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would have scarcely amused his innocent life with what, for several years, employed him in a most harmless manner, and abridged his scanty fortune.* As the progress of this improvement is a true picture of sublunary vicissitude, I could not help calling up my imagination, which, while I walked pensively along, suggested the following revery.
As I was turning my back upon a beautiful piece of water enlivened with cascades and rock-work, and entering a dark walk by which ran a prattling brook, the Genius of the place appeared before me, but more resembling the god of Time, than him more peculiarly appointed to the care of gardens. Instead of shears he bore a scythe; and he appeared rather with the implements of husbandry, than those of a modern gardener. Having remembered this place in its pristine beauty, I could not help condoling with him on its present ruinous situation. I spoke to him of the many alterations which had been made, and all for the worse; of the many shades which had been taken away, of the bowers that were destroyed by neglect, and the hedge-rows that were spoiled by clipping. The Genius with a sigh received my con• dolement, and assured me, that he was equally a martyr to ignorance and taste, to refinement and rusticity. Seeing me desirous of knowing farther, he went on:
“ You see, in the place before you, the paternal inheritance of a poet; and to a man content with a little, fully sufficient for his subsistence: but a strong imagination, and a long acquaintance with the rich, are dangerous foes to contentment. Our poet, instead of sitting down to enjoy life, resolved to prepare for its future enjoyment; and set about converting a place of profit into
* [“ The pleasure of Shenstone was all in his eye : he valued what he valued merely for its looks; nothing raised his indignation more than to ask, if there were any fishes in the water. He spent his estate in adorning it, and his death (in 1763) was probably hastened by his anxieties. He was a lamp that spent his oil in blazing.”—Johnson.)
a scene of pleasure. This he at first supposed could be accomplished at a small expense; and he was willing for a while to stint his income, to have an opportunity of displaying his taste. The improvement in this manner went forward; one beauty attained, led him to wish for some other; but he still hoped that every emendation would be the last. It was now, therefore, found that the improvement exceeded the subsidy, that the place was grown too large and too fine for the inhabitant. But that pride which was once exhibited could not retire; the garden was made for the owner, and though it was become unfit for him, he could not willingly resign it to another. Thus the first idea of its beauties contributing to the happiness of his life was found unfaithful; so that, instead of looking within for satisfaction, he began to think of having recourse to the praises of those who came to visit his improvement.
“In consequence of this hope, which now took possession of his mind, the gardens were opened to the visits of every stranger; and the country flocked round to walk, to criticise, to admire, and to do mischief. He soon found, that the admirers of his taste left by no means such strong marks of their applause, as the . nvious did of their malignity. All the windows of his temples, and the walls of his retreats, were impressed with the characters of profaneness, ignorance, and obscenity; his hedges were broken, his statues and urns defaced, and his lawns worn bare. It was now, therefore, necessary to shut up the gardens once more, and to deprive the public of that happiness, which had before ceased to be his own.
“In this situation the poet continued for a time in the character of a jealous lover, fond of the beauty he keeps, but unable to supply the extravagance of every demand. The garden by this time was completely grown and finished; the marks of art were covered up by the luxuriance of nature; the winding walks were
grown dark; the brook assumed a natural sylvage ; and the rocks. were covered with moss. Nothing now remained but to enjoy the beauties of the place, when the poor poet died, and his garden was obliged to be sold for the benefit of those who had contributed to its embellishment.
“ The beauties of the place had now for some time been celebrated as well in prose as in verse; and all men of taste wished for so envied a spot, where every urn was marked with the poet's pencil, and every walk awakened genius and meditation. The first purchaser was one Mr. Truepenny, a button-maker, who was possessed of three thousand pounds, and was willing also to be possessed of taste and genius.
“ As the poet's ideas were for the natural wildness of the landscape, the button-maker's were for the more regular productions of art. He conceived, perhaps, that as it is a beauty in a button to be of a regular pattern, so the same regularity ought to obtain in a landscape. Be this as it will, he employed the shears to some purpose; he clipped up the hedges, cut down the gloomy walks, made vistas upon the stables and hog-sties, and showed his friends that a man of taste should always be doing.
“ The next candidate for taste and genius was a captain of a ship, who bought the garden because the former possessor could find nothing more to mend; but unfortunately he had taste too. His great passion lay in building, in making Chinese temples, and cage-work summer-houses. As the place before had an appearance of retirement and inspired meditation, he gave it a more peopled air ; every turning presented a cottage, or ice-house, or a temple; the improvement was converted into a little city, and it only wanted inhabitants to give it the air of a village in the East Indies.
“In this manner, in less than ten years, the improvement has gone through the hands of as many proprietors, who are willing to
have taste, and to show their taste too. As the place had received its best finishing from the hand of the first possessor, so every innovator only lent a hand to do mischief. Those parts which were obscure, have been enlightened ; those walks which led naturally, have been twisted into serpentine windings. The color of the flowers of the field is not more various than the variety of tastes that have been employed here, and all in direct contradiction to the original aim of the first improver. Could the original possessor but revive, with what a sorrowful heart would he look upon his favorite spot again! He would scarcely recollect a dryad or a wood-nymph of his former acquaintance, and might perhaps find himself as much a stranger in his own plantation, as in the deserts of Siberia."
A COMPARISON BETWEEN SENTIMENTAL AND LAUGHING COMEDY.
The theatre, like all other amusements, has its fashions and its prejudices; and when satiated with its excellence, mankind begin to mistake change for improvement. For some years tragedy was the reigning entertainment; but of late it has entirely given way to comedy, and our best efforts are now exerted in
[“ In the infancy of modern gardening, a false taste was introduced by Shenstone, in his ferme ornec at the Leasowes; where, instead of surrounding his house with such a quantity of ornamental lawn or park only, as might be consistent with the size of the mansion or the extent of the property, his taste, rather tha his ambition, led him to ornament the whole of his estate ; and in the vain attempt to combine the profits of a farm with the scenery of a park, he lived under the continued mortification of a disappointed hope, and with a mind exquisitely sensible, he felt equally the sneer of the great man at the magui ficence of his attempt, and the ridicule of the farmer at the misapplication of his paternal acres." —Repton.]
these lighter kinds of composition. The pompous train, the swelling phrase, and the unnatural rant, are displaced for that natural portrait of human folly and frailty, of which all are judges, because all have sat for the picture.
But as in describing nature it is presented with a double face, either of mirth or sadness, our modern writers find themselves at a loss which chiefly to copy from; and it is now debated, whether the exhibition of human distress is likely to afford the mind more entertainment than that of human absurdity?
Comedy is defined by Aristotle to be a picture of the frailties of the lower part of mankind, to distinguish it from tragedy, which is an exhibition of the misfortunes of the great. When comedy therefore ascends to produce the characters of princes or generals upon the stage, it is out of its walk, since low life and middle life are entirely its object. The principal question therefore is, whether in describing low or middle life, an exhibition of its follies be not preferable to a detail of its calamities? Or, in other words, which deserves the preference—the weeping sentimental comedy, so much in fashion at present, or the laughing and even low comedy, which seems to have been last exhibited by Vanbrugh and Cibber?
If we apply to authorities, all the great masters in the dramatic art have but one opinion. Their rule is, that as tragedy displays the calamities of the great, so comedy should excite our Laughter, by ridiculously exhibiting the follies of the lower part of mankind. Boileau, one of the best modern critics, asserts, that comedy will not admit of tragic distress :
"Le comique, ennemi des soupirs et des pleurs,
N'admet point dans ses vers de tragiques douleurs."*
(The comic muse, averse to tears and sighs,