SACRED POETRY. 83 is a quality which gives it a power over many minds not at all alive to the poetical; but it is also the source of some of its strongest attractions for those that are. Hence its truth both of landscape-painting, and of the description of character and states of mind; hence its skilful expression of such emotions and passions as it allows itself to deal with; hence the force and fervour of its denunciatory eloquence, giving to some passages as fine an inspiration of the moral sublime as is perhaps anywhere to be found in didactic poetry. Hence, we may say, even the directness, simplicity, and manliness of CowPER'S diction-all that is best in the form, as well as in the spirit, of his verse. It was this quality, or temper of mind, in short, that principally made him an original poet; and, if not the founder of a new school, the pioneer of a new era of English poetry. Instead of repeating the unmeaning conventionalities and faded affectations of his predecessors, it led him to turn to the actual nature within him and around him, and there to learn both the truths he should utter and the words in which he should utter them." In less than half a century after the death of CowPER, the revolution in English poetry was completed. Among the master spirits of that period the names of WORDSWORTH, BURNS, SCOTT, and BYRON, stand pre-eminent. Returning, however, to the immediate object of our introductory remarks, which was to trace the progress of Sacred Poetry, from CowPER to the present time, it is pleasing to observe, in the productions of our modern poets, that sacred thoughts are not wholly excluded from their pages; and that even in the poetry of those who have employed their pens only occasionally on topics of a religious nature, many passages may be found which inculcate the most exalted sentiments, and breathe a spirit of profound reverence for the Almighty, and of admiration and gratitude for the wisdom and goodness he has displayed in the beauty and harmony of the Creation. The specimens of moral and religious poetry, transferred to these pages from the works of SOUTHEY, CAMPBELL, COLERIDGE, WILSON, BOWLES, MILMAN, MONTGOMERY, Bishop HEBER, KIRKE WHITE, FELICIA HEMANS, and WORDSWORTH, may be referred to as affording decisive proof of the noble and holy sentiments which may be conveyed in the fascinating language of poetry. "The characteristic qualities," says WILLMOTT, "of the sacred poetry of the sixteenth and seventeenth centuries were fervour of sentiment and melody of language, the fervour often degenerating into fantastic enthusiasm; the melody often running into grotesque extravagance of rhythm and expression. Compared with the effusions of our early writers of religious verse, modern poetry," he adds, "may appear to have declined in strength while it has increased in flexibility; but the calm diffusion of light is more agreeable than the uncertain blazes of a livelier invention; and we can read a GRAHAM with a satisfaction which the sublimer genius of QUARLES will not always afford, and recollect the humble rhymes of WATTS, when the more passionate sonnets of HERBERT sound harshly upon the ear." As regards the beneficial tendency of poetry belonging to this class, and the services rendered by its authors to the best interests of society, it has been justly observed by the Editor of JOHNSTONE'S "Specimens of Sacred Poetry," that "minds less powerful could never have brought religion and literature, so long and generally found repugnant, into friendly alliance, nor so effectually have enlisted the pride of cultivated intellect, and the romance of youthful character, on the side of humanity, justice, and all the Christian virtues." The reader should refer to the "Recreations of Christopher North" for an eloquent and argumentative essay on Sacred Poetry, in which Dr. JOHNSON'S peculiar views on that subject are proved to be false in reasoning, and contrary to fact. WILLIAM COWPER. BORN, 1731; DIED, 1800. GRATITUDE TO GOD. How blest, thy creature is, O God, He views the lustre of thy word, Through all the storms that veil the skies, With healing on his wings. Struck by that light the human heart, Sends the sweet smell of grace abroad, The glorious orb, whose golden beams Since first, obedient to thy word, Has cheered the nations with the joys His orient rays impart; But, Jesus, 'tis thy light alone Can shine upon the heart. ODE TO PEACE. RELIGION NOT ADVERSE TO PLEASURE. RELIGION does not censure or exclude The grain, or herb, or plant that each demands; And share the joys your bounty may create; In colour these, and those delight the smell ; ODE TO PEACE. COME, peace of mind, delightful guest! Where wilt thou dwell if not with me, For whom, alas! dost thou prepare The banquet of thy smiles? 85 The great, the gay, shall they partake For thee I panted, thee I prized, Whate'er I loved before; BEILBY PORTEUS. DEATH. FRIEND to the wretch whom every friend forsakes, I woo thee, death!-Life and all its joys I leave to those that prize them. Hear me, O gracious God!—At thy good time Then shed thy comforts o'er me; then put on ALL CREATURES CALLED ON TO PRAISE GOD. 87 The gentlest of thy looks. Let no dark crimes, And pouring o'er my wounds the heavenly balm JOHN OGILVIE. ALL CREATURES CALLED ON TO PRAISE GOD. BEGIN, my soul, th' exalted lay! And praise th' Almighty's name : Lo! heaven and earth, and seas and skies, In one melodious concert rise, To swell th' inspiring theme. Join, ye loud spheres, the vocal choir; Thou dazzling orb of liquid fire, The mighty chorus aid: |