Table-Talk

unsuspected competitor steps in before him, and carries off the prize, leaving him to commence his irksome toil again. He is in a state of alarm at every appearance or rumour of the appearance of a new actor: “a mouse that takes up its lodgings in a cat’s ear”29 has a mansion of peace to him: he dreads every hint of an objection, and least of all, can forgive praise mingled with censure: to doubt is to insult; to discriminate is to degrade: he dare hardly look into a criticism unless someone has tasted it for him, to see that there is no offence in it: if he does not draw crowded houses every night, he can neither eat nor sleep; or if all these terrible inflections are removed, and he can “eat his meal in peace,” he then becomes surfeited with applause and dissatisfied with his profession: he wants to be something else, to be distinguished as an author, a collector, a classical scholar, a man of sense and information, and weighs every word he utters, and half retracts it before he utters it, lest if he were to make the smallest slip of the tongue it should get buzzed abroad that Mr. ⸻ was only clever as an actor! If ever there was a man who did not derive more pain than pleasure from his vanity, that man, says Rousseau, was no other than a fool. A country gentleman near Taunton spent his whole life in making some hundreds of wretched copies of second-rate pictures, which were bought up at his death by a neighbouring baronet, to whom

“Some Demon whisper’d, L⁠⸺, have a taste!”

A little Wilson in an obscure corner escaped the man of virtu, and was carried off by a Bristol picture-dealer for three guineas, while the muddled copies of the owner of the mansion (with the frames) fetched thirty, forty, sixty, a hundred ducats a piece. A friend of mine found a very fine Canaletti in a state of strange disfigurement, with the upper part of the sky smeared over and fantastically variegated with English clouds; and on inquiring of the person to whom it belonged whether something had not been done to it, received for answer “that a gentleman, a great artist in the neighbourhood, had retouched some parts of it.” What infatuation! Yet this candidate for the honours of the pencil might probably have made a jovial fox-hunter or respectable justice of the peace it he could only have stuck to what nature and fortune intended him for. Miss ⸻ can by no means be persuaded to quit the boards of the theatre at ⸻, a little country town in the West of England. Her salary has been abridged, her person ridiculed, her acting laughed at; nothing will serve⁠—she is determined to be an actress, and scorns to return to her former business as a milliner. Shall I go on? An actor in the same company was visited by the apothecary of the place in an ague-fit, who, on asking his landlady as to his way of life, was told that the poor gentleman was very quiet and gave little trouble, that he generally had a plate of mashed potatoes for his dinner, and lay in bed most of his time, repeating his part. A young couple, every way amiable and deserving, were to have been married, and a benefit-play was bespoke by the officers of the regiment quartered there, to defray the expense of a license and of the wedding-ring, but the profits of the night did not amount to the necessary sum, and they have, I fear, “virgined it e’er since”! Oh, for the pencil of Hogarth or Wilkie to give a view of the comic strength of the company at ⸻, drawn up in battle-array in the Clandestine Marriage, with a coup d’oeil of the pit, boxes, and gallery, to cure forever the love of the ideal, and the desire to shine and make holiday in the eyes of others, instead of retiring within ourselves and keeping our wishes and our thoughts at home!⁠—Even in the common affairs of life, in love, friendship, and marriage, how little security have we when we trust our happiness in the hands of others! Most of the friends I have seen have turned out the bitterest enemies, or cold, uncomfortable acquaintance. Old companions are like meats served up too often, that lose their relish and their wholesomeness. He who looks at beauty to admire, to adore it, who reads of its wondrous power in novels, in poems, or in plays, is not unwise; but let no man fall in love, for from that moment he is “the baby of a girl.” I like very well to repeat such lines as these in the play of Mirandola⁠—

“With what a waving air she goes
Along the corridor! How like a fawn!
Yet statelier. Hark! No sound, however soft,
Nor gentlest echo telleth when she treads,
But every motion of her shape doth seem
Hallowed by silence.”

But however beautiful the description, defend me from meeting with the original!

“The fly that sips treacle
Is lost in the sweets;
So he that tastes woman
Ruin meets.”

The song is Gay’s, not mine, and a bittersweet it is. How few out of the infinite number of those that marry and are given in marriage wed with those they would prefer to all the world; nay, how far the greater proportion are joined together by mere motives of convenience, accident, recommendation of friends, or indeed not unfrequently by the very fear of the event, by repugnance and a sort of fatal fascination: yet the tie is for life, not to be shaken off but with disgrace or death: a man no longer lives to himself, but is a body (as well as mind) chained to another, in spite of himself⁠—

“Like life and death in disproportion met.”

So Milton (perhaps from his own experience) makes Adam exclaim in the vehemence of