ous Works Hope springs eternal in the human breast: Know then thyself, presume not God to scan; Vice is a monster of so frightful mien, Behold the child, by Nature's kindly law, Scarfs, garters, gold, amuse his riper stage, Till tired he sleeps, and Life's poor play is o'er.1 The Dunciad (i.e. the "Iliad of the Dunces ") began originally as a controversy concerning Shakespeare, but turned Miscellane- out to be a coarse and revengeful satire upon all the literary men of the age who had aroused Pope's anger by their criticism or lack of appreciation of his genius. Though brilliantly written and immensely popular at one time, its present effect on the reader is to arouse a sense of pity that a man of such acknowledged power and position should abuse both by devoting his talents to personal spite and petty quarrels. Among the rest of his numerous works the reader will find Pope's estimate of himself best set forth in his "Epistle to Dr. Arbuthnot," and it will be well to close our study of this strange mixture of vanity and greatness with "The Universal Prayer," which shows at least that Pope had considered, and judged himself, and that all further judgment is consequently superfluous. 1 Compare this with Shakespeare's "All the world's a stage," in As You Like It, II, 7. JONATHAN SWIFT (1667-1745) In each of Marlowe's tragedies we have the picture of a man dominated by a single passion, the lust of power for its own sake. In each we see that a powerful man without selfcontrol is like a dangerous instrument in the hands of a child; and the tragedy ends in the destruction of the man by the ungoverned power which he possesses. The life of Swift is just such a living tragedy. He had the power of gaining JONATHAN SWIFT wealth, like the hero of the Jew of Malta; yet he used it scornfully, and in sad irony left what remained to him of a large property to found a hospital for lunatics. By hard work he won enormous literary power, and used it to satirize our common humanity. He wrested political power from the hands of the Tories, and used it to insult the very men who had helped him, and who held his fate in their hands. By his domi nant personality he exercised a curious power over women, and used it brutally to make them feel their inferiority. Being loved supremely by two good women, he brought sorrow and death to both, and endless misery to himself. So his power brought always tragedy in its wake. It is only when we remember his life of struggle and disappointment and bitterness that we can appreciate the personal quality in his satire, and perhaps find some sympathy for this greatest genius of all the Augustan writers. Life. Swift was born in Dublin, of English parents, in 1667. His father died before he was born; his mother was poor, and Swift, though proud as Lucifer, was compelled to accept aid from relatives, who gave it grudgingly. At the Kilkenny school, and especially at Dublin University, he detested the curriculum, reading only what appealed to his own nature; but, since a degree was necessary to his success, he was compelled to accept it as a favor from the examiners, whom he despised in his heart. After graduation the only position open to him was with a distant relative, Sir William Temple, who gave him the position of private secretary largely on account of the unwelcome relationship. Temple was a statesman and an excellent diplomatist; but he thought himself to be a great writer as well, and he entered into a literary controversy concerning the relative merits of the classics and modern literature. Swift's first notable work, The Battle of the Books, written at this time but not published, is a keen satire upon both parties in the controversy, The first touch of bitterness shows itself here; for Swift was in a galling position for a man of his pride, knowing his intellectual superiority to the man who employed him, and yet being looked upon as a servant and eating at the servants' table. Thus he spent ten of the best years of his life in the pretty Moor Park, Surrey, growing more bitter each year and steadily cursing his fate. Nevertheless he read and studied widely, and, after his position with Temple grew unbearable, quarreled with his patron, took orders, and entered the Church of England. Some years later we find him settled in the little church of Laracor, Ireland, country which he disliked intensely, but whither he went because no other "living" was open to him. a In Ireland, faithful to his church duties, Swift labored to better the condition of the unhappy people around him. Never before had the poor of his parishes been so well cared for; but Swift chafed under his yoke, growing more and more irritated as he saw small men advanced to large positions, while he remained unnoticed in a little country church, -largely because he was too proud and too blunt with those who might have advanced him. While at Laracor he finished his Tale of a Tub, a satire on the various churches of the day, which was published in London with the Battle of the Books in 1704. The work brought him into notice as the most powerful satirist of the age, and he soon gave up his church to enter the strife of party politics. The cheap pamphlet was then the most powerful political weapon known; and as Swift had no equal at pamphlet writing, he soon became a veritable dictator. For several years, especially from 1710 to 1713, Swift was one of the most important figures in London. The Whigs feared the lash of his satire; the Tories feared to lose his support. He was courted, flattered, cajoled on every side; but the use he made of his new power is sad to contemplate. An unbearable arrogance took possession of him. Lords, statesmen, even ladies were compelled to sue for his favor and to apologize for every fancied slight to his egoism. It is at this time that he writes in his Journal to Stella: Mr. Secretary told me the Duke of Buckingham had been talking much about me and desired my acquaintance. I answered it could not be, for he had not yet made sufficient advances; then Shrewsbury said he thought the Duke was not used to make advances. I said I could not help that, for I always expected advances in proportion to men's quality, and more from a Duke than any other man. Writing to the Duchess of Queensberry he says: I am glad you know your duty; for it has been a known and established rule above twenty years in England that the first advances have been constantly made me by all ladies who aspire to my acquaintance, and the greater their quality the greater were their advances. When the Tories went out of power Swift's position became uncertain. He expected and had probably been promised a bishopric in England, with a seat among the peers of the realm; but the Tories offered him instead the place of dean of St. Patrick's Cathedral in Dublin. It was galling to a man of his proud spirit; but after his merciless satire on religion, in The Tale of a Tub, any ecclesiastical position in England was rendered impossible. Dublin was the best he could get, and he accepted it bitterly, once more cursing the fate which he had brought upon himself. With his return to Ireland begins the last act in the tragedy of his life. His best known literary work, Gulliver's Travels, was done here; but the bitterness of life grew slowly to insanity, and a frightful personal sorrow, of which he never spoke, reached its climax in the death of Esther Johnson, a beautiful young woman, who had loved Swift ever since the two had met in Temple's household, and to whom he had written his Journal to Stella. During the last years of his life a brain disease, of which he had shown frequent symptoms, fastened its terrible hold upon Swift, and he became by turns an idiot and a madman. He died in 1745, and when his will was opened it was found that he had left all his property to found St. Patrick's Asylum for lunatics and incurables. It stands to-day as the most suggestive monument of his peculiar genius. The Works of Swift. From Swift's life one can readily foresee the kind of literature he will produce. Taken together his works are a monstrous satire on humanity; and the spirit of that satire is shown clearly in a little incident of his first days in London. There was in the city at that time a certain astrologer named Partridge, who duped the public by calculating nativities from the stars, and by selling a yearly almanac predicting future events. Swift, who hated all shams, wrote, with a great show of learning, his famous Bickerstaff Almanac, containing "Predictions for the Year 1708, as Determined by the Unerring Stars." As Swift rarely signed his name to any literary work, letting it stand or fall on its own merits, his burlesque appeared over the pseudonym of Isaac Bickerstaff, a name afterwards made famous by Steele in The Tatler. Among the predictions was the following: |