Chapter XV: Part 15

Regret is indeed useful and virtuous, and not only allowable but necessary, when it tends to the amendment of life, or to admonition of errour which we may be again in danger of committing. But a very small part of the moments spent in meditation on the past, produce any reasonable caution or salutary sorrow. Most of the mortifications that we have suffered, arose from the concurrence of local and temporary circumstances, which can never meet again; and most of our disappointments have succeeded those expectations, which life allows not to be formed a second time.

It would add much to human happiness, if an art could be taught of forgetting all of which the remembrance is at once useless and afflictive; if that pain which never can end in pleasure could be driven totally away, that the mind might perform its functions without incumbrance, and the past might no longer encroach upon the present.

Little can be done well to which the whole mind is not applied; the business of every day calls for the day to which it is assigned; and he will have no leisure to regret yesterday's vexations who resolves not to have a new subject of regret to-morrow.

But to forget or to remember at pleasure, are equally beyond the power of man. Yet as memory may be assisted by method, and the decays of knowledge repaired by stated times of recollection, so the power of forgetting is capable of improvement. Reason will, by a resolute contest, prevail over imagination, and the power may be obtained of transferring the attention as judgment shall direct.

The incursions of troublesome thoughts are often violent and importunate; and it is not easy to a mind accustomed to their inroads to expel them immediately by putting better images into motion; but this enemy of quiet is above all others weakened by every defeat; the reflection which has been once overpowered and ejected, seldom returns with any formidable vehemence.

Employment is the great instrument of intellectual dominion. The mind cannot retire from its enemy into total vacancy, or turn aside from one object but by passing to another. The gloomy and the resentful are always found among those who have nothing to do, or who do nothing. We must be busy about good or evil, and he to whom the present offers nothing will often be looking backward on the past.

No. 73. SATURDAY, SEPTEMBER 8, 1759.

That every man would be rich if a wish could obtain riches, is a position which I believe few will contest, at least in a nation like ours, in which commerce has kindled an universal emulation of wealth, and in which money receives all the honours which are the proper right of knowledge and of virtue.

Yet, though we are all labouring for gold as for the chief good, and, by the natural effort of unwearied diligence, have found many expeditious methods of obtaining it, we have not been able to improve the art of using it, or to make it produce more happiness than it afforded in former times, when every declaimer expatiated on its mischiefs, and every philosopher taught his followers to despise it.

Many of the dangers imputed of old to exorbitant wealth, are now at an end. The rich are neither waylaid by robbers, nor watched by informers; there is nothing to be dreaded from proscriptions, or seizures. The necessity of concealing treasure has long ceased; no man now needs counterfeit mediocrity, and condemn his plate and jewels to caverns and darkness, or feast his mind with the consciousness of clouded splendour, of finery which is useless till it is shown, and which he dares not show.

In our time, the poor are strongly tempted to assume the appearance of wealth, but the wealthy very rarely desire to be thought poor; for we are all at full liberty to display riches by every mode of ostentation. We fill our houses with useless ornaments, only to show that we can buy them; we cover our coaches with gold, and employ artists in the discovery of new fashions of expense; and yet it cannot be found that riches produce happiness.

Of riches, as of every thing else, the hope is more than the enjoyment: while we consider them as the means to be used, at some future time, for the attainment of felicity, we press on our pursuit ardently and vigorously, and that ardour secures us from weariness of ourselves; but no sooner do we sit down to enjoy our acquisitions, than we find them insufficient to fill up the vacuities of life.

One cause which is not always observed of the insufficiency of riches is, that they very seldom make their owner rich. To be rich, is to have more than is desired, and more than is wanted, to have something which may be spent without reluctance, and scattered without care, with which the sudden demands of desire may be gratified, the casual freaks of fancy indulged, or the unexpected opportunities of benevolence improved.

Avarice is always poor, but poor by her own fault. There is another poverty to which the rich are exposed with less guilt by the officiousness of others. Every man, eminent for exuberance of fortune, is surrounded from morning to evening, and from evening to midnight, by flatterers, whose art of adulation consists in exciting artificial wants, and in forming new schemes of profusion.

Tom Tranquil, when he came to age, found himself in possession of a fortune, of which the twentieth part might perhaps have made him rich. His temper is easy, and his affections soft; he receives every man with kindness, and hears him with credulity. His friends took care to settle him by giving him a wife, whom, having no particular inclination, he rather accepted than chose, because he was told that she was proper for him.

He was now to live with dignity proportionate to his fortune. What his fortune requires or admits Tom does not know, for he has little skill in computation, and none of his friends think it their interest to improve it. If he was suffered to live by his own choice, he would leave every thing as he finds it, and pass through the world distinguished only by inoffensive gentleness. But the ministers of luxury have marked him out as one at whose expense they may exercise their arts. A companion, who had just learned the names of the Italian masters, runs from sale to sale, and buys pictures, for which Mr. Tranquil pays, without inquiring where they shall be hung. Another fills his garden with statues, which Tranquil wishes away, but dares not remove. One of his friends is learning architecture by building him a house, which he passed by, and inquired to whom it belonged; another has been for three years digging canals and raising mounts, cutting trees down in one place, and planting them in another, on which Tranquil looks with a serene indifference, without asking what will be the cost. Another projector tells him that a waterwork, like that of Versailles, will complete the beauties of his seat, and lays his draughts before him: Tranquil turns his eyes upon them, and the artist begins his explanations; Tranquil raises no objections, but orders him to begin the work, that he may escape from talk which he does not understand.

Thus a thousand hands are busy at his expense, without adding to his pleasures. He pays and receives visits, and has loitered in publick or in solitude, talking in summer of the town, and in winter of the country, without knowing that his fortune is impaired, till his steward told him this morning, that he could pay the workmen no longer but by mortgaging a manor.

No. 74. SATURDAY, SEPTEMBER 15, 1759.

In the mythological pedigree of learning, memory is made the mother of the muses, by which the masters of ancient wisdom, perhaps, meant to show the necessity of storing the mind copiously with true notions, before the imagination should be suffered to form fictions or collect embellishments; for the works of an ignorant poet can afford nothing higher than pleasing sound, and fiction is of no other use than to display the treasures of memory.

The necessity of memory to the acquisition of knowledge is inevitably felt and universally allowed, so that scarcely any other of the mental faculties are commonly considered as necessary to a student: he that admires the proficiency of another, always attributes it to the happiness of his memory; and he that laments his own defects, concludes with a wish that his memory was better.

It is evident, that when the power of retention is weak, all the attempts at eminence of knowledge must be vain; and as few are willing to be doomed to perpetual ignorance, I may, perhaps, afford consolation to some that have fallen too easily into despondence, by observing that such weakness is, in my opinion, very rare, and that few have reason to complain of nature as unkindly sparing of the gifts of memory.

In the common business of life, we find the memory of one like that of another, and honestly impute omissions not to involuntary forgetfulness, but culpable inattention; but in literary inquiries, failure is imputed rather to want of memory than of diligence.

We consider ourselves as defective in memory, either because we remember less than we desire, or less than we suppose others to remember.

Memory is like all other human powers, with which no man can be satisfied who measures them by what he can conceive, or by what he can desire. He whose mind is most capacious, finds it much too narrow for his wishes; he that remembers most, remembers little compared with what he forgets. He, therefore, that, after the perusal of a book, finds few ideas remaining in his mind, is not to consider the disappointment as peculiar to himself, or to resign all hopes of improvement, because he does not retain what even the author has, perhaps, forgotten.

He who compares his memory with that of others, is often too hasty to lament the inequality. Nature has sometimes, indeed, afforded examples of enormous, wonderful and gigantick memory. Scaliger reports of himself, that, in his youth, he could repeat above a hundred verses, having once read them; and Barthicus declares, that he wrote his comment upon Claudian without consulting the text. But not to have such degrees of memory is no more to be lamented, than not to have the strength of Hercules, or the swiftness of Achilles. He that, in the distribution of good, has an equal share with common men, may justly be contented. Where there is no striking disparity, it is difficult to know of two which remembers most, and still more difficult to discover which reads with greater attention, which has renewed the first impression by more frequent repetitions, or by what accidental combination of ideas either mind might have united any particular narrative or argument to its former stock.

But memory, however impartially distributed, so often deceives our trust, that almost every man attempts, by some artifice or other, to secure its fidelity.

It is the practice of many readers to note, in the margin of their books, the most important passages, the strongest arguments, or the brightest sentiments. Thus they load their minds with superfluous attention, repress the vehemence of curiosity by useless deliberation, and by frequent interruption break the current of narration or the chain of reason, and at last close the volume, and forget the passages and marks together.

Others I have found unalterably persuaded, that nothing is certainly remembered but what is transcribed; and they have, therefore, passed weeks and months in transferring large quotations to a commonplace-book. Yet, why any part of a book, which can be consulted at pleasure, should be copied, I was never able to discover. The hand has no closer correspondence with the memory than the eye. The act of writing itself distracts the thoughts, and what is read twice is commonly better remembered than what is transcribed. This method, therefore, consumes time without assisting memory.

The true art of memory is the art of attention. No man will read with much advantage, who is not able, at pleasure, to evacuate his mind, or who brings not to his author an intellect defecated and pure, neither turbid with care, nor agitated by pleasure. If the repositories of thought are already full, what can they receive? If the mind is employed on the past or future, the book will be held before the eyes in vain. What is read with delight is commonly retained, because pleasure always secures attention; but the books which are consulted by occasional necessity, and perused with impatience, seldom leave any traces on the mind.

No. 75. SATURDAY, SEPTEMBER 22, 1759.

In the time when Bassora was considered as the school of Asia, and flourished by the reputation of its professors and the confluence of its students, among the pupils that listened round the chair of Albumazar was Gelaleddin, a native of Tauris, in Persia, a young man amiable in his manners and beautiful in his form, of boundless curiosity, incessant diligence, and irresistible genius, of quick apprehension and tenacious memory, accurate without narrowness, and eager for novelty without inconstancy.

No sooner did Gelaleddin appear at Bassora, than his virtues and abilities raised him to distinction. He passed from class to class rather admired than envied by those whom the rapidity of his progress left behind; he was consulted by his fellow-students as an oraculous guide, and admitted as a competent auditor to the conferences of the sages.

After a few years, having passed through all the exercises of probation, Gelaleddin was invited to a professor's seat, and entreated to increase the splendour of Bassora. Gelaleddin affected to deliberate on the proposal, with which, before he considered it, he resolved to comply; and next morning retired to a garden planted for the recreation of the students, and, entering a solitary walk, began to meditate upon his future life.

"If I am thus eminent," said he, "in the regions of literature, I shall be yet more conspicuous in any other place; if I should now devote myself to study and retirement, I must pass my life in silence, unacquainted with the delights of wealth, the influence of power, the pomp of greatness, and the charms of elegance, with all that man envies and desires, with all that keeps the world in motion, by the hope of gaining or the fear of losing it. I will, therefore, depart to Tauris, where the Persian monarch resides in all the splendour of absolute dominion: my reputation will fly before me, my arrival will be congratulated by my kinsmen and my friends; I shall see the eyes of those who predict my greatness sparkling with exultation, and the faces of those that once despised me clouded with envy, or counterfeiting kindness by artificial smiles. I will show my wisdom by my discourse, and my moderation by my silence; I will instruct the modest with easy gentleness, and repress the ostentatious by seasonable superciliousness. My apartments will be crowded by the inquisitive and the vain, by those that honour and those that rival me; my name will soon reach the court; I shall stand before the throne of the emperour: the judges of the law will confess my wisdom, and the nobles will contend to heap gifts upon me. If I shall find that my merit, like that of others, excites malignity, or feel myself tottering on the seat of elevation, I may at last retire to academical obscurity, and become, in my lowest state, a professor of Bassora."

Having thus settled his determination, he declared to his friends his design of visiting Tauris, and saw with more pleasure than he ventured to express, the regret with which he was dismissed. He could not bear to delay the honours to which he was destined, and, therefore, hastened away, and in a short time entered the capital of Persia. He was immediately immersed in the crowd, and passed unobserved to his father's house. He entered, and was received, though not unkindly, yet without any excess of fondness or exclamations of rapture. His father had, in his absence, suffered many losses, and Gelaleddin was considered as an additional burden to a falling family.

When he recovered from his surprise, he began to display his acquisitions, and practised all the arts of narration and disquisition: but the poor have no leisure to be pleased with eloquence; they heard his arguments without reflection, and his pleasantries without a smile. He then applied himself singly to his brothers and sisters, but found them all chained down by invariable attention to their own fortunes, and insensible of any other excellence than that which could bring some remedy for indigence.

It was now known in the neighbourhood that Gelaleddin was returned, and he sat for some days in expectation that the learned would visit him for consultation, or the great for entertainment. But who will be pleased or instructed in the mansions of poverty? He then frequented places of publick resort, and endeavoured to attract notice by the copiousness of his talk. The sprightly were silenced, and went away to censure, in some other place, his arrogance and his pedantry; and the dull listened quietly for a while, and then wondered why any man should take pains to obtain so much knowledge which would never do him good.

He next solicited the visiers for employment, not doubting but his service would be eagerly accepted. He was told by one that there was no vacancy in his office; by another, that his merit was above any patronage but that of the emperour; by a third, that he would not forget him; and by the chief visier, that he did not think literature of any great use in publick business. He was sometimes admitted to their tables, where he exerted his wit and diffused his knowledge; but he observed, that where, by endeavour or accident, he had remarkably excelled, he was seldom invited a second time.

He now returned to Bassora, wearied and disgusted, but confident of resuming his former rank, and revelling again in satiety of praise. But he who had been neglected at Tauris, was not much regarded at Bassora; he was considered as a fugitive, who returned only because he could live in no other place; his companions found that they had formerly overrated his abilities, and he lived long without notice or esteem.

No. 76. SATURDAY, SEPTEMBER 29, 1759.

TO THE IDLER,

Sir,

I was much pleased with your ridicule of those shallow criticks, whose judgment, though often right as far as it goes, yet reaches only to inferior beauties, and who, unable to comprehend the whole, judge only by parts, and from thence determine the merit of extensive works. But there is another kind of critick still worse, who judges by narrow rules, and those too often false, and which, though they should be true, and founded on nature, will lead him but a very little way toward the just estimation of the sublime beauties in works of genius; for whatever part of an art can be executed or criticised by rules, that part is no longer the work of genius, which implies excellence out of the reach of rules. For my own part, I profess myself an Idler, and love to give my judgment, such as it is, from my immediate perceptions, without much fatigue of thinking; and I am of opinion that, if a man has not those perceptions right, it will be vain for him to endeavour to supply their place by rules, which may enable him to talk more learnedly, but not to distinguish more acutely. Another reason which has lessened my affection for the study of criticism is, that criticks, so far as I have observed, debar themselves from receiving any pleasure from the polite arts, at the same time, that they profess to love and admire them: for these rules, being always uppermost, give them such a propensity to criticise, that, instead of giving up the reins of their imagination into their author's hands, their frigid minds are employed in examining whether the performance be according to the rules of art.

To those who are resolved to be criticks in spite of nature, and, at the same time, have no great disposition to much reading and study, I would recommend to them to assume the character of connoisseur, which may be purchased at a much cheaper rate than that of a critick in poetry. The remembrance of a few names of painters, with their general characters, with a few rules of the academy, which they may pick up among the painters, will go a great way towards making a very notable connoisseur.

With a gentleman of this cast, I visited last week the Cartoons at Hampton-court; he was just returned from Italy, a connoisseur of course, and of course his mouth full of nothing but the grace of Raffaelle, the purity of Domenichino, the learning of Poussin, the air of Guido, the greatness of taste of the Carraccis, and the sublimity and grand contorno of Michael Angelo; with all the rest of the cant of criticism, which he emitted with that volubility which generally those orators have who annex no ideas to their words.

As we were passing through the rooms, in our way to the gallery, I made him observe a whole length of Charles the First by Vandyke, as a perfect representation of the character as well as the figure of the man. He agreed it was very fine, but it wanted spirit and contrast, and had not the flowing line, without which a figure could not possibly be graceful. When we entered the gallery, I thought I could perceive him recollecting his rules by which he was to criticise Raffaelle. I shall pass over his observation of the boats being too little, and other criticisms of that kind, till we arrive at St. Paul preaching.

"This," says he, "is esteemed the most excellent of all the cartoons; what nobleness, what dignity, there is in that figure of St. Paul! and yet what an addition to that nobleness could Raffaelle have given, had the art of contrast been known in his time! but, above all, the flowing line which constitutes grace and beauty! You would not have then seen an upright figure standing equally on both legs, and both hands stretched forward in the same direction, and his drapery, to all appearance, without the least art of disposition." The following picture is the Charge to Peter. "Here," says he, "are twelve upright figures; what a pity it is that Raffaelle was not acquainted with the pyramidal principle! He would then have contrived the figures in the middle to have been on higher ground, or the figures at the extremities stooping or lying, which would not only have formed the group into the shape of a pyramid, but likewise contrasted the standing figures. Indeed," added he, "I have often lamented that so great a genius as Raffaelle had not lived in this enlightened age, since the art has been reduced to principles, and had had his education in one of the modern academies; what glorious works might we have then expected from his divine pencil!"

I shall trouble you no longer with my friend's observations, which, I suppose, you are now able to continue by yourself. It is curious to observe, that, at the same time that great admiration is pretended for a name of fixed reputation, objections are raised against those very qualities by which that great name was acquired.

Those criticks are continually lamenting that Raffaelle had not the colouring and harmony of Rubens, or the light and shadow of Rembrant, without considering how much the gay harmony of the former, and affectation of the latter, would take from the dignity of Raffaelle; and yet Rubens had great harmony, and Rembrant understood light and shadow: but what may be an excellence in a lower class of painting, becomes a blemish in a higher; as the quick, sprightly turn, which is the life and beauty of epigrammatick compositions, would but ill suit with the majesty of heroick poetry.

To conclude; I would not be thought to infer, from any thing that has been said, that rules are absolutely unnecessary; but to censure scrupulosity, a servile attention to minute exactness, which is sometimes inconsistent with higher excellency, and is lost in the blaze of expanded genius.

I do not know whether you will think painting a general subject. By inserting this letter, perhaps, you will incur the censure a man would deserve, whose business being to entertain a whole room, should turn his back to the company, and talk to a particular person[1].

I am, Sir, &c.

[1] By Sir Joshua Reynolds.

No. 77. SATURDAY, OCTOBER 6, 1759.

Easy poetry is universally admired; but I know not whether any rule has yet been fixed, by which it may be decided when poetry can be properly called easy. Horace has told us, that it is such as "every reader hopes to equal, but after long labour finds unattainable." This is a very loose description, in which only the effect is noted; the qualities which produce this effect remain to be investigated.

Easy poetry is that in which natural thoughts are expressed without violence to the language. The discriminating character of ease consists principally in the diction; for all true poetry requires that the sentiments be natural. Language suffers violence by harsh or by daring figures, by transposition, by unusual acceptations of words, and by any licence, which would be avoided by a writer of prose. Where any artifice appears in the construction of the verse, that verse is no longer easy. Any epithet which can be ejected without diminution of the sense, any curious iteration of the same word, and all unusual, though not ungrammatical structure of speech, destroy the grace of easy poetry.

The first lines of Pope's Iliad afford examples of many licences which an easy writer must decline:

Achilles' _wrath_, to Greece the _direful spring_
Of woes unnumber'd, _heav'nly_ Goddess sing;
The wrath which _hurl'd_ to Pluto's _gloomy reign_
The souls of _mighty_ chiefs untimely slain.

In the first couplet the language is distorted by inversions, clogged with superfluities, and clouded by a harsh metaphor; and in the second there are two words used in an uncommon sense, and two epithets inserted only to lengthen the line; all these practices may in a long work easily be pardoned, but they always produce some degree of obscurity and ruggedness.

Easy poetry has been so long excluded by ambition of ornament, and luxuriance of imagery, that its nature seems now to be forgotten. Affectation, however opposite to ease, is sometimes mistaken for it; and those who aspire to gentle elegance, collect female phrases and fashionable barbarisms, and imagine that style to be easy which custom has made familiar. Such was the idea of the poet who wrote the following verses to a _countess cutting paper_:

Pallas grew _vap'rish once and odd_,
She would not _do the least right thing_
Either for Goddess or for God,
Nor work, nor play, nor paint, nor sing.

Jove frown'd, and "Use (he cried) those eyes
So skilful, and those hands so taper;
Do something exquisite and wise"--
She bow'd, obey'd him, and cut paper.

This vexing him who gave her birth,
Thought by all Heaven a _burning shame_,
_What does she next_, but bids on earth
Her Burlington do just the same?

Pallas, you give yourself _strange airs_;
But sure you'll find it hard to spoil
The sense and taste of one that bears
The name of Savile and of Boyle.

Alas! one bad example shown,
How quickly all the sex pursue!
See, madam! see the arts o'erthrown
Between John Overton and _you_.

It is the prerogative of easy poetry to be understood as long as the language lasts; but modes of speech, which owe their prevalence only to modish folly, or to the eminence of those that use them, die away with their inventors, and their meaning, in a few years, is no longer known.

Easy poetry is commonly sought in petty compositions upon minute subjects; but ease, though it excludes pomp, will admit greatness. Many lines in Cato's soliloquy are at once easy and sublime:

'Tis the Divinity that stirs within us;
'Tis Heaven itself that points out an hereafter,
And intimates eternity to man.
--If there's a Power above us,
And that there is all Nature cries aloud
Through all her works, he must delight in virtue,
And that which he delights in must be happy.

Nor is ease more contrary to wit than to sublimity; the celebrated stanza of Cowley, on a lady elaborately dressed, loses nothing of its freedom by the spirit of the sentiment:

Th' adorning thee with so much art
Is but a barb'rous skill;
'Tis like the pois'ning of a dart,
Too apt before to kill.

Cowley seems to have possessed the power of writing easily beyond any other of our poets; yet his pursuit of remote thought led him often into harshness of expression.

Waller often attempted, but seldom attained it; for he is too frequently driven into transpositions. The poets, from the time of Dryden, have gradually advanced in embellishment, and consequently departed from simplicity and ease.

To require from any author many pieces of easy poetry, would be indeed to oppress him with too hard a task. It is less difficult to write a volume of lines swelled with epithets, brightened by figures, and stiffened by transpositions, than to produce a few couplets graced only by naked elegance and simple purity, which require so much care and skill, that I doubt whether any of our authors have yet been able, for twenty lines together, nicely to observe the true definition of easy poetry.

No. 78. SATURDAY, OCTOBER 13, 1759.

I have passed the summer in one of those places to which a mineral spring gives the idle and luxurious an annual reason for resorting, whenever they fancy themselves offended by the heat of London. What is the true motive of this periodical assembly, I have never yet been able to discover. The greater part of the visitants neither feel diseases nor fear them. What pleasure can be expected more than the variety of the journey, I know not, for the numbers are too great for privacy, and too small for diversion. As each is known to be a spy upon the rest, they all live in continual restraint; and having but a narrow range for censure, they gratify its cravings by preying on one another.

But every condition has some advantages. In this confinement, a smaller circle affords opportunities for more exact observation. The glass that magnifies its object contracts the sight to a point; and the mind must be fixed upon a single character to remark its minute peculiarities. The quality or habit which passes unobserved in the tumult of successive multitudes, becomes conspicuous when it is offered to the notice day after day; and, perhaps, I have, without any distinct notice, seen thousands like my late companions; for when the scene can be varied at pleasure, a slight disgust turns us aside before a deep impression can be made upon the mind.

There was a select set, supposed to be distinguished by superiority of intellects, who always passed the evening together. To be admitted to their conversation was the highest honour of the place; many youths aspired to distinction, by pretending to occasional invitations; and the ladies were often wishing to be men, that they might partake the pleasures of learned society.

I know not whether by merit or destiny, I was, soon after my arrival, admitted to this envied party, which I frequented till I had learned the art by which each endeavoured to support his character.

Tom Steady was a vehement assertor of uncontroverted truth; and by keeping himself out of the reach of contradiction had acquired all the confidence which the consciousness of irresistible abilities could have given. I was once mentioning a man of eminence, and, after having recounted his virtues, endeavoured to represent him fully, by mentioning his faults. "Sir," said Mr. Steady, "that he has faults I can easily believe, for who is without them? No man, Sir, is now alive, among the innumerable multitudes that swarm upon the earth, however wise, or however good, who has not, in some degree, his failings and his faults. If there be any man faultless, bring him forth into publick view, show him openly, and let him be known; but I will venture to affirm, and, till the contrary be plainly shown, shall always maintain, that no such man is to be found. Tell not me, Sir, of impeccability and perfection; such talk is for those that are strangers in the world: I have seen several nations, and conversed with all ranks of people; I have known the great and the mean, the learned and the ignorant, the old and the young, the clerical and the lay; but I have never found a man without a fault; and I suppose shall die in the opinion, that to be human is to be frail."

To all this nothing could be opposed. I listened with a hanging head; Mr. Steady looked round on the hearers with triumph, and saw every eye congratulating his victory; he departed, and spent the next morning in following those who retired from the company, and telling them, with injunctions of secrecy, how poor Spritely began to take liberties with men wiser than himself; but that he suppressed him by a decisive argument, which put him totally to silence.

Dick Snug is a man of sly remark and pithy sententiousness: he never immerges himself in the stream of conversation, but lies to catch his companions in the eddy: he is often very successful in breaking narratives and confounding eloquence. A gentleman, giving the history of one of his acquaintance, made mention of a lady that had many lovers: "Then," said Dick, "she was either handsome or rich." This observation being well received, Dick watched the progress of the tale; and, hearing of a man lost in a shipwreck, remarked, that "no man was ever drowned upon dry land."

Will Startle is a man of exquisite sensibility, whose delicacy of frame and quickness of discernment subject him to impressions from the slightest causes; and who, therefore, passes his life between rapture and horrour, in quiverings of delight, or convulsions of disgust. His emotions are too violent for many words; his thoughts are always discovered by exclamations. _Vile, odious, horrid, detestable_, and _sweet, charming, delightful, astonishing_, compose almost his whole vocabulary, which he utters with various contortions and gesticulations, not easily related or described.

Jack Solid is a man of much reading, who utters nothing but quotations; but having been, I suppose, too confident of his memory, he has for some time neglected his books, and his stock grows every day more scanty.

Mr. Solid has found an opportunity every night to repeat, from Hudibras,

Doubtless the pleasure is as great
Of being cheated, as to cheat;

and from Waller,

Poets lose half the praise they would have got,
Were it but known what they discreetly blot.

Dick Misty is a man of deep research, and forcible penetration. Others are content with superficial appearances; but Dick holds, that there is no effect without a cause, and values himself upon his power of explaining the difficult and displaying the abstruse. Upon a dispute among us, which of two young strangers was more beautiful, "You," says Mr. Misty, turning to me, "like Amaranthia better than Chloris. I do not wonder at the preference, for the cause is evident: there is in man a perception of harmony, and a sensibility of perfection, which touches the finer fibres of the mental texture; and before reason can descend from her throne, to pass her sentence upon the things compared, drives us towards the object proportioned to our faculties, by an impulse gentle, yet irresistible; for the harmonick system of the Universe, and the reciprocal magnetism of similar natures, are always operating towards conformity and union; nor can the powers of the soul cease from agitation, till they find something on which they can repose." To this nothing was opposed; and Amaranthia was acknowledged to excel Chloris.

Of the rest you may expect an account from,

Sir, yours,

ROBIN SPRITELY.

No. 79. SATURDAY, OCTOBER 20, 1759.

TO THE IDLER.

Sir,

Your acceptance of a former letter on painting gives me encouragement to offer a few more sketches on the same subject.

Amongst the painters, and the writers on painting, there is one maxim universally admitted and continually inculcated. _Imitate nature_ is the invariable rule; but I know none who have explained in what manner this rule is to be understood; the consequence of which is, that every one takes it in the most obvious sense, that objects are represented naturally when they have such relief that they seem real. It may appear strange, perhaps, to hear this sense of the rule disputed; but it must be considered, that, if the excellency of a painter consisted only in this kind of imitation, painting must lose its rank, and be no longer considered as a liberal art, and sister to poetry, this imitation being merely mechanical, in which the slowest intellect is always sure to succeed best: for the painter of genius cannot stoop to drudgery, in which the understanding has no part; and what pretence has the art to claim kindred with poetry, but by its powers over the imagination? To this power the painter of genius directs his aim; in this sense he studies nature, and often arrives at his end, even by being unnatural in the confined sense of the word.

The grand style of painting requires this minute attention to be carefully avoided, and must be kept as separate from it as the style of poetry from that of history. Poetical ornaments destroy that air of truth and plainness which ought to characterize history; but the very being of poetry consists in departing from this plain narration, and adopting every ornament that will warm the imagination. To desire to see the excellencies of each style united, to mingle the Dutch with the Italian school, is to join contrarieties which cannot subsist together, and which destroy the efficacy of each other. The Italian attends only to the invariable, the great and general ideas which are fixed and inherent in universal nature; the Dutch, on the contrary, to literal truth and a minute exactness in the detail, as I may say, of nature modified by accident. The attention to these petty peculiarities is the very cause of this naturalness so much admired in the Dutch pictures, which, if we suppose it to be a beauty, is certainly of a lower order, which ought to give place to a beauty of a superior kind, since one cannot be obtained but by departing from the other.

If my opinion was asked concerning the works of Michael Angelo, whether they would receive any advantage from possessing this mechanical merit, I should not scruple to say, they would not only receive no advantage, but would lose, in a great measure, the effect which they now have on every mind susceptible of great and noble ideas. His works may be said to be all genius and soul; and why should they be loaded with heavy matter, which can only counteract his purpose by retarding the progress of the imagination?

If this opinion should be thought one of the wild extravagancies of enthusiasm, I shall only say, that those who censure it are not conversant in the works of the great masters. It is very difficult to determine the exact degree of enthusiasm that the arts of painting and poetry may admit. There may, perhaps, be too great an indulgence, as well as too great a restraint of imagination; and if the one produces incoherent monsters, the other produces what is full as bad, lifeless insipidity. An intimate knowledge of the passions, and good sense, but not common sense, must at last determine its limits. It has been thought, and I believe with reason, that Michael Angelo sometimes trangressed those limits; and I think I have seen figures of him of which it was very difficult to determine whether they were in the highest degree sublime or extremely ridiculous. Such faults may be said to be the ebullitions of genius; but at least he had this merit, that he never was insipid, and whatever passion his works may excite, they will always escape contempt.

What I have had under consideration is the sublimest style, particularly that of Michael Angelo, the Homer of painting. Other kinds may admit of this naturalness, which of the lowest kind is the chief merit; but in painting, as in poetry, the highest style has the least of common nature.

One may very safely recommend a little more enthusiasm to the modern painters; too much is certainly not the vice of the present age. The Italians seem to have been continually declining, in this respect, from the time of Michael Angelo to that of Carlo Maratti, and from thence to the very bathos of insipidity to which they are now sunk; so that there is no need of remarking, that, where I mentioned the Italian painters in opposition to the Dutch, I mean not the moderns, but the heads of the old Roman and Bolognian schools; nor did I mean to include in my idea of an Italian painter, the Venetian school, which may be said to be the Dutch part of the Italian genius. I have only to add a word of advice to the painters, that, however excellent they may be in painting naturally, they would not flatter themselves very much upon it, and to the connoisseurs, that when they see a cat or fiddle painted so finely, that, as the phrase is, "it looks as if you could take it up," they would not for that reason immediately compare the painter to Raffaelle and Michael Angelo.[1]

[1] By Sir Joshua Reynolds.

No. 80. SATURDAY, OCTOBER 27, 1759.

That every day has its pains and sorrows is universally experienced, and almost universally confessed; but let us not attend only to mournful truths; if we look impartially about us, we shall find that every day has likewise its pleasures and its joys.

The time is now come when the town is again beginning to be full, and the rusticated beauty sees an end of her banishment. Those whom the tyranny of fashion had condemned to pass the summer among shades and brooks, are now preparing to return to plays, balls and assemblies, with health restored by retirement, and spirits kindled by expectation.

Many a mind, which has languished some months without emotion or desire, now feels a sudden renovation of its faculties. It was long ago observed by Pythagoras, that ability and necessity dwell near each other. She that wandered in the garden without sense of its fragrance, and lay day after day stretched upon a couch behind a green curtain, unwilling to wake, and unable to sleep, now summons her thoughts to consider which of her last year's clothes shall be seen again, and to anticipate the raptures of a new suit; the day and the night are now filled with occupation; the laces, which were too fine to be worn among rusticks, are taken from the boxes and reviewed; and the eye is no sooner closed after its labours, than whole shops of silk busy the fancy.

But happiness is nothing, if it is not known, and very little, if it is not envied. Before the day of departure a week is always appropriated to the payment and reception of ceremonial visits, at which nothing can be mentioned but the delights of London. The lady who is hastening to the scene of action flutters her wings, displays her prospects of felicity, tells how she grudges every moment of delay, and, in the presence of those whom she knows condemned to stay at home, is sure to wonder by what arts life can be made supportable through a winter in the country, and to tell how often, amidst the ecstasies of an opera, she shall pity those friends whom she has left behind. Her hope of giving pain is seldom disappointed; the affected indifference of one, the faint congratulations of another, the wishes of some openly confessed, and the silent dejection of the rest, all exalt her opinion of her own superiority.

But, however we may labour for our own deception, truth, though unwelcome, will sometimes intrude upon the mind. They who have already enjoyed the crowds and noise of the great city, know that their desire to return is little more than the restlessness of a vacant mind, that they are not so much led by hope as driven by disgust, and wish rather to leave the country than to see the town. There is commonly in every coach a passenger enwrapped in silent expectation, whose joy is more sincere, and whose hopes are more exalted. The virgin whom the last summer released from her governess, and who is now going between her mother and her aunt to try the fortune of her wit and beauty, suspects no fallacy in the gay representation. She believes herself passing into another world, and images London as an elysian region, where every hour has its proper pleasure, where nothing is seen but the blaze of wealth, and nothing heard but merriment and flattery; where the morning always rises on a show, and the evening closes on a ball; where the eyes are used only to sparkle, and the feet only to dance.

Her aunt and her mother amuse themselves on the road, with telling her of dangers to be dreaded, and cautions to be observed. She hears them as they heard their predecessors, with incredulity or contempt. She sees that they have ventured and escaped; and one of the pleasures which she promises herself is to detect their falsehoods, and be freed from their admonitions.

We are inclined to believe those whom we do not know, because they have never deceived us. The fair adventurer may, perhaps, listen to the Idler, whom she cannot suspect of rivalry or malice; yet he scarcely expects to be credited when he tells her, that her expectations will likewise end in disappointment.

The uniform necessities of human nature produce, in a great measure, uniformity of life, and for part of the day make one place like another; to dress and to undress, to eat and to sleep, are the same in London as in the country. The supernumerary hours have, indeed, a great variety both of pleasure and of pain. The stranger, gazed on by multitudes at her first appearance in the Park, is, perhaps, on the highest summit of female happiness; but how great is the anguish when the novelty of another face draws her worshippers away! The heart may leap for a time under a fine gown; but the sight of a gown yet finer puts an end to rapture. In the first row at an opera, two hours may be happily passed in listening to the musick on the stage, and watching the glances of the company; but how will the night end in despondency when she, that imagined herself the sovereign of the place, sees lords contending to lead Iris to her chair! There is little pleasure in conversation, to her whose wit is regarded but in the second place; and who can dance with ease or spirit that sees Amaryllis led out before her? She that fancied nothing but a succession of pleasures, will find herself engaged without design in numberless competitions, and mortified, without provocation, with numberless afflictions.

But I do not mean to extinguish that ardour which I wish to moderate, or to discourage those whom I am endeavouring to restrain. To know the world is necessary, since we were born for the help of one another; and to know it early is convenient, if it be only that we may learn early to despise it. She that brings to London a mind well prepared for improvement, though she misses her hope of uninterrupted happiness, will gain in return an opportunity of adding knowledge to vivacity, and enlarging innocence to virtue.

No. 81. SATURDAY, NOVEMBER 3, 1759.

As the English army was passing towards Quebec along a soft savanna between a mountain and a lake, one of the petty chiefs of the inland regions stood upon a rock surrounded by his clan, and from behind the shelter of the bushes contemplated the art and regularity of European war. It was evening, the tents were pitched: he observed the security with which the troops rested in the night, and the order with which the march was renewed in the morning. He continued to pursue them with his eye till they could be seen no longer, and then stood for some time silent and pensive.

Then turning to his followers, "My children," said he, "I have often heard from men hoary with long life, that there was a time when our ancestors were absolute lords of the woods, the meadows and the lakes, wherever the eye can reach or the foot can pass. They fished and hunted, feasted and danced, and when they were weary lay down under the first thicket, without danger and without fear. They changed their habitations, as the seasons required, convenience prompted, or curiosity allured them; and sometimes gathered the fruits of the mountain, and sometimes sported in canoes along the coast.

"Many years and ages are supposed to have been thus passed in plenty and security; when, at last, a new race of men entered our country from the great ocean. They inclosed themselves in habitations of stone, which our ancestors could neither enter by violence, nor destroy by fire. They issued from those fastnesses, sometimes covered, like the armadillo, with shells, from which the lance rebounded on the striker, and sometimes carried by mighty beasts which had never been seen in our vales or forests, of such strength and swiftness, that flight and opposition were vain alike. Those invaders ranged over the continent slaughtering, in their rage, those that resisted, and those that submitted, in their mirth. Of those that remained, some were buried in caverns, and condemned to dig metals for their masters; some were employed in tilling the ground, of which foreign tyrants devour the produce; and, when the sword and the mines have destroyed the natives, they supply their place by human beings of another colour, brought from some distant country to perish here under toil and torture.

"Some there are who boast their humanity, and content themselves to seize our chases and fisheries, who drive us from every tract of ground where fertility and pleasantness invite them to settle, and make no war upon us except when we intrude upon our own lands.

"Others pretend to have purchased a right of residence and tyranny; but surely the insolence of such bargains is more offensive than the avowed and open dominion of force. What reward can induce the possessour of a country to admit a stranger more powerful than himself? Fraud or terrour must operate in such contracts; either they promised protection which they never have afforded, or instruction which they never imparted. We hoped to be secured by their favour from some other evil, or to learn the arts of Europe, by which we might be able to secure ourselves. Their power they never have exerted in our defence, and their arts they have studiously concealed from us. Their treaties are only to deceive, and their traffick only to defraud us. They have a written law among them, of which they boast, as derived from Him who made the earth and sea, and by which they profess to believe that man will be made happy when life shall forsake him. Why is not this law communicated to us? It is concealed because it is violated. For how can they preach it to an Indian nation, when I am told that one of its first precepts forbids them to do to others what they would not that others should do to them?

"But the time, perhaps, is now approaching, when the pride of usurpation shall be crushed, and the cruelties of invasion shall be revenged. The sons of rapacity have now drawn their swords upon each other, and referred their claims to the decision of war; let us look unconcerned upon the slaughter, and remember that the death of every European delivers the country from a tyrant and a robber; for what is the claim of either nation, but the claim of the vulture to the leveret, of the tiger to the fawn? Let them then continue to dispute their title to regions which they cannot people, to purchase by danger and blood the empty dignity of dominion over mountains which they will never climb, and rivers which they will never pass. Let us endeavour, in the mean time, to learn their discipline, and to forge their weapons; and, when they shall be weakened with mutual slaughter, let us rush down upon them, force their remains to take shelter in their ships, and reign once more in our native country[1]."