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think with myself that I had made a mistake, and gone to a music-meeting instead of the play-house. It appeared, indeed, a little odd to me, to see so many persons of quality of both sexes assembled together at a kind of caterwauling ; for I cannot look upon that performance to have been anything better, whatever the musicians themselves might think of it. As I had no acquaintance in the house to ask questions of, and was forced to go out of town early the next morning, I could not learn the secret of this matter. What 10 I would therefore desire of you, is, to give some account of this strange instrument, which I found the company called a cat-call; and particularly to let me know whether it be a piece of music lately come from Italy. For my own part, to be free with you, I would rather hear an English fiddle; though I durst not show my dislike whilst I was in the playhouse, it being my chance to sit the very next man to one of the performers.
“I am, sir,
"Your most affectionate friend and servant, "JOHN SHALLOW, Esq."
In compliance with Squire Shallow's request, I design this paper as a dissertation upon the cat-call. In order to make myself a master of the subject, I purchased one the beginning of last week, though not without great difficulty, being informed at two or three toy-shops that the players had lately bought them all up. I have since consulted many learned antiquaries in relation to its original, and find them very much divided among themselves upon that particular. A Fellow of the Royal Society, who is my good friend, and a great proficient 30 in the mathematical part of music, concludes from the simplicity of its make, and the uniformity of its sound, that the cat-call is older than any of the inventions of Jubal. He observes very well, that musical instruments took their first rise from the notes of birds, and other melodious animals ; and what, says he, was more natural than for the first ages of mankind to imitate the voice of a cat that lived under the
same roof with them? he added, that the cat had contributed more to harmony than any other animal; as we are not only beholden to her for this wind-instrument, but for our string music in general.
Another virtuoso of my acquaintance will not allow the cat-call to be older than Thespis, and is apt to think it appeared in the world soon after the ancient comedy; for which reason it has still a place in our dramatic entertainments: nor must I here omit what a curious gentleman, who is lately returned from his travels, has more than once 10 assured me, namely, that there was lately dug up at Rome the statue of a Momus, who holds an instrument in his right hand very much resembling our modern cat-call.
There are others who ascribe this invention to Orpheus, and look upon the cat-call to be one of those instruments which that famous musician made use of to draw the beasts about him. It is certain, that the roasting of a cat does not call together a greater audience of that species, than this instrument, if dexterously played upon in proper time and place.
But notwithstanding these various and learned conjectures, I cannot forbear thinking that the cat-call is originally a piece of English music. Its resemblance to the voice of some of our British songsters, as well as the use of it, which is peculiar to our nation, confirms me in this opinion. It has at least received great improvements among us, whether we consider the instrument itself, or those several quavers and graces which are thrown into the playing of it. Every one might be sensible of this, who heard that remarkable overgrown cat-call which was placed in the centre of the pit, and 30 presided over all the rest at the celebrated performance lately exhibited in Drury Lane.
Having said thus much concerning the original of the catcall, we are in the next place to consider the use of it. The cat-call exerts itself to most advantage in the British theatre : it very much improves the sound of nonsense, and often goes
along with the voice of the actor who pronounces it, as the violin or harpsichord accompanies the Italian recitativo.
It has often supplied the place of the ancient chorus, in the words of Mr. *** In short a bad poet has as great an antipathy to a cat-call, as many people have to a real cat. Mr. Collier, in his ingenious essay upon music, has the following passage:
"I believe it is possible to invent an instrument that shall have a quite contrary effect to those martial ones now in use: 10 an instrument that shall sink the spirits, and shake the nerves, and curdle the blood, and inspire despair, and cowardice, and consternation, at a surprising rate. It is probable the roaring of a lion, the warbling of cats and screech-owls, together with a mixture of the howling of dogs, judiciously imitated and compounded, might go a great way in this invention. Whether such anti-music as this might not be of service in a camp, I shall leave to the military men to consider."
What this learned gentlemen supposes in speculation, I 20 have known actually verified in practice. The cat-call has struck a damp into generals, and frighted heroes off the stage. At the first sound of it I have seen a crowned head tremble, and a princess fall into fits. The Humorous Lieutenant himself could not stand it; nay, I am told that even Almanzor looked like a mouse, and trembled at the voice of this terrifying instrument.
As it is of a dramatic nature, and peculiarly appropriated to the stage, I can by no means approve the thought of that angry lover, who, after an unsuccessful pursuit of some years, 30 took leave of his mistress in a serenade of cat-calls.
I must conclude this paper with the account I have lately received of an ingenious artist, who has long studied this instrument, and is very well versed in all the rules of the drama. He teaches to play on it by book, and to express by it the whole art of criticism. He has his base and his treble cat-call; the former for tragedy, the latter for comedy; only
in tragi-comedies they may both play together in consort. He has a particular squeak to denote the violation of each of the unities, and has different sounds to show whether he aims at the poet or the player. In short, he teaches the smut-note, the fustian-note, the stupid-note, and has composed a kind of air that may serve as an act-tune to an incorrigible play, and which takes in the whole compass of the cat-call.
XXXI. WOMAN ON HORSEBACK.
Saturday, July 19, 1712.
Nec duo sunt at forma duplex, nec fœmina dici
Both bodies in a single body mix,
A single body with a double sex.-Addison.
Most of the papers I give the public are written on subjects that never vary, but are for ever fixed and immutable. Of this kind are all my more serious essays and discourses; but there is another sort of speculations, which I consider as occasional papers, that take their rise from the folly, extravagance, and caprice of the present age. For I look upon myself as one set to watch the manners and behaviour of my countrymen and contemporaries, and to mark down every 20 absurd fashion, ridiculous custom, or affected form of speech, that makes its appearance in the world, during the course of these my speculations. The petticoat no sooner begun to swell, but I observed its motions. The party-patches had not time to muster themselves before I detected them. I had intelligence of the coloured hood the very first time it appeared in a public assembly. I might here mention several other the like contingent subjects, upon which I have bestowed distinct papers. By this means I have so effectually quashed
those irregularities which gave occasion to them, that I am afraid posterity will scarce have sufficient idea of them to relish those discourses which were in no little vogue at the time when they were written. They will be apt to think that the fashions and customs I attacked were some fantastic conceits of my own, and that their great-grandmothers could not be so whimsical as I have represented them. For this reason, when I think on the figure my several volumes of speculations will make about a hundred years hence, I con10 sider them as so many pieces of old plate, where the weight will be regarded, but the fashion lost.
Among the several female extravagances I have already taken notice of, there is one which still keeps its ground. I mean that of the ladies who dress themselves in a hat and feather, a riding-coat and a periwig; or at least tie up their hair in a bag or ribbon, in imitation of the smart part of the opposite sex. I have already shown my dislike of this immodest custom more than once; but in contempt of everything I have hitherto said, I am informed that the highways 20 about this great city are still very much infested with these female cavaliers.
I remember when I was at my friend Sir Roger de Coverley's about this time twelvemonth, an equestrian lady of this order appeared upon the plains which lay at a distance from his house. I was at that time walking in the fields with my old friend; and as his tenants ran out on every side to see so strange a sight, Sir Roger asked one of them who came by us, what it was? To which the country fellow replied, ""Tis a gentlewoman, saving your worship's presence, 30 in a coat and hat." This produced a great deal of mirth at the knight's house, where we had a story at the same time of another of his tenants, who meeting this gentleman-like lady on the high-way, was asked by her whether that was Coverley Hall; the honest man seeing only the male part of the querist, replied, "Yes, sir"; but upon the second question, "whether Sir Roger de Coverley was a married man," having dropped