No. 163.

No. 163.[Addison.Saturday, April 22, toTuesday, April 25, 1710.Idem inficeto est inficetior rure,Simul poemata attigit; neque idem unquamÆque est beatus, ac poema cum scribit:Tam gaudet in se, tamque se ipse miratur.Nimirum idem omnes fallimur; neque est quisquam,Quem non in aliqua re videre SuffenumPossis.—Catullus, xxii. 14.

Saturday, April 22, toTuesday, April 25, 1710.

Idem inficeto est inficetior rure,Simul poemata attigit; neque idem unquamÆque est beatus, ac poema cum scribit:Tam gaudet in se, tamque se ipse miratur.Nimirum idem omnes fallimur; neque est quisquam,Quem non in aliqua re videre SuffenumPossis.—Catullus, xxii. 14.

Will's Coffee-house, April 24.

I yesterday came hither about two hours before the company generally make their appearance, with a design to read over all the newspapers; but upon my sitting down, I was accosted by Ned Softly, who saw me from a corner in the other end of the room, where I found he had been writing something. "Mr. Bickerstaff," says he, "I observe by a late paper of yours, that you and I arejust of a humour; for you must know, of all impertinences, there is nothing which I so much hate as news. I never read a Gazette in my life; and never trouble my head about our armies, whether they win or lose, or in what part of the world they lie encamped." Without giving me time to reply, he drew a paper of verses out of his pocket, telling me, that he had something which would entertain me more agreeably, and that he would desire my judgment upon every line, for that we had time enough before us till the company came in.

Ned Softly is a very pretty poet, and a great admirer of easy lines. Waller is his favourite: and as that admirable writer has the best and worst verses of any among our great English poets, Ned Softly has got all the bad ones without book, which he repeats upon occasion, to show his reading, and garnish his conversation. Ned is indeed a true English reader, incapable of relishing the great and masterly strokes of this art; but wonderfully pleased with the little Gothic ornaments of epigrammatical conceits, turns, points, and quibbles, which are so frequent in the most admired of our English poets, and practised by those who want genius and strength to represent, after the manner of the ancients, simplicity in its natural beauty and perfection.

Finding myself unavoidably engaged in such a conversation, I was resolved to turn my pain into a pleasure, and to divert myself as well as I could with so very odd a fellow. "You must understand," says Ned, "that the sonnet I am going to read to you was written upon a lady, who showed me some verses of her own making, and is perhaps the best poet of our age. But you shall hear it." Upon which he began to read as follows:

"To Mira on her Incomparable Poems.I."When dressed in laurel wreaths you shine,And tune your soft melodious notes,You seem a sister of the Nine,Or Phœbus' self in petticoats.II."I fancy, when your song you sing(Your song you sing with so much art),Your pen was plucked from Cupid's wing;For ah! it wounds me like his dart."

"To Mira on her Incomparable Poems.

"When dressed in laurel wreaths you shine,And tune your soft melodious notes,You seem a sister of the Nine,Or Phœbus' self in petticoats.

II.

"I fancy, when your song you sing(Your song you sing with so much art),Your pen was plucked from Cupid's wing;For ah! it wounds me like his dart."

"Why," says I, "this is a little nosegay of conceits, a very lump of salt: every verse has something in it that piques; and then the dart in the last line is certainly as pretty a sting in the tail of an epigram (for so I think your critics call it) as ever entered into the thought of a poet." "Dear Mr. Bickerstaff," says he, shaking me by the hand, "everybody knows you to be a judge of these things; and to tell you truly, I read over Roscommon's translation of Horace's 'Art of Poetry' three several times, before I sat down to write the sonnet which I have shown you. But you shall hear it again, and pray observe every line of it, for not one of them shall pass without your approbation.

"When dressed in laurel wreaths you shine.

"That is," says he, "when you have your garland on; when you are writing verses." To which I replied, "I know your meaning: a metaphor!" "The same," said he, and went on:

"And tune your soft melodious notes.

"Pray observe the gliding of that verse; there is scarce a consonant in it: I took care to make it run upon liquids.Give me your opinion of it." "Truly," said I, "I think it as good as the former." "I am very glad to hear you say so," says he; "but mind the next:

"You seem a sister of the Nine.

"That is," says he, "you seem a sister of the Muses; for if you look into ancient authors, you will find it was their opinion, that there were nine of them." "I remember it very well," said I; "but pray proceed."

"Or Phœbus' self in petticoats.

"Phœbus," says he, "was the God of Poetry. These little instances, Mr. Bickerstaff, show a gentleman's reading. Then to take off from the air of learning, which Phœbus and the Muses have given to this first stanza, you may observe how it falls all of a sudden into the familiar; 'in petticoats!'

"Or Phœbus' self in petticoats."

"Let us now," says I, "enter upon the second stanza. I find the first line is still a continuation of the metaphor:

"I fancy, when your song you sing."

"It is very right," says he; "but pray observe the turn of words in those two lines. I was a whole hour in adjusting of them, and have still a doubt upon me, whether in the second line it should be, 'Your song you sing'; or, 'You sing your song'? You shall hear them both:

"I fancy, when your song you sing(Your song you sing with so much art).

Or,

"I fancy, when your song you sing(You sing your song with so much art)."

"Truly," said I, "the turn is so natural either way, that you have made me almost giddy with it." "Dear sir," said he, grasping me by the hand, "you have a great deal of patience; but pray what do you think of the next verse:

"Your pen was plucked from Cupid's wing?"

"Think!" says I; "I think you have made Cupid look like a little goose." "That was my meaning," says he; "I think the ridicule is well enough hit off. But we now come to the last, which sums up the whole matter:

"For ah! it wounds me like his dart.

"Pray, how do you like that 'Ah!' Does it not make a pretty figure in that place? 'Ah!' It looks as if I felt the dart, and cried out at being pricked with it:

"For ah! it wounds me like his dart.

"My friend Dick Easy,"[233]continued he, "assured me he would rather have written that 'Ah!' than to have been the author of the 'Æneid.' He indeed objected that I made Mira's pen like a quill in one of the lines, and like a dart in the other. But as to that—" "Oh! as to that," says I, "it is but supposing Cupid to be like a porcupine, and his quills and darts will be the same thing." He was going to embrace me for the hint; but half a dozen critics coming into the room, whose faces he did not like, he conveyed the sonnet into his pocket, and whispered me in the ear, he would show it me again as soon as his man had written it over fair.

FOOTNOTES:[233]Perhaps Henry Cromwell. See Nos.47,49,165, and Mrs. Elizabeth Thomas' "Pylades and Corinna," i. 194.

[233]Perhaps Henry Cromwell. See Nos.47,49,165, and Mrs. Elizabeth Thomas' "Pylades and Corinna," i. 194.

No. 164.[Steele.Tuesday, April 25, toThursday, April 27, 1710.Qui sibi promittit cives, urbem sibi curæ,Imperium fore et Italiam, delubra Deorum,Quo patre sit natus, num ignotâ matre inhonestus,Omnes mortales curare et quærere cogit.Hor., I Sat. vi. 34.

Tuesday, April 25, toThursday, April 27, 1710.

Qui sibi promittit cives, urbem sibi curæ,Imperium fore et Italiam, delubra Deorum,Quo patre sit natus, num ignotâ matre inhonestus,Omnes mortales curare et quærere cogit.Hor., I Sat. vi. 34.

From my own Apartment, April 26.

I have lately been looking over the many packets of letters which I have received from all quarters of Great Britain, as well as from foreign countries, since my entering upon the office of Censor, and indeed am very much surprised to see so great a number of them, and pleased to think that I have so far increased the revenue of the Post Office. As this collection will grow daily, I have digested it into several bundles, and made proper endorsements on each particular letter, it being my design, when I lay down the work that I am now engaged in, to erect a Paper Office, and give it to the public.[234]

I could not but make several observations upon reading over the letters of my correspondents: as first of all, on the different tastes that reign in the different parts of this city. I find, by the approbations which are given me, that I am seldom famous on the same days on both sides of Temple Bar; and that when I am in the greatest repute within the Liberties, I dwindle at the court end of the town. Sometimes I sink in both these places at the sametime; but for my comfort, my name has then been up in the districts of Wapping and Rotherhithe. Some of my correspondents desire me to be always serious, and others to be always merry. Some of them entreat me to go to bed and fall into a dream, and like me better when I am asleep than when I am awake: others advise me to sit all night upon the stars, and be more frequent in my astrological observations; for that a vision is not properly a lucubration. Some of my readers thank me for filling my paper with the flowers of antiquity, others desire news from Flanders. Some approve my criticisms on the dead, and others my censures on the living. For this reason, I once resolved in the new edition of my works, to range my several papers under distinct heads, according as their principal design was to benefit and instruct the different capacities of my readers, and to follow the example of some very great authors, by writing at the head of each discourse, "Ad Aulam," "Ad Academiam," "Ad Populum," "Ad Clerum."

There is no particular in which my correspondents of all ages, conditions, sexes, and complexions, universally agree, except only in their thirst after scandal. It is impossible to conceive how many have recommended their neighbours to me upon this account, or how unmercifully I have been abused by several unknown hands, for not publishing the secret histories of cuckoldom that I have received from almost every street in town.

It would indeed be very dangerous for me to read over the many praises and eulogiums which come post to me from all the corners of the nation, were they not mixed with many checks, reprimands, scurrilities, and reproaches, which several of my good-natured countrymen cannot forbear sending me, though it often costs them twopenceor a groat before they can convey them to my hands:[235]so that sometimes when I am put into the best humour in the world, after having read a panegyric upon my performance, and looked upon myself as a benefactor to the British nation, the next letter perhaps I open, begins with, "You old doting scoundrel;" "Are not you a sad dog?" "Sirrah, you deserve to have your nose slit;" and the like ingenious conceits. These little mortifications are necessary to surpass that pride and vanity which naturally arise in the mind of a received author, and enable me to bear the reputation which my courteous readers bestow upon me, without becoming a coxcomb by it. It was for the same reason, that when a Roman general entered the city in the pomp of a triumph, the commonwealth allowed of several little drawbacks to his reputation, by conniving at such of the rabble as repeated libels and lampoons upon him within his hearing, and by that means engaged his thoughts upon his weakness and imperfections, as well as on the merits that advanced him to so great honours. The conqueror however was not the less esteemed for being a man in some particulars, because he appeared as a god in others.

There is another circumstance in which my countrymen have dealt very perversely with me; and that is, in searching not only into my own life, but also into the lives of my ancestors. If there has been a blot in my family for these ten generations, it has been discovered by some or other of my correspondents. In short, I find the ancient family of the Bickerstaffs has suffered very much through the malice and prejudice of my enemies. Some of them twit me in the teeth with the conduct of my Aunt Margery:[236]nay, there are some who have been so disingenuous, as to throw Maud the Milkmaid[237]into my dish, notwithstanding I myself was the first who discovered thatalliance. I reap however many benefits from the malice of these my enemies, as they let me see my own faults, and give me a view of myself in the worst light; as they hinder me from being blown up by flattery and self-conceit; as they make me keep a watchful eye over my own actions, and at the same time make me cautious how I talk of others, and particularly of my friends and relations, or value myself upon the antiquity of my family.

But the most formidable part of my correspondents are those whose letters are filled with threats and menaces. I have been treated so often after this manner, that not thinking it sufficient to fence well, in which I am now arrived at the utmost perfection,[238]and carry pistols about me, which I have always tucked within my girdle; I several months since made my will, settled my estate, and took leave of my friends, looking upon myself as no better than a dead man. Nay, I went so far as to write a long letter to the most intimate acquaintance I have in the world, under the character of a departed person, giving him an account of what brought me to that untimely end, and of the fortitude with which I met it. This letter being too long for the present paper, I intend to print it by itself very suddenly; and at the same time I must confess, I took my hint of it from the behaviour of an old soldier in the Civil Wars, who was corporal of a company in a regiment of foot, about the same time that I myself was a cadet in the King's army.

This gentleman was taken by the enemy; and the two parties were upon such terms at that time, that we did not treat each other as prisoners of war, but as traitors and rebels. The poor corporal being condemned to die, wrotea letter to his wife when under sentence of execution. He writ on the Thursday, and was to be executed on the Friday: but considering that the letter would not come to his wife's hands till Saturday, the day after execution, and being at that time more scrupulous than ordinary in speaking exact truth, he formed his letter rather according to the posture of his affairs when she should read it, than as they stood when he sent it; though it must be confessed, there is a certain perplexity in the style of it, which the reader will easily pardon, considering his circumstances:

"Dear Wife,"Hoping you are in good health, as I am at this present writing, this is to let you know, that yesterday, between the hours of eleven and twelve, I was hanged, drawn and quartered. I died very penitently, and everybody thought my case very hard. Remember me kindly to my poor fatherless children."Yours till death,"W. B."

"Dear Wife,

"Hoping you are in good health, as I am at this present writing, this is to let you know, that yesterday, between the hours of eleven and twelve, I was hanged, drawn and quartered. I died very penitently, and everybody thought my case very hard. Remember me kindly to my poor fatherless children.

"Yours till death,"W. B."

It so happened, that this honest fellow was relieved by a party of his friends, and had the satisfaction to see all the rebels hanged who had been his enemies. I must not omit a circumstance which exposed him to raillery his whole life after. Before the arrival of the next post, that would have set all things clear, his wife was married to a second husband, who lived in the peaceful possession of her; and the corporal, who was a man of plain understanding, did not care to stir in the matter, as knowing that she had the news of his death under his own hand, which she might have produced upon occasion.

FOOTNOTES:[234]This idea was carried out in 1725, when Charles Lillie published, by Steele's permission, two volumes of "Original and genuine Letters sent to theTatlerandSpectator, during the time those works were publishing. None of which have been before printed." See No. 110.[235]See Nos.117,186, Advertisements.[236]See No.151.[237]See No. 75.[238]It would hardly be possible for a man of Bickerstaff's age to acquire perfection in fencing after only a few months' practice. See No.173: "I first began to learn to push this last winter."

[234]This idea was carried out in 1725, when Charles Lillie published, by Steele's permission, two volumes of "Original and genuine Letters sent to theTatlerandSpectator, during the time those works were publishing. None of which have been before printed." See No. 110.

[235]See Nos.117,186, Advertisements.

[236]See No.151.

[237]See No. 75.

[238]It would hardly be possible for a man of Bickerstaff's age to acquire perfection in fencing after only a few months' practice. See No.173: "I first began to learn to push this last winter."

No. 165.[Addison.Thursday, April 27, toSaturday, April 29, 1710.

Thursday, April 27, toSaturday, April 29, 1710.

From my own Apartment, April 28.

It has always been my endeavour to distinguish between realities and appearances, and to separate true merit from the pretence to it. As it shall ever be my study to make discoveries of this nature in human life, and to settle the proper distinctions between the virtues and perfections of mankind, and those false colours and resemblances of them that shine alike in the eyes of the vulgar; so I shall be more particularly careful to search into the various merits and pretences of the learned world. This is the more necessary, because there seems to be a general combination among the pedants to extol one another's labours, and cry up one another's parts; while men of sense, either through that modesty which is natural to them, or the scorn they have for such trifling commendations, enjoy their stock of knowledge like a hidden treasure, with satisfaction and silence. Pedantry indeed in learning is like hypocrisy in religion, a form of knowledge without the power of it, that attracts the eyes of the common people, breaks out in noise and show, and finds its reward not from any inward pleasure that attends it, but from the praises and approbations which it receives from men.

Of this shallow species there is not a more importunate, empty, and conceited animal, than that which is generally known by the name of a critic. This, in the common acceptation of the word, is one that, without entering into the sense and soul of an author, has a few general rules, which, like mechanical instruments, he appliesto the works of every writer, and as they quadrate with them, pronounces the author perfect or defective. He is master of a certain set of words, as "unity, style, fire, phlegm, easy, natural, turn, sentiment," and the like; which he varies, compounds, divides, and throws together, in every part of his discourse, without any thought or meaning. The marks you may know him by are, an elevated eye, and dogmatical brow, a positive voice, and a contempt for everything that comes out, whether he has read it or not. He dwells altogether in generals. He praises or dispraises in the lump. He shakes his head very frequently at the pedantry of Universities, and bursts into laughter when you mention an author that is not known at Will's. He has formed his judgment upon Homer, Horace, and Virgil, not from their own works, but from those of Rapin and Bossu. He knows his own strength so well, that he never dares praise anything in which he has not a French author for his voucher.

With these extraordinary talents and accomplishments, Sir Timothy Tittle[239]puts men in vogue, or condemns them to obscurity, and sits as judge of life and death upon every author that appears in public. It is impossible to represent the pangs, agonies, and convulsions which Sir Timothy expresses in every feature of his face, and muscle of his body, upon the reading of a bad poet.

About a week ago I was engaged at a friend's of mine in an agreeable conversation with his wife and daughters, when in the height of our mirth, Sir Timothy, who makes love to my friend's eldest daughter, came in amongst us puffing and blowing as if he had been very much out of breath. He immediately called for a chair, and desired leave to sit down, without any further ceremony. I asked him where he had been? whether he was out of order?He only replied, that he was quite spent, and fell a-cursing in soliloquy. I could hear him cry, "A wicked rogue;" "An execrable wretch;" "Was there ever such a monster?" The young ladies upon this began to be affrighted, and asked whether any one had hurt him? He answered nothing, but still talked to himself. "To lay the first scene," says he, "in St. James's Park, and the last in Northamptonshire." "Is that all?" says I. "Then I suppose you have been at the rehearsal of a play this morning?" "Been!" says he; "I have been at Northampton, in the Park, in a lady's bed-chamber, in a dining-room, everywhere; the rogue has led me such a dance." Though I could scarce forbear laughing at his discourse, I told him I was glad it was no worse, and that he was only metaphorically weary. "In short, sir," says he, "the author has not observed a single unity in his whole play; the scene shifts in every dialogue; the villain has hurried me up and down at such a rate, that I am tired off my legs." I could not but observe with some pleasure, that the young lady whom he made love to conceived a very just aversion to him, upon seeing him so very passionate in trifles. And as she had that natural sense which makes her a better judge than a thousand critics, she began to rally him upon this foolish humour. "For my part," says she, "I never knew a play take that was written up to your rules, as you call them." "How, madam!" says he; "is that your opinion? I am sure you have a better taste." "It is a pretty kind of magic," says she, "the poets have, to transport an audience from place to place without the help of a coach and horses. I could travel round the world at such a rate. 'Tis such an entertainment as an enchantress finds when she fancies herself in a wood, or upon a mountain, at a feast, or a solemnity; though at the same time she has never stirred out of her cottage." "Your simile, madam," says SirTimothy, "is by no means just." "Pray," says she, "let my similes pass without a criticism. I must confess," continued she (for I found she was resolved to exasperate him), "I laughed very heartily at the last new comedy which you found so much fault with." "But, madam," says he, "you ought not to have laughed; and I defy any one to show me a single rule that you could laugh by." "Ought not to laugh!" says she: "pray, who should hinder me?" "Madam," says he, "there are such people in the world as Rapin, Dacier, and several others, that ought to have spoiled your mirth." "I have heard," says the young lady, "that your great critics are always very bad poets: I fancy there is as much difference between the works of one and the other, as there is between the carriage of a dancing-master and a gentleman. I must confess," continued she, "I would not be troubled with so fine a judgment as yours is; for I find you feel more vexation in a bad comedy than I do in a deep tragedy." "Madam," says Sir Timothy, "that is not my fault; they should learn the art of writing." "For my part," says the young lady, "I should think the greatest art in your writers of comedies is to please." "To please!" says Sir Timothy; and immediately fell a-laughing. "Truly," says she, "that is my opinion." Upon this, he composed his countenance, looked upon his watch, and took his leave.

I hear that Sir Timothy has not been at my friend's house since this notable conference, to the great satisfaction of the young lady, who by this means has got rid of a very impertinent fop.

I must confess, I could not but observe, with a great deal of surprise, how this gentleman, by his ill-nature, folly, and affectation, has made himself capable of suffering so many imaginary pains, and looking with such a senseless severity upon the common diversions of life.

FOOTNOTES:[239]Perhaps Henry Cromwell; see Nos.47,49,163.

[239]Perhaps Henry Cromwell; see Nos.47,49,163.

No. 166.[SteeleSaturday, April 29, toTuesday, May 2, 1710.——Dicenda tacenda loquutus.—Hor.,IEp. vii. 72.

Saturday, April 29, toTuesday, May 2, 1710.

——Dicenda tacenda loquutus.—Hor.,IEp. vii. 72.

White's Chocolate-house, May 1.

The world is so overgrown with singularities in behaviour, and method of living, that I have no sooner laid before mankind the absurdity of one species of men, but there starts up to my view some new sect of impertinents that had before escaped notice. This afternoon, as I was talking with fine Mrs. Sprightly's porter, and desiring admittance upon an extraordinary occasion, it was my fate to be spied by Tom Modely riding by in his chariot. He did me the honour to stop, and asked what I did there of a Monday? I answered that I had business of importance, which I wanted to communicate to the lady of the house. Tom is one of those fools who look upon knowledge of the fashion to be the only liberal science; and was so rough as to tell me, that a well-bred man would as soon call upon a lady (who keeps a day) at midnight, as on any day but that on which she professes being at home. There are rules and decorums which are never to be transgressed by those who understand the world; and he who offends in this kind, ought not to take it ill if he is turned away, even when he sees the person look out at her window whom he inquires for. "Nay," said he, "my Lady Dimple is so positive in this rule, that she takes it for a piece of good breeding and distinction to deny herself with her own mouth. Mrs. Comma,[240]the great scholar, insists upon it;and I myself have heard her assert, that a lord's porter, or a lady's woman, cannot be said to lie in that case, because they act by instruction; and their words are no more their own, than those of a puppet."

He was going on with this ribaldry, when on a sudden he looked on his watch, and said, he had twenty visits to make, and drove away without further ceremony. I was then at leisure to reflect upon the tasteless manner of life, which a set of idle fellows lead in this town, and spend youth itself with less spirit, than other men do their old age. These expletives in human society, though they are in themselves wholly insignificant, become of some consideration when they are mixed with others. I am very much at a loss how to define, or under what character, distinction, or denomination, to place them, except you give me leave to call them the Order of the Insipids. This order is in its extent like that of the Jesuits, and you see of them in every way of life, and in every profession. Tom Modely has long appeared to me at the head of this species. By being habitually in the best company, he knows perfectly well when a coat is well cut, or a periwig well mounted.[241]As soon as you enter the place where he is, he tells the next man to him who is your tailor, and judges of you more from the choice of your periwig-maker than of your friend. His business in this world is to be well dressed; and the greatest circumstance that is to be recorded in his annals is, that he wears twenty shirts a week. Thus, without ever speakingreason among the men, or passion among the women, he is everywhere well received; and without any one man's esteem, he has every man's indulgence.

This order has produced great numbers of tolerable copiers in painting, good rhymers in poetry, and harmless projectors in politics. You may see them at first sight grow acquainted by sympathy, insomuch that one who had not studied nature, and did not know the true cause of their sudden familiarities, would think that they had some secret intimation of each other, like the freemasons. The other day at Will's I heard Modely, and a critic of the same order, show their equal talents with great delight. The learned insipid was commending Racine's turns; the genteel insipid, Devillier's curls.[242]

These creatures, when they are not forced into any particular employment, for want of ideas in their own imaginations, are the constant plague of all they meet with by inquiries for news and scandal, which makes them the heroes of visiting-days, where they help the design of the meeting, which is to pass away that odious thing called Time, in discourses too trivial to raise any reflections which may put well-bred persons to the trouble of thinking.

From my own Apartment, May 1.

I was looking out of my parlour window this morning,[243]and receiving the honours which Margery, the milkmaid to our lane, was doing me, by dancing before my doorwith the plate of half her customers on her head, when Mr. Clayton,[244]the author of "Arsinoe," made me a visit, and desired me to insert the following advertisement in my ensuing paper:

The Pastoral Masque composed by Mr. Clayton, author of "Arsinoe," will be performed on Wednesday the 3rd instant, in the great room at York Buildings.[245]Tickets are to be had at White's Chocolate-house, St. James's Coffee-house in St. James's Street, and Young Man's Coffee-house.[246]Note. The tickets delivered out for the 27th of April will be taken then.

Note. The tickets delivered out for the 27th of April will be taken then.

When I granted his request, I made one to him, which was, that the performers should put their instruments in tune before the audience came in; for that I thought theresentment of the Eastern Prince, who, according to the old story, took "tuning" for "playing," to be very just and natural. He was so civil, as not only to promise that favour, but also to assure me, that he would order the heels of the performers to be muffled in cotton, that the artists in so polite an age as ours, may not intermix with their harmony a custom which so nearly resembles the stamping dances of the West Indians or Hottentots.

ADVERTISEMENTS.

A Bass-viol of Mr. Bickerstaff's acquaintance, whose mind and fortune do not very exactly agree, proposes to set himself to sale by way of lottery.[247]Ten thousand pounds is the sum to be raised, at threepence a ticket, in consideration that there are more women who are willing to be married than that can spare a greater sum. He has already made over his person to trustees for the said money to be forthcoming, and ready to take to wife the fortunate woman that wins him.

N.B. Tickets are given out by Mr. Charles Lillie, and Mr. John Morphew. Each adventurer must be a virgin, and subscribe her name to her ticket.[248]

Whereas the several churchwardens of most of the parishes within the bills of mortality, have in an earnestmanner applied themselves by way of petition, and have also made a presentment of the vain and loose deportment during divine service, of persons of too great figure in all their said parishes for their reproof: And whereas it is therein set forth, that by salutations given each other, hints, shrugs, ogles, playing of fans, and fooling with canes at their mouths, and other wanton gesticulations, their whole congregation appears rather a theatrical audience, than a house of devotion: It is hereby ordered, that all canes, cravats, bosom-laces, muffs, fans, snuff-boxes, and all other instruments made use of to give persons unbecoming airs, shall be immediately forfeited and sold; and of the sum arising from the sale thereof, a ninth part shall be paid to the poor, and the rest to the overseers.[249]

FOOTNOTES:[240]"I have been informed by a relation of hers, that when Mrs. Mary Astell has accidentally seen needless visitors coming, whom she knew to be incapable of discoursing upon any useful subject, she would look out of the window, and jestingly tell them (as Cato did Nasica), 'Mrs. Astell is not at home'; and in good earnest keep them out, not suffering such triflers to make inroads upon her more serious hours" (Ballard's "Memoirs of British Learned Ladies," 1775, p. 309). For Swift's attacks on Mary Astell, see Nos.32, 63.[241]"Monter une perruque" is a French barber's phrase.[242]See Nos.26,29. Duvillier or Devillier was a hairdresser.[243]May Day. In theSpectator(No.365) Budgell says: "It is likewise on the first day of this month that we see the ruddy milkmaid exerting herself in a most sprightly manner under a pyramid of silver tankards, and like the virgin Tarpeia, oppressed by the costly ornaments which her benefactors lay upon her." Similarly, Misson ("Travels in England," p. 307) says: "On the first of May, and the five or six days following, all the pretty young country girls that serve the town with milk, dress themselves up very neatly, and borrow abundance of silver plate, whereof they make a pyramid, which they adorn with ribands and flowers, and carry upon their heads, instead of their common milkpails. In this equipage, accompanied by some of their fellow milkmaids, and a bagpipe and fiddle, they go from door to door, dancing before the houses of their customers."[244]"There is a Pastoral Masque to be performed on the 27th inst., in York Buildings, for the benefit of Mr. Clayton, and composed by him. This gentleman is the person who introduced the Italian opera into Great Britain, and hopes he has pretensions to the favour of all lovers of music, who can get over the prejudice of his being their countryman" (Tatler, original folio, No. 163).Thomas Clayton, in association with Haym and Dieuport, began a series of operatic performances at Drury Lane Theatre in 1705, commencing with "Arsinoe," which was a success. In 1707 he produced a setting of Addison's "Rosamond," but it was played only three times. The opera performances were continued until 1711, after which Clayton gave concerts in York Buildings (seeSpectator, No.258). He died about 1730.[245]In the Strand. In 1713 Steele started a scheme for "a noble entertainment for persons of refined taste," in York Buildings.[246]At Charing Cross, with a back door into Spring Gardens.[247]See Nos.153,157,168.[248]In theDaily Courantfor Aug. 18, 1710, there was advertised as just published a pamphlet called "A Good Husband for Five Shillings; or, Esquire Bickerstaff's Lottery for the London Ladies. Wherein those that want bedfellows, in an honest way, will have a fair chance to be well fitted." It was complained that husbands were scarce through the war. The title exhausts all that is of interest in the pamphlet, with the exception of the frontispiece, which represents a room in which a lottery is being drawn, with two wheels of fortune, &c.[249]Nichols notes that a correction in this number, intimated in the following paper, was actually made in a copy before him, and concluded that there was sometimes more than one impression of the original folio issue. This was certainly the case. There is a set of theTatlersin folio in the British Museum (press-mark 628 m 13) in which many of the numbers are set up somewhat differently from the ordinary issue (Nos. 4, 28, 29, 30, &c.). Sometimes there is a line more or less in a column; sometimes slightly different type is used in one or two advertisements.

[240]"I have been informed by a relation of hers, that when Mrs. Mary Astell has accidentally seen needless visitors coming, whom she knew to be incapable of discoursing upon any useful subject, she would look out of the window, and jestingly tell them (as Cato did Nasica), 'Mrs. Astell is not at home'; and in good earnest keep them out, not suffering such triflers to make inroads upon her more serious hours" (Ballard's "Memoirs of British Learned Ladies," 1775, p. 309). For Swift's attacks on Mary Astell, see Nos.32, 63.

[241]"Monter une perruque" is a French barber's phrase.

[242]See Nos.26,29. Duvillier or Devillier was a hairdresser.

[243]May Day. In theSpectator(No.365) Budgell says: "It is likewise on the first day of this month that we see the ruddy milkmaid exerting herself in a most sprightly manner under a pyramid of silver tankards, and like the virgin Tarpeia, oppressed by the costly ornaments which her benefactors lay upon her." Similarly, Misson ("Travels in England," p. 307) says: "On the first of May, and the five or six days following, all the pretty young country girls that serve the town with milk, dress themselves up very neatly, and borrow abundance of silver plate, whereof they make a pyramid, which they adorn with ribands and flowers, and carry upon their heads, instead of their common milkpails. In this equipage, accompanied by some of their fellow milkmaids, and a bagpipe and fiddle, they go from door to door, dancing before the houses of their customers."

[244]"There is a Pastoral Masque to be performed on the 27th inst., in York Buildings, for the benefit of Mr. Clayton, and composed by him. This gentleman is the person who introduced the Italian opera into Great Britain, and hopes he has pretensions to the favour of all lovers of music, who can get over the prejudice of his being their countryman" (Tatler, original folio, No. 163).Thomas Clayton, in association with Haym and Dieuport, began a series of operatic performances at Drury Lane Theatre in 1705, commencing with "Arsinoe," which was a success. In 1707 he produced a setting of Addison's "Rosamond," but it was played only three times. The opera performances were continued until 1711, after which Clayton gave concerts in York Buildings (seeSpectator, No.258). He died about 1730.

Thomas Clayton, in association with Haym and Dieuport, began a series of operatic performances at Drury Lane Theatre in 1705, commencing with "Arsinoe," which was a success. In 1707 he produced a setting of Addison's "Rosamond," but it was played only three times. The opera performances were continued until 1711, after which Clayton gave concerts in York Buildings (seeSpectator, No.258). He died about 1730.

[245]In the Strand. In 1713 Steele started a scheme for "a noble entertainment for persons of refined taste," in York Buildings.

[246]At Charing Cross, with a back door into Spring Gardens.

[247]See Nos.153,157,168.

[248]In theDaily Courantfor Aug. 18, 1710, there was advertised as just published a pamphlet called "A Good Husband for Five Shillings; or, Esquire Bickerstaff's Lottery for the London Ladies. Wherein those that want bedfellows, in an honest way, will have a fair chance to be well fitted." It was complained that husbands were scarce through the war. The title exhausts all that is of interest in the pamphlet, with the exception of the frontispiece, which represents a room in which a lottery is being drawn, with two wheels of fortune, &c.

[249]Nichols notes that a correction in this number, intimated in the following paper, was actually made in a copy before him, and concluded that there was sometimes more than one impression of the original folio issue. This was certainly the case. There is a set of theTatlersin folio in the British Museum (press-mark 628 m 13) in which many of the numbers are set up somewhat differently from the ordinary issue (Nos. 4, 28, 29, 30, &c.). Sometimes there is a line more or less in a column; sometimes slightly different type is used in one or two advertisements.

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