patience. At Dublin, in 1743, Addison's tragedy was announced
for representation, with Sheridan, the actor, in the character of
Cato. Sheridan, however, suddenly declined to appear, the costume he
had usually assumed in his performance of Cato being absent from the
wardrobe. In this emergency, Theophilus Cibber submitted a proposition
to the audience that, in addition to appearing as Syphax in the play,
he should read the part Mr. Sheridan ought to have filled. The offer
was accepted, the performance ensued, and apparently excited no
opposition. Sheridan was much incensed, however, and published an
address to the public. Cibber replied. Sheridan issued a second
address, to which Cibber again responded. Their correspondence was
subsequently reprinted in a pamphlet entitled "Sock and Buskin." But
the fact remained that "Cato" had been represented with the chief part
not acted, but read by a player who had other duties to fulfil in the
tragedy. One is reminded of the old-established story of the play of
"Hamlet" being performed with the omission of the character of the
Prince of Denmark; a tradition, or a jest, which has long been
attributed to Joe Miller, or some similar compiler of facetiae. It
would seem, however, that even this absurd legend can boast some
foundation of fact. At any rate, Mr. Parke, the respectable oboist of
the Opera House, who published his Musical Memoirs in 1830, is found
gravely recording of one Cubit, a subordinate actor and singer of
Covent Garden Theatre, that once, "when during one of his summer
engagements at a provincial theatre, he was announced to perform the
character of Hamlet, he was seized with a sudden and serious illness
in his dressing-room, just before the play was going to begin;
whereupon the manager, having 'no more cats than would catch mice,'
was constrained to request the audience to suffer them to go through
with the play, omitting the character of Hamlet; which, being complied
with, it was afterwards considered by the bulk of the audience to be a
great improvement." Mr. Parke proceeds to record, by way, perhaps, of
fortifying his story: "Although this may appear ridiculous and
improbable, an occurrence of a similar kind took place several years
afterwards at Covent Garden Theatre, when Cooke, the popular actor,
having got drunk, the favourite afterpiece of 'Love a la Mode' was
performed before a London audience (he being absent) without the
principal character, Sir Archy Ma