_On the Monument of the Hon._ ROBERT DIGBY, _and of his Sister_ MARY,
_erected by their Father the Lord_ DIGBY _in the church of Sherborne in
Dorsetshire_, 1727
Go! fair example of untainted youth,
Of modest wisdom, and pacific truth:
Composed in sufferings, and in joy sedate,
Good without noise, without pretension great
Just of thy word, in every thought sincere,
Who knew no wish but what the world might hear:
Of softest manners, unaffected mind,
Lover of peace, and friend of human kind:
Go, live! for heaven’s eternal year is thine,
Go, and exalt thy mortal to divine.
And thou, blest maid! attendant on his doom.
Pensive hast followed to the silent tomb,
Steered the same course to the same quiet shore,
Not parted long, and now to part no more!
Go, then, where only bliss sincere is known!
Go, where to love and to enjoy are one!
Yet take these tears, Mortality’s relief,
And, till we share your joys, forgive our grief:
These little rites a stone, a verse receive.
’Tis all a father, all a friend can give!
This epitaph contains of the brother only a general indiscriminate
character, and of the sister tells nothing but that she died. The
difficulty in writing epitaphs is to give a particular and appropriate
praise. This, however, is not always to be performed, whatever be the
diligence or ability of the writer; for the greater part of mankind _have
no character at all_, have little that distinguishes them from others,
equally good or bad, and therefore nothing can be said of them which may
not be applied with equal propriety to a thousand more. It is indeed no
great panegyric that there is enclosed in this tomb one who was born in
one year, and died in another; yet many useful and amiable lives have
been spent which yet leave little materials for any other memorial.
These are however not the proper subjects of poetry; and whenever
friendship, or any other motive, obliges a poet to write on such
subjects, he must be forgiven if he sometimes wanders in generalities,
and utters the same praises over different tombs.
The scantiness of human praises can scarcely be made more apparent than
by remarking how often Pope has, in the few epitaphs which he composed,
found it necessary to borrow from himself. The fourteen epitaphs which
he has written comprise about a hundred and forty lines, in which there
are more repetitions than will easily be found in all the rest of his
works. In the eight lines which make the character of Digby there is
scarce any thought or word which may not be found in the other epitaphs.
The ninth line, which is far the strongest and most elegant, is borrowed
from Dryden. The conclusion is the same with that on Harcourt, but is
here more elegant and better connected.