word 'taste,' ver. 13. That the first principle and foundation, in this
as in every thing else, is good sense, ver. 40. The chief proof of it is
to follow nature, even in works of mere luxury and elegance. Instanced
in architecture and gardening, where all must be adapted to the genius
and use of the place, and the beauties not forced into it, but resulting
from it, ver. 50. How men are disappointed in their most expensive
undertakings, for want of this true foundation, without which nothing
can please long, if at all; and the best examples and rules will but be
perverted into something burdensome or ridiculous, ver. 65 to 92. A
description of the false taste of magnificence; the first grand error of
which is to imagine that greatness consists in the size and dimension,
instead of the proportion and harmony of the whole, ver. 97; and the
second, either in joining together parts incoherent, or too minutely
resembling, or in the repetition of the same too frequently, ver. 105,
&c. A word or two of false taste in books, in music, in painting, even
in preaching and prayer, and lastly in entertainments, ver. 133, &c. Yet
Providence is justified in giving wealth to be squandered in this
manner, since it is dispersed to the poor and laborious part of mankind,
ver. 169 [recurring to what is laid down in the 'Essay on Man,' ep. ii.
and in the epistle preceding this, ver. 159, &c.] What are the proper
objects of magnificence, and a proper field for the expense of great
men, ver. 177, &c.; and finally, the great and public works which become
a prince, ver. 191, to the end.
'Tis strange, the miser should his cares employ
To gain those riches he can ne'er enjoy:
Is it less strange, the prodigal should waste
His wealth, to purchase what he ne'er can taste?
Not for himself he sees, or hears, or eats;
Artists must choose his pictures, music, meats;
He buys for Topham[45] drawings and designs,
For Pembroke statues, dirty gods, and coins;
Rare monkish manuscripts for Hearne[46] alone,
And books for Mead, and butterflies for Sloane. 10
Think we all these are for himself? no more
Than his fine wife, alas! or finer whore.
For what has Virro painted, built, and planted?
Only to show how many tastes he wanted.
What brought Sir Visto's ill-got wealth to waste?
Some demon whisper'd, 'Visto! have a taste.'
Heaven visits with a taste the wealthy fool,
And needs no rod but Ripley[47] with a rule.
See! sportive fate, to punish awkward pride,
Bids Bubo[48] build, and sends him such a guide: 20
A standing sermon, at each year's expense,
That never coxcomb reach'd magnificence!
You show us, Rome was glorious, not profuse,
And pompous buildings once were things of use.
Yet shall (my lord) your just, your noble rules
Fill half the land with imitating fools,
Who random drawings from your sheets shall take,
And of one beauty many blunders make;
Load some vain church with old theatric state,
Turn arcs of triumph to a garden-gate; 30
Reverse your ornaments, and hang them all
On some patch'd dog-hole eked with ends of wall;
Then clap four slices of pilaster on't,
That, laced with bits of rustic, makes a front.
Shall call the winds through long arcades to roar,
Proud to catch cold at a Venetian door;
Conscious they act a true Palladian part.
And if they starve, they starve by rules of art.
Oft have you hinted to your brother peer,
A certain truth, which many buy too dear: 40
Something there is more needful than expense,
And something previous even to taste--'tis sense:
Good sense, which only is the gift of Heaven,
And though no science, fairly worth the seven:
A light, which in yourself you must perceive;
Jones and Le Nôtre have it not to give.
To build, to plant, whatever you intend,
To rear the column, or the arch to bend,
To swell the terrace, or to sink the grot;
In all, let Nature never be forgot. 50
But treat the goddess like a modest fair,
Nor overdress, nor leave her wholly bare;
Let not each beauty everywhere be spied,
Where half the skill is decently to hide.
He gains all points, who pleasingly confounds,
Surprises, varies, and conceals the bounds.
Consult the genius of the place in all;
That tells the waters or to rise, or fall;
Or helps the ambitious hill the heavens to scale,
Or scoops in circling theatres the vale; 60
Calls in the country, catches opening glades,
Joins willing woods, and varies shades from shades;
Now breaks, or now directs, the intending lines;
Paints as you plant, and, as you work, designs.
Still follow sense, of every art the soul,
Parts answering parts shall slide into a whole,
Spontaneous beauties all around advance,
Start even from difficulty, strike from chance;
Nature shall join you; time shall make it grow
A work to wonder at--perhaps a Stowe. 70
Without it, proud Versailles! thy glory falls;
And Nero's terraces desert their walls:
The vast parterres a thousand hands shall make,
Lo! Cobham comes, and floats them with a lake:
Or cut wide views through mountains to the plain,
You'll wish your hill or shelter'd seat again.
Even in an ornament its place remark,
Nor in an hermitage set Dr Clarke.[49]
Behold Villario's ten years' toil complete;
His quincunx darkens, his espaliers meet; 80
The wood supports the plain, the parts unite,
And strength of shade contends with strength of light;
A waving glow the blooming beds display,
Blushing in bright diversities of day,
With silver-quivering rills meander'd o'er--
Enjoy them, you! Villario can no more;
Tired of the scene parterres and fountains yield,
He finds at last he better likes a field.
Through his young woods how pleased Sabinus stray'd,
Or sat delighted in the thickening shade, 90
With annual joy the reddening shoots to greet,
Or see the stretching branches long to meet!
His son's fine taste an opener vista loves,
Foe to the Dryads of his father's groves;
One boundless green, or flourish'd carpet views,
With all the mournful family of yews;
The thriving plants, ignoble broomsticks made,
Now sweep those alleys they were born to shade.
At Timon's villa[50] let us pass a day,
Where all cry out, 'What sums are thrown away!' 100
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 labour'd quarry above ground; 110
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; 120
With here a fountain, never to be play'd;
And there a summer-house, that knows no shade;
Here Amphitritè 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; 130
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 stored?
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 'tis in vain to look, 140
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,[51]
On 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[51] to ears polite. 150
But hark! the chiming clocks to dinner call;
A hundred footsteps scrape the marble hall:
The rich buffet well-colour'd serpents grace,
And gaping Tritons spew to wash your face.
Is this a dinner? this a genial room?
No, 'tis 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[53] and his wand were there. 160
Between each act the trembling salvers ring,
From soup to sweet-vine, and God bless the king.
In plenty starving, tantalised in state,
And complaisantly help'd to all I hate,
Treated, caress'd, and tired, 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 clothed, the hungry fed;
Health to himself, and to his infants bread 170
The labourer 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 reassume the land.
Who then shall grace, or who improve the soil?--
Who plants like Bathurst, or who builds like Boyle.
'Tis use alone that sanctifies expense,
And splendour borrows all her rays from sense. 180
His father's acres who enjoys in peace,
Or makes his neighbours glad, if he increase:
Whose cheerful tenants bless their yearly toil,
Yet to their lord owe more than to the soil;
Whose ample lawns are not ashamed to feed
The milky heifer and deserving steed;
Whose rising forests, not for pride or show,
But future buildings, future navies, grow:
Let his plantations stretch from down to down,
First shade a country, and then raise a town. 190
You, too, proceed! make falling arts your care,
Erect new wonders, and the old repair;
Jones and Palladio to themselves restore,
And be whate'er Vitruvius was before:
Till kings call forth the ideas of your mind,
(Proud to accomplish what such hands design'd.)
Bid harbours open, public ways extend,
Bid temples, worthier of the god, ascend;
Bid the broad arch the dangerous flood contain,
The mole projected break the roaring main; 200
Back to his bonds their subject sea command,
And roll obedient rivers through the land;
These honours, peace to happy Britain brings,
These are imperial works, and worthy kings.
VARIATION.
After VER. 22 in the MS.--
Must bishops, lawyers, statesmen have the skill
To build, to plant, judge paintings, what you will?
Then why not Kent as well our treaties draw,
Bridginan explain the gospel, Gibs the law?
EPISTLE V. TO MR ADDISON.
OCCASIONED BY HIS DIALOGUES ON MEDALS.[54]
See the wild waste of all-devouring years!
How Rome her own sad sepulchre appears,
With nodding arches, broken temples spread!
The very tombs now vanish'd, like their dead!
Imperial wonders raised on nations spoil'd
Where mix'd with slaves the groaning martyr toil'd:
Huge theatres, that now unpeopled woods,
Now drain'd a distant country of her floods:
Fanes, which admiring gods with pride survey,
Statues of men, scarce less alive than they! 10
Some felt the silent stroke of mouldering age,
Some hostile fury, some religious rage,
Barbarian blindness, Christian zeal conspire,
And Papal piety, and Gothic fire.
Perhaps, by its own ruins saved from flame,
Some buried marble half-preserves a name;
That name the learn'd with fierce disputes pursue,
And give to Titus old Vespasian's due.
Ambition sigh'd: she found it vain to trust
The faithless column, and the crumbling bust: 20
Huge moles, whose shadow stretch'd from shore to shore,
Their ruins perish'd, and their place no more!
Convinced, she now contracts her vast design,
And all her triumphs shrink into a coin.
A narrow orb each crowded conquest keeps,
Beneath her palm, here sad Judæa weeps.
Now scantier limits the proud arch confine,
And scarce are seen the prostrate Nile or Rhine;
A small Euphrates through the piece is roll'd,
And little eagles wave their wings in gold. 30
The medal, faithful to its charge of fame,
Through climes and ages bears each form and name:
In one short view subjected to our eye
Gods, emperors, heroes, sages, beauties, lie.
With sharpen'd sight, pale antiquaries pore,
The inscription value, but the rust adore.
This the blue varnish, that the green endears,
The sacred rust of twice ten hundred years!
To gain Pescennius one employs his schemes,
One grasps a Cecrops in ecstatic dreams. 40
Poor Vadius,[55] long with learned spleen devour'd.
Can taste no pleasure since his shield was scour'd:
And Curio, restless by the fair one's side,
Sighs for an Otho, and neglects his bride.
Theirs is the vanity, the learning thine:
Touch'd by thy hand, again Rome's glories shine;
Her gods, and god-like heroes rise to view,
And all her faded garlands bloom anew.
Nor blush, these studies thy regard engage;
These pleased the fathers of poetic rage; 50
The verse and sculpture bore an equal part,
And Art reflected images to Art.
Oh! when shall Britain, conscious of her claim,
Stand emulous of Greek and Roman fame?
In living medals see her wars enroll'd,
And vanquish'd realms supply recording gold?
Here, rising bold, the patriot's honest face;
There, warriors frowning in historic brass:
Then future ages with delight shall see
How Plato's, Bacon's, Newton's looks agree; 60
Or in fair series laurell'd bards be shown,
A Virgil there, and here an Addison.
Then shall thy Craggs (and let me call him mine)
On the cast ore, another Pollio, shine;
With aspect open, shall erect his head,
And round the orb in lasting notes be read,
'Statesman, yet friend to truth! of soul sincere,
In action faithful, and in honour clear;
Who broke no promise, served no private end,
Who gain'd no title, and who lost no friend; 70
Ennobled by himself, by all approved,
And praised, unenvied, by the Muse he loved.'
TRANSLATIONS AND IMITATIONS.
SAPPHO TO PHAON.
FROM THE FIFTEENTH OF OVID'S EPISTLES.
Say, lovely youth, that dost my heart command,
Can Phaon's eyes forget his Sappho's hand?
Must then her name the wretched writer prove,
To thy remembrance lost, as to thy love?
Ask not the cause that I new numbers choose,
The lute neglected and the lyric Muse;
Love taught my tears in sadder notes to flow,
And tuned my heart to elegies of woe,
I burn, I burn, as when through ripen'd corn
By driving winds the spreading flames are borne! 10
Phaon to Ætna's scorching fields retires,
While I consume with more than Ætna's fires!
No more my soul a charm in music finds;
Music has charms alone for peaceful minds.
Soft scenes of solitude no more can please;
Love enters there, and I'm my own disease.
No more the Lesbian dames my passion move,
Once the dear objects of my guilty love;
All other loves are lost in only thine,
Ah, youth ungrateful to a flame like mine! 20
Whom would not all those blooming charms surprise,
Those heavenly looks, and dear deluding eyes!
The harp and bow would you like Phoebus bear,
A brighter Phoebus Phaon might appear;
Would you with ivy wreath your flowing hair,
Not Bacchus' self with Phaon could compare:
Yet Phoebus loved, and Bacchus felt the flame,
One Daphne warm'd, and one the Cretan dame;
Nymphs that in verse no more could rival me,
Than e'en those gods contend in charms with thee. 30
The Muses teach me all their softest lays,
And the wide world resounds with Sappho's praise.
Though great Alcaeus more sublimely sings,
And strikes with bolder rage the sounding strings,
No less renown attends the moving lyre,
Which Venus tunes, and all her loves inspire.
To me what nature has in charms denied,
Is well by wit's more lasting flames supplied.
Though short my stature, yet my name extends
To heaven itself, and earth's remotest ends. 40
Brown as I am, an Ethiopian dame
Inspired young Perseus with a generous flame;
Turtles and doves of different hues unite,
And glossy jet is pair'd with shining white.
If to no charms thou wilt thy heart resign,
But such as merit, such as equal thine,
By none, alas! by none thou canst be moved,
Phaon alone by Phaon must be loved!
Yet once thy Sappho could thy cares employ,
Once in her arms you centred all your joy: 50
No time the dear remembrance can remove,
For, oh! how vast a memory has love!
My music, then, you could for ever hear,
And all my words were music to your ear.
You stopp'd with kisses my enchanting tongue,
And found my kisses sweeter than my song,
In all I pleased, but most in what was best;
And the last joy was dearer than the rest.
Then with each word, each glance, each motion fired,
You still enjoy'd, and yet you still desired, 60
Till, all dissolving, in the trance we lay,
And in tumultuous raptures died away.
The fair Sicilians now thy soul inflame;
Why was I born, ye gods, a Lesbian dame?
But ah, beware, Sicilian nymphs! nor boast
That wandering heart which I so lately lost;
Nor be with all those tempting words abused,
Those tempting words were all to Sappho used.
And you that rule Sicilia's happy plains,
Have pity, Venus, on your poet's pains! 70
Shall fortune still in one sad tenor run,
And still increase the woes so soon begun?
Inured to sorrow from my tender years,
My parents' ashes drank my early tears:
My brother next, neglecting wealth and fame,
Ignobly burn'd in a destructive flame:
An infant daughter late my griefs increased,
And all a mother's cares distract my breast,
Alas! what more could Fate itself impose,
But thee, the last, and greatest of my woes? 80
No more my robes in waving purple flow,
Nor on my hand the sparkling diamonds glow;
No more my locks in ringlets curl'd diffuse
The costly sweetness of Arabian dews,
Nor braids of gold the varied tresses bind,
That fly disorder'd with the wanton wind:
For whom should Sappho use such arts as these?
He's gone, whom only she desired to please!
Cupid's light darts my tender bosom move;
Still is there cause for Sappho still to love: 90
So from my birth the Sisters fix'd my doom,
And gave to Venus all my life to come;
Or, while my Muse in melting notes complains,
My yielding heart keeps measure to my strains.
By charms like thine, which all my soul have won,
Who might not--ah! who would not be undone?
For those Aurora Cephalus might scorn,
And with fresh blushes paint the conscious morn.
For those might Cynthia lengthen Phaon's sleep;
And bid Endymion nightly tend his sheep; 100
Venus for those had rapt thee to the skies;
But Mars on thee might look with Venus' eyes.
Oh scarce a youth, yet scarce a tender boy!
Oh useful time for lovers to employ!
Pride of thy age, and glory of thy race,
Come to these arms, and melt in this embrace!
The vows you never will return, receive;
And take, at least, the love you will not give.
See, while I write, my words are lost in tears!
The less my sense, the more my love appears. 110
Sure 'twas not much to bid one kind adieu,
(At least to feign was never hard to you)
'Farewell, my Lesbian love,' you might have said;
Or coldly thus, 'Farewell, O Lesbian maid!'
No tear did you, no parting kiss receive,
Nor knew I then how much I was to grieve.
No lover's gift your Sappho could confer,
And wrongs and woes were all you left with her.
No charge I gave you, and no charge could give,
But this, 'Be mindful of our loves, and live.' 120
Now by the Nine, those powers adored by me,
And Love, the god that ever waits on thee,
When first I heard (from whom I hardly knew)
That you were fled, and all my joys with you,
Like some sad statue, speechless, pale, I stood,
Grief chill'd my breast, and stopp'd my freezing blood;
No sigh to rise, no tear had power to flow,
Fix'd in a stupid lethargy of woe:
But when its way the impetuous passion found,
I rend my tresses, and my breast I wound: 130
I rave, then weep; I curse, and then complain;
Now swell to rage, now melt in tears again.
Not fiercer pangs distract the mournful dame,
Whose first-born infant feeds the funeral flame.
My scornful brother with a smile appears,
Insults my woes, and triumphs in my tears;
His hated image ever haunts my eyes;
'And why this grief? thy daughter lives!' he cries.
Stung with my love, and furious with despair,
All torn my garments, and my bosom bare, 140
My woes, thy crimes, I to the world proclaim;
Such inconsistent things are love and shame!
'Tis thou art all my care and my delight,
My daily longing, and my dream by night;
Oh night more pleasing than the brightest day,
When fancy gives what absence takes away,
And, dress'd in all its visionary charms,
Restores my fair deserter to my arms!
Then round your neck in wanton wreaths I twine,
Then you, methinks, as fondly circle mine: 150
A thousand tender words I hear and speak;
A thousand melting kisses give and take:
Then fiercer joys, I blush to mention these,
Yet, while I blush, confess how much they please.
But when, with day, the sweet delusions fly,
And all things wake to life and joy but I,
As if once more forsaken, I complain,
And close my eyes to dream of you again:
Then frantic rise, and like some Fury rove
Through lonely plains, and through the silent grove; 160
As if the silent grove, and lonely plains,
That knew my pleasures, could relieve my pains.
I view the grotto, once the scene of love,
The rocks around, the hanging roofs above,
That charm'd me more, with native moss o'ergrown,
Than Phrygian marble, or the Parian stone;
I find the shades that veil'd our joys before;
But, Phaon gone, those shades delight no more.
Here the press'd herbs with bending tops betray
Where oft entwined in amorous folds we lay; 170
I kiss that earth which once was press'd by you,
And all with tears the withering herbs bedew.
For thee the fading trees appear to mourn,
And birds defer their songs till thy return:
Night shades the groves, and all in silence lie,
All but the mournful Philomel and I:
With mournful Philomel I join my strain,
Of Tereus she, of Phaon I complain.
A spring there is, whose silver waters show,
Clear as a glass, the shining sands below: 180
A flowery lotus spreads its arms above,
Shades all the banks, and seems itself a grove;
Eternal greens the mossy margin grace,
Watch'd by the sylvan genius of the place.
Here as I lay, and swell'd with tears the flood,
Before my sight a watery virgin stood:
She stood and cried, 'O you that love in vain!
Fly hence, and seek the fair Leucadian main;
There stands a rock, from whose impending steep
Apollo's fane surveys the rolling deep; 190
There injured lovers, leaping from above,
Their flames extinguish, and forget to love.
Deucalion once with hopeless fury burn'd,
In vain he loved, relentless Pyrrha scorn'd:
But when from hence he plunged into the main,
Deucalion scorn'd, and Pyrrha loved in vain.
Haste, Sappho, haste, from high Leucadia throw
Thy wretched weight, nor dread the deeps below!'
She spoke, and vanish'd with the voice--I rise,
And silent tears fall trickling from my eyes. 200
I go, ye nymphs! those rocks and seas to prove;
How much I fear, but ah, how much I love!
I go, ye nymphs! where furious love inspires:
Let female fears submit to female fires.
To rocks and seas I fly from Phaon's hate,
And hope from seas and rocks a milder fate.
Ye gentle gales, beneath my body blow,
And softly lay me on the waves below!
And thou, kind Love, my sinking limbs sustain,
Spread thy soft wings, and waft me o'er the main, 210
Nor let a lover's death the guiltless flood profane!
On Phoebus' shrine my harp I'll then bestow,
And this inscription shall be placed below:
'Here she who sung, to him that did inspire,
Sappho to Phoebus consecrates her lyre;
What suits with Sappho, Phoebus, suits with thee:
The gift, the giver, and the god agree.'