Chapter i. — A comparison between the world and the stage.
The world hath been often compared to the theatre; and many grave writers, as well as the poets, have considered human life as a great drama, resembling, in almost every particular, those scenical representations which Thespis is first reported to have invented, and which have been since received with so much approbation and delight in all polite countries.
This thought hath been carried so far, and is become so general, that some words proper to the theatre, and which were at first metaphorically applied to the world, are now indiscriminately and literally spoken of both; thus stage and scene are by common use grown as familiar to us, when we speak of life in general, as when we confine ourselves to dramatic performances: and when transactions behind the curtain are mentioned, St James's is more likely to occur to our thoughts than Drury-lane.
It may seem easy enough to account for all this, by reflecting that the theatrical stage is nothing more than a representation, or, as Aristotle calls it, an imitation of what really exists; and hence, perhaps, we might fairly pay a very high compliment to those who by their writings or actions have been so capable of imitating life, as to have their pictures in a manner confounded with, or mistaken for, the originals.
But, in reality, we are not so fond of paying compliments to these people, whom we use as children frequently do the instruments of their amusement; and have much more pleasure in hissing and buffeting them, than in admiring their excellence. There are many other reasons which have induced us to see this analogy between the world and the stage.
Some have considered the larger part of mankind in the light of actors, as personating characters no more their own, and to which in fact they have no better title, than the player hath to be in earnest thought the king or emperor whom he represents. Thus the hypocrite may be said to be a player; and indeed the Greeks called them both by one and the same name.
The brevity of life hath likewise given occasion to this comparison. So the immortal Shakespear—
—Life's a poor player,
That struts and frets his hour upon the stage,
And then is heard no more.
For which hackneyed quotation I will make the reader amends by a very noble one, which few, I believe, have read. It is taken from a poem called the Deity, published about nine years ago, and long since buried in oblivion; a proof that good books, no more than good men, do always survive the bad.
From Thee[*] all human actions take their springs,
The rise of empires and the fall of kings!
See the vast Theatre of Time display'd,
While o'er the scene succeeding heroes tread!
With pomp the shining images succeed,
What leaders triumph, and what monarchs bleed!
Perform the parts thy providence assign'd,
Their pride, their passions, to thy ends inclin'd:
Awhile they glitter in the face of day,
Then at thy nod the phantoms pass away;
No traces left of all the busy scene,
But that remembrance says—The things have been!
[*] The Deity.
In all these, however, and in every other similitude of life to the theatre, the resemblance hath been always taken from the stage only. None, as I remember, have at all considered the audience at this great drama.
But as Nature often exhibits some of her best performances to a very full house, so will the behaviour of her spectators no less admit the above-mentioned comparison than that of her actors. In this vast theatre of time are seated the friend and the critic; here are claps and shouts, hisses and groans; in short, everything which was ever seen or heard at the Theatre-Royal.
Let us examine this in one example; for instance, in the behaviour of the great audience on that scene which Nature was pleased to exhibit in the twelfth chapter of the preceding book, where she introduced Black George running away with the £500 from his friend and benefactor.
Those who sat in the world's upper gallery treated that incident, I am well convinced, with their usual vociferation; and every term of scurrilous reproach was most probably vented on that occasion.
If we had descended to the next order of spectators, we should have found an equal degree of abhorrence, though less of noise and scurrility; yet here the good women gave Black George to the devil, and many of them expected every minute that the cloven-footed gentleman would fetch his own.
The pit, as usual, was no doubt divided; those who delight in heroic virtue and perfect character objected to the producing such instances of villany, without punishing them very severely for the sake of example. Some of the author's friends cryed, “Look'e, gentlemen, the man is a villain, but it is nature for all that.” And all the young critics of the age, the clerks, apprentices, &c., called it low, and fell a groaning.
As for the boxes, they behaved with their accustomed politeness. Most of them were attending to something else. Some of those few who regarded the scene at all, declared he was a bad kind of man; while others refused to give their opinion, till they had heard that of the best judges.
Now we, who are admitted behind the scenes of this great theatre of Nature (and no author ought to write anything besides dictionaries and spelling-books who hath not this privilege), can censure the action, without conceiving any absolute detestation of the person, whom perhaps Nature may not have designed to act an ill part in all her dramas; for in this instance life most exactly resembles the stage, since it is often the same person who represents the villain and the heroe; and he who engages your admiration to-day will probably attract your contempt to-morrow. As Garrick, whom I regard in tragedy to be the greatest genius the world hath ever produced, sometimes condescends to play the fool; so did Scipio the Great, and Laelius the Wise, according to Horace, many years ago; nay, Cicero reports them to have been “incredibly childish.” These, it is true, played the fool, like my friend Garrick, in jest only; but several eminent characters have, in numberless instances of their lives, played the fool egregiously in earnest; so far as to render it a matter of some doubt whether their wisdom or folly was predominant; or whether they were better intitled to the applause or censure, the admiration or contempt, the love or hatred, of mankind.
Those persons, indeed, who have passed any time behind the scenes of this great theatre, and are thoroughly acquainted not only with the several disguises which are there put on, but also with the fantastic and capricious behaviour of the Passions, who are the managers and directors of this theatre (for as to Reason, the patentee, he is known to be a very idle fellow and seldom to exert himself), may most probably have learned to understand the famous nil admirari of Horace, or in the English phrase, to stare at nothing.
A single bad act no more constitutes a villain in life, than a single bad part on the stage. The passions, like the managers of a playhouse, often force men upon parts without consulting their judgment, and sometimes without any regard to their talents. Thus the man, as well as the player, may condemn what he himself acts; nay, it is common to see vice sit as awkwardly on some men, as the character of Iago would on the honest face of Mr William Mills.
Upon the whole, then, the man of candour and of true understanding is never hasty to condemn. He can censure an imperfection, or even a vice, without rage against the guilty party. In a word, they are the same folly, the same childishness, the same ill-breeding, and the same ill-nature, which raise all the clamours and uproars both in life and on the stage. The worst of men generally have the words rogue and villain most in their mouths, as the lowest of all wretches are the aptest to cry out low in the pit.
Chapter ii. — Containing a conversation which Mr Jones had with himself.
Jones received his effects from Mr Allworthy's early in the morning, with the following answer to his letter:—
“SIR,
“I am commanded by my uncle to acquaint you, that as he did not
proceed to those measures he had taken with you, without the
greatest deliberation, and after the fullest evidence of your
unworthiness, so will it be always out of your power to cause the
least alteration in his resolution. He expresses great surprize at
your presumption in saying you have resigned all pretensions to a
young lady, to whom it is impossible you should ever have had any,
her birth and fortune having made her so infinitely your superior.
Lastly, I am commanded to tell you, that the only instance of your
compliance with my uncle's inclinations which he requires, is, your
immediately quitting this country. I cannot conclude this without
offering you my advice, as a Christian, that you would seriously
think of amending your life. That you may be assisted with grace so
to do, will be always the prayer of
“Your humble servant,
“W. BLIFIL.”
Many contending passions were raised in our heroe's mind by this letter; but the tender prevailed at last over the indignant and irascible, and a flood of tears came seasonably to his assistance, and possibly prevented his misfortunes from either turning his head, or bursting his heart.
He grew, however, soon ashamed of indulging this remedy; and starting up, he cried, “Well, then, I will give Mr Allworthy the only instance he requires of my obedience. I will go this moment—but whither?—why, let Fortune direct; since there is no other who thinks it of any consequence what becomes of this wretched person, it shall be a matter of equal indifference to myself. Shall I alone regard what no other—Ha! have I not reason to think there is another?—one whose value is above that of the whole world!—I may, I must imagine my Sophia is not indifferent to what becomes of me. Shall I then leave this only friend—and such a friend? Shall I not stay with her?—Where—how can I stay with her? Have I any hopes of ever seeing her, though she was as desirous as myself, without exposing her to the wrath of her father, and to what purpose? Can I think of soliciting such a creature to consent to her own ruin? Shall I indulge any passion of mine at such a price? Shall I lurk about this country like a thief, with such intentions?—No, I disdain, I detest the thought. Farewel, Sophia; farewel, most lovely, most beloved—” Here passion stopped his mouth, and found a vent at his eyes.
And now having taken a resolution to leave the country, he began to debate with himself whither he should go. The world, as Milton phrases it, lay all before him; and Jones, no more than Adam, had any man to whom he might resort for comfort or assistance. All his acquaintance were the acquaintance of Mr Allworthy; and he had no reason to expect any countenance from them, as that gentleman had withdrawn his favour from him. Men of great and good characters should indeed be very cautious how they discard their dependents; for the consequence to the unhappy sufferer is being discarded by all others.
What course of life to pursue, or to what business to apply himself, was a second consideration: and here the prospect was all a melancholy void. Every profession, and every trade, required length of time, and what was worse, money; for matters are so constituted, that “nothing out of nothing” is not a truer maxim in physics than in politics; and every man who is greatly destitute of money, is on that account entirely excluded from all means of acquiring it.
At last the Ocean, that hospitable friend to the wretched, opened her capacious arms to receive him; and he instantly resolved to accept her kind invitation. To express myself less figuratively, he determined to go to sea.
This thought indeed no sooner suggested itself, than he eagerly embraced it; and having presently hired horses, he set out for Bristol to put it in execution.
But before we attend him on this expedition, we shall resort awhile to Mr Western's, and see what further happened to the charming Sophia.