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.

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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