This is a modern-English version of The Lovers Assistant; Or, New Art of Love, originally written by Fielding, Henry, Ovid.
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and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If
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The Augustan Reprint Society
HENRY FIELDING
THE LOVERS ASSISTANT, OR, NEW ART OF LOVE
(1760)
Edited, with an
Introduction by
Claude E. Jones
Publication Number 89
William Andrews Clark Memorial Library
University of California
Los Angeles
1961
GENERAL EDITORS
Richard C. Boys, University of Michigan
Ralph Cohen, University of California, Los Angeles
Vinton A. Dearing, University of California, Los Angeles
Lawrence Clark Powell, Clark Memorial Library
Richard C. Boys, University of Michigan
Ralph Cohen, University of California, Los Angeles
Vinton A. Dearing, University of California, Los Angeles
Lawrence Clark Powell, Clark Memorial Library
ASSISTANT EDITOR
W. Earl Britton, University of Michigan
W. Earl Britton, University of Michigan
ADVISORY EDITORS
Emmett L. Avery, State College of Washington
Benjamin Boyce, Duke University
Louis Bredvold, University of Michigan
John Butt, University of Edinburgh
James L. Clifford, Columbia University
Arthur Friedman, University of Chicago
Louis A. Landa, Princeton University
Samuel H. Monk, University of Minnesota
Ernest C. Mossner, University of Texas
James Sutherland, University College, London
H.T. Swedenberg, Jr., University of California, Los Angeles
Emmett L. Avery, Washington State University
Benjamin Boyce, Duke University
Louis Bredvold, University of Michigan
John Butt, University of Edinburgh
James L. Clifford, Columbia University
Arthur Friedman, University of Chicago
Louis A. Landa, Princeton University
Samuel H. Monk, University of Minnesota
Ernest C. Mossner, University of Texas
James Sutherland, University College London
H.T. Swedenberg, Jr., University of California, Los Angeles
CORRESPONDING SECRETARY
Edna C. Davis, Clark Memorial Library
Edna C. Davis, Clark Memorial Library
INTRODUCTION
The publishing history of this translation has been sketched by Cross, in his History of Henry Fielding, and may simply be summarized here. The first edition, entitled Ovid's Art of Love Paraphrased and Adapted to the Present Time (or Times) was first issued in February, 1747, and was advertised in the Gentleman's and Scots Magazines in that month. During March, further advertisements appeared in the London Magazine and the St. James Evening Post. The most extensive notice ran, however, in Fielding's own Jacobite Journal (No. 15), where it served as basis for a detailed comparison between the art of love and the art of Jacobitism. Of this 1747 anonymous, original edition no copy is known.
The publishing history of this translation has been outlined by Cross in his History of Henry Fielding, and can be summarized here. The first edition, titled Ovid's Art of Love Paraphrased and Adapted to the Present Time (or Times), was released in February 1747 and was advertised in the Gentleman's and Scots Magazines that month. In March, additional advertisements appeared in the London Magazine and the St. James Evening Post. However, the most extensive notice was published in Fielding's own Jacobite Journal (No. 15), which provided a detailed comparison between the art of love and the art of Jacobitism. No copies of this 1747 anonymous original edition are known to exist.
In 1759, the work was reissued in London and Dublin, under the title The Lover's Assistant, and again in London in 1760. Meanwhile, advertisements for the original edition, as by Henry Fielding, had been run by the publisher, Andrew Millar, in 1754 and 1758. Inasmuch as Millar apparently still had unsold sheets in 1758, the 1759 edition may comprise these sheets with new title pages and prefatory matter necessary because of Fielding's death in 1754. At any rate, the "modern instances" referred to by the author of the 1759 Preface are not too modern to have been written in 1747. There has been no reprint since 1760.
In 1759, the work was released again in London and Dublin, titled The Lover's Assistant, and once more in London in 1760. In the meantime, the publisher, Andrew Millar, had run ads for the original edition by Henry Fielding in 1754 and 1758. Since Millar apparently still had unsold sheets in 1758, the 1759 edition might include those sheets with new title pages and introductory material needed due to Fielding's death in 1754. Regardless, the "modern instances" mentioned by the author of the 1759 Preface aren't too modern to have been written in 1747. There hasn't been a reprint since 1760.
The present text is printed from the 1760 edition, collated with a copy of the 1759 issue. The Latin text, which in the original faces the English, is omitted. Notes keyed by letters and asterisks appear in the original; it will be noted that Fielding's notes combine scholarly and facetious remarks; he frequently used footnotes for comic effect, especially in the translation of the Plutus of Aristophanes in which he collaborated.
The current text is printed from the 1760 edition, compared with a copy of the 1759 issue. The Latin text, which originally faces the English, is not included. Notes marked with letters and asterisks are present in the original; it's worth noting that Fielding's notes mix scholarly insights with humorous comments; he often used footnotes for comic effect, especially in the translation of the Plutus by Aristophanes that he worked on.
Literature affords few pleasures so satisfying as translations done by those who are not only expert in the languages concerned, but who also are of the same spirit as the authors they translate. Some examples come readily to mind: Pope's Horace, Dryden's Juvenal and Persius, Smollett's LeSage, Lang's Aucassin and Nicolette, and Pound's translations from Provençal. Such a felicitous combination appears in Henry Fielding's translation of Book I of Ovid's Ars Amoris.
Literature offers few pleasures as satisfying as translations by people who are not only skilled in the languages involved but also share the same spirit as the authors they translate. A few examples come to mind: Pope's Horace, Dryden's Juvenal and Persius, Smollett's LeSage, Lang's Aucassin and Nicolette, and Pound's translations from Provençal. This lucky combination can be seen in Henry Fielding's translation of Book I of Ovid's Ars Amoris.
Throughout the sixteenth and seventeenth centuries, English translators of the classics abounded, including Marlowe, Jonson, Chapman and Sandys; Roscommon, Waller, Denham, Cowley and[ii] Dryden. By 1700, the major kinds of translation had been differentiated, described, evaluated and practised.
Throughout the sixteenth and seventeenth centuries, there were many English translators of the classics, including Marlowe, Jonson, Chapman, and Sandys; Roscommon, Waller, Denham, Cowley, and[ii] Dryden. By 1700, the main types of translation had been identified, described, assessed, and practiced.
To summarize, Dryden wrote as follows in his Preface to the 1680 edition of Ovid's Epistles, Translated by Several Hands:
To sum up, Dryden wrote the following in his Preface to the 1680 edition of Ovid's Epistles, Translated by Several Hands:
All translation I suppose may be reduced to these three heads:
All translation, I suppose, can be broken down into these three categories:
First, that of Metaphrase, or turning an Author word by word, and line by line, from one language to another.... The second way is that of Paraphrase, or Translation with Latitude, where the Author is kept in view by the Translator, so as never to be lost, but his words are not so strictly follow'd as his sense, and that too is admitted to be amplyfied, but not alter'd.... The Third way is that of Imitation, where the Translator (if now [i.e. by taking such liberties] he has not lost that name) assumes the liberty not only to vary from the words and sence, but to forsake them both as he sees occasion: and taking only some general hints from the Original, to run division on the ground-work, as he pleases....
First, there's Metaphrase, which means translating an author’s words exactly, word for word, and line by line, from one language to another. The second method is Paraphrase, or Translation with Latitude, where the translator keeps the author in mind so that their original meaning isn’t lost, but they don’t follow the words exactly—only the sense of the text, which can be expanded but not changed. The third method is Imitation, where the translator (if they haven’t lost the title by taking such liberties) has the freedom to change both the words and the meaning as they see fit. They take only some general ideas from the original and create their own version from the foundation, however they choose.
Doubtless, he refers to the translation of verse into verse, but actually verse-into-prose also falls within Dryden's "third way." When the author of the Preface to The Lover's Assistant speaks of it as an "undertaking" in translation, he means prose imitation, or paraphrase of verse.
Doubtless, he refers to translating verse into verse, but actually turning verse into prose also fits into Dryden's "third way." When the author of the Preface to The Lover's Assistant talks about it as an "undertaking" in translation, he means prose imitation or paraphrase of verse.
Earlier, in the 1743 Miscellanies, Fielding had published "Part of Juvenal's Sixth Satire Modernized in Burlesque [i.e. Hudibrastic] Verse." The modernization, as in his Art of Love, was of place (England instead of Italy) as well as time, and allowed the author to satirize some of his contemporaries, as well as the customs of his own age.
Earlier, in the 1743 Miscellanies, Fielding published "Part of Juvenal's Sixth Satire Modernized in Burlesque [i.e. Hudibrastic] Verse." The update, similar to his Art of Love, changed both the setting (England instead of Italy) and the time, allowing the author to poke fun at some of his contemporaries as well as the customs of his own era.
When, four years later, he turned to the first book of Ovid's Artis Amatoriae, he found prose an even better medium for "Imitation," or "Modernization." The result is a most enjoyable pot pourri of Roman mythology and eighteenth century social customs, combined with some of the patriotism left over from Fielding's anti-Jacobinism during the Forty-Five. His devotion to, and constant use of, the classics has excited comment from every Fielding biographer since his own time. His works abound in classical instances, references and imitations; and most of his writing includes translations from Greek or Roman authors. His library, as Austin Dobson observed, was rich in editions of the classics.[iii]
When he revisited the first book of Ovid's Artis Amatoriae four years later, he found that prose was an even better medium for "Imitation" or "Modernization." The result is a highly enjoyable pot pourri of Roman mythology mixed with eighteenth-century social customs, along with some lingering patriotism from Fielding's anti-Jacobinism during the Forty-Five. His strong commitment to the classics and constant references have drawn attention from every Fielding biographer since his time. His works are filled with classical examples, references, and adaptations; and most of his writing features translations from Greek or Roman authors. His library, as Austin Dobson noted, was rich in classic editions.[iii]
Curiously, the sale catalogue lists only one, unidentifiable, Ovid item, as contrasted with 5 editions of Horace, 9 of Lucian and 13 (between 1504 and 1629) of Aristotle. This probably means that, along with other unlisted works known to have been in his possession, his Ovid was retained by his family or given to a friend. Dryden's translation of Book One of the Ars Amoris is included among Fielding's books, however, and Cross suggests that Fielding "kept one eye" on it. It is surprising how much visualization there is in his imitation. Many of the incidents resemble those treated by Hogarth, with whom by 1747 Fielding was on excellent terms. There is also some resemblance in his contemporaneous materials, or modernization, to scenes in Fielding's own later plays, and in his novels.
Curiously, the sale catalog only lists one unidentifiable item by Ovid, compared to 5 editions of Horace, 9 of Lucian, and 13 of Aristotle (between 1504 and 1629). This likely means that, along with other unlisted works known to have been in his possession, his copy of Ovid was kept by his family or given to a friend. However, Dryden's translation of Book One of the Ars Amoris is included among Fielding's books, and Cross suggests that Fielding "kept one eye" on it. It's surprising how much imagery there is in his imitation. Many of the events resemble those depicted by Hogarth, with whom Fielding had an excellent relationship by 1747. There are also similarities in his contemporary materials, or modernization, to scenes in Fielding's own later plays and novels.
PREFACE
This Work was begun many Years ago, though altered in some Places by the Author, before his Death; as will appear by the modern Instances introduced in it. Many of which being so applicable to the present Time, is the Occasion of it being now published.
This work started many years ago, though the author made some changes before his death, as seen in the modern examples included. Many of these examples are so relevant to today that that’s why it’s being published now.
As to any Exception which may be made to the Impurity of this Work, we shall transcribe what was written long ago in its Defence, from the Preface prefixed to Mr. Dryden's Translation of this Poem.
Regarding any objections that might be raised about the flaws in this work, we will quote what was written long ago in its defense, from the Preface attached to Mr. Dryden's translation of this poem.
'A great many People are mistaken in these Books; and tho' they were made use of as a Pretence to drive the Author from the Court of Augustus, and confine him to Tomos on the Frontiers of the Getae and Sarmatae, yet they were not the true Cause of his Confinement. They are very far from being so licentious as the Writings of several other Poets, both Greek and Latin. However we must own he might have been a little more discreet, especially in some Places[A].
A lot of people misunderstand these books; even though they were used as an excuse to push the author away from the court of Augustus and send him to Tomos on the border of the Getae and Sarmatae, they weren't the real reason for his exile. They aren't nearly as explicit as the works of several other poets, both Greek and Latin. Still, we must admit he could have been a bit more careful, especially in some parts[A].
[Note A: He means in the other two Books.]
[Note A: He means in the other two Books.]
'That which offended the Romans most in this Work, cannot touch us. It has always been more dangerous in Italy to converse with Women of Honour, and frequent their Houses, than 'tis with us; where there is more Liberty, and what in that Country may be an Occasion of Debauchery, would not at all be so in ours.
'What offended the Romans the most in this work does not affect us. It's always been riskier in Italy to talk with women of honor and visit their homes than it is for us, where there's more freedom, and what might lead to immorality there wouldn't have the same effect here.'
'Notwithstanding all that has been said against these Books of the Art of Love, by some over-scrupulous Persons, whose Discretion has too much of Affectation in it: they are not only necessary for the Knowledge of the Latin Tongue, and the Roman History, concerning which they contain several Things very particular; but for the noble Sentiments we find in them, which the Gravest and Learnedest Writers have thought worthy to be quoted for Authorities.
'Despite everything said against these Books of the Art of Love by some overly concerned individuals, who seem to have too much pretentiousness in their judgment: they are not only essential for understanding the Latin language and Roman history, regarding which they provide many specific details; but also for the noble ideas we encounter in them, which even the most serious and knowledgeable writers have deemed worthy of being cited as Authorities.'
'In a Word, there's nothing in them that comes near the Licence of some Epigrams of Catullus, Martial, and Ausonius, of some Satires of Horace and Juvenal, and several other Pieces of Ancient and Modern Authors, which are read and commented upon; and about which even celebrated Jesuits and other religious Persons, as eminent for their Piety as their Erudition, have employed their Studies. Yet who has condemn'd or complain'd of them? We must confess, such Things should be managed with Address; and those of them who have meddled with any of the Authors I have named, have shewn that it may be done so, by their succeeding so happily in it.
In short, there's nothing in them that comes close to the freedom found in some of the Epigrams of Catullus, Martial, and Ausonius, some Satires by Horace and Juvenal, and various other works by ancient and modern authors that are read and discussed; works that even well-known Jesuits and other religious figures, respected for both their piety and knowledge, have studied. But who has condemned or complained about them? We must admit that such matters should be handled carefully, and those who have engaged with any of the authors I’ve mentioned have shown that it can be done successfully, as evidenced by their achievements.
'As for this Treatise of the Art of Love, for which the Author has also prescrib'd a Remedy, as it is liable to be ill interpreted by those whose Pens poison every Thing they touch; so it may bear a good Construction, by such as know how to turn every Thing to Advantage.
'Regarding this Treatise on the Art of Love, for which the Author has also proposed a Remedy, while it may be misunderstood by those who taint everything they write about, it can also be viewed positively by those who know how to make the most of everything.'
'I will yet say, this Art may be apply'd to those that intend to marry. There is nothing sure against Decency in all that. I agree, if you will have it so, that it extends so far as to direct one to the Means to gain a Mistress. If this was not lawful heretofore in Italy, on account of the jealous Humour of the Italians, we cannot, for the same Reason only, say it ought to be forbidden in our Country, any more than in several others, provided we could be sure the Ladies Modesty would not be offended, before whom Youth should be always careful not to exceed the Bounds of the Respect that's due to them.'
'I will still say that this Art can be applied to those who plan to marry. There’s nothing inappropriate about that. I agree, if that’s how you see it, that it can also be used to guide someone in winning over a Mistress. If this was previously unacceptable in Italy due to the jealous nature of the Italians, we can't just assume it should be banned in our country for the same reason, any more than in several others, as long as we can be sure that the Ladies' modesty won't be offended, and that young men should always be careful not to overstep the boundaries of respect they owe to them.'
To this I may add, that if the Objection of Impurity lies against any Part of this Work, it is only against the two latter Books, for in that which we have here paraphrased, there is nothing capable of offending the nicest Ear.
I should add that if there’s any issue of impurity with this work, it only applies to the last two books. In the part we've paraphrased here, there's nothing that could offend the most sensitive ear.
With regard to the Merit of this Paraphrase, which is entirely a new Undertaking, and might perhaps, if properly encouraged, be carried on with other Latin Poets, we shall only observe, that the utmost Care hath been taken to preserve the Spirit and true Sense of the[3] Author, and where we have been obliged to deviate, we have given the literal Translation in the Notes.
Regarding the merit of this paraphrase, which is a completely new project and could potentially be expanded to include other Latin poets if given the right support, we want to emphasize that we have taken great care to maintain the spirit and true meaning of the [3] author. Whenever we had to make changes, we've provided the literal translation in the notes.
Upon the whole, we cannot suppress, what one of the most learned Men of this Age, said upon persuing the Paraphrase, viz. That he thought it would serve better to explain the Meaning of Ovid to a Learner, than any other Translation, or all his numerous Commentators.
Overall, we can’t overlook what one of the most knowledgeable people of this time said after reading the Paraphrase, namely that he believed it would be more helpful in explaining the meaning of Ovid to a learner than any other translation or all of his many commentators.
BOOK I
If in so learned an Age as this, when Arts and Sciences are risen to such Perfection, there be any Gentleman unskilled in the Art of Loving, let him come to my School; where, if he hath any Genius, he will soon become an Adept: For I would by no means have any young Gentlemen think, that Erudition is unnecessary upon this Occasion. It is well known that the [1]Rules of Art are necessary to the Conduct of a Ship; for which reason, none but able and experienced Seamen are preferred to the Command of one. Rules are necessary even to make a good Coachman, as those Gentlemen who have the Ambition to excel this way very well know. In the same manner is Art required to drive the Chariot of Love well. Now it hath pleased Venus to place me in the Coach-Box: what a Captain is to a Ship, or the Driver to his Chariot, that am I to Love. I own indeed Master Cupid is a little wild, and often stubborn; but he is only a Child, and of an Age to be disciplined: And however fierce the Disposition of a Lad may be, a judicious Schoolmaster knows very well how to correct it: For many a Boy who hath afterwards turned out a Hero, hath when at School very patiently submitted to the Lash, and quietly, at the Word of Command, held out his Hands to be whipt [2]. Duke William [3] himself, when a Lad, very possibly submitted to Correction; and he [4] who was hereafter to become the Terror of his Enemies, might in his Youth have been afraid of his Tutor. Mr. Pointz was his Preceptor: I am the Preceptor of Love. Both these Youths were of a fierce Disposition, both elevated [5] in their Birth. But as the stoutest Ox submits himself to the Yoke, and the most fiery Horse to the Bridle, so shall Love to me. Though he may bend his Bow against my Breast, and shake his Torches at me; no matter: nay, the more he pierces me with his Arrows, the more he burns me, the more severely will I be revenged of him.
If in such an educated age as this, when arts and sciences have reached such perfection, there’s any gentleman who is unskilled in the art of loving, let him come to my school; where, if he has any talent, he will soon become an expert. I certainly don’t want any young gentlemen to think that knowledge is unnecessary in this situation. It’s well-known that the [1]rules of skill are essential for operating a ship; that's why only capable and experienced sailors are chosen to command one. Rules are also necessary to be a good coachman, as those gentlemen who aspire to excel in this area know very well. In the same way, skill is needed to drive the chariot of love effectively. Now, it pleases Venus to place me in the driver's seat: what a captain is to a ship, or the driver to his chariot, that is what I am to love. I admit that Master Cupid is a bit wild and often stubborn; but he is just a child, at an age to be trained. And however fierce a boy may be, a wise teacher knows exactly how to discipline him. Many a boy who later became a hero patiently accepted punishment at school and calmly held out his hands to be whipped [2]. Duke William [3] himself, when he was young, likely endured correction; and he [4] who would later become the terror of his enemies might have been afraid of his tutor in his youth. Mr. Pointz was his teacher: I am the teacher of love. Both of these young men had fierce personalities and were both elevated [5] in their birth. But just as the strongest ox submits to the yoke, and the most fiery horse to the bridle, so will love submit to me. Even if he bends his bow against my chest and shakes his torches at me; it doesn’t matter: in fact, the more he pierces me with his arrows, the more he burns me, the more fiercely I will take my revenge on him.
But here, Master Apollo, I will tell no lies to my Readers. I do not pretend to have received any Inspiration from you, any more than from Parson Whitefield [6]: And as for Miss Clio [7] and her eight Sisters, I never visit them; nor have I even a Cap-Acquaintance with them. I write from Experience only; and Experto crede Roberto is my Motto. I promise my Readers that I will tell them truth; and if I must, for form sake, invoke any Muse, Venus herself shall be the Person [8]. Sweet Goddess! then be thou present, and smile at my[6] Undertaking. But as for you who cannot smile, I mean you, Prudes, with your screw'd Faces, which may be considered as Signs hung forth before the Door of Virtue, and which perhaps, like other Signs, promise what is not to be found in the House; I desire neither your Favour nor your Company. Good-natur'd Girls[9] are all I write to; and such I promise them may read my Works without a Blush.
But here, Master Apollo, I won’t lie to my Readers. I’m not claiming to have gotten any Inspiration from you, just like I haven’t from Parson Whitefield [6]: And as for Miss Clio [7] and her eight Sisters, I never see them; I don't even have a casual acquaintance with them. I write from Experience only; and Experto crede Roberto is my Motto. I promise my Readers that I will tell them the truth; and if I have to, just for appearances, call on any Muse, Venus herself will be the one [8]. Sweet Goddess! please be present and smile at my[6] Undertaking. But as for you who can’t smile, I’m talking about you, Prudes, with your sour Faces, which act like signs hung before the Door of Virtue, and which may, like other Signs, promise what isn’t actually in the House; I don’t want your Favor or your Company. I only write for good-natured Girls[9] and I assure them they can read my Works without feeling embarrassed.
Know then, my good Scholar, that art unexperienced in the Art of Love, that this Art consists of three principal Points: First, to select a proper Mistress: Secondly, to win her Affections: And, Thirdly, to preserve your mutual Affection. Of all these therefore we will treat; or, to speak metaphorically, through these three Roads we will drive the Chariot we have undertaken to guide.
Know then, my good Scholar, that if you’re new to the Art of Love, this Art has three main parts: First, choosing the right Lady; Second, winning her Affections; and Third, keeping your mutual Affection strong. So, we will discuss all of these; or, to put it metaphorically, we will navigate the Chariot we have taken on by these three Roads.
First then as to the Choice of a Mistress, to whom you may say, In Thee alone my choice is fixed. Do not believe such a one will fall into your Lap. It will become you to look about sharp for her, and with all your Eyes, I do assure you. And here my first Instruction shall be, where she may most probably be found: For he is a bad Huntsman who would beat about the Royal Exchange for a Hare or a Fox; and not a much better Gunner or Fisherman, who goes a shooting in Somerset-Gardens, or attempts to angle in the magnificent Bason there. As these all know the Places where their Game resort, so must you.
First, regarding the choice of a partner, you can say, In Thee alone my choice is fixed. Don’t think that someone like that will just come to you. You need to actively search for her, and I assure you, keep your eyes wide open. My first piece of advice is to know where she’s most likely to be found: It’s foolish to search the Royal Exchange for a hare or a fox, and not much wiser to go shooting in Somerset Gardens or try to fish in the grand basin there. Just like they all know the spots where their targets are, you need to know yours too.
Here then, I by no means advise you to make a long Voyage after a foreign Mistress, as Perseus did, who fetched Andromeda[10] from the Indies; or Paris, whom nothing would serve but a Grecian Mistress. Your own Country, my Friend, will produce Women which the World cannot equal. Beauties are as plenty in the City of London as Apples in[11] Herefordshire, or Grains of Wheat[12] in Hampshire; they are indeed as plenty as Fish in the Sea, or Birds in the Air; nay, the Sky hath not more Stars than London hath Beauties: for England[13], not Cyprus, is the Queen of Love's favourite Island. Whether you love green Fruit, and which is in the Bud only, or Beauty in its fuller Bloom, or that which is arrived to perfect Ripeness; nay, if nothing but Wisdom or Sagacity will serve your turn, of these too Old England will afford you a sufficient Plenty.
I definitely don’t recommend going on a long journey for a foreign girlfriend like Perseus did when he rescued Andromeda[10] from the Indies; or like Paris, who wouldn’t settle for anything less than a Grecian woman. Your own country, my friend, has women that are unmatched anywhere in the world. There are as many beauties in the City of London as there are apples in[11] Herefordshire, or grains of wheat[12] in Hampshire; they're as abundant as fish in the sea or birds in the sky. In fact, the sky doesn’t have more stars than London has beauties: for England[13], not Cyprus, is the favorite island of Love. Whether you prefer youthful beauty just beginning to blossom, fully matured beauty, or that which has reached perfect ripeness; and if you seek wisdom or insight, old England offers plenty of that too.
In the pleasant Month of May, repair to Vaux-Hall[14]. Here take your Evening Walk, either round the verdant Scenes, where Nightingales, the only Foreigners who give us their Songs for nothing, warble their most delicious Notes. When your Limbs demand Repose, you may enjoy it in an Alcove, from whence the embattel'd Troops[7] of Venus will pass in review before you. Again, the lofty Dome of Ranelagh invites your Steps. Whether the illustrious Artist took his Model from that House, which as a Reward for their Industry, or for some little regard for their Honey, the benevolent Nature of Man hath conferred on that laborious Animal the Bee: Or whether a more pious Disposition chose this Form from the musical Instrument which summons the whole Parish to Church: Or whether the wondrous Force of Genius, unassisted by any Model, did not of itself strike out this wondrous Architecture; let Kent or Benson inquire. Hither, from every Corner of the Town, repair the loveliest Nymphs. Here too thou may'st survey them, either walking or reposed on Benches at thy Ease. Nor is the Mall to be neglected, where once die brawny Arm of Charles displayed its Strength, and beat his subtle Courtiers at the Play, whence it derives its Name. Nor, Kensington, must thy Gardens be passed by, once the Delight of mighty Caroline, and to the future Age a Monument of her Taste. Here the Charmers draw in sweet Air, and send it forth again in sweeter Sighs, as Tributes to the loved Memory of that mighty Queen. As for the Ring, formerly the Scene of Beauty's many Triumphs, it is now become a lonely deserted Place: Brilliants and brilliant Eyes no longer sparkle there: No more the heedless Beau falls by the random Glance, or well-pointed Fan. The Ring is now no more: Yet Ruckholt, Marybone and The Wells survive; Places by no means to be neglected by the Gallant: for Beauty may lurk beneath the Straw Hat, and Venus often clothes her lovely Limbs in Stuffs. Nay, the very Courts of Law are not excluded; and the Scenes of Wrangling are sometimes the Scenes of Love. In that Hall where Thames sometimes overflowing, washes the Temple of Venus Lucy, the grave Serjeant becomes a Victim to the Fair; and he who so well knows how to defend others, cannot defend himself. Here the Special Pleader loses all Power to Demurr, and finds beyond his Expectation a novel Assignment spring up in the Cause. Him Venus Lucy[15] laughs at from her neighbouring Temple; for the Council is now become the Client, and squeezes an empty Hand harder than he ever did a full one. But above all, the Theatres are the Place of Sport: for these will be most fruitful to your Wishes. Here you will find one Object to love, and another to toy with. Some, of whom a single Touch will suffice, and others, in whom you will desire a stronger Tenure. Neither do the Ants in pursuit of Grain, or the Bees in quest of Flowers, swarm in greater Numbers than the Beauties to the Theatres. The variety of Charmers here[8] have often distracted my Choice. Hither they come to see, and to be themselves seen; and many are the Love-Bargains here made.
In the pleasant month of May, head over to Vaux-Hall[14]. Here you can take your evening stroll, either around the green areas, where nightingales, the only foreigners who share their songs for free, sing their sweetest notes. When you need to rest, you can relax in an alcove, from where the charming followers of Venus will pass by in review. Once again, the grand dome of Ranelagh beckons. Whether the renowned artist based his design on that house, which, as a reward for their hard work or out of some small appreciation for their honey, the kind nature of humanity has given to the industrious little bee; or whether a more noble reason chose this form from the musical instrument that calls the entire parish to church; or whether the incredible power of genius, without any model, simply created this amazing architecture; let Kent or Benson investigate. Here, from every corner of town, come the loveliest ladies. You can watch them here, either walking or lounging comfortably on benches. And don't overlook the Mall, where once the powerful Charles showed off his strength and outplayed his clever courtiers, which is how it got its name. Nor should Kensington be missed, with its gardens once adored by the mighty Caroline, now a testament to her taste for future generations. Here, the beautiful ones inhale sweet air and exhale even sweeter sighs, as tributes to the cherished memory of that great queen. As for the ring, once the setting for many beauty contests, it has become a lonely, deserted place: jewels and bright eyes no longer shimmer there; no longer does the careless dandy fall victim to a random glance or a well-positioned fan. The ring is no more: Yet Ruckholt, Marybone, and The Wells still exist; places definitely worth visiting for the gallant: for beauty can hide beneath a straw hat, and Venus often dresses her lovely form in various fabrics. Even the law courts aren’t excluded; and scenes of legal disputes can also be scenes of love. In that hall where Thames, sometimes overflowing, washes the temple of Venus Lucy, the serious sergeant becomes a victim to the fair; and he who is so good at defending others cannot defend himself. Here, the special pleader loses all power to object and unexpectedly finds a new twist in the case. Venus Lucy[15] laughs at him from her nearby temple; for now the council has become the client, squeezing an empty hand harder than he ever did a full one. But above all, the theaters are the playground: for these will most surely fulfill your wishes. Here you will find one person to love, and another to flirt with. Some, whom a simple touch will satisfy, and others, with whom you will desire a stronger connection. Neither the ants searching for grain nor the bees hunting for flowers crowd the theaters more than the beauties do. The variety of charms here[8] has often left me indecisive. They come to see and be seen; and many love deals are struck here.
And now, Friend, I will tell you a Story. Romulus was the first Person who ever made this use of the Theatre, when he ordered his Soldiers to fall foul on the Sabine Ladies, whom he invited to a Play acted by his Command. Not that I would have you think, that Theatre was like the Playhouse in Convent-Garden, enriched with Scenes, Machines, and other Decorations. To say the truth, it was no better than a Barn, or Booth. Here he assembled the Sabine Girls, and ordered his Romans to chuse every Man his Miss. They did so, and while the poor Girls thought no Harm, those Fellows felt strange Emotions within. Now while a certain Dancer, called, The Ludio, was performing a Tambourine, which I suppose took greatly at that time, Romulus on a sudden gave the Signal for falling on. This was instantly obeyed. They all rushed in, laid their Hands upon the Girls, and soon gave them sufficient Tokens of their Purpose.
And now, my friend, let me tell you a story. Romulus was the first person to use the theater in this way when he commanded his soldiers to ambush the Sabine women, whom he had invited to a play he organized. Don't think of the theater as something like the playhouse in Convent-Garden, decorated with elaborate scenes, machines, and other trimmings. To be honest, it was no better than a barn or a makeshift booth. Here, he gathered the Sabine girls and instructed his Romans to choose a woman for each man. They did just that, and while the poor girls didn’t suspect any ill intent, the soldiers felt strange emotions stirring inside them. At one point, a dancer known as The Ludio was performing with a tambourine, which was probably quite popular at the time. Suddenly, Romulus gave the signal to attack. The command was immediately followed. They all rushed in, grabbed the girls, and soon made their intentions clear.
As the Doves, who are the most timorous of Birds, fly from Eagles; or as the young Lamb runs from Wolves, as soon as she sees them, so terrified were these Ladies, at the Men rushing upon them, in this unlawful manner. The Colour forsook their Cheeks at once. All were equally in a Fright, though they discovered their Fear by different Symptoms. Some of them tear their Hair, others sit in Amazement, Terror strikes some dumb, others call in vain for the Assistance of their Mammas. One cries out, another is shocked to death; one stands still, another endeavours to get out of the House. But all their Endeavours are vain; and perhaps indeed their Blushes heightened their Beauty; they were all led off, and those who would not go were carried. Methinks, I hear one of their Gallants thus addressing his weeping Fair. Why, my Dear, will you spoil those lovely Eyes with Tears? I promise you, you shall be served no worse than your Mother hath been before. I will only do to you, what your Father did to her. Ah Romulus! Romulus! no General ever better knew how to reward his Soldiers; I promise you, that when I hear your Drum beating up for Voluntiers, I will enlist under your Command.
As the Doves, who are the most timid of birds, fly away from Eagles, or as the young Lamb runs from Wolves the moment she sees them, so terrified were these Ladies at the sight of the Men rushing towards them in this unlawful way. The color drained from their cheeks immediately. All were equally frightened, though they showed their fear in different ways. Some tore at their hair, others sat in shock, some were struck mute with terror, while others called out in vain for their mothers' help. One cried out, another was so shocked it seemed like they might faint; one stood frozen, while another tried to escape the House. But all their efforts were useless; perhaps their blushing even made them look more beautiful; they were all taken away, and those who refused to go were carried off. I can almost hear one of their suitors saying to his weeping love, “Why, my dear, will you ruin those beautiful eyes with tears? I promise you, you won't be treated any worse than your mother was before. I will only do to you what your father did to her.” Ah Romulus! Romulus! no general ever knew better how to reward his soldiers; I promise you, that when I hear your drum calling for volunteers, I will enlist under your command.
Ever since that time, the Theatre hath been consecrated to Love, and many a pretty Girl, since the Sabines, hath owed the Loss of her Maidenhead to it.
Ever since then, the theater has been dedicated to Love, and many a pretty girl, since the Sabines, has lost her virginity because of it.
Other Places of publick Meeting may likewise be frequented, as Horse Races[16] and the Like. And especially public Shews, which never fail of Women. Here get upon a crouded Scaffold, and sit next[9] to the Girl you like. Squeeze yourself as close to her as you can; for Custom here countenances such squeezing whether the pretty Creatures will or no. Here find some Opportunity to begin a Discourse; you will not be driven to talk upon your Fingers, or by Signs, but may use your Tongue[B]. Begin then with News, or the Chitchat of the Town. Nay, the Shew itself will afford a Subject: for instance supposing it was my Lord Mayor's Shew, you may ask her what Alderman that Coach, or those Liveries belong to; and be sure to admire the same with herself: Do not omit moreover, to give her an early Intimation of your Gallantry, and that you are a Woman's Man. If it should happen that any one of the Aldermen should be a greater Cuckold than the rest of his Brethren; take care to titter at his Appearance; and while the Pageants[17] are passing by, endeavour to find out a Resemblance of Horns in some of them. All those Things have a remote Tendency to this great point.
Other public meeting places can also be visited, like horse races and similar events. Especially public shows, which are always full of women. Here, you can hop onto a crowded platform and sit next to the girl you like. Squeeze in as close as you can; it’s accepted here whether the pretty ladies like it or not. Look for a chance to start a conversation; you won’t have to rely on gestures or signs, but can actually talk. Start with some news or the latest gossip. Even the show itself can give you something to talk about: for example, if it’s the Lord Mayor’s show, you can ask her which alderman that coach or those outfits belong to, and be sure to compliment them along with her. Don’t forget to let her know early on that you’re charming and a ladies’ man. If any of the aldermen seem more foolish than the others, laugh at his appearance; and while the floats go by, try to point out any resemblance to horns in some of them. All of this ultimately leads to that main goal.
[Note B: These Verses are transposed from the Place in which they stand in the Original, and this, I think, with Advantage to the Connection.]
[Note B: These verses are moved from their original place, and I believe this improves the connection.]
If a Grain of Snuff should happen to fall on the Lady's Bosom, wipe it off with your Fingers; and if none fall, wipe off that none. Take every Opportunity to be as officious in her Service as possible. If she drop her Fan or Gloves, presently take them up; for this you will have sure Reward in the very Fact, for you may at the same time lift up her petticoat and see her Legs.
If a bit of snuff falls on the lady's chest, wipe it off with your fingers, and if none falls, wipe off any that aren't there. Seize every chance to be as helpful to her as you can. If she drops her fan or gloves, pick them up right away; you'll be rewarded just by doing this, as you can also lift her skirt and catch a glimpse of her legs.
Be careful that the Person who sits behind her doth not press her tender Back with his Knee. Small Matters captivate light Minds. Many a Man hath drawn considerable Advantage from handing[18] a Lady to Coach, by gallanting her Fan, or even by taking up her Clog[19].
Be careful that the person sitting behind her doesn’t press his knee against her delicate back. Little things can catch the attention of shallow minds. Many men have gained a significant advantage by helping a lady into a carriage, by holding her fan, or even by picking up her clog.
Nor will[20] Tower-hill, when the Tragic Scaffold is strewed with Saw-Dust, be an improper Place to begin your Intrigue: for Cupid himself always attends, and acts the Part of an Executioner on such Occasions; many a poor Man having lost his Heart, while he hath attended to another's losing his Head. While the Fair-One carelessly laying her Hand on his, argues concerning the Criminal's Guilt, and offers to lay a Wager that he will die well; the wounded Lover feels a sudden Stroke, and is not better able to bear the Smart without a Sigh.
Nor will[20] Tower-hill, when the tragic scaffold is covered in sawdust, be a bad place to start your romance: because Cupid himself is always present, playing the role of an executioner on such occasions; many a poor man has lost his heart while watching another lose his head. While the beautiful woman, carelessly resting her hand on his, debates the criminal's guilt and bets that he will die bravely, the wounded lover feels a sudden pang and can't help but sigh as he endures the pain.
[21]If it was the Custom of England to imitate the Romans in insulting over the Conquered, what Spectacles might have formerly been exhibited! How many French Youths and Virgins might have followed [10]the Chariot-Wheels of our Monarchs! In that Cafe many a poor English Heart must have submitted to a French Conquest, and Beauty would have been triumphant in Chains. Nay, I prophesy we shall again see those victorious Times. Our Mighty GEORGE now meditates new Triumphs, and France[22] shall be punished as she ought. Rejoice, O ye Shades[23], whose Bodies lie buried in the Plains of Fontenoy, where British Colours were polluted by Gallic Hands. WILLIAM your Avenger comes. The General in him shone forth in his first Campaign, and while a Youth, he managed War beyond his Years. Let not his Age therefore deter us from ranking him among our greatest Commanders. His Warlike Genius springs forth and outruns his Years, impatient of the sluggish Pace of Time. The Swedish Charles[24] was scarce beyond a Child when he crushed two mighty enemies at once; Charles[25] the German Prince, yet but a Youth, what was he when he past the Rhine and terrified the Host of France? Thy Father's Genius, WILLIAM, and his Courage, shall inspire thy youthful Arms. With that Genius and that Courage shalt thou conquer. Such Beginnings dost thou owe to the mighty Name of thy illustrious Sire; that thou who art the Noblest of all young Commanders mayst hereafter become the first among the old. 'Tis time to avenge the Injuries attempted to thy House, and to maintain thy glorious Father's Rights. Thy Country's Father and thy own, girts on thy Sword, and thy Cause is no less glorious than thy Arms. In both is France inferiour, and to both shall yield. I prophesy, that thou shalt conquer, and to thy Conquest I dedicate my votive Prayers, prepared hereafter to resound thy Praise; when we shall see thee, most lovely Prince, returning, thy Glories far outshining the Gold in which thou art attired. Thee shall Crouds of Youths and beauteous Virgins hail from their crouded Windows as thou passest, and universal Joy shall overspread each British Face on that Blest Day.
[21]If it was the custom in England to mimic the Romans by mocking the defeated, imagine the spectacles they might have showcased! How many French youths and maidens could have trailed behind our Monarchs' chariots! In that case, many an unfortunate English heart would have had to submit to a French conquest, with beauty triumphing in chains. I predict we will see those victorious times again. Our mighty GEORGE is now contemplating new triumphs, and France[22] will receive the punishment it deserves. Rejoice, O ye spirits[23], whose bodies rest in the fields of Fontenoy, where British colors were tarnished by Gallic hands. WILLIAM, your avenger is here. The general in him was evident from his first campaign, and even as a youth, he handled warfare beyond his years. So let not his age deter us from recognizing him among our greatest commanders. His warrior spirit emerges and surpasses his years, eager to outrun the slow pace of time. Swedish Charles[24] was hardly more than a child when he defeated two formidable enemies at once; Charles[25] the German prince, still just a youth, what was he when he crossed the Rhine and struck fear into the heart of France? Your father's spirit, WILLIAM, and his bravery will inspire your young arms. With that spirit and bravery, you shall conquer. You owe such beginnings to the powerful legacy of your illustrious father, that you, the noblest of all young commanders, may one day become a leader among the old. It’s time to avenge the wrongs done to your house and uphold your glorious father's rights. Your country’s father and your own, has girded on your sword, and your cause is no less glorious than your arms. In both, France is inferior and will yield to both. I predict you shall conquer, and to your conquest, I dedicate my prayers, ready to celebrate your praises; when we see you, most handsome prince, return, your glories shining brighter than the gold you wear. Crowds of youths and beautiful maidens will greet you from their crowded windows as you pass by, and a wave of universal joy will light up every British face on that blessed day.
If then, my Scholar, thou shouldst happen to be placed in a Window near some lovely Girl, who, fired with the Glories of the young Conqueror, should enquire into all his matchless Labours[26], his Wound at Dettingen; his Danger and Intrepidity at Fontenoy; his Toils at home, in defiance of Cold and Fatigue; his Pursuit to Carlisle; his Victory at Culloden; and many more which will then be as well known; repeat all if thou canst, and if thy Memory fails, go on nevertheless: for Invention cannot here outdo the Reality, and thy Fictions shall recommend thee equal with Truth to her Ears.[11]
If, my Scholar, you happen to find yourself at a window near some beautiful girl, who, impressed by the greatness of the young Conqueror, starts asking about all his incredible achievements[26], his injury at Dettingen; his bravery and danger at Fontenoy; his struggles at home, facing cold and fatigue; his chase to Carlisle; his victory at Culloden; and many more that will be well-known by then; try to recount all if you can, and if your memory fails, keep going anyway: for imagination can't surpass reality here, and your stories will be just as good as the truth in her ears.[11]
Again, when thou dost sit down at table among the Women, thou may'st reap other Pleasures besides those of Wine: For, to speak figuratively, Cupid with glowing Cheeks often presses the Horns of Bacchus in his tender Arms; and the Wings of the little God of Love being wetted with Wine, he is unable to fly off: And if he happens to shake his wet Wings, he may possibly sprinkle the Bosom of your Mistress with Love.
Again, when you sit down at the table with the women, you can enjoy other pleasures besides just wine. To put it metaphorically, Cupid with flushed cheeks often wraps his arms around the horns of Bacchus. And when the little God of Love's wings get wet with wine, he can't fly away. If he happens to shake his damp wings, he might splash your mistress's chest with love.
In more intelligible Language, Wine fills our Minds with Courage, and makes them susceptible of other warm Passions. Care flies away, and is dissolved in much Liquor. Then comes Laughter, the poor Man becomes bold, and Grief and Solicitude, and knitted Brows vanish. Then it is that Simplicity, a rare Virtue in our Age, opens our Hearts, Wine having divested us of Cunning. At this Season, many a watchful young Fellow hath gained the Heart of his Mistress[27]. And Love hath sprung from Wine, as the Flame doth from Fire.
In simpler terms, wine boosts our confidence and makes us open to other strong emotions. Worries fade away and dissolve in drink. Then laughter comes; the quiet guy becomes bold, and sadness and anxiety disappear. It's in this moment that honesty—a rare quality these days—opens our hearts, as wine strips us of cleverness. During this time, many a cautious young man has won the heart of his lady[27]. And love has ignited from wine, just like flames from fire.
However, do not confide too much at this time to the Light of a Candle: for Night and Wine obstruct us in forming a true Judgment of Beauty. Paris beheld the Goddesses in open Daylight, when he gave the Preference to Venus. Indeed by Candle-light, and in a Side-Box, almost every one is a Beauty: Jewels, Clothes, and Women, are all best discerned by the Light of the Sun.
However, don’t share too much right now under the light of a candle: for night and wine cloud our ability to judge true beauty. Paris saw the goddesses in broad daylight when he chose Venus. In fact, by candlelight and from a side box, almost everyone looks beautiful: jewels, clothes, and women are all best seen in the sunlight.
And here if I should recount all the rural Haunts in which a Lover may find his Game, I might write more Volumes than Oldmixon, Tunbridge, and Scarborough, and Cheltenham, and Holt, and many other Places shall be therefore omitted; but, Bath[28], thy sulphurous Waters must not be past by. Hence Master Dapperwit bringing home the Wounds made by fair Eyes in his Bosom, cries out, on his Return, The Waters are not so wholesome as they are reported; I have received more Harm than Good at the Place.
And if I were to list all the countryside spots where a lover might find his match, I could write more volumes than Oldmixon, Tunbridge, Scarborough, and Cheltenham, and Holt, among many other places that would be left out; however, Bath[28], your sulfurous waters cannot be overlooked. So Master Dapperwit, returning with the wounds inflicted by beautiful eyes on his heart, exclaims upon his return, The waters are not as healthy as they're said to be; I've come away worse off than when I arrived.
Here rises the Temple[29] of the God (CNASH) whose Walls are hung round with the Portraits of Beauties. The Apotheosis of this God hath cost many a poor Man his Heart.
Here stands the Temple[29] of the God (CNASH) whose walls are decorated with the portraits of beauties. The elevation of this God has cost many a poor man his heart.
Thus far, my Scholar, I have endeavoured to instruct thee in what Places thou art to hunt for thy Game, and where to spread thy Net. I will now proceed to shew thee by what Means Puss is to be taken, when you have found her Sitting.
So far, my Scholar, I have tried to teach you where to look for your Game and where to set your Net. Now, I will show you how to catch Puss once you find her Sitting.
Mind all, as my old Schoolmaster used to say; for I assure you my instructions will be worthy the Attention of both the Great Vulgar and the Small.[12]
Listen closely, as my old teacher used to say; because I promise you my advice will be worth the attention of both the general public and the elite.[12]
My first Lesson then is: Be confident. Believe every Woman is to be come at. Do but spread your Net, and I warrant she runs into it.
My first lesson is this: Be confident. Believe that every woman is approachable. Just cast your net, and I promise she’ll swim right into it.
Sooner shall the Birds be silent in the Spring, or the Frogs in the Winter: Sooner shall the Greyhound run away from the Hare, than a Woman shall resist the Youth who gently assails her. Though she skrews up her Face ever so demurely, she will at length yield to his Persuasions.
Sooner will the birds be quiet in the spring, or the frogs in the winter: Sooner will the greyhound run away from the hare than a woman will resist a young man who gently pursues her. Even if she pretends to be demure, she will eventually give in to his persuasions.
A dark Corner is as agreeable to a Girl, as to one of us, though we cannot so well dissemble our Desires as she can; but if we should once enter into a Confederacy against the Sex to leave off courting them, they would soon begin to act the Part of Lovers, and come a wooing to us.
A dark corner is just as pleasant for a girl as it is for one of us, even though we can't hide our desires as well as she can; but if we ever decided to unite against women and stop pursuing them, they would quickly start acting like lovers and come to woo us.
And what is this but a natural Affection, common to the Females of every other Species, who often make love to the Males? And give me leave to tell the Ladies, that we are more able to command our Affections, nor are our Desires so furious, and exceeding all Bounds, as theirs.
And what is this but a natural feeling, common to the females of every other species, who often pursue relationships with the males? And let me tell the ladies that we are better at controlling our feelings, nor are our desires as wild and extreme as theirs.
The Story of Byblis[30] is too well known to be related, who being in love with her Brother, punished her Crime with her own Hands, and hanged herself in her Garters.
The Story of Byblis[30] is too well known to repeat. She was in love with her brother and punished her own wrongdoing by hanging herself with her garters.
Miss Myrrha[31] loved her Papa with an Affection improper for a Daughter; for which she was turned into a Tree. I do assure you the Story is true; and the Tree now drops continual Tears for her Offence, which we use as a Perfume; and they retain the Lady's Name.
Miss Myrrha[31] loved her father with an affection that was not appropriate for a daughter, and because of this, she was transformed into a tree. I assure you, this story is true; the tree now continuously sheds tears for her wrongdoing, which we use as perfume, and they still bear the lady's name.
In the shady Valleys of Ida[32], there was a white Bull, which was the Glory of the Farmer to whom he belonged. This Bull had a beautiful black Speck between his Horns, all the rest of his Body being as white as Milk. With him the Gnossian and Cydonian Heifers were all in love, and eagerly longed to be embraced by him in the tenderest manner in which Bulls embrace the Fair Sex of Cows. Pasiphaë, I am very sorry to say it, conceived a Passion worse, if possible, than that of Mrs. Mary Hamilton, for this Bull. Lady —— is not more envied in the Drawing-Room than was every handsome Heifer by this unfortunate Woman. The Story is so well known that there is not a Freethinker[33] in the Age who can refuse his Credit to it, though they believe nothing which they cannot see and account for. This poor Girl is reported to have mowed the sweetest Grass with her own Hands for her beloved Bull. She likewise wandered[13] about among the Cows, without the least Regard to Mr. Alderman. Minos her Husband; for a Bull had totally supplanted him in her Esteem. Alas! Pasiphaë, to what purpose are the brocaded Petticoats? Your Gallant is not sensible of your Finery. Why do you consult your Looking-Glass, in order to pursue the Mountain-Herds? Or why with so much Art do you set your Tête? If you will consult your Glass, let it inform you you are no Heifer. Ah! how desirous are you to have those Horns on your own Forehead, which you intend to graft on your Husband's! It would be better to preserve your Virtue, and be constant to the Alderman, if you can like him: But if you must make a Cuckold of him, do it at least with a young Fellow. No; nothing but a Bull will suffice. She leaves the Alderman's House, and flies away to the Groves and Mountains. To say the truth, I believe she used to drink away her Senses; and that is the best Excuse for her. Ah! how often hath she cast a jealous Eye on some Heifer! and cried out, Why should that vixen please my Love? Behold, says she, how the Slut dances a Minuet on the Grass before him: Let me die, but she is silly enough to think her Airs become her in my Love's Eyes. At length she resolved to punish her Rivals. One Heifer she ordered barbarously to be yoked to the Plough; another she condemned to be sacrificed, and held the Entrails of the poor Victim in her Hand with all the insulting Triumph of a Rival: Now, says she, having the Entrails in her Hand, now go and make yourself agreeable to my Dear. At one time she wishes to be Europa[34], at another Io: for one of these was herself the Wife of a Bull, and the other made her Horse of one.
In the shady valleys of Ida[32], there was a white bull that was the pride of the farmer who owned him. This bull had a beautiful black spot between his horns, with the rest of his body as white as milk. All the Gnossian and Cydonian heifers were in love with him and eagerly wished to be embraced by him in the gentlest way that bulls embrace their female counterparts. Unfortunately, Pasiphaë developed a passion that was worse, if that's possible, than that of Mrs. Mary Hamilton for this bull. Lady —— was not more envied in the drawing-room than every attractive heifer was by this unfortunate woman. The story is so well-known that there’s hardly a free thinker[33]these days who can doubt it, even though they believe nothing that they cannot see or explain. This poor girl is said to have cut the sweetest grass by hand for her beloved bull. She also roamed around the cows without any regard for Mr. Alderman, Minos, her husband; for the bull had completely taken his place in her affections. Alas! Pasiphaë, what’s the use of those fancy petticoats? Your lover doesn’t appreciate your finery. Why do you check your reflection with the intent to pursue the mountain herds? Or why, with so much effort, do you arrange your hair? If you’re going to look in a mirror, let it remind you that you're not a heifer. Ah! how you wish you could have those horns on your own head that you plan to give to your husband! It would be better to keep your virtue and be loyal to the alderman, if you can like him: But if you must betray him, at least do it with a young man. No; only a bull will do. She leaves the alderman's house and runs off to the groves and mountains. Honestly, I think she used to drink her troubles away, and that’s the best excuse for her. Ah! how often does she cast a jealous glance at some heifer and cry out, Why should that vixen please my love? Look at her, she says, dancing a minuet on the grass before him: Let me die, but she is foolish enough to think her charms will win my love. In the end, she decided to punish her rivals. One heifer she cruelly ordered to be yoked to the plow; another she condemned to be sacrificed, holding the entrails of the poor victim in her hand with all the triumphant mockery of a rival: Now, she says, with the entrails in hand, go on and try to please my dear. At one moment, she wishes to be Europa[34], and the next she wishes to be Io: for one was once the wife of a bull, and the other had a bull of her own.
Filled with these Thoughts, she contrived the strangest Method of compleating her Desires. She sent for a Joiner of great Ingenuity, and ordered him to make her a large Cow of Wood. Into this she conveyed herself, and thus deceived Master Bull into her Embraces.
Filled with these thoughts, she came up with the strangest way to fulfill her desires. She called for a skilled carpenter and asked him to make her a large wooden cow. She climbed inside it, and thus tricked Master Bull into embracing her.
She conceived by this monstrous Coition, and brought forth an Offspring, which by his partaking equally of the human and taurine Form, betrayed her horrid Passion.
She conceived through this monstrous union and gave birth to a child that, by sharing both human and bull-like features, revealed her terrible desire.
If the Cretan Lady[35] had abstained from the Love of Thyestes, (O! how Women disdain Constancy to their Husbands!) the Sun had not stopt in the middle of his Career, and turned about his Face to the East, that he might avoid the bloody Banquet. God be praised! the Cuckolds of our Age are not so bloody in their Revenge.
If the Cretan Lady[35] had stayed away from the love of Thyestes, (O! how women look down on loyalty to their husbands!) the Sun wouldn’t have stopped in the middle of its path and turned to the East to avoid the bloody feast. Thank goodness! the cuckolds of our time aren’t as violent in their revenge.
Agamemnon, after returning safe from so many bloody Campaigns, and from the dangerous Seas which he crossed, fell at last a dreadful Victim to the Whore his Wife[37].
Agamemnon, after safely returning from so many bloody campaigns and the treacherous seas he crossed, ultimately became a tragic victim of the betrayal by his wife, the whore. [37].
Who hath not wept at the sad Story of Creüsa? consumed by the Flames of a Sorceress, who afterwards drenched her Hands in the Blood of her own Children[38].
Who hasn't cried at the tragic tale of Creüsa? burned by the flames of a sorceress, who later soaked her hands in the blood of her own children[38].
And thou, O Phineus[41]! why dost thou indulge that Jade Harpalice by digging out the Eyes of thy Children? Believe me, Divine Vengeance will hereafter inflict the same Punishment on thyself.
And you, O Phineus[41]! why do you allow that witch Harpalice to destroy the lives of your children? Believe me, divine retribution will eventually bring the same fate upon you.
All these have been the Effects of Women's raging Desires, which are so much more violent and mad than ours.
All of these have been the results of women's intense desires, which are so much more fierce and crazy than ours.
Come on then, and doubt not the Conquest of any Girl whatever: there is not one in a thousand who will deny you.
Come on then, and don't doubt that you can win over any girl: there's not one in a thousand who will say no to you.
And even those who will deny you, love to be put to the Question; if you are disappointed therefore, your Repulse will be attended with no Danger.
And even those who deny you love to be challenged; if you’re disappointed, your rejection won’t be dangerous.
But why should you apprehend any Disappointment, when every new Amour pleases them, and they all hanker after the Lovers and Husbands of other Women?
But why should you worry about any disappointment when every new romance excites them, and they all crave the lovers and husbands of other women?
This I am afraid is too natural in all things. The Corn in our Neighbour's Field seems always to flourish beyond our own, and we think our own Cow gives less Milk than his.
This, I’m afraid, is too common in all things. The corn in our neighbor's field always seems to thrive more than ours, and we believe our cow produces less milk than his.
However, before you attack any Lady, make first sure of her Maid; for she will pave the Way to your Addresses.
However, before you approach any lady, first make sure of her maid; she will be the key to your advances.
If the Lady have many Females about her Person, take care to secure her who is most in the Confidence of her Mistress; and who will faithfully betray to you all her private Conversation.
If the lady has many women around her, make sure to secure the one who is closest to her and who will reliably share all her private conversations with you.
When you have found this Confidant out, corrupt her with Promises and Intreaties; for she can soon bring you to the End of your Desires, if she pleases.
Once you’ve figured out who this Confidant is, win her over with promises and requests; she can quickly help you achieve what you want, if she chooses to.
Let her watch the Opportunity, (Physicians will tell you the Use of attending proper Seasons) when the Mind of your Mistress is easy, and apt for your Purpose.
Let her see the chance, (Doctors will tell you the importance of choosing the right moments) when your Mistress is relaxed and open to your intentions.
This Season, I apprehend, is when she is in the best Humour; for Love then becomes luxuriant in her Mind, as Corn doth in a rich Soil.
This season, I believe, is when she’s in the best mood; because love then flourishes in her mind, just like corn does in fertile soil.
When the Heart is full of Gladness, and bound up by no Vexation,[15] it is open; and then the Compliments of a Lover will easily find an Admission.
When the heart is full of joy and not burdened by any worries,[15] it is receptive; that’s when the compliments of a lover can easily get through.
Remember, Troy was defended while it remained in a sullen Mood, and opened its Gates to the armed Horse, when it was full of Good-Humour, and drunk with Joy.
Remember, Troy was defended while it was in a bad mood, and opened its gates to the armed horse when it was in a good mood and filled with joy.
Yet every Vexation should not deter you; for if your Mistress should be uneasy at the Falshood of her Husband, then is a proper time to attack her, and to assist her in revenging the Injury.
Yet every annoyance shouldn't hold you back; if your Mistress feels distressed by her Husband's betrayal, then it's the right moment to confront her and help her seek revenge for the wrong done.
When your Mistress is in this Humour, let Abigail while combing her Hair at the Toilette in a Morning, stir her up to Vengeance. This will under-hand promote your Voyage; for while you openly manage your Sails, she works under the Water with her Oars.
When your Mistress is in this mood, let Abigail encourage her to seek revenge while she’s combing her hair at the vanity in the morning. This will secretly advance your plans; while you visibly handle your sails, she’ll be working behind the scenes with her oars.
Now let Abigail with a soft Sigh mutter to her self: Ah! poor Lady, I am afraid it is not in your power alone to revenge your Husband's Perfidy!
Now let Abigail, with a soft sigh, mutter to herself: Ah! poor lady, I'm afraid it’s not just up to you to get back at your husband's betrayal!
Then let her introduce a Discourse of you; let her say something in your Favour, and swear that you are gone distracted and dying for Love.
Then let her start a conversation about you; let her say something nice on your behalf, and insist that you’ve gone mad and are dying for love.
But no Time must be lost; lest the Passions she hath raised should again subside; and Resentment intervene by Delay, and freeze up her Love as Ice doth Water.
But no time should be wasted; otherwise, the feelings she has stirred might fade again, and resentment could set in with delay, freezing her love like ice does water.
And here perhaps you will ask a Question, Whether it is prudent to kiss the Agent herself. This is not easy to answer: for it is a mere Cast of the Dye, whether you succeed the better of the worse for it.
And here, you might ask a question: Is it wise to kiss the agent herself? This isn’t an easy question to answer, as it really just depends on chance whether it turns out well or poorly.
One Woman is by Enjoyment made a more industrious Solicitor, another becomes just the reverse. One thinks of procuring the Pleasures she hath tasted for her Mistress, another of securing them herself.
One woman becomes a more hardworking advocate through enjoyment, while another does the exact opposite. One focuses on getting the pleasures she has experienced for her mistress, while the other thinks about keeping them for herself.
The Event is doubtful; and though she may be easy enough to be had, my Advice is, abstain from the Confidant; for I will not imitate the Empyric in striking bold Strokes; nor will I lead my Scholars over a Precipice. I give no Advice but what is safe, nor shall any Youth by following my Precepts run himself into Rosamond's Pond.
The event is uncertain; and while she might be easy to get, my advice is to stay away from the confidant; I will not imitate the charlatan by making reckless moves; nor will I guide my students to their downfall. I only give safe advice, and no young person following my teachings will find themselves in Rosamond's Pond.
If therefore the Girl who goes between you and your Mistress, pleases you in her Person as well as in her Diligence; enjoy the Mistress first, and the Maid falls of course; but never begin with the latter.
If the girl who acts as the go-between for you and your mistress appeals to you both in her looks and in her efforts, enjoy the mistress first, and the maid will naturally follow; but never start with the latter.
One thing however I must admonish you, (if my Art deserves[16] any Credit, and my Words are to be regarded as any thing better than Wind) EITHER NEVER ATTEMPT THE CONFIDANT, OR GO THOROUGH STITCH WITH HER: for by making her particeps criminis you take away her Evidence.
One thing I must warn you about, (if my skill is worth[16] any recognition, and my words are to be taken seriously) EITHER NEVER TRY TO BE FRIENDLY WITH HER, OR GO ALL IN WITH HER: because by making her part of the crime, you eliminate her testimony.
This Doctrine you may learn from all other Sportsmen: for if a Bird escapes with Birdlime on his Wings, or a Boar breaks through the Toils, or a Fish gets off from the Hook; they are all sure to alarm their Companions, and spoil the Sport of the Fowler, the Hunter, or the Fisher. If once therefore you attempt her, press her to it with all your Vigour, and never leave her till you have enjoyed her.
This principle can be learned from all other hunters: if a bird escapes with birdlime on its wings, a boar breaks through the traps, or a fish gets off the hook, they will all alert their companions and ruin the sport for the fowler, the hunter, or the fisherman. So, if you decide to pursue her, go after her with all your strength and don’t stop until you’ve succeeded.
For when once she is involved in the same Guilt with yourself, you are sure she will not betray you. Nay, you may be assured further, that she will betray every Word and Action of her Mistress to you.
For once she shares the same guilt as you, you can be certain she won’t betray you. In fact, you can be even more confident that she will reveal every word and action of her mistress to you.
But take particular care not to blab any of the Secrets she discloses to you: for while her Mistress hath no Suspicion of her Confidant, she will be able to lay her entirely open to your Knowledge.
But be careful not to spill any of the secrets she shares with you: because while her mistress has no suspicion of her confidant, she'll be able to reveal everything to you.
And now, to resume that Matter, believe me, he is deceived, who thinks that none but the Farmer and Mariner are obliged to regard the Season: for as it is not proper at all times to commit the Corn to the fallacious Fields, nor to trust your Vessel at all times to the green Ocean; so neither is it always safe to attack a tender Girl, for she will be taken at one time who will resist at another. If it be for instance her Birth-day[42], perhaps, her Grandmother hath instructed her to be particularly cautious on that day; so if it be the Day of the Week on which Childermas hath happened to fall that Year; or King Charles's Martyrdom: defer the attack at all such Seasons. For to speak in Sea-Language, then is dirty Weather[43], then it blows a Hurricane; and if you weigh Anchor at that Season, you will be scarce able to keep your keel downwards.
And now, to get back to that topic, believe me, anyone who thinks that only the Farmer and Sailor need to pay attention to the Season is mistaken. Just as it’s not wise to always plant crops in unreliable fields or to set sail in a ship when the ocean is rough, it’s also not always safe to approach a delicate girl, as she may be receptive at one moment and resistant at another. For example, on her birthday[42], her grandmother might have advised her to be especially cautious that day; or if it’s the day of the week that Childermas falls on that year; or King Charles's death day: avoid making a move during those times. To use a nautical term, those are the times of bad weather[43], when a storm is brewing; and if you set out to sea in those conditions, you may struggle to keep your ship afloat.
Above all avoid your Mistress's Birth-day; nor will it be more prudent in you to visit her first on the Morning of Valentine's Day[44], you will pay more for being her Valentine than it is worth. Indeed all Seasons which give them any Hint of receiving Presents should be carefully avoided: for be never so cautious and sneaking, have it of you she will. They all very well know the Art of squeezing a Lover who longs to squeeze them.
Above all, steer clear of your Mistress's birthday; it wouldn't be wise to visit her first thing on the morning of Valentine's Day[44], as you’ll end up paying more to be her Valentine than it's worth. In fact, you should carefully avoid all occasions that hint at getting gifts because, no matter how careful and discreet you are, she will expect something from you. They all know how to extract what they want from a lover eager to please them.
Mr.[C] Deards will make his Appearance in his Silk Night-Gown, and unbundle his Packet in your Presence. The Lady will then desire[17] you to look over his Trinkets, (she can do no less, you know, in Compliment to your Taste:) then she will make you a Present of a Kiss, and afterwards desire you to buy it.
Mr. [C] Deards will show up in his silk nightgown and unpack his things in front of you. The lady will then ask you to check out his trinkets (she can't do less, you know, to flatter your taste): then she will give you a kiss as a gift and afterward ask you to buy it.
[Note C: An eminent Joyner in London.]
[Note C: A prominent Joyner in London.]
"I promise you, my Dear," says she, "if you will but buy me this single Jewel, I will not ask another of you the Lord knows how long; but I have really a present Occasion for this, and besides it is the cheapest Thing I ever saw."
"I promise you, my dear," she says, "if you just buy me this one jewel, I won't ask you for anything else for what feels like forever; but I really need this right now, and besides, it's the cheapest thing I've ever seen."
If you pretend to have no Money about you, the Answer is, O, my Dear, you may give your Note: Mr. Deards will take your Note. So that you may repent having learnt to write your Name. Then she adds, O la, I had almost forgot, it is my Birth-day, I am sure you will make me a Present on my Birth-day: for they can be born every Day in the Year to serve their Purpose. Or else she pretends to have lost a Drop from her Ear-Ring; this Loss makes her miserable, and sure, says she, if you loved me, you would repair that Loss.
If you pretend to have no money on you, the response is, "Oh, my dear, you can just give your note. Mr. Deards will accept your note." So you might regret learning how to sign your name. Then she adds, Oh my, I almost forgot, it’s my birthday. I’m sure you’ll get me a present for my birthday: because they can celebrate being born every day of the year to suit their needs. Otherwise, she pretends to have lost a piece of her earring; this loss makes her feel miserable, and she says, if you loved me, you would fix that loss.
Nay, some are not so honest as to desire a Present, they only borrow; but they are sure never to restore. By this Means you lose the Thing, without having the Merit of bestowing it.
No, some aren't honest enough to want a gift; they just borrow it; but you can bet they will never return it. This way, you lose the item without having the credit for giving it.
In short, if I had ten Mouths, with ten Tongues in each, all would not suffice to display all the Arts by which Harlots pick the Pockets of their Cullies.
In short, even if I had ten mouths, each with ten tongues, I still couldn't fully explain all the tricks that hookers use to steal from their clients.
Begin then your Amour with an Epistle; let that break the Ice for you, and make the first Discovery of your Flame.
Start your romance with a letter; let that break the ice for you and reveal your feelings for the first time.
In this you may insert all your little Blandishments, and Expressions of Fondness, nor be ashamed, however high your Quality is, to add the strongest Entreaties.
In this, you can include all your little compliments and expressions of affection, and don’t be embarrassed, no matter how high your status is, to add your strongest pleas.
Remember that many a Rebel's Son hath had his Life spared at the Supplication of his Father; nay, the Wrath of Heaven itself is often averted by Prayer.
Remember that many a Rebel's son has had his life spared by the plea of his father; indeed, the anger of Heaven itself is often turned away by prayer.
It is moreover my Advice to you, to be liberal of your Promises; for what Injury can you receive by Promising? This is a Treasure in which any Man may be rich.
It’s also my advice to you to be generous with your promises; what harm can come from promising? This is a treasure that anyone can have in abundance.
Nor can your Mistress complain that she is absolutely cheated, if you can bring her to believe your Promises. A lifely Faith hath supported many a Man for a long Time: For though our Faith may sometimes deceive us, it is however a great and commodious Virtue.
Nor can your Mistress complain that she's completely deceived if you can make her believe your promises. A lively faith has supported many a man for a long time: for although our faith may sometimes mislead us, it is still a great and valuable virtue.
Beware of giving: For when once your Mistress hath the Present in her Clutches, she may answer jilting you to her Prudence. She hath gained at least what she is in possession of, and cannot be said to have lost any thing by the Bargain.[18]
Beware of giving: Once your Mistress has the gift in her hands, she might justify leaving you by saying it was for her own good. She has at least gained what she has and can’t really be said to have lost anything in the deal.[18]
On the contrary, keep her still in Expectation. Seem always about to give, but never part with a Shilling: For in this Manner doth a barren Soil often deceive its Owner. Thus, that he may not be a Loser, the Gamester pushes on his ill Luck, and one flattering Throw makes him eager to have the Box again in his Hands.
On the other hand, keep her waiting in anticipation. Always act like you’re about to give something, but never actually part with a dime. This way, a barren land often trick its owner. So, to avoid losing, the gambler continues to push his bad luck, and one lucky roll makes him eager to have the dice in his hands again.
Indeed the great Business is to enjoy your Mistress before she hath touched you. If she once yield to you gratis, she will continue to bestow her Favours still gratis, in Hopes of being at last rewarded for all her past Favours.
Indeed, the main thing is to enjoy your partner before she has given herself to you. If she gives in to you for free once, she will keep offering her favors for free, hoping that she will eventually be rewarded for everything she has done in the past.
Epistolize therefore first; flatter and sooth her with tender Lines. Let these probe her Mind, and open the Way for your Addresses.
Write to her first; compliment and comfort her with sweet words. Let these explore her thoughts and pave the way for your conversations.
You know the Story of Cydippe[45], who was outwitted by a Letter inclosed in an Apple; by which Means she was made to speak Words she never intended.
You know the story of Cydippe[45], who was tricked by a letter hidden in an apple, which caused her to say things she never meant to.
I would advise the young Gentlemen of the Temple, to study the Arts of Persuasion, on other Accounts, besides that of defending Sheep-stealers at an Assizes: For a pretty Girl may be as easily captivated by Eloquence, as a Judge or Jury; and surely she is a much nobler Prize.
I would advise the young gentlemen of the Temple to study the art of persuasion for reasons beyond just defending sheep-stealers at a trial. A pretty girl can be just as easily captivated by charm as a judge or jury; and surely she is a much nobler prize.
But here conceal your Art, and do not carry your Eloquence in your Face: And above all Things, beware of hard Words; for who but an empty Coxcomb ever made a verbose Declamation to his Mistress? By such Methods you may raise her Abhorrence more probably than her Love.
But here, hide your skill, and don't show your charm on your face: And above all things, watch out for fancy words; because who but a foolish show-off has ever given a long-winded speech to his girlfriend? By doing this, you’re more likely to make her dislike you than to make her love you.
Let your Passion appear credible, and disclose it in easy and common Language; it may be as tender and warm as you please; but preserve the Stile of Conversation.
Let your passion seem genuine, and express it in simple and everyday language; it can be as tender and warm as you like, but keep the tone conversational.
If she should not receive your Letter, but send it back unopened, hope for better Success another Time, and maintain your Purpose.
If she doesn't get your letter and sends it back unopened, keep hoping for better success next time and stay committed to your goal.
Time brings the Stubborn Steer to bend his Neck to the Yoke, and the Horse to endure the Bridle.
Time makes the Stubborn Steer bow his head to the Yoke, and the Horse to accept the Bridle.
Iron Bonds and Ploughshares are worn out by constant Use. What is harder than a Rock? or what is softer than Water? And yet hard Rocks are hollowed by soft Water.
Iron bonds and ploughshares get worn out from constant use. What's harder than a rock? Or what's softer than water? Yet hard rocks are worn down by soft water.
Penelope herself in Time might have been conquered. You see Troy, though it defended itself so long, was however taken at last.
Penelope herself in Time might have been conquered. You see Troy, although it held out for a long time, was eventually taken.
If she reads your Letters, but is unwilling to answer them, do not attempt to compel her. If she but reads your Fondness, it is sufficient.
If she reads your letters but doesn’t want to respond, don’t try to force her. If she just sees your affection, that’s enough.
If she will read, in Time she will answer what she reads. All[19] these Matters will be brought about in their own good Time.
If she reads, eventually she will respond to what she reads. All[19] these things will happen in their own good time.
Perhaps the first Answer she sends you will be a cruel one, and may desire you to quit all future Solicitations.
Perhaps the first response she sends you will be a harsh one and may ask you to stop all future requests.
She fears to be taken at her Word, and hopes you will not grant her Request. Follow her, and in Time you will obtain your Wishes.
She is afraid to be taken at her word and hopes you won’t grant her request. Follow her, and in time you will get what you want.
If you meet her Chair, and the Curtains should be drawn, approach it as it were by Accident; and when you discover her there, whisper something tender in her Ear; but whisper softly, lest the Chairman, or any other impertinent Person, should over-hear you.
If you come across her chair and the curtains are drawn, approach it as if it’s a coincidence. When you find her there, whisper something sweet in her ear, but do it softly so the chairman or any nosy person doesn’t overhear you.
When she walks in the Mall, dangle after her, and interrupt her Walk with your Conversation.
When she walks in the Mall, hang back and interrupt her stroll with your chat.
Here you will have an Opportunity of seeing her Shape, and shewing her yours, by sometimes walking behind, and sometimes before her.
Here you will have a chance to see her figure and show her yours by occasionally walking behind her and sometimes in front of her.
But for the most Part keep even pace with her, whether she trips along briskly, or only saunters.
But for the most part, keep up with her, whether she walks quickly or just strolls.
Sometimes she will take a longer Walk, as far perhaps as the second or Third Stone. Hither follow her, and take every Opportunity of getting up close to her Side.
Sometimes she takes a longer walk, maybe even as far as the second or third stone. Follow her closely and seize every chance to walk beside her.
Never let her go to the Play without attending her: No Matter what the Play is, she will bring sufficient Entertainment for you with her.
Never let her go to the play without you: No matter what the play is, she will bring plenty of entertainment with her.
Here keep your Eyes always intent on her only, and admire every Thing about her. By your Eyes, and by Signs, you may inform her of many Things.
Keep your eyes focused on her and appreciate everything about her. Through your gaze and gestures, you can communicate a lot to her.
Be sure to applaud greatly any amorous wanton Dance; and be no less favourable to those Scenes where the Business of Love is transacted, and almost brought to a Conclusion on the Stage: Many of which occur in Congreve, Vanbrugh, and Wycherly.
Be sure to really cheer for any passionate dance; and be just as supportive of those scenes where the things of love happen and are nearly wrapped up on stage: Many of which are found in Congreve, Vanbrugh, and Wycherly.
If she rises between the Acts, rise also; if she sits, as sometimes Ladies do, to express their Contempt for the Audience, do you likewise keep your Seat. In a Word, conduct yourself entirely according to her Example and Pleasure.
If she stands up between the acts, stand up too; if she sits down, which some ladies do to show their disdain for the audience, then you should also stay seated. In short, behave exactly as she does and according to her wishes.
Now with regard to your Person: Do not imitate some finical Petit Matre in his Toupet, much less in more detestable Effeminacies.
Now about your appearance: Don't copy some fussy dandy in his hairstyle, let alone in more objectionable ways of acting.
Tuck your Hair rather under your Hat, like the rough Fox-hunter, who traverses Hill and Dale to the Musick of the Horn.
Tuck your hair under your hat, just like the rugged fox hunter who wanders through hills and valleys to the sound of the horn.
In the same Manner did Captain Hippolytus march off with Miss Phaedra, though his Shock Head of Hair never had any Powder in it: nay, Lady Venus herself chose young Jack Adonis in a Jockey Coat and Buckskin Breeches.
In the same way, Captain Hippolytus marched off with Miss Phaedra, even though his messy hair was never styled with any powder. In fact, Lady Venus herself picked young Jack Adonis, who was dressed in a jockey coat and buckskin breeches.
Cleanliness however is agreeable: Let your Face be burnt with the Sun; but let your Cloaths be well made, and without a Spot on them.
Cleanliness is important: You can get sunburned, but your clothes should be well-made and spotless.
Wash your Mouth, and clean your Teeth often; let your Beard be close shaved, and your Nails short and free from Dirt.
Wash your mouth and brush your teeth frequently; keep your beard neatly trimmed, and your nails short and clean.
Observe these Documents, and leave all other Niceties to the Women, and to Men who desire to supply their Places.
Observe these Documents, and leave all the other details to the women and to the men who want to take their place.
But now Bacchus summons his Poet. He likewise assists Lovers, and favours the Flame which warms himself.
But now Bacchus calls for his Poet. He also helps Lovers and supports the Flame that warms him.
The Cretan Lady having jumped out of Bed in a raving Fit, wandered on the foreign Shore of Dia. She had nothing on but a loose wrapping Gown, without Stockings or Cap: and her Hair hung dishevelled over her Shoulders. She complained of the Cruelty of Theseus to the deep Waves, whilst an unworthy Shower of Tears ran down her Cheeks. She wept, and lamented aloud, and both became her; nor did her Tears diminish her Beauty. Once, and again, she beat her delicious Breasts with her Hands, and cried aloud, The perfidious Man hath abandoned me; What will become of poor Ariadne? What will become of poor Ariadne? On a sudden a vast Multitude was heard, while many Kinds of strange Instruments, like those of the miserable Masons, accompanied the Voices. The poor Lady sunk with Fear; and suppressed her last Words; nor did the least Blood remain in her Countenance. And now behold the Bacchanalian Women, with their Hair about their Ears, and the light Satyrs, who are always Forerunners of the God. Behold old Master Silenus[47] as drunk as a Piper, riding on an Ass, which he is hardly able either to sit or guide. The old Gentleman, endeavouring to follow the Bacchanalians, who fly from him and towards him, sets Spurs to his Ass, which being a vicious Beast, kicked up, and threw him over his Ears: upon which all the Satyrs set up a loud Shout, crying out, Rise, Father, rise and be d——nd to you. And now the God himself, high mounted on his Four-Wheel Chaise, the Top of which was adorned with Grapes, and which he drove himself, flung his Golden Reins over the Backs of his Pair of Tygers. Poor Ariadne's Colour forsook her Cheeks, and Theseus and her Voice at once deserted her Lips. Thrice she attempted to fly, and thrice being retained, she grew stiff[21] with Fear, and stood trembling as Corn waves in the Field, or Reeds on the River Bank, when fanned by the Wind. To whom the God; Behold, Madam, a more faithful Lover at your Feet: Fear nothing, Lady fair, you shall be the Wife of Bacchus. The Sky shall be your Dowry, where shining in a bright Constellation, by the Name of Ariadne's Crown, you shall often direct the doubtful Mariner's Passage. He said; and leaping from his Chariot, lest Ariadne should be afraid of the Tygers, the Sand sunk under the Weight of his Feet; and catching her instantly in his Arms, he carried her, who was incapable of scratching, directly off; (for every Thing, we know, is in the Power of a Deity:) And now, whilst Part of his Train sing the Hymenaeum, and other cry Evie Evoe, two very mysterious Words, and full of Masonry, the God and his new-ravished Bride go together, between a Pair of sacred Sheets.
The Cretan Lady jumped out of bed in a wild fit and wandered on the foreign shore of Dia. She was wearing nothing but a loose wrapping gown, with no stockings or cap, and her hair hung messy over her shoulders. She complained to the deep waves about the cruelty of Theseus, while unworthy tears streamed down her cheeks. She wept and lamented aloud, and both suited her; her tears didn’t lessen her beauty. Once and again, she beat her lovely breasts with her hands and cried out, The deceitful man has abandoned me; what will become of poor Ariadne? What will become of poor Ariadne? Suddenly, a huge crowd could be heard, accompanied by various strange instruments, resembling those of wretched masons. The poor lady sank with fear and stifled her last words; not a trace of color remained on her face. And now, look at the Bacchanalian women, with their hair around their ears, and the light satyrs, always the harbingers of the god. Look at old master Silenus[47] drunk as a piper, riding on a donkey he could barely sit on or steer. The old man, trying to follow the Bacchanalians who were running from him and towards him, spurred his donkey, which, being a stubborn beast, kicked up and threw him over his head. Upon this, all the satyrs let out a loud shout, exclaiming, Get up, Father, rise and be damned! And now the god himself, high up in his four-wheeled chariot, the top adorned with grapes, which he drove himself, tossed his golden reins over the backs of his pair of tigers. Poor Ariadne lost color in her cheeks, and Theseus and her voice deserted her lips all at once. She tried to flee three times, and each time she was held back, becoming stiff with fear, trembling like corn in a field or reeds by the riverbank, fanned by the wind. To her, the god said, Look, my lady, a more devoted lover is at your feet: fear nothing, fair lady, you shall be the wife of Bacchus. The sky will be your dowry, where you will shine in a bright constellation, named Ariadne's crown, guiding lost sailors on their journeys. He said this, and jumped down from his chariot, so Ariadne wouldn’t be afraid of the tigers; the sand sank under his weight, and instantly catching her in his arms, he carried her away, completely unable to resist (for everything is, as we know, in the power of a deity). And now, while part of his entourage sang the Hymenaeum and others shouted Evie Evoe, two very mysterious words full of hidden meaning, the god and his new bride went together beneath a pair of sacred sheets.
Whenever therefore you happen to be in Company with a pretty Girl over a Bottle, pray heartily to Bacchus, and invoke his nocturnal Rites, that the Wine may not get into your Head. You may now take an Opportunity to toast some Nymph by a fictitious Name, of whom you may say an hundred amorous Things; all which, with the least Assistance, she will readily apply to herself. Double Entendres likewise may be used. You may moreover draw certain Figures in Wine on the Table; and after having spoken of your Mistress in the third Person, you may take this Method of writing her Name, and convincing her, that she herself is the Goddess.
Whenever you find yourself with a pretty girl over a drink, be sure to raise a glass to Bacchus and call upon his evening rituals, so the wine doesn’t go to your head. You can take the chance to toast some nymph with a made-up name, saying all kinds of romantic things about her; she’ll easily see them as applying to herself with just a little help. You can also use double meanings. Additionally, you can draw certain shapes in wine on the table; after talking about your crush in the third person, you can write her name this way, and convince her that she is the goddess.
But let your gloating Eyes inform her of your Passion: for an expressive Countenance often finds both Words and Utterance.
But let your smug eyes show her your feelings: a telling face often speaks louder than words.
When she drinks, receive the Cup from her; and let her see you industrious to find out the Place before pressed by her Lips; and then drink eagerly at the same.
When she drinks, take the cup from her; and let her see you working hard to find the spot before her lips touch it; and then drink eagerly from it at the same time.
And whatever Part of the Meat she shall touch with her Fingers, do not fail to give the Preference to that: if in catching at it, you touch her Hand into the Bargain, it is the better.
And whatever part of the meat she touches with her fingers, make sure to give that the priority: if you happen to touch her hand while reaching for it, that's even better.
But above all Things, let it be your Endeavour to please her Keeper, if she have any: For to make a Friend of him will be very useful to you both.
But above all else, strive to please her keeper, if she has one. Making a friend out of him will be very helpful for both of you.
When you are at Table, let him be always helped first, and to the most elegant Tid-Bit; and when you drink together, offer him always the Place of Toast-maker; whether he be your Inferiour or your Equal, let him always choose before you, and be not ashamed to trowel him well over with Flattery.[22]
When you're at the table, make sure he gets served first, along with the best dish. When you drink together, always let him have the honor of making a toast; whether he's beneath you or your equal, let him choose before you, and don't hesitate to flatter him generously.[22]
It is a safe and common Way to deceive under Pretence of Friendship; I must own, however safe and common it is, it is not altogether blameless.
It’s a frequent and easy way to trick people under the guise of friendship; I have to admit, even though it’s safe and common, it’s not completely without fault.
This is indeed a Dishonesty not very unlike that of a Major Domo, who under the Colour of Friendship empties your Cellars of your Wine, by pushing the Bottle further than is necessary.
This is definitely a dishonesty similar to that of a head servant, who, under the guise of friendship, drains your wine cellars by pouring more from the bottle than is needed.
Now to fix a certain Stint to your Cups, I allow you never to drink till your Head becomes giddy, and your Feet begin to totter.
Now, to set a limit on your drinks, I say you should never drink until your head spins and your feet start to wobble.
Beware of Quarrels, which are often occasioned by Wine. Let not your Hands be too ready to strike in your Cups.
Beware of arguments, which are often caused by alcohol. Don't let your hands be too quick to hit when you're drinking.
Remember the old Story of the Wedding of Pyrothous[48] and many more where drunken Fools by being quarrelsome in their Liquor have come short home. A Drinking Bout is in Reality a properer Scene for Joke and Mirth, than for Fighting.
Remember the old story of the wedding of Pyrothous[48] and many others, where drunken fools, by being quarrelsome while drinking, have ended up in trouble. A drinking party is really a better setting for jokes and laughter than for fighting.
I proceed to other Lessons[49]. If you have a Voice, then sing; if you have handsome Legs, cut Capers, or slide into the Minuet Step. In short, endeavour to please your Mistress, by exerting those Talents in which Nature hath given you to excel.
I move on to other lessons[49]. If you can sing, then sing; if you have nice legs, show them off with some dance moves, or join in the Minuet. Basically, try to impress your lady by making the most of the talents nature has given you.
Now, as real Drunkenness may be hurtful to you, so you may sometimes reap Advantages by pretending yourself in Liquor, by Stammering or Lisping a little slyly: For then if you should descend to some Expressions of the grosser Kind, it will be imputed to your having taken a Cup too much.
Now, while real drunkenness can be harmful to you, you can sometimes gain benefits by pretending to be drunk, by slurring your words or speaking with a slight lisp. This way, if you end up using some coarse language, it will be blamed on you having had one too many drinks.
Drink Bumpers to the Health of your Mistress, and of the Gentleman with whom she is obliged to sleep; but I do not insist on your being extremely sincere on this Occasion: for you may heartily wish him hanged at the same Time, if you please.
Drink to the health of your mistress and the guy she has to sleep with; but I’m not saying you have to be completely honest about it: you can wish he was hanged at the same time if you want.
When the Company rises to go away, there is always a Confusion in the Room, of which you may take Advantage. You may then creep close up to your Mistress, may perhaps palm her, and gently tread on her Toes.
When the Company gets ready to leave, there’s always a bit of chaos in the Room that you can take advantage of. You can then sneak closer to your Lady, maybe even touch her hand, and lightly step on her toes.
Whenever you have an Opportunity of speaking to her privately, be not bashful like a Country Boobily Squire. Remember Fortune and Love both favour the Bold.
Whenever you get a chance to talk to her privately, don’t be shy like a clueless country guy. Remember, luck and love both favor the bold.
I do not intend to lay down any Rules for your Oratory on this Occasion. Do but begin boldly, and you will be Eloquent of course: Set this only before you, that you are to act the Part of a Lover, to talk of Wounds and Darts, and Dying and Despair, and all that, as Mr. Bayes says: For if you can once make her believe you are in Love, your Business is done. To create therefore this Faith in her,[23] you must employ every Art of which you are Master.
I don’t plan to lay down any rules for your speaking today. Just start confidently, and you’ll speak eloquently without effort. Keep in mind that you need to act like a lover, talking about wounds, arrows, dying, despair, and all that, as Mr. Bayes puts it. Because if you can make her believe you’re in love, you’ve achieved your goal. So, to create this belief in her,[23] you need to use every skill you have.
Nor is this indeed so difficult a Task: For every Woman believes herself to be the Object of Love; be she never so ugly, she is still amiable in her own Eye.
Nor is this really such a difficult task: Every woman thinks she is the object of love; no matter how ugly she may be, she still sees herself as attractive.
Sometimes indeed no Deceit is in the End put on the Woman, for her pretended Lover becomes often a real one, and is the very Creature which he before personated.
Sometimes there really is no deceit in the end played on the woman, as her supposed lover often turns into a genuine one and becomes the very person he pretended to be before.
And by the Way, young Ladies, let me tell you this is no small Encouragement to you, to countenance such Pretences; for if you manage well, you may often inspire a Man with Love in Earnest, while he is endeavouring to impose a fictitious Passion upon you.
And by the way, young ladies, let me tell you this is no small encouragement for you to support such pretenses; because if you play your cards right, you might often inspire a man to genuinely love you while he’s trying to put on a show of fake passion for you.
But to return to my Scholars. Flatter with all your Might: for the Mind is taken as it were by Stealth, by Flattery, even as the Bank which hangs over a River is undermined by the liquid Waves.
But let's get back to my Scholars. Flatter them with all your strength: the mind is captured almost secretly by flattery, just like a riverbank is eroded by the flowing water.
Never be weary therefore of commending her Face, or her Hair; her taper Arm, or her pretty little Foot.
Never get tired of complimenting her face, her hair, her slender arms, or her cute little feet.
The chastest Matrons are fond of hearing the Praises of their Beauty; and the purest Virgins make the Charms of their Persons at once their Business and their Pleasure.
The most modest women love hearing compliments about their beauty, and the purest young women make their looks both their job and their joy.
What else is meant by that ancient Fable of Juno and Pallas, whom the Greek Poets represent as yet ashamed of the Conquest obtained by Venus.
What else does that old fable about Juno and Pallas mean, in which the Greek poets show them still embarrassed by the victory achieved by Venus?
This Vanity seems to extend itself to Animals, in many of which we may observe some Traces of it.
This vanity appears to extend to animals, in many of which we can see some signs of it.
The peacock, if you seem to admire her, spreads forth her Golden Plumes, which she never displays to an indifferent Spectator.
The peacock, if she feels you admire her, spreads out her golden feathers, which she never shows to someone who isn't interested.
The Race-Horse, while he is running for a Plate, enjoys the Beauties of his well-combed Mane, and gracefully turned Neck.
The racehorse, while competing for a prize, takes pleasure in the beauty of his well-groomed mane and elegantly arched neck.
Secondly, to Flattery, add Promises, and those not timorous nor sneaking ones. If a Girl insists upon a Promise of Marriage, give it her, and bind it by many Oaths[D]; for no Indictment lies for this sort of Perjury.
Secondly, alongside Flattery, include Promises, and make sure they are bold and confident. If a girl demands a Promise of Marriage, give it to her, and back it up with plenty of Oaths[D]; because there are no legal consequences for this kind of Perjury.
The Antients vented horrid Impieties on this Occasion, and introduced Jupiter shaking his Sides at the Perjuries of Lovers, and ordering the Winds to puff them away: Nay, he is said to have forsworn himself even by Styx to Juno: and therefore, say they, he encourages Men to follow his Example.
The Ancients expressed terrible blasphemies on this occasion, depicting Jupiter shaking his sides at the lies of lovers and commanding the winds to blow them away. In fact, he is said to have sworn falsely by Styx to Juno, and so, they say, he encourages men to follow his example.
[Note D: This is the most exceptionable Passage in the whole Work. We have endeavoured to soften it as much as possible; but even as it now stands, we cannot help expressing Detestation of this Sentiment, which appears shocking even in a Heathen Writer.][24]
[Note D: This is the most objectionable passage in the entire work. We've tried to soften it as much as we can; but even in its current form, we can't help expressing our disgust at this sentiment, which seems shocking even coming from a pagan writer.][24]
But though a Christian must not talk in this Manner, yet I believe it may be one of those Sins which the Church of Rome holds to be venial, or rather venal.
But even though a Christian shouldn't speak like this, I think it could be one of those sins that the Church of Rome considers to be minor, or even trivial.
I would here by no Means be suspected of Infidelity or Profaneness. It is necessary there should be a God; and therefore we must believe there is; nay, we must worship him: For he doth not possess himself in that indolent State in which the Deities of Epicurus are depictured. If we live innocent Lives, we may depend on the Care of his Providence.
I should not be suspected of being unfaithful or disrespectful. It's essential to believe that there is a God, and we must worship Him. He doesn't exist in the lazy manner depicted in the deities of Epicurus. If we lead innocent lives, we can trust in His guidance and protection.
Restore faithfully whatever is deposited in your Hands: Be just in all your Contracts: Avoid all Kind of Fraud, and be not polluted with Blood. A wise Man will be a Rogue only among the Girls: For in all other Articles a Gentleman will be ashamed of breaking his Word.
Restore faithfully whatever is entrusted to you: Be fair in all your agreements: Avoid all kinds of deception, and do not be tainted by wrongdoing. A wise person will act mischievously only among women: In all other matters, a gentleman should feel ashamed to break his promise.
And what is this more than deceiving the Deceivers? The Sex are for the greatest Part Impostors; let them therefore fall in the Snares which they have spread for others.
And what is this if not outsmarting the deceivers? The ones who deceive are mostly fakes; let them fall into the traps they've set for others.
Perhaps you have never read the Justice of Busiris; when Egypt was burnt up Nine Years together for want of Rain, one Thrasius a Foreigner came to Court, and being introduced to the King by Clementius Cotterelius, he acquainted his Majesty, that Jupiter was to be propitiated by the Blood of a Stranger. The King Answered him, Then thou thyself shalt be the first Victim, and with thy foreign Blood shalt give Rain to Egypt.
Perhaps you have never read the Justice of Busiris; when Egypt suffered from a drought for nine years, a foreigner named Thrasius came to the court. Introduced to the king by Clementius Cotterelius, he informed His Majesty that Jupiter needed to be appeased with the blood of a stranger. The king replied, Then you yourself shall be the first victim, and with your foreign blood, you will bring rain to Egypt.
To the same Purpose is the Story of Phalaris, who roasted the Limbs of Perillus in his own Bull: Thus making Proof of the Goodness of the Work by the Torments of the unhappy Maker.
To the same purpose is the story of Phalaris, who roasted the limbs of Perillus in his own bull. This proved the quality of the work through the sufferings of its unfortunate creator.
Now there was great Justice in both these Examples; for nothing can be more equitable than that the Inventers of Cruelty should perish by their own Art.
Now there is great justice in both of these examples; for nothing is more fair than that those who invent cruelty should suffer from their own creations.
To apply this to our present Purpose: As there is no Deceit or Perjury which Women will stick at putting in use against us, let them lament the Consequence of their own Examples.
To apply this to our current purpose: Since there is no deceit or perjury that women won't hesitate to use against us, let them mourn the consequences of their own actions.
Thirdly, Tears are of great Service. The Proverb tells you, Tears will move Adamant. If you can bring it about therefore, let your Mistress see your Cheeks a little blubbered upon Occasion.
Thirdly, tears are really useful. The saying goes, Tears will move Adamant. So, if you can make it happen, let your girlfriend see your cheeks a bit wet with tears from time to time.
If Tears should refuse to come (as they sometimes will) an Onion in your Handkerchief will be of great use.
If tears won’t come (which sometimes happens), having an onion in your handkerchief will be very helpful.
Fourthly, Kisses. What Lover of any Sense doth not mix Kisses with his tender Expressions! Perhaps she will not give them easily:[25] No Matter, take them without her Leave.
Fourthly, Kisses. What lover with any sense doesn't combine kisses with their affectionate words! Maybe she won't give them up easily:[25] No worries, take them without asking.
Perhaps she will scratch, and say you are rude: Notwithstanding her Scratches, she will be pleased with your getting the better.
Perhaps she'll get angry and call you rude. Despite her displeasure, she'll be happy that you prevailed.
Do this, however, in so gentle a Manner, that you may not hurt her tender Lips; nor let her complain of being scrubbed with your Beard.
Do this, though, in such a gentle way that you don't hurt her delicate lips; and make sure she doesn’t feel like she’s being scrubbed by your beard.
Now when you have proceeded to Kisses, if you proceed no farther, you may well be called unworthy of what you have hitherto obtained. When you was at her Lips, how near was you to your Journey's End! If therefore you stop there, you rather deserve the Name of a bashful 'Squire than of a modest Man.
Now that you've gone as far as Kisses, if you don't go any further, you might as well be called unworthy of what you've gained so far. When you were at her Lips, how close were you to your destination! So, if you stop there, you deserve to be called a shy 'Squire more than a modest Man.
The Girls may call this perhaps Violence; but it is a Violence agreeable to them: For they are often desirous of being pleased against their Will: For a Woman taken without her Consent, notwithstanding her Frowns, is often well satisfied in her Heart, and your Impudence is taken as a Favour; whilst she who, when inclined to be ravished, hath retreated untouched, however she may affect to smile, is in reality out of Humour.
The girls might call this Violence, but it's a form of Violence that they actually like. They often want to be pleased even when they say they don’t. A woman might be taken against her will, and despite her angry looks, she can often feel satisfied inside, while your boldness is seen as a compliment. On the other hand, a woman who wants to be ravished but pulls back without being touched, no matter how much she pretends to smile, is truly in a bad mood.
Ravishing is indeed out of Fashion in this Age; and therefore I am at a Loss for modern Examples; but antient Story abounds with them.
Ravishing is definitely out of style in this age, so I'm struggling to find modern examples; however, ancient stories are full of them.
Miss[50] Phoebe and her Sister were both ravished, and both were well pleased with the Men who ravished them.
Miss[50] Phoebe and her sister were both overwhelmed, and both were happy with the men who overwhelmed them.
Though the Story of Deidamia was formerly in all the Trojan News-Papers, yet my Reader may be pleased to see it better told.
Though the story of Deidamia used to be in all the Trojan newspapers, I hope my reader will enjoy it being told better.
Venus had now kept her Word to Paris, and given him the Beauty she had promised, not as a Bribe, but as a Gratification for his having made an Award in her Favour, in the famous Cause between Juno and others against Venus, in Trover for a Golden Apple; which was referred to him at the Assizes at Ida.
Venus had now fulfilled her promise to Paris and given him the beauty she had guaranteed, not as a bribe, but as a reward for choosing her in the famous dispute against Juno and others regarding the Trover for a golden apple; this case was brought to him at the Assizes at Ida.
Paris, every one knows, no sooner had received Mrs. Helen, than he immediately carried her off to his Father's Court.
Paris, as everyone knows, had no sooner welcomed Mrs. Helen than he immediately took her to his father's court.
Upon this the Grecians entered into an Association; and several Noblemen raised Regiments at their own Expence, out of their Regard to the Public: For Cuckoldom was a public Cause, no one knowing whose Turn it would be next.
Upon this, the Grecians formed an Association, and several noblemen funded regiments at their own expense out of their concern for the public. Cuckoldry was a public issue, as no one knew whose turn would be next.
Lieutenant-General Achilles, who was to command a large Body of Grenadiers, which the Greeks call Myrmidons, did not behave handsomely on that Occasion, though he got off afterwards at a Court-Martial by pleading, that his Mother (who had a great deal in her own[26] Power) had insisted on his acting the Part he did; for, I am ashamed to say, he dressed himself in Women's Clothes, and hid himself at the House of one Lycomedes, a Man of good Fortune in those parts.
Lieutenant-General Achilles, who was supposed to lead a large group of Grenadiers, which the Greeks refer to as Myrmidons, did not act bravely on that occasion. Although he later got off with a Court-Martial by claiming that his mother (who had significant influence) pressured him to behave the way he did, I regret to say that he dressed in women's clothing and hid at the home of a wealthy man named Lycomedes.
Fie upon it, General, I am ashamed to see you sit quilting among the Girls; a Sword becomes your Hands much better than a Needle.
Shame on you, General, I’m embarrassed to see you sewing with the girls; a sword suits your hands way better than a needle.
What can you mean by that Work-Basket in a Hand by which Count Hector is to fall? Do you carry that Basket with you to put his Head in?
What do you mean by that Work-Basket in your hand that Count Hector is supposed to fall into? Are you carrying that Basket to put his head in?
For Shame then, cast away your Huswife, and all those effeminate Trinkets from a Fist able to wield Harry the Fifth's Sword.
So for shame, get rid of your housewife and all those delicate trinkets from a hand that should be able to wield Harry the Fifth's sword.
It happened, that at the same Time when the General, at the House of 'Squire Lycomedes, performed this Feat, Miss Deidamia, one of the Maids of Honour, was visiting at the same Place. This young Lady soon discovered that the General was a Man; for indeed he got her Maidenhead.
It happened that at the same time the General was pulling off this stunt at 'Squire Lycomedes's house, Miss Deidamia, one of the maids of honor, was visiting too. This young lady quickly realized that the General was a man; in fact, he took her virginity.
He ravished her, that is the Truth on't; that a Gentleman ought to believe, in Favour of the Lady: But he may believe the Lady was willing enough to be ravished at the same Time.
He took advantage of her, and that's the truth of it; a gentleman should recognize this in favor of the lady. However, he might also believe that the lady was willing enough to be taken advantage of at the same time.
When the General threw away his Needle, and grasped the Armour, (you must remember the Story, for it was in the Trojan Alamain) the young Lady began to change her Note, and to hope he would not forsake her so.
When the General tossed aside his Needle and grabbed the Armour, (you must remember the Story, for it was in the Trojan Alamain) the young Lady started to change her tune and hoped he wouldn't abandon her like that.
Ah! little Mia! is this the Violence you complained of? Is this the Ravisher you are afraid of? Why with that gentle Voice do you solicite the Author of your Dishonour to stay with you?
Ah! little Mia! Is this the violence you were talking about? Is this the attacker you’re scared of? Why, with that soft voice, do you ask the one who brought you shame to stay with you?
To come at once to the Moral of my Story; as they are ashamed to make the first Advances, so they are ready to suffer whatever a pushing Man can do unto them.
To get straight to the point of my story: while they are too embarrassed to make the first move, they are willing to endure whatever an assertive person can throw at them.
As for those pretty Master-Misses, the Adonis's of the Age, who confide in their own Charms, and desire to be courted by the Girls; believe me, they will stay long enough before they are asked the Question.
As for those attractive young men, the Adonis's of the moment, who trust in their own charm and want girls to pursue them; trust me, they'll wait quite a while before someone pops the question.
If you are a Man, make the first Overtures: Remember, it is the Man's Part to address the Fair; and it will be her's to be tenderly won.
If you're a man, take the first steps: Remember, it's the man's role to approach the woman; and it will be her role to be gently won over.
Be bold then, and put the Question; she desires no more than to have the Question put; and sure you will not deny your own Wishes that Favour.
Be bold and ask the question; she wants nothing more than to have the question asked; and surely you won’t deny your own desires that support this.
Jupiter himself went a courting to the Heroines of old: For I never heard of any Girl who courted him.[27]
Jupiter himself went looking for romance with the heroines of the past: I’ve never heard of any girl who pursued him.[27]
But if you find Madam gives herself any immoderate Airs at your Proposal, it will then be good to recede a little from your Undertaking, and to affect to sheer off: For many of them, according to the Poet,
But if you find that Madam is acting all high and mighty about your proposal, it would be wise to back off a bit from your plans and pretend to withdraw. Because many of them, according to the Poet,
A short Absence will soon cure her Disdain.
A little time away will quickly change her attitude.
It may be proper likewise to conceal your intentions a little at first, and make your first Advance under the Pretence of Platonic Friendship.
It might also be wise to keep your intentions a bit hidden at first and make your initial move under the guise of Platonic Friendship.
I have known many a Prude taken under these false Colours; and the Platonic Friend hath soon become a happy Lover.
I have known many a prude who has fallen for these false pretenses; and the platonic friend has quickly turned into a happy lover.
And now as to your Complexion; for believe me, this is a Matter of some Consequence: Though I would not have you effeminate, yet I would have you delicate.
And now about your complexion; believe me, this is an important matter: Although I don’t want you to be soft, I do want you to be refined.
A fair Complexion in a Tar is scandalous, and looks more like a Borough Captain or one of those fresh-water Sailors, who have so much dishonoured our Navy. The Skin of a Seaman ought to be rough, and well battered with Winds and Waves.
A fair complexion on a fisherman is outrageous and looks more like a city captain or one of those freshwater sailors who have so badly shamed our Navy. A seaman's skin should be rough and well-weathered from the winds and waves.
Such likewise ought to be the Face of a Fox-hunter, who ought not to fear Rain or Easterly Winds: And the fame becomes the Soldier.
The face of a fox hunter should be just like this; they shouldn't be afraid of rain or east winds. And the same goes for a soldier.
But let the Soldier of Venus look fair and delicate; nay, if your Complexion inclines to Paleness, so much the better; for this will be imputed by every young Girl to Love.
But let the Soldier of Venus appear charming and fragile; in fact, if your complexion leans towards paleness, that’s even better; because every young girl will associate this with love.
Leanness is another Token of a Lover; to obtain which, you need not take Physick; sitting up all Night; and writing Love-Letters, will bring this about.
Leanness is another sign of a lover; to achieve this, you don't need to take medicine; staying up all night and writing love letters will do the trick.
Be sure to look as miserable as possible; so that every one who sees you, may cry, There goes a Lover.
Make sure you look as miserable as you can, so that everyone who sees you will say, There goes a Lover.
And here shall I lament the Wickedness of Mankind, or only simply observe it to you? But in Reality all Friendship and Integrity are nothing more than Names.
And here should I complain about the wickedness of humanity, or just point it out to you? But in reality, all friendship and honesty are just words.
Alas! It is dangerous to be too prodigal in the Praises of your Mistress, even to your Friend; for if he believes you, he becomes your Rival.[28]
It's risky to be too generous in praising your girlfriend, even to a friend; if he believes you, he might turn into your competition.[28]
It is true there are some old Stories of faithful Friends: Patroclus never made a Cuckold of Achilles; and Phaedra's Chastity was never attempted by Pirithous.
It is true there are some old stories of loyal friends: Patroclus never cheated on Achilles; and Phaedra's purity was never threatened by Pirithous.
Pylades loved Hermions, who was his Friend's Wife; but it was with the pure Love of a Brother: And the same Fidelity did Castor preserve towards his Twin-Brother Pollux.
Pylades loved Hermions, who was his friend’s wife; but it was with the genuine love of a brother. And the same loyalty did Castor maintain towards his twin brother Pollux.
But if you expect to find such Instances in these degenerate Days, you may as well have Faith enough to expect a Pine-Apple from a Pear-Tree, or to hope to fill your Bottle with Burgundy from the River.
But if you think you'll find such examples in these declining times, you might as well believe that you can get a pineapple from a pear tree or hope to fill your bottle with Burgundy from the river.
I am afraid we are grown so bad, that Iniquity itself gives a Relish to our Pleasures; and every Man is not only addicted to his Pleasures, but those are the sweeter, when season'd with another's Pain.
I'm afraid we've become so corrupt that wrongdoing itself adds flavor to our enjoyment; and every person is not only hooked on their own pleasures, but those pleasures taste even better when mixed with someone else's suffering.
It is in short a terrible Case, that a Lover ought to fear his Friend more than his Enemy. Beware of the former, and you are safe.
It's basically a terrible situation when a lover has to worry about their friend more than their enemy. Be cautious of the former, and you'll be fine.
Beware of your Cousin, and your Brother, and your dear and intimate Companions. These are the Sort of Gentry, from whom you are to apprehend most Danger.
Beware of your cousin, your brother, and your close friends. They are the ones you should fear the most.
Here I intended to have finished; but one Rule more suggests itself.
Here I planned to stop; but one more rule comes to mind.
You are to note then, that there is a great Variety in the Tempers of Women; for a thousand different Women are to be wooed a thousand different Ways.
You should notice that there’s a wide variety in women’s personalities; a thousand different women need to be approached in a thousand different ways.
Mr. Miller will tell you, that the same kind of Soil is not proper for all Fruits. One produces good Carrots, another Potatoes, and a third Turneps. Now there is as great a Variety of Disposition in the human Mind, as there are Forms in the World: For which Reason a Politician is capable of accommodating himself to innumerable Kinds of Tempers: Not Proteus could indeed diversify himself more Ways than he can.
Mr. Miller will tell you that not all types of soil are suitable for every fruit. One type produces great carrots, another potatoes, and a third turnips. Similarly, there is as much variety in human disposition as there are forms in the world. For this reason, a politician can adapt to countless types of personalities: Not even Proteus could change himself in more ways than he can.
Nay you may learn this Lesson from every Fisherman; for some Fish are to be taken with one Bait, and some with another; others will scarce bite at any, but are however to be drawn out of the Water by a Net.
You can learn this lesson from every fisherman; some fish are caught with one type of bait, and others with a different one; some barely bite at all, but can still be pulled out of the water with a net.
One good Caution under this Head, is to consider the Age of your Mistress: Old Birds are not taken with Chaff; and an old Hare will be sure to double.
One important thing to keep in mind is to think about how old your partner is: Older birds aren't fooled by empty flattery; and an older hare will definitely run away quickly.
Again, consider Circumstances. Do not frighten an ignorant Woman with Learning, nor a poor Country Girl with your fine Cloathes;[29] for by these Means you will create in them too great an Awe of you. Many a Girl hath run away frighted from the Embraces of the Master, and afterwards fallen into the Clutches of his Footman.
Again, think about the situation. Don't intimidate an uneducated woman with your knowledge, nor a poor country girl with your fancy clothes;[29] because doing so will make them too afraid of you. Many girls have run away scared from the advances of the master, only to end up in the hands of his servant.
And here we will now cast our Anchor, having finished the first Part of our intended Voyage.
And now we will drop our anchor, having completed the first part of our planned journey.
FINIS
FOOTNOTES
[1] Here Ovid uses the Examples of Automedon, who was the Coachman of Achilles; and of Tiphys, who was Pilot or Steersman to the Argonauts.
The text you provided is empty. Please provide a short piece of text for modernization. Here Ovid refers to the examples of Automedon, the charioteer of Achilles, and Tiphys, the navigator of the Argonauts.
[2] This is a literal Translation; by which it appears this barbarous Custom of whipping Boys on the Hands, till they look as if they had the Itch, was used by the Roman Schoolmasters as well as by ours.
[2] This is a literal translation; which shows that this cruel practice of whipping boys on the hands, making them look like they have the itch, was practiced by the Roman schoolmasters as well as by ours.
[4] In the Original,—held forth at his Master's Commands those Hands to be whipt, which Hector was hereafter to feel. The Indelicacy of which Image we have avoided applying to our British Hero.
[4] In the Original,—held up at his Master's Commands those Hands to be whipped, which Hector was later to feel. The indelicacy of that image has been avoided in reference to our British hero.
[5] Both born of a Goddess.
__A_TAG_PLACEHOLDER_0__ Both born of a Goddess.
[6] This is transferred, we hope not improperly from Roman to British Superstition. The Latin alludes to Augury, and very justly ridicules the Folly of Divination by the Flight of Birds.
[6] We hope this is transferred appropriately from Roman to British superstition. The Latin refers to augury and rightly mocks the foolishness of divination based on the flight of birds.
[7] Nor were Clio or her Sisters seen by me, while I tended a Flock in the Valleys of Ascra. This Ascra was a Valley near the Helicon, which was the Residence of the Parents of Hesiod. Now Hesiod was fabled, whilst he was keeping his Father's Sheep, to have been led by the Muse to the Fountain Hippocrene; and being, I suppose, well ducked in that Water, commenced Poet.
[7] Neither Clio nor her Sisters appeared to me while I was watching a flock in the valleys of Ascra. This Ascra was a valley close to Helicon, which was the home of Hesiod's parents. Now, it’s said that while he was tending his father's sheep, Hesiod was guided by the Muse to the Fountain Hippocrene; and after presumably getting a good soak in that water, he started writing poetry.
[8] This whole Passage is a manifest Burlesque on the Invocations with which the Ancients began their Poems. Not very different is that Sneer at the Beginning of the Metamorphosis,
[8] This entire section is a clear satire of the invocations that ancient poets used to start their works. It's quite similar to that mockery found at the beginning of the Metamorphosis,
But the strongest Piece of Burlesque of this kind is the Invocation to Venus at the Beginning of Lucretius: For what can be more so than a solemn Application to a Deity for her Assistance in a Work, the professed Intention of which is to expose the Belief of any Deity at all; and more particularly of any Concern which such superior Beings might be supposed to take in the Affairs of Men. For my own part, I must confess, I cannot perceive that graceful Air of Enthusiasm which a noble Author observes in the Invocation of the Antients; many of them indeed seem to have been too apparently in jest, to endeavour to impose on their Readers, and in reality to apply to the Muses with less Devotion than our modern Poets, many of whom perhaps believe as much in those Deities as in any other.
But the strongest piece of satire of this kind is the Invocation to Venus at the Beginning of Lucretius: For what could be more than a serious appeal to a deity for help with a project whose stated goal is to challenge the belief in any deity at all; and especially concerning any interest that such higher beings might be thought to have in human affairs. Personally, I must admit, I can't see that graceful air of enthusiasm that a noble author mentions in the invocations of the ancients; many of them seem to have clearly been joking, trying less to deceive their readers and actually invoking the muses with less devotion than our modern poets, many of whom perhaps believe just as much in those deities as in any others.
[9] Ovid would here insinuate, that the Courtezans only were the Subjects of the ensuing Poem; and in his Tristibus he cites these Lines, and pleads them in his Defence: But he is not over-honest in his Profession; for in many Parts it appears, that his Instructions are calculated for much more than concessa furtia.[32]
[9] Ovid suggests here that the courtesans are the only subjects of the following poem. In his Tristibus, he quotes these lines and uses them to defend himself. However, he isn't entirely honest about his intentions; in many parts, it becomes clear that his teachings are aimed at much more than just concessa furtia.[32]
[10] Andromeda was the Daughter of Cepheus King of Aethiopia and of Cassiope. Her Mother having offended the Nereids, by contending with them for Superiority in Beauty, Neptune, at their Petition, sent a Sea-Monster, which greatly annoyed the Aethiopians. Upon this they consulted the Oracle of Jupiter Ammon, who ordered them to expose one of the Progeny of Cepheus and Cassiope to be devoured by the Monster. Andromeda was accordingly ty'd to a Rock, where she was espied by Perseus, who killed the Monster, and rescued the Lady; for which he received her at the Hands of her Parents as his Reward. The Story is told in the 4th Book of the Metamorphosis.
[10] Andromeda was the daughter of Cepheus, the king of Aethiopia, and Cassiope. Her mother upset the Nereids by arguing that she was more beautiful than them. In response to their complaint, Neptune sent a sea monster that terrorized the Aethiopians. To deal with this, they consulted the oracle of Jupiter Ammon, who instructed them to sacrifice one of Cepheus and Cassiope's children to the monster. Andromeda was then tied to a rock, where she was spotted by Perseus, who killed the monster and saved her. As a reward, her parents gave her to him. The story is told in the 4th book of the Metamorphosis.
[13] The Original is, And the Mother of AEneas resides in the City of her Son. AEneas, from whom the Romans derived their Original, was the Son of Venus by Anchises.
[13] The Original is, And the Mother of AEneas lives in the City of her Son. AEneas, from whom the Romans got their heritage, was the Son of Venus and Anchises.
[14] The Original, rendered as literally as possible, is as follows: Walk at your ease under the Pompeian Shade, when the Sun enters the Herculean Lion; or where the Mother hath added her Benefactions to those of her Son; a work rich in foreign Marble: Nor avoid that Portico adorned with ancient Pictures, which is called Livia, from the Name of its Founder: nor that adorned by the Statues of the Belides, who attempted the Lives of their unfortunate Cousins; and where you see the cruel Father standing with his drawn Sword: Nor pass by the Temple of Venus and her lamented Adonis; nor omit the Seventh-Day Festivals of the Jews; nor the Egyptian Temples of the Linnen-clad Heifer: She makes many Women to be that which she herself was to Jupiter.
[14] The Original, rendered as literally as possible, is as follows: Stroll comfortably under the Pompeian Shade when the Sun moves into the Herculean Lion; or where the Mother has added her Gifts to those of her Son; a work rich in foreign Marble: Don’t skip that Portico decorated with ancient Pictures, known as Livia, after its Founder: nor that decorated with the Statues of the Belides, who tried to end the Lives of their unfortunate Cousins; and where you can see the cruel Father standing with his drawn Sword: Don’t forget the Temple of Venus and her sorrowed Adonis; nor the Seventh-Day Festivals of the Jews; nor the Egyptian Temples of the Linen-clad Heifer: She transforms many Women into what she herself was to Jupiter.
To explain these several Particulars to an English Reader, it must be known, that the Portico's in Rome were the publick Walks; and here Persons of both Sexes used to assemble. Among these was one built by Pompey. The second Portico mentioned, is by the best Commentators understood of the Octavian, which was built by Octavia, Sister to Augustus, and Mother to Marcellus; and this adjoined to a Temple built by the same Marcellus. The third Portico was built by Livia the Wife of Augustus, and called from her Name. The fourth, where the Picture of the Belides was, is to be understood of the Portico of Apollo Palatinus, in which were the Statues of the fifty Daughters of Danaus and Grandaughters of Belus. These being married to the fifty Sons of their Uncle AEgyptus, every one, by her Father's Command, slew her husband on the first Night, save only Hypermnestra. For this they were punished in the lower World, by being obliged to fill a Barrel full of Holes with Water. Scaliger and others have here made a mistake, supposing the Picture of the Belides was here hung up: But the contrary appears by many Authorities, particularly by this in Qv. Trist. 3.
To clarify these various details for an English reader, it's important to know that the Porticos in Rome were the public gathering places, where people of all genders would come together. One of these was built by Pompey. The second Portico mentioned is generally understood by leading Commentators to refer to the Octavian, which was constructed by Octavia, sister of Augustus and mother of Marcellus; this was next to a Temple built by Marcellus himself. The third Portico was created by Livia, the wife of Augustus, and is named after her. The fourth, which featured the picture of the Belides, refers to the Portico of Apollo Palatinus, where the statues of the fifty daughters of Danaus and granddaughters of Belus stood. These daughters, married to the fifty sons of their uncle AEgyptus, were all commanded by their father to kill their husbands on their wedding night, except for Hypermnestra. As a punishment for this, they were condemned in the underworld to fill a leaky barrel with water. Scaliger and others have made a mistake here, thinking the Picture of the Belides was displayed here; however, many sources, especially this one in Qv. Trist. 3, suggest otherwise.
Belides, and my father, a strict barbarian with a sword.
It appears that the Number of Pillars was equalled by the Number of Statues.[33] 5thly, The Temple of Venus, in which she was worshipped, together with Adonis, after the Assyrian manner. This Adonis was the Son of Cinyras King of Cyprus, begotten by him on his own Daughter Myrrha. The Fame of his Beauty, and the Passion which Venus bore towards him, are well known. 6thly, The Jewish Synagogues. The Jews having been encouraged by Julius Caesar, were very numerous in Rome at that time; and the Strangeness and Pomp of their Ceremonies inviting the Curiosity of the Roman Ladies, their Synagogues became famous Places of Intrigue. 7. The Temple of Isis. This Goddess, when a Woman, was called Io. She was the Daughter of Inachus; and being beloved by Jupiter, was by him, to preserve her from his Wife's Jealousy, turned into a Heifer, Juno suspecting the Fact, obtained this Heifer of her Husband, and set Argus to watch over her. Jupiter wanting to visit his old Friend, sent Mercury to kill Argus; in revenge of which, Juno ordered a Gad-Bee to sting the poor Heifer; which thereupon growing mad, ran to Egypt, where she was again restored to the Shape of a Woman, and married to Osiris. The Feast of Isis was celebrated in Rome ten Days together by the Women, and was a time of Carnival among them.
It seems that the number of pillars matched the number of statues.[33] 5th, the Temple of Venus, where she was worshipped along with Adonis, following the Assyrian tradition. This Adonis was the son of Cinyras, King of Cyprus, conceived with his own daughter Myrrha. His beauty and the love Venus had for him are widely known. 6th, the Jewish synagogues. The Jews, having been supported by Julius Caesar, were quite numerous in Rome at that time, and the uniqueness and grandeur of their ceremonies attracted the interest of Roman women, making their synagogues popular spots for intrigue. 7. The Temple of Isis. This goddess, when a woman, was called Io. She was the daughter of Inachus; being loved by Jupiter, he turned her into a heifer to protect her from his wife's jealousy. Juno, suspecting this, obtained the heifer from her husband and set Argus to watch over her. Jupiter, wanting to see his old friend, sent Mercury to kill Argus; in retaliation, Juno sent a gadfly to sting the poor heifer, which went mad and ran to Egypt, where she was transformed back into a woman and married Osiris. The Feast of Isis was celebrated in Rome for ten days by women and was a time of carnival for them.
[17] And when the Procession shall pass on with the Ivory Deities, do you applaud most the Statue of Lady Venus. Thus the Original. The Paraphrase preserves the same Sense, though in other Circumstances. These Statues were carried in Procession on many Occasions, particularly at the Maegalesian Games.
[17] And when the procession moves forward with the ivory deities, make sure to cheer the statue of Lady Venus. This is how the original text reads. The paraphrase keeps the same meaning, even though it’s in different circumstances. These statues were paraded during various events, especially at the Maegalesian Games.
[18] Adjusting her cushion.
[19] Putting a Foot-stool under her.
[20] The Original mentioned the Fights of the Gladiators. The Paraphrase comes as near as our Customs admit; for the British Ladies never attend to see Men kill one another in jest.
[20] The Original referred to the Battles of the Gladiators. The Paraphrase is as close as our customs allow; because British women never go to watch men kill each other for fun.
[21] Augustus Caesar among other rich Shews, with which he entertained the People, exhibited to them a Sea-Fight in a Place dug on purpose near the banks of the Tyber. The Poet takes this occasion of introducing many Compliments to the Grandson of this Prince. We have done little more than altered Names in this Place; and as we are assured all here said is as properly applicable to the noble Person to whom we have transferred it, the learned Reader will admire that any Passage in an antient Author can be so apposite to the present Times, and the true English Reader will be no less delighted to see Ovid introduced as singing forth the Praises of the British Hero.
[21] Augustus Caesar hosted various extravagant shows to entertain the public, including a naval battle staged in a specially dug arena near the banks of the Tyber. The poet takes this opportunity to offer many praises to the grandson of this ruler. We've mostly just changed the names here, and since we believe that everything mentioned is equally relevant to the noble figure we've assigned it to, the educated reader will appreciate how any passage from an ancient author can still fit today's context, and the true English reader will also be pleased to see Ovid honored for celebrating the British Hero.
[22] Parthia.
[23] The Crassi.
__A_TAG_PLACEHOLDER_0__ The Crassi.
[25] Bacchus.
__A_TAG_PLACEHOLDER_0__ Bacchus.
[28] Baiae, a Place not far from Naples, famous for wholesome as well as pleasant Baths. It is described very largely by Diodorus; and Horace mentions it as the pleasantest Place in the World.
[28] Baiae, a location close to Naples, known for its healthy and enjoyable baths. It is elaborately described by Diodorus; and Horace refers to it as the most delightful place on Earth.
[29] In the Original, the Temple of Diana in the Suburbs. It stood in a Grove not far from Rome. The next Line, Partaque per gladios, &c. alludes to a very singular Custom, by which the Priests of this Temple succeeded to each other, viz. by Conquest in single Combat, for which every Slave or Fugitive was admitted to contend, and the Victor was rewarded with the Priesthood. This Practice was renewed every Year, and was, as Strabo informs us, originally taken from the Scythians.
[29] In the Original, the Temple of Diana in the Suburbs. It was located in a grove not far from Rome. The next line, Partaque per gladios, &c. refers to a very unusual custom where the priests of this temple succeeded one another by winning single combat. Any slave or fugitive could compete, and the winner earned the title of priest. This practice happened every year and, as Strabo tells us, originally came from the Scythians.
[30] Byblis fell in love with her Brother Caunus; and upon his rejecting her Addresses, hanged herself. The Poets feign she was afterwards turned into a Fountain. See Metam. IX.
[30] Byblis fell in love with her brother Caunus; and when he rejected her advances, she took her own life. The poets claim she was later transformed into a fountain. See Metam. IX.
[31] Myrrha was the Daughter of Cinyras, who being in love with her Father, took an Opportunity, while her Mother was employed in the Sacrifices to Ceres, to supply her Place. Her Father discovering the Imposture, ran after her with a drawn Sword to kill her: But she escaped by means of the Night, and fled into Sabeaea. She was changed into the Myrrh-Tree. The Story of which is in Metam. X. But though the Poets have subjoined Fable to this Fact, it is related by Pliny as a true History.
[31] Myrrha was the daughter of Cinyras, who fell in love with her father. She took advantage of the moment when her mother was busy with sacrifices to Ceres to take her place. When her father discovered the deception, he chased after her with a drawn sword to kill her. However, she escaped into the night and fled to Sabeaea. She was transformed into the myrrh tree. The story is found in Metam. X. Although poets have added fables to this tale, Pliny recounts it as true history.
[32] Pasiphaë was the Daughter of the Sun, married to Minos King of Crete. The Poets feign that being in love with a Bull, she employed Daedalus, a famous Artist, to make her a wooden Cow, into which she conveyed herself, in order to enjoy her monstrous Desires. From this unnatural Coition sprung the Minotaur, a Monster half Man and half Bull, which was enclosed in a Labyrinth, and afterward destroyed by Theseus.
[32] Pasiphaë was the Daughter of the Sun, married to Minos King of Crete. The poets tell that, being in love with a bull, she hired Daedalus, a renowned artist, to create a wooden cow for her to get inside, so she could satisfy her monstrous desires. From this unnatural union, the Minotaur was born, a creature that was half man and half bull. It was kept in a labyrinth and was later killed by Theseus.
[35] AErope was the Wife of Atreus. She committed Adultery with her Husband's Brother Thyestes, by whom she had two Sons, whom Atreus caused to be killed, and served up to his Brother's Table. To avoid this Sight, the Sun is said to have gone backward.
[35] Aerobe was the wife of Atreus. She cheated on her husband with his brother Thyestes, with whom she had two sons. Atreus had them killed and served them at his brother's table. To avoid witnessing this, it's said that the sun turned backward.
[36] Scylla the Daughter of Nisus, King of the Megarensians, fell in love with Minos, while he was besieging her Father's City. She stole away her Father's Hair, on which the Fate of the City depended, and carried it to Minos; for which Fact she was rewarded by her Lover with Contempt only.[35] She is by some said to have been changed into a Lark: But Ovid, who here seems to confound two Stories together, makes her Transformation to have been into a Rock, which lies between Sicily and Italy; where the dashing of the Waves against the Rock representing the Sound of the Barking of Dogs, gave rise to the Fable which is here hinted at.
[36] Scylla, the daughter of Nisus, the King of the Megarensians, fell for Minos while he was attacking her father’s city. She stole her father's hair, which held the city's fate, and gave it to Minos; for this, her lover only rewarded her with disdain.[35] Some say she was turned into a lark, but Ovid, who seems to mix up two stories here, says her transformation was into a rock that lies between Sicily and Italy. The crashing waves against the rock sound like barking dogs, which gave rise to the legend hinted at here.
[37] Clytemnestra, the Wife of Agamemnon, who in the absence of her Husband committed Adultery with AEgysthus, and with him afterwards murdered Agamemnon, at his Return from Troy.
[37] Clytemnestra, the wife of Agamemnon, who, while her husband was away, had an affair with AEgysthus and then, upon his return from Troy, killed Agamemnon with him.
[38] Creüsa was the Daughter of Creon King of Corinth, and second Wife to Jason; to whom Medea, enraged with Jason, who had forsaken her, sent a Casket in which Wild-Fire was inclosed, and by which she was burnt as soon [as] it was opened. This Medea afterwards, on account of the same Anger with Jason, tore to pieces her two Sons which she had bore to him.
[38] Creüsa was the daughter of Creon, the king of Corinth, and the second wife of Jason. In her rage against Jason for abandoning her, Medea sent a box that contained wild fire, which burned her as soon as it was opened. Later, out of the same anger towards Jason, Medea killed their two sons that she had with him.
[39] This Phoenix having incensed his Father, by lying with a Woman who was beloved by the latter, fled to the Protection of Peleus the Father of Achilles, and was by bim [sic] Preceptor of that young Hero.
```html [39] This Phoenix, having angered his father by sleeping with a woman his father loved, fled to the protection of Peleus, the father of Achilles, and became the tutor of that young hero. ```
[40] Hippolytus being beloved by his Stepmother Phaedra, and refusing to gratify her Desires, was by her falsely accused to his Father Theseus; upon which account he was obliged to fly, and the Chariot Horses being frighted by Sea-Calves, dashed the Chariot to-pieces, and him also.
[40] Hippolytus was loved by his stepmother Phaedra, but when he rejected her advances, she falsely accused him to his father Theseus. As a result, he had to flee, and when his chariot horses were scared by sea calves, they crashed the chariot, killing him.
[41] Phineus King of Arcadia, having repudiated his Wife Cleopatra, married Harpalice; by whose Instigation he put out the Eyes of his Sons: for which he was afterwards punished by Divine Vengeance with the Loss of his own.
[41] Phineus, King of Arcadia, divorced his wife Cleopatra and married Harpalice; at her urging, he blinded his sons. As a result, he was later punished by divine retribution and lost his own eyesight.
[42] The Romans paid a Religious Regard to their Birth-Day, as appears from many Passages in their Poets. At this time they used to receive Presents from their Relations and Acquaintance. We have here given the Sense of the Original, only varying the Customs (Kalendae Martii.) Ovid advises the Lover to abstain from visiting his Mistress in the Kalends of March. At which time the Matronalia were celebrated to Juno Lucina, and the Husbands used to pray to that Goddess to protect the Chastity of their Wives. Horace likewise Lib. III. Ode 8. hints that this was not the proper Season for Batchelors to give a Loose to their Gaieties. (Sive erit ornatus Circus, &c.) A third Caution Ovid gives, is not to visit on those Days when the Wealth of the Roman Conquests were exposed to the Circus, in admiring which, as Mycellus observes, the Girls were too much taken up, to attend to the Desires of their Lovers. To say the truth, some Custom seems to be alluded to here, which is not sufficiently preserved from the Ruins of Antiquity.
[42] The Romans had a special reverence for their birthdays, as shown in many passages by their poets. During this time, they would receive gifts from their family and friends. Here we have conveyed the essence of the original text while only changing the customs (Kalendae Martii). Ovid advises lovers to avoid visiting their partners on the Kalends of March, when the Matronalia were celebrated in honor of Juno Lucina, and husbands would pray to this goddess for the protection of their wives’ chastity. Horace also suggests in Lib. III. Ode 8 that this was not the right time for bachelors to indulge in their pleasures. (Sive erit ornatus Circus, &c.) Another warning Ovid provides is to not visit on those days when the wealth brought back from Roman conquests was displayed at the Circus, as Mycellus notes that the girls were too captivated by this spectacle to pay attention to the desires of their lovers. To be honest, it seems there is some custom referenced here that has not been adequately preserved from the ruins of antiquity.
[44] The Original points at the Day in which the Romans were overthrown by the Gauls on the Banks of the River Allia. This was the 15th of the Kalends of August. A. U. C. 363, and it was marked as a black Day[36] in their Kalendar. As this Nation is too happy to produce any such Day, we have been obliged to give it a different Turn in our Paraphrase.
[44] The Original refers to the day when the Romans were defeated by the Gauls along the banks of the River Allia. This occurred on the 15th of the Kalends of August. A. U. C. 363, and it was noted as a dark day[36] in their calendar. Since this nation is too fortunate to have any such day, we had to reinterpret it in our paraphrase.
[45] Cydippe was a beautiful virgin of the island of Delos. She was celebrating the Rites of Diana when she was seen by Acontius, who falling in love with her, and not daring openly to declare his Passion, contrived to drop an Apple at her Feet, in which were inclosed these two Lines:
[45] Cydippe was a stunning young woman from the island of Delos. While she was taking part in the Rites of Diana, Acontius saw her and, falling in love, didn’t have the courage to express his feelings directly. Instead, he cleverly dropped an apple at her feet, which contained these two lines:
I will be your Companion and become your Bride.
Cydippe took up the Apple and read the Lines; by repeating which words they became her own; and she was ignorantly betrothed to her Lover: For it was a Law, that whatever any persons said in Diana's Temple, they were obliged to perform.
Cydippe picked up the Apple and read the Lines; by repeating those words, they became hers; and she unwittingly got engaged to her Lover: For it was a Law that whatever anyone said in Diana's Temple, they were required to fulfill.
[46] Ariadne was the Daughter of Minos King of Crete. She fell in Love with Theseus, and with a Clew of Thread helped him out of the Labyrinth into which he went to kill the Minotaur. He afterwards basely deserted the poor Lady, of which our Poet will presently tell the Story.
[46] Ariadne was the daughter of Minos, the king of Crete. She fell in love with Theseus and used a ball of thread to help him find his way out of the labyrinth where he went to kill the Minotaur. He later cruelly abandoned the poor woman, and our poet will soon share her story.
[47] Silenus was the Pedagogue of Bacchus, and his Foster-Father: He was likewise his Companion on all Occasions; and is often introduced in his drunken Mood by our Poet.
[47] Silenus was the teacher of Bacchus and his adoptive father. He also accompanied him everywhere and is often depicted in a drunken state by our poet.
[48] At this Wedding Eurytion the Centaur getting drunk, attempted to ravish Hippodamia the Bride of Pyrithous, but Theseus knocked his Brains out with a Bowl. Upon this a Battle ensued between the Centaurs and the Lapithae, who defending the Cause of their Prince Pyrithous, destroyed almost all the Centaurs. Horace Lib. I. Ode 18. mentions this Story likewise, as a Caution to Men not to be quarrelsome in their Cups.
[48] At this Wedding, Eurytion, the Centaur, got drunk and tried to assault Hippodamia, the bride of Pyrithous, but Theseus knocked him out with a bowl. This sparked a battle between the Centaurs and the Lapithae, who, defending their prince Pyrithous, nearly wiped out all the Centaurs. Horace, in Book I, Ode 18, also mentions this story as a warning for men not to be overly aggressive when drinking.
[50] Phoebe and Ilaira were two pretty Girls, the Daughters of Leucippus, and by their Father betrothed to two Brothers Idas and Lynceus; but before the Celebration of their Nuptials, were ravished by Castor and Pollux. This ended in the Death of Castor, by the Hands of Lynceus; and of Lynceus, by Pollux, whose Death while Idas was attempting to revenge, he was struck dead by Thunder at the Feet of Pollux.
[50] Phoebe and Ilaira were two beautiful girls, the daughters of Leucippus, and their father had arranged marriages for them with two brothers, Idas and Lynceus. However, before their weddings could take place, they were taken by Castor and Pollux. This led to the death of Castor at the hands of Lynceus, and then Lynceus was killed by Pollux, who was struck down by a thunderbolt while Idas was trying to get revenge, dying at the feet of Pollux.
[51] Orion the Theban was in Love with Merope the Daughter of AEnopian; but who this Lyrice was, is not so plain, no Mention being made of her in any other Place.
[51] Orion, the Theban, was in love with Merope, the daughter of AEnopian; but who this Lyrice was is not clear, as no other mention of her exists anywhere else.
PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY
First Year (1946-47)
First Year (1946-47)
- Numbers 1-6 out of print.
Second Year (1947-1948)
Second Year (1947-1948)
- 7. John Gay's The Present State of Wit (1711); and a section on Wit from The English Theophrastus (1702).
- 8. Rapin's De Carmine Pastorali, translated by Creech (1684).
- 9. T. Hanmer's (?) Some Remarks on the Tragedy of Hamlet (1736).
- 10. Corbyn Morris' Essay towards Fixing the True Standards of Wit, etc. (1744).
- 11. Thomas Purney's Discourse on the Pastoral (1717).
- 12. Essays on the Stage, selected, with an Introduction by Joseph Wood Krutch.
Third Year (1948-1949)
Third Year (1948-1949)
- 13. Sir John Falstaff (pseud.), The Theatre (1720).
- 14. Edward Moore's The Gamester (1753).
- 15. John Oldmixon's Reflections on Dr. Swift's Letter to Harley (1712); and Arthur Mainwaring's The British Academy (1712).
- 16. Nevil Payne's Fatal Jealousy (1673).
- 17. Nicholas Rowe's Some Account of the Life of Mr. William Shakespeare (1709).
- 18. "Of Genius," in The Occasional Paper, Vol. III, No. 10 (1719); and Aaron Hill's Preface to The Creation (1720).
Fourth Year (1949-1950)
Senior Year (1949-1950)
- 19. Susanna Centlivre's The Busie Body (1709).
- 20. Lewis Theobold's Preface to The Works of Shakespeare (1734).
- 21. Out of print.
- 22. Samuel Johnson's The Vanity of Human Wishes (1749) and Two Rambler papers (1750).
- 23. John Dryden's His Majesties Declaration Defended (1681).
- 24. Out of print.
Fifth Year (1950-1951)
Fifth Year (1950-1951)
- 25. Thomas Baker's The Fine Lady's Airs (1709).
- 26. Charles Macklin's The Man of the World (1792).
- 27. Out of print.
- 28. John Evelyn's An Apologie for the Royal Party (1659); and A Panegyric to Charles the Second (1661).
- 29. Daniel Defoe's A Vindication of the Press (1718).
- 30. Essays on Taste from John Gilbert Cooper's Letters Concerning Taste, 3rd edition (1757), & John Armstrong's Miscellanies (1770).
Sixth Year (1951-1952)
Sixth Year (1951-1952)
- 31. Thomas Gray's An Elegy Wrote in a Country Church Yard (1751); and The Eton College Manuscript.
- 32. Prefaces to Fiction; Georges de Scudéry's Preface to Ibrahim (1674), etc.
- 33. Henry Gally's A Critical Essay on Characteristic-Writings (1725).
- 34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson (1785).
- 35. James Boswell, Andrew Erskine, and George Dempster. Critical Strictures on the New Tragedy of Elvira, Written by Mr. David Mallock (1763).
- 36. Joseph Harris's The City Bride (1696).
Seventh Year (1952-1953)
Seventh Year (1952-1953)
- 37. Thomas Morrison's A Pindarick Ode on Painting (1767).
- 38. John Phillips' A Satyr Against Hypocrites (1655).
- 39. Thomas Warton's A History of English Poetry.
- 40. Edward Bysshe's The Art of English Poetry (1708).
- 41. Bernard Mandeville's A Letter to Dion (1732).
- 42. Prefaces to Four Seventeenth-Century Romances.
Eighth Year (1953-1954)
Eighth Grade (1953-1954)
- 43. John Baillie's An Essay on the Sublime (1747).
- 44. Mathias Casimire Sarbiewski's The Odes of Casimire, Translated by G. Hils (1646).
- 45. John Robert Scott's Dissertation on the Progress of the Fine Arts.
- 46. Selections from Seventeenth Century Songbooks.
- 47. Contemporaries of the Tatler and Spectator.
- 48. Samuel Richardson's Introduction to Pamela.
Ninth Year (1954-1955)
Ninth Year (1954-1955)
- 49. Two St. Cecilia's Day Sermons (1696-1697).
- 50. Hervey Aston's A Sermon Before the Sons of the Clergy, (1745).
- 51. Lewis Maidwell's An Essay upon the Necessity and Excellency of Education (1705).
- 52. Pappity Stampoy's A Collection of Scotch Proverbs (1663).
- 53. Urian Oakes' The Soveraign Efficacy of Divine Providence (1682)
- 54. Mary Davys' Familiar Letters Betwixt a Gentleman and a Lady (1725).
Tenth Year (1955-1956)
Tenth Year (1955-1956)
- 55. Samuel Say's An Essay on the Harmony, Variety, and Power of Numbers (1745).
- 56. Theologia Ruris, sive Schola & Scala Naturae (1686).
- 57. Out of print.
- 58. Eighteenth-Century Book Illustrations.
- 59. Samuel Johnson's Notes to Shakespeare. Vol. I, Comedies, Part I.
- 60. Samuel Johnson's Notes to Shakespeare. Vol. I, Comedies, Part II.
Eleventh Year (1956-1957)
Eleventh Grade (1956-1957)
- 61. Elizabeth Elstob's An Apology for the Study of Northern Antiquities (1715).
- 62. Two Funeral Sermons (1635).
- 63. Parodies of Ballad Criticism (1711-1787).
- 64. Prefaces to Three Eighteenth-Century Novels (1708, 1751, 1797).
- 65. Samuel Johnson's Notes to Shakespeare. Vol. II, Histories, Part I.
- 66. Samuel Johnson's Notes to Shakespeare. Vol. II, Histories, Part II.
Twelfth Year (1957-1958)
Twelfth Grade (1957-1958)
- 67. Henry Fielding's The Voyages of Mr. Job Vinegar (1740).
- 68. Elkanah Settle's The Notorious Impostor (1692) and Diego Redivivus (1692).
- 69. An Historical View of the ... Political Writers in Great Britain (1740).
- 70. G.W., Magazine, or Animadversions on the English Spelling (1703).
- 71. Samuel Johnson's Notes to Shakespeare. Vol. III, Tragedies, Part I.
- 72. Samuel Johnson's Notes to Shakespeare. Vol. III, Tragedies, Part II.
Thirteenth Year (1958-1959)
Thirteenth Year (1958-59)
- 73. Samuel Johnson's Notes to Shakespeare. Vol. III, Tragedies, Part III.
- 74. Seventeenth-Century Tales of the Supernatural.
- 75. John Joyne, A Journal (1679).
- 76. André Dacier, Preface to Aristotle's Art of Poetry (1705).
- 77-78. David Hartley, Various Conjectures on the Perception, Motion, and Generation of Ideas (1746).
Fourteenth Year (1959-1960)
14th Year (1959-1960)
- 79. William Herbert, Third Earl of Pembroke's Poems (1660).
- 80. [P. Whalley's] An Essay on the Manner of Writing History (1746).
- 81. Two Burlesques of Lord Chesterfield's Letters The Graces (1774).
- The Fine Gentleman's Etiquette (1776).
- 82. Henry Fuseli's Remarks on the Writings and Conduct of J. J. Rousseau (1767).
- 83. Sawney and Colley (1742) and other Pope Pamphlets.
- 84. Richard Savage's An Author To Be Lett (1729).
Fifteenth Year (1960-1961)
Fifteenth Year (1960-1961)
- 85-86. Essays on the Theatre from Eighteenth-Century Periodicals. Selected,
- with an introduction, by John Loftis. [double issue]
- 87. Daniel Defoe, Of Captain Misson and his Crew (1728). Introduction by
- Maximillian E. Novak.
- 88. Samuel Butler, Poems. Selected, with an introduction, by Alexander C. Spence.
- 89. Henry Fielding, Ovid's Art of Love (1760). Introduction by Claude E. Jones.
- 90. Henry Needier, Works (1728). Selected, with an introduction, by Marcia Allentuck.
William Andrews Clark Memorial Library: University of California
The Augustan Reprint Society
General Editors
R.C. Boys University of Michigan |
Vinton A. Dearing UCLA |
Ralph Cohen UCLA |
Lawrence Clark Powell Wm. Andrews Clark Memorial Library |
Corresponding Secretary: Mrs. Edna C. Davis, Wm. Andrews Clark Memorial Library
Corresponding Secretary: Mrs. Edna C. Davis, Wm. Andrews Clark Memorial Library
The Society's purpose is to publish reprints (usually facsimile reproductions) of rare seventeenth and eighteenth century works. All income of the Society is devoted to defraying costs of publication and mailing.
The Society's goal is to publish reprints (typically facsimile reproductions) of rare works from the seventeenth and eighteenth centuries. All income generated by the Society goes towards covering publication and mailing expenses.
Correspondence concerning subscriptions in the United States and Canada should be addressed to the William Andrews Clark Memorial Library, 2205 West Adams Boulevard, Los Angeles 18, California. Correspondence concerning editorial matters may be addressed to any of the general editors. The membership fee is $4.00 a year for subscribers in the United States and Canada and 15/- for subscribers in Great Britain and Europe. British and European subscribers should address B.H. Blackwell, Broad Street, Oxford, England.
Correspondence regarding subscriptions in the United States and Canada should be sent to the William Andrews Clark Memorial Library, 2205 West Adams Boulevard, Los Angeles 18, California. For questions about editorial matters, you can reach out to any of the general editors. The annual membership fee is $4.00 for subscribers in the United States and Canada, and 15/- for subscribers in Great Britain and Europe. British and European subscribers should contact B.H. Blackwell, Broad Street, Oxford, England.
Publications for the fifteenth year (1960-1961)
Publications for the fifteenth year (1960-1961)
Six items, most of them from the following list, will be reprinted.
Six items, mostly from the list below, will be reprinted.
- Samuel Butler, Poems. Selected, with an introduction, by Alexander C. Spence.
- Daniel Defoe, Of Captain Misson and his Crew (1728). Introduction by Maximillian E. Novak.
- Eighteenth-Century Illustrations to The Faerie Queene. Introduction by Ralph Cohen.
- Essays on the Theatre from Eighteenth-Century Periodicals. Selected, with an introduction, by John Loftis. [double issue]
- Henry Fielding, Ovid's Art of Love (1760). Introduction by Claude E. Jones.
- Francis Hutcheson, Reflections on Laughter (1729). Introduction by Scott Elledge.
- Henry Needier, Works (1728). Selected, with an introduction, by Marcia Allentuck.
THE AUGUSTAN REPRINT SOCIETY
WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
2205 West Adams Blvd, Los Angeles, CA 18
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