THE ROSCIAD. THE structure of this Poem appears to be founded on the old notion of a Session of the Poets, in which, on the demise of the Laureate, the poets of the time were supposed to make their claim to the laurel in the presence of Apollo. The Rosciad stole anonymously into the world in March, 1761, being announced by only one or two advertisements, without any notice of its subject or its plan, and was acknowledged, by every impartial judge, to be a most excellent theatical critique. The satire, though severe, was generally just. A number of Pamphleteers and Poetasters drew their pens in defence of the actors, but their productions being of the most contemptible order, only served to increase the reputation of the Author, and promote the sale of his Poem. The critical reviewers confidently attributed this Poem to Mr. Robert Lloyd, who had in the preceding year published a Poem, called the Actor; or to the united efforts of Lloyd, Colman, and Thornton, the two former of whom advertised their disclaimer;* but so tenacious * The following advertisements appeared on the occasion in the St. James's Chronicle, and other Newspapers: Whereas in the Critical Review, published this month, it is roundly reported that I am author jointly, if not solely, of a poem called the Rosciad; and whereas the reviewer has, in consequence of that supposition, taken occasion to throw out many reflections injurious to my character, I think I am bound in justice to myself to declare most solemnly, in this public manner, that I was not in the least concerned in writing or publishing the poem above mentioned. 2 April, 1761. GEORGE COLMAN. The Authors of the Critical Review having attributed a Poem called the Rosciad to Mr. Lloyd, he thinks it a justice due to the author and himself thus publicly to declare, that he never was concerned, either directly or indirectly, in the writing of it, nor in the least privy to its publication. 2 April, 1761. VOL. I. 8 ROBERT LLOYD. were the Reviewers of their opinion, that they professed to "emain unconvinced, even when the name of Churchil appeared to the second edition. They persisted in this unbelief till the severity of the Apology lashed them out of their infi delity. In the title-page to the second edition our author asserted his claim to the Poem, and at one bound sprung from complete obscurity to the first rank in literary fame. To his celebrity the actors themselves in no small degree contributed; they, as Davies ingenuously confesses, ran about the town like so many stricken deer, and strove to extract the arrow from the wound by communicating their misfortune to their friends. The public enjoyed their distress, and considered the Rosciad as a pleasant and reasonable retaliation for the mirth which the stage had continually excited by the representation of the follies and frailties of mankind. Excepting Garrick, there was not a single man amongst the players of that period who, in the first impression, entirely escaped the Poet's satirical lash. Those who were foremost in expressing their anger had only the misfortune of being treated with greater severity in subsequent editions. In this respect Churchill has been blamed by some writers, and it has been said that the Rosciad was not always benefited by the alterations which it received. Perhaps there is little foundation for this assertion; but, however that may be, it is certain that its excellence enabled it firmly to maintain its ground against all opposition. Though Anti-Rosciads, Triumvirates, Churchilliads, Examiners, &c. were published in vindication of the players; they were so poorly written that they only served to swell Churchill's triumph. The satirist had for a long time frequented the play housé: he bestowed incessant attention on stage representa tion; and by close application laboured to understand perfectly the subject which was the choice of his muse. His observatory was generally the first row of the pit, next to the orchestra; from this place he thought he could best discern the real workings of the passions in the actors, or detect the first symptoms of affectation or inattention. When Churchill first published the Rosciad anonymously, those performers who thought themselves roughly handled by nim, vowed vengeance against the author, should he ever have the temerity to publish his name. Churchill hearing this, immediately ordered his bookseller to put his name at full in the next edition, which was accordingly done, and the day after Churchill went to the Bedford Coffee House where he was sure of meeting some of his exasperated adversaries; spying a group of them at the lower end of the room, he boldly marched up, and drawing off his gloves with great composure, called for a dish of coffee and the Rosciad, in a tone of voice that by no means indicated the least spark of apprehension. This menace, however, produced no other effect for the present than their judiciously moving off, one by one, till they left the box entirely to himself. This anecdote, of course, immediately spread among the actors, and the conduct of the pusillanimous party was much laughed at, and despised by the buskined heroes of the green room, who bragged that it was their only wish to repair the honour of their fraternity, by exhibiting their own valour. Churchill soon after happened to be in a room at the Rose Tavern, where there was no other company but Yates, and one Clark, a respectable, but obscure actor. The conversation turning on the above circumstance, which Churchill placed in a very ludicrous point of view, a quarrel ensued between him and Yates, which the latter was for deciding immediately, in the Dutch fashion (Snick a snee). Churchill thought this rather too desperate, but fearing lest his courage should be questioned, at length agreed, and each seized a case knife for the purpose, but the comedian's prudence at that moment recurring, put it off for the present, and saying he should soon hear from him, left the room. Clark, upon this, began commenting on the conduct of both parties, and remarked to Churchill it was well for him he did not attempt treating him in that manner. "And what would you have done, if I had, good Sir?" asked the bard, in an ironical manner. "Put you to death on the spot," said the other. Churchill, instead of replying, immediately ran up to him, embraced him, and begged the honour of his acquaintance, declaring that he was the only actor of spirit he had met with in either house. The difficulty experienced by the Editor in procuring some of the following notices of persons once, and that at no distant period, in full possession of public notoriety, could not but forcibly bring to his recollection, that, while Painters, Sculptors and Poets can by their works insure immortality to their names, The Actor ony snrinks from time's award; Th' expressive glance-whose subtle comment draws And, cloth'd with orient hues, transcends the day!- All perishable!-like th' electric fire But strike the frame-and as they strike expire; Its fragrance charms the sense, and blends with air. THE ROSCIAD. Unknowing and unknown the hardy muse Roscius deceased, each high aspiring player 1 By way of beginning at the beginning, we cannot better enter on a survey of the modern stage in its most brilliant æra, than by adverting to the Garrick of ancient Rome, the friend and companion of Sylla and of Cicero: as Garrick was of Pulteney, of Johnson and of Burke. Quintus Roscius, a native of Narbonese Gaul, was the most celebrated comedian of antiquity, and had the additional merit of being among the first who discovered and appreciated the merit of Cicero, whom Roscius prevailed upon to undertake the defence of his brother-in-law P. Quinctius, though Cicero at first endeavoured to excuse himself, alleging "that he should not be able to speak a word against Hortensius, any more than the other players could act with any spirit before Roscius." Cicero soon afterwards had an opportunity of exerting, in return, his wonderful talents in behalf of his friend; the cause he pleaded was this: "One C. Fannius had made over to Roscius a young slave to be formed by him to the stage, on condition of a partnership in the profits which the slave should acquire by acting. The slave was afterwards killed, and Roscius prosecuted the murderer for damages, and obtained, by a |