The Poems of Jonathan Swift, D.D., Volume 1 — Key Ideas to Explore

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Swift, Jonathan, 1667-1745, Ernst Browning, William, 1830- [Editor] Project Gutenberg 2004 Not confirmed
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Words 97,544
Reading time 425 min
Text sections 16

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This volume collects Jonathan Swift's poems from 1690s odes to 1730s satires, including 'A Description of a City Shower,' 'The Lady's Dressing-Room,' and 'The Journal of a Modern Lady.' Editor William Ernst Browning's 1910 edition presents the poems with notes, revealing Swift's evolving voice from formal praise to corrosive social critique.
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Such were the storms good Sancroft long has borne; The mitre, which his sacred head has worn, Was, like his Master's Crown, inwreath'd with thorn. Death's sting is swallow'd up in victory at last, The bitter cup is from him past: Fortune in both extremes Though blasts from contrariety of winds, Yet to firm heavenly minds, Is but one thing under two different names; And even the sharpest eye that has the prospect seen, Confesses ignorance to judge between; And must to human reasoning opposite conclude, To point out which is moderation, which is fortitude.

Thus Sancroft, in the exaltation of retreat, Shows lustre that was shaded in his seat; Short glimm'rings of the prelate glorified; Which the disguise of greatness only served to hide. Why should the Sun, alas! be proud To lodge behind a golden cloud? Though fringed with evening gold the cloud appears so gay, 'Tis but a low-born vapour kindled by a ray: At length 'tis overblown and past, Puff'd by the people's spiteful blast, The dazzling glory dims their prostituted sight, No deflower'd eye can face the naked light: Yet does this high perfection well proceed From strength of its own native seed, This wilderness, the world, like that poetic wood of old, Bears one, and but one branch of gold, Where the bless'd spirit lodges like the dove, And which (to heavenly soil transplanted) will improve, To be, as 'twas below, the brightest plant above; For, whate'er theologic levellers dream, There are degrees above, I know, As well as here below, (The goddess Muse herself has told me so), Where high patrician souls, dress'd heavenly gay, Sit clad in lawn of purer woven day. There some high-spirited throne to Sancroft shall be given, In the metropolis of Heaven; Chief of the mitred saints, and from archprelate here, Translated to archangel there.

Since, happy saint, since it has been of late Either our blindness or our fate, To lose the providence of thy cares Pity a miserable church's tears, That begs the powerful blessing of thy prayers. Some angel, say, what were the nation's crimes, That sent these wild reformers to our times: Say what their senseless malice meant, To tear religion's lovely face: Strip her of every ornament and grace; In striving to wash off th'imaginary paint? Religion now does on her death-bed lie, Heart-sick of a high fever and consuming atrophy; How the physicians swarm to show their mortal skill, And by their college arts methodically kill: Reformers and physicians differ but in name, One end in both, and the design the same; Cordials are in their talk, while all they mean Is but the patient's death, and gain-- Check in thy satire, angry Muse, Or a more worthy subject choose: Let not the outcasts of an outcast age Provoke the honour of my Muse's rage, Nor be thy mighty spirit rais'd, Since Heaven and Cato both are pleas'd--

[The rest of the poem is lost.]

[Footnote 1: Born Jan., 1616-17; died 1693. For his life, see "Dictionary of National Biography."--_W. E. B._]

ODE TO THE HON. SIR WILLIAM TEMPLE

WRITTEN AT MOOR-PARK IN JUNE 1689

Virtue, the greatest of all monarchies! Till its first emperor, rebellious man, Deposed from off his seat, It fell, and broke with its own weight Into small states and principalities, By many a petty lord possess'd, But ne'er since seated in one single breast. 'Tis you who must this land subdue, The mighty conquest's left for you, The conquest and discovery too: Search out this Utopian ground, Virtue's Terra Incognita, Where none ever led the way, Nor ever since but in descriptions found; Like the philosopher's stone, With rules to search it, yet obtain'd by none.

We have too long been led astray; Too long have our misguided souls been taught With rules from musty morals brought, 'Tis you must put us in the way; Let us (for shame!) no more be fed With antique relics of the dead, The gleanings of philosophy; Philosophy, the lumber of the schools, The roguery of alchymy; And we, the bubbled fools, Spend all our present life, in hopes of golden rules.

But what does our proud ignorance Learning call? We oddly Plato's paradox make good, Our knowledge is but mere remembrance all; Remembrance is our treasure and our food; Nature's fair table-book, our tender souls, We scrawl all o'er with old and empty rules, Stale memorandums of the schools: For learning's mighty treasures look Into that deep grave, a book; Think that she there does all her treasures hide, And that her troubled ghost still haunts there since she died; Confine her walks to colleges and schools; Her priests, her train, and followers, show As if they all were spectres too! They purchase knowledge at th'expense Of common breeding, common sense, And grow at once scholars and fools; Affect ill-manner'd pedantry, Rudeness, ill-nature, incivility, And, sick with dregs and knowledge grown, Which greedily they swallow down, Still cast it up, and nauseate company.

Curst be the wretch! nay, doubly curst! (If it may lawful be To curse our greatest enemy,) Who learn'd himself that heresy first, (Which since has seized on all the rest,) That knowledge forfeits all humanity; Taught us, like Spaniards, to be proud and poor, And fling our scraps before our door! Thrice happy you have 'scaped this general pest; Those mighty epithets, learned, good, and great, Which we ne'er join'd before, but in romances meet, We find in you at last united grown. You cannot be compared to one: I must, like him that painted Venus' face, Borrow from every one a grace; Virgil and Epicurus will not do, Their courting a retreat like you, Unless I put in Caesar's learning too: Your happy frame at once controls This great triumvirate of souls.

Let not old Rome boast Fabius' fate; He sav'd his country by delays, But you by peace.[1] You bought it at a cheaper rate; Nor has it left the usual bloody scar, To show it cost its price in war; War, that mad game the world so loves to play, And for it does so dearly pay; For, though with loss, or victory, a while Fortune the gamesters does beguile, Yet at the last the box sweeps all away.

Only the laurel got by peace No thunder e'er can blast: Th'artillery of the skies Shoots to the earth and dies: And ever green and flourishing 'twill last, Nor dipt in blood, nor widows' tears, nor orphans' cries. About the head crown'd with these bays, Like lambent fire, the lightning plays; Nor, its triumphal cavalcade to grace, Makes up its solemn train with death; It melts the sword of war, yet keeps it in the sheath.

The wily shafts of state, those jugglers' tricks, Which we call deep designs and politics, (As in a theatre the ignorant fry, Because the cords escape their eye, Wonder to see the motions fly,) Methinks, when you expose the scene, Down the ill-organ'd engines fall; Off fly the vizards, and discover all: How plain I see through the deceit! How shallow, and how gross, the cheat! Look where the pulley's tied above! Great God! (said I) what have I seen! On what poor engines move The thoughts of monarchs and designs of states! What petty motives rule their fates! How the mouse makes the mighty mountains shake! The mighty mountain labours with its birth, Away the frighten'd peasants fly, Scared at the unheard-of prodigy, Expect some great gigantic son of earth; Lo! it appears! See how they tremble! how they quake! Out starts the little beast, and mocks their idle fears.

Then tell, dear favourite Muse! What serpent's that which still resorts, Still lurks in palaces and courts? Take thy unwonted flight, And on the terrace light. See where she lies! See how she rears her head, And rolls about her dreadful eyes, To drive all virtue out, or look it dead! 'Twas sure this basilisk sent Temple thence, And though as some ('tis said) for their defence Have worn a casement o'er their skin, So wore he his within, Made up of virtue and transparent innocence; And though he oft renew'd the fight, And almost got priority of sight, He ne'er could overcome her quite, In pieces cut, the viper still did reunite; Till, at last, tired with loss of time and ease, Resolved to give himself, as well as country, peace.

Sing, beloved Muse! the pleasures of retreat, And in some untouch'd virgin strain, Show the delights thy sister Nature yields; Sing of thy vales, sing of thy woods, sing of thy fields; Go, publish o'er the plain How mighty a proselyte you gain! How noble a reprisal on the great! How is the Muse luxuriant grown! Whene'er she takes this flight, She soars clear out of sight. These are the paradises of her own: Thy Pegasus, like an unruly horse, Though ne'er so gently led, To the loved pastures where he used to feed, Runs violent o'er his usual course. Wake from thy wanton dreams, Come from thy dear-loved streams, The crooked paths of wandering Thames. Fain the fair nymph would stay, Oft she looks back in vain, Oft 'gainst her fountain does complain, And softly steals in many windings down, As loth to see the hated court and town; And murmurs as she glides away.

In this new happy scene Are nobler subjects for your learned pen; Here we expect from you More than your predecessor Adam knew; Whatever moves our wonder, or our sport, Whatever serves for innocent emblems of the court; How that which we a kernel see, (Whose well-compacted forms escape the light, Unpierced by the blunt rays of sight,) Shall ere long grow into a tree; Whence takes it its increase, and whence its birth, Or from the sun, or from the air, or from the earth, Where all the fruitful atoms lie; How some go downward to the root, Some more ambitious upwards fly, And form the leaves, the branches, and the fruit. You strove to cultivate a barren court in vain, Your garden's better worth your nobler pain, Here mankind fell, and hence must rise again.

Shall I believe a spirit so divine Was cast in the same mould with mine? Why then does Nature so unjustly share Among her elder sons the whole estate, And all her jewels and her plate? Poor we! cadets of Heaven, not worth her care, Take up at best with lumber and the leavings of a fare: Some she binds 'prentice to the spade, Some to the drudgery of a trade: Some she does to Egyptian bondage draw, Bids us make bricks, yet sends us to look out for straw: Some she condemns for life to try To dig the leaden mines of deep philosophy: Me she has to the Muse's galleys tied: In vain I strive to cross the spacious main, In vain I tug and pull the oar; And when I almost reach the shore, Straight the Muse turns the helm, and I launch out again: And yet, to feed my pride, Whene'er I mourn, stops my complaining breath, With promise of a mad reversion after death.

Then, Sir, accept this worthless verse, The tribute of an humble Muse, 'Tis all the portion of my niggard stars; Nature the hidden spark did at my birth infuse, And kindled first with indolence and ease; And since too oft debauch'd by praise, 'Tis now grown an incurable disease: In vain to quench this foolish fire I try In wisdom and philosophy: In vain all wholesome herbs I sow, Where nought but weeds will grow Whate'er I plant (like corn on barren earth) By an equivocal birth, Seeds, and runs up to poetry.

[Footnote 1: Sir William Temple was ambassador to the States of Holland, and had a principal share in the negotiations which preceded the treaty of Nimeguen, 1679.]

ON HIS SUCCESSES IN IRELAND

To purchase kingdoms and to buy renown, Are arts peculiar to dissembling France; You, mighty monarch, nobler actions crown, And solid virtue does your name advance.

Your matchless courage with your prudence joins, The glorious structure of your fame to raise; With its own light your dazzling glory shines, And into adoration turns our praise.

Had you by dull succession gain'd your crown, (Cowards are monarchs by that title made,) Part of your merit Chance would call her own, And half your virtues had been lost in shade.

But now your worth its just reward shall have: What trophies and what triumphs are your due! Who could so well a dying nation save, At once deserve a crown, and gain it too.

You saw how near we were to ruin brought, You saw th'impetuous torrent rolling on; And timely on the coming danger thought, Which we could neither obviate nor shun.

Britannia stripp'd of her sole guard, the laws, Ready to fall Rome's bloody sacrifice; You straight stepp'd in, and from the monster's jaws Did bravely snatch the lovely, helpless prize.

Nor this is all; as glorious is the care To preserve conquests, as at first to gain: In this your virtue claims a double share, Which, what it bravely won, does well maintain.

Your arm has now your rightful title show'd, An arm on which all Europe's hopes depend, To which they look as to some guardian God, That must their doubtful liberty defend.

Amazed, thy action at the Boyne we see! When Schomberg started at the vast design: The boundless glory all redounds to thee, The impulse, the fight, th'event, were wholly thine.

The brave attempt does all our foes disarm; You need but now give orders and command, Your name shall the remaining work perform, And spare the labour of your conquering hand.

France does in vain her feeble arts apply, To interrupt the fortune of your course: Your influence does the vain attacks defy Of secret malice, or of open force.

Boldly we hence the brave commencement date Of glorious deeds, that must all tongues employ; William's the pledge and earnest given by fate, Of England's glory, and her lasting joy.

ODE TO THE ATHENIAN SOCIETY[1]

_Moor Park, Feb._ 14, 1691.

As when the deluge first began to fall, That mighty ebb never to flow again, When this huge body's moisture was so great, It quite o'ercame the vital heat; That mountain which was highest, first of all Appear'd above the universal main, To bless the primitive sailor's weary sight; And 'twas perhaps Parnassus, if in height It be as great as 'tis in fame, And nigh to Heaven as is its name; So, after the inundation of a war, When learning's little household did embark, With her world's fruitful system, in her sacred ark, At the first ebb of noise and fears, Philosophy's exalted head appears; And the Dove-Muse will now no longer stay, But plumes her silver wings, and flies away; And now a laurel wreath she brings from far, To crown the happy conqueror, To show the flood begins to cease, And brings the dear reward of victory and peace.

The eager Muse took wing upon the waves' decline, When war her cloudy aspect just withdrew, When the bright sun of peace began to shine, And for a while in heavenly contemplation sat, On the high top of peaceful Ararat; And pluck'd a laurel branch, (for laurel was the first that grew, The first of plants after the thunder, storm and rain,) And thence, with joyful, nimble wing, Flew dutifully back again, And made an humble chaplet for the king.[2] And the Dove-Muse is fled once more, (Glad of the victory, yet frighten'd at the war,) And now discovers from afar A peaceful and a flourishing shore: No sooner did she land On the delightful strand, Than straight she sees the country all around, Where fatal Neptune ruled erewhile, Scatter'd with flowery vales, with fruitful gardens crown'd, And many a pleasant wood; As if the universal Nile Had rather water'd it than drown'd: It seems some floating piece of Paradise, Preserved by wonder from the flood, Long wandering through the deep, as we are told Famed Delos[3] did of old; And the transported Muse imagined it To be a fitter birth-place for the God of wit, Or the much-talk'd-of oracular grove; When, with amazing joy, she hears An unknown music all around, Charming her greedy ears With many a heavenly song Of nature and of art, of deep philosophy and love; While angels tune the voice, and God inspires the tongue. In vain she catches at the empty sound, In vain pursues the music with her longing eye, And courts the wanton echoes as they fly.

Pardon, ye great unknown, and far-exalted men, The wild excursions of a youthful pen; Forgive a young and (almost) virgin Muse, Whom blind and eager curiosity (Yet curiosity, they say, Is in her sex a crime needs no excuse) Has forced to grope her uncouth way, After a mighty light that leads her wandering eye: No wonder then she quits the narrow path of sense For a dear ramble through impertinence; Impertinence! the scurvy of mankind. And all we fools, who are the greater part of it, Though we be of two different factions still, Both the good-natured and the ill, Yet wheresoe'er you look, you'll always find We join, like flies and wasps, in buzzing about wit. In me, who am of the first sect of these, All merit, that transcends the humble rules Of my own dazzled scanty sense, Begets a kinder folly and impertinence Of admiration and of praise. And our good brethren of the surly sect, Must e'en all herd us with their kindred fools: For though possess'd of present vogue, they've made Railing a rule of wit, and obloquy a trade; Yet the same want of brains produces each effect. And you, whom Pluto's helm does wisely shroud From us, the blind and thoughtless crowd, Like the famed hero in his mother's cloud, Who both our follies and impertinences see, Do laugh perhaps at theirs, and pity mine and me.

But censure's to be understood Th'authentic mark of the elect, The public stamp Heaven sets on all that's great and good, Our shallow search and judgment to direct. The war, methinks, has made Our wit and learning narrow as our trade; Instead of boldly sailing far, to buy A stock of wisdom and philosophy, We fondly stay at home, in fear Of every censuring privateer; Forcing a wretched trade by beating down the sale, And selling basely by retail. The wits, I mean the atheists of the age, Who fain would rule the pulpit, as they do the stage, Wondrous refiners of philosophy, Of morals and divinity, By the new modish system of reducing all to sense, Against all logic, and concluding laws, Do own th'effects of Providence, And yet deny the cause.

This hopeful sect, now it begins to see How little, very little, do prevail Their first and chiefest force To censure, to cry down, and rail, Not knowing what, or where, or who you be, Will quickly take another course: And, by their never-failing ways Of solving all appearances they please, We soon shall see them to their ancient methods fall, And straight deny you to be men, or anything at all. I laugh at the grave answer they will make, Which they have always ready, general, and cheap: 'Tis but to say, that what we daily meet, And by a fond mistake Perhaps imagine to be wondrous wit, And think, alas! to be by mortals writ, Is but a crowd of atoms justling in a heap: Which, from eternal seeds begun, Justling some thousand years, till ripen'd by the sun: They're now, just now, as naturally born, As from the womb of earth a field of corn.

But as for poor contented me, Who must my weakness and my ignorance confess, That I believe in much I ne'er can hope to see; Methinks I'm satisfied to guess, That this new, noble, and delightful scene, Is wonderfully moved by some exalted men, Who have well studied in the world's disease, (That epidemic error and depravity, Or in our judgment or our eye,) That what surprises us can only please. We often search contentedly the whole world round, To make some great discovery, And scorn it when 'tis found. Just so the mighty Nile has suffer'd in its fame, Because 'tis said (and perhaps only said) We've found a little inconsiderable head, That feeds the huge unequal stream. Consider human folly, and you'll quickly own, That all the praises it can give, By which some fondly boast they shall for ever live, Won't pay th'impertinence of being known: Else why should the famed Lydian king,[4] (Whom all the charms of an usurped wife and state, With all that power unfelt, courts mankind to be great, Did with new unexperienced glories wait,) Still wear, still dote on his invisible ring?

Swift's verse, as gathered in this first volume of William Ernst Browning's 1910 edition, moves from formal odes addressed to patrons like Sir William Temple to corrosive satires of urban life and social pretension. The collection spans roughly four decades, and even in the early poems one detects a tension between the poet's desire for courtly favor and his impulse to mock. The ode to the Athenian Society, for instance, adopts a high style that later poems will systematically dismantle.

What emerges across these pages is a poet who increasingly turns his eye on the physical and moral failings of his subjects—whether in the grimy streets of London or the dressing-rooms of fashionable ladies. The excerpts show Swift perfecting a technique of relentless, almost clinical observation, where a lady's toilette becomes a battlefield of vanity and decay.

The Satirist's Gaze: Body, Money, and Manners

Swift's satirical method in this volume relies on a stark, unflinching attention to material detail. In The Lady's Dressing-Room (1730), the speaker catalogues the contents of Celia's chamber with forensic precision: 'The various combs for various uses, / Fill'd with dirt, and hairs, and sluses.' The poem's power lies not in moralizing but in the sheer accumulation of disgusting particulars. Similarly, A Description of a City Shower (1710) tracks filth through London streets, where 'Sweepings from butchers' stalls, dung, guts, and blood, / Drown'd puppies, stinking sprats, all drench'd in mud.'

This materialist lens extends to economic transactions. In The Journal of a Modern Lady, the speaker notes a goldsmith waiting below to redeem a pawned cup, and the lady's husband's money left 'to pay for coals' is diverted to gambling debts. Swift presents a world where bodies and objects are perpetually entangled with commerce and decay.

Conversation as Combat: The Social Mechanics of Talk

Swift repeatedly dramatizes conversation as a form of warfare or competition. In The Journal of a Modern Lady, the lady's speech is a stream of 'phrases batter'd, stale, and trite, / Which modern ladies call polite.' Her talk at dinner is a performance: 'Has all the dinner cant by heart.' The poem's catalogue of vices that crowd around her tea table—'Scandal, ever gaping wide,' 'Scurrility with gibing air'—personifies gossip as a demonic assembly.

This pattern recurs in Strephon and Chloe and other pieces, where dialogue becomes a means of exposure rather than connection. Swift's ear for the rhythms of social hypocrisy is acute: the lady's complaint that 'I never can have time to dress' is immediately undercut by the narrative's tally of her hours spent at cards and shopping. Talk, in Swift's world, is never innocent; it is always a bid for status or a weapon.

Formal Play: Odes, Eclogues, and the Mock-Heroic

This volume displays Swift's restless experimentation with poetic forms. Early odes to William III and the Athenian Society adopt the elevated Pindaric mode, but even here the poet's characteristic irony peeps through. By the 1710s, he is writing 'town eclogues' that transplant pastoral conventions to urban settings, and mock-heroic pieces like Baucis and Philemon that retell Ovid with a comic, domestic twist.

The collection includes verse epistles, prologues, epigrams, and songs, each form bent to satirical purpose. A Description of the Morning (1709) uses the sonnet's brevity to frame a cityscape of 'the small-coal man' and 'the ballad-singer.' Swift's formal range is not mere virtuosity; it reflects a conviction that no style is too lofty to be brought low, and no subject too low for verse.

Readers approaching this volume should attend to the interplay between Swift's early, more conventional pieces and the later, sharper satires. The editor's notes, drawn from earlier scholarship, occasionally gloss references but do not substitute for the reader's own attention to Swift's verbal texture. The poems reward slow reading: a single couplet can pivot from apparent compliment to devastating insult. This is not a poetry of easy moral lessons, but of uncomfortable, precise observation.

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    Blake Spence - 1 month ago
    This collection provides a good overview of Swift's poetry, but it's not without flaws. The language is often archaic, and the extensive footnotes, while informative, interrupt the reading flow. Some of the references are obscure, making certain poems hard to appreciate without additional research. Still, essential for scholars.

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    Tommy Richard Carter - 4 weeks ago
    An indispensable volume for fans of Swift's satirical genius. This first volume of his poems is meticulously curated, offering a comprehensive look at his wit and humor. From 'A Description of a City Shower' to 'Verses on the Death of Dr. Swift,' the poetry showcases his impeccable timing and piercing social commentary. Excellent annotations provided.

  • ...
    Jonathan Snyder - 2 weeks ago
    The editing is poor; there are no explanatory notes, and the poems are presented in a cluttered layout. Swift's satire, while brilliant, requires historical context that this edition fails to provide. Additionally, many poems seem to be missing or out of order. This is a subpar reproduction of a classic work.


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