You may observe the Turn of their Minds tends only to Novelty, and not Satisfaction in any thing. It would be Disappointment to them, to come to Certainty in any thing, for that would gravel them, and put an end to their Enquiries, which dull Fellows do not make for Information, but for Exercise. I do not know but this may be a very good way of accounting for what we frequently see, to wit, that dull Fellows prove very good Men of Business. Business relieves them from their own natural Heaviness, by furnishing them with what to do; whereas Business to Mercurial Men, is an Interruption from their real Existence and Happiness. Tho' the dull Part of Mankind are harmless in their Amusements, it were to be wished they had no vacant Time, because they usually undertake something that makes their Wants conspicuous, by their manner of supplying them. You shall seldom find a dull Fellow of good Education, but (if he happens to have any Leisure upon his Hands,) will turn his Head to one of those two Amusements, for all Fools of Eminence, Politicks or Poetry. The former of these Arts, is the Study of all dull People in general; but when Dulness is lodged in a Person of a quick Animal Life, it generally exerts it self in Poetry. One might here mention a few Military Writers, who give great Entertainment to the Age, by reason that the Stupidity of their Heads is quickened by the Alacrity of their Hearts. This Constitution in a dull Fellow, gives Vigour to Nonsense, and makes the Puddle boil, which would otherwise stagnate.
The
British Prince
, that Celebrated Poem, which was written in the Reign of King Charles the Second, and deservedly called by the Wits of that Age
Incomparable
7
, was the Effect of such an happy Genius as we are speaking of. From among many other Disticks no less to be quoted on this Account, I cannot but recite the two following Lines.
A painted Vest PrinceVoltagerhad on,Which from a NakedPicthis Grandsire won.
Here if the Poet had not been Vivacious, as well as Stupid, he could
not
, in the Warmth and Hurry of Nonsense,
have
been capable of forgetting that neither Prince
Voltager
, nor his Grandfather, could strip a Naked Man of his Doublet; but a Fool of a colder Constitution, would have staid to have Flea'd the
Pict
, and made Buff of his Skin, for the Wearing of the Conqueror.
To bring these Observations to some useful Purpose of Life, what I would propose should be, that we imitated those wise Nations, wherein every Man learns some Handycraft-Work. Would it not employ a Beau prettily enough, if instead of eternally playing with a Snuff-box, he spent some part of his Time in making one? Such a Method as this, would very much conduce to the Publick Emolument, by making every Man living good for something; for there would then be no one Member of Human Society, but would have some little Pretension for some Degree in it; like him who came to
Will's
Coffee-house, upon the Merit of having writ a Posie of a Ring.
R.
Footnote 1:
Like the chopping in two of the
Respublica
in the quotation just above of the well-known Roman formula by which consuls were to see
ne quid Respublica detrimenti capiat
, this is a jest on the ignorance of the political wiseacres. Port wine had been forced on England in 1703 in place of Claret, and the drinking of it made an act of patriotism, — which then meant hostility to France, — by the Methuen treaty, so named from its negotiator, Paul Methuen, the English Minister at Lisbon. It is the shortest treaty upon record, having only two clauses, one providing that Portugal should admit British cloths; the other that England should admit Portuguese wines at one-third less duty than those of France. This lasted until 1831, and so the English were made Port wine drinkers. Abraham Froth and his friends of the
Hebdomadal Meeting
, all 'Grave, Serious, Designing Men in their Way' have a confused notion in 1711 of the Methuen Treaty of 1703 as 'the Act for importing French wines,' with which they are much offended. The slowness and confusion of their ideas upon a piece of policy then so familiar, gives point to the whimsical solemnity of their 'Had we been aware,' &c.
return to footnote mark
Footnote 2:
The subject of Mr. Froth's profound comment is now the memorable March of Charles XII of Sweden to the Ukraine, ending on the 8th of July, 1709, in the decisive battle of Pultowa, that established the fortune of Czar Peter the Great, and put an end to the preponderance of Sweden in northern Europe. Charles had seemed to be on his way to Moscow, when he turned south and marched through desolation to the Ukraine, whither he was tempted by Ivan Mazeppa, a Hetman of the Cossacks, who, though 80 years old, was ambitious of independence to be won for him by the prowess of Charles XII. Instead of 30,000 men Mazeppa brought to the King of Sweden only himself as a fugitive with 40 or 50 attendants; but in the spring of 1809 he procured for the wayworn and part shoeless army of Charles the alliance of the Saporogue Cossacks. Although doubled by these and by Wallachians, the army was in all but 20,000 strong with which he then determined to besiege Pullowa; and there, after two months' siege, he ventured to give battle to a relieving army of 60,000 Russians. Of his 20,000 men, 9000 were left on that battle-field, and 3000 made prisoners. Of the rest — all that survived of 54,000 Swedes with whom he had quitted Saxony to cross the steppes of Russia, and of 16,000 sent to him as reinforcement afterwards — part perished, and they who were left surrendered on capitulation, Charles himself having taken refuge at Bender in Bessarabia with the Turks, Mr. Froth's Infidels.
return
Footnote 3:
Perhaps Monsieur Palmquist is the form in which these 'Grave, Serious, Designing Men in their Way' have picked up the name of Charles's brave general, Count Poniatowski, to whom he owed his escape after the battle of Pultowa, and who won over Turkey to support his failing fortunes. The Turks, his subsequent friends, are the 'Infidels' before-mentioned, the wise politicians being apparently under the impression that they had marched with the Swedes out of Saxony.
return
Footnote 4:
Here Mr. Froth and his friends were truer prophets than anyone knew when this number of the
Spectator
appeared, on the 19th of April. The news had not reached England of the death of the Emperor Joseph I on the 17th of April. During his reign, and throughout the war, the Hungarians, desiring independence, had been fighting on the side of France. The Archduke Charles, now become Emperor, was ready to give the Hungarians such privileges, especially in matters of religion, as restored their friendship.
return to footnote mark
Footnote 5:
After Pultowa, Frederick IV of Denmark, Augustus II of Poland, and Czar Peter, formed an alliance against Sweden; and in the course of 1710 the Emperor of Germany, Great Britain, and the States-General concluded two treaties guaranteeing the neutrality of all the States of the Empire. This suggests to Mr. Froth and his friends the idea that there is a 'Neutrality Army' operating somewhere.
return
Footnote 6:
Dyer was a Jacobite printer, whose News-letter was twice in trouble for 'misrepresenting the proceedings of the House,' and who, in 1703, had given occasion for a proclamation against 'printing and spreading false 'news.'
return
Footnote 7:
'
The British Princes
, an Heroick Poem,' by the Hon. Edward Howard, was published in 1669. The author produced also five plays, and a volume of Poems and Essays, with a Paraphrase on Cicero's
Lælius
in Heroic Verse. The Earls of Rochester and Dorset devoted some verses to jest both on
The British Princes
and on Edward Howard's Plays. Even Dr. Sprat had his rhymed joke with the rest, in lines to a Person of Honour 'upon his Incomparable, Incomprehensible Poem, intitled
The British Princes
.' Edward Howard did not print the nonsense here ascribed to him. It was a burlesque of his lines:
'A vest as admir'd Vortiger had on,Which from this Island's foes his Grandsire won.'
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ContentsContents p.2
Tu, quid ego et populus mecum desideret, audi.Hor.
Among
the several Artifices which are put in Practice by the Poets to fill the Minds of
an
1
Audience with Terror, the first Place is due to Thunder and Lightning, which are often made use of at the Descending of a God, or the Rising of a Ghost, at the Vanishing of a Devil, or at the Death of a Tyrant. I have known a Bell introduced into several Tragedies with good Effect; and have seen the whole Assembly in a very great Alarm all the while it has been ringing. But there is nothing which delights and terrifies our
English
Theatre so much as a Ghost, especially when he appears in a bloody Shirt. A Spectre has very often saved a Play, though he has done nothing but stalked across the Stage, or rose through a Cleft of it, and sunk again without speaking one Word. There may be a proper Season for these several Terrors; and when they only come in as Aids and Assistances to the Poet, they are not only to be excused, but to be applauded.
Thus
the sounding of the Clock in
Venice Preserved
2
, makes the Hearts of the whole Audience quake; and conveys a stronger Terror to the Mind than it is possible for Words to do. The Appearance of the Ghost in
Hamlet
is a Master-piece in its kind, and wrought up with all the Circumstances that can create either Attention or Horror. The Mind of the Reader is wonderfully prepared for his Reception by the Discourses that precede it: His Dumb Behaviour at his first Entrance, strikes the Imagination very strongly; but every time he enters, he is still more terrifying. Who can read the Speech with which young
Hamlet
accosts him, without trembling?
I do not therefore find Fault with the Artifices above-mentioned when they are introduced with Skill, and accompanied by proportionable Sentiments and Expressions in the Writing.
For the moving of Pity, our principal Machine is the Handkerchief; and indeed in our common Tragedies, we should not know very often that the Persons are in Distress by any thing they say, if they did not from time to time apply their Handkerchiefs to their Eyes. Far be it from me to think of banishing this Instrument of Sorrow from the Stage; I know a Tragedy could not subsist without it: All that I would contend for, is, to keep it from being misapplied. In a Word, I would have the Actor's Tongue sympathize with his Eyes.
A disconsolate Mother, with a Child in her Hand, has frequently drawn Compassion from the Audience, and has therefore gained a place in several Tragedies. A Modern Writer, that observed how this had took in other Plays, being resolved to double the Distress, and melt his Audience twice as much as those before him had done, brought a Princess upon the Stage with a little Boy in one Hand and a Girl in the other. This too had a very good Effect. A third Poet, being resolved to out-write all his Predecessors, a few Years ago introduced three Children, with great Success: And as I am informed, a young Gentleman, who is fully determined to break the most obdurate Hearts, has a Tragedy by him, where the first Person that appears upon the Stage, is an afflicted Widow in her mourning Weeds, with half a Dozen fatherless Children attending her, like those that usually hang about the Figure of Charity. Thus several Incidents that are beautiful in a good Writer, become ridiculous by falling into the Hands of a bad one.
But among all our Methods of moving Pity or Terror, there is none so absurd and barbarous, and what more exposes us to the Contempt and Ridicule of our Neighbours, than that dreadful butchering of one another, which is so very frequent upon the
English
Stage.
To
delight in seeing Men stabbed, poysoned, racked, or impaled, is certainly the Sign of a cruel Temper: And as this is often practised before the
British
Audience, several
French
Criticks, who think these are grateful Spectacles to us, take occasion from them to represent us as a People that delight in Blood
3
. It is indeed very odd, to see our Stage strowed with Carcasses in the last Scene of a Tragedy; and to observe in the Ward-robe of a Play-house several Daggers, Poniards, Wheels, Bowls for Poison, and many other Instruments of Death. Murders and Executions are always transacted behind the Scenes in the
French
Theatre; which in general is very agreeable to the Manners of a polite and civilized People: But as there are no Exceptions to this Rule on the
French
Stage, it leads them into Absurdities almost as ridiculous as that which falls under our present Censure. I remember in the famous Play of
Corneille
, written upon the Subject of the
Horatii
and
Curiatii
; the fierce young hero who had overcome the
Curiatii
one after another, (instead of being congratulated by his Sister for his Victory, being upbraided by her for having slain her Lover,) in the Height of his Passion and Resentment kills her. If any thing could extenuate so brutal an Action, it would be the doing of it on a sudden, before the Sentiments of Nature, Reason, or Manhood could take Place in him. However, to avoid
publick Blood-shed
, as soon as his Passion is wrought to its Height, he follows his Sister the whole length of the Stage, and forbears killing her till they are both withdrawn behind the Scenes. I must confess, had he murder'd her before the Audience, the Indecency might have been greater; but as it is, it appears very unnatural, and looks like killing in cold Blood. To give my Opinion upon this Case; the Fact ought not to have been represented, but to have been told, if there was any Occasion for it.
It may not be unacceptable to the Reader, to see how
Sophocles
has conducted a Tragedy under the like delicate Circumstances.
Orestes
was in the same Condition with
Hamlet
in
Shakespear
, his Mother having murdered his Father, and taken possession of his Kingdom in Conspiracy with her Adulterer. That young Prince therefore, being determined to revenge his Father's Death upon those who filled his Throne, conveys himself by a beautiful Stratagem into his Mother's Apartment with a Resolution to kill her. But because such a Spectacle would have been too shocking to the Audience, this dreadful Resolution is executed behind the Scenes: The Mother is heard calling out to her Son for Mercy; and the Son answering her, that she shewed no Mercy to his Father; after which she shrieks out that she is wounded, and by what follows we find that she is slain. I do not remember that in any of our Plays there are Speeches made behind the Scenes, though there are other Instances of this Nature to be met with in those of the Ancients: And I believe my Reader will agree with me, that there is something infinitely more affecting in this dreadful Dialogue between the Mother and her Son behind the Scenes, than could have been in anything transacted before the Audience.
Orestes
immediately after meets the Usurper at the Entrance of his Palace; and by a very happy Thought of the Poet avoids killing him before the Audience, by telling him that he should live some Time in his present Bitterness of Soul before he would dispatch him; and
by
ordering him to retire into that Part of the Palace where he had slain his Father, whose Murther he would revenge in the very same Place where it was committed. By this means the Poet observes that Decency, which
Horace
afterwards established by a Rule, of forbearing to commit Parricides or unnatural Murthers before the Audience.
Nec coram populo natosMedeatrucidet.Let notMedeadraw her murth'ring Knife,And spill her Children's Blood upon the Stage.
The
French
have therefore refin'd too much upon
Horace's
Rule, who never designed to banish all Kinds of Death from the Stage; but only such as had too much Horror in them, and which would have a better Effect upon the Audience when transacted behind the Scenes. I would therefore recommend to my Countrymen the Practice of the ancient Poets, who were very sparing of their publick Executions, and rather chose to perform them behind the Scenes, if it could be done with as great an Effect upon the Audience. At the same time I must observe, that though the devoted Persons of the Tragedy were seldom slain before the Audience, which has generally something ridiculous in it, their Bodies were often produced after their Death, which has always in it something melancholy or terrifying; so that the killing on the Stage does not seem to have been avoided only as an Indecency, but also as an Improbability.
Necpueroscoram populoMedeatrucidet;Aut humana palam coquat exta nefariusAtreus;Aut in avemPrognevertatur, Cadmusin anguem,Quodcunque ostendis mihi sic, incredulus odi.Hor.Medeamust not draw her murth'ring Knife,NorAtreusthere his horrid Feast prepare.CadmusandProgne'sMetamorphosis,(She to a Swallow turn'd, he to a Snake)And whatsoever contradicts my Sense,I hate to see, and never can believe.(Ld.Roscommon.)4
I have now gone through the several Dramatick Inventions which are made use of by
the
Ignorant Poets to supply the Place of Tragedy, and by
the
Skilful to improve it; some of which I could wish entirely rejected, and the rest to be used with Caution. It would be an endless Task to consider Comedy in the same Light, and to mention the innumerable Shifts that small Wits put in practice to raise a Laugh.
Bullock
in
a
short Coat, and
Norris
in a long one, seldom fail of this Effect
5
. In ordinary Comedies, a broad and a narrow brim'd Hat are different Characters. Sometimes the Wit of the Scene lies in a Shoulder-belt, and Sometimes in a Pair of Whiskers.
A
Lover running about the Stage, with his Head peeping out of a Barrel, was thought a very good Jest in King
Charles
the Second's time; and invented by one of the first Wits of that Age
6
. But
because
Ridicule is not so delicate as Compassion, and
because
7
the Objects that make us laugh are infinitely more numerous than those that make us weep, there is a much greater Latitude for comick than tragick Artifices, and by Consequence a much greater Indulgence to be allowed them.
C.
Footnote 1:
the
return to footnote mark
Footnote 2:
In Act V The toll of the passing bell for Pierre in the parting scene between Jaffier and Belvidera.
return
Footnote 3:
Thus Rene Rapin, — whom Dryden declared alone
'sufficient, were all other critics lost, to teach anew the rules of writing,'
said in his
Reflections on Aristotle's Treatise of Poetry,
translated by Rymer in 1694,
The English, our Neighbours, love Blood in their Sports, by the quality of their Temperament: These areInsulaires, separated from the rest of men; we are more humane ... The English have more of Genius for Tragedy than other People, as well by the Spirit of their Nation, which delights in Cruelty, as also by the Character of their Language, which is proper for Great Expressions.'
return
Footnote 4:
The Earl of Roscommon, who died in 1684, aged about 50, besides his
Essay on Translated Verse,
produced, in 1680, a Translation of
Horace's Art of Poetry
into English Blank Verse, with Remarks. Of his
Essay
, Dryden said:
'The Muse's Empire is restored againIn Charles his reign, and by Roscommon's pen.'
return
Footnote 5:
Of Bullock see note, p. 138,
ante
. Norris had at one time, by his acting of Dicky in Farquhar's
Trip to the Jubilee,
acquired the name of Jubilee Dicky.
return
Footnote 6:
Sir George Etherege. It was his first play,
The Comical Revenge, or Love in a Tub
, produced in 1664, which introduced him to the society of Rochester, Buckingham, &c.
return
Footnote 7:
as
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ContentsContents p.2
Natio Comæda est.Juv.
There
is nothing which I more desire than a safe and honourable Peace
1
, tho' at the same time I am very apprehensive of many ill Consequences that may attend it. I do not mean in regard to our Politicks, but to our Manners. What an Inundation of Ribbons and Brocades will break in upon us? What Peals of Laughter and Impertinence shall we be exposed to? For the Prevention of these great Evils, I could heartily wish that there was an Act of Parliament for Prohibiting the Importation of
French
Fopperies.
The Female Inhabitants of our Island have already received very strong Impressions from this ludicrous Nation, tho' by the Length of the War (as there is no Evil which has not some Good attending it) they are pretty well worn out and forgotten. I remember the time when some of our well-bred Country-Women kept their
Valet de Chambre
, because, forsooth, a Man was much more handy about them than one of their own Sex. I myself have seen one of these Male
Abigails
tripping about the Room with a Looking-glass in his Hand, and combing his Lady's Hair a whole Morning together. Whether or no there was any Truth in the Story of a Lady's being got with Child by one of these her Handmaids I cannot tell, but I think at present the whole Race of them is extinct in our own Country.
About
the Time that several of our Sex were taken into this kind of Service, the Ladies likewise brought up the Fashion of receiving Visits in their Beds
2
. It was then look'd upon as a piece of Ill Breeding, for a Woman to refuse to see a Man, because she was not stirring; and a Porter would have been thought unfit for his Place, that could have made so awkward an Excuse. As I love to see every thing that is new, I once prevailed upon my Friend
Will. Honeycomb
to carry me along with him to one of these Travelled Ladies, desiring him, at the same time, to present me as a Foreigner who could not speak
English