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unworthily won by various similar perversions of other plays of Shakespeare.

During the eighteenth century, revivals of Twelfth Night became increasingly popular. In the 1741 production at Drury Lane, Charles Macklin appeared as Malvolio, Mrs. Pritchard as Viola, Woodward as Sir Andrew Aguecheek, and 'Kitty' Clive as Olivia. On April 15, 1746, Mrs. Woffington—'lovely Peggy'—acted Viola for the first time, with Macklin and Mrs. Clive in their previous roles, and Neale replacing Woodward as Sir Andrew. At the Haymarket Theatre in 1782, Bensley was Malvolio and Palmer Sir Toby Belch. In the Drury Lane production of 1785 they retained the same parts, Dodd acted Sir Andrew, 'Dicky' Suett the Clown, and Mrs. Jordan, for the first time, Viola. Their impersonation of these parts has been fixed as a stage tradition for the readers of Charles Lamb's Elia essay. On Some of the Old Actors. Before the close of the century both John Kemble and 'Jack' Bannister played Malvolio.

Early in the nineteenth century. Twelfth Night shared in the popularity of John Kemble's Shakespearean revivals at Covent Garden Theatre. Although Barrymore reappeared as Orsino, the cast was essentially changed from that of Elia's fondest memories. Liston played Malvolio, Blanchard Sir Andrew, Emery Sir Toby, Fawcett the Clown, Mrs. S. Booth Viola, and Mrs. C. Kemble Olivia. Kemble's acting text transposes the first two scenes of the play and introduces, as Genest notices, 'several names which Shakespeare never dreamt of—among them Roberto, a decided 'sea-change' for Viola's Captain. But to the adaptation and adequate presentation of Twelfth Night Kemble brought his customary powers of dramatic craftsmanship and a spirit of essential respect for Shakespeare's text.

This respect, unhappily, was not shared by Fred-