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liable to misinterpretations; and yet, I remember, I was once taken up for a Jesuit, for no other reason but my profound taciturnity. It was from this misfortune that, to be out of harm's way, I have ever since affected crowds. He who comes into assemblies only to gratify his curiosi ty, and not to make a figure, enjoys the pleasures of retirement in a more exquisite degree than he possibly could in his closet; the lover, the ambitious, and the miser, are followed thither by a worse crowd than any they can withdraw from. To be exempt from the passions with which others are tormented, is the only pleasing solitude. I can very justly say with the ancient sage, "I am never less alone than when alone." As I am insignificant to the company in public places, and as it is visible I do not come thither as most do, to show myself, I gratify the vanity of all who pretend to make an appearance, and have often as kind looks from well-dressed gentlemen and ladies, as a poet would bestow upon one of his audience. There are so many gratifications attending this public sort of obscurity, that some little distastes I daily receive have lost their anguish; and I did the other day, without the least displeasure, overhear one say of me, That strange fellow," and another answer, "I have known the fellow's face these twelve years, and so must you; but I believe you are the first that ever asked who he was. There are, I must confess, many to whom my person is as well known as that of their nearest relations, who give themselves no farther trouble about calling me by my name or quality, but speak of me very currently by the appellation of Mr What-do-ye-call-him.
To make up for these trivial disadvantages, I have the high satisfaction of beholding all nature with an unprejudiced eye; and having nothing to do with mens passions or interests, I can, with the greater sagacity, consider their talents, manners, failings, and merits.
It is remarkable, that those who want any one sense, possess the others with greater force and vivacity. Thus my want of, or rather resignation of speech, gives me all the advantages of a dumb man. I have, methinks, a more than ordinary penetration in seeing; and flatter myself that I have looked into the highest and lowest of mankind, and make shrewd guesses, without being ad
mitted to their conversation, at the inmost thoughts and reflections of all whom I behold. It is from hence that good or ill fortune has no manner of force towards affecting my judgment. I see men flourishing in courts, and languishing in jails, without being prejudiced from their circumstances to their favour or disadvantage; but from their inward manner of bearing their condition, often pity the prosperous, and admire the unhappy.
Those who converse with the dumb, know from the turn of their eyes, and the changes of their countenance, their sentiments of the objects before them. I have indulged my silence to such an extravagance, that the few who are intimate with me answer my smiles with concurrent sentences, and argue to the very point I shaked my head at, without my speaking. WILL HONEYCOMB was very entertaining the other night at a play, to a gentleman who sat on his right hand, while I was at his left. The gentleman believed WILL was talking to himself, when upon my looking with great approbation at a young thing in a box before us, he said, "I am quite of another opinion. She has, I will allow, a very plea sing aspect, but methinks that simplicity in her counte nance is rather childish than innocent." When I observed her a second time, he said, "I grant her dress is very becoming, but perhaps the merit of that choice is owing to her mother; for though, continued he, I allow a beauty to be as much to be commended for the elegance of her dress, as a wit for that of his language; yet if she has stolen the colour of her ribbands from another, or had advice about her trimmings, I shall not allow her the praise of dress, any more than I would call a plagi. ary an author." When I threw my eye towards the next woman to her, WILL spoke what I looked, according to his romantic imagination, in the following manner:
"Behold, you who dare, that charming virgin; behold the beauty of her person chastised by the innocence of her thoughts. Chastity, good nature, and affability, are the graces that play in her countenance; she knows she is handsome, but she knows she is good. Conscious beauty adorned with conscious virtue! what a spirit is there in those eyes! what a bloom in that person! how is the whole woman expressed in her appearance! her
air has the beauty of motion, and her look the force of language." lo
It was prudence to turn away my eyes from this object, and therefore I turned them to the thoughtless creatures who make up the lump of that sex, and move a knowing eye no more than the portraits of insignificant people by ordinary painters, who are but pictures of pictures.
Thus the working of my own mind is the general entertainment of my life: I never enter into the commerce of discourse with any but my particular friends, and not in public even with them. Such an habit has perhaps raised in me uncommon reflections; but this effect I cannot communicate but by my writings. As my pleasures are almost wholly confined to those of the sight, I take it for a peculiar happiness that I have always had an easy and familiar admittance to the fair sex. If I never praised or flattered, I never belied or contradicted them. these compose half the world, and are, by the just complaisance and gallantry of our nation, the more powerful four part of our people, I shall dedicate a considerable share of these my Speculations to their service, and shall lead the young through all the becoming duties of virginity, marriage, and widowhood. When it is a woman's day in my works, I shall endeavour at a style and air suitable to their understanding. When I say this, I must be understood to mean, that I shall not lower but exalt the subjects I treat upon. Discourse for their entertainment is not to be debased but refined. A man may appear learned without talking sentences, as in his ordinary gesture he discovers he can dance, though he does not cut capers. In a word, I shall take it for the greatest glory of my work, if, among reasonable women, this paper may furnish TEATABLE-TALK. In order to it, I shall treat on måtters which relate to females, as they are concerned to approach or fly from the other sex, or as they are tied to them by. blood, interest, or affection. Upon this occasion I think it but reasonable to declare, that whatever skill I may have in speculation, I shall never betray what the eyes of lovers say to each other in my presence. At the same time I shall not think myself obliged, by this promise, to conceal any false protestations which I observe made by glances in public assemblies; but endeavour to make both
sexes appear in their conduct what they are in their hearts. By this means, love, during the time of my speculations, shall be carried on with the same sincerity as any other affair of less consideration. As this is the greatest concern, men shall be from henceforth liable to the greatest reproach for misbehaviour in it. Falsehood in love shall hereafter bear a blacker aspect than infidelity in friendship, or villany in business. For this great and good end, all breaches against that noble passion, the cement of society, shall be severely examined. But this, and all other matters loosely hinted at now and in my former papers, shall have their proper place in my following discourses: the present writing is only to admonish the world, that they shall not find me an idle but a busy SPECTATOR.
NO. 5.-TUESDAY, MARCH 6. 1710-11.
Spectatum admissi risum teneatis?.
HOR. ARS. POET. V. 5.
Admitted to the sight, would you not laugh?
ITALIAN OPERA RIDICULED.
An opera may be allowed to be extravagantly lavish in its decorations, as its only design is to gratify the senses and keep up an indolent attention in the audience. Common sense, however, requires that there should be nothing in the scenes and machines which may appear childish and absurd. How would the wits of King CHARLES's time have laughed to have seen NICOLINI exposed to a tempest in robes of ermine, and sailing in an open boat upon a sea of pasteboard? What a field of raillery would they have been let into, had they been entertained with painted dragons spitting wild-fire, enchanted chariots drawn by Flanders mares, and real cascades in artificial landscapes? A little skill in criticism would inform us, that shadows and realities ought not to
be mixed together in the same piece; and that the scenes which are designed as the representations of nature, should be filled with resemblances, and not with the things themselves. If one would represent a wide champaign country filled with herds and flocks, it would be ridiculous to draw the country only upon the scenes, and to crowd several parts of the stage with sheep and oxen. This is joining together inconsistences, and making the decoration partly real and partly imaginary. I would recommend what I have here said to the directors, as well as to the admirers, of our modern opera.
As I was walking in the street about a fortnight ago, I saw an ordinary fellow carrying a cage full of little birds upon. his shoulder; and, as I was wondering with myself what use he would put them to, he was met very luckily by an aquaintance, who had the same curiosity. Upon his asking him what he had upon his shoulder, he told him, that he had been buying sparrows for the opera. Sparrows for the opera! says his friend, licking his lips; what, are they to be roasted? No, no, says the other, they are to enter towards the end of the first act, and to fly about the stage.
This strange dialogue awakened my curiosity so far, that I immediately bought the opera, by which means I perceived that the sparrows were to act the part of singing birds in a delightful grove; thoug, upon a nearer inquiry, I found the sparrows put the same trick upon the audience that Sir MARTIN MAR-ALL (a) practised upon his mistress; for though they flew in sight, the music proceeded from a concert of flagelets and bird-calls which were planted behind the scenes. At the same time I made this discovery, I found by the discourse of the actors, that there were great designs on foot for the improvement of the opera: that it had been proposed to break down a part of the wall, and to surprise the audience with a party of an hundred horse; and that there was actually a project of bringing the New-River into the house, to be employed in jetteaus and water-works. This project, as I have since heard, is postponed to the summer-season; when it is thought the coolness that proceeds from fountains and cascades will be more acceptable and refreshing to people of quality. In the mean