and gentle tempers, his first disgrace had certainly been his last.
Just at the time that Miss Temple was desirous of seeing him, in order to apologize for the uneasiness which the infamous calumnies and black aspersions of Miss Hobart had occasioned both of them, he was forbid the court for the third time: he departed without having seen Miss Temple, carried the disgraced governess down with him to his country seat, and exerted all his endeavours to cultivate in her niece some dispositions which she had for the stage; but though she did not make the same improvement in this line, as she had by his other instructions, after he had entertained both the niece and the aunt for some months in the country, he got her entered in the king's company of comedians the next winter; and the public was obliged to him for the prettiest, but at the same time, the worst actress in the kingdom.
[Though no name is given to this lady, there are circumstances enough mentioned to fix on the celebrated Mrs. Barry, as the person intended by the author. Mrs. Barry was introduced to the stage by Lord Rochester, with whom she had an intrigue, the fruit of which was a daughter, who lived to the age of thirteen years, and is often mentioned in his collection of love-letters, printed in his works, which were written to Mrs. Barry. On her first theatrical attempts, so little hopes were entertained of her, that she was, as Cibber declares, discharged the company at the end of the first year, among others that were thought to be a useless expense to it. She was well born; being daughter of Robert Barry, Esq., barrister at law; a gentleman of an ancient family and good estate, who hurt his fortune by his attachment to Charles I.; for whom he raised a regiment at his own expense. Tony Aston, in his Supplement to Cibber's Apology, says, she was woman to lady Shelton of Norfolk, who might have belonged to the court. Curl, however, says, she was early taken under the patronage of Lady Davenant. Both these accounts may be true. The time of her appearance on the stage was probably not much earlier that 1671; in which year she performed in Tom Essence, and was, it may be conjectured, about the age of nineteen. Curl mentions the great pains taken by Lord Rochester in instructing her; which were repaid by the rapid progress she daily made in her profession. She at last eclipsed all her competitors, and in the part of Monimia established her reputation. From her performance in this character, in that of Belvidera, and of Isabella, in the Fatal Marriage, Downes says she acquired the name of the famous Mrs. Barry, both at court and in the city. "Mrs. Barry," says Dryden, in his Preface to Cleomenes, "always excellent, has in this tragedy excelled herself, and gained a reputation beyond any woman I have ever seen on the theatre." "In characters of greatness," says Cibber, "Mrs. Barry had a presence of elevated dignity; her mien and motion superb, and gracefully majestic; her voice full, clear, and strong; so that no violence of passion could be too much for her; and when distress or tenderness possessed her, she subsided into the most affecting melody and softness. In the art of exciting pity, she had a power beyond all the actresses I have yet seen, or what your imagination can conceive. In scenes of anger, defiance, or resentment, while she was impetuous and terrible, she poured out the sentiment with an enchanting harmony; and it was this particular excellence for which Dryden made her the above-recited compliment, upon her acting Cassandra in his Cleomenes. She was the first person whose merit was distinguished by the indulgence of having an annual benefit play, which was granted to her alone in King James's time, and which did not become common to others till the division of this company, after the death of King William and Queen Mary."]
About this time Talbot returned from Ireland: he soon felt the absence of Miss Hamilton, who was then in the country with a relation, whom we shall mention hereafter. A remnant of his former tenderness still subsisted in his heart, notwithstanding his absence, and the promises he had given the Chevalier de Grammont at parting: he now therefore endeavoured to banish her entirely from his thoughts, by fixing his desires upon some other object; but he saw no one in the queen's new court whom he thought worthy of his attention: Miss Boynton, however, thought him worthy of hers. Her, person was slender and delicate, to which a good complexion and large motionless eyes gave at a distance an appearance of beauty, that vanished upon nearer inspection: she affected to lisp, to languish, and to have two or three fainting-fits a day. The first time that Talbot cast his eyes upon her she was seized with one of these fits: he was told that she swooned away upon his account: he believed it, was eager to afford her assistance; and ever after that accident showed her some kindness, more with the intention of saving her life, than to express any affection he felt for her. This seeming tenderness was well received, and at first she was visibly affected by it. Talbot was one of the tallest men in England, and in all appearance one of the most robust; yet she showed sufficiently that she was willing to expose the delicacy of her constitution, to whatever might happen, in order to become his wife; which event perhaps might then have taken place, as it did afterwards, had not the charms of the fair Jennings at that time, proved an obstacle to her wishes.
I know not how it came to pass that he had not yet seen her; though he had heard her much praised, and her prudence, wit, and vivacity equally commended; he believed all this upon the faith of common report. He thought it very singular that discretion and sprightliness should be so intimately united in a person so young, more particularly in the midst of a court where love and gallantry were so much in fashion; but he found her personal accomplishments greatly to exceed whatever fame had reported of them.
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