Page 163, line 16. The Fainalls, etc.  Fainall in Congreve’s “Way of the World,” Mirabel in Farquhar’s “Inconstant,” Dorimant in Etheredge’s “Man of Mode,” and Lady Touchstone in Congreve’s “Double Dealer.”

Page 163, line 12 from foot. Angelica.  In “Love for Love.”

Page 164, line 26, etc. Sir Simon, etc.  All these characters are in Wycherley’s “Love in a Wood.”

Page 166, line 21. King.  Thomas King (1730-1805), at one time manager of Drury Lane, the original Sir Peter Teazle, on May 8, 1777, the first night of the “School for Scandal,” and the most famous actor in the part until he retired in 1802.

Page 167, line 14. Miss Pope.  Jane Pope (1742-1818), the original Mrs. Candour, left the stage in 1808.

Page 167, line 15 from foot. Manager’s comedy.  Sheridan was manager of Drury Lane when the “School for Scandal” was produced.

Page 167, same line. Miss Farren ...  Mrs. Abingdon.  Elizabeth Farren, afterwards Countess of Derby, played Lady Teazle for the last time in 1797.  Mrs. Abingdon had retired from Drury Lane in 1782.

Page 167, line 10 from foot. Smith.  “Gentleman” Smith took his farewell of the stage, as Charles Surface, in 1788.

Page 168, end of essay. Fashionable tragedy.  See page 328, line 21, for the continuation of this essay in the London Magazine.

* * * * *

Page 168.  ON THE ACTING OF MUNDEN.

See note to the essay “On Some of the Old Actors” above.  Lamb lifted this essay into the London Magazine from The Examiner, where it had appeared on November 7 and 8, 1819, with slight changes.

Page 168, title. Munden.  Joseph Shepherd Munden (1758-1832) acted at Covent Garden practically continuously from 1790 to 1811.  He moved to Drury Lane in 1813, and remained there till the end.  His farewell performance was on May 31, 1824.  We know Lamb to have met Munden from Raymond’s Memoirs of Elliston.

Page 168, line 2 of essay. Cockletop.  In O’Keeffe’s farce “Modern Antiques.”  This farce is no longer played, although a skilful hand might, I think, make it attractive to our audiences.  Barry Cornwall in his memoir of Lamb has a passage concerning Munden as Cockletop, which helps to support Lamb’s praise.  Support is not necessary, but useful; it is one of the misfortunes of the actor’s calling that he can live only in the praise of his critics.

In the Drama of “Modern Antiques,” especially, space was allowed him for his movements.  The words were nothing.  The prosperity of the piece depended exclusively on the genius of the actor.  Munden enacted the part of an old man credulous beyond ordinary credulity; and when he came upon the stage there was in him an almost sublime look of wonder, passing over the scene and people around him, and settling apparently somewhere beyond the moon.