to

or madness! whole nest of

very clearly the right path, but it appeared so rugged that they rather chose to turn to the left one. And then again as far as regarded the search after TRUTH I found that a more difficult, a more intricate path than the former one! and not only difficult but dangerous in the extreme, to seek for TRUTH, and, when seen, speak it, was like down-right lunacy A man had better by half rouse up a hornets about his ears, and be stung to death rather than encounter the enemies of truth. He would not only be looked upon as a pest to society but as an ideot or an absolute madman, one that ought to be kept locked up in some bedlamite prison in order to prevent him from doing injury to all his fellow creatures. History informs us that some of the wisest and best men that ever lived have been thus treated, thus persecuted, and too often punished with chains, dungeons, or death, for their endeavours to serve the world by speaking truth. This is a mere incidental observation, and I will now return to my memoirs.

Before I left Brighton, during my second season there, in the year 1791, having entered into terms of management with Mr. Shatford, to commence with him in November at Salisbury, I took with me from Brighton two Performers then well known to the public, namely, Mr. Darley, an actor of first-rate vocal powers, who had rendered himself a favorite both at Covent Garden and Vauxhall. The other person I engaged was Miss Fontenelle, a female of great merit, the original Moggy Mac Gilpin, in the Highland Reel. There was something very remarkable about this

actress; she rose to the very top of her profession all at once, (that is in one season), and she as suddenly lost the distinguished rank she had gained! Some professional people and men of true taste and sound judg ment, have thought that her talents had been over rated, and that time and experience did not justify the expootations that had been formed of her: but with deference it is here submitted that this generally received opinion was not altogether correct. Nobody had better opportunities of ascertaining her talents than we had at Salisbury; and though it is here readily acknowledged, that Moggy Mac Gilpin was her best part, yet she discovered great ability in many other characters. I have seen better Cowslips, for she had not that natural simplicity so requisite in the character, yet, by her knowledge of the stage, she sung Cowslip's song in a manner most effective. She was very often requested to sing this song between the acts, &c. and never sung it without being encored. How came she then to lose so suddenly the fame and rank she had so deservedly acquired? that is the question: for my own part I attribute her failure to her rudeness, selfishness, avarice, and arrogance. Very harsh words when speaking of a female! but they shall be explained, As to the latter word arrogance, she conducted berself in such a manner as to show she was spoiled by the good opinion of the audience, and she treated the other performers in a manner that made them dişlike her: with respect to the word avarice that too shall be explained. Prudence in money matters is highly praiseworthy, both in old and young; but over prudence

(avarice) is disgusting in both cases, more especially when it prevails in youth. The weekly salary of Miss Fontenelle when with me at Salisbury, was two guineas; she received it generally in silver, and after putting the whole into her pocket-bandkerchief, she would examine each shilling over and over. again, and such as she did not like I often changed without even looking at them; (for I generally paid her myself). She would often go through this process and minutely examine the cash a second or third time, jingling each shilling on the table in so tedious a manner, even when the other performers were waiting for their respective salaries; yet she never apologized, or seemed to care a pin about others waiting; the money was her only consideration. One day she had just got to the street door when she returned with a shilling she did not like she showed it to the performers, who told her it was a fine Queen Ann's shilling, worn a little smooth, but a very good one; they never saw a better. She replied they were exactly of her opinion, it was a most excellent shilling! a capital one! but she should like one somewhat larger; she did not like a little shilling. Some one of the performers changed it for her and they in future always called her "Miss Little Shilling!" What became of her afterwards I scarcely know. She went with us to Dorchester but did not play there: I think she sailed soon afterwards to America, doubtless under the conviction that their large dollars were much better than English little shillings.

During my first years management at Salisbury, I

received the following letter from Miss Birt, since known to the public as Madame Frederic.

Sir,

"To Mr. Lee, Manager of the Salisbury Theatre."

I have hitherto been engaged at the Italian Opera House: you have doubtless seen my name in the bills and the newspapers: I wish to try my abilities on the English Stage in the Romp line. I am not quite eighteen: a good figure; my face what the men call pretty! I can act, sing, dance, go into small-clothes, and come directly.

Yours,

S. BIRT.

P. S. Say the word, and you shall see me down in a twinkling.

In anwer to the preceeding application, I wrote as follows

Madam,

Your letter is brief and candid-mine shall be equally so. As you are a novice, I cannot afford to give you more than a guinea per week; at least not till after trial. You say you can sing, dance, and go into small clothes: so if you please put them on, (those, or any other dress more convenient) and come if you like directly.

Yours,

HENRY LEE.

P. S. I have said the word--so expect to see you down, and twinkling!

REMARK.

Something prevented this lady coming at that time, but I saw her frequently afterwards in London, Birmingham, Bristol, Taunton, Exeter, &c. and we have often talked and laughed at this romantic correspondence.

Soon after this our first season at Salisbury, we removed to Dorchester. This was in the year 1792. We had the County Hall for a Theatre and a very good one it made. Since the period here spoken of, (exclusive of the County Hall) no less than three different regular Theatres have been built at Dorchester, and chiefly under my directions. The first was erected by a builder of the name of Curme: myself and my partner, Mr. Shatford, held this on lease; and at the expiration of the term, Mr. Curme wanted the place in the way of his business, and I was obliged to provide myself with another. I prevailed on William Henning, Esq. to erect one on his own land; I had it of him for two seasons, and he then applied it to some other purpose. The Theatre at present in Dorchester was built for me about two years ago, by Mr. Charles Curme, the son of the person named above.

Respecting Dorchester, and the present Theatre, more may be said another time. It stands very near a part of the old Roman wall, which formerly surrounded perhaps the whole of the town, at the time when those warlike people, the Romans, held posses