The Spectator Volume I Part 50

There is no kind of false Wit which has been so recommended by the Practice of all Ages, as that which consists in a Jingle of Words, and is comprehended under the general Name of _Punning_. It is indeed impossible to kill a Weed, which the Soil has a natural Disposition to produce. The Seeds of Punning are in the Minds of all Men, and tho' they may be subdued by Reason, Reflection and good Sense, they will be very apt to shoot up in the greatest Genius, that is not broken and cultivated by the Rules of Art. Imitation is natural to us, and when it does not raise the Mind to Poetry, Painting, Musick, or other more n.o.ble Arts, it often breaks out in Punns and Quibbles.

_Aristotle_, in the Eleventh Chapter of his Book of Rhetorick, describes two or three kinds of Punns, which he calls Paragrams, among the Beauties of good Writing, and produces Instances of them out of some of the greatest Authors in the _Greek_ Tongue. _Cicero_ has sprinkled several of his Works with Punns, and in his Book where he lays down the Rules of Oratory, quotes abundance of Sayings as Pieces of Wit, which also upon Examination prove arrant Punns. But the Age in which _the Punn_ chiefly flourished, was the Reign of King _James_ the First. That learned Monarch was himself a tolerable Punnster, and made very few Bishops or Privy-Counsellors that had not some time or other signalized themselves by a Clinch, or a _Conundrum_. It was therefore in this Age that the Punn appeared with Pomp and Dignity. It had before been admitted into merry Speeches and ludicrous Compositions, but was now delivered with great Gravity from the Pulpit, or p.r.o.nounced in the most solemn manner at the Council-Table. The greatest Authors, in their most serious Works, made frequent use of Punns. The Sermons of Bishop _Andrews_, and the Tragedies of _Shakespear_, are full of them. The Sinner was punned into Repentance by the former, as in the latter nothing is more usual than to see a Hero weeping and quibbling for a dozen Lines together.

I must add to these great Authorities, which seem to have given a kind of Sanction to this Piece of false Wit, that all the Writers of Rhetorick have treated of Punning with very great Respect, and divided the several kinds of it into hard Names, that are reckoned among the Figures of Speech, and recommended as Ornaments in Discourse. I remember a Country School-master of my Acquaintance told me once, that he had been in Company with a Gentleman whom he looked upon to be the greatest _Paragrammatist_ among the Moderns. Upon Inquiry, I found my learned Friend had dined that Day with Mr. _Swan_, the famous Punnster; and desiring him to give me some Account of Mr. _Swan's_ Conversation, he told me that he generally talked in the _Paranomasia_, that he sometimes gave into the _Ploce_, but that in his humble Opinion he s.h.i.+ned most in the _Antanaclasis_.

I must not here omit, that a famous University of this Land was formerly very much infested with Punns; but whether or no this might not arise from the Fens and Marshes in which it was situated, and which are now drained, I must leave to the Determination of more skilful Naturalists.

After this short History of Punning, one would wonder how it should be so entirely banished out of the Learned World, as it is at present, especially since it had found a Place in the Writings of the most ancient Polite Authors. To account for this, we must consider, that the first Race of Authors, who were the great Heroes in Writing, were dest.i.tute of all Rules and Arts of Criticism; and for that Reason, though they excel later Writers in Greatness of Genius, they fall short of them in Accuracy and Correctness. The Moderns cannot reach their Beauties, but can avoid their Imperfections. When the World was furnished with these Authors of the first Eminence, there grew up another Set of Writers, who gained themselves a Reputation by the Remarks which they made on the Works of those who preceded them. It was one of the Employments of these Secondary Authors, to distinguish the several kinds of Wit by Terms of Art, and to consider them as more or less perfect, according as they were founded in Truth. It is no wonder therefore, that even such Authors as _Isocrates, Plato_, and _Cicero_, should have such little Blemishes as are not to be met with in Authors of a much inferior Character, who have written since those several Blemishes were discovered. I do not find that there was a proper Separation made between Punns and [true [1]] Wit by any of the Ancient Authors, except _Quintilian_ and _Longinus_. But when this Distinction was once settled, it was very natural for all Men of Sense to agree in it. As for the Revival of this false Wit, it happened about the time of the Revival of Letters; but as soon as it was once detected, it immediately vanished and disappeared. At the same time there is no question, but as it has sunk in one Age and rose in another, it will again recover it self in some distant Period of Time, as Pedantry and Ignorance shall prevail upon Wit and Sense. And, to speak the Truth, I do very much apprehend, by some of the last Winter's Productions, which had their Sets of Admirers, that our Posterity will in a few Years degenerate into a Race of Punnsters: At least, a Man may be very excusable for any Apprehensions of this kind, that has seen _Acrosticks_ handed about the Town with great Secrecy and Applause; to which I must also add a little Epigram called the _Witches Prayer_, that fell into Verse when it was read either backward or forward, excepting only that it Cursed one way and Blessed the other. When one sees there are actually such Pains-takers among our _British _Wits, who can tell what it may end in? If we must Lash one another, let it be with the manly Strokes of Wit and Satyr; for I am of the old Philosopher's Opinion, That if I must suffer from one or the other, I would rather it should be from the Paw of a Lion, than the Hoof of an a.s.s. I do not speak this out of any Spirit of Party. There is a most crying Dulness on both Sides. I have seen Tory _Acrosticks_ and Whig _Anagrams_, and do not quarrel with either of them, because they are _Whigs_ or _Tories_, but because they are _Anagrams_ and _Acrosticks_.

But to return to Punning. Having pursued the History of a Punn, from its Original to its Downfal, I shall here define it to be a Conceit arising from the use of two Words that agree in the Sound, but differ in the Sense. The only way therefore to try a Piece of Wit, is to translate it into a different Language: If it bears the Test, you may p.r.o.nounce it true; but if it vanishes in the Experiment, you may conclude it to have been a Punn. In short, one may say of a Punn, as the Countryman described his Nightingale, that it is _vox et praeterea nihil,_ a Sound, and nothing but a Sound. On the contrary, one may represent true Wit by the Description which _Aristinetus_ makes of a fine Woman; when she is _dressed_ she is Beautiful, when she is _undressed_ she is Beautiful; or as _Mercerus_ has translated it [more Emphatically]

_Induitur, formosa est: Exuitur, ipsa forma est._

C.

[Footnote 1: fine]

No. 62. Friday, May 11, 1711. Addison.

'Scribendi recte sapere est et principium et fons.'

Hor.

Mr. _Lock_ has an admirable Reflexion upon the Difference of Wit and Judgment, whereby he endeavours to shew the Reason why they are not always the Talents of the same Person. His Words are as follows:

_And hence, perhaps, may be given some Reason of that common Observation, That Men who have a great deal of Wit and prompt Memories, have not always the clearest Judgment, or deepest Reason.

For Wit lying most in the a.s.semblage of Ideas, and putting those together with Quickness and Variety, wherein can be found any Resemblance or Congruity, thereby to make up pleasant Pictures and agreeable Visions in the Fancy; Judgment, on the contrary, lies quite on the other Side, In separating carefully one from another, Ideas wherein can be found the least Difference, thereby to avoid being misled by Similitude, and by Affinity to take one thing for another.

This is a way of proceeding quite contrary to Metaphor and Allusion; wherein, for the most part, lies that Entertainment and Pleasantry of Wit which strikes so lively on the Fancy, and is therefore so acceptable to all People._ [1]

This is, I think, the best and most Philosophical Account that I have ever met with of Wit, which generally, though not always, consists in such a Resemblance and Congruity of Ideas as this Author mentions. I shall only add to it, by way of Explanation, That every Resemblance of Ideas is not that which we call Wit, unless it be such an one that gives _Delight_ and _Surprise_ to the Reader: These two Properties seem essential to Wit, more particularly the last of them. In order therefore that the Resemblance in the Ideas be Wit, it is necessary that the Ideas should not lie too near one another in the Nature of things; for where the Likeness is obvious, it gives no Surprize. To compare one Man's Singing to that of another, or to represent the Whiteness of any Object by that of Milk and Snow, or the Variety of its Colours by those of the Rainbow, cannot be called Wit, unless besides this obvious Resemblance, there be some further Congruity discovered in the two Ideas that is capable of giving the Reader some Surprize. Thus when a Poet tells us, the Bosom of his Mistress is as white as Snow, there is no Wit in the Comparison; but when he adds, with a Sigh, that it is as cold too, it then grows into Wit. Every Reader's Memory may supply him with innumerable Instances of the same Nature. For this Reason, the Similitudes in Heroick Poets, who endeavour rather to fill the Mind with great Conceptions, than to divert it with such as are new and surprizing, have seldom any thing in them that can be called Wit. Mr.

_Lock's_ Account of Wit, with this short Explanation, comprehends most of the Species of Wit, as Metaphors, Similitudes, Allegories, aenigmas, Mottos, Parables, Fables, Dreams, Visions, dramatick Writings, Burlesque, and all the Methods of Allusion: As there are many other Pieces of Wit, (how remote soever they may appear at first sight, from the foregoing Description) which upon Examination will be found to agree with it.

As _true Wit_ generally consists in this Resemblance and Congruity of Ideas, _false Wit_ chiefly consists in the Resemblance and Congruity sometimes of single Letters, as in Anagrams, Chronograms, Lipograms, and Acrosticks: Sometimes of Syllables, as in Ecchos and Doggerel Rhymes: Sometimes of Words, as in Punns and Quibbles; and sometimes of whole Sentences or Poems, cast into the Figures of _Eggs, Axes_, or _Altars_: Nay, some carry the Notion of Wit so far, as to ascribe it even to external Mimickry; and to look upon a Man as an ingenious Person, that can resemble the Tone, Posture, or Face of another.

As _true Wit_ consists in the Resemblance of Ideas, and _false Wit_ in the Resemblance of Words, according to the foregoing Instances; there is another kind of Wit which consists partly in the Resemblance of Ideas, and partly in the Resemblance of Words; which for Distinction Sake I shall call _mixt Wit_. This kind of Wit is that which abounds in _Cowley_, more than in any Author that ever wrote. Mr. _Waller_ has likewise a great deal of it. Mr. _Dryden_ is very sparing in it.

_Milton_ had a Genius much above it. _Spencer_ is in the same Cla.s.s with _Milton_. The _Italians_, even in their Epic Poetry, are full of it.

Monsieur _Boileau_, who formed himself upon the Ancient Poets, has every where rejected it with Scorn. If we look after mixt Wit among the _Greek_ Writers, we shall find it no where but in the Epigrammatists.

There are indeed some Strokes of it in the little Poem ascribed to Musoeus, which by that, as well as many other Marks, betrays it self to be a modern Composition. If we look into the _Latin_ Writers, we find none of this mixt Wit in _Virgil, Lucretius_, or _Catullus_; very little in _Horace_, but a great deal of it in _Ovid_, and scarce any thing else in _Martial_.

Out of the innumerable Branches of _mixt Wit_, I shall choose one Instance which may be met with in all the Writers of this Cla.s.s. The Pa.s.sion of Love in its Nature has been thought to resemble Fire; for which Reason the Words Fire and Flame are made use of to signify Love.

The witty Poets therefore have taken an Advantage from the doubtful Meaning of the Word Fire, to make an infinite Number of Witticisms.

_Cowley_ observing the cold Regard of his Mistress's Eyes, and at the same Time their Power of producing Love in him, considers them as Burning-Gla.s.ses made of Ice; and finding himself able to live in the greatest Extremities of Love, concludes the Torrid Zone to be habitable.

When his Mistress has read his Letter written in Juice of Lemmon by holding it to the Fire, he desires her to read it over a second time by Love's Flames. When she weeps, he wishes it were inward Heat that distilled those Drops from the Limbeck. When she is absent he is beyond eighty, that is, thirty Degrees nearer the Pole than when she is with him. His ambitious Love is a Fire that naturally mounts upwards; his happy Love is the Beams of Heaven, and his unhappy Love Flames of h.e.l.l.

When it does not let him sleep, it is a Flame that sends up no Smoak; when it is opposed by Counsel and Advice, it is a Fire that rages the more by the Wind's blowing upon it. Upon the dying of a Tree in which he had cut his Loves, he observes that his written Flames had burnt up and withered the Tree. When he resolves to give over his Pa.s.sion, he tells us that one burnt like him for ever dreads the Fire. His Heart is an _aetna_, that instead of _Vulcan's_ Shop incloses _Cupid's_ Forge in it.

His endeavouring to drown his Love in Wine, is throwing Oil upon the Fire. He would insinuate to his Mistress, that the Fire of Love, like that of the Sun (which produces so many living Creatures) should not only warm but beget. Love in another Place cooks Pleasure at his Fire.

Sometimes the Poet's Heart is frozen in every Breast, and sometimes scorched in every Eye. Sometimes he is drowned in Tears, and burnt in Love, like a s.h.i.+p set on Fire in the Middle of the Sea.

The Reader may observe in every one of these Instances, that the Poet mixes the Qualities of Fire with those of Love; and in the same Sentence speaking of it both as a Pa.s.sion and as real Fire, surprizes the Reader with those seeming Resemblances or Contradictions that make up all the Wit in this kind of Writing. Mixt Wit therefore is a Composition of Punn and true Wit, and is more or less perfect as the Resemblance lies in the Ideas or in the Words: Its Foundations are laid partly in Falsehood and partly in Truth: Reason puts in her Claim for one Half of it, and Extravagance for the other. The only Province therefore for this kind of Wit, is Epigram, or those little occasional Poems that in their own Nature are nothing else but a Tissue of Epigrams. I cannot conclude this Head of _mixt Wit_, without owning that the admirable Poet out of whom I have taken the Examples of it, had as much true Wit as any Author that ever writ; and indeed all other Talents of an extraordinary Genius.

It may be expected, since I am upon this Subject, that I should take notice of Mr. _Dryden's_ Definition of Wit; which, with all the Deference that is due to the Judgment of so great a Man, is not so properly a Definition of Wit, as of good writing in general. Wit, as he defines it, is 'a Propriety of Words and Thoughts adapted to the Subject.' [2] If this be a true Definition of Wit, I am apt to think that _Euclid_ [was [3]] the greatest Wit that ever set Pen to Paper: It is certain that never was a greater Propriety of Words and Thoughts adapted to the Subject, than what that Author has made use of in his Elements. I shall only appeal to my Reader, if this Definition agrees with any Notion he has of Wit: If it be a true one I am sure Mr.

_Dryden_ was not only a better Poet, but a greater Wit than Mr.

_Cowley_; and _Virgil_ a much more facetious Man than either _Ovid_ or _Martial_.

_Bouhours_, whom I look upon to be the most penetrating of all the _French_ Criticks, has taken pains to shew, that it is impossible for any Thought to be beautiful which is not just, and has not its Foundation in the Nature of things: That the Basis of all Wit is Truth; and that no Thought can be valuable, of which good Sense is not the Ground-work. [4] _Boileau_ has endeavoured to inculcate the same Notions in several Parts of his Writings, both in Prose and Verse. [5] This is that natural Way of Writing, that beautiful Simplicity, which we so much admire in the Compositions of the Ancients; and which no Body deviates from, but those who want Strength of Genius to make a Thought s.h.i.+ne in its own natural Beauties. Poets who want this Strength of Genius to give that Majestick Simplicity to Nature, which we so much admire in the Works of the Ancients, are forced to hunt after foreign Ornaments, and not to let any Piece of Wit of what kind soever escape them. I look upon these writers as _Goths_ in Poetry, who, like those in Architecture, not being able to come up to the beautiful Simplicity of the old _Greeks and Romans_, have endeavoured to supply its place with all the Extravagancies of an irregular Fancy. Mr. _Dryden_ makes a very handsome Observation, on _Ovid_'s writing a Letter from _Dido_ to _aeneas_, in the following Words. [6]

'_Ovid_' says he, (speaking of _Virgil's_ Fiction of _Dido_ and _aeneas_) 'takes it up after him, even in the same Age, and makes an Ancient Heroine of _Virgil's_ new-created _Dido_; dictates a Letter for her just before her Death to the ungrateful Fugitive; and, very unluckily for himself, is for measuring a Sword with a Man so much superior in Force to him on the same Subject. I think I may be Judge of this, because I have translated both. The famous Author of the Art of Love has nothing of his own; he borrows all from a greater Master in his own Profession, and, which is worse, improves nothing which he finds: Nature fails him, and being forced to his old s.h.i.+ft, he has Recourse to Witticism. This pa.s.ses indeed with his soft Admirers, and gives him the Preference to _Virgil_ in their Esteem.'

Were not I supported by so great an Authority as that of Mr. _Dryden_, I should not venture to observe, That the Taste of most of our _English_ Poets, as well as Readers, is extremely _Gothick_. He quotes Monsieur _Segrais_ [7] for a threefold Distinction of the Readers of Poetry: In the first of which he comprehends the Rabble of Readers, whom he does not treat as such with regard to their Quality, but to their Numbers and Coa.r.s.eness of their Taste. His Words are as follow:

'_Segrais_ has distinguished the Readers of Poetry, according to their Capacity of judging, into three Cla.s.ses. [He might have said the same of Writers too, if he had pleased.] In the lowest Form he places those whom he calls _Les Pet.i.ts Esprits_, such thingsas are our Upper-Gallery Audience in a Play-house; who like nothing but the Husk and Rind of Wit, prefer a Quibble, a Conceit, an Epigram, before solid Sense and elegant Expression: These are Mob Readers. If _Virgil_ and _Martial_ stood for Parliament-Men, we know already who would carry it. But though they make the greatest Appearance in the Field, and cry the loudest, the best on't is they are but a sort of _French_ Huguenots, or _Dutch_ Boors, brought over in Herds, but not Naturalized; who have not Lands of two Pounds _per Annum_ in _Parna.s.sus_, and therefore are not privileged to poll. Their Authors are of the same Level, fit to represent them on a Mountebank's Stage, or to be Masters of the Ceremonies in a Bear-garden: Yet these are they who have the most Admirers. But it often happens, to their Mortification, that as their Readers improve their Stock of Sense, (as they may by reading better Books, and by Conversation with Men of Judgment) they soon forsake them.'

I [must not dismiss this Subject without [8]] observing that as Mr.

_Lock_ in the Pa.s.sage above-mentioned has discovered the most fruitful Source of Wit, so there is another of a quite contrary Nature to it, which does likewise branch it self out into several kinds. For not only the _Resemblance_, but the _Opposition_ of Ideas, does very often produce Wit; as I could shew in several little Points, Turns and Ant.i.theses, that I may possibly enlarge upon in some future Speculation.

C.

[Footnote 1: 'Essay concerning Human Understanding', Bk II. ch. II (p.

68 of ed. 1690; the first).]

[Footonote 2:

'If Wit has truly been defined as a Propriety of Thoughts and Words, then that definition will extend to all sorts of Poetry... Propriety of Thought is that Fancy which arises naturally from the Subject, or which the Poet adapts to it. Propriety of Words is the cloathing of these Thoughts with such Expressions as are naturally proper to them.'

Dryden's Preface to 'Albion and Albanius'.]

[Footnote 3: is]