Hope, like the gleaming taper's light, And still, as darker grows the night, Emits a brighter ray. The Captivity. Act ii. Our Garrick's a salad; for in him we see Retaliation. Line 11. Who mix'd reason with pleasure, and wisdom with mirth: If he had any faults, he has left us in doubt. Line 24. Who, born for the universe, narrow'd his mind, Line 31. His conduct still right, with his argument wrong. Line 46. A flattering painter, who made it his care To draw men as they ought to be, not as they are. Line 63. Here lies David Garrick, describe me who can, An abridgment of all that was pleasant in man. Line 93. As a wit, if not first, in the very first line. Line 96. On the stage he was natural, simple, affecting; Line 101. He cast off his friends as a huntsman his pack, Line 107. Who pepper'd the highest was surest to please. Line 112. When they talk'd of their Raphaels, Correggios, and stuff, He shifted his trumpet and only took snuff. Retaliation. Line 145. The best-humour'd man, with the worst-humour'd Muse.1 Good people all, with one accord, Postscript. Elegy on Mrs. Mary Blaize. The king himself has followed her A kind and gentle heart he had, Ibid. Elegy on the Death of a Mad Dog. And in that town a dog was found, As many dogs there be, Both mongrel, puppy, whelp, and hound, 2 Written in imitation of "Chanson sur le fameux La Palisse," which is attributed to Bernard de la Monnoye : On dit que dans ses amours Il fut caressé des belles, Qui le suivirent toujours, Tant qu'il marcha devant elles (They say that in his love affairs he was petted by beauties, who always fol lowed him as long as he walked before them). 8 While Fell was reposing himself in the hay, A reptile concealed bit his leg as he lay; But, all venom himself, of the wound he made light, And got well, while the scorpion died of the bite. LESSING: Paraphrase of a Greek Epigram by Demodocus. A night-cap deck'd his brows instead of bay,- Description of an Author's Bed-chamber. This same philosophy is a good horse in the stable, but an arrant jade on a journey.2 The Good-Natured Man. Act i. All his faults are such that one loves him still the better for them. Silence gives consent. Measures, not men, have always been my mark.* Act i. Act ii. Ibid. I love everything that's old: old friends, old times, old manners, old books, old wine.5 She Stoops to Conquer. Acti. Ibid. The very pink of perfection. The genteel thing is the genteel thing any time, if as be that a gentleman bees in a concatenation accordingly. I'll be with you in the squeezing of a lemon. Ask me no questions, and I'll tell you no fibs. Ibid. Ibid. Act iii. We sometimes had those little rubs which Providence sends to enhance the value of its favours. Vicar of Wakefield. Chap. i. Handsome is that handsome does." Ibid. The premises being thus settled, I proceed to observe that the concatenation of self-existence, proceeding in a reciprocal duplicate ratio, naturally produces a problematical dialogism, which in some measure proves that the 1 See page 397. 2 Philosophy triumphs easily over past evils and future evils, but present evils triumph over it. - ROCHEFOUCAULD: Maxim 22. 3 RAY: Proverbs. FULLER: Wise Sentences. Αὐτὸ δὲ τὸ σιγἂν ὁμολο γοῦντος ἐστί σου. - EURIPIDES: Iph. Aul., 1142. + Measures, not men. - - ChesterfielD: Letter, Mar. 6, 1742. Not men, but measures.- BURKE Present Discontents. 5 See Bacon, page 171. 6 See Chaucer, page 4. essence of spirituality may be referred to the second predicable. Vicar of Wakefield. Chap. vii. I find you want me to furnish you with argument and intellect too. Turn, gentle Hermit of the Dale, And guide my lonely way To where yon taper cheers the vale Ibid. The Hermit. Chap. viii. Stanza 1. Taught by that Power that pities me, I learn to pity them.1 Ibid. Stanza 6. Man wants but little here below, Stanza 8. And what is friendship but a name, A shade that follows wealth or fame, Stanza 19. The sigh that rends thy constant heart Shall break thy Edwin's too. Stanza 33. By the living jingo, she was all of a muck of sweat. Chap. ix. They would talk of nothing but high life, and high-lived company, with other fashionable topics, such as pictures, taste, Shakespeare, and the musical glasses. Ibid. It has been a thousand times observed, and I must observe it once more, that the hours we pass with happy prospects in view are more pleasing than those crowned with fruition.3 Chap. x. To what happy accident is it that we owe so unexpected a visit? 1 See Burton, page 185. Chap. xix. 2 See Young, page 308. 8 An object in possession seldom retains the same charm that it had in pursuit. PLINY the Younger: Letters, book i. letter xv. 1. + See Middleton, page 174. When lovely woman stoops to folly, The Hermit. On Woman. Chap. xxiv. The only art her guilt to cover, To hide her shame from every eye, And wring his bosom, isto die. Ibid. To what fortuitous occurrence do we not owe every pleasure and convenience of our lives. For he who fights and runs away Can never rise and fight again.1 Ibid. Chap. xxi. The Art of Poetry on a New Plan (1761). Vol. ii. p. 147. One writer, for instance, excels at a plan or a titlepage, another works away the body of the book, and a third is a dab at an index.2 The Bee. No. 1, Oct. 6, 1759. The true use of speech is not so much to express our wants as to conceal them.3 No. iii. Oct. 20, 1759. THOMAS WARTON. 1728-1790. All human race, from China to Peru,* Universal Love of Pleasure, 1 See Butler, pages 215, 216. 2 There are two things which I am confident I can do very well: one is an introduction to any literary work, stating what it is to contain, and how it should be executed in the most perfect manner. 3 See Young, page 310. See Johnson, page 365. BOSWELL: Life of Johnson, An. 1775. |