Chapter XIII (4)

Another line of eternal separation between Hogarth and the common painters of droll or burlesque subjects, with whom he is often confounded, is the sense of beauty, which in the most unpromising subjects seems never wholly to have deserted him. "Hogarth himself," says Mr. Coleridge,[1] from whom I have borrowed this observation, speaking of a scene which took place at Ratzeburg, "never drew a more ludicrous distortion, both of attitude and physiognomy, than this effect occasioned: nor was there wanting beside it one of those beautiful female faces which the same Hogarth, _in whom the satirist never extinguished that love of beauty which belonged to him as a poet_, so often and so gladly introduces as the central figure in a crowd of humorous deformities, which figure (such is the power of true genius) neither acts nor is meant to act as a contrast; but diffuses through all and over each of the group a spirit of reconciliation and human kindness; and even when the attention is no longer consciously directed to the cause of this feeling, still blends its tenderness with our laughter: and _thus prevents the instructive merriment at the whims of nature, or the foibles or humors of our fellow-men, from degenerating into the heart-poison of contempt or hatred_." To the beautiful females in Hogarth, which Mr. C. has pointed out, might be added, the frequent introduction of children (which Hogarth seems to have taken a particular delight in) into his pieces. They have a singular effect in giving tranquillity and a portion of their own innocence to the subject. The baby riding in its mother's lap in the _March to Finchley_, (its careless innocent face placed directly behind the intriguing time-furrowed countenance of the treason-plotting French priest,) perfectly sobers the whole of that tumultuous scene. The boy mourner winding up his top with so much unpretending insensibility in the plate of the _Harlot's Funeral_, (the only thing in that assembly that is not a hypocrite,) quiets and soothes the mind that has been disturbed at the sight of so much depraved man and woman kind.

[Footnote 1: _The Friend_, No. XVI.]

I had written thus far, when I met with a passage in the writings of the late Mr. Barry, which, as it falls in with the _vulgar notion_ respecting Hogarth, which this Essay has been employed in combating, I shall take the liberty to transcribe, with such remarks as may suggest themselves to me in the transcription; referring the reader for a full answer to that which has gone before.

"Notwithstanding Hogarth's merit does undoubtedly entitle him
to an honorable place among the artists, and that his little
compositions, considered as so many dramatic representations,
abounding with humor, character, and extensive observations on
the various incidents of low, faulty, and vicious life, are
very ingeniously brought together, and frequently tell their
own story with more facility than is often found in many of
the elevated and more noble inventions of Raphael and other
great men; yet it must be honestly confessed, that in what is
called knowledge of the figure, foreigners have justly
observed, that Hogarth is often so raw and unformed, as hardly
to deserve the name of an artist. But this capital defect is
not often perceivable, as examples of the naked and of
elevated nature but rarely occur in his subjects, which are
for the most part filled with characters that in their nature
tend to deformity; besides his figures are small, and the
jonctures, and other difficulties of drawing that might occur
in their limbs, are artfully concealed with their clothes,
rags, &c. But what would atone for all his defects, even if
they were twice told, is his admirable fund of invention, ever
inexhaustible in its resources; and his satire, which is
always sharp and pertinent, and often highly moral, was
(except in a few instances, where he weakly and meanly
suffered his integrity to give way to his envy) seldom or
never employed in a dishonest or unmanly way. Hogarth has been
often imitated in his satirical vein, sometimes in his
humorous: but very few have attempted to rival him in his
moral walk. The line of art pursued by my very ingenious
predecessor and brother Academician, Mr. Penny, is quite
distinct from that of Hogarth, and is of a much more delicate
and superior relish; he attempts the heart, and reaches it,
whilst Hogarth's general aim is only to shake the sides; in
other respects no comparison can be thought of, as Mr. Penny
has all that knowledge of the figure and academical skill
which the other wanted. As to Mr. Bunbury, who had so happily
succeeded in the vein of humor and caricatura, he has for some
time past altogether relinquished it, for the more amiable
pursuit of beautiful nature: this, indeed, is not to be
wondered at, when we recollect that he has, in Mrs. Bunbury,
so admirable an exemplar of the most finished grace and beauty
continually at his elbow. But (to say all that occurs to me on
this subject) perhaps it may be reasonably doubted, whether
the being much conversant with Hogarth's method of exposing
meanness, deformity, and vice, in many of his works, is not
rather a dangerous, or, at least, a worthless pursuit; which,
if it does not find a false relish and a love of and search
after satire and buffoonery in the spectator, is at least not
unlikely to give him one. Life is short; and the little
leisure of it is much better laid out upon that species of art
which is employed about the amiable and the admirable, as it
is more likely to be attended with better and nobler
consequences to ourselves. These two pursuits in art may be
compared with two sets of people with whom we might associate;
if we give ourselves up to the Footes, the Kenricks, &c. we
shall be continually busied and paddling in whatever is
ridiculous, faulty, and vicious in life; whereas there are
those to be found with whom we should be in the constant
pursuit and study of all that gives a value and a dignity to
human nature." [Account of a Series of Pictures in the Great
Boom of the Society of Arts, Manufactures, and Commerce, at
the Adelphi, by James Barry, R.A., Professor of Painting to
the Royal Academy, reprinted in the last quarto edition of his
works.]

"----It must be honestly confessed, that in what is called
knowledge of the figure, foreigners have justly observed," &c.

It is a secret well known to the professors of the art and mystery of criticism, to insist upon what they do not find in a man's works, and to pass over in silence what they do. That Hogarth did not draw the naked figure so well as Michael Angelo might be allowed, especially as "examples of the naked," as Mr. Barry acknowledges, "rarely (he might almost have said never) occur in his subjects;" and that his figures under their draperies do not discover all the fine graces of an Antinoüs or an Apollo, may be conceded likewise; perhaps it was more suitable to his purpose to represent the average forms of mankind in the mediocrity (as Mr. Burke expresses it) of the age in which he lived: but that his figures in general, and in his best subjects, are so glaringly incorrect as is here insinuated, I dare trust my own eye so far as positively to deny the fact. And there is one part of the figure in which Hogarth is allowed to have excelled, which these foreigners seem to have overlooked, or perhaps calculating from its proportion to the whole (a seventh or an eighth, I forget which,) deemed it of trifling importance; I mean the human face; a small part, reckoning by geographical inches, in the map of man's body, but here it is that the painter of expression must condense the wonders of his skill, even at the expense of neglecting the "jonctures and other difficulties of drawing in the limbs," which it must be a cold eye that, in the interest so strongly demanded by Hogarth's countenances, has leisure to survey and censure.

"The line of art pursued by my very ingenious predecessor and brother Academician, Mr. Penny."

The first impression caused in me by reading this passage was an eager desire to know who this Mr. Penny was. This great surpasser of Hogarth in the "delicacy of his relish," and the "line which he pursued," where is he, what are his works, what has he to show? In vain I tried to recollect, till by happily putting the question to a friend who is more conversant in the works of the illustrious obscure than myself, I learnt that he was the painter of a _Death of Wolfe_ which missed the prize the year that the celebrated picture of West on the same subject obtained it; that he also made a picture of the _Marquis of Granby relieving a Sick Soldier_; moreover, that he was the inventor of two pictures of _Suspended and Restored Animation_, which I now remember to have seen in the Exhibition some years since, and the prints from which are still extant in good men's houses. This, then, I suppose, is the line of subjects in which Mr. Penny was so much superior to Hogarth. I confess I am not of that opinion. The relieving of poverty by the purse, and the restoring a young man to his parents by using the methods prescribed by the Humane Society, are doubtless very amiable subjects, pretty things to teach the first rudiments of humanity; they amount to about as much instruction as the stories of good boys that give away their custards to poor beggar-boys in children's books. But, good God! is this _milk for babes_ to be set up in opposition to Hogarth's moral scenes, his _strong meat for men_? As well might we prefer the fulsome verses upon their own goodness to which the gentlemen of the Literary Fund annually sit still with such shameless patience to listen, to the satires of Juvenal and Persius; because the former are full of tender images of Worth relieved by Charity, and Charity stretching out her hand to rescue sinking Genius, and the theme of the latter is men's crimes and follies with their black consequences--forgetful meanwhile of those strains of moral pathos, those sublime heart-touches, which these poets (in _them_ chiefly showing themselves poets) are perpetually darting across the otherwise appalling gloom of their subject--consolatory remembrancers, when their pictures of guilty mankind have made us even to despair for our species, that there is such a thing as virtue and moral dignity in the world, that her unquenchable spark is not utterly out--refreshing admonitions, to which we turn for shelter from the too great heat and asperity of the general satire.

And is there nothing analogous to this in Hogarth? nothing which "attempts and reaches the heart?"--no aim beyond that of "shaking the sides?"--If the kneeling ministering female in the last scene of the _Rake's Progress_, the Bedlam scene, of which I have spoken before, and have dared almost to parallel it with the most absolute idea of Virtue which Shakspeare has left us, be not enough to disprove the assertion; if the sad endings of the Harlot and the Rake, the passionate heart-bleeding entreaties for forgiveness which the adulterous wife is pouring forth to her assassinated and dying lord in the last scene but one of the _Marriage Alamode_,--if these be not things to touch the heart, and dispose the mind to a meditative tenderness: is there nothing sweetly conciliatory in the mild patient face and gesture with which the wife seems to allay and ventilate the feverish irritated feelings of her poor poverty-distracted mate (the true copy of the _genus irritabile_), in the print of the _Distrest Poet_? or if an image of maternal love be required, where shall we find a sublimer view of it than in that aged woman in _Industry and Idleness_ (plate V.) who is clinging with the fondness of hope not quite extinguished to her brutal vice-hardened child, whom she is accompanying to the ship which is to bear him away from his native soil, of which he has been adjudged unworthy: in whose shocking face every trace of the human countenance seems obliterated, and a brute beast's to be left instead, shocking and repulsive to all but her who watched over it in its cradle before it was so sadly altered, and feels it must belong to her while a pulse by the vindictive laws of his country shall be suffered to continue to beat in it. Compared with such things, what is Mr. Penny's "knowledge of the figure and academical skill which Hogarth wanted?"

With respect to what follows concerning another gentleman, with the congratulations to him on his escape out of the regions of "humor and caricatura," in which it appears he was in danger of travelling side by side with Hogarth, I can only congratulate my country, that Mrs. Hogarth knew _her_ province better than, by disturbing her husband at his palette, to divert him from that universality of subject, which has stamped him perhaps, next to Shakspeare, the most inventive genius which this island has produced, into the "amiable pursuit of beautiful nature," _i.e._, copying ad infinitum the individual charms and graces of Mrs. H. "Hogarth's method of exposing meanness, deformity, and vice, paddling in whatever is ridiculous, faulty, and vicious."

A person unacquainted with the works thus stigmatized would be apt to imagine that in Hogarth there was nothing else to be found but subjects of the coarsest and most repulsive nature. That his imagination was naturally unsweet, and that he delighted in raking into every species of moral filth. That he preyed upon sore places only, and took a pleasure in exposing the unsound and rotten parts of human nature:--whereas, with the exception of some of the plates of the _Harlot's Progress_, which are harder in their character than any of the rest of his productions (the _Stages of Cruelty_ I omit as mere worthless caricatures, foreign to his general habits, the offspring of his fancy in some wayward humor), there is scarce one of his pieces where vice is most strongly satirized, in which some figure is not introduced upon which the moral eye may rest satisfied; a face that indicates goodness, or perhaps mere good-humoredness and carelessness of mind (negation of evil) only, yet enough to give a relaxation to the frowning brow of satire, and keep the general air from tainting. Take the mild, supplicating posture of patient Poverty in the poor woman that is persuading the pawnbroker to accept her clothes in pledge, in the plate of _Gin Lane_, for an instance. A little does it, a little of the _good_ nature overpowers a world of _bad_. One cordial honest laugh of a Tom Jones absolutely clears the atmosphere that was reeking with the black putrefying breathings of a hypocrite Blifil. One homely expostulating shrug from Strap warms the whole air which the suggestions of a gentlemanly ingratitude from his friend Random had begun to freeze. One "Lord bless us!" of Parson Adams upon the wickedness of the times, exorcises and purges off the mass of iniquity which the world-knowledge of even a Fielding could cull out and rake together. But of the severer class of Hogarth's performances, enough, I trust, has been said to show that they do not merely shock and repulse; that there is in them the "scorn of vice" and the "pity" too; something to touch the heart, and keep alive the sense of moral beauty; the "lacrymæ rerum," and the sorrowing by which the heart is made better. If they be bad things, then is satire and tragedy a bad thing; let us proclaim at once an age of gold, and sink the existence of vice and misery in our speculations: let us

"----wink, and shut our apprehensions up
From common sense of what men were and are:"

let us _make believe_ with the children, that everybody is good and happy; and, with Dr. Swift, write panegyrics upon the world.

But that larger half of Hogarth's works, which were painted more for entertainment than instruction (though such was the suggestiveness of his mind that there is always something to be learnt from them), his humorous scenes,--are they such as merely to disgust and set us against our species?

The confident assertions of such a man as I consider the late Mr. Barry to have been, have that weight of authority in them which staggers at first hearing, even a long preconceived opinion. When I read his pathetic admonition concerning the shortness of life, and how much better the little leisure of it were laid out upon "that species of art which is employed about the amiable and the admirable;" and Hogarth's "method," proscribed as a "dangerous or worthless pursuit," I began to think there was something in it; that I might have been indulging all my life a passion for the works of this artist, to the utter prejudice of my taste and moral sense; but my first convictions gradually returned, a world of good-natured English faces came up one by one to my recollection, and a glance at the matchless _Election Entertainment_, which I have the happiness to have hanging up in my parlor, subverted Mr. Barry's whole theory in an instant.

In that inimitable print (which in my judgment as far exceeds the more known and celebrated _March to Finchley_, as the best comedy exceeds the best farce that ever was written), let a person look till he be saturated, and when he has done wondering at the inventiveness of genius which could bring so many characters (more than thirty distinct classes of face) into a room and set them down at table together, or otherwise dispose them about, in so natural a manner, engage them in so many easy sets and occupations, yet all partaking of the spirit of the occasion which brought them together, so that we feel that nothing but an election time could have assembled them; having no central figure or principal group, (for the hero of the piece, the Candidate, is properly set aside in the levelling indistinction of the day, one must look for him to find him,) nothing to detain the eye from passing from part to part, where every part is alike instinct with life,--for here are no furniture-faces, no figures brought in to fill up the scene like stage choruses, but all dramatis personæ; when he shall have done wondering at all these faces so strongly charactered, yet finished with the accuracy of the finest miniature; when he shall have done admiring the numberless appendages of the scene, those gratuitous doles which rich genius flings into the heap when it has already done enough, the over-measure which it delights in giving, as if it felt its stores were exhaustless; the dumb rhetoric of the scenery,--for tables, and chairs, and joint-stools in Hogarth are living and significant things; the witticisms that are expressed by words (all artists but Hogarth have failed when they have endeavored to combine two mediums of expression, and have introduced words into their pictures), and the unwritten numberless little allusive pleasantries that are scattered about; the work that is going on in the scene, and beyond it, as is made visible to the "eye of mind," by the mob which chokes up the doorway, and the sword that has forced an entrance before its master; when he shall have sufficiently admired this wealth of genius, let him fairly say what is the _result_ left on his mind. Is it an impression of the vileness and worthlessness of his species? or is it not the general feeling which remains, after the individual faces have ceased to act sensibly on his mind, a _kindly one in favor of his species?_ was not the general air of the scene wholesome? did it do the heart hurt to be among it? Something of a riotous spirit to be sure is there, some worldly-mindedness in some of the faces, a Doddingtonian smoothness which does not promise any superfluous degree of sincerity in the fine gentleman who has been the occasion of calling so much good company together; but is not the general cast of expression in the faces of the good sort? do they not seem cut out of the _good old rock_, substantial English honesty? would one fear treachery among characters of their expression? or shall we call their honest mirth and seldom-returning relaxation by the hard names of vice and profligacy? That poor country fellow, that is grasping his staff (which, from that difficulty of feeling themselves at home which poor men experience at a feast, he has never parted with since he came into the room), and is enjoying with a relish that seems to fit all the capacities of his soul the slender joke, which that facetious wag his neighbor is practising upon the gouty gentleman, whose eyes the effort to suppress pain has made as round as rings--does it shock the "dignity of human nature" to look at that man, and to sympathize with him in the seldom-heard joke which has unbent his careworn, hard-working visage, and drawn iron smiles from it? or with that full-hearted cobbler, who is honoring with the grasp of an honest fist the unused palm of that annoyed patrician, whom the license of the time has seated next him?

I can see nothing "dangerous" in the contemplation of such scenes as this, or the _Enraged Musician_, or the _Southwark Fair_, or twenty other pleasant prints which come crowding in upon my recollection, in which the restless activities, the diversified bents and humors, the blameless peculiarities of men, as they deserve to be called, rather than their "vices and follies," are held up in a laughable point of view. All laughter is not of a dangerous or soul-hardening tendency. There is the petrifying sneer of a demon which excludes and kills Love, and there is the cordial laughter of a man which implies and cherishes it. What heart was ever made the worse by joining in a hearty laugh at the simplicities of Sir Hugh Evans or Parson Adams, where a sense of the ridiculous mutually kindles and is kindled by a perception of the amiable? That tumultuous harmony of singers that are roaring out the words, "The world shall bow to the Assyrian throne," from the opera of _Judith_, in the third plate of the series called the _Four Groups of Heads_; which the quick eye of Hogarth must have struck off in the very infancy of the rage for sacred oratorios in this country, while "Music yet was young;" when we have done smiling at the deafening distortions, which these tearers of devotion to rags and tatters, these takers of heaven by storm, in their boisterous mimicry of the occupation of angels, are making,--what unkindly impression is left behind, or what more of harsh or contemptuous feeling, than when we quietly leave Uncle Toby and Mr. Shandy riding their hobby-horses about the room? The conceited, long-backed Sign-painter, that with all the self-applause of a Raphael or Correggio, (the twist of body which his conceit has thrown him into has something of the Correggiesque in it,) is contemplating the picture of a bottle, which he is drawing from an actual bottle that hangs beside him, in the print of _Beer Street_,--while we smile at the enormity of the self-delusion, can we help loving the good-humor and self-complacency of the fellow? would we willingly wake him from his dream?

I say not that all the ridiculous subjects of Hogarth have, necessarily, something in them to make us like them; some are indifferent to us, some in their natures repulsive, and only made interesting by the wonderful skill and truth to nature in the painter; but I contend that there is in most of them that sprinkling of the better nature, which, like holy water, chases away and disperses the contagion of the bad. They have this in them, besides, that they bring us acquainted with the every-day human face,--they give us skill to detect those gradations of sense and virtue (which escape the careless or fastidious observer) in the countenances of the world about us; and prevent that disgust at common life, that _tædium quotidianarum formarum_, which an unrestricted passion for ideal forms and beauties is in danger of producing. In this, as in many other things, they are analogous to the best novels of Smollett or Fielding.

* * * * *

ON THE POETICAL WORKS OF GEORGE WITHER

The poems of G. Wither are distinguished by a hearty homeliness of manner, and a plain moral speaking. He seems to have passed his life in one continued act of an innocent self-pleasing. That which he calls his _Motto_ is a continued self-eulogy of two thousand lines, yet we read it to the end without any feeling of distaste, almost without a consciousness that we have been listening all the while to a man praising himself. There are none of the cold particles in it, the hardness and self-ends, which render vanity and egotism hateful. He seems to be praising another person, under the mask of self: or rather, we feel that it was indifferent to him where he found the virtue which he celebrates; whether another's bosom or his own were its chosen receptacle. His poems are full, and this in particular is one downright confession, of a generous self-seeking. But by self he sometimes means a great deal,--his friends, his principles, his country, the human race.

Whoever expects to find in the satirical pieces of this writer any of those peculiarities which pleased him in the satires of Dryden or Pope, will be grievously disappointed. Here are no high-finished characters, no nice traits of individual nature, few or no personalities. The game run down is coarse general vice, or folly as it appears in classes. A liar, a drunkard, a coxcomb, is _stript and whipt;_ no Shaftesbury, no Villiers, or Wharton, is curiously anatomized, and read upon. But to a well-natured mind there is a charm of moral sensibility running through them, which amply compensates the want of those luxuries. Wither seems everywhere bursting with a love of goodness, and a hatred of all low and base actions. At this day it is hard to discover what parts of the poem here particularly alluded to, _Abuses Stript and Whipt_, could have occasioned the imprisonment of the author. Was Vice in High Places more suspicious than now? had she more power; or more leisure to listen after ill reports? That a man should be convicted of a libel when he named no names but Hate, and Envy, and Lust, and Avarice, is like one of the indictments in the Pilgrim's Progress, where Faithful is arraigned for having "railed on our noble Prince Beelzebub, and spoken contemptibly of his honorable friends, the Lord Old Man, the Lord Carnal Delight, and the Lord Luxurious." What unlucky jealousy could have tempted the great men of those days to appropriate such innocent abstractions to themselves?

Wither seems to have contemplated to a degree of idolatry his own possible virtue. He is forever anticipating persecution and martyrdom; fingering, as it were, the flames, to try how he can bear them. Perhaps his premature defiance sometimes made him obnoxious to censures which he would otherwise have slipped by.

The homely versification of these Satires is not likely to attract in the present day. It is certainly not such as we should expect from a poet "soaring in the high region of his fancies, with his garland and his singing robes about him;"[1] nor is it such as he has shown in his _Philarete_, and in some parts of his _Shepherds Hunting_. He seems to have adopted this dress with voluntary humility, as fittest for a moral teacher, as our divines choose sober gray or black; but in their humility consists their sweetness. The deepest tone of moral feeling in them (though all throughout is weighty, earnest, and passionate) is in those pathetic injunctions against shedding of blood in quarrels, in the chapter entitled _Revenge_. The story of his own forbearance, which follows, is highly interesting. While the Christian sings his own victory over Anger, the Man of Courage cannot help peeping out to let you know, that it was some higher principle than _fear_ which counselled this forbearance.

[Footnote 1: Milton.]

Whether encaged, or roaming at liberty, Wither never seems to have abated a jot of that free spirit which sets its mark upon his writings, as much as a predominant feature of independence impresses every page of our late glorious Burns; but the elder poet wraps his proof-armor closer about him, the other wears his too much outwards; he is thinking too much of annoying the foe to be quite easy within; the spiritual defences of Wither are a perpetual source of inward sunshine, the magnanimity of the modern is not without its alloy of soreness, and a sense of injustice, which seems perpetually to gall and irritate. Wither was better skilled in the "sweet uses of adversity;" he knew how to extract the "precious jewel" from the head of the "toad," without drawing any of the "ugly venom" along with it. The prison-notes of Wither are finer than the wood-notes of most of his poetical brethren. The description in the Fourth Eclogue of his _Shepherds Hunting_ (which was composed during his imprisonment in the Marshalsea) of the power of the Muse to extract pleasure from common objects, has been oftener quoted, and is more known, than any part of his writings. Indeed, the whole Eclogue is in a strain so much above not only what himself, but almost what any other poet has written, that he himself could not help noticing it; he remarks that his spirits had been raised higher than they were wont, "through the love of poesy." The praises of Poetry have been often sung in ancient and in modern times; strange powers have been ascribed to it of influence over animate and inanimate auditors; its force over fascinated crowds has been acknowledged; but, before Wither, no one ever celebrated its power _at home_, the wealth and the strength which this divine gift confers upon its possessor. Fame, and that too after death, was all which hitherto the poets had promised themselves from their art. It seems to have been left to Wither to discover that poetry was a present possession, as well as a rich reversion, and that the Muse had promise of both lives,--of this, and of that which was to come.

The _Mistress of Philarete_ is in substance a panegyric protracted through several thousand lines in the mouth of a single speaker, but diversified, so as to produce an almost dramatic effect, by the artful introduction of some ladies, who are rather auditors than interlocutors in the scene; and of a boy, whose singing furnishes pretence for an occasional change of metre: though the seven-syllable line, in which the main part of it is written, is that in which Wither has shown himself so great a master, that I do not know that I am always thankful to him for the exchange.

Wither has chosen to bestow upon the lady whom he commends the name of Arete, or Virtue; and, assuming to himself the character of Philarete, or Lover of Virtue, there is a sort of propriety in that heaped measure of perfections which he attributes to this partly real, partly allegorical personage. Drayton before him had shadowed his mistress under the name of Idea, or Perfect Pattern, and some of the old Italian love-strains are couched in such religious terms as to make it doubtful whether it be a mistress, or Divine Grace, which the poet is addressing.

In this poem (full of beauties) there are two passages of preeminent merit. The first is where the lover, after a flight of rapturous commendation, expresses his wonder why all men that are about his mistress, even to her very servants, do not view her with the same eyes that he does.

"Sometime I do admire
All men burn not with desire:
Nay, I muse her servants are not
Pleading love; but 0! they dare not.
And I therefore wonder, why
They do not grow sick and die.
Sure they would do so, but that,
By the ordinance of fate,
There is some concealed thing,
So each gazer limiting,
He can see no more of merit,
Than beseems his worth and spirit.
For in her a grace there shines,
That o'er-daring thoughts confines,
Making worthless men despair
To be loved of one so fair.
Yea, the destinies agree,
Some _good judgments_ blind should be,
And not gain the power of knowing
Those rare beauties in her growing.
Reason doth as much imply:
For, if every judging eye,
Which beholdeth her, should there
Find what excellences are,
All, o'ercome by those perfections,
Would be captive to affections.
So, in happiness unblest,
She for lovers should not rest."

The other is, where he has been comparing her beauties to gold, and stars, and the most excellent things in nature; and, fearing to be accused of hyperbole, the common charge against poets, vindicates himself by boldly taking upon him, that these comparisons are no hyperboles; but that the best things in nature do, in a lover's eye, fall short of those excellences which he adores in her.

"What pearls, what rubies can
Seem so lovely fair to man,
As her lips whom he doth love,
When in sweet discourse they move,
Or her lovelier teeth, the while
She doth bless him with a smile?
Stars indeed fair creatures be;
Yet amongst us where is he
Joys not more the whilst he lies
Sunning in his mistress' eyes,
Than in all the glimmering light
Of a starry winter's night?
Note the beauty of an eye--
And if aught you praise it by
Leave such passion in your mind,
Let my reason's eye be blind.
Mark if ever red or white
Any where gave such delight,
As when they have taken place
In a worthy woman's face.

* * * * *

"I must praise her as I may,
Which I do mine own rude way,
Sometimes setting forth her glories
By unheard of allegories "--&c.

To the measure in which these lines are written the wits of Queen Anne's days contemptuously gave the name of Namby-Pamby, in ridicule of Ambrose Philips, who has used it in some instances, as in the lines on Cuzzoni, to my feeling at least, very deliciously; but Wither, whose darling measure it seems to have been, may show, that in skilful hands it is capable of expressing the subtilest movements of passion. So true it is, which Drayton seems to have felt, that it is the poet who modifies the metre, not the metre the poet; in his own words, that

"It's possible to climb;
To kindle, or to stake;
Altho' in Skelton's rhime."[1]

[Footnote 1: A long line is a line we are long repeating. In the _Shepherds Hunting_ take the following--

"If thy verse doth bravely tower,
_As she makes wing, she gets power;_
Yet the higher she doth soar,
She's affronted still the more,
'Till she to the high'st hath past,
Then she rests with fame at last."

What longer measure can go beyond the majesty of this! what Alexandrine is half so long in pronouncing or expresses _labor slowly but strongly surmounting difficulty_ with the life with which it is done in the second of these lines? or what metre could go beyond these from _Philarete_--

"Her true beauty leaves behind
Apprehensions in my mind
Of more sweetness, than all art
Or inventions can impart.
_Thoughts too deep to be expressed,
And too strong to be suppressed._"]

LETTERS,

UNDER ASSUMED SIGNATURES, PUBLISHED IN "THE REFLECTOR."

* * * * *

THE LONDONER.

* * * * *

TO THE EDITOR OF "THE REFLECTOR."

Mr. Reflector,--I was born under the shadow of St. Dunstan's steeple, just where the conflux of the eastern and western inhabitants of this twofold city meet and justle in friendly opposition at Temple-bar. The same day which gave me to the world, saw London happy in the celebration of her great annual feast. This I cannot help looking upon as a lively omen of the future great good-will which I was destined to bear toward the city, resembling in kind that solicitude which every Chief Magistrate is supposed to feel for whatever concerns her interests and well-being. Indeed I consider myself in some sort a speculative Lord Mayor of London: for though circumstances unhappily preclude me from the hope of ever arriving at the dignity of a gold chain and Spital Sermon, yet thus much will I say of myself in truth, that Whittington with his cat (just emblem of vigilance and a furred gown) never went beyond me in affection which I bear to the citizens.

I was born, as you have heard, in a crowd. This has begot in me an entire affection for that way of life, amounting to an almost insurmountable aversion from solitude and rural scenes. This aversion was never interrupted or suspended, except for a few years in the younger part of my life, during a period in which I had set my affections upon a charming young woman. Every man, while the passion is upon him, is for a time at least addicted to groves and meadows and purling streams. During this short period of my existence, I contracted just familiarity enough with rural objects to understand tolerably well ever after the _poets_, when they declaim in such passionate terms in favor of a country-life.

For my own part, now the fit is past, I have no hesitation in declaring, that a mob of happy faces crowding up at the pit-door of Drury Lane Theatre, just at the hour of six, gives me ten thousand sincerer pleasures, than I could ever receive from all the flocks of silly sheep that ever whitened the plains of Arcadia or Epsom Downs.

This passion for crowds is nowhere feasted so full as in London. The man must have a rare _recipe_ for melancholy who can be dull in Fleet Street. I am naturally inclined to hypochondria, but in London it vanishes, like all other ills. Often, when I have felt a weariness or distaste at home, have I rushed out into her crowded Strand, and fed my humor, till tears have wetted my cheek for unutterable sympathies with the multitudinous moving picture, which she never fails to present at all hours, like the scenes of a shifting pantomime.

The very deformities of London, which give distaste to others, from habit do not displease me. The endless succession of shops where _Fancy miscalled Folly_ is supplied with perpetual gauds and toys, excite in me no puritanical aversion. I gladly behold every appetite supplied with its proper food. The obliging customer, and the obliged tradesman--things which live by bowing, and things which exist but for homage--do not affect me with disgust; from habit I perceive nothing but urbanity, where other men, more refined, discover meanness: I love the very smoke of London, because it has been the medium most familiar to my vision. I see grand principles of honor at work in the dirty ring which encompasses two combatants with fists, and principles of no less eternal justice in the detection of a pickpocket. The salutary astonishment with which an execution is surveyed, convinces me more forcibly than a hundred volumes of abstract polity, that the universal instinct of man in all ages has leaned to order and good government.

Thus an art of extracting morality from the commonest incidents of a town life is attained by the same well-natured alchemy with which the Foresters of Arden, in a beautiful country,

"Found tongues in trees, books in the running brooks,
Sermons in stones, and good in everything."

Where has spleen her food but in London! Humor, Interest, Curiosity, suck at her measureless breasts without a possibility of being satiated. Nursed amid her noise, her crowds, her beloved smoke, what have I been doing all my life, if I have not lent out my heart with usury to such scenes!

I am, Sir, your faithful servant,

A LONDONER.

ON BURIAL SOCIETIES;

AND

THE CHARACTER OF AN UNDERTAKER.

* * * * *

TO THE EDITOR OF "THE REFLECTOR."

Mr. Reflector,--I was amused the other day with having the following notice thrust into my hand by a man who gives out bills at the corner of Fleet Market. Whether he saw any prognostics about me, that made him judge such notice seasonable, I cannot say; I might perhaps carry in a countenance (naturally not very florid) traces of a fever which had not long left me. Those fellows have a good instinctive way of guessing at the sort of people that are likeliest to pay attention to their papers.

"BURIAL SOCIETY.

"A favorable opportunity now offers to any person, of either sex, who would wish to be buried in a genteel manner, by paying one shilling entrance, and twopence per week for the benefit of the stock. Members to be free in six months. The money to be paid at Mr. Middleton's, at the sign of the _First_ and the _Last_, Stonecutter's Street, Fleet Market. The deceased to be furnished as follows:--A strong elm coffin, covered with superfine black, and furnished with two rows, all round, close drove, best japanned nails, and adorned with ornamental drops, a handsome plate of inscription, Angel above, and Flower beneath, and four pair of handsome handles, with wrought gripes; the coffin to be well pitched, lined, and ruffled with fine crape; a handsome crape shroud, cap, and pillow. For use, a handsome velvet pall, three gentlemen's cloaks, three crape hat-bands, three hoods and scarfs, and six pair of gloves; two porters equipped to attend the funeral, a man to attend the same with band and gloves; also, the burial-fees paid, if not exceeding one guinea."

"Man," says Sir Thomas Browne, "is a noble animal, splendid in ashes, and pompous in the grave." Whoever drew up this little advertisement certainly understood this appetite in the species, and has made abundant provision for it. It really almost induces a _tædium vitæ_ upon one to read it. Methinks I could be willing to die, in death to be so attended. The two rows all round close-drove best black japanned nails,--how feelingly do they invite, and almost irresistibly persuade us to come and be fastened down! what aching head can resist the temptation to repose, which the crape shroud, the cap, and the pillow present; what sting is there in death, which the handles with wrought gripes are not calculated to pluck away? what victory in the grave which the drops and the velvet pall do not render at least extremely disputable? but, above all, the pretty emblematic plate, with the Angel above and the Flower beneath, takes me mightily.

The notice goes on to inform us, that though the society has been established but a very few years, upwards of eleven hundred persons have put down their names. It is really an affecting consideration to think of so many poor people, of the industrious and hard-working class (for none but such would be possessed of such a generous forethought) clubbing their two-pences to save the reproach of a parish funeral. Many a poor fellow, I dare swear, has that Angel and Flower kept from the _Angel_ and _Punchbowl_, while, to provide himself a bier, he has curtailed himself of _beer_. Many a savory morsel has the living body been deprived of, that the lifeless one might be served up in a richer state to the worms. And sure, if the body could understand the actions of the soul, and entertain generous notions of things, it would thank its provident partner, that she had been more solicitous to defend it from dishonors at its dissolution, than careful to pamper it with good things in the time of its union. If Cæsar were chiefly anxious at his death how he might die most decently, every Burial Society may be considered as a club of Cæsars.

Nothing tends to keep up, in the imaginations of the poorer sort of people, a generous horror of the work-house more than the manner in which pauper funerals are conducted in this metropolis. The coffin nothing but a few naked planks coarsely put together,--the want of a pall (that decent and well-imagined veil, which, hiding the coffin that hides the body, keeps that which would shock us at two removes from us), the colored coats of the men that are hired, at cheap rates, to carry the body,--altogether give the notion of the deceased having been some person of an ill life and conversation, some one who may not claim the entire rites of Christian burial,--one by whom some parts of the sacred ceremony would be desecrated if they should be bestowed upon him. I meet these meagre processions sometimes in the street. They are sure to make me out of humor and melancholy all the day after. They have a harsh and ominous aspect.

If there is anything in the prospectus issued from Mr. Middleton's, Stonecutter's Street, which pleases me less than the rest, it is to find that the six pair of gloves are to be returned, that they are only lent, or, as the bill expresses it, for use on the occasion. The hood, scarfs, and hat-bands, may properly enough be given up after the solemnity; the cloaks no gentlemen would think of keeping; but a pair of gloves, once fitted on, ought not in courtesy to be redemanded. The wearer should certainly have the fee-simple of them. The cost would be but trifling, and they would be a proper memorial of the day. This part of the Proposal wants reconsidering. It is not conceived in the same liberal way of thinking as the rest. I am also a little doubtful whether the limit, within which the burial-fee is made payable, should not be extended to thirty shillings.

Some provision too ought undoubtedly to be made in favor of those well-intentioned persons and well-wishers to the fund, who, having all along paid their subscriptions regularly, are so unfortunate as to die before the six months, which would entitle them to their freedom, are quite completed. One can hardly imagine a more distressing case than that of a poor fellow lingering on in a consumption till the period of his freedom is almost in sight, and then finding himself going with a velocity which makes it doubtful whether he shall be entitled to his funeral honors: his quota to which he nevertheless squeezes out, to the diminution of the comforts which sickness demands. I think, in such cases, some of the contribution money ought to revert. With some such modifications, which might easily be introduced, I see nothing in these Proposals of Mr. Middleton which is not strictly fair and genteel; and heartily recommend them to all persons of moderate incomes, in either sex, who are willing that this perishable part of them should quit the scene of its mortal activities with as handsome circumstances as possible.

Before I quit the subject, I must guard my readers against a scandal, which they may be apt to take at the place whence these Proposals purport to be issued. From the sign of the _First_ and the _Last_, they may conclude that Mr. Middleton is some publican, who, in assembling a club of this description at his house, may have a sinister end of his own, altogether foreign to the solemn purpose for which the club is pretended to be instituted. I must set them right by informing them that the issuer of these Proposals is no publican, though he hangs out a sign, but an honest superintendent of funerals, who, by the device of a Cradle and a Coffin, connecting both ends of human existence together, has most ingeniously contrived to insinuate, that the framers of these _first_ and _last_ receptacles of mankind divide this our life betwixt them, and that all that passes from the midwife to the undertaker may, in strict propriety, _go for nothing_: an awful and instructive lesson to human vanity.

Looking over some papers lately that fell into my hands by chance, and appear to have been written about the beginning of the last century, I stumbled, among the rest, upon the following short Essay, which the writer calls, "_The Character of an Undertaker_." It is written with some stiffness and peculiarities of style, but some parts of it, I think, not unaptly characterize the profession to which Mr. Middleton has the honor to belong. The writer doubtless had in his mind the entertaining character of _Sable_, in Steele's excellent comedy of _The Funeral_.

CHARACTER OF AN UNDERTAKER.

"He is master of the ceremonies at burials and mourning assemblies, grand marshal at funeral processions, the only true yeoman of the body, over which he exercises a dictatorial authority from the moment that the breath has taken leave to that of its final commitment to the earth. His ministry begins where the physician's, the lawyer's, and the divine's end. Or if some part of the functions of the latter run parallel with his, it is only _in ordine ad spiritualia_. His temporalities remain unquestioned. He is arbitrator of all questions of honor which may concern the defunct; and upon slight inspection will pronounce how long he may remain in this upper world with credit to himself, and when it will be prudent for his reputation that he should retire. His determination in these points is peremptory and without appeal. Yet, with a modesty peculiar to his profession, he meddles not out of his own sphere. With the good or bad actions of the deceased in his lifetime he has nothing to do. He leaves the friends of the dead man to form their own conjectures as to the place to which the departed spirit is gone. His care is only about the exuviæ. He concerns not himself even about the body, as it is a structure of parts internal, and a wonderful microcosm. He leaves such curious speculations to the anatomy professor. Or, if anything, he is averse to such wanton inquiries, as delighting rather that the parts which he has care of should be returned to their kindred dust in as handsome and unmutilated condition as possible; that the grave should have its full and unimpaired tribute,--a complete and just carcass. Nor is he only careful to provide for the body's entireness, but for its accommodation and ornament. He orders the fashion of its clothes, and designs the symmetry of its dwelling. Its vanity has an innocent survival in him. He is bedmaker to the dead. The pillows which he lays never rumple. The day of interment is the theatre in which he displays the mysteries of his art. It is hard to describe what he is, or rather to tell what he is not, on that day: for, being neither kinsman, servant, nor friend, he is all in turns; a transcendant, running through all those relations. His office is to supply the place of self-agency in the family, who are presumed incapable of it through grief. He is eyes, and ears, and hands, to the whole household. A draught of wine cannot go round to the mourners, but he must minister it. A chair may hardly be restored to its place by a less solemn hand than his. He takes upon himself all functions, and is a sort of ephemeral major-domo! He distributes his attentions among the company assembled according to the degree of affliction, which he calculates from the degree of kin to the deceased; and marshals them accordingly in the procession. He himself is of a sad and tristful countenance; yet such as (if well examined) is not without some show of patience and resignation at bottom; prefiguring, as it were, to the friends of the deceased, what their grief shall be when the hand of Time shall have softened and taken down the bitterness of their first anguish; so handsomely can he fore-shape and anticipate the work of Time. Lastly, with his wand, as with another divining rod, he calculates the depth of earth at which the bones of the dead man may rest, which he ordinarily contrives may be at such a distance from the surface of this earth, as may frustrate the profane attempts of such as would violate his repose, yet sufficiently on this side the centre to give his friends hopes of an easy and practicable resurrection. And here we leave him, casting in dust to dust, which is the last friendly office that he _undertakes_ to do."

Begging your pardon for detaining you so long among "graves, and worms, and epitaphs," I am, Sir,

Your humble servant,

MORITURUS.

* * * * *

ON THE DANGER OF CONFOUNDING MORAL WITH PERSONAL DEFORMITY.

WITH A HINT TO THOSE WHO HAVE THE FRAMING OF ADVERTISEMENTS FOR APPREHENDING OFFENDERS.

* * * * *

TO THE EDITOR OF "THE REFLECTOR."