from Highmore and Mrs. Wilks, and set up for themselves. Matters were farther complicated by the fact that John Rich had not long opened a new theatre in Covent Garden, which constituted a fresh attraction; and that what Fielding called the "wanton affected Fondness for foreign Musick," was making the Italian opera a dangerous rival—the more so as it was patronised by the nobility. Without actors, the patentees were in serious case. Miss Raftor, who about this time became Mrs. Clive, appears, however, to have remained faithful to them, as also did Henry Fielding. The lively little comedy of the Intriguing Chambermaid was adapted from Regnard especially for her; and in its published form was preceded by an epistle in which the dramatist dwells upon the "Factions and Divisions among the Players," and compliments her upon her compassionate adherence to Mr. Highmore and Mrs. Wilks in their time of need. The epistle is also valuable for its warm and generous testimony to the private character of this accomplished actress, whose part in real life, says Fielding, was that of "the best Wife, the best Daughter, the best Sister, and the best Friend." The words are more than mere compliment; they appear to have been true. Madcap and humourist as she was, no breath of slander seems ever to have tarnished the reputation of Kitty Clive, whom Johnson—a fine judge, when his prejudices were not actively aroused—called in addition "the best player that he ever saw."
The Intriguing Chambermaid was produced on the 15th of January 1734. Lettice, from whom the piece was named, was well personated by Mrs. Clive, and Colonel Bluff by Macklin, the only actor of any promise that
