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If it be impossible to think without materials, there must necessarily be minds that do not always think; and whence shall we furnish materials for the meditation of the glutton between his meals, of the sportsman in a rainy month, of the annuitant between the days of quarterly payment, of the politician when the mails are detained by contrary winds?
But how frequent soever may be the examples of existence without thought, it is certainly a state not much to be desired. He that lives in torpid insensibility, wants nothing of a carcase but putrefaction. It is the part of every inhabitant of the earth to partake the pains and pleasures of his fellow beings; and, as in a road through a country desart and uniform, the traveller languishes for want of amusement, so the passage of life will be tedious and irksome to him who does not beguile it by diversified ideas.
NUMB. 25. SATURDAY, October 7, 1758.
TO THE IDLER.
I AM a very constant frequenter of the playhouse, a place to which I suppose the Idler not much a stranger, since he can have no where else so much entertainment with so little concurrence of his own endeavour. At all other assemblies, he that comes to receive delight, will be expected to give it; but in the theatre nothing is necessary to the amusement of two hours, but to sit down and be willing to be pleased.
The last week has offered two new actors to the town. The appearance and retirement of actors are the great events of the theatrical world; and their first performances fill the pit with conjecture and prognostication, as the first actions of a new monarch agitate nations with hope or fear.
What opinion I have formed of the future excellence of these candidates for dramatick glory, it is not necessary to declare. Their entrance gave me a higher and nobler pleasure than any borrowed character can afford. I saw the ranks of the theatre emulating each other in candour and humanity, and contending who should most effectually assist the struggles of endeavour, dissipate the blush of diffidence, and still the flutter of timidity.
This behaviour is such as becomes a people, too tender to repress those who wish to please, too generous to insult those who can make no resistance. A publick performer is so much in the power of spectators, that all unnecessary severity is restrained by that general law of humanity which forbids us to be cruel where there is nothing to be feared.
In every new performer something must be pardoned. No man can, by any force of resolution, secure to himself the full possession of his own powers under the eye of a large assembly. Variation of gesture, and flexion of voice, are to be obtained only by experience.
There is nothing for which such numbers think themselves qualified as for theatrical exhibition. Every human being has an action graceful to his own eye, a voice musical to his own ear, and a sensibility which nature forbids him to know that any other bosom can excel. An art in which such numbers fancy themselves excellent, and which the publick liberally rewards, will excite many competitors, and in many attempts there must be many miscarriages.
The care of the critick should be to distinguish error from inability, faults of inexperience from defects of nature. Action irregular and turbulent
may be reclaimed; vociferation vehement and confused may be restrained and modulated; the stalk of the tyrant may become the gait of the man; the yell of inarticulate distress may be reduced to human lamentation. All these faults should be for a time overlooked, and afterwards censured with gentleness and candour. But' if in an actor there
appears an utter vacancy of meaning, a frigid equality, a stupid languor, a torpid apathy, the greatest kindness that can be shewn him, is a speedy sentence of expulsion.
I am, Sir, &c.
The plea which my correspondent has offered for young actors, I am very far from wishing to invalidate. I always considered those combinations which are sometimes formed in the playhouse, as acts of fraud and cruelty; he that applauds him who does not deserve praise, is endeavouring to deceive the publick; he that hisses in malice or sport, is an oppressor and a robber,
But surely this laudable forbearance might be justly extended to young poets. The art of the writer, like that of the player, is attained by slow degrees. The power of distinguishing and discriminating comick characters, or of filling tragedy with poetical images, must be the gift of nature, which no instruction nor labour can supply; but the art of dramatick disposition, the contexture of the scenes, the opposition of characters, the involution of the plot, the expedients of suspension, and the stratagems of surprize, are to be learned by practice; and it is cruel to discourage a poet for ever, because he has not from genius what only experience can bestow.
Life is a stage. Let me likewise solicit candour for the young actor on the stage of life. They that enter into the world are too often treated with unreasonable rigour by those that were once as igno
rant and heady as themselves; and distinction is not always made between the faults which require speedy and violent eradication, and those that will gradually drop away in the progression of life. Vicious solicitations of appetite, if not checked, will grow more importunate ; and mean arts of profit or ambition will gather strength in the mind, if they are not early suppressed. But mistaken notions of superiority, desires of useless show, pride of little accomplishments, and all the train of vanity, will be brushed away by the wing of time.
Reproof should not exhaust its power upon petty failings; let it watch diligently against the incursion of vice, and leave foppery and futility to die of themselves.