Produced by Jonathon Ingram, Robert Prince and the Online

Distribted Proofreading Team

THE

POETICAL WORKS

OF

MARK AKENSIDE.

REV. GEORGE GILFILLAN.

THE LIFE OF AKENSIDE.

Mark Akenside was born at Newcastle-upon-Tyne on the 9th of November 1721. His family were Presbyterian Dissenters, and on the 30th of that month he was baptized in the meeting, then held in Hanover Square, by a Mr. Benjamin Bennet. His father, Mark, was a butcher in respectable circumstances—his mother's name was Mary Lumsden. There may seem something grotesque in finding the author of the "Pleasures of Imagination" born in a place usually thought so anti-poetical as a butcher's shop. And yet similar anomalies abound in the histories of men of genius. Henry Kirke White, too, was a butcher's son, and for some time carried his father's basket. The late Thomas Atkinson, a very clever littérateur of the West of Scotland, was also what the Scotch call a "flesher's" son. The case of Cardinal Wolsey is well known. Indeed, we do not understand why any decent calling should be inimical to the existence—however it may be to the adequate development—of genius. That is a spark of supernal inspiration, lighting where it pleases, often conforming, and always striving to conform, circumstances to itself, and sometimes even strengthened and purified by the contradictions it meets in life. Nay, genius has sprung up in stranger quarters than in butcher's shops or tailor's attics—it has lived and nourished in the dens of robbers, and in the gross and fetid atmosphere of taverns. There was an Allen-a-Dale in Robin Hood's gang; it was in the Bell Inn, at Gloucester, that George Whitefield, the most gifted of popular orators, was reared; and Bunyan's Muse found him at the disrespectable trade of a tinker, and amidst the clatter of pots, and pans, and vulgar curses, made her whisper audible in his ear, "Come up hither to the Mount of Vision—to the summit of Mount Clear!"

It is said that Akenside was ashamed of his origin—and if so, he deserved the perpetual recollection of it, produced by a life-long lameness, originating in a cut from his father's cleaver. It is fitting that men, and especially great men, should suffer through their smallnesses of character. The boy was first sent to the Free School of Newcastle, and thence to a private academy kept by Mr. Wilson, a Dissenting minister of the place. He began rather early to display a taste for poetry and verse-writing; and, in April 1737, we find in the Gentleman's Magazine a set of stanzas, entitled, "The Virtuoso, in imitation of Spenser's style and stanza," prefaced by a letter signed Marcus, in which the author, while requesting the insertion of his piece, pleads the apology of his extreme youth. One may see something of the future political zeal of the man in the boy's selection of one of the names of Brutus. The Gentleman's Magazine was then rising toward that character of a readable medley and agreeable olla podrida, which it long bore, although its principal contributor—Johnson—did not join its staff till the next year. Its old numbers will even still repay perusal—at least we seldom enjoyed a greater treat than when in our boyhood we lighted on and read some twenty of its brown-hued, stout-backed, strong-bound volumes, filled with the debates in the Senate of Lilliput—with Johnson's early Lives and Essays—with mediocre poetry—interesting scraps of meteorological and scientific information—ghost stories and fairy tales—alternating with timid politics, and with sarcasms at the great, veiled under initials, asterisks, and innuendoes; and even now many, we believe, feel it quite a luxury to recur from the personalities and floridities of modern periodicals to its quiet, cool, sober, and sensible pages. To it Akenside contributed afterwards a fable, called "Ambition and Content," a "Hymn to Science," and a few more poetical pieces (written not, as commonly said, in Edinburgh, but in Newcastle, in 1739). It has been asserted that he composed his "Pleasures of Imagination" while visiting some relations at Morpeth, when only seventeen years of age; but although he himself assures us that he spent many happy and inspired hours in that region,

"Led
In silence by some powerful hand unseen,"

there is no direct evidence that he then fixed his vague, tumultuous, youthful impressions in verse. Indeed, the texture and style of the "Pleasures" forbid the thought that it was a hasty improvisation. When nearly eighteen years old, Akenside was sent to Edinburgh, to commence his studies for the pulpit, and received some pecuniary assistance from the Dissenters' Society. One winter, however, served to disgust him with the prospects of the profession—which he resigned for the pursuit of medicine, repaying the contribution he had received from the society. We know a similar case in the present day of a well-known, able littérateur—once the editor of the Westminster Review—who had been educated at the expense of the Congregational body in Scotland, but who, after a change of religious view and of profession, honourably refunded the whole sum. What were the special reasons why Akenside turned aside from the Church we are not informed. Perhaps he had fallen into youthful indiscretions or early scepticism; or perhaps he felt that the business of a Dissenting pastor was not then, any more than it is now, a very lucrative one. Presbyterian Dissent at that time, besides, did not stand very high in England. The leading Dissenting divines were Independents—and the Presbyterian body was fast sinking into Unitarian or Arian heresy. On the other hand, the Church of England was in the last state of lukewarmness; the Church of Scotland was groaning under the load of patronage; and the Secession body was newly formed, and as yet insignificant. In such circumstances we cannot wonder that an ardent, ambitious mind like that of Akenside should revolt from divinity as a study, and the pulpit as a goal, although some may think it strange how the pursuit of medicine should commend itself instead to a genial and poetic mind. Yet let us remember that some eminent poets have been students or practisers of the art of medicine. Such—to name only a few—were Armstrong, Smollett, Crabbe, Darwin, Delta, Keats, and the two Thomas Browns, the Knight of the "Religio Medici," and the Philosopher of the "Lectures," both genuine poets, although their best poetry is in prose. There are, besides, connected with medicine, some departments of thought and study peculiarly exciting to the imagination. Such is anatomy, with its sad yet instructive revelations of the structure of the human frame—so "fearfully and wonderfully made"—wielding in its hand a scalpel which at first seems ruthless and disenchanting as the scythe of death, but which afterwards becomes a key to unlock some of the deepest mysteries, and leads us down whole galleries of wonder. There is botany, culling from every nook and corner of the earth weeds which are flowers, and flowers of all hues, and every plant, from the "cedar of Lebanon to the hyssop which springs out of the wall," and finding a terrible and imaginative pleasure in handling the fell family of poisons, and in deriving the means of protracting life and healing sickness from the very blossoms of death. And there is chemistry, most poetical save astronomy of all the sciences, seeking to spiritualise the material—to hunt the atom to the point where it trembles over the gulf of nonentity—to weigh gases in scales, and the elements in a balance, and, in its more transcendental and daring shape, trying to interchange one kind of metal with another, and all kinds of forms with all, as in a music-led and mystic dance. Hence we find that such men as Beddoes, the author of the "Bride's Tragedy," have turned away from poetry to physiology, and found in it a grander if also ghastlier stimulus to their imaginative faculty. Hence Crabbe delighted to load himself with grasses and duckweed, and Goëthe to fill his carriage with every variety of plant and mountain flower. Hence Davy, and the late lamented Samuel Brown, analysed, in the spirit of poets as well as of philosophers, and gave to the crucible what it had long lost, something of the air of a weird cauldron, bubbling over with magical foam, and shining, not so much in the severe light of science as in the

"Light that never was on sea or shore.
The consecration and the poet's dream."

And hence, in the then state of Church matters, and of his own effervescent soul, Akenside felt probably in medicine a deeper charm than in theology, and imagined that it opened up a more congenial field for his powers both of reason and of imagination.

In December 1740, Akenside was elected a member of the Edinburgh Medical Society. This society held meetings for discussion, and in them our poet set himself to shine as a speaker. His ambition, it is said, at this time, was to be a member of Parliament; and Dr. Robertson, then a student in the University, used to attend the meetings of the society chiefly to hear the speeches of the young and fiery Southron. Indeed, the rhetoric of the "Pleasures of Imagination" is finer than its poetry; and none but an orator could have painted Brutus rising "refulgent from the stroke" which slew Caesar, when he

"Call'd on Tully's name,
And bade the father of his country hail!"

Englishmen are naturally more eloquent than the Scotch; and once and again has the Mark Akenside, the Joseph Gerald, or the George Thompson overpowered and captivated even the sober and critical children of the Modern Athens. While electrifying the Medical Society, Akenside did not neglect, if he did not eminently excel in his professional studies; and he continued to write sonorous verse, some specimens of which, including an "Ode on the Winter Solstice," and "Love, an Elegy," he is said to have printed for private distribution.

In Edinburgh he became acquainted with Jeremiah Dyson, a young law-student of fortune, who was afterwards our poet's principal patron. He seems to have returned to Newcastle in 1741; and we find him dating a letter to Dyson thence on the 18th of August 1742, and directing his correspondent to address his reply to him as "Surgeon, in Newcastle-upon-Tyne." It is doubtful, however, if he had yet begun to practise; and there is reason to believe that he was busily occupied with his great poem. This he completed in the close of 1743. He offered the manuscript to Dodsley for £150. The bookseller, although a liberal and generous man, was disposed at first to boggle a little at such a price for a didactic poem by an unknown man. He carried the "Pleasures of Imagination" to Pope, who glanced at it, saw its merit, and advised Dodsley not to make a niggardly offer—for "this was no everyday writer." It appeared in January 1744, and, in spite of its faults, nay, perhaps, partly in consequence of them, was received with loud applause; and the author—only twenty-three years of age—"awoke one morning, and found himself famous;" for although his name was not attached to the poem, it soon transpired. One Rolt, an obscure scribbler, then in Ireland, claimed the authorship, transcribed the poem with his own hand; nay, according to Dr. Johnson, published an edition with his own name, and was invited to the best tables as the ingenious Mr. Rolt. His conversation did not indeed sparkle with poetic fire, nor was his appearance that of a poet, but people remembered that both Dryden and Addison were dull or silent in company till warmed with wine, and that it was not uncommon for authors to have sold all their thoughts to their booksellers. Akenside, hearing of this, was obliged to vindicate his claims by printing the next edition with his name, and then the bubble of the ingenious Mr. Rolt burst.

All fame, and especially all sudden fame, has its drawbacks. Gray read the poem, and wrote of it to his friends, in a style thought at the time depreciatory, although it comes pretty near the truth. He says, "It seems to me above the middling, and now and then for a little while rises even to the best, particularly in description. It is often obscure and even unintelligible. In short, its great fault is, that it was published at least nine years too early." Gray, however, had not as yet himself emerged as a poet, and his word had chiefly weight with his friends. Warburton was a more formidable opponent. This divine acted then a good deal in the style of a gigantic Church-bully, and seemed disposed to knock down all and sundry who differed from him either on great or small theological matters; and Humes, Churchills, Jortins, Middletons, Lowths, Shaftesburys, Wesleys, Whitefields, and Akensides all felt the fury of his onset, and the force of the "punishment" inflicted by his strong fists. Akenside, in his poem, and in one of his notes, had defended Shaftesbury's ridiculous notion that ridicule is the test of truth, and for this Warburton assailed him in the preface to "Remarks in Answer to Dr. Middleton." In this, while indirectly disparaging the poem, he accuses the poet of infidelity, atheism, and insulting the clergy. The preface appeared in March 1744, and in the following May (Akenside being then in Holland) came forth a reply, in "An Epistle to the Rev. Mr. Warburton, occasioned by his Treatment of the Author of the Pleasures of Imagination," which had been concocted between Dyson and our poet. This pamphlet was written with considerable spirit; and although it left the question where it found it, it augured no little courage on the part of the young physician and the young lawyer mating themselves against the matured author of the "Divine Legation of Moses." As to the question in dispute, Johnson disposes of it satisfactorily in a single sentence. "If ridicule be applied to any position as the test of truth, it will then become a question whether such ridicule be just, and this can only be decided by the application of truth as the test of ridicule." How easy to make any subject or any person ridiculous! To hold that ridicule is paramount to the discovery or attestation of truth, is to exalt the ape-element in man above the human and the angelic principles, which also belong to his nature, and to enthrone a Voltaire over a Newton or a Milton. Those who laugh proverbially do not always win, nor do they always deserve to win. Do we think less of "Paradise Lost," and Shakspeare, because Cobbett has derided both, or of the Old and New Testaments, because Paine has subjected parts of them to his clumsy satire? When we find, indeed, a system such as Jesuitism blasted by the ridicule of Pascal, we conclude that it was not true,—but why? not merely because ridicule assailed it, for ridicule has assailed ten thousand systems which never even shook in the storm, but because, in the view of all candid and liberal thinkers, the ridicule prevailed. Should it be said that the question still recurs, How are we to be certain of the candour and liberality of the men who think that Pascal's satire damaged Jesuitism? we simply say, that it is not ridicule, but some stricter and more satisfactory method that can determine this inquiry. It is remarkable that Akenside modified his statements on this subject in his after revision of his poem.

In April 1744 we find our bard in Leyden, and Mr. Dyce has published some interesting letters dated thence to Mr. Dyson. He does not seem to have admired Holland much, whether in its scenery, manners, taste, or genius. On the 16th of May, he took his degree of Doctor of Physic at Leyden, the subject of his Dissertation (which, according to the usual custom, he published) being the "Origin and Growth of the Human Foetus," in which he is reported to have opposed the views then prevalent, and to have maintained the theory which is now generally held. As soon as he received his diploma he returned to England, signalising his departure by an "Ode to Holland," as dull as any ditch in that country itself. In June he settled as a physician in Northampton, where the eminent Doddridge was at the time labouring. With him he is said to have held a friendly contest about the opinions of the old heathens in reference to a future state, Akenside, in keeping with the whole tenor of his intellectual history, supporting the side of the ancients. Indeed, he never appears to have had much religion, except that of the Pagan philosophy, Plato being his Paul, and Socrates his Christ; and most cordially would he have joined in Thorwaldsen's famous toast (announced at an evening party in Rome, while the planet Jupiter was shining in great glory), "Here's in honour of the ancient gods." In Northampton, partly owing to the overbearing influence of Dr. Stonehouse, a long-established practitioner, and partly to his violent political zeal, he did not prosper. While residing there he produced his manly and spirited "Epistle to Curio." Curio was Pulteney, who had been a flaming patriot, but who, like the majority of such characters, had, for the sake of a title—the earldom of Bath—subsided into a courtier. Him Akenside lashes with unsparing energy. He committed afterwards an egregious blunder in reference to this production. He frittered it down into a stupid ode. Indeed, he had always an injudicious trick—whether springing from fastidiousness or undue ambition—of tinkering and tampering with his very best poems.

In March 1745 he collected his odes into a quarto tract. It appeared at a time when lyrical poetry was all but extinct. Dryden was gone; Collins and Gray had not yet published their odes; and hence, and partly too from the prestige of his former poem, Akenside's odes, poor as they now seem, met with considerable acceptance, although they did not reach a new edition till 1760. In 1747 his friend Dyson, having been elected clerk to the House of Commons, took Akenside with him to his house at Northend, Hampstead. Here, however, he felt himself out of place, and in fine, in 1748, he settled down in Bloomsbury Square, London, where Dyson very generously allowed him £300 a-year, which, being equal to the value of twice that sum now, enabled him to keep a chariot, and live like a gentleman. During the years 1746, 1747, 1748, he composed a number of pieces, both in prose and verse—his "Hymn to the Naiads," his "Ode to the Evening Star," and several essays in Dodsley's Museum; such as these, "On Correctness;" "The Table of Modern Fame, a Vision;" "Letter from a Swiss Gentleman on English Liberty;" and "The Balance of Poets;" besides an ode to Caleb Hardinge, M. D., and another to the Earl of Huntingdon, which has been esteemed one of his best lyric poems. In London he did not attain rapidly a good practice, nor was it ever extensive. But for Mr. Dyson's aid he might have written a chapter on "Early Struggles," nearly as rich and interesting as that famous one in Warren's "Diary of a late Physician." Even his poetical name was adverse to his prospects. His manners, too, were unconciliating and haughty. At Tom's Coffeehouse, in Devereux Court, night after night, appeared the author of the "Pleasures of Imagination," full of knowledge, dogmatism, and a love of self-display; eager for talk, fond of arguing—especially on politics and literature—and sometimes narrowly escaping duels and other misadventures springing from his hot and imperious temper. In sick chambers he was stiff, formal, and reserved, carrying a frown about with him, which itself damped the spirits and accelerated the pulse of his patients. It was only among intimate friends that he descended to familiarity, and even then it was with

"Compulsion and laborious flight."

One of these intimates for a while was Charles Townshend, a man whose name now lives chiefly in the glowing encomium of Burke, a part of which we may quote:—"Before this splendid orb (Lord Chatham) was entirely set, and while the western horizon was in a blaze with his descending glory, on the opposite quarter of the heavens arose another luminary, and for his hour became lord of the ascendant. Townshend was the delight and ornament of this House, and the charm of every private society which he honoured with his presence. Perhaps there never arose in this country, nor in any country, a man of more pointed and finished wit, and of a more refined, exquisite, and penetrating judgment. He stated his matter skilfully and powerfully. He particularly excelled in a most luminous explanation and display of the subject. His style of argument was neither trite and vulgar, nor subtle and abstruse. He hit the House between wind and water. He had no failings which were not owing to a noble cause, to an ardent, generous, perhaps an immoderate passion for fame; a passion which is the instinct of all great souls. He worshipped that goddess wheresoever she appeared: but he paid his particular devotions to her in her favourite habitation, in her chosen temple, the House of Commons." With this distinguished man Akenside was for some time on friendly terms, but for causes not well known, their friendship came to an abrupt termination; it might have been owing to Townshend's rapid rise, or to Akenside's presumptuous and overbearing disposition. Two odes, addressed by the latter to the former, immortalise this incomplete and abortive amity.

The years 1750 and 1751 were only signalised in Akenside's history by one or two dull odes from his pen. But if not witty at that time himself, he gave occasion to wit in others. Smollett, provoked, it is said, by some aspersions Akenside had in conversation cast on Scotland, and at all times prone to bitter and sarcastic views of men and manners, fell foul of him in "Peregrine Pickle." If our readers care for wading through that filthy novel—the most disagreeable, although not the dullest of Smollett's fictions—they will find a caricature of our poet in the character of the "Doctor," who talks nonsense about liberty, quotes and praises his own poetry, and invites his friends to an entertainment in the manner of the ancients—a feast hideously accurate in its imitation of antique cookery, and forming, if not an "entertainment" to the guests, a very rich one to the readers of the tale. How Akenside bore this we are not particularly informed. Probably he writhed in secret, but was too proud to acknowledge his feelings. In 1753 he was consoled by receiving a doctor's degree from Cambridge, and by being elected Fellow of the Royal Society. The next year he became Fellow of the College of Physicians.

In June 1755 he read the Galstonian lectures in anatomy before the College of Physicians, and in the next year the Croonian lectures before the same institution. The subject of the latter course was the "History of the Revival of Letters," which some of the learned Thebans thought not germane to the matter; and, consequently, after he had delivered three lectures, he desisted in disgust. This fact seems somewhat to contradict Dr. Johnson's assertion, that "Akenside appears not to have been wanting to his own success, and placed himself in view by all the common methods." Had he been a thoroughly self-seeking man, he never would have committed the blunder of choosing literature as a subject of predilection to men who were probably most of them materialists, or at least destitute of literary taste. The Doctor says also, "He very eagerly forced himself into notice, by an ambitious ostentation of elegance and literature." But surely the author of such a popular poem as the "Pleasures of Imagination" had no need to claim notice by an ostentatious display of his parts, and had too much good sense to imagine that such a vain display would conciliate any acute and sensible person. Johnson, in fact, throughout his cursory and careless "Life of Akenside," is manifestly labouring under deep prejudice against the poet—prejudice founded chiefly on Akenside's political sentiments.

In 1759 our poet was appointed physician to St. Thomas's Hospital, and afterwards to Christ's Hospital. Here he ruled the patients and the under officials with a rod of iron. Dr. Lettsom became a surgeon's dresser in St. Thomas's Hospital. He was an admirer of poetry, especially of the "Pleasures of Imagination," and anticipated much delight from intercourse with the author. He was disappointed first of all with his personal appearance. He found him a stiff-limbed, starched personage, with a lame foot, a pale strumous face, a long sword, and a large white wig. Worse than this, he was cruel, almost barbarous, to the patients, particularly to females. Owing to an early love-disappointment, he had contracted a disgust and aversion to the sex, and chose to express it in a callous and cowardly harshness to those under his charge. It is possible, however, that Lettsom might be influenced by some private pique. Nothing is more common than for the hero-worshipper, disenchanted of his early idolatry, to rush to the opposite extreme, and to become the hero-hater; and the fault is as frequently his own as that of his idol. And it must be granted that an hospital—especially of that age—was no congenial atmosphere for a poet so Platonic and ideal as Akenside.

In October 1759 he delivered the Harveian oration before the College of Physicians, and by their order it was published the next year. In 1761 Mr. T. Hollis presented him with a bed which had once belonged to Milton, on the condition that he would write an ode to the memory of that great poet. Akenside joyfully accepted the bed, had it set up in his house, and, we suppose, slept in it; but the muse forgot to visit his "slumbers nightly," and no ode was ever produced. We think that Akenside had sympathy enough with Milton's politics and poetry to have written a fine blank-verse tribute to his memory, resembling that of Thomson to Sir Isaac Newton; but odes of much merit he could not produce, and yet at odes he was always sweltering

"With labour dire and weary woe."

In 1760, George the Third mounted the throne, and the author of the "Epistle to Curio" began to follow the precise path of Pulteney. In this he was preceded by Dyson, who became suddenly a supporter of Lord Bute, and drew his friend in his train. By Dyson's influence Akenside was appointed, in 1761, physician to the Queen. His secession from the Whig ranks cost him a great deal of obloquy. Dr. Hardinge had told the two turncoats long before "that, like a couple of idiots, they did not leave themselves a loophole—they could not sidle away into the opposite creed." He never, however, became a violent Tory partisan. It is singular how Johnson, with all his aversion to Akenside, has no allusion to his apostasy, in which we might have à priori expected him to glory, as a proof of the poet's inconsistency, if not corruption.

In one point Akenside differed from the majority of his tuneful brethren, before, then, or since. He was a warm and wide-hearted commender of the works of other poets. Most of our sweet singers rather resemble birds of prey than nightingales or doves, and are at least as strong in their talons as they are musical in their tongues. And hence the groves of Parnassus have in all ages rung with the screams of wrath and contest, frightfully mingling with the melodies of song. Akenside, by a felicitous conjunction of elements, which you could not have expected from other parts of his character, was entirely exempted from this defect, and not only warmly admired Pope, Young, Thomson, and Dyer, whose "Fleece" he corrected, but had kind words to spare for even such "small deer" as Welsted and Fenton.

In 1763, he read a paper before the Royal Society, on the "Effects of a Blow on the Heart," which was published in the Philosophical Transactions of the year. And, in 1764 he established his character as a medical writer by an elegant and elaborate treatise on "The Dysentery," still, we believe, consulted for its information, and studied for the purity and precision of its Latin style. About this time, too, he commenced a recasting of his "Pleasures of Imagination," which he did not live to finish; and in which, on the whole, there is more of laborious alteration than of felicitous improvement. In 1766, Warburton, his old foe, who had now been made a bishop, reprinted, in a new edition of his "Divine Legation of Moses," his attack on Akenside's notions about ridicule, without deigning to take any notice of the explanations he had given in his reply. This renewal of hostilities, coming, especially as it did, from the vantage ground of the Episcopal bench, enraged our poet, and, by way of rejoinder, he issued a lyrical satire which he had had lying past him in pickle for fifteen years, and which nothing but a fresh provocation would have induced him to publish. It was entitled "An Ode to the late Thomas Edwards, Esq." Edwards had opposed Warburton ably in a book entitled "Canons of Criticism," and was himself a poet. The real sting of this attack lay in Akenside's production of a letter from Warburton to Concanen, dated 2d January 1726, which had fallen accidentally into the hands of our poet; and in which Warburton had accused Addison of plagiarism, and said that when "Pope borrows it is from want of genius." Concanen was one of the "Dunces," and it was, of course, Akenside's purpose to shew Warburton's inconsistency in the different opinions he had expressed at different times of them and of their great adversary. We know not if the sturdy bishop took any notice of this ode. Even his Briarean arms were sometimes too full of the controversial work which his overbearing temper and fierce passions were constantly giving him.

In 1766, Akenside received the thanks of the College of Physicians for an edition of Harvey's works, which he prepared for the press, and to which he had prefixed a preface. In June 1767 he read before the College two papers, one on "Cancers and Asthmas," and the other on "White Swelling of the Joints," both of which were published the next year in the first volume of the Medical Transactions. In the same year, one Archibald Campbell, a Scotchman, a purser in the navy, and called, from his ungainly countenance, "horrible Campbell," produced a small jeu d'esprit, entitled "Lexiphanes, imitated from Lucian, and suited to the present times," in which he tries to ridicule Johnson's prose and Akenside's poetry. His object was probably to attract their notice, but both passed over this grin of the "Grim Feature" in silent contempt. Akenside was still busy with the revisal of his poem, had finished two books, "made considerable progress with the third, and written a fragment of the fourth;" but death stepped in and blighted his prospects, both as a physician, with increasing practice and reputation, and as a poet, whose favourite work was approaching what he deemed perfection. He was seized with putrid fever; and, after a short illness, died on the 23 d June 1770 at an age when many men are in their very prime, both of body and mind—that of 49. He died in his house in Burlington Street, and was buried on the 28th in St. James's Church.

Akenside had been, notwithstanding his many acquaintances and friends, on the whole, a lonely man; without domestic connexions, and having, so far as we are informed, either no surviving relations or no intercourse with those who might be still alive. He was not especially loved in society; he wanted humour and good-humour both, and had little of that frank cordiality which, according to Sidney Smith, "warms and cheers more than meat or wine." He had far less geniality than genius. Yet, in certain select circles, his mind, which was richly stored with all knowledge, opened delightfully, and men felt that he was the author of his splendid poem. One of his biographers gives him the palm for learning, next to Ben Jonson, Milton, and Gray (he might perhaps have also excepted Landor and Coleridge), over all our English poets.

In 1772, Mr. Dyson published an edition of his friend's poems, containing the original form of the "Pleasures of Imagination," as well as its half-finished second shape; his "Odes," "Inscriptions," "Hymn to the Naiads," etc., omitting, however, his poem to Curio in its first and best version, and some of his smaller pieces. This edition, too, contained an account of Akenside's life by his friend, so short and so cold as either to say little for Dyson's heart, or a great deal for his modesty and reticence. His uniform and munificent kindness to the poet during his lifetime, however, determines us in favour of the latter side of the alternative.

Of Akenside, as a man, our previous remarks have perhaps indicated our opinion. He was rather a scholar somewhat out of his element, and unreconciled to the world, than a thorough gentleman; irritable, vehement, and proud—his finer traits were only known to his intimates, who probably felt that in Wordsworth's words,

"You must love him ere to you
He doth, seem worthy of your love."

In religion his opinions seem to have been rather unsettled; but, of whatever doubts he had, he gave the benefit latterly to the Christian side—at least he was ever ready to rebuke noisy and dogmatic infidelity. It is said that he intended to have included the doctrine of immortality in his later version of the "Pleasures of Imagination"—and even as the poem is, it contains some transient allusions to that great object of human hope, although none, it must be admitted, to its special Christian grounds.

We have now a very few sentences to enounce about his poetry, or, more properly speaking, about his two or three good poems, for we must dismiss the most of his odes, in their deep-sounding dulness, as nearly unworthy of their author's genius. Up to the days of Keats' "Endymion" and "Hyperion," Akenside's "Hymn to the Naiads" was thought one of the best attempts to reproduce the classical spirit and ideas. It now takes a secondary place; and at no time could be compared to an actual hymn of Callimachus or Pindar, any more than Smollett's "Supper after the Manner of the Ancients" was equal to a real Roman Coena, the ideal of which Croly has so superbly described in "Salathiel." His "Epistle to Curio" is a masterpiece of vigorous composition, terse sentiment, and glowing invective. It gathers around Pulteney as a ring of fire round the scorpion, and leaves him writhing and shrivelled. Out of Dryden and Pope, it is perhaps the best satiric piece in our poetry.

Of the "Pleasures of Imagination," it is not necessary to say a great deal. A poem that has been so widely circulated, so warmly praised, so frequently quoted and imitated—the whole of which nearly a man like Thomas Brown has quoted in the course of his lectures—must possess no ordinary merit. Its great beauty is its richness of description and language—its great fault is its obscurity; a beauty and a fault closely connected together, even as the luxuriance of a tropical forest implies intricacy, and its lavish loveliness creates a gloom. His attempt to express Plato's philosophy in blank verse is not always successful. Perhaps prose might better have answered his purpose in expressing the awfully sublime thought of the "archetypes of all things existing in God." We know that in certain objects of nature—in certain rocks, for instance (such as Coleridge describes in his "Wanderings of Cain")— there lie silent prefigurations and aboriginal types of artificial objects, such as ships, temples, and other orders of architecture; and it is so also in certain shells, woods, and even in clouds. How interesting and beautiful those painted prophecies of nature, those quiet hieroglyphics of God, those mystic letters, which, unlike those on the Babylonian wall, do not,

"Careering shake,
And blaze IMPATIENT to be read,"

but bide calmly the time when their artificial archetypes shall appear, and the "wisdom" in them shall be "justified" in these its children! So, according to Plato, comparing great to small things, there lay in the Divine mind the archetypes of all that was to be created, with this important difference, that they lay in God spiritually and consciously. How poetical and how solemn to approach, under the guidance of this thought, and gaze on the mind of God as on an ancient awful mirror; and even as in a clear lake we behold the forms of the surrounding scenery reflected from the white strip of pebbled shore up to the gray scalp of the mountain summit, and tremble as we look down on the "skies of a far nether world," on an inverted sun, and on snow unmelted amidst the water; so to see the entire history of man, from the first glance of life in the eye of Adam, down to the last sparkle of the last ember of the general conflagration, lying silently and inverted there—how sublime, but at the same time how bewildering and how appalling! Our readers will find, in the "Pleasures of Imagination," an expansion—perhaps they may think it a dilution—of this Platonic idea.

They will find there, too, the germ of the famous theory of Alison and Jeffrey about Beauty. These theorists held 'that beauty resides not so much in the object as in the mind; that we receive but what we give; that our own soul is the urn whence beauty is showered over the universe; that flower and star are lovely because the mind has breathed on them; that the imagination and the heart of man are the twin beautifiers of creation; that the dwelling of beauty is not in the light of setting suns, nor in the beams of morning stars, nor in the waves of summer seas, but in the human spirit; that sublimity tabernacles not in the palaces of the thunder, walks not on the wings of the wind, rides not on the forked lightning, but that it is the soul which is lifted up there; that it is the soul which, in its high aspirings,'

"Yokes with whirlwinds and the northern blast,
and scatters grandeur around it on its way."

All this seems anticipated, and, as it were, coiled up in the words of our poet:—

"Mind, mind alone (bear witness earth and heaven!)
The living fountains in itself contains
Of beauteous and sublime."

That Akenside was a real poet many expressions in his "Pleasures of
Imagination" prove, such as that just quoted—

"Yoked with whirlwinds and the northern blast
Sweeps the long tract of day;"

but, taking his poem as a whole, it is rather a tissue of eloquence and philosophical declamation than of imagination. He deals rather in sheet lightning than in forked flashes. As a didactic poem it has a high, but not the highest place. It must not be named beside the "De Rerum Natura" of Lucretius, or the "Georgics" of Virgil, or the "Night Thoughts" of Young; and in poetry, yields even to the "Queen Mab" of Shelley. It ranks high, however, amongst that fine class of works which have called themselves, by no misnomer, "Pleasures;" and to recount all the names of which were to give an "enumeration of sweets" as delightful as that in "Don Juan." How cheering to think of that beautiful bead-roll—of which the "Pleasures of Memory," "Pleasures of Hope," "Pleasures of Melancholy," "Pleasures of Imagination," are only a few! We may class, too, with them, Addison's essays on the "Pleasures of Imagination" in The Spectator, which, although in prose, glow throughout with the mildest and truest spirit of poetry; and if inferior to Akenside in richness and swelling pomp of words, and in dashing rhetorical force, far excel him in clearness, in chastened beauty, and in those inimitable touches and unconscious felicities of thought and expression which drop down, like ripe apples falling suddenly across your path from a laden bough, and which could only have proceeded from Addison's exquisite genius.

CONTENTS.

THE PLEASURES OF IMAGINATION.

Book I.

Book II.

Book III.

Notes to Book I.

Notes to Book II.

Notes to Book III.

THE PLEASURES OF THE IMAGINATION.

Book I.

Book II.

Book III.

Book IV.

ODES ON SEVERAL SUBJECTS:—

Book I.—

Ode I. Preface.

Ode II. On the Winter-solstice, 1740.

Ode II. For the Winter-solstice, December 11, 1740.
As originally written.

Ode III. To a Friend, Unsuccessful in Love.

Ode IV. Affected Indifference. To the same.

Ode V. Against Suspicion.

Ode VI. Hymn to Cheerfulness.

Ode VII. On the Use of Poetry.

Ode VIII. On leaving Holland.

Ode IX. To Curio.

Ode X. To the Muse.

Ode XI. On Love. To a Friend.

Ode XII. To Sir Francis Henry Drake, Baronet.

Ode XIII. On Lyric Poetry.

Ode XIV. To the Honourable Charles Townshend; from the
Country.

Ode XV. To the Evening Star.

Ode XVI. To Caleb Hardinge, M. D.

Ode XVII. On a Sermon against Glory.

Ode XVIII. To the Right Honourable Francis, Earl of Huntingdon.

Book II.—

Ode I. The Remonstrance of Shakspeare.

Ode II. To Sleep.

Ode III. To the Cuckoo.

Ode IV. To the Honourable Charles Townshend; in the Country.

Ode V. On Love of Praise.

Ode VI. To William Hall, Esquire; with the Works of
Chaulieu.

Ode VII. To the Right Reverend Benjamin, Lord Bishop of
Winchester.

Ode VIII.

Ode IX. At Study.

Ode X. To Thomas Edwards, Esq.; on the late Edition of Mr. Pope's Works.

Ode XI. To the Country Gentlemen of England.

Ode XII. On Recovering from a Fit of Sickness; in the
Country.

Ode XIII. To the Author of Memoirs of the House of Brandenburg.

Ode XIV. The Complaint.

Ode XV. On Domestic Manners.

Notes to Book I.

Notes to Book II.

HYMN TO THE NAIADS.

Notes.

INSCRIPTIONS:—

I. For a Grotto.

II. For a Statue of Chaucer at Woodstock.

III.

IV.

V.

VI. For a Column at Runnymede.

VII. The Wood Nymph.

VIII.

IX.

AN EPISTLE TO CURIO.

THE VIRTUOSO.

AMBITION AND CONTENT. A FABLE.

THE POET. A RHAPSODY.

A BRITISH PHILIPPIC.

HYMN TO SCIENCE.

LOVE. AN ELEGY.

TO CORDELIA.

SONG.

AKENSIDE'S POETICAL WORKS.

THE PLEASURES OF IMAGINATION.

A POEM, IN THREE BOOKS.

[Greek: 'Asebous men 'estin 'anthropou tas para tou theou
charitas 'atimazein.]
EPICT. apud Arrian. II. 23.

THE DESIGN.

There are certain powers in human nature which seem to hold a middle place between the organs of bodily sense and the faculties of moral perception: they have been called by a very general name, the Powers of Imagination. Like the external senses, they relate to matter and motion; and, at the same time, give the mind ideas analogous to those of moral approbation and dislike. As they are the inlets of some of the most exquisite pleasures with which we are acquainted, it has naturally happened that men of warm and sensible tempers have sought means to recall the delightful perceptions which they afford, independent of the objects which originally produced them. This gave rise to the imitative or designing arts; some of which, as painting and sculpture, directly copy the external appearances which were admired in nature; others, as music and poetry, bring them back to remembrance by signs universally established and understood.

But these arts, as they grew more correct and deliberate, were, of course, led to extend their imitation beyond the peculiar objects of the imaginative powers; especially poetry, which, making use of language as the instrument by which it imitates, is consequently become an unlimited representative of every species and mode of being. Yet as their intention was only to express the objects of imagination, and as they still abound chiefly in ideas of that class, they, of course, retain their original character; and all the different pleasures which they excite, are termed, in general, Pleasures of Imagination.

The design of the following poem is to give a view of these in the largest acceptation of the term; so that whatever our imagination feels from the agreeable appearances of nature, and all the various entertainment we meet with, either in poetry, painting, music, or any of the elegant arts, might be deducible from one or other of those principles in the constitution of the human mind which are here established and explained.

In executing this general plan, it was necessary first of all to distinguish the imagination from our other faculties; and in the next place to characterise those original forms or properties of being, about which it is conversant, and which are by nature adapted to it, as light is to the eyes, or truth to the understanding. These properties Mr. Addison had reduced to the three general classes of greatness, novelty, and beauty; and into these we may analyse every object, however complex, which, properly speaking, is delightful to the imagination. But such an object may also include many other sources of pleasure; and its beauty, or novelty, or grandeur, will make a stronger impression by reason of this concurrence. Besides which, the imitative arts, especially poetry, owe much of their effect to a similar exhibition of properties quite foreign to the imagination, insomuch that in every line of the most applauded poems, we meet with either ideas drawn from the external senses, or truths discovered to the understanding, or illustrations of contrivance and final causes, or, above all the rest, with circumstances proper to awaken and engage the passions. It was, therefore, necessary to enumerate and exemplify these different species of pleasure; especially that from the passions, which, as it is supreme in the noblest work of human genius, so being in some particulars not a little surprising, gave an opportunity to enliven the didactic turn of the poem, by introducing an allegory to account for the appearance.

After these parts of the subject which hold chiefly of admiration, or naturally warm and interest the mind, a pleasure of a very different nature, that which arises from ridicule, came next to be considered. As this is the foundation of the comic manner in all the arts, and has been but very imperfectly treated by moral writers, it was thought proper to give it a particular illustration, and to distinguish the general sources from which the ridicule of characters is derived. Here, too, a change of style became necessary; such a one as might yet be consistent, if possible, with the general taste of composition in the serious parts of the subject: nor is it an easy task to give any tolerable force to images of this kind, without running either into the gigantic expressions of the mock heroic, or the familiar and poetical raillery of professed satire; neither of which would have been proper here.

The materials of all imitation being thus laid open, nothing now remained but to illustrate some particular pleasures which arise either from the relations of different objects one to another, or from the nature of imitation itself. Of the first kind is that various and complicated resemblance existing between several parts of the material and immaterial worlds, which is the foundation of metaphor and wit. As it seems in a great measure to depend on the early association of our ideas, and as this habit of associating is the source of many pleasures and pains in life, and on that account bears a great share in the influence of poetry and the other arts, it is therefore mentioned here, and its effects described. Then follows a general account of the production of these elegant arts, and of the secondary pleasure, as it is called, arising from the resemblance of their imitations to the original appearances of nature. After which, the work concludes with some reflections on the general conduct of the powers of imagination, and on their natural and moral usefulness in life.

Concerning the manner or turn of composition which prevails in this piece, little can be said with propriety by the author. He had two models; that ancient and simple one of the first Grecian poets, as it is refined by Virgil in the Georgics, and the familiar epistolary way of Horace. This latter has several advantages. It admits of a greater variety of style; it more readily engages the generality of readers, as partaking more of the air of conversation; and, especially with the assistance of rhyme, leads to a closer and more concise expression. Add to this the example of the most perfect of modern poets, who has so happily applied this manner to the noblest parts of philosophy, that the public taste is in a great measure formed to it alone. Yet, after all, the subject before us, tending almost constantly to admiration and enthusiasm, seemed rather to demand a more open, pathetic, and figured style. This, too, appeared more natural, as the author's aim was not so much to give formal precepts, or enter into the way of direct argumentation, as, by exhibiting the most engaging prospects of nature, to enlarge and harmonise the imagination, and by that means insensibly dispose the minds of men to a similar taste and habit of thinking in religion, morals, and civil life. 'Tis on this account that he is so careful to point out the benevolent intention of the Author of Nature in every principle of the human constitution here insisted on; and also to unite the moral excellencies of life in the same point of view with the mere external objects of good taste; thus recommending them in common to our natural propensity for admiring what is beautiful and lovely. The same views have also led him to introduce some sentiments which may perhaps be looked upon as not quite direct to the subject; but since they bear an obvious relation to it, the authority of Virgil, the faultless model of didactic poetry, will best support him in this particular. For the sentiments themselves he makes no apology.

BOOK I.

ARGUMENT.

The subject proposed. Difficulty of treating it poetically. The ideas of the Divine Mind the origin of every quality pleasing to the imagination. The natural variety of constitution in the minds of men; with its final cause. The idea of a fine imagination, and the state of the mind in the enjoyment of those pleasures which it affords. All the primary pleasures of the imagination result from the perception of greatness, or wonderfulness, or beauty in objects. The pleasure from greatness, with its final cause. Pleasure from novelty or wonderfulness, with its final cause. Pleasure from beauty, with its final cause. The connexion of beauty with truth and good, applied to the conduct of life. Invitation to the study of moral philosophy. The different degrees of beauty in different species of objects; colour, shape, natural concretes, vegetables, animals, the mind. The sublime, the fair, the wonderful of the mind. The connexion of the imagination and the moral faculty. Conclusion.

With what attractive charms this goodly frame
Of Nature touches the consenting hearts
Of mortal men; and what the pleasing stores
Which beauteous Imitation thence derives
To deck the poet's or the painter's toil,
My verse unfolds. Attend, ye gentle Powers
Of musical delight! and while I sing
Your gifts, your honours, dance around my strain.
Thou, smiling queen of every tuneful breast,
Indulgent Fancy! from the fruitful banks 10
Of Avon, whence thy rosy fingers cull
Fresh flowers and dews to sprinkle on the turf
Where Shakspeare lies, be present: and with thee
Let Fiction come, upon her vagrant wings
Wafting ten thousand colours through the air,
Which, by the glances of her magic eye,
She blends and shifts at will, through countless forms,
Her wild creation. Goddess of the lyre,
Which rules the accents of the moving sphere,
Wilt thou, eternal Harmony, descend 20
And join this festive train? for with thee comes
The guide, the guardian of their lovely sports,
Majestic Truth; and where Truth deigns to come,
Her sister Liberty will not be far.
Be present all ye Genii, who conduct
The wandering footsteps of the youthful bard,
New to your springs and shades: who touch his ear
With finer sounds: who heighten to his eye
The bloom of Nature, and before him turn
The gayest, happiest attitude of things. 30
Oft have the laws of each poetic strain
The critic-verse employ'd; yet still unsung
Lay this prime subject, though importing most
A poet's name: for fruitless is the attempt,
By dull obedience and by creeping toil
Obscure to conquer the severe ascent
Of high Parnassus. Nature's kindling breath
Must fire the chosen genius; Nature's hand
Must string his nerves, and imp his eagle-wings,
Impatient of the painful steep, to soar 40
High as the summit; there to breathe at large
AEthereal air, with bards and sages old,
Immortal sons of praise. These flattering scenes,
To this neglected labour court my song;
Yet not unconscious what a doubtful task
To paint the finest features of the mind,
And to most subtile and mysterious things
Give colour, strength, and motion. But the love
Of Nature and the Muses bids explore,
Through secret paths erewhile untrod by man, 50
The fair poetic region, to detect
Untasted springs, to drink inspiring draughts,
And shade my temples with unfading flowers
Cull'd from the laureate vale's profound recess,
Where never poet gain'd a wreath before.
From Heaven my strains begin: from Heaven descends
The flame of genius to the human breast,
And love and beauty, and poetic joy
And inspiration. Ere the radiant sun
Sprang from the east, or 'mid the vault of night 60
The moon suspended her serener lamp;
Ere mountains, woods, or streams adorn'd the globe,
Or Wisdom taught the sons of men her lore;
Then lived the Almighty One: then, deep retired
In his unfathom'd essence, view'd the forms,
The forms eternal of created things;
The radiant sun, the moon's nocturnal lamp,
The mountains, woods, and streams, the rolling globe,
And Wisdom's mien celestial. From the first
Of days, on them his love divine he fix'd, 70
His admiration: till in time complete
What he admired and loved, his vital smile
Unfolded into being. Hence the breath
Of life informing each organic frame;
Hence the green earth, and wild resounding wares;
Hence light and shade alternate, warmth and cold,
And clear autumnal skies and vernal showers,
And all the fair variety of things.
But not alike to every mortal eye
Is this great scene unveil'd. For, since the claims 80
Of social life to different labours urge
The active powers of man, with wise intent
The hand of Nature on peculiar minds
Imprints a different bias, and to each
Decrees its province in the common toil.
To some she taught the fabric of the sphere,
The changeful moon, the circuit of the stars,
The golden zones of heaven; to some she gave
To weigh the moment of eternal things,
Of time, and space, and fate's unbroken chain, 90
And will's quick impulse; others by the hand
She led o'er vales and mountains, to explore
What healing virtue swells the tender veins
Of herbs and flowers; or what the beams of morn
Draw forth, distilling from the clifted rind
In balmy tears. But some, to higher hopes
Were destined; some within a finer mould
She wrought and temper'd with a purer flame.
To these the Sire Omnipotent unfolds
The world's harmonious volume, there to read 100
The transcript of Himself. On every part
They trace the bright impressions of his hand:
In earth or air, the meadow's purple stores,
The moon's mild radiance, or the virgin's form
Blooming with rosy smiles, they see portray'd
That uncreated beauty, which delights
The Mind Supreme. They also feel her charms,
Enamour'd; they partake the eternal joy.

For as old Memnon's image, long renown'd
By fabling Nilus, to the quivering touch 110
Of Titan's ray, with each repulsive string
Consenting, sounded through the warbling air
Unbidden strains, even so did Nature's hand
To certain species of external things,
Attune the finer organs of the mind;
So the glad impulse of congenial powers,
Or of sweet sound, or fair proportion'd form,
The grace of motion, or the bloom of light,
Thrills through Imagination's tender frame,
From nerve to nerve; all naked and alive 120
They catch the spreading rays; till now the soul
At length discloses every tuneful spring,
To that harmonious movement from without
Responsive. Then the inexpressive strain
Diffuses its enchantment: Fancy dreams
Of sacred fountains and Elysian groves,
And vales of bliss: the intellectual power
Bends from his awful throne a wondering ear,
And smiles: the passions, gently soothed away,
Sink to divine repose, and love and joy 130
Alone are waking; love and joy, serene
As airs that fan the summer. Oh! attend,
Whoe'er thou art, whom these delights can touch,
Whose candid bosom the refining love
Of Nature warms, oh! listen to my song;
And I will guide thee to her favourite walks,
And teach thy solitude her voice to hear,
And point her loveliest features to thy view.

Know then, whate'er of Nature's pregnant stores,
Whate'er of mimic Art's reflected forms 140
With love and admiration thus inflame
The powers of Fancy, her delighted sons
To three illustrious orders have referr'd;
Three sister graces, whom the painter's hand,
The poet's tongue confesses—the Sublime,
The Wonderful, the Fair. I see them dawn!
I see the radiant visions, where they rise,
More lovely than when Lucifer displays
His beaming forehead through the gates of morn,
To lead the train of Phoebus and the spring. 150

Say, why was man [Endnote A] so eminently raised
Amid the vast Creation; why ordain'd
Through life and death to dart his piercing eye,
With thoughts beyond the limit of his frame;
But that the Omnipotent might send him forth
In sight of mortal and immortal powers,
As on a boundless theatre, to run
The great career of justice; to exalt
His generous aim to all diviner deeds;
To chase each partial purpose from his breast; 160
And through the mists of passion and of sense,
And through the tossing tide of chance and pain,
To hold his course unfaltering, while the voice
Of truth and virtue, up the steep ascent
Of nature, calls him to his high reward,
The applauding smile of Heaven? Else wherefore burns
In mortal bosoms this unquenched hope,
That breathes from day to day sublimer things,
And mocks possession? Wherefore darts the mind,
With such resistless ardour to embrace 170
Majestic forms; impatient to be free,
Spurning the gross control of wilful might;
Proud of the strong contention of her toils;
Proud to be daring? Who but rather turns
To heaven's broad fire his unconstrained view, 175
Than to the glimmering of a waxen flame?
Who that, from Alpine heights, his labouring eye
Shoots round the wide horizon, to survey
Nilus or Ganges rolling his bright wave
Through mountains, plains, through empires black with shade, 180
And continents of sand, will turn his gaze
To mark the windings of a scanty rill
That murmurs at his feet? The high-born soul
Disdains to rest her heaven-aspiring wing
Beneath its native quarry. Tired of earth
And this diurnal scene, she springs aloft
Through fields of air; pursues the flying storm;
Rides on the vollied lightning through the heavens;
Or, yoked with whirlwinds and the northern blast,
Sweeps the long tract of day. Then high she soars 190
The blue profound, and hovering round the sun
Beholds him pouring the redundant stream
Of light; beholds his unrelenting sway
Bend the reluctant planets to absolve
The fated rounds of Time. Thence far effused
She darts her swiftness up the long career
Of devious comets; through its burning signs
Exulting measures the perennial wheel
Of Nature, and looks back on all the stars,
Whose blended light, as with a milky zone, 200
Invests the orient. Now amazed she views
The empyreal waste, [Endnote B] where happy spirits hold,
Beyond this concave heaven, their calm abode;
And fields of radiance, whose unfading light [Endnote C]

Has travell'd the profound six thousand years,
Nor yet arrives in sight of mortal things.
Even on the barriers of the world untired
She meditates the eternal depth below; 208
Till, half recoiling, down the headlong steep
She plunges; soon o'erwhelm'd and swallow'd up
In that immense of being. There her hopes
Rest at the fated goal. For from the birth
Of mortal man, the Sovereign Maker said,
That not in humble nor in brief delight,
Not in the fading echoes of renown,
Power's purple robes, nor pleasure's flowery lap,
The soul should find enjoyment: but from these
Turning disdainful to an equal good,
Through all the ascent of things enlarge her view,
Till every bound at length should disappear, 220
And infinite perfection close the scene.

Call now to mind what high capacious powers
Lie folded up in man; how far beyond
The praise of mortals, may the eternal growth
Of Nature to perfection half divine,
Expand the blooming soul! What pity then
Should sloth's unkindly fogs depress to earth
Her tender blossom; choke the streams of life,
And blast her spring! Far otherwise design'd
Almighty Wisdom; Nature's happy cares 230
The obedient heart far otherwise incline.
Witness the sprightly joy when aught unknown
Strikes the quick sense, and wakes each active power
To brisker measures: witness the neglect
Of all familiar prospects, [Endnote D] though beheld
With transport once; the fond attentive gaze
Of young astonishment; the sober zeal
Of age, commenting on prodigious things.
For such the bounteous providence of Heaven,
In every breast implanting this desire 240
Of objects new and strange, [Endnote E] to urge us on
With unremitted labour to pursue
Those sacred stores that wait the ripening soul,
In Truth's exhaustless bosom. What need words
To paint its power? For this the daring youth
Breaks from his weeping mother's anxious arms,
In foreign climes to rove; the pensive sage,
Heedless of sleep, or midnight's harmful damp,
Hangs o'er the sickly taper; and untired
The virgin follows, with enchanted step, 250
The mazes of some wild and wondrous tale,
From morn to eve; unmindful of her form,
Unmindful of the happy dress that stole
The wishes of the youth, when every maid
With envy pined. Hence, finally, by night
The village matron, round the blazing hearth,
Suspends the infant audience with her tales,
Breathing astonishment! of witching rhymes,
And evil spirits; of the death-bed call
Of him who robb'd the widow, and devour'd 260
The orphan's portion; of unquiet souls
Risen from the grave to ease the heavy guilt
Of deeds in life conceal'd; of shapes that walk
At dead of night, and clank their chains, and wave
The torch of hell around the murderer's bed.
At every solemn pause the crowd recoil,
Gazing each other speechless, and congeal'd
With shivering sighs: till eager for the event,
Around the beldame all erect they hang,
Each trembling heart with grateful terrors quell'd. 270

But lo! disclosed in all her smiling pomp,
Where Beauty onward moving claims the verse
Her charms inspire: the freely-flowing verse
In thy immortal praise, O form divine,
Smooths her mellifluent stream. Thee, Beauty, thee
The regal dome, and thy enlivening ray
The mossy roofs adore: thou, better sun!
For ever beamest on the enchanted heart
Love, and harmonious wonder, and delight
Poetic. Brightest progeny of Heaven! 280
How shall I trace thy features? where select
The roseate hues to emulate thy bloom?
Haste then, my song, through Nature's wide expanse,
Haste then, and gather all her comeliest wealth,
Whate'er bright spoils the florid earth contains,
Whate'er the waters, or the liquid air,
To deck thy lovely labour. Wilt thou fly
With laughing Autumn to the Atlantic isles,
And range with him the Hesperian field, and see
Where'er his fingers touch the fruitful grove, 290
The branches shoot with gold; where'er his step
Marks the glad soil, the tender clusters grow
With purple ripeness, and invest each hill
As with the blushes of an evening sky?
Or wilt thou rather stoop thy vagrant plume,
Where gliding through his daughters honour'd shades,
The smooth Penéus from his glassy flood
Reflects purpureal Tempo's pleasant scene?
Fair Tempe! haunt beloved of sylvan Powers,
Of Nymphs and Fauns; where in the golden age 300
They play'd in secret on the shady brink
With ancient Pan: while round their choral steps
Young Hours and genial Gales with constant hand
Shower'd blossoms, odours, shower'd ambrosial dews,
And spring's Elysian bloom. Her flowery store
To thee nor Tempe shall refuse; nor watch
Of winged Hydra guard Hesperian fruits
From thy free spoil. Oh, bear then, unreproved,
Thy smiling treasures to the green recess
Where young Dione stays. With sweetest airs 310
Entice her forth to lend her angel form
For Beauty's honour'd image. Hither turn
Thy graceful footsteps; hither, gentle maid,
Incline thy polish'd forehead: let thy eyes
Effuse the mildness of their azure dawn;
And may the fanning breezes waft aside
Thy radiant locks: disclosing, as it bends
With airy softness from the marble neck,
The cheek fair-blooming, and the rosy lip,
Where winning smiles and pleasures sweet as love, 320
With sanctity and wisdom, tempering blend
Their soft allurement. Then the pleasing force
Of Nature, and her kind parental care
Worthier I'd sing: then all the enamour'd youth,
With each admiring virgin, to my lyre
Should throng attentive, while I point on high
Where Beauty's living image, like the Morn
That wakes in Zephyr's arms the blushing May,
Moves onward; or as Venus, when she stood
Effulgent on the pearly car, and smiled, 330
Fresh from the deep, and conscious of her form,
To see the Tritons tune their vocal shells,
And each cerulean sister of the flood
With loud acclaim attend her o'er the waves,
To seek the Idalian bower. Ye smiling band
Of youths and virgins, who through all the maze
Of young desire with rival steps pursue
This charm of Beauty, if the pleasing toil
Can yield a moment's respite, hither turn
Your favourable ear, and trust my words. 340
I do not mean to wake the gloomy form
Of Superstition dress'd in Wisdom's garb,
To damp your tender hopes; I do not mean
To bid the jealous thunderer fire the heavens,
Or shapes infernal rend the groaning earth
To fright you from your joys: my cheerful song
With better omens calls you to the field,
Pleased with your generous ardour in the chase,
And warm like you. Then tell me, for ye know,
Does Beauty ever deign to dwell where health 350
And active use are strangers? Is her charm
Confess'd in aught, whose most peculiar ends
Are lame and fruitless? Or did Nature mean
This pleasing call the herald of a lie,
To hide the shame of discord and disease,
And catch with fair hypocrisy the heart
Of idle faith? Oh, no! with better cares
The indulgent mother, conscious how infirm
Her offspring tread the paths of good and ill,
By this illustrious image, in each kind 360
Still most illustrious where the object holds
Its native powers most perfect, she by this
Illumes the headstrong impulse of desire,
And sanctifies his choice. The generous glebe
Whose bosom smiles with verdure, the clear tract
Of streams delicious to the thirsty soul,
The bloom of nectar'd fruitage ripe to sense,
And every charm of animated things,
Are only pledges of a state sincere,
The integrity and order of their frame, 370
When all is well within, and every end
Accomplish'd. Thus was Beauty sent from heaven,
The lovely ministries of Truth and Good
In this dark world: for Truth and Good are one,
And Beauty dwells in them, [Endnote F] and they in her,
With like participation. Wherefore then,
O sons of earth! would ye dissolve the tie?
Oh! wherefore, with a rash impetuous aim,
Seek ye those flowery joys with which the hand
Of lavish Fancy paints each flattering scene 380
Where Beauty seems to dwell, nor once inquire
Where is the sanction of eternal Truth,
Or where the seal of undeceitful Good,
To save your search from folly! Wanting these,
Lo! Beauty withers in your void embrace,
And with the glittering of an idiot's toy
Did Fancy mock your vows. Nor let the gleam
Of youthful hope that shines upon your hearts,
Be chill'd or clouded at this awful task,
To learn the lore of undeceitful Good, 390
And Truth eternal. Though the poisonous charms
Of baleful Superstition guide the feet
Of servile numbers, through a dreary way
To their abode, through deserts, thorns, and mire;
And leave the wretched pilgrim all forlorn
To muse at last, amid the ghostly gloom
Of graves, and hoary vaults, and cloister'd cells;
To walk with spectres through the midnight shade,
And to the screaming owl's accursed song
Attune the dreadful workings of his heart; 400
Yet be not ye dismay'd. A gentler star
Your lovely search illumines. From the grove
Where Wisdom talk'd with her Athenian sons,
Could my ambitious hand entwine a wreath
Of Plato's olive with the Mantuan bay,
Then should my powerful verse at once dispel
Those monkish horrors: then in light divine
Disclose the Elysian prospect, where the steps
Of those whom Nature charms, through blooming walks,
Through fragrant mountains and poetic streams, 410
Amid the train of sages, heroes, bards,
Led by their winged Genius, and the choir
Of laurell'd science and harmonious art,
Proceed exulting to the eternal shrine,
Where Truth conspicuous with her sister-twins,
The undivided partners of her sway,
With Good and Beauty reigns. Oh, let not us,
Lull'd by luxurious Pleasure's languid strain,
Or crouching to the frowns of bigot rage,
Oh, let us not a moment pause to join 420
That godlike band. And if the gracious Power
Who first awaken'd my untutor'd song,
Will to my invocation breathe anew
The tuneful spirit; then through all our paths,
Ne'er shall the sound of this devoted lyre
Be wanting; whether on the rosy mead,
When summer smiles, to warn the melting heart
Of luxury's allurement; whether firm
Against the torrent and the stubborn hill
To urge bold Virtue's unremitted nerve, 430
And wake the strong divinity of soul
That conquers chance and fate; or whether struck
For sounds of triumph, to proclaim her toils
Upon the lofty summit, round her brow
To twine the wreath of incorruptive praise;
To trace her hallow'd light through future worlds,
And bless Heaven's image in the heart of man.

Thus with a faithful aim have we presumed,
Adventurous, to delineate Nature's form;
Whether in vast, majestic pomp array'd, 440
Or dress'd for pleasing wonder, or serene
In Beauty's rosy smile. It now remains,
Through various being's fair proportion'd scale,
To trace the rising lustre of her charms,
From their first twilight, shining forth at length
To full meridian splendour. Of degree
The least and lowliest, in the effusive warmth
Of colours mingling with a random blaze,
Doth Beauty dwell. Then higher in the line
And variation of determined shape, 450
Where Truth's eternal measures mark the bound
Of circle, cube, or sphere. The third ascent
Unites this varied symmetry of parts
With colour's bland allurement; as the pearl
Shines in the concave of its azure bed,
And painted shells indent their speckled wreath.
Then more attractive rise the blooming forms
Through which the breath of Nature has infused
Her genial power to draw with pregnant veins
Nutritious moisture from the bounteous earth, 460
In fruit and seed prolific: thus the flowers
Their purple honours with the Spring resume;
And such the stately tree which Autumn bends
With blushing treasures. But more lovely still
Is Nature's charm, where to the full consent
Of complicated members, to the bloom
Of colour, and the vital change of growth,
Life's holy flame and piercing sense are given,
And active motion speaks the temper'd soul:
So moves the bird of Juno; so the steed 470
With rival ardour beats the dusty plain,
And faithful dogs with eager airs of joy
Salute their fellows. Thus doth Beauty dwell
There most conspicuous, even in outward shape,
Where dawns the high expression of a mind:
By steps conducting our enraptured search
To that eternal origin, whose power,
Through all the unbounded symmetry of things,
Like rays effulging from the parent sun,
This endless mixture of her charms diffused. 480
Mind, mind alone, (bear witness, earth and heaven!)
The living fountains in itself contains
Of beauteous and sublime: here hand in hand,
Sit paramount the Graces; here enthroned,
Celestial Venus, with divinest airs,
Invites the soul to never-fading joy.
Look then abroad through nature, to the range
Of planets, suns, and adamantine spheres
Wheeling unshaken through the void immense;
And speak, O man! does this capacious scene 490
With half that kindling majesty dilate
Thy strong conception, as when Brutus rose [Endnote G]
Refulgent from the stroke of Caesar's fate,
Amid the crowd of patriots; and his arm
Aloft extending, like eternal Jove
When guilt brings down the thunder, call'd aloud
On Tully's name, and shook his crimson steel,
And bade the father of his country, hail!
For lo! the tyrant prostrate on the dust,
And Rome again is free! Is aught so fair 500
In all the dewy landscapes of the Spring,
In the bright eye of Hesper, or the morn,
In Nature's fairest forms, is aught so fair
As virtuous friendship? as the candid blush
Of him who strives with fortune to be just?
The graceful tear that streams for others' woes?
Or the mild majesty of private life,
Where Peace with ever blooming olive crowns
The gate; where Honour's liberal hands effuse
Unenvied treasures, and the snowy wings 510
Of Innocence and Love protect the scene?
Once more search, undismay'd, the dark profound
Where Nature works in secret; view the beds
Of mineral treasure, and the eternal vault
That bounds the hoary ocean; trace the forms
Of atoms moving with incessant change
Their elemental round; behold the seeds
Of being, and the energy of life
Kindling the mass with ever-active flame;
Then to the secrets of the working mind 520
Attentive turn; from dim oblivion call
Her fleet, ideal band; and bid them, go!
Break through time's barrier, and o'ertake the hour
That saw the heavens created: then declare
If aught were found in those external scenes
To move thy wonder now. For what are all
The forms which brute, unconscious matter wears,
Greatness of bulk, or symmetry of parts?
Not reaching to the heart, soon feeble grows
The superficial impulse; dull their charms, 530
And satiate soon, and pall the languid eye.
Not so the moral species, nor the powers
Of genius and design; the ambitious mind
There sees herself: by these congenial forms
Touch'd and awaken'd, with intenser act
She bends each nerve, and meditates well pleased
Her features in the mirror. For, of all
The inhabitants of earth, to man alone
Creative Wisdom gave to lift his eye
To Truth's eternal measures; thence to frame 540
The sacred laws of action and of will,
Discerning justice from unequal deeds,
And temperance from folly. But beyond
This energy of Truth, whose dictates bind
Assenting reason, the benignant Sire,
To deck the honour'd paths of just and good,
Has added bright Imagination's rays:
Where Virtue, rising from the awful depth
Of Truth's mysterious bosom, [Endnote H] doth forsake
The unadorn'd condition of her birth; 550
And dress'd by Fancy in ten thousand hues,
Assumes a various feature, to attract,
With charms responsive to each gazer's eye,
The hearts of men. Amid his rural walk,
The ingenuous youth, whom solitude inspires
With purest wishes, from the pensive shade
Beholds her moving, like a virgin muse
That wakes her lyre to some indulgent theme
Of harmony and wonder: while among
The herd of servile minds, her strenuous form 560
Indignant flashes on the patriot's eye,
And through the rolls of memory appeals
To ancient honour; or in act serene,
Yet watchful, raises the majestic sword
Of public Power, from dark Ambition's reach
To guard the sacred volume of the laws.

Genius of ancient Greece! whose faithful steps
Well pleased I follow through the sacred paths
Of Nature and of Science; nurse divine
Of all heroic deeds and fair desires! 570
Oh! let the breath of thy extended praise
Inspire my kindling bosom to the height
Of this untempted theme. Nor be my thoughts
Presumptuous counted, if, amid the calm
That soothes this vernal evening into smiles,
I steal impatient from the sordid haunts
Of strife and low ambition, to attend
Thy sacred presence in the sylvan shade,
By their malignant footsteps ne'er profaned.
Descend, propitious, to my favour'd eye! 580
Such in thy mien, thy warm, exalted air,
As when the Persian tyrant, foil'd and stung
With shame and desperation, gnash'd his teeth
To see thee rend the pageants of his throne;
And at the lightning of thy lifted spear
Crouch'd like a slave. Bring all thy martial spoils,
Thy palms, thy laurels, thy triumphal songs,
Thy smiling band of art, thy godlike sires
Of civil wisdom, thy heroic youth
Warm from the schools of glory. Guide my way 590
Through fair Lycéum's [Endnote I] walk, the green retreats
Of Academus, [Endnote J] and the thymy vale,
Where oft enchanted with Socratic sounds,
Ilissus [Endnote K] pure devolved his tuneful stream
In gentler murmurs. From the blooming store
Of these auspicious fields, may I unblamed
Transplant some living blossoms to adorn
My native clime: while far above the flight
Of Fancy's plume aspiring, I unlock
The springs of ancient wisdom! while I join 600
Thy name, thrice honour'd! with the immortal praise
Of Nature; while to my compatriot youth
I point the high example of thy sons,
And tune to Attic themes the British lyre.

BOOK II.

ARGUMENT.

The separation of the works of Imagination from Philosophy, the cause of their abuse among the moderns. Prospect of their reunion under the influence of public Liberty. Enumeration of accidental pleasures, which increase the effect of objects delightful to the Imagination. The pleasures of sense. Particular circumstances of the mind. Discovery of truth. Perception of contrivance and design. Emotion of the passions. All the natural passions partake of a pleasing sensation; with the final cause of this constitution illustrated by an allegorical vision, and exemplified in sorrow, pity, terror, and indignation.

When shall the laurel and the vocal string
Resume their honours? When shall we behold
The tuneful tongue, the Promethéan band
Aspire to ancient praise? Alas! how faint,
How slow the dawn of Beauty and of Truth
Breaks the reluctant shades of Gothic night
Which yet involves the nations! Long they groan'd
Beneath the furies of rapacious force;
Oft as the gloomy north, with iron swarms
Tempestuous pouring from her frozen caves, 10
Blasted the Italian shore, and swept the works
Of Liberty and Wisdom down the gulf
Of all-devouring night. As long immured
In noontide darkness, by the glimmering lamp,
Each Muse and each fair Science pined away
The sordid hours: while foul, barbarian hands
Their mysteries profaned, unstrung the lyre,
And chain'd the soaring pinion down to earth.
At last the Muses rose, [Endnote L] and spurn'd their bonds,
And, wildly warbling, scatter'd as they flew, 20
Their blooming wreaths from fair Valclusa's [Endnote M] bowers
To Arno's [Endnote N] myrtle border and the shore
Of soft Parthenopé. [Endnote O] But still the rage
Of dire ambition [Endnote P] and gigantic power,
From public aims and from the busy walk
Of civil commerce, drove the bolder train
Of penetrating Science to the cells,
Where studious Ease consumes the silent hour
In shadowy searches and unfruitful care.
Thus from their guardians torn, the tender arts [Endnote Q] 30
Of mimic fancy and harmonious joy,
To priestly domination and the lust
Of lawless courts, their amiable toil
For three inglorious ages have resign'd,
In vain reluctant: and Torquato's tongue
Was tuned for slavish pasans at the throne
Of tinsel pomp: and Raphael's magic hand
Effused its fair creation to enchant
The fond adoring herd in Latian fanes
To blind belief; while on their prostrate necks 40
The sable tyrant plants his heel secure.
But now, behold! the radiant era dawns,
When freedom's ample fabric, fix'd at length
For endless years on Albion's happy shore
In full proportion, once more shall extend
To all the kindred powers of social bliss
A common mansion, a parental roof.
There shall the Virtues, there shall Wisdom's train,
Their long-lost friends rejoining, as of old,
Embrace the smiling family of Arts, 50
The Muses and the Graces. Then no more
Shall Vice, distracting their delicious gifts
To aims abhorr'd, with high distaste and scorn
Turn from their charms the philosophic eye,
The patriot bosom; then no more the paths
Of public care or intellectual toil,
Alone by footsteps haughty and severe
In gloomy state be trod: the harmonious Muse
And her persuasive sisters then shall plant
Their sheltering laurels o'er the bleak ascent, 60
And scatter flowers along the rugged way.
Arm'd with the lyre, already have we dared
To pierce divine Philosophy's retreats,
And teach the Muse her lore; already strove
Their long-divided honours to unite,
While tempering this deep argument we sang
Of Truth and Beauty. Now the same glad task
Impends; now urging our ambitious toil,
We hasten to recount the various springs
Of adventitious pleasure, which adjoin 70
Their grateful influence to the prime effect
Of objects grand or beauteous, and enlarge
The complicated joy. The sweets of sense,
Do they not oft with kind accession flow,
To raise harmonious Fancy's native charm?
So while we taste the fragrance of the rose,
Glows not her blush the fairer? While we view
Amid the noontide walk a limpid rill
Gush through the trickling herbage, to the thirst
Of summer yielding the delicious draught 80
Of cool refreshment, o'er the mossy brink
Shines not the surface clearer, and the waves
With sweeter music murmur as they flow?

Nor this alone; the various lot of life
Oft from external circumstance assumes
A moment's disposition to rejoice
In those delights which, at a different hour,
Would pass unheeded. Fair the face of Spring,
When rural songs and odours wake the morn,
To every eye; but how much more to his 90
Round whom the bed of sickness long diffused
Its melancholy gloom! how doubly fair,
When first with fresh-born vigour he inhales
The balmy breeze, and feels the blessed sun
Warm at his bosom, from the springs of life
Chasing oppressive damps and languid pain!

Or shall I mention, where celestial Truth
Her awful light discloses, to bestow
A more majestic pomp on Beauty's frame?
For man loves knowledge, and the beams of Truth 100
More welcome touch his understanding's eye,
Than all the blandishments of sound his ear,
Than all of taste his tongue. Nor ever yet
The melting rainbow's vernal-tinctured hues
To me have shown so pleasing, as when first
The hand of Science pointed out the path
In which the sunbeams, gleaming from the west,
Fall on the watery cloud, whose darksome veil
Involves the orient; and that trickling shower
Piercing through every crystalline convex 110
Of clustering dewdrops to their flight opposed,
Recoil at length where concave all behind
The internal surface of each glassy orb
Repels their forward passage into air;
That thence direct they seek the radiant goal
From which their course began; and, as they strike
In different lines the gazer's obvious eye,
Assume a different lustre, through the brede
Of colours changing from the splendid rose
To the pale violet's dejected hue. 120

Or shall we touch that kind access of joy,
That springs to each fair object, while we trace,
Through all its fabric, Wisdom's artful aim,
Disposing every part, and gaining still,
By means proportion'd, her benignant end?
Speak ye, the pure delight, whose favour'd steps
The lamp of Science through the jealous maze
Of Nature guides, when haply you reveal
Her secret honours: whether in the sky,
The beauteous laws of light, the central powers 130
That wheel the pensile planets round the year;
Whether in wonders of the rolling deep,
Or the rich fruits of all-sustaining earth,
Or fine-adjusted springs of life and sense,
Ye scan the counsels of their Author's hand.

What, when to raise the meditated scene,
The flame of passion, through the struggling soul
Deep-kindled, shows across that sudden blaze
The object of its rapture, vast of size,
With fiercer colours and a night of shade? 140
What, like a storm from their capacious bed
The sounding seas o'erwhelming, when the might
Of these eruptions, working from the depth
Of man's strong apprehension, shakes his frame
Even to the base; from every naked sense
Of pain or pleasure, dissipating all
Opinion's feeble coverings, and the veil
Spun from the cobweb fashion of the times
To hide the feeling heart? Then Nature speaks
Her genuine language, and the words of men, 150
Big with the very motion of their souls,
Declare with what accumulated force
The impetuous nerve of passion urges on
The native weight and energy of things.

Yet more: her honours where nor Beauty claims,
Nor shows of good the thirsty sense allure,
From passion's power alone [Endnote R] our nature holds
Essential pleasure. Passion's fierce illapse
Rouses the mind's whole fabric; with supplies
Of daily impulse keeps the elastic powers 160
Intensely poised, and polishes anew
By that collision all the fine machine:
Else rust would rise, and foulness, by degrees
Encumbering, choke at last what heaven design'd
For ceaseless motion and a round of toil.—
But say, does every passion thus to man
Administer delight? That name indeed
Becomes the rosy breath of love; becomes
The radiant smiles of joy, the applauding hand
Of admiration: but the bitter shower 170
That sorrow sheds upon a brother's grave;
But the dumb palsy of nocturnal fear,
Or those consuming fires that gnaw the heart
Of panting indignation, find we there
To move delight?—Then listen while my tongue
The unalter'd will of Heaven with faithful awe
Reveals; what old Harmodius wont to teach
My early age; Harmodius, who had weigh'd
Within his learned mind whate'er the schools
Of Wisdom, or thy lonely-whispering voice, 180
O faithful Nature! dictate of the laws
Which govern and support this mighty frame
Of universal being. Oft the hours
From morn to eve have stolen unmark'd away,
While mute attention hung upon his lips,
As thus the sage his awful tale began:—

''Twas in the windings of an ancient wood,
When spotless youth with solitude resigns
To sweet philosophy the studious day,
What time pale Autumn shades the silent eve, 190
Musing I roved. Of good and evil much,
And much of mortal man my thought revolved;
When starting full on fancy's gushing eye
The mournful image of Parthenia's fate,
That hour, O long beloved and long deplored!
When blooming youth, nor gentlest wisdom's arts,
Nor Hymen's honours gather'd for thy brow,
Nor all thy lover's, all thy father's tears
Avail'd to snatch thee from the cruel grave;
Thy agonising looks, thy last farewell 200
Struck to the inmost feeling of my soul
As with the hand of Death. At once the shade
More horrid nodded o'er me, and the winds
With hoarser murmuring shook the branches. Dark
As midnight storms, the scene of human things
Appear'd before me; deserts, burning sands,
Where the parch'd adder dies; the frozen south,
And desolation blasting all the west
With rapine and with murder: tyrant power
Here sits enthroned with blood; the baleful charms 210
Of superstition there infect the skies,
And turn the sun to horror. Gracious Heaven!
What is the life of man? Or cannot these,
Not these portents thy awful will suffice,
That, propagated thus beyond their scope,
They rise to act their cruelties anew
In my afflicted bosom, thus decreed
The universal sensitive of pain,
The wretched heir of evils not its own?'

Thus I impatient: when, at once effused, 220
A flashing torrent of celestial day
Burst through the shadowy void. With slow descent
A purple cloud came floating through the sky,
And, poised at length within the circling trees,
Hung obvious to my view; till opening wide
Its lucid orb, a more than human form
Emerging lean'd majestic o'er my head,
And instant thunder shook the conscious grove.
Then melted into air the liquid cloud,
And all the shining vision stood reveal'd. 230
A wreath of palm his ample forehead bound,
And o'er his shoulder, mantling to his knee,
Flow'd the transparent robe, around his waist
Collected with a radiant zone of gold
Aethereal: there in mystic signs engraved,
I read his office high and sacred name,
Genius of human kind! Appall'd I gazed
The godlike presence; for athwart his brow
Displeasure, temper'd with a mild concern,
Look'd down reluctant on me, and his words 240
Like distant thunders broke the murmuring air:

'Vain are thy thoughts, O child of mortal birth!
And impotent thy tongue. Is thy short span
Capacious of this universal frame?—
Thy wisdom all-sufficient? Thou, alas!
Dost thou aspire to judge between the Lord
Of Nature and his works—to lift thy voice
Against the sovereign order he decreed,
All good and lovely—to blaspheme the bands
Of tenderness innate and social love, 250
Holiest of things! by which the general orb
Of being, as by adamantine links,
Was drawn to perfect union, and sustain'd
From everlasting? Hast thou felt the pangs
Of softening sorrow, of indignant zeal,
So grievous to the soul, as thence to wish
The ties of Nature broken from thy frame,
That so thy selfish, unrelenting heart
Might cease to mourn its lot, no longer then
The wretched heir of evils not its own? 260
O fair benevolence of generous minds!
O man by Nature form'd for all mankind!'

He spoke; abash'd and silent I remain'd,
As conscious of my tongue's offence, and awed
Before his presence, though my secret soul
Disdain'd the imputation. On the ground
I fix'd my eyes, till from his airy couch
He stoop'd sublime, and touching with his hand
My dazzling forehead, 'Raise thy sight,' he cried,
'And let thy sense convince thy erring tongue.' 270

I look'd, and lo! the former scene was changed;
For verdant alleys and surrounding trees,
A solitary prospect, wide and wild,
Rush'd on my senses. 'Twas a horrid pile
Of hills with many a shaggy forest mix'd,
With many a sable cliff and glittering stream.
Aloft, recumbent o'er the hanging ridge,
The brown woods waved; while ever-trickling springs
Wash'd from the naked roots of oak and pine
The crumbling soil; and still at every fall 280
Down the steep windings of the channel'd rock,
Remurmuring rush'd the congregated floods
With hoarser inundation; till at last
They reach'd a grassy plain, which from the skirts
Of that high desert spread her verdant lap,
And drank the gushing moisture, where confined
In one smooth current, o'er the lilied vale
Clearer than glass it flow'd. Autumnal spoils
Luxuriant spreading to the rays of morn,
Blush'd o'er the cliffs, whose half-encircling mound 290
As in a sylvan theatre enclosed
That flowery level. On the river's brink
I spied a fair pavilion, which diffused
Its floating umbrage 'mid the silver shade
Of osiers. Now the western sun reveal'd
Between two parting cliffs his golden orb,
And pour'd across the shadow of the hills,
On rocks and floods, a yellow stream of light
That cheer'd the solemn scene. My listening powers
Were awed, and every thought in silence hung, 300
And wondering expectation. Then the voice
Of that celestial power, the mystic show
Declaring, thus my deep attention call'd:—

'Inhabitant of earth, [Endnote S] to whom is given
The gracious ways of Providence to learn,
Receive my sayings with a steadfast ear—
Know then, the Sovereign Spirit of the world,
Though, self-collected from eternal time,
Within his own deep essence he beheld
The bounds of true felicity complete, 310
Yet by immense benignity inclined
To spread around him that primeval joy
Which fill'd himself, he raised his plastic arm,
And sounded through the hollow depths of space
The strong, creative mandate. Straight arose
These heavenly orbs, the glad abodes of life,
Effusive kindled by his breath divine
Through endless forms of being. Each inhaled
From him its portion of the vital flame,
In measure such, that, from the wide complex 320
Of coexistent orders, one might rise,
One order, [Endnote T] all-involving and entire.
He too, beholding in the sacred light
Of his essential reason, all the shapes
Of swift contingence, all successive ties
Of action propagated through the sum
Of possible existence, he at once,
Down the long series of eventful time,
So fix'd the dates of being, so disposed,
To every living soul of every kind 330
The field of motion and the hour of rest,
That all conspired to his supreme design,
To universal good: with full accord
Answering the mighty model he had chose,
The best and fairest [Endnote U] of unnumber'd worlds
That lay from everlasting in the store
Of his divine conceptions. Nor content,
By one exertion of creative power
His goodness to reveal; through every age,
Through every moment up the tract of time, 340
His parent hand with ever new increase
Of happiness and virtue has adorn'd
The vast harmonious frame: his parent hand,
From the mute shell-fish gasping on the shore,
To men, to angels, to celestial minds,
For ever leads the generations on
To higher scenes of being; while, supplied
From day to day with his enlivening breath,
Inferior orders in succession rise
To fill the void below. As flame ascends, [Endnote V] 350
As bodies to their proper centre move,
As the poised ocean to the attracting moon
Obedient swells, and every headlong stream
Devolves its winding waters to the main;
So all things which have life aspire to God,
The sun of being, boundless, unimpair'd,
Centre of souls! Nor does the faithful voice
Of Nature cease to prompt their eager steps
Aright; nor is the care of Heaven withheld
From granting to the task proportion'd aid; 360
That in their stations all may persevere
To climb the ascent of being, and approach
For ever nearer to the life divine.—

'That rocky pile thou seest, that verdant lawn
Fresh-water'd from the mountains. Let the scene
Paint in thy fancy the primeval seat
Of man, and where the Will Supreme ordain'd
His mansion, that pavilion fair-diffused
Along the shady brink; in this recess
To wear the appointed season of his youth, 370
Till riper hours should open to his toil
The high communion of superior minds,
Of consecrated heroes and of gods.
Nor did the Sire Omnipotent forget
His tender bloom to cherish; nor withheld
Celestial footsteps from his green abode.
Oft from the radiant honours of his throne,
He sent whom most he loved, the sovereign fair,
The effluence of his glory, whom he placed
Before his eyes for ever to behold; 380
The goddess from whose inspiration flows
The toil of patriots, the delight of friends;
Without whose work divine, in heaven or earth,
Nought lovely, nought propitious, conies to pass,
Nor hope, nor praise, nor honour. Her the Sire
Gave it in charge to rear the blooming mind,
The folded powers to open, to direct
The growth luxuriant of his young desires,
And from the laws of this majestic world
To teach him what was good. As thus the nymph 390
Her daily care attended, by her side
With constant steps her gay companion stay'd,
The fair Euphrosyné, the gentle queen
Of smiles, and graceful gladness, and delights
That cheer alike the hearts of mortal men
And powers immortal. See the shining pair!
Behold, where from his dwelling now disclosed
They quit their youthful charge and seek the skies.'

I look'd, and on the flowery turf there stood
Between two radiant forms a smiling youth 400
Whose tender cheeks display'd the vernal flower
Of beauty: sweetest innocence illumed
His bashful eyes, and on his polish'd brow
Sate young simplicity. With fond regard
He view'd the associates, as their steps they moved;
The younger chief his ardent eyes detain'd,
With mild regret invoking her return.
Bright as the star of evening she appear'd
Amid the dusky scene. Eternal youth
O'er all her form its glowing honours breathed; 410
And smiles eternal from her candid eyes
Flow'd, like the dewy lustre of the morn
Effusive trembling on the placid waves.
The spring of heaven had shed its blushing spoils
To bind her sable tresses: full diffused
Her yellow mantle floated in the breeze;
And in her hand she waved a living branch
Rich with immortal fruits, of power to calm
The wrathful heart, and from the brightening eyes
To chase the cloud of sadness. More sublime 420
The heavenly partner moved. The prime of age
Composed her steps. The presence of a god,
High on the circle of her brow enthroned,
From each majestic motion darted awe,
Devoted awe! till, cherish'd by her looks
Benevolent and meek, confiding love
To filial rapture soften'd all the soul.
Free in her graceful hand she poised the sword
Of chaste dominion. An heroic crown
Display'd the old simplicity of pomp 430
Around her honour'd head. A matron's robe,
White as the sunshine streams through vernal clouds,
Her stately form invested. Hand in hand
The immortal pair forsook the enamel'd green,
Ascending slowly. Rays of limpid light
Gleam'd round their path; celestial sounds were heard,
And through the fragrant air ethereal dews
Distill'd around them; till at once the clouds,
Disparting wide in midway sky, withdrew
Their airy veil, and left a bright expanse 440
Of empyrean flame, where, spent and drown'd,
Afflicted vision plunged in vain to scan
What object it involved. My feeble eyes
Endured not. Bending down to earth I stood,
With dumb attention. Soon a female voice,
As watery murmurs sweet, or warbling shades,
With sacred invocation thus began:

'Father of gods and mortals! whose right arm
With reins eternal guides the moving heavens,
Bend thy propitious ear. Behold well pleased 450
I seek to finish thy divine decree.
With frequent steps I visit yonder seat
Of man, thy offspring; from the tender seeds
Of justice and of wisdom, to evolve
The latent honours of his generous frame;
Till thy conducting hand shall raise his lot
From earth's dim scene to these ethereal walks,
The temple of thy glory. But not me,
Not my directing voice he oft requires,
Or hears delighted: this enchanting maid, 460
The associate thou hast given me, her alone
He loves, O Father! absent, her he craves;
And but for her glad presence ever join'd,
Rejoices not in mine: that all my hopes
This thy benignant purpose to fulfil,
I deem uncertain: and my daily cares
Unfruitful all and vain, unless by thee
Still further aided in the work divine.'

She ceased; a voice more awful thus replied:—
'O thou, in whom for ever I delight, 470
Fairer than all the inhabitants of Heaven,
Best image of thy Author! far from thee
Be disappointment, or distaste, or blame;
Who soon or late shalt every work fulfil,
And no resistance find. If man refuse
To hearken to thy dictates; or, allured
By meaner joys, to any other power
Transfer the honours due to thee alone;
That joy which he pursues he ne'er shall taste,
That power in whom delighteth ne'er behold. 480
Go then, once more, and happy be thy toil;
Go then! but let not this thy smiling friend
Partake thy footsteps. In her stead, behold!
With thee the son of Nemesis I send;
The fiend abhorr'd! whose vengeance takes account
Of sacred order's violated laws.
See where he calls thee, burning to be gone,
Pierce to exhaust the tempest of his wrath
On yon devoted head. But thou, my child,
Control his cruel frenzy, and protect 490
Thy tender charge; that when despair shall grasp
His agonising bosom, he may learn,
Then he may learn to love the gracious hand
Alone sufficient in the hour of ill,
To save his feeble spirit; then confess
Thy genuine honours, O excelling fair!
When all the plagues that wait the deadly will
Of this avenging demon, all the storms
Of night infernal, serve but to display
The energy of thy superior charms 500
With mildest awe triumphant o'er his rage,
And shining clearer in the horrid gloom.'

Here ceased that awful voice, and soon I felt
The cloudy curtain of refreshing eve
Was closed once more, from that immortal fire
Sheltering my eyelids. Looking up, I view'd
A vast gigantic spectre striding on
Through murmuring thunders and a waste of clouds,
With dreadful action. Black as night his brow
Relentless frowns involved. His savage limbs 510
With sharp impatience violent he writhed,
As through convulsive anguish; and his hand,
Arm'd with a scorpion lash, full oft he raised
In madness to his bosom; while his eyes
Rain'd bitter tears, and bellowing loud he shook
The void with horror. Silent by his side
The virgin came. No discomposure stirr'd
Her features. From the glooms which hung around,
No stain of darkness mingled with the beam
Of her divine effulgence. Now they stoop 520
Upon the river bank; and now to hail
His wonted guests, with eager steps advanced
The unsuspecting inmate of the shade.

As when a famish'd wolf, that all night long
Had ranged the Alpine snows, by chance at morn
Sees from a cliff, incumbent o'er the smoke
Of some lone village, a neglected kid
That strays along the wild for herb or spring;
Down from the winding ridge he sweeps amain,
And thinks he tears him: so with tenfold rage, 530
The monster sprung remorseless on his prey.
Amazed the stripling stood: with panting breast
Feebly he pour'd the lamentable wail
Of helpless consternation, struck at once,
And rooted to the ground. The Queen beheld
His terror, and with looks of tenderest care
Advanced to save him. Soon the tyrant felt
Her awful power. His keen tempestuous arm
Hung nerveless, nor descended where his rage
Had aim'd the deadly blow: then dumb retired 540
With sullen rancour. Lo! the sovereign maid
Folds with a mother's arms the fainting boy,
Till life rekindles in his rosy cheek;
Then grasps his hands, and cheers him with her tongue:—

'Oh, wake thee, rouse thy spirit! Shall the spite
Of yon tormentor thus appal thy heart,
While I, thy friend and guardian, am at hand
To rescue and to heal? Oh, let thy soul
Remember, what the will of heaven ordains
Is ever good for all; and if for all, 550
Then good for thee. Nor only by the warmth
And soothing sunshine of delightful things,
Do minds grow up and flourish. Oft misled
By that bland light, the young unpractised views
Of reason wander through a fatal road,
Far from their native aim; as if to lie
Inglorious in the fragrant shade, and wait
The soft access of ever circling joys,
Were all the end of being. Ask thyself,
This pleasing error did it never lull 560
Thy wishes? Has thy constant heart refused
The silken fetters of delicious ease?
Or when divine Euphrosyné appear'd
Within this dwelling, did not thy desires
Hang far below the measure of thy fate,
Which I reveal'd before thee, and thy eyes,
Impatient of my counsels, turn away
To drink the soft effusion of her smiles?
Know then, for this the everlasting Sire
Deprives thee of her presence, and instead, 570
O wise and still benevolent! ordains
This horrid visage hither to pursue
My steps; that so thy nature may discern
Its real good, and what alone can save
Thy feeble spirit in this hour of ill
From folly and despair. O yet beloved!
Let not this headlong terror quite o'erwhelm
Thy scatter'd powers; nor fatal deem the rage
Of this tormentor, nor his proud assault,
While I am here to vindicate thy toil, 580
Above the generous question of thy arm.
Brave by thy fears and in thy weakness strong,
This hour he triumphs: but confront his might,
And dare him to the combat, then with ease
Disarm'd and quell'd, his fierceness he resigns
To bondage and to scorn: while thus inured
By watchful danger, by unceasing toil,
The immortal mind, superior to his fate,
Amid the outrage of external things,
Firm as the solid base of this great world, 590
Rests on his own foundations. Blow, ye winds!
Ye waves! ye thunders! roll your tempest on;
Shake, ye old pillars of the marble sky!
Till all its orbs and all its worlds of fire
Be loosen'd from their seats; yet still serene,
The unconquer'd mind looks down upon the wreck;
And ever stronger as the storms advance,
Firm through the closing ruin holds his way,
Where Nature calls him to the destined goal.'

So spake the goddess; while through all her frame 600
Celestial raptures flow'd, in every word,
In every motion kindling warmth divine
To seize who listen'd. Vehement and swift
As lightning fires the aromatic shade
In Aethiopian fields, the stripling felt
Her inspiration catch his fervid soul,
And starting from his languor thus exclaim'd:—

'Then let the trial come! and witness thou,
If terror be upon me; if I shrink
To meet the storm, or falter in my strength 610
When hardest it besets me. Do not think
That I am fearful and infirm of soul,
As late thy eyes beheld: for thou hast changed
My nature; thy commanding voice has waked
My languid powers to bear me boldly on,
Where'er the will divine my path ordains
Through toil or peril: only do not thou
Forsake me; Oh, be thou for ever near,
That I may listen to thy sacred voice,
And guide by thy decrees my constant feet. 620
But say, for ever are my eyes bereft?
Say, shall the fair Euphrosyné not once
Appear again to charm me? Thou, in heaven!
O thou eternal arbiter of things!
Be thy great bidding done: for who am I,
To question thy appointment? Let the frowns
Of this avenger every morn o'ercast
The cheerful dawn, and every evening damp
With double night my dwelling; I will learn
To hail them both, and unrepining bear 630
His hateful presence: but permit my tongue
One glad request, and if my deeds may find
Thy awful eye propitious, oh! restore
The rosy-featured maid; again to cheer
This lonely seat, and bless me with her smiles.'

He spoke; when instant through the sable glooms
With which that furious presence had involved
The ambient air, a flood of radiance came
Swift as the lightning flash; the melting clouds
Flew diverse, and amid the blue serene 640
Euphrosyné appear'd. With sprightly step
The nymph alighted on the irriguous lawn,
And to her wondering audience thus began:—

'Lo! I am here to answer to your vows,
And be the meeting fortunate! I come
With joyful tidings; we shall part no more—
Hark! how the gentle echo from her cell
Talks through the cliffs, and murmuring o'er the stream
Repeats the accents; we shall part no more.—
O my delightful friends! well pleased on high 650
The Father has beheld you, while the might
Of that stern foe with bitter trial proved
Your equal doings: then for ever spake
The high decree, that thou, celestial maid!
Howe'er that grisly phantom on thy steps
May sometimes dare intrude, yet never more
Shalt thou, descending to the abode of man,
Alone endure the rancour of his arm,
Or leave thy loved Euphrosyné behind.'

She ended, and the whole romantic scene 660
Immediate vanish'd; rocks, and woods, and rills,
The mantling tent, and each mysterious form
Flew like the pictures of a morning dream,
When sunshine fills the bed. Awhile I stood
Perplex'd and giddy; till the radiant power
Who bade the visionary landscape rise,
As up to him I turn'd, with gentlest looks
Preventing my inquiry, thus began:—

'There let thy soul acknowledge its complaint
How blind, how impious! There behold the ways 670
Of Heaven's eternal destiny to man,
For ever just, benevolent, and wise:
That Virtue's awful steps, howe'er pursued
By vexing fortune and intrusive pain,
Should never be divided from her chaste,
Her fair attendant, Pleasure. Need I urge
Thy tardy thought through all the various round
Of this existence, that thy softening soul
At length may learn what energy the hand
Of virtue mingles in the bitter tide 680
Of passion swelling with distress and pain,
To mitigate the sharp with gracious drops
Of cordial pleasure? Ask the faithful youth,
Why the cold urn of her whom long he loved
So often fills his arms; so often draws
His lonely footsteps at the silent hour,
To pay the mournful tribute of his tears?
Oh! he will tell thee, that the wealth of worlds
Should ne'er seduce his bosom to forego
That sacred hour, when, stealing from the noise 690
Of care and envy, sweet remembrance soothes
With virtue's kindest looks his aching breast,
And turns his tears to rapture.—Ask the crowd
Which flies impatient from the village walk
To climb the neighbouring cliffs, when far below
The cruel winds have hurl'd upon the coast
Some helpless bark; while sacred Pity melts
The general eye, or Terror's icy hand
Smites their distorted limbs and horrent hair;
While every mother closer to her breast 700
Catches her child, and pointing where the waves
Foam through the shatter'd vessel, shrieks aloud
As one poor wretch that spreads his piteous arms
For succour, swallow'd by the roaring surge,
As now another, dash'd against the rock,
Drops lifeless down: Oh! deemest thou indeed
No kind endearment here by Nature given
To mutual terror and compassion's tears?
No sweetly melting softness which attracts,
O'er all that edge of pain, the social powers 710
To this their proper action and their end?—
Ask thy own heart, when, at the midnight hour,
Slow through that studious gloom thy pausing eye,
Led by the glimmering taper, moves around
The sacred volumes of the dead, the songs
Of Grecian bards, and records writ by Fame
For Grecian heroes, where the present power
Of heaven and earth surveys the immortal page,
Even as a father blessing, while he reads
The praises of his son. If then thy soul, 720
Spurning the yoke of these inglorious days,
Mix in their deeds, and kindle with their flame,
Say, when the prospect blackens on thy view,
When, rooted from the base, heroic states
Mourn in the dust, and tremble at the frown
Of cursed ambition; when the pious band
Of youths who fought for freedom and their sires,
Lie side by side in gore; when ruffian pride
Usurps the throne of Justice, turns the pomp
Of public power, the majesty of rule, 730
The sword, the laurel, and the purple robe,
To slavish empty pageants, to adorn
A tyrant's walk, and glitter in the eyes
Of such as bow the knee; when honour'd urns
Of patriots and of chiefs, the awful bust
And storied arch, to glut the coward rage
Of regal envy, strew the public way
With hallow'd ruins; when the Muse's haunt,
The marble porch where Wisdom wont to talk
With Socrates or Tully, hears no more, 740
Save the hoarse jargon of contentious monks,
Or female Superstition's midnight prayer;
When ruthless Rapine from the hand of Time
Tears the destroying scythe, with surer blow
To sweep the works of glory from their base;
Till Desolation o'er the grass-grown street
Expands his raven wings, and up the wall,
Where senates once the price of monarchs doom'd,
Hisses the gliding snake through hoary weeds
That clasp the mouldering column; thus defaced, 750
Thus widely mournful when the prospect thrills
Thy beating bosom, when the patriot's tear
Starts from thine eye, and thy extended arm
In fancy hurls the thunderbolt of Jove
To fire the impious wreath on Philip's [Endnote W] brow,
Or dash Octavius from the trophied car;
Say, does thy secret soul repine to taste
The big distress? Or wouldst thou then exchange
Those heart-ennobling sorrows for the lot
Of him who sits amid the gaudy herd 760
Of mute barbarians bending to his nod,
And bears aloft his gold-invested front,
And says within himself, I am a king,
And wherefore should the clamorous voice of woe
Intrude upon mine ear?—The baleful dregs
Of these late ages, this inglorious draught
Of servitude and folly, have not yet,
Bless'd be the eternal Ruler of the world!
Defiled to such a depth of sordid shame
The native honours of the human soul, 770
Nor so effaced the image of its Sire.'

BOOK III.

ARGUMENT.

Pleasure in observing the tempers and manners of men, even where vicious or absurd. The origin of Vice, from false representations of the fancy, producing false opinions concerning good and evil. Inquiry into ridicule. The general sources of ridicule in the minds and characters of men, enumerated. Final cause of the sense of ridicule. The resemblance of certain aspects of inanimate things to the sensations and properties of the mind. The operations of the mind in the production of the works of Imagination, described. The secondary pleasure from Imitation. The benevolent order of the world illustrated in the arbitrary connexion of these pleasures with the objects which excite them. The nature and conduct of taste. Concluding with an account of the natural and moral advantages resulting from a sensible and well formed imagination.

What wonder therefore, since the endearing ties
Of passion link the universal kind
Of man so close, what wonder if to search
This common nature through the various change
Of sex, and age, and fortune, and the frame
Of each peculiar, draw the busy mind
With unresisted charms? The spacious west,
And all the teeming regions of the south,
Hold not a quarry, to the curious flight
Of Knowledge, half so tempting or so fair, 10
As man to man. Nor only where the smiles
Of Love invite; nor only where the applause
Of cordial Honour turns the attentive eye
On Virtue's graceful deeds. For, since the course
Of things external acts in different ways
On human apprehensions, as the hand
Of Nature temper'd to a different frame
Peculiar minds; so haply where the powers
Of Fancy [Endnote X] neither lessen nor enlarge
The images of things, but paint in all 20
Their genuine hues, the features which they wore
In Nature; there Opinion will be true,
And Action right. For Action treads the path
In which Opinion says he follows good,
Or flies from evil; and Opinion gives
Report of good or evil, as the scene
Was drawn by Fancy, lovely or deform'd:
Thus her report can never there be true
Where Fancy cheats the intellectual eye,
With glaring colours and distorted lines. 30
Is there a man, who, at the sound of death,
Sees ghastly shapes of terror conjured up,
And black before him; nought but death-bed groans
And fearful prayers, and plunging from the brink
Of light and being, down the gloomy air,
An unknown depth? Alas! in such a mind,
If no bright forms of excellence attend
The image of his country; nor the pomp
Of sacred senates, nor the guardian voice
Of Justice on her throne, nor aught that wakes 40
The conscious bosom with a patriot's flame;
Will not Opinion tell him, that to die,
Or stand the hazard, is a greater ill
Than to betray his country? And in act
Will he not choose to be a wretch and live?
Here vice begins then. From the enchanting cup
Which Fancy holds to all, the unwary thirst
Of youth oft swallows a Circaean draught,
That sheds a baleful tincture o'er the eye
Of Reason, till no longer he discerns, 50
And only guides to err. Then revel forth
A furious band that spurn him from the throne,
And all is uproar. Thus Ambition grasps
The empire of the soul; thus pale Revenge
Unsheaths her murderous dagger; and the hands
Of Lust and Rapine, with unholy arts,
Watch to o'erturn the barrier of the laws
That keeps them from their prey; thus all the plagues
The wicked bear, or o'er the trembling scone
The tragic Muse discloses, under shapes 60
Of honour, safety, pleasure, ease, or pomp,
Stole first into the mind. Yet not by all
Those lying forms, which Fancy in the brain
Engenders, are the kindling passions driven
To guilty deeds; nor Reason bound in chains,
That Vice alone may lord it: oft adorn'd
With solemn pageants, Folly mounts the throne,
And plays her idiot antics, like a queen.
A thousand garbs she wears; a thousand ways
She wheels her giddy empire.—Lo! thus far 70
With bold adventure, to the Mantuan lyre
I sing of Nature's charms, and touch well pleased
A stricter note: now haply must my song
Unbend her serious measure, and reveal
In lighter strains, how Folly's awkward arts [Endnote Y]
Excite impetuous Laughter's gay rebuke;
The sportive province of the comic Muse.

See! in what crowds the uncouth forms advance:
Each would outstrip the other, each prevent
Our careful search, and offer to your gaze, 80
Unask'd, his motley features. Wait awhile,
My curious friends! and let us first arrange
In proper order your promiscuous throng.

Behold the foremost band; [Endnote Z] of slender thought,
And easy faith; whom flattering Fancy soothes
With lying spectres, in themselves to view
Illustrious forms of excellence and good,
That scorn the mansion. With exulting hearts
They spread their spurious treasures to the sun,
And bid the world admire! But chief the glance 90
Of wishful Envy draws their joy-bright eyes,
And lifts with self-applause each lordly brow.
In number boundless as the blooms of Spring,
Behold their glaring idols, empty shades
By Fancy gilded o'er, and then set up
For adoration. Some in Learning's garb,
With formal band, and sable-cinctured gown,
And rags of mouldy volumes. Some elate
With martial splendour, steely pikes and swords
Of costly frame, and gay Phoenician robes 100
Inwrought with flowery gold, assume the port
Of stately Valour: listening by his side
There stands a female form; to her, with looks
Of earnest import, pregnant with amaze,
He talks of deadly deeds, of breaches, storms,
And sulphurous mines, and ambush: then at once
Breaks off, and smiles to see her look so pale,
And asks some wondering question of her fears.
Others of graver mien; behold, adorn'd
With holy ensigns, how sublime they move, 110
And bending oft their sanctimonious eyes
Take homage of the simple-minded throng;
Ambassadors of Heaven! Nor much unlike
Is he, whose visage in the lazy mist
That mantles every feature, hides a brood
Of politic conceits, of whispers, nods,
And hints deep omen'd with unwieldy schemes,
And dark portents of state. Ten thousand more,
Prodigious habits and tumultuous tongues,
Pour dauntless in and swell the boastful band. 120

Then comes the second order; [Endnote AA] all who seek
The debt of praise, where watchful Unbelief
Darts through the thin pretence her squinting eye
On some retired appearance which belies
The boasted virtue, or annuls the applause
That Justice else would pay. Here side by side
I see two leaders of the solemn train
Approaching: one a female old and gray,
With eyes demure, and wrinkle-furrow'd brow,
Pale as the cheeks of death; yet still she stuns 130
The sickening audience with a nauseous tale,
How many youths her myrtle chains have worn,
How many virgins at her triumphs pined!
Yet how resolved she guards her cautious heart;
Such is her terror at the risks of love,
And man's seducing tongue! The other seems
A bearded sage, ungentle in his mien,
And sordid all his habit; peevish Want
Grins at his heels, while down the gazing throng
He stalks, resounding in magnific praise 140
The vanity of riches, the contempt
Of pomp and power. Be prudent in your zeal,
Ye grave associates! let the silent grace
Of her who blushes at the fond regard
Her charms inspire, more eloquent unfold
The praise of spotless honour: let the man,
Whose eye regards not his illustrious pomp
And ample store, but as indulgent streams
To cheer the barren soil and spread the fruits
Of joy, let him by juster measures fix 150
The price of riches and the end of power.

Another tribe succeeds; [Endnote BB] deluded long
By Fancy's dazzling optics, these behold
The images of some peculiar things
With brighter hues resplendent, and portray'd
With features nobler far than e'er adorn'd
Their genuine objects. Hence the fever'd heart
Pants with delirious hope for tinsel charms;
Hence oft obtrusive on the eye of scorn,
Untimely zeal her witless pride betrays! 160
And serious manhood from the towering aim
Of wisdom, stoops to emulate the boast
Of childish toil. Behold yon mystic form
Bedeck'd with feathers, insects, weeds, and shells!
Not with intenser view the Samian sage
Bent his fix'd eye on heaven's intenser fires,
When first the order of that radiant scene
Swell'd his exulting thought, than this surveys
A muckworm's entrails, or a spider's fang.
Next him a youth, with flowers and myrtles crown'd, 170
Attends that virgin form, and blushing kneels,
With fondest gesture and a suppliant's tongue,
To win her coy regard: adieu, for him,
The dull engagements of the bustling world!
Adieu the sick impertinence of praise!
And hope, and action! for with her alone,
By streams and shades, to steal these sighing hours,
Is all he asks, and all that fate can give!
Thee too, facetious Momion, wandering here,
Thee, dreaded censor, oft have I beheld 180
Bewilder'd unawares: alas! too long
Flush'd with thy comic triumphs and the spoils
Of sly derision! till on every side
Hurling thy random bolts, offended Truth
Assign'd thee here thy station with the slaves
Of Folly. Thy once formidable name
Shall grace her humble records, and be heard
In scoffs and mockery bandied from the lips
Of all the vengeful brotherhood around,
So oft the patient victims of thy scorn. 190

But now, ye gay! [Endnote CC] to whom indulgent fate,
Of all the Muse's empire hath assign'd
The fields of folly, hither each advance
Your sickles; here the teeming soil affords
Its richest growth. A favourite brood appears,
In whom the demon, with a mother's joy,
Views all her charms reflected, all her cares
At full repaid. Ye most illustrious band!
Who, scorning Reason's tame, pedantic rules,
And Order's vulgar bondage, never meant 200
For souls sublime as yours, with generous zeal
Pay Vice the reverence Virtue long usurp'd,
And yield Deformity the fond applause
Which Beauty wont to claim, forgive my song,
That for the blushing diffidence of youth,
It shuns the unequal province of your praise.

Thus far triumphant [Endnote DD] in the pleasing guile
Of bland Imagination, Folly's train
Have dared our search: but now a dastard kind
Advance reluctant, and with faltering feet 210
Shrink from the gazer's eye: enfeebled hearts
Whom Fancy chills with visionary fears,
Or bends to servile tameness with conceits
Of shame, of evil, or of base defect,
Fantastic and delusive. Here the slave
Who droops abash'd when sullen Pomp surveys
His humbler habit; here the trembling wretch
Unnerved and struck with Terror's icy bolts,
Spent in weak wailings, drown'd in shameful tears,
At every dream of danger: here, subdued 220
By frontless laughter and the hardy scorn
Of old, unfeeling vice, the abject soul,
Who, blushing, half resigns the candid praise
Of Temperance and Honour; half disowns
A freeman's hatred of tyrannic pride;
And hears with sickly smiles the venal mouth
With foulest licence mock the patriot's name.

Last of the motley bands [Endnote EE] on whom the power
Of gay Derision bends her hostile aim,
Is that where shameful Ignorance presides. 230
Beneath her sordid banners, lo! they march
Like blind and lame. Whate'er their doubtful hands
Attempt, Confusion straight appears behind,
And troubles all the work. Through many a maze,
Perplex'd they struggle, changing every path,
O'erturning every purpose; then at last
Sit down dismay'd, and leave the entangled scene
For Scorn to sport with. Such then is the abode
Of Folly in the mind; and such the shapes
In which she governs her obsequious train. 240

Through every scene of ridicule in things
To lead the tenor of my devious lay;
Through every swift occasion, which the hand
Of Laughter points at, when the mirthful sting
Distends her sallying nerves and chokes her tongue;
What were it but to count each crystal drop
Which Morning's dewy fingers on the blooms
Of May distil? Suffice it to have said, [Endnote FF]
Where'er the power of Ridicule displays
Her quaint-eyed visage, some incongruous form, 250
Some stubborn dissonance of things combined,
Strikes on the quick observer: whether Pomp,
Or Praise, or Beauty, mix their partial claim
Where sordid fashions, where ignoble deeds,
Where foul Deformity are wont to dwell;
Or whether these with violation loathed,
Invade resplendent Pomp's imperious mien,
The charms of Beauty, or the boast of Praise.

Ask we for what fair end, [Endnote GG] the Almighty Sire
In mortal bosoms wakes this gay contempt, 260
These grateful stings of laughter, from disgust
Educing pleasure? Wherefore, but to aid
The tardy steps of Reason, and at once
By this prompt impulse urge us to depress
The giddy aims of Folly? Though the light
Of Truth slow dawning on the inquiring mind,
At length unfolds, through many a subtile tie,
How these uncouth disorders end at last
In public evil! yet benignant Heaven,
Conscious how dim the dawn of truth appears 270
To thousands; conscious what a scanty pause
From labours and from care, the wider lot
Of humble life affords for studious thought
To scan the maze of Nature; therefore stamp'd
The glaring scenes with characters of scorn,
As broad, as obvious, to the passing clown,
As to the letter'd sage's curious eye.

Such are the various aspects of the mind—
Some heavenly genius, whose unclouded thoughts
Attain that secret harmony which blends 280
The etherial spirit with its mould of clay,
Oh! teach me to reveal the grateful charm
That searchless Nature o'er the sense of man
Diffuses, to behold, in lifeless things,
The inexpressive semblance [Endnote HH] of himself,
Of thought and passion. Mark the sable woods
That shade sublime yon mountain's nodding brow:
With what religious awe the solemn scene
Commands your steps! as if the reverend form
Of Minos or of Numa should forsake 290
The Elysian seats, and down the embowering glade
Move to your pausing eye! Behold the expanse
Of yon gay landscape, where the silver clouds
Flit o'er the heavens before the sprightly breeze:
Now their gray cincture skirts the doubtful sun;
Now streams of splendour, through their opening veil
Effulgent, sweep from off the gilded lawn
The aërial shadows, on the curling brook,
And on the shady margin's quivering leaves
With quickest lustre glancing; while you view 300
The prospect, say, within your cheerful breast
Plays not the lively sense of winning mirth
With clouds and sunshine chequer'd, while the round
Of social converse, to the inspiring tongue
Of some gay nymph amid her subject train,
Moves all obsequious? Whence is this effect,
This kindred power of such discordant things?
Or flows their semblance from that mystic tone
To which the new-born mind's harmonious powers
At first were strung? Or rather from the links 310
Which artful custom twines around her frame?

For when the different images of things,
By chance combined, have struck the attentive soul
With deeper impulse, or, connected long,
Have drawn her frequent eye; howe'er distinct
The external scenes, yet oft the ideas gain
From that conjunction an eternal tie,
And sympathy unbroken. Let the mind
Recall one partner of the various league,
Immediate, lo! the firm confederates rise, 320
And each his former station straight resumes:
One movement governs the consenting throng,
And all at once with rosy pleasure shine,
Or all are sadden'd with the glooms of care.
'Twas thus, if ancient fame the truth unfold,
Two faithful needles, [Endnote II] from the informing touch
Of the same parent stone, together drew
Its mystic virtue, and at first conspired
With fatal impulse quivering to the pole:
Then, though disjoin'd by kingdoms, though the main 330
Roll'd its broad surge betwixt, and different stars
Beheld their wakeful motions, yet preserved
The former friendship, and remember'd still
The alliance of their birth: whate'er the line
Which one possess'd, nor pause, nor quiet knew
The sure associate, ere with trembling speed
He found its path and fix'd unerring there.
Such is the secret union, when we feel
A song, a flower, a name, at once restore
Those long-connected scenes where first they moved 340
The attention, backward through her mazy walks
Guiding the wanton fancy to her scope,
To temples, courts, or fields, with all the band
Of painted forms, of passions and designs
Attendant; whence, if pleasing in itself,
The prospect from that sweet accession gains
Redoubled influence o'er the listening mind.

By these mysterious ties, [Endnote JJ] the busy power
Of Memory her ideal train preserves
Entire; or when they would elude her watch, 350
Reclaims their fleeting footsteps from the waste
Of dark oblivion; thus collecting all
The various forms of being to present,
Before the curious aim of mimic art,
Their largest choice; like Spring's unfolded blooms
Exhaling sweetness, that the skilful bee
May taste at will, from their selected spoils
To work her dulcet food. For not the expanse
Of living lakes in Summer's noontide calm,
Reflects the bordering shade, and sun-bright heavens, 360
With fairer semblance; not the sculptured gold
More faithful keeps the graver's lively trace,
Than he whose birth the sister powers of Art
Propitious view'd, and from his genial star
Shed influence to the seeds of fancy kind,
Than his attemper'd bosom must preserve
The seal of Nature. There alone unchanged,
Her form remains. The balmy walks of May
There breathe perennial sweets; the trembling chord
Resounds for ever in the abstracted ear, 370
Melodious; and the virgin's radiant eye,
Superior to disease, to grief, and time,
Shines with unbating lustre. Thus at length
Endow'd with all that nature can bestow,
The child of Fancy oft in silence bends
O'er these mix'd treasures of his pregnant breast
With conscious pride. From them he oft resolves
To frame he knows not what excelling things,
And win he knows not what sublime reward
Of praise and wonder. By degrees, the mind 380
Feels her young nerves dilate: the plastic powers
Labour for action: blind emotions heave
His bosom; and with loveliest frenzy caught,
From earth to heaven he rolls his daring eye,
From heaven to earth. Anon ten thousand shapes,
Like spectres trooping to the wizard's call,
Flit swift before him. From the womb of earth,
From ocean's bed they come: the eternal heavens
Disclose their splendours, and the dark abyss
Pours out her births unknown. With fixed gaze 390
He marks the rising phantoms. Now compares
Their different forms; now blends them, now divides,
Enlarges and extenuates by turns;
Opposes, ranges in fantastic bands,
And infinitely varies. Hither now,
Now thither fluctuates his inconstant aim,
With endless choice perplex'd. At length his plan
Begins to open. Lucid order dawns;
And as from Chaos old the jarring seeds
Of Nature at the voice divine repair'd 400
Each to its place, till rosy earth unveil'd
Her fragrant bosom, and the joyful sun
Sprung up the blue serene; by swift degrees
Thus disentangled, his entire design
Emerges. Colours mingle, features join,
And lines converge: the fainter parts retire;
The fairer eminent in light advance;
And every image on its neighbour smiles.
Awhile he stands, and with a father's joy
Contemplates. Then with Promethéan art, 410
Into its proper vehicle [Endnote KK] he breathes
The fair conception; which, embodied thus,
And permanent, becomes to eyes or ears
An object ascertain'd: while thus inform'd,
The various organs of his mimic skill,
The consonance of sounds, the featured rock,
The shadowy picture and impassion'd verse,
Beyond their proper powers attract the soul
By that expressive semblance, while in sight
Of Nature's great original we scan 420
The lively child of Art; while line by line,
And feature after feature we refer
To that sublime exemplar whence it stole
Those animating charms. Thus Beauty's palm
Betwixt them wavering hangs: applauding Love
Doubts where to choose; and mortal man aspires
To tempt creative praise. As when a cloud
Of gathering hail, with limpid crusts of ice
Enclosed and obvious to the beaming sun,
Collects his large effulgence; straight the heavens 430
With equal flames present on either hand
The radiant visage; Persia stands at gaze,
Appall'd; and on the brink of Ganges doubts
The snowy-vested seer, in Mithra's name,
To which the fragrance of the south shall burn,
To which his warbled orisons ascend.

Such various bliss the well-tuned heart enjoys,
Favour'd of Heaven! while, plunged in sordid cares,
The unfeeling vulgar mocks the boon divine;
And harsh Austerity, from whose rebuke 440
Young Love and smiling Wonder shrink away
Abash'd and chill of heart, with sager frowns
Condemns the fair enchantment. On my strain,
Perhaps even now, some cold, fastidious judge
Casts a disdainful eye; and calls my toil,
And calls the love and beauty which I sing,
The dream of folly. Thou, grave censor! say,
Is Beauty then a dream, because the glooms
Of dulness hang too heavy on thy sense,
To let her shine upon thee? So the man 450
Whose eye ne'er open'd on the light of heaven,
Might smile with scorn while raptured vision tells
Of the gay-colour'd radiance flushing bright
O'er all creation. From the wise be far
Such gross unhallow'd pride; nor needs my song
Descend so low; but rather now unfold,
If human thought could reach, or words unfold,
By what mysterious fabric of the mind,
The deep-felt joys and harmony of sound
Result from airy motion; and from shape 460
The lovely phantoms of sublime and fair.
By what fine ties hath God connected things
When present in the mind, which in themselves
Have no connexion? Sure the rising sun
O'er the cerulean convex of the sea,
With equal brightness and with equal warmth
Might roll his fiery orb, nor yet the soul
Thus feel her frame expanded, and her powers
Exulting in the splendour she beholds,
Like a young conqueror moving through the pomp 470
Of some triumphal day. When join'd at eve,
Soft murmuring streams and gales of gentlest breath
Melodious Philomela's wakeful strain
Attemper, could not man's discerning ear
Through all its tones the sympathy pursue,
Nor yet this breath divine of nameless joy
Steal through his veins and fan the awaken'd heart,
Mild as the breeze, yet rapturous as the song?

But were not Nature still endow'd at large
With all that life requires, though unadorn'd 480
With such enchantment? Wherefore then her form
So exquisitely fair? her breath perfumed
With such ethereal sweetness? whence her voice
Inform'd at will to raise or to depress
The impassion'd soul? and whence the robes of light
Which thus invest her with more lovely pomp
Than Fancy can describe? Whence but from Thee,
O source divine of ever-flowing love!
And Thy unmeasured goodness? Not content
With every food of life to nourish man, 490
By kind illusions of the wondering sense
Thou mak'st all Nature beauty to his eye,
Or music to his ear; well pleased he scans
The goodly prospect, and with inward smiles
Treads the gay verdure of the painted plain,
Beholds the azure canopy of heaven,
And living lamps that over-arch his head
With more than regal splendour; bends his ears
To the full choir of water, air, and earth;
Nor heeds the pleasing error of his thought, 500
Nor doubts the painted green or azure arch,
Nor questions more the music's mingling sounds,
Than space, or motion, or eternal time;
So sweet he feels their influence to attract
The fixed soul, to brighten the dull glooms
Of care, and make the destined road of life
Delightful to his feet. So fables tell,
The adventurous hero, bound on hard exploits,
Beholds with glad surprise, by secret spells
Of some kind sage, the patron of his toils, 510
A visionary paradise disclosed
Amid the dubious wild; with streams, and shades,
And airy songs, the enchanted landscape smiles,
Cheers his long labours and renews his frame.

What then is taste, but these internal powers
Active, and strong, and feelingly alive
To each fine impulse,—a discerning sense
Of decent and sublime, with quick disgust
From things deform'd, or disarranged, or gross
In species? This, nor gems, nor stores of gold, 520
Nor purple state, nor culture can bestow;
But God alone, when first His active hand
Imprints the secret bias of the soul.
He, mighty Parent! wise and just in all,
Free as the vital breeze or light of heaven,
Reveals the charms of Nature. Ask the swain
Who journeys homeward from a summer day's
Long labour, why, forgetful of his toils
And due repose, he loiters to behold
The sunshine gleaming as through amber clouds, 530
O'er all the western sky; full soon, I ween,
His rude expression and untutor'd airs,
Beyond the power of language, will unfold
The form of beauty, smiling at his heart,
How lovely! how commanding! But though Heaven
In every breast hath sown these early seeds
Of love and admiration, yet in vain,
Without fair culture's kind parental aid,
Without enlivening suns, and genial showers,
And shelter from the blast, in vain we hope 540
The tender plant should rear its blooming head,
Or yield the harvest promised in its spring.
Nor yet will every soul with equal stores
Repay the tiller's labour, or attend
His will, obsequious, whether to produce
The olive or the laurel. Different minds
Incline to different objects; one pursues
The vast alone, [Endnote LL] the wonderful, the wild;
Another sighs for harmony, and grace,
And gentlest beauty. Hence, when lightning fires 550
The arch of heaven, and thunders rock the ground,
When furious whirlwinds rend the howling air,
And ocean, groaning from his lowest bed,
Heaves his tempestuous billows to the sky;
Amid the mighty uproar, while below
The nations tremble, Shakspeare looks abroad
Prom some high cliff, superior, and enjoys
The elemental war. But Waller longs, [Endnote MM]
All on the margin of some flowery stream
To spread his careless limbs amid the cool 560
Of plantane shades, and to the listening deer
The tale of slighted vows and love's disdain
Resound soft-warbling all the livelong day;
Consenting Zephyr sighs; the weeping rill
Joins in his plaint, melodious; mute the groves;
And hill and dale with all their echoes mourn.
Such and so various are the tastes of men.

Oh! bless'd of Heaven, whom not the languid songs
Of Luxury, the siren! not the bribes
Of sordid Wealth, nor all the gaudy spoils 570
Of pageant Honour, can seduce to leave
Those ever-blooming sweets, which from the store
Of Nature fair Imagination culls
To charm the enliven'd soul! What though not all
Of mortal offspring can attain the heights
Of envied life; though only few possess
Patrician treasures or imperial state;
Yet Nature's care, to all her children just,
With richer treasures and an ampler state,
Endows at large whatever happy man 580
Will deign to use them. His the city's pomp,
The rural honours his. Whate'er adorns
The princely dome, the column, and the arch,
The breathing marbles and the sculptured gold,
Beyond the proud possessor's narrow claim,
His tuneful breast enjoys. For him, the Spring
Distils her dews, and from the silken gem
Its lucid leaves unfolds; for him, the hand
Of Autumn tinges every fertile branch
With blooming gold and blushes like the morn. 590
Each passing Hour sheds tribute from her wings;
And still new beauties meet his lonely walk,
And loves unfelt attract him. Not a breeze [Endnote NN]
Flies o'er the meadow, not a cloud imbibes
The setting sun's effulgence, not a strain
From all the tenants of the warbling shade
Ascends, but whence his bosom can partake
Fresh pleasure, unreproved. Nor thence partakes
Fresh pleasure only; for the attentive mind,
By this harmonious action on her powers 600
Becomes herself harmonious; wont so oft
In outward things to meditate the charm
Of sacred order, soon she seeks at home
To find a kindred order, to exert
Within herself this elegance of love,
This fair-inspired delight; her temper'd powers
Refine at length, and every passion wears
A chaster, milder, more attractive mien.
But if to ampler prospects, if to gaze
On Nature's form, where, negligent of all 610
These lesser graces, she assumes the port
Of that Eternal Majesty that weigh'd
The world's foundations, if to these the mind
Exalts her daring eye, then mightier far
Will be the change, and nobler. Would the forms
Of servile custom cramp her generous powers?
Would sordid policies, the barbarous growth
Of ignorance and rapine, bow her down
To tame pursuits, to indolence and fear?
Lo! she appeals to Nature, to the winds 620
And rolling waves, the sun's unwearied course,
The elements and seasons; all declare
For what the Eternal Maker has ordain'd
The powers of man; we feel within ourselves
His energy divine; he tells the heart,
He meant, he made us to behold and love
What he beholds and loves, the general orb
Of life and being; to be great like him,
Beneficent and active. Thus the men
Whom Nature's works can charm, with God himself 630
Hold converse; grow familiar, day by day,
With his conceptions, act upon his plan;
And form to his, the relish of their souls.

NOTES

* * * * *

BOOK FIRST.

ENDNOTE A.

'Say why was man', etc.—P.8.

In apologising for the frequent negligences of the sublimest authors of Greece, 'Those godlike geniuses,' says Longinus, 'were well assured, that Nature had not intended man for a low-spirited or ignoble being: but bringing us into life and the midst of this wide universe, as before a multitude assembled at some heroic solemnity, that we might be spectators of all her magnificence, and candidates high in emulation for the prize of glory; she has therefore implanted in our souls an inextinguishable love of everything great and exalted, of everything which appears divine beyond our comprehension. Whence it comes to pass, that even the whole world is not an object sufficient for the depth and rapidity of human imagination, which often sallies forth beyond the limits of all that surrounds us. Let any man cast his eye through the whole circle of our existence, and consider how especially it abounds in excellent and grand objects, he will soon acknowledge for what enjoyments and pursuits we were destined. Thus by the very propensity of nature we are led to admire, not little springs or shallow rivulets, however clear and delicious, but the Nile, the Rhine, the Danube, and, much more than all, the Ocean,' etc. —Dionys. Longin. de Sublim. ss. xxiv.

ENDNOTE B.

'The empyreal waste'.—P. 9.

'Ne se peut-il point qu'il y a un grand espace au-delà de la région des étoiles? Que ce soit le ciel empyrée, ou non, toujours cet espace immense quî environne toute cette region, pourra être rempli de bonheur et de gloire. Il pourra être conçu comme l'océan, òu se rendent les fleuves de toutes les créatures bienheureuses, quand elles seront venues à leur perfection dans le système des étoiles.' —Leibnitz dans la Theodicée, part i. par. 19.

ENDNOTE C.

'Whose unfading light', etc.—P. 9.

It was a notion of the great Mr. Huygens, that there may be fixed stars at such a distance from our solar system, as that their light should not have had time to reach us, even from the creation of the world to this day.

ENDNOTE D.

'The neglect Of all familiar prospects', etc.—P. 10.

It is here said, that in consequence of the love of novelty, objects which at first were highly delightful to the mind, lose that effect by repeated attention to them. But the instance of habit is opposed to this observation; for there, objects at first distasteful are in time rendered entirely agreeable by repeated attention.

The difficulty in this case will be removed if we consider, that, when objects at first agreeable, lose that influence by frequently recurring, the mind is wholly passive, and the perception involuntary; but habit, on the other hand, generally supposes choice and activity accompanying it: so that the pleasure arises here not from the object, but from the mind's conscious determination of its own activity; and consequently increases in proportion to the frequency of that determination.

It will still be urged perhaps, that a familiarity with disagreeable objects renders them at length acceptable, even when there is no room for the mind to resolve or act at all. In this case, the appearance must be accounted for one of these ways.

The pleasure from habit may be merely negative. The object at first gave uneasiness: this uneasiness gradually wears off as the object grows familiar: and the mind, finding it at last entirely removed, reckons its situation really pleasurable, compared with what it had experienced before.

The dislike conceived of the object at first, might be owing to prejudice or want of attention. Consequently the mind being necessitated to review it often, may at length perceive its own mistake, and be reconciled to what it had looked on with aversion. In which case, a sort of instinctive justice naturally leads it to make amends for the injury, by running toward the other extreme of fondness and attachment.

Or lastly, though the object itself should always continue disagreeable, yet circumstances of pleasure or good fortune may occur along with it. Thus an association may arise in the mind, and the object never be remembered without those pleasing circumstances attending it; by which means the disagreeable impression which it at first occasioned will in time be quite obliterated.

ENDNOTE E.

'This desire Of objects new and strange'.—P. 10.

These two ideas are oft confounded; though it is evident the mere novelty of an object makes it agreeable, even where the mind is not affected with the least degree of wonder: whereas wonder indeed always implies novelty, being never excited by common or well-known appearances. But the pleasure in both cases is explicable from the same final cause, the acquisition of knowledge and enlargement of our views of nature: on this account it is natural to treat of them together.

ENDNOTE F.

'Truth and Good are one, And Beauty dwells in them', etc.—P. 14.

'Do you imagine,' says Socrates to Aristippus, 'that what is good is not beautiful? Have you not observed that these appearances always coincide? Virtue, for instance, in the same respect as to which we call it good, is ever acknowledged to be beautiful also. In the characters of men we always [1] join the two denominations together. The beauty of human bodies corresponds, in like manner, with that economy of parts which constitutes them good; and in every circumstance of life, the same object is constantly accounted both beautiful and good, inasmuch as it answers the purposes for which it was designed.' —Xenophont. Memorab. Socrat. 1.iii.c.8.

This excellent observation has been illustrated and extended by the noble restorer of ancient philosophy. (See the Characteristics, vol. ii., pp. 339 and 422, and vol. iii., p. 181.) And another ingenious author has particularly shewn, that it holds in the general laws of nature, in the works of art, and the conduct of the sciences (Inquiry into the Original of our Ideas of Beauty and Virtue, treat, i. Section 8). As to the connexion between beauty and truth, there are two opinions concerning it. Some philosophers assert an independent and invariable law in nature, in consequence of which all rational beings must alike perceive beauty in some certain proportions, and deformity in the contrary. And this necessity being supposed the same with that which commands the assent or dissent of the understanding, it follows, of course, that beauty is founded on the universal and unchangeable law of truth.

But others there are who believe beauty to be merely a relative and arbitrary thing; that, indeed, it was a benevolent provision in nature to annex so delightful a sensation to those objects which are best and most perfect in themselves, that so we might be engaged to the choice of them at once, and without staying to infer their usefulness from their structure and effects; but that it is not impossible, in a physical sense, that two beings, of equal capacities for truth, should perceive, one of them beauty, and the other deformity, in the same proportions. And upon this supposition, by that truth which is always connected with beauty, nothing more can be meant than the conformity of any object to those proportions upon which, after careful examination, the beauty of that species is found to depend. Polycletus, for instance, a famous ancient sculptor, from an accurate mensuration of the several parts of the most perfect human bodies, deduced a canon or system of proportions, which was the rule of all succeeding artists. Suppose a statue modelled according to this: a man of mere natural taste, upon looking at it, without entering into its proportions, confesses and admires its beauty; whereas a professor of the art applies his measures to the head, the neck, or the hand, and, without attending to its beauty, pronounces the workmanship to be just and true.

[Footnote 1: This the Athenians did in a peculiar manner, by the words [Greek: kalokagathus] and [Greek: kalokagathia].]

ENDNOTE G.

'As when Brutus rose,' etc.—P. 18.

Cicero himself describes this fact—'Cassare interfecto—statim cruentum alte extollens M. Brutus pugionem, Ciceronem nominatim exclamavit, atque ei recuperatam libertatem est gratulatus.' —Cic. Philipp. ii. 12.

ENDNOTE H.

'Where Virtue rising from the awful depth Of Truth's mysterious bosom,' etc.—P. 20.

According to the opinion of those who assert moral obligation to be founded on an immutable and universal law; and that which is usually called the moral sense, to be determined by the peculiar temper of the imagination and the earliest associations of ideas.

ENDNOTE I.

'Lycéum.'—P. 21.

The school of Aristotle.

ENDNOTE J.

'Academus.'—P. 21.

The school of Plato.

ENDNOTE K.

'Ilissus.'—P. 21.

One of the rivers on which Athens was situated. Plato, in some of his finest dialogues, lays the scene of the conversation with Socrates on its banks.

* * * * *

BOOK SECOND.

ENDNOTE L

'At last the Muses rose,' etc.—P. 22.

About the age of Hugh Capet, founder of the third race of French kings, the poets of Provence were in high reputation; a sort of strolling bards or rhapsodists, who went about the courts of princes and noblemen, entertaining them at festivals with music and poetry. They attempted both the epic, ode, and satire; and abounded in a wild and fantastic vein of fable, partly allegorical, and partly founded on traditionary legends of the Saracen wars. These were the rudiments of Italian poetry. But their taste and composition must have been extremely barbarous, as we may judge by those who followed the turn of their fable in much politer times; such as Boiardo, Bernardo, Tasso, Ariosto, etc.

ENDNOTE M.

'Valclusa.'—P. 22.

The famous retreat of Francisco Petrarcha, the father of Italian poetry, and his mistress, Laura, a lady of Avignon.

ENDNOTE N.

'Arno.'—P. 22.

The river which runs by Florence, the birth-place of Dante and
Boccaccio.

ENDNOTE O.

'Parthenopé.'—P. 23.

Or Naples, the birth-place of Sannazaro. The great Torquato Tasso was born at Sorrento in the kingdom of Naples.

ENDNOTE P.

'The rage Of dire ambition,' etc.—P. 23.

This relates to the cruel wars among the republics of Italy, and abominable politics of its little princes, about the fifteenth century. These, at last, in conjunction with the papal power, entirely extinguished the spirit of liberty in that country, and established that abuse of the fine arts which has been since propagated over all Europe.

ENDNOTE Q.

'Thus from their guardians torn, the tender arts,' etc.—P. 23.

Nor were they only losers by the separation. For philosophy itself, to use the words of a noble philosopher, 'being thus severed from the sprightly arts and sciences, must consequently grow dronish, insipid, pedantic, useless, and directly opposite to the real knowledge and practice of the world.' Insomuch that 'a gentleman,' says another excellent writer, 'cannot easily bring himself to like so austere and ungainly a form: so greatly is it changed from what was once the delight of the finest gentlemen of antiquity, and their recreation after the hurry of public affairs! From this condition it cannot be recovered but by uniting it once more with the works of imagination; and we have had the pleasure of observing a very great progress made towards their union in England within these few years. It is hardly possible to conceive them at a greater distance from each other than at the Revolution, when Locke stood at the head of one party, and Dryden of the other. But the general spirit of liberty, which has ever since been growing, naturally invited our men of wit and genius to improve that influence which the arts of persuasion gave them with the people, by applying them to subjects of importance to society. Thus poetry and eloquence became considerable; and philosophy is now, of course, obliged to borrow of their embellishments, in order even to gain audience with the public.

ENDNOTE R.

'From passion's power alone,' etc.—P. 26.

This very mysterious kind of pleasure, which is often found in the exercise of passions generally counted painful, has been taken notice of by several authors. Lucretius resolves it into self-love:—

'Suave mari magno,' etc., lib. ii. 1.

As if a man was never pleased in being moved at the distress of a tragedy, without a cool reflection that though these fictitious personages were so unhappy, yet he himself was perfectly at ease and in safety. The ingenious author of the Reflections Critiques sur la Poésie et sur la Peinture accounts for it by the general delight which the mind takes in its own activity, and the abhorrence it feels of an indolent and inattentive state: and this, joined with the moral approbation of its own temper, which attends these emotions when natural and just, is certainly the true foundation of the pleasure, which, as it is the origin and basis of tragedy and epic, deserved a very particular consideration in this poem.

ENDNOTE S.

'Inhabitant of earth,' etc.—P. 31.

The account of the economy of Providence here introduced, as the most proper to calm and satisfy the mind when under the compunction of private evils, seems to have come originally from the Pythagorean school: but of the ancient philosophers, Plato has most largely insisted upon it, has established it with all the strength of his capacious understanding, and ennobled it with all the magnificence of his divine imagination. He has one passage so full and clear on this head, that I am persuaded the reader will be pleased to see it here, though somewhat long. Addressing himself to such as are not satisfied concerning divine Providence: 'The Being who presides over the whole,' says he, 'has disposed and complicated all things for the happiness and virtue of the whole, every part of which, according to the extent of its influence, does and suffers what is fit and proper. One of these parts is yours, O unhappy man, which though in itself most inconsiderable and minute, yet being connected with the universe, ever seeks to co-operate with that supreme order. You in the meantime are ignorant of the very end for which all particular natures are brought into existence, that the all-comprehending nature of the whole may be perfect and happy; existing, as it does, not for your sake, but the cause and reason of your existence, which, as in the symmetry of every artificial work, must of necessity concur with the general design of the artist, and be subservient to the whole of which it is a part. Your complaint therefore is ignorant and groundless; since, according to the various energy of creation, and the common laws of nature, there is a constant provision of that which is best at the same time for you and for the whole.—For the governing intelligence clearly beholding all the actions of animated and self-moving creatures, and that mixture of good and evil which diversifies them, considered first of all by what disposition of things, and by what situation of each individual in the general system, vice might be depressed and subdued, and virtue made secure of victory and happiness with the greatest facility and in the highest degree possible. In this manner he ordered through the entire circle of being, the internal constitution of every mind, where should be its station in the universal fabric, and through what variety of circumstances it should proceed in the whole tenor of its existence.' He goes on in his sublime manner to assert a future state of retribution, 'as well for those who, by the exercise of good dispositions being harmonised and assimilated into the divine virtue, are consequently removed to a place of unblemished sanctity and happiness; as of those who by the most flagitious arts have risen from contemptible beginnings to the greatest affluence and power, and whom you therefore look upon as unanswerable instances of negligence in the gods, because you are ignorant of the purposes to which they are subservient, and in what manner they contribute to that supreme intention of good to the whole.' —Plato de Leg. x. 16.

This theory has been delivered of late, especially abroad, in a manner which subverts the freedom of human actions; whereas Plato appears very careful to preserve it, and has been in that respect imitated by the best of his followers.

ENDNOTE T.

'One might rise, One order,' etc.—P. 31.

See the Meditations of Antoninus and the Characteristics, passim.

ENDNOTE U.

'The best and fairest,' etc.—P. 32.

This opinion is so old, that Timaeus Locrus calls the Supreme Being [Greek: demiourgos tou beltionos], the artificer of that which is best; and represents him as resolving in the beginning to produce the most excellent work, and as copying the world most exactly from his own intelligible and essential idea; 'so that it yet remains, as it was at first, perfect in beauty, and will never stand in need of any correction or improvement.' There can be no room for a caution here, to understand the expressions, not of any particular circumstances of human life separately considered, but of the sum or universal system of life and being. See also the vision at the end of the Theodicée of Leibnitz.

ENDNOTE V.

'As flame ascends,' etc.—P. 32.

This opinion, though not held by Plato nor any of the ancients, is yet a very natural consequence of his principles. But the disquisition is too complex and extensive to be entered upon here.

ENDNOTE W.

'Philip.'—P. 44.

The Macedonian.

BOOK THIRD.

ENDNOTE X.

'Where the powers Of Fancy,' etc.—P. 46.

The influence of the imagination on the conduct of life is one of the most important points in moral philosophy. It were easy, by an induction of facts, to prove that the imagination directs almost all the passions, and mixes with almost every circumstance of action or pleasure. Let any man, even of the coldest head and soberest industry, analyse the idea of what he calls his interest; he will find that it consists chiefly of certain degrees of decency, beauty, and order, variously combined into one system, the idol which he seeks to enjoy by labour, hazard, and self-denial. It is, on this account, of the last consequence to regulate these images by the standard of nature and the general good; otherwise the imagination, by heightening some objects beyond their real excellence and beauty, or by representing others in a more odions or terrible shape than they deserve, may, of course, engage us in pursuits utterly inconsistent with the moral order of things.

If it be objected that this account of things supposes the passions to be merely accidental, whereas there appears in some a natural and hereditary disposition to certain passions prior to all circumstances of education or fortune, it may be answered, that though no man is born ambitious or a miser, yet he may inherit from his parents a peculiar temper or complexion of mind, which shall render his imagination more liable to be struck with some particular objects, consequently dispose him to form opinions of good and ill, and entertain passions of a particular turn. Some men, for instance, by the original frame of their minds, are more delighted with the vast and magnificent, others, on the contrary, with the elegant and gentle aspects of nature. And it is very remarkable, that the disposition of the moral powers is always similar to this of the imagination; that those who are most inclined to admire prodigious and sublime objects in the physical world, are also most inclined to applaud examples of fortitude and heroic virtue in the moral. While those who are charmed rather with the delicacy and sweetness of colours, and forms, and sounds, never fail in like manner to yield the preference to the softer scenes of virtue and the sympathies of a domestic life. And this is sufficient to account for the objection.

Among the ancient philosophers, though we have several hints concerning this influence of the imagination upon morals among the remains of the Socratic school, yet the Stoics were the first who paid it a due attention. Zeno, their founder, thought it impossible to preserve any tolerable regularity in life, without frequently inspecting those pictures or appearances of things, which the imagination offers to the mind (Diog. Laërt. I. vii.) The meditations of M. Aurelius, and the discourses of Epictetus, are full of the same sentiment; insomuch that the latter makes the [Greek: Chresis oia dei, fantasion], or right management of the fancies, the only thing for which we are accountable to Providence, and without which a man is no other than stupid or frantic (Arrian. I. i. c. 12. and I. ii. c. 22). See also the Characteristics, vol. i. from p. 313 to 321, where this Stoical doctrine is embellished with all the elegance and graces of Plato.

ENDNOTE Y.

'How Folly's awkward arts,' etc.—P. 47.

Notwithstanding the general influence of ridicule on private and civil life, as well as on learning and the sciences, it has been almost constantly neglected or misrepresented, by divines especially. The manner of treating these subjects in the science of human nature, should be precisely the same as in natural philosophy; from particular facts to investigate the stated order in which they appear, and then apply the general law, thus discovered, to the explication of other appearances and the improvement of useful arts.

ENDNOTE Z.

'Behold the foremost band,' etc.—P. 48.

The first and most general source of ridicule in the characters of men, is vanity or self-applause for some desirable quality or possession which evidently does not belong to those who assume it.

ENDNOTE AA.

'Then comes the second order,' etc.—P, 49.

Ridicule from the same vanity, where, though the possession be real, yet no merit can arise from it, because of some particular circumstances, which, though obvious to the spectator, are yet overlooked by the ridiculous character.

ENDNOTE BB.

'Another tribe succeeds,' etc.—P. 50.

Ridicule from a notion of excellence in particular objects disproportioned to their intrinsic value, and inconsistent with the order of nature.

ENDNOTE CC.

'But now, ye gay,' etc.—P. 51.

Ridicule from a notion of excellence, when the object is absolutely odious or contemptible. This is the highest degree of the ridiculous; as in the affectation of diseases or vices.

ENDNOTE DD.