When Woodward advertised his benefit in 1745, at Covent Garden, on which occasion he played Sir Amorous la Foole, in the "Silent Woman," and Harlequin, in the "Rape of Proserpine," he made no especial appeal to the public. But Merchant Tailors did not forget their old schoolfellow, and a letter in the _General Advertiser_ called upon Merchant Tailors, generally, to rally round their condiscipulus, for,--"The original design of forming ourselves into a society was, as I take it, to serve and promote the interest of our schoolfellows," &c. The benefits of the greater actors, however profitable to themselves, must have afforded but few pleasant stage illusions to the public. On these occasions, the stage itself was converted into an amphitheatre, or was built round with boxes for the convenience of ladies, while the pit, if necessary, was turned into ground tiers of boxes, at increased prices. Remembering how fierce the spirit and unscrupulous the actions of that pit could be, when offended, the patience with which it endured being turned out was especially remarkable. The public of that day seems to have been treated with alternate contempt and servility. When Yates took his benefit at Goodman's Fields, he advertised the impossibility of his calling personally on theatrical patrons in the neighbourhood, on the ground that he had got into such a strange part of the town, he could not find his way about the streets! Sometimes an appeal was made to the compassion of the public, as by generally hilarious Hippisley, who, about to play Scrub for his benefit, at Covent Garden, in 1747, announces in the _General Advertiser_, "he is so far recovered from his late illness, that though considerably altered in his physiognomy, and lowered in spirits, he persuades himself a crowded house on Thursday next, at the 'Stratagem,' for his benefit, will create a smile on his countenance, raise his spirits, and make him appear as much a Scrub as ever." In the same year there was an ambitious young actor at Goodman's Fields, named Goodfellow, who played Hamlet and Fribble, two of Garrick's best characters, for his benefit; for taking which he gave the singular reason, that "my friends having expressed a great dislike to my being on the stage, I have resolved upon taking this benefit to enable me to return to my former employment." The public accordingly patronised him in order to get rid of him, and the young fellow was so grateful that he remained on the stage! These examples are cited as they occur to me, and I will not add to them; but rather turn away, to mark some eminent actors flitting from the stage, and some samples of the public opinion connected with it, before the coming of Edmund Kean. FOOTNOTES: [86] Poets' beneficiary nights were of much earlier date.--_Doran MS._ [87] This benefit took place on 31st March 1720. [Illustration: BURNING OF DRURY LANE THEATRE, 1809.] CHAPTER XIII. OLD STAGERS DEPARTING.