the objects of cenfure and admiration. The rightly distinguishing of them is the proof of a good Taste, to acquire which we must be impartial in our enquiry, cool in our judgment, quick to apprehend, and ready to determine what is an error, and what a beauty. Beauties have been censured, thro' the want of understanding, and errors extoll'd, because in the masque of truth.
Observes further, that a good Taste is not confin'd only to writings, but extends to painting and sculpture; comprehends the whole circle of civility and good manners, and regulates life and conduct as well as theory and speculation: but now a days, instead of it, pertness passes for wit; dulness for decorum; lewdness for humour; dissimulation for honour; and vanity for every accomplishment.
Says, that the entertainments on the stage and the behaviour of the pit, are too strong proofs of the degeneracy of Taste since Mr. Addison's time, The gaming-table, and the royal diversion at New-market, are the ambition of the majority; and the rest prefer Senesino to Shakespear, as the highest proof of modern politeness.
The Templer Sat. Feb. 6, No. 2.
Tom's Coffee-house Covent Garden.
THE Templer says, he constantly frequents this place for the sake of the agreeable mixture of good company that meet there.———the Wit, the Politician, and the Beau, may be severally entertained in their respective ways.
Describes the characters and conversation of Ned Courtal, and Marforio. Courtal is a man of gallantry and pleasure; intrigue dress and diversions are his chief occupations; delights in musick and is a subscriber to the opera. Marforio is a man of learning, penetration and sagacity; with an exactness of taste, and receives no pleasure unwarranted by his judgment, and has no ear for musick; attacks Courtal on his favourite diversion the opera. Says, nothing is so absurd or unnatural as a drama set to musick; that 'tis monstrous to have all manner of persons, in all situations, perpetually accompanied with the regular responses of symphony; is sick to see a Cæsar, a Scipio, or an Alexander, intent upon crochets, to keep in with the fiddles, and come well off at a close.
To this Courtal replies, that sense has nothing to do at an opera; musick is the business, and nothing more is expected there; and that one may as well find fault with a fine woman for not understanding Mathematicks, or a courtier for not speaking Greek. That musick is as expressive as words, and quotes Dryden, who tells us of a musician, who, by his harmony, could command every passion of the mind; that if he is wrong in his notion, he had rather be happy with the foolish, than discontented with the wise; and that refining too much upon pleasure, destroys it.
The Templer moderates this dispute, by questioning whether a little sense would be prejudicial to the sound of an instrument; and if notes by themselves have that force of expression, might they not receive an additional advantage from a sett of well-chosen words?
The Grubstret Journal, February 11. No. 58.
BY the fashion, figure, and colour of the cloaths, we may form a judgment of the sentiments and qualities of the mind.
Fantasticalness in dress, if introduced by a foreign nation, presages the bringing in the politicks and religion of that nation. Political and religious garments nearly resemble the artificial, being as often changed as the weather suits.
About the latter-end of Queen Anne's reign, a rev. gentleman wrote a treatise call'd, A farewel to French kicks, of which our Journalist gives his rea-ders
