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attention to money matters had incensed his father to such a degree, that all the intercession of friends in his favour was fruitless. The old gentleman was on his death-bed. The whole family, and Dick among the number, gathered round him. I leave my second son Andrew, said the expiring miser, my whole estate, and desire him to be frugal. Andrew, in a sorrowful tone, as is usual on these occasions, “prayed heaven to prolong his life and health to enjoy it himself.” I recommend Simon, my third son, to the care of his elder brother, and leave him beside four thousand pounds. “Ah ! father,” cried Simon, (in great affliction, to be sure) “may heaven give you life and health to enjoy it yourself!” At last, turning to poor Dick; “as for you, you always have been a sad dog, you’ll never come to good, you'll never be rich, I’ll leave you a shilling to buy a halter.” “Ah! father,” cries Dick, without any emotion, “may heaven give you life and health to enjoy it yourself!” This was all the trouble the loss of fortune gave this thoughtless, imprudent creature. However, the tenderness of an uncle recompensed the neglect of a father ; and Dick is not only excessively good-humoured, but competently rich. The world, in short, may cry out at a bankrupt who appears at a ball ; at an author who laughs at the public which pronounces him a dunce; at a general who smiles at the reproach of the vulgar, or the lady who keeps her goodhumour in spite of scandal; but such is the wisest behaviour they can possibly assume; it is certainly a better way to oppose calamity by dissipation, than to take up the arms of reason or resolution to oppose it: by the first method we forget our miseries, by the last we only conceal them from others; by struggling with misfortunes, we are sure to receive some wounds in the conflict. The only method to come off victorious, is by running away.

ON OUR THEATRES.

Mademoiselle Clairon,0) a celebrated actress at Paris, seems to me the most perfect female figure I have ever seen upon any stage. Not, perhaps, that Nature has been more liberal of personal beauty to her, than some to be seen upon our theatres at home. There are actresses here who have as much of what connoisseurs call statuary grace, by which is meant elegance unconnected with motion, as she but they all fall infinitely short of her, when the soul comes to give expression to the limbs, and animates every feature.

Her first appearance is excessively engaging ; she never comes in staring round upon the company, as if she intended to count the benefits of the house, or at least to see, as well as be seen. Her eyes are always, at first, intently fixed upon the persons of the drama, and she lifts them by degrees, with enchanting diffidence, upon the spectators. Her first speech, or at least the first part of it, is delivered with scarcely any motion of the arm; her hands and her tongue never set out together; but the one prepares us for the other. She sometimes begins with a mute, eloquent attitude; but never goes forward all at once with hands, eyes, head, and voice. This observation, though it may appear of no importance, should certainly be adverted to; nor do I see any one performer among us—Garrick only excepted —that is not, in this particular, apt to offend. By this simple beginning she gives herself a power of rising in the passion of the scene. As she proceeds, every gesture, every look acquires new violence, till at last transported, she fills the whole vehemence of the part, and all the idea of the poet.

(1) [Mademoiselle Clairon was born in 1723, retired from the stage in 1765, and died in 1803, in her eightieth year. Garrick, when he visited

Paris in 1752, became acquainted with her, and always afterwards expressed the highest admiration of her talents.]

Her hands are not alternately stretched out, and then drawn in again, as with the singing women at Sadler's-wells; they are employed with graceful variety, and every moment please with new and unexpected eloquence. Add to this, that their motion is generally from the shoulder; she never flourishes her hands while the upper part of her arm is motionless, nor has she the ridiculous appearance, as if her elbows were pinned to her hips. But, of all the cautions to be given to our rising actresses, I would particularly recommend it to them never to take notice of the audience, upon any occasion whatsoever; let the spectators applaud never so loudly, their praises should pass, except at the end of the epilogue, with seeming inattention. I can never pardon a lady on the stage who, when she draws the admiration of the whole audience, turns about to make them a low courtesy for their applause. Such a figure no longer continues Belvidera, but at once drops into Mrs. Cibber.(9 Suppose a sober tradesman, who once a year takes his shilling's worth at Drury-lane, in order to be delighted with the figure of a queen, the queen of Sheba for instance, or any other queen; this honest man has no other idea of the great but from their superior pride and impertinence: suppose such a man placed among the spectators, the first figure that appears on the stage is the queen herself, courtesying and cringing to all the company; how can he fancy her the haughty favourite of king Solomon the wise, who appears actually more submissive than the wife of his bosom. We are all tradesmen of a nicer relish in this respect, and such conduct must disgust every spectator who loves to have the illusion of nature strong upon him. Yet, while I recommend to our actresses a skilful attention to gesture, I would not have them study it in the look(1) [The wife of Theophilus Cibber. She died in 1766, leaving a proing-glass. This, without some precaution, will render their action formal; by too great an intimacy with this, they become stiff and affected. People seldom improve, when they have no other model but themselves to copy after. I remember to have known a notable performer of the other sex, who made great use of this flattering monitor, and yet was one of the stiffest figures I ever saw. I am told his apartment was hung round with looking-glass, that he might see his person twenty times reflected upon entering the room; and I will make bold to say, he saw twenty very ugly fellows whenever he did so."

fessional reputation, “greater,” says Dr. Johnson, “than she deserved; as she had a vast sameness, though her expression was very fine.”

No. III.-SATURDAY, OCTOBER 20, 1759.

ON THE USE OF LANGUAGE.

The manner in which most writers begin their treatises on the Use of Language is generally thus: “Language has been granted to man, in order to discover his wants and necessities, so as to have them relieved by society. Whatever we desire, whatever we wish, it is but to clothe those desires or wishes in words, in order to fruition; the principal use of language, therefore, say they, is to express our wants, so as to receive a speedy redress.”

Such an account as this may serve to satisfy grammarians and rhetoricians well enough, but men who know the world maintain very contrary maxims; they hold, and I think with some shew of reason, that he who best knows how to conceal his necessities and desires, is the most likely person to find redress, and that the true use of speech is not so much to express our wants as to conceal them.

(1) [This was related of Mr. Thomas Sheridan, son of the friend of Swift, and father of Richard Brinsley Sheridan; and Goldsmith appears to have often told the story in conversation.]

When we reflect on the manner in which mankind generally confer their favours, we shall find that they who seem to want them least, are the very persons who most liberally share them. There is something so attractive in riches, that the large heap generally collects from the smaller; and the poor find as much pleasure in increasing the enormous mass, as the miser who owns it, sees happiness in its increase. Nor is there in this any thing repugnant to the laws of true morality. Seneca himself allows, that in conferring benefits, the present should always be suited to the dignity of the receiver. Thus the rich receive large presents, and are thanked for accepting them. Men of middling stations are obliged to be content with presents something less; while the beggar, who may be truly said to want indeed, is well paid if a farthing rewards his warmest solicitations.

Every man who has seen the world, and has had his ups and downs in life, as the expression is, must have frequently experienced the truth of this doctrine, and must know that to have much, or to seem to have it, is the only way to have more. Ovid finely compares a man of broken fortune to a falling column; the lower it sinks, the greater weight it is obliged to sustain. Thus, when a man has no occasion to borrow, he finds numbers willing to lend him. Should he ask his friend to lend him a hundred pounds, it is possible, from the largeness of his demand, he may find credit for twenty; but should he humbly only sue for a trifle, it is two to one whether he might be trusted for two-pence. A certain young fellow at George's," whenever he had occasion to ask his friend for a guinea, used to prelude his request as if he wanted two hundred, and talked so familiarly of large sums, that none could ever think he wanted a small one. The same gentleman, whenever he wanted credit for a new suit from his tailor, always made a proposal in laced clothes;

(1) [A coffee house near Temple Bar, in the Strand.]

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