George-Nim-Dan-Dean's Answer
Dear Sheridan! a gentle pairOf Gaulstown lads (for such they are)Besides a brace of grave divines,Adore the smoothness of thy lines:Smooth as our basin's silver flood,Ere George had robb'd it of its mud;Smoother than Pegasus' old shoe,Ere Vulcan comes to make him new.The board on which we set our a--s,Is not so smooth as are thy verses;Compared with which (and that's enough)A smoothing-iron itself is rough.Nor praise I less that circumcision,By modern poets call'd elision,With which, in proper station placed,Thy polish'd lines are firmly braced.Thus a wise tailor is not pinching,But turns at every seam an inch in:Or else, be sure, your broad-cloth breechesWill ne'er be smooth, nor hold their stitches.Thy verse, like bricks, defy the weather,When smooth'd by rubbing them together;Thy words so closely wedged and short are,Like walls, more lasting without mortar;By leaving out the needless vowels,You save the charge of lime and trowels.One letter still another locks,Each grooved and dovetail'd like a box;Thy muse is tuckt up and succinct;In chains thy syllables are linkt;Thy words together tied in small hanks,Close as the Macedonian phalanx;Or like the umbo of the Romans,Which fiercest foes could break by no means.The critic, to his grief will find,How firmly these indentures bind.So, in the kindred painter's art,The shortening is the nicest part.Philologers of future ages,How will they pore upon thy pages!Nor will they dare to break the joints,But help thee to be read with points:Or else, to show their learned labour, youMay backward be perused like Hebrew,In which they need not lose a bitOr of thy harmony or wit.To make a work completely fine,Number and weight and measure join;Then all must grant your lines are weightyWhere thirty weigh as much as eighty;All must allow your numbers more,Where twenty lines exceed fourscore;Nor can we think your measure short,Where less than forty fill a quart,With Alexandrian in the close,Long, long, long, long, like Dan's long nose.
Words in this poem
- 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]
- smoother n.
- One who, or that which, smooths.
- circumcision n.
- The act of cutting off the prepuce or foreskin of males, or the internal labia of females. [L. circumcisio.]
- defy v. t.
- To renounce or dissolve all bonds of affiance, faith, or obligation with; to reject, refuse, or renounce. [F. défier, OF. deffier, desfier, LL. disfidare to disown faith or fidelity, to dissolve the bond of allegiance, as between the vassal and his lord; hence, to ch]
- needless a.
- Having no need.
- succinct a.
- Girded or tucked up; bound; drawn tightly together. [L. succinctus, p.p. of succingere to gird below or from below, to tuck up; sub + cingere to gird. Cf. Cincture.]
- macedonian a.
- Belonging, or relating, to Macedonia.
- umbo n.
- The boss of a shield, at or near the middle, and usually projecting, sometimes in a sharp spike. [L.]
- fourscore a.
- Four times twenty; eighty. [Four + core, n.]
- alexandrian a.
- Of or pertaining to Alexandria in Egypt; as, the Alexandrian library.
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
George-Nim-Dan-Dean's Answer is in the public domain. This text is taken from The Poems of Jonathan Swift, D.D., Volume 2, Project Gutenberg ebook #13621; 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, George-Nim-Dan-Dean's Answer, in Cadenus and Vanessa, and Other Poems (1710–1745), text of Project Gutenberg ebook #13621, Laurel, https://laurelpoetry.com/poem/swift-poems/george-nim-dan-dean-s-answer.html, id L09402.
Form and metre
George-Nim-Dan-Dean's Answer is 56 lines in a single stanza. It is in rhyming couplets, 64% of the lines: octosyllabic couplets. The metre is iambic tetrameter, measured from the stress the words themselves fix (confidence 91%). 96% of its stressed syllables fall where the metre puts the beat. The lines average 8.4 syllables. 18 lines end on an unstressed syllable, a feminine ending. 9% of the lines run on without a stop at the line end.
See other poems in octosyllabic couplets, 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 --AABBCC--DDEEFF----GG----HH--IIJJKKLLMMNN--OO--PPQQRR-- pair · are · divinesA · linesA · floodB · mudB · shoeC · newC · s · verses · enoughD · roughD · circumcisionE · elisionE · placedF · bracedF · pinching · in · breeches · stitches · weatherG · togetherG · are · mortar · vowels · trowels · locksH · boxH · succinct · linkt · hanksI · phalanxI · romansJ · meansJ · findK · bindK · artL · partL · agesM · pagesM · jointsN · pointsN · you · hebrew · bitO · witO · fine · join · weightyP · eightyP · moreQ · fourscoreQ · shortR · quartR · close · nose
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.
| Line | Syl. | Stress |
|---|---|---|
| Dear Sheridan! a gentle pair | 8 | ·/˘˘·/˘· |
| Of Gaulstown lads (for such they are) | 8 | ········ |
| Besides a brace of grave divines, | 8 | ˘/····˘/ |
| Adore the smoothness of thy lines: | 8 | ˘/·/˘··· |
| Smooth as our basin's silver flood, | 8 | ··//˘/˘· |
| Ere George had robb'd it of its mud; | 8 | ········ |
| Smoother than Pegasus' old shoe, | 8 | /˘·/˘˘·· |
| Ere Vulcan comes to make him new. | 8 | ·/˘····· |
| The board on which we set our a--s, | 9 | ······/·· |
| Is not so smooth as are thy verses; | 9 | ·······/˘ |
| Compared with which (and that's enough) | 8 | ˘/····˘/ |
| A smoothing-iron itself is rough. | 8 | ·/˘/˘/·· |
| Nor praise I less that circumcision, | 9 | ······˘/˘ |
| By modern poets call'd elision, | 9 | ·/˘/˘···· |
| With which, in proper station placed, | 8 | ···/˘/˘· |
| Thy polish'd lines are firmly braced. | 8 | ·/˘··/˘· |
| Thus a wise tailor is not pinching, | 9 | ···/˘··/˘ |
| But turns at every seam an inch in: | 9 | ···/˘···· |
| Or else, be sure, your broad-cloth breeches | 9 | ·······/˘ |
| Will ne'er be smooth, nor hold their stitches. | 9 | ·······/˘ |
| Thy verse, like bricks, defy the weather, | 9 | ····˘/·/˘ |
| When smooth'd by rubbing them together; | 9 | ···/˘·˘/˘ |
| Thy words so closely wedged and short are, | 9 | ···/˘···· |
| Like walls, more lasting without mortar; | 9 | ···/˘··/˘ |
| By leaving out the needless vowels, | 9 | ·/˘··/˘/˘ |
| You save the charge of lime and trowels. | 9 | ·······/˘ |
| One letter still another locks, | 8 | ·/˘·˘/˘· |
| Each grooved and dovetail'd like a box; | 8 | ···/···· |
| Thy muse is tuckt up and succinct; | 8 | ······˘/ |
| In chains thy syllables are linkt; | 8 | ···/˘˘·· |
| Thy words together tied in small hanks, | 9 | ··˘/˘···· |
| Close as the Macedonian phalanx; | 9 | ····˘/˘/˘ |
| Or like the umbo of the Romans, | 9 | ···/˘··/˘ |
| Which fiercest foes could break by no means. | 9 | ·/˘······ |
| The critic, to his grief will find, | 8 | ·/˘····· |
| How firmly these indentures bind. | 8 | ·/˘·˘/˘· |
| So, in the kindred painter's art, | 8 | ···/˘/˘· |
| The shortening is the nicest part. | 8 | ·/˘··/˘· |
| Philologers of future ages, | 9 | ·····/˘/˘ |
| How will they pore upon thy pages! | 9 | ·······/˘ |
| Nor will they dare to break the joints, | 8 | ········ |
| But help thee to be read with points: | 8 | ········ |
| Or else, to show their learned labour, you | 9 | ······/·· |
| May backward be perused like Hebrew, | 9 | ·/˘·˘/·/˘ |
| In which they need not lose a bit | 8 | ········ |
| Or of thy harmony or wit. | 8 | ···/˘˘·· |
| To make a work completely fine, | 8 | ····˘/˘· |
| Number and weight and measure join; | 8 | /˘···/˘· |
| Then all must grant your lines are weighty | 9 | ·······/˘ |
| Where thirty weigh as much as eighty; | 9 | ·/˘····/˘ |
| All must allow your numbers more, | 8 | ··˘/·/˘· |
| Where twenty lines exceed fourscore; | 8 | ·/˘·˘//˘ |
| Nor can we think your measure short, | 8 | ·····/˘· |
| Where less than forty fill a quart, | 8 | ···/˘··· |
| With Alexandrian in the close, | 8 | ········ |
| Long, long, long, long, like Dan's long nose. | 8 | ········ |
Notes from the edition 4
The notes to the Poems of Jonathan Swift, Volume II (Project Gutenberg #13621).
- Line 16 In the Dublin edition: "Makes thy verse smooth, and makes them last."
- Line 32 For a clear description of the phalanx, see Smith's "Greek and Roman Antiquities," p. 488.--W. E. B.
- Line 33 The projection in the centre of the shield, which caused the missiles of the enemy to glance off. See Smith, as above, p. 298.--W. E. B.
- Line 56 See post, the poems on Dan Jackson's Picture.--W. E. B.
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