ENGLISH SATIRES

PREFACE.

In the compilation of this volume my aim has been to furnish a work that would be representative in character rather than exhaustive. The restrictions of space imposed by the limits of such a series as this have necessitated the omission of many pieces that readers might expect to see included. As far as possible, however, the most typical satires of the successive eras have been selected, so as to throw into relief the special literary characteristics of each, and to manifest the trend of satiric development during the centuries elapsing between Langland and Lowell.

Acknowledgment is due, and is gratefully rendered, to Mrs. C.S. Calverley for permission to print the verses which close this book; and to Messrs. Macmillan & Co. for permission to print A.H. Clough's "Spectator ab Extra".

To Professor C.H. Herford my warmest thanks are due for his careful revision of the Introduction, and for many valuable hints which have been adopted in the course of the work; also to Mr. W. Keith Leask, M.A.(Oxon.), and the librarians of the Edinburgh University and Advocates' Libraries.

OLIPHANT SMEATON.

CONTENTS.

INTRODUCTION.

Satire and the satirist have been in evidence in well-nigh all ages of the world's history. The chief instruments of the satirist's equipment are irony, sarcasm, invective, wit, and humour. The satiric denunciation of a writer burning with indignation at some social wrong or abuse, is capable of reaching the very highest level of literature. The writings of a satirist of this type, and to some extent of every satirist who touches on the social aspects of life, present a picture more or less vivid, though not of course complete and impartial, of the age to which he belongs, of the men, their manners, fashions, tastes, and prevalent opinions. Thus they have a historical as well as a literary and an ethical value. And Thackeray, in speaking of the office of the humorist or satirist, for to him they were one, says, "He professes to awaken and direct your love, your pity, your kindness, your scorn for untruth, pretension, imposture, your tenderness for the weak, the poor, the oppressed, the unhappy. To the best of his means and ability he comments on all the ordinary actions and passions of life almost."[1]

Satire has, in consequence, always ranked as one [xiv]of the cardinal divisions of literature. Its position as such, however, is due rather to the fact of it having been so regarded among the Romans, than from its own intrinsic importance among us to-day. Until the closing decades of the eighteenth century—so long, in fact, as the classics were esteemed of paramount authority as models—satire proper was accorded a definite place in letters, and was distinctively cultivated by men of genius as a branch of literature. But with the rise of the true national spirit in the various literatures of Europe, and notably in that of England, satire has gradually given place to other types of composition. Slowly but surely it has been edged out of its prominent position as a separate department, and has been relegated to the position of a quality of style, important, beyond doubt, yet no longer to be considered as a prime division of letters.[2]

Rome rather than Greece must be esteemed the home of ancient satire. Quintilian, indeed, claims it altogether for his countrymen in the words, Satira tota nostra est; while Horace styles it Græcis intactum carmen. But this claim must be accepted with many reservations. It does not imply that we do not discover the existence of satire, together with favourable examples of it, long anterior to the oldest extant works in either Grecian or Latin literature. The use of what are called "personalities" in everyday speech was the probable origin of satire. Conversely, also, satire, in the majority of those earlier types current at various periods in the history of literature, has shown an inclination [xv]to be personal in its character. De Quincey, accordingly, has argued that the more personal it became in its allusions, the more it fulfilled its specific function. But such a view is based on the supposition that satire has no other mission than to lash the vices of our neighbours, without recalling the fact that the satirist has a reformative as well as a punitive duty to discharge. The further we revert into the "deep backward and abysm of time" towards the early history of the world, the more pronounced and overt is this indulgence in broad personal invective and sarcastic strictures.

The earliest cultivators of the art were probably the men with a grievance, or, as Dr. Garnett says, "the carpers and fault-finders of the clan". Their first attempts were, as has been conjectured, merely personal lampoons against those they disliked or differed from, and were perhaps of a type cognate with the Homeric Margites. Homer's character of Thersites is mayhap a lifelike portrait of some contemporary satirist who made himself dreaded by his personalities. But even in Thersites we see the germs of transition from merely personal invective to satire directed against a class; and Greek satire, though on the whole more personal than Roman, achieved brilliant results. It is enough to name Archilochus, whom Mahaffy terms the Swift of Greek Literature, Simonides of Amorgos (circ. 660 B.C.), the author of the famous Satire on Women, and Hipponax of Ephesus, reputed the inventor of the Scazon or halting iambic.

But the lasting significance of Greek satire is [xvi]mainly derived from its surpassing distinction in two domains—in the comico-satiric drama of Aristophanes, and in the Beast Fables of 'Æsop'. In later Greek literature it lost its robustness and became trivial and effeminate through expending itself on unworthy objects.

It is amongst the Romans, with their deeper ethical convictions and more powerful social sense, that we must look for the true home of ancient satire. The germ of Roman satire is undoubtedly to be found in the rude Fescennine verses, the rough and licentious jests and buffoonery of the harvest-home and the vintage thrown into quasi-lyrical form. These songs gradually developed a concomitant form of dialogue styled saturæ, a term denoting "miscellany", and derived perhaps from the Satura lanx, a charger filled with the first-fruits of the year's produce, which was offered to Bacchus and Ceres.[3] In Ennius, the "father of Roman satire", and Varro, the word still retained this old Roman sense.

Lucilius was the first Roman writer who made "censorious criticism" the prevailing tone of satire, and his work, the parent of the satire of Horace, of Persius, of Juvenal, and through that of the poetical satire of modern times, was the principal agent in fixing its present polemical and urban associations upon a term originally steeped in the savour of rustic revelry. In the hands of Horace, Roman satire was to be moulded into a new type that was not only to be a thing of beauty, but, as far as one can yet see, to remain a joy for ever. [xvii]The great Venusian, as he informs us, set before himself the task of adapting the satire of Lucilius to the special circumstances, the manners, the literary modes and tastes of the Augustan age. Horace's Satires conform to Addison's great rule, which he lays down in the Spectator, that the satire which only seeks to wound is as dangerous as arrows that fly in the dark. There is always an ethical undercurrent running beneath the polished raillery and the good-natured satire. His genial bonhomie prevents him from ever becoming ill-natured in his animadversions.

Of those manifold, kaleidoscopically-varied types of human nature which in the Augustan age flocked to Rome as the centre of the known world, he was a keen and a close observer. Jealously he noted the deteriorating influence these foreign elements were exercising on the grand old Roman character, and some of the bitterest home-thrusts he ever delivered were directed against this alien invasion.[4] In those brilliant pictures wherewith his satires are replete, Horace finds a place for all. Sometimes he criticises as a far-off observer, gazing with a sort of cynical amusement at this human raree-show; at others he speaks as though he himself were in the very midst of the bustling frivolity of the Roman Vanity Fair, and a sufferer from its follies. Then his tone seems to deepen into a grave intensity of remonstrance, as he exposes its hollowness, its heartlessness, and its blindness to the absorbing problems of existence.

After the death of Horace (B.C. 8) no names of [xviii]note occur in the domain of satire until we reach that famous trio, contemporary with one another, who adorned the concluding half of the first century of our era, viz.:—Juvenal, Persius, and Martial. They are severally representative of distinct modes or types of satire. Juvenal illustrates rhetorical or tragic satire, of which he is at once the inventor and the most distinguished master—that form of composition, in other words, which attacks vice, wrongs, or abuses in a high-pitched strain of impassioned, declamatory eloquence. In this type of satire, evil is designedly painted in exaggerated colours, that disgust may more readily be aroused by the loathsomeness of the picture. As a natural consequence, sobriety, moderation, and truth to nature no longer are esteemed so indispensable. In this style Juvenal has had many imitators, but no superiors. His satires represent the final development the form underwent in achieving the definite purpose of exposing and chastising in a systematic manner the entire catalogue of vices, public and private, which were assailing the welfare of the state. They constitute luridly powerful pictures of a debased and shamelessly corrupt condition of society. Keen contemptuous ridicule, a sardonic irony that held nothing in reverence, a caustic sarcasm that burned like an acid, and a vituperative invective that ransacked the language for phrases of opprobrium—these were the agents enlisted by Juvenal into the service of purging society of its evil.

Persius, on the other hand, was the philosophic satirist, whose devotion to Stoicism caused him to [xix] see in it a panacea for all the evils which Nero brought on the empire. The shortness of his life, his studious tastes, and his exceptional moral purity all contributed to keep him ignorant of that world of evil which, as Professor Sellar has pithily remarked, it is the business of the satirist to know. Hence he is purely a philosophic or didactic satirist. Only one of his poems, the first, fulfils the special end of satire by representing any phase whatever of the life of his time, and pointing its moral.

Finally, Martial exchanged the epic tirade for the epigram as the vehicle of his satire, and handled this lighter missile with unsurpassed brilliance and verve. Despite his sycophancy and his fulsome flattery of prospective benefactors, he displays more of the sober moderation and sane common-sense of Horace than either of his contemporaries. There are few better satirists of social and literary pretenders either in ancient or modern times. No ancient has more vividly painted the manners of antiquity. If Juvenal enforces the lesson of that time, and has penetrated more deeply into the heart of society, Martial has sketched its external aspect with a much fairer pencil, and from a much more intimate contact with it.

In the first and second centuries of our era two other forms of satire took their rise, viz.:—the Milesian or "Satiric Tale" of Petronius and Apuleius, and the "Satiric Dialogue" of Lucian. Both are admirable pictures of their respective periods. The Tales of the two first are conceived with great force of imagination, and executed with a happy [xx] blending of humour, wit, and cynical irony that suggests Gil Blas or Barry Lyndon. The Supper of Trimalchio, by Petronius, reproduces with unsparing hand the gluttony and the blatant vice of the Neronic epoch. The Golden Ass of Apuleius is a clever sketch of contemporary manners in the second century, painting in vivid colours the reaction that had set in against scepticism, and the general appetite that prevailed for miracles and magic.

Finally, ancient satire may be said to close with the famous Dialogues of Lucian, which, although written in Greek, exhibited all the best features of Roman satire. Certainly the ethical purpose and the reformative element are rather implied than insistently expressed in Lucian; but he affords in his satiric sketches a capital glimpse of the ludicrous perplexity into which the pagan mind was plunged when it had lost faith in its mythology, and when a callous indifference towards the Pantheon left the Roman world literally without a rational creed. As a satire on the old Hellenic religion nothing could be racier than The Dialogues of the Gods and The Dialogues of the Dead.

It is impossible in this brief survey to discuss at large the vast chaotic epoch in the history of satire which lies between the end of the ancient world and the dawn of humanism. For satire, as a literary genre, belongs to these two. The mediæval world, inexhaustible in its capacity and relish for abuse, full of rude laughter and drastic humour—prompt, for all its superstition, to make a jest of the priest, and, for all its chivalry, to catalogue the foibles of [xxi]women—had the satirical animus in abundance, and satirical songs, visions, fables, fabliaux, ballads, epics, in legion, but no definite and recognised school of satire. It is sufficient to name, as examples of the extraordinary range of the mediæval satiric genius, the farce of Pathelin, the beast-epic of Renart, the rhymes of Walter Map, and the Inferno of Dante.

Of these satirists before the rise of "satire", mediæval England produced two great examples in Chaucer and Langland. They typify at the outset the two classes into which Dryden divided English satirists—the followers of Horace's way and the followers of Juvenal's—the men of the world, who assail the enemies of common-sense with the weapons of humour and sarcasm; and the prophets, who assail vice and crime with passionate indignation and invective scorn. Since Dryden's time neither line has died out, and it is still possible, with all reserves, to recognise the two strains through the whole course of English literature: the one represented in Chaucer, Donne, Marvell, Addison, Arbuthnot, Swift, Young, Goldsmith, Canning, Thackeray, and Tennyson; the others in Langland, Skelton, Lyndsay, Nash, Marston, Dryden, Pope, Churchill, Johnson, Junius, Burns, and Browning.

Langland was a naïve mediæval Juvenal. The sad-visaged, world-weary dreamer of the Malvern hills, sorrowing over the vice, the abuses, and the social misery of his time, finding, as he tells us, no comfort in any of the established institutions of his day, because confronted with the fraud and falsehood that infected them all, is one of the most [xxii] pathetic figures in literature. As Skeat suggests, the object of his great poem was to secure, through the latitude afforded by allegory, opportunities of describing the life and manners of the poorer classes, of inveighing against clerical abuses and the rapacity of the friars, of representing the miseries caused by the great pestilences then prevalent, and by the hasty and ill-advised marriages consequent thereon; of denouncing lazy workmen and sham beggars, the corruption and bribery then too common in the law-courts—in a word, to lash all the numerous forms of falsehood, which are at all times the fit subjects for satire and indignant exposure. Amid many essential differences, is there not here a striking likeness to the work of the Roman Juvenal? Langland's satire is not so fiery nor so rhetorically intense as that of his prototype, but it is less profoundly despairing. He satirizes evil rather by exposing it and contrasting it with good, than by vehemently denouncing it. The colours of the pictures are sombre, and the gloom is almost overwhelming, but still it is illumined from time to time with the hope of coming amendment, when the great reformer Piers the Plowman, by which is typified Christ,[5] should appear, who was to remedy all abuses and restore the world to a right condition. In this sustaining hope he differs from Juvenal, the funereal gloom of whose satires is relieved by no gleam of hope for the future.

Contrast with this the humorous brightness, the laughter, and the light of the surroundings [xxiii] associated with his great contemporary, Geoffrey Chaucer. His very satire is kindly and quaint, like that of Horace, rather than bitterly acidulous. He raps his age over the knuckles, it is true, for its faults and foibles, but the censor's face wears a genial smile. One of his chief attractions for us lies in his bright objectivity. He never wears his heart on his sleeve like Langland. He has touches of rare and profound pathos, but these notes of pain are only like undertones of discord to throw the harmony into stronger relief, only like little cloudlets momentarily flitting across the golden sunshine of his humour.

We read Chaucer, as we read Horace, from love of his piquant Epicureanism, and the scintillating satire wherewith he enlivens those matchless pictures of his epoch which he has handed down to us. Chaucer, as Professor Minto puts it, wrote largely for the court circle. His verses were first read in tapestried chambers, and to the gracious ear of stately lords and ladies. It was because he wrote for such an audience that he avoids the introduction of any discordant element in the shape of the deeper and darker social problems of the time. The same reticence occurs in Horace, writing as he did for the ear of Augustus and Mæcenas, and of the fashionable circle thronging the great palace of his patron on the Esquiline. Is not the historic parallel between the two pairs of writers still further verified? Chaucer wisely chose the epic form for his greatest poem, because he could introduce thereinto so many distinct qualities of composition, and the woof of racy humour as well as [xxiv] of sprightly satire which he introduces with such consummate art into the texture of his verse is of as fine a character as any in our literature. In Langland's great allegory, the satire is earnest, grave and solemn, as though with a sense of deep responsibility; that in Chaucer's Canterbury Tales—nay, in all his poems—is genial, laughing, and good-natured; tolerant, like Horace's of human weaknesses, because the author is so keenly conscious of his own.

Langland and Chaucer both died about the beginning of the fifteenth century. But from that date until 1576—when Gascoigne's Steel Glass, the first verse satire of the Elizabethan age, was published—we must look mainly to Scotland and the poems of William Dunbar, Sir David Lyndsay, and others, to preserve the apostolic succession of satire. William Dunbar is one of the greatest of British satirists. His Dance of the Seven Deadly Sins, in which the popular poetic form of the age—allegory—is utilized with remarkable skill as the vehicle for a scathing satire on the headlong sensuality of his time, produces by its startling realism and terrible intensity an effect not unlike that exercised by the overpowering creations of Salvator Rosa. The poem is a bitter indictment of the utter corruption of all classes in the society of his period. Like Juvenal, to whose school he belongs, he softens nothing, tones down nothing. The evil is presented in all its native hideousness. Lyndsay, on the other hand, would have been more vigorous had he been less diffuse, and used the pruning-knife more unsparingly. His finest satiric pictures often lose [xxv] their point by verbosity and tediousness. Brevity is the soul of satire as well as of wit.

The most vigorous English satire of this entire period was that which we owe to the scurrilous pen of Skelton and the provocative personality of Wolsey. With his work may be mentioned the rude and unpolished, yet vigorous, piece bearing the rhyming title,

written by two English Observantine Franciscan friars, William Roy and Jerome Barlowe;[6] a satire which stung the great cardinal so sharply that he commissioned Hermann Rynck to buy up every available copy. Alexander Barclay's imitation, in his Ship of Fools, of Sebastian Brandt's Narrenschiff, was only remarkable for the novel satirical device of the plan.

Bishop Latimer in his sermons is a vigorous satirist, particularly in that discourse upon "The Ploughers" (1547). His fearlessness is very conspicuous, and his attacks on the bishops who proved untrue to their trust and allowed their dioceses to go to wreck and ruin, are outspoken and trenchant:

"They that be lords will ill go to plough. It is no meet office for them. It is not seeming for their state. Thus came up lording loiterers; Thus crept in unprechinge prelates, and so have they long continued. For how many unlearned prelates have we now at this day? And no marvel; For if the ploughmen that now be, were made lordes, they would clean give over ploughing, they would leave of theyr labour and [xxvi] fall to lording outright and let the plough stand. For ever since the Prelates were made lords and nobles, the plough standeth, there is no work done, the people starve. They hawke, they hunte, they carde, they dyce, they pastime in their prelacies with galaunt gentlemen, with their dauncing minions, and with their freshe companions, so that ploughing is set aside."[7]

But after Gascoigne's Steel Glass was published, which professed to hold a mirror or "steel glass" up to the vices of the age, we reach that wonderful outburst of satiric, epigrammatic, and humorous composition which was one of the characteristics, and certainly not the least important, of the Elizabethan epoch. Lodge's Fig for Momus (1593) contains certain satires which rank with Gascoigne's work as the earliest compositions of that type belonging to the period. That they were of no mean reputation in their own day is evident from the testimony of Meres,[8] who says, "As Horace, Lucilius, Juvenal, Persius, and Lucullus are the best for satire among the Latins, so with us, in the same faculty, these are chiefe, Piers Plowman, Lodge, Hall of Emanuel College, Cambridge, the author of Pygmalion's Image and Certain Satires[9] and the author of Skialethea". This contemporary opinion regarding the fact that The Vision of Piers Plowman was esteemed a satire of outstanding merit in those days, is a curious commentary on Hall's boastful couplet describing himself as the earliest English satirist.

To name all the writers who, in this fruitful epoch of our literature, devoted themselves to this [xxvii]kind of composition would be impossible. From 1598 until the death of James I. upwards of one hundred separate satirists can be named, both in verse and prose. Of these Bishop Hall is one of the greatest, and I have chosen him as the leading representative of the period. To the study of Horace and Juvenal he had devoted many years of his early manhood, and his imitation of these two great Romans is close and consistent. Therefore, for vigour, grave dignity, and incisiveness of thought, united to graphic pictures of his age, Hall is undeniably the most important name in the history of the Elizabethan satire, strictly so called. His exposures of the follies of his age were largely couched in the form, so much affected by Horace, of a familiar commentary on certain occurrences, addressed apparently to an anonymous correspondent.

Contemporary with Hall was Thomas Nash, whose Pierce Penilesse's Supplication to the Devil was one of the most extraordinary onslaughts on the social vices of the metropolis that the period produced. Written in close imitation of Juvenal's earlier satires, he frequently approaches the standard of his master in graphic power of description, in scathing invective, and ironical mockery. In Have with you to Saffron Walden he lashed Gabriel Harvey for his unworthy conduct towards the memory of Robert Greene. Both satires are written in prose, as indeed are nearly all his works, inasmuch as Nash was more of a pamphleteer than anything else. Other contemporaries of Hall were Thomas Dekker, whose fame as a dramatist has [xxviii] eclipsed his reputation as a satirist, but whose Bachelor's Banquet—pleasantly discoursing the variable humours of Women, their quickness of wits and unsearchable deceits, is a sarcastic impeachment of the gentler sex, while his Gull's Hornbook must be ranked with Nash's work as one of the most unsparing castigations of social life in London. The latter is a volume of fictitious maxims for the use of youths desirous of being considered "pretty fellows". Other contemporaries were John Donne, John Marston, Jonson, George Chapman, and Nicholas Breton—all names of men who were conspicuous inheritors of the true Elizabethan spirit, and who united virility of thought to robustness and trenchancy of sarcasm.

Marston and Breton were amongst the best of the group, though they are not represented in these pages owing to the unsuitability of their writings for extract. Here is a picture from one of the satires of Marston which is instinct with satiric power. It is a portrait of a love-sick swain, and runs as follows:—

Marston manifests more vigour and nervous force in his satires than Hall, but exhibits less elegance and ease in versification. In Charles Fitz-geoffrey's Affaniæ, a set of Latin epigrams, printed at Oxford in 1601, Marston is complimented as the "Second English Satirist", or rather as dividing the palm of priority and excellence in English satire with Hall. The individual characteristics of the various leading Elizabethan satirists,—the vitriolic bitterness of Nash, the sententious profundity of Donne, the happy-go-lucky "slogging" of genial Dekker, the sledge-hammer blows of Jonson, the turgid malevolence of Chapman, and the stiletto-like thrusts of George Buchanan are worthy of closer and more detailed study than can be devoted to them in a sketch such as this. I regret that Nicolas Breton's Pasquil's Madcappe proved too long for quotation in its entirety,[11] but the man who could pen such lines as these was, of a truth, a satirist of a high order:—

Of the satiric forms peculiar to the Elizabethan epoch there is no great variety. The Characters of Theophrastus supplied a model to some of the writers. The close adherence also which the majority of them manifest to the broadly marked types of "Horatian" and "Juvenalian" satire, both in matter and manner, is not a little remarkable. The genius for selecting from the classics those forms both of composition and metre best suited to become vehicles for satire, and adapting them thereto, did not begin to manifest itself in so pronounced a manner until after the Restoration. The Elizabethan mind—using the phrase of course in its broad sense as inclusive of the Jacobean and the early Caroline epochs—was more engrossed with the matter than the manner of satire. Perhaps the finest satire which distinguished this wonderful era was the Argenis of John Barclay, a [xxxi] politico-satiric romance, or, in other words, the adaptation of the "Milesian tale" of Petronius to state affairs.

During the Parliamentary War, satire was the only species of composition which did not suffer more or less eclipse, but its character underwent change. It became to a large extent a medium for sectarian bitterness. It lost its catholicity, and degenerated in great measure into the instrument of partisan antagonism, and a means of impaling the folly or fanaticism, real or imagined, of special individuals among the Cavaliers and Roundheads.[12] Of such a character was the bulk of the satires produced at that time. In a few instances, however, a higher note was struck, as, for example, when "dignified political satire", in the hands of Andrew Marvell, was utilized to fight the battle of freedom of conscience in the matter of the observances of external religion. The Rehearsal Transposed, Mr. Smirke, or the Divine in Mode, and his Political Satires are masterpieces of lofty indignation mingled with grave and ironical banter. Among many others Edmund Waller showed himself an apt disciple of Horace, and produced charming social satires marked by delicate wit and raillery in the true Horatian mode; while the Duke of Buckingham, in the Rehearsal, utilized the dramatic parody to travesty the plays of Dryden. Abraham Cowley, in the Mistress, also imitated Horace, and in his play Cutter of Coleman Street satirized the Puritans' affectation of superior sanctity and their affected style of conversation. Then came John Oldham and John Cleiveland, who both accepted [xxxii] Juvenal as their model. Cleiveland's antipathy towards Cromwell and the Scots was on a par with that of John Wilkes towards the latter, and was just as unreasonable, while the language he employed in his diatribes against both was so extravagant as to lose its sarcastic point in mere vulgar abuse. In like manner Oldham's Satires on the Jesuits afford as disgraceful a specimen of sectarian bigotry as the language contains. Only their pungency and wit render them readable. He displays Juvenal's violence of invective without his other redeeming qualities. All these, however, were entirely eclipsed in reputation by a writer who made the mock-epic the medium through which the bitterest onslaught on the anti-royalist party and its principles was delivered by one who, as a "king's man", was almost as extreme a bigot as those he satirized. The Hudibras of Samuel Butler, in its mingling of broad, almost extravagant, humour and sneering mockery has no parallel in our literature. Butler's characters are rather mere "humours" or qualities than real personages. There is no attempt made to observe the modesty of nature. Hudibras, therefore, is an example not so much of satire, though satire is present in rich measure also, as of burlesque. The poem is genuinely satirical only in those parts where the author steps in as the chorus, so to speak, and offers pithy moralizings on what is taking place in the action of the story. There is visible throughout the poem, however, a lack of restraint that causes him to overdo his part. Were Hudibras shorter, the satire would be more effective. Though in parts often as terse in style as [xxxiii] Pope's best work, still the poem is too long, and it undoes the force of its attack on the Puritans by its exaggeration.

All these writers, even Butler himself, simply prepared the way for the man who is justly regarded as England's greatest satirist. The epoch of John Dryden has been fittingly styled the "Golden Age of English Satire".[13] To warrant this description, however, it must be held to include the writers of the reign of Queen Anne. The Elizabethan period was perhaps richer, numerically speaking, in representatives of certain types of satirical composition, but the true perfection, the efflorescence of the long-growing plant, was reached in that era which extended from the publication of Dryden's Absalom and Achitophel (Part I.) in 1681 to the issue of Pope's Dunciad in its final form in 1742. During these sixty years appeared the choicest of English satires, to wit, all Dryden's finest pieces, the Medal, MacFlecknoe, and Absalom and Achitophel, Swift's Tale of a Tub, and his Miscellanies—among which his best metrical satires appeared; all Defoe's work, too, as well as Steele's in the Tatler, and Addison's in the Spectator, Arbuthnot's History of John Bull, Churchill's Rosciad, and finally all Pope's poems, including the famous "Prologue" as well as the "Epilogue" to the Satires. It is curious to note how the satirical succession (if the phrase be permitted) is maintained uninterruptedly from Bishop Hall down to the death of Pope—nay, we may even say down to the age of Byron, to whose epoch one may trace something like a continuous [xxxiv]tradition. Hall did not die until Dryden was twenty-seven years of age. Pope delighted to record that, when a boy of twelve years of age, he had met "Glorious John", though the succession could be passed on otherwise through Congreve, one of the most polished of English satirical writers, whom Dryden complimented as "one whom every muse and grace adorn", while to him also Pope dedicated his translation of the Iliad.[14] Bolingbroke, furthermore, was the friend and patron of Pope, while the witty St. John, in turn, was bound by ties of friendship to Mallet, who passed on the succession to Goldsmith, Sheridan, Ellis, Canning, Moore, and Byron. Thereafter satire begins to fall upon evil days, and the tradition cannot be so clearly traced.

But satire, during this "succession", did not remain absolutely the same. She changed her garb with her epoch. Thus the robust bludgeoning of Dryden and Shadwell, of Defoe, Steele, D'Urfey, and Tom Brown, gave place to the sardonic ridicule of Swift, the polished raillery of Arbuthnot, and the double-distilled essence of acidulous sarcasm present in the Satires of Pope. There is as marked a difference between the Drydenic and the Swiftian types of satire, between that of Cleiveland and that of Pope, as between the diverse schools known as the "Horatian" and the "Juvenalian". The cause of this, over and above the effect produced by prolonged study of these two classical models, was the overwhelming influence exercised on his age by the great French critic and satirist, Boileau. Difficult [xxxv]indeed it is for us at the present day to understand the European homage paid to Boileau. As Hannay says, "He was a dignified classic figure supposed to be the model of fine taste",[15] His word was law in the realm of criticism, and for many years he was known, not alone in France, but throughout a large portion of Europe, as "The Lawgiver of Parnassus". Prof. Dowden, referring to his critical authority, remarks:—

"The genius of Boileau was in a high degree intellectual, animated by ideas. As a moralist he is not searching or profound; he saw too little of the inner world of the heart, and knew too imperfectly its agitations. When, however, he deals with literature—and a just judgment in letters may almost be called an element in morals—all his penetration and power become apparent. To clear the ground for the new school of nature, truth, and reason was Boileau's first task. It was a task which called for courage and skill ... he struck at the follies and affectations of the world of letters, and he struck with force. It was a needful duty, and one most effectively performed.... Boileau's influence as a critic of literature can hardly be overrated; it has much in common with the influence of Pope on English literature, beneficial as regards his own time, somewhat restrictive and even tyrannical upon later generations."[16]

Owing to the predominance of French literary modes in England, this was the man whose influence, until nearly the close of last century, was paramount in England even when it was most bitterly disclaimed. Boileau's Satires were published during 1660-70, and he himself died in 1711; but, though dead, he still ruled for many a [xxxvi]decade to come. This then was the literary censor to whom English satire of the post-Drydenic epochs owed so much. Neither Swift nor Pope was ashamed to confess his literary indebtedness to the great Frenchman; nay, Dryden himself has confessed his obligations to Boileau, and in his Discourse on Satire has quoted his authority as absolute. Before pointing out the differences between the Drydenic and post-Drydenic satire let us note very briefly the special characteristics of the former. Apart from the "matter" of his satire, Dryden laid this department of letters under a mighty obligation through the splendid service he rendered by the first successful application of the heroic couplet to satire. Of itself this was a great boon; but his good deeds as regards the "matter" of satiric composition have entirely obscured the benefit he conferred on its manner or technical form. Dryden's four great satires, Absalom and Achitophel, The Medal, MacFlecknoe, and the Hind and the Panther, each exemplify a distinct and important type of satire. The first named is the classical instance of the use of "historic parallels" as applied to the impeachment of the vices or abuses of any age. With matchless skill the story of Absalom is employed not merely to typify, but actually to represent, the designs of Monmouth and his Achitophel—Shaftesbury. The Medal reverts to the type of the classic satire of the Juvenalian order. It is slightly more rhetorical in style, and is partly devoted to a bitter invective against Shaftesbury, partly to an argument as to the unfitness of republican institutions for England, partly [xxxvii]to a satiric address to the Whigs. The third of the great series, MacFlecknoe, is Dryden's masterpiece of satiric irony; a purely personal attack upon his rival, Shadwell, "Crowned King of Dulness, and in all the realms of nonsense absolute". Finally, the Hind and the Panther represents a new development of the "satiric fable". Dryden gave to British satire the impulse towards that final form of development which it received from the great satirists of the next century. There is little that appears in Swift, Addison, Arbuthnot, Pope, or even Byron, for which the way was not prepared by the genius of "Glorious John".

Of the famous group which adorned the reign of Queen Anne, Steele lives above all in his Isaac Bickerstaff Essays, the vehicle of admirably pithy and trenchant prose satire upon current political abuses. But, unfortunately for his own fame, his lot was to be associated with the greatest master of this form of composition that has appeared in literature, and the celebrity of the greater writer dimmed that of the lesser. Addison in his papers in the Tatler and the Spectator has brought what may be styled the Essay of Satiric Portraiture—in after days to be developed along other lines by Praed, Charles Lamb, Leigh Hunt, and R.L. Stevenson—to an unsurpassed standard of excellence. Such character studies as those of Sir Roger de Coverley, his household and friends, Will Honeycomb, Sir Andrew Freeport, Ned Softly, and others, possess an endless charm for us in the sobriety and moderation of the colours, the truth to nature, the delicate raillery, and the polished sarcasm of their [xxxviii]satiric animadversions. Addison has studied his Horace to advantage, and to the great Roman's attributes has added other virtues distinctly English.

Arbuthnot, the celebrated physician of Queen Anne, takes rank among the best of English satirists by virtue of his famous work The History of John Bull. The special mode or type employed was the "allegorical political tale", of which the plot was the historic sequence of events in connection with the war with Louis XIV. of France. The object of the fictitious narrative was to throw ridicule on the Duke of Marlborough, and to excite among the people a feeling of disgust at the protracted hostilities. The nations involved are represented as tradesmen implicated in a lawsuit, the origin of the dispute being traced to their narrow and selfish views. The national characteristics of each individual are skilfully hit off, and the various events of the war, with the accompanying political intrigues, are symbolized by the stages in the progress of the suit, the tricks of the lawyers, and the devices of the principal attorney, Humphrey Hocus (Marlborough), to prolong the struggle. His Memoirs of Martinus Scriblerus—a satire on the abuses of human learning,—in which the type of the fictitious biography is adopted, is exceedingly clever.

Finally, we reach the pair of satirists who, next to Dryden, must be regarded as the writers whose influence has been greatest in determining the character of British satire. Pope is the disciple of Dryden, and the best qualities of the Drydenic satire, in both form and matter, are reproduced in [xxxix]his works accompanied by special attributes of his own. Owing to the extravagant admiration professed by Byron for the author of the Rape of the Lock, and his repeated assurances of his literary indebtedness to him, we are apt to overlook the fact that the noble lord was under obligations to Dryden of a character quite as weighty as those he was so ready to acknowledge to Pope. But the latter, like Shakespeare, so improved all he borrowed that he has in some instances actually received credit for inventing what he only took from his great master. Pope was more of a refiner and polisher of telling satiric forms which Dryden had in the first instance employed, than an original inventor.

To mention all the types of satire affected by this marvellously acute and variously cultured poet would be a task of some difficulty. There are few amongst the principal forms which he has not essayed. In spirit he is more pungent and sarcastic, more acidulous and malicious, than the large-hearted and generous-souled Dryden. Into his satire, therefore, enters a greater amount of the element of personal dislike and contempt than in the case of the other. While satire is present more or less in nearly all Pope's verse, there are certain compositions where it may be said to be the outstanding quality. These are his Satires, among which should of course be included "The Prologue" and "The Epilogue" to them, as well as the Moral Essays, and finally the Dunciad. These comprise the best of his professed satires. His Satires and Epistles of Horace Imitated are just what they [xl]claim to be—an adaptation to English scenes, sympathies, sentiments, and surroundings of the Roman poet's characteristic style. Though Pope has quite as many points of affinity with Juvenal as with Horace, the adaptation and transference of the local atmosphere from Tiber to Thames is managed with extraordinary skill. The historic parallels, too, of the personages in the respective poems are made to accord and harmonize with the spirit of the time. The Satires are written from the point of view of opposition to Sir Robert Walpole, the great Whig minister. They display the concentrated essence of bitterness towards the ministerial policy. As Minto tersely puts it, we see gathered up in them the worst that was thought and said about the government and court party when men's minds were heated almost to the point of civil war.[17] In the "Prologue" and the "Epilogue" are contained some of the most finished satiric portraits drawn by Pope in any of his works. For caustic bitterness, sustained but polished irony, and merciless sarcastic malice, the characters of Atticus (Addison), Bufo, and Sporus have never been surpassed in the literature of political or social criticism.[18]

The Dunciad is an instance of the mock-epic utilized for the purposes of satire. Here Pope, as regards theme, possibly had the idea suggested to him by Dryden's MacFlecknoe, but undoubtedly the heroic couplet, which the latter had first applied to satire and used with such conspicuous success, was still further polished and improved by Pope until, [xli] as Mr. Courthope says, "it became in his hands a rapier of perfect flexibility and temper". From the time of Pope until that of Byron this stately measure has been regarded as the metre best suited par excellence for the display of satiric point and brilliancy, and as the medium best calculated to confer dignity on political satire. The Dunciad, while personal malice enters into it, must not be regarded as, properly speaking, a malicious satire. From a literary censor's point of view almost every lash Pope administered was richly deserved. In this respect Pope has all Horace's fairness and moderation, while at the same time he exhibits not a little of Juvenal's depth of conviction that desperate diseases demand radical remedies.[19]

By the side of Pope stands an impressive but a mournful figure, one of the most tragic in our literature, to think of whom, as Thackeray says, "is like thinking of the ruin of a great empire". As an all-round satirist Jonathan Swift has no superior save Dryden, and he only by virtue of his broader human sympathies. In the works of the great Dean we have many distinct forms of satire. Scarce anything he wrote, with the exception of his unfortunate History of the Last Four Years of Queen Anne, but is marked by satiric touches that relieve the tedium of even its dullest pages. He has utilized nearly all the recognized modes of satiric composition throughout the range of his long list of works. In the Tale of a Tub he employed the vehicle of the satiric tale to lash the Dissenters, the Papists, and even the Church of England; in a [xlii] word, the cant of religion as well as the pretensions of letters and the shams of the world. In the Battle of the Books the parody or travesty of the Romances of Chivalry is used to ridicule the controversy raging between Temple, Wotton, Boyle, and Bentley, regarding the comparative merits of ancient and modern writers. In Gulliver's Travels the fictitious narrative or mock journal is impressed into the service, the method consisting in adopting an absurd supposition at the outset and then gravely deducing the logical effects which follow. These three form the trio of great prose satires which from the epoch of their publication until now have remained the wonder and the delight of successive generations. Their realism, humorous invention, ready wit, unsparing irony, and keen ridicule have exercised as potent an attraction as their gloomy misanthropy has repelled. Among minor satires are his scathing attacks in prose and verse on the war party as a ring of Whig stock-jobbers, such as Advice to the October Club, Public Spirit of the Whigs, &c., the Virtues of Sid Hamet, The Magician's Wand (directed against Godolphin); his Polite Conversations and Directions to Servants are savage attacks on the inanity of society small-talk and the greed of the menials of the period. But why prolong the list? From the Drapier's Letters, directed against a supposed fraudulent introduction of a copper currency known as "Wood's Halfpence", to his skit on The Furniture of a Woman's Mind, there were few topics current in his day, whether in politics, theology, economics, or social gossip, which he did not [xliii] attack with the artillery of his wit and satire. Had he been less sardonic, had he possessed even a modicum of the bonhomie of his friend Arbuthnot, Swift's satire would have exercised even more potent an influence than it has been its fortune to achieve.

Pope died in 1744, Swift in 1745. During their last years there were signs that the literary modes of the epoch of Queen Anne, which had maintained their ascendency so long, were rapidly losing their hold on the popular mind. A new literary period was about to open wherein new literary ideals and new models would prevail. Satire, in common with literature as a whole, felt the influence of the transitional era. As we have seen, it concerned itself largely with ridiculing the follies and eccentricities of men of letters and foolish pretenders to the title; also in lashing social vices and abuses. The political enmity existing between the Jacobites and the Hanoverians continued to afford occasion for the exchange of party squibs and lampoons. The lengthened popularity of Gay's Beggars' Opera, a composition wherein a new mode was created, viz. the satiric opera (the prototype of the comic opera of later days), affords an index to the temper of the time. It was the age of England's lethargy.

After the defeat of Culloden, satire languished for a while, to revive again during the ministry of the Earl of Bute, when everything Scots came in for condemnation, and when Smollett and John Wilkes belaboured each other in the Briton and the North Briton, in pamphlet, pasquinade, and parody, [xliv] until at last Lord Bute withdrew from the contest in disgust, and suspended the organ over which the author of Roderick Random presided. The satirical effusions of this epoch are almost entirely worthless, the only redeeming feature being the fact that Goldsmith was at that very moment engaged in throwing off those delicious morceaux of social satire contained in The Citizen of the World. Johnson, a few years before, had set the fashion for some time with his two satires written in free imitation of Juvenal—London, and The Vanity of Human Wishes. But from 1760 onward until the close of the century, when Ellis, Canning, and Frere opened what may be termed the modern epoch of satire, the influence paramount was that of Goldsmith. Fielding and Smollett were both satirists of powerful and original stamp, but they were so much else besides that their influence was lost in that of the genial author of the Deserted Village and Retaliation. His Vicar of Wakefield is a satire, upon sober, moderate principles, against the vice of the upper classes, as typified in the character of Mr. Thornhill, while the sketch of Beau Tibbs in The Citizen of the World is a racy picture of the out-at-elbows, would-be man of fashion, who seeks to pose as a social leader and arbiter of taste when he had better have been following a trade.

The next revival of the popularity of satire takes place towards the commencement of the third last decade of the eighteenth century, when, using the vehicle of the epistolary mode, an anonymous writer, whose identity is still in dispute, attacked [xlv]the monarch, the government, and the judicature of the country, in a series of letters in which scathing invective, merciless ridicule, and lofty scorn were united to vigour and polish of style, as well as undeniable literary taste.

After the appearance of the Letters of Junius, which, perhaps, have owed the permanence of their popularity as much to the interest attaching to the mystery of their authorship as to their intrinsic merits, political satire may be said to have once more slumbered awhile. The impression produced by the studied malice of the Letters, and the epigrammatic suggestiveness which appeared to leave as much unsaid as was said, was enormous, yet, strangely enough, they were unable to check the growing influence of the school of satire whereof Goldsmith was the chief founder, and from which the fashionable jeux d'esprit, the sparkling persiflage of the society flâneurs of the nineteenth century are the legitimate descendants.[20] The decade 1768-78, therefore—that decade when the plays of Goldsmith and Sheridan were appearing,—witnessed the rise and the development of that genial, humorous raillery, in prose and verse, of personal foibles and of social abuses, of which the Retaliation and the Beau Tibbs papers are favourable examples. These were the distinguishing characteristics of our satiric literature during the closing decade of the eighteenth century until the horrors of the French Revolution, and the sympathy with it which was apparently being aroused in England, called political satire into requisition once more. Party feeling [xlvi]ran high with regard to the principles enunciated by the so-called "friends of freedom". The sentiments of the "Constitutional Tories" found expression in the bitter, sardonic, vitriolic mockery visible in the pages of the Anti-Jacobin,[21] which did more to check the progress of nascent Radicalism and the movement in favour of political reform than any other means employed. Chief-justice Mansfield's strictures and Lord Braxfield's diatribes alike paled into insignificance beside these deadly, scorching bombs of Juvenal-like vituperation, which have remained unapproached in their specific line. As an example take Ellis's Ode to Jacobinism, of which I quote two stanzas:—

[xlvii] Space only remains for a single word upon the satire of the nineteenth century. In this category would be included the Bæviad and the Mæviad by William Gifford (editor of the Anti-Jacobin), which, though first printed in the closing years of the eighteenth century, were issued in volume form in 1800. Written as they are in avowed imitation of Juvenal, Persius, and Horace, they out-Juvenal Juvenal by the violence of the language, besides descending to a depth of personal scurrility as foreign to the nature of true satire as abuse is alien to wit. They have long since been consigned to merited oblivion, though in their day, from the useful and able work done by their author in other fields of literature, they enjoyed no inconsiderable amount of fame. Two or three lines from the Bæviad will give a specimen of its quality:—

The early years of the present century still felt the influence of the sardonic ridicule which prevailed during the closing years of the previous one, and the satirists who appeared during the first decades of the former belonged to the robust or energetic order. Their names and their works are well-nigh forgotten.

[xlviii] We now reach the last of the greater satirists that have adorned our literature, one who is in many respects a worthy peer of Dryden, Swift, and Pope. Lord Byron's fame as a satirist rests on three great works, each of them illustrative of a distinct type of composition. Other satires he has written, nay, the satiric quality is present more or less in nearly all he produced; but The Vision of Judgment, Beppo, and Don Juan are his three masterpieces in this style of literature. They are wonderful compositions in every sense of the word. The sparkling wit, the ready raillery, the cutting irony, the biting sarcasm, and the sardonic cynicism which characterize almost every line of them are united to a brilliancy of imagination, a swiftness as well as a felicity of thought, and an epigrammatic terseness of phrase which even Byron himself has equalled nowhere else in his works. The Vision of Judgment is an example in the first instance of parody, and, in the second, but not by any means so distinctly, of allegory. Its savage ferocity of sarcasm crucified Southey upon the cross of scornful contempt. Byron is not as good a metrist as a satirist, and the Ottava rima in his hands sometimes halts a little; still, the poem is a notable example of a satiric parody written with such distinguished success in a measure of great technical difficulty.

It is somewhat curious that all three of Byron's great satiric poems should be written in the same measure. Yet so it is, for the poet, having become enamoured of the metre after reading Frere's clever satire, Whistlecraft, ever afterwards [xlix]had a peculiar fondness for it. Both Beppo and Don Juan are also excellent examples of the metrical "satiric tale". The former, being the earlier satire of the two, was Byron's first essay in this new type of satiric composition. His success therein stimulated him to attempt another "tale" which in some respects presents features that ally it to the mock-epic. Beppo is a perfect storehouse of well-rounded satirical phrases that cleave to the memory, such as "the deep damnation of his 'bah'" and the description of the "budding miss",

Beppo leads up to Don Juan, and it is hard to say which is the cleverer satire of the two. In both, the wit is so unforced and natural, the fun so sparkling, the banter and the persiflage so bright and scintillating, that they seem, as Sir Walter Scott said, to be the natural outflow from the fountain of humour. Byron's earliest satire, English Bards and Scots Reviewers, is a clever piece of work, but compared with the great trio above-named is a production of his nonage.

Byron was succeeded by Praed, whose social pictures are instinct with the most refined and polished raillery, with the true Attic salt of wit united to a metrical deftness as graceful as it was artistic. During Praed's lifetime, Lamb with his inimitable Essays of Elia, Southey, Barham with the ever-popular Ingoldsby Legends, James and Horace Smith with the Rejected Addresses, Disraeli, Leigh Hunt, Tom Hood, and Landor had been winning [l]laurels in various branches of social satire which, consequent upon the influence of Byron and then of his disciple, Praed, became the current mode. A favourable example of that style is found in Leigh Hunt's Feast of the Poets and in Edward Fitz-Gerald's Chivalry at a Discount. Other writers of satire in the earlier decades of the present century were Peacock, who in his novels (Crotchet Castle, &c.) evolved an original type of satire based upon the Athenian New Comedy. Miss Austen in her English novels and Miss Edgeworth in her Irish tales employed satire to impeach certain crying social abuses, as also did Dickens in Oliver Twist and others of his books. Douglas Jerrold's comedies and sketches are full of titbits of gay and brilliant banter and biting irony. If Sartor Resartus could be regarded as a satire, as Dr. Garnett says, Carlyle would be the first of satirists, with his thundering invective, grand rhetoric, indignant scorn, grim humour, and satiric gloom in denouncing the shams of human society and of human nature. An admirable American school of satire was founded by Washington Irving, of which Judge Haliburton (Sam Slick), Paulding, Holmes, Artemus Ward, and Dudley Warner are the chief names.

Since the third and fourth decades of our century, in other words, since the epoch of the Reform Bill and the Chartist agitation, satire has more and more tended to lose its acid and its venom, to slough the dark sardonic sarcasm of past days and to don the light sportive garb of the social humorist and epigrammist. Robustious bludgeoning has gone out of fashion, and in its place we [li]have the playful satiric wit, sparkling as of well-drawn Moet or Clicquot, of Mortimer Collins, H.S. Leigh, Arthur Locker and Frederick Locker-Lampson, W.S. Gilbert, Austin Dobson, Bret Harte, F. Anstey, Dr. Walter C. Smith, and many other graceful and delightful social satirists whose verses are household words amongst us. From week to week also there appear in the pages of that trenchant social censor, Punch, and the other high-class comico-satiric journals, many pieces of genuine and witty social satire. Every year the demand seems increasing, and yet the supply shows no signs of running dry.

Political satire, in its metrical form, has had from time to time a temporary revival of popularity in such compositions as James Russell Lowell's inimitable Biglow Papers, as well as in more recent volumes, of which Mr. Owen Seaman's verse is an example; while are not its prose forms legion in the pages of our periodical press? It has, however, now lost that vitriolic quality which made it so scorching and offensively personal. The man who wrote nowadays as did Dryden, and Junius, and Canning, or, in social satire, as did Peter Pindar and Byron, would be forthwith ostracized from literary fellowship.

But what more need be said of an introductory character to these selections that are now placed before the reader? English satire, though perhaps less in evidence to-day as a separate department in letters, is still as cardinal a quality as ever in the productions of our leading authors. If satires are no longer in fashion, satire is perennial as an [lii]attribute in literature, and we have every reason to cherish it and welcome it as warmly as of old. The novels of Thackeray, as I have already said, contain some of the most delicately incisive shafts of satire that have been barbed by any writer of the present century. "George Eliot", also, though in a less degree, has shown herself a satirist of much power and pungency, while others of our latter-day novelists manifest themselves as possessed of a faculty of satire both virile and trenchant. It is one of the indispensable qualities of a great writer's style, because its quarry is one of the most widely diffused of existing things on the face of the globe. There is no age without its folly, no epoch without its faults. So long, therefore, as man and his works are imperfect, so long shall there be existent among us abuses, social, political, professional, and ecclesiastical, and so long, too, shall it be the province and the privilege of those who feel themselves called upon to play the difficult part of censor morum, to prick the bubbles of falsehood, vanity, and vice with the shafts of ridicule and raillery.

ENGLISH SATIRES.

WILLIAM LANGLAND.

I. PILGRIMAGE IN SEARCH OF DO-WELL.

This opening satire constitutes the whole of the Eighth Passus of Piers Plowman's Vision and the First of Do-Wel. The "Dreamer" here sets off on a new pilgrimage in search of a person who has not appeared in the poem before—Do-Well. The following is the argument of the Passus.—"All Piers Plowman's inquiries after Do-Well are fruitless. Even the friars to whom he addresses himself give but a confused account; and weary with wandering about, the dreamer is again overtaken by slumber. Thought now appears to him, and recommends him to Wit, who describes to him the residence of Do-Well, Do-Bet, Do-Best, and enumerates their companions and attendants."

GEOFFREY CHAUCER.

PORTRAITS FROM THE CANTERBURY TALES.

II. AND III. THE MONK AND THE FRIAR.

The following complete portraits of two of the characters in Chaucer's matchless picture of the Canterbury Pilgrims are taken from the Prologue to the Canterbury Tales.

II.

III.

JOHN LYDGATE.

IV. THE LONDON LACKPENNY.

This is an admirable picture of London life early in the fifteenth century. The poem first appeared among Lydgate's fugitive pieces, and has been preserved in the Harleian MSS.

WILLIAM DUNBAR.

V. THE DANCE OF THE SEVEN DEADLY SINS.

One of Dunbar's most telling satires, as well as one of the most powerful in the language.

SIR DAVID LYNDSAY.

VI. SATIRE ON THE SYDE TAILLIS—ANE SUPPLICATIOUN
DIRECTIT TO THE KINGIS GRACE—1538.

The specimen of Lyndsay cited below—this satire on long trains—is by no means the most favourable that could be desired, but it is the only one that lent itself readily to quotation. The archaic spelling is slightly modernized.

BISHOP JOSEPH HALL.

VII. ON SIMONY.

This satire levels a rebuke at the Simoniacal traffic in livings, then openly practised by public advertisement affixed to the door of St. Paul's. "Si Quis" (if anyone) was the first word of these advertisements. Dekker, in the Gull's Hornbook, speaks of the "Siquis door of Paules", and in Wroth's Epigrams (1620) we read, "A Merry Greek set up a Siquis late". This satire forms the Fifth of the Second Book of the Virgidemiarum.

VIII. THE DOMESTIC TUTOR'S POSITION.

This satire forms the Sixth of Book II. of the Virgidemiarum, and is regarded as one of Bishop Hall's best. See the Return from Parnassus and Parrot's Springes for Woodcocks (1613) for analogous references to those occurring in this piece.

IX. THE IMPECUNIOUS FOP.

This satire constitutes Satire Seven of Book III. The phrase of dining with Duke Humphrey, which is still occasionally heard, originated in the following manner:—In the body of old St. Paul's was a huge and conspicuous monument of Sir John Beauchamp, buried in 1358, son of Guy, and brother of Thomas, Earl of Warwick. This by vulgar mistake was called the tomb of Humphrey, Duke of Gloucester, who was really buried at St. Alban's. The middle aisle of St. Paul's was therefore called "The Duke's Gallery". In Dekker's Dead Terme we have the phrase used and a full explanation of it given; also in Sam Speed's Legend of His Grace Humphrey, Duke of St. Paul's Cathedral Walk (1674).

GEORGE CHAPMAN.

X. AN INVECTIVE WRITTEN BY MR. GEORGE CHAPMAN
AGAINST MR. BEN JONSON.

This satire was discovered in a "Common-place Book" belonging to Chapman, preserved among the Ashmole MSS. in the Bodleian Library, Oxford.

JOHN DONNE.

XI. THE CHARACTER OF THE BORE.

From Donne's Satires, No. IV.; first published in the quarto edition of the "Poems" in 1633. See Dr. Grosart's interesting Essay on the Life and Writings of Donne, prefixed to Vol. II. of that scholar's excellent edition.

BEN JONSON.

These two pieces are taken from Jonson's Epigrams. The first of them was exceedingly popular in the poet's own lifetime.

XII. THE NEW CRY.

XIII. ON DON SURLY.

SAMUEL BUTLER.

XIV. THE CHARACTER OF HUDIBRAS.

This extract is taken from the first canto of Hudibras, and contains the complete portrait of the Knight, Butler's aim in the presentation of this character being to satirize those fanatics and pretenders to religion who flourished during the Commonwealth.

XV. THE CHARACTER OF A SMALL POET.

From Butler's "Characters", a series of satirical portraits akin to those of Theophrastus.

The Small Poet is one that would fain make himself that which nature never meant him; like a fanatic that inspires himself with his own whimsies. He sets up haberdasher of small poetry, with a very small stock and no credit. He believes it is invention enough to find out other men's wit; and whatsoever he lights upon, either in books or company, he makes bold with as his own. This he puts together so untowardly, that you may perceive his own wit as the rickets, by the swelling disproportion of the joints. You may know his wit not to be natural, 'tis so unquiet and troublesome in him: for as those that have money but seldom, are always shaking their pockets when they have it, so does he, when he thinks he has got something that will make him appear witty. He is a perpetual talker; and you may know by the freedom of his discourse that he came lightly by it, as thieves spend freely what they get. He is like an Italian thief, that never robs but he murders, to prevent discovery; so sure is he to cry down the man from whom he purloins, that his petty larceny of wit may pass unsuspected. He appears so over-concerned in all men's wits, as if they were but disparagements of his own; and cries down all they do, as if they were encroachments upon him. He takes jests from the owners and breaks them, as justices do false weights, and pots that want measure. When he meets with anything that is very good, he changes it into small money, like three groats for a shilling, to serve several occasions. He [044]disclaims study, pretends to take things in motion, and to shoot flying, which appears to be very true, by his often missing of his mark. As for epithets, he always avoids those that are near akin to the sense. Such matches are unlawful and not fit to be made by a Christian poet; and therefore all his care is to choose out such as will serve, like a wooden leg, to piece out a maimed verse that wants a foot or two, and if they will but rhyme now and then into the bargain, or run upon a letter, it is a work of supererogation. For similitudes, he likes the hardest and most obscure best; for as ladies wear black patches to make their complexions seem fairer than they are, so when an illustration is more obscure than the sense that went before it, it must of necessity make it appear clearer than it did; for contraries are best set off with contraries. He has found out a new sort of poetical Georgics—a trick of sowing wit like clover-grass on barren subjects, which would yield nothing before. This is very useful for the times, wherein, some men say, there is no room left for new invention. He will take three grains of wit like the elixir, and, projecting it upon the iron age, turn it immediately into gold. All the business of mankind has presently vanished, the whole world has kept holiday; there has been no men but heroes and poets, no women but nymphs and shepherdesses: trees have borne fritters, and rivers flowed plum-porridge. When he writes, he commonly steers the sense of his lines by the rhyme that is at the end of them, as butchers do calves by the tail. For when he has made one line, which is easy enough, and has found out some sturdy hard word that will but rhyme, he will hammer the sense upon it, like a piece of hot iron upon an anvil, into what form he pleases. There is no art in the world so rich in terms as poetry; a whole dictionary is scarce able to contain them; for there is hardly a pond, a sheep-walk, or a gravel-pit in all Greece, [045]but the ancient name of it is become a term of art in poetry. By this means, small poets have such a stock of able hard words lying by them, as dryades, hamadryades, aönides, fauni, nymphæ, sylvani, &c. that signify nothing at all; and such a world of pedantic terms of the same kind, as may serve to furnish all the new inventions and "thorough reformations" that can happen between this and Plato's great year.

ANDREW MARVELL.

XVI. NOSTRADAMUS'S PROPHECY.

From Political Satires and other Pieces. It is curious to note how much of the prophecy was actually fulfilled.

JOHN CLEIVELAND.

XVII. THE SCOTS APOSTASIE.

From Poems and Satires, posthumously published in 1662.

JOHN DRYDEN.

XVIII. SATIRE ON THE DUTCH.

Originally printed in broadside form, being written in the year 1662. It was bitterly resented by the Dutch.

XIX. MACFLECKNOE.

This satire was written in reply to a savage poem by the dramatist, Thomas Shadwell, entitled "The Medal of John Dayes". Dryden and Shadwell had been friends, but the enmity begotten of political opposition had separated them. Flecknoe, who gives the name to this poem, and of whom Shadwell is treated as the son and heir, was a dull poet who had always laid himself open to ridicule. It is not known (says W.D. Christie in the Globe Dryden) whether he had ever given Dryden offence, but it is certain that his "Epigrams", published in 1670, contain some lines addressed to Dryden of a complimentary character.

XX. EPISTLE TO THE WHIGS.

This excellent specimen of Dryden's prose satire was prefixed to his satiric poem "The Medal", published in March, 1682. It was inspired by the striking of a medal to commemorate the rejection by the London Grand Jury, on November 24, 1681, of a Bill of High Treason presented against Lord Shaftesbury. This event had been a great victory for the Whigs and a discomfiture for the Court.

For to whom can I dedicate this poem, with so much justice, as to you? 'Tis the representation of your own hero: 'Tis the picture drawn at length, which you admire and prize so much in little. None of your ornaments are wanting; neither the landscape of the tower, nor the rising sun; nor the Anno Domini of your new sovereign's coronation. This must needs be a grateful undertaking to your whole party; especially to those who have not been so happy as to purchase the original. I hear the graver has made a good market of it: all his Kings are bought up already; or the value of the remainder so enhanced, that many a poor Polander, who would be glad to worship the image, is not able to go to the cost of him; but must be content to see him here. I must confess, I am no great artist; but sign-post-painting will serve the turn to remember a friend by, especially when better is not to be had. Yet, for your comfort, the lineaments are true: and though he sat not five times to me, as he did to B. yet I have consulted history; as the Italian painters do, when they would draw a Nero or a [058]Caligula; though they have not seen the man, they can help their imagination by a statue of him, and find out the colouring from Suetonius and Tacitus. Truth is, you might have spared one side of your medal: the head would be seen to more advantage, if it were placed on a spike of the tower; a little nearer to the sun; which would then break out to better purpose. You tell us, in your preface to the No-Protestant Plot, that you shall be forced hereafter to leave off your modesty. I suppose you mean that little, which is left you: for it was worn to rags when you put out this medal. Never was there practised such a piece of notorious impudence in the face of an established Government. I believe, when he is dead, you will wear him in thumb-rings, as the Turks did Scanderbeg; as if there were virtue in his bones to preserve you against monarchy. Yet all this while, you pretend not only zeal for the public good, but a due veneration for the person of the king. But all men, who can see an inch before them, may easily detect those gross fallacies. That it is necessary for men in your circumstances to pretend both, is granted you; for without them there could be no ground to raise a faction. But I would ask you one civil question: What right has any man among you, or any association of men (to come nearer to you) who, out of Parliament cannot be consider'd in a public capacity, to meet, as you daily do, in factious clubs, to vilify the Government in your discourses, and to libel it in all your writings? Who made you judges in Israel? Or how is it consistent with your zeal for the public welfare, to promote sedition? Does your definition of loyal, which is to serve the King according to the laws, allow you the licence of traducing the executive power, with which you own he is invested? You complain, that his Majesty has lost the love and confidence of his people; and, by your very urging it, you endeavour, what in you lies, to make [059] him lose them. All good subjects abhor the thought of arbitrary power, whether it be in one or many; if you were the patriots you would seem, you would not at this rate incense the multitude to assume it; for no sober man can fear it, either from the King's disposition or his practice; or even, where you would odiously lay it, from his ministers. Give us leave to enjoy the Government, and the benefit of laws, under which we were born, and which we desire to transmit to our posterity. You are not the trustees of the public liberty; and if you have not right to petition in a crowd, much less have you to intermeddle in the management of affairs, or to arraign what you do not like; which in effect is everything that is done by the King and Council. Can you imagine, that any reasonable man will believe you respect the person of his Majesty, when 'tis apparent that your seditious pamphlets are stuffed with particular reflections on him? If you have the confidence to deny this, 'tis easy to be evinced from a thousand passages, which I only forbear to quote because I desire they should die and be forgotten. I have perused many of your papers; and to show you that I have, the third part of your No-Protestant Plot is much of it stolen from your dead author's pamphlet called the Growth of Popery; as manifestly as Milton's defence of the English people is from Buchanan, de jure regni apud Scotos; or your first covenant, and new association, from the holy league of the French Guisards. Anyone, who reads Davila, may trace your practices all along. There were the same pretences for reformation and loyalty, the same aspersions of the King, and the same grounds of a rebellion. I know not whether you will take the historian's word, who says, it was reported, that Poltrot a Huguenot murder'd Francis Duke of Guise, by the instigations of Theodore Beza; or that it was a Huguenot minister, otherwise called a Presbyterian (for our Church [060]abhors so devilish a tenet) who first writ a treatise of the lawfulness of deposing and murdering Kings, of a different persuasion in religion. But I am able to prove from the doctrine of Calvin, and principles of Buchanan, that they set the people above the magistrate; which, if I mistake not, is your own fundamental; and which carries your loyalty no farther than your liking. When a vote of the House of Commons goes on your side, you are as ready to observe it, as if it were passed into a law: but when you are pinch'd with any former, and yet unrepealed, Act of Parliament, you declare that in some cases you will not be obliged by it. The passage is in the same third part of the No-Protestant Plot; and is too plain to be denied. The late copy of your intended association you neither wholly justify nor condemn: but as the Papists, when they are unoppos'd, fly out into all the pageantries of worship, but, in times of war, when they are hard pressed by arguments, lie close intrenched behind the Council of Trent; so, now, when your affairs are in a low condition, you dare not pretend that to be a legal combination; but whensover you are afloat, I doubt not but it will be maintained and justified to purpose. For indeed there is nothing to defend it but the sword: 'Tis the proper time to say anything, when men have all things in their power.

In the meantime, you would fain be nibbling at a parallel betwixt this association, and that in the time of Queen Elizabeth. But there is this small difference betwixt them, that the ends of the one are directly opposite to the other: one with the Queen's approbation and conjunction, as head of it; the other, without either the consent or knowledge of the King, against whose authority it is manifestly design'd. Therefore you do well to have recourse to your last evasion, that it was contriv'd by your enemies, and shuffled into the papers that were [061]seized; which yet you see the nation is not so easy to believe, as your own jury. But the matter is not difficult, to find twelve men in Newgate, who would acquit a malefactor.

I have one only favour to desire of you at parting; that, when you think of answering this poem, you would employ the same pens against it, who have combated with so much success against Absalom and Achitophel: for then you may assure yourselves of a clear victory, without the least reply. Rail at me abundantly; and, not to break a custom, do it without wit. By this method you will gain a considerable point, which is, wholly to waive the answer of my argument. Never own the bottom of your principles, for fear they should be treason. Fall severely on the miscarriages of Government; for if scandal be not allowed, you are no free-born subjects. If GOD has not blessed you with the talent of rhyming, make use of my poor stock and welcome; let your verses run upon my feet: and for the utmost refuge of notorious blockheads, reduced to the last extremity of sense, turn my own lines upon me, and, in utter despair of your own satire, make me satirize myself. Some of you have been driven to this bay already; but above all the rest, commend me to the Non-conformist parson, who writ The Whip and Key. I am afraid it is not read so much as the piece deserves, because the bookseller is every week crying Help, at the end of his Gazette, to get it off. You see I am charitable enough to do him a kindness, that it may be published as well as printed; and that so much skill in Hebrew derivations may not lie for waste-paper in the shop. Yet I half suspect he went no farther for his learning, than the index of Hebrew names and etymologies, which is printed at the end of some English bibles. If Achitophel signify the brother of a fool, the author of that poem will pass with his [062]readers for the next of kin. And, perhaps, 'tis the relation that makes the kindness. Whatever the verses are, buy them up, I beseech you, out of pity; for I hear the conventicle is shut up, and the brother of Achitophel out of service.

Now footmen, you know, have the generosity to make a purse, for a member of their society, who has had his livery pulled over his ears: and even Protestant flocks are brought up among you, out of veneration to the name. A dissenter in poetry from sense and English, will make as good a Protestant rhymer, as a dissenter from the Church of England a Protestant parson. Besides, if you encourage a young beginner, who knows but he may elevate his style a little, above the vulgar epithets of profane and saucy Jack, and atheistic scribbler, with which he treats me, when the fit of enthusiasm is strong upon him? By which well-manner'd and charitable expressions, I was certain of his sect, before I knew his name. What would you have more of a man? He has damned me in your cause from Genesis to the Revelations; and has half the texts of both the Testaments against me, if you will be so civil to yourselves as to take him for your interpreter, and not to take them for Irish witnesses. After all, perhaps, you will tell me, that you retained him only for the opening of your cause, and that your main lawyer is yet behind. Now, if it so happen he meet with no more reply than his predecessors, you may either conclude, that I trust to the goodness of my cause, or fear my adversary, or disdain him, or what you please; for the short on it is, it is indifferent to your humble servant, whatever your party says or thinks of him.

DANIEL DEFOE.

XXI. INTRODUCTION TO THE TRUE-BORN ENGLISHMAN.

"The True-born Englishman" was a metrical satire designed to defend the king, William III., against the attacks made upon him over the admission of foreigners into public offices and posts of responsibility.

THE EARL OF DORSET.

XXII. SATIRE ON A CONCEITED PLAYWRIGHT.

The person against whom this attack was directed was Edward Howard, author of The British Princess.

JOHN ARBUTHNOT.

XXIII. PREFACE TO JOHN BULL AND HIS LAW-SUIT.

First published as a political pamphlet, this piece had an extraordinary run of popularity. It was originally issued in four parts, but these afterwards were reduced to two, without any omission, however, of matter. They appeared during the years 1712-13, and the satire was finally published in book form in 1714. The author was the intimate friend of Swift, Pope, and Gay. The volume was exceedingly popular in Tory circles. The examples I have selected are "The Preface" and also the opening chapters of the history, which I have made to run on without breaking them up into the short divisions of the text.

When I was first called to the office of historiographer to John Bull, he expressed himself to this purpose: "Sir Humphrey Polesworth[166], I know you are a plain dealer; it is for that reason I have chosen you for this important trust; speak the truth and spare not". That I might fulfil those his honourable intentions, I obtained [067]leave to repair to, and attend him in his most secret retirements; and I put the journals of all transactions into a strong box, to be opened at a fitting occasion, after the manner of the historiographers of some eastern monarchs: this I thought was the safest way; though I declare I was never afraid to be chopped[167] by my master for telling of truth. It is from those journals that my memoirs are compiled: therefore let not posterity a thousand years hence look for truth in the voluminous annals of pedants, who are entirely ignorant of the secret springs of great actions; if they do, let me tell them they will be nebused.[168]

With incredible pains have I endeavoured to copy the several beauties of the ancient and modern historians; the impartial temper of Herodotus, the gravity, austerity, and strict morals of Thucydides, the extensive knowledge of Xenophon, the sublimity and grandeur of Titus Livius; and to avoid the careless style of Polybius, I have borrowed considerable ornaments from Dionysius Halicarnasseus, and Diodorus Siculus. The specious gilding of Tacitus I have endeavoured to shun. Mariana, Davila, and Fra. Paulo, are those amongst the moderns whom I thought most worthy of imitation; but I cannot be so disingenuous, as not to own the infinite obligations I have to the Pilgrim's Progress of John Bunyan, and the Tenter Belly of the Reverend Joseph Hall.

From such encouragement and helps, it is easy to guess to what a degree of perfection I might have brought this great work, had it not been nipped in the bud by some illiterate people in both Houses of Parliament, who envying the great figure I was to make in future ages, under pretence of raising money for the war,[169] have padlocked [068]all those very pens that were to celebrate the actions of their heroes, by silencing at once the whole university of Grub Street. I am persuaded that nothing but the prospect of an approaching peace could have encouraged them to make so bold a step. But suffer me, in the name of the rest of the matriculates of that famous university, to ask them some plain questions: Do they think that peace will bring along with it the golden age? Will there be never a dying speech of a traitor? Are Cethegus and Catiline turned so tame, that there will be no opportunity to cry about the streets, "A Dangerous Plot"? Will peace bring such plenty that no gentleman will have occasion to go upon the highway, or break into a house? I am sorry that the world should be so much imposed upon by the dreams of a false prophet, as to imagine the Millennium is at hand. O Grub Street! thou fruitful nursery of towering geniuses! How do I lament thy downfall? Thy ruin could never be meditated by any who meant well to English liberty. No modern lyceum will ever equal thy glory: whether in soft pastorals thou didst sing the flames of pampered apprentices and coy cook-maids; or mournful ditties of departing lovers; or if to Mæonian strains thou raisedst thy voice, to record the stratagems, the arduous exploits, and the nocturnal scalade of needy heroes, the terror of your peaceful citizens, describing the powerful Betty or the artful Picklock, or the secret caverns and grottoes of Vulcan sweating at his forge, and stamping the queen's image on viler metals which he retails for beef and pots of ale; or if thou wert content in simple narrative, to relate the cruel acts of implacable revenge, or the complaint of ravished virgins blushing to tell their adventures before the listening crowd of city damsels, whilst in thy faithful history thou intermingledst the gravest counsels and the purest morals. Nor less acute and piercing wert thou in thy search and pompous [069] descriptions of the works of nature; whether in proper and emphatic terms thou didst paint the blazing comet's fiery tail, the stupendous force of dreadful thunder and earthquakes, and the unrelenting inundations. Sometimes, with Machiavelian sagacity, thou unravelledst intrigues of state, and the traitorous conspiracies of rebels, giving wise counsel to monarchs. How didst thou move our terror and our pity with thy passionate scenes between Jack Catch and the heroes of the Old Bailey? How didst thou describe their intrepid march up Holborn Hill? Nor didst thou shine less in thy theological capacity, when thou gavest ghostly counsels to dying felons, and didst record the guilty pangs of Sabbath-breakers. How will the noble arts of John Overton's[170] painting and sculpture now languish? where rich invention, proper expression, correct design, divine attitudes, and artful contrast, heightened with the beauties of clar. obscur., embellished thy celebrated pieces, to the delight and astonishment of the judicious multitude! Adieu, persuasive eloquence! the quaint metaphor, the poignant irony, the proper epithet, and the lively simile, are fled for ever! Instead of these, we shall have, I know not what! The illiterate will tell the rest with pleasure.

I hope the reader will excuse this digression, due by way of condolence to my worthy brethren of Grub Street, for the approaching barbarity that is likely to overspread all its regions by this oppressive and exorbitant tax. It has been my good fortune to receive my education there; and so long as I preserved some figure and rank amongst the learned of that society, I scorned to take my degree either at Utrecht or Leyden, though I was offered it gratis by the professors in those universities.

And now that posterity may not be ignorant in what age so excellent a history was written (which would [070]otherwise, no doubt, be the subject of its inquiries), I think it proper to inform the learned of future times, that it was compiled when Louis XIV. was King of France, and Philip, his grandson, of Spain; when England and Holland, in conjunction with the Emperor and the Allies, entered into a war against these two princes, which lasted ten years under the management of the Duke of Marlborough, and was put to a conclusion by the Treaty of Utrecht, under the ministry of the Earl of Oxford, in the year 1713.

Many at that time did imagine the history of John Bull, and the personages mentioned in it, to be allegorical, which the author would never own. Notwithstanding, to indulge the reader's fancy and curiosity, I have printed at the bottom of the page the supposed allusions of the most obscure parts of the story.

XXIV. THE HISTORY OF JOHN BULL.

The Occasion of the Law-suit.

I need not tell you of the great quarrels that have happened in our neighbourhood since the death of the late Lord Strutt[171]; how the parson[172] and a cunning attorney got him to settle his estate upon his cousin Philip Baboon, to the great disappointment of his cousin Esquire South. Some stick not to say that the parson and the attorney forged a will; for which they were well paid by the family of the Baboons. Let that be as it will, it is matter of fact that the honour and estate have continued ever since in the person of Philip Baboon.

You know that the Lord Strutts have for many years been possessed of a very great landed estate, well-conditioned, wooded, watered, with coal, salt, tin, copper, iron, &c., all within themselves; that it has been the [071] misfortune of that family to be the property of their stewards, tradesmen, and inferior servants, which has brought great incumbrances upon them; at the same time, their not abating of their expensive way of living has forced them to mortgage their best manors. It is credibly reported that the butcher's and baker's bill of a Lord Strutt that lived two hundred years ago are not yet paid.

When Philip Baboon came first to the possession of the Lord Strutt's estate, his tradesmen,[173] as is usual upon such occasion, waited upon him to wish him joy and bespeak his custom. The two chief were John Bull,[174] the clothier, and Nic. Frog,[175] the linen-draper. They told him that the Bulls and Frogs had served the Lord Strutts with drapery-ware for many years; that they were honest and fair dealers; that their bills had never been questioned, that the Lord Strutts lived generously, and never used to dirty their fingers with pen, ink, and counters; that his lordship might depend upon their honesty that they would use him as kindly as they had done his predecessors. The young lord seemed to take all in good part, and dismissed them with a deal of seeming content, assuring them he did not intend to change any of the honourable maxims of his predecessors.

How Bull and Frog grew jealous that the Lord Strutt intended to give all his custom to his grandfather, Lewis Baboon.

It happened unfortunately for the peace of our neighbourhood that this young lord had an old cunning rogue, or, as the Scots call it, a false loon of a grandfather, that one might justly call a Jack-of-all-Trades.[176] Sometimes [072]you would see him behind his counter selling broadcloth, sometimes measuring linen; next day he would be dealing in mercery-ware. High heads, ribbons, gloves, fans, and lace he understood to a nicety. Charles Mather could not bubble a young beau better with a toy; nay, he would descend even to the selling of tape, garters, and shoe-buckles. When shop was shut up he would go about the neighbourhood and earn half-a-crown by teaching the young men and maids to dance. By these methods he had acquired immense riches, which he used to squander[177] away at back-sword, quarter-staff, and cudgel-play, in which he took great pleasure, and challenged all the country. You will say it is no wonder if Bull and Frog should be jealous of this fellow. "It is not impossible," says Frog to Bull, "but this old rogue will take the management of the young lord's business into his hands; besides, the rascal has good ware, and will serve him as cheap as anybody. In that case, I leave you to judge what must become of us and our families; we must starve, or turn journeyman to old Lewis Baboon. Therefore, neighbour, I hold it advisable that we write to young Lord Strutt to know the bottom of this matter."

A Copy of Bull and Frog's Letter to Lord Strutt.

My Lord,—I suppose your lordship knows that the Bulls and the Frogs have served the Lord Strutts with all sorts of drapery-ware time out of mind. And whereas we are jealous, not without reason, that your lordship intends henceforth to buy of your grandsire old Lewis Baboon, this is to inform your lordship that this proceeding does not suit with the circumstances of our families, who have lived and made a good figure in the world by the generosity of the Lord Strutts. Therefore we think [073] fit to acquaint your lordship that you must find sufficient security to us, our heirs, and assigns that you will not employ Lewis Baboon, or else we will take our remedy at law, clap an action upon you of £20,000 for old debts, seize and distrain your goods and chattels, which, considering your lordship's circumstances, will plunge you into difficulties, from which it will not be easy to extricate yourself. Therefore we hope, when your lordship has better considered on it, you will comply with the desire of

Some of Bull's friends advised him to take gentler methods with the young lord, but John naturally loved rough play. It is impossible to express the surprise of the Lord Strutt upon the receipt of this letter. He was not flush in ready money either to go to law or clear old debts, neither could he find good bail. He offered to bring matters to a friendly accommodation, and promised, upon his word of honour, that he would not change his drapers; but all to no purpose, for Bull and Frog saw clearly that old Lewis would have the cheating of him.

How Bull and Frog went to law with Lord Strutt about the premises, and were joined by the rest of the tradesmen.

All endeavours of accommodation between Lord Strutt and his drapers proved vain. Jealousies increased, and, indeed, it was rumoured abroad that Lord Strutt had bespoke his new liveries of old Lewis Baboon. This coming to Mrs. Bull's ears, when John Bull came home, he found all his family in an uproar. Mrs. Bull, you must know, was very apt to be choleric. "You sot," says she, "you loiter about ale-houses and taverns, spend [074] your time at billiards, ninepins, or puppet-shows, or flaunt about the streets in your new gilt chariot, never minding me nor your numerous family. Don't you hear how Lord Strutt has bespoke his liveries at Lewis Baboon's shop? Don't you see how that old fox steals away your customers, and turns you out of your business every day, and you sit like an idle drone, with your hands in your pockets? Fie upon it. Up, man, rouse thyself; I'll sell to my shift before I'll be so used by that knave."[178] You must think Mrs. Bull had been pretty well tuned up by Frog, who chimed in with her learned harangue. No further delay now, but to counsel learned in the law they go, who unanimously assured them both of justice and infallible success of their lawsuit.

I told you before that old Lewis Baboon was a sort of a Jack-of-all-trades, which made the rest of the tradesmen jealous, as well as Bull and Frog; they, hearing of the quarrel, were glad of an opportunity of joining against old Lewis Baboon, provided that Bull and Frog would bear the charges of the suit. Even lying Ned, the chimney-sweeper of Savoy, and Tom, the Portugal dustman, put in their claims, and the cause was put into the hands of Humphry Hocus, the attorney.

A declaration was drawn up to show "That Bull and Frog had undoubted right by prescription to be drapers to the Lord Strutts; that there were several old contracts to that purpose; that Lewis Baboon had taken up the trade of clothier and draper without serving his time or purchasing his freedom; that he sold goods that were not marketable without the stamp; that he himself was more fit for a bully than a tradesman, and went about through all the country fairs challenging people to fight prizes, wrestling and cudgel-play, and abundance more to this purpose".

The true characters of John Bull, Nic. Frog, and Hocus.[179]

For the better understanding the following history the reader ought to know that Bull, in the main, was an honest, plain-dealing fellow, choleric, bold, and of a very unconstant temper; he dreaded not old Lewis either at back-sword, single falchion, or cudgel-play; but then he was very apt to quarrel with his best friends, especially if they pretended to govern him. If you flattered him you might lead him like a child. John's temper depended very much upon the air; his spirits rose and fell with the weather-glass. John was quick, and understood his business very well, but no man alive was more careless in looking into his accounts, or more cheated by partners, apprentices, and servants. This was occasioned by his being a boon companion, loving his bottle and his diversion; for, to say truth, no man kept a better house than John, nor spent his money more generously. By plain and fair dealing John had acquired some plums, and might have kept them had it not been for his unhappy lawsuit.

Nic. Frog was a cunning, sly fellow, quite the reverse of John in many particulars; covetous, frugal, minded domestic affairs, would pinch his belly to save his pocket, never lost a farthing by careless servants or bad debtors. He did not care much for any sort of diversion, except tricks of high German artists and legerdemain. No man exceeded Nic. in these; yet it must be owned that Nic. was a fair dealer, and in that way acquired immense riches.

Hocus was an old cunning attorney, and though this was the first considerable suit that ever he was engaged in, he showed himself superior in address to most of his [076]profession. He kept always good clerks, he loved money, was smooth-tongued, gave good words, and seldom lost his temper. He was not worse than an infidel, for he provided plentifully for his family, but he loved himself better than them all. The neighbours reported that he was henpecked, which was impossible, by such a mild-spirited woman as his wife was.

XXV. EPITAPH UPON COLONEL CHARTRES.

Swift was reported to have had a hand in this piece, and indeed for some time it was ascribed to him. But there is now no doubt that it was entirely the work of Arbuthnot.

Here continueth to rot the body of Francis Chartres; who, with an inflexible constancy and inimitable uniformity of life, persisted, in spite of age and infirmities, in the practice of every human vice excepting prodigality and hypocrisy: his insatiable avarice exempted him from the first, his matchless impudence from the second.

Nor was he more singular in the undeviating pravity of his manners, than successful in accumulating wealth.

For, without trade or profession, without trust of public money, and without bribe-worthy service, he acquired, or more properly created, a ministerial estate.

He was the only person of his time who could cheat without the mask of honesty, retain his primeval meanness when possessed of ten thousand a year; and, having daily deserved the gibbet for what he did, was at last condemned to it for what he could not do.

O indignant reader, think not his life useless to mankind, providence connived at his execrable designs, to give to after-ages a conspicuous proof and example of how small estimation is exorbitant wealth in the sight of God, by his bestowing it on the most unworthy of all mortals. [077]

JONATHAN SWIFT.

XXVI. MRS. FRANCES HARRIS' PETITION.

Written in the year 1701. The Lord Justices addressed were the Earls of Berkeley and of Galway. The "Lady Betty" mentioned in the piece was the Lady Betty Berkeley. "Lord Dromedary", the Earl of Drogheda, and "The Chaplain", Swift himself. The author was at the time smarting under a sense of disappointment over the failure of his request to Lord Berkeley for preferment to the rich deanery of Derry.

TO THEIR EXCELLENCIES THE LORD JUSTICES OF IRELAND. THE HUMBLE PETITION OF FRANCES HARRIS, WHO MUST STARVE, AND DIE A MAID, IF IT MISCARRIES. HUMBLY SHOWETH,

XXVII. ELEGY ON PARTRIDGE.

This was written to satirize the superstitious faith placed in the predictions of the almanac-makers of the period. Partridge was the name of one of them—a cobbler by profession. Fielding also satirized the folly in Tom Jones. The elegy is upon "his supposed death", which drew from Partridge an indignant denial.

THE EPITAPH.

XXVIII. A MEDITATION UPON A BROOM-STICK.

The remainder of the title is "According to the Style and Manner of the Honourable Robert Boyle's Meditations", and is intended as a satire on the style of that philosopher's lucubrations.

This single stick, which you now behold ingloriously lying in that neglected corner, I once knew in a nourishing state in a forest: it was full of sap, full of leaves, and full of boughs: but now, in vain does the busy art of man pretend to vie with nature, by tying that withered bundle of twigs to its sapless trunk. 'Tis now at best but the reverse of what it was, a tree turned upside down, the branches on the earth, and the root in the air: 'tis now handled by every dirty wench, condemned to do her drudgery, and, by a capricious kind of fate, destined to make other things clean, and be nasty itself. At length, worn to the stumps in the service of the maids, 'tis either thrown out of doors, or condemned to the last use of kindling a fire. When I beheld this, I sighed and said within myself, surely mortal man is a broom-stick; nature sent him into the world strong and lusty, in a thriving condition, wearing his own hair on his head, the proper branches of this reasoning vegetable, till the axe of intemperance has lopped off his green boughs, and left him a withered trunk. He then flies to art, and puts on a periwig, valuing himself upon an unnatural bundle of hairs, all covered with powder, that never grew on his head. But now should this our broomstick pretend to enter the scene, proud of those birchen spoils it never bore, and all covered with dust, though the sweepings of the finest lady's chamber, we should be apt to ridicule and despise its vanity. Partial judges that we are of our own excellencies, and other men's defaults!

But a broom-stick, perhaps you will say, is an emblem [086]of a tree standing on its head; and pray what is man, but a topsy-turvy creature, his animal faculties perpetually mounted on his rational, his head where his heels should be, grovelling on the earth! And yet, with all his faults, he sets up to be an universal reformer and corrector of abuses, a remover of grievances, rakes into every sluts' corner of nature, bringing hidden corruptions to the light, and raises a mighty dust where there was none before, sharing deeply all the while in the very same pollutions he pretends to sweep away. His last days are spent in slavery to women, and generally the least deserving; till, worn to the stumps, like his brother bezom, he is either kicked out of doors, or made use of to kindle flames, for others to warm themselves by.

XXIX. THE RELATIONS OF BOOKSELLERS AND AUTHORS.

This piece constitutes Section X. of The Tale of a Tub.

It is an unanswerable argument of a very refined age the wonderful civilities that have passed of late years between the nation of authors and that of readers. There can hardly pop out a play, a pamphlet, or a poem, without a preface full of acknowledgments to the world for the general reception and applause they have given it, which the Lord knows where, or when, or how, or from whom it received. In due deference to so laudable a custom, I do here return my humble thanks to His Majesty and both Houses of Parliament, to the Lords of the King's most honourable Privy Council, to the reverend the Judges, to the Clergy, and Gentry, and Yeomanry of this land: but in a more especial manner to my worthy brethren and friends at Will's Coffee-house, and Gresham College, and Warwick Lane, and Moorfields, and Scotland Yard, and Westminster Hall, and Guildhall; in [087]short, to all inhabitants and retainers whatsoever, either in court, or church, or camp, or city, or country, for their generosity and universal acceptance of this divine treatise. I accept their approbation and good opinion with extreme gratitude, and to the utmost of my poor capacity shall take hold of all opportunities to return the obligation.

I am also happy that fate has flung me into so blessed an age for the mutual felicity of booksellers and authors, whom I may safely affirm to be at this day the two only satisfied parties in England. Ask an author how his last piece has succeeded, "Why, truly he thanks his stars the world has been very favourable, and he has not the least reason to complain". And yet he wrote it in a week at bits and starts, when he could steal an hour from his urgent affairs, as it is a hundred to one you may see further in the preface, to which he refers you, and for the rest to the bookseller. There you go as a customer, and make the same question, "He blesses his God the thing takes wonderful; he is just printing a second edition, and has but three left in his shop". You beat down the price; "Sir, we shall not differ", and in hopes of your custom another time, lets you have it as reasonable as you please; "And pray send as many of your acquaintance as you will; I shall upon your account furnish them all at the same rate".

Now it is not well enough considered to what accidents and occasions the world is indebted for the greatest part of those noble writings which hourly start up to entertain it. If it were not for a rainy day, a drunken vigil, a fit of the spleen, a course of physic, a sleepy Sunday, an ill run at dice, a long tailor's bill, a beggar's purse, a factious head, a hot sun, costive diet, want of books, and a just contempt of learning,—but for these events, I say, and some others too long to recite (especially a prudent neglect of taking brimstone inwardly), I doubt the number [088]of authors and of writings would dwindle away to a degree most woeful to behold. To confirm this opinion, hear the words of the famous troglodyte philosopher. "It is certain," said he, "some grains of folly are of course annexed as part in the composition of human nature; only the choice is left us whether we please to wear them inlaid or embossed, and we need not go very far to seek how that is usually determined, when we remember it is with human faculties as with liquors, the lightest will be ever at the top."

There is in this famous island of Britain a certain paltry scribbler, very voluminous, whose character the reader cannot wholly be a stranger to. He deals in a pernicious kind of writings called "Second Parts", and usually passes under the name of "The Author of the First". I easily foresee that as soon as I lay down my pen this nimble operator will have stole it, and treat me as inhumanly as he has already done Dr. Blackmore, Lestrange, and many others who shall here be nameless. I therefore fly for justice and relief into the hands of that great rectifier of saddles and lover of mankind, Dr. Bentley, begging he will take this enormous grievance into his most modern consideration; and if it should so happen that the furniture of an ass in the shape of a second part must for my sins be clapped, by mistake, upon my back, that he will immediately please, in the presence of the world, to lighten me of the burden, and take it home to his own house till the true beast thinks fit to call for it.

In the meantime, I do here give this public notice that my resolutions are to circumscribe within this discourse the whole stock of matter I have been so many years providing. Since my vein is once opened, I am content to exhaust it all at a running, for the peculiar advantage of my dear country, and for the universal [089]benefit of mankind. Therefore, hospitably considering the number of my guests, they shall have my whole entertainment at a meal, and I scorn to set up the leavings in the cupboard. What the guests cannot eat may be given to the poor, and the dogs under the table may gnaw the bones.[180] This I understand for a more generous proceeding than to turn the company's stomachs by inviting them again to-morrow to a scurvy meal of scraps.

If the reader fairly considers the strength of what I have advanced in the foregoing section, I am convinced it will produce a wonderful revolution in his notions and opinions, and he will be abundantly better prepared to receive and to relish the concluding part of this miraculous treatise. Readers may be divided into three classes, the superficial, the ignorant, and the learned, and I have with much felicity fitted my pen to the genius and advantage of each. The superficial reader will be strangely provoked to laughter, which clears the breast and the lungs, is sovereign against the spleen, and the most innocent of all diuretics. The ignorant reader (between whom and the former the distinction is extremely nice) will find himself disposed to stare, which is an admirable remedy for ill eyes, serves to raise and enliven the spirits, and wonderfully helps perspiration. But the reader truly learned, chiefly for whose benefit I wake when others sleep, and sleep when others wake, will here find sufficient matter to employ his speculations for the rest of his life. It were much to be wished, and I do here humbly propose for an experiment, that every prince in Christendom will take seven of the deepest scholars in his dominions and shut them up close for seven years in seven chambers, with a command to write seven ample commentaries on this comprehensive discourse. I shall venture to affirm that, whatever difference may be found in [090] their several conjectures, they will be all, without the least distortion, manifestly deducible from the text. Meantime it is my earnest request that so useful an undertaking may be entered upon (if their Majesties please) with all convenient speed, because I have a strong inclination before I leave the world to taste a blessing which we mysterious writers can seldom reach till we have got into our graves, whether it is that fame being a fruit grafted on the body, can hardly grow and much less ripen till the stock is in the earth, or whether she be a bird of prey, and is lured among the rest to pursue after the scent of a carcass, or whether she conceives her trumpet sounds best and farthest when she stands on a tomb, by the advantage of a rising ground and the echo of a hollow vault.

It is true, indeed, the republic of dark authors, after they once found out this excellent expedient of dying, have been peculiarly happy in the variety as well as extent of their reputation. For night being the universal mother of things, wise philosophers hold all writings to be fruitful in the proportion they are dark, and therefore the true illuminated (that is to say, the darkest of all) have met with such numberless commentators, whose scholiastic midwifery hath delivered them of meanings that the authors themselves perhaps never conceived, and yet may very justly be allowed the lawful parents of them, the words of such writers being like seed, which, however scattered at random, when they light upon a fruitful ground, will multiply far beyond either the hopes or imagination of the sower.

And therefore, in order to promote so useful a work, I will here take leave to glance a few innuendos that may be of great assistance to those sublime spirits who shall be appointed to labour in a universal comment upon this wonderful discourse. And first, I have couched a very [091] profound mystery in the number of o's multiplied by seven and divided by nine. Also, if a devout brother of the Rosy Cross will pray fervently for sixty-three mornings with a lively faith, and then transpose certain letters and syllables according to prescription, in the second and fifth section they will certainly reveal into a full receipt of the opus magnum. Lastly, whoever will be at the pains to calculate the whole number of each letter in this treatise, and sum up the difference exactly between the several numbers, assigning the true natural cause for every such difference, the discoveries in the product will plentifully reward his labour. But then he must beware of Bythus and Sigè, and be sure not to forget the qualities of Acamoth; a cujus lacrymis humecta prodit substantia, à risu lucida, à tristitiâ solida, et à timoré mobilis, wherein Eugenius Philalethes[181] hath committed an unpardonable mistake.

XXX. THE EPISTLE DEDICATORY TO HIS ROYAL HIGHNESS
PRINCE POSTERITY.

The following is the famous dedication of The Tale of a Tub. The description of "the tyranny of Time" was regarded by Goethe as one of the finest passages in Swift's works.

SIR,

I here present your Highness with the fruits of a very few leisure hours, stolen from the short intervals of a world of business, and of an employment quite alien from such amusements as this; the poor production of that refuse of time which has lain heavy upon my hands during a long prorogation of Parliament, a great dearth of foreign news, and a tedious fit of rainy weather. For which, and other reasons, it cannot choose extremely to [092]deserve such a patronage as that of your Highness, whose numberless virtues in so few years, make the world look upon you as the future example to all princes. For although your Highness is hardly got clear of infancy, yet has the universal learned world already resolved upon appealing to your future dictates with the lowest and most resigned submission, fate having decreed you sole arbiter of the productions of human wit in this polite and most accomplished age. Methinks the number of appellants were enough to shock and startle any judge of a genius less unlimited than yours; but in order to prevent such glorious trials, the person, it seems, to whose care the education of your Highness is committed, has resolved, as I am told, to keep you in almost an universal ignorance of our studies, which it is your inherent birthright to inspect.

It is amazing to me that this person should have assurance, in the face of the sun, to go about persuading your Highness that our age is almost wholly illiterate and has hardly produced one writer upon any subject. I know very well that when your Highness shall come to riper years, and have gone through the learning of antiquity, you will be too curious to neglect inquiring into the authors of the very age before you; and to think that this insolent, in the account he is preparing for your view, designs to reduce them to a number so insignificant as I am ashamed to mention; it moves my zeal and my spleen for the honour and interest of our vast flourishing body, as well as of myself, for whom I know by long experience he has professed, and still continues, a peculiar malice.

It is not unlikely that, when your Highness will one day peruse what I am now writing, you may be ready to expostulate with your governor upon the credit of what I here affirm, and command him to show you some of our productions. To which he will answer—for I am well [093]informed of his designs—by asking your Highness where they are, and what is become of them? and pretend it a demonstration that there never were any, because they are not then to be found. Not to be found! Who has mislaid them? Are they sunk in the abyss of things? It is certain that in their own nature they were light enough to swim upon the surface for all eternity; therefore, the fault is in him who tied weights so heavy to their heels as to depress them to the centre. Is their very essence destroyed? Who has annihilated them? Were they drowned by purges or martyred by pipes? Who administered them to the posteriors of ——. But that it may no longer be a doubt with your Highness who is to be the author of this universal ruin, I beseech you to observe that large and terrible scythe which your governor affects to bear continually about him. Be pleased to remark the length and strength, the sharpness and hardness, of his nails and teeth; consider his baneful, abominable breath, enemy to life and matter, infectious and corrupting, and then reflect whether it be possible for any mortal ink and paper of this generation to make a suitable resistance. Oh, that your Highness would one day resolve to disarm this usurping maître de palais of his furious engines, and bring your empire hors du page!

It were endless to recount the several methods of tyranny and destruction which your governor is pleased to practise upon this occasion. His inveterate malice is such to the writings of our age, that, of several thousands produced yearly from this renowned city, before the next revolution of the sun there is not one to be heard of. Unhappy infants! many of them barbarously destroyed before they have so much as learnt their mother-tongue to beg for pity. Some he stifles in their cradles, others he frights into convulsions, whereof they suddenly die, some he flays alive, others he tears limb from limb, great [094] numbers are offered to Moloch, and the rest, tainted by his breath, die of a languishing consumption.

But the concern I have most at heart is for our Corporation of Poets, from whom I am preparing a petition to your Highness, to be subscribed with the names of one hundred and thirty-six of the first race, but whose immortal productions are never likely to reach your eyes, though each of them is now an humble and an earnest appellant for the laurel, and has large comely volumes ready to show for a support to his pretensions. The never-dying works of these illustrious persons your governor, sir, has devoted to unavoidable death, and your Highness is to be made believe that our age has never arrived at the honour to produce one single poet.

We confess immortality to be a great and powerful goddess, but in vain we offer up to her our devotions and our sacrifices if your Highness's governor, who has usurped the priesthood, must, by an unparalled ambition and avarice, wholly intercept and devour them.

To affirm that our age is altogether unlearned and devoid of writers in any kind, seems to be an assertion so bold and so false, that I have been sometimes thinking the contrary may almost be proved by uncontrollable demonstration. It is true, indeed, that although their numbers be vast and their productions numerous in proportion, yet are they hurried so hastily off the scene that they escape our memory and delude our sight. When I first thought of this address, I had prepared a copious list of titles to present your Highness as an undisputed argument for what I affirm. The originals were posted fresh upon all gates and corners of streets; but returning in a very few hours to take a review, they were all torn down and fresh ones in their places. I inquired after them among readers and booksellers, but I inquired in vain; the memorial of them was lost among men, their [095]place was no more to be found; and I was laughed to scorn for a clown and a pedant, devoid of all taste and refinement, little versed in the course of present affairs, and that knew nothing of what had passed in the best companies of court and town. So that I can only avow in general to your Highness that we do abound in learning and wit, but to fix upon particulars is a task too slippery for my slender abilities. If I should venture, in a windy day, to affirm to your Highness that there is a large cloud near the horizon in the form of a bear, another in the zenith with the head of an ass, a third to the westward with claws like a dragon; and your Highness should in a few minutes think fit to examine the truth, it is certain they would be all changed in figure and position, new ones would arise, and all we could agree upon would be, that clouds there were, but that I was grossly mistaken in the zoography and topography of them.

But your governor, perhaps, may still insist, and put the question, What is then become of those immense bales of paper which must needs have been employed in such numbers of books? Can these also be wholly annihilated, and so of a sudden, as I pretend? What shall I say in return of so invidious an objection? It ill befits the distance between your Highness and me to send you for ocular conviction to a jakes or an oven, to the windows of a bawdyhouse, or to a sordid lantern. Books, like men their authors, have no more than one way of coming into the world, but there are ten thousand to go out of it and return no more.

I profess to your Highness, in the integrity of my heart, that what I am going to say is literally true this minute I am writing; what revolutions may happen before it shall be ready for your perusal I can by no means warrant; however, I beg you to accept it as a specimen of [096] our learning, our politeness, and our wit. I do therefore affirm, upon the word of a sincere man, that there is now actually in being a certain poet called John Dryden, whose translation of Virgil was lately printed in large folio, well bound, and if diligent search were made, for aught I know, is yet to be seen. There is another called Nahum Tate, who is ready to make oath that he has caused many reams of verse to be published, whereof both himself and his bookseller, if lawfully required, can still produce authentic copies, and therefore wonders why the world is pleased to make such a secret of it. There is a third, known by the name of Tom Durfey, a poet of a vast comprehension, an universal genius, and most profound learning. There are also one Mr. Rymer and one Mr. Dennis, most profound critics. There is a person styled Dr. Bentley, who has wrote near a thousand pages of immense erudition, giving a full and true account of a certain squabble of wonderful importance between himself and a bookseller; he is a writer of infinite wit and humour, no man rallies with a better grace and in more sprightly turns. Further, I avow to your Highness that with these eyes I have beheld the person of William Wotton, B.D., who has written a good-sized volume against a friend of your governor, from whom, alas! he must therefore look for little favour, in a most gentlemanly style, adorned with utmost politeness and civility, replete with discoveries equally valuable for their novelty and use, and embellished with traits of wit so poignant and so apposite, that he is a worthy yoke-mate to his fore-mentioned friend.

Why should I go upon farther particulars, which might fill a volume with the just eulogies of my contemporary brethren? I shall bequeath this piece of justice to a larger work, wherein I intend to write a character of the present set of wits in our nation; their persons I shall [097] describe particularly and at length, their genius and understandings in miniature.

In the meantime, I do here make bold to present your Highness with a faithful abstract drawn from the universal body of all arts and sciences, intended wholly for your service and instruction. Nor do I doubt in the least, but your Highness will peruse it as carefully and make as considerable improvements as other young princes have already done by the many volumes of late years written for a help to their studies.

That your Highness may advance in wisdom and virtue, as well as years, and at last outshine all your royal ancestors, shall be the daily prayer of,

Decem. 1697.

SIR RICHARD STEELE.

XXXI. THE COMMONWEALTH OF LUNATICS.

This paper forms No. 125 of The Tatler, January 26th, 1709.

There is a sect of ancient philosophers, who, I think, have left more volumes behind them, and those better written, than any other of the fraternities in philosophy. It was a maxim of this sect, that all those who do not live up to the principles of reason and virtue are madmen. Everyone who governs himself by these rules is allowed the title of wise, and reputed to be in his senses: and everyone, in proportion as he deviates from them, is pronounced frantic and distracted. Cicero, [098] having chosen this maxim for his theme, takes occasion to argue from it very agreeably with Clodius, his implacable adversary, who had procured his banishment. A city, says he, is an assembly distinguished into bodies of men, who are in possession of their respective rights and privileges, cast under proper subordinations, and in all its parts obedient to the rules of law and equity. He then represents the government from whence he was banished, at a time when the consul, senate, and laws had lost their authority, as a commonwealth of lunatics. For this reason he regards his expulsion from Rome as a man would being turned out of Bedlam, if the inhabitants of it should drive him out of their walls as a person unfit for their community. We are therefore to look upon every man's brain to be touched, however he may appear in the general conduct of his life, if he has an unjustifiable singularity in any part of his conversation or behaviour; or if he swerves from right reason, however common his kind of madness may be, we shall not excuse him for its being epidemical; it being our present design to clap up all such as have the marks of madness upon them, who are now permitted to go about the streets for no other reason but because they do no mischief in their fits. Abundance of imaginary great men are put in straw to bring them to a right sense of themselves. And is it not altogether as reasonable, that an insignificant man, who has an immoderate opinion of his merits, and a quite different notion of his own abilities from what the rest of the world entertain, should have the same care taken of him as a beggar who fancies himself a duke or a prince? Or why should a man who starves in the midst of plenty be trusted with himself more than he who fancies he is an emperor in the midst of poverty? I have several women of quality in my thoughts who set so exorbitant a value upon themselves [099]that I have often most heartily pitied them, and wished them for their recovery under the same discipline with the pewterer's wife. I find by several hints in ancient authors that when the Romans were in the height of power and luxury they assigned out of their vast dominions an island called Anticyra as an habitation for madmen. This was the Bedlam of the Roman empire, whither all persons who had lost their wits used to resort from all parts of the world in quest of them. Several of the Roman emperors were advised to repair to this island: but most of them, instead of listening to such sober counsels, gave way to their distraction, until the people knocked them on the head as despairing of their cure. In short, it was as usual for men of distempered brains to take a voyage to Anticyra in those days as it is in ours for persons who have a disorder in their lungs to go to Montpellier.

The prodigious crops of hellebore with which this whole island abounded did not only furnish them with incomparable tea, snuff, and Hungary water, but impregnated the air of the country with such sober and salutiferous steams as very much comforted the heads and refreshed the senses of all that breathed in it. A discarded statesman that, at his first landing, appeared stark, staring mad, would become calm in a week's time, and upon his return home live easy and satisfied in his retirement. A moping lover would grow a pleasant fellow by that time he had rid thrice about the island: and a hair-brained rake, after a short stay in the country, go home again a composed, grave, worthy gentleman.

I have premised these particulars before I enter on the main design of this paper, because I would not be thought altogether notional in what I have to say, and pass only for a projector in morality. I could quote Horace and Seneca and some other ancient writers of good repute [100]upon the same occasion, and make out by their testimony that our streets are filled with distracted persons; that our shops and taverns, private and public houses, swarm with them; and that it is very hard to make up a tolerable assembly without a majority of them. But what I have already said is, I hope, sufficient to justify the ensuing project, which I shall therefore give some account of without any further preface.

1. It is humbly proposed, That a proper receptacle or habitation be forthwith erected for all such persons as, upon due trial and examination, shall appear to be out of their wits.

2. That, to serve the present exigency, the college in Moorfields be very much extended at both ends; and that it be converted into a square, by adding three other sides to it.

3. That nobody be admitted into these three additional sides but such whose frenzy can lay no claim to any apartment in that row of building which is already erected.

4. That the architect, physician, apothecary, surgeon, keepers, nurses, and porters be all and each of them cracked, provided that their frenzy does not lie in the profession or employment to which they shall severally and respectively be assigned.

N.B. It is thought fit to give the foregoing notice, that none may present himself here for any post of honour or profit who is not duly qualified.

5. That over all the gates of the additional buildings there be figures placed in the same manner as over the entrance of the edifice already erected, provided they represent such distractions only as are proper for those additional buildings; as of an envious man gnawing his own flesh; a gamester pulling himself by the ears and knocking his head against a marble pillar; a covetous [101]man warming himself over a heap of gold; a coward flying from his own shadow, and the like.

Having laid down this general scheme of my design, I do hereby invite all persons who are willing to encourage so public-spirited a project to bring in their contributions as soon as possible; and to apprehend forthwith any politician whom they shall catch raving in a coffee-house, or any free-thinker whom they shall find publishing his deliriums, or any other person who shall give the like manifest signs of a crazed imagination. And I do at the same time give this public notice to all the madmen about this great city, that they may return to their senses with all imaginable expedition, lest, if they should come into my hands, I should put them into a regimen which they would not like; for if I find any one of them persist in his frantic behaviour I will make him in a month's time as famous as ever Oliver's porter was.

JOSEPH ADDISON.

XXXII. SIR ROGER DE COVERLEY'S SUNDAY.

This piece represents the complete paper, No. 112 of The Spectator, July 9th, 1711.

I am always very well pleased with a country Sunday, and think, if keeping holy the seventh day were only a human institution, it would be the best method that could have been thought of for the polishing and civilizing of mankind. It is certain the country people would soon degenerate into a kind of savages and barbarians, were there not such frequent returns of a stated time in which the whole village meet together with their [102] best faces and in their cleanliest habits to converse with one another upon indifferent subjects, hear their duties explained to them, and join together in adoration of the supreme Being. Sunday clears away the rust of the whole week, not only as it refreshes in their minds the notions of religion, but as it puts both the sexes upon appearing in their most agreeable forms and exerting all such qualities as are apt to give them a figure in the eye of the village. A country fellow distinguishes himself as much in the churchyard as a citizen does upon the Change, the whole parish politics being generally discussed in that place either after sermon or before the bell rings.

My friend Sir Roger, being a good churchman, has beautified the inside of his church with several texts of his own choosing; he has likewise given a handsome pulpit-cloth, and railed in the communion table at his own expense. He has often told me that at his coming to his estate he found his parishioners very irregular; and that in order to make them kneel and join in the responses he gave every one of them a hassock and a common-prayer book: and at the same time employed an itinerant singing-master, who goes about the country for that purpose, to instruct them rightly in the tunes of the psalms, upon which they now very much value themselves, and indeed out-do most of the country churches that I have ever heard.

As Sir Roger is landlord to the whole congregation, he keeps them in very good order, and will suffer nobody to sleep in it besides himself; for if by chance he has been surprised into a short nap at sermon, upon recovering out of it he stands up and looks about him, and if he sees anybody else nodding either wakes them himself or sends his servants to them. Several other of the old knight's particularities break out upon these occasions: sometimes he will be lengthening out a verse in the singing-psalms [103] half a minute after the rest of the congregation have done with it: sometimes, when he is pleased with the matter of his devotion, he pronounces Amen three or four times to the same prayer; and sometimes stands up when everybody else is upon their knees, to count the congregation or see if any of his tenants are missing.

I was yesterday very much surprised to hear my old friend, in the midst of the service, calling out to one John Matthews to mind what he was about and not disturb the congregation. This John Matthews it seems is remarkable for being an idle fellow, and at that time was kicking his heels for his diversion. This authority of the knight, though exerted in that odd manner which accompanies him in all circumstances of life, has a very good effect upon the parish, who are not polite enough to see anything ridiculous in his behaviour; besides that the general good sense and worthiness of his character makes his friends observe these little singularities as foils that rather set off than blemish his good qualities.

As soon as the sermon is finished nobody presumes to stir till Sir Roger is gone out of the church. The knight walks down from his seat in the chancel between a double row of his tenants, that stand bowing to him on each side; and every now and then inquires how such an one's wife, or mother, or son, or father do, whom he does not see at church, which is understood as a secret reprimand to the person that is absent.

The chaplain has often told me that upon a catechizing day, when Sir Roger has been pleased with a boy that answers well, he has ordered a Bible to be given him next day for his encouragement; and sometimes accompanies it with a flitch of bacon to his mother. Sir Roger has likewise added five pounds a year to the clerk's place; and that he may encourage the young fellows to make themselves perfect in the church service, has promised [104]upon the death of the present incumbent, who is very old, to bestow it according to merit.

The fair understanding between Sir Roger and his chaplain, and their mutual concurrence in doing good, is the more remarkable because the very next village is famous for the differences and contentions that rise between the parson and the squire, who live in a perpetual state of war. The parson is always preaching at the squire, and the squire to be revenged on the parson never comes to church. The squire has made all his tenants atheists and tithe-stealers; while the parson instructs them every Sunday in the dignity of his order, and insinuates to them in almost every sermon that he is a better man than his patron. In short, matters are come to such an extremity that the squire has not said his prayers either in public or private this half year; and that the parson threatens him, if he does not mend his manners, to pray for him in the face of the whole congregation.

Feuds of this nature, though too frequent in the country, are very fatal to the ordinary people, who are so used to be dazzled with riches that they pay as much deference to the understanding of a man of an estate as of a man of learning, and are very hardly brought to regard any truth, how important soever it may be, that is preached to them when they know there are several men of five hundred a year who do not believe it.

EDWARD YOUNG.

XXXIII. TO THE RIGHT HON. MR. DODINGTON.

This is justly regarded as one of the finest satires in the English language. It is taken from Dr. Young's Series of Satires published in collected form in 1750. Dodington was the famous "Bubb Dodington", satirized as Bubo by Pope in the "Prologue to the Satires".

JOHN GAY.

XXXIV. THE QUIDNUNCKIS.

The following piece was originally claimed for Swift in the edition of his works published in 1749. But it was undoubtedly written by Gay, being only sent to Swift for perusal. This explains the fact of its being found amongst the papers of the latter. The poem is suggested by the death of the Duke Regent of France.

ALEXANDER POPE.

XXXV. THE DUNCIAD—THE DESCRIPTION OF DULNESS.

One of the most scathing satires in the history of literature. Pope in the latest editions of it rather spoilt its point by substituting Colley Gibber for Theobald as the "hero" of it. Our text is from the edition of 1743. The satire first appeared in 1728, and other editions, greatly altered, were issued in 1729, 1742, 1743.

XXXVI. SANDYS' GHOST;
OR, A PROPER NEW BALLAD OF THE NEW OVID'S METAMORPHOSES,
AS IT WAS INTENDED TO BE TRANSLATED BY PERSONS OF QUALITY.

This satire owed its origin to the fact that Sir Samuel Garth was about to publish a new translation of Ovid's Metamorphoses. George Sandys—the old translator—died in 1643.

XXXVII. SATIRE ON THE WHIG POETS.

This is practically the whole of Pope's famous Epistle to Arbuthnot, otherwise the Prologue to the Satires. The only portion I have omitted, in order to include in this collection one of the greatest of his satires, is the introductory lines, which are frequently dropped, as the poem really begins with the line wherewith it is represented as opening here.

XXXVIII. EPILOGUE TO THE SATIRES.

The following piece represents the first dialogue in the Epilogue to the Satires. Huggins mentioned in the poem was the jailer of the Fleet Prison, who had enriched himself by many exactions, for which he was tried and expelled. Jekyl was Sir Joseph Jekyl, Master of the Rolls, a man of great probity, who, though a Whig, frequently voted against the Court, which drew on him the laugh here described. Lyttleton was George Lyttleton, Secretary to the Prince of Wales, distinguished for his writings in the cause of liberty. Written in 1738, and first published in the following year.

SAMUEL JOHNSON.

XXXIX. THE VANITY OF HUMAN WISHES.

Published in January, 1749, in order, as was reported, to excite interest in the author's tragedy of Irene. The poem is written in imitation of the Tenth Satire of Juvenal.

XL. LETTER TO THE EARL OF CHESTERFIELD.

Though perhaps scarcely a professedly satirical production in the proper sense of the word, there are few more pungent satires than the following letter. In Boswell's Life of Johnson we read, "When the Dictionary was on the eve of publication. Lord Chesterfield, who, it is said, had flattered himself with expectations that Johnson would dedicate the work to him, attempted in a courtly manner to soothe and insinuate himself with the sage, conscious, as it would seem, of the cold indifference with which he had treated its learned author, and further attempted to conciliate him by writing two papers in the World in recommendation of the work.... This courtly device failed of its effect. Johnson despised the honeyed words, and he states 'I wrote him a letter expressed in civil terms, but such as might show him that I did not mind what he said or wrote, and that I had done with him'."

"MY LORD,

"I have been lately informed by the proprietor of The World that two papers, in which my Dictionary is recommended to the public, were written by your [148] lordship. To be so distinguished is an honour which, being very little accustomed to favours from the great, I know not well how to receive, or in what terms to acknowledge.

"When, upon some slight encouragement, I first visited your lordship, I was overpowered, like the rest of mankind, by the enchantment of your address, and could not forbear to wish that I might boast myself Le vainqueur du vainqueur de la terre;—that I might obtain that regard for which I saw the world contending; but I found my attendance so little encouraged that neither pride nor modesty would suffer me to continue it. When I had once addressed your lordship in public, I had exhausted all the art of pleasing which a retired and uncourtly scholar can possess. I had done all that I could; and no man is well pleased to have his all neglected, be it ever so little.

"Seven years, my lord, have now past since I waited in your outward rooms or was repulsed from your door; during which time I have been pushing on my work through difficulties of which it is useless to complain, and have brought it, at last, to the verge of publication, without one act of assistance, one word of encouragement, or one smile of favour. Such treatment I did not expect, for I never had a patron before.

"The shepherd in Virgil grew at last acquainted with Love, and found him a native of the rocks.

"Is not a patron, my lord, one who looks with unconcern on a man struggling for life in the water, and, when he has reached ground, encumbers him with help? The notice which you have been pleased to take of my labours, had it been early, had been kind; but it has been delayed till I am indifferent, and cannot enjoy it; till I am solitary, and cannot impart it; till I am known, and do not want it. I hope it is no very cynical asperity not [149]to confess obligations where no benefit has been received, or to be unwilling that the public should consider me as owing that to a patron which Providence has enabled me to do for myself.

"Having carried on my work thus far with so little obligation to any favourer of learning, I shall not be disappointed though I should conclude it, if less be possible, with less; for I have been long wakened from that dream of hope in which I once boasted myself with so much exultation.

OLIVER GOLDSMITH.

XLI. THE RETALIATION.

The origin of the following satire is told by Boswell (who was prejudiced against Goldsmith) in this wise: "At a meeting of a company of gentlemen who were well known to each other and diverting themselves among other things with the peculiar oddities of Dr. Goldsmith, who would never allow a superior in any art, from writing poetry down to dancing a hornpipe, Goldsmith, with great eagerness, insisted on matching his epigrammatic powers with Garrick's. It was determined that each should write the other's epitaph. Garrick immediately said his epitaph was finished, and spoke the following distich extempore:

"'Here lies Nolly Goldsmith, for shortness called Noll,

Who wrote like an angel, but talked like poor Poll'.

"Goldsmith would not produce his at the time, but some weeks after, read to the company this satire in which the characteristics of them all were happily hit off."

XLII. THE LOGICIANS REFUTED.

This piece was first printed in The Busy Body in 1759, in direct imitation of the style of Swift. It was, therefore, improperly included in the Dublin edition of Swift's works, and in the edition of Swift edited by Sir Walter Scott.

XLIII. BEAU TIBBS, HIS CHARACTER AND FAMILY.

Johnson always maintained that there was a great deal of Goldsmith's own nature and eccentricities portrayed in the character of Beau Tibbs. The following piece constitutes Letter 54 of the Citizen of the World.

I am apt to fancy I have contracted a new acquaintance, whom it will be no easy matter to shake off. My little beau yesterday overtook me again in one of the public walks, and slapping me on the shoulder, saluted me with an air of the most perfect familiarity. His dress was the same as usual, except that he had more powder in his hair, wore a dirtier shirt, a pair of temple spectacles, and his hat under his arm.

As I knew him to be an harmless, amusing little thing, I could not return his smiles with any degree of severity: so we walked forward on terms of the utmost intimacy, and in a few minutes discussed all the usual topics preliminary to particular conversation.

The oddities that marked his character, however, soon began to appear; he bowed to several well-dressed persons, who, by their manner of returning the compliment, appeared perfect strangers. At intervals he drew out a pocket-book, seeming to take memorandums before all the company, with much importance and assiduity. In this manner he led me through the length of the whole walk, fretting at his absurdities, and fancying myself laughed at not less than him by every spectator.

When we were got to the end of our procession, "Blast me," cries he, with an air of vivacity, "I never saw the park so thin in my life before; there's no company at all to-day; not a single face to be seen." "No company," interrupted I, peevishly; "no company where there is such [157] a crowd! why man, there's too much. What are the thousands that have been laughing at us but company!" "Lard, my dear," returned he, with the utmost good-humour, "you seem immensely chagrined; but blast me, when the world laughs at me, I laugh at all the world, and so we are even. My Lord Trip, Bill Squash, the Creolian, and I sometimes make a party at being ridiculous; and so we say and do a thousand things for the joke. But I see you are grave, and if you are a fine grave sentimental companion, you shall dine with me and my wife to-day, I must insist on't; I'll introduce you to Mrs. Tibbs, a lady of as elegant qualifications as any in nature; she was bred, but that's between ourselves, under the inspection of the Countess of All-night. A charming body of voice, but no more of that, she will give us a song. You shall see my little girl too, Carolina Wilhelma Amelia Tibbs, a sweet pretty creature; I design her for my Lord Drumstick's eldest son, but that's in friendship, let it go no farther; she's but six years old, and yet she walks a minuet, and plays on the guitar immensely already. I intend she shall be as perfect as possible in every accomplishment. In the first place I'll make her a scholar; I'll teach her Greek myself, and learn that language purposely to instruct her; but let that be a secret."

Thus saying, without waiting for a reply, he took me by the arm, and hauled me along. We passed through many dark alleys and winding ways; for, from some motives, to me unknown, he seemed to have a particular aversion to every frequented street; at last, however, we got to the door of a dismal-looking house in the outlets of the town, where he informed me he chose to reside for the benefit of the air.

We entered the lower door, which ever seemed to lie most hospitably open, and I began to ascend an old and [158]creaking staircase, when, as he mounted to show me the way, he demanded whether I delighted in prospects, to which answering in the affirmative, "Then," says he, "I shall show you one of the most charming in the world out of my windows; we shall see the ships sailing, and the whole country for twenty miles round, tip top, quite high. My Lord Swamp would give ten thousand guineas for such an one; but as I sometimes pleasantly tell him, I always love to keep my prospects at home, that my friends may see me the oftener."

By this time we were arrived as high as the stairs would permit us to ascend, till we came to what he was facetiously pleased to call the first floor down the chimney; and knocking at the door, a voice from within demanded, who's there? My conductor answered that it was him. But this not satisfying the querist, the voice again repeated the demand: to which he answered louder than before; and now the door was opened by an old woman with cautious reluctance.

When we were got in, he welcomed me to his house with great ceremony, and turning to the old woman, asked where was her lady? "Good troth," replied she, in a peculiar dialect, "she's washing your two shirts at the next door, because they have taken an oath against lending out the tub any longer." "My two shirts," cries he in a tone that faltered with confusion, "what does the idiot mean!" "I ken what I mean well enough," replied the other, "she's washing your two shirts at the next door, because—" "Fire and fury! no more of thy stupid explanations," cried he. "Go and inform her we have got company. Were that Scotch hag to be for ever in the family, she would never learn politeness, nor forget that absurd poisonous accent of hers, or testify the smallest specimen of breeding or high life; and yet it is very surprising too, as I had her from a parliament man, [159]a friend of mine, from the highlands, one of the politest men in the world; but that's a secret."

We waited some time for Mrs. Tibbs' arrival, during which interval I had a full opportunity of surveying the chamber and all its furniture; which consisted of four chairs with old wrought bottoms, that he assured me were his wife's embroidery; a square table that had been once japanned, a cradle in one corner, a lumbering cabinet in the other; a broken shepherdess, and a mandarin without a head, were stuck over the chimney; and round the walls several paltry, unframed pictures, which, he observed, were all his own drawing. "What do you think, sir, of that head in a corner, done in the manner of Grisoni? There's the true keeping in it; it's my own face, and though there happens to be no likeness, a countess offered me an hundred for its fellow. I refused her, for, hang it, that would be mechanical, you know."

The wife at last made her appearance, at once a slattern and a coquette; much emaciated, but still carrying the remains of beauty. She made twenty apologies for being seen in such odious dishabille, but hoped to be excused, as she had stayed out all night at the gardens with the countess, who was excessively fond of the horns. "And, indeed, my dear," added she, turning to her husband, "his lordship drank your health in a bumper." "Poor Jack," cries he, "a dear good-natured creature, I know he loves me; but I hope, my dear, you have given orders for dinner; you need make no great preparations neither, there are but three of us, something elegant, and little will do; a turbot, an ortolan, or a—" "Or what do you think, my dear," interrupts the wife, "of a nice pretty bit of ox-cheek, piping hot, and dressed with a little of my own sauce."—"The very thing," replies he, "it will eat best with some smart bottled beer: but be sure to let's have the sauce his grace was so fond of. I hate your [160]immense loads of meat, that is country all over; extreme disgusting to those who are in the least acquainted with high life."

By this time my curiosity began to abate, and my appetite to increase; the company of fools may at first make us smile, but at last never fails of rendering us melancholy; I therefore pretended to recollect a prior engagement, and after having shown my respect to the house, according to the fashion of the English, by giving the old servant a piece of money at the door, I took my leave; Mr. Tibbs assuring me that dinner, if I stayed, would be ready at least in less than two hours.

CHARLES CHURCHILL.

XLIV. THE JOURNEY.

Churchill devoted himself principally to satirical attacks upon actors and the stage as a whole. His Rosciad created quite a panic among the disciples of Thespis, even the mighty Garrick courting this terrible censor morum. His own morals were but indifferent.

JUNIUS.

XLV. TO THE KING.

The following is the famous letter which appeared in the Public Advertiser for December 20th, 1769. This is also the one on which the advocates of the theory that George, Lord Sackville, was the writer of the Letters of Junius lay such stress.

SIR,

When the complaints of a brave and powerful people are observed to increase in proportion to the wrongs they have suffered, when, instead of sinking into submission, they are roused to resistance, the time will soon arrive at which every inferior consideration must yield to the security of the sovereign, and to the general safety of the state. There is a moment of difficulty and danger at which flattery and falsehood can no longer deceive, and simplicity itself can no longer be misled. Let us suppose it arrived; let us suppose a gracious, well-intentioned prince, made sensible at last of the great duty he owes to his people, and of his own disgraceful situation; that he looks round him for assistance, and asks for no advice but how to gratify the wishes and secure the happiness of his subjects. In these circumstances, it may be matter of curious speculation to consider, if an honest man were permitted to approach a king, in what [165]terms he would address himself to his sovereign. Let it be imagined, no matter how improbable, that the first prejudice against his character is removed; that the ceremonious difficulties of an audience are surmounted; that he feels himself animated by the purest and most honourable affections to his king and country; and that the great person whom he addresses has spirit enough to bid him speak freely, and understanding enough to listen to him with attention. Unacquainted with the vain impertinence of forms, he would deliver his sentiments with dignity and firmness, but not without respect.

Sir,

It is the misfortune of your life, and originally the cause of every reproach and distress which has attended your government, that you should never have been acquainted with the language of truth until you heard it in the complaints of your people. It is not, however, too late to correct the error of your education. We are still inclined to make an indulgent allowance for the pernicious lessons you received in your youth, and to form the most sanguine hopes from the natural benevolence of your disposition. We are far from thinking you capable of a direct, deliberate purpose to invade those original rights of your subjects on which all their civil and political liberties depend. Had it been possible for us to entertain a suspicion so dishonourable to your character, we should long since have adopted a style of remonstrance very distant from the humility of complaint. The doctrine inculcated by our laws, That the king can do no-wrong, is admitted without reluctance. We separate the amiable, good-natured prince from the folly and treachery of his servants, and the private virtues of the man from the vices of his government. Were it not for this just distinction, I know not whether your [166]Majesty's condition, or that of the English nation, would deserve most to be lamented. I would prepare your mind for a favourable reception of truth by removing every painful, offensive idea of personal reproach. Your subjects, Sir, wish for nothing but that, as they are reasonable and affectionate enough to separate your person from your government, so you, in your turn, should distinguish between the conduct which becomes the permanent dignity of a king and that which serves only to promote the temporary interest and miserable ambition of a minister.

You ascended the throne with a declared—and, I doubt not, a sincere—resolution of giving universal satisfaction to your subjects. You found them pleased with the novelty of a young prince whose countenance promised even more than his words, and loyal to you, not only from principle, but passion. It was not a cold profession of allegiance to the first magistrate, but a partial, animated attachment to a favourite prince, the native of their country. They did not wait to examine your conduct nor to be determined by experience, but gave you a generous credit for the future blessings of your reign, and paid you in advance the dearest tribute of their affections. Such, Sir, was once the disposition of a people who now surround your throne with reproaches and complaints.—Do justice to yourself. Banish from your mind those unworthy opinions with which some interested persons have laboured to possess you.—Distrust the men who tell you that the English are naturally light and inconstant; that they complain without a cause. Withdraw your confidence equally from all parties—from ministers, favourites, and relations; and let there be one moment in your life in which you have consulted your own understanding.

When you affectedly renounced the name of [167]Englishman, believe me, Sir, you were persuaded to pay a very ill-judged compliment to one part of your subjects at the expense of another. While the natives of Scotland are not in actual rebellion, they are undoubtedly entitled to protection; nor do I mean to condemn the policy of giving some encouragement to the novelty of their affections for the House of Hanover. I am ready to hope for everything from their new-born zeal, and from the future steadiness of their allegiance, but hitherto they have no claim to your favour. To honour them with a determined predilection and confidence, in exclusion of your English subjects, who placed your family, and, in spite of treachery and rebellion, have supported it, upon the throne, is a mistake too gross even for the unsuspecting generosity of youth. In this error we see a capital violation of the most obvious rules of policy and prudence. We trace it, however, to an original bias in your education, and are ready to allow for your inexperience.

To the same early influence we attribute it that you have descended to take a share, not only in the narrow views and interests of particular persons, but in the fatal malignity of their passions. At your accession to the throne the whole system of government was altered, not from wisdom or deliberation, but because it had been adopted by your predecessor. A little personal motive of pique and resentment was sufficient to remove the ablest servants of the Crown; but it is not in this country, Sir, that such men can be dishonoured by the frowns of a king. They were dismissed, but could not be disgraced. Without entering into a minuter discussion of the merits of the peace, we may observe, in the imprudent hurry with which the first overtures from France were accepted, in the conduct of the negotiation, and terms of the treaty, the strongest marks of that precipitate spirit of concession with which a certain part of your subjects have been at [168]all times ready to purchase a peace with the natural enemies of this country. On your part we are satisfied that everything was honourable and sincere; and, if England was sold to France, we doubt not that your Majesty was equally betrayed. The conditions of the peace were matter of grief and surprise to your subjects, but not the immediate cause of their present discontent.

Hitherto, Sir, you had been sacrificed to the prejudices and passions of others. With what firmness will you bear the mention of your own?

A man, not very honourably distinguished in the world, commences a formal attack upon your favourite, considering nothing but how he might best expose his person and principles to detestation, and the national character of his countrymen to contempt. The natives of that country, Sir, are as much distinguished by a peculiar character as by your Majesty's favour. Like another chosen people, they have been conducted into the land of plenty, where they find themselves effectually marked and divided from mankind. There is hardly a period at which the most irregular character may not be redeemed. The mistakes of one sex find a retreat in patriotism, those of the other in devotion. Mr. Wilkes brought with him into politics the same liberal sentiments by which his private conduct had been directed, and seemed to think that, as there are few excesses in which an English gentleman may not be permitted to indulge, the same latitude was allowed him in the choice of his political principles, and in the spirit of maintaining them. I mean to state, not entirely to defend, his conduct. In the earnestness of his zeal he suffered some unwarrantable insinuations to escape him. He said more than moderate men would justify, but not enough to entitle him to the honour of your Majesty's personal resentment. The rays of royal indignation, collected upon him, served [169]only to illuminate, and could not consume. Animated by the favour of the people on the one side, and heated by persecution on the other, his views and sentiments changed with his situation. Hardly serious at first, he is now an enthusiast. The coldest bodies warm with opposition, the hardest sparkle in collision.—There is a holy, mistaken zeal in politics as well as religion. By persuading others, we convince ourselves. The passions are engaged, and create a material affection in the mind, which forces us to love the cause for which we suffer. Is this a contention worthy of a king? Are you not sensible how much the meanness of the cause gives an air of ridicule to the serious difficulties into which you have been betrayed? The destruction of one man has been now, for many years, the sole object of your government; and, if there can be anything still more disgraceful, we have seen, for such an object, the utmost influence of the executive power, and every ministerial artifice, exerted without success. Nor can you ever succeed, unless he should be imprudent enough to forfeit the protection of those laws to which you owe your crown, or unless your minister should persuade you to make it a question of force alone, and try the whole strength of government in opposition to the people. The lessons he has received from experience will probably guard him from such excess of folly, and in your Majesty's virtues we find an unquestionable assurance that no illegal violence will be attempted.

Far from suspecting you of so horrible a design, we would attribute his continued violation of the laws, and even the last enormous attack upon the vital principles of the constitution, to an ill-advised, unworthy, personal resentment. From one false step you have been betrayed into another, and, as the cause was unworthy of you, your ministers were determined that the prudence [170]executed should correspond with the wisdom and dignity of the design. They have reduced you to the necessity of choosing out of a variety of difficulties; to a situation so unhappy that you can neither do wrong without ruin, nor right without affliction. These worthy servants have undoubtedly given you many singular proofs of their abilities. Not contented with making Mr. Wilkes a man of importance, they have judiciously transferred the question from the rights and interests of one man to the most important rights and interests of the people, and forced your subjects from wishing well to the cause of an individual to unite with him in their own. Let them proceed as they have begun, and your Majesty need not doubt that the catastrophe will do no dishonour to the conduct of the piece.

The circumstances to which you are reduced will not admit of a compromise with the English nation. Undecisive, qualifying measures will disgrace your government still more than open violence, and, without satisfying the people, will excite their contempt. They have too much understanding and spirit to accept of an indirect satisfaction for a direct injury. Nothing less than a repeal, as formal as the resolution itself, can heal the wound which has been given to the constitution, nor will anything less be accepted. I can readily believe that there is an influence sufficient to recall that pernicious vote. The House of Commons undoubtedly consider their duty to the Crown as paramount to all other obligations. To us they are only indebted for an accidental existence, and have justly transferred their gratitude from their parents to their benefactors, from those who gave them birth to the minister from whose benevolence they derive the comforts and pleasure of their political life, who has taken the tenderest care of their infancy and relieves their necessities without offending their delicacy. But [171] if it were possible for their integrity to be degraded to a condition so vile and abject that, compared with it, the present estimation they stand in is a state of honour and respect, consider, Sir, in what manner you will afterwards proceed. Can you conceive that the people of this country will long submit to be governed by so flexible a House of Commons? It is not in the nature of human society that any form of government, in such circumstances, can long be preserved. In ours, the general contempt of the people is as fatal as their detestation. Such, I am persuaded, would be the necessary effect of any base concession made by the present House of Commons, and, as a qualifying measure would not be accepted, it remains for you to decide whether you will, at any hazard, support a set of men who have reduced you to this unhappy dilemma, or whether you will gratify the united wishes of the whole people of England by dissolving the Parliament.

Taking it for granted, as I do very sincerely, that you have personally no design against the constitution, nor any view inconsistent with the good of your subjects, I think you cannot hesitate long upon the choice which it equally concerns your interests and your honour to adopt. On one side you hazard the affection of all your English subjects, you relinquish every hope of repose to yourself, and you endanger the establishment of your family for ever. All this you venture for no object whatsoever, or for such an object as it would be an affront to you to name. Men of sense will examine your conduct with suspicion, while those who are incapable of comprehending to what degree they are injured afflict you with clamours equally insolent and unmeaning. Supposing it possible that no fatal struggle should ensue, you determine at once to be unhappy, without the hope of a compensation either from interest or ambition. If an [172]English king be hated or despised, he must be unhappy; and this, perhaps, is the only political truth which he ought to be convinced of without experiment. But if the English people should no longer confine their resentment to a submissive representation of their wrongs; if, following the glorious example of their ancestors, they should no longer appeal to the creature of the constitution, but to that high Being who gave them the rights of humanity, whose gifts it were sacrilege to surrender, let me ask you, Sir, upon what part of your subjects would you rely for assistance?

The people of Ireland have been uniformly plundered and oppressed. In return they give you every day fresh marks of their resentment. They despise the miserable governor you have sent them, because he is the creature of Lord Bute, nor is it from any natural confusion in their ideas that they are so ready to confound the original of a king with the disgraceful representation of him.

The distance of the colonies would make it impossible for them to take an active concern in your affairs, if they were as well affected to your government as they once pretended to be to your person. They were ready enough to distinguish between you and your ministers. They complained of an act of the legislature, but traced the origin of it no higher than to the servants of the Crown; they pleased themselves with the hope that their sovereign, if not favourable to their cause, at least was impartial. The decisive personal part you took against them has effectually banished that first distinction from their minds. They consider you as united with your servants against America, and know how to distinguish the sovereign and a venal parliament on one side from the real sentiments of the English people on the other. Looking forward to independence, they might possibly receive you for their king; but, if ever you retire to America, be assured they [173]will give you such a covenant to digest as the presbytery of Scotland would have been ashamed to offer to Charles the Second. They left their native land in search of freedom, and found it in a desert. Divided as they are into a thousand forms of policy and religion, there is one point in which they all agree: they equally detest the pageantry of a king and the supercilious hypocrisy of a bishop.

It is not, then, from the alienated affections of Ireland or America that you can reasonably look for assistance; still less from the people of England, who are actually contending for their rights, and in this great question are parties against you. You are not, however, destitute of every appearance of support: you have all the Jacobites, Non-jurors, Roman Catholics, and Tories of this country, and all Scotland, without exception. Considering from what family you are descended, the choice of your friends has been singularly directed; and truly, Sir, if you had not lost the Whig interest of England, I should admire your dexterity in turning the hearts of your enemies. Is it possible for you to place any confidence in men who, before they are faithful to you, must renounce every opinion and betray every principle, both in church and state, which they inherit from their ancestors and are confirmed in by their education; whose numbers are so inconsiderable that they have long since been obliged to give up the principles and language which distinguish them as a party, and to fight under the banners of their enemies? Their zeal begins with hypocrisy, and must conclude in treachery. At first they deceive, at last they betray.

As to the Scotch, I must suppose your heart and understanding so biassed from your earliest infancy in their favour that nothing less than your own misfortunes can undeceive you. You will not accept of the uniform [174] experience of your ancestors; and, when once a man is determined to believe, the very absurdity of the doctrine confirms him in his faith. A bigoted understanding can draw a proof of attachment to the House of Hanover from a notorious zeal for the House of Stuart, and find an earnest of future loyalty in former rebellions. Appearances are, however, in their favour: so strongly, indeed, that one would think they had forgotten that you are their lawful king, and had mistaken you for a pretender to the crown. Let it be admitted, then, that the Scotch are as sincere in their present professions as if you were in reality, not an Englishman, but a Briton of the North. You would not be the first prince of their native country against whom they have rebelled, nor the first whom they have basely betrayed. Have you forgotten, Sir, or has your favourite concealed from you, that part of our history when the unhappy Charles (and he, too, had private virtues) fled from the open, avowed indignation of his English subjects, and surrendered himself at discretion to the good faith of his own countrymen? Without looking for support in their affections as subjects, he applied only to their honour as gentlemen for protection. They received him, as they would your Majesty, with bows and smiles and falsehood, and kept him until they had settled their bargain with the English parliament, then basely sold their native king to the vengeance of his enemies. This, Sir, was not the act of a few traitors, but the deliberate treachery of a Scotch parliament representing the nation. A wise prince might draw from it two lessons of equal utility to himself. On one side he might learn to dread the undisguised resentment of a generous people who dare openly assert their rights, and who in a just cause are ready to meet their sovereign in the field. On the other side he would be taught to apprehend something far more formidable: a [175] fawning treachery against which no prudence can guard, no courage can defend. The insidious smile upon the cheek would warn him of the canker in the heart.

From the uses to which one part of the army has been too frequently applied, you have some reason to expect that there are no services they would refuse. Here, too, we trace the partiality of your understanding. You take the sense of the army from the conduct of the guards, with the same justice with which you collect the sense of the people from the representations of the ministry. Your marching regiments, Sir, will not make the guards their example either as soldiers or subjects. They feel and resent, as they ought to do, that invariable, undistinguishing favour with which the guards are treated, while those gallant troops, by whom every hazardous, every laborious service is performed, are left to perish in garrisons abroad, or pine in quarters at home, neglected and forgotten. If they had no sense of the great original duty they owe their country, their resentment would operate like patriotism, and leave your cause to be defended by those on whom you have lavished the rewards and honours of their profession. The Prætorian bands, enervated and debauched as they were, had still strength enough to awe the Roman populace, but when the distant legions took the alarm they marched to Rome and gave away the empire.

On this side, then, whichever way you turn your eyes, you see nothing but perplexity and distress. You may determine to support the very ministry who have reduced your affairs to this deplorable situation; you may shelter yourself under the forms of a parliament, and set the people at defiance; but be assured, Sir, that such a resolution would be as imprudent as it would be odious. If it did not immediately shake your establishment, it would rob you of your peace of mind for ever.

[176] On the other, how different is the prospect! How easy, how safe and honourable, is the path before you! The English nation declare they are grossly injured by their representatives, and solicit your Majesty to exert your lawful prerogative, and give them an opportunity of recalling a trust which they find has been scandalously abused. You are not to be told that the power of the House of Commons is not original, but delegated to them for the welfare of the people, from whom they received it. A question of right arises between the constituent and the representative body. By what authority shall it be decided? Will your Majesty interfere in a question in which you have, properly, no immediate concern? It would be a step equally odious and unnecessary. Shall the Lords be called upon to determine the rights and privileges of the Commons? They cannot do it without a flagrant breach of the constitution. Or will you refer it to the judges? They have often told your ancestors that the law of parliament is above them. What part then remains but to leave it to the people to determine for themselves? They alone are injured, and since there is no superior power to which the cause can be referred, they alone ought to determine.

I do not mean to perplex you with a tedious argument upon a subject already so discussed that inspiration could hardly throw a new light upon it. There are, however, two points of view in which it particularly imports your Majesty to consider the late proceedings of the House of Commons. By depriving a subject of his birthright they have attributed to their own vote an authority equal to an act of the whole legislature, and, though perhaps not with the same motives, have strictly followed the example of the Long Parliament, which first declared the regal office useless, and soon after, with as little ceremony, dissolved the House of Lords. The same pretended power which [177] robs an English subject of his birthright may rob an English king of his crown. In another view, the resolution of the House of Commons, apparently not so dangerous to your Majesty, is still more alarming to your people. Not contented with divesting one man of his right, they have arbitrarily conveyed that right to another. They have set aside a return as illegal, without daring to censure those officers who were particularly apprised of Mr. Wilkes' incapacity, not only by the declaration of the House, but expressly by the writ directed to them, and who, nevertheless, returned him as duly elected. They have rejected the majority of votes, the only criterion by which our laws judge of the sense of the people; they have transferred the right of election from the collective to the representative body; and by these acts, taken separately or together, they have essentially altered the original constitution of the House of Commons. Versed as your Majesty undoubtedly is in the English history, it cannot escape you how much it is your interest as well as your duty to prevent one of the three estates from encroaching upon the province of the other two, or assuming the authority of them all. When once they have departed from the great constitutional line by which all their proceedings should be directed, who will answer for their future moderation? Or what assurance will they give you that, when they have trampled upon their equals, they will submit to a superior? Your Majesty may learn hereafter how nearly the slave and tyrant are allied.

Some of your council, more candid than the rest, admit the abandoned profligacy of the present House of Commons, but oppose their dissolution, upon an opinion, I confess, not very unwarrantable, that their successors would be equally at the disposal of the treasury. I cannot persuade myself that the nation will have profited so little by experience. But if that opinion were well founded, [178]you might then gratify our wishes at an easy rate, and appease the present clamour against your government, without offering any material injury to the favourite cause of corruption.

You have still an honourable part to act. The affections of your subjects may still be recovered. But before you subdue their hearts you must gain a noble victory over your own. Discard those little, personal resentments which have too long directed your public conduct. Pardon this man the remainder of his punishment; and, if resentment still prevails, make it what it should have been long since—an act, not of mercy, but of contempt. He will soon fall back into his natural station, a silent senator, and hardly supporting the weekly eloquence of a newspaper. The gentle breath of peace would leave him on the surface, neglected and unremoved. It is only the tempest that lifts him from his place.

Without consulting your minister, call together your whole council. Let it appear to the public that you can determine and act for yourself. Come forward to your people. Lay aside the wretched formalities of a king, and speak to your subjects with the spirit of a man and in the language of a gentleman. Tell them you have been fatally deceived. The acknowledgment will be no disgrace, but rather an honour, to your understanding. Tell them you are determined to remove every cause of complaint against your government, that you will give your confidence to no man who does not possess the confidence of your subjects, and leave it to themselves to determine, by their conduct at a future election, whether or no it be in reality the general sense of the nation that their rights have been arbitrarily invaded by the present House of Commons, and the constitution betrayed. They will then do justice to their representatives and to themselves.

[179] These sentiments, Sir, and the style they are conveyed in, may be offensive, perhaps, because they are new to you. Accustomed to the language of courtiers, you measure their affections by the vehemence of their expressions, and when they only praise you indifferently, you admire their sincerity. But this is not a time to trifle with your fortune. They deceive you, Sir, who tell you that you have many friends, whose affections are founded upon a principle of personal attachment. The first foundation of friendship is not the power of conferring benefits, but the equality with which they are received and may be returned. The fortune which made you a king forbade you to have a friend. It is a law of nature which cannot be violated with impunity. The mistaken prince who looks for friendship will find a favourite, and in that favourite the ruin of his affairs.

The people of England are loyal to the House of Hanover, not from a vain preference of one family to another, but from a conviction that the establishment of that family was necessary to the support of their civil and religious liberties. This, Sir, is a principle of allegiance equally solid and rational, fit for Englishmen to adopt, and well worthy of your Majesty's encouragement. We cannot long be deluded by nominal distinctions. The name of Stuart, of itself, is only contemptible; armed with the sovereign authority, their principles are formidable. The prince who imitates their conduct should be warned by their example, and, while he plumes himself upon the security of his title to the crown, should remember that, as it was acquired by one revolution, it may be lost by another.

ROBERT BURNS.

XLVI. ADDRESS TO THE UNCO GUID, OR THE RIGIDLY RIGHTEOUS.

This undoubtedly ranks as one of the noblest satires in our literature. It was first published as a broadside, and afterwards incorporated in the Kilmarnock and Edinburgh editions.

XLVII. HOLY WILLIE'S PRAYER.

The hero of this daring exposition of Calvinistic theology was William Fisher, a farmer in the neighbourhood of Mauchline, and an elder in Mr. Auld's session. He had signalized himself in the prosecution of Mr. Hamilton, elsewhere alluded to; and Burns appears to have written these verses in retribution of the rancour he had displayed on that occasion. Fisher was afterwards convicted of appropriating the money collected for the poor. Coming home one night from market in a state of intoxication, he fell into a ditch, where he was found dead next morning. The poem was first published in 1801, along with the "Jolly Beggars".

EPITAPH ON HOLY WILLIE.

CHARLES LAMB.

XLVIII. A FAREWELL TO TOBACCO.

Published originally in 1811 in The Reflector, No. 4. As Lamb himself states, it was meditated for two years before it was committed to paper in 1805, but not published until six years afterwards.

THOMAS MOORE.

XLIX. LINES ON LEIGH HUNT.

Suggested by Hunt's Byron and his Contemporaries.

GEORGE CANNING.

L. EPISTLE FROM LORD BORINGDON TO LORD GRANVILLE.

Published in Fugitive Verses, and thence included among Canning's works.

LI. REFORMATION OF THE KNAVE OF HEARTS.

This is an exquisite satire on the attempts at criticism which were current in pre-Edinburgh Review days, when the majority of the journals were mere touts for the booksellers. The papers in question are taken from Nos. 11 and 12 of the Microcosm, published on Monday, February 12th, 1787—when Canning was seventeen years of age.

The epic poem on which I shall ground my present critique has for its chief characteristics brevity and simplicity. The author—whose name I lament that I am, in some degree, prevented from consecrating to immortal fame, by not knowing what it is—the author, I say, has not branched his poem into excrescences of episode, or prolixities of digression; it is neither variegated with diversity of unmeaning similitudes, nor glaring with the varnish of unnatural metaphor. The whole is plain and uniform; so much so, indeed, that I should hardly be surprised if some morose readers were to conjecture that the poet had been thus simple rather from necessity than choice; that he had been restrained, not so much by chastity of judgment, as sterility of imagination.

Nay, some there may be, perhaps, who will dispute his claim to the title of an epic poet, and will endeavour to degrade him even to the rank of a ballad-monger. But I, as his commentator, will contend for the dignity of my author, and will plainly demonstrate his poem to be an epic poem, agreeable to the example of all poets, and the consent of all critics heretofore.

First, it is universally agreed that an epic poem should have three component parts—a beginning, a middle, and an end; secondly, it is allowed that it should have one grand action or main design, to the forwarding of which all the parts of it should directly or indirectly tend, and that this design should be in some measure consonant with, and conducive to, the purposes of morality; and [195]thirdly, it is indisputably settled that it should have a hero. I trust that in none of these points the poem before us will be found deficient. There are other inferior properties which I shall consider in due order.

Not to keep my readers longer in suspense, the subject of the poem is "The Reformation of the Knave of Hearts". It is not improbable that some may object to me that a knave is an unworthy hero for an epic poem—that a hero ought to be all that is great and good. The objection is frivolous. The greatest work of this kind that the world has ever produced has "the Devil" for its hero; and supported as my author is by so great a precedent, I contend that his hero is a very decent hero, and especially as he has the advantage of Milton's, by reforming, at the end, is evidently entitled to a competent share of celebrity.

I shall now proceed to the more immediate examination of the poem in its different parts. The beginning, say the critics, ought to be plain and simple—neither embellished with the flowers of poetry, nor turgid with pomposity of diction. In this how exactly does our author conform to the established opinion! He begins thus:

Can anything be more clear! more natural! more agreeable to the true spirit of simplicity? Here are no tropes, no figurative expressions, not even so much as an invocation to the Muse. He does not detain his readers by any needless circumlocution, by unnecessarily informing them what he is going to sing, or still more unnecessarily enumerating what he is not going to sing; but, according to the precept of Horace:—

[196] That is, he at once introduces us and sets us on the most easy and familiar footing imaginable with her Majesty of Hearts, and interests us deeply in her domestic concerns. But to proceed—

Here indeed the prospect brightens, and we are led to expect some liveliness of imagery, some warmth of poetical colouring; but here is no such thing. There is no task more difficult to a poet than that of rejection. Ovid among the ancients, and Dryden among the moderns, were perhaps the most remarkable for the want of it. The latter, from the haste in which he generally produced his compositions, seldom paid much attention to the limæ labor, "the labour of correction", and seldom, therefore, rejected the assistance of any idea that presented itself. Ovid, not content with catching the leading features of any scene or character, indulged himself in a thousand minutiæ of description, a thousand puerile prettinesses, which were in themselves uninteresting, and took off greatly from the effect of the whole; as the numberless suckers and straggling branches of a fruit-tree, if permitted to shoot out unrestrained, while they are themselves barren and useless, diminish considerably the vigour of the parent stock. Ovid had more genius but less judgment than Virgil; Dryden more imagination but less correctness than Pope; had they not been deficient in these points the former would certainly have equalled, the latter infinitely outshone the merits of his countryman. Our author was undoubtedly possessed of that power which they wanted, and was cautious not to indulge too far the sallies of a lively imagination. Omitting, therefore, any mention of sultry Sirius, sylvan shade, sequestered glade, verdant hills, purling rills, [197] mossy mountains, gurgling fountains, &c., he simply tells us that it was "All on a summer's day". For my own part I confess that I find myself rather flattered than disappointed, and consider the poet as rather paying a compliment to the abilities of his readers, than baulking their expectations. It is certainly a great pleasure to see a picture well painted; but it is a much greater to paint it well oneself. This, therefore, I look upon as a stroke of excellent management in the poet. Here every reader is at liberty to gratify his own taste, to design for himself just what sort of "summer's day" he likes best; to choose his own scenery, dispose his lights and shades as he pleases, to solace himself with a rivulet or a horse-pond, a shower or a sunbeam, a grove or a kitchen-garden, according to his fancy. How much more considerate this than if the poet had, from an affected accuracy of description, thrown us into an unmannerly perspiration by the heat of the atmosphere, forced us into a landscape of his own planning, with perhaps a paltry good-for-nothing zephyr or two, and a limited quantity of wood and water. All this Ovid would undoubtedly have done. Nay, to use the expression of a learned brother commentator—quovis pignore decertem, "I would lay any wager", that he would have gone so far as to tell us what the tarts were made of, and perhaps wandered into an episode on the art of preserving cherries. But our poet, above such considerations, leaves every reader to choose his own ingredients, and sweeten them to his own liking; wisely foreseeing, no doubt, that the more palatable each had rendered them to his own taste, the more he would be affected at their approaching loss.

I cannot leave this line without remarking that one of the Scribleri, a descendant of the famous Martinus, has [198]expressed his suspicions of the text being corrupted here, and proposes instead of "all on" reading "alone", alleging, in favour of this alteration, the effect of solitude in raising the passions. But Hiccius Doctius, a high Dutch commentator, one nevertheless well versed in British literature, in a note of his usual length and learning, has confuted the arguments of Scriblerus. In support of the present reading he quotes a passage from a poem written about the same period with our author's, by the celebrated Johannes Pastor[230], intituled "An Elegiac Epistle to the Turnkey of Newgate", wherein the gentleman declares that, rather indeed in compliance with an old custom than to gratify any particular wish of his own, he is going—

Now, as nothing throws greater light on an author than the concurrence of a contemporary writer, I am inclined to be of Hiccius' opinion, and to consider the "All" as an elegant expletive, or, as he more aptly phrases it elegans expletivum. The passage therefore must stand thus:—

And thus ends the first part, or beginning, which is simple and unembellished, opens the subject in a natural and easy manner, excites, but does not too far gratify our curiosity, for a reader of accurate observation may easily discover that the hero of the poem has not, as yet, made his appearance.

I could not continue my examination at present through the whole of this poem without far exceeding the limits of a single paper. I have therefore divided it into [199]two, but shall not delay the publication of the second to another week, as that, besides breaking the connection of criticism, would materially injure the unities of the poem.

Having thus gone through the first part, or beginning of the poem, we may, naturally enough, proceed to the consideration of the second.

The second part, or middle, is the proper place for bustle and business, for incident and adventure:—

Here attention is awakened, and our whole souls are intent upon the first appearance of the hero. Some readers may perhaps be offended at his making his entree in so disadvantageous a character as that of a thief. To this I plead precedent.

The hero of the Iliad, as I observed in a former paper, is made to lament very pathetically that "life is not like all other possessions, to be acquired by theft". A reflection, in my opinion, evidently showing that, if he did refrain from the practice of this ingenious art, it was not from want of an inclination that way. We may remember, too, that in Virgil's poem almost the first light in which the pious Æneas appears to us is a deer-stealer; nor is it much excuse for him that the deer were wandering without keepers, for however he might, from this circumstance, have been unable to ascertain whose property they were, he might, I think, have been pretty well assured that they were not his.

Having thus acquitted our hero of misconduct, by the example of his betters, I proceed to what I think the master-stroke of the poet.

[200] Here, whoever has an ear for harmony and a heart for feeling must be touched! There is a desponding melancholy in the run of the last line! an air of tender regret in the addition of "quite away!" a something so expressive of irrecoverable loss! so forcibly intimating the Ad nunquam reditura! "They never can return!" in short, such an union of sound and sense as we rarely, if ever, meet with in any author, ancient or modern. Our feelings are all alive, but the poet, wisely dreading that our sympathy with the injured Queen might alienate our affections from his hero, contrives immediately to awaken our fears for him by telling us that—

We are all conscious of the fault of our hero, and all tremble with him, for the punishment which the enraged monarch may inflict:

The fatal blow is struck! We cannot but rejoice that guilt is justly punished, though we sympathize with the guilty object of punishment. Here Scriblerus, who, by the by, is very fond of making unnecessary alterations, proposes reading "score" instead of "sore", meaning thereby to particularize that the beating bestowed by this monarch consisted of twenty stripes. But this proceeds from his ignorance of the genius of our language, which does not admit of such an expression as "full score", but would require the insertion of the particle "a", which cannot be, on account of the metre. And this is another great artifice of the poet. By leaving the quantity of beating indeterminate, he gives every reader the liberty to administer it, in exact proportion to the sum of indignation which he may have conceived against his hero, that [201] by thus amply satisfying their resentment they may be the more easily reconciled to him afterwards.

Here ends the second part, or middle of the poem, in which we see the character and exploits of the hero portrayed with the hand of a master.

Nothing now remains to be examined but the third part, or end. In the end it is a rule pretty well established that the work should draw towards a conclusion, which our author manages thus:—

Here everything is at length settled; the theft is compensated, the tarts restored to their right owner, and poetical justice, in every respect, strictly and impartially administered.

We may observe that there is nothing in which our poet has better succeeded than in keeping up an unremitted attention in his readers to the main instruments, the machinery of his poem, viz. the tarts; insomuch that the afore-mentioned Scriblerus has sagely observed that "he can't tell, but he doesn't know, but the tarts may be reckoned the heroes of the poem". Scriblerus, though a man of learning, and frequently right in his opinion, has here certainly hazarded a rash conjecture. His arguments are overthrown entirely by his great opponent, Hiccius, who concludes by triumphantly asking, "Had the tarts been eaten, how could the poet have compensated for the loss of his heroes?"

We are now come to the dénouement, the setting all to rights: and our poet, in the management of his moral, is [202]certainly superior to his great ancient predecessors. The moral of their fables, if any they have, is so interwoven with the main body of their work, that in endeavouring to unravel it we should tear the whole. Our author has very properly preserved his whole and entire for the end of his poem, where he completes his main design, the reformation of his hero, thus—

Having in the course of his work shown the bad effects arising from theft, he evidently means this last moral reflection to operate with his readers as a gentle and polite dissuasive from stealing.

Thus have I industriously gone through the several parts of this wonderful work, and clearly proved it, in every one of these parts, and in all of them together, to be a "due and proper epic poem", and to have as good a right to that title, from its adherence to prescribed rules, as any of the celebrated masterpieces of antiquity. And here I cannot help again lamenting that, by not knowing the name of the author, I am unable to twine our laurels together, and to transmit to posterity the mingled praises of genius and judgment, of the poet and his commentator.

POETRY OF THE ANTI-JACOBIN.

LII. THE FRIEND OF HUMANITY AND THE KNIFE-GRINDER.

The Anti-Jacobin was planned by George Canning when he was Under-Secretary of State for Foreign Affairs. He secured the collaboration of George Ellis, John Hookham Frere, William Gifford, and some others. The last-named was appointed working editor. The first number appeared on the 20th November, 1797, with a notice that "the publication would be continued every Monday during the sitting of Parliament". A volume of the best pieces, entitled The Poetry of the Anti-Jacobin, was published in 1800. It is almost impossible to apportion accurately the various pieces to their respective authors, though more than one attempt has been made so to do. The following piece is designed to ridicule the extravagant sympathy for the lower classes which was then the fashion.

LIII. SONG BY ROGERO THE CAPTIVE.

This is a satirical imitation of many of the songs current in the romantic dramas of the period. It is contained in the Rovers, or the Double Arrangement, act i. sc. 2, a skit upon the dramatic literature of the day.

COLERIDGE AND SOUTHEY.

LIV. THE DEVIL'S WALK.

Originally written in an album belonging to one of the Misses Fricker, the ladies whom the two poets married. What was the extent of the collaboration of the respective writers in the poem is unknown, but the fact is beyond a doubt that it was written by them in conjunction.

SYDNEY SMITH.