diffidence. So great was her success in this character, that she was engaged at both the winter theatres successively, and performed at Drury Lane, and Covent Garden in both tragedy and comedy. Having now completely established her theatrical fame, she succeeded Mrs. Abington in her chief characters at Drury Lane, and displayed all that elegance, ease, and fashion, for which her predecessor had been so famed. Though she had supported many tragic parts with Mr. Digges in Covent Garden, and represented Juliet, the Fair Circassian, &c. at Drury Lane with great and merited applause, she now confined her extensive abilities to the comic line; but occasionally performed serious characters in comedy, (viz. "The English Merchant," Conscious Lovers," "Chapter of Accidents," &c.) with equal approbation. To her "The Heiress," and other modern pieces were indebted for success, while her elegant representation of Lady Teazle is still remembered; notwithstanding the playful manner in which Mrs. Jordan endeavours to obliterate it. Having left the Haymarket Theatre, she paid a eunimer visit to Dublin, and her performances there were received with universal approbation. At this time she was noticed by the most distinguished characters,and, at the particular request of several of the nobility, had conducted the stage business of a private play, which was performed at the Duke of Richmond's house, in Privy Gardens, and in which Lord Derby, Lord Henry Fitzgerald, and the Hon. Mrs. Damer, performed. Her private worth as well as public merit had long attracted the admiration of Lord Derby,

and, as soon as his lordship was at liberty to offer her his hand, he avowed his intention of calling her his wife; in consequence of which, she took leave of the stage, April 8, 1797. Her final charac ter was Lady Teazle, and the anxiety of the public was so great to witness the last performance of this favourite actress, that the theatre was crowded soon after the doors were opened. Towards the conclusion of the play she appeared to be much affected, and, when Mr. Wroughton came forward to speak some lines, which were written on the occasion, her emotions encreased to such a degree that she was under the neces sity of receiving support from Mr. King. The fall of the curtain was attended with repeated bursts of applause, not unmingled with feelings of regret for the loss of an actress then in the zenith of her charms, and while her dra matic reputation was higher than

ever.

DERRICK, (SAMUEL) translated a piece from the French of the King of Prussia, called "Sylla," a dramatic entertainment, 1753. He was a native of Ireland, born in 1724, and, being intended for a trade, was some time placed with a linen draper in Dublin; but, disliking business, quitted both it and his country in 1751, and commenced author in London. Soon after he arrived at the metropolis he indulged an inclination which he had imbibed for the stage, and appeared in the character of Gloucester, (Jane Shore), but with so little success that he never repeated the experiment. He succeeded Beau Nash in his office of master of the ceremonies at Bath, and Tunbridge; but, through his extravagance,

was

was as necessitous at the time of his death, March 7, 1760, as he had been at any period of his life.

DIBDIN, (CHARLES) dramatist, composer, and formerly actor. His first character on the stage, which brought him into notice, was Ralph, (Maid of the Mill), and through the author's recommendation he was engaged by Mr. Garrick, when his performance of Mungo, (Padlock) 1768, rendered him a favourite with the town. His fame, however, as actor, was established by his excellence as a composer, and to his musical genius he is likewise indebted for his literary fame, his following dramatic writings being in general but simple vehicles for music: "The Shepherd's Artifice," 1764; "Damon and Phillida," altered from Cibber, 1768; "The Wedding Ring," 1773. Previous to the representation of this piece, a report was spread that Mr. Bickerstaff was the author. Mr. Dibdin thought proper to make an affidavit that he was not; for as Bickerstaff's name was then odious to the public, the fate of the entertainment seemed to depend upon the town's giving credit to Mr. Dibdin's affidavit; nevertheless, on the first night of the representation of the piece, part of the audience testified their displeasure by interrupting the actors for some time, till Mr. King came on and begged leave to read a paper, put into his hands by Mr. Dibdin; the purport whereof was that Mr. D. had positively sworn that Mr. B. was not the author, and that the public should be made acquainted with the author's name in a day or two. The piece was now allowed to be per. formed without further opposition; but, when finished, the audience

became clamorous to have the au thor's name announced; when Mr. King again came forward, made an apology, hoping the town would not think him a party in any division, and then informed them that the managers had resolved, if Mr. Dibdin made use of any equivocation, to dismiss him from the theatre, and that the performers would shun him as a perjured man, and a pest to society. This declaration, however, did not produce the desired effect, for Mr. Dibdin was obliged to appear and declare he was the author of both the words and music; which asseveration appeased the audience, who approved of the entertainment, though containing little to recommend it. After this, he produced "The Deserter," taken from the French, 1774; "The Waterman, or First of August," 1774; "The Cobler, or a Wife of Ten Thousand," 1774; "The Metamorphoses," 1776; "The Quaker," 1776; " Poor Vulcan," burletta, 1778; "The Gipsies," 1778; "Rose and Colin," 1778; "The Wives Revenged," 1778; "The Chelsea Pensioner," 1779; "The Mirror," pantomime, 1779; " The Shepherdess of the Alps," 1780; "The Islanders," 1780, afterwards altered and called "The Marriage Act," 1781; "Jupiter and Alcmena," taken from Dryden, burletta, 1781; "None so blind as those that will not see," 1782; "Liberty Hall, or the Test af Good, Friendship," 1785; "Harvest Home," 1787; " A Loyal Effusion," 1797; "Hannah Hewit, or the Female Crusoe," acted for a benefit, 1798. He married the daughter of a respectable tradesman, whom he is said to have deserted without any

13

any provocation. His want of œconomy has plunged him into many difficulties; and in 1777 he was under the necessity of residing, by pecuniary embarrass ments, abroad. He then sent his "Poor Vulcan" to Dr. Arnold, under whose auspices it was brought out and received with kindness. Its success enabled him to return, and he was engaged as musical composer to the theatre of Covent Garden, with a fixed salary. This situation he lost by a disagreement with the manager; for, having added music to the Amphytrion of Dryden and converted it into an opera, (Jupiter and Alcmena) he demanded to have the benefit of three nights for it, in the same manner as if it had been a new piece. The demand was unreasonable. The manager bought the copy-and they separated. After this he composed music for an opera, which was produced at the Dublin Theatre; and brought á demand against the then manager, Mr. Daly, for the same; which he obliged him to pay. His embarrassments still increasing, he opened an entertainment of recitation and songs, which for the merit of the latter became popular, and his success induced him to build a theatre for himself in Leicester-street, with a convenient shop for publishing his own music. Though his success in this kind of entertainment is not so great as formerly, yet he finds his London performances in the end productive, as his occasional visits to the country are consequently lucrative. He has endeavoured to extend his literary fame by writ

life, songs, &c. by subscription in 1803, and has declined writing for managers, as he will not sub

mit to their alterations.

DIBDIN (THOMAS) dramatist and actor, son of the preceding, but not acknowledged by his father. Having received a liberal education at the expense of his mother (which kindness he now returns) he was by a maternal uncle (the late Cecil Pitt, esq) articled as an apprentice to Sir William Rawlins, then in business as an auctioneer and upholsterer, and Sheriff of London in 1801. In his early days he became attached to reading and drawing, and at the end of four years, left his business, and under the assumed name of Merchant, commenced actor and scene-painter at Eastbourne Sussex, and then visited Canterbury, Rochester, &c. At Manchester he made his first public attempt as a dramatic writer, by the production of a farce called "The Mad Guardian, or Sunshine after Rain;" published with juvenile poems. In 1793, he married Miss Hilliar of this Theatre, and formerly of the Edinburgh and Newcastle Company. By scene-painting, and writing local comic songs,he now acquired both fame and profit. At the entreaty of Mr. Dowton of Drury Lane, who wished to appear in the character of a jew, he wrote "The Jew and the Doctor," for his benefit, but Mr. Dowton's partner had, previously accepted Mr. O'Keeffe's farce of "A Nosegay of Weeds," (which was condemned) to the great disappointment of our author, though in the end it turned out greatly to

ably