The Spectator Volume I Part 15

Pepys tells of the crowd waiting, in 1667, to see Lady Castlemaine come out from the puppet play of 'Patient Grisel.'

The Powell mentioned in this essay was a deformed cripple whose Puppet-Show, called Punch's Theatre, owed its pre-eminence to his own power of satire. This he delivered chiefly through Punch, the clown of the puppets, who appeared in all plays with so little respect to dramatic rule that Steele in the Tatler (for May 17, 1709) represents a correspondent at Bath, telling how, of two ladies, Prudentia and Florimel, who would lead the fashion, Prudentia caused Eve in the Puppet-Show of 'the Creation of the World' to be

'made the most like Florimel that ever was seen,'

and

'when we came to Noah's Flood in the show, Punch and his wife were introduced dancing in the ark.'

Of the fanatics called French Prophets, who used to a.s.semble in Moorfields in Queen Anne's reign, Lord Chesterfield remembered that

'the then Ministry, who loved a little persecution well enough, was, however, so wise as not to disturb their madness, and only ordered one Powell, the master of a famous Puppet-Show, to make Punch turn Prophet; which he did so well, that it soon put an end to the prophets and their prophecies. The obscure Dr Sacheverell's fortune was made by a parliamentary prosecution' (from Feb. 27 to March 23, 1709-10) 'much about the same time the French Prophets were totally extinguished by a Puppet-Show'

(Misc. Works, ed. Maty., Vol. II, p. 523, 555).

This was the Powell who played in Covent Garden during the time of week-day evening service, and who, taking up Addison's joke against the opera from No. 5 of the 'Spectator', produced 'Whittington and his Cat'

as a rival to 'Rinaldo and Armida'. [See also a note to No. 31.]]

ADVERTIs.e.m.e.nT.

On the first of April will be performed at the Play-house in the Hay-market, an Opera call'd 'The Cruelty of Atreus'.

N.B. The Scene wherein Thyestes eats his own Children, is to be performed by the famous Mr Psalmanazar, [1] lately arrived from Formosa; The whole Supper being set to Kettle-drums.

R.

[Footnote 1: George Psalmanazar, who never told his real name and precise birthplace, was an impostor from Languedoc, and 31 years old in 1711. He had been educated in a Jesuit college, where he heard stories of the Jesuit missions in j.a.pan and Formosa, which suggested to him how he might thrive abroad as an interesting native. He enlisted as a soldier, and had in his character of j.a.panese only a small notoriety until, at Sluys, a dishonest young chaplain of Brigadier Lauder's Scotch regiment, saw through the trick and favoured it, that he might recommend himself to the Bishop of London for promotion. He professed to have converted Psalmanazar, baptized him, with the Brigadier for G.o.dfather, got his discharge from the regiment, and launched him upon London under the patronage of Bishop Compton. Here Psalmanazar, who on his arrival was between nineteen and twenty years old, became famous in the religious world. He supported his fraud by invention of a language and letters, and of a Formosan religion. To oblige the Bishop he translated the church catechism into 'Formosan,' and he published in 1704 'an historical and geographical Description of Formosa,' of which a second edition appeared in the following year. It contained numerous plates of imaginary scenes and persons. His gross and puerile absurdities in print and conversation--such as his statements that the Formosans sacrificed eighteen thousand male infants every year, and that the j.a.panese studied Greek as a learned tongue,--excited a distrust that would have been fatal to the success of his fraud, even with the credulous, if he had not forced himself to give colour to his story by acting the savage in men's eyes. But he must really, it was thought, be a savage who fed upon roots, herbs, and raw flesh. He made, however, so little by the imposture, that he at last confessed himself a cheat, and got his living as a well-conducted bookseller's hack for many years before his death, in 1763, aged 84. In 1711, when this jest was penned, he had not yet publicly eaten his own children, i.e. swallowed his words and declared his writings forgeries. In 1716 there was a subscription of 20 or 30 a year raised for him as a Formosan convert. It was in 1728 that he began to write that formal confession of his fraud, which he left for publication after his death, and whereby he made his great public appearance as Thyestes.

This jest against Psalmanazar was expunged from the first reprint of the _Spectator_ in 1712, and did not reappear in the lifetime of Steele or Addison, or until long after it had been amply justified.]

No. 15. Sat.u.r.day, March 17, 1711. Addison.

'Parva leves capiunt animos ...'

Ovid.

When I was in _France_, I used to gaze with great Astonishment at the Splendid Equipages and Party-coloured Habits, of that Fantastick Nation.

I was one Day in particular contemplating a Lady that sate in a Coach adorned with gilded _Cupids_, and finely painted with the Loves of _Venus_ and _Adonis_. The Coach was drawn by six milk-white Horses, and loaden behind with the same Number of powder'd Foot-men. Just before the Lady were a Couple of beautiful Pages, that were stuck among the Harness, and by their gay Dresses, and smiling Features, looked like the elder Brothers of the little Boys that were carved and painted in every Corner of the Coach.

The Lady was the unfortunate _Cleanthe_, who afterwards gave an Occasion to a pretty melancholy Novel. She had, for several Years, received the Addresses of a Gentleman, whom, after a long and intimate Acquaintance, she forsook, upon the Account of this shining Equipage which had been offered to her by one of great Riches, but a Crazy Const.i.tution. The Circ.u.mstances in which I saw her, were, it seems, the Disguises only of a broken Heart, and a kind of Pageantry to cover Distress; for in two Months after, she was carried to her Grave with the same Pomp and Magnificence: being sent thither partly by the Loss of one Lover, and partly by the Possession of another.

I have often reflected with my self on this unaccountable Humour in Woman-kind, of being smitten with every thing that is showy and superficial; and on the numberless Evils that befall the s.e.x, from this light, fantastical Disposition. I my self remember a young Lady that was very warmly sollicited by a Couple of importunate Rivals, who, for several Months together, did all they could to recommend themselves, by Complacency of Behaviour, and Agreeableness of Conversation. At length, when the Compet.i.tion was doubtful, and the Lady undetermined in her Choice, one of the young Lovers very luckily bethought himself of adding a supernumerary Lace to his Liveries, which had so good an Effect that he married her the very Week after.

The usual Conversation of ordinary Women, very much cherishes this Natural Weakness of being taken with Outside and Appearance. Talk of a new-married Couple, and you immediately hear whether they keep their Coach and six, or eat in Plate: Mention the Name of an absent Lady, and it is ten to one but you learn something of her Gown and Petticoat. A Ball is a great Help to Discourse, and a Birth-Day furnishes Conversation for a Twelve-month after. A Furbelow of precious Stones, an Hat b.u.t.toned with a Diamond, a Brocade Waistcoat or Petticoat, are standing Topicks. In short, they consider only the Drapery of the Species, and never cast away a Thought on those Ornaments of the Mind, that make Persons Ill.u.s.trious in themselves, and Useful to others. When Women are thus perpetually dazling one anothers Imaginations, and filling their Heads with nothing but Colours, it is no Wonder that they are more attentive to the superficial Parts of Life, than the solid and substantial Blessings of it. A Girl, who has been trained up in this kind of Conversation, is in danger of every Embroidered Coat that comes in her Way. A Pair of fringed Gloves may be her Ruin. In a word, Lace and Ribbons, Silver and Gold Galloons, with the like glittering Gew-Gaws, are so many Lures to Women of weak Minds or low Educations, and, when artificially displayed, are able to fetch down the most airy Coquet from the wildest of her Flights and Rambles.

True Happiness is of a retired Nature, and an Enemy to Pomp and Noise; it arises, in the first place, from the Enjoyment of ones self; and, in the next, from the Friendship and Conversation of a few select Companions. It loves Shade and Solitude, and naturally haunts Groves and Fountains, Fields and Meadows: In short, it feels every thing it wants within itself, and receives no Addition from Mult.i.tudes of Witnesses and Spectators. On the contrary, false Happiness loves to be in a Crowd, and to draw the Eyes of the World upon her. She does not receive any Satisfaction from the Applauses which she gives her self, but from the Admiration which she raises in others. She flourishes in Courts and Palaces, Theatres and a.s.semblies, and has no Existence but when she is looked upon.

_Aurelia_, tho' a Woman of Great Quality, delights in the Privacy of a Country Life, and pa.s.ses away a great part of her Time in her own Walks and Gardens. Her Husband, who is her Bosom Friend and Companion in her Solitudes, has been in Love with her ever since he knew her. They both abound with good Sense, consummate Virtue, and a mutual Esteem; and are a perpetual Entertainment to one another. Their Family is under so regular an Oeconomy, in its Hours of Devotion and Repast, Employment and Diversion, that it looks like a little Common-Wealth within it self.

They often go into Company, that they may return with the greater Delight to one another; and sometimes live in Town not to enjoy it so properly as to grow weary of it, that they may renew in themselves the Relish of a Country Life. By this means they are Happy in each other, beloved by their Children, adored by their Servants, and are become the Envy, or rather the Delight, of all that know them.

How different to this is the Life of _Fulvia_! she considers her Husband as her Steward, and looks upon Discretion and good House-Wifery, as little domestick Virtues, unbecoming a Woman of Quality. She thinks Life lost in her own Family, and fancies herself out of the World, when she is not in the Ring, the Play-House, or the Drawing-Room: She lives in a perpetual Motion of Body and Restlessness of Thought, and is never easie in any one Place, when she thinks there is more Company in another. The missing of an Opera the first Night, would be more afflicting to her than the Death of a Child. She pities all the valuable Part of her own s.e.x, and calls every Woman of a prudent modest retired Life, a poor-spirited, unpolished Creature. What a Mortification would it be to _Fulvia_, if she knew that her setting her self to View, is but exposing her self, and that she grows Contemptible by being Conspicuous.

I cannot conclude my Paper, without observing that _Virgil_ has very finely touched upon this Female Pa.s.sion for Dress and Show, in the Character of _Camilla_; who, tho' she seems to have shaken off all the other Weaknesses of her s.e.x, is still described as a Woman in this Particular. The Poet tells us, that, after having made a great Slaughter of the Enemy, she unfortunately cast her Eye on a _Trojan_ [who[1]] wore an embroidered Tunick, a beautiful Coat of Mail, with a Mantle of the finest Purple. _A Golden Bow_, says he, _Hung upon his Shoulder; his Garment was buckled with a Golden Clasp, and his Head was covered with an Helmet of the same shining Mettle_. The _Amazon_ immediately singled out this well-dressed Warrior, being seized with a Woman's Longing for the pretty Trappings that he was adorned with:

'... Totumque incauta per agmen Faemineo praedae et spoliorum ardebat amore.'

This heedless Pursuit after these glittering Trifles, the Poet (by a nice concealed Moral) represents to have been the Destruction of his Female Hero.

C.

[Footnote 1: that]