Part 6

Whatever the first Song may do, this last is not likely to make any Body effeminate. I mention these two common Songs, because they are what every Reader is capable of digesting, and on that Account are more proper for the Purpose than any of those Songs out of Operas, which are not generally known.

But we beg Leave here to make a necessary Distinction between two Ideas, which are sometimes confounded together, and which is apt to lead People into this Error as much as any Thing.

It would be very proper in us, before we prejudice ourselves against any Art or Science, to be quite clear in the Objections which we raise against it; we should be certain that they are just, and founded upon good Grounds. Some People are apt to confound the Idea of raising the softer Passions, which have their Residence in our Nature, with the Idea of Effeminacy, which, as I said before, are quite distinct. We have an Instance of the Passion of Pity in the well known Picture of Bellisarius. The Hero, who stands in the dejected Attitude, appears to be very much softened by the Misfortunes and Distress to which he sees Bellisarius reduced; and yet no one will say that he is an effeminate Fellow for it; on the contrary, it will be allowed that he shews a Greatness of Soul; he is struck with a contemplative Sorrow at the Misfortunes of a General, whose invincible Courage and great Worth he himself had been Witness of. And Bravery in Distress is not only the Subject of Painting, but it is the constant Theme of Music: The Operas and Oratorios are full of it, and though the Misfortunes of the Heroes which are the Subject of them do soften, yet it is not such a Kind of Softness as to beget any Effeminacy, but of a contrary Nature, and is such a Sensation as an ordinary Hearer will perceive at the Beginning of this common Song, which is well enough in its Way.

_How little do the Landmen know,_ _What we poor Sailors feel,_ _When Seas do roar, and Winds do blow;_ _But we have Hearts of Steel._

If we are to be moved by such a Song as this, what shall we feel at some of the masterly Strokes of Handel in his Oratorio of Samson.

_Total Eclipse, no Sun, no Moon,_ _All dark, amidst the Blaze of Noon._

One would think, by the resigned Solemnity of this following Movement,

_Bring the Laurel, bring the Bays_, &c.

that he had been reading Milton's Paradise Lost as well as the Samson Agonistes. This seems to be the very Music of the fallen Angels, where he says, they made Use of soft Airs, which inspired true Heroic Bravery, and which he prefers to the noisy, as it was the Cause of a lasting, fixed, and reserved Courage. Milton says, that as soon as the Colours were displayed, they marched to the Sound of Flutes and soft Recorders:

"_Anon they move_ _In perfect Phalanx, to the Dorian Mood_ _Of Flutes and soft Recorders; such as rais'd_ _To Height of noblest Temper Heroes old_ _Arming to battle, and instead of Rage_ _Deliberate Valour breath'd firm and unmov'd_ _With Dread of Death to Flight and foul Retreat._"

In short, the March in Rinaldo might possibly make Soldiers seize hold of their Arms and March, but it must be such an Air as that in the Overture of Berenice which makes them face an Enemy.

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XXIV.

_That the Italian Operas consist of effeminate Musick._

Though it must be acknowledged that the Language of Italy is smooth and flowing, and therefore very much adapted to musical Sounds, and though those Songs which are picked out of Operas, and sung by Ladies at Home, are generally the Love Songs in the Opera, being such as best suit the Tastes and Geniussses of such amiable Performers; yet, it is equally an Error to say that Operas are effeminate, or that all the Songs in them are Love Songs. No one will say that Quilici with his Bass Voice, in the Character of Athridates, acted an effeminate Part; he was one of the principal Characters, and acted the Part of a Tyrant, to which the Music was excellently adapted, which was greatly set off by his deep Voice and the proper Carriage of his Person: So when Mattei orders her General to be disarmed, the Majesty of a Queen is admirably supported. Operas are like other Performances of Entertainment; they consist of the sublime, the cruel, the tender, the distressed, the amorous; in short, they must have Variety of Scenes and Incidents in order to make them please the Audience, and are like other Dramatic Pieces, not to be taxed with any particular Style or Mode of Acting, but consist of such Scenes, Plots, Music, and Decorations, as are most likely to give Entertainment to an Audience.

We by no Means defend the Impropriety of a Squeaking Hero, and think that it is a Pity it cannot be altered; however, that Imperfection is generally palliated, by Propriety of Action, treading the Stage well; Greatness of Performance, and many other Excellencies, which those who are much used to hear musical Entertainments will easily discern.

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XXV.

_That nothing is Poetry but what is wrote in Rhyme._

This may truly be called a vulgar Error, because it is a Mistake of which none but the Vulgar are guilty of. Though there is a Kind of harmonious Jingle in Rhyme, which makes the Composition have an agreeable Sound, yet it is looked upon by all Judges to be the lowest Kind of Poetry. And though Pope, and other great Writers, have succeeded to Admiration in the Improvement of it, yet it is in Reality nothing but the barbarous Remains of the wild Taste of our Ancestors; not to mention how it cramps the Genius of a Writer, after he has hit upon a favourite Thought, to be forced to look out for a Rhyme, which must, in Spite of every Thing that can be said in Favour of it, be exceeding laborious.

And notwithstanding Poets endeavour to hide this Labour and Pains they have been at, and affect to have set down their first Thoughts, yet, as Horace observes, the foul Copy of a good Writer will always have a great Number of Blots and Alterations in it: This is true of all Poetical Composition; but a Poem which is wrote in Rhyme, must, according to the Nature of the Thing, be more laboured than one that is not. And even Prior himself, whose Works are allowed to be all Ease and Elegance, is said to have taken more Pains with his Composition, than any other Writer of Eminence. That very Ease and Elegance, which we perceive in the best Poets, is the Result of great Pains and Study, and is no other than a judicious Choice of Words and Phrases, till they have found some that will suit. And however a Poetical Author may boast of writing his first Thoughts, we cannot possibly have any Testimony of it but his own.

Besides, when we have done all, Verses wrote in Rhyme are nothing near so musical as those which are without it. Where shall we find Verses, among even the best of our English Poets who wrote in Rhyme, which are equal in Smoothness and Harmony to these two Lines in Theocritus?

[Greek: Adion, ô poiman, to teon melos, ê to kataches] [Greek: Tên apo tas petras kataleixetai hupsothen hudôr.] _Id. 1._

Or these of Ovid, which, though they are far from being the most smooth in the Book, are however more harmonious than any we can produce now.

_Sic ubi Fata vocant udis abjectis in Herbis,_ _Ad vada Mæandri, concinit albus Olor._

Though the first of these Verses makes a Whistling like the Reeds in a River, the last runs so glib, that it is ready to slip from under one before one would have it.

We acknowledge that the Latin Language is a great Help to the Running of a Verse, and if the Reader insists upon that to be the only pre-eminence which Latin Verses have over English, he is very welcome to think as he likes best. Moreover, if he is so fond of Rhyme, we can inform him of a Book which is wrote, in Latin Rhyme, and is very much at his Service: The Title of the Book is Drunken Barnaby; which, as it is wrote in a dead Language, will most likely remain an everlasting Burlesque upon the Barbarity of Rhyme.

But we may venture to go a little farther. It is not necessary for a Work to be wrote in Verse at all to entitle it to the Name of Poetry. Any Work of a fictitious Nature, and which is calculated meerly for Entertainment, has as just a Claim to be stiled Poetical Composition, as one that is wrote in the strictest and most confined Metre; Poetry taking its Name from the Matter of which it is composed, and not from the Length or Sound of its Words; and we may observe, that such Poetry as consists of those Numbers which are least confined in their Metre, is generally the most spirited and sublime. We have an Instance of this in the Writings of Pindar, a Poet of whose Abilities, Horace gives an Account in his Ode,

_Pindarum quisquis_, &c.

And indeed we have no Occasion to go any farther for Examples of excellent Poetry wrote in Prose, than some of the Plays in our own Language; Ben Johnson, Congreve, and many more who wrote in Prose, are nevertheless ranked among the Poets.

Reader, when thou seest any Thing in this Book which thou didst know before, it is hoped thou wilt be so candid as to consider, that although thou art sensible of the Errors of other People, yet they themselves may not be sensible of them: Yes, even thou, O! profound Philosopher! mayest have some mistaken Notions of thy own; for what mortal Man can pretend to such Knowledge as never to be mistaken? And we ourselves, while we are endeavouring to rectify the Errors of others in this Book, are as likely to be mistaken as any Body.

However, there is one Reason why a Work of this Nature is likely to give some Entertainment; it treats of such Variety of Subjects, that there is Matter for Argumentation in every Page. And it may be observed too perhaps, that it treats of more Subjects than the Author himself seems too understand; which we do very readily acknowledge: And if a Professor in any of the different Branches which are here treated of, who is better versed in the Nature of the Subject than the Author, thinks proper to rectify any Mistake which may be here made, and does it in a liberal Way, we shall not take it amiss, but perhaps may endeavour to answer him, if we should still differ from him in our Opinion.

On the other Hand, we shall be under no great Apprehensions from the Criticisms of such Readers who have not good Nature enough to be entertained with the Matter of a Book, and only read for the Pleasure of Pointing out the Faults in Public; of which Sort we are very sorry to say that we know too many. These are such Kind of Geniusses as read more out of Parade than with a Design to be entertained; and _may_ read.[2]----They seldom acquire any Knowledge, having generally bad Memories and confused Heads, devouring every Thing, but digesting Nothing. I tell thee, a Man of true Parts, and sound Memory, will acquire more by reading one Hour, than such Whippersnappers as these are able to attain to by lumbering over a Folio.

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XXVI.

_That kicking up the Heel behind, and twisting round upon one Leg, is fine Scating._

There are two Methods of Scating, one is made Use of for the Sake of Expedition and Conveyance from Place to Place, and is practised by the Boors or Peasants in Holland; the other is calculated entirely for Amusement, and answers the End of _Shining_ upon the Ice, and therefore is suited for Gentlemen near Towns upon Canals, and broad Pieces of Water. The first of these Methods is performed by throwing the Body into such an erect Posture inclining a little upon the Outside of the Scate, and drawing in the Hip gradually, as will describe small Curve upon the Ice; this Practice of Scating eases the Inside of the Thigh, and rests it in such a Manner as to allow it Time to regain Strength for the next Stroke, and therefore is very useful in long Journies; or else as to the Article of Swiftness, a straight Line will carry a Person on faster than a Curve, because while he is describing a Curve he has more Ground to run over.

The other Method of Scating, which is known in England by the Name of Rolling, is done upon the same Principle as the former, only as you have no Occasion for Expedition, you have an Opportunity of dweling longer upon your Strokes, and your Time; by which Means, instead of describing a small Curve, you describe a large one.

It will be necessary to explain the Cause of this Motion, before we can make the Reader sensible of what we intend to say.

All Bodies that are put into Motion upon the Surface of the Earth, are acted upon by two Forces; namely, a Projectile Force and a Centripetal Force. The Projectile Force is that which is given it by the Hand or Strength of any Person, and the Centripetal Force is that which causes all Bodies to seek the Center of the Earth. For Instance, when a Stone is cast into the Air to any Distance, the Reason why it does not move on to Eternity without stopping (as it ought to do by the Principles of Mechanics) is, because the Centripetal Force keeps continually acting upon it, till it has pulled it down to the Ground again: This serves to explain what is meant by a Centripetal Force.

Now, when a Person scates, he is acted upon by these two Forces, as other Bodies in Motion are. It is the Projectile Force which throws him upon the Outside of the Scate, till he has got quite out of the Center of Gravity, by which Means he would be pulled to the Ground by the Centripetal Force, if he was not supported by the Projectile Force, which is strong enough to make Head against the Centripetal for a little while (in the same Manner as it is able to keep a Stone in the Air till it is spent) and by that Time the Person scating has recovered himself into an erect Posture. This Projectile Force is given by a Stroke of the Foot, inclined to the Plain of the Ice; by which Means, the _whole_ Edge of the Scate takes hold, and is your moving Force; and the more of the Edge of the Scate a Person uses in his Stroke, the easier he will go to himself, and the greater Velocity he will move with: For if he dwells more upon the Heel of the Scate than the Toe, or vice versâ, he not only loses Part of his moving Force, by losing Part of the Edge of his Scate, which is absolutely the moving Force, but he likewise encreases his Friction, which ought to be destroyed as much as possible; and at the same Time loses that Symmetry of Gesture, upon which the Gracefulness of his Attitude depends.

When a Person scates properly, he keeps the Foot that he strikes with in such a Posture upon the Ice, as to make the whole Scate take hold of it sideways, without destroying his progressive Motion; and instead of kicking up his Heel behind, just when he takes Leave of the Ice, with the Foot which has been striking, he gives his Toe a Turn outwards, which not only gives him a genteel Air, being according to the Rules of Dancing, but likewise sends him with twice the Force upon the Outside, as it adds to that Projectile Force which is to make Head against the Centripetal, and to keep him upon his Legs after he has got out of the Center of Gravity; and which uncommon Phoenomenon gives that Surprize and Pleasure to a Beholder, which he perceives at the Sight of a fine Scater.

I mention this, because I have met with those who have obstinately persisted in it, that some Persons who kick up their Heels behind, and strike only with the Toe of their Scate, because they can go a Snail's Gallop upon the Outside, are fine Scaters; when they are making Use of a Method which is repugnant to the very Principles of Mechanics.

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XXVII.

_That using hard Words and long Sentences, in Discourse or in Writing, is an Indication of Scholarship._

It must be allowed, that good Language is a very great Embellishment, either to a Person's Conversation, or his Writing; but as it is intended only to set off what we have to say to the best Advantage, we should endeavour to use it with such Moderation, as will answer that End, and no more; otherwise, we shall make ourselves appear very ridiculous in the Eyes of Men of Learning and Knowledge.

Good Language, in the Mouth of a Fine Gentleman, resembles the Elegance of his Dress; it becomes equally ridiculous when ill-judged, or over done: For as there is no Doubt but good Cloaths set off the Person to a great Advantage, when they are made with Judgement, and worn with a becoming Carriage, so an elegant Choice of Words and Sentences are a great Ornament to Conversation. But on the other Hand, a Suit of Cloaths, though made of the finest Materials and covered with Lace, will make but an aukward Appearance if it is ill-made, and worn by one who has not the Carriage of a Gentleman. So it is with Language. Fine Words, in the Mouths of the Ignorant, are as unbecoming as Gold Lace upon the Back of a Porter.--And not only the Ignorant are guilty of this Error, but even those who do know the Meaning of the Words they use, are apt, by affecting an elegant Diction, to run themselves into Obscurity; and while they are attending to their Language, and studying hard Words, neglect the Matter of their Discourse; to explain which is the sole End of Speaking. The Use of Words being only to convey our Ideas to each other.

There is a Shew-board over a Watchmaker's Shop at Oxford, which may serve for a Burlesque upon the Folly of using hard Words: I cannot charge my Memory with all the Jargon wrote upon that Board; however, I remember that it was a long Account of what the Man in the Shop sold, and what he did; and among other Things it said that _Horologies_ were _mundified_ there; which Expression we think is enough to make any Man sick of the Languages, and abjure every Thing that belongs to Literature for the future.

I have met People in the Street, whose profound Ignorance I have been well assured of, who have immediately stunned me upon the first entering into Discourse with half a Dozen hard Words: And it is not long since, a young Gentleman came to the Coffee-house, and ordered the Waiter, when he sent Coffee and Tea to his Chambers, to let him have an _additional_ Muffin: The Man stared at him, and told him, that he did not know how to do one in that Manner, but he could carbonade him one if he pleased.

A Lady would think it extraordinary language, upon a Gentleman's desiring to carry on an Intrigue with her, if he was to ask her, whether she would have an additional Husband, or not? However, as this is a prodigious fine Word, and as fine Words are always made use of in addressing the Ladies, we are of Opinion that it would be proper to adapt this as an Improvement in the Language of Lovers.

Almost all Professions are stuffed so full of Terms of Art, that to understand the Meaning of all the Words which are made use in any one of them, is long enough for a Science of itself. The only End they answer, is to puzzle those who are not of the same Profession. Not long ago, a young Man in the Country, who had weak Eyes, applied to a Surgeon for Relief in his Disorder. The Surgeon, upon examining his Patient, told him, that he would send him some Drops which would _refrigerate_ his Eye.

The young Man came Home again, not very well satisfied, being not certain what he might have to undergo by this Refrigeration, having never heard the Word before. Surely he might with as much Propriety have been told, that what was in the Bottle would put him to no Pain, but was only intended to cool his Eyes.

It is incredible to think how cleverly some People, who have not had the Advantages of Education, will manage about Half a Dozen of these Words when they have got them. I have known some, who, for the Space of four or five Minutes, would deceive a Stranger, and induce him to think that he had met with a Person of great Learning. And however odd this may appear, we think we ourselves can manage the few hard Words which have been mentioned here, in such a Manner as to make an extraordinary Sentence of them: For Instance, supposing a Person had no other fine Words but these in his Catalogue, and had an Occasion for them in addressing a Lady; we are of Opinion, that he might shine by ranging them all in this Order.

Madam, I presume your _Horologie_ will never go right unless it is _mundified_ by an _additional_ Lover; therefore, let me have the Honour to _refrigerate_ your Eye.

A Swain of a more happy Invention, might make a much finer Speech out of these Words; but as we have done our utmost in the Attempt, we shall take Leave of the Subject; having shewn, to a Demonstration, the singular Advantage of making Use of fine Words.

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XXVIII.

_That the Way to get a Sailing Boat off the Shore, when she is fast by any Accident, is to let go both or all the Sails, and stand at her Head, and push with a Sprit._

This Error, though it may seem ridiculous to those who have been brought up at Sea, and understand Sailing, is nevertheless very common in Inland Rivers, where Sailing is but little understood. You may very frequently see fresh-water Sailors, as soon as they find that their Boat has struck, immediately let both their Main-sail and Fore-sail fly, after which they all run to the Head of the Boat with Sprits, and begin to endeavour to push her off; which Method is contrary to the Rules of Mechanics, and therefore of Sailing.

A Boat or Vessel of any Size (a 90 Gun Ship moving upon the same Principle as the smallest Cutter,) is acted upon by the Powers which are the Cause of her Motion as she swims in the Water, in the same Manner as a Lever of the first Kind, whose Center or Prop is between the Power and the Weight. To explain this, let us suppose a Boat, instead of Swimming in the Water, to be upon dry Land, and to have her Mast run quite through her, and fastened into the Ground, upon which she might be turned at Pleasure, as upon an Axle-Tree: In this Case, as her Mast is rather nearer her Head than her Stern, it would be more easy to turn her Head round by laying hold of her Stern, because there would be a Mechanical Advantage, by the greater Length from the Stern to the Mast, than from the Head to the Mast. And in whatever Direction the Stern of the Vessel is turned, her Head must move the contrary Way, and vice versâ. Now, the same will happen to a Vessel in the Water; if you push her Head in one Direction, her Stern will move in the other, and vice versâ. So that a Vessel under Sail with a Side-wind, may be called a Lever of the first Kind, both whose Extremities are kept in a Ballance by the Sails and Rudder; Forces which keep continually acting upon her. The Rudder may be considered as a Kind of Moderator, which is to interpose when the Sails which are before the Mast, or those which are behind the Mast, or abaft, overpower each other, and destroy that Ballance which a Vessel rightly trimmed very near preserves of herself. It must be observed, that the Sails before the Mast of a Vessel, and those behind it, act in contrary Directions. Those which are before the Mast turn her Head from the Wind, and those which are behind it turn her Head towards the Wind.