My Lord,
After having long celebrated the superior graces and excellences among men, in an imaginary character, I do myself the honour to show my veneration for transcendent merit, under my own name, in this address to your lordship. The just application of those high accomplishments of which you are master, has been an advantage to all your fellow subjects; and it is from the common obligation you have laid upon all the world, that I, though a private man, can pretend to be affected with, or take the liberty to acknowledge your great talents and public virtues.
It gives a pleasing prospect to your friends, that is to say, to the friends of your country, that you have passed through the highest offices, at an age when others usually do but form to themselves the hopes of them.2 They may expect to see you in the House of Lords as many years as you were ascending to it. It is our common good, that your admirable eloquence can now no longer be employed but in the expression of your own sentiments and judgment. The skilful pleader is now for ever changed into the just judge; which latter character your lordship exerts with so prevailing an impartiality, that you win the approbation even of those who dissent from you, and you always obtain favour, because you are never moved by it.
This gives you a certain dignity peculiar to your present situation, and makes the equity, even of a Lord High Chancellor, appear but a degree towards the magnanimity of a peer of Great Britain.
Forgive me, my lord, when I cannot conceal from you, that I shall never hereafter behold you, but I shall behold you, as lately, defending the brave, and the unfortunate.3
When we attend to your lordship, engaged in a discourse, we cannot but reflect upon the many requisites which the vainglorious speakers of antiquity have demanded in a man who is to excel in oratory; I say, my lord, when we reflect upon the precepts by viewing the example, though there is no excellence proposed by those rhetoricians wanting, the whole art seems to be resolved into that one motive of speaking, sincerity in the intention. The graceful manner, the apt gesture, and the assumed concern, are impotent helps to persuasion, in comparison of the honest countenance of him who utters what he really means. From hence it is, that all the beauties which others attain with labour, are in your lordship but the natural effects of the heart that dictates.
It is this noble simplicity which makes you surpass mankind in the faculties wherein mankind are distinguished from other creatures, reason and speech.
If these gifts were communicated to all men in proportion to the truth and ardour of their hearts, I should speak of you with the same force as you express yourself on any other subject. But I resist my present impulse, as agreeable as it is to me; though indeed, had I any pretensions to a fame of this kind, I should, above all other themes, attempt a panegyric upon my Lord Cowper: for the only sure way to a reputation for eloquence, in an age wherein that perfect orator lives, is to choose an argument, upon which he himself must of necessity be silent. I am,
No. 115
—Novum intervenit vitium et calamitas,
Ut neque spectari, neque cognosci potuerit:
Ita populus studio stupidus in funambulo
Animum occupârat.—Ter., Hecyra, Prologue.
I went on Friday last to the opera, and was surprised to find a thin house at so noble an entertainment, till I heard that the tumbler4 was not to make his appearance that night. For my own part, I was fully satisfied with the sight of an actor, who, by the grace and propriety of his action and gesture, does honour to a human figure, as much as the other vilifies and degrades it. Every one will easily imagine I mean Signor Nicolini,5 who sets off the character he bears in an opera by his action, as much as he does the words of it by his voice. Every limb, and every finger, contributes to the part he acts, insomuch that a deaf man might go along with him in the sense of it. There is scarce a beautiful posture in an old statue which he does not plant himself in, as the different circumstances of the story give occasion for it. He performs the most ordinary action in a manner suitable to the greatness of his character, and shows the prince even in the giving of a letter, or the despatching of a message. Our best actors are somewhat at a loss to support themselves with proper gesture, as they move from any considerable distance to the front of the stage; but I have seen the person of whom I am now speaking, enter alone at the remotest part of it, and advance from it with such greatness of air and mien, as seemed to fill the stage, and at the same time commanding the attention of the audience with the majesty of his appearance. But notwithstanding the dignity and elegance of this entertainment, I find for some nights past, that Punchinello has robbed the gentleman of the greater part of his female spectators. The truth of it is, I find it so very hard a task to keep that sex under any manner of government, that I have often resolved to give them over entirely, and leave them to their own inventions. I was in hopes that I had brought them to some order, and was employing my thoughts on the reformation of their petticoats, when on a sudden I received information from all parts, that they run gadding after a puppet-show. I know very well, that what I here say will be thought by some malicious persons to flow from envy to Mr. Powell; for which reason, I shall set the late dispute between us in a true light.6 Mr. Powell and I had some difference about four months ago, which we managed by way of letter, as learned men ought to do; and I was very well contented to bear such sarcasms as he was pleased to throw upon me, and answered them with the same freedom. In the midst of this our misunderstanding and correspondence, I happened to give the world an account of the order of esquires7; upon which, Mr. Powell was so disingenuous, as to make one of his puppets (I wish I knew which of them it was) declare by way of prologue, that one Isaac Bickerstaff, a pretended esquire, had wrote a scurrilous piece to the dishonour of that rank of men; and then, with more art than honesty, concluded, that all the esquires in the pit were abused by his antagonist as much he was. This public accusation made all the esquires of that county, and several of other parts, my professed enemies. I do not in the least question but that he will proceed in his hostilities; and I am informed, that part of his design in coming up to town was to carry the war into my own quarters. I do therefore solemnly declare (notwithstanding that I am a great lover of art and ingenuity) that if I hear he opens any of his people's mouths against me, I shall not fail to write a critique upon his whole performance; for I must confess, that I have naturally so strong a desire of praise, that I cannot bear reproach, though from a piece of timber. As for Punch, who takes all opportunities of bespattering me, I know very well his original, and have been assured by the joiner who put him together, that he was in long dispute with himself, whether he should turn him into several pegs and utensils, or make him the man he is. The same person confessed to me, that he had once actually laid aside his head for a nutcracker. As for his scolding wife (however she may value herself at present), it is very well known that she is but a piece of crabtree. This artificer further whispered in my ear, that all his courtiers and nobles were taken out of a quickset hedge not far from Islington; and that Dr. Faustus himself, who is now so great a conjurer, is supposed to have learned his whole art from an old woman in that neighbourhood, whom he long served in the figure of a broomstaff.
But perhaps it may look trivial to insist so much upon men's persons; I shall therefore turn my thoughts rather to examine their behaviour, and consider, whether the several parts are written up to that character which Mr. Powell piques himself upon, of an able and judicious dramatist. I have for this purpose provided myself with the works of above twenty French critics, and shall examine (by the rules which they have laid down upon the art of the stage) whether the unity of time, place and action, be rightly observed