John Rich's company in the Fields either played old pieces, or adaptations from them, or "from the French"; none of which deserved even a passing word, except a roaring farce--pieces which now grew popular--called "Love in a Sack," by Griffin, whom I notice not as an indifferent author, but as an excellent comedian, who made his first appearance in a double capacity. Griffin may also be noticed under a double qualification. He was a gentleman and a glazier. His father was a Norfolk rector, and had been chaplain to the Earl of Yarmouth,--that gallant Sir Robert Paston, who was in France and Flanders with James, Duke of York. In the Paston Free School, at North Walsham, Griffin learnt his "rudiments," having done which his sire apprenticed him to the useful but not dignified calling of a glazier. The "'prentice lad," disgusted at the humiliation, ran away, took to strolling, found his way, after favourable report, to Rich's theatre, and there proved so good an actor, that the Drury Lane management ultimately lured him away to a stage where able competitors polished him into still greater brilliancy. The season concluded on the last day of July[102] 1715 with a "benefit for Tim Buck, to release him out of prison." In the following October, Drury commenced a season which, save a few days of summer vacation, extended to the close of August 1716. During this time, Shakspeare's best plays were frequently acted, old comedies revived with success, and obscure farces played and consigned to oblivion. The great attempt, if not success, of the season, was the comedy of the "Drummer, or the Haunted House," first played in March 1716, and not known to be Addison's till Steele published the fact after the author's death. Tonson, however, knew or suspected the truth, for he gave £50 for the copyright. Wilks, Cibber, Mills, and Mrs. Oldfield could not secure a triumph for the play--which Steele thought was more disgraceful to the stage than to the comedy. There is a novel mixture of sentiment, caricature, and farcical incident in this piece. Warton describes it as "a just picture of life and real manners; where the poet never speaks in his own person, or totally drops or forgets a character, for the sake of introducing a brilliant simile or acute remark; where no train is laid for wit, no Jeremys or Bens are suffered to appear." More natural, it was less brilliant than the artificial comedies of Congreve; but its failure probably vexed the author, as it certainly annoyed the publisher. Tickell omitted it from his edition of Addison's works, but Steele gave these reasons for ascribing it to the latter; they are a little confused, but they probably contain the truth:--"If I remember right, the fifth act was written in a week's time.... He would walk about his room, and dictate in language with as much freedom and ease as any one could write it down.... I have been often thus employed by him.... I will put all my credit among