The Spectator Volume I Part 9

Hor.

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 Ermin, and sailing in an open Boat upon a Sea of Paste-Board? What a Field of Raillery would they have been let into, had they been entertain'd with painted Dragons spitting Wild-fire, enchanted Chariots drawn by _Flanders_ Mares, and real Cascades in artificial Land-skips? A little Skill in Criticism would inform us that Shadows and Realities ought not to be mix'd together in the same Piece; and that 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 Champain 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 Inconsistencies, 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 Streets 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 my self what Use he would put them to, he was met very luckily by an Acquaintance, 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 the Sparrows were to act the part of Singing Birds in a delightful Grove: though, upon a nearer Enquiry I found the Sparrows put the same Trick upon the Audience, that Sir _Martin Mar-all_ [1] practised upon his Mistress; for, though they flew in Sight, the Musick proceeded from a Consort of Flagellets and Bird-calls which was 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 surprize 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 post-poned 'till 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 time, to find out a more agreeable Entertainment for the Winter-Season, the Opera of _Rinaldo_ [2] is filled with Thunder and Lightning, Illuminations, and Fireworks; which the Audience may look upon without catching Cold, and indeed without much Danger of being burnt; for there are several Engines filled with Water, and ready to play at a Minute's Warning, in case any such Accident should happen. However, as I have a very great Friendship for the Owner of this Theater, I hope that he has been wise enough to _insure_ his House before he would let this Opera be acted in it.

It is no wonder, that those Scenes should be very surprizing, which were contrived by two Poets of different Nations, and raised by two Magicians of different s.e.xes. _Armida_ (as we are told in the Argument) was an _Amazonian_ Enchantress, and poor Seignior _Ca.s.sani_ (as we learn from the _Persons represented_) a Christian Conjuror (_Mago Christiano_). I must confess I am very much puzzled to find how an _Amazon_ should be versed in the Black Art, or how a [good] Christian [for such is the part of the magician] should deal with the Devil.

To consider the Poets after the Conjurers, I shall give you a Taste of the _Italian_, from the first Lines of his Preface.

'Eccoti, benigno Lettore, un Parto di poche Sere, che se ben nato di Notte, non e per aborto di Tenebre, ma si fara conoscere Figlio d'Apollo con qualche Raggio di Parna.s.so.

Behold, gentle Reader, the Birth of a few Evenings, which, tho' it be the Offspring of the Night, is not the Abortive of Darkness, but will make it self known to be the Son of Apollo, with a certain Ray of Parna.s.sus.'

He afterwards proceeds to call Minheer _Hendel_, [3] the _Orpheus_ of our Age, and to acquaint us, in the same Sublimity of Stile, that he Composed this Opera in a Fortnight. Such are the Wits, to whose Tastes we so ambitiously conform our selves. The Truth of it is, the finest Writers among the Modern _Italians_ express themselves in such a florid form of Words, and such tedious Circ.u.mlocutions, as are used by none but Pedants in our own Country; and at the same time, fill their Writings with such poor Imaginations and Conceits, as our Youths are ashamed of, before they have been Two Years at the University. Some may be apt to think that it is the difference of Genius which produces this difference in the Works of the two Nations; but to show there is nothing in this, if we look into the Writings of the old _Italians_, such as _Cicero_ and _Virgil_, we shall find that the _English_ Writers, in their way of thinking and expressing themselves, resemble those Authors much more than the modern _Italians_ pretend to do. And as for the Poet himself from whom the Dreams of this Opera are taken, I must entirely agree with Monsieur _Boileau_, that one Verse in _Virgil_ is worth all the _Clincant_ or Tinsel of _Ta.s.so_.

But to return to the Sparrows; there have been so many Flights of them let loose in this Opera, that it is feared the House will never get rid of them; and that in other Plays, they may make their Entrance in very wrong and improper Scenes, so as to be seen flying in a Lady's Bed-Chamber, or perching upon a King's Throne; besides the Inconveniences which the Heads of the Audience may sometimes suffer from them. I am credibly informed, that there was once a Design of casting into an Opera the Story of _Whittington_ and his Cat, and that in order to it, there had been got together a great Quant.i.ty of Mice; but Mr.

_Rich_, the Proprietor of the Play-House, very prudently considered that it would be impossible for the Cat to kill them all, and that consequently the Princes of his Stage might be as much infested with Mice, as the Prince of the Island was before the Cat's arrival upon it; for which Reason he would not permit it to be Acted in his House. And indeed I cannot blame him; for, as he said very well upon that Occasion, I do not hear that any of the Performers in our Opera, pretend to equal the famous Pied Piper, who made all the Mice of a great Town in _Germany_ [4] follow his Musick, and by that means cleared the Place of those little Noxious Animals.

Before I dismiss this Paper, I must inform my Reader, that I hear there is a Treaty on Foot with _London_ and _Wise_ [5] (who will be appointed Gardeners of the Play-House,) to furnish the Opera of _Rinaldo_ and _Armida_ with an Orange-Grove; and that the next time it is Acted, the Singing Birds will be Personated by Tom-t.i.ts: The undertakers being resolved to spare neither Pains nor Mony, for the Gratification of the Audience.

C.

[Footnote 1: Dryden's play of 'Sir Martin Mar-all' was produced in 1666.

It was entered at Stationers' Hall as by the duke of Newcastle, but Dryden finished it. In Act 5 the foolish Sir Martin appears at a window with a lute, as if playing and singing to Millicent, his mistress, while his man Warner plays and sings. Absorbed in looking at the lady, Sir Martin foolishly goes on opening and shutting his mouth and fumbling on the lute after the man's song, a version of Voiture's 'L'Amour sous sa Loi', is done. To which Millicent says,

'A pretty-humoured song--but stay, methinks he plays and sings still, and yet we cannot hear him--Play louder, Sir Martin, that we may have the Fruits on't.']

[Footnote 2: Handel had been met in Hanover by English n.o.blemen who invited him to England, and their invitation was accepted by permission of the elector, afterwards George I., to whom he was then Chapel-master.

Immediately upon Handel's arrival in England, in 1710, Aaron Hill, who was directing the Haymarket Theatre, bespoke of him an opera, the subject being of Hill's own devising and sketching, on the story of Rinaldo and Armida in Ta.s.so's 'Jerusalem Delivered'. G. Rossi wrote the Italian words. 'Rinaldo', brought out in 1711, on the 24th of February, had a run of fifteen nights, and is accounted one of the best of the 35 operas composed by Handel for the English stage. Two airs in it, 'Cara sposa' and 'Lascia ch'io pianga' (the latter still admired as one of the purest expressions of his genius), made a great impression. In the same season the Haymarket produced 'Hamlet' as an opera by Gasparini, called 'Ambleto', with an overture that had four movements ending in a jig. But as was Gasparini so was Handel in the ears of Addison and Steele. They recognized in music only the sensual pleasure that it gave, and the words set to music for the opera, whatever the composer, were then, as they have since been, almost without exception, insults to the intellect.]

[Footnote 3: Addison's spelling, which is as good as ours, represents what was the true and then usual p.r.o.nunciation of the name of Haendel.]

[Footnote 4: The Pied Piper of Hamelin (i.e. Hameln).

'Hamelin town's in Brunswick, By famous Hanover city; The river Weser, deep and wide, Washes its wall on the southern side.'

The old story has been annexed to English literature by the genius of Robert Browning.]

[Footnote 5: Evelyn, in the preface to his translation of Quintinye's 'Complete Gardener' (1701), says that the nursery of Messrs. London and Wise far surpa.s.sed all the others in England put together. It exceeded 100 acres in extent. George London was chief gardener first to William and Mary, then to Queen Anne. London and Wise's nursery belonged at this time to a gardener named Swinhoe, but kept the name in which it had become famous.]

No. 6. Wednesday, March 7, 1711. Steele.

'Credebant hoc grande Nefas, et Morte piandum, Si Juvenis Vetulo non a.s.surrexerat ...'

Juv.

I know no Evil under the Sun so great as the Abuse of the Understanding, and yet there is no one Vice more common. It has diffus'd itself through both s.e.xes, and all Qualities of Mankind; and there is hardly that Person to be found, who is not more concerned for the Reputation of Wit and Sense, than Honesty and Virtue. But this unhappy Affectation of being Wise rather than Honest, Witty than Good-natur'd, is the Source of most of the ill Habits of Life. Such false Impressions are owing to the abandon'd Writings of Men of Wit, and the awkward Imitation of the rest of Mankind.

For this Reason, Sir ROGER was saying last Night, that he was of Opinion that none but Men of fine Parts deserve to be hanged. The Reflections of such Men are so delicate upon all Occurrences which they are concern'd in, that they should be expos'd to more than ordinary Infamy and Punishment, for offending against such quick Admonitions as their own Souls give them, and blunting the fine Edge of their Minds in such a Manner, that they are no more shock'd at Vice and Folly, than Men of slower Capacities. There is no greater Monster in Being, than a very ill Man of great Parts: He lives like a Man in a Palsy, with one Side of him dead. While perhaps he enjoys the Satisfaction of Luxury, of Wealth, of Ambition, he has lost the Taste of Good-will, of Friendship, of Innocence. _Scarecrow_, the Beggar in _Lincoln's-Inn-Fields_, who disabled himself in his Right Leg, and asks Alms all Day to get himself a warm Supper and a Trull at Night, is not half so despicable a Wretch as such a Man of Sense. The Beggar has no Relish above Sensations; he finds Rest more agreeable than Motion; and while he has a warm Fire and his Doxy, never reflects that he deserves to be whipped. Every Man who terminates his Satisfaction and Enjoyments within the Supply of his own Necessities and Pa.s.sions, is, says Sir Roger, in my Eye as poor a Rogue as _Scarecrow_. But, continued he, for the loss of publick and private Virtue we are beholden to your Men of Parts forsooth; it is with them no matter what is done, so it is done with an Air. But to me who am so whimsical in a corrupt Age as to act according to Nature and Reason, a selfish Man in the most shining Circ.u.mstance and Equipage, appears in the same Condition with the Fellow above-mentioned, but more contemptible in Proportion to what more he robs the Publick of and enjoys above him. I lay it down therefore for a Rule, That the whole Man is to move together; that every Action of any Importance is to have a Prospect of publick Good; and that the general Tendency of our indifferent Actions ought to be agreeable to the Dictates of Reason, of Religion, of good Breeding; without this, a Man, as I have before hinted, is hopping instead of walking, he is not in his entire and proper Motion.

While the honest Knight was thus bewildering himself in good Starts, I look'd intentively upon him, which made him I thought collect his Mind a little. What I aim at, says he, is, to represent, That I am of Opinion, to polish our Understandings and neglect our Manners is of all things the most inexcusable. Reason should govern Pa.s.sion, but instead of that, you see, it is often subservient to it; and, as unaccountable as one would think it, a wise Man is not always a good Man. This Degeneracy is not only the Guilt of particular Persons, but also at some times of a whole People; and perhaps it may appear upon Examination, that the most polite Ages are the least virtuous. This may be attributed to the Folly of admitting Wit and Learning as Merit in themselves, without considering the Application of them. By this Means it becomes a Rule not so much to regard what we do, as how we do it. But this false Beauty will not pa.s.s upon Men of honest Minds and true Taste. Sir _Richard Blackmore_ says, with as much good Sense as Virtue, _It is a mighty Dishonour and Shame to employ excellent Faculties and abundance of Wit, to humour and please Men in their Vices and Follies. The great Enemy of Mankind, notwithstanding his Wit and Angelick Faculties, is the most odious Being in the whole Creation_. He goes on soon after to say very generously, That he undertook the writing of his Poem _to rescue the Muses out of the Hands of Ravishers, to restore them to their sweet and chaste Mansions, and to engage them in an _Employment suitable to their Dignity_. [1] This certainly ought to be the Purpose of every man who appears in Publick; and whoever does not proceed upon that Foundation, injures his Country as fast as he succeeds in his Studies. When Modesty ceases to be the chief Ornament of one s.e.x, and Integrity of the other, Society is upon a wrong Basis, and we shall be ever after without Rules to guide our Judgment in what is really becoming and ornamental. Nature and Reason direct one thing, Pa.s.sion and Humour another: To follow the Dictates of the two latter, is going into a Road that is both endless and intricate; when we pursue the other, our Pa.s.sage is delightful, and what we aim at easily attainable.

I do not doubt but _England_ is at present as polite a Nation as any in the World; but any Man who thinks can easily see, that the Affectation of being gay and in fashion has very near eaten up our good Sense and our Religion. Is there anything so just, as that Mode and Gallantry should be built upon exerting ourselves in what is proper and agreeable to the Inst.i.tutions of Justice and Piety among us? And yet is there anything more common, than that we run in perfect Contradiction to them?

All which is supported by no other Pretension, than that it is done with what we call a good Grace.

Nothing ought to be held laudable or becoming, but what Nature it self should prompt us to think so. Respect to all kind of Superiours is founded methinks upon Instinct; and yet what is so ridiculous as Age? I make this abrupt Transition to the Mention of this Vice more than any other, in order to introduce a little Story, which I think a pretty Instance that the most polite Age is in danger of being the most vicious.

'It happen'd at _Athens_, during a publick Representation of some Play exhibited in honour of the Common-wealth that an old Gentleman came too late for a Place suitable to his Age and Quality. Many of the young Gentlemen who observed the Difficulty and Confusion he was in, made Signs to him that they would accommodate him if he came where they sate: The good Man bustled through the Crowd accordingly; but when he came to the Seats to which he was invited, the Jest was to sit close, and expose him, as he stood out of Countenance, to the whole Audience. The Frolick went round all the Athenian Benches. But on those Occasions there were also particular Places a.s.signed for Foreigners: When the good Man skulked towards the Boxes appointed for the _Lacedemonians_, that honest People, more virtuous than polite, rose up all to a Man, and with the greatest Respect received him among them. The _Athenians_ being suddenly touched with a Sense of the _Spartan_ Virtue, and their own Degeneracy, gave a Thunder of Applause; and the old Man cry'd out, _The_ Athenians _understand what is good, but the_ Lacedemonians _practise it_.'

R.

[Footnote 1: Richard Blackmore, born about 1650, d. 1729, had been knighted in 1697, when he was made physician in ordinary to King William. He was a thorough Whig, earnestly religious, and given to the production of heroic poems. Steele shared his principles and honoured his sincerity. When this essay was written, Blackmore was finishing his best poem, the 'Creation', in seven Books, designed to prove from nature the existence of a G.o.d. It had a long and earnest preface of expostulation with the atheism and mocking spirit that were the legacy to his time of the Court of the Restoration. The citations in the text express the purport of what Blackmore had written in his then unpublished but expected work, but do not quote from it literally.]

No. 7. Thursday, March 8, 1711. Addison.