"But now, when Dulness rears aloft her throne,
When lordly vassals her wide empire own;
When Wit, seduced by Envy, starts aside,
And basely leagues with Ignorance and Pride, &c.
* * * *
Bred to the church, and for the gown decreed,
Ere it was known that I should learn to read;
Though that was nothing for my friends, who knew
What mighty Dulness of itself could do,
Never design'd me for a working priest,
But hoped I should have been a dean at least," &c.
The writers more formally and regularly attacked, are Smollett, Murphy, Shebbeare, Guthrie, and one Kidgell, who contrived to earn shame, in exposing to shame the printed but unpublished obscenity and blasphemy of Wilkes. Johnson gets a good word as a state-pensioner, Francis, the translator of Horace, for dulness apparently, and Mason, and even Gray, are signalized, en passant, as artificial rhymesters! The general tenor of the poem complains that in these days true learning, genius, and the honesty of authorship are of no account; whilst the political profligacy of the pen ensures favour and pay. The first hundred lines forcibly express the inspiring indignation proper to the subject, and some of them are still occasionally quoted; but how inferior all to corresponding strains in Dryden and Pope! They were poets indeed—he was not a poet. He has not fancy or imagination—they had both—they were consummate masters in their art: he was but a bold bungler after all. In proof, take the best passage in The Author.
"Is this—O death to think!—is this the land
Where merit and reward went hand in hand?
Where heroes, parent-like, the poet view'd,
By whom they saw their glorious deeds renew'd?
Where poets, true to honour, tuned their lays,
And by their patrons sanctified their praise?
Is this the land where, on our Spenser's tongue,
Enamour'd of his voice, Description hung?
Where Jonson rigid Gravity beguiled,
While Reason through her critic fences smiled?
Where Nature listening stood whilst Shakspeare play'd,
And wonder'd at the work herself had made?
Is this the land where, mindful of her charge,
And office high, fair Freedom walk'd at large?
Where, finding in our laws a sure defence,
She mock'd at all restraints, but those of sense?
Where, Health and Honour trooping by her side,
She spreads her sacred empire far and wide;
Pointed the way, Affliction to beguile,
And bade the face of Sorrow wear a smile—
Bade those who dare obey the generous call
Enjoy her blessings, which God meant for all?
Is this the land where, in some tyrant's reign,
When a weak, wicked, ministerial train,
The tools of power, the slaves of interest, plann'd
Their country's ruin, and with bribes unmann'd
Those wretches, who ordain'd in Freedom's cause,
Gave up our liberties, and sold our laws;
When Power was taught by Meanness where to go,
Nor dared to love the virtue of a foe;
When, like a lep'rous plague, from the foul head
To the foul heart her sores Corruption spread,
Her iron arm when stern Oppression rear'd,
And Virtue, from her broad base shaken, fear'd
The scourge of Vice; when, impotent and vain,
Poor Freedom bow'd the neck to Slavery's chain?
Is this the land, where, in those worst of times,
The hardy poet raised his honest rhymes
To dread rebuke, and bade Controlment speak
In guilty blushes on the villain's cheek;
Bade Power turn pale, kept mighty rogues in awe,
And made hem fear the Muse, who fear'd not law?
"How do I laugh, when men of narrow souls,
Whom folly guides, and prejudice controls;
Who, one dull drowsy track of business trod,
Worship their Mammon, and neglect their God;
Who, breathing by one musty set of rules,
Dote from their birth, and are by system fools;
Who, form'd to dulness from their very youth,
Lies of the day prefer to Gospel-truth;
Pick up their little knowledge from Reviews,
And lay out all their stock of faith in news;
How do I laugh, when creatures form'd like these,
Whom Reason scorns, and I should blush to please,
Rail at all liberal arts, deem verse a crime,
And hold not truth as truth, if told in rhyme?"
These are commendable verses, but they are not the verses of a true poet. For instance, when he will praise the greatest poets—
"Is this the land, where, on our Spenser's tongue,
Enamour'd of his voice, Description hung"—
the intention is good, and there is some love in the singling out of the name; but Description is almost the lowest, not the highest praise of Spenser. The language too is mean and trite, not that of one who is "inflammatus amore" of the sacred poet whom he praises. How differently does Lucretius praise Epicurus! The words blaze as he names him. How differently does Pope or Gray praise Dryden! Even in Churchill's few words there is the awkward and heavy tautology—tongue and voice. It is more like the tribute of duty than sensibility. The well-known distich on Shakspeare is rather good—it utters with a vigorous turn the general sentiment, the nation's wonder of its own idol. But compare Gray, who also brings Nature and Shakspeare together; or see him speaking of Dryden or Milton, and you see how a poet speaks of a poet—thrilled with recollections—reflecting, not merely commemorating, the power. Indeed, we design to have a few (perhaps twenty) articles entitled Poets on Poets—in which we shall collect chronologically the praises of the brotherhood by the brotherhood. In the mean time we do believe that the one main thing which you miss in Churchill is the true poetical touch and temper of the spirit. He is, as far as he succeeds, a sort of inferior Junius in verse—sinewy, keen—with a good, ready use of strong, plain English; but he has no rapture. His fire is volcanic, not solar. Yet no light praise it is, that he rejects frivolous ornament, and trusts to the strength of the thought, and of the good or ill within. But besides the disparity—which is great—of strength, of intellectual rank—this draws an insuperable difference in kind between him and Pope or Dryden, that they are essentially poets. The gift of song is on their lips. If they turn Satirists, they bring the power to another than its wonted and native vocation. But Churchill obtains the power only in satirizing. As Iago says—
"For I am nothing if not critical."
Is this merely a repetition of Juvenal's "facit indignatio versus," rendered in prose, "Indignation makes me a poet," who am not a poet by nature? In the first place, Juvenal prodigiously transcends Churchill in intellectual strength; and in the second, Juvenal has far more of essential poetry, although hidden in just vituperation, and in the imposed worldliness of his matter. But we must pull up.
The so-called "Epistle to Hogarth" is, after the wont of Churchill, a shapeless, undigested performance. It is nothing in the likeness of an epistle; but for three hundred lines a wandering, lumbering rhapsody, addressed to nobody, which, after abusing right and left, suddenly turns to Hogarth, whom it introduces by summoning him to stand forth at the bar in the Court of Conscience, an exemplar of iniquities worse than could have been believed of humanity, were he not there to sustain the character, and authenticate the rightful delineation. Thenceforwards obstreperously railing on, overwhelming the great painter with exaggerated reproaches for envy that persecuted all worth, for untired self-laudation, for painting his unfortunate Sigismunda; and oh! shame of song! for the advancing infirmities of old age. The merits of Hogarth, as master of comic painting, are acknowledged in lines that have been often quoted, and are of very moderate merit—not worth a rush. "The description of his age and infirmities," as Garrick said at the time, "is too shocking and barbarous." It nauseates the soul; and unmasks in the Satirist the rancorous and malignant hostility which assumes the disguise of a righteous indignation.
"Hogarth! stand forth.—Nay, hang not thus aloof—
Now, Candor! now thou shalt receive such proof,
Such damning proof, that henceforth thou shalt fear
To tax my wrath, and own my conduct clear—
Hogarth! stand forth—I dare thee to be try'd
In that great court where Conscience must preside;
At that most solemn bar hold up thy hand;
Think before whom, on what account, you stand—
Speak, but consider well—from first to last
Review thy life, weigh ev'ry action past—
Nay, you shall have no reason to complain—
Take longer time, and view them o'er again—
Canst thou remember from thy earliest youth,
And, as thy God must judge thee, speak the truth;
A single instance where, self laid aside,
And justice taking place of fear and pride,
Thou with an equal eye did'st genius view,
And give to merit what was merit's due?
Genius and merit are a sure offence,
And thy soul sickens at the name of sense.
Is any one so foolish to succeed?
On Envy's altar he is doom'd to bleed;
Hogarth, a guilty pleasure in his eyes,
The place of executioner supplies:
See how he glotes, enjoys the sacred feast,
And proves himself by cruelty a priest.
"Whilst the weak artist, to thy whims a slave,
Would bury all those pow'rs which Nature gave;
Would suffer black concealment to obscure
Those rays thy jealousy could not endure;
To feed thy vanity would rust unknown,
And to secure thy credit blast his own,
In Hogarth he was sure to find a friend
He could not fear, and therefore might commend:
But when his Spirit, rous'd by honest shame,
Shook off that lethargy, and soar'd to fame;
When, with the pride of man, resolv'd and strong,
He scorn'd those fears which did his honour wrong,
And, on himself determin'd to rely,
Brought forth his labours to the public eye,
No friend in thee could such a rebel know;
He had desert, and Hogarth was his foe.
"Souls of a tim'rous cast, of petty name
In Envy's court, not yet quite dead to shame,
May some remorse, some qualms of conscience feel,
And suffer honour to abate their zeal;
But the man truly and completely great
Allows no rule of action but his hate;
Thro' ev'ry bar he bravely breaks his way,
Passion his principle, and parts his prey.
Mediums in vice and virtue speak a mind
Within the pale of temperance confin'd;
The daring spirit scorns her narrow schemes,
And, good or bad, is always in extremes.
"Man's practice duly weigh'd, thro' ev'ry age
On the same plan hath Envy form'd her rage,
'Gainst those whom fortune hath our rivals made,
In way of science and in way of trade:
Stung with mean jealousy she arms her spite,
First works, then views their ruin with delight.
Our Hogarth here a grand improver shines,
And nobly on the gen'ral plan refines:
He like himself o'erleaps the servile bound;
Worth is his mark, wherever worth is found;
Should painters only his vast wrath suffice?
Genius in ev'ry walk is lawful prize:
'Tis a gross insult to his o'ergrown state;
His love to merit is to feel his hate.
"When Wilkes, our countryman, our common friend,
Arose, his king, his country, to defend;
When tools of pow'r he bar'd to public view,
And from their holes the sneaking cowards drew;
When Rancour found it far beyond her reach
To soil his honour and his truth impeach;
What could induce thee, at a time and place
Where manly foes had blush'd to show their face,
To make that effort which must damn thy name,
And sink thee deep, deep, in thy grave with shame?
Did virtue move thee? No; 'twas pride, rank pride,
And if thou had'st not done it thou had'st dy'd.
Malice, (who, disappointed of her end,
Whether to work the bane of foe or friend,
Preys on herself, and driven to the stake,
Gives virtue that revenge she scorns to take,)
Had kill'd thee, tott'ring on life's utmost verge,
Had Wilkes and Liberty escap'd thy scourge.
"When that Great Charter, which our fathers brought;
With their best blood, was into question bought,
When, big with ruin, o'er each English head
Vile slav'ry hung suspended by a thread;
When Liberty, all trembling and aghast,
Fear'd for the future, knowing what was past;
When ev'ry breast was chill'd with deep despair,
Till reason pointed out that Pratt was there;
Lurking most ruffian-like behind a screen,
So plac'd all things to see, himself unseen,
Virtue, with due contempt, saw Hogarth stand,
The murd'rous pencil in his palsied hand.
What was the cause of Liberty to him,
Or what was Honour? let them sink or swim,
So he may gratify without control
The mean resentment of his selfish soul;
Let freedom perish, if, to freedom true,
In the same ruin Wilkes may perish too.
"With all the symptoms of assur'd decay,
With age and sickness pinch'd and worn away,
Pale qiuv'ring lips, lank cheeks, and falt'ring tongue,
The spirits out of tune, the nerves unstrung,
The body shrivell'd up, thy dim eyes sunk
Within their sockets deep, thy weak hams shrunk,
The body's weight unable to sustain,
The stream of life scarce trembling, thro' the vein,
More than half-kill'd by honest truths, which fell
Thro' thy own fault from men who wish'd thee well,
Canst thou, ev'n thus, thy thoughts to vengeance give,
And, dead to all things else, to malice live?
Hence, Dotard! to thy closet; shut thee in;
By deep repentance wash away thy sin;
From haunts of men to shame and sorrow fly,
And, on the verge of death, learn how to die."