prose essays take an invariably cheerful view of life, but they are not to be classed in the same category as the 'Essays of Elia,' which Blanchard clearly took as his model, Bulwer-Lytton warned Blanchard in early life that 'periodical writing is the grave of true genius,' and Blanchard's literary career proves the wisdom of the warning.
Bulwer-Lytton collected many of Blanchard's prose essays in 1846 under the title of 'Sketches of Life' (3 vols.) His poetical works were collected in 1876 by Blanchard Jerrold. The former work contains a portrait after a drawing by Maclise, and wood engravings by George Cruikshank, Kenny Meadows, and Frank Stone. The latter contains a portrait from a miniature by Louisa Stuart Costello. A series of amusing essays by Blanchard entitled 'Corporation Characters,' illustrated by Kenny Meadows, was published in 1855.
[Bulwer-Lytton contributed a memoir of Blanchard to his edition of the 'Sketches from Life,' 1846, which embodies some interesting reminiscences by J. B. Buckstone. Blanchard Jerrold wrote a memoir in the Poetical Works, 1876, and printed a series of interesting letters from many well-known literary men to Blanchard. Thackeray contributed an article on Blanchard to Fraser's Magazine, March 1846, which is reprinted in vol. xxv. of the Standard edition of Thackeray's Works, pp. 103-19.]
BLANCHARD, WILLIAM (1769–1835), comedian, was born at York 2 Jan. 1769, and for a few years was educated at a private school in that city. Losing both his father, John Blanchard, and his mother, whose maiden name was Clapham, while he was yet a child, he was left to the care of his uncle, William Blanchard, long well known as the proprietor of the 'York Chronicle,' by whom he was reared with a tenderness seldom displayed even by a parent. In 1782 he was placed in his uncle's office. He took such delight in Shakespeare that in 1785 he resolved to become an actor. He joined Mr. Welsh's company of travelling comedians at Buxton. His first appearance was as Allan-a-Dale in M'Nally's' Robin Hood.' For four years he played under the name of Bentley, but from 1789 in his own name. He took the parts of Achmet, Douglas, and even Romeo. Asperne, of the 'European Magazine,' wrote of him at that period: 'I knew John Kemble in 1779, and he was not then half so promising a performer as William Blanchard appeared to me in 1790. Blanchard had more fire, more nature, and more knowledge of the stage.' He next became a manager, opening theatres at Penrith, Hexham, Barnard Castle, and Bishop Auckland. He lost money, and joined Mr. Brunton's company of players on the Norwich circuit, and took to comic parts. His first appearance in London was made at Covent Garden 1 Oct. 1800 as Bob Acres, in which he succeeded remarkably, and as Crack in the musical farce of the 'Turnpike Gate.' By the middle of his second season Mr. Harris cancelled the original arrangement for five years by re-engaging him for seven, with an increased salary. In certain classes of character he secured a position of recognised pre-eminence. Oxberry (p. 278) calls him 'unquestionably the best drunken man on the stage.' At Covent Garden Theatre, saving only for a brief professional visit to America in 1832, Blanchard remained continuously for thirty-four years. He was especially noted for his Shakespearian impersonations of Fluellen, Sir Hugh Evans, Menenius, and Polonius. According to Leigh Hunt, his best performance was the Marquis de Grand-Château in the musical toy show of the 'Cabinet.' Leigh Hunt also praises highly his Russett in Colman's 'Jealous Wife.' Similar testimony to his skill is borne by all the best dramatic critics of the time. The last character created by him was that of Counsellor Crowsfoot in Douglas Jerrold's comedy of 'Nell Gwynne,' produced at Covent Garden Theatre 9 Jan. 1833, which was warmly spoken of in the 'Athenæum,' 12 Jan. 1833. Blanchard's death occurred very suddenly on 8 May 1835. He died in his sixty-sixth year, and was buried in the graveyard of St. Luke's Church, Chelsea. His widow, Sarah Blanchard, who was left with two sons, survived her husband nearly forty years, dying at the age of eighty-nine on 15 Feb. 1875. Among the best known portraits of Blanchard in character are two by De Wilde, one representing him as Sir Andrew Aguecheek in 'Twelfth Night,' and the other as the Marquis de Grand-Château. Better known, through engravings of them, are two famous theatrical paintings. In the 'Scene from Love, Law, and Physic,' bv George Clint, A.R.A., the original of which is preserved at the Garrick Club, lifelike portraits are introduced of Liston as Lubin Log, Mathews as Flexible, Blanchard as Dr. Camphor, and John Emery as Andrew; while in the scene from the 'Beggar's Opera' the same artist has given all but speaking likenesses of William Blanchard as Peachum, of Mrs. Davenport as Mrs. Peachum, and of Miss Maria Tree as Polly. Exactly a year and a day after Blanchard's death his uncle died on the very day on which he completed his eighty-seventh year, after having honourably conducted the 'York Chronicle' for sixty years as editor and proprietor.
