zed, in the fourth act, on fancying
that he saw his friend on the rack, has not since been equalled,
nor, perhaps, ever will.

--'He groans;
Hark, how he groans! his screams are in my ears
Already! See, they've fixed him on the wheel!
And now they tear him! Murder! Perjured Senate!
Murder!'

"The enthusiastic power of Garrick presented this dreadful image
to the audience with such astonishing force, that they trembled at the
imaginary picture. In all the softer scenes of domestic woe, conjugal
tenderness, and agonizing distress, Barry, it must be owned, was
Garrick's master.

"Mrs. Cibber was long the _Belvidera_ of Barry and Garrick. Every
situation seemed to be formed on purpose to call forth her great skill in
awakening the passions. Mrs. Siddons has, in this part as well as
many others, fixed the favor of the town in her behalf. This actress,
like a resistless torrent, has borne down all before her. In person, just
rising above the middle stature, she looks, walks, and moves, like a
woman of superior rank. Her countenance is expressive; her eye so
full of information, that the passion is told from her look before she
speaks. Her voice, though not so harmonious as Mrs. Cibber's, is
strong and pleasing: nor is a word lost for want of due articulation.
She excels all performers in paying due attention to the business of
the scene. Her eye never wanders from the person ahe speaks to, or
should look at when she is silent. Her modulation of grief, in her
plaintive pronunciation of the interjection, Oh! is sweetly moving, and
reaches to the heart. Her madness in Belvidera is terribly affecting.
The many accidents of spectators falling into fainting-fits during her
acting, bear testimony to the effects of her exertions. She certainly
does not spare herself. None can say that she is not in downright earnest."

Thomas Otway, the author of this and some nine other plays,
of various merit, none of which, however, now keep possession
of the stage, was the son of a clergyman, and born at Trotting
in Sussex, England, in the year 1651. His tragedy of the
"Orphan" was for many years as attractive in the representation as
"Venice Preserved;" but the plot is of a character to render it
distasteful to a modern audience, although it contains passages
of remarkable beauty and power. Otway is said to have tried
his fortune on the stage as an actor, and to have failed--not an
infrequent case with dramatic authors. He appears to ha