[4] The “Tatler,” No. 167, May 4, 1710.

Other benefits, however, less urgently laid claim to the goodwill of the public.  At the theatre in Lincoln’s Inn Fields, in the year 1726, a performance was announced “for the benefit of an author whose play is deferred till next season.”  How far the efforts of this anonymous gentleman to raise money upon a sort of contingent reversion of literary distinction were encouraged by the playgoers, or whether his play ever really saw the light of the stage-lamps, can hardly now be discovered.  By-and-by performances are given on behalf of objects wholly unconnected with players or playwrights.  In 1742 a representation was advertised, “For the entertainment of the Grand Master of the Ancient and Honourable Society of Free and Accepted Masons—­for the benefit of a brother who has had great misfortunes.”  A season or two later there was a benefit at Drury Lane “for a gentleman under misfortunes,” when Othello was played by an anonymous actor, afterwards to be known to fame as Mr. Samuel Foote.  In subsequent years benefits were given “for the sufferers by a late fire;” on behalf of the soldiers who had fought against the Pretender in the year ’45; for “Mrs. Elizabeth Forster, the granddaughter of Milton, and his only surviving descendant,"[5] when “Comus” was performed, and a new prologue, written by Dr. Johnson, was spoken by Garrick; for “the Lying-in Hospital in Brownlow Street;” while in the success of the production of Dr. Young’s tragedy of “The Brothers,” played at Drury Lane in 1753, the Society for the Propagation of the Gospel was directly concerned—­the author having announced that the profits would be given in aid of that charity.  Nevertheless, the receipts disappointed expectation; whereupon the author generously, out of his own resources, made up the sum of L1000.  A special epilogue was written for the occasion by Mallet at Garrick’s request; but this was so coarsely worded, and so broadly delivered by Mrs. Clive, that Dr. Young took offence, and would not suffer the lines to be printed with his play.

[5] The lady is said to have been so little acquainted with diversion or gaiety, that she did not know what was intended when a benefit was offered her.  Praiseworthy efforts were made in her interest, but the performance only produced L130.

Among the curiosities of benefits may be recorded a performance that took place at Drury Lane in 1744 on behalf of Dr. Clancy, the author of one or two plays, who published his memoirs in Dublin in 1750.  Dr. Clancy was blind, and the playbill was headed with the line from Milton, “The day returns, but not to me returns.”  The play was “Oedipus,” and the part of Tiresias, the blind prophet, was undertaken by Dr. Clancy.  The advertisements expressed a hope that “as this will be the first instance of any person labouring under so heavy a deprivation performing on the stage, the novelty as well as the unhappiness of his case will engage the favour and