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matter, and the manager got ample redress. The King, being informed of the whole affair, was highly offended, and ordered a guard to attend that theatre as well as the other; which is continued to this day.*

No doubt it was the opinion of the managers, and some other people at that time, that the appearance of the military power at the theatre would suppress all future disturbances there, and that none would be so fool-hardy as to oppose cat calls and pippins to fusees and bayonets; but it was not considered how far the soldiers had a power to act on these occasions, or if they had once attempted to avail themselves of the superiority of their arms, whether this would not immediately have been construed into dragooning the town into the approbation of a new piece or a new actor, or whether a single bayonet being used, or a single musket being fired, would not have been more fatal to the managers, than the tearing up of all the benches in pit and gallery. Critics alone would not have stood forth champions in the cause of dramatic liberty; the political and ministerial writers of the times, and many there were at that period, would doubtless have taken the cue, and represented this among the various evils arising from standing armies. The administration at that time were certainly of this opinion, and therefore though they granted the managers the apparent assistance of military aid, as many paper soldiers, or their own scene-shifting guards would have been of equal service to them in any time of real emergency.

Experience has since repeatedly evinced the truth of these observations. Scarce had the managers fortified their theatrical garrisons before they were obliged to surrender at discretion to an unarmed few. A new pantomime was brought out at Drury Lane Theatre, which was to end with a grand dance; Madam Chateauneuf, the head dancer at that time was to have been the principal performer; but she being taken ill, the dance was necessarily set aside, though the managers published her name three successive nights, without making any apology for the omission. The first night the audience remained pretty quiet; the second they only hissed; but on the third night they ushered out the ladies, and then began to demolish the house. The first motion that was made, and by a noble marquis, was to fire it, but that being carried in the negative, they began with the orchestra, broke the harpsichord and bass viols, together with the looking glasses, scenes and chandeliers; pulled up the benches in the pit, broke down the boxes, and even the royal arms. It is true, the

* See Victor's History of the Theatres.

CHAPTER IV.

Curious and entertaining anecdotes of the theatre. The origin of their being guarded by the military power. A few strictures thereupon, and its effect illustrated. Quin's extraordinary fortitude and presence of mind in a capital character: an unlucky adventure, which costs him his liberty and endangers his life.

THE theatres till now had never been guarded by any but civil officers, when a riot that happened in the year 1721 at the theatre in Lincoln's Inn Fields, gave occasion to the military power being added to the civil, for the protection of the audience, as well as the players, from insult. As this is a memorable epoch in dramatic history, the reader will, doubtless, not be displeased to meet with the anecdote that gave rise to this extraordinary

measure.

A certain noble earl, who was said (and with some degree certainty, as he drank usquebaugh constantly

have been in a state of intoxication for the scenes at the close of a comedy, and panions on the other side among the stage, and was accordingly hissed by was on the side the noble earl came o uproar in the house at such an irres "I hope your lordship will not tal stage door keeper not to admit that his lordship saluted Mr. Rich he immediately returned, and, b and fat, made his cheek ring w spirited return my lord's drunke directly, and Mr. Rich was to Walker, &c., &c., stood forth a grand scuffle ensued, by out at the stage door into boxes, with their sword hangings, which were the riot until Mr. Qu men, and charged t carried before Justi bourhood, and all they were soon p

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matter, and the manager got ample redress. The King, being informed of the whole affair, was highly offended, and ordered a guard to attend that theatre as well as the other; which is continued to this day.*

No doubt it was the opinion of the managers, and some other people at that time, that the appearance of the military power at the theatre would suppress all future disturbances there, and that none would be so fool-hardy as to oppose cat calls and pippins to fusees and bayonets; but it was not considered how far the soldiers had a power to act on these occasions, or if they had once attempted to avail themselves of the superiority of their arms, whether this would not immediately have been construed into dragooning the town into the approbation of a new piece or a new actor, or whether a single bayonet being used, or a single musket being fired, would not have been more fatal to the managers, than the tearing up of all the benches in pit and gallery. Crit

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end with a grand dance; Madam er at that time was to have been the he being taken ill, the dance was the managers published her name hout making any apology for the he audience remained pretty quiet; but on the third night they ushered an to demolish the house. ya noble marquis, was to fire it, but tive, they began with the orchestra, ass viols, together with the looking ; pulled up the benches in the pit, n the royal arms.

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THE theatres till now had never officers, when a riot that happened in Lincoln's Inn Fields, gave occ being added to the civil, for the I well as the players, from insult. in dramatic history, the reader will, to meet with the anecdote that gav

measure.

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