No, one, however familiar with the words, will find fault with me for quoting them here: That tongue which set the table on a roar And charmed the public ear is heard no more.
Closed are those eyes, the harbingers of wit, Which spake before the tongue what Shakespeare writ.
Cold is that hand which living was stretched forth At friendship's call to succor modest worth.
Here lies James Quin, deign readers to be taught Whate'er thy strength of body, force of thought, In Nature's happiest mood however cast, To this complexion thou must come at last.
Quin's monument strikes one as the greatest there because of Garrick's living words, but there is another very much more beautiful.
I first noticed this memorial on the wall at a distance of about three yards, too far to read anything in the inscription except the name of Sibthorpe, which was strange to me, but instead of going nearer to read it I remained standing to admire it at that distance.

The tablet was of white marble, and on it was sculptured the figure of a young man with curly head and classic profile.

He was wearing sandals and a loose mantle held to his breast with one hand, while in the other hand he carried a bunch of leaves and flowers.

He appeared in the act of stepping ashore from a boat of antique shape, and the artist had been singularly successful in producing the idea of free and vigorous motion in the figure as well as of some absorbing object in his mind.

The figure was undoubtedly symbolical, and I began to amuse myself by trying to guess its meaning.