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One Simile, that P solitary shiges
In the dry desert of a thousand lines,
Or 9 lengthen's Thought that gleams through many a

. pages
Has fanctify'd whole poems for an age.
* I lose my patience, and I own it too, . i15
When works are censur'd, not as bad but new ;
While if our Elders break all reason's laws,
These fools demand not pardon, but Applause.

s On Avon's bank, where flow'rs eternal blow, If I but ask, if any weed can grow? One Tragic sentence if I dare deride Which · Betterton's grave action dignify'd, Or well-mouth'd Booth with emphasis proclaims, (Tho’ but, perhaps, a mufter-roll of Names) How will our Fathers rise up in a rage, 125 And swear, all shame is loft in George's Age! You'd think v no Fools disgrac'd the former reigni; Did not fome grave Examples yet remain,

Notes. which, hitherto, the small critics had mistaken for the fublime, these latter are now apt to fufpect all they do noc understand, to be bombast: like the Idiot in Cervantes, who having been beat for not distinguishing between a Cur and a Greyhound, imagined every dog he met, to be a .. Cur-dog.

Ver. 124. A mufier' roll of Names,] An absurd custom · of several Actors, to pronounce with emphasis the meer Proper Names of Greeks or Romans, which (as they call jij fill the mouth of the Player. P.


Jam w Saliare Numae carmen qui laudat, et illud,

Quod miecum ignorat, folus vult scire videri ;

Ingeniis non ille favet plauditque fepultis,

Nostra sed impugnat, nos noftraque lividus odit.

* Quod fi tam Graecis novitas invisa fuiffet,

Quam nobis ; quid nunc esset vetus ? aut quid haberet,

Quod legeret tereretque viritim publicus usus ?

y Ut primum pofitis nugari Graecia bellis

Coepit, et in vitium fortuna labier aequa;

Nunc athletarum ftudiis, runc arfit 2 equorum;

Ver. 129-130.] Much inferior to the original,

Ver. 138. By learned Critics, of the mighty Dead??] A ridicule on the tribe of learned Critics, who think all wri. ters but the ancient unworthy their care and attention. This came properly into a satire, whose subject is the unreasonable fondness for antiquity in general.

VER. 140. with Charles restor'd;] He says, restored, because the luxury he brought in, was only the revival of that practised in the reigns of his Father and Grandfather.

VER. 142. A Verse of the Lord Lansdown. P.

Ver. 143. In Horsemanship t'excell, And ev'ry flow'ry Courtier writ Romance.] The Duke of Newcastle's book of Horsemanship: the Romance of Parthenisa, by the


Who scord a Lad should teach his father skill,
And, having once been wrong, will be so still. 130
He, who to feem more deep than you or I, .,?
Extols old Bards, or Merlin's Prophecy,
Miftake him not; he envies, not admires,
And to debase the Sons, exalts the Sires.
* Had ancient times confpir'd to dif-allow : 135
What then was new, what had been ancient now?
Or what remain'd, fo worthy to be read
By learned Critics, of the mighty Dead?

y In Days of Ease, when now the weary Sword
Was sheath'd, and Luxury with Charles restor'd; 140
In ev'ry taste of foreign Courts improv'd,
“ All, by the King's Example, liv’d and lov’d."
Then Peers grew proud in ? Horsemanship t'excell,
New-market's Glory rofe, as Britain's fell;
The Soldier breath'd the Gallantries of France, 145
And ev'ry flow'ry Courtier writ Romance.

. Notes. :
Earl of Orrery, and most of the French Romances tran-
Nated by Persons of Quality. P. .

Ver. 146. And ev'ry flow'ry Courtier writ Romance.) A kind of heroical Romances, whose subject was some celebrated fory of antiquity. In these voluminous extravagancies, love and honour supplied the place of life and manners, which were scarce ever thought of till Mr. De Marivaux in France, and Mr. Fielding in England introduced this fpecies of fable : and, by inriching it with the best part of the comic art, may be said to have brought it to perfection.

• Marmoris aut eboris fabros aut aeris amavit ;


picta vultum mentemque tabella;


Nunc tibicinibus, nunc est gavisa tragoedis :

Sub nutrice puella velut fi luderet infans, Quod cupide petiit, mature plena reliquit.

Quid placet, aut odio eft, quod non mutabile credas?

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Notes. Ver. 149. Lely on animated Canvas stole The sleepy Eye, etc.] This was the Characteristic of this excellent Colourist's expression ; who was an excessive Maniereft.

VER. 153. On each enervate firing, etc.) The Siege of Rhodes by Sir William Davenant, the first Opera sung is England. P.

Then a Marble, soften’d into life, grew warm,
fond yielding Metal flow'd to human form : :
Lely on b animated Canvas stole

The sleepy Eye, that spoke the melting soul. 150
No wonder then, when all was Love and sport,
The willing Muses were debauch'd at Court:
On each enervate string they taught the note
To pant, or tremble thro' an Eunuch’s throat.

But d Britain, changeful as a Child át play, 155
Now calls in Princes, and now turns away. -..
Now Whig, now Tory, what we loy'd we hate;
Now all for Pleasure, now for Church and State;
Now for Prerogative, and now for Laws;
Effects unhappy! from a Noble Cause.

e Time was, a sober Englishman wou'd knock
His servants up, and rise by five o'clock,
Instruct his Family in ev'ry rule,
And send his Wife to church, his Son to school.
To f worship like his Fathers, was his care; 165
To teach their frugal Virtues to his Heir;
To prove, that Luxury could never hold;
And place, on good & Security, his Gold. I

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Notes. Ver. 158. Now all for Pleasure, now for Church and Stale;] The first half of Charles the Second's Reign was passed in an abandoned diffeluteness of manners; the other half, in factious disputes about popish plots and French prerogative.

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