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complexion, for which he had so long languished, he thought fit to break from his concealment, repeating that of Cowley :

“ Th’ adorning thee with so much art,

“ Is but a barbarous skill;
“ 'Tis like the pois’ning of a dart,

Too apt before to kill.” The Pict stood before him in the utmost confusion, with the prettiest smirk imaginable on the finished side of her face, pale as alhes on the other. HONEYCOMB seized all her gally-pots and washes, and carried off his handkerchief full of brushes, scraps of Spanish wool, and phials of unguents. The lady went into the country, the lover was cured.

It is certain no faith ought to be kept with cheats, and an oath made to a Pict is of itself void. I would therefore exhort all the British ladies to single them out, nor do I know any but Lindamira who should be exempt from discovery; for her own complexion is so delicate, that the ought to be allowed the covering it with paint, as a punishment for choosing to be the worst piece of art extant, instead of the master-piece of nature. As for my part, who have no expectations from women, and consider them only as they are part of the species, I do not half lo much fear offending a beauty as a woman of sense; I shall therefore produce several faces which have been in public these many years, and never appeared. It will be a very pretty entertainment in the play-house, (when I have abolished this custom) to see so many ladies, when they first lay it down, incog. in their own faces.


In the mean time, as a pattern for improving their charms, let the sex study the agreeable Statira. Her features are enlivened with the chearfulness of her mind, and good - humour gives an alacrity to her eyes. She is graceful without affecting an air, and unconcerned without appearing careless. Her having no manner of art in her mind, makes her want none in her person.

How like is this lady, and how unlike is a Pict, to that description Dr. Donne gives of his mistress?

“Her pure and eloquent blood

Spoke in her cheeks, and so distinctly wrought, “ That one would almost say her body thought.

ADVERTISEMEN T. A young gentlewoman of about nineteen years of age (bred in the family of a person of quality, lately deceased) who paints the finest Aeth-colour, wants a place, and is to be heard of, at the house of Mynheer Grotesque, a Dutch painter in Barbican.

N. B. She is also well-skilled in the drapery-part, and puts on hoods, and mixes ribbons so as to suit the colours of the face with great art and success.

R*. Py STEELE. See final Note to N° 6.

ADVERTISEMEN T. “For te berefit of Powell, at the Theatre-Royal, Drury “ Lane, this present Tuesday, being the 15th of April, will “ be presented a play caled The Indian Emperor ; or, The “ Conquest of líexico. The part of Cortez by Mr. Powell, “ Montezuma Mr. Kecne, Odmar Mr. Mills, Guyomar “Mr. Booth, Almeria Mrs. Knight, Alibech Mrs. Porter,

Cydaria Mrs. Santlow.” SPECT. in folio. See N°40,

66 ad fin.

N° 42.

N° 42. Wednesday, April 18, 1711.

Garganum mugire putes nemus aut mare Thufcum;
Tanto cum ftrepitu ludi spe&tantur, & artes,
Divitiæque peregrinæ ; quibus oblitus actor
Cum ftetit in scena, concurrit dextera leva.
Dixit adhuc aliquid? Nil fanè. Quid placet ergo ?
Lana Tarentino violas imitata veneno.

Hor. 2 Ep. i. 202.


Loud as the wolves on Orca's stormy steep,
Howl to the roarings of the northern deep:
Such is the shout, the long applauding note,
At Quin's high plume, or Oldfield's petticoat:
Or when from court a birth-day fuit bestow'd
Sinks the lost actor in the tawdry load.
Booth enters-hark! the universal peal!-
But has he spoken ?-- Not a fyllable.
What shook the stage, and made the people stare?
Cato's long wig, how'r'd gown, and lacquer?d chair.



RISTOTLE has observed, that ordinary

writers in Tragedy endeavour to raise terror and pity in their audience, not by proper sentiments and expressions, but by the dresses and decorations of the stage. There is something of this kind very ridiculous in the English Theatre. When the author has a mind to terrify us, it thunders; when he would make us melancholy, the stage is darkened. But among all


our Tragic artifices, I am the most offended at those which are made use of to inspire us with magnificent ideas of the persons that speak. The ordinary method of making an hero, is to clap a huge plume of feathers upon his head, which rises fo very high, that there is often a greater length from his chin to the top of his head, than to the sole of his foot. One would believe, that we thought a great man and a tall man the same thing. This very much embarrafies the actor, who is forced to hold his neck extremely stiff and steady all the while he speaks; and notwithstanding any anxieties which he pretends for his mistress, his country, or his friends, one may fee by his action, that his greatest care and concern is to keep the plume of feathers from falling off his head. For my own part, when I see a man uttering his complaints under such a mountain of feathers, I am apt to look upon him rather as an unfortunate lunatic, than a distressed hero. As these superfluous ornaments upon the head make a great man, a princess generally receives her grandeur from those additional incumbrances that fall into her tail: I mean the broad sweeping train that follows her in all her motions, and finds constant employment for a boy who stands behind her to open and spread it to advantage. I do not know how others are affected at this fight, but I must confess, my eyes are wholly taken

up with the page's párt; and, as for the queen, I am not so attentive to any thing the speaks, as to the right adjusting of her train, left

gown. The

it should chance to trip up her heels, or incom-
mode her, as the walks to and fro upon the
stage. It is in my opinion, a very odd spectacle,
to see a queen venting her passion in a disordered
motion, and a little boy taking care all the while
that they do not ruffle the tail of her
parts that the two persons act on the stage at the
same time are very different. The princess is
afraid left she should incur the displeasure of the
king her father, or lose the hero her lover, whilst
her attendant is only concerned left she should
intangle her feet in her petticoat.

We are told, that an ancient tragic poet, to move the pity of his audience for his exiled kings and distressed heroes, used to make the actors represent them in dresses and clothes that were thread - bare and decayed. This artifice for moving pity, seems as ill contrived as that we have been speaking of to inspire us with a great idea of the persons introduced upon the stage. In short, I would have our conceptions raised by the dignity of thought and sublimity of expression, rather than by a train of robes or a plume of feathers.

Another mechanical method of making great men, and adding dignity to kings and queens, is to accompany them with halberts and battle

Two or thrce shifters of scenes, with the two candle-snuffers, make up a complete body of guards upon the English stage; and by the addition of a few porters dressed in red coats, can represent above a dozen legions. I have sometimes seen a couple of armics drawn up toVOL.I.




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