[Footnote 62:  Wine.]

[Footnote 63:  A waiter.  See Nos. 10, 26.]

[Footnote 64:  This introduction was repeated in Nos. 2 and 3 of the original issue.]

[Footnote 65:  “The reader is desired to take notice of the article from this place from time to time, for I design to be very exact in the progress this unhappy gentleman makes, which may be of great instruction to all who actually are, or who ever shall be, in love.” (Original folio.) For Viscount Hinchinbroke ("Cynthio"), see No. 5.]

[Footnote 66:  April 7, 1709.  Cibber acknowledges that Steele did the stage very considerable service by the papers on the theatre in the Tatler.]

[Footnote 67:  For further particulars of Thomas Betterton (1635-1710), see Nos. 71 and 167.  Cibber says:  “I never heard a line in tragedy come from Betterton wherein my judgment, my ear and my imagination were not fully satisfied....  The person of this excellent actor was suitable to his voice, more manly than sweet, not exceeding the middle stature, inclining to be corpulent; of a serious and penetrating aspect; his limbs nearer the athletic than the delicate proportion; yet, however formed, there arose from the harmony of the whole a commanding mien of majesty.”]

[Footnote 68:  By Congreve, 1695.]

[Footnote 69:  Mrs. Elizabeth Barry on this occasion spoke an epilogue, written by Rowe.  She was the daughter of Edward Barry, barrister, whose fortunes were ruined by his attachment to Charles I. Tony Aston, in his “Supplement to Cibber’s Apology,” says she was woman to Lady Shelton, of Norfolk, his godmother; and Curll tells us that she was early taken under the protection of Lady Davenant.  She was certainly on the stage in 1673.  At her first appearance there was so little hope of her success, that at the end of the season she was discharged [from] the theatre.  It is probable that at this time she became acquainted with Lord Rochester, who took her under his protection, and gave her instructions in her theatrical performances.  By his interest she seems to have been restored to the stage, and, improving daily in her profession, she soon eclipsed all her competitors, and in the part of Monimia in “The Orphan” established her reputation, which was enhanced by her performance as Belvidera in “Venice Preserved,” and as Isabella in “The Fatal Marriage.”  “In characters of greatness,” says Cibber, “Mrs. Barry had a presence of elevated dignity, her mien and motion superb, and gracefully majestic; her voice full, clear, and strong, so that no violence of passion could be too much for her, and when distress or tenderness possessed her she subsided into the most affecting melody and softness.  In the art of exciting pity she had a power beyond all the actresses I have yet seen, or what your imagination can conceive.  In scenes of anger, defiance, or resentment, while she was impetuous and terrible, she poured out the sentiment with an enchanting harmony....  In tragedy she