Lives of the Poets, by Samuel Johnson

Gay.

John Gay, descended from an old family that had been long in possession of the manor of Goldworthy, 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 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 playfellow rather than a partner, and treated him with more fondness than respect.

Next year he published “The Shepherd’s Week,” six English pastorals, 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 Spenser. 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 show 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 language, and, by consequence, in a style that was never spoken nor written in any language or in any place. But the effect of reality and truth became conspicuous, even when the intention was to show 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 secretary 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 the 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 welcome, 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 force their own way, commonly tries only to please himself. He had been simple enough to imagine that those who laughed at the What D’ye Call It would raise the fortune of its author, and, finding nothing done, sunk into dejection. His friends endeavoured to divert him. The Earl of Burlington sent him (1716) into Devonshire, the year after Mr. Pulteney took him to Aix, and in the following year Lord Harcourt invited him to his seat, where, during his visit, two rural lovers were killed with lightning, as is particularly told in Pope’s “Letters.”

Being now generally known, he published (1720) his poems by subscription, with such success that he raised a thousand pounds, and called his friends to a consultation what use might be best made of it. Lewis, the steward of Lord Oxford, advised him to intrust it to the Funds, and live upon the interest; Arbuthnot bade him to intrust it to Providence, and live upon the principal; Pope directed him, and was seconded by Swift, to purchase an annuity.

Gay in that disastrous year had a present from young Craggs of some South Sea Stock, and once supposed himself to be master of twenty thousand pounds. His friends persuaded him to sell his share; but he dreamed of dignity and splendour, and could not bear to obstruct his own fortune. He was then importuned to sell as much as would purchase a hundred a year for life, “which,” says Penton, “will make you sure of a clean shirt and a shoulder of mutton every day.” This counsel was rejected; the profit and principal were lost, and Gay sunk under the calamity so low that his life became in danger. By the care of his friends, among whom Pope appears to have shown particular tenderness, his health was restored; and, returning to his studies, he wrote a tragedy called The Captives, which he was invited to read before the Princess of Wales. When the hour came, he saw the Princess and her ladies all in expectation, and, advancing with reverence too great for any other attention, stumbled at a stool, and, falling forwards, threw down a weighty Japan screen. The Princess started, the ladies screamed, and poor Gay, after all the disturbance, was still to read his play.

The fate of The Captives, which was acted at Drury Lane in 1723–4, I know not; but he now thought himself in favour, and undertook (1726) to write a volume of “Fables” for the improvement of the young Duke of Cumberland. For this he is said to have been promised a reward, which he had doubtless magnified with all the wild expectations of indigence and vanity.

Next year the Prince and Princess became King and Queen, and Gay was to be great and happy; but on the settlement of the household, he found himself appointed gentleman usher to the Princess Louisa. By this offer he thought himself insulted, and sent a message to the Queen that he was too old for the place. There seem to have been many machinations employed afterwards in his favour, and diligent court was paid to Mrs. Howard, afterwards Countess of Suffolk, who was much beloved by the King and Queen, to engage her interest for his promotion; but solicitation, verses, and flatteries were thrown away; the lady heard them, and did nothing. All the pain which he suffered from neglect, or, as he perhaps termed it, the ingratitude of the Court, may be supposed to have been driven away by the unexampled success of the Beggar’s Opera. This play, written in ridicule of the musical Italian drama, was first offered to Cibber and his brethren at Drury Lane and rejected: it being then carried to Rich, had the effect, as was ludicrously said, of making Gay RICH and Rich GAY. Of this lucky piece, as the reader cannot but wish to know the original and progress, I have inserted the relation which Spence has given in Pope’s words:—

“Dr. Swift had been observing once to Mr. Gay what an odd pretty sort of a thing a Newgate Pastoral might make. Gay was inclined to try at such a thing for some time; but afterwards thought it would be better to write a comedy on the same plan. This was what gave rise to the Beggar’s Opera. He began on it, and when first he mentioned it to Swift, the doctor did not much like the project. As he carried it on, he showed what he wrote to both of us, and we now and then gave a correction, or a word or two of advice; but it was wholly of his own writing. When it was done, neither of us thought it would succeed. We showed it to Congreve, who, after reading it over, said it would either take greatly or be damned confoundedly. We were all, at the first night of it, in great uncertainty of the event, till we were very much encouraged by overhearing the Duke of Argyll, who sat in the next box to us, say, ‘It will do — it must do! I see it in the eyes of them.’ This was a good while before the first act was over, and so gave us ease soon; for that Duke (besides his own good taste) has a particular knack, as any one now living, in discovering the taste of the public. He was quite right in this, as usual; the good-nature of the audience appeared stronger and stronger every act, and ended in a clamour of applause.”

Its reception is thus recorded in the notes to the “Dunciad”:—

“This piece was received with greater applause than was ever known. Besides being acted in London sixty-three days without interruption, and renewed the next season with equal applause, it spread into all the great towns of England; was played in many places to the thirtieth and fortieth time; at Bath and Bristol fifty, etc. It made its progress into Wales, Scotland, and Ireland, where it was performed twenty-four days successively. The ladies carried about with them the favourite songs of it in fans, and houses were furnished with it in screens. The fame of it was not confined to the author only. The person who acted Polly, till then obscure, became all at once the favourite of the town; her pictures were engraved and sold in great numbers; her life written, books of letters and verses to her published, and pamphlets made even of her sayings and jests. Furthermore, it drove out of England (for that season) the Italian Opera, which had carried all before it for ten years.”

Of this performance, when it was printed, the reception was different, according to the different opinions of its readers. Swift commended it for the excellence of its morality, as a piece that “placed all kinds of vice in the strongest and most odious light;” but others, and among them Dr. Herring, afterwards Archbishop of Canterbury, censured it as giving encouragement, not only to vice, but to crimes, by making a highwayman the hero and dismissing him at last unpunished. It has been even said that after the exhibition of the Beggar’s Opera the gangs of robbers were evidently multiplied.

Both these decisions are surely exaggerated. The play, like many others, was plainly written only to divert, without any moral purpose, and is therefore not likely to do good; nor can it be conceived, without more speculation than life requires or admits, to be productive of much evil. Highwaymen and housebreakers seldom frequent the playhouse, or mingle in any elegant diversion; nor is it possible for any one to imagine that he may rob with safety, because he sees Macheath reprieved upon the stage. This objection, however, or some other rather political than moral, obtained such prevalence that when Gay produced a second part under the name of Polly, it was prohibited by the Lord Chamberlain; and he was forced to recompense his repulse by a subscription, which is said to have been so liberally bestowed that what he called oppression ended in profit. The publication was so much favoured that though the first part gained him four hundred pounds, near thrice as much was the profit of the second. He received yet another recompense for this supposed hardship, in the affectionate attention of the Duke and Duchess of Queensberry, into whose house he was taken, and with whom he passed the remaining part of his life. The Duke, considering his want of economy, undertook the management of his money, and gave it to him as he wanted it. But it is supposed that the discountenance of the Court sunk deep into his heart, and gave him more discontent than the applauses or tenderness of his friends could overpower. He soon fell into his old distemper, an habitual colic, and languished, though with many intervals of ease and cheerfulness, till a violent fit at last seized him and carried him to the grave, as Arbuthnot reported, with more precipitance than he had ever known. He died on the 4th of December, 1732, and was buried in Westminster Abbey. The letter which brought an account of his death to Swift, was laid by for some days unopened, because when he received it, he was impressed with the preconception of some misfortune.

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.

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Last updated Saturday, March 1, 2014 at 20:38