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The naked beggar fhivering lies,

While whiftling tempefts round her rife,
And trembles, leaft the tottering wall
Should on her fleeping infants fall.

The object of fear indicated in the two last lines, is, I believe, new and unborrowed, and interefts us in the fcene described. Under this head it would be unpardonable to omit a capital, and, I think, the most excellent example extant, of the beauty here intended, in the third Georgic of Virgil: * The poet having mournfully described a heifer struck with a peftilence, and falling down dead in the middle of his work, artfully reminds us of his former services;

Quid labor aut benefacta juvant? quid vomere terras
Invertiffe graves? †

This circumftance would have been fufficient,
as it raised our pity from a motive of grati-
but with this circumftance the tender

* Ver. 525.

+ By the epithet GRAVES Virgil infinuates after his manner the difficulty and laboriousness of the work.



Virgil was not content; what he adds there-
fore of the natural undeviating temperance of
the animal, who cannot have contracted dif-
eafe by excefs, and who for that reafon de-
ferved a better fate
is moving beyond com-


Atqui non maffica Bacchi

Munera, non illis epulæ nocuere reposta!
Frondibus et vitu pafcuntur fimplicis herbæ ;
Pocula funt fontes liquidi, atque exercita curfu
Flumina, nec fomnos abrumpit cura falubres.

Or English poets, perhaps, none have excelled the ingenious Mr. Dyer in this oblique instruction, into which he frequently fteals imperceptibly, in his little defcriptive poem entitled GRONGAR HILL, where he difpofes every object fo as it may give occafion for fome obfervation on human life. Denham himself is not fuperiour to this neglected author, in this particular. After painting a landschape very extenfive and diverfified, he adds;

Thus is nature's vefture wrought
To instruct our wandring thought,

F 2


Thus fhe dresses green and gay,

To difperfe our cares away!

Another view from his favourite spot, gives him an opportunity, for fliding into the following moralities.

* How close and small the hedges lie!
What ftreaks of meadows cross the eye!
A ftep methinks may pass the stream,
So little diftant dangers feem;

So we mistake the future's face

Ey'd through Hope's deluding glass.


yon fummits foft and fair,

Clad in colours of the air,

Which to those who journey near,
Barren and brown and rough appear,
Still we tread the fame coarse way,
The prefent's still a cloudy day.

THE unexpected infertion of such reflections, imparts to us the fame pleasure that we feel, when in wandering through a wilderness or grove, we fuddenly behold in the turning of the walk, a statue of fome VIRTUE of MUSE.

* In this light alfo his poem on the Ruins of Rome deferves a perufal. Dodfley's Mifcell. Vol. 1. Pag. 78.

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IT may be observed in general, that defcription of the external beauties of nature, is ufually the first effort of a young genius, before he hath ftudied manners and paffions. Some of Milton's moft early, as well as most exquifite pieces, are his Lycidas, L'Allegro, and Il Penferofo; if we may except his Ode on the Nativity of Chrift, which is indeed. prior in the order of time, and in which a penetrating critic might have discovered the feeds of that boundless imagination, which was one day to produce the Paradife Loft. This ode, which, by the way, is not fufficiently read, or admired, is also of the defcriptive kind; but the objects of his defcription are great, and striking to the imagination; the falfe gods and goddeffes of the Heathen forfaking their temples on the birth of our faviour, divination and oracles at an end! which facts though perhaps not historically true, are poetically beautiful.

The lonely mountains o'er,

And the refounding fhore,

A voice of weeping heard, and loud lament!


From haunted spring, and dale

Edg'd with poplar pale,

The parting Genius is with fighing fent;
With flower-enwoven treffes torn

The nymphs in twilight fhade of tangled thicket mourn.

The lovers of poetry, and to fuch only I write, will not be displeased at my presenting them alfo with the following image, which is fo ftrongly conceived, that methinks I fee at this inftant the dæmon it represents;

And fullen Moloch fled

Hath left in fhadows dread,

His burning idol all of blackest hue;

In vain with cimbals ring

They call the griefly king,

In difmal dance about the furnace blue. †

Attention is irrefiftibly awoke and engaged by that air of folemnity, and enthusiasm, that reigns in the following ftanzas:

*On the morning of Chrift's nativity. Newton's edition, octavo. Vol. 2. pag. 28, 29. of the miscellaneous poems.

+ See also verfes written at a Solemn mufic, and on the Paffion, in the fame volume, and a vacation exercise, pag. 9. in all which are to be found many ftrokes of the fublime.


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