Tag Archives: Love

John Gay, “Panthea. An Elegy”

JOHN GAY

“Panthea. An Elegy”

 

Long had Panthea felt Love’s secret smart,
And hope and fear alternate rul’d her heart;
Consenting glances had her flame confest.
(In woman’s eyes her very soul’s exprest)
Perjur’d Alexis saw the blushing maid,                                             5
He saw, he swore, he conquer’d and betray’d:
Another love now calls him from her arms,
His fickle heart another beauty warms;
Those oaths oft’whisper’d in Panthea’s ears,
He now again to Galatea swears.                                                     10
Beneath a beech th’ abandon’d virgin laid,
In grateful solitude enjoys the shade;
There with faint voice she breath’d these moving strains,
While sighing Zephyrs shar’d her am’rous pains.

Pale settled sorrow hangs on upon my brow,                       15
Dead are my charms; Alexis, breaks his vow!
Think, think, dear shepherd, on the days you knew,
When I was happy, when my swain was true;
Think how thy looks and tongue are form’d to move,
And think yet more—that all my fault was love.                           20
Ah, could you view me in this wretched state!
You might not love me, but you could not hate.
Could you behold me in this conscious shade,
Where first thy vows, where first my love was paid,
Worn out with watching, sullen with despair,                              25
And see each eye swell with a gushing tear?
Could you behold me on this mossy bed,
From my pale cheek the lively crimson fled,
Which in my softer hours you oft’ have sworn,
With rosie beauty far out-blush’d the morn;                                30
Could you untouch’d this wretched object bear,
And would not lost Panthea claim a tear?
You could not sure—tears from your eyes would steal,
And unawares thy tender soul reveal.
Ah, no!—thy soul with cruelty is fraught,                                      35
No tenderness disturbs thy savage thought;
Sooner shall tigers spare the trembling lambs,
And wolves with pity hear with their bleating dams;
Sooner shall vultures from their quarry fly,
Than false Alexis for Panthea sigh.                                                  40
Thy bosom ne’er a tender thought confest,
Sure stubborn flint had arm’d thy cruel breast;
But hardest flints are worn by frequent rains,
And the soft drops dissolve their solid veins;
While thy relentless heart more hard appears,                            45
And is not soften’d by a flood of tears.

Ah, what is love! Panthea’s joys are gone,
Her liberty, her peace, her reason flown!
And when I view me in the watry glass,
I find Panthea now, not what she was.                                           50
As northern winds the new-blown roses blast,
And on the ground their fading ruins cast;
As sudden blights corrupts the ripen’d grain,
And of its verdure spoil the mournful plain;
So hapless love on blooming features preys,                               55
So hapless love destroys our peaceful days.

Come, gentle sleep, relieve these weary’d eyes,
All sorrow in thy soft embraces dies:
There, spite of all thy perjur’d vows, I find
Faithless Alexis languishingly kind;                                                 60
Sometimes he leads me by the mazy stream,
And pleasingly deludes me in my dream;
Sometimes he guides me to the secret grove,
Where all our looks, and all our talk is love.
Oh, could I thus consume each tedious day,                               65
And in sweet slumbers dream my life away;
But sleep, which now no more relieves these eyes,
To my sad soul the dear deceit denies.

Why does the sun dart forth his cheerful rays?
Why do the woods resound with warbling lays?                          70
Why does the rose her grateful fragrance yield,
And the yellow cowslips paint the smiling field?
Why do the streams with murm’ring musick flow,
And why do groves their friendly shade bestow?
Let sable clouds the cheerful sun deface,                                    75
Let mournful silence seize the feather’d race;
No more, ye roses, grateful fragrance yield,
Droop, droop, ye cowslips, in the blasted field;
No more, ye streams, with murm’ring musick flow,
And let not groves a friendly shade bestow:                                80
With sympathizing grief let nature mourn,
And never know the youthful spring’s return;
And shall I never more Alexis see?
Then what is spring, or grove or stream to me?

Why sport the skipping lambs on yonder plain?                  85
Why do the birds their tuneful voice strain?
Why frisk those heifers in cooling grove?
Their happier life is ignorant of love.

Oh! lead me to some melancholy cave,
To lull my sorrow in a living grave;                                                90
From the dark rock where dashing waters fall,
And creeping ivy hangs the craggy wall,
Where I may waste in tears my hours away,
And never know the seasons or the day.
Die, die, Panthea—fly in this hateful grove,                                 95
For what is life without the Swain I love?

NOTES:

Title  Panthea  This name means “of all gods” in Greek.

1  smart  “Mental suffering, sorrow” (OED).

10  Galatea  “In Greek mythology, a Nereid who was loved by the Cyclops Polyphemus. Galatea, however, loved the youth Acis” (Britannica).

14  Zephyrs  Greek god of gentle winds.

18  swain  “Lover” (OED).

39  quarry  Here a reference to the vulture’s “prey” or carrion (OED).

42  flint  “Hard stone” (OED).

45  hard  “Unyielding” (OED).

49  watry glass  Water serving as a mirror.

51  northern winds  Refers to Boreas, Greek god of the cold northern winds.

61  mazy  “Twisting” (OED).

70  warbling  “Singing with sweet quavering notes” (OED).

72  cowslips  “Well-known plant in pastures and grassy banks, blossoming in spring” (OED).

87  heifers  “Young cows” (OED).

92  craggy  “Hard and rough” (OED).

SOURCE: Poems on Several Occasions: Volume 2 (London, 1737), pp. 109-113. [Google Books]

Edited by Joanna Tran

 

 

 

 

William Broome, “Courage in Love”

WILLIAM BROOME

“Courage in Love”

 

My Eyes with Floods of Tears o’erflow,
My Bosom heaves with constant Woe;
Those Eyes, which thy Unkindess swells,
That Bosom, where thy Image dwells!

How could I hope so weak a Flame                                     5
Could ever warm that matchless Dame,
When none Elysium must behold,
Without a radiant Bough of Gold?
‘Tis hers, in Spheres to shine,
At distance to admire, is mine:                                                    10
Doom’d, like th’ enamour’d Youth, to groan
For a new Goddess form’d of Stone.

While thus I spoke, Love’s gentle Pow’r
Descended from th’ Aethereal Bow’r;
A Quiver at his Shoulder hung,                                                    15
A Shaft he grasp’d, and Bow unstrung.
All Nature own’d and genial God,
And the Spring flourish’d where he trod:
My Heart, no Stranger to the Guest,
Flutter’d, and labour’d in my Breast;                                           20
When with a Smile that kindles Joy
Ev’n in the Gods, began the Boy:

How vain these Tears? is Man decreed,
By being abject, to succeed?
Hop’st thou by meagre Looks to move?                                      25
Are Women frighten’d into Love?
He most prevails who nobly dares;
In Love an Hero, as in Wars:
Ev’n Venus may be known to yield,
But ‘tis when Mars disputes the Field:                                         30
Sent from a daring Hand my Dart
Strikes deep into the Fair-one’s Heart:
To Winds and Waves thy Cares bequeath,
A Sign, is but a waste of Breath:
What tho’ gay Youth, and every Grace                                         35
That Beauty boasts, adorn her Face,
Yet Goddesses have deign’d to wed,
And take a Mortal to their Bed:
And Heav’n, when Gifts of Incense rise,
Accepts it, tho’ it cloud their Skies.                                                40

Mark! how this Marygold conceals
Her Beauty, and her Bosom veils,
How from the dull Embrace she flies
Of Phoebus, when his Beams arise;
But when his Glory he displays,                                                      45
And darts around his fiercer Rays,
Her Charms she opens, and receives
The vigorous God into her Leaves.

NOTES:

7  Elysium  “The supposed state or abode of the blessed after death in Greek mythology” (OED).

11  Youth  “Polyderus, who pined to death for the Love of a beautiful Statue” [Author’s note].

13  Love’s gentle Pow’r  Cupid.

14   Aethereal   “Of or relating to heaven, God, or the gods; heavenly, celestial” (OED).

29  Venus  “Roman goddess of beauty and love” (OED).

30  Mars  “The god of war of the ancient Romans” (OED).

41  Marygold  “A plant with golden or yellow flowers” (OED).

44  Phoebus  “Apollo as the god of light or of the sun; the sun personified” (OED).

SOURCE: Poems on Several Occasions, Second Edition (London, 1739), pp. 226-229.  [Google Books]

Edited by Charlie May

 

 

Mary Leapor, “The Temple of Love”

MARY LEAPOR

“The Temple of Love”

 

 When lonely Night compos’d the drowsy Mind,
And hush’d the Bosom of the weary Hind,
Pleas’d with plain Nature and with simple Life,
I read the Scenes of Shore’s deluded Wife,
Till my faint Spirits sought a silent Bed,                                            5
And on its Pillow drop’d my aking Head;
Then Fancy ever to her Mira kind,
Prepar’d her Phantoms for the roving Mind.

Behold a Fabrick rising from the Ground,
To the soft Timbrel and the Cittern’s Sound:                                   10
Corinthian Pillars the vast Building hold,
Of polish’d Silver and Peruvian Gold;
In four broad Arches spread the shining Doors,
The blazing Roofs enlighten all the Floors:
Beneath a sparkling Canopy that shone                                           15
With Persian Jewels, like a Morning Sun
Wrap’d in a Robe of purest Tyrian Dye,
Cythera’s Image met the ravish’d Eye,
Whose glowing Features wou’d in Paint beguile:
So well the Artist drew her mimick Smile;                                        20
Her shining Eyes confess’d a sprightly Joy;
Upon her Knees reclin’d her wanton Boy;
On the bright Walls, around her and above,
Were drawn the Statutes and the Arts of Love:
These taught the silent Language of the Eye,                                   25
The broken Whisper and amusing Lye;
The careless Glance peculiar to the Fair,
And Vows for Lovers, that dissolve in Air;
The graceful Anger, and the rolling Eyes;
The practis’d Blush and counterfeit Surprise,                                   30
The Language proper for pretending Swains;
And fine Description for imagin’d Pains;
The friendly Caution and designing Ease,
And all the Arts that ruin while they please.

Now entred, follow’d by a splendid Train,                                   35
A blooming Damsel and a wealthy Swain;
The gaudy Youth in shining Robes array’d,
Behind him follow’d the unthinking Maid:
Youth in her Cheek like op’ning Roses sprung,
Her careless Tresses on her Shoulders hung.                                    40
Her Smiles were chearful as enliv’ning May;
Her Dress was careless, and her Eyes were gay;
Then to soft Voices and melodious Sound
The Board was spread, the sparkling Glasses crown’d:
The sprightly Virgin in a Moment shines                                              45
In the gay Entrails of the eastern Mines;
Then Pride comes in with Patches for the Fair,
And spicy Odours for her curling Hair:
Rude Riot in a crimson Vest array’d,
With smooth-fac’d Flatt’ry like a Chamber-maid:                                50
Soft Pomp and Pleasure at her Elbow stand,
And Folly shakes the Rattles in her Hand.

But now her feeble Structure seem’d to shake,
Its Basis trembl’d and its Pillars quake;
Then rush’d Suspicion through the lofty Gate,                                   55
With heart-fick Loathing led by ghastly Hate;
And foaming Rage, to close the horrid Band,
With a drawn Poniard in her shaking Hand.
Now like an Earthquake shook the reeling Frame,
The Lamps extinguish in a purple Flame:                                            60
One universal Groan was heard, and then
The Cries of Women and the Voice of Men:
Some roar out Vengeance, some for Mercy call;
And Shrieks and Tumult fill the dreadful Hall.

At length the Spectres vanish’d from my Sight,                            65
Again the Lamps resum’d a feeble Light;
But chang’d the Place: No Splendor there was shown,
But gloomy Walls that Mirth had never known;
For the gay Dome where Pleasure us’d to dwell,
Appear’d an Abbey and a doleful Cell;                                                    70
And here the sad, the ruin’d Nymph was found,
Her Robe disorder’d and her Locks unbound,
While from her Eyes the pearly Drops of Woe,
Wash’d her pale Cheek where Roses us’d to blow:
Her blue and trembling Lips prepar’d to breathe                                 75
The Sighs that made her swelling Bosom heave;
Thus stupid with her Grief she sat and prest
Her lily Hands across her pensive Breast;
A Group of ghastly Phantoms stood behind,
Whose Task it is to wreck the guilty Mind:                                              80
Wide-mouth’d Reproach with Visage rude and thin,
And hissing Scandal made a hideous Din;
Remorse that darted from her deadly Wings,
Invenom’d Arrows and a thousand Stings:
Then with pale Cheeks and with a ghastly Stare,                                   85
Peep’d o’er her Shoulder hollow-ey’d Despair;
Whose Hand extended bore a bleeding Heart,
And Death behind her shook his threat’ning Dart:
These Forms with Horror fill’d my aking Breast,
And from my Eye-lids drove the Balm of Rest;                                        90
I woke and found old Night her Course had run,
And left her Empire to the rising Sun.

NOTES:

 4  Scenes of Shore’s deluded Wife  A reference to The Tragedy of Jane Shore (1714), a play by Nicholas Rowe (1674-1718) based on the life an intrigues of Elizabeth (“Jane”) Shore (c. 1445-c. 1557), a mistress of King Edward IV.

9  Fabrick  “A building” (OED).

10  Timbrel  “An instrument of the percussion family” (OED); Cittern “An instrument of the lute family” (OED).

11 Corinthian Pillars  “The name of one of the three Grecian [architectural] orders (Doric, Ionic, Corinthian), of which it is the lightest and most ornate” (OED).

17  Tyrian Dye  Alludes to “the purple or crimson dye anciently made at Tyre from certain molluscs” (OED).

18  Cythera  A reference to Aphrodite, Greek goddess of love who, according to legend, was born on the island of Cythera.

19  beguile  “Deceive” (OED).

22  wanton Boy  Cupid.

64  Tumult  “Commotion leading to a riot” (OED).

69  Dome  “A stately building” (OED).

70  doleful  “Sorrowful” (OED).

SOURCE: Poems Upon Several Occasions (London, 1748), pp. 162-66.  [Google Books]

 Edited by Angela Vu

 

 

Elizabeth Tollet, “On a Death’s Head”

ELIZABETH TOLLET

“On a Death’s Head”

 

Esi illic Lethaeus Amor, qui pectora sanat,
Inque suas gelidam lampadas addit aquam.
                                                                           Ovid.

 

On this Resemblance, where we find
A Portrait drawn for all Mankind,
Fond Lover! gaze a while, to see
What Beauty’s Idol Charms shall be.
Where are the Balls that once cou’d dart                                          5
Quick Lightning thro’ the wounded Heart?
The Skin, whose Teint cou’d once unite
The glowing Red and polish’d White?
The Lip in brighter Ruby drest?
The Cheek with dimpled Smiles imprest?                                         10
The rising Front, where Beauty sate
Thron’d in her Residence of State;
Which, half-disclos’d and half-conceal’d,
The Hair in flowing Ringlets veil’d;
‘Tis vanish’d all! remains alone                                                            15
This eyeless Scalp of naked Bone:
The vacant Orbits sunk within:
The Jaw that offers at a Grin.
Is this the Object then that claims
The Tribute of our youthful Flames?                                                   20
Must am’rous Hopes and fancy’d Bliss,
Too dear Delusions! end in this?
How high does Melancholy swell!
Which Sighs can more than Language tell:
Till Love can only grieve or fear;                                                           25
Reflect a while, then drop a Tear
For all that’s beautiful or dear.

NOTES:

Epigraph “There dwells Lethean Love, who heals the heartsick/And quenches in cold water his fierce flame.” From Ovid, Remedia Amoris (The Cures for Love), ll. 551-52 (Ovid: The Love Poems, trans. A.D. Melville [Oxford and New York: OUP, 1990], p. 166).

4  Idol  “False” (OED).

5 Balls  Eyeballs.

7  Teint  Taint, “color, hue, tint” (OED).

11  sate  “To be placed or situated” (OED).

16  Scalp  “Skull” (OED).

17  Orbits  “Eye sockets” (OED).

SOURCE: Poems on Several Occasions. With Anne Boleyn to King Henry VIII, an Epistle (London, 1755), pp. 58-59.  [Google Books]

 Edited by Terry Luo

Anonynmous, “On the Art of Writing: Sent to MIRA”

ANONYMOUS

On the Art of Writing : Sent to MIRA”

 

Hail sacred art! by Gods above
Design’d the messenger of love,
In pity to th’ immortal mind,
In earthly prison close confin’d.
Without thee, what were Mira’s grace?                              5
Or beauteous Helen’s fatal face?
Like sparks that glitt’ring upward fly,
Scarce known to live before they dye.
Thalia too, celestial maid,
Implor’d by bards, implores thy aid.                                          10
If you refuse, how vain her song!
The numbers perish on her tongue.
Fly hence! on light’ning’s wings away,
And to my lovely Mira say,
That London’s wealth, and mirth, and pride,                             15
With all things apt to charm beside,
Enamel’d lawns, and waving trees,
From Mira take their power to please.
For when my Fair is out of sight,
These are but shadows of delight.                                               20
Away! thou love-relieving art!
To dearest Mira bear my heart,
Bid her, in Cupid’s name, return
That heart, for which I rave, I burn.
But shou’d she scorn the archer’s skill,                                       25
Great Pallas, guardian of her will,
Bid her dismiss her needless fears,
For lo! Sincerity appears.
Say, Hymen waits with ardent care,
To give the World a happy pair:                                                    30
And Cupid too stands armed by,
To wound the first that dares to fly.
Thus Love and Reason shall combine,
And like twin-stars alternate shine;
Whatever Reason shall approve,                                                   35
Shall seem th’ effects of yielding Love:
Whatever Love shall deign to name,
Applauding Reason shall proclaim.
Reason, like Sol to Tellus kind,
Ripens the products of the mind,                                                  40
Dispells the anxious cares of life,
Those mists of sorrow and of strife:
And when old Time shall envious prove,
In this is Beauty, Youth, and Love.
But Love, if Reason’s out of sight,                                           45
Is all opaque and void of light,
Like the dull Moon, which oft resigns
Those borrow’d beams by which she shines:
The pleasure then it brags of most,
Is but what brutes themselves can boast.                                    50
Once more, thou heav’n-born art, away!
My soul’s impatient of delay:
As quick as thought again return,
And bring that heart for which I burn.

NOTES:

6  Helen  Helen of Troy or Helen of Sparta, mortal daughter of Zeus and Leda, recognized for her perfect beauty, which was also considered as it led her to be abducted by Theseus as a young girl. Helen wed with Menelaus of Sparta but eventually fled to Troy from his kingdom with Paris, effectively starting the Trojan war. Helen was returned to Sparta with Menelaus once Troy was captured and is now memorialized in Greek mythology for the conflict and death that her beauty caused (Britannica).

9  Thalia  One of the nine Muses that acted as goddesses of the arts; Thalia was patron of comedy and pastoral poetry; frequently depicted with a comic mask and shepherd’s staff (Britannica).

23  Cupid  “In Roman Mythology, the god of love, son of Mercury and Venus, identified with the Greek Eros” (OED).

26  Pallas  Epithet for Athena, Greek goddess of wisdom and war.

29  Hymen  Greek god of marriage.

39  Sol  Roman god of the sun; Tellus  “Ancient Roman earth goddess” (Britannica).

SOURCE:  The Gentleman’s Magazine, vol. 8 (October 1738), p. 544.  [HathiTrust]

 Edited by Shyla Jackson

Sarah Dixon, “Aminta’s Dream”

SARAH DIXON

“Aminta’s Dream”

 

Tir’d with the Disappointments of the Day,
As on her Bed the Fair Aminta lay,
The wild Ideas which her Mind imprest
Still kept their Rounds, and wou’d not let her rest;
Till the sweet Lark, who dedicates the Prime                                             5
To the Disposer of her future Time,
Had prun’d her Wings, and tow’ring thro’ the Air
Call’d drowsie Mortals to their Morning Prayer.
With Cloyster’d Virgins had she Vigils kept,
Aminta now perhaps had sweetly slept;                                                      10
A Stranger been to Love, and all its Cares,
Fallacious Hopes, inseparable Fears.
Just as the Sun lick’d off the pearly Dews,
Her long extended Lids began to close;
Gay Fancy then assum’d to play its Part                                                      15
In every Avenue of Head and Heart;
In various Trim presented every Wish,
And the Unhappy dream’d of Happiness:
A Group of inconsistent Figures first
Address’d her Senses, by her Passions nurst:                                             20
The stubborn Goddess Fortune led the Van,
Smiles in her Face and Trophies in her Hand:
Attractive Riches, dying Lovers Tears,
Obliging Friendships, many happy Years;
Park, Balls, and Operas, and Brussel’s Lace                                                   25
A gilded Chariot and a lasting Face:
Fictitious Joys!  how fleet your Motions haste,
Like flying Shadows just observ’d e’re past;
The hasty Bubbles of a christal Brook,
Rais’d in a Moment, in a Moment broke.                                                        30
Loud Acclamations snapt the pleasing Chain,
And all the Gew-gaws vanish’d from her Brain:
Her Maid in Tears the fatal Tiding brought,
Silvio had all his Vows and Her’s forgot;
That Morning married to her favourite Friend,                                              35
And here, poor Girl, her Expectations end.

NOTES:

Title  Aminta  The male protagonist in a pastoral play written in 1573 by Torquato Tasso; Dixon has switched the gender of her titular character (Britannica).

5  Prime  “The time just before sunrise” (OED).

15  Fancy  Poetical imagination (Johnson).

17  Trim  “Neatly or smartly made, prepared, or arranged; elegantly or finely arrayed” (OED).

21  Goddess Fortune  Roman goddess of fate, chance, or luck; Van  “The foremost portion of, or the foremost position in, a company or train of persons moving, or prepared to move, forwards or onwards” (OED).

25  Brussel’s Lace Delicate, handmade lace from Flanders (Britannica); Operas  Emended from “Opera’s” (a printer’s error).

32  Gew-gaws  In plural, “vanities” (OED).

34  Silvio  Silvia is the female love interest of Aminta in Tasso’s play; Dixon also has switched the gender of this character (Britannica).

 SOURCE: Poems on Several Occasions (Canterbury, 1740), pp. 29-30.  [Google Books]

Edited by Hallie Stark

John Bancks, “The Wish”

JOHN BANCKS

“The Wish”

 

In dire Machine, of quadrate Figure,
Expos’d to all the pinching Rigour
Of Hunger, Poverty, and Cold,
I by my Bum, and Belly hold;
Pendant, betwixt the Earth and Skie,                                             5
Like dying Thief – tho’ not so high;
Branded with Weaver’s odious Name,
Thro’ all the World, a Mark of shame.
In this forlorn, neglected Station,
For me to think of Alteration;                                                          10
And, like a true son of Apollo,
To wish for what will never follow;
Must be, I think, by all allow’d
A Project highly just and good.
So many of the rhimeing Tribe                                                       15
Their Means and course of Life prescribe;
And tho’, because they wish for too much,
Dame Fortune seldom cares to do much;
Yet Fancy gives them such a Prop,
They still Rhime on, and live by Hope.                                           20
’Tis Prudence never to Despair,
Tho’ all our Stars against us are;
For if the Mind but keeps Decorum,
We’re in the Number Beatorum.
Tho’ some may blame me to begin                                         25
With what is oft’ the Root of sin;
Since that must make the Mare to go,
I’ll wish, as other People do,
For Money, the Delight of Kings,
The Queen of Men, and Queen of Things.                                     30
Of this, I’d have sufficient store,
(For who’s respected when he’s poor?)
Enough for all the Needs of Life,
Both of my self, and of a Wife.
If Heav’n a little more should give,                                                   35
Than what may serve us just to Live,
A common Stock the Rest should be
Between my Kindred, Friends, and me.
But here I’m whisper’d by the Muse,
Who, if she might be bold to chuse,                                                40
Could wish ’twould please impartial Fate
To let it be a Free Estate.
For having heard how hard ’tis found
For Bards to make the Year go round:
That sometimes Pegasus is rash,                                                      45
And flies away from heaps of Cash:
That oft’ Poetic Influence
Deprives the Mind of common Sense;
And makes, amidst a croud of Fancies,
The Poet Act Extravagancies:                                                            50
She fearing this might be my Lot,
If Master of my All I got,
Believes it will be more secure
To have my yearly Income sure:
That if by chance, my Stock I spend,                                                55
Next Quarter the Defect may mend.
The next Thing in my Inventory,
Shall be a Wife – A Husband’s Glory –
The greatest Curse, or greatest Blessing,
We’re capable of e’er Possessing.                                                     60
Tho’ some, perhaps, may Reasons bring
To prove a Wife a needless Thing;
I can’t be brought to their Opinion,
Nor care I for their Proofs an Onion.
Since Woman was for Man design’d,                                        65
I think ’tis fit they should be joyn’d:
And therefore hoping to be Blest,
I’ll wish for her among the rest.
Besides, I am not quite so stupid,
As not to fear the Force of Cupid:                                                     70
Cupid, that Fowling, Shooting Boy,
Who hampers all in his Decoy;
And makes us Love, with Dart and Bow,
Whether we willing are, or no.
’Tis like, if he were not so busy,                                                        75
Most Men unmarry’d might be easy:
Old Maids might then be very plenty;
And scarce a marry’d Wife in Twenty:
Strephon would not for Delia Mourn;
Nor Daphnis Sigh for Love’s return;                                                  80
But whilst he makes such Work about ’em,
There’s few can be Content without ’em;
For when he throughly does his Duty,
Wry Necks and crooked Backs make Beauty.
Since then he Rules so absolute,                                                       85
’Tis vain for Mortals to Dispute:
For Man to love a Woman is
As natural, as Welshman Cheese:
And if I love, I’ll have a Wife,
Because I chuse an honest Life.                                                         90
Well ’tis agreed – But now let’s see
What sort of Woman she must be;
I’d have her Modest, Brisk and Young,
And Woman all – except her Tongue:
As Pious as the very best;                                                                    95
Yet not a Bigot to her Priest:
Good-natur’d, Gentle, full of Duty,
And Mistress of a little Beauty:
So Witty, Secret, and Discreet,
That Wife and Friend, in one might meet.                                        100
Her Portion – be it great or small,
Or, if Fate please, be’t none at all.
My Former Wish shall this prevent,
If I’ve enough, I’ll be Content:
Tho’ few are easy in their Station,                                                     105
For once I’d step besides the Fashion.
When Hymen has the Business done,
And she and I are joyn’d in one;
For fear my dearest Bride should mutter,
Because I’ve got no where to put her;                                               110
As well as to divert my Mind,
If e’er my Charmer prove unkind;
I’d have a pleasant Country Seat,
By Nature made, for Love’s retreat:
A purling Stream should murmur by,                                                115
And Woods, and Meadows should be nigh:
The Woods, at Noon, for Shade I’d use;
At Night, the Meads should please the Muse.
My Garden fill’d with Trees and Flow’rs
Should yield an hundred shady Bowers:                                           120
And all the tuneful, feather’d Quire
Should dwell therein, to wake my Lyre.
Here, if the Fumes of too much Study
Should make the Spring of Fancy muddy;
My Spirits I’d exhilerate,                                                                       125
In Consort with my lovely Mate:
Our Conversation, soft and kind,
Should turn on what came first in Mind:
Yet so we’d always wind the String up,
That Love alone, the Rear should bring up.                                      130
My House should be of comely Size,
I think the Ground should round it rise:
It’s little Front should meet the Morn,
And that, a Dial should adorn:
A Court, before you could arrive at                                                    135
The Door, should make it Safe, and Private:
In fine, I’d have to make’t compleat,
Nothing superfluous, all Things neat:
’Twould be a kind of petty Throne,
If ’twere a Manour, and my own.                                                         140
Were I to chuse my Furniture,
I’d have what’s Needful, and no more:
But whilst I wanted not for Treasure,
My Spouse in this should use her Pleasure:
For if we cross a Woman’s Fancy,                                                        145
We know what spiteful Things she can say.
Of the best Books I’d have a few,
Whose Wit and Sense, would still be New:
Both Ancient, of establish’d Fame:
And Modern of a rising Name.                                                              150
These I’d on all Occasions use,
T’inform, or please me, or amuse:
From these I’d choicest Maxims draw,
And make them, of my Life, the Law.
For Servants ­– if I must have any,                                                  155
They should be Sober, and not many:
A Couple would sufficient be,
My Wife a Maid, a Man for me.
A Friend’s a Thing so seldom known,
’Tis very hard to meet with one;                                                            160
Yet I might chuse, I would have two,
Of my own Sex, Good, Wise, and True:
Who could direct an infant Muse;
Knew when to blame, and when t’excuse:
With these I’d ev’ry Day converse,                                                        165
To them each rising Thought rehearse;
Their Judgment should the Sentence give
To which should Die, and which should Live.
In Fortunes Mazes, if perplext,
Or with Domestic Troubles vext;                                                           170
To them I’d straight repair for Rest,
And leave my Sorrows in their Breast.
To welcome these, I’d spread my Board
With what the Country would afford:
A Chearful, but a mod’rate Glass                                                          175
Should, as a sign of Friendship, pass
Thus far my pensive Mind had gone,
And, thinking ev’ry Thing my own,
To Rapture I was almost brought,
’Till stopping to correct a Thought,                                                       180
I found ’twas all a Dream, a Fable,
A false Chimaera, nothing stable;
Still in the Loom I must remain,
All higher Thoughts, I doubt, are vain.

 NOTES:

 1  quadrate  “Something which is square or rectangular in shape,” in this case a weaver’s hand loom (OED).

5  Pendant  Suspended, “in a hanging position” (OED).

11  Apollo  Greek god associated with poetry (Britannica).

24  Beatorum  Latin: prosperous, of the blessed.

27  that must make the Mare to go  “Money makes the mare to go” is a proverbial phrase that means “without money little can be achieved” (ODP).

42  Free Estate  Freehold, the “permanent and absolute tenure of land or property with freedom to dispose of it at will” (OED).

45  Pegasus  In Greek Mythology, the winged horse that is “often represented as the favourite steed of the Muses, bearing poets on their flights of poetic inspiration” (OED).

49  croud  Archaic spelling of “crowd.”

 70  Cupid  “In Roman Mythology, the god of love” (OED).

101  Portion  Marriage portion, “dowry” (OED).

107  Hymen  “In Greek and Roman mythology: The god of marriage, represented as a young man carrying a torch and veil” (OED).

113  Country Seat  “A (large) country house and estate inhabited by a family belonging to the nobility, landed gentry, or other wealthy class, usually as its principal rural residence” (OED).

120  Bower  “Idealized abode” (OED).

121  Quire  Archaic spelling of “choir” (OED).

122  Lyre  “A stringed instrument of the harp kind, used by the Greeks for accompanying song and recitation” (OED).

133  should  Emended from “shold” (printer’s error).

134  Dial  Sundial.

173  Board  “A table spread for a repast” (OED).

182  Chimaera  “An unreal creature of the imagination” (OED).

SOURCE: The Weavers Miscellany: Or, Poems on Several Subjects (London, 1730), pp. 9-15. [Google Books]

Edited by Devin Logan

 

Charlotte Lennox, “A Hymn to Venus, in Imitation of Sappho”

[CHARLOTTE LENNOX]

“A Hymn to Venus, in Imitation of Sappho”

 

Venus, Queen of tender Fires,
Pleasing pains and soft Desires;
Sweet Enslaver of the Heart,
Here thy gentle Aid impart;
To my mourning Soul give Ease,                                   5
And I bid my soft Complainings cease.

II.
Hither beauteous Goddess move,
Leave a while th’ ​Idalian G​rove;
Once more to my transported Breast,
Come a mild, a grateful Guest;                                       10
There confirm thy pleasing Reign,
Free from Cares, and free from Pain.

III.
Oh! if e’er my artless Strains,
By Thee inspired, breath’d thy Pains;
Propitious now thy Suppliant hear,                                 15
And grant a Lover’s ardent Pray’r?
Ah! let me not despairing mourn,
But meet a kind, a wish’d Return.

IV.
Make Philander​ feel my Pow’r,
Fear my Scorn, my Smiles adore,                                   20
Let the dear Deceiver know,
All the Pains he can bestow:
To me that valued Heart resign,
And fix my lovely Wand’rer mine.

NOTES:

Title Venus​ “The ancient Roman goddess of beauty and love” (​OED​); ​Sappho ​(c.610-570 BCE) A Greek lyric poet who was born on the island of Lesbos, famous for her writing style (Encyclopedia Britannica).

8Idalian​ “Belonging or relating to the ancient town of Idalium in Cyprus,” where, in the Roman tradition, Venus was worshipped (​OED​).

13​ Strains​ Poetry.

15 ​Propitious​ “Disposed to be favourable; gracious; merciful, lenient” (​OED); Suppliant “​ A person who makes a humble or earnest plea to another, esp. to a person in power or authority” (​OED).

19 Philander “​ Chiefly poetic,…a male sweetheart” (​OED​).

Source: ​Poems on Several Occasions.  W​ritten by a Young Lady (London, 1747), pp. 13-14.  [Google Books]

Edited by Andrea Cruz

Anne Finch, “The Cautious Lovers”

ANNE FINCH

“The Cautious Lovers”

 

Silvia, let’s from the Croud retire;
For, What to you and me
(Who but each other do desire)
Is all that here we see?

Apart we’ll live, tho’ not alone;                                                            5
For, who alone can call
Those, who in Desarts live with One,
If in that One they’ve All?

The World a vast Meander is,
Where Hearts confus’dly stray;                                                   10
Where Few do hit, whilst Thousands miss
The happy mutual Way:

Where Hands are by stern Parents ty’d
Who oft, in Cupid’s Scorn,
Do for the widow’d State provide,                                                       15
Before that Love is born:

Where some too soon themselves misplace;
Then in Another find
The only Temper, Wit, or Face,
That cou’d affect their Mind.                                                         20

Others (but oh! avert that Fate!)
A well-chose Object change:
Fly, Silvia, fly, ere ‘tis too late;
Fall’n Nature’s prone to range.

And, tho’ in heat of Love we swear                                                      25
More than perform we can;
No Goddess You, but Woman are,
And I no more than Man.

Th’ impatient Silvia heard thus long;
Then with a Smile reply’d:                                                               30
Those Bands cou’d ne’er be very strong,
Which Accidents divide.

Who e’er was mov’d yet to go down,
By such o’er-cautious Fear;
Or for one Lover left the Town,                                                              35
Who might have Numbers here?

Your Heart, ‘tis true, is worth them all,
And still preferr’d the first;
But since confess’d so apt to fall,
‘Tis good to fear the worst.                                                              40

In ancient History we meet
A flying Nymph betray’d
Who, had she kept in fruitful Crete,
New Conquest might have made.

And sure, as on the Beach she stood,                                                    45
To view the parting Sails;
She curs’d her self, more than the Flood,
Or the conspiring Gales.

False Theseus, since thy Vows are broke,
May following Nymphs beware:                                                      50
Methinks I hear how thus she spoke,
And will not trust too far.

In Love, in Play, in Trade, in War
They best themselves acquit,
Who, tho’ their Int’rests shipwreckt are,                                                     55
Keep unreprov’d their Wit.

NOTES:

9 Meander “A winding course, like a labyrinth” (OED).

42 Nymph Poetical for woman in this context; an allusion to Ariadne, daughter of Minos and princess of Crete (Britannica).

43 Crete The largest island in Greece. Inhabited by the Minoans, a Bronze Age civilization, ruled by King Minos (Britannica).

45 Beach Refers to the shores of Naxos, the island where Ariadne was abandoned by her lover Theseus (Ancient History Encyclopedia).

48 Gales “A wind of considerable strength” (OED).

49 Theseus Athenian hero noteworthy for slaying the minotaur in the Cretan labyrinth with the help of Ariadne, who provided a yarn ball as aid for navigating the labyrinth (Ancient History Encyclopedia).

56 unreprov’d “Uncensured” (OED).

Source: Poems on Several Occasions (London 1714), pp. 118-122. [Google Books]

 Edited by Roland Shepherd

Thomas George Ingall, “The Negroe’s Complaint”

THOMAS GEORGE INGALL

The Negroe’s Complaint”

The sun had long sunk in the west,
The moon in her splendor shone bright,
The crew had retired to rest,
In their hammocks to pass the long night;

When Oran, but late made a slave,                                                     5
Contriv’d to escape from the hold,
And as he hung o’er the wild wave
He thus did his sorrows unfold.

“With anguish my heart does now bleed,
Thus depriv’d of my liberty sweet,                                              10
To slavery now I’m decreed,
Yet death with more pleasure I’ll meet.

The white man who, thirsting for gold,
Hopes to barter my freedom for gain,
My loss with regret shall be told,                                                         15
And seek me, but seek me in vain.

By the light of the moon still I view
That shore where with freedom I rov’d;
Ye hills and ye vallies adieu!
It was there I met Orra, and lov’d.                                                20

Sweet maid to be from thee thus torn;
My grief is more than I can bear,
My fate is too hard to be born;
I give myself up to despair.

T’was for thee that the leopard I forc’d                                                  25
To rise from the couch where he lay;
T’was for thee that the tiger I cours’d,
That thou with their spoils might’st be gay.

As I follow’d the pard o’er the field,
The men who in ambush where laid,                                             30
Rush’d forth and compell’d me to yield
And in chains to their vessel convey’d.

But sooner than suffer their chain
To death I will chearfully fly,
And free me from sorrow and pain:                                                      35
For Orra alone now I sigh.

To P’Shaphon my god I return,
That spirit which to me he gave;
For freedom and death now I burn:”
So saying, he plung’d in the wave.                                                   40

NOTES:

5 Oran This name likely alludes to a city in present day Algeria, located in North Africa (Encyclopedia Britannica).

20 Orra This name possibly alludes to a female “Indian” (i.e. black, non-slave) character in Charles Dibdin’s comic opera The Islanders (1780). Her lover Yanko, also an “Indian,” is forcibly separated from her.  It may also be a play on the word “orra” which refers to “a person, esp. a servant or laborer” (OED).

23 born “To suffer (pain, hardship, or adversity) without being overcome or overwhelmed” (OED).

26 couch “The lair or den of a wild beast” (OED).

27 cours’d A variant spelling of “coursed” which means “to chase, pursue, run after” (OED).

29 pard “A panther, a leopard” (OED).

37 P’Shaphon “An Indian idol” [Author’s Note].

SOURCE: The Lady’s Magazine, vol. 23 (February, 1792), p. 101.  [Google Books]

Edited by Teresa Diviacchi