This consideration should have a particular weight with the female world, who are designed to please the eye and attract the regards of the other half of the species.

12. Now there is nothing that wears out a fine face like the vigils of the card table, and those cutting pa.s.sions which naturally attend them.

Hollow eyes, haggard looks, and pale complexions, are the natural indications of a female gamester. Her morning sleeps are not able to repair her midnight watchings.

13. I have known a woman carried off half dead from ba.s.sette, and have many a time grieved, to see a person of quality gliding by me in her chair at two o'clock in the morning, and looking like a spectre amidst a glare of flambeaux: in short, I never knew a thorough-paced female gamester hold her beauty two winters together.

14. But there is still another case in which the body is more endangered than in the former. All play-debts must be paid in specie, or by an equivalent. The man that plays beyond his income p.a.w.ns his estate; the woman must find out something else to mortgage when her pin-money is gone. The husband has his lauds to dispose of, the wife her person. Now when the female body is once _dipped_, if the creditor be very importunate, I leave my reader to consider the consequences.

15. It is needless here to mention the ill consequences attending this pa.s.sion among the men, who are often bubbled out of their money and estates by sharpers, and to make up their loss, have recourse to means productive of dire events, instances of which frequently occur; for strictly speaking, those who set their minds upon gaming, can hardly be honest; a man's reflections, after losing, render him desperate, so as to commit violence either upon himself or some other person, and therefore gaming should be discouraged in all well regulated communities.

_Whisperers_.

SIR,

1. As the ladies are naturally become the immediate objects of your care, will you permit a complaint to be inserted in your paper, which is founded upon matter of fact? They will pardon me, if by laying before you a particular instance I was lately witness to of their improper behaviour, I endeavour to expose a reigning evil, which subjects them to many shameful imputations.

2. I received last week a dinner card from a friend, with an intimation that I should meet some very agreeable ladies. At my arrival, I found that the company consisted chiefly of females, who indeed did me the honour to rise, but quite disconcerted me in paying my respects, by their whispering each other, and appearing to stifle a laugh. When I was seated, the ladies grouped themselves up in a corner, and entered into a private cabal, seemingly to discourse upon points of great secrecy and importance, but of equal merriment and diversion.

3. The same conduct of keeping close to their ranks was observed at table, where the ladies seated themselves together. Their conversation was here also confined wholly to themselves, and seemed like the mysteries of the _Bonna Deo_, in which men were forbidden to have any share. It was a continued laugh and a whisper from the beginning to the end of dinner. A whole sentence was scarce ever spoken aloud.

4. Single words, indeed, now and then broke forth; such as _odious_, _horrid_, _detestable_, _shocking_, HUMBUG. This last new-coined expression, which is only to be found in the nonsensical vocabulary, sounds absurd and disagreeable, whenever it is p.r.o.nounced; but from the mouth of a lady it is, "shocking, detestable, horrible and odious."

5. My friend seemed to be in an uneasy situation at his own table; but I was far more miserable. I was mute, and seldom dared to lift up my eyes from my plate, or turn my head to call for small beer, lest by some aukward posture I might draw upon me a whisper or a laugh. _Sancho_, when he was forbid to eat of a delicious banquet set before him, could scarce appear more melancholy.

6. The rueful length of my face might possibly increase the mirth of my tormentors: at least their joy seemed to rise in exact proportion with my misery. At length, however, the time of my delivery approached.

Dinner ended, the ladies made their exit in pairs, and went off hand in hand whispering like the two kings of _Brentford_.

7. Modest men, Mr. _Town_, are deeply wounded when they imagine themselves the subjects of ridicule or contempt; and the pain is the greater, when it is given by those whom they admire, and from whom they are ambitious of receiving any marks of countenance and favour. Yet we must allow, that affronts are pardonable from ladies, as they are often prognostics of future kindness.

8. If a lady strikes our cheek, we can very willingly follow the precept of the gospel, and turn the other cheek to be smitten: even a blow from a fair hand conveys pleasure. But this battery of whispers is against all legal rights of war; poisoned arrows and stabs in the dark, are not more repugnant to the general laws of humanity.

9. Modern writers of comedy often introduce a pert t.i.tling into their pieces, who is very severe upon the rest of the company; but all his waggery is spoken _aside_.--These giglers and whisperers seem to be acting the same part in company that this arch rogue does in the play.

Every word or motion produces a train of whispers; the dropping of a snuff-box, or spilling the tea, is sure to be accompanied with a t.i.tter: and, upon the entrance of any one with something particular in his person, or manner, I have seen a whole room in a buz like a bee hive.

10. This practice of whispering, if it is any where allowable, may perhaps be indulged the fair s.e.x at church, where the conversation can only be carried on by the secret symbols of a curtsy, an ogle, or a nod.

A whisper in this place is very often of great use, as it serves to convey the most secret intelligence, which a lady would be ready to burst with, if she could not find vent for it by this kind of auricular confession. A piece of scandal transpires in this manner from one pew to another, then presently whizes along the channel, from whence it crawls up to the galleries, till at last the whole church hums with it.

11. It were also to be wished, that the ladies would be pleased to confine themselves to whispering in their _tete-a-tete_ conferences at an opera or the play-house; which would be a proper deference to the rest of the audience. In _France_, we are told, it is common for the _parterre_ to join with the performers in any favorite air: but we seem to have carried this custom still further, as the company in our boxes, without concerning themselves in the least with the play, are even louder than the players.

12. The wit and humour of a _Vanbrugh_, or a _Congreve,_ is frequently interrupted by a brilliant dialogue between two persons of fashion; and a love scene in the side box has often been more attended to, than that on the stage. As to their loud bursts of laughter at the theatre, they may very well be excused, when they are excited by any lively strokes in a comedy: but I have seen our ladies t.i.tter at the most distressful scenes in _Romeo_ and _Juliet_, grin over the anguish of a _Monimia_, or _Belvidera_, and fairly laugh king _Lear_ off the stage.

13. Thus the whole behaviour of these ladies is in direct contradiction to good manners. They laugh when they should cry, are loud when they should be silent, and are silent when their conversation is desirable.

If a man in a select company was thus to laugh or whisper me out of countenance, I should be apt to construe it as an affront, and demand an explanation.

14. As to the ladies I would desire them to reflect how much they would suffer, if their own weapons were turned against them, and the gentlemen should attack them with the same arts of laughing and whispering. But, however free they may be from our resentment, they are still open to ill-natured suspicions. They do not consider, what strange constructions may be put on these laughs and whispers.

15. It were indeed, of little consequence, if we only imagined, that they were taking the reputation of their acquaintance to pieces, or abusing the company round; but when they indulge themselves in this behaviour, some perhaps may be led to conclude, that they are discoursing upon topics, which they are ashamed to speak of in a less private manner.

16. If the misconduct which I have described, had been only to be found, Mr. _Town_, at my friend's table, I should not have troubled you with this letter: but the same kind of ill breeding prevails too often, and in too many places. The giglers and the whisperers are innumerable; they beset us wherever we go; and it is observable, that after a short murmur of whispers, out comes the burst of laughter: like a gunpowder serpent, which, after hissing about for some time, goes off in a bounce.

17. Some excuse may perhaps be framed for this ill-timed merriment, in the fair s.e.x. _Venus_, the G.o.ddess of beauty, is frequently called _laughter-loving dame_; and by laughing, our modern ladies may possibly imagine, that they render themselves like _Venus_. I have indeed remarked, that the ladies commonly adjust their laugh to their persons, and are merry in proportion as it sets off their particular charms.

18. One lady is never further moved than to a smile or a simper, because nothing else shews her dimples to so much advantage; another who has a fine set of teeth, runs into a broad grin; while a third, who is admired for a well turned neck and graceful chest, calls up all her beauties to view by breaking into violent and repeated peals of laughter.

19. I would not be understood to impose gravity or too great a reserve on the fair s.e.x. Let them laugh at a feather; but let them declare openly, that it is a feather which occasions their mirth. I must confess, that laughter becomes the young, the gay, and the handsome: but a whisper is unbecoming at all ages, and in both s.e.xes: nor ought it ever to be practised, except in the round gallery of St. _Paul's_, or in the famous whispering place in _Gloucester_ cathedral, where two whisperers hear each other at the distance of five-and-twenty yards.

_I am, Sir,

Your humble Servant._

_Beauty_.

1. Though the danger of disappointment is always in proportion to the height of expectation, yet I this day claim the attention of the ladies, and profess to teach an art by which all may obtain what has. .h.i.therto been deemed the prerogative of a few: an art by which their predominant pa.s.sion may be gratified, and their conquest not only extended, but secured; "The art of being PRETTY."

2. But though my subject may interest the ladies, it may, perhaps, offend those profound moralists who have long since determined, that beauty ought rather to be despised than desired; that, like strength, it is a mere natural excellence, the effect that causes wholly out of our power, and not intended either as the pledge of happiness or the distinction of merit.

3. To these gentlemen I shall remark, that beauty is among those qualities which no effort of human wit could ever bring into contempt: it is therefore to be wished at least, that beauty was in some degree dependent upon sentiment and manners, that so high a privilege might not be possessed by the unworthy, and that human reason might no longer suffer the mortification of those who are compelled to adore an idol, which differs from a stone or log only by the skill of the artificer: and if they cannot themselves behold beauty with indifference, they must, surely, approve an attempt to shew that it merits their regard.

4. I shall, however, princ.i.p.ally consider that species of beauty which is expressed in the countenance; for this alone is peculiar to human beings, and is not less complicated than their nature. In the countenance there are but two requisites to perfect beauty, which are wholly produced by external causes, colour and proportion: and it will appear, that even in common estimation these are not the chief; but that though there may be beauty without them, yet there cannot be beauty without something more.

5. The finest features, ranged in the most exact symmetry, and heightened by the most blooming complexion, must be animated before they can strike; and when they are animated, will generally excite the same pa.s.sions which they express. If they are fixed in the dead calm of insensibility, they will be examined without emotion; and if they do not express kindness, they will be beheld without love.

6. Looks of contempt, disdain, or malevolence, will be reflected, as from a mirror, by every countenance on which they are turned; and if a wanton aspect excites desire; it is but like that of a savage for his prey, which cannot be gratified without the destruction of its object.

7. Among particular graces, the dimple has always been allowed the pre-eminence, and the reason is evident; dimples are produced by a smile, and a smile is an expression of complacency; so the contraction of the brows into a frown, as it is an indication of a contrary temper, has always been deemed a capital defect.

8. The lover is generally at a loss to define the beauty, by which his pa.s.sion was suddenly and irresistibly determined to a particular object; but this could never happen, if it depended upon any known rule of proportion, upon the shape and disposition of the features, or the colour of the skin: he tells you that it is something which he cannot fully express, something not fixed in any part, but diffused over the whole; he calls it a sweetness, a softness, a placid sensibility, or gives it some other appellation which connects beauty with sentiment, and expresses a charm which is not peculiar to any set of features, but is perhaps possible to all.

9. This beauty, however, does not always consist in smiles, but varies as expressions of meekness and kindness vary with their objects: it is extremely forcible in the silent complaint of patient sufferance, the tender solicitude of friendship, and the glow of filial obedience; and in tears, whether of joy, of pity, or of grief, it is almost irresistible.

10. This is the charm which captivates without the aid of nature, and without which her utmost bounty is ineffectual. But it cannot be a.s.sumed as a mask to conceal insensibility or malevolence; it must be the genuine effect of corresponding sentiments, or it will impress upon the countenance a new and more disgusting deformity, affectation: it will produce the grin, the simper, the stare, the languish, the pout, and innumerable other grimaces, that render folly ridiculous, and change pity to contempt.

11. By some, indeed, this species of hypocrisy has been practised with such skill as to deceive superficial observers, though it can deceive even those but for a moment.--Looks which do not correspond with the heart, cannot be a.s.sumed without labour, nor continued without pain; the motive to relinquish them must, therefore, soon preponderate, and the aspect and apparel of the visit will be laid by together; the smiles and languishments of art will vanish, and the fierceness of rage, or the gloom of discontent, will either obscure or destroy all the elegance of symmetry and complexion.

12. The artificial aspect is, indeed, as wretched a subst.i.tute for the expression of sentiment; as the smear of paint for the blushes of health: it is not only equally transient, and equally liable to dejection; but as paint leaves the countenance yet more withered and ghastly, the pa.s.sions burst out with move violence after restraint, the features become more distorted and excite more determined aversion.

13. Beauty, therefore, depends princ.i.p.ally upon the mind, and, consequently, may be influenced by education. It has been remarked, that the predominant pa.s.sion may generally be discovered in the countenance; because the muscles by which it is expressed, being almost perpetually contracted, lose their tone, and never totally relax; so that the expression remains when the pa.s.sion is suspended; thus an angry, a disdainful, a subtle and a suspicious temper, is displayed in characters that are almost universally understood.

14. It is equally true of the pleasing and the softer pa.s.sions, that they leave their signatures upon the countenance when they cease to act: the prevalence of these pa.s.sions, therefore, produces a mechanical effect upon the aspect, and gives a turn and cast to the features which makes a more favorable and forcible impression upon the mind of others, than any charm produced by mere external causes.

15. Neither does the beauty which depends upon temper and sentiment, equally endanger the possessor: "It is," to use an eastern metaphor, "like the towers of a city, not only an ornament, but a defence;" if it excites desire, it at once controls and refines it; it represses with awe, it softens with delicacy, and it wins to imitation. The love of reason and virtue is mingled with the love of beauty; because this beauty is little more than the emanation of intellectual excellence, which is not an object of corporeal appet.i.te.

16. As it excites a purer pa.s.sion, it also more forcibly engages to fidelity: every man finds himself more powerfully restrained from giving pain to goodness than to beauty; and every look of a countenance in which they are blended, in which beauty is the expression of goodness, is a silent reproach of the first irregular wish: and the purpose immediately appears to be disingenious and cruel, by which the tender hope of ineffable affection would be disappointed, the placid confidence of unsuspected simplicity abased, and the peace even of virtue endangered by the most sordid infidelity, and the breach of the strongest obligations.