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 been familiar with the theatres, and frequented them closely for two months to prepare his poem. He offered the copyright for twenty guineas to the booksellers, and, on their refusal to give more than five, published the poem at his own risk in March 1761. It won almost immediately a success not equalled by any satire between Pope's 'Dunciad' and Byron's 'English Bards and Scotch Reviewers.' The success was due in part to a genuine vigour, which showed Churchill to be a not unworthy disciple of Dryden, whom he admired and imitated, and partly to the more transitory effect of its personalities. Garrick and the leading actresses, Mrs. Pritchard, Mrs. Gibber, and Mrs. Clive, were warmly eulogised, but all the best-known actors of the day were the subjects of graphic and uncomplimentary portraits, now often their best surviving titles to recollection. The effect produced is vividly described by Davies in his life of Garrick, who was himself, according to Boswell and Johnson (Life of Johnson, 20 March 1778), driven from the stage by the verse,

He mouths a sentence as curs mouth a bone.

The 'Critical Review ' (xi. 209-12), then in Smollett's hands, criticised the poem, and, though paying it some compliments, attributed it to Lloyd, jointly inspired by Colman and Bonnell Thornton, the three being regarded as a mutual admiration society. Both Lloyd and Colman publicly contradicted the report, and Churchill then claimed the authorship, at the same time announcing the speedy appearance of an 'Apology addressed to the Critical Reviewers.' The 'Apology' contains a savage attack upon Smollett, and a rough warning to Garrick. Garrick had rashly suggested that he had been praised in the 'Rosciad' because its author desired the freedom of his theatre. He professed to be so delighted with the 'Apology' as to forget in reading it that he ought to be alarmed. But he took the warning, wrote a polite letter to Lloyd (printed in the Aldine edition from a copy belonging to Pickering) anxiously deprecating Churchill's displeasure, and for the future cultivated Churchill's acquaintance with scrupulous civility. Churchill carefully guarded himself, according to Davies, from accepting any obligations. Other victims attempted retaliation, and Churchill became the terror of the theatre. The expression of his face was anxiously watched both by Davies and Garrick. Churchill gained 750l. or 1,000l. (according to various reports) for the two poems. He now paid his debts in full ( in Biog. Brit. from his own knowledge), and he made an allowance to his wife. He appeared in a 'blue coat with metal buttons,' and gold lace on his hat and waistcoat. Pearce, then dean of Westminster, remonstrated against his improprieties, but it was not till January 1763 that the protests of his parishioners drove him to resign his lectureship.

Churchill now became famous in all literary circles. He wrote little until the end of 1762, but during the rest of his life he poured out a rapid series of satires with extraordinary rapidity, often poor and clumsy enough, but with occasional passages of remarkable power. His next (very common-place) production, 'Night; an Epistle to Robert Lloyd,' contains an attack upon the 'Day' of John Armstrong. Armstrong's poem (written before Churchill had published a line) contains no reference to him, and therefore gave no intentional provocation [see, 1709-1779]. Wilkes had published the poem during Armstrong's absence abroad, and in the summer of 1763 quarrelled with the author, whom he had complimented, in common with Churchill, in his dedication of 'Mortimer' (North Briton, 16 March 1763). The statement that he formed an acquaintance with Churchill by apologising for Armstrong's attack must be inaccurate. But in any case Churchill became an enthusiastic friend and admirer of Wilkes, who was just about to become a popular hero. Churchill took a share in his political warfare. Wilkes was publishing the 'North Briton,' directed against the 'Briton,' started by the common enemy, Smollett, under Bute's patronage. Churchill helped Wilkes regularly, as appears by the correspondence now in the British Museum. It was stated by Kearsley the printer that the profits were given to Churchill. Churchill turned a paper, originally written for the 'North Briton,' into his next poem, 'The Prophecy of Famine.' It was published in January 1763. Boswell and Thomas Campbell have condoned its extravagant ridicule of the Scotch in consideration of its unmistakable vigour. It fell in with the popular sentiment, and had a great success. Churchill dressed his little boy in highland costume, the child explaining to inquirers, 'My father hates the Scotch, and does it to plague them.' The famous No. 45 of the 'North Briton' appeared on 23 April. Wilkes was arrested under the general warrant. Churchill accidentally entered Wilkes's room while the king's messenger was with him. 'Good morrow, Mr. Thomson,' said Wilkes. 'How does Mrs. Thomson to-day? Does she dine in the country?' Churchill took the hint, secured his papers at once, and retired for the time (Collection of Papers &hellip;