Letters to His Son

LETTER I

BATH, October 9, O. S. 1746

DEAR BOY: Your distresses in your journey from Heidelberg to Schaffhausen, your lying upon straw, your black bread, and your broken ‘berline,’ are proper seasonings for the greater fatigues and distresses which you must expect in the course of your travels; and, if one had a mind to moralize, one might call them the samples of the accidents, rubs, and difficulties, which every man meets with in his journey through life. In this journey, the understanding is the ‘voiture’ that must carry you through; and in proportion as that is stronger or weaker, more or less in repair, your journey will be better or worse; though at best you will now and then find some bad roads, and some bad inns. Take care, therefore, to keep that necessary ‘voiture’ in perfect good repair; examine, improve, and strengthen it every day: it is in the power, and ought to be the care, of every man to do it; he that neglects it, deserves to feel, and certainly will feel, the fatal effects of that negligence.

DEAR BOY: Pleasure is the rock which most young people split upon: they launch out with crowded sails in quest of it, but without a compass to direct their course, or reason sufficient to steer the vessel; for want of which, pain and shame, instead of pleasure, are the returns of their voyage. Do not think that I mean to snarl at pleasure, like a Stoic, or to preach against it, like a parson; no, I mean to point it out, and recommend it to you, like an Epicurean: I wish you a great deal; and my only view is to hinder you from mistaking it.

The character which most young men first aim at, is that of a man of pleasure; but they generally take it upon trust; and instead of consulting their own taste and inclinations, they blindly adopt whatever those with whom they chiefly converse, are pleased to call by the name of pleasure; and a man of pleasure in the vulgar acceptation of that phrase, means only, a beastly drunkard, an abandoned whoremaster, and a profligate swearer and curser. As it may be of use to you. I am not unwilling, though at the same time ashamed to own, that the vices of my youth proceeded much more from my silly resolution of being, what I heard called a man of pleasure, than from my own inclinations.

And they applied to it with success.

Women have, in general, but one object, which is their beauty; upon which, scarce any flattery is too gross for them to swallow. Nature has hardly formed a woman ugly enough to be insensible to flattery upon her person; if her face is so shocking, that she must in some degree, be conscious of it, her figure and her air, she trusts, make ample amends for it. If her figure is deformed, her face, she thinks, counterbalances it. If they are both bad, she comforts herself that she has graces; a certain manner; a ‘je ne sais quoi,’ still more engaging than beauty. This truth is evident, from the studied and elaborate dress of the ugliest women in the world. An undoubted, uncontested, conscious beauty, is of all women, the least sensible of flattery upon that head; she knows that it is her due, and is therefore obliged to nobody for giving it her. She must be flattered upon her understanding; which, though she may possibly not doubt of herself, yet she suspects that men may distrust.

My object is to have you fit to live; which, if you are not, I do not desire that you should live at all. My affection for you then is, and only will be, proportioned to your merit; which is the only affection that one rational being ought to have for another. Hitherto I have discovered nothing wrong in your heart, or your head: on the contrary I think I see sense in the one, and sentiments in the other. This persuasion is the only motive of my present affection; which will either increase or diminish, according to your merit or demerit. If you have the knowledge, the honor, and probity, which you may have, the marks and warmth of my affection shall amply reward them; but if you have them not, my aversion and indignation will rise in the same proportion; and, in that case, remember, that I am under no further obligation, than to give you the necessary means of subsisting. If ever we quarrel, do not expect or depend upon any weakness in my nature, for a reconciliation, as children frequently do, and often meet with, from silly parents; I have no such weakness about me: and, as I will never quarrel with you but upon some essential point; if once we quarrel, I will never forgive. But I hope and believe, that this declaration (for it is no threat) will prove unnecessary.

Tragedy must be something bigger than life, or it would not affect us. In nature the most violent passions are silent; in tragedy they must speak, and speak with dignity too. Hence the necessity of their being written in verse, and unfortunately for the French, from the weakness of their language, in rhymes. And for the same reason, Cato the Stoic, expiring at Utica, rhymes masculine and feminine at Paris; and fetches his last breath at London, in most harmmonious and correct blank verse.

It is quite otherwise with Comedy, which should be mere common life, and not one jot bigger. Every character should speak upon the stage, not only what it would utter in the situation there represented, but in the same manner in which it would express it. For which reason I cannot allow rhymes in comedy, unless they were put into the mouth, and came out of the mouth of a mad poet. But it is impossible to deceive one’s self enough (nor is it the least necessary in comedy) to suppose a dull rogue of an usurer cheating, or ‘gross Jean’ blundering in the finest rhymes in the world.