Elizabeth InchbaldREMARKS [on George Barnwell].¹
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The author of this tragedy was a tradesman, which might influence his taste for the description of scenes in humble life; beyond which, his acquaintance could not extend but in theory.

The popular ballad of "George Barnwell,"² furnished him with an excellent subject to gratify his inclination, and its moral tendency did just honour to the writer's character, which was that of worth and probity.

Lillo was born in 1693, and was by profession, a jeweller. He lived in London, near Moorgate,³ in the same neighbourhood where he received his birth: and in the year 1732,⁴ having produced this tragedy, he presented it to Mr. Theophilus Cibber, then manager of the summer company at the theatre royal Drury Lane.

Mr. Cibber eagerly accepted this new species of pathetic drama;⁵ but, on announcing it for performance, its well-known title, "The true Story of George Barnwell," made a very unfavourable impression upon the refined part of the town, and they b 2[Page 4]condemned the presumption of the author, in hoping to make them sympathize in the sorrows of any man beneath the rank of an emperor, king, or statesman.

On the first night of representation, the greatest part of the audience assembled to laugh, and brought with them the old ballad on the subject, as a token of ridicule—but, as the play proceeded, they became attentive, then interested, and, at length, threw down the ancient ditty, and drew forth their handkerchiefs.

Pope was amongst the distinguished persons who had the curiosity to be present at the first performance of "George Barnwell," and he commended the work. He observed, that the fable was well conducted, the diction natural; or if, at times, it was elevated something above the simplicity of the characters, it never descended to meanness, or departed from that truth of style calculated to reach the heart.⁶

The play was performed twenty nights successively on its first appearance, nor did it lose its attraction in the winter season, being frequently acted to crowded houses; and warmly patronised by merchants and other opulent citizens.⁷

Revived notions of elegance in calamity, have, in later times, reduced this play to a mere holiday performance, to warn apprentices and servantmen against the arts of depraved females; and point out to them the inevitable destruction that must ensue, upon the first breach of trust.

In spite of so coarse a moral for refined delinquents, "George Barnwell" is an evening's entertainment, worthy of the most judicious admirer of the drama, [Page 5]when C. Kemble performs the character.⁸ Till he represented it, the tragedy was fallen into absolute contempt, by the appearance of actors in Barnwell, whose persons and ages gave not the slightest resemblance of the bashful youth described; and consequently could excite no mercy towards his crimes, no pity for his sufferings.

The difficulty of representing this tragedy, so as to impress every auditor with its value as a dramatic entertainment, exists in procuring an actor who is young enough to look like the merchant's stripling clerk, and yet performer good enough to paint the tumult of various passions which rend his youthful breast.

In a criticism upon this play, in the "Biographia Drammatica," it is alleged, that Dr. Samuel Johnson, has given his sentiments upon the question, whether tragedies, in which the plots are taken from domestic life, should be written in metre or prose? wholly against the latter: declaring—"that he could hardly consider a prose tragedy as dramatic."⁹

But it should be recollected, that this opinion was delivered to the writer of a tragedy in prose, (Mr. Edmund Howard, author of "The Female Gamester") who brought his manuscript for the doctor's judgment on the work; and it was a far more gentle method of pronouncing condemnation on the performance,—to point out one great and fatal mistake in the author's general plan, than to torture him by exposing a multitude of faults in every species.

b 3[Page 6]

The author of "George Barnwell," died in September, 1739, in the 47th year of his age.¹⁰ On which occasion, the author of "Tom Jones," printed the following character of him in "The Champion." He had a perfect knowledge of human nature, though his contempt of all base means of application, which are the necessary steps to great acquaintance, restrained his conversation within very narrow bounds. He had the spirit of an old Roman, joined to a primitive christian. He was content with his little state of life, in which his excellent temper of mind gave him an happiness beyond the power of riches; and it was necessary for his friends to have a sharp insight into his want of their services, as well as good inclination, and abilities, to serve him. In short, he was one of the best of men, and those who knew him best, will most regret his loss.¹¹