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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/77394-0.txt b/77394-0.txt new file mode 100644 index 0000000..a517489 --- /dev/null +++ b/77394-0.txt @@ -0,0 +1,892 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 77394 *** + + + + +Transcriber’s Note: Italic text is enclosed in +_underscores_. Small capital text has been changed to all +capital. Additional notes will be found near the end of this +eBook. + + + + + THE + DRURIAD: + OR + STRICTURES + ON THE + PRINCIPAL PERFORMERS + OF + Drury-Lane Theatre: + _A SATIRICAL POEM:_ + WITH NOTES CRITICAL AND EXPLANATORY. + + ═══════════════════ + + “_Cuncti adsint, meritæque expectent præmia palmæ:_ + + * * * * * * * * + + “_Tros Tyriusque mihi nullo discrimine habetur._”----VIRG. + + ═══════════════════ + + “My lord, I will use them according to their deserts.”-- + + “Godsbodikins, man, better! Use every man after his + desert, and who shall escape whipping?--Use them after + your own honour and dignity: the less they deserve, the + more merit is in your bounty.”----SHAKESPEAR. + + ═══════════════════ + + _LONDON_: + + PRINTED FOR W. J. AND J. RICHARDSON, UNDER THE ROYAL + EXCHANGE. + ───── + 1798. + + ═════════════════════════════════════════════════════════ + + + + + ADVERTISEMENT. + + ──────────── + + +I Cannot think the subject of the following Poem ill chosen, +whatever faults there may be in the manner of its execution. +As some kingdoms are found to be influenced by the good or +bad qualities of the sovereign, so the theatres of this +country may be considered as instruments by which virtue or +vice may be equally propagated: they are universally +frequented; for, who is so high as not to honour them with +an occasional visit, and who is so low as not to deem +himself an expert judge of theatrical merit? That this merit +is on the wane, I fear, cannot be denied; and I think one of +the causes may be traced to that laxity of morals which +pervades all ranks of people. The time was when a vicious or +foolish character, among his brethren behind the curtain, +would have been more dreaded, by an actor of genius, than +the hisses of the multitude before it. “Fuit ista quondam in +hac republica virtus, ut viri fortes acrioribus suppliciis +civem perniciosum quàm acerbessimum hostem coercerent.” +Cicero. + +If it be allowed that an actor cannot do complete justice to +his part unless he feel all the energy which the character +is supposed to feel; or if, in other words, moral sensations +and the glow of conscious virtue enhance the player’s +powers; surely those powers must be impaired, if not totally +annihilated, by debauchery and habitual intoxication; an +observation not totally useless to those who, however they +may slight virtue for virtue’s sake, will yet adhere to her +when, like a modern heiress, she brings an ample fortune to +increase her attractions. + +I have only to declare that I commit this Poem to the press +blinded by no partiality and influenced by no unworthy +motives; that my pages are stained with no private scandal, +and that, whatever may be the fate of the Poem, I shall +never blush at an undertaking which has for its object the +praise of the meritorious and the ridicule of the +undeserving. + + ═════════════════════════════════════════════════════════ + + + + + THE + DRURIAD, &c. + + ──────────── + + + AUTHOR. + + Let loftier poets tune their martial lays, + And sing the patriot’s or the hero’s praise; + For casual fare, like hackney-coachmen, ply, + Blame where they can, and, where they cannot,--lie: + Each Pasquin now may lash his empty brother, + Or, like thin spiders, prey upon each other: + Snug in my shell, I shun their watchful fury, + Laugh at them all, and sing the praise of Drury; + My careless Muse now hovers round her walls, + And lifts her dome yet higher than St. Paul’s. + + FRIEND. + + A wretched simile! of Eastern hue, + ’Tis neither gaudy, elegant, or new; + Would you be all that ere poor bard desir’d, + Be read by parsons, by the fair admir’d, + To love and Laura tune th’enervate lyre, + Let hot-press’d paper[1] glow with am’rous fire; + Ambrosial flow’rs[2] twine round your mood and tense, + And labour’d nothings take the place of sense. + + AUTHOR. + + I’m all alive! Muse, plume your tow’ring wings, + Hush’d be the winds when charming Florio sings. + + FRIEND. + + The fragrant morn-- + + AUTHOR. + + Nay, now your pow’r I doubt, + Each worthless sonnet-- + + FRIEND. + + Prithee hear me out. + The fragrant morn her rosy blushes spreads, + And o’er the land a dewy influence sheds, + Scarce has the sun emerg’d from ocean’s tide, + His beams yet sleeping on yon mountain’s side, + All nature wakes, life breathes in ev’ry gale, + The insect-tribe spread forth the mimic sail, + Aërial songsters chaunt the vocal lay, + Sport on the wing, and hail returning day. + + AUTHOR. + + Siste, viator! let me set you right, + ’Tis not the day! I hail returning night: + Through lamp and link-boys take my devious way, + Streets, carts, and “Bill, your honour!” to the play. + There point my quill, “shoot folly as it flies, + And catch the living manners as they rise.”[3] + Sooner shall Gallia cease her hostile fury, + Sooner shall mighty George frequent old Drury, + In modern bosoms virtuous ardour burn, + Or loan-contractors zealous patriots turn, + Than I forego the critic’s choicest food, + To lash the worthless and to praise the good. + + FRIEND. + + But who art thou who thus presum’st to wield + The weighty arms of Churchill in the field? + + AUTHOR. + + In life’s low vale, I mean not to aspire + To Churchill’s honours and poetic fire, + But merely to divert an idle hour, + Of Drury’s host to ascertain the pow’r; + And, with a candid, not ill-judging, spirit, + Award their different degrees of merit. + + FRIEND. + + But why alone on Drury “wag your tongue?”[4] + Why Covent-Garden’s actors leave unsung? + + AUTHOR. + + Know, with buffoons I cannot condescend + My page to tarnish and my time to spend: + Crawford, in age, though not in wisdom, grey, + Attempts in vain th’allotted part to play; + Though Abington spreads out her wrinkled arms, + The Widow Belmour now has lost her charms. + O tasteless age, in folly how mature, + Such mad perversion tamely to endure; + Haste, venerable pair, and leave the stage, + For “beads and prayer-books are the toys of age.” + + A royal edict issues from the throne, + O! say what brilliant spectacle is shewn? + What constellation sheds its brilliant ray? + Quick is the Georgium Sidus of the play! + By Reynolds taught,[5] see Lewis frisk and climb, + And Follett’s carrots[6] grace the pantomime. + + FRIEND. + + If Covent-Garden’s virtues are unknown, + Adopt the reigning mode, and praise your own; + Warton, in Pope, presents us nothing new, + Pert Boswell brings all Johnson to our view, + In quarto see the man of star and ribbon + Sedately usher in the works of Gibbon; + Erskine, self-fancy’d scourger of the throne, + Now pleads his client’s cause, and now his own. + Holman plays Hotspur: Shakespear, with a groan, + Sees Percy, and scarce knows him for his own! + Think you for foreign benefit they strive? + Shakespear is dead, but Holman is alive;[7] + Self prompts the player, self fills the tedious page, + Alike or in the closet or the stage. + + AUTHOR. + + Enough of this! proceed we to our song, + Attend my lays, and tell me where I’m wrong; + Hither, my muse, thy wand’ring flight restrain, + Perch on my quill, and sing of Drury-Lane. + + Siddons,[8] great mistress of each magic art, + To raise contending passions in the heart, + When wretched Shore, depress’d with grief and pain, + Calls upon death, her last resource, in vain; + Or when, unaw’d by conscience or by fear, + Macbeth drives on her impious mad career, + When horrid dreams at length her guilt reveal, + And on her hand she shews the bloody seal; + When poor Cordelia, after wars alarms, + Expires with anguish in her father’s arms; + In Beverley’s distress and piercing moans; + In Isabella’s shrieks and dying groans; + O Siddons! thou alone the soul can’st thrill, + And melt us down, like Circe, to thy will. + + When Shakespear bids contending passions wage, + Love, hatred, jealousy, remorse, and rage, + Or paints the madness of the noble Dane; + Or fell ambition of the Highland thane; + Or Richard urges on his blood-stain’d course, + And madly cries “My kingdom for a horse!” + Kemble,[9] in scenes like these, can nobly soar, + And make e’en Garrick’s loss be felt no more. + + Next Jordan[10] comes, Thalia’s fav’rite child, + And charms with naïveté and humour wild; + Miss Peggy, Prissy Tomboy, or Miss Prue, + Oh! who can play so charmingly, so true? + But, in the name of ev’ry thing that’s strange, + Why suffer her in Farren’s walk to range? + Why call her Lady Teazle, Lady Belle? + Still it is Jordan finely dress’d--as Nell. + Farren had reach’d the summit of renown, + And who like her shall charm the partial town? + Ah! who shall now portray the modish wife, + When will another Farren spring to life! + But Lady Teazle, Lady Townly too, + Bisarre, and Estifania,--all adieu! + + Decamp[11] approaches! born to tread the stage, + At once the pride and pleasure of the age; + Whether in tragic stole or comic vest, + In each her pow’rs superior are confess’d; + And when she warbles Ariel’s plaintive airs, + ’Tis like the music of the tuneful spheres; + In ev’ry scene new beauties stand confess’d, + And the last character is still the best. + But, oh! what pen with equal skill can trace + Th’expressive passions varying in her face? + A face uniting elegance and ease, + Prompt to delight, and emulous to please, + Still changing as the vary’d passions move, + And sure in all to fix esteem and love. + Ye erring critics! will ye still deplore + That wit is fled and genius is no more? + That modern acting no more boasts the art + “To raise the genius and to mend the heart?” + Attend submissive to the voice of truth, + For, see, array’d in all the pride of youth, + Unconscious of her own pre-eminence, + In graceful action, and in native sense, + Decamp approaches! Envy hides her head, + And foul Detraction sinks among the dead! + Each charm’d spectator instant homage pays, + And all is lost in universal praise. + + The tragic Muse, by various evils cross’d, + Some future day, shall mourn her Siddons lost! + Yet one remains, and critics must confess, + Powell shall serve to make that loss the less; + Expressive beauties mantle in her face; + Yet is her gaudy action void of grace. + But, when she paints Almeria’s tender woes, + Each sympathetic heart with pity glows; + Nay more, would she discard the tricks of art, + The outspread arms, shrill voice, and measur’d start; + Would she converse in nature’s artless strain, + Nor deign to walk in imitation’s train; + Her native pow’rs would fairest fame engage, + And a new Siddons might adorn the stage. + + Old Churchill spoke in terms of warmest praise + Of Pope, the lively, in her youthful days: + Though sixty summers o’er her head have flown, + Thalia claims this fav’rite for her own: + In Alscrip, Malaprop, and Mistress Page, + She stands without a rival on the stage; + And of her lasting charms, so wide the scope, + All the domestic virtues shine in Pope! + + Palmer’s rough tones no sympathy impart, + Yet the man walks majestic through his part; + His voice, his action, and his person, good, + His author always clearly understood; + Firm as the Trojan chief, of form divine, + Whose mother-goddess made his temples shine; + ’Twas his, (but not in our degen’rate days,) + ’Twas his to mix the myrtle with the bays; + Through five long acts alert and gay to dance, + And realize the fictions of romance. + But now, alas! those fairy scenes are fled, + The myrtle, and the bays, both droop the head! + In modern scenes solicitous to please, + He acts the gentleman with studious ease; + And in some parts I see both sense and spirit, + In Stukely and Iago sterling merit, + With genuine Nature strive:--one part remains + To crown his merit and reward his pains. + See Packer, whom his dress in vain disguises, + Seems half-seas over ere the curtain rises; + Tott’ring beneath the weight of plumes and age, + He speaks _memento mori_ to the stage.[12] + Haste, Palmer! haste! disrobe the royal knave, + Assert your claims, and Drury’s credit save; + Study the part, make Claudius all your own, + And drive the driv’ller from the Danish throne. + + Old King,[13] with ev’ry requisite to please, + Strong sense, dry humour, wit, and comic ease, + Unrivall’d reigns, on Drury’s classic boards, + In crusty crabbed sires and testy lords. + + See Charles,[14] a brother of the Kemble race, + With youthful figure and expressive face, + In ardent Malcolm admiration draws, + And claims in luckless Barnwell loud applause; + He, urging onward in the path of fame, + The native honours of his house to claim, + Shall gain the steep ascent, by Siddons led, + While wreaths of living laurel grace his head. + + Wroughton’s[15] a useful player and a just, + And faithful to his manageric trust, + In some few characters, to give his due, + He acts with feeling and with judgement too. + What pity then to see the man presume + To torture and burlesque poor Captain Plume! + “And never was a story of more woe,” + Than Wroughton croaking love-sick Romeo. + + With shaggy wig, stiff knees, and lengthen’d stride, + Pedantic tone, and arms expanded wide, + Unmeaning emphasis, theatric roar, + ’Tis an automaton, or Barrymore![16] + Dramatic Proteus! who, strange to tell! + Plays ev’ry thing by turns, and nothing well! + Long has he stood, nor chang’d his first degree, + Fix’d at the freezing point of apathy; + And much I fear, that time, which, join’d with sense, + Exalts true genius into excellence, + Will ne’er promote the man, whose sole renown + Heads a banditti or assaults a town. + + Suett comes next:--alas! and “Woe is me! + “T’have seen what I have seen, see what I see!” + In some low scenes of Colman’s motley stuff,[17] + Suett is sometimes laughable enough; + But genuine humour, comic wit, and grace, + Are chang’d by him to mum’ry and grimace. + Poor Foresight, skill’d in astrologic lore, + When Parsons died, you fell to rise no more! + For ever clos’d, Burgoyne, is thy chaste page, + And Gripe and Moneytrap must quit the stage. + + With figure neat, and pretty lifeless face, + Goodall, alas! appears of stoic race! + Nor joy, nor grief, affect her lifeless frame, + Inanimate and gentle, mild and tame: + Yet, would she call expression to her aid, + Speak up, and cry, with Kecksey, “Who’s afraid?”[18] + Her Rosalind would charm, and, in her cause, + All Drury’s dome might ring with loud applause. + + When Bannister in Walter’s part appears, + Who can deny the tributary tears? + And, of his real merits, not to baulk ye, + He’s excellent in Gubbins, Scrub, and Gawkey: + But when, forgetting nature, form, and make, + He tries t’assume the gentleman and rake; + Or when in Tom with lively Lewis vies; + Heav’ns! how disgusting to our ears and eyes! + Yet few comedians, of the present age, + Appear so well, acquainted with the stage; + And, spite of ev’ry fault, the truth to own, + He has the art of pleasing all the town. + + When Shakespear’s magic Tempest awes the soul, + When light’nings dart, waves dash, and thunders roll; + Let beauteous Miller, diffident and fair, + Assume Miranda’s wild angelic air: + Pale with affright, she bends beneath the storm, + While the rude winds unveil her lovely form; + “Poor souls! they perish!” cries the maid distress’d, + “Poor souls! they perish!” echoes ev’ry breast. + + Dowton, in Cumberland’s romantic Jew, + Portrays with feeling what the author drew; + In Scrub, or grave-digger, might gain renown: + Why are the corners of his mouth drawn down? + When merit fails, and nature’s sober grace, + Buffoonery but ill supplies their place. + + Packer aspires to Denmark’s regal chair, + “O Hamlet! what a falling off was there!” + Palmer’s the king for Gertrude’s bridal feast, + And Packer,--he should play the churlish priest. + + When vulgar Heidelberg assumes her airs, + Deaf to her brother’s threats, her niece’s tears, + Wallcott comes forth, with squabby shape and mien, + Equal to Mesdames Hopkins, Webb, and Green. + + O popular applause! how short thy date! + Crouch sinks beneath the hand of time and fate! + Hard is the task the slight remains to trace + Of what was Phillips’ elegance and grace. + + Old Bannister, in tones of deepest bass, + In Caliban displays his ugly face; + And critics must allow, upon the whole, + Some share of merit to his Mother Cole; + Then let him pass, the social bowl allow, + Applauded once, we well may suffer now. + + With lisping voice, and action full of bustle, + In Fribble shines the Margate hero Russell; + In Sparkish decent, and in Surface mean,[19] + The worst Sir Lucius that the stage has seen! + + O mortals! vain and wayward, ever prone + To vilify all merit but your own; + Deaf to reproof, to public sarcasms blind, + Ye quit the proper sphere by fate assign’d: + Each stripling risks some daring enterprize, + And, giant-like, would rush into the skies. + + The youth, whose pow’rs are neither good nor bad, + In humble merit’s sober mantle clad; + Whose mighty task extends to “Good, my liege!” + Secure or in a chorus or a siege; + Whose modest tongue, unknown to wisdom’s lore, + Speaks what his author wrote, and speaks no more; + Who marks the present hour, recalls the past, + And makes each night a critic on the last; + Him shall applauses greet where numbers pour, + Wentworth or Davis, Webb or Phillimore. + But, when I see some forward youngster stalk, + Smit with the rage of tragedy and talk, + O’erleap each fence of modesty and fear, + And boldly mount to Shakespear’s radiant sphere, + Indignant, then, I spurn compassion’s call; + Contempt and laughter wait upon his fall: + The hapless elf lies humbled in the dust, + While scoffing crowds confess the sentence just. + + But, hark! a plaintive voice amid the gale, + In numbers sweet, breathes out a tender tale; + Sure ’tis some minstrel of the fairy band, + ’Tis more than mortal!--No, ’tis little Bland. + + With voice mellifluous, though somewhat weak, + And often husky, view the warbler Leak. + On Margaretta’s simple artless lays + She builds a monument of lasting praise; + And, oh! ’twould melt the sternest heart to pity + To hear her sing her “lowly plaintive ditty.” + + See Biggs, a candidate for London fame, + In Drury’s annals now records her name: + Dauntless she enters on the classic ground, + With universal praise and plaudits crown’d. + + Aikin, with feeling and good sense endu’d, + Can act the parent prudent, firm, and good; + The British merchant, gen’rous, open, just; + And the old steward, faithful to his trust. + + Patient and simple, Drury’s weakest tool, + With too much folly e’en to play the fool; + With awkward form, and vague quiescent face, + Wretched buffoonery, and low grimace; + Lo! Wathen tumbles in, by folly led, + And quick compulsive gravity of head. + Alas, alas! poor shifting weather-cock! + Why didst thou change the halberd for the sock? + Thy lagging purse and wit could ill afford + The festive joys of Wargrave and her lord! + Small bounds divide the idler and the player; + The soldier turns an actor in despair. + See lovely Rose, whom circling crowds adore, + Ne’er felt for Bullock half the shame before.[20] + Heav’ns, what a contrast! View the motley feast; + ’Tis Pan and Venus, beauty and the beast. + Not Farquhar’s wit could force thy friends to stay, + Though Dibdin’s song ek’d out the murder’d play. + While shows like these can Britain’s care engage, + I spurn such folly, and renounce the stage; + Calm and remote, neglect the passing scene, + Nor quit my roof for Wathen and the spleen. + + Who has not oft beguil’d his ev’ning hours, + Charm’d with the melody of Kelly’s pow’rs? + Aided by him, still Arne enchants the town, + And Kelly adds new gems to Handel’s crown. + Oft have we heard, well pleas’d, yet mourn’d the while, + His tones melodious, but his action vile: + Our eyes must weep at what our ears rejoice; + So spare the man, in pity to his voice! + + Bob Palmer can a drunken story tell, + His Jeremy and Trip are passing well; + But, for the airy fops of Farquhar’s age, + When will another Dodd adorn the stage? + + For Hollingsworth we have not far to look,[21] + What is the part he plays?--Oh! Jacob Cook! + + Badd’ley, thy loss must Drury still deplore, + Thy Moses set the audience in a roar: + Now Wewitzer the usurer assumes, + And struts a magpie in the peacock’s plumes. + + In Mellon’s face what gay good humour lies, + How archly roll her sparkling gipsy eyes! + And when their fire she darts in Lydia Languish, + O lovely nymph! I cry, assuage my anguish! + + Sedgwick, in Woodley, stands to public view, + Or the brave captain of a smuggling crew: + And Dignum’s voice harmonious, soft, and clear, + Though far from pow’rful, charms the list’ning ear. + + For walking gentlemen, and trailing lords, + Grac’d with becoming paucity of words; + Or, for the bleeding captain in Macbeth, + Who talks of honour, murder, scars, and death; + Or of conspirators to make a cluster; + Holland and Caulfield here may well pass muster. + + Maddocks and Phillimore, ye brilliant pair! + Let Banquo’s bloody murder be your care: + While Trueman cries, aghast, in fearful mood, + “Methought, my lord, I saw a moving wood!” + + Let black-ey’d Heard, and Stuart tattling fast, + Of vixen chambermaids divide the cast: + And Tidswell tall, with Booth, the ancient crone, + Lead in the queen, or stand behind the throne. + + FRIEND. + + Enough! enough! now let the curtain fall, + Here cease your song, and bid good night to all. + + AUTHOR. + + The Muse now rests, her purpos’d labours o’er, + Safe from her toil, and landed on the shore: + Each actor view’d in Fancy’s magic glass, + Walks o’er her page like royal Banquo’s race. + Oh! would kind Fate, like his, her offspring bless, + Exalt with favour, and with smiles caress, + Her moral page should circling crowds delight, + And added vigour aid her tow’ring flight. + + Genius of Shakespear, from thy heav’nly sphere, + Look down with pity on thy vot’ries here: + See pantomimic jargon, ev’ry season, + Usurp the place of common sense and reason. + Some rising poet, O great Bard! inspire, + With one bright spark of thy immortal fire, + Reclaim the taste of this degen’rate age, + And reign once more triumphant o’er the stage. + + ────────────────────────────────────────────────────── + + [1] See this absurd and pernicious custom well ridiculed + in “The Pursuits of Literature.” A work which strongly and + properly reprobates the practice of those, whose learning, + “like a rich armour worn in heat of day,” only serves to + encumber the wearer. It is not our business to criticize + the temper or motives of the author of that elaborate + performance. He may possibly, to use the words of a modern + poet, be “shrouded in a mist of moral spleen;” or he may + be influenced by the purest intentions. The work is of + extensive utility; and, as such, is entitled to our + thanks. + + [2] Such is the _celestial_ phrase of Henry James Pye, + Esq. “O’er June’s ambrosial flow’rs.”--This gentleman in + his ardent devotion to the Muses seems totally to have + forgotten the Graces; else, why the pompous repetition of + the same turgid compound epithets that encumber without + adorning his odes? We acknowledge that Poet Laureates are + placed in a dangerous situation; like the pictures hung up + in the Forum, they are exposed to the indiscriminate + criticism of the multitude. Cibber, smarting under the + lash of Pope, says “a lick at the Laureate” has ever been + the fashion. I am sorry to observe, that the present bard + cannot claim an exemption. I would recommend to his + observation the following lines of Pope, speaking of + Blackmore: + + What, like Sir Richard, rumbling rough and hoarse, + With arms, and George, and Brunswick, crowd the verse; + Burst, with tremendous din, your ears asunder, + With gun, drum, trumpet, blunderbuss, and thunder. + + [3] Pope. + + [4] Hamlet. + + [5] By Reynolds taught.--The speaking pantomimes of this + gentleman, called by courtesy comedies, are at present + generally known; but, as in all probability they will be + soon forgotten, it was thought necessary to mention them + here. + + [6] As posterity may be puzzled to understand the meaning + of these words, know, all men, by these presents, that the + joke consists in Mr. Follett, the clown, coming forward + and sitting down in the front of the stage, with a basket + containing three or four immense carrots; which, assisted + by some intro-susceptive power in the vegetable, he has + the appearance of devouring whole, to the great delight of + the British audience. + + Indocti stolidique et depugnare parati + Si discordet eques, media inter carmina poscunt + Aut _ursum_, aut _pugiles_; hic nam plebecula gaudet. + Verum equitis quoque jam migravit ab _aure_ voluptas + Omnis ad _incertos oculos_, et gaudia vana. + + [7] _Holman._--This is one of those actors who should + receive a hint to pay more attention to their author and + less to themselves. Cibber wrote as well as acted for the + stage, and succeeded: Holman has written too; but, “haud + passibus æquis!” + + Scribimus indocti doctique.--HOR. + + [8] The great and unrivalled talents of this lady in + tragedy are such as would justly subject us to the + imputation of vanity and folly, were we to attempt to + enumerate them. With such a distinguished favourite of + Melpomene before our eyes, it is painful to think that + tragedy should be in this nation overlooked and neglected, + as is evinced by the cold manner in which the productions + of our best dramatic writers are received upon the stage, + though aided by the magic powers of her, who carries us + into whatever regions the fiction of the poet places in + our view. + + Irritat, mulcet, falsis terroribus implet, + Ut magus; et modo me Thebis modo ponit Athenis.--HOR. + + Let not poets any longer arrogate immortality to their + works, when we see the productions of Dryden, Otway, + Southern, and even Shakespear himself, placed upon the + shelf: And for what? To please the taste of a public, + vitiated by the unseemly trash, issuing from the pen of + O’Keefe, Reynolds, Morton, &c. &c. + + Whose happy arts attention can command + When fancy flags, and sense is at a stand.--POPE. + + [9] We think it sufficient to observe of this gentleman, + (whose talents as an actor are too well known to require + commendation here,) that his Coriolanus and Macbeth are + noble instances of his powers, and that he has brought + Hamlet to the achme of perfection. + + [10] Who, that has witnessed the admiral efforts of Mrs. + Jordan in low comedy, does not regret to see her attempt + such parts as Lady Teazle and Estifania? After these + extraordinary undertakings, we shall soon expect to see + Mr. Bannister, jun. in Richard III. and Mr. Suett in + Beverley or Macbeth. As Mrs. Amlet says in the + Confederacy, “We are all for appearing above what we are, + and that is what ruins every body.” + + [11] The satirist, averse to exhibiting scenes of folly, + fixes with delight on beauty and excellence: as the + traveller, weary of the uniformity of a dusky heath, + wanders with joy over fertile plains and enamelled + meadows. Seldom have we received more various and rational + pleasure than from the truly excellent performances of + Miss Decamp. With a face well adapted to express the + sentiments of the soul, an elegant and graceful person, + appropriate action, and a knowledge of her author’s + meaning, which good understanding alone can give, this + young lady bids fair to obtain general and unrivalled + approbation. But, as the human mind, however variously + gifted by nature, has still some single object in which it + is peculiarly fated to figure, some cast of character + which is exclusively its province, we would strongly + recommend it to this young lady to study Mrs. Jordan’s + comic characters, without meaning to preclude her from + those occasional variations, which no one can undergo with + more justice and versatility than herself. + + “Reddere personæ scit convenientia cuique.” + + [12] It is surprising that the Manager should remain + ignorant of the most important part of his office, namely, + an appropriate distribution of parts. Packer, some thirty + years ago, might have been a tolerable actor; but surely + he has had time to “strut and fret his hour upon the + stage,” and should now be “heard no more.” The character + of the Danish usurper, in his hands, is deprived of all + its interest, by losing that crafty, yet daring, villany + which Shakespear intended to portray. The fine soliloquy, + “O my offence is rank!” &c. is entirely omitted, in pity, + we suppose, to this old man’s infirmities: but, it is time + to inform Mr. Packer, that, when he attempts parts like + these, “O my offence is rank!” would be no improper + exclamation. + + [13] In the veteran King we see an actor of sterling + excellence and merit. He possesses real humour + unadulterated with buffoonery; a most rare quality in the + present state of the stage! But “Vitæ summa brevis, spem + nos vetat inchoare longam.” Mr. King’s infirmities are now + growing fast upon him; + + --------------------“His way of life + Is fallen into the sear, the yellow leaf!” + + And it is with infinite regret that we look forward to the + time when he shall retire from that stage, of which he has + so long been a distinguished ornament. + + [14] Mr. Charles Kemble’s powers are daily expanding into + excellence; and we look forward with pleasure to the + future eminence of this young actor. + + Yet shall he mount, and keep his distant way, + Beyond the limits of a vulgar fate.--GRAY. + + [15] The power of managers to obtrude themselves upon the + public in what characters they please must often be + abused, by laying them open to the attacks of vanity; + while, from their high situation in the theatre, we + presume the real truth is not likely to offend their ears. + The humorous author of the Connoisseur hints at a reverend + bishop, who kept his chaplains in a state of such extreme + servility, that it was their custom to ask him at the + conclusion of every deal at whist what his lordship would + please to have for trumps? Mr. Wroughton may not perhaps + be so highly pampered as the above-mentioned bishop, but + it was thought necessary to enlarge upon the frequent + absurdity of his conduct, that future managers may profit + by his evil example. + + “Bonum est fugienda aspicere alieno in malo.”--PUBL. SYR. + + [16] Barrymore is one of those personages, to make use of + Pope’s words, “Who never changed his principles or + wig.”--As his action and voice are uniform, so is his wig; + as his gigantic method of uttering trivial sentiments is + uniform, so is his wig: pity the wig is not a better one! + + [17] The dramatic productions of Mr. Colman have a real + claim to the title of motley. As a proof of this + assertion, we beg leave to refer our readers to the + Mountaineers and the Iron Chest, in both of which plays + are lines not unworthy of a Congreve or a Rowe; but these + are debased most miserably by others, which are beneath + the notice of criticism. Upon the whole, it appears, that + the genius of this gentleman is happily adapted to the + size of his theatre: + + Humano capiti cervicem pictor equinam + Jungere si velit, et varias inducere plumas + Undique collatis membris; aut turpitur atrum + Desinat in piscem mulier fermosa superne + Spectatum admissi risum teneatis, amici?--HOR. + + It may be worth inquiry, why the public should permit the + performance of the Iron Chest at the Haymarket, after the + decided sentence pronounced upon it at Drury-Lane; as it + must be obvious to the most ignorant spectator, that the + play was cast with much greater force at the + last-mentioned theatre; for, while we respect the talents + of Mr. Elliston, we hold it something like blasphemy to + place him in competition with Mr. Kemble, the first + tragedian of the age; and how must the broad farcical + humour of Fawcett suffer in comparison with the acting of + the late excellent Dodd! Perhaps it may be urged, that + Fawcett stood next to Dodd in the personification of such + characters as Adam Winterton: if so, it must certainly be, + as Virgil expresses it, “Proximus, sed longo intervallo.” + + [18] We wish that Mrs. Goodall would avail herself of our + friendly hints; she might certainly become an actress of + some merit: at present she gives us an idea of a + well-constructed automaton. + + [19] Strange that so few actors can play the + gentleman!--As to Mr. Russell,--but it would be a waste of + time to expatiate on his demerits. All our astonishment is + to think that he should _attempt_ such characters as + Charles Surface; especially as the excellence of Smith is + still fresh in the minds of the public. + + ----------Quid enim contendat hirundo + Cycnis? LUCRET. + + [20] The part of Bullock was performed, by Mr. Wathen, not + for the public benefit, but his own. The good nature of a + British audience was never better exemplified than in the + above instance.--Surely there never was such an age of + toleration!--Dibdin’s song of the _Waggoner_ was also sung + by our hero, to exhibit his talents in another point of + view. To say the execution was intolerable is far from + sufficient, and yet we have neither time nor patience to + say more.--All was hushed! for, at least half the audience + was asleep. + + Somno positi sub nocte silenti + Lenibant curas et corda oblita laborum.--VIRG. + + [21] We are astonished to see this man figuring away in + such characters as the Baron of Oakland, Mr. Hardy, and + Sir Francis Wronghead.--When will managers learn their + duty to the public? and when distinguish between + unaffected humour and unnatural buffoonery?--To + Hollingsworth we may apply the lines of Peter Pindar: + + “Of acting I have seen enough, + “Most vile, most execrable, stuff; + “But none so bad as thine, I vow to God!” + + + THE END. + + + + + Transcriber’s Notes + + +New original cover art included with this eBook is granted +to the public domain. + +The original text used the long s. This has been changed +to the regular s. + +The footnotes have been renumbered and moved to the end of +the book. + +A few obvious typographical errors have been silently +corrected. Archaic and irregular spellings have been +retained. +*** END OF THE PROJECT GUTENBERG EBOOK 77394 *** diff --git a/77394-h/77394-h.htm b/77394-h/77394-h.htm new file mode 100644 index 0000000..86489d2 --- /dev/null +++ b/77394-h/77394-h.htm @@ -0,0 +1,1051 @@ +<!DOCTYPE html> +<html lang="en"> +<head> +<meta charset="UTF-8"> +<title>The Druriad | Project Gutenberg</title> +<link rel="icon" href="images/cover.jpg" type="image/x-cover"> +<style> +body { margin-left:10%; margin-right:10%; position: relative;} +h1 {page-break-before: always; font-weight: normal; font-size: 1em; margin-bottom: 0; margin-top: 0} +p {text-align: justify; text-indent: 1.4em; margin-top: 0; margin-bottom: 0;} +h2 {text-align: center; font-weight: normal; font-size: 1em;} +p.drop-cap {text-indent: 0;} +p.drop-cap:first-letter {float: left; font-size: 300%; line-height:0.68em; margin: 0.12em 0.1em 0em 0em;} +.pagenum { position: absolute; right: -3.5em; font-size: small; text-indent: 0; text-align: right; border: 1px solid silver; margin-top: 0.3em; padding: 0 0.2em; color: silver;} +.align_c { text-align: center; text-indent: 0;} +.lspb { letter-spacing: 0.7em; margin-right: -0.7em;} +.fontp8 { font-size: 0.8em;} +.lspf { letter-spacing: 1.4em; margin-right: -1.4em;} +.l175 {font-size: 1.75em;} +.lh1p7 {line-height: 1.7;} +.lspc { letter-spacing: 0.4em; margin-right: -0.4em;} +.l15 {font-size: 1.5em;} +.bfont {font-weight: bold;} +.fontp9 { font-size: 0.9em;} +.hrw_33 {width: 33%; margin-left: 33.5%; margin-right: 33.5%; clear: both;} +.margemtb {margin-top: 1em; margin-bottom: 1em;} +.dline {padding: 1px; border-style: solid; border-width: 2px; border-left: none; border-right: none;} +.verse {padding-left: 3em; text-indent: -3em;} +.poetry_container {display: flex; justify-content: center;} +.poetry {} +.stanza {margin-top: 1ex; margin-bottom: 1ex;} +.small-caps { font-variant: small-caps;} +.pad_left { padding-left: 1.5em;} +.mt1x5 {margin-top: 1.5ex;} +.lspz { letter-spacing: 0.05em; margin-right: -0.05em;} +.one_space { margin-top: 1.3ex; margin-bottom: 1.3ex;} +.topline {border-top: 1px solid black;} +.hrw_95 {width: 95%; margin-left: 2.5%; margin-right: 2.5%; clear: both;} +.chapter {padding-top: 4em; page-break-before: always;} +.nobreak {page-break-before: avoid;} +.l12 { font-size: 1.2em; } +.imw_10 {width: 10em;} +.margtb_1 {margin: 1ex 0;} +.icenter { text-align: center;} +.two_space { margin-top: 1em;} +.x-ebookmaker p.drop-cap:first-letter {float: none; margin: 0; font-size: 100%;} +.lspd { letter-spacing: 1em; margin-right: -1em;} +.font2p { font-size: 2em; } +.toupper {text-transform: uppercase;} +.lspa { letter-spacing: 0.11em; margin-right: -0.11em;} +.fn_anchor {font-size: 0.8em; vertical-align: super;} +.invisible {visibility: hidden;} +.ind_1_4 {padding-left: 4.4em; text-indent: -3em;} +.hrw_90 {width: 90%; margin-left: 5%; margin-right: 5%; clear: both;} +.footnote { font-size: small; margin: 2ex 0;} +.noindent {text-indent: 0;} +.ind_1 {padding-left: 4em; text-indent: -3em;} +.tnote {background: #f0f0f0; font-size: 0.9em; margin-top: 2em; padding: 1em;} +.x-ebookmaker .lspa {letter-spacing: 0; margin-right: 0;} +.x-ebookmaker .lspb {letter-spacing: 0; margin-right: 0;} +.x-ebookmaker .lspc {letter-spacing: 0; margin-right: 0;} +.x-ebookmaker .lspd {letter-spacing: 0; margin-right: 0;} +.x-ebookmaker .lspf {letter-spacing: 0; margin-right: 0;} +.x-ebookmaker .lspz {letter-spacing: 0; margin-right: 0;} +.x-ebookmaker .toupper {text-transform: none;} +.x-ebookmaker .chapter {padding-top: 0; page-break-before: always;} +h2 {line-height: 2;} +</style> +</head> +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 77394 ***</div> +<h1 class="align_c"> +<span class='fontp8'><span class='lspb'>THE</span></span><br> +<span class='l175'><span class='lspf'>DRURIAD</span>:</span> +</h1> +<p class="align_c lh1p7"> +<span class='fontp8'><span class='lspb'>OR</span></span><br> +<span class='l15'><span class='lspc'>STRICTURES</span></span><br> +<span class='fontp8'><span class='lspb'>ON THE</span></span><br> +<span class='lspc'>PRINCIPAL PERFORMERS</span><br> +<span class='fontp8'><span class='lspb'>OF</span></span><br> +<span class='bfont'>Drury-Lane Theatre:</span><br> +<i><span class='lspc'>A SATIRICAL POEM</span>:</i><br> +<span class='fontp9'>WITH NOTES CRITICAL AND EXPLANATORY.</span> +</p> +<hr class='dline hrw_33 margemtb'> +<div class='poetry_container fontp8'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>“<i>Cuncti adsint, meritæque expectent præmia palmæ:</i></p> +</div> +<p class='align_c'>* * * * * * * *</p> +<p class='verse'>“<i>Tros Tyriusque mihi nullo discrimine habetur.</i>”⁠⸺<span class="small-caps">Virg.</span></p> +</div></div> +<hr class='dline hrw_33 margemtb'> +<div class='pad_left'> +<p class='fontp8'> +“My lord, I will use them according to their deserts.”⁠—</p> +<p class='fontp8 mt1x5'> +“Godsbodikins, man, better! Use every man after his desert, and who shall +escape whipping?⁠—Use them after your own honour and dignity: the less they +deserve, the more merit is in your bounty.”⁠⸺<span class="small-caps">Shakespear.</span></p> +</div> +<hr class='dline hrw_33 margemtb'> +<p class='fontp8 align_c'> +<i>LONDON</i>:</p> +<p class='fontp8 align_c'> +<span class='lspz'><span class="small-caps">Printed for W. J. and J. Richardson, under the Royal Exchange.</span></span></p> +<p class='align_c one_space'> +<span class="topline">1798.</span></p> +<hr class='dline hrw_95 margemtb x-ebookmaker-drop'> +<div class="chapter"> +<h2 class='nobreak'> +<span class='l12'><span class='lspb'>ADVERTISEMENT</span>.</span> +</h2></div> +<div class="icenter margtb_1"> +<img src="images/i_002.png" class="imw_10" alt="Decorative Image."> +</div> +<p class='two_space drop-cap'> +I Cannot think the subject of the following +Poem ill chosen, whatever faults there may +be in the manner of its execution. As some +kingdoms are found to be influenced by the +good or bad qualities of the sovereign, so the +theatres of this country may be considered as +instruments by which virtue or vice may be +equally propagated: they are universally frequented; +for, who is so high as not to honour +them with an occasional visit, and who is so low +as not to deem himself an expert judge of theatrical +merit? That this merit is on the wane, +I fear, cannot be denied; and I think one of +the causes may be traced to that laxity of morals +which pervades all ranks of people. The +time was when a vicious or foolish character, +among his brethren behind the curtain, would +have been more dreaded, by an actor of genius, +than the hisses of the multitude before it. “Fuit +<span class='pagenum'>iv</span>ista quondam in hac republica virtus, ut viri +fortes acrioribus suppliciis civem perniciosum +quàm acerbessimum hostem coercerent.” Cicero. +</p> +<p> +If it be allowed that an actor cannot do complete +justice to his part unless he feel all the +energy which the character is supposed to feel; +or if, in other words, moral sensations and the +glow of conscious virtue enhance the player’s +powers; surely those powers must be impaired, +if not totally annihilated, by debauchery and +habitual intoxication; an observation not totally +useless to those who, however they may +slight virtue for virtue’s sake, will yet adhere to +her when, like a modern heiress, she brings an +ample fortune to increase her attractions. +</p> +<p> +I have only to declare that I commit this +Poem to the press blinded by no partiality and +influenced by no unworthy motives; that my +pages are stained with no private scandal, and +that, whatever may be the fate of the Poem, I +shall never blush at an undertaking which has +for its object the praise of the meritorious and +the ridicule of the undeserving. +</p> +<hr class='dline hrw_95 margemtb x-ebookmaker-drop'> +<div class="chapter"><span class='pagenum'>1</span> +<h2 class='nobreak'> +<span class='fontp9'><span class='lspb'>THE</span></span><br> +<span class='l15'><span class='lspd'>DRURIAD</span><span class='lspd'>, </span>&c.</span> +</h2></div> +<div class="icenter margtb_1"> +<img src="images/i_002.png" class="imw_10" alt="Decorative Image."> +</div> +<div class='poetry_container'> +<div class='poetry'> +<p class='align_c two_space'><span class="small-caps">Author.</span></p> +<div class='stanza'> +<p class='verse'><span class='font2p'>L</span><span class='toupper lspa'>et</span> loftier poets tune their martial lays,</p> +<p class='verse'>And sing the patriot’s or the hero’s praise;</p> +<p class='verse'>For casual fare, like hackney-coachmen, ply,</p> +<p class='verse'>Blame where they can, and, where they cannot,⁠—lie:</p> +<p class='verse'>Each Pasquin now may lash his empty brother,</p> +<p class='verse'>Or, like thin spiders, prey upon each other:</p> +<p class='verse'>Snug in my shell, I shun their watchful fury,</p> +<p class='verse'>Laugh at them all, and sing the praise of Drury;</p> +<p class='verse'>My careless Muse now hovers round her walls,</p> +<p class='verse'>And lifts her dome yet higher than St. Paul’s.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Friend.</span></p> +<div class='stanza'> +<p class='verse'>A wretched simile! of Eastern hue,</p> +<p class='verse'>’Tis neither gaudy, elegant, or new;</p> +<p class='verse'><span class='pagenum'>2</span>Would you be all that ere poor bard desir’d,</p> +<p class='verse'>Be read by parsons, by the fair admir’d,</p> +<p class='verse'>To love and Laura tune th’enervate lyre,</p> +<p class='verse'>Let hot-press’d paper<a href='#fn_1' id='fnb_1' class='fn_anchor'>[1]</a> glow with am’rous fire;</p> +<p class='verse'>Ambrosial flow’rs<a href='#fn_2' id='fnb_2' class='fn_anchor'>[2]</a> twine round your mood and tense,</p> +<p class='verse'>And labour’d nothings take the place of sense.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Author.</span></p> +<div class='stanza'> +<p class='verse'>I’m all alive! Muse, plume your tow’ring wings,</p> +<p class='verse'>Hush’d be the winds when charming Florio sings.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Friend.</span></p> +<div class='stanza'> +<p class='verse'><span class='pagenum'>3</span>The fragrant morn⁠—</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Author.</span></p> +<div class='stanza'> +<p class='verse'><span class='invisible'>The fragrant morn⁠—</span>Nay, now your pow’r I doubt,</p> +<p class='verse'>Each worthless sonnet⁠—</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Friend.</span></p> +<div class='stanza'> +<p class='verse'><span class='invisible'>Each worthless sonnet⁠—</span>Prithee hear me out.</p> +<p class='verse'>The fragrant morn her rosy blushes spreads,</p> +<p class='verse'>And o’er the land a dewy influence sheds,</p> +<p class='verse'>Scarce has the sun emerg’d from ocean’s tide,</p> +<p class='verse'>His beams yet sleeping on yon mountain’s side,</p> +<p class='verse'>All nature wakes, life breathes in ev’ry gale,</p> +<p class='verse'>The insect-tribe spread forth the mimic sail,</p> +<p class='verse'>Aërial songsters chaunt the vocal lay,</p> +<p class='verse'>Sport on the wing, and hail returning day.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Author.</span></p> +<div class='stanza'> +<p class='verse'>Siste, viator! let me set you right,</p> +<p class='verse'>’Tis not the day! I hail returning night:</p> +<p class='verse'>Through lamp and link-boys take my devious way,</p> +<p class='verse'>Streets, carts, and “Bill, your honour!” to the play.</p> +<p class='verse'><span class='pagenum'>4</span>There point my quill, “shoot folly as it flies,</p> +<p class='verse'>And catch the living manners as they rise.”<a href='#fn_3' id='fnb_3' class='fn_anchor'>[3]</a></p> +<p class='verse'>Sooner shall Gallia cease her hostile fury,</p> +<p class='verse'>Sooner shall mighty George frequent old Drury,</p> +<p class='verse'>In modern bosoms virtuous ardour burn,</p> +<p class='verse'>Or loan-contractors zealous patriots turn,</p> +<p class='verse'>Than I forego the critic’s choicest food,</p> +<p class='verse'>To lash the worthless and to praise the good.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Friend.</span></p> +<div class='stanza'> +<p class='verse'>But who art thou who thus presum’st to wield</p> +<p class='verse'>The weighty arms of Churchill in the field?</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Author.</span></p> +<div class='stanza'> +<p class='verse'>In life’s low vale, I mean not to aspire</p> +<p class='verse'>To Churchill’s honours and poetic fire,</p> +<p class='verse'>But merely to divert an idle hour,</p> +<p class='verse'>Of Drury’s host to ascertain the pow’r;</p> +<p class='verse'>And, with a candid, not ill-judging, spirit,</p> +<p class='verse'>Award their different degrees of merit.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Friend.</span></p> +<div class='stanza'> +<p class='verse'><span class='pagenum'>5</span>But why alone on Drury “wag your tongue?”<a href='#fn_4' id='fnb_4' class='fn_anchor'>[4]</a></p> +<p class='verse'>Why Covent-Garden’s actors leave unsung?</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Author.</span></p> +<div class='stanza'> +<p class='verse'>Know, with buffoons I cannot condescend</p> +<p class='verse'>My page to tarnish and my time to spend:</p> +<p class='verse'>Crawford, in age, though not in wisdom, grey,</p> +<p class='verse'>Attempts in vain th’allotted part to play;</p> +<p class='verse'>Though Abington spreads out her wrinkled arms,</p> +<p class='verse'>The Widow Belmour now has lost her charms.</p> +<p class='verse'>O tasteless age, in folly how mature,</p> +<p class='verse'>Such mad perversion tamely to endure;</p> +<p class='verse'>Haste, venerable pair, and leave the stage,</p> +<p class='verse'>For “beads and prayer-books are the toys of age.”</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>A royal edict issues from the throne,</p> +<p class='verse'>O! say what brilliant spectacle is shewn?</p> +<p class='verse'>What constellation sheds its brilliant ray?</p> +<p class='verse'>Quick is the Georgium Sidus of the play!</p> +<p class='verse'><span class='pagenum'>6</span>By Reynolds taught,<a href='#fn_5' id='fnb_5' class='fn_anchor'>[5]</a> see Lewis frisk and climb,</p> +<p class='verse'>And Follett’s carrots<a href='#fn_6' id='fnb_6' class='fn_anchor'>[6]</a> grace the pantomime.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Friend.</span></p> +<div class='stanza'> +<p class='verse'>If Covent-Garden’s virtues are unknown,</p> +<p class='verse'>Adopt the reigning mode, and praise your own;</p> +<p class='verse'>Warton, in Pope, presents us nothing new,</p> +<p class='verse'>Pert Boswell brings all Johnson to our view,</p> +<p class='verse'>In quarto see the man of star and ribbon</p> +<p class='verse'>Sedately usher in the works of Gibbon;</p> +<p class='verse'>Erskine, self-fancy’d scourger of the throne,</p> +<p class='verse'>Now pleads his client’s cause, and now his own.</p> +<p class='verse'><span class='pagenum'>7</span>Holman plays Hotspur: Shakespear, with a groan,</p> +<p class='verse'>Sees Percy, and scarce knows him for his own!</p> +<p class='verse'>Think you for foreign benefit they strive?</p> +<p class='verse'>Shakespear is dead, but Holman is alive;<a href='#fn_7' id='fnb_7' class='fn_anchor'>[7]</a></p> +<p class='verse'>Self prompts the player, self fills the tedious page,</p> +<p class='verse'>Alike or in the closet or the stage.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Author.</span></p> +<div class='stanza'> +<p class='verse'>Enough of this! proceed we to our song,</p> +<p class='verse'>Attend my lays, and tell me where I’m wrong;</p> +<p class='verse'>Hither, my muse, thy wand’ring flight restrain,</p> +<p class='verse'>Perch on my quill, and sing of Drury-Lane.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Siddons,<a href='#fn_8' id='fnb_8' class='fn_anchor'>[8]</a> great mistress of each magic art,</p> +<p class='verse'>To raise contending passions in the heart,</p> +<p class='verse'><span class='pagenum'>8</span>When wretched Shore, depress’d with grief and pain,</p> +<p class='verse'>Calls upon death, her last resource, in vain;</p> +<p class='verse'>Or when, unaw’d by conscience or by fear,</p> +<p class='verse'>Macbeth drives on her impious mad career,</p> +<p class='verse'>When horrid dreams at length her guilt reveal,</p> +<p class='verse'>And on her hand she shews the bloody seal;</p> +<p class='verse'>When poor Cordelia, after wars alarms,</p> +<p class='verse'>Expires with anguish in her father’s arms;</p> +<p class='verse'>In Beverley’s distress and piercing moans;</p> +<p class='verse'>In Isabella’s shrieks and dying groans;</p> +<p class='verse'>O Siddons! thou alone the soul can’st thrill,</p> +<p class='verse'>And melt us down, like Circe, to thy will.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>When Shakespear bids contending passions wage,</p> +<p class='verse'>Love, hatred, jealousy, remorse, and rage,</p> +<p class='verse'><span class='pagenum'>9</span>Or paints the madness of the noble Dane;</p> +<p class='verse'>Or fell ambition of the Highland thane;</p> +<p class='verse'>Or Richard urges on his blood-stain’d course,</p> +<p class='verse'>And madly cries “My kingdom for a horse!”</p> +<p class='verse'>Kemble,<a href='#fn_9' id='fnb_9' class='fn_anchor'>[9]</a> in scenes like these, can nobly soar,</p> +<p class='verse'>And make e’en Garrick’s loss be felt no more.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Next Jordan<a href='#fn_10' id='fnb_10' class='fn_anchor'>[10]</a> comes, Thalia’s fav’rite child,</p> +<p class='verse'>And charms with naïveté and humour wild;</p> +<p class='verse'>Miss Peggy, Prissy Tomboy, or Miss Prue,</p> +<p class='verse'>Oh! who can play so charmingly, so true?</p> +<p class='verse'>But, in the name of ev’ry thing that’s strange,</p> +<p class='verse'>Why suffer her in Farren’s walk to range?</p> +<p class='verse'>Why call her Lady Teazle, Lady Belle?</p> +<p class='verse'>Still it is Jordan finely dress’d⁠—as Nell.</p> +<p class='verse'><span class='pagenum'>10</span>Farren had reach’d the summit of renown,</p> +<p class='verse'>And who like her shall charm the partial town?</p> +<p class='verse'>Ah! who shall now portray the modish wife,</p> +<p class='verse'>When will another Farren spring to life!</p> +<p class='verse'>But Lady Teazle, Lady Townly too,</p> +<p class='verse'>Bisarre, and Estifania,⁠—all adieu!</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Decamp<a href='#fn_11' id='fnb_11' class='fn_anchor'>[11]</a> approaches! born to tread the stage,</p> +<p class='verse'>At once the pride and pleasure of the age;</p> +<p class='verse'>Whether in tragic stole or comic vest,</p> +<p class='verse'>In each her pow’rs superior are confess’d;</p> +<p class='verse'>And when she warbles Ariel’s plaintive airs,</p> +<p class='verse'>’Tis like the music of the tuneful spheres;</p> +<p class='verse'><span class='pagenum'>11</span>In ev’ry scene new beauties stand confess’d,</p> +<p class='verse'>And the last character is still the best.</p> +<p class='verse'>But, oh! what pen with equal skill can trace</p> +<p class='verse'>Th’expressive passions varying in her face?</p> +<p class='verse'>A face uniting elegance and ease,</p> +<p class='verse'>Prompt to delight, and emulous to please,</p> +<p class='verse'>Still changing as the vary’d passions move,</p> +<p class='verse'>And sure in all to fix esteem and love.</p> +<p class='verse'>Ye erring critics! will ye still deplore</p> +<p class='verse'>That wit is fled and genius is no more?</p> +<p class='verse'>That modern acting no more boasts the art</p> +<p class='verse'>“To raise the genius and to mend the heart?”</p> +<p class='verse'>Attend submissive to the voice of truth,</p> +<p class='verse'>For, see, array’d in all the pride of youth,</p> +<p class='verse'>Unconscious of her own pre-eminence,</p> +<p class='verse'>In graceful action, and in native sense,</p> +<p class='verse'>Decamp approaches! Envy hides her head,</p> +<p class='verse'>And foul Detraction sinks among the dead!</p> +<p class='verse'>Each charm’d spectator instant homage pays,</p> +<p class='verse'>And all is lost in universal praise.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>The tragic Muse, by various evils cross’d,</p> +<p class='verse'>Some future day, shall mourn her Siddons lost!</p> +<p class='verse'><span class='pagenum'>12</span>Yet one remains, and critics must confess,</p> +<p class='verse'>Powell shall serve to make that loss the less;</p> +<p class='verse'>Expressive beauties mantle in her face;</p> +<p class='verse'>Yet is her gaudy action void of grace.</p> +<p class='verse'>But, when she paints Almeria’s tender woes,</p> +<p class='verse'>Each sympathetic heart with pity glows;</p> +<p class='verse'>Nay more, would she discard the tricks of art,</p> +<p class='verse'>The outspread arms, shrill voice, and measur’d start;</p> +<p class='verse'>Would she converse in nature’s artless strain,</p> +<p class='verse'>Nor deign to walk in imitation’s train;</p> +<p class='verse'>Her native pow’rs would fairest fame engage,</p> +<p class='verse'>And a new Siddons might adorn the stage.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Old Churchill spoke in terms of warmest praise</p> +<p class='verse'>Of Pope, the lively, in her youthful days:</p> +<p class='verse'>Though sixty summers o’er her head have flown,</p> +<p class='verse'>Thalia claims this fav’rite for her own:</p> +<p class='verse'>In Alscrip, Malaprop, and Mistress Page,</p> +<p class='verse'>She stands without a rival on the stage;</p> +<p class='verse'>And of her lasting charms, so wide the scope,</p> +<p class='verse'>All the domestic virtues shine in Pope!</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Palmer’s rough tones no sympathy impart,</p> +<p class='verse'><span class='pagenum'>13</span>Yet the man walks majestic through his part;</p> +<p class='verse'>His voice, his action, and his person, good,</p> +<p class='verse'>His author always clearly understood;</p> +<p class='verse'>Firm as the Trojan chief, of form divine,</p> +<p class='verse'>Whose mother-goddess made his temples shine;</p> +<p class='verse'>’Twas his, (but not in our degen’rate days,)</p> +<p class='verse'>’Twas his to mix the myrtle with the bays;</p> +<p class='verse'>Through five long acts alert and gay to dance,</p> +<p class='verse'>And realize the fictions of romance.</p> +<p class='verse'>But now, alas! those fairy scenes are fled,</p> +<p class='verse'>The myrtle, and the bays, both droop the head!</p> +<p class='verse'>In modern scenes solicitous to please,</p> +<p class='verse'>He acts the gentleman with studious ease;</p> +<p class='verse'>And in some parts I see both sense and spirit,</p> +<p class='verse'>In Stukely and Iago sterling merit,</p> +<p class='verse'>With genuine Nature strive:⁠—one part remains</p> +<p class='verse'>To crown his merit and reward his pains.</p> +<p class='verse'>See Packer, whom his dress in vain disguises,</p> +<p class='verse'>Seems half-seas over ere the curtain rises;</p> +<p class='verse'><span class='pagenum'>14</span>Tott’ring beneath the weight of plumes and age,</p> +<p class='verse'>He speaks <i>memento mori</i> to the stage.<a href='#fn_12' id='fnb_12' class='fn_anchor'>[12]</a></p> +<p class='verse'>Haste, Palmer! haste! disrobe the royal knave,</p> +<p class='verse'>Assert your claims, and Drury’s credit save;</p> +<p class='verse'>Study the part, make Claudius all your own,</p> +<p class='verse'>And drive the driv’ller from the Danish throne.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Old King,<a href='#fn_13' id='fnb_13' class='fn_anchor'>[13]</a> with ev’ry requisite to please,</p> +<p class='verse'>Strong sense, dry humour, wit, and comic ease,</p> +<p class='verse'>Unrivall’d reigns, on Drury’s classic boards,</p> +<p class='verse'>In crusty crabbed sires and testy lords.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>See Charles,<a href='#fn_14' id='fnb_14' class='fn_anchor'>[14]</a> a brother of the Kemble race,</p> +<p class='verse'><span class='pagenum'>15</span>With youthful figure and expressive face,</p> +<p class='verse'>In ardent Malcolm admiration draws,</p> +<p class='verse'>And claims in luckless Barnwell loud applause;</p> +<p class='verse'>He, urging onward in the path of fame,</p> +<p class='verse'>The native honours of his house to claim,</p> +<p class='verse'>Shall gain the steep ascent, by Siddons led,</p> +<p class='verse'>While wreaths of living laurel grace his head.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Wroughton’s<a href='#fn_15' id='fnb_15' class='fn_anchor'>[15]</a> a useful player and a just,</p> +<p class='verse'>And faithful to his manageric trust,</p> +<p class='verse'><span class='pagenum'>16</span>In some few characters, to give his due,</p> +<p class='verse'>He acts with feeling and with judgement too.</p> +<p class='verse'>What pity then to see the man presume</p> +<p class='verse'>To torture and burlesque poor Captain Plume!</p> +<p class='verse'>“And never was a story of more woe,”</p> +<p class='verse'>Than Wroughton croaking love-sick Romeo.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>With shaggy wig, stiff knees, and lengthen’d stride,</p> +<p class='verse'>Pedantic tone, and arms expanded wide,</p> +<p class='verse'>Unmeaning emphasis, theatric roar,</p> +<p class='verse'>’Tis an automaton, or Barrymore!<a href='#fn_16' id='fnb_16' class='fn_anchor'>[16]</a></p> +<p class='verse'>Dramatic Proteus! who, strange to tell!</p> +<p class='verse'>Plays ev’ry thing by turns, and nothing well!</p> +<p class='verse'>Long has he stood, nor chang’d his first degree,</p> +<p class='verse'>Fix’d at the freezing point of apathy;</p> +<p class='verse'>And much I fear, that time, which, join’d with sense,</p> +<p class='verse'>Exalts true genius into excellence,</p> +<p class='verse'>Will ne’er promote the man, whose sole renown</p> +<p class='verse'>Heads a banditti or assaults a town.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Suett comes next:⁠—alas! and “Woe is me!</p> +<p class='verse'><span class='pagenum'>17</span>“T’have seen what I have seen, see what I see!”</p> +<p class='verse'>In some low scenes of Colman’s motley stuff,<a href='#fn_17' id='fnb_17' class='fn_anchor'>[17]</a></p> +<p class='verse'>Suett is sometimes laughable enough;</p> +<p class='verse'>But genuine humour, comic wit, and grace,</p> +<p class='verse'>Are chang’d by him to mum’ry and grimace.</p> +<p class='verse'>Poor Foresight, skill’d in astrologic lore,</p> +<p class='verse'>When Parsons died, you fell to rise no more!</p> +<p class='verse'><span class='pagenum'>18</span>For ever clos’d, Burgoyne, is thy chaste page,</p> +<p class='verse'>And Gripe and Moneytrap must quit the stage.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>With figure neat, and pretty lifeless face,</p> +<p class='verse'>Goodall, alas! appears of stoic race!</p> +<p class='verse'>Nor joy, nor grief, affect her lifeless frame,</p> +<p class='verse'>Inanimate and gentle, mild and tame:</p> +<p class='verse'>Yet, would she call expression to her aid,</p> +<p class='verse'>Speak up, and cry, with Kecksey, “Who’s afraid?”<a href='#fn_18' id='fnb_18' class='fn_anchor'>[18]</a></p> +<p class='verse'>Her Rosalind would charm, and, in her cause,</p> +<p class='verse'>All Drury’s dome might ring with loud applause.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>When Bannister in Walter’s part appears,</p> +<p class='verse'>Who can deny the tributary tears?</p> +<p class='verse'>And, of his real merits, not to baulk ye,</p> +<p class='verse'>He’s excellent in Gubbins, Scrub, and Gawkey:</p> +<p class='verse'>But when, forgetting nature, form, and make,</p> +<p class='verse'>He tries t’assume the gentleman and rake;</p> +<p class='verse'><span class='pagenum'>19</span>Or when in Tom with lively Lewis vies;</p> +<p class='verse'>Heav’ns! how disgusting to our ears and eyes!</p> +<p class='verse'>Yet few comedians, of the present age,</p> +<p class='verse'>Appear so well, acquainted with the stage;</p> +<p class='verse'>And, spite of ev’ry fault, the truth to own,</p> +<p class='verse'>He has the art of pleasing all the town.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>When Shakespear’s magic Tempest awes the soul,</p> +<p class='verse'>When light’nings dart, waves dash, and thunders roll;</p> +<p class='verse'>Let beauteous Miller, diffident and fair,</p> +<p class='verse'>Assume Miranda’s wild angelic air:</p> +<p class='verse'>Pale with affright, she bends beneath the storm,</p> +<p class='verse'>While the rude winds unveil her lovely form;</p> +<p class='verse'>“Poor souls! they perish!” cries the maid distress’d,</p> +<p class='verse'>“Poor souls! they perish!” echoes ev’ry breast.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Dowton, in Cumberland’s romantic Jew,</p> +<p class='verse'>Portrays with feeling what the author drew;</p> +<p class='verse'>In Scrub, or grave-digger, might gain renown:</p> +<p class='verse'>Why are the corners of his mouth drawn down?</p> +<p class='verse'>When merit fails, and nature’s sober grace,</p> +<p class='verse'>Buffoonery but ill supplies their place.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Packer aspires to Denmark’s regal chair,</p> +<p class='verse'><span class='pagenum'>20</span>“O Hamlet! what a falling off was there!”</p> +<p class='verse'>Palmer’s the king for Gertrude’s bridal feast,</p> +<p class='verse'>And Packer,⁠—he should play the churlish priest.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>When vulgar Heidelberg assumes her airs,</p> +<p class='verse'>Deaf to her brother’s threats, her niece’s tears,</p> +<p class='verse'>Wallcott comes forth, with squabby shape and mien,</p> +<p class='verse'>Equal to Mesdames Hopkins, Webb, and Green.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>O popular applause! how short thy date!</p> +<p class='verse'>Crouch sinks beneath the hand of time and fate!</p> +<p class='verse'>Hard is the task the slight remains to trace</p> +<p class='verse'>Of what was Phillips’ elegance and grace.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Old Bannister, in tones of deepest bass,</p> +<p class='verse'>In Caliban displays his ugly face;</p> +<p class='verse'>And critics must allow, upon the whole,</p> +<p class='verse'>Some share of merit to his Mother Cole;</p> +<p class='verse'>Then let him pass, the social bowl allow,</p> +<p class='verse'>Applauded once, we well may suffer now.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>With lisping voice, and action full of bustle,</p> +<p class='verse'>In Fribble shines the Margate hero Russell;</p> +<p class='verse'><span class='pagenum'>21</span>In Sparkish decent, and in Surface mean,<a href='#fn_19' id='fnb_19' class='fn_anchor'>[19]</a></p> +<p class='verse'>The worst Sir Lucius that the stage has seen!</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>O mortals! vain and wayward, ever prone</p> +<p class='verse'>To vilify all merit but your own;</p> +<p class='verse'>Deaf to reproof, to public sarcasms blind,</p> +<p class='verse'>Ye quit the proper sphere by fate assign’d:</p> +<p class='verse'>Each stripling risks some daring enterprize,</p> +<p class='verse'>And, giant-like, would rush into the skies.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>The youth, whose pow’rs are neither good nor bad,</p> +<p class='verse'>In humble merit’s sober mantle clad;</p> +<p class='verse'>Whose mighty task extends to “Good, my liege!”</p> +<p class='verse'>Secure or in a chorus or a siege;</p> +<p class='verse'>Whose modest tongue, unknown to wisdom’s lore,</p> +<p class='verse'>Speaks what his author wrote, and speaks no more;</p> +<p class='verse'>Who marks the present hour, recalls the past,</p> +<p class='verse'>And makes each night a critic on the last;</p> +<p class='verse'><span class='pagenum'>22</span>Him shall applauses greet where numbers pour,</p> +<p class='verse'>Wentworth or Davis, Webb or Phillimore.</p> +<p class='verse'>But, when I see some forward youngster stalk,</p> +<p class='verse'>Smit with the rage of tragedy and talk,</p> +<p class='verse'>O’erleap each fence of modesty and fear,</p> +<p class='verse'>And boldly mount to Shakespear’s radiant sphere,</p> +<p class='verse'>Indignant, then, I spurn compassion’s call;</p> +<p class='verse'>Contempt and laughter wait upon his fall:</p> +<p class='verse'>The hapless elf lies humbled in the dust,</p> +<p class='verse'>While scoffing crowds confess the sentence just.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>But, hark! a plaintive voice amid the gale,</p> +<p class='verse'>In numbers sweet, breathes out a tender tale;</p> +<p class='verse'>Sure ’tis some minstrel of the fairy band,</p> +<p class='verse'>’Tis more than mortal!⁠—No, ’tis little Bland.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>With voice mellifluous, though somewhat weak,</p> +<p class='verse'>And often husky, view the warbler Leak.</p> +<p class='verse'>On Margaretta’s simple artless lays</p> +<p class='verse'>She builds a monument of lasting praise;</p> +<p class='verse'>And, oh! ’twould melt the sternest heart to pity</p> +<p class='verse'>To hear her sing her “lowly plaintive ditty.”</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>See Biggs, a candidate for London fame,</p> +<p class='verse'><span class='pagenum'>23</span>In Drury’s annals now records her name:</p> +<p class='verse'>Dauntless she enters on the classic ground,</p> +<p class='verse'>With universal praise and plaudits crown’d.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Aikin, with feeling and good sense endu’d,</p> +<p class='verse'>Can act the parent prudent, firm, and good;</p> +<p class='verse'>The British merchant, gen’rous, open, just;</p> +<p class='verse'>And the old steward, faithful to his trust.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Patient and simple, Drury’s weakest tool,</p> +<p class='verse'>With too much folly e’en to play the fool;</p> +<p class='verse'>With awkward form, and vague quiescent face,</p> +<p class='verse'>Wretched buffoonery, and low grimace;</p> +<p class='verse'>Lo! Wathen tumbles in, by folly led,</p> +<p class='verse'>And quick compulsive gravity of head.</p> +<p class='verse'>Alas, alas! poor shifting weather-cock!</p> +<p class='verse'>Why didst thou change the halberd for the sock?</p> +<p class='verse'>Thy lagging purse and wit could ill afford</p> +<p class='verse'>The festive joys of Wargrave and her lord!</p> +<p class='verse'>Small bounds divide the idler and the player;</p> +<p class='verse'>The soldier turns an actor in despair.</p> +<p class='verse'><span class='pagenum'>24</span>See lovely Rose, whom circling crowds adore,</p> +<p class='verse'>Ne’er felt for Bullock half the shame before.<a href='#fn_20' id='fnb_20' class='fn_anchor'>[20]</a></p> +<p class='verse'>Heav’ns, what a contrast! View the motley feast;</p> +<p class='verse'>’Tis Pan and Venus, beauty and the beast.</p> +<p class='verse'>Not Farquhar’s wit could force thy friends to stay,</p> +<p class='verse'>Though Dibdin’s song ek’d out the murder’d play.</p> +<p class='verse'>While shows like these can Britain’s care engage,</p> +<p class='verse'>I spurn such folly, and renounce the stage;</p> +<p class='verse'>Calm and remote, neglect the passing scene,</p> +<p class='verse'>Nor quit my roof for Wathen and the spleen.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Who has not oft beguil’d his ev’ning hours,</p> +<p class='verse'>Charm’d with the melody of Kelly’s pow’rs?</p> +<p class='verse'>Aided by him, still Arne enchants the town,</p> +<p class='verse'>And Kelly adds new gems to Handel’s crown.</p> +<p class='verse'>Oft have we heard, well pleas’d, yet mourn’d the while,</p> +<p class='verse'>His tones melodious, but his action vile:</p> +<p class='verse'><span class='pagenum'>25</span>Our eyes must weep at what our ears rejoice;</p> +<p class='verse'>So spare the man, in pity to his voice!</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Bob Palmer can a drunken story tell,</p> +<p class='verse'>His Jeremy and Trip are passing well;</p> +<p class='verse'>But, for the airy fops of Farquhar’s age,</p> +<p class='verse'>When will another Dodd adorn the stage?</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>For Hollingsworth we have not far to look,<a href='#fn_21' id='fnb_21' class='fn_anchor'>[21]</a></p> +<p class='verse'>What is the part he plays?⁠—Oh! Jacob Cook!</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Badd’ley, thy loss must Drury still deplore,</p> +<p class='verse'>Thy Moses set the audience in a roar:</p> +<p class='verse'>Now Wewitzer the usurer assumes,</p> +<p class='verse'>And struts a magpie in the peacock’s plumes.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>In Mellon’s face what gay good humour lies,</p> +<p class='verse'><span class='pagenum'>26</span>How archly roll her sparkling gipsy eyes!</p> +<p class='verse'>And when their fire she darts in Lydia Languish,</p> +<p class='verse'>O lovely nymph! I cry, assuage my anguish!</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Sedgwick, in Woodley, stands to public view,</p> +<p class='verse'>Or the brave captain of a smuggling crew:</p> +<p class='verse'>And Dignum’s voice harmonious, soft, and clear,</p> +<p class='verse'>Though far from pow’rful, charms the list’ning ear.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>For walking gentlemen, and trailing lords,</p> +<p class='verse'>Grac’d with becoming paucity of words;</p> +<p class='verse'>Or, for the bleeding captain in Macbeth,</p> +<p class='verse'>Who talks of honour, murder, scars, and death;</p> +<p class='verse'>Or of conspirators to make a cluster;</p> +<p class='verse'>Holland and Caulfield here may well pass muster.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Maddocks and Phillimore, ye brilliant pair!</p> +<p class='verse'>Let Banquo’s bloody murder be your care:</p> +<p class='verse'>While Trueman cries, aghast, in fearful mood,</p> +<p class='verse'>“Methought, my lord, I saw a moving wood!”</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Let black-ey’d Heard, and Stuart tattling fast,</p> +<p class='verse'><span class='pagenum'>27</span>Of vixen chambermaids divide the cast:</p> +<p class='verse'>And Tidswell tall, with Booth, the ancient crone,</p> +<p class='verse'>Lead in the queen, or stand behind the throne.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Friend.</span></p> +<div class='stanza'> +<p class='ind_1_4'>Enough! enough! now let the curtain fall,</p> +<p class='verse'>Here cease your song, and bid good night to all.</p> +</div> +<p class='align_c mt1x5'><span class="small-caps">Author.</span></p> +<div class='stanza'> +<p class='ind_1_4'>The Muse now rests, her purpos’d labours o’er,</p> +<p class='verse'>Safe from her toil, and landed on the shore:</p> +<p class='verse'>Each actor view’d in Fancy’s magic glass,</p> +<p class='verse'>Walks o’er her page like royal Banquo’s race.</p> +<p class='verse'>Oh! would kind Fate, like his, her offspring bless,</p> +<p class='verse'>Exalt with favour, and with smiles caress,</p> +<p class='verse'>Her moral page should circling crowds delight,</p> +<p class='verse'>And added vigour aid her tow’ring flight.</p> +</div> +<div class='stanza'> +<p class='ind_1_4'>Genius of Shakespear, from thy heav’nly sphere,</p> +<p class='verse'>Look down with pity on thy vot’ries here:</p> +<p class='verse'><span class='pagenum'>28</span>See pantomimic jargon, ev’ry season,</p> +<p class='verse'>Usurp the place of common sense and reason.</p> +<p class='verse'>Some rising poet, O great Bard! inspire,</p> +<p class='verse'>With one bright spark of thy immortal fire,</p> +<p class='verse'>Reclaim the taste of this degen’rate age,</p> +<p class='verse'>And reign once more triumphant o’er the stage.</p> +</div> +</div></div> +<hr class='hrw_90 margemtb'> +<div class='footnote' id='fn_1'> +<p> +<a href='#fnb_1'>[1]</a> See this absurd and pernicious custom well ridiculed in “The Pursuits of Literature.” +A work which strongly and properly reprobates the practice of those, whose learning, +“like a rich armour worn in heat of day,” only serves to encumber the wearer. It is not +our business to criticize the temper or motives of the author of that elaborate performance. +He may possibly, to use the words of a modern poet, be “shrouded in a mist of moral +spleen;” or he may be influenced by the purest intentions. The work is of extensive +utility; and, as such, is entitled to our thanks. +</p> +</div> +<div class='footnote' id='fn_2'> +<p> +<a href='#fnb_2'>[2]</a> Such is the <i>celestial</i> phrase of Henry James Pye, Esq. “O’er June’s ambrosial +flow’rs.”⁠—This gentleman in his ardent devotion to the Muses seems totally to have forgotten +the Graces; else, why the pompous repetition of the same turgid compound epithets +that encumber without adorning his odes? We acknowledge that Poet Laureates are placed +in a dangerous situation; like the pictures hung up in the Forum, they are exposed to the +indiscriminate criticism of the multitude. Cibber, smarting under the lash of Pope, says +“a lick at the Laureate” has ever been the fashion. I am sorry to observe, that the present +bard cannot claim an exemption. I would recommend to his observation the following +lines of Pope, speaking of Blackmore: +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>What, like Sir Richard, rumbling rough and hoarse,</p> +<p class='verse'>With arms, and George, and Brunswick, crowd the verse;</p> +<p class='verse'>Burst, with tremendous din, your ears asunder,</p> +<p class='verse'>With gun, drum, trumpet, blunderbuss, and thunder.</p> +</div> +</div></div> +</div> +<div class='footnote' id='fn_3'> +<p> +<a href='#fnb_3'>[3]</a> Pope. +</p> +</div> +<div class='footnote' id='fn_4'> +<p> +<a href='#fnb_4'>[4]</a> Hamlet. +</p> +</div> +<div class='footnote' id='fn_5'> +<p> +<a href='#fnb_5'>[5]</a> By Reynolds taught.⁠—The speaking pantomimes of this gentleman, called by courtesy +comedies, are at present generally known; but, as in all probability they will be soon +forgotten, it was thought necessary to mention them here. +</p> +</div> +<div class='footnote' id='fn_6'> +<p> +<a href='#fnb_6'>[6]</a> As posterity may be puzzled to understand the meaning of these words, know, all +men, by these presents, that the joke consists in Mr. Follett, the clown, coming forward +and sitting down in the front of the stage, with a basket containing three or four immense +carrots; which, assisted by some intro-susceptive power in the vegetable, he has the appearance +of devouring whole, to the great delight of the British audience. +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>Indocti stolidique et depugnare parati</p> +<p class='verse'>Si discordet eques, media inter carmina poscunt</p> +<p class='verse'>Aut <i>ursum</i>, aut <i>pugiles</i>; hic nam plebecula gaudet.</p> +<p class='verse'>Verum equitis quoque jam migravit ab <i>aure</i> voluptas</p> +<p class='verse'>Omnis ad <i>incertos oculos</i>, et gaudia vana.</p> +</div> +</div></div> +</div> +<div class='footnote' id='fn_7'> +<p> +<a href='#fnb_7'>[7]</a> <i>Holman.</i>⁠—This is one of those actors who should receive a hint to pay more attention +to their author and less to themselves. Cibber wrote as well as acted for the stage, and +succeeded: Holman has written too; but, “haud passibus æquis!” +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>Scribimus indocti doctique.⁠—<span class="small-caps">Hor.</span></p> +</div> +</div></div> +</div> +<div class='footnote' id='fn_8'> +<p> +<a href='#fnb_8'>[8]</a> The great and unrivalled talents of this lady in tragedy are such as would justly subject +us to the imputation of vanity and folly, were we to attempt to enumerate them. With +such a distinguished favourite of Melpomene before our eyes, it is painful to think that +tragedy should be in this nation overlooked and neglected, as is evinced by the cold manner +in which the productions of our best dramatic writers are received upon the stage, though +aided by the magic powers of her, who carries us into whatever regions the fiction of the +poet places in our view. +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>Irritat, mulcet, falsis terroribus implet,</p> +<p class='verse'>Ut magus; et modo me Thebis modo ponit Athenis.⁠—<span class="small-caps">Hor.</span></p> +</div> +</div></div> +<p> +Let not poets any longer arrogate immortality to their works, when we see the productions +of Dryden, Otway, Southern, and even Shakespear himself, placed upon the shelf: +And for what? To please the taste of a public, vitiated by the unseemly trash, issuing from +the pen of O’Keefe, Reynolds, Morton, &c. &c. +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>Whose happy arts attention can command</p> +<p class='verse'>When fancy flags, and sense is at a stand.⁠—<span class="small-caps">Pope.</span></p> +</div> +</div></div> +</div> +<div class='footnote' id='fn_9'> +<p> +<a href='#fnb_9'>[9]</a> We think it sufficient to observe of this gentleman, (whose talents as an actor are too +well known to require commendation here,) that his Coriolanus and Macbeth are noble +instances of his powers, and that he has brought Hamlet to the achme of perfection. +</p> +</div> +<div class='footnote' id='fn_10'> +<p> +<a href='#fnb_10'>[10]</a> Who, that has witnessed the admiral efforts of Mrs. Jordan in low comedy, does not +regret to see her attempt such parts as Lady Teazle and Estifania? After these extraordinary +undertakings, we shall soon expect to see Mr. Bannister, jun. in Richard III. and +Mr. Suett in Beverley or Macbeth. As Mrs. Amlet says in the Confederacy, “We are all +for appearing above what we are, and that is what ruins every body.” +</p> +</div> +<div class='footnote' id='fn_11'> +<p> +<a href='#fnb_11'>[11]</a> The satirist, averse to exhibiting scenes of folly, fixes with delight on beauty and excellence: +as the traveller, weary of the uniformity of a dusky heath, wanders with joy +over fertile plains and enamelled meadows. Seldom have we received more various and +rational pleasure than from the truly excellent performances of Miss Decamp. With a +face well adapted to express the sentiments of the soul, an elegant and graceful person, +appropriate action, and a knowledge of her author’s meaning, which good understanding +alone can give, this young lady bids fair to obtain general and unrivalled approbation. +But, as the human mind, however variously gifted by nature, has still some single object in +which it is peculiarly fated to figure, some cast of character which is exclusively its province, +we would strongly recommend it to this young lady to study Mrs. Jordan’s comic characters, +without meaning to preclude her from those occasional variations, which no one can +undergo with more justice and versatility than herself. +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>“Reddere personæ scit convenientia cuique.”</p> +</div> +</div></div> +</div> +<div class='footnote' id='fn_12'> +<p> +<a href='#fnb_12'>[12]</a> It is surprising that the Manager should remain ignorant of the most important part +of his office, namely, an appropriate distribution of parts. Packer, some thirty years ago, +might have been a tolerable actor; but surely he has had time to “strut and fret his hour +upon the stage,” and should now be “heard no more.” The character of the Danish +usurper, in his hands, is deprived of all its interest, by losing that crafty, yet daring, villany +which Shakespear intended to portray. The fine soliloquy, “O my offence is rank!” &c. +is entirely omitted, in pity, we suppose, to this old man’s infirmities: but, it is time to inform +Mr. Packer, that, when he attempts parts like these, “O my offence is rank!” would be +no improper exclamation. +</p> +</div> +<div class='footnote' id='fn_13'> +<p> +<a href='#fnb_13'>[13]</a> In the veteran King we see an actor of sterling excellence and merit. He possesses +real humour unadulterated with buffoonery; a most rare quality in the present state of the +stage! But “Vitæ summa brevis, spem nos vetat inchoare longam.” Mr. King’s infirmities +are now growing fast upon him; +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>⁠⸺⁠⸺⁠⸺⁠⸺⁠⸺“His way of life</p> +<p class='verse'>Is fallen into the sear, the yellow leaf!”</p> +</div> +</div></div> +<p class='noindent'> +And it is with infinite regret that we look forward to the time when he shall retire from +that stage, of which he has so long been a distinguished ornament.</p> +</div> +<div class='footnote' id='fn_14'> +<p> +<a href='#fnb_14'>[14]</a> Mr. Charles Kemble’s powers are daily expanding into excellence; and we look +forward with pleasure to the future eminence of this young actor. +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>Yet shall he mount, and keep his distant way,</p> +<p class='verse'>Beyond the limits of a vulgar fate.⁠—<span class="small-caps">Gray.</span></p> +</div> +</div></div> +</div> +<div class='footnote' id='fn_15'> +<p> +<a href='#fnb_15'>[15]</a> The power of managers to obtrude themselves upon the public in what characters +they please must often be abused, by laying them open to the attacks of vanity; while, +from their high situation in the theatre, we presume the real truth is not likely to offend +their ears. The humorous author of the Connoisseur hints at a reverend bishop, who kept +his chaplains in a state of such extreme servility, that it was their custom to ask him at the +conclusion of every deal at whist what his lordship would please to have for trumps? +Mr. Wroughton may not perhaps be so highly pampered as the above-mentioned bishop, +but it was thought necessary to enlarge upon the frequent absurdity of his conduct, that +future managers may profit by his evil example. +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>“Bonum est fugienda aspicere alieno in malo.”⁠—<span class="small-caps">Publ. Syr.</span></p> +</div> +</div></div> +</div> +<div class='footnote' id='fn_16'> +<p> +<a href='#fnb_16'>[16]</a> Barrymore is one of those personages, to make use of Pope’s words, “Who never +changed his principles or wig.”⁠—As his action and voice are uniform, so is his wig; as +his gigantic method of uttering trivial sentiments is uniform, so is his wig: pity the wig is +not a better one! +</p> +</div> +<div class='footnote' id='fn_17'> +<p> +<a href='#fnb_17'>[17]</a> The dramatic productions of Mr. Colman have a real claim to the title of motley. +As a proof of this assertion, we beg leave to refer our readers to the Mountaineers and the +Iron Chest, in both of which plays are lines not unworthy of a Congreve or a Rowe; +but these are debased most miserably by others, which are beneath the notice of criticism. +Upon the whole, it appears, that the genius of this gentleman is happily adapted to the +size of his theatre: +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>Humano capiti cervicem pictor equinam</p> +<p class='verse'>Jungere si velit, et varias inducere plumas</p> +<p class='verse'>Undique collatis membris; aut turpitur atrum</p> +<p class='verse'>Desinat in piscem mulier fermosa superne</p> +<p class='verse'>Spectatum admissi risum teneatis, amici?⁠—<span class="small-caps">Hor.</span></p> +</div> +</div></div> +<p> +It may be worth inquiry, why the public should permit the performance of the Iron +Chest at the Haymarket, after the decided sentence pronounced upon it at Drury-Lane; as +it must be obvious to the most ignorant spectator, that the play was cast with much greater +force at the last-mentioned theatre; for, while we respect the talents of Mr. Elliston, we +hold it something like blasphemy to place him in competition with Mr. Kemble, the first +tragedian of the age; and how must the broad farcical humour of Fawcett suffer in comparison +with the acting of the late excellent Dodd! Perhaps it may be urged, that Fawcett +stood next to Dodd in the personification of such characters as Adam Winterton: if so, +it must certainly be, as Virgil expresses it, “Proximus, sed longo intervallo.” +</p> +</div> +<div class='footnote' id='fn_18'> +<p> +<a href='#fnb_18'>[18]</a> We wish that Mrs. Goodall would avail herself of our friendly hints; she might certainly +become an actress of some merit: at present she gives us an idea of a well-constructed +automaton. +</p> +</div> +<div class='footnote' id='fn_19'> +<p> +<a href='#fnb_19'>[19]</a> Strange that so few actors can play the gentleman!⁠—As to Mr. Russell,⁠—but it +would be a waste of time to expatiate on his demerits. All our astonishment is to think +that he should <i>attempt</i> such characters as Charles Surface; especially as the excellence of +Smith is still fresh in the minds of the public. +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>⁠⸺⁠⸺⁠—Quid enim contendat hirundo</p> +<p class='verse'>Cycnis?<span class='invisible'>⁠⸺Quid enim contendat hirundo</span><span class="small-caps">Lucret.</span></p> +</div> +</div></div> +</div> +<div class='footnote' id='fn_20'> +<p> +<a href='#fnb_20'>[20]</a> The part of Bullock was performed, by Mr. Wathen, not for the public benefit, but +his own. The good nature of a British audience was never better exemplified than in the +above instance.⁠—Surely there never was such an age of toleration!⁠—Dibdin’s song of the +<i>Waggoner</i> was also sung by our hero, to exhibit his talents in another point of view. To +say the execution was intolerable is far from sufficient, and yet we have neither time nor +patience to say more.⁠—All was hushed! for, at least half the audience was asleep. +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='verse'>Somno positi sub nocte silenti</p> +<p class='verse'>Lenibant curas et corda oblita laborum.⁠—<span class="small-caps">Virg.</span></p> +</div> +</div></div> +</div> +<div class='footnote' id='fn_21'> +<p> +<a href='#fnb_21'>[21]</a> We are astonished to see this man figuring away in such characters as the Baron +of Oakland, Mr. Hardy, and Sir Francis Wronghead.⁠—When will managers learn +their duty to the public? and when distinguish between unaffected humour and unnatural +buffoonery?⁠—To Hollingsworth we may apply the lines of Peter Pindar: +</p> +<div class='poetry_container'> +<div class='poetry'> +<div class='stanza'> +<p class='ind_1'>“Of acting I have seen enough,</p> +<p class='ind_1'>“Most vile, most execrable, stuff;</p> +<p class='verse'>“But none so bad as thine, I vow to God!”</p> +</div> +</div></div> +</div> +<p class='two_space align_c'> +THE END.</p> +<div class='tnote'> +<p class="align_c space_after"> +Transcriber’s Notes +</p> +<p> +New original cover art included with this eBook is granted to the public domain. +</p> +<p> +The original text used the long s. This has been changed to the regular s. +</p> +<p> +The footnotes have been renumbered and moved to the end of the book. +</p> +<p> +A few obvious typographical errors have been silently corrected. 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