Chapter 25

That the painters find no encouragement among the English for many other works than portraits, has been imputed to national selfishness. 'Tis vain, says the satirist, to set before, any Englishman the scenes of landscape, or the heroes of history; nature and antiquity are nothing in his eye; he has no value but for himself, nor desires any copy but of his own form.

Whoever is delighted with his own picture must derive his pleasure from the pleasure of another. Every man is always present to himself, and has, therefore, little need of his own resemblance, nor can desire it, but for the sake of those whom he loves, and by whom he hopes to be remembered. This use of the art is a natural and reasonable consequence of affection; and though, like other human actions, it is often complicated with pride, yet even such pride is more laudable than that by which palaces are covered with pictures, that, however excellent, neither imply the owner's virtue, nor excite it.

Genius is chiefly exerted in historical pictures; and the art of the painter of portraits is often lost in the obscurity of his subject. But it is in painting as in life; what is greatest is not always best. I should grieve to see Reynolds transfer to heroes and to goddesses, to empty splendour and to airy fiction, that art which is now employed in diffusing friendship, in reviving tenderness, in quickening the affections of the absent, and continuing the presence of the dead[1].

Yet in a nation great and opulent there is room, and ought to be patronage, for an art like that of painting through all its diversities; and it is to be wished, that the reward now offered for an historical picture may excite an honest emulation, and give beginning to an English school.

It is not very easy to find an action or event that can be efficaciously represented by a painter.

He must have an action not successive but instantaneous; for the time of a picture is a single moment. For this reason, the death of Hercules cannot well be painted, though, at the first view, it flatters the imagination with very glittering ideas: the gloomy mountain, overhanging the sea, and covered with trees, some bending to the wind, and some torn from their roots by the raging hero; the violence with which he rends from his shoulders the envenomed garment; the propriety with which his muscular nakedness may be displayed; the death of Lycas whirled from the promontory; the gigantick presence of Philoctetes; the blaze of the fatal pile, which the deities behold with grief and terrour from the sky.

All these images fill the mind, but will not compose a picture, because they cannot be united in a single moment[2]. Hercules must have rent his flesh at one time, and tossed Lycas into the air at another; he must first tear up the trees, and then lie down upon the pile.

The action must be circumstantial and distinct. There is a passage in the Iliad which cannot be read without strong emotions. A Trojan prince, seized by Achilles in the battle, falls at his feet, and in moving terms supplicates for life. "How can a wretch like thee," says the haughty Greek, "intreat to live, when thou knowest that the time must come when Achilles is to die?" This cannot be painted, because no peculiarity of attitude or disposition can so supply the place of language as to impress the sentiment.

The event painted must be such as excites passion, and different passions in the several actors, or a tumult of contending passions in the chief.

Perhaps the discovery of Ulysses by his nurse is of this kind. The surprise of the nurse mingled with joy; that of Ulysses checked by prudence, and clouded by solicitude; and the distinctness of the action by which the scar is found; all concur to complete the subject. But the picture, having only two figures, will want variety.

A much nobler assemblage may be furnished by the death of Epaminondas. The mixture of gladness and grief in the face of the messenger who brings his dying general an account of the victory; the various passions of the attendants; the sublimity of composure in the hero, while the dart is by his own command drawn from his side, and the faint gleam of satisfaction that diffuses itself over the languor of death; are worthy of that pencil which yet I do not wish to see employed upon them.

If the design were not too multifarious and extensive, I should wish that our painters would attempt the dissolution of the parliament by Cromwell[3]. The point of time may be chosen when Cromwell, looking round the Pandaemonium with contempt, ordered the bauble to be taken away; and Harrison laid hands on the Speaker to drag him from the chair.

The various appearances which rage, and terrour, and astonishment, and guilt, might exhibit in the faces of that hateful assembly, of whom the principal persons may be faithfully drawn from portraits or prints; the irresolute repugnance of some, the hypocritical submissions of others, the ferocious insolence of Cromwell, the rugged brutality of Harrison, and the general trepidation of fear and wickedness, would, if some proper disposition could be contrived, make a picture of unexampled variety, and irresistible instruction.

[1] Some judicious remarks on portrait painting may be found in Chalmers' Preface to Idler, Brit. Ess. 33.

The difference between the French and English schools, in this department of the Art, well proves that mind has scope for its powers in portrait, and that genius alone can so generalize the details "as to identify the individual man with the dignity of his thinking powers."

[2] Has that picture, which is considered the finest in the world, the transfiguration, this requisite? Could any human eye, at one and the same moment, have beheld the apostles baffled with the stubborn spirit which they had not faith to quell, and the glories on the Mount?

[3] This subject has now been most successfully handled by West. Hall's exquisite engraving has rendered the picture familiar.

No. 40. SATURDAY, MARCH 3, 1759.

_Fugit ad salices, sed, se cupit ante videri_. VIRGIL.

Mr. Idler,

I am encouraged, by the notice you have taken of Betty Broom, to represent the miseries which I suffer from a species of tyranny, which, I believe, is not very uncommon, though perhaps it may have escaped the observation of those who converse little with fine ladies, or see them only in their publick characters.

To this method of venting my vexation I am the more inclined, because if I do not complain to you, I must burst in silence; for my mistress has teased me and teased me till I can hold no longer, and yet I must not tell her of her tricks. The girls that live in common services can quarrel, and give warning, and find other places; but we that live with great ladies, if we once offend them, have, nothing left but to return into the country.

I am waiting-maid to a lady who keeps the best company, and is seen at every place of fashionable resort. I am envied by all the maids in the square, for few countesses leave off so many clothes as my mistress, and nobody shares with me: so that I supply two families in the country with finery for the assizes and horse-races, besides what I wear myself. The steward and housekeeper have joined against me to procure my removal, that they may advance a relation of their own; but their designs are found out by my lady, who says I need not fear them, for she will never have dowdies about her.

You would think, Mr. Idler, like others, that I am very happy, and may well be contented with my lot. But I will tell you. My lady has an odd humour. She never orders any thing in direct words, for she loves a sharp girl that can take a hint.

I would not have you suspect that she has any thing to hint which she is ashamed to speak at length; for none can have greater purity of sentiment, or rectitude of intention. She has nothing to hide, yet nothing will she tell. She always gives her directions obliquely and allusively, by the mention of something relative or consequential, without any other purpose than to exercise my acuteness and her own.

It is impossible to give a notion of this style otherwise than by examples. One night, when she had sat writing letters till it was time to be dressed, _Molly_, said she, _the Ladies are all to be at Court to-night in white aprons_. When she means that I should send to order the chair, she says, _I think the streets are clean, I may venture to walk_. When she would have something put into its place, she bids me _lay it on the floor_. If she would have me snuff the candles, she asks _whether I think her eyes are like a cat's_? If she thinks her chocolate delayed, she talks of _the benefit of abstinence_. If any needle-work is forgotten, she supposes _that I have heard of the lady who died by pricking her finger_.

She always imagines that I can recall every thing past from a single word. If she wants her head from the milliner, she only says, _Molly, you know Mrs. Tape_. If she would have the mantua-maker sent for, she remarks _that Mr. Taffety, the mercer, was here last week_. She ordered, a fortnight ago, that the first time she was abroad all day I should choose her a new set of coffee-cups at the china-shop: of this she reminded me yesterday, as she was going down stairs, by saying, _You can't find your way now to Pall-mall_.

All this would never vex me, if, by increasing my trouble, she spared her own; but, dear Mr. Idler, is it not as easy to say _coffee-cups_, as _Pall-mall_? and to tell me in plain words what I am to do, and when it is to be done, as to torment her own head with the labour of finding hints, and mine with that of understanding them?

When first I came to this lady, I had nothing like the learning that I have now; for she has many books, and I have much time to read; so that of late I seldom have missed her meaning: but when she first took me I was an ignorant girl; and she, who, as is very common, confounded want of knowledge with want of understanding, began once to despair of bringing me to any thing, because, when I came into her chamber at the call of her bell, she asked me, _Whether we lived in Zembla_; and I did not guess the meaning of her inquiry, but modestly answered, that _I could not tell_. She had happened to ring once when I did not hear her, and meant to put me in mind of that country where sounds are said to be congealed by the frost.

Another time, as I was dressing her head, she began to talk on a sudden of _Medusa_, and _snakes_, and _men turned into stone, and maids that, if they were not watched, would let their mistresses be Gorgons_. I looked round me half frightened, and quite bewildered; till at last, finding that her literature was thrown away upon me, she bid me with great vehemence, reach the curling-irons.

It is not without some indignation, Mr. Idler, that I discover, in these artifices of vexation, something worse than foppery or caprice; a mean delight in superiority, which knows itself in no danger of reproof or opposition; a cruel pleasure in seeing the perplexity of a mind obliged to find what is studiously concealed, and a mean indulgence of petty malevolence, in the sharp censure of involuntary, and very often of inevitable, failings. When, beyond her expectation, I hit upon her meaning, I can perceive a sudden cloud of disappointment spread over her face; and have sometimes been afraid, lest I should lose her favour by understanding her when she means to puzzle me.

This day, however, she has conquered my sagacity. When she went out of her dressing-room, she said nothing, but, _Molly, you know_, and hastened to her chariot. What I am to know is yet a secret; but if I do not know before she comes back, what I yet have no means of discovering, she will make my dullness a pretence for a fortnight's ill humour, treat me as a creature devoid of the faculties necessary to the common duties of life, and perhaps give the next gown to the housekeeper.

I am, Sir,

Your humble servant,

MOLLY QUICK.

No. 47. SATURDAY, MARCH 10, 1759.

TO THE IDLER.

Mr. Idler,

I am the unfortunate wife of a city wit, and cannot but think that my case may deserve equal compassion with any of those which have been represented in your paper.

I married my husband within three months after the expiration of his apprenticeship; we put our money together, and furnished a large and splendid shop, in which he was for five years and a half diligent and civil. The notice which curiosity or kindness commonly bestows on beginners, was continued by confidence and esteem; one customer, pleased with his treatment and his bargain, recommended another; and we were busy behind the counter from morning to night.

Thus every day increased our wealth and our reputation. My husband was often invited to dinner openly on the Exchange by hundred thousand pounds men; and whenever I went to any of the halls, the wives of the aldermen made me low courtesies. We always took up our notes before the day, and made all considerable payments by draughts upon our banker.

You will easily believe that I was well enough pleased with my condition; for what happiness can be greater than that of growing every day richer and richer? I will not deny, that, imagining myself likely to be in a short time the sheriff's lady, I broke off my acquaintance with some of my neighbours; and advised my husband to keep good company, and not to be seen with men that were worth nothing.

In time he found that ale disagreed with his constitution, and went every night to drink his pint at a tavern, where he met with a set of criticks, who disputed upon the merit of the different theatrical performers. By these idle fellows he was taken to the play, which at first he did not seem much to heed; for he owned, that he very seldom knew what they were doing, and that, while his companions would let him alone, he was commonly thinking on his last bargain.

Having once gone, however, he went again and again, though I often told him that three shillings were thrown away: at last he grew uneasy if he missed a night, and importuned me to go with him. I went to a tragedy, which they called Macbeth; and, when I came home, told him, that I could not bear to see men and women make themselves such fools, by pretending to be witches and ghosts, generals and kings, and to walk in their sleep when they were as much awake, as those that looked at them. He told me that I must get higher notions, and that a play was the most rational of all entertainments, and most proper to relax the mind after the business of the day.

By degrees he gained knowledge of some of the players: and, when the play was over, very frequently treated them with suppers; for which he was admitted to stand behind the scenes.

He soon began to lose some of his morning hours in the same folly, and was for one winter very diligent in his attendance on the rehearsals; but of this species of idleness he grew weary, and said, that the play was nothing without the company.

His ardour for the diversion of the evening increased; he bought a sword, and paid five shillings a night to sit in the boxes; he went sometimes into a place which he calls the green-room, where all the wits of the age assemble and, when he had been there, could do nothing, for two or three days, but repeat their jests, or tell their disputes.

He has now lost his regard for every thing but the playhouse; he invites, three times a week, one or other to drink claret, and talk of the drama. His first care in the morning is to read the play-bills; and, if he remembers any lines of the tragedy which is to be represented, walks about the shop, repeating them so loud, and with such strange gestures, that the passengers gather round the door.

His greatest pleasure, when I married him, was to hear the situation of his shop commended, and to be told how many estates have been got in it by the same trade; but of late he grows peevish at any mention of business, and delights in nothing so much as to be told that he speaks like Mossop.

Among his new associates he has learned another language, and speaks in such a strain that his neighbours cannot understand him. If a customer talks longer than he is willing to hear, he will complain that he has been excruciated with unmeaning verbosity; he laughs at the letters of his friends for their tameness of expression, and often declares himself weary of attending to the minutiæ of a shop.

It is well for me that I know how to keep a book, for of late he is scarcely ever in the way. Since one of his friends told him that he had a genius for tragick poetry, he has locked himself in an upper room six or seven hours a day; and, when I carry him any paper to be read or signed, I hear him talking vehemently to himself, sometimes of love and beauty, sometimes of friendship and virtue, but more frequently of liberty and his country.

I would gladly, Mr. Idler, be informed what to think of a shopkeeper, who is incessantly talking about liberty; a word, which, since his acquaintance with polite life, my husband has always in his mouth: he is, on all occasions, afraid of our liberty, and declares his resolution to hazard all for liberty. What can the man mean? I am sure he has liberty enough; it were better for him and me if his liberty was lessened.

He has a friend, whom he calls a critick, that comes twice a week to read what he is writing. This critick tells him that his piece is a little irregular, but that some detached scenes will shine prodigiously, and that in the character of Bombulus he is wonderfully great. My scribbler then squeezes his hand, calls him the best of friends, thanks him for his sincerity, and tells him that he hates to be flattered. I have reason to believe that he seldom parts with his dear friend without lending him two guineas, and am afraid that he gave bail for him three days ago.

By this course of life our credit as traders is lessened; and I cannot forbear to suspect, that my husband's honour as a wit is not much advanced, for he seems to be always the lowest of the company, and is afraid to tell his opinion till the rest have spoken. When he was behind his counter, he used to be brisk, active, and jocular, like a man that knew what he was doing, and did not fear to look another in the face; but among wits and criticks he is timorous and awkward, and hangs down his head at his own table. Dear Mr. Idler, persuade him, if you can, to return once more to his native element. Tell him, that wit will never make him rich, but that there are places where riches will always make a wit.

I am, Sir, &c.

DEBORAH GINGER.

No. 48. SATURDAY, MARCH 17, 1759.

There is no kind of idleness, by which we are so easily seduced, as that which dignifies itself by the appearance of business; and, by making the loiterer imagine that he has something to do which must not be neglected, keeps him in perpetual agitation, and hurries him rapidly from place to place.

He that sits still, or reposes himself upon a couch, no more deceives himself than he deceives others; he knows that he is doing nothing, and has no other solace of his insignificance than the resolution, which the lazy hourly make, of changing his mode of life.

To do nothing every man is ashamed; and to do much almost every man is unwilling or afraid. Innumerable expedients have, therefore, been invented to produce motion without labour, and employment without solicitude. The greater part of those, whom the kindness of fortune has left to their own direction, and whom want does not keep chained to the counter or the plough, play throughout life with the shadows of business, and know not at last what they have been doing.

These imitators of action are of all denominations. Some are seen at every auction without intention to purchase; others appear punctually at the Exchange, though they are known there only by their faces: some are always making parties to visit collections for which they have no taste; and some neglect every pleasure and every duty to hear questions, in which they have no interest, debated in parliament.

These men never appear more ridiculous than in the distress which they imagine themselves to feel from some accidental interruption of those empty pursuits. A tiger newly imprisoned is indeed more formidable, but not more angry, than Jack Tulip, withheld from a florist's feast, or Tom Distich, hindered from seeing the first representation of a play.

As political affairs are the highest and most extensive of temporal concerns, the mimick of a politician is more busy and important than any other trifler. Monsieur le Noir, a man who, without property or importance in any corner of the earth, has, in the present confusion of the world, declared himself a steady adherent to the French, is made miserable by a wind that keeps back the packet-boat, and still more miserable by every account of a Malouin privateer caught in his cruise; he knows well that nothing can be done or said by him which can produce any effect but that of laughter, that he can neither hasten nor retard good or evil, that his joys and sorrows have scarcely any partakers; yet such is his zeal, and such his curiosity, that he would run barefooted to Gravesend, for the sake of knowing first that the English had lost a tender, and would ride out to meet every mail from the continent, if he might be permitted to open it.

Learning is generally confessed to be desirable, and there are some who fancy themselves always busy in acquiring it. Of these ambulatory students, one of the most busy is my friend Tom Restless.

Tom has long had a mind to be a man of knowledge, but he does not care to spend much time among authors; for he is of opinion that few books deserve the labour of perusal, that they give the mind an unfashionable cast, and destroy that freedom of thought, and easiness of manners, indispensably requisite to acceptance in the world. Tom has, therefore, found another way to wisdom. When he rises he goes into a coffee-house, where he creeps so near to men whom he takes to be reasoners, as to hear their discourse, and endeavours to remember something which, when it has been strained through Tom's head, is so near to nothing, that what it once was cannot be discovered. This he carries round from friend to friend through a circle of visits, till, hearing what each says upon the question, he becomes able at dinner to say a little himself; and, as every great genius relaxes himself among his inferiors, meets with some who wonder how so young a man can talk so wisely.

At night he has a new feast prepared for his intellects; he always runs to a disputing society, or a speaking club, where he half hears what, if he had heard the whole, be would but half understand; goes home pleased with the consciousness of a day well spent, lies down full of ideas, and rises in the morning empty as before.

No. 49. SATURDAY, MARCH 24, 1759.

I supped three nights ago with my friend Will Marvel. His affairs obliged him lately to take a journey into Devonshire, from which he has just returned. He knows me to be a very patient hearer, and was glad of my company, as it gave him an opportunity of disburdening himself, by a minute relation of the casualties of his expedition.

Will is not one of those who go out and return with nothing to tell. He has a story of his travels, which will strike a home-bred citizen with horrour, and has in ten days suffered so often the extremes of terrour and joy, that he is in doubt whether he shall ever again expose either his body or mind to such danger and fatigue.