The Tatler, Volume 1, 1899 by George A. Aitken (best e reader for android txt) 📕

treaty, except France offers what is more suitable to her present condition. At the same time we make preparations, as if we were alarmed by a greater force than that which we are carrying into the field. Thus this point seems now to be argued sword in hand. This was what a great general[76] alluded to, when being asked the names of those who were to be plenipotentiaries for the ensuing peace, answered, with a serious air, "There are about a hundred thousand of us." Mr. Kidney, who has the ear of the greatest politicians that come hither, tells me, there is a mail come in to-day with letters, dated Hague, April 19, N.S., which say, a design of bringing part of our troops into the field at the latter end of this month, is now altered to a resolution of marching towards the camp about the 20th of the next. There happened the other day, in the road of Scheveling, an engagement between a privateer of Zealand and one of Dunkirk. The Dunkirker, carrying 33 pieces of cannon, was taken and brought into the Texel. It is said, the courier of Monsieur Rouillé[77] is returned to him from the Court of France. Monsieur Vendôme being reinstated in the favour of the Duchess of Burgundy, is to command in Flanders.

Mr. Kidney added, that there were letters of the 17th from Ghent, which give an account, that the enemy had formed a design to surprise two battalions of the allies which lay at Alost; but those battalions received advice of their march, and retired to Dendermond. Lieutenant-General Wood[78] appeared on this occasion at the head of 5000 foot, and 1000 horse, upon which the enemy withdrew, without making any further attempt.


From my own Apartment.

I am sorry I am obliged to trouble the public with so much discourse upon a matter which I at the very first mentioned as a trifle--viz. the death of Mr. Partridge,[79] under whose name there is an almanack come out for the year 1709, in one page of which it is asserted by the said John Partridge, that he is still living, and that not only so, but that he was also living some time before, and even at the instant when I writ of his death. I have in another place, and in a paper by itself, sufficiently convinced this man that he is dead, and if he has any shame, I don't doubt but that by this time he owns it to all his acquaintance: for though the legs and arms, and whole body of that man may still appear and perform their animal functions; yet since, as I have elsewhere observed, his art is gone, the man is gone. I am, as I said, concerned, that this little matter should make so much noise; but since I am engaged, I take myself obliged in honour to go on in my lucubrations, and by the help of these arts of which I am master, as well as my skill in astrological speculations, I shall, as I see occasion, proceed to confute other dead men, who pretend to be in being, that they are actually deceased. I therefore give all men fair warning to mend their manners, for I shall from time to time print bills of mortality; and I beg the pardon of all such who shall be named therein, if they who are good for nothing shall find themselves in the number of the deceased.[80]


[Footnote 55: This motto was repeated at the head of each of the first 40 numbers in the folio issue.]

[Footnote 56: These were the days on which the post left London for the different parts of the country.]

[Footnote 57: White's Chocolate-house, five doors from the bottom of the west side of St. James's Street, was established in 1698. It was burnt on April 28, 1733, while kept by Mr. Arthur. Plate VI. of Hogarth's "Rake's Progress" depicts gamblers engrossed in play in a room in this house during the fire; see also Plate IV. Swift gives it a bad character in his "Essay on Modern Education;" it had a strong character for gambling (Timbs's "Clubs and Club Life in London," where, at p. 48, there is a sketch of White's from an old drawing). The house became a private club, as we now have it, about 1736.]

[Footnote 58: Will's Coffee-house, named after Will Urwin, its proprietor, was the corner house on the north side of Russell Street, Covent Garden, at the end of Bow Street. The present house, 21 Russell Street, is probably part of the old building. Will's was ceasing to be the resort of the wits in 1709; it was in its glory at the close of the seventeenth century. The wits' room, where Dryden presided, was on the first floor.]

[Footnote 59: The Grecian, in Devereux Court in the Strand, was probably the most ancient coffee-house in or about London. In 1652 an English Turkey merchant brought home with him a Greek servant, who first opened a house for making and selling coffee. This man's name was Constantine, and his house was much resorted to by lawyers, Greek scholars, and Members of the Royal Society. (See Thoresby's Diary, i. 111, 117.) Foote and Goldsmith afterwards frequented it. In Dr. King's "Anecdotes" there is a story of two gentlemen friends who disputed at the Grecian Coffee-house about the accent of a Greek word to such a length that they went out into Devereux Court and drew swords, when one of them was killed on the spot.]

[Footnote 60: The St. James's Coffee-house was the last house but one on the S.W. corner of St. James's Street. It was frequented by Whig statesmen, and was closed about 1806. Swift and Steele were at a supper given by the keeper on the 19th November, 1710.]

[Footnote 61: Cf. the Spectator , No. 31: "Laying down my penny upon the bar."]

[Footnote 62: Wine.]

[Footnote 63: A waiter. See Nos. 10, 26.]

[Footnote 64: This introduction was repeated in Nos. 2 and 3 of the original issue.]

[Footnote 65: "The reader is desired to take notice of the article from this place from time to time, for I design to be very exact in the progress this unhappy gentleman makes, which may be of great instruction to all who actually are, or who ever shall be, in love." (Original folio.) For Viscount Hinchinbroke ("Cynthio"), see No. 5.]

[Footnote 66: April 7, 1709. Cibber acknowledges that Steele did the stage very considerable service by the papers on the theatre in the
Tatler .]

[Footnote 67: For further particulars of Thomas Betterton (1635-1710), see Nos. 71 and 167. Cibber says: "I never heard a line in tragedy come from Betterton wherein my judgment, my ear and my imagination were not fully satisfied.... The person of this excellent actor was suitable to his voice, more manly than sweet, not exceeding the middle stature, inclining to be corpulent; of a serious and penetrating aspect; his limbs nearer the athletic than the delicate proportion; yet, however formed, there arose from the harmony of the whole a commanding mien of majesty."]

[Footnote 68: By Congreve, 1695.]

[Footnote 69: Mrs. Elizabeth Barry on this occasion spoke an epilogue, written by Rowe. She was the daughter of Edward Barry, barrister, whose fortunes were ruined by his attachment to Charles I. Tony Aston, in his "Supplement to Cibber's Apology," says she was woman to Lady Shelton, of Norfolk, his godmother; and Curll tells us that she was early taken under the protection of Lady Davenant. She was certainly on the stage in 1673. At her first appearance there was so little hope of her success, that at the end of the season she was discharged [from] the theatre. It is probable that at this time she became acquainted with Lord Rochester, who took her under his protection, and gave her instructions in her theatrical performances. By his interest she seems to have been restored to the stage, and, improving daily in her profession, she soon eclipsed all her competitors, and in the part of Monimia in "The Orphan" established her reputation, which was enhanced by her performance as Belvidera in "Venice Preserved," and as Isabella in "The Fatal Marriage." "In characters of greatness," says Cibber, "Mrs. Barry had a presence of elevated dignity, her mien and motion superb, and gracefully majestic; her voice full, clear, and strong, so that no violence of passion could be too much for her, and when distress or tenderness possessed her she subsided into the most affecting melody and softness. In the art of exciting pity she had a power beyond all the actresses I have yet seen, or what your imagination can conceive. In scenes of anger, defiance, or resentment, while she was impetuous and terrible, she poured out the sentiment with an enchanting harmony.... In tragedy she was solemn and august, in comedy alert, easy, and genteel, pleasant in her face and action, filling the stage with a variety of gesture. She could neither sing nor dance, no not in a country dance. She adhered to Betterton in all the revolutions of the theatre, which she quitted about 1707, on account of ill-health." She returned, however, for one night with Mrs. Bracegirdle, April 7, 1709, and performed Mrs. Frail in "Love for Love" for Betterton's benefit. She died at Acton in 1713. Mrs. Barry, Mrs. Bracegirdle, Mr. Betterton, and Mr. Varbriggen were sworn as Comedians in Ordinary to her Majesty, 30th Oct., 2 Anne (1703). On the 3rd March, 1692, Mrs. Barry received £25 for acting in "The Orphan" before their Majesties, and on the 10th June, 1693, £25 for Caius Marius. (Lord Chamberlain's Records, Warrant Books, No. 20, p. 151; No. 18, pp. 30, 242.)]

[Footnote 70: Mrs. Anne Bracegirdle was the daughter of Justinian Bracegirdle, of Northamptonshire. By the imprudence of her father, who ruined himself by becoming surety for some friends, she was early left to the care of Betterton and his wife, whose attentions to her she always acknowledged to be truly paternal. By them she was first introduced to the stage, and, while very young, performed the page in "The Orphan." Increasing in years, and in ability, she became the favourite performer of the times. Cibber describes her in these terms: "Mrs. Bracegirdle was now but just blooming in her maturity; her reputation, as an actress, gradually rising with that of her person; never any woman was in such general favour of her spectators, which, to the last scene of her dramatic life, she maintained by not being unguarded in her private character. This discretion contributed not a little to make her the Cara , the darling of the theatre: for it will be no extravagant thing to say scarce an audience saw her that were less than half of them lovers, without a suspected favourite among them: and though she might be said to have been the universal passion and under the highest temptations, her constancy in resisting them served but to increase the number of her admirers. And this perhaps you will more easily believe, when I extend not my encomiums on her person beyond a sincerity that can be suspected; for she had no greater claim to beauty than what the most desirable brunette might pretend to. But her youth and lively aspect threw out such a glow of health and cheerfulness, that, on the stage, few spectators that were not past it, could behold her without desire. There were two very different characters in which she acquitted herself with uncommon applause: if anything could excuse that desperate extravagance of love, that almost frantic passion of Lee's Alexander the Great, it must have been when Mrs. Bracegirdle was his Statira: as when she acted