ILIAD BOOK XIV. JUNO DECEIVES JUPITER BY THE GIRDLE OF VENUS
ILIAD BOOK XV. THE FIFTH BATTLE, AT THE SHIPS; AND THE ACTS OF AJAX
ILIAD BOOK XVI. THE SIXTH BATTLE: THE ACTS AND DEATH OF PATROCLUS
ILIAD BOOK XVII. THE SEVENTH BATTLE, FOR THE BODY OF PATROCLUS. — THE ACTS OF MENELAUS
ILIAD BOOK XVIII. THE GRIEF OF ACHILLES, AND NEW ARMOUR MADE HIM BY VULCAN
ILIAD BOOK XIX. THE RECONCILIATION OF ACHILLES AND AGAMEMNON
ILIAD BOOK XX. THE BATTLE OF THE GODS, AND THE ACTS OF ACHILLES
ILIAD BOOK XXI. THE BATTLE IN THE RIVER SCAMANDER
ILIAD BOOK XXII. THE DEATH OF HECTOR
ILIAD BOOK XXIII. FUNERAL GAMES IN HONOUR OF PATROCLUS
ILIAD BOOK XXIV. THE REDEMPTION OF THE BODY OF HECTOR
ODYSSEY BOOK III. THE INTERVIEW OF TELEMACHUS AND NESTOR
ODYSSEY BOOK V. THE DEPARTURE OF ULYSSES FROM CALYPSO
ODYSSEY BOOK VII. THE COURT OF ALCINOÜS
ODYSSEY BOOK IX. THE ADVENTURES OF THE CICONS, LOTOPHAGI, AND CYCLOPS
ODYSSEY BOOK X. ADVENTURES WITH ÆOLUS, THE LÆSTRYGONS, AND CIRCE
ODYSSEY BOOK XIII. THE ARRIVAL OF ULYSSES IN ITHACA
ODYSSEY BOOK XIV. THE CONVERSATION WITH EUMÆUS
ODYSSEY BOOK XV. THE RETURN OF TELEMACHUS
ODYSSEY BOOK XVII
ODYSSEY BOOK XXI. THE BENDING OF ULYSSES’ BOW
ODYSSEY BOOK XXII. THE DEATH OF THE SUITORS
ODYSSEY BOOK XXIV
LIST OF POEMS IN ALPHABETICAL ORDER
A-D E-H I-L M-O P-S T-V W-Z
1740: A POEM
A DIALOGUE
A FAREWELL TO LONDON
A PARAPHRASE (ON THOMAS À KEMPIS)
A QUESTION BY ANONYMOUS
AN ESSAY ON CRITICISM: PART I
AN ESSAY ON CRITICISM: PART II
AN ESSAY ON CRITICISM: PART III
AN INSCRIPTION UPON A PUNCH-BOWL
ANOTHER ON THE SAME
ANSWER TO THE FOLLOWING QUESTION OF MRS. HOWE
ARGUS
AUTUMN; OR, HYLAS AND ÆGON
BISHOP HOUGH
CELIA
CHAUCER
CHORUS OF ATHENIANS
CHORUS OF YOUTHS AND VIRGINS
COWLEY: THE GARDEN
COWLEY: WEEPING
DR. SWIFT: THE HAPPY LIFE OF A COUNTRY PARSON
DUNCIAD VARIORUM, 1732
EARL OF DORSET: ARTEMISIA
EARL OF DORSET: PHRYNE
EARL OF ROCHESTER: ON SILENCE
ELEGY TO THE MEMORY OF AN UNFORTUNATE LADY
ELOISA TO ABELARD
EPIGRAM (“A GOLD WATCH FOUND”)
EPIGRAM (“BEHOLD! AMBITIOUS”)
EPIGRAM (“DID MILTON’S PROSE”)
EPIGRAM (“GREAT G[EORGE]”)
EPIGRAM (“MY LORD COMPLAINS”)
EPIGRAM (“SHOULD D[ENNI]S PRINT”)
EPIGRAM (“YES! ‘T IS THE TIME”)
EPIGRAM ENGRAVED ON THE COLLAR OF A DOG WHICH I GAVE TO HIS ROYAL HIGHNESS
EPIGRAM ON MR. M[OO]RE’S GOING TO LAW WITH MR. GILIVER
EPIGRAM ON THE TOASTS OF THE KIT-CAT CLUB
EPIGRAM: AN EMPTY HOUSE
EPILOGUE TO MR. ROWE’S JANE SHORE
EPILOGUE TO THE SATIRES
EPISTLE I. TO SIR RICHARD TEMPLE, LORD COBHAM
EPISTLE II. OF THE CHARACTERS OF WOMEN
EPISTLE III. OF THE USE OF RICHES
EPISTLE IV. OF THE USE OF RICHES
EPISTLE TO DR. ARBUTHNOT
EPISTLE TO JAMES CRAGGS, ESQ., SECRETARY OF STATE.
EPISTLE TO MR. JERVAS
EPISTLE TO MRS. BLOUNT, WITH THE WORKS OF VOITURE
EPISTLE TO MRS. TERESA BLOUNT
EPISTLE TO ROBERT, EARL OF OXFORD AND MORTIMER
EPISTLE V. TO MR. ADDISON, OCCASIONED BY HIS DIALOGUES ON MEDALS
EPITAPH
EPITAPH ON JAMES MOORE-SMYTHE
ESSAY ON MAN: EPISTLE I.
ESSAY ON MAN: EPISTLE II.
ESSAY ON MAN: EPISTLE III.
ESSAY ON MAN: EPISTLE IV.
EXTEMPORANEOUS LINES
FOR ONE WHO WOULD NOT BE BURIED IN WESTMINSTER ABBEY
ILIAD BOOK I. THE CONTENTION OF ACHILLES AND AGAMEMNON
ILIAD BOOK II. THE TRIAL OF THE ARMY AND CATALOGUE OF THE FORCES
ILIAD BOOK III. THE DUEL OF MENELAUS AND PARIS
ILIAD BOOK IV. THE BREACH OF THE TRUCE, AND THE FIRST BATTLE
ILIAD BOOK IX. THE EMBASSY TO ACHILLES
ILIAD BOOK V. THE ACTS OF DIOMED
ILIAD BOOK VI. THE EPISODES OF GLAUCUS AND DIOMED, AND OF HECTOR AND ANDROMACHE
ILIAD BOOK VII. THE SINGLE COMBAT OF HECTOR AND AJAX
ILIAD BOOK VIII. THE SECOND BATTLE, AND THE DISTRESS OF THE GREEKS
ILIAD BOOK X. THE NIGHT ADVENTURE OF DIOMEDE AND ULYSSES
ILIAD BOOK XI. THE THIRD BATTLE, AND THE ACTS OF AGAMEMNON
ILIAD BOOK XII. THE BATTLE AT THE GRECIAN WALL
ILIAD BOOK XIII. THE FOURTH BATTLE CONTINUED, IN WHICH NEPTUNE ASSISTS THE GREEKS. THE ACTS OF IDOMENEUS
ILIAD BOOK XIV. JUNO DECEIVES JUPITER BY THE GIRDLE OF VENUS
ILIAD BOOK XIX. THE RECONCILIATION OF ACHILLES AND AGAMEMNON
ILIAD BOOK XV. THE FIFTH BATTLE, AT THE SHIPS; AND THE ACTS OF AJAX
ILIAD BOOK XVI. THE SIXTH BATTLE: THE ACTS AND DEATH OF PATROCLUS
ILIAD BOOK XVII. THE SEVENTH BATTLE, FOR THE BODY OF PATROCLUS. — THE ACTS OF MENELAUS
ILIAD BOOK XVIII. THE GRIEF OF ACHILLES, AND NEW ARMOUR MADE HIM BY VULCAN
ILIAD BOOK XX. THE BATTLE OF THE GODS, AND THE ACTS OF ACHILLES
ILIAD BOOK XXI. THE BATTLE IN THE RIVER SCAMANDER
ILIAD BOOK XXII. THE DEATH OF HECTOR
ILIAD BOOK XXIII. FUNERAL GAMES IN HONOUR OF PATROCLUS
ILIAD BOOK XXIV. THE REDEMPTION OF THE BODY OF HECTOR
IMITATION OF MARTIAL
IMITATION OF TIBULLUS
IMPROMPTU TO LADY WINCHILSEA
INSCRIPTION ON A GROTTO, THE WORK OF NINE LADIES
INTENDED FOR SIR ISAAC NEWTON
JANUARY AND MAY; OR, THE MERCHANT’S TALE
LINES OCCASIONED BY SOME VERSES OF HIS GRACE THE DUKE OF BUCKINGHAM
LINES ON SWIFT’S ANCESTORS
LINES TO LORD BATHURST
LINES WRITTEN IN EVELYN’S BOOK ON COINS
LINES WRITTEN IN WINDSOR FOREST
MACER
MARY GULLIVER TO CAPTAIN LEMUEL GULLIVER
MESSIAH
MR. J. M. S[MYTH]E
NEW DUNCIAD. BOOK I
NEW DUNCIAD. BOOK II
NEW DUNCIAD. BOOK III
NEW DUNCIAD. BOOK IV
ODE FOR MUSIC ON ST. CECILIA’S DAY
ODE ON SOLITUDE
ODE TO QUINBUS FLESTRIN
ODYSSEY BOOK III. THE INTERVIEW OF TELEMACHUS AND NESTOR
ODYSSEY BOOK IX. THE ADVENTURES OF THE CICONS, LOTOPHAGI, AND CYCLOPS
ODYSSEY BOOK V. THE DEPARTURE OF ULYSSES FROM CALYPSO
ODYSSEY BOOK VII. THE COURT OF ALCINOÜS
ODYSSEY BOOK X. ADVENTURES WITH ÆOLUS, THE LÆSTRYGONS, AND CIRCE
ODYSSEY BOOK XIII. THE ARRIVAL OF ULYSSES IN ITHACA
ODYSSEY BOOK XIV. THE CONVERSATION WITH EUMÆUS
ODYSSEY BOOK XV. THE RETURN OF TELEMACHUS
ODYSSEY BOOK XVII
ODYSSEY BOOK XXI. THE BENDING OF ULYSSES’ BOW
ODYSSEY BOOK XXII. THE DEATH OF THE SUITORS
ODYSSEY BOOK XXIV
ON A CERTAIN LADY AT COURT
ON A PICTURE OF QUEEN CAROLINE
ON BEAUFORT HOUSE GATE AT CHISWICK
ON CERTAIN LADIES
ON CHARLES, EARL OF DORSET
ON DR. FRANCIS ATTERBURY
ON DRAWINGS OF THE STATUES OF APOLLO, VENUS, AND HERCULES
ON EDMUND, DUKE OF BUCKINGHAM
ON GENERAL HENRY WITHERS
ON HIS GROTTO AT TWICKENHAM
ON JAMES CRAGGS, ESQ.
O
N JOHN GAY
ON MR. ELIJAH FENTON
ON MR. GAY
ON MR. ROWE
ON MRS. CORBET
ON MRS. TOFTS, A FAMOUS OPERA-SINGER
ON RECEIVING FROM THE RIGHT HON. THE LADY FRANCES SHIRLEY A STANDISH AND TWO PENS
ON SEEING THE LADIES AT CRUX EASTON WALK IN THE WOODS BY THE GROTTO
ON SIR GODFREY KNELLER
ON SIR WILLIAM TRUMBULL
ON THE COUNTESS OF BURLINGTON CUTTING PAPER
ON THE HON. SIMON HARCOURT
ON THE MONUMENT OF THE HON. R. DIGBY AND OF HIS SISTER MARY
ON TWO LOVERS STRUCK DEAD BY LIGHTNING
PRAYER OF BRUTUS
PROLOGUE (TO A PLAY FOR MR. DENNIS’S BENEFIT)
PROLOGUE DESIGNED FOR MR. D’URFEY’S LAST PLAY
PROLOGUE TO MR. ADDISON’S CATO
PROLOGUE TO THE ‘THREE HOURS AFTER MARRIAGE’
SANDYS’ GHOST
SAPPHO TO PHAON
SATIRES OF DR. JOHN DONNE, DEAN OF ST. PAUL’S, VERSIFIED
SONG, BY A PERSON OF QUALITY
SPENSER: THE ALLEY
SPRING; OR, DAMON
SUMMER; OR, ALEXIS
THE BALANCE OF EUROPE
THE BASSET-TABLE
THE CHALLENGE
THE DISCOURSE ON PASTORAL POETRY
THE DYING CHRISTIAN TO HIS SOUL
THE FABLE OF DRYOPE
THE FIRST BOOK OF STATIUS’S THEBAIS
THE FIRST EPISTLE OF THE FIRST BOOK OF HORACE
THE FIRST EPISTLE OF THE SECOND BOOK OF HORACE
THE FIRST ODE OF THE FOURTH BOOK OF HORACE
THE FIRST SATIRE OF THE SECOND BOOK OF HORACE
THE LAMENTATION OF GLUMDALCLITCH FOR THE LOSS OF GRILDRIG
THE LOOKING-GLASS
THE NEW DUNCIAD, 1742
THE NINTH ODE OF THE FOURTH BOOK OF HORACE
THE PROLEGOMENA
THE RAPE OF THE LOCK: CANTO I
THE RAPE OF THE LOCK: CANTOII
THE RAPE OF THE LOCK: CANTOIII
THE RAPE OF THE LOCK: CANTOIV
THE RAPE OF THE LOCK: CANTOV
THE SECOND EPISTLE OF THE SECOND BOOK OF HORACE
THE SECOND SATIRE OF THE SECOND BOOK OF HORACE
THE SEVENTH EPISTLE OF THE FIRST BOOK OF HORACE
THE SIXTH EPISTLE OF THE FIRST BOOK OF HORACE
THE SIXTH SATIRE OF THE SECOND BOOK OF HORACE
THE TEMPLE OF FAME
THE THREE BOOK DUNCIAD, 1728
THE THREE GENTLE SHEPHERDS
THE TRANSLATOR
THE WIFE OF BATH
THREE BOOK DUNCIAD. BOOK THE FIRST.
THREE BOOK DUNCIAD. BOOK THE SECOND.
THREE BOOK DUNCIAD. BOOK THE THIRD.
TO A LADY, WITH THE TEMPLE OF FAME
TO ERINNA
TO LADY MARY WORTLEY MONTAGU
TO MR. GAY
TO MR. JOHN MOORE
TO MR. LEMUEL GULLIVER
TO MR. THOMAS SOUTHERN
TO MRS. M. B. ON HER BIRTHDAY
TO THE AUTHOR OF A POEM ENTITLED SUCCESSIO
TO THE RIGHT HON. THE EARL OF OXFORD
TWO CHORUSES TO THE TRAGEDY OF BRUTUS
UMBRA
UNIVERSAL PRAYER
UPON THE DUKE OF MARLBOROUGH’S HOUSE AT WOODSTOCK
VERBATIM FROM BOILEAU
VERSES LEFT BY MR. POPE
VERSES TO MR. C.
VERTUMNUS AND POMONA
WALLER: ON A FAN OF THE AUTHOR’S DESIGN
WALLER: ON A LADY SINGING TO HER LUTE
WINDSOR FOREST
WINTER; OR, DAPHNE
The Play
Pope lived in his parents’ house in Mawson Row, Chiswick, between 1716 and 1719. The red brick building is now a public house.
THREE HOURS AFTER MARRIAGE by John Gay, Alexander Pope and John Arbuthnot
This restoration comedy was written in 1717 as a collaboration between John Gay, Alexander Pope and John Arbuthnot, and among its satirical targets were Richard Blackmore. The play received seven sell-out performances, which at that time was a record for the Theatre Royal Drury Lane. Nevertheless, critical reception was less friendly, with Charles Johnson, labelling the drama as Three Hours “Long-labour’d Nonsense” and it was also attacked by Leonard Welsted, and Giles Jacob complained that it included scenes that “trespass on Female Modesty”. This view of the work as obscene became the majority view, resulting with the play remaining unperformed until 1996, when Richard Cottrell directed a Royal Shakespeare Company production at the Swan Theatre.
John Gay (1685–1732) was a poet and dramatist and member of the Scriblerus Club. He is best remembered for The Beggar’s Opera (1728), a ballad opera.
CONTENTS
INTRODUCTION
NOTES
ADVERTISEMENT.
PROLOGUE
Dramatis Personæ.
ACT I.
ACT II.
ACT III.
ACT IV.
ACT V.
EPILOGUE.
Theatre Royal Drury Lane, c. 1800
INTRODUCTION
It is a privilege to have a part in this reprint of what is certainly one of the wittiest plays in the language, and one of the most neglected.[A] Its tripartite authorship and raffish character have encouraged editors to bypass it. The 1717 London edition and Dublin reprint the same year bore no author’s name on the title-page, but as Gay signed the Advertisement one would think his editors would have felt it somewhat incumbent on them to keep the play alive. However, so far as I have been able to discover, only the 1795 collected edition of Gay does its duty in this respect, and the editor of Gay’s plays in the Abbey Classics (2 vols., 1923) refused to admit it there, claiming that though “this justly abused piece” had been ascribed to Gay, “the authors of the greater part were Pope and Arbuthnot.” Three Hours has fared somewhat better as a work of Pope, but interest in reprinting it under his aegis seems to have died out early in the nineteenth century, where the Twickenham Edition (VI, 180) locates two collections of writings attached to Pope that include it — very far to the back of the volume in each case. Since then, nothing, except for a few scraps in G. C. Faber’s Poetical Works of Gay, 1926.
[A] Since this introduction was written the Johnsonian News Letter for June 1961 has announced that an edition of Three Hours is being prepared and may be expected to appear at an early date. It is gratifying to learn that the play is receiving this attention and I hope that this reprint may be of use to the editors in their task.
Not much can be done with the play in the space here available, but neither is a complete treatment attempted. Our purpose is to dispel the impression that Three Hours is “dull” (or so risqué that in the public interest it should be kept from general circulation) and to bring it to the attention of more scholars. Certainly the present discussion does not aim to pre-empt the possibilities for study; much will remain to conquer still-for example, the knotty problem of which author wrote precisely which parts of the play, if anyone wants to try an untangling here — I prefer to think it a collaboration through and through, though some tracks of individuals may be made out.
In the selection of the text to be reproduced for this series the first edition (somewhat unexpectedly) had competition, not from the London 1757 Supplement to Pope’s works, but from the version of the play given in the three Dublin printings of the collection of this title: 1757, 1758, 1761. The Dublin play is not merely a debased version of 1717: it is in five acts, 1717 in three, and it contains a sentence of dialogue that 1717 does not: these differences, when taken in conjunction with the prefatory remarks that Gay wrote for the 1717 printing, made it possible to determine (readers will find the argument set forth further on, in a note to the Advertisement) that Dublin, though printed so long after the event (and somewhat butchered by the type-setter, we admit, but corrections of his worst misreadings and typos will be found in the notes) dates from the year 1717 just as the other does, was the script used in the p
roduction of the play, and actually was the one that Gay thought Lintot would use in the edition he published. The other consideration inclining us toward the Dublin version of the play was that only in its printings can one get the Key and Letter which, a number of years ago, George Sherburn had in a copy of 1761 and used with such striking effect in his article on the “Fortunes and Misfortunes” of the play; he quoted liberally from both documents but they seemed to us so interesting as to be worth putting into the reader’s hands entire.
Thus it boiled down to a choice between the two earlier Dublin printings; 1761, it seemed, would not need to be checked. The kindness of the Harvard College Library made it possible to compare its copy of 1757 with the Clark Library’s copy of 1758, and in the light of the data furnished by the Clark’s Supervising Bibliographer, Mr. William E. Conway, the Clark copy could be settled upon; the differences, though slight — there was little resetting from 1757 to 1758, and none in the play proper — were in its favor.
Any study of the play must begin with Professor Sherburn’s article — it is still indispensable, factually — but in its findings scholars have perhaps let it influence them more than they should have. John Wilson Bowyer was exceptional in challenging one of its identifications (successfully, I thought); perhaps the time has now come for re-examining some of its other theses — for example, the doctrine (which has become so firmly embedded in the scholarship on the play) that the authors intended the role of Plotwell as a satire on Cibber. This was suggested at the time in the Key to the play by E. Parker, but any charge brought by this person might well have been looked at askance; for, whoever he was, he was avowedly a champion of “that elaborate Gentleman,” “the learned Dr. W — d —— d” (Woodward, one of the real people attacked in the play) and might be suspected of hoping to cause an embroilment. It seems clear that prior to the play’s première there was no rift between the management at Drury Lane and the authors. Parker says that they were constantly in attendance at rehearsals, and our Letter (p. 216) avers that they were more than satisfied with what Cibber was doing with their work. It rings true; the line attributed to Gay, “We dug the ore, but he [Cibber] refined the gold” exaggerates greatly no doubt, but seems beyond the powers of our female informant to have contrived in support of a thesis. An atmosphere of happy optimism prevailed; Lintot (Parker says) predicted that the play “would surprize the whole Town,” and it was reported that he had given 50 guineas for the publishing rights (this item from John Durant Breval — signing himself “Joseph Gay” — p. 30 of The Confederates, 1717).
Alexander Pope - Delphi Poets Series Page 147
