CRITICAL EXAMINATION OF A PASSAGE IN THE WRITINGS OF SWIFT.

THE players having now almost done with the comedy called the Beggar's Opera for the season; it may be no unpleasant speculation, to reflect a little upon this dramatic piece, so singular in the subject and manner, so much an original, and which hath frequently given so very agreeable an entertainment.

This introductory sentence is not entitled to much commendation. The players having now almost done with the comedy, is a phrase not altogether free from vulgarity.

Although an evil taste be very apt to prevail, both here and in London, yet there is a point which whoever can rightly touch, will never fail of pleasing a very great majority; so great, that the dislikers out of dulness or affectation, will be silent, and forced to fail in with the herd: the point I mean, is what we call humour; which, in its perfection, is allowed to be much preferable to wit; if it be not rather the most useful and agreeable species of it.

This sentence, though sufficiently perspicuous, is certainly devoid of elegance. There is a point which whoever can rightly touch, is uncouth phraseology.

I agree with Sir William Temple, that the word is peculiar to our English tongue; but I differ from him in opinion, that the thing itself is peculiar to the English nation; because the contrary may be found in many Spanish, Italian, and French productions, and particularly, whoever hath a taste for true humour, will find an hundred instances of it, in those volumes printed in France, under the name of Le Théatre Italien; to say nothing of Rabelais, Cervantes, and many others.

The word to which the author refers in the beginning of this sentence, is humour; though, as he had mentioned wit at the close of the last, a slight degree of ambiguity is introduced. It would be more perspicuous to say,

"the word humour is peculiar to our English tongue;" and in this clause, the seems more proper than our. This sentence is but unskilfully constructed. The member by which it is closed, follows with a very halting pace. I shall venture to suggest a few alterations: "I agree with Sir William Temple, that the word humour is peculiar to the English tongue; but I differ from him in the opinion, that the talent which it denotes is peculiar to the English nation. We discover abundant proofs of the contrary in many Spanish, Italian, and French productions; and whoever hath a taste for true humour, will find an hundred instances of it, in those volumes printed in France under the title of Le Théâtre Italien."

Now I take the comedy, or farce (or whatever name the critics will allow it), called the Beggar's Opera, to excel in this article of humour; and upon that merit to have met with such prodigious success, both here and in England.

This sentence is very deficient in elegance.

As to poetry, eloquence, and music, which are said to have most power over the minds of men; it is certain that very few have a taste or judgment of the excellencies of the two former; and if a man succeed in either, it is upon the authority of those few judges, that lend their taste to the bulk of readers, who have none of their own. I am told, there are as few good judges in music; and that among those who crowd the operas, nine in ten go thither merely out of curiosity, fashion, or affectation.

This paragraph suggests no material observation.

But a taste for humour is in some measure affixed to the very nature of man, and generally obvious to the vulgar, except upon subjects too refined, and superior to their understanding.

"A taste for humour is obvious to the vulgar," is a very inaccurate expression. It is humour itself that is obvious to the vulgar, not a taste for humour.

And as this taste for humour is purely natural, so is humour itself; neither is it a talent confined to men of wit or learning; for we observe it sometimes among common servants, and the meanest of the people, while the very owners are often ignorant of the gift they possess.

The owners of a talent, is an expression by no means elegant.

I know very well, that this happy talent is contemptibly treated by critics under the name of low humour, or low comedy; but I know likewise, that the Spaniards and Italians, who are allowed to have the most wit of any nation in Europe, do most excel in it, and do most esteem it.

Still the author discovers a want of precision in his ideas: a talent for humour can never with any propriety be termed low comedy.

By what disposition of the mind, what influence of the stars, or what situation of the climate, this endowment is bestowed upon mankind, may be a question fit for philosophers to discuss. It is certainly the best ingredient towards that kind of satire, which is most useful, and gives the least offence; which, instead of lashing, laughs men out of their follies and vices; and is the character that gives Horace the preference to Juvenal.

The first of these sentences is unexceptionable, but the last cannot be commended. In the expression, "the best ingredient towards that kind of satire," the preposition towards is used with little propriety; either in or of would be preferable. The period might have closed with the word vices; for the next clause forms a complete sentence. "It is the possession of this talent that gives Horace the preference to Juvenal."

And although some things are too serious, solemn, or sacred, to be turned into ridicule, yet the abuses of them are certainly not; since it is allowed that corruptions in religion, politics, and law, may be proper topics for this kind of satire.

There are two ends that men propose in writing satire; one of them less noble than the other, as regarding nothing farther than the private satisfaction and pleasure of the writer; but without any view towards personal malice: the other is a public spirit, prompting men of genius and virtue, to mend the world as far as they are able.

Public spirit is not an end which men propose in writing satire; it is one of the motives which impel them to write.

And as both these ends are innocent, so the latter is highly commendable. With regard to the former, I demand whether I have

not as good a title to laugh, as men have to be ridiculous; and to expose vice, as another has to be vicious. If I ridicule the follies and corruptions of a court, a ministry, or a senate, are they not amply paid by pensions, titles, and power, while I expect and desire no other reward than that of laughing with a few friends in a corner? Yet, if those who take offence, think me in the wrong, I am ready to change the scene with them whenever they please.

These sentences are entitled to praise. The expression is pointed, and the arrangement accurate.

But, if my desire be to make mankind better, then I think it is my duty; at least I am sure it is the interest of those very courts and ministers, whose follies or vices I ridicule, to reward my good intentions; for if it be reckoned a high point of wisdom to get the laughers on our side, it is much more easy, as well as wise, to get those on our side who can make millions laugh when they please.

My reason for mentioning courts, and ministers (whom I never think on, but with the most profound veneration) is, because an opinion obtains, that in the Beggar's Opera there appears to be some reflection upon courtiers and statesmen, whereof I am by no means a judge.

One might suppose that, in the last of these periods, the author intends to say, that he was no judge of courtiers and statesmen; whereas his real meaning must be that he cannot judge as to the charge of this opera's containing reflections upon such personages. The period might be improved thus: "An opinion obtains, that in the Beggar's Opera there appears to be some reflection upon courtiers and statesmen ; a circumstance of which I am by no means a judge." Whereof, wherein, whereby, and many similar compounds which were current during the age of Swift, are now rejected by almost every writer who aims at elegance of composition. The formation of therefore, for there, is not less awkward and anomalous; but this word may be considered as indispensable. The kindred adverb wherefore could more conveniently be spared.

It is true indeed that Mr. Gay, the author of this piece, hath been somewhat singular in the course of his fortunes; for it hath happened, that after fourteen years attending the court, with a large stock of real merit, a modest and agreeable conversation, a hundred promises, and five hundred friends, hath failed of preferment; and upon a very weighty reason.

Than "after fourteen years attending the court," it is more proper to say, "after fourteen years' attendance at court,' or "after attending the court for fourteen years." By a typographical error the pronoun he seems to have been omitted before the words hath failed. "Upon a weighty reason," is an unusual expression; we commonly say, "for a weighty reason."

He lay under the suspicion of having written a libel or lampoon against a great minister. It is true, that great minister was demonstratively convinced, and publicly owned his conviction, that Mr. Gay was not the author; but having lain under the suspicion, it seemed very just that he should suffer the punishment; because in this most reformed age, the virtues of a prime minister are no more to be suspected than the chastity of Cæsar's wife.

The last sentence is somewhat ambiguous. The construction might leave room to suppose that the prime minister had himself lain under suspicion of having written a libel or lampoon. The ambiguity may easily be removed: "but this poet having lain under the suspicion."

It must be allowed that the Beggar's Opera is not the first of Mr. Gay's works, wherein he hath been faulty, with regard to courtiers and statesmen. For to omit his other pieces, even in his Fables, published within two years past, and dedicated to the Duke of Cumberland for which he was promised a reward, he hath been thought somewhat too bold upon the courtiers.

The latter of these sentences is rendered harsh and clumsy by the aggregation of so many circumstances: published within two years past-dedicated to the Duke of Cumberland-for which he was promised a reward.

And although it be highly probable, he meant only the courtiers of former times, yet he acted unwarily, by not considering that the malignity of some people might misinterpret what he said, to the disadvantage of present persons and affairs.

The contrast contained in this sentence would be more emphatically expressed in the following manner: "And although it be highly probable he meant only the courtiers of former times, yet he acted unwarily, by not considering that the malignity of some people might misinterpret