Page:Dictionary of National Biography volume 47.djvu/114

 or the Fox,’ Cinna in ‘Caius Marius,’ Flayflint in Lacy's ‘Old Troop,’ and Aaron in ‘Titus Andronicus’ were given during the season. On 18 Nov., still at Drury Lane, he played Balance in the ‘Recruiting Officer,’ and on 7 Jan. following made, as Hotspur in ‘King Henry IV,’ pt. i., his first appearance at Lincoln's Inn Fields, where he remained for fourteen years. During his first season here he was assigned Horatio in the ‘Fair Penitent,’ Tamerlane, Morat in ‘Aurenge-Zebe,’ Antony in ‘Julius Cæsar,’ and was, 18 Feb. 1718, the original Scipio in Beckingham's ‘Scipio Africanus.’ Leading parts in tragedy were now freely assigned him, and the following season saw him as Macbeth, Brutus, Coriolanus (? Hotspur), King in ‘Hamlet,’ as well as Raymond in the ‘Spanish Fryar,’ Benducar in ‘Don Sebastian,’ Burleigh in the ‘Unhappy Favourite’ of Banks, Clytus in the ‘Rival Queens,’ Syphax in ‘Cato,’ Maskwell in the ‘Double Dealer,’ Bajazet in ‘Tamerlane,’ Sir John Brute in the ‘Provoked Wife,’ and Clause in the ‘Royal Merchant, or the Beggar's Bush.’

In a version of Shirley's ‘Traytor’ altered by Christopher Bullock, he was the first Lorenzo (the traitor), and he was, 16 Jan. 1719, the original Sir Walter Raleigh in Sewell's tragedy so named. Between this period and his migration to Covent Garden in 1732 he became an accepted representative of the following Shakespearean parts: Othello, Falstaff in ‘Merry Wives of Windsor’ and ‘Henry IV,’ pt. i., Hector and Thersites in ‘Troilus and Cressida,’ Duke in ‘Measure for Measure,’ King in ‘Henry IV,’ pt. i., Buckingham in ‘Richard III,’ the Ghost in ‘Hamlet,’ and Lear. Principal among the non-Shakespearean parts in which he was seen were Aboan in ‘Oroonoko,’ Sir Edward Belfond in Shadwell's ‘Squire of Alsatia,’ Montezuma in ‘Indian Emperor,’ Roderigo in the ‘Pilgrim,’ Chamont in the ‘Orphan,’ Sullen in the ‘Beaux' Stratagem,’ Pierre in ‘Venice Preserved,’ Beaugard in the ‘Soldier's Fortune,’ Heartwell in the ‘Old Bachelor,’ Dominic in the ‘Spanish Fryar,’ Creon in ‘Œdipus,’ Bessus in ‘A King and No King,’ Belville in the ‘Rover,’ Pinchwife in Wycherley's ‘Country Wife,’ Æsop, Ranger in the ‘False Husband,’ Volpone, Melantius in the ‘Maid's Tragedy,’ Captain Macheath in the ‘Beggars' Opera,’ Young Bevil in the ‘Conscious Lovers,’ Colonel Standard in the ‘Constant Couple,’ Diocles in the ‘Prophetess,’ Manly in the ‘Provoked Husband,’ Leon in ‘Rule a Wife and have a Wife,’ and Teague in the ‘Committee.’ His principal ‘creations’ include, with many others, Henry IV of France in Beckingham's piece so named, 7 Nov. 1719; Genseric in Motley's ‘Captives,’ 29 Feb. 1720; Bellmour in the ‘Fatal Extravagance,’ assigned to Joseph Mitchell, but included in the works of Aaron Hill, 21 April 1721; Sohemus in Fenton's ‘Mariamne,’ 22 Feb. 1723; Colonel Warcourt in Southern's ‘Money the Mistress,’ 19 Feb. 1726; Eurydamas in Frowde's ‘Fall of Saguntum,’ 16 Jan. 1727; Themistocles in Dr. Madden's ‘Themistocles,’ 10 Feb. 1729; Count Waldec in Mrs. Haywood's ‘Frederick, Duke of Brunswick-Lunenberg,’ 4 March; Clitus in Frowde's ‘Philotas,’ 3 Feb. 1731; Thoas in Theobald's ‘Orestes,’ 3 April; and Old Bellefleur in Kelly's ‘Married Philosopher,’ 25 March 1732. More than once Quin distinguished himself by his manliness and vigour. In 1721 a drunken nobleman forced his way on to the stage, and, in answer to Rich's remonstrance, slapped the manager's face. The blow was returned with interest, and a fracas ensued, in which Rich's life was only saved by the promptitude of Quin, who came to Rich's rescue with his drawn sword in his hand. The occurrence was the cause of a guard of soldiers being sent by royal order to Lincoln's Inn Fields as well as to Drury Lane.

On the opening night of Covent Garden, 7 Dec. 1732, Quin appeared as Fainall in the ‘Man of the World,’ playing also, on following nights, Manly in the ‘Plain Dealer,’ Caled in the ‘Siege of Damascus,’ and Apemantus in ‘Timon of Athens.’ He was, 10 Feb. 1733, the original Lycomedes in Gay's ‘Achilles,’ and, 4 April, Bosola in the ‘Fatal Secret,’ an adaptation by Theobald of Webster's ‘Duchess of Malfi.’ At Covent Garden he remained the following season, playing, 5 March 1734, an original part in Gay's ‘Distressed Wife,’ and appearing for the first time as Cato, and as Gonzalez in the ‘Mourning Bride.’ As Othello he reappeared at Drury Lane, 10 Sept. 1734, being his first appearance there for sixteen years. During the seven years in which he remained at this house, he added to his repertory Richard III, Ventidius in ‘All for Love,’ Pyrrhus in the ‘Distressed Mother,’ Pembroke in ‘Lady Jane Gray,’ Gloster in ‘Jane Shore,’ Jaques in ‘As you like it,’ and Antonio in the ‘Merchant of Venice.’ A few of his original parts stand out from the rest. Among them are Amurath in Lillo's ‘Christian Hero,’ 13 Jan. 1735; Mondish in Fielding's ‘Universal Gallant,’ 10 Feb.; Proteus (Benedick) in the ‘Universal Passion,’ Miller's amalgam of ‘Much Ado about Nothing’ and ‘La Princesse d'Élide,’ 28 Feb. 1737; Comus, 4 March 1738; Agamemnon in Thomson's ‘Agamem-