No. 188. SATURDAY, JANUARY 4, 1751

----Si te colo, Sexte, non amabo.

MART. Lib. ii. Ep. iv. 33.

The more I honour thee, the less I love.

ONE of the desires dictated by vanity is more

general, or less blamable, than that of being

distinguished for the arts of conversation. Other

accomplishments may be possessed without opportunity

of exerting them, or wanted without danger

that the defect can often be remarked; but as no

man can live, otherwise than in an hermitage,

without hourly pleasure or vexation, from the fondness

or neglect of those about him, the faculty of giving

pleasure is of continual use. Few are more

frequently envied than those who have the power of

forcing attention wherever they come, whose entrance

is considered as a promise of felicity, and

whose departure is lamented, like the recess of the

sun from northern climates, as a privation of all

that enlivens fancy, or inspirits gaiety.

It is apparent, that to excellence in this valuable

art, some peculiar qualifications are necessary; for

every one's experience will inform him, that the

pleasure which men are able to give in conversation,

holds no stated proportion to their knowledge

or their virtue. Many find their way to the tables

and the parties of those who never consider them as

of the least importance in any other place; we have

all, at one time or other, been content to love those

whom we could not esteem, and been persuaded

to try the dangerous experiment of admitting him

for a companion, whom we knew to be too ignorant

for a counsellor, and too treacherous for a friend.

I question whether some abatement of character

is not necessary to general acceptance. Few spend

their time with much satisfaction under the eye of

uncontestable superiority; and therefore, among

those whose presence is courted at assemblies of

jollity, there are seldom found men eminently

distinguished for powers or acquisitions. The wit whose

vivacity condemns slower tongues to silence, the

scholar whose knowledge allows no man to fancy

that he instructs him, the critick who suffers no

fallacy to pass undetected, and the reasoner who

condemns the idle to thought, and the negligent

to attention, are generally praised and feared,

reverenced and avoided.

He that would please must rarely aim at such

excellence as depresses his hearers in their own

opinion, or debars them from the hope of contributing

reciprocally to the entertainment of the company.

Merriment, extorted by sallies of imagination,

sprightliness of remark, or quickness of reply, is too

often what the Latins call, the Sardinian laughter,

a distortion of the face without gladness of heart.

For this reason, no style of conversation is more

extensively acceptable than the narrative. He who

has stored his memory with slight anecdotes, private

incidents, and personal peculiarities, seldom

fails to find his audience favourable. Almost every

man listens with eagerness to contemporary history;

for almost every man has some real or imaginary

connexion with a celebrated character, some desire

to advance or oppose a rising name. Vanity often

co-operates with curiosity. He that is a hearer in

one place, qualifies himself to become a speaker in

another; for though he cannot comprehend a series

of argument, or transport the volatile spirit of wit

without evaporation, he yet thinks himself able to

treasure up the various incidents of a story, and

please his hopes with the information which he shall

give to some inferior society.

Narratives are for the most part heard without

envy, because they are not supposed to imply any

intellectual qualities above the common rate. To be

acquainted with facts not yet echoed by plebeian

mouths, may happen to one man as well as to

another; and to relate them when they are known,

has in appearance so little difficulty, that every one

concludes himself equal to the task.

But it is not easy, and in some situations of life

not possible, to accumulate such a stock of

materials as may support the expense of continual

narration; and it frequently happens, that they who

attempt this method of ingratiating themselves,

please only at the first interview; and, for want of

new supplies of intelligence, wear out their stories

by continual repetition.

There would be, therefore, little hope of

obtaining the praise of a good companion, were it not

to be gained by more compendious methods; but

such is the kindness of mankind to all, except

those who aspire to real merit and rational dignity,

that every understanding may find some way to

excite benevolence; and whoever is not envied may

learn the art of procuring love. We are willing to be

pleased, but are not willing to admire: we favour the

mirth or officiousness that solicits our regard, but

oppose the worth or spirit that enforces it.

The first place among those that please, because

they desire only to please, is due to the MERRY FELLOW,

whose laugh is loud, and whose voice is strong; who

is ready to echo every jest with obstreperous approbation,

and countenance every frolick with vociferations

of applause. It is not necessary to a merry

fellow to have in himself any fund of jocularity, or

force of conception; it is sufficient that he always

appears in the highest exaltation of gladness, for

the greater part of mankind are gay or serious by

infection, and follow without resistance the attraction

of example.

Next to the merry fellow is the GOOD-NATURED

MAN, a being generally without benevolence, or any

other virtue, than such as indolence and insensibility

confer. The characteristick of a good-natured

man is to bear a joke; to sit unmoved and unaffected

amidst noise and turbulence, profaneness and

obscenity; to hear every tale without contradiction;

to endure insult without reply; and to follow the

stream of folly, whatever course it shall happen to

take. The good-natured man is commonly the darling

of the petty wits, with whom they exercise

themselves in the rudiments of raillery; for he never

takes advantage of failings, nor disconcerts a puny

satirist with unexpected sarcasms; but while the

glass continues to circulate, contentedly bears the

expense of an uninterrupted laughter, and retires

rejoicing at his own importance.

The MODEST MAN is a companion of a yet lower

rank, whose only power of giving pleasure is not to

interrupt it. The modest man satisfies himself with

peaceful silence, which all his companions are candid

enough to consider as proceeding not from inability

to speak, but willingness to hear.

Many, without being able to attain any general

character of excellence, have some single art of

entertainment which serves them as a passport through

the world. One I have known for fifteen years the

darling of a weekly club, because every night,

precisely at eleven, he begins his favourite song, and

during the vocal performance, by corresponding

motions of his hand, chalks out a giant upon the

wall. Another has endeared himself to a long

succession of acquaintances by sitting among them

with his wig reversed; another by contriving to smut

the nose of any stranger who was to be initiated in

the club; another by purring like a cat, and then

pretending to be frighted; and another by yelping

like a hound, and calling to the drawers to drive out

the dog[b].

[b] Mrs. Piozzi, in her Anecdotes, informs us, that the man who

sung, and, by corresponding motions of his arm, chalked out a

giant on the wall, was one Richardson, an attorney: the ingenious

imitator of a cat, was one Busby, a proctor in the Commons: and

the father of Dr. Salter, of the Charter-House, a friend of

Johnson's, and a member of the Ivy-Lane Club, was the person who

yelped like a hound, and perplexed the distracted waiters.--Mr.

Chalmers, in his preface to the Rambler observes, that the

above-quoted lively writer was the only authority for these

assignments. She is certainly far too hasty and negligent to be

relied on, when unsupported by other testimony.--See Preface.

Such are the arts by which cheerfulness is

promoted, and sometimes friendship established; arts,

which those who despise them should not rigorously

blame, except when they are practised at the

expense of innocence; for it is always necessary to

be loved, but not always necessary to be reverenced.

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