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TO

The Revd. Mr. BROOME.
At Pulham, near HARLESTONE

NOR (By Beccles Bag.]

SUFFOLKE

DI SIR, I intended to write to you on this melancholy subject, the death of Mr. Fenton, before yas came; but stay'd to have inform'd myself and you of ye circumstances of it. All I hear is, that he felt a Gradual Decay, tho so early in life, & was declining for 5 or 6 months. It was not, as I apprehended, the Gout in his Stomach, but I believe rather a Complication first of Gross Humours, as he was naturally corpulent, not discharging themselves, as he used no sort of Exercise. No man better bore ye approaches of his Dissolution (as I am told) or with less ostentation yielded up his Being. The great Modesty wch you know was natural to him, and ye great Contempt he had for all sorts of Vanity & Parade, never appeared more than in his last moments : He had a conscious Satisfaction (no doubt) in acting right, in feeling himself honest, true, & unpretending to more than was bis own. So he dyed, as he lived, with that secret, yet sufficient, Contentment.

As to any Papers left behind him, I dare say they can bc but few; for this reason, he never wrote out of Vanity, or thought much of the Applause of men. I know an instance where he did his utmost to conceal his own merit that way; and if we join to this his natural Love of Ease, I fancy we must expect little of this sort: at least I hear of none except some few further remarks on Waller (wch his cautious integrity made him leave an order to be given to Mr. Tonson) and perhaps, tho’’tis many years since I saw it, a Translation of ye first Book of Oppian. He had begun a Tragedy of Dion, but made small progress in it.

As to his other Affairs, he died poor, but honest, leaving no Debts, or Legacies; except of a few pds to Mr. Trumbull and my Lady, in token of respect, Gratefulness, and mutual Esteem,

I shall with pleasure take upon me to draw this amiable, quiet, deserving, unpretending Christian and Philosophical character, in his Epitaph. There Truth may be spoken in a few words: as for Flourish, & Oratory, & Poetry, I leave them to younger and more lively Writers, such as love writing for writing sake, & wd rather show their own Fine Parts, yo Report the valuable ones of any other man. So the Elegy I renounce.

I condole with you from my heart, on the loss of so worthy a man, and a friend to us both.

Now he is gone, I must tell you he has done you many a good office, and set your character in the fairest light to some who either mis. took you, or knew you not. I doubt not he has done the same for me.

Adieu: Let us love his memory, and profit by his example. I am very sincerely

Dr SIR
Your affectionate
& real Servant

A. POPE. Aug. 29. 1731

GAY

JOHN GAY, descended from an old family that had been long in possession of the manor of *Goldworthy in Devonshire, was born in 1688, at or near Barnstaple, where he was educated by mr. Luck, who taught the school of that town with good reputation, and, a little before he retired from it, published a volume of Latin and English verses. Under such a master he was likely to form a taste for poetry. Being born without prospect of hereditary riches, he was sent to London in his youth, and placed apprentice to a silk-mercer.

How long he continued behind the counter, or with what degree of softness and dexterity he received and accommodated the ladies, as he probably took no delight in telling it, is not known. The report is, that he was soon weary of either the restraint or servility of his occupation, and easily persuaded his master to discharge him.

The duchess of Monmouth, remarkable for inflexible perseverance in her demand to be treated as a princess, in 1712, took Gay into her service as secretary: by quitting a shop for such service he might gain leisure, but he certainly advanced little in the boast of independence. Of his leisure he made so good use, that he published next year a poem on rural sports, and inscribed it to mr. Pope, who was then rising fast into reputation. Pope was pleased with the honour; and when he became acquainted with Gay, found such attractions in his manners and conversation, that he seems to have received him into his inmost confidence; and a friendship was formed between them which lasted to their separation by death, without any known abatement on either part. Gay was the general favourite of the whole association of wits; but they regarded him as a play-fellow rather than a partner, and treated him with more fondness than respect.

Goldworthy does not appear in the Villare.

Next year he published The Shepherd's Week, six English pastorals, in which the images are drawn from real life, such as it appears among the rustics in parts of England remote from London. Steele, in some papers of the Guardian, had praised Ambrose Philips, as the pastoral writer that yielded only to Theocritus, Virgil, and Spenser. Pope, who had also published pastorals, not pleased to be overlooked, drew up a comparison of his own compositions with those of Philips, in which he covertly gave himself the preference, while he seemed to disown it. Not content with this, he is supposed to have incited Gay to write The Shepherd's Week, to shew, that if it be necessary to copy nature with minuteness, rural life must be exbibited such as grossness and ignorance have made it. So far the plan was reasonable; but the pastorals are introduced by a proem, written with such imitation as they could obtain of obsolete language, and, by consequence, in a style that was never spoken nor written, in any age or in any place.

But the effect of reality and truth became conspicuous, even when the intention was to shew them grovelling and degraded. These pastorals became popular, and were read with delight as just representations of rural manners and occupations, by those who had no interest in the rivalry of the poets, nor knowledge of the critical dispute.

In 1713, he brought a comedy called The Wife of Bath upon the stage, but it received no applause: he printed it, however; and, seventeen years after, having altered it, and, as he thought, adapted it more to the public taste, he offered it again to the town; but, though he was flushed with the success of the Beggar's Opera, had the mortification to see it again rejected.

In the last year of queen Anno's life, Gay was made secretary to the earl of Clarendon, ambassador to the court of Hanover. This was a station that naturally gave him hopes of kindness from every party; but the queen's death put an end to her favours; and he had dedicated his Shepherd's Week to Bolingbroke, which Swift considered as the crime that obstructed all kindness from the house of Ha

nover.

He did not, however, omit to improve the right which his office had given him to the notice of the royal family. On the arrival of the princess of Wales, he wrote a poem, and obtained so much favour, that both the prince and princess went to see his What d'ye call it? a kind of mock tragedy, in which the images were comie, and the action grave; so that, as Pope relates, mr. Cromwell, who could not hear what was said, was at a loss how to reconcile the laughter of the audience with the solemnity of the scene.

Of this performance the value certainly is but little ; but it was one of the lucky trifles that give pleasure by novelty, and was so much favoured by the audience, that envy appeared against it in the form of criticism; and Griffin, a player, in conjunction with mr. Theobald, a man afterwards more remarkable, produced a pamphlet, called The Key to the What d'ye call it? which, says Gay, “ calls me a blockhead, and mr. Pope a knave.”

But fortune has always been inconstant. Not long afterwards, (1717), he endeavoured to entertain the town with Three Hours after Marriage ; a comedy written, as there is sufficient reason for believing, by the joint assistance of Pope and Arbuthnot. One purpose of it was to bring into contempt dr. Woodward the fossilist, a man not really or justly contemptible. It had the fate which such outrages deserve: the scene in which Woodward was directly and apparently ridiculed, by the introduction of a mummy and a crocodile, disgusted the audience, and the performance was driven off the stage with general condemnation.

Gay is represented as a man easily incited to hope, and deeply depressed when his hopes were disappointed. This is not the character of a hero; but it may naturally imply something more generally welcome, a soft and civil companion. Whoever is apt to hope good from others is diligent to please them; but he that believes his powers strong enough to force their own way, commonly tries only to please himself.

He had been simple enough to imagine, that those, who laughed at the What d'ye call it? would raise the fortune of its author; and, finding nothing done, sunk into dejection. His friends endeavoured to divert him. The earl of

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