[Footnote 1: Abbé 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'Aubigné, 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 Véritable de tout ce qui s'est passé en
l'autre Monde, au combat des Parques et des Poëtes, sur la Mort de
Voiture.' This was illustrated 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 Æsop, 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 eyeballs 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 Passages [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 languishing 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.'
One scarce knows how to be serious in the Confutation of an Absurdity
that shews itself at the first Sight. It does not want any great Measure
of Sense to see the Ridicule of this monstrous Practice; but what makes
it the more astonishing, it is not the Taste of the Rabble, but of
Persons of the greatest Politeness, which has establish'd it.
If the Italians have a Genius for Musick above the English, the English
have a Genius for other Performances of a much higher Nature, and
capable of giving the Mind a much nobler Entertainment. Would one think
it was possible (at a Time when an Author lived that was able to write
the 'Phædra' and 'Hippolitus') [9] for a People to be so stupidly fond
of the Italian Opera, as scarce to give a Third Days Hearing to that
admirable Tragedy? Musick is certainly a very agreeable Entertainment,
but if it would take the entire Possession of our Ears, if it would make
us incapable of hearing Sense, if it would exclude Arts that have a much
greater Tendency to the Refinement of humane Nature: I must confess I
would allow it no better Quarter than 'Plato' has done, who banishes it
out of his Common-wealth.
At present, our Notions of Musick are so very uncertain, that we do not
know what it is we like, only, in general, we are transported with any
thing that is not English: so if it be of a foreign Growth, let it be
Italian, French, or High-Dutch, it is the same thing. In short, our
English Musick is quite rooted out, and nothing yet planted in its
stead.
When a Royal Palace is burnt to the Ground, every Man is at Liberty to
present his Plan for a new one; and tho' it be but indifferently put
together, it may furnish several Hints that may be of Use to a good
Architect. I shall take the same Liberty in a following Paper, of giving
my Opinion upon the Subject of Musick, which I shall lay down only in a
problematical Manner to be considered by those who are Masters in the
Art.