The stage at this time was so much the care of the state, that when any disputes arose, they were generally decided by his majesty himself or the duke of York, and frequently canvassed in the circle. Mr. Cibber assigns very good reasons, why at this time, theatrical amusements were so much in vogue; the first is, that after a long eclipse of gallantry during the rage of the civil war, people returned to it with double ardour; the next is, that women were then introduced on the stage, their parts formerly being supplied by boys, or effeminate young men, of which the famous Kynaston possessed the capital parts. When any art is carried to perfection, it seldom happens, that at that particular period, the profits arising from it are high; and at this time the advantages of playing were very inconsiderable: Mr. Hart the greatest performer at the king's theatre, had but three pounds a week, and Mr. Betterton, then but young, very probably had not so much, and besides, benefits then were things unheard of.
In 1670 Mr. Betterton married a gentlewoman on the same stage, one Mrs. Saunderson, who excelled as an actress, every thing but her own conduct in life. In her, he was compleatly happy, and by their joint endeavours even in those days, they were able not only to acquire a genteel subsistence, but also to save what might support them in an advanced age[3].
After Sir William Davenant's death, the patent came into the hands of his son, Dr. Charles Davenant, so well known to the world by his political, writings; but, whether his genius was less fit than his father's for such an administration, or the king's Company were really superior to his in acting, we cannot determine; but they gained upon the town, and Dr. Davenant was obliged to have recourse to the dramatic opera, rich scenes, and fine music, to support the stage on which Betterton played. The Dr. himself wrote the Opera of Circe, which came first on the stage in 1675, and was received with, such applause, as gave hopes of succeeding in this new way. The same year a Pastoral, called Calista, or the Chaste Nymph, written by Mr. Crowne, at the desire of queen Katherine, was represented at court; and the ladies, Mary and Anne, daughters to the duke of York, played parts in it. On this occasion Mr. Betterton instructed the actors, and Mrs. Betterton gave lessons to the princesses; in grateful remembrance of which queen Anne settled a pension of 100 l. per annum upon her. During this time an emulation subsisted between the two companies, and a theatrical war was proclaimed aloud, in which the town reaped the advantage, by seeing the parts performed with the greater life. The duke's company however maintained it's superiority, by means of the new-invented artillery, of music, machines, and scenery, and other underhand dealings, and bribing of actors in the opposite faction from performing their duty. By these measures, a coalition was effected, and the two companies joined together, and being united formed one of the perfectest that ever filled a stage, in 1682. It was in this united company that the merit of Betterton shone with unrivalled lustre, and having survived the great actors on whose model he had formed himself he was at liberty to discover his genius in its full extent, by replacing many of them with advantage in these very characters, in which, during their life-times, they had been thought inimitable; and all who have a taste for scenical entertainments cannot but thank the present laureat, for preserving for them so lively a portrait of Betterton, and painting him in so true a light, that without the imputation of blind adulation, he may be justly stiled the British Roscius.