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IN the year 1718, and presumably after Mr. Matthew Prior had already printed his tall and extremely miscellaneous folio of 'Poems on Several Occasions,' there was published separately a little jeu d'esprit by the same 'eminent Hand,' which has not been regarded as the least fortunate of his efforts. In its first fugitive form, now so rare as to be known only to a few highly-favoured collectors, it is a single page or leaf of eight quatrains; and of this there are two issues, both attributing the verses to Prior, both claiming to be authentic, both unauthorised. The earlier, which is dated, is headed 'Upon Lady Katherine H—des first appearing at the Play-House in Drury-Lane;' the other, 'from Curll's chaste press,' bears the title of 'The Female Phaeton,' by which the piece is now known. The person indicated was the second daughter of Henry Hyde, Earl of Clarendon and Rochester, and the grandchild of the great Lord Chancellor and historian of the Rebellion. As she was born in 1700, she must at this time have been eighteen. She was 'beautiful,' says the poet; 'she was wild as Colt untam'd;' she was, besides,

'Inflam'd with Rage at sad Restraint,

Which wise Mamma ordain'd.'

Her elder sister, Jane—the 'blooming Hide, with Eyes so rare,' of whom John Gay had sung in the 'Prologue' to 'The Shepherd's Week'—was already married to the Earl of Essex. Why should not She, too, be a Toast, and 'bring home Hearts by Dozens'?

'Dearest Mamma, for once let me,

Unchain'd, my Fortune try;

I'll have my Earl, as well as She,

Or know the Reason why.'

And so the stanzas, eternally human and therefore eternally modern, dance and sparkle to their natural ending:

'Fondness prevail'd, Mamma gave way;

Kitty, at Heart's Desire,

Obtains the Chariot for a Day,

And set the World on Fire.'

Apart from the reference to Drury Lane Theatre supplied by the title, there is no clue to the incident recorded. But two years after Prior wrote these playful verses, which were sent to the lady through Mr. Harcourt, Catherine Hyde verified her poet's words by securing a suitor of even higher rank than her sister's husband. In March, 1720, she married Charles Douglas, third Duke of Queensberry, an amiable and accomplished nobleman, who, it has been hinted, must sometimes have been considerably 'exercised' by the vagaries of the charming but impetuous 'child of Nature' whom he had selected for his helpmate. Indeed, despite her ability, many of her less sympathetic contemporaries did not scruple to suggest that her Grace's eccentricities almost amounted to a touch of insanity. Bolingbroke called her 'Sa Singularité;' Walpole spoke of her roundly as 'an out-pensioner of Bedlam.' But neither the Abbot of Strawberry nor Pope's 'guide, philosopher, and friend' had any right to set up for a Forbes-Winslow or a Brouardel; and there is in reality little more in what is related of her than might be expected of one who, at once a spoiled child, a beauty, and a woman of parts, deliberately revolted against the tyrannous conventionalities of her time. To the last she persistently declined, as she told Swift, to 'cut and curl her hair like a sheep's head,' in accordance with the reigning fashion; and she affected in her dress a simplicity and youthfulness which nothing but the good looks she contrived to retain so long, could possibly have justified. She had a fancy for idyllic travesties, appearing now as a shepherdess, now as a peasant, now as a milkmaid. *

* In this last character Charles Jervas painted her. The

picture is in the National Portrait Gallery. She has hazel

eyes and dark-brown hair.

Upon one occasion she scandalized the court-usher soul of Horace Walpole by masquerading at St. James's in a costume of red flannel. As a rule, she carried her innovations triumphantly; but now and then she was forced to yield to a will more imperative than her own. Once the fantastic old King of Rath tore off her favourite white apron in the Pump Room, flinging it contemptuously among the 'waiting gentlewomen' in the hinder benches. 'None but abigails wore white aprons,' he declared; and the grande dame de par la monde made a virtue of necessity, and submitted. In her own entertainments, however, she seems to have been as despotic as Nash, insisting that people should come early and leave early, and declining to provide the profuse refreshments then expected. High-spirited and whimsical no doubt she was; but the stories told of her are probably exaggerated. Those who praise her, praise her unreservedly. Her character was unblemished. She was truthful; she was honest; she was not a flatterer. And she was certainly fearless, for she dared, even in the rudimentary epoch of the two-pronged fork, to rally the terrible Dean of St. Patrick's for that deplorable habit—so justly deprecated by the Historian of Snobs—of putting his knife in his mouth. When she saw any one 'administer the cold steel,' as Thackeray calls it, she would shriek out in affected terror lest they should do themselves a mischief. She seems, although they never really met after her girlhood, to have wholly subjugated Swift, whose final tone to her comes perilously close to that fulsome adulation which, in others, stirred his fiercest scorn. 'I will excuse your blots upon paper,' he says, writing to her after Gay death, 'because they are the only blots you ever did, or ever will make, in the whole course of your life.' Further on he refers 'to the universal, almost idolatrous esteem you have forced from every person in two kingdoms, who have the least regard for virtue.' It is her peculiar art, he tells her again, to bribe 'all wise and good men to be her flatterers.' Swift was no paragon; but the praise of Swift outweighs the sneers of Walpole.

She was the friend of men of letters—this capricious great lady, and they have judged her best. To Swift in particular it was an attraction that she loved and befriended his favourite Gay. The earlier part of the brief correspondence from which the above quotation is borrowed, shows the Duchess in her most amiable light; and it was with Gay that it originated. From the days of her marriage she had protected and petted that fat and feckless fabulist; she had championed him in the matter of his second ballad-opera in such a way as to procure her own exile from Court; and at the time she began to write to Swift, Gay was domiciled at the Duke's country house at Ambresbury, or Amesbury, near Salisbury, in Wiltshire. Gay begins by sending Swift the Duchess's 'services,' and by wishing on his own account that Swift could come to England—could come to Amesbury. Swift replies with conventional acknowledgment of the civility of the lady, whom he had not seen since she was a girl. He hears an ill thing of her, he says'—that she is matre pulchrâ filia pulchrior, and he would be angry she should excel her mother (Jane Leveson Gower), who, of old, had long been his 'principal goddess.' In the letter that succeeds, the Duchess herself adds a postscript to confirm Gay's invitation. 'I would fain have you come,' she writes. 'I can't say you'll be welcome; for I don't know you, and perhaps I shall not like you; but if I do not (unless you are a very vain person), you shall know my thoughts as soon as I do myself.' No mode of address could have suited Swift's humour better; and part of his next epistle to Gay replies to her challenge in the true Swiftian style. He begins very low down on the page—'as a mark of respect, like receiving her Grace at the bottom of the stairs.' He goes on with a protest for form's sake against the imperious manner of her advances; but he argues ingeniously that she must like him, since they are both unpopular with the Queen. If he comes, 'he will,' he adds, 'out of fear and prudence, appear as vain as he can, that he may not know her thoughts of him.' His closing sentences are in Malvolio's manner. 'This is your own direction, but it was needless. For Diogenes himself would be vain, to have received the honour of being one moment of his life in the thoughts of your grace.'

After this, les épées s'engagent. As to the correspondence that ensued, opinions differ widely. Warton discovered 'exquisite humour and pleasantry' in Swift's 'affected bluntness,' and compares him to Voiture—to Waller writing to Sacharissa on her marriage. Later editors are less enthusiastic, regarding the whole series of letters as 'empty, laboured, and childish on both sides.' Each of these verdicts is extreme. Swift tempering candour by compliment, is an unusual but not an impossible spectacle; while the Duchess writes exactly as one would expect her to write with Swift's fast friend at her elbow. Gay, knowing that she will probably follow him, warns Swift playfully that she has her antipathies—that she likes her own way—that she is very frank, and that in any dispute he must be on her side. Thereupon her Grace takes up the pen herself:

'Write I must, particularly now, as I have an opportunity to indulge my predominant passion of contradiction. I do, in the first place, contradict most things Mr. Gay says of me, to deter you from coming here; which if you ever do, I hereby assure you, that, unless I like my own way better, you shall have yours; and in all disputes you shall convince me if you can. But, by what I see of you, this is not a misfortune, that will always happen; for I find you are a great mistaker. For example, you take prudence for imperiousness:'tis from this first that I determined not to like one, who is too giddy-headed for me to be certain whether or no I shall ever be acquainted with [him]. I have known people take great delight in building castles in the air; but I should choose to build friends upon a more solid foundation. I would fain know you; for I often hear more good likable things [of you] than 'tis possible any one can deserve. Pray, come, that I may find out something wrong; for I, and I believe most women, have an inconceivable pleasure to find out any faults, except their own. Mr. Cibber is made poet laureate. * I am, Sir, as much your humble servant as I can be to any person I don't know.

'C. Q.

'P.S. Mr. Gay is very peevish that I spell and write ill; but I don't care: for neither the pen nor I can do better. Besides, I think you have flattered me, and such people ought to be put to trouble.'

That this fashion of writing, so new to him, should not have captivated Swift, is impossible. He could not accept the invitation; but at least he could prolong the correspondence. In his next letter he enters upon preliminaries. He is old, dull, peevish, perverse, morose. Has

* 'Harmonious Cibber entertains

The Court with annual Birth-day Strains;

Whence Gay was banish'd in Disgrace.'

Swift, On Poetry: a Rhapsody, 1733.

she a clear voice?—and will she let him sit at her left hand, for his right ear is the better? Can the parson of the parish play at backgammon, and hold his tongue? Has she a good nurse among her women, in case he should fancy himself sick? How long will she maintain him and his equipage if he comes? A week or two later, in the form of another postscript to Gay, follows the reply of the Duchess:

'It was Mr. Gay's fault that I did not write sooner; which if I had, I should hope you would have been here by this time; for I have to tell you, all your articles are agreed to; and that I only love my own way, when I meet not with others whose ways I like better. I am in great hopes that I shall approve of yours; for to tell you the truth, I am at present a little tired of my own. I have not a clear or distinct voice, except when I am angry; but I am a very good nurse, when people don't fancy themselves sick. Mr. Gay knows this; and he knows too how to play at backgammon. Whether the parson of the parish can, I know not; but if he cannot hold his tongue, I can. Pray set out the first fair wind and stay with us as long as ever you please. I cannot name my fixed time, that I shall like to maintain you and your equipage; but if I don't happen to like you, I know I can so far govern my temper as to endure you for about five days. So come away directly; at all hazards you'd be allowed a good breathing time. I shall make no sort of respectful conclusions; for till I know you, I cannot tell what I am to you.'

And so the correspondence, always conducted on the one side by Gay and his kind protectress, or Gay and the Duke, protracts itself until arrives to Swift that fatal missive from Pope and Arbuthnot announcing Gay's sudden death—a missive which, overmastered by a foreboding of its contents, he kept unopened for days. At a later date some further communications followed between Swift and the Duchess. But he liked best her postscripts to his dead friend's letters. 'They made up,' he told Pope unaffectedly, 'a great part of the little happiness I could have here.'

Swift survived Gay for nearly fifteen years, and the Duchess lived far into the reign of George the Third. In the changing procession of Walpole's pages one gets glimpses of her from time to time, generally emphasized by some malicious anecdote or epithet. At the coronation she returned to Court, appearing with perfectly white hair. Yet, four years before her death, Walpole says of her that (by twilight) you would sooner 'take her for a young beauty of an old-fashioned century than for an antiquated goddess of this age.' Indeed her all-conquering charms seduced him into panegyric; and one day in 1771, she found these verses on her toilet-table, wrung from her most persistent detractor:

'To many a Kitty, Love his car

Will for a day engage,

But Prior's Kitty, ever fair,

Obtained it for an age!'

She was then seventy-one. In later life she was often at her seat of Drumlanrig, in Dumfriesshire (where she was visited by Mr. Matthew Bramble and his party *); and Scott in his 'Journal,' under date of August, 1826, speaks of the 'Walk' by the river Nith which she had formed, and which still went by her name. Her peculiarities, over which her friend Mrs. Delany sighs plaintively, did not abate with age; but her kind heart remained. She died in Savile Row in 1777, of a surfeit of cherries, and was buried at Durrisdeer.

* 'Expedition of Humphrey Clinker' (Letter to Dr. Lewis,

September 15).