135 This just behind Belinda's neck he spread, near. Just in that instant, anxious Ariel sought 140 Amaz'd, confus'd, he found his pow'r expir'd, 145 Resign'd to fate, and with a sigh retir'd. The Peer now spreads the glitt'ring Forfex wide, T'enclose the Lock; now joins it, to divide. Ev'n then, before the fatal engine clos'd, A wretched Sylph too fondly interpos'd; 150 Fate urg'd the shears, and cut the Sylph in twain (But airy substance soon unites again), VARIATIONS. Ver. 134.] In the first edition it was thus, As o'er the fragrant stream she bends her head. First he expands the glitt'ring Forfex wide All that is between was added afterward. P. NOTES. P. Ver. 152. But airy substance] See Milton, lib. vi. of Satan cut asunder by the Angel Michael. P. The meeting points the sacred hair dissever 154 Then flash'd the living lightning from her eyes, And screams of horror rend th' affrighted skies. Not louder shrieks to pitying heav'n are cast, When husbands, or when lap-dogs, breathe their last; NOTES. This line is an admirable parody on that passage of Milton, which, perhaps oddly enough, describes Satan wounded: "The griding sword, with discontinuous wound, Pass'd thro' him; but th' ethereal substance clós'd, The parodies are some of the most exquisite parts of this poem. That which follows from the "Dum juga montis aper," of Virgil, contains some of the most artful strokes of satire, and the most poignant ridicule imaginable. The introduction of frequent parodies on serious and solemn passages of Homer and Virgil, give much life and spirit to heroi-comic poetry. "Tu dors, Prelat? tu dors?" in Boileau, is the "Evde Arpɛos vie❞ of Homer, and is full of humour. The wife of the barber talks in the language of Dido in her expostulations to her Æneas, at the beginning of the second Canto of the Lutrin. Pope's parodies of Sarpedon in Homer, and of the description of Achilles' sceptre, together with the scales of Jupiter, from Homer, Virgil, and Milton, are judiciously introduced in their several places; are perhaps superior to those Boileau or Garth have used, and are worked up with peculiar pleasantry. The mind of the reader is engaged by novelty, when it so unexpectedly finds a thought or object it had been accustomed to survey in another form, suddenly arrayed in a ridiculous garb. A mixture also of comic and ridiculous images, with such as are serious and important, adds no small beauty to this species of poetry, when real and imaginary distresses are coupled together; "Not youthful kings in battle seiz'd alive, Not scornful virgins who their charms survive," &c. Which is much superior to a similar passage in the Dispensary. Canto v. Or when rich China vessels fall'n from high, 160 165 Let wreaths of triumph now my temples twine Steel could the labour of the Gods destroy, NOTES. Ver. 165. Atalantis] A famous book written about that time by a woman: full of Court and Party scandal; and in a loose effeminacy of style and sentiment, which well suited the debauched taste of the better vulgar. W. Mrs. Manley, the author of it, was the daughter of Sir Roger Manley, governor of Guernsey, and the author of the first volume of the famous Turkish Spy, published, from his papers, by Dr. Midgley. She was known and admired by all the wits of the times. She wrote three plays; Lucius, the last, 1717, was dedicated to Sir Richard Steele, with whom she had quarrelled some time before. He wrote the prologue to it, and Prior the epilogue. She was also celebrated by Lord Lansdown. She died in the house of Alderman Barber, Swift's friend; and was said to have been the mistress of the Alderman. Ver. 163. 170. IMITATIONS. "Dum juga montis aper, fluvios dum piscis amabit, Semper honos, nomenque tuum, laudesque manebunt." Virg. P. Steel could the works of mortal pride confound, 176 What wonder then, fair nymph! thy hairs should feel The conqu'ring force of unresisted Steel? Ver. 177. IMITATIONS. "Ille quoque eversus mons est, &c. Quid faciant crines, cum ferro talia cedant?" THE RAPE OF THE LOCK. CANTO IV. BUT anxious cares the pensive nymph oppress'd, And secret passions labour'd in her breast. Not youthful kings in battle seiz'd alive, Not scornful virgins who their charms survive, Not ardent lovers robb'd of all their bliss, Not ancient ladies when refus'd a kiss, Not tyrants fierce that unrepenting die, Not Cynthia when her manteau's pinn'd awry, E'er felt such rage, resentment, and despair, As thou, sad Virgin! for thy ravish'd Hair. For, that sad moment, when the Sylphs with drew, And Ariel weeping from Belinda flew, VARIATIONS. 5 10 Ver. 11. For, that sad moment, &c.] All the lines from hence to the 94th verse, that describe the house of Spleen, are not in the first edition; instead of them followed only these, While her rack'd soul repose and peace requires, And continued at the 94th verse of this Canto. P. IMITATIONS. Ver. 1. "At regina gravi," &c. Virg. Æneid. iv. P. |