'Were I to form a regular thought of Fame,
Which is perhaps, as hard to imagine right
As to paint Echo to the sight,
I would not draw the idea from an empty name;
Because, alas! when we all die,
Careless and ignorant posterity,
Although they praise the learning and the wit,
And though the title seems to show
The name and man by whom the book was writ,
Yet how shall they be brought to know
Whether that very name was he, or you, or I?
Less should I daub it o'er with transitory praise,
And water-colours of these days:
These days! where e'en th' extravagance of poetry
Is at a loss for figures to express
Men's folly, whimsies, and inconstancy,
And by a faint description makes them less.
Then tell us what is Fame, where shall we search for it?
Look where exalted Virtue and Religion sit,
Enthroned with heavenly Wit!
Look where you see
The greatest scorn of learned Vanity!
(And then how much a nothing is mankind!
Whose reason is weighed down by popular air.
Who, by that, vainly talks of baffling death,
And hopes to lengthen life by a transfusion of breath,
Which yet whoe'er examines right will find
To be an art as vain as bottling up of wind!)
And when you find out these, believe true Fame is there,
Far above all reward, yet to which all is due;
And this, ye great unknown! is only known in you.'
It is remarkable that at the very time Swift was perpetrating these lyrical atrocities, he was at work on the Tale of a Tub, which is generally regarded as the most masterly effort of his genius. A critic has said that Swift's poetry 'lacks one quality only—imagination,' but verse without imagination is like a body without a soul, like a house without windows, like a landscape-painting without atmosphere, and no license of language will allow us to call Swift a poet. Enough that he became a master of rhyme, and used it with extraordinary facility. Dr. Johnson's estimate of Swift's powers in this respect is a just one:
'In the poetical works of Dr. Swift there is not much upon which the critic can exercise his powers. They are often humorous, almost always light, and have the qualities which recommend such compositions, ease and gaiety. They are, for the most part, what their author intended. The diction is correct, the numbers are smooth, and the rhymes exact. There seldom occurs a hard-laboured expression, or a redundant epithet; all his verses exemplify his own definition of a good style; they consist of proper words in proper places.'
The merits with which Swift's verse is credited are, therefore, not poetical merits, unless we accept what Schlegel calls the miserable doctrine of Boileau, that the essence of poetry consists in diction and versification.
The great bulk of Swift's verse is suggested by the incidents of the hour. No subject is too trivial for his pen; but the poems which are addressed to Stella, and others which, like Cadenus and Vanessa, and On the Death of Dr. Swift, have a personal interest, are by far the most attractive. We see the best side of Swift when he addresses Stella, whether in verse or prose. The birthday rhymes he delighted to write in her praise have the mark of sincerity, and there is true feeling in the lines which describe her as a ministering angel in his sickness:
'When on my sickly couch I lay,
Impatient both of night and day,
Lamenting in unmanly strains,
Called every power to ease my pains;
Then Stella ran to my relief
With cheerful face and inward grief;
And though by Heaven's severe decree
She suffers hourly more than me,
No cruel master could require
From slaves employed for daily hire,
What Stella, by her friendship warmed,
With vigour and delight performed;
My sinking spirits now supplies
With cordials in her hands and eyes,
Now with a soft and silent tread
Unheard she moves about my bed.
I see her taste each nauseous draught
And so obligingly am caught,
I bless the hand from whence they came,
Nor dare distort my face for shame.'
The poem in which Swift imagines what will take place upon his death, is full of satiric humour, combined with that vein of bitterness that is never long absent from his writings. His humour is always allied to sadness; his mirth often sounds like a cry of misery. In this poem he pictures his gradual decay, and how his special friends, anticipating the end, will show their tenderness by adding largely to his years:
'He's older than he would be reckoned,
And well remembers Charles the Second.
He hardly drinks a pint of wine,
And that I doubt is no good sign.
His stomach too begins to fail,
Last year we thought him strong and hale,
But now he's quite another thing,
I wish he may hold out till Spring.'
No enemy can match a friend, Swift adds, in portending a great misfortune:
'He'd rather choose that I should die
Than his prediction prove a lie,
No one foretells I shall recover,
But all agree to give me over.'