[ [152] Cibber's adaptation, which has held the stage ever since its production, was first played at Drury Lane in 1700. Genest (ii. 195-219) gives an exhaustive account of Cibber's mutilation. His opinion of it may be gathered from these sentences: "One has no wish to disturb Cibber's own Tragedies in their tranquil graves, but while our indignation continues to be excited by the frequent representation of Richard the 3d in so disgraceful a state, there can be no peace between the friends of unsophisticated Shakspeare and Cibber." "To the advocates for Cibber's Richard I only wish to make one request—that they would never say a syllable in favour of Shakspeare."
[ [153] "The Laureat" (p. 35): "This same Mender of Shakespear chose the principal Part, viz. the King, for himself; and accordingly being invested with the purple Robe, he screamed thro' four Acts without Dignity or Decency. The Audience ill-pleas'd with the Farce, accompany'd him with a smile of Contempt, but in the fifth Act, he degenerated all at once into Sir Novelty; and when in the Heat of the Battle at Bosworth Field, the King is dismounted, our Comic-Tragedian came on the Stage, really breathless, and in a seeming Panick, screaming out this Line thus—A Harse, a Harse, my Kingdom for a Harse. This highly delighted some, and disgusted others of his Auditors; and when he was kill'd by Richmond, one might plainly perceive that the good People were not better pleas'd that so execrable a Tyrant was destroy'd, than that so execrable an Actor was silent."
[ [154] James Noke, or Nokes—not Robert, as Bellchambers states. Of Robert Nokes little is known. Downes mentions both actors among Rhodes's original Company, Robert playing male characters, and James being one of the "boy-actresses." Downes does not distinguish between them at all, simply mentioning "Mr. Nokes" as playing particular parts. Robert Nokes died about 1673, so that we are certain that the famous brother was James.
[ [155] "The Comical Revenge; or, Love in a Tub."
[ [156] Of these plays, "The Spanish Friar," "The Soldier's Fortune," and "Amphytrion" were produced after Robert Nokes's death.
[ [157] See memoir of James Nokes at end of second volume.
[ [158] "Coligni, the character alluded to, at the original representation of this play, was sustained, says Downs, 'by that inimitable sprightly actor, Mr. Price,—especially in this part.' Joseph Price joined D'Avenant's company on Rhodes's resignation, being one of 'the new actors,' according to the 'Roscius Anglicanus,' who were 'taken in to complete' it. He is first mentioned for Guildenstern, in 'Hamlet;' and, in succession, for Leonel, in D'Avenant's 'Love and Honour,' on which occasion the Earl of Oxford gave him his coronation-suit; for Paris, in 'Romeo and Juliet;' the Corregidor, in Tuke's 'Adventures of five hours;' and Coligni, as already recorded. In the year 1663, by speaking a 'short comical prologue' to the 'Rivals,' introducing some 'very diverting dances,' Mr. Price 'gained him an universal applause of the town.' The versatility of this actor must have been great, or the necessities of the company imperious, as we next find him set down for Lord Sands, in 'King Henry the Eighth.' He then performed Will, in the 'Cutter of Coleman-street,' and is mentioned by Downs as being dead, in the year 1673."
The above is Bellchambers's note. He is wrong in stating that Price played the Corregidor in Tuke's "Adventures of Five Hours;" his part was Silvio. He omits, too, to mention one of Price's best parts, Dufoy, in "Love in a Tub," in which Downes specially commends him in this queer couplet:—
"Sir Nich'las, Sir Fred'rick; Widow and Dufoy,
Were not by any so well done, Mafoy."