of the "George and Garter," &c.) is in a manifest spirit of exaggeration, and defeats the writer's object. A gentleman of the Fairfax connexion, who was a retainer of the Duke's, and wrote a memoir of him, says that he died in his own house.
CHARACTER OF THE DUCHESS OF MARLBOROUGH.
But what are these to great Atossa's mind ?15
Scarce once herself, by turns all womankind!
Who with herself, or others, from her birth
Finds all her life one warfare upon earth;
Shines in exposing knaves, and painting fools,
Yet is, whate'er she hates and ridicules:
No thought advances, but her eddy brain
Whisks it about, and down it goes again.
Full sixty years the world has been her trade;
The wisest fool much time has ever made:
From loveless youth to unrespected age,
No passion gratify'd, except her rage:
So much the fury still outran the wit,
The pleasure miss'd her, and the scandal hit.
Who breaks with her, provokes revenge from hell,
But he's a bolder man who dares be well.
Her every turn with violence pursued,
Nor more a storm her hate than gratitude:
To that each passion turns, or soon, or late;
Love, if it makes her yield, must make her hate.
Superiors? death! and equals? what a curse!
But an inferior not dependant? worse.
Offend her, and she knows not to forgive;
Oblige her, and she'll hate you while you live:
But die, and she'll adore you—then the bust
And temple rise-then fall again to dust.
Last night her lord was all that's good and great;
A knave this morning, and his will a cheat.
Strange! by the means defeated of the ends,
By spirit robb'd of power, by warmth of friends,
By wealth of followers! without one distress
Sick of herself, through very selfishness!
Atossa, curs'd with every granted prayer;
Childless with all her children, wants an heir.
To heirs unknown descends th' unguarded store,
Or wanders, heaven-directed, to the poor.
15 Great Atossa's mind.-The Duchess of Marlborough, widow of the great Duke,-famous for her ambition and arbitrary temper, and the ascendency which she lost over Queen Anne.
CHARACTER OF THE DUKE OF CHANDOS,
AND DESCRIPTION OF HIS VILLA.
At Timon's villa let us pass a day;16
Where all cry out, "What sums are thrown away!"
So proud, so grand; of that stupendous air,
Soft and agreeable come never there.
Greatness with Timon dwells, in such a draught
As brings all Brobdignag before your thought.
To compass this, his building is a town,
His pond an ocean, his parterre a down.
Who but must laugh, the master when he sees,
A puny insect, shivering at a breeze!
Lo, what huge heaps of littleness around!
The whole a labor'd quarry above ground.
Two Cupids squirt before: a lake behind
Improves the keenness of the northern wind.
His gardens next your admiration call:
On every side you look, behold the wall!
No pleasing intricacies intervene,
No artful wildness to perplex the scene;
Grove nods at grove, each alley has a brother,
And half the platform just reflects the other
The suffering eye inverted nature sees,
Trees cut to statues, statues thick as trees;
With here a fountain never to be play'd;
And there a summer-house that knows no shade;
Here Amphitrite sails through myrtle bowers,
There gladiators fight or die in flowers;
Unwater'd see the drooping sea-horse mourn,
And swallows roost in Nilus' dusty urn.
My lord advances with majestic mien,
Smit with the mighty pleasure to be seen:
But soft-by regular approach—not yet-
First through the length of yon hot terrace sweat;
And when up ten steep slopes you 've dragg'd your thighs,
Just at his study-door he'll bless your eyes.
His study with what authors is it stor❜d?
In books, not authors, curious is my lord:
To all their dated backs he turns you round;
These Aldus printed, those Du Sueil has bound.
Lo, some are vellum, and the rest as good
For all his lordship knows, but they are wood!
For Locke or Milton 't is in vain to look;
These shelves admit not any modern book.
And now the chapel's silver bell you hear,
That summons you to all the pride of prayer:
Light quirks of music, broken and uneven,
Make the soul dance upon a jig to heaven.
On painted ceilings you devoutly stare,
Where sprawl the saints of Verrio or Laguerre,
Or gilded clouds in fair expansion lie,
And bring all paradise before your eye.
To rest, the cushion and soft dean invite,
Who never mentions hell to ears polite.
But hark! the chiming clocks to dinner call;
A hundred footsteps scrape the marble hall:
The rich buffet well-colored serpents grace,
And gaping Tritons spew to wash your face.
Is this a dinner? this a genial room?
No, 't is a temple, and a hecatomb.
A solemn sacrifice perform'd in state,
You drink by measure, and to minutes eat.
So quick retires each flying course, you'd swear
Sancho's dread doctor and his wand were there.
Between each act the trembling salvers ring,
From soup to sweet-wine, and God bless the King.
In plenty starving, tantaliz'd in state,
And complaisantly help'd to all I hate,
Treated, caress'd, and tir'd, I take my leave
Sick of his civil pride from morn to eve;
I curse such lavish cost, and little skill,
And swear no day was ever pass'd so ill.
Yet hence the poor are cloth'd, the hungry fed;
Health to himself, and to his infants bread
The laborer bears. What his hard heart denies,
His charitable vanity supplies.
Another age shall see the golden ear
Imbrown the slope, and nod on the parterre,
Deep harvests bury all his pride has plann'd,
And laughing Ceres re-assume the land.
16 "At Timon's villa let us pass a day. The character of Timon
(though Pope denied the application) was universally thought, and still is, to have been intended for that of James Brydges, First Duke of Chandos, whose princely buildings at Canons, and equally princely style of living, with his chapel, his choir, and Handel for his composer,―rendered the satire applicable to him alone. The prophecy at the conclusion was singularly borne out by the event; and the pedestrian who now visits Edgeware seldom suspects that he is on ground so famous. People in the neighborhood are still said to talk of the "Grand Duke." His locks and hinges were of silver and gold.
Narcissa's nature, tolerably mild,
To make a wash would hardly stew a child;"
Has e'en been prov'd to grant a lover's prayer,
And paid a tradesman once to make him stare;
Gave alms at Easter, in a Christian trim;
And made a widow happy, for a whim.
Why then declare good nature is her scorn,
When 'tis by that alone she can be borne?
Why pique all mortals, yet affect a name?
A fool to pleasure, yet a slave to fame:
Now deep in Taylor and the Book of Martyrs ;
Now drinking citron with his Grace and Chartres;
Now conscience chills her, and now passion burns,
And atheism and religion take their turns;
A very Heathen in the carnal part,
Yet still a sad good Christian at her heart.
17 Narcissa's nature, tolerably mild,
To make a wash would hardly stew a child.
This is very ludicrous and outrageous. Can this Narcissa have been intended for Mrs. Oldfield the actress, who is understood, with great probability, to have been the Narcissa spoken of in a passage extracted further on? If so, she does not appear to have deserved the character,—at least not the worst part of it. The widow, whom she is described as making happy "for a whim," bore the most affectionate testimony to her generous
qualities; and she gave a pension to Savage. See her "Life," by Maynwaring; which, though a catchpenny publication, easily shows what we are to believe in it, and what not.
CHARACTER OF CHLOE.
"Yet Chloe, sure, was form'd without a spot.”—18
Nature in her then err'd not, but forgot.
"With every pleasing, every prudent part,
Say, what can Chloe want?"-She wants a heart.
She speaks, behaves, and acts just as she ought;
But never, never reach'd one generous thought.
Virtue she finds too painful an endeavor—
Content to dwell in decencies for ever
So very reasonable, so unmov'd,
As never yet to love or to be lov'd.
She, while her lover pants upon her breast,
Can mark the figures on an Indian chest ;
And when she sees her friend in deep despair,
Observes how much a chintz exceeds mohair.
Forbid it, heaven! a favor or a debt
She e'er should cancel-but she may forget.
Safe is your secret still in Chloe's ear;
But none of Chloe's shall you ever hear.
Of all her dears she never slandered one,
But cares not if a thousand are undone.
Would Chloe know if you're alive or dead?
She bids her footman put it in her head.
Chloe is prudent—(would you too be wise?)
Then never break your heart when Chloe dies.
18 Yet Chloe, sure, was formed without a spot.─Chloe is thought to have been Lady Suffolk, the supposed mistress of George the Second. She had offended Pope by not doing something for Swift, which, according to the Dean and his friends, she had led him to believe she would. But Swift was full of fancies; and Lady Suffolk, by consent of all that were in habits of intimacy with her, was a most amiable as well as even-tempered woman.
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