Addison, charmed with the lines, inquired after the writer, and discovered him in an undergraduate of Queen's College, the son of a poor Cumberland clergyman, and named Thomas Tickell. It was a happy day when both met, for then was laid the foundation of a long and tender friendship. To "Rosamond" and his own musical lines upon it, Tickell owed the felicity of his life, as Addison's friend at home, his secretary in his study, his associate abroad, his assistant and substitute in his office of Secretary of State, and, finally, less happy but not less honourable, the executor of his patron's will, and the editor of his patron's works. "Rosamond" was produced during one of the most unlucky seasons at Drury Lane, 1706-7; during which Swiney parted from Rich, took the Haymarket, from Vanbrugh, at a rent of £51[87] per night, and carried with him some of the best actors from Drury. "The deserted company," as they called themselves, advertised the "Recruiting Officer," for their benefit, "in which they pray there may be singing by Mrs. Tofts, in English and Italian; and some dancing." The main stay of the season was the "Recruiting Officer." Estcourt was advertised as "the true Serjeant Kite," against Pack, who played it at the Haymarket. At Drury, where Rich depended chiefly on opera, it was said that "sound had got the better of sense;" and the old motto, "_vivitur ingenio_," was no longer applicable. It is at the Haymarket, says the dedication of "Wit without Money," to Newman, the prompter, that "wit is encouraged, and the player reaps the fruit of his labours, without toiling for those who have always been the oppressors of the stage." [Illustration: (Mrs. Bracegirdle.)] In the season of 1706-7, at the Haymarket, Mrs. Oldfield and Mrs. Bracegirdle first played together,--the younger actress ultimately winning or vanquishing the town. Cibber, too, joined the company, at the head of whom remained Betterton and Mrs. Barry. Every effort was made to beat opera, by a production of pieces of a romantic or classical cast; and Addison's pen, in prologue on the stage, or in praise in the _Spectator_, was wielded in the cause of the players, his neighbours.