He offered to train Mary for the part of Cordelia to his own King Lear in the version of Shakespeare’s tragedy that he had reworked from Nahum Tate’s Restoration era adaptation, in which Cordelia is happily married off to Edgar instead of being hanged. Garrick was now in his fifties, beginning to suffer from gout and gallstones. He was conserving his energy, limiting the number of his appearances on stage. Lear, which he had been playing since he was 25, was not only one of his most celebrated but also one of his most demanding roles. This late in his career, it was an extraordinary gamble to entrust Cordelia to a complete unknown. He and Mary spent hours preparing for her debut in the role.
But it was not all work: in the Memoirs, she draws a charming picture of them dancing minuets (Garrick was an excellent dancer) and singing the favourite ballads of the day. Her memory remained vivid: ‘Never shall I forget the enchanting hours which I passed in Mr Garrick’s society: he appeared to me as one who possessed more power, both to awe and to attract, than any man I ever met with.’5 She also noticed his dark side: ‘His smile was fascinating; but he had at times a restless peevishness of tone which excessively affected his hearer; at least it affected me so that I never shall forget it.’ His temper was renowned. Fanny Burney reported in her diary that Dr Johnson attributed Garrick’s faults to ‘the fire and hastiness of his temper’. Burney loved Garrick and was mesmerized by the lustre of his ‘brilliant, piercing eyes’, but she also noted that ‘he is almost perpetually giving offence to some of his friends’.6 Others could feel irritated by his attention-seeking behaviour. As his friend Oliver Goldsmith put it, he was always natural, simple and unaffected on stage – ‘’Twas only when he was off, he was acting.’7
Garrick had a genius for self-publicity and was astonishingly energetic: in the light of Mary’s subsequent career, one might say that he was her perfect role model. Mary adored him and took his advice seriously. He advised her to frequent Drury Lane and familiarize herself with its practices before she made her debut. She quickly became known as Garrick’s new protégée and drew a swarm of admirers. This was Mary’s first taste of celebrity and she loved the ‘buzz’ (her term). While Hester fretted about her daughter’s reputation, Mary was confident that she could tread the thin line between fame and infamy: ‘my ardent fancy was busied in contemplating a thousand triumphs, in which my vanity would be publicly gratified, without the smallest sacrifice of my private character’.8
Hester worried that her daughter was making too much of a stir amongst the young rakes who frequented the theatre just to flirt with the latest ingénue. She kept her eye on one man in particular. In her Memoirs Mary described him as a graceful and handsome officer – a Captain – who was very well connected, though she declined to name him. After a brief courtship, and offers of marriage, Hester discovered that he was already married. Mary was informed of the deception, but brushed it off: ‘I felt little regret in the loss of a husband, when I reflected that a matrimonial alliance would have compelled me to relinquish my theatrical profession.’ Another rich suitor came forward at this time, but, to Mary’s horror, he was old enough to be her grandfather. She had set her heart on being an actress: ‘the drama, the delightful drama, seemed the very criterion of all human happiness’.9
She was naturally flirtatious and her beauty attracted a stream of admirers. One of her most persistent suitors was a young solicitor’s clerk, who lived across the way from her lodgings. He would sit in the window staring at the fresh-faced Mary. He was languorous and sickly looking, which would have appealed to a girl of strong ‘sensibility’. Mrs Darby’s response to the flirtation was to keep the lower shutters of the windows permanently closed. Fancying ‘every man a seducer, and every hour an hour of accumulating peril’, she sighed for the day when her daughter would be ‘well married’.10
The articled clerk was named Thomas Robinson. He was training with the firm of Vernon and Elderton in the buildings opposite. He persuaded a friend (a junior colleague of Samuel Cox) to invite Mary and her mother to a dinner party out in Greenwich, without disclosing that Robinson himself would be present. Mother and daughter opened the door of their carriage only to find him ready to hand them down. Hester was duly horrified while Mary professed herself only ‘confused’. Fortunately, though, she had dressed very carefully for dinner, sensing that a conquest was afoot: ‘it was then the fashion to wear silks. I remember that I wore a nightgown of pale blue lustring, with a chip hat, trimmed with ribbands of the same colour.’11 The English nightgown was a simple, flowing shift dress that had been popular for many seasons. It was modest in comparison to the revolutionary ‘Perdita’ chemise that Mary herself would popularize in the 1780s. Lustring was a plain woven silk with a glossy finish that was very popular for summer wear, while the fashionable chip hat, made of finely shaved willow or poplar, was to be worn at a jaunty angle.
Mary’s obsession with her outfits might be considered as shallow and frivolous, but this is to misunderstand the power of fashion: she was very attuned to the ways in which clothing could transform her image. Fashion was central to the consumer society of the late eighteenth century. A plethora of shops offered ready-to-wear collections, while there were second-hand clothes stalls for the less well off. Silks, linens, and cottons were more widely available than ever before. Journalism and fashion went hand in hand: new monthly publications such as the Lady’s Magazine included plates and detailed descriptions of the latest styles. Ladies could even hand-colour the black and white engravings and send them off to a mantua-maker with instructions for making up.
Mary loved to remember the tiniest details of the clothes she was wearing on a particular occasion. On the day that she met her future husband in Greenwich she felt that she had never dressed so perfectly to her own satisfaction. Thomas Robinson spent most of the evening simply staring at her. The party dined early and then returned to London, where Robinson’s friend expatiated upon the many good qualities of Mary’s new suitor, speaking of ‘his future expectations from a rich old uncle; of his probable advancement in his profession; and, more than all, of his enthusiastic admiration of me’.12 Robinson was apparently the heir of a rich tailor called Thomas Harris, who had a large estate in Wales. Hester Darby sensed that the secure marriage she needed for her daughter was within grasp.
As the date set for Mary’s stage debut approached, Robinson was assiduous in his courtship. He knew that it was crucial to win her mother’s approval and did so by his constant attentions and a flow of presents calculated to impress. Hester was especially fond of ‘graveyard’ literature, and she was delighted when Robinson brought her an elegantly bound copy of James Hervey’s lugubrious Meditations among the Tombs of 1746. She was ‘beguiled’ by these attentions and Robinson accordingly ‘became so great a favourite, that he seemed to her the most perfect of existing beings’. He gained more credit when smallpox again threatened the family. This time it was George, Hester’s favourite son, who was dangerously ill. Mary postponed her stage appearance and Robinson was ‘indefatigable in his attentions’ to the sick boy and his anxious mother. Robinson’s conduct convinced Hester that he was ‘“the kindest, the best of mortals!”, the least addicted to worldly follies – and the man, of all others, who she should adore as a son-in-law’.13
Robinson might have convinced the mother, but he still had some way to go with the daughter. Luck was on his side. When George recovered from the smallpox, Mary fell sick herself. This was a test that would reveal the extent of the suitor’s devotion: would he persist in his courtship despite the threat of death or at the very least disfigurement of her lovely