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Mr. Trumbull and my Lady, in token of respect, Gratefulness, & mutual Esteem.
"I shall with pleasure take upon me to draw this amiable, quiet, deserving, unpretending Christian and Philosophical character, in His Epitaph. There Truth may be spoken in a few words: as for Flourish, & Oratory, & Poetry, I leave them to younger and more lively Writers, such as love writing for writing sake, & wd rather shew their own Fine Parts, yo Report the valuable ones of any other man. So the Elegy I
“I condole with you from my heart, on the loss of so worthy a man, and a Friend to us both. Now he is gone, I must tell you he has done you many a good office, & set your character in ye fairest light, to some who either mistook you, or knew you not. I doubt not he has done the same for me.
“Adieu: Let us love his Memory, and profit by his example. I am very sincerely
“A. POPE.” “ Aug. 29th, 1730."
GAY. JOHN OHN GAY, descended from an old family that had
been long in possession of the manor of Goldworthya in Devonshire, was born in 1688, at or near Barnstaple, where he was educated by Mr. Luck, who taught the school of that town with good reputation, and, a little before he retired from it, published a volume of Latin and English verses. Under such a master he was likely to form a taste for poetry. Being born without prospect of hereditary riches, he was sent to London in his youth, and placed apprentice with a silk-mercer.
How long he continued behind the counter, or with what degree of softness and dexterity he received and accommodated the ladies, as he probably took no delight in telling it, is not known. The report is, that he was soon weary of either the restraint or servility of his occupation, and easily persuaded his master to discharge him.
The Duchess of Monmouth, remarkable for inflexible perseverance in her demand to be treated as a princess, in 1712 took Gay into her service as secretary; by quitting a shop for such service, he might gain leisure, but he certainly advanced little in the boast of independence. Of his leisure he made so good use that he published next year a poem on
Rural Sports," and inscribed it to Mr. Pope, who was then rising fast
Goldworthy does not appear in the Villare.
into reputation. Pope was pleased with the honour, and when he became acquainted with Gay, found such attractions in his manners and conversation, that he seems to have received him into his inmost confidence, and a friendship was formed between them which lasted to their separation by death, without any
known abatement on either part. Gay was the general favourite of the whole association of wits, but they regarded him as a play-fellow rather than a partner, and treated him with more fondness than respect.
Next year he published “The Shepherd's Week,” six English pastorais, in which the images are drawn from real life, such as it appears among the rustics in parts of England remote from London. Steele, in some papers of the “Guardian,” had praised Ambrose Philips, as the pastoral writer that yielded only to Theocritus, Virgil, and Spencer. Pope, who had also published pastorals, not pleased to be overlooked, drew up a comparison of his own compositions with those of Philips, in which he covertly gave himself the preference, while he seemed to disown it. Not content with this, he is supposed to have incited Gay to write the "Shepherd's Week,” to shew that if it be necessary to copy nature with minuteness, rural life must be exhibited such as grossness and ignorance have made it. So far the plan was reasonable, but the pastorals are introduced by a Proeme," written with such imitation as they could attain of obsolete lan. guage, and by consequence in a style that was never spoken nor written in any age or in any place.
But the effect of reality and truth became conspicuous, even when the intention was to shew them grovelling and degraded. These pastorals became popular, and were read with delight, as just representations of rural manners and occupations, by those who had no interest in the rivalry of the poets, nor knowledge of the critical dispute.
In 1713 he brought a comedy called "The Wife of Bath" upon the stage, but it received no applause; he printed it, however, and seventeen years after, having altered it, and, as he thought, adapted it more to the public taste, he offered it again to the town, but though he was flushed with the success of the “Beggar's Opera,” had the mortification to see it again rejected.
In the last year of Queen Anne's life, Gay was made sccretary to the Earl of Clarendon, ambassador to the court of Hanover. This was a station that naturally gave him hopes of kindness from every party, but the Queen's death put an end to her favours, and he had dedicated his “Shepherd's Week” to Bolingbroke, which Swift considered as the crime that obstructed all kindness from the House of Hanover.
He did not, however, omit to improve the right which his office had given him to the notice of the Royal family. On the arrival of the Princess of Wales, he wrote a poem, and obtained so much favour, that both the Prince and Princess went to see his “What d'ye call it,” a kind of mock-tragedy, in which the images were comic, and the action grave; so that, as Pope relates, Mr. Cromwell, who could not hear what was said, was at a loss how to reconcile the laughter of the audience with the solemnity of the scene.
Of this performance the value certainly is but little; but it was one of the lucky trifles that give pleasure by novelty, and was so much favoured by the audience, that envy appeared against it in the form of criticism; and Griffin a player, in conjunction with Mr. Theobald, a man afterwards more remarkable, produced a pamphlet called the “Key to the What d'ye call it;" which, says Gay, “calls me a blockhead, and Mr. Pope a knave.”
But Fortune has always been inconstant. Not long afterwards (1717) he endeavoured to entertain the town with “Three Hours after Marriage;" a comedy written, as there is sufficient reason for believing, by the joint assistance of Pope and Arbuthnot. One purpose of it was to bring into contempt Dr. Woodward the Fossilist, a man not really or justly contemptible. It had the fate which such outrages deserve: the scene in which Woodward was directly and apparently ridiculed, by the introduction of a mummy and a crocodile, disgusted the audience, and the performance was driven off the stage with general condemnation.
Gay is represented as a man easily incited to hope, and deeply depressed when his hopes were disappointed. This is not the character of a hero; but it may naturally imply something more generally wel. come, a soft and civil companion. Whoever is apt to hope good from others is diligent to please them; but he that believes his powers strong enough to