The system of actors' benefits having thus become thoroughly established, was soon extended and made applicable to other purposes, for the most part of a charitable kind. Thus, in 1711, a benefit performance was given in aid of Mrs. Betterton, the widow of the late famous tragedian, who had herself been an actress, but had for some time ceased to appear on the stage owing to age and other infirmities. The "Tatler," after an account of Betterton's funeral, describes feelingly the situation of his widow: "The mention I have here made of Mr. Betterton, for whom I had, as long as I have known anything, a very great esteem and gratitude, for the pleasure he gave me, can do him no good; but it may possibly be of service to the unhappy woman he has left behind him, to have it known that this great tragedian was never in a scene half so moving as the circumstances of his affairs created at his departure. His wife, after a cohabitation of forty years in the strictest amity, has long pined away with a sense of his decay, as well in his person as in his little fortune; and in proportion to that she has herself decayed both in health and reason. Her husband's death, added to her age and infirmities, would certainly have terminated her life, but that the greatness of her distress has been her relief by her present deprivation of her senses. This absence of her reason is her best defence against age, sorrow, poverty, and sickness."[4] Indeed, Steele constantly testifies his fondness for the theatre and kindly feeling towards the players, by calling attention to the benefit performances, and bespeaking the public favour for them, adding much curious mention and humorous criticism of the comedians who were especially the objects of his admiration--Pinkethman, Bullock, Underbill, Dogget, and others. [4] The "Tatler," No. 167, May 4, 1710.