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 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 obtain of obsolete language, 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 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 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, the 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 Fenton, "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 shewn 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 upon 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 solicitations, verses, and flatteries, were thrown away; the lady heard them, and did nothing.

All the pain which he suffered from the 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 shewed 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 shewed it to Congreve; who, after reading it over, said, it would either take greatly, or be damned con foundedly. 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 Argyle, 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, &c. 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 opinion 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, 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 play-house, or mingle in any elegant diversion; nor is it possible for any one to imagine that he may rob with safety, because he sees Mackheath 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