And now, unveil'd, the Toilet stands display'd, Each silver Vase in mystic order laid. First, rob'd in white, the Nymph intent adores, With head uncover'd, the Cosmetic pow'rs. A heav'nly image in the glass appears, 125 To that she bends, to that her eyes she rears; Th' inferior Priestess, at her altar's side, Trembling begins the sacred rites of Pride. Unnumber'd treasures ope at once, and here

Thou know'st how guiltless first I met thy flame,
When Love approach'd me under Friendship's name;
My fancy form'd thee of angelic kind,
Some emanation of th' all-beauteous Mind.
Those smiling eyes, attemp'ring ev'ry day,
Shone sweetly lambent with celestial day.
Guiltless I gaz'd; heav'n listen'd while you sung;
And truths divine came mended from that tongue.
From lips like those what precept fail'd to move?
Too soon they taught me 'twas no sin to love.
Back through the paths of pleasing sense I ran,
Nor wish'd an Angel whom I lov'd a Man.
Dim and remote the joys of saints I see;
Nor envy them, that heav'n I lose for thee.

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Elkanah Settle, celebrated as Doeg in Dryden’s Absalom and Achitophel, wrote Successio in honor of the incoming Brunswick dynasty. Warburton (or possibly Pope) in a note on Dunciad, I. 181, says that the poem was ‘written at fourteen years old, and soon after printed.’ A good instance of Pope’s economy of material will be found in the passage upon which that note bears: an adaptation of lines 4, 17 and 18 of this early poem. It was first published in Lintot’s Miscellanies, 1712.