Sometimes an appeal was made to the compassion of the public, as by generally hilarious Hippisley, who, about to play Scrub for his benefit, at Covent Garden, in 1747, announces in the General Advertiser, "he is so far recovered from his late illness, that though considerably altered in his physiognomy, and lowered in spirits, he persuades himself a crowded house on Thursday next, at the 'Stratagem,' for his benefit, will create a smile on his countenance, raise his spirits, and make him appear as much a Scrub as ever."
In the same year there was an ambitious young actor at Goodman's Fields, named Goodfellow, who played Hamlet and Fribble, two of Garrick's best characters, for his benefit; for taking which he gave the singular reason, that "my friends having expressed a great dislike to my being on the stage, I have resolved upon taking this benefit to enable me to return to my former employment." The public accordingly patronised him in order to get rid of him, and the young fellow was so grateful that he remained on the stage!
These examples are cited as they occur to me, and I will not add to them; but rather turn away, to mark some eminent actors flitting from the stage, and some samples of the public opinion connected with it, before the coming of Edmund Kean.
FOOTNOTES:
[86] Poets' beneficiary nights were of much earlier date.—Doran MS.
[87] This benefit took place on 31st March 1720.
BURNING OF DRURY LANE THEATRE, 1809.