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Which merit and success pursues with hate,
And damns the worth it cannot imitate;
With the cold caution of a coward's spleen,
Which fears not guilt, but always seeks a screen,
Which keeps this maxim ever in her view
What's basely done, should be done safely too;
With that dull, rooted, callous impudence,
Which, dead to shame, and ev'ry nicer sense,
Ne'er blush'd, unless, in spreading vice's snares,
She blunder'd on some virtue unawares :
With all these blessings, which we seldom find
Lavish'd by nature on one happy mind,
A motley figure, of the fribble tribe,
Which heart can scarce conceive, or pen describe,
Came simp'ring on: to ascertain whose sex
Twelve sage impannelld matrons would perplex.
Nor male, nor female, neither, and yet both;
Of neuter gender, though of Irish growth;
A six-foot suckling, mincing in its gait;
Affected, peevish, prim, and delicate;
Fearful it seem'd, though of athletic make,
Lest brutal breezes should too roughly shake
Its tender form, and savage motion spread
O'er its pale cheeks the horrid manly red.

Much did it talk, in its own pretty phrase,
Of genius and of taste, of play’rs and plays;
Much too of writings, which itself had wrote,
Of special merit, though of little note;
For fate, in a strange húmour, had decreed
That what it wrote, none but itself should read;

Much too it chatter'd of dramatic laws,
Misjudging critics, and misplac'd applause,
Then, with a self-complacent jutting air,
It smil'd, it smirk'd, it wriggled to the chair ;
And, with an awkward briskness not its own,
Looking around, and perking on the throne,
Triumphant seem'd, when that strange savage

dame,
Known but to few, or only known by name,
Plain Common Sense appear'd, by nature there
Appointed, with plain Truth, to guard the chair.
The pageant saw,

and blasted with her frown, To its first state of nothing melted down.

Nor shall the Muse (for even there the pride Of this vain nothing shall be mortified) Nor shall the Muse (should fate ordain her rhymes, Fund, pleasing thought! to live in after-times) With such a trifler's name her pages blot; Known be the character, the thing forgot; Let it, to disappoint each future aim, Live without sex, and die without a name!

CHARACTERS OF QUIN, SHERIDAN, AND GARRICK.'

FROM THE SAME,

Quin, from afar, lur’d by the scent of fame,
A stage leviathan, put in his claim,
Pupil of Betterton and Booth. Alone,
Sullen he walk'd, and deem'd the chair his own,

For how should moderne, mushrooms of the day,
Who ne'er those masters knew, know how to play?
Gray-bearded vet’rans, who, with partial tongue,
Extol the times when they themselves were young;
Who having lost all relish for the stage,
See not their own defects, but lash the age,
Receiv'd with joyful murmurs of applause
Their darling chief, and lin'd his favourite cause.

Far be it from the candid Muse to tread
Insulting o'er the ashes of the dead,
But, just to living merit, she maintains,
And dares the test, whilst Garrick's genius reigns;
Ancients in vain endeavour to excel,
Happily prais’d, if they could act as well,
But though prescription's force we disallow,
Nor to antiquity submissive bow;
Though we deny imaginary grace,
Founded on accidents of time and place;
Yet real worth of ev'ry growth shall bear
Due praise, nor must we, Quin, forget thee there.

His words bore sterling weight, nervous and strong In manly tides of sense they roll'd along. Happy in art, he chiefly had pretence To keep up numbers, yet not forfeit sense. No actor ever greater heights could reach In all the labour'd artifice of speech.

Speech! Is that all ? —And shall an actor found An universal fame on partial ground? Parrots themselves speak properly by rote, And, in six months, my dog shall howl by note.

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I laugh at those, who, when the stage they tread,
Neglect the heart, to compliment the head;
With strict propriety their care's confin'd
To weigh out words, while passion halts behind.
To syllable-dissectors they appeal,
Allow them accent, cadence,-fools may feel;
But, spite of all the criticising elves,
Those who would make us feel, must feel themselves.

His eyes, in gloomy socket taught to roll,
Proclaim'd the sullen habit of his soul.
Heavy and phlegmatic he trod the stage,
Too proud for tenderness, too dull for rage.
When Hector's lovely widow shines in tears,
Or Rowe's gay rake dependant virtue jeers,
With the same cast of features he is seen
To chide the libertine, and court the queen.
From the tame scene, which without passion flows,
With just desert his reputation rose ;
Nor less he pleas'd, when, on some surly plan,
He was, at once, the actor and the man.

In Brute he shone unequallid: all agree Garrick’s not half so great a brute as he. When Cato's labour'd scenes are brought to view, With equal praise the actor labour'd too; For still you'll find, trace passions to their root, Small diff'rence 'twixt the stoic and the brute. In fancied scenes, as in life's real plan, He could not, for a moment, sink the man. In whate'er cast his character was laid, Self-still, like oil, upon the surface play'd.

Nature, in spite of all his skill, crept in:
Horatio, Dorax, Falstaff, --still 'twas Quin.
Next follows Sheridan-a doubtful

name,
As yet unsettled in the rank of fame.
This, fondly lavish in his praises grown,
Gives him all merit: that allows him none.
Between them both we'll steer the middle course,
Nor, loving praise, rob judgment of her force.

Just his conceptions, natural and great: His feelings strong, his words enforc'd with weight. Was speech-fam'd Quin himself to hear him speak, Envy would drive the colour from his cheek: But step-dame nature, niggard of her grace, Denied the social pow'rs of voice and face. Fix'd in one frame of features, glare of eye, Passions, like chaos, in confusion lie: In vain the wonders of his skill are tried To form distinctions nature hath denied. His voice no touch of harmony admits, Irregularly deep and shrill by fits: The two extremes appear like man and wife, Coupled together for the sake of strife.

His action's always strong, but sometimes such, That candour must declare he acts too much. Why must impatience fall three paces back? Why paces three return to the attack? Why is the right-leg too forbid to stir, Unless in motion semicircular? Why must the hero with the nailor vie, And hurl the close-clench'd fist at nose or eye?

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