Disease, and Sorrow's weeping train, And Death, sad refuge from the storms of Fate! And justify the laws of Jove. Say, has he giv'n in vain the heav'nly Muse? Night, and all her sickly dews, Her Spectres wan, and Birds of boding cry, He gives to range the dreary sky: Till down the eastern cliffs afar Hyperion's march they spy, and glitt'ring shafts of war. II. 2. * In climes beyond the solar road, Where shaggy forms o'er ice-built mountains roam, The Muse has broke the twilight-gloom To chear the shivering Native's dull abode. And oft, beneath the od❜rous shade Of Chili's boundless forests laid, She deigns to hear the savage Youth repeat In loose numbers wildly sweet Their feather-cinctur'd Chiefs, and dusky Loves. * Extensive influence of poetic Genius over the remotest and most uncivilized nations: its connection with liberty, and the virtues that naturally attend on it.---[See the Erse, Norwegian, and Welch Fragments; the Lapland and American Songs.] Glory pursue, and generous Shame, Th' unconquerable Mind, and Freedom's holy flame. II. 3. * Woods, that wave o'er Delphi's steep, Isles, that crown th' Ægean deep, Fields, that cool Ilissus laves, Or where Mæander's amber waves How do your tuneful Echoes languish, Ev'ry shade and hallow'd Fountain Murmur'd deep a solemn sound: Till the sad Nine in Greece's evil hour They sought, oh, Albion! next thy sea-encircled coast. * Progress of Poetry from Greece to Italy, and from Italy to England. Chaucer was not unacquainted with the writings of Dante or of Petrarch. The Earl of Surrey and Sir Thomas Wyatt had travelled in Italy, and formed their taste there; Spenser imita ted the Italian writers; Milton improved on them: but this School expired soon after the Restoration, and a new one arose on the French model, which has subsisted ever since. III. 1. Far from the sun and summer-gale, In thy green lap was Nature's * Darling laid, To him the mighty Mother did unveil Her awful face: The dauntless Child This pencil take (she said) whose colours clear Thine too these golden keys, immortal Boy! Of Horror that, and thrilling Fears, Or ope the sacred source of sympathetic Tears. III. 2. Nor second He†, that rode sublime The secrets of th' Abyss to spy. He pass'd the flaming bounds of Place and Time: The living Throne, the sapphire-blaze, Where Angels tremble, while they gaze, He saw; but blasted with excess of light, Clos'd his eyes in endless night. Behold where Dryden's less presumptuous car, Wide o'er the fields of Glory bear Two Coursers of ethereal race, With necks in thunder cloath'd, and long-resounding pace. III. 3. Hark, his hands the lyre explore! Bright-eyed Fancy hovering o'er Scatters from her pictur'd urn Thoughts, that breathe, and words, that burn. *But ah! 'tis heard no more----- Oh! Lyre divine, what daring Spirit Wakes thee now? tho' he inherit Nor the pride, nor ample pinion, +That the Theban Eagle bear Sailing with supreme dominion Thro' the azure deep of air: Yet oft before his infant eyes would run Such forms, as glitter in the Muse's ray * We have had in our language no other odes of the sublime kind, than that of Dryden on St, Cecilia's day: for Cowley (who had his merit) yet wanted judgment, style, and harmony for such a task. That of Pope is not worthy of so great a man. Mr. Mason, indeed, of late days, has touched the true chords, and with a masterly hand in some of his Choruses,--above all in the last of Caractacus; "Hark! heard ye not yon footstep dread?" &c. + Pindar. |