Character Writings of the 17th Century - Various
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CHARACTER WRITINGS
OF THE
SEVENTEENTH CENTURY
EDITED BY
HENRY MORLEY, LL.D.
EMERITUS PROFESSOR OF ENGLISH LANGUAGE AND LITERATURE
UNIVERSITY COLLEGE, LONDON
1891
CONTENTS.
CHARACTER WRITING BEFORE THE SEVENTEENTH CENTURY.
THEOPHRASTUS.
Stupidity
THOMAS HARMAN'S "Caveat for Cursitors"
A Ruffler
BEN JONSON'S "Every Man out of his Humour" and "Cynthia's Revels"
A Traveller
The True Critic.
The Character of the Persons in "Every Man out of his Humour"
CHARACTER WRITINGS OF THE SEVENTEENTH CENTURY.
Sir THOMAS OVERBURY
A Good Woman
A Very Woman
Her Next Part
A Dissembler
A Courtier
A Golden Ass
A Flatterer
An Ignorant Glory-Hunter
A Timist
An Amorist
An Affected Traveller
A Wise Man
A Noble Spirit
An Old Man
A Country Gentleman
A Fine Gentleman
An Elder Brother
A Braggadocio Welshman
A Pedant
A Serving-Man
An Host
An Ostler
The True Character of a Dunce
A Good Wife
A Melancholy Man
A Sailor
A Soldier
A Tailor
A Puritan
A Mere Common Lawyer
A Mere Scholar
A Tinker
An Apparitor
An Almanac-Maker
A Hypocrite
A Chambermaid
A Precisian
An Inns of Court Man
A Mere Fellow of a House
A Worthy Commander in the Wars
A Vainglorious Coward in Command
A Pirate
An Ordinary Fence
A Puny Clerk
A Footman
A Noble and Retired Housekeeper
An Intruder into Favour
A Fair and Happy Milkmaid
An Arrant Horse-Courser
A Roaring Boy
A Drunken Dutchman resident in England
A Phantastique: An Improvident Young Gallant
A Button-Maker of Amsterdam
A Distaster of the Time
A Mere Fellow of a House
A Mere Pettifogger
An Ingrosser of Corn
A Devilish Usurer
A Waterman
A Reverend Judge
A Virtuous Widow
An Ordinary Widow
A Quack-Salver
A Canting Rogue
A French Cook
A Sexton
A Jesuit
An Excellent Actor
A Franklin
A Rhymer
A Covetous Man
The Proud Man
A Prison
A Prisoner
A Creditor
A Sergeant
His Yeoman
A Common Cruel Jailer
What a Character is
The Character of a Happy Life
An Essay on Valour
JOSEPH HALL
HIS SATIRES--
A Domestic Chaplain
The Witless Gallant
HIS CHARACTERS OF VIRTUES AND VICES
I. _Virtues_--
Character of the Wise Man
Of an Honest Man
Of the Faithful Man
Of the Humble Man
Of a Valiant Man
Of a Patient Man
Of the True Friend
Of the Truly Noble
Of the Good Magistrate
Of the Penitent
The Happy Man
II. _Vices_--
Character of the Hypocrite
Of the Busybody
Of the Superstitious
Of the Profane
Of the Malcontent
Of the Inconstant
Of the Flatterer
Of the Slothful
Of the Covetous
Of the Vainglorious
Of the Presumptuous
Of the Distrustful
Of the Ambitious
Of the Unthrift
Of the Envious
JOHN STEPHENS
JOHN EARLE
MICROCOSMOGRAPHY----
A Child
A Young Raw Preacher
A Grave Divine
A Mere Dull Physician
An Alderman
A Discontented Man
An Antiquary
A Younger Brother
A Mere Formal Man
A Church-Papist
A Self-Conceited Man
A Too Idly Reserved Man
A Tavern
A Shark
A Carrier
A Young Man
An Old College Butler
An Upstart Country Knight
An Idle Gallant
A Constable
A Downright Scholar
A Plain Country Fellow
A Player
A Detractor
A Young Gentleman of the University
A Weak Man
A Tobacco-Seller
A Pot Poet
A Plausible Man
A Bowl-Alley
The World's Wise Man
A Surgeon
A Contemplative Man
A She Precise Hypocrite
A Sceptic in Religion
An Attorney
A Partial Man
A Trumpeter
A Vulgar-Spirited Man
A Plodding Student
Paul's Walk
A Cook
A Bold Forward Man
A Baker
A Pretender to Learning
A Herald
The Common Singing-Men in Cathedral Churches
A Shopkeeper
A Blunt Man
A Handsome Hostess
A Critic
A Sergeant or Catchpole
A University Dun
A Staid Man
A Modest Man
A Mere Empty Wit
A Drunkard
A Prison
A Serving-Man
An Insolent Man
Acquaintance
A Mere Complimental Man
A Poor Fiddler
A Meddling Man
A Good Old Man
A Flatterer
A High-Spirited Man
A Mere Gull Citizen
A Lascivious Man
A Rash Man
An Affected Man
A Profane Man
A Coward
A Sordid Rich Man
A Mere Great Man
A Poor Man
An Ordinary Honest Man
A Suspicious or Jealous Man
NICHOLAS BRETON
CHARACTERS UPON ESSAYS, MORAL AND DIVINE
Wisdom
Learning
Knowledge
Practice
Patience
Love
Peace
War
Valour
Resolution
Honour
Truth
Time
Death
Faith
Fear
THE GOOD AND THE BAD.
A Worthy King
An Unworthy King
A Worthy Queen
A Worthy Prince
An Unworthy Prince
A Worthy Privy Councillor
An Unworthy Councillor
A Nobleman
An Unnoble Man
A Worthy Bishop
An Unworthy Bishop
A Worthy Judge
An Unworthy Judge
A Worthy Knight
An Unworthy Knight
A Worthy Gentleman
An Unworthy Gentleman
A Worthy Lawyer
An Unworthy Lawyer
A Worthy Soldier
An Untrained Soldier
A Worthy Physician
An Unworthy Physician
A Worthy Merchant
An Unworthy Merchant
A Good Man
An Atheist or Most Bad Man
A Wise Man
A Fool
An Honest Man.
A Knave
An Usurer
A Beggar
A Virgin
A Wanton Woman
A Quiet Woman
An Unquiet Woman
A Good Wife
An Effeminate Fool
A Parasite
A Drunkard
A Coward
An Honest Poor Man
A Just Man
A Repentant Sinner
A Reprobate
An Old Man
A Young Man
A Holy Man
GEOFFREY MINSHULL
ESSAYS AND CHARACTERS OF A PRISON AND PRISONERS
A Character of a Prisoner
HENRY PARROTT [?]
A Scold
A Good Wife
MICROLOGIA, by R. M.
A Player
WHIMZIES, OR A NEW CAST OF CHARACTERS
A Corranto-Coiner
JOHN MILTON
On the University Carrier
WYE SALTONSTALL
PICTURAE LOQUENTES, OR PICTURES DRAWN FORTH IN CHARACTERS
The Term
DONALD LUPTON
LONDON AND COUNTRY CARBONADOED AND QUARTERED INTO SEVERAL CHARACTERS
The Horse
CHARACTERS PUBLISHED BETWEEN 1642 AND 1646, BY SIR FRANCIS WORTLEY, T.
FORD, AND OTHERS
T. Ford's Character of Pamphlets
JOHN CLEVELAND
The Character of a Country Committee-Man, with the Earmark of a
Sequestrator
The Character of a Diurnal-Maker
The Character of a London Diurnal
CHARACTERS PUBLISHED BETWEEN 1647 AND 1665
RICHARD FLECKNOE
FIFTY-FIVE ENIGMATICAL CHARACTERS
The Valiant Man
CHARACTERS PUBLISHED BETWEEN 1673 AND 1689
SAMUEL BUTLER
CHARACTERS--
Degenerate Noble, or One that is Proud of his Birth
A Huffing Courtier
A Court Beggar
A Bumpkin or Country
Squire
An Antiquary
A Proud Man
A Small Poet
A Philosopher
A Melancholy Man
A Curious Man
A Herald
A Virtuoso
An Intelligencer
A Quibbler
A Time-Server
A Prater
A Disputant
A Projector
A Complimenter
A Cheat
A Tedious Man
A Pretender
A Newsmonger
A Modern Critic
A Busy Man
A Pedant
A Hunter
An Affected Man
A Medicine-Taker
The Miser
A Swearer
The Luxurious
An Ungrateful Man
A Squire of Dames
An Hypocrite
An Opinionater
A Choleric Man
A Superstitious Man
A Droll
The Obstinate Man
A Zealot
The Overdoer
The Rash Man
The Affected or Formal
A Flatterer
A Prodigal
The Inconstant
A Glutton
A Ribald
A Modern Politician
A Modern Statesman
A Duke of Bucks
A Fantastic
An Haranguer
A Ranter
An Amorist
An Astrologer
A Lawyer
An Epigrammatist
A Fanatic
A Proselyte
A Clown
A Wooer
An Impudent Man
An Imitator
A Sot
A Juggler
A Romance-Writer
A Libeller
A Factious Member
A Play-Writer
A Mountebank
A Wittol
A Litigious Man
A Humourist
A Leader of a Faction
A Debauched Man
The Seditious Man
The Rude Man
A Rabble
A Knight of the Post
An Undeserving Favourite
A Malicious Man
A Knave
CHARACTER WRITING AFTER THE SEVENTEENTH CENTURY.
WILLIAM WORDSWORTH
Character of the Happy Warrior
CHARACTER WRITINGS
OF THE
SEVENTEENTH CENTURY.
_Character writing, as a distinct form of Literature, had its origin
more than two thousand years ago in the [Greek: aethichoi
Chadaaedes]---Ethic Characters--of Tyrtamus of Lesbos, a disciple of
Plato, who gave him for his eloquence the name of Divine
Speaker--Theophrastus. Aristotle left him his library and all his MSS.,
and named him his successor in the schools of the Lyceum. Nicomachus,
the son of Aristotle, was among his pupils. He followed in the steps of
Aristotle. Diogenes Laertius ascribed to Theophrastus two hundred and
twenty books. He founded, by a History of Plants, the science of Botany;
and he is now best known by the little contribution to Moral Philosophy,
in which he gave twenty-eight short chapters to concise description of
twenty-eight differing qualities in men. The description in each chapter
was not of a man, but of a quality. The method of Theophrastus, as
Casaubon said, was between the philosophical and the poetical. He
described a quality, but he described it by personification, and his aim
was the amending of men's manners. The twenty-eight chapters that have
come down to us are probably no more than a fragment of a larger work.
They describe vices, and not all of them. Another part, now lost, may
have described the virtues. In a short proem the writer speaks of
himself as ninety-nine years old. Probably those two nines were only a
poetical suggestion of long experience from which these pictures of the
constituents of human life and action had been drawn. He had wondered,
he said, before he thought of writing such a book, at the diversities of
manners among Greeks all born under one sky and trained alike. For many
years he had considered and compared the ways of men; he had lived to be
ninety-nine. Our children may be the better for a knowledge of our ways
of daily life, that they may grow into the best. Observe and see whether
I describe them rightly. I will begin, he says, with Dissimulation. I
will first define the vice, and then describe the quality and manners of
the man who dissembles. After that I will endeavour to describe also the
other qualities of mind, each in its kind. Then follow the Characters of
these twenty-eight qualities: Dissimulation, Adulation, Garrulity,
Rusticity, Blandishment, Senselessness, Loquacity, Newsmongering,
Impudence, Sordid Parsimony, Impurity, Ill-timed Approach, Inept
Sedulity, Stupidity, Contumacy, Superstition, Querulousness, Distrust,
Dirtiness, Tediousness, Sordid or Frivolous Desire for Praise,
Illiberality, Ostentation, Pride, Timidity, Oligarchy, or the vehement
desire for honour, without greed for money, Insolence, and Evil
Speaking. One of these Characters may serve as an example of their
method, and show their place in the ancestry of Characters as they were
written in England in the Seventeenth Century._
STUPIDITY.
You may define Stupidity as a slowness of mind in word or deed. But the
Stupid Man is one who, sitting at his counters, and having made all his
calculations and worked out his sum, asks one who sits by him how much
it comes to. When any one has a suit against him, and he has come to the
day when the cause must be decided, he forgets it and walks out into his
field. Often also when he sits to see a play, the rest go out and he is
left, fallen asleep in the theatre. The same man, having eaten too much,
will go out in the night to relieve himself, and fall over the
neighbour's dog, who bites him. The same man, having hidden away what he
has received, is always searching for it, and never finds it. And when
it is announced to him that one of his intimate friends is dead, and he
is asked to the funeral, then, with a face set to sadness and tears, he
says, "Good luck to it!" When he receives money owing to him he calls in
witnesses, and in midwinter he scolds his man for not having gathered
cucumbers. To train his boys for wrestling he makes them race till they
are tired. Cooking his own lentils in the field, he throws salt twice
into the pot and makes them uneatable. When it rains he says, "How sweet
I find this water of the stars." And when some one asks, "How many have
passed the gates of death?" [proverbial phrase for a great number]
answers, "As many, I hope, as will be enough for you and me."
_The first and the best sequence of "Characters" in English Literature
is the series of sketches of the Pilgrims in the Prologue to Chaucer's
"Canterbury Tales" The Characters are so varied as to unite in
representing the whole character of English life in Chaucer's day; and
they are, written upon one plan, each with suggestion of the outward
body and its dress as well as of the mind within. But Chaucer owed
nothing to Theophrastus. In his Character Writing he drew all from
nature with his own good wit. La Bruyere in France translated the
characters of Theophrastus, and his own writing of Characters in the
seventeenth century followed a fashion that had its origin in admiration
of the wit of those Greek Ethical Characters. La Bruyere was born in
1639 and died in 1696. Our Joseph Hall, whose "Characters of Vices and
Virtues" were written in 1608, and translated into French twenty years
before La Bruyere was born, said, in his Preface to them, "I have done
as I could, following that ancient Master of Morality who thought this
the fittest task for the ninety-ninth year of his age, and the
profitablest Monument that he could leave for a farewell to his
Grecians."
There was some aim at short and witty sketches of character in
descriptions of the ingenuity of horse-coursers and coney-catchers who
used quick wit for beguiling the unwary in those bright days of
Elizabeth, when the very tailors and cooks worked fantasies in silk and
velvet, sugar and paste. Thomas Harman, whose grandfather had been Clerk
of the Crown under Henry VII., and who himself inherited estates in
Kent, became greatly interested in the vagrant beggars who came to his
door. He made a study of them, came to London to publish his book, and
lodged at Whitefriars, within the Cloister, for convenience of nearness
to them, and more thorough knowledge of their ways. He first published
his book in 1567 as A Caveat or Warning for Common Cursitors, vulgarly
called Vagabonds--"A Caveat or Warening for common cursetors, Vulgarely
called Vagabones, set forth by Thomas Harman, Esquiere, for the utilite
and proffyt of his naturall Cuntrey" and he dedicated it to Elizabeth,
Countess of Shrewsbury. It contained twenty-four character sketches,
gave the names of the chief tramps then living in England, and a
vocabulary of their cant words. This is Harman's first character_:--
A RUFFLER.
The Ruffler, because he is first in degree of this odious order, and is
so called in a statute made for the punishment of Vagabonds in the
twenty-seventh year of King Henry VIII, late of most famous memory, he
shall be first placed as the worthiest of this unruly rabblement. And he
is so called when he goeth first abroad. Either he hath served in the
wars, or else he hath been a serving-man, and weary of well-doing,
shaking off all pain, doth choose him this idle life; and wretchedly
wanders about the most shires of this realm, and with stout audacity
demandeth, where he thinketh he may be bold, and circumspect enough
where he seeth cause, to ask charity ruefully and lamentably, that it
would make a flinty heart to relent and pity his miserable estate, how
he hath been maimed and bruised in the wars. Peradventure one will show
you some outward wound which he got at some drunken fray, either halting
of some privy wound festered with a filthy fiery flankard [brand]. For
be well assured that the hardiest soldiers be either slain or maimed,
either and [or if] they escape all hazards and return home again, if
they be without relief of their friends they will surely desperately rob
and steal, and either shortly be hanged or miserably die in prison. For
they be so much ashamed and disdain to beg or ask charity, that rather
they will as desperately fight for to live and maintain themselves, as
manfully and valiantly they ventured themselves in the Prince's quarrel.
Now these Rufflers, the outcasts of serving-men, when begging or craving
fails them, they pick and pilfer from other inferior beggars that they
meet by the way, as rogues, palliards, morts, and doxes. Yea, if they
meet with a woman alone riding to the market, either old man or boy,
that he kneweth well will not resist, such they fetch and spoil. These
Rufflers, after a year or two at the farthest, become upright men [lusty
vagrants who beg and take only money, who rob hen roosts, filch from
stalls or pockets, and have dens of their own for drinking and receipt
of stolen goods], unless they be prevented by twined hemp.
I had of late years an old man to my tenant who customably a great time
went twice in the week to London, either with fruit or with peascods,
when time served therefor. And as he was coming homeward, on Blackheath,
at the end thereof next to Shooter's Hill, he overtook two Rufflers, the
one mannerly waiting on the other, as one had been the master and the
other his man or servant, carrying his master's cloak. This old man was
very glad that he might have their company over the hill, because that
day he had made a good market. For he had seven shillings in his purse
and an old angel, which this poor man had thought had not been in his
purse; for he willed his wife overnight to take out the same angel and
lay it up until his coming home again, and he verily thought his wife
had so done, which indeed forgot to do it. Thus, after salutations had,
this Master Ruffler entered into communication with this simple old man,
who, riding softly beside them, communed of many matters. Thus feeding
this old man with pleasant talk until they were on the top of the hill,
where these Rufflers might well behold the coast about them clear,
quickly steps unto this poor man and taketh hold of his horse bridle and
leadeth him into the wood, and demandeth of him what and how much money
he had in his purse. "Now, by my troth," quoth this old man, "you are a
merry gentleman! I know you mean not to take anything from me, but
rather to give me some, if I should ask it of you."
By and by [immediately] this servant thief casteth the cloak that he
carried on his arm about this poor man's face that he should not mark or
view them, with sharp words to deliver quickly that he had, and to
confess truly what was in his purse. This poor man then all abashed
yielded, and confessed that he had seven shillings in his purse; and the
truth is, he knew of no more. This old angel was fallen out of a little
purse into the bottom of a great purse. Now this seven shillings in
white money they quickly found, thinking indeed that there had been no
more; yet farther groping and searching, found this old angel. And with
great admiration this gentleman thief began to bless him, saying--
"Good Lord, what a world is this! How may," quoth he, "a man believe or
trust in the same? See you not," quoth he, "this old knave told me that
he had but seven shillings, and here is more by an angel! What an old
knave and a false knave have we here!" quoth this Ruffler. "Our Lord
have mercy on us, will this world never be better?" and therewith went
their way and left the old man in the wood, doing him no more harm.
But sorrowfully sighing this old man, returning home, declared his
misadventure with all the words and circumstances above showed. Whereat
for the time was great laughing, and this poor man, for his losses,
among his loving neighbours well considered in the end.
_Such character-painting simply came of the keen interest in life that
was at the same time developing an energetic drama. But at the end of
Elizabeth's reign a writing of brief witty characters appears to have
come into fashion as one of the many forms of ingenuity that pleased
society, and might be distantly related to the Euphuism of the day.
Ben Jonson's "Cynthia's Revels," first acted in 1600, two or three years
before the end of Elizabeth's reign, has little character sketches set
into the text. Here are two of them_:--
A TRAVELLER.
One so made out of the mixture of shreds and forms that himself is truly
deformed. He walks most commonly with a clove or pick-tooth in his
mouth, he is the very mint of compliment, all his behaviours are
printed, his face is another volume of essays, and his beard is an
Aristarchus. He speaks all cream skimmed, and more affected than a dozen
waiting-women. He is his own promoter in every place. The wife of the
ordinary gives him his diet to maintain her table in discourse; which,
indeed, is a mere tyranny over her other guests, for he will usurp all
the talk; ten constables are not so tedious. He is no great shifter;
once a year his apparel is ready to revolt. He doth use much to
arbitrate quarrels, and fights himself, exceeding well, out at a window.
He will lie cheaper than any beggar, and louder than most clocks; for
which he is right properly accommodated to the whetstone, his page. The
other gallant is his zany, and doth most of these tricks after him;
sweats to imitate him in everything to a hair, except a beard, which is
not yet extant. He doth learn to make strange sauces, to eat anchovies,
maccaroni, bovoli, fagioli, and caviare, because he loves them; speaks
as he speaks, looks, walks, goes so in clothes and fashion: is in all as
if he were moulded of him. Marry, before they met, he had other very
pretty sufficiencies, which yet he retains some light impression of; as
frequenting a dancing-school, and grievously torturing strangers with
inquisition after his grace in his galliard. He buys a fresh
acquaintance at any rate. His eyes and his raiment confer much together
as he goes in the street. He treads nicely, like the fellow that walks
upon ropes, especially the first Sunday of his silk stockings; and when
he is most neat and new, you shall strip him with commendations.
THE TRUE CRITIC.
A creature of a most perfect and divine temper: one in whom the humours
and elements are peaceably met, without emulation of precedency. He is
neither too fantastically melancholy, too slowly phlegmatic, too lightly
sanguine, nor too rashly choleric; but in all so composed and ordered,
as it is clear Nature went about some full work, she did more than make
a man when she made him. His discourse is like his behaviour, uncommon,
but not unpleasing; he is prodigal of neither. He strives rather to be
that which men call judicious, than to be thought so; and is so truly
learned, that he affects not to show it. He will think and speak his
thought both freely; but as distant from depraving another man's merit,
as proclaiming his own. For his valour, 'tis such that he dares as
little to offer any injury as receive one. In sum, he hath a most
ingenuous and sweet spirit, a sharp and seasoned wit, a straight
judgment and a strong mind. Fortune could never break him, nor make him
less. He counts it his pleasure to despise pleasures, and is more
delighted with good deeds than goods. It is a competency to him that he
can be virtuous. He doth neither covet nor fear; he hath too much reason
to do either; and that commends all things to him.
_The play that preceded "Cynthia's Revels" was "Every Man Out of his
Humour." It was first printed in 1600, and Ben Jonson amused himself by
adding to its list of Dramatis Personae this piece of Character
Writing_:--
THE CHARACTER OF THE PERSONS.
_Asper_. He is of an ingenious and free spirit, eager and constant in
reproof, without fear controlling the world's abuses. One whom no
servile hope of gain, or frosty apprehension of danger, can make to be a
parasite, either to time, place, or opinion.
_Macilente_. A man well parted, a sufficient scholar, and travelled;
who, wanting that place in the world's account which he thinks his merit
capable of, falls into such an envious apoplexy, with which his judgment
is so dazzled and distasted, that he grows violently impatient of any
opposite happiness in another.
_Puntarvolo_. A vainglorious knight, over-Englishing his travels, and
wholly consecrated to singularity; the very Jacob's staff of compliment;
a sir that hath lived to see the revolution of time in most of his
apparel. Of presence good enough, but so palpably affected to his own
praise, that for want of flatterers he commends himself, to the floutage
of his own family. He deals upon returns, and strange performances,
resolving, in despite of public derision, to stick to his own particular
fashion, phrase, and gesture.
_Carlo Buffone_. A public, scurrilous, and profane jester, that more
swift than Circe, with absurd similes, will transform any person into
deformity. A good feast-hound or banquet-beagle, that will scent you out
a supper some three miles off, and swear to his patrons, damn him! he
came in oars, when he was but wafted over in a sculler. A slave that
hath an extraordinary gift in pleasing his palate, and will swill up
more sack at a sitting than would make all the guard a posset. His
religion is railing, and his discourse ribaldry. They stand highest in
his respect whom he studies most to reproach.
_Fastidious Brisk_. A neat, spruce, affecting courtier, one that wears
clothes well, and in fashion; practiseth by his glass how to salute;
speaks good remnants, notwithstanding the base viol and tobacco; swears
tersely, and with variety; cares not what lady's favour he belies, or
great man's familiarity; a good property to perfume the boot of a coach.
He will borrow another man's horse to praise, and backs him as his own.
Or, for a need, on foot can post himself into credit with his merchant,
only with the jingle of his spur, and the jerk of his wand.