The Project Gutenberg eBook of The Spectator, Volumes 1, 2 and 3 by Joseph Addison and Richard Steele

commended several tender things that were said, and told me they were very genteel; but whisper'd me, that he feared the Piece was not busy enough for the present Taste. To supply this, he recommended to the Players to be very careful in their Scenes, and above all Things, that every Part should be perfectly new dressed. I was very glad to find that they did not neglect my Friend's Admonition, because there are a great many in his Class of Criticism who may be gained by it; but indeed the Truth is, that as to the Work it self, it is every where Nature. The Persons are of the highest Quality in Life, even that of Princes; but their Quality is not represented by the Poet with Direction that Guards and Waiters should follow them in every Scene, but their Grandeur appears in Greatness of Sentiment

, flowing from Minds worthy their Condition. To make a Character truly Great, this Author understands that it should have its Foundation in superior Thoughts and Maxims of Conduct. It is very certain, that many an honest Woman would make no Difficulty, tho' she had been the Wife of Hector, for the sake of a Kingdom, to marry the Enemy of her Husband's Family and Country; and indeed who can deny but she might be still an honest Woman, but no Heroine? That may be defensible, nay laudable in one Character, which would be in the highest Degree exceptionable in another. When Cato Uticensis killed himself, Cottius a Roman of ordinary Quality and Character did the same thing; upon which one said, smiling, 'Cottius might have lived, tho' Cæsar has seized the Roman Liberty.' Cottius's Condition might have been the same, let things at the upper End of the World pass as they would. What is further very extraordinary in this Work, is, that the Persons are all of them laudable, and their Misfortunes arise rather from unguarded Virtue than Propensity to Vice. The Town has an Opportunity of doing itself Justice in supporting the Representation of Passion, Sorrow, Indignation, even Despair itself, within the Rules of Decency, Honour and Good-breeding; and since there is no one can flatter himself his Life will be always fortunate, they may here see Sorrow as they would wish to bear it whenever it arrives.

It is not me you are in love with, for I was very ill and kept my Chamber all that Day.

Your most humble Servant,

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This is a third blast of the Trumpet on behalf of Ambrose Philips, who had now been adapting Racine's

I have now considered Milton's

under those four great Heads of the Fable, the Characters, the Sentiments, and the Language; and have shewn that he excels, in general, under each of these Heads. I hope that I have made several Discoveries which may appear new, even to those who are versed in Critical Learning. Were I indeed to chuse my Readers, by whose Judgment I would stand or fall, they should not be such as are acquainted only with the French and Italian Criticks, but also with the Ancient and Moderns who have written in either of the learned Languages. Above all, I would have them well versed in the Greek and Latin Poets, without which a Man very often fancies that he understands a Critick, when in Reality he does not comprehend his Meaning.

It is in Criticism, as in all other Sciences and Speculations; one who brings with him any implicit Notions and Observations which he has made in his reading of the Poets, will find his own Reflections methodized and explained, and perhaps several little Hints that had passed in his Mind, perfected and improved in the Works of a good Critick; whereas one who has not these previous Lights is very often an utter Stranger to what he reads, and apt to put a wrong Interpretation upon it.

Nor is it sufficient, that a Man who sets up for a Judge in Criticism, should have perused the Authors above mentioned, unless he has also a clear and Logical Head. Without this Talent he is perpetually puzzled and perplexed amidst his own Blunders, mistakes the Sense of those he would confute, or if he chances to think right, does not know how to convey his Thoughts to another with Clearness and Perspicuity. Aristotle, who was the best Critick, was also one of the best Logicians that ever appeared in the World.

Essay on Human Understanding

would be thought a very odd Book for a Man to make himself Master of, who would get a Reputation by Critical Writings; though at the same time it is very certain, that an Author who has not learned the Art of distinguishing between Words and Things, and of ranging his Thoughts, and setting them in proper Lights, whatever Notions he may have, will lose himself in Confusion and Obscurity. I might further observe, that there is not a Greek or Latin Critick who has not shewn, even in the Style of his Criticisms, that he was a Master of all the Elegance and Delicacy of his Native Tongue.

The Truth of it is, there is nothing more absurd, than for a Man to set up for a Critick, without a good Insight into all the Parts of Learning; whereas many of those who have endeavoured to signalize themselves by Works of this Nature among our English Writers, are not only defective in the above-mentioned Particulars, but plainly discover, by the Phrases which they make use of, and by their confused way of thinking, that they are not acquainted with the most common and ordinary Systems of Arts and Sciences. A

general Rules extracted out of the French Authors

, with a certain Cant of Words, has sometimes set up an Illiterate heavy Writer for a most judicious and formidable Critick.

One great Mark, by which you may discover a Critick who has neither Taste nor Learning, is this, that he seldom ventures to praise any Passage in an Author which has not been before received and applauded by the Publick, and that his Criticism turns wholly upon little Faults and Errors. This part of a Critick is so very easie to succeed in, that we find every ordinary Reader, upon the publishing of a new Poem, has Wit and Ill-nature enough to turn several Passages of it into Ridicule, and very often in the right Place.

Mr. Dryden has very agreeably remarked in those two celebrated Lines,

A true Critick ought to dwell rather upon Excellencies than Imperfections, to discover the concealed Beauties of a Writer, and communicate to the World such things as are worth their Observation. The most exquisite Words and finest Strokes of an Author are those which very often appear the most doubtful and exceptionable to a Man who wants a Relish for polite Learning; and they are these, which a sower undistinguishing Critick generally attacks with the greatest Violence.

observes, that it is very easie to brand or fix a Mark upon what he calls

, or, as it may be rendered into English, a glowing bold Expression, and to turn it into Ridicule by a cold ill-natured Criticism. A little Wit is equally capable of exposing a Beauty, and of aggravating a Fault; and though such a Treatment of an Author naturally produces Indignation in the Mind of an understanding Reader, it has however its Effect among the Generality of those whose Hands it falls into, the Rabble of Mankind being very apt to think that every thing which is laughed at with any Mixture of Wit, is ridiculous in it self.

Such a Mirth as this is always unseasonable in a Critick, as it rather prejudices the Reader than convinces him, and is capable of making a Beauty, as well as a Blemish, the Subject of Derision. A Man, who cannot write with Wit on a proper Subject, is dull and stupid, but one who shews it in an improper Place, is as impertinent and absurd. Besides, a Man who has the Gift of Ridicule is apt to find Fault with any thing that gives him an Opportunity of exerting his beloved Talent, and very often censures a Passage, not because there is any Fault in it, but because he can be merry upon it. Such kinds of Pleasantry are very unfair and disingenuous in Works of Criticism, in which the greatest Masters, both Ancient and Modern, have always appeared with a serious and instructive Air.

As I intend in my next Paper to shew the Defects in Milton's

, I thought fit to premise these few Particulars, to the End that the Reader may know I enter upon it, as on a very ungrateful Work, and that I shall just point at the Imperfections, without endeavouring to enflame them with Ridicule. I

also observe with Longinus

, that the Productions of a great Genius, with many Lapses and Inadvertencies, are infinitely preferable to the Works of an inferior kind of Author, which are scrupulously exact and conformable to all the Rules of correct Writing.

conclude my Paper with a Story out of Boccalini

which sufficiently shews us the Opinion that judicious Author entertained of the sort of Criticks I have been here mentioning. A famous Critick, says he, having gathered together all the Faults of an eminent Poet, made a Present of them to Apollo, who received them very graciously, and resolved to make the Author a suitable Return for the Trouble he had been at in collecting them. In order to this, he set before him a Sack of Wheat, as it had been just threshed out of the Sheaf. He then bid him pick out the Chaff from among the Corn, and lay it aside by it self.

Critick applied himself to the Task with great Industry and Pleasure, and after having made the due Separation, was presented by Apollo with the Chaff for his Pains

First published in 1690.

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Dryden accounted among critics 'the greatest of his age' to be Boilean and Rapin. Boileau was the great master of French criticism. René Rapin, born at Tours in 1621, taught Belles Lettres with extraordinary success among his own order of Jesuits, wrote famous critical works, was one of the best Latin poets of his time, and died at Paris in 1687. His

Whole Critical Works

were translated by Dr. Basil Kennett in two volumes, which appeared in 1705. The preface of their publisher said of Rapin that

(See also a note on p. 168, vol. i. [Volume 1 links:

]) René le Bossu, the great French authority on Epic Poetry, born in 1631, was a regular canon of St. Genevieve, and taught the Humanities in several religious houses of his order. He died, subprior of the Abbey of St. Jean de Cartres, in 1680. He wrote, besides his Treatise upon Epic Poetry, a parallel between the philosophies of Aristotle and Descartes, which appeared a few months earlier (in 1674) with less success. Another authority was Father Bouhours, of whom see note on p. 236, vol. i. [Volume 1 links:

. ] Another was Bernard le Bovier de Fontenelle. called by Voltaire the most universal genius of his age. He was born at Rouen in 1657, looking so delicate that he was baptized in a hurry, and at 16 was unequal to the exertion of a game at billiards, being caused by any unusual exercise to spit blood, though he lived to the age of a hundred, less one month and two days. He was taught by the Jesuits, went to the bar to please his father, pleaded a cause, lost it, and gave up the profession to devote his time wholly to literature and philosophy. He went to Paris, wrote plays and the

Dialogues of the Dead

, living then with his uncle, Thomas Corneille. A discourse on the Eclogue prefixed to his pastoral poems made him an authority in this manner of composition. It was translated by Motteux for addition to the English translation of Bossu on the Epic, which had also appended to it an

by another of these French critics, André Dacier. Dacier, born at Castres in 1651, was educated at Saumur under Taneguy le Févre, who was at the same time making a scholar of his own daughter Anne. Dacier and the young lady became warmly attached to one another, married, united in abjuring Protestantism, and were for forty years, in the happiest concord, man and wife and fellow-scholars. Dacier and his wife, as well as Fontenelle, were alive when the Spectator was appearing; his wife dying, aged 69, in 1720, the husband, aged 71, in 1722. André Dacier translated and annotated the

of Aristotle in 1692, and that critical work was regarded as his best performance.

. Orator. Towards the beginning:

Trajan Boccalini, born at Rome in 1554, was a satirical writer famous in Italy for his fine criticism and bold satire. Cardinals Borghese and Cajetan were his patrons. His

Ragguagli di Parnasso

la Secretaria di Parnasso

, in which Apollo heard the complaints of the world, and dispensed justice in his court on Parnassus, were received with delight. Afterwards, in his

Pietra di Parangone

, he satirized the Court of Spain, and, fearing consequences, retired to Venice, where in 1613 he was attacked in his bed by four ruffians, who beat him to death with sand-bags. Boccalini's

Ragguagli di Parnasso

has been translated into English, in 1622, as

News from Parnassus

Advertisements from Parnassus,

by H. Carey, Earl of Monmouth. This translation was reprinted in 1669 and 1674, and again in 1706 by John Hughes, one of the contributors to the

To this number of the

, and to several numbers since that for January 8, in which it first appeared, is added an advertisement that,

As no one can be said to enjoy Health, who is only not sick, without he feel within himself a lightsome and invigorating Principle, which will not suffer him to remain idle, but still spurs him on to Action: so in the Practice of every Virtue, there is some additional Grace required, to give a Claim of excelling in this or that particular Action. A Diamond may want polishing, though the Value be still intrinsically the same; and the same Good may be done with different Degrees of Lustre. No man should be contented with himself that he barely does well, but he should perform every thing in the best and most becoming Manner that he is able.

Tully tells us he wrote his Book of Offices, because there was no Time of Life in which some correspondent Duty might not be practised; nor is there a Duty without a certain Decency accompanying it, by which every Virtue 'tis join'd to will seem to be doubled. Another may do the same thing, and yet the Action want that Air and Beauty which distinguish it from others; like that inimitable Sun-shine Titian is said to have diffused over his Landschapes; which denotes them his, and has been always unequalled by any other Person.

There is no one Action in which this Quality I am speaking of will be more sensibly perceived, than in granting a Request or doing an Office of Kindness. Mummius, by his Way of consenting to a Benefaction, shall make it lose its Name; while Carus doubles the Kindness and the Obligation: From the first the desired Request drops indeed at last, but from so doubtful a Brow, that the Obliged has almost as much Reason to resent the Manner of bestowing it, as to be thankful for the Favour it self. Carus invites with a pleasing Air, to give him an Opportunity of doing an Act of Humanity, meets the Petition half Way, and consents to a Request with a Countenance which proclaims the Satisfaction of his Mind in assisting the Distressed.

The Decency then that is to be observed in Liberality, seems to consist in its being performed with such Cheerfulness, as may express the God-like Pleasure is to be met with in obliging one's Fellow-Creatures; that may shew Good-nature and Benevolence overflowed, and do not, as in some Men, run upon the Tilt, and taste of the Sediments of a grutching uncommunicative Disposition.

Since I have intimated that the greatest Decorum is to be preserved in the bestowing our good Offices, I will illustrate it a little by an Example drawn from private Life, which carries with it such a Profusion of Liberality, that it can be exceeded by nothing but the Humanity and Good-nature which accompanies it.

is a Letter of Pliny's

which I shall here translate, because the Action will best appear in its first Dress of Thought, without any foreign or ambitious Ornaments.

Thus should a Benefaction be done with a good Grace, and shine in the strongest Point of Light; it should not only answer all the Hopes and Exigencies of the Receiver, but even out-run his Wishes: 'Tis this happy manner of Behaviour which adds new Charms to it, and softens those Gifts of Art and Nature, which otherwise would be rather distasteful than agreeable. Without it, Valour would degenerate into Brutality, Learning into Pedantry, and the genteelest Demeanour into Affectation. Even Religion its self, unless Decency be the Handmaid which waits upon her, is apt to make People appear guilty of Sourness and ill Humour: But this shews Virtue in her first original Form, adds a Comeliness to Religion, and gives its Professors the justest Title to the Beauty of Holiness. A Man fully instructed in this Art, may assume a thousand Shapes, and please in all: He may do a thousand Actions shall become none other but himself; not that the Things themselves are different, but the Manner of doing them.

If you examine each Feature by its self, Aglaura and Callidea are equally handsome; but take them in the Whole, and you cannot suffer the Comparison: Tho one is full of numberless nameless Graces, the other of as many nameless Faults.

The Comeliness of Person, and Decency of Behaviour, add infinite Weight to what is pronounced by any one. 'Tis the want of this that often makes the Rebukes and Advice of old rigid Persons of no Effect, and leave a Displeasure in the Minds of those they are directed to: But Youth and Beauty, if accompanied with a graceful and becoming Severity, is of mighty Force to raise, even in the most Profligate, a Sense of Shame.

No. 291

Saturday, February 2, 1712

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No. 292

Monday, February 4, 1712

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No. 293

Tuesday, February 5, 1712

Addison