. Ireland in London. nes, the na^ne ofPerdita being given to her because of her finerendering of the heroine of Shakespeares Win-ters Tale. Her connection with the Stage wasvery brief, and calls for no particular mention.The same thing may be said of the two wives f Ireland in London. 139 Alexander Pope. They excelled in second-rateparts; Maria Pope, who died young, being a greatloss to the Stage, for she would undoubtedly have?developed into a great actress. A few great actois and actresses must be referredto rather briefly, as their connection with Irelandwas very slight and somewhat acciden
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. Ireland in London. nes, the na^ne ofPerdita being given to her because of her finerendering of the heroine of Shakespeares Win-ters Tale. Her connection with the Stage wasvery brief, and calls for no particular mention.The same thing may be said of the two wives f Ireland in London. 139 Alexander Pope. They excelled in second-rateparts; Maria Pope, who died young, being a greatloss to the Stage, for she would undoubtedly have?developed into a great actress. A few great actois and actresses must be referredto rather briefly, as their connection with Irelandwas very slight and somewhat accidental. Thus, <Jeorge Frederick Cooke, according to his own ac-count (afterwards con-tradicted by himself), was born in Dublin, and this is almostcertainly true; but itis denied and disputed, and we must contentourselves with themere statement thathe was one of thegreatest of tragedians, and was probably of GEORGE FREDERICK COOKE. _., , .., wx, Irish birth. « ith re-, -gard to the Kembles, that marvellously gifted. family, it may be remarked that the mother of J. P.Kemble and Mrs. Siddons, and their brothers andsisters, Charles, Stephen, Elizabeth, and Fanny(the four last admirable performers) was an Irishwoman, a native of Clonmel, named Ward. Among the great actors of this time we must notoverlook John Henderson. In former chapters wehave given some information respecting him, andwill therefore only say here that, notwithstandingpersonal disadvantages, such as smallness ofstature and a weak voice, he rivalled, as Macbeth, Shylock, and Hamlet, previous great tragedians, and died prematurely at the age of 38. In conclusion, a word of cordial recognition isnecessary to the labours of such a great dramaticcritic as Edmund Ma*1 one, and to such ardentcommentators as Ambrose Eccles and John MonckMason, as well as to the distinguished musician, like Michael Kelly, Thomas Carter, and ThomasCooke, who led the orchestras, sang on the stagesand composed operas for the leading Londontheatres. CHAP