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CLOSE by those meads, for ever crown'd with flow'rs,

Where Thames with pride surveys his rising tow'rs,
There stands a structure of majestic frame,
Which from the neighb'ring Hampton takes its


Here Britain's statesmen oft the fall foredoom 5
Of foreign Tyrants, and of Nymphs at home;
Here thou, great ANNA! whom three realms obey,
Dost sometimes counsel take-and sometimes Tea.
Hither the Heroes and the Nymphs resort,

To taste awhile the pleasures of a Court;
In various talk th' instructive hours they past,
Who gave the ball, or paid the visit last;
One speaks the glory of the British Queen,
And one describes a charming Indian screen;
A third interprets motions, looks, and eyes;
At ev'ry word a reputation dies.

Snuff, or the fan, supply each pause of chat,
With singing, laughing, ogling, and all that.




Ver. 1. Close by those meads,] The first edition continues from this line to ver. 24 of this Canto.


Ver. 11, 12. Originally in the first edition,

In various talk the chearful hours they past,
Of, who was bit, or who capotted last.



Meanwhile, declining from the noon of day, The sun obliquely shoots his burning ray; The hungry judges soon the sentence sign, And wretches hang that jury-men may dine; The merchant from th' Exchange returns in peace, And the long labours of the Toilet cease. Belinda now, whom thirst of fame invites, Burns to encounter two advent'rous Knights, At Ombre singly to decide their doom;




And swells her breast with conquests yet to come.
Straight the three bands prepare in arms to join,
Each band the number of the sacred Nine.
Soon as she spreads her hand, th' aërial guard
Descend, and sit on each important card:
First Ariel perch'd upon a Matadore,
Then each according to the rank they bore;
For Sylphs, yet mindful of their ancient race,
Are, as when women, wond'rous fond of place.
Behold, four Kings, in majesty rever'd,
With hoary whiskers and a forky beard;
And four fair Queens whose hands sustain a flow'r,
Th' expressive emblem of their softer pow'r; 40
Four Knaves in garbs succinct, a trusty band;
Caps on their heads, and halberts in their hand;


Ver. 22. And wretches hang] From Congreve. Warton.


Ver. 24. And the long labours of the Toilet cease.] All that follows of the game at Ombre, was added since the first edition, till ver. 105, which connected thus,

Sudden the board with cups and spoons is crown'd. P.

And party-colour'd troops, a shining train,
Draw forth to combat on the velvet plain.

The skilful Nymph reviews her force with care: Let Spades be trumps! she said, and trumps they


Now move to war her sable Matadores, In show like leaders of the swarthy Moors. Spadillio first, unconquerable Lord!


Led off two captive trumps, and swept the board.
As many more Manillio forc'd to yield,
And march'd a victor from the verdant field.
Him Basto follow'd, but his fate more hard
Gain'd but one trump and one Plebeian card.
With his broad sabre next, a chief in years,
The hoary Majesty of Spades appears,
Puts forth one manly leg, to sight reveal'd,
The rest, his many-colour'd robe conceal'd.
The rebel Knave, who dares his prince engage,
Proves the just victim of his royal rage.


Ev'n mighty Pam, that Kings and Queens o'er


And mow'd down armies in the fights of Lu,
Sad chance of war! now destitute of aid,
Falls undistinguish'd by the victor Spade!
Thus far both armies to Belinda yield;
Now to the Baron fate inclines the field.



Ver. 53. Him Basto follow'd,] The magnificent and majestic style in which this game of cards is described, artfully and finely heightens the ridicule. Warton.

Ver. 65. Belinda yield;] It is finely contrived that she should be victorious; as it occasions a change of fortune in the dreadful loss

His warlike Amazon her host invades,

Th' imperial consort of the crown of Spades.
The Club's black Tyrant first her victim dy'd,
Spite of his haughty mien, and barb'rous pride: 70
What boots the regal circle on his head,
His giant limbs, in state unwieldy spread;
That long behind he trails his pompous robe,
And, of all monarchs, only grasps the globe?

The Baron now his Diamonds pours apace! 75
Th' embroider'd King who shews but half his face,
And his refulgent Queen, with pow'rs combin'd
Of broken troops, an easy conquest find.
Clubs, Diamonds, Hearts, in wild disorder seen,
With throngs promiscuous strew the level green.
Thus when dispers'd a routed army runs,
Of Asia's troops, and Afric's sable sons,
With like confusion different nations fly,
Of various habit, and of various dye
The pierc'd battalions disunited fall,


In heaps on heaps; one fate o'erwhelms them all.


loss she was speedily to undergo, and gives occasion to the Poet to introduce a moral reflection from Virgil, which adds to the pleasantry of the story. In one of the passages where Pope has copied Vida, he has lost the propriety of the original, which arises from the different colours of the men, at Chess.

Thus, when dispers'd, a routed army runs, &c.

"Non aliter, campis legio se buxea utrinque
Composuit, duplici digestis ordine turmis,
Adversisque ambæ fulsere coloribus alæ ;
Quam Gallorum acies, Alpino frigore lactea
Corpora, si tendant albis in prælia signis,
Auroræ populos contra, et Phaethonte perustos
Insano Æthiopas, et nigri Memnonis alas."



The Knave of Diamonds tries his wily arts, And wins (oh shameful chance!) the Queen of Hearts. At this, the blood the Virgin's cheek forsook, A livid paleness spreads o'er all her look; She sees, and trembles at th' approaching ill, Just in the jaws of ruin, and Codille. And now (as oft in some distemper'd State) On one nice Trick depends the gen'ral fate: An Ace of Hearts steps forth: The King unseen 95 Lurk'd in her hand, and mourn'd his captive Queen: He springs to vengeance with an eager pace, And falls like thunder on the prostrate Ace. The nymph exulting fills with shouts the sky; The walls, the woods, and long canals reply. 100 Oh thoughtless mortals! ever blind to fate, Too soon dejected, and too soon elate.


Ver. 95. An Ace of Hearts steps forth :] Nothing can exceed Pope's powers of description, as displayed in this game of Cards. His mock-heroic paintings of the Kings, their ensigns, and characters, are inimitable. Warton in his Essay, speaking of Windsor Forest, says, descriptive Poetry was by no means the shining talent of Pope. Of rural objects Pope was not an able describer, as he could not be an accurate observer; but in description of scenes taken from artificial Life, his powers are very manifest. This distinction should be always attended to, in estimating Pope's poetical Bowles.


It is of no importance whether the materials are derived from real or artificial life, from objects of nature or of art; from the external, or the intellectual world. It is the use that the writer makes of them which determines his claim to the title of a poet.

Ver. 101.]


"Nescia mens hominum fati sortisque futuræ ;

Et servare modum, rebus sublata secundis !


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