The True Patriot/No. 9.

by Henry Fielding

THE

TRUE PATRIOT.

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No. 9. TUESDAY, December 31, 1745.

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Non hoc ista sibi tempus spectacula poscit. VIRG.

THE following letter came attended with a small present of Bologna sausages, Naples soap, Florence oil, and a paper of maccaroni.

SIGNIOR SAR,

'ME be inform, dat you be de Patriat, dat is to say, van parson who take part vor de muny; now, Sar, dat be commodity me did forget to bring over vid me; but ven me ave got one two tousand pound me sal send you sum; me desire, darefor, dat you woud rite sumting to recomend de opera, or begar me sal be oblige to go back to Italy like one fool as me did cum, and dey will laff at me for bring no muny from an country vich ave give so much muny for song.

Me be, Signior Sar,

Of your excellence, de most umble sclave,

GIOVANI CANTILENA.'

Though I by no means admit that character of patriotism which the signior hath conceived, whether in Italy or England I will not determine, yet as I think it one part of integrity to dare oppose popular clamour, I shall, in compliance with my good friend, and in return for this kind present, offer such thoughts as occur to me in favour of a diversion, against which so much disgust seems to prevail at this season.

And in the first place, I think it should be considered, that these poor Italians, whose property is their throats, did not come over of their own accord; but were invited hither. Nor is the rebellion a sufficient excuse to send them back unrewarded, since the poverty and distress of this nation, even before this rebellion, occasioned by debts, wars, and almost every public calamity, must have deterred any persons from such an undertaking, who had not resolved to have an opera at any rate, and in any situation.

But, perhaps, this melancholy situation of our affairs was a principal reason for the introduction of this opera. Is any thing more proper to soften and compose the mind in misfortunes than music? Hath it not always been found the most effectual remedy in grief? And was accordingly used as such by the great Nero, to calm and compose the agonies of his mind, while his own city was in flames; and Homer informs us, that Achilles used to assuage the wrath and impetuosity of his temper by the music which old Chiron had taught him. Nay, it hath been prescribed, by physicians, as a medicine for a diseased mind; and we are told by Josephus, that 'when Saul was agitated with fits, like a daemoniac, his physicians not being able to give any natural or philosophical account of the distemper, only advised the having somebody about him that could sing or play upon the harp well, that might be ready at hand to give him the diversion of an hymn or an air. This advice was taken, and David sent for, who by his voice and harp cured the patient.'

The great power over the passions, which the ancient philosophers assigned to music, is almost too well known to be mentioned. Socrates learned to sing in his old age. Plato had so high an opinion of music, that he considered the application of it to amusement only, as a high perversion of its institution; for he imagined it given by the gods to men for much more divine and nobler purposes. And Pythagoras (to mention no more) is known to have held, that virtue, peace, health, and all other good things, was nothing but harmony. Hence perhaps arose that notion maintained by some of the Greeks, from observing the sympathy between them, that the soul of man was something very like the sound of a fiddle.

And this power of music is not only capable of exercising to allay and compose, it is altogether as efficacious in rousing and animating the passions. Thus Xenophantus is recorded to have incited Alexander to arms with his music. And Plutarch, in his Laconic Apophthegms, tells us, that Agesilaus being asked why the Spartans marched (or rather danced) up to the enemy to some tune? answered, That music discovered the brave man from the coward; for those same notes which made the eyes of the valiant sparkle with fire, overspread the timorous face with paleness, and every other mark of terror.

This, therefore, is a second good reason for an opera at present, provided the music be properly adapted to the times, be chiefly martial, and consist mostly of trumpets and kettle-drums. The subject likewise of the drama (though that is generally considered as a matter of little consequence in those compositions) may lend some assistance; as suppose, for instance, the famous opera in which the celebrated Nicolini formerly killed a lion with so much bravery should be revived on this occasion. Such an example would almost animate the ladies, nay, even the beaus, to take up arms in defence of their country.

And what are the objections which our anti-musical enemies make to this entertainment?

First, I apprehend it hath been said, that the softness of Italian music is calculated to enervate the mind. This hath been obviated already. But admitting the objection true, where is its validity, when we consider of what persons the audiences will be composed? for not only the common soldiers, but all inferior officers, are excluded by the price. Indeed, the audience at an opera consists chiefly of fine gentlemen, fine ladies, and their servants, and except a few general officers, whose courage we ought to imagine superior to the power of a languishing air, scarce a person is ever present, who is likely to see a camp, or handle a musket; unless the opera, by being regulated as above, should inspire a martial spirit into them.

Secondly, it is said, that the immoderate expense of this diversion, at a season when poverty spreads its black banner over the whole nation, and when much the greater part are reduced to the most miserable degrees of want and necessity, is an argument of most abandoned extravagance, and indecent profligacy, scarce to be equalled by any example in history.

This, I conceive, is the objection on which our adversaries principally rely. I shall apply myself, therefore, in a very particular manner, to answer it.

And here I must premise, that this objection proceeds on a tacit admission of what is by no means true, viz.: That the sums expended on an opera subscription would otherwise be employed in the public service of the nation, or at least in private charity, to some of the numberless objects of it.

But this would certainly not be the case; for the person who could think of promoting such a diversion, in the midst of so much calamity, must have neither heart nor head good enough to feel the distresses of a fellow-creature, much less to relieve them; and surely it cannot be supposed, that these people will advance any thing in defence of his majesty, when they fly in his sacred face, by attempting an opera, though he hath himself (or I am grossly misinformed) been pleased to declare it is not now a time for operas.

We must therefore conclude, that this money, if not exhausted for the present good purpose, would either remain dormant in the purse of its owner, or would otherwise be sacrificed at cards, or lavished on some less innocent article of luxury or wantonness.

The expense then of this entertainment, however great it should be, will not injure the Public. On the contrary, such will be its political utility, that I question whether this opera may not preserve the nation.

For, in the first place, can any thing tend more to raise the public credit abroad, or so effectually to refute the slanders of those enemies, who have endeavoured to represent us in a bankrupt condition, than this very undertaking? It hath been esteemed a master-stroke of Roman policy, as well as greatness, that in their highest distress, they endeavoured, by all kinds of art, to insinuate their great strength, and assert their independency; for which purpose, was that ever memorable puff, with which they refused the presents of King Hiero, after the battle of Thrasimene.

I cannot help regarding our sending for a troop of Italian singers, in this time of distress, as a state puff of the same kind. Indeed I am convinced it was done with this design; for are not the very persons, who are the forwardest in promoting this diversion, courtiers, and consequently friends to the present establishment? Are they not people of fortune, and therefore highly interested in the preservation of national credit? Nor can I help observing, as a proof of the policy of this measure, another piece of state craft, tending to shew our great inward strength and security; for while we sent for this troop of singers into England, we left several troops of our soldiers abroad. And in what part of Europe could this policy be played off with such advantage as in Italy, where our principal enemies reside, and where the scheme of our destruction is supposed to have been laid? The success with which this scheme hath been attended, must have answered our expectation, since it is apparent, by the arrival of these singers, that they are fairly taken in, and imposed upon to believe we have still as much money as ever.

In this light then the opera, and those who encourage it, will deserve our highest encomiums; and the subscription to it may be ranked with the other public subscriptions at this season. And in this light we ought to see the intention of those who have promoted it, for the reasons above-mentioned: to which I will add the humane maxim, of always assigning the best motive possible to the actions of every one.

But, on the contrary, should we be so cruel to deny any such good purpose to be at the bottom; nay, should we derive this desire of an opera at present from the most depraved levity of mind, an utter insensibility of public good or evil, yet we may still draw advantages from our opera, though I must own I could be scarce sanguine enough to derive them from design. For could it be imagined of any nation, at such a season of danger and distress (which I decline painting at length, as the picture is disagreeable, and already sufficiently known), that considerable numbers of the inhabitants, instead of contributing all the assistance in their several capacities to the Public, should employ their time and their money in endeavouring to promote an expensive foreign diversion, composed of all the ingredients of softness and luxury, such a nation would not be worth invading. No powerful prince could look on such a people with any eyes of fear or jealousy, nor no wise one would send his subjects among them, for fear of enervating their minds, and debauching their morals.

Such a nation could inspire no other ideas into its neighbours, than those of contempt and ridicule. We ought to be considered as the silly swan, whose last breath goes out in a cantata. And as nothing but wanton cruelty could move any power to attack us, so would the conquest of us be no less infamous than barbarous; and we should, from the same reason, be as safe in the neighbourhood of France, as the little commonwealth of Lucca was in that of her great sister of Rome.

For all these reasons I am for an opera; but I must then insist on it, that we strike up immediately, otherwise I must desire that Ghost of an advertisement, calling for latter payment from the subscribers, which hath haunted the public papers this month, without having (as it seems) been spoken to by any one, to disappear immediately; for I would by no means have all Europe imagine, that 'we want nothing' to establish our opera at present, 'but money'.