Table-Talk by William Hazlitt (best pdf reader for ebooks txt) 📕

often commonplace people: Hamlet was not a vulgar character, neither was Don Quixote. To be an author, to be a painter, is nothing. It is a trick, it is a trade.

“An author! ’tis a venerable name:
How few deserve it, yet what numbers claim!”

Nay, to be a Member of the Royal Academy or a Fellow of the Royal Society is but a vulgar distinction; but to be a Virgil, a Milton, a Raphael, a Claude, is what fell to the lot of humanity but once! I do not think they were vulgar people; though, for anything I know to the contrary, the first Lord of the Bedchamber may be a very vulgar man; for anything I know to the contrary, he may not be so.⁠—Such are pretty much my notions of gentility and vulgarity.

There is a well-dressed and an ill-dressed mob, both which I hate. Odi profanum vulgus, et arceo. The vapid affectation of the one to me is even more intolerable than the gross insolence and brutality of the other. If a set of low-lived fellows are noisy, rude, and boisterous to show their disregard of the company, a set of fashionable coxcombs are, to a nauseous degree, finical and effeminate to show their thorough breeding. The one are governed by their feelings, however coarse and misguided, which is something; the others consult only appearances, which are nothing, either as a test of happiness or virtue. Hogarth in his prints has trimmed the balance of pretension between the downright blackguard and the soi-disant fine gentleman unanswerably. It does not appear in his moral demonstrations (whatever it may do in the genteel letter-writing of Lord Chesterfield or the chivalrous rhapsodies of Burke) that vice by losing all its grossness loses half its evil. It becomes more contemptible, not less disgusting. What is there in common, for instance, between his beaux and belles, his rakes and his coquettes, and the men and women, the true heroic and ideal characters in Raphael? But his people of fashion and quality are just upon a par with the low, the selfish, the unideal characters in the contrasted view of human life, and are often the very same characters, only changing places. If the lower ranks are actuated by envy and uncharitableness towards the upper, the latter have scarcely any feelings but of pride, contempt, and aversion to the lower. If the poor would pull down the rich to get at their good things, the rich would tread down the poor as in a winepress, and squeeze the last shilling out of their pockets and the last drop of blood out of their veins. If the headstrong self-will and unruly turbulence of a common alehouse are shocking, what shall we say to the studied insincerity, the insipid want of common sense, the callous insensibility of the drawing-room and boudoir? I would rather see the feelings of our common nature (for they are the same at bottom) expressed in the most naked and unqualified way, than see every feeling of our nature suppressed, stifled, hermetically sealed under the smooth, cold, glittering varnish of pretended refinement and conventional politeness. The one may be corrected by being better informed; the other is incorrigible, wilful, heartless depravity. I cannot describe the contempt and disgust I have felt at the tone of what would be thought good company, when I have witnessed the sleek, smiling, glossy, gratuitous assumption of superiority to every feeling of humanity, honesty, or principle, as a part of the etiquette, the mental and moral costume of the table, and every profession of toleration or favour for the lower orders, that is, for the great mass of our fellow-creatures, treated as an indecorum and breach of the harmony of well-regulated society. In short, I prefer a bear-garden to the adder’s den; or, to put this case in its extremest point of view, I have more patience with men in a rude state of nature outraging the human form than I have with apes “making mops and mows” at the extravagances they have first provoked. I can endure the brutality (as it is termed) of mobs better than the inhumanity of courts. The violence of the one rages like a fire; the insidious policy of the other strikes like a pestilence, and is more fatal and inevitable. The slow poison of despotism is worse than the convulsive struggles of anarchy. “Of all evils,” says Hume, “anarchy is the shortest lived.” The one may “break out like a wild overthrow”; but the other from its secret, sacred stand, operates unseen, and undermines the happiness of kingdoms for ages, lurks in the hollow cheek, and stares you in the face in the ghastly eye of want and agony and woe. It is dreadful to hear the noise and uproar of an infuriated multitude stung by the sense of wrong and maddened by sympathy; it is more appalling to think of the smile answered by other gracious smiles, of the whisper echoed by other assenting whispers, which doom them first to despair and then to destruction. Popular fury finds its counterpart in courtly servility. If every outrage is to be apprehended from the one, every iniquity is deliberately sanctioned by the other, without regard to justice or decency. The word of a king, “Go thou and do likewise,” makes the stoutest heart dumb: truth and honesty shrink before it.53 If there are watchwords for the rabble, have not the polite and fashionable their hackneyed phrases, their fulsome, unmeaning jargon as well? Both are to me anathema!

To return to the first question, as it regards individual and private manners. There is a fine illustration of the effects of preposterous and affected gentility in the character of Gertrude, in the old comedy of Eastward Hoe, written by Ben Jonson, Marston, and Chapman in conjunction. This play is supposed to have given rise to Hogarth’s series of prints of the Idle and Industrious Apprentice;