How many pictures of one Nymph we view, 5 All how unlike each other, all how true! NOTES. disappointed to find that this Epistle, which proposes the fame fubject with the preceding, is conducted on very different rules of method; for instead of being difpofed in the fame logical connection, and filled with the like philosophical remarks, it is wholly taken up in drawing a great variety of capital Characters: But if he would reflect, that the two Sexes make but one Species, and confequently, that the Characters of both must be studied and explained on the fame principles, he would fee, that when the poet had done this in the preceding Epiftle, his business here was, not to repeat what he had already delivered, but only to verify and illuftrate his doctrine, by every view of that perplexity of Nature, which his philofophy only can explain. If the reader therefore will but be at the pains to study thefe Characters with any degree of attention, as they are here masterly drawn, one important particular (for which the poet has artfully prepared him by the introduction) will very forcibly strike his obfervation; and that is, that all the great ftrokes in the feveral Characters of Women are not only infinitely perplexed and difcordant, like thofe in Men, but abfolutely inconfiftent, and in a much higher degree contradictory. As ftrange as this may appear, yet he will fee that the poet has all the while strictly followed Nature, whofe ways, we find by the former Epiftle, are not a little mysterious; and a myftery this might have remained, had not our author explained it at 207. where he fhuts up his Characters with this philofophical reflexion: .... In Men, we various ruling Paffions find ; The love of Pleasure, and the love of Sway. If this account be true, we fee the perpetual neceffity (which is not the cafe in Men) that Women lye under of difguifing their ruling paffion. Now the variety of arts employed to this purpofe muft needs draw them into infinite contradictions in those Actions from whence their general and obvious Character is Arcadia's Countess, here, in ermin'd pride, NOTES. denominated To verify this obfervation, let the reader examine all the Characters here drawn, and try whether with this key he cannot difcover that all their Contradictions arise from a defire to hide the ruling Paffion. But this is not the worft. The poet afterwards (from ✈ 218 少 to 249) takes notice of another mifchief arifing from this neceffity of hiding their ruling Paffions; which is, that generally the end of each is defeated even there where they are most violently pursued: For the neceffity of hiding them inducing an habitual diffipation of mind, Reason, whofe office it is to regulate the ruling Paffion, lofes all its force and direction; and these unhappy victims to their principles, tho' with their attention ftill fixed upon them, are ever profecuting the means destructive of their end, and thus become ridiculous in youth, and miferable in old age. Let me not omit to obferve the great beauty of the conclufion: It is an Encomium on an imaginary Lady to whom the Epistle is addreffed, and artfully turns upon the fact which makes the subject of the Epiftle, the contradiction of a Woman's Character, in which contradiction he fhews that all the luftre even of the best Character confifts: And yet, believe me, good as well as ill, VER. 5. How many pictures] The poet's purpofe here is to fhew, that the Characters of Women are generally inconfiftent with themselves; and this he illuftrates by fo happy a Similitude, that we fee the folly, defcribed in it, arifes from that very principle which gives birth to this inconsistency of Character. VER. 7, 8, 10, &c. Arcadia's Countess,-Paftora by a fountain-Leda with a swan.-Magdalen--Cecilia-] Attitudes in which feveral ladies affected to be drawn, and fometimes one lady in them all-The poet's politenefs and complaifance to the fex is obfervable in this inftance, amongst others, that, whereas in the Characters of Men, he has fometimes made Here Fannia, leering on her own good man, In Magdalen's loose hair and lifted eye, ΙΟ With fimp'ring Angels, Palms, and Harps divine; Whether the Charmer finner it, or faint it, 15 If Folly grow romantic, I must paint it. 19 Come then, the colours and the ground prepare! Dip in the Rainbow, trick her off in Air; Chufe a firm Cloud, before it fall, and in it Catch, ere she change, the Cynthia of this minute. Rufa, whofe eye quick-glancing o'er the Park, Attracts each light gay meteor of a Spark, Agrees as ill with Rufa studying Locke, As Sappho's di'monds with her dirty fmock; NOTES. ufe of real names, in the Characters of Women always fictitious. P. VER. 20. Catch, ere fhe change, the Cynthia of this minute.] Alluding to the precept of Frefnoy, formæ veneres captando fugaces. VER. 21. Inftances of contrarieties, given even from such Characters as are most strongly mark'd, and seemingly therefore most confiftent: As, I. In the Affected, y 21, &c. P. VER. 23. Agrees as ill with Rufa ftudying Locke,] This thought is expreffed with great humour in the following stanza; 25 Or Sappho at her toilet's greazy task, Papillia, wedded to her am'rous fpark, 31 Sighs for the shades---" How charming is a Park!" Ladies, like variegated Tulips, show; 41 'Tis to their Changes half their charms we owe; NOTES. Tho' Artemifia talks, by fits, Of councils, claffics, Fathers, wits; Reads Malbranche, Boyle, and Locke: Yet in fome things, methinks, fhe fails, VER. 29 and 37. II. Contrarieties in the Soft-natured. P. 1 Fine by defect, and delicately weak, Their happy Spots the nice admirer take. 'Twas thus Calypfo once each heart alarm'd, 45 As when the touch'd the brink of all we hate, ; ; To make a wash, would hardly stew a child NOTES. VER. 45. III. Contrarieties in the Cunning and Artful. P. VER. 52. As when she touch'd the brink of all we hate.] Her charms confifted in the fingular turn of her vivacity; confequently the ftronger the exerted this vivacity the more forcible must be her attraction. But the point, where it came to excefs, would deftroy all the delicacy, and expofe all the coarfnefs of fenfuality. VER, 53. IV. In the Whimsical. P. VER. 57. in a Chriftian trim,] This is finely expreffed, implying that her very charity was as much an exterior of Religion, as the ceremonies of the season. It was not even in a Christian humour, it was only in a Christian trim, |