Si te fortÈ meÆ gravis uret sarcina chartÆ, Abjicito. HOR. LIB. I. EP. 13. THE ARGUMENT. True and false glory—Kings made for man—Attributes of royalty in England—Quevedo's satire on kings—Kings objects of pity—Inquiry concerning the cause of Englishmen's scorn of arbitrary rule—Character of the Englishman and the Frenchman—Charms of freedom—Freedom sometimes needs the restraint of discipline—Reference to the riots in London—Tribute to Lord Chatham—Political state of England—The vices that debase her portend her downfall—Political events the instruments of Providence—The poet disclaims prophetic inspiration—The choice of a mean subject denotes a weak mind—Reference to Homer, Virgil, and Milton—Progress of poesy—The poet laments that religion is not more frequently united with poetry.
most; What follows next let cities of great name,
And regions long since desolate proclaim.
Nineveh, Babylon, and ancient Rome
Speak to the present times and times to come;
They cry aloud in every careless ear,
Stop, while ye may; suspend your mad career;
O learn, from our example and our fate,
Learn wisdom and repentance ere too late!
Not only Vice disposes and prepares
The mind that slumbers sweetly in her snares,
To stoop to tyranny's usurped command,
And bend her polish'd neck beneath his hand
(A dire effect, by one of Nature's laws
Unchangeably connected with its cause);
But Providence himself will intervene,
To throw his dark displeasure o'er the scene.
All are his instruments; each form of war,
What burns at home, or threatens from afar,
Nature in arms, her elements at strife,
The storms that overset the joys of life,
Are but his rods to scourge a guilty land,
And waste it at the bidding of his hand.
He gives the word, and mutiny soon roars
In all her gates, and shakes her distant shores;
The standards of all nations are unfurl'd;
She has one foe, and that one foe the world.
And if he doom that people with a frown,
And mark them with a seal of wrath press'd down,
Obduracy takes place; callous and tough,
The reprobated race grows judgment-proof:
Earth shakes beneath them, and Heaven roars above;
But nothing scares them from the course they love.
To the lascivious pipe and wanton song,
That charm down fear, they frolic it along,
With mad rapidity and unconcern,
Down to the gulf from which is no return.
They trust in navies, and their navies fail—
God's curse can cast away ten thousand sail!
They trust in armies, and their courage dies;
In wisdom, wealth, in fortune, and in lies;
But all they trust in withers, as it must,
When He commands in whom they place no trust.
Vengeance at last pours down upon their coast
A long despised, but now victorious, host;
Tyranny sends the chain that must abridge
The noble sweep of all their privilege;
Gives liberty the last, the mortal, shock;
Slips the slave's collar on, and snaps the lock.
A. Such lofty strains embellish what you teach,
Mean you to prophesy, or but to preach?
B. I know the mind that feels indeed the fire
The Muse imparts, and can command the lyre,
Acts with a force, and kindles with a zeal,
Whatever the theme, that others never feel.
If human woes her soft attention claim,
A tender sympathy pervades the frame,
She pours a sensibility divine
Along the nerve of every feeling line.
But if a deed not tamely to be borne
Fire indignation and a sense of scorn,
The strings are swept with such a power, so loud,
The storm of music shakes the astonish'd crowd.
So, when remote futurity is brought
Before the keen inquiry of her thought,
A terrible sagacity informs
The poet's heart; he looks to distant storms;
He hears the thunder ere the tempest lowers!
And, arm'd with strength surpassing human powers,
Seizes events as yet unknown to man,
And darts his soul into the dawning plan.
Hence, in a Roman mouth, the graceful name
Of prophet and of poet was the same;
Hence British poets too the priesthood shared,
And every hallowed druid was a bard.
But no prophetic fires to me belong;
I play with syllables, and sport in song.
A. At Westminster, where little poets strive
To set a distich upon six and five,
Where Discipline helps opening buds of sense
And makes his pupils proud with silver pence,
I was a poet too: but modern taste
Is so refined, and delicate, and chaste,
That verse, whatever fire the fancy warms,
Without a creamy smoothness has no charms.
Thus all success depending on an ear,
And thinking I might purchase it too dear,
If sentiment were sacrificed to sound,
And truth cut short to make a period round,
I judged a man of sense could scarce do worse
Than caper in the morris-dance of verse.
B. Thus reputation is a spur to wit,
And some wits flag through fear of losing it,
Give me the line that ploughs its stately course,
Like a proud swan, conquering the stream by force;
That, like some cottage beauty, strikes the heart,
Quite unindebted to the tricks of art.
When labour and when dullness, club in hand,
Like the two figures at St. Dunstan's stand,
Beating alternately, in measured time,
The clockwork tintinnabulum of rhyme,
Exact and regular the sounds will be;
But such mere quarter-strokes are not for me.
From him who rears a poem lank and long,
To him who strains his all into a song;
Perhaps some bonny Caledonian air,
All birks and braes, though he was never there;
Or, having whelp'd a prologue with great pains,
Feels himself spent, and fumbles for his brains;
A prologue interdash'd with many a stroke—
An art contriv'd to advertise a joke,
So that the jest is clearly to be seen,
Not in the words—but in the gap between;
Manner is all in all, whate'er is writ,
The substitute for genius, sense, and wit.
To dally much with subjects mean and low
Proves that the mind is weak, or makes it so.
Neglected talents rust into decay,
And every effort ends in pushpin play
The man that means success should soar above
A soldier's feather, or a lady's glove;
Else, summoning the muse to such a theme,
The fruit of all her labour is whipp'd cream.
As if an eagle flew aloft, and then—
|
  |
