In some respects, Mrs. Bracegirdle, who was on the stage from 1680 to 1707, and subsequently lived in easy retirement till 1748, was even superior to Mrs. Mountfort. Mrs. Barry saw her early promise, and encouraged her in her first essays. In her peculiar line she was supreme, till the younger and irresistible talent of Mrs. Oldfield brought about her resignation. Unlike either of these brilliant actresses, she was exposed to sarcasm only on account of her excellent private character. Platonic friendships she _did_ cultivate; with those, slander dealt severely enough; and writers like Gildon were found to declare, that they believed no more in the innocency of such friendships than they believed in John Mandeville; while others, like Tom Brown, only gave her credit for a discreet decorum. Cibber, more generous, declares that her virtuous discretion rendered her the delight of the town; that whole audiences were in love with her, because of her youth, her cheerful gaiety, her musical voice, and her happy graces of manner. Her form was perfect. Cibber says, "she had no greater claims to beauty than what the most desirable brunette might pretend to." Other contemporaries notice her dark brown hair and eyebrows, her dark, sparkling eyes, the face from which the blush of emotion spread in a flood of rosy beauty over her neck, and the intelligence and expression which are superior to mere beauty. She so enthralled her audience that, it is quaintly said, she never made an _exit_ without the audience feeling as if they had moulded their faces into an imitation of hers. Then she was as good, practically, as she was beautiful; and the poor of the neighbourhood in which she resided looked upon her as a beneficent divinity. Her performance of Statira was considered a justification of the frantic love of such an Alexander as Lee's; and "when she acted Millamant, all the faults, follies, and affectation of that agreeable tyrant were venially melted down into so many charms and attractions of a conscious beauty." Young gentlemen of the town pronounced themselves in tender but unrequited love with her. Jack, Lord Lovelace, sought a return for his ardent homage, and obtained not what he sought. Authors wrote characters for her, and poured out their own passion through the medium of her adorers in the comedy. For her, Congreve composed his Araminta and his Cynthia, his Angelica, his Almeria, and the Millamant, in the "Way of the World," which Cibber praises so efficiently. That this dramatist was the only one whose homage was well-received and presence ever welcome to her, there is no dispute. When a report was abroad that they were about to marry, the minor poets hailed the promised union of wit and beauty; and even Congreve, not in the best taste, illustrated her superiority to himself, when he wrote of her--