tirist
of the first order, Goldsmith had the sense and manliness to tell them
what they called satires were but tawdry lampoons, whose turbulence aped
the quality of force, whose frenzy that or fire. Beside, Churchill had a
stronger motive than prejudice or whim: the great hero of his poem was
Garrick; and as Barry was his most formidable rival, he had little
scruple to sacrifice him on this occasion.

But to leave the criticisms of this literary drawcansir to that oblivion
to which they seem to be rapidly hastening, let us examine the merits
of Barry in some of those characters in which he was universally allowed
to excel; and on this scale we must give the preference to Othello. This
was the first character he ever appeared in, the first his inclination
prompted him to attempt--and the first without question, that exhibited
his genius in the full force and variety of its powers.

In the outset of Othello, when he speaks but a few short sentences,
there appears a calmness and dignity in his nature, as evidently show
"the noble qualities of the Moor." These sentences we have often heard
spoken (and by actors too who have had considerable reputation) as if
they had been almost totally overlooked; reserving themselves for the
more shining passages with which this tragedy so much abounds: but Barry
knew the value of these introductory traits of character, and in his
first speech, "_'Tis better as it is_," bespoke such a preeminence of
judgment, such a dignified and manly forbearance of temper, as roused
the attention of his audience, and led them to expect the fullest
gratification of their wishes.

His speech to the senate was a piece of oratory worthy the attention of
the critic and the senator. In the recital of his "feats of broils and
battles," the courage of the soldier was seen in all the charms of
gallantry and heroism; but when he came to those tender ejaculations of
Desdemona,

"In faith 'twas strange--'twas passing strange!
'Twas pitiful, 'twas wond'rous pitiful!"

his voice was so melodiously harmonized to the expression, that the sigh
of pity communicated itself to the whole house, and all were advocates
for the sufferings of the fair heroine.

In the second act, when he meets Desdemona at Cyprus, after being
separated in a storm, his rushing into her arms, and repeating that fine
speech,

----"Oh! my soul's joy!
If after every tempest come such calms," &c.

was the voice of lo