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And till eternity with power sublime
This” Monument, the tribute of a friend,
* Close by, but along the lower range to the left, is a tabular monument, surmounted by a coat of arms, to the memory of Isaac Casaubon, an author and editor, eminent for his learning, who was born at Geneva in 1559. He was initiated in letters at Crest in Dauphiny, for which place his father was chosen Cabinet Minister. Removing to the University of his native place in 1578, his proficiency was so remarkable, that he became a Professor of Greek within the term of four years. In 1586, he married a daughter of Henry Stephens, the critical printer, a lady who bore him twenty children. In 1598, he proceeded to Paris, was patronised by Henry IV., made a Professor of the Metropolitan University, and presented with a pension, which was so irregularly paid as to provoke some complaints. Hopes were now entertained that he would imitate his royal master and become a convert to the Church of Rome, and his reluctance to concur with Du Plessis Mornay, in the confer. ence held at Fontainbleau with Cardinal du Perron, gave force to the idea. He seems, however, to have been of Dr. Johnson's opinion, that a man should persist in the faith of his father; for though he inclined to the cause of the Pontiff, he refused to embrace his religion. In process of time he succeeded to the post of King's Librarian, and received an additional pension. His reputation was at the highest, when the assassination of Henry clouded all his prospects, and he again sought a new fortune in England. His reception was highly flattering: James I. treated him with great respect, and provided for his support by giving him a prebendal stall, first in Westminster Abbey, and afterwards in Canterbury Cathedral. In return for this patronage he humoured the temper of the sovereign by writing against the Catholics, an odious labour, to which, according to his panegyrists’ gratitude, but not inclination, impelled him. The period of his death, which was occasioned by a disease of the bladder, will be found in the following version of the Latin epitaph upon his tomb:
David, the fourth child of Peter Garrick, a captain in the army, and Miss Clough, daughter of a Vicar in Litchfield Ca
Library, and, while he lived, held him dear. When that Prince
He di-ed breathing eternal life in Christ, on the kalends of July,
To a man the most excellent, and most worthy of immortality,
He who would become acquainted with Casaubon, should
thedral, was born at the Angel Inn, Hereford, during the month of February, 1716. He was put under the care of Mr. Hughes, master of Litchfield grammar school, when only ten years old, and though he failed to give any marked earnest of literary talent, presented early indications of a theatrical taste; for he got up a performance of the Recruiting Officer amongst his school-fellows, and played the part of Serjeant Kitely, when not much more than twelve years old. After a short time he was sent to Lisbon, where a paternal uncle carried on an extensive business in the wine trade; but a fear that the levity of foreign manners might corrupt his disposition, occasioned a speedy return to his parents, who again placed him at school. The person to whom he was now confided was the celebrated Samuel Johnson, who proposed to receive a few pupils at Litchfield in 1739; but it is perhaps unnecessary to add, that those pupils were so very few, that he conceived a disgust for the character of a pedagogue, and that both
Qui nosse vult Casaubonil Superfuturas marmori Non sara sed chartas legat Et profuturas posteris.
Casaubon's character as a man has been described to us as modest, candid, upright, and averse to controversy. When shown into the Sorbonne, and told it was the place in which the fathers of the French Church had disputed for nearly 400 years, he simply exclaimed—“Ay, and what have they decided?” As a scholar, his industry and talent may be inferred from a list of his works, which comprise, ‘In Diogenem Laertium Notae, fol.; ‘Strabomis Geographiæ,’ fol.; ‘Novum Testamentum Graecum;’ ‘Lectiones Theocritica, 12mo, ; “Polyaeni Stratagematum;’ ‘Animadversiones in Dionysium Halicarnassensem;’ ‘Aristotelis Opera Graeca,’ fol.; “Dicaearchi Geographia: “Theophrastes Characteres,’ 12mo, “C. Plinii Caec. Sec. Epist.; ‘Suetonii Tranquilli Opera,’ 4to.; ‘L. Apuleii Apologia,’ 4to.; ‘Historiae Augustae Scriptores;’ ‘Athenae Deipnosophistorum,’ 2 vols. fol.; De Satyrică Graecorum Poesi, et Romanorum Satyra;’ ‘ Persii Satyrae,’ 8vo.; ‘De Libertate Ecclesiastică Liber,’ 8vo.; Polybii Opera;' De Rebus
Sacris et Ecclesiasticis Exercitationes,’ fol.; ‘Ad Frontonem Ducaum Epis
tola;’ ‘Epistola ad Card. Perronium.” His own Epistles in Latin have also been repeatedly published.
he and his solitary pupil soon after set out on an excursion to London. This journey, which took place early in the year 1736, has been ordinarily represented as a mere speculative adventure upon the part of the one and the other; but whatever may have been the case with Johnson, Garrick seems to have been directed to a fixed purpose, and to have been sufficiently provided with means for its attainment. He carried with him a letter of recommendation from Gilbert Walmesly, the registrar whom Johnson has so feelingly commemorated in the Lives of the Poets, to Mr. Colson, an eminent mathematical schoolmaster at Rochester. Under his tuition it was intended that Garrick should improve himself, while he kept his terms as a law student at Lincoln's Inn, where he was admitted on the 9th of March, 1736. It cannot, in all probability, be thought strange, that the youth who had gained no literary distinction when under the influence of an able master, should now fall short of the merits of gratuitous application to a dry study. Alike indifferent to law and mathematics, Garrick fortified his mind by none of the acquirements which his new situation afforded. Ere long the death of his father made him his own master, and soon after, the death of his uncle put him in possession of a thousand pounds. He abandoned the destined profession of law, engaged in the wine trade with a brother in Durham Yard, failed, and then threw himself on the stage. His first appearance before the public was hazarded at Ipswich, during the summer of 1741, under the assumed name of Lyddal, and the management of Giffard, who also occupied the London theatre in Goodman's Fields. His success, even at a first effort, was complete: he began with the part of Aboam in Oroonoko, and ran through a variety of other characters with such consistent applause, that when the town season commenced in October, Giffard gave him an engagement. It has been represented that his services were previously declined by the proprietors of the standard houses, but there appears no evidence of such a fact; and the nature of his circumstances seems to refute the supposition. Be that as it may, he challenged the admiration of a metropolitan audience as Richard III. on the 19th of October, 1741, and decided his theatrical fortune in one night. The accounts which describe this event are characteristically sublimated: we are told, for instance, ‘that his conception of the part was so clear, his powers of execution so great, and the combination of talents he displayed so rich, varied, and uncommon, that he fixed his fame at one stamp, not only equal, but superior, to any actor of the time then present or past. Like the sun bursting from behind a cloud, he put forth at his very earliest dawn a somewhat more than meridian brightness. The polite establishments were deserted; the carriages of the fashionable, the wealthy, and the noble, poured down through the narrowness of the city to the obscurity of the east end, and every rank and order of society crowded ... to express their wonder at the newly-sprung Roscius.” Tempering the heat of this inflation, however, Garrick's first appearance was distinguished by original merits which justify the highest praise. He had not exceeded his four-and-twentieth year; he was comparatively inexperienced in the profession, and yet had the courage to make an innovation, impressively recommended by good sense and taste. Laying aside the periodical recitation and affected rotundity, as wels as the artificial motions of the old school, he delivered himself in a natural tone of voice, and adopted a perfect ease and freedom of bearing. This was a signal improvement, and it must have been ably enforced, or it never could have been tolerated without resistance. There was also a very commendable degree of tact evinced in his choice of the part of Richard: it required no dignity of stature, and little personal restraint, but abounded, on the contrary, with those strong and sudden variations of feeling which gave ample scope for the compass of voice and attitude in which he excelled. The advantages which this popularity entailed upon the ignoble boards of the theatre in Goodman's Fields, naturally excited the resentment of the greater establishments, and two measures were adopted to subdue the attraction. On the one hand, Giffard was menaced with a prosecution for infringing upon their patents by performing the regular drama, while, on the other, Garrick was tempted from his service by the offer of a more advantageous engagement at Drury Lane. The latter took effect, and Garrick was legitimately established as an actor. Concluding the season of 1742 with increased distinction, he passed the summer in Dublin, where his reception was equally flattering, and returned to Lon