It is a good public, that of Britain, and will bear anything, so long as
villany is punished, of which there was ripe promise in the oracular
utterances of a rolling, stout, stage-sailor, whose nose, to say nothing
of his frankness on the subject, proclaimed him his own worst enemy, and
whose joke, by dint of repetition, had almost become the joke of the
audience too; for whenever he appeared, there was agitation in pit and
gallery, which subsided only on his jovial thundering of the familiar
sentence; whereupon laughter ensued, and a quieting hum of satisfaction.

It was a play that had been favoured with a great run. Critics had once
objected to it, that it was made to subsist on scenery, a song, and a
stupid piece of cockneyism pretending to be a jest, that was really no
more than a form of slapping the public on the back. But the public
likes to have its back slapped, and critics, frozen by the Medusa-head of
Success, were soon taught manners. The office of critic is now, in fact,
virtually extinct; the taste for tickling and slapping is universal and
imperative; classic appeals to the intellect, and passions not purely
domestic, have grown obsolete. There are captains of the legions, but no
critics. The mass is lord.

And behold our friend the sailor of the boards, whose walk is even as two
meeting billows, appears upon the lonely moor, and salts that uninhabited
region with nautical interjections. Loose are his hose in one part,
tight in another, and he smacks them. It is cold; so let that be his
excuse for showing the bottom of his bottle to the glittering spheres.
He takes perhaps a sturdier pull at the liquor than becomes a manifest
instrument of Providence, whose services may be immediately required; but
he informs us that his ship was never known not to right itself when
called upon.