The Works of William Cowper. William Cowper

upon terms of the most sociable intercourse while we read him. Blair is on the contrary rather stiff, not that his style is pedantic, but his air is formal. He is a sensible man, and understands his subjects, but too conscious that he is addressing the public, and too solicitous about his success, to indulge himself for a moment in that play of fancy which makes the other so agreeable. In Blair we find a scholar, in Beattie both a scholar and an amiable man, indeed so amiable that I have wished for his acquaintance ever since I read his book. Having never in my life perused a page of Aristotle, I am glad to have had an opportunity of learning more than (I suppose) he would have taught me, from the writings of two modern critics. I felt myself too a little disposed to compliment my own acumen upon the occasion. For, though the art of writing and composing was never much my study, I did not find that they had any great news to tell me. They have assisted me in putting my observations into some method, but have not suggested many of which I was not by some means or other previously apprized. In fact, critics did not originally beget authors, but authors made critics. Common sense dictated to writers the necessity of method, connexion, and thoughts congruous to the nature of their subject; genius prompted them with embellishments, and then came the critics. Observing the good effects of an attention to these items, they enacted laws for the observance of them in time to come, and, having drawn their rules for good writing from what was actually well written, boasted themselves the inventors of an art which yet the authors of the day had already exemplified. They are however useful in their way, giving us at one view a map of the boundaries which propriety sets to fancy, and serving as judges to whom the public may at once appeal, when pestered with the vagaries of those who have had the hardiness to transgress them.

      The candidates for this county have set an example of economy which other candidates would do well to follow, having come to an agreement on both sides to defray the expenses of their voters, but to open no houses for the entertainment of the rabble; a reform, however, which the rabble did not at all approve of, and testified their dislike of it by a riot. A stage was built, from which the orators had designed to harangue the electors. This became the first victim of their fury. Having very little curiosity to hear what gentlemen could say who would give them nothing better than words, they broke it in pieces, and threw the fragments upon the hustings. The sheriff, the members, the lawyers, the voters, were instantly put to flight. They rallied, but were again routed by a second assault like the former. They then proceeded to break the windows of the inn to which they had fled; and a fear prevailing that at night they would fire the town, a proposal was made by the freeholders to face about, and endeavour to secure them. At that instant a rioter, dressed in a merry Andrew's jacket, stepped forward and challenged the best man among them. Olney sent the hero to the field, who made him repent of his presumption: Mr. A—— was he. Seizing him by the throat, he shook him—he threw him to the earth, he made the hollowness of his scull resound by the application of his fists, and dragged him into custody without the least damage to his person. Animated by this example, the other freeholders followed it, and in five minutes twenty-eight out of thirty ragamuffins were safely lodged in gaol.

      Adieu, my dear friend,

      We love you, and are yours,

       W. & M.

TO THE REV. WILLIAM UNWIN.

       Table of Contents

      Olney, May 3, 1784.

      My dear Friend—The subject of face-painting may be considered (I think) in two points of view. First, there is room for dispute with respect to the consistency of the practice with good morals; and, secondly, whether it be on the whole convenient or not may be a matter worthy of agitation. I set out with all the formality of logical disquisition, but do not promise to observe the same regularity any farther than it may comport with my purpose of writing as fast as I can.

      As to the immorality of the custom, were I in France, I should see none. On the contrary, it seems in that country to be a symptom of modest consciousness and a tacit confession of what all know to be true, that French faces have in fact neither red nor white of their own. This humble acknowledgment of a defect looks the more like a virtue, being found among a people not remarkable for humility. Again, before we can prove the practice to be immoral, we must prove immorality in the design of those who use it; either, that they intend a deception or to kindle unlawful desires in the beholders. But the French ladies, as far as their purpose comes in question, must be acquitted of both these charges. Nobody supposes their colour to be natural for a moment, any more than if it were blue or green: and this unambiguous judgment of the matter is owing to two causes; first, to the universal knowledge we have that French women are naturally brown or yellow, with very few exceptions, and, secondly, to the inartificial manner in which they paint: for they do not, as I am satisfactorily informed, even attempt an imitation of nature, but besmear themselves hastily and at a venture, anxious only to lay on enough. Where, therefore, there is no wanton intention nor a wish to deceive, I can discover no immorality. But in England (I am afraid) our painted ladies are not clearly entitled to the same apology. They even imitate nature with such exactness that the whole public is sometimes divided into parties, who litigate with great warmth the question, whether painted or not. This was remarkably the case with a Miss B——, whom I well remember. Her roses and lilies were never discovered to be spurious till she attained an age that made the supposition of their being natural impossible. This anxiety to be not merely red and white, which is all they aim at in France, but to be thought very beautiful and much more beautiful than nature has made them, is a symptom not very favourable to the idea we would wish to entertain of the chastity, purity, and modesty of our countrywomen. That they are guilty of a design to deceive is certain; otherwise, why so much art? and if to deceive, wherefore and with what purpose? Certainly either to gratify vanity of the silliest kind, or, which is still more criminal, to decoy and inveigle, and carry on more successfully the business of temptation. Here therefore my opinion splits itself into two opposite sides upon the same question. I can suppose a French woman, though painted an inch deep, to be a virtuous, discreet, excellent character, and in no instance should I think the worse of one because she was painted. But an English belle must pardon me if I have not the same charity for her. She is at least an impostor, whether she cheats me or not, because she means to do so; and it is well if that be all the censure she deserves.