"Then, blessing all, Go, children of my care!
To practice now from theory repair.
All my commands are easy, short, and full;
My sons! be proud, be selfish, and be dull.
Guard my prerogative, assert my throne:
This nod confirms each privilege your own.
The cap and switch be sacred to his Grace;
With staff and pumps the Marquis leads the race;
From stage to stage the licens'd Earl may run,
Pair'd with his fellow-charioteer, the Sun;
The learned Baron butterflies design,
Or draw to silk Arachne's subtle line;
The Judge to dance his brother sergeant call!
The Senator at cricket urge the ball;
The Bishop stow (pontific luxury!)
An hundred souls of turkeys in a pie;
The sturdy Squire to Gallic masters stoop,
And drown his lands and manors in a soup.
Others import yet nobler arts from France,
Teach kings to fiddle, and make senates dance.
Perhaps more high some daring son may soar,
Proud to my list to add one monarch more;
And, nobly conscious, princes are but things
Born for first ministers, as slaves for kings,
Tyrant supreme! shall three estates command,
And make one mighty Dunciad of the land!
"More she had spoke, but yawn'd—All Nature nods:
What mortal can resist the yawn of gods?
Churches and Chapels instantly it reach'd;
(St James's first, for leaden G—— preach'd;)
Then catch'd the Schools; the Hall scarce kept awake;
The Convocation gap'd, but could not speak:
Lost was the Nation's sense, nor could be found,
While the long solemn unison went round: Wide, and
more wide, it spread o'er all the realm;
Ev'n Palinurus nodded at the helm;
The vapour mild o'er each Committee crept;
Unfinish'd treaties in each office slept;
And chiefless Armies doz'd out the campaign;
And Navies yawn'd for orders on the main.
"O Muse! relate, (for you can tell alone,
Wits have short memories, and dunces none,)
Relate who first, who last, resign'd to rest;
Whose heads she partly, whose completely blest,
What charms could faction, what ambition lull,
The venal quiet, and intrance the dull;
Till drown'd was Sense and Shame, and Right and Wrong—
O sing, and hush the nations with thy song!"
"In vain, in vain—the all-composing hour
Resistless falls; the Muse obeys the pow'r.
She comes! she comes! the sable throne behold
Of Night primeval, and of Chaos old!
Before her fancy's gilded clouds decay,
And all its varying rainbows die away.
Wit shoots in vain its momentary fires,
The meteor drops, and in a flash expires.
As one by one, at dread Medea's strain,
The sick'ning stars fade off the ethereal plain;
As Argus's eyes, by Hermes' wand opprest,
Clos'd one by one to everlasting rest,
Thus at her felt approach, and secret might,
Art after Art goes out, and all is night.
See skulking Truth to her old cavern fled,
Mountains of Casuistry heap'd o'er her head!
Philosophy, that lean'd on Heav'n before,
Shrinks to her second cause, and is no more.
Physic of Metaphysic begs defence,
And Metaphysic calls for aid on Sense!
See Mystery to Mathematics fly!
In vain! they gaze, turn giddy, rave, and die.
Religion, blushing, veils her sacred fires,
And unawares Morality expires.
Nor public flame, nor private, dares to shine;
Nor human spark is left, nor glimpse Divine;
Lo! thy dread empire, Chaos! is restor'd;
Light dies before thy uncreating word:
Thy hand, great Anarch! lets the curtain fall;
And universal Darkness buries All."
Mr Bowles, himself a true poet, thinks the Fourth Book the best. "The objects of satire," he says, "are more general and just: the one is confined to persons, and those of the most insignificant sort; the other is directed chiefly to things, such as faults of education, false habits, and false taste. In polished and pointed satire, in richness of versification and imagery, and in the happy introduction of characters, speeches, figures, and every sort of poetical ornament adapted to the subject, this Book yields, in my opinion, to none of Pope's writings of the same kind." Excellently well said. But what inconsistency in saying, at the same time, "These observations of Dr Warton are, in general, very just and sensible." And again, "I by no means think so meanly of it as Dr Warton." Meanly, indeed! Why, he has just told us he thinks it equal to any thing of the same kind Pope ever wrote. But the distinguished Wintonian chose to speak nonsense, rather than speak harshly of old Joe. What are Dr Warton's "in general very just and sensible observations?" "Our poet was persuaded by Dr Warburton, unhappily enough, to add a Fourth Book to his finished piece, of such a very different cast and colour, as to render it at last one of the most motley compositions there is, perhaps, any where to be found in the works of so exact a writer as Pope. For one great purpose of this Fourth Book (where, by the way, the hero does nothing at all) was to satirize and proscribe infidels and freethinkers, to leave the ludicrous for the serious, Grub Street for theology, the mock-heroic for metaphysics—which occasion a marvellous mixture and jumble of images and sentiments, pantomime and philosophy, journals and moral evidence, Fleet Ditch and the High Priori road, Curl and Clarke." That reads like a bit of a prize-essay by a bachelor of arts in the "College of the Goddess in the City." The Dunciad is rendered not only a motley, but, perhaps, the most motley composition of an exact writer, by a Book added to it when it was in a state of perfection—for as a Poem in Three Books, "it was clear, consistent, and of a piece." This is not the way to make a poem motley, nor a man. "Motley's the suit I wear," might have taught the Doctor better. They who don't like the Fourth Book can stop at the end of the Third, and then the Poem is motley no more. It is in a higher strain than the Three, and why not? The goddess had a greater empire than Warton, who was a provincial, had ever dreamt of in his philosophy; but, in Pope's wide imagination, it stood with all its realms. The hero had no more to say or to do—Cibber was banished to Cimmeria for life, to work in the mines—and Dulness had forgotten she ever saw his face.
"Then rose the seed of Chaos, and of Night,
To blot out order, and extinguish light,
Of dull and venal a new world to mould,
And bring Saturnian days of lead and gold."
That long clumsy sentence about "a marvellous mixture and jumble of images and sentiments," &c. &c. &c., is pure nonsense. In itself, the Fourth Book is most harmoniously constructed as a work of art, and it rises out of, and ascends from the Third, a completed creation. To call that YAWN mock-heroic, would be profane—it is sublime!
"Speaking of the Dunciad," continues the Doctor, "as a work of art, in a critical, not religious light, I must venture to affirm, that the subject of this Fourth Book was foreign and heterogeneous, and the addition of it is injudicious, ill-placed, and incongruous, as any of those similar images we meet with in Pulci or Ariosto." The addition of a Fourth Book to a poem, previously consisting of Three, is not an image at all, look at it how you will, and cannot therefore be compared with "any of those dissimilar images we meet with in Pulci or Ariosto." We much admire Pulci and Ariosto, especially Ariosto, but they and their dissimilar images have no business here; and were Dr Joseph alive any where in the neighbourhood, we should whistle in his ear not to be so ostentatious in displaying his Italian literature, which was too thin to keep out the rain.
"It is," he keeps stuttering on, "like introducing a crucifix into one of Teniers's burlesque conversation pieces." We see no reason why a crucifix should not be in the room of a good Catholic during a burlesque conversation; and Teniers, if he never have, might have painted one in such a piece without offence, had he chosen to do so; but the question we ask, simply is, what did Doctor Joseph Warton mean? Just nothing at all.