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vinced that nothing of the kind was ever executed with more fire, and at the same time, more judgment. He keeps up through them all the wild romantic spirit of his originals; elevates them by some well-chosen epithet or image where they fag, yet in such a manner as is perfectly congruous with the general idea of the poems; and if he either varies or omits any of the original thoughts, they are only of that kind which, according to our modern sentiments, would appear vulgar or ludicrous : two instances of this kind occur in the latter part of this last Ode. How well has he turned the idea of the fourth line : "Ex iis qui nimio potu madidi?” and the conclusion, “ Aliter ad hoc Carmen compingendum,” &c. The former of which is ridiculous; the latter insipid.

4. I find amongst Mr. Gray's papers, a few more lines taken from other parts of the Gododin, which I shall here add with their respective Latin versions. They may serve to shew succeeding poets the manner in which the spirit of these their ancient predecessors in the art may be best transfused into a modern imitation of them.

Have ye seen the tusky boar,
Or the bull, with sullen roar,
On surrounding foes advance ?

So Caradoc bore his lance.
Quando ad Bellum properabat Caradocus,
Filius apri silvestris qui truncando mutilavit hostes,
Taurus aciei in pugnæ conflictu,
Is lignum (i.e. hastam) ex manu contorsit.

Conan's name, my lay, rehearse,
Build to him the lofty verse,
Sacred tribute of the bard,
Verse, the hero's sole reward.
As the flame's devouring force ;
As the whirlwind in its course;
As the thunder's fiery stroke,
Glancing on the shiver'd oak:
Did the sword of Conan mow

The crimson harvest of the foe.
Debitus est tibi cantus qui honorem assecutus es maximum,
Qui eras instar ignis, tonitrui, et tempestatis,
Viribus eximie, eques bellicose, Rhudd Fedel, bellum meditaris.

SONNET. 1. If what Boileau says be true, in his Art Poetique, that

Un sonnet sans defauts vaut seul un long poemem the merit of this little poem is decided. It is written in strict observance of those strict rules, which the Poet there lays down.--Vide Art Poetique, Chant. ii. I. 82. Milton, I believe, was the first of our English poets who exactly followed the Italian model: our Author varies from him only in making the rhymes in the two first quartetts alternate, which is more agreeable to the English ear, than the other method of arranging them.

EPITAPH I.

VARIATION. MS.
1. After line 6, in the place of the four next-
To hide her cares her only art,
Her pleasure, pleasures to impart.

In ling'ring pain, in death resign’d.
Her latest agony of mind
Was felt for him, who could not save

His All from an untimely grave : 2. Whom what awaits, &c. L. 11. The construction here is a little hard, and creates obscurity, which is always least to be pardoned in an epitaph.

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EPITAPH II. This is as perfectin its kind as the foregoing Sonnet. Sir William Williams, in the expedition to Aix, was on board the Magnanime with Lord Howe; and was deputed to receive the capitulation.

ELEGY WRITTEN IN A COUNTRY CHURCH-YARD. 1. The most popular of all our Author's publications; it ran through eleven edi. tions in a very short space of time; was finely translated into Latin by Messrs. Ansty and Roberts : and in the same year another, though I think inferior, version of it was published by Mr. Lloyd. The reader has been informed in the Memoirs, of the time and manner of its first publication. He originally gave it only the simple title of “ Stanzas written in a Country Church-yard.” I persuaded him first to call it an Elegy, because the subject authorized him so to do; and the alternative measure, in which it was written, seemed peculiarly fit for that species of composition. I imagined too that so capital a poem, written in this measure, would as it were appropriate it in future to writings of this sort ; and the number of imitations which have since been made of it (even to satiety) seem to prove that my notion was well founded. In the first manuscript copy of this exquisite poem, I find the conclusion different from that which he afterward composed; and though his after-thought was unquestionably the best, yet there is a pathetic melancholy in the four rejected stanzas, which highly claims preservation. I shall therefore give them as a variation in their proper place. 2. The knell of parting day. L. 1.

IMITATION,

squilla di lontano
Che paia 'l giorno pianger, che si muore.

Dante. Purg. l. 8. G. 3. Far from the madding crowd's ignoble strife. L. 73.

VARIATION.
The thoughtless world to majesty may bow,

Exalt the brave, and idolize success;
But more to innocence their safety owe,

Than Pow'r, or Genius, e'er conspir’d to bless.
And thou, who mindful of th' unhonour'd dead,

Dost in these notes their artless tale relate,
By night and lonely contemplation led

To wander in the gloomy walks of fate :

Hark! how the sacred calm, that breathes around,
Bids
every

fierce tumultuous passion cease ;
In still small accents whispering from the ground,

A grateful earnest of eternal peace,
No more, with reason and thyself at strife,

Give anxious cares and endless wishes room ;
But through the cool sequester’d vale of life

Pursue the silent tenor of thy doom. And here the poem was originally intended to conclude, before the happy idea of the hoary-headed swain, &c, suggested itself to him. I cannot help binting to the reader, that I think the third of these rejected stanzas equal to any in the whole Elegy

4. Ev’n in our ashes live their wonted fires. L. 92.

IMITATION.

Ch'i veggio nel pensier, dolce mio fuoco,
Fredda una lingua, et due begli occhi chiasi
Rimaner doppo noi pien di faville.

Petrarch. Son, 169. G.

VARIATION,

Awake and faithful to her wonted fires. Thus it stood in the first and some following editions, and I think rather better; for the authority of Petrarch does not destroy the appearance of quaintness in the other : the thought, however, is rather obscurely expressed in both readings. He means to say, in plain prose, that we wish to be remembered by our friends after our death in the same manner as when alive we wished to be remembered by them in our absence: this would be expressed clearer, if the metaphorical term fires was rejected, and the line run thus :

Awake and faithful to her first desires. I do not put this alteration down for the idle vanity of aiming to amend the passage, but purely to explain it.

5. To meet the sun upon the upland lawn. L. 100.

VARIATION.

On the high brow of yonder hanging lawn. After which, in his first manuscript, followed this stanza ;

Him have we seen the greenwood side along,

While o'er the heath we hied, our labour done,
Oft as the woodlark pip'd her farewell song,

With wistful eyes pursue the setting sun. I rather wonder that be rejected this stanza, as it not only has the same sort of Doric delicacy, which charms us peculiarly in this part of the poem, but also completes the account of his whole day: whereas, this evening scene being omitted, we have only his morning walk, and his noon-tide repose.

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6. Gray'd on the stone beneath yon aged thorn. L. 116.

Between this line and the Epitaph, Mr. Gray originally inserted a very beautiful stanza, which was printed in some of the first editions, but afterward omitted ; because he thought (and in my opinion very justly) that it was too long a parenthesis in this place. The lines however are, in themselves, exquisitely fine, and demand preservation.

There scatter'd oft, the earliest of the year,

By hands unseen are show'rs of violets found;
The redbreast loves to build and warble there,

And little footsteps lightly print the ground.
7. There they alike in trembling hope repose. L. 127.

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IMITATION. -paventosa spenie.

Petrarch. Son. 114. G.

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one,

same sortir

omitted,

ADDITIONAL POEMS,

NOT IN MR. MASON'S EDITION.

VERSES

ON THE MARRIAGE OF HIS ROYAL HIGHNESS

THE PRINCE OF WALES. IGNARÆ nostrûm mentes, et inertia corda, Dum curas regum, et sortem miseramur iniquam, Quæ solio affixit, vetuitque calescere flammâ Dulci, quæ dono divum, gratissima serpit Viscera per, mollesque animis lene implicat æstus; Nec teneros sensus, Veneris nec præmia nôrunt, Eloquiumve oculi, aut facunda silentia linguæ : Scilicet ignorant lacrymas, sævosque dolores, Dura rudimenta, et violentlæ exordia flammæ; Scilicet ignorant, quæ fumine tinxit amaro Tela Venus, cæcique armamevtaria Divi, Irasque, insidiasque, et tacitum sub pectore vulnus; Namque sub ingressu, primoque in limine Amoris Luctus et ultrices posuere cubilia Curæ; Intus habent dulces Risus, et Gratiæ sedem, Et roseis resupina toris, roseo ore Voluptas : Regibus huc faciles aditus; communia spernunt Ostia, jamque expers duris custodibus istis Panditur accessus, penetraliaque intima Templi. Tuque Oh! Angliacis, Princeps, spes optima regnis, Ne tantum, ne finge metum ; quid imagine captus Hæres, et mentem pictura pascis inani? Umbram miraris : nec longum tempus, et ipsa Ibit in amplexus, thalamosque ornabit ovantes. Ille tamen tabulis ivhians longum haurit amorem, Affatu fruitur tacito, auscultatque tacentem Immemor artificis calami, risumque, ruboremque Aspicit in fucis, pictæque in virginis ore: Tanta Venus potuit; tantus tenet error amantes. Nascere, magna Dies, qua sese Augusta Britanno Committat Pelago, patriamque relinquat amoenam

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