Minim professes great admiration of the wisdom and munificence by which the academies of the continent were raised; and often wishes for some standard of taste, for some tribunal, to which merit may appeal from caprice, prejudice and malignity. He has formed a plan for an academy of criticism, where every work of imagination may be read before it is printed, and which shall authoritatively direct the theatres what pieces to receive or reject, to exclude or to revive.

Such an institution would, in Dick's opinion, spread the fame of English literature over Europe, and make London the metropolis of elegance and politeness, the place to which the learned and ingenious of all countries would repair for instruction and improvement, and where nothing would any longer be applauded or endured that was not conformed to the nicest rules, and finished with the highest elegance.

Till some happy conjunction of the planets shall dispose our princes or ministers to make themselves immortal by such an academy, Minim contents himself to preside four nights in a week in a critical society selected by himself, where he is heard without contradiction, and whence his judgment is disseminated through the great vulgar and the small.

When he is placed in the chair of criticism, he declares loudly for the noble simplicity of our ancestors, in opposition to the petty refinements, and ornamental luxuriance. Sometimes he is sunk in despair, and perceives false delicacy daily gaining ground, and sometimes brightens his countenance with a gleam of hope, and predicts the revival of the true sublime. He then fulminates his loudest censures against the monkish barbarity of rhyme; wonders how beings that pretend to reason can be pleased with one line always ending like another; tells how unjustly and unnaturally sense is sacrificed to sound; how often the best thoughts are mangled by the necessity of confining or extending them to the dimensions of a couplet; and rejoices that genius has, in our days, shaken off the shackles which had encumbered it so long. Yet he allows that rhyme may sometimes be borne, if the lines be often broken, and the pauses judiciously diversified.

From blank verse he makes an easy transition to Milton, whom he produces as an example of the slow advance of lasting reputation. Milton is the only writer in whose books Minim can read for ever without weariness. What cause it is that exempts this pleasure from satiety he has long and diligently inquired, and believes it to consist in the perpetual variation of the numbers, by which the ear is gratified and the attention awakened. The lines that are commonly thought rugged and unmusical, he conceives to have been written to temper the melodious luxury of the rest, or to express things by a proper cadence: for he scarcely finds a verse that has not this favourite beauty; he declares that he could shiver in a hot-house when he reads that

"the ground Burns frore, and cold performs th' effect of fire;"

and that, when Milton bewails his blindness, the verse,

"So thick a drop serene has quench'd these orbs,"

has, he knows not how, something that strikes him with an obscure sensation like that which he fancies would be felt from the sound of darkness.

Minim is not so confident of his rules of judgment as not very eagerly to catch new light from the name of the author. He is commonly so prudent as to spare those whom he cannot resist, unless, as will sometimes happen, he finds the publick combined against them. But a fresh pretender to fame he is strongly inclined to censure, till his own honour requires that he commend him. Till he knows the success of a composition, he intrenches himself in general terms; there are some new thoughts and beautiful passages, but there is likewise much which he would have advised the author to expunge. He has several favourite epithets, of which he has never settled the meaning, but which are very commodiously applied to books which he has not read, or cannot understand. One is manly, another is dry, another stiff, and another flimsy; sometimes he discovers delicacy of style, and sometimes meets with strange expressions.

He is never so great, or so happy, as when a youth of promising parts is brought to receive his directions for the prosecution of his studies. He then puts on a very serious air; he advises the pupil to read none but the best authors; and when he finds one congenial to his own mind, to study his beauties, but avoid his faults; and, when he sits down to write, to consider how his favourite author would think at the present time on the present occasion. He exhorts him to catch those moments when he finds his thoughts expanded and his genius exalted, but to take care lest imagination hurry him beyond the bounds of nature. He holds diligence the mother of success; yet enjoins him, with great earnestness, not to read more than he can digest, and not to confuse his mind by pursuing studies of contrary tendencies. He tells him, that every man has his genius, and that Cicero could never be a poet. The boy retires illuminated, resolves to follow his genius, and to think how Milton would have thought: and Minim feasts upon his own beneficence till another day brings another pupil.



No. 62. SATURDAY, JUNE 23, 1759.

Quid faciam, proescribe. Quiescas.—HOR. Lib. ii. Sat. i. 5.

TO THE IDLER.

Sir,

An opinion prevails almost universally in the world, that he who has money has every thing. This is not a modern paradox, or the tenet of a small and obscure sect, but a persuasion which appears to have operated upon most minds in all ages, and which is supported by authorities so numerous and so cogent, that nothing but long experience could have given me confidence to question its truth.

But experience is the test by which all the philosophers of the present age agree, that speculation must be tried; and I may be, therefore, allowed to doubt the power of money, since I have been a long time rich, and have not yet found that riches can make me happy.

My father was a farmer neither wealthy nor indigent, who gave me a better education than was suitable to my birth, because my uncle in the city designed me for his heir, and desired that I might be bred a gentleman. My uncle's wealth was the perpetual subject of conversation in the house; and when any little misfortune befell us, or any mortification dejected us, my father always exhorted me to hold up my head, for my uncle would never marry.

My uncle, indeed, kept his promise. Having his mind completely busied between his warehouse and the 'Change, he felt no tediousness of life, nor any want of domestick amusements. When my father died, he received me kindly; but, after a few months, finding no great pleasure in the conversation of each other, we parted; and he remitted me a small annuity, on which I lived a quiet and studious life, without any wish to grow great by the death of my benefactor.

But though I never suffered any malignant impatience to take hold on my mind, I could not forbear sometimes to imagine to myself the pleasure of being rich; and, when I read of diversions and magnificence, resolved to try, when time should put the trial in my power, what pleasure they could afford.

My uncle, in the latter spring of his life, when his ruddy cheek and his firm nerves promised him a long and healthy age, died of an apoplexy. His death gave me neither joy nor sorrow. He did me good, and I regarded him with gratitude; but I could not please him, and, therefore, could not love him.

He had the policy of little minds, who love to surprise; and, having always represented his fortune as less than it was, had, I suppose, often gratified himself with thinking, how I should be delighted to find myself twice as rich as I expected. My wealth was such as exceeded all the schemes of expense which I had formed; and I soon began to expand my thoughts, and look round for some purchase of felicity.

The most striking effect of riches is the splendour of dress, which every man has observed to enforce respect, and facilitate reception; and my first desire was to be fine. I sent for a tailor who was employed by the nobility, and ordered such a suit of clothes as I had often looked on with involuntary submission, and am ashamed to remember with what flutters of expectation I waited for the hour, when I should issue forth in all the splendour of embroidery. The clothes were brought, and for three days I observed many eyes turned towards me as I passed: but I felt myself obstructed in the common intercourse of civility by an uneasy consciousness of my new appearance; as I thought myself more observed, I was more anxious about my mien and behaviour; and the mien which is formed by care is commonly ridiculous. A short time accustomed me to myself, and my dress was without pain, and without pleasure.

For a little while I tried to be a rake, but I began too late; and having by nature no turn for a frolick, was in great danger of ending in a drunkard. A fever, in which not one of my companions paid me a visit, gave me time for reflection. I found that there was no great pleasure in breaking windows and lying in the round-house; and resolved to associate no longer with those whom, though I had treated and bailed them, I could not make friends.

I then changed my measures, kept running horses, and had the comfort of seeing my name very often in the news. I had a chesnut horse, the grandson of Childers, who won four plates, and ten by-matches; and a bay filly, who carried off the five years' old plate, and was expected to perform much greater exploits, when my groom broke her wind, because I happened to catch him selling oats for beer. This happiness was soon at an end; there was no pleasure when I lost, and, when I won, I could not much exalt myself by the virtues of my horse. I grew ashamed of the company of jockey-lords, and resolved to spend no more of my time in the stable.

It was now known that I had money, and would spend it, and I passed four months in the company of architects, whose whole business was to persuade me to build a house. I told them that I had more room than I wanted, but could not get rid of their importunities. A new plan was brought me every morning; till at last my constancy was overpowered, and I began to build. The happiness of building lasted but a little while, for though I love to spend, I hate to be cheated; and I soon found, that to build is to be robbed.

How I proceed in the pursuit of happiness, you shall hear when I find myself disposed to write.

I am, Sir, &c.

TIM. RANGER.



No. 63. SATURDAY, JUNE 30, 1759.

The natural progress of the works of men is from rudeness to convenience, from convenience to elegance, and from elegance to nicety.

The first labour is enforced by necessity. The savage finds himself incommoded by heat and cold, by rain and wind; he shelters himself in the hollow of a rock, and learns to dig a cave where there was none before. He finds the sun and the wind excluded by the thicket; and when the accidents of the chase, or the convenience of pasturage, leads him into more open places, he forms a thicket for himself, by planting stakes at proper distances, and laying branches from one to another.

The next gradation of skill and industry produces a house closed with doors, and divided by partitions; and apartments are multiplied and disposed according to the various degrees of power or invention; improvement succeeds improvement, as he that is freed from a greater evil grows impatient of a less, till ease in time is advanced to pleasure.

The mind, set free from the importunities of natural want, gains leisure to go in search of superfluous gratifications, and adds to the uses of habitation the delights of prospect. Then begins the reign of symmetry; orders of architecture are invented, and one part of the edifice is conformed to another, without any other reason, than that the eye may not be offended.

The passage is very short from elegance to luxury, Ionick and Corinthian columns are soon succeeded by gilt cornices, inlaid floors and petty ornaments, which show rather the wealth than the taste of the possessour.

Language proceeds, like every thing else, through improvement to degeneracy. The rovers who first took possession of a country, having not many ideas, and those not nicely modified or discriminated, were contented, if by general terms and abrupt sentences they could make their thoughts known to one another: as life begins to be more regulated, and property to become limited, disputes must be decided, and claims adjusted; the differences of things are noted, and distinctness and propriety of expression become necessary. In time, happiness and plenty give rise to curiosity, and the sciences are cultivated for ease and pleasure; to the arts, which are now to be taught, emulation soon adds the art of teaching; and the studious and ambitious contend not only who shall think best, but who shall tell their thoughts in the most pleasing manner.

Then begin the arts of rhetorick and poetry, the regulation of figures, the selection of words, the modulation of periods, the graces of transition, the complication of clauses, and all the delicacies of style and subtilties of composition, useful while they advance perspicuity, and laudable while they increase pleasure, but easy to be refined by needless scrupulosity till they shall more embarrass the writer than assist the reader or delight him.

The first state is commonly antecedent to the practice of writing; the ignorant essays of imperfect diction pass away with the savage generation that uttered them. No nation can trace their language beyond the second period, and even of that it does not often happen that many monuments remain.

The fate of the English tongue is like that of others. We know nothing of the scanty jargon of our barbarous ancestors; but we have specimens of our language when it began to be adapted to civil and religious purposes, and find it such as might naturally be expected, artless and simple, unconnected and concise. The writers seem to have desired little more than to be understood, and, perhaps, seldom aspired to the praise of pleasing. Their verses were considered chiefly as memorial, and, therefore, did not differ from prose but by the measure or the rhyme.

In this state, varied a little according to the different purposes or abilities of writers, our language may be said to have continued to the time of Gower, whom Chaucer calls his master, and who, however obscured by his scholar's popularity, seems justly to claim the honour which has been hitherto denied him, of showing his countrymen that something more was to be desired, and that English verse might be exalted into poetry.

From the time of Gower and Chaucer, the English writers have studied elegance, and advanced their language, by successive improvements, to as much harmony as it can easily receive, and as much copiousness as human knowledge has hitherto required. These advances have not been made at all times with the same diligence or the same success. Negligence has suspended the course of improvement, or affectation turned it aside; time has elapsed with little change, or change has been made without amendment. But elegance has been long kept in view with attention as near to constancy as life permits, till every man now endeavours to excel others in accuracy, or outshine them in splendour of style, and the danger is, lest care should too soon pass to affectation.



No. 64. SATURDAY, JULY 1, 1759.

Quid faciam, praescribe. Quiescas.—HOR. Lib. ii. Sat. i. 5.

TO THE IDLER.

Sir,

As nature has made every man desirous of happiness, I flatter myself, that you and your readers cannot but feel some curiosity to know the sequel of my story; for though, by trying the different schemes of pleasure, I have yet found nothing in which I could finally acquiesce; yet the narrative of my attempts will not be wholly without use, since we always approach nearer to truth as we detect more and more varieties of errour.

When I had sold my racers, and put the orders of architecture out of my head, my next resolution was to be a fine gentleman. I frequented the polite coffee-houses, grew acquainted with all the men of humour, and gained the right of bowing familiarly to half the nobility. In this new scene of life my great labour was to learn to laugh. I had been used to consider laughter as the effect of merriment; but I soon learned that it is one of the arts of adulation, and, from laughing only to show that I was pleased, I now began to laugh when I wished to please. This was at first very difficult. I sometimes heard the story with dull indifference, and, not exalting myself to merriment by due gradations, burst out suddenly into an awkward noise, which was not always favourably interpreted. Sometimes I was behind the rest of the company, and lost the grace of laughing by delay, and sometimes, when I began at the right time, was deficient in loudness or in length. But, by diligent imitation of the best models, I attained at last such flexibility of muscles, that I was always a welcome auditor of a story, and got the reputation of a good-natured fellow.

This was something; but much more was to be done, that I might be universally allowed to be a fine gentleman. I appeared at court on all publick days; betted at gaming-tables; and played at all the routs of eminence. I went every night to the opera, took a fiddler of disputed merit under my protection, became the head of a musical faction, and had sometimes concerts at my own house. I once thought to have attained the highest rank of elegance, by taking a foreign singer into keeping. But my favourite fiddler contrived to be arrested, on the night of a concert, for a finer suit of clothes than I had ever presumed to wear, and I lost all the fame of patronage by refusing to bail him.

My next ambition was to sit for my picture. I spent a whole winter in going from painter to painter, to bespeak a whole length of one, and a half length of another; I talked of nothing but attitudes, draperies and proper lights; took my friends to see the pictures after every sitting; heard every day of a wonderful performer in crayons and miniature, and sent my pictures to be copied; was told by the judges that they were not like, and was recommended to other artists. At length, being not able to please my friends, I grew less pleased myself, and at last resolved to think no more about it.

It was impossible to live in total idleness: and wandering about in search of something to do, I was invited to a weekly meeting of virtuosos, and felt myself instantaneously seized with an unextinguishable ardour for all natural curiosities. I ran from auction to auction, became a critick in shells and fossils, bought a Hortus siccus of inestimable value, and purchased a secret art of preserving insects, which made my collection the envy of the other philosophers. I found this pleasure mingled with much vexation. All the faults of my life were for nine months circulated through the town with the most active malignity, because I happened to catch a moth of peculiar variegation; and because I once out-bid all the lovers of shells, and carried off a nautilus, it was hinted that the validity of my uncle's will ought to be disputed. I will not deny that I was very proud both of the moth and of the shell, and gratified myself with the envy of my companions, perhaps, more than became a benevolent being. But in time I grew weary of being hated for that which produced no advantage, gave my shells to children that wanted play-things, and suppressed the art of drying butterflies, because I would not tempt idleness and cruelty to kill them.

I now began to feel life tedious, and wished to store myself with friends, with whom I might grow old in the interchange of benevolence. I had observed that popularity was most easily gained by an open table, and, therefore, hired a French cook, furnished my sideboard with great magnificence, filled my cellar with wines of pompous appellations, bought every thing that was dear before it was good, and invited all those who were most famous for judging of a dinner. In three weeks my cook gave me warning, and, upon inquiry, told me that Lord Queasy, who dined with me the day before, had sent him an offer of double wages. My pride prevailed; I raised his wages, and invited his lordship to another feast. I love plain meat, and was, therefore, soon weary of spreading a table of which I could not partake. I found that my guests, when they went away, criticised their entertainment, and censured my profusion; my cook thought himself necessary, and took upon him the direction of the house; and I could not rid myself of flatterers, or break from slavery, but by shutting up my house, and declaring my resolution to live in lodgings.

After all this, tell me, dear Idler, what I must do next; I have health, I have money, and I hope that I have understanding; yet, with all these, I have never been able to pass a single day which I did not wish at an end before sun-set. Tell me, dear Idler, what I shall do.

I am

Your humble servant,

TIM. RANGER.



No. 65. SATURDAY, JULY 14, 1759.

This sequel of Clarendon's history, at last happily published, is an accession to English literature equally agreeable to the admirers of elegance and the lovers of truth; many doubtful facts may now be ascertained, and many questions, after long debate, may be determined by decisive authority. He that records transactions in which himself was engaged, has not only an opportunity of knowing innumerable particulars which escape spectators, but has his natural powers exalted by that ardour which always rises at the remembrance of our own importance, and by which every man is enabled to relate his own actions better than another's.

The difficulties through which this work has struggled into light, and the delays with which our hopes have been long mocked, naturally lead the mind to the consideration of the common fate of posthumous compositions.

He who sees himself surrounded by admirers, and whose vanity is hourly feasted with all the luxuries of studied praise, is easily persuaded that his influence will be extended beyond his life; that they who cringe in his presence will reverence his memory, and that those who are proud to be numbered among his friends, will endeavour to vindicate his choice by zeal for his reputation.

With hopes like these, to the executors of Swift was committed the history of the last years of queen Anne, and to those of Pope, the works which remained unprinted in his closet. The performances of Pope were burnt by those whom he had, perhaps, selected from all mankind as most likely to publish them; and the history had likewise perished, had not a straggling transcript fallen into busy hands.

The papers left in the closet of Pieresc supplied his heirs with a whole winter's fuel; and many of the labours of the learned Bishop Lloyd were consumed in the kitchen of his descendants.

Some works, indeed, have escaped total destruction, but yet have had reason to lament the fate of orphans exposed to the frauds of unfaithful guardians. How Hale would have borne the mutilations which his Pleas of the Crown have suffered from the editor, they who know his character will easily conceive[1].

The original copy of Burnet's history, though promised to some publick library[2], has been never given; and who then can prove the fidelity of the publication, when the authenticity of Clarendon's history, though printed with the sanction of one of the first universities of the world, had not an unexpected manuscript been happily discovered, would, with the help of factious credulity, have been brought into question by the two lowest of all human beings, a scribbler for a party, and a commissioner of excise[3]?

Vanity is often no less mischievous than negligence or dishonesty. He that possesses a valuable manuscript, hopes to raise its esteem by concealment, and delights in the distinction which he imagines himself to obtain by keeping the key of a treasure which he neither uses nor imparts. From him it falls to some other owner, less vain but more negligent, who considers it as useless lumber, and rids himself of the encumbrance.

Yet there are some works which the authors must consign unpublished to posterity, however uncertain be the event, however hopeless be the trust. He that writes the history of his own times, if he adheres steadily to truth, will write that which his own times will not easily endure. He must be content to reposite his book, till all private passions shall cease, and love and hatred give way to curiosity.

But many leave the labours of half their life to their executors and to chance, because they will not send them abroad unfinished, and are unable to finish them, having prescribed to themselves such a degree of exactness as human diligence can scarcely attain. "Lloyd", says Burnet, "did not lay out his learning with the same diligence as he laid it in." He was always hesitating and inquiring, raising objections and removing them, and waiting for clearer light and fuller discovery. Baker, after many years passed in biography, left his manuscripts to be buried in a library, because that was imperfect which could never be perfected.

Of these learned men, let those who aspire to the same praise imitate the diligence, and avoid the scrupulosity. Let it be always remembered that life is short, that knowledge is endless, and that many doubts deserve not to be cleared. Let those whom nature and study have qualified to teach mankind, tell us what they have learned while they are yet able to tell it, and trust their reputation only to themselves.

[1] See Preface.

[2] It would be proper to reposite, in some public place, the manuscript of Clarendon, which has not escaped all suspicion of unfaithful publication.

The manuscript of Clarendon is now in the Bodleian library at Oxford, and the editor of the present edition has it before him while writing this note. He may likewise add, that a new and emended edition is now printing from the original MS. at the Clarendon press. December, 1824.

[3] See Preface. Dr. Johnson's hatred of the excise reminds us of John Wesley's wailing philippic against turnpike gates, which he denounced as the most cruel of impositions on the way-faring man.



No. 66. SATURDAY, JULY 21, 1759.

No complaint is more frequently repeated among the learned, than that of the waste made by time among the labours of antiquity. Of those who once filled the civilized world with their renown, nothing is now left but their names, which are left only to raise desires that never can be satisfied, and sorrow which never can be comforted.

Had all the writings of the ancients been faithfully delivered down from age to age, had the Alexandrian library been spared, and the Palatine repositories remained unimpaired, how much might we have known of which we are now doomed to be ignorant! how many laborious inquiries, and dark conjectures; how many collations of broken hints and mutilated passages might have been spared! We should have known the successions of princes, the revolutions of empires, the actions of the great, and opinions of the wise, the laws and constitutions of every state, and the arts by which publick grandeur and happiness are acquired and preserved; we should have traced the progress of life, seen colonies from distant regions take possession of European deserts, and troops of savages settled into communities by the desire of keeping what they had acquired; we should have traced the gradations of civility, and travelled upward to the original of things by the light of history, till in remoter times it had glimmered in fable, and at last sunk into darkness.

If the works of imagination had been less diminished, it is likely that all future times might have been supplied with inexhaustible amusement by the fictions of antiquity. The tragedies of Sophocles and Euripides would all have shown the stronger passions in all their diversities; and the comedies of Menander would have furnished all the maxims of domestick life. Nothing would have been necessary to moral wisdom but to have studied these great masters, whose knowledge would have guided doubt, and whose authority would have silenced cavils.

Such are the thoughts that rise in every student, when his curiosity is eluded, and his searches are frustrated; yet it may, perhaps, be doubted, whether our complaints are not sometimes inconsiderate, and whether we do not imagine more evil than we feel. Of the ancients, enough remains to excite our emulation and direct our endeavours. Many of the works which time has left us, we know to have been these that were most esteemed, and which antiquity itself considered as models; so that, having the originals, we may without much regret lose the imitations. The obscurity which the want of contemporary writers often produces, only darkens single passages, and those commonly of slight importance. The general tendency of every piece may be known; and though that diligence deserves praise which leaves nothing unexamined, yet its miscarriages are not much to be lamented; for the most useful truths are always universal, and unconnected with accidents and customs.

Such is the general conspiracy of human nature against contemporary merit, that, if we had inherited from antiquity enough to afford employment for the laborious, and amusement for the idle, I know not what room would have been left for modern genius or modern industry; almost every subject would have been pre-occupied, and every style would have been fixed by a precedent from which few would have ventured to depart. Every writer would have had a rival, whose superiority was already acknowledged, and to whose fame his work would, even before it was seen, be marked out for a sacrifice.

We see how little the united experience of mankind hath been able to add to the heroick characters displayed by Homer, and how few incidents the fertile imagination of modern Italy has yet produced, which may not be found in the Iliad and Odyssey. It is likely, that if all the works of the Athenian philosophers had been extant, Malbranche and Locke would have been condemned to be silent readers of the ancient metaphysicians; and it is apparent, that, if the old writers had all remained, the Idler could not have written a disquisition on the loss[1].

[1] There was a weighty meaning in that fiction of the Stoics, of a grand periodic year, in which all events should be re-acted in the same mode and order as before. There is nothing new under the sun. Whatever is, or shall be, is only an imitation, or, at best, a re-production of something that has been. The moralist who speculates on the contingencies of human conduct can only divine the future from what has already been acted on the earth. The philosopher, leaning on principles which Science styles immutable, is confined within the narrow bounds of created matter. Why then should Reason make us undervalue that Revelation which carries us upwards to Creation's birth, and bears us downward to a period when time shall be no longer? ED.



No. 67. SATURDAY, JULY 28, 1759.

TO THE IDLER.

Sir,

In the observations which you have made on the various opinions and pursuits of mankind, you must often, in literary conversations, have met with men who consider dissipation as the great enemy of the intellect; and maintain, that, in proportion as the student keeps himself within the bounds of a settled plan, he will more certainly advance in science.

This opinion is, perhaps, generally true; yet, when we contemplate the inquisitive nature of the human mind, and its perpetual impatience of all restraint, it may be doubted whether the faculties may not be contracted by confining the attention; and whether it may not sometimes be proper to risk the certainty of little for the chance of much. Acquisitions of knowledge, like blazes of genius, are often fortuitous. Those who had proposed to themselves a methodical course of reading, light by accident on a new book, which seizes their thoughts and kindles their curiosity, and opens an unexpected prospect, to which the way which they had prescribed to themselves would never have conducted them.

To enforce and illustrate my meaning, I have sent you a journal of three days' employment, found among the papers of a late intimate acquaintance; who, as will plainly appear, was a man of vast designs, and of vast performances, though he sometimes designed one thing, and performed another. I allow that the Spectator's inimitable productions of this kind may well discourage all subsequent journalists; but, as the subject of this is different from that of any which the Spectator has given us, I leave it to you to publish or suppress it.

Mem. The following three days I purpose to give up to reading; and intend, after all the delays which have obtruded themselves upon me, to finish my Essay on the Extent of the Mental powers; to revise my Treatise on Logick; to begin the Epick which I have long projected; to proceed in my perusal of the Scriptures with Grotius's Comment; and at my leisure to regale myself with the works of classicks, ancient and modern, and to finish my Ode to Astronomy.

Monday.] Designed to rise at six, but, by my servant's laziness, my fire was not lighted before eight, when I dropped into a slumber that lasted till nine; at which time I arose, and, after breakfast, at ten, sat down to study, purposing to begin upon my Essay; but, finding occasion to consult a passage in Plato, was absorbed in the perusal of the Republick till twelve. I had neglected to forbid company, and now enters Tom Careless, who, after half an hour's chat, insisted upon my going with him to enjoy an absurd character, that he had appointed, by an advertisement, to meet him at a particular coffee-house. After we had for some time entertained ourselves with him, we sallied out, designing each to repair to his home; but, as it fell out, coming up in the street to a man whose steel by his side declared him a butcher, we overheard him opening an address to a genteelish sort of young lady, whom he walked with: "Miss, though your father is master of a coal-lighter, and you will be a great fortune, 'tis true; yet I wish I may be cut into quarters if it is not only love, and not lucre of gain, that is my motive for offering terms of marriage." As this lover proceeded in his speech, he misled us the length of three streets, in admiration at the unlimited power of the tender passion, that could soften even the heart of a butcher. We then adjourned to a tavern, and from thence to one of the publick gardens, where I was regaled with a most amusing variety of men possessing great talents, so discoloured by affectation, that they only made them eminently ridiculous; shallow things, who, by continual dissipation, had annihilated the few ideas nature had given them, and yet were celebrated for wonderful pretty gentlemen; young ladies extolled for their wit, because they were handsome; illiterate empty women as well as men, in high life, admired for their knowledge, from their being resolutely positive; and women of real understanding so far from pleasing the polite million, that they frightened them away, and were left solitary. When we quitted this entertaining scene, Tom pressed me, irresistibly, to sup with him. I reached home at twelve, and then reflected, that, though indeed I had, by remarking various characters, improved my insight into human nature, yet still I had neglected the studies proposed, and accordingly took up my Treatise on Logick, to give it the intended revisal, but found my spirits too much agitated, and could not forbear a few satirical lines, under the title of The Evening's Walk.

Tuesday.] At breakfast, seeing my Ode to Astronomy lying on my desk, I was struck with a train of ideas, that I thought might contribute to its improvement. I immediately rang my bell to forbid all visitants, when my servant opened the door, with, "Sir, Mr. Jeffery Gape." My cup dropped out of one hand, and my poem out of the other. I could scarcely ask him to sit; he told me he was going to walk, but, as there was a likelihood of rain, he would sit with me; he said, he intended at first to have called at Mr. Vacant's, but as he had not seen me a great while, he did not mind coming out of his way to wait on me; I made him a bow, but thanks for the favour stuck in my throat. I asked him if he had been to the coffee-house; he replied, Two hours.

Under the oppression of this dull interruption, I sat looking wishfully at the clock; for which, to increase my satisfaction, I had chosen the inscription, "Art is long, and life is short;" exchanging questions and answers at long intervals, and not without some hints that the weather-glass promised fair weather. At half an hour after three he told me he would trespass on me for a dinner, and desired me to send to his house for a bundle of papers, about inclosing a common upon his estate, which he would read to me in the evening. I declared myself busy, and Mr. Gape went away.

Having dined, to compose my chagrin I took up Virgil, and several other classicks, but could not calm my mind, or proceed in my scheme. At about five I laid my hand on a Bible that lay on my table, at first with coldness and insensibility; but was imperceptibly engaged in a close attention to its sublime morality, and felt my heart expanded by warm philanthropy, and exalted to dignity of sentiment. I then censured my too great solicitude, and my disgust conceived at my acquaintance, who had been so far from designing to offend, that he only meant to show kindness and respect. In this strain of mind I wrote An Essay on Benevolence, and An Elegy on Sublunary Disappointments. When I had finished these, at eleven, I supped, and recollected how little I had adhered to my plan, and almost questioned the possibility of pursuing any settled and uniform design; however, I was not so far persuaded of the truth of these suggestions, but that I resolved to try once more at my scheme. As I observed the moon shining through my window, from a calm and bright sky spangled with innumerable stars, I indulged a pleasing meditation on the splendid scene, and finished my Ode to Astronomy.

Wednesday.] Rose at seven, and employed three hours in perusal of the Scriptures with Grotius's Comment; and after breakfast fell into meditation concerning my projected Epick; and being in some doubt as to the particular lives of some heroes, whom I proposed to celebrate, I consulted Bayle and Moreri, and was engaged two hours in examining various lives and characters, but then resolved to go to my employment. When I was seated at my desk, and began to feel the glowing succession of poetical ideas, my servant brought me a letter from a lawyer, requiring my instant attendance at Gray's Inn for half an hour. I went full of vexation, and was involved in business till eight at night; and then, being too much fatigued to study, supped, and went to bed.

Here my friend's Journal concludes, which, perhaps, is pretty much a picture of the manner in which many prosecute their studies. I therefore resolved to send it you, imagining, that, if you think it worthy of appearing in your paper, some of your readers may receive entertainment by recognising a resemblance between my friend's conduct and their own. It must be left to the Idler accurately to ascertain the proper methods of advancing in literature; but this one position, deducible from what has been said above, may, I think, be reasonably asserted, that he who finds himself strongly attracted to any particular study, though it may happen to be out of his proposed scheme, if it is not trifling or vicious, had better continue his application to it, since it is likely that he will, with much more ease and expedition, attain that which a warm inclination stimulates him to pursue, than that at which a prescribed law compels him to toil.[1]

I am, &c.

[1] This paper, which is evidently throughout allusive to the Idler's own broken resolutions, was the composition of Bennet Langton, for whom Johnson cherished the fondest regard. In his admiration he ventured even to exclaim, "Sit anima mea cum Langtono." Boswell, iv.—ED.



No. 68. SATURDAY, AUGUST 4, 1759.

Among the studies which have exercised the ingenious and the learned for more than three centuries, none has been more diligently or more successfully cultivated than the art of translation; by which the impediments which bar the way to science are, in some measure, removed, and the multiplicity of languages become less incommodious.

Of every other kind of writing the ancients have left us models which all succeeding ages have laboured to imitate; but translation may justly be claimed by the moderns as their own. In the first ages of the world instruction was commonly oral, and learning traditional, and what was not written could not be translated. When alphabetical writing made the conveyance of opinions and the transmission of events more easy and certain, literature did not flourish in more than one country at once, or distant nations had little commerce with each other; and those few whom curiosity sent abroad in quest of improvement, delivered their acquisitions in their own manner, desirous, perhaps, to be considered as the inventors of that which they had learned from others.

The Greeks for a time travelled into Egypt, but they translated no books from the Egyptian language; and when the Macedonians had overthrown the empire of Persia, the countries that became subject to Grecian dominion studied only the Grecian literature. The books of the conquered nations, if they had any among them, sunk into oblivion; Greece considered herself as the mistress, if not as the parent of arts, her language contained all that was supposed to be known, and, except the sacred writings of the Old Testament, I know not that the library of Alexandria adopted any thing from a foreign tongue.

The Romans confessed themselves the scholars of the Greeks, and do not appear to have expected, what has since happened, that the ignorance of succeeding ages would prefer them to their teachers. Every man, who in Rome aspired to the praise of literature, thought it necessary to learn Greek, and had no need of versions when they could study the originals. Translation, however, was not wholly neglected. Dramatick poems could be understood by the people in no language but their own, and the Romans were sometimes entertained with the tragedies of Euripides and the comedies of Menander. Other works were sometimes attempted; in an old scholiast there is mention of a Latin Iliad; and we have not wholly lost Tully's version of the poem of Aratus; but it does not appear that any man grew eminent by interpreting another, and perhaps it was more frequent to translate for exercise or amusement, than for fame.

The Arabs were the first nation who felt the ardour of translation: when they had subdued the eastern provinces of the Greek empire, they found their captives wiser than themselves, and made haste to relieve their wants by imparted knowledge. They discovered that many might grow wise by the labour of a few, and that improvements might be made with speed, when they had the knowledge of former ages in their own language. They, therefore, made haste to lay hold on medicine end philosophy, and turned their chief authors into Arabick[1]. Whether they attempted the poets is not known; their literary zeal was vehement, but it was short, and probably expired before they had time to add the arts of elegance to those of necessity.

The study of ancient literature was interrupted in Europe by the irruption of the Northern nations, who subverted the Roman empire, and erected new kingdoms with new languages. It is not strange that such confusion should suspend literary attention; those who lost, and those who gained dominion, had immediate difficulties to encounter, and immediate miseries to redress, and had little leisure, amidst the violence of war, the trepidation of flight, the distresses of forced migration, or the tumults of unsettled conquest, to inquire after speculative truth, to enjoy the amusement of imaginary adventures, to know the history of former ages, or study the events of any other lives. But no sooner had this chaos of dominion sunk into order, than learning began again to flourish in the calm of peace. When life and possessions were secure, convenience and enjoyment were soon sought, learning was found the highest gratification of the mind, and translation became one of the means by which it was imparted.

At last, by a concurrence of many causes, the European world was roused from its lethargy; those arts which had been long obscurely studied in the gloom of monasteries became the general favourites of mankind; every nation vied with its neighbour for the prize of learning; the epidemical emulation spread from south to north, and curiosity and translation found their way to Britain.

[1] Some popular information on the interesting subject of Arabian Literature, is collected in the third part of Harris's Philological Inquiries. Mr. Hallam's History of the Middle Ages is a rich storehouse for these points.—ED.



No. 69. SATURDAY, AUGUST 11, 1759.

He that reviews the progress of English literature, will find that translation was very early cultivated among us, but that some principles, either wholly erroneous or too far extended, hindered our success from being always equal to our diligence.

Chaucer, who is generally considered as the father of our poetry, has left a version of Boethius on the Comforts of Philosophy, the book which seems to have been the favourite of the middle ages, which had been translated into Saxon by King Alfred, and illustrated with a copious comment ascribed to Aquinas. It may be supposed that Chaucer would apply more than common attention to an author of so much celebrity, yet he has attempted nothing higher than a version strictly literal, and has degraded the poetical parts to prose, that the constraint of versification might not obstruct his zeal for fidelity.

Caxton taught us typography about the year 1474. The first book printed in English was a translation. Caxton was both the translator and printer of the Destruction of Troye; a book which, in that infancy of learning, was considered as the best account of the fabulous ages, and which, though now driven out of notice by authors of no greater use or value, still continued to be read in Caxton's English to the beginning of the present century.

Caxton proceeded as he began, and, except the poems of Gower and Chaucer, printed nothing but translations from the French, in which the original is so scrupulously followed, that they afford us little knowledge of our own language: though the words are English, the phrase is foreign.

As learning advanced, new works were adopted into our language, but I think with little improvement of the art of translation, though foreign nations and other languages offered us models of a better method; till in the age of Elizabeth we began to find that greater liberty was necessary to elegance, and that elegance was necessary to general reception; some essays were then made upon the Italian poets, which deserve the praise and gratitude of posterity.

But the old practice was not suddenly forsaken: Holland filled the nation with literal translation; and, what is yet more strange, the same exactness was obstinately practised in the versions of the poets. This absurd labour of construing into rhyme was countenanced by Jonson in his version of Horace; and whether it be that more men have learning than genius, or that the endeavours of that time were more directed towards knowledge than delight, the accuracy of Jonson found more imitators than the elegance of Fairfax; and May, Sandys and Holiday, confined themselves to the toil of rendering line for line, not indeed with equal felicity, for May and Sandys were poets, and Holiday only a scholar and a critick.

Feltham appears to consider it as the established law of poetical translation, that the lines should be neither more nor fewer than those of the original; and so long had this prejudice prevailed, that Denham praises Fanshaw's version of Guarini as the example of a new and noble way, as the first attempt to break the boundaries of custom, and assert the natural freedom of the Muse.

In the general emulation of wit and genius which the festivity of the Restoration produced, the poets shook off their constraint, and considered translation as no longer confined to servile closeness. But reformation is seldom the work of pure virtue or unassisted reason. Translation was improved more by accident than conviction. The writers of the foregoing age had at least learning equal to their genius; and, being often more able to explain the sentiments or illustrate the allusions of the ancients, than to exhibit their graces and transfuse their spirit, were, perhaps, willing sometimes to conceal their want of poetry by profusion of literature, and, therefore, translated literally, that their fidelity might shelter their insipidity or harshness. The wits of Charles's time had seldom more than slight and superficial views; and their care was to hide their want of learning behind the colours of a gay imagination; they, therefore, translated always with freedom, sometimes with licentiousness, and, perhaps, expected that their readers should accept sprightliness for knowledge, and consider ignorance and mistake as the impatience and negligence of a mind too rapid to stop at difficulties, and too elevated to descend to minuteness.

Thus was translation made more easy to the writer, and more delightful to the reader; and there is no wonder if ease and pleasure have found their advocates. The paraphrastick liberties have been almost universally admitted; and Sherbourn, whose learning was eminent, and who had no need of any excuse to pass slightly over obscurities, is the only writer who, in later times, has attempted to justify or revive the ancient severity.

There is undoubtedly a mean to be observed. Dryden saw very early that closeness best preserved an author's sense, and that freedom best exhibited his spirit; he, therefore, will deserve the highest praise, who can give a representation at once faithful and pleasing, who can convey the same thoughts with the same graces, and who, when he translates, changes nothing but the language[1].

[1] Much research on this branch of literature is exhibited in Lord Woodhouselee's Principles of Translation.



No. 70. SATURDAY, AUGUST 18, 1759.

Few faults of style, whether real or imaginary, excite the malignity of a more numerous class of readers, than the use of hard words.

If an author be supposed to involve his thoughts in voluntary obscurity, and to obstruct, by unnecessary difficulties, a mind eager in pursuit of truth; if he writes not to make others learned, but to boast the learning which he possesses himself, and wishes to be admired rather than understood, he counteracts the first end of writing, and justly suffers the utmost severity of censure, or the more afflictive severity of neglect.

But words are hard only to those who do not understand them; and the critick ought always to inquire, whether he is incommoded by the fault of the writer or by his own.

Every author does not write for every reader; many questions are such as the illiterate part of mankind can have neither interest nor pleasure in discussing, and which, therefore, it would be an useless endeavour to level with common minds, by tiresome circumlocutions or laborious explanations; and many subjects of general use may be treated in a different manner, as the book is intended for the learned or the ignorant. Diffusion and explication are necessary to the instruction of those who, being neither able nor accustomed to think for themselves, can learn only what is expressly taught; but they who can form parallels, discover consequences, and multiply conclusions, are best pleased with involution of argument and compression of thought; they desire only to receive the seeds of knowledge which they may branch out by their own power, to have the way to truth pointed out, which they can then follow without a guide.

The Guardian directs one of his pupils, "to think with the wise, but speak with the vulgar." This is a precept specious enough, but not always practicable. Difference of thoughts will produce difference of language. He that thinks with more extent than another will want words of larger meaning; he that thinks with more subtilty will seek for terms of more nice discrimination; and where is the wonder, since words are but the images of things, that he who never knew the original should not know the copies?

Yet vanity inclines us to find faults any where rather than in ourselves. He that reads and grows no wiser, seldom suspects his own deficiency; but complains of hard words and obscure sentences, and asks why books are written which cannot be understood?

Among the hard words which are no longer to be used, it has been long the custom to number terms of art. "Every man," says Swift, "is more able to explain the subject of an art than its professors; a farmer will tell you, in two words, that he has broken his leg; but a surgeon, after a long discourse, shall leave you as ignorant as you were before." This could only have been said, by such an exact observer of life, in gratification of malignity, or in ostentation of acuteness. Every hour produces instances of the necessity of terms of art. Mankind could never conspire in uniform affectation; it is not but by necessity that every science and every trade has its peculiar language. They that content themselves with general ideas may rest in general terms; but those, whose studies or employments force them upon closer inspection, must have names for particular parts, and words by which they may express various modes of combination, such as none but themselves have occasion to consider.

Artists are indeed sometimes ready to suppose that none can be strangers to words to which themselves are familiar, talk to an incidental inquirer as they talk to one another, and make their knowledge ridiculous by injudicious obtrusion. An art cannot be taught but by its proper terms, but it is not always necessary to teach the art.

That the vulgar express their thoughts clearly, is far from true; and what perspicuity can be found among them proceeds not from the easiness of their language, but the shallowness of their thoughts. He that sees a building as a common spectator, contents himself with relating that it is great or little, mean or splendid, lofty or low; all these words are intelligible and common, but they convey no distinct or limited ideas; if he attempts, without the terms of architecture, to delineate the parts, or enumerate the ornaments, his narration at once becomes unintelligible. The terms, indeed, generally displease, because they are understood by few; but they are little understood, only because few that look upon an edifice examine its parts, or analyze its columns into their members.

The state of every other art is the same; as it is cursorily surveyed or accurately examined, different forms of expression become proper. In morality it is one thing to discuss the niceties of the casuist, and another to direct the practice of common life. In agriculture, he that instructs the farmer to plough and sow, may convey his notions without the words which he would find necessary in explaining to philosophers the process of vegetation; and if he, who has nothing to do but to be honest by the shortest way, will perplex his mind with subtile speculations; or if he, whose task is to reap and thrash, will not be contented without examining the evolution of the seed and circulation of the sap; the writers whom either shall consult are very little to be blamed, though it should sometimes happen that they are read in vain.



No. 71. SATURDAY, AUGUST 25, 1759.

Celan le selve angui, leoni, ed orsi Dentro il lor verde. TASSO, L'AMINTA.

Dick Shifter was born in Cheapside, and, having passed reputably through all the classes of St. Paul's school, has been for some years a student in the Temple. He is of opinion, that intense application dulls the faculties, and thinks it necessary to temper the severity of the law by books that engage the mind, but do not fatigue it. He has, therefore, made a copious collection of plays, poems, and romances, to which he has recourse when he fancies himself tired with statutes and reports; and he seldom inquires very nicely whether he is weary or idle.

Dick has received from his favourite authors very strong impressions of a country life; and though his furthest excursions have been to Greenwich on one side, and Chelsea on the other, he has talked for several years, with great pomp of language and elevation of sentiments, about a state too high for contempt and too low for envy, about homely quiet and blameless simplicity, pastoral delights and rural innocence.

His friends, who, had estates in the country, often invited him to pass the summer among them, but something or other had always hindered him; and he considered, that to reside in the house of another man was to incur a kind of dependence inconsistent with that laxity of life which he had imaged as the chief good.

This summer he resolved to be happy, and procured a lodging to be taken for him at a solitary house, situated about thirty miles from London, on the banks of a small river, with corn-fields before it and a hill on each side covered with wood. He concealed the place of his retirement, that none might violate his obscurity, and promised himself many a happy day when he should hide himself among the trees, and contemplate the tumults and vexations of the town.

He stepped into the post-chaise with his heart beating and his eyes sparkling, was conveyed through many varieties of delightful prospects, saw hills and meadows, cornfields and pasture, succeed each other, and for four hours charged none of his poets with fiction or exaggeration. He was now within six miles of happiness, when, having never felt so much agitation before, he began to wish his journey at an end, and the last hour was passed in changing his posture and quarrelling with his driver.

An hour may be tedious, but cannot be long. He at length alighted at his new dwelling, and was received as he expected; he looked round upon the hills and rivulets, but his joints were stiff and his muscles sore, and his first request was to see his bed-chamber.

He rested well, and ascribed the soundness of his sleep to the stillness of the country. He expected from that time nothing but nights of quiet and days of rapture, and, as soon as he had risen, wrote an account of his new state to one of his friends in the Temple.

"Dear Frank,

"I never pitied thee before. I am now, as I could wish every man of wisdom and virtue to be, in the regions of calm content and placid meditation; with all the beauties of nature soliciting my notice, and all the diversities of pleasure courting my acceptance; the birds are chirping in the hedges, and the flowers blooming in the mead; the breeze is whistling in the wood, and the sun dancing on the water. I can now say, with truth, that a man, capable of enjoying the purity of happiness, is never more busy than in his hours of leisure, nor ever less solitary than in a place of solitude.

I am, dear Frank, &c."

When he had sent away his letter, he walked into the wood, with some inconvenience, from the furze that pricked his legs, and the briars that scratched his face. He at last sat down under a tree, and heard with great delight a shower, by which he was not wet, rattling among the branches: This, said he, is the true image of obscurity; we hear of troubles and commotions, but never feel them.

His amusement did not overpower the calls of nature, and he, therefore, went back to order his dinner. He knew that the country produces whatever is eaten or drunk, and, imagining that he was now at the source of luxury, resolved to indulge himself with dainties which he supposed might be procured at a price next to nothing, if any price at all was expected; and intended to amaze the rusticks with his generosity, by paying more than they would ask. Of twenty dishes which he named, he was amazed to find that scarcely one was to be had; and heard, with astonishment and indignation, that all the fruits of the earth were sold at a higher price than in the streets of London.

His meal was short and sullen; and he retired again to his tree, to inquire how dearness could be consistent with abundance, or how fraud should be practised by simplicity. He was not satisfied with his own speculations, and, returning home early in the evening, went a while from window to window, and found that he wanted something to do.

He inquired for a newspaper, and was told that farmers never minded news, but that they could send for it from the alehouse. A messenger was despatched, who ran away at full speed, but loitered an hour behind the hedges, and at last coming back with his feet purposely bemired, instead of expressing the gratitude which Mr. Shifter expected for the bounty of a shilling, said, that the night was wet, and the way dirty, and he hoped that his worship would not think it much to give him half-a-crown.

Dick now went to bed with some abatement of his expectations; but sleep, I know not how, revives our hopes, and rekindles our desires. He rose early in the morning, surveyed the landscape, and was pleased. He walked out, and passed from field to field, without observing any beaten path, and wondered that he had not seen the shepherdesses dancing, nor heard the swains piping to their flocks.

At last he saw some reapers and harvest-women at dinner. Here, said he, are the true Arcadians; and advanced courteously towards them, as afraid of confusing them by the dignity of his presence. They acknowledged his superiority by no other token than that of asking him for something to drink. He imagined that he had now purchased the privilege of discourse, and began to descend to familiar questions, endeavouring to accommodate his discourse to the grossness of rustick understandings. The clowns soon found, that he did not know wheat from rye, and began to despise him; one of the boys, by pretending to show him a bird's nest, decoyed him into a ditch; and one of the wenches sold him a bargain.

This walk had given him no great pleasure; but he hoped to find other rusticks less coarse of manners, and less mischievous of disposition. Next morning he was accosted by an attorney, who told him that, unless he made farmer Dobson satisfaction for trampling his grass, he had orders to indict him. Shifter was offended, but not terrified; and, telling the attorney that he was himself a lawyer, talked so volubly of pettyfoggers and barrators, that he drove him away.

Finding his walks thus interrupted, he was inclined to ride, and, being pleased with the appearance of a horse that was grazing in a neighbouring meadow, inquired the owner, who warranted him sound, and would not sell him, but that he was too fine for a plain man. Dick paid down the price, and, riding out to enjoy the evening, fell with his new horse into a ditch; they got out with difficulty, and, as he was going to mount again, a countryman looked at the horse, and perceived him to be blind. Dick went to the seller, and demanded back his money; but was told, that a man who rented his ground must do the best for himself; that his landlord had his rent though the year was barren; and that, whether horses had eyes or no, he should sell them to the highest bidder.

Shifter now began to be tired with rustick simplicity, and on the fifth day took possession again of his chambers, and bade farewell to the regions of calm content and placid meditation.



No. 72. SATURDAY, SEPTEMBER 1, 1759.

Men complain of nothing more frequently than of deficient memory; and, indeed, every one finds that many of the ideas which he desired to retain have slipped irretrievably away; that the acquisitions of the mind are sometimes equally fugitive with the gifts of fortune; and that a short intermission of attention more certainly lessens knowledge than impairs an estate.

To assist this weakness of our nature, many methods have been proposed, all of which may be justly suspected of being ineffectual; for no art of memory, however its effects have been boasted or admired, has been ever adopted into general use, nor have those who possessed it appeared to excel others in readiness of recollection or multiplicity of attainments.

There is another art of which all have felt the want, though Themistocles only confessed it. We suffer equal pain from the pertinacious adhesion of unwelcome images, as from the evanescence of those which are pleasing and useful; and it may be doubted whether we should be more benefited by the art of memory or the art of forgetfulness.

Forgetfulness is necessary to remembrance. Ideas are retained by renovation of that impression which time is always wearing away, and which new images are striving to obliterate. If useless thoughts could be expelled from the mind, all the valuable parts of our knowledge would more frequently recur, and every recurrence would reinstate them in their former place.

It is impossible to consider, without some regret, how much might have been learned, or how much might have been invented, by a rational and vigorous application of time, uselessly or painfully passed in the revocation of events, which have left neither good nor evil behind them, in grief for misfortunes either repaired or irreparable, in resentment of injuries known only to ourselves, of which death has put the authors beyond our power.

Philosophy has accumulated precept upon precept, to warn us against the anticipation of future calamities. All useless misery is certainly folly, and he that feels evils before they come may be deservedly censured; yet surely to dread the future is more reasonable than to lament the past. The business of life is to go forwards: he who sees evil in prospect meets it in his way; but he who catches it by retrospection turns back to find it. That which is feared may sometimes be avoided, but that which is regretted to-day may be regretted again to-morrow.

Regret is indeed useful and virtuous, and not only allowable but necessary, when it tends to the amendment of life, or to admonition of errour which we may be again in danger of committing. But a very small part of the moments spent in meditation on the past, produce any reasonable caution or salutary sorrow. Most of the mortifications that we have suffered, arose from the concurrence of local and temporary circumstances, which can never meet again; and most of our disappointments have succeeded those expectations, which life allows not to be formed a second time.

It would add much to human happiness, if an art could be taught of forgetting all of which the remembrance is at once useless and afflictive; if that pain which never can end in pleasure could be driven totally away, that the mind might perform its functions without incumbrance, and the past might no longer encroach upon the present.

Little can be done well to which the whole mind is not applied; the business of every day calls for the day to which it is assigned; and he will have no leisure to regret yesterday's vexations who resolves not to have a new subject of regret to-morrow.

But to forget or to remember at pleasure, are equally beyond the power of man. Yet as memory may be assisted by method, and the decays of knowledge repaired by stated times of recollection, so the power of forgetting is capable of improvement. Reason will, by a resolute contest, prevail over imagination, and the power may be obtained of transferring the attention as judgment shall direct.

The incursions of troublesome thoughts are often violent and importunate; and it is not easy to a mind accustomed to their inroads to expel them immediately by putting better images into motion; but this enemy of quiet is above all others weakened by every defeat; the reflection which has been once overpowered and ejected, seldom returns with any formidable vehemence.

Employment is the great instrument of intellectual dominion. The mind cannot retire from its enemy into total vacancy, or turn aside from one object but by passing to another. The gloomy and the resentful are always found among those who have nothing to do, or who do nothing. We must be busy about good or evil, and he to whom the present offers nothing will often be looking backward on the past.



No. 73. SATURDAY, SEPTEMBER 8, 1759.

That every man would be rich if a wish could obtain riches, is a position which I believe few will contest, at least in a nation like ours, in which commerce has kindled an universal emulation of wealth, and in which money receives all the honours which are the proper right of knowledge and of virtue.

Yet, though we are all labouring for gold as for the chief good, and, by the natural effort of unwearied diligence, have found many expeditious methods of obtaining it, we have not been able to improve the art of using it, or to make it produce more happiness than it afforded in former times, when every declaimer expatiated on its mischiefs, and every philosopher taught his followers to despise it.

Many of the dangers imputed of old to exorbitant wealth, are now at an end. The rich are neither waylaid by robbers, nor watched by informers; there is nothing to be dreaded from proscriptions, or seizures. The necessity of concealing treasure has long ceased; no man now needs counterfeit mediocrity, and condemn his plate and jewels to caverns and darkness, or feast his mind with the consciousness of clouded splendour, of finery which is useless till it is shown, and which he dares not show.

In our time, the poor are strongly tempted to assume the appearance of wealth, but the wealthy very rarely desire to be thought poor; for we are all at full liberty to display riches by every mode of ostentation. We fill our houses with useless ornaments, only to show that we can buy them; we cover our coaches with gold, and employ artists in the discovery of new fashions of expense; and yet it cannot be found that riches produce happiness.

Of riches, as of every thing else, the hope is more than the enjoyment: while we consider them as the means to be used, at some future time, for the attainment of felicity, we press on our pursuit ardently and vigorously, and that ardour secures us from weariness of ourselves; but no sooner do we sit down to enjoy our acquisitions, than we find them insufficient to fill up the vacuities of life.

One cause which is not always observed of the insufficiency of riches is, that they very seldom make their owner rich. To be rich, is to have more than is desired, and more than is wanted, to have something which may be spent without reluctance, and scattered without care, with which the sudden demands of desire may be gratified, the casual freaks of fancy indulged, or the unexpected opportunities of benevolence improved.

Avarice is always poor, but poor by her own fault. There is another poverty to which the rich are exposed with less guilt by the officiousness of others. Every man, eminent for exuberance of fortune, is surrounded from morning to evening, and from evening to midnight, by flatterers, whose art of adulation consists in exciting artificial wants, and in forming new schemes of profusion.

Tom Tranquil, when he came to age, found himself in possession of a fortune, of which the twentieth part might perhaps have made him rich. His temper is easy, and his affections soft; he receives every man with kindness, and hears him with credulity. His friends took care to settle him by giving him a wife, whom, having no particular inclination, he rather accepted than chose, because he was told that she was proper for him.

He was now to live with dignity proportionate to his fortune. What his fortune requires or admits Tom does not know, for he has little skill in computation, and none of his friends think it their interest to improve it. If he was suffered to live by his own choice, he would leave every thing as he finds it, and pass through the world distinguished only by inoffensive gentleness. But the ministers of luxury have marked him out as one at whose expense they may exercise their arts. A companion, who had just learned the names of the Italian masters, runs from sale to sale, and buys pictures, for which Mr. Tranquil pays, without inquiring where they shall be hung. Another fills his garden with statues, which Tranquil wishes away, but dares not remove. One of his friends is learning architecture by building him a house, which he passed by, and inquired to whom it belonged; another has been for three years digging canals and raising mounts, cutting trees down in one place, and planting them in another, on which Tranquil looks with a serene indifference, without asking what will be the cost. Another projector tells him that a waterwork, like that of Versailles, will complete the beauties of his seat, and lays his draughts before him: Tranquil turns his eyes upon them, and the artist begins his explanations; Tranquil raises no objections, but orders him to begin the work, that he may escape from talk which he does not understand.

Thus a thousand hands are busy at his expense, without adding to his pleasures. He pays and receives visits, and has loitered in publick or in solitude, talking in summer of the town, and in winter of the country, without knowing that his fortune is impaired, till his steward told him this morning, that he could pay the workmen no longer but by mortgaging a manor.



No. 74. SATURDAY, SEPTEMBER 15, 1759.

In the mythological pedigree of learning, memory is made the mother of the muses, by which the masters of ancient wisdom, perhaps, meant to show the necessity of storing the mind copiously with true notions, before the imagination should be suffered to form fictions or collect embellishments; for the works of an ignorant poet can afford nothing higher than pleasing sound, and fiction is of no other use than to display the treasures of memory.

The necessity of memory to the acquisition of knowledge is inevitably felt and universally allowed, so that scarcely any other of the mental faculties are commonly considered as necessary to a student: he that admires the proficiency of another, always attributes it to the happiness of his memory; and he that laments his own defects, concludes with a wish that his memory was better.

It is evident, that when the power of retention is weak, all the attempts at eminence of knowledge must be vain; and as few are willing to be doomed to perpetual ignorance, I may, perhaps, afford consolation to some that have fallen too easily into despondence, by observing that such weakness is, in my opinion, very rare, and that few have reason to complain of nature as unkindly sparing of the gifts of memory.

In the common business of life, we find the memory of one like that of another, and honestly impute omissions not to involuntary forgetfulness, but culpable inattention; but in literary inquiries, failure is imputed rather to want of memory than of diligence.

We consider ourselves as defective in memory, either because we remember less than we desire, or less than we suppose others to remember.

Memory is like all other human powers, with which no man can be satisfied who measures them by what he can conceive, or by what he can desire. He whose mind is most capacious, finds it much too narrow for his wishes; he that remembers most, remembers little compared with what he forgets. He, therefore, that, after the perusal of a book, finds few ideas remaining in his mind, is not to consider the disappointment as peculiar to himself, or to resign all hopes of improvement, because he does not retain what even the author has, perhaps, forgotten.

He who compares his memory with that of others, is often too hasty to lament the inequality. Nature has sometimes, indeed, afforded examples of enormous, wonderful and gigantick memory. Scaliger reports of himself, that, in his youth, he could repeat above a hundred verses, having once read them; and Barthicus declares, that he wrote his comment upon Claudian without consulting the text. But not to have such degrees of memory is no more to be lamented, than not to have the strength of Hercules, or the swiftness of Achilles. He that, in the distribution of good, has an equal share with common men, may justly be contented. Where there is no striking disparity, it is difficult to know of two which remembers most, and still more difficult to discover which reads with greater attention, which has renewed the first impression by more frequent repetitions, or by what accidental combination of ideas either mind might have united any particular narrative or argument to its former stock.

But memory, however impartially distributed, so often deceives our trust, that almost every man attempts, by some artifice or other, to secure its fidelity.

It is the practice of many readers to note, in the margin of their books, the most important passages, the strongest arguments, or the brightest sentiments. Thus they load their minds with superfluous attention, repress the vehemence of curiosity by useless deliberation, and by frequent interruption break the current of narration or the chain of reason, and at last close the volume, and forget the passages and marks together.

Others I have found unalterably persuaded, that nothing is certainly remembered but what is transcribed; and they have, therefore, passed weeks and months in transferring large quotations to a commonplace-book. Yet, why any part of a book, which can be consulted at pleasure, should be copied, I was never able to discover. The hand has no closer correspondence with the memory than the eye. The act of writing itself distracts the thoughts, and what is read twice is commonly better remembered than what is transcribed. This method, therefore, consumes time without assisting memory.

The true art of memory is the art of attention. No man will read with much advantage, who is not able, at pleasure, to evacuate his mind, or who brings not to his author an intellect defecated and pure, neither turbid with care, nor agitated by pleasure. If the repositories of thought are already full, what can they receive? If the mind is employed on the past or future, the book will be held before the eyes in vain. What is read with delight is commonly retained, because pleasure always secures attention; but the books which are consulted by occasional necessity, and perused with impatience, seldom leave any traces on the mind.



No. 75. SATURDAY, SEPTEMBER 22, 1759.

In the time when Bassora was considered as the school of Asia, and flourished by the reputation of its professors and the confluence of its students, among the pupils that listened round the chair of Albumazar was Gelaleddin, a native of Tauris, in Persia, a young man amiable in his manners and beautiful in his form, of boundless curiosity, incessant diligence, and irresistible genius, of quick apprehension and tenacious memory, accurate without narrowness, and eager for novelty without inconstancy.

No sooner did Gelaleddin appear at Bassora, than his virtues and abilities raised him to distinction. He passed from class to class rather admired than envied by those whom the rapidity of his progress left behind; he was consulted by his fellow-students as an oraculous guide, and admitted as a competent auditor to the conferences of the sages.

After a few years, having passed through all the exercises of probation, Gelaleddin was invited to a professor's seat, and entreated to increase the splendour of Bassora. Gelaleddin affected to deliberate on the proposal, with which, before he considered it, he resolved to comply; and next morning retired to a garden planted for the recreation of the students, and, entering a solitary walk, began to meditate upon his future life.

"If I am thus eminent," said he, "in the regions of literature, I shall be yet more conspicuous in any other place; if I should now devote myself to study and retirement, I must pass my life in silence, unacquainted with the delights of wealth, the influence of power, the pomp of greatness, and the charms of elegance, with all that man envies and desires, with all that keeps the world in motion, by the hope of gaining or the fear of losing it. I will, therefore, depart to Tauris, where the Persian monarch resides in all the splendour of absolute dominion: my reputation will fly before me, my arrival will be congratulated by my kinsmen and my friends; I shall see the eyes of those who predict my greatness sparkling with exultation, and the faces of those that once despised me clouded with envy, or counterfeiting kindness by artificial smiles. I will show my wisdom by my discourse, and my moderation by my silence; I will instruct the modest with easy gentleness, and repress the ostentatious by seasonable superciliousness. My apartments will be crowded by the inquisitive and the vain, by those that honour and those that rival me; my name will soon reach the court; I shall stand before the throne of the emperour: the judges of the law will confess my wisdom, and the nobles will contend to heap gifts upon me. If I shall find that my merit, like that of others, excites malignity, or feel myself tottering on the seat of elevation, I may at last retire to academical obscurity, and become, in my lowest state, a professor of Bassora."

Having thus settled his determination, he declared to his friends his design of visiting Tauris, and saw with more pleasure than he ventured to express, the regret with which he was dismissed. He could not bear to delay the honours to which he was destined, and, therefore, hastened away, and in a short time entered the capital of Persia. He was immediately immersed in the crowd, and passed unobserved to his father's house. He entered, and was received, though not unkindly, yet without any excess of fondness or exclamations of rapture. His father had, in his absence, suffered many losses, and Gelaleddin was considered as an additional burden to a falling family.

When he recovered from his surprise, he began to display his acquisitions, and practised all the arts of narration and disquisition: but the poor have no leisure to be pleased with eloquence; they heard his arguments without reflection, and his pleasantries without a smile. He then applied himself singly to his brothers and sisters, but found them all chained down by invariable attention to their own fortunes, and insensible of any other excellence than that which could bring some remedy for indigence.

It was now known in the neighbourhood that Gelaleddin was returned, and he sat for some days in expectation that the learned would visit him for consultation, or the great for entertainment. But who will be pleased or instructed in the mansions of poverty? He then frequented places of publick resort, and endeavoured to attract notice by the copiousness of his talk. The sprightly were silenced, and went away to censure, in some other place, his arrogance and his pedantry; and the dull listened quietly for a while, and then wondered why any man should take pains to obtain so much knowledge which would never do him good.

He next solicited the visiers for employment, not doubting but his service would be eagerly accepted. He was told by one that there was no vacancy in his office; by another, that his merit was above any patronage but that of the emperour; by a third, that he would not forget him; and by the chief visier, that he did not think literature of any great use in publick business. He was sometimes admitted to their tables, where he exerted his wit and diffused his knowledge; but he observed, that where, by endeavour or accident, he had remarkably excelled, he was seldom invited a second time.

He now returned to Bassora, wearied and disgusted, but confident of resuming his former rank, and revelling again in satiety of praise. But he who had been neglected at Tauris, was not much regarded at Bassora; he was considered as a fugitive, who returned only because he could live in no other place; his companions found that they had formerly overrated his abilities, and he lived long without notice or esteem.



No. 76. SATURDAY, SEPTEMBER 29, 1759.

TO THE IDLER,

Sir,

I was much pleased with your ridicule of those shallow criticks, whose judgment, though often right as far as it goes, yet reaches only to inferior beauties, and who, unable to comprehend the whole, judge only by parts, and from thence determine the merit of extensive works. But there is another kind of critick still worse, who judges by narrow rules, and those too often false, and which, though they should be true, and founded on nature, will lead him but a very little way toward the just estimation of the sublime beauties in works of genius; for whatever part of an art can be executed or criticised by rules, that part is no longer the work of genius, which implies excellence out of the reach of rules. For my own part, I profess myself an Idler, and love to give my judgment, such as it is, from my immediate perceptions, without much fatigue of thinking; and I am of opinion that, if a man has not those perceptions right, it will be vain for him to endeavour to supply their place by rules, which may enable him to talk more learnedly, but not to distinguish more acutely. Another reason which has lessened my affection for the study of criticism is, that criticks, so far as I have observed, debar themselves from receiving any pleasure from the polite arts, at the same time, that they profess to love and admire them: for these rules, being always uppermost, give them such a propensity to criticise, that, instead of giving up the reins of their imagination into their author's hands, their frigid minds are employed in examining whether the performance be according to the rules of art.

To those who are resolved to be criticks in spite of nature, and, at the same time, have no great disposition to much reading and study, I would recommend to them to assume the character of connoisseur, which may be purchased at a much cheaper rate than that of a critick in poetry. The remembrance of a few names of painters, with their general characters, with a few rules of the academy, which they may pick up among the painters, will go a great way towards making a very notable connoisseur.

With a gentleman of this cast, I visited last week the Cartoons at Hampton-court; he was just returned from Italy, a connoisseur of course, and of course his mouth full of nothing but the grace of Raffaelle, the purity of Domenichino, the learning of Poussin, the air of Guido, the greatness of taste of the Carraccis, and the sublimity and grand contorno of Michael Angelo; with all the rest of the cant of criticism, which he emitted with that volubility which generally those orators have who annex no ideas to their words.

As we were passing through the rooms, in our way to the gallery, I made him observe a whole length of Charles the First by Vandyke, as a perfect representation of the character as well as the figure of the man. He agreed it was very fine, but it wanted spirit and contrast, and had not the flowing line, without which a figure could not possibly be graceful. When we entered the gallery, I thought I could perceive him recollecting his rules by which he was to criticise Raffaelle. I shall pass over his observation of the boats being too little, and other criticisms of that kind, till we arrive at St. Paul preaching.

"This," says he, "is esteemed the most excellent of all the cartoons; what nobleness, what dignity, there is in that figure of St. Paul! and yet what an addition to that nobleness could Raffaelle have given, had the art of contrast been known in his time! but, above all, the flowing line which constitutes grace and beauty! You would not have then seen an upright figure standing equally on both legs, and both hands stretched forward in the same direction, and his drapery, to all appearance, without the least art of disposition." The following picture is the Charge to Peter. "Here," says he, "are twelve upright figures; what a pity it is that Raffaelle was not acquainted with the pyramidal principle! He would then have contrived the figures in the middle to have been on higher ground, or the figures at the extremities stooping or lying, which would not only have formed the group into the shape of a pyramid, but likewise contrasted the standing figures. Indeed," added he, "I have often lamented that so great a genius as Raffaelle had not lived in this enlightened age, since the art has been reduced to principles, and had had his education in one of the modern academies; what glorious works might we have then expected from his divine pencil!"

I shall trouble you no longer with my friend's observations, which, I suppose, you are now able to continue by yourself. It is curious to observe, that, at the same time that great admiration is pretended for a name of fixed reputation, objections are raised against those very qualities by which that great name was acquired.

Those criticks are continually lamenting that Raffaelle had not the colouring and harmony of Rubens, or the light and shadow of Rembrant, without considering how much the gay harmony of the former, and affectation of the latter, would take from the dignity of Raffaelle; and yet Rubens had great harmony, and Rembrant understood light and shadow: but what may be an excellence in a lower class of painting, becomes a blemish in a higher; as the quick, sprightly turn, which is the life and beauty of epigrammatick compositions, would but ill suit with the majesty of heroick poetry.

To conclude; I would not be thought to infer, from any thing that has been said, that rules are absolutely unnecessary; but to censure scrupulosity, a servile attention to minute exactness, which is sometimes inconsistent with higher excellency, and is lost in the blaze of expanded genius.

I do not know whether you will think painting a general subject. By inserting this letter, perhaps, you will incur the censure a man would deserve, whose business being to entertain a whole room, should turn his back to the company, and talk to a particular person[1].

I am, Sir, &c.

[1] By Sir Joshua Reynolds.



No. 77. SATURDAY, OCTOBER 6, 1759.

Easy poetry is universally admired; but I know not whether any rule has yet been fixed, by which it may be decided when poetry can be properly called easy. Horace has told us, that it is such as "every reader hopes to equal, but after long labour finds unattainable." This is a very loose description, in which only the effect is noted; the qualities which produce this effect remain to be investigated.

Easy poetry is that in which natural thoughts are expressed without violence to the language. The discriminating character of ease consists principally in the diction; for all true poetry requires that the sentiments be natural. Language suffers violence by harsh or by daring figures, by transposition, by unusual acceptations of words, and by any licence, which would be avoided by a writer of prose. Where any artifice appears in the construction of the verse, that verse is no longer easy. Any epithet which can be ejected without diminution of the sense, any curious iteration of the same word, and all unusual, though not ungrammatical structure of speech, destroy the grace of easy poetry.