[STEELE.

No. 4.

From Saturday, April 16, to Tuesday, April 19, 1709.

It is usual with persons who mount the stage for the cure

or information of the crowd about them, to make solemn professions of their being wholly disinterested in the pains they take for the public good. At the same time, those very men, who make harangues in plush doublets, and extol their own abilities and generous inclinations, tear their lungs in vending a drug, and show no act of bounty, except it be, that they lower a demand of a crown, to six, nay, to one penny. We have a contempt for such paltry barterers, and have therefore all along informed the public that we intend to give them our advices for our own sakes, and are labouring to make our lucubrations come to some price in money, for our more convenient support in the service of the public. It is certain, that many other schemes have been proposed to me; as a friend offered to show me a treatise he had writ, which he called "The Whole Art of Life, or the Introduction to Great Men, illustrated in a Pack of Cards." But being a novice at all manner of play I declined the offer. Another advised me, for want of money, to set up my coach and practise physic, but having been bred a scholar, I feared I should not succeed

Gardens forbade them acting till further order, because they had allowed Powell to play after he was committed for drawing his sword on Colonel Stanhope and Mr. Davenant. This is dated May 3, 10 Will. III. (1698); but on May 4 there was another order for the comedians to resume acting. (Lord Chamberlain's Records, Warrant Book No. 19, p. 80.) Cibber's remarks on this incident will be found in his "Apology," chap. x.

that way neither; therefore resolved to go on in my present project. But you are to understand, that I shall not pretend to raise a credit to this work, upon the weight of my politic news only, but, as my Latin sentence in the title-page informs you, shall take anything that offers for the subject of my discourse. Thus, new persons, as well as new things, are to come under my consideration; as, when a toast, or a wit, is first pronounced such, you shall have the freshest advice of their preferment from me, with a description of the beauty's manner, and the wit's style; as also, in whose places they are advanced. For this town is never good-natured enough to raise one, without depressing another. But it is my design, to avoid saying anything, of any person, which ought justly to displease; but shall endeavour, by the variety of the matter and style, to give entertainment for men of pleasure, without offence to those of business.

A1

White's Chocolate-house, April 18.

11 hearts at present pant for two ladies' only, who have for some time engrossed the dominion of the town. They are indeed both exceeding charming, but differ very much in their excellences. The beauty of

1 In a copy of the original edition of the Tatler, with MS. notes written early in the last century, which was sold at Messrs. Sotheby's, in April, 1887, the ladies here described were said to be Mrs. Chetwine and Mrs. Hales respectively. Mrs. Hales was a maid of honour who married Mr. Coke, vice-chamberlain, in July, 1709 (Luttrell's "Brief Relation," vi. 462); "Mrs. Chetwine " was probably the wife of William Richard Chetwynd, afterwards third Viscount Chetwynd, who married Honora, daughter of John Baker, Consul at Algiers; or the wife of his brother Walter, M.P. for Stafford, and Master of the Buckhounds. In 1717, Lady M. W. Montagu, describing a week spent by a fashionable lady, said, 'Friday, Mrs. Chetwynd's, &c.; a perpetual round of hearing the same scandal' (Pope's Works, ix. 385).

Clarissa is soft, that of Chloe piercing. When you look at Clarissa, you see the most exact harmony of feature, complexion, and shape; you find in Chloe nothing extraordinary in any one of those particulars, but the whole woman irresistible. Clarissa looks languishing; Chloe, killing. Clarissa never fails of gaining admiration ; Chloe, of moving desire. The gazers at Clarissa are at first unconcerned, as if they were observing a fine picture. They who behold Chloe, at the first glance, discover transport, as if they met their dearest friend. These different perfections are suitably represented by the last great painter Italy has sent us, Mr. Jervas.' Clarissa is, by that skilful hand, placed in a manner that looks artless, and innocent of the torments she gives; Chloe drawn with a liveliness that shows she is conscious, but not affected, of her perfections. Clarissa is a shepherdess; Chloe, a country girl. I must own, the design of Chloe's picture shows, to me, great mastery in the painter; for nothing could be better imagined than the dress he has given her, of a straw hat and riband, to represent that sort of beauty which enters the heart with a certain familiarity, and cheats it into a belief, that it has received a lover as well as an object of love. The force of their different beauties is seen also in the effects it makes on their lovers. The admirers of Chloe are eternally gay and well-pleased: those of Clarissa, melancholy and thoughtful. And as this passion always changes the natural man into a quite different creature from what he was before, the love of Chloe makes coxcombs; that of Clarissa, madmen. There were of each kind just now here. Here was one that whistles, laughs, sings, and

1 Charles Jervas, portrait painter (died 1739), became principal painter to George I. and George II. He also made a translation of Don Quixote," first published in 1742.

cuts capers, for love of Chloe. for love of Chloe. Another has just now written three lines to Clarissa, then taken a turn in the garden, then came back again, then tore his fragment, then called for some chocolate, then went away without it.

Chloe has so many admirers in the room at present, that there is too much noise to proceed in my narration, so that the progress of the loves of Clarissa and Chloe, together with the bottles that are drank each night for the one, and the many sighs which are uttered, and songs written, on the other, must be our subject on future

occasions.

L

Will's Coffee-house, April 18.

etters from the Haymarket inform us, that on Saturday night last the opera of "Pyrrhus and Demetrius was performed with great applause. This intelligence is not very acceptable to us friends of the theatre; for the stage being an entertainment of the reason and all our faculties, this way of being pleased with the suspense of them for three hours together, and being given up to the shallow satisfaction of the eyes and ears only, seems to arise rather from the degeneracy of our understanding, than an improvement of our diversions. That the understanding has no part in the pleasure is evident, from

2

1 1 A translation of Owen McSwiney (1709) from the Italian of Scarlatti.

2 In the Spectator (Nos. 1, 5, 13, &c.) Addison often wrote against the Italian opera. In 1706, Dennis published "An Essay on the Operas after the Italian Manner, which are about to be established on the English Stage: with some reflections on the damage which they may bring to the Public." He traces to the recent alterations in the entertainments of the stage, the fact that familiar conversation among all classes was confined to two points, news and toasting, neither of which required much intelligence.

what these letters very positively assert, to wit, that a great part of the performance was done in Italian: and a great critic fell into fits in the gallery, at feeling, not only time and place, but languages and nations confused in the most incorrigible manner. His spleen is so extremely moved on this occasion, that he is going to publish a treatise against operas, which, he thinks, have already inclined us to thoughts of peace, and if tolerated, must infallibly dispirit us from carrying on the war. He has communicated his scheme to the whole room, and declared in what manner things of this kind were first introduced. He has upon this occasion considered the nature of sounds in general, and made a very elaborate digression upon the London cries,' wherein he has shown from reason and philosophy why oysters are cried, card-matches 2 sung, and turnips and all other vegetables neither cried, sung, nor said, but sold, with an accent and tone neither natural to man or beast. This piece seems to be taken from the model of that excellent discourse of Mrs. Manly the schoolmistress, concerning samplers. Advices from the upper end of Piccadilly say that Mayfair is utterly abolished;"

2

1 The street cries of 1709 are described in Lauron's "Habits and Cries of the City of London." They included "Any card-matches or save-alls" and "Twelve-pence a peck, oysters."

2 Matches made by dipping pieces of card in melted sulphur. In the Spectator (No. 251), Addison speaks of vendors of card-matches as examples of the fact that those made most noise who had least to sell.

3 In vol. ii. of Dr. W. King's Works (1776) is "An Essay on the Invention of Samplers, by Mrs. Arabella Manly, schoolmistress at Hackney."

May Fair was abolished in 1709, after it had on several occasions been presented as a nuisance by the Grand Jury at Westminster. This fair was granted by King James II. under the Great Seal, in the fourth year of his reign, to Sir John Coell and his heirs for ever, in trust for Henry Lord Dover and his heirs for ever, to be held in the field called