great temptation, and pierceth to the very heart; [4967]forma
verecundae, nocuit mihi visa puellae; but much more when those
artificial enticements and provocations of gestures, clothes, jewels,
pigments, exornations, shall be annexed unto it; those other
circumstances, opportunity of time and place shall concur, which of
themselves alone were all sufficient, each one in particular to produce
this effect. It is a question much controverted by some wise men, forma
debeat plus arti an naturae? Whether natural or artificial objects be
more powerful? but not decided: for my part I am of opinion, that
though beauty itself be a great motive, and give an excellent lustre in
sordibus, in beggary, as a jewel on a dunghill will shine and cast his
rays, it cannot be suppressed, which Heliodorus feigns of Chariclia,
though she were in beggar's weeds: yet as it is used, artificial is of
more force, and much to be preferred.
[4968]Sic dentata sibi videtur Aegle,
Emptis ossibus Indicoque cornu;
Sic quae nigrior est cadente moro,
Cerussata sibi placet Lychoris.
So toothless Aegle seems a pretty one,
Set out with new-bought teeth of Indy bone:
So foul Lychoris blacker than berry
Herself admires, now finer than cherry.
John Lerius the Burgundian, cap. 8. hist. navigat. in Brazil. is
altogether on my side. For whereas (saith he) at our coming to Brazil,
we found both men and women naked as they were born, without any
covering, so much as of their privities, and could not be persuaded, by
our Frenchmen that lived a year with them, to wear any, [4969]Many will
think that our so long commerce with naked women, must needs be a great
provocation to lust; but he concludes otherwise, that their nakedness
did much less entice them to lasciviousness, than our women's clothes.
And I dare boldly affirm (saith he) that those glittering attires,
counterfeit colours, headgears, curled hairs, plaited coats, cloaks,
gowns, costly stomachers, guarded and loose garments, and all those
other accoutrements, wherewith our countrywomen counterfeit a beauty,
and so curiously set out themselves, cause more inconvenience in this
kind, than that barbarian homeliness, although they be no whit inferior
unto them in beauty. I could evince the truth of this by many other
arguments, but I appeal (saith he) to my companions at that present,
which were all of the same mind. His countryman, Montague, in his
essays, is of the same opinion, and so are many others; out of whose
assertions thus much in brief we may conclude, that beauty is more
beholden to art than nature, and stronger provocations proceed from
outward ornaments, than such as nature hath provided. It is true that
those fair sparkling eyes, white neck, coral lips, turgent paps,
rose-coloured cheeks, &c., of themselves are potent enticers; but when
a comely, artificial, well-composed look, pleasing gesture, an affected
carriage shall be added, it must needs be far more forcible than it
was, when those curious needleworks, variety of colours, purest dyes,
jewels, spangles, pendants, lawn, lace, tiffanies, fair and fine linen,
embroideries, calamistrations, ointments, etc. shall be added, they
will make the veriest dowdy otherwise, a goddess, when nature shall be
furthered by art. For it is not the eye of itself that enticeth to
lust, but an adulterous eye, as Peter terms it, 2. ii. 14. a wanton, a
rolling, lascivious eye: a wandering eye, which Isaiah taxeth, iii. 16.
Christ himself, and the Virgin Mary, had most beautiful eyes, as
amiable eyes as any persons, saith [4970]Baradius, that ever lived, but
withal so modest, so chaste, that whosoever looked on them was freed
from that passion of burning lust, if we may believe [4971]Gerson and
[4972]Bonaventure: there was no such antidote against it, as the Virgin
Mary's face; 'tis not the eye, but carriage of it, as they use it, that
causeth such effects. When Pallas, Juno, Venus, were to win Paris'
favour for the golden apple, as it is elegantly described in that
pleasant interlude of [4973]Apuleius, Juno came with majesty upon the
stage, Minerva gravity, but Venus dulce subridens, constitit amaene; et
gratissimae, Graticae deam propitiantes, &c. came in smiling with her
gracious graces and exquisite music, as if she had danced, et
nonnunquam saltare solis oculis, and which was the main matter of all,
she danced with her rolling eyes: they were the brokers and harbingers
of her suite. So she makes her brags in a modern poet,
[4974]Soon could I make my brow to tyrannise,
And force the world do homage to mine eyes.
The eye is a secret orator, the first bawd, Amoris porta, and with
private looks, winking, glances and smiles, as so many dialogues they
make up the match many times, and understand one another's meanings,
before they come to speak a word. [4975]Euryalus and Lucretia were so
mutually enamoured by the eye, and prepared to give each other
entertainment, before ever they had conference: he asked her good will
with his eyes; she did suffragari, and gave consent with a pleasant
look. That [4976]Thracian Rodophe was so excellent at this dumb
rhetoric, that if she had but looked upon any one almost (saith
Calisiris) she would have bewitched him, and he could not possibly
escape it. For as [4977]Salvianus observes, the eyes are the windows of
our souls, by which as so many channels, all dishonest concupiscence
gets into our hearts. They reveal our thoughts, and as they say, frons
animi index, but the eye of the countenance, [4978]Quid procacibus
intuere ocellis? &c. I may say the same of smiling, gait, nakedness of
parts, plausible gestures, &c. To laugh is the proper passion of a man,
an ordinary thing to smile; but those counterfeit, composed, affected,
artificial and reciprocal, those counter-smiles are the dumb shows and
prognostics of greater matters, which they most part use, to inveigle
and deceive; though many fond lovers again are so frequently mistaken,
and led into a fool's paradise. For if they see but a fair maid laugh,
or show a pleasant countenance, use some gracious words or gestures,
they apply it all to themselves, as done in their favour; sure she
loves them, she is willing, coming, &c.
Stultus quando videt quod pulchra puellula ridet,
Tum fatuus credit se quod amare velit:
When a fool sees a fair maid for to smile,
He thinks she loves him, 'tis but to beguile.
They make an art of it, as the poet telleth us,
[4979]Quis credat? discunt etiam ridere puellae,
Quaeritur atque illis hac quoque parte decor.
Who can believe? to laugh maids make an art,
And seek a pleasant grace to that same part.
And 'tis as great an enticement as any of the rest,
[4980]———subrisit molle puella,
Cor tibi rite salit.
She makes thine heart leap with [4981]a pleasing gentle smile of hers.
[4982]Dulce ridentem Lalagen amabo,
Dulce loquentem,
I love Lalage as much for smiling, as for discoursing, delectata illa
risit tam blandum, as he said in Petronius of his mistress, being well
pleased, she gave so sweet a smile. It won Ismenias, as he [4983]
confesseth, Ismene subrisit amatorium, Ismene smiled so lovingly the
second time I saw her, that I could not choose but admire her: and
Galla's sweet smile quite overcame [4984]Faustus the shepherd, Me
aspiciens moils blande subrisit ocellis. All other gestures of the body
will enforce as much. Daphnis in [4985]Lucian was a poor tattered wench
when I knew her first, said Corbile, pannosa et Zacera, but now she is
a stately piece indeed, hath her maids to attend her, brave attires,
money in her purse, &c., and will you know how this came to pass? by
setting out herself after the best fashion, by her pleasant carriage,
affability, sweet smiling upon all, &c. Many women dote upon a man for
his compliment only, and good behaviour, they are won in an instant;
too credulous to believe that every light wanton suitor, who sees or
makes love to them, is instantly enamoured, he certainly dotes on,
admires them, will surely marry, when as he means nothing less, 'tis
his ordinary carriage in all such companies. So both delude each other
by such outward shows; and amongst the rest, an upright, a comely
grace, courtesies, gentle salutations, cringes, a mincing gait, a
decent and an affected pace, are most powerful enticers, and which the
prophet Isaiah, a courtier himself, and a great observer, objected to
the daughters of Zion, iii. 16. they minced as they went, and made a
tinkling with their feet. To say the truth, what can they not effect by
such means?
Whilst nature decks them in their best attires
Of youth and beauty which the world admires.
[4986]Urit—voce, manu, gressu, pectore, fronte, oculis. When art shall
be annexed to beauty, when wiles and guiles shall concur; for to speak
as it is, love is a kind of legerdemain; mere juggling, a fascination.
When they show their fair hand, fine foot and leg withal, magnum sui
desiderium nobis relinquunt, saith [4987]Balthazar Castilio, lib. 1.
they set us a longing, and so when they pull up their petticoats, and
outward garments, as usually they do to show their fine stockings, and
those of purest silken dye, gold fringes, laces, embroiderings, (it
shall go hard but when they go to church, or to any other place, all
shall be seen) 'tis but a springe to catch woodcocks; and as
[4988]Chrysostom telleth them downright, though they say nothing with
their mouths, they speak in their gait, they speak with their eyes,
they speak in the carriage of their bodies. And what shall we say
otherwise of that baring of their necks, shoulders, naked breasts, arms
and wrists, to what end are they but only to tempt men to lust!
[4989]Nam quid lacteolus sinus, et ipsas
Prae te fers sine linteo papillas?
Hoc est dicere, posce, posce, trado;
Hoc est ad Venerem vocare amantes.
There needs no more, as [4990]Fredericus Matenesius well observes, but
a crier to go before them so dressed, to bid us look out, a trumpet to
sound, or for defect a sow-gelder to blow,
[4991]Look out, look out and see
What object this may be
That doth perstringe mine eye;
A gallant lady goes
In rich and gaudy clothes,
But whither away God knows,
———look out, &c., et quae sequuntur,
or to what end and purpose? But to leave all these fantastical
raptures, I'll prosecute my intended theme. Nakedness, as I have said,
is an odious thing of itself, remedium amoris; yet it may be so used,
in part, and at set times, that there can be no such enticement as it
is;
[4992]Nec mihi cincta Diana placet, nec nuda Cythere,
Illa voluptatis nil habet, haec nimium.
David so espied Bathsheba, the elders Susanna: [4993]Apelles was
enamoured with Campaspe, when he was to paint her naked. Tiberius in
Suet. cap. 42. supped with Sestius Gallus an old lecher, libidinoso
sene, ea lege ut nudae puellae administrarent; some say as much of
Nero, and Pontus Huter of Carolus Pugnax. Amongst the Babylonians, it
was the custom of some lascivious queans to dance frisking in that
fashion, saith Curtius lib. 5. and Sardus de mor. gent. lib. 1. writes
of others to that effect. The [4994]Tuscans at some set banquets had
naked women to attend upon them, which Leonicus de Varia hist. lib. 3.
cap. 96. confirms of such other bawdy nations. Nero would have filthy
pictures still hanging in his chamber, which is too commonly used in
our times, and Heliogabalus, etiam coram agentes, ut ad venerem
incitarent: So things may be abused. A servant maid in Aristaenetus
spied her master and mistress through the key-hole [4995]merrily
disposed; upon the sight she fell in love with her master.
[4996]Antoninus Caracalla observed his mother-in-law with her breasts
amorously laid open, he was so much moved, that he said, Ah si liceret,
O that I might; which she by chance overhearing, replied as impudently,
[4997]Quicquid libet licet, thou mayst do what thou wilt: and upon that
temptation he married her: this object was not in cause, not the thing
itself, but that unseemly, indecent carriage of it.
When you have all done, veniunt a veste sagittae the greatest
provocations of lust are from our apparel; God makes, they say, man
shapes, and there is no motive like unto it;
[4998]Which doth even beauty beautify,
And most bewitch a wretched eye,
a filthy knave, a deformed quean, a crooked carcass, a mawkin, a witch,
a rotten post, a hedgestake may be so set out and tricked up, that it
shall make as fair a show, as much enamour as the rest: many a silly
fellow is so taken. Primum luxuriae, aucupium, one calls it, the first
snare of lust; [4999]Bossus aucupium animarum, lethalem arundinem, a
fatal reed, the greatest bawd, forte lenocinium, sanguineis lachrymis
deplorandum, saith [5000]Matenesius, and with tears of blood to be
deplored. Not that comeliness of clothes is therefore to be condemned,
and those usual ornaments: there is a decency and decorum in this as
well as in other things, fit to be used, becoming several persons, and
befitting their estates; he is only fantastical that is not in fashion,
and like an old image in arras hangings, when a manner of attire is
generally received; but when they are so new-fangled, so unstaid, so
prodigious in their attires, beyond their means and fortunes,
unbefitting their age, place, quality, condition, what should we
otherwise think of them? Why do they adorn themselves with so many
colours of herbs, fictitious flowers, curious needleworks, quaint
devices, sweet-smelling odours, with those inestimable riches of
precious stones, pearls, rubies, diamonds, emeralds, &c.? Why do they
crown themselves with gold and silver, use coronets and tires of
several fashions, deck themselves with pendants, bracelets, earrings,
chains, girdles, rings, pins, spangles, embroideries, shadows,
rebatoes, versicolour ribands? why do they make such glorious shows
with their scarves, feathers, fans, masks, furs, laces, tiffanies,
ruffs, falls, calls, cuffs, damasks, velvets, tinsels, cloth of gold,
silver, tissue? with colours of heavens, stars, planets: the strength
of metals, stones, odours, flowers, birds, beasts, fishes, and
whatsoever Africa, Asia, America, sea, land, art, and industry of man
can afford? Why do they use and covet such novelty of inventions; such
new-fangled tires, and spend such inestimable sums on them? To what end
are those crisped, false hairs, painted faces, as [5001]the satirist
observes, such a composed gait, not a step awry? Why are they like so
many Sybarites, or Nero's Poppaea, Ahasuerus' concubines, so costly, so
long a dressing, as Caesar was marshalling his army, or a hawk in
pruning? [5002]Dum moliuntur, dum comuntur annus est: a [5003]gardener
takes not so much delight and pains in his garden, a horseman to dress
his horse, scour his armour, a mariner about his ship, a merchant his
shop and shop-book, as they do about their faces, and all those other
parts: such setting up with corks, straightening with whalebones; why
is it, but as a day-net catcheth larks, to make young men stoop unto
them? Philocharus, a gallant in Aristenaetus, advised his friend
Poliaenus to take heed of such enticements, [5004]for it was the sweet
sound and motion of his mistress's spangles and bracelets, the smell of
her ointments, that captivated him first, Illa fuit mentis prima ruina
meae. Quid sibi vult pixidum turba, saith [5005]Lucian, to what use are
pins, pots, glasses, ointments, irons, combs, bodkins, setting-sticks?
why bestow they all their patrimonies and husbands' yearly revenues on
such fooleries? [5006]bina patrimonia singulis auribus; why use they
dragons, wasps, snakes, for chains, enamelled jewels on their necks,
ears? dignum potius foret ferro manus istas religari, atque utinam
monilia vere dracones essent; they had more need some of them be tied
in bedlam with iron chains, have a whip for a fan, and hair-cloths next
to their skins, and instead of wrought smocks, have their cheeks
stigmatised with a hot iron: I say, some of our Jezebels, instead of
painting, if they were well served. But why is all this labour, all
this cost, preparation, riding, running, far-fetched, and dear bought
stuff? [5007]Because forsooth they would be fair and fine, and where
nature, is defective, supply it by art. [5008]Sanguine quae vero non
rubet, arte rubet, (Ovid); and to that purpose they anoint and paint
their faces, to make Helen of Hecuba—parvamque exortamque
puellam—Europen.[5009]To this intent they crush in their feet and
bodies, hurt and crucify themselves, sometimes in lax-clothes, a
hundred yards I think in a gown, a sleeve; and sometimes again so
close, ut nudos exprimant artus. [5010]Now long tails and trains, and
then short, up, down, high, low, thick, thin, &c.; now little or no
bands, then as big as cart wheels; now loose bodies, then great
farthingales and close girt, &c. Why is all this, but with the whore in
the Proverbs, to intoxicate some or other? oculorum decipulam,[5011]one
therefore calls it, et indicem libidinis, the trap of lust, and sure
token, as an ivy-bush is to a tavern.
Quod pulchros Glycere sumas de pixide vultus,
Quod tibi compositae nec sine lege comae:
Quod niteat digitis adamas, Beryllus in aure,
Non sum divinus, sed scio quid cupias.
O Glycere, in that you paint so much,
Your hair is so bedeckt in order such.
With rings on fingers, bracelets in your ear,
Although no prophet, tell I can, I fear.
To be admired, to be gazed on, to circumvent some novice; as many times
they do, that instead of a lady he loves a cap and a feather instead of
a maid that should have verum colorem, corpus solidum et succi plenum
(as Chaerea describes his mistress in the [5012]poet), a painted face,
a ruff-band, fair and fine linen, a coronet, a flower,
([5013]Naturaeque putat quod fuit artificis,) a wrought waistcoat he
dotes on, or a pied petticoat, a pure dye instead of a proper woman.
For generally, as with rich-furred conies, their cases are far better
than their bodies, and like the bark of a cinnamon, tree, which is
dearer than the whole bulk, their outward accoutrements are far more
precious than their inward endowments. 'Tis too commonly so.
[5014]Auferimur cultu, et gemmis, auroque teguntur
Omnia; pars minima est ipsa puella sui.
With gold and jewels all is covered,
And with a strange tire we are won,
(Whilst she's the least part of herself)
And with such baubles quite undone.
Why do they keep in so long together, a whole winter sometimes, and
will not be seen but by torch or candlelight, and come abroad with all
the preparation may be, when they have no business, but only to show
themselves? Spectatum veniunt, veniunt spectentur ut ipsae.
[5015]For what is beauty if it be not seen,
Or what is't to be seen if not admir'd,
And though admir'd, unless in love desir'd?
why do they go with such counterfeit gait, which [5016]Philo Judeus
reprehends them for, and use (I say it again) such gestures, apish,
ridiculous, indecent attires, sybaritical tricks, fucos genis,
purpurissam venis, cerussam fronti, leges occulis, &c. use those sweet
perfumes, powders and ointments in public; flock to hear sermons so
frequent, is it for devotion? or rather, as [5017]Basil tells them, to
meet their sweethearts, and see fashions; for, as he saith, commonly
they come so provided to that place, with such curious compliments,
with such gestures and tires, as if they should go to a dancing-school,
a stage-play, or bawdy-house, fitter than a church.
When such a she-priest comes her mass to say,
Twenty to one they all forget to pray.
They make those holy temples, consecrated to godly martyrs and
religious uses, the shops of impudence, dens of whores and thieves, and
little better than brothel houses. When we shall see these things daily
done, their husbands bankrupts, if not cornutos, their wives light
housewives, daughters dishonest; and hear of such dissolute acts, as
daily we do, how should we think otherwise? what is their end, but to
deceive and inveigle young men? As tow takes fire, such enticing
objects produce their effect, how can it be altered? When Venus stood
before Anchises (as [5018]Homer feigns in one of his hymns) in her
costly robes, he was instantly taken,
Cum ante ipsum staret Jovis filia, videns eam
Anchises, admirabatur formam, et stupendas vestes;
Erat enim induta peplo, igneis radiis spiendidiore;
Habebat quoque torques fulgidos, flexiles haelices,
Tenerum collum ambiebant monilia pulchra,
Aurea, variegata.———
When Venus stood before Anchises first,
He was amaz'd to see her in her tires;
For she had on a hood as red as fire,
And glittering chains, and ivy-twisted spires,
About her tender neck were costly brooches,
And necklaces of gold, enamell'd ouches.
So when Medea came in presence of Jason first, attended by her nymphs
and ladies, as she is described by [5019]Apollonius,
Cunctas vero ignis instar sequebatur splendor,
Tantum ab aureis fimbriis resplendebat jubar,
Accenditque in oculis dulce desiderium.
A lustre followed them like flaming fire,
And from their golden borders came such beams,
Which in his eyes provok'd a sweet desire.
Such a relation we have in [5020]Plutarch, when the queens came and
offered themselves to Antony, [5021]with diverse presents, and enticing
ornaments, Asiatic allurements, with such wonderful joy and festivity,
they did so inveigle the Romans, that no man could contain himself, all
was turned to delight and pleasure. The women transformed themselves to
Bacchus shapes, the men-children to Satyrs and Pans; but Antony himself
was quite besotted with Cleopatra's sweet speeches, philters, beauty,
pleasing tires: for when she sailed along the river Cydnus, with such
incredible pomp in a gilded ship, herself dressed like Venus, her maids
like the Graces, her pages like so many Cupids, Antony was amazed, and
rapt beyond himself. Heliodorus, lib. 1. brings in Dameneta, stepmother
to Cnemon, whom she [5022]saw in his scarves, rings, robes, and
coronet, quite mad for the love of him. It was Judith's pantofles that
ravished the eyes of Holofernes. And [5023]Cardan is not ashamed to
confess, that seeing his wife the first time all in white, he did
admire and instantly love her. If these outward ornaments were not of
such force, why doth [5024]Naomi give Ruth counsel how to please Boaz?
and [5025]Judith, seeking to captivate Holofernes, washed and anointed
herself with sweet ointments, dressed her hair, and put on costly
attires. The riot in this kind hath been excessive in times past; no
man almost came abroad, but curled and anointed,
[5026]Et matutino suadans Crispinus amomo.
Quantum vix redolent duo funera.