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gure of a tree or the shaking of a bullrush. The truth of it is, I look upon a sound imagination as the greatest blessing of life; next to a clear judgment and a good conscience. In the mean time, since there are very few whose minds are not more or less subject to these dreadful thoughts and apprehensions, we ought to arm ourselves against them by the dictates of reason and religion; “ to pull the old woman u out of our hearts” (as Persius expresses it in the motto of my paper) and extinguish that impertinent. notions which we imbibed at a time that we were not able to judge of their absurdity. Or if we believe, as many wise and good men have done, that there are such phantoms and apparations as those I have been speaking of, let us endeavour to establish to ourselves an interest in Him who holds the reins of the whole creation in his hand, and moderates them after such a manner, that it is impossible for one being to break loose upon another without his knowledge and permission.
For my own part, I am apt to join in opinion with those who believe that all the regions of nature swarm with spirits ; and that we have multitudes of spectators on all our actions, when we think ourselves most alone; but, instead of terrifying myself with such a notion, I am wonderfully pleased to think that I am always engaged with such an innumerable society, in searching out the wonders of the creation, and joining in the same concert of praise and adoration.
Milton has finely described this mixed communion of men and spirits in Paradise; and had doubtless his eye upon a verse in old Hesiod, which is almost word for word in the same with his third line in the following passage:
-Nor think, thougb men were none,
Millions of spiritual creatures walk the earth
No. XIII. THURSDAY, MARCH 15.
Dic mihi, si fias tu leo, qualis eris ?
Were you a lion, how would you behave?
THERE is nothing that of late years has afforded matter of greater amusement to the town than Signior Nicolini's combat with a Lion in the Hay-market, which has been very often exhibited, to the general satisfaction of most of the nobility and gentry in the kingdom of Great Britain. Upon the first rumour of this intended combat, it was confidently affirmed, and is still believed by many in both galleries, that there would be a tame lion sent from the Tower every opera-night, in order to be killed by Hydaspes. This report, though altogether groundless, so universally prevailed in the upper regions of the play-house, that some of the most refined politicians in those parts of the audience gave it out in whisper, that the lion was a cousin-german of the tiger who made his appearance in King William's days, and that the stage would be supplied with lions at the public expence, during the whole session. Many likewise were the conjectures of the treatment which this lion was to meet with from the hands of Signior Nicolini: some supposed that he was to subdue him in recitativo, as Orpheus used to serve the wild beasts in his time, and afterwards to knock him on the head; some fancied that the lion would not pretend to lay his paws upon the hero, by reason of the received opinion that a lion will not hurt a virgin: several who pretended to have seen the opera in Italy, had informed their friends that the lion was to act a part in High Dutch, and roar twice or thrice to a thorough-bass before he fell at the feet of Hydaspes. To clear up a matter that was so variously reported, I have made it my business to examine whether this pretended lion is really the savage he appears to be, or only a counterfeit.
But before I communicate my discoveries, I must acquaint the reader, that upon my walking behind the scenes last winter, as I was thinking of something else, I accidentally jostled against a monstrous animal that extremely startled me, and, upon my nearer survey of it, appeared to be a lion rampant. The lion, seeing me very much surprised, told me in a gentle voice, that I might come by him if I pleased; “ for," says he, “I do not intend to hurt any body.” I thanked him very kindly, and passed by him; and in a little time after saw him leap upon the stage, and act his part with very great applause. It has been observed by several, that the lion has changed his manner of acting twice or thrice since his first appearance; which will not seem strange, when I acquaint my reader that the lion has been changed upon the audience three several times. The first lion was a candlesnuffer, who, being a fellow of a testy choleric temper, overdid his part, and would not suffer himself to be killed so easily as he ought to have done; besides, it was observed of him, that he grew more surly every time he came out of the lion; and having dropt some words in ordinary conversation, as if he had not fought his best, and that he suffered himself to be thrown upon his back in the scuffle, and that he would wrestle with Mr. Nicolini for what he pleased, out of his lion's skin, it was thought proper to discard him; and it is verily believed, to this day, that had he been brought upon the stage another time, he would certainly have done mischief. Besides, it was objected against the first lion, that he reared himself too high upon his hinder paws, and walked in so erect a posture, that he looked more like an old man than a lion.
The second lion was a tailor by trade, who belonged to the play-house, and had the character of a mild and peaceable man in his profession. If the former was too furious, this was too sheepish for his part; inso much that after a short modest walk upon the stage, he would fall at the first touch of Hydaspes, without grappling with him, and giving him an opportunity of shewing his variety of Italian trips. It is said indeed, that he once gave him a rip in his flesh-coloured doublet; but this was only to make work for himself, in his private character of a tailor. I must not omit that it was this second lion who treated me with so much humanity behind the scenes.
The acting lion at present is, as I am informed, a country-gentleman, who does it for his diversion, but desires his name may be concealed. He says very handsomely, in his own excuse, that he does not act for gain; that he indulges an innocent pleasure in it; and that it is better to pass away an evening in this manner than in gaming and drinking; but at the same time says, with a very agreeable raillery upon himself, that if his name should be known, the ill-natured world might call him The Ass in the Lion's skin. This gentleman's temper is made of such a happy
mixture of the mild and the choleric, that he outdoes both his predecessors, and has drawn together greater audiences than have been known in the memory of
I must not conclude my narrative without taking notice of a groundless report that has been raised to a gentleman's disadvantage, of whom I must declare myself an admirer: namely, that Signior Nicolini and the lion have been sitting peaceably by one another, and smoking a pipe together behind the scenes; by which their common enemies would insinuate, that it is but a sham combat which they represent upon the stage; but upon enquiry I find, that if any such correspondence has passed between them, it was not till the combat was over, when the lion was to be looked upon as dead, according to the received rules of the Drama. Besides, this is what is practised every day in Westminster-Hall, where nothing is more usual than to see a couple of lawyers, who have been tearing each other to pieces in the court, embracing one another as soon as they are out of it.
I would not be thought, in any part of this relation, to reflect upon Signior Nicolini, who in acting this part only complies with the wretched taste of his audience; he knows very well that the lion has more admirers than himself; as they say of the famous equestrian statue on the Pont-Neuf at Paris, that more people go to see the horse, than the king who sits upon it. On the contrary, it gives me a just indignation to see a person whose action gives new majesty to kings, resolution to heroes, and softness to lovers, thus sinking from the greatness of his behavi: our, and degraded into the character of the London 'Prentice. I have often wished, that our tragedians would copy after this great master in action. Could they make the same use of their arms and legs, and inform their faces with as significant looks and pas