It is admirably remarked by a most excellent writer, that zeal can no more hurry a man to act in direct opposition to itself, than a rapid stream can carry a boat against its own current. I will venture to say, that for a man to act in direct contradiction to the dictates of his nature, is, if not impossible, as improbable and as miraculous as anything which can well be conceived. Should the best parts of the story of M. Antoninus be ascribed to Nero, or should the worst incidents of Nero's life be imputed to Antoninus, what would be more shocking to belief than either instance? whereas both these being related of their proper agent, constitute the truly marvellous.
Our modern authors of comedy have fallen almost universally into the error here hinted at; their heroes generally are notorious rogues, and their heroines abandoned jades, during the first four acts; but in the fifth, the former become very worthy gentlemen, and the latter women of virtue and discretion: nor is the writer often so kind as to give himself the least trouble to reconcile or account for this monstrous change and incongruity. There is, indeed, no other reason to be assigned for it, than because the play is drawing to a conclusion; as if it was no less natural in a rogue to repent in the last act of a play, than in the last of his life; which we perceive to be generally the case at Tyburn, a place which might indeed close the scene of some comedies with much propriety, as the heroes in these are most commonly eminent for those very talents which not only bring men to the gallows, but enable them to make an heroic figure when they are there.
Within these few restrictions, I think, every writer may be permitted to deal as much in the wonderful as he pleases; nay, if he thus keeps within the rules of credibility, the more he can surprize the reader the more he will engage his attention, and the more he will charm him. As a genius of the highest rank observes in his fifth chapter of the Bathos, “The great art of all poetry is to mix truth with fiction, in order to join the credible with the surprizing.”
For though every good author will confine himself within the bounds of probability, it is by no means necessary that his characters, or his incidents, should be trite, common, or vulgar; such as happen in every street, or in every house, or which may be met with in the home articles of a newspaper. Nor must he be inhibited from showing many persons and things, which may possibly have never fallen within the knowledge of great part of his readers. If the writer strictly observes the rules above-mentioned, he hath discharged his part; and is then intitled to some faith from his reader, who is indeed guilty of critical infidelity if he disbelieves him.
For want of a portion of such faith, I remember the character of a young lady of quality, which was condemned on the stage for being unnatural, by the unanimous voice of a very large assembly of clerks and apprentices; though it had the previous suffrages of many ladies of the first rank; one of whom, very eminent for her understanding, declared it was the picture of half the young people of her acquaintance.
Chapter ii. — In which the landlady pays a visit to Mr Jones.
When Jones had taken leave of his friend the lieutenant, he endeavoured to close his eyes, but all in vain; his spirits were too lively and wakeful to be lulled to sleep. So having amused, or rather tormented, himself with the thoughts of his Sophia till it was open daylight, he called for some tea; upon which occasion my landlady herself vouchsafed to pay him a visit.
This was indeed the first time she had seen him, or at least had taken any notice of him; but as the lieutenant had assured her that he was certainly some young gentleman of fashion, she now determined to show him all the respect in her power; for, to speak truly, this was one of those houses where gentlemen, to use the language of advertisements, meet with civil treatment for their money.