The common people of Venice display some qualities very rarely to be found in that sphere of life, being remarkably7 sober, obliging to strangers, and gentle in their intercourse8 with each other. The Venetians in general are tall and well made.[250] Though equally robust9, they are not so corpulent as the Germans. The latter also are of fair complexions10, with light-grey or blue eyes; whereas the Venetians are for the most part of a ruddy brown colour, with dark eyes. You meet in the streets of Venice many fine manly11 countenances12, resembling those transmitted to us by the pencils of Paul Veronese and Titian. The women are of a fine stile of countenance13, with expressive14 features, and a skin of a rich carnation15. They dress their hair in a fanciful manner, which becomes them very much. They are of an easy address, and have no aversion to cultivating an acquaintance with those strangers, who are presented to them by their relations, or have been properly recommended.
Strangers are under less restraint here, in many particulars, than the native inhabitants. I have known some, who, after having tried most of the capitals of[251] Europe, have preferred to live at Venice, on account of the variety of amusements, the gentle manners of the inhabitants, and the perfect freedom allowed in every thing, except in blaming the measures of Government. I have already mentioned in what manner the Venetians are in danger of being treated who give themselves that liberty. When a stranger is so imprudent as to declaim against the form or the measures of Government, he will either receive a message to leave the territories of the State, or one of the Sbirri will be sent to accompany him to the Pope’s or the Emperor’s dominions16.
The houses are thought inconvenient17 by many of the English; they are better calculated, however, for the climate of Italy, than if they were built according to the London model, which, I suppose, is the plan those critics approve. The floors are of a kind of red plaister, with a brilliant glossy18 surface, much more beautiful[252] than wood, and far preferable in case of fire, whose progress they are calculated to check.
The principal apartments are on the second floor. The Venetians seldom inhabit the first, which is often intirely filled with lumber19: perhaps, they prefer the second, because it is farthest removed from the moisture of the lakes; or perhaps they prefer it, because it is better lighted, and more cheerful; or they may have some better reason for this preference than I am acquainted with, or can imagine. Though the inhabitants of Great Britain make use of the first floors for their chief apartments, this does not form a complete demonstration20 that the Venetians are in the wrong for preferring the second. When an acute sensible people universally follow one custom, in a mere21 matter of conveniency, however absurd that custom may appear in the eyes of a stranger at first sight, it will generally be found, that[253] there is some real advantage in it, which compensates22 all the apparent inconveniencies. Of this travellers, who do not hurry with too much rapidity through the countries they visit, are very sensible: for, after having had time to weigh every circumstance, they often see reason to approve what they had formerly23 condemned24. I could illustrate25 this by many examples; but your own recollection must furnish you with so many, that any more would be superfluous26. Custom and fashion have the greatest influence on our taste of beauty or excellence27 of every kind. What, from a variety of causes, has become the standard in one country, is sometimes just the contrary in another. The same thing that makes a low-brimmed hat appear genteel at one time, and ridiculous at another, has made a different species of versification be accounted the model of perfection in old Rome and modern Italy, at Paris, or at London. In matters of taste, particularly in dramatic poetry, the prejudices which[254] each particular nation acquires in favour of its own is difficult to be removed. People seldom obtain such a perfect knowledge of a foreign language and foreign manners, as to understand all the niceties of the one and the allusions28 to the other: of consequence, many things are insipid29 to them, for which a native may have a high relish.
The dialogues in rhime of the French plays appear unnatural30 and absurd to Englishmen when they first attend the French theatre; yet those who have remained long in France, and acquired a more perfect knowledge of the language, assure us, that without rhime the dignity of the Tragic31 Muse2 cannot be supported; and that, even in Comedy, they produce an additional elegance32, which overbalances every objection. The French language being more studied and better understood by the English than our language is by the French nation, we find many of our[255] countrymen who relish the beauties, and pay the just tribute of admiration33 to the genius of Corneille, while there is scarcely a single Frenchman to be found who has any idea of the merit of Shakespeare.
Without being justly accused of partiality, I may assert that, in this instance, the English display a fairness and liberality of sentiment superior to the French. The irregularities of Shakespeare’s drama are obvious to every eye, and would, in the present age, be avoided by a poet not possessed34 of a hundredth part of his genius. His peculiar35 beauties, on the other hand, are of an excellence which has not, perhaps, been attained36 by any poet of any age or country; yet the French critics, from Voltaire down to the poorest scribbler in the literary journals, all stop at the former, declaim on the barbarous taste of the English nation, insist on the grotesque37 absurdity38 of the poet’s imagination, and illustrate both by partial extracts of the[256] most exceptionable scenes of Shakespeare’s plays.
When a whole people, with that degree of judgment39 which even the enemies of the British nation allow them to have, unite in the highest admiration of one man, and continue, for ages, to behold40 his pieces with unsated delight, it might occur to those Frenchmen, that there possibly was some excellence in the works of this poet, though they could not see it; and a very moderate share of candour might have taught them, that it would be more becoming to spare their ridicule41, till they acquired a little more knowledge of the author against whom it is pointed42.
An incident which occurred since my arrival at Venice, though founded on a prejudice much more excusable than the conduit of the critics above mentioned, has brought home to my conviction the rashness of those who form opinions, without[257] the knowledge requisite43 to direct their judgment.
I had got, I don’t know how, the most contemptuous opinion of the Italian drama. I had been told, there was not a tolerable actor at present in Italy, and I had been long taught to consider their comedy as the most despicable stuff in the world, which could not amuse, or even draw a smile from any person of taste, being quite destitute44 of true humour, full of ribaldry, and only proper for the meanest of the vulgar. Impressed with these sentiments, and eager to give his Grace a full demonstration of their justness, I accompanied the D—— of H—— to the stage-box of one of the playhouses the very day of our arrival at Venice.
The piece was a comedy, and the most entertaining character in it was that of a man who stuttered. In this defect, and in the singular grimaces45 with which the actor[258] accompanied it, consisted a great part of the amusement.
Disgusted at such a pitiful substitution for wit and humour, I expressed a contempt for an audience which could be entertained by such buffoonery, and who could take pleasure in the exhibition of a natural infirmity.
While we inwardly indulged sentiments of self-approbation, on account of the refinement46 and superiority of our own taste, and supported the dignity of those sentiments by a disdainful gravity of countenance, the Stutterer was giving a piece of information to Harlequin which greatly interested him, and to which he listened with every mark of eagerness. This unfortunate speaker had just arrived at the most important part of his narrative48, which was, to acquaint the impatient listener where his mistress was concealed49, when he unluckily stumbled on a word of[259] six or seven syllables50, which completely obstructed51 the progress of his narration52. He attempted it again and again, but always without success. You may have observed that, though many other words would explain his meaning equally well, you may as soon make a Saint change his religion, as prevail on a Stutterer to accept of another word in place of that at which he has stumbled. He adheres to his first word to the last, and will sooner expire with it in his throat, than give it up for any other you may offer. Harlequin, on the present occasion, presented his friend with a dozen; but he rejected them all with disdain47, and persisted in his unsuccessful attempts on that which had first come in his way. At length, making a desperate effort, when all the spectators were gaping53 in expectation of his safe delivery, the cruel word came up with its broad side foremost, and stuck directly across the unhappy man’s wind-pipe. He gaped54, and panted, and croaked55; his face flushed,[260] and his eyes seemed ready to start from his head. Harlequin unbuttoned the Stutterer’s waistcoat, and the neck of his shirt; he fanned his face with his cap, and held a bottle of hartshorn to his nose. At length, fearing his patient would expire, before he could give the desired intelligence, in a fit of despair he pitched his head full in the dying man’s stomach, and the word bolted out of his mouth to the most distant part of the house.
This was performed in a manner so perfectly56 droll57, and the humorous absurdity of the expedient58 came so unexpectedly upon me, that I immediately burst into a most excessive fit of laughter, in which I was accompanied by the D——, and by your young friend Jack59, who was along with us; and our laughter continued in such loud, violent, and repeated fits, that the attention of the audience being turned from the stage to our box, occasioned a renewal60 of the mirth all over the playhouse with greater vociferation than at first.
When we returned to the inn, the D—— of H—— asked me, If I were as much convinced as ever, that a man must be perfectly devoid61 of taste, who could condescend62 to laugh at an Italian comedy?
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1
extravagantly
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| adv.挥霍无度地 | |
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muse
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| n.缪斯（希腊神话中的女神），创作灵感 | |
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uncommon
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| adj.罕见的，非凡的，不平常的 | |
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relish
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| n.滋味，享受，爱好，调味品；vt.加调味料，享受，品味；vi.有滋味 | |
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enjoyments
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| 愉快( enjoyment的名词复数 )； 令人愉快的事物； 享有； 享受 | |
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ostentation
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| n.夸耀，卖弄 | |
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remarkably
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| ad.不同寻常地，相当地 | |
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8
intercourse
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| n.性交；交流，交往，交际 | |
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robust
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| adj.强壮的，强健的，粗野的，需要体力的，浓的 | |
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complexions
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| 肤色( complexion的名词复数 )； 面色； 局面； 性质 | |
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manly
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| adj.有男子气概的；adv.男子般地，果断地 | |
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countenances
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| n.面容( countenance的名词复数 )；表情；镇静；道义支持 | |
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countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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expressive
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| adj.表现的，表达…的，富于表情的 | |
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carnation
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| n.康乃馨（一种花） | |
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dominions
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| 统治权( dominion的名词复数 )； 领土； 疆土； 版图 | |
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inconvenient
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| adj.不方便的，令人感到麻烦的 | |
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18
glossy
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| adj.平滑的；有光泽的 | |
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19
lumber
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| n.木材，木料；v.以破旧东西堆满；伐木；笨重移动 | |
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20
demonstration
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| n.表明，示范，论证，示威 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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22
compensates
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| 补偿，报酬( compensate的第三人称单数 )； 给（某人）赔偿（或赔款） | |
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formerly
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| adv.从前，以前 | |
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condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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illustrate
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| v.举例说明，阐明；图解，加插图 | |
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superfluous
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| adj.过多的，过剩的，多余的 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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allusions
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| 暗指，间接提到( allusion的名词复数 ) | |
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insipid
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| adj.无味的，枯燥乏味的，单调的 | |
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unnatural
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| adj.不自然的；反常的 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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absurdity
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| n.荒谬，愚蠢；谬论 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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40
behold
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| v.看，注视，看到 | |
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41
ridicule
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| v.讥讽，挖苦；n.嘲弄 | |
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42
pointed
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| adj.尖的，直截了当的 | |
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43
requisite
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| adj.需要的，必不可少的；n.必需品 | |
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44
destitute
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| adj.缺乏的；穷困的 | |
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45
grimaces
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| n.（表蔑视、厌恶等）面部扭曲，鬼脸( grimace的名词复数 )v.扮鬼相，做鬼脸( grimace的第三人称单数 ) | |
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46
refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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47
disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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48
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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49
concealed
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| a.隐藏的，隐蔽的 | |
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50
syllables
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| n.音节( syllable的名词复数 ) | |
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51
obstructed
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| 阻塞( obstruct的过去式和过去分词 )； 堵塞； 阻碍； 阻止 | |
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52
narration
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| n.讲述，叙述；故事；记叙体 | |
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53
gaping
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| adj.口的；张口的；敞口的；多洞穴的v.目瞪口呆地凝视( gape的现在分词 )；张开，张大 | |
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54
gaped
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| v.目瞪口呆地凝视( gape的过去式和过去分词 )；张开，张大 | |
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55
croaked
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| v.呱呱地叫( croak的过去式和过去分词 )；用粗的声音说 | |
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56
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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57
droll
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| adj.古怪的，好笑的 | |
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58
expedient
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| adj.有用的，有利的；n.紧急的办法，权宜之计 | |
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59
jack
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| n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克 | |
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60
renewal
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| adj.(契约)延期，续订，更新，复活，重来 | |
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61
devoid
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| adj.全无的，缺乏的 | |
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62
condescend
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| v.俯就，屈尊；堕落，丢丑 | |
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