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of little ungenerous tempers. A young man with this cast of mind cuts himself off from all manner of improvement. Every one has his flaws and weaknesses; nay, the greatest blemishes are often found in the most shining characters; but what an absurd thing is it to pass over all the valuable parts of a man, and fix our attention on his infirmities to observe his imperfections more than his virtues 2 and to make use of him for the sport of others, rather than for our own improvement? We therefore very often find, that persons the most accomplished in ridicule, are those who are very shrewd at hitting a blot, without exerting any thing masterly in themselves. As there are many eminent critics who never writ a good line, there are many admirable buffoons that animadvert upon every single defect in another, without ever discovering the least beauty of their own. By this means, these unlucky little wits often gain reputation in the esteem of vulgar minds, and raise themselves above persons of much more laudable characters. If the talent of ridicule were employed to laugh men out of vice and folly, it might be of some use to the world; but instead of this, we find that it is generally made use of to laugh men out of virtue and good sense, by attacking every thing that is solemn and serious, decent and praise-worthy in human life. We may observe, that in the first ages of the world, when the great souls and master-pieces of human nature were produced, men shined by a noble simplicity of behaviour, and were strangers to those little embellishments which are so fashionable in our present conversation. And it is very remarkable, that notwithstanding we fall short at present of the ancients in poetry, painting, oratory, history, architecture, and all the noble arts and sciences which depend more upon genius than experience, we exceed them as much in doggerel, humour, burlesque, and all the trivial arts of ridicule. We meet with more raillery among the moderns, but more good sense among the ancients. The two great branches of ridicule in writing are comedy and burlesque. The first ridicules persons by drawing them in their proper characters, the other by drawing them quite unlike themselves. Burlesque is therefore of two kinds; the first represents mean persons in accoutrements of heroes, the other describes great persons acting and speaking like the basest among the people. Don Quixote is an instance of the first, and Lucian's gods of the second. It is a dispute among the critics, whether burlesque poetry runs best in heroic verse, like that of the Dispensary; or in doggerel, like that of Hudibras. I think where the low character is to be raised, the heroic is the proper measure; but when an hero is to be pulled down and degraded, it is done best in doggerel. If Hudibras had been set out with as much wit and humour in heroic verse as he is in doggerel, he would have made a much more agreeable figure than he does; though the generality of his readers are so wonderfully pleased with the double rhimes, that I do not expect many will be of my opinion in this particular. I shall conclude this essay upon laughter with observing, that the metaphor of laughing, applied to fields and meadows when they are in flower, or to trees when they are in blossom, runs through all languages; which I have not observed of any other metaphor, excepting that of fire and burning when they are applied to love. This shews that we naturally regard laughter, as what is in itself both amiable and beautiful. For this reason, likewise, Venus has gained the title of paeons, the laughter-loving dame, as Waller has translated it, and is represented by Horace as the goddess who delights in laughter. Milton, in a joyous assembly of imaginary persons, has given us a very poetical figure of laughter. His whole band of mirth is so finely described, that I shall set the passage down at length.
But come, thou goddess, fair and free,
Haste thee, nymph, and bring with thee
No. 251. TUESDAY, DECEMBER 18.
Linguæ centum sunt, oraque centum,
TheRE is nothing which more astonishes a foreigner, and frights a country squire, than the Cries of London. My good friend Sir Roger often declares, that he cannot get them out of his head, or go to sleep for them, the first week that he is in town. On the contrary, Will. Honeycomb calls them the Ramage de la Ville, and prefers them to the sounds of larks and nightingales, with all the music of the fields and woods. I have lately received a letter from some very odd fellow upon this subject, which I shall leave with my reader, without saying any thing further of it.
“SIR, “I AM a man out of all business, and would willingly turn my head to any thing for an honest livelihood. I have invented several projects for raising many millions of money without burthening the subject, but I cannot get the parliament to listen to me, who look upon me, forsooth, as a crack and a projector; so that despairing to enrich either myself or my country by this publicspiritedness, I would make some proposals to you relating to a design which I have very much at heart, and which may procure me an handsome subsistence, if you will be pleased to recommend it to the cities of London and Westminster. “The post I would aim at is to be Comptrollergeneral of the London Cries, which are at present under no manner of rules or discipline. I think I am pretty well qualified for this place, as being a man of very strong lungs, of great insight into all the branches of our British trades and manufactures, and of a competent skill in music. “The cries of London may be divided into vocal and instrumental. As for the latter, they are at present under a very great disorder. A freeman of London has the privilege of disturbing a whole street for an hour together, with the twanking of a brass-kettle or a fryingpan. The watchman's thump at midnight startles us in our beds, as much as the breaking in of a thief. The sowgelder's horn has indeed something musical in it, but this is seldom heard within the liberties. I would therefore propose, that no instrument of this nature should be made use of, which I have not tuned and licensed, after having carefully examined in what manner it may affect the ears of her Majesty's liege subjects. “Vocal cries are of a much larger extent, and, indeed, so full of incongruities and barbarisms, that we appear a distracted city to foreigners, who do not comprehend the meaning of such enormous outcries. Milk is generally sold in a note above ela, and in sounds so exceeding shrill, that it often sets our teeth on edge. The chimney-sweeper is confined to no certain pitch; he sometimes utters himself in the deepest base, and sometimes in the sharpest treble; sometimes in the highest, and sometimes in the lowest note of the gamut. The same observation might be made on the retailers of small-coal, not to mention broken glasses or brick-dust.
In these, therefore, and the like cases, it should be my