# Dictionary of National Biography, 1885-1900/Quin, James

​QUIN, JAMES (1693–1766), actor, the illegitimate son of James Quin, barrister, and the grandson of Mark Quin, mayor of Dublin in 1676, was born in King Street, Covent Garden, 24 Feb. 1692–3, and christened at the adjacent church of St. Paul. His mother, though she called herself a widow, appears to have had a husband living in 1693, by name Grinsell. Young Quin was taken, in 1700, to Dublin, and educated in that city under the Rev. Dr. Jones. He was probably for a short time at Trinity College, Dublin. After the death of his father in 1710 he was obliged, for the purpose of obtaining his patrimony, to contest against his uterine brother, Grinsell, a suit in chancery, which want of means compelled him to abandon. He then took to the stage in Dublin, and made his first appearance at the Smock Alley Theatre as Abel in Sir Robert Howard's ‘Committee’, playing also Cleon in Shadwell's ‘Timon of Athens, or the Man Hater,’ and, according to Genest, the Prince of Tanais in Rowe's ‘Tamerlane.’ It is not unlikely that he appeared at Drury Lane as early as 1714. On 4 Feb. 1715 Quin played there Vulture, an original part in ‘Country Lasses,’ an adaptation by Charles Johnson (1679–1748) [q. v.] of Middleton's ‘A Mad World, my Masters.’ Quin is not mentioned as from Ireland, nor is there any indication that this was a first appearance. On the 23rd he was the First Steward in Gay's ‘What d'ye call it?’ and was on 20 April the First Lieutenant of the Tower in Rowe's ‘Lady Jane Gray.’ Tate Wilkinson says that the propriety with which Quin played this small part, either in this piece or in ‘King Richard III,’ in which he was seen the following season, first recommended him to public notice. On 28 June Quin undertook Winwife in Jonson's ‘Bartholomew Fair.’ On 3 Jan. 1716 his name appears to the King in ‘Philaster.’ Don Pedro in the ‘Rover,’ followed on 6 March; on 19 July Pedro in the ‘Pilgrim,’ and on 9 Aug. the Cardinal in the ‘Duke of Guise.’ On 7 Nov. Quin's chance arrived. Mills, who played Bajazet in ‘Tamerlane,’ was taken suddenly ill, and Quin read his part in a manner that elicited great applause. The next night, having learnt the words, he played it in a fashion that brought him into lasting favour. On 17 Dec. he was the original Antenor in Mrs. Centlivre's ‘Cruel Gift.’ On 5 Jan. 1717 he was Gloster in ‘King Lear,’ and on the 16th second player in the ill-starred ‘Three Weeks after Marriage’ of Gay and ‘two friends.’ Voltore in Jonson's ‘Volpone, ​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​non,’ 6 April; Solyman in Mallet's ‘Mustapha,’ 13 Feb. 1739, and Elmerick in Lillo's posthumous tragedy, ‘Elmerick, or Justice Triumphant,’ 23 Feb. 1740. He was also cast for Gustavus in Brooke's ‘Gustavus Vasa,’ which was prohibited by the censors. Quin's name appears, with those of John Mills, Ben Johnson, Theophilus Cibber, &c., in the ‘London Magazine’ for April 1735, to protest against the passing of a bill, then before parliament, for restraining the number of playhouses, and preventing any person from acting except under the patents.
In the autumn of 1741, Quin, who was not engaged in London, appeared at the Aungier Street Theatre, Dublin, in his now favourite character of Cato. He also played Lord Townly to the Lady Townly of ‘Kitty’ Clive, Comus, and other parts. After, as it is supposed, visiting with the company, Cork and Limerick, he reappeared at Aungier Street in 1742, playing Young Bevil in the ‘Conscious Lovers’ to the Indiana of Mrs. Cibber. He also played Chamont to her Monimia, and Horatio to her Calista.
On 22 Sept. 1742, as Othello, he reappeared at Covent Garden, and he remained there until the close of his career. On 12 Nov. 1744 he was Zanga in the ‘Revenge,’ and on 15 Feb. 1745 the original King John in Cibber's ‘Papal Tyranny in the Reign of King John,’ and he soon after played Herod in ‘Mariamne.’ In 1745–6 he was not engaged. He had been in the summer of 1745 with Mrs. Cibber, and returned with that artist, who shared his exclusion. In 1746 both Quin and Garrick were engaged by Rich for Covent Garden. On 14 Nov. 1746, in the ‘Fair Penitent,’ the two rivals measured swords, Quin playing Horatio and Garrick Lothario to the Calista of Mrs. Cibber. Great interest was evoked, and the cheering was so loud that both actors were disconcerted. Garrick owned his discomfiture, and said ‘Faith, I believe Quin was as much frightened as myself.’ Quin, who was too proud to own any want of courage, played Horatio with the ‘emphasis and dignity which his elocution gave to moral sentiments,’ and Garrick acted Lothario with a spirit peculiar to himself. Honours were thus divided. It was otherwise with Richard III, which was played by both. The representations of Garrick were closely followed, while those of Quin were neglected. A revenge was taken by Quin in ‘King Henry IV,’ his Falstaff being warmly welcomed, while Hotspur was pronounced unsuited to the figure and style of acting of Garrick, who this season relinquished the part. In ‘Jane Shore,’ Garrick, as Hastings, won back his supremacy over his rival as Gloster, which Quin called ‘one of his strut and whisker parts.’ Davies tells a story which Genest refuses to accept, and in part confutes, that after the astonishing success of Garrick's ‘Miss in her Teens,’ 17 Jan. 1747, Quin refused to act on the nights when it was played, swearing that ‘he would not hold up the tail of a farce.’ Garrick accordingly said, with some malice, ‘Then I will give him a month's holiday, and put it up every night.’ Quin, Davies says, came nightly to the theatre, and, being told that the house was crowded, ‘gave a significant growl and withdrew.’ Murphy, on the other hand, says that during the entire season Quin and Garrick had no kind of difference.
At the outset of the season of 1747–8 Quin was at Bath, whence he wrote to Rich, ‘I am at Bath—yours, James Quin;’ and received the answer ‘Stay there, and be damned—yours, John Rich.’ For the relief of sufferers by a fire in Cornhill, Quin reappeared as Othello 6 Aug. 1748. After this he played a few familiar parts. At the opening of the following season he was again a regular member of the Covent Garden company, playing constantly leading parts. On 13 Jan. 1749 he was the original Coriolanus in Thomson's ‘Coriolanus.’ The play was posthumous, and Quin feelingly referred in the prologue to the fact.
Garrick was then at the other house. His performance of Sir John Brute in the ‘Provoked Wife’ was contrasted with that of Quin, as well as with that of Cibber. Quin, it was said, forgot that Sir John Brute had been a gentleman, while Cibber and Garrick, through every scene of riot and debauchery, preserved the recollection. In 1749–50 he played, for the first time, Gardiner in Rowe's ‘Lady Jane Gray,’ and King Henry in Banks's ‘Virtue Betrayed.’ In 1750–1 Garrick sought to detach Quin from Covent Garden. Quin, however, though he had something to fear from the rivalry of Barry, was still in command at Covent Garden, and he skilfully used Garrick's application as a means of extorting from Rich 1,000l. a year, the greatest salary, according to Tate Wilkinson, that had then ever been given. On 23 Feb. 1751 Quin was, for the first time, King John in Shakespeare's play; and on 11 March, for the first time, Iago. His last performance as paid actor was on 15 May 1751, as Horatio in the ‘Fair Penitent.’
At the close of the season Quin retired to Bath. He came to London, however, to play, on 16 March 1752, Falstaff in ‘Henry IV,’ for the benefit of Ryan, and repeated the performance for the same purpose on 19 March 1753. The nobility and gentry at Bath gave Quin 100l., on the latter occasion, to spend in ​tickets. He acted with so much applause, and the result was financially so successful, that Ryan petitioned in 1752 for a renewal of the favour for a third time. Quin, according to Miss Bellamy, wrote: ‘I would play for you if I could, but will not whistle Falstaff for you. I have willed you 1,000l.; if you want money you may have it, and save my executors trouble.’ After his retirement, Quin, who had previously held aloof from Garrick, met him at Chatsworth, at the Duke of Devonshire's, and, making overtures to him, which were accepted, became a frequent visitor at Garrick's villa at Hampton. While here an eruption of a threatening kind appeared on his hand, and caused him much alarm. He returned home in a state of hypochondria, which brought on fever and great thirst. Feeling the end near, he expressed a wish that the last tragic scene was over, and a hope that he should go through it with becoming dignity. He died in his house at Bath on Tuesday, 21 Jan. 1766, at about four o'clock A.M., and was buried in the abbey church on the 24th. Garrick wrote a rhymed epitaph which appears over his tomb. Among the numerous generous bequests in Quin's will is one of 50l. to ‘Mr. Thomas Gainsborough, limner, now living at Bath.’
Quin was a man of remarkable qualities and gifts, and almost a great actor. He had an indifferent education, and was no wise given to what is technically named study, ridiculing those who sought knowledge in books, while the world and its inhabitants were open to them. Walpole admired Quin's acting, especially in Falstaff, and estimated him before Garrick, whom he always depreciated. He also declared Quin superior to Kemble as Maskwell. Davies, on the other hand, declares that Quin was utterly unqualified for the striking and vigorous characters of tragedy, and adds that his Cato and Brutus were remembered with pleasure by those who wished to forget his Lear and Richard. His Othello, Macbeth, Chamont, Young Bevil, Lear, and Richard were all bad; and in opposing Garrick in these parts he afforded the younger actor an easy triumph. Victor praises highly his Comus, Spanish Friar, the Duke in ‘Measure for Measure,’ and Æsop. Tate Wilkinson says that Quin was excellent as Henry VIII, Sir John Brute, Falstaff, Old Bachelor, Volpone, Apemantus, Brutus, Ventidius, Bishop Gardiner in ‘Lady Jane Gray,’ Clause, &c. His Ghost in ‘Hamlet’ was also much admired. Churchill declares Quin incapable of merging in the character he played his own individuality, and says:
Nature, in spite of all his skill, crept in—  Horatio, Dorax, Falstaff—still 'twas Quin.
Garrick, in well-known verses, describes Quin as ‘Pope Quin,’ who damns all churches but his own, and urges him,
Thou great infallible, forbear to roar.
This was penned in answer to Quin's assertion that Garrick was ‘a new religion,’ and that people would in the end ‘come back.’ Quin was of generous disposition. His friendship to Thomson is described as a ‘fond intimacy’ by Dr. Johnson, who says: ‘The commencement of this benevolence is very honourable to Quin, who is reported to have delivered Thomson, then known to him only for his genius, from an arrest by a very considerable present; and its continuance is honourable to both, for friendship is not always the sequel of obligation’ (Works, viii. 374). But Quin was at the same time vain, obstinate, and quarrelsome. Disputes between him and actors named respectively Williams, a Welshman, and Bowen, led to two encounters, in which Quin killed each of his opponents. Quin, on 10 July 1718, was found guilty of manslaughter on account of Bowen's death, but escaped with a light penalty.
Quin was emphatically a wit. Horace Walpole, who has incorporated in his correspondence many of his stories, gives a spirited account of a discussion between him and Warburton: ‘That saucy priest was haranguing at Bath in behalf of prerogative, when Quin said: “Pray, my lord, spare me; you are not acquainted with my principles. I am a republican, and perhaps I even think that the execution of Charles I might have been justified.” “Aye,” said Warburton, “by what law?” Quin replied, “By all the laws he had left them.” The Bishop would have got off upon judgments, and bade the player remember that all the regicides came to violent ends—a lie, but no matter. “I would not advise your lordship,” said Quin, “to make use of that inference; for, if I am not mistaken, that was the case of the twelve apostles”’ (Letters, iv. 339, ed. Cunningham). Walpole rhapsodises over the answer, avowing, ‘The more one examines it, the finer it proves.’ An animated picture of Quin is supplied in Smollett's ‘Humphrey Clinker.’ From this it appears that Quin's wit was apt to degenerate into extreme coarseness and his manner into arrogance. Garrick's verses abound with references to Quin's gormandising propensity.
Two portraits of Quin, ascribed to Hogarth, are in the Garrick Club, where there is also a third portrait by an unknown painter. A fourth, by Gainsborough, is in Buckingham Palace. A portrait by Hudson was engraved by Faber in 1744. An engraving ​by McArdell, showing him as Falstaff, is in the National Gallery, Dublin.
An actor named Simeon Quin is mentioned under the date 1767 in Jackson's ‘Scottish Stage.’
J. K.