that he needed none to hold his hand to hold the sceptre:' meaning that he was then of age to reign himself without any help from his mother, or her implements; and the allusion is to a service at the coronations of our kings, when the duke of Norfolk, by virtue of his tenure of Wirksop manor, co. Notts, supports the royal arm whilst he holds the sceptre. See Ogilby's coronation of King Charles II. p. 181." P. 171.

"XCIV.

"The motto under the arms of the corporation of cutlers at Sheffield is, pour parvenir a bonne foy, of which no sense can be made; and I should think it must be a corruption, through ignorance and length of time, for, pour parvenir ayez bonne foy, that is, to succeed in business, take care to keep up your credit; a sentence very proper for a trading, and especially a manufacturing corporation." P. 176.

" III.

"The hammer-cloth is an ornamental covering for a coach-box: the coachman formerly used to carry a hammer, pincers, a few nails, &c. in a leather pouch hanging to his box, and this cloth was devised for the hiding or concealing of them from public view." P. 181.

"One who was learning thorough-bass, was observing how difficult it' was, and how long he should be in learning it: the friend replied,

ay, ay,

"Nemo repentè fuit turpissimus-'

JUVENAL."

(P. 186.)

This reminds us of the man, who proved Juvenal's assertion to be untrue, by instancing his suddenly turning a corner, and meeting the discharge of a bucket of dirty water.

"To shend is a good old English word, signifying to spoil, ruin or destroy. Townshend is therefore a surname very properly conferred on any great warrior, as all our gentlemen of family formerly were.. It answers to the French Sucville, and the Greek Πολιπόρθος.”

"But,"

In such a phrase as nobody but you and me; says our author, "is bout, that is without;" p. 213. Horne Tooke however, would tell him that but is from botan-to boot, i. e. to superadd, &c. See Divers. Purl. Part I. "In Cent. I. xcviii. he tells us-" something of a laudable voice; which I take to be a mere corruption of an audible voice;" but these people must surely be the family of the Slip-slops. A laudable voice is very well where it is meant

"You will hear people talk

to say that the voice is praiseworthy; and perhaps laudable for audible might in some measure be defended by what Cruquius says (on Horace, 1. 5, od. xi. v. 19.) "Laudaveram. This verb, in good authors, often signifies, to speak, to declare.”

[To be concluded in our next.]

Summer Excursions through Parts of Oxfordshire, Gloucestershire, Warwickshire, Herefordshire, Derbyshire, and South Wales. By Elizabeth Isabella Spence, Author of "The Nobility of the Heart," and "The Wedding Day" 2 Vols. Longman and Co. 1809.

MISS SPENCE, from whose performances in the department of novel-writing, we have frequently derived considerable satisfaction, has now for the first time relinquished the province of fiction, to delineate an excursion, which she has made through some of the most romantic counties of England; a task which she has executed with a taste and judgment inferior to none of the most celebrated of modern tourists; her descriptions of rural scenery, as far as it is possible for the language of prose to convey any idea of the beauties of the country to the imagination of the reader, are entitled to the highest approbation; and though she is an enthusiastic admirer of the picturesque, yet her enthusiasm is never strained into nonsense and hyperbolic extravagance. These volumes will be found extremely amusing to all, and particularly useful to those whose inclination or leisure invites them to visit these parts of England. This work contains also a number of pleasing and instructive anecdotes.

A Short Account of the late Mr. R. Porson, M. A. By an Admirer of a great Genius. pp. 23. Baldwin. 1808.

THE motto, with a sort of pun in the Greek, is from Pindarmeketi-papṭaine PORSION. Look for nothing beyond him; and for a head for bearing Greek and wine, we expect to see no equal in our time. The account is indeed short, but it is amusing, and to scholars the disquisitions it involves, will be interesting.

The "sketch from memory" of Porson, which ornaments this tract, reminds us strongly, in every respect, of those sketches that adorn certain little pamphlets purporting to be, "The last dying speech, &c. ofexecuted this morning for the cruel and bloody murder of, &c."

THE BRITISH STAGE.

Τα αμφι τω θεατρῳ, και τοις τοιέτοις χωρίοις.

Marc. Antonin. lib. vi. § xlvi.

Nil novum, nihil quod non semel spectâsse sufficiat.

De Circensibus Plin. l. ix. ep. fi

ANSWER TO A CORRESPONDENT'S REMARKS

ON

JOHNSON'S OPINION OF PLAYERS.

W

MR. EDITOR,

HEN I perused the MIRROR for last June, my indignation was excited against one of your correspondents, for not a little ignorance, vanity, and presumption; but no person having as yet taken up the rod, perhaps you will permit me to give him a gentle castigation.

The gentleman, who subscribes himself MARTIN,* introduces Dr. JOHNSON expressing a sentiment of contempt for the profes sion of a player, and plainly tells us that in this instance the Doctor talked downright nonsense. This certainly is a bold assertion, and I think that your correspondent might have deigned to favour us with a few arguments, to prove that the Doctor was so very much mistaken in his notion, as to deserve such low abuse. We know that the profession of an actor among the Romans was accounted infamous, and the public is not at present so unanimous in its opinion of the excellence of the profession, but that a man may maintain either side of the question, without being designated by those names, which properly belong only to those who oppose the most simple and obvious truths.

But Mr. MARTIN declares it to be highly probable that JoHNSON never uttered the sentiment ascribed to him, and he therefore charges BOSWELL with want of veracity. For my part, Mr. Editor, I long to defend the character of such an " honest chronic

Vol. V. p. 364.

cler" as BOSWELL, for a more entertaining work than his Life of JOHNSON, is not to be found in all English literature, and we may well join in the exclamation of a celebrated modern writer, that 66 we should all regret the loss of this cheerful, this pleasant, this inimitable biographer." Mr. MARTIN grounds his opinion that JOHNSON could not have such a disrespect for players, on the three following reasons: That JOHNSON wrote for the stage; that he never uttered similar sentiments; and that he was the admirer and friend of GARRICK. If Mr. MARTIN could separate his ideas, he would discover that a poet and a player are two distinct characters, and that, therefore, although a man might approve of the one, yet it does not follow that he should praise the other. But for a moment to suppose that there is no such distinction, then we may say that when a man employs his genius for the stage, it is no greater proof that he esteems the profession of an actor, than that a man necessarily admires the trade or business to which he belongs; whereas, in truth, HORACE and the world tell us that the contrary is the case. Dr. JOHNSON, in the conversation alluded to, was not contending for victory more than for truth, but he was supporting an opinion which he had always entertained. One night when GARRICK was playing Lear, Johnson was sitting near the side scenes, and talking very loud. GARRICK walked up to him, and requested silence, for he said the noise disturbed his feelings. Pshaw, said Johnson contemptuously, Punch to have feelings! Upon another occasion he asked Mr. KEMBLE whether he was one of those enthusiasts, who believe themselves transformed into the very character they represent? Mr. K. replied in the negative. "To be sure not, sir," said JOHNSON," the thing is impossible, and if GARRICK really believed himself to be that monster, Richard the Third, he deserved to be hanged every time he performed it." These two instances (and many more could be brought) are sufficient to shew what a poor idea JOHNSON always entertained of theatrical merit. That the Doctor loved GARRICK is certain, but that for such a reason he should admire the profession of a player, my poor head cannot discover. JOHNSON loved him, not so much for his mi mic powers, as for his social and friendly qualities, for he fre quently said that variety was GARRICK'S excellence; that every part he performed, had been better enacted by some one else, X-VOL. VI.*

and that altogether he was more to be envied at the head of a table, than upon the stage.

Your correspondent says that JOHNSON illustrated the truth of his own observation, that an author's talk was generally inferior to his writings. He might have said so of DRYDEN, the cause of whose feebleness in conversation, as JOHNSON observes, it is needless to enquire, or of POPE,, who never would relax from the dignity of a poet, and, therefore, his conversation was formal and unbending; or of ADDISON, who never could talk till wound up by wine to the talking pitch; or of ADAM SMITH, who had always the idea of book-making so predominant in his mind, that he never would communicate his knowledge in social intercourse; but the "talk" of Dr. JOHNSON was so celebrated for sense, penetration, and knowledge, that at his presence the sophist shrunk into his natural insignificance, the profligate passed not the bounds of decorum, and the presumptuous were awed into silence: while to those who looked up to him he opened the stores of his mind; the natural goodness of his heart (and, as GOLDSMITH said, no man was at bottom more tender and compassionate) broke through the roughness of his appearance, and he ensured respect from the wise, and admiration from the simple. Notwithstanding that he improved the morals, and reformed the taste of his country, and although his authority is still universally quoted to settle any dispute with regard to these particulars; yet, Mr. Editor, we need not wonder that there are men of that conceited ignorance which the Doctor so delighted to repress, and who are daily realizing the admirable exclamation of Dr. PARR, that now the old lion is dead, every ass thinks he may kick at him."

CARLOS.

IN

MR. LEIGH'S GRIEVING'S A FOLLY.

MR. EDITOR,

N your critique on Mr. Leigh's comedy," I see you refer to the Ephesian Matron, as the prototype of the hypocrisy of Sir Oliver Cypress, but something nearer to it will be found in the character of Lady Plus, in The Puritan, or the Widow of Watling-Street,

*Vol. V. P. 303.