And there is mercy still, for you, in store:
With me the bitterness of death is o'er.
He shot his sting in that farewell embrace;
And all, that is to come, is joy and peace.
Then let mistaken sorrow be suppress'd,
Nor seem to envy my approaching rest."
Then, turning to the ministers of fate,
She, smiling, says, "My victory complete :
And tell your queen, I thank her for the blow,
And grieve my gratitude I cannot show :
A poor return I leave in England's crown,
For everlasting pleasure, and renown:
Her guilt alone allays this happy hour;
Her guilt, the only vengeance in her power."

Not Rome, untouch'd with sorrow, heard her fate; And fierce Maria pitied her too late.

LOVE OF FAME, THE UNIVERSAL PASSION.

IN SEVEN CHARACTERISTICAL SATIRES.

Fulgente trahit constrictos gloria curru.

Non minus ignotos generosis.—HOR.

PREFACE.

THESE satires have been favourably received at home and abroad. I am not conscious of the least malevolence to any particular person through all the characters; though some persons may be so selfish, as to engross a general application to themselves. A writer in polite letters should be content with reputation; the private amusement he finds in his compositions; the good influence they have on his severer studies; that admission they give him to his superiors; and the possible good effect they may have on the public; or else he should join to his politeness some more lucrative qualification.

But it is possible, that satire may not do much good: men may rise in their affections to their follies, as they do to their friends, when they are abused by others: it is much to be feared, that misconduct will never be chased out of the world by satire; all therefore that is to be said for it, is, that misconduct will certainly be never chased out of the world by satire, if no satires are written: nor is that term unapplicable to graver compositions. Ethics, heathen and Christian, and the Scriptures themselves, are, in a great measure, a satire on the weakness and iniquity of men; and some part of that satire is in verse too: nay, in the first ages, philosophy and poetry were the same thing; wisdom wore no other dress: so that, I hope, these satires will be the more easily pardoned that misfortune by the severe. Nay, historians themselves may be considered as satirists, and satirists most severe; since such are most human actions, that to relate, is to expose them.

No man can converse much in the world, but, at what he meets with, he must either be insensible, or grieve, or be angry, or smile. Some passion (if we are not impassive) must be moved; for the general conduct of mankind is by no means a thing indifferent to a reasonable and virtuous man. Now to smile at it, and turn it into ridicule, I think most eligible; as it hurts ourselves least, and gives vice and folly the greatest offence: and that for this reason; because what men aim at by them, is, generally, public opinion and esteem; which truth is the subject of the following satires; and joins them together, as several branches from the same root: a unity of design, which has not, I think, in a set of satires, been attempted before.

Laughing at the misconduct of the world, will, in a great measure, ease us of any more disagreeable passion about it. One passion is more effectually driven out by another, than by reason; whatever some may teach: for to reason we owe our passions: had we not reason, we should not be offended at what we find amiss: and the cause seems not to be the natural cure of any effect.

Moreover, laughing satire bids the fairest for success: the world is too proud to be fond of a serious tutor; and when an author is in a passion, the laugh, generally, as in conversation, turns against him. This

kind of satire only has any delicacy in it. Of this delicacy Horace is the best master: he appears in good humour while he censures; and therefore his censure has the more weight, as supposed to proceed from judgment, not from passion. Juvenal is ever in a passion: he has little valuable but his eloquence and morality: the last of which I have had in my eye; but rather for emulation, than imitation, through my whole work.

But though I comparatively condemn Juvenal, in part of the sixth satire (where the occasion most required it), I endeavoured to touch on his manner; but was forced to quit it soon, as disagreeable to the writer, and reader too. Boileau has joined both the Roman satirists with great success; but has too much of Juvenal in his very serious satire on woman, which should have been the gayest of all. An excellent critic of our own commends Boileau's closeness, or, as he calls it, pressness, particularly; whereas, it appears to me, that repetition is his fault, if any fault should be imputed to him.

There are some prose satirists of the greatest delicacy and wit; the last of which can never, or should never, succeed without the former. An author without it, betrays too great a contempt for mankind, and opinion of himself, which are bad advocates for reputation and success. What a difference is there between the merit, if not the wit, of Cervantes and Rabelais ? The last has a particular art of throwing a great deal of genius and learning into frolic and jest; but the genius and the scholar is all you can admire; you want the gentleman to converse with in him he is like a criminal who receives his life for some services; you commend, but you pardon too. Indecency offends our pride, as men; and our unaffected taste, as judges of composition: nature has wisely formed us with an aversion to it; and he that succeeds in spite of it, is, aliena venia, quam sua providentia tutior.1

Such wits, like false oracles of old (which were wits and cheats), should set up for reputation among the weak, in some Boeotia, which was the land of oracles; for the wise will hold them in contempt. Some wits, too, like oracles, deal in ambiguities; but not with equal success: for though ambiguities are the first excellence of an impostor, they are the last of a wit.

Some satirical wits and humourists, like their father Lucian, laugh at everything indiscriminately; which betrays such a poverty of wit, as cannot afford to part with anything; and such a want of virtue, as to postpone it to a jest. Such writers encourage vice and folly, which they pretend to combat, by setting them on an equal foot with better things: and while they labour to bring everything into contempt, how can they expect their own parts should escape? Some French writers particularly, are guilty of this in matters of the last consequence; and some of our own. They that are for lessening the true dignity of mankind are not sure of being successful, but with regard to one individual in it. It is this conduct that justly makes a wit a term of reproach.

Which puts me in mind of Plato's fable of the birth of love; one of the prettiest fables of all antiquity; which will hold likewise with regard to modern poetry. Love, says he, is the son of the goddess poverty, and the god of riches: he has from his father his daring genius; his elevation of thought; his building castles in the air; his prodigality; his neglect of things serious and useful; his vain opinion of his own merit; and his affectation of preference and distinction: from his mother he

1 Valer. Maximus.

inherits his indigence, which makes him a constant beggar of favours; that importunity with which he begs; his flattery; his servility; his fear of being despised, which is inseparable from him. This addition may be made; viz., that poetry, like love, is a little subject to blindness, which makes her mistake her way to preferments and honours; that she has her satirical quiver; and, lastly, that she retains a dutiful admiration of her father's family; but divides her favours, and generally lives with her mother's relations.

However, this is not necessity, but choice: were wisdom her governess, she might have much more of the father than the mother; especially in such an age as this, which shows a due passion for her charms.

My verse is satire; Dorset, lend your ear,
And patronise a muse you cannot fear.

To poets sacred is a Dorset's name :

Their wonted passport through the gates of fame :
It bribes the partial reader into praise,

And throws a glory round the shelter'd lays :
The dazzled judgment fewer faults can see,
And gives applause to Blackmore, or to me.
But you decline the mistress we pursue;
Others are fond of fame, but fame of you.

Instructive satire, true to virtue's cause!
Thou shining supplement of public laws!
When flatter'd crimes of a licentious age
Reproach our silence, and demand our rage;
When purchased follies, from each distant land,
Like arts, improve in Britain's skilful hand;
When the law shows her teeth, but dares not bite,
And South Sea treasures are not brought to light;
When churchmen scripture for the classics quit,
Polite apostates from God's grace to wit;
When men grow great from their revenue spent,
And fly from bailiffs into parliament;

To chafe our spleen, when themes like these increase,
Shall panegyric reign, and censure cease?

Shall poesy, like law, turn wrong to right,
And dedications wash an Ethiop white,
Set up each senseless wretch for nature's boast,
On whom praise shines, as trophies on a post?
Shall fun'ral eloquence her colours spread,

And scatter roses on the wealthy dead?

Shall authors smile on such illustrious days,
And satirise with nothing-but their praise?

Why slumbers Pope, who leads the tuneful train,
Nor hears that virtue, which he loves, complain?
Donne, Dorset, Dryden, Rochester, are dead,
And guilt's chief foe, in Addison, is fled;
Congreve, who, crown'd with laurels, fairly won,
Sits smiling at the goal, while others run,
He will not write; and (more provoking still!)
Ye gods! he will not write, and Mævius will.
Doubly distress'd, what author shall we find
Discreetly daring, and severely kind,
The courtly Roman's1 shining path to tread,
And sharply smile prevailing folly dead?
Will no superior genius snatch the quill,
And save me, on the brink, from writing ill?
Though vain the strife, I'll strive my voice to raise,
What will not men attempt for sacred praise?

The love of praise, howe'er concealed by art, Reigns, more or less, and glows, in ev'ry heart: The proud, to gain it, toils on toils endure; The modest shun it, but to make it sure. O'er globes, and sceptres, now on thrones it swells; Now, trims the midnight lamp in college cells: 'Tis Tory, Whig; it plots, prays, preaches, pleads, Harangues in senates, squeaks in masquerades. Here, to Steele's humour makes a bold pretence; There, bolder, aims at Pulteney's eloquence. It aids the dancer's heel, the writer's head, And heaps the plain with mountains of the dead; Nor ends with life; but nods in sable plumes, Adorns our hearse, and flatters on our tombs.

Some go to church, proud humbly to repent, And come back much more guilty than they went: One way they look, another way they steer, Pray to the gods, but would have mortals hear; And when their sins they set sincerely down, They'll find that their religion has been one. Others with wishful eyes on glory look, When they have got their picture towards a book; Or pompous title, like a gaudy sign,

Meant to betray dull sots to wretched wine.

1 Horace.