English stage, though the author's
original bent was "scenical dancing," or ballet dancing, by
representations of historical incidents with graceful motion. In his
"History of Pantomimes" the author is careful to distinguish between
those entertainments where "Grin and grimace usurp the passions and
affections of the mind," and those where "A nice address and management
of the passions take up the thoughts of the performer." "Spectators,"
says Weaver, in 1730, or thereabouts, "are now so pandering away their
applause on interpolations of pseudo-players, merry Andrews, tumblers,
and rope dancers; and are but rarely touched with, or encourage a
natural player or just Pantomime."

It was, however, left to John Rich to place Pantomime on a firm footing.
Before dealing with Rich and his Pantomimes, which I shall treat of in
the next chapter, it is appropriate here to note how Pantomimes
generally came to be introduced on the English stage.

Colley Cibber mentions:--About this time the patentee (Rich) having very
near finished his house in Lincoln's Inn Fields, began to think of
forming a new company; and, in the meantime, found it necessary to apply
for leave to employ them. By the weak defence he had always made against
the several attacks upon his interests, and former Government of the
theatre (Drury Lane), it might be a question, if his house had been
ready, in the Queen's (Anne) time, whether he would then have had the
spirit to ask, or interest enough to obtain leave to use it; but in the
following reign, as it did not appear he had done anything to forfeit
the right of his patent, he prevailed with Mr. Craggs, the younger, to
lay his case before the king, which he did in so effectual a manner that
(as Mr. Craggs himself told me) his Majesty was pleased to say upon it,
"That he remembered when he had been in England before, in King
Charles's time, there had been two theatres in London; and as the patent
seemed to be a lawful grant, he saw no reason why two play-houses might
not be continued."

The suspension of the patent being thus taken off, the younger multitude
seemed to call aloud for two play-houses! Many desired another, from the
common notion, that two would always create emulation, in the actors.
Others too were as eager for them, from the natural ill-will that
follows the fortunate or prosperous in any undertaking. Of this low
malevolence we had, now and then, remarkable instances; we had been
forced to d