D. 28. better Representative of a Man, than the most artificial onday, Composition of Wood and Wire. If you will be pleased pril 2, to give me a good Word in your Paper, you shall be 11. every Night a Spectator at my Show for nothing. C No. 29. [ADDISON.] I am, &c.' Tuesday, April 3. Sermo lingua concinnus utraque HERE is nothing that has more startled our English Audience, than the Italian Recitativo at its first Entrance upon the Stage. People were wonderfully sur prized to hear Generals singing the Word of Command, and Ladies delivering Messages in Musick. Our Country men could not forbear laughing when they heard a Lover chanting out a Billet-doux, and even the Superscription of a Letter set to a Tune, The Famous Blunder in an old Play of Enter a King and two Fidlers solus, was now no longer an Absurdity; when it was impossible for a Hero in a Desart, or a Princess in her Closet, to speak any thing unaccompanied with Musical Instruments. But however this Italian Method of acting in Recita tivo might appear at first hearing, I cannot but think it much more just than that which prevailed in our English Opera before this Innovation: The Transition from an Air to Recitative Musick being more natural, than the passing from a Song to plain and ordinary Speaking, which was the common Method in Purcell's Operas. The only Fault I find in our present Practice, is the making use of the Italian Recitativo with English Words. To go to the Bottom of this Matter, I must observe, that the Tone, or (as the French call it) the Accent of every Nation in their ordinary Speech, is altogether dif ferent from that of every other People; as we may see even in the Welsh and Scotch, who border so near upon us. By the Tone or Accent, I do not mean the Pronunciation of each particular Word, but the Sound of the whole Sentence. Thus it is very common for an English E English Gentleman, when he hears a French Tragedy, No. 29. to complain that the Actors all of them speak in a Tuesday, Tone; and therefore he very wisely prefers his own April 3, Country-men, not considering that a Foreigner com plains of the same Tone in an English Actor, For this Reason, the Recitative Musick, in every Language, should be as different as the Tone or Accent of each Language; for otherwise, what may properly express a Passion in one Language, will not do it in another. Every one who has been long in Italy knows h very well, that the Cadences in the Recitativo bear a st remote Affinity to the Tone of their Voices in ordinary Conversation; or, to speak more properly, are only the Accents of their Language made more Musical and Tuneful. A 34 a Thus the Notes of Interrogation, or Admiration, in the Italian Musick (if one may so call them) which resemble their Accents in Discourse on such Occasions, are not unlike the ordinary Tones of an English Voice when we are angry; insomuch that I have often seen k our Audiences extreamly mistaken as to what has been doing upon the Stage, and expecting to see the Hero knock down his Messenger, when he has been asking him a Question; or fancying that he quarrels with his Friend, when he only bids him. Good-morrow. For this Reason the Italian Artists cannot agree with our English Musicians, in admiring Purcell's Composi tions, and thinking his Tunes so wonderfully adapted to his Words; because both Nations do not always express the same Passions by the same Sounds, I am therefore humbly of Opinion, that an English Composer should not follow the Italian Recitative too servilely, but make use of many gentle Deviations from it, in Compliance with his own Native Language, He may Copy out of it all the lulling Softness and Dying Falls (as Shakespear calls them), but should still remember that he ought to accommodate himself to an English Audience; and by humouring the Tone of our Voices in ordinary Conversation, have the same Regard to the Accent of his own Language, as those Persons had to theirs whom he professes to imitate. It is observed, that several 1711 No. 29. several of the singing Birds of our own Country learn to Tuesday, sweeten their Voices, and mellow the Harshness of their April 3, natural Notes, by practising under those that come from 1711 warmer Climates. In the same manner I would allow the Italian Opera to lend our English Musick as much as may grace and soften it, but never entirely to anni hilate and destroy it. Let the Infusion be as strong as you please, but still let the Subject Matter of it be English. A Composer should fit his Musick to the Genius of the People, and consider that the Delicacy of Hearing, and Taste of Harmony, has been formed upon those Sounds which every Country abounds with In short, that Musick is of a Relative Nature, and what is Harmony to one Ear, may be Dissonance to another, The same Observations which I have made upon the Recitative Part of Musick, may be applied to all our Songs and Airs in general. Signior Baptist Lully acted like a Man of Sense in this Particular. He found the French Musick extreamly defective and very often barbarous: However, knowing the Genius of the People, the Humour of their Language, and the prejudiced Ears he had to deal with, he did not pretend to extirpate the French Musick and plant the Italian in its stead; but only to Cultivate and Civilize it with innumerable Graces and Modulations which he borrowed from the Italian. By this means the French Musick is now perfect in its kind; and when you say it is not so good as the Italian, you only mean that it does not please you so well, for there is scarce a Frenchman who would not wonder to hear you give the Italian such a a Preference, The Musick of the French is indeed very properly adapted to their Pronunciation and Accent, as their whole Opera wonderfully favours the Genius of such a gay airy People. The Chorus in which that Opera abounds, gives the Parterre frequent Opportunities of joining in Concert with the Stage. This Inclination of the Audience to sing along with the Actors, so prevails with them, that I have sometimes known the Performer on the Stage do no more in a Celebrated Song, than the Clerk of a Parish Church, who serves only to raise the Psalm 1711 Psalm, and is afterwards drowned in the Musick of the No. 29. Congregation. Every Actor that comes on the Stage is Tuesday, a Beau. The Queens and Heroines are so Painted, that April 3, they appear as Ruddy and Cherry cheek'd as Milk-maids. The Shepherds are all Embroidered, and acquit_them selves in a Ball better than our English Dancing-Masters, I have seen a Couple of Rivers appear in red Stockings; and Alpheus, instead of having his Head covered with Sedge and Bull-Rushes, making Love in a fair fullbottomed Perriwig, and a Plume of Feathers, but with a Voice so full of Shakes and Quavers that I should have thought the Murmurs of a Country Brook the much more agreeable Musick. I remember the last Opera I saw in that merry Nation, was the Rape of Proserpine, where Pluto, to the more tempting Figure, puts himself in a French Equipage, and brings Ascalaphus along with him as his Valet de Chambre. This is what we call Folly and Impertinence; but what the French look upon as Gay and Polite. I shall add no more to what I have here offered, than that Musick, Architecture and Painting, as well as Poetry d and Oratory, are to deduce their Laws and Rules from the general Sense and Taste of Mankind, and not from the Principles of those Arts themselves; or in other Words, the Taste is not to conform to the Art, but the Art to the Taste, Musick is not designed to please only Chromatick Ears, but all that are capable of distinguishing harsh from disagreeable Notes. A Man of an ordinary Ear is a Judge whether a Passion is expressed in proper Sounds, and whether the Melody of those Sounds be more or less pleasing, d No. 30. Wednesday, April 4, Si, Mimnermus uti censet, sine amore jocisque ONE C NE common Calamity makes Men extreamly affect each other, though they differ in every other Particular, The Passion of Love is the most general Concern day, April 4, 1711. No. 30, Concern among Men; and I am glad to hear by my Wednes last Advices from Oxford, that there are a Set of Sighers in that University, who have erected themselves into a Society in Honour of that tender Passion. These Gentle men are of that Sort of Inamoratos, who are not so very much lost to common Sense, but that they under stand the Folly they are guilty of; and for that Reason separate themselves from all other Company, because they will enjoy the Pleasure of talking incoherently without being ridiculous to any but each other. When a Man comes into the Club, he is not obliged to make any Introduction to his Discourse, but at once, as he is seating himself in his Chair, speaks in the Thread of his own Thoughts, 'She gave me a very obliging Glance, She never looked so well in her Life as this Evening, or the like Reflection, without Regard to any other Member of the Society; for in this Assembly they do not meet to talk to each other, but every Man claims the full Liberty of talking to himself. Instead of Snuff boxes and Canes, which are usual Helps to Discourse with other young Fellows, these have each some Piece of Ribbon, a broken Fan, or an old Girdle, which they play with while they talk of the fair Person remembered by each respective Token According to the Representa tion of the Matter from my Letters, the Company appear like so many Players rehearsing behind the Scenes; one is sighing and lamenting his Destiny in beseeching Terms, another declaring he will break his Chain, and another in dumb-Show striving to express his Passion by his Gesture. It is very ordinary in the Assembly for one of a sudden to rise, and make a Discourse con cerning his Passion in general, and describe the Temper of his Mind in such a manner, as that the whole Company shall join in the Description, and feel the Force of it. In this Case, if any Man has declared the Violence of his Flame in more pathetick Terms, he is made President for that Night, out of respect to his superior Passion, We had some Years ago in this Town a Set of People who met and dressed like Lovers, and were distinguished by the Name of the Fringe-Glove Club; but |