A discourse1 between the poet and the player; of no other use in this history but to divert the reader.
Before we proceed any farther in this tragedy we shall leave Mr Joseph and Mr Adams to themselves, and imitate the wise conductors of the stage, who in the midst of a grave action entertain you with some excellent piece of satire2 or humour called a dance. Which piece, indeed, is therefore danced, and not spoke3, as it is delivered to the audience by persons whose thinking faculty4 is by most people held to lie in their heels; and to whom, as well as heroes, who think with their hands, Nature hath only given heads for the sake of conformity5, and as they are of use in dancing, to hang their hats on.
The poet, addressing the player, proceeded thus, “As I was saying” (for they had been at this discourse all the time of the engagement above-stairs), “the reason you have no good new plays is evident; it is from your discouragement of authors. Gentlemen will not write, sir, they will not write, without the expectation of fame or profit, or perhaps both. Plays are like trees, which will not grow without nourishment7; but like mushrooms, they shoot up spontaneously, as it were, in a rich soil. The muses8, like vines, may be pruned9, but not with a hatchet10. The town, like a peevish11 child, knows not what it desires, and is always best pleased with a rattle12. A farce-writer hath indeed some chance for success: but they have lost all taste for the sublime13. Though I believe one reason of their depravity is the badness of the actors. If a man writes like an angel, sir, those fellows know not how to give a sentiment utterance14.” — “Not so fast,” says the player: “the modern actors are as good at least as their authors, nay15, they come nearer their illustrious predecessors16; and I expect a Booth on the stage again, sooner than a Shakespear or an Otway; and indeed I may turn your observation against you, and with truth say, that the reason no authors are encouraged is because we have no good new plays.” — “I have not affirmed the contrary,” said the poet; “but I am surprized you grow so warm; you cannot imagine yourself interested in this dispute; I hope you have a better opinion of my taste than to apprehend17 I squinted18 at yourself. No, sir, if we had six such actors as you, we should soon rival the Bettertons and Sandfords of former times; for, without a compliment to you, I think it impossible for any one to have excelled you in most of your parts. Nay, it is solemn truth, and I have heard many, and all great judges, express as much; and, you will pardon me if I tell you, I think every time I have seen you lately you have constantly acquired some new excellence19, like a snowball. You have deceived me in my estimation of perfection, and have outdone what I thought inimitable.” — “You are as little interested,” answered the player, “in what I have said of other poets; for d — n me if there are not many strokes, ay, whole scenes, in your last tragedy, which at least equal Shakespear. There is a delicacy20 of sentiment, a dignity of expression in it, which I will own many of our gentlemen did not do adequate justice to. To confess the truth, they are bad enough, and I pity an author who is present at the murder of his works.” — “Nay, it is but seldom that it can happen,” returned the poet; “the works of most modern authors, like dead-born children, cannot be murdered. It is such wretched half-begotten, half-writ6, lifeless, spiritless, low, grovelling21 stuff, that I almost pity the actor who is obliged to get it by heart, which must be almost as difficult to remember as words in a language you don’t understand.” — “I am sure,” said the player, “if the sentences have little meaning when they are writ, when they are spoken they have less. I know scarce one who ever lays an emphasis right, and much less adapts his action to his character. I have seen a tender lover in an attitude of fighting with his mistress, and a brave hero suing to his enemy with his sword in his hand. I don’t care to abuse my profession, but rot me if in my heart I am not inclined to the poet’s side.” — “It is rather generous in you than just,” said the poet; “and, though I hate to speak ill of any person’s production — nay, I never do it, nor will — but yet, to do justice to the actors, what could Booth or Betterton have made of such horrible stuff as Fenton’s Mariamne, Frowd’s Philotas, or Mallet’s Eurydice; or those low, dirty, last-dying-speeches, which a fellow in the city of Wapping, your Dillo or Lillo, what was his name, called tragedies?” — “Very well,” says the player; “and pray what do you think of such fellows as Quin and Delane, or that face-making puppy young Cibber, that ill-looked dog Macklin, or that saucy22 slut Mrs Clive? What work would they make with your Shakespears, Otways, and Lees? How would those harmonious23 lines of the last come from their tongues? —
All pomp when thou art by: far be the noise
Of kings and crowns from us, whose gentle souls
Our kinder fates have steer’d another way.
Free as the forest birds we’ll pair together,
Without rememb’ring who our fathers were:
Fly to the arbors, grots, and flow’ry meads;
There in soft murmurs25 interchange our souls;
Together drink the crystal of the stream,
Or taste the yellow fruit which autumn yields,
And, when the golden evening calls us home,
Wing to our downy nests, and sleep till morn.’
“Or how would this disdain of Otway —
“‘Who’d be that foolish sordid26 thing call’d man?’”
“Hold! hold! hold!” said the poet: “Do repeat that tender speech in the third act of my play which you made such a figure in.” — “I would willingly,” said the player, “but I have forgot it.” — “Ay, you was not quite perfect in it when you played it,” cries the poet, “or you would have had such an applause as was never given on the stage; an applause I was extremely concerned for your losing.” — “Sure,” says the player, “if I remember, that was hissed27 more than any passage in the whole play.” — “Ay, your speaking it was hissed,” said the poet. — “My speaking it!” said the player. — “I mean your not speaking it,” said the poet. “You was out, and then they hissed.” — “They hissed, and then I was out, if I remember,” answered the player; “and I must say this for myself, that the whole audience allowed I did your part justice; so don’t lay the damnation of your play to my account.” — “I don’t know what you mean by damnation,” replied the poet. — “Why, you know it was acted but one night,” cried the player. — “No,” said the poet, “you and the whole town were enemies; the pit were all my enemies, fellows that would cut my throat, if the fear of hanging did not restrain them. All taylors, sir, all taylors.” — “Why should the taylors be so angry with you?” cries the player. “I suppose you don’t employ so many in making your clothes.” — “I admit your jest,” answered the poet; “but you remember the affair as well as myself; you know there was a party in the pit and upper gallery that would not suffer it to be given out again; though much, ay infinitely28, the majority, all the boxes in particular, were desirous of it; nay, most of the ladies swore they never would come to the house till it was acted again. Indeed, I must own their policy was good in not letting it be given out a second time: for the rascals29 knew if it had gone a second night it would have run fifty; for if ever there was distress30 in a tragedy — I am not fond of my own performance; but if I should tell you what the best judges said of it — Nor was it entirely31 owing to my enemies neither that it did not succeed on the stage as well as it hath since among the polite readers; for you can’t say it had justice done it by the performers.” — “I think,” answered the player, “the performers did the distress of it justice; for I am sure we were in distress enough, who were pelted32 with oranges all the last act: we all imagined it would have been the last act of our lives.”
The poet, whose fury was now raised, had just attempted to answer when they were interrupted, and an end put to their discourse, by an accident, which if the reader is impatient to know, he must skip over the next chapter, which is a sort of counterpart to this, and contains some of the best and gravest matters in the whole book, being a discourse between parson Abraham Adams and Mr Joseph Andrews.
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discourse
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| n.论文，演说；谈话；话语；vi.讲述，著述 | |
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satire
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| n.讽刺，讽刺文学，讽刺作品 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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faculty
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| n.才能；学院，系；(学院或系的)全体教学人员 | |
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conformity
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| n.一致，遵从，顺从 | |
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writ
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| n.命令状，书面命令 | |
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nourishment
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| n.食物，营养品；营养情况 | |
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muses
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| v.沉思，冥想( muse的第三人称单数 )；沉思自语说（某事） | |
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pruned
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| v.修剪（树木等）( prune的过去式和过去分词 )；精简某事物，除去某事物多余的部分 | |
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hatchet
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| n.短柄小斧；v.扼杀 | |
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peevish
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| adj.易怒的，坏脾气的 | |
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rattle
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| v.飞奔，碰响；激怒；n.碰撞声；拨浪鼓 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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utterance
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| n.用言语表达，话语，言语 | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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predecessors
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| n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身 | |
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apprehend
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| vt.理解，领悟，逮捕，拘捕，忧虑 | |
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squinted
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| 斜视( squint的过去式和过去分词 )； 眯着眼睛； 瞟； 从小孔或缝隙里看 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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grovelling
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| adj.卑下的，奴颜婢膝的v.卑躬屈节，奴颜婢膝( grovel的现在分词 )；趴 | |
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saucy
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| adj.无礼的；俊俏的；活泼的 | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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murmurs
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| n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕 | |
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sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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hissed
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| 发嘶嘶声( hiss的过去式和过去分词 )； 发嘘声表示反对 | |
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infinitely
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| adv.无限地，无穷地 | |
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rascals
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| 流氓( rascal的名词复数 )； 无赖； （开玩笑说法）淘气的人（尤指小孩）； 恶作剧的人 | |
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distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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pelted
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| （连续地）投掷( pelt的过去式和过去分词 )； 连续抨击； 攻击； 剥去…的皮 | |
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