The History of Tom Jones, a Foundling: The Preludes
by Henry Fielding
The History of Tom Jones, a Foundling
https://en.wikipedia.org/wiki/The_History_of_Tom_Jones,_a_Foundling
Henry Fielding
https://en.wikipedia.org/wiki/Henry_Fielding
Tom Jones (1963 film)
https://en.wikipedia.org/wiki/Tom_Jones_(1963_film)
Table of Contents
AN EPISTLE
To the Honourable GEORGE LYTTLETON, ESQ; One of the Lords Commissioners of the Treasury.
BOOK I: CONTAINING AS MUCH OF THE BIRTH OF THE FOUNDLING AS IS NECESSARY OR PROPER TO ACQUAINT THE READER WITH IN THE BEGINNING OF THIS HISTORY.
The introduction to the work, or bill of fare to the feast.
BOOK II: CONTAINING SCENES OF MATRIMONIAL FELICITY IN DIFFERENT DEGREES OF LIFE; AND VARIOUS OTHER TRANSACTIONS DURING THE FIRST TWO YEARS AFTER THE MARRIAGE BETWEEN CAPTAIN BLIFIL AND MISS BRIDGET ALLWORTHY.
Showing what kind of a history this is; what it is like, and what it is not like.
BOOK III: CONTAINING THE MOST MEMORABLE TRANSACTIONS WHICH PASSED IN THE FAMILY OF MR ALLWORTHY, FROM THE TIME WHEN TOMMY JONES ARRIVED AT THE AGE OF FOURTEEN, TILL HE ATTAINED THE AGE OF NINETEEN. IN THIS BOOK THE READER MAY PICK UP SOME HINTS CONCERNING THE EDUCATION OF CHILDREN.
Containing little or nothing.
BOOK IV: CONTAINING THE TIME OF A YEAR.
Containing five pages of paper.
BOOK V: CONTAINING A PORTION OF TIME SOMEWHAT LONGER THAN HALF A YEAR.
Of the SERIOUS in writing, and for what purpose it is introduced.
BOOK VI: CONTAINING ABOUT THREE WEEKS.
Of love.
BOOK VII: CONTAINING THREE DAYS.
A comparison between the world and the stage.
BOOK VIII: CONTAINING ABOUT TWO DAYS.
A wonderful long chapter concerning the marvellous; being much the longest of all our introductory chapters.
BOOK IX: CONTAINING TWELVE HOURS.
Of those who lawfully may, and of those who may not, write such histories as this.
BOOK X: IN WHICH THE HISTORY GOES FORWARD ABOUT TWELVE HOURS.
Containing instructions very necessary to be perused by modern critics.
BOOK XI: CONTAINING ABOUT THREE DAYS.
A crust for the critics.
BOOK XII: CONTAINING THE SAME INDIVIDUAL TIME WITH THE FORMER.
Showing what is to be deemed plagiarism in a modern author, and what is to be considered as lawful prize.
BOOK XIII: CONTAINING THE SPACE OF TWELVE DAYS.
An Invocation.
BOOK XIV: CONTAINING TWO DAYS.
An essay to prove that an author will write the better for having some knowledge of the subject on which he writes.
BOOK XV: IN WHICH THE HISTORY ADVANCES ABOUT TWO DAYS.
Too short to need a preface.
BOOK XVI: CONTAINING THE SPACE OF FIVE DAYS.
Of prologues.
BOOK XVII: CONTAINING THREE DAYS.
Containing a portion of introductory writing.
BOOK XVIII: CONTAINING ABOUT SIX DAYS.
A farewel to the reader.
The History of Tom Jones, a Foundling: The Preludes
AN EPISTLE
To the Honourable
GEORGE LYTTLETON, ESQ;
One of the Lords Commissioners of the Treasury.
Sir,
Notwithstanding your constant refusal, when I have asked leave to prefix your name to this dedication, I must still insist on my right to desire your protection of this work.
To you, Sir, it is owing that this history was ever begun. It was by your desire that I first thought of such a composition. So many years have since past, that you may have, perhaps, forgotten this circumstance: but your desires are to me in the nature of commands; and the impression of them is never to be erased from my memory.
Again, Sir, without your assistance this history had never been completed. Be not startled at the assertion. I do not intend to draw on you the suspicion of being a romance writer. I mean no more than that I partly owe to you my existence during great part of the time which I have employed in composing it: another matter which it may be necessary to remind you of; since there are certain actions of which you are apt to be extremely forgetful; but of these I hope I shall always have a better memory than yourself.
Lastly, It is owing to you that the history appears what it now is. If there be in this work, as some have been pleased to say, a stronger picture of a truly benevolent mind than is to be found in any other, who that knows you, and a particular acquaintance of yours, will doubt whence that benevolence hath been copied? The world will not, I believe, make me the compliment of thinking I took it from myself. I care not: this they shall own, that the two persons from whom I have taken it, that is to say, two of the best and worthiest men in the world, are strongly and zealously my friends. I might be contented with this, and yet my vanity will add a third to the number; and him one of the greatest and noblest, not only in his rank, but in every public and private virtue. But here, whilst my gratitude for the princely benefactions of the Duke of Bedford bursts from my heart, you must forgive my reminding you that it was you who first recommended me to the notice of my benefactor.
And what are your objections to the allowance of the honour which I have sollicited? Why, you have commended the book so warmly, that you should be ashamed of reading your name before the dedication. Indeed, sir, if the book itself doth not make you ashamed of your commendations, nothing that I can here write will, or ought. I am not to give up my right to your protection and patronage, because you have commended my book: for though I acknowledge so many obligations to you, I do not add this to the number; in which friendship, I am convinced, hath so little share: since that can neither biass your judgment, nor pervert your integrity. An enemy may at any time obtain your commendation by only deserving it; and the utmost which the faults of your friends can hope for, is your silence; or, perhaps, if too severely accused, your gentle palliation.
In short, sir, I suspect, that your dislike of public praise is your true objection to granting my request. I have observed that you have, in common with my two other friends, an unwillingness to hear the least mention of your own virtues; that, as a great poet says of one of you, (he might justly have said it of all three), you
Do good by stealth, and blush to find it fame.
If men of this disposition are as careful to shun applause, as others are to escape censure, how just must be your apprehension of your character falling into my hands; since what would not a man have reason to dread, if attacked by an author who had received from him injuries equal to my obligations to you!
And will not this dread of censure increase in proportion to the matter which a man is conscious of having afforded for it? If his whole life, for instance, should have been one continued subject of satire, he may well tremble when an incensed satirist takes him in hand. Now, sir, if we apply this to your modest aversion to panegyric, how reasonable will your fears of me appear!
Yet surely you might have gratified my ambition, from this single confidence, that I shall always prefer the indulgence of your inclinations to the satisfaction of my own. A very strong instance of which I shall give you in this address, in which I am determined to follow the example of all other dedicators, and will consider not what my patron really deserves to have written, but what he will be best pleased to read.
Without further preface then, I here present you with the labours of some years of my life. What merit these labours have is already known to yourself. If, from your favourable judgment, I have conceived some esteem for them, it cannot be imputed to vanity; since I should have agreed as implicitly to your opinion, had it been given in favour of any other man's production. Negatively, at least, I may be allowed to say, that had I been sensible of any great demerit in the work, you are the last person to whose protection I would have ventured to recommend it.
From the name of my patron, indeed, I hope my reader will be convinced, at his very entrance on this work, that he will find in the whole course of it nothing prejudicial to the cause of religion and virtue, nothing inconsistent with the strictest rules of decency, nor which can offend even the chastest eye in the perusal. On the contrary, I declare, that to recommend goodness and innocence hath been my sincere endeavour in this history. This honest purpose you have been pleased to think I have attained: and to say the truth, it is likeliest to be attained in books of this kind; for an example is a kind of picture, in which virtue becomes, as it were, an object of sight, and strikes us with an idea of that loveliness, which Plato asserts there is in her naked charms.
Besides displaying that beauty of virtue which may attract the admiration of mankind, I have attempted to engage a stronger motive to human action in her favour, by convincing men, that their true interest directs them to a pursuit of her. For this purpose I have shown that no acquisitions of guilt can compensate the loss of that solid inward comfort of mind, which is the sure companion of innocence and virtue; nor can in the least balance the evil of that horror and anxiety which, in their room, guilt introduces into our bosoms. And again, that as these acquisitions are in themselves generally worthless, so are the means to attain them not only base and infamous, but at best incertain, and always full of danger. Lastly, I have endeavoured strongly to inculcate, that virtue and innocence can scarce ever be injured but by indiscretion; and that it is this alone which often betrays them into the snares that deceit and villainy spread for them. A moral which I have the more industriously laboured, as the teaching it is, of all others, the likeliest to be attended with success; since, I believe, it is much easier to make good men wise, than to make bad men good.
For these purposes I have employed all the wit and humour of which I am master in the following history; wherein I have endeavoured to laugh mankind out of their favourite follies and vices. How far I have succeeded in this good attempt, I shall submit to the candid reader, with only two requests: First, that he will not expect to find perfection in this work; and Secondly, that he will excuse some parts of it, if they fall short of that little merit which I hope may appear in others.
I will detain you, sir, no longer. Indeed I have run into a preface, while I professed to write a dedication. But how can it be otherwise? I dare not praise you; and the only means I know of to avoid it, when you are in my thoughts, are either to be entirely silent, or to turn my thoughts to some other subject.
Pardon, therefore, what I have said in this epistle, not only without your consent, but absolutely against it; and give me at least leave, in this public manner, to declare that I am, with the highest respect and gratitude,
Sir,
Your most obliged,
Obedient, humble servant,
HENRY FIELDING.
BOOK I: CONTAINING AS MUCH OF THE BIRTH OF THE FOUNDLING AS IS NECESSARY OR PROPER TO ACQUAINT THE READER WITH IN THE BEGINNING OF THIS HISTORY.
The introduction to the work, or bill of fare to the feast.
An author ought to consider himself, not as a gentleman who gives a private or eleemosynary treat, but rather as one who keeps a public ordinary, at which all persons are welcome for their money. In the former case, it is well known that the entertainer provides what fare he pleases; and though this should be very indifferent, and utterly disagreeable to the taste of his company, they must not find any fault; nay, on the contrary, good breeding forces them outwardly to approve and to commend whatever is set before them. Now the contrary of this happens to the master of an ordinary. Men who pay for what they eat will insist on gratifying their palates, however nice and whimsical these may prove; and if everything is not agreeable to their taste, will challenge a right to censure, to abuse, and to d–n their dinner without controul.
To prevent, therefore, giving offence to their customers by any such disappointment, it hath been usual with the honest and well-meaning host to provide a bill of fare which all persons may peruse at their first entrance into the house; and having thence acquainted themselves with the entertainment which they may expect, may either stay and regale with what is provided for them, or may depart to some other ordinary better accommodated to their taste.
As we do not disdain to borrow wit or wisdom from any man who is capable of lending us either, we have condescended to take a hint from these honest victuallers, and shall prefix not only a general bill of fare to our whole entertainment, but shall likewise give the reader particular bills to every course which is to be served up in this and the ensuing volumes.
The provision, then, which we have here made is no other than Human Nature. Nor do I fear that my sensible reader, though most luxurious in his taste, will start, cavil, or be offended, because I have named but one article. The tortoise – as the alderman of Bristol, well learned in eating, knows by much experience – besides the delicious calipash and calipee, contains many different kinds of food; nor can the learned reader be ignorant, that in human nature, though here collected under one general name, is such prodigious variety, that a cook will have sooner gone through all the several species of animal and vegetable food in the world, than an author will be able to exhaust so extensive a subject.
An objection may perhaps be apprehended from the more delicate, that this dish is too common and vulgar; for what else is the subject of all the romances, novels, plays, and poems, with which the stalls abound? Many exquisite viands might be rejected by the epicure, if it was a sufficient cause for his contemning of them as common and vulgar, that something was to be found in the most paltry alleys under the same name. In reality, true nature is as difficult to be met with in authors, as the Bayonne ham, or Bologna sausage, is to be found in the shops.
But the whole, to continue the same metaphor, consists in the cookery of the author; for, as Mr Pope tells us:
“True wit is nature to advantage drest;
What oft was thought, but ne'er so well exprest.”
The same animal which hath the honour to have some part of his flesh eaten at the table of a duke, may perhaps be degraded in another part, and some of his limbs gibbeted, as it were, in the vilest stall in town. Where, then, lies the difference between the food of the nobleman and the porter, if both are at dinner on the same ox or calf, but in the seasoning, the dressing, the garnishing, and the setting forth? Hence the one provokes and incites the most languid appetite, and the other turns and palls that which is the sharpest and keenest.
In like manner, the excellence of the mental entertainment consists less in the subject than in the author's skill in well dressing it up. How pleased, therefore, will the reader be to find that we have, in the following work, adhered closely to one of the highest principles of the best cook which the present age, or perhaps that of Heliogabalus, hath produced. This great man, as is well known to all lovers of polite eating, begins at first by setting plain things before his hungry guests, rising afterwards by degrees as their stomachs may be supposed to decrease, to the very quintessence of sauce and spices. In like manner, we shall represent human nature at first to the keen appetite of our reader, in that more plain and simple manner in which it is found in the country, and shall hereafter hash and ragoo it with all the high French and Italian seasoning of affectation and vice which courts and cities afford. By these means, we doubt not but our reader may be rendered desirous to read on for ever, as the great person just above-mentioned is supposed to have made some persons eat.
Having premised thus much, we will now detain those who like our bill of fare no longer from their diet, and shall proceed directly to serve up the first course of our history for their entertainment.
BOOK II: CONTAINING SCENES OF MATRIMONIAL FELICITY IN DIFFERENT DEGREES OF LIFE; AND VARIOUS OTHER TRANSACTIONS DURING THE FIRST TWO YEARS AFTER THE MARRIAGE BETWEEN CAPTAIN BLIFIL AND MISS BRIDGET ALLWORTHY.
Showing what kind of a history this is; what it is like, and what it is not like.
Though we have properly enough entitled this our work, a history, and not a life; nor an apology for a life, as is more in fashion; yet we intend in it rather to pursue the method of those writers, who profess to disclose the revolutions of countries, than to imitate the painful and voluminous historian, who, to preserve the regularity of his series, thinks himself obliged to fill up as much paper with the detail of months and years in which nothing remarkable happened, as he employs upon those notable aeras when the greatest scenes have been transacted on the human stage.
Such histories as these do, in reality, very much resemble a newspaper, which consists of just the same number of words, whether there be any news in it or not. They may likewise be compared to a stage coach, which performs constantly the same course, empty as well as full. The writer, indeed, seems to think himself obliged to keep even pace with time, whose amanuensis he is; and, like his master, travels as slowly through centuries of monkish dulness, when the world seems to have been asleep, as through that bright and busy age so nobly distinguished by the excellent Latin poet:
Ad confligendum venientibus undique poenis,
Omnia cum belli trepido concussa tumultu
Horrida contremuere sub altis aetheris auris;
In dubioque fuit sub utrorum regna cadendum
Omnibus humanis esset, terraque marique.
Of which we wish we could give our readers a more adequate translation than that by Mr Creech:
When dreadful Carthage frighted Rome with arms,
And all the world was shook with fierce alarms;
Whilst undecided yet, which part should fall,
Which nation rise the glorious lord of all.
Now it is our purpose, in the ensuing pages, to pursue a contrary method. When any extraordinary scene presents itself (as we trust will often be the case), we shall spare no pains nor paper to open it at large to our reader; but if whole years should pass without producing anything worthy his notice, we shall not be afraid of a chasm in our history; but shall hasten on to matters of consequence, and leave such periods of time totally unobserved.
These are indeed to be considered as blanks in the grand lottery of time. We therefore, who are the registers of that lottery, shall imitate those sagacious persons who deal in that which is drawn at Guildhall, and who never trouble the public with the many blanks they dispose of; but when a great prize happens to be drawn, the newspapers are presently filled with it, and the world is sure to be informed at whose office it was sold: indeed, commonly two or three different offices lay claim to the honour of having disposed of it; by which, I suppose, the adventurers are given to understand that certain brokers are in the secrets of Fortune, and indeed of her cabinet council.
My reader then is not to be surprized, if, in the course of this work, he shall find some chapters very short, and others altogether as long; some that contain only the time of a single day, and others that comprise years; in a word, if my history sometimes seems to stand still, and sometimes to fly. For all which I shall not look on myself as accountable to any court of critical jurisdiction whatever: for as I am, in reality, the founder of a new province of writing, so I am at liberty to make what laws I please therein. And these laws, my readers, whom I consider as my subjects, are bound to believe in and to obey; with which that they may readily and cheerfully comply, I do hereby assure them that I shall principally regard their ease and advantage in all such institutions: for I do not, like a jure divino tyrant, imagine that they are my slaves, or my commodity. I am, indeed, set over them for their own good only, and was created for their use, and not they for mine. Nor do I doubt, while I make their interest the great rule of my writings, they will unanimously concur in supporting my dignity, and in rendering me all the honour I shall deserve or desire.
BOOK III: CONTAINING THE MOST MEMORABLE TRANSACTIONS WHICH PASSED IN THE FAMILY OF MR ALLWORTHY, FROM THE TIME WHEN TOMMY JONES ARRIVED AT THE AGE OF FOURTEEN, TILL HE ATTAINED THE AGE OF NINETEEN. IN THIS BOOK THE READER MAY PICK UP SOME HINTS CONCERNING THE EDUCATION OF CHILDREN.
Containing little or nothing.
The reader will be pleased to remember, that, at the beginning of the second book of this history, we gave him a hint of our intention to pass over several large periods of time, in which nothing happened worthy of being recorded in a chronicle of this kind.
In so doing, we do not only consult our own dignity and ease, but the good and advantage of the reader: for besides that by these means we prevent him from throwing away his time, in reading without either pleasure or emolument, we give him, at all such seasons, an opportunity of employing that wonderful sagacity, of which he is master, by filling up these vacant spaces of time with his own conjectures; for which purpose we have taken care to qualify him in the preceding pages.
For instance, what reader but knows that Mr Allworthy felt, at first, for the loss of his friend, those emotions of grief, which on such occasions enter into all men whose hearts are not composed of flint, or their heads of as solid materials? Again, what reader doth not know that philosophy and religion in time moderated, and at last extinguished, this grief? The former of these teaching the folly and vanity of it, and the latter correcting it as unlawful, and at the same time assuaging it, by raising future hopes and assurances, which enable a strong and religious mind to take leave of a friend, on his deathbed, with little less indifference than if he was preparing for a long journey; and, indeed, with little less hope of seeing him again.
Nor can the judicious reader be at a greater loss on account of Mrs Bridget Blifil, who, he may be assured, conducted herself through the whole season in which grief is to make its appearance on the outside of the body, with the strictest regard to all the rules of custom and decency, suiting the alterations of her countenance to the several alterations of her habit: for as this changed from weeds to black, from black to grey, from grey to white, so did her countenance change from dismal to sorrowful, from sorrowful to sad, and from sad to serious, till the day came in which she was allowed to return to her former serenity.
We have mentioned these two, as examples only of the task which may be imposed on readers of the lowest class. Much higher and harder exercises of judgment and penetration may reasonably be expected from the upper graduates in criticism. Many notable discoveries will, I doubt not, be made by such, of the transactions which happened in the family of our worthy man, during all the years which we have thought proper to pass over: for though nothing worthy of a place in this history occurred within that period, yet did several incidents happen of equal importance with those reported by the daily and weekly historians of the age; in reading which great numbers of persons consume a considerable part of their time, very little, I am afraid, to their emolument. Now, in the conjectures here proposed, some of the most excellent faculties of the mind may be employed to much advantage, since it is a more useful capacity to be able to foretel the actions of men, in any circumstance, from their characters, than to judge of their characters from their actions. The former, I own, requires the greater penetration; but may be accomplished by true sagacity with no less certainty than the latter.
As we are sensible that much the greatest part of our readers are very eminently possessed of this quality, we have left them a space of twelve years to exert it in; and shall now bring forth our heroe, at about fourteen years of age, not questioning that many have been long impatient to be introduced to his acquaintance.
BOOK IV: CONTAINING THE TIME OF A YEAR.
Containing five pages of paper.
As truth distinguishes our writings from those idle romances which are filled with monsters, the productions, not of nature, but of distempered brains; and which have been therefore recommended by an eminent critic to the sole use of the pastry-cook; so, on the other hand, we would avoid any resemblance to that kind of history which a celebrated poet seems to think is no less calculated for the emolument of the brewer, as the reading it should be always attended with a tankard of good ale:
While—history with her comrade ale,
Soothes the sad series of her serious tale
For as this is the liquor of modern historians, nay, perhaps their muse, if we may believe the opinion of Butler, who attributes inspiration to ale, it ought likewise to be the potation of their readers, since every book ought to be read with the same spirit and in the same manner as it is writ. Thus the famous author of Hurlothrumbo told a learned bishop, that the reason his lordship could not taste the excellence of his piece was, that he did not read it with a fiddle in his hand; which instrument he himself had always had in his own, when he composed it.
That our work, therefore, might be in no danger of being likened to the labours of these historians, we have taken every occasion of interspersing through the whole sundry similes, descriptions, and other kind of poetical embellishments. These are, indeed, designed to supply the place of the said ale, and to refresh the mind, whenever those slumbers, which in a long work are apt to invade the reader as well as the writer, shall begin to creep upon him. Without interruptions of this kind, the best narrative of plain matter of fact must overpower every reader; for nothing but the ever lasting watchfulness, which Homer has ascribed only to Jove himself, can be proof against a newspaper of many volumes.
We shall leave to the reader to determine with what judgment we have chosen the several occasions for inserting those ornamental parts of our work. Surely it will be allowed that none could be more proper than the present, where we are about to introduce a considerable character on the scene; no less, indeed, than the heroine of this heroic, historical, prosaic poem. Here, therefore, we have thought proper to prepare the mind of the reader for her reception, by filling it with every pleasing image which we can draw from the face of nature. And for this method we plead many precedents. First, this is an art well known to, and much practised by, our tragick poets, who seldom fail to prepare their audience for the reception of their principal characters.
Thus the heroe is always introduced with a flourish of drums and trumpets, in order to rouse a martial spirit in the audience, and to accommodate their ears to bombast and fustian, which Mr Locke's blind man would not have grossly erred in likening to the sound of a trumpet. Again, when lovers are coming forth, soft music often conducts them on the stage, either to soothe the audience with the softness of the tender passion, or to lull and prepare them for that gentle slumber in which they will most probably be composed by the ensuing scene.
And not only the poets, but the masters of these poets, the managers of playhouses, seem to be in this secret; for, besides the aforesaid kettle-drums, &c., which denote the heroe's approach, he is generally ushered on the stage by a large troop of half a dozen scene-shifters; and how necessary these are imagined to his appearance, may be concluded from the following theatrical story:
King Pyrrhus was at dinner at an ale-house bordering on the theatre, when he was summoned to go on the stage. The heroe, being unwilling to quit his shoulder of mutton, and as unwilling to draw on himself the indignation of Mr Wilks (his brother-manager) for making the audience wait, had bribed these his harbingers to be out of the way. While Mr Wilks, therefore, was thundering out, “Where are the carpenters to walk on before King Pyrrhus?” that monarch very quietly eat his mutton, and the audience, however impatient, were obliged to entertain themselves with music in his absence.
To be plain, I much question whether the politician, who hath generally a good nose, hath not scented out somewhat of the utility of this practice. I am convinced that awful magistrate my lord-mayor contracts a good deal of that reverence which attends him through the year, by the several pageants which precede his pomp. Nay, I must confess, that even I myself, who am not remarkably liable to be captivated with show, have yielded not a little to the impressions of much preceding state. When I have seen a man strutting in a procession, after others whose business was only to walk before him, I have conceived a higher notion of his dignity than I have felt on seeing him in a common situation. But there is one instance, which comes exactly up to my purpose. This is the custom of sending on a basket-woman, who is to precede the pomp at a coronation, and to strew the stage with flowers, before the great personages begin their procession. The antients would certainly have invoked the goddess Flora for this purpose, and it would have been no difficulty for their priests, or politicians to have persuaded the people of the real presence of the deity, though a plain mortal had personated her and performed her office. But we have no such design of imposing on our reader; and therefore those who object to the heathen theology, may, if they please, change our goddess into the above-mentioned basket-woman. Our intention, in short, is to introduce our heroine with the utmost solemnity in our power, with an elevation of stile, and all other circumstances proper to raise the veneration of our reader.
Indeed we would, for certain causes, advise those of our male readers who have any hearts, to read no farther, were we not well assured, that how amiable soever the picture of our heroine will appear, as it is really a copy from nature, many of our fair countrywomen will be found worthy to satisfy any passion, and to answer any idea of female perfection which our pencil will be able to raise.
And now, without any further preface, we proceed to our next chapter.
BOOK V: CONTAINING A PORTION OF TIME SOMEWHAT LONGER THAN HALF A YEAR.
Of the SERIOUS in writing, and for what purpose it is introduced.
Peradventure there may be no parts in this prodigious work which will give the reader less pleasure in the perusing, than those which have given the author the greatest pains in composing. Among these probably may be reckoned those initial essays which we have prefixed to the historical matter contained in every book; and which we have determined to be essentially necessary to this kind of writing, of which we have set ourselves at the head.
For this our determination we do not hold ourselves strictly bound to assign any reason; it being abundantly sufficient that we have laid it down as a rule necessary to be observed in all prosai-comi-epic writing. Who ever demanded the reasons of that nice unity of time or place which is now established to be so essential to dramatic poetry? What critic hath been ever asked, why a play may not contain two days as well as one? Or why the audience (provided they travel, like electors, without any expense) may not be wafted fifty miles as well as five? Hath any commentator well accounted for the limitation which an antient critic hath set to the drama, which he will have contain neither more nor less than five acts? Or hath any one living attempted to explain what the modern judges of our theatres mean by that word low; by which they have happily succeeded in banishing all humour from the stage, and have made the theatre as dull as a drawing-room! Upon all these occasions the world seems to have embraced a maxim of our law, viz., cuicunque in arte sua perito credendum est: for it seems perhaps difficult to conceive that any one should have had enough of impudence to lay down dogmatical rules in any art or science without the least foundation. In such cases, therefore, we are apt to conclude there are sound and good reasons at the bottom, though we are unfortunately not able to see so far.
Now, in reality, the world have paid too great a compliment to critics, and have imagined them men of much greater profundity than they really are. From this complacence, the critics have been emboldened to assume a dictatorial power, and have so far succeeded, that they are now become the masters, and have the assurance to give laws to those authors from whose predecessors they originally received them.
The critic, rightly considered, is no more than the clerk, whose office it is to transcribe the rules and laws laid down by those great judges whose vast strength of genius hath placed them in the light of legislators, in the several sciences over which they presided. This office was all which the critics of old aspired to; nor did they ever dare to advance a sentence, without supporting it by the authority of the judge from whence it was borrowed.
But in process of time, and in ages of ignorance, the clerk began to invade the power and assume the dignity of his master. The laws of writing were no longer founded on the practice of the author, but on the dictates of the critic. The clerk became the legislator, and those very peremptorily gave laws whose business it was, at first, only to transcribe them.
Hence arose an obvious, and perhaps an unavoidable error; for these critics being men of shallow capacities, very easily mistook mere form for substance. They acted as a judge would, who should adhere to the lifeless letter of law, and reject the spirit. Little circumstances, which were perhaps accidental in a great author, were by these critics considered to constitute his chief merit, and transmitted as essentials to be observed by all his successors. To these encroachments, time and ignorance, the two great supporters of imposture, gave authority; and thus many rules for good writing have been established, which have not the least foundation in truth or nature; and which commonly serve for no other purpose than to curb and restrain genius, in the same manner as it would have restrained the dancing-master, had the many excellent treatises on that art laid it down as an essential rule that every man must dance in chains.
To avoid, therefore, all imputation of laying down a rule for posterity, founded only on the authority of ipse dixit – for which, to say the truth, we have not the profoundest veneration – we shall here waive the privilege above contended for, and proceed to lay before the reader the reasons which have induced us to intersperse these several digressive essays in the course of this work.
And here we shall of necessity be led to open a new vein of knowledge, which if it hath been discovered, hath not, to our remembrance, been wrought on by any antient or modern writer. This vein is no other than that of contrast, which runs through all the works of the creation, and may probably have a large share in constituting in us the idea of all beauty, as well natural as artificial: for what demonstrates the beauty and excellence of anything but its reverse? Thus the beauty of day, and that of summer, is set off by the horrors of night and winter. And, I believe, if it was possible for a man to have seen only the two former, he would have a very imperfect idea of their beauty.
But to avoid too serious an air; can it be doubted, but that the finest woman in the world would lose all benefit of her charms in the eye of a man who had never seen one of another cast? The ladies themselves seem so sensible of this, that they are all industrious to procure foils: nay, they will become foils to themselves; for I have observed (at Bath particularly) that they endeavour to appear as ugly as possible in the morning, in order to set off that beauty which they intend to show you in the evening.
Most artists have this secret in practice, though some, perhaps, have not much studied the theory. The jeweller knows that the finest brilliant requires a foil; and the painter, by the contrast of his figures, often acquires great applause.
A great genius among us will illustrate this matter fully. I cannot, indeed, range him under any general head of common artists, as he hath a title to be placed among those
Inventas qui vitam excoluere per artes.
Who by invented arts have life improved.
I mean here the inventor of that most exquisite entertainment, called the English Pantomime.
This entertainment consisted of two parts, which the inventor distinguished by the names of the serious and the comic. The serious exhibited a certain number of heathen gods and heroes, who were certainly the worst and dullest company into which an audience was ever introduced; and (which was a secret known to few) were actually intended so to be, in order to contrast the comic part of the entertainment, and to display the tricks of harlequin to the better advantage.
This was, perhaps, no very civil use of such personages: but the contrivance was, nevertheless, ingenious enough, and had its effect. And this will now plainly appear, if, instead of serious and comic, we supply the words duller and dullest; for the comic was certainly duller than anything before shown on the stage, and could be set off only by that superlative degree of dulness which composed the serious. So intolerably serious, indeed, were these gods and heroes, that harlequin (though the English gentleman of that name is not at all related to the French family, for he is of a much more serious disposition) was always welcome on the stage, as he relieved the audience from worse company.
Judicious writers have always practised this art of contrast with great success. I have been surprized that Horace should cavil at this art in Homer; but indeed he contradicts himself in the very next line:
Indignor quandoque bonus dormitat Homerus;
Verum opere in longo fas est obrepere somnum.
I grieve if e'er great Homer chance to sleep,
Yet slumbers on long works have right to creep.
For we are not here to understand, as perhaps some have, that an author actually falls asleep while he is writing. It is true, that readers are too apt to be so overtaken; but if the work was as long as any of Oldmixon, the author himself is too well entertained to be subject to the least drowsiness. He is, as Mr Pope observes,
Sleepless himself to give his readers sleep.
To say the truth, these soporific parts are so many scenes of serious artfully interwoven, in order to contrast and set off the rest; and this is the true meaning of a late facetious writer, who told the public that whenever he was dull they might be assured there was a design in it.
In this light, then, or rather in this darkness, I would have the reader to consider these initial essays. And after this warning, if he shall be of opinion that he can find enough of serious in other parts of this history, he may pass over these, in which we profess to be laboriously dull, and begin the following books at the second chapter.
BOOK VI: CONTAINING ABOUT THREE WEEKS.
Of love.
In our last book we have been obliged to deal pretty much with the passion of love; and in our succeeding book shall be forced to handle this subject still more largely. It may not therefore in this place be improper to apply ourselves to the examination of that modern doctrine, by which certain philosophers, among many other wonderful discoveries, pretend to have found out, that there is no such passion in the human breast.
Whether these philosophers be the same with that surprising sect, who are honourably mentioned by the late Dr Swift, as having, by the mere force of genius alone, without the least assistance of any kind of learning, or even reading, discovered that profound and invaluable secret that there is no God; or whether they are not rather the same with those who some years since very much alarmed the world, by showing that there were no such things as virtue or goodness really existing in human nature, and who deduced our best actions from pride, I will not here presume to determine. In reality, I am inclined to suspect, that all these several finders of truth, are the very identical men who are by others called the finders of gold. The method used in both these searches after truth and after gold, being indeed one and the same, viz., the searching, rummaging, and examining into a nasty place; indeed, in the former instances, into the nastiest of all places, A BAD MIND.
But though in this particular, and perhaps in their success, the truth-finder and the gold-finder may very properly be compared together; yet in modesty, surely, there can be no comparison between the two; for who ever heard of a gold-finder that had the impudence or folly to assert, from the ill success of his search, that there was no such thing as gold in the world? whereas the truth-finder, having raked out that jakes, his own mind, and being there capable of tracing no ray of divinity, nor anything virtuous or good, or lovely, or loving, very fairly, honestly, and logically concludes that no such things exist in the whole creation.
To avoid, however, all contention, if possible, with these philosophers, if they will be called so; and to show our own disposition to accommodate matters peaceably between us, we shall here make them some concessions, which may possibly put an end to the dispute.
First, we will grant that many minds, and perhaps those of the philosophers, are entirely free from the least traces of such a passion.
Secondly, that what is commonly called love, namely, the desire of satisfying a voracious appetite with a certain quantity of delicate white human flesh, is by no means that passion for which I here contend. This is indeed more properly hunger; and as no glutton is ashamed to apply the word love to his appetite, and to say he LOVES such and such dishes; so may the lover of this kind, with equal propriety, say, he HUNGERS after such and such women.
Thirdly, I will grant, which I believe will be a most acceptable concession, that this love for which I am an advocate, though it satisfies itself in a much more delicate manner, doth nevertheless seek its own satisfaction as much as the grossest of all our appetites.
And, lastly, that this love, when it operates towards one of a different sex, is very apt, towards its complete gratification, to call in the aid of that hunger which I have mentioned above; and which it is so far from abating, that it heightens all its delights to a degree scarce imaginable by those who have never been susceptible of any other emotions than what have proceeded from appetite alone.
In return to all these concessions, I desire of the philosophers to grant, that there is in some (I believe in many) human breasts a kind and benevolent disposition, which is gratified by contributing to the happiness of others. That in this gratification alone, as in friendship, in parental and filial affection, as indeed in general philanthropy, there is a great and exquisite delight. That if we will not call such disposition love, we have no name for it. That though the pleasures arising from such pure love may be heightened and sweetened by the assistance of amorous desires, yet the former can subsist alone, nor are they destroyed by the intervention of the latter. Lastly, that esteem and gratitude are the proper motives to love, as youth and beauty are to desire, and, therefore, though such desire may naturally cease, when age or sickness overtakes its object; yet these can have no effect on love, nor ever shake or remove, from a good mind, that sensation or passion which hath gratitude and esteem for its basis.
To deny the existence of a passion of which we often see manifest instances, seems to be very strange and absurd; and can indeed proceed only from that self-admonition which we have mentioned above: but how unfair is this! Doth the man who recognizes in his own heart no traces of avarice or ambition, conclude, therefore, that there are no such passions in human nature? Why will we not modestly observe the same rule in judging of the good, as well as the evil of others? Or why, in any case, will we, as Shakespear phrases it, “put the world in our own person?”
Predominant vanity is, I am afraid, too much concerned here. This is one instance of that adulation which we bestow on our own minds, and this almost universally. For there is scarce any man, how much soever he may despise the character of a flatterer, but will condescend in the meanest manner to flatter himself.
To those therefore I apply for the truth of the above observations, whose own minds can bear testimony to what I have advanced.
Examine your heart, my good reader, and resolve whether you do believe these matters with me. If you do, you may now proceed to their exemplification in the following pages: if you do not, you have, I assure you, already read more than you have understood; and it would be wiser to pursue your business, or your pleasures (such as they are), than to throw away any more of your time in reading what you can neither taste nor comprehend. To treat of the effects of love to you, must be as absurd as to discourse on colours to a man born blind; since possibly your idea of love may be as absurd as that which we are told such blind man once entertained of the colour scarlet; that colour seemed to him to be very much like the sound of a trumpet: and love probably may, in your opinion, very greatly resemble a dish of soup, or a surloin of roast-beef.
BOOK VII: CONTAINING THREE DAYS.
A comparison between the world and the stage.
The world hath been often compared to the theatre; and many grave writers, as well as the poets, have considered human life as a great drama, resembling, in almost every particular, those scenical representations which Thespis is first reported to have invented, and which have been since received with so much approbation and delight in all polite countries.
This thought hath been carried so far, and is become so general, that some words proper to the theatre, and which were at first metaphorically applied to the world, are now indiscriminately and literally spoken of both; thus stage and scene are by common use grown as familiar to us, when we speak of life in general, as when we confine ourselves to dramatic performances: and when transactions behind the curtain are mentioned, St James's is more likely to occur to our thoughts than Drury-lane.
It may seem easy enough to account for all this, by reflecting that the theatrical stage is nothing more than a representation, or, as Aristotle calls it, an imitation of what really exists; and hence, perhaps, we might fairly pay a very high compliment to those who by their writings or actions have been so capable of imitating life, as to have their pictures in a manner confounded with, or mistaken for, the originals.
But, in reality, we are not so fond of paying compliments to these people, whom we use as children frequently do the instruments of their amusement; and have much more pleasure in hissing and buffeting them, than in admiring their excellence. There are many other reasons which have induced us to see this analogy between the world and the stage.
Some have considered the larger part of mankind in the light of actors, as personating characters no more their own, and to which in fact they have no better title, than the player hath to be in earnest thought the king or emperor whom he represents. Thus the hypocrite may be said to be a player; and indeed the Greeks called them both by one and the same name.
The brevity of life hath likewise given occasion to this comparison. So the immortal Shakespear:
Life's a poor player,
That struts and frets his hour upon the stage,
And then is heard no more.
For which hackneyed quotation I will make the reader amends by a very noble one, which few, I believe, have read. It is taken from a poem called the Deity, published about nine years ago, and long since buried in oblivion; a proof that good books, no more than good men, do always survive the bad.
From Thee [*] all human actions take their springs,
The rise of empires and the fall of kings!
See the vast Theatre of Time display'd,
While o'er the scene succeeding heroes tread!
With pomp the shining images succeed,
What leaders triumph, and what monarchs bleed!
Perform the parts thy providence assign'd,
Their pride, their passions, to thy ends inclin'd:
Awhile they glitter in the face of day,
Then at thy nod the phantoms pass away;
No traces left of all the busy scene,
But that remembrance says – The things have been!
[*] The Deity.
In all these, however, and in every other similitude of life to the theatre, the resemblance hath been always taken from the stage only. None, as I remember, have at all considered the audience at this great drama.
But as Nature often exhibits some of her best performances to a very full house, so will the behaviour of her spectators no less admit the above-mentioned comparison than that of her actors. In this vast theatre of time are seated the friend and the critic; here are claps and shouts, hisses and groans; in short, everything which was ever seen or heard at the Theatre-Royal.
Let us examine this in one example; for instance, in the behaviour of the great audience on that scene which Nature was pleased to exhibit in the twelfth chapter of the preceding book, where she introduced Black George running away with the £500 from his friend and benefactor.
Those who sat in the world's upper gallery treated that incident, I am well convinced, with their usual vociferation; and every term of scurrilous reproach was most probably vented on that occasion.
If we had descended to the next order of spectators, we should have found an equal degree of abhorrence, though less of noise and scurrility; yet here the good women gave Black George to the devil, and many of them expected every minute that the cloven-footed gentleman would fetch his own.
The pit, as usual, was no doubt divided; those who delight in heroic virtue and perfect character objected to the producing such instances of villany, without punishing them very severely for the sake of example. Some of the author's friends cryed, “Look'e, gentlemen, the man is a villain, but it is nature for all that.” And all the young critics of the age, the clerks, apprentices, &c., called it low, and fell a groaning.
As for the boxes, they behaved with their accustomed politeness. Most of them were attending to something else. Some of those few who regarded the scene at all, declared he was a bad kind of man; while others refused to give their opinion, till they had heard that of the best judges.
Now we, who are admitted behind the scenes of this great theatre of Nature (and no author ought to write anything besides dictionaries and spelling-books who hath not this privilege), can censure the action, without conceiving any absolute detestation of the person, whom perhaps Nature may not have designed to act an ill part in all her dramas; for in this instance life most exactly resembles the stage, since it is often the same person who represents the villain and the heroe; and he who engages your admiration to-day will probably attract your contempt to-morrow. As Garrick, whom I regard in tragedy to be the greatest genius the world hath ever produced, sometimes condescends to play the fool; so did Scipio the Great, and Laelius the Wise, according to Horace, many years ago; nay, Cicero reports them to have been “incredibly childish.” These, it is true, played the fool, like my friend Garrick, in jest only; but several eminent characters have, in numberless instances of their lives, played the fool egregiously in earnest; so far as to render it a matter of some doubt whether their wisdom or folly was predominant; or whether they were better intitled to the applause or censure, the admiration or contempt, the love or hatred, of mankind.
Those persons, indeed, who have passed any time behind the scenes of this great theatre, and are thoroughly acquainted not only with the several disguises which are there put on, but also with the fantastic and capricious behaviour of the Passions, who are the managers and directors of this theatre (for as to Reason, the patentee, he is known to be a very idle fellow and seldom to exert himself), may most probably have learned to understand the famous nil admirari of Horace, or in the English phrase, to stare at nothing.
A single bad act no more constitutes a villain in life, than a single bad part on the stage. The passions, like the managers of a playhouse, often force men upon parts without consulting their judgment, and sometimes without any regard to their talents. Thus the man, as well as the player, may condemn what he himself acts; nay, it is common to see vice sit as awkwardly on some men, as the character of Iago would on the honest face of Mr William Mills.
Upon the whole, then, the man of candour and of true understanding is never hasty to condemn. He can censure an imperfection, or even a vice, without rage against the guilty party. In a word, they are the same folly, the same childishness, the same ill-breeding, and the same ill-nature, which raise all the clamours and uproars both in life and on the stage. The worst of men generally have the words rogue and villain most in their mouths, as the lowest of all wretches are the aptest to cry out low in the pit.
BOOK VIII: CONTAINING ABOUT TWO DAYS.
A wonderful long chapter concerning the marvellous; being much the longest of all our introductory chapters.
As we are now entering upon a book in which the course of our history will oblige us to relate some matters of a more strange and surprizing kind than any which have hitherto occurred, it may not be amiss, in the prolegomenous or introductory chapter, to say something of that species of writing which is called the marvellous. To this we shall, as well for the sake of ourselves as of others, endeavour to set some certain bounds, and indeed nothing can be more necessary, as critics [*] of different complexions are here apt to run into very different extremes; for while some are, with M. Dacier, ready to allow, that the same thing which is impossible may be yet probable, [**] others have so little historic or poetic faith, that they believe nothing to be either possible or probable, the like to which hath not occurred to their own observation.
[*] By this word here, and in most other parts of our work, we mean
every reader in the world.
[**] It is happy for M. Dacier that he was not an Irishman.
First, then, I think it may very reasonably be required of every writer, that he keeps within the bounds of possibility; and still remembers that what it is not possible for man to perform, it is scarce possible for man to believe he did perform. This conviction perhaps gave birth to many stories of the antient heathen deities (for most of them are of poetical original). The poet, being desirous to indulge a wanton and extravagant imagination, took refuge in that power, of the extent of which his readers were no judges, or rather which they imagined to be infinite, and consequently they could not be shocked at any prodigies related of it. This hath been strongly urged in defence of Homer's miracles; and it is perhaps a defence; not, as Mr Pope would have it, because Ulysses told a set of foolish lies to the Phaeacians, who were a very dull nation; but because the poet himself wrote to heathens, to whom poetical fables were articles of faith. For my own part, I must confess, so compassionate is my temper, I wish Polypheme had confined himself to his milk diet, and preserved his eye; nor could Ulysses be much more concerned than myself, when his companions were turned into swine by Circe, who showed, I think, afterwards, too much regard for man's flesh to be supposed capable of converting it into bacon. I wish, likewise, with all my heart, that Homer could have known the rule prescribed by Horace, to introduce supernatural agents as seldom as possible. We should not then have seen his gods coming on trivial errands, and often behaving themselves so as not only to forfeit all title to respect, but to become the objects of scorn and derision. A conduct which must have shocked the credulity of a pious and sagacious heathen; and which could never have been defended, unless by agreeing with a supposition to which I have been sometimes almost inclined, that this most glorious poet, as he certainly was, had an intent to burlesque the superstitious faith of his own age and country.
But I have rested too long on a doctrine which can be of no use to a Christian writer; for as he cannot introduce into his works any of that heavenly host which make a part of his creed, so it is horrid puerility to search the heathen theology for any of those deities who have been long since dethroned from their immortality. Lord Shaftesbury observes, that nothing is more cold than the invocation of a muse by a modern; he might have added, that nothing can be more absurd. A modern may with much more elegance invoke a ballad, as some have thought Homer did, or a mug of ale, with the author of Hudibras; which latter may perhaps have inspired much more poetry, as well as prose, than all the liquors of Hippocrene or Helicon.
The only supernatural agents which can in any manner be allowed to us moderns, are ghosts; but of these I would advise an author to be extremely sparing. These are indeed, like arsenic, and other dangerous drugs in physic, to be used with the utmost caution; nor would I advise the introduction of them at all in those works, or by those authors, to which, or to whom, a horse-laugh in the reader would be any great prejudice or mortification.
As for elves and fairies, and other such mummery, I purposely omit the mention of them, as I should be very unwilling to confine within any bounds those surprizing imaginations, for whose vast capacity the limits of human nature are too narrow; whose works are to be considered as a new creation; and who have consequently just right to do what they will with their own.
Man therefore is the highest subject (unless on very extraordinary occasions indeed) which presents itself to the pen of our historian, or of our poet; and, in relating his actions, great care is to be taken that we do not exceed the capacity of the agent we describe.
Nor is possibility alone sufficient to justify us; we must keep likewise within the rules of probability. It is, I think, the opinion of Aristotle; or if not, it is the opinion of some wise man, whose authority will be as weighty when it is as old, “That it is no excuse for a poet who relates what is incredible, that the thing related is really matter of fact.” This may perhaps be allowed true with regard to poetry, but it may be thought impracticable to extend it to the historian; for he is obliged to record matters as he finds them, though they may be of so extraordinary a nature as will require no small degree of historical faith to swallow them. Such was the successless armament of Xerxes described by Herodotus, or the successful expedition of Alexander related by Arrian. Such of later years was the victory of Agincourt obtained by Harry the Fifth, or that of Narva won by Charles the Twelfth of Sweden. All which instances, the more we reflect on them, appear still the more astonishing.
Such facts, however, as they occur in the thread of the story, nay, indeed, as they constitute the essential parts of it, the historian is not only justifiable in recording as they really happened, but indeed would be unpardonable should he omit or alter them. But there are other facts not of such consequence nor so necessary, which, though ever so well attested, may nevertheless be sacrificed to oblivion in complacence to the scepticism of a reader. Such is that memorable story of the ghost of George Villiers, which might with more propriety have been made a present of to Dr Drelincourt, to have kept the ghost of Mrs Veale company, at the head of his Discourse upon Death, than have been introduced into so solemn a work as the History of the Rebellion.
To say the truth, if the historian will confine himself to what really happened, and utterly reject any circumstance, which, though never so well attested, he must be well assured is false, he will sometimes fall into the marvellous, but never into the incredible. He will often raise the wonder and surprize of his reader, but never that incredulous hatred mentioned by Horace. It is by falling into fiction, therefore, that we generally offend against this rule, of deserting probability, which the historian seldom, if ever, quits, till he forsakes his character and commences a writer of romance. In this, however, those historians who relate public transactions, have the advantage of us who confine ourselves to scenes of private life. The credit of the former is by common notoriety supported for a long time; and public records, with the concurrent testimony of many authors, bear evidence to their truth in future ages. Thus a Trajan and an Antoninus, a Nero and a Caligula, have all met with the belief of posterity; and no one doubts but that men so very good, and so very bad, were once the masters of mankind.
But we who deal in private character, who search into the most retired recesses, and draw forth examples of virtue and vice from holes and corners of the world, are in a more dangerous situation. As we have no public notoriety, no concurrent testimony, no records to support and corroborate what we deliver, it becomes us to keep within the limits not only of possibility, but of probability too; and this more especially in painting what is greatly good and amiable. Knavery and folly, though never so exorbitant, will more easily meet with assent; for ill-nature adds great support and strength to faith.
Thus we may, perhaps, with little danger, relate the history of Fisher; who having long owed his bread to the generosity of Mr Derby, and having one morning received a considerable bounty from his hands, yet, in order to possess himself of what remained in his friend's scrutore, concealed himself in a public office of the Temple, through which there was a passage into Mr Derby's chambers. Here he overheard Mr Derby for many hours solacing himself at an entertainment which he that evening gave his friends, and to which Fisher had been invited. During all this time, no tender, no grateful reflections arose to restrain his purpose; but when the poor gentleman had let his company out through the office, Fisher came suddenly from his lurking-place, and walking softly behind his friend into his chamber, discharged a pistol-ball into his head. This may be believed when the bones of Fisher are as rotten as his heart. Nay, perhaps, it will be credited, that the villain went two days afterwards with some young ladies to the play of Hamlet; and with an unaltered countenance heard one of the ladies, who little suspected how near she was to the person, cry out, “Good God! if the man that murdered Mr Derby was now present!” manifesting in this a more seared and callous conscience than even Nero himself; of whom we are told by Suetonius, “that the consciousness of his guilt, after the death of his mother, became immediately intolerable, and so continued; nor could all the congratulations of the soldiers, of the senate, and the people, allay the horrors of his conscience.”
But now, on the other hand, should I tell my reader, that I had known a man whose penetrating genius had enabled him to raise a large fortune in a way where no beginning was chaulked out to him; that he had done this with the most perfect preservation of his integrity, and not only without the least injustice or injury to any one individual person, but with the highest advantage to trade, and a vast increase of the public revenue; that he had expended one part of the income of this fortune in discovering a taste superior to most, by works where the highest dignity was united with the purest simplicity, and another part in displaying a degree of goodness superior to all men, by acts of charity to objects whose only recommendations were their merits, or their wants; that he was most industrious in searching after merit in distress, most eager to relieve it, and then as careful (perhaps too careful) to conceal what he had done; that his house, his furniture, his gardens, his table, his private hospitality, and his public beneficence, all denoted the mind from which they flowed, and were all intrinsically rich and noble, without tinsel, or external ostentation; that he filled every relation in life with the most adequate virtue; that he was most piously religious to his Creator, most zealously loyal to his sovereign; a most tender husband to his wife, a kind relation, a munificent patron, a warm and firm friend, a knowing and a chearful companion, indulgent to his servants, hospitable to his neighbours, charitable to the poor, and benevolent to all mankind. Should I add to these the epithets of wise, brave, elegant, and indeed every other amiable epithet in our language, I might surely say:
Quis credet? nemo Hercule! nemo;
Vel duo, vel nemo;
and yet I know a man who is all I have here described. But a single instance (and I really know not such another) is not sufficient to justify us, while we are writing to thousands who never heard of the person, nor of anything like him. Such rarae aves should be remitted to the epitaph writer, or to some poet who may condescend to hitch him in a distich, or to slide him into a rhime with an air of carelessness and neglect, without giving any offence to the reader.
In the last place, the actions should be such as may not only be within the compass of human agency, and which human agents may probably be supposed to do; but they should be likely for the very actors and characters themselves to have performed; for what may be only wonderful and surprizing in one man, may become improbable, or indeed impossible, when related of another.
This last requisite is what the dramatic critics call conversation of character; and it requires a very extraordinary degree of judgment, and a most exact knowledge of human nature.
It is admirably remarked by a most excellent writer, that zeal can no more hurry a man to act in direct opposition to itself, than a rapid stream can carry a boat against its own current. I will venture to say, that for a man to act in direct contradiction to the dictates of his nature, is, if not impossible, as improbable and as miraculous as anything which can well be conceived. Should the best parts of the story of M. Antoninus be ascribed to Nero, or should the worst incidents of Nero's life be imputed to Antoninus, what would be more shocking to belief than either instance? whereas both these being related of their proper agent, constitute the truly marvellous.
Our modern authors of comedy have fallen almost universally into the error here hinted at; their heroes generally are notorious rogues, and their heroines abandoned jades, during the first four acts; but in the fifth, the former become very worthy gentlemen, and the latter women of virtue and discretion: nor is the writer often so kind as to give himself the least trouble to reconcile or account for this monstrous change and incongruity. There is, indeed, no other reason to be assigned for it, than because the play is drawing to a conclusion; as if it was no less natural in a rogue to repent in the last act of a play, than in the last of his life; which we perceive to be generally the case at Tyburn, a place which might indeed close the scene of some comedies with much propriety, as the heroes in these are most commonly eminent for those very talents which not only bring men to the gallows, but enable them to make an heroic figure when they are there.
Within these few restrictions, I think, every writer may be permitted to deal as much in the wonderful as he pleases; nay, if he thus keeps within the rules of credibility, the more he can surprize the reader the more he will engage his attention, and the more he will charm him. As a genius of the highest rank observes in his fifth chapter of the Bathos, “The great art of all poetry is to mix truth with fiction, in order to join the credible with the surprizing.”
For though every good author will confine himself within the bounds of probability, it is by no means necessary that his characters, or his incidents, should be trite, common, or vulgar; such as happen in every street, or in every house, or which may be met with in the home articles of a newspaper. Nor must he be inhibited from showing many persons and things, which may possibly have never fallen within the knowledge of great part of his readers. If the writer strictly observes the rules above-mentioned, he hath discharged his part; and is then intitled to some faith from his reader, who is indeed guilty of critical infidelity if he disbelieves him.
For want of a portion of such faith, I remember the character of a young lady of quality, which was condemned on the stage for being unnatural, by the unanimous voice of a very large assembly of clerks and apprentices; though it had the previous suffrages of many ladies of the first rank; one of whom, very eminent for her understanding, declared it was the picture of half the young people of her acquaintance.
BOOK IX: CONTAINING TWELVE HOURS.
Of those who lawfully may, and of those who may not, write such histories as this.
Among other good uses for which I have thought proper to institute these several introductory chapters, I have considered them as a kind of mark or stamp, which may hereafter enable a very indifferent reader to distinguish what is true and genuine in this historic kind of writing, from what is false and counterfeit. Indeed, it seems likely that some such mark may shortly become necessary, since the favourable reception which two or three authors have lately procured for their works of this nature from the public, will probably serve as an encouragement to many others to undertake the like. Thus a swarm of foolish novels and monstrous romances will be produced, either to the great impoverishing of booksellers, or to the great loss of time and depravation of morals in the reader; nay, often to the spreading of scandal and calumny, and to the prejudice of the characters of many worthy and honest people.
I question not but the ingenious author of the Spectator was principally induced to prefix Greek and Latin mottos to every paper, from the same consideration of guarding against the pursuit of those scribblers, who having no talents of a writer but what is taught by the writing-master, are yet nowise afraid nor ashamed to assume the same titles with the greatest genius, than their good brother in the fable was of braying in the lion's skin.
By the device therefore of his motto, it became impracticable for any man to presume to imitate the Spectators, without understanding at least one sentence in the learned languages. In the same manner I have now secured myself from the imitation of those who are utterly incapable of any degree of reflection, and whose learning is not equal to an essay.
I would not be here understood to insinuate, that the greatest merit of such historical productions can ever lie in these introductory chapters; but, in fact, those parts which contain mere narrative only, afford much more encouragement to the pen of an imitator, than those which are composed of observation and reflection. Here I mean such imitators as Rowe was of Shakespear, or as Horace hints some of the Romans were of Cato, by bare feet and sour faces.
To invent good stories, and to tell them well, are possibly very rare talents, and yet I have observed few persons who have scrupled to aim at both: and if we examine the romances and novels with which the world abounds, I think we may fairly conclude, that most of the authors would not have attempted to show their teeth (if the expression may be allowed me) in any other way of writing; nor could indeed have strung together a dozen sentences on any other subject whatever.
Scribimus indocti doctique passim, [*]
[*] Each desperate blockhead dares to write:
Verse is the trade of every living wight. FRANCIS.
may be more truly said of the historian and biographer, than of any other species of writing; for all the arts and sciences (even criticism itself) require some little degree of learning and knowledge. Poetry, indeed, may perhaps be thought an exception; but then it demands numbers, or something like numbers: whereas, to the composition of novels and romances, nothing is necessary but paper, pens, and ink, with the manual capacity of using them. This, I conceive, their productions show to be the opinion of the authors themselves: and this must be the opinion of their readers, if indeed there be any such.
Hence we are to derive that universal contempt which the world, who always denominate the whole from the majority, have cast on all historical writers who do not draw their materials from records. And it is the apprehension of this contempt that hath made us so cautiously avoid the term romance, a name with which we might otherwise have been well enough contented. Though, as we have good authority for all our characters, no less indeed than the vast authentic doomsday-book of nature, as is elsewhere hinted, our labours have sufficient title to the name of history. Certainly they deserve some distinction from those works, which one of the wittiest of men regarded only as proceeding from a pruritus, or indeed rather from a looseness of the brain.
But besides the dishonour which is thus cast on one of the most useful as well as entertaining of all kinds of writing, there is just reason to apprehend, that by encouraging such authors we shall propagate much dishonour of another kind; I mean to the characters of many good and valuable members of society; for the dullest writers, no more than the dullest companions, are always inoffensive. They have both enough of language to be indecent and abusive. And surely if the opinion just above cited be true, we cannot wonder that works so nastily derived should be nasty themselves, or have a tendency to make others so.
To prevent therefore, for the future, such intemperate abuses of leisure, of letters, and of the liberty of the press, especially as the world seems at present to be more than usually threatened with them, I shall here venture to mention some qualifications, every one of which are in a pretty high degree necessary to this order of historians.
The first is, genius, without a full vein of which no study, says Horace, can avail us. By genius I would understand that power or rather those powers of the mind, which are capable of penetrating into all things within our reach and knowledge, and of distinguishing their essential differences. These are no other than invention and judgment; and they are both called by the collective name of genius, as they are of those gifts of nature which we bring with us into the world. Concerning each of which many seem to have fallen into very great errors; for by invention, I believe, is generally understood a creative faculty, which would indeed prove most romance writers to have the highest pretensions to it; whereas by invention is really meant no more (and so the word signifies) than discovery, or finding out; or to explain it at large, a quick and sagacious penetration into the true essence of all the objects of our contemplation. This, I think, can rarely exist without the concomitancy of judgment; for how we can be said to have discovered the true essence of two things, without discerning their difference, seems to me hard to conceive. Now this last is the undisputed province of judgment, and yet some few men of wit have agreed with all the dull fellows in the world in representing these two to have been seldom or never the property of one and the same person.
But though they should be so, they are not sufficient for our purpose, without a good share of learning; for which I could again cite the authority of Horace, and of many others, if any was necessary to prove that tools are of no service to a workman, when they are not sharpened by art, or when he wants rules to direct him in his work, or hath no matter to work upon. All these uses are supplied by learning; for nature can only furnish us with capacity; or, as I have chose to illustrate it, with the tools of our profession; learning must fit them for use, must direct them in it, and, lastly, must contribute part at least of the materials. A competent knowledge of history and of the belles-lettres is here absolutely necessary; and without this share of knowledge at least, to affect the character of an historian, is as vain as to endeavour at building a house without timber or mortar, or brick or stone. Homer and Milton, who, though they added the ornament of numbers to their works, were both historians of our order, were masters of all the learning of their times.
Again, there is another sort of knowledge, beyond the power of learning to bestow, and this is to be had by conversation. So necessary is this to the understanding the characters of men, that none are more ignorant of them than those learned pedants whose lives have been entirely consumed in colleges, and among books; for however exquisitely human nature may have been described by writers, the true practical system can be learnt only in the world. Indeed the like happens in every other kind of knowledge. Neither physic nor law are to be practically known from books. Nay, the farmer, the planter, the gardener, must perfect by experience what he hath acquired the rudiments of by reading. How accurately soever the ingenious Mr Miller may have described the plant, he himself would advise his disciple to see it in the garden. As we must perceive, that after the nicest strokes of a Shakespear or a Jonson, of a Wycherly or an Otway, some touches of nature will escape the reader, which the judicious action of a Garrick, of a Cibber, or a Clive, [*] can convey to him; so, on the real stage, the character shows himself in a stronger and bolder light than he can be described. And if this be the case in those fine and nervous descriptions which great authors themselves have taken from life, how much more strongly will it hold when the writer himself takes his lines not from nature, but from books? Such characters are only the faint copy of a copy, and can have neither the justness nor spirit of an original.
[*] There is a peculiar propriety in mentioning this great actor,
and these two most justly celebrated actresses, in this place, as
they have all formed themselves on the study of nature only, and not
on the imitation of their predecessors. Hence they have been able to
excel all who have gone before them; a degree of merit which the
servile herd of imitators can never possibly arrive at.
Now this conversation in our historian must be universal, that is, with all ranks and degrees of men; for the knowledge of what is called high life will not instruct him in low; nor, e converso, will his being acquainted with the inferior part of mankind teach him the manners of the superior. And though it may be thought that the knowledge of either may sufficiently enable him to describe at least that in which he hath been conversant, yet he will even here fall greatly short of perfection; for the follies of either rank do in reality illustrate each other. For instance, the affectation of high life appears more glaring and ridiculous from the simplicity of the low; and again, the rudeness and barbarity of this latter, strikes with much stronger ideas of absurdity, when contrasted with, and opposed to, the politeness which controuls the former. Besides, to say the truth, the manners of our historian will be improved by both these conversations; for in the one he will easily find examples of plainness, honesty, and sincerity; in the other of refinement, elegance, and a liberality of spirit; which last quality I myself have scarce ever seen in men of low birth and education.
Nor will all the qualities I have hitherto given my historian avail him, unless he have what is generally meant by a good heart, and be capable of feeling. The author who will make me weep, says Horace, must first weep himself. In reality, no man can paint a distress well which he doth not feel while he is painting it; nor do I doubt, but that the most pathetic and affecting scenes have been writ with tears. In the same manner it is with the ridiculous. I am convinced I never make my reader laugh heartily but where I have laughed before him; unless it should happen at any time, that instead of laughing with me he should be inclined to laugh at me. Perhaps this may have been the case at some passages in this chapter, from which apprehension I will here put an end to it.
BOOK X: IN WHICH THE HISTORY GOES FORWARD ABOUT TWELVE HOURS.
Containing instructions very necessary to be perused by modern critics.
Reader, it is impossible we should know what sort of person thou wilt be; for, perhaps, thou may'st be as learned in human nature as Shakespear himself was, and, perhaps, thou may'st be no wiser than some of his editors. Now, lest this latter should be the case, we think proper, before we go any farther together, to give thee a few wholesome admonitions; that thou may'st not as grossly misunderstand and misrepresent us, as some of the said editors have misunderstood and misrepresented their author.
First, then, we warn thee not too hastily to condemn any of the incidents in this our history as impertinent and foreign to our main design, because thou dost not immediately conceive in what manner such incident may conduce to that design. This work may, indeed, be considered as a great creation of our own; and for a little reptile of a critic to presume to find fault with any of its parts, without knowing the manner in which the whole is connected, and before he comes to the final catastrophe, is a most presumptuous absurdity. The allusion and metaphor we have here made use of, we must acknowledge to be infinitely too great for our occasion; but there is, indeed, no other, which is at all adequate to express the difference between an author of the first rate and a critic of the lowest.
Another caution we would give thee, my good reptile, is, that thou dost not find out too near a resemblance between certain characters here introduced; as, for instance, between the landlady who appears in the seventh book and her in the ninth. Thou art to know, friend, that there are certain characteristics in which most individuals of every profession and occupation agree. To be able to preserve these characteristics, and at the same time to diversify their operations, is one talent of a good writer. Again, to mark the nice distinction between two persons actuated by the same vice or folly is another; and, as this last talent is found in very few writers, so is the true discernment of it found in as few readers; though, I believe, the observation of this forms a very principal pleasure in those who are capable of the discovery; every person, for instance, can distinguish between Sir Epicure Mammon and Sir Fopling Flutter; but to note the difference between Sir Fopling Flutter and Sir Courtly Nice requires a more exquisite judgment: for want of which, vulgar spectators of plays very often do great injustice in the theatre; where I have sometimes known a poet in danger of being convicted as a thief, upon much worse evidence than the resemblance of hands hath been held to be in the law. In reality, I apprehend every amorous widow on the stage would run the hazard of being condemned as a servile imitation of Dido, but that happily very few of our play-house critics understand enough of Latin to read Virgil.
In the next place, we must admonish thee, my worthy friend (for, perhaps, thy heart may be better than thy head), not to condemn a character as a bad one, because it is not perfectly a good one. If thou dost delight in these models of perfection, there are books enow written to gratify thy taste; but, as we have not, in the course of our conversation, ever happened to meet with any such person, we have not chosen to introduce any such here. To say the truth, I a little question whether mere man ever arrived at this consummate degree of excellence, as well as whether there hath ever existed a monster bad enough to verify that:
nulla virtute redemptum
A vitiis [*]
[*] Whose vices are not allayed with a single virtue
in Juvenal; nor do I, indeed, conceive the good purposes served by inserting characters of such angelic perfection, or such diabolical depravity, in any work of invention; since, from contemplating either, the mind of man is more likely to be overwhelmed with sorrow and shame than to draw any good uses from such patterns; for in the former instance he may be both concerned and ashamed to see a pattern of excellence in his nature, which he may reasonably despair of ever arriving at; and in contemplating the latter he may be no less affected with those uneasy sensations, at seeing the nature of which he is a partaker degraded into so odious and detestable a creature.
In fact, if there be enough of goodness in a character to engage the admiration and affection of a well-disposed mind, though there should appear some of those little blemishes quas humana parum cavit natura, they will raise our compassion rather than our abhorrence. Indeed, nothing can be of more moral use than the imperfections which are seen in examples of this kind; since such form a kind of surprize, more apt to affect and dwell upon our minds than the faults of very vicious and wicked persons. The foibles and vices of men, in whom there is great mixture of good, become more glaring objects from the virtues which contrast them and shew their deformity; and when we find such vices attended with their evil consequence to our favourite characters, we are not only taught to shun them for our own sake, but to hate them for the mischiefs they have already brought on those we love.
And now, my friend, having given you these few admonitions, we will, if you please, once more set forward with our history.
BOOK XI: CONTAINING ABOUT THREE DAYS.
A crust for the critics.
In our last initial chapter we may be supposed to have treated that formidable set of men who are called critics with more freedom than becomes us; since they exact, and indeed generally receive, great condescension from authors. We shall in this, therefore, give the reasons of our conduct to this august body; and here we shall, perhaps, place them in a light in which they have not hitherto been seen.
This word critic is of Greek derivation, and signifies judgment. Hence I presume some persons who have not understood the original, and have seen the English translation of the primitive, have concluded that it meant judgment in the legal sense, in which it is frequently used as equivalent to condemnation.
I am the rather inclined to be of that opinion, as the greatest number of critics hath of late years been found amongst the lawyers. Many of these gentlemen, from despair, perhaps, of ever rising to the bench in Westminster-hall, have placed themselves on the benches at the playhouse, where they have exerted their judicial capacity, and have given judgment, i.e., condemned without mercy.
The gentlemen would, perhaps, be well enough pleased, if we were to leave them thus compared to one of the most important and honourable offices in the commonwealth, and, if we intended to apply to their favour, we would do so; but, as we design to deal very sincerely and plainly too with them, we must remind them of another officer of justice of a much lower rank; to whom, as they not only pronounce, but execute, their own judgment, they bear likewise some remote resemblance.
But in reality there is another light, in which these modern critics may, with great justice and propriety, be seen; and this is that of a common slanderer. If a person who prys into the characters of others, with no other design but to discover their faults, and to publish them to the world, deserves the title of a slanderer of the reputations of men, why should not a critic, who reads with the same malevolent view, be as properly stiled the slanderer of the reputation of books?
Vice hath not, I believe, a more abject slave; society produces not a more odious vermin; nor can the devil receive a guest more worthy of him, nor possibly more welcome to him, than a slanderer. The world, I am afraid, regards not this monster with half the abhorrence which he deserves; and I am more afraid to assign the reason of this criminal lenity shown towards him; yet it is certain that the thief looks innocent in the comparison; nay, the murderer himself can seldom stand in competition with his guilt: for slander is a more cruel weapon than a sword, as the wounds which the former gives are always incurable. One method, indeed, there is of killing, and that the basest and most execrable of all, which bears an exact analogy to the vice here disclaimed against, and that is poison: a means of revenge so base, and yet so horrible, that it was once wisely distinguished by our laws from all other murders, in the peculiar severity of the punishment.
Besides the dreadful mischiefs done by slander, and the baseness of the means by which they are effected, there are other circumstances that highly aggravate its atrocious quality; for it often proceeds from no provocation, and seldom promises itself any reward, unless some black and infernal mind may propose a reward in the thoughts of having procured the ruin and misery of another.
Shakespear hath nobly touched this vice, when he says:
“Who steals my purse steals trash; 't is something, nothing;
'Twas mine, 'tis his, and hath been slave to thousands:
But he that filches from me my good name
Robs me of that WHICH NOT ENRICHES HIM,
BUT MAKES ME POOR INDEED.”
With all this my good reader will doubtless agree; but much of it will probably seem too severe, when applied to the slanderer of books. But let it here be considered that both proceed from the same wicked disposition of mind, and are alike void of the excuse of temptation. Nor shall we conclude the injury done this way to be very slight, when we consider a book as the author's offspring, and indeed as the child of his brain.
The reader who hath suffered his muse to continue hitherto in a virgin state can have but a very inadequate idea of this kind of paternal fondness. To such we may parody the tender exclamation of Macduff, “Alas! Thou hast written no book.” But the author whose muse hath brought forth will feel the pathetic strain, perhaps will accompany me with tears (especially if his darling be already no more), while I mention the uneasiness with which the big muse bears about her burden, the painful labour with which she produces it, and, lastly, the care, the fondness, with which the tender father nourishes his favourite, till it be brought to maturity, and produced into the world.
Nor is there any paternal fondness which seems less to savour of absolute instinct, and which may so well be reconciled to worldly wisdom, as this. These children may most truly be called the riches of their father; and many of them have with true filial piety fed their parent in his old age: so that not only the affection, but the interest, of the author may be highly injured by these slanderers, whose poisonous breath brings his book to an untimely end.
Lastly, the slander of a book is, in truth, the slander of the author: for, as no one can call another bastard, without calling the mother a whore, so neither can any one give the names of sad stuff, horrid nonsense, &c., to a book, without calling the author a blockhead; which, though in a moral sense it is a preferable appellation to that of villain, is perhaps rather more injurious to his worldly interest.
Now, however ludicrous all this may appear to some, others, I doubt not, will feel and acknowledge the truth of it; nay, may, perhaps, think I have not treated the subject with decent solemnity; but surely a man may speak truth with a smiling countenance. In reality, to depreciate a book maliciously, or even wantonly, is at least a very ill-natured office; and a morose snarling critic may, I believe, be suspected to be a bad man.
I will therefore endeavour, in the remaining part of this chapter, to explain the marks of this character, and to show what criticism I here intend to obviate: for I can never be understood, unless by the very persons here meant, to insinuate that there are no proper judges of writing, or to endeavour to exclude from the commonwealth of literature any of those noble critics to whose labours the learned world are so greatly indebted. Such were Aristotle, Horace, and Longinus, among the antients, Dacier and Bossu among the French, and some perhaps among us; who have certainly been duly authorised to execute at least a judicial authority in foro literario.
But without ascertaining all the proper qualifications of a critic, which I have touched on elsewhere, I think I may very boldly object to the censures of any one past upon works which he hath not himself read. Such censurers as these, whether they speak from their own guess or suspicion, or from the report and opinion of others, may properly be said to slander the reputation of the book they condemn.
Such may likewise be suspected of deserving this character, who, without assigning any particular faults, condemn the whole in general defamatory terms; such as vile, dull, d—d stuff, &c., and particularly by the use of the monosyllable low; a word which becomes the mouth of no critic who is not RIGHT HONOURABLE.
Again, though there may be some faults justly assigned in the work, yet, if those are not in the most essential parts, or if they are compensated by greater beauties, it will savour rather of the malice of a slanderer than of the judgment of a true critic to pass a severe sentence upon the whole, merely on account of some vicious part. This is directly contrary to the sentiments of Horace:
Verum ubi plura nitent in carmine, non ego paucis
Offendor maculis, quas aut incuria fudit,
Aut humana parum cavit natura,
But where the beauties, more in number, shine,
I am not angry, when a casual line
(That with some trivial faults unequal flows)
A careless hand or human frailty shows. MR FRANCIS.
For, as Martial says, Aliter non fit, Avite, liber. No book can be otherwise composed. All beauty of character, as well as of countenance, and indeed of everything human, is to be tried in this manner. Cruel indeed would it be if such a work as this history, which hath employed some thousands of hours in the composing, should be liable to be condemned, because some particular chapter, or perhaps chapters, may be obnoxious to very just and sensible objections. And yet nothing is more common than the most rigorous sentence upon books supported by such objections, which, if they were rightly taken (and that they are not always), do by no means go to the merit of the whole. In the theatre especially, a single expression which doth not coincide with the taste of the audience, or with any individual critic of that audience, is sure to be hissed; and one scene which should be disapproved would hazard the whole piece. To write within such severe rules as these is as impossible as to live up to some splenetic opinions: and if we judge according to the sentiments of some critics, and of some Christians, no author will be saved in this world, and no man in the next.
BOOK XII: CONTAINING THE SAME INDIVIDUAL TIME WITH THE FORMER.
Showing what is to be deemed plagiarism in a modern author, and what is to be considered as lawful prize.
The learned reader must have observed that in the course of this mighty work, I have often translated passages out of the best antient authors, without quoting the original, or without taking the least notice of the book from whence they were borrowed.
This conduct in writing is placed in a very proper light by the ingenious Abbé Bannier, in his preface to his Mythology, a work of great erudition and of equal judgment. “It will be easy,” says he, “for the reader to observe that I have frequently had greater regard to him than to my own reputation: for an author certainly pays him a considerable compliment, when, for his sake, he suppresses learned quotations that come in his way, and which would have cost him but the bare trouble of transcribing.”
To fill up a work with these scraps may, indeed, be considered as a downright cheat on the learned world, who are by such means imposed upon to buy a second time, in fragments and by retail, what they have already in gross, if not in their memories, upon their shelves; and it is still more cruel upon the illiterate, who are drawn in to pay for what is of no manner of use to them. A writer who intermixes great quantity of Greek and Latin with his works, deals by the ladies and fine gentlemen in the same paultry manner with which they are treated by the auctioneers, who often endeavour so to confound and mix up their lots, that, in order to purchase the commodity you want, you are obliged at the same time to purchase that which will do you no service.
And yet, as there is no conduct so fair and disinterested but that it may be misunderstood by ignorance, and misrepresented by malice, I have been sometimes tempted to preserve my own reputation at the expense of my reader, and to transcribe the original, or at least to quote chapter and verse, whenever I have made use either of the thought or expression of another. I am, indeed, in some doubt that I have often suffered by the contrary method; and that, by suppressing the original author's name, I have been rather suspected of plagiarism than reputed to act from the amiable motive assigned by that justly celebrated Frenchman.
Now, to obviate all such imputations for the future, I do here confess and justify the fact. The antients may be considered as a rich common, where every person who hath the smallest tenement in Parnassus hath a free right to fatten his muse. Or, to place it in a clearer light, we moderns are to the antients what the poor are to the rich. By the poor here I mean that large and venerable body which, in English, we call the mob. Now, whoever hath had the honour to be admitted to any degree of intimacy with this mob, must well know that it is one of their established maxims to plunder and pillage their rich neighbours without any reluctance; and that this is held to be neither sin nor shame among them. And so constantly do they abide and act by this maxim, that, in every parish almost in the kingdom, there is a kind of confederacy ever carrying on against a certain person of opulence called the squire, whose property is considered as free-booty by all his poor neighbours; who, as they conclude that there is no manner of guilt in such depredations, look upon it as a point of honour and moral obligation to conceal, and to preserve each other from punishment on all such occasions.
In like manner are the antients, such as Homer, Virgil, Horace, Cicero, and the rest, to be esteemed among us writers, as so many wealthy squires, from whom we, the poor of Parnassus, claim an immemorial custom of taking whatever we can come at. This liberty I demand, and this I am as ready to allow again to my poor neighbours in their turn. All I profess, and all I require of my brethren, is to maintain the same strict honesty among ourselves which the mob show to one another. To steal from one another is indeed highly criminal and indecent; for this may be strictly stiled defrauding the poor (sometimes perhaps those who are poorer than ourselves), or, to set it under the most opprobrious colours, robbing the spittal.
Since, therefore, upon the strictest examination, my own conscience cannot lay any such pitiful theft to my charge, I am contented to plead guilty to the former accusation; nor shall I ever scruple to take to myself any passage which I shall find in an antient author to my purpose, without setting down the name of the author from whence it was taken. Nay, I absolutely claim a property in all such sentiments the moment they are transcribed into my writings, and I expect all readers henceforwards to regard them as purely and entirely my own. This claim, however, I desire to be allowed me only on condition that I preserve strict honesty towards my poor brethren, from whom, if ever I borrow any of that little of which they are possessed, I shall never fail to put their mark upon it, that it may be at all times ready to be restored to the right owner.
The omission of this was highly blameable in one Mr Moore, who, having formerly borrowed some lines of Pope and company, took the liberty to transcribe six of them into his play of the Rival Modes. Mr Pope, however, very luckily found them in the said play, and, laying violent hands on his own property, transferred it back again into his own works; and, for a further punishment, imprisoned the said Moore in the loathsome dungeon of the Dunciad, where his unhappy memory now remains, and eternally will remain, as a proper punishment for such his unjust dealings in the poetical trade.
BOOK XIII: CONTAINING THE SPACE OF TWELVE DAYS.
An Invocation.
Come, bright love of fame, inspire my glowing breast: not thee I will call, who, over swelling tides of blood and tears, dost bear the heroe on to glory, while sighs of millions waft his spreading sails; but thee, fair, gentle maid, whom Mnesis, happy nymph, first on the banks of Hebrus did produce. Thee, whom Maeonia educated, whom Mantua charmed, and who, on that fair hill which overlooks the proud metropolis of Britain, sat’st, with thy Milton, sweetly tuning the heroic lyre; fill my ravished fancy with the hopes of charming ages yet to come. Foretel me that some tender maid, whose grandmother is yet unborn, hereafter, when, under the fictitious name of Sophia, she reads the real worth which once existed in my Charlotte, shall from her sympathetic breast send forth the heaving sigh. Do thou teach me not only to foresee, but to enjoy, nay, even to feed on future praise. Comfort me by a solemn assurance, that when the little parlour in which I sit at this instant shall be reduced to a worse furnished box, I shall be read with honour by those who never knew nor saw me, and whom I shall neither know nor see.
And thou, much plumper dame, whom no airy forms nor phantoms of imagination cloathe; whom the well-seasoned beef, and pudding richly stained with plums, delight: thee I call: of whom in a treckschuyte, in some Dutch canal, the fat ufrow gelt, impregnated by a jolly merchant of Amsterdam, was delivered: in Grub-street school didst thou suck in the elements of thy erudition. Here hast thou, in thy pongi age, taught poetry to tickle not the fancy, but the pride of the patron. Comedy from thee learns a grave and solemn air; while tragedy storms aloud, and rends th’ affrighted theatres with its thunders. To soothe thy wearied limbs in slumber, Alderman History tells his tedious tale; and, again, to awaken thee, Monsieur Romance performs his ponging tricks of dexterity. Nor less thy well-fed bookseller obeys thy influence. By thy advice the heavy, unread, folio lump, which long had dozed on the dusty shelf, piecemealed into numbers, runs nimbly through the nation. Instructed by thee, some books, like quacks, impose on the world by promising wonders; while others turn beaus, and trust all their merits to a gilded outside. Come, thou jolly substance, with thy shining face, keep back thy inspiration, but hold forth thy tempting rewards; thy shining, chinking heap; thy quickly convertible bank-bill, big with unseen riches; thy often-varying stock; the warm, the comfortable house; and, lastly, a fair portion of that bounteous mother, whose flowing breasts yield redundant sustenance for all her numerous offspring, did not some too greedily and wantonly drive their brethren from the teat. Come thou, and if I am too tasteless of thy valuable treasures, warm my heart with the transporting thought of conveying them to others. Tell me, that through thy bounty, the ponging babes, whose innocent play hath often been interrupted by my labours, may one time be amply rewarded for them.
And now, this ill-yoked pair, this lean shadow and this fat substance, have prompted me to write, whose assistance shall I invoke to direct my pen?
First, Genius; thou gift of Heaven; without whose aid in vain we struggle against the stream of nature. Thou who dost sow the generous seeds which art nourishes, and brings to perfection. Do thou kindly take me by the hand, and lead me through all the mazes, the winding labyrinths of nature. Initiate me into all those mysteries which profane eyes never beheld. Teach me, which to thee is no difficult task, to know mankind better than they know themselves. Remove that mist which dims the intellects of mortals, and causes them to adore men for their art, or to detest them for their cunning, in deceiving others, when they are, in reality, the objects only of ridicule, for deceiving themselves. Strip off the thin disguise of wisdom from self-conceit, of plenty from avarice, and of glory from ambition. Come, thou that hast inspired thy Aristophanes, thy Lucian, thy Cervantes, thy Rabelais, thy Molière, thy Shakespear, thy Swift, thy Marivaux, fill my pages with humour; till mankind learn the good-nature to laugh only at the follies of others, and the humility to grieve at their own.
And thou, almost the constant attendant on true genius, Humanity, bring all thy tender sensations. If thou hast already disposed of them all between thy Allen and thy Lyttleton, steal them a little while from their bosoms. Not without these the tender scene is painted. From these alone proceed the noble, disinterested friendship, the melting love, the generous sentiment, the ardent gratitude, the soft compassion, the candid opinion; and all those strong energies of a good mind, which fill the moistened eyes with tears, the glowing cheeks with blood, and swell the heart with tides of grief, joy, and benevolence.
And thou, O Learning! (for without thy assistance nothing pure, nothing correct, can genius produce) do thou guide my pen. Thee in thy favourite fields, where the limpid, gently-rolling Thames washes thy Etonian banks, in early youth I have worshipped. To thee, at thy birchen altar, with true Spartan devotion, I have sacrificed my blood. Come then, and from thy vast, luxuriant stores, in long antiquity piled up, pour forth the rich profusion. Open thy Maeonian and thy Mantuan coffers, with whatever else includes thy philosophic, thy poetic, and thy historical treasures, whether with Greek or Roman characters thou hast chosen to inscribe the ponderous chests: give me a while that key to all thy treasures, which to thy Warburton thou hast entrusted.
Lastly, come Experience, long conversant with the wise, the good, the learned, and the polite. Nor with them only, but with every kind of character, from the minister at his levee, to the bailiff in his ponging-house; from the dutchess at her drum, to the landlady behind her bar. From thee only can the manners of mankind be known; to which the recluse pedant, however great his parts or extensive his learning may be, hath ever been a stranger.
Come all these, and more, if possible; for arduous is the task I have undertaken; and, without all your assistance, will, I find, be too heavy for me to support. But if you all smile on my labours I hope still to bring them to a happy conclusion.
BOOK XIV: CONTAINING TWO DAYS.
An essay to prove that an author will write the better for having some knowledge of the subject on which he writes.
As several gentlemen in these times, by the wonderful force of genius only, without the least assistance of learning, perhaps, without being well able to read, have made a considerable figure in the republic of letters; the modern critics, I am told, have lately begun to assert, that all kind of learning is entirely useless to a writer; and, indeed, no other than a kind of fetters on the natural sprightliness and activity of the imagination, which is thus weighed down, and prevented from soaring to those high flights which otherwise it would be able to reach.
This doctrine, I am afraid, is at present carried much too far: for why should writing differ so much from all other arts? The nimbleness of a dancing-master is not at all prejudiced by being taught to move; nor doth any mechanic, I believe, exercise his tools the worse by having learnt to use them. For my own part, I cannot conceive that Homer or Virgil would have writ with more fire, if instead of being masters of all the learning of their times, they had been as ignorant as most of the authors of the present age. Nor do I believe that all the imagination, fire, and judgment of Pitt, could have produced those orations that have made the senate of England, in these our times, a rival in eloquence to Greece and Rome, if he had not been so well read in the writings of Demosthenes and Cicero, as to have transferred their whole spirit into his speeches, and, with their spirit, their knowledge too.
I would not here be understood to insist on the same fund of learning in any of my brethren, as Cicero persuades us is necessary to the composition of an orator. On the contrary, very little reading is, I conceive, necessary to the poet, less to the critic, and the least of all to the politician. For the first, perhaps, Byshe's Art of Poetry, and a few of our modern poets, may suffice; for the second, a moderate heap of plays; and, for the last, an indifferent collection of political journals.
To say the truth, I require no more than that a man should have some little knowledge of the subject on which he treats, according to the old maxim of law, Quam quisque nôrit artem in eâ se exerceat. With this alone a writer may sometimes do tolerably well; and, indeed, without this, all the other learning in the world will stand him in little stead.
For instance, let us suppose that Homer and Virgil, Aristotle and Cicero, Thucydides and Livy, could have met all together, and have clubbed their several talents to have composed a treatise on the art of dancing: I believe it will be readily agreed they could not have equalled the excellent treatise which Mr Essex hath given us on that subject, entitled, The Rudiments of Genteel Education. And, indeed, should the excellent Mr Broughton be prevailed on to set fist to paper, and to complete the above-said rudiments, by delivering down the true principles of athletics, I question whether the world will have any cause to lament, that none of the great writers, either antient or modern, have ever treated about that noble and useful art.
To avoid a multiplicity of examples in so plain a case, and to come at once to my point, I am apt to conceive, that one reason why many English writers have totally failed in describing the manners of upper life, may possibly be, that in reality they know nothing of it.
This is a knowledge unhappily not in the power of many authors to arrive at. Books will give us a very imperfect idea of it; nor will the stage a much better: the fine gentleman formed upon reading the former will almost always turn out a pedant, and he who forms himself upon the latter, a coxcomb.
Nor are the characters drawn from these models better supported. Vanbrugh and Congreve copied nature; but they who copy them draw as unlike the present age as Hogarth would do if he was to paint a rout or a drum in the dresses of Titian and of Vandyke. In short, imitation here will not do the business. The picture must be after Nature herself. A true knowledge of the world is gained only by conversation, and the manners of every rank must be seen in order to be known.
Now it happens that this higher order of mortals is not to be seen, like all the rest of the human species, for nothing, in the streets, shops, and coffee-houses; nor are they shown, like the upper rank of animals, for so much a-piece. In short, this is a sight to which no persons are admitted without one or other of these qualifications, viz., either birth or fortune, or, what is equivalent to both, the honourable profession of a gamester. And, very unluckily for the world, persons so qualified very seldom care to take upon themselves the bad trade of writing; which is generally entered upon by the lower and poorer sort, as it is a trade which many think requires no kind of stock to set up with.
Hence those strange monsters in lace and embroidery, in silks and brocades, with vast wigs and hoops; which, under the name of lords and ladies, strut the stage, to the great delight of attorneys and their clerks in the pit, and of the citizens and their apprentices in the galleries; and which are no more to be found in real life than the centaur, the chimera, or any other creature of mere fiction. But to let my reader into a secret, this knowledge of upper life, though very necessary for preventing mistakes, is no very great resource to a writer whose province is comedy, or that kind of novels which, like this I am writing, is of the comic class.
What Mr Pope says of women is very applicable to most in this station, who are, indeed, so entirely made up of form and affectation, that they have no character at all, at least none which appears. I will venture to say the highest life is much the dullest, and affords very little humour or entertainment. The various callings in lower spheres produce the great variety of humorous characters; whereas here, except among the few who are engaged in the pursuit of ambition, and the fewer still who have a relish for pleasure, all is vanity and servile imitation. Dressing and cards, eating and drinking, bowing and courtesying, make up the business of their lives.
Some there are, however, of this rank upon whom passion exercises its tyranny, and hurries them far beyond the bounds which decorum prescribes; of these the ladies are as much distinguished by their noble intrepidity, and a certain superior contempt of reputation, from the frail ones of meaner degree, as a virtuous woman of quality is by the elegance and delicacy of her sentiments from the honest wife of a yeoman and shopkeeper. Lady Bellaston was of this intrepid character; but let not my country readers conclude from her, that this is the general conduct of women of fashion, or that we mean to represent them as such. They might as well suppose that every clergyman was represented by Thwackum, or every soldier by ensign Northerton.
There is not, indeed, a greater error than that which universally prevails among the vulgar, who, borrowing their opinion from some ignorant satirists, have affixed the character of lewdness to these times. On the contrary, I am convinced there never was less of love intrigue carried on among persons of condition than now. Our present women have been taught by their mothers to fix their thoughts only on ambition and vanity, and to despise the pleasures of love as unworthy their regard; and being afterwards, by the care of such mothers, married without having husbands, they seem pretty well confirmed in the justness of those sentiments; whence they content themselves, for the dull remainder of life, with the pursuit of more innocent, but I am afraid more childish amusements, the bare mention of which would ill suit with the dignity of this history. In my humble opinion, the true characteristic of the present beau monde is rather folly than vice, and the only epithet which it deserves is that of frivolous.
BOOK XV: IN WHICH THE HISTORY ADVANCES ABOUT TWO DAYS.
Too short to need a preface.
There are a set of religious, or rather moral writers, who teach that virtue is the certain road to happiness, and vice to misery, in this world. A very wholesome and comfortable doctrine, and to which we have but one objection, namely, that it is not true.
Indeed, if by virtue these writers mean the exercise of those cardinal virtues, which like good housewives stay at home, and mind only the business of their own family, I shall very readily concede the point; for so surely do all these contribute and lead to happiness, that I could almost wish, in violation of all the antient and modern sages, to call them rather by the name of wisdom, than by that of virtue; for, with regard to this life, no system, I conceive, was ever wiser than that of the antient Epicureans, who held this wisdom to constitute the chief good; nor foolisher than that of their opposites, those modern epicures, who place all felicity in the abundant gratification of every sensual appetite.
But if by virtue is meant (as I almost think it ought) a certain relative quality, which is always busying itself without-doors, and seems as much interested in pursuing the good of others as its own; I cannot so easily agree that this is the surest way to human happiness; because I am afraid we must then include poverty and contempt, with all the mischiefs which backbiting, envy, and ingratitude, can bring on mankind, in our idea of happiness; nay, sometimes perhaps we shall be obliged to wait upon the said happiness to a jail; since many by the above virtue have brought themselves thither.
I have not now leisure to enter upon so large a field of speculation, as here seems opening upon me; my design was to wipe off a doctrine that lay in my way; since, while Mr Jones was acting the most virtuous part imaginable in labouring to preserve his fellow-creatures from destruction, the devil, or some other evil spirit, one perhaps cloathed in human flesh, was hard at work to make him completely miserable in the ruin of his Sophia.
This therefore would seem an exception to the above rule, if indeed it was a rule; but as we have in our voyage through life seen so many other exceptions to it, we chuse to dispute the doctrine on which it is founded, which we don't apprehend to be Christian, which we are convinced is not true, and which is indeed destructive of one of the noblest arguments that reason alone can furnish for the belief of immortality.
But as the reader's curiosity (if he hath any) must be now awake, and hungry, we shall provide to feed it as fast as we can.
BOOK XVI: CONTAINING THE SPACE OF FIVE DAYS.
Of prologues.
I have heard of a dramatic writer who used to say, he would rather write a play than a prologue; in like manner, I think, I can with less pains write one of the books of this history than the prefatory chapter to each of them.
To say the truth, I believe many a hearty curse hath been devoted on the head of that author who first instituted the method of prefixing to his play that portion of matter which is called the prologue; and which at first was part of the piece itself, but of latter years hath had usually so little connexion with the drama before which it stands, that the prologue to one play might as well serve for any other. Those indeed of more modern date, seem all to be written on the same three topics, viz., an abuse of the taste of the town, a condemnation of all contemporary authors, and an eulogium on the performance just about to be represented. The sentiments in all these are very little varied, nor is it possible they should; and indeed I have often wondered at the great invention of authors, who have been capable of finding such various phrases to express the same thing.
In like manner I apprehend, some future historian (if any one shall do me the honour of imitating my manner) will, after much scratching his pate, bestow some good wishes on my memory, for having first established these several initial chapters; most of which, like modern prologues, may as properly be prefixed to any other book in this history as to that which they introduce, or indeed to any other history as to this.
But however authors may suffer by either of these inventions, the reader will find sufficient emolument in the one as the spectator hath long found in the other.
First, it is well known that the prologue serves the critic for an opportunity to try his faculty of hissing, and to tune his cat-call to the best advantage; by which means, I have known those musical instruments so well prepared, that they have been able to play in full concert at the first rising of the curtain.
The same advantages may be drawn from these chapters, in which the critic will be always sure of meeting with something that may serve as a whetstone to his noble spirit; so that he may fall with a more hungry appetite for censure on the history itself. And here his sagacity must make it needless to observe how artfully these chapters are calculated for that excellent purpose; for in these we have always taken care to intersperse somewhat of the sour or acid kind, in order to sharpen and stimulate the said spirit of criticism.
Again, the indolent reader, as well as spectator, finds great advantage from both these; for, as they are not obliged either to see the one or read the others, and both the play and the book are thus protracted, by the former they have a quarter of an hour longer allowed them to sit at dinner, and by the latter they have the advantage of beginning to read at the fourth or fifth page instead of the first, a matter by no means of trivial consequence to persons who read books with no other view than to say they have read them, a more general motive to reading than is commonly imagined; and from which not only law books, and good books, but the pages of Homer and Virgil, of Swift and Cervantes, have been often turned over.
Many other are the emoluments which arise from both these, but they are for the most part so obvious, that we shall not at present stay to enumerate them; especially since it occurs to us that the principal merit of both the prologue and the preface is that they be short.
BOOK XVII: CONTAINING THREE DAYS.
Containing a portion of introductory writing.
When a comic writer hath made his principal characters as happy as he can, or when a tragic writer hath brought them to the highest pitch of human misery, they both conclude their business to be done, and that their work is come to a period.
Had we been of the tragic complexion, the reader must now allow we were very nearly arrived at this period, since it would be difficult for the devil, or any of his representatives on earth, to have contrived much greater torments for poor Jones than those in which we left him in the last chapter; and as for Sophia, a good-natured woman would hardly wish more uneasiness to a rival than what she must at present be supposed to feel. What then remains to complete the tragedy but a murder or two and a few moral sentences!
But to bring our favourites out of their present anguish and distress, and to land them at last on the shore of happiness, seems a much harder task; a task indeed so hard that we do not undertake to execute it. In regard to Sophia, it is more than probable that we shall somewhere or other provide a good husband for her in the end – either Blifil, or my lord, or somebody else; but as to poor Jones, such are the calamities in which he is at present involved, owing to his imprudence, by which if a man doth not become felon to the world, he is at least a felo de se; so destitute is he now of friends, and so persecuted by enemies, that we almost despair of bringing him to any good; and if our reader delights in seeing executions, I think he ought not to lose any time in taking a first row at Tyburn.
This I faithfully promise, that, notwithstanding any affection which we may be supposed to have for this rogue, whom we have unfortunately made our heroe, we will lend him none of that supernatural assistance with which we are entrusted, upon condition that we use it only on very important occasions. If he doth not therefore find some natural means of fairly extricating himself from all his distresses, we will do no violence to the truth and dignity of history for his sake; for we had rather relate that he was hanged at Tyburn (which may very probably be the case) than forfeit our integrity, or shock the faith of our reader.
In this the antients had a great advantage over the moderns. Their mythology, which was at that time more firmly believed by the vulgar than any religion is at present, gave them always an opportunity of delivering a favourite heroe. Their deities were always ready at the writer's elbow, to execute any of his purposes; and the more extraordinary the invention was, the greater was the surprize and delight of the credulous reader. Those writers could with greater ease have conveyed a heroe from one country to another, nay from one world to another, and have brought him back again, than a poor circumscribed modern can deliver him from a jail.
The Arabians and Persians had an equal advantage in writing their tales from the genii and fairies, which they believe in as an article of their faith, upon the authority of the Koran itself.
But we have none of these helps. To natural means alone we are confined; let us try therefore what, by these means, may be done for poor Jones; though to confess the truth, something whispers me in the ear that he doth not yet know the worst of his fortune; and that a more shocking piece of news than any he hath yet heard remains for him in the unopened leaves of fate.
BOOK XVIII: CONTAINING ABOUT SIX DAYS.
A farewel to the reader.
We are now, reader, arrived at the last stage of our long journey. As we have, therefore, travelled together through so many pages, let us behave to one another like fellow-travellers in a stage coach, who have passed several days in the company of each other; and who, notwithstanding any bickerings or little animosities which may have occurred on the road, generally make all up at last, and mount, for the last time, into their vehicle with chearfulness and good humour; since after this one stage, it may possibly happen to us, as it commonly happens to them, never to meet more.
As I have here taken up this simile, give me leave to carry it a little farther. I intend, then, in this last book, to imitate the good company I have mentioned in their last journey. Now, it is well known that all jokes and raillery are at this time laid aside; whatever characters any of the passengers have for the jest-sake personated on the road are now thrown off, and the conversation is usually plain and serious.
In the same manner, if I have now and then, in the course of this work, indulged any pleasantry for thy entertainment, I shall here lay it down. The variety of matter, indeed, which I shall be obliged to cram into this book, will afford no room for any of those ludicrous observations which I have elsewhere made, and which may sometimes, perhaps, have prevented thee from taking a nap when it was beginning to steal upon thee. In this last book thou wilt find nothing (or at most very little) of that nature. All will be plain narrative only; and, indeed, when thou hast perused the many great events which this book will produce, thou wilt think the number of pages contained in it scarce sufficient to tell the story.
And now, my friend, I take this opportunity (as I shall have no other) of heartily wishing thee well. If I have been an entertaining companion to thee, I promise thee it is what I have desired. If in anything I have offended, it was really without any intention. Some things, perhaps, here said, may have hit thee or thy friends; but I do most solemnly declare they were not pointed at thee or them. I question not but thou hast been told, among other stories of me, that thou wast to travel with a very scurrilous fellow; but whoever told thee so did me an injury. No man detests and despises scurrility more than myself; nor hath any man more reason; for none hath ever been treated with more; and what is a very severe fate, I have had some of the abusive writings of those very men fathered upon me, who, in other of their works, have abused me themselves with the utmost virulence.
All these works, however, I am well convinced, will be dead long before this page shall offer itself to thy perusal; for however short the period may be of my own performances, they will most probably outlive their own infirm author, and the weakly productions of his abusive contemporaries.