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WOODWARD, THE COMEDIAN. HENRY WOODWARD was born in London in 1717, wagi educated at Merchant-Tailors' school, and at first engaged in the business of a tallow-chandler. He was. then bound apprentice to the late Mr. Rich, under whose tuition he became qualified for a Harlequin. His sub. sequent success as a comic actor is too well known to need commemoration. After he had saved about Goool. from his emoluments on the stages in London, be lost it all again by imprudently commencing manager in Ireland. He then returned to Covent-garden, where he continued till the time of his death, which happened April 17, 1777, occasioned by an accident as he was jumping on a table in the character of Scrub. During his illness, the late Dr. Isaac, Schomberg (his schoolfellow), who attended him, refused the acceptance of a single fee. To have been thus respected by a man of distinguished integrity is no small degree of praise. Mr. Woodward was the author of a farce called " Marplot in Lisbon ;” and “The Man's the Master," a comedy, in 1775, 8v0.

M. DE VIELLEVILLE. FRANCIS the First baving appointed this French nobleman Captain of a regiment of which he had been Lieutenant, sent for him to announce his promotion to him. Vielleville humbly thanked his Majesty for the honour he had conferred upon him, but begged to decline it, as he said he had “ done nothing as yet worthy of it." His sovereign replied, “ Why, Sir, I am very much miss taken then; for I thought, if you had been five hundred miles off, that you would have galloped night and day to ask this rank of me; and now I offer it to you myself, you refuse it. I cannot tell, I am sure, on what other occasion you can expect that I should give it to you." “ Sire," replied Vielleville, “on the day of battle, when I shall have done something to deserve it; but if I accept of the honour your Majesty intends for meat this instant, all my companions will ridicule me for accepting it, and suppose that it was given me in consideration of my being the near relation of the officer who last held it. I assure your Majesty I had rather die than obtain rank through any other medium than that of service."

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NOTE ON HAMLET. . HAM. Your Ladyship is nearer to Heaven, than when I saw :

you last, by the altitude of a chopine.' In Raymond's Voyage through Italy, 1648, 12mo. a work which is said to have been partly written by Dr. Bargrave, Prebendary of Canterbury, the following curious account of the chopine occurs.This place (Venice) is much frequented by the walking maypoles, I meane the women. They weare their coats halfe too long for their bodies, being mounted on their chippeens (which are as high as a man's leg); they walke between two handmaids, majestickly deliberating of every step they take. This fashion was invented and appropriated to the noble Venetian's wives, to bee constant to distinguish them from the courtesans, who goe covered in a vaile of white tatlety."

. James Howell, speaking of the Venetian women, says, " They are low and of small statures for the most part, which makes them to rayse their bodies upon high shoes called chapins, which gave one occasion to say that the Venetian ladies were made of three things; one part of them was wood, meaning their chapins, another part was their apparrell, and the third part was a woman : the Senat hath often endeavour'd to take away the wearing of those high shooes ; but all women are so passionately delighted with this kind of state, that no law can weane them from it.”

Some have supposed that the jealously of Italian husbands gave rise to the invention of the chopine. Limojon de Saint Didier, a lively French writer on the Republic of Venice, mentions a conversation with some of the Doge's Counsellors of State on this subject, in which it was remarked that smaller shoes would certainly be found more convenient; which induced one of the Counsellors to say, putting on at the same time a very austere look, pur troppo commodi, pur troppo. The first ladies who rejected the use of the chopine were the daughters of the Doge Dominico Contareno, about the year 1670. It was impossible to set one foot before the other without leaning on the shoulders of two waitingwomen, and those who used them must have stalked along like boys in stilts. .

THEATRICAL INSOLENCE. The unbecoming conduct of those individuals, whe supported by public patronage, frequently treat their benefactors with rudeness and insult, hath been often remarked and severely censured in many publications; an instance of this species of ingratitude, which took place at Athens, is recorded by a Greek historian.

A tragedy having been announced for public representation, the Athenians, on the day appointed, assembled in crowds; but just as the piece should have commenced, a popular actor, who, according to the custom of that age, was to have played a principal female part, refused to act, unless he was immediately furnished with a more splendid dress, and a greater train of attendants.

The insolent upstart was told, that if he had communicated his wishes at an earlier period of the business, they should certainly have been complied with, but that his expecting a new dress and additional attendants, at a moment when the people were impatiently expecting the tragedy to begin, was inconsistent and absurd. The player obstinately persisted in his resolution not to act unless his terms were complied with; the delay, altercation, and confusion, exasperated the manager so much, that he forcibly pushed the stubborn blockhead on the stage, at the same time observing to him, in an audible voice, " How can you be so ridiculous as to wish to make a parade and shew, when you see among the audience the wife of Phocian, the greatest of our commanders, the plainest drest of all the audience, and attended only by a single slave."

This well-timed reproof excited a loud and universal applause; the corrected offender, who deserved to have been hissed from the theatre, felt he was wrong, apologised for his preposterous conduct, and immediately performed his part,


We are apt to mistake the character of the Spaniards; . there is, in the very excess and abundance of their wit, joy, and good humour, a certain steady'evenness of mana; ners, equally distant from pedantry, levity, and affectation; more mirth of the heart than ali the noise, grimace, and badınage of their neighbours; a kind of grave, dry,

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