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sky;

His keen eye tracks the arrow's fateful Triumph, arch, pillar, all he doth flight:

displace Burns his indignant cheek with venge. Scoffing ;' and apostolic statues climb, ful fire,

To crush th'imperial urn whose ashes And bis lip qoivers with insulting ire: slept sublime.” Firm fix'd his head, yet light as when on high

Addison, in his “ Letter from He walks in' impalpable and pathless Italy,” addressed to Lord Halifax,

thus beautifully describes the apThe rich luxuriance of bis hair, con pearance of ancient Rome :

fip'd In graceful rioglets, wantons on the

“ Immortal glories in my mind revive, wiud,

And in my soul a thousand passions Tbat lifts in sport his mantle's droop strive, ing fold,

When Rome's exalted beauties I des Proud io display that form of faultless cry mould.”

Magnificent in piles of ruin lie. 1-22 An amphitheatre's amazing height

Here fills my eye with terror and deII.-The following beautiful stan

light,

That on it's public shows uppeopled zas on the remains of ancient Rome

Rome, correspond with similar passages in And held uncrowded nations in its the works of Addison, Pope and womb: Dyer, on the same subject. We Here pillars rough with sculpture pierce have thus four distinct pictures of the skies, these venerable relics of antiquity And here the proud triumphal arches drawn by four poets, all equally rise; celebrated for the varied beauties of Where the old Romans' deathless acts their compositions, and all equally display'd masters of the art of poetry.

Their base degen'rate progeny op

braid; “ Cypress and ivy, weed and wall

Whole rivers here forsake the fields flower grown

below, Matted and mass'd together, billocks

And wond'ring at their height thro' heap'd

airy channels flow."

69–82. On wbat were chambers, arch-crusb’d, column strown

Pope, in his “ Epistle to Addi . In fragments, chokd up vaults, and

on medals, commences with frescos steep'd

these striking and elegant verses :In subterranean damps, where the owl peep'd,

See the wild waste of all-devouring Deeming it midnight; temples, baths years! or halls?

How Rome her own sad sepulchre apPronounce who can; for all that pears, learning reap'd

With nodding arches, broken temples, From her research hath been that

spread! these are walls

The very tombs now vanish'd like their Behold th' imperial mount ! 'tis thus dead! the mighty falls.

Imperial wonders rais'd on nations Tally was not so eloquent as thou,

spoil'd, Thou nameless column with the buried Where, mix'd with slaves, the groanbase!

ing martyr toild; What are the laurels of the Cæsar's Huge theatres, that now unpeopled

woods, Crown me with ivy from his dwelling. Now drain'd a distant country of her place.

floods; Whose arch or pillar meets me in the Fanes, which admiring gods with pride face,

survey, Titus, or Trajan's ? No-'tis that of Statues of men scarce less alive than time :

they!

son

brow,

Childe Harold, Canto IV. stanzas cvii. and cx. See also the succeeding stanzas down to stanza clvij.

moon."

name.

Some felt the silent stroke of mould'. Aghast, the voice of Time disparting ring age,

tow'rs, Some hostile fory, some religious rage; Tumbling all precipitate down dash'd, Barbarian blindness, christian zeal, Rattling around, loud thund'ring to the conspire,

38–42. And Papal piety and gothic fire. Perhaps by its own ruins sar'd from Of this latter passage Dr. Johnflame,

son has spoken in terms of the Some ry'd marble balf preserves a warmest approbation, and has justly

observed, that it is conceived with Ambition sigh'd! she found it vain the mind of a poet,

“ He was not, to trust

however, the first to discover its The faithless column and the crumb

merits; for Hervey, in his • Meditalipg bust;

tions,' had previously applauded it. Huge moles, whose shadows stretch'd

The introduction of the pilgrim from shore to shore, Their ruins perish'd, and their place

hearing the noise of the falling

towers is a beautiful circumstance, bo more."

and affects us much more forcibly In these lines the reader may ob than the simple assertion that they serve that Pope has borrowed many often fell. The fourth line has not epithets from the description of Ad the structure of any English verse, dison.

consequently has no melody; but Dyer also, in his celebrated it is a complete echo to the sense. called the « Ruins of Rome" has It indeed represents, as far as the not less ably succeeded.

sound of words can admit, the exact

thing designed to be represented." “ Fall'n, fall'o, a silent heap! Her The reader will no douht remark heroes all

the similarity of idea in this pasSunk in their urns; behold the pride

sage, and in the second stanza of

the quotation from Childe Harold. The throne of nations fallen, obscur'd

Dyer's subsequent animated picture in dust,

of the Coliseum appears also to E'en get majestical : the solemn scene Elates the soul, while now the rising

have been the ground-work of Lord

Byron's equally forcible and magFlames on the ruins in the purer air

nificent description. Tow'ring aloft, opon the glitt'ring plain

III.-In Pope's " Epistle on the Like broken rocks, a vast circumfe

Use of Riches," there are some exrence;

cellent lines describing the abode of Rent palaces, crush'd columns, rified penury and inhospitality, which moles

greatly resemble a passage in one of Fanes rolld on fanes, and tombs on the Satires of Joseph Hall, Bishop buried tombs.”

of Norwich, in the reigns of Queen 1625. Elizabeth and James 1.

poem

of pomp,

sun

Here hoary time * Like some lone Chartreux stands the Sits on his throne of ruins; while the good old hall, wind

Silence without, and fasts within the Sweeps o'er his various tyre, how mu wall; sical

No raftered roofs with dance and tabor How sweet the diapason: Melancholy sound, Spreads o'er the soul her mood; that No noontide bell invites the country kindly mood

round; Which calms the thought, and lifts it Tenants with sighs the smokeless tow'rs to the skies."

survey,

And turn th' unwilling steeds another u The pilgrim oft

way; At dead of night,'mid his orison bears, Benighted wanderers, the forest o'er,

* Moral Essays, Epist. V. To Mr. Addison, occasioned by his Dialogues on Medals. 1-22.

+ Scott's Critical Essays.
| Ruins of Rome, 146–164.

Childe Harold, Cant. IV. stanzas cxlii. cxliii. cxliv. and cxlv.

her rest,

to eat."

Curse the sav'd candle and unop'ning Lo, there th' anthankful swallow takes

door ; While the gaart mastiff, growling at And fills the tunnell with her circled the gate,

nest!" | s frights the beggar whom he longs

IV.-The fine personification of

Death, contained in the following “ The use, the force, and the ex.

single verse of Milton, seems to

have been taken from some lines on cellence of language,” observes a judicious commentator on these lines,

the same subject by Thomas Sack* certainly consist in raising clear, ville, first Lord Buckhurst, a noble complete, and cireumstantial images, poet, who flourished in the reign of and in turning readers into spec- Queen Mary. tators. The preceding passage is

6 And over them triumphant death his quoted as a striking example of this

dart excellence, of all others the most

Shook.” Paradise Lost, xi. 491. essential in poetry. Every epithet

u His dart anon out of the corse be here used paints its object, and paints it distinctly. After having passed And in his hand (a dreadful sight to

, over the moat full of cresses, do you

see) not actually find yourself in the middle court of this forlorn and solitary

With great triumph eftsoones the same

he shook." § mansion, overgrown

with docks and nettles? And do you not hear the

The reader will probably excuse dog that is going to assault you?"+ the introduction of the whole of this

The following is the passage by striking passage, as a specimen of Bishop Hall, to which I have before the force and energy of early Engreferred.

lish poetry. “ Language can hardly

paint expiring Famine, and Deatha “ Housekeeping's dead !

triumphing, in stronger colours.” Along thy way thou canst pot but descry

« But oh! the doleful sight that then Fair glittering halls to tempt the hope

A griesly shape of famine: So the gay gate adds fuel to thythought, Her starved corse that rather seem'da That such proud piles were never rais'd shade, for nought.

Than any substance of a creature Beat the bread gates! a goodly hollow made,

soupd With doublé echoes doth again re 6On her while we thus.firmly fix'd our bound;

eyes, But not a dog doth bark to welcome That bled for ruth of such a dreary thee;

sight, Nor churlish porter canst thou chafing Lo suddenly she shriek d in so huge

wise, All dumb and silent, like the dead of As made hell-gates to shiver with the night,

might; Or dwelling of some sleepy Sybarite. Wherewith a dart we saw how it did The marble pavement, hid with desert light weed,

Right on ber breast, and therewithal With house-leek, thistle, dock, and pale death hemlock seed!

Enthrilling it to reave her of her Look to the tow'red chimnies, which breath.

sbould be The wind pipes of good hospitality,

5 And by and by a dumb dead corse Thro' which it breatheth to the open We saw, air,

Heavy and cold, the shape of death Betokening life and liberal well-fare; aright,

We see:

ful eye.

see:

Moral Essays, Epist. iii. 197—196.
† Warton's Essay on Pope, Vol. II. page 165. I Book V. Sat. II.

s lotroduction to the Mirror for Magistrates.

of war,

That daunts all earthly creatures to his Possess’d, and satiate with the melting law,

tone; Against whose force in vaine it is to Sov'reigo of birds. The furious God fight.

of war, Ne peers, ne princes, ne no mortal His darts forgetting, and the rapid wight,

wheels, Ne towns, ne realms, cities, ne strong That bear him rengeful o'er th' em est tower,

battled plains, But all perforce must yield unto his Relents, and soothes his own fierce power.

heart to ease."

Hymn to the Naiads, 265–273. His dart anon out of the corse he took,

Lord Byron also, in his Childe And in his hand (a dreadful sight to Harold, has a noble passage illussee)

trative of the powerful effects of With great triumph eftsoones the same music (founded on an historical he shook,

fact, related in Plutarch's Life of That most of all my fears affrayed me: Nicias) which much resembles the His bodie dight with nought but bones fifth, sixth, and seventh lines of the

perdie, The naked shape of man there saw I preceeding quotation from Gray;

and the sixth, seventh, and eighth plaine,

of Akenside : All save the flesh, the sinew, and the veyn."

6 When Athens' armies fell at Syra

cuse, V.-Let us next observe the two And fetter'd thousands bore the yoke following parallel passages from the works of Gray and Akenside. The Redemption rose up in the attic muse, harmonious lines, so beautifully de Her voice their only ransom from afar: scriptive of the power of music, from See! as they chaunt the tragic hymn,

the car the pen of the former poet, are closely translated from the first of th'o'ermaster'd victor stops, the

reins Pythian Ode of Pindar.

Fall from his hands his idle scimitar

Drops from his belt-be rends bis cap« Oh sov'reign of the willing soul,

tive's chains, Parent of sweet and solemn-breathing

And bids him thank the bard for free. airs,

dom and his strains.” Enchanting shell! the sullen cares,

Canto IV. st. xvi. And frantic passions, bear thy soft

controul. On Thracia's hills the lord of war

For other examples of the power Has curb'd the fury of his car,

of music, the reader is refered to And dropp'd his thirsty lunce at thy Dryden's “ Alexander's Feast;" command.

Pope's “ Ode to St. Cecilia ;" and Perching on the scepter'd hand some verses by the same poet in his Of Jove, thy magic lulls the feathered Essay on Criticism." (3744381.)

king With ruffed plumes and flagging wiug. VI.--Poets are fond of amplifying Quench'd in dark clouds of slumber lie a happy thought, or an original The terrors of his beak, and lightnings idea ; and, indeed, of occasionally of his eye."

borrowing them from the works of Progress of Poesy, I. 2.

their predecessors. Thus the simili

tude so beautifully applied in the The reader will no doubt be gra- following lines is to be found, not tified to see these striking images only twice repeated in the pages of copied by the masterly hand of Pope, but also in Silius Italicus, in Akenside :

Shakspeare, in Sir John Davies,

in Du Bartas, and in several sub6 With slacken'd wings,

sequent English authors. While now the solemn concert breatbes around,

"Self-love but serves the virtuous Incumbent o'er the sceptre of his Lord mind to wake, Sleeps the stern eagle; by the num. As the small pebble stirs the peaceful bered notes

Jake;

The centre mor'd, a circle straight Sir John Davies at the close of the succeeds,

sixteenth century. Detached parts Another still, and still another spreads; of this poem, but not with the parFriend, parent, neighbour, first it will

ticular passage here quoted, are conembrace;

tained in the second volume of His country next, and then all human

Campbell's Lives of the Poets :Wide and more wide th' o'erflowings “ As when a stone is into water cast, of the mind

One circle doth another circle make, Take ev'ry creature in of ev'ry kind.”

Till the last circle reach the bank at Essay on Man, Epist. IV. 363–370.

Jast.”

race:

“ As on the smooth expanse of chrystal It again occurs in the Orlando lakes

Furioso of Ariosto, Book VIII., The sinking stone at first a circle Chap. 63, of Sir John Harrington's makes,

translation :The trembling surface, by the motion stirr'd,

As circles in a water clear are spread, Spreads in a second circle, then a

When sunne doth shine by day, and third;

moone by night, Wide, and more wide, the floating Succeeding one another in a ranke, rings advance,

Till all by ove and one do touch the Fill all the wat'ry plain, and to the

banke.” margin dance : Thus ev'ry voice and sound, when first

Also in the Epistle Dedicatorie they break, Ou neighb'ring air a soft impression of the iliad :

of Chapman, prefixed to his version make; Another ambient circle then they

_“ As in a spring move,

The plyant water, mov'd with any That, in its turn, impells the next

thing above;

Let fall into it, puts her motion out Through undulating air the sounds are

In perfect circles, that move round sept,

about And spread o'er all the fluid element."*

The gentle fountain, one another rayTemple of Fame, 436_447.

sing." “ Sic ubi perrupit stagnantem calculos undam,

And again in Owen Feltham's Exiguos format per prima volumina

Resolves" (Of judging charitably)

Edit. of 1820, page 58.—“ Report gyros : Mox, tremulum vibrans motu gliscente

once vented, like a stone cast into a liquorem,

pond, begets circle upon circle, till Multiplicat crebros sinuati gurgitis

it meets the bank that bounds it." orbes :

The idea here expressed also apDonec postremo laxatis circulus oris pears, though in a much more exContingat geminas patulo curvamine panded form, in Sylvester's transripas." +

lation of Du Bartas, the third part

of the second day of the second “ Glory is like a circle in the water, week. Which never ceaseth to enlarge itself, VII.-The following description Till, by broad speading, it disperse to nought."

of the Temple of Rumour" is taken Henry VI. Part I. Act 2. Scene 2.

from Ovid. Pope met with it in Chaucer's old work, entitled the

“ House of Fame,” (of which Pope's The image here represented is poem is an improved and modernized also to be found in a work, entitled version) and Chancer found it in Nosce Teipsum, or a poem on the the twelfth book of Ovid's MetaImmortality of the Soul, written by morphoses, from whence he has

• The same image again appears, though with a far less delicate application, in the Dunciad, Book II. 405-410.

+ Silius Italicus' poem on the second Punic War, Book XIII. 24–29. Eur. Mag. May, 1823.

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