The Lovers Assistant Part 1

The Lovers a.s.sistant, or, New Art of Love.

by Henry Fielding.

INTRODUCTION

The publis.h.i.+ng history of this translation has been sketched by Cross, in his _History of Henry Fielding_, and may simply be summarized here.

The first edition, ent.i.tled _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 advertis.e.m.e.nts 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.

In 1759, the work was reissued in London and Dublin, under the t.i.tle _The Lover's a.s.sistant_, and again in London in 1760. Meanwhile, advertis.e.m.e.nts 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 t.i.tle 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.

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.

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 _Auca.s.sin and Nicolette_, and Pound's translations from Provencal. Such a felicitous combination appears in Henry Fielding's translation of Book I of Ovid's _Ars Amoris_.

Throughout the sixteenth and seventeenth centuries, English translators of the cla.s.sics abounded, including Marlowe, Jonson, Chapman and Sandys; Roscommon, Waller, Denham, Cowley and Dryden. By 1700, the major kinds of translation had been differentiated, described, evaluated and practised.

To summarize, Dryden wrote as follows 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:

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 Lat.i.tude, 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) a.s.sumes 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....

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 a.s.sistant_ speaks of 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.

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 cla.s.sics has excited comment from every Fielding biographer since his own time. His works abound in cla.s.sical 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 cla.s.sics.

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.

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._

_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._

'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].

[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.

'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 n.o.ble Sentiments we find in them, which the _Gravest_ and _Learnedest_ Writers have thought worthy to be quoted for _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.

'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.

'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.'

_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._

_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 Author, and where we have been obliged to deviate, we have given 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.

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 s.h.i.+p; 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 s.h.i.+p, 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.

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 G.o.ddess! then be thou present, and smile at my 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.

Know then, my good Scholar, that art unexperienced in the Art of Love, that this Art consists of three princ.i.p.al 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.

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 a.s.sure 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.

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] _Herefords.h.i.+re_, or Grains of Wheat[12] in _Hamps.h.i.+re_; 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.

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 of _Venus_ will pa.s.s in review before you. Again, the lofty Dome of _Ranelagh_ invites your Steps. Whether the ill.u.s.trious 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, una.s.sisted 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 pa.s.sed 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 a.s.signment 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 have often distracted my Choice. Hither they come to see, and to be themselves seen; and many are the Love-Bargains here made.

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 a.s.sembled 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.

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 rus.h.i.+ng 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 a.s.sistance 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.

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.

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 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 t.i.tter at his Appearance; and while the Pageants[17] are pa.s.sing by, endeavour to find out a Resemblance of Horns in some of them. All those Things have a remote Tendency to this great point.

[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.]

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.