The Spectator Volume Ii Part 14

Nullum numen abest si sit Prudentia

Juv.

I have often thought if the Minds of Men were laid open, we should see but little Difference between that of the Wise Man and that of the Fool.

There are infinite _Reveries_, numberless Extravagancies, and a perpetual Train of Vanities which pa.s.s through both. The great Difference is that the first knows how to pick and cull his Thoughts for Conversation, by suppressing some, and communicating others; whereas the other lets them all indifferently fly out in Words. This sort of Discretion, however, has no Place in private Conversation between intimate Friends. On such Occasions the wisest Men very often talk like the weakest; for indeed the Talking with a Friend is nothing else but _thinking aloud_.

_Tully_ has therefore very justly exposed a Precept delivered by some Ancient Writers, That a Man should live with his Enemy in such a manner, as might leave him room to become his Friend; and with his Friend in such a manner, that if he became his Enemy, it should not be in his Power to hurt him. The first Part of this Rule, which regards our Behaviour towards an Enemy, is indeed very reasonable, as well as very prudential; but the latter Part of it which regards our Behaviour towards a Friend, savours more of Cunning than of Discretion, and would cut a Man off from the greatest Pleasures of Life, which are the Freedoms of Conversation with a Bosom Friend. Besides, that when a Friend is turned into an Enemy, and (as the Son of _Sirach_ calls him) a Bewrayer of Secrets, the World is just enough to accuse the Perfidiousness of the Friend, rather than the Indiscretion of the Person who confided in him.

Discretion does not only shew it self in Words, but in all the Circ.u.mstances of Action; and is like an Under-Agent of Providence, to guide and direct us in the ordinary Concerns of Life.

There are many more s.h.i.+ning Qualities in the Mind of Man, but there is none so useful as Discretion; it is this indeed which gives a Value to all the rest, which sets them at work in their proper Times and Places, and turns them to the Advantage of the Person who is possessed of them.

Without it Learning is Pedantry, and Wit Impertinence; Virtue itself looks like Weakness; the best Parts only qualify a Man to be more sprightly in Errors, and active to his own Prejudice.

Nor does Discretion only make a Man the Master of his own Parts, but of other Mens. The discreet Man finds out the Talents of those he Converses with, and knows how to apply them to proper Uses. Accordingly if we look into particular Communities and Divisions of Men, we may observe that it is the discreet Man, not the Witty, nor the Learned, nor the Brave, who guides the Conversation, and gives Measures to the Society. A Man with great Talents, but void of Discretion, is like _Polyphemus_ in the Fable, Strong and Blind, endued with an irresistible Force, which for want of Sight is of no Use to him.

Though a Man has all other Perfections, and wants Discretion, he will be of no great Consequence in the World; but if he has this single Talent in Perfection, and but a common Share of others, he may do what he pleases in his particular Station of Life.

At the same time that I think Discretion the most useful Talent a Man can be Master of, I look upon Cunning to be the Accomplishment of little, mean, ungenerous Minds. Discretion points out the n.o.blest Ends to us, and pursues the most proper and laudable Methods of attaining them: Cunning has only private selfish Aims, and sticks at nothing which may make them succeed. Discretion has large and extended Views, and, like a well-formed Eye, commands a whole Horizon: Cunning is a Kind of Short-sightedness, that discovers the minutest Objects which are near at hand, but is not able to discern things at a distance. Discretion, the more it is discovered, gives a greater Authority to the Person who possesses it: Cunning, when it is once detected, loses its Force, and makes a Man incapable of bringing about even those Events which he might have done, had he pa.s.sed only for a plain Man. Discretion is the Perfection of Reason, and a Guide to us in all the Duties of Life; Cunning is a kind of Instinct, that only looks out after our immediate Interest and Welfare. Discretion is only found in Men of strong Sense and good Understandings: Cunning is often to be met with in Brutes themselves, and in Persons who are but the fewest Removes from them. In short Cunning is only the Mimick of Discretion, and may pa.s.s upon weak Men, in the same manner as Vivacity is often mistaken for Wit, and Gravity for Wisdom.

The Cast of Mind which is natural to a discreet Man, makes him look forward into Futurity, and consider what will be his Condition Millions of Ages hence, as well as what it is at present. He knows that the Misery or Happiness which are reserv'd for him in another World, lose nothing of their Reality by being placed at so great Distance from him.

The Objects do not appear little to him because they are remote. He considers that those Pleasures and Pains which lie hid in Eternity, approach nearer to him every Moment, and will be present with him in their full Weight and Measure, as much as those Pains and Pleasures which he feels at this very Instant. For this Reason he is careful to secure to himself that which is the proper Happiness of his Nature, and the ultimate Design of his Being. He carries his Thoughts to the End of every Action, and considers the most distant as well as the most immediate Effects of it. He supersedes every little Prospect of Gain and Advantage which offers itself here, if he does not find it consistent with his Views of an Hereafter. In a word, his Hopes are full of Immortality, his Schemes are large and glorious, and his Conduct suitable to one who knows his true Interest, and how to pursue it by proper Methods.

I have, in this Essay upon Discretion, considered it both as an Accomplishment and as a Virtue, and have therefore described it in its full Extent; not only as it is conversant about worldly Affairs, but as it regards our whole Existence; not only as it is the Guide of a mortal Creature, but as it is in general the Director of a reasonable Being. It is in this Light that Discretion is represented by the Wise Man, who sometimes mentions it under the Name of Discretion, and sometimes under that of Wisdom. It is indeed (as described in the latter Part of this Paper) the greatest Wisdom, but at the same time in the Power of every one to attain. Its Advantages are infinite, but its Acquisition easy; or to speak of her in the Words of the Apocryphal Writer whom I quoted in my last _Sat.u.r.days_ Paper, _Wisdom is glorious, and never fadeth away, yet she is easily seen of them that love her, and found of such as seek her. She preventeth them that desire her, in making herself first known unto them. He that seeketh her early, shall have no great Travel: for he shall find her sitting at his Doors. To think therefore upon her is Perfection of Wisdom, and whoso watcheth for her shall quickly be without Care. For she goeth about seeking such as are worthy of her, sheweth her self favourably unto them in the Ways, and meeteth them in every Thought_. [1]

C.

[Footnote 1: Wisdom vi. 12-16.]

No. 226 Monday, November 19, 1711. [1] Steele.

--Mutum est pictura poema.

Hor. [2]

I have very often lamented and hinted my Sorrow in several Speculations, that the Art of Painting is made so little Use of to the Improvement of our Manners. When we consider that it places the Action of the Person represented in the most agreeable Aspect imaginable, that it does not only express the Pa.s.sion or Concern as it sits upon him who is drawn, but has under those Features the Height of the Painters Imagination.

What strong Images of Virtue and Humanity might we not expect would be instilled into the Mind from the Labours of the Pencil? This is a Poetry which would be understood with much less Capacity, and less Expence of Time, than what is taught by Writings; but the Use of it is generally perverted, and that admirable Skill prost.i.tuted to the basest and most unworthy Ends. Who is the better Man for beholding the most beautiful _Venus_, the best wrought _Baccha.n.a.l_, the Images of sleeping _Cupids_, languis.h.i.+ng Nymphs, or any of the Representations of G.o.ds, G.o.ddesses, Demy-G.o.ds, Satyrs, _Polyphemes_, Sphinxes, or Fauns? But if the Virtues and Vices, which are sometimes pretended to be represented under such Draughts, were given us by the Painter in the Characters of real Life, and the Persons of Men and Women whose Actions have rendered them laudable or infamous; we should not see a good History-Piece without receiving an instructive Lecture. There needs no other Proof of this Truth, than the Testimony of every reasonable Creature who has seen the Cartons in Her Majesty's Gallery at _Hampton--Court_: These are Representations of no less Actions than those of our Blessed Saviour and his Apostles. As I now sit and recollect the warm Images which the admirable _Raphael_ has raised, it is impossible even from the faint Traces in ones Memory of what one has not seen these two Years, to be unmoved at the Horror and Reverence which appear in the whole a.s.sembly when the mercenary Man fell down dead; at the Amazement of the Man born blind, when he first receives Sight; or at the graceless Indignation of the Sorcerer, when he is struck blind. The Lame, when they first find Strength in their Feet, stand doubtful of their new Vigour. The heavenly Apostles appear acting these great Things, with a deep Sense of the Infirmities which they relieve, but no Value of themselves who administer to their Weakness. They know themselves to be but Instruments; and the generous Distress they are painted in when divine Honours are offered to them, is a Representation in the most exquisite Degree of the Beauty of Holiness. When St. _Paul_ is preaching to the _Athenians_, with what wonderful Art are almost all the different Tempers of Mankind represented in that elegant Audience? You see one credulous of all that is said, another wrapt up in deep Suspence, another saying there is some Reason in what he says, another angry that the Apostle destroys a favourite Opinion which he is unwilling to give up, another wholly convinced and holding out his Hands in Rapture; while the Generality attend, and wait for the Opinion of those who are of leading Characters in the a.s.sembly. I will not pretend so much as to mention that Chart on which is drawn the Appearance of our Blessed Lord after his Resurrection. Present Authority, late Suffering, Humility and Majesty, Despotick Command, and [Divine] [3] Love, are at once seated in his celestial Aspect. The Figures of the Eleven Apostles are all in the same Pa.s.sion of Admiration, but discover it differently according to their Characters. _Peter_ receives his Masters Orders on his Knees with an Admiration mixed with a more particular Attention: The two next with a more open Ecstasy, though still constrained by the Awe of the Divine [4] Presence: The beloved Disciple, whom I take to be the Right of the two first Figures, has in his Countenance Wonder drowned in Love; and the last Personage, whose Back is towards the Spectator[s], and his Side towards the Presence, one would fancy to be St. _Thomas_, as abashed by the Conscience of his former Diffidence; which perplexed Concern it is possible _Raphael_ thought too hard a Task to draw but by this Acknowledgment of the Difficulty to describe it.

The whole Work is an Exercise of the highest Piety in the Painter; and all the Touches of a religious Mind are expressed in a Manner much more forcible than can possibly be performed by the most moving Eloquence.

These invaluable Pieces are very justly in the Hands of the greatest and most pious Sovereign in the World; and cannot be the frequent Object of every one at their own Leisure: But as an Engraver is to the Painter what a Printer is to an Author, it is worthy Her Majesty's Name, that she has encouraged that n.o.ble Artist, Monsieur _Dorigny_, [5] to publish these Works of _Raphael_. We have of this Gentleman a Piece of the Transfiguration, which, I think, is held a Work second to none in the World.

Methinks it would be ridiculous in our People of Condition, after their large Bounties to Foreigners of no Name or Merit, should they overlook this Occasion of having, for a trifling Subscription, a Work which it is impossible for a Man of Sense to behold, without being warmed with the n.o.blest Sentiments that can be inspired by Love, Admiration, Compa.s.sion, Contempt of this World, and Expectation of a better.

It is certainly the greatest Honour we can do our Country, to distinguish Strangers of Merit who apply to us with Modesty and Diffidence, which generally accompanies Merit. No Opportunity of this Kind ought to be neglected; and a modest Behaviour should alarm us to examine whether we do not lose something excellent under that Disadvantage in the Possessor of that Quality. My Skill in Paintings, where one is not directed by the Pa.s.sion of the Pictures, is so inconsiderable, that I am in very great Perplexity when I offer to speak of any Performances of Painters of Landskips, Buildings, or single Figures. This makes me at a loss how to mention the Pieces which Mr.

_Boul_ exposes to Sale by Auction on _Wednesday_ next in _Shandois-street_: But having heard him commended by those who have bought of him heretofore for great Integrity in his Dealing, and overheard him himself (tho a laudable Painter) say, nothing of his own was fit to come into the Room with those he had to sell, I fear'd I should lose an Occasion of serving a Man of Worth, in omitting to speak of his Auction.

T.

[Footnote 1: Swift to Stella, Nov. 18, 1711.

Do you ever read the SPECTATORS? I never do; they never come in my way; I go to no coffee-houses. They say abundance of them are very pretty; they are going to be printed in small volumes; Ill bring them over with me.]

[Footnote 2:

_Pictura Poesis erit_.

Hor.]

[Footnote 3: Brotherly]

[Footnote 4: coelestial]

[Footnote 5: Michel Dorigny, painter and engraver, native of St.

Quentin, pupil and son-in-law of Simon Vouet, whose style he adopted, was Professor in the Paris Academy of Painting, and died at the age of 48, in 1665. His son and Vouet's grandson, Nicolo Dorigny, in aid of whose undertaking Steele wrote this paper in the Spectator, had been invited from Rome by several of the n.o.bility, to produce, with licence from the Queen, engravings from Raphael's Cartoons, at Hampton Court. He offered eight plates 19 inches high, and from 25 to 30 inches long, for four guineas subscription, although, he said in his Prospectus, the five prints of Alexanders Battles after Lebrun were often sold for twenty guineas.]