s, that Harlequin was always a
relief from still worse company." Eager for theatrical reform, the
"Weekly Miscellany" of 1732, said that plays were not intended for
tradesmen, and denounced Pantomimes as infamous.

Another competitor, who entered the lists against Rich, was Thormond, a
dancing-master, and at Drury Lane Theatre he produced "Dr. Faustus," in
1733. Speaking of this Pantomime, Pasquin mentions that "An account is
very honestly published, to save people the trouble of going to see it."

In a Pantomime produced at Drury Lane in the following year, there were
Macklin, Theo. Cibber (who ultimately lost his life by shipwreck in the
Irish Sea, in company with a troupe of Pantomimists), Mrs. Clive, and
Mrs. Cibber. At the performance it was announced that the money paid
would be returned to anyone who went out before the overture; but no one
availed themselves of the concession. Commenting on the occurrence, a
contemporary writer observes:--"Happy is it that we live in an age of
taste, when the dumb eloquence and natural wit and humour of Harlequin
are justly preferred to the whining of Tragedy, or the vulgarity of
Comedy."

Garrick, at Drury Lane, finding his audience with no heart for tragedy,
and that they must have Pantomime, very wisely said, "If you won't come
to 'Lear' and 'Hamlet,' I must give you Harlequin." And Harlequin he
did give them, in the person of Woodward, one of the best of Harlequins
that ever trod the stage. A contemporary print of the time, represents
Woodward being weighed in one scale, with all the great actors of the
day in the other, and Woodward makes them all kick the beam.

To satirise the prevailing fashion, Garrick penned the following:--

They in the drama find no joys,
But doat on mimicry and toys;
Thus, when a dance is on my bill,
Nobility my boxes fill;
Or send three days before the time
To crowd a new-made Pantomime.

Garrick's success, however, was, I am of opinion, undoubtedly owing to
his being such a clever Pantomimist. "We saw him," says Grimm, "play the
dagger scene in 'Macbeth' in a room in his ordinary dress, without any
stage illusion; and, as he followed with his eyes the air-drawn dagger,
he became so grand that the assembly broke into a cry of general
admiration. Who would believe that this same man, a moment after,
counterfeited, with equal perfection, a pastry cook's boy, who, carrying
a tray of tartlets on his head, and gaping abou