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diff --git a/16299-h/16299-h.htm b/16299-h/16299-h.htm new file mode 100644 index 0000000..a390ba5 --- /dev/null +++ b/16299-h/16299-h.htm @@ -0,0 +1,2456 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" +"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> +<meta http-equiv="Content-Style-Type" content="text/css" /> +<title>The Project Gutenberg eBook of Characteristic-Writings, by Henry Gally</title> + +<style type="text/css"> + +body {margin-left: 10%; margin-right: 15%; text-align: justify;} + +h1, h2, h3, h4, h5 {text-align: center; font-style: normal; font-weight: +normal; line-height: 1.5; margin-top: .5em; margin-bottom: .5em;} + +h1 {font-size: 150%; + letter-spacing: 0.12em; + word-spacing: 0.2em; + text-indent: 0em;} +h2 {font-size: 150%; margin-top: 2em; margin-bottom: 1em;} +h3 {font-size: 200%; margin-top: 1em;} +h4 {font-size: 140%;} +h5 {font-size: 110%;} + +hr {width: 80%; margin-top: 2em; margin-bottom: 2em;} + +sup {font-size: 85%} +i {font-size: 105%;} + +blockquote {margin-left: 1.5em; margin-right: 1.5em; margin-top: .5em; +margin-bottom: .5em;} +td {vertical-align: top; padding-right: .3em;} +td.notes {vertical-align: top; font-size: 100%; +padding-right: .3em; padding-bottom: 1em;} +td.contents {vertical-align: top; font-size: 95%; font-family: sans-serif; +padding-right: .3em; padding-bottom: 1em;} + +.verse {margin-left: 2em; margin-top: .1em; margin-bottom: .1em;} +.halfline {margin-left: 6em; margin-top: .1em; margin-bottom: .1em;} +.publist {margin-left: 2em; text-indent: -2em; font-size: 95%; +padding-bottom: .2em;} +.publist1 {margin-left: 2em; text-indent: -1.4em; font-size: 95%;} +.footnote {margin-left: 2em; font-size: 95%; padding-bottom: +.5em;} + +.mynote {font-size: 90%; font-family: sans-serif;} +ins.correction {text-decoration: none; border-bottom: thin dotted red;} + +.pagenum {position: absolute; left: 5%; font-size: 90%; +font-weight: normal; font-style: normal; text-align: left;} +.folionum {position: absolute; left: 90%; font-size: 95%; font-weight: normal; +font-style: normal; text-align: left;} + +/* user option depending on browser settings (dummy for css) */ +/* .greek {font-family: sans-serif; font-size: 95%;} */ +/* .greek {font-family: serif;} */ +.greek {font-size: 100%;} + +.firstletter {float: left; padding-right: 0.2em; margin-bottom: -0.3em; +margin-top: -0em; font-size: 3em;} +.smallcaps {font-variant: small-caps;} + +p.center {text-align: center; + text-indent: 0em; + margin-top: 1em; + margin-bottom: 1em; } + +p.right {text-align: right; + margin-right: 10%; + margin-top: 1em; + margin-bottom: 1em; } + +a:link {color:blue; text-decoration:none} +a:visited {color:blue; text-decoration:none} +a:hover {color:red} + +</style> +</head> + +<body> + +<div style='text-align:center; font-size:1.2em; font-weight:bold;'>The Project Gutenberg eBook of A Critical Essay on Characteristic-Writings by Henry Gally</div> +<div style='display:block; margin:1em 0'> +This eBook is for the use of anyone anywhere in the United States and +most other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms +of the Project Gutenberg License included with this eBook or online +at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you +are not located in the United States, you will have to check the laws of the +country where you are located before using this eBook. +</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: A Critical Essay on Characteristic-Writings<br /> +From his translation of The Moral Characters of Theophrastus (1725)</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Henry Gally</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: Alexander H. Chorney</div> +<div style='display:block;margin:1em 0'>Release Date: July 15, 2005 [eBook #16299]<br /> +[Most recently updated: May 7, 2021]</div> +<div style='display:block;margin:1em 0'>Language: English</div> +<div style='display:block;margin:1em 0'>Character set encoding: UTF-8</div> +<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: David Starner, Louise Hope and the Online Distributed Proofreading Team</div> +<div style='margin-top:2em;margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK A CRITICAL ESSAY ON CHARACTERISTIC-WRITINGS ***</div> + +<div class="mynote"> +[Transcriber’s Notes:<br/> +In addition to the ordinary page numbers, the printed text labeled the +recto (odd) pages of the first few leaves of each 16-page signature. +These will appear in the right margin as (A), (A2), (A3)...<br/> +A few typographical errors have been corrected. They have been +marked with <ins class="correction" title="like this">popups</ins>.] +</div> + +<p> +<br/> +</p> + +<hr /> +<h3>The Augustan Reprint Society</h3> + +<h2>HENRY GALLY</h2> + +<h1>A Critical Essay on Characteristic-Writings</h1> +<p class="center"> +from his translation of<br/> +<i>The Moral Characters of Theophrastus</i><br/> +(1725)</p> + +<h4><b>With an Introduction by<br/> +Alexander H. Chorney</b></h4> + + +<p class="center"> +<br/>Publication Number 33<br/> +<br/> +<br/> +</p> + +<p class="center"> +Los Angeles<br/> +William Andrews Clark Memorial Library<br/> +University of California<br/> +1952</p> + +<hr /> + +<table summary="" style="margin-left: auto; margin-right: auto"> + +<tr> +<td class="contents"> +<a href="#intro">Introduction</a><br/> +<br/> +<a href="#preface">The Preface</a><br/> +<br/> +<a href="#sec_ii">Section II</a><br/> +<br/> +<a href="#sec_iv">Section IV</a><br/> +<br/> +<a href="#sec_v">Section V</a><br/> +<br/> +<a href="#notes">Footnotes</a><br/> +<br/> +<a href="#pubs">ARS Publications</a> +</td> +</tr> +</table> + +<hr /> + +<p class="center">GENERAL EDITORS<br/> +<br/> +<span class="smallcaps">H. Richard Archer</span>, <i>Clark Memorial +Library</i><br/> +<span class="smallcaps">Richard C. Boys</span>, <i>University +of +Michigan</i><br/> +<span class="smallcaps">Robert S. Kinsman</span>, +<i>University of California, +Los Angeles</i><br/> +<span class="smallcaps">John Loftis</span>, +<i>University of California, Los Angeles</i><br/> +<br/> +<br/> +ASSISTANT EDITOR<br/> +<br/> +<span class="smallcaps">W. Earl Britton</span>, <i>University of +Michigan</i><br/> +<br/> +<br/> +ADVISORY EDITORS<br/> +<br/> +<span class="smallcaps">Emmett L. Avery</span>, <i>State College +of +Washington</i><br/> +<span class="smallcaps">Benjamin Boyce</span>, <i>Duke University</i><br/> +<span class="smallcaps">Louis Bredvold</span>, <i>University +of +Michigan</i><br/> +<span class="smallcaps">James L. Clifford</span>, <i>Columbia +University</i><br/> +<span class="smallcaps">Arthur Friedman</span>, <i>University +of +Chicago</i><br/> +<span class="smallcaps">Edward Niles Hooker</span>, <i>University +of California, Los Angeles</i><br/> +<span class="smallcaps">Louis A. Landa</span>, <i>Princeton +University</i><br/> +<span class="smallcaps">Samuel H. Monk</span>, <i>University +of +Minnesota</i><br/> +<span class="smallcaps">Ernest Mossner</span>, <i>University +of +Texas</i><br/> +<span class="smallcaps">James Sutherland</span>, <i>University College, +London</i><br/> +<span class="smallcaps">H. T. Swedenberg, Jr.</span>, <i>University of +California, Los Angeles</i><br/> +<br/> +<br/> +CORRESPONDING SECRETARY<br/> +<br/> +<span class="smallcaps">Edna C. Davis</span>, <i>Clark Memorial +Library</i></p> + +<hr /> + +<p><span class="pagenum">i</span> +<a name="intro">INTRODUCTION</a></p> + +<p>Henry Gally's <i>A Critical Essay on Characteristic-Writings</i>, here +reprinted, is the introductory essay to his translation of +<i>The Moral Characters of Theophrastus</i> (1725). +Of Gally's life (1696-1769) little is +known. Apparently his was a moderately successful ecclesiastical career: he was +appointed in 1735 chaplain-in-ordinary to George II. His other published works +consist of sermons, religious tracts, and an undistinguished treatise on the +pronunciation of Greek.</p> + +<p>His essay on the character, however, deserves attention because it is the +first detailed and serious discussion by an Englishman of a literary kind +immensely popular in its day. English writers before Gally had, of course, +commented on the character. Overbury, for example, in "What A Character Is" +(<i>Sir Thomas Overbury His Wife...</i> 1616) had defined the character as +"wit's descant on any plain-song," and Brathwaite in his Dedication to +<i>Whimzies</i>(1631) had written that character-writers must shun affectation +and prefer the "pith before the rind." Wye Saltonstall in the same year in his +Dedicatory Epistle to <i>Picturae Loquentes</i> +had required of a character +"lively and exact Lineaments" and "fast and loose knots which the ingenious +Reader may easily untie." These remarks, however, as also Flecknoe's "Of the +Author's Idea of a Character" (<i>Enigmaticall Characters</i>, 1658) and Ralph +Johnson's "rules" for character-writing in +<i>A Scholar's Guide from the Accidence to the University</i> (1665), are fragmentary and oblique. Nor do +either of the two English translations of Theophrastus before Gally--the +one a rendering of La Bruyère's French version,<a name="tag1" +href="#note1"><sup>1</sup></a> and the other, Eustace +Budgell's <i>The Moral Characters of Theophrastus</i> (1714)—touch more +than in passing on the nature of the character. Gally's essay, in which he +claims to deduce his critical principles from the practice of Theophrastus, +<span class="pagenum">ii</span> +is both historically and intrinsically the most important work of its kind.</p> + +<p>Section I of Gally's essay, thoroughly +conventional in nature, is omitted +here. In it Gally, following Casaubon,<a name="tag2" +href="#note2"><sup>2</sup></a> theorizes that the character evolved +out of Greek Old Comedy. The Augustans saw a close connection between drama and +character-writing. Congreve (Dedication to <i>The Way of the World</i>, 1700) +thought that the comic dramatist Menander formed his characters on "the +observations of Theophrastus, of whom he was a disciple," and Budgell, who +termed Theophrastus the father of modern comedy, believed that if some of +Theophrastus's characters "were well worked up, and brought upon the British +theatre, they could not fail of Success."<a name="tag3" +href="#note3"><sup>3</sup></a> Gally similarly held that a +dramatic character and Theophrastan character differ only in</p> + +<blockquote> +<p> +the different Manner of representing the same Image. The <i>Drama</i> presents +to the Eyes of a Spectator an Actor, who speaks and acts as the Person, whom he +represents, is suppos'd to speak and act in real Life. +The <i>Characteristic</i> +Writer introduces, in a descriptive manner, before a Reader, the same Person, as +speaking and acting in the same manner. +</p> +</blockquote> + +<p>Section III of Gally's essay, like Section I thoroughly conventional, is +also omitted here. Gally attributes to Theophrastus the spurious "Proem," in +which Theophrastus, emphasizing his ethical purpose, announces his intention of +following up his characters of vice with characters of virtue. At one point +Gally asserts that Theophrastus taught the same doctrine as Aristotle and Plato, +but</p> + +<blockquote> +<p> +accommodated Morality to the Taste of the +<span class="pagenum">iii</span> +<i>Beau Monde</i>, with all the Embellishments that can +please the nice Ears of +an intelligent Reader, and with that inoffensive Satir, +which corrects the Vices +of Men, without making them conceive any Aversion for the Satirist. +</p> +</blockquote> + +<p>It is Gally's concept of the character as an art-form, however, which is +most interesting to the modern scholar. Gally breaks sharply with earlier +character-writers like Overbury who, he thinks, have departed from the +Theophrastan method. Their work for the most part reflects corrupted +taste:</p> + +<blockquote> +<p> +A continued Affectation of far-fetched and quaint Simile's, which runs thro' +almost all these Characters, makes 'em appear like so many Pieces of mere +Grotesque; and the Reader must not expect to find Persons describ'd as they +really are, but rather according to what they are thought to be +like. +</p> +</blockquote> + +<p>And Gally attacks one of the favorite devices of the seventeenth-century +character:</p> + +<blockquote> +<p> +An Author, in this Kind, must not dwell too long upon one Idea; As soon as the +masterly Stroke is given, he must immediately pass on to another Idea.... For +if, after the masterly Stroke is given, the Author shou'd, in a paraphrastical +Manner, still insist upon the same Idea, the Work will immediately flag, the +Character grow languid, and the Person characteris'd will insensibly vanish from +the Eyes of the Reader. +</p> +</blockquote> + +<p>One has only to read a character like Butler's "A Flatterer" to +appreciate Gally's point. The Theophrastan +<span class="pagenum">iv</span> +method had been to describe a character operatively—that is, through the +use of concrete dramatic incident illustrating the particular vice. The +seventeenth-century character is too often merely a showcase for the writer's +wit. One frequently finds a succession of ingenious metaphors, each redefining +from a slightly different angle a type's master-passion, but blurring rather +than sharpening the likeness.</p> + +<p>Gally insists that the style of the character be plain and easy, "without +any of those Points and Turns, which convey to the Mind nothing but a low and +false Wit." The piece should not be tediously rambling, but compact. It must +have perfect unity of structure: each sentence should add a significant detail +to the portrait. The manner ought to be lively, the language pure and +unaffected.</p> + +<p>As for the character-writer's materials, they are "Human Nature, in its +various Forms and Affections." Each character should focus on a single vice or +virtue, yet since "the Heart of Man is frequently actuated by more Passions than +one," subsidiary traits ought to be included to round out the portrait (e.g., +the covetous man may also be impudent, the impudent man generous). Budgell had +expressed a similar conception. A character, he wrote, "may be compared to a +Looking-glass that is placed to catch a particular Object; but cannot represent +that Object in its full Light, without giving us a little Landskip of every +thing else that lies about it."<a name="tag4" +href="#note4"><sup>4</sup></a> By Gally's time writers like Pascal, La +Rochefoucauld, and La Bruyère had done much to show the complex and paradoxical +nature of human behaviour. Gally, who praises La Rochefoucauld as the one modern +as well equipped as Theophrastus to compose characters, reacts with his age +against the stale types which both comedy and the character had been retailing +<i>ad nauseam</i>. Human nature, says Gally, is full of +subtle shadings and agreeable variations which the +<span class="pagenum">v</span> +character ought to exploit. He quotes Temple to the effect that England is +richer than any other nation in "original Humours" and wonders that no one has +yet attempted a comprehensive portrait-gallery of English personality. Those +writers who have come closest to Gally's idea of how "humour" ought to be +handled are the "great Authors" of the <i>Tatlers</i> and <i>Spectators</i>, +with their "interspers'd Characters of Men and Manners compleatly drawn to the +Life."</p> + +<p>In admiring the Roger de Coverley sketches, Gally typifies the +increasingly tolerant attitude of the Augustans toward eccentric +behavior.<a name="tag5" href="#note5"><sup>5</sup></a> +Like Sterne and Fielding he is delighted by people whose idiosyncracies are +harmless and appealing. As for the harsh satiric animus of a character-writer +like Butler, it is totally alien to Gally, who would chide good-naturedly, so as +"not to seem to make any Attacks upon the Province of Self-Love" in the reader. +"Each Man," he writes, "contains a little World within himself, and every Heart +is a new World." The writer should understand and appreciate, not ridicule, an +individual's uniqueness.</p> + +<p>Of course, the character as Theophrastus wrote it described the type, not +the particular person. Gally, who sets up Theophrastus as his model, apparently +fails to realize that a "humourist" like Sir Roger verges on individuality. +Indeed, while discussing the need for writers to study their own and other men's +passions, he emphasizes that "without a Knowledge of these Things, 'twill be +impossible ever to draw a Character so to the Life, as that it shall hit one +Person, and him only." Here Gally might well be talking of the Clarendon kind of +portrait. If a character is "one Person, and him only," he is no longer a type, +but somebody peculiarly himself.</p> + +<p>Gally, then, is not as Theophrastan as he professes +<span class="pagenum">vi</span> +to be. True, he harks back to Theophrastus in matters of style and technique. +And he does not criticize him, as does La Bruyère,<a name="tag6" +href="#note6"><sup>6</sup></a> for paying too much +attention to a man's external actions, and not enough to his "Thoughts, +Sentiments, and Inclinations." Nevertheless his mind is receptive to the kind of +individuated characterization soon to distinguish the mid-eighteenth century +novel. The type is still his measuring-stick, but he calibrates it far less +rigidly than a Rymer analyzing Iago or Evadne. A man can be A Flatterer or A +Blunt Man and still retain a private identity: this private identity Gally +recognizes as important. Gally's essay thus reflects fundamental changes in the +English attitude toward human nature and its literary representation.</p> + +<p>Alexander H. Chorney<br/> +Fellow, Clark Library<br/> +Los Angeles, California<br/> +<br/></p> + +<p class="center"> +<span class="pagenum">vii</span> +Notes to the Introduction</p> + +<table summary="bibliographic citations"> +<tr> +<td class="notes"><a name="note1" href="#tag1">1.</a></td> +<td class="notes"><i>The Characters, Or The Manners of the Age. By +Monsieur De La Bruyère of the French Academy. Made English by several +hands. With the Characters of Theophrastus...</i> 1699. 2 vols.</td> +</tr> +<tr> +<td class="notes"><a name="note2" href="#tag2">2.</a></td> +<td class="notes">Isaac Casaubon’s Latin edition of Theophrastus appeared in +1592 and was reprinted frequently during the seventeenth century.</td> +</tr> +<tr> +<td class="notes"><a name="note3" href="#tag3">3.</a></td> +<td class="notes">Eustace Budgell, <i>The Moral Characters of Theophrastus</i> +(1714), Preface, sig. a5.</td> +</tr> +<tr> +<td class="notes"><a name="note4" href="#tag4">4.</a></td> +<td class="notes"><i>Ibid.</i>, sig. a6 verso.</td> +</tr> +<tr> +<td class="notes"><a name="note5" href="#tag5">5.</a></td> +<td class="notes">For a full account of the shift in attitude +see Edward Miles Hooker, "Humour in the Age of Pope," <i>Huntington Library Quarterly</i>, XL (1948), 361-385.</td> +</tr> +<tr> +<td class="notes"><a name="note6" href="#tag6">6.</a></td> +<td class="notes">"A Prefatory Discourse concerning Theophrastus," +in <i>The Characters, Or The Manners of the Age</i>, II, xxii.</td> +</tr> +</table> + +<hr /> +<hr /> + +<p class="center">THE +</p> + +<h3>Moral Characters</h3> + +<p class="center"> +OF +</p> + +<h3><i>THEOPHRASTUS</i>.</h3> + +<p class="center"> +Translated from<br/> +<br/> +The <span class="smallcaps">Greek</span>, +with <span class="smallcaps">Notes</span>.<br/> +<br/> +To which is prefix’d<br/> +</p> + +<h3>A<br/>CRITICAL ESSAY</h3> + +<p class="center"> +ON +</p> + +<h4><i>Characteristic-Writings.</i></h4> + +<hr /> + +<p class="center">By <span class="smallcaps">Henry Gally, M.A.</span> +Lecturer of<br/> +<span class="smallcaps">St. Paul’s Covent-Garden</span>, and<br/> +Rector of <span class="smallcaps">Wanden</span> in <i>Buckinghamshire</i>.</p> +<hr /> + +<p class="center"> +<i>Respicere exemplar vitæ morumque jubebo<br/> +Doctum imitatorem, & vivas hinc ducere voces.</i> +</p> + +<p class="right">Hor. in Art. Poet.</p> + +<hr /> +<p class="center"><i>LONDON:</i><br/> +Printed for <span class="smallcaps">John Hooke</span>, at the +<i>Flower-<br/> +de-luce</i> over-against St. <i>Dunstan’s</i> Church in<br/> +<i>Fleet-street</i>. <span class="smallcaps">Mdccxxv</span>.</p> +<hr /> + +<p class="center"> +<span class="pagenum">xiii</span> +<a name="preface">THE</a><br/> +<br/> +</p> + +<h3>PREFACE.</h3> + +<p><span class="firstletter">T</span><i>HE following Papers, which I now +commit to the Public, have lain by me unregarded these many Years. They were +first undertaken at the Request of a Person, who at present shall be nameless. +Since that Time I have been wholly diverted from Studies of this Nature, and my +Thoughts have been employed about Subjects of a much greater Consequence, and +more agreeable to my Profession: Insomuch, that I had nothing in my Mind less +than the Publication of these Papers; but some Friends, who had perus’d them, +were of Opinion, that +<span class="pagenum">xiv</span> +they deserv’d to be publish’d, and that they might afford an agreeable +Entertainment not without some Profit to the Reader. </i>These<i> Motives +prevailed upon me to give </i>them<i> a second Care, and to bestow upon them so +much Pains, as was necessary to put them in that State, in which they now +appear.</i></p> + +<p><i>The first Piece that the Reader will meet with is</i>, A Critical <span +class="smallcaps">Essay</span> on Characteristic-Writings: <i>It treats of the +Origin of those Writings: It points out the general Laws to be observ’d in such +Compositions, and it contains some Reflexions on </i>Theophrastus’s<i> and +Mr.</i> de la Bruyere’s <i>Performances in this Way. The Design of this at least +is, I think, new. Mr. </i>Fabricius<i> mentions a <a name="tagA" href="#noteA"><sup>A</sup></a>Book, which, by its Title, shou’d bear some Relation to +this Essay, but tho’ I have enquir’d after it pretty strictly, yet I never cou’d +get a Sight of it, nor have I conversed with any Person that had perus’d +it.</i></p> + +<p><span class="pagenum">xv</span> +<i>The next Piece is a Translation of the </i>Moral Characters of +Theophrastus<i> from the </i>Greek<i>. This is not the first Time that +</i>Theophrastus<i> has appeared in a modern Dress. Mr. </i>de la Bruyere<i> +translated him into </i>French<i>: And this was the Foundation of those +Characters, which he himself compos’d, and which gave Rise to those many +Performances, that were afterwards attempted in the same Way. <a name="tagB" +href="#noteB"><sup>B</sup></a>Mr. </i>Menage<i> has highly extoll’d this +Translation. </i>Elle est<i>, says he, </i>bien belle, & bien françoise, +& montre que son Auteur entend parfaitement le Grec. Je puis dire que j’y ay +vu des Choses, que, peut etre, Faute d’Attention, je n’avois pas vues dans le +Grec.<i> This is great; and it must be own’d that Mr. </i>Menage<i> was a Man of +very extensive Learning, and a great Master of the </i>Greek<i> Tongue; but that +his Judgment was always equal to his <ins class="correction" +title="spelling as in original">Knowledg</ins> of Words, +will not be so readily allow’d. Besides, the Credit of the</i> +<span class="pagenum">xvi</span> +<i>Books ending in </i>ana<i> runs very low, and in particular the +</i>Menagiana<i> have been disown’d by Mr. </i>Menage’s<i> own <a name="tagC" +href="#noteC"><sup>C</sup></a>Relations, as being injurious to the Merit and +Memory of that great Man. And therefore it must still be left to the inquisitive +and judicious Reader to determine, whether those Faults, which I have observ’d +in Mr. </i>de la Bruyere’<i>s Translation are justly censur’d or +not.</i></p> + +<p><i>The </i>Characters<i> of </i>Theophrastus<i> have been twice translated +into </i>English<i>. The former Translation is </i>anonymous<i>, and the latter +was done by the ingenious Mr. </i>Eustace Budgell<i>. It will be expected that I +shou’d say something of these two Translations. And I shall be the more ready to +do this, because I shall hereby insensibly lead the Reader to the Reasons which +induc’d me to undertake a third.</i></p> + +<p><i>The anonymous </i>English<i> Translation <ins class="correction" +title="original reads ‘is sa d to’">is said to</ins> have been done upon the +</i>Greek<i>. But this is only a Pretence, and a low Artifice of the +ignorant</i> +<span class="pagenum">xvii</span> +<span class="folionum">a</span> +<i>Translator: For in reality ’tis no more than a mean and insipid Translation +of the </i>French<i> of Mr. </i>de la Bruyere<i>, revis’d upon the </i>Latin<i> +of </i>Casaubon<i>, which answers almost verbally to the Original </i>Greek<i>. +If this were a Matter of Importance, I wou’d here fully demonstrate it: For the +Fact is so glaring, that tho’ the Translator is wholly unknown to me, yet I can +aver what I have asserted to be Truth, almost as certainly, as if I had been an +Eye Witness to the doing of it</i>.</p> + +<p><i>Mr. </i>Budgell<i>’s Translation must be own’d to be polite: But +politeness is not the only Qualification that is required in such a Translation. +The learn’d Reader, who understands the Original, will consider it in a +different View. And to <ins class="correction" +title="spelling as in original">judg</ins> of it according +to those Rules which Translators ought to +observe, it must be condemned. In general, it is not exact and accurate enough; +but what is far worse, Mr. </i>Budgell<i> gives, in too many Instances, his own +Thoughts instead of representing the true Sense of </i>Theophrastus<i>. This is +perverting the </i>Humour<i> of the Original, and, in Effect, making +a</i> +<span class="pagenum">xviii</span> +<i>new Work, instead of giving only a Translation. Mr. </i>Budgell<i> +ingenuously confesses, that he has taken a great deal of Liberty; but when a +Translator confesses thus much, it does but give the Reader good Reason to +suspect that instead of taking a great deal, he has in reality taken too +much</i>.</p> + +<p><i>Antient Authors (when they are translated) suffer in nothing more, than in +having the Manners and Customs, to which they allude, transformed into the +Manners and Customs of the present Age. By this Liberty, or rather +Licenciousness of Translators, Authors not only appear in a different Dress, but +they become unlike themselves, by losing that peculiar and distinctive Character +in which they excel. This is most palpable in those Authors, whose Character +consists in </i>Humour<i>. Let any one read </i>Terence<i>, as he is translated +by Mr. </i>Echard<i>, and he will take him to have been a Buffoon: Whereas +</i>Terence<i> never dealt in such a Kind of low Mirth. His true Character is, +to have afforded to his Spectators and Readers the gravest,</i> +<span class="pagenum">xix</span> +<span class="folionum">a2</span> +<i>and, at the same Time, the most agreeable, most polite Entertainment of any +antient Author now extant. This is, in some Measure, the Case of +</i>Theophrastus:<i> He has been transformed; and he has suffer’d in the +Transformation. What I have endeavoured is, to do him that Justice which, I +think, he has not hitherto met with, by preserving the native Simplicity of his +Characters, by retaining those antient Manners and Customs which he alludes to, +and keeping up the peculiar </i>Humour<i> of the Original as nearly, as the +Difference of Language wou’d allow. This is the Attempt; how far I have +succeeded, must be let to the judicious and curious Reader to determine. Thus +much I thought necessary to say concerning former Translations, in order to +justify my own Undertaking, which will not acquire an intrinsic Merit from the +Censures, that I have pass’d upon others. No: The Faults of others cannot +extenuate our own; and that Stamp, which every Work carries along with it, can +only determine of what Kind it really is.</i></p> + +<p><span class="pagenum">xx</span> +<i>The Reader will expect that I shou’d here say a Word or two concerning the +</i>Notes<i> which follow the </i>Characters<i>. Some Authors or Commentators +(call them which you will) out of a vain Ostentation of Literature, lay hold of +the slightest of Opportunities to expose all their Learning to the World, +without ever knowing when they have said enough: Insomuch, that in most +Commentaries upon antient Authors, one may sooner meet with a System of +Antiquities, than with Solutions of the real Difficulties of the Text. +Consider’d barely as a Translator, I lay under no immediate Necessity of writing +</i>Notes<i>, but then as I was highly concern’d, even in that Capacity, to lay +before the </i>English<i> Reader, what I took to be the true Sense of the +</i>Greek<i>, and as I farther propos’d to preserve that particular +</i>Humour<i> of the Original, which depends on those Manners and Customs which +are alluded to, I found, my self necessitated to add some </i>Notes<i>; but yet +I have endeavoured to shun that Fault, which I have already censur’d, by +saying</i> +<span class="pagenum">xxi</span> +<i>no more, but what was immediately necessary, to illustrate the Text, to +vindicate a received Sense, or to propose a new one.</i></p> + +<p><i>I am not conscious of having made any great Excursions beyond the Bounds +which these Rules prescrib’d to me, unless it is in the Chapter concerning +</i>Superstition<i>. And even here, unless the Commentary had been somewhat +copious, the Text it self wou’d have appear’d like a motly Piece of mysterious +Nonsense. Thus much I thought my self oblig’d to do in Justice to +</i>Theophrastus<i>; and as for the Enlargements which I have made, over and +above what wou’d have satisfy’d this Demand, they will not, ’tis hop’d, be +unacceptable to the curious Reader. They are Digressions I own; but I shall not +here offer to make one Digression to execute another, or, according to the +Custom and Practice of modern Authors, beg a thousand Pardons of the Reader, +before I am certain of having committed one Offence. Such a Procedure seems +preposterous. For when an Author happens to digress, and take</i> +<span class="pagenum">xxii</span> +<i>a Trip <span class="greek">ὑπὲρ τὰ ἐσκαμμένα</span>, beyond the Bounds +prescrib’d; the best, the only consistent thing he can do, is to take his Chance +for the Event. If what he has said does not immediately relate to the Matter in +Hand, it may nevertheless be </i>a propos<i>, and good in its Kind; and then +instead of Censure, he will probably meet with Thanks; but if it be not good, no +prefatory Excuses will make it so: And besides, it will ever be insisted on, +that ’tis an easier Matter to strike out bad Digressions, than it is to write +good Apologies.</i></p> + +<p><i>One Word more, and then I have done. Since Mr. </i>Budgell<i> has thought +fit to censure Mr. </i>de la Bruyere<i>, for troubling his Reader with +</i>Notes<i>, I think my self oblig’d, in order to justify both Mr. </i>de la +Bruyere<i> and my self, to shew that this Censure is very unreasonable, and very +unjust.<a name="tagD" href="#noteD"><sup>D</sup></a> Mr. </i>Budgell’s<i> +Words are as follow. Theophrastus</i>, at the Time he writ, referr’d to +nothing but what was well known to the meanest Person in <i>Athens</i>; but as +Mr. <i>Bruyere</i> +<span class="pagenum">xxiii</span> +has manag’d it, by hinting at too many <i>Grecian</i> Customs, a modern Reader +is oblig’d to peruse one or two <i>Notes</i>, which are frequently longer than +the Sentence it self he wou’d know the meaning of. <i>But if those Manners and +Customs, which </i>Theophrastus<i> alludes to, were, in his Time, well known to +the meanest </i>Athenian<i>, it does not follow that they are now so well known +to a modern Reader</i>.</p> + +<p><i>Mr. </i>de la Bruyere’s<i> Fault does not consist in having put +</i>Notes<i> to his Translation, but rather in not having put enough. When a +Translator of an antient Author intends to preserve the peculiar Character of +the Original, </i>Notes<i> become absolutely necessary to render the Translation +intelligible to a modern Reader. The Learn’d may pass them over; and those, for +whom </i>Explanatory Notes<i> are chiefly designed, must not think it too much +Trouble, to bestow a second Reading on the Text, after they have given a First +to the Whole. This Trouble (if any thing ought to be call’d so that +conveys</i> +<span class="pagenum">xxiv</span> +<i>Instruction) is no more than what many persons, who have attained to no small +share of <ins class="correction" +title="spelling as in original">Knowledg</ins> +in the learn’d Languages, must submit to, at the first Perusal of an Original +Author. If in a translated Author any Difficulties occur, on this Head, to a +modern Reader, and the Translator has taken Care to clear up those difficulties +by adding </i>Notes<i>, the modern Reader ought to thank him for his Pains, and +not think his Labour superfluous.</i></p> + +<p><i>’Tis hop’d then that the </i>Notes<i>, that I have added, will be kindly +receiv’d. The Reader will nevertheless be at full Liberty to peruse them, or to +pass them over. If he if but so favourable as to approve of the Translation it +self, this will be a sufficient Satisfaction to the Translator, and be looked +upon as no finall Commendation of the Performance. For a Translation, if it be +well performed, ought in Justice to be receiv’d as a good Commentary</i>.<br/> +<br/></p> + + +<h3><span class="pagenum">29</span><a name="sec_ii">SECT. II.</a></h3> + +<p>There is no Kind of polite Writing that seems to require a deeper Knowledge, +a livelier Imagination, and a happier Turn of Expression than the +Characteristic. Human Nature, in its various Forms and Affections, is the +Subject; and he who wou’d attempt a Work of this Kind, with some assurance of +Success, must not only study other Men; he has a more difficult Task to perform; +he must study himself. The deep and dark Recesses of the Heart must be +penetrated, to discover how Nature is disguis’d into Art, and how Art puts on +the Appearance of Nature.—This Knowledge is great; ’tis the Perfection of +Moral Philosophy; ’tis an inestimable Treasure: But yet if it shou’d fall into +the Hands of one, who wants proper Abilities to communicate his +<span class="pagenum">30</span> +Knowledge to the World, it wou’d be of no Service but to the Owner: It wou’d +make him, indeed, an able Philosopher, but not an able Writer of +Characters.</p> + +<p>The Mind has its peculiar Features as well as the Body; and these must be +represented in their genuine and native Colours, that so the Picture may strike, +and every Reader, who is concern’d in the Work, may presently discover himself; +and those, who are unconcern’d may, nevertheless, immediately perceive a just +Correspondence between that Piece and Nature.</p> + +<p>Every Action has its proper Thought, and every Thought its proper Expression. +And these Correspondences are not imaginary, but have a real Foundation in +Nature: For when any one of these is wanting, the whole is lame and defective, +but when they all meet and conspire together, the Character is then genuine and +compleat, the Thing or Person design’d is drawn to the Life, and the Reader is +left uncertain, whether the Character, that lies before him, is an Effect of +Art, +<span class="pagenum">31</span> +or a real Appearance of Nature.—A Master-Piece of this Kind, requires the +Hand of one who is a Critic in Men and Manners, a Critic in Thoughts, and a +Critic in Language.</p> + +<p>A superficial Knowledge of human Nature, will never qualify a Man to be a +Writer of Characters. He must be a Master of the Science; and be able to lead a +Reader, knowingly, thro’ that Labyrinth of the Passions, which fill the Heart of +Man, and make him either a noble or a despicable Creature. For tho’ some, who +have never attempted any thing of this kind, may think it an easy Matter to +write two or three Pages of Morality with Spirit, to describe an Action, a +Passion, a Manner; yet had they made the Experiment, the Event wou’d not have +answer’d their Expectation, and they wou’d have found, that this easy Work was +more difficult than they, at first, imagin’d.</p> + +<p>The Features of every single Passion must be known; the Relation which that +Passion bears to another, must be discover’d; and the Harmony and +Discord +<span class="pagenum">32</span> +which result from them must be felt. Many have studied these Things, but few +have thoroughly understood them. The Labour is vast; ’tis almost infinite; and +yet without a Knowledge of these Things, ’twill be impossible ever to draw a +Character so to the Life, as that it shall hit one Person, and him +only.</p> + +<p>We have all of us different Souls, and our Souls have Affections as different +from one another, as our outward Faces are in their Lineaments. Each Man +contains a little World within himself, and every Heart is a new World. We +cannot therefore attain to a perfect Knowledge of human Nature, by studying +others or our selves alone, but by studying both. ’Tis this Knowledge which sets +the Philosopher above the Peasant, and gives the Preference to one Author above +another. This Knowledge has a Force, something like to that of Magic Charms: by +the help of it one, who is Master of the Science, can turn Men inside outwards, +and expose them to the Eyes of the World, as they really are, and not as they +wou’d fain appear to be. By the +<span class="pagenum">33</span> +<span class="folionum">D</span> +help of this Knowledge an intelligent Writer can form to his Reader the most +agreeable, most instructive Entertainment that can possibly be desir’d; +transport him, with the greatest Ease imaginable, from the Solitude of his +Chamber to Places of the greatest Concourse; there to see and learn the Virtues +of Men; there to see and shun their Vices, without any danger of being corrupted +by the Contagion of a real Commerce.</p> + +<p>How absolutely necessary a thorough Insight into the Heart and Passions of +Man is to a Writer of Characters, will be more evident by descending to some +Particulars, and pointing out some of those nice Circumstances, which a Writer +of Characters must accurately observe, and by which his Capacity in this Way may +be easily judg’d of.</p> + +<p>It must be observ’d then, that the Heart of Man is frequently actuated by +more Passions than one: And as the same Object does, by its different Position, +afford to the Spectator different Representations, so does the same Affection of +the Mind, by exerting it self after a different +<span class="pagenum">34</span> +manner, lay a real Foundation for so many distinct Characters. The under +Passions may, by their various Operations, cause some Diversity in the Colour +and Complexion of the Whole, but ’tis the Master-Passion which must determine +the Character.</p> + +<p>Since therefore the under Parts of a Character are not essential, they may or +may not be reciprocal. A covetous Man may be impudent, or he may have some share +of Modesty left: On the other Hand, an impudent Man may be generous, or his +Character may be stain’d by Avarice. And therefore to make the Features of one +Virtue or Vice enter, as under Parts, into the Character of another Virtue or +Vice, is so far from being a Transgression of the Nature of Things, that, on the +contrary, all the Beauty of <i>Characteristic-Writing</i>, and all the Beauty +which arises from the Variety of an agreeable Mixture, entirely depends on +<i>this</i>. The main Difficulty consists in making the Master-Passion operate +so conspicuously throughout the Whole, as that the +<span class="pagenum">35</span> +<span class="folionum">D2</span> +Reader may, in every step of the Performance, immediately discover +it.</p> + +<p>The Truth of it is, that there are some Affections of the Mind, which not +only constitute of themselves a distinct Virtue or Vice, but are also the +Foundation of many others. Avarice is of this extensive Nature; it constitutes, +of it self, a distinct Character, and it enters into the Competition of several +others. St. <i>Paul</i> says, that <i>the love of money is the root of all +evil</i>; which Maxim the spurious <i>Phocylides</i> has express’d in the +following Verse,</p> + +<div class="verse"> +<span class="greek">Ἡ φιλοχρημοσύνη μήτηρ κακότητος ἁπάσης.</span> +</div> + +<p>This Doctrine may be made yet more sensible by applying it to the Practice of +<i>Theophrastus</i>, whose Conduct, in this Respect, ought to be look’d upon as +an authentick Pattern. Rusticity, Avarice and Impudence, are in their own Nature +distinct Vices, but yet there is a very near Relation between them, which has a +real Foundation in the Actions of Men. And, as on the one Hand, +<i>Theophrastus</i> +<span class="pagenum">36</span> +has drawn distinct Characters of these Vices, so, on the other Hand, he has made +the peculiar Features of one or more of these Vices enter into the Characters of +the other. This is Matter of Fact; and if the Reader will be at the Pains to +compare the <i>6th</i>, <i>9th</i>, and <i>11th</i>, Chapters, as he will be +perswaded of the Truth of what is here asserted, so will he be convinc’d, at the +same Time, that <i>Theophrastus</i> has not confounded by this Mixture the real +Nature of Things, or transgress’d thereby, in any wise, the Rules of +<i>Characteristic-Justice</i>.</p> + +<p>Again; Loquacity and an ill-tim’d Behaviour are two very different Vices in +common Conversation; but yet <i>Theophrastus</i> has concluded his Character of +Loquacity, with the same Stroke which begins that of an ill-tim’d Behaviour; +because tho’ these Vices are of a different Nature, yet do they not exclude each +other; and the Actions of Men manifestly prove, that they are frequently to be +found in the same Subject.</p> + +<p><span class="pagenum">37</span> +<span class="folionum">D3</span> +The nice Reader therefore, instead of being offended to find the peculiar +Features of one Vice interspers’d in the Character of another, ought, on the +contrary, to admire the Judgment and Accuracy of <i>Theophrastus</i> in this +Respect: For this Mixture does not proceed from Inaccuracy, but is founded in +Nature: And ’tis the Work of a sagacious Head, as well to discover the near +Relations that are between different things, as to separate those Things, which +by Nature are nearly related, but yet are really distinct.</p> + +<p>The Beauty of every Kind of Writing arises from the Conformity which it bears +to Nature; and therefore the Excellency of <i>Characteristic-Writings</i> must +consist in exact Representations of human Nature.—This Harmony between Art +and Nature may be call’d Justice: And tho’ the Boundaries of it may be more +extensive in those Works, in which a greater Range is allow’d to the +Imagination, yet still, Invention and Fiction must be admitted in +<i>Characteristic-Writings</i>, when the Characters design’d are of a general +Nature; for then the Writer +<span class="pagenum">38</span> +does not copy from an individual Original, and all the Extravagances of Nature +are natural, when they are well represented.</p> + +<p>It requires, I own, a great deal of Penetration to hit exactly this Point of +Reality: But then it must be confess’d, that as the great difficulty of +<i>Characteristic-Writing</i> consists in this, so does the main Beauty and +Force of it too: For Objects are apt to affect and move us according to their +Presence or Absence; and a Character will naturally strike us more forcibly, the +more the Images, which it consists of, are lively and natural; because the +Object is then most present to our Mind.</p> + +<p>Since every Feature must be drawn exactly to the Life, great Care must be +taken, that the Strokes be not too faint, nor yet too strong: For +Characteristic-Justice is to be observ’d as strictly by the Writers of this +Kind, as Poetic-Justice is to be by Poets. That Medium must be copied, which +Nature it self has mark’d out; whatever falls short of it is poor and insipid, +whatever is above it is Rant and Extravagance. +<span class="pagenum">39</span> +<span class="folionum">D4</span> +</p> + +<div class="verse"> +<a name="tagE" href="#noteE"><sup>E</sup></a><i>Quodcunque ostendis mihi +sic, incredulus odi.</i><br/> +<br/> +And whatsoever contradicts my Sense,<br/> +I hate to see, and never can believe.</div> +<div class="halfline"> +Ld. <i>Roscommon.</i> +</div> + +<p>A consummate Delicacy of Sentiments, and an exquisite Judgment are the very +Soul of <i>Characteristic-Writing</i>; for every particular Stroke, as well as +the whole Character, has a proper Degree of Perfection. To attain this Point, +and to bring the several Parts, as well as the Whole, exactly to this Pitch, is +the Work of a sagacious Head, and of a perfect Judgment.—An Author, in +this Kind, must not dwell too long upon one Idea: As soon as the masterly Stroke +is given, he must immediately pass on to another Idea. This will give Life to +the Work, and serve to keep up the Spirit of the Writing, and of the Reader too: +For +<span class="pagenum">40</span> +if, after the masterly Stroke is given, the Author shou’d, in a paraphrastical +Manner, still insist upon the same Idea, the Work will immediately flag, the +Character grow languid, and the Person characteris’d will insensibly vanish from +the Eyes of the Reader.</p> + +<p>An honest Writer, who has the Profit as well as the Pleasure of his Reader in +View, ought always to tell the Truth. But as he is at Liberty to chuse his +manner of telling it, so that Method of Instruction ought to be observ’d in +<i>Characteristic-Writings</i>, which will keep up the good Humour of the +Reader, altho’ he is, at the same Time, made sensible of his Errors. And this +Artifice ought industriously to be pursu’d, since the proper Management of it is +so necessary to the Success of <i>Characteristic-Writings</i>. For those who +love and admire Truth themselves, must yet be sensible that ’tis generally +unwelcome, both to themselves and to others, when the Point of Self-Interest is +concern’d. And the Reason of it is, not because Truth is really ugly and +deform’d, but because it presents to our +<span class="pagenum">41</span> +View certain Inconsistencies and Errors, which Self-Love will not allow us to +condemn. And therefore the great Art and Difficulty, in making Truth pleasant +and profitable, is so to expose Error, as not to seem to make any Attacks upon +the Province of Self-Love.</p> + +<div class="verse"> +<a name="tagF" href="#noteF"><sup>F</sup></a><i>Omne vafer vitium +ridenti Flaccus amico<br/> +Tangit, & admissus circum præcordia ludit,<br/> +Callidus excusso Populum suspendere naso.</i></div> + +<p> +<br/> +</p> + +<div class="halfline"> +With conceal’d Design,</div> +<div class="verse"> +Did crafty <i>Horace</i> his low Numbers join:<br/> +And, with a sly insinuating Grace,<br/> +Laugh’d at his Friend, and look’d him in the Face:<br/> +Wou’d raise a Blush, where secret Vice he found;<br/> +And tickle, while he gently prob’d the Wound.<br/> +With seeming Innocence the Crowd beguil’d;<br/> +But made the desp’rate Passes, when he smil’d.</div> +<div class="halfline"> +Mr. <i>Dryden</i>. +</div> + +<p>This was the Character of one of the greatest <i>Roman</i> Poets; and in this +Art, +<span class="pagenum">42</span> +amongst the Moderns, +<a name="tagG" href="#noteG"><sup>G</sup></a><i>Benserade</i> +particularly excell’d, if we may believe his Successor and Panegyrist +<i>Pavillon</i>.</p> + +<p>What is the proper Style for <i>Characteristic-Writings</i> is briefly laid +down by <a name="tagH" href="#noteH"><sup>H</sup></a><i>Libanius</i> in the +following Words. <span class="greek">Ἐργάση τὴν ἠθοποιίαν χαρακτῆρι σαφεῖ, +συντόμῳ, ἀνθηρῷ, ἀπολύτῳ, ἀπηλλαγμένῳ πάσης πλοκῆς τε καὶ σχήματος</span>. +“When you describe Manners you must use a plain, concise, florid, easy Style, +free from all artificial Turns and Figures.” Every Thing must be even, smooth, +easy and unaffected; without any of those Points and Turns, which convey to the +Mind nothing but a low and false Wit, in which our Moderns so much abound, and +in which they seem to place their greatest Beauties.</p> + +<p>The primary Standard for Style is the Nature of the Subject: And therefore, +as <i>Characteristic-Writings</i> are professed Representations of Nature, an +Author in this Way is immediately concern’d to +<span class="pagenum">43</span> +use a simple and natural Style: Nor has he any Reason to fear, that this will +any ways prejudice his Performance, and make it appear low, flat and insipid; +for in Reality there is nothing more noble than a true Simplicity, and nothing +more beautiful than Nature, when it appears in the easy Charms of its own native +Dress.</p> + +<p>In <i>Characteristic-Writings</i> both the Way of Thinking and the Style must +be Laconic: Much must be contained in a little Compass. Brevity of Diction adds +new Life to a good Thought: And since every perfect Stroke ought to be a +distinct Representation of a particular Feature, Matters shou’d be so order’d, +that every perfect Sentence may contain a perfect Thought, and every perfect +Thought may represent one Feature.</p> + +<p>Many other Particulars might have been observ’d and recommended to those, who +wou’d attempt a Performance in this Kind, with some Assurance of Success. The +Laws of good Writing, in general, may and ought to be applied to +<i>Characteristic-Writing</i>, in particular, +<span class="pagenum">44</span> +as far as the Nature of it will bear. But to pursue these Things accurately, +wou’d carry me beyond the Bounds which the Title of this Work prescribes to me. +To shew the peculiar Nature; to point out the principal Beauties, and to lay +down the general Laws of <i>Characteristic-Writing</i>, is all that was +propos’d. Besides, I shall have Occasion, in the Sequel of this Essay, to make +some further Observations relating to the Constitution of +<i>Characteristic-Writings</i>; +which, to prevent Repetitions, I forbear mentioning here; but if the Reader be +religious in the Observance of a strict Method, he is at full Liberty to alter +the Situation of them, and to refer them to this Section. +<br/> +<br/> +<span class="pagenum">65</span> +<span class="folionum">F</span> +</p> + +<h3><a name="sec_iv">SECT. IV.</a></h3> + +<p><span class="firstletter">M</span>R. <i>de la Bruyere</i> has given us a +Translation of the Characters of <i>Theophrastus</i>; to which he has annex’d +what he calls the Characters or Manners of the present Age. This Work was +receiv’d with Applause, and the Author gain’d by it a great Reputation amongst +Men of polite Literature. And if to make a great deal of Noise in the World, and +to undergo several Editions, were infallible Proofs of the intrinsick Merit of a +Book, Mr. <i>de la Bruyere</i>’s Performance would, upon both these Accounts, +sufficiently recommend itself to our Approbation.—I confess, there are +very considerable Beauties in this Piece: but yet if it should be examin’d by +those Rules of Characteristic-Writing, which I have already mention’d, and which +I take to be essential +<span class="pagenum">66</span> +to Performances in this Kind, I am afraid it would not be able, in every +Respect, to stand the Test of an impartial Examination.</p> +<p>I do not intend to enter upon an exact Critique of this Piece; the intended +Brevity of this Essay will permit me to take Notice of but some few +Particulars.—I have no Design or Desire to derogate from the Reputation of +the deceas’d Author; but this I take to be a standing Rule in Critical Writings, +as well as in judicious Reading, that we ought not to be so struck with the +Beauties of an Author, as to be blind to his Failings; nor yet so prejudiced by +his Failings, as to be blind to his Beauties.</p> + +<p>The original Design of Characteristic-Writings is to give us real Images of +Life. An exact Imitation of Nature is the chief Art which is to be us’d. The +Imagination, I own, may be allow’d to work in Pieces of this Kind, provided it +keeps within the Degrees of Probability; But Mr. <i>de la Bruyere</i> gives us +Characters of Men, who are not to be found in Nature; and, out of a false +Affectation +<span class="pagenum">67</span> +<span class="folionum">F2</span> +of the Wonderful, he carries almost every thing to Excess; represents the +Irregularities of Life as downright Madness, and by his false Colours converts +Men into Monsters.</p> + +<p><a name="tagI" href="#noteI"><sup>I</sup></a><i>Troilus</i> is a very +supercilious Man: And ’tis no ways inconsistent with this Character to suppose, +that he may entertain a natural Antipathy against an ugly Face, or a bad Voice; +but our Author represents him as labourirg under this Distemper to such a Degree +of Excess, as, I believe, has never been observ’d in any Man. I do not know by +what Name it may be call’d. <i>Troilus</i> conceives an immediate Aversion +against a Person that enters the Room where he is; he shuns him, flies from him, +and will throw himself out at the Window, rather than suffer himself to be +accosted by one, whose Face and Voice he does not like.—Is this Humour, +or, rather, are not these the genuine Symptoms of Madness and Phrenzy? +And +<span class="pagenum">68</span> +if <i>Troilus</i> does really act after this manner, is he not rather an Object +of Pity, than a Subject for Humour and Ridicule?</p> + +<p>The Character of <i>Cleanthes</i>, in the same <a name="tagK" href="#noteK"><sup>K</sup></a>Chapter, is a Misrepresentation of +Nature.—“<i>Cleanthes</i> +is a very honest Man; he has chosen a Wife, who is the best and the most +reasonable Woman in the World: They, each of them, in their respective Ways, +make up all the Pleasure and Agreeableness of the Company they are in: ’Tis +impossible to meet with more Probity or Politeness. They part to Morrrow, and +the Deed of their Separation is ready drawn up at the Notary’s. There are, +certainly, some Kinds of Merit that were never made to be together, and some +Virtues that are incompatible.” But those who are endow’d with such good +Qualities, as Mr. <i>de la Bruyere</i> ascribes to <i>Cleanthes</i> and his +Wife, can never agree to a willful +<span class="pagenum">69</span> +<span class="folionum">F3</span> +Separation. Nay, ’tis a Contradiction to their Character to suppose that either +of ’em is faln into those Circumstances, which only can make a Separation become +lawful and just. ’Tis true, some Virtues and Accomplishments, as well as some +Vices, may be inconsistent with each other. But to apply this Maxim to the +present Case must betray a great Want of Judgment and Knowledge in the Nature of +Things: For where can one expect to meet with a more perfect Harmony of Virtues, +than in the reciprocal Honesty, Reason and Good-breeding of <i>Cleanthes</i> and +his Wife?</p> + +<p>An absent Man often acts out of the Way of common Life, when the Fit of +Absence is upon him; but that this Fit should dwell upon a Man, so long as it +does upon Mr. <i>de la Bruyere</i>’s<a name="tagL" +href="#noteL"><sup>L</sup></a> +<i>Menalcas</i> I confess, passes my Belief.—<i>Menalcas</i> rises in the +Morning; and from that Time till he goes to Bed again, he never recovers from +his Fit of Absence: +<span class="pagenum">70</span> +The Distractions of his Mind admit of no Cessation or Interruption: His whole +Life is a continued Series of the greatest Follies. <i>Menalcas</i> is really +never <i>Menalcas</i>; he has no lucid Intervals; he is always another +Man.</p> + +<p>If we consult the Operations of our Soul, to discover the proper Causes of +what is call’d <i>Absence of Mind</i>, we shall perceive that the Powers of it +are sometimes contracted within themselves by a Multiplicity of Thought: In +these Cases the inward Exercise of the Soul makes it unable to attend to any +outward Object. But at other Times the Soul wanders from itself; and in these +Cases the Soul being conversant about remote Objects, cannot immediately recover +itself, so as to reflect duly on those which are present. So that this Absence +of the Mind must proceed, either from a Fulness and Intention of Thought, or +from a Want of Reflexion. If it proceeds from a Fulness of Thought, I say ’tis +impossible for the Mind to keep bent so long, as that of <i>Menalcas</i> does: +It must necessarily have some Relaxations. If it proceeds from a Want of +Reflexion, +<span class="pagenum">71</span> +<span class="folionum">F4</span> +it must be confess’d, that he who can live so many Hours without reflecting, +must be either wholly stupid, or some Degrees below the Species of +Mankind.</p> + +<p>But what makes the Character of <i>Menalcas</i> still more ridiculous and +unnatural is, that he is stupid and sensible at the same +Time.—<i>Menalcas</i> +is in the Drawing-Room at Court; and walking very majestically under a Branch of +Candlestics; his Wig is caught up by one of them, and hangs dangling in the Air. +All the Courtiers fall a laughing.—<i>Menalcas</i> unluckily loses his +Feeling, but still retains the Use of his Ears. He is insensible that his Wig is +taken off his Head; but yet is so happy as to hear the loud Mirth of the +Courtiers, and has still so much good Humour left as to join in Company with +them.—<i>Menalcas</i> plays at Backgammon.—He calls for a Glass of +Water; ’tis his Turn to throw; he has the Box in one Hand and the Glass in the +other; and being extremely dry, and unwilling to lose Time, he swallows down +both the Dice and almost the Box, and at the same +<span class="pagenum">72</span> +Time throws the Glass of Water into the Tables.—If this is not to +overstrain the Bow, to carry Things to an unnatural Excess and Extravagance, and +to make no Distinction between Absence of Mind and Insensibility, or downright +Folly, I confess, I know not what is. <i>Mr. de la Bruyere</i> should have +consider’d, that a Man, who has lost his Feeling, is not, in that Respect, a +proper Subject for Ridicule, and that ’tis no Jest to take away a Man’s Senses. +Extravagances of this Nature are no Beauties in any Kind of Writing, much less +in Characteristics. In Performances of this Kind there must be Spirit and +Strength, but especially there must be Justice. The real Images of Life must be +represented, or the Probabilities of Nature must strictly be +observ’d.</p> + +<div class="verse"> +<a name="tagM" href="#noteM"><sup>M</sup></a> <i>Respicere exemplar vitæ +morumque jubebo<br/> +Doctum imitatorem, & vivas hinc ducere voces.</i><br/> +<br/> +These are the likeliest Copies, which are drawn<br/> +By the Original of human Life.</div> +<div class="halfline"> +Ld. <i>Roscommon</i>. +</div> + +<p><span class="pagenum">73</span> +The Strokes which compose a Character must be bold, but not extravagant. Nature +must not be distorted, to excite either Ridicule or Admiration. Reason must hold +the Reins of the Imagination: Judgment must direct the Fancy; otherwise we shall +be apt to miscarry, and connect inconsistent Ideas, at the very Time, when we +think we hit the Point of Humour to the Life.</p> + +<p>The only Thing that can be said to excuse Mr. <i>de la Bruyere</i> on this +Head, is what the Abbot <i>Fleury</i> has alledg’d to his Praise; namely, <a +name="tagN" href="#noteN"><sup>N</sup></a>that his Characters are sometimes +loaded, on purpose that they might not too nearly resemble the Persons +design’d.</p> + +<p>’Tis very dangerous, I confess, to make free with the Characters of +particular Persons; for there are some Men in the World, who, tho’ they are not +asham’d of the Impropriety of their own +<span class="pagenum">74</span> +Manners, yet are they easily offended at the public Notice which is taken of +’em. But tho’ Mr. <i>de la Bruyere</i> might have very good prudential Reasons +for not making his Characters too particular, yet those Reasons cannot be urg’d, +as a just Plea for his transgressing the Bounds of Characteristic-Justice, by +making his Images unnatural.</p> + +<p>In every Kind of Writing there is something of an establish’d Nature which is +essential to it. To deviate from this, is to deviate from Nature it self. Mr. +<i>de la Bruyere</i> is not the only <i>French</i> Man who is guilty in this +Point. Others of his Country-Men have committed much the same Fault in Pastoral +and Comedy. Out of a vain Affectation of saying something very extraordinary and +remarkable, they have departed from the nature of Things: They have given to the +Simplicity of the Country, the Airs of the Town and Court, introduced upon the +Stage Buffoonry and Farce instead of Humour; and by misrepresenting the real +Manners of Men, they have turn’d Nature into Grimace.</p> + +<p><span class="pagenum">75</span> +The main Beauty of <i>Characteristic-Writings</i> consists in a certain Life and +Spirit, which the Writer ought to endeavour to keep up, by all the Arts which he +is Master of. Nothing will contribute to this more, than the Observance of a +strict Unity in the very Conception of a Character: For Characters are +Descriptions of Persons and Things, as they are such: And, as <a name="tagO" +href="#noteO"><sup>O</sup></a>Mr. <i>Budgell</i> has very judiciously +observ’d, “If the Reader is diverted in the midst of a Character, and his +Attention call’d off to any thing foreign to it, the lively Impression it shou’d +have made is quite broken, and it loses more than half its Force.” But if this +Doctrine be applied to the Practice of Mr. <i>de la Bruyere</i>, it will find +him Guilty. He sometimes runs his Characters to so great a Length, and mixes in +’em so many Particulars and unnecessary Circumstances, that they justly deserve +the Name, rather of Histories than Characters.—Such +<span class="pagenum">76</span> +is the <a name="tagP" href="#noteP"><sup>P</sup></a>Article concerning +<i>Emira</i>. ’Tis an artful Description of a Woman’s Vanity, in pretending to +be insensible to the Power of Love, merely because she has never been exposed to +the Charms of a lovely Person; and there is nothing in this Character, but what +is agreeable to Nature, and carried on with a great deal of Humour. But the many +Particulars which Mr. <i>de la Bruyere</i> has drawn into the Composition of it, +and which, in Truth, are not essential to the main Design, have quite chang’d +the Nature of the Character, and converted it into a History, or rather a little +Romance.—’Tis true, Histories are Pictures as well as Characters; but yet +there will ever be as wide a Difference between ’em, as there is between a +Picture at full Length, and one in Miniature.</p> + +<p>The <a name="tagQ" href="#noteQ"><sup>Q</sup></a>Characters of +<i>Giton</i> and <i>Phebon</i> are humorous enough. And they are allow’d to be +kept within the just Bounds of Probability. But Mr. <i>de la +Bruyere</i> +<span class="pagenum">77</span> +has heap’d up so many Particulars and unnecessary Circumstances, which do not +convey any new Ideas, that the Characters grow languid +and tedious.—<i>Giton</i> +is respected; every thing that he says or does is approved of. <i>Phebon</i> is +despis’d; no Notice is taken of what he says or does. The Reason of this +Difference is not so mysterious, but that it may be told in less than two or +three Pages. <i>Giton</i> is rich, and <i>Phebon</i> is poor.</p> + +<p>Sometimes there is such a Confusion in Mr. <i>de la Bruyere’s</i> Designs, +that one cannot easily discover whether he intended to draw the Character of a +particular Person, or to make a Picture of some prevailing Vice, or only a moral +Reflexion.—Such is the <a name="tagR" +href="#noteR"><sup>R</sup></a>Article +of <i>Zenobia</i>. Was it design’d for the Character of <i>Zenobia</i>? But ’tis +rather a Description of the Magnificence, and beautiful Situation of the Palace, +which she was then building. Or was it design’d to censure and lash the +Publicans of the +<span class="pagenum">78</span> +Age, for the Extortions which they practis’d, and the immense Riches which they +amass’d by Fraud and Oppression? But this Satir comes in only by the by, and in +a very <ins class="correction" title="original reads ‘j june’">jejune</ins> +Manner. Or lastly, was it intended only for a moral Reflexion on the sudden +Revolutions and Vicissitudes of Fortune? But the Length of this Article is +inconsistent with the nature of a Reflexion; and if any thing like this was +intended, it must come in as the <span class="greek">ἐπιμύθιον</span>, the +Moral of the Fable; which will make the Contents of this Article, still more +different from the nature of a Character, than any thing that has yet been +mentioned.</p> + +<p>’Tis not enough that a Character be drawn conformable to that Existence which +it really has, or probably may have in Nature: It must further be cloath’d in +proper Sentiments, and express’d in a simple and natural Style. But Mr. <i>de la +Bruyere</i>, consider’d as a Writer of Characters, is too affected in his way of +Thinking, and too artificial in the Turn of his Expressions.</p> + +<p><span class="pagenum">79</span> +The previous Apology which he made for himself in this Point, is so far from the +Purpose, that nothing is more so.</p> + +<blockquote> +<p> +Recollecting, <a name="tagS" href="#noteS"><sup>S</sup></a>says he, that +amongst the Writings ascrib’d to <i>Theophrastus</i> by <i>Diogenes +Laertius</i>, there is one which bears the Title of <i>Proverbs</i>, i.e. of +loose unconnected Observations, and that the most considerable Book of Morality, +that ever was made, bears that Name in the sacred Writings; we have been excited +by such great Examples to imitate, according to our Capacity, a like Way of +Writing concerning Manners. +</p> +</blockquote> + +<p>—’Tis true, that in the Catalogue of <i>Theophrastus </i> his Works, +preserv’d by <a name="tagT" href="#noteT"><sup>T</sup></a><i>Diogenes +Laertius</i>, there is one Book under the Title <span class="greek">περὶ +παροιμιῶν</span> concerning <i>Proverbs</i>: But that, probably, was nothing but +a Collection of some of those short, remarkable, useful, pithy Sayings, which +are of common Use in the World, and which every Nation has peculiar to +it +<span class="pagenum">80</span> +self. However, tho’ we cannot exactly tell, what the Nature of that Performance +was, because the Book is now lost, yet we are certain, on the other Hand, that +the Design of <i>Solomon</i> was not to write Characters, but to deliver some +Maxims of Morality by way of Advice and Instruction. So that for a profess’d +Writer of Characters, to take a Book of <i>Proverbs</i> for a Model, is as +inconsistent, as if any one, who intended to compose an Oration, shou’d form his +Diction upon a Poem. <i>Proverbs</i> consist of short Sentences, which contain +in themselves a full and compleat Sense; and therefore they do not essentially +require a strict Relation and Correspondence; but <i>Characteristic-Writings</i> +do require such a strict Relation and Correspondence. And Mr. <i>de la +Bruyere</i> is so faulty in this Point, that almost every where he has no +visible Connexion.—<i>Characteristic-Writings</i> ought, I own, to have a +lively Turn, and a Laconic Air: but there is a wide Difference between using a +concise Manner, and writing as many Aphorisms as Sentences.</p> + +<p><span class="pagenum">81</span> +<span class="folionum">G</span> +How far Mr. <i>de la Bruyere</i> is defective as to Propriety of Style and +Justness of Expression, I chuse to set down in the Words of one of his <a name="tagV" href="#noteV"><sup>V</sup></a>Countrymen, a very judicious Writer, and +a better Judge in this Matter than I pretend to be. “Mr. <i>de la Bruyere</i>, +qui n’a point de Style formé, ecrivant au hazard, employe des Expressions +outrées en des Choses tres communes; & quand il en veut dire de plus +relevées, il les affoiblit par des Expressions basses, & fait ramper le fort +avec le foible. Il tend sans relache a un sublime qu’il ne connoit pas, & +qu’il met tantot dans les choses, tantot dans les Paroles, sans jamais attraper +le Point d’Unité, qui concilie les Paroles avec les choses, en quoi consiste +tout le Secret, & la Finesse de cette Art merveilleux.”—This is the +Censure which an ingenious Author, under the feign’d Name of <i>Vigneul +Marville</i>, has pass’d upon Mr. <i>de la</i> +<span class="pagenum">82</span> +<i>Bruyere’s</i> Style. However, I think my self oblig’d in Justice to inform +the Reader, that Mr. <i>Coste</i>, in his Defence of Mr. <i>de la Bruyere</i>, +has endeavour’d to prove that this Censure is ill grounded. But I will not +pretend to decide in a Case of this Nature. Matters relating to Style are the +nicest Points in Learning: The greatest Men have grosly err’d on this Subject. I +only declare my own Opinion on the Matter, that Mr. <i>de la Bruyere</i>’s Style +appears to me forc’d, affected, and improper for Characteristic Writings. +Several ingenious <i>French</i> Gentlemen, who have themselves writ with +Applause in this Language, entertain the same Sentiments, and have ingenuously +confess’d to me, that they could never read ten Pages together of Mr. <i>de la +Bruyere</i>, without feeling such an Uneasiness and Pain, as arises from a +continued Affectation and a perpetual Constraint. But the Reader is still left +free. To form a right Judgment on Correctness is an easy Matter by the ordinary +Rules of Grammar, but to do the same concerning the Turn and Air, and peculiar +Beauties of Style, +<span class="pagenum">83</span> +<span class="folionum">G2</span> +depends on a particular Taste: They are not capable of being prov’d to those who +have not this Taste, but to those who have it, they are immediately made +sensible by a bare pointing out.</p> + +<p>The running Title which Mr. <i>de la Bruyere</i> has given to his Book does, +by no Means, square with the several Parts of it. With Relation to my present +Purpose I observe, that, strictly speaking, this Performance is, but in Part, of +the Characteristic-Kind. The Characters, which are interspers’d in it, being +reducible to a very narrow Compass, and the main Body of it consisting of +miscellaneous Reflexions. And these are not confin’d, as is pretended, only to +the present Age, but extend themselves both to past and present Times. So that +if Mr. <i>de la Bruyere</i> had, with his View, chosen another Title for his +Book, tho’ it wou’d not have been so uncommon, yet wou’d it have been more +proper than the present Title; and the Performance it self wou’d then, in some +Measure, have +<span class="pagenum">84</span> +less deserv’d Censure.</p> + +<p>Tho’ Mr. <i>de la Bruyere’s</i> Work is not perfect in that Kind, in which it +is pretended to excel, it must nevertheless be confess’d, that it has many +Beauties and Excellencies. To deny this, wou’d be an Affront to the Judgment of +the Gentlemen of the <i>French</i> Academy: But yet our Complaisance ought not, +cannot go so far, as to prejudice our own Judgment. We cannot think, as <a name="tagX" href="#noteX"><sup>X</sup></a>some of ’em did, that Mr. <i>de la +Bruyere</i> has excell’d <i>Theophrastus</i>, the great Original which he +propos’d to himself. Mr. <i>de la Bruyere</i> had a more modest Opinion of +himself: He wou’d have been proud of the Title of <i>little Theophrastus</i>. +And in Truth, it deserves no small Share of Praise, to come up to +<i>Theophrastus</i> in any Degree of Comparison.—If then Mr. <i>de la +Bruyere</i> has committed some Faults, ’tis nothing but what others have done, +both before +<span class="pagenum">85</span> +and since him: But if he has, as I have already allow’d him to have, some +considerable Beauties; ’tis more than a great many other Authors have, tho’ of +greater Bulk: And these Excellencies ought in Justice to be admitted as some +Excuse for those Defects.<br/></p> + +<p class="center"><img src="images/face.png" width="204" height="212" +alt="portrait" /></p> + +<p> +<br/> +<br/> +<span class="pagenum">86</span> +</p> + +<h3><a name="sec_v">SECT. V.</a></h3> + +<p><span class="firstletter">T</span><i>HEOPHRASTUS</i> has not only +prevented, but he has also out-done the Moderns +in <i>Characteristic-Writings</i>. +Yet Mr. <i>de la Rochefoucault</i> had an extraordinary Genius. He seems to be +the only one, amongst all the Moderns, who was equal to so great a Work. He had +studied Man in himself; and, in a small Collection of moral Reflexions, he has +laid open the various Forms and Folds of that Heart, which by Nature is +deceitful above all Things. He has given us, as it were, the Characters of all +Mankind, by discovering those secret Springs of Self Love, which are the Source +of all our <i>Actions</i>.—Self Love is born with us; and this great +Author has shewn, that there is +<span class="pagenum">87</span> +<span class="folionum">G4</span> +no Principle in human Nature so secret, so deceitful: ’Tis so Hypocritical, that +it frequently imposes on it self, by taking the Appearances of Virtue for Virtue +it self. It borrows all the Disguises of Art: It appears in a thousand Forms, +and in a thousand Shapes; but yet the Principle of Error is still the +same.</p> + +<div class="verse"> +——<a name="tagY" href="#noteY"><sup>Y</sup></a><i>Velut Silvis +ubi passim<br/> +Palantes Error certo de Tramite pellit,<br/> +Ille sinistrorsum, hic dextrorsum abit: unus utrique<br/> +Error, sed variis illudit Partibus.</i><br/> +<br/> +As Men that lose their Ways in Woods, divide,<br/> +Some go on this, and some on t’other Side.<br/> +The Error is the same, all miss the Road,<br/> +Altho’ in different Quarters of the Wood.</div> +<div class="halfline"> +Mr. <i>Creech</i>. +</div> + +<p>’Tis true Mr. <i>de la Rochefoucault</i>’s Design was too general, and his +Piece cannot properly be reckoned among <i>Characteristic-Writings</i>. But tho’ +he did +<span class="pagenum">88</span> +not professedly write Characters, <ins class="correction" +title="original reads ‘ye this Work’">yet this Work</ins> +shews that he was very able to do it; +and it may be of very great Service to those, who wou’d attempt any thing in +this Kind.</p> + +<p>I have often wonder’d that no <i>English</i> Writer has ever professedly +attempted a Performance in the Characteristic-Way. I mean, such a profess’d +Performance, as wou’d extend it self to the different Conditions of Men, and +describe the various Ends which they propose to themselves in Life; as wou’d +take in the chief Branches of Morality and Behaviour, and, in some Measure, make +a compleat Work: For as to loose Attempts and Sketches in this Kind, there are +many Years since we had some; the most considerable of which, I mean of those +that bear the Title of Characters, are printed together with Sir <i>Thomas +Overbury</i>’s <span class="smallcaps">Wife</span>. These are said to have +been written, partly by that unfortunate Knight, and partly by some of his +Friends. And if the Editor had not taken Care to give us this Notice, yet still +that great Disparity which appears but too +<span class="pagenum">89</span> +visibly in them, wou’d manifestly prove that they were compos’d by very +different Hands.— There are, I confess, many good Things to be met with in +these Characters, but they are very far from making a compleat Work: And really +this was not intended. Besides, nothing can possibly be more contrary to the +Nature of <i>Characteristic-Writings</i>, than the corrupted Taste which +prevail’d in the Age. A continued Affectation of far-fetch’d and quaint +Simile’s, which runs thro’ almost all these Characters, makes ’em appear like so +many Pieces of mere Grotesque; and the Reader must not expect to find Persons +describ’d as they really are, but rather according to what they are thought to +be like.</p> + +<p>This Censure may be thought hard; but yet it leaves Room for some Exceptions: +And that I may do Justice to Merit, where it is really due, I shall here set +down one of those Characters, which seem’d to me to be exquisite in its Kind. +And this I shall the rather do, because the Book it self is not in +every +<span class="pagenum">90</span> +body’s Hands. The Image is taken from low Life; ’tis a beautiful Description of +Nature in its greatest Simplicity, and ’tis the more beautiful because ’tis +natural.</p> + +<blockquote> +<p> +<i>A fayre and happy</i> <span class="smallcaps">Milke Maid</span>. +</p> +</blockquote> + +<blockquote> +<p> +Is a Country Wench, that is so farre from making herselfe beautifull by Art, +that one Looke of hers is able to put all <i>Face-Physicke</i> out of +Countenance. Shee knowes a fayre Looke is but a dumbe Orator to commend Vertue, +therefore mindes it not. All her Excellencies stand in her so silently, as if +they had stolne upon her without her Knowledge. The Lining of her Apparell +(which is her selfe) is farre better than Outsides of Tissew: for tho’ shee be +not arraied in the Spoyle of the Silke Worme, shee is deckt in Innocency, a far +better +<span class="pagenum">91</span> +Wearing. Shee doth not, with lying long a Bed, spoile both her Complexion and +Conditions; Nature hath taught her, <i>too immoderate Sleepe is rust to the +Soul</i>: She rises therefore with <i>Chaunticleare</i> her Dames Cocke, and at +Night makes the Lambe her <i>Corfew</i>. In milking a Cow, and straining the +Teates through her Fingers, it seemes that so sweet a Milke-Presse makes the +Milke the whiter, or sweeter; for never came Almond Glove or Aromatique Oyntment +on her Palme to taint it. The golden Eares of Corn fall and kisse her Feete when +shee reapes them, as if they wisht to be bound and led Prisoners by the same +Hand that fell’d them. Her Breath is her owne, which sents all the Yeere long of +<i>June</i>, like a new made Hay-cocke. Shee makes her Hand hard with Labour, +and her Heart soft with Pitty: And when Winter Evenings fall early (sitting at +her merry Wheele) she sings a Defiance to the giddy Wheele of Fortune. Shee doth +all things with so sweet a Grace +<span class="pagenum">92</span> +it seemes <i>Ignorance</i> will not suffer her to do Ill, being her Minde is to +do Well. Shee bestowes her Yeeres Wages at next Faire; and in chusing her +Garments, counts no Bravery i’th’ World, like Decency. The Garden and Bee-hive +are all her Physicke and Chyrurgerie, and shee lives the longer for’t. Shee +dares goe alone, and unfold Sheepe i’th’ Night, and feares no manner of Ill, +because shee meanes none: Yet to say Truth, shee is never alone, for shee is +still accompanied with old Songs, honest Thoughts, and Prayers, but short ones; +yet they have their Efficacy, in that they are not pauled with insuing idle +Cogitations. Lastly, her Dreames are so chaste, that shee dare tell them; onely +a Fridaies Dreame is all her Superstition; <i>that</i> she conceales for feare +of Anger. Thus lives shee, and all her Care is shee may die in the Spring-Time, +to have Store of Flowers stucke upon her winding Sheet. +</p> +</blockquote> + +<p>What makes me wonder that no <i>English</i> Writer has ever attempted +a +<span class="pagenum">93</span> +profess’d Performance in the <i>Characteristic-Way</i> is, that we are, +certainly, more able to undertake a Work of this Nature than any other Nation; +because our Countrymen afford a greater Variety of Subject Matter than any other +People.—Human Nature, as I observ’d before, in its various Forms and +Affections, is the Subject of <i>Characteristic-Writings</i>: And from this +Diversity of Manners arises that, which is properly call’d <i>Humour</i>, and +which, upon a double Account, seems to be peculiar to our Nation; not only +because there is no Word in any other Language so expressive, but also because +there is no Nation, in which we can find a greater Variety of original +<i>Humour</i>, than amongst the <i>English</i>. Sir <i>William Temple</i>, +speaking of the Dramatic Performances of the Stage, expresses himself after the +following Manner.—<a name="tagZ" href="#noteZ"><sup>Z</sup></a></p> + +<blockquote> +<p> +In this the <i>Italian</i>, the <i>Spanish</i>, and the <i>French</i>, have all +had their different Merit, and receiv’d +<span class="pagenum">94</span> +their just Applauses. Yet I am deceiv’d, if our <i>English</i> has not in some +Kind excell’d both the Modern and the Antient; which has been by Force of a +Vein, natural perhaps to our Country, and which with us is call’d <i>Humour</i>, +a Word peculiar to our Language too, and hard to be express’d in any other; nor +is it (that I know of) found in any Foreign Writers, unless it be +<i>Moliere</i>, and yet his it self has too much of the Farce, to pass for the +same with ours. <i>Shakespear</i> was the first that opened this Vein upon our +Stage, which has run so freely and so pleasantly ever since, that I have often +wonder’d to find it appear so little upon any others; being a Subject so proper +for them, since <i>Humour</i> is but a Picture of particular Life, as Comedy is +of general; and tho’ it represents Dispositions and Customs less common, yet +they are not less natural than those that are more frequent among +Men. +</p> +</blockquote> + +<p><i>Humour</i> is the only genuine Source of all that agreeable Variety of +original Characters, which is so entertaining to +<span class="pagenum">95</span> +a Spectator and Reader: And Sir <i>William Temple</i> proceeds to observe, that +in this Point the Moderns in general, and the <i>English</i> in particular, have +far excell’d the Antients. This Observation is very just, however partial it may +seem to a Foreigner, and the Reason of it is very obvious. I shall represent ’em +both in Sir <i>William</i>’s own Words. The Passage is somewhat long, but the +Goodness of it will amply pay the Reader for his Trouble in perusing +it.</p> + +<blockquote> +<p> +It may seem a Defect (says he) in the antient Stage, that the Characters +introduc’d were so few, and those so common, as a covetous old Man, an amorous +young, a witty Wench, a crafty Slave, a bragging Soldier. The Spectators met +nothing upon the Stage, but what they met in the Streets, and at every Turn. All +the Variety is drawn only from different and uncommon Events; whereas if the +Characters are so too, the Diversity and the Pleasure must needs be the more. +But as of most general Customs in a Country, there is usually some Ground, from +the Nature of the +<span class="pagenum">96</span> +People or Climat, so there may be amongst us for this Vein of our Stage, and a +greater Variety of <i>Humour</i> in the Picture, because there is a greater +Variety in the Life. This may proceed from the native Plenty of our Soil, the +Unequalness of our Climat, as well as the Ease of our Government, and the +Liberty of professing Opinions and Factions, which perhaps our Neighbours may +have about them, but are forc’d to disguise, and thereby they may come in Time +to be extinguish’d. Plenty begets Wantonness and Pride, Wantonness is apt to +invent, and Pride scorns to imitate; Liberty begets Stomach or Heart, and +Stomach will not be constrain’d. Thus we come to have more Originals, and more +that appear what they are; we have more <i>Humour</i>, because every Man follows +his own, and takes a Pleasure, perhaps a Pride, to shew it. +</p> +</blockquote> + +<p>—<i>Shakespear</i>, <i>Johnson</i>, <i>Shadwell</i>, <i>Etherege</i>, +and <i>Wycherly</i> have shewn the Richness of this Source: They excell’d in the +Variety and <i>Humour</i> +<span class="pagenum">97</span> +<span class="folionum">H</span> +of the Characters which they exhibited; and in this they have receiv’d just +Applauses: But yet they did not exhaust the Spring from whence they drew: The +ingenious Mr. <i>Congreve</i> has pursu’d the same Vein of <i>Humour</i>; and he +has imitated his Predecessors so well, that he has by far out-done ’em all. In +his Dramatic-Pieces there is the greatest Variety of <i>Humour</i> and of +original Characters, set off by the greatest Delicacy of Sentiments, and adorn’d +with the Beauties of the justest Diction that can possibly be imagined. Mr. +<i>Dryden</i> must be allow’d to be a competent Judge in an Affair of this +Nature, and he has given us the true Character and Panegyric of Mr. +<i>Congreve</i> in the following Lines.</p> + +<div class="verse"> +In him all Beauties of this Age we see;<br/> +<i>Etherege</i> his Courtship, <i>Southern</i>’s Purity;<br/> +The Satir, Wit and Strength of manly <i>Wicherly</i>. +</div> + +<p>’Tis true, there is some Difference between the Characters which enter +into +<span class="pagenum">98</span> +the Composition of Dramatic Pieces, and those which are represented by +<i>Characteristic-Writers</i>; but this Difference is so small, that I doubt not +but he, who is an able Master in one of these Kinds, would as successfully +perform in the other. For, in reality, the essential Parts of the Characters, in +the <i>Drama</i>, and in <i>Characteristic-Writings</i>, are the same. They are +both an Image of one Life; a Representation of one Person: All the Diversity +lies in the different Manner of representing the same Image. The <i>Drama</i> +presents to the Eyes of a Spectator an Actor, who speaks and acts as the Person, +whom he represents, is suppos’d to speak and act in real Life. The +<i>Characteristic</i> Writer introduces, in a descriptive manner, before a +Reader, the same Person, as speaking and acting in the same manner: And both +must be perform’d in such a natural and lively manner, as may deceive the +Spectator and Reader, and make them fancy they see the Person represented or +characteris’d.</p> + +<p>But tho’ no <i>English</i> Author has attempted a Performance in this Kind, +yet it +<span class="pagenum">99</span> +must be confess’d that in some late diurnal Papers we have had excellent +Specimens in the Characteristic-Way. The Papers, which I mean to point out, are +the <i>Tatlers</i> and the <i>Spectators</i>. They are of the miscellaneous +Kind, and were design’d for the universal Delight and Instruction of the +<i>British</i> Nation. In these Papers are contained Abundance of true Wit and +<i>Humour</i>, lively Descriptions of human Nature in its various Forms and +Disguises, the Praises of Virtue, and pointed Satir against Vice; and here and +there are interspers’d Characters of Men and Manners compleatly drawn to the +Life.—If the great Authors, who were concerned in the Composition of those +Papers, would have join’d their Abilities to form a Work of this Kind, I doubt +not but it would have been inimitable, and deserv’d the next Place, in Point of +Fame, to that of <i>Theophrastus</i>: For this is the highest Pitch to which +Moderns can aspire. A greater Design would be Presumption, and would only serve +to shew the greater Vanity of the Attempt. An establish’d +<span class="pagenum">100</span> +Reputation of above two thousand Years cannot be easily shaken. +<i>Theophrastus</i> is, and ever will be, an Original +in <i>Characteristic-Writings</i>. +His Fame still lives in our Memory, and the Main of his Characters still +subsists in our Actions. +<br/> +</p> + +<h3><i>FINIS.</i></h3> + +<hr /> + +<div class="footnote"> +<a name="notes"> </a> +<a name="noteA" href="#tagA">A.</a> Georgii Paschii Professoris Kiloniensis +Diatriba de philosophia Characteristica & Parænetica. 4to. <i>Kilonie.</i> +1705. Vid. Fabric. Bib. Græc. L. 3. p. 241. +</div> +<div class="footnote"> +<a name="noteB" href="#tagB">B.</a> Menagiana. Ed. <i>Paris.</i> 1715. T. 4. +p. 219. +</div> +<div class="footnote"> +<a name="noteC" href="#tagC">C.</a> Mr. <i>du Tremblay</i>. Traité des +Langues. ad fin. +</div> +<div class="footnote"> +<a name="noteD" href="#tagD">D.</a> Preface to his Translation of +<i>Theophrastus</i>. +</div> +<div class="footnote"> +<a name="noteE" href="#tagE">E.</a> Horat. Art. Poet. <i>v.</i> +188. +</div> +<div class="footnote"> +<a name="noteF" href="#tagF">F.</a> Persius Sat. I. V. 116, +&c. +</div> +<div class="footnote"> +<a name="noteG" href="#tagG">G.</a> Dictionaire de <i>Bayle</i>. Artic. +<i>Benserade.</i> Not. L. +</div> +<div class="footnote"> +<a name="noteH" href="#tagH">H.</a> Ap. <i>Is. Casaub.</i> Proleg. ad +Theophrast. +</div> +<div class="footnote"> +<a name="noteI" href="#tagI">I.</a> De la Societè & de la Conversation. +Ad init. +</div> +<div class="footnote"> +<a name="noteK" href="#tagK">K.</a> Ibid. fere. +</div> +<div class="footnote"> +<a name="noteL" href="#tagL">L.</a> C. de l’Homme. +</div> +<div class="footnote"> +<a name="noteM" href="#tagM">M.</a> Horat. in Art. Poet. <i>v.</i> 317, +&c. +</div> +<div class="footnote"> +<a name="noteN" href="#tagN">N.</a> On trouve dans ses Characteres une +severe Critique, des Expressions vives, des Tours ingenieux, des Peintures +quelquefois chargeés exprés, pour ne les pas faire trop ressemblantes. +<i>Discours prononcé dans l’Academie Française.</i> 1696. +</div> +<div class="footnote"> +<a name="noteO" href="#tagO">O.</a> Preface to <i>Theophrastus</i>. +</div> +<div class="footnote"> +<a name="noteP" href="#tagP">P.</a> C. des Femmes. ad fin. +</div> +<div class="footnote"> +<a name="noteQ" href="#tagQ">Q.</a> C. id. ibid. feré. +</div> +<div class="footnote"> +<a name="noteR" href="#tagR">R.</a> C. des Biers de Fortune. sub +fin. +</div> +<div class="footnote"> +<a name="noteS" href="#tagS">S.</a> Discours sur <i>Theophraste</i>. +</div> +<div class="footnote"> +<a name="noteT" href="#tagT">T.</a> Lib. 5. Segm. 45. +</div> +<div class="footnote"> +<a name="noteV" href="#tagV">V.</a> Melanges de Vigneul Marville. <i>Edit. +Rot.</i> T. 1. <i>p.</i> 336. +</div> +<div class="footnote"> +<a name="noteX" href="#tagX">X.</a> Discours de l’Abbé Fleury deja +cité. +</div> +<div class="footnote"> +<a name="noteY" href="#tagY">Y.</a> Horat. Lib. 2. Sat. 3. v. 48, +<i>&c</i>. +</div> +<div class="footnote"> +<a name="noteZ" href="#tagZ">Z.</a> Essay on Poetry, p. 355, +<i>&c</i>. +</div> + +<hr /> +<hr /> + +<p class="center"><a name="pubs">PUBLICATIONS OF THE +AUGUSTAN REPRINT SOCIETY</a></p> + +<div class="mynote"> +[Transcriber’s Note:<br/> +Many of the listed titles are or will be available from Project +Gutenberg. Where possible, a link to the e-text is given.] +</div> + +<p><span class="smallcaps">First Year (1946-1947)</span></p> + +<div class="publist"> + <ins class="correction" +title="e-texts 13484, 14528, 14973">Numbers 1-4</ins> out of print.<br/> +<br/> +</div> + +<div class="publist1"> +5. Samuel Wesley’s <i>Epistle to a Friend Concerning Poetry</i> +(1700) and <i>Essay on Heroic Poetry</i> (1693). +</div> + +<div class="publist1"> +<a href="https://www.gutenberg.org/etext/15656">6.</a> +<i>Representation of the Impiety and Immorality of the Stage</i> +(1704) +and <i>Some Thoughts Concerning the Stage</i> (1704). +</div> + +<p><span class="smallcaps">Second Year (1947-1948)</span></p> + +<div class="publist1"> +<a href="https://www.gutenberg.org/etext/14800">7.</a> +John Gay’s <i>The Present State of Wit</i> (1711); and a section +on Wit from <i>The English Theophrastus</i> (1702). +</div> + +<div class="publist1"> +<a href="https://www.gutenberg.org/etext/14495">8.</a> +Rapin’s <i>De Carmine Pastorali</i>, translated by Creech (1684). +</div> + +<div class="publist1"> +<a href="https://www.gutenberg.org/etext/14899">9.</a> +T. Hanmer’s (?) <i>Some Remarks on the Tragedy of Hamlet</i> +(1736). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/16233">10.</a> +Corbyn Morris’ <i>Essay towards Fixing the True Standards of Wit, etc.</i> (1744). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/15313">11.</a> +Thomas Purney’s <i>Discourse on the Pastoral</i> (1717). +</div> + +<div class="publist"> +12. Essays on the Stage, selected, with an Introduction by Joseph +Wood Krutch. +</div> + +<p><span class="smallcaps">Third Year (1948-1949)</span></p> + +<div class="publist"> +13. Sir John Falstaff (pseud.), <i>The Theatre</i> (1720). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/16267">14.</a> +Edward Moore’s <i>The Gamester</i> (1753). +</div> + +<div class="publist"> +15. John Oldmixon’s <i>Reflections on Dr. Swift’s Letter to Harley</i> +(1712); and Arthur Mainwaring’s <i>The British Academy</i> (1712). +</div> + +<div class="publist"> +16. Nevil Payne’s <i>Fatal Jealousy</i> (1673). +</div> + +<div class="publist"> +17. Nicholas Rowe’s <i>Some Account of the Life of Mr. William +Shakespeare</i> (1709). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/15870">18.</a> +“Of Genius,” in <i>The Occasional Paper</i>, Vol. III, No. 10 +(1719); +and Aaron Hill’s Preface to <i>The Creation</i> (1720). +</div> + +<p><span class="smallcaps">Fourth Year (1949-1950)</span></p> + +<div class="publist"> +19. Susanna Centlivre’s <i>The Busie Body</i> (1709). +</div> + +<div class="publist"> +20. Lewis <ins class="correction" +title="original reads ‘Theobold’ (in preparation)">Theobald’s</ins> +<i>Preface to The Works of Shakespeare</i> (1734). +</div> + +<div class="publist"> +21. <i>Critical Remarks on Sir Charles Grandison, Clarissa, and +Pamela</i> (1754). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/13350">22.</a> +Samuel Johnson’s <i>The Vanity of Human Wishes</i> (1749) and Two +<i>Rambler</i> papers (1750). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/15074">23.</a> +John Dryden’s <i>His Majesties Declaration Defended</i> (1681). +</div> + +<div class="publist"> +24. Pierre Nicole’s <i>An Essay on True and Apparent Beauty in Which +from Settled Principles is Rendered the Grounds for Choosing and +Rejecting Epigrams</i>, translated by J.V. Cunningham. +</div> + +<p><span class="smallcaps">Fifth Year (1950-1951)</span></p> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/14467">25.</a> +Thomas Baker’s <i>The Fine Lady’s Airs</i> (1709). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/14463">26.</a> +Charles Macklin’s <i>The Man of the World</i> (1792). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/13485">27.</a> +Frances Reynolds’ <i>An Enquiry Concerning the Principles of Taste, +and of the Origin of Our Ideas of Beauty, etc.</i> (1785). +</div> + +<div class="publist"> +28. John Evelyn’s <i>An Apologie for the Royal Party</i> (1659); and +<i>A Panegyric to Charles the Second</i> (1661). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/14084">29.</a> +Daniel Defoe’s <i>A Vindication of the Press</i> (1718). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/13464">30.</a> +Essays on Taste from John Gilbert Cooper’s <i>Letters Concerning +Taste,</i> 3rd edition (1757), & John Armstrong’s <i>Miscellanies</i> +(1770). +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/15409">31.</a> +Thomas Gray’s <i>An Elegy Wrote in a Country Church Yard</i> (1751); +and <i>The Eton College Manuscript</i>. +</div> + +<div class="publist"> +<a href="https://www.gutenberg.org/etext/14525">32.</a> +Prefaces to Fiction; Georges de Scudéry’s Preface to <i>Ibrahim</i> +(1674), etc. +</div> + +<hr /> + +<p class="center">William Andrews Clark Memorial Library: University of +California<br/> +<br/> +</p> + +<h4><span class="smallcaps">The Augustan Reprint +Society</span></h4> + +<p class="center"> +<br/> +<br/> +<i>General Editors</i></p> + +<table summary="" style="margin-left: auto; margin-right: auto"> + +<tr> +<td> +<div class="publist"> +<span class="smallcaps">H. Richard Archer</span><br/> +William Andrews Clark Memorial Library +</div> +<div class="publist"> +<span class="smallcaps">R. C. Boys</span><br/> +University of Michigan +</div> +</td> +<td> +<div class="publist"> +<span class="smallcaps">E. N. Hooker</span><br/> +University of California, Los Angeles +</div> +<div class="publist"> +<span class="smallcaps">John Loftis</span><br/> +University of California, Los Angeles +</div> +</td> +</tr> +</table> + +<p><span class="firstletter">T</span>he Society exists to make available +inexpensive reprints (usually facsimile reproductions) of rare seventeenth and +eighteenth century works. The editorial policy of the Society continues +unchanged. As in the past, the editors welcome suggestions concerning +publications. All income of the Society is devoted to defraying cost of +publication and mailing.</p> + +<hr /> +<p class="center">Publications for the sixth year [1951-1952]</p> +<div class="publist"> +<p class="center">(At least six items, most of them from the following list, +will be reprinted.)</p> +</div> + +<div class="mynote"> +[Transcriber’s Note:<br/> +The duplicate listings of Gray’s <i>Elegy</i> and <i>Prefaces to Fiction</i> +(years 5 and 6) are as in the original.]<br/> +</div> + +<div class="publist"> +<span class="smallcaps">Thomas Gray</span>: +<a href="https://www.gutenberg.org/etext/15409"><i>An Elegy Wrote in a Country +Church Yard</i></a> (1751). Introduction by George Sherburn. +</div> +<div class="publist"> +<span class="smallcaps">James Boswell, Andrew Erskine</span>, and +<span class="smallcaps">George Dempster</span>: +<i><a href="https://www.gutenberg.org/etext/15857">Critical Strictures</a> +on the New Tragedy of Elvira</i> (1763). Introduction by Frederick A. Pottle. +</div> +<div class="publist"> +<i>An Essay on the New Species of Writing Founded by Mr. Fielding</i> (1751). +Introduction by James A. Work. +</div> +<div class="publist"> +<span class="smallcaps">Henry Gally</span>: <i>A Critical Essay on +Characteristic Writing</i> (1725). Introduction by Alexander +Chorney. +</div> +<div class="publist"> +[<span class="smallcaps">John Phillips</span>]: <i>Satyr Against Hypocrits</i> +(1655). Introduction by Leon Howard. +</div> +<div class="publist"> +<a href="https://www.gutenberg.org/etext/14525"><i>Prefaces +to +Fiction.</i></a> Selected and with an Introduction by Benjamin +Boyce. +</div> +<div class="publist"> +<span class="smallcaps">Thomas Tyers</span>: <i>A Biographical +Sketch +of Dr. Samuel Johnson</i> ([1785]). 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