and he assumed a station of the first respectability on the Philadelphia stage.

In the winter of 1808-9, the labours of the theatre falling upon him with peculiar weight, Mr. Wood's health sunk under the exertions. While performing the part of Charles de Moor, he broke a small blood vessel, and was for some time extremely ill. Before a recovery could be entirely effected he renewed his labours, and induced by that means a relapse, which had nearly carried him to his grave. A sea voyage was recommended, as a last resort, and he took leave of his friends, and embarked for England. While absent, report stated him to be dead, and many who knew his worth lamented him as such. They were, however, equally surprised and delighted, by his resurrection in propria persona, and that too in perfect health and with renewed strength.

The winter following, Mr. Wood reaped a whole harvest of laurels, and established his fame on the most solid basis. He played Perez, Iago, and a variety of other parts with great effect. At the close of the season, he purchased into the management with Mr. Warren, and renewed the lease of the theatre for five years: so that the Philadelphia audience are secured in the possession of this valuable actor, for at least a considerable length of time.

The manager of the New-York theatre invited Wood to go and play a few nights there. The

MR. W. B. WOOD.

35

invitation was accepted, and the impression made was such as to extend his reputation, and gratify his pride in the highest degree. While there, he performed De Valmont twice, Don Felix, in The Wonder, Penruddock, and Rolla. His Penruddock, particularly, we understand, though seen after that of Mr. Cooper, was universally applauded, and warmly admired.

Perhaps the best piece of acting exhibited by our friend is that of De Valmont, in The Foundling of the Forest; a part for which the author has done little, but left much for the genius of the actor. The feeling and gentlemanly deportment of Mr. Wood peculiarly calculated him for the character, and he has performed it frequently with augmented reputation and success.

Mr. Wood's forte is decidedly genteel comedy, but he succeeds admirably well in tragedy. His striking excellence is a never-failing perfect knowledge of his author, both as to sentiment and language. If we were to designate the parts in which he particularly excels, we should say that his Belcour, Reuben Glenroy, Vapid, Tangent, Sir Charles Racket, Michael Perez, Mercutio, and Benedict, in comedy; and in tragedy, his Brutus, Jaffier, Iago, Alonzo in The Revenge, Charles de Moor, and Penruddock, were all excellent performances.

We have before hinted, that Mr. Wood's reputation was not so much the effect of natural endowments as the legitimate offspring of long and unwearied application, persevering ambition, and

an enthusiastic love of the profession which he embraced almost from necessity. These qualities have enabled him successfully to combat, and finally to defeat, the disadvantages of a delicate frame and an unmelodious voice, and they have gained a reputation scarcely surpassed on this side of the Atlantic. They are enforced, indeed, by the advantages of a person tall and genteel, a deportment easy and graceful, manners engaging and polite, and a most amiable character in private life. We have therefore always confidence that an actor so endowed must perpetually improve, since the mind cannot be affected by accident, nor its varieties rendered uninteresting by time.

One of the most disagreeable, perhaps humiliating circumstances attending the life of an actor is, that personal enmity, or partiality to a rival, or mere caprice in the most despicable portion of the community, may subject him to insult when on the stage. On the 19th of March, 1810, Mr. Wood was suddenly taken ill on a benefit night. The play was changed. The friends of the actor, who had assembled for his benefit, chose to be irritated against Wood, and threats were loudly uttered of hissing him on his next appearance. He however wisely addressed the audience, and by what was termed an apology, but which was only a plain statement of a fact, deprived the valiant heroes, who in the safety of numbers and obscurity had purposed to insult him, of an apology even to themselves for the outrage.

Mr. Wood's most successful efforts have been in the Copper Captain, Prince of Wales, and generally the characters in which Mr. Lewis, of Covent Garden, shone unrivalled in his best days; yet, in very many serious and tragic performances, in De Valmont, Reuben Glenroy, Jaffier, and many other characters of first-rate importance, he has gained reputation, and may be considered as an actor of uncommon versatility of talent.

CHAPTER XXI.

Autobiography-Scenes before the American Revolution-Scenes during the War of the Revolution-First visit to a TheatreLondon and its Theatres-Pedestrian Tour to Oxford with Dr. S. L. Mitchill-Old Soldier of the 47th.

THAT the reader may decide how far the person who in 1798 assumed the direction of that powerful and complicated engine, the theatre of a great metropolis, was fitted for the delicate task and great responsibility, it is necessary that a brief retrospect of his life should be taken. The opinion of the writer is (an opinion perhaps founded upon the result of the experiment) that he was not fitted for the arduous task. Had it been his lot to direct a theatre patronized by an enlightened government, having no care but that of selecting dramas and such performers as would best promote the great end of human happiness, he might perhaps have been entitled to the grateful remembrance of his fellow-men; but he was now, after a trial of management in conjunction with another person, forced by previous circumstances to burthen himself with a hazardous speculation, which, as far as it had been proved, was unsuccessful; and the power he once possessed of meeting