The Spectator Volume I Part 17

Having been very well entertained, in the last of your Speculations that I have yet seen, by your Specimen upon Clubs, which I therefore hope you will continue, I shall take the Liberty to furnish you with a brief Account of such a one as perhaps you have not seen in all your Travels, unless it was your Fortune to touch upon some of the woody Parts of the _African_ Continent, in your Voyage to or from _Grand Cairo_. There have arose in this University (long since you left us without saying any thing) several of these inferior Hebdomadal Societies, as _the Punning Club_, _the Witty Club_, and amongst the rest, the _Handsom Club_; as a Burlesque upon which, a certain merry Species, that seem to have come into the World in Masquerade, for some Years last past have a.s.sociated themselves together, and a.s.sumed the name of the _Ugly Club_: This ill-favoured Fraternity consists of a President and twelve Fellows; the Choice of which is not confin'd by Patent to any particular Foundation (as _St. John's_ Men would have the World believe, and have therefore erected a separate Society within themselves) but Liberty is left to elect from any School in _Great Britain_, provided the Candidates be within the Rules of the Club, as set forth in a Table ent.i.tuled _The Act of Deformity_. A Clause or two of which I shall transmit to you.

I. That no Person whatsoever shall be admitted without a visible Quearity in his Aspect, or peculiar Cast of Countenance; of which the President and Officers for the time being are to determine, and the President to have the casting Voice.

II. That a singular Regard be had, upon Examination, to the Gibbosity of the Gentlemen that offer themselves, as Founders Kinsmen, or to the Obliquity of their Figure, in what sort soever.

III. That if the Quant.i.ty of any Man's Nose be eminently miscalculated, whether as to Length or Breadth, he shall have a just Pretence to be elected.

_Lastly_, That if there shall be two or more Compet.i.tors for the same Vacancy, _caeteris paribus_, he that has the thickest Skin to have the Preference.

Every fresh Member, upon his first Night, is to entertain the Company with a Dish of Codfish, and a Speech in praise of _aesop_; [2] whose portraiture they have in full Proportion, or rather Disproportion, over the Chimney; and their Design is, as soon as their Funds are sufficient, to purchase the Heads of _Thersites, Duns Scotus, Scarron, Hudibras_, and the old Gentleman in _Oldham_, [3] with all the celebrated ill Faces of Antiquity, as Furniture for the Club Room.

As they have always been profess'd Admirers of the other s.e.x, so they unanimously declare that they will give all possible Encouragement to such as will take the Benefit of the Statute, tho' none yet have appeared to do it.

The worthy President, who is their most devoted Champion, has lately shown me two Copies of Verses composed by a Gentleman of his Society; the first, a Congratulatory Ode inscrib'd to Mrs. _Touchwood_, upon the loss of her two Fore-teeth; the other, a Panegyrick upon Mrs.

_Andirons_ left Shoulder. Mrs. _Vizard_ (he says) since the Small Pox, is grown tolerably ugly, and a top Toast in the Club; but I never hear him so lavish of his fine things, as upon old _Nell Trot_, who constantly officiates at their Table; her he even adores, and extolls as the very Counterpart of Mother _s.h.i.+pton_; in short, _Nell_ (says he) is one of the Extraordinary Works of Nature; but as for Complexion, Shape, and Features, so valued by others, they are all meer Outside and Symmetry, which is his Aversion. Give me leave to add, that the President is a facetious, pleasant Gentleman, and never more so, than when he has got (as he calls 'em) his dear Mummers about him; and he often protests it does him good to meet a Fellow with a right genuine Grimmace in his Air, (which is so agreeable in the generality of the _French_ Nation;) and as an Instance of his Sincerity in this particular, he gave me a sight of a List in his Pocket-book of all of this Cla.s.s, who for these five Years have fallen under his Observation, with himself at the Head of 'em, and in the Rear (as one of a promising and improving Aspect),

Sir, Your Obliged and Humble Servant,

Alexander Carbuncle.' [Sidenote: Oxford, March 12, 1710.]

R.

[Footnote 1: Abbe Paul Scarron, the burlesque writer, high in court favour, was deformed from birth, and at the age of 27 lost the use of all his limbs. In 1651, when 41 years old, Scarron married Frances d'Aubigne, afterwards Madame de Maintenon; her age was then 16, and she lived with Scarron until his death, which occurred when she was 25 years old and left her very poor. Scarron's comparison of himself to the letter Z is in his address 'To the Reader who has Never seen Me,'

prefixed to his 'Relation Veritable de tout ce qui s'est pa.s.se en l'autre Monde, au combat des Parques et des Poetes, sur la Mort de Voiture.' This was ill.u.s.trated with a burlesque plate representing himself as seen from the back of his chair, and surrounded by a wondering and mocking world. His back, he said, was turned to the public, because the convex of his back is more convenient than the concave of his stomach for receiving the inscription of his name and age.]

[Footnote 2: The Life of aesop, ascribed to Planudes Maximus, a monk of Constantinople in the fourteenth century, and usually prefixed to the Fables, says that he was 'the most deformed of all men of his age, for he had a pointed head, flat nostrils, a short neck, thick lips, was black, pot-bellied, bow-legged, and hump-backed; perhaps even uglier than Homer's Thersites.']

[Footnote 3: The description of Thersites in the second book of the Iliad is thus translated by Professor Blackie:

'The most Ill-favoured wight was he, I ween, of all the Grecian host.

With hideous squint the railer leered: on one foot he was lame; Forward before his narrow chest his hunching shoulders came; Slanting and sharp his forehead rose, with shreds of meagre hair.'

Controversies between the Scotists and Thomists, followers of the teaching of Duns Scotus and Thomas Aquinas, caused Thomist perversion of the name of Duns into its use as Dunce and tradition of the subtle Doctor's extreme personal ugliness. Doctor Subtilis was translated The Lath Doctor.

Scarron we have just spoken of. Hudibras's outward gifts are described in Part I., Canto i., lines 240-296 of the poem.

'His beard In cut and dye so like a tile A sudden view it would beguile: The upper part thereof was whey; The nether, orange mix'd with grey.

This hairy meteor, &c.'

The 'old Gentleman in _Oldham_' is Loyola, as described in Oldham's third satire on the Jesuits, when

'Summon'd together, all th' officious band The orders of their bedrid, chief attend.'

Raised on his pillow he greets them, and, says Oldham,

'Like Delphic Hag of old, by Fiend possest, He swells, wild Frenzy heaves his panting breast, His bristling hairs stick up, his eyeb.a.l.l.s glow, And from his mouth long strakes of drivel flow.']

No. 18. Wednesday, March 21, 1711. Addison.

Equitis quoque jam migravit ab aure voluptas Omnis ad incertos oculos et gaudia vana.

Hor.

It is my Design in this Paper to deliver down to Posterity a faithful Account of the Italian Opera, and of the gradual Progress which it has made upon the English Stage: For there is no Question but our great Grand-children will be very curious to know the Reason why their Fore-fathers used to sit together like an Audience of Foreigners in their own Country, and to hear whole Plays acted before them in a Tongue which they did not understand.

'Arsinoe' [1] was the first Opera that gave us a Taste of Italian Musick. The great Success this Opera met with, produced some Attempts of forming Pieces upon Italian Plans, [which [2]] should give a more natural and reasonable Entertainment than what can be met with in the elaborate Trifles of that Nation. This alarm'd the Poetasters and Fidlers of the Town, who were used to deal in a more ordinary Kind of Ware; and therefore laid down an establish'd Rule, which is receiv'd as such to this [Day, [3]] 'That nothing is capable of being well set to Musick, that is not Nonsense.'

This Maxim was no sooner receiv'd, but we immediately fell to translating the Italian Operas; and as there was no great Danger of hurting the Sense of those extraordinary Pieces, our Authors would often make Words of their own [which[ 4]] were entirely foreign to the Meaning of the Pa.s.sages [they [5]] pretended to translate; their chief Care being to make the Numbers of the English Verse answer to those of the Italian, that both of them might go to the same Tune. Thus the famous Song in 'Camilla',

'Barbara si t' intendo, &c.'

Barbarous Woman, yes, I know your Meaning,

which expresses the Resentments of an angry Lover, was translated into that English lamentation:

'Frail are a Lovers Hopes, &c.'

And it was pleasant enough to see the most refined Persons of the British Nation dying away and languis.h.i.+ng to Notes that were filled with a Spirit of Rage and Indignation. It happen'd also very frequently, where the Sense was rightly translated, the necessary Transposition of Words [which [6]] were drawn out of the Phrase of one Tongue into that of another, made the Musick appear very absurd in one Tongue that was very natural in the other. I remember an Italian verse that ran thus Word for Word,

'And turned my Rage, into Pity;'

which the English for Rhime sake translated,

'And into Pity turn'd my Rage.'

By this Means the soft Notes that were adapted to Pity in the Italian, fell upon the word Rage in the English; and the angry Sounds that were turn'd to Rage in the Original, were made to express Pity in the Translation. It oftentimes happen'd likewise, that the finest Notes in the Air fell upon the most insignificant Words in the Sentence. I have known the Word 'And' pursu'd through the whole Gamut, have been entertained with many a melodious 'The', and have heard the most beautiful Graces Quavers and Divisions bestowed upon 'Then, For,' and 'From;' to the eternal Honour of our English Particles. [7]

The next Step to our Refinement, was the introducing of Italian Actors into our Opera; who sung their Parts in their own Language, at the same Time that our Countrymen perform'd theirs in our native Tongue. The King or Hero of the Play generally spoke in Italian, and his Slaves answered him in English: The Lover frequently made his Court, and gained the Heart of his Princess in a Language which she did not understand. One would have thought it very difficult to have carry'd on Dialogues after this Manner, without an Interpreter between the Persons that convers'd together; but this was the State of the English Stage for about three Years.

At length the Audience grew tir'd of understanding Half the Opera, and therefore to ease themselves Entirely of the Fatigue of Thinking, have so order'd it at Present that the whole Opera is performed in an unknown Tongue. We no longer understand the Language of our own Stage; insomuch that I have often been afraid, when I have seen our Italian Performers chattering in the Vehemence of Action, that they have been calling us Names, and abusing us among themselves; but I hope, since we do put such an entire Confidence in them, they will not talk against us before our Faces, though they may do it with the same Safety as if it [were [8]]

behind our Backs. In the mean Time I cannot forbear thinking how naturally an Historian, who writes Two or Three hundred Years hence, and does not know the Taste of his wise Fore-fathers, will make the following Reflection, 'In the Beginning of the Eighteenth Century, the Italian Tongue was so well understood in _England_, that Operas were acted on the publick Stage in that Language.'