Yet credit but lightly what more may be said, Yet counting as far as to fifty his years, High hopes he conceived, and he smothered great fears, Nor to business a drudge, nor to faction a slave, And alone with his friends, Lord! how merry was he. Now in equipage stately, now humbly on foot, And no mortal yet knows too if this may be true. If his bones lie in earth, roll in sea, fly in air, To Fate we must yield, and the thing is the same; 'The sculptor' was Antoine Coysevox. The bust was presented to Prior by Louis XIV. Epitaph Extempore. Nobles and Heralds, by your leave, Here lies what once was Matthew Prior; The son of Adam and of Eve, Can Bourbon or Nassau claim higher? Instead of being extempore, this is more probably a recollection ke Goldsmith's 'Ned Purdon.' There is an old epitaph 'Johnnie Carnegie lais heer, Descendit of Adam and Eve, Gif ony can gang hieher, Ise willing gie him leave.' An Epitaph. Interred beneath this marble stone, So every servant took his course, No man's defects sought they to know, So never made themselves a foe. When bells were rung and bonfires made, Nor good, nor bad, nor fools, nor wise, They led-a kind of—as it were; Nor wished, nor cared, nor laughed, nor cried ; And so they lived, and so they died. To a Child of Quality (one of the Dorset House), My pen amongst the rest I took, Lest those bright eyes that cannot read Nor quality nor reputation Forbid me yet my flame to tell. For, while she makes her silkworms beds She may receive and own my flame, For though the strictest prudes should know it, She'll pass for a most virtuous dame, And I for an unhappy poet. Then, too, alas! when she shall tear The lines some younger rival sends ; She'll give me leave to write, I fear, And we shall still continue friends. For, as our different ages move, 'Tis so ordained (would Fate but mend it!) That I shall be past making love, When she begins to comprehend it. Baby in the sixteenth line is a doll. Cf. Tatler, No. 95. Abra's Love for Solomon. Another nymph, amongst the many fair And watched my eye, preventing my command. Or were remarked but with a common eye; What can thy imagery of sorrow mean? Abashed she blushed, and with disorder spoke : The look that awes the nations from the throne ! In the king's frown and terror of his eye! "Thou Sovereign Power, whose secret will controls Had he been born some simple shepherd's heir, I had with hasty joy prepared the feast ; Here o'er her speech her flowing eyes prevail. Too flat I thought this voice, and that too shrill, Written in Mezeray's History of France. Yet for the fame of all these deeds, With lameness broke, with blindness smitten, To have been either Mezeray Or any monarch he has written? It's strange, dear author, yet it true is, Resolve me, Cambray or Fontaine. The man in graver tragic known (Though his best part long since was done) Still on the stage desires to tarry; And he who played the Harlequin, Unwilling to retire, though weary. Cambray is, of course, Fénelon, who was Archbishop of Cambrai ; François de Eudes Mézeray (1610-83) wrote what was long the standard Histoire de France. Sir Walter Scott, about a year before his death, repeated these verses when on a Border tour with Mr Lockhart. They met two beggars, old soldiers, one of whom recognised Scott, and bade God bless him. 'The mendicants went on their way, and we stood breathing on the knoll. Sir Walter followed them with his eye, and, planting his stick firmly on the sod, repeated without break or hesitation Prior's verses to the historian Mezeray. That he applied them to himself was touchingly obvious.' The Thief and the Cordelier.-A Ballad. Who has e'er been at Paris must needs know the Grève, The fatal retreat of the unfortunate brave; Where honour and justice most oddly contribute To ease heroes' pains by a halter and gibbet. Derry down, down, hey derry down. There death breaks the shackles which force had put on, And the hangman completes what the judge but begun ; There the 'squire of the pad, and the knight of the post, Find their pains no more balked, and their hopes no 'What frightens you thus, my good son?' says the priest; 'You murdered, are sorry, and have been confessed.' 'O father! my sorrow will scarce save my bacon; For 'twas not that I murdered, but that I was taken.' Derry down, &c. 'Pooh, prithee ne'er trouble thy head with such fancies; Rely on the aid you shall have from St Francis ; If the money you promised be brought to the chest, You have only to die; let the church do the rest.' Derry down, &c. 'And what will folks say if they see you afraid? It reflects upon me, as I knew not my trade. Courage, friend; to-day is your period of sorrow; And things will go better, believe me, to-morrow.' Derry down, &c. 'To-morrow!' our hero replied in a fright; 'He that 's hanged before noon ought to think of to-night.' 'Tell your beads,' quoth the priest,' and be fairly trussed up, For you surely to-night shall in paradise sup.' Derry down, &c. 'Alas!' quoth the 'squire, howe'er sumptuous the treat, Parbleu! I shall have little stomach to eat ; I should therefore esteem it great favour and grace, 'That I would,' quoth the father, 'and thank you to boot; Derry down, &c. Then turning about to the hangman, he said: 'Despatch me, I prithee, this troublesome blade; For thy cord and my cord both equally tie, And we live by the gold for which other men die.' Derry down, &c. Ode to a Lady: She refusing to continue a Dispute with me, and leaving me in the Argument. Spare, generous victor, spare the slave, In the dispute whate'er I said, My heart was by my tongue belied; How much I argued on your side. You, far from danger as from fear, Your eyes are always in the right. Why, fair one, would you not rely On reason's force with beauty's joined? Could I their prevalence deny, I must at once be deaf and blind. Alas! not hoping to subdue, I only to the fight aspired; To keep the beauteous foe in view, Was all the glory I desired. But she, howe'er of victory sure, Contemns the wreath too long delayed; And, armed with more immediate power, Calls cruel silence to her aid. Deeper to wound she shuns the fight; She drops her arms to gain the field: Secures her conquest by her flight; And triumphs when she seems to yield. So when the Parthian turned his steed, And from the hostile camp withdrew, With cruel skill the backward reed He sent, and as he fled he slew. Theory of the Mind. I say, whatever you maintain Of Alma in the heart or brain, The plainest man alive may tell ye Her seat of empire is the belly. From hence she sends out those supplies Strange product of a cheese-cake diet!... Of food and drink in several nations. From that which simply points the hour; The watch would still a watch remain : The whole stands still or breaks to pieces, Is now no longer what it was, And you may e'en go sell the case. So if unprejudiced you scan But 'tis the stomach's solid stroke Your clock, though plain, will still go on. But spoil the organ of digestion, And you entirely change the question, The jest, alas! is at an end; Soon ceases all the worldly bustle, And you consign the corpse to Russel. (From Alma.) Alma here symbolises the mind; Quare was a noted watchmaker of the day; Russel, an undertaker, mentioned in Garth's Dispensary. The best edition of Prior's Poems is by Mr Brimley Johnson (2 vols. 1892), and there is a good selection by Mr Austin Dobson (1889). See also articles in the Contemporary Review for May 1890, and the Quarterly Review for October 1899. THE AGE OF QUEEN QUEEN ANNE. T HE death of Dryden in 1700 and the appearance of Thomson's Winter in 1726 make the best boundary-marks for the so-called Augustan age of English literature, which is likewise styled the age of Queen Anne, although it really includes also the reign of George I. It is true that the activity and influence of the greatest poet of the period extended far beyond the latter limit, for Pope lived on till near the middle of the century, and his Dunciad, Essay on Man, and Satires were all produced during the reign of George II. The same is true in a measure of Swift, who died a month after the battle of Prestonpans, as well as of some minor men like Gay, whose Fables and Beggar's Opera in their dates of publication just overpass the line here drawn. Yet that line seems on the whole as little arbitrary as possible, since the appearance of Thomson marks the beginning of the slow return to nature in poetry, which, despite its lingering conventionalism, shows a nascent reaction against the limited ideals of correctness associated with the name of Pope. Moreover, the great bulk of the definitely Augustan literature had been produced before the end of 1726. All the work of Addison and Steele, and all the greatest work of Swift from the Tale of a Tub down to Gulliver's Travels, as well as Pope's Essay on Criticism, Rape of the Lock, and Homer, were given to the world within what is roughly the first quarter of the eighteenth century; and the same holds good of the novels of Defoe. It is perhaps not insignificant that the dividing line thus drawn in literature may be traced also in the sphere of public affairs, for in the few years before 1726 the generation of statesmen which had flourished under Queen Anne made way for their successors. Stanhope, Sunderland, Marlborough, and Cowper had died between 1720 and 1723: in that latter year Atterbury was exiled, and Bolingbroke extinguished by pardon and return from banishment, while Oxford ended his days in 1724. The close of the first twenty-six years of the eighteenth century may be said, indeed, to coin cide with the critical point of the transition from Pope and Swift to Thomson and Richardson and Fielding, and also from the contemporaries of Harley and St John to those of Walpole and the Pelhams. The epithet Augustan, so often applied to the period of Queen Anne, suggests a parallel with the age of Virgil and Horace which can only partially be justified. Assuredly there was no Virgil among the poets of eighteenth-century England, and if Pope may be accepted as all we have for an English Horace, he must be taken as but a maimed one at the best. With a sharper satiric genius than the Roman, and almost as shrewd a knowledge of human life and character, he has none of the geniality that delights us in the Epistles, and as little of the lyric charm that gives immortality to the Odes. The Horatian quality in the age of Queen Anne is to be sought rather in the work of Addison, and not in Addison's verse but in his prose. The papers of the Spectator, in their delightful and always genial mingling of humour, satire, and observation, show all the best of Horace's traits, except of course the purely poetical, while at the same time they are absolutely unstained by the characteristically Horatian blots. As for the sinister and solitary genius of Swift, there is no parallel to that in any literary age whatever. In the creator of the Struldbrugs and the Yahoos there was certainly little of that urbanity which is reckoned as a specially Augustan trait; and indeed the literary urbanity of the age of Anne is to be found less in the gracious tone of a polished civilisation than in an absorption in the artificial life of what had come to be called 'the town.' Virgil and Horace are always at home-and even most at home-in the country; but it is not so with Swift or Pope, or even, despite his Shepherd's Week of pastorals, with Gay. Here again, however, an exception must be made for Addison, who is as much at his ease in Worcestershire as in the Strand, and whose portrait of Sir Roger de Coverley recalls Horace's pictures of the farmers among the Samnite hills. On the other hand, there are one or two |