Ah, Colin! give not her thy vows, Vows due to me alone;

Nor thou, fond maid! receive his kiss,
Nor think him all thy own.

To-morrow in the church to wed,
Impatient both prepare;

But know, fond maid! and know, false man!
That Lucy will be there.

Then bear my corse, my comrades! bear,
This bridegroom blithe to meet;
He in his weading trim so gay,
I in my winding sheet.'

She spoke; she died. Her corpse was borne
The bridegroom blithe to meet ;
He in his wedding trim so gay,
She in her winding sheet.

Then what were perjured Colin's thoughts?
How were these nuptials kept?
The bridesinen flocked round Lucy dead,
And all the village wept.
Confusion, shame, remorse, despair,
At once his bosom swell;

The damps of death bedewed his brow;
He shook, he groaned, he fell.

From the vain bride, ah! bride no more!
The varying crimson fled,
When stretched before her rival's corpse
She saw her husband dead.

Then to his Lucy's new made grave
Conveyed by trembling swains,
One mould with her, beneath one sod,
For ever he remains.

Oft at this grave the constant hind
And plighted maid are seen;
With garlands gay and true-love knots
They deck the sacred green.

But, swain forsworn! whoe'er thou art,
This hallowed spot forbear;
Remember Colin's dreadful fate,
And fear to meet him there.

SIR SAMUEL GARTH.

SIR SAMUEL GARTH, an eminent physician, published in 1696 his poem of The Dispensary, to aid the college of physicians in a war they were then waging with the apothecaries. The latter had ventured to prescribe, as well as compound medicines; and the physicians, to outbid them in popularity, advertised that they would give advice gratis to the poor, and establish a dispensary of their own for the sale of cheap medicines. The college triumphed; but in 1703 the House of Lords decided that apothecaries were entitled to exercise the privilege which Garth and his brother physicians resisted. Garth was a popular and benevolent man, a firm Whig, yet the early encourager of Pope; and when Dryden died, he pronounced a Latin oration over the poet's remains. With Addison, he was, politically and personally, on terms of the closest intimacy. Garth died in 1718. The Dispensary' is a mock heroic poem in six cantos. Some of the leading apothecaries of the day are happily ridiculed; but the interest of the satire has passed away, and it did not contain enough of the life of poetry to preserve it. A few lines will give a specimen of the manner and the versification of the poem. It opens in the following strain :

Speak, goddess! since 'tis thou that best canst tell,
How ancient leagues to modern discord fell;
And why physicians were so cautious grown
Of others' lives, and lavish of their own;
How by a journey to the Elysian plain,
Peace triumphed, and old time returned again.
Not far from that most celebrated place,1
Where angry justice shows her awful face;
Where little villains must submit to fate,
That great ones may enjoy the world in state;
There stands a dome, majestic to the sight,
And sumptuous arches bear its oval height;
A golden globe, placed high with artful skill,
Seems, to the distant sight, a gilded pill;
This pile was, by the pious patron's aim,
Raised for a use as noble as its frame;
Nor did the learned society decline
The propagation of that great design;
In all her mazes, Nature's face they viewed,
And, as she disappeared, their search pursued.
Wrapt in the shade of night the goddess lies,
Yet to the learned unveils her dark disguise,
But shuns the gross access of vulgar eyes.

Now she unfolds the faint and dawning strife
Of infant atoms kindling into life;
How ductile matter new meanders takes,
And slender trains of twisting fibres makes;
And how the viscous seeks a closer tone,
By just degrees to harden into bone;
While the more loose flow from the vital urn,
And in full tides of purple streams return;
How lambent flames from life's bright lamps
arise,

And dart in emanations through the eyes;
How from each sluice a gentle torrent pours,
To slake a feverish heat with ambient showers;
Whence their mechanic powers the spirits claim;
How great their force, how delicate their frame;
How the same nerves are fashioned to sustain
The greatest pleasure and the greatest pain;
Why bilious juice a golden light puts on,
And floods of chyle in silver currents run;
How the dim speck of entity began

To extend its recent form, and stretch to man;
Why envy oft transforms with wan disguise,
And why gay Mirth sits smiling in the eyes;
Whence Milo's vigour at the Olympic's shown,
Whence tropes to Finch, or impudence to Sloane;
How matter, by the varied shape of pores
Or idiots frames, or solemn senators.

How body acts upon impassive mind;
Hence 'tis we wait the wondrous cause to find,
How fumes of wine the thinking part can fire,
Past hopes revive, and present joys inspire;
Why our complexions oft our soul declare,
And how the passions in the features are;
How touch and harmony arise between
Corporeal figure, and a form unseen;
How quick their faculties the limbs fulfil,
And act at every summons of the will;
With mighty truths, mysterious to descry,
Which in the womb of distant causes lie.

But now no grand inquiries are descried;
Mean faction reigns where knowledge should preside;
Feuds are increased, and learning laid aside;
Thus synods oft concern for faith conceal,
And for important nothings show a zeal:
The drooping sciences neglected pine,
And Paan's beams with fading lustre shine.
No readers here with hectic looks are found,
Nor eyes in rheum, through midnight-watching

drowned:

This place, so fit for undisturbed repose,
The god of sloth for his asylum chose;
Upon a couch of down in these abodes,
Supine with folded arms, he thoughtless nods;
Indulging dreams his godhead lull to ease,
With inurmurs of soft rills, and whispering trees:
The poppy and each numbing plant dispense
Their drowsy virtue and dull indolence;
No passions interrupt his easy reign,
No problems puzzle his lethargic brain:

But dark oblivion guards his peaceful bed,
And lazy fogs hang lingering o'er his head.

All have sunk into oblivion; but Pope has preserved his memory in various satirical allusions. Addison extended his friendship to the Whig poet, whose private character was exemplary and irreproachable. Dr Johnson included Blackmore in his edition of the poets, but restricted his publication of his works to the poem of 'Creation, which, he said, 'wants neither harmony of numbers, accuracy of thought, nor elegance of diction.' Blackmore died in 1729. The design of Creation' was to demonstrate the existence of a Divine Eternal Mind. He recites the proofs of a Deity from natural and physical pheno

:

Could'st thou propose that we, the friends of fates,
Who fill churchyards, and who unpeople states,
Who baffle nature, and dispose of lives,
Whilst Russel, as we please, or starves or thrives,
Should e'er submit to their despotic will,
Who out of consultation scarce can skill?
The towering Alps shall sooner sink to vales,
And leeches, in our glasses, swell to whales;
Or Norwich trade in instruments of steel,
And Birmingham in stuffs and druggets deal!
Alleys at Wapping furnish us new modes,

And Monmouth Street, Versailles, with riding-hoods;
The sick to the Hundreds in pale throngs repair,
And change the Gravel-pits for Kentish air.
Our properties must on our arms depend;
"Tis next to conquer, bravely to defend.
'Tis to the vulgar death too harsh appears;
The ill we feel is only in our fears.

To die, is landing on some silent shore, Where billows never break, nor tempests roar: Ere well we feel the friendly stroke, 'tis o'er. The wise through thought the insults of death defy; The fools through blessed insensibility. "Tis what the guilty fear, the pious crave; Sought by the wretch, and vanquished by the brave. It eases lovers, sets the captive free; And, though a tyrant, offers liberty.

:

Garth wrote the epilogue to Addison's tragedy of Cato, which ends with the following pleasing lines:Oh, may once more the happy age appear, When words were artless, and the thoughts sincere ; When gold and grandeur were unenvied things, And courts less coveted than groves and springs. Love then shall only mourn when truth complains, And constancy feel transport in his chains; Sighs with success their own soft language tell, And eyes shall utter what the lips conceal: Virtue again to its bright station climb, And beauty fear no enemy but time; The fair shall listen to desert alone, And every Lucia find a Cato's son.

SIR RICHARD BLACKMORE.

SIR RICHARD BLACKMORE was one of the most fortunate physicians, and the most persecuted poets, of this period. He was born of a good family in Wiltshire, and took the degree of M.A. at Oxford in 1676. He was in extensive medical practice, was knighted by King William III., and afterwards made censor of the college of physicians. In 1695, he published Prince Arthur, an epic poem, which he says he wrote amidst the duties of his profession, in coffeehouses, or in passing up and down the streets! Dryden, whom he had attacked for licentiousness, satirised him for writing to the rumbling of his chariot-wheels.' Blackmore continued writing, and published a series of epic poems on King Alfred, Queen Elizabeth, the Redeemer, the Creation, &c.

Epicureans and the Fatalists, concluding with a hymn to the Creator of the world. The piety of Blackmore is everywhere apparent in his writings; but the genius of poetry too often evaporates amidst his commonplace illustrations and prosing declamation. One passage of Creation' (addressed to the disciples of Lucretius) will suffice to show the style of Blackmore, in its more select and improved

manner:

You ask us why the soil the thistle breeds;
Why its spontaneous birth are thorns and weeds;
Why for the harvest it the harrow needs!

The Author might a nobler world have made,
In brighter dress the hills and vales arrayed,
And all its face in flowery scenes displayed:
The glebe untilled might plenteous crops have borne,
And brought forth spicy groves instead of thorn:
Rich fruit and flowers, without the gardener's pains,
Might every hill have crowned, have honoured all the
plains:

This Nature might have boasted, had the Mind
Who formed the spacious universe designed
That man, from labour free, as well as grief,
Should pass in lazy luxury his life.
But he his creature gave a fertile soil,
Fertile, but not without the owner's toil,
That some reward his industry should crown,
And that his food in part might be his own.

But while insulting you arraign the land,
Ask why it wants the plough, or labourer's hand;
Kind to the marble rocks, you ne'er complain
That they, without the sculptor's skill and pain,
No perfect statue yield, no basse relieve,
Or finished column for the palace give.
Yet if from hills unlaboured figures came,
Man might have ease enjoyed, though never fame.
You may the world of more defect upbraid,
That other works by Nature are unmade:
That she did never, at her own expense,
A palace rear, and in magnificence
Out-rival art, to grace the stately rooms;
That she no castle builds, no lofty domes.
Had Nature's hand these various works prepared,
What thoughtful care, what labour had been spared
But then no realm would one great master show,
No Phidias Greece, and Rome no Angelo.
With equal reason, too, you might demand
Why boats and ships require the artist's hand;
Why generous Nature did not these provide,
To pass the standing lake, or flowing tide?

You say the hills, which high in air arise, Harbour in clouds, and mingle with the skies, That earth's dishonour and encumbering load, Of many spacious regions man defraud; For beasts and birds of prey a desolate abode. But can the objector no convenience find In mountains, hills, and rocks, which gird and bind The mighty frame, that else would be disjoined! Do not those heaps the raging tide restrain, And for the dome afford the marble vein! Does not the rivers from the mountains flow, And bring down riches to the vale below!

The winds are hushed; the dews distil; and sleep
Hath closed the eyelids of my weary sheep:
I only, with the prowling wolf, constrained
All night to wake: with hunger he is pained,
And I with love. His hunger he may tame;
But who can quench, O cruel love! thy flame?
Whilom did I, all as this poplar fair,
Upraise my heedless head, then void of care,
'Mong rustic routs the chief for wanton game;
Nor could they merry make, till Lobbin came.
Who better seen than I in shepherd's arts,
To please the lads, and win the lasses' hearts?
How deftly, to mine oaten reed so sweet,
Wont they upon the green to shift their feet?
And, wearied in the dance, how would they yearn
Some well-devised tale from me to learn?
For many songs and tales of mirth had I,
To chase the loitering sun adown the sky:
But ah! since Lucy coy deep-wrought her spite
Within my heart, unmindful of delight,
The jolly grooms I fly, and, all alone,

To rocks and woods pour forth my fruitless moan.
Oh! quit thy wonted scorn, relentless fair,
Ere, lingering long, I perish through despair.
Had Rosalind been mistress of my mind,

How would the crook beseem thy lily hand!
How would my younglings round thee gazing stand!
Ah, witless younglings! gaze not on her eye:
Thence all my sorrow; thence the death I die.
Oh, killing beauty! and oh, sore desire!
Must then my sufferings but with life expire?
Though blossoms every year the trees adorn,
Spring after spring I wither, nipt with scorn:
Nor trow I when this bitter blast will end,
Or if yon stars will e'er my vows befriend.
Sleep, sleep, my flock; for happy ye may take
Sweet nightly rest, though still your master wake.'
Now to the waning moon the nightingale,
In slender warblings, tuned her piteous tale.
The love-sick shepherd, listening, felt relief,
Pleased with so sweet a partner in his grief,
Till, by degrees, her notes and silent night
To slumbers soft his heavy heart invite.

JOHN GAY.

The Italian opera and English pastorals-both sources of fashionable and poetical affectation-were driven out of the field at this time by the easy, indolent, good-humoured JOHN GAY, who seems to have Pope and Swift circle of wits and poets. Gay was

O think, unwitting maid, while yet is time,

How flying years impair thy youthful prime!

Thy virgin bloom will not for ever stay,

And flowers, though left ungathered, will decay:

The flowers, anew, returning seasons bring!

But beauty faded has no second spring.

My words are wind! She, deaf to all my cries,
Takes pleasure in the mischief of her eyes.
Like frisking heifer, loose in flowery meads,
She gads where'er her roving fancy leads;

Yet still from me. Ah me! the tiresome chase!
Shy as the fawn, she flies my fond embrace.
She flies, indeed, but ever leaves behind,
Fly where she will, her likeness in my mind.

No cruel purpose in my speed I bear;

'Tis only love; and love why should'st thou fear? What idle fears a maiden breast alarm!

rear,

Stay, simple girl; a lover cannot harm;
Two sportive kidlings, both fair-flecked,
Whose shooting horns like tender buds appear:
A lambkin too, of spotless fleece, I breed,
And teach the fondling from my hand to feed:
Nor will I cease betimes to cull the fields
Of every dewy sweet the morning yields:
From early spring to autumn late shalt thou
Receive gay girlonds, blooming o'er thy brow:
And when-but why these unavailing pains?
The gifts alike, and giver, she disdains;
And now, left heiress of the glen, she'll deem
Me, landless lad, unworthy her esteem;
Yet was she born, like me, of shepherd-sire,
And I may fields and lowing herds acquire.
O! would my gifts but win her wanton heart,
Or could I half the warmth I feel impart,
How would I wander, every day, to find
The choice of wildings, blushing through the rind!
For glossy plums how lightsome climb the tree,
How risk the vengeance of the thrifty bee.
Or, if thou deign to live a shepherdess,
Thou Lobbin's flock, and Lobbin shall possess;
And fair my flock, nor yet uncomely I,
If liquid fountains flatter not; and why
Should liquid fountains flatter us, yet show

The bordering flowers less beauteous than they grow?
O come, my love! nor think the employment mean,
The dams to milk, and little lambkins wean;
To drive afield, by morn, the fattening ewes,
Ere the warm sun drink up the coolly dews;
While with my pipe, and with my voice, I cheer
Each hour, and through the day detain thine ear.

Gay.

born at Barnstaple, in Devonshire, in 1688. He was of the ancient family of the Le Gays of Oxford and Devonshire; but his father being in reduced circumstances, the poet was put apprentice to a silk-mercer in the Strand, London. He disliked this mercenary employment, and at length obtained his discharge from his master. In 1711, he published his Rural Sports, a descriptive poem, dedicated to Pope, in which we may trace his joy at being emancipated from the drudgery of a shop:

But I, who ne'er was blessed by Fortune's hand,
Nor brightened ploughshares in paternal land;
Long in the noisy town have been immured,
Respired its smoke, and all its cares endured.

Fatigued at last, a calm retreat I chose,
And soothed my harassed mind with sweet repose,
Where fields, and shades, and the refreshing clime
Inspire the sylvan song, and prompt my rhyme.

Next year, Gay obtained the appointment of domestic secretary to the Duchess of Monmouth, on which he was cordially congratulated by Pope, who took a warm interest in his fortunes. His next work was his Shepherd's Week, in Six Pastorals, written to throw ridicule on those of Ambrose Philips; but containing so much genuine comic humour, and entertaining pictures of country life, that they became popular, not as satires, but on account of their intrinsic merits, as affording a prospect of his own country. In an address to the 'courteous reader,' Gay says, "Thou wilt not find my shepherdesses idly piping on oaten reeds, but milking the kine, tying up the sheaves; or, if the hogs are astray, driving them to their styes. My shepherd gathereth none other nosegays but what are the growth of our own fields; he sleepeth not under myrtle shades, but under a hedge; nor doth he vigilantly defend his flock from wolves, because there are none.' This matter-of-fact view of rural life has been admirably followed by Crabbe, with a moral aim and effect to which Gay never aspired. About this time the poet also produced his Trivia, or the Art of Walking the Streets of London, and The Fan, a poem in three books. The former of these is in the mock-heroic style, in which he was assisted by Swift, and gives a graphic account of the dangers and impediments then encountered in traversing the narrow, crowded, ill-lighted, and vice-infested thoroughfares of the metropolis. His paintings of city life are in the Dutch style, low and familiar, but correctly and forcibly drawn. The following sketch of the frequenters of book-stalls in the streets may still be verified :

Volumes on sheltered stalls expanded lie,
And various science lures the learned eye;
The bending shelves with ponderous scholiasts groan,
And deep divines, to modern shops unknown;
Here, like the bee, that on industrious wing
Collects the various odours of the spring,
Walkers at leisure learning's flowers may spoil,
Nor watch the wasting of the midnight oil;
May morals snatch from Plutarch's tattered page,
A mildewed Bacon, or Statgyra's sage:
Here sauntering 'prentices o'er Otway weep,
O'er Congreve smile, or over D'Urfey sleep;
Pleased sempstresses the Lock's famed Rape unfold;
And Squirts read Garth till apozems grow cold.

The poet gives a lively and picturesque account of the great frost in London, when a fair was held on the river Thames :

O, roving muse! recall that wondrous year
When winter reigned in bleak Britannia's air;
When hoary Thames, with frosted oziers crowned,
Was three long moons in icy fetters bound.
The waterman, forlorn, along the shore,
Pensive reclines upon his useless oar:
See harnessed steeds desert the stony town,
And wander roads unstable not their own;
Wheels o'er the hardened water smoothly glide,
And raze with whitened tracks the slippery tide;
Here the fat cook piles high the blazing fire,
And scarce the spit can turn the steer entire;
Booths sudden hide the Thames, long streets appear,
And numerous games proclaim the crowded fair.

* Squirt is the name of an apothecary's boy in Garth's Dispensary.'

So, when a general bids the martial train
Spread their encampment o'er the spacious plain,
Thick-rising tents a canvass city build,
And the loud dice resound through all the field.

In 1713, Gay brought out a comedy entitled The Wife of Bath; but it failed of success. His friends were anxious in his behalf, and next year (July 1714), he writes with joy to Pope-Since you went out of the town, my Lord Clarendon was appointed envoy-extraordinary to Hanover, in the room of Lord Paget; and by making use of those friends, which I entirely owe to you, he has accepted me for his secretary.' The poet accordingly quitted his situation in the Monmouth family, and accompanied Lord Clarendon on his embassy. He seems, however, to have held it only for about two months; for on the 23d of September of the same year, Pope welcomes him to his native soil, and counsels him, now that the queen was dead, to write something on the king, or prince, or princess. Gay was an anxious expectant of court favour, and he complied with Pope's request. He wrote a poem on the princess, and the royal family went to see his play of What D'ye Call It? produced shortly after his return from Hanover, in 1714. The piece was eminently successful; and Gay was stimulated to another dramatic attempt of a similar nature, entitled Three Hours After Marriage. Some personal satire and indecent dialogues in this piece, together with the improbability of the plot, sealed its fate with the public. It soon fell into disgrace; and its author being afraid that Pope and Arbuthnot would suffer injury from their supposed connexion with it, took all the shame on himself.' Gay was silent and dejected for some time; but in 1720 he published his poems by subscription, and realised a sum of £1000. He received, also, a present of South Sea stock, and was supposed to be worth £20,000, all of which he lost by the explosion of that famous delusion. This serious calamity to one fond of finery in dress and living only prompted to farther literary exertion. In 1724, Gay brought out another drama, The Captives, which was acted with moderate success; and in 1726 he wrote a volume of fables, designed for the special improvement of the Duke of Cumberland, who certainly did not learn mercy or humanity from them. The accession of the prince and princess to the throne seemed to augur well for the fortunes of Gay; but he was only offered the situation of gentleman usher to one of the young princesses, and considering this an insult, he rejected it. His genius proved his best patron. In 1726, Swift came to England, and resided two months with Pope at Twickenham. Among other plans, the dean of St Patrick suggested to Gay the idea of a Newgate pastoral, in which the characters should be thieves and highwaymen, and the Beggar's Opera was the result. When finished, the two friends were doubtful of the success of the piece, but it was received with unbounded applause. The songs and music aided greatly its popularity, and there was also the recommendation of political satire; for the quarrel between Peachum and Lockit was an allusion to a personal collision between Walpole and his colleague, Lord Townsend. The spirit and variety of the piece, in which song and sentiment are so happily intermixed with vice and reguery, still render the Beggar's Opera' a favourite with the public; but as Gay has succeeded in making highwaymen agreeable, and even attractive, it cannot be commended for its moral tendency. Of this we suspect the Epicurean author thought little. The opera had a run of sixty-three nights, and became the rage of town and country. Its success had also