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Familiar Epistles To Frederick J---s, Esq

On the Present State of the Irish Stage. Second Edition with Considerable Additions [by J. W. Croker]
  
  
  

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TO FREDERICK J---S, Esq. PATENTEE OF THE THEATRE ROYAL.
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TO FREDERICK J---S, Esq. PATENTEE OF THE THEATRE ROYAL.

FIRST EPISTLE.

Tu, quid ego, et populus mecum desideret, audi.
Hor. A. P

J---s , who direct with equal skill
The bill of fare, and play-house bill,
Whose taste all other palates sways
Either in dishes, or in plays,

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And rightly judges where there should
Come entremets or interlude;
Whose genius never at a loss is
Either for farces, or for sauces,
And regulates with happiest care
An epilogue or a dessert.
You, who with equal judgment sit
The arbiter of wine and wit,
By palate and by patent plac'd
Upon the double throne of taste;
If you, dear Manager, can spare a
Moment from Turbot and Madeira,
You'll find perhaps that my Epistle,
Tho' not so sweet to mouth or whistle,
And flat, in edible respect,
Is savoury to the intellect.

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For I would seek the wond'rous cause,
That abrogates our ancient laws,
And like the Gallic revolution,
Subverts old Crow-street's constitution;
Thus Shakespeare, Monarch of the realm
Of plays, his subjects overwhelm,
And mad with rebel fury grown,
Insult, and sentence, and dethrone;—
Thus Fletcher, Jonson, Otway, Rowe,
The nobles of the stage, are low,
Or else dispers'd by barbarous arts,
Are émigrés in foreign parts;
Whilst in their places rise and sit,
The very tiers-etat of wit;

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And high o'er all in tragic rage
Kotzebue, chief consul of the stage;
Of lineage foreign and obscure,
Of manners harsh, of thought impure;
Bold, brutal, bloody and in few,
Just like his brother of St. Cloud.
In managers, the stage and state
Have to lament as hard a fate;
'Tis no more Barry, or Choiseul,
Fleuri, or Sheridan, that rule,
But Talleyrand and J---s appear,
And Fouché there, and F*ll*m here.

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But with comparisons a truce—
What is our manager's excuse?
What can he urge in his defence,
For want of judgment and of sense?
“He owns,” he says, “the ancient plays
“Are seldom acted now-a-days,
“And modern critics rather choose
“A younger than a grandam muse;
“That 'tis his business to provide
“For people's tastes and not to guide,
“And with the nice and squeamish town,
“That novelties alone go down.”

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But can we not ourselves produce
These novelties for Irish use,
That we to foreign hands must roam,
For goods we us'd to make at home?
Where is the soul of drama fled?
Is genius paralyz'd or dead?
That artless Southerne's native shore,
Produces tragic bards no more.
Shall Farquhar's, Congreve's, native isle
No more with wit peculiar smile?
And can no kindred soul, from death,
Catch Sheridan's expiring breath,
And give the stage, for one life more,
A lease of humour's choicest store?
Does time with niggard hand inspire
Our later age with feebler fire?
Or is it that dramatic genius
In Ireland's a crime so heinous,

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That no man durst presume to shew it
Either as player or as poet?—
Heaven ne'er inflicts a mental blight
On all abilities outright;
The rain and wind will ruin corn,
But what can mildew wit unborn,
And blast like barley, wheat or bere
Genius “en ventre de sa mere.”
How comes it then that 'tis by rumour
Alone, we know of Irish humour,
And our dramatic talent all is
Comprized in Atk---on and La---ess? —

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Poor Atk---on, kind hearted creature.
Soul of good humour and good nature,
Whose inoffensive gabble runs
Eternal, with eternal puns,
But fit to write a play, no more
Than J---b P---le, or Lord Gl---ore.

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La---ess indeed I own is not
Unfit to carry on a plot,
And, as we're ready to confess,
Preserves the unities t' excess;
But for the rest,—the glowing mind,
Terse thought, and dialogue refin'd;
He'll do our country as much honour
As Nelson, Russel, or O'Connor.

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Unhappy Dowling! on your head
The crimes of other men were shed,
And prudent L---less heard secur'd
The hearty hiss that you endur'd,
Whilst in your secret soul you thought
'Twere better hammer pan or pot,
Or e'en with hireling pencil trace
G---n's shape, or K---x's face,

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Than hope to rise to wealth or fame,
By father'd play and borrow'd name.
But some aver that the defect
Springs from the Manager's neglect;
“For who of common sense,” they say,
“Would write what there are none to play,
“Or venture to entrust his pieces
“To such a company as this is,
“Who seem with equal skill to handle
“Lock and Key, and School for Scandal.
“Holman may carry to our neighbours
“Of Drury Lane, his Irish labours,

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“And M---e, with Coleman's aid evince
“His genius in the Gipsey Prince,
“But bards in gen'ral would be undone
“By the mere journey up to London.
“And thus in Irish durance pent,
“The brightest mind must be content
“To see our thespian murderers maul
“His scenes, or else not write at all.”—

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This censure, whether false or just,
Cannot at present be discuss'd,
But if I find, you take not this ill
I'll weigh it in my next Epistle.
 

To such of my readers as have the misfortune not to belong to Daly's, or be in habits of eating with the bon vivants of Dublin, it may be necessary to say, that Mr. J---s understands the regulation of a table at least as well as that of a Theatre; which is not surprising, when we consider how much more the former has employed his thoughts and his time.

Our old English authors however despised at home, are in high request abroad, and afford indeed a very ample fund to the French and German plagaries.

Without having any great respect for Kotzebue's moral character, it is but justice to declare, that it is only in his dramatic capacity that I compare him with the worst man of this, or perhaps of any age.

Far be it from me to put those respectable gentlemen, in the same rank with the apostate Talleyrand, or the Septembriser Fouché, in any other than a metaphorical sense; they are the ministers of a revolutionized stage; as such I dislike and oppose their administration: But very unlike other oppositionists, I may be brought over by a change of measures, without a change of men.—If Mr. Windham reads this note, he will pronounce me an egregious blockhead.

Divini ingegni, i quali coi lor belissimi pensieri e noblissimi opere la patria ed età loro adornavano. Tolom: Oraz.

And shall we never see their like again?—

Joseph Atk---on, Esq. M. R. I. A. &c. &c. Author of “Love in a Blaze,” an operatical drama, a strange collection of stupid, and sometimes indecent vulgarisms, upon which Sir John Stevenson threw away some very good music, which it had cost him much trouble to compile.

“A cette mervielle là,
“Plus d'un spectature bailla.”
Some even went further, and were even rude enough to hiss; nor had poor Atk---on the satisfaction of adding to the “populus me sibilat”the “nummus contemplor in arcâ” his piece was damned, and most unprofitably damned, tho' he himself attended the representation, and encouraged it with extraordinary efforts of personal applause.

L---ess, the author of “Trial's All,” a Comedy, produced not long since at Crow-street. If I remember rightly, the plot was, that a young man, accused of a conspiracy, is brought to trial and acquitted; what could have turned Mr. L---ess's cogitations to such Green-street subjects?

J---b P---le, our late Lord M---r, a citizen of pretorian activity and critical acumen.

I am told that this noble Peer is a scholar and a man of parts; shall I venture to own, I never could discover in him any resemblance to either. He would make a good Lord of the bed-chamber, but for any thing else—!!!

Can these mean play-house plots and unities?—Mr. L---ess, I am told, has consulted Counsel, with a view of prosecuting my Printer for a libel. Is this then the stuff of which patriots are made? Are those the men who profess themselves friends to the liberty of the press? The very word Press conjures up odd recollections, and they are not recollections of consistency and candour.

This person from being a brazier, metamorphosed himself into a very middling painter, and finally became an indifferent actor, under the title of Mr. Herbert.—He fathered L---ess's play, which before representation was extolled as a miracle of genius, but alas! “Trial's All”—the piece was not so fortunate as its hero. I do not forget to Mr. D---ing, the play he chose for his benefit in a time of sedition and Jacobinism, when even those who in general were incredulous of proverbs, began to fear that ‘Vis unita fortior’ was but too true. I hope Mr. Dowling's error was not intentional, or if it was, that he has come to a sounder way of thinking.

Had these gentlemen not been often publicly assured that they were not beauties, I should not have presumed to have made them the au pis aller, of a painter's aversion.

Had these gentlemen not been often publicly assured that they were not beauties, I should not have presumed to have made them the au pis aller, of a painter's aversion.

Holman is now in London, soliciting the acceptation of a piece, written during his stay in Ireland— The play it appears has been damned, but this does not affect my argument: had it been brought out here, it would have been doubly damned, once for its own sake, and again for that of the players.

Tommy M---e. In Ireland we used to shew our admiration of his poetic talents, by asking him to supper; in England they reward him with a commercial, and in some degree legal office—this shows the difference of the national taste;—with us, abilities are dissipated in conviviality, and with them, fettered by the ties of interest and business. Between us, I fancy poor Tom is not likely to be much improved, or even enriched. And I am truly sorry for it; for with about as many faults as other people have, he possesses twice as much genius and agreeability as any body else. I cannot say much for his morality.—

In such hands, if any person were mad enough to write for the Irish stage, I fancy we might say with the French Vaudeville:

Tandis que l'un tombe sur l'or.
L'autre tombe dans la misére;
Rarement on tombe d'accord,
Beaucoup tombent dans la rivière.
On voit quelquesois un amant
Tomber au genoux de ses belles;
Mais ce qui tombe très souvent,
Ce sont nos pièces nouvelles.

The Reader will observe, that this line bears the mark of my original design of publishing by livraisons—let me add, that I have reason to hope Mr. Jones does not take my freedom ill. He is too much a man of the world, to be vexed at a little good humoured raillery on his scientia edendi—I dare say had I even told the story of the ham slewed in Madeira he would have forgiven me.