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country where the inhabitants had each a large ex-
crescence depending from the chin, like the pouch
of a monkey. This deformity, as it was endemic,
and the people little used to strangers, it had been
the custom time immemorial to look upon as the
greatest ornament of the human visage. Ladies
grew toasts from the size of their chins, and none
were regarded as pretty fellows but such whose
faces were broadest at the bottom. It was Sunday,
a country church was at hand, and our traveller was
willing to perform the duties of the day. Upon his
first appearance at the church door, the eyes of all
were naturally fixed upon the stranger; but what
was their amazement, when they found that he
actually wanted that emblem of beauty, a pursed
chin! This was a defect that not a single creature
had sufficient gravity (though they were noted for
being grave) to withstand. Stifled bursts of laugh-
ter, winks, and whispers, circulated from visage to
visage, and the prismatic figure of the stranger's face
was a fund of infinite gaiety; even the parson,
equally remarkable for his gravity and chin, could
hardly refrain joining in the good humour. Our
traveller could no longer patiently continue an ob-
ject for deformity to point at.
"Good folks," said
he, "I perceive that I am the unfortunate cause of
all this good humour. It is true, I may have faults
in abundance, but I shall never be induced to reckon
my want of a swelled face among the number.*

Dr. Goldsmith inserted this introduction, with a few trifling alterations, in the volume of Essays he published in the year 1765.

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ON A BEAUTIFUL YOUTH, STRUCK BLIND WITH LIGHTNING.

IMITATED FROM THE SPANISH.

LUMINE Acon dextro, capta est Leonida sinistro,
Et poterat formâ vincere uterque Deos.
Parve puer, lumen quod habes concede puellæ ;
Sic tu cæcus Amor, sic erit illa Venus.

REMARKS ON OUR THEATRES.

OUR theatres are now opened, and all Grub-street is preparing its advice to the managers; we shall undoubtedly hear learned disquisitions on the structure of one actor's legs, and another's eye-brows. We shall be told much of enunciations, tones, and attitudes, and shall have our lightest pleasures commented upon by didactic dulness. We shall, it is feared, be told, that Garrick is a fine actor, but then, as a manager, so avaricious! That Palmer is a most surprising genius, and Holland likely to do well in a particular cast of character. We shall have them giving Shuter instructions to amuse us by rule, and deploring over the ruins of desolated majesty at Covent-Garden. As I love to be advising too, for advice is easily given, and bears a show of wisdom and superiority, I must be permitted to offer a few observations upon our theatres and actors, B 2

without, on this trivial occasion, throwing my thoughts into the formality of method.

There is something in the deportment of all our players infinitely more stiff and formal than among the actors of other nations. Their action sits uneasy upon them; for as the English use very little gesture in ordinary conversation, our English-bred actors are obliged to supply stage gestures by their imagination alone. A French comedian finds proper models of action in every company and in every coffee-house he enters. An Englishman is obliged to take his models from the stage itself; he is obliged to imitate nature from an imitation of nature. I know of no set of men more likely to be improved by travelling than those of the theatrical profession. The inhabitants of the continent are less reserved than here; they may be seen through upon a first acquaintance; such are the proper models to draw from; they are at once striking, and are found in great abundance.

Though it would be inexcusable in a comedian to add any thing of his own to the poet's dialogue, yet as to action he is entirely at liberty. By this he may show the fertility of his genius, the poignancy of his humour, and the exactness of his judgment; we scarcely see a coxcomb or a fool in common life that has not some peculiar oddity in his action. These peculiarities it is not in the power of words to represent, and depend solely upon the actor. They give a relish to the humour of the poet, and make the appearance of nature more illusive; the Italians, it is true, mask some characters, and endeavour to preserve the peculiar humour by the make of the

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mask; but I have seen others still preserve a great fund of humour in the face without a mask; one actor, particularly, by a squint which he threw into some characters of low life, assumed a look of infinite solidity. This, though upon reflection we might condemn, yet immediately upon representation we could not avoid being pleased with. To illustrate what I have been saying by the plays I have of late gone to see; in the Miser, which was played a few nights ago at Covent-Garden, Lovegold appears through the whole in circumstances of exaggerated avarice; all the player's action, therefore, should conspire with the poet's design, and represent him as an epitome of penury. The French comedian, in this character, in the midst of one of his most violent passions, while he appears in an ungovernable rage, feels the demon of avarice still upon him, and stoops down to pick up a pin, which he quilts into the flap of his coat-pocket with great assiduity. Two candles are lighted up for his wedding; he flies, and turns one of them into the socket; it is, however, lighted up again; he then steals to it, and privately crams it into his pocket. The MockDoctor was lately played at the other house. Here again the comedian had an opportunity of heightening the ridicule by action. The French player sits in a chair with a high back, and then begins to show away by talking nonsense, which he would have thought Latin by those who he knows do not understand a syllable of the matter. At last he grows enthusiastic, enjoys the admiration of the company, tosses his legs and arms about, and in the midst of his raptures and vociferation, he and the

chair fall back together. All this appears dull enough in the recital; but the gravity of Cato could not stand it in the representation. In short, there is hardly a character in comedy to which a player of any real humour might not add strokes of vivacity that could not fail of applause. But instead of this we too often see our fine gentlemen do nothing through a whole part, but strut, and open their snuff-box; our pretty fellows sit indecently with their legs across, and our clowns pull up their breeches. These, if once or even twice repeated, might do well enough; but to see them served up in every scene argues the actor almost as barren as the character he would expose.

The magnificence of our theatres is far superior to any others in Europe, where plays only are acted. The great care our performers take in painting for a part, their exactness in all the minutiae of dress, and other little scenical proprieties, have been taken notice of by Ricoboni, a gentleman of Italy, who travelled Europe with no other design but to remark upon the stage; but there are several improprieties still continued, or lately come into fashion. As, for instance, spreading a carpet punctually at the beginning of the death scene, in order to prevent our actors from spoiling their clothes; this immediately apprises us of the tragedy to follow; for laying the cloth is not a more sure indication of dinner than laying the carpet of bloody work at Drury-lane. Our little pages also with unmeaning faces, that bear up the train of a weeping princess, and our awkward lords in waiting, take off much from her distress. Mutes of every kind divide our

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