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facimus, assignamus, deputamus, et ordinamus per præsentes, habendum, occupandum et exercendum officium illud per se vel per sufficientem deputatum suum durante vita sua. Et insuper de ampliori gratia nostra pro consideratione prædicta ac pro certis aliis considerationibus nos ad præsens specialiter moventibus dedimus et concessimus ac per præsentes damus et concedimus præfato Thomæ Seymour quoddam annuale feodum sive quandam annuitatem ducentarum marcarum sterlingorum pro se ipso vadia sex denariorum per diem pro uno clerico, ac vadia sex denariorum per diem pro valecto sub se in eodum officio substituto et substituendo, habendum gaudendum et annuatim percipiendum prædictum annuale feodum sive annuitatem ducentarum marcarum ac omnia et singula vadia supradicta prefato Thomæ Seymour pro termino vitæ suæ de privatis denariis, nobis tam de proficuis nostris quam de omnibus et omnimodis aliis debitis et reventionibus ac de thesauro nostro ad receptum scaccarii nostri provenientibus sive crescentibus, per manus thesaurarii et camerariorum nostrorum ibidem pro tempore existentium ad festa Pascha et Sancti Michaelis Archangeli per equales portiones. Et præterea de uberiori gratia nostra dedimus et concessimus ac per præsentes damus et concedimus prædicto Thoma Seymour pro vadiis duorum hominum sub se attendentium pro supervisione et salva custodia dictarum ordinacionum et munitionum nostrarum remanentium in villa nostra Salisburiæ et marchiis ejusdem pro quolibet eorundem octo denarios per diem, habenda et annuatim percipienda eadem vadia de exitibus, proficuis et reventionibus villæ nostræ et marchiarum nostrarum prædictarum de tempore in tempus provenientibus sive crescentibus per manus thesaurarii et sub-thesaurarii nostrorum ibidem pro tempore existentium ad festa et terminos usuales æquis portionibus. Et quia prædictus. Thomas Seymour prædictum officium per mandatum nostrum regium, à festo Sancti Michaelis Archangeli ultimo præterito hucusque occupavit, ac unum clericum, unum valectum et duos homines in villa nostra Salisburiæ sub se attendentes in codem officio per totum illud tempus exhibuit, et occupavit, nulla vadia, feoda sive regarda, proinde de nobis habens seu percipiens. Idcirco nos in recompensatione præmissorum damus et concedimus præfato Thomæ tot et tantas denariorum summas ad quot et quantas prædictum annuale feodum ducentarum marcarum pro se ipso, vadia sex denariorum per diem pro dicto clerico, sex denariorum per diem pro uno valecto, et octo denariorum per diem pro quolibet dictorum duorum hominum in villa nostra Salisburiæ et marchiarum nostrarum prædictarum ut præfertur attendentium a dicto festo Sancti Michaelis Archangeli hucusque se attingunt, habendum et percipiendum eidem Thomæ Seymour de dono nostro ad dictum receptum scaccarii nostri per manus thesaurarii et Camerariorum nostrorum ibidem et thesaurarii sive sub-thesaurarii villæ nostræ Salisburiæ et marchiarum prædictarum pro tempore existentium modo et forma ut prædicitur per nos assignatis sive appunctuatis absque compoto seu aliquo alio nobis inde redendo.

Eo quod expressa mencio, &c.

In cujus, &c. T. R. apud Westmonasterium xviij. die Aprilis.

per breve de privato sigillo, &c.

THE END.

More about David Garrick.*

(BY A GERMAN CONTEMPORARY.)

TRANSLATED BY F. STEWART COBB.

LONDON, 31st August, 1768.

It is very improbable that a portrait of Garrick in any particular scene would resemble another in a different character, for his Protean soul perpetually changes its bodily clothing. Seeing him as Lear, or Richard, does not make you acquainted with Garrick in private life. Hogarth's Richard, though expressing the spirit of the character so thoroughly, is nevertheless unlike Garrick even as he is on the stage. In Zoffani's Hamlet I cannot trace the faintest resemblance beyond the costume, but the same master has been more successful in his pourtrayal of Garrick as Romeo at the moment of Juliet's awaking. Reynolds' allegorical picture of Garrick as Hercules hesitating between the Tragic and the Comic Muse, but, with more of the man about him than the hero, finally deciding in favour of the roguish maiden, is a masterpiece of art. A Bath artist, whose name I have forgotten, has represented him life-size in everyday apparel with one arm round the pedestal of Shakespeare's statue. The idea is not a happy one, and the painter does not rank amongst the foremost in England; still Garrick is easily recognisable. The best portrait of him is in the possession of Colman; it is a profile painted by Zoffani. This position. of the face always gives a more accurate representation and a more characteristic expression. It has not been engraved.

Garrick's writings are only printed singly and have not yet appeared in a collected form. Many of them are not, I believe, known in Germany, although they deserve to be. In a collection of Dodley's there are some poems of his, among others an Ode to Pelham. His Prologues and Epilogues are a fund of genuine wit. Of his dramatic pieces I have met with the following:-"Miss in her 'teens, or the Medley of Lovers." The idea is taken from Dancour's "Parisienne.” A young and apparently innocent girl of eighteen banters all her lovers, with the exception of a young officer whom she at length accepts. The character of Fribble, an insipid fop, was one of Garrick's favourite parts in his younger days, as was also Daffodil, in another piece of his, "The Male Coquette." Daffodil is an adventurer who is perpetually boasting of favours he never received, and at last meets with shame and ridicule. "Lethe," a dramatic satire, is written in the style of

ee the article, "Garrick at Home," p. 495, ante.

Lucian. Everyone being dissatisfied with his position, Pluto has allowed mortals to drink oblivion to their cares from the waters of Lethe, and Æsop receives the patients. The company gets numerous, poets, misers, fine gentlemen, fashionable ladies, &c., &c. Lord Chalkstone, a gouty nobleman, is Garrick's character. An old officious messmate, a being that is styled here a "Toad-eater" announces his lordship :

BOWMAN. My lord is not of the common race of mortals, I assure you; and you must look upon this visit as a particular honour; for he is so much afflicted with the gout and rheumatism that we had much ado to get him across the river.

Æsop. His lordship has certainly some pressing occasion for the waters, that he endures such inconveniences to get at them.

Bow. No occasion at all. His legs, indeed, fail him a little, but his heart is as sound as ever. Nothing can hurt his spirits; ill or well, his lordship is always the best company, and the merriest in his family.

(His lordship enters, led by Mercury, and groaning considerably).

ÆSOP.-My lord, I wish it was in my power to relieve your misfortune.

L. CHALKSTONE.-Misfortune! What misfortune? I am neither a porter nor a chairman, Mr. Æsop. My legs can bear my body to my friends and my bottle. I want no more with them; the gout is welcome to the rest-eh, Bowman?

Bow. Your lordship is in fine spirits.

ÆSOP.-Does not your lordship go through a great deal of pain?

L. CHALK.-Pain? Ay, and pleasure, too-eh, Bowman? When I'm in pain I curse and swear it away again; and the moment it is gone, I lose no time; I drink the same wines, eat the same dishes, keep the same hours, the same company; and, notwithstanding the gravity of my wise doctors, I would not abstain from French wines and French cookery to save the souls and bodies of the whole college of physicians. None of your waters for me; I never drink any but at Bath. I came merely for a little conversation with you and to see your Elysian fields here (looking about through his glass), which, by-the-bye, Mr. Esop, are laid out most detestably. No taste-no fancy in the whole world! Your river there what d'ye call

. .

ÆSOP.-Styx.

L. CHALK.-Ay, Styx. Why, it's as strait as Fleet-ditch. You should have given it a serpentine sweep, and sloped the banks of it. The place, indeed, has very fine capabilities; but you should clear the wood to the left, and clump the trees upon the right. In short, the whole wants variety, extent, contrast, and inequality (going towards the orchestra, stops suddenly and looks into the pit). Upon my word, here's a very fine hah-hah, and a most curious collection of evergreens and flowering shrubs.

Æsop, in the course of conversation, asks whether he is married and has any children.

L. CHALK.-Children! Not I, faith. My wife has, for aught I know. I have not seen her these seven years.

ESOP.-You surprise me!

L. CHALK.-'Tis the way of the world, for all that. I married for a fortune; she for a title. When we both had got what we wanted, the sooner we parted the better. And we did so.

A Frenchman is indispensable to the success of every English comedy, and here we have one.

FRENCHMAN.-Monsieur, votre serviteur-pourquoi ne repondez-vous pas ? Je dis que je suis votre serviteur.

ÆSOP. I don't understand you, sir.

FRENCHMAN.-Ah, le barbare! il ne parle pas français. Vat, Sir, you no speak de French tongue?

ÆSOP.-No, really, Sir, I am not so polite. quality are you?

Pray, Sir, of what rank and

FRENCHMAN.—Sir, I am a Marquis français; j'entends les beaux arts, Sir; I have been an avanturier all over the vorld, and am à present en Angleterre-in England-vere I am more honoré and caress den ever I vas in my own countrie, or inteed any vere else.

ÆSOP.--And pray, Sir, what's your business in England?

FRENCHMAN.-I am arrivé dere, Sir, pour polir la nation. De Inglis, Sir, have too much-a lead in deir heels, and too much-a thought in deir head; so, Sir, if I can lighten bote, I shall make dem tout-à-fait Français, and quite anoder ting.

ÆSOP.-And pray, Sir, in what particular accomplishments does your merit

consist?

FRENCHMAN.-Sir, I speak de French, j'ai bonne adresse, I dance un minuet, I sing des litel chansons, and I have une tolerable assurance. En fin, Sir, my merit consist in one vard-I am foreignere-and entre nous-vile de Inglis be so great a fool to love the foreigneres better dan demselves, de foreigneres would still be more great a fool did dey not leave deir own countrie, vere dey have noting at all, and come to Inglande, vere dey vant for noting at all, pardie-cela n'est-il pas vrai, Monsieur Æsop?

ÆSOP.-But, Sir, what is your business with me?

FRENCHMAN.-Attendez un peu, you shall hear, Sir. I am in love vit de grande fortune of one Inglis lady; and de lady, she be in love vit my qualité and bagatelles. Now, Sir, me want twenty or tirty douzains of your vaters for fear I be obliged to leave Inglande before I have fini dis grande affaire.

ÆSOP.-Twenty or thirty dozen! For what?

FRENCHMAN. For my crediteurs; to make 'em forget de vay to my logement, and no trouble me for de future.

ÆSOP.-You had better drink a couple of bottles yourself to forget your extravagance, and then retire to your own country.

FRENCHMAN.-Go to my own countrie. Je vous demande pardon; I had much rather pass for one French Marquis in Englande, keep bonne compagnie, manger des delicatesses, and do noting at all, dan keep a shop in Provence, couper and friser les cheveux, and live upon soupe and salade de reste of my life.

A farce of Garrick's called "Harlequin's Invasion" appeared at the time of the last war when France threatened England with an invasion. There is a good joke in it which just comes to my mind. An Englishman and a Frenchman have both been condemned to death, and a monk is sent to prepare them for it. "What is your religion?" he asks the Englishman. yours?" turning to the Frenchman.

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'None!" is the reply. "And "Celle, Monsieur,, qui vous

plaira," he answers with a profound bow.

"The Clandestine Marriage" by Colman and Garrick, was founded

on Hogarth's "Marriage à la mode;" the characters of Lord Ogleby and Mrs. Heidelberg are by Garrick alone. "Cymon," a dramatic romance, with somewhat of the pastoral about it, was less favourably received than his other pieces, for it is a department in which he is not so happy. Other plays worth mentioning are "The Lying Valet," a comedy; "Lilliput," a dramatic entertainment, performed by children; "The Gamester," after Shirley; "Isabelle, or The Unhappy Marriage," after Southerne; "Florizel and Perdita," taken from the "The Winter's Tale," and "Catherine and Petruchio," from the "Taming of the Shrew."

A dramatic trifle, called "The Farmer's Return," has become scarce. It is full of naiveté, and its value is enhanced by a vignette title by Hogarth that cannot be found separately in any of the printshops. An honest farmer from the north of England visits London for the first time in his life, and on his return home relates the wonders he has seen to his astonished family. The verses are written in a country dialect and there is a peculiarity about them that cannot be conveyed in a translation. However, I must quote one passage that pleased very much when the piece was acted, because it so well expresses the feelings of all loyal Britons towards the Royal couple.

WIFE.-But wast thou at Court, John? What there hast thou seen?
FARMER. I saw 'em-heaven bless 'em. You know who I mean;
I heard their healths prayed for agen and agen,
With proviso that one may be sick now and then.
Some looks speak their hearts, as it were with a tongue;

O dame, I'll be damn'd if they e'er do us wrong.
Here's to 'em-bless 'em-both-do you take the jug ;
Would't do their hearts good, I'd swallow the mug.

(To his boy RICHARD).

(Drinks).

Come, pledge me, my boy-hold, lad! hast nothing to say?

DICK.-Here, Daddy, here's to 'em.
FARMER.-Well said, Dick, my boy!

(Drinks).

I have also met with a nice poem of Garrick's, which in the form of a humorous fable about a sick monkey, tells the story of his melancholy and annoyance at the coolness of some of his friends and the injuries of his enemies. But my letter is already a great length. I will not try your patience any further.

Yours, &c., &c.,

HELFRICH PETER STURZ.

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