]; but, as soon as the audience were undeceived,
they converted their groans and hisses to loud and long continued
applause." Three years later, in 1733, Cibber retired from the stage.

With Mrs. Oldfield the picture was far different. She could not make
of Thomson's tragedy a success, yet she played Sophonisba (one of the
last parts in which she was ever seen) with a grandeur of effect that
well earned the undying gratitude of the author.[A] In after years her
old admirers were wont to thrill with pleasure as they recalled the
passionate intensity she gave to that much-quoted line,

"Not one base word of Carthage, for thy soul,"

as she stood glaring at the astonished Massinissa.

[Footnote A: Mrs. Oldfield, in the character of Sophonisba, has
excelled what, even in the fondness of an author, I could either wish
or imagine. The grace, dignity, and happy variety of her action have
been universally applauded, and are truly admirable.--Thomson.]

Among those who saw Sophonisba was Chetwood, whose "General History of
the Stage" gives us many a charming glimpse of dead and gone actors.
Dead and gone? Nay, rather let it be said that they still live in the
ever fresh and graphic pages of contemporary critics, and thus refute
the gentle pessimism of Mr. Henley when he asks so gracefully:

"Where are the passions they essayed,
And where the tears they made to flow?
Where the wild humours they portrayed
For laughing worlds to see and know?
Othello's wrath and Juliet's woe?
Sir Peter's whims and Timon's gall?
And Millamant and Romeo?
Into the night go one and all."

"I was too young," says Chetwood, "to view her first dawn on the
stage, but yet had the infinite satisfaction of her meridian lustre, a
glow of charms not to be beheld but with a trembling eye! which held
her influence till set in night."

Of Nance's tendency to escape tragic plays the same writer tells us:
"When 'Mithridates' was revived, it was with much difficulty she was
prevail'd upon to take the part; but she perform'd it to the utmost
length of perfection, and, after that, she seem'd much better
reconcil'd to tragedy. What a majestical dignity in Cleopatra! and,
indeed, in every part that required it: Such a finish'd figure on the
stage, was never yet seen. In 'Calista, the Fair Penitent,' she was
inimitable, in the third act, with Horatio, when she tears the letter
with

"'To atoms, thus!
Thus let me tear the vile detested f