The Progress of Beauty. 1719

Jonathan Swift (1667–1745) · 1727

iambic tetrameter · ABAB · 121 lines · from On Poetry: A Rhapsody, and Other Poems

When first Diana leaves her bed,Vapours and steams her looks disgrace,A frowzy dirty-colour'd redSits on her cloudy wrinkled face:

But by degrees, when mounted high,Her artificial face appearsDown from her window in the sky,Her spots are gone, her visage clears.

'Twixt earthly females and the moon,All parallels exactly run;If Celia should appear too soon,Alas, the nymph would be undone!

To see her from her pillow rise,All reeking in a cloudy steam,Crack'd lips, foul teeth, and gummy eyes,Poor Strephon! how would he blaspheme!

The soot or powder which was wontTo make her hair look black as jet,Falls from her tresses on her front,A mingled mass of dirt and sweat.

Three colours, black, and red, and whiteSo graceful in their proper place,Remove them to a different light,They form a frightful hideous face:

For instance, when the lily slipsInto the precincts of the rose,And takes possession of the lips,Leaving the purple to the nose:

So Celia went entire to bed,All her complexion safe and sound;But, when she rose, the black and red,Though still in sight, had changed their ground.

The black, which would not be confined,A more inferior station seeks,Leaving the fiery red behind,And mingles in her muddy cheeks.

The paint by perspiration cracks,And falls in rivulets of sweat,On either side you see the tracksWhile at her chin the conflu'nts meet.

A skilful housewife thus her thumb,With spittle while she spins anoints;And thus the brown meanders comeIn trickling streams betwixt her joints.

But Celia can with ease reduce,By help of pencil, paint, and brush,Each colour to its place and use,And teach her cheeks again to blush.

She knows her early self no more,But fill'd with admiration stands;As other painters oft adoreThe workmanship of their own hands.

Thus, after four important hours,Celia's the wonder of her sex;Say, which among the heavenly powersCould cause such wonderful effects?

Venus, indulgent to her kind,Gave women all their hearts could wish,When first she taught them where to findWhite lead, and Lusitanian dish.

Love with white lead cements his wings;White lead was sent us to repairTwo brightest, brittlest, earthly things,A lady's face, and China-ware.

She ventures now to lift the sash;The window is her proper sphere;Ah, lovely nymph! be not too rash,Nor let the beaux approach too near.

Take pattern by your sister star;Delude at once and bless our sight;When you are seen, be seen from far,And chiefly choose to shine by night.

In the Pall Mall when passing by,Keep up the glasses of your chair,Then each transported fop will cry,"G----d d----n me, Jack, she's wondrous fair!"

But art no longer can prevail,When the materials all are gone;The best mechanic hand must fail,Where nothing's left to work upon.

Matter, as wise logicians say,Cannot without a form subsist;And form, say I, as well as they,Must fail if matter brings no grist.

And this is fair Diana's case;For, all astrologers maintain,Each night a bit drops off her face,When mortals say she's in her wane:

While Partridge wisely shows the causeEfficient of the moon's decay,That Cancer with his pois'nous clawsAttacks her in the milky way:

But Gadbury, in art profound,From her pale cheeks pretends to showThat swain Endymion is not sound,Or else that Mercury's her foe.

But let the cause be what it will,In half a month she looks so thin,That Flamsteed can, with all his skill,See but her forehead and her chin.

Yet, as she wastes, she grows discreet,Till midnight never shows her head;So rotting Celia strolls the street,When sober folks are all a-bed:

For sure, if this be Luna's fate,Poor Celia, but of mortal race,In vain expects a longer dateTo the materials of her face.

When Mercury her tresses mows,To think of oil and soot is vain:No painting can restore a nose,Nor will her teeth return again.

Two balls of glass may serve for eyes,White lead can plaister up a cleft;But these, alas, are poor suppliesIf neither cheeks nor lips be left.

Ye powers who over love preside!Since mortal beauties drop so soon,If ye would have us well supplied,Send us new nymphs with each new moon!

August, 1646, died in December, 1719. For a full account of him, see

Words in this poem 18
diana n.
The daughter of Jupiter and Latona; a virgin goddess who presided over hunting, chastity, and marriage; -- identified with the Greek goddess Artemis. [L. Diana.]
frowzy a.
Slovenly; unkempt; untidy; frouzy. [See Frouzy.]
visage n.
The face, countenance, or look of a person or an animal; -- chiefly applied to the human face. [F. visage, from L. visus a seeing, a look, fr. videre, visum, to see. See Vision.]
undone a.
Not done or performed; neglected. [Pref. un- not + done.]
blaspheme v. t.
To speak of, or address, with impious irreverence; to revile impiously (anything sacred); as, to blaspheme the Holy Spirit. [OE. blasfem, L. blasphemare, fr. Gr. : cf. F. blasphémer. See Blame, v.]
frightful a.
Full of fright; affrighted; frightened.
went n.
Course; way; path; journey; direction.
complexion n.
The state of being complex; complexity. [F. complexion, fr. L. complexio. See Complex, a.]
betwixt prep.
In the space which separates; between. [OE. betwix, bitwix, rarely bitwixt, AS. betweox, betweohs, betweoh, betwih; pref. be- by + a form fr. AS. twa two. See Between.]
admiration n.
Wonder; astonishment. [F., fr. L. admiratio. See Admire.]
adore v. t.
To worship with profound reverence; to pay divine honors to; to honor as deity or as divine. [OE. aouren, anouren, adoren, OF. aorer, adorer, F. adorer, fr. L. adorare; ad + orare to speak, pray, os, oris, mouth. In OE. confused with honor, the French pr]
lusitanian a.
Pertaining to Lusitania, the ancient name of the region almost coinciding with Portugal.
mall n.
A large heavy wooden beetle; a mallet for driving anything with force; a maul. [OE. malle, F. mail, L. malleus. Cf. Malleus.]
wondrous adv.
In a wonderful or surprising manner or degree; wonderfully. [OE. wonders, adv. (later also adj.). See Wonder, n., and cf. -wards.]
subsist v. i.
To be; to have existence; to inhere. [L. subsistere to stand still, stay, remain alive; sub under + sistere to stand, to cause to stand, from stare to stand: cf. F. subsister. See Stand.]
grist n.
Ground corn; that which is ground at one time; as much grain as is carried to the mill at one time, or the meal it produces. [AS. grist, fr. grindan. See Grind.]
discreet a.
Possessed of discernment, especially in avoiding error or evil, and in the adaptation of means to ends; prudent; sagacious; judicious; not rash or heedless; cautious. [F. discret, L. discretus separated (whence the meaning reserved, prudent), p. p. of discernere. See Discern, and cf. Discrete.]
folks n.
In Anglo-Saxon times, the people of a group of townships or villages; a community; a tribe. [AS. folc; akin to D. volk, OS. & OHG. folk, G. volk, Icel. f, Sw. & Dan. folk, Lith. pulkas crowd, and perh. to E. follow.]

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

The Progress of Beauty. 1719 is in the public domain. This text is taken from The Poems of Jonathan Swift, D.D., Volume 1, Project Gutenberg ebook #14353; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Jonathan Swift, The Progress of Beauty. 1719, in On Poetry: A Rhapsody, and Other Poems (1727), text of Project Gutenberg ebook #14353, Laurel, https://laurelpoetry.com/poem/swift-poems-vol1/the-progress-of-beauty-1719.html, id L24513.

Form and metre

The Progress of Beauty. 1719 is 121 lines in 31 stanzas. The rhyme scheme is ABAB, complete in 25 of its 31 stanzas. The metre is iambic tetrameter, measured from the stress the words themselves fix (confidence 92%).

See other poems in iambic tetrameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 1 ABAB bedA · disgraceB · redA · faceB
  2. 2 ABAB highA · appearsB · skyA · clearsB
  3. 3 ABAB moonA · runB · soonA · undoneB
  4. 4 ABAB riseA · steamB · eyesA · blasphemeB
  5. 5 -A-A wont · jetA · front · sweatA
  6. 6 ABAB whiteA · placeB · lightA · faceB
  7. 7 ABAB slipsA · roseB · lipsA · noseB
  8. 8 ABAB bedA · soundB · redA · groundB
  9. 9 ABAB confinedA · seeksB · behindA · cheeksB
  10. 10 A-A- cracksA · sweat · tracksA · meet
  11. 11 A-A- thumbA · anoints · comeA · joints
  12. 12 ABAB reduceA · brushB · useA · blushB
  13. 13 ABAB moreA · standsB · adoreA · handsB
  14. 14 ABAB hoursA · sexB · powersA · effectsB
  15. 15 ABAB kindA · wishB · findA · dishB
  16. 16 ABAB wingsA · repairB · thingsA · wareB
  17. 17 ABAB sashA · sphereB · rashA · nearB
  18. 18 ABAB starA · sightB · farA · nightB
  19. 19 ABAB byA · chairB · cryA · fairB
  20. 20 A-A- prevailA · gone · failA · upon
  21. 21 ABAB sayA · subsistB · theyA · gristB
  22. 22 ABAB caseA · maintainB · faceA · waneB
  23. 23 ABAB causeA · decayB · clawsA · wayB
  24. 24 ABAB profoundA · showB · soundA · foeB
  25. 25 ABAB willA · thinB · skillA · chinB
  26. 26 ABAB discreetA · headB · streetA · bedB
  27. 27 ABAB fateA · raceB · dateA · faceB
  28. 28 -A-A mows · vainA · nose · againA
  29. 29 ABAB eyesA · cleftB · suppliesA · leftB
  30. 30 ABAB presideA · soonB · suppliedA · moonB
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic tetrameter. How this is done.

LineSyl.Stress
When first Diana leaves her bed,8··˘/˘···
Vapours and steams her looks disgrace,8/˘····˘/
A frowzy dirty-colour'd red8·/˘/˘/˘·
Sits on her cloudy wrinkled face:8···/˘/˘·
But by degrees, when mounted high,8··˘/·/˘·
Her artificial face appears8··˘/˘·˘/
Down from her window in the sky,8···/˘···
Her spots are gone, her visage clears.8·····/˘·
'Twixt earthly females and the moon,8·/˘/····
All parallels exactly run;8·/˘·˘/˘·
If Celia should appear too soon,8·/˘·˘/··
Alas, the nymph would be undone!8˘/····˘/
To see her from her pillow rise,8·····/˘·
All reeking in a cloudy steam,8·/˘··/˘·
Crack'd lips, foul teeth, and gummy eyes,8·····/˘·
Poor Strephon! how would he blaspheme!8······˘/
The soot or powder which was wont8···/˘···
To make her hair look black as jet,8········
Falls from her tresses on her front,8···/˘···
A mingled mass of dirt and sweat.8·/˘·····
Three colours, black, and red, and white8·/˘·····
So graceful in their proper place,8·/˘··/˘·
Remove them to a different light,8˘/···/˘·
They form a frightful hideous face:8···/˘/˘·
For instance, when the lily slips8·/˘··/˘·
Into the precincts of the rose,8···/····
And takes possession of the lips,8··˘/˘···
Leaving the purple to the nose:8/˘·/˘···
So Celia went entire to bed,8·/˘·˘/··
All her complexion safe and sound;8··˘/˘···
But, when she rose, the black and red,8········
Though still in sight, had changed their ground.8········
The black, which would not be confined,8······˘/
A more inferior station seeks,8··˘/˘/˘·
Leaving the fiery red behind,8/˘·/˘···
And mingles in her muddy cheeks.8·/˘··/˘·
The paint by perspiration cracks,8····˘/˘·
And falls in rivulets of sweat,8········
On either side you see the tracks8·/˘·····
While at her chin the conflu'nts meet.8········
A skilful housewife thus her thumb,8·/˘/····
With spittle while she spins anoints;8·/˘···˘/
And thus the brown meanders come8····˘/˘·
In trickling streams betwixt her joints.8·/˘·˘/··
But Celia can with ease reduce,8·/˘···˘/
By help of pencil, paint, and brush,8···/˘···
Each colour to its place and use,8·/˘·····
And teach her cheeks again to blush.8····˘/··
She knows her early self no more,8···/˘···
But fill'd with admiration stands;8····˘/˘·
As other painters oft adore8·/˘/˘·˘/
The workmanship of their own hands.8·/˘·····
Thus, after four important hours,9····˘/˘/˘
Celia's the wonder of her sex;8/˘·/˘···
Say, which among the heavenly powers8·····/˘/
Could cause such wonderful effects?8···/˘˘˘/
Venus, indulgent to her kind,8/˘˘/˘···
Gave women all their hearts could wish,8·/˘·····
When first she taught them where to find8········
White lead, and Lusitanian dish.8········
Love with white lead cements his wings;8····˘/··
White lead was sent us to repair8······˘/
Two brightest, brittlest, earthly things,8·/˘/˘/˘·
A lady's face, and China-ware.8·/˘··/˘·
She ventures now to lift the sash;8·/˘·····
The window is her proper sphere;8·/˘··/˘·
Ah, lovely nymph! be not too rash,8·/˘·····
Nor let the beaux approach too near.8····˘/··
Take pattern by your sister star;8·/˘··/˘·
Delude at once and bless our sight;8˘/····/·
When you are seen, be seen from far,8········
And chiefly choose to shine by night.8·/˘·····
In the Pall Mall when passing by,8·····/˘·
Keep up the glasses of your chair,8···/˘···
Then each transported fop will cry,8··˘/˘···
"G----d d----n me, Jack, she's wondrous fair!"10·······/˘·
But art no longer can prevail,8···/˘·˘/
When the materials all are gone;8··˘/˘···
The best mechanic hand must fail,8··˘/˘···
Where nothing's left to work upon.8·/˘·····
Matter, as wise logicians say,8/˘··˘/˘·
Cannot without a form subsist;8˘/····˘/
And form, say I, as well as they,8········
Must fail if matter brings no grist.8···/˘···
And this is fair Diana's case;8····˘/˘·
For, all astrologers maintain,8··˘/˘˘˘/
Each night a bit drops off her face,8········
When mortals say she's in her wane:8·/˘·····
While Partridge wisely shows the cause8·/˘/˘···
Efficient of the moon's decay,8˘/˘···˘/
That Cancer with his pois'nous claws8·/˘·····
Attacks her in the milky way:8˘/···/˘·
But Gadbury, in art profound,8······˘/
From her pale cheeks pretends to show8····˘/··
That swain Endymion is not sound,8········
Or else that Mercury's her foe.8···/˘˘··
But let the cause be what it will,8········
In half a month she looks so thin,8········
That Flamsteed can, with all his skill,7·······
See but her forehead and her chin.8···/˘···
Yet, as she wastes, she grows discreet,8······˘/
Till midnight never shows her head;8·/·/˘···
So rotting Celia strolls the street,8·/˘/˘···
When sober folks are all a-bed:8·/˘·····
For sure, if this be Luna's fate,8·····/˘·
Poor Celia, but of mortal race,8·/˘··/˘·
In vain expects a longer date8··˘/·/˘·
To the materials of her face.8··˘/˘···
When Mercury her tresses mows,8·/˘˘·/˘·
To think of oil and soot is vain:8········
No painting can restore a nose,8·/˘·˘/··
Nor will her teeth return again.8····˘/˘/
Two balls of glass may serve for eyes,8········
White lead can plaister up a cleft;8···/˘···
But these, alas, are poor supplies8··˘/··˘/
If neither cheeks nor lips be left.8·/˘·····
Ye powers who over love preside!8·/····˘/
Since mortal beauties drop so soon,8·/˘/˘···
If ye would have us well supplied,8······˘/
Send us new nymphs with each new moon!8········
August, 1646, died in December, 1719. For a full account of him, see15/˘··˘/˘···˘/···

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