The fond complaint, my song, disprove, Say, has he giv'n in vain the heavenly Muse? Her spectres wan, and birds of boding cry, He gives to range the dreary sky: Till down the eastern cliffs afar* [war. Hyperion's march they spy, and glittering shafts of II. 2. †In climes beyond the solar road,+ Where shaggy forms o'er ice-built mountains roam, The Muse has broke the twilight-gloom To cheer the shivering Native's dull abode. And oft, beneath the od❜rous shade Of Chili's boundless forests laid, She deigns to hear the savage Youth repeat In loose numbers wildly sweet Their feather-cinctur'd Chief, and dusky Loves. Her track, where'er the Goddess roves, Glory pursue, and generous Shame, [flame. The' unconquerable Mind, and Freedom's holy II. 3. Woods, that wave o'er Delphi's steep,§ Isles, that crown the Ægean deep, • Or seen the morning's well-appointed star Come marching up the eastern bills afar. Cowley. + Extensive influence of poetic genius over the remotest and most uncivilized nations: its connection with liberty, and the virtues that naturally attend on it. 'Extra anni solisque vias—' "Tutta lontana dal camin del sole.' Virgil. Petrarch, Canzon. 2. § Progress of Poetry from Greece to Italy, and from Italy to Fields, that cool Ilissus laves, Or where Mæander's amber waves How do your tuneful Echoes languish, Left their Parnassus for the Latian plains. They sought, oh Albion! next, thy sea-encircled coast. III. 1. Far from the sun and summer-gale, To him the mighty Mother did unveil This pencil take (she said) whose colours clear Thine too these golden keys, immortal Boy! England. Chaucer was not unacquainted with the writings of Of Horror that, and thrilling Fears, Or ope the sacred source of sympathetic Tears. III. 2. Nor second He, that rode sublime* Upon the seraph-wings of Ecstacy, The secrets of the' Abyss to spy. He pass'd the the flaming bounds of Place and The living Throne, the sapphire-blaze,‡ Behold where Dryden's less presumptuous car Two Coursers of ethereal race, [ing pace. With necks in thunder cloth'd, and long-resound III. 3. Hark, his hands the lyre explore! Bright-ey'd Fancy hovering o'er, Scatters from her pictur'd urn Thoughts that breathe, and words that burn.* * Milton. +flammantia monia mundi. Lucretius. ** For the spirit of the living creature was in the wheels. And above the firmament that was over their heads, was the likeness of a throne, as the appearance of a sapphire stone. This was the appearance of the glory of the Lord. Ezekiel, i. 20. 26. 28. 5 Οφθαλμων μεν αμερσε· διδε δ' ηδείαν αοιδήν. Hom. Od. Meant to express the stately march and sounding energy of Dryden's rhymes. Hast thou clothed his neck with thunder? ** Words that weep, and tears that speak. Job. Cowley. But ah! 'tis heard no more*. Oh! Lyre divine, what daring Spirit Yet shall he mount and keep his distant way, *We have had in our language no other odes of the sublime kind, than that of Dryden on St. Cecilia's day. †sos @gos ogviga Juov. Olymp. 2. Pindar compares himself to that bird, and his enemies to ravens that croak and clamour in vain below, while it pursues its flight, regardless of their noise. 'RUIN seize thee, ruthless King! *This Ode is founded on a tradition current in Wales, that Edward the first, when he completed the conquest of that country, ordered all the Bards that fell into his hands to be put to death. The original argument of this Ode, as its author had set it down on one of the pages of his common-place book, was as follows: The army of Edward I. as they march through a deep valley, are suddenly stopped by the appearance of a venerable figure seated on the summit of an inaccessible rock, who, with a voice more than human, reproaches the king with all the misery and desolation which he had brought on his country; foretels the misfortunes of the Norman race, and with prophetic spirit declares, that all his cruelty shall never extinguish the noble ar dour of poetic genius in this island; and that men shall never be wanting to celebrate true virtue and valour in immortal strains, to expose vice and infamous pleasure, and boldly censure tyranny and oppression. His song ended, he precipitates him. self from the mountain, and is swallowed up by the river that rolls at its foot.' + Mocking the air with colours idly spread. Shakspeare's King John. The hauberk was a texture of steel ringlets, or rings interwoven, forming a coat of mail that sat close to the body, and adapted itself to every motion. VOL. XXIX, D |