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The Poetical Works of Alexander Pope, Volume 2

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Title: The Poetical Works of Alexander Pope, Volume 2

Author: Alexander Pope

Commentator: George Gilfillan


        
Release date: January 1, 2006 [eBook #9601]
                Most recently updated: January 2, 2021

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK THE POETICAL WORKS OF ALEXANDER POPE, VOLUME 2 ***




Produced by Jonathan Ingram, David King and PG Distributed Proofreaders









THE

POETICAL WORKS

OF

ALEXANDER POPE.



_With Memoir, Critical Dissertation, and Explanatory Notes_,

BY THE

REV. GEORGE GILFILLAN.



VOL. II.

M.DCCC.LVI.




THE GENIUS AND POETRY OF POPE.


Few poets during their lifetime have been at once so much admired and so
much abused as Pope. Some writers, destined to oblivion in after-ages,
have been loaded with laurels in their own time; while others, on whom
Fame was one day to "wait like a menial," have gone to the grave
neglected, if not decried and depreciated. But it was the fate of Pope
to combine in his single experience the extremes of detraction and
flattery--to have the sunshine of applause and the hail-storm of calumny
mingled on his living head; while over his dead body, as over the body
of Patroclus, there has raged a critical controversy, involving not
merely his character as a man, but his claims as a poet. For this,
unquestionably, there are some subordinate reasons. Pope's religious
creed, his political connexions, his easy circumstances, his popularity
with the upper classes, as well as his testy temper and malicious
disposition, all tended to rouse against him, while he lived, a personal
as well as public hostility, altogether irrespective of the mere merit
or demerit of his poetry. "We cannot bear a Papist to be our principal
bard," said one class. "No Tory for our translator of Homer," cried the
zealous Whigs, "Poets should be poor, and Pope is independent," growled
Grub Street. The ancients could not endure that a "poet should build an
house, but this varlet has dug a grotto, and established a clandestine
connexion between Parnassus and the Temple of Plutus." "Pope," said
others, "is hand-in-glove with Lords Oxford and Bolingbroke, and it was
never so seen before in any genuine child of genius." "He is a little
ugly insect," cried another class; "can such a misbegotten brat be a
favourite with the beautiful Apollo?" "He is as venomous and spiteful as
he is small; never was so much of the 'essence of devil' packed into
such a tiny compass," said another set; "and this, to be sure, is
England's great poet!" Besides these personal objections, there were
others of a more solid character. While all admitted the exquisite
polish and terse language of Pope's compositions, many felt that they
were too artificial--that they were often imitative--that they seldom
displayed those qualities of original thought and sublime enthusiasm
which had formed the chief characteristics of England's best bards, and
were slow to rank the author of "Eloisa and Abelard," with the creator
of "Hamlet," "Othello," and "Lear;" the author of the "Rape of the Lock"
with the author of "Paradise Lost;" the author of the "Pastorals," with
the author of the "Faery Queen;" and the author of the "Imitations of
Horace," with the author of the "Canterbury Tales." On the one hand,
Pope's ardent friends erred in classing him with or above these great
old writers; and on the other, his enemies were thus provoked to thrust
him too far down in the scale, and to deny him genius altogether. Since
his death, his fame has continued to vibrate between extremes. Lord
Byron and Lord Carlisle (the latter, in a lecture delivered in Leeds in
December 1850, and published afterwards) have placed him ridiculously
high; while Wordsworth, Coleridge, and Bowles, have underrated him. It
shall be our endeavour, in our succeeding remarks, to steer a middle
course between the parties.

Lord Carlisle commenced his able and eloquent prelection by deploring
the fact, that Pope had sunk in estimation. And yet, a few sentences
after, he told us that the "Commissioners of the Fine Arts" selected
Pope, along with Chaucer, Shakspeare, Spenser, Milton, and Dryden, to
fill the six vacant places in the New Palace of Westminster. This does
not substantiate the assertion, that Pope has sunk in estimation. Had he
sunk to any great extent, the Commissioners would not have dared to put
his name and statue beside those of the acknowledged masters of English
poetry. But apart from this, we do think that Lord Carlisle has
exaggerated the "Decline and Fall" of the empire of Pope. He is still,
with the exception, perhaps, of Cowper, the most popular poet of the
eighteenth century. His "Essay on Man," and his "Eloisa and Abelard,"
are probably in every good library, public and private, in Great
Britain. Can we say as much of Chaucer and Spenser? Passages and lines
of his poetry are stamped on the memory of all well-educated men. More
pointed sayings of Pope are afloat than of any English poet, except
Shakspeare and Young. Indeed, if frequency of quotation be the principal
proof of popularity, Pope, with Shakspeare, Young, and Spenser, is one
of the four most popular of English poets. In America, too, Lord
Carlisle found, he tells us, the most cultivated and literary portion of
that great community warmly imbued with an admiration of Pope.

What more would, or at least should, his lordship desire? Pope is, by
his own showing, a great favourite with many wherever the English
language is spoken, and that, too, a century after his death. And there
are few critics who would refuse to subscribe, on the whole, Lord
Carlisle's enumeration of the Poet's qualities; his terse and motto-like
lines--the elaborate gloss of his mock-heroic vein--the tenderness of
his pathos--the point and polished strength of his satire--the force and
_vraisemblance_ of his descriptions of character--the delicacy and
refinement of his compliments, "each of which," says Hazlitt, "is as
good as an house or estate"--and the heights of moral grandeur into
which he can at times soar, whenever he has manly indignation, or
warm-hearted patriotism, or high-minded scorn to express. If Lord
Carlisle's object, then, was to elevate Pope to the rank of a classic,
it was a superfluous task; if it was to justify the Commissioners in
placing him on a level with Chaucer, Shakspeare, Spenser, and Milton,
our remarks will show that we think it as vain as superfluous.

In endeavouring to fix the rank of a poet, there are, we think, the
following elements to be analysed:--His original genius--his kind and
degree of culture--his purpose--his special faculties--the works he has
written--and the amount of impression he has made on, and impulse he has
given to, his own age and the world. In other words, what were his
native powers, and what has he done, _for_, _by_, and _with_ them?

Now, that Pope possessed genius, and genius of a high order, we
strenuously maintain. But whether this amounted to creative power, the
highest quality of the poet, is a very different question. In native
imagination, that eyesight of the soul, which sees in the rose a richer
red, in the sky a deeper azure, in the sea a more dazzling foam, in the
stars a softer and more spiritual gold, and in the sky a more dread
magnificence than nature ever gave them, that beholds the Ideal always
shining through and above the Real, and that lights the poet on to form
within a new and more gorgeous nature, the fresh creation of his own
inspired mind, Pope was not only inferior to Chaucer, Shakspeare,
Spenser, and Milton, but to Young, Thomson, Collins, Burns, Wordsworth,
Keats, Shelley, Byron, Coleridge, and many other poets. His native
faculty, indeed, seems rather fine than powerful--rather timid than
daring, and resembles rather the petal of a rose peeping out into the
summer air, which seems scarce warm enough for its shrinking loveliness,
than the feather of the wing of a great eagle, dipping into the night
tempest, which raves around the inaccessible rock of his birthplace. He
was not eminently original in his thinking. In proof of this, many of
those fine sentiments which Pope has thrown into such perfect shape, and
to which he has given such dazzling burnish, are found by Watson (see
the "Adventurer") in Pascal and others. Shakspeare's wisdom, on the
other hand, can be traced to Shakspeare's brain, and no further,
although he has borrowed the plots of his plays. Who lent Chaucer his
pictures, fresh as dewdrops from the womb of the morning? Spenser's
Allegories are as native to him as his dreams; and if Milton has now and
then carried off a load which belonged to another, it was a load which
only a giant's arm could lift, and which he added to a caravan of
priceless wealth, the native inheritance of his own genius.

The highest rank of poets descend on their sublime subjects, like Uriel,
descending alongst his sunbeam on the mountain tops; another order, with
care, and effort, and circumspection, often with

'Labour dire and weary woe,'

reach noble heights, and there wave their hats, and dance in
astonishment at their own perseverance and success. So it is with Pope
in his peroration to the Dunciad, and in many other of the serious and
really eloquent passages of his works. They ARE eloquent, brilliant, in
composition faultless; but the intense self-consciousness of their
author, and their visible elaboration, prevent them from seeming or
being great. Of Pope, you say, "He smells of the midnight lamp;" of
Dante, boys cried out on the street, "Lo! the man that was in hell."
With the very first class of poets, artificial objects become natural,
the "rod" becomes a "serpent;" with Pope, natural objects become
artificial, the "serpent" becomes a "rod." Wordsworth makes a spade
poetical; Pope would have made Skiddaw little better than a mass of
prose.

Let us hear Hazlitt: "Pope saw nature only dressed by art; he judged of
beauty by fashion; he sought for truth in the opinions of the world; he
judged the feelings of others by his own. The capacious soul of
Shakspeare had an intuitive and mighty sympathy with whatever could
enter into the heart of man in all possible circumstances; Pope had an
exact knowledge of all that he himself loved or hated, wished or wanted.
Milton has winged his daring flight from heaven to earth, through Chaos
and old Night; Pope's Muse never wandered in safety, but from his
library to his grotto, or from his grotto into his library, back again.
His mind dwelt with greater pleasure on his own garden than on the
garden of Eden; he could describe the faultless whole-length mirror that
reflected his own person, better than the smooth surface of the lake
that reflects the face of heaven; a piece of cut glass or pair of
paste-buckles with more brilliancy and effect than a thousand dewdrops
glittering in the sun. He would be more delighted with a patent lamp
than with the 'pale reflex of Cynthia's brow,' that fills the sky with
the soft silent lustre that trembles through the cottage window, and
cheers the mariner on the lonely wave. He was the poet of personality
and polished life. That which was nearest to him was the greatest. His
mind was the antithesis of strength and grandeur; its power was the
power of indifference. He had none of the enthusiasm of poetry; he was
in poetry what the sceptic is in religion. In his smooth and polished
verse we meet with no prodigies of nature, but with miracles of wit; the
thunders of his pen are whispered flatteries; its forked lightnings,
pointed sarcasms; for the 'gnarled oak,' he gives us the 'soft myrtle;'
for rocks, and seas, and mountains, artificial grass-plots,
gravel-walks, and tinkling rills; for earthquakes and tempests, the
breaking of a flower-pot or the fall of a China jar; for the tug and war
of the elements, or the deadly strife of the passions,

"'Calm contemplation and poetic ease.'

"Yet within this retired and narrow circle, how much, and that how
exquisite, was contained! What discrimination, what wit, what delicacy,
what fancy, what lurking spleen, what elegance of thought, what pampered
refinement of sentiment!"

A great deal of discussion took place, during the famous controversy
about Pope between Bowles and Byron, on the questions--what objects are
and are not fitted for poetic purposes, and whether natural or
artificial objects be better suited for the treatment of the poet. In
our life of Bowles we promised, and shall now proceed to attempt, a
short review of the question then at issue, and which on both sides was
pled with such ingenuity, ardour, and eloquence.

The question, professedly that of the _province_, slides away into what
is the _nature_ of poetry. The object of poetry is, we think, to show
the infinite through the finite--to reveal the ideal in the real--it
seeks, by clustering analogies and associations around objects, to give
them a beautiful, or sublime, or interesting, or terrible aspect which
is not entirely their own. Now, as all objects in comparison with the
infinite are finite, and all realities in comparison with the ideal are
little, it follows that between artificial and natural objects, as
fitted for poetic purposes, there is no immense disparity, and that both
are capable of poetic treatment. Both, accordingly, have become
subservient to high poetic effect; and even the preponderance, whatever
it be on the part of natural objects, has sometimes been equalised by
the power of genius, and artificial things have often been made to wring
the heart or awaken the fancy, as much or more than the other class.
Think, for instance, of the words in Lear,

"Prithee, undo this button. Thank you, sir."

What more contemptibly artificial than a button? And yet, beating in the
wind of the hysterical passion which is tearing the heart of the poor
dying king, what a powerful index of misery it becomes, and its
"undoing," as the sign of the end of the tragedy, and the letting forth
of the great injured soul, has melted many to tears! When Lady Macbeth
exclaims, in that terrible crisis,

"Give me the daggers!"'

who feels not, that, although a dagger be only an artificial thing, no
natural or supernatural thing, not the flaming sword of the Cherubim
itself, could seem, in the circumstances, more fearfully sublime. What
action more artificial than dancing, and yet how grand it seems, in
Ford's heroine, who continues to dance on till the ball is finished,
while the news of "death, and death, and death" of friend, brother,
husband, are successively recounted to her--and then herself expires!
There seems no comparison between a diamond and a star, and yet a
Shakspeare or a Schiller could so describe the trembling of a diamond on
the brow say of Belshazzar when the apparition of the writing on the
wall disturbed his impious feast, that it would seem more ideal and more
magnificent than a star "trembling on the hand of God" when newly
created, or trembling on the verge of everlasting darkness, when its
hour had come. A slipper seems a very commonplace object; but how
interesting the veritable slipper of Empedocles, who flung himself into
Etna, whose slipper was disgorged by the volcano, and as a link,
connecting the seen with the unseen, the grassy earth with the burning
entrails of the eternal furnace, became intensely imaginative! A feather
in a cap (even though it were an eagle's) seems, from its position, an
object sufficiently artificial; but how affecting the black plume of
Ravenswood floating on the waves which had engulphed the proud head that
once bore it, and which old Caleb took up, dried, and placed in his
bosom!

Nor are we sure that there are _any_ objects so small or vulgar but what
genius could extract poetry from them. In Pope's hands, indeed, the
"clouded cane" and the "amber snuff-box" of Sir Plume assume no ideal
aspect; but in Shakspeare's it might have been different; and the
highest order of genius, like true catholicity of faith, counts "nothing
common or unclean." What poetry Burns has gathered up even in "Poosie
Nancy's," which had been lying unsuspected at the feet of beggars,
prostitutes, and pickpockets! What powerful imagination there is in
Crabbe's descriptions of poorhouses, prisons, and asylums; and in
Wordsworth's "Old Cumberland Beggar," who, although he lived and died in
the "eye of nature," was clothed in rags, and had the vulgar, mendicant
meal-bag slung over his shoulders! What pathos Scott extracts from that
"black bitch of a boat," which Mucklebackit, in the frenzy of his grief,
accuses for the loss of his son! Which of the lower animals less
poetical or coarser than a swine? and yet Shakspeare introduces such a
creature with great effect in "Macbeth," in that weird dialogue of the
witches--

"Where hast thou been, sister?"
"Killing swine."

And Goethe makes it ideal by mingling it with the mad revelry of the
"Walpurgis Night"--

"An able sow, with old Baubo upon her.
Is worthy of glory and worthy of honour."

The whole truth on this vexed question may perhaps be summed up in the
following propositions:--1st, No object, natural or artificial, is _per
se_ out of the province of imagination; 2d, There is no _infinite_ gulf
between natural and artificial objects, or between the higher and lower
degrees of either, as subjects for the idealising power of poetry; 3d,
Ere any object natural or artificial, become poetical, it must be
subjected more or less to the transfiguring power of imagination; and,
4th, Some objects in nature, and some in art, need less of this
transforming magic than others, and are thus _intrinsically_, although
not _immeasurably_, superior in adaptation to the purposes of poetry.

The great point, after all, is, What eye beholds objects, whether
natural or artificial? Is it a poetical eye or not? For given a poet's
eye, then it matters little on what object that eye be fixed, it becomes
poetical; where there is intrinsic poetry--as in mountains, the sea, the
sky, the stars--it comes rushing out to the silent spell of genius;
where there is less--as in artificial objects, or the poorer productions
of nature--the mind of the poet must exert itself tenfold, and shed on
it its own wealth and glory. Now, Pope, we fear, wanted almost entirely
this true second sight. Take, for instance, the "lock" in the famous
"Rape!" What fancy, humour, wit, eloquence, he brings to play around it!
But he never touches it, even _en passant_, with a ray of poetry. You
never could dream of intertwining it with

"The tangles of Neaera's hair,"

far less with the "golden tresses" and "wanton ringlets" of our primeval
parent in the garden of Eden. Shakspeare, on the other hand, would have
made it a dropping from the shorn sun, or a mad moonbeam gone astray, or
a tress fallen from the hair of the star Venus, as she gazed too
intently at her own image in the calm evening sea. Nor will Pope leave
the "lock" entire in its beautiful smallness. He must apply a microscope
to it, and stake his fame on idealising its subdivided, single hairs.
The sylphs are created by combining the agility of Ariel with the lively
impertinence of the inhabitants of Lilliput. Yet with what ease,
elegance, and lingering love does he draw his petty Pucks, till, though
too tiny for touch, they become palpable to vision! On the whole, had
not the "Tempest" and the "Midsummer Night's Dream" existed before the
"Rape of the Lock," the machinery in it would have proclaimed Pope a man
of creative imagination. As it is, it proves wonderful activity of
fancy. Shakspeare's delicate creations are touched again without
crumbling at the touch, clad in new down, fed on a fresh supply of
"honey-dew," and sent out on minor but aerial errands--although, after
all, we prefer Puck and Ariel--not to speak of those delectable
personages, Cobweb, Peaseblossom, and Mustardseed. Ariel's "oak," in our
poet's hands, becomes a "vial"--"knotty entrails" are exchanged for a
"bodkin's eye"--the fine dew of the "still vexed Bermoothes" is degraded
into an "essence;" pomatum takes the place of poetry; the enchanted
lock, of an enchanted isle; and the transformation of original
imagination into ingenious fancy is completed before your eyes. Let the
admirers of Pope, like the worshippers of Cæsar of old, "beg a _hair_ of
him for memory;" for certainly he is more at home among hairs and curls
than in any field where he has chosen to exercise his powers.

About Pope originally there was a small, trivial, and stinted
_something_ which did not promise even the greatness he actually
attained. We do not allude merely to his small stature, remembering that
the nine-pin Napoleon overthrew half the thrones in Europe. But _he_
possessed _sana mens in sano copore_, an erect figure, and was "every
inch a man," although his inches were few; while in Pope, both bodily
and mentally, there lay a crooked, waspish, and petty nature. His form
too faithfully reflected his character. He was never, from the beginning
to the close of his life, a great, broad, genial being. There was an
unhealthy taint which partly enfeebled and partly corrupted him. His
self-will, his ambition, his Pariah position, as belonging to the Roman
Catholic faith, the feebleness of his constitution, the uncertainty of
his real creed, and one or two other circumstances we do not choose to
name, combined to create a life-long ulcer in his heart and temper,
against which the vigour of his mind, the enthusiasm of his literary
tastes, and the warmth of his heart, struggled with much difficulty. He
had not, in short, the basis of a truly great poet, either in
imagination or in nature. Nor, with all his incredible industry, tact,
and talent, did he ever rise into the "seventh heaven of invention." A
splendid sylph let us call him--a "giant angel" he was not.

His culture, like his genius, was rather elegant than profound. He lived
in an age when a knowledge of the classics, with a tincture of the
metaphysics of the schools, was thought a good average stock of
learning, although it was the age, too, of such mighty scholars as
Bentley, Clarke, and Warlburton. Pope seems to have glanced over a great
variety of subjects with a rapid _rechercé_ eye, not examined any one
with a quiet, deep, longing, lingering, exhaustive look. He was no
literary Behemoth, "trusting that he could draw up Jordan into his
mouth." He became thus neither an ill-informed writer, like Goldsmith,
whose ingenuity must make up for his ignorance, nor one of those
_doctorum vatum_, those learned poets, such as Dante, Milton, and
Coleridge, whose works alone, according at least to Buchanan, are to
obtain the rare and regal palm of immortality--

"_Sola doctorum_ monumenta vatum
Nesciunt fati imperium severi:
Sola contemnunt Phlegethonta, et Orci
          Jura superbi."

That his philosophy was empirical, is proved by his "Essay on Man,"
which, notwithstanding all its brilliant rhetoric, is the shallow
version of a shallow system of naturalism. And one may accommodate to
him the well-known saying of Lyndhurst about Lord Brougham, "who would
have made a capital Chancellor if he had had only a little law;" so Pope
was very well qualified to have translated Homer, barring his ignorance
of Greek. But every page of his writings proves a wide and diversified
knowledge--a knowledge, too, which he has perfectly under control--which
he can make to go a great way--and by which, with admirable skill, he
can subserve alike his moral and literary purpose. But the question now
arises--What was his purpose? Was it worthy of his powers? Was it high,
holy, and faithfully pursued? No poet, we venture to say, can be great
without a great purpose. "Purpose is the edge and point of character; it
is the stamp and superscription of genius; it is the direction on the
letter of talent. Character without it is blunt and torpid; talent
without it is a letter which, undirected, goes nowhere; genius without
it is bullion, sluggish, splendid, and uncirculating." Now, Pope's
purpose seems, on the whole, dim and uncertain. He is indifferent to
destruction, and careless about conserving. He is neither an infidel nor
a Christian; no Whig, but no very ardent Tory either. He seems to wish
to support morality, but his support is stumbling and precarious;
although, on the other hand, notwithstanding his frequent coarseness of
language and looseness of allusion, he exhibits no desire to overturn or
undermine it. His bursts of moral feeling are very beautiful (such as
that containing the noble lines--

"Vice is undone if she forgets her earth,
And stoops from angels to the dregs of birth.
But 'tis the fall degrades her to a whore:
Let greatness own her and she's mean no more.
Her birth, her beauty, crowds and courts confess,
Chaste matrons praise her, and grave bishops bless.
In golden chains the willing world she draws,
And hers the gospel is, and hers the laws;
Mounts the tribunal, lifts her scarlet head,
And sees pale Virtue carted in her stead.")

But they are brief, seem the result of momentary moods rather than the
spray of a strong, steady current; and he soon turns from them to the
expression of his petty chagrins and personal animosities. In satire, he
has not the indomitable pace and deep-mouthed bellow of a Juvenal,
pursuing his object like a bloodhound: he resembles more a half-angry,
half-playful terrier. To obtain a terse and musical expression for his
thought is his artistic purpose, but that of his mind and moral nature
is not so apparent in his poetry. Indeed, we are tempted at times to
class him with his own sylphs in this respect, as well as in the
elegance and swiftness of his genius. They neither belonged to heaven
nor hell, but vibrated between in graceful gyrations. They laughed at,
and toyed with, all things--never rising to dangerous heights, never
sinking into profound abysses--fancying a lock a universe, and a
universe only a larger lock--dancing like evening ephemeræ in the
sunbeam, which was to be their sepulchre, and shutting their tiny eyes
to all the solemn responsibilities, grave uncertainties, and mysterious
destinies of human nature. And so, too often, did their poet.

Pope's special faculties are easily seen, and may be briefly enumerated.
Destitute of the highest imagination, and perhaps of constructive
power--(he has produced many brilliant parts, and many little, but no
large wholes)--he is otherwise prodigally endowed. He has a keen,
strong, clear intellect, which, if it seldom reaches sublimity, never
fails to eliminate sense. He has wit of a polished and vigorous
kind--less easy, indeed, than Addison's, the very curl of whose lip was
crucifixion to his foe. This wit, when exasperated into satire, is very
formidable, for, like Addison's, it does its work with little noise.
Pope whispers poetic perdition--he deals in drops of concentrated
bitterness--he stabs with a poisoned bodkin--he touches his enemies into
stone with the light and playful finger of a fairy--and his more
elaborate invectives glitter all over with the polish of profound
malignity. His knowledge of human nature, particularly of woman's heart,
is great, but seems more the result of impish eavesdropping than of that
thorough and genial insight which sympathy produces. He has listened at
the keyhole, not by any "Open Sesame" entered the chamber. He has rather
painted manners than men. His power of simulating passion is great; but
the passion must, in general, be mingled with unnatural elements ere he
can realise it--the game must be putrid ere he can enjoy its flavour. He
has no humour, at least in his poetry. It is too much of an unconscious
outflow, and partakes too much of the genial and the human nature for
him. His fancy is lively and copious, but its poetical products often
resemble the forced fruits of a hothouse rather than those of a natural
soil and climate. His description of Sporus, lauded by Byron as a piece
of imagination, is exceedingly artificial and far-fetched in its
figures--a mere mass of smoked gumflowers. Compare for fancy the
speeches of Mercutio, in "Romeo and Juliet," the "Rape of the Lock," if
we would see the difference between a spontaneous and artificial
outpouring of images, between a fancy as free as fervid, and one lashing
itself into productiveness. His power of describing natural objects is
far from first-rate; he enumerates instead of describing; he omits
nothing in the scene except the one thing needful--the bright poetical
gleam or haze which ought to have been there. There is the "grass" but
not the "splendour"--the "flower" but not the "glory." In depicting
character, it is very different. His likenesses of men and women, so far
as manners, external features, and the contrasts produced by the
accidents of circumstances and the mutation of affairs, are inimitable.
His power of complimenting is superior even to that of Louis XIV. He
picks out the one best quality in a man, sets it in gold, and presents
it as if he were conferring instead of describing a noble gift.

"Would you be blest, despise low joys, low gains,
_Disdain whatever Cornbury disdains_;
Be virtuous, and be happy for your pains."

Pope's language seems as if it were laboriously formed by himself for
his peculiar shape of mind, habits of thought, and style of poetry.
Compared to all English before him, Pope's English is a new although a
lesser language. He has so cut down, shorn, and trimmed the broad old
oak of Shakspeare's speech, that it seems another tree altogether.
Everything is so terse, so clear, so pointed, so elaborately easy, so
monotonously brilliant, that you must pause to remember. "These are the
very copulatives, diphthongs, and adjectives of Hooker, Milton, and
Jeremy Taylor." The change at first is pleasant, and has been generally
popular; but those who know and love our early authors, soon miss their
deep organ-tones, their gnarled strength, their intricate but intense
sweetness, their varied and voluminous music, their linked _chains_ of
lightning, and feel the difference between the fabricator of clever
lines and sparkling sentences, and the former of great passages and
works. In keeping with his style is his versification, the incessant
tinkling of a sheep-bell--sweet, small, monotonous--producing
perfectly-melodious single lines, but no grand interwoven swells and
well-proportioned masses of harmony. "Pope," says Hazlitt, "has turned
Pegasus into a rocking-horse." The noble gallop of Dryden's verse is
exchanged for a quick trot. And there is not even a point of comparison
between his sweet sing-song, and the wavy, snow-like, spirit-like motion
of Milton's loftier passages; or the gliding, pausing, fitful,
river-like progress of Shakspeare's verse; or the fretted fury, and
"torrent-rapture" of brave old Chapman in his translation of Homer; or
the rich, long-drawn-out, slow-swimming, now soft-languishing, and now
full-gushing melody of Spenser's "Faery Queen."--Yet, within his own
sphere, Pope was, as Scott calls him, a "Deacon of his craft;" he aimed
at, and secured, correctness and elegance; his part is not the highest,
but in it he approaches absolute perfection; and with all his monotony
of manner and versification, he is one of the most interesting of
writers, and many find a greater luxury in reading his pages than those
of any other poet. He is the _facile princeps_ of those poetical writers
who have written for, and are so singularly appreciated by, the
fastidious--that class who are more staggered by faults than delighted
with beauties.

Our glance at his individual works must be brief and cursory. His "Ode
to Solitude" is the most simple and natural thing he ever wrote, and in
it he seems to say to nature, "Vale, longum vale." His "Pastorals" have
an unnatural and luscious sweetness. He has sugared his milk; it is not,
as it ought to be, warm from the cow, and fresh as the clover. How
different his "Rural Life" from the rude, rough pictures of Theocritus,
and the delightfully true and genial pages of the "Gentle Shepherd!" His
"Windsor Forest" is an elegant accumulation of sweet sonnets and
pleasant images, but the freshness of the dew is not resting on every
bud and blade. No shadowy forms are seen retiring amidst the glades of
the forest; no Uriels seem descending on the sudden slips of afternoon
sunshine which pierce athwart the green or brown masses of foliage; and
you cannot say of his descriptions that

"Visions, as poetic eyes avow,
Hang on each leaf and cling to every bough."

Shelley studied the scenery of his fine poem, "Alastor," in the same
shades with Pope; but he had, like Jonathan of old, touched his lips
with a rod dipped in poetic honey, and his "eyes were enlightened" to
see sights of beauty and mystery which to the other are denied. Keats
could have comprised all the poetry of "Windsor Forest" into one sonnet
or line; indeed, has he not done so, where, describing his soul
following the note of the nightingale into the far depths of the woods,
where she is pouring out her heart in song, he says--

"And with thee fade away into the forest dim?"

The "Essay on Criticism" is rather a wonderful, intellectual, and
artistic feat, than a true poem. It is astonishing as the work of a boy
of nineteen, and contains a unique collection of clever and sparkling
sentences, displaying the highest powers of acuteness and assimilation,
if not much profound and original insight or genius. This poem suggests
the wish that more of our critics would write in verse. The music might
lessen the malice, and set off the commonplace to advantage, so that if
there were no "reason," there might be at least "rhyme." His "Lines to
the Memory of an Unfortunate Lady" are too elaborate and artificial for
the theme. It is a tale of intrigue, murder, and suicide, set to a
musical snuff-box! His "Rape of the Lock" we have already characterised.
It is an "Iliad in a nutshell," an Epic of Lilliput, where all the
proportions are accurately observed, and where the finishing is so exact
and admirable, that you fancy the author to have had microscopic eyes.
It contains certainly the most elegant and brilliant badinage, the most
graceful raillery, the most finished nonsense, and one of the most
exquisitely-managed machineries in the language. His "Eloisa and
Abelard," a poem beautiful and almost unequalled in execution, is ill
chosen in subject. He compels you indeed to weep, but you blame and
trample on your tears after they are shed. Pope in this poem, as Shelley
in the "Cenci," has tried to extract beauty from moral deformity, and to
glorify putrefaction. But who can long love to gaze at worms, however
well painted, or will be disposed to pardon the monstrous choice of a
dead or demon bride for the splendour of her wedding-garment? The
passion of the Eloisa and that of the Cenci were both indeed facts; but
many facts should be veiled statues in the Temple of Truth. To do,
however, both Pope and Shelley justice, they touch their painful and
shocking themes with extreme delicacy. "Dryden," well remarks Campbell,
"would have given but a coarse draught of Eloisa's passion." Pope's
Epistles, Satires, Imitations, &c., contain much of the most spirited
sense and elegant sarcasm in literature. The portraits of "Villars" and
"Atticus" will occur to every reader as masterpieces in power, although
we deem the latter grossly unjust to a good and great man. His Homer is
rather an adaptation than a translation--far less a "transfusion" of the
Grecian bard. Pope does not, indeed, clothe the old blind rhapsodist
with a bag-wig and sword; but he does all short of this to make him a
fine modern gentleman. Scott, we think, could have best rendered Homer
in his ballad-rhyme. Chapman is Chapman, but he is not Homer. Pope is
Pope, and Hobbes is Hobbes, and Sotheby is Sotheby, and Cowper is
Cowper, each doing his best to render Homer, but none of them is the
grand old Greek, whose lines are all simple and plain as brands, but
like brands pointed on their edges with fire.

The "Essay on Man" ought to have been called an "Epigram on Man," or,
better still, should have been propounded as a riddle, to which the word
"Man" was to supply the solution. But an antithesis, epigram, or riddle
on man of 1300 lines, is rather long. It seems so especially as there is
no real or new light cast in it on man's nature or destiny. (We refer
our readers to the notes of Dr Croly's edition for a running commentary
of confutation to the "Essay on Man" distinguished by solid and
unanswerable acuteness of argument.) But such an eloquent and ingenious
puzzle as it is! It might have issued from the work-basket of Titania
herself. It is another evidence of Pope's greatness in trifles. How he
would have shone in fabricating the staves of the ark, or the fringes of
the tabernacle!

The "Dunciad" is in many respects the ablest, the most elaborate, and
the most characteristic of Pope's poems. In embalming insignificance and
impaling folly he seems to have found, at last, his most congenial work.
With what apparently sovereign contempt, masterly ease, artistic calm,
and judicial gravity, does he set about it! And once his museum of
dunces is completed, with what dignity--the little tyrant that he
was!--does he march through it, and with what complacency does he point
to his slain and dried Dunces, and say, "Behold the work of my hands!"
It never seems to have occurred to him that his poem was destined to be
an everlasting memorial, not only of his enemies, but of the annoyance
he had met from them--at once of his strength in crushing, and his
weakness in feeling, their attacks, and in showing their mummies for
money.

That Pope deserves, on the whole, the name of "poet," we are willing, as
aforesaid, to concede. But he was the most artificial of true poets. He
had in him a real though limited vein, but did not trust sufficiently to
it, and at once weakened and strengthened it by his peculiar kind of
cultivation. He weakened it as a faculty, but strengthened it as an art;
he lessened its inward force, but increased the elegance and facility of
its outward expression. What he might have attained, had he left his
study and trim gardens, and visited the Alps, Snowdon, or the
Grampians--had he studied Boileau less, and Dante, Milton, or the Bible
more--we cannot tell; but he certainly, in this case, would have left
works greater, if not more graceful, behind him; and if he had pleased
his own taste and that of his age less, he might have more effectually
touched the chord of the heart of all future time by his poetry. As it
is, his works resemble rather the London Colosseum than Westminster
Abbey. They are exquisite imitations of nature; but we never can apply
to them the words of the poet--

"O'er England's abbeys bends the sky,
As on its friends, with kindred eye;
For Nature gladly gave them place,
Adopted them into her race,
And granted them an equal date
With Andes and with Ararat."

_Read_, and admired, Pope must always be--if not for his poetry and
passion, yet for his elegance, wit, satiric force, fidelity as a painter
of artificial life, and the clear, pellucid English. But his deficiency
in the creative faculty (a deficiency very marked in two of his most
lauded poems we have not specified, his "Messiah" and "Temple of Fame,"
both eloquent imitations), his lack of profound thought, the general
poverty of his natural pictures (there are some fine ones in "Eloisa and
Abelard"), the coarse and bitter element often intermingled with his
satire, the monotonous glitter of his verse, and the want of profound
purpose in his writings, combine to class him below the first file of
poets. And vain are all attempts, such as those of Byron and Lord
Carlisle, to alter the general verdict. It is very difficult, after a
time, either to raise or depress an acknowledged classic; and Pope must
come, if he has not come already, to a peculiarly defined and strictly
apportioned place on the shelf. He was unquestionably the poet of his
age. But his age was far from being one of a lofty order: it was a low,
languid, artificial, and lazily sceptical age. It loved to be tickled;
and Pope tickled it with the finger of a master. It liked to be lulled,
at other times, into half-slumber; and the soft and even monotonies of
Pope's pastorals and "Windsor Forest" effected this end. It loved to be
suspended in a state of semi-doubt, swung to and fro in agreeable
equipoise; and the "Essay on Man" was precisely such a swing. It was
fond of a mixture of strong English sense with French graces and charms
of manner; and Pope supplied it. It was fond of keen, yet artfully
managed satire; and Pope furnished it in abundance. It loved nothing
that threatened greatly to disturb its equanimity or over-much to excite
or arouse it; and there was little of this in Pope. Had he been a really
great poet of the old Homer or Dante breed, he would have outshot his
age, till he "dwindled in the distance;" but in lieu of immediate fame,
and of elaborate lectures in the next century, to bolster it unduly up,
all generations would have "risen and called him blessed."

We had intended some remarks on Pope as a prose-writer, and as a
correspondent; but want of space has compelled us to confine ourselves
to his poetry.




CONTENTS

MORAL ESSAYS--
Epistle I.--Of the Knowledge and Characters of Men
Epistle II.--Of the Characters of Women
Epistle III.--Of the Use of Riches
Epistle IV.--Of the Use of Riches
Epistle V.--Occasioned by his Dialogues on Medals

TRANSLATIONS AND IMITATIONS--
Sappho to Phaon
The Fable of Dryope
Vertumnus and Pomona
The First Book of Statius's Thebais
January and May
The Wife of Bath

PROLOGUES AND EPILOGUES--
A Prologue to a Play for Mr Dennis's Benefit
Prologue to Mr Addison's 'Cato'
Prologue to Mr Thomson's 'Sophonisba'
Prologue, designed for Mr D'Urfey's Last Play
Prologue to 'The Three Hours after Marriage'
Epilogue to Mr Rowe's 'Jane Shore'

MISCELLANIES--
The Basset-Table
Lines on receiving from the Right Hon. the Lady Frances Shirley a
  Standish and Two Pens
Verbatim from Boileau
Answer to the following Question of Mrs Howe
Occasioned by some Verses of His Grace the Duke of Buckingham
Macer: a Character
Song, by a Person of Quality
On a Certain Lady at Court
On his Grotto at Twickenham
Roxana, or the Drawing-Room
To Lady Mary Wortley Montague
Extemporaneous Lines on a Portrait of Lady Mary Wortley Montague
Lines sung by Durastanti when she took leave of the English Stage
Upon the Duke of Marlborough's House at Woodstock
Verses left by Mr Pope, on his lying in the same bed which Wilmot slept
  in at Adderbury
The Challenge
The Three Gentle Shepherds
Epigram, engraved on the Collar of a Dog
The Translator
The Looking-Glass
A Farewell to London
Sandys' Ghost
Umbra
Sylvia, a Fragment
Impromptu to Lady Winchelsea
Epigram
Epigram on the Feuds about Handel and Bononcini
On Mrs Tofts, a celebrated Opera Singer
The Balance of Europe
Epitaph on Lord Coningsby
Epigram
Epigram from the French
Epitaph on Gay
Epigram on the Toasts of the Kit-Kat Club
To a Lady, with 'The Temple of Fame'
On the Countess of Burlington cutting Paper
On Drawings of the Statues of Apollo, Venus, and Hercules
On Bentley's 'Milton'
Lines written in Windsor Forest
To Erinna
A Dialogue
Ode to Quinbus Flestrin
The Lamentation of Glumdalclitch for the Loss of Grildrig
To Mr Lemuel Gulliver
Mary Gulliver to Captain Lemuel Gulliver
1740, a Fragment of a Poem
The Fourth Epistle of the First Book of Horace
Epigram on one who made long Epitaphs
On an Old Gate
A Fragment
To Mr Gay
Argus
Prayer of Brutus
Lines on a Grotto, at Cruxeaston, Hants

THE UNIVERSAL PRAYER

THE DUNCIAD--
A Letter to the Publisher
Martinus Scriblerus, his Prolegomena
Testimonies of Authors
Martinus Scriblerus of the Poem
Recardus Aristarchus of the Hero of the Poem
Book the First
Book the Second
Book the Third
Book the Fourth
Declaration by the Author

APPENDIX--
I. Preface prefixed to the Five First imperfect Editions
II. A List of Books, Papers, and Verses
III. Advertisement to the First Edition
IV. Advertisement to the First Edition of the Fourth Book
V. Advertisement to the Complete Edition of 1743
VI. Advertisement printed in the Journals, 1730
VII. A Parallel of the Characters of Mr Dryden and Mr Pope

Index of Persons celebrated in this Poem




MORAL ESSAYS.


The 'Essay on Man' was intended to have been comprised in four books:--

The first of which, the author has given us under that title, in four
epistles.

The second was to have consisted of the same number:--1. Of the extent
and limits of human reason. 2. Of those arts and sciences, and of the
parts of them, which are useful, and therefore attainable, together with
those which are unuseful, and therefore unattainable. 3. Of the nature,
ends, use, and application of the different capacities of men. 4. Of the
use of learning, of the science of the world, and of wit; concluding
with a satire against the misapplication of them, illustrated by
pictures, characters, and examples.

The third book regarded civil regimen, or the science of politics, in
which the several forms of a republic were to have been examined and
explained; together with the several modes of religious worship, as far
forth as they affect society; between which the author always supposed
there was the most interesting relation and closest connexion; so that
this part would have treated of civil and religious society in their
full extent.

The fourth and last book concerned private ethics or practical morality,
considered in all the circumstances, orders, professions, and stations
of human life.

The scheme of all this had been maturely digested, and communicated to
the Lord Bolingbroke, Dr Swift, and one or two more, and was intended
for the only work of his riper years; but was, partly through ill
health, partly through discouragements from the depravity of the times,
and partly on prudential and other considerations, interrupted,
postponed, and, lastly, in a manner laid aside.

But as this was the author's favourite work, which more exactly
reflected the image of his strong capacious mind, and as we can have but
a very imperfect idea of it from the _disjecta membra poetae_ that now
remain, it may not be amiss to be a little more particular concerning
each of these projected books. The first, as it treats of man in the
abstract, and considers him in general under every one of his relations,
becomes the foundation, and furnishes out the subjects, of the three
following; so that--

The second book takes up again the first and second epistles of the
first book, and treats of man in his intellectual capacity at large, as
has been explained above. Of this, only a small part of the conclusion
(which, as we said, was to have contained a satire against the
misapplication of wit and learning) may be found in the fourth book of
'The Dunciad,' and up and down, occasionally, in the other three.

The third book, in like manner, reassumes the subject of the third
epistle of the first, which treats of man in his social, political, and
religious capacity. But this part the poet afterwards conceived might be
best executed in an epic poem; as the action would make it more
animated, and the fable less invidious; in which all the great
principles of true and false governments and religions should be chiefly
delivered in feigned examples.

The fourth and last book pursues the subject of the fourth epistle of
the first, and treats of ethics, or practical morality; and would have
consisted of many members; of which the four following epistles were
detached portions: the two first, on the characters of men and women,
being the introductory part of this concluding book.--_Warburton._


EPISTLE I.--TO SIR RICHARD TEMPLE, LORD COBHAM.

ARGUMENT.

OF THE KNOWLEDGE AND CHARACTERS OF MEN.

That it is not sufficient for this knowledge to consider man in the
abstract: books will not serve the purpose, nor yet our own experience
singly, ver. 1. General maxims, unless they be formed upon both, will be
but notional, ver. 10. Some peculiarity in every man, characteristic to
himself, yet varying from himself, ver. 15. Difficulties arising from
our own passions, fancies, faculties, &c., ver. 31. The shortness of
life, to observe in, and the uncertainty of the principles of action in
men, to observe by, ver. 37, &c. Our own principle of action often hid
from ourselves, ver. 41. Some few characters plain, but in general
confounded, dissembled, or inconsistent, ver. 51. The same man utterly
different in different places and seasons, ver. 71. Unimaginable
weaknesses in the greatest, ver. 70, &c. Nothing constant and certain
but God and nature, ver. 95. No judging of the motives from the actions;
the same actions proceeding from contrary motives, and the same motives
influencing contrary actions, ver. 100. II. Yet to form characters, we
can only take the strongest actions of a man's life, and try to make
them agree: the utter uncertainty of this, from nature itself, and from
policy, ver. 120. Characters given according to the rank of men of the
world, ver. 135. And some reason for it, ver. 140. Education alters the
nature, or at least character of many, ver. 149. Actions, passions,
opinions, manners, humours, or principles, all subject to change. No
judging by nature, from ver. 158 to 174. III. It only remains to find
(if we can) his ruling passion: that will certainly influence all the
rest, and can reconcile the seeming or real inconsistency of all his
actions, ver. 175. Instanced in the extraordinary character of Clodio,
ver. 179. A caution against mistaking second qualities for first, which
will destroy all possibility of the knowledge of mankind, ver. 210.
Examples of the strength of the ruling passion, and its continuation to
the last breath, ver. 222, &c.

Yes, you despise the man to books confined,
Who from his study rails at human kind;
Though what he learns he speaks, and may advance
Some general maxims, or be right by chance.
The coxcomb bird, so talkative and grave,
That from his cage cries 'Cuckold,' 'Whore,' and 'Knave,'
Though many a passenger he rightly call,
You hold him no philosopher at all.

And yet the fate of all extremes is such,
Men may be read, as well as books, too much.             10
To observations which ourselves we make,
We grow more partial for the observer's sake;
To written wisdom, as another's, less:
Maxims are drawn from notions, those from guess.
There's some peculiar in each leaf and grain,
Some unmark'd fibre, or some varying vein:
Shall only man be taken in the gross?
Grant but as many sorts of mind as moss.

That each from other differs, first confess;
Next that he varies from himself no less:                20
Add nature's, custom's, reason's, passion's strife,
And all opinion's colours cast on life.

Our depths who fathoms, or our shallows finds,
Quick whirls, and shifting eddies, of our minds?
On human actions reason though you can,
It may be reason, but it is not man:
His principle of action once explore,
That instant 'tis his principle no more.
Like following life through creatures you dissect,
You lose it in the moment you detect.                    30

Yet more; the difference is as great between
The optics seeing, as the objects seen.
All manners take a tincture from our own;
Or come discolour'd, through our passions shown;
Or fancy's beam enlarges, multiplies,
Contracts, inverts, and gives ten thousand dyes.

Nor will life's stream for observation stay,
It hurries all too fast to mark their way:
In vain sedate reflections we would make,
When half our knowledge we must snatch, not take.        40
Oft, in the passions' wild rotation toss'd,
Our spring of action to ourselves is lost:
Tired, not determined, to the last we yield,
And what comes then is master of the field.
As the last image of that troubled heap,
When sense subsides, and fancy sports in sleep,
(Though past the recollection of the thought),
Becomes the stuff of which our dream is wrought:
Something as dim to our internal view,
Is thus, perhaps, the cause of most we do.               50

True, some are open, and to all men known;
Others so very close, they're hid from none;
(So darkness strikes the sense no less than light)
Thus gracious Chandos is beloved at sight;
And every child hates Shylock, though his soul
Still sits at squat, and peeps not from its hole.
At half mankind when generous Manly raves,
All know 'tis virtue, for he thinks them knaves:
When universal homage Umbra pays,
All see 'tis vice, and itch of vulgar praise.            60
When flattery glares, all hate it in a queen,
While one there is who charms us with his spleen.

But these plain characters we rarely find;
Though strong the bent, yet quick the turns of mind:
Or puzzling contraries confound the whole;
Or affectations quite reverse the soul.
The dull, flat falsehood serves for policy;
And, in the cunning, truth itself's a lie:
Unthought-of frailties cheat us in the wise;
The fool lies hid in inconsistencies.                    70

See the same man, in vigour, in the gout;
Alone, in company; in place, or out;
Early at business, and at hazard late;
Mad at a fox-chase, wise at a debate;
Drunk at a borough, civil at a ball;
Friendly at Hackney, faithless at Whitehall.

Catius is ever moral, ever grave,
Thinks who endures a knave, is next a knave,
Save just at dinner--then prefers, no doubt,
A rogue with venison to a saint without.                 80

Who would not praise Patricio's[1] high desert,
His hand unstain'd, his uncorrupted heart,
His comprehensive head, all interests weigh'd,
All Europe saved, yet Britain not betray'd?
He thanks you not, his pride is in picquet,
Newmarket fame, and judgment at a bet.

What made (says Montaigne, or more sage Charron[2])
Otho a warrior, Cromwell a buffoon?
A perjured prince[3] a leaden saint revere,
A godless regent[4] tremble at a star?                   90
The throne a bigot keep, a genius quit,
Faithless through piety, and duped through wit?
Europe a woman, child, or dotard rule,
And just her wisest monarch made a fool?

Know, God and Nature only are the same:
In man, the judgment shoots at flying game;
A bird of passage! gone as soon as found,
Now in the moon perhaps, now under ground.

II. In vain the sage, with retrospective eye,
Would from the apparent _what_ conclude the _why_,      100
Infer the motive from the deed, and show
That what we chanced was what we meant to do.
Behold! if fortune or a mistress frowns,
Some plunge in business, others shave their crowns:
To ease the soul of one oppressive weight,
This quits an empire, that embroils a state:
The same adust complexion has impell'd
Charles[5] to the convent, Philip[6] to the field.

Not always actions show the man: we find
Who does a kindness, is not therefore kind;             110
Perhaps prosperity becalm'd his breast,
Perhaps the wind just shifted from the east:
Not therefore humble he who seeks retreat,
Pride guides his steps, and bids him shun the great:
Who combats bravely is not therefore brave,
He dreads a death-bed like the meanest slave:
Who reasons wisely is not therefore wise,
His pride in reasoning, not in acting, lies.

But grant that actions best discover man;
Take the most strong, and sort them as you can:         120
The few that glare, each character must mark,
You balance not the many in the dark.
What will you do with such as disagree?
Suppress them, or miscall them policy?
Must then at once (the character to save)
The plain rough hero turn a crafty knave?
Alas! in truth the man but changed his mind,
Perhaps was sick, in love, or had not dined.
Ask why from Britain Cæsar would retreat?
Cæsar himself might whisper he was beat.                130
Why risk the world's great empire for a punk?[7]
Cæsar perhaps might answer he was drunk.
But, sage historians! 'tis your task to prove
One action, conduct; one, heroic love.

'Tis from high life high characters are drawn;
A saint in crape is twice a saint in lawn;
A judge is just, a chancellor juster still;
A gownman, learn'd; a bishop, what you will;
Wise, if a minister; but, if a king,
More wise, more learn'd, more just, more everything,    140
Court-virtues bear, like gems, the highest rate,
Born where Heaven's influence scarce can penetrate:
In life's low vale, the soil the virtues like,
They please as beauties, here as wonders strike.
Though the same sun with all-diffusive rays
Blush in the rose, and in the diamond blaze,
We prize the stronger effort of his power,
And justly set the gem above the flower.

'Tis education forms the common mind,
Just as the twig is bent, the tree's inclined.          150
Boastful and rough, your first son is a squire;
The next a tradesman, meek, and much a liar;
Tom struts a soldier, open, bold, and brave;
Will sneaks a scrivener, an exceeding knave:
Is he a Churchman? then he's fond of power:
A Quaker? sly: A Presbyterian? sour:
A smart free-thinker? all things in an hour.
Ask men's opinions: Scoto now shall tell
How trade increases, and the world goes well;
Strike off his pension, by the setting sun,             160
And Britain, if not Europe, is undone.

That gay free-thinker, a fine talker once,
What turns him now a stupid silent dunce?
Some god, or spirit he has lately found;
Or chanced to meet a minister that frown'd.

Judge we by nature? Habit can efface,
Interest o'ercome, or policy take place:
By actions? those uncertainty divides:
By passions? these dissimulation hides:
Opinions? they still take a wider range:                170
Find, if you can, in what you cannot change.

Manners with fortunes, humours turn with climes,
Tenets with books, and principles with times.

III. Search, then, the ruling passion: there, alone,
The wild are constant, and the cunning known;
The fool consistent, and the false sincere;
Priests, princes, women, no dissemblers here.
This clue once found, unravels all the rest,
The prospect clears, and Wharton stands confess'd.
Wharton, the scorn and wonder of our days,              180
Whose ruling passion was the lust of praise:
Born with whate'er could win it from the wise,
Women and fools must like him or he dies;
Though wondering senates hung on all he spoke,
The club must hail him master of the joke.
Shall parts so various aim at nothing new?
He'll shine a Tully and a Wilmot[8] too.
Then turns repentant, and his God adores
With the same spirit that he drinks and whores;
Enough if all around him but admire,                    190
And now the punk applaud, and now the friar.
Thus with each gift of nature and of art,
And wanting nothing but an honest heart;
Grown all to all, from no one vice exempt;
And most contemptible, to shun contempt;
His passion still to covet general praise,
His life, to forfeit it a thousand ways;
A constant bounty which no friend has made;
An angel tongue, which no man can persuade;
A fool, with more of wit than half mankind,             200
Too rash for thought, for action too refined;
A tyrant to the wife his heart approves;
A rebel to the very king he loves;
He dies, sad outcast of each church and state,
And, harder still! flagitious, yet not great.
Ask you why Wharton broke through every rule
'Twas all for fear the knaves should call him fool.

Nature well known, no prodigies remain,
Comets are regular, and Wharton plain.

Yet, in this search, the wisest may mistake,            210
If second qualities for first they take.
When Catiline by rapine swell'd his store;
When Cæsar made a noble dame a whore;[9]
In this the lust, in that the avarice
Were means, not ends; ambition was the vice.
That very Cæsar, born in Scipio's days,
Had aim'd, like him, by chastity at praise.
Lucullus, when frugality could charm,
Had roasted turnips in the Sabine farm.
In vain the observer eyes the builder's toil,           220
But quite mistakes the scaffold for the pile.

In this one passion man can strength enjoy,
As fits give vigour, just when they destroy.
Time, that on all things lays his lenient hand,
Yet tames not this; it sticks to our last sand.
Consistent in our follies and our sins,
Here honest Nature ends as she begins.

Old politicians chew on wisdom past,
And totter on in business to the last;
As weak, as earnest, and as gravely out,                230
As sober Lanesborough[10] dancing in the gout.

Behold a reverend sire, whom want of grace
Has made the father of a nameless race,
Shoved from the wall perhaps, or rudely press'd
By his own son, that passes by unbless'd:
Still to his wench he crawls on knocking knees,
And envies every sparrow that he sees.

A salmon's belly, Helluo, was thy fate;
The doctor call'd, declares all help too late:
'Mercy!' cries Helluo, 'mercy on my soul!               240
Is there no hope? Alas! then bring the jowl.'

The frugal crone, whom praying priests attend,
Still tries to save the hallow'd taper's end,
Collects her breath, as ebbing life retires,
For one puff more, and in that puff expires.

'Odious! in woollen! 'twould a saint provoke,'
(Were the last words that poor Narcissa[11] spoke),
'No, let a charming chintz and Brussels lace
Wrap my cold limbs, and shade my lifeless face:
One would not, sure, be frightful when one's dead--     250
And, Betty, give this cheek a little red.'

The courtier smooth, who forty years had shined
An humble servant to all human kind,
Just brought out this, when scarce his tongue could stir,
'If--where I'm going--I could serve you, sir?'

'I give and I devise' (old Euclio said,
And sigh'd) 'my lands and tenements to Ned.'
'Your money, sir?' 'My money, sir, what! all?
Why--if I must'--(then wept)--'I give it Paul.'
'The manor, sir?'--'The manor! hold,' (he cried),       260
'Not that--I cannot part with that'--and died.

And you, brave Cobham! to the latest breath
Shall feel your ruling passion strong in death:
Such in those moments as in all the past,

'Oh, save my country, Heaven!' shall be your last.


VARIATIONS.

After VER. 86, in the former editions--

Triumphant leaders, at an army's head,
Hemm'd round with glories, pilfer cloth or bread:
As meanly plunder as they bravely fought,
Now save a people, and now save a groat.

VER. 129, in the former editions--

Ask why from Britain Cæsar made retreat?
Cæsar himself would tell you he was beat.
The mighty Czar what moved to wed a punk?
The mighty Czar would tell you he was drunk.

In the former editions, VER. 208--

Nature well known, no _miracles_ remain.



EPISTLE II.--TO A LADY.

OF THE CHARACTERS OF WOMEN.

Nothing so true as what you once let fall--
'Most women have no characters at all.'
Matter too soft a lasting mark to bear,
And best distinguish'd by black, brown, or fair.

How many pictures of one nymph we view,
All how unlike each other, all how true!
Arcadia's Countess, here, in ermined pride,
Is there, Pastora by a fountain side.
Here Fannia, leering on her own good man,
And there, a naked Leda with a swan.                     10
Let then the fair one beautifully cry,
In Magdalen's loose hair and lifted eye,
Or dress'd in smiles of sweet Cecilia shine,
With simpering angels, palms, and harps divine;
Whether the charmer sinner it or saint it,
If folly grow romantic, I must paint it.

Come then, the colours and the ground prepare!
Dip in the rainbow, trick her off in air;
Choose a firm cloud, before it fall, and in it
Catch, ere she change, the Cynthia of this minute.       20

Rufa, whose eye quick glancing o'er the park,
Attracts each light gay meteor of a spark,
Agrees as ill with Rufa studying Locke,
As Sappho's[12] diamonds with her dirty smock;
Or Sappho at her toilet's greasy task,
With Sappho fragrant at an evening mask:
So morning insects that in muck begun,
Shine, buzz, and fly-blow in the setting sun.

How soft is Silia! fearful to offend;
The frail one's advocate, the weak one's friend:         30
To her, Calista proved her conduct nice;
And good Simplicius asks of her advice.
Sudden, she storms! she raves! You tip the wink,
But spare your censure--Silia does not drink.
All eyes may see from what the change arose,
All eyes may see--a pimple on her nose.

Papillia, wedded to her amorous spark,
Sighs for the shades--'How charming is a park!'
A park is purchased, but the fair he sees
All bathed in tears--'Oh odious, odious trees!'          40

Ladies, like variegated tulips, show,
'Tis to their changes half their charms we owe;
Fine by defect, and delicately weak,
Their happy spots the nice admirer take.
'Twas thus Calypso once each heart alarm'd,
Awed without virtue, without beauty charm'd;
Her tongue bewitch'd as oddly as her eyes,
Less wit than mimic, more a wit than wise;
Strange graces still, and stranger flights she had,
Was just not ugly, and was just not mad;                 50
Yet ne'er so sure our passion to create,
As when she touch'd the brink of all we hate.

Narcissa's[13] nature, tolerably mild,
To make a wash, would hardly stew a child;
Has even been proved to grant a lover's prayer,
And paid a tradesman once, to make him stare;
Gave alms at Easter, in a Christian trim,
And made a widow happy, for a whim.
Why then declare good-nature is her scorn,
When 'tis by that alone she can be borne                 60
Why pique all mortals, yet affect a name?
A fool to pleasure, yet a slave to fame:
Now deep in Taylor and the Book of Martyrs,
Now drinking citron with his Grace and Chartres:
Now conscience chills her, and now passion burns;
And atheism and religion take their turns;
A very heathen in the carnal part,
Yet still a sad, good Christian at her heart.

See Sin in state, majestically drunk;
Proud as a peeress, prouder as a punk;                   70
Chaste to her husband, frank to all beside,
A teeming mistress, but a barren bride.
What then? let blood and body bear the fault,
Her head's untouch'd, that noble seat of thought:
Such this day's doctrine--in another fit
She sins with poets through pure love of wit.
What has not fired her bosom or her brain--
Cæsar and Tall-boy, Charles and Charlemagne?
As Helluo, late dictator of the feast,
The nose of _haut goût_, and the tip of taste,           80
Critiqued your wine, and analysed your meat,
Yet on plain pudding deign'd at home to eat;
So Philomedé,[14] lecturing all mankind
On the soft passion and the taste refined,
The address, the delicacy--stoops at once,
And makes her hearty meal upon a dunce.

Flavia's a wit, has too much sense to pray;
To toast our wants and wishes, is her way;
Nor asks of God, but of her stars, to give
The mighty blessing, 'While we live, to live.'           90
Then all for death, that opiate of the soul!
Lucretia's dagger, Rosamonda's bowl.
Say, what can cause such impotence of mind?
A spark too fickle, or a spouse too kind.

Wise wretch! with pleasures too refined to please;
With too much spirit to be e'er at ease;
With too much quickness ever to be taught;
With too much thinking to have common thought:
You purchase pain with all that joy can give,
And die of nothing, but a rage to live.                 100

Turn then from wits; and look on Simo's mate,
No ass so meek, no ass so obstinate.
Or her, that owns her faults, but never mends,
Because she's honest, and the best of friends.
Or her, whose life the church and scandal share,
For ever in a passion or a prayer.
Or her, who laughs at hell, but (like her Grace[15])
Cries, 'Ah! how charming, if there's no such place!'
Or who in sweet vicissitude appears
Of mirth and opium, ratafia and tears,                  110
The daily anodyne, and nightly draught,
To kill those foes to fair ones--time and thought.
Woman and fool are two hard things to hit;
For true no-meaning puzzles more than wit.

But what are these to great Atossa's[16] mind?
Scarce once herself, by turns all womankind!
Who, with herself, or others, from her birth
Finds all her life one warfare upon earth:
Shines, in exposing knaves, and painting fools,
Yet is whate'er she hates and ridicules.                120
No thought advances, but her eddy brain
Whisks it about, and down it goes again.
Full sixty years the world has been her trade,
The wisest fool much time has ever made.
From loveless youth to uninspected age,
No passion gratified, except her rage.
So much the fury still outran the wit,
The pleasure miss'd her, and the scandal hit.
Who breaks with her, provokes revenge from hell,
But he's a bolder man who dares be well.                130
Her every turn with violence pursued,
Nor more a storm her hate than gratitude:
To that each passion turns, or soon or late;
Love, if it makes her yield, must make her hate:
Superiors? death! and equals? what a curse!
But an inferior not dependent? worse!
Offend her, and she knows not to forgive:
Oblige her, and she'll hate you while you live:
But die, and she'll adore you--then the bust
And temple rise--then fall again to dust.               140
Last night, her lord was all that's good and great:
A knave this morning, and his will a cheat.
Strange! by the means defeated of the ends,
By spirit robb'd of power, by warmth of friends,
By wealth of followers! without one distress,
Sick of herself through very selfishness!
Atossa, cursed with every granted prayer,
Childless with all her children, wants an heir.
To heirs unknown descends the unguarded store,
Or wanders, Heaven-directed, to the poor.               150

Pictures like these, dear Madam, to design,
Asks no firm hand, and no unerring line;
Some wandering touches, some reflected light,
Some flying stroke alone can hit 'em right:
For how should equal colours do the knack?
Chameleons who can paint in white and black?

'Yet Chloe, sure, was form'd without a spot'--
Nature in her then err'd not, but forgot.
'With every pleasing, every prudent part,
Say, what can Chloe[17] want?'--She wants a heart.      160
She speaks, behaves, and acts just as she ought;
But never, never reach'd one generous thought.
Virtue she finds too painful an endeavour,
Content to dwell in decencies for ever.
So very reasonable, so unmoved,
As never yet to love, or to be loved.
She, while her lover pants upon her breast,
Can mark the figures on an Indian chest;
And when she sees her friend in deep despair,
Observes how much a chintz exceeds mohair.              170
Forbid it, Heaven! a favour or a debt
She e'er should cancel--but she may forget.
Safe is your secret still in Chloe's ear;
But none of Chloe's shall you ever hear.
Of all her dears she never slander'd one,
But cares not if a thousand are undone.
Would Chloe know if you're alive or dead?
She bids her footman put it in her head.
Chloe is prudent--would you, too, be wise?
Then never break your heart when Chloe dies.            180

One certain portrait may (I grant) be seen,
Which Heaven has varnish'd out, and made a queen:
The same for ever! and described by all
With truth and goodness, as with crown and ball.
Poets heap virtues, painters gems at will,
And show their zeal, and hide their want of skill.
'Tis well--but, artists! who can paint or write,
To draw the naked is your true delight.
That robe of quality so struts and swells,
None see what parts of nature it conceals:              190
The exactest traits of body or of mind,
We owe to models of an humble kind.
If Queensberry to strip there's no compelling,
'Tis from a handmaid we must take an Helen
From peer or bishop 'tis no easy thing
To draw the man who loves his God, or king:
Alas! I copy (or my draught would fail)
From honest Mahomet[18], or plain Parson Hale.[19]

But grant, in public men sometimes are shown,
A woman's seen in private life alone:                   200
Our bolder talents in full light display'd;
Your virtues open fairest in the shade.
Bred to disguise, in public 'tis you hide;
There, none distinguish 'twixt your shame or pride,
Weakness or delicacy; all so nice,
That each may seem a virtue, or a vice.

In men, we various ruling passions find;
In women, two almost divide the kind;
Those, only fix'd, they first or last obey,
The love of pleasure, and the love of sway.             210

That, Nature gives; and where the lesson taught
Is but to please, can pleasure seem a fault?
Experience, this; by man's oppression curst,
They seek the second not to lose the first.

Men, some to business, some to pleasure take;
But every woman is at heart a rake:
Men, some to quiet, some to public strife;
But every lady would be queen for life.

Yet mark the fate of a whole sex of queens!
Power all their end, but beauty all the means:          220
In youth they conquer, with so wild a rage,
As leaves them scarce a subject in their age:
For foreign glory, foreign joy, they roam;
No thought of peace or happiness at home.
But wisdom's triumph is well-timed retreat,
As hard a science to the fair as great!
Beauties, like tyrants, old and friendless grown,
Yet hate repose, and dread to be alone,
Worn out in public, weary every eye,
Nor leave one sigh behind them when they die.           230

Pleasure the sex, as children birds, pursue,
Still out of reach, yet never out of view;
Sure, if they catch, to spoil the toy at most,
To covet flying, and regret when lost:
At last, to follies youth could scarce defend,
It grows their age's prudence to pretend;
Ashamed to own they gave delight before,
Reduced to feign it, when they give no more:
As hags hold Sabbaths, less for joy than spite,
So these their merry, miserable night;                  240
Still round and round the ghosts of beauty glide,
And haunt the places where their honour died.

See how the world its veterans rewards!
A youth of frolics, an old age of cards;
Fair to no purpose, artful to no end,
Young without lovers, old without a friend;
A fop their passion, but their prize a sot,
Alive, ridiculous; and dead, forgot!

Ah, friend! to dazzle let the vain design;
To raise the thought, and touch the heart, be thine!    250
That charm shall grow, while what fatigues the ring,
Flaunts and goes down, an unregarded thing:
So when the sun's broad beam has tired the sight,
All mild ascends the moon's more sober light,
Serene in virgin modesty she shines,
And unobserved the glaring orb declines.

Oh! bless'd with temper, whose unclouded ray
Can make to-morrow cheerful as to-day;
She, who can love a sister's charms, or hear
Sighs for a daughter with unwounded ear;                260
She, who ne'er answers till a husband cools,
Or, if she rales him, never shows she rules;
Charms by accepting, by submitting sways,
Yet has her humour most when she obeys;
Let fops or fortune fly which way they will;
Disdains all loss of tickets, or codille;
Spleen, vapours, or small-pox, above them all,
And mistress of herself though China fall.

And yet, believe me, good as well as ill,
Woman's at best a contradiction still.                  270
Heaven, when it strives to polish all it can
Its last, best work, but forms a softer man;
Picks from each sex, to make the favourite blest,
Your love of pleasure or desire of rest:
Blends, in exception to all general rules,
Your taste of follies, with our scorn of fools:
Reserve with frankness, art with truth allied,
Courage with softness, modesty with pride;
Fix'd principles, with fancy ever new;
Shakes all together, and produces--you.                 280

Be this a woman's fame: with this unbless'd,
Toasts live a scorn, and queens may die a jest.
This Phoebus promised (I forget the year)
When those blue eyes first open'd on the sphere;
Ascendant Phoebus watch'd that hour with care,
Averted half your parents' simple prayer;
And gave you beauty, but denied the pelf
That buys your sex a tyrant o'er itself.
The generous god, who wit and gold refines,
And ripens spirits as he ripens mines,                  290
Kept dross for duchesses, the world shall know it,
To you gave sense, good-humour, and a poet.


VARIATIONS.

VER. 77 in the MS.--

In whose mad brain the mix'd ideas roll
Of Tall-toy's breeches, and of Cæsar's soul.

After VER. 122 in the MS.--

Oppress'd with wealth and wit, abundance sad!
One makes her poor, the other makes her mad.

After VER. 148 in the MS.--

This Death decides, nor lets the blessing fall
On any one she hates, but on them all.
Cursed chance! this only could afflict her more,
If any part should wander to the poor.

After VER. 198 in the MS.--

Fain I'd in Fulvia spy the tender wife;
I cannot prove it on her, for my life:
And, for a noble pride, I blush no less,
Instead of Berenice, to think on Bess.
Thus while immortal Gibber only sings
(As ----- and H---y preach) for queens and kings,
The nymph that ne'er read Milton's mighty line,
May, if she love, and merit verse, have mine

VER. 207 in the first edition--

In several men we several passions find;
In women, two almost divide the kind.


EPISTLE III.[20]--TO ALLEN LORD BATHURST.

ARGUMENT.

OF THE USE OF RICHES.

That it is known to few, most falling into one of the extremes, avarice
or profusion, ver. 1., &c. The point discussed, whether the invention of
money has been more commodious, or pernicious to mankind, ver. 21 to 77.
That riches, either to the avaricious or the prodigal, cannot afford
happiness, scarcely necessaries, ver. 89 to 160. That avarice is an
absolute frenzy, without an end or purpose, ver. 113 to 152. Conjectures
about the motives of avaricious men, ver. 121 to 153. That the conduct
of men, with respect to riches, can only be accounted for by the order
of Providence, which works the general good out of extremes, and brings
all to its great end by perpetual revolutions, ver. 161 to 178. How a
miser acts upon principles which appear to him reasonable, ver. 179. How
a prodigal does the same, ver. l99. The due medium, and true use of
riches, ver. 219. The Man of Ross, ver. 250. The fate of the profuse and
the covetous, in two examples; both miserable in life and in death, ver.
300, &c. The story of Sir Balaam, ver. 339 to the end.

_P_. Who shall decide, when doctors disagree,
And soundest casuists doubt, like you and me?
You hold the word, from Jove to Momus given,
That man was made the standing jest of Heaven;
And gold but sent to keep the fools in play,
For some to heap, and some to throw away.

But I, who think more highly of our kind,
(And, surely, Heaven and I are of a mind)
Opine, that Nature, as in duty bound,
Deep hid the shining mischief under ground:              10
But when, by man's audacious labour won,
Flamed forth this rival to its sire, the Sun,
Then careful Heaven supplied two sorts of men,
To squander these, and those to hide again.

Like doctors thus, when much dispute has pass'd,
We find our tenets just the same at last.
Both fairly owning, riches, in effect,
No grace of Heaven or token of the elect;
Given to the fool, the mad, the vain, the evil,
To Ward,[21] to Waters, Chartres,[22] and the devil.     20

_B_. What nature wants, commodious gold bestows,
'Tis thus we eat the bread another sows.

_P_. But how unequal it bestows, observe,
Tis thus we riot, while who sow it starve:
What nature wants (a phrase I much distrust)
Extends to luxury, extends to lust:
Useful, I grant, it serves what life requires,
But dreadful too, the dark assassin hires:

_B_. Trade it may help, society extend.

_P_. But lures the pirate, and corrupts the friend.      30

_B_. It raises armies in a nation's aid.

_P_. But bribes a senate, and the land's betray'd.
In vain may heroes fight, and patriots rave;
If secret gold sap on from knave to knave.
Once, we confess, beneath the patriot's cloak,[23]
From the crack'd bag the dropping guinea spoke,
And jingling down the back-stairs, told the crew,
'Old Cato is as great a rogue as you.'
Blest paper-credit! last and best supply!
That lends corruption lighter wings to fly!              40
Gold imp'd by thee, can compass hardest things,
Can pocket states, can fetch or carry kings;
A single leaf shall waft an army o'er,
Or ship off senates[24] to a distant shore;
A leaf, like Sibyl's, scatter to and fro
Our fates and fortunes, as the winds shall blow:
Pregnant with thousands flits the scrap unseen,
And silent sells a king, or buys a queen,

Oh! that such bulky bribes as all might see,
Still, as of old, encumber'd villainy!                   50
Could France or Rome divert our brave designs,
With all their brandies, or with all their wines?
What could they more than knights and squires confound,
Or water all the quorum ten miles round?
A statesman's slumbers how this speech would spoil!
'Sir, Spain has sent a thousand jars of oil;
Huge bales of British cloth blockade the door;
A hundred oxen at your leveë roar.'

Poor avarice one torment more would find;
Nor could profusion squander all in kind.                60
Astride his cheese, Sir Morgan might we meet;
And Worldly crying coals[25] from street to street,
Whom, with a wig so wild, and mien so mazed,
Pity mistakes for some poor tradesman crazed.
Had Colepepper's[26] whole wealth been hops and hogs,
Could he himself have sent it to the dogs?
His Grace will game: to White's a bull be led,
With spurning heels, and with a butting head:
To White's be carried, as to ancient games,
Fair coursers, vases, and alluring dames.                70
Shall then Uxorio, if the stakes he sweep,
Bear home six whores and make his lady weep?
Or soft Adonis, so perfumed and fine,
Drive to St James's a whole herd of swine?
Oh filthy check on all industrious skill,
To spoil the nation's last great trade--quadrille?
Since then, my lord, on such a world we fall,
What say you?

_B_.    Say! Why, take it, gold and all.

_P_. What riches give us, let us then inquire:
Meat, fire, and clothes.

_B_.              What more?

_P_.                   Meat, clothes, and fire.          80
Is this too little? would you more than live?
Alas! 'tis more than Turner[27] finds they give.
Alas! 'tis more than (all his visions past)
Unhappy Wharton, waking, found at last!
What can they give? to dying Hopkins,[28] heirs;
To Chartres, vigour; Japhet,[29] nose and ears?
Can they in gems bid pallid Hippia glow,
In Fulvia's buckle ease the throbs below;
Or heal, old Narses, thy obscener ail,
With all the embroidery plaster'd at thy tail?           90
They might (were Harpax not too wise to spend)
Give Harpax' self the blessing of a friend;
Or find some doctor that would save the life
Of wretched Shylock, spite of Shylock's wife:
But thousands die, without or this or that,
Die, and endow a college, or a cat.[30]
To some, indeed, Heaven grants the happier fate,
T' enrich a bastard, or a son they hate.

Perhaps you think the poor might have their part?
Bond[31] damns the poor, and hates them from his heart: 100
The grave Sir Gilbert holds it for a rule,
That 'every man in want is knave or fool:'
'God cannot love' (says Blunt, with tearless eyes)
'The wretch he starves'--and piously denies:
But the good bishop, with a meeker air,
Admits, and leaves them, Providence's care.

Yet, to be just to these poor men of pelf,
Each does but hate his neighbour as himself:
Damn'd to the mines, an equal fate betides
The slave that digs it, and the slave that hides.       110

_B_. Who suffer thus, mere charity should own,
Must act on motives powerful, though unknown.

_P_. Some war, some plague, or famine, they foresee,
Some revelation hid from you and me.
Why Shylock wants a meal, the cause is found,
He thinks a loaf will rise to fifty pound.
What made directors cheat in South-sea year?
To live on venison[32] when it sold so dear.
Ask you why Phryne the whole auction buys?
Phryne foresees a general excise.[33]                   120
Why she and Sappho raise that monstrous sum?
Alas! they fear a man will cost a plum.

Wise Peter[34] sees the world's respect for gold,
And therefore hopes this nation may be sold:
Glorious ambition! Peter, swell thy store,
And be what Rome's great Didius[35] was before.

The crown of Poland, venal twice an age,
To just three millions stinted modest Gage.
But nobler scenes Maria's dreams unfold,
Hereditary realms, and worlds of gold.                  130
Congenial souls! whose life one avarice joins,
And one fate buries in the Asturian mines.

Much-injured Blunt![36] why bears he Britain's hate?
A wizard told him in these words our fate:
'At length corruption, like a general flood,
(So long by watchful ministers withstood)
Shall deluge all; and avarice creeping on,
Spread like a low-born mist, and blot the sun,
Statesman and patriot ply alike the stocks,
Peeress and butler share alike the box,                 140
And judges job, and bishops bite the town,
And mighty dukes pack cards for half-a-crown.
See Britain sunk in lucre's sordid charms,
And France revenged of Anne's and Edward's arms!'
'Twas no court-badge, great scrivener! fired thy brain,
Nor lordly luxury, nor city gain:
No, 'twas thy righteous end, ashamed to see
Senates degenerate, patriots disagree,
And nobly wishing party-rage to cease,
To buy both sides, and give thy country peace.          150

'All this is madness,' cries a sober sage:
But who, my friend, has reason in his rage?
'The ruling passion, be it what it will,
The ruling passion conquers reason still.'
Less mad the wildest whimsy we can frame,
Than even that passion, if it has no aim;
For though such motives folly you may call,
The folly's greater to have none at all.

Hear, then, the truth: ''Tis Heaven each passion sends,
And different men directs to different ends.            160
Extremes in Nature equal good produce,
Extremes in man concur to general use.'
Ask we what makes one keep, and one bestow?
That Power who bids the ocean ebb and flow,
Bids seed-time, harvest, equal course maintain,
Through reconciled extremes of drought and rain.
Builds life on death, on change duration founds,
And gives the eternal wheels to know their rounds.

Riches, like insects, when conceal'd they lie,
Wait but for wings, and in their season fly.            170
Who sees pale Mammon pine amidst his store,
Sees but a backward steward for the poor;
This year a reservoir, to keep and spare;
The next a fountain, spouting through his heir,
In lavish streams to quench a country's thirst,
And men and dogs shall drink him till they burst.

Old Cotta shamed his fortune and his birth,
Yet was not Cotta void of wit or worth:
What though (the use of barbarous spits forgot)
His kitchen vied in coolness with his grot?             180
His court with nettles, moats with cresses stored,
With soups unbought and salads bless'd his board?
If Cotta lived on pulse, it was no more
Than Brahmins, saints, and sages did before;
To cram the rich was prodigal expense,
And who would take the poor from Providence?
Like some lone Chartreux stands the good old Hall,
Silence without, and fasts within the wall;
No rafter'd roofs with dance and tabor sound,
No noontide-bell invites the country round:             190
Tenants with sighs the smokeless towers survey,
And turn the unwilling steeds another way:
Benighted wanderers, the forest o'er,
Curse the saved candle, and unopening door;
While the gaunt mastiff growling at the gate,
Affrights the beggar whom he longs to eat.

Not so his son; he mark'd this oversight,
And then mistook reverse of wrong for right.
(For what to shun will no great knowledge need,
But what to follow, is a task indeed).                  200
Yet sure, of qualities deserving praise,
More go to ruin fortunes, than to raise.
What slaughter'd hecatombs, what floods of wine,
Fill the capacious squire, and deep divine!
Yet no mean motive this profusion draws,
His oxen perish in his country's cause;
'Tis George and Liberty that crowns the cup,
And zeal for that great house which eats him up.
The woods recede around the naked seat,
The silvans groan--no matter--for the fleet;            210
Next goes his wool--to clothe our valiant bands,
Last, for his country's love, he sells his lands.
To town he comes, completes the nation's hope,
And heads the bold train-bands, and burns a pope.
And shall not Britain now reward his toils,
Britain, that pays her patriots with her spoils?
In vain at court the bankrupt pleads his cause,
His thankless country leaves him to her laws.

The sense to value riches, with the art
To enjoy them, and the virtue to impart,                220
Not meanly, nor ambitiously pursued,
Not sunk by sloth, nor raised by servitude:
To balance fortune by a just expense,
Join with economy, magnificence;
With splendour, charity; with plenty, health;
Oh teach us, Bathurst! yet unspoil'd by wealth!
That secret rare, between the extremes to move
Of mad good-nature and of mean self-love.

_B_. To worth or want well-weigh'd, be bounty given,
And ease, or emulate, the care of Heaven;               230
(Whose measure full o'erflows on human race)
Mend Fortune's fault, and justify her grace.
Wealth in the gross is death, but life, diffused;
As poison heals, in just proportion used:
In heaps, like ambergris, a stink it lies,
But well-dispersed, is incense to the skies.

_P_. Who starves by nobles, or with nobles eats?
The wretch that trusts them, and the rogue that cheats.
Is there a lord, who knows a cheerful noon
Without a fiddler, flatterer, or buffoon?               240
Whose table, wit, or modest merit share,
Unelbow'd by a gamester, pimp, or player?
Who copies yours, or Oxford's better part,[37]
To ease the oppress'd, and raise the sinking heart?
Where'er he shines, O Fortune! gild the scene,
And angels guard him in the golden mean!
There, English bounty yet awhile may stand,
And honour linger ere it leaves the land.

But all our praises why should lords engross?
Rise, honest Muse! and sing the Man of Ross:[38]        250
Pleased Vaga echoes through her winding bounds,
And rapid Severn hoarse applause resounds.
Who hung with woods yon mountain's sultry brow?
From the dry rock who bade the waters flow?
Not to the skies in useless columns toss'd,
Or in proud falls magnificently lost,
But clear and artless pouring through the plain
Health to the sick, and solace to the swain.
Whose causeway parts the vale with shady rows?
Whose seats the weary traveller repose?                 260
Who taught that heaven-directed spire to rise?
'The Man of Ross,' each lisping babe replies.
Behold the market-place with poor o'erspread!
The Man of Ross divides the weekly bread:
He feeds yon alms-house, neat, but void of state,
Where Age and Want sit smiling at the gate:
Him portion'd maids, apprenticed orphans bless'd,
The young who labour, and the old who rest.
Is any sick? the Man of Ross relieves,
Prescribes, attends, the medicine makes, and gives.     270
Is there a variance? enter but his door,
Balk'd are the courts, and contest is no more.
Despairing quacks with curses fled the place,
And vile attorneys, now a useless race.

_B_. Thrice happy man! enabled to pursue
What all so wish, but want the power to do!
Oh say, what sums that generous hand supply?
What mines, to swell that boundless charity?

_P_. Of debts and taxes, wife and children clear,
This man possess'd--five hundred pounds a-year.         280
Blush, Grandeur, blush! proud courts, withdraw your blaze!
Ye little stars, hide your diminish'd rays!

_B_. And what? no monument, inscription, stone?
His race, his form, his name almost unknown?

_P_. Who builds a church to God, and not to fame,
Will never mark the marble with his name:
Go, search it there,[39] where to be born and die,
Of rich and poor makes all the history;
Enough, that virtue fill'd the space between;
Proved, by the ends of being, to have been.             290
When Hopkins dies, a thousand lights attend
The wretch who, living, saved a candle's end:
Shouldering God's altar a vile image stands,
Belies his features, nay, extends his hands;
That live-long wig which Gorgon's self might own,
Eternal buckle takes in Parian stone.[40]
Behold what blessings wealth to life can lend!
And see what comfort it affords our end!

In the worst inn's worst room, with mat half-hung,
The floors of plaster, and the walls of dung,           300
On once a flock-bed, but repair'd with straw,
With tape-tied curtains, never meant to draw,
The George and Garter dangling from that bed
Where tawdry yellow strove with dirty red,
Great Villiers[41] lies--alas! how changed from him,
That life of pleasure, and that soul of whim!
Gallant and gay, in Cliveden's proud alcove,
The bower of wanton Shrewsbury,[42] and love;
Or just as gay, at council, in a ring
Of mimick'd statesmen, and their merry king.            310
No wit to flatter, left of all his store;
No fool to laugh at, which he valued more.
There, victor of his health, of fortune, friends,
And fame, this lord of useless thousands ends.

His Grace's fate sage Cutler[43] could foresee,
And well (he thought) advised him, 'Live like me.'
As well his Grace replied, 'Like you, Sir John?
That I can do, when all I have is gone.'
Resolve me, Reason, which of these is worse,
Want with a full, or with an empty purse?               320
Thy life more wretched, Cutler, was confess'd,
Arise, and tell me, was thy death more bless'd?
Cutler saw tenants break, and houses fall;
For very want he could not build a wall.
His only daughter in a stranger's power;
For very want he could not pay a dower.
A few gray hairs his reverend temples crown'd,
'Twas very want that sold them for two pound.
What even denied a cordial at his end,
Banish'd the doctor, and expell'd the friend?           330
What but a want, which you perhaps think mad,
Yet numbers feel--the want of what he had!
Cutler and Brutus, dying, both exclaim,
'Virtue! and Wealth! what are ye but a name!'

Say, for such worth are other worlds prepared
Or are they both in this their own reward?
A knotty point! to which we now proceed.
But you are tired--I'll tell a tale--

_B_. Agreed.

_P_. Where London's column,[44] pointing at the skies
Like a tall bully, lifts the head, and lies;            340
There dwelt a citizen of sober fame,
A plain good man, and Balaam was his name;
Religious, punctual, frugal, and so forth;
His word would pass for more than he was worth.
One solid dish his week-day meal affords,
An added pudding solemnised the Lord's:
Constant at church, and 'Change; his gains were sure,
His givings rare, save farthings to the poor.

The devil was piqued such saintship to behold,
And long'd to tempt him like good Job of old:           350
But Satan now is wiser than of yore,
And tempts by making rich, not making poor.

Roused by the Prince of Air, the whirlwinds sweep
The surge, and plunge his father in the deep;
Then lull against his Cornish lands they roar,
And two rich shipwrecks bless the lucky shore.

Sir Balaam now, he lives like other folks,
He takes his chirping pint, and cracks his jokes:
'Live like yourself,' was soon my Lady's word;
And, lo! two puddings smoked upon the board.            360

Asleep and naked as an Indian lay,
An honest factor stole a gem away:
He pledged it to the knight; the knight had wit,
So kept the diamond, and the rogue was bit.
Some scruple rose, but thus he eased his thought--
'I'll now give sixpence where I gave a groat;
Where once I went to church, I'll now go twice--
And am so clear, too, of all other vice.'

The Tempter saw his time; the work he plied;
Stocks and subscriptions pour on every side,            370
Till all the demon makes his full descent
In one abundant shower of cent, per cent.;
Sinks deep within him, and possesses whole,
Then dubs director, and secures his soul.

Behold Sir Balaam, now a man of spirit,
Ascribes his gettings to his parts and merit;
What late he call'd a blessing, now was wit,
And God's good providence, a lucky hit.
Things change their titles, as our manners turn:
His counting-house employ'd the Sunday-morn;            380
Seldom at church ('twas such a busy life)
But duly sent his family and wife.
There (so the devil ordain'd) one Christmas-tide,
My good old lady catch'd a cold, and died.

A nymph of quality admires our knight;
He marries, bows at court, and grows polite:
Leaves the dull cits, and joins (to please the fair)
The well-bred cuckolds in St James's air:
First, for his son a gay commission buys,
Who drinks, whores, fights, and in a duel dies:         390
His daughter flaunts a viscount's tawdry wife;
She bears a coronet and pox for life.
In Britain's senate he a seat obtains,
And one more pensioner St Stephen gains.
My lady falls to play; so bad her chance,
He must repair it; takes a bribe from France;
The House impeach him; Coningsby harangues;
The court forsake him--and Sir Balaam hangs:
Wife, son, and daughter, Satan! are thy own,
His wealth, yet dearer, forfeit to the crown:           400
The devil and the king divide the prize,
And sad Sir Balaam curses God, and dies.


VARIATIONS.

After VER. 50, in the MS.--

To break a trust were Peter bribed with wine,
Peter! 'twould pose as wise a head as thine.

VER. 77, in the former edition--

Well then, since with the world we stand or fall,
Come, take it as we find it, gold and all.

After VER. 218 in the MS.--

Where one lean herring furnish'd Cotta's board,
And nettles grew, fit porridge for their lord;
Where mad good-nature, bounty misapplied,
In lavish Curio blazed awhile and died;
There Providence once more shall shift the scene,
And showing H----y, teach the golden mean.

After VER. 226, in the MS.--

That secret rare with affluence hardly join'd,
Which W----n lost, yet B----y ne'er could find;
Still miss'd by vice, and scarce by virtue hit,
By G----'s goodness, or by S----'s wit.

After VER. 250 in the MS--

Trace humble worth beyond Sabrina's shore,
Who sings not him, oh, may he sing no more!

VER. 287, thus in the MS.--

The register enrolls him with his poor,
Tells he was born and died, and tells no more.
Just as he ought, he fill'd the space between;
Then stole to rest, unheeded and unseen.

VER. 337, in the former editions--

That knotty point, my lord, shall I discuss
Or tell a tale!--A tale.--It follows thus.


EPISTLE IV.--TO RICHARD BOYLE, EARL OF BURLINGTON.

ARGUMENT.

OF THE USE OF RICHES.

The vanity of expense in people of wealth and quality. The abuse of the
word 'taste,' ver. 13. That the first principle and foundation, in this
as in every thing else, is good sense, ver. 40. The chief proof of it is
to follow nature, even in works of mere luxury and elegance. Instanced
in architecture and gardening, where all must be adapted to the genius
and use of the place, and the beauties not forced into it, but resulting
from it, ver. 50. How men are disappointed in their most expensive
undertakings, for want of this true foundation, without which nothing
can please long, if at all; and the best examples and rules will but be
perverted into something burdensome or ridiculous, ver. 65 to 92. A
description of the false taste of magnificence; the first grand error of
which is to imagine that greatness consists in the size and dimension,
instead of the proportion and harmony of the whole, ver. 97; and the
second, either in joining together parts incoherent, or too minutely
resembling, or in the repetition of the same too frequently, ver. 105,
&c. A word or two of false taste in books, in music, in painting, even
in preaching and prayer, and lastly in entertainments, ver. 133, &c. Yet
Providence is justified in giving wealth to be squandered in this
manner, since it is dispersed to the poor and laborious part of mankind,
ver. 169 [recurring to what is laid down in the 'Essay on Man,' ep. ii.
and in the epistle preceding this, ver. 159, &c.] What are the proper
objects of magnificence, and a proper field for the expense of great
men, ver. 177, &c.; and finally, the great and public works which become
a prince, ver. 191, to the end.


'Tis strange, the miser should his cares employ
To gain those riches he can ne'er enjoy:
Is it less strange, the prodigal should waste
His wealth, to purchase what he ne'er can taste?
Not for himself he sees, or hears, or eats;
Artists must choose his pictures, music, meats;
He buys for Topham[45] drawings and designs,
For Pembroke statues, dirty gods, and coins;
Rare monkish manuscripts for Hearne[46] alone,
And books for Mead, and butterflies for Sloane.          10
Think we all these are for himself? no more
Than his fine wife, alas! or finer whore.

For what has Virro painted, built, and planted?
Only to show how many tastes he wanted.
What brought Sir Visto's ill-got wealth to waste?
Some demon whisper'd, 'Visto! have a taste.'
Heaven visits with a taste the wealthy fool,
And needs no rod but Ripley[47] with a rule.
See! sportive fate, to punish awkward pride,
Bids Bubo[48] build, and sends him such a guide:         20
A standing sermon, at each year's expense,
That never coxcomb reach'd magnificence!

You show us, Rome was glorious, not profuse,
And pompous buildings once were things of use.
Yet shall (my lord) your just, your noble rules
Fill half the land with imitating fools,
Who random drawings from your sheets shall take,
And of one beauty many blunders make;
Load some vain church with old theatric state,
Turn arcs of triumph to a garden-gate;                   30
Reverse your ornaments, and hang them all
On some patch'd dog-hole eked with ends of wall;
Then clap four slices of pilaster on't,
That, laced with bits of rustic, makes a front.
Shall call the winds through long arcades to roar,
Proud to catch cold at a Venetian door;
Conscious they act a true Palladian part.
And if they starve, they starve by rules of art.

Oft have you hinted to your brother peer,
A certain truth, which many buy too dear:                40
Something there is more needful than expense,
And something previous even to taste--'tis sense:
Good sense, which only is the gift of Heaven,
And though no science, fairly worth the seven:
A light, which in yourself you must perceive;
Jones and Le Nôtre have it not to give.

To build, to plant, whatever you intend,
To rear the column, or the arch to bend,
To swell the terrace, or to sink the grot;
In all, let Nature never be forgot.                      50
But treat the goddess like a modest fair,
Nor overdress, nor leave her wholly bare;
Let not each beauty everywhere be spied,
Where half the skill is decently to hide.
He gains all points, who pleasingly confounds,
Surprises, varies, and conceals the bounds.

Consult the genius of the place in all;
That tells the waters or to rise, or fall;
Or helps the ambitious hill the heavens to scale,
Or scoops in circling theatres the vale;                 60
Calls in the country, catches opening glades,
Joins willing woods, and varies shades from shades;
Now breaks, or now directs, the intending lines;
Paints as you plant, and, as you work, designs.

Still follow sense, of every art the soul,
Parts answering parts shall slide into a whole,
Spontaneous beauties all around advance,
Start even from difficulty, strike from chance;
Nature shall join you; time shall make it grow
A work to wonder at--perhaps a Stowe.                    70

Without it, proud Versailles! thy glory falls;
And Nero's terraces desert their walls:
The vast parterres a thousand hands shall make,
Lo! Cobham comes, and floats them with a lake:
Or cut wide views through mountains to the plain,
You'll wish your hill or shelter'd seat again.
Even in an ornament its place remark,
Nor in an hermitage set Dr Clarke.[49]
Behold Villario's ten years' toil complete;
His quincunx darkens, his espaliers meet;                80
The wood supports the plain, the parts unite,
And strength of shade contends with strength of light;
A waving glow the blooming beds display,
Blushing in bright diversities of day,
With silver-quivering rills meander'd o'er--
Enjoy them, you! Villario can no more;
Tired of the scene parterres and fountains yield,
He finds at last he better likes a field.

Through his young woods how pleased Sabinus stray'd,
Or sat delighted in the thickening shade,                90
With annual joy the reddening shoots to greet,
Or see the stretching branches long to meet!
His son's fine taste an opener vista loves,
Foe to the Dryads of his father's groves;
One boundless green, or flourish'd carpet views,
With all the mournful family of yews;
The thriving plants, ignoble broomsticks made,
Now sweep those alleys they were born to shade.

At Timon's villa[50] let us pass a day,
Where all cry out, 'What sums are thrown away!'         100
So proud, so grand; of that stupendous air,
Soft and agreeable come never there.
Greatness, with Timon, dwells in such a draught
As brings all Brobdignag before your thought.
To compass this, his building is a town,
His pond an ocean, his parterre a down:
Who but must laugh, the master when he sees,
A puny insect, shivering at a breeze!
Lo, what huge heaps of littleness around!
The whole a labour'd quarry above ground;               110
Two Cupids squirt before: a lake behind
Improves the keenness of the northern wind.
His gardens next your admiration call,
On every side you look, behold the wall!
No pleasing intricacies intervene,
No artful wildness to perplex the scene;
Grove nods at grove, each alley has a brother,
And half the platform just reflects the other.
The suffering eye inverted nature sees,
Trees cut to statues, statues thick as trees;           120
With here a fountain, never to be play'd;
And there a summer-house, that knows no shade;
Here Amphitritè sails through myrtle bowers;
There gladiators fight, or die in flowers;
Unwater'd see the drooping sea-horse mourn,
And swallows roost in Nilus' dusty urn.

My lord advances with majestic mien,
Smit with the mighty pleasure, to be seen:
But soft--by regular approach--not yet--
First through the length of yon hot terrace sweat;      130
And when up ten steep slopes you've dragg'd your thighs,
Just at his study-door he'll bless your eyes.

His study! with what authors is it stored?
In books, not authors, curious is my lord;
To all their dated backs he turns you round:
These Aldus printed, those Du Sueil has bound.
Lo! some are vellum, and the rest as good
For all his lordship knows, but they are wood.
For Locke or Milton 'tis in vain to look,               140
These shelves admit not any modern book.

And now the chapel's silver bell you hear,
That summons you to all the pride of prayer:
Light quirks of music, broken and uneven,
Make the soul dance upon a jig to heaven.
On painted ceilings you devoutly stare,
Where sprawl the saints of Verrio or Laguerre,[51]
On gilded clouds in fair expansion lie,
And bring all Paradise before your eye.
To rest, the cushion and soft dean invite,
Who never mentions hell[51] to ears polite.             150

But hark! the chiming clocks to dinner call;
A hundred footsteps scrape the marble hall:
The rich buffet well-colour'd serpents grace,
And gaping Tritons spew to wash your face.
Is this a dinner? this a genial room?
No, 'tis a temple, and a hecatomb.
A solemn sacrifice, perform'd in state,
You drink by measure, and to minutes eat.
So quick retires each flying course, you'd swear
Sancho's dread doctor[53] and his wand were there.      160
Between each act the trembling salvers ring,
From soup to sweet-vine, and God bless the king.
In plenty starving, tantalised in state,
And complaisantly help'd to all I hate,
Treated, caress'd, and tired, I take my leave,
Sick of his civil pride from morn to eve;
I curse such lavish cost, and little skill,
And swear no day was ever pass'd so ill.

Yet hence the poor are clothed, the hungry fed;
Health to himself, and to his infants bread             170
The labourer bears: what his hard heart denies,
His charitable vanity supplies.

Another age shall see the golden ear
Imbrown the slope, and nod on the parterre,
Deep harvests bury all his pride has plann'd,
And laughing Ceres reassume the land.

Who then shall grace, or who improve the soil?--
Who plants like Bathurst, or who builds like Boyle.
'Tis use alone that sanctifies expense,
And splendour borrows all her rays from sense.          180

His father's acres who enjoys in peace,
Or makes his neighbours glad, if he increase:
Whose cheerful tenants bless their yearly toil,
Yet to their lord owe more than to the soil;
Whose ample lawns are not ashamed to feed
The milky heifer and deserving steed;
Whose rising forests, not for pride or show,
But future buildings, future navies, grow:
Let his plantations stretch from down to down,
First shade a country, and then raise a town.           190

You, too, proceed! make falling arts your care,
Erect new wonders, and the old repair;
Jones and Palladio to themselves restore,
And be whate'er Vitruvius was before:
Till kings call forth the ideas of your mind,
(Proud to accomplish what such hands design'd.)
Bid harbours open, public ways extend,
Bid temples, worthier of the god, ascend;
Bid the broad arch the dangerous flood contain,
The mole projected break the roaring main;              200
Back to his bonds their subject sea command,
And roll obedient rivers through the land;
These honours, peace to happy Britain brings,
These are imperial works, and worthy kings.


VARIATION.

After VER. 22 in the MS.--

Must bishops, lawyers, statesmen have the skill
To build, to plant, judge paintings, what you will?
Then why not Kent as well our treaties draw,
Bridginan explain the gospel, Gibs the law?


EPISTLE V. TO MR ADDISON.

OCCASIONED BY HIS DIALOGUES ON MEDALS.[54]

See the wild waste of all-devouring years!
How Rome her own sad sepulchre appears,
With nodding arches, broken temples spread!
The very tombs now vanish'd, like their dead!
Imperial wonders raised on nations spoil'd
Where mix'd with slaves the groaning martyr toil'd:
Huge theatres, that now unpeopled woods,
Now drain'd a distant country of her floods:
Fanes, which admiring gods with pride survey,
Statues of men, scarce less alive than they!             10
Some felt the silent stroke of mouldering age,
Some hostile fury, some religious rage,
Barbarian blindness, Christian zeal conspire,
And Papal piety, and Gothic fire.
Perhaps, by its own ruins saved from flame,
Some buried marble half-preserves a name;
That name the learn'd with fierce disputes pursue,
And give to Titus old Vespasian's due.

Ambition sigh'd: she found it vain to trust
The faithless column, and the crumbling bust:            20
Huge moles, whose shadow stretch'd from shore to shore,
Their ruins perish'd, and their place no more!
Convinced, she now contracts her vast design,
And all her triumphs shrink into a coin.
A narrow orb each crowded conquest keeps,
Beneath her palm, here sad Judæa weeps.
Now scantier limits the proud arch confine,
And scarce are seen the prostrate Nile or Rhine;
A small Euphrates through the piece is roll'd,
And little eagles wave their wings in gold.              30

The medal, faithful to its charge of fame,
Through climes and ages bears each form and name:
In one short view subjected to our eye
Gods, emperors, heroes, sages, beauties, lie.
With sharpen'd sight, pale antiquaries pore,
The inscription value, but the rust adore.
This the blue varnish, that the green endears,
The sacred rust of twice ten hundred years!
To gain Pescennius one employs his schemes,
One grasps a Cecrops in ecstatic dreams.                 40
Poor Vadius,[55] long with learned spleen devour'd.
Can taste no pleasure since his shield was scour'd:
And Curio, restless by the fair one's side,
Sighs for an Otho, and neglects his bride.

Theirs is the vanity, the learning thine:
Touch'd by thy hand, again Rome's glories shine;
Her gods, and god-like heroes rise to view,
And all her faded garlands bloom anew.
Nor blush, these studies thy regard engage;
These pleased the fathers of poetic rage;                50
The verse and sculpture bore an equal part,
And Art reflected images to Art.

Oh! when shall Britain, conscious of her claim,
Stand emulous of Greek and Roman fame?
In living medals see her wars enroll'd,
And vanquish'd realms supply recording gold?
Here, rising bold, the patriot's honest face;
There, warriors frowning in historic brass:
Then future ages with delight shall see
How Plato's, Bacon's, Newton's looks agree;              60
Or in fair series laurell'd bards be shown,
A Virgil there, and here an Addison.
Then shall thy Craggs (and let me call him mine)
On the cast ore, another Pollio, shine;
With aspect open, shall erect his head,
And round the orb in lasting notes be read,
'Statesman, yet friend to truth! of soul sincere,
In action faithful, and in honour clear;
Who broke no promise, served no private end,
Who gain'd no title, and who lost no friend;             70
Ennobled by himself, by all approved,
And praised, unenvied, by the Muse he loved.'




TRANSLATIONS AND IMITATIONS.

SAPPHO TO PHAON.

FROM THE FIFTEENTH OF OVID'S EPISTLES.

Say, lovely youth, that dost my heart command,
Can Phaon's eyes forget his Sappho's hand?
Must then her name the wretched writer prove,
To thy remembrance lost, as to thy love?
Ask not the cause that I new numbers choose,
The lute neglected and the lyric Muse;
Love taught my tears in sadder notes to flow,
And tuned my heart to elegies of woe,
I burn, I burn, as when through ripen'd corn
By driving winds the spreading flames are borne!         10
Phaon to Ætna's scorching fields retires,
While I consume with more than Ætna's fires!
No more my soul a charm in music finds;
Music has charms alone for peaceful minds.
Soft scenes of solitude no more can please;
Love enters there, and I'm my own disease.
No more the Lesbian dames my passion move,
Once the dear objects of my guilty love;
All other loves are lost in only thine,
Ah, youth ungrateful to a flame like mine!               20
Whom would not all those blooming charms surprise,
Those heavenly looks, and dear deluding eyes!
The harp and bow would you like Phoebus bear,
A brighter Phoebus Phaon might appear;
Would you with ivy wreath your flowing hair,
Not Bacchus' self with Phaon could compare:
Yet Phoebus loved, and Bacchus felt the flame,
One Daphne warm'd, and one the Cretan dame;
Nymphs that in verse no more could rival me,
Than e'en those gods contend in charms with thee.        30
The Muses teach me all their softest lays,
And the wide world resounds with Sappho's praise.
Though great Alcaeus more sublimely sings,
And strikes with bolder rage the sounding strings,
No less renown attends the moving lyre,
Which Venus tunes, and all her loves inspire.
To me what nature has in charms denied,
Is well by wit's more lasting flames supplied.
Though short my stature, yet my name extends
To heaven itself, and earth's remotest ends.             40
Brown as I am, an Ethiopian dame
Inspired young Perseus with a generous flame;
Turtles and doves of different hues unite,
And glossy jet is pair'd with shining white.
If to no charms thou wilt thy heart resign,
But such as merit, such as equal thine,
By none, alas! by none thou canst be moved,
Phaon alone by Phaon must be loved!
Yet once thy Sappho could thy cares employ,
Once in her arms you centred all your joy:               50
No time the dear remembrance can remove,
For, oh! how vast a memory has love!
My music, then, you could for ever hear,
And all my words were music to your ear.
You stopp'd with kisses my enchanting tongue,
And found my kisses sweeter than my song,
In all I pleased, but most in what was best;
And the last joy was dearer than the rest.
Then with each word, each glance, each motion fired,
You still enjoy'd, and yet you still desired,            60
Till, all dissolving, in the trance we lay,
And in tumultuous raptures died away.
The fair Sicilians now thy soul inflame;
Why was I born, ye gods, a Lesbian dame?
But ah, beware, Sicilian nymphs! nor boast
That wandering heart which I so lately lost;
Nor be with all those tempting words abused,
Those tempting words were all to Sappho used.
And you that rule Sicilia's happy plains,
Have pity, Venus, on your poet's pains!                  70
Shall fortune still in one sad tenor run,
And still increase the woes so soon begun?
Inured to sorrow from my tender years,
My parents' ashes drank my early tears:
My brother next, neglecting wealth and fame,
Ignobly burn'd in a destructive flame:
An infant daughter late my griefs increased,
And all a mother's cares distract my breast,
Alas! what more could Fate itself impose,
But thee, the last, and greatest of my woes?             80
No more my robes in waving purple flow,
Nor on my hand the sparkling diamonds glow;
No more my locks in ringlets curl'd diffuse
The costly sweetness of Arabian dews,
Nor braids of gold the varied tresses bind,
That fly disorder'd with the wanton wind:
For whom should Sappho use such arts as these?
He's gone, whom only she desired to please!
Cupid's light darts my tender bosom move;
Still is there cause for Sappho still to love:           90
So from my birth the Sisters fix'd my doom,
And gave to Venus all my life to come;
Or, while my Muse in melting notes complains,
My yielding heart keeps measure to my strains.
By charms like thine, which all my soul have won,
Who might not--ah! who would not be undone?
For those Aurora Cephalus might scorn,
And with fresh blushes paint the conscious morn.
For those might Cynthia lengthen Phaon's sleep;
And bid Endymion nightly tend his sheep;                100
Venus for those had rapt thee to the skies;
But Mars on thee might look with Venus' eyes.
Oh scarce a youth, yet scarce a tender boy!
Oh useful time for lovers to employ!
Pride of thy age, and glory of thy race,
Come to these arms, and melt in this embrace!
The vows you never will return, receive;
And take, at least, the love you will not give.
See, while I write, my words are lost in tears!
The less my sense, the more my love appears.            110
Sure 'twas not much to bid one kind adieu,
(At least to feign was never hard to you)
'Farewell, my Lesbian love,' you might have said;
Or coldly thus, 'Farewell, O Lesbian maid!'
No tear did you, no parting kiss receive,
Nor knew I then how much I was to grieve.
No lover's gift your Sappho could confer,
And wrongs and woes were all you left with her.
No charge I gave you, and no charge could give,
But this, 'Be mindful of our loves, and live.'          120
Now by the Nine, those powers adored by me,
And Love, the god that ever waits on thee,
When first I heard (from whom I hardly knew)
That you were fled, and all my joys with you,
Like some sad statue, speechless, pale, I stood,
Grief chill'd my breast, and stopp'd my freezing blood;
No sigh to rise, no tear had power to flow,
Fix'd in a stupid lethargy of woe:
But when its way the impetuous passion found,
I rend my tresses, and my breast I wound:               130
I rave, then weep; I curse, and then complain;
Now swell to rage, now melt in tears again.
Not fiercer pangs distract the mournful dame,
Whose first-born infant feeds the funeral flame.
My scornful brother with a smile appears,
Insults my woes, and triumphs in my tears;
His hated image ever haunts my eyes;
'And why this grief? thy daughter lives!' he cries.
Stung with my love, and furious with despair,
All torn my garments, and my bosom bare,                140
My woes, thy crimes, I to the world proclaim;
Such inconsistent things are love and shame!
'Tis thou art all my care and my delight,
My daily longing, and my dream by night;
Oh night more pleasing than the brightest day,
When fancy gives what absence takes away,
And, dress'd in all its visionary charms,
Restores my fair deserter to my arms!
Then round your neck in wanton wreaths I twine,
Then you, methinks, as fondly circle mine:              150
A thousand tender words I hear and speak;
A thousand melting kisses give and take:
Then fiercer joys, I blush to mention these,
Yet, while I blush, confess how much they please.
But when, with day, the sweet delusions fly,
And all things wake to life and joy but I,
As if once more forsaken, I complain,
And close my eyes to dream of you again:
Then frantic rise, and like some Fury rove
Through lonely plains, and through the silent grove;    160
As if the silent grove, and lonely plains,
That knew my pleasures, could relieve my pains.
I view the grotto, once the scene of love,
The rocks around, the hanging roofs above,
That charm'd me more, with native moss o'ergrown,
Than Phrygian marble, or the Parian stone;
I find the shades that veil'd our joys before;
But, Phaon gone, those shades delight no more.
Here the press'd herbs with bending tops betray
Where oft entwined in amorous folds we lay;             170
I kiss that earth which once was press'd by you,
And all with tears the withering herbs bedew.
For thee the fading trees appear to mourn,
And birds defer their songs till thy return:
Night shades the groves, and all in silence lie,
All but the mournful Philomel and I:
With mournful Philomel I join my strain,
Of Tereus she, of Phaon I complain.

A spring there is, whose silver waters show,
Clear as a glass, the shining sands below:              180
A flowery lotus spreads its arms above,
Shades all the banks, and seems itself a grove;
Eternal greens the mossy margin grace,
Watch'd by the sylvan genius of the place.
Here as I lay, and swell'd with tears the flood,
Before my sight a watery virgin stood:
She stood and cried, 'O you that love in vain!
Fly hence, and seek the fair Leucadian main;
There stands a rock, from whose impending steep
Apollo's fane surveys the rolling deep;                 190
There injured lovers, leaping from above,
Their flames extinguish, and forget to love.
Deucalion once with hopeless fury burn'd,
In vain he loved, relentless Pyrrha scorn'd:
But when from hence he plunged into the main,
Deucalion scorn'd, and Pyrrha loved in vain.
Haste, Sappho, haste, from high Leucadia throw
Thy wretched weight, nor dread the deeps below!'
She spoke, and vanish'd with the voice--I rise,
And silent tears fall trickling from my eyes.           200
I go, ye nymphs! those rocks and seas to prove;
How much I fear, but ah, how much I love!
I go, ye nymphs! where furious love inspires:
Let female fears submit to female fires.
To rocks and seas I fly from Phaon's hate,
And hope from seas and rocks a milder fate.
Ye gentle gales, beneath my body blow,
And softly lay me on the waves below!
And thou, kind Love, my sinking limbs sustain,
Spread thy soft wings, and waft me o'er the main,       210
Nor let a lover's death the guiltless flood profane!
On Phoebus' shrine my harp I'll then bestow,
And this inscription shall be placed below:
'Here she who sung, to him that did inspire,
Sappho to Phoebus consecrates her lyre;
What suits with Sappho, Phoebus, suits with thee:
The gift, the giver, and the god agree.'

But why, alas! relentless youth, ah, why
To distant seas must tender Sappho fly?
Thy charms than those may far more powerful be,         220
And Phoebus' self is less a god to me.
Ah! canst thou doom me to the rocks and sea,
Oh far more faithless and more hard than they?
Ah! canst thou rather see this tender breast
Dash'd on these rocks than to thy bosom press'd?
This breast which once, in vain, you liked so well;
Where the Loves play'd, and where the Muses dwell.
Alas! the Muses now no more inspire;
Untuned my lute, and silent is my lyre.
My languid numbers have forgot to flow,                 230
And fancy sinks beneath a weight of woe.
Ye Lesbian virgins, and ye Lesbian dames,
Themes of my verse, and objects of my flames,
No more your groves with my glad songs shall ring,
No more these hands shall touch the trembling string:
My Phaon's fled, and I those arts resign;
(Wretch that I am, to call that Phaon mine!)
Return, fair youth! return, and bring along
Joy to my soul, and vigour to my song:
Absent from thee, the poet's flame expires;             240
But ah! how fiercely burn the lover's fires?
Gods! can no prayers, no sighs, no numbers move
One savage heart, or teach it how to love?
The winds my prayers, my sighs, my numbers bear,
The flying winds have lost them all in air!
Oh when, alas! shall more auspicious gales
To these fond eyes restore thy welcome sails?
If you return--ah, why these long delays?
Poor Sappho dies while careless Phaon stays.
Oh launch thy bark, nor fear the watery plain;          250
Venus for thee shall smooth her native main.
Oh launch thy bark, secure of prosperous gales;
Cupid for thee shall spread the swelling sails.
If you will fly--(yet ah! what cause can be,
Too cruel youth, that you should fly from me?)
If not from Phaon I must hope for ease,
Ah, let me seek it from the raging seas:
To raging seas unpitied I'll remove,
And either cease to live, or cease to love!



THE FABLE OF DRYOPE.[56]

FROM THE NINTH BOOK OF OVID'S METAMORPHOSES.

She said, and for her lost Galanthis sighs;
When the fair consort of her son replies:
'Since you a servant's ravish'd form bemoan,
And kindly sigh for sorrows not your own,
Let me (if tears and grief permit) relate
A nearer woe, a sister's stranger fate.
No nymph of all Oechalia could compare
For beauteous form with Dryope the fair,
Her tender mother's only hope and pride,
(Myself the offspring of a second bride).                10
This nymph, compress'd by him who rules the day,
Whom Delphi and the Delian isle obey,
Andraemon loved; and, bless'd in all those charms
That pleased a god, succeeded to her arms.

'A lake there was with shelving banks around,
Whose verdant summit fragrant myrtles crown'd.
These shades, unknowing of the fates, she sought,
And to the Naiads flowery garlands brought:
Her smiling babe (a pleasing charge) she press'd
Within her arms, and nourish'd at her breast.            20
Not distant far, a watery lotus grows;
The spring was new, and all the verdant boughs,
Adorn'd with blossoms, promised fruits that vie
In glowing colours with the Tyrian dye:
Of these she cropp'd, to please her infant son,
And I myself the same rash act had done:
But, lo! I saw (as near her side I stood)
The violated blossoms drop with blood;
Upon the tree I cast a frightful look;
The trembling tree with sudden horror shook.             30
Lotis the nymph (if rural tales be true)
As from Priapus' lawless lust she flew,
Forsook her form, and, fixing here, became
A flowery plant, which still preserves her name.

'This change unknown, astonish'd at the sight,
My trembling sister strove to urge her flight;
And first the pardon of the nymphs implored,
And those offended sylvan powers adored:
But when she backward would have fled, she found
Her stiffening feet were rooted in the ground:           40
In vain to free her fasten'd feet she strove,
And as she struggles only moves above;
She feels th' encroaching bark around her grow
By quick degrees, and cover all below:
Surprised at this, her trembling hand she heaves
To rend her hair; her hand is fill'd with leaves:
Where late was hair, the shooting leaves are seen
To rise, and shade her with a sudden green.
The child Amphissus, to her bosom press'd,
Perceived a colder and a harder breast,                  50
And found the springs, that ne'er till then denied
Their milky moisture, on a sudden dried.
I saw, unhappy! what I now relate,
And stood the helpless witness of thy fate;
Embraced thy boughs, thy rising bark delay'd,
There wish'd to grow, and mingle shade with shade.

'Behold Andraemon and th' unhappy sire
Appear, and for their Dryope inquire:
A springing tree for Dryope they find,
And print warm kisses on the panting rind,               60
Prostrate, with tears their kindred plant bedew,
And close embrace as to the roots they grew.
The face was all that now remain'd of thee,
No more a woman, nor yet quite a tree;
Thy branches hung with humid pearls appear,
From every leaf distils a trickling tear;
And straight a voice, while yet a voice remains,
Thus through the trembling boughs in sighs complains:

'"If to the wretched any faith be given,
I swear by all th' unpitying powers of Heaven,           70
No wilful crime this heavy vengeance bred;
In mutual innocence our lives we led:
If this be false, let these new greens decay,
Let sounding axes lop my limbs away,
And crackling flames on all my honours prey.
But from my branching arms this infant bear,
Let some kind nurse supply a mother's care:
And to his mother let him oft be led,
Sport in her shades, and in her shades be fed:
Teach him, when first his infant voice shall frame       80
Imperfect words, and lisp his mother's name,
To hail this tree, and say, with weeping eyes,
'Within this plant my hapless parent lies:'
And when in youth he seeks the shady woods,
Oh! let him fly the crystal lakes and floods,
Nor touch the fatal flowers; but, warn'd by me,
Believe a goddess shrined in every tree.
My sire, my sister, and my spouse, farewell!
If in your breasts or love or pity dwell,
Protect your plant, nor let my branches feel             90
The browsing cattle or the piercing steel.
Farewell! and since I cannot bend to join
My lips to yours, advance at least to mine.
My son, thy mother's parting kiss receive,
While yet thy mother has a kiss to give.
I can no more; the creeping rind invades
My closing lips, and hides my head in shades:
Remove your hands, the bark shall soon suffice
Without their aid to seal these dying eyes."

'She ceased at once to speak and ceased to be,          100
And all the nymph was lost within the tree;
Yet latent life through her new branches reign'd,
And long the plant a human heat retain'd.'



VERTUMNUS AND POMONA,

FROM THE FOURTEENTH BOOK OF OVID'S METAMORPHOSES.

The fair Pomona flourish'd in his reign;
Of all the virgins of the sylvan train
None taught the trees a nobler race to bear,
Or more improved the vegetable care.
To her the shady grove, the flowery field,
The streams and fountains no delights could yield:
'Twas all her joy the ripening fruits to tend,
And see the boughs with happy burdens bend.
The hook she bore instead of Cynthia's spear,
To lop the growth of the luxuriant year,                 10
To decent forms the lawless shoots to bring,
And teach th' obedient branches where to spring.
Now the cleft rind inserted grafts receives,
And yields an offspring more than nature gives;
Now sliding streams the thirsty plants renew,
And feed their fibres with reviving dew.

These cares alone her virgin breast employ,
Averse from Venus and the nuptial joy.
Her private orchards, wall'd on every side,
To lawless sylvans all access denied.                    20
How oft the satyrs and the wanton fauns,
Who haunt the forests or frequent the lawns,
The god whose ensign scares the birds of prey,
And old Silenus, youthful in decay,
Employ'd their wiles and unavailing care
To pass the fences, and surprise the fair!
Like these, Vertumnus own'd his faithful flame,
Like these, rejected by the scornful dame.
To gain her sight a thousand forms he wears;
And first a reaper from the field appears:               30
Sweating he walks, while loads of golden grain
O'ercharge the shoulders of the seeming swain:
Oft o'er his back a crooked scythe is laid,
And wreaths of hay his sunburnt temples shade:
Oft in his harden'd hand a goad he bears,
Like one who late unyoked the sweating steers:
Sometimes his pruning-hook corrects the vines,
And the loose stragglers to their ranks confines:
Now gathering what the bounteous year allows,
He pulls ripe apples from the bending boughs:            40
A soldier now, he with his sword appears;
A fisher next, his trembling angle bears:
Each shape he varies, and each art he tries,
On her bright charms to feast his longing eyes.

A female form at last Vertumnus wears,
With all the marks of reverend age appears,
His temples thinly spread with silver hairs:
Propp'd on his staff, and stooping as he goes,
A painted mitre shades his furrow'd brows.
The god in this decrepid form array'd                    50
The gardens enter'd, and the fruit survey'd;
And, 'Happy you!' he thus address'd the maid,
'Whose charms as far all other nymphs outshine,
As other gardens are excell'd by thine!'
Then kiss'd the fair; (his kisses warmer grow
Than such as women on their sex bestow)
Then, placed beside her on the flowery ground,
Beheld the trees with autumn's bounty crown'd.
An elm was near, to whose embraces led,
The curling vine her swelling clusters spread:           60
He view'd her twining branches with delight,
And praised the beauty of the pleasing sight.

'Yet this tall elm, but for this vine,' he said,
'Had stood neglected, and a barren shade;
And this fair vine, but that her arms surround
Her married elm, had crept along the ground.
Ah, beauteous maid! let this example move
Your mind, averse from all the joys of love.
Deign to be loved, and every heart subdue!
What nymph could e'er attract such crowds as you?        70
Not she whose beauty urged the Centaur's arms,
Ulysses' queen, nor Helen's fatal charms.
Ev'n now, when silent scorn is all they gain,
A thousand court you, though they court in vain--
A thousand sylvans, demigods, and gods,
That haunt our mountains and our Alban woods.
But if you'll prosper, mark what I advise,
Whom age and long experience render wise,
And one whose tender care is far above
All that these lovers ever felt of love,                 80
(Far more than e'er can by yourself be guess'd)
Fix on Vertumnus, and reject the rest:
For his firm faith I dare engage my own:
Scarce to himself, himself is better known.
To distant lands Vertumnus never roves;
Like you, contented with his native groves;
Nor at first sight, like most, admires the fair:
For you he lives; and you alone shall share
His last affection, as his early care.
Besides, he's lovely far above the rest,                 90
With youth immortal, and with beauty bless'd.
Add, that he varies every shape with ease,
And tries all forms that may Pomona please.
But what should most excite a mutual flame,
Your rural cares and pleasures are the same.
To him your orchard's early fruits are due;
(A pleasing offering when 'tis made by you)
He values these; but yet, alas! complains
That still the best and dearest gift remains.
Not the fair fruit that on yon branches glows           100
With that ripe red th' autumnal sun bestows;
Nor tasteful herbs that in these gardens rise,
Which the kind soil with milky sap supplies;
You, only you, can move the god's desire:
Oh crown so constant and so pure a fire!
Let soft compassion touch your gentle mind:
Think, 'tis Vertumnus begs you to be kind:
So may no frost, when early buds appear,
Destroy the promise of the youthful year;
Nor winds, when first your florid orchard blows,        110
Shake the light blossoms from their blasted boughs!'

This, when the various god had urged in vain,
He straight assumed his native form again:
Such, and so bright an aspect now he bears,
As when through clouds th' emerging sun appears,
And thence exerting his refulgent ray,
Dispels the darkness, and reveals the day.
Force he prepared, but check'd the rash design;
For when, appearing in a form divine,
The nymph surveys him, and beholds the grace            120
Of charming features and a youthful face,
In her soft breast consenting passions move,
And the warm maid confess'd a mutual love.



THE FIRST BOOK OF STATIUS'S THEBAIS.

TRANSLATED IN THE YEAR 1703.

ARGUMENT.

Oedipus, King of Thebes, having, by mistake, slain his father Laius, and
married his mother Jocasta, put out his own eyes, and resigned his realm
to his sons Eteocles and Polynices. Being neglected by them, he makes
his prayer to the fury Tisiphone, to sow debate betwixt the brothers.
They agree at last to reign singly, each a year by turns, and the first
lot is obtained by Eteocles. Jupiter, in a council of the gods, declares
his resolution of punishing the Thebans, and Argives also, by means of a
marriage betwixt Polynices and one of the daughters of Adrastus, King of
Argos. Juno opposes, but to no effect; and Mercury is sent on a message
to the shades, to the ghost of Laius, who is to appear to Eteocles, and
provoke him to break the agreement. Polynices, in the meantime, departs
from Thebes by night, is overtaken by a storm, and arrives at Argos,
where he meets with Tydeus, who had fled from Calydon, having killed his
brother. Adrastus entertains them, having received an oracle from Apollo
that his daughters should be married to a boar and a lion, which he
understands to be meant by these strangers, by whom the hides of those
beasts were worn, and who arrived at the time when he kept an annual
feast in honour of that god. The rise of this solemnity, he relates to
his guests; the loves of Phoebus and Psamathe, and the story of
Choroebus. He inquires, and is made acquainted with their descent and
quality. The sacrifice is renewed, and the book concludes with a hymn to
Apollo.--_P_.


Fraternal rage, the guilty Thebes' alarms,
Th' alternate reign destroy'd by impious arms,
Demand our song; a sacred fury fires
My ravish'd breast, and all the Muse inspires.
O goddess! say, shall I deduce my rhymes
From the dire nation in its early times,
Europa's rape, Agenor's stern decree,
And Cadmus searching round the spacious sea?
How with the serpent's teeth he sow'd the soil,
And reap'd an iron harvest of his toil?                  10
Or how from joining stones the city sprung,
While to his harp divine Amphion sung?
Or shall I Juno's hate to Thebes resound,
Whose fatal rage th' unhappy monarch found?
The sire against the son his arrows drew,
O'er the wide fields the furious mother flew,
And while her arms a second hope contain,
Sprung from the rocks, and plunged into the main.

But wave whate'er to Cadmus may belong,
And fix, O Muse! the barrier of thy song                 20
At Oedipus--from his disasters trace
The long confusions of his guilty race:
Nor yet attempt to stretch thy bolder wing,
And mighty Caesar's conquering eagles sing;
How twice he tamed proud Ister's rapid flood,
While Dacian mountains stream'd with barbarous blood;
Twice taught the Rhine beneath his laws to roll,
And stretch'd his empire to the frozen pole;
Or, long before, with early valour strove
In youthful arms t' assert the cause of Jove.            30
And thou, great heir of all thy father's fame,
Increase of glory to the Latian name!
Oh! bless thy Rome with an eternal reign,
Nor let desiring worlds entreat in vain.
What though the stars contract their heavenly space,
And crowd their shining ranks to yield thee place;
Though all the skies, ambitious of thy sway,
Conspire to court thee from our world away;
Though Phoebus longs to mix his rays with thine,
And in thy glories more serenely shine;                  40
Though Jove himself no less content would be
To part his throne, and share his heaven with thee:
Yet stay, great Cæsar! and vouchsafe to reign
O'er the wide earth, and o'er the watery main;
Resign to Jove his empire of the skies,
And people heaven with Roman deities.

The time will come when a diviner flame
Shall warm my breast to sing of Cæsar's fame;
Meanwhile, permit that my preluding Muse
In Theban wars an humbler theme may choose:              50
Of furious hate surviving death she sings,
A fatal throne to two contending kings,
And funeral flames, that, parting wide in air,
Express the discord of the souls they bear:
Of towns dispeopled, and the wandering ghosts
Of kings unburied in the wasted coasts;
When Dirce's fountain blush'd with Grecian blood,
And Thetis, near Ismenos' swelling flood,
With dread beheld the rolling surges sweep
In heaps his slaughter'd sons into the deep.             60

What hero, Clio! wilt thou first relate?
The rage of Tydeus, or the prophet's fate?
Or how, with hills of slain on every side,
Hippomedon repell'd the hostile tide?
Or how the youth, with every grace adorn'd,
Untimely fell, to be for ever mourn'd?
Then to fierce Capaneus thy verse extend,
And sing with horror his prodigious end.

Now wretched Oedipus, deprived of sight,
Led a long death in everlasting night;                   70
But while he dwells where not a cheerful ray
Can pierce the darkness, and abhors the day,
The clear reflecting mind presents his sin
In frightful views, and makes it day within;
Returning thoughts in endless circles roll,
And thousand Furies haunt his guilty soul:
The wretch then lifted to th' unpitying skies
Those empty orbs from whence he tore his eyes,
Whose wounds, yet fresh, with bloody hands he strook,
While from his breast these dreadful accents broke:      80

'Ye gods! that o'er the gloomy regions reign,
Where guilty spirits feel eternal pain;
Thou, sable Styx! whose livid streams are roll'd
Through dreary coasts, which I though blind behold;
Tisiphone! that oft hast heard my prayer,
Assist, if Oedipus deserve thy care.
If you received me from Jocasta's womb,
And nursed the hope of mischiefs yet to come;
If, leaving Polybus, I took my way
To Cyrrha's temple, on that fatal day                    90
When by the son the trembling father died,
Where the three roads the Phocian fields divide;
If I the Sphynx's riddles durst explain,
Taught by thyself to win the promised reign;
If wretched I, by baleful Furies led,
With monstrous mixture stain'd my mother's bed,
For hell and thee begot an impious brood,
And with full lust those horrid joys renew'd;
Then, self-condemn'd to shades of endless night,
Forced from these orbs the bleeding balls of sight;     100
Oh, hear! and aid the vengeance I require,
If worthy thee, and what thou might'st inspire!
My sons their old, unhappy sire despise,
Spoil'd of his kingdom, and deprived of eyes;
Guideless I wander, unregarded mourn,
Whilst these exalt their sceptres o'er my urn:
These sons, ye gods! who with flagitious pride
Insult my darkness and my groans deride.
Art thou a father, unregarding Jove!
And sleeps thy thunder in the realms above?             110
Thou Fury! then some lasting curse entail,
Which o'er their children's children shall prevail;
Place on their heads that crown, distain'd with gore,
Which these dire hands from my slain father tore;
Go! and a parent's heavy curses bear;
Break all the bonds of nature, and prepare
Their kindred souls to mutual hate and war.
Give them to dare, what I might wish to see,
Blind as I am, some glorious villany!
Soon shalt thou find, if thou but arm their hands,      120
Their ready guilt preventing thy commands:
Couldst thou some great proportion'd mischief frame,
They'd prove the father from whose loins they came.'

The Fury heard, while on Cocytus' brink
Her snakes, untied, sulphureous waters drink;
But at the summons roll'd her eyes around,
And snatch'd the starting serpents from the ground.
Not half so swiftly shoots along in air
The gliding lightning or descending star;
Through crowds of airy shades she wing'd her flight,    130
And dark dominions of the silent night;
Swift as she pass'd the flitting ghosts withdrew,
And the pale spectres trembled at her view:
To th' iron gates of Tenarus she flies,
There spreads her dusky pinions to the skies.
The day beheld, and, sickening at the sight,
Veil'd her fair glories in the shades of night.
Affrighted Atlas on the distant shore
Trembled, and shook the heavens and gods he bore.
Now from beneath Malea's airy height                    140
Aloft she sprung, and steer'd to Thebes her flight;
With eager speed the well-known journey took,
Nor here regrets the hell she late forsook.
A hundred snakes her gloomy visage shade,
A hundred serpents guard her horrid head;
In her sunk eyeballs dreadful meteors glow:
Such rays from Phoebe's bloody circle flow,
When, labouring with strong charms, she shoots from high
A fiery gleam, and reddens all the sky.
Blood stain'd her cheeks, and from her mouth there came 150
Blue steaming poisons, and a length of flame.
From every blast of her contagious breath
Famine and drought proceed, and plagues and death.
A robe obscene was o'er her shoulders thrown,
A dress by Fates and Furies worn alone.
She toss'd her meagre arms; her better hand
In waving circles whirl'd a funeral brand:
A serpent from her left was seen to rear
His flaming crest, and lash the yielding air.
But when the Fury took her stand on high,               160
Where vast Cithæron's top salutes the sky,
A hiss from all the snaky tire went round:
The dreadful signal all the rocks rebound,
And through th' Achaian cities send the sound.
Oete, with high Parnassus, heard the voice;
Eurotas' banks remurmur'd to the noise;
Again Leucothoë shook at these alarms,
And press'd Palærmon closer in her arms.
Headlong from thence the glowing Fury springs,
And o'er the Theban palace spreads her wings,           170
Once more invades the guilty dome, and shrouds
Its bright pavilions in a veil of clouds.
Straight with the rage of all their race possess'd,
Stung to the soul, the brothers start from rest,
And all their Furies wake within their breast:
Their tortured minds repining Envy tears,
And Hate, engender'd by suspicious fears:
And sacred thirst of sway, and all the ties
Of nature broke; and royal perjuries;
And impotent desire to reign alone,                     180
That scorns the dull reversion of a throne:
Each would the sweets of sovereign rule devour,
While Discord waits upon divided power.

As stubborn steers, by brawny ploughmen broke,
And join'd reluctant to the galling yoke,
Alike disdain with servile necks to bear
Th' unwonted weight, or drag the crooked share,
But rend the reins, and bound a different way,
And all the furrows in confusion lay:
Such was the discord of the royal pair                  190
Whom fury drove precipitate to war.
In vain the chiefs contrived a specious way
To govern Thebes by their alternate sway:
Unjust decree! while this enjoys the state,
That mourns in exile his unequal fate,
And the short monarch of a hasty year
Foresees with anguish his returning heir.
Thus did the league their impious arms restrain,
But scarce subsisted to the second reign.

Yet then no proud aspiring piles were raised,           200
No fretted roofs with polish'd metals blazed;
No labour'd columns in long order placed,
No Grecian stone the pompous arches graced:
No nightly bands in glittering armour wait
Before the sleepless tyrant's guarded gate;
No chargers then were wrought in burnish'd gold,
Nor silver vases took the forming mould;
Nor gems on bowls emboss'd were seen to shine,
Blaze on the brims, and sparkle in the wine--
Say, wretched rivals! what provokes your rage?          210
Say, to what end your impious arms engage?
Not all bright Phoebus views in early morn,
Or when his evening beams the west adorn,
When the south glows with his meridian ray,
And the cold north receives a fainter day;
For crimes like these, not all those realms suffice,
Were all those realms the guilty victor's prize!

But Fortune now (the lots of empire thrown)
Decrees to proud Eteocles the crown:
What joys, O tyrant! swell'd thy soul that day,         220
When all were slaves thou couldst around survey,
Pleased to behold unbounded power thy own,
And singly fill a fear'd and envied throne!

But the vile vulgar, ever discontent,
Their growing fears in secret murmurs vent;
Still prone to change, though still the slaves of state,
And sure the monarch whom they have, to hate;
New lords they madly make, then tamely bear,
And softly curse the tyrants whom they fear.
And one of those who groan beneath the sway             230
Of kings imposed, and grudgingly obey,
(Whom envy to the great, and vulgar spite,
With scandal arm'd, th' ignoble mind's delight)
Exclaim'd--'O Thebes! for thee what fates remain,
What woes attend this inauspicious reign?
Must we, alas! our doubtful necks prepare
Each haughty master's yoke by turns to bear,
And still to change whom changed we still must fear?
These now control a wretched people's fate
These can divide, and these reverse the state:          240
E'en fortune rules no more--O servile land,
Where exiled tyrants still by turns command!
Thou sire of gods and men, imperial Jove!
Is this th' eternal doom decreed above?
On thy own offspring hast thou fix'd this fate
From the first birth of our unhappy state,
When banish'd Cadmus, wandering o'er the main,
For lost Europa search'd the world in vain,
And, fated in Boeotian fields to found,
A rising empire on a foreign ground,                    250
First raised our walls on that ill omen'd plain
Where earth-born brothers were by brothers slain?
What lofty looks th' unrivall'd monarch bears!
How all the tyrant in his face appears!
What sullen fury clouds his scornful brow!
Gods! how his eyes with threatening ardour glow!
Can this imperious lord forget to reign,
Quit all his state, descend, and serve again?
Yet who, before, more popularly bow'd?
Who more propitious to the suppliant crowd?             260
Patient of right, familiar in the throne,
What wonder then? he was not then alone.
Oh wretched we! a vile, submissive train,
Fortune's tame fools, and slaves in every reign!

'As when two winds with rival force contend,
This way and that the wavering sails they bend,
While freezing Boreas and black Eurus blow,
Now here, now there, the reeling vessel throw;
Thus on each side, alas! our tottering state
Feels all the fury of resistless fate,                  270
And doubtful still, and still distracted stands,
While that prince threatens, and while this commands.'

And now th' almighty Father of the gods
Convenes a council in the bless'd abodes.
Far in the bright recesses of the skies,
High o'er the rolling heavens, a mansion lies,
Whence, far below, the gods at once survey
The realms of rising and declining day,
And all th' extended space of earth, and air, and sea.
Full in the midst, and on a starry throne,              280
The Majesty of heaven superior shone:
Serene he look'd, and gave an awful nod,
And all the trembling spheres confess'd the god.
At Jove's assent the deities around
In solemn state the consistory crown'd.
Next a long order of inferior powers
Ascend from hills, and plains, and shady bowers;
Those from whose urns the rolling rivers flow,
And those that give the wandering winds to blow:
Here all their rage and ev'n their murmurs cease,       290
And sacred silence reigns, and universal peace.
A shining synod of majestic gods
Gilds with new lustre the divine abodes:
Heaven seems improved with a superior ray,
And the bright arch reflects a double day.
The monarch then his solemn silence broke,
The still creation listen'd while he spoke;
Each sacred accent bears eternal weight,
And each irrevocable word is fate.

'How long shall man the wrath of Heaven defy,           300
And force unwilling vengeance from the sky?
O race confederate into crimes, that prove
Triumphant o'er th' eluded rage of Jove!
This wearied arm can scarce the bolt sustain,
And unregarded thunder rolls in vain:
Th' o'erlabour'd Cyclops from his task retires,
Th' AEolian forge exhausted of its fires.
For this, I suffer'd Phoebus' steeds to stray,
And the mad ruler to misguide the day,
When the wide earth to heaps of ashes turn'd,           310
And Heaven itself the wandering chariot burn'd:
For this my brother of the watery reign
Released the impetuous sluices of the main;
But flames consumed, and billows raged in vain.
Two races now, allied to Jove, offend;
To punish these, see Jove himself descend.
The Theban kings their line from Cadmus trace,
From godlike Perseus those of Argive race.
Unhappy Cadmus' fate who does not know,
And the long series of succeeding woe?                  320
How oft the Furies, from the deeps of night,
Arose, and mix'd with men in mortal fight;
Th' exulting mother stain'd with filial blood,
The savage hunter and the haunted wood?
The direful banquet why should I proclaim,
And crimes that grieve the trembling gods to name?
Ere I recount the sins of these profane,
The sun would sink into the western main,
And, rising, gild the radiant east again.
Have we not seen (the blood of Laius shed)              330
The murdering son ascend his parent's bed,
Through violated nature force his way,
And stain the sacred womb where once he lay?
Yet now in darkness and despair he groans,
And for the crimes of guilty fate atones;
His sons with scorn their eyeless father view,
Insult his wounds, and make them bleed anew.
Thy curse, O OEdipus! just Heaven alarms,
And sets th' avenging Thunderer in arms.
I from the root thy guilty race will tear,              340
And give the nations to the waste of war.
Adrastus soon, with gods averse, shall join
In dire alliance with the Theban line;
Hence strife shall rise, and mortal war succeed;
The guilty realms of Tantalus shall bleed:
Fix'd is their doom. This all-remembering breast
Yet harbours vengeance for the tyrant's feast.'

He said; and thus the queen of heaven return'd:
(With sudden grief her labouring bosom burn'd)
'Must I, whose cares Phoroneus' towers defend,          350
Must I, O Jove! in bloody wars contend?
Thou know'st those regions my protection claim,
Glorious in arms, in riches, and in fame:
Though there the fair Egyptian heifer fed,
And there deluded Argus slept and bled:
Though there the brazen tower was storm'd of old,
When Jove descended in almighty gold!
Yet I can pardon those obscurer rapes,
Those bashful crimes disguised in borrow'd shapes;
But Thebes, where, shining in celestial charms,         360
Thou cam'st triumphant to a mortal's arms,
When all my glories o'er her limbs were spread,
And blazing lightnings danced around her bed;
Cursed Thebes the vengeance it deserves may prove--
Ah! why should Argos feel the rage of Jove?
Yet since thou wilt thy sister-queen control,
Since still the lust of discord fires thy soul,
Go, raze my Samos, let Mycene fall,
And level with the dust the Spartan wall;
No more let mortals Juno's power invoke,                370
Her fanes no more with Eastern incense smoke,
Nor victims sink beneath the sacred stroke!
But to your Isis all my rights transfer,
Let altars blaze and temples smoke for her;
For her, through Egypt's fruitful clime renown'd,
Let weeping Nilus hear the timbrel sound.
But if thou must reform the stubborn times,
Avenging on the sons the fathers' crimes,
And from the long records of distant age
Derive incitements to renew thy rage;                   380
Say, from what period then has Jove design'd
To date his vengeance? to what bounds confined?
Begin from thence, where first Alpheus hides
His wandering stream, and through the briny tides
Unmix'd to his Sicilian river glides.
Thy own Arcadians there the thunder claim,
Whose impious rites disgrace thy mighty name;
Who raise thy temples where the chariot stood
Of fierce Oenomaüs, defiled with blood;
Where once his steeds their savage banquet found,       390
And human bones yet whiten all the ground.
Say, can those honours please? and canst thou love
Presumptuous Crete, that boasts the tomb of Jove?
And shall not Tantalus's kingdoms share
Thy wife and sister's tutelary care?
Reverse, O Jove! thy too severe decree,
Nor doom to war a race derived from thee;
On impious realms and barbarous kings impose
Thy plagues, and curse them with such sons[57] as those.'

Thus in reproach and prayer the queen express'd         400
The rage and grief contending in her breast;
Unmoved remain'd the ruler of the sky,
And from his throne return'd this stern reply:
''Twas thus I deem'd thy haughty soul would bear
The dire, though just revenge which I prepare
Against a nation thy peculiar care:
No less Dione might for Thebes contend.
Nor Bacchus less his native town defend;
Yet these in silence see the Fates fulfil
Their work, and reverence our superior will:            410
For by the black infernal Styx I swear,
(That dreadful oath which binds the Thunderer)
'Tis fix'd, th' irrevocable doom of Jove;
No force can bend me, no persuasion more.
Haste then, Cyllenius, through the liquid air;
Go, mount the winds, and to the shades repair;
Bid hell's black monarch my commands obey,
And give up Laius to the realms of day,
Whose ghost yet shivering on Cocytus' sand
Expects its passage to the further strand:              420
Let the pale sire revisit Thebes, and bear
These pleasing orders to the tyrant's ear;
That, from his exiled brother, swell'd with pride
Of foreign forces and his Argive bride,
Almighty Jove commands him to detain
The promised empire, and alternate reign:
Be this the cause of more than mortal hate;
The rest, succeeding times shall ripen into fate.'

The god obeys, and to his feet applies
Those golden wings that cut the yielding skies;         430
His ample hat his beamy locks o'erspread,
And veil'd the starry glories of his head.
He seized the wand that causes sleep to fly,
Or in soft slumbers seals the wakeful eye;
That drives the dead to dark Tartarean coasts,
Or back to life compels the wandering ghosts.
Thus through the parting clouds the son of May
Wings on the whistling winds his rapid way;
Now smoothly steers through air his equal flight,
Now springs aloft, and towers th' ethereal height:      440
Then wheeling down the steep of heaven he flies,
And draws a radiant circle o'er the skies.

Meantime the banish'd Polynices roves
(His Thebes abandon'd) through the Aonian groves,
While future realms his wandering thoughts delight,
His daily vision, and his dream by night;
Forbidden Thebes appears before his eye,
From whence he sees his absent brother fly,
With transport views the airy rule his own,
And swells on an imaginary throne.                      450
Fain would he cast a tedious age away,
And live out all in one triumphant day.
He chides the lazy progress of the sun,
And bids the year with swifter motion run:
With anxious hopes his craving mind is toss'd
And all his joys in length of wishes lost.

The hero then resolves his course to bend
Where ancient Danaus' fruitful fields extend;
And famed Mycene's lofty towers ascend;
(Where late the sun did Atreus' crimes detest,          460
And disappear'd in horror of the feast).
And now by chance, by fate, or furies led,
From Bacchus' consecrated caves he fled,
Where the shrill cries of frantic matrons sound,
And Pentheus' blood enrich'd the rising ground;
Then sees Cithaeron towering o'er the plain,
And thence declining gently to the main;
Next to the bounds of Nisus' realm repairs,
Where treacherous Scylla cut the purple hairs;
The hanging cliffs of Scyron's rock explores,           470
And hears the murmurs of the different shores;
Passes the strait that parts the foaming seas,
And stately Corinth's pleasing site surveys.

'Twas now the time when Phoebus yields to night,
And rising Cynthia sheds her silver light;
Wide o'er the world in solemn pomp she drew
Her airy chariot, hung with pearly dew:
All birds and beasts lie hush'd; sleep steals away
The wild desires of men, and toils of day,
And brings, descending through the silent air,          480
A sweet forgetfulness of human care.
Yet no red clouds, with golden borders gay,
Promise the skies the bright return of day;
No faint reflections of the distant light
Streak with long gleams the scattering shades of night:
From the damp earth impervious vapours rise,
Increase the darkness, and involve the skies.
At once the rushing winds with roaring sound
Burst from th' Æolian caves, and rend the ground;
With equal rage their airy quarrel try,                 490
And win by turns the kingdom of the sky;
But with a thicker night black Auster shrouds
The heavens, and drives on heaps the rolling clouds,
From whose dark womb a rattling tempest pours,
Which the cold north congeals to haily showers.
From pole to pole the thunder roars aloud,
And broken lightnings flash from every cloud.
Now smokes with showers the misty mountain-ground,
And floated fields lie undistinguish'd round;
Th' Inachian streams with headlong fury run,            500
And Erasinus rolls a deluge on;
The foaming Lerna swells above its bounds,
And spreads its ancient poisons o'er the grounds:
Where late was dust, now rapid torrents play,
Rush through the mounds, and bear the dams away:
Old limbs of trees, from crackling forests torn,
Are whirl'd in air, and on the winds are borne:
The storm the dark Lycæan groves display'd,
And first to light exposed the sacred shade.
Th' intrepid Theban hears the bursting sky,
Sees yawning rocks in massy fragments fly,
And views astonish'd, from the hills afar,
The floods descending, and the watery war,              510
That, driven by storms, and pouring o'er the plain,
Swept herds, and hinds, and houses to the main.
Through the brown horrors of the night he fled,
Nor knows, amazed, what doubtful path to tread;
His brother's image to his mind appears,
Inflames his heart with rage, and wings his feet with fears.

So fares the sailor on the stormy main,                 520
When clouds conceal Bootes' golden wain,
When not a star its friendly lustre keeps,
Nor trembling Cynthia glimmers on the deeps;
He dreads the rocks, and shoals, and seas, and skies,
While thunder roars, and lightning round him flies.

Thus strove the chief, on every side distress'd;
Thus still his courage with his toils increased:
With his broad shield opposed, he forced his way
Through thickest woods, and roused the beasts of prey
Till he beheld, where from Larissa's height,            530
The shelving walls reflect a glancing light:
Thither with haste the Theban hero flies;
On this side Lerna's poisonous water lies,
On that Prosymna's grove and temple rise:
He pass'd the gates which then unguarded lay,
And to the regal palace bent his way;
On the cold marble, spent with toil, he lies,
And waits till pleasing slumbers seal his eyes.

Adrastus here his happy people sways,
Bless'd with calm peace in his declining days;          540
By both his parents of descent divine,
Great Jove and Phoebus graced his noble line:
Heaven had not crown'd his wishes with a son,
But two fair daughters heir'd his state and throne.
To him Apollo (wondrous to relate!
But who can pierce into the depths of fate?)
Had sung--'Expect thy sons on Argos' shore,
A yellow lion and a bristly boar.'
This, long revolved in his paternal breast,
Sat heavy on his heart, and broke his rest;             550
This, great Amphiaraus! lay hid from thee,
Though skill'd in fate and dark futurity.
The father's care and prophet's art were vain,
For thus did the predicting god ordain.

Lo, hapless Tydeus, whose ill-fated hand
Had slain his brother, leaves his native land,
And, seized with horror, in the shades of night,
Through the thick deserts headlong urged his flight:
Now by the fury of the tempest driven,
He seeks a shelter from th' inclement heaven,           560
Till, led by fate, the Theban's steps he treads,
And to fair Argos' open court succeeds.

When thus the chiefs from different lands resort
To Adrastus' realms and hospitable court,
The king surveys his guests with curious eyes,
And views their arms and habit with surprise.
A lion's yellow skin the Theban wears,
Horrid his mane, and rough with curling hairs:
Such once employ'd Alcides' youthful toils,
Ere yet adorn'd with Nemea's dreadful spoils.           570
A boar's stiff hide, of Calydonian breed,
Oenides' manly shoulders overspread;
Oblique his tusks, erect his bristles stood,
Alive, the pride and terror of the wood.

Struck with the sight, and fix'd in deep amaze,
The king th' accomplish'd oracle surveys,
Reveres Apollo's vocal caves, and owns
The guiding godhead, and his future sons.
O'er all his bosom secret transports reign,
And a glad horror shoots through every vein:            580
To heaven he lifts his hands, erects his sight,
And thus invokes the silent queen of night:

'Goddess of shades! beneath whose gloomy reign
Yon spangled arch glows with the starry train;
You who the cares of heaven and earth allay
Till nature, quicken'd by th' inspiring ray,
Wakes to new vigour with the rising day:
O thou who freest me from my doubtful state,
Long lost and wilder'd in the maze of fate,
Be present still, O goddess! in our aid;                590
Proceed, and firm those omens thou hast made.
We to thy name our annual rites will pay,
And on thy altars sacrifices lay;
The sable flock shall fall beneath the stroke,
And fill thy temples with a grateful smoke.
Hail, faithful Tripos! hail, ye dark abodes
Of awful Phoebus; I confess the gods!'

Thus, seized with sacred fear, the monarch pray'd;
Then to his inner court the guests convey'd,
Where yet thin fumes from dying sparks arise,           600
And dust yet white upon each altar lies,
The relics of a former sacrifice.
The king once more the solemn rites requires,
And bids renew the feasts and wake the fires.
His train obey; while all the courts around
With noisy care and various tumult sound.
Embroider'd purple clothes the golden beds;
This slave the floor, and that the table spreads;
A third dispels the darkness of the night,
And fills depending lamps with beams of light;          610
Here loaves in canisters are piled on high,
And there in flames the slaughter'd victims fly.
Sublime in regal state Adrastus shone,
Stretch'd on rich carpets on his ivory throne;
A lofty couch receives each princely guest;
Around, at awful distance, wait the rest.

And now the king, his royal feast to grace,
Acestis calls, the guardian of his race,
Who first their youth in arts of virtue train'd,
And their ripe years in modest grace maintain'd;        620
Then softly whisper'd in her faithful ear,
And bade his daughters at the rites appear.
When from the close apartments of the night
The royal nymphs approach, divinely bright,
Such was Diana's, such Minerva's face;
Nor shine their beauties with superior grace,
But that in these a milder charm endears,
And less of terror in their looks appears.
As on the heroes first they cast their eyes,
O'er their fair cheeks the glowing blushes rise;        630
Their downcast looks a decent shame confess'd,
Then on their father's reverend features rest.

The banquet done, the monarch gives the sign
To fill the goblet high with sparkling wine,
Which Danaus used in sacred rites of old,
With sculpture graced, and rough with rising gold:
Here to the clouds victorious Perseus flies,
Medusa seems to move her languid eyes,
And, e'en in gold, turns paler as she dies:
There from the chase Jove's towering eagle bears,       640
On golden wings, the Phrygian to the stars;
Still as he rises in th' ethereal height,
His native mountains lessen to his sight,
While all his sad companions upward gaze,
Fix'd on the glorious scene in wild amaze;
And the swift hounds, affrighted as he flies,
Run to the shade, and bark against the skies.

This golden bowl with generous juice was crown'd,
The first libation sprinkled on the ground;
By turns on each celestial power they call;             650
With Phoebus' name resounds the vaulted hall.
The courtly train, the strangers, and the rest,
Crown'd with chaste laurel, and with garlands dress'd,
While with rich gums the fuming altars blaze,
Salute the god in numerous hymns of praise.

Then thus the king: 'Perhaps, my noble guests,
These honour'd altars, and these annual feasts
To bright Apollo's awful name design'd,
Unknown, with wonder may perplex your mind.
Great was the cause: our old solemnities                660
From no blind zeal or fond tradition rise;
But saved from death, our Argives yearly pay
These grateful honours to the god of day.

'When by a thousand darts the Python slain,
With orbs unroll'd lay covering all the plain,
(Transfix'd as o'er Castalia's streams he hung,
And suck'd new poisons with his triple tongue),
To Argos' realms the victor god resorts,
And enters old Crotopus' humble courts.
This rural prince one only daughter bless'd,            670
That all the charms of blooming youth possess'd;
Pair was her face, and spotless was her mind,
Where filial love with virgin sweetness join'd:
Happy! and happy still she might have proved,
Were she less beautiful, or less beloved!
But Phoebus loved, and on the flowery side
Of Nemea's stream the yielding fair enjoy'd.
Now, ere ten moons their orb with light adorn,
Th' illustrious offspring of the god was born;
The nymph, her father's anger to evade,                 680
Retires from Argos to the sylvan shade;
To woods and wilds the pleasing burden bears,
And trusts her infant to a shepherd's cares.

'How mean a fate, unhappy child! is thine!
Ah! how unworthy those of race divine!
On flowery herbs in some green covert laid,
His bed the ground, his canopy the shade,
He mixes with the bleating lambs his cries,
While the rude swain his rural music tries,
To call soft slumbers on his infant eyes.               690
Yet ev'n in those obscure abodes to live
Was more, alas! than cruel fate would give;
For on the grassy verdure as he lay,
And breathed the freshness of the early day,
Devouring dogs the helpless infant tore,
Fed on his trembling limbs, and lapp'd the gore.
Th' astonish'd mother, when the rumour came,
Forgets her father, and neglects her fame;
With loud complaints she fills the yielding air,
And beats her breast, and rends her flowing hair;       700
Then, wild with anguish, to her sire she flies,
Demands the sentence, and contented dies.

'But, touch'd with sorrow for the deed too late,
The raging god prepares t' avenge her fate.
He sends a monster horrible and fell,
Begot by Furies in the depths of hell.
The pest a virgin's face and bosom bears;
High on her crown a rising snake appears,
Guards her black front, and hisses in her hairs:
About the realm she walks her dreadful round,           710
When Night with sable wings o'erspreads the ground,
Devours young babes before their parents' eyes,
And feeds and thrives on public miseries.

'But generous rage the bold Choroebus warms,
Choroebus, famed for virtue as for arms.
Some few like him, inspired with martial flame,
Thought a short life well lost for endless fame.
These, where two ways in equal parts divide,
The direful monster from afar descried,
Two bleeding babes depending at her side,               720
Whose panting vitals, warm with life, she draws,
And in their hearts imbrues her cruel claws.
The youths surround her with extended spears;
But brave Choroebus in the front appears;
Deep in her breast he plunged his shining sword,
And hell's dire monster back to hell restored.
Th' Inachians view the slain with vast surprise,
Her twisting volumes, and her rolling eyes,
Her spotted breast, and gaping womb, imbrued
With livid poison and our children's blood.             730
The crowd in stupid wonder fix'd appear,
Pale ev'n in joy, nor yet forget to fear.
Some with vast beams the squalid corse engage,
And weary all the wild efforts of rage.
The birds obscene, that nightly flock'd to taste,
With hollow screeches fled the dire repast;
And ravenous dogs, allured by scented blood,
And starving wolves, ran howling to the wood.

'But fired with rage, from cleft Parnassus' brow
Avenging Phoebus bent his deadly bow,                   740
And hissing flew the feather'd fates below:
A night of sultry clouds involved around
The towers, the fields, and the devoted ground:
And now a thousand lives together fled;
Death with his scythe cut off the fatal thread,
And a whole province in his triumph led.

'But Phoebus, ask'd why noxious fires appear,
And raging Sirius blasts the sickly year,
Demands their lives by whom his monster fell,
And dooms a dreadful sacrifice to hell.                 750

'Bless'd be thy dust, and let eternal fame
Attend thy manes, and preserve thy name,
Undaunted hero! who, divinely brave,
In such a cause disdained thy life to save,
But view'd the shrine with a superior look,
And its upbraided godhead thus bespoke:
"With piety, the soul's securest guard,
And conscious virtue, still its own reward,
Willing I come, unknowing how to fear,
Nor shalt thou, Phoebus, find a suppliant here:         760
Thy monster's death to me was owed alone,
And 'tis a deed too glorious to disown.
Behold him here, for whom, so many days,
Impervious clouds conceal'd thy sullen rays;
For whom, as man no longer claim'd thy care,
Such numbers fell by pestilential air!
But if th' abandon'd race of human kind
From gods above no more compassion find;
If such inclemency in heaven can dwell,
Yet why must unoffending Argos feel                     770
The vengeance due to this unlucky steel?
On me, on me, let all thy fury fall,
Nor err from me, since I deserve it all:
Unless our desert cities please thy sight,
Or funeral flames reflect a grateful light.
Discharge thy shafts, this ready bosom rend,
And to the shades a ghost triumphant send;
But for my country let my fate atone;
Be mine the vengeance, as the crime my own!"

'Merit distress'd, impartial heaven relieves:           780
Unwelcome life relenting Phoebus gives;
For not the vengeful power, that glow'd with rage,
With such amazing virtue durst engage.
The clouds dispersed, Apollo's wrath expired,
And from the wondering god th' unwilling youth retired.
Thence we these altars in his temple raise,
And offer annual honours, feasts, and praise;
These solemn feasts propitious Phoebus please;
These honours, still renew'd, his ancient wrath appease.

'But say, illustrious guest, (adjoin'd the king)        790
What name you bear, from what high race you spring?
The noble Tydeus stands confess'd, and known
Our neighbour prince, and heir of Calydon:
Relate your fortunes, while the friendly night
And silent hours to various talk invite.'

The Theban bends on earth his gloomy eyes,
Confused, and sadly thus at length replies:--
'Before these altars how shall I proclaim
(O generous prince!) my nation or my name,
Or through what veins our ancient blood has roll'd?     800
Let the sad tale for ever rest untold!
Yet if, propitious to a wretch unknown,
You seek to share in sorrows not your own,
Know then from Cadmus I derive my race,
Jocasta's son, and Thebes my native place.'

To whom the king (who felt his generous breast
Touch'd with concern for his unhappy guest)
Replies--'Ah! why forbears the son to name
His wretched father, known too well by fame?
Fame, that delights around the world to stray,          810
Scorns not to take our Argos in her way.
Ev'n those who dwell where suns at distance roll,
In northern wilds, and freeze beneath the pole,
And those who tread the burning Libyan lands,
The faithless Syrtes, and the moving sands;
Who view the western sea's extremest bounds,
Or drink of Ganges in their eastern grounds;
All these the woes of Oedipus have known,
Your fates, your furies, and your haunted town.
If on the sons the parents' crimes descend,             820
What prince from those his lineage can defend?
Be this thy comfort, that 'tis thine t' efface,
With virtuous acts, thy ancestors' disgrace,
And be thyself the honour of thy race.
But see! the stars begin to steal away,
And shine more faintly at approaching day;
Now pour the wine; and in your tuneful lays
Once more resound the great Apollo's praise.'

'O father Phoebus! whether Lycia's coast
And snowy mountains thy bright presence boast:          830
Whether to sweet Castalia thou repair,
And bathe in silver dews thy yellow hair;
Or pleased to find fair Delos float no more,
Delight in Cynthus and the shady shore;
Or choose thy seat in Ilion's proud abodes,
The shining structures raised by labouring gods:
By thee the bow and mortal shafts are borne;
Eternal charms thy blooming youth adorn:
Skill'd in the laws of secret fate above,
And the dark counsels of almighty Jove,                 840
'Tis thine the seeds of future war to know,
The change of sceptres and impending woe,
When direful meteors spread through glowing air
Long trails of light and shake their blazing hair.
Thy rage the Phrygian felt, who durst aspire
T' excel the music of thy heavenly lyre;
Thy shafts avenged lewd Tityus' guilty flame,
Th' immortal victim of thy mother's fame;
Thy hand slew Python, and the dame who lost
Her numerous offspring for a fatal boast.               850
In Phlegyas' doom thy just revenge appears,
Condemn'd to Furies and eternal fears;
He views his food, but dreads, with lifted eye,
The mouldering rock that trembles from on high.

'Propitious hear our prayer, O power divine!
And on thy hospitable Argos shine;
Whether the style of Titan please thee more,
Whose purple rays th' Achæmenes adore:
Or great Osiris, who first taught the swain
In Pharian fields to sow the golden grain;              860
Or Mithra, to whose beams the Persian bows,
And pays, in hollow rocks, his awful vows;
Mithra! whose head the blaze of light adorns,
Who grasps the struggling heifer's lunar horns.'


       *       *       *       *       *


JANUARY AND MAY.

FROM CHAUCER.[58]

There lived in Lombardy, as authors write,
In days of old, a wise and worthy knight;
Of gentle manners, as of generous race,
Bless'd with much sense, more riches, and some grace:
Yet, led astray by Venus' soft delights,
He scarce could rule some idle appetites:
For long ago, let priests say what they could,
Weak sinful laymen were but flesh and blood.

But in due time, when sixty years were o'er,
He vow'd to lead this vicious life no more;              10
Whether pure holiness inspired his mind,
Or dotage turn'd his brain, is hard to find;
But his high courage prick'd him forth to wed,
And try the pleasures of a lawful bed.
This was his nightly dream, his daily care,
And to the heavenly powers his constant prayer,
Once, ere he died, to taste the blissful life
Of a kind husband and a loving wife.

These thoughts he fortified with reasons still
(For none want reasons to confirm their will).           20
Grave authors say, and witty poets sing,
That honest wedlock is a glorious thing:
But depth of judgment most in him appears
Who wisely weds in his maturer years.
Then let him choose a damsel young and fair,
To bless his age, and bring a worthy heir;
To soothe his cares, and, free from noise and strife,
Conduct him gently to the verge of life.
Let sinful bachelors their woes deplore,
Full well they merit all they feel, and more:            30
Unawed by precepts, human or divine,
Like birds and beasts, promiscuously they join;
Nor know to make the present blessing last,
To hope the future, or esteem the past:
But vainly boast the joys they never tried,
And find divulged the secrets they would hide.
The married man may bear his yoke with ease,
Secure at once himself and Heaven to please;
And pass his inoffensive hours away,
In bliss all night, and innocence all day:               40
Though fortune change, his constant spouse remains,
Augments his joys, or mitigates his pains.

But what so pure which envious tongues will spare?
Some wicked wits have libell'd all the fair.
With matchless impudence they style a wife
The dear-bought curse, and lawful plague of life;
A bosom serpent, a domestic evil,
A night invasion, and a midday devil.
Let not the wise these slanderous words regard,
But curse the bones of every lying bard.                 50
All other goods by fortune's hand are given,
A wife is the peculiar gift of Heaven.
Vain fortune's favours, never at a stay,
Like empty shadows, pass, and glide away;
One solid comfort, our eternal wife,
Abundantly supplies us all our life:
This blessing lasts (if those who try say true)
As long as heart can wish--and longer too.

Our grandsire Adam, ere of Eve possess'd,
Alone, and e'en in Paradise unbless'd,                   60
With mournful looks the blissful scenes survey'd,
And wander'd in the solitary shade.
The Maker saw, took pity, and bestow'd
Woman, the last, the best reserved of God.

A wife! ah, gentle deities! can he
That has a wife e'er feel adversity?
Would men but follow what the sex advise,
All things would prosper, all the world grow wise.
Twas by Rebecca's aid that Jacob won
His father's blessing from an elder son:                 70
Abusive Nabal owed his forfeit life
To the wise conduct of a prudent wife:
Heroic Judith, as old Hebrews show,
Preserved the Jews, and slew th' Assyrian foe:
At Hester's suit, the persecuting sword
Was sheath'd, and Israel lived to bless the Lord.

These weighty motives January the sage
Maturely ponder'd in his riper age;
And, charm'd with virtuous joys, and sober life,
Would try that Christian comfort, call'd a wife.         80
His friends were summon'd on a point so nice
To pass their judgment, and to give advice;
But fix'd before, and well resolved was he;
(As men that ask advice are wont to be).

'My friends,' he cried (and cast a mournful look
Around the room, and sigh'd before he spoke),
'Beneath the weight of threescore years I bend,
And, worn with cares, am hastening to my end:
How I have lived, alas! you know too well,
In worldly follies which I blush to tell,                90
But gracious Heaven has oped my eyes at last,
With due regret I view my vices past,
And, as the precept of the church decrees,
Will take a wife, and live in holy ease:
But since by counsel all things should be done,
And many heads are wiser still than one;
Choose you for me, who best shall be content
When my desire's approved by your consent.

'One caution yet is needful to be told,
To guide your choice: this wife must not be old:        100
There goes a saying, and 'twas shrewdly said,
Old fish at table, but young flesh in bed.
My soul abhors the tasteless dry embrace
Of a stale virgin with a winter face:
In that cold season Love but treats his guest
With beanstraw, and tough forage at the best.
No crafty widows shall approach my bed;
Those are too wise for bachelors to wed.
As subtle clerks by many schools are made,
Twice-married dames are mistresses o' th' trade:        110
But young and tender virgins, ruled with ease,
We form like wax, and mould them as we please.

'Conceive me, sirs, nor take my sense amiss;
'Tis what concerns my soul's eternal bliss;
Since, if I found no pleasure in my spouse,
As flesh is frail, and who (God help me) knows?
Then should I live in lewd adultery,
And sink downright to Satan when I die:
Or were I cursed with an unfruitful bed,
The righteous end were lost for which I wed;            120
To raise up seed to bless the powers above,
And not for pleasure only, or for love.
Think not I dote; 'tis time to take a wife,
When vigorous blood forbids a chaster life:
Those that are bless'd with store of grace divine,
May live like saints, by Heaven's consent and mine!

'And since I speak of wedlock, let me say
(As, thank my stars, in modest truth I may),
My limbs are active, still I'm sound at heart,
And a new vigour springs in every part.                 130
Think not my virtue lost, though time has shed
These reverend honours on my hoary head:
Thus trees are crown'd with blossoms white as snow,
The vital sap then rising from below.
Old as I am, my lusty limbs appear
Like winter greens, that flourish all the year.
Now, sirs, you know to what I stand inclined,
Let every friend with freedom speak his mind.'

He said; the rest in different parts divide;
The knotty point was urged on either side:              140
Marriage, the theme on which they all declaim'd,
Some praised with wit, and some with reason blamed.
Till, what with proofs, objections, and replies,
Each wondrous positive and wondrous wise,
There fell between his brothers a debate:
Placebo this was call'd, and Justin that.

First to the knight Placebo thus begun,
(Mild were his looks, and pleasing was his tone):
'Such prudence, sir, in all your words appears,
As plainly proves experience dwells with years!         150
Yet you pursue sage Solomon's advice,
To work by counsel when affairs are nice:
But, with the wise man's leave, I must protest,
So may my soul arrive at ease and rest,
As still I hold your own advice the best.

'Sir, I have lived a courtier all my days,
And studied men, their manners, and their ways;
And have observed this useful maxim still.
To let my betters always have their will.
Nay, if my lord affirm'd that black was white,          160
My word was this, "Your honour's in the right."
Th' assuming wit, who deems himself so wise
As his mistaken patron to advise,
Let him not dare to vent his dangerous thought;
A noble fool was never in a fault.
This, sir, affects not you, whose every word
Is weigh'd with judgment, and befits a lord:
Your will is mine: and is (I will maintain)
Pleasing to God, and should be so to man;
At least your courage all the world must praise,        170
Who dare to wed in your declining days.
Indulge the vigour of your mounting blood,
And let gray fools be indolently good,
Who, past all pleasure, damn the joys of sense,
With reverend dulness and grave impotence.'

Justin, who silent sate, and heard the man,
Thus with a philosophic frown began:

'A heathen author, of the first degree,
(Who, though not faith, had sense as well as we),
Bids us be certain our concerns to trust                180
To those of generous principles and just.
The venture's greater, I'll presume to say,
To give your person, than your goods away:
And therefore, sir, as you regard your rest,
First learn your lady's qualities at least:
Whether she's chaste or rampant, proud or civil,
Meek as a saint, or haughty as the devil;
Whether an easy, fond, familiar fool,
Or such a wit as no man e'er can rule.
'Tis true, perfection none must hope to find            190
In all this world, much less in womankind:
But if her virtues prove the larger share,
Bless the kind fates, and think your fortune rare.
Ah, gentle sir, take warning of a friend,
Who knows too well the state you thus commend;
And, spite of all his praises, must declare,
All he can find is bondage, cost, and care.
Heaven knows I shed full many a private tear,
And sigh in silence, lest the world should hear;
While all my friends applaud my blissful life,          200
And swear no mortal's happier in a wife;
Demure and chaste as any vestal nun,
The meekest creature that beholds the sun!
But, by th' immortal powers, I feel the pain,
And he that smarts has reason to complain.
Do what you list, for me; you must be sage,
And cautious sure; for wisdom is in age:
But at these years to venture on the fair!
By Him who made the ocean, earth, and air,
To please a wife, when her occasions call,              210
Would busy the most vigorous of us all.
And trust me, sir, the chastest you can choose,
Will ask observance, and exact her dues.
If what I speak my noble lord offend,
My tedious sermon here is at an end.'

''Tis well, 'tis wondrous well,' the knight replies,
'Most worthy kinsman, faith, you're mighty wise!
We, sirs, are fools; and must resign the cause
To heathenish authors, proverbs, and old saws.'
He spoke with scorn, and turn'd another way:            220
'What does my friend, my dear Placebo, say?'

'I say,' quoth he, 'by Heaven, the man's to blame,
To slander wives, and wedlock's holy name.'

At this the council rose without delay;
Each, in his own opinion, went his way;
With full consent, that, all disputes appeased,
The knight should marry when and where he pleased.

Who now but January exults with joy?
The charms of wedlock all his soul employ:
Each nymph by turns his wavering mind possess'd,        230
And reign'd the short-lived tyrant of his breast;
Whilst fancy pictured every lively part,
And each bright image wander'd o'er his heart.
Thus, in some public forum fix'd on high,
A mirror shows the figures moving by;
Still one by one, in swift succession, pass
The gliding shadows o'er the polish'd glass.
This lady's charms the nicest could not blame,
But vile suspicions had aspersed her fame;
That was with sense, but not with virtue bless'd;       240
And one had grace that wanted all the rest.
Thus doubting long what nymph he should obey
He fix'd at last upon the youthful May.
Her faults he knew not, love is always blind,
But every charm revolved within his mind:
Her tender age, her form divinely fair,
Her easy motion, her attractive air,
Her sweet behaviour, her enchanting face,
Her moving softness, and majestic grace.
Much in his prudence did our knight rejoice,            250
And thought no mortal could dispute his choice:
Once more in haste he summon'd every friend,
And told them all their pains were at an end.
'Heaven, that (said he) inspired me first to wed,
Provides a consort worthy of my bed:
Let none oppose th' election, since on this
Depends my quiet and my future bliss.

'A dame there is, the darling of my eyes,
Young, beauteous, artless, innocent, and wise;
Chaste, though not rich; and, though not nobly born,    260
Of honest parents, and may serve my turn.
Her will I wed, if gracious Heaven so please,
To pass my age in sanctity and ease;
And, thank the powers, I may possess alone
The lovely prize, and share my bliss with none!
If you, my friends, this virgin can procure,
My joys are full, my happiness is sure.

'One only doubt remains: full oft, I've heard
By casuists grave, and deep divines averr'd,
That 'tis too much for human race to know               270
The bliss of heaven above and earth below;
Now, should the nuptial pleasures prove so great,
To match the blessings of the future state,
Those endless joys were ill exchanged for these;
Then clear this doubt, and set my mind at ease.'

This Justin heard, nor could his spleen control,
Touch'd to the quick, and tickled at the soul.
'Sir knight,' he cried, 'if this be all you dread,
Heaven put it past your doubt whene'er you wed:
And to my fervent prayers so far consent,               280
That, ere the rites are o'er, you may repent!
Good Heaven, no doubt, the nuptial state approves,
Since it chastises still what best it loves.
Then be not, sir, abandoned to despair:
Seek, and perhaps you'll find among the fair
One that may do your business to a hair;
Not e'en in wish your happiness delay,
But prove the scourge to lash you on your way:
Then to the skies your mounting soul shall go,
Swift as an arrow soaring from the bow!                 290
Provided still, you moderate your joy,
Nor in your pleasures all your might employ;
Let reason's rule your strong desires abate,
Nor please too lavishly your gentle mate
Old wives there are, of judgment most acute,
Who solve these questions beyond all dispute;
Consult with those, and be of better cheer;
Marry, do penance, and dismiss your fear.'

So said, they rose, nor more the work delay'd
The match was offer'd, the proposals made.              300
The parents, you may think, would soon comply
The old have interest ever in their eye.
Nor was it hard to move the lady's mind;
When fortune favours, still the fair are kind.

I pass each previous settlement and deed,
Too long for me to write, or you to read;
Nor will with quaint impertinence display
The pomp, the pageantry, the proud array.
The time approach'd; to church the parties went,
At once with carnal and devout intent:                  310
Forth came the priest, and bade the obedient wife
Like Sarah or Rebecca lead her life;
Then pray'd the powers the fruitful bed to bless,
And made all sure enough with holiness.

And now the palace gates are open'd wide,
The guests appear in order, side by side,
And, placed in state, the bridegroom and the bride.
The breathing flute's soft notes are heard around,
And the shrill trumpets mix their silver sound;
The vaulted roofs with echoing music ring,              320
These touch the vocal stops, and those the trembling string.
Not thus Amphion tuned the warbling lyre,
Nor Joab the sounding clarion could inspire,
Nor fierce Theodamas, whose sprightly strain
Could swell the soul to rage, and fire the martial train.

Bacchus himself, the nuptial feast to grace,
(So poets sing) was present on the place:
And lovely Venus, goddess of delight,
Shook high her flaming torch in open sight,
And danced around, and smiled on every knight:          330
Pleased her best servant would his courage try,
No less in wedlock than in liberty.
Full many an age old Hymen had not spied
So kind a bridegroom, or so bright a bride.
Ye bards! renown'd among the tuneful throng
For gentle lays, and joyous nuptial song,
Think not your softest numbers can display
The matchless glories of this blissful day;
The joys are such as far transcend your rage,
When tender youth has wedded stooping age.              340

The beauteous dame sat smiling at the board,
And darted amorous glances at her lord.
Not Hester's self, whose charms the Hebrews sing,
E'er look'd so lovely on her Persian king:
Bright as the rising sun in summer's day,
And fresh and blooming as the month of May!
The joyful knight survey'd her by his side,
Nor envied Paris with his Spartan bride:
Still as his mind revolved with vast delight
Th' entrancing raptures of th' approaching night,       350
Restless he sat, invoking every power
To speed his bliss, and haste the happy hour.
Meantime the vigorous dancers beat the ground,
And songs were sung, and flowing bowls went round.
With odorous spices they perfumed the place,
And mirth and pleasure shone in every face.

Damian alone, of all the menial train,
Sad in the midst of triumphs, sigh'd for pain;
Damian alone, the knight's obsequious squire,
Consumed at heart, and fed a secret fire.               360
His lovely mistress all his soul possess'd,
He look'd, he languish'd, and could take no rest:
His task perform'd, he sadly went his way,
Fell on his bed, and loath'd the light of day:
There let him lie; till his relenting dame
Weep in her turn, and waste in equal flame.

The weary sun, as learnèd poets write,
Forsook th' horizon, and roll'd down the light;
While glittering stars his absent beams supply.
And night's dark mantle overspread the sky.             370
Then rose the guests, and, as the time required,
Each paid his thanks, and decently retired.

The foe once gone, our knight prepared t' undress,
So keen he was, and eager to possess;
But first thought fit th' assistance to receive,
Which grave physicians scruple not to give:
Satyrion near, with hot eringoes stood,
Cantharides, to fire the lazy blood,
Whose use old bards describe in luscious rhymes,
And critics learn'd explain to modern times.            380

By this the sheets were spread, the bride undress'd,
The room was sprinkled, and the bed was bless'd.
What next ensued beseems not me to say;
'Tis sung, he labour'd till the dawning day,
Then briskly sprung from bed, with heart so light,
As all were nothing he had done by night,
And sipp'd his cordial as he sat upright.
He kiss'd his balmy spouse with wanton play,
And feebly sung a lusty roundelay:
Then on the couch his weary limbs he cast;              390
For every labour must have rest at last.

But anxious cares the pensive squire oppress'd,
Sleep fled his eyes, and peace forsook his breast;
The raging flames that in his bosom dwell,
He wanted art to hide, and means to tell:
Yet hoping time th' occasion might betray,
Composed a sonnet to the lovely May;
Which, writ and folded with the nicest art,
He wrapp'd in silk, and laid upon his heart.

When now the fourth revolving day was run,              400
('Twas June, and Cancer had received the sun),
Forth from her chamber came the beauteous bride;
The good old knight moved slowly by her side.
High mass was sung; they feasted in the hall;
The servants round stood ready at their call
The squire alone was absent from the board,
And much his sickness grieved his worthy lord,
Who pray'd his spouse, attended with her train,
To visit Damian, and divert his pain.
Th' obliging dames obey'd with one consent:             410
They left the hall, and to his lodging went.
The female tribe surround him as he lay,
And close beside him sat the gentle May:
Where, as she tried his pulse, he softly drew
A heaving sigh, and cast a mournful view!
Then gave his bill, and bribed the Powers divine
With secret vows, to favour his design.

Who studies now but discontented May?
On her soft couch uneasily she lay:                     420
The lumpish husband snored away the night,
Till coughs awaked him near the morning light.
What then he did, I'll not presume to tell,
Nor if she thought herself in heaven or hell:
Honest and dull in nuptial bed they lay,
Till the bell toll'd, and all arose to pray.

Were it by forceful destiny decreed,
Or did from chance, or nature's power proceed;
Or that some star, with aspect kind to love,
Shed its selectest influence from above;
Whatever was the cause, the tender dame                 430
Felt the first motions of an infant flame;
Received th' impressions of the love-sick squire,
And wasted in the soft infectious fire.

Ye fair, draw near, let May's example move
Your gentle minds to pity those who love!
Had some fierce tyrant in her stead been found,
The poor adorer sure had hang'd or drown'd;
But she, your sex's mirror, free from pride,
Was much too meek to prove a homicide.

But to my tale:--Some sages have defined                440
Pleasure the sovereign bliss of humankind:
Our knight (who studied much, we may suppose)
Derived his high philosophy from those;
For, like a prince, he bore the vast expense
Of lavish pomp, and proud magnificence:
His house was stately, his retinue gay,
Large was his train, and gorgeous his array.
His spacious garden, made to yield to none,
Was compass'd round with walls of solid stone;
Priapus could not half describe the grace               450
(Though god of gardens) of this charming place:
A place to tire the rambling wits of France
In long descriptions, and exceed romance:
Enough to shame the gentlest bard that sings
Of painted meadows, and of purling springs.

Full in the centre of the flowery ground
A crystal fountain spread its streams around,
The fruitful banks with verdant laurels crown'd.
About this spring (if ancient fame say true)
The dapper elves their moonlight sports pursue:         460
Their pigmy king, and little fairy queen,
In circling dances gamboll'd on the green,
While tuneful sprites a merry concert made,
And airy music warbled through the shade.

Hither the noble knight would oft repair,
(His scene of pleasure, and peculiar care):
For this he held it dear, and always bore
The silver key that lock'd the garden door.
To this sweet place, in summer's sultry heat,
He used from noise and business to retreat:             470
And here in dalliance spend the livelong day,
_Solus cum sola_, with his sprightly May:
For whate'er work was undischarged abed,
The duteous knight in this fair garden sped.

But ah! what mortal lives of bliss secure?
How short a space our worldly joys endure!
O Fortune! fair, like all thy treacherous kind,
But faithless still, and wavering as the wind!
O painted monster, form'd mankind to cheat
With pleasing poison, and with soft deceit!             480
This rich, this amorous, venerable knight,
Amidst his ease, his solace, and delight,
Struck blind by thee, resigns his days to grief,
And calls on death, the wretch's last relief.

The rage of jealousy then seized his mind,
For much he fear'd the faith of womankind.
His wife, not suffer'd from his side to stray,
Was captive kept; he watch'd her night and day,
Abridged her pleasures, and confined her sway.
Full oft in tears did hapless May complain,             490
And sigh'd full oft; but sigh'd and wept in vain:
She look'd on Damian with a lover's eye;
For oh, 'twas fix'd; she must possess or die!
Nor less impatience vex'd her amorous squire,
Wild with delay, and burning with desire.
Watch'd as she was, yet could he not refrain
By secret writing to disclose his pain;
The dame by signs reveal'd her kind intent,
Till both were conscious what each other meant.

Ah! gentle knight, what would thy eyes avail,           500
Though they could see as far as ships can sail?
'Tis better, sure, when blind, deceived to be,
Than be deluded when a man can see!

Argus himself, so cautious and so wise,
Was overwatch'd, for all his hundred eyes:
So many an honest husband may, 'tis known,
Who, wisely, never thinks the case his own.

The dame at last, by diligence and care,
Procured the key her knight was wont to bear;
She took the wards in wax before the fire,              510
And gave th' impression to the

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