Early in December 1821 Talbot, who between 1814 and the close of his career went almost annually to Crow Street, played in Dublin Puff, Lovemore in the ‘Way to keep him,’ Dominie Sampson, Wilding in the ‘Liar,’ Prince Henry in the ‘First Part of King Henry IV,’ Manuel, an original part in ‘Ramiro’—a piece by a scholar of the university, to which he spoke a prologue by the author—and many other characters. So great a favourite with the public did he become that the audience refused to have anybody in his parts. Cries of ‘Talbot!’ when Charles Mathews was acting were the cause of that actor's refusing to revisit Dublin. Riots from this cause were of frequent occurrence. So late as 1826 did they continue; the management, for some reason now not easily understood, seeking to avoid engaging him. After a lingering illness, Talbot died at Belfast on 26 April 1831 (‘aged 58’), and was buried in Friars Bush cemetery. By his wife (whose maiden name was Bindon and who had a certain local reputation as an actress at her native town of Limerick and at Cork), he left five children; two of the sons took service in South American republics.
Critics, as a rule, do not speak well of Talbot's acting. Genest, the critic of the ‘Monthly Mirror,’ and the editor of the ‘Dublin Theatrical Observer’ alike treat him as of second-class merit. Talbot, moreover, was unable to maintain his position on the London stage. Against these opinions must be placed the praise of Croker, and the fact that his popularity extended over a great part of Ireland. For this his social gifts may be held to some extent responsible. The author of ‘A Few Reflections occasioned by the Perusal of a Work entitled “Familiar Epistle to Frederick J——, Esq.”’ (a very scarce book, published in Dublin, 1804), contrasts Talbot's excellences and faults. For the former, ‘Mr. “Talbot” plays with judgment and ease to himself. In the lively parts of genteel comedy his mien is most gentlemanly; his manners cheerful and sprightly; his elocution distinct and correct; his action—very well. Faults: rants a little too violently—“Tears a passion (but not ‘to rags’), of'ner trips o'er, than walks the stage—sometimes giggles, and gives his arms too much liberty.’ His best characters were Edgar in ‘Lear,’ and old men, such as Lusignan, Wolsey, and Job Thornberry. He took off his hat and drew his sword with much style, and was unsurpassed as Lothario. He was a prominent freemason, and two benefits at Newry were attended by local masons in their regalia.
Talbot translated ‘Le Babillard’ of Boissy, a comedy produced at the Comédie Française on 16 June 1725, into a piece called ‘Myself in the Plural Singular,’ given at Belfast on 11 March 1817, subsequently played by him at Crow Street Theatre, Dublin (December 1817). In this he, as Captain Allclack, had all the speaking, but was surrounded by mute characters. He also wrote a sequel to ‘Monsieur Tonson,’ called ‘Morbleu Restored,’ and produced it for his benefit in Dublin on 18 May 1822.
A portrait of Talbot as Young Mirabel accompanies his life in Walker's ‘Hibernian Magazine.’ A watercolour drawing of Talbot, as Monsieur Morbleu, by Samuel Lover, is now in the possession of Mr. W. J. Lawrence of Comber, co. Down.
[Much difficulty attends the effort to obtain continuous or trustworthy particulars concerning Talbot's life. To Mr. Lawrence, who has in preparation a History of the Belfast Stage, the writer is indebted for some facts. The remainder of the information supplied has been gleaned from Genest's Account of the English Stage; The Confessions of William Henry Ireland; The Theatrical Observer, Dublin, 1821–6; Cole's Life of Charles Kean; Monthly Mirror, various years; Notes and Queries, 4th ser. x. 168, and 8th ser. x. passim; Mathews's Life of Mathews; Croker's Familiar Epistles; Donaldson's Recollections of an Actor; History of the Theatre Royal, Dublin, 1870; Thespian Dict.]
TALBOT, PETER (1620–1680), titular archbishop of Dublin, born in 1620, was the second son of Sir William Talbot [q. v.], and elder brother of Richard Talbot, earl of Tyrconnel [q. v.] He went to Portugal in 1635, joined the Jesuits there, and completed his theological training at Rome. He lectured in moral theology at Antwerp, and then went again to Portugal. He was in Ireland during part of the civil war, his order being opposed to Giovanni Battista Rinuccini [q. v.], and inclined to make terms with Ormonde [see Butler, James, first Duke]. He seems to have left Ireland with his brother Richard, and they were at all events at Madrid together in the spring of 1653. From Spain Talbot went straight to London, where he dined with the French ambassador, and sought help from him between April and July (Spicilegium Ossoriense, ii. 134). He then went to Ireland, ‘undergoing the same danger as others,’ and arranged for the despatch of agents thence, his eldest brother Robert being among them. Later in the summer the ambassador refused even to say a word in favour of the Irish (ib.)
Talbot was at Cologne in November 1654, where he saw Charles II, and was entrusted by him with a message to Nickel, the
