Table-Talk - William Hazlitt (tohfa e dulha read online TXT) 📗

of the fashion, in light drab-coloured greatcoats, and with their shirtsleeves drawn down over their hands, at a time when this was not so common as it has since become. I took them for younger sons of some old family at least. One of them, that was very good-looking, I thought might be Lord Byron, and his companion might be Mr. Hobhouse. They seemed to have wandered from another sphere of this our planet to witness a masterly performance to the utmost advantage. This stamped the thing. They were, undoubtedly, young men of rank and fashion; but their taste was greater than their regard for appearances. The pit was, after all, the true resort of thoroughbred critics and amateurs. When there was anything worth seeing, this was the place; and I began to feel a sort of reflected importance in the consciousness that I also was a critic. Nobody sat near them⁠—it would have seemed like an intrusion. Not a syllable was uttered.⁠—They were two clerks in the Victualling Office!

What I would insist on, then, is this⁠—that for Mr. Kean, or Mr. Young, or Mr. Macready, or any of those that are “cried out upon in the top of the compass” to obtrude themselves voluntarily or ostentatiously upon our notice, when they are out of character, is a solecism in theatricals. For them to thrust themselves forward before the scenes, is to drag us behind them against our will, than which nothing can be more fatal to a true passion for the stage, and which is a privilege that should be kept sacred for impertinent curiosity. Oh! while I live, let me not be admitted (under special favour) to an actor’s dressing-room. Let me not see how Cato painted, or how Caesar combed! Let me not meet the prompt-boys in the passage, nor see the half-lighted candles stuck against the bare walls, nor hear the creaking of machines, or the fiddlers laughing; nor see a Columbine practising a pirouette in sober sadness, nor Mr. Grimaldi’s face drop from mirth to sudden melancholy as he passes the side-scene, as if a shadow crossed it, nor witness the long-chinned generation of the pantomime sit twirling their thumbs, nor overlook the fellow who holds the candle for the moon in the scene between Lorenzo and Jessica! Spare me this insight into secrets I am not bound to know. The stage is not a mistress that we are sworn to undress. Why should we look behind the glass of fashion? Why should we prick the bubble that reflects the world, and turn it to a little soap and water? Trust a little to first appearances⁠—leave something to fancy. I observe that the great puppets of the real stage, who themselves play a grand part, like to get into the boxes over the stage; where they see nothing from the proper point of view, but peep and pry into what is going on like a magpie looking into a marrowbone. This is just like them. So they look down upon human life, of which they are ignorant. They see the exits and entrances of the players, something that they suspect is meant to be kept from them (for they think they are always liable to be imposed upon): the petty pageant of an hour ends with each scene long before the catastrophe, and the tragedy of life is turned to farce under their eyes. These people laugh loud at a pantomime, and are delighted with clowns and pantaloons. They pay no attention to anything else. The stage-boxes exist in contempt of the stage and common sense. The private boxes, on the contrary, should be reserved as the receptacle for the officers of state and great diplomatic characters, who wish to avoid, rather than court popular notice!

On the Disadvantages of Intellectual Superiority

The chief disadvantage of knowing more and seeing farther than others, is not to be generally understood. A man is, in consequence of this, liable to start paradoxes, which immediately transport him beyond the reach of the commonplace reader. A person speaking once in a slighting manner of a very original-minded man, received for answer, “He strides on so far before you that he dwindles in the distance!”

Petrarch complains that “Nature had made him different from other people”⁠—singular’ d’ altri genti. The great happiness of life is, to be neither better nor worse than the general run of those you meet with. If you are beneath them, you are trampled upon; if you are above them, you soon find a mortifying level in their difference to what you particularly pique yourself upon. What is the use of being moral in a night-cellar, or wise in Bedlam? “To be honest, as this world goes, is to be one man picked out of ten thousand.” So says Shakespeare; and the commentators have not added that, under these circumstances, a man is more likely to become the butt of slander than the mark of admiration for being so. “How now, thou particular fellow?”83 is the common answer to all such out-of-the-way pretensions. By not doing as those at Rome do, we cut ourselves off from good-fellowship and society. We speak another language, have notions of our own, and are treated as of a different species. Nothing can be more awkward than to intrude with any such farfetched ideas among the common herd, who will be sure to

“Stand all astonished, like a sort of steers,
’Mongst whom some beast of strange and foreign race
Unwares is chanced, far straying from his peers:
So will their ghastly gaze betray their hidden fears.”

Ignorance of another’s meaning is a sufficient cause of fear, and fear produces hatred: hence the suspicion and rancour entertained against all those who set up for greater refinement and wisdom than their neighbours. It is in vain to think of softening down this spirit of hostility by simplicity of manners, or by condescending to persons of low estate. The more you condescend, the more they will presume