The Tatler Volume I Part 2

From my own Apartment.

I am sorry I am obliged to trouble the public with so much discourse upon a matter which I at the very first mentioned as a trifle--viz. the death of Mr. Partridge,[79] under whose name there is an almanack come out for the year 1709, in one page of which it is a.s.serted by the said John Partridge, that he is still living, and that not only so, but that he was also living some time before, and even at the instant when I writ of his death. I have in another place, and in a paper by itself, sufficiently convinced this man that he is dead, and if he has any shame, I don't doubt but that by this time he owns it to all his acquaintance: for though the legs and arms, and whole body of that man may still appear and perform their animal functions; yet since, as I have elsewhere observed, his art is gone, the man is gone. I am, as I said, concerned, that this little matter should make so much noise; but since I am engaged, I take myself obliged in honour to go on in my lucubrations, and by the help of these arts of which I am master, as well as my skill in astrological speculations, I shall, as I see occasion, proceed to confute other dead men, who pretend to be in being, that they are actually deceased. I therefore give all men fair warning to mend their manners, for I shall from time to time print bills of mortality; and I beg the pardon of all such who shall be named therein, if they who are good for nothing shall find themselves in the number of the deceased.[80]

[Footnote 55: This motto was repeated at the head of each of the first 40 numbers in the folio issue.]

[Footnote 56: These were the days on which the post left London for the different parts of the country.]

[Footnote 57: White's Chocolate-house, five doors from the bottom of the west side of St. James's Street, was established in 1698. It was burnt on April 28, 1733, while kept by Mr. Arthur. Plate VI. of Hogarth's "Rake's Progress" depicts gamblers engrossed in play in a room in this house during the fire; see also Plate IV. Swift gives it a bad character in his "Essay on Modern Education;" it had a strong character for gambling (Timbs's "Clubs and Club Life in London," where, at p. 48, there is a sketch of White's from an old drawing). The house became a private club, as we now have it, about 1736.]

[Footnote 58: Will's Coffee-house, named after Will Urwin, its proprietor, was the corner house on the north side of Russell Street, Covent Garden, at the end of Bow Street. The present house, 21 Russell Street, is probably part of the old building. Will's was ceasing to be the resort of the wits in 1709; it was in its glory at the close of the seventeenth century. The wits' room, where Dryden presided, was on the first floor.]

[Footnote 59: The Grecian, in Devereux Court in the Strand, was probably the most ancient coffee-house in or about London. In 1652 an English Turkey merchant brought home with him a Greek servant, who first opened a house for making and selling coffee. This man's name was Constantine, and his house was much resorted to by lawyers, Greek scholars, and Members of the Royal Society. (See Th.o.r.esby's Diary, i. 111, 117.) Foote and Goldsmith afterwards frequented it. In Dr. King's "Anecdotes" there is a story of two gentlemen friends who disputed at the Grecian Coffee-house about the accent of a Greek word to such a length that they went out into Devereux Court and drew swords, when one of them was killed on the spot.]

[Footnote 60: The St. James's Coffee-house was the last house but one on the S.W. corner of St. James's Street. It was frequented by Whig statesmen, and was closed about 1806. Swift and Steele were at a supper given by the keeper on the 19th November, 1710.]

[Footnote 61: Cf. the _Spectator_, No. 31: "Laying down my penny upon the bar."]

[Footnote 62: Wine.]

[Footnote 63: A waiter. See Nos. 10, 26.]

[Footnote 64: This introduction was repeated in Nos. 2 and 3 of the original issue.]

[Footnote 65: "The reader is desired to take notice of the article from this place from time to time, for I design to be very exact in the progress this unhappy gentleman makes, which may be of great instruction to all who actually are, or who ever shall be, in love." (Original folio.) For Viscount Hinchinbroke ("Cynthio"), see No. 5.]

[Footnote 66: April 7, 1709. Cibber acknowledges that Steele did the stage very considerable service by the papers on the theatre in the _Tatler_.]

[Footnote 67: For further particulars of Thomas Betterton (1635-1710), see Nos. 71 and 167. Cibber says: "I never heard a line in tragedy come from Betterton wherein my judgment, my ear and my imagination were not fully satisfied.... The person of this excellent actor was suitable to his voice, more manly than sweet, not exceeding the middle stature, inclining to be corpulent; of a serious and penetrating aspect; his limbs nearer the athletic than the delicate proportion; yet, however formed, there arose from the harmony of the whole a commanding mien of majesty."]

[Footnote 68: By Congreve, 1695.]

[Footnote 69: Mrs. Elizabeth Barry on this occasion spoke an epilogue, written by Rowe. She was the daughter of Edward Barry, barrister, whose fortunes were ruined by his attachment to Charles I. Tony Aston, in his "Supplement to Cibber's Apology," says she was woman to Lady Shelton, of Norfolk, his G.o.dmother; and Curll tells us that she was early taken under the protection of Lady Davenant. She was certainly on the stage in 1673. At her first appearance there was so little hope of her success, that at the end of the season she was discharged [from] the theatre. It is probable that at this time she became acquainted with Lord Rochester, who took her under his protection, and gave her instructions in her theatrical performances. By his interest she seems to have been restored to the stage, and, improving daily in her profession, she soon eclipsed all her compet.i.tors, and in the part of Monimia in "The Orphan"

established her reputation, which was enhanced by her performance as Belvidera in "Venice Preserved," and as Isabella in "The Fatal Marriage." "In characters of greatness," says Cibber, "Mrs. Barry had a presence of elevated dignity, her mien and motion superb, and gracefully majestic; her voice full, clear, and strong, so that no violence of pa.s.sion could be too much for her, and when distress or tenderness possessed her she subsided into the most affecting melody and softness.

In the art of exciting pity she had a power beyond all the actresses I have yet seen, or what your imagination can conceive. In scenes of anger, defiance, or resentment, while she was impetuous and terrible, she poured out the sentiment with an enchanting harmony.... In tragedy she was solemn and august, in comedy alert, easy, and genteel, pleasant in her face and action, filling the stage with a variety of gesture. She could neither sing nor dance, no not in a country dance. She adhered to Betterton in all the revolutions of the theatre, which she quitted about 1707, on account of ill-health." She returned, however, for one night with Mrs. Bracegirdle, April 7, 1709, and performed Mrs. Frail in "Love for Love" for Betterton's benefit. She died at Acton in 1713. Mrs.

Barry, Mrs. Bracegirdle, Mr. Betterton, and Mr. Varbriggen were sworn as Comedians in Ordinary to her Majesty, 30th Oct., 2 Anne (1703). On the 3rd March, 1692, Mrs. Barry received 25 for acting in "The Orphan"

before their Majesties, and on the 10th June, 1693, 25 for Caius Marius. (Lord Chamberlain's Records, Warrant Books, No. 20, p. 151; No.

18, pp. 30, 242.)]

[Footnote 70: Mrs. Anne Bracegirdle was the daughter of Justinian Bracegirdle, of Northamptonshire. By the imprudence of her father, who ruined himself by becoming surety for some friends, she was early left to the care of Betterton and his wife, whose attentions to her she always acknowledged to be truly paternal. By them she was first introduced to the stage, and, while very young, performed the page in "The Orphan." Increasing in years, and in ability, she became the favourite performer of the times. Cibber describes her in these terms: "Mrs. Bracegirdle was now but just blooming in her maturity; her reputation, as an actress, gradually rising with that of her person; never any woman was in such general favour of her spectators, which, to the last scene of her dramatic life, she maintained by not being unguarded in her private character. This discretion contributed not a little to make her the _Cara_, the darling of the theatre: for it will be no extravagant thing to say scarce an audience saw her that were less than half of them lovers, without a suspected favourite among them: and though she might be said to have been the universal pa.s.sion and under the highest temptations, her constancy in resisting them served but to increase the number of her admirers. And this perhaps you will more easily believe, when I extend not my encomiums on her person beyond a sincerity that can be suspected; for she had no greater claim to beauty than what the most desirable brunette might pretend to. But her youth and lively aspect threw out such a glow of health and cheerfulness, that, on the stage, few spectators that were not past it, could behold her without desire. There were two very different characters in which she acquitted herself with uncommon applause: if anything could excuse that desperate extravagance of love, that almost frantic pa.s.sion of Lee's Alexander the Great, it must have been when Mrs. Bracegirdle was his Statira: as when she acted Millamant, all the faults, follies, and affectation of that agreeable tyrant were venially melted down into so many charms and attractions of a conscious beauty." In the theatrical disputes of the times, she adhered to her benefactor Betterton, and continued to perform with applause until 1707, when, on the preference being given to Mrs. Oldfield in a contention between that actress and Mrs. Bracegirdle, she left the stage, except for one night, when she returned with Mrs. Barry to the theatre, and performed Angelica for Betterton's benefit (the performance described in this number). She died in 1748.]

[Footnote 71: Thomas Doggett died in 1721. In 1695 he created the character of Ben in Congreve's "Love for Love." Afterwards he was a.s.sociated with Steele in the management of Drury Lane Theatre.]

[Footnote 72: D'Urfey's "Modern Prophets" was produced in 1709. Thomas D'Urfey died in 1723, aged 70, leaving Steele a watch and chain, which his friend wore at the funeral. He wrote many plays and songs. See also Nos. 11, 43.]

[Footnote 73: See No. 4.]

[Footnote 74: William, First Earl Cadogan (1675-1726), was an able officer who took a very prominent part in Marlborough's campaigns. In January, 1709, he was made lieutenant-general, and he was dangerously wounded at the siege of Mons. He was appointed Lieutenant of the Tower of London in December.]

[Footnote 75: The news-paragraphs in the earlier numbers of the _Tatler_ are here preserved for the sake of completeness, but for the most part the details recorded are not of permanent interest, and do not call for comment. The reader may be reminded generally that in the spring of 1709 the French, after the battle of Oudenarde and the fall of Lille, followed by a very severe winter, were driven to think of terms of peace. The negotiations, however, fell through for the time, and the campaign was begun in the Netherlands, where Marlborough and Prince Eugene had an army of 110,000 men. The French were entrenched under Villars between Douay and Bethune, and were strengthened by part of the garrison of Tournay. Marlborough seized the opportunity of attacking the half-defended town, which was obliged to surrender on July 29, after a siege of nineteen days. The French then made a great effort, and brought an army of 100,000 men into the field, with the result that the battle of Malplaquet (Sept. 11) was a very b.l.o.o.d.y and hard-earned victory for the allies. The subsequent fall of Mons brought the campaign to a close.]

[Footnote 76: Marlborough.]

[Footnote 77: A merchant entrusted by Lewis XIV. to negotiate terms of peace with the Dutch.]

[Footnote 78: General Wood played a distinguished part in the battles of Donauwerth (1704) and Ramilies (1706).]

[Footnote 79: See the Introduction.]

[Footnote 80: "A Vindication of Isaac Bickerstaff, Esq., against what is objected to him by Mr. Partridge in his Almanack for the present year 1709. By the said Isaac Bickerstaff, Esq., London, printed in the year 1709." (Advertis.e.m.e.nt in folio issue.) In a pamphlet called "Predictions for the Year 1712. By Isaac Bickerstaff, Esq.; in a Letter to the author of the Oxford Almanack. Printed in the year 1712," this "Vindication" is thus noticed: "I can't but express my resentment against a gentleman who personated me in a paper called 'Mr. Bickerstaff's Vindication.' I'm grieved to find the times should be so very wicked, that one impostor should set up to reform another, and that a false Bickerstaff should write against an imaginary Partridge. And I am heartily concerned that one who shows so much wit, such extreme civility, and writes such a gentlemanlike style, should prefix my name to writings in which there appears so little solidity and no knowledge of the Arabian philosophy.

If this paper should be transmitted to posterity (as, perhaps, it might have been by the authority of the name it wears in the front) it might have been a lasting reflection upon me to the end of the world.... Till seeing four volumes of writings--the collected edition of the _Tatler_--pretended to be mine, and a serious philosopher's name prefixed to papers as free from my solidity as they are full of wit, I thought it high time to vindicate myself, and give the world a taste of my writings; for I am now persuaded 'twill be more for my reputation to convince than to despise mankind."]

No. 2. [STEELE.

From _Tuesday, April 12_, to _Thursday, April 14_, 1709.

Will's Coffee-house, April 13.

There has lain all this evening, on the table, the following poem. The subject of it being matter very useful for families, I thought it deserved to be considered, and made more public. The turn the poet[81]

gives it is very happy; but the foundation is from a real accident which happened among my acquaintance.[82] A young gentleman of a great estate fell desperately in love with a great beauty of very high quality, but as ill-natured as long flattery and an habitual self-will could make her. However, my young spark ventures upon her, like a man of quality, without being acquainted with her, or having ever saluted her, till it was a crime to kiss any woman else. Beauty is a thing which palls with possession; and the charms of this lady soon wanted the support of good humour and complaisancy of manners. Upon this my spark flies to the bottle for relief from his satiety. She disdains him for being tired with that for which all men envied him; and he never came home, but it was: "Was there no sot that would stay longer? Would any man living but you? Did I leave all the world for this usage?" To which he: "Madam, split me, you are very impertinent!" In a word, this match was wedlock in its most terrible appearances. She, at last weary of railing to no purpose, applies to a good uncle, who gives her a bottle of water. "The virtue of this powerful liquor," said he, "is such, that if the woman you marry proves a scold (which, it seems, my dear niece, is your misfortune, as it was your good mother's before you), let her hold six spoonfuls in her mouth, for a full half hour after you come home--" But I find I am not in humour for telling a tale, and nothing in nature is so ungrateful as story-telling against the grain, therefore take it as the author has given it you.

The MEDECINE.

#A Tale--for the Ladies.#

Miss Molly, a famed toast, was fair and young, Had wealth and charms, but then she had a tongue From morn to night, the eternal larum run, Which often lost those hearts her eyes had won.

Sir John was smitten, and confessed his flame, Sighed out the usual time, then wed the dame: Possessed he thought of every joy of life, But his dear Molly proved a very wife.

Excess of fondness did in time decline, Madam loved money, and the knight loved wine.

From whence some petty discords would arise, As, "You're a fool"; and, "You are mighty wise!"

Though he and all the world allowed her wit, Her voice was shrill, and rather loud than sweet, When she began,--for hat and sword he'd call.

Then, after a faint kiss, cry, "B'y, dear Moll: Supper and friends expect me at the Rose."[83]

And, "What, Sir John, you'll get your usual dose!

Go, stink of smoke, and guzzle nasty wine, Sure, never virtuous love was used like mine!"

Oft as the watchful bellman marched his round, At a fresh bottle gay Sir John he found.

By four the knight would get his business done, And only then reeled off, because alone; Full well he knew the dreadful storm to come, But armed with bordeaux, he durst venture home.

My lady with her tongue was still prepared, She rattled loud, and he impatient heard: "'Tis a fine hour? In a sweet pickle made!