of this extraordinary man who, in his way, never had an equal in any age before him, or in that wherein he lived. I speak of him as a companion, and a man qualified for conversation. His fortune exposed him to an obsequiousness towards the worst sort of company, but his excellent qualities rendered him capable of making the best figure in the most refined. I have been present with him among men of the most delicate taste a whole night, and have known him (for he saw it was desired) keep the discourse to himself the most part of it, and maintain his good humour with a countenance, in a language so delightful, without offence to any person or thing upon earth, still preserving the distance his circumstances obliged him to; I say, I have seen him do all this in such a charming manner that I am sure none of those I hint at will read this without giving him some sorrow for their abundant mirth, and one gush of tears for so many bursts of laughter. I wish it were any honour to the pleasant creature's memory that my eyes are too much suffused to let me go on

T.

JOSEPH ADDISON (1672-1719)

The Spectator, No. 13, March 15, 1711: Signior Nicolini and his

Lions

Dic mihi, si fueras tu leo, qualis eris?-MART.

THERE is nothing that of late years has afforded matter of greater amusement to the town than Signior Nicolini's combat with a lion in the Haymarket, which has been very often exhibited to the general satisfaction of most of the nobility and gentry in the kingdom of Great Britain. Upon the first rumor of this intended combat, it was confidently affirmed, and is still believed by many in both galleries, that there would be a tame lion sent from the Tower every opera night, in order to be killed by Hydaspes; this report, though altogether groundless, so universally prevailed in the upper regions of the playhouse, that some of the most refined politicians in those parts of the audience gave it out in whisper, that the lion was a cousin-german of the tiger who made his appearance in King William's days, and that the stage would be supplied with lions at the public expense, during the whole session. Many likewise were the conjectures of the treatment which this lion was to meet with from the hands of Signior Nicolini; some supposed that he was to subdue him in recitativo, as Orpheus used to serve the wild beasts in his time, and afterwards to knock him on the head; some fancied that the lion would

not pretend to lay his paws upon the hero, by reason of the received opinion, that a lion will not hurt a virgin: several, who pretended to have seen the opera in Italy, had informed their friends, that the lion was to act a part in High-Dutch, and roar twice or thrice to a thoroughbase, before he fell at the feet of Hydaspes. To clear up a matter that was so variously reported, I have made it my business to examine whether this pretended lion is really the savage he appears to be, or only a counterfeit.

But before I communicate my discoveries, I must acquaint the reader, that upon my walking behind the scenes last winter, as I was thinking on something else, I accidentally justled against a monstrous animal that extremely startled me, and upon my nearer survey of it, appeared to be a lion rampant. The lion, seeing me very much surprised, told me, in a gentle voice, that I might come by him if I pleased: "for," (says he,) "I do not intend to hurt anybody." I thanked him very kindly, and passed by him. And in a little time after saw him leap upon the stage, and act his part with great applause. It has been observed by several, that the lion has changed his manner of acting twice or thrice since his first appearance; which will not seem strange, when I acquaint my reader that the lion has been changed upon the audience three several times. The first lion was a candle-snuffer, who being a fellow of a testy, choleric temper, overdid his part, and would not suffer himself to be killed so easily as he ought to have done; besides, it was observed of him, that he grew more surly every time he came out of the lion, and having dropt some words in ordinary conversation, as if he had not fought his best, and that he suffered himself to be thrown upon his back in the scuffle, and that he would wrestle with Mr. Nicolin for what he pleased, out of his lion's skin, it was thought proper to discard him: and it is verily believed, to this day, that had he been brought upon the stage another time, he could certainly have done mischief. Besides, it was objected against the first lion, that he reared himself so high upon his hinder paws, and walked in so erect a posture, that he looked more like an old man than a lion.

The second lion was a tailor by trade, who belonged to the playhouse, and had the character of a mild and peaceable man in his profession. If the former was too furious, this was too sheepish, for his part; insomuch that after a short modest walk upon the stage, he would fall at the first touch of Hydaspes, without grappling with him, and giving him an opporunity of showing his variety of Italian trips: it is said indeed, that he once gave him a rip in his flesh-colour doublet; but this was only to make work for himself, in his private character of a

tailor. I must not omit that it was this second lion who treated me with so much humanity behind the scenes.

The acting lion at present is, as I am informed, a country gentleman, who does it for his diversion, but desires his name may be concealed. He says very handsomely in his own excuse, that he does not act for gain, that he indulges an innocent pleasure in it; and that it is better to pass away an evening in this manner, than in gaming and drinking: but at the same time says, with a very agreeable raillery upon himself, that if his name should be known, the ill-natured world might call him "The ass in the lion's skin." This gentleman's temper is made out of such a happy mixture of the mild and the choleric, that he outdoes both his predecessors, and has drawn together greater audiences than have been known in the memory of man.

I must not conclude my narrative, without taking notice of a groundless report that has been raised, to a gentleman's disadvantage of whom I must declare myself an admirer; namely, that Signior Nicolini and the lion have been seen sitting peaceably by one another, and smoking a pipe together, behind the scenes; by which their common enemies would insinuate, that it is but a sham combat which they represent upon the stage: but, upon inquiry I find, that if any such correspondence has passed between them, it was not till the combat was over, when the lion was to be looked upon as dead, according to the received rules of the drama. Besides, this is what is practised every day in Westminster hall, where nothing is more usual than to see a couple of lawyers, who have been tearing each other to pieces in the court, embracing one another as soon as they are out of it.

I would not be thought, in any part of this relation, to reflect upon Signior Nicolini, who in acting this part only complies with the wretched taste of his audience; he knows very well, that the lion has many more admirers than himself; as they say of the famous equestrian statue on the Pont-Neuf at Paris, that more people go to see the horse, than the king who sits upon it. On the contrary, it gives me a just indignation to see a person whose action gives new majesty to kings, resolution to heroes, and softness to lovers, thus sinking from the greatness of his behavior, and degraded into the character of the London Prentice. I have often wished that our tragedians would copy after this great master in action. Could they make the same use of their arms and legs, and inform their faces with as significant looks and passions, how glorious would an English tragedy appear with that action, which is capable of giving a dignity to the forced thoughts, cold conceits, and unnatural expressions of an Italian opera. In the mean time, I have related this

combat of the lion, to show what are at present the reigning entertainments of the politer part of Great Britain.

Audiences have often been reproached by writers for the coarseness of their tastes; but our present grievance does not seem to be the want of a good taste, but of common sense.

The Spectator, No. 159, September 1, 1711: The Vision of Mirzah

WHEN I was at Grand Cairo, I picked up several Oriental manuscripts, which I have still by me. Among others I met with one entitled The Visions of Mirza, which I have read over with great pleasure. I intend to give it to the public when I have no other entertainment for them; and shall begin with the first vision, which I have translated word for word as follows:

"On the fifth day of the moon, which according to the custom of my forefathers I always keep holy, after having washed myself, and offered up my morning devotions, I ascended the high hills of Bagdad, in order to pass the rest of the day in meditation and prayer. As I was here airing myself on the tops of the mountains, I fell into a profound contemplation on the vanity of human life; and passing from one thought to another, 'Surely,' said I, 'man is but a shadow, and life a dream.' Whilst I was thus musing, I cast my eyes towards the summit of a rock that was not far from me, where I discovered one in the habit of a shepherd, with a musical instrument in his hand. As I looked upon him he applied it to his lips, and began to play upon it. The sound of it was exceedingly sweet, and wrought into a variety of tunes that were inexpressibly melodious, and altogether different from anything I had ever heard. They put me in mind of those heavenly airs that are played to the departed souls of good men upon their first arrival in Paradise, to wear out the impressions of their last agonies, and qualify them for the pleasures of that happy place. My heart melted away in secret raptures.

"I had been often told that the rock before me was the haunt of a Genius; and that several had been entertained with music who had passed by it, but never heard that the musician had before made himself visible. When he had raised my thoughts by those transporting airs which he played to taste the pleasures of his conversation, as I looked upon him

like one astonished, he beckoned to me, and by the waving of his hand directed me to approach the place where he sat. I drew near with that reverence which is due to a superior nature; and as my heart was entirely subdued by the captivating strains I had heard, I fell down at his feet and wept. The Genius smiled upon me with a look of compassion and affability that familiarized him to my imagination, and at once dispelled all the fears and apprehensions with which I approached him. He lifted me from the ground, and taking me by the hand, 'Mirza,' said he, 'I have heard thee in thy soliloquies; follow me.'

He then led me to the highest pinnacle of the rock, and placing me on the top of it, 'Cast thy eyes eastward,' said he, 'and tell me what thou seest.' 'I see,' said I, 'a huge valley, and a prodigious tide of water rolling through it.' 'The valley that thou seest,' said he, 'is the Vale of Misery, and the tide of water that thou seest is part of the great Tide of Eternity.' 'What is the reason,' said I, 'that the tide I see rises out of a thick mist at one end, and again loses itself in a thick mist at the other?' 'What thou seest,' said he, 'is that portion of eternity which is called time, measured out by the sun, and reaching from the beginning of the world to its consummation. Examine now,' Isaid he, this sea that is bounded with darkness at both ends, and tell me what thou discoverest in it.' 'I see a bridge,' said I, 'standing in the midst of the tide.' 'The bridge thou seest,' said he, 'is Human Life: consider it attentively.' Upon a more leisurely survey of it, I found that it consisted of three score and ten entire arches, with several broken arches, which added to those that were entire, made up the number about a hundred. As I was counting the arches, the Genius told me that this bridge consisted at first of a thousand arches; but that a great flood swept away the rest, and left the bridge in the ruinous condition I now beheld it. But tell me farther,' said he, 'what thou discoverest on it.' 'I see multitudes of people passing over it,' said I, ' and a black cloud hanging on each end of it.' As I looked more attentively, I saw several of the passengers dropping through the bridge into the great tide that flowed underneath it; and upon farther examination, perceived there were innumerable trap-doors that lay concealed in the bridge, which the passengers no sooner trod upon, but they fell through them into the tide, and immediately disappeared. These hidden pitfalls were set very thick at the entrance of the bridge, so that throngs of people no sooner broke through the cloud, but many of them fell into them. They grew thinner towards the middle, but multiplied and lay closer together towards the end of the arches that were entire.

66

There were indeed some persons, but their number was very small,