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How shall I, then, your helpless fame defend?
'Twill then be infamy to seem your friend!
And shall this prize, th' inestimable prize,
Expos'd thro' crystal to the gazing eyes,
And heighten'd by the diamond's circling rays, 115
On that rapacious hand for ever blaze!
Sooner shall glass in Hyde-Park Circus grow,
And wits take lodgings in the sound of Bow?
Sooner let earth, air, sea, to Chaos fall,
Men, monkeys, lap-dogs, parrots, perilh all ! 120

She said ; then raging to Sir Plume repairs,
And bids her Beau demand the precious hairs :
(Sir Plume of amber snuff-box juftly vain,
And the nice conduct of a clouded cane)
With earneft eyes, and round unthinking face, 125
He first the snuff box open'd, then the case,
And thus broke out- My Lord, why, what the

" devil ?
" Z-ds! damn the Lock! 'fore Gad, you must be

civil!
“ Plague on't ! 'tis past a jest-nay prithee, pox!
$6 Give her the hair”-he spoke, and rapp'd his box.

It grieves me much (reply'd the Peer again) 131
Who speaks so well should ever speak in vain,
But by this Lock, this sacred Lock I swear,
(Which never more shall join its parted hair;
Which never more its honours shall renew,

135
Clipp'd from the lovely head where late it grew)
That while my nostrils draw the vital air,
This hand, which won it, shall for ever wear.

IMITATIONS.

VER. 133. But by this Lock,] In allufion to Achilles's oath in Homer, II. i.

He fpoke, and speaking, in proud triumph spread The long contended honours of her head. 140

But Umbriel, hateful Gnome! forbears not fo; He breaks the Vial whence the forrows flow. Then see! the Nymph in beauteous grief appears, Her eyes half-languishing, half-drown'd in tears ; On her heav'd bosom hung her drooping head, 145 Which, with a figh, she rais'd; and thus the said:

For ever curs'd be this detefted day, Which snatch'd my best, my fav’rite curl away! Happy! ah ten times happy had I been, If Hampton-Court these eyes had never seen! 150 Yet am not I the first mistaken maid By love of courts to num'rous ills betray'd, Oh had I rather unadmir'd remain'd In some lone isle, or diftant northern land; Where the gilt Chariot never marks the way, 155 Where none learn Ombre, none e'er tafte Bohea ! There kept my charms conceal'd from mortal eye, Like roses, that in deserts bloom and die, What mov'd my mind with youthful Lords to roam ? O had I stay'd, and said my pray’rs at home! 160 'Twas this, the morning omens seem'd to tell, Thrice from my trembling hand the patch-box fell; The tott'ring China fhook without a wind, Nay Poll fat mute, and Shock was most unkind! A Sylph too warn'd me of the threats of Fate, 165 In mystic visions, now believ'd too late ! See the poor remnants of these flighted hairs ! My hands shall rend what ev’n thy rapine spares : VER. 141, 142. But Umbriel, bateful Gnome! forbears not so;

He breaks the ial whence tbe sorrows flow.) These two lines are additional; and assign the cause of the different operation on the Passions of the two Ladies. The poem went on before without that distinction, as without any machinery, to the cod of the Canto,

These in two fable ringlets taught to break,
Once gave new beauties to the snowy neck; 176
The fifterelock now fits uncouth, alone,
And in its fellow's fate foresees its own;
Uncurl'd it hangs, the fatal sheers demands,
And tempts, once more, thy facrilegious hands,
Oh hadft thou, cruel! been content to seize 175
Hairs less in fight, or any hairs but these!

THE

RAPE of the LOCK.

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CANTO V.
He said: the pitying audience melt in tears ;

But Fate and Jove had stopp'd the Baron's ears.
In vain Thaleftris with reproach affails,
For who can move when fair Belinda fails?
Not half fo fix'd the Trojan could remain,

5 While Anna begg’d and Dido rag'd in vain. Then grave Clarissa graceful wav'd her fan ; Silence ensu'd, and thus the Nymph began.

Say, why are Beauties prais'd and honour'd most, The wise man's passion, and the vain man's toast? 10 Why deck'd with all that land and sea afford, Why Angels call'd and Angel-like ador'd? Why round our coaches crowd the white-glov'd Beaux, Why bows the side-box from its inmost rows? How vain are all these glories, all our pains, 15 Unless good sense preserve what beauty gains: That men may say, when we the front-box grace, Behold the first in virtue as in face ! Oh! if to dance all night, and dress all day, Charm'd the small-pox, or chas'd old age away ; Who would not scorn what housewife's cares produce, Or who would learn one earthly thing of use?

20

VARIATIONS.

VER. 7. Tben grave Clarisa, etc.] A new Character introduced in the subsequent editions, to open more clearly the MÒRAL of the Poem, in a Parody of the speech of Sarpedon to Glaucus in Homer,

To patch, nay ogle, might become a Saint, .
Nor could it sure be such a fin to paint.
But since, alas! frail beauty must decay,

25
Curld or uncurld, fince Locks will turn to grey;
Since painted, or not painted, all shall fade,
And she who scorns a man, muft die a maid ;
What then remains, but well our pow'r to use,
And keep good-humour still whate'er we lose?

30 And trust me, Dear! good humour can prevail, When airs, and lights, and screams, and scolding fail. Beauties in vain their pretty eyes may roll; Charms strike the fight, but merit wins the foul.

So spoke the Dame, but no applause ensu'd; 35 Belinda frown'd, Thaleftris call'd her Prude. To arms, to arms! the fierce Virago cries, And swift as lightning to the combat Aies. All fide in parties, and begin th' attack; Fans clap, silks rustle, and tough whalebones crack ; Heroes and Heroines shouts confus'dly rise, 43 And bass and treble voices frike the skies. No common weapon in their hands are found, Like Gods they fight, nor dread a mortal wound,

So when bold Homer makes the Gods engage, 45 And heav'nly breasts with human passions rage ; 'Gainst Pallas, Mars ; Latona, Hermes arms; And all Olympus rings with loud alarms;

VER. 45. So when bold Homer] Homer, Il. xx.

IMITATION S.

VER. 35. So spoke the Dame,] It is a verse frequently repeated in Homer after any speech ;

So spoke and all the Heroes applauded.

VARIATIONS,

VER. 37. To arms, to arms!) From hence the first edition goes on to the Conclusion, except a very few short insertions added, to keep the Machinery in view to the end of the poem,

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