To my surprise, somebody has just launched a "real time" newspaper for Casper:
OilCity | News in Real-time for Wyoming Communities
Casper has two papers as it is, a daily and a weekly. I have a hard time seeing how a free instant paper can succeed, but then newspapers in big cities already have trouble with instant electronic news. Sign of the times I suppose. It's interesting to note that Casper, when it was a much smaller town, had two daily newspapers, a morning and an evening paper. That being, of course, in an era when radio was the only competition, and no news was instant.
Friday, June 6, 2014
Today In Wyoming's History: June 6
Today In Wyoming's History: June 6:
June 6
June 6
1886 Douglas Budget founded. Attribution: On This Day.
1892 Information filed in State of Wyoming v. Alexander Adamson, et al.
Murder in the First Degree, chargng Alexander Adamson, William E.
Guthrie, William Armstrong and J. A. Garrett with the murder of Rueben
"Nick" Ray during the Johnson County War. This was a criminal charge
filed in Johnson County, as opposed to Laramie County where the charges
stemming from the Johnson County War.
Murder in the First Degree, chargng Alexander Adamson, William E.
Guthrie, William Armstrong and J. A. Garrett with the murder of Rueben
"Nick" Ray during the Johnson County War. This was a criminal charge
filed in Johnson County, as opposed to Laramie County where the charges
stemming from the Johnson County War.
1894 In the reverse of the usual story, Colorado's Governor Davis H.
Waite orders the Colorado state militia to protect and support tminers
engaged in a strike at Cripple Creek. Mine owners had already formed
private army.
Waite orders the Colorado state militia to protect and support tminers
engaged in a strike at Cripple Creek. Mine owners had already formed
private army.
1908 A man from Cody Wyoming was the co-winner of the Evanston Wyoming
to Denver horse race, one of the long distance horse races that were
common in Wyoming at the time.
to Denver horse race, one of the long distance horse races that were
common in Wyoming at the time.
1912 President Taft signs the Homestead Act of 1912, which reduces the
period to "prove up" from five years to three. This was unknowingly on
the eve of a major boom in homesteading, as World War One would create a
huge demand for wheat for export, followed by the largest number of
homestead filings in American history as would be wheat farmers
attempted to gain land for the endeavor. Attribution: On This Day.
period to "prove up" from five years to three. This was unknowingly on
the eve of a major boom in homesteading, as World War One would create a
huge demand for wheat for export, followed by the largest number of
homestead filings in American history as would be wheat farmers
attempted to gain land for the endeavor. Attribution: On This Day.
Wheat farmer, Billings Montana.
1915 British commissioners began to purchase remounts in Wyoming. The
purchase of horses for British service in World War One created a boom
in horse ranching which would continue, fueled both by British and
American service purchases, throughout the war, but which would be
followed by a horse ranching crash after the war.
purchase of horses for British service in World War One created a boom
in horse ranching which would continue, fueled both by British and
American service purchases, throughout the war, but which would be
followed by a horse ranching crash after the war.
U.S. Army Remounts, Camp Kearney California, 1917.
1944 Allied forces land in Normandy, in an event remembered as "D-Day",
although that term actually refers to the day on which any major
operation commences. This is not, of course, a Wyoming event, but at
least in my youth I knew more than one Wyoming native who had
participated in it. Later, I had a junior high teacher whose first
husband had died in it. A law school colleague of mine had a father who
was a paratrooper in it. And at least one well known Wyoming political
figure, Teno Roncolio, participated in it. From the prospective of the
Western Allies, it might be the single most significant single day of
the campaign in Europe.
although that term actually refers to the day on which any major
operation commences. This is not, of course, a Wyoming event, but at
least in my youth I knew more than one Wyoming native who had
participated in it. Later, I had a junior high teacher whose first
husband had died in it. A law school colleague of mine had a father who
was a paratrooper in it. And at least one well known Wyoming political
figure, Teno Roncolio, participated in it. From the prospective of the
Western Allies, it might be the single most significant single day of
the campaign in Europe.
All the photos above are courtesy of the United States Army.
1948 President Truman delivered a speech from the Governor's Mansion's
porch in Cheyenne. Attribution: Wyoming State Historical Society. He
stated:
porch in Cheyenne. Attribution: Wyoming State Historical Society. He
stated:
Text of Speech courtesy of Wyoming State Historic Preservation Office.
Wednesday, June 4, 2014
Tuesday, June 3, 2014
The Big Speech: Casey At The Bat
1888 The poem "Casey at the Bat" by Ernest Lawrence Thayer was first published, in the San Francisco Daily Examiner.
The Outlook wasn't brilliant for the Mudville nine that day:
The score stood four to two, with but one inning more to play.
And then when Cooney died at first, and Barrows did the same,
A sickly silence fell upon the patrons of the game.
A straggling few got up to go in deep despair. The rest
Clung to that hope which springs eternal in the human breast;
They thought, if only Casey could get but a whack at that -
We'd put up even money, now, with Casey at the bat.
But Flynn preceded Casey, as did also Jimmy Blake,
And the former was a lulu and the latter was a cake;
So upon that stricken multitude grim melancholy sat,
For there seemed but little chance of Casey's getting to the bat.
But Flynn let drive a single, to the wonderment of all,
And Blake, the much despis-ed, tore the cover off the ball;
And when the dust had lifted, and the men saw what had occurred,
There was Jimmy safe at second and Flynn a-hugging third.
Then from 5,000 throats and more there rose a lusty yell;
It rumbled through the valley, it rattled in the dell;
It knocked upon the mountain and recoiled upon the flat,
For Casey, mighty Casey, was advancing to the bat.
There was ease in Casey's manner as he stepped into his place;
There was pride in Casey's bearing and a smile on Casey's face.
And when, responding to the cheers, he lightly doffed his hat,
No stranger in the crowd could doubt 'twas Casey at the bat.
Ten thousand eyes were on him as he rubbed his hands with dirt;
Five thousand tongues applauded when he wiped them on his shirt.
Then while the writhing pitcher ground the ball into his hip,
Defiance gleamed in Casey's eye, a sneer curled Casey's lip.
And now the leather-covered sphere came hurtling through the air,
And Casey stood a-watching it in haughty grandeur there.
Close by the sturdy batsman the ball unheeded sped-
"That ain't my style," said Casey. "Strike one," the umpire said.
From the benches, black with people, there went up a muffled roar,
Like the beating of the storm-waves on a stern and distant shore.
"Kill him! Kill the umpire!" shouted someone on the stand;
And its likely they'd a-killed him had not Casey raised his hand.
With a smile of Christian charity great Casey's visage shone;
He stilled the rising tumult; he bade the game go on;
He signaled to the pitcher, and once more the spheroid flew;
But Casey still ignored it, and the umpire said, "Strike two."
"Fraud!" cried the maddened thousands, and echo answered fraud;
But one scornful look from Casey and the audience was awed.
They saw his face grow stern and cold, they saw his muscles strain,
And they knew that Casey wouldn't let that ball go by again.
The sneer is gone from Casey's lip, his teeth are clenched in hate;
He pounds with cruel violence his bat upon the plate.
And now the pitcher holds the ball, and now he lets it go,
And now the air is shattered by the force of Casey's blow.
Oh, somewhere in this favored land the sun is shining bright;
The band is playing somewhere, and somewhere hearts are light,
And somewhere men are laughing, and somewhere children shout;
But there is no joy in Mudville - mighty Casey has struck out.
Monday, June 2, 2014
Saturday, May 31, 2014
The Big Speech: An Essay on Criticism by Alexander Pope
PART 1
'Tis hard to say, if greater want of skill
Appear in writing or in judging ill;
But, of the two, less dang'rous is th' offence
To tire our patience, than mislead our sense.
Some few in that, but numbers err in this,
Ten censure wrong for one who writes amiss;
A fool might once himself alone expose,
Now one in verse makes many more in prose.
'Tis with our judgments as our watches, none
Go just alike, yet each believes his own.
In poets as true genius is but rare,
True taste as seldom is the critic's share;
Both must alike from Heav'n derive their light,
These born to judge, as well as those to write.
Let such teach others who themselves excel,
And censure freely who have written well.
Authors are partial to their wit, 'tis true,
But are not critics to their judgment too?
Yet if we look more closely we shall find
Most have the seeds of judgment in their mind;
Nature affords at least a glimm'ring light;
The lines, tho' touch'd but faintly, are drawn right.
But as the slightest sketch, if justly trac'd,
Is by ill colouring but the more disgrac'd,
So by false learning is good sense defac'd;
Some are bewilder'd in the maze of schools,
And some made coxcombs Nature meant but fools.
In search of wit these lose their common sense,
And then turn critics in their own defence:
Each burns alike, who can, or cannot write,
Or with a rival's, or an eunuch's spite.
All fools have still an itching to deride,
And fain would be upon the laughing side.
If Mævius scribble in Apollo's spite,
There are, who judge still worse than he can write.
Some have at first for wits, then poets pass'd,
Turn'd critics next, and prov'd plain fools at last;
Some neither can for wits nor critics pass,
As heavy mules are neither horse nor ass.
Those half-learn'd witlings, num'rous in our isle
As half-form'd insects on the banks of Nile;
Unfinish'd things, one knows not what to call,
Their generation's so equivocal:
To tell 'em, would a hundred tongues require,
Or one vain wit's, that might a hundred tire.
But you who seek to give and merit fame,
And justly bear a critic's noble name,
Be sure your self and your own reach to know,
How far your genius, taste, and learning go;
Launch not beyond your depth, but be discreet,
And mark that point where sense and dulness meet.
Nature to all things fix'd the limits fit,
And wisely curb'd proud man's pretending wit:
As on the land while here the ocean gains,
In other parts it leaves wide sandy plains;
Thus in the soul while memory prevails,
The solid pow'r of understanding fails;
Where beams of warm imagination play,
The memory's soft figures melt away.
One science only will one genius fit;
So vast is art, so narrow human wit:
Not only bounded to peculiar arts,
But oft in those, confin'd to single parts.
Like kings we lose the conquests gain'd before,
By vain ambition still to make them more;
Each might his sev'ral province well command,
Would all but stoop to what they understand.
First follow NATURE, and your judgment frame
By her just standard, which is still the same:
Unerring Nature, still divinely bright,
One clear, unchang'd, and universal light,
Life, force, and beauty, must to all impart,
At once the source, and end, and test of art.
Art from that fund each just supply provides,
Works without show, and without pomp presides:
In some fair body thus th' informing soul
With spirits feeds, with vigour fills the whole,
Each motion guides, and ev'ry nerve sustains;
Itself unseen, but in th' effects, remains.
Some, to whom Heav'n in wit has been profuse,
Want as much more, to turn it to its use;
For wit and judgment often are at strife,
Though meant each other's aid, like man and wife.
'Tis more to guide, than spur the Muse's steed;
Restrain his fury, than provoke his speed;
The winged courser, like a gen'rous horse,
Shows most true mettle when you check his course.
Those RULES of old discover'd, not devis'd,
Are Nature still, but Nature methodis'd;
Nature, like liberty, is but restrain'd
By the same laws which first herself ordain'd.
Hear how learn'd Greece her useful rules indites,
When to repress, and when indulge our flights:
High on Parnassus' top her sons she show'd,
And pointed out those arduous paths they trod;
Held from afar, aloft, th' immortal prize,
And urg'd the rest by equal steps to rise.
Just precepts thus from great examples giv'n,
She drew from them what they deriv'd from Heav'n.
The gen'rous critic fann'd the poet's fire,
And taught the world with reason to admire.
Then criticism the Muse's handmaid prov'd,
To dress her charms, and make her more belov'd;
But following wits from that intention stray'd;
Who could not win the mistress, woo'd the maid;
Against the poets their own arms they turn'd,
Sure to hate most the men from whom they learn'd.
So modern 'pothecaries, taught the art
By doctor's bills to play the doctor's part,
Bold in the practice of mistaken rules,
Prescribe, apply, and call their masters fools.
Some on the leaves of ancient authors prey,
Nor time nor moths e'er spoil'd so much as they:
Some drily plain, without invention's aid,
Write dull receipts how poems may be made:
These leave the sense, their learning to display,
And those explain the meaning quite away.
You then whose judgment the right course would steer,
Know well each ANCIENT'S proper character;
His fable, subject, scope in ev'ry page;
Religion, country, genius of his age:
Without all these at once before your eyes,
Cavil you may, but never criticise.
Be Homer's works your study and delight,
Read them by day, and meditate by night;
Thence form your judgment, thence your maxims bring,
And trace the Muses upward to their spring;
Still with itself compar'd, his text peruse;
And let your comment be the Mantuan Muse.
When first young Maro in his boundless mind
A work t' outlast immortal Rome design'd,
Perhaps he seem'd above the critic's law,
And but from Nature's fountains scorn'd to draw:
But when t' examine ev'ry part he came,
Nature and Homer were, he found, the same.
Convinc'd, amaz'd, he checks the bold design,
And rules as strict his labour'd work confine,
As if the Stagirite o'erlook'd each line.
Learn hence for ancient rules a just esteem;
To copy nature is to copy them.
Some beauties yet, no precepts can declare,
For there's a happiness as well as care.
Music resembles poetry, in each
Are nameless graces which no methods teach,
And which a master-hand alone can reach.
If, where the rules not far enough extend,
(Since rules were made but to promote their end)
Some lucky LICENCE answers to the full
Th' intent propos'd, that licence is a rule.
Thus Pegasus, a nearer way to take,
May boldly deviate from the common track.
Great wits sometimes may gloriously offend,
And rise to faults true critics dare not mend;
From vulgar bounds with brave disorder part,
And snatch a grace beyond the reach of art,
Which, without passing through the judgment, gains
The heart, and all its end at once attains.
In prospects, thus, some objects please our eyes,
Which out of nature's common order rise,
The shapeless rock, or hanging precipice.
But tho' the ancients thus their rules invade,
(As kings dispense with laws themselves have made)
Moderns, beware! or if you must offend
Against the precept, ne'er transgress its end;
Let it be seldom, and compell'd by need,
And have, at least, their precedent to plead.
The critic else proceeds without remorse,
Seizes your fame, and puts his laws in force.
I know there are, to whose presumptuous thoughts
Those freer beauties, ev'n in them, seem faults.
Some figures monstrous and misshap'd appear,
Consider'd singly, or beheld too near,
Which, but proportion'd to their light, or place,
Due distance reconciles to form and grace.
A prudent chief not always must display
His pow'rs in equal ranks, and fair array,
But with th' occasion and the place comply,
Conceal his force, nay seem sometimes to fly.
Those oft are stratagems which errors seem,
Nor is it Homer nods, but we that dream.
Still green with bays each ancient altar stands,
Above the reach of sacrilegious hands,
Secure from flames, from envy's fiercer rage,
Destructive war, and all-involving age.
See, from each clime the learn'd their incense bring!
Hear, in all tongues consenting pæans ring!
In praise so just let ev'ry voice be join'd,
And fill the gen'ral chorus of mankind!
Hail, bards triumphant! born in happier days;
Immortal heirs of universal praise!
Whose honours with increase of ages grow,
As streams roll down, enlarging as they flow!
Nations unborn your mighty names shall sound,
And worlds applaud that must not yet be found!
Oh may some spark of your celestial fire
The last, the meanest of your sons inspire,
(That on weak wings, from far, pursues your flights;
Glows while he reads, but trembles as he writes)
To teach vain wits a science little known,
T' admire superior sense, and doubt their own!
Part 2
Of all the causes which conspire to blind
Man's erring judgment, and misguide the mind,
What the weak head with strongest bias rules,
Is pride, the never-failing vice of fools.
Whatever Nature has in worth denied,
She gives in large recruits of needful pride;
For as in bodies, thus in souls, we find
What wants in blood and spirits, swell'd with wind;
Pride, where wit fails, steps in to our defence,
And fills up all the mighty void of sense!
If once right reason drives that cloud away,
Truth breaks upon us with resistless day;
Trust not yourself; but your defects to know,
Make use of ev'ry friend—and ev'ry foe.
A little learning is a dang'rous thing;
Drink deep, or taste not the Pierian spring:
There shallow draughts intoxicate the brain,
And drinking largely sobers us again.
Fir'd at first sight with what the Muse imparts,
In fearless youth we tempt the heights of arts,
While from the bounded level of our mind,
Short views we take, nor see the lengths behind,
But more advanc'd, behold with strange surprise
New, distant scenes of endless science rise!
So pleas'd at first, the tow'ring Alps we try,
Mount o'er the vales, and seem to tread the sky;
Th' eternal snows appear already past,
And the first clouds and mountains seem the last;
But those attain'd, we tremble to survey
The growing labours of the lengthen'd way,
Th' increasing prospect tires our wand'ring eyes,
Hills peep o'er hills, and Alps on Alps arise!
A perfect judge will read each work of wit
With the same spirit that its author writ,
Survey the whole, nor seek slight faults to find,
Where nature moves, and rapture warms the mind;
Nor lose, for that malignant dull delight,
The gen'rous pleasure to be charm'd with wit.
But in such lays as neither ebb, nor flow,
Correctly cold, and regularly low,
That shunning faults, one quiet tenour keep;
We cannot blame indeed—but we may sleep.
In wit, as nature, what affects our hearts
Is not th' exactness of peculiar parts;
'Tis not a lip, or eye, we beauty call,
But the joint force and full result of all.
Thus when we view some well-proportion'd dome,
(The world's just wonder, and ev'n thine, O Rome!'
No single parts unequally surprise;
All comes united to th' admiring eyes;
No monstrous height, or breadth, or length appear;
The whole at once is bold, and regular.
Whoever thinks a faultless piece to see,
Thinks what ne'er was, nor is, nor e'er shall be.
In ev'ry work regard the writer's end,
Since none can compass more than they intend;
And if the means be just, the conduct true,
Applause, in spite of trivial faults, is due.
As men of breeding, sometimes men of wit,
T' avoid great errors, must the less commit:
Neglect the rules each verbal critic lays,
For not to know such trifles, is a praise.
Most critics, fond of some subservient art,
Still make the whole depend upon a part:
They talk of principles, but notions prize,
And all to one lov'd folly sacrifice.
Once on a time, La Mancha's knight, they say,
A certain bard encount'ring on the way,
Discours'd in terms as just, with looks as sage,
As e'er could Dennis of the Grecian stage;
Concluding all were desp'rate sots and fools,
Who durst depart from Aristotle's rules.
Our author, happy in a judge so nice,
Produc'd his play, and begg'd the knight's advice,
Made him observe the subject and the plot,
The manners, passions, unities, what not?
All which, exact to rule, were brought about,
Were but a combat in the lists left out.
"What! leave the combat out?" exclaims the knight;
"Yes, or we must renounce the Stagirite."
"Not so by Heav'n" (he answers in a rage)
"Knights, squires, and steeds, must enter on the stage."
So vast a throng the stage can ne'er contain.
"Then build a new, or act it in a plain."
Thus critics, of less judgment than caprice,
Curious not knowing, not exact but nice,
Form short ideas; and offend in arts
(As most in manners) by a love to parts.
Some to conceit alone their taste confine,
And glitt'ring thoughts struck out at ev'ry line;
Pleas'd with a work where nothing's just or fit;
One glaring chaos and wild heap of wit.
Poets, like painters, thus, unskill'd to trace
The naked nature and the living grace,
With gold and jewels cover ev'ry part,
And hide with ornaments their want of art.
True wit is nature to advantage dress'd,
What oft was thought, but ne'er so well express'd,
Something, whose truth convinc'd at sight we find,
That gives us back the image of our mind.
As shades more sweetly recommend the light,
So modest plainness sets off sprightly wit.
For works may have more wit than does 'em good,
As bodies perish through excess of blood.
Others for language all their care express,
And value books, as women men, for dress:
Their praise is still—"the style is excellent":
The sense, they humbly take upon content.
Words are like leaves; and where they most abound,
Much fruit of sense beneath is rarely found.
False eloquence, like the prismatic glass,
Its gaudy colours spreads on ev'ry place;
The face of Nature we no more survey,
All glares alike, without distinction gay:
But true expression, like th' unchanging sun,
Clears, and improves whate'er it shines upon,
It gilds all objects, but it alters none.
Expression is the dress of thought, and still
Appears more decent, as more suitable;
A vile conceit in pompous words express'd,
Is like a clown in regal purple dress'd:
For diff'rent styles with diff'rent subjects sort,
As several garbs with country, town, and court.
Some by old words to fame have made pretence,
Ancients in phrase, mere moderns in their sense;
Such labour'd nothings, in so strange a style,
Amaze th' unlearn'd, and make the learned smile.
Unlucky, as Fungoso in the play,
These sparks with awkward vanity display
What the fine gentleman wore yesterday!
And but so mimic ancient wits at best,
As apes our grandsires, in their doublets dress'd.
In words, as fashions, the same rule will hold;
Alike fantastic, if too new, or old;
Be not the first by whom the new are tried,
Not yet the last to lay the old aside.
But most by numbers judge a poet's song;
And smooth or rough, with them is right or wrong:
In the bright Muse though thousand charms conspire,
Her voice is all these tuneful fools admire,
Who haunt Parnassus but to please their ear,
Not mend their minds; as some to church repair,
Not for the doctrine, but the music there.
These equal syllables alone require,
Tho' oft the ear the open vowels tire,
While expletives their feeble aid do join,
And ten low words oft creep in one dull line,
While they ring round the same unvaried chimes,
With sure returns of still expected rhymes.
Where'er you find "the cooling western breeze",
In the next line, it "whispers through the trees":
If "crystal streams with pleasing murmurs creep",
The reader's threaten'd (not in vain) with "sleep".
Then, at the last and only couplet fraught
With some unmeaning thing they call a thought,
A needless Alexandrine ends the song,
That, like a wounded snake, drags its slow length along.
Leave such to tune their own dull rhymes, and know
What's roundly smooth, or languishingly slow;
And praise the easy vigour of a line,
Where Denham's strength, and Waller's sweetness join.
True ease in writing comes from art, not chance,
As those move easiest who have learn'd to dance.
'Tis not enough no harshness gives offence,
The sound must seem an echo to the sense.
Soft is the strain when Zephyr gently blows,
And the smooth stream in smoother numbers flows;
But when loud surges lash the sounding shore,
The hoarse, rough verse should like the torrent roar.
When Ajax strives some rock's vast weight to throw,
The line too labours, and the words move slow;
Not so, when swift Camilla scours the plain,
Flies o'er th' unbending corn, and skims along the main.
Hear how Timotheus' varied lays surprise,
And bid alternate passions fall and rise!
While, at each change, the son of Libyan Jove
Now burns with glory, and then melts with love;
Now his fierce eyes with sparkling fury glow,
Now sighs steal out, and tears begin to flow:
Persians and Greeks like turns of nature found,
And the world's victor stood subdu'd by sound!
The pow'r of music all our hearts allow,
And what Timotheus was, is Dryden now.
Avoid extremes; and shun the fault of such,
Who still are pleas'd too little or too much.
At ev'ry trifle scorn to take offence,
That always shows great pride, or little sense;
Those heads, as stomachs, are not sure the best,
Which nauseate all, and nothing can digest.
Yet let not each gay turn thy rapture move,
For fools admire, but men of sense approve;
As things seem large which we through mists descry,
Dulness is ever apt to magnify.
Some foreign writers, some our own despise;
The ancients only, or the moderns prize.
Thus wit, like faith, by each man is applied
To one small sect, and all are damn'd beside.
Meanly they seek the blessing to confine,
And force that sun but on a part to shine;
Which not alone the southern wit sublimes,
But ripens spirits in cold northern climes;
Which from the first has shone on ages past,
Enlights the present, and shall warm the last;
(Though each may feel increases and decays,
And see now clearer and now darker days.)
Regard not then if wit be old or new,
But blame the false, and value still the true.
Some ne'er advance a judgment of their own,
But catch the spreading notion of the town;
They reason and conclude by precedent,
And own stale nonsense which they ne'er invent.
Some judge of authors' names, not works, and then
Nor praise nor blame the writings, but the men.
Of all this servile herd, the worst is he
That in proud dulness joins with quality,
A constant critic at the great man's board,
To fetch and carry nonsense for my Lord.
What woeful stuff this madrigal would be,
In some starv'd hackney sonneteer, or me?
But let a Lord once own the happy lines,
How the wit brightens! how the style refines!
Before his sacred name flies every fault,
And each exalted stanza teems with thought!
The vulgar thus through imitation err;
As oft the learn'd by being singular;
So much they scorn the crowd, that if the throng
By chance go right, they purposely go wrong:
So Schismatics the plain believers quit,
And are but damn'd for having too much wit.
Some praise at morning what they blame at night;
But always think the last opinion right.
A Muse by these is like a mistress us'd,
This hour she's idoliz'd, the next abus'd;
While their weak heads, like towns unfortified,
Twixt sense and nonsense daily change their side.
Ask them the cause; they're wiser still, they say;
And still tomorrow's wiser than today.
We think our fathers fools, so wise we grow;
Our wiser sons, no doubt, will think us so.
Once school divines this zealous isle o'erspread;
Who knew most Sentences, was deepest read;
Faith, Gospel, all, seem'd made to be disputed,
And none had sense enough to be confuted:
Scotists and Thomists, now, in peace remain,
Amidst their kindred cobwebs in Duck Lane.
If Faith itself has different dresses worn,
What wonder modes in wit should take their turn?
Oft, leaving what is natural and fit,
The current folly proves the ready wit;
And authors think their reputation safe
Which lives as long as fools are pleased to laugh.
Some valuing those of their own side or mind,
Still make themselves the measure of mankind;
Fondly we think we honour merit then,
When we but praise ourselves in other men.
Parties in wit attend on those of state,
And public faction doubles private hate.
Pride, Malice, Folly, against Dryden rose,
In various shapes of Parsons, Critics, Beaus;
But sense surviv'd, when merry jests were past;
For rising merit will buoy up at last.
Might he return, and bless once more our eyes,
New Blackmores and new Milbourns must arise;
Nay should great Homer lift his awful head,
Zoilus again would start up from the dead.
Envy will merit, as its shade, pursue,
But like a shadow, proves the substance true;
For envied wit, like Sol eclips'd, makes known
Th' opposing body's grossness, not its own.
When first that sun too powerful beams displays,
It draws up vapours which obscure its rays;
But ev'n those clouds at last adorn its way,
Reflect new glories, and augment the day.
Be thou the first true merit to befriend;
His praise is lost, who stays till all commend.
Short is the date, alas, of modern rhymes,
And 'tis but just to let 'em live betimes.
No longer now that golden age appears,
When patriarch wits surviv'd a thousand years:
Now length of Fame (our second life) is lost,
And bare threescore is all ev'n that can boast;
Our sons their fathers' failing language see,
And such as Chaucer is, shall Dryden be.
So when the faithful pencil has design'd
Some bright idea of the master's mind,
Where a new world leaps out at his command,
And ready Nature waits upon his hand;
When the ripe colours soften and unite,
And sweetly melt into just shade and light;
When mellowing years their full perfection give,
And each bold figure just begins to live,
The treacherous colours the fair art betray,
And all the bright creation fades away!
Unhappy wit, like most mistaken things,
Atones not for that envy which it brings.
In youth alone its empty praise we boast,
But soon the short-liv'd vanity is lost:
Like some fair flow'r the early spring supplies,
That gaily blooms, but ev'n in blooming dies.
What is this wit, which must our cares employ?
The owner's wife, that other men enjoy;
Then most our trouble still when most admir'd,
And still the more we give, the more requir'd;
Whose fame with pains we guard, but lose with ease,
Sure some to vex, but never all to please;
'Tis what the vicious fear, the virtuous shun;
By fools 'tis hated, and by knaves undone!
If wit so much from ign'rance undergo,
Ah let not learning too commence its foe!
Of old, those met rewards who could excel,
And such were prais'd who but endeavour'd well:
Though triumphs were to gen'rals only due,
Crowns were reserv'd to grace the soldiers too.
Now, they who reach Parnassus' lofty crown,
Employ their pains to spurn some others down;
And while self-love each jealous writer rules,
Contending wits become the sport of fools:
But still the worst with most regret commend,
For each ill author is as bad a friend.
To what base ends, and by what abject ways,
Are mortals urg'd through sacred lust of praise!
Ah ne'er so dire a thirst of glory boast,
Nor in the critic let the man be lost!
Good nature and good sense must ever join;
To err is human; to forgive, divine.
But if in noble minds some dregs remain,
Not yet purg'd off, of spleen and sour disdain,
Discharge that rage on more provoking crimes,
Nor fear a dearth in these flagitious times.
No pardon vile obscenity should find,
Though wit and art conspire to move your mind;
But dulness with obscenity must prove
As shameful sure as impotence in love.
In the fat age of pleasure, wealth, and ease,
Sprung the rank weed, and thriv'd with large increase:
When love was all an easy monarch's care;
Seldom at council, never in a war:
Jilts ruled the state, and statesmen farces writ;
Nay wits had pensions, and young Lords had wit:
The fair sat panting at a courtier's play,
And not a mask went unimprov'd away:
The modest fan was lifted up no more,
And virgins smil'd at what they blush'd before.
The following licence of a foreign reign
Did all the dregs of bold Socinus drain;
Then unbelieving priests reform'd the nation,
And taught more pleasant methods of salvation;
Where Heav'n's free subjects might their rights dispute,
Lest God himself should seem too absolute:
Pulpits their sacred satire learned to spare,
And Vice admired to find a flatt'rer there!
Encourag'd thus, wit's Titans brav'd the skies,
And the press groan'd with licenc'd blasphemies.
These monsters, critics! with your darts engage,
Here point your thunder, and exhaust your rage!
Yet shun their fault, who, scandalously nice,
Will needs mistake an author into vice;
All seems infected that th' infected spy,
As all looks yellow to the jaundic'd eye.
Part 3
Learn then what morals critics ought to show,
For 'tis but half a judge's task, to know.
'Tis not enough, taste, judgment, learning, join;
In all you speak, let truth and candour shine:
That not alone what to your sense is due,
All may allow; but seek your friendship too.
Be silent always when you doubt your sense;
And speak, though sure, with seeming diffidence:
Some positive, persisting fops we know,
Who, if once wrong, will needs be always so;
But you, with pleasure own your errors past,
And make each day a critic on the last.
'Tis not enough, your counsel still be true;
Blunt truths more mischief than nice falsehoods do;
Men must be taught as if you taught them not;
And things unknown proposed as things forgot.
Without good breeding, truth is disapprov'd;
That only makes superior sense belov'd.
Be niggards of advice on no pretence;
For the worst avarice is that of sense.
With mean complacence ne'er betray your trust,
Nor be so civil as to prove unjust.
Fear not the anger of the wise to raise;
Those best can bear reproof, who merit praise.
'Twere well might critics still this freedom take,
But Appius reddens at each word you speak,
And stares, Tremendous ! with a threatening eye,
Like some fierce tyrant in old tapestry!
Fear most to tax an honourable fool,
Whose right it is, uncensur'd, to be dull;
Such, without wit, are poets when they please,
As without learning they can take degrees.
Leave dangerous truths to unsuccessful satires,
And flattery to fulsome dedicators,
Whom, when they praise, the world believes no more,
Than when they promise to give scribbling o'er.
'Tis best sometimes your censure to restrain,
And charitably let the dull be vain:
Your silence there is better than your spite,
For who can rail so long as they can write?
Still humming on, their drowsy course they keep,
And lash'd so long, like tops, are lash'd asleep.
False steps but help them to renew the race,
As after stumbling, jades will mend their pace.
What crowds of these, impenitently bold,
In sounds and jingling syllables grown old,
Still run on poets, in a raging vein,
Even to the dregs and squeezings of the brain,
Strain out the last, dull droppings of their sense,
And rhyme with all the rage of impotence!
Such shameless bards we have; and yet 'tis true,
There are as mad, abandon'd critics too.
The bookful blockhead, ignorantly read,
With loads of learned lumber in his head,
With his own tongue still edifies his ears,
And always list'ning to himself appears.
All books he reads, and all he reads assails,
From Dryden's Fables down to Durfey's Tales.
With him, most authors steal their works, or buy;
Garth did not write his own Dispensary .
Name a new play, and he's the poet's friend,
Nay show'd his faults—but when would poets mend?
No place so sacred from such fops is barr'd,
Nor is Paul's church more safe than Paul's churchyard:
Nay, fly to altars; there they'll talk you dead:
For fools rush in where angels fear to tread.
Distrustful sense with modest caution speaks;
It still looks home, and short excursions makes;
But rattling nonsense in full volleys breaks;
And never shock'd, and never turn'd aside,
Bursts out, resistless, with a thund'ring tide.
But where's the man, who counsel can bestow,
Still pleas'd to teach, and yet not proud to know?
Unbias'd, or by favour or by spite;
Not dully prepossess'd, nor blindly right;
Though learn'd, well-bred; and though well-bred, sincere;
Modestly bold, and humanly severe?
Who to a friend his faults can freely show,
And gladly praise the merit of a foe?
Blest with a taste exact, yet unconfin'd;
A knowledge both of books and human kind;
Gen'rous converse; a soul exempt from pride;
And love to praise, with reason on his side?
Such once were critics; such the happy few,
Athens and Rome in better ages knew.
The mighty Stagirite first left the shore,
Spread all his sails, and durst the deeps explore:
He steer'd securely, and discover'd far,
Led by the light of the Mæonian Star.
Poets, a race long unconfin'd and free,
Still fond and proud of savage liberty,
Receiv'd his laws; and stood convinc'd 'twas fit,
Who conquer'd nature, should preside o'er wit.
Horace still charms with graceful negligence,
And without methods talks us into sense,
Will, like a friend, familiarly convey
The truest notions in the easiest way.
He, who supreme in judgment, as in wit,
Might boldly censure, as he boldly writ,
Yet judg'd with coolness, though he sung with fire;
His precepts teach but what his works inspire.
Our critics take a contrary extreme,
They judge with fury, but they write with fle'me:
Nor suffers Horace more in wrong translations
By wits, than critics in as wrong quotations.
See Dionysius Homer's thoughts refine,
And call new beauties forth from ev'ry line!
Fancy and art in gay Petronius please,
The scholar's learning, with the courtier's ease.
In grave Quintilian's copious work we find
The justest rules, and clearest method join'd;
Thus useful arms in magazines we place,
All rang'd in order, and dispos'd with grace,
But less to please the eye, than arm the hand,
Still fit for use, and ready at command.
Thee, bold Longinus! all the Nine inspire,
And bless their critic with a poet's fire.
An ardent judge, who zealous in his trust,
With warmth gives sentence, yet is always just;
Whose own example strengthens all his laws;
And is himself that great sublime he draws.
Thus long succeeding critics justly reign'd,
Licence repress'd, and useful laws ordain'd;
Learning and Rome alike in empire grew,
And arts still follow'd where her eagles flew;
From the same foes, at last, both felt their doom,
And the same age saw learning fall, and Rome.
With tyranny, then superstition join'd,
As that the body, this enslav'd the mind;
Much was believ'd, but little understood,
And to be dull was constru'd to be good;
A second deluge learning thus o'er-run,
And the monks finish'd what the Goths begun.
At length Erasmus, that great, injur'd name,
(The glory of the priesthood, and the shame!)
Stemm'd the wild torrent of a barb'rous age,
And drove those holy Vandals off the stage.
But see! each Muse, in Leo's golden days,
Starts from her trance, and trims her wither'd bays!
Rome's ancient genius, o'er its ruins spread,
Shakes off the dust, and rears his rev'rend head!
Then sculpture and her sister-arts revive;
Stones leap'd to form, and rocks began to live;
With sweeter notes each rising temple rung;
A Raphael painted, and a Vida sung.
Immortal Vida! on whose honour'd brow
The poet's bays and critic's ivy grow:
Cremona now shall ever boast thy name,
As next in place to Mantua, next in fame!
But soon by impious arms from Latium chas'd,
Their ancient bounds the banished Muses pass'd;
Thence arts o'er all the northern world advance;
But critic-learning flourish'd most in France.
The rules a nation born to serve, obeys,
And Boileau still in right of Horace sways.
But we, brave Britons, foreign laws despis'd,
And kept unconquer'd, and uncivilis'd,
Fierce for the liberties of wit, and bold,
We still defied the Romans, as of old.
Yet some there were, among the sounder few
Of those who less presum'd, and better knew,
Who durst assert the juster ancient cause,
And here restor'd wit's fundamental laws.
Such was the Muse, whose rules and practice tell
"Nature's chief master-piece is writing well."
Such was Roscommon—not more learn'd than good,
With manners gen'rous as his noble blood;
To him the wit of Greece and Rome was known,
And ev'ry author's merit, but his own.
Such late was Walsh—the Muse's judge and friend,
Who justly knew to blame or to commend;
To failings mild, but zealous for desert;
The clearest head, and the sincerest heart.
This humble praise, lamented shade! receive,
This praise at least a grateful Muse may give:
The Muse, whose early voice you taught to sing,
Prescrib'd her heights, and prun'd her tender wing,
(Her guide now lost) no more attempts to rise,
But in low numbers short excursions tries:
Content, if hence th' unlearn'd their wants may view,
The learn'd reflect on what before they knew:
Careless of censure, nor too fond of fame,
Still pleas'd to praise, yet not afraid to blame,
Averse alike to flatter, or offend,
Not free from faults, nor yet too vain to mend.
'Tis hard to say, if greater want of skill
Appear in writing or in judging ill;
But, of the two, less dang'rous is th' offence
To tire our patience, than mislead our sense.
Some few in that, but numbers err in this,
Ten censure wrong for one who writes amiss;
A fool might once himself alone expose,
Now one in verse makes many more in prose.
'Tis with our judgments as our watches, none
Go just alike, yet each believes his own.
In poets as true genius is but rare,
True taste as seldom is the critic's share;
Both must alike from Heav'n derive their light,
These born to judge, as well as those to write.
Let such teach others who themselves excel,
And censure freely who have written well.
Authors are partial to their wit, 'tis true,
But are not critics to their judgment too?
Yet if we look more closely we shall find
Most have the seeds of judgment in their mind;
Nature affords at least a glimm'ring light;
The lines, tho' touch'd but faintly, are drawn right.
But as the slightest sketch, if justly trac'd,
Is by ill colouring but the more disgrac'd,
So by false learning is good sense defac'd;
Some are bewilder'd in the maze of schools,
And some made coxcombs Nature meant but fools.
In search of wit these lose their common sense,
And then turn critics in their own defence:
Each burns alike, who can, or cannot write,
Or with a rival's, or an eunuch's spite.
All fools have still an itching to deride,
And fain would be upon the laughing side.
If Mævius scribble in Apollo's spite,
There are, who judge still worse than he can write.
Some have at first for wits, then poets pass'd,
Turn'd critics next, and prov'd plain fools at last;
Some neither can for wits nor critics pass,
As heavy mules are neither horse nor ass.
Those half-learn'd witlings, num'rous in our isle
As half-form'd insects on the banks of Nile;
Unfinish'd things, one knows not what to call,
Their generation's so equivocal:
To tell 'em, would a hundred tongues require,
Or one vain wit's, that might a hundred tire.
But you who seek to give and merit fame,
And justly bear a critic's noble name,
Be sure your self and your own reach to know,
How far your genius, taste, and learning go;
Launch not beyond your depth, but be discreet,
And mark that point where sense and dulness meet.
Nature to all things fix'd the limits fit,
And wisely curb'd proud man's pretending wit:
As on the land while here the ocean gains,
In other parts it leaves wide sandy plains;
Thus in the soul while memory prevails,
The solid pow'r of understanding fails;
Where beams of warm imagination play,
The memory's soft figures melt away.
One science only will one genius fit;
So vast is art, so narrow human wit:
Not only bounded to peculiar arts,
But oft in those, confin'd to single parts.
Like kings we lose the conquests gain'd before,
By vain ambition still to make them more;
Each might his sev'ral province well command,
Would all but stoop to what they understand.
First follow NATURE, and your judgment frame
By her just standard, which is still the same:
Unerring Nature, still divinely bright,
One clear, unchang'd, and universal light,
Life, force, and beauty, must to all impart,
At once the source, and end, and test of art.
Art from that fund each just supply provides,
Works without show, and without pomp presides:
In some fair body thus th' informing soul
With spirits feeds, with vigour fills the whole,
Each motion guides, and ev'ry nerve sustains;
Itself unseen, but in th' effects, remains.
Some, to whom Heav'n in wit has been profuse,
Want as much more, to turn it to its use;
For wit and judgment often are at strife,
Though meant each other's aid, like man and wife.
'Tis more to guide, than spur the Muse's steed;
Restrain his fury, than provoke his speed;
The winged courser, like a gen'rous horse,
Shows most true mettle when you check his course.
Those RULES of old discover'd, not devis'd,
Are Nature still, but Nature methodis'd;
Nature, like liberty, is but restrain'd
By the same laws which first herself ordain'd.
Hear how learn'd Greece her useful rules indites,
When to repress, and when indulge our flights:
High on Parnassus' top her sons she show'd,
And pointed out those arduous paths they trod;
Held from afar, aloft, th' immortal prize,
And urg'd the rest by equal steps to rise.
Just precepts thus from great examples giv'n,
She drew from them what they deriv'd from Heav'n.
The gen'rous critic fann'd the poet's fire,
And taught the world with reason to admire.
Then criticism the Muse's handmaid prov'd,
To dress her charms, and make her more belov'd;
But following wits from that intention stray'd;
Who could not win the mistress, woo'd the maid;
Against the poets their own arms they turn'd,
Sure to hate most the men from whom they learn'd.
So modern 'pothecaries, taught the art
By doctor's bills to play the doctor's part,
Bold in the practice of mistaken rules,
Prescribe, apply, and call their masters fools.
Some on the leaves of ancient authors prey,
Nor time nor moths e'er spoil'd so much as they:
Some drily plain, without invention's aid,
Write dull receipts how poems may be made:
These leave the sense, their learning to display,
And those explain the meaning quite away.
You then whose judgment the right course would steer,
Know well each ANCIENT'S proper character;
His fable, subject, scope in ev'ry page;
Religion, country, genius of his age:
Without all these at once before your eyes,
Cavil you may, but never criticise.
Be Homer's works your study and delight,
Read them by day, and meditate by night;
Thence form your judgment, thence your maxims bring,
And trace the Muses upward to their spring;
Still with itself compar'd, his text peruse;
And let your comment be the Mantuan Muse.
When first young Maro in his boundless mind
A work t' outlast immortal Rome design'd,
Perhaps he seem'd above the critic's law,
And but from Nature's fountains scorn'd to draw:
But when t' examine ev'ry part he came,
Nature and Homer were, he found, the same.
Convinc'd, amaz'd, he checks the bold design,
And rules as strict his labour'd work confine,
As if the Stagirite o'erlook'd each line.
Learn hence for ancient rules a just esteem;
To copy nature is to copy them.
Some beauties yet, no precepts can declare,
For there's a happiness as well as care.
Music resembles poetry, in each
Are nameless graces which no methods teach,
And which a master-hand alone can reach.
If, where the rules not far enough extend,
(Since rules were made but to promote their end)
Some lucky LICENCE answers to the full
Th' intent propos'd, that licence is a rule.
Thus Pegasus, a nearer way to take,
May boldly deviate from the common track.
Great wits sometimes may gloriously offend,
And rise to faults true critics dare not mend;
From vulgar bounds with brave disorder part,
And snatch a grace beyond the reach of art,
Which, without passing through the judgment, gains
The heart, and all its end at once attains.
In prospects, thus, some objects please our eyes,
Which out of nature's common order rise,
The shapeless rock, or hanging precipice.
But tho' the ancients thus their rules invade,
(As kings dispense with laws themselves have made)
Moderns, beware! or if you must offend
Against the precept, ne'er transgress its end;
Let it be seldom, and compell'd by need,
And have, at least, their precedent to plead.
The critic else proceeds without remorse,
Seizes your fame, and puts his laws in force.
I know there are, to whose presumptuous thoughts
Those freer beauties, ev'n in them, seem faults.
Some figures monstrous and misshap'd appear,
Consider'd singly, or beheld too near,
Which, but proportion'd to their light, or place,
Due distance reconciles to form and grace.
A prudent chief not always must display
His pow'rs in equal ranks, and fair array,
But with th' occasion and the place comply,
Conceal his force, nay seem sometimes to fly.
Those oft are stratagems which errors seem,
Nor is it Homer nods, but we that dream.
Still green with bays each ancient altar stands,
Above the reach of sacrilegious hands,
Secure from flames, from envy's fiercer rage,
Destructive war, and all-involving age.
See, from each clime the learn'd their incense bring!
Hear, in all tongues consenting pæans ring!
In praise so just let ev'ry voice be join'd,
And fill the gen'ral chorus of mankind!
Hail, bards triumphant! born in happier days;
Immortal heirs of universal praise!
Whose honours with increase of ages grow,
As streams roll down, enlarging as they flow!
Nations unborn your mighty names shall sound,
And worlds applaud that must not yet be found!
Oh may some spark of your celestial fire
The last, the meanest of your sons inspire,
(That on weak wings, from far, pursues your flights;
Glows while he reads, but trembles as he writes)
To teach vain wits a science little known,
T' admire superior sense, and doubt their own!
Part 2
Of all the causes which conspire to blind
Man's erring judgment, and misguide the mind,
What the weak head with strongest bias rules,
Is pride, the never-failing vice of fools.
Whatever Nature has in worth denied,
She gives in large recruits of needful pride;
For as in bodies, thus in souls, we find
What wants in blood and spirits, swell'd with wind;
Pride, where wit fails, steps in to our defence,
And fills up all the mighty void of sense!
If once right reason drives that cloud away,
Truth breaks upon us with resistless day;
Trust not yourself; but your defects to know,
Make use of ev'ry friend—and ev'ry foe.
A little learning is a dang'rous thing;
Drink deep, or taste not the Pierian spring:
There shallow draughts intoxicate the brain,
And drinking largely sobers us again.
Fir'd at first sight with what the Muse imparts,
In fearless youth we tempt the heights of arts,
While from the bounded level of our mind,
Short views we take, nor see the lengths behind,
But more advanc'd, behold with strange surprise
New, distant scenes of endless science rise!
So pleas'd at first, the tow'ring Alps we try,
Mount o'er the vales, and seem to tread the sky;
Th' eternal snows appear already past,
And the first clouds and mountains seem the last;
But those attain'd, we tremble to survey
The growing labours of the lengthen'd way,
Th' increasing prospect tires our wand'ring eyes,
Hills peep o'er hills, and Alps on Alps arise!
A perfect judge will read each work of wit
With the same spirit that its author writ,
Survey the whole, nor seek slight faults to find,
Where nature moves, and rapture warms the mind;
Nor lose, for that malignant dull delight,
The gen'rous pleasure to be charm'd with wit.
But in such lays as neither ebb, nor flow,
Correctly cold, and regularly low,
That shunning faults, one quiet tenour keep;
We cannot blame indeed—but we may sleep.
In wit, as nature, what affects our hearts
Is not th' exactness of peculiar parts;
'Tis not a lip, or eye, we beauty call,
But the joint force and full result of all.
Thus when we view some well-proportion'd dome,
(The world's just wonder, and ev'n thine, O Rome!'
No single parts unequally surprise;
All comes united to th' admiring eyes;
No monstrous height, or breadth, or length appear;
The whole at once is bold, and regular.
Whoever thinks a faultless piece to see,
Thinks what ne'er was, nor is, nor e'er shall be.
In ev'ry work regard the writer's end,
Since none can compass more than they intend;
And if the means be just, the conduct true,
Applause, in spite of trivial faults, is due.
As men of breeding, sometimes men of wit,
T' avoid great errors, must the less commit:
Neglect the rules each verbal critic lays,
For not to know such trifles, is a praise.
Most critics, fond of some subservient art,
Still make the whole depend upon a part:
They talk of principles, but notions prize,
And all to one lov'd folly sacrifice.
Once on a time, La Mancha's knight, they say,
A certain bard encount'ring on the way,
Discours'd in terms as just, with looks as sage,
As e'er could Dennis of the Grecian stage;
Concluding all were desp'rate sots and fools,
Who durst depart from Aristotle's rules.
Our author, happy in a judge so nice,
Produc'd his play, and begg'd the knight's advice,
Made him observe the subject and the plot,
The manners, passions, unities, what not?
All which, exact to rule, were brought about,
Were but a combat in the lists left out.
"What! leave the combat out?" exclaims the knight;
"Yes, or we must renounce the Stagirite."
"Not so by Heav'n" (he answers in a rage)
"Knights, squires, and steeds, must enter on the stage."
So vast a throng the stage can ne'er contain.
"Then build a new, or act it in a plain."
Thus critics, of less judgment than caprice,
Curious not knowing, not exact but nice,
Form short ideas; and offend in arts
(As most in manners) by a love to parts.
Some to conceit alone their taste confine,
And glitt'ring thoughts struck out at ev'ry line;
Pleas'd with a work where nothing's just or fit;
One glaring chaos and wild heap of wit.
Poets, like painters, thus, unskill'd to trace
The naked nature and the living grace,
With gold and jewels cover ev'ry part,
And hide with ornaments their want of art.
True wit is nature to advantage dress'd,
What oft was thought, but ne'er so well express'd,
Something, whose truth convinc'd at sight we find,
That gives us back the image of our mind.
As shades more sweetly recommend the light,
So modest plainness sets off sprightly wit.
For works may have more wit than does 'em good,
As bodies perish through excess of blood.
Others for language all their care express,
And value books, as women men, for dress:
Their praise is still—"the style is excellent":
The sense, they humbly take upon content.
Words are like leaves; and where they most abound,
Much fruit of sense beneath is rarely found.
False eloquence, like the prismatic glass,
Its gaudy colours spreads on ev'ry place;
The face of Nature we no more survey,
All glares alike, without distinction gay:
But true expression, like th' unchanging sun,
Clears, and improves whate'er it shines upon,
It gilds all objects, but it alters none.
Expression is the dress of thought, and still
Appears more decent, as more suitable;
A vile conceit in pompous words express'd,
Is like a clown in regal purple dress'd:
For diff'rent styles with diff'rent subjects sort,
As several garbs with country, town, and court.
Some by old words to fame have made pretence,
Ancients in phrase, mere moderns in their sense;
Such labour'd nothings, in so strange a style,
Amaze th' unlearn'd, and make the learned smile.
Unlucky, as Fungoso in the play,
These sparks with awkward vanity display
What the fine gentleman wore yesterday!
And but so mimic ancient wits at best,
As apes our grandsires, in their doublets dress'd.
In words, as fashions, the same rule will hold;
Alike fantastic, if too new, or old;
Be not the first by whom the new are tried,
Not yet the last to lay the old aside.
But most by numbers judge a poet's song;
And smooth or rough, with them is right or wrong:
In the bright Muse though thousand charms conspire,
Her voice is all these tuneful fools admire,
Who haunt Parnassus but to please their ear,
Not mend their minds; as some to church repair,
Not for the doctrine, but the music there.
These equal syllables alone require,
Tho' oft the ear the open vowels tire,
While expletives their feeble aid do join,
And ten low words oft creep in one dull line,
While they ring round the same unvaried chimes,
With sure returns of still expected rhymes.
Where'er you find "the cooling western breeze",
In the next line, it "whispers through the trees":
If "crystal streams with pleasing murmurs creep",
The reader's threaten'd (not in vain) with "sleep".
Then, at the last and only couplet fraught
With some unmeaning thing they call a thought,
A needless Alexandrine ends the song,
That, like a wounded snake, drags its slow length along.
Leave such to tune their own dull rhymes, and know
What's roundly smooth, or languishingly slow;
And praise the easy vigour of a line,
Where Denham's strength, and Waller's sweetness join.
True ease in writing comes from art, not chance,
As those move easiest who have learn'd to dance.
'Tis not enough no harshness gives offence,
The sound must seem an echo to the sense.
Soft is the strain when Zephyr gently blows,
And the smooth stream in smoother numbers flows;
But when loud surges lash the sounding shore,
The hoarse, rough verse should like the torrent roar.
When Ajax strives some rock's vast weight to throw,
The line too labours, and the words move slow;
Not so, when swift Camilla scours the plain,
Flies o'er th' unbending corn, and skims along the main.
Hear how Timotheus' varied lays surprise,
And bid alternate passions fall and rise!
While, at each change, the son of Libyan Jove
Now burns with glory, and then melts with love;
Now his fierce eyes with sparkling fury glow,
Now sighs steal out, and tears begin to flow:
Persians and Greeks like turns of nature found,
And the world's victor stood subdu'd by sound!
The pow'r of music all our hearts allow,
And what Timotheus was, is Dryden now.
Avoid extremes; and shun the fault of such,
Who still are pleas'd too little or too much.
At ev'ry trifle scorn to take offence,
That always shows great pride, or little sense;
Those heads, as stomachs, are not sure the best,
Which nauseate all, and nothing can digest.
Yet let not each gay turn thy rapture move,
For fools admire, but men of sense approve;
As things seem large which we through mists descry,
Dulness is ever apt to magnify.
Some foreign writers, some our own despise;
The ancients only, or the moderns prize.
Thus wit, like faith, by each man is applied
To one small sect, and all are damn'd beside.
Meanly they seek the blessing to confine,
And force that sun but on a part to shine;
Which not alone the southern wit sublimes,
But ripens spirits in cold northern climes;
Which from the first has shone on ages past,
Enlights the present, and shall warm the last;
(Though each may feel increases and decays,
And see now clearer and now darker days.)
Regard not then if wit be old or new,
But blame the false, and value still the true.
Some ne'er advance a judgment of their own,
But catch the spreading notion of the town;
They reason and conclude by precedent,
And own stale nonsense which they ne'er invent.
Some judge of authors' names, not works, and then
Nor praise nor blame the writings, but the men.
Of all this servile herd, the worst is he
That in proud dulness joins with quality,
A constant critic at the great man's board,
To fetch and carry nonsense for my Lord.
What woeful stuff this madrigal would be,
In some starv'd hackney sonneteer, or me?
But let a Lord once own the happy lines,
How the wit brightens! how the style refines!
Before his sacred name flies every fault,
And each exalted stanza teems with thought!
The vulgar thus through imitation err;
As oft the learn'd by being singular;
So much they scorn the crowd, that if the throng
By chance go right, they purposely go wrong:
So Schismatics the plain believers quit,
And are but damn'd for having too much wit.
Some praise at morning what they blame at night;
But always think the last opinion right.
A Muse by these is like a mistress us'd,
This hour she's idoliz'd, the next abus'd;
While their weak heads, like towns unfortified,
Twixt sense and nonsense daily change their side.
Ask them the cause; they're wiser still, they say;
And still tomorrow's wiser than today.
We think our fathers fools, so wise we grow;
Our wiser sons, no doubt, will think us so.
Once school divines this zealous isle o'erspread;
Who knew most Sentences, was deepest read;
Faith, Gospel, all, seem'd made to be disputed,
And none had sense enough to be confuted:
Scotists and Thomists, now, in peace remain,
Amidst their kindred cobwebs in Duck Lane.
If Faith itself has different dresses worn,
What wonder modes in wit should take their turn?
Oft, leaving what is natural and fit,
The current folly proves the ready wit;
And authors think their reputation safe
Which lives as long as fools are pleased to laugh.
Some valuing those of their own side or mind,
Still make themselves the measure of mankind;
Fondly we think we honour merit then,
When we but praise ourselves in other men.
Parties in wit attend on those of state,
And public faction doubles private hate.
Pride, Malice, Folly, against Dryden rose,
In various shapes of Parsons, Critics, Beaus;
But sense surviv'd, when merry jests were past;
For rising merit will buoy up at last.
Might he return, and bless once more our eyes,
New Blackmores and new Milbourns must arise;
Nay should great Homer lift his awful head,
Zoilus again would start up from the dead.
Envy will merit, as its shade, pursue,
But like a shadow, proves the substance true;
For envied wit, like Sol eclips'd, makes known
Th' opposing body's grossness, not its own.
When first that sun too powerful beams displays,
It draws up vapours which obscure its rays;
But ev'n those clouds at last adorn its way,
Reflect new glories, and augment the day.
Be thou the first true merit to befriend;
His praise is lost, who stays till all commend.
Short is the date, alas, of modern rhymes,
And 'tis but just to let 'em live betimes.
No longer now that golden age appears,
When patriarch wits surviv'd a thousand years:
Now length of Fame (our second life) is lost,
And bare threescore is all ev'n that can boast;
Our sons their fathers' failing language see,
And such as Chaucer is, shall Dryden be.
So when the faithful pencil has design'd
Some bright idea of the master's mind,
Where a new world leaps out at his command,
And ready Nature waits upon his hand;
When the ripe colours soften and unite,
And sweetly melt into just shade and light;
When mellowing years their full perfection give,
And each bold figure just begins to live,
The treacherous colours the fair art betray,
And all the bright creation fades away!
Unhappy wit, like most mistaken things,
Atones not for that envy which it brings.
In youth alone its empty praise we boast,
But soon the short-liv'd vanity is lost:
Like some fair flow'r the early spring supplies,
That gaily blooms, but ev'n in blooming dies.
What is this wit, which must our cares employ?
The owner's wife, that other men enjoy;
Then most our trouble still when most admir'd,
And still the more we give, the more requir'd;
Whose fame with pains we guard, but lose with ease,
Sure some to vex, but never all to please;
'Tis what the vicious fear, the virtuous shun;
By fools 'tis hated, and by knaves undone!
If wit so much from ign'rance undergo,
Ah let not learning too commence its foe!
Of old, those met rewards who could excel,
And such were prais'd who but endeavour'd well:
Though triumphs were to gen'rals only due,
Crowns were reserv'd to grace the soldiers too.
Now, they who reach Parnassus' lofty crown,
Employ their pains to spurn some others down;
And while self-love each jealous writer rules,
Contending wits become the sport of fools:
But still the worst with most regret commend,
For each ill author is as bad a friend.
To what base ends, and by what abject ways,
Are mortals urg'd through sacred lust of praise!
Ah ne'er so dire a thirst of glory boast,
Nor in the critic let the man be lost!
Good nature and good sense must ever join;
To err is human; to forgive, divine.
But if in noble minds some dregs remain,
Not yet purg'd off, of spleen and sour disdain,
Discharge that rage on more provoking crimes,
Nor fear a dearth in these flagitious times.
No pardon vile obscenity should find,
Though wit and art conspire to move your mind;
But dulness with obscenity must prove
As shameful sure as impotence in love.
In the fat age of pleasure, wealth, and ease,
Sprung the rank weed, and thriv'd with large increase:
When love was all an easy monarch's care;
Seldom at council, never in a war:
Jilts ruled the state, and statesmen farces writ;
Nay wits had pensions, and young Lords had wit:
The fair sat panting at a courtier's play,
And not a mask went unimprov'd away:
The modest fan was lifted up no more,
And virgins smil'd at what they blush'd before.
The following licence of a foreign reign
Did all the dregs of bold Socinus drain;
Then unbelieving priests reform'd the nation,
And taught more pleasant methods of salvation;
Where Heav'n's free subjects might their rights dispute,
Lest God himself should seem too absolute:
Pulpits their sacred satire learned to spare,
And Vice admired to find a flatt'rer there!
Encourag'd thus, wit's Titans brav'd the skies,
And the press groan'd with licenc'd blasphemies.
These monsters, critics! with your darts engage,
Here point your thunder, and exhaust your rage!
Yet shun their fault, who, scandalously nice,
Will needs mistake an author into vice;
All seems infected that th' infected spy,
As all looks yellow to the jaundic'd eye.
Part 3
Learn then what morals critics ought to show,
For 'tis but half a judge's task, to know.
'Tis not enough, taste, judgment, learning, join;
In all you speak, let truth and candour shine:
That not alone what to your sense is due,
All may allow; but seek your friendship too.
Be silent always when you doubt your sense;
And speak, though sure, with seeming diffidence:
Some positive, persisting fops we know,
Who, if once wrong, will needs be always so;
But you, with pleasure own your errors past,
And make each day a critic on the last.
'Tis not enough, your counsel still be true;
Blunt truths more mischief than nice falsehoods do;
Men must be taught as if you taught them not;
And things unknown proposed as things forgot.
Without good breeding, truth is disapprov'd;
That only makes superior sense belov'd.
Be niggards of advice on no pretence;
For the worst avarice is that of sense.
With mean complacence ne'er betray your trust,
Nor be so civil as to prove unjust.
Fear not the anger of the wise to raise;
Those best can bear reproof, who merit praise.
'Twere well might critics still this freedom take,
But Appius reddens at each word you speak,
And stares, Tremendous ! with a threatening eye,
Like some fierce tyrant in old tapestry!
Fear most to tax an honourable fool,
Whose right it is, uncensur'd, to be dull;
Such, without wit, are poets when they please,
As without learning they can take degrees.
Leave dangerous truths to unsuccessful satires,
And flattery to fulsome dedicators,
Whom, when they praise, the world believes no more,
Than when they promise to give scribbling o'er.
'Tis best sometimes your censure to restrain,
And charitably let the dull be vain:
Your silence there is better than your spite,
For who can rail so long as they can write?
Still humming on, their drowsy course they keep,
And lash'd so long, like tops, are lash'd asleep.
False steps but help them to renew the race,
As after stumbling, jades will mend their pace.
What crowds of these, impenitently bold,
In sounds and jingling syllables grown old,
Still run on poets, in a raging vein,
Even to the dregs and squeezings of the brain,
Strain out the last, dull droppings of their sense,
And rhyme with all the rage of impotence!
Such shameless bards we have; and yet 'tis true,
There are as mad, abandon'd critics too.
The bookful blockhead, ignorantly read,
With loads of learned lumber in his head,
With his own tongue still edifies his ears,
And always list'ning to himself appears.
All books he reads, and all he reads assails,
From Dryden's Fables down to Durfey's Tales.
With him, most authors steal their works, or buy;
Garth did not write his own Dispensary .
Name a new play, and he's the poet's friend,
Nay show'd his faults—but when would poets mend?
No place so sacred from such fops is barr'd,
Nor is Paul's church more safe than Paul's churchyard:
Nay, fly to altars; there they'll talk you dead:
For fools rush in where angels fear to tread.
Distrustful sense with modest caution speaks;
It still looks home, and short excursions makes;
But rattling nonsense in full volleys breaks;
And never shock'd, and never turn'd aside,
Bursts out, resistless, with a thund'ring tide.
But where's the man, who counsel can bestow,
Still pleas'd to teach, and yet not proud to know?
Unbias'd, or by favour or by spite;
Not dully prepossess'd, nor blindly right;
Though learn'd, well-bred; and though well-bred, sincere;
Modestly bold, and humanly severe?
Who to a friend his faults can freely show,
And gladly praise the merit of a foe?
Blest with a taste exact, yet unconfin'd;
A knowledge both of books and human kind;
Gen'rous converse; a soul exempt from pride;
And love to praise, with reason on his side?
Such once were critics; such the happy few,
Athens and Rome in better ages knew.
The mighty Stagirite first left the shore,
Spread all his sails, and durst the deeps explore:
He steer'd securely, and discover'd far,
Led by the light of the Mæonian Star.
Poets, a race long unconfin'd and free,
Still fond and proud of savage liberty,
Receiv'd his laws; and stood convinc'd 'twas fit,
Who conquer'd nature, should preside o'er wit.
Horace still charms with graceful negligence,
And without methods talks us into sense,
Will, like a friend, familiarly convey
The truest notions in the easiest way.
He, who supreme in judgment, as in wit,
Might boldly censure, as he boldly writ,
Yet judg'd with coolness, though he sung with fire;
His precepts teach but what his works inspire.
Our critics take a contrary extreme,
They judge with fury, but they write with fle'me:
Nor suffers Horace more in wrong translations
By wits, than critics in as wrong quotations.
See Dionysius Homer's thoughts refine,
And call new beauties forth from ev'ry line!
Fancy and art in gay Petronius please,
The scholar's learning, with the courtier's ease.
In grave Quintilian's copious work we find
The justest rules, and clearest method join'd;
Thus useful arms in magazines we place,
All rang'd in order, and dispos'd with grace,
But less to please the eye, than arm the hand,
Still fit for use, and ready at command.
Thee, bold Longinus! all the Nine inspire,
And bless their critic with a poet's fire.
An ardent judge, who zealous in his trust,
With warmth gives sentence, yet is always just;
Whose own example strengthens all his laws;
And is himself that great sublime he draws.
Thus long succeeding critics justly reign'd,
Licence repress'd, and useful laws ordain'd;
Learning and Rome alike in empire grew,
And arts still follow'd where her eagles flew;
From the same foes, at last, both felt their doom,
And the same age saw learning fall, and Rome.
With tyranny, then superstition join'd,
As that the body, this enslav'd the mind;
Much was believ'd, but little understood,
And to be dull was constru'd to be good;
A second deluge learning thus o'er-run,
And the monks finish'd what the Goths begun.
At length Erasmus, that great, injur'd name,
(The glory of the priesthood, and the shame!)
Stemm'd the wild torrent of a barb'rous age,
And drove those holy Vandals off the stage.
But see! each Muse, in Leo's golden days,
Starts from her trance, and trims her wither'd bays!
Rome's ancient genius, o'er its ruins spread,
Shakes off the dust, and rears his rev'rend head!
Then sculpture and her sister-arts revive;
Stones leap'd to form, and rocks began to live;
With sweeter notes each rising temple rung;
A Raphael painted, and a Vida sung.
Immortal Vida! on whose honour'd brow
The poet's bays and critic's ivy grow:
Cremona now shall ever boast thy name,
As next in place to Mantua, next in fame!
But soon by impious arms from Latium chas'd,
Their ancient bounds the banished Muses pass'd;
Thence arts o'er all the northern world advance;
But critic-learning flourish'd most in France.
The rules a nation born to serve, obeys,
And Boileau still in right of Horace sways.
But we, brave Britons, foreign laws despis'd,
And kept unconquer'd, and uncivilis'd,
Fierce for the liberties of wit, and bold,
We still defied the Romans, as of old.
Yet some there were, among the sounder few
Of those who less presum'd, and better knew,
Who durst assert the juster ancient cause,
And here restor'd wit's fundamental laws.
Such was the Muse, whose rules and practice tell
"Nature's chief master-piece is writing well."
Such was Roscommon—not more learn'd than good,
With manners gen'rous as his noble blood;
To him the wit of Greece and Rome was known,
And ev'ry author's merit, but his own.
Such late was Walsh—the Muse's judge and friend,
Who justly knew to blame or to commend;
To failings mild, but zealous for desert;
The clearest head, and the sincerest heart.
This humble praise, lamented shade! receive,
This praise at least a grateful Muse may give:
The Muse, whose early voice you taught to sing,
Prescrib'd her heights, and prun'd her tender wing,
(Her guide now lost) no more attempts to rise,
But in low numbers short excursions tries:
Content, if hence th' unlearn'd their wants may view,
The learn'd reflect on what before they knew:
Careless of censure, nor too fond of fame,
Still pleas'd to praise, yet not afraid to blame,
Averse alike to flatter, or offend,
Not free from faults, nor yet too vain to mend.
Friday, May 30, 2014
Thursday, May 29, 2014
Society of the Military Horse • View topic - Francis McCullagh
Society of the Military Horse • View topic - Francis McCullagh
One of those truly larger than life figures, and this time in the persona of a journalist and author.
One of those truly larger than life figures, and this time in the persona of a journalist and author.
The Golden Age of Hotels
January 26, 2011
These photographs depict what had been the Townsend Hotel, and what is now the Natrona County Townsend Justice Center. This building depicts an evolution in transportation, and in the downtown landscape of cities, which incidentally has a direct legal connection.
This building was originally built in the 1920s as a nice hotel. It served in that capacity up in to the 1960s. It was well suited to do so, being only two blocks from the train depot. What it lacked, however, was parking.
Starting in the 1960s, after the massive nationwide improvement in highways, and the corresponding decline in rail transportation, this building became a bit of a flop house. It finally closed in the late 1970s, after its restaurant closed down (the restaurant had not declined like the hotel itself).
In the last decade it was rebuilt as a courthouse.
This says a lot about downtowns as they once were, and are today. Built in the golden age of hotels, this hotel was in a neighborhood of similiar hotels, all of which offered lodging and dining. They didn't offer parking. They couldn't survive the motorization of the country. They depended upon rail transportation for their business. They made, however, for a busy downtown.
Postscript
May 29, 2014
I was reminded of this old post as one of the oldest buildings in Casper is undergoing renovations, and I took a few photographs of it this past week when those renovations revealed a "ghost sign" that was painted on it when the building was a hotel. I posted those photos on our Painted Brick's blog.
The former County Annex, being rebuilt as the Hotel Virginia.
The building is sort of returning to its original use as apartments, under one of its apparent former names, the Hotel Virginia. This building is older than the old Townsend Building depicted above in this thread, and its one of the oldest surviving brick buildings in Casper.
What's interesting about this, other than the age of the building, is that this building is one block over from the Townsend. And its on the same block as what was the Gladstone (now an office building). It would have been catercorner from the Henning. So Casper had four brick hotels, three of which were quite substantial, withing a block of each other.
In thinking on it, if a person goes just a couple of blocks out, this trend continues. The street depicted in this photograph is 1st Street, which was also the east/west highway at that time. A couple of blocks away were a couple of motels, true Motor Hotels, of early vintage, one of which had a swimming pool.
Today all the major current hotels in Casper are along the interstate highway. Casper has an assortment of modern hotels and business hotels, but what's interesting about that is how the hotels had migrated by the 1960s to the interstate. The downtown hotels were dying by that time, and by the 1980s none of the original downtown brick hotels that were located in the heart of the downtown era were still hotels. This is, of course, a very typical story, demonstrating the evolution from rail travel, to car travel, to those cars being on a state highway at first, and an interstate highway later.
Wednesday, May 28, 2014
Monday, May 26, 2014
Memorial Day Parade, Washington D. C., May 30, 1942.
9th or 10th Cavalry.
9th or 10th Cavalry.
President's reviewing stand and light tanks.
Recalling Memorial Day.
1937 Memorial Day poster, recalling veterans of the Civil War. At this time, remaining veterans would have been in their 80s and up.
1917 Memorial Day poster, noting the ongoing First World War and recalling the Civil War.
Saturday, May 24, 2014
Graduating on Memorial Day Weekend
The Natrona County High School Class of 2014 graduates today, May 24, 2014.
It is, of course, also Memorial Day weekend..
It's been interesting for a variety of reasons. It would be interesting any way, as I'm a graduate of NCHS, my wife is a graduate of NCHS, my father in law, mother in law, two brothers in law, two uncles, three aunts, and my father graduated from NCHS; and my son attends NCHS.
And NC is undergoing major renovation. It's 80 year old swimming pool, which is where I practiced when a swim team member, and where my son has also practiced for the same reason, will be torn down in that project in a couple of weeks, with no replacement pool in the offering as the local voters refused to pass the bond that would have funded that and other projects. We were involved in the effort to pass the bond, which was narrowly defeated. All of that would have made that interesting.
But it's also interesting as the choice of Memorial Day has caused a minor flap on the party of some who are upset on the basis that they conceive of a graduation over Memorial Day weekend (but not on the day tiself) as disrespectful to veterans in general and war dead in particular.
Well, while I say honor the day, my view on that is that the critics of the graduation should relax, reconsider and frankly reflect on this.. Dates for high school graduations are pretty strictly controlled around here and they had little other choice. Beyond that, two of the young men that I've grown to know over the years are going to be leaving shortly after they graduate for Navy basic training. And it occurs to me that a lot of our war dead weren't much older when they died than those young men entering the service. Indeed, a couple of the World War Two veterans I've known, including one who attended NCHS, left high school for the army. Anyhow, it occurs to me that those young men probably would have preferred to be at a high school graduation rather than in some mud hole in Italy, some freezing pit in Belgium, or some sandy foxhole on Iwo Jima, so maybe a high school graduation is honoring them in a way that they might like to be honored.
It's been interesting for a variety of reasons. It would be interesting any way, as I'm a graduate of NCHS, my wife is a graduate of NCHS, my father in law, mother in law, two brothers in law, two uncles, three aunts, and my father graduated from NCHS; and my son attends NCHS.
And NC is undergoing major renovation. It's 80 year old swimming pool, which is where I practiced when a swim team member, and where my son has also practiced for the same reason, will be torn down in that project in a couple of weeks, with no replacement pool in the offering as the local voters refused to pass the bond that would have funded that and other projects. We were involved in the effort to pass the bond, which was narrowly defeated. All of that would have made that interesting.
But it's also interesting as the choice of Memorial Day has caused a minor flap on the party of some who are upset on the basis that they conceive of a graduation over Memorial Day weekend (but not on the day tiself) as disrespectful to veterans in general and war dead in particular.
Well, while I say honor the day, my view on that is that the critics of the graduation should relax, reconsider and frankly reflect on this.. Dates for high school graduations are pretty strictly controlled around here and they had little other choice. Beyond that, two of the young men that I've grown to know over the years are going to be leaving shortly after they graduate for Navy basic training. And it occurs to me that a lot of our war dead weren't much older when they died than those young men entering the service. Indeed, a couple of the World War Two veterans I've known, including one who attended NCHS, left high school for the army. Anyhow, it occurs to me that those young men probably would have preferred to be at a high school graduation rather than in some mud hole in Italy, some freezing pit in Belgium, or some sandy foxhole on Iwo Jima, so maybe a high school graduation is honoring them in a way that they might like to be honored.
My service, as I have noted here before, was in the National Guard, although because of the length of training during the time during which I was receiving it, I have an Honorable Discharge from the U.S. Army (that is, we were in the active duty Army during training, and for such a long period that we qualify as veterans). That may make my prospective a bit different, but if it does, I suspect that my point is all the more valid. All of us in the Guard in that period were of course volunteers, with quite a few being men who had served in the Vietnam War. It seemed to me that in our conversations, while we all had an interest in the service, we talked more about routine matters, or matters that concerned us in our daily lives. For those men who served in 1860-1865, or 1917-1918, or 1940-1945, or what have you, who often served without a real choice, and who tended to be young men, my guess is that is all the more the case. I"m sure that on the plaque honoring NCHS's war dead from World War Two, which is in the school lobby, and past which hundreds of students pass each day, are the names of many young men whose souls would look back out on those familiar halls where they had walked and, if they were to speak, would say "I wish I could be there tonight".
Painted Bricks: Platte County Steam Laundry, Wheatland Wyoming
Painted Bricks: Platte County Steam Laundry, Wheatland Wyoming: This small building is still in use, and has updated windows today. A newer sign above the door says "Coin Operated Laundry", ...
Friday, May 23, 2014
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