Poetical Works
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Title: Poetical Works
Author: Charles Churchill
Editor: George Gilfillan
Release date: July 1, 2005 [eBook #8592]
Most recently updated: December 26, 2020
Language: English
Other information and formats: www.gutenberg.org/ebooks/8592
Credits: Produced by Jonathan Ingram, Thomas Berger, and the Distributed Proofreaders Team
*** START OF THE PROJECT GUTENBERG EBOOK POETICAL WORKS ***
Produced by Jonathan Ingram, Thomas Berger,
and the Distributed Proofreaders Team
THE POETICAL WORKS OF CHARLES CHURCHILL.
With Memoir, Critical Dissertation, and Explanatory Notes,
By The REV. GEORGE GILFILLAN.
* * * * *
CHURCHILL--HIS LIFE AND WRITINGS.
In Churchill we find a signal specimen of a considerable class of
writers, concerning whom Goldsmith's words are true--
"Who, born for the universe, narrow'd their mind,
And to party gave up what was meant for mankind."
Possessed of powers and natural endowments which might have made him,
under favourable circumstances, a poet, a hero, a man, and a saint, he
became, partly through his own fault, and partly through the force of
destiny, a satirist, an unfortunate politician, a profligate, died early;
and we must approach his corpse, as men do those of Burns and Byron, with
sorrow, wonder, admiration, and blame, blended into one strange, complex,
and yet not unnatural emotion. Like them, his life was short and
unhappy--his career triumphant, yet checquered--his powers
uncultivated--his passions unchecked--his poetry only a partial discovery
of his genius--his end sudden and melancholy--and his reputation, and
future place in the history of letters, hitherto somewhat uncertain. And
yet, like them, his very faults and errors, both as a man and a poet,
have acted, with many, as nails, fastening to a "sure place" his
reputation and the effect of his genius.
Charles Churchill was born in Vine Street, Westminster, in February 1731.
He was the eldest son of the Rev. Charles Churchill, a rector in Essex,
as well as a curate, and lecturer of St John the Evangelist, Westminster.
As to the attainments of the poet's father, we know only that he was
qualified to superintend the studies of the son, during the intervals of
public tuition. At eight years of age, he was sent to Westminster School,
and placed under the care of Dr Nichols and Dr Pierson Lloyd, where his
proficiency in classical lore was by no means remarkable; nor did he give
any promise of the brilliance which afterwards distinguished his genius.
At fifteen, he stood as candidate for admission to the foundation at
Westminster, and carried it triumphantly. Shortly after, having by some
misdemeanour displeased the masters, he was compelled to compose, and
recite in the school-room, a poetical declamation in Latin, by way of
penance. This he accomplished in a masterly manner--to the astonishment
of his masters, and the delight of his school-fellows--some of whom
became afterwards distinguished men. We can fancy the scene at the day of
the recitation--the grave and big-wigged schoolmasters looking grimly
on--their aspect, however, becoming softer and brighter, as one large
hexameter rolls out after another--the strong, awkward, ugly boy,
unblushingly pouring forth his energetic lines--cheered by the sight of
the relaxing gravity of his teachers' looks--while around, you see the
bashful tremulous figure of poor Cowper, the small thin shape and bright
eye of Warren Hastings, and the waggish countenance of Colman--all
eagerly watching the reciter--and all, at last, distended and brightened
with joy at his signal triumph.
At the age of eighteen, he stood for a fellowship in Merton College, but
without success--being defeated by older candidates. Shortly after, he
applied for matriculation at the University of Oxford, but is SAID to
have been rejected at his examination, in which, instead of answering the
questions proposed, he broke out into satirical reflections on the
abilities of his judges. From Oxford he repaired to Cambridge, where he
was admitted into Trinity College. Here, however, his stay was very
short,--he was probably repelled by the _chevaux-de-frise_ of the
mathematics;--and in a few weeks he returned to London, disgusted at both
universities, shaking their dust off his feet, and, perhaps, vowing
vengeance against them--a vow which he has kept in his poetry. In his
"Ghost," for instance, he thus ridiculed those forms of admission--
"Which Balaam's ass
As well as Balaam's self might pass,
And with his master take degrees,
Could he contrive to pay the fees."
Penniless, and soured by disappointment, Churchill returned to his
father's house; and, being idle, soon obtained work from the proverbial
"taskmaster" of all idle people. Having become acquainted with a young
lady, named Scott, whose father lived in the vicinity of Westminster
School, he, with true poetic imprudence, married her privately in the
Fleet, to the great annoyance of both their parents. His father, however,
was much attached to and proud of his son, and at last was reconciled to
the match, and took the young couple home. Churchill passed one quiet
domestic year under the paternal roof. At its termination--for reasons
which are not known--he retired to Sunderland, in the north of England,
and seems there to have applied himself enthusiastically to the study of
poetry--commencing, at the same time, a course of theological reading,
with a view to the Church. He remained in Sunderland till the year 1753,
when he came back to London to take possession of a small fortune which
accrued to him through his wife. He had now reached the age of
twenty-two, and had been three years married.
During the residence in the metropolis which succeeded, he frequented the
theatres, and came thus in contact with a field where he was to gather
his earliest and most untarnished laurels. In "The Rosciad," we find the
results of several years' keen and close observation of the actors of the
period, collected into one focus, and pointed and irradiated by the power
of genius. As Scott, while carelessly galloping in his youth through
Liddesdale, and listening to ballads and old-world stories, was "making
himself" into the mighty minstrel of the border--so this big, clumsy,
overgrown student, seated in the pit of Drury Lane, or exalted to the
one-shilling gallery of Covent Garden, was silently growing into the
greatest poet of the stage that, perhaps, ever lived.
Soon after, he was ordained deacon by the Bishop of Bath and Wells, on
the curacy of Cadbury, in Somersetshire, where he immediately removed,
and entered on a career of active ministerial work. Such were the golden
opinions he gained in Cadbury, that, in 1756, although he had taken no
degree, nor could be said to have studied at either of the universities,
he was ordained priest by Dr Sherlock, the Bishop of London (celebrated
for his Sermons and his "Trial of the Witnesses"), on his father's curacy
of Rainham, Essex. Here he continued diligent in his pastoral
duties--blameless in his conduct, and attentive to his theological
studies. He seemed to have entirely escaped from the suction of the
stage--to have forsworn the Muses, and to have turned the eye of his
ambition away from the peaks of Parnassus to the summit of the Bishops'
Bench.
But for Churchill's poor circumstances, it is likely that he would have
reached this elevation, as surely as did his great contemporary, and the
object of his implacable hatred and abuse, William Warburton. But his
early marriage, and his increasing responsibilities, produced pecuniary
embarrassments, and these must have tended gradually to sour him against
his profession, and to prepare his mind for that rupture with it which
ultimately ensued. To support himself and his family, he opened a school,
and met with considerable encouragement--although we suspect that his
scholars felt something of the spirit of the future satirist stirring in
the motions of his rod, and that he who afterwards lashed his century did
not spare his school. In the year 1758, his amiable and excellent father
died, and (a striking testimony both to his own and his son's early
worth) Charles was unanimously chosen to be his father's successor in the
curacy and lectureship of St John's. There he laboured for a time,
according to some statements, with much punctuality, energy, and
acceptance. After "The Rosciad" had established his name, he sold ten of
the sermons he had preached in St John's to a bookseller for £250. We
have not read them; but Dr Kippis has pronounced them utterly unworthy of
their author's fame--without a single gleam of his poetic fire--so poor,
indeed, that he supposes that they were borrowed from some dull elderly
divine, if not from Churchill's own father. This reminds us of a story
which was lately communicated to us about the famous William Godwin. He,
too, succeeded his father in his pastoral charge. Tinged, however,
already with heterodox views, he was by no means so popular as his father
had been. His own sermons were exceedingly cold and dry, but he possessed
a chestful of his father's, and used to read them frequently, by way of
grateful change to his hearers. The sermons of the elder Godwin were
recognised by the orthodoxy of their sentiment, and the dinginess of
their colour, and were much relished; and so long as the stock lasted,
the future author of "Caleb Williams" commanded a tolerable audience; but
so soon as he had read them all, and resumed his own lucubrations, his
hearers melted away, and he moved off to become a literateur in London.
Perhaps Churchill, in like manner, may have found that general audiences
like plain sense better than poetry. That he had ever much real piety or
zeal has been gravely doubted, and we share in the doubts. But although
he himself speaks slightingly, in one of his latter poems, of his
ministerial labours, he at least played his part with outward decorum.
His great objection to the office was still his small salary, which
amounted to scarcely £100 per annum. This compelled him to resume the
occupation of a tutor, first to the young ladies attending a
boarding-school in Queen Square, Bloomsbury, and then to several young
gentlemen who were prosecuting the study of the classics.
When about twenty-seven years of age, he renewed his acquaintance with
Robert Lloyd, the son of Dr Lloyd, one of the masters of Westminster
School, and who had been an early chum of Churchill's. This young man had
discovered very promising abilities, alike at Westminster and at
Cambridge, and had been appointed usher in his father's seminary; but,
sick of the drudgery, and infected with a fierce thirst both for fame and
pleasure, had flung himself upon the literary arena. Although far
inferior to Churchill in genius, and indeed little better than a clever
copyist of his manner, he exerted a very pernicious influence on his
friend's conduct. He borrowed inspiration from Churchill, and gave him
infamy in exchange. The poet could do nothing by halves. Along with
Lloyd, he rushed into a wild career of dissipation. He became a nightly
frequenter of the theatres, taverns, and worse haunts. His wife, with
whom, after the first year, he never seems to have been happy, instead of
checking, outran her husband in extravagance and imprudence. He got
deeply involved in debt, and was repeatedly in danger of imprisonment,
till Dr Lloyd, his friend's father, nobly stept forward to his relief,
persuaded his creditors to accept five shillings in the pound, and
himself lent what was required to complete the sum. It is said that, when
afterwards Churchill had made money by the sale of his poems, he
voluntarily paid the whole of the original debt.
Along with the new love of indulgence, there had arisen in his bosom the
old love of verse. Stimulated by intercourse with Lloyd, Colman, B.
Thornton, and other wits of the period, he had written a poem, in
Hudibrastic rhyme, entitled "The Bard." This he offered to one Waller, a
bookseller in Fleet Street, who rejected it with scorn. In this feeling
Churchill seems afterwards to have shared, as he never would consent to
its publication. Not at all discouraged, he sat down and wrote a satire
entitled "The Conclave," directed against the Dean and Chapter of
Westminster,--Dr Zachary Pearce, a favourite of Churchill's ire, being
then Dean. This would have been published but for the fear of legal
proceedings. It was extremely personal and severe. His third effort was
destined to be more successful. This was "The Rosciad," written, it is
said, after two months' close attendance on the theatres. This
excessively clever satire he offered to various booksellers, some say for
twenty pounds, others for five guineas. It was refused, and he had to
print it at his own expense. It appeared, without his name, in March
1761. Churchill now, like Byron, "awoke one morning and found himself
famous." A few days convinced him and all men that a decided hit had been
made, and that a strong new satirist had burst, like a comet, into the
sky--
"With fear of change perplexing" players.
The effect was prodigious. The critics admired--the victims of his satire
writhed and raved--the public greedily bought, and all cried out, "Who
can this be?" The _Critical Review_, then conducted by Smollett, alone
opposed the general opinion. It accused Colman and Lloyd of having
concocted "The Rosciad," for the purpose of puffing themselves. This
compelled Churchill to quit his mask. He announced his name as the author
of the poem, and as preparing another--his "Apology"--addressed to the
_Critical Reviewers_, which accordingly appeared ere the close of April.
It proved a second bombshell, cast into the astonished town. Smollett was
keenly assailed in it, and had to write to Churchill, through Garrick,
that he was not the writer of the obnoxious critique. Garrick, himself
the hero of "The Rosciad," was here rather broadly reminded that heroes
are mortal, and that kings may be dethroned, and had to make humiliating
concessions to the fearless satirist. Fearless, indeed, and strong he
required to be, for many of his victims had vowed loud and deep to avenge
their quarrel by inflicting corporal chastisement on their foe. He armed
himself with a huge bludgeon, however, and stalked abroad and returned
home unharmed and unattempted. None cared to meddle with such a brawny
Hercules.
In another way his enemies soon had their revenge. He had gained one
thousand pounds by his two poems, and this supplied him with the
materials of unlimited indulgence, which he did not fail to use. He threw
off every restraint. He donned, instead of his clerical costume, a blue
coat and gold-laced waistcoat. He separated from his wife, giving her,
indeed, a handsome allowance. His midnight potations became deeper and
more habitual. Dean Zachary Pearce, afterwards Bishop of Rochester, in
vain remonstrated. At last, on his parishioners taking the matter up, and
raising an outcry as to his neglect of duty, and the unbecoming character
of his dress, he resigned his curacy and lectureship, and became for the
rest of his life a literary and dissipated "man about town."
In October 1761 he published a poem entitled "Night," addressed to Lloyd,
in which, while seeking to vindicate himself from the charges against his
_morale_, he in reality glories in his shame. His sudden celebrity had
perhaps acted as a glare of light, revealing faults that might have been
overlooked in an obscure person. With his dissipation, too, there mingled
some elements of generosity and compassion, as in the story told of him
by Charles Johnson in his "Chrysal" of the poet succouring a poor
starving girl of the town, whom he met in the midnight streets,--an
incident reminding one of the similar stories told of Dr Johnson, and
Burke, and realising the parable of the good Samaritan. Yet his conduct
on the whole could not be defended.
His next poem was "The Ghost," which he published in parts, and continued
at intervals. It was a kind of rhymed diary or waste-book, in which he
deposited his every-day thoughts and feelings, without any order or
plan,--reminding us of "Tristram Shandy" or of "Don Juan," although not
so whimsically delightful as the former, nor so brilliant and poignant as
the latter.
But now, in 1762, the Poet was to degrade or to sublimate into the
Politician, at the bidding of that gay magician, Jack Wilkes. That this
man was much better than a clever and pre-eminently lucky scoundrel, is
now denied by few. He had, indeed, immense _pluck_ and convivial
pleasantry, with considerable learning and talent. But he had no
principle, no character, little power of writing, and did not even
possess a particle of that mob eloquence which seduces multitudes. His
depravities and vices were far too gross even for that gross age. In the
very height of his reputation for patriotism, he was intriguing with the
ministry for a place for himself. And he became in his latter days, as
Burke had predicted (for we strongly suspect that Burke wrote the words
in "Junius"), "a silent senator," sate down "infamous and
contented,"--proving that it had only been "the tempest which had lifted
him from his place."
Wilkes introduced himself to Churchill, and they became speedily
intimate. Soon after, indignant at the supremacy of Lord Bute, who, as a
royal favourite, had obtained a power in the country which had not been
equalled since Buckingham fell before the assassin Felton's knife, and
was employing all his influence to patronise the Scotch, Wilkes commenced
the _North Briton_. In this, from the first, he was assisted by
Churchill, who, however, did not write prose so vigorously as verse. He
had sent to the _North Briton_ a biting paper against the Scotch. On
reflection, he recalled and recast it in rhyme. It was "The Prophecy of
Famine;" and became so popular as to make a whole nation his enemies, and
all _their_ enemies his friends. This completely filled up the measure of
Churchill's triumph. He actually dressed his youngest son in the Highland
garb, took him everywhere along with him, and instructed him to say, when
asked why he was thus dressed, "Sir, my father hates the Scotch; and does
it to plague them."
Lord Bute resigned early in 1763, and was succeeded by a ministry
comprising such men as Sir Francis Dashwood, and Lord Sandwich, who had
been intimates of Wilkes, and had shared with him in certain disgusting
orgies at Medmenham Abbey. They now, however, changed their tactics, and
became vehement upholders of morality and religion; and began to watch
their opportunity for pouncing on their quondam associate. This he
himself furnished by the famous _North Briton_, No. 45. That paper may
now seem, to those who read it, a not very powerful, and not very daring
diatribe. But the times were inflammable--the nation was frantic with
rage at the peace--the ministry were young, and willing to flesh their
new-got power in some victim or other; and Wilkes, in this paper, had now
exposed himself to their fury. Warrants were instantly issued to arrest
him and Churchill, as well as the publishers and printers. Wilkes was
newly arrested when Churchill walked into his room. Knowing that his
friend's name was also in the warrant, he adroitly said to Churchill,
"Good morrow, Mr Thomson; how is Mrs Thomson to-day; does _she dine in
the country?_" The poet took the hint--said that she was waiting on
him--took his leave, and retired to the country accordingly.
Immediately after occurred the controversy between Hogarth and our poet.
While Wilkes's case was being tried, and Chief-Justice Pratt, afterwards
Lord Camden, was about to give the memorable decision in favour of the
accused, and in condemnation of general warrants, Hogarth was sitting in
the court, and immortalising Wilkes's villanous squint upon the canvas.
In July 1763, Churchill avenged his friend's quarrel by the savage
personalities of his "Epistle to William Hogarth." Here, while lauding
highly the painter's genius, he denounces his vanity, his envy, and makes
an unmanly and brutal attack on his supposed dotage. Hogarth, within a
month, replied by caricaturing Churchill as a bear with torn clerical
bands, paws in ruffles, a pot of porter in his right hand, and a knot of
LIES and _North Britons_ in his left. Churchill threatened him with a
renewed and severer assault in the shape of an elegy, but was dissuaded
from it by his mistress.
This was Miss Carr, daughter of a respectable sculptor in Westminster,
whom Churchill had seduced. After a fortnight they were both struck with
remorse, agreed to separate, and, through the intercession of a friend,
the young lady was restored to her parents. Rendered miserable, however,
by the taunts of an elder sister, she, in absolute despair, cast herself
again on Churchill's protection, and they remained together till his
death. In his letters we find him, during one of his sober intervals,
living quietly with her in Richmond. In "The Conference," he makes some
allusions to this unhappy affair, and discovers the spirit, if not of
true penitence, certainly of keen remorse, and strong self-crimination.
In the autumn of 1763 he became the comforter of his friend, Lloyd, in
the Fleet, supported him in confinement, and opened a subscription for
the discharge of his heavy debts, which, owing to the backwardness of
others, proved of little service.
Toward the close of this year, the _North Briton_ was ordered to be burnt
by the common hangman; and, on the motion of Lord Sandwich, Wilkes was
handed over for prosecution, for his infamous "Essay on Woman," a parody
on Pope's "Essay on Man"--(one Kidgell, a clergyman, had stolen a copy,
and informed the Government.) Lord Sandwich was backed by Warburton; and
the result was, Wilkes's expulsion from the House of Commons, and his
flight to France. He had previously fought a duel with one Martin, an
M.P., by whom he was severely wounded. All this furnished Churchill with
matter for his "Duellist," which even Horace Walpole pronounced
"glorious." In this vigorous production, he mercilessly lashes Martin,
Kidgell, Warburton, and especially Sandwich. At this time he, too,
purposed a retreat to France--a country where his name was already so
well known, that when the Honourable Mr Churchill, the son of a general
of the name, was asked, in Paris, if he were Churchill, the famous poet,
and replied that he was not, the answer of the Frenchman was, "_So much
the worse for you._" His time, however, to visit that coast, destined to
be so fatal to him, was not yet quite come.
From Richmond he removed to Acton-Common, where he had a house furnished
with great elegance--"kept a post-chaise, saddle-horses, and
pointers--and fished, fowled, hunted, coursed, and lived in an easy
independent manner." There he continued his irregular but rapid and
energetic course of composition, pouring out poem after poem as if he
felt his time to be short, or as if he were spurred on by the secret
stings of misery and remorse. To "The Duellist" succeeded "The
Author,"--a poem more general and less poisoned with personalities than
any of his former. "Gotham," by far the most poetical of his works, came
next. When Lord Sandwich stood for the High-Stewardship of Cambridge,
Churchill's ancient grudge, as well as his itch for satire, revived, and
he improvised "The Candidate," a piece of hasty but terrible sarcasm.
With breathless and portentous rapidity followed "The Farewell," "The
Times," and "Independence," which was his last published production. Two
fragments were found among his MSS., one "A Dedication to Warburton," and
another, "The Journey," his latest effort, and in which the last line now
seems prophetic--
"_I on my journey all alone proceed_."
A far and final journey was before this great and ill-fated poet. He was
seized with one of those sudden longings to see a friend, which are not
uncommon with the impulsive. He determined to visit Wilkes at Boulogne,
and conveyed his purpose to his brother John in the following
note:--"Dear Jack, adieu, C.C." On the 22d of October 1764, he started
for France, met Wilkes; but on the 29th was seized with miliary fever,
under which, while imprudently removed from his bed to be conveyed at his
own desire to England, his constitution sunk, and he expired on the 4th
of November, in the thirty-third year of his age. He is said to have died
calmly and firmly, rebuking the excessive grief of his friends, and
repeating some manly but not very Christian lines from his own poetry. By
a will made during his sickness, he left an annuity of sixty pounds to
his wife (in addition, we suppose, to her former allowance), fifty pounds
a-year to Miss Carr, besides providing for his two boys, and leaving
mourning rings to his more intimate friends. Wilkes got the charge of all
his works. His body was brought to Dover, where he now sleeps in an old
churchyard, which once belonged to the church of St Martin, with a stone
over him, bearing his age, the date of his death, and this line from one
of his own poems--
"Life to the last enjoy'd, here Churchill lies."
The words which he is reported to have used on his deathbed, _should_
have been inscribed on the stone--
"What a fool I have been!"
Hogarth had expired on the 25th of October, ten days before his opponent.
Lloyd was finishing his dinner, when the news of his friend's death
arrived. He was seized with sudden sickness, and crying out, "I shall
soon follow poor Charles," was carried to a bed, whence he was never to
rise. Churchill's favourite sister, Patty, who had been engaged to Lloyd,
soon afterwards sank under the double blow. The premature death of this
most popular of the poets of the time, excited a great sensation. His
furniture and books sold excessively high; a steel pen, for instance, for
five pounds, and a pair of plated spurs for sixteen guineas. Wilkes
talked much about his "dear Churchill," but, with the exception of
burning a MS. fragmentary satire, which Churchill had begun against
Colman and Thornton, _two of his intimate friends_, and erecting an urn
to him near his cottage in the Isle of Wight, with a flaming Latin
inscription, he did nothing for his memory. The poet's brother, John, an
apothecary, survived him only one year; and his two sons, Charles and
John, inherited the vices without the genius of their father. There was,
as late as 1825, a grand-daughter of his, a Mary Churchill, who had been
a governess, surviving as a patient in St George's Hospital,--a
characteristic close to such a wayward, unfortunate race.
For the errors of Churchill, as a man, there does not seem to exist any
plea of palliation, except what may be found in the poverty of his early
circumstances, and in the strength of his later passions. The worst is,
that he never seems to have been seduced into sin through the bewildering
and bewitching mists of imagination. It was naked sensuality that he
appeared to worship, and he always sinned with his eyes open. Yet his
moral sense, though blunted, was never obliterated; and many traits of
generosity and good feeling mingled with his excesses. Choosing satire as
the field of his Muse, was partly the cause and partly the effect of an
imperfect _morale_. We are far from averring that no satirist can be a
good man, but certainly most satirists have either been very good or very
bad men. To the former class have belonged Cowper, Crabbe, &c.; to the
latter, such names as Swift, Dryden, Byron, and, we must add, Churchill.
Robust manhood, honesty, and hatred of pretence, we admit him to have
possessed; but of genuine love to humanity he seems to have been as
destitute as of fear of God, or regard for the ordinary moralities.
We have to deal with him, however, principally as a poet; and there can,
we think, now be but one opinion as to his peculiar merits. He possessed,
beyond all doubt, a strong understanding, a lively imagination, a keen
perception of character--especially in its defects and
weaknesses--considerable wit without any humour, fierce passions and
hatreds, and a boundless command of a loose, careless, but bold and
energetic diction; add to this, a constant tone of self-assertion, and
rugged independence. He was emphatically a John Bull, sublimated. He
rushed into the poetic arena more like a pugilist than a poet, laying
about him on all sides, giving and taking strong blows, and approving
himself, in the phrase of "the fancy," game to the backbone. His faults,
besides those incident to most satirists,--such as undue severity,
intrusion into private life, anger darkening into malignity, and spleen
fermenting into venom,--were carelessness of style, inequality, and want
of condensation. Compared to the satires of Pope, Churchill's are far
less polished, and less pointed. Pope stabs with a silver
bodkin--Churchill hews down his opponent with a broadsword. Pope whispers
a word in his enemy's ear which withers the heart within him, and he
sinks lifeless to the ground; Churchill pours out a torrent of blasting
invective which at once kills and buries his foe. Dryden was his
favourite model; and although he has written no such condensed
masterpieces of satire as the characters of Shaftesbury and Buckingham,
yet his works as a whole are not much inferior, and justify the idea that
had his life been spared, he might have risen to the level of "Glorious
John." His versification, too, is decidedly of the Drydenic type. It is a
free, fierce, rushing, sometimes staggering, race across meadow, moor,
and mountain, dreading nothing except repose and languor, the lines
chasing, and sometimes tumbling over each other in their haste, like
impatient hounds at a fox-hunt. But more than Dryden, we think, has
Churchill displayed the genuine poetic faculty, as well as often a
loftier tone of moral indignation. This latter feeling is the inspiration
of "The Candidate," and of "The Times," which, although coarse in
subject, and coarse in style, burns with a fire of righteous indignation,
reminding you of Juvenal. The finest display of his imaginative power is
in "Gotham," which is throughout a glorious rhapsody, resembling some of
the best prose effusions of Christopher North, and abounding in such
lines as these:--
"The cedar, whose top mates the highest cloud,
Whilst his old father Lebanon grows proud
Of such a child, and _his vast body laid
Out many a mile, enjoys the filial shade_."
It is of "Gotham" that Cowper says that few writers have equalled it for
its "bold and daring strokes of fancy; its numbers so hazardously
ventured upon, and so happily finished; its matter so compressed, and yet
so clear; its colouring so sparingly laid on, and yet with such a
beautiful effect."
One great objection to Churchill's poetry lies in the temporary interest
of the subjects to which most of it is devoted. The same objection,
however, applies to the letters of Junius, and to the speeches and papers
of Burke; and the same answer to it will avail for all. Junius, by the
charm of his style, by his classic severities, and purged, poignant
venom, contrives to interest us in the paltry political feuds of the
past. Burke's does the same, by the general principles he extracts from,
and by the poetry with which he gilds, the rubbish. And so does
Churchill, by the weighty sense, the vigorous versification, the
inextinguishable spirit, and the trenchant satire and invective of his
song. The wretched intrigues of Newcastle and Bute, the squabbles of the
aldermen and councillors of the day, the petty quarrels of petty patriots
among themselves, and the poverty, spites, and frailties of forgotten
players, are all shown as in a magnifying-glass, and shine upon us
transfigured in the light of the poet's genius.
We have not room for lengthened criticism on all his separate
productions. "The Rosciad" is the most finished, pointed, and Pope-like
of his satires; it has more memorable and quotable lines than any of the
rest. "The Prophecy of Famine" is full of trash; but contains, too, many
lines in which political hatred, through its intense fervour, sparkles
into poetry: such as--
"No birds except as birds of passage flew;"
the account of the creatures which, when admitted into the ark,
"Their saviour shunn'd, and rankled in the dark;"
and the famous line--
"Where half-starved spiders prey on half-starved flies."
"The Ghost" is the least felicitous of all his poems, although its
picture of Pomposo (Dr Johnson) is exceedingly clever. The "Dedication to
Warburton" is a strain of terrible irony, but fails to damage the
Atlantean Bishop. "The Journey" is not only interesting as his last
production, but contains some affecting personal allusions, intermingled
with its stinging scorn--like pale passion-flowers blended with nettles
and nightshade. The most of the others have been already characterised.
Churchill has had two very formidable enemies to his fame and detractors
from his genius--Samuel Johnson and Christopher North. The first
pronounced him "a prolific blockhead," "a huge and fertile crab-tree;"
the second has wielded the knout against his back with peculiar gusto and
emphasis, in a paper on satire and satirists, published in _Blackwood_
for 1828. Had Churchill been alive, he could have easily "retorted
scorn"--set a "Christophero" over against the portrait of "Pomposo:" the
result had been, as always in such cases, a drawn battle; and damage
would have accrued, not to the special literateurs, but to the general
literary character. Prejudice or private pique always lurks at the bottom
of such reckless assaults, and all men in the long run feel so. In
Johnson's case, the _causa belli_ was unquestionably political
difference; and in Christopher North's it was the love of Scotland which
so warmly glowed in his bosom, and which created a glow of hatred no less
warm against Scotland's ablest, fiercest, and most inveterate poetical
foe.
Churchill's poetry only requires to be better known to be highly
appreciated for its masculine and thoroughly English qualities. In taking
our leave of him, we are again haunted by the signal resemblance he
bears, both in mental characteristics and in history, to Byron. Both were
powerful in satire, and still more so in purely poetic composition. Both
were irregular in life, and unfortunate in marriage. Both were
distinguished by fitful generosity, and careless tenderness. Both
obtained at once, and during all their career maintained, a pre-eminence
in popularity over all their contemporaries. Both were severely handled
by reviewers, and underrated by rivals. Both assumed an attitude of
defiance to the world, and stood ostentatiously at bay. Both mingled
largely in the politics of their day, and both took the liberal side.
Both felt and expressed keen remorse for their errors, and purposed and
in part began reformation. Both died at an untimely age by fever, and in
a foreign land. The dust of both, not admitted into Westminster Abbey,
nevertheless reposes in their native soil, and attracts daily visitors,
who lean, and weep, and wonder over it--partly in sympathy with their
fate--partly in pity for their errors--and partly in admiration of their
genius.
* * * * *
NOTE.--We have not alluded to various anecdotes told about Churchill's
journey to Wales, about his setting up as a cider merchant, &c., because
some of them appear extremely apocryphal. The author of an article on him
in the _Edinburgh Review_ for January 1845 asserts that he was rejected
from Oxford because he had already been married. But, if so, why was he
admitted to Cambridge? Besides, the writer adduces no proof of his
assertion. The paper, otherwise, is worthy of its author and of the poet.
* * * * *
CONTENTS.
THE ROSCIAD
THE APOLOGY
NIGHT
THE PROPHECY OF FAMINE
AN EPISTLE TO WILLIAM HOGARTH
THE DUELLIST
GOTHAM
THE AUTHOR
THE CONFERENCE
THE GHOST
THE CANDIDATE
THE FAREWELL
THE TIMES
INDEPENDENCE
THE JOURNEY
DEDICATION TO CHURCHILL'S SERMONS
LINES WRITTEN IN WINDSOR PARK
* * * * *
THE ROSCIAD.[1]
Unknowing and unknown, the hardy Muse
Boldly defies all mean and partial views;
With honest freedom plays the critic's part,
And praises, as she censures, from the heart.
Roscius[2] deceased, each high aspiring player
Push'd all his interest for the vacant chair.
The buskin'd heroes of the mimic stage
No longer whine in love, and rant in rage;
The monarch quits his throne, and condescends
Humbly to court the favour of his friends;
For pity's sake tells undeserved mishaps,
And, their applause to gain, recounts his claps.
Thus the victorious chiefs of ancient Rome,
To win the mob, a suppliant's form assume; 10
In pompous strain fight o'er the extinguish'd war,
And show where honour bled in every scar.
But though bare merit might in Rome appear
The strongest plea for favour, 'tis not here;
We form our judgment in another way;
And they will best succeed, who best can pay:
Those who would gain the votes of British tribes,
Must add to force of merit, force of bribes.
What can an actor give? In every age
Cash hath been rudely banish'd from the stage; 20
Monarchs themselves, to grief of every player,
Appear as often as their image there:
They can't, like candidate for other seat,
Pour seas of wine, and mountains raise of meat.
Wine! they could bribe you with the world as soon,
And of 'Roast Beef,' they only know the tune:
But what they have they give; could Clive[3] do more,
Though for each million he had brought home four?
Shuter[4] keeps open house at Southwark fair,
And hopes the friends of humour will be there; 30
In Smithfield, Yates[5] prepares the rival treat
For those who laughter love, instead of meat;
Foote,[6] at Old House,--for even Foote will be,
In self-conceit, an actor,--bribes with tea;
Which Wilkinson[7] at second-hand receives,
And at the New, pours water on the leaves.
The town divided, each runs several ways,
As passion, humour, interest, party sways.
Things of no moment, colour of the hair,
Shape of a leg, complexion brown or fair, 40
A dress well chosen, or a patch misplaced,
Conciliate favour, or create distaste.
From galleries loud peals of laughter roll,
And thunder Shuter's praises; he's so droll.
Embox'd, the ladies must have something smart,
Palmer! oh! Palmer[8] tops the jaunty part.
Seated in pit, the dwarf with aching eyes,
Looks up, and vows that Barry's[9] out of size;
Whilst to six feet the vigorous stripling grown,
Declares that Garrick is another Coan.[10] 50
When place of judgment is by whim supplied,
And our opinions have their rise in pride;
When, in discoursing on each mimic elf,
We praise and censure with an eye to self;
All must meet friends, and Ackman[11] bids as fair,
In such a court, as Garrick, for the chair.
At length agreed, all squabbles to decide,
By some one judge the cause was to be tried;
But this their squabbles did afresh renew,
Who should be judge in such a trial:--who? 60
For Johnson some; but Johnson, it was fear'd,
Would be too grave; and Sterne[12] too gay appear'd;
Others for Franklin[13] voted; but 'twas known,
He sicken'd at all triumphs but his own:
For Colman[14] many, but the peevish tongue
Of prudent Age found out that he was young:
For Murphy[15] some few pilfering wits declared,
Whilst Folly clapp'd her hands, and Wisdom stared.
To mischief train'd, e'en from his mother's womb,
Grown old in fraud, though yet in manhood's bloom, 70
Adopting arts by which gay villains rise,
And reach the heights which honest men despise;
Mute at the bar, and in the senate loud,
Dull 'mongst the dullest, proudest of the proud;
A pert, prim, prater of the northern race,[16]
Guilt in his heart, and famine in his face,
Stood forth,--and thrice he waved his lily hand,
And thrice he twirled his tye, thrice stroked his band:--
At Friendship's call (thus oft, with traitorous aim,
Men void of faith usurp Faith's sacred name) 80
At Friendship's call I come, by Murphy sent,
Who thus by me develops his intent:
But lest, transfused, the spirit should be lost,
That spirit which, in storms of rhetoric toss'd,
Bounces about, and flies like bottled beer,
In his own words his own intentions hear.
Thanks to my friends; but to vile fortunes born,
No robes of fur these shoulders must adorn.
Vain your applause, no aid from thence I draw;
Vain all my wit, for what is wit in law? 90
Twice, (cursed remembrance!) twice I strove to gain
Admittance 'mongst the law-instructed train,
Who, in the Temple and Gray's Inn, prepare
For clients' wretched feet the legal snare;
Dead to those arts which polish and refine,
Deaf to all worth, because that worth was mine,
Twice did those blockheads startle at my name,
And foul rejection gave me up to shame.
To laws and lawyers then I bade adieu,
And plans of far more liberal note pursue. 100
Who will may be a judge--my kindling breast
Burns for that chair which Roscius once possess'd.
Here give your votes, your interest here exert,
And let success for once attend desert.
With sleek appearance, and with ambling pace,
And, type of vacant head, with vacant face,
The Proteus Hill[17] put in his modest plea,--
Let Favour speak for others, Worth for me.--
For who, like him, his various powers could call
Into so many shapes, and shine in all? 110
Who could so nobly grace the motley list,
Actor, Inspector, Doctor, Botanist?
Knows any one so well--sure no one knows--
At once to play, prescribe, compound, compose?
Who can--but Woodward[18] came,--Hill slipp'd away,
Melting, like ghosts, before the rising day.
With that low cunning, which in fools[19] supplies,
And amply too, the place of being wise,
Which Nature, kind, indulgent parent, gave
To qualify the blockhead for a knave; 120
With that smooth falsehood, whose appearance charms,
And Reason of each wholesome doubt disarms,
Which to the lowest depths of guile descends,
By vilest means pursues the vilest ends;
Wears Friendship's mask for purposes of spite,
Pawns in the day, and butchers in the night;
With that malignant envy which turns pale,
And sickens, even if a friend prevail,
Which merit and success pursues with hate,
And damns the worth it cannot imitate; 130
With the cold caution of a coward's spleen,
Which fears not guilt, but always seeks a screen,
Which keeps this maxim ever in her view--
What's basely done, should be done safely too;
With that dull, rooted, callous impudence,
Which, dead to shame and every nicer sense,
Ne'er blush'd, unless, in spreading Vice's snares,
She blunder'd on some virtue unawares;
With all these blessings, which we seldom find
Lavish'd by Nature on one happy mind, 140
A motley figure, of the Fribble tribe,
Which heart can scarce conceive, or pen describe,
Came simpering on--to ascertain whose sex
Twelve sage impannell'd matrons would perplex.
Nor male, nor female; neither, and yet both;
Of neuter gender, though of Irish growth;
A six-foot suckling, mincing in Its gait;
Affected, peevish, prim, and delicate;
Fearful It seem'd, though of athletic make,
Lest brutal breezes should too roughly shake 150
Its tender form, and savage motion spread,
O'er Its pale cheeks, the horrid manly red.
Much did It talk, in Its own pretty phrase,
Of genius and of taste, of players and of plays;
Much too of writings, which Itself had wrote,
Of special merit, though of little note;
For Fate, in a strange humour, had decreed
That what It wrote, none but Itself should read;
Much, too, It chatter'd of dramatic laws,
Misjudging critics, and misplaced applause; 160
Then, with a self-complacent, jutting air,
It smiled, It smirk'd, It wriggled to the chair;
And, with an awkward briskness not Its own,
Looking around, and perking on the throne,
Triumphant seem'd; when that strange savage dame,
Known but to few, or only known by name,
Plain Common-Sense appear'd, by Nature there
Appointed, with plain Truth, to guard the chair,
The pageant saw, and, blasted with her frown,
To Its first state of nothing melted down. 170
Nor shall the Muse, (for even there the pride
Of this vain nothing shall be mortified)
Nor shall the Muse (should Fate ordain her rhymes,
Fond, pleasing thought! to live in after-times)
With such a trifler's name her pages blot;
Known be the character, the thing forgot:
Let It, to disappoint each future aim,
Live without sex, and die without a name!
Cold-blooded critics, by enervate sires
Scarce hammer'd out, when Nature's feeble fires 180
Glimmer'd their last; whose sluggish blood, half froze,
Creeps labouring through the veins; whose heart ne'er glows
With fancy-kindled heat;--a servile race,
Who, in mere want of fault, all merit place;
Who blind obedience pay to ancient schools,
Bigots to Greece, and slaves to musty rules;
With solemn consequence declared that none
Could judge that cause but Sophocles alone.
Dupes to their fancied excellence, the crowd,
Obsequious to the sacred dictate, bow'd. 190
When, from amidst the throng, a youth stood forth,[20]
Unknown his person, not unknown his worth;
His look bespoke applause; alone he stood,
Alone he stemm'd the mighty critic flood.
He talk'd of ancients, as the man became
Who prized our own, but envied not their fame;
With noble reverence spoke of Greece and Rome,
And scorn'd to tear the laurel from the tomb.
But, more than just to other countries grown,
Must we turn base apostates to our own? 200
Where do these words of Greece and Rome excel,
That England may not please the ear as well?
What mighty magic's in the place or air,
That all perfection needs must centre there?
In states, let strangers blindly be preferr'd;
In state of letters, merit should be heard.
Genius is of no country; her pure ray
Spreads all abroad, as general as the day;
Foe to restraint, from place to place she flies,
And may hereafter e'en in Holland rise. 210
May not, (to give a pleasing fancy scope,
And cheer a patriot heart with patriot hope)
May not some great extensive genius raise
The name of Britain 'bove Athenian praise;
And, whilst brave thirst of fame his bosom warms,
Make England great in letters as in arms?
There may--there hath,--and Shakspeare's Muse aspires
Beyond the reach of Greece; with native fires
Mounting aloft, he wings his daring flight,
Whilst Sophocles below stands trembling at his height. 220
Why should we then abroad for judges roam,
When abler judges we may find at home?
Happy in tragic and in comic powers,
Have we not Shakspeare?--Is not Jonson ours?
For them, your natural judges, Britons, vote;
They'll judge like Britons, who like Britons wrote.
He said, and conquer'd--Sense resumed her sway,
And disappointed pedants stalk'd away.
Shakspeare and Jonson, with deserved applause,
Joint-judges were ordain'd to try the cause. 230
Meantime the stranger every voice employ'd,
To ask or tell his name. Who is it? Lloyd.
Thus, when the aged friends of Job stood mute,
And, tamely prudent, gave up the dispute,
Elihu, with the decent warmth of youth,
Boldly stood forth the advocate of Truth;
Confuted Falsehood, and disabled Pride,
Whilst baffled Age stood snarling at his side.
The day of trial's fix'd, nor any fear
Lest day of trial should be put off here. 240
Causes but seldom for delay can call
In courts where forms are few, fees none at all.
The morning came, nor find I that the Sun,
As he on other great events hath done,
Put on a brighter robe than what he wore
To go his journey in, the day before.
Full in the centre of a spacious plain,
On plan entirely new, where nothing vain,
Nothing magnificent appear'd, but Art
With decent modesty perform'd her part, 250
Rose a tribunal: from no other court
It borrow'd ornament, or sought support:
No juries here were pack'd to kill or clear,
No bribes were taken, nor oaths broken here;
No gownsmen, partial to a client's cause,
To their own purpose turn'd the pliant laws;
Each judge was true and steady to his trust,
As Mansfield wise, and as old Foster[21] just.
In the first seat, in robe of various dyes,
A noble wildness flashing from his eyes, 260
Sat Shakspeare: in one hand a wand he bore,
For mighty wonders famed in days of yore;
The other held a globe, which to his will
Obedient turn'd, and own'd the master's skill:
Things of the noblest kind his genius drew,
And look'd through Nature at a single view:
A loose he gave to his unbounded soul,
And taught new lands to rise, new seas to roll;
Call'd into being scenes unknown before,
And passing Nature's bounds, was something more. 270
Next Jonson sat, in ancient learning train'd,
His rigid judgment Fancy's flights restrain'd;
Correctly pruned each wild luxuriant thought,
Mark'd out her course, nor spared a glorious fault.
The book of man he read with nicest art,
And ransack'd all the secrets of the heart;
Exerted penetration's utmost force,
And traced each passion to its proper source;
Then, strongly mark'd, in liveliest colours drew,
And brought each foible forth to public view: 280
The coxcomb felt a lash in every word,
And fools, hung out, their brother fools deterr'd.
His comic humour kept the world in awe,
And Laughter frighten'd Folly more than Law.
But, hark! the trumpet sounds, the crowd gives way,
And the procession comes in just array.
Now should I, in some sweet poetic line,
Offer up incense at Apollo's shrine,
Invoke the Muse to quit her calm abode,
And waken Memory with a sleeping Ode.[22] 290
For how shall mortal man, in mortal verse,
Their titles, merits, or their names rehearse?
But give, kind Dulness! memory and rhyme,
We 'll put off Genius till another time.
First, Order came,--with solemn step, and slow,
In measured time his feet were taught to go.
Behind, from time to time, he cast his eye,
Lest this should quit his place, that step awry.
Appearances to save his only care;
So things seem right, no matter what they are. 300
In him his parents saw themselves renew'd,
Begotten by Sir Critic on Saint Prude.
Then came drum, trumpet, hautboy, fiddle, flute;
Next snuffer, sweeper, shifter, soldier, mute:
Legions of angels all in white advance;
Furies, all fire, come forward in a dance;
Pantomime figures then are brought to view,
Fools, hand in hand with fools, go two by two.
Next came the treasurer of either house;
One with full purse, t'other with not a sous. 310
Behind, a group of figures awe create,
Set off with all the impertinence of state;
By lace and feather consecrate to fame,
Expletive kings, and queens without a name.
Here Havard,[23] all serene, in the same strains,
Loves, hates, and rages, triumphs and complains;
His easy vacant face proclaim'd a heart
Which could not feel emotions, nor impart.
With him came mighty Davies:[24] on my life,
That Davies hath a very pretty wife! 320
Statesman all over, in plots famous grown,
He mouths a sentence, as curs mouth a bone.
Next Holland[25] came: with truly tragic stalk,
He creeps, he flies,--a hero should not walk.
As if with Heaven he warr'd, his eager eyes
Planted their batteries against the skies;
Attitude, action, air, pause, start, sigh, groan,
He borrow'd, and made use of as his own.
By fortune thrown on any other stage,
He might, perhaps, have pleased an easy age; 330
But now appears a copy, and no more,
Of something better we have seen before.
The actor who would build a solid fame,
Must Imitation's servile arts disclaim;
Act from himself, on his own bottom stand;
I hate e'en Garrick thus at second-hand.
Behind came King.[26]--Bred up in modest lore,
Bashful and young, he sought Hibernia's shore;
Hibernia, famed, 'bove every other grace,
For matchless intrepidity of face. 340
From her his features caught the generous flame,
And bid defiance to all sense of shame.
Tutor'd by her all rivals to surpass,
'Mongst Drury's sons he comes, and shines in Brass.
Lo, Yates[27]! Without the least finesse of art
He gets applause--I wish he'd get his part.
When hot Impatience is in full career,
How vilely 'Hark ye! hark ye!' grates the ear;
When active fancy from the brain is sent,
And stands on tip-toe for some wish'd event, 350
I hate those careless blunders, which recall
Suspended sense, and prove it fiction all.
In characters of low and vulgar mould,
Where Nature's coarsest features we behold;
Where, destitute of every decent grace,
Unmanner'd jests are blurted in your face,
There Yates with justice strict attention draws,
Acts truly from himself, and gains applause.
But when, to please himself or charm his wife,
He aims at something in politer life, 360
When, blindly thwarting Nature's stubborn plan,
He treads the stage by way of gentleman,
The clown, who no one touch of breeding knows,
Looks like Tom Errand[28] dress'd in Clincher's clothes.
Fond of his dress, fond of his person grown,
Laugh'd at by all, and to himself unknown,
Prom side to side he struts, he smiles, he prates,
And seems to wonder what's become of Yates.
Woodward[29], endow'd with various tricks of face,
Great master in the science of grimace, 370
From Ireland ventures, favourite of the town,
Lured by the pleasing prospect of renown;
A speaking harlequin, made up of whim,
He twists, he twines, he tortures every limb;
Plays to the eye with a mere monkey's art,
And leaves to sense the conquest of the heart.
We laugh indeed, but, on reflection's birth,
We wonder at ourselves, and curse our mirth.
His walk of parts he fatally misplaced,
And inclination fondly took for taste; 380
Hence hath the town so often seen display'd
Beau in burlesque, high life in masquerade.
But when bold wits,--not such as patch up plays,
Cold and correct, in these insipid days,--
Some comic character, strong featured, urge
To probability's extremest verge;
Where modest Judgment her decree suspends,
And, for a time, nor censures, nor commends;
Where critics can't determine on the spot
Whether it is in nature found or not, 390
There Woodward safely shall his powers exert,
Nor fail of favour where he shows desert;
Hence he in Bobadil such praises bore,
Such worthy praises, Kitely[30] scarce had more.
By turns transform'd into all kind of shapes,
Constant to none, Foote laughs, cries, struts, and scrapes:
Now in the centre, now in van or rear,
The Proteus shifts, bawd, parson, auctioneer.
His strokes of humour, and his bursts of sport,
Are all contain'd in this one word--distort. 400
Doth a man stutter, look a-squint, or halt?
Mimics draw humour out of Nature's fault,
With personal defects their mirth adorn,
And bang misfortunes out to public scorn.
E'en I, whom Nature cast in hideous mould,
Whom, having made, she trembled to behold,
Beneath the load of mimicry may groan,
And find that Nature's errors are my own.
Shadows behind of Foote and Woodward came;
Wilkinson this, Obrien[31] was that name. 410
Strange to relate, but wonderfully true,
That even shadows have their shadows too!
With not a single comic power endued,
The first a mere, mere mimic's mimic stood;
The last, by Nature form'd to please, who shows,
In Johnson's Stephen, which way genius grows,
Self quite put off, affects with too much art
To put on Woodward in each mangled part;
Adopts his shrug, his wink, his stare; nay, more,
His voice, and croaks; for Woodward croak'd before. 420
When a dull copier simple grace neglects,
And rests his imitation in defects,
We readily forgive; but such vile arts
Are double guilt in men of real parts.
By Nature form'd in her perversest mood,
With no one requisite of art endued,
Next Jackson came[32]--Observe that settled glare,
Which better speaks a puppet than a player;
List to that voice--did ever Discord hear
Sounds so well fitted to her untuned ear? 430
When to enforce some very tender part,
The right hand slips by instinct on the heart,
His soul, of every other thought bereft,
Is anxious only where to place the left;
He sobs and pants to soothe his weeping spouse;
To soothe his weeping mother, turns and bows:
Awkward, embarrass'd, stiff, without the skill
Of moving gracefully, or standing still,
One leg, as if suspicious of his brother,
Desirous seems to run away from t'other. 440
Some errors, handed down from age to age,
Plead custom's force, and still possess the stage.
That's vile: should we a parent's faults adore,
And err, because our fathers err'd before?
If, inattentive to the author's mind,
Some actors made the jest they could not find;
If by low tricks they marr'd fair Nature's mien,
And blurr'd the graces of the simple scene,
Shall we, if reason rightly is employ'd,
Not see their faults, or seeing, not avoid? 450
When Falstaff stands detected in a lie,
Why, without meaning, rolls Love's[33] glassy eye?
Why? There's no cause--at least no cause we know--
It was the fashion twenty years ago.
Fashion!--a word which knaves and fools may use,
Their knavery and folly to excuse.
To copy beauties, forfeits all pretence
To fame--to copy faults, is want of sense.
Yet (though in some particulars he fails,
Some few particulars, where mode prevails) 460
If in these hallow'd times, when, sober, sad,
All gentlemen are melancholy mad;
When 'tis not deem'd so great a crime by half
To violate a vestal as to laugh,
Rude mirth may hope, presumptuous, to engage
An act of toleration for the stage;
And courtiers will, like reasonable creatures,
Suspend vain fashion, and unscrew their features;
Old Falstaff, play'd by Love, shall please once more,
And humour set the audience in a roar. 470
Actors I've seen, and of no vulgar name,
Who, being from one part possess'd of fame,
Whether they are to laugh, cry, whine, or bawl,
Still introduce that favourite part in all.
Here, Love, be cautious--ne'er be thou betray'd
To call in that wag Falstaff's dangerous aid;
Like Goths of old, howe'er he seems a friend,
He'll seize that throne you wish him to defend.
In a peculiar mould by Humour cast,
For Falstaff framed--himself the first and last-- 480
He stands aloof from all--maintains his state,
And scorns, like Scotsmen, to assimilate.
Vain all disguise--too plain we see the trick,
Though the knight wears the weeds of Dominic[34];
And Boniface[35] disgraced, betrays the smack,
In _anno Domini_, of Falstaff sack.
Arms cross'd, brows bent, eyes fix'd, feet marching slow,
A band of malcontents with spleen o'erflow;
Wrapt in Conceit's impenetrable fog,
Which Pride, like Phoebus, draws from every bog, 490
They curse the managers, and curse the town
Whose partial favour keeps such merit down.
But if some man, more hardy than the rest,
Should dare attack these gnatlings in their nest,
At once they rise with impotence of rage,
Whet their small stings, and buzz about the stage:
'Tis breach of privilege! Shall any dare
To arm satiric truth against a player?
Prescriptive rights we plead, time out of mind;
Actors, unlash'd themselves, may lash mankind. 500
What! shall Opinion then, of nature free,
And liberal as the vagrant air, agree
To rust in chains like these, imposed by things,
Which, less than nothing, ape the pride of kings?
No--though half-poets with half-players join
To curse the freedom of each honest line;
Though rage and malice dim their faded cheek,
What the Muse freely thinks, she'll freely speak;
With just disdain of every paltry sneer,
Stranger alike to flattery and fear, 510
In purpose fix'd, and to herself a rule,
Public contempt shall wait the public fool.
Austin[36] would always glisten in French silks;
Ackman would Norris be, and Packer, Wilkes:
For who, like Ackman, can with humour please;
Who can, like Packer, charm with sprightly ease?
Higher than all the rest, see Bransby strut:
A mighty Gulliver in Lilliput!
Ludicrous Nature! which at once could show
A man so very high, so very low! 520
If I forget thee, Blakes, or if I say
Aught hurtful, may I never see thee play.
Let critics, with a supercilious air,
Decry thy various merit, and declare
Frenchman is still at top; but scorn that rage
Which, in attacking thee, attacks the age.
French follies, universally embraced,
At once provoke our mirth, and form our taste.
Long, from a nation ever hardly used,
At random censured, wantonly abused, 530
Have Britons drawn their sport; with partial view
Form'd general notions from the rascal few;
Condemn'd a people, as for vices known,
Which from their country banish'd, seek our own.
At length, howe'er, the slavish chain is broke,
And Sense, awaken'd, scorns her ancient yoke:
Taught by thee, Moody[37], we now learn to raise
Mirth from their foibles; from their virtues, praise.
Next came the legion which our summer Bayes[38],
From alleys, here and there, contrived to raise, 540
Flush'd with vast hopes, and certain to succeed,
With wits who cannot write, and scarce can read.
Veterans no more support the rotten cause,
No more from Elliot's[39] worth they reap applause;
Each on himself determines to rely;
Be Yates disbanded, and let Elliot fly.
Never did players so well an author fit,
To Nature dead, and foes declared to wit.
So loud each tongue, so empty was each head,
So much they talk'd, so very little said, 550
So wondrous dull, and yet so wondrous vain,
At once so willing, and unfit to reign,
That Reason swore, nor would the oath recall,
Their mighty master's soul inform'd them all.
As one with various disappointments sad,
Whom dulness only kept from being mad,
Apart from all the rest great Murphy came--
Common to fools and wits, the rage of fame.
What though the sons of Nonsense hail him Sire,
Auditor, Author, Manager, and Squire, 560
His restless soul's ambition stops not there;
To make his triumphs perfect, dub him Player.
In person tall, a figure form'd to please,
If symmetry could charm deprived of ease;
When motionless he stands, we all approve;
What pity 'tis the thing was made to move.
His voice, in one dull, deep, unvaried sound,
Seems to break forth from caverns under ground;
From hollow chest the low sepulchral note
Unwilling heaves, and struggles in his throat. 570
Could authors butcher'd give an actor grace,
All must to him resign the foremost place.
When he attempts, in some one favourite part,
To ape the feelings of a manly heart,
His honest features the disguise defy,
And his face loudly gives his tongue the lie.
Still in extremes, he knows no happy mean,
Or raving mad, or stupidly serene.
In cold-wrought scenes, the lifeless actor flags;
In passion, tears the passion into rags. 580
Can none remember? Yes--I know all must--
When in the Moor he ground his teeth to dust,
When o'er the stage he Folly's standard bore,
Whilst Common-Sense stood trembling at the door.
How few are found with real talents blest!
Fewer with Nature's gifts contented rest.
Man from his sphere eccentric starts astray:
All hunt for fame, but most mistake the way.
Bred at St Omer's to the shuffling trade,
The hopeful youth a Jesuit might have made; 590
With various readings stored his empty skull,
Learn'd without sense, and venerably dull;
Or, at some banker's desk, like many more,
Content to tell that two and two make four;
His name had stood in City annals fair,
And prudent Dulness mark'd him for a mayor.
What, then, could tempt thee, in a critic age,
Such blooming hopes to forfeit on a stage?
Could it be worth thy wondrous waste of pains
To publish to the world thy lack of brains? 600
Or might not Reason e'en to thee have shown,
Thy greatest praise had been to live unknown?
Yet let not vanity like thine despair:
Fortune makes Folly her peculiar care.
A vacant throne, high-placed in Smithfield, view.
To sacred Dulness and her first-born due,
Thither with haste in happy hour repair,
Thy birthright claim, nor fear a rival there.
Shuter himself shall own thy juster claim,
And venal Ledgers[40] puff their Murphy's name; 610
Whilst Vaughan[41], or Dapper, call him which you will,
Shall blow the trumpet, and give out the bill.
There rule, secure from critics and from sense,
Nor once shall Genius rise to give offence;
Eternal peace shall bless the happy shore,
And little factions[42] break thy rest no more.
From Covent Garden crowds promiscuous go,
Whom the Muse knows not, nor desires to know;
Veterans they seem'd, but knew of arms no more
Than if, till that time, arms they never bore: 620
Like Westminster militia[43] train'd to fight,
They scarcely knew the left hand from the right.
Ashamed among such troops to show the head,
Their chiefs were scatter'd, and their heroes fled.
Sparks[44] at his glass sat comfortably down
To separate frown from smile, and smile from frown.
Smith,[45] the genteel, the airy, and the smart,
Smith was just gone to school to say his part.
Ross[46] (a misfortune which we often meet)
Was fast asleep at dear Statira's[47] feet; 630
Statira, with her hero to agree,
Stood on her feet as fast asleep as he.
Macklin[48], who largely deals in half-form'd sounds,
Who wantonly transgresses Nature's bounds,
Whose acting's hard, affected, and constrain'd,
Whose features, as each other they disdain'd,
At variance set, inflexible and coarse,
Ne'er know the workings of united force,
Ne'er kindly soften to each other's aid,
Nor show the mingled powers of light and shade; 640
No longer for a thankless stage concern'd,
To worthier thoughts his mighty genius turn'd,
Harangued, gave lectures, made each simple elf
Almost as good a speaker as himself;
Whilst the whole town, mad with mistaken zeal,
An awkward rage for elocution feel;
Dull cits and grave divines his praise proclaim,
And join with Sheridan's[49] their Macklin's name.
Shuter, who never cared a single pin
Whether he left out nonsense, or put in, 650
Who aim'd at wit, though, levell'd in the dark,
The random arrow seldom hit the mark,
At Islington[50], all by the placid stream
Where city swains in lap of Dulness dream,
Where quiet as her strains their strains do flow,
That all the patron by the bards may know,
Secret as night, with Rolt's[51] experienced aid,
The plan of future operations laid,
Projected schemes the summer months to cheer,
And spin out happy folly through the year. 660
But think not, though these dastard chiefs are fled,
That Covent Garden troops shall want a head:
Harlequin comes their chief! See from afar
The hero seated in fantastic car!
Wedded to Novelty, his only arms
Are wooden swords, wands, talismans, and charms;
On one side Folly sits, by some call'd Fun,
And on the other his arch-patron, Lun;[52]
Behind, for liberty athirst in vain,
Sense, helpless captive, drags the galling chain: 670
Six rude misshapen beasts the chariot draw,
Whom Reason loathes, and Nature never saw,
Monsters with tails of ice, and heads of fire;
'Gorgons, and Hydras, and Chimeras dire.'
Each was bestrode by full as monstrous wight,
Giant, dwarf, genius, elf, hermaphrodite.
The Town, as usual, met him in full cry;
The Town, as usual, knew no reason why:
But Fashion so directs, and Moderns raise
On Fashion's mouldering base their transient praise. 680
Next, to the field a band of females draw
Their force, for Britain owns no Salique law:
Just to their worth, we female rights admit,
Nor bar their claim to empire or to wit.
First giggling, plotting chambermaids arrive,
Hoydens and romps, led on by General Clive.[53]
In spite of outward blemishes, she shone,
For humour famed, and humour all her own:
Easy, as if at home, the stage she trod,
Nor sought the critic's praise, nor fear'd his rod: 690
Original in spirit and in ease,
She pleased by hiding all attempts to please:
No comic actress ever yet could raise,
On Humour's base, more merit or more praise.
With all the native vigour of sixteen,
Among the merry troop conspicuous seen,
See lively Pope[54] advance, in jig, and trip
Corinna, Cherry, Honeycomb, and Snip:
Not without art, but yet to nature true,
She charms the town with humour just, yet new: 700
Cheer'd by her promise, we the less deplore
The fatal time when Olive shall be no more.
Lo! Vincent[55] comes! With simple grace array'd,
She laughs at paltry arts, and scorns parade:
Nature through her is by reflection shown,
Whilst Gay once more knows Polly for his own.
Talk not to me of diffidence and fear--
I see it all, but must forgive it here;
Defects like these, which modest terrors cause,
From Impudence itself extort applause. 710
Candour and Reason still take Virtue's part;
We love e'en foibles in so good a heart.
Let Tommy Arne[56],--with usual pomp of style,
Whose chief, whose only merit's to compile;
Who, meanly pilfering here and there a bit,
Deals music out as Murphy deals out wit,--
Publish proposals, laws for taste prescribe,
And chaunt the praise of an Italian tribe;
Let him reverse kind Nature's first decrees,
And teach e'en Brent[57] a method not to please; 720
But never shall a truly British age
Bear a vile race of eunuchs on the stage;
The boasted work's call'd national in vain,
If one Italian voice pollutes the strain.
Where tyrants rule, and slaves with joy obey,
Let slavish minstrels pour the enervate lay;
To Britons far more noble pleasures spring,
In native notes whilst Beard and Vincent[58] sing.
Might figure give a title unto fame,
What rival should with Yates[59] dispute her claim? 730
But justice may not partial trophies raise,
Nor sink the actress' in the woman's praise.
Still hand in hand her words and actions go,
And the heart feels more than the features show;
For, through the regions of that beauteous face
We no variety of passions trace;
Dead to the soft emotions of the heart,
No kindred softness can those eyes impart:
The brow, still fix'd in sorrow's sullen frame,
Void of distinction, marks all parts the same. 740
What's a fine person, or a beauteous face,
Unless deportment gives them decent grace?
Bless'd with all other requisites to please,
Some want the striking elegance of ease;
The curious eye their awkward movement tires;
They seem like puppets led about by wires.
Others, like statues, in one posture still,
Give great ideas of the workman's skill;
Wond'ring, his art we praise the more we view,
And only grieve he gave not motion too. 750
Weak of themselves are what we beauties call,
It is the manner which gives strength to all;
This teaches every beauty to unite,
And brings them forward in the noblest light;
Happy in this, behold, amidst the throng,
With transient gleam of grace, Hart[60] sweeps along.
If all the wonders of external grace,
A person finely turn'd, a mould of face,
Where--union rare--expression's lively force
With beauty's softest magic holds discourse, 760
Attract the eye; if feelings, void of art,
Rouse the quick passions, and inflame the heart;
If music, sweetly breathing from the tongue,
Captives the ear, Bride[61] must not pass unsung.
When fear, which rank ill-nature terms conceit,
By time and custom conquer'd, shall retreat;
When judgment, tutor'd by experience sage,
Shall shoot abroad, and gather strength from age;
When Heaven, in mercy, shall the stage release
From the dull slumbers of a still-life piece; 770
When some stale flower[62], disgraceful to the walk,
Which long hath hung, though wither'd, on the stalk,
Shall kindly drop, then Bride shall make her way,
And merit find a passage to the day;
Brought into action, she at once shall raise
Her own renown, and justify our praise.
Form'd for the tragic scene, to grace the stage
With rival excellence of love and rage;
Mistress of each soft art, with matchless skill
To turn and wind the passions as she will; 780
To melt the heart with sympathetic woe,
Awake the sigh, and teach the tear to flow;
To put on frenzy's wild, distracted glare,
And freeze the soul with horror and despair;
With just desert enroll'd in endless fame,
Conscious of worth superior, Cibber[63] came.
When poor Alicia's madd'ning brains are rack'd,
And strongly imaged griefs her mind distract,
Struck with her grief, I catch the madness too,
My brain turns round, the headless trunk I view! 790
The roof cracks, shakes, and falls--new horrors rise,
And Reason buried in the ruin lies!
Nobly disdainful of each slavish art,
She makes her first attack upon the heart;
Pleased with the summons, it receives her laws,
And all is silence, sympathy, applause.
But when, by fond ambition drawn aside,
Giddy with praise, and puff'd with female pride,
She quits the tragic scene, and, in pretence
To comic merit, breaks down nature's fence, 800
I scarcely can believe my ears or eyes,
Or find out Cibber through the dark disguise.
Pritchard[64], by Nature for the stage design'd,
In person graceful, and in sense refined;
Her art as much as Nature's friend became,
Her voice as free from blemish as her fame,
Who knows so well in majesty to please,
Attemper'd with the graceful charms of ease?
When, Congreve's favoured pantomime[65] to grace,
She comes a captive queen, of Moorish race; 810
When love, hate, jealousy, despair, and rage
With wildest tumults in her breast engage,
Still equal to herself is Zara seen;
Her passions are the passions of a queen.
When she to murder whets the timorous Thane,[66]
I feel ambition rush through every vein;
Persuasion hangs upon her daring tongue,
My heart grows flint, and every nerve's new strung.
In comedy--Nay, there, cries Critic, hold;
Pritchard's for comedy too fat and old: 820
Who can, with patience, bear the gray coquette,
Or force a laugh with over-grown Julett?[67]
Her speech, look, action, humour, all are just,
But then, her age and figure give disgust.
Are foibles, then, and graces of the mind,
In real life, to size or age confined?
Do spirits flow, and is good-breeding placed
In any set circumference of waist?
As we grow old, doth affectation cease,
Or gives not age new vigour to caprice? 830
If in originals these things appear,
Why should we bar them in the copy here?
The nice punctilio-mongers of this age,
The grand minute reformers of the stage,
Slaves to propriety of every kind,
Some standard measure for each part should find,
Which, when the best of actors shall exceed,
Let it devolve to one of smaller breed.
All actors, too, upon the back should bear
Certificate of birth; time, when; place, where; 840
For how can critics rightly fix their worth,
Unless they know the minute of their birth?
An audience, too, deceived, may find, too late,
That they have clapp'd an actor out of date.
Figure, I own, at first may give offence,
And harshly strike the eye's too curious sense;
But when perfections of the mind break forth,
Humour's chaste sallies, judgment's solid worth;
When the pure genuine flame by Nature taught,
Springs into sense and every action's thought; 850
Before such merit all objections fly--
Pritchard's genteel, and Garrick's six feet high.
Oft have I, Pritchard, seen thy wondrous skill,
Confess'd thee great, but find thee greater still;
That worth, which shone in scatter'd rays before,
Collected now, breaks forth with double power.
The 'Jealous Wife!'[68] on that thy trophies raise,
Inferior only to the author's praise.
From Dublin, famed in legends of romance
For mighty magic of enchanted lance, 860
With which her heroes arm'd, victorious prove,
And, like a flood, rush o'er the land of Love,
Mossop and Barry came--names ne'er design'd
By Fate in the same sentence to be join'd.
Raised by the breath of popular acclaim,
They mounted to the pinnacle of fame;
There the weak brain, made giddy with the height,
Spurr'd on the rival chiefs to mortal fight.
Thus sportive boys, around some basin's brim,
Behold the pipe-drawn bladders circling swim; 870
But if, from lungs more potent, there arise
Two bubbles of a more than common size,
Eager for honour, they for fight prepare,
Bubble meets bubble, and both sink to air.
Mossop[69] attach'd to military plan,
Still kept his eye fix'd on his right-hand[70] man;
Whilst the mouth measures words with seeming skill,
The right hand labours, and the left lies still;
For he, resolved on Scripture grounds to go,
What the right doth, the left-hand shall not know, 880
With studied impropriety of speech,
He soars beyond the hackney critic's reach;
To epithets allots emphatic state,
Whilst principals, ungraced, like lackeys wait;
In ways first trodden by himself excels,
And stands alone in indeclinables;
Conjunction, preposition, adverb join
To stamp new vigour on the nervous line;
In monosyllables his thunders roll,
He, she, it, and we, ye, they, fright the soul. 890
In person taller than the common size,
Behold where Barry[71] draws admiring eyes!
When labouring passions, in his bosom pent,
Convulsive rage, and struggling heave for vent;
Spectators, with imagined terrors warm,
Anxious expect the bursting of the storm:
But, all unfit in such a pile to dwell,
His voice comes forth, like Echo from her cell,
To swell the tempest needful aid denies,
And all adown the stage in feeble murmurs dies. 900
What man, like Barry, with such pains, can err
In elocution, action, character?
What man could give, if Barry was not here,
Such well applauded tenderness to Lear?
Who else can speak so very, very fine,
That sense may kindly end with every line?
Some dozen lines before the ghost is there,
Behold him for the solemn scene prepare:
See how he frames his eyes, poises each limb,
Puts the whole body into proper trim:-- 910
From whence we learn, with no great stretch of art,
Five lines hence comes a ghost, and, ha! a start.
When he appears most perfect, still we find
Something which jars upon and hurts the mind:
Whatever lights upon a part are thrown,
We see too plainly they are not his own:
No flame from Nature ever yet he caught,
Nor knew a feeling which he was not taught:
He raised his trophies on the base of art,
And conn'd his passions, as he conn'd his part. 920
Quin,[72] from afar, lured by the scent of fame,
A stage leviathan, put in his claim,
Pupil of Betterton[73] and Booth. Alone,
Sullen he walk'd, and deem'd the chair his own:
For how should moderns, mushrooms of the day,
Who ne'er those masters knew, know how to play?
Gray-bearded veterans, who, with partial tongue,
Extol the times when they themselves were young,
Who, having lost all relish for the stage,
See not their own defects, but lash the age, 930
Received, with joyful murmurs of applause,
Their darling chief, and lined[74] his favourite cause.
Far be it from the candid Muse to tread
Insulting o'er the ashes of the dead:
But, just to living merit, she maintains,
And dares the test, whilst Garrick's genius reigns,
Ancients in vain endeavour to excel,
Happily praised, if they could act as well.
But, though prescription's force we disallow,
Nor to antiquity submissive bow; 940
Though we deny imaginary grace,
Founded on accidents of time and place,
Yet real worth of every growth shall bear
Due praise; nor must we, Quin, forget thee there.
His words bore sterling weight; nervous and strong,
In manly tides of sense they roll'd along:
Happy in art, he chiefly had pretence
To keep up numbers, yet not forfeit sense;
No actor ever greater heights could reach
In all the labour'd artifice of speech. 950
Speech! is that all? And shall an actor found
An universal fame on partial ground?
Parrots themselves speak properly by rote,
And, in six months, my dog shall howl by note.
I laugh at those who, when the stage they tread,
Neglect the heart, to compliment the head;
With strict propriety their cares confined
To weigh out words, while passion halts behind:
To syllable-dissectors they appeal,
Allow them accent, cadence,--fools may feel; 960
But, spite of all the criticising elves,
Those who would make us feel, must feel themselves.
His eyes, in gloomy socket taught to roll,
Proclaim'd the sullen 'habit of his soul:'
Heavy and phlegmatic he trod the stage,
Too proud for tenderness, too dull for rage.
When Hector's lovely widow shines in tears,
Or Rowe's[75] gay rake dependent virtue jeers,
With the same cast of features he is seen
To chide the libertine, and court the queen. 970
From the tame scene, which without passion flows,
With just desert his reputation rose;
Nor less he pleased, when, on some surly plan,
He was, at once, the actor and the man.
In Brute[76] he shone unequall'd: all agree
Garrick's not half so great a Brute as he.
When Cato's labour'd scenes are brought to view,
With equal praise the actor labour'd too;
For still you'll find, trace passions to their root,
Small difference 'twixt the Stoic and the Brute. 980
In fancied scenes, as in life's real plan,
He could not, for a moment, sink the man.
In whate'er cast his character was laid,
Self still, like oil, upon the surface play'd.
Nature, in spite of all his skill, crept in:
Horatio, Dorax,[77] Falstaff,--still 'twas Quin.
Next follows Sheridan.[78] A doubtful name,
As yet unsettled in the rank of fame:
This, fondly lavish in his praises grown,
Gives him all merit; that allows him none; 990
Between them both, we'll steer the middle course,
Nor, loving praise, rob Judgment of her force.
Just his conceptions, natural and great,
His feelings strong, his words enforced with weight.
Was speech-famed Quin himself to hear him speak,
Envy would drive the colour from his cheek;
But step-dame Nature, niggard of her grace,
Denied the social powers of voice and face.
Fix'd in one frame of features, glare of eye,
Passions, like chaos, in confusion lie; 1000
In vain the wonders of his skill are tried
To form distinctions Nature hath denied.
His voice no touch of harmony admits,
Irregularly deep, and shrill by fits.
The two extremes appear like man and wife,
Coupled together for the sake of strife.
His action's always strong, but sometimes such,
That candour must declare he acts too much.
Why must impatience fall three paces back?
Why paces three return to the attack? 1010
Why is the right leg, too, forbid to stir,
Unless in motion semicircular?
Why must the hero with the Nailor[79] vie,
And hurl the close-clench'd fist at nose or eye?
In Royal John, with Philip angry grown,
I thought he would have knock'd poor Davies down.
Inhuman tyrant! was it not a shame
To fright a king so harmless and so tame?
But, spite of all defects, his glories rise,
And art, by judgment form'd, with nature vies. 1020
Behold him sound the depth of Hubert's[80] soul,
Whilst in his own contending passions roll;
View the whole scene, with critic judgment scan,
And then deny him merit, if you can.
Where he falls short, 'tis Nature's fault alone;
Where he succeeds, the merit's all his own.
Last Garrick[81] came. Behind him throng a train
Of snarling critics, ignorant as vain.
One finds out--He's of stature somewhat low--
Your hero always should be tall, you know; 1030
True natural greatness all consists in height.
Produce your voucher, Critic.--Serjeant Kite.[82]
Another can't forgive the paltry arts
By which he makes his way to shallow hearts;
Mere pieces of finesse, traps for applause--
'Avaunt! unnatural start, affected pause!'
For me, by Nature form'd to judge with phlegm,
I can't acquit by wholesale, nor condemn.
The best things carried to excess are wrong;
The start may be too frequent, pause too long: 1040
But, only used in proper time and place,
Severest judgment must allow them grace.
If bunglers, form'd on Imitation's plan,
Just in the way that monkeys mimic man,
Their copied scene with mangled arts disgrace,
And pause and start with the same vacant face,
We join the critic laugh; those tricks we scorn
Which spoil the scenes they mean them to adorn.
But when, from Nature's pure and genuine source,
These strokes of acting flow with generous force, 1050
When in the features all the soul's portray'd,
And passions, such as Garrick's, are display'd,
To me they seem from quickest feelings caught--
Each start is nature, and each pause is thought.
When reason yields to passion's wild alarms,
And the whole state of man is up in arms,
What but a critic could condemn the player
For pausing here, when cool sense pauses there?
Whilst, working from the heart, the fire I trace,
And mark it strongly flaming to the face; 1060
Whilst in each sound I hear the very man,
I can't catch words, and pity those who can.
Let wits, like spiders, from the tortured brain
Fine-draw the critic-web with curious pain;
The gods,--a kindness I with thanks must pay,--
Have form'd me of a coarser kind of clay;
Not stung with envy, nor with spleen diseased,
A poor dull creature, still with Nature pleased:
Hence to thy praises, Garrick, I agree,
And, pleased with Nature, must be pleased with thee. 1070
Now might I tell how silence reign'd throughout,
And deep attention hush'd the rabble rout;
How every claimant, tortured with desire,
Was pale as ashes, or as red as fire;
But loose to fame, the Muse more simply acts,
Rejects all flourish, and relates mere facts.
The judges, as the several parties came,
With temper heard, with judgment weigh'd each claim;
And, in their sentence happily agreed,
In name of both, great Shakspeare thus decreed:-- 1080
If manly sense, if Nature link'd with Art;
If thorough knowledge of the human heart;
If powers of acting vast and unconfined;
If fewest faults with greatest beauties join'd;
If strong expression, and strange powers which lie
Within the magic circle of the eye;
If feelings which few hearts like his can know,
And which no face so well as his can show,
Deserve the preference--Garrick! take the chair;
Nor quit it--till thou place an equal there. 1090
* * * * *
Footnotes:
[1] 'The Rosciad:' for occasion, &c., see Life.
[2] 'Roscius:' Quintus Roscius, a native of Gaul, and the most
celebrated comedian of antiquity. [3] 'Clive:' Robert Lord Clive. See
Macaulay's paper on him.
[4] 'Shuter:' Edward Shuter, a comic actor, who, after various
theatrical vicissitudes, died a zealous methodist and disciple of
George Whitefield, in 1776.
[5] 'Yates:' Richard Yates, another low actor of the period.
[6] 'Foote:' Samuel Foote, the once well-known farcical writer, (now
chiefly remembered from Boswell's Life of Johnson), opened the Old
House in the Haymarket, and, in order to overrule the opposition of
the magistrates, announced his entertainments as 'Mr Foote's giving
tea to his friends.'
[7] 'Wilkinson:' Wilkinson, the shadow of Foote, was the proprietor of
Sadler's Wells Theatre.
[8] 'Palmer:' John Palmer, a favourite actor in genteel comedy, who
married Miss Pritchard, daughter of the celebrated actress of that
name.
[9] 'Barry:' Spranger Barry, an actor of first-rate eminence and tall
of size. Barry was a competitor of Garrick. Every one remembers the
lines in a poem comparing the two--
'To Barry we give loud applause;
To Garrick only tears.'
[10] 'Coan:' John Coan, a dwarf, showed himself, like another Tom
Thumb, for sixpence a-head.
[11] 'Ackman:' Ackman ranked as one of the lowest comic actors of his
time.
[12] 'Sterne:' the celebrated Laurence Sterne.
[13] 'Franklin:' Dr Thomas Franklin, the translator of Sophocles,
Phalaris, and Lucian, and the author of a volume of sermons; all
forgotten.
[14] 'Colman:' Colman, the elder, translator of Terence, and author of
many clever comedies.
[15] 'Murphy:' Arthur Murphy, Esq., a native of Ireland. See Boswell's
Life of Johnson. Churchill hated Murphy on account of his politics. He
was in the pay of the Court.
[16] 'Northern race:' Wedderburn, afterwards Lord Loughborough, and
Earl Rosslyn, a patron of Murphy, and a bitter enemy of Wilkes.
[17] 'Proteus Hill:' Sir John Hill, a celebrated character of that day,
of incredible industry and versatility, a botanist, apothecary,
translator, actor, dramatic author, natural historian, multitudinous
compiler, libeller, and, _intus et in cute_, a quack and coxcomb. See
Boswell's account of the interview between the King and Dr Johnson,
for a somewhat modified estimate of Hill.
[18] 'Woodward:' Woodward the comedian had a paper war with Hill.
[19] 'Fools:' the person here meant was a Mr Fitzpatrick, a bitter
enemy of Garrick's, and who originated riots in the theatre on the
subject of half-price.
[20] 'A youth:' Robert Lloyd, the friend and imitator of Churchill--an
ingenious but improvident person, who died of grief at his friend's
death, in 1764.
[21] 'Foster:' Sir Michael Foster, one of the puisne judges of the
Court of King's Bench.
[22] 'Ode:' alluding to Mason's Ode to Memory.
[23] 'Havard:' William Havard, an amiable man, but mediocre actor, of
the period.
[24] 'Davies:' Thomas Davies, a bookseller, actor, and author. See
Boswell.
[25] 'Holland:' Holland, a pupil and imitator of Mr Garrick.
[26] 'King:' Thomas King, a voluble and pert but clever actor.
[27] 'Yates:' Yates had a habit of repeating his words twice or thrice
over, such as 'Hark you, hark you.'
[28] 'Tom Errand:' Tom Errand and Clincher, two well-known dramatic
characters--a Clown and a coxcomb.
[29] 'Woodward:' Henry Woodward, comic actor of much power of face.
[30] 'Kitely:' Kitely, in Johnson's 'Every Man in his Humour,' was a
favourite character of Garrick's.
[31] 'Obrien:' a small actor; originally a fencing-master.
[32] 'Jackson:' afterwards manager of the Royal Theatre, Edinburgh.
[33] 'Love:' James Love, an actor and dramatic writer, who could play
nothing well but Falstaff.
[34] 'Dominic:' Dryden's 'Spanish Friar.' [35] 'Boniface:' The jovial
landlord in Farquhar's 'Beaux Stratagem.'
[36] 'Austin,' &c.: all small and forgotten actors.
[37] 'Moody:' Moody excelled in Irish characters.
[38] 'Bayes:' alluding to the summer theatre in the Haymarket, where
Murphy's plays were got up and acted under the joint management of
himself and Mr Foote.
[39] 'Elliot:' a female actress of great merit.
[40] 'Ledgers:' the Public Ledger, a newspaper.
[41] 'Vaughan:' Thomas Vaughan, a friend of Murphy.
[42] 'Little factions:' Murphy had called Churchill and his friends
'The Little Faction.'
[43] 'Militia:' the Westminster militia and the city of London trained
bands and lumber troopers, afforded much amusement.
[44] 'Sparks:' Luke Sparks, an actor of the time, rather hard in his
manner.
[45] 'Smith:' Called Gentleman Smith,' an actor in genteel comedy,
corpulent in person.
[46] 'Ross:' a Scotchman, dissipated in his habits.
[47] 'Statira:' Ross's Statira was Mrs Palmer, the daughter of Mrs
Pritchard.
[48] 'Macklin:' Charles Macklin, _alias_ M'Laughlin, good in such
characters as Shylock, &c.; no tragedian; a lecturer on elocution;
coarse in features.
[49] 'Sheridan:' father of Richard Brinsley. See Boswell and Moore.
[50] 'Islington:' the new river.
[51] 'Rolt:' a drudge to the booksellers, who plagiarised Akenside's
'Pleasures of Imagination,' and was a coadjutor with Christopher
Smart in the 'Universal Visitor.' See Boswell.
[52] 'Lun:' Mr John Rich, the manager of Covent Garden and Lincoln's
Inn Fields Theatre, called Lun for his performance of Harlequin; famous
for pantomimes.
[53] 'Clive:' Catherine Clive, a celebrated comic actress, of very
diversified powers; 'a better romp' than Jonson 'ever saw in nature.'
[54] 'Pope:' a pleasing protégé of Mrs Clive.
[55] 'Vincent:' Mrs Vincent, a tolerable actress and a fine singer.
[56] 'Arne:' a fine musician, but no writer.
[57] 'Brent:' a female scholar of Arne's, very popular as Polly in the
'Beggars Opera.'
[58] 'Beard and Vincent:' famous singers.
[59] 'Yates:' Anna Maria Yates, the wife of Richard Yates, mentioned in
a preceding note.
[60] 'Hart:' Mrs Hart, a demirep, married to one Reddish, who, after
her death, wedded Mrs Canning, mother of the great statesman.
[61] 'Bride:' another beautiful, but disreputable actress.
[62] 'Stale flower,' &c.: an unmanly allusion to Mrs Palmer, the
daughter of Mrs Pritchard, who was greatly inferior to her mother.
[63] 'Cibber:' sister to Arne, and wife to the once notorious
Theophilus Cibber, the son of the hero of the 'Dunciad.' She was no
better in character than many actresses of that day; but sang so
plaintively, that a bishop who heard her once cried out, 'Woman, thy
sins be forgiven thee!'
[64] 'Pritchard:' according to Johnson, 'in private a vulgar idiot,
but who, on the stage, seemed to become inspired with gentility and
understanding.'
[65] 'Pantomime:' the 'Mourning Bride.'
[66] 'Thane:' Macbeth.
[67] 'Juletta:' a witty maid-servant in the play of 'The Pilgrim.'
[68] The 'Jealous Wife:' the 'Jealous Wife,' by Colman, was taken from
the story of Lady Bellaston, in 'Tom Jones.'
[69] 'Mossop:' Henry Mossop, a powerful, fiery, but irregular actor,
very unfortunate in life.
[70] 'Right-hand:' Mossop practised the 'tea-pot attitude.'
[71] 'Barry:' Spranger Barry, mentioned above as Garrick's great rival.
He acted in Covent Garden.
[72] 'Quin:' the friend of Thomson, (see 'Castle of Indolence'),
instructor in reading of George III., famous for indolence, wit, good
nature, and corpulence.
[73] 'Betterton:' the great actor of the seventeenth century, whose
funeral and character are described in the 'Tatler.' Booth was his
successor and copy.
[74] 'Lined:' supported.
[75] 'Rowe.' Andromache, in the tragedy of the 'Distressed Mother,' by
Ambrose Philips, and Lothario, in the 'Fair Penitent,' by Rowe.
[76] 'Brute:' Sir John Brute, in Vanbrugh's 'Provoked Wife.'
[77] 'Dorax:' a soldier in Dryden's 'Don Sebastian.'
[78] 'Sheridan:' see a previous note.
[79] 'Nailor:' pugilist.
[80] 'Hubert:' in King John.
[81] 'Garrick:' see Boswell and Murphy's life of that great actor.
[82] 'Serjeant Kite:' the recruiting serjeant in Farquhar's 'Recruiting
Officer.'
THE APOLOGY.
ADDRESSED TO THE CRITICAL REVIEWERS.[83]
Tristitiam et Metus.--HORACE.
Laughs not the heart when giants, big with pride,
Assume the pompous port, the martial stride;
O'er arm Herculean heave the enormous shield,
Vast as a weaver's beam the javelin wield;
With the loud voice of thundering Jove defy,
And dare to single combat--what?--A fly!
And laugh we less when giant names, which shine
Establish'd, as it were, by right divine;
Critics, whom every captive art adores,
To whom glad Science pours forth all her stores; 10
Who high in letter'd reputation sit,
And hold, Astraea-like, the scales of wit,
With partial rage rush forth--oh! shame to tell!--
To crush a bard just bursting from the shell?
Great are his perils in this stormy time
Who rashly ventures on a sea of rhyme:
Around vast surges roll, winds envious blow,
And jealous rocks and quicksands lurk below:
Greatly his foes he dreads, but more his friends;
He hurts me most who lavishly commends. 20
Look through the world--in every other trade
The same employment's cause of kindness made,
At least appearance of good will creates,
And every fool puffs off the fool he hates:
Cobblers with cobblers smoke away the night,
And in the common cause e'en players unite;
Authors alone, with more than savage rage,
Unnatural war with brother authors wage.
The pride of Nature would as soon admit
Competitors in empire as in wit; 30
Onward they rush, at Fame's imperious call,
And, less than greatest, would not be at all.
Smit with the love of honour,--or the pence,--
O'errun with wit, and destitute of sense,
Should any novice in the rhyming trade
With lawless pen the realms of verse invade,
Forth from the court, where sceptred sages sit,
Abused with praise, and flatter'd into wit,
Where in lethargic majesty they reign,
And what they won by dulness, still maintain, 40
Legions of factious authors throng at once,
Fool beckons fool, and dunce awakens dunce.
To 'Hamilton's[84] the ready lies repair--
Ne'er was lie made which was not welcome there--
Thence, on maturer judgment's anvil wrought,
The polish'd falsehood's into public brought.
Quick-circulating slanders mirth afford;
And reputation bleeds in every word.
A critic was of old a glorious name,
Whose sanction handed merit up to fame; 50
Beauties as well as faults he brought to view;
His judgment great, and great his candour too;
No servile rules drew sickly taste aside;
Secure he walk'd, for Nature was his guide.
But now--oh! strange reverse!--our critics bawl
In praise of candour with a heart of gall;
Conscious of guilt, and fearful of the light,
They lurk enshrouded in the vale of night;
Safe from detection, seize the unwary prey,
And stab, like bravoes, all who come that way. 60
When first my Muse, perhaps more bold than wise,
Bade the rude trifle into light arise,
Little she thought such tempests would ensue;
Less, that those tempests would be raised by you.
The thunder's fury rends the towering oak,
Rosciads, like shrubs, might 'scape the fatal stroke.
Vain thought! a critic's fury knows no bound;
Drawcansir-like, he deals destruction round;
Nor can we hope he will a stranger spare,
Who gives no quarter to his friend Voltaire.[85] 70
Unhappy Genius! placed by partial Fate
With a free spirit in a slavish state;
Where the reluctant Muse, oppress'd by kings,
Or droops in silence, or in fetters sings!
In vain thy dauntless fortitude hath borne
The bigot's furious zeal, and tyrant's scorn.
Why didst thou safe from home-bred dangers steer,
Reserved to perish more ignobly here?
Thus, when, the Julian tyrant's pride to swell,
Rome with her Pompey at Pharsalia fell, 80
The vanquish'd chief escaped from Caesar's hand,
To die by ruffians in a foreign land.
How could these self-elected monarchs raise
So large an empire on so small a base?
In what retreat, inglorious and unknown,
Did Genius sleep when Dulness seized the throne?
Whence, absolute now grown, and free from awe,
She to the subject world dispenses law.
Without her licence not a letter stirs,
And all the captive criss-cross-row is hers. 90
The Stagyrite, who rules from Nature drew,
Opinions gave, but gave his reasons too.
Our great Dictators take a shorter way--
Who shall dispute what the Reviewers say?
Their word's sufficient; and to ask a reason,
In such a state as theirs, is downright treason.
True judgment now with them alone can dwell;
Like Church of Rome, they're grown infallible.
Dull superstitious readers they deceive,
Who pin their easy faith on critic's sleeve, 100
And knowing nothing, everything believe!
But why repine we that these puny elves
Shoot into giants?--we may thank ourselves:
Fools that we are, like Israel's fools of yore,
The calf ourselves have fashion'd we adore.
But let true Reason once resume her reign,
This god shall dwindle to a calf again.
Founded on arts which shun the face of day,
By the same arts they still maintain their sway.
Wrapp'd in mysterious secrecy they rise, 110
And, as they are unknown, are safe and wise.
At whomsoever aim'd, howe'er severe,
The envenom'd slander flies, no names appear:
Prudence forbids that step;--then all might know,
And on more equal terms engage the foe.
But now, what Quixote of the age would care
To wage a war with dirt, and fight with air?
By interest join'd, the expert confederates stand,
And play the game into each other's hand:
The vile abuse, in turn by all denied, 120
Is bandied up and down, from side to side:
It flies--hey!--presto!--like a juggler's ball,
Till it belongs to nobody at all.
All men and things they know, themselves unknown,
And publish every name--except their own.
Nor think this strange,--secure from vulgar eyes,
The nameless author passes in disguise;
But veteran critics are not so deceived,
If veteran critics are to be believed.
Once seen, they know an author evermore, 130
Nay, swear to hands they never saw before.
Thus in 'The Rosciad,' beyond chance or doubt,
They by the writing found the writers out:
That's Lloyd's--his manner there you plainly trace,
And all the Actor stares you in the face.
By Colman that was written--on my life,
The strongest symptoms of the 'Jealous Wife.'
That little disingenuous piece of spite,
Churchill--a wretch unknown!--perhaps might write.
How doth it make judicious readers smile, 140
When authors are detected by their style;
Though every one who knows this author, knows
He shifts his style much oftener than his clothes!
Whence could arise this mighty critic spleen,
The Muse a trifler, and her theme so mean?
What had I done, that angry Heaven should send
The bitterest foe where most I wish'd a friend?
Oft hath my tongue been wanton at thy name,[86]
And hail'd the honours of thy matchless fame.
For me let hoary Fielding bite the ground, 150
So nobler Pickle stands superbly bound;
From Livy's temples tear the historic crown,
Which with more justice blooms upon thine own.
Compared with thee, be all life-writers dumb,
But he who wrote the Life of Tommy Thumb.
Who ever read 'The Regicide,' but swore
The author wrote as man ne'er wrote before?
Others for plots and under-plots may call,
Here's the right method--have no plot at all.
Who can so often in his cause engage 160
The tiny pathos of the Grecian stage,
Whilst horrors rise, and tears spontaneous flow
At tragic Ha! and no less tragic Oh!
To praise his nervous weakness all agree;
And then for sweetness, who so sweet as he!
Too big for utterance when sorrows swell,
The too big sorrows flowing tears must tell;
But when those flowing tears shall cease to flow,
Why--then the voice must speak again, you know.
Rude and unskilful in the poet's trade, 170
I kept no Naïads by me ready made;
Ne'er did I colours high in air advance,
Torn from the bleeding fopperies of France;[87]
No flimsy linsey-woolsey scenes I wrote,
With patches here and there, like Joseph's coat.
Me humbler themes befit: secure, for me,
Let play-wrights smuggle nonsense duty free;
Secure, for me, ye lambs, ye lambkins! bound,
And frisk and frolic o'er the fairy ground.
Secure, for me, thou pretty little fawn! 180
Lick Sylvia's hand, and crop the flowery lawn;
Uncensured let the gentle breezes rove
Through the green umbrage of the enchanted grove:
Secure, for me, let foppish Nature smile,
And play the coxcomb in the 'Desert Isle.'
The stage I chose--a subject fair and free--
'Tis yours--'tis mine--'tis public property.
All common exhibitions open lie,
For praise or censure, to the common eye.
Hence are a thousand hackney writers fed; 190
Hence Monthly Critics earn their daily bread.
This is a general tax which all must pay,
From those who scribble, down to those who play.
Actors, a venal crew, receive support
From public bounty for the public sport.
To clap or hiss all have an equal claim,
The cobbler's and his lordship's right's the same.
All join for their subsistence; all expect
Free leave to praise their worth, their faults correct.
When active Pickle Smithfield stage ascends, 200
The three days' wonder of his laughing friends,
Each, or as judgment or as fancy guides,
The lively witling praises or derides.
And where's the mighty difference, tell me where,
Betwixt a Merry Andrew and a player?
The strolling tribe--a despicable race!--
Like wandering Arabs, shift from place to place.
Vagrants by law, to justice open laid,
They tremble, of the beadle's lash afraid,
And, fawning, cringe for wretched means of life 210
To Madam Mayoress, or his Worship's wife.
The mighty monarch, in theatric sack,
Carries his whole regalia at his back;
His royal consort heads the female band,
And leads the heir apparent in her hand;
The pannier'd ass creeps on with conscious pride,
Bearing a future prince on either side.
No choice musicians in this troop are found,
To varnish nonsense with the charms of sound;
No swords, no daggers, not one poison'd bowl; 220
No lightning flashes here, no thunders roll;
No guards to swell the monarch's train are shown;
The monarch here must be a host alone:
No solemn pomp, no slow processions here;
No Ammon's entry, and no Juliet's bier.
By need compell'd to prostitute his art,
The varied actor flies from part to part;
And--strange disgrace to all theatric pride!--
His character is shifted with his side.
Question and answer he by turns must be, 230
Like that small wit in modern tragedy,[88]
Who, to patch up his fame--or fill his purse--
Still pilfers wretched plans, and makes them worse;
Like gypsies, lest the stolen brat be known,
Defacing first, then claiming for his own.
In shabby state they strut, and tatter'd robe,
The scene a blanket, and a barn the globe:
No high conceits their moderate wishes raise,
Content with humble profit, humble praise.
Let dowdies simper, and let bumpkins stare, 240
The strolling pageant hero treads in air:
Pleased, for his hour he to mankind gives law,
And snores the next out on a truss of straw.
But if kind Fortune, who sometimes, we know,
Can take a hero from a puppet-show,
In mood propitious should her favourite call,
On royal stage in royal pomp to bawl,
Forgetful of himself, he rears the head,
And scorns the dunghill where he first was bred;
Conversing now with well dress'd kings and queens, 250
With gods and goddesses behind the scenes,
He sweats beneath the terror-nodding plume,
Taught by mock honours real pride to assume.
On this great stage, the world, no monarch e'er
Was half so haughty as a monarch player.
Doth it more move our anger or our mirth
To see these things, the lowest sons of earth,
Presume, with self-sufficient knowledge graced,
To rule in letters, and preside in taste?
The town's decisions they no more admit, 260
Themselves alone the arbiters of wit;
And scorn the jurisdiction of that court
To which they owe their being and support.
Actors, like monks of old, now sacred grown,
Must be attack'd by no fools but their own.
Let the vain tyrant[89] sit amidst his guards,
His puny green-room wits and venal bards,
Who meanly tremble at the puppet's frown,
And for a playhouse-freedom lose their own;
In spite of new-made laws, and new-made kings, 270
The free-born Muse with liberal spirit sings.
Bow down, ye slaves! before these idols fall;
Let Genius stoop to them who've none at all:
Ne'er will I flatter, cringe, or bend the knee
To those who, slaves to all, are slaves to me.
Actors, as actors, are a lawful game,
The poet's right, and who shall bar his claim?
And if, o'erweening of their little skill,
When they have left the stage, they're actors still;
If to the subject world they still give laws, 280
With paper crowns, and sceptres made of straws;
If they in cellar or in garret roar,
And, kings one night, are kings for evermore;
Shall not bold Truth, e'en there, pursue her theme,
And wake the coxcomb from his golden dream?
Or if, well worthy of a better fate,
They rise superior to their present state;
If, with each social virtue graced, they blend
The gay companion and the faithful friend;
If they, like Pritchard, join in private life 290
The tender parent and the virtuous wife;
Shall not our verse their praise with pleasure speak,
Though Mimics bark, and Envy split her cheek?
No honest worth's beneath the Muse's praise;
No greatness can above her censure raise;
Station and wealth to her are trifling things;
She stoops to actors, and she soars to kings.
Is there a man,[90] in vice and folly bred,
To sense of honour as to virtue dead,
Whom ties, nor human, nor divine can bind, 300
Alien from God, and foe to all mankind;
Who spares no character; whose every word,
Bitter as gall, and sharper than the sword,
Cuts to the quick; whose thoughts with rancour swell;
Whose tongue, on earth, performs the work of hell?
If there be such a monster, the Reviews
Shall find him holding forth against abuse:
Attack profession!--'tis a deadly breach!
The Christian laws another lesson teach:--
Unto the end shall Charity endure, 310
And Candour hide those faults it cannot cure.
Thus Candour's maxims flow from Rancour's throat,
As devils, to serve their purpose, Scripture quote.
The Muse's office was by Heaven design'd
To please, improve, instruct, reform mankind;
To make dejected Virtue nobly rise
Above the towering pitch of splendid Vice;
To make pale Vice, abash'd, her head hang down,
And, trembling, crouch at Virtue's awful frown.
Now arm'd with wrath, she bids eternal shame, 320
With strictest justice, brand the villain's name;
Now in the milder garb of ridicule
She sports, and pleases while she wounds the fool.
Her shape is often varied; but her aim,
To prop the cause of Virtue, still the same.
In praise of Mercy let the guilty bawl;
When Vice and Folly for correction call,
Silence the mark of weakness justly bears,
And is partaker of the crimes it spares.
But if the Muse, too cruel in her mirth, 330
With harsh reflections wounds the man of worth;
If wantonly she deviates from her plan,
And quits the actor to expose the man;[91]
Ashamed, she marks that passage with a blot,
And hates the line where candour was forgot.
But what is candour, what is humour's vein,
Though judgment join to consecrate the strain,
If curious numbers will not aid afford,
Nor choicest music play in every word?
Verses must run, to charm a modern ear, 340
From all harsh, rugged interruptions clear.
Soft let them breathe, as Zephyr's balmy breeze,
Smooth let their current flow, as summer seas;
Perfect then only deem'd when they dispense
A happy tuneful vacancy of sense.
Italian fathers thus, with barbarous rage,
Fit helpless infants for the squeaking stage;
Deaf to the calls of pity, Nature wound,
And mangle vigour for the sake of sound.
Henceforth farewell, then, feverish thirst of fame; 350
Farewell the longings for a poet's name;
Perish my Muse--a wish 'bove all severe
To him who ever held the Muses dear--
If e'er her labours weaken to refine
The generous roughness of a nervous line.
Others affect the stiff and swelling phrase;
Their Muse must walk in stilts, and strut in stays;
The sense they murder, and the words transpose,
Lest poetry approach too near to prose.
See tortured Reason how they pare and trim, 360
And, like Procrustes, stretch, or lop the limb.
Waller! whose praise succeeding bards rehearse,
Parent of harmony in English verse,
Whose tuneful Muse in sweetest accents flows,
In couplets first taught straggling sense to close.
In polish'd numbers and majestic sound,
Where shall thy rival, Pope! be ever found?
But whilst each line with equal beauty flows.
E'en excellence, unvaried, tedious grows.
Nature, through all her works, in great degree, 370
Borrows a blessing from variety.
Music itself her needful aid requires
To rouse the soul, and wake our dying fires.
Still in one key, the nightingale would tease;
Still in one key, not Brent would always please.
Here let me bend, great Dryden! at thy shrine,
Thou dearest name to all the Tuneful Nine!
What if some dull lines in cold order creep,
And with his theme the poet seems to sleep?
Still, when his subject rises proud to view, 380
With equal strength the poet rises too:
With strong invention, noblest vigour fraught,
Thought still springs up and rises out of thought;
Numbers ennobling numbers in their course,
In varied sweetness flow, in varied force;
The powers of genius and of judgment join,
And the whole Art of Poetry is thine.
But what are numbers, what are bards to me,
Forbid to tread the paths of poesy?
A sacred Muse should consecrate her pen-- 390
Priests must not hear nor see like other men--
Far higher themes should her ambition claim:
Behold where Sternhold points the way to fame!
Whilst with mistaken zeal dull bigots burn,
Let Reason for a moment take her turn.
When coffee-sages hold discourse with kings,
And blindly walk in paper leading-strings,
What if a man delight to pass his time
In spinning reason into harmless rhyme,
Or sometimes boldly venture to the play? 400
Say, where's the crime, great man of prudence, say?
No two on earth in all things can agree;
All have some darling singularity:
Women and men, as well as girls and boys,
In gew-gaws take delight, and sigh for toys.
Your sceptres and your crowns, and such like things,
Are but a better kind of toys for kings.
In things indifferent Reason bids us choose,
Whether the whim's a monkey or a Muse.
What the grave triflers on this busy scene, 410
When they make use of this word Reason, mean,
I know not; but according to my plan,
'Tis Lord Chief-Justice in the court of man;
Equally form'd to rule in age or youth,
The friend of virtue and the guide to truth;
To her I bow, whose sacred power I feel;
To her decision make my last appeal;
Condemn'd by her, applauding worlds in vain
Should tempt me to take up the pen again;
By her absolved, my course I'll still pursue: 420
If Reason's for me, God is for me too.
* * * * *
Footnotes:
[83] For occasion, &c. of this, see Life.
[84] 'Hamilton:' Archibald Hamilton, printer of the 'Critical Review.'
[85] 'Voltaire:' Smollett had changed his opinion of Voltaire, and from
praising, had begun to abuse him.
[86] 'Thy name:' Dr Tobias Smollett, the well-known author of 'Roderick
Random, 'The Regicide,' an unfortunate tragedy, and one of the editors
of the 'Critical Review,'is here satirised.
[87] 'Fopperies of France,' &c.: in these lines the poet refers to
Murphy's practice of vamping up French plays, and to his 'Desert
Island,' a ridiculous pastoral drama.
[88] 'Modern tragedy:' Mr Murphy again.
[89] 'Vain tyrant,' &c.: Garrick is here meant; he had displeased
Churchill by pretending that he had written 'The Rosciad' to gain the
freedom of the playhouse. He apologised very humbly to Churchill, and
a reconciliation took place.
[90] 'A man:' Dr Smollett again.
[91] 'Expose the man:' referring to some personal lines on one Mr John
Palmer, which occurred in the first edition, but which he expunged.
NIGHT.[92]
AN EPISTLE TO ROBERT LLOYD.
Contrarius evehor orbi.--OVID, Met. lib. ii.
When foes insult, and prudent friends dispense,
In pity's strains, the worst of insolence,
Oft with thee, Lloyd, I steal an hour from grief,
And in thy social converse find relief.
The mind, of solitude impatient grown,
Loves any sorrows rather than her own.
Let slaves to business, bodies without soul,
Important blanks in Nature's mighty roll,
Solemnise nonsense in the day's broad glare,
We Night prefer, which heals or hides our care. 10
Rogues justified, and by success made bold,
Dull fools and coxcombs sanctified by gold,
Freely may bask in fortune's partial ray,
And spread their feathers opening to the day;
But threadbare Merit dares not show the head
Till vain Prosperity retires to bed.
Misfortunes, like the owl, avoid the light;
The sons of Care are always sons of Night.
The wretch, bred up in Method's drowsy school,
Whose only merit is to err by rule, 20
Who ne'er through heat of blood was tripping caught,
Nor guilty deem'd of one eccentric thought;
Whose soul directed to no use is seen,
Unless to move the body's dull machine,
Which, clock-work like, with the same equal pace
Still travels on through life's insipid space,
Turns up his eyes to think that there should be,
Among God's creatures, two such things as we;
Then for his nightcap calls, and thanks the powers
Which kindly gave him grace to keep good hours. 30
Good hours!--fine words--but was it ever seen
That all men could agree in what they mean?
Florio, who many years a course hath run
In downright opposition to the sun,
Expatiates on good hours, their cause defends
With as much vigour as our prudent friends.
The uncertain term no settled notion brings,
But still in different mouths means different things;
Each takes the phrase in his own private view;
With Prudence it is ten, with Florio two. 40
Go on, ye fools! who talk for talking sake,
Without distinguishing, distinctions make;
Shine forth in native folly, native pride,
Make yourselves rules to all the world beside;
Reason, collected in herself, disdains
The slavish yoke of arbitrary chains;
Steady and true, each circumstance she weighs,
Nor to bare words inglorious tribute pays.
Men of sense live exempt from vulgar awe,
And Reason to herself alone is law: 50
That freedom she enjoys with liberal mind,
Which she as freely grants to all mankind.
No idol-titled name her reverence stirs,
No hour she blindly to the rest prefers;
All are alike, if they're alike employ'd,
And all are good if virtuously enjoy'd.
Let the sage Doctor (think him one we know)
With scraps of ancient learning overflow,
In all the dignity of wig declare
The fatal consequence of midnight air, 60
How damps and vapours, as it were by stealth,
Undermine life, and sap the walls of health:
For me let Galen moulder on the shelf,
I'll live, and be physician to myself.
Whilst soul is join'd to body, whether fate
Allot a longer or a shorter date,
I'll make them live, as brother should with brother,
And keep them in good humour with each other.
The surest road to health, say what they will,
Is never to suppose we shall be ill. 70
Most of those evils we poor mortals know,
From doctors and imagination flow.
Hence to old women with your boasted rules,
Stale traps, and only sacred now to fools;
As well may sons of physic hope to find
One medicine, as one hour, for all mankind!
If Rupert after ten is out of bed,
The fool next morning can't hold up his head;
What reason this which me to bed must call,
Whose head, thank Heaven, never aches at all? 80
In different courses different tempers run;
He hates the moon, I sicken at the sun.
Wound up at twelve at noon, his clock goes right;
Mine better goes, wound up at twelve at night.
Then in oblivion's grateful cup I drown
The galling sneer, the supercilious frown,
The strange reserve, the proud, affected state
Of upstart knaves grown rich, and fools grown great.
No more that abject wretch[93] disturbs my rest,
Who meanly overlooks a friend distress'd. 90
Purblind to poverty, the worldling goes,
And scarce sees rags an inch beyond his nose;
But from a crowd can single out his Grace,
And cringe and creep to fools who strut in lace.
Whether those classic regions are survey'd
Where we in earliest youth together stray'd,
Where hand in hand we trod the flowery shore,
Though now thy happier genius runs before;
When we conspired a thankless wretch[94] to raise,
And taught a stump to shoot with pilfer'd praise, 100
Who once, for reverend merit famous grown,
Gratefully strove to kick his maker down;
Or if more general arguments engage,--
The court or camp, the pulpit, bar, or stage;
If half-bred surgeons, whom men doctors call,
And lawyers, who were never bred at all,
Those mighty letter'd monsters of the earth,
Our pity move, or exercise our mirth;
Or if in tittle-tattle, toothpick way,
Our rambling thoughts with easy freedom stray,-- 110
A gainer still thy friend himself must find,
His grief suspended, and improved his mind.
Whilst peaceful slumbers bless the homely bed
Where virtue, self-approved, reclines her head;
Whilst vice beneath imagined horrors mourns,
And conscience plants the villain's couch with thorns;
Impatient of restraint, the active mind,
No more by servile prejudice confined,
Leaps from her seat, as waken'd from a trance
And darts through Nature at a single glance 120
Then we our friends, our foes, ourselves, survey,
And see by Night what fools we are by day.
Stripp'd of her gaudy plumes, and vain disguise,
See where ambition, mean and loathsome, lies;
Reflection with relentless hand pulls down
The tyrant's bloody wreath and ravish'd crown.
In vain he tells of battles bravely won,
Of nations conquer'd, and of worlds undone;
Triumphs like these but ill with manhood suit,
And sink the conqueror beneath the brute. 130
But if, in searching round the world, we find
Some generous youth, the friend of all mankind,
Whose anger, like the bolt of Jove, is sped
In terrors only at the guilty head,
Whose mercies, like heaven's dew, refreshing fall
In general love and charity to all,
Pleased we behold such worth on any throne,
And doubly pleased we find it on our own.
Through a false medium things are shown by day;
Pomp, wealth, and titles, judgment lead astray. 140
How many from appearance borrow state,
Whom Night disdains to number with the great!
Must not we laugh to see yon lordling proud
Snuff up vile incense from a fawning crowd?
Whilst in his beam surrounding clients play,
Like insects in the sun's enlivening ray,
Whilst, Jehu-like, he drives at furious rate,
And seems the only charioteer of state,
Talking himself into a little god,
And ruling empires with a single nod; 150
Who would not think, to hear him law dispense,
That he had interest, and that they had sense?
Injurious thought! beneath Night's honest shade,
When pomp is buried, and false colours fade,
Plainly we see at that impartial hour,
Them dupes to pride, and him the tool of power.
God help the man, condemn'd by cruel fate
To court the seeming, or the real great!
Much sorrow shall he feel, and suffer more
Than any slave who labours at the oar! 160
By slavish methods must he learn to please,
By smooth-tongued flattery, that cursed court-disease;
Supple, to every wayward mood strike sail,
And shift with shifting humour's peevish gale.
To nature dead, he must adopt vile art,
And wear a smile, with anguish in his heart.
A sense of honour would destroy his schemes,
And conscience ne'er must speak unless in dreams.
When he hath tamely borne, for many years,
Cold looks, forbidding frowns, contemptuous sneers, 170
When he at last expects, good easy man!
To reap the profits of his labour'd plan,
Some cringing lackey, or rapacious whore,
To favours of the great the surest door,
Some catamite, or pimp, in credit grown,
Who tempts another's wife, or sells his own,
Steps 'cross his hopes, the promised boon denies,
And for some minion's minion claims the prize.
Foe to restraint, unpractised in deceit,
Too resolute, from nature's active heat, 180
To brook affronts, and tamely pass them by,
Too proud to flatter, too sincere to lie,
Too plain to please, too honest to be great,
Give me, kind Heaven, an humbler, happier state:
Far from the place where men with pride deceive,
Where rascals promise, and where fools believe;
Far from the walk of folly, vice, and strife,
Calm, independent, let me steal through life;
Nor one vain wish my steady thoughts beguile
To fear his Lordship's frown, or court his smile. 190
Unfit for greatness, I her snares defy,
And look on riches with untainted eye:
To others let the glittering baubles fall,
Content shall place us far above them all.
Spectators only on this bustling stage,
We see what vain designs mankind engage:
Vice after vice with ardour they pursue,
And one old folly brings forth twenty new.
Perplex'd with trifles through the vale of life,
Man strives 'gainst man, without a cause for strife: 200
Armies embattled meet, and thousands bleed
For some vile spot, where fifty cannot feed.
Squirrels for nuts contend, and, wrong or right,
For the world's empire kings, ambitious, fight.
What odds?--to us 'tis all the self-same thing,
A nut, a world, a squirrel, and a king.
Britons, like Roman spirits famed of old,
Are cast by nature in a patriot mould;
No private joy, no private grief, they know,
Their souls engross'd by public weal or woe; 210
Inglorious ease, like ours, they greatly scorn;
Let care with nobler wreaths their brows adorn:
Gladly they toil beneath the statesman's pains,
Give them but credit for a statesman's brains.
All would be deem'd, e'en from the cradle, fit
To rule in politics as well as wit.
The grave, the gay, the fopling, and the dunce,
Start up (God bless us!) statesman all at once.
His mighty charge of souls the priest forgets,
The court-bred lord his promises and debts; 220
Soldiers their fame, misers forget their pelf,
The rake his mistress, and the fop himself;
Whilst thoughts of higher moment claim their care,
And their wise heads the weight of kingdoms bear.
Females themselves the glorious ardour feel,
And boast an equal or a greater zeal;
From nymph to nymph the state-infection flies,
Swells in her breast, and sparkles in her eyes.
O'erwhelm'd by politics lie malice, pride,
Envy, and twenty other faults beside. 230
No more their little fluttering hearts confess
A passion for applause, or rage for dress;
No more they pant for public raree-shows,
Or lose one thought on monkeys or on beaux:
Coquettes no more pursue the jilting plan,
And lustful prudes forget to rail at man:
The darling theme Cecilia's self will choose,
Nor thinks of scandal whilst she talks of news.
The cit, a common-councilman by place,
Ten thousand mighty nothings in his face, 240
By situation as by nature great,
With nice precision parcels out the state;
Proves and disproves, affirms and then denies,
Objects himself, and to himself replies;
Wielding aloft the politician rod,
Makes Pitt by turns a devil and a god;
Maintains, e'en to the very teeth of Power,
The same thing right and wrong in half an hour:
Now all is well, now he suspects a plot,
And plainly proves, whatever is, is not: 250
Fearfully wise, he shakes his empty head,
And deals out empires as he deals out thread;
His useless scales are in a corner flung,
And Europe's balance hangs upon his tongue.
Peace to such triflers! be our happier plan
To pass through life as easy as we can.
Who's in or out, who moves this grand machine,
Nor stirs my curiosity, nor spleen.
Secrets of state no more I wish to know
Than secret movements of a puppet-show: 260
Let but the puppets move, I've my desire,
Unseen the hand which guides the master-wire.
What is't to us if taxes rise or fall?
Thanks to our fortune, we pay none at all.
Let muckworms, who in dirty acres deal,
Lament those hardships which we cannot feel.
His Grace, who smarts, may bellow if he please,
But must I bellow too, who sit at ease?
By custom safe, the poet's numbers flow
Free as the light and air some years ago. 270
No statesman e'er will find it worth his pains
To tax our labours, and excise our brains.
Burthens like these, vile earthly buildings bear;
No tribute's laid on castles in the air.
Let, then, the flames of war destructive reign,
And England's terrors awe imperious Spain;
Let every venal clan[95] and neutral tribe
Learn to receive conditions, not prescribe;
Let each new year call loud for new supplies,
And tax on tax with double burthen rise; 280
Exempt we sit, by no rude cares oppress'd,
And, having little, are with little bless'd.
All real ills in dark oblivion lie,
And joys, by fancy form'd, their place supply;
Night's laughing hours unheeded slip away,
Nor one dull thought foretells approach of day.
Thus have we lived, and whilst the Fates afford
Plain plenty to supply the frugal board;
Whilst Mirth with Decency, his lovely bride,
And wine's gay god, with Temperance by his side, 290
Their welcome visit pay; whilst Health attends
The narrow circle of our chosen friends;
Whilst frank Good-humour consecrates the treat,
And woman makes society complete,
Thus will we live, though in our teeth are hurl'd
Those hackney strumpets, Prudence and the World.
Prudence, of old a sacred term, implied
Virtue, with godlike wisdom for her guide;
But now in general use is known to mean
The stalking-horse of vice, and folly's screen. 300
The sense perverted, we retain the name;
Hypocrisy and Prudence are the same.
A tutor once, more read in men than books,
A kind of crafty knowledge in his looks,
Demurely sly, with high preferment bless'd,
His favourite pupil in these words address'd:--
Wouldst thou, my son, be wise and virtuous deem'd;
By all mankind a prodigy esteem'd?
Be this thy rule; be what men prudent call;
Prudence, almighty Prudence, gives thee all. 310
Keep up appearances; there lies the test;
The world will give thee credit for the rest.
Outward be fair, however foul within;
Sin if thou wilt, but then in secret sin.
This maxim's into common favour grown,
Vice is no longer vice, unless 'tis known.
Virtue, indeed, may barefaced take the field;
But vice is virtue when 'tis well conceal'd.
Should raging passion drive thee to a whore,
Let Prudence lead thee to a postern door; 320
Stay out all night, but take especial care
That Prudence bring thee back to early prayer.
As one with watching and with study faint,
Reel in a drunkard, and reel out a saint.
With joy the youth this useful lesson heard,
And in his memory stored each precious word;
Successfully pursued the plan, and now,
Room for my Lord--Virtue, stand by and bow.
And is this all--is this the worldling's art,
To mask, but not amend a vicious heart 330
Shall lukewarm caution, and demeanour grave,
For wise and good stamp every supple knave
Shall wretches, whom no real virtue warms,
Gild fair their names and states with empty forms;
While Virtue seeks in vain the wish'd-for prize,
Because, disdaining ill, she hates disguise;
Because she frankly pours fourth all her store,
Seems what she is, and scorns to pass for more
Well--be it so--let vile dissemblers hold
Unenvied power, and boast their dear-bought gold; 340
Me neither power shall tempt, nor thirst of pelf,
To flatter others, or deny myself;
Might the whole world be placed within my span,
I would not be that thing, that prudent man.
What! cries Sir Pliant, would you then oppose
Yourself, alone, against a host of foes?
Let not conceit, and peevish lust to rail,
Above all sense of interest prevail.
Throw off, for shame! this petulance of wit;
Be wise, be modest, and for once submit: 350
Too hard the task 'gainst multitudes to fight;
You must be wrong; the World is in the right.
What is this World?--A term which men have got
To signify, not one in ten knows what;
A term, which with no more precision passes
To point out herds of men than herds of asses;
In common use no more it means, we find,
Than many fools in same opinions join'd.
Can numbers, then, change Nature's stated laws?
Can numbers make the worse the better cause? 360
Vice must be vice, virtue be virtue still,
Though thousands rail at good, and practise ill.
Wouldst thou defend the Gaul's destructive rage,
Because vast nations on his part engage?
Though, to support the rebel Caesar's cause,
Tumultuous legions arm against the laws;
Though scandal would our patriot's name impeach,
And rails at virtues which she cannot reach,
What honest man but would with joy submit
To bleed with Cato, and retire with Pitt?[96] 370
Steadfast and true to virtue's sacred laws,
Unmoved by vulgar censure, or applause,
Let the World talk, my friend; that World, we know,
Which calls us guilty, cannot make us so.
Unawed by numbers, follow Nature's plan;
Assert the rights, or quit the name of man.
Consider well, weigh strictly right and wrong;
Resolve not quick, but once resolved, be strong.
In spite of Dulness, and in spite of Wit,
If to thyself thou canst thyself acquit, 380
Rather stand up, assured with conscious pride,
Alone, than err with millions on thy side.
* * * * *
Footnotes:
[92] 'Night:' this poem was written to defend the irregularities
imputed to the poet.
[93] 'Abject wretch:' Thornton, who abandoned Lloyd in his distress.
[94] 'Thankless wretch:' one Sellon, a popular clergyman, aided at
first by Churchill and his set, but who betrayed and blackened them
afterwards. We meet with him again in 'The Ghost' as Plausible.
[95] 'Venal Clan:' alluding to Mr Pitt's employing the Highland clans
in the American war.
[96] 'Pitt:' who retired in 1761, because the cabinet would not go to
war with Spain.
THE PROPHECY OF FAMINE.
A SCOTS PASTORAL INSCRIBED TO JOHN WILKES, ESQ.
Nos patriam fugimus.--VIRGIL.
When Cupid first instructs his darts to fly
From the sly corner of some cook-maid's eye,
The stripling raw, just enter'd in his teens,
Receives the wound, and wonders what it means;
His heart, like dripping, melts, and new desire
Within him stirs, each time she stirs the fire;
Trembling and blushing, he the fair one views,
And fain would speak, but can't--without a Muse.
So to the sacred mount he takes his way,
Prunes his young wings, and tunes his infant lay, 10
His oaten reed to rural ditties frames,
To flocks and rocks, to hills and rills, proclaims,
In simplest notes, and all unpolish'd strains,
The loves of nymphs, and eke the loves of swains.
Clad, as your nymphs were always clad of yore,
In rustic weeds--a cook-maid now no more--
Beneath an aged oak Lardella lies--
Green moss her couch, her canopy the skies.
From aromatic shrubs the roguish gale
Steals young perfumes and wafts them through the vale. 20
The youth, turn'd swain, and skill'd in rustic lays,
Fast by her side his amorous descant plays.
Herds low, flocks bleat, pies chatter, ravens scream,
And the full chorus dies a-down the stream:
The streams, with music freighted, as they pass
Present the fair Lardella with a glass;
And Zephyr, to complete the love-sick plan,
Waves his light wings, and serves her for a fan.
But when maturer Judgment takes the lead,
These childish toys on Reason's altar bleed; 30
Form'd after some great man, whose name breeds awe,
Whose every sentence Fashion makes a law;
Who on mere credit his vain trophies rears,
And founds his merit on our servile fears;
Then we discard the workings of the heart,
And nature's banish'd by mechanic art;
Then, deeply read, our reading must be shown;
Vain is that knowledge which remains unknown:
Then Ostentation marches to our aid,
And letter'd Pride stalks forth in full parade; 40
Beneath their care behold the work refine,
Pointed each sentence, polish'd every line;
Trifles are dignified, and taught to wear
The robes of ancients with a modern air;
Nonsense with classic ornaments is graced,
And passes current with the stamp of taste.
Then the rude Theocrite is ransack'd o'er,
And courtly Maro call'd from Mincio's shore;
Sicilian Muses on our mountains roam,
Easy and free as if they were at home; 50
Nymphs, naïads, nereïds, dryads, satyrs, fauns,
Sport in our floods, and trip it o'er our lawns;
Flowers which once flourish'd fair in Greece and Rome,
More fair revive in England's meads to bloom;
Skies without cloud, exotic suns adorn,
And roses blush, but blush without a thorn;
Landscapes, unknown to dowdy Nature, rise,
And new creations strike our wondering eyes.
For bards like these, who neither sing nor say,
Grave without thought, and without feeling gay, 60
Whose numbers in one even tenor flow,
Attuned to pleasure, and attuned to woe;
Who, if plain Common-Sense her visit pays,
And mars one couplet in their happy lays,
As at some ghost affrighted, start and stare,
And ask the meaning of her coming there:
For bards like these a wreath shall Mason[97] bring,
Lined with the softest down of Folly's wing;
In Love's pagoda shall they ever doze,
And Gisbal[98] kindly rock them to repose; 70
My Lord ----, to letters as to faith most true--
At once their patron and example too--
Shall quaintly fashion his love-labour'd dreams,
Sigh with sad winds, and weep with weeping streams;[99]
Curious in grief (for real grief, we know,
Is curious to dress up the tale of woe),
From the green umbrage of some Druid's seat
Shall his own works, in his own way, repeat.
Me, whom no Muse of heavenly birth inspires,
No judgment tempers when rash genius fires; 80
Who boast no merit but mere knack of rhyme,
Short gleams of sense, and satire out of time;
Who cannot follow where trim fancy leads,
By prattling streams, o'er flower-empurpled meads;
Who often, but without success, have pray'd
For apt Alliteration's artful aid;
Who would, but cannot, with a master's skill,
Coin fine new epithets, which mean no ill:
Me, thus uncouth, thus every way unfit
For pacing poesy, and ambling wit, 90
Taste with contempt beholds, nor deigns to place
Amongst the lowest of her favour'd race.
Thou, Nature, art my goddess--to thy law
Myself I dedicate! Hence, slavish awe!
Which bends to fashion, and obeys the rules
Imposed at first, and since observed by fools;
Hence those vile tricks which mar fair Nature's hue,
And bring the sober matron forth to view,
With all that artificial tawdry glare
Which virtue scorns, and none but strumpets wear! 100
Sick of those pomps, those vanities, that waste
Of toil, which critics now mistake for taste;
Of false refinements sick, and labour'd ease,
Which art, too thinly veil'd, forbids to please;
By Nature's charms (inglorious truth!) subdued,
However plain her dress, and 'haviour rude,
To northern climes my happier course I steer,
Climes where the goddess reigns throughout the year;
Where, undisturb'd by Art's rebellious plan,
She rules the loyal laird, and faithful clan. 110
To that rare soil, where virtues clustering grow,
What mighty blessings doth not England owe!
What waggon-loads of courage, wealth, and sense,
Doth each revolving day import from thence?
To us she gives, disinterested friend!
Faith without fraud, and Stuarts[100] without end.
When we prosperity's rich trappings wear,
Come not her generous sons and take a share?
And if, by some disastrous turn of fate,
Change should ensue, and ruin seize the state, 120
Shall we not find, safe in that hallow'd ground,
Such refuge as the holy martyr[101] found?
Nor less our debt in science, though denied
By the weak slaves of prejudice and pride.
Thence came the Ramsays,[102] names of worthy note,
Of whom one paints, as well as t'other wrote;
Thence, Home,[103] disbanded from the sons of prayer
For loving plays, though no dull Dean[104] was there;
Thence issued forth, at great Macpherson's[105] call,
That old, new, epic pastoral, Fingal; 130
Thence Malloch,[106] friend alike to Church and State,
Of Christ and Liberty, by grateful Fate
Raised to rewards, which, in a pious reign,
All daring infidels should seek in vain;
Thence simple bards, by simple prudence taught,
To this wise town by simple patrons brought,
In simple manner utter simple lays,
And take, with simple pensions, simple praise.
Waft me, some Muse, to Tweed's inspiring stream,
Where all the little Loves and Graces dream; 140
Where, slowly winding, the dull waters creep,
And seem themselves to own the power of sleep;
Where on the surface lead, like feathers, swims;
There let me bathe my yet unhallow'd limbs,
As once a Syrian bathed in Jordan's flood--
Wash off my native stains, correct that blood
Which mutinies at call of English pride,
And, deaf to prudence, rolls a patriot tide.
From solemn thought which overhangs the brow
Of patriot care, when things are--God knows how; 150
From nice trim points, where Honour, slave to Rule,
In compliment to Folly, plays the fool;
From those gay scenes, where Mirth exalts his power,
And easy Humour wings the laughing hour;
From those soft better moments, when desire
Beats high, and all the world of man's on fire;
When mutual ardours of the melting fair
More than repay us for whole years of care,
At Friendship's summons will my Wilkes retreat,
And see, once seen before, that ancient seat, 160
That ancient seat, where majesty display'd
Her ensigns, long before the world was made!
Mean narrow maxims, which enslave mankind,
Ne'er from its bias warp thy settled mind:
Not duped by party, nor opinion's slave,
Those faculties which bounteous nature gave,
Thy honest spirit into practice brings,
Nor courts the smile, nor dreads the frown of kings.
Let rude licentious Englishmen comply
With tumult's voice, and curse--they know not why; 170
Unwilling to condemn, thy soul disdains
To wear vile faction's arbitrary chains,
And strictly weighs, in apprehension clear,
Things as they are, and not as they appear.
With thee good humour tempers lively wit;
Enthroned with Judgment, Candour loves to sit;
And nature gave thee, open to distress,
A heart to pity, and a hand to bless.
Oft have I heard thee mourn the wretched lot
Of the poor, mean, despised, insulted Scot, 180
Who, might calm reason credit idle tales,
By rancour forged where prejudice prevails,
Or starves at home, or practises, through fear
Of starving, arts which damn all conscience here.
When scribblers, to the charge by interest led,
The fierce North Briton[107] foaming at their head,
Pour forth invectives, deaf to Candour's call,
And, injured by one alien, rail at all;
On northern Pisgah when they take their stand,
To mark the weakness of that Holy Land, 190
With needless truths their libels to adorn,
And hang a nation up to public scorn,
Thy generous soul condemns the frantic rage,
And hates the faithful, but ill-natured page.
The Scots are poor, cries surly English pride;
True is the charge, nor by themselves denied.
Are they not, then, in strictest reason clear,
Who wisely come to mend their fortunes here?
If, by low supple arts successful grown,
They sapp'd our vigour to increase their own; 200
If, mean in want, and insolent in power,
They only fawn'd more surely to devour,
Roused by such wrongs, should Reason take alarm,
And e'en the Muse for public safety arm?
But if they own ingenuous virtue's sway,
And follow where true honour points the way,
If they revere the hand by which they're fed,
And bless the donors for their daily bread,
Or, by vast debts of higher import bound,
Are always humble, always grateful found: 210
If they, directed by Paul's holy pen,
Become discreetly all things to all men,
That all men may become all things to them,
Envy may hate, but Justice can't condemn.
Into our places, states, and beds they creep;
They've sense to get, what we want sense to keep.
Once--be the hour accursed, accursed the place!--
I ventured to blaspheme the chosen race.
Into those traps, which men call'd patriots laid,
By specious arts unwarily betray'd, 220
Madly I leagued against that sacred earth,
Vile parricide! which gave a parent birth:
But shall I meanly error's path pursue,
When heavenly truth presents her friendly clue?
Once plunged in ill, shall I go farther in?
To make the oath, was rash: to keep it, sin.
Backward I tread the paths I trod before,
And calm reflection hates what passion swore.
Converted, (blessed are the souls which know
Those pleasures which from true conversion flow, 230
Whether to reason, who now rules my breast,
Or to pure faith, like Lyttelton and West),[108]
Past crimes to expiate, be my present aim
To raise new trophies to the Scottish name;
To make (what can the proudest Muse do more?)
E'en faction's sons her brighter worth adore;
To make her glories, stamp'd with honest rhymes,
In fullest tide roll down to latest times.
Presumptuous wretch! and shall a Muse like thine,
An English Muse, the meanest of the Nine, 240
Attempt a theme like this? Can her weak strain
Expect indulgence from the mighty Thane?
Should he from toils of government retire,
And for a moment fan the poet's fire;
Should he, of sciences the moral friend,
Each curious, each important search suspend,
Leave unassisted Hill[109] of herbs to tell,
And all the wonders of a cockleshell;
Having the Lord's good grace before his eyes,
Would not the Home[110] step forth and gain the prize? 250
Or if this wreath of honour might adorn
The humble brows of one in England born,
Presumptuous still thy daring must appear;
Vain all thy towering hopes whilst I am here.
Thus spake a form, by silken smile and tone,
Dull and unvaried, for the Laureate[111] known,
Folly's chief friend, Decorum's eldest son,
In every party found, and yet of none.
This airy substance, this substantial shade,
Abash'd I heard, and with respect obey'd. 260
From themes too lofty for a bard so mean,
Discretion beckons to an humbler scene;
The restless fever of ambition laid,
Calm I retire, and seek the sylvan shade.
Now be the Muse disrobed of all her pride,
Be all the glare of verse by truth supplied.
And if plain nature pours a simple strain,
Which Bute may praise, and Ossian not disdain,--
Ossian, sublimest, simplest bard of all,
Whom English infidels Macpherson call,-- 270
Then round my head shall Honour's ensigns wave,
And pensions mark me for a willing slave.
Two boys, whose birth, beyond all question, springs
From great and glorious, though forgotten, kings--
Shepherds, of Scottish lineage, born and bred
On the same bleak and barren mountain's head;
By niggard nature doom'd on the same rocks
To spin out life, and starve themselves and flocks;
Fresh as the morning, which, enrobed in mist,
The mountain's top with usual dulness kiss'd, 280
Jockey and Sawney to their labours rose;
Soon clad, I ween, where nature needs no clothes;
Where, from their youth inured to winter-skies,
Dress and her vain refinements they despise.
Jockey, whose manly high-boned cheeks to crown,
With freckles spotted, flamed the golden down,
With meikle art could on the bagpipes play,
E'en from the rising to the setting day;
Sawney as long without remorse could bawl
Home's madrigals, and ditties from Fingal: 290
Oft at his strains, all natural though rude,
The Highland lass forgot her want of food;
And, whilst she scratch'd her lover into rest,
Sunk pleased, though hungry, on her Sawney's breast.
Far as the eye could reach, no tree was seen;
Earth, clad in russet, scorn'd the lively green:
The plague of locusts they secure defy,
For in three hours a grasshopper must die:
No living thing, whate'er its food, feasts there,
But the cameleon, who can feast on air. 300
No birds, except as birds of passage, flew;
No bee was known to hum, no dove to coo:
No streams, as amber smooth, as amber clear,
Were seen to glide, or heard to warble here:
Rebellion's spring, which through the country ran,
Furnish'd, with bitter draughts, the steady clan:
No flowers embalm'd the air, but one white rose,[112]
Which on the tenth of June by instinct blows;
By instinct blows at morn, and when the shades
Of drizzly eve prevail, by instinct fades. 310
One, and but one poor solitary cave,
Too sparing of her favours, nature gave;
That one alone (hard tax on Scottish pride!)
Shelter at once for man and beast supplied.
There snares without, entangling briars spread,
And thistles, arm'd against the invader's head,
Stood in close ranks, all entrance to oppose;
Thistles now held more precious than the rose.
All creatures which, on nature's earliest plan,
Were formed to loathe and to be loathed by man, 320
Which owed their birth to nastiness and spite,
Deadly to touch, and hateful to the sight;
Creatures which, when admitted in the ark,
Their saviour shunn'd, and rankled in the dark,
Found place within: marking her noisome road
With poison's trail, here crawl'd the bloated toad;
There webs were spread of more than common size,
And half-starved spiders prey'd on half-starved flies;
In quest of food, efts strove in vain to crawl;
Slugs, pinch'd with hunger, smear'd the slimy wall: 330
The cave around with hissing serpents rung;
On the damp roof unhealthy vapour hung;
And Famine, by her children always known,
As proud as poor, here fix'd her native throne.
Here, for the sullen sky was overcast,
And summer shrunk beneath a wintry blast--
A native blast, which, arm'd with hail and rain,
Beat unrelenting on the naked swain,
The boys for shelter made; behind, the sheep,
Of which those shepherds every day _take keep_, 340
Sickly crept on, and, with complainings rude,
On nature seem'd to call, and bleat for food.
JOCKEY.
_Sith_ to this cave by tempest we're confined,
And within _ken_ our flocks, under the wind,
Safe from the pelting of this perilous storm,
Are laid _emong_ yon thistles, dry and warm,
What, Sawney, if by shepherds' art we try
To mock the rigour of this cruel sky?
What if we tune some merry roundelay?
Well dost thou sing, nor ill doth Jockey play. 350
SAWNEY.
Ah! Jockey, ill advisest thou, _I wis_,
To think of songs at such a time as this:
Sooner shall herbage crown these barren rocks,
Sooner shall fleeces clothe these ragged flocks,
Sooner shall want seize shepherds of the south,
And we forget to live from hand to mouth,
Than Sawney, out of season, shall impart
The songs of gladness with an aching heart.
JOCKEY.
Still have I known thee for a silly swain;
Of things past help, what boots it to complain? 360
Nothing but mirth can conquer fortune's spite;
No sky is heavy, if the heart be light:
Patience is sorrow's salve: what can't be cured,
So Donald right areads, must be endured.
SAWNEY.
Full silly swain, _I wot_, is Jockey now.
How didst thou bear thy Maggy's falsehood? How,
When with a foreign loon she stole away,
Didst thou forswear thy pipe and shepherd's lay?
Where was thy boasted wisdom then, when I
Applied those proverbs which you now apply? 370
JOCKEY.
Oh, she was _bonny_! All the Highlands round
Was there a rival to my Maggy found?
More precious (though that precious is to all)
Than the rare medicine which we Brimstone call,
Or that choice plant,[113] so grateful to the nose,
Which, in I know not what far country, grows,
Was Maggy unto me: dear do I rue
A lass so fair should ever prove untrue.
SAWNEY.
Whether with pipe or song to charm the ear,
Through all the land did Jamie find a peer? 380
Cursed be that year[114] by every honest Scot,
And in the shepherd's calendar forgot,
That fatal year when Jamie, hapless swain!
In evil hour forsook the peaceful plain:
Jamie, when our young laird discreetly fled,
Was seized, and hang'd till he was dead, dead, dead.
JOCKEY.
Full sorely may we all lament that day,
For all were losers in the deadly fray.
Five brothers had I on the Scottish plains,
Well dost thou know were none more hopeful swains; 390
Five brothers there I lost, in manhood's pride;
Two in the field, and three on gibbets died.
Ah, silly swains! to follow war's alarms;
Ah! what hath shepherds' life to do with arms?
SAWNEY.
Mention it not--there saw I strangers clad
In all the honours of our ravish'd plaid;
Saw the Ferrara, too, our nation's pride,
Unwilling grace the awkward victor's side.
There fell our choicest youth, and from that day
_Mote_ never Sawney tune the merry lay; 400
Bless'd those which fell! cursed those which still survive,
To mourn Fifteen renew'd in Forty-five!
Thus plain'd the boys, when, from her throne of turf,
With boils emboss'd, and overgrown with scurf,
Vile humours which, in life's corrupted well
Mix'd at the birth, not abstinence could quell,
Pale Famine rear'd the head; her eager eyes,
Where hunger e'en to madness seem'd to rise,
Speaking aloud her throes and pangs of heart,
Strain'd to get loose, and from their orbs to start: 410
Her hollow cheeks were each a deep-sunk cell,
Where wretchedness and horror loved to dwell;
With double rows of useless teeth supplied,
Her mouth, from ear to ear, extended wide,
Which, when for want of food her entrails pined,
She oped, and, cursing, swallow'd nought but wind:
All shrivell'd was her skin; and here and there,
Making their way by force, her bones lay bare:
Such filthy sight to hide from human view,
O'er her foul limbs a tatter'd plaid she threw. 420
Cease, cried the goddess, cease, despairing swains!
And from a parent hear what Jove ordains.
Pent in this barren corner of the isle,
Where partial fortune never deign'd to smile;
Like nature's bastards, reaping for our share
What was rejected by the lawful heir;
Unknown amongst the nations of the earth,
Or only known to raise contempt and mirth;
Long free, because the race of Roman braves
Thought it not worth their while to make us slaves; 430
Then into bondage by that nation brought,
Whose ruin we for ages vainly sought;
Whom still with unslaked hate we view, and still,
The power of mischief lost, retain the will;
Consider'd as the refuse of mankind,
A mass till the last moment left behind,
Which frugal nature doubted, as it lay,
Whether to stamp with life or throw away;
Which, form'd in haste, was planted in this nook,
But never enter'd in Creation's book; 440
Branded as traitors who, for love of gold,
Would sell their God, as once their king they sold,--
Long have we borne this mighty weight of ill,
These vile injurious taunts, and bear them still.
But times of happier note are now at hand,
And the full promise of a better land:
There, like the sons of Israel, having trod,
For the fix'd term of years ordain'd by God,
A barren desert, we shall seize rich plains,
Where milk with honey flows, and plenty reigns: 450
With some few natives join'd, some pliant few,
Who worship Interest and our track pursue;
There shall we, though the wretched people grieve,
Ravage at large, nor ask the owners' leave.
For us, the earth shall bring forth her increase;
For us, the flocks shall wear a golden fleece;
Fat beeves shall yield us dainties not our own,
And the grape bleed a nectar yet unknown:
For our advantage shall their harvests grow,
And Scotsmen reap what they disdain'd to sow: 460
For us, the sun shall climb the eastern hill;
For us, the rain shall fall, the dew distil.
When to our wishes Nature cannot rise,
Art shall be task'd to grant us fresh supplies;
His brawny arm shall drudging Labour strain,
And for our pleasure suffer daily pain:
Trade shall for us exert her utmost powers,
Hers all the toil, and all the profit ours:
For us, the oak shall from his native steep
Descend, and fearless travel through the deep: 470
The sail of commerce, for our use unfurl'd,
Shall waft the treasures of each distant world:
For us, sublimer heights shall science reach;
For us, their statesman plot, their churchmen preach:
Their noblest limbs of council we'll disjoint,
And, mocking, new ones of our own appoint.
Devouring War, imprison'd in the North,
Shall, at our call, in horrid pomp break forth,
And when, his chariot-wheels with thunder hung,
Fell Discord braying with her brazen tongue, 480
Death in the van, with Anger, Hate, and Fear,
And Desolation stalking in the rear,
Revenge, by Justice guided, in his train,
He drives impetuous o'er the trembling plain,
Shall, at our bidding, quit his lawful prey,
And to meek, gentle, generous Peace give way.
Think not, my sons, that this so bless'd estate
Stands at a distance on the roll of fate;
Already big with hopes of future sway,
E'en from this cave I scent my destined prey. 490
Think not that this dominion o'er a race,
Whose former deeds shall time's last annals grace,
In the rough face of peril must be sought,
And with the lives of thousands dearly bought:
No--fool'd by cunning, by that happy art
Which laughs to scorn the blundering hero's heart,
Into the snare shall our kind neighbours fall
With open eyes, and fondly give us all.
When Rome, to prop her sinking empire, bore
Their choicest levies to a foreign shore, 500
What if we seized, like a destroying flood,
Their widow'd plains, and fill'd the realm with blood;
Gave an unbounded loose to manly rage,
And, scorning mercy, spared nor sex, nor age?
When, for our interest too mighty grown,
Monarchs of warlike bent possessed the throne,
What if we strove divisions to foment,
And spread the flames of civil discontent,
Assisted those who 'gainst their king made head,
And gave the traitors refuge when they fled? 510
When restless Glory bade her sons advance,
And pitch'd her standard in the fields of France,
What if, disdaining oaths,--an empty sound,
By which our nation never shall be bound,--
Bravely we taught unmuzzled War to roam,
Through the weak land, and brought cheap laurels home?
When the bold traitors, leagued for the defence
Of law, religion, liberty, and sense,
When they against their lawful monarch rose,
And dared the Lord's anointed to oppose, 520
What if we still revered the banish'd race,
And strove the royal vagrants to replace;
With fierce rebellions shook the unsettled state,
And greatly dared, though cross'd by partial fate?
These facts, which might, where wisdom held the sway,
Awake the very stones to bar our way,
There shall be nothing, nor one trace remain
In the dull region of an English brain;
Bless'd with that faith which mountains can remove,
First they shall dupes, next saints, last martyrs, prove. 530
Already is this game of Fate begun
Under the sanction of my darling son;[115]
That son, of nature royal as his name,
Is destined to redeem our race from shame:
His boundless power, beyond example great,
Shall make the rough way smooth, the crooked straight;
Shall for our ease the raging floods restrain,
And sink the mountain level to the plain.
Discord, whom in a cavern under ground
With massy fetters their late patriot bound; 540
Where her own flesh the furious hag might tear,
And vent her curses to the vacant air;
Where, that she never might be heard of more,
He planted Loyalty to guard the door,
For better purpose shall our chief release,
Disguise her for a time, and call her Peace.[116]
Lured by that name--fine engine of deceit!--
Shall the weak English help themselves to cheat;
To gain our love, with honours shall they grace
The old adherents of the Stuart race, 550
Who, pointed out no matter by what name,
Tories or Jacobites, are still the same;
To soothe our rage the temporising brood
Shall break the ties of truth and gratitude,
Against their saviour venom'd falsehoods frame,
And brand with calumny their William's name:
To win our grace, (rare argument of wit!)
To our untainted faith shall they commit
(Our faith, which, in extremest perils tried,
Disdain'd, and still disdains, to change her side) 560
That sacred Majesty they all approve,
Who most enjoys, and best deserves their love.
* * * * *
Footnotes:
[97] 'Mason:' William Mason, author of 'Elfrida,' 'Caractacus,' and an
'Elegy on the Death of the Countess of Coventry,' the intimate friend,
executor, and biographer of Gray.
[98] 'Gisbal:' a stupid and scurrilous attack on Scotland.
[99] 'Weeping streams:' referring to Lord Lyttelton's Monody on his
wife's death, and his Essay on the conversion of Paul.
[100] 'Stuarts:' the family name of Lord Bute.
[101] 'Holy martyr:' Charles I.
[102] 'Ramsays:' Allan Ramsay, author of the 'Gentle Shepherd,' and his
son (Allan), a fine painter, intimate with Reynolds and Johnson.
[103] 'Home:' John Home, the well known author of 'Douglas.' See
Mackenzie's Life.
[104] 'Dull Dean:' Dr Zachary Pearce, Bishop of Rochester and Dean of
Westminster, who rebuked Churchill for writing on players and dressing
like a layman.
[105] 'Great Macpherson:' James Macpherson, translator or author of
'Ossian.'
[106] 'Malloch:' David Mallett, son of an innkeeper in Crieff, friend
of Thomson's, author of a poor life of Bacon, and of one good ballad,
'William and Margaret,' editor of Bolingbroke's posthumous infidel
works, under-secretary to the Prince of Wales, and a pensioner.
[107] 'North Briton:' the famous paper conducted by Wilkes.
[108] 'Lyttelton and West:' George Lord Lyttelton, author of the
history of Henry II. and Gilbert West, the translator of Pindar, both
originally sceptical, but both converted,--the one, the author of a
Dissertation on Paul's conversion; the other, of a book on the
resurrection of Christ.
[109] 'Hill,' a protégé of Lord Bute's. See a note upon 'The Rescind.'
[110] 'Home:' John Home, another of Lord Bute's protégés.
[111] 'Laureate:' William Whitehead, Laureate after C. Cibber, who had
somehow provoked Churchill.
[112] 'White rose:' The emblem of the Jacobites, a white rose, was worn
by them, in honour of the young Pretender's birthday, on the 10th of
June.
[113] 'Choice plant:' Tobacco.
[114] 'That year:' the year 1745.
[115] 'Darling son:' Bute.
[116] 'Peace:' that of 1763, abused by all the Opposition.
AN EPISTLE TO WILLIAM HOGARTH.[117]
Amongst the sons of men how few are known
Who dare be just to merit not their own!
Superior virtue and superior sense,
To knaves and fools, will always give offence;
Nay, men of real worth can scarcely bear,
So nice is jealousy, a rival there.
Be wicked as thou wilt; do all that's base;
Proclaim thyself the monster of thy race:
Let vice and folly thy black soul divide;
Be proud with meanness, and be mean with pride. 10
Deaf to the voice of Faith and Honour, fall
From side to side, yet be of none at all:
Spurn all those charities, those sacred ties,
Which Nature, in her bounty, good as wise,
To work our safety, and ensure her plan,
Contrived to bind and rivet man to man:
Lift against Virtue, Power's oppressive rod;
Betray thy country, and deny thy God;
And, in one general comprehensive line,
To group, which volumes scarcely could define, 20
Whate'er of sin and dulness can be said,
Join to a Fox's[118] heart a Dashwood's[119] head;
Yet may'st thou pass unnoticed in the throng,
And, free from envy, safely sneak along:
The rigid saint, by whom no mercy's shown
To saints whose lives are better than his own,
Shall spare thy crimes; and Wit, who never once
Forgave a brother, shall forgive a dunce.
But should thy soul, form'd in some luckless hour,
Vile interest scorn, nor madly grasp at power; 30
Should love of fame, in every noble mind
A brave disease, with love of virtue join'd,
Spur thee to deeds of pith, where courage, tried
In Reason's court, is amply justified:
Or, fond of knowledge, and averse to strife,
Shouldst thou prefer the calmer walk of life;
Shouldst thou, by pale and sickly study led,
Pursue coy Science to the fountain-head;
Virtue thy guide, and public good thy end,
Should every thought to our improvement tend, 40
To curb the passions, to enlarge the mind,
Purge the sick Weal, and humanise mankind;
Rage in her eye, and malice in her breast,
Redoubled Horror grining on her crest,
Fiercer each snake, and sharper every dart,
Quick from her cell shall maddening Envy start.
Then shalt thou find, but find, alas! too late,
How vain is worth! how short is glory's date!
Then shalt thou find, whilst friends with foes conspire,
To give more proof than virtue would desire, 50
Thy danger chiefly lies in acting well;
No crime's so great as daring to excel.
Whilst Satire thus, disdaining mean control,
Urged the free dictates of an honest soul,
Candour, who, with the charity of Paul,
Still thinks the best, whene'er she thinks at all,
With the sweet milk of human kindness bless'd,
The furious ardour of my zeal repress'd.
Canst thou, with more than usual warmth she cried,
Thy malice to indulge, and feed thy pride; 60
Canst thou, severe by nature as thou art,
With all that wondrous rancour in thy heart,
Delight to torture truth ten thousand ways,
To spin detraction forth from themes of praise,
To make Vice sit, for purposes of strife,
And draw the hag much larger than the life,
To make the good seem bad, the bad seem worse,
And represent our nature as our curse?
Doth not humanity condemn that zeal
Which tends to aggravate and not to heal? 70
Doth not discretion warn thee of disgrace,
And danger, grinning, stare thee in the face,
Loud as the drum, which, spreading terror round,
From emptiness acquires the power of sound?
Doth not the voice of Norton[120] strike thy ear,
And the pale Mansfield[121] chill thy soul with fear?
Dost thou, fond man, believe thyself secure
Because thou'rt honest, and because thou'rt poor?
Dost thou on law and liberty depend?
Turn, turn thy eyes, and view thy injured friend. 80
Art thou beyond the ruffian gripe of Power,
When Wilkes, prejudged, is sentenced to the Tower?
Dost thou by privilege exemption claim,
When privilege is little more than name?
Or to prerogative (that glorious ground
On which state scoundrels oft have safety found)
Dost thou pretend, and there a sanction find,
Unpunish'd, thus to libel human-kind
When poverty, the poet's constant crime,
Compell'd thee, all unfit, to trade in rhyme, 90
Had not romantic notions turn'd thy head,
Hadst thou not valued honour more than bread;
Had Interest, pliant Interest, been thy guide,
And had not Prudence been debauch'd by Pride,
In Flattery's stream thou wouldst have dipp'd thy pen,
Applied to great and not to honest men;
Nor should conviction have seduced thy heart
To take the weaker, though the better part.
What but rank folly, for thy curse decreed,
Could into Satire's barren path mislead, 100
When, open to thy view, before thee lay
Soul-soothing Panegyric's flowery way?
There might the Muse have saunter'd at her ease,
And, pleasing others, learn'd herself to please;
Lords should have listen'd to the sugar'd treat,
And ladies, simpering, own'd it vastly sweet;
Rogues, in thy prudent verse with virtue graced,
Fools mark'd by thee as prodigies of taste,
Must have forbid, pouring preferments down,
Such wit, such truth as thine to quit the gown. 110
Thy sacred brethren, too, (for they, no less
Than laymen, bring their offerings to success)
Had hail'd thee good if great, and paid the vow
Sincere as that they pay to God, whilst thou
In lawn hadst whisper'd to a sleeping crowd,
As dull as Rochester[122], and half as proud.
Peace, Candour--wisely hadst thou said, and well,
Could Interest in this breast one moment dwell;
Could she, with prospect of success, oppose
The firm resolves which from conviction rose. 120
I cannot truckle to a fool of state,
Nor take a favour from the man I hate:
Free leave have others by such means to shine;
I scorn their practice; they may laugh at mine.
But in this charge, forgetful of thyself,
Thou hast assumed the maxims of that elf,
Whom God in wrath, for man's dishonour framed,
Cunning in heaven, amongst us Prudence named,
That servile prudence, which I leave to those
Who dare not be my friends, can't be my foes. 130
Had I, with cruel and oppressive rhymes,
Pursued and turn'd misfortunes into crimes;
Had I, when Virtue gasping lay and low,
Join'd tyrant Vice, and added woe to woe;
Had I made Modesty in blushes speak,
And drawn the tear down Beauty's sacred cheek;
Had I (damn'd then) in thought debased my lays,
To wound that sex which honour bids me praise;
Had I, from vengeance, by base views betray'd.
In endless night sunk injured Ayliffe's[123] shade; 140
Had I (which satirists of mighty name[124],
Renown'd in rhyme, revered for moral fame,
Have done before, whom Justice shall pursue
In future verse) brought forth to public view
A noble friend, and made his foibles known,
Because his worth was greater than my own;
Had I spared those (so Prudence had decreed)
Whom, God so help me at my greatest need!
I ne'er will spare, those vipers to their king
Who smooth their looks, and flatter whilst they sting; 150
Or had I not taught patriot zeal to boast
Of those who flatter least, but love him most;
Had I thus sinn'd, my stubborn soul should bend
At Candour's voice, and take, as from a friend,
The deep rebuke; myself should be the first
To hate myself, and stamp my Muse accursed.
But shall my arm--forbid it, manly pride!
Forbid it, reason! warring on my side--
For vengeance lifted high, the stroke forbear,
And hang suspended in the desert air, 160
Or to my trembling side unnerved sink down,
Palsied, forsooth, by Candour's half-made frown?
When Justice bids me on, shall I delay
Because insipid Candour bars my way?
When she, of all alike the puling friend,
Would disappoint my satire's noblest end;
When she to villains would a sanction give,
And shelter those who are not fit to live;
When she would screen the guilty from a blush,
And bids me spare whom Reason bids me crush, 170
All leagues with Candour proudly I resign;
She cannot be for Honour's turn, nor mine.
Yet come, cold Monitor! half foe, half friend,
Whom Vice can't fear, whom Virtue can't commend;
Come, Candour, by thy dull indifference known,
Thou equal-blooded judge, thou lukewarm drone,
Who, fashion'd without feelings, dost expect
We call that virtue--which we know defect;
Come, and observe the nature of our crimes,
The gross and rank complexion of the times; 180
Observe it well, and then review my plan,
Praise if you will, or censure if you can.
Whilst Vice presumptuous lords it as in sport,
And Piety is only known at court;
Whilst wretched Liberty expiring lies,
Beneath the fatal burthen of Excise;
Whilst nobles act, without one touch of shame,
What men of humble rank would blush to name;
Whilst Honour's placed in highest point of view,
Worshipp'd by those who Justice never knew; 190
Whilst bubbles of distinction waste in play
The hours of rest, and blunder through the day;
With dice and cards opprobrious vigils keep,
Then turn to ruin empires in their sleep;
Whilst fathers[125], by relentless passion led,
Doom worthy injured sons to beg their bread,
Merely with ill-got, ill-saved, wealth to grace,
An alien, abject, poor, proud, upstart race!
Whilst Martin[126] flatters only to betray,
And Webb[127] gives up his dirty soul for pay, 200
Whilst titles serve to hush a villain's fears;
Whilst peers are agents made, and agents peers;
Whilst base betrayers are themselves betray'd,
And makers ruin'd by the thing they made;
Whilst C----,[128] false to God and man, for gold,
Like the old traitor who a Saviour sold,
To shame his master, friend, and father gives;
Whilst Bute remains in power, whilst Holland lives;--
Can Satire want a subject, where Disdain,
By Virtue fired, may point her sharpest strain, 210
Where, clothed with thunder, Truth may roll along,
And Candour justify the rage of song?
Such things! such men before thee! such an age!
Where Rancour, great as thine, may glut her rage,
And sicken e'en to surfeit; where the pride
Of Satire, pouring down in fullest tide,
May spread wide vengeance round, yet all the while
Justice behold the ruin with a smile;
Whilst I, thy foe misdeem'd, cannot condemn,
Nor disapprove that rage I wish to stem, 220
Wilt thou, degenerate and corrupted, choose
To soil the credit of thy haughty Muse?
With fallacy, most infamous, to stain
Her truth, and render all her anger vain?
When I beheld thee, incorrect, but bold,
A various comment on the stage unfold;
When players on players before thy satire fell,
And poor Reviews conspired thy wrath to swell;
When states and statesmen next became thy care,
And only kings were safe if thou wast there, 230
Thy every word I weigh'd in judgment's scale,
And in thy every word found truth prevail;
Why dost thou now to falsehood meanly fly?
Not even Candour can forgive a lie.
Bad as men are, why should thy frantic rhymes
Traffic in slander, and invent new crimes?--
Crimes which, existing only in thy mind,
Weak spleen brings forth to blacken all mankind.
By pleasing hopes we lure the human heart
To practise virtue and improve in art; 240
To thwart these ends (which, proud of honest fame,
A noble Muse would cherish and inflame)
Thy drudge contrives, and in our full career
Sicklies our hopes with the pale hue of fear;
Tells us that all our labours are in vain;
That what we seek, we never can obtain;
That, dead to virtue, lost to Nature's plan,
Envy possesses the whole race of man;
That worth is criminal, and danger lies,
Danger extreme, in being good and wise. 250
'Tis a rank falsehood; search the world around,
There cannot be so vile a monster found,
Not one so vile, on whom suspicions fall
Of that gross guilt which you impute to all.
Approved by those who disobey her laws,
Virtue from Vice itself extorts applause:
Her very foes bear witness to her state;
They will not love her, but they cannot hate.
Hate Virtue for herself! with spite pursue
Merit for Merit's sake! might this be true, 260
I would renounce my nature with disdain,
And with the beasts that perish graze the plain;
Might this be true,--had we so far fill'd up
The measure of our crimes, and from the cup
Of guilt so deeply drank, as not to find,
Thirsting for sin, one drop, one dreg behind;
Quick ruin must involve this flaming ball,
And Providence in justice crush us all.
None but the damn'd, and amongst them the worst,
Those who for double guilt are doubly cursed, 270
Can be so lost; nor can the worst of all
At once into such deep damnation fall;
By painful slow degrees they reach this crime,
Which e'en in hell must be a work of time.
Cease, then, thy guilty rage, thou wayward son,
With the foul gall of Discontent o'errun;
List to my voice,--be honest, if you can,
Nor slander Nature in her favourite, man.
But if thy spirit, resolute in ill,
Once having err'd, persists in error still, 280
Go on at large, no longer worth my care,
And freely vent those blasphemies in air,
Which I would stamp as false, though on the tongue
Of angels the injurious slander hung.
Duped by thy vanity (that cunning elf
Who snares the coxcomb to deceive himself),
Or blinded by thy rage, didst thou believe
That we too, coolly, would ourselves deceive?
That we, as sterling, falsehood would admit,
Because 'twas season'd with some little wit? 290
When fiction rises pleasing to the eye,
Men will believe, because they love the lie;
But Truth herself, if clouded with a frown,
Must have some solemn proof to pass her down.
Hast thou, maintaining that which must disgrace
And bring into contempt the human race,
Hast thou, or canst thou, in Truth's sacred court,
To save thy credit, and thy cause support,
Produce one proof, make out one real ground,
On which so great, so gross a charge to found? 300
Nay, dost thou know one man (let that appear,
From wilful falsehood I'll proclaim thee clear),
One man so lost, to nature so untrue,
From whom this general charge thy rashness drew?
On this foundation shalt thou stand or fall--
Prove that in one which you have charged on all.
Reason determines, and it must be done;
'Mongst men, or past, or present, name me one.
Hogarth,--I take thee, Candour, at thy word,
Accept thy proffer'd terms, and will be heard; 310
Thee have I heard with virulence declaim,
Nothing retain'd of Candour but the name;
By thee have I been charged in angry strains
With that mean falsehood which my soul disdains--
Hogarth, stand forth;--Nay, hang not thus aloof--
Now, Candour, now thou shalt receive such proof,
Such damning proof, that henceforth thou shalt fear
To tax my wrath, and own my conduct clear;--
Hogarth, stand forth--I dare thee to be tried
In that great court where Conscience must preside; 320
At that most solemn bar hold up thy hand;
Think before whom, on what account, you stand;
Speak, but consider well;--from first to last
Review thy life, weigh every action past;
Nay, you shall have no reason to complain--
Take longer time, and view them o'er again.
Canst thou remember from thy earliest youth,
And as thy God must judge thee, speak the truth,
A single instance where, self laid aside,
And Justice taking place of Fear and Pride, 330
Thou with an equal eye didst Genius view,
And give to Merit what was Merit's due?
Genius and Merit are a sure offence,
And thy soul sickens at the name of sense.
Is any one so foolish to succeed?
On Envy's altar he is doom'd to bleed.
Hogarth, a guilty pleasure in his eyes,
The place of executioner supplies:
See how he gloats, enjoys the sacred feast,
And proves himself by cruelty a priest! 340
Whilst the weak artist, to thy whims a slave,
Would bury all those powers which Nature gave;
Would suffer blank concealment to obscure
Those rays thy jealousy could not endure;
To feed thy vanity would rust unknown,
And to secure thy credit, blast his own,
In Hogarth he was sure to find a friend;
He could not fear, and therefore might commend.
But when his spirit, roused by honest shame,
Shook off that lethargy, and soar'd to fame; 350
When, with the pride of man, resolved and strong,
He scorn'd those fears which did his honour wrong,
And, on himself determined to rely,
Brought forth his labours to the public eye,
No friend in thee could such a rebel know;
He had desert, and Hogarth was his foe.
Souls of a timorous cast, of petty name
In Envy's court, not yet quite dead to shame,
May some remorse, some qualms of conscience feel,
And suffer honour to abate their zeal; 360
But the man truly and completely great,
Allows no rule of action but his hate;
Through every bar he bravely breaks his way,
Passion his principle, and parts his prey.
Mediums in vice and virtue speak a mind
Within the pale of temperance confined;
The daring spirit scorns her narrow schemes,
And, good or bad, is always in extremes.
Man's practice duly weigh'd, through every age
On the same plan hath Envy form'd her rage, 370
'Gainst those whom fortune hath our rivals made,
In way of science, and in way of trade:
Stung with mean jealousy she arms her spite,
First works, then views their ruin with delight.
Our Hogarth here a grand improver shines,
And nobly on the general plan refines;
He like himself o'erleaps the servile bound;
Worth is his mark, wherever worth is found.
Should painters only his vast wrath suffice?
Genius in every walk is lawful prize: 380
'Tis a gross insult to his o'ergrown state;
His love to merit is to feel his hate.
When Wilkes, our countryman, our common friend,
Arose, his king, his country to defend;
When tools of power he bared to public view,
And from their holes the sneaking cowards drew;
When Rancour found it far beyond her reach
To soil his honour, and his truth impeach;
What could induce thee, at a time and place
Where manly foes had blush'd to show their face, 390
To make that effort which must damn thy name,
And sink thee deep, deep in thy grave with shame?
Did virtue move thee? No; 'twas pride, rank pride,
And if thou hadst not done it, thou hadst died.
Malice (who, disappointed of her end,
Whether to work the bane of foe or friend,
Preys on herself, and, driven to the stake,
Gives Virtue that revenge she scorns to take)
Had kill'd thee, tottering on life's utmost verge,
Had Wilkes and Liberty escaped thy scourge. 400
When that Great Charter, which our fathers bought
With their best blood, was into question brought;
When, big with ruin, o'er each English head
Vile Slavery hung suspended by a thread;
When Liberty, all trembling and aghast,
Fear'd for the future, knowing what was past;
When every breast was chill'd with deep despair,
Till Reason pointed out that Pratt[129] was there;--
Lurking, most ruffian-like, behind the screen,
So placed all things to see, himself unseen, 410
Virtue, with due contempt, saw Hogarth stand,
The murderous pencil in his palsied hand.
What was the cause of Liberty to him,
Or what was Honour? let them sink or swim,
So he may gratify, without control,
The mean resentments of his selfish soul;
Let Freedom perish, if, to Freedom true,
In the same ruin Wilkes may perish too.
With all the symptoms of assured decay,
With age and sickness pinch'd and worn away, 420
Pale quivering lips, lank cheeks, and faltering tongue,
The spirits out of tune, the nerves unstrung,
Thy body shrivell'd up, thy dim eyes sunk
Within their sockets deep, thy weak hams shrunk,
The body's weight unable to sustain,
The stream of life scarce trembling through the vein,
More than half kill'd by honest truths which fell,
Through thy own fault, from men who wish'd thee well--
Canst thou, e'en thus, thy thoughts to vengeance give,
And, dead to all things else, to malice live? 430
Hence, dotard, to thy closet; shut thee in;
By deep repentance wash away thy sin;
From haunts of men to shame and sorrow fly,
And, on the verge of death, learn how to die!
Vain exhortation! wash the Ethiop white,
Discharge the leopard's spots, turn day to night,
Control the course of Nature, bid the deep
Hush at thy pigmy voice her waves to sleep--
Perform things passing strange, yet own thy art
Too weak to work a change in such a heart; 440
That Envy, which was woven in the frame
At first, will to the last remain the same.
Reason may droop, may die; but Envy's rage
Improves by time, and gathers strength from age.
Some, and not few, vain triflers with the pen,
Unread, unpractised in the ways of men,
Tell us that Envy, who, with giant stride,
Stalks through the vale of life by Virtue's side,
Retreats when she hath drawn her latest breath,
And calmly hears her praises after death. 450
To such observers Hogarth gives the lie;
Worth may be hearsed, but Envy cannot die;
Within the mansion of his gloomy breast,
A mansion suited well to such a guest,
Immortal, unimpair'd, she rears her head,
And damns alike the living and the dead.
Oft have I known thee, Hogarth, weak and vain,
Thyself the idol of thy awkward strain,
Through the dull measure of a summer's day,
In phrase most vile, prate long, long hours away, 460
Whilst friends with friends, all gaping sit, and gaze,
To hear a Hogarth babble Hogarth's praise.
But if athwart thee Interruption came,
And mention'd with respect some ancient's name,
Some ancient's name who, in the days of yore,
The crown of Art with greatest honour wore,
How have I seen thy coward cheek turn pale,
And blank confusion seize thy mangled tale!
How hath thy jealousy to madness grown,
And deem'd his praise injurious to thy own! 470
Then without mercy did thy wrath make way,
And arts and artists all became thy prey;
Then didst thou trample on establish'd rules,
And proudly levell'd all the ancient schools;
Condemn'd those works, with praise through ages graced,
Which you had never seen, or could not taste;
But would mankind have true perfection shown,
It must be found in labours of my own:
I dare to challenge, in one single piece,
The united force of Italy and Greece. 480
Thy eager hand the curtain then undrew,
And brought the boasted masterpiece to view.
Spare thy remarks--say not a single word--
The picture seen, why is the painter heard?
Call not up shame and anger in our cheeks;
Without a comment Sigismunda[130] speaks.
Poor Sigismunda! what a fate is thine!
Dryden, the great high-priest of all the Nine,
Revived thy name, gave what a Muse could give,
And in his numbers bade thy memory live; 490
Gave thee those soft sensations which might move
And warm the coldest anchorite to love;
Gave thee that virtue, which could curb desire,
Refine and consecrate love's headstrong fire;
Gave thee those griefs, which made the Stoic feel,
And call'd compassion forth from hearts of steel;
Gave thee that firmness, which our sex may shame,
And make man bow to woman's juster claim;
So that our tears, which from compassion flow,
Seem to debase thy dignity of woe. 500
But, oh, how much unlike! how fallen! how changed!
How much from Nature and herself estranged!
How totally deprived of all the powers
To show her feelings, and awaken ours,
Doth Sigismunda now devoted stand,
The helpless victim of a dauber's hand!
But why, my Hogarth, such a progress made,
So rare a pattern for the sign-post trade,
In the full force and whirlwind of thy pride,
Why was heroic painting laid aside? 510
Why is it not resumed? thy friends at court,
Men all in place and power, crave thy support;
Be grateful then for once, and through the field
Of politics thy epic pencil wield;
Maintain the cause, which they, good lack! avow,
And would maintain too, but they know not how.
Through every pannel let thy virtue tell
How Bute prevail'd, how Pitt and Temple fell;
How England's sons (whom they conspired to bless.
Against our will, with insolent success) 520
Approve their fall, and with addresses run--
How got, God knows--to hail the Scottish sun;[131]
Point out our fame in war, when vengeance, hurl'd
From the strong arm of Justice, shook the world;
Thine, and thy country's honour to increase,
Point out the honours of succeeding peace;
Our moderation, Christian-like, display,
Show what we got, and what we gave away;
In colours, dull and heavy as the tale,
Let a state-chaos through the whole prevail. 530
But, of events regardless, whilst the Muse,
Perhaps with too much heat, her theme pursues;
Whilst her quick spirits rouse at Freedom's call,
And every drop of blood is turn'd to gall;
Whilst a dear country, and an injured friend,
Urge my strong anger to the bitterest end;
Whilst honest trophies to Revenge are raised,
Let not one real virtue pass unpraised;
Justice with equal course bids Satire flow,
And loves the virtue of her greatest foe. 540
Oh! that I here could that rare virtue mean,
Which scorns the rule of envy, pride, and spleen,
Which springs not from the labour'd works of art,
But hath its rise from Nature in the heart;
Which in itself with happiness is crown'd,
And spreads with joy the blessing all around!
But truth forbids, and in these simple lays,
Contented with a different kind of praise,
Must Hogarth stand; that praise which Genius gives,
In which to latest time the artist lives, 550
But not the man; which, rightly understood,
May make us great, but cannot make us good:
That praise be Hogarth's; freely let him wear
The wreath which Genius wove, and planted there:
Foe as I am, should Envy tear it down,
Myself would labour to replace the crown.
In walks of humour, in that cast of style,
Which, probing to the quick, yet makes us smile;
In comedy, his natural road to fame,--
Nor let me call it by a meaner name, 560
Where a beginning, middle, and an end,
Are aptly join'd; where parts on parts depend,
Each made for each, as bodies for their soul,
So as to form one true and perfect whole;
Where a plain story to the eye is told,
Which we conceive the moment we behold,--
Hogarth unrivall'd stands, and shall engage
Unrivall'd praise to the most distant age.
How couldst thou, then, to shame perversely run,
And tread that path which Nature bade thee shun? 570
Why did ambition overleap her rules,
And thy vast parts become the sport of fools?
By different methods different men excel;
But where is he who can do all things well?
Humour thy province, for some monstrous crime
Pride struck thee with the frenzy of sublime;
But, when the work was finish'd, could thy mind
So partial be, and to herself so blind,
What with contempt all view'd, to view with awe,
Nor see those faults which every blockhead saw? 580
Blush, thou vain man! and if desire of fame,
Founded on real art, thy thoughts inflame,
To quick destruction Sigismunda give,
And let her memory die, that thine may live.
But should fond Candour, for her mercy sake,
With pity view, and pardon this mistake;
Or should Oblivion, to thy wish most kind,
Wipe off that stain, nor leave one trace behind;
Of arts despised, of artists, by thy frown
Awed from just hopes, of rising worth kept down, 590
Of all thy meanness through this mortal race,
Canst thou the living memory erase?
Or shall not vengeance follow to the grave,
And give back just that measure which you gave?
With so much merit, and so much success,
With so much power to curse, so much to bless,
Would he have been man's friend, instead of foe,
Hogarth had been a little god below.
Why, then, like savage giants, famed of old,
Of whom in Scripture story we are told, 600
Dost thou in cruelty that strength employ,
Which Nature meant to save, not to destroy?
Why dost thou, all in horrid pomp array'd,
Sit grinning o'er the ruins thou hast made?
Most rank ill-nature must applaud thy art,
But even Candour must condemn thy heart.
For me, who, warm and zealous for my friend,
In spite of railing thousands, will commend;
And no less warm and zealous 'gainst my foes,
Spite of commending thousands, will oppose, 610
I dare thy worst, with scorn behold thy rage,
But with an eye of pity view thy age;
Thy feeble age, in which, as in a glass,
We see how men to dissolution pass.
Thou wretched being, whom, on Reason's plan,
So changed, so lost, I cannot call a man,
What could persuade thee, at this time of life,
To launch afresh into the sea of strife?
Better for thee, scarce crawling on the earth,
Almost as much a child as at thy birth, 620
To have resign'd in peace thy parting breath,
And sunk unnoticed in the arms of Death.
Why would thy gray, gray hairs resentment brave,
Thus to go down with sorrow to the grave?
Now, by my soul! it makes me blush to know,
My spirit could descend to such a foe:
Whatever cause the vengeance might provoke,
It seems rank cowardice to give the stroke.
Sure 'tis a curse which angry fates impose,
To mortify man's arrogance, that those 630
Who're fashion'd of some better sort of clay,
Much sooner than the common herd decay.
What bitter pangs must humbled Genius feel,
In their last hours to view a Swift and Steele!
How must ill-boding horrors fill her breast,
When she beholds men mark'd above the rest
For qualities most dear, plunged from that height,
And sunk, deep sunk, in second childhood's night!
Are men, indeed, such things? and are the best
More subject to this evil than the rest, 640
To drivel out whole years of idiot breath,
And sit the monuments of living death?
Oh, galling circumstance to human pride!
Abasing thought, but not to be denied!
With curious art the brain, too finely wrought,
Preys on herself, and is destroy'd by thought.
Constant attention wears the active mind,
Blots out her powers, and leaves a blank behind.
But let not youth, to insolence allied,
In heat of blood, in full career of pride, 650
Possess'd of genius, with unhallow'd rage
Mock the infirmities of reverend age:
The greatest genius to this fate may bow;
Reynolds, in time, may be like Hogarth now.
* * * * *
Footnotes:
[117] For occasion of this poem, see Life.
[118] 'Fox:' Henry Fox, afterwards Lord Holland, supposed not to be
over-honest.
[119] 'Dashwood:' Sir Francis Dashwood, generally thought a bigoted and
stupid Tory.
[120] 'Norton:' Sir Fletcher Norton, Attorney-General from 1763 to
1765, created a peer in 1782 by the title of Lord Grantley.
[121] 'Mansfield:' the celebrated Murray, Lord Mansfield. See Junius.
[122] 'Rochester:' Pearce, Bishop of Rochester, mentioned above as a
foe to Churchill.
[123] 'Ayliffe:' a forger of the period, said to have been ill-used by
Lord Holland. Churchill intended to write a poem, entitled, 'Ayliffe's
Ghost,' but did not live to accomplish his intention.
[124] 'Mighty name:' Pope, referring to his famous attack on Addison.
[125] 'Fathers:' Thomas Potter, Esq., a man of splendid abilities, was
disinherited by his father, the Archbishop of Canterbury, on account of
his dissolute life.
[126] 'Martin:' Samuel Martin, Esq., F.R.S., M.P. for Camelford; the
hero of 'The Duellist.'
[127] 'Webb:' Philip Carteret Webb. Esq., Solicitor to the Treasury.
[128] 'C----:' name not known.
[129] 'Pratt:' Charles Pratt, Earl Camden, Chief-Justice of the Common
Pleas, friendly to Wilkes. See Junius.
[130] 'Sigismunda;' a detestable miscreation of Hogarth's pencil,
admired by none but himself.
[131] 'The Scottish sun:' The addresses to the King which followed the
parliamentary approbation of the preliminary articles of peace in 1763,
were obtained by means equally dishonourable and corrupt.
THE DUELLIST.[132]
In Three Books.
BOOK I.
The clock struck twelve; o'er half the globe
Darkness had spread her pitchy robe:
Morpheus, his feet with velvet shod,
Treading as if in fear he trod,
Gentle as dews at even-tide,
Distill'd his poppies far and wide.
Ambition, who, when waking, dreams
Of mighty, but fantastic schemes,
Who, when asleep, ne'er knows that rest
With which the humbler soul is blest, 10
Was building castles in the air,
Goodly to look upon, and fair,
But on a bad foundation laid,
Doom'd at return of morn to fade.
Pale Study, by the taper's light,
Wearing away the watch of night,
Sat reading; but, with o'ercharged head,
Remember'd nothing that he read.
Starving 'midst plenty, with a face
Which might the court of Famine grace, 20
Ragged, and filthy to behold,
Gray Avarice nodded o'er his gold.
Jealousy, his quick eye half-closed,
With watchings worn, reluctant dozed;
And, mean Distrust not quite forgot,
Slumber'd as if he slumber'd not.
Stretch'd at his length on the bare ground,
His hardy offspring sleeping round,
Snored restless Labour; by his side
Lay Health, a coarse but comely bride. 30
Virtue, without the doctor's aid,
In the soft arms of Sleep was laid;
Whilst Vice, within the guilty breast,
Could not be physic'd into rest.
Thou bloody man! whose ruffian knife
Is drawn against thy neighbour's life,
And never scruples to descend
Into the bosom of a friend;
A firm, fast friend, by vice allied,
And to thy secret service tied, 40
In whom ten murders breed no awe,
If properly secured from law:
Thou man of lust! whom passion fires
To foulest deeds, whose hot desires
O'er honest bars with ease make way,
Whilst idiot beauty falls a prey,
And to indulge thy brutal flame
A Lucrece must be brought to shame;
Who dost, a brave, bold sinner, bear
Rank incest to the open air, 50
And rapes, full blown upon thy crown,
Enough to weigh a nation down:
Thou simular of lust! vain man,
Whose restless thoughts still form the plan
Of guilt, which, wither'd to the root,
Thy lifeless nerves can't execute,
Whilst in thy marrowless, dry bones
Desire without enjoyment groans:
Thou perjured wretch! whom falsehood clothes
E'en like a garment; who with oaths 60
Dost trifle, as with brokers, meant
To serve thy every vile intent,
In the day's broad and searching eye
Making God w
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