[ [297] Collier's famous work, which was entitled "A Short View of the Immorality and Profaneness of the English Stage: together with the sense of Antiquity upon this Argument," was published in 1698. Collier was a Nonjuring clergyman. He was born on 23rd September, 1650, and died in 1726. The circumstance to which Cibber alludes in the second paragraph from the present, was Collier's attending to the scaffold Sir John Friend and Sir William Perkins, who were executed for complicity in plots against King William in 1696.
[ [298] The facetious Joe Haines was an actor of great popularity, and seems to have excelled in the delivery of Prologues and Epilogues, especially of those written by himself. He was on the stage from about 1672 to 1700 or 1701, in which latter year (on the 4th of April) he died. He was the original Sparkish in Wycherley's "Country Wife," Lord Plausible in the same author's "Plain Dealer," and Tom Errand in Farquhar's "Constant Couple." Davies ("Dram. Misc.," iii. 284) tells, on Quin's authority, an anecdote of Haines's pretended conversion to Romanism during James the Second's reign. He declared that the Virgin Mary appeared to him in a vision. "Lord Sunderland sent for Joe, and asked him about the truth of his conversion, and whether he had really seen the Virgin?—Yes, my Lord, I assure you it is a fact.—How was it, pray?—Why, as I was lying in my bed, the Virgin appeared to me, and said, Arise, Joe!—You lie, you rogue, said the Earl; for, if it had really been the Virgin herself, she would have said Joseph, if it had been only out of respect to her husband." For an account of Haines, see also Anthony Aston.
[ [299] "The Laureat" (p. 53) states that soon after the publication of Collier's book, informers were placed in different parts of the theatres, on whose information several players were charged with uttering immoral words. Queen Anne, however, satisfied that the informers were not actuated by zeal for morality, stopped the inquisition. These informers were paid by the Society for the Reformation of Manners.
[ [300] Congreve's answer to Collier was entitled "Amendments of Mr. Collier's false and imperfect Citations, &c. from the Old Batchelour, Double Dealer, Love for Love, Mourning Bride. By the Author of those Plays." Vanbrugh called his reply, "A Short Vindication of the Relapse and the Provok'd Wife, from Immorality and Prophaneness. By the Author." Davies says, regarding Congreve ("Dram. Misc.," iii. 401): "Congreve's pride was hurt by Collier's attack on plays which all the world had admired and commended; and no hypocrite showed more rancour and resentment, when unmasked, than this author, so greatly celebrated for sweetness of temper and elegance of manners."
[ [301] Charles Killigrew, who died in 1725, having held the office of Master of the Revels for over forty years.
[ [302] Produced at Drury Lane in 1700. For some account of Cibber's playing of Richard, see ante, pp. 139, 140.
[ [303] Chalmers ("Apology for the Believers in the Shakspeare Papers," page 535) comments unfavourably on Cibber's method of stating this fact, saying, "Well might Pope cry out, modest Cibber!" But Chalmers is unjust to Colley, who is not expressing his own opinion of his play's importance, but merely reporting the opinion of Killigrew.
[ [304] Steele's name first appears in a License granted 18th October, 1714. His Patent was dated 19th January, 1715.
[ [305] Chalmers ("Apology for the Believers," page 536) says: "The patentees sent Colley Cibber, as envoy-extraordinary, to negotiate an amicable settlement with the Sovereign of the Revels. It is amusing to hear, how this flippant negotiator explained his own pretensions, and attempted to invalidate the right of his opponent; as if a subsequent charter, under the great seal, could supersede a preceding grant under the same authority. Charles Killigrew, who was now sixty-five years of age, seems to have been oppressed by the insolent civility of Colley Cibber." But this is an undeserved hit at Cibber, who had suffered the grossest injustice at Killigrew's hands regarding the licensing of "Richard III." See ante, p. 275. The dispute regarding fees must have occurred about 1715.
[ [306] The Licensing Act of 1737. This Act was passed by Sir Robert Walpole's government, and gave to the Lord Chamberlain the power to prohibit a piece from being acted at all, by making it necessary to have every play licensed. This power, however, had practically been exercised by the Chamberlain before, as in the case of Gay's "Polly," which Cibber has already mentioned. The immediate cause of this Act of 1737 was a piece called "The Golden Rump," which was so full of scurrility against the powers that were, that Giffard, the manager to whom it was submitted, carried it to Walpole. In spite of the opposition of Lord Chesterfield, who delivered a famous speech against it, the Bill was passed, 21st June, 1737. The "Biographia Dramatica" hints plainly that "The Golden Rump" was written at Walpole's instigation to afford an excuse for the Act. Bellchambers has the following note on this passage:—