Chapter 8

[Footnote 7: The 'Rehearsal' was a witty burlesque upon the heroic dramas of Davenant, Dryden, and others, written by George Villiers, duke of Buckingham, the Zimri of Dryden's 'Absalom and Achitophel,' 'that life of pleasure and that soul of whim,' who, after running through a fortune of £50,000 a year, died, says Pope, 'in the worst inn's worst room.' His 'Rehearsal', written in 1663-4, was first acted in 1671. In the last act the poet Bayes, who is showing and explaining a Rehearsal of his play to Smith and Johnson, introduces an Eclipse which, as he explains, being nothing else but an interposition, &c.

'Well, Sir, then what do I, but make the earth, sun, and moon, come out upon the stage, and dance the hey' ... 'Come, come out, eclipse, to the tune of 'Tom Tyler'.'

[Enter Luna.]

'Luna': Orbis, O Orbis! Come to me, thou little rogue, Orbis.

[Enter the Earth.]

'Orb.' Who calls Terra-firma pray?

...

[Enter Sol, to the tune of Robin Hood, &c.]

While they dance Bayes cries, mightily taken with his device,

'Now the Earth's before the Moon; now the Moon's before the Sun: there's the Eclipse again.']

[Footnote 8: The elector of Hanover, who, in 1714, became King George I.]

[Footnote 9: In the year after the foundation of the Bank of England, Mr. Charles Montague,--made in 1700 Baron and by George I., Earl of Halifax, then (in 1695) Chancellor of the Exchequer,--restored the silver currency to a just standard. The process of recoinage caused for a time scarcity of coin and stoppage of trade. The paper of the Bank of England fell to 20 per cent. discount. Montague then collected and paid public debts from taxes imposed for the purpose and invented (in 1696), to relieve the want of currency, the issue of Exchequer bills. Public credit revived, the Bank capital increased, the currency sufficed, and. says Earl Russell in his Essay on the English Government and Constitution,

'from this time loans were made of a vast increasing amount with great facility, and generally at a low interest, by which the nation were enabled to resist their enemies. The French wondered at the prodigious efforts that were made by so small a power, and the abundance with which money was poured into its treasury... Books were written, projects drawn up, edicts prepared, which were to give to France the same facilities as her rival; every plan that fiscal ingenuity could strike out, every calculation that laborious arithmetic could form, was proposed, and tried, and found wanting; and for this simple reason, that in all their projects drawn up in imitation of England, one little element was omitted, _videlicet_, her free constitution.'

That is what Addison means by his allegory.]

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No. 4. Monday, March 5, 1711. Steele.

... Egregii Mortalem altique silenti!

Hor.

An Author, when he first appears in the World, is very apt to believe it has nothing to think of but his Performances. With a good Share of this Vanity in my Heart, I made it my Business these three Days to listen after my own Fame; and, as I have sometimes met with Circumstances which did not displease me, I have been encountered by others which gave me much Mortification. It is incredible to think how empty I have in this time observed some Part of the Species to be, what mere Blanks they are when they first come abroad in the Morning, how utterly they are at a Stand, until they are set a going by some Paragraph in a News-Paper: Such Persons are very acceptable to a young Author, for they desire no more [in anything] but to be new, to be agreeable. If I found Consolation among such, I was as much disquieted by the Incapacity of others. These are Mortals who have a certain Curiosity without Power of Reflection, and perused my Papers like Spectators rather than Readers. But there is so little Pleasure in Enquiries that so nearly concern our selves (it being the worst Way in the World to Fame, to be too anxious about it), that upon the whole I resolv'd for the future to go on in my ordinary Way; and without too much Fear or Hope about the Business of Reputation, to be very careful of the Design of my Actions, but very negligent of the Consequences of them.

It is an endless and frivolous Pursuit to act by any other Rule than the Care of satisfying our own Minds in what we do. One would think a silent Man, who concerned himself with no one breathing, should be very liable to Misinterpretations; and yet I remember I was once taken up for a Jesuit, for no other reason but my profound Taciturnity. It is from this Misfortune, that to be out of Harm's Way, I have ever since affected Crowds. He who comes into Assemblies only to gratify his Curiosity, and not to make a Figure, enjoys the Pleasures of Retirement in a more exquisite Degree, than he possibly could in his Closet; the Lover, the Ambitious, and the Miser, are followed thither by a worse Crowd than any they can withdraw from. To be exempt from the Passions with which others are tormented, is the only pleasing Solitude. I can very justly say with the antient Sage, 'I am never less alone than when alone'. As I am insignificant to the Company in publick Places, and as it is visible I do not come thither as most do, to shew my self; I gratify the Vanity of all who pretend to make an Appearance, and often have as kind Looks from well-dressed Gentlemen and Ladies, as a Poet would bestow upon one of his Audience. There are so many Gratifications attend this publick sort of Obscurity, that some little Distastes I daily receive have lost their Anguish; and I [did the other day, [1]] without the least Displeasure overhear one say of me,

'That strange Fellow,'

and another answer,

'I have known the Fellow's Face for these twelve Years, and so must you; but I believe you are the first ever asked who he was.'

There are, I must confess, many to whom my Person is as well known as that of their nearest Relations, who give themselves no further Trouble about calling me by my Name or Quality, but speak of me very currently by Mr 'what-d-ye-call-him'.

To make up for these trivial Disadvantages, I have the high Satisfaction of beholding all Nature with an unprejudiced Eye; and having nothing to do with Men's Passions or Interests, I can with the greater Sagacity consider their Talents, Manners, Failings, and Merits.

It is remarkable, that those who want any one Sense, possess the others with greater Force and Vivacity. Thus my Want of, or rather Resignation of Speech, gives me all the Advantages of a dumb Man. I have, methinks, a more than ordinary Penetration in Seeing; and flatter my self that I have looked into the Highest and Lowest of Mankind, and make shrewd Guesses, without being admitted to their Conversation, at the inmost Thoughts and Reflections of all whom I behold. It is from hence that good or ill Fortune has no manner of Force towards affecting my Judgment. I see Men flourishing in Courts, and languishing in Jayls, without being prejudiced from their Circumstances to their Favour or Disadvantage; but from their inward Manner of bearing their Condition, often pity the Prosperous and admire the Unhappy.

Those who converse with the Dumb, know from the Turn of their Eyes and the Changes of their Countenance their Sentiments of the Objects before them. I have indulged my Silence to such an Extravagance, that the few who are intimate with me, answer my Smiles with concurrent Sentences, and argue to the very Point I shak'd my Head at without my speaking. WILL. HONEYCOMB was very entertaining the other Night at a Play to a Gentleman who sat on his right Hand, while I was at his Left. The Gentleman believed WILL. was talking to himself, when upon my looking with great Approbation at a [young thing [2]] in a Box before us, he said,

'I am quite of another Opinion: She has, I will allow, a very pleasing Aspect, but, methinks, that Simplicity in her Countenance is rather childish than innocent.'

When I observed her a second time, he said,

'I grant her Dress is very becoming, but perhaps the Merit of Choice is owing to her Mother; for though,' continued he, 'I allow a Beauty to be as much to be commended for the Elegance of her Dress, as a Wit for that of his Language; yet if she has stolen the Colour of her Ribbands from another, or had Advice about her Trimmings, I shall not allow her the Praise of Dress, any more than I would call a Plagiary an Author.'

When I threw my Eye towards the next Woman to her, WILL. spoke what I looked, [according to his romantic imagination,] in the following Manner.

'Behold, you who dare, that charming Virgin. Behold the Beauty of her Person chastised by the Innocence of her Thoughts. Chastity, Good-Nature, and Affability, are the Graces that play in her Countenance; she knows she is handsome, but she knows she is good. Conscious Beauty adorned with conscious Virtue! What a Spirit is there in those Eyes! What a Bloom in that Person! How is the whole Woman expressed in her Appearance! Her Air has the Beauty of Motion, and her Look the Force of Language.'

It was Prudence to turn away my Eyes from this Object, and therefore I turned them to the thoughtless Creatures who make up the Lump of that Sex, and move a knowing Eye no more than the Portraitures of insignificant People by ordinary Painters, which are but Pictures of Pictures.

Thus the working of my own Mind, is the general Entertainment of my Life; I never enter into the Commerce of Discourse with any but my particular Friends, and not in Publick even with them. Such an Habit has perhaps raised in me uncommon Reflections; but this Effect I cannot communicate but by my Writings. As my Pleasures are almost wholly confined to those of the Sight, I take it for a peculiar Happiness that I have always had an easy and familiar Admittance to the fair Sex. If I never praised or flattered, I never belyed or contradicted them. As these compose half the World, and are by the just Complaisance and Gallantry of our Nation the more powerful Part of our People, I shall dedicate a considerable Share of these my Speculations to their Service, and shall lead the young through all the becoming Duties of Virginity, Marriage, and Widowhood. When it is a Woman's Day, in my Works, I shall endeavour at a Stile and Air suitable to their Understanding. When I say this, I must be understood to mean, that I shall not lower but exalt the Subjects I treat upon. Discourse for their Entertainment, is not to be debased but refined. A Man may appear learned without talking Sentences; as in his ordinary Gesture he discovers he can dance, tho' he does not cut Capers. In a Word, I shall take it for the greatest Glory of my Work, if among reasonable Women this Paper may furnish _Tea-Table Talk_. In order to it, I shall treat on Matters which relate to Females as they are concern'd to approach or fly from the other Sex, or as they are tyed to them by Blood, Interest, or Affection. Upon this Occasion I think it but reasonable to declare, that whatever Skill I may have in Speculation, I shall never betray what the Eyes of Lovers say to each other in my Presence. At the same Time I shall not think my self obliged by this Promise, to conceal any false Protestations which I observe made by Glances in publick Assemblies; but endeavour to make both Sexes appear in their Conduct what they are in their Hearts. By this Means Love, during the Time of my Speculations, shall be carried on with the same Sincerity as any other Affair of less Consideration. As this is the greatest Concern, Men shall be from henceforth liable to the greatest Reproach for Misbehaviour in it. Falsehood in Love shall hereafter bear a blacker Aspect than Infidelity in Friendship or Villany in Business. For this great and good End, all Breaches against that noble Passion, the Cement of Society, shall be severely examined. But this and all other Matters loosely hinted at now and in my former Papers, shall have their proper Place in my following Discourses: The present writing is only to admonish the World, that they shall not find me an idle but a very busy Spectator.

[Footnote 1: can]

[Footnote 2: blooming Beauty]

* * * * *

No. 5. Tuesday, March 6, 1711. Addison.

'Spectatum admissi risum teneatis?'

Hor.

An Opera may be allowed to be extravagantly lavish in its Decorations, as its only Design is to gratify the Senses, and keep up an indolent Attention in the Audience. Common Sense however requires that there should be nothing in the Scenes and Machines which may appear Childish and Absurd. How would the Wits of King _Charles's_ time have laughed to have seen _Nicolini_ exposed to a Tempest in Robes of Ermin, and sailing in an open Boat upon a Sea of Paste-Board? What a Field of Raillery would they have been let into, had they been entertain'd with painted Dragons spitting Wild-fire, enchanted Chariots drawn by _Flanders_ Mares, and real Cascades in artificial Land-skips? A little Skill in Criticism would inform us that Shadows and Realities ought not to be mix'd together in the same Piece; and that Scenes, which are designed as the Representations of Nature, should be filled with Resemblances, and not with the Things themselves. If one would represent a wide Champain Country filled with Herds and Flocks, it would be ridiculous to draw the Country only upon the Scenes, and to crowd several Parts of the Stage with Sheep and Oxen. This is joining together Inconsistencies, and making the Decoration partly Real, and partly Imaginary. I would recommend what I have here said, to the Directors, as well as to the Admirers, of our Modern Opera.

As I was walking [in] the Streets about a Fortnight ago, I saw an ordinary Fellow carrying a Cage full of little Birds upon his Shoulder; and as I was wondering with my self what Use he would put them to, he was met very luckily by an Acquaintance, who had the same Curiosity. Upon his asking him what he had upon his Shoulder, he told him, that he had been buying Sparrows for the Opera. Sparrows for the Opera, says his Friend, licking his lips, what are they to be roasted? No, no, says the other, they are to enter towards the end of the first Act, and to fly about the Stage.

This strange Dialogue awakened my Curiosity so far that I immediately bought the Opera, by which means I perceived the Sparrows were to act the part of Singing Birds in a delightful Grove: though, upon a nearer Enquiry I found the Sparrows put the same Trick upon the Audience, that Sir _Martin Mar-all_ [1] practised upon his Mistress; for, though they flew in Sight, the Musick proceeded from a Consort of Flagellets and Bird-calls which was planted behind the Scenes. At the same time I made this Discovery, I found by the Discourse of the Actors, that there were great Designs on foot for the Improvement of the Opera; that it had been proposed to break down a part of the Wall, and to surprize the Audience with a Party of an hundred Horse, and that there was actually a Project of bringing the _New River_ into the House, to be employed in Jetteaus and Water-works. This Project, as I have since heard, is post-poned 'till the Summer-Season; when it is thought the Coolness that proceeds from Fountains and Cascades will be more acceptable and refreshing to People of Quality. In the mean time, to find out a more agreeable Entertainment for the Winter-Season, the Opera of _Rinaldo_ [2] is filled with Thunder and Lightning, Illuminations, and Fireworks; which the Audience may look upon without catching Cold, and indeed without much Danger of being burnt; for there are several Engines filled with Water, and ready to play at a Minute's Warning, in case any such Accident should happen. However, as I have a very great Friendship for the Owner of this Theater, I hope that he has been wise enough to _insure_ his House before he would let this Opera be acted in it.

It is no wonder, that those Scenes should be very surprizing, which were contrived by two Poets of different Nations, and raised by two Magicians of different Sexes. _Armida_ (as we are told in the Argument) was an _Amazonian_ Enchantress, and poor Seignior _Cassani_ (as we learn from the _Persons represented_) a Christian Conjuror (_Mago Christiano_). I must confess I am very much puzzled to find how an _Amazon_ should be versed in the Black Art, or how a [good] Christian [for such is the part of the magician] should deal with the Devil.

To consider the Poets after the Conjurers, I shall give you a Taste of the _Italian_, from the first Lines of his Preface.

'Eccoti, benigno Lettore, un Parto di poche Sere, che se ben nato di Notte, non è però aborto di Tenebre, mà si farà conoscere Figlio d'Apollo con qualche Raggio di Parnasso.

Behold, gentle Reader, the Birth of a few Evenings, which, tho' it be the Offspring of the Night, is not the Abortive of Darkness, but will make it self known to be the Son of Apollo, with a certain Ray of Parnassus.'

He afterwards proceeds to call Minheer _Hendel_, [3] the _Orpheus_ of our Age, and to acquaint us, in the same Sublimity of Stile, that he Composed this Opera in a Fortnight. Such are the Wits, to whose Tastes we so ambitiously conform our selves. The Truth of it is, the finest Writers among the Modern _Italians_ express themselves in such a florid form of Words, and such tedious Circumlocutions, as are used by none but Pedants in our own Country; and at the same time, fill their Writings with such poor Imaginations and Conceits, as our Youths are ashamed of, before they have been Two Years at the University. Some may be apt to think that it is the difference of Genius which produces this difference in the Works of the two Nations; but to show there is nothing in this, if we look into the Writings of the old _Italians_, such as _Cicero_ and _Virgil_, we shall find that the _English_ Writers, in their way of thinking and expressing themselves, resemble those Authors much more than the modern _Italians_ pretend to do. And as for the Poet himself from whom the Dreams of this Opera are taken, I must entirely agree with Monsieur _Boileau_, that one Verse in _Virgil_ is worth all the _Clincant_ or Tinsel of _Tasso_.

But to return to the Sparrows; there have been so many Flights of them let loose in this Opera, that it is feared the House will never get rid of them; and that in other Plays, they may make their Entrance in very wrong and improper Scenes, so as to be seen flying in a Lady's Bed-Chamber, or perching upon a King's Throne; besides the Inconveniences which the Heads of the Audience may sometimes suffer from them. I am credibly informed, that there was once a Design of casting into an Opera the Story of _Whittington_ and his Cat, and that in order to it, there had been got together a great Quantity of Mice; but Mr. _Rich_, the Proprietor of the Play-House, very prudently considered that it would be impossible for the Cat to kill them all, and that consequently the Princes of his Stage might be as much infested with Mice, as the Prince of the Island was before the Cat's arrival upon it; for which Reason he would not permit it to be Acted in his House. And indeed I cannot blame him; for, as he said very well upon that Occasion, I do not hear that any of the Performers in our Opera, pretend to equal the famous Pied Piper, who made all the Mice of a great Town in _Germany_ [4] follow his Musick, and by that means cleared the Place of those little Noxious Animals.

Before I dismiss this Paper, I must inform my Reader, that I hear there is a Treaty on Foot with _London_ and _Wise_ [5] (who will be appointed Gardeners of the Play-House,) to furnish the Opera of _Rinaldo_ and _Armida_ with an Orange-Grove; and that the next time it is Acted, the Singing Birds will be Personated by Tom-Tits: The undertakers being resolved to spare neither Pains nor Mony, for the Gratification of the Audience.

C.

[Footnote 1: Dryden's play of 'Sir Martin Mar-all' was produced in 1666. It was entered at Stationers' Hall as by the duke of Newcastle, but Dryden finished it. In Act 5 the foolish Sir Martin appears at a window with a lute, as if playing and singing to Millicent, his mistress, while his man Warner plays and sings. Absorbed in looking at the lady, Sir Martin foolishly goes on opening and shutting his mouth and fumbling on the lute after the man's song, a version of Voiture's 'L'Amour sous sa Loi', is done. To which Millicent says,

'A pretty-humoured song--but stay, methinks he plays and sings still, and yet we cannot hear him--Play louder, Sir Martin, that we may have the Fruits on't.']

[Footnote 2: Handel had been met in Hanover by English noblemen who invited him to England, and their invitation was accepted by permission of the elector, afterwards George I., to whom he was then Chapel-master. Immediately upon Handel's arrival in England, in 1710, Aaron Hill, who was directing the Haymarket Theatre, bespoke of him an opera, the subject being of Hill's own devising and sketching, on the story of Rinaldo and Armida in Tasso's 'Jerusalem Delivered'. G. Rossi wrote the Italian words. 'Rinaldo', brought out in 1711, on the 24th of February, had a run of fifteen nights, and is accounted one of the best of the 35 operas composed by Handel for the English stage. Two airs in it, 'Cara sposa' and 'Lascia ch'io pianga' (the latter still admired as one of the purest expressions of his genius), made a great impression. In the same season the Haymarket produced 'Hamlet' as an opera by Gasparini, called 'Ambleto', with an overture that had four movements ending in a jig. But as was Gasparini so was Handel in the ears of Addison and Steele. They recognized in music only the sensual pleasure that it gave, and the words set to music for the opera, whatever the composer, were then, as they have since been, almost without exception, insults to the intellect.]

[Footnote 3: Addison's spelling, which is as good as ours, represents what was the true and then usual pronunciation of the name of Haendel.]

[Footnote 4: The Pied Piper of Hamelin (i.e. Hameln).

'Hamelin town's in Brunswick, By famous Hanover city; The river Weser, deep and wide, Washes its wall on the southern side.'

The old story has been annexed to English literature by the genius of Robert Browning.]

[Footnote 5: Evelyn, in the preface to his translation of Quintinye's 'Complete Gardener' (1701), says that the nursery of Messrs. London and Wise far surpassed all the others in England put together. It exceeded 100 acres in extent. George London was chief gardener first to William and Mary, then to Queen Anne. London and Wise's nursery belonged at this time to a gardener named Swinhoe, but kept the name in which it had become famous.]

* * * * *

No. 6. Wednesday, March 7, 1711. Steele.

'Credebant hoc grande Nefas, et Morte piandum, Si Juvenis Vetulo non assurrexerat ...'

Juv.

I know no Evil under the Sun so great as the Abuse of the Understanding, and yet there is no one Vice more common. It has diffus'd itself through both Sexes, and all Qualities of Mankind; and there is hardly that Person to be found, who is not more concerned for the Reputation of Wit and Sense, than Honesty and Virtue. But this unhappy Affectation of being Wise rather than Honest, Witty than Good-natur'd, is the Source of most of the ill Habits of Life. Such false Impressions are owing to the abandon'd Writings of Men of Wit, and the awkward Imitation of the rest of Mankind.