Page:Dictionary of National Biography volume 46.djvu/137

 spicuous success many characters in tragedy and comedy, added to her repertory Charlotte Rusport in the ‘West Indian’ and Fatima in ‘Cymon,’ and was the original Lady Rodolpha in Macklin's ‘True-born Scotchman,’ subsequently converted into the ‘Man of the World.’ Returning to Garrick, one of whose chief supports and torments she was destined to become, she reappeared at Drury Lane as Imogen on 26 Sept. 1771. Here, with occasional trips to the country, she remained eight years, playing an almost exhaustive round of parts. She did not leave Drury Lane until after Garrick's retirement. In a list of her characters appear Monimia in the ‘Orphan,’ Zara in the ‘Mourning Bride,’ Aspasia, Rosalind, Desdemona, Cleopatra in ‘All for Love,’ Merope, Lady Macbeth, Cordelia, Portia, Fidelia in the ‘Plain Dealer,’ Roxana, Lady Brute, Lady Plyant, Mrs. Sullen, Bellario in ‘Philaster,’ Hermione in the ‘Distressed Mother,’ Mrs. Oakley, Lydia Languish, and innumerable others. Her original characters during this period include Lady Margaret Sinclair in O'Brien's comedy ‘The Duel,’ 8 Dec. 1772; Emily (the Maid of Kent) in Waldron's ‘Maid of Kent,’ 17 May 1773; Mrs. Belville in Kelly's ‘School for Wives,’ 11 Dec. 1773; Matilda in Dr. Franklin's ‘Matilda,’ 21 Jan. 1775; Bella in Mrs. Cowley's ‘Runaway,’ 15 Feb. 1776; Margaret in Jerningham's ‘Margaret of Anjou,’ 11 March 1777; Matilda in Cumberland's ‘Battle of Hastings,’ 24 Jan. 1778; Miss Boncour in Fielding's ‘Fathers, or the Good-natured Man,’ 30 Nov. 1778; the Princess in Jephson's ‘Law of Lombardy,’ 8 Feb. 1779. On 16 Oct. 1778 she played at Covent Garden, as Miss Younge from Drury Lane, Queen Katharine in ‘King Henry VIII,’ and on 6 May 1779, at the same house, was the original Emmelina in Hannah More's ‘Fatal Falsehood.’ At Covent Garden she remained during the rest of her stage career.

The entire range of tragedy and comedy remained open to her, and very numerous were the leading parts she sustained. In an alteration of Massinger's ‘Duke of Milan,’ attributed to Cumberland, she was, on 10 Nov. 1779, the first Marcelia, and on 22 Feb. 1780 the original Lætitia Hardy in Mrs. Cowley's ‘Belle's Stratagem,’ to the conspicuous success of which she largely contributed. When the censor at last permitted the representation of Macklin's ‘Man of the World,’ she was, on 14 April 1781, Lady Rudolpha Lumbercourt. Clara in Holcroft's ‘Duplicity,’ the Countess in Jephson's ‘Countess of Narbonne,’ Lady Bell Bloomer in Mrs. Cowley's ‘Which is the Man?’ were the original parts of 1781–2; Euphemia (presumably) in Bentley's ‘Philodamus’ and Lady Davenant in Cumberland's ‘Mysterious Husband,’ those of the following season; and Sophia in the ‘Magic Picture,’ altered from Massinger by the Rev. H. Bates, and Miss Archer in Mrs. Cowley's ‘More Ways than One,’ those of 1783–4. On 14 Dec. 1784 she was the first Susan in ‘Follies of a Day,’ Holcroft's translation of ‘Le Mariage de Figaro’ of Beaumarchais. A long succession of original characters of little interest follows. On 5 May 1786, as Mrs. Pope, late Miss Younge, she played for her husband's benefit Zenobia. Her marriage with a man so much her junior as Alexander Pope [q. v.] caused much comment, and did not contribute to her happiness (cf. Theatrical Manager's Notebook). Zenobia was a solitary appearance during the season in which, presumably on account of her marriage, she was not engaged. On 25 Sept. 1786 she reappeared as Mrs. Beverley in the ‘Gamester,’ and on 25 Oct. played for the first time Lady Fanciful in the ‘Provoked Wife,’ and on 15 Nov. Angelica (with a song) in ‘Love for Love.’ She was, on 18 Nov., the original Charlotte in Pilon's ‘He would be a Soldier.’ On 10 Feb. 1787 she was the first Female Prisoner in Mrs. Inchbald's ‘Such Things are.’ On 21 May she played Hermione to her husband's Leontes. The following season she was principally seen in tragedy, adding to her repertory Lady Randolph in ‘Douglas’ and the Lady in ‘Comus.’ On 3 Dec. 1791 she was the original Alexina in Mrs. Cowley's ‘A Day in Turkey.’ In the season she played for the first time Medea. In the following season she was the original Cora in Morton's ‘Columbus,’ Lady Eleanor Irwin in Mrs. Inchbald's ‘Every one has his Fault,’ and Lady Henrietta in Reynolds's ‘How to grow Rich,’ and on 13 Nov. 1793 was the first Ethelberta in Jerningham's tragedy, ‘The Siege of Berwick.’ It had long been the custom to assign her the parts of ladies of title or fashion. She was accordingly assigned Lady Fancourt in Holcroft's ‘Love's Frailties,’ Lady Horatia Horton (a sculptor) in Mrs. Cowley's ‘Town before You,’ Lady Torrendel in O'Keeffe's ‘Life's Vagaries,’ and Lady Ann in Holcroft's ‘Deserted Daughter.’ She also played Adeline in Boaden's ‘Fontainville Forest,’ 25 March 1794; Matilda in Pye's ‘Siege of Meaux,’ 19 May 1794; Mrs. Darnley in Reynolds's ‘Rage,’ 23 Oct. 1794; Adela in Cumberland's ‘Days of Yore,’ 18 Jan. 1796; and Ellen Vortex in Morton's ‘Cure for the Heartache,’ 10 Jan. 1797. This was her last original part. Her name appeared to this character on 26 Jan., being her last appearance in the bills. On the 31st Ellen Vortex was played by Miss Mansel.