LITMIR.BIZ

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      After his death was published a second volume of "Fables," more political than the former. His opera of Achilles was acted, and the profits were given to two widow sisters, who inherited what he left, as his lawful heirs; for he died without a will, though he had gathered three thousand pounds. There have appeared likewise under his name a comedy called the Distressed Wife, and the Rehearsal at Gotham, a piece of humour.

      The character given him by Pope is this, that "he was a natural man, without design, who spoke what he thought, and just as he thought it," and that "he was of a timid temper, and fearful of giving offence to the great;" which caution, however, says Pope, was of no avail.

      As a poet he cannot be rated very high. He was, I once heard a female critic remark, "of a lower order." He had not in any great degree the MENS DIVINIOR, the dignity of genius. Much, however, must be allowed to the author of a new species of composition, though it be not of the highest kind. We owe to Gay the ballad opera, a mode of comedy which at first was supposed to delight only by its novelty, but has now, by the experience of half a century, been found so well accommodated to the disposition of a popular audience that it is likely to keep long possession of the stage. Whether this new drama was the product of judgment or of luck, the praise of it must be given to the inventor; and there are many writers read with more reverence to whom such merit or originality cannot be attributed.

      His first performance, the Rural Sports, is such as was easily planned and executed; it is never contemptible, nor ever excellent. The Fan is one of those mythological fictions which antiquity delivers ready to the hand, but which, like other things that lie open to every one's use, are of little value. The attention naturally retires from a new tale of Venus, Diana, and Minerva.

      His "Fables" seem to have been a favourite work; for, having published one volume, he left another behind him. Of this kind of Fables the author does not appear to have formed any distinct or settled notion. Phaedrus evidently confounds them with Tales, and Gay both with Tales and Allegorical Prosopopoeias. A Fable or Apologue, such as is now under consideration, seems to be, in its genuine state, a narrative in which beings irrational, and sometimes inanimate, arbores loquuntur, non tantum ferae, are, for the purpose of moral instruction, feigned to act and speak with human interests and passions. To this description the compositions of Gay do not always conform. For a fable he gives now and then a tale, or an abstracted allegory; and from some, by whatever name they may be called, it will be difficult to extract any moral principle. They are, however, told with liveliness, the versification is smooth, and the diction, though now and then a little constrained by the measure or the rhyme, is generally happy.

      To "Trivia" may be allowed all that it claims; it is sprightly, various, and pleasant. The subject is of that kind which Gay was by nature qualified to adorn, yet some of his decorations may be justly wished away. An honest blacksmith might have done for Patty what is performed by Vulcan. The appearance of Cloacina is nauseous and superfluous; a shoe-boy could have been produced by the casual cohabitation of mere mortals. Horace's rule is broken in both cases; there is no dignus vindice nodus, no difficulty that required any supernatural interposition. A patten may be made by the hammer of a mortal, and a bastard may be dropped by a human strumpet. On great occasions, and on small, the mind is repelled by useless and apparent falsehood.

      Of his little poems the public judgment seems to be right; they are neither much esteemed nor totally despised. The story of "The Apparition" is borrowed from one of the tales of Poggio. Those that please least are the pieces to which Gulliver gave occasion, for who can much delight in the echo of an unnatural fiction?

      "Dione" is a counterpart to "Amynta" and "Pastor Fido" and other trifles of the same kind, easily imitated, and unworthy of imitation. What the Italians call comedies from a happy conclusion, Gay calls a tragedy from a mournful event, but the style of the Italians and of Gay is equally tragical. There is something in the poetical Arcadia so remote from known reality and speculative possibility that we can never support its representation through a long work. A pastoral of an hundred lines may be endured, but who will hear of sheep and goats, and myrtle bowers and purling rivulets, through five acts? Such scenes please barbarians in the dawn of literature, and children in the dawn of life, but will be for the most part thrown away as men grow wise and nations grow learned.

      TICKELL

      Thomas Tickell, the son of the Rev. Richard Tickell, was born in 1686, at Bridekirk, in Cumberland, and in 1701 became a member of Queen's College in Oxford; in 1708 he was made Master of Arts, and two years afterwards was chosen Fellow, for which, as he did not comply with the statutes by taking orders, he obtained a dispensation from the Crown. He held his fellowship till 1726, and then vacated it by marrying, in that year, at Dublin.

      Tickell was not one of those scholars who wear away their lives in closets; he entered early into the world and was long busy in public affairs, in which he was initiated under the patronage of Addison, whose notice he is said to have gained by his verses in praise of Rosamond. To those verses it would not have been just to deny regard, for they contain some of the most elegant encomiastic strains; and among the innumerable poems of the same kind it will be hard to find one with which they need to fear a comparison. It may deserve observation that when Pope wrote long afterwards in praise of Addison, he has copied—at least, has resembled—Tickell.

      He produced another piece of the same kind at the appearance of Cato, with equal skill, but not equal happiness.

      When the Ministers of Queen Anne were negotiating with France, Tickell published "The Prospect of Peace," a poem of which the tendency was to reclaim the nation from the pride of conquest to the pleasures of tranquillity. How far Tickell, whom Swift afterwards mentioned as Whiggissimus, had then connected himself with any party, I know not; this poem certainly did not flatter the practices, or promote the opinions, of the men by whom he was afterwards befriended.

      Mr. Addison, however he hated the men then in power, suffered his friendship to prevail over his public spirit, and gave in the Spectator such praises of Tickell's poem that when, after having long wished to peruse it, I laid hold of it at last, I thought it unequal to the honours which it had received, and found it a piece to be approved rather than admired. But the hope excited by a work of genius, being general and indefinite, is rarely gratified. It was read at that with so much favour that six editions were sold.

      At the arrival of King George, he sang "The Royal Progress," which, being inserted in the Spectator, is well known, and of which it is just to say that it is neither high nor low.

      The poetical incident of most importance in Tickell's life was his publication of the first book of the "Iliad," as translated by himself, an apparent opposition to Pope's "Homer," of which the first part made its entrance into the world at the same time. Addison declared that the rival versions were both good, but that Tickell's was the best that ever was made; and with Addison, the wits, his adherents and followers, were certain to concur. Pope does not appear to have been much dismayed, "for," says he, "I have the town—that is, the mob—on my side." But he remarks "that it is common for the smaller party to make up in diligence what they want in numbers. He appeals to the people as his proper judges, and if they are not inclined to condemn him, he is in little care about the highflyers at Button's."

      Pope

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