of Covent Garden on a question of terms, Terry made his first appearance at Drury Lane, 16 Oct. 1822, speaking an occasional address by Colman and playing Sir Peter. He afterwards acted Crabtree, John Dory in ‘Wild Oats,’ Cassio, Belarius in ‘Cymbeline,’ Kent in ‘Lear,’ Dougal in ‘Rob Roy,’ Solomon in the ‘Stranger,’ and Grumio, and was, 4 Jan. 1823, the first Simpson in Poole's ‘Simpson & Co.’ At the Haymarket, 7 July, he was the first Admiral Franklin in Kenney's ‘Sweethearts and Wives,’ and on 27 Sept. the first Dr. Primrose in a new adaptation by T. Dibdin of the ‘Vicar of Wakefield.’ The season 1823–4 at Drury Lane saw him as Bartolo in ‘Fazio,’ Lord Sands, Menenius in ‘Coriolanus,’ and as the first Antony Foster in a version of ‘Kenilworth,’ 5 Jan. 1824, and the following season as Orozembo in ‘Pizarro,’ Justice Woodcock in ‘Love in a Village,’ Adam in ‘As you like it,’ Moustache in ‘Henri Quatre,’ Hubert in ‘King John,’ and Rochfort in an alteration of the ‘Fatal Dowry.’ Among his original rôles were Zamet in ‘Massaniello,’ 17 Feb. 1825, and Mephistopheles in ‘Faustus,’ 16 May, the last one of his best parts. In 1825, in association with his friend Frederick Henry Yates [q. v.], he became manager of the Adelphi, opening, 10 Oct., in a piece called ‘Killigrew.’ On the 31st was produced Fitzball's successful adaptation, ‘The Pilot,’ in which Terry was the Pilot. He also appeared in other parts.
Terry's financial affairs had meanwhile become so involved that he was obliged to retire from management. Under the strain of the collapse which followed, Terry's powers, mental and physical, gave way. After leaving the Adelphi he temporarily retired to the continent, and then re-engaged at Drury Lane and played Polonius and Simpson. Finding himself unable to act, and his memory quite gone, he threw up his engagement. On 12 June 1829 he was struck with paralysis, and died during the month. Having previously married in Liverpool, Terry espoused as his second wife Elizabeth Nasmyth, the daughter of Alexander Nasmyth [q. v.] the painter. Mrs. Terry—who, after Terry's death, married Charles Richardson [q. v.] the lexicographer—had great taste in design, and seems to have taken some share in the decoration of Abbotsford. Terry left by her a son named after Scott (Walter), after whose fortunes Scott promised to look, and a daughter Jane.
Terry, who was almost as well known in Edinburgh as in London, was highly respected in both places. Sir Walter Scott, who extended to him a large amount of friendship, thought highly of his acting in tragedy, comedy, pantomime, and farce, and said that he could act everything except lovers, fine gentlemen, and operatic heroes. His merit in tragedy, Scott declared, was seen in those characters which exhibit the strong working of a powerful mind and the tortures of an agonised heart. While escaping from the charge of ranting, he was best in scenes of vehemence. Parts of tender emotion he was wise enough not to attempt. In comedy he excelled in old men, both those of real life and in ‘the tottering caricatures of Centlivre, Vanbrugh, and Cibber.’ In characters of amorous dotage, such as Sir Francis Gripe, Don Manuel, or Sir Adam Contest, he was excellent. His Falstaff was good. Terry's chief fault was want of ease. Disapproving of the starring system, he was conscientious enough not to pose as a ‘star.’
Terry's idolatry of Scott led him to imitate both his manner and his calligraphy. Scott, who appreciated Terry's knowledge of old dramatic literature and his delight in articles of vertu, who recognised him as a gentleman and corresponded freely with him on most subjects, declares that, were he called upon to swear to any document, the most he could do was to attest it was his own writing or Terry's. Terry had caught, says Lockhart, the very trick of Scott's meditative frown, and imitated his method of speech so as almost to pass for a Scotsman. Scott lent him money for his theatrical speculations, and gave him excellent advice. Being intimate with the Ballantynes, Terry had a financial stake in their business, and when the crash came Scott was saddled with his liability (1,750l.) Terry's architectural knowledge was of great use to Scott, who consulted him while building Abbotsford. Scott also consulted Terry upon many literary questions, especially as regards plays, and seems to have trusted him with the ‘Doom of Devorgoil,’ with a view to fitting it for the stage. On 8 Feb. 1818 Scott says concerning some play: ‘If any time should come when you might wish to disclose the secret, it will be in your power, and our correspondence will always serve to show that it was only at my earnest request, annexed as the condition of bringing the play forward, that you gave it your name, a circumstance which, with all the attending particulars, will prove plainly that there was no assumption on your part’ (Lockhart, Memoir, iv. 125, ed. 1837). In the same letter he suggests that a beautiful drama might be made on the concealment of the Scottish regalia during the troubles. How many of the numerous adaptations of Scott that saw the light be-
