Jonathan Swift (1667-1745)

Now hardly here and there a Hackney-Coach

Appearing, show'd the Ruddy Morns Approach.

 

Now Betty from her Masters Bed had flown,

And softly stole to discompose her own.

 

The Slipshod Prentice from his Masters Door,

Had par'd the Dirt, and Sprinkled round the Floor.

 

Now Moll had whirl'd her Mop with dext'rous Airs,

Prepar'd to Scrub the Entry and the Stairs.

 

The Youth with Broomy Stumps began to trace

The Kennel-Edge, where Wheels had worn the Place.

 

The Smallcoal-Man was heard with Cadence deep,

'Till drown'd in Shriller Notes of Chimney-Sweep

 

Duns at his Lordships Gate began to meet,

And Brickdust Moll had Scream'd through half a Street.

 

The Turnkey now his Flock returning sees,

Duly let out a Nights to Steal for Fees.

 

The watchful bailiffs take their silent Stands,

And School-Boys lag with Satchels in their Hands.

 

30 April 1709

Notes from a web-page

kennel-edge = the curb; coal man = charcoal seller; Duns = debt collectors, brickdust = brick dust was sold to clean knives; fees = corrupt jailers allowed their charges out at night to steal money to pay for privileges.

Regarding Lines 5-6 of A Description of the Morning, following is a note from a web-page which should prove helpful:

 

The Slipshod Prentice from his Masters Door,

Had par'd the Dirt, and Sprinkled round the Floor.

 

A cursory reading of these lines could result in paying them too little attention—a decided mistake, when dealing with Swift. We fill in the blanks to suit common sense and common expectations; the apprentice doubtless sets to work, peels away layers of dirt, and, as it seems, sprinkles water about the floor—a conventional method for solidifying dust when one is sweeping and cleaning. Par'd in this reading plays a major role, suggesting that which is cut, trimmed, sliced off or away.

 

Internal evidence in the poem itself (not to mention the host of possible meanings of pare) should induce us to take a careful second look. The poem unfolds at the moment of dawn in the big city. Ironically, many people have been busy during the night, but virtually no one is now performing anything the least resembling diligent or honest labour. Betty tousles her bed so that it "appears" that she has slept there. Moll whirls her mop, preparatory to performing cleaning services. Creditors commence to assemble, bailiffs start to appear, hawkers begin to intone their sales pitch and their cries; even the schoolboys, instead of forthrightly marching off to school, do no more than "lag."

 

The satiric point of the poem is that everyone in London assumes a stand, a pose, or a posture—but nothing gets done. Unlike the usual pastoral scene portrayed in much cheerful pseudo-bucolic verse, where nature is inspirited with natural, vigorous, and healthy reanimation, Swift's urban eclogue parades the unnatural: no one springs wholeheartedly to life if he can help it! This particularly applies to the Prentice, who is significantly singled out as being "Slipshod."

http://www.youtube.com/watch?v=3o2sfM05O4U&feature=related