Poetry in Motion

Worry not, Mr. Motion: in the 18th century as now, the post of Poet Laureate did not require filling by a skilled versifier.

In 1736, Henry Fielding staged his play Pasquin at the New Theatre, also known as the Little Haymarket.

To cast the play to its fullest satirical potential, it was crucial that Fielding poach Charlotte Charke from Drury Lane. He had written a particular part with her in mind: that of Lord Place.

Dressed in a vast curled wig, gaudy embroidered breeches and coat, and as much lace as can be fixed to a body, Charlotte minced and pranced across the stage, parodying the vain twits (such as Lord Foppington in both Love's Last Shift and The Relapse) her father was famous for playing.

Not content with deflating Colley's prowess onstage, Fielding and Charlotte also failed to spare his vanity with regard to his poetical skills as Poet Laureat (a matter of public derision among Britain's writers and poets).

SECOND VOTER: My Lord, I should like a place at Court too; I don't much care what it is, provided I wear fine clothes and have something to do in the kitchen or the cellar; I own I should like the cellar, for I am a devilish lover of sack.

LORD PLACE: Sack, say you? Odso, you shall be poet-laureat.

SECOND VOTER: Poet! no, my Lord, I am no poet, I can't make verses.

LORD PLACE: No matter for that - you'll be able to make odes.

SECOND VOTER: Odes, my Lord! what are those?

LORD PLACE: Faith, sir, I can't tell well what they are; but I know you may be qualified for the place without being a poet.