house was crowded with company of the first rank ; and such was his reception in the character, that the play was repeated on his second night of performing with increa- sed attraction. On the third night, he played Frederick , in Lover’s Vows, and went through the whole of his nine nights with a career of the most brilliant success. The Dublin audience, however, is a severely critical one; and, during Master Betty’s stay in the metropolis of Ireland, several lampoons were published against him. Whether those satyrical effusions were dictated by justice and sound criticism, it would be difficult to ascertain. It is probable. 9 however, that little Betty’s acting might then be more open to attack than it is at present. The keenest attack which he sustained from the Dublin critics, was contained in a publication that appeared early in the present year, under the title of “ Familiar Epistles to Fre- derick J 6‘, esq. on the present State of the Irish Stage.'* This performance was given in a series of letters in Hudi- brastic verse, relating to the performers of the Dublin thea- tre, and addressed to the manager. The principal charges, however, which are brought against Master Betty, relate to his age and size ; but the manager is severely censured for degrading the dignity of the stage, by introducing a child in the leading characters of the drama. The reader may form some idea of this composition from the following lines, which are not wholly unworthy of atten- tion from Master Betty’s friends: — “ Poor child, thy age and infant fears. Thy talent far beyond thy years. Thy simple tones untuned by art. Would melt to praise the critic heart. Were praise not ruin; — if you now To plain advice refuse to bow. And rather lay thy boyish claim To gusts of praise than lasting fame ; For some few months we’ll call you clever. And then, poor child — “ farewell for ever,” But to thy studies hence again — Turn the page, and guide the pen; r Leave to the fribble and the fool. To scorn the seasoning of the school. In .ory’s magic glass, descry How sages live and heroes die. From lively Greece, and sober Rome, Import their manners and costume. Weigh all thy parts, with learned care, Be first a critic, then a player; — And when, too soon, the flights of lime Shall give thy shape its manly prime. And thought and study have refin’d. And store with classic taste thy mind ; Then to the scene return, and claim Thy well-earned meed, — perennial fame. ,, C 10 While Master Betty remained at Dublin, Mr. Jones was so sensible of his talents and importance, that he became ex* tremely solicitous to secure to himself so valuable a treasure* He accordingly offered to engage him by articles,' for a term of years, at a liberal and increasing salary;' but, fortunately for the youth, this proposal was rejected. Master Betty was next engaged by Mr. Peros, the mana- ger of a respectable company of comedians, in the south of Ireland, to perform six nights at Cork. He Commenced with Hamlet, on the 31st of December; afterwards played Romeo, Douglas, and some other characters ; and, every night that he appeared, the house was so completely filled, that a great number of the inhabitants of Cork and its vicinity, could not possibly obtain access to the theatre. In conse- quence of this flattering circumstance. Master Betty’s en- gagement was extended for three nights longer. It is a remarkable fact; that though the nightly receipts of the principal theatre in Cork frequently do not exceed ten pounds, yet Mr. Peros received upwards of a hundred pounds every night, during the performance of the Infant Roscius. Subsequently to the termination of his engagement at Cork, Master Betty proceeded with Mr. Peros’s company to Waterford, where he performed for four nights with consi- derable eclat. Previously to this, the fame of his extraordinary success having extended to Scotland, he had received proposals from Mr. Jackson, the manager of the Edinburgh theatre, to play a few nights in that city. The offer was accepted; but, in conformity to subsequent arrangements, he first played with that gentleman at Glasgow^, in the spring of the present year. On his journey thither, he joined his old friend, Mr. Atkins, at Londonderry, where he played six nights w r ith the same good fortune which had before attended him. In their w r ay to the coast, Mrs. Betty was unfortunately seized w’ith an alarming illness, which detained them for several weeks; but, on her recovery, they crossed the Channel, and arrived in safety at Glasgow. 11 Mr. Jackson had been sneered at, for what was deemed his folly in engaging such a child; but he persisted in the mea- sure, and the event more than justified his most sanguine expectations. Master Betty’s first appearance at Glasgow was on the 21st of May, 1804, in the character of Young Norval; and Mr. Jackson asserts, that he ivas received with the greatest bursts of applause that he had ever witnessed by any audience. He played here, in fourteen nights, to overflowing audiences, the foi r low r ing range of characters; — May 21, Douglas. 23, Hamlet. 25, Romeo. 26, Frederic, in Lovers’ Vows. 28, Douglas. 30, Octavian, in the Mountaineers. June 1, Rolla. 2, Hamlet. 4, Tancred. 6, Rolla. 8, Richard III. — 1st appearance. 9, Tancred. 11, Richard III. 13, Osman, in Zara, The Edinburgh manager, who, from his long experience on the stage, must be considered as a competent judge, thus expresses himself respecting Jfye talents of our youthful hero : — ' " I speak not from a transient view, or from the examen of a single character: l have traced him through all the parts he has hitherto performed on this (the Glasgow) theatre, and watched his dramatic progress with n critic’s eye, in order to notice expected defects, and, if needful, to point out emend- ations. But his correctness, and graceful mode of deport- ment, throughout the whole of the performance, and the astonishing exertions which his powers enabled him to exfyir* 12 bit, rendered useless my intention; and taught me to know, that f Nature’s above art in that respect.’ For the gifts she has endued him with, I found, stood in no great need of a preceptor. Nor, in the whole series of my acquaintance with the stage, have I ever beheld the same range of characters, filled by the principal theatrical adults, with a smaller num- ber of admissible faults.” At Glasgow, notwithstanding his unprecedented success, the Young Roscius was again assailed by the shafts of criti- cism; but the public indignation was so strongly excited against the assailant, that, being discovered, he was compelled to leave the city. Mr. Jackson next conducted Master Betty to Edinburgh, where he also played fourteen nights. fi His reception there,” observes that gentleman, “was beyond all conception, or belief — unexpected, heartfelt, and universal; which com- pleted my wishes and the triumph of the youth. To heighten the brilliancy of the successful close, chance threw in a for- tunate incident.” The incident here alluded to, is so very remarkable, and must be so highly interesting to every one who feels the least curiosity respecting the immediate subject of this tract, that Mr. Jackson must pardon the liberty taken of quoting it. “ On the forenoon of the play-day,” says he, “ I met Mr. Home, the author of Douglas, on the North Bridge; compliments being exchanged, I informed him that his po- pular play was to be performed that night. He said he had not heard of it ; and enquired in what manner it was to be represented. I replied, it would be to his entire satisfaction. Explanations took place; and he promised me to be in the house by the opening of the play. f But/ says he, f I must have my old place : I shall come to your house, and you shall conduct me to it.’ He came according to his word ; and I had the pleasure of seating him at the side of the first wing, where I had enjoyed the same honour, at that very play, forty-three years before. And I presume, no one ever received higher gratification than he did, from the perform- ance of the evening. I speak it from conviction; I read his 13 looks, and saw the undisguised workings of his frame. — Th£ play concluded with reiterated applause, which scarcely ceasing — the author of Douglas, in the plenitude of raptu- rous enthusiasm, from the unexpected gratification he had received, stepped forward before the curtain, and bowed re- spectfully to the audience ; retiring amidst the convulsed and tumultuous acclamations of the house. “ On his being veiled from the sight of the spectators, I asked him how he had been entertained. He answered, * Never better! Sir;* says he, f this is the first time I ever saw the part of Douglas played; i. e. according to my ideas of the character, as at that time I conceived it; and as I wrote it. He is a wonderful being; his endowments great beyond conception: and I pronounce him at present, or at least that he soon will be, one of the first actors upon the British stage!” We entertain but very little respect for the theatrical criti- cism of newspapers in general; but as we happen to have met with a well-written article of this description in the Edinburgh Evening Conirant ; and, as the observations which it contains appear to be extremely just, we conceive that our readers will be much gratified in perusing it. — Almost im- mediately after Master Betty’s first performance of Douglas on the Edinburgh stage, a critique upon the merits of the in- fant actor made its appearance in that paper of the 2d of July last, as follows : " The theatre of this city was opened on Thursday night with the tragedy of Douglas, for the purpose of introducing, as the hero of the piece, a boy of twelve or thirteen years old, who has been for some months distinguished in Ireland, and more lately in Glasgow, by the appellation of the Young Roscius. “ That a child, in whom reason cannot be supposed ma- ture, should be able to conceive, far less to delineate, the va- rious emotions which agitated the shepherd and the hero, we did not venture to expect. Genius has often effected its ■emancipation from the trammels of poverty, obscurity, and depression; and the silent workings of its powerful impulse 14 have supplied the place of experience and learning. But that the infant faculties should keep pace with those of ma- turity, is, perhaps, scarcely less wonderful, than if (what has in no instance been seen) the physical power of that period of helplessness should equal the vigour of confirmed man- hood. Early and very wonderful dawnings of genius have been displayed in the cultivation of some of the sciences — in arithmetic, and more frequently in music; but the science of mind, and the attainments connected with it, have almost in- Tariably been reserved for the investigation of riper age. “ With such impressions we attended the representation of I)ouglas; not doubting but that our eyes might be entertain- ed with happily-caught attitudes, or our ears with melodious imitations, but that we should witness a clear, correct, and comprehensive conception of the author; a chaste, powerful, and original delineation of the character; we certainly did not expect. Our astonishment and delight, therefore, at ac- tually finding this rare combination exhibited in the perform- ance of this wonderful boy, may be readily conceived. “ His appearance, on his first entrance, chiefly engaged the attention by its extreme juvenility. He is gracefully formed; but he is not, as we understand, more than twelve years old, and he looks still younger. His face, too, though very pleasing, has all the smoothness of boyhood; and, from the necessary faintness of those lines by which the passions too legibly indicate their existence in maturer age, it was not easy to anticipate a powerful delineation of emotions, which could hardly be supposed to exist in the breast of the per- former, But no sooner had he entered upon his part than his superiority was fully exhibited: he speedily took full posses- sion of the audience; and after the scene with Lady Ran- dolph, in which she reveals to him the secret of his birth, the spectator was involuntarily, and almost unconsciously, led to try him, not by a standard accommodated to his inexperience and his youth, but by one arising from the clear perception of the poet’s beauties, and the recollection of what had been previously done for the character by the very first perform- ers of the part. 15 ,f To this admirable scene, we certainly never did see greater justice done; seldom, very seldom, so much. In the previous progress of the part the youthful candidate had ex- hibited the ardent and aspiring shepherd, panting for honour and distinction, yet repressed by modest timidity and inge- nuous diffidence. In this scene his performance breathed all the wildness of joy, the enthusiasm of filial love, tempered by reverential awe, the triumphant conciousness of the noble descent, and the nobler dignity of inborn worth. Never did we see those feelings more chastely conceived, more beauti- fully blended, or more powerfully expressed. His address to his mother was more peculiarly admirable. The taunting scene with Glenalvon vras also excellent; and, in general, those passages were most prominently so in which ardent feeling was to be expressed. “ It is not, by any means, to be understood, however, that he was defective in the descriptive and declamatory scenes. On the contrary, his account of the Hermit was the evident result of clear and accurate discrimination ; and the burst of feeling with which he announced the catastrophe of the sage, was the genuine offspring of nature. But the dying scene was beyond all comparison the finest. “ We have seen Mr. Kemble and others in the part; and, with a clear perception of all the hazard we encounter, we hesitate not to deliver it as our opinion, that if any previous performer has equalled, not one has excelled this astonishing child in the delineation of life’s closing scene. His voice was clear, melodious, and articulate, to the last; and yet so naturally and so accurately did its receding murmurs indicate the increasing debility of expiring nature, that each plaintive accent seemed its final effort. The dropping of the curtain was accompanied by the rapturous and reiterated applauses of the audience, whose tears had previously borne less equi- vocal testimony to the merits of the performer. “ It would be easy to enlarge upon other particulars of the performance, but it is probable we may be thought to have already said too much. We shall close our account, there- fore, with a few general remarks. 16 “ The headings, deportment, conception, and whole man- ner of this boy, are entirely his own. He is, so far as we can judge, entirely original. He not only does not imitate the first performers of the day, but he is remarkably contrasted with almost all of them. Every one knows that the school of Garrick is now no more. The fire, the rapidity, the impas- sioned gestures, the quick and exhaustless .variety which characterised it, have given place to awful dignity, to stern elevation, to savage wildness, and to eccentric grief. It seems to have been the aim of this infant performer (if any aim can be ascribed to that which most probably is the resistless dic- tate of nature,) to renovate that school. His whole acting at least is.founded on its principles. It is rapid, natural, and easy. He has no artificial pauses, no affected modulation, no statue- like attitudes. Every word he utters seems the immediate result of the feeling which prompts it; and if his gestures are seldom characterised by elaborate smoothness and grace, they are uniformly true to character and to passion. It is difficult to pronounce respecting the height to which this phenome- non may one day attain, or whether, like many others (all of them, however, we contend, less wonderful,) he may bla^e for a day, and set in obscurity. But this we do say, that when a veteran performer shall exhibit the powers of this child, he will be entitled to the praise of no ordinary excel- lence. ” During Master Betty’s stay in Scotland, numerous applica- tions were made to his friends, from the principal theatrical managers in this country, to engage him. He had already passed through two parts of the empire with an uninterrupt- ed career of success, and the third now only remained for his scene of action. Mr. Jackson had the honour of importing the juvenile wonder from the Hibernian to the Caledonian stage; and Mr. M‘ Cready, the indefatigable manager of the Birmingham theatre, having been the earliest in his applica- tion for the enviable and profitable distinction, had the honour of first bringing him before the English public. It was on Monday, the 13 th of August, 180 -I, that Master Betty first played on the Birmingham stage. The part which 17 was fixed on for his debut was that of Young Norval. It has been mentioned, by those who were present, that his morning re- hearsal was little more than whispering ; that it was careless, and scarcely intelligible, bearing an appearance of no pro- mise; but, notwithstanding this, in the evening, the applause was tumultuous. By some means, however, his first four nights, in which he played Young Norval, Rolla, Hamlet , and Richard the Third , were not greatly attractive. On the fifth night, which happened to be Mr. Hill’s benefit, he repeated the character of Hamlet, to an overflowing audience; and, from that period, the theatrical annals of Birmingham furnish nothing equal to the astonishing commotion which his per- formance excited. The public inns were completely occu- pied by persons who came to see him, from every part of the adjacent country; and even the stage-coaches, from places at a greater distance, were filled with passengers, whose only errand was to see the Infant Roscius. In the second week of his engagement, he played the cha- racters of Hamlet, Osman, Young Norval, Romeo, and Achmet ; and, in the third, he performed Frederick, Hamlet, Octavian, and Richard the Third . On the last night of his performance, which was for Miss Smith’s benefit, the receipts of the house amounted to ^266 : 4 : 0, a sum considerably greater than it was supposed to be capable of holding. The terms on which Master Betty performed at Birming- ham, we believe, were the following ; He was to play for six nights ; and, after the manager had deducted £ 50 nightly for his charges, he was to receive half of the remainder. The receipts of the seventh night were wholly appropriated to the manager; but the eighth was for his own benefit, the mana- ger deducting ^*40 charges. The eight nights having ex- pired, he renewed his engagement for five others, on terms substantially the same. The following list of the house receipts, on the respective nights of his performance, will enable the reader to calculate the amount of Master Betty’s profits ; D 18 First night 6 0 Second 3 0 Third 8 6 Fourth 5 6 Fifth 13 0 Sixth 13 G Seventh 9 6 Eighth 3 0 Ninth 5 6 Tenth 19 6 Eleventh 4 0 Twelfth 13 6 Thirteenth 4 O About the time that Master Betty was performing at Bir- mingham^ the following neat little jeu d' esprit found its way into circulation : "Nature, one day, with Art, was notes comparing; * I cannot bear said she, ' your vaunts of sharing My sole creation ! If I grant that Kemble May, of us twain, yourself the most resemble — And that, though I bestow’d the shape and face. You added action, energy, and grace — What then? Exclusively is Cooke my own; Of thee regardless — nay, to thee unknown !* "Marry come up !” quoth Art, "since thus youi flout m«. And boast that you can do your work without me. Try ! make one Man (depriv’d of my assistance) A perfect Play’r — and I will keep my distance!” * A Man'!’ Dame Nature, in a rage replied, ‘A Child — a very Child shall crush thy pride!’ True to her word, she stamp’d her Infant Son The faithful Miniature of Roscius gone — Cooke , Kemble, Holman, Garrick— all in One !” It had been confidently expected, that the Young Roscius would perform another night, for the joint benefit of Messrs. Holmes and Mason, and Miss Davies ; but, to the great dis* appointment of them, of many strangers in the town, and of the inhabitants in general, who could not gain admission on 19 fhe preceding evening, lie was, by some means, prevented. In consequence of some invidious insinuations, much blame had attached to the manager, as it was generally con- ceived, that he had been the cause of their disappointment. Accordingly, on Friday evening, loud murmurings were heard in the house, with violent hissings and groanings, so that the performance was interrupted. Mr. M'Cready came forward to justify himself, and declared, “that he had done all in his power to prevail upon the Young Roscius to perform, not only for that night, but for the benefits of the rest- of the performers; and that the youth was prevented by the inter- ference of his friends.” Mr, Blanchard confirmed this de- claration ; the audience then seemed perfectly satisfied ; the play was suffered to go on without farther interruption ; and, on the following day, Mr. Betty published a letter, which fully exonerated Mr. M'Cready from the charges which had been laid against him. Master Betty, it appears, would most willingly have played for the benefit of the performers alluded to, and was much distressed on being prevented. The following anecdote, connected with this circumstance, is highly honourable to the feelings of this generous youth. He expressed his determination to a friend, that, as he could not act for those performers on the stage , he would do all in his power to act for them off it” Having, therefore, provided himself with the tickets (with which his pockets were literally stuffed) he waited upon those families with whom he was intimate, “requesting them to use their interest in behalf of his friends and many gentlemen, who had no intention of going to the theatre, were induced, from the earnestness of his solicitations, to take tickets, which ultimately tended to fill the house. A gentleman of Birmingham, we believe Mr. Bisset, in ex- pectation of Master Betty’s playing on the evening alluded to, prepared a Farewell Address on the occasion. In consequence of the disappointment, the address, of course, was not spoken; but, as it possesses a peculiarity of point, and as every cir- cumstance, which bears even a remote relation to our lier^ 20 is more or less interesting, no apology is requisite for insert- ing the following copy thereof: " Ye generous Britons ! patrons of the play. Permit me, now, my heart-felt thanks to pay. For ev’ry favour I’ve receiv’d from you, (From partial kindness, more than merit due.) I come, my friends, impell’d by ardent zeal. To pay such thanks as grateful minds must feel : Though words are weak, and language is but faint, Half what I feel with energy to paint. " The friendly natives of Hibernia’s isle. On my dramatic efforts deign’d to smile; First fann’d the embers till they rais’d a flame. And still more partial — gave me Roscius’ name ! A name too great, too undeserv’d I ween For such a youth, who’s not yet reach’d thirteen; But over-partial, and to strangers kind. The generous Irish to my faults were blind. “ In Caledonia (fam’d for classic lore !) To see me act, ev’n learned sages bore; And ere to English ground I dar’d to roam. Receiv’d a sanction — that, at once, struck Home*. "Some critic bards, no doubt, to shew their wit. Will think (for once) they’ve made a lucky hit. Because in Birmingham I first was press’ di, (And by the people have been much caress’d ;) They’ll call me Counterfeit, because that I Was here first fashion’d, in an English die ! "But let them sneer. I’ll to the world proclaim. You’ve added lustre to my humble name, And made such deep impression on my heart. That tears, to thank you, now most eager start — Not counterfeited tears, I vow by Merlin, But tears of Gratitude, all true and sterling !” It was during Master Betty’s stay at Birmingham, that ne- gociations were first commenced relative to his appearing on the London boards. Mr. Graham, one of the gentlemen con- nected with the board of management, of Drury Lane theatre, * The author of Douglas. 1 Coin, instead of being stamped, as is generally supposed, is pressed . 21 happened to pass through the town, on his way to Liverpool ; and, having been pressed to witness the performance of the. Young Roscius, he attended the theatre on two evenings of his playing. This gentleman professed himself delighted with his acting, and made him an offer of half a clear benefit, on condition of his performing seven nights at Drury Lane. This offer was not accepted ; but, after Mr. Graham’s return to London, some farther enquiries were made, on the part of the Drury Lane firm, relative to the boy’s abilities. Mr. M'Cready’s opinion was solicited ; and that gentleman, with the most honourable spirit of candour and liberality, express- ed himself to the effect, that he ought not to receive less than fifty guineas a night, and a clear benefit. These terms not being immediately acceded to, Mr. Harris, the principal pro- prietor of Covent Garden theatre, availed himself of the de- lay, and sent a carte blanche to Master Betty’s friends, who entered into an engagement for his appearance at London* for twelve nights, at the rate proposed by Mr. M^Cready, and a clear benefit. The original agreement, we believe, stipulated, that he was to play three nights a week, during the last week of November, the same number during the first week of December, the last week of January, and the first week of February ; his benefit to take place on the thirteenth night ; and a new engagement to be formed, on similar terms, after Easter, provided it were agreeable to both parties. The managers of the rival theatre, chagrined at finding them- selves thus forestalled, charged Mr. Harris with violating an established principle between them, of not interfering with each other, during the progress of a negotiation. It appears, however, to speak a-la-mode diplomatique, that Mr. Harris had been the first to deliver in a projet for engaging the Young Roscius, a friend of his having applied to Mr. Betty, while his son was performing in Scotland. The Drury Lane ma- nagers would willingly have bought off such engagements as the youth had pending, previously to his intended appearance at London ; but his friends, perhaps from a sentiment of ho- nour, would not permit the attempt, but scrupulously adhered to the agreements which they had made. Most fortunately, however, a chasm remained open in the Covent Garden agreement, of which the other house availed itself ; and Master Betty was subsequently engaged to play at Drury Lane, in the weeks intervening between those of his performance at the rival theatre, and on the same terms. The form, though we believe not the substance, of Master Betty’s engagement at Covent Garden, must have been some- what varied ; for, instead of playing three nights in the last week of November, he did not make his first appearance until Saturday, December the 1st; and, in the succeeding week, he performed five times. Our little hero is said to be remarkably bashful ; and, though he received a number of invitations, from the prin- cipal families in Birmingham, he accepted but very few. From Birmingham, Mr. M f Cready’s company proceeded to Sheffield, where also the Young Roscius was engaged to perform. At this place the price of admission to the boxes was raised from three to four shillings; and of the pit, from two shillings to half-a-crovvn. On the evening of Monday, September the 17th, he came out as Young Norval. Various had been the conjectures of the public respecting the merits of the juvenile hero, and great doubts were enter- tained, that the advance of the price w r ould militate against the interest of the manager; but after the first night, all their doubts vanished, and the whole town and country rung in praise of the wonderful phenomenon. People flocked from all quarters to wbtness his performance, w r hilst the boxes w ere soon secured for the remainder of his engagement. On the following evening, he played Selim , in Barbarossa ; to w itness w hich, a company of comedians came over from Chesterfield, a distance of twelve miles. Previously to their entering the theatre, they observed, that “they had come over merely out of curiosity, and with no expectation of being gratified ;” adding, “that the age of ignorance and superstition w as again revived ; and that they came more to witness the credulity of the people, than from any other motive.” After the play, however, the notes of these theatrical sceptics were completely altered, and they unanimously declared, “ that ©ur hero was the most finished and graceful actor they had ever beheld !” On Wednesday, his fame increasing, he played Richard the Third ; and, on Friday, by desire, he repeated the charac- ter of Young Norval. Saturday not being a play-day. Master Betty accompanied the manager, and a party of friends, to Buxton, and in the evening he went to the theatre; when it was known who he was, all eyes were instantly fixed upon him, and he soon be- came “ the observ’d of all observers.” • On Monday the 24-th, he performed Hamlet; and as a proof how popular our hero was, the Chesterfield company shut up their theatre that night, went a second time to see him, and, on retiring, expressed themselves to have been gratified be- yond measure. On Thursday, Master Betty played Osman, in Zara*; on Wednesday, Romeo; and, on Friday, he repeated the cha- racter of Selim. On the latter evening, Mr. Stephen Kemble, having arrived at Sheffield, went to see him, and subse- quently declared, that he never was more agreeably surprised in his life. The play on this evening being for the young gentle- * In the course of this evening, an unfortunate circumstance occurred. One of the performers, a Mr. Henry, happened to step upon a trap, near the -back part of the stage, which had been incautiously left unsecured, and he instantly fell through a space of more than twelve feet. A large hook caught the sleeve of his dress, which in some measure broke his fall, but lacerated his arm. He was taken up with very faint symptoms of life. Medical assistance being on the spot, he was immediately bled, and carried home to his apartments. He was dreadfully bruised; and a considerable time elapsed before he was completely recovered. The manager reprobated, in the strongest terms, the negligence of those thrQiigh whose carelessness the accident occurred ; and ordered that every attention should be paid to the unfortunate sufferer. The con- duct and feelings of Master Betty, on this occasion, were such as to do him the highest honour. He was the first to make his way beneath the stage, calling loudly for lights, exclaiming, in the utmost agony, while the full eye bore testimony to the feelings of his heart, “ My God ! my God ! he is killed !” He added the utmost of his little strength in assisting to carry him to the Green Room ; and, as soon as propriety would admit, visited him at bis lodgings ; and his attention afterwards was unremitting. man’s benefit, the theatre overflowed in every* part ; and it might be truly said, that he filled his pocket with money, the house with people, and the people with astonishment. About this period, our theatrical wonder had the gratifica- tion of receiving the following congratulatory lines, which were understood to be written by a Mr. Fisher, a gentleman of the Inner Temple, whose curiosity had induced him to visit Sheffield, for the express purpose of -witnessing Master Betty’s debut . “ When first I heard, of thine assumed iiume, I doubted of the justice of thy claim ; What ! shall a Boy in BosWorth’s Field engag&? The youthful Prince would better suit his age : But having seen thee, — all my doubts are flown. My plaudits and my tears are all thine own. Whence are the energies that swell thy soul. And give thee, thus, our passions to control ? From Heaven they spring ; Child as thou art in years , The curtain drawn — a Prodigy appears. Bid Sceptics to thy scenic banquet come. Conviction yields assent, and Envy’s dumb. “ Unequall’d Youth ! report falls short of thee. To judge thee fairly, we must hear and see; The lustre of thine eye , can Fame express. Or speak in tones, that pierce the heart’s recess ? Impassion’d tones, that frozen thoughts would fire. Or with deep pathos softer themes inspire. Tones, that in thund’ring accents rouse our fears. Or sooth us with the music of the spheres. The evanescent tints can Painting trace. That in their turn light up thy varying face ? Whilst, towering with the genius of the storm. Rises thy Figure, and dilates thy Form ! Or, action mark, so suited to each part. Acting ’tisnot, for Nature’s Child thou art! Thine attitudes, so graceful, and so true. All eyes are pleas’d, all hearts are charm’d with you Would Sculpture form — Apollo Belvedere, She need not roam to France — the Model’s here. Whether to Juliet faiy thou fondly sue. With the enraptur’d, love-sick Montague; 25 Or with Young Frederick wake a Father’s shame. And vindicate an injur’d Mother’s fame ; Whether our hearts, Achmet or Norval charm. Thy words, thy looks, our hopes, our fears alarm ; Or, with the RoyalDani, intone severe. Thou speakest ‘ daggers to a mother’s ear;’ Or with King Richard, in ambition’s course, Exclaim’st, ‘a horse, my kingdom for a horse!’ Equal to each , with wonder we behold A Youth so young, in tragic lore so old. Well may the House with rapturous shouts resound. Ne’er at thy years was such an Actor found. Nature has challeng’d Art, her power to see, And mocks her vain attempts to rival thee : Nor are her choicest gifts bestow’d in vain, * Ne’er shall we look upon thy like again.’ Nor need we fear thy wreath too high to raise, We cannot flatter Worth surpassing praise. ‘'Oh ! could our Garrick from the shades arise, Roscius! thy powers a Garrick would surprise: Great, as in years mature, he trod the stage. He equall’d not the promise of thine age; That Promise, may thy ripening years fulfil, And fire our souls, and melt our hearts at will ! Oh ! may’st thou far transcend his brightest day, And with increasing strength hold on thy way ! f Long may’st thou live ! to charm the public ear. And Fame and Fortune shine on thy career ! “Yet there’s one part — for Nature will prevail, Wherein e’en excellence like thine may fail ; Say, can that face, where youthful virtues beam. Distorted be, to Villainy's extreme? Thy Friends must own, to thee and Nature true, Roscius can't be ‘ the Jew that Shakespeare drew.’ ” The theatre at Buxton holds only about thirty-five guineas; but, such was the anxiety of the nobility and gentry of that neighbourhood, to behold our Thespian wonder, that they com- missioned Mr. Stanton, the manager, to offer him fifty pounds for a single night’s performance, they agreeing to make good all deficiencies. Mr. M f Cready, however, having re- en gaged Master Betty to perform for another week at Shef- £ 26 field, the young gentleman could not avail himself of the liberal offer. On Monday October 1st, there was a very crowded house, to witness his Richard; on Tuesday he performed Frederick , in Lover’s Vows, to one of the thinest audiences which had presented itself; on Wednesday he played Hamlet; and, on Thursday he appeared as Octavian , in the Mountaineers. On the latter evening, the Doncaster company visited the theatre, and went away most highly delighted with their unexpected en- tertainment; for they a/so had come full of prejudice. On Fri- day the 5th, Thomson’s tragedy of Tancred and Sigismunda was revived, for the purpose of introducing Master Betty as Tancred , which is considered as one of his best characters. This evening, amidst reiterated and enthusiastic applauses, he delivered, in propria persona , the following ADDRESS. " Anxious to pay my heart-felt homage here. Before you, thus, I venture to appear; No character assum’d shall veil me now, Whilst to my partial friends 1 grateful bow. “ Say, am I wrong to aim at your applause ? Yet there are some, unheard, prejudge my cause. Who in my coat theatric holes are picking. And scorn the boyish hero, stage-struck chicken. Shall he debase a Shakespeare’s glowing scenes, * A horse ! a horse!’ — a rochiug-horse he means. His acting, trick, and start— a mere machine. Who utters words, not feeling what they mean : Drilled by some fugleman — right, left, prepare , Heads up — attention — dress — now, as ye were. “ Am I a chicken ? They shall find me game, In the bold contest for theatric fame. As to my height, I trust on reason’s plan. The mind is held — the standard of the man ; And for my youth — why ? if that be a crime, Patience, dread Sirs, I shall amend in time. Such critics, for myself, unmov’d I view : Is it my acting they condemn — or you ? Could trick or start the nobler passions raise? Or give me what’s my proudest boast, your praise. 27 Cheer’d with protecting smiles, the bud may blow, And this young sapling to a cedar grow. “When at our Shakespeare's shrine, my swelling heart Bursts forth, and claims some kindred tear to start; Frown not, if I avow, that falling tear Inspires my soul, and bids me persevere. Here, though you weep for sorrows not j^our own. Be life’s true sorrows to your hearts unknown. May — I want words — my feelings choak their way. Think what I ought to feel — that would I say.” On Master Betty’s quitting the stage, six peals of tumultu- ous applause ensued; and it was with extreme difficulty that the audience would be appeased, without a repetition of the address. On Saturday, the 5th of October, the Sheffield theatre closed with Douglas, and Miss in her Teens; the part of Young Noi'val and Captain Flash , by Master Betty. The attraction of this youth, during his stay in Sheffield, was unprecedented. The town never was so full of strangers. Many families of distinction, from London, had taken lodg- ings at the hotels, &c. for the whole time he played; whilst carriages, labelled “ Theatrical Coach, to carry six insides to see the Young Roscius,” were stationed at Doncaster races, to take passengers from the sports of the turf, to the more ra- tional amusements of the stage; and it was with difficulty that beds could be procured on any terms. The following is a list of the nightly receipts, during his performance at Sheffield: First night ag.93 8 0 Second 60 1 6 Third 4 0 Fourth 4 0 Fifth 14 6 Sixth 8 6 Seventh 4 6 Eighth 129 1 0 Ninth 7 6 Tenth S 6 28 Eleventh 121 11 G Twelfth . , 108 2 6 Thirteenth 127 2 0 Fourteenth 74* 0 0 Thus the receipts of the theatre, during the fourteen nights of his performance, amounted to nearly 1500 ; and had money been received for all who would have paid for admission, even to the rehearsals, the sum would have been much larger. From Sheffield, Master Betty proceeded to Liverpool, where he played, during fourteen nights, the following range of characters, in successive order: Douglas, Hamlet, Frederick, Richard, by command of Prince William Frederick of Gloucester. Selim, Douglas, by command. Romeo, Osman, Selim, Frederick, Octavian, Hamlet, Frederick, by command, and for his own benefit. At Liverpool, all his former successes, howsoever brilliant and unprecedented, are thought to have been completely eclipsed. The inhabitants of that town are particularly at- tached to dramatic performances, and the ordinary receipts of the theatre greatly exceed those of any other in the king- dom, London, and perhaps Dublin, only excepted. With the exception of the London and Dublin theatres, that of Liverpool is, we believe, the most capacious of any in the empire ; yet such was the difficulty of obtaining admittance, during the performance of Master Betty, that, in a few mi- nutes after the opening of the doors, not a place was ever to be obtained in any part of the house. Such was the unex- ampled pressure to procure places, that, in the morning, when the box-office was opened, gentlemen frequently had their clothes torn to tetters ; their hats and shoes carried away in 29 the crowd, and themselves sometimes severely bruised and almost suffocated in the attempt. It is believed that, had the theatre been of twice its present dimensions, it would have been equally thronged. During the twelve first nights of Master Betty’s performance, the sum total of the house re- ceipts amounted to upwards of ^3680. The boy, on an average, shared ^90 a night; and, including his benefit, received the enormous sum of <^1520, as appears from Mr. Betty’s receipt, in the possession of Mr. Knight, the manager* It has been reported too, that the proprietors offered him sS\500 more, for an additional fourteen night’s performance; but that his other engagements did not leave him at liberty to accept the oiler. Perhaps it would be difficult to find an example of so large a sum having ever before been paid to any individual for personal exertion alone, in the same space of time. While at Liverpool, Master Betty had the honour of en- joying the particular notice and protection of Prince William Frederick of Gloucester, who resided in that neighbourhood as commander in chief of the north-western district. His Royal Highness not only testified the highest gratification at his performances, but seemed to interest himself very strongly in his future welfare. His conduct, in this respect, reflected on him the highest honour. He sent for Mr. Betty and his son, and expressed to the former his admiration of the young gentleman’s uncommon talents, and his anx’ous wish that every means might be employed to bring such rare abilities to their full maturity. He recommended, also, that the pro- duce of the youth’s exertions, or a considerable part thereof, should be placed for his use in the hands of trustees ; obser- ving, that the fund, so formed, would furnish the means of completing his education on a liberal and extensive plan, adapted to the profession which he had chosen, and of which he was likely to become so conspicuous an ornament. His Royal Highness also suggested, that it would be advisable to engage, at a suitable salary, a man of learning and character, who might be qualified to accomplish such a scheme of in- struction, and who would devote his whole attention to the 30 care of his pupil. A system of education, something in con- formity with this, it is said will be adopted. The education of an actor, indeed, should never be neglected; for, howso- ever great his genius, its rays will be obscured, and its effect be destroyed, unless it receive due cultivation. A contem- porary writer* on this subject, observes, that, “ subjoined to a classical education, or, at least, to a proficiency in the Latin and French — an actor must attain a critical intimacy with the powers and beauties of his vernacular tongue, in all its nice- ties of grammar and pronunciation, with every varied modu- lation and inflection of voice. — The passions, with their effects on the human frame and countenance, must be his never-ceasing study ; — not only in their general and collect- ed forms, but in every minute variation, as they are exhibited by the respective inhabitants of different parts of the globe. To attain a competent progress in this branch of his art, a universal knowledge of history, and an acquaintance with the best masters of painting, both ancient and modern, are requi- site. The passions, as before observed, must not be studied generully, but particularly. The difference of climate, of na- tional character, of bodily temperament, of education, of situation in life, must all be taken into consideration. — His- tory is also necessary to render him acquainted with the customs, manners, modes of salutation, and dresses of differ- ent nations : for, though authors and managers may be sup- posed competent to the settlement of costume, the suggestion of an actor, if he be a man of taste and information, is always a valuable addition. Ignorant of history, an actor is wholly incapable of entering into the true spirit of the numerous historical characters which adorn our stage; and, as many of the personages of our dramas are borrowed from the pages of romance, that species of literature also claims considerable attention.” From Liverpool, Master Betty proceeded to Chester, where he performed seven nights, with unexampled success, to the most crowded, brilliant, and fashionable audiences. Vide Mr. Harral’s Inquiry into tht Requisites of an Actor, &ca 31 On the 9th of November, he quitted Chester, in order to perform for a few nights at Manchester, after which he joined Mr. M'Cready’s company, at Leicester, where it is said that, for a short period, he played tivice a day.' This was his last provincial engagement. He was destined next to astonish the inhabitants of the English metropolis. Accordingly, on the evening of Saturday, December the 1st, Dr. Brown’s tragedy of Barbarossa having been got up on the occasion. Master Betty made his first appearance at Covent Garden theatre. Respecting a theatrical exhibition, the expectation of the public had perhaps never been raised to a higher pitch. It is known that, for several hours previ- ously to the time of opening the doors, every avenue to the theatre had been filled; when ingress was first allowed, the pressure was almost unparalleled ; and, in less than ten mi- nutes, it was announced, by boards held up at all the pay- doors, that the house was completely full. Nearly the same confusion that prevailed without, was ob- servable within the house in the early part of the night ; nor did it much abate even upon the rising of the curtain. The following Introductory Address was written by Mr. Taylor, but the noise and clamour were so great, that it was impossible to ascertain how, or to what extent, Mr. C. Kemble was able to deliver it: Impatient for renown, all hope and fear. How many a Candidate has ventur'd here; Where dawning merit never miss’d its aim. But reached, by due degrees, the heights of fame. Yet now, unheeding Study’s servile cares, (So Rumour with her hundred tongues, declares) A youth her favour courts, whose early prime Derides the tedious growth of ling’ring Time; Mature at once, when Nature urg’d, he strove, Starting like Pallas from the brain of Jove. But think not, though on Fortune’s swelling tide, Led by exulting Fame, he travels wide; Think not he comes with vain, triumphant sail. Nor dreads the dangers of an adverse gale ; Though crowds on crowds have join’d in fond acclaim. Through his bright track, to bear aloft his name ; And to complete, at length, his bold career. Have sent his little bark in safety here: Not pride, but gratitude, has warm’d his breast. And hence alarms his modest doubts suggest, Lest that applause has been with gen’rous rage. Not lavish’d on his genius but his age. He knows the temper of a British mind. For merit zealous, but to error kind ; Nor can he deem his honours justly due, " Until confirm’d, sign’d, ratity’d by you.” Dr. Brown’s feeble and inflated tragedy of Barbarossa now commenced ; but as Aclimet, the character which was person- ated by Master Betty, was not to appear until the second act, very little was heard of the first, a continued buz of anxiety prevailing throughout the house. Indeed, according to the dramatic taste of the present day, it is scarcely probable that the play of Barbarossa, unless some extraordinary novelty were holden forth in the acting, could attract an audience half numerous enough to fill the house. It would here be impertinent to enter into a criticism on the merits of the respective performers, who filled up the piece; but, that the reader may be enabled to form some judgment of the manner in which our surprising boy was supported, it is requisite to subjoin the following list of the principal DRAMATIS PERSONAL Barbarossa Selim Oilman Sadi Aladin Zaphira Irene Notwithstanding the weakness, and general want of interest in the tragedy, the part of Selim (improperly called Ackmet , in 33 the playbills) was very judiciously chosen for Master Betty’s debut. From its youthfulness, the fiction of the scene is not violated by the personation of a boy. The character, how- ever, though it excites considerable interest, labours under many disadvantages. Selim, though an honourable youth, an heir to empire, descends to duplicity; and, when we wit- ness his hypocrisy, our feelings revolt from conduct so unna- tural to his birth and years. For some moments before the period of Master Betty’s ap- pearance, the utmost anxiety was apparent. When he en- tered, the applause was tumultuous and unbounded. But he was in full possession of himself ; the acclamations of a won- dering and expecting public did not overwhelm his feelings ; he bowed repeatedly, in the most elegant and graceful man- ner; and, when the high tumult of admiration had subsided, he saluted Barbarossa, and presented him with “ the pledge of Selim’s death.” Fie introduced himself to Barbarossa with considerable judgment; but, when the tyrant enquired, “ Where found you That insolent!” and when Selim answered, “ We found him at Oran, Plotting deep mischief to thy throne and people,” there was, in the delivery of the latter line, something not quite correct in point of emphasis. We trembled for a mo- ment, lest all the vaunted fire and discrimination of Roscius should terminate in school-boy rant and declamation. But we were agreeably undeceived. The remainder of the scene, in whatever hands it might be, presents nothing worthy of particular remark; but Master Betty went through it with correctness, and with all the requisite plausibility of man- ner. His subsequent scene with Othman was more strongly mark- ed. Flis powers of discrimination began to appear; and he delivered the words, s who could not produce a check, which not one in ten of those who pressed for admittance could; and being supported by a powerful body of constables, they succeeded for a considerable time in keeping the assailants at bay. However, after a quarter of an hour’s remonstrance and supplication idly made, some of the most forward perceived an opening in the hostile line, which they immediately pierced, and inundated the inner lobbies of the theatre. It was now considerably past seven, the second act of the play at its conclusion, and all the places which had been previous- ly taken, consequently lost to the original retainers. To make up this disappointment, some of the doors at the back of the lower boxes, or basket, as it is generally called, were torn from the hinges; and rows of fair spectators, three deep, perched upon forms and fruit baskets, took their station behind them. From thence they sometimes caught a casual glimpse of tk« Young Roscius, but from the noise which was kept up from behind, and the distance from the stage, hearing either him or any other performer was entirely out of the question. However, they seemed satisfied with their condition, and they could have the pleasure of saying, at least, that they had seen this theatrical phenomenon. Thus terminated the first part of Matter Betty’s engage- ment at Covent Garden theatre; an engagement, unrivalled, we believe, for fame to the actor, and for splendid remunera- tion to the manager. Previously to our noticing his reception and performance at Drury Lane theatre, it may be proper to offer some per- sonal description of this astonishing youth. His appearance is prepossessing in a very high degree. His exact height is stated to be, four feet ten inches and a half; and his weight 48 eighty-seven pounds. This may afford some idea to our 'readers, of his apparent dimensions. His features are handsome, and the shape of his face is oval. He is of a fair complexion, with fa : r hair, and fine blue eyes. There is nothing striking in his face when he is unmoved; but when he is roused and fired with passion, it is wonderfully expressive. His eye is then, as Irene describes it. “ Bright as the morning star !” and every feature is lighted p with the holy frenzy of one inspired. Female bea- ty cannot afford any thing more sweet than his smile. It was irresistible in the scenes where he proved the loyalty of Oilman and the virtue of Zaphira . Having presented some analytical strictures on Master Betty’s performance of the three characters, Selim, Douglas, and Frederick , it will be requisite to take a retrospective sur- vey of his natural and acquired powers, and thus to form a general estimate of his acting. In performing this part of our task, we shall corroborate our own opinion, by taking the liberty of quoting from a work, which has just appeared on the subject*. To the opinions in general, which are held forth in the publication alluded to, we yield our full assent ; and with the following passage, we agree in every iota. Speaking of Master Betty, the writer observes, that “ His figure is slight, but elegant, and extremely youthful. He is not particularly tall of his age ; nor does he appear older than the register of his birth reports him to be. His complexion is fair, his eyes blue, his face sweetly interest- ing, but not what may be exactly termed beautiful. His fea- tures are not strongly marked, yet his countenance is capable of considerable expression. His action is graceful, chaste. * The Infant Roscius ; or, an Inquiry into the Requisites of an Actor , $c. By T. Hakral, esq. author of “A Monody on the Death of Mr. John Palmer, the Comedian ,” — <{ Observations on the most Eminent Perfor- mers on the London Stage,” &c. &c. 4 9 and varied, but not redundant. He appears to possess a com- plete knowledge of stage business; treads the boards with firmness and dignity; pays the most critical attention to his brother actors; and, with the exception of Mr. Kemble, is, perhaps, the most perfect master of attitudes, of any per- former at the London theatres. “His hours of study are reported to be before breakfast; after which, it is said, he seldom looks at a book. “ To an actor, a good voice is an important possession Master Betty’s voice seems to be at its worst period ; it is breaking ; and, consequently sounds harshly on the ear. But this defect, unpleasant as it is, wears off, so as to be scarcely noticed, as he proceeds in his performance. Formerly, it is said, his voice possessed a tone of such clearness, strength, and silvery sweetness, that it was generally considered to be his chief excellence. Still it has considerable depth, and completely fills the theatre. As he approaches towards ma- turity, it will, in all probability, resume its original excel- lence, and acquire a greater number and variety of notes. “ A distinct articulation, however, is of more consequence than a powerful voice ; and, of this talent, the Infant Ro- scius is in full enjoyment. Every syllable that he utters, in whatever key, is heard in the remotest corner of the theatre. “ Whatever Master Betty’s instruction may be for that he does receive instruction is not attempted to be denied he must possess a very superior intellect, and an enthusiastic attachment to the art of acting. No instruction, howsoever ju- dicious; no drilling, howsoever severe ; no attention, howso- ever close; could, separately or combined, have rendered him what he is, without that superiority of intellect, without that enthusiastic attachment to the histrionic art. His powers of discrimination are wonderful. The only fault which is evi- dent in his speaking is, that, towards the close of a sentence, his voice experiences a sudden rise. In long declamatory speeches, he is least successful : in the delivery of such, his manner becomes monotonous ; but this must be attributed, in a principal degree, to the peculiar state of his voice, which has not yet acquired its upper and lower tones. His solilo- H 50 quies are literally soliloquies. They are delivered with pecu- liar effect. They are the communings of the man with himself, and not his harangues to a public audience. Master Betty has formerly been censured for falling into the general fault of other actors on this subject; but he now seems to have r reformed it altogether ; 31 and, Mr. Kemble again excepted, may be pronounced, in this respect, superior to any perfor- mer now on the stage. " Master Betty’s transitions of passion are extremely fine ; and he may be said chiefly to excel in those energetic parts, which appeal most forcibly to the heart. “The Infant Roscius, indeed, appears to have no defects, but those which are incidental to his years ; and, consequent- ly, when he arrives at maturity, he may be expected to dis- play every natural requisite of a first-rate actor. “Such a striking combination of grace and elegance, con- sidering his youthful years, lives not in the annals? of the English stage; and, should his future education experience the attention which it merits, and his physical powers ac- quire force with age, he cannot fail of becoming the most brilliant ornament of the profession which he has adopted.” It is said that, in private company, the manners of the Young Roscius are extremely graceful, unartificial, and en- gaging; that he has great vivacity, and seems less fond of en- tering into serious conversation, than of joining in the puerile amusements of those of his own age; but that, even, when so engaged, Shakespeare’s beauties and apt ideas are found fre- quently blended with his remarks. A gentleman, who has frequently passed whole days in his company, informs us, “ that, although his exuberant health, and the consequent volatility of his spirits, frequently impel him to seek amusements in the usual pursuits of his juvenile years ; yet, not, as has been said by some, in defiance of the prescribed rules of etiquette ; but, on the contrary, it is even in those moments of relaxation, that the peculiar elegance of the Young Roscius becomes eminently conspicuous, for then he renders important and interesting, what, in other boys of his own age, is frequently vapid and troublesome.” 51 Speaking' of is intellectual powers, the same gentleman observes, tc that, constantly impelled by curiosity, rightly to appreciate the talents of the extraordinary youth, he neglect- ed no opportunity of drawing him into conversation upon general topics of science and literature, when he always found him to listen with riveted attention to whatever maxim or hypothesis bore the aii* of novelty to his infant mind ; and that he was enabled, with unusual acuteness, to perceive and admit the reasons which were advanced to support them, or with equal readiness to detect their fallacy. That he possesses anactive and enquiring mind, which ardently thirsts after general knowledge, should happily that bias be encouraged, by those who have the immediate care of his education.” Independent of his family inheritance, which is said to be ^500 a year. Master Betty’s theatrical earnings have been estimated at 2,000. He is also reported to have a wealthy relation, who has offered to make him his heir, on condition that he relinquish his present pursuits. We have heard it mentioned, too, that Professor Robinson, of Edinburgh, has endeavoured to direct his attention to one of the learned pro- fessions, particularly recommending the bar. His father, however, seems disposed to seize the golden opportunity which his theatrical celebrity affords ; and, indeed, consider- ing the enthusiastic attachment of the youth to the stage, and the high fame and advantages which are likely to accrue from his exertions, the determination appears a just one. Notwithstanding the brilliant and deserved success which this wonderful youth has experienced, we regret to state, that there are beings in this metropolis, who, with a cowardly and assassin-like spirit, have darkly attempted to murder his growing fame. Under the mask of criticism, a notorious Evening Paper commenced a series of attacks against this unoffending boy, which, had it not been for their palpable folly and absurdity, were calculated to render him the deep- est injury. The character of the paper, here alluded to, is pretty well known ; in those who have seen Master Betty perform, such pretended criticisms can excite no sentiment, but that of contempt and detestation, for their enviously-ma- 52 lignant author; and, howsoever infamous they are, they cannot possibly succeed in suppressing the laudable curiosity of a British public, who will maintain the right of judging FOR THEMSELVES. On the following evening of Monday, December the 10th, Master Betty appeared for the first time, at Drury Lane theatre, in his apparently favourite character of Young Norval. At this house, the piece was cast in the following manner; DRAMATIS PERSONAL Lord Randolph Mr. Holland. Gltmlvon Mr. Barrymore. Young Norval Master Betty. Old Norval Mr. Powell. Lady Randolph Mrs. Powell. Anna Miss Boyce. That immense building, Drury Lane theatre, has seldom had such a trial of its capaciousness. No person, however, was admitted into any part of the house, before the opening of the doors ; consequently it filled gradually, and without much struggle. The first thing which struck us on the appearance of this youthful prodigy was, that, owing to the structure of the theatre, even in his under tones, he was most distinctly heard in every part of the house. He was greeted, as usual, with tumultuous applause, which was received with modesty, and returned with interest. Throughout the performance of this evening, his acting was as uniformly excellent as at the other theatre. His dying scene, which, at Covent Garden, called forth our warmest approbation, was given, if possible, with increased effect. There w^as no contortion ; no grimace ; no studied positions. Life seemed gradually to ebb aw r ay. The retrospect of young ambition ; the bursts of filial tender- ness ; were all so many coruscations from the lamp about to expire. When the “mother” quivered on his lip, the sym- pathy was universal. No maternal bosom could feel but as if a “gallant” boy were lost to it for ever ! 53 It must be recorded, as a striking proof of the attraction of this wonderful youth, that, notwithstanding a new opera was performed this evening at Covent Garden theatre, for the first time, there was not a seat to be obtained at the house where he performed. It was literally crowded from the floor to the ceiling. From the continued exertion of Master Betty, while at Covent Garden, many well-meaning people were apprehen- sive, that his health would be impaired; and from these apprehensions originated a variety of remarks, of a tendency by no means the most grateful to the feelings of a father. To silence remark, and to quiet apprehension, Mr. Betty took the prudential step of publishing a letter, in several of the Morning and Evening Papers, of which the following is a copy. We have, indeed, great pleasure in transcribing it, as it cannot fail of being perused with much interest and sa- tisfaction, by all who possess the slightest anxiety for the welfare of our hero. “Sir, “Most of the daily papers have, within these few days, teemed with paragraphs and letters, addressed to me as the father of Master Betty. Some of them have assumed the gentler shape of admonition ; others the more positive form of accusation and censure. I am advised by some to be par- ticularly mindful of my son’s health. 1 am accused by others of wantonly impairing it. “When I consider the motives that have influenced the writers of these letters and paragraphs, it is impossible forme to feel any sentiment of anger. But I own I am hurt by them, and I think I have some little reason to complain. I hope a father may claim to be readily believed, when he asserts that he is tenderly solicitous for the welfare of his son ; that he is deeply anxious for his health ; and that he is ardently desirousmf promoting, to the utmost of his power, his fortune and his fame. “ Of the causes that produced my son’s frequent appear- ance at Covent Garden theatre last week, it is not necessary here to enter into any explanation ; they cannot operate 5 4 again. But upon the state of my son’s health, it may afford pleasure to the public to know, that all the accounts of his labouring under a severe cold, of his being languid from too great fatigue and exertion, and of his being under a course of recruiting medicine, are entirely without foundation. Hi* mother and myself never recollect his health and spirits to have been better than they are at present. “ Sir, it cannot but be painful for a parent, to feel himself under the necessity pf making stipulations with the public, that he will not be a careless and negligent guardian of his son. In any other case, such a necessity would imply sus- picion of the father ; in the present, I am aware that it has been produced merely by solicitude for the son. Under this im- pression, I can have no objection to pledge, in the most solemn manner, that, whilst I will use every means to prevent my son from injuring his health, by too great and frequent efforts of his, I will take care that the fortune and fruits of his efforts shall not be destroyed nor impaired by any improper con- duct or negligence of mine. “ Those who know me would not deem any such stipula- tion or pledge necessary, but how small must be the number of those persons, compared with the vast mass of the public ! ie I am. Sir, “ Your most obedient Servant, " W. H. Betty.” Unless there were strong grounds of suspicion, slight, in- deed, should be the fears respecting the conduct of a father to his son. These fears should be still less, when it is recol- lected, that Master Betty is in a manner patronised by such illustrious characters as the Heir-Apparent to the British throne; the Lord Chancellor of England*, to whom also he * It was at one time reported, but we believe the rumour was wholly without foundation, that, in order to prevent his continued exertion, it wa* in contemplation to place Master Betty ,under the protection of the Court of Chancery. For such a proceeding, it appears, there is no occasion; and, in all probability, the report originated in- some sentiment of malignity ; for, “he thou chaste as ice, as pur® as snow, thou shalt not escape «*- lummy.” 55 has been introduced ; and the Honourable Mr. Fox. The latter gentleman is reported to have written a long letter to a person of distinction, relative to the care and education of the Young Roscius, which is said to contain some valuable and important directions. Having performed on the Monday, it was generally expect- ed, that Master Betty would appear again on the succeeding Wednesday. He did not, however, come forward again until Thursday; on which night he again played Young Normal, for the second time at Drury Lane theatre, and the fourth on the London stage. This evening, however, he evidently la- boured under the influence of a severe cold; notwithstanding which, he exerted himself to the utmost. In the representation of Douglas , at this house, there is one thing worthy of remark. The curtain falls as soon as the hero has expired his last sigh; thus leaving the excited imagina- tion to picture forth the desperation of Lady Randolph, and the vain regrets of her hushand. This, being in the true German style, is admired by many; but we conceive that the real lovers of the play, can by no means be so well satisfied, as though it were concluded in the usual and regular manner. Anna’s pathetically-picturesque description of the fate of her lost lady, which must ever be considered as a prominent beauty in the piece, is wholly lost to the audience. “ She ran, she flew like lightning up the hill. Nor halted, till the precipice she gain’d. Beneath whose louring top the river falls, Ingulph’d in rifted rocks : thither she came. As fearless as the eagle lights upon it, And headlong down Oh ! had you seen her last despairing look ? Upon the brink she stood, and cast her eyes Down on the deep : then lifting up her head And her white hands to heaven, seeming to say. Why am I forc’d to this P she plung’d herself Into the empty air.” The crowd which assembled at Drury Lane theatre, this evening, was infinitely greater than on Monday, and the con- 56 fusion which prevailed was equal to that on either the first or last night of his performance at the other house. The different avenues were thronged by four o’clock; and the impatience of the persons, who were anxious to secure seats, was manifested by many acts of violence. Previously to the opening of the doors, they broke most of the windows within their reach, on the Vinegar Yard side of the theatre; and by the impetuosity of their movement, when the passages were thrown open, the ballustrades on both sides of the staircase which leads to the boxes, were entirely demolished. The pressure to the pit and galleries was greater, if possible; and several persons fainted from the excessive fatigue and crowding. Among the audience were, the Duke of York, the Duchess of Dorset, Lady Guise, and a considerable number of fa- shionable personages. On the whole, the house was fuller, or at least more people were admitted than on Monday, if w r e are to judge from the crowds which paraded the lobbies. At the conclusion of the piece, the Young Roscius was an- nounced to play Selim , in Barbarossa, amidst the loudest ac- clamations. He appeared in this character on the Saturday. The audience was as numerous, and the applause as great, as on any previous night of his performance. The three characters, Selim, Douglas , and Frederick, are all in which Master Betty has hitherto appeared on the London boards ; but, as the public are naturally anxious for informa- tion, as to the style in which he pourtrays other parts, we shall offer some brief remarks, collected from the most au- thentic information which we have been able to procure, relative to his delineation of the respective characters of, Osman , Rolla , Tancred, Hamlet , Richard the Third , Octavian , and Romeo. Osman , as the first part in which he ever appeared, claims precedence of notice. This, as it was the first, so also has it, by many, been pronounced the best of his performances. Zara, however, like most of the tragedies of the French . school, abounds too much with eloquent description, and sen- timental declamation. The powers which are peculiarly re- 57 quisite for these. Master Betty does not yet possess in an eminent degree. The representative of Osman requires a majestic figure ; and, in this respect, in the scene with Nere- stan, at the close of the first act. Master Betty is seen to dis- advantage. In the fourth act, however, he, with surprising address, exhibits the magnanimity of Osman, when he releases Zara from every obligation. When passion calls his powers into action, he blazes forth with all the energy of native genius; imparts to the audience every kindred feeling; and leaves an almost indelible impression on the heart. As far as age, figure, and the tout en semble of external ap- pearance, Rolla is a character, to the performance of which Master Betty is wholly inadequate. Yet he delivers most of the sentiments with delicacy and force, and speaks the cele- brated address to the Peruvian soldiers with correctness and effect. The illusion of the character, however, cannot thus be supported. Tancred is exceedingly well suited to his powers ; is one of his most favourite and admired characters; and may, with propriety, be classed amongst his best performances. The first scene with Siffredi , when he discovers his birth and sud- den acquisition of royalty, exhibits him in a point of view most favourable and prepossessing. The dialogue between Tancred and Siffredi , in the second act, after the discovery of Siffredi' s pious fraud, is a fine assumption of manly and dig- nified deportment, in despite of all the obstacles of childhood. In the interview with Sigismunda, in the fourth act, he dis- plays all the trembling fondness of an ardent but unhappy lover ; and, in the fifth act, when extreme anguish and dis- traction hurry him to madness, he is as affecting as it is pos- sible for any one to be, in such a situation. In the important character of Hamlet, which has frequently been considered as the criterion of theatrical skill. Master Betty exhibits, with but few exceptions, every beauty which depends on natural and animated feeling, on chaste and re- fined taste, or prompt and accurate conception. It is said, that a venerable lady, of Birmingham, much esteemed for her dramatic taste, was earnestly requested, by a gentleman, I 5 8 to witness Master Betty's performance of Hamlet; she re- luctantly consented, alleging, as a reason, that, “ having seen Garrick eight or ten times in that part, she would rather be spared the mortification of seeing the character less naturally represented.” She was, however, prevailed upon to attend ; the result was, that she rapturously exclaimed, at the conclu- sion of the play, “ I have to thank you, Sir, for having been instrumental in procuring me the greatest theatrical pleasure I ever experienced. I had hitherto thought that Garrick was nature itself, but I find I was mistaken ; for he had some art, this boy has none .” “ Certainly, Madam,” said the gentle- man, “ you must allow he has the art of pleasing.” “Yes,” replied the lady, “but that is the Necromantic Art.” In external requisites. Master Betty's deficiency, with re- spect to the tyrant Richard , is particularly obvious. It is ge- nerally considered as his worst part ; yet, in his hurried mo- tions and agitated looks, the confusion, uproar, and heat of battle, are strikingly apparent ; and, in the celebrated dia- logue with Lady Anne , it is wonderful with what gentle sua- vity, and unaffected meekness, he pays his court to the affronted widow. In this scene, he never fails to attract and gratify the female part of his audience. The woe-begone Octavian is a character of the same class with Rolla ; and, as it relates to the talents of our hero, is of course liable to the same objections. But the language of Octavian' is a perpetual burst of strong, enthusiastic passion, devoid of sententious morality, or sedate dignity ; and, on these accounts. Master Betty has been more successful in its representation. He speaks the wild harangue of Octavian , when he first darts from the cave, with more force and effect than could possibly be expected. The same may be said of his conversation with Sadi and Agnes in the second act. He delivers the address to Floranthe's portrait in a style of exqui- site softness, and piercing sorrow; and his last scene with his beloved mistress, is accounted one of his greatest master- pieces. To those who regard only the extent of his powers, Vvithout a proper reference to their application, it may be so. On that occasion, his tones and looks are piercing and im- 59 passioned beyond description ; his attitudes are in the high- est degree striking and sublime. In his performance of Romeo , Master Betty is particularly happy. In the garden of the Capulets , when he addresses Juliet in the balcony, nothing can be more tender, graceful, and attractive than the youthful Roscius. In the rencontre with Tibalt, he is scarcely less admirable. His forbearance, in the beginning of the affray, and his generous indignation on the death of Mercutio, are as chaste and spirited as can be wished. His dying scene, as is usual in his other characters, is exquisitely pathetic and impressive. It would be presumption to exclaim with the Italian poet*, “ Natura Io fec6, et poi ruppa la stampa but, “ take him for all in all,” we never expect to (t look upon his like again.” We had uniformly understood, from the best authenticated accounts which have appeared, respecting Master Betty, that he was an only child : the following interesting anecdote, however, which has appeared in one-nf the morning papers, somewhat clashes with this statement. If true, it reflects, on this amiable boy, the highest honour, and must prove a source of grati- fication to every reader. The following anecdote of the Young Roscius, and the fact is unquestion- able, proves that the goodness of his heart is equal to the other rare quali- ties Nature has endued him with. After completing his engagement with the Liverpool managers, at which place he performed fifteen nights, and being told that his share of the profits amounted to fifteen hundred and twenty pounds, he looked stedfastly on his infant sister, then in his mother’s arms, and exclaimed : “ Amidst the vicissitudes of life, who cau teii, my dear sister, what may be ihv fate ? If I can help it, it shall not be poverty ! Therefore I insist that the fifteen hundred pounds may be settled upon my sister, and put out to interest, for her benefit, till she comes of age.” The next day the necessary steps were taken, and Messrs. Lewis and Knight were nominated the trustees to see the wishes of our young hero fulfilled. Not the smallest intimation, by Mr. and Mrs. Betty, had been previously made upon the subject : it was the spontaneous effusions of his own heart, and the result of reflections entirely his own, so uncommon with a lad of his years.” * Ariosto. THE END. dramatic works, PUBLISHED AND SOLD BV CROSBY & Co. stationers’ court, paternoster-row. Single Plays. Heiress, a comedy, by Geo. Bur- goyne, 12mo. Is. Abroad and at Horae, 8vo 2S Wives as they Were, and Maids as they Are, a comedy, 2s Honest Thieves, a farce, by T. Knight, Is Road to Ruin, 12mo Is C 11 Volunteer Corps, a fa*ce in two acts, by an inhabitant’ of CoggeshaM, third edition, price Is Two large impressions have been sold in a very short time. Zuraa, a tragedy, fromLefevre, ls6d The Will, a comedy, 2s Lame Lover. 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