Loe raamatut: «Essays and Tales»
INTRODUCTION
The sixty-fourth volume of this Library contains those papers from the Tatler which were especially associated with the imagined character of Isaac Bickerstaff, who was the central figure in that series; and in the twenty-ninth volume there is a similar collection of papers relating to the Spectator Club and Sir Roger de Coverley, who was the central figure in Steele and Addison’s Spectator. Those volumes contained, no doubt, some of the best Essays of Addison and Steele. But in the Tatler and Spectator are full armouries of the wit and wisdom of these two writers, who summoned into life the army of the Essayists, and led it on to kindly war against the forces of Ill-temper and Ignorance. Envy, Hatred, Malice, and all their first cousins of the family of Uncharitableness, are captains under those two commanders-in-chief, and we can little afford to dismiss from the field two of the stoutest combatants against them. In this volume it is only Addison who speaks; and in another volume, presently to follow, there will be the voice of Steele.
The two friends differed in temperament and in many of the outward signs of character; but these two little books will very distinctly show how wholly they agreed as to essentials. For Addison, Literature had a charm of its own; he delighted in distinguishing the finer graces of good style, and he drew from the truths of life the principles of taste in writing. For Steele, Literature was the life itself; he loved a true book for the soul he found in it. So he agreed with Addison in judgment. But the six papers on “Wit,” the two papers on “Chevy Chase,” contained in this volume; the eleven papers on “Imagination,” and the papers on “Paradise Lost,” which may be given in some future volume; were in a form of study for which Addison was far more apt than Steele. Thus as fellow-workers they gave a breadth to the character of Tatler and Spectator that could have been produced by neither of them, singly.
The reader of this volume will never suppose that the artist’s pleasure in good art and in analysis of its constituents removes him from direct enjoyment of the life about him; that he misses a real contact with all the world gives that is worth his touch. Good art is but nature, studied with love trained to the most delicate perception; and the good criticism in which the spirit of an artist speaks is, like Addison’s, calm, simple, and benign. Pope yearned to attack John Dennis, a rough critic of the day, who had attacked his “Essay on Criticism.” Addison had discouraged a very small assault of words. When Dennis attacked Addison’s “Cato,” Pope thought himself free to strike; but Addison took occasion to express, through Steele, a serious regret that he had done so. True criticism may be affected, as Addison’s was, by some bias in the canons of taste prevalent in the writer’s time, but, as Addison’s did in the Chevy-Chase papers, it will dissent from prevalent misapplications of them, and it can never associate perception of the purest truth and beauty with petty arrogance, nor will it so speak as to give pain. When Wordsworth was remembering with love his mother’s guidance of his childhood, and wished to suggest that there were mothers less wise in their ways, he was checked, he said, by the unwillingness to join thought of her “with any thought that looks at others’ blame.” So Addison felt towards his mother Nature, in literature and in life. He attacked nobody. With a light, kindly humour, that was never personal and never could give pain, he sought to soften the harsh lines of life, abate its follies, and inspire the temper that alone can overcome its wrongs.
Politics, in which few then knew how to think calmly and recognise the worth of various opinion, Steele and Addison excluded from the pages of the Spectator. But the first paper in this volume is upon “Public Credit,” and it did touch on the position of the country at a time when the shock of change caused by the Revolution of 1688-89, and also the strain of foreign war, were being severely felt.
H. M.
PUBLIC CREDIT
—Quoi quisque ferè studio devinctus adhæret
Aut quibus i rebus multùm sumus antè morati
Atque in quô ratione fuit contenta magis mens,
In somnis cadem plerumque videmur obire.
Lucr., iv. 959.
—What studies please, what most delight,
And fill men’s thoughts, they dream them o’er at night.
Creech.
In one of my rambles, or rather speculations, I looked into the great hall where the bank is kept, and was not a little pleased to see the directors, secretaries, and clerks, with all the other members of that wealthy corporation, ranged in their several stations, according to the parts they act in that just and regular economy. This revived in my memory the many discourses which I had both read and heard concerning the decay of public credit, with the methods of restoring it; and which, in my opinion, have always been defective, because they have always been made with an eye to separate interests and party principles.
The thoughts of the day gave my mind employment for the whole night; so that I fell insensibly into a kind of methodical dream, which disposed all my contemplations into a vision, or allegory, or what else the reader shall please to call it.
Methoughts I returned to the great hall, where I had been the morning before; but to my surprise, instead of the company that I left there, I saw, towards the upper end of the hall, a beautiful virgin, seated on a throne of gold. Her name, as they told me, was Public Credit. The walls, instead of being adorned with pictures and maps, were hung with many Acts of Parliament written in golden letters. At the upper end of the hall was the Magna Charta, with the Act of Uniformity on the right hand, and the Act of Toleration on the left. At the lower end of the hall was the Act of Settlement, which was placed full in the eye of the virgin that sat upon the throne. Both the sides of the hall were covered with such Acts of Parliament as had been made for the establishment of public funds. The lady seemed to set an unspeakable value upon these several pieces of furniture, insomuch that she often refreshed her eye with them, and often smiled with a secret pleasure as she looked upon them; but, at the same time, showed a very particular uneasiness if she saw anything approaching that might hurt them. She appeared, indeed, infinitely timorous in all her behaviour: and whether it was from the delicacy of her constitution, or that she was troubled with vapours, as I was afterwards told by one who I found was none of her well-wishers, she changed colour and startled at everything she heard. She was likewise, as I afterwards found, a greater valetudinarian than any I had ever met with, even in her own sex, and subject to such momentary consumptions, that in the twinkling of an eye, she would fall away from the most florid complexion and the most healthful state of body, and wither into a skeleton. Her recoveries were often as sudden as her decays, insomuch that she would revive in a moment out of a wasting distemper, into a habit of the highest health and vigour.
I had very soon an opportunity of observing these quick turns and changes in her constitution. There sat at her feet a couple of secretaries, who received every hour letters from all parts of the world, which the one or the other of them was perpetually reading to her; and according to the news she heard, to which she was exceedingly attentive, she changed colour, and discovered many symptoms of health or sickness.
Behind the throne was a prodigious heap of bags of money, which were piled upon one another so high that they touched the ceiling. The floor on her right hand and on her left was covered with vast sums of gold that rose up in pyramids on either side of her. But this I did not so much wonder at, when I heard, upon inquiry, that she had the same virtue in her touch, which the poets tell us a Lydian king was formerly possessed of; and that she could convert whatever she pleased into that precious metal.
After a little dizziness, and confused hurry of thought, which a man often meets with in a dream, methoughts the hall was alarmed, the doors flew open, and there entered half a dozen of the most hideous phantoms that I had ever seen, even in a dream, before that time. They came in two by two, though matched in the most dissociable manner, and mingled together in a kind of dance. It would be tedious to describe their habits and persons; for which reason I shall only inform my reader, that the first couple were Tyranny and Anarchy; the second were Bigotry and Atheism; the third, the Genius of a commonwealth and a young man of about twenty-two years of age, whose name I could not learn. He had a sword in his right hand, which in the dance he often brandished at the Act of Settlement; and a citizen, who stood by me, whispered in my ear, that he saw a sponge in his left hand. The dance of so many jarring natures put me in mind of the sun, moon, and earth, in the Rehearsal, that danced together for no other end but to eclipse one another.
The reader will easily suppose, by what has been before said, that the lady on the throne would have been almost frighted to distraction, had she seen but any one of the spectres: what then must have been her condition when she saw them all in a body? She fainted, and died away at the sight.
Et neque jam color est misto candore rubori;
Nec vigor, et vires, et quæ modò rise placebant;
Nec corpus remanet—.
Ovid, Met. iii. 491.
—Her spirits faint,
Her blooming cheeks assume a pallid teint,
And scarce her form remains.
There was as great a change in the hill of money-bags and the heaps of money, the former shrinking and falling into so many empty bags, that I now found not above a tenth part of them had been filled with money.
The rest, that took up the same space and made the same figure as the bags that were really filled with money, had been blown up with air, and called into my memory the bags full of wind, which Homer tells us his hero received as a present from Æolus. The great heaps of gold on either side the throne now appeared to be only heaps of paper, or little piles of notched sticks, bound up together in bundles, like Bath faggots.
Whilst I was lamenting this sudden desolation that had been made before me, the whole scene vanished. In the room of the frightful spectres, there now entered a second dance of apparitions, very agreeably matched together, and made up of very amiable phantoms: the first pair was Liberty with Monarchy at her right hand; the second was Moderation leading in Religion; and the third, a person whom I had never seen, with the Genius of Great Britain. At the first entrance, the lady revived; the bags swelled to their former bulk; the piles of faggots and heaps of paper changed into pyramids of guineas: and, for my own part, I was so transported with joy that I awaked, though I must confess I would fain have fallen asleep again to have closed my vision, if I could have done it.
HOUSEHOLD SUPERSTITIONS
Somnia, terrores magicos, miracula, sagas,
Nocturnos lemures, portentaque Thessala rides?
Hor., Ep. ii. 2, 208.
Visions and magic spells, can you despise,
And laugh at witches, ghosts, and prodigies?
Going yesterday to dine with an old acquaintance, I had the misfortune to find his whole family very much dejected. Upon asking him the occasion of it, he told me that his wife had dreamt a very strange dream the night before, which they were afraid portended some misfortune to themselves or to their children. At her coming into the room, I observed a settled melancholy in her countenance, which I should have been troubled for, had I not heard from whence it proceeded. We were no sooner sat down, but, after having looked upon me a little while, “My dear,” says she, turning to her husband, “you may now see the stranger that was in the candle last night.” Soon after this, as they began to talk of family affairs, a little boy at the lower end of the table told her that he was to go into join-hand on Thursday. “Thursday!” says she. “No, child; if it please God, you shall not begin upon Childermas-day; tell your writing-master that Friday will be soon enough.” I was reflecting with myself on the oddness of her fancy, and wondering that anybody would establish it as a rule, to lose a day in every week. In the midst of these my musings, she desired me to reach her a little salt upon the point of my knife, which I did in such a trepidation and hurry of obedience that I let it drop by the way; at which she immediately startled, and said it fell towards her. Upon this I looked very blank; and observing the concern of the whole table, began to consider myself, with some confusion, as a person that had brought a disaster upon the family. The lady, however, recovering herself after a little space, said to her husband with a sigh, “My dear, misfortunes never come single.” My friend, I found, acted but an under part at his table; and, being a man of more good-nature than understanding, thinks himself obliged to fall in with all the passions and humours of his yoke-fellow. “Do not you remember, child,” says she, “that the pigeon-house fell the very afternoon that our careless wench spilt the salt upon the table?”—“Yes,” says he, “my dear; and the next post brought us an account of the battle of Almanza.” The reader may guess at the figure I made, after having done all this mischief. I despatched my dinner as soon as I could, with my usual taciturnity; when, to my utter confusion, the lady seeing me quitting my knife and fork, and laying them across one another upon my plate, desired me that I would humour her so far as to take them out of that figure and place them side by side. What the absurdity was which I had committed I did not know, but I suppose there was some traditionary superstition in it; and therefore, in obedience to the lady of the house, I disposed of my knife and fork in two parallel lines, which is the figure I shall always lay them in for the future, though I do not know any reason for it.
It is not difficult for a man to see that a person has conceived an aversion to him. For my own part, I quickly found, by the lady’s looks, that she regarded me as a very odd kind of fellow, with an unfortunate aspect: for which reason I took my leave immediately after dinner, and withdrew to my own lodgings. Upon my return home, I fell into a profound contemplation on the evils that attend these superstitious follies of mankind; how they subject us to imaginary afflictions, and additional sorrows, that do not properly come within our lot. As if the natural calamities of life were not sufficient for it, we turn the most indifferent circumstances into misfortunes, and suffer as much from trifling accidents as from real evils. I have known the shooting of a star spoil a night’s rest; and have seen a man in love grow pale, and lose his appetite, upon the plucking of a merry-thought. A screech-owl at midnight has alarmed a family more than a band of robbers; nay, the voice of a cricket hath struck more terror than the roaring of a lion. There is nothing so inconsiderable which may not appear dreadful to an imagination that is filled with omens and prognostics: a rusty nail or a crooked pin shoot up into prodigies.
I remember I was once in a mixed assembly that was full of noise and mirth, when on a sudden an old woman unluckily observed there were thirteen of us in company. This remark struck a panic terror into several who were present, insomuch that one or two of the ladies were going to leave the room; but a friend of mine taking notice that one of our female companions was big with child, affirmed there were fourteen in the room, and that, instead of portending one of the company should die, it plainly foretold one of them should be born. Had not my friend found this expedient to break the omen, I question not but half the women in the company would have fallen sick that very night.
An old maid that is troubled with the vapours produces infinite disturbances of this kind among her friends and neighbours. I know a maiden aunt of a great family, who is one of these antiquated Sibyls, that forebodes and prophesies from one end of the year to the other. She is always seeing apparitions and hearing death-watches; and was the other day almost frighted out of her wits by the great house-dog that howled in the stable, at a time when she lay ill of the toothache. Such an extravagant cast of mind engages multitudes of people not only in impertinent terrors, but in supernumerary duties of life, and arises from that fear and ignorance which are natural to the soul of man. The horror with which we entertain the thoughts of death, or indeed of any future evil, and the uncertainty of its approach, fill a melancholy mind with innumerable apprehensions and suspicions, and consequently dispose it to the observation of such groundless prodigies and predictions. For as it is the chief concern of wise men to retrench the evils of life by the reasonings of philosophy, it is the employment of fools to multiply them by the sentiments of superstition.
For my own part, I should be very much troubled were I endowed with this divining quality, though it should inform me truly of everything that can befall me. I would not anticipate the relish of any happiness, nor feel the weight of any misery, before it actually arrives.
I know but one way of fortifying my soul against these gloomy presages and terrors of mind; and that is, by securing to myself the friendship and protection of that Being who disposes of events and governs futurity. He sees, at one view, the whole thread of my existence, not only that part of it which I have already passed through, but that which runs forward into all the depths of eternity. When I lay me down to sleep, I recommend myself to His care; when I awake, I give myself up to His direction. Amidst all the evils that threaten me, I will look up to Him for help, and question not but He will either avert them, or turn them to my advantage. Though I know neither the time nor the manner of the death I am to die, I am not at all solicitous about it; because I am sure that he knows them both, and that He will not fail to comfort and support me under them.
OPERA LIONS
Dic mihi, si fias tu leo, qualis eris?
Mart., xii. 93.
Were you a lion, how would you behave?
There is nothing that of late years has afforded matter of greater amusement to the town than Signior Nicolini’s combat with a lion in the Haymarket, which has been very often exhibited to the general satisfaction of most of the nobility and gentry in the kingdom of Great Britain. Upon the first rumour of this intended combat, it was confidently affirmed, and is still believed, by many in both galleries, that there would be a tame lion sent from the tower every opera night in order to be killed by Hydaspes. This report, though altogether groundless, so universally prevailed in the upper regions of the playhouse, that some of the most refined politicians in those parts of the audience gave it out in whisper that the lion was a cousin-german of the tiger who made his appearance in King William’s days, and that the stage would be supplied with lions at the public expense during the whole session. Many likewise were the conjectures of the treatment which this lion was to meet with from the hands of Signior Nicolini: some supposed that he was to subdue him in recitativo, as Orpheus used to serve the wild beasts in his time, and afterwards to knock him on the head; some fancied that the lion would not pretend to lay his paws upon the hero, by reason of the received opinion that a lion will not hurt a virgin: several who pretended to have seen the opera in Italy, had informed their friends that the lion was to act a part in High Dutch, and roar twice or thrice to a thorough bass before he fell at the feet of Hydaspes. To clear up a matter that was so variously reported, I have made it my business to examine whether this pretended lion is really the savage he appears to be, or only a counterfeit.
But before I communicate my discoveries, I must acquaint the reader that upon my walking behind the scenes last winter, as I was thinking on something else, I accidentally jostled against a monstrous animal that extremely startled me, and, upon my nearer survey of it, appeared to be a lion rampant. The lion, seeing me very much surprised, told me, in a gentle voice, that I might come by him if I pleased; “for,” says he, “I do not intend to hurt anybody.” I thanked him very kindly and passed by him, and in a little time after saw him leap upon the stage and act his part with very great applause. It has been observed by several that the lion has changed his manner of acting twice or thrice since his first appearance, which will not seem strange when I acquaint my reader that the lion has been changed upon the audience three several times. The first lion was a candle-snuffer, who, being a fellow of a testy, choleric temper, overdid his part, and would not suffer himself to be killed so easily as he ought to have done: besides, it was observed of him, that he grew more surly every time he came out of the lion, and having dropped some words in ordinary conversation, as if he had not fought his best, and that he suffered himself to be thrown upon his back in the scuffle, and that he would wrestle with Mr. Nicolini for what he pleased, out of his lion’s skin, it was thought proper to discard him: and it is verily believed to this day, that, had he been brought upon the stage another time, he would certainly have done mischief. Besides, it was objected against the first lion, that he reared himself so high upon his hinder paws, and walked in so erect a posture, that he looked more like an old man than a lion.
The second lion was a tailor by trade, who belonged to the playhouse, and had the character of a mild and peaceable man in his profession. If the former was too furious, this was too sheepish for his part; inasmuch that, after a short modest walk upon the stage, he would fall at the first touch of Hydaspes, without grappling with him, and giving him an opportunity of showing his variety of Italian trips. It is said, indeed, that he once gave him a rip in his flesh-colour doublet: but this was only to make work for himself in his private character of a tailor. I must not omit that it was this second lion who treated me with so much humanity behind the scenes.
The acting lion at present is, as I am informed, a country gentleman, who does it for his diversion, but desires his name may be concealed. He says very handsomely, in his own excuse, that he does not act for gain; that he indulges an innocent pleasure in it, and that it is better to pass away an evening in this manner than in gaming and drinking: but at the same time says, with a very agreeable raillery upon himself, that if his name should be known, the ill-natured world might call him “the ass in the lion’s skin.” This gentleman’s temper is made out of such a happy mixture of the mild and the choleric, that he outdoes both his predecessors, and has drawn together greater audiences than have been known in the memory of man.
I must not conclude my narrative without taking notice of a groundless report that has been raised to a gentleman’s disadvantage, of whom I must declare myself an admirer; namely, that Signior Nicolini and the lion have been seen sitting peaceably by one another, and smoking a pipe together behind the scenes; by which their common enemies would insinuate that it is but a sham combat which they represent upon the stage: but upon inquiry I find, that if any such correspondence has passed between them, it was not till the combat was over, when the lion was to be looked upon as dead according to the received rules of the drama. Besides, this is what is practised every day in Westminster Hall, where nothing is more usual than to see a couple of lawyers, who have been tearing each other to pieces in the court, embracing one another as soon as they are out of it.
I would not be thought in any part of this relation to reflect upon Signior Nicolini, who, in acting this part, only complies with the wretched taste of his audience: he knows very well that the lion has many more admirers than himself; as they say of the famous equestrian statue on the Pont-Neuf at Paris, that more people go to see the horse than the king who sits upon it. On the contrary, it gives me a just indignation to see a person whose action gives new majesty to kings, resolution to heroes, and softness to lovers, thus sinking from the greatness of his behaviour, and degraded into the character of the London Prentice. I have often wished that our tragedians would copy after this great master in action. Could they make the same use of their arms and legs, and inform their faces with as significant looks and passions, how glorious would an English tragedy appear with that action which is capable of giving a dignity to the forced thoughts, cold conceits, and unnatural expressions of an Italian opera! In the meantime, I have related this combat of the lion to show what are at present the reigning entertainments of the politer part of Great Britain.
Audiences have often been reproached by writers for the coarseness of their taste; but our present grievance does not seem to be the want of a good taste, but of common sense.
