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PLAY LICENSING, IN THE TIME OF KING

CHARLES.

THE disgusting and overstrained fastidiousness of our present licenser, whose delicacy cannot tolerate even passages of a decidedly loyal tendency, is not without example in the earlier times of our drama. These tasteless and officious personages have always been more ready to prove their authority than their judgment. The most delectable of them, Sir Henry Herbert, in his examination of "The Wits" of Davenant, had, it appears, marked a number of harmless interjections, which might have subjected the poet to some punishment; but Charles, who probably suspected his Master of the Revels of a tendency towards Puritanism, interfered, and Sir Henry has thus recorded his spleen and disappointment. "The King is pleased to take faith, death, 'slight, &c. for asseverations, and no oaths- to which I do humbly submit as my master's judgment; but, under favour, do conceive them to be oaths, and enter them here, to declare my submission and opinion."

SPRANGER BARRY.

WHEN the affairs of the Dublin Theatre took

VOL. II.

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an unfavourable turn, and, unlike Mr. Sheridan, he left every department unpaid and unsatisfied, the angry tradesmen used to besiege his door, vowing, that though they had frequently been paid off with words, this time they would not depart without their money. Mr. Barry would then desire to see them. A single claimant was admitted at a time. After a conference of some time, he returned with a pleased and satisfied countenance, to the anxious and expecting crowd of creditors below. Judging by the reception he had met, what was likely to be their own chance, he was eagerly interrogated by the gaping crowd." Well, you have seen Mr. Barry?""Yes."-"You have got your money?" "No."- "A part of it?"— "Not one shilling. But Mr. Barry spoke to me so kindly-seemed so distressed to keep me waiting-promised me so faithfully, that, the next time I called, the money should be forthcoming-that he has, I know not how, got the better of my anger, and I could not find it in my heart to press a gentleman any further."

BARON, THE FRENCH COMEDIAN; AND DOMI

NIQUE, THE HARLEQUIN.

THE actors of the French Theatre were de

sirous that those of the Italian Theatre should speak nothing but French. The question was brought before Louis XIV.; and Baron and Dominique were appointed the advocates for each party. Baron was the famous actor, who had been educated by Moliere; and Dominique was no less celebrated as a harlequin. When the former had ended his harangue, the King made a sign to Dominique to speak in turn, After various harlequinade antics, he addressed himself to the monarch, and asked-" In what language does your majesty command me to speak?""Speak as you please,” replied the King.—“That is exactly what I wish," answered Dominique ; "my cause is gained! I humbly thank your majesty." The King laughed heartily, at being thus entrapped. "My word is given," said he; "it cannot be recalled."

LINES

On Miss Paton's stipulation with the Covent Garden Manager, that she should never be required to appear on the Stage in Male Attire.

That Paton, whose enchanting voice

Th' admiring town bewitches,

Should, of her own free will and choice,

Refuse to wear the breeches,

Seems rather strange, and, at first sight,
Might very well surprise one;

Though, if you judge the matter right,
You'll own her scheme a wise one.

For, surely, every modest belle,
Of wedded joys ambitious,
Must say that Paton acted well,
And think her plan judicious.
For manly brogues 'tis best to wait,
Till one great point is carried,
Then, Paton, lay your tempting bait,
Nor wear them-till you're married.

A DULL COMEDY.

WHEN Sir Charles Sedley's comedy of "Bellamira" was performed, the roof of the theatre fell down; by which, however, few people were hurt, except the author. This occasioned Sir Fleetwood Shepherd to say, that there was so much fire in his play, that it blew up poet, house, and all. "No," replied the good-natured author, "the play was so heavy, that it broke down the house, and buried the poor poet in his own rubbish."

THE WHITEFRIARS THEATRE.

THIS appears to have been one of the most ancient Theatres, as it is enumerated by an author

who wrote in the beginning of the seventeenth century, as one of the play-houses destroyed by the "cautious citizens" in 1580; at which time, the magistrates of the City obtained leave of Queen Elizabeth, to pull down all the Theatres within their liberties. From this time, there is a complete blank in the history of this theatre, until the year 1613, when a license was granted by James the First, for the erection of a new playhouse on the spot; and it may, therefore, reasonably be concluded, it had remained, during the interval, in ruins. This license was not, however, acted upon till 1629, when a Theatre was erected under its authority in Salisbury Court; and a company, called the Prince's Servants, performed there until the suppression of the playhouses by the Puritans, in 1648. It was again opened after the Restoration, but soon sunk into obscurity and neglect.

QUEVEDO.

DON Francisco de Quevedo describes an incident in his life of Paul, the Spanish barber :"When I was writing a play," says he, "the maid used to bring up my dinner, and leave it there; and it was my way, to act all I wrote, and

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