tween parts of superior life, and those of humour in a lower class; but neither her person nor manners were sufficiently elegant and graceful for the high-bred woman of fashion. In Beatrice, Berinthia, Mrs. Sullen, and all such parts as are thrown into situations of intrigue, gaiety, and mirth, with diversity of humour, wit, and pleasantry, she was inimitably charming. Notwithstanding the fullness of her person, and her advanced age, the town was charmed to the last with her representation of Congreve's delightful portrait of wit, affectation, and good-nature, in Millamant. Her disengaged and easy manner in speaking and action, supplied the want of an elegant form and a youthful countenance. In the course of conversation, upon the most trifling topics, she had an unaccountable method of charming the ear: she uttered her words, as the great poet advises the actor, smoothly and trippingly upon the tongue; and, however voluble in enunciation her part might require her to be, not a syllable of articulation was lost.
Her unblemished conduct in private life justly rendered her the great favourite of the people: few actresses were ever so sincerely beloved, and powerfully patronized, as Mrs. Pritchard.
When she took leave of the public, Garrick, out of respect, gave them, for the last time, his masterly character of Macbeth, which was acted for her benefit. Her action, before and after the commission of the horrid deed, was strongly characteristic: when she snatched the daggers from the remorseful and irresolute Macbeth, despising the agitations of a mind unaccustomed to guilt, and alarmed at the terrors of conscience, she presented to the audience a picture of the most consummate intrepidity in mischief. In
