FOOTNOTES:

FOOTNOTES:[168]Francesca Margarita de l'Epine, a native of Tuscany. This celebrated singer performed in many of the earlier Italian operas represented in England. She and Mrs. Tofts were rivals for the public favour, and it seems they divided pretty equally the applause of the town. She sung on the stage, at public entertainments, in concerts at York Buildings and Stationers' Hall, and once in the hall of the Middle Temple, in a musical performance at the Christmas revels of that society. One Greber, a German musician, who studied some few years in Italy, brought this Italian with him to England, whence she was known by the name of Greber's Peg. It is said that she had afterwards a criminal connection with Daniel Earl of Nottingham. In a shrewd epigram written by Lord Halifax, she is styled "The Tawny Tuscan," and he is called "Tall Nottingham." Margarita continued a singer till about the year 1718, when, having, as Downes relates, scraped together above ten thousand guineas, she retired, and was afterwards married to Dr. Pepusch. The epithet "tawny" was very characteristic of her, for she was remarkably swarthy, and in general so destitute of personal charms, that her husband seldom called her by any other name than Hecate, to which she answered very readily. She died about 1740. See Sir J. Hawkin's "History of Music," vol. v. p. 153 (Nichols).—The statement that she had an improper connection with the Earl of Nottingham appears to rest solely on statements in party poems of the time.[169]Ladies wore "commodes" as head-dresses, sometimes backed by dark-coloured ribbons. The prevailing fashion about 1712 was cherry colour; seeSpectator, No.271.[170]In a song in D'Urfey's "Wit and Mirth"—"The Young Maid's Portion"—the lady speaks of her laced shoes of Spanish leather. Malcolm says that Spanish leather shoes laced with gold were common about this time (Planché's "Cyclopædia of Costume").

[168]Francesca Margarita de l'Epine, a native of Tuscany. This celebrated singer performed in many of the earlier Italian operas represented in England. She and Mrs. Tofts were rivals for the public favour, and it seems they divided pretty equally the applause of the town. She sung on the stage, at public entertainments, in concerts at York Buildings and Stationers' Hall, and once in the hall of the Middle Temple, in a musical performance at the Christmas revels of that society. One Greber, a German musician, who studied some few years in Italy, brought this Italian with him to England, whence she was known by the name of Greber's Peg. It is said that she had afterwards a criminal connection with Daniel Earl of Nottingham. In a shrewd epigram written by Lord Halifax, she is styled "The Tawny Tuscan," and he is called "Tall Nottingham." Margarita continued a singer till about the year 1718, when, having, as Downes relates, scraped together above ten thousand guineas, she retired, and was afterwards married to Dr. Pepusch. The epithet "tawny" was very characteristic of her, for she was remarkably swarthy, and in general so destitute of personal charms, that her husband seldom called her by any other name than Hecate, to which she answered very readily. She died about 1740. See Sir J. Hawkin's "History of Music," vol. v. p. 153 (Nichols).—The statement that she had an improper connection with the Earl of Nottingham appears to rest solely on statements in party poems of the time.

[169]Ladies wore "commodes" as head-dresses, sometimes backed by dark-coloured ribbons. The prevailing fashion about 1712 was cherry colour; seeSpectator, No.271.

[170]In a song in D'Urfey's "Wit and Mirth"—"The Young Maid's Portion"—the lady speaks of her laced shoes of Spanish leather. Malcolm says that Spanish leather shoes laced with gold were common about this time (Planché's "Cyclopædia of Costume").

No. 151.[Steele.[171]Saturday, March 25, toTuesday, March 28, 1710.——Ni vis boniIn ipsa inesset forma, hæc formam extinguerent.Ter., Phorm. I. ii. 58.

Saturday, March 25, toTuesday, March 28, 1710.

——Ni vis boniIn ipsa inesset forma, hæc formam extinguerent.Ter., Phorm. I. ii. 58.

From my own Apartment, March 27.

When artists would expose their diamonds to an advantage, they usually set them to show in little cases of black velvet. By this means the jewels appear in their true and genuine lustre, while there is no colour that can infect their brightness, or give a false cast to the water. When I was at the opera the other night, the assembly of ladies in mourning[172]made me consider them in the same kind of view. A dress wherein there is so little variety, showsthe face in all its natural charms, and makes one differ from another only as it is more or less beautiful. Painters are ever careful of offending against a rule which is so essential in all just representation. The chief figure must have the strongest point of light, and not be injured by any gay colourings that may draw away the attention to any less considerable part of the picture. The present fashion obliges everybody to be dressed with propriety, and makes the ladies' faces the principal objects of sight. Every beautiful person shines out in all the excellence with which Nature has adorned her: gaudy ribands and glaring colours being now out of use, the sex has no opportunity given them to disfigure themselves, which they seldom fail to do whenever it lies in their power. When a woman comes to her glass, she does not employ her time in making herself look more advantageously what she really is, but endeavours to be as much another creature as she possibly can. Whether this happens, because they stay so long, and attend their work so diligently, that they forget the faces and persons which they first sat down with, or whatever it is, they seldom rise from the toilet the same women they appeared when they began to dress. What jewel can the charming Cleora place in her ears, that can please her beholders so much as her eyes? The cluster of diamonds upon the breast can add no beauty to the fair chest of ivory which supports it. It may indeed tempt a man to steal a woman, but never to love her. Let Thalestris change herself into a motley parti-coloured animal: the pearl necklace, the flowered stomacher, theartificial nosegay, and shaded furbelow,[173]may be of use to attract the eye of the beholder, and turn it from the imperfections of her features and shape. But if ladies will take my word for it (and as they dress to please men, they ought to consult our fancy rather than their own in this particular), I can assure them, there is nothing touches our imagination so much as a beautiful woman in a plain dress. There might be more agreeable ornaments found in our own manufacture, than any that rise out of the looms of Persia.

This, I know, is a very harsh doctrine to womankind, who are carried away with everything that is showy, and with what delights the eye, more than any other species of living creatures whatsoever. Were the minds of the sex laid open, we should find the chief idea in one to be a tippet, in another a muff, in a third a fan, and in a fourth a farthingale. The memory of an old visiting lady is so filled with gloves, silks, and ribands, that I can look upon it as nothing else but a toy-shop. A matron of my acquaintance complaining of her daughter's vanity, was observing, that she had all of a sudden held up her head higher than ordinary, and taken an air that showed a secret satisfaction in herself, mixed with a scorn of others. "I did not know," says my friend, "what to make of the carriage of this fantastical girl, until I was informed by her elder sister, that she had a pair of striped garters on." This odd turn of mind often makes the sex unhappy, and disposes them to be struck with everything that makes a show, however trifling and superficial.

Many a lady has fetched a sigh at the toss of a wig, and been ruined by the tapping of a snuff-box. It is impossible to describe all the execution that was done by the shoulder-knot[174]while that fashion prevailed, or to reckon up all the virgins that have fallen a sacrifice to a pair of fringed gloves.[175]A sincere heart has not made half so many conquests as an open waistcoat,[176]and I should be glad to see an able head make so good a figure in a woman's company as a pair of red heels.[177]A Grecian hero,[178]when he was asked whether he could play upon the lute, thought he had made a very good reply when he answered, "No, but I can make a great city of a little one." Notwithstanding his boasted wisdom, I appeal to the heart of any toast in town, whether she would not think the lutenist preferable to the statesman. I do not speak this out of any aversion that I have to the sex: on the contrary, I have always had a tenderness for them; but I must confess, it troubles me very much to see the generality of them place their affections on improper objects, and give up all the pleasures of life for gewgaws and trifles.

Mrs. Margery Bickerstaff, my great aunt, had a thousand pounds to her portion, which our family was desirous of keeping among themselves, and therefore used all possible means to turn off her thoughts from marriage. The method they took was, in any time of danger to throw a new gown or petticoat in her way. When she was about twenty-five years of age, she fell in love with a man of an agreeable temper, and equal fortune, and would certainly have married him, had not my grandfather, Sir Jacob, dressed her up in a suit of flowered satin; upon which, she set so immoderate a value upon herself, that the lover was contemned and discarded. In thefortieth year of her age, she was again smitten, but very luckily transferred her passion to a tippet, which was presented to her by another relation who was in the plot. This, with a white sarcenet hood, kept her safe in the family till fifty. About sixty, which generally produces a kind of latter spring[179]in amorous constitutions, my Aunt Margery had again a colt's-tooth[180]in her head, and would certainly have eloped from the mansion-house, had not her brother Simon, who was a wise man, and a scholar, advised to dress her in cherry-coloured ribands,[181]which was the only expedient that could have been found out by the wit of man to preserve the thousand pounds in our family, part of which I enjoy at this time.

This discourse puts me in mind of a humorist mentioned by Horace,[182]called Eutrapelus, who, when he designed to do a man a mischief, made him a present of a gay suit; and brings to my memory another passage of the same author, when he describes the most ornamental dress that a woman can appear in with two words,simplex munditiis,[183]which I have quoted for the benefit of my female readers.

FOOTNOTES:[171]This paper, though not included in Addison's Works, may, as Nichols suggested, be his. Two slight corrections were made in the following number in the folio issue.[172]See No.8, with reference to the long-continued mourning, on the decease of the Queen's husband, George Prince of Denmark, who died in October 1708. Lewis Duke of Bourbon, eldest son to the Dauphin of France, died on March 3, about three weeks before the date of this paper. A month before, on February 2, 1709-10, in consequence of a petition presented by the mercers, &c., complaining of their sufferings from the length and frequency of public mournings, leave was given to bring in a Bill for ascertaining and limiting the time of them.[173]The furbelow was a puckered flounce ornamenting the dress. D'Urfey wrote a play, "The Old Mode and the New, or Country Miss with her Furbelow."[174]Introduced from France at the Restoration.[175]Gloves with silver fringe round the wrists. A Fringe-Glove Club is mentioned in No. 30 of theSpectator.[176]See No. 95.[177]See No.45.[178]Themistocles.[179]Cf. "1 Henry IV." act i. sc. 2, where Prince Hal says to Falstaff, "Farewell, thou latter spring!"[180]A love of youthful pleasure. Cf. "Henry VIII." act i. sc. 3,"Well said, Lord Sands,Your colt's tooth is not cast yet."[181]See No.150[182]1 Epist. xviii. 31.[183]1 Od. v. 5.

[171]This paper, though not included in Addison's Works, may, as Nichols suggested, be his. Two slight corrections were made in the following number in the folio issue.

[172]See No.8, with reference to the long-continued mourning, on the decease of the Queen's husband, George Prince of Denmark, who died in October 1708. Lewis Duke of Bourbon, eldest son to the Dauphin of France, died on March 3, about three weeks before the date of this paper. A month before, on February 2, 1709-10, in consequence of a petition presented by the mercers, &c., complaining of their sufferings from the length and frequency of public mournings, leave was given to bring in a Bill for ascertaining and limiting the time of them.

[173]The furbelow was a puckered flounce ornamenting the dress. D'Urfey wrote a play, "The Old Mode and the New, or Country Miss with her Furbelow."

[174]Introduced from France at the Restoration.

[175]Gloves with silver fringe round the wrists. A Fringe-Glove Club is mentioned in No. 30 of theSpectator.

[176]See No. 95.

[177]See No.45.

[178]Themistocles.

[179]Cf. "1 Henry IV." act i. sc. 2, where Prince Hal says to Falstaff, "Farewell, thou latter spring!"

[180]A love of youthful pleasure. Cf. "Henry VIII." act i. sc. 3,"Well said, Lord Sands,Your colt's tooth is not cast yet."

[180]A love of youthful pleasure. Cf. "Henry VIII." act i. sc. 3,

"Well said, Lord Sands,Your colt's tooth is not cast yet."

[181]See No.150

[182]1 Epist. xviii. 31.

[183]1 Od. v. 5.

No. 152.[Addison.Tuesday, March 28, toThursday, March 30, 1710.Di, quibus imperium est animarum, Umbræque silentes,Et Chaos, et Phlegethon, loca nocte silentia late,Sit mihi fas audita loqui; sit numine vestroPandere resalta terra et caligine mersas.Virg., Æn. vi. 264.

Tuesday, March 28, toThursday, March 30, 1710.

Di, quibus imperium est animarum, Umbræque silentes,Et Chaos, et Phlegethon, loca nocte silentia late,Sit mihi fas audita loqui; sit numine vestroPandere resalta terra et caligine mersas.Virg., Æn. vi. 264.

From my own Apartment, March 29.

A man who confines his speculations to the time present, has but a very narrow province to employ his thoughts in. For this reason, persons of studious and contemplative natures often entertain themselves with the history of past ages, or raise schemes and conjectures upon futurity. For my own part, I love to range through that half of eternity which is still to come, rather than look on that which is already run out; because I know I have a real share and interest in the one, whereas all that was transacted in the other can be only matter of curiosity to me.

Upon this account, I have been always very much delighted with meditating on the soul's immortality, and in reading the several notions which the wisest of men, both ancient and modern, have entertained on that subject. What the opinions of the greatest philosophers have been, I have several times hinted at, and shall give an account of them from time to time as occasion requires. It may likewise be worth while to consider, what men of the most exalted genius, and elevated imagination, have thought of this matter. Among these, Homer stands up as a prodigy of mankind, that looks down upon the rest of human creatures as a species beneath him. Since heis the most ancient heathen author, we may guess from his relation, what were the common opinions in his time concerning the state of the soul after death.

Ulysses, he tells us, made a voyage to the regions of the dead, in order to consult Tiresias how he should return to his own country, and recommend himself to the favour of the gods. The poet scarce introduces a single person, who does not suggest some useful precept to his reader, and designs his description of the dead for the amendment of the living.

Ulysses, after having made a very plenteous sacrifice, sat him down by the pool of holy blood, which attracted a prodigious assembly of ghosts of all ages and conditions, that hovered about the hero, and feasted upon the steams of his oblation. The first he knew, was the shade of Elpenor, who, to show the activity of a spirit above that of body, is represented as arrived there long before Ulysses, notwithstanding the winds and seas had contributed all their force to hasten his voyage thither. This Elpenor, to inspire the reader with a detestation of drunkenness, and at the same time with a religious care of doing proper honours to the dead, describes himself as having broken his neck in a debauch of wine; and begs Ulysses, that for the repose of his soul, he would build a monument over him, and perform funeral rites to his memory. Ulysses with great sorrow of heart promises to fulfil his request, and is immediately diverted to an object much more moving than the former. The ghost of his own mother Anticlea, whom he still thought living, appears to him among the multitude of shades that surrounded him, and sits down at a small distance from him by the lake of blood, without speaking to him, or knowing who he was. Ulysses was exceedingly troubled at the sight, and could not forbear weeping as he looked upon her;but being all along set forth as a pattern of consummate wisdom, he makes his affection give way to prudence; and therefore, upon his seeing Tiresias, does not reveal himself to his mother, till he had consulted that great prophet, who was the occasion of this his descent into the empire of the dead. Tiresias having cautioned him to keep himself and his companions free from the guilt of sacrilege, and to pay his devotions to all the gods, promises him a safe return to his kingdom and family, and a happy old age in the enjoyment of them.

The poet having thus with great art kept the curiosity of his reader in suspense, represents his wise man, after the despatch of his business with Tiresias, as yielding himself up to the calls of natural affection, and making himself known to his mother. Her eyes are no sooner opened, but she cries out in tears, "Oh my son!" and inquires into the occasions that brought him thither, and the fortune that attended him.

Ulysses on the other hand desires to know, what the sickness was that had sent her into those regions, and the condition in which she had left his father, his son, and more particularly his wife. She tells him, they were all three inconsolable for his absence; "and as for myself," says she, "that was the sickness of which I died. My impatience for your return, my anxiety for your welfare, and my fondness for my dear Ulysses, were the only distempers that preyed upon my life, and separated my soul from my body." Ulysses was melted with these expressions of tenderness, and thrice endeavoured to catch the apparition in his arms, that he might hold his mother to his bosom and weep over her.

This gives the poet occasion to describe the notion the heathens at that time had of an unbodied soul, in the excuse which the mother makes for seeming to withdraw herselffrom her son's embraces. "The soul," says she, "is composed neither of bones, flesh, nor sinews, but leaves behind her all those encumbrances of mortality to be consumed on the funeral pile. As soon as she has thus cast her burden she makes her escape, and flies away from it like a dream."

When this melancholy conversation is at an end, the poet draws up to view as charming a vision as could enter into man's imagination. He describes the next who appeared to Ulysses, to have been the shades of the finest women that had ever lived upon the earth, and who had either been the daughters of kings, the mistresses of gods, or mothers of heroes, such as Antiope, Alcmena, Leda, Ariadne, Iphimedia, Eriphyle, and several others of whom he gives a catalogue, with a short history of their adventures. The beautiful assembly of apparitions were all gathered together about the blood: "each of them," says Ulysses (as a gentle satire upon female vanity), "giving me an account of her birth and family." This scene of extraordinary women seems to have been designed by the poet as a lecture of mortality to the whole sex, and to put them in mind of what they must expect, notwithstanding the greatest perfections, and highest honours, they can arrive at.

The circle of beauties at length disappeared, and was succeeded by the shades of several Grecian heroes who had been engaged with Ulysses in the siege of Troy. The first that approached was Agamemnon, the generalissimo of that great expedition, who at the appearance of his old friend wept very bitterly, and without saying anything to him, endeavoured to grasp him by the hand. Ulysses, who was much moved at the sight, poured out a flood of tears, and asked him the occasion of his death, which Agamemnon related to him in all its tragical circumstances;how he was murdered at a banquet by the contrivance of his own wife, in confederacy with her adulterer: from whence he takes occasion to reproach the whole sex, after a manner which would be inexcusable in a man who had not been so great a sufferer by them. "My wife," says he, "has disgraced all the women that shall ever be born into the world, even those who hereafter shall be innocent. Take care how you grow too fond of your wife. Never tell her all you know. If you reveal some things to her, be sure you keep others concealed from her. You indeed have nothing to fear from your Penelope, she will not use you as my wife has treated me; however, take care how you trust a woman." The poet, in this and other instances, according to the system of many heathen as well as Christian philosophers, shows how anger, revenge, and other habits which the soul had contracted in the body, subsist and grow in it under its stage of separation.

I am extremely pleased with the companions which the poet in the next description assigns to Achilles. "Achilles," says the hero, "came up to me with Patroclus and Antilochus." By which we may see that it was Homer's opinion, and probably that of the age he lived in, that the friendships which are made among the living will likewise continue among the dead. Achilles inquires after the welfare of his son, and of his father, with a fierceness of the same character that Homer has everywhere expressed in the actions of his life. The passage relating to his son is so extremely beautiful, that I must not omit it. Ulysses, after having described him as wise in council and active in war, and mentioned the foes whom he had slain in battle, adds an observation that he himself had made of his behaviour whilst he lay in the wooden horse. "Most of the generals," says he, "that were with us either wept or trembled: as for your son, I neither saw him wipe a tearfrom his cheeks, nor change his countenance. On the contrary, he would often lay his hand upon his sword, or grasp his spear, as impatient to employ them against the Trojans." He then informs his father of the great honour and rewards which he had purchased before Troy, and of his return from it without a wound. The shade of Achilles, says the poet, was so pleased with the account he received of his son, that he inquired no further, but stalked away with more than ordinary majesty over the green meadow that lay before them.

This last circumstance of a deceased father's rejoicing in the behaviour of his son is very finely contrived by Homer, as an incentive to virtue, and made use of by none that I know besides himself.

The description of Ajax, which follows, and his refusing to speak to Ulysses, who had won the armour of Achilles from him, and by that means occasioned his death, is admired by every one that reads it. When Ulysses relates the sullenness of his deportment, and considers the greatness of the hero, he expresses himself with generous and noble sentiments. "Oh! that I had never gained a prize which cost the life of so brave a man as Ajax! Who, for the beauty of his person, and greatness of his actions, was inferior to none but the divine Achilles." The same noble condescension, which never dwells but in truly great minds, and such as Homer would represent that of Ulysses to have been, discovers itself likewise in the speech which he made to the ghost of Ajax on that occasion. "O Ajax!" says he, "will you keep your resentments even after death? What destructions hath this fatal armour brought upon the Greeks, by robbing them of you, who were their bulwark and defence? Achilles is not more bitterly lamented among us than you. Impute not then your death to any one but Jupiter, who out of his anger to the Greeks, tookyou away from among them: let me entreat you to approach me; restrain the fierceness of your wrath, and the greatness of your soul, and hear what I have to say to you." Ajax, without making a reply, turned his back upon him, and retired into a crowd of ghosts.

Ulysses, after all these visions, took a view of those impious wretches who lay in tortures for the crimes they had committed upon the earth, whom he describes under the varieties of pain, as so many marks of divine vengeance, to deter others from following their example. He then tells us that notwithstanding he had a great curiosity to see the heroes that lived in the ages before him, the ghosts began to gather about him in such prodigious multitudes, and with such a confusion of voices, that his heart trembled as he saw himself amidst so great a scene of horrors. He adds, that he was afraid lest some hideous spectre should appear to him, that might terrify him to distraction; and therefore withdrew in time.

I question not but my reader will be pleased with this description of a future state, represented by such a noble and fruitful imagination, that had nothing to direct it besides the light of nature, and the opinions of a dark and ignorant age.

No. 153.[Addison.Thursday, March 30, toSaturday, April 1, 1710.Bambalio, clangor, stridor, taratantara, murmur.—Farn., Rhet.

Thursday, March 30, toSaturday, April 1, 1710.

Bambalio, clangor, stridor, taratantara, murmur.—Farn., Rhet.

From my own Apartment, March 31.

I have heard of a very valuable picture, wherein all the painters of the age in which it was drawn are represented sitting together in a circle, and joining in aconcert of music. Each of them plays upon such a particular instrument as is the most suitable to his character, and expresses that style and manner of painting which is peculiar to him. The famous cupola-painter of those times, to show the grandeur and boldness of his figures, has a horn in his mouth, which he seems to wind with great strength and force. On the contrary, an eminent artist, who wrought up his pictures with the greatest accuracy, and gave them all those delicate touches which are apt to please the nicest eye, is represented as tuning a theorbo. The same kind of humour runs through the whole piece.

I have often from this hint imagined to myself, that different talents in discourse might be shadowed out after the same manner by different kinds of music; and that the several conversable parts of mankind in this great city might be cast into proper characters and divisions, as they resemble several instruments that are in use among the masters of harmony. Of these therefore in their order, and first of the drum.

Your drums are the blusterers in conversation, that with a loud laugh, unnatural mirth, and a torrent of noise, domineer in public assemblies, overbear men of sense, stun their companions, and fill the place they are in with a rattling sound, that has seldom any wit, humour, or good breeding in it. The drum notwithstanding, by this boisterous vivacity, is very proper to impose upon the ignorant; and in conversation with ladies who are not of the finest taste, often passes for a man of mirth and wit, and for wonderful pleasant company. I need not observe, that the emptiness of the drum very much contributes to its noise.

The lute is a character directly opposite to the drum, that sounds very finely by itself, or in a very small concert.Its notes are exquisitely sweet, and very low, easily drowned in a multitude of instruments, and even lost among a few, unless you give a particular attention to it. A lute is seldom heard in a company of more than five, whereas a drum will show itself to advantage in an assembly of five hundred. The lutenists therefore are men of a fine genius, uncommon reflection, great affability, and esteemed chiefly by persons of a good taste, who are the only proper judges of so delightful and soft a melody.

The trumpet is an instrument that has in it no compass of music or variety of sound, but is notwithstanding very agreeable, so long as it keeps within its pitch. It has not above four or five notes, which are however very pleasing, and capable of exquisite turns and modulations. The gentlemen who fall under this denomination, are your men of the most fashionable education and refined breeding, who have learned a certain smoothness of discourse, and sprightliness of air, from the polite company they have kept; but at the same time they have shallow parts, weak judgments, and a short reach of understanding: a playhouse, a drawing-room, a ball, a visiting-day, or a Ring at Hyde Park, are the few notes they are masters of, which they touch upon in all conversations. The trumpet however is a necessary instrument about a Court, and a proper enlivener of a concert, though of no great harmony by itself.

Violins are the lively, forward, importunate wits that distinguish themselves by the flourishes of imagination, sharpness of repartee, glances of satire, and bear away the upper part in every concert. I cannot however but observe that, when a man is not disposed to hear music, there is not a more disagreeable sound in harmony than that of a violin.

There is another musical instrument, which is morefrequent in this nation than any other; I mean your bass-viol, which grumbles in the bottom of the concert, and with a surly masculine sound strengthens the harmony, and tempers the sweetness of the several instruments that play along with it. The bass-viol is an instrument of a quite different nature to the trumpet, and may signify men of rough sense, and unpolished parts, who do not love to hear themselves talk, but sometimes break out with an agreeable bluntness, unexpected wit, and surly pleasantries, to the no small diversion of their friends and companions. In short, I look upon every sensible true-born Briton to be naturally a bass-viol.

As for your rural wits, who talk with great eloquence and alacrity of foxes, hounds, horses, quickset hedges, and six-bar gates, double ditches, and broken necks, I am in doubt, whether I should give them a place in the conversable world. However, if they will content themselves with being raised to the dignity of hunting-horns, I shall desire for the future that they may be known by that name.

I must not here omit the bagpipe species, that will entertain you from morning to night with the repetition of the few notes, which are played over and over, with the perpetual humming of a drone running underneath them. These are your dull, heavy, tedious storytellers, the load and burden of conversations, that set up for men of importance, by knowing secret history, and giving an account of transactions, that whether they ever passed in the world or not, does not signify a halfpenny to its instruction, or its welfare. Some have observed, that the northern parts of this island are more particularly fruitful in bagpipes.

There are so very few persons who are masters in every kind of conversation, and can talk on all subjects, that Idon't know whether we should make a distinct species of them: nevertheless, that my scheme may not be defective, for the sake of those few who are endowed with such extraordinary talents, I shall allow them to be harpsichords, a kind of music which every one knows is a concert by itself.

As for your passing-bells, who look upon mirth as criminal, and talk of nothing but what is melancholy in itself, and mortifying to human nature, I shall not mention them.

I shall likewise pass over in silence all the rabble of mankind that crowd our streets, coffee-houses, feasts, and public tables. I cannot call their discourse conversation, but rather something that is practised in imitation of it. For which reason, if I would describe them by any musical instrument, it should be by those modern inventions of the bladder and string, tongs and key, marrow-bone and cleaver.

My reader will doubtless observe, that I have only touched here upon male instruments, having reserved my female concert to another occasion. If he has a mind to know where these several characters are to be met with, I could direct him to a whole club of drums; not to mention another of bagpipes, which I have before given some account of in my description of our nightly meetings in Sheer Lane. The lutes may often be met with in couples upon the banks of a crystal stream, or in the retreats of shady woods and flowery meadows; which for different reasons are likewise the great resort of your hunting-horns. Bass-viols are frequently to be found over a glass of stale beer and a pipe of tobacco; whereas those who set up for violins, seldom fail to make their appearance at Will's once every evening. You may meet with a trumpet anywhere on the other side of Charing Cross.

That we may draw something for our advantage in life out of the foregoing discourse, I must entreat my reader to make a narrow search into his life and conversation, and upon his leaving any company, to examine himself seriously, whether he has behaved himself in it like a drum or a trumpet, a violin or a bass-viol; and accordingly endeavour to mend his music for the future. For my own part, I must confess, I was a drum for many years; nay, and a very noisy one, till having polished myself a little in good company, I threw as much of the trumpet into my conversation as was possible for a man of an impetuous temper, by which mixture of different musics, I look upon myself, during the course of many years, to have resembled a tabor and pipe. I have since very much endeavoured at the sweetness of the lute; but in spite of all my resolutions, I must confess with great confusion, that I find myself daily degenerating into a bagpipe; whether it be the effect of my old age, or of the company I keep, I know not. All that I can do, is to keep a watch over my conversation, and to silence the drone as soon as I find it begin to hum in my discourse, being determined rather to hear the notes of others, than to play out of time, and encroach upon their parts in the concert by the noise of so tiresome an instrument.

I shall conclude this paper with a letter which I received last night from a friend of mine, who knows very well my notions upon this subject, and invites me to pass the evening at his house with a select company of friends, in the following words:

"Dear Isaac,"I intend to have a concert at my house this evening, having by great chance got a harpsichord, which I am sure will entertain you very agreeably. There will belikewise two lutes and a trumpet: let me beg you to put yourself in tune, and believe me"Your very faithful Servant,"Nicholas Humdrum."[184]

"Dear Isaac,

"I intend to have a concert at my house this evening, having by great chance got a harpsichord, which I am sure will entertain you very agreeably. There will belikewise two lutes and a trumpet: let me beg you to put yourself in tune, and believe me

"Your very faithful Servant,"Nicholas Humdrum."[184]

No. 154.[Addison.Saturday, April 1, toTuesday, April 4, 1710.Obscuris vera involvens.—Virg., Æn. vi. 100.

Saturday, April 1, toTuesday, April 4, 1710.

Obscuris vera involvens.—Virg., Æn. vi. 100.

From my own Apartment, April 3.

We have already examined Homer's description of a future state, and the condition in which he has placed the souls of the deceased. I shall in this paper make some observations on the account which Virgil has given us of the same subject, who, besides a greatness of genius, had all the lights of philosophy and human learning to assist and guide him in his discoveries.

Æneas is represented as descending into the empire of death, with a prophetess by his side, who instructs him in the secrets of those lower regions.

Upon the confines of the dead, and before the very gates of this infernal world, Virgil describes[185]several inhabitants, whose natures are wonderfully suited to the situation of the place, as being either the occasions or resemblances of death. Of the first kind are the shadows[186]of Sickness, Old Age, Fear, Famine, and Poverty (apparitions very terrible to behold); with several others, as Toil, War, Contention, and Discord, which contribute all of them to people this common receptacle of human souls. As thiswas likewise a very proper residence for everything that resembles death, the poet tells us, that Sleep, whom he represents as a near relation to Death, has likewise his habitation in these quarters, and describes in them a huge gloomy elm-tree, which seems a very proper ornament for the place, and is possessed by an innumerable swarm of Dreams, that hang in clusters under every leaf of it. He then gives us a list of imaginary persons, who very naturally lie within the shadow of the dream-tree, as being of the same kind of make in themselves, and the materials or (to use Shakespeare's phrase) the stuff of which dreams are made. Such are the shades of the giant with a hundred hands, and of his brother with three bodies; of the double-shaped Centaur and Scylla; the Gorgon with snaky hair; the Harpy with a woman's face and lion's talons; the seven-headed Hydra; and the Chimæra, which breathes forth a flame, and is a compound of three animals. These several mixed natures, the creatures of imagination, are not only introduced with great art after the dreams; but as they are planted at the very entrance, and within the very gates of those regions, do probably denote the wild deliriums and extravagances of fancy, which the Soul usually falls into when she is just upon the verge of death.

Thus far Æneas travels in an allegory. The rest of the description is drawn with great exactness, according to the religion of the heathens, and the opinions of the platonic philosophy. I shall not trouble my reader with a common dull story, that gives an account why the heathens first of all supposed a ferryman in hell, and his name to be Charon; but must not pass over in silence the point of doctrine which Virgil has very much insisted upon in this book, that the souls of those who are unburied, are not permitted to go over into their respective places of rest till they have wandered a hundred yearsupon the banks of Styx. This was probably an invention of the heathen priesthood, to make the people extremely careful of performing proper rites and ceremonies to the memory of the dead. I shall not, however, with the infamous scribblers of the age, take an occasion from such a circumstance, to run into declamations against priestcraft, but rather look upon it even in this light as a religious artifice, to raise in the minds of men an esteem for the memory of their forefathers, and a desire to recommend themselves to that of posterity; as also to excite in them an ambition of imitating the virtues of the deceased, and to keep alive in their thoughts the sense of the soul's immortality. In a word, we may say in defence of the severe opinions relating to the shades of unburied persons, what has been said by some of our divines in regard to the rigid doctrines concerning the souls of such who die without being initiated into our religion, that supposing they should be erroneous, they can do no hurt to the dead, and will have a good effect upon the living, in making them cautious of neglecting such necessary solemnities.

Charon is no sooner appeased, and the triple-headed dog laid asleep, but Æneas makes his entrance into the dominions of Pluto. There are three kinds of persons described as being situated on the borders; and I can give no reason for their being stationed there in so particular a manner, but because none of them seem to have had a proper right to a place among the dead, as not having run out the whole thread of their days, and finished the term of life that had been allotted them upon earth. The first of these are the souls of infants, who are snatched away by untimely ends: the second, are of those who are put to death wrongfully, and by an unjust sentence; and the third, of those who grew weary of their lives, and laidviolent hands upon themselves. As for the second of these, Virgil adds with great beauty, that Minos, the judge of the dead, is employed in giving them a rehearing, and assigning them their several quarters suitable to the parts they acted in life. The poet, after having mentioned the souls of those unhappy men who destroyed themselves, breaks out into a fine exclamation: "Oh, how gladly," says he, "would they now endure life with all its miseries! But the Destinies forbid their return to earth, and the waters of Styx surround them with nine streams that are unpassable." It is very remarkable, that Virgil, notwithstanding self-murder was so frequent among the heathens, and had been practised by some of the greatest men in the very age before him, has here represented it as so heinous a crime. But in this particular he was guided by the doctrines of his great master Plato, who says on this subject, that a man is placed in his station of life like a soldier in his proper post, which he is not to quit whatever may happen, until he is called off by his commander who planted him in it.

There is another point in the platonic philosophy, which Virgil has made the groundwork of the greatest part in the piece we are now examining, having with wonderful art and beauty materialised, if I may so call it, a scheme of abstracted notions, and clothed the most nice refined conceptions of philosophy in sensible images and poetical representations. The Platonists tell us, that the Soul, during her residence in the body, contracts many virtuous and vicious habits, so as to become a beneficent, mild, charitable, or an angry, malicious, revengeful being: a substance inflamed with lust, avarice, and pride; or, on the contrary, brightened with pure, generous, and humble dispositions: that these and the like habits of virtue and vice growing into the very essence of the Soul,survive and gather strength in her after her dissolution: that the torments of a vicious soul in a future state arise principally from those importunate passions which are not capable of being gratified without a body; and that on the contrary, the happiness of virtuous minds very much consists in their being employed in sublime speculations, innocent diversions, sociable affections, and all the ecstasies of passion and rapture which are agreeable to reasonable natures, and of which they gained a relish in this life.

Upon this foundation, the poet raises that beautiful description of the secret haunts and walks which he tells us are inhabited by deceased lovers.

"Not far from hence," says he, "lies a great waste of plains, that are called, the 'fields of melancholy.' In these grows a forest of myrtle, divided into many shady retirements and covered walks, and inhabited by the souls of those who pined away with love. The passion," says he, "continues with them after death." He then gives a list of this languishing tribe, in which his own Dido makes the principal figure, and is described as living in this soft romantic scene with the shade of her first husband Sichæus.[187]

The poet in the next place mentions another plain that was peopled with the ghosts of warriors, as still delighting in each other's company, and pleased with the exercise of arms. He there represents the Grecian generals and common soldiers who perished in the siege of Troy as drawn up in squadrons, and terrified at the approach of Æneas, which renewed in them those impressions of fear they had before received in battle with the Trojans. He afterwards likewise, upon the same notion, gives a view of the Trojan heroes who lived in former ages, amidst avisionary scene of chariots and arms, flowery meadows, shining spears, and generous steeds, which he tells us were their pleasures upon earth, and now make up their happiness in Elysium. For the same reason also, he mentions others as singing pæans, and songs of triumph, amidst a beautiful grove of laurel. The chief of the concert was the poet Musæus, who stood enclosed with a circle of admirers, and rose by the head and shoulders above the throng of shades that surrounded him. The habitations of unhappy spirits, to show the duration of their torments, and the desperate condition they are in, are represented as guarded by a fury, moated round with a lake of fire, strengthened with towers of iron, encompassed with a triple wall, and fortified with pillars of adamant, which all the gods together are not able to heave from their foundations. The noise of stripes, the clank of chains, and the groans of the tortured, strike the pious Æneas with a kind of horror. The poet afterwards divides the criminals into two classes: the first and blackest catalogue consists of such as were guilty of outrages against the gods; and the next, of such who were convicted of injustice between man and man: the greatest number of whom, says the poet, are those who followed the dictates of avarice.

It was an opinion of the Platonists, that the souls of men having contracted in the body great stains and pollutions of vice and ignorance, there were several purgations and cleansings necessary to be passed through both here and hereafter, in order to refine and purify them.[188]

Virgil, to give this thought likewise a clothing of poetry, describes some spirits as bleaching in the winds, others as cleansing under great falls of waters, and others as purging in fire to recover the primitive beauty and purity of their natures.

It was likewise an opinion of the same sect of philosophers, that the souls of all men exist in a separate state, long before their union with their bodies; and that upon their immersion into flesh, they forget everything which passed in the state of pre-existence; so that what we here call knowledge, is nothing else but memory, or the recovery of those things which we knew before.

In pursuance of this scheme, Virgil gives us a view of several souls, who, to prepare themselves for living upon earth, flock about the banks of the river Lethe, and swill themselves with the waters of oblivion.

The same scheme gives him an opportunity of making a noble compliment to his countrymen, where Anchises is represented taking a survey of the long train of heroes that are to descend from him, and giving his son, Æneas an account of all the glories of his race.

I need not mention the revolution of the platonic year,[189]which is but just touched upon in this book; and as I have consulted no author's thoughts in this explication, shall be very well pleased, if it can make the noblest piece of the most accomplished poet more agreeable to my female readers, when they think fit to look into Dryden's translation of it.

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