The Lives of the Poets of Great Britain and Ireland (1753) Volume V Part 18

FOOTNOTES:

[1]

See winter comes to rule the varied year, Sullen and sad, with all his rising train!

Vapours, and storms, and clouds; be these my theme; These that exalt the soul to solemn thought, And heav'nly musing; welcome kindred glooms.

Congenial horrors hail!--with frequent foot Oft have I in my pleasing calm of life, When nurs'd by careless solitude I liv'd, Oft have I wander'd thro' your rough domain; Trod the pure virgin snows; my self as pure; Heard the winds blow, or the big torrents burst, Or seen the deep fermenting tempest brew'd In the red evening sky. Thus pa.s.s'd the time, 'Till from the lucid chambers of the south Look'd out the joyous spring, look'd out and smil'd.

[2] Mr. Mallet was his quondam schoolfellow (but much his junior) they contracted an early intimacy, which improved with their years, nor was it ever once disturbed by any casual mistake, envy, or jealousy on either side: a proof that two writers of merit may agree, in spite of the common observation to the contrary.

[3] The Winter was first wrote in detached pieces, or occasional descriptions; it was by the advice of Mr. Mallet they were collected and made into one connected piece. This was finished the first of all the seasons, and was the first poem he published. By the farther advice, and at the earnest request, of Mr. Mallet, he wrote the other three seasons.

[4] Though 'tis possible this piece might be offered to more Printers who could read, than could taste, nor is it very surprizing, that an unknown author might meet with a difficulty of this sort; since an eager desire to peruse a new piece, with a fashionable name to it, shall, in one day, occasion the sale of thousands of what may never reach a second edition: while a work, that has only its intrinsic merit to depend on, may lie long dormant in a Bookseller's shop, 'till some person, eminent for taste, points out its worth to the many, declares the bullion sterling, stamps its value with his name, and makes it pa.s.s current with the world. Such was the fate of Thomson at this juncture: Such heretofore was Milton's, whose works were only found in the libraries of the curious, or judicious few, 'till Addison's remarks spread a taste for them; and, at length, it became even unfashionable not to have read them.

[5] The old name of China.

[6] Mr. Quin.

[7] The mention of this name reminds me of an obligation I had to Mr.

Thomson; and, at once, an opportunity offers, of gratefully acknowledging the favour, and doing myself justice.

I had the pleasure of perusing the play of Agamemnon, before it was introduced to the manager. Mr. Thomson was so thoroughly satisfied (I might say more) with my reading of it; he said, he was confirmed in his design of giving to me the part of Melisander. When I expressed my sentiments of the favour, he told me, he thought it none; that my old acquaintance Savage knew, he had not forgot my taste in reading the poem of Winter some years before: he added, that when (before this meeting) he had expressed his doubt, to which of the actors he should give this part (as he had seen but few plays since his return from abroad) Savage warmly urged, I was the fittest person, and, with an oath affirmed, that Theo. Cibber would taste it, feel it, and act it; perhaps he might extravagantly add, 'beyond any one else.' 'Tis likely, Mr. Savage might be then more vehement in this a.s.sertion, as some of his friends had been more used to see me in a comic, than a serious light; and which was, indeed, more frequently my choice. But to go on. When I read the play to the manager, Mr. Quin, &c. (at which several gentlemen, intimate friends of the author, were present) I was complimented by them all; Mr.

Quin particularly declared, he never heard a play done so much justice to, in reading, through all its various parts, Mrs. Porter also (who on this occasion was to appear in the character of Clytemnestra) so much approved my entering into the taste, sense, and spirit of the piece, that she was pleased to desire me to repeat a reading of it, which, at her request, and that of other princ.i.p.al performers, I often did; they all confessed their approbation, with thanks.

When this play was to come forward into rehearsal, Mr. Thomson told me, another actor had been recommended to him for this part in private, by the manager (who, by the way) our author, or any one else, never esteemed as the best judge, of either play, or player.

But money may purchase, and interest procure, a patent, though they cannot purchase taste, or parts, the person proposed was, possibly, some favoured flatterer, the partner of his private pleasures, or humble admirer of his table talk: These little monarchs have their little courtiers. Mr. Thomson insisted on my keeping the part. He said, 'Twas his opinion, none but myself, or Mr. Quin, could do it any justice; and, as that excellent actor could not be spared from the part of Agamemnon (in the performance of which character he added to his reputation, though before justly rated as the first actor of that time) he was peremptory for my appearing in it; I did so, and acquitted myself to the satisfaction of the author and his friends (men eminent in rank, in taste, and knowledge) and received testimonies of approbation from the audience, by their attention and applause.

By this time the reader may be ready to cry out, 'to what purpose is all this?' Have patience, sir. As I gained reputation in the forementioned character, is there any crime in acknowledging my obligation to Mr. Thomson? or, am I unpardonable, though I should pride myself on his good opinion and friendship? may not grat.i.tude, as well as vanity, be concerned in this relation? but there is another reason that may stand as an excuse, for my being led into this long narrative; which, as it is only an annotation, not made part of our author's life, the reader, at his option, may peruse, or pa.s.s it over, without being interrupted in his attention to what more immediately concerns Mr. Thomson. As what I have related is a truth, which living men of worth can testify; and as it evidently shows that Mr. Savage's opinion of me as an actor was, in this latter part of his life, far from contemptible, of which, perhaps, in his earlier days he had too lavishly spoke; I thought this no improper (nor ill-timed) contradiction to a remark the writer of[7A]

Mr. Savage's Life has been pleased, in his Gaite de Coeur, to make, which almost amounts to an unhandsome innuendo, that Mr. Savage, and some of his friends, thought me no actor at all.

I accidentally met with the book some years ago, and dipt into that part where the author says, 'The preface (to Sir Thomas Overbury) contains a very liberal encomium on the blooming excellences of Mr.

Theophilus Cibber, which Mr. Savage could not, in the latter part of his life, see his friends about to read, without s.n.a.t.c.hing the play out of their hands.' As poor Savage was well remembered to have been as inconsiderate, inconsistent, and inconstant a mortal as ever existed, what he might have said carried but little weight; and, as he would blow both hot and cold, nay, too frequently, to gratify the company present, would sacrifice the absent, though his best friend, I disregarded this invidious hint, 'till I was lately informed, a person of distinction in the learned world, had condescended to become the biographer of this unhappy man's unimportant life: as the sanction of such a name might prove of prejudice to me, I have since thought it worth my notice.

The truth is, I met Savage one summer, in a condition too melancholy for description. He was starving; I supported him, and my father cloathed him, 'till his tragedy was brought on the stage, where it met with success in the representation, tho' acted by the young part of the company, in the summer season; whatever might be the merit of his play, his necessities were too pressing to wait 'till winter for its performance. When it was just going to be published (as I met with uncommon encouragement in my young attempt in the part of Somerset) he repeated to me a most extraordinary compliment, as he might then think it, which, he said, he intended to make me in his preface. Neither my youth (for I was then but 18) or vanity, was so devoid of judgment, as to prevent my objecting to it. I told him, I imagined this extravagancy would have so contrary an effect to his intention, that what he kindly meant for praise, might be misinterpreted, or render him liable to censure, and me to ridicule; I insisted on his omitting it: contrary to his usual obstinacy, he consented, and sent his orders to the Printer to leave it out; it was too late; the sheets were all work'd off, and the play was advertised to come out (as it did) the next day. T.C.

[7A] _Published about the year_ 1743.

ALEXANDER POPE, Esq;

This ill.u.s.trious poet was born at London, in 1688, and was descended from a good family of that name, in Oxfordshire, the head of which was the earl of Downe, whose sole heiress married the earl of Lindsey. His father, a man of primitive simplicity, and integrity of manners, was a merchant of London, who upon the Revolution quitted trade, and converted his effects into money, amounting to near 10,000 l. with which he retired into the country; and died in 1717, at the age of 75.

Our poet's mother, who lived to a very advanced age, being 93 years old when she died, in 1733, was the daughter of William Turner, Esq; of York. She had three brothers, one of whom was killed, another died in the service of king Charles; and the eldest following his fortunes, and becoming a general officer in Spain, left her what estate remained after sequestration, and forfeitures of her family. To these circ.u.mstances our poet alludes in his epistle to Dr. Arbuthnot, in which he mentions his parents.

Of gentle blood (part shed in honour's cause, While yet in Britain, honour had applause) Each parent sprang,--What fortune pray?--their own, And better got than Bestia's from the throne.

Born to no pride, inheriting no strife, Nor marrying discord in a n.o.ble wife; Stranger to civil and religious rage, The good man walked innoxious thro' his age: No courts he saw; no suits would ever try; Nor dar'd an oath, nor hazarded a lye: Unlearn'd, he knew no schoolmen's subtle art, No language, but the language of the heart: By nature honest, by experience wise, Healthy by temp'rance, and by exercise; His life though long, to sickness past unknown, His death was instant and without a groan.

The education of our great author was attended with circ.u.mstances very singular; and some of them extremely unfavourable; but the amazing force of his genius fully compensated the want of any advantage in his earliest instruction. He owed the knowledge of his letters to an aunt; and having learned very early to read, took great delight in it, and taught himself to write by copying after printed books, the characters of which he could imitate to great perfection. He began to compose verses, farther back than he could well remember; and at eight years of age, when he was put under one Taverner a priest, who taught him the rudiments of the Latin and Greek tongues at the same time, he met with Ogilby's Homer, which gave him great delight; and this was encreased by Sandys's Ovid: The raptures which these authors, even in the disguise of such translations, then yielded him, were so strong, that he spoke of them with pleasure ever after. From Mr. Taverner's tuition he was sent to a private school at Twiford, near Winchester, where he continued about a year, and was then removed to another near Hyde Park Corner; but was so unfortunate as to lose under his two last masters, what he had acquired under the first.

While he remained at this school, being permitted to go to the play-house, with some of his school fellows of a more advanced age, he was so charmed with dramatic representations, that he formed the translation of the Iliad into a play, from several of the speeches in Ogilby's translation, connected with verses of his own; and the several parts were performed by the upper boys of the school, except that of Ajax by the master's gardener. At the age of 12 our young poet, went with his father to reside at his house at Binfield, in Windsor forest, where he was for a few months under the tuition of another priest, with as little success as before; so that he resolved now to become his own master, by reading those Cla.s.sic Writers which gave him most entertainment; and by this method, at fifteen he gained a ready habit in the learned languages, to which he soon after added the French and Italian. Upon his retreat to the forest, he became first acquainted with the writings of Waller, Spenser and Dryden; in the last of which he immediately found what he wanted; and the poems of that excellent writer were never out of his hands; they became his model, and from them alone he learned the whole magic of his versification.

The first of our author's compositions now extant in print, is an Ode on Solitude, written before he was twelve years old: Which, consider'd as the production of so early an age, is a perfect master piece; nor need he have been ashamed of it, had it been written in the meridian of his genius. While it breathes the most delicate spirit of poetry, it at the same time demonstrates his love of solitude, and the rational pleasures which attend the retreats of a contented country life.

Two years after this he translated the first Book of Statius' Thebais, and wrote a copy of verses on Silence, in imitation of the Earl of Rochester's poem on Nothing[1]. Thus we find him no sooner capable of holding the pen, than he employed it in writing verses,

"_He lisp'd [Transcriber's note: 'lips'd' in original] in Numbers, for the Numbers came_."

Though we have had frequent opportunity to observe, that poets have given early displays of genius, yet we cannot recollect, that among the inspired tribe, one can be found who at the age of twelve could produce so animated an Ode; or at the age of fourteen translate from the Latin.

It has been reported indeed, concerning Mr. Dryden, that when he was at Westminster-School, the master who had a.s.signed a poetical task to some of the boys, of writing a Paraphrase on our Saviour's Miracle, of turning Water into Wine, was perfectly astonished when young Dryden presented him with the following line, which he a.s.serted was the best comment could be written upon it.

The conscious water saw its G.o.d, and blush'd.

This was the only instance of an early appearance of genius in this great man, for he was turn'd of 30 before he acquired any reputation; an age in which Mr. Pope's was in its full distinction.

The year following that in which Mr. Pope wrote his poem on Silence, he began an Epic Poem, int.i.tled Alcander, which he afterwards very judiciously committed to the flames, as he did likewise a Comedy, and a Tragedy; the latter taken from a story in the legend of St. Genevieve; both of these being the product of those early days. But his Pastorals, which were written in 1704, when he was only 16 years of age, were esteemed by Sir William Trumbull, Mr. Granville, Mr. Wycherley, Mr.

Walsh and others of his friends, too valuable to be condemned to the same fate.

Mr. Pope's Pastorals are four, viz.

Spring, address'd to Sir William Trumbull, Summer, to Dr. Garth.

Autumn, to Mr. Wycherley.

Winter, in memory of Mrs. Tempest.

The three great writers of Pastoral Dialogue, which Mr. Pope in some measure seems to imitate, are Theocritus, Virgil, and Spenser. Mr. Pope is of opinion, that Theocritus excells all others in nature and simplicity.

That Virgil, who copies Theocritus, refines on his original; and in all points in which judgment has the princ.i.p.al part is much superior to his master.

That among the moderns, their success has been, greatest who have most endeavoured to make these antients their pattern. The most considerable genius appears in the famous Ta.s.so, and our Spenser. Ta.s.so in his Aminta has far excelled all the pastoral writers, as in his Gierusalemme he has outdone the Epic Poets of his own country. But as this piece seems to have been the original of a new sort of poem, the Pastoral Comedy, in Italy, it cannot so well be considered as a copy of the antients.

Spenser's Calendar, in Mr. Dryden's opinion, is the most compleat work of this kind, which any nation has produced ever since the time of Virgil. But this he said before Mr. Pope's Pastorals appeared.

Mr. Walsh p.r.o.nounces on our Shepherd's Boy (as Mr. Pope called himself) the following judgment, in a letter to Mr. Wycherly.

'The verses are very tender and easy. The author seems to have a particular genius for that kind of poetry, and a judgment that much exceeds the years, you told me he was of. It is no flattery at all to say, that Virgil had written nothing so good at his age. I shall take it as a favour if you will bring me acquainted with him; and if he will give himself the trouble, any morning, to call at my house, I shall be very glad to read the verses with him, and give him him my opinion of the particulars more largely than I can well do in this letter.'

Thus early was Mr. Pope introduced to the acquaintance of men of genius, and so improved every advantage, that he made a more rapid progress towards a consummation in fame, than any of our former English poets.

His Messiah; his Windsor-Forest, the first part of which was written at the same time with his pastorals; his Essay on Criticism in 1709, and his Rape of the Lock in 1712, established his poetical character in such a manner, that he was called upon by the public voice, to enrich our language with the translation of the Iliad; which he began at 25, and executed in five years. This was published for his own benefit, by subscription, the only kind of reward, which he received for his writings, which do honour to our age and country: His religion rendering him incapable of a place, which the lord treasurer Oxford used to express his concern for, but without offering him a pension, as the earl of Halifax, and Mr. Secretary Craggs afterwards did, though Mr. Pope declined it.

The reputation of Mr. Pope gaining every day upon the world, he was caressed, flattered, and railed at; according as he was feared, or loved by different persons. Mr. Wycherley was amongst the first authors of established reputation, who contributed to advance his fame, and with whom he for some time lived in the most unreserved intimacy. This poet, in his old age, conceived a design of publishing his poems, and as he was but a very imperfect master of numbers, he entrusted his ma.n.u.scripts to Mr. Pope, and submitted them to his correction. The freedom which our young bard was under a necessity to use, in order to polish and refine what was in the original, rough, unharmonious, and indelicate, proved disgustful to the old gentleman, then near 70, who, perhaps, was a little ashamed, that a boy at 16 should so severely correct his works.

Letters of dissatisfaction were written by Mr. Wycherley, and at last he informed him, in few words, that he was going out of town, without mentioning to what place, and did not expect to hear from him 'till he came back. This cold indifference extorted from Mr. Pope a protestation, that nothing should induce him ever to write to him again.

Notwithstanding this peevish behaviour of Mr. Wycherley, occasioned by jealousy and infirmities, Mr. Pope preserved a constant respect and reverence for him while he lived, and after his death lamented him. In a letter to Edward Blount, esq; written immediately upon the death of this poet, he has there related some anecdotes of Wycherly, which we shall insert here, especially as they are not taken notice of in his life.

'DEAR SIR,

'I know of nothing that will be so interesting to you, at present, as some circ.u.mstances of the last act of that eminent comic poet, and our friend, Wycherley. He had often told me, as, I doubt not, he did all his acquaintance, that he would marry, as soon as his life was despaired of: accordingly, a few days before his death, he underwent the ceremony, and joined together those two sacraments, which, wise men say, should be the last we receive; for, if you observe, matrimony is placed after extreme unction in our catechism, as a kind of hint of the order of time in which they are to be taken. The old man then lay down, satisfied in the conscience of having, by this one act, paid his just debts, obliged a woman, who, he was told, had merit, and shewn a heroic resentment of the ill usage of his next heir. Some hundred pounds which he had with the lady, discharged those debts; a jointure of four hundred a year made her a recompence; and the nephew he left to comfort himself, as well as he could, with the miserable remains of a mortgaged estate. I saw our friend twice after this was done, less peevish in his sickness, than he used to be in his health, neither much afraid of dying, nor (which in him had been more likely) much ashamed of marrying. The evening before he expired, he called his young wife to the bed side, and earnestly entreated her not to deny him one request, the last he should ever make.

Upon her a.s.surance of consenting to it, he told her, my dear, it is only this, that you will never marry an old man again. I cannot help remarking, that sickness, which often destroys both wit and wisdom, yet seldom has power to remove that talent we call humour. Mr. Wycherley shewed this even in this last compliment, though, I think, his request a little hard; for why should he bar her from doubling her jointure on the same easy terms.'

One of the most affecting and tender compositions of Mr. Pope, is, his Elegy to the Memory of an Unfortunate Lady, built on a true story. We are informed in the Life of Pope, for which Curl obtained a patent, that this young lady was a particular favourite of the poet, though it is not ascertained whether he himself was the person from whom she was removed.