One falling Adam, and one tempted Eve.
Mr. Smith continued on the stage till about twelve months after this period, when, according to Downes, having a long part in Banks's tragedy of "Cyrus," 1696, he fell sick on the fourth day of performance, and died from a cold, as Chetwood relates, occasioned by cramp, which having seized him while in bed, he rose to get rid of it, and remained so long in his naked condition, that a fever ensued from disordered lungs, and, in three days, put an end to his existence.
We have but a slender clue to the stage-management of Mr. Smith, which was exercised over the Duke's Company in Dorset-garden, conjointly with Betterton and Dr. D'Avenant, when the famous agreement which bears their signatures was concluded with Hart and Kynaston, for an union of the theatres. It has been said that Booth [who wrote an epitaph on Smith] applied to him for an engagement, which was refused from a fear of offending his relatives, but with that kindness of expression and deportment so warmly distinguished in his epitaph. This assertion, however, is unfounded, for when Mr. Smith died, Barton Booth was a Westminster scholar, and in the fourteenth year of his age; the character of this eminent comedian must, accordingly, have been drawn up from such intelligence as the writer acquired at a subsequent period.
It only remains to be remarked, that Chetwood has placed Mr. Smith's original return to the stage in the year 1692; but, not to insist upon the known looseness of this writer's information, let us ask if a political offence would be so vehemently remembered, after the lapse of four years, as to drive an estimable actor from the harmless pursuance of his ordinary duties? Cibber is doubtless correct in the floating date of this fact, which must have happened previous to the revolution. Mr. Smith was a principal actor in Lee's later tragedies, but in the "Princess of Cleve," 4to, 1689, we find the part he would naturally have played to Betterton's Nemours, supported by Mr. Williams.
Smith's value as an actor, may be immediately felt by a reference to the parts he enjoyed under Betterton, with whom he lived till death in the most cordial manner, enhancing his fame by honourable emulation, and promoting his interests by unbroken amity. No instance has been recorded of their dissention or dispute, and from the notice which Betterton extended to Booth, he very possibly communicated that high account of his departed friend, which the latter has recorded with such spirit and fidelity.
From Cibber's admission, it appears, that Smith's moral qualities and professional excellence, procured him an extensive reception among people of rank, a patronage which his polished manners continued to exact, till society, by his death, sustained one of its deepest deprivations. (B.) Chetwood's story is now incapable either of proof or disproof. The known facts about Smith's retirement are, that his name appears to Constantine the Great, to Courtine in Otway's "Atheist," and to Lorenzo in Southerne's "Disappointment," in 1684; that it then disappears, and does not again occur till 1695. It is probable that he retired in 1684, as it is unlikely that his name should not appear in one or other of the 1685 bills. (L.)
Charles Hart.
Charles Hart was the great nephew of Shakspeare, his father, William, being the eldest son of our poet's sister Joan. Brought up as an apprentice under Robinson, a celebrated actor, he commenced his career, conformably to the practice of that time, by playing female parts, among which the Duchess, in Shirley's tragedy of the "Cardinal," was the first that exhibited his talents, or enhanced his reputation.
Puritanism having gathered great strength, opposed theatrical amusements as vicious and profane institutions, which it was at length enabled to abolish and suppress. On the 11th day of February, 1647,[227] and the subsequent 22d of October, two ordinances were issued by the Long Parliament, whereby all stage-players were made liable to punishment for following their usual occupation. Before the appearance of this severe edict, most of the actors had gone into the army, and fought with distinguished spirit for their unfortunate master; when, however, his fate was determined, the surviving dependants on the drama were compelled to renew their former efforts, in pursuance of which they returned, just before the death of Charles, to act a few plays at the "Cockpit" theatre, where, while performing the tragedy of "Rollo," they were taken into custody by soldiers, and committed to prison.[228] Upon this occasion, Hart, who had been a lieutenant of horse, under Sir Thomas Dallison, in Prince Rupert's own regiment, sustained the character of Otto, a part which he afterwards relinquished to Kynaston, in exchange for the fierce energies of his ambitious brother.
At the Restoration, Hart was enrolled among the company constituting his Majesty's Servants, by whom the new Theatre Royal, Drury-lane, was opened on the 8th of April, 1663, with Beaumont and Fletcher's play of the "Humourous Lieutenant," in which he sustained a principal character for twelve days of successive representation.