The Tatler Volume Iii Part 1

The Tatler.

Volume 3.

by Various.

_To the_ Right Honourable #William Lord Cowper# Baron of Wingham[1]

MY LORD,

After having long celebrated the superior graces and excellences among men, in an imaginary character, I do myself the honour to show my veneration for transcendent merit, under my own name, in this address to your lords.h.i.+p. The just application of those high accomplishments of which you are master, has been an advantage to all your fellow subjects; and it is from the common obligation you have laid upon all the world, that I, though a private man, can pretend to be affected with, or take the liberty to acknowledge your great talents and public virtues.

It gives a pleasing prospect to your friends, that is to say, to the friends of your country, that you have pa.s.sed through the highest offices, at an age when others usually do but form to themselves the hopes of them.[2] They may expect to see you in the House of Lords as many years as you were ascending to it. It is our common good, that your admirable eloquence can now no longer be employed but in the expression of your own sentiments and judgment.

The skilful pleader is now for ever changed into the just judge; which latter character your lords.h.i.+p exerts with so prevailing an impartiality, that you win the approbation even of those who dissent from you, and you always obtain favour, because you are never moved by it.

This gives you a certain dignity peculiar to your present situation, and makes the equity, even of a Lord High Chancellor, appear but a degree towards the magnanimity of a peer of Great Britain.

Forgive me, my lord, when I cannot conceal from you, that I shall never hereafter behold you, but I shall behold you, as lately, defending the brave, and the unfortunate.[3]

When we attend to your lords.h.i.+p, engaged in a discourse, we cannot but reflect upon the many requisites which the vainglorious speakers of antiquity have demanded in a man who is to excel in oratory; I say, my lord, when we reflect upon the precepts by viewing the example, though there is no excellence proposed by those rhetoricians wanting, the whole art seems to be resolved into that one motive of speaking, sincerity in the intention. The graceful manner, the apt gesture, and the a.s.sumed concern, are impotent helps to persuasion, in comparison of the honest countenance of him who utters what he really means. From hence it is, that all the beauties which others attain with labour, are in your lords.h.i.+p but the natural effects of the heart that dictates.

It is this n.o.ble simplicity which makes you surpa.s.s mankind in the faculties wherein mankind are distinguished from other creatures, reason and speech.

If these gifts were communicated to all men in proportion to the truth and ardour of their hearts, I should speak of you with the same force as you express yourself on any other subject. But I resist my present impulse, as agreeable as it is to me; though indeed, had I any pretensions to a fame of this kind, I should, above all other themes, attempt a panegyric upon my Lord Cowper: for the only sure way to a reputation for eloquence, in an age wherein that perfect orator lives, is to choose an argument, upon which he himself must of necessity be silent. I am,

My Lord, your Lords.h.i.+p's Most devoted, most obedient, and Most humble Servant, RICHARD STEELE.

[Footnote 1: William Cowper was appointed King's counsel about 1694; he succeeded Sir Nathan Wright, as Lord Keeper of the Great Seal, October 11, 1705; was created Baron Cowper of Wingham, November 9, 1706; and was appointed Lord Chancellor, May 4, 1707, which post he held till September 14, 1710. On the accession of King George, he was again appointed Lord Chancellor, and, on resigning the Great Seal, was created Earl Cowper and Viscount Fordwich, March 18, 1717-18. He died in 1723.

Lord Cowper refused to accept New Year's gifts from the counsellors at law, which had been long given to his predecessors, and, when he was Chancellor, though in friends.h.i.+p with the Duke of Marlborough, and of the same political principles, he refused to put the broad seal of his office to a commission for making his Grace generalissimo for life.

"When Steele's patent, as Governor of the Theatre Royal, pa.s.sed the Great Seal, Lord Chancellor Cowper, in compliment to Sir Richard, would receive no fee" (Cibber's "Apology"). He was praised by Hughes, under the name of "Manilius," in No. 467 of the _Spectator_.]

[Footnote 2: The date of Lord Cowper's birth is not known, but in 1710 he was probably about 46. He entered the Middle Temple in 1682.]

[Footnote 3: In a pamphlet ent.i.tled "A Letter to Isaac Bickerstaff,"

1710, Lord Cowper defended the character of the d.u.c.h.ess of Marlborough against an attack by Bolingbroke in a "Letter to the _Examiner_."]

#THE TATLER# BY ISAAC BICKERSTAFF, ESQ.

No. 115. [STEELE.

From _Sat.u.r.day, Dec. 31, 1709_, to _Tuesday, Jan. 3, 1709-10_.

--Novum intervenit vitium et calamitas, Ut neque spectari, neque cognosci potuerit: Ita populus studio stupidus in funambulo Animum occuparat.--TER., Hecyra, Prologue.

_Sheer Lane, January 2._

I went on Friday last to the opera, and was surprised to find a thin house at so n.o.ble an entertainment, till I heard that the tumbler[4] was not to make his appearance that night. For my own part, I was fully satisfied with the sight of an actor, who, by the grace and propriety of his action and gesture, does honour to a human figure, as much as the other vilifies and degrades it. Every one will easily imagine I mean Signor Nicolini,[5] who sets off the character he bears in an opera by his action, as much as he does the words of it by his voice. Every limb, and every finger, contributes to the part he acts, insomuch that a deaf man might go along with him in the sense of it. There is scarce a beautiful posture in an old statue which he does not plant himself in, as the different circ.u.mstances of the story give occasion for it. He performs the most ordinary action in a manner suitable to the greatness of his character, and shows the prince even in the giving of a letter, or the despatching of a message. Our best actors are somewhat at a loss to support themselves with proper gesture, as they move from any considerable distance to the front of the stage; but I have seen the person of whom I am now speaking, enter alone at the remotest part of it, and advance from it with such greatness of air and mien, as seemed to fill the stage, and at the same time commanding the attention of the audience with the majesty of his appearance. But notwithstanding the dignity and elegance of this entertainment, I find for some nights past, that Punchinello has robbed the gentleman of the greater part of his female spectators. The truth of it is, I find it so very hard a task to keep that s.e.x under any manner of government, that I have often resolved to give them over entirely, and leave them to their own inventions. I was in hopes that I had brought them to some order, and was employing my thoughts on the reformation of their petticoats, when on a sudden I received information from all parts, that they run gadding after a puppet-show. I know very well, that what I here say will be thought by some malicious persons to flow from envy to Mr. Powell; for which reason, I shall set the late dispute between us in a true light.[6] Mr.

Powell and I had some difference about four months ago, which we managed by way of letter, as learned men ought to do; and I was very well contented to bear such sarcasms as he was pleased to throw upon me, and answered them with the same freedom. In the midst of this our misunderstanding and correspondence, I happened to give the world an account of the order of esquires[7]; upon which, Mr. Powell was so disingenuous, as to make one of his puppets (I wish I knew which of them it was) declare by way of prologue, that one Isaac Bickerstaff, a pretended esquire, had wrote a scurrilous piece to the dishonour of that rank of men; and then, with more art than honesty, concluded, that all the esquires in the pit were abused by his antagonist as much he was.

This public accusation made all the esquires of that county, and several of other parts, my professed enemies. I do not in the least question but that he will proceed in his hostilities; and I am informed, that part of his design in coming up to town was to carry the war into my own quarters. I do therefore solemnly declare (notwithstanding that I am a great lover of art and ingenuity) that if I hear he opens any of his people's mouths against me, I shall not fail to write a critique upon his whole performance; for I must confess, that I have naturally so strong a desire of praise, that I cannot bear reproach, though from a piece of timber. As for Punch, who takes all opportunities of bespattering me, I know very well his original, and have been a.s.sured by the joiner who put him together, that he was in long dispute with himself, whether he should turn him into several pegs and utensils, or make him the man he is. The same person confessed to me, that he had once actually laid aside his head for a nutcracker. As for his scolding wife (however she may value herself at present), it is very well known that she is but a piece of crabtree. This artificer further whispered in my ear, that all his courtiers and n.o.bles were taken out of a quickset hedge not far from Islington; and that Dr. Faustus himself, who is now so great a conjurer, is supposed to have learned his whole art from an old woman in that neighbourhood, whom he long served in the figure of a broomstaff.

But perhaps it may look trivial to insist so much upon men's persons; I shall therefore turn my thoughts rather to examine their behaviour, and consider, whether the several parts are written up to that character which Mr. Powell piques himself upon, of an able and judicious dramatist. I have for this purpose provided myself with the works of above twenty French critics, and shall examine (by the rules which they have laid down upon the art of the stage) whether the unity of time, place and action, be rightly observed in any one of this celebrated author's productions; as also, whether in the parts of his several actors, and that of Punch in particular, there is not sometimes an impropriety of sentiments, and an impurity of diction.

_White's Chocolate-house, January 2._

I came in here to-day at an hour when only the dead appear in places of resort and gallantry, and saw hung up the escutcheon of Sir Hannibal,[8]

a gentleman who used to frequent this place, and was taken up and interred by the Company of Upholders, as having been seen here at an unlicensed hour. The coat of the deceased is, three bowls and a jack in a green field; the crest, a dice-box, with the king of clubs and Pam for supporters. Some days ago the body was carried out of town with great pomp and ceremony, in order to be buried with his ancestors at the Peak.

It is a maxim in morality, that we are to speak nothing but truth of the living, nothing but good of the dead. As I have carefully observed the first during his lifetime, I shall acquit myself as to the latter now he is deceased.

He was knighted very young, not in the ordinary form, but by the common consent of mankind.

He was in his person between round and square; in the motion and gesture of his body he was unaffected and free, as not having too great a respect for superiors. He was in his discourse bold and intrepid; and as every one has an excellence as well as a failing which distinguishes him from other men, eloquence was his predominant quality, which he had to so great a perfection, that it was easier to him to speak than to hold his tongue. This sometimes exposed him to the derision of men who had much less parts than himself: and indeed his great volubility and inimitable manner of speaking, as well as the great courage he showed on those occasions, did sometimes betray him into that figure of speech which is commonly distinguished by the name of "gasconade." To mention no other, he professed in this very place some few days before he died, that he would be one of the six that would undertake to a.s.sault me; for which reason I have had his figure upon my wall till the hour of his death: and am resolved for the future to bury every one forthwith who I hear has an intention to kill me.

Since I am upon the subject of my adversaries, I shall here publish a short letter which I have received from a well-wisher, and is as follows:

"SAGE SIR,

"You cannot but know, there are many scribblers and others who revile you and your writings. It is wondered that you do not exert yourself, and crush them at once. I am,

"Sir (with great respect), "Your most humble Admirer "and Disciple."

In answer to this, I shall act like my predecessor aesop, and give him a fable instead of a reply.

It happened one day, as a stout and honest mastiff (that guarded the village where he lived against thieves and robbers) was very gravely walking, with one of his puppies by his side, all the little dogs in the street gathered about him, and barked at him. The little puppy was so offended at this affront done to his sire, that he asked him why he would not fall upon them, and tear them to pieces?

To which the sire answered, with a great composure of mind, "If there were no curs, I should be no mastiff."[9]

[Footnote 4: See No. 108.]

[Footnote 5: Cavalier Nicolini Grimaldi was a Neapolitan actor and singer, who appeared first in England in McSwiney's "Pyrrhus and Demetrius." He is often mentioned in the _Spectator_ (see Nos. 5, 13, 405), and seems to have been a friend of both Addison and Steele.

Addison praises him alike as an actor and as a singer. The following letter from Hughes to Nicolini, dated February 4, 1709-10, is given in Hughes' "Correspondence" (Dublin, 1773, i. 33-4): "Depuis que j'ai eu l'honneur d'etre chez vous a la repet.i.tion de l'opera, j'ai dine avec Mr. Steele, et la conversation roulante sur vous, je lui dis la maniere obligeante dont je vous avois ou parler de Mr. Bickerstaff, en disant que vous aviez beaucoup d'inclination a etudier l'Anglois pour avoir seulement le plaisir de lire le _Tatler_. Il trouvre que votre compliment a l'auteur du _Tatler_ est fort galant." Nicolini sang in Italian to the English of Mrs. Tofts (see No. 20, and _Spectator_, No.

22), but Cibber observes that "whatever defect the fas.h.i.+onably skilful might find in her manner, she had, in the general sense of her spectators, charms that few of the most learned singers ever arrive at."

A letter from Lady Wentworth, dated December 10, 1708, gives us a curious glimpse of Nicolini and Mrs. Tofts: "My dearest and best of children ... Yesterday I had lyke to have been ketched in a trap, your Brother Wentworth had almoste persuaded me to have gon last night to hear the fyne muisick the famous Etallion sing att the rehersall of the Operer, which he asured me it was soe dark none could see me. Indeed musick was the greatest temtation I could have, but I was afraid he deceaved me, soe Betty only went with his wife and him; and I rejoysed I did not, for thear was a vast deal of company and good light--but the Dutchis of Molbery had gott the Etallion to sing and he sent an excuse, but the Dutchis of Shrosberry made him com, brought him in her coach, but Mrs. Taufs huft and would not sing becaus he had first put it ofe; though she was thear yet she would not, but went away. I wish the house would al joyne to humble her and not receav her again. This man out dus Sefachoe, they say that has hard both" ("Wentworth Papers," 1883, p.

66). Mr. Cartwright quotes from a letter in Lord Egmont's collection, dated March 17, 1709: "This day the opera of 'Camilla' is acted expressly for Lord Marlborough. Our famous Nicolini got 800 guineas for his day; and 'tis thought Mrs. Tofts, whose turn it is on Tuesday next, will get a vast deal. She was on Sunday last at the Duke of Somerset's, where there was about thirty gentlemen, and every kiss was one guinea; some took three, others four, others five, at that rate, but none less than one." (Seventh Report of Hist. MSS. Commission, p. 246).]

[Footnote 6: See Nos. 11, 44, 45.]