It is obfervable, that difcourfes prefixed to poetry | are contrived very frequently to inculcate fuch tenets as may exhibit the performance to the greatest advantage. The fabric is very commonly raised in the first place, and the meafures, by which we are to judge of its merit, are afterwards adjusted. one tions; celebrated beauties, or favourite mistresses; "Quique fui memores alios fecere merendo." After these subjects were fufficiently exhausted, There have been few rules given us by the cri- and the feverity of fate difplayed in the most aftics concerning the ftructure of elegiac poetry; fecting inftances, the poets fought occafion to vary and far be it from the author of the following their complaints; and the next tender fpecies of trifles to dignify his own opinions with that deno- forrow that prefented itself, was the grief of abmination. He would only intimate the great va-fent or negleded lovers. And this indulgence riety of fubjects, and the different styles in which the writers of elegy bave hitherto indulged themfelves, and endeavour to fhield the following ones by the latitude of their example. If we confider the etymology of the word, the epithet which † Horace gives it, or the confeffion which Ovid makes concerning it, I think we may conclude thus much, however, that elegy, in its true and genuine acceptation, includes a tender and querulous idea: that it looks upon this as its peculiar characteristic, and fo long as this is thoroughly fuftained, admits of a variety of fubjects; which, by its manner of treating them, it renders them its own. It throws its melancholy tole over pretty different objects; which, like the dreffes at a funeral proceffion, gives them all a kind of folemn and uniform appearance. It is probable that elegies were written at first upon the death of intimate friends and near rela * ε-λέγειν, ε particulam dolendi. "Heu nimis ex vero nunc tibi nomen erit." might be indeed allowed them; but with this they were not contented. They had obtained a fmall corner in the province of love, and they took advantage, from thence, to over-run the whole territory. They fung its fpoils, triumphs, ovations, and rejoicings, as well as the captivity and exequies that attended it. They gave the name of elegy to their pleasantries as well as lamentations; till at last, through their abundaut fondness for the myrtle, they forgot that the cyprefs was their peculiar garland. In this it is probable they deviated from the original defign of elegy; and it should feem, that any kind of fubjects, treated in fuch a manner as to diffufe a pleafing melancholy, might far better deferve the name, than the facetious mirth and libertine feftivity of the fuccefsful votaries of love. But not to dwell too long upon an opinion which may feem perhaps introduced to favour the following performance, it may not be improper Dicite Io Pean, et lo bis dicite Pean.” OVINA to examine into the use and end of elegy. The moft important end of all poetry is to encourage virtue. Epic and tragedy chiefly recommend the public virtues; elegy is of a fpecies which illuf trates and endears the private. There is a truly virtuous pleature connected with many penfive contemplations, which it is the province and ex. cellency of elegy to enforce. This, by prefenting fuitable ideas, has difcovered fweets in melancholy which we could not find in mirth; and has led us with fuccefs to the duty urn, when we could draw no pleasure from the fparkling bowl; as pastoral conveys an idea of fimplicity and innocence, it is in particular the task and merit of clegy to fhow the innocence and fimplicity of rural life to advantage: and that, in a way diftinct from paftoral, as much as the plain but judicious landlord may be imagined to furpafs his tenant both in dignity and understanding. It thould al. fo tend to elevate the more tranquil virtues of humility, difintereftedness, fimplicity, and innocence: but then there is a degree of elegance and refinement, no way inconfiftent with thefe rural virtues; and that raises elegy above that merum rus, that unpolished rufticity, which has given our pafloral writers their higheft reputation. beautifui imitations of his verfification in that mo nody. But this kind of argument, I am apt to think, muft prove too much; fince the writers I have in view feem capable enough of recommending any metre they fhall choofe; though it must be owned also, that the choice they make of any, is at the fame time the ftrongest prelumption in its favour. Perhaps it may be no great difficulty to com promife the difpute. There is no one kind of metre that is diftinguished by rhymes, but is liable to fome objection or other. Heroic verie, where every fecond line is terminated by a thyme, (with which the judgment requires that the fenfe hould in fome measure alfo terminate) is apt to render the expreffion either fcanty or constrained. And this is fometimes obfervable in the writings of a poet lately deceased; though I believe no one ever threw fo much fenfe together with fo much cafe into a couplet as Mr. Pope. But, as an air of confiraint too often accompanies this metre, it feems by no means proper for a writer of elegy. The previous rhyme in Milton's Lycidas is very frequently placed at fuch a distance from the fol lowing, that it is often dropt by the memory (much better employed in attending to the fenti ment) before it be brought to join its partner: and this feems to be the greatest objection to that kind of verfification. But then the peculiar eat and variety it admits of, are no doubt fufficient to overbalance the objection, and to give it the preference to any other, in an elegy of length. Wealth and fplendour will never want their proper weight: the danger is, left they fhould too much preponderate. A kind of poetry therefore which throws its chief influence into the other feale, that magnifies the sweets of liberty and independence, that endears the honest delights of love and friendship, that celebrates the glory The chief objection to which anza of all of a good name after death, that ridicules the fukinds is liable, is, that it breaks the fenfe too retile arrogance of birth, that recommends the in- gularly, when it is continued through a long nocent amusement of letters, and infenfibly pre-poem. And this may be perhaps the fault of Mr. pares the mind for that humanity it inculcates, fuch a kind of poetry may chance to pleafe; and if it pleafe, fhould feem to be of service. As to the style of elegy, it may be well enough determined from what has gone before. It fhould imitate the voice and language of grief, or if a metaphor of drefs be more agreeable, it fhould be fimple and difufe, and flowing as a mourner's veil. A verfification therefore is desirable, which, by indulging a free and unconftrained expreffion, may admit of that fimplicity which elegy requires. Heroic metre, with alternate rhyme, feems well enough adapted to this fpecies of poetry; and, however exceptionable upon other occafions, its inconveniencies appear to lofe their weight in fhorter elegies: and its advantages feem to acquire an additional importance. The world has an admirable example of its beauty in a collection of elegies not long fince published; the product of a gentleman of the most exact tafte, and whofe untimely death merits all the tears that elegy can fed. It is not impoffible that fome may think this metre too lax and profaic: others, that even a more diffolute variety of numbers may have fuperior advantages. And, in favour of thefe laft, might be produced the example of Milton in his Lycidas, together with one or two recent and Mr. Hammond. Waller's excellent panegyric. But if this fault be lefs difcernible in fmaller compofitions, as I fuppofe it is, I flatter myfelf, that the advantages I have before mentioned refulting from alternate rhyme (with which stanza is, I think, connected) may, at least in forter elegies, be allowed to outweigh its imperfections. I fhall fay but little of the different kinds of elegy. The melancholy of a lover is different, no doubt, from what we feel on other mixed occafions. The mind in which love and grief at once predominate, is foftened to an excess. Love-ele gy therefore is more negligent of order and defign, and being addreffed chiefly to the ladies, requires little more than tenderness and perfpicuity. Elegies, that are formed upon promifcuous incidents, and addreffed to the world in general, inculcate fome fort of moral, and admit a different degree of reafoning, thought, and ardour. The author of the following elegies entered on his fubjects occafionally, as particular incidents in life fuggefted, or difpofitions of mind recom mended them to his choice. If he defcribes a rural landscape, or unfolds the train of fentiments it inspired, he fairly drew his picture from the spot; and felt very fenfibly the affection he communi cates. If he fpeaks of his humble fhed, his flocks and his fleeces, he does not counterfeit the fcene; who having (whether through choice or necellity, is not material) retired betimes to country-folitudes, and fought his happiness in rural employment, has a right to confider himself as a real shepherd. The flocks, the meadows, and the grottos, are bis own, and the embellishment of his farm his fole amufe ent. As the fentiments therefore were inspired by nature, and that in the earlier part of his life, he hopes they will retain a natu ral appearance: diffuting at leaft fome part of that amulement, which he freely acknowledges he received from the composition of them. There will appear perhaps a real inconfiftency in the moral tenor of the feveral elegies; and the fubfequent ones may fometimes feem a recantation of the preceding. The reader will fearce impute this to overfight; but will allow, that men's opinions as well as tempers vary; that neither public nor private, active nor fpeculative life, are unexceptionably happy, and confequently that any change of opinion concerning them may afford an additional beauty to poetry, as it gives us a more ftriking reprefentation of life. If the author has hazarded, throughout, the ufe of English or modern allufions, he hopes it will not be imputed to an entire ignorance, or to the least difefteem, of the ancient learning. He has kept the ancient plan and method in his eye, though he builds his edifice with the materials of his own nation. In other words, through a fondnefs for his native country, he has made use of the flowers it produced, though, in order to ex hibit them to the greater advantage, he has endeavoured to weave his garland by the best model he could find: with what fuccefs, beyond his own amufement, must be left to judges lefs partial to him than either his acquaintance or his friends.--If any of thofe thould te fo candid, as to approve the variety of fubjects he has chofen, and the tendernefs of fentiment he has endeavoured to imprefs, he begs the metre alfo may not be too fuddenly condemned. The public ear, habituated of late to a quicker measure, may perhaps confider this as heavy and languid; but an objection of that kind may gradually lofe its force, if this measure thould be allowed to fuit the nature of elegy. If it should happen to be confidered as an object with others, that there is too much of a inoral caft diffused through the whole; it is replied, that he endeavoured to animate the poetry fo far as not to render this objection too obvious; or to rifk excluding the fathionable reader: at the fame time never deviating from a fixed principle, that poetry without morality is but the bloom of a fruit-tree. Poetry is indeed like that ipecies of plants, which may bear at once both fruits and bloffoms; and the tree is by no means in perfection without the former, however it may be eme embellished by the flowers which furround 12. ELEGY I. He arrives at his retirement in the country, and takes occafion to expatiate in praise of fimplicity. TO A FRIEND. For rural virtues, and for native skies, I bade Augufta's venal fons farewell; Now 'mid the trees I fee my fmoke arife; Ah never could Aonia's hill difclofe So fair a fountain, or fo lov'd a stream. Ye lovelefs bards! intent with artless pains To form a figh, or to contrive a tear! Forego your Pindus, and on plains Survey Camilla's charms, and grow fincere. Now hear the fountains bubbling round my cell. But thou, my friend! while in thy youthful foul O may that genius, which fecures my rest, Far from thefe paths, ye faithless friends, depart! O lov'd fimplicity, be thine the prize! Affiduous art correct her page in vain! His be the palm, who, guiltleis of disguise, Contemns the power, the dull refource to feign! Still may the mourner, lavish of his tears For lucre's venal meed, invite my fcorn! Still may the bard diffembling doubts and fears, For praile, for flattery fighing, figh forlorn! Soft as the line of love-Gck Hammond flows, Love's gentle tyrant feats his awful throne, Write from thy bofom-let not art controul The ready pen, that makes his edicts known. Pleafing, when youth is long expir'd, to trace The forms our pencil, or our pen defign'd! "Such was our youthful air, and shape, and face! "Such the foft image of our youthful mind! Soft whilft we fleep beneath the rural bowers, ELEGY II. On pofthumous reputation. TO A FRIEND. Ó GRIEF of griefs! that envy's frantic ire When the free fpirit quits her humble frame, Or, hearing, fancy fweetnefs in the found? Perhaps ev'n genius pours a flighted lay; Once crown'd his pleasures, and difpell'd his pain. Yes the fair profpect of furviving praise Can every fenfe of present joys excel: Shall then our youths, who fame's bright fabric raite, To life's precarious date confine their care? Is it with fmall tranfport, as with curious eye To mark the day, when through the bulky tome, Led by that index where true genius fhines? Ah let not Britons doubt their focial aim, Whofe ardent bofom catch this ancient fire! Cold intereft melts before the vivid flame, And patriot ardours but with life expite! ELEGY III. On the untimely death of a certain learned acquaintance. IF proud Pygmalion quit his cumbrous frame, And blots the mournful numbers with a tear. He little knew the fly penurious art; He little knew to ward the fecret wound; To fing her glories, and to paint her fair! Ill was he skill'd to guide his wandering theep; And unforeseen difafter thinn'd his fold; Yet at another's lofs the fwain would weep; And, for his friend, his very crook was fold. Ye fons of wealth! protect the mufe's train! From winds protect them, and with food fupply; Ah! helpless they, to ward the threaten'd pain! The meagre famine, and the wintery sky! He lov'd a nymph: amidst his slender store, He dar'd to love; and Cynthia was his theme; He breath'd his plaints along the rocky thore, They only echo'd o'er the winding stream! His nymph was fair! the fweeteft bud that blows Revives lefs lovely from the recent shower; So Philomel etiamour'd eyes the rofe; Sweet bird enamour'd of the sweetest flower! He lov'd the mufe; fhe taught him to complain; He faw his timorous loves on her depend; He lov'd the mufe; although fhe taught in vain; He lov'd the mufe, for he was virtue's friend. She guides the foot that freads on Parian floors; She wins the ear when formal pleas are vain; She tempts patricians from the fatal doors Of vice's brothel, forth to virtue's fane. He wish'd for wealth, for much he wish'd to give; Like one ordain'd to fwell the vulgar throng; As though the virtues had not warm'd his breaft, As though the muses not infpir'd his tongue. I faw his bier ignobly cross the plain; Such Alcon fell; in meagre want forlorn! Where were ye then, ye powerful patrons, where? Would ye the purple fhould your limbs adorn, Go wash the confcious blemish with a tear. ELEGY IV. Ophelia's Urn. TO MR. GRAVES. THROUGH the dim veil of evening's dusky fhade, Near fome lone fane, or yew's funereal green, What dreary forms has magic fears furvey'd ! What shrouded spectres fuperftition feen! But you fecure fhall pour your fad complaint, Shall Strephon's tear bedew Ophelia's urn! Sure nought unhallow'd fhall prefume to ftray Where fleep the relics of that virtuous maid: Nor aught unlovely bend its devious way, Where foft Ophelia's dear remains are laid. Haply thy mufe, as with unceasing fighs She keeps late vigils on her urn reclin'd, May fee light groups of pleafing vifions rife ; And phantoms glide, but of celestial kind. There fame, her clarion pendant at her fide, Shall feek forgiveness of Ophelia's fhade; Why has fuch worth, without diftinction, dy'd Why, like the defert's lily, bloom'd to fade?' Then young fimplicity, averfe to feign, Shall unmolefted breathe her fofteft figh: And candour with unwonted warmth complain, And innocence indulge a wailful cry. Then elegance, with coy judicious hand, Shall cull fresh flowrets for Ophelia's tomb : And beauty chide the Fates' fevere command, That show'd the frailty of so fair a bloom! And fancy then, with wild ungovern'd woe, Shall her lov'd pupil's native tafte explain ; For mournful fable all her hues forego, And ask fweet folace of the muse in vain! Ah, gentle forms, expect no fond relief; Too much the facred Nine their loss deplore: Well may ye grieve, nor find an end of griefYour beft, your brightest favourite is no more. ELEGY V. He compares the turbulence of love with the tranquillily of friendship. TO MELISSA HIS FRIEND. FROM love, from angry love's inclement reign And the dry vapour blafs the regions round. Oh blissful regions! oh unrival'd plains! When Maro to these fragrant haunts retir'd! Oh fatal realms and oh accurft domains! When Pliny, 'mid fulphureous clouds, expir'd! So fmiles the furface of the treacherous main, As o'er its waves the peaceful halcyons play; When foon rude winds their wonted rule regain, And sky and ocean mingle in the fray. But let or air contend, or ocean rave; Ev'n hope fubfide amid the billows test; Hope, ftill emergent, ftill contemns the wave, And not a feature's wonted fmile is loft. ELEGY VI. TO A LADY ON THE LANGUAGE OF BIRDS. COME then, Dione, let us range the grove, The fcience of the feather'd choirs explore Hear linnets argue, larks defcant of love, And blame the gloom of folitude no more. My doubt fubfides---'tis no Italian fong, Nor fenfelefs ditty, cheers the vernal tree: Ah! who, that hears Dione's tuneful tongue, Shall doubt that mufic may with fenfe agree? And come, my muse! that lov'ft the fylvan fhade; Evolve the mazes, and the mift difpel: Tranflate the foug; convince my doubting maid, No folemn dervife can explain fo well.--Penfive beneath the twilight fhades I fate, The flave of hopelefs vows, and cold difdain! When Philomel addrefs'd his mournful mate, And thus I conftrued the mellifluent ftrain. Sing on, my bird---the liquid notes prolong, At every note a lover fheds his tear; Sing on, my bird---'tis Damon hears thy fong; Nor doubt to gain applause, when lovers hear, He the fad fource of our complaining knows; A foe to Tereus, and to lawless love! He mourns the story of our ancient woes; Ah could our mufic his complaints remove! Yon' plains are govern'd by a peerless maid; And fee pale Cynthia mounts the vaulted sky, A train of lovers court the chequer'd fhade; Sing on, my bird, and hear thy mate's reply: Erewhile no fhepherd to thefe woods retir'd; No lover bleft the glow-worm's pallid ray: But ill-ftar'd birds, that liftening not admir'd, Or listening envy'd our fuperior lay. Cheer'd by the fun, the vaffals of his power, Let fuch by day unite their jarring strains! But let us choofe the calm, the filent hour, Nor want fit audience while Dione reigns." |