corporation. Custom had established yearly festivals for them in the
_classic regions_ of St. Giles's, which were frequented by the wits of
the day--Swift, Gay, Bolingbroke, Steele, &c. From these high followers
of the muses, yearly contingents of ballads were expected. Swift
contracted for the humourous songs: Gay who had, as Goldsmith says, "a
happy strain of ballad-thinking," was set down for the pathetic ones;
and those of a miscellaneous character were divided amongst a number of
amateur bards. No importunities, even of his friends, could induce Pope
to attend any of these assemblies. He was prevailed on to write an
epitaph for a young creature whom he had seen, and who was known by the
name of Clarinda: favoured by the great, if she had not been attached to
the life of a ballad-singer, she might, with her accomplishments, have
risen to distinction and fortune.

Gay and Swift had naturally a relish for low society, and were hailed by
the fraternity as the most precious sources of profit. Amongst other
songs which Swift sent into the world through the medium of
ballad-singers, was a severe satire upon the Duke of Marlborough,
beginning "Our Johnny is come from the wars:" it drew much attention,
and excited the strongest resentment against the author in the breast of
the Duchess, who remained implacable until the publication of Gulliver,
when she offered her friendship to Swift, through his friend Gay.

There was a young creature among the ballad-singers known to the world
by no other title than Clara, who drew much attention at this time by
the sweetness and pathos of her tones. She was the original singer of
"Black-eyed Susan," and one or two songs which were afterwards
introduced into the "Beggar's Opera;" but her recommendation to
particular notice was the circumstance of her being for many years the
object of Bolingbroke's enthusiastic affection. The poor girl strayed