No More Learning

176—7.
6


## p. 144 (#168) ############################################

144 Arbuthnot and Lesser Prose Writers
seemed 'defective' and his general composition ‘monstrous. '
'
Hughes's own verse is of no importance ; reference has been
already made to his one tragedy, The Siege of Damascus (1720),
which has some merit, and was very successful"; but the author
died on the night of its production. Johnson says that Hughes
was 'not only an honest but a pious man. ' Swift and Pope agreed
that he was among the mediocrities in prose as well as verse, and
that he was too grave for them. Hughes had written for The
Tatler and The Spectator, and Steele, in The Theatre, said that
his pen was always engaged in raising the mind to what was noble
and virtuous.
A word must be added here as to several other editors of
English classics, to some of whom reference is made also in
other chapters of this work. Nicholas Rowe has been previously
treated, both as a dramatista and as the producer, in 1709, of the
first edition of Shakespeare that can in any way be called critical 3.
His chief service in the latter capacity lay in his preserving, in the
'Life' which he prefixed to the plays, information, derived largely
from Betterton, which might otherwise have been forgotten. To
subsequent editions of Shakespeare belonging to this period, it is
unnecessary again to refer4
To Warburton's edition (1747), Thomas Edwards, a barrister
who devoted most of his time to literature, published a Supple-
ment, which, in the third edition (1748), was called The Canons of
Criticism, and a Glossary, ‘being a supplement to Mr Warburton's
edition of Shakespeare, collected from the notes in that celebrated
work, and proper to be bound up with it. ' The Canons are
satirical, with illustrations from Edwards's victim; e. g. , a critic 'has
a right to alter any passage which he does not understand'; 'He
may explain a difficult passage by words absolutely unintelligible. '
Johnson compared Edwards's attack to a fly stinging a stately
horse; but, as Warton says, the attack was allowed by all
impartial critics to have been decisive and judicious. ' Warburton
retorted in notes to The Dunciad. Edwards died in 1757, at
Samuel Richardson's house. His Canons of Criticism went
through many editions.
Benjamin Heath, a town clerk of Exeter, with literary tastes,
published notes on the Greek dramatists, and, in 1765, A Revisal
of Shakespeare's Text, 'wherein the alterations introduced into it
by the more modern editors and critics are particularly considered. '
1 See ante, vol. VIII, p. 194.
2 See ibid. pp. 195—7.
3 See ante, vol. v, pp. 267–8.
• See ibid. pp. 268 ff.


## p. 145 (#169) ############################################

Shakespearean Critics
145
Heath attacked Pope, Hanmer and Warburton, but agreed that
the public was under real obligations to Theobald. He himself
was not so fortunate as to be furnished with the Shakespeare
folios, still less the quartos ; but he concluded that all readings
deserving of attention were given by Pope or Theobald. Some of
his annotations were included in a collection published in 1819.
Among the manuscripts which he left unpublished on his death,
in 1766, were notes (used by Dyce) on Beaumont and Fletcher's
plays.
John Upton, rector of Great Rissington and prebendary of
Rochester, edited Epictetus and Spenser's Faerie Queene (1758),
and published Critical Observations on Shakespeare (1746). In
the Spenser, old spelling was preserved, and the notes were
numerous and learned. There had been a preliminary Letter
concerning a new edition of Spenser's Faerie Queene (1751), in
which Upton spoke contemptuously of Hughes and Pope as
editors, and said that his edition of Spenser had been undertaken
at Gilbert West's advice. In a preface to the second edition of
Critical Observations on Shakespeare, Upton replied to and
attacked Warburton.
Another clergyman of literary tastes, Zachary Grey, rector
of Houghton Conquest, Bedfordshire, wrote much on church
questions, but is mentioned here because of his edition of
Hudibras, with large annotations and a preface,' which appeared
in 1744, with illustrations by Hogarth. The text was explained
by plentiful quotations from puritan and other contemporaries.
Warburton rendered some help, which he apparently thought was
not sufficiently acknowledged; for, in his Shakespeare, he said
that he doubted whether (so execrable a heap of nonsense had
ever appeared in any learned language as Grey's commentaries on
Hudibras. A Supplement to Grey's valuable work, with further
notes, appeared in 1752. Grey attacked Warburton in several
pamphlets, and charged his antagonist with passing off Hanmer's
work as his own. In 1754, Grey published Critical, Historical
and Explanatory Notes on Shakespeare. He died in 1766.
The notice of the criticisms which followed on the work of the
first editors of Shakespeare has taken us rather far into the
eighteenth century; and later critics must be left to another
volume.
E. L. IX.
CH. V.
10


## p. 146 (#170) ############################################

CHAPTER VI
LESSER VERSE WRITERS
I
Johnson, who seems to have disliked Prior for more reasons
than one, spoke of his 'obscure original. The poet's father,
George Prior, was a joiner at Eastbrook in Wimborne, Dorset,
where Matthew was born on 21 July 1664. His parents were
presbyterians who, in 1662, became nonconformists. Wimborne
is famed for its collection of chained books, and one of these,
Ralegh's History of the World, has a circular hole burned with
a heated skewer through a hundred pages or so. Some local
worthy invented the incredible tale that the damage was caused
by a spark from a taper used by young Matthew while diligently
reading this monumental work. The elder Prior came to London
when his son was a boy, attracted by the prosperity of his brother
Samuel, host first of the Rhenish tavern, Channel row, and after-
wards (by 1688 at latest), of the Rummer tavern in Charing Cross.
Another kinsman, Arthur Prior, who died in 1687, and left the poet
£100, seems also to have been a vintner and may have succeeded
Samuel at the Rhenish tavern. At one of these houses of resort,
Matthew appears to have been apprentice, probably at the last
mentioned. There, he was by chance found reading Horace by
the earl of Dorset, of whom he always retained the most grateful
remembrance? . His skill in verse rendering attracted the attention
of the Dorset circle. At the earl's suggestion, he was sent to West-
minster in 1680; next year, he became a king's scholar, and passed
under the immediate care of Busby, who, his little birch’in hand,
had fostered the juvenile talent of Dryden and Locke, as well as of
i Prior's Dedication of his Poems (1718) to Dorset's son and successor contains a
character of the father which, though written in a panegyrical strain, may be described
as one of the happiest tributes of the kind extant.


## p. 147 (#171) ############################################

>
The Country and the City Mouse 147
South, Atterbury and a score of other bishops. At Westminster,
his chief friends were Charles Montague, afterwards earl of Halifax,
and his brother, James Montague; objecting to be separated from
these confederates, Prior incurred the disapproval of his patron by
refusing to go to Christ Church and entering, instead, as a scholar
at St John's college, Cambridge, in April 1683. To his school and
college, and to his university, he always remained conspicuously
loyal? . In 1686, he took his bachelor's degree, and in the following
year joined with Charles Montague in writing The Hind and the
Panther Transvers'd to the Story of the Country and the City
Mouse? The form of this slight piece is copied from Bucking-
ham’s Rehearsal, which contains the originals of the poet Bayes
and those languishing gentlemen' Smith and Johnson. In The
Rehearsal, Bayes takes them to the repetition of his latest rimed
tragedy. Here, he makes them listen to as much as they can bear
of his new poem in defence of the church of Rome. Some of the
incongruities in Dryden's fable, and one or two incidental mis-
takes, are effectively twitted, and Dryden's method of argument
(which abhors 'knotty reasonings' as 'too barbarous for my stile')
is rather happily hit off. But the point of the jest—that Dryden's
moral change will not always keep pace with his formal conversion-
Such was I-such, by nature still I am--
is but a sorry kind of personality. Prior seems to have indulged a
pique against Dryden, which does not sit well on the lesser poet3.
While Dryden left this attack without any effective retort, Pope
avenged his injured fellow Catholics on Montague in his Epistle
to Arbuthnot (where Montague figures as Bufo).
In 1688, Prior was chosen a fellow of St John's, and blossomed
forth in An Ode, written as a college exercise' on the text 'I am
that I am. The poem, which, in accordance with custom, was sent
to the earl of Exeter, in acknowledgment of a benefaction bestowed
upon the college by one of his ancestors, seems to have recom-
mended Prior to the notice of the family, as his verses in the
Strephon vein To the Countess of Exeter, Playing on the Lute,
1 His poems contain more than one recognition of the fact that
St John's was founded in a Woman's Name.
Cf. , especially, vol. ii of Waller's edition of The Writings of Matthew Prior (Cambridge
English Classics, 1905—7). For Prior's active interest in the university and its press,
when he was in the midst of public affairs, see The History of His Own Time, p. 167
et al. As to Westminster school, cf. Longleat Papers.
9 Cf, ante, vol. VIII, p. 48.
: Cf. A Satire on the Modern Translators (pp. 48–9) and A Session of the Poets
p. 299), in vol. 11 of Waller's edn. p. 278.
10_2


## p. 148 (#172) ############################################

148
Lesser Verse Writers
and his lines Picture (at Burleigh House) of Seneca dying in a
Bath, indicate.
Some recently discovered verses by Prior show that, in the
reign of James II, he adhered to the side of the court, without
suggesting that there was much depth in his loyaltyd. At the
revolution, he was thrown upon his own resources, and, not
unnaturally, appealed to his earliest patron, Dorset, by sending
An Epistle to Fleetwood Shephard, the fidus Achates of that
nobleman. His reputation as a satirist would appear to have
served him in good stead, for, although the other mouse was
advanced first, Prior had not to wait long. During the winter
,
of 1690–91, he obtained an appointment in the English embassy
at the Hague, the meeting place of the coalition against Louis XIV
organised by William of Orange. Prior was secretary to Lord
Dursley, envoy extraordinary and plenipotentiary (in whose wife's
copy of Milton he inscribed an extravagant compliment, repeated
from one which he had previously paid to Lady Dorset); and the
envoy's gout gave the young attaché many opportunities of personal
converse with William. His readiness caused the king to bestow
on him, besides the half-serious nickname ‘Secrétaire du Roy,'
the appointment of gentleman of the king's bedchamber. He
began to send contributions to Dryden's Miscellanies, taking care
to publish loyal poems both in pindaric style and in a lighter vein.
In 1693, he prepared, for the music of Purcell and the delectation
of their majesties, a new year's Hymn to the Sun, and, in 1695, he
was persuaded to take a conspicuous place in the group of bards
who, in a black-framed folio, mourned ‘Dread Maria's Universal
Fall. His diplomatic Ode Presented to the King on his Majesty's
Arrival in Holland after The Queen's death is in ballad-metre
of eight and eight. In the same metre, he cast, also in 1695, An
English Ballad On the Taking of Namur By the King of Great
Britain, a sufficient taking off and down of the Ode sur la Prise De
Namur by the Boileau gloriosus of 1692. A solemn congratulation
in heroic couplets To the King, at his Arrival in Holland, after
the Discovery of the Conspiracy, followed in 1696. On the other
hand, in The Secretary, written at the Hague in the same year,
we get the first real touch of the true quality of Prior's muse,
describing, in the anapaestic metre which he may be said to have
1 See Advice to the Painter, upon the defeat of the Rebels in the West, etc. , and To
the Bishop of Rochester (Sprat) upon his Account of the Rye-house Plot (Waller, vol. 11,
pp. 289—93). The queer stanzas Orange (ibid. 310—11) illustrate his transition.
9 Waller, vol. 1, pp. 15—16.


## p. 149 (#173) ############################################

>
Prior's Early Official Life and Verse 149
perfected, the jocund progress of the 'Englischen Heer Secretaris'
to a week-end holiday :
In a little Dutch-chaise on a Saturday night,
On my left hand my Horace, a Nymph on my right. . .
For her, neither visits, nor parties of tea,
Nor the long-winded cant of a dull refugee.
In 1697, came peace with the treaty of Ryswyk. Prior acted
as secretary during the negotiations, and, for a long time, in
consequence of intervals between the plenipotentiaryships of
Portland, Jersey and Manchester, was virtually in charge. Sir
William Trumbull complimented him on his happy blend of
poetry and business ; but he was not compensated by this for
his lack of pay and definite prospect. He felt aggrieved that he
was not sent envoy to Nancy on the occasion of the duke of
Lorraine's marriage, and would have now been glad to get back to
London ; but he was kept until November, 1699, at Paris, where
he did useful service and whence he wrote highly diverting letters,
mixing persiflage with politics -
In 1699, Prior was made an under-secretary of state, and,
during the latter part of this year, carried on an arduous series
of services, including journeys to and from Paris, in connection
with the second partition treaty. In December? , he produced his
most elaborate 'pindaric' ode, Carmen Seculare for the year 1700,
"To the King,' eulogising William III through forty-two wearisome
stanzas, and comparing him to the sun whose sacred light the
poet contrasts with the arbitrary blaze of comets and meteors.
Honours accumulated upon the poetic official. The university
1 The Hague congress of 1690 is the actual starting-point of a volume published in
1740 by Prior's former secretary and executor Adrian Drift, under the title The History
of His Own Time by Matthew Prior, and professing to be compiled from his own
manuscripts. It is a piece of book-making extraordinary, containing, with a few
original letters to and from Prior (which become rather more numerous in the last
part of the book), a few state-papers that may, at the time, have been otherwise inacces-
sible, and more that were already public property. Prior's Journal at the Court of
France from 31 August to 23 October 1714 is a mere official diary kept by Drift for his
chief; on the other hand, the Account of (Prior's) Examination before the Committee of
Council (1713) is graphic and clear, and full of lively personal touches, illustrating the
foolish and passionate behaviour of some members of the committee (including Lord
Coningsby), who were angered by Prior's mingled freedom and reticence, and the
annoyance of Walpole and Stanhope, conveyed by telegraphic frowns. Prior's Answer
to the Report of the Committee of Secresy, appointed by Order of the House of Commons
contains an important argument in support of the conduct of the first stage of the
peace negotiations without the cognisance of the allies ; but is a fragment only. Some
of the early events of the war are narrated at length by Drift, on the plea that Prior
wrote poems about them. The whole compilation has small historical or biographical,
and less literary, value.
2 Cf. Drift, u. s. p. 144.


## p. 150 (#174) ############################################

150
Lesser Verse Writers
of Cambridge made him an honorary M. A. , and he succeeded
Locke as a commissioner of trade and plantations. Later in this
year, the earl of Manchester was transferred from Venice to
Paris, and Prior returned home with Jersey (who had been
named one of the secretaries of state and whose protégé Prior
now was), to serve under him. In the earlier part of 1701,
before Louis XIV irritated the national pride by his recognition
of James III and alarmed the city by his plain bid for Spanish
trade, a parliamentary storm burst over the partition treaties and
culminated in the impeachment of the whig lords, Portland and
Oxford, Somers and Halifax, who had been in power during the
negotiations. Prior, who was now, for a brief space (February to
June 1701), member for East Grinstead, voted for the impeachment.
Naturally enough, he was accused of treachery; but he was already
showing himself a prerogative and high church man; and, under
Anne, he gradually detached himself from his old whig allies in
order to act with the tory chiefs Harley and St John. During
the early part of Anne's reign, we hear little of him save
occasional poems and celebrations of English victories and an
appeal to Godolphin to settle his debts (£500) and procure him
employment abroad. But, meanwhile, he was cultivating his gift
of trifling in verse, and producing, among short fabliaux, epigrams
and multifarious matter, such little gems as the stanzas, Sir Walter
Scott's favourite, Written in the Beginning of Mezeray's History
of France:
Yet for the fame of all these Deeds,
What Beggar in the Invalides,
With Lameness broke, with Blindness smitten,
Wished ever decently to die,
To have been either Mezeray,
Or any Monarch He has written?
He writes formal odes to the queen, twits, not very worthily,
his fellow panegyrist Boileau with the victory of Blenheim-
Since, hird for Life, Thy servile Muse must sing
Successive conquests, and a glorious King-
and gains increasing mastery over the heroic couplet, as may be
seen by An Ode Inscribed to the Memory of the Honourable
Colonel George Villiers, accidentally drowned in a river near
Friuli in 1703—which contains some of his finest lines, beginning :
Some from the stranded Vessel force their Way:
Fearful of Fate, they meet it in the Sea:
Some who escape the Fury of the Wave,
Sicken on Earth, and sink into a Grave.


## p. 151 (#175) ############################################

Prior under Queen Anne
151
After Blenheim came Ramillies, to which, in An Ode Humbly
Subscrib'd to the Queen, Prior, as he says, went out of his way to
pay the tribute of some—not very successful—Spenserian stanzas.
But, in 1707, he was compelled by the whig leaders to give up his
public employment, and was imperfectly consoled by a secretary-
ship to the bishop of Winchester. In 1709, he published a first
collection of his verse writings, which he describes as the product
of his leisure hours, as he was only a poet by accident. Next
year, upon the fall of the whigs, he joined Swift, Freind and
others, under the aegis of St John, in setting up The Examiner,
in which he wrote an early paper! His Fable from Phaedrus
also appeared here. He soon came into frequent contact with
Swift, of not a few of whose lampoons he had the first credit
among their friends. Prior, who had been expelled from the
Kitcat club in 1707, was now hailed as one of the seventeen
'brothers, who formed an intimate tory club under that name.
A more substantial recognition soon followed, when, his unusual
proficiency in languages having been noted by St John, he was
made a commissioner of customs. In March 1711, he celebrated
Harley's escape from the knife of the assassin, and before and
afterwards eulogised the minister in various strains of verse? In
June of this year, he was sent across the water to notify England's
preliminary demands. On his return, accompanied by the two
French agents, Mesnager and Gaultier, he was arrested at Can-
terbury by mistake. In September, Swift brought out a fanciful
relation of Prior's journey by which the plenipotentiary's vanity
was much incensed. Frequent secret conferences about the con-
ditions of peace now took place the first at Prior's house on
20 September. He was nominated plenipotentiary in November ;
but, to appease the offended pride of Lord Strafford, another of the
plenipotentiaries, the appointment was cancelled. In August 1712,
however, Prior went to France with Bolingbroke, and was raised
to the position of ambassador, though he did not assume the title
until Shrewsbury's return in the following year. He was equally
popular with Anne and Louis and managed a personal corre-
spondence between them. The peace was signed in April 1713,
and Prior lingered on in Paris, a prey to intense uneasiness as to
1 No. 6, ridiculing some verses by Garth to Godolphin. Addison answered him in
The Whig Examiner. Both pieces are printed by Drift, p. 318, and with Prior's Two
Riddles and Addison's Solution, leave a feeble impression.
? Erle Robert's Mice, 'in Chaucer's Stile,' is not the happiest of these,
3 Drift, u. s. p. 377.
6


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152
Lesser Verse Writers
the future of his party, and as to his own. He was in the midst of
an ode imploring a gift of Anne's portrait when the news of her
death reached him. He was at once deprived of his commissioner-
ship. In due course, the earl of Stair, who had been appointed
ambassador in Prior's place, arrived and impounded such of his
papers as he had not previously secured. When, after his
salary (as plenipotentiary) and debts had been paid, he returned
to England, in March 1715, he was arrested by order of
the Commons, and, in June, impeached and handed over to
the custody of the serjeant at arms. Nothing incriminating
either Bolingbroke or Oxford could be extracted from him,
and, after two years of detention, he was released in 1717.
During his confinement, he wrote his second-longest poem, called
Alma: or, the Progress of the Mind. To ease his pecuniary
difficulties, his friends Arbuthnot, Gay and others, but especially
Lords Harley and Bathurst, devised the plan of printing his
poems in a sumptuous folio, three feet by one. All the nota-
bilities subscribed to this edition, which appeared in 1718.
Swift collected many guineas (four thousand were obtained in
all) and took five copies himself. Lord Harley added another
four thousand, for the purchase of Down hall in Essex. He
paid several visits to this house, for the purpose of super-
intending alterations; but most of the time remaining to him
he spent at the houses of friends, especially at Lord Harley's
seat, Wimpole, with an occasional visit to St John's college. He
was harassed by his confinement at the messenger's house, and
by the thought that the manæuvres of his enemies might end in
some betrayal by him of his friends. Yet, during this period, he
touched some of the lightest strings in Alma (the more didactic
Solomon on the Vanity of the World had been originally com-
posed at an earlier date); and, after his release, he could break
forth into almost buoyant gaiety in the ballad Down-Hall, in
which he describes his search for his future residence as
A Place where to Bait, 'twixt the Court and the Grave;
Where joyful to Live, not unwilling to Die.
Swift was but one of the friends of Prior's earlier days who
were devoted to him. His old fellow-diplomatists in Paris,
Torcy and abbé Gaultier, assure him of their regard : the duke
of Buckingham compliments his Solomon ; Bathurst is reluctant
to return Alma, with whom he owns himself in love; Chester-
field testifies to admiration for Prior's Nut-browon Maid; the


## p. 153 (#177) ############################################

Prior's Last Years
153
conversation of Smalridge is a great comfort to him and a com-
pensation for the loss of Atterbury's, with whom he had a sharp
quarrel. Harley's grand-daughter 'little Peggy' or 'mistress
Margaretta' was a great favourite with Prior, and to her he
first addressed his dainty and charming little Letter, afterwards
expanded, 29 March 17201.
The 'little pretty lady' seems to
have reciprocated his fondness, for she said that Prior made
himself loved by every living thing in the house-master, child,
servant, creature or animal. Prior was not insensible to the
charms of Down hall, a typical Essex lath and plaster manor-
farm. With the aid of Harley's factotum and land surveyor,
honest John Morley of Harlow, he burlesqued the pride of
Louis XIV in the improvements at Marly and Versailles. Yet
some letters represent him toping in London taverns, a dis-
appointed man, and Voltaire describes him dying in poverty as
an English philosopher must learn to die. In his will, however,
of which Harley and Adrian Drift were executors, he devoted
£500 to that last of human vanities, a costly monument, to be
surmounted by Coysevox's bust of himself—a gift of the Grand
Monarque, with a long inscription from Freind. His death
took place, on 18 September 1721, during a visit to Wimpole,
where he had contracted a lingering fever. He was duly buried
in Westminster abbey. The best of his books, including Mezeray
(but without the inscription), went to St John's college.
Prior's versatility as a writer is greater than is always re-
cognised. In addition to the lyrical verse of various kinds
contained in the successive editions of his poems, or left behind
him in manuscript, he wrote three longer poems which, though
none of them commends itself to modern taste, call for separate
mention.
Henry and Emma, a Poem, Upon the Model of The
Nut-brown Maid is dedicated To Cloe in some lines of the
ordinary humorous type, and concludes with a sort of envoi by
Venus, in approved rococo style. The pagan deities and their
associates, indeed, disport themselves through the dialogue
between the lovers which forms the substance of the poem, and
which, as has been well said>, is 'a futile attempt to apply the
external classical style to what is in its essence romantic. ' With
>
1 Waller, vol. 11, p. 131.
? It is now printed, together with Essays and Dialogues of the Dead, from Prior's
literary papers preserved at Longleat, in vol. 11 of Waller's edition.
3 Courthope, History of English Poetry, vol. v, p. 117.


## p. 154 (#178) ############################################

154
Lesser Verse Writers
the style of the beautiful early sixteenth century ballad The Nut-
brown Maid its charm disappears; but, though not professing
oneself, with Cowper, ‘bewitched' by `this enchanting piece,' one
may allow that it paraphrases its original with an extraordinary
profusion of elegant expressions? . Of course, a point in the
argument is reached where elegance itself can no longer hold
out; but, artificial as the treatment is, a vein of pathos, of the
Griselda sort, runs through it to the last—so powerful is the
effect of the main motive of the old ballad.
Alma, or The Progress of the Mind, treats in the form of a
dialogue, extending over three cantos, the practically inexhaustible
subject of the vanity of the world and of what it contains, the folly
of the human thoughts which busy themselves with its changing
phenomena. Apart from the management of the metre (of which
immediately), there is little in this poem to enchain the interest
of the reader. In its theme as well as in its form, it approaches
Hudibras ; but its superior urbanity cannot conceal its positive,
as well as relative, lack of force. So much pleasure, however,
did Prior take in the subject, which had the fluidity harmonising
with his own mind when in a mood of relaxation, that he returned
to it, in more methodical fashion, and in the heroic couplet, in
Solomon on the Vanity of the World, a Poem in Three Books.
These take the form of a long soliloquy by 'the Hero and the
Author,'
Whose serions Muse inspires him to explain
That all we Act, and all we think is Vain.
In the first, he treats of knowledge (indulging in a brief
digression on the prospects of Britannia, the great glorious
Pow'r,' which, though it cannot escape the universal doom, shall
die last); in the second, of pleasure and the love of women; in
the last, of power. All, alike, are vanity ; but, in the final book,
an angel comforts the pessimist philosopher with the promise of
the Redeemer who, after 'a Series of perpetual Woe,' shall come
forth from the royal race. Prior certainly took pains with the
poem, and was rather proud of it; but, after being applauded by
Cowper, Wesley, Crabbe and Scott, it has gone the way of Alma,
or had, perhaps, preceded it into oblivion.
It was inevitable that a poet who rejoiced when he could turn
1 The usually misquoted line
Fine by Degrees and beautifully less
occurs in this poem, as a compliment paid by Henry to Emma's figure !


## p. 155 (#179) ############################################

Prior's Light Satirical Verse 155
to verse-writing from his political work at home and abroad
should have transferred much of its spirit into his poetry, and
contributed his share to the pindaric odes and other panegyrical
writing of his age. But, though Carmen Seculare may, from the
point of view of length, be singled out among his pieces in praise
of William or of Anne, no part of it can claim enduring remem-
brance for its own sake: it varies from the outrageous to the
insipid? . His genius for persiflage suggested to him the notion,
when the tide of success had turned, of turning with it upon
Boileau, who had sung the earlier success of the French arms,
and made him repeat the experiment after Blenheim? .
Of satires in verse, properly so called, no complete examples
are to be found among his poems, though he seems in his early
days to have thought of attempting this form of composition and
left one or two fragmentary pieces of the kind behind him. On
the other hand, he was fertile in a wide variety of light satirical
narrative in verse, from the familiar fabliau to the humorous
ballad or character-sketch, and to epigrammatic sallies and vers
de société of all sorts“. In many of these pieces, his lightness of
touch, combined with a singular gift of saying, in language as
clear and simple as prose, and yet rarely devoid of wit, and
still more rarely without grace, exactly what he wanted to say,
brought him much nearer to classical examples, above all to
that of his favourite Horace, than the more elaborate didactic
or semi-didactic efforts mentioned above. The best instances
of Prior's success in the fabliau are An English Padlock and
Hans Carvel, both of which are seasoned with the grossel
characteristic of the species ; but they do not stand alone. To
the humorous character-sketch, there are some admirable ap-
proaches in Down-Hall, a Ballad, where the figure of the
landlady at the Bull in Hendon, bent on business, first, and the
sorrows of memory, afterwards, stands forth for all time', and the
still more famous Secretary, an autobiographical reminiscence.
But by far the best example of this class, a masterpiece in its
way, is the poem which A. R. Waller was fortunate enough to
>
1 Among the former may be reckoned the lines Seeing the Duke of Ormond's Picture;
among the latter, some of the Harley series.
. An English Ballad on the Taking of Namur (1695). A Letter to Monsieur Boileau
Despréaut, Occasion'd by the Victory at Blenheim (1704).
3 Advice to the Painter; A Session of the Poets ; Epistle to Lord - The last-
named, which is printed by Waller (vol. 11, pp. 305—8), is conceived on an exceptionally
large soale.
• Waller, vol. 11, p. 360.
5 See note 1 on next page.


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discover among the Longleat MSS, and to which, in his edition,
he has given the name Jinny the Just. The insight into character
here displayed is equalled by the nicety of nuance with which it
is expressed ; and the twinkle of humour which animates the life-
like portrait is absolutely irresistible. Almost equally good is the
earlier epitaph on 'Saunt’ring Jack and Idle Joan'—which, indeed,
reaches a higher plane in its scorn of the mental or moral apathy
it depicts :
Without Love, Hatred, Joy, or Fear,
They led-a kind of-as it were;
Nor wish'd, nor lov'd, nor Cough'd, nor Coy'd;
But so They livd; and so They dy'd.
Among Prior’s vers de société proper, in which the wit is always
playful and the flattery kept within the bounds of actual life, a
high place has always been assigned to his verses to children, or
concerned with them. The cult, it must be allowed, is not one
that makes for sincerity, though Prior was a genuine child-lover?
His songs are rarely of high excellence; but in an intermediate
kind of lyric, half song, half poesy, he remains unsurpassed, with
an inimitable-albeit, at times, a kind of wax flower-prettiness.
Cloe Hunting, To Cloe Weeping and many another example of
this style might be cited; but its acme is reached in A Better
Answer to Cloe Jealous, which ends with the most exquisite
grammatical faux-pas :
Then finish, Dear Cloe, this Pastoral War;
Now let us like Horace and Lydia agree;
For Thou art a Girl as much brighter than Her,
As He was a Poet Sublimer than Me.
Prior's epigrams are not uniformly good and, occasionally,
wanting in restraint ; perhaps, his genius as a writer lacked the
concentration necessary for the epigram proper ; his happiest
effort in this direction, the celebrated lines Written in the Be-
ginning of Mezeray's History of France, part cited above, is,
after all, less an epigram than a train of thought suggested by
the subject. As a whole, Prior's shorter poems, of which the
entire series seems at last to be in our hands, mark him as the
earliest, as he was one of the most consummate, masters of English
familiar verse. In his own age, he had no rival in this kind of
1 Cf. with this the short Journey to Copt-hall, one of the Longleat MSS.
? See A Letter to the Honourable Lady Miss Margaret-Cavendish-Holles-Harley
(* My noble, lovely, little Peggy'), already mentioned, and to a Child of Quality, five
years old, the Author Forty.


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Prior's Versification
157
composition but Swift ; that his success in it was more rapid and
more widespread than Swift's, may be attributed to his greater
sympathy with the ordinary moods of the human mind, though
it was primarily due to his more diversified skill in the manage-
ment of metre and to his originality in the use of it.
In his History of English Prosody', Saintsbury has entered
very fully into this aspect of Prior's poetic genius, which, though
it had of course not escaped the attention of critics, had hardly
before received full consideration. He has directed attention to
the fact that, though Prior wrote, not only his Henry and Emma
and not a little of his other amorous poetry, but, also, his Solomon,
which he esteemed his masterpiece, in the heroic couplet, he
was far from entertaining a preference for the metre to which
Dryden had assured its prerogative position. In the Preface to
Solomon, he goes out of his way to dwell on its shortcomings.
He explains how the 'Heroic with continued Rhime,' as used by
Donne and his contemporaries 'carrying the Sense of one Verse
most commonly into another, was found too dissolute and wild,
and came very often too near Prose. On the other hand, the
'
same couplet 'as Davenant and Waller corrected, and Dryden
perfected it,' appears to him 'too confined' for the freedom, and
'too broken and weak' for the grandeur, of epic, as well as tedious
in a poem of any considerable length. These objections he en-
deavoured, in his own practice, to meet in various ways. Like
most of the poets of his own age and of that immediately pre-
ceding it, he sought refuge in the wide haven of pindarics, not
without a certain amount of success, but without leaving his mark
upon this measure, of which the day was on the wane in English
poetry. In the conviction that he who ‘writes in Rhimes, dances
in Fetters,' he also essayed blank verse; but his efforts in this
metre cannot be called successful; they comprise. his translations
of The First and Second Hymns of Calliomachus, as well as the
Prelude to a Tale from Boccace and another fragment from The
Georgics. The characteristic mark of his blank verse in the
longer pieces is an excessive use of double-endings, which arrest,
rather than promote, its flow. Of more significance is his
endeavour to employ, and to improve, the Spenserian stanza, for
which, in the preface to his Ode to the Queen, he expresses high
i Vol. 11, pp. 423—5.
2 See above as to Prior's feeling towards Dryden, which it would be absurd to
describe as jealousy, but which was certainly, in a measure, antipathetic.
8 Waller, vol. II, pp. 339 and 537.


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admiration, however imperfect may be the parallel which he draws
between the genius of Spenser and that of Horace. The change
introduced by him into the scheme of rimes cannot be said to
contribute to sustain the rise of the stanza towards its close; but
the comparative failure of the attempt was mainly owing to Prior's
inability to rise, even with the help of an occasional archaism, to
the grand manner of Spenser
It was neither in the heroic couplet nor in these substituted
that Prior achieved eminence, or, as Saintsbury puts it, the com-
bination of that ease, variety and fluency for which his soul longed. '
In a delightful passage of An Essay upon Learning, after observing
that those bred at Westminster school (like himself) grew 'used
very young to what Dr Sprat calls the Genius of the place which
is to Verses made Extempore, and Declamations composed in a
very few hours,' he goes on to say that
“As to Poetry, I mean the writing of Verses. . . . I would advise no Man to
attempt it except he cannot help it, and if he cannot it is in Vain to diswade
him from it. . . . Cowley felt it at Ten Years old, and Waller could not get rid
of it at Sixty. . . . As to my own part I found This impulse very soon, and shal
continue to feel it as long as I can think, I can remember nothing further in
my life than that I made Verses. But, he continues, 'I had Two Accidents
in Youth which hindered me from ing quite possessed with the Muse :
I was bred in a College where Prose was more in fashion than Verse, and as
soon as I had taken my first Degree was sent the King's Secretary to the
Hague. . . . So that Poetry which by the bent of my Mind might have become
the Business of my life, was by the happyness of my Education only the
Amusement of it. . . '
Here, in a nutshell, we have the history both of his poetry and,
more especially, that of his versification. The metres which he
chose, because they were congenial to him and to his easy,
familiar style of poetic composition, were the octosyllabic couplet
and various forms of couplet or stanza in which a large use was
made of the anapaest. As to the former, both Swift and Prior, of
course, originally modelled their verse on that of Hudibras ;
but they avoided (Prior perhaps not quite at the outset) what
Saintsbury calls “the roughness, the curvets, the extravagances'
intentionally introduced by Butler, and aimed at ease and natural-
ness-a verse as near prose as good verse can be rather than at
sudden and surprising effects. The frequent use of the anapaest
in light measures and familiar verse was, apparently, an innovation
1 Over his attempt to imitate Chaucer, it is better to draw a veil. It may be worth
noting that his Translation of an Epitaph upon Glanville, Bishop of Rochester (ibid.
vol. II, p. 356) is an amusing effort in English hexameters.


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Prior's Prose
159
of Prior's own designing ; certainly, he domesticated it in English
verse, and thus definitely enriched English poetry by providing its
metrical instrument with a new variety of effect. Prior's use of
this variety was virtually confined to occasions
When a man's in a humour too merry for prose,
but not in an exaltation of spirit very far above it. English
poetry, however, dealt freely with the gift, and the use of the
apapaestic measure, which he had admirably fitted to his de-
scription of the secretary's délassements, the tribulations of Cloe
and the golden mediocrity of Jinny the just, was employed for
strains of a very different intensity by the poets of the romantic
school. But, though it might be diverted from the use to which
he had put it, the best examples of light and inspiriting versifica-
tion which he produced with its aid must continue to be acknow-
ledged as masterpieces of their kind,
As a prose writer, Prior might have attained to a high rank,
had he cared to cultivate a form of composition which he reserved
for the service of the state and for familiar correspondence with
his friends. Apart from his share in The Hind and Panther
Transvers’d, of which mention has been made above, he is now
known to have been the author of prose compositions which,
though few in number, are of high merit. They include, besides
An Essay upon Learning already cited—which contains some
sensible remarks on misapplied and superfluous learning, and
some apt remarks on the art of quotation and on conversational
wit—a more striking companion Essay upon Opinion. The tone
of this essay, half gay, half cynical, is very characteristic of its
author : most men, he argues, have no opinion of their own, but,
as childless fathers did in ancient Rome, adopt that of the first
man they like; others use the simple criterion of success or failure,
as in the case (which might be illustrated from Prior's own verse)
of Orange and Monmouth. Together with these essays are pre-
served Four Dialogues of the Dead, which deserve to be reckoned
among the brightest examples of a device which maintained its
popularity from Lucian down to Lyttelton, and from Lyttelton
up to Landor. The first, between Charles the Emperor and
Clenard the Grammarian, is a novel treatment of the old theme
that greatness—and happiness with it—is relative only; the second,
between Mr John Lock and Seigneur de Montaigne, is an amusing
and extremely voluble reproduction of Montaigne's concrete
though discursive way of thinking, but can hardly have been


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intended as a serious criticism! In the third Dialogue, between
the Vicar of Bray and Sir Thomas Moor, Prior, as he had done
in the first, displays considerable historical knowledge; but the
talk of More, though it displays the main features of his noble
character, lacks playfulness of touch. The fourth, between Oliver
Cromwell and his Porter, which turns on the prophet-porter's
contention that the master was ten times madder than the man,
is hardly equal to its predecessors.
6
The spoiled child of the queen Anne fraternity of poets was
the pliant fabulist John Gay. The younger son of William Gay,
John was baptised at Barnstaple old church on 16 September
1685. The family was impoverished, and, when his mother and
father died, respectively, in 1694 and 1695, the boy was left to the
care of his uncle Thomas Gay of Barnstaple, by whom, after being
educated at the free grammar school of the town, the lad was
apprenticed to a silk mercer in London. In London, after leaving
the shop and spending some months in lounging unprofitably in
his old home, Gay found an abettor in his old school-mate Aaron
Hill, and another in a Westminster hall bookseller, who, in May
1708, brought out his first experiment in verse, an indifferent
poem, in blank verse, with the title Wine, suggested by the Cyder
of John Philips. This was followed by A Tragical Comical Farce,
said (rather doubtfully) to have been acted in 1712 near the watch
house in Covent garden, and detecting the dudes' or 'nuts' of the
time in those dread aversions of Swift's, the Mohocks. In May 1712,
Gay contributed a translation of the story of Arachne in Ovid's
Metamorphoses to The Rape of the Lock volume of Lintot's Miscel-
laneous Poems and Translations; and, five months later, he be-
came secretary or domestic steward in the house of the highminded
widow of the duke of Monmouth beheaded in 1685. In January 1713,
he inscribed to Pope, as the first of contemporary poets, his trim
georgic called Rural Sports. It is a smooth reflection of Pope's
own pastoral, saturated with the false sentiment and poetic diction,
so-called, of the period, and replete with 'feather'd choirs' and 'finny
broods' (it contains, indeed, a minute and rather grotesque descrip-
tion of fly-fishing). Swift laughed at the modern Theocritus, who
knew more about kine than Pope did, but yet could not distinguish
rye from barley. In poetic taste, Pope was accepted by Gay as an
1 The first Lord Lyttelton, as to whose History of the Life of Henry the Second see
vol. x, chap. XII, post, published the first series of Dialogues of the Dead in 1760, and
the second in 1765.


## p. 161 (#185) ############################################

161
>
John Gay
unfailing mentor, and it was by Pope's express encouragement
that, in December, he went on to supply the world with another
heroic poem in three books on that 'agreeable machine' The Fan.
After a poor and unsuccessful comedy, The Wife of Bath, Gay's
next work of any importance was his pleasing poem The Shepherd's
Week (15 April 1714), in six pastorals, with a prologue addressed
to Bolingbroke, containing familiar flattering allusions to some
of the greatest ladies of the day who might be tempted into
becoming his patronesses. These pastorals of actual, as opposed
to fashionable, rusticity, were written originally to cast ridicule
upon those of Ambrose (“Namby-Pamby ’) Philips; for Gay was a
born parodist. But they were so full of comic humour and droll
portraiture of country life that they were soon popular on their
own merits as rural poems. The grotesque passages (like those of
Greene's pastorals-) helped to conceal the flimsiness of the texture,
and the scheme thus serves as a link between the Calender of
Spenser and The Gentle Shepherd of Allan Ramsay, while the
historical method adopted specially approved itself to Crabbe.
Gay was an occasional contributor to Steele's Guardian; but his
versatility in letters did not make up to the duchess of Monmouth
for his deficiencies as domestic steward : in the summer of 1714
his position in her household came to an end, and he would have
been in a bad case but for the kindness of literary friends. Swift
procured him a secretaryship to Lord Clarendon, envoy extra-
ordinary at Hanover; and there is a curious rhymed petition to
Lord Oxford, in which Gay solicits funds to enable him to set out on
his journey. When, a few months later, queen Anne died, the em-
bassage was at an end, and Gay was called to find a brief anchorage
with Pope at Binfield. While there, he wrote, with a hint or two
from Pope and Arbuthnot, a satirical tragi-comi-pastoral farce
The What D’ye Call it, which gives us a distinct foretaste of his
clever light librettist vein, and of his happy knack for a ballad
(Black-eyed Susan and 'Twas when the Seas were roaring were
both his). It ridiculed, after the manner of The Rehearsal, a
number of plays in vogue; and, in one of the offended dramatists,
Steele, Gay lost a friend. His profits amounted to £100. In the
following year, he composed, what is probably his best remembered
poem, Trivia, or The Art of Walking the Streets of London, in
three books, an elaborate imitation and expansion of Swift's Tatler
poems The City Shower and the photographic Morning. The
1 Cf. ante, vol. II, pp. 356–7; as to the general characteristics of Elizabethan
pastoral, cf. ante, vol. iv, pp. 121–2.
11
E. L. IX.
CH. VI.


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idea is good, the versification neat, and the mock heroic style
admirable, while nearly every couplet is of historic interest to the
antiquary and the student of eighteenth century street humours.
This was published by Lintot 26 January 1716, during part of
which year Gay found a temporary home with Lord Burlington in
Devonshire. A year later, Pulteney took him in his train to Aix,
and, in 1718, he was at Nuneham with Lord Harcourt. The
number of his patrons justified his collecting and publishing his
poems in 1720 in two large quarto subscription volumes, brought
out jointly by Lintot and Tonson. He realized £1000 by the
venture, which he invested in South Sea stock. For the moment,
he was the nominal holder of £20,000 worth ; but it vanished in
the crash, while he was deliberating what to do with it. Soon
afterwards, his hopes of advancement in the new reign were
dashed, while his dignity was offended by his nomination as gentle-
man usher to the princess Louisa, a child under three. In the
meantime, he had brought out his Fables (1727) in octosyllabic
verse, wherein he surveys mankind for the benefit of the
youthful duke of Cumberland. Gay had now become a more
or less regular inmate in the household of the duchess of
Queensberry, Bolingbroke's 'Sa Singularité' and Prior’s Kitty,
younger sister of Lady Jane Hyde, the “ blooming Hyde with
Eyes so Rare” of his own prologue to The Shepherd's Week. Gay
had spent a great deal of time in polishing his Fables, elaborate
trifles, the publication of which by Tonson had been still further
delayed by costly expenditure on plates after Kent and Wootton.
Ambling, colloquial and, occasionally, slipshod, like the bard
himself, it cannot be said Gay's Fables maintain an inordinately
high standard ; yet their novelty and glossy ease won them an
assured success which lasted for a hundred years before it began
to wane. Apart from one or two later fables by Cowper and by
Northcote, they are still, probably, the best that have been written
in English verse : nor would it be easy for any fabulist to better
the narrative of
The hare who in a civil way
Complied with everything like Gay,
a charming fabliau with a touch of personal application—disil-
lusion, for the most part-quite in the manner of the early masters.
Gay’s Fables suffer, it is true, from juxtaposition with the
terse masterpieces of La Fontaine. Compared with the immortal
bonhomme, Gay took but little trouble with his work. The fables


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The Beggar's Opera
163
were applauded; but the draftsman of the illustrations, it is said,
had the lion's share of the profit. A second set, adding sixteen to
the original fifty, appeared in 1738.
Whenever he was off duty with the Queensberrys, Gay-
always 'inoffensive'-sought the society of Congreve, Prior,
Arbuthnot and, above all, of Swift. To Swift's visit to England in
1736 was, in part, due Gay's next venture The Beggar's Opera,
which-unless an exception be made in favour of Lillo's London
Merchant (1731)-may be described as the first popular success of
the modern English stage? It ran for the unprecedented, though
not uninterrupted, space of sixty-two days, beginning 29 January
1728, and continued a triumphant career in Bath, Bristol and
other towns in the country, and even in the colonies. Like not a
few jeux d'esprit of the day, it sprang from a saying of Swift, who
observed to Gay that a Newgate pastoral might make an odd
pretty sort of thing'; and Gay wrote most of it at Twickenham
when in the same house with Pope and Swift, whose opinion was
that it was either very bad or very good. As often in comic opera,
it was one of the numbers,
O ponder well! be not severe
that turned the scale and made the play an irresistible success, out
of which Gay gleaned about £800.
Polly became the town darling, her songs were painted on fans
and the actress who performed the part captured a duke for life.
The factions of the day recognised Walpole (who led the applause
on the first night) and Townshend in Peachum and Lockit.
The Beggar's Opera, it was said, made Gay rich, and Rich (the
manager) gay. Its literary value is very small, except historically
as a link between the masque and the vaudeville. For the time,
it superseded French and Italian opera, and made a new opening
for English lyric on the stage.