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 in Pasquin against her father were put into the mouth of Lord Place, whose part was taken by this undutiful child. All things considered, both in this controversy and the later one with Pope, Cibber did not come off worst. His few hits were personal and unscrupulous, and they were probably far more deadly in their effects than any of the ironical attacks which his adversaries, on their part, directed against his poetical ineptitude or halting “parts of speech.” Despite his superlative coxcombry and egotism, he was, moreover, a man of no mean abilities. His Careless Husband is a far better acting play than any of Fielding’s, and his Apology, which even Johnson allowed to be “well-done,” is valuable in many respects, especially for its account of the contemporary stage. In describing an actor or actress he had few equals—witness his skilful portrait of Nokes, and his admirably graphic vignette of Mrs. Verbruggen as that “finish’d Impertinent,” Melantha, in Dryden’s Marriage a-la-Mode.

The concluding paper in the collected edition of the Champion, published in 1741, is dated June 19, 1740. On the day following Fielding was called to the Bar by the benchers of the Middle Temple, and (says Mr. Lawrence) “chambers were assigned him in Pump Court.” Simultaneously with this, his regular connection with journalism appears to have ceased, although from his statement in the Preface to the Miscellanies,—that “as long as from June 1741,” he had “desisted from writing one Syllable in the Champion, or any other public Paper,” —it may perhaps be inferred that up to that date he continued to contribute now and then. This, nevertheless, is by no means clear. His last utterance in the published