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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 *** |