| Citation |
RNYG.783.039
22 Feb 1783:14,21,22,23 (669)
Detached Characters of Authors, &c.
From Dr. Warton's Essay on Pope. Vol. II.
[Concluded from our last.]
. . . [8 lines on Philips, followed by these on John Gay.]
The sweetness and simplicity of Gay's temper and manner
much endeared him to all his acquaintance, and make them
always speak of him with particular fondness and attachment.
He wrote with neatness and terseness, equali quodam
mediocritate, but certainly without any elevation,
frequently without any spirit. Trivia appears to be the
best of his poems, in which are many strokes of genuine
humour and pictures of London-life, which hath been much
altered and changed within a few years. His Fables, the
most popular of all his works, have the fault of many modern
fable-writers, the ascribing to the different animals and
objects introduced, speeches and actions inconsistent with
their several natures. An elephant can have nothing to do
in a bookseller's shop. They are greatly inferior to the
fables of Fontaine, which is perhaps the most unrivalled
work in the whole French language. The Beggar's Opera has
surely been extolled beyond its merits. I could never
perceive that fine vein of concealed satire supposed to run
through it; and though I should not join with a bench of
Westminster justices in forbidding it to be represented on
the stage, yet I think pickpockets, strumpets, and highway-
men may be hardened in their vices by this piece; and that
Pope and Swift takled too highly of its moral good effects.
One undesigned and accidental mischief attended its success;
it was the parent of that most monstrous of all dramatic
absurdities, the Comic Opera. The friendship of two such
excellent personages, as the Duke and Duchess of Queensberry
did, in truth, compensate poor Gay's want of pension and
preferment. They behaved to him constantly with that
delicacy, and sense of seeming equality, as never to further
him for a moment to feel his state of dependence. . . 11
more lines; . . .29 lines on Lyttelton in col. 4]
. . . [Discusses authors, such as Creech, Secker, Pulteney,
Atterbury, Parnell, The Earl of Oxford, Jervas, Wyndham,
Cervantes
during columns 1 and 2.]
. . . [14 lines on Creech, Pope.]
Pope's character of Robert Walpole,
Seen him I have, but in his happier hour
Of social pleasure, ill-exchang'd for power;
Seen him, uncomber'd with the venal tribe,
Smile without art, and win without a bribe;
. . . [43 lines on Pulteney, Atterbury, Parnell, The Earl
of Oxford]
The Earl of Oxford must be confessed, now that party
prejudices are worn away, to have had great genius,
learning, and honesty. Strength of mind appears to have
been his predominant characteristic, of which he gave the
most striking proofs, when he was stabbed, displaced,
imprisoned. These circumstances are alluded to in those
noble and nervous verses.
And sure, if aught below the seats divine,
Can touch immortals, 'tis a soul like thine!
A soul supreme in each hard instance try'd,
Above all plain, all passion, and all pride;
The rage of power, the blast of public breath,
The lull of lucre, and the dread of death.
. . . [54 lines in col. 1 about Jervas, Syndham, Certantes,
Donne, and 18 lines in col. 2]
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