FROM THE ROSCIAD
[QUIN, THE ACTOR]
His eyes, in gloomy socket taught to roll,
Proclaimed 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 dependent 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 pleased when, on some surly plan,
He was at once the actor and the man.
In Brute he shone unequalled: all agree
Garrick's not half so great a brute as he.
When Cato's laboured scenes are brought to view,
With equal praise the actor laboured too;
For still you'll find, trace passions to their root,
Small difference '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 played.
Nature, in spite of all his skill, crept in:
Horatio, Dorax, Falstaff—still 'twas Quin.
FROM THE GHOST
[DR. JOHNSON]
Pomposo, insolent and loud,
Vain idol of a scribbling crowd,
Whose very name inspires an awe,
Whose every word is sense and law,
For what his greatness hath decreed,
Like laws of Persia and of Mede,
Sacred through all the realm of wit,
Must never of repeal admit;
Who, cursing flattery, is the tool
Of every fawning, flattering fool;
Who wit with jealous eye surveys,
And sickens at another's praise;
Who, proudly seized of learning's throne,
Now damns all learning but his own;
Who scorns those common wares to trade in,
Reasoning, convincing, and persuading,
But makes each sentence current pass
With 'puppy,' 'coxcomb,' 'scoundrel,' 'ass,'
For 'tis with him a certain rule,
The folly's proved when he calls 'fool';
Who, to increase his native strength,
Draws words six syllables in length,
With which, assisted with a frown
By way of club, he knocks us down.