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All other kinds of complaisance are not only blameless, but necessary in good company. Not to seem to perceive the little weaknesses, and the idle but i
For instance: you will find, in every group of company, two principal figures, viz., the fine lady and the fine gentleman who absolutely give the law of wit, language, fashion, and taste, to the rest of that society. There is always a strict, and often for the time being, a tender alliance between these two figures. The lady looks upon her empire as founded upon the divine right of beauty (and full as good a divine right it is as any king, emperor, or pope, can pretend to); she requires, and commonly meets with, unlimited passive obedience. And why should she not meet with it? Her demands go no higher than to have her unquestioned preeminence in beauty, wit, and fashion, firmly established. Few sovereigns (by the way) are so reasonable. The fine gentleman's claims of right are, 'mutatis mutandis', the same; and though, indeed, he is not always a wit 'de jure', yet, as he is the wit 'de facto' of that company, he is entitled to a share of your allegiance, and everybody expects at least as much as they are entitled to, if not something more. Prudence bids you make your court to these joint sovereigns; and no duty, that I know of, forbids it. Rebellion here is exceedingly dangerous, and inevitably punished by banishment, and immediate forfeiture of all your wit, ma
What the French justly call 'les manieres nobles' are only to be acquired in the very best companies. They are the distinguishing characteristics of men of fashion: people of low education never wear them so close, but that some part or other of the original vulgarism appears. 'Les manieres nobles' equally forbid insolent contempt, or low envy and jealousy. Low people, in good circumstances, fine clothes, and equipages, will insolently show contempt for all those who ca
Just as I had written what goes before, I received your letter of the 24th, N. S., but I have not received that which you mention for Mr. Harte. Yours is of the kind that I desire; for I want to see your private picture, drawn by yourself, at different sittings; for though, as it is drawn by yourself, I presume you will take the most advantageous likeness, yet I think that I have skill enough in that kind of painting to discover the true features, though ever so artfully colored, or thrown into skillful lights and shades.
By your account of the German play, which I do not know whether I should call tragedy or comedy, the only shining part of it (since I am in a way of quibbling) seems to have been the fox's tail. I presume, too, that the play has had the same fate with the squib, and has gone off no more. I remember a squib much better applied, when it was made the device of the colors of a French regiment of grenadiers; it was represented bursting, with this motto under it: 'Peream dum luceam'.
I like the description of your PIC-NIC; where I take it for granted, that your cards are only to break the formality of a circle, and your SYMPOSION intended more to promote conversation than drinking. Such an AMICABLE COLLISION, as Lord Shaftesbury very prettily calls it, rubs off and smooths those rough corners which mere nature has given to the smoothest of us. I hope some part, at least, of the conversation is in German. 'A propos': tell me do you speak that language correctly, and do you write it with ease? I have no doubt of your mastering the other modern languages, which are much easier, and occur much oftener; for which reason, I desire that you will apply most diligently to German, while you are in Germany, that you may speak and write that language most correctly.
I expect to meet Mr. Eliot in London, in about three weeks, after which you will soon see him at Leipsig. Adieu.
LETTER LVI
LONDON, November 18, O. S. 1748.
DEAR BOY: Whatever I see or whatever I hear, my first consideration is, whether it can in any way be useful to you. As a proof of this, I went accidentally the other day into a print-shop, where, among many others, I found one print from a famous design of Carlo Maratti, who died about thirty years ago, and was the last eminent painter in Europe: the subject is 'il Studio del Disegno'; or "The School of Drawing." An old man, supposed to be the master, points to his scholars, who are variously employed in perspective, geometry, and the observation of the statues of antiquity. With regard to perspective, of which there are some little specimens, he has wrote, 'Tanto che basti', that is, "As much as is sufficient"; with regard to geometry, 'Tanto che basti' again; with regard to the contemplation of the ancient statues, there is written, 'Non mai a bastanza',-"There never can be enough." But in the clouds, at the top of the piece, are represented the three Graces, with this just sentence written over them, 'Senza di noi ogni fatica e vana', that is, "Without us, all labor is vain." This everybody allows to be true in painting; but all people do not seem to consider, as I hope you will, that this truth is full as applicable to every other art or science; indeed to everything that is to be said or done. I will send you the print itself by Mr. Eliot, when he returns; and I will advise you to make the same use of it that the Roman Catholics say they do of the pictures and images of their saints, which is, only to remind them of those; for the adoration they disclaim. Nay, I will go further, as the transition from Popery to Paganism is short and easy, I will classically end poetically advise you to invoke, and sacrifice to them every day, and all the day. It must be owned, that the Graces do not seem to be natives of Great Britain; and, I doubt, the best of us here have more of rough than polished diamond.
Since barbarism drove them out of Greece and Rome, they seem to have taken refuge in France, where their temples are numerous, and their worship the established one. Examine yourself seriously, why such and such people please and engage you, more than such and such others, of equal merit; and you will always find that it is because the former have the Graces and the latter not. I have known many a woman with an exact shape, and a symmetrical assemblage of beautiful features, please nobody; while others, with very moderate shapes and features, have charmed everybody. Why? because Venus will not charm so much, without her attendant Graces, as they will without her. Among men, how often have I seen the most solid merit and knowledge neglected, unwelcome, or even rejected, for want of them! While flimsy parts, little knowledge, and less merit, introduced by the Graces, have been received, cherished, and admired. Even virtue, which is moral beauty, wants some of its charms if unaccompanied by them.