Sl^Er3fc' n ^1 S ^ .^^ K. Cornell University Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924105330355 >;>^^^ ^■■^^atpt jjayqeOMimnaii ^'^ W Hit, :iL )UKM WlDI^HD ^ W^^MTC^HK THE '-'■■■■liliMWHHHMilHMafHMaMMlMI ir^^>-ri^ P¥^-^ ^"^^ J ry to the Preface. rangement of my minor Poems, which should assist the attentive Reader in perceiving their connection with each other, and also their sub- ordination to that Work. I shall here say a few words explanatory of this arrangement, as carried into effect in the present Volumes. The powers requisite for the production of poetry are, first, those of observation and de- scription, i. e. the ability to observe with accu- racy things as they are in themselves, and witii fidelity to describe them, unmodified by any passion or feeling existing in the mind of the Describer : whetlier the things depicted be ac- tually present to the senses, or have a place only in the memory. This power, though in- dispensable to a Poet, is one which he employs only in submission to necessity, and never for a continuance of time : as its exercise supposes all the higher qualities of the mind to be pas- sive, and in a state of subjection to external objects, much in the same way as the tiansla- tor or engraver ousht to be to his oris^inal, Sdly, Sensibility, — which, the more exquisite w PUEFACE. it is, the wider will be the range of a Poet's percrpt.ons; and the more wili^.e be inrTted lo^observe objects, both as they exist in them U'Je distinction between poetic and hu man sens.b.h y has been marked in the character of the Poetdehneated in il,e original preface be ^re-ment.oned.) 3dly, Reflection,- which makes the Poet acquainted with ih^ value of a' !m?;i""'^'','-!''""^^''^^' «nd feelings; and ass.,1, ihe sensib.hty ,n perceiving their con- iiection wuheach other. 4lhly, Imagination and fancy -to modify, to create, and ^o asso- ciate, othly Invention,— by which characters arc composed out of materials supplied by ob- servation; whether of the Poet's own lieart and mind or of external life and nature; and such incidents and situations produced as are most impressive to the imagination, and most htted to do justice to the characters, sentiments, and passions, which the Poet undertakes to il- usirate. And, lastly. Judgment,— to decide how and where, and in what degree, each of these faculties ought to be exerted ; so that the less shall not be sacrificed to the greater; nor the greater, slighting the less, arrogate, to its own injury, more than its due. By judgment, also, is determined what are the laws and ap- propriate graces of every species of composi- lion. The materials of Poetry, by these powers therof the processes and appearances ofexteT' nal nature, as the Seasons of Thomson; or of characters, manners, and sentiments, as are Shenstone's Schoolmistress, The Cotter's Sat- urday Wight, of Burns, The Twa Dogs, of the same Author ; or of these in conjunction with the appearances of Nature, as most of the pie- ces of' Theocritus, the Allegro and Peneeroso, of Milton, Beattie's Minstrel, Goldsmith's De- serted Village. The Epitaph, the Insciiption, the Sonnet, most of the epistles of Poets' wri- ting in their own persona, and all loco-descrip- tive poetry, belong to this class. * 5th ly. Didactic, — the principal object of which is direct instruction ; as the Poom of Lucretius, the Georgics of Virgil, the Fleece of Dyer, Mason's *' English Garden," &c. And, lastly, philosophical satire, like that of VIorace and Juvenal; personal and occasional Satire rarely comprehending sufficient of the general in the individual to be dignified with the name of poetry. Out of the three last has been constructed a composite order, of which Young's Night Thoughts, and Cowper's Task, are excellent examples. It is deducible from the above, that poems, apparently miscellaneous, may with propriety be arranged either v\nth reference to the pow- ers of m\nd predominant in the production of them ; or to the mould in which they are cast ; collecled and produced, are cast, by means of or, lastly, to ihe subierts to which they relate. various moulds, into diveis forms. The moulds may be enumerated, and the forms specified, in the following order. 1st, the Narrative, — including the Epopoeia,the Historic Poem, the Tale, the Romance, the Mock-heroic, and, if the spiiit of Homer will tolerate such neigh- bourhood, that dear production of our days, the metrical Novel. Of this Class, the distinguish- ing mark is, that the Narrator, however libe- rally his speaking agents be introduced, is him- self the source from which every thing prima- rily flows. Epic Poets, in order that tlieir mode of composition may accord witli the ele- vation of their subject, represent themselves as singing- fiom the inspiration of the Muse, *' Arma virumque cano ;" but this is a fiction, the Iliad or in modern times, of slight value the Paradise Lost would gain little in our esti- mation by being chanted. The other Poets who belong to this class are commonly con- tent to tell their tale; — so that of the whole it may be alfirmed that they neither require nor reject the accompaniment of music. 2ndly, The Dramatic, — consisting of Trage- dy, Historic Drama, Comedy, and Masque, in which the Poet docs not appear at all in his own person, and whcro the wliole action is carried on by speech and dialogue of tlie agents; mu- sic being admitted only incidentally and rarely. The Opera may be placed here, inasmuch as it proceeds by dialogue ; though depending, to the degree that it does, upon music, stronf' claim to be ranked with the The characteristic and impassioned Epistle, of which Ovid and Pope have given examples, considered as a species of monodrarna, may, without impropriety, be placed in this class. 3diy, Tlie Lyrical, — containing the Hymn, the Ode, the Elegy, the Song, and the Ballad ; in all which, for the production of their full ef- fect, an accompaniment of music is indispen- sable. . . ,■ n ■ 4thly, The IdyjJium,— descriptive chiefly ei- From each of these considerations, the follow- ing Poems have been divided into classes; which, that the work may more obviously cor- respond with the course of human life, and for the sake of exhibiting in it the three requisites of a legitimate whole, a beginning, a middle, and an end, have been also arranged, as far as it was possible, according to an order of time, commencing with Childhood, and terminating with Old Age, Death, and Immortality. My guiding wish was, that the small pieces of which these volumes consist, thus discrimina- ted, might be regarded under a two-fold view ; as composing an entire work within them- selves, and as adjuncts to the philosopliical Poem,*' The Recluse." This arrangement has^ long presented itself iiabitually to my own mind. Nevertheless, 1 should have preferred to scatter the contents «f these volumes at ran- dom, if I had been persuaded that, by the plan adopted, any thing material would be taken from the natural effect of the piec«s, individu- ally, on the mind of the unreflecting Reader. I trust there is a suflicient variety in each class- to prevent this; while, for him who reads with reflection, the arrangement w^ill serve as a commentary unostentatiously directing his at- tention to my purposes, bo'th particular and general. But, as I wish to gugh few," was the pe- tition addressed by the Poet to his inspiring Muse. I have said elsewhere that he gained more than he asked ; this I believe to be true ; but Dr. Johnson has fallen into a gross mistake when he attempts to prove,^ by the sale of the work, that Mihon's Countrymen were ^^ just to it" upon its first appearance. Thirteen hun- dred Copies were sold in two years; an un- common example, he asserts, of the prevalence of genius in opposition to so much recent en- mity as Milton's pwblpc conduct had excited. Bat, be it remembered that, if Milton's political and religious opinions, and the manner in which he announced them, had raised him many enemies, they had procured him n-ume- rous friends ; who, as all personal danger wa» passed away at the time of publication, would be eager to procure the master-work of a Man whom they revered, and wirora they would be proud of praising. The demand did not im- mediately increase; "for," says Dr. Johnson, " many more Readers" (he means Persons in the habit of reading poetry) "than were sup- plied at first the Nation did not afford." How careless must a writer be who can make this assertion in the face of so many existing title- pages to belie it ! Turning to my own shelves^ I find the folio of Cowley, 7th" Edition, 1681. A bfxdv near k is Flatman's Poem's, 4th Edi- tion, 1()S6. Waller, 5lh Edition, same date. The Poems of Norris of Bemerton not long after went, I believe, through nine Editions. What further demand there might be for these woiks I do not know, but I well remember^ that 25 years ago, the Booksellers' stalls in London swarmed with the folios of Cowley. This is not mentioned in disparagement of that able writer and amiable Mnn ; but m'Srelj to show — that, if Milton's work was not more read, it was not because readers did not exist at the time. The early Editions of the Para- dise Lost were printed in a shape which al- lowed thern to be sold at a low price, yet only 3000 copies of the VVork were sold in 11 years; and the Nation, says Dr. Johnson, had been satisfied from 1623 to 1644, that is 21 years, with only two Editions of the Works of Shaks- peare ;_ vvhich probably did not together make to e t as 1000 Copies; facts adduced by the critic t prove tlie " paucity of Readers." — There wer Readers in multitudes ; but their money wen for other purposes, as their admiration wa; fixed elsewhere. We are authorized, then, to afl^irm, that the reception of the Paradise Lo^t and the slow progress of its fame, are proofs as striking as can be desired that the positions which I am attempting to establish are not er- roneous*.~How amusing to shape to one^s self f.*r,^J-C'^'''^''^\';f',"P''" *^^5 subject; in his dediea- t,on of bpenser's Works to Lord Somers,'he writes thS. It >vas your Lordship's encouiag:ing; a beautiful Edition of Parachse Lost that first brought that incomparable Poem to be genei-al ly known and esteemed." i^^^aoie SUPPLEWBNT TO TUB PREFACE. Xlli such a critique as a Wit of Charles' days, or a Lord of the Miscellanies or trading Journalist of King William's lime, would have brought forth, if he had set his faculties industriously to work upon this Poem, every where impreg- nated with original excellence! So strange indeed aie the obliquities of ad- miration, that they whose opinions are much influenced by authority will often be tempted to think that there are no fixed principles^ in human nature for this art to rest upon. I have been honoured by being permitted to peruse in MS. a tract composed between the period of the Revolution and the close of that Century. It is the Work of an English Peer of high ac- complishments, its object to form the charac- ter and direct the studies of his Son. Perhaps nowhere does a more beautiful treatise of the kind exist. The good sense and wisdom of the thoughts, the delicacy of the feelings, and the charrn of the style, are, throughout, equal- ly conspicuous. Yet the Author, selecting among the Poets of his own Country those whom he deems most worthy of his son's peru- sal, particularises only Lord Rochester, Sir John Denham, and Cowley. Writing about the same time, Shaftesbury, an Author at present unjustly depreciated, describes the English Muses as only yet lisping in their Cradles. The arts by which Pope, soon afterwards, contrived to procure to himself a more general and a higher reputation than perhaps any English Poet ever attained during iiis life-time, are known to the judicious. And as well known is it to them, that the undue exertion of these arts is the cause why Pope has for some time held a rank in literature, to which, if he had not been seduced by an over-love of immediate popularity, and had confided more in his native genius, he never could have de- scended. He bewitched the nation by his melody, and dazzled it by his polished style, and was himself blinded by his own success. Having wandered from humanity in his Ec- logues with boyish inexperience, the praise, wliich these compositions obtained, tempted him into a belief that Nature was not to be trusted, at least in pastoral Poetry. To prove this by example, he put his friend Gay upon writinv; those Eclogues which the Author in- tended lo be burlesque. The Listigator of the work, and his Admirers, could perceive in them nothinn; but what was ridiculous. Neverthe- less, though these Poems contain some detes- table passages, the effect, as Dr. Johnson well observes, " of reality and truth became con- spicuous even when the intention was to show them grovelling and degraded." These Pas- torals, ludicrous to those who prided them- selves upon their refinement, in spite of those disgusting passages, " became popular, and were read with delight, as just representations of rural manners and occupations." Something less than 60 years after the publi- cation of the Paradise Lost appeared Thom- son's Winter; which was speedily followed by his other Seasons. It is a work of inspiration ; much of it is written from himself, and nobly from himself How was it received ? '' It was no sooner read," says one of his contemporary biographers, " than universally admired: those * This opinion seems actually to have been entertained by Adam Smith, the worst cntic, David Hume not ex- cepted, that Scotlaml, a soil to which this sort of v.'eed seems natural, has produced. only excepted who had not been used to fee), or to look for any thing in poetry, beyond a point of satirical or epigrammatic wit, a smart antithesis richly trimmed with rhyme, or the softness of an elegiac, complaint. To such his manly classical spirit could not readily commend itself; till, after a more attentive pe- rusal, they had got the better of their prejudi- ces, and either acquired or affected a truer taste. A few others stood aloof, merely be- cause they had long before fixed the articles of their poetical creed, and resigned themselves to an absolute despair of ever seeing anything new and original. These were somewhat mortified to find their notions disturbed by the appearance of a poet, who seemed to owe noth- ing but to nature and his own genius. But, in a short time, the applause became unanimous; every one wondering how so many pic- tures, and pictures so familiar, should have moved them but fiiintly lo what they felt in his descriptions. His digressions too, the overflowings of a tender benevolent heart, charmed the reader no less; leaving him in doubt, whether he should more admire tho Poet or love the Man." This case appears to bear strongly against us : — but we must distinguish between won- der and legitimate admiration. The subject of the work is the changes produced in the ap- pearances of nature by the revolution of the year: and, by undertaking to write in verse, 'Thomson pledged himself to treat his subject as became a Poet. Now it is remarkable that, excepting the nocturnal Reverie of Lady Win- chelsea, and a passage or two in the Windsor Forest of Pope, the Poetry of the period inter- vening between the publication of the Paradise Lost and the Seasons does not contain a single new image of external nature ; and scarcely presents a familiar one from which it can be inferred that the eye of the Poet had been steadily fixed upon his object, much less that his feelings had urged him to work upon it in the spirit of genuine imagination. To what a low state knowledge of the most obvious and important phenomena had sunk, is evi- dent from the style in which Dryden has exe- cuted a description of Night in one of his Tra- gedies, and Pope his translation of ihe celebra- ted moonlight scene in the Iliad. A blind man, in the habit of attending accurately to descrip- tions casually dropped from the lips of those around him, might easily depict these appear- ances with more truth. Dryden's lines are vague, bombastic, and senseless ;*" those of Pope, though he had Homer to guide him, are throughout false and contradictory. The verses of Dryden, once highly celebrated, are forgot- ten ; those of Pope still retain their hold upon public estimation,— nay, there is not a passage of descriptive poetry, which at this day finds so many and such ardent admirers. Strange to think of an Enthusiast, as n)ay have been tho case with thousands, reciting those verses un- der the cope of a moonlight sky, without hav- ing his raptures in the least disturbed by a sus- * Cortes alone in a nig/U-gown, All things are bush'd as Nature's self lay dead : The mountains seem to nod their drowsy head. The little Birds in dreams their Soups repeat, And sleeping flowers beneath the Kight-dew sweat : Even Lust and Envy sleep ; yet Love denies Rest to my soul, and slumber to my eyes. DiuD£:s''.s Indian Emperor- xit SUPPLEMENT TO THB PREFACE. picion of their absurdit}^ ! — If these two distin- guished Writers could habitually think that the visible universe was of so little consequence to a Poet, that it was scarcely necessary for him to cast his eyes upon it, we may be assured that those passages of tfie elder Poets which faithfully and poetically describe the phenom- ena of nature, were not at that time holden in much estimation, and that there was little ac- cur:ite attention paid to these appearances. Wonder is the natural product of Ignorance ; and as the soil was in such good condition at the time of the publication of'the Seasons, the crop was doubtless abundant. Neither indi- viduals nor nations become corrupt all at once, nor are they enlightened in a moment. Thom- son was an inspired Poet, but he could not work miracles; in cases where the art of see- ing had in some degree been learned, the teach- er would further the proficiency of his pupils, but he could do little morc^ though so far does vanity assist men in acts of self-deception, that many would often fancy they recognized a like- ness when they knew nothing of the original. Having shown that much of what his Biogra- pher deemed genuine admiration, must in fact Jiave been blind wonderment, — how is the rest to be accounted for ? — Thomson was for- tunate in the very title of his Poem, which seeined to bring it home to the prepared sym- pathies of every one: in the next place, not- withstanding his high powers, he writes a vi- cious style ; and his false ornaments are exact- ly of that kind which would be most likely to strike the undiscerning. He likewise abounds with sentimental common-places, that, from the manner in which they were brought for- wnrd, bore an imposing air of novelty. In any well-used Copy of the Seasons the Book gene- rally opens of itself with the rhapsody on love, or with one of the stories (perhaps Damon and I\Iusidora) ; these also are prominent in our Collections of t^xtracts ; and are the parts of his Work, which, after all, were probably most efficient in first recommendins: the author to general notice. Pope, repaying praises which Jie had received, and wishing to extol him to the highest, only styles him "an elegant and philosophical Poet;" nor are we able to collect any unquestionable proofs that the true cliaracteristics of Thomson's genius as an im- aginative Poet* were perceived, till the elder Warton, almost 40 years after the publication of the Seasons, pointed them out by a note in his Essay on the Life and Writings of Pope. In the Castle of Indolence (of which Gray speaks so coldly) tliese characteristics were almost as conspicuously displayed, and in verse more harmonious, and diction more pure. Yet that line Poem was neglected on its ap- pearance, and is at this day the delight only of a Few ! When Thomson died, Collins breathed forth his regrets in an Eleg-iac Poem, in vv'hich he pronounces a poetical curse upon him who should regard with insensibility the place where the Poet's remains were deposited. The Poems of the mourner himself have now passed through innumerable Editions, and are universally known ; but if, when Collins died, * Since these observations upon Thomson were written, I have perused the 2il Edition of his Seasons, and iind that even thitdoes not contain the most staking passag-es which Warton points out for admiration ; these, with other improvements, throughout the whole work, must have been added at a later period. the same kind of imprecation had been ptO* nounced by a surviving admirer, email is the number whom it would not have compre- hended. The notice which his poems attam- ed during his life-time was so small, and ot course the sale so insignificant, that not long before his death he deemed it right to repay to the Bookseller the fium which he had ad- vanced for them, and threw the Edition into the fire. crru Next in importance to the Seasons ot Thorn- son, though at considerable distance from that work in order of time, come the Relics ot An- cient English Poetry; collected, new-model- led, and in many instances (if such a contra- diction in terms may be used) composed by the Editor, Dr. Percy. This work did not steal silently into the world, as is evident from the number of legendary tales, which appear- ed not lono- after its publication ; and which were modelled, as the Authors persuaded themselves, after the Old Ballad. The Com- pilation was however ill suited to the then ex- isting taste of City society ; and Or. Johnson, 'mid^'the little senate to which he gave laws, was not sparing in his exertions to make it an object of contempt. The Critic triumphed, the legendary imitators were deservedly dis- regarded, and, as undeservedly, their il'-imi- tated models sank, in this Country, into tem- porary neglect ; while Burger, and other able writers of Germany, were translating, or im- itating these Reliques, and composing, with the aid of inspiration thence derived. Poems which are the delight of the German nation. Dr. Percy was so abashed by the ridicule flung upon his labours from the ignorance and in- sensibility of the Persons with whom he li- ved, that, thouofh while he was writing under a mask he had not wanted a resolution to fol- low his genius into the regions of true sim- plicity and genuine pathos (as is evinced by the exquisite ballad of Sir Cauline and by many other pieces), yet when he appeared in his own person and character as a poetical writer, he adopted, as in the tale of the Her- mit of Wark worth, a diction scarcely iu any one of its features distinguishable from the vao-ue, the glossy, and unteeling language of his day. I mention this remarkable fact* with regret, esteeming the genius of.Dr. Pei- cy in this kind of writing superior to that of any other man by whom in modern times it has been cultivated. That even Burger (to whom Klopstork gave, in my hearing, a com- mendation which he denied to Goethe and Schiller, pronouncing him to be a crenuine Poet, and one of the few among the Germans whose works would last,) had not the fine sensibility of Percy, might be shown from many passages, in which he has deserted his original only to go astray. For example, Now daye was gone, and night was come, And all were fast asleepe, jMI save the Lady Emeline, Who sate in her bowre to weepe : re- Li- terature) the Poem was accompanied m ith an absurd prose commentary, shownig, as indeed some incongruous ex- pressions m the text nnply, that the whole was intended tor burlesque. In subsequent editions, the commentHn* was dropped, and the People have since continued to read ni seriousness, doing for the Author what he h.id not con lage openly to voiture upon for himself. SUPPLEMENT TO THE PREFACE. XV And soone she heard her true Love's voice Low wliispering at the Avalle, Awake, awake, my dear Ladye, 'Tis I thy true-love call. Which is thus tricked out and dilated : Als nun die Nacht Gebivg' und Thai Vermumn)t in Rabenschittten, Und Hochburf^B Lampen uber-all Schon ausj^edinimeit hatt< n, Und alles tief entschlafcn war ; Dochnurdas Fraulein iinmerdar, Voll Fieberanf^st, noch waclitc, Und seinen Hitter dachte : Da horch ! Ein susser Liebeston Kam leis' empor ^tflojjen. *' Ho, Trudchen, ho ! Da bin ich schon ! , Kischauf 1 Dich angezogen 1" But from humble ballads we must ascend to heroics. All hail, Macpherson 1 hail to thee, Sire of Ossian ! The Phantom was begotten by the snug embrace of an impudent Highlander up- on a cloud of tradition — it travelled south- ward, where it was greeted with acclamation, and the thin Consistence took its course through Europe, upon the breath of popular applause. The Editor of the "" Reliques" had indirectly preferred a claim to the praise of invention, by not concealing that his supple- mentary labours were considerable ! how self- ish his conduct, contrasted with that of the disinterested Gael, who, like Lear, gives his kingdom away, and is content to become a pensioner upon his own issue for a beggarly pittance I — Open this far-famed Book ! — I have done so at random, and the beginning of the *' Epic Poem Temora," in 8 Books, pre- sents itself. ''The blue waves of Ullm roll in light. The green hills are covered with day. Trees shake their dusky heads in the breeze. Grey torrents pour their noisy streams. Two green hills wiiti aged oaks surround a narrow plain. The blue course of a stream is there. On its banks stood Cairbar of Atha. His spear supports the king; the red eyes of his fear are sad. Cormac rises on his smuI with all his ghastly wounds." Precious memoran- dums from the pocket-book of the blind Os- sian ! ]f itbe unbecoming, as I acknowledge that for the most part it is, to speak disrespectfully of Works that have enjoyed for a length of lime a widely-spread repuation, without at the sanie time producing irrefragable proofs of their unworthiness, let me be forgiven upon this occasion. — Having had the good fortune to be born and reared in a mountainous Coun- try, from my very childhood I have felt the falsehood that pervades the volumes imposed upon the World under the name of Ossian. From what I saw with my own eyes, I knew that the imagery was spurious, in nature every thing is distinct, yet nothing defined into absolute independent sin,£;leness. In Macpherson's work it is exactly the reverse ; every thing (that is not stolen) is in this man- ner defined, insulated, dislocated, deadened, — yet nothing distinct. It v/i!l always be so when words are substituted for things. To say that the characters never could e.^ist, that the manners arc impossible, and that a dream has more substance than the v^hole state of society, as there depicted, is doing nothing more than pronouncing a censuro which Mac- pherson defied ; when, with the steeps of Morven before his eyes, he could talk so fa- miliarly of his Carborne heroes ; — of Morven, which, if one may judge from its appear- ance at the distance of a few miles, contains scarcely an acre of ground sufficiently accom- modating for a sledge to be trailed along its surface. — Mr. Malcolm Laing has ably .'-howri that the diction of this pretended translation is a motley assemblage from all quarters ; but he is so fond of nsaking out parallel passages as to call poor Macpherson to account for his very ^^ ands''' and his ^^ buU- 1^' and he ha.s weakened his argument by conducting it as if he thought that every striking resemblance was a conscious plagiarism. It is enough that the coincidences are too remarkable for its be- ing probable or possible that they could arise in different minds without communication be- tween them. Now as the Translators of the Bible, Shakspeare, Milton, and Pope, could not be indebted to Macpherson, it follows that he must have owed his fine feathers to Ihem ; unless we are prepared gravely to assert, with Madame de Stael, that many of the charac- teristic beauties of our most celebrated En- glish Poets are derived from the ancient F'in- gallian ; in which case the modern transla- tor would have been but giving back to Ossian his own. — It is consistent that Lucien Buona- parte, who could censure Milton for having surrounded Satan in the infernal regions with courtly and regal splendour, should pronounce the modern Ossian to be the glory of Scot- land ; — a Country that has produced a Dun- bar, a Buchanan, a Thomson, and a Burns I These opinions are of ill omen for the Epic ambition of him who has given them to tho world. Yet, much as these pretended treasures of antiquity have been admired, they have been wholly uninfluential upon the literatm-e of the Country. No succeeding Writer appears to have caught from them a ray of inspiration ;. no Author, in the least distinguished, has ven- tured formally to imitate them — except llie Boy, Chatterton, on their first appearance. Ho had perceived, from the successful trials which he liimself had made in literary f)rgery, Iiow few critics were able to distinguish between a real ancient medal and a counterfeit of modern manufacture; and he set himself to the work of filling a Magazine w'nh Saxon poems, — counterparts of those of Ossian, as like his as one of his misty stars is to another. This in- capability to amalgamate with the literature of j the Island, is, in my estimation, a decisive proof that the book is essentially unnatural; nor should I require any other to demonstrate it to be a forgery, audacious as worthless. — Contrast, in this respect, the effect of Macpherson's pub- lication with the Reliques of Percy, so unas- suming, so modest in their pretensions! — I have already stated how much Germany is in- debted to this latter work ; and for our own Country, its Poetry has been absolutely re- deemed by it. I do not think that there is an able Writer in verse of the present day who would not be proud to acknowledge his obli- gations to the Reliques; I know that it is so with my friends; and, for myself, I am happy in this occasion to make a public avowal of my own. Dr. Johnson, more fortunate in his contempt xvx SUPPLEMEKT TO THE PIlEFACf:. t^f the labours of Macpherson than those of his modest friend, was solicited not long after to furnish Prefaces biographical and ciitical for the works of some of the most eminent Eng- lish Poets. The Booksellers took upon them- selves to make the collection; they reteried probably to the most popular miscellanies, and, unquestionably, to their Books of accounts ; and decided upon the claim of Authors to be admitted into a body of the most Emineni, from the familiarity of their names with the readers of that day, and by the profits, which, from the sale of his works, each had brought and was bringing to the Trade. The Editor was allowed a limited exercise of discretion, and the Authors whom he recommended arc scarcely to be mentioned without a smile. We open the volume of Pi cfatory Lives, and to our astonishment the fust name we find is that of Cowley! — What is become of the Morning- star of English Poetry? Where is the bright Elizabethan Constellation ? Or, if Names be more acceptable than images, where is the ever-to-be-honoured Chaucer? where is Spen- ser? where Sidney? and, lastly, where he, whose rights as a Poet, contradistinguished from those which he is universally allowed to jjossess as a Dramatist, we have vindicated, — where Shakspeare ? — These, and a multitude of others not unworthy to be placed near them, their conteniporaries and successors, we have not. But in their stead, we have (could better be expected when precedence was to be settled by an abstract of reputation at any given pe- ri(jd made, as in this case before us?) Roscom- mon, and Stepney, and Phillips, and Walsh, and Smith, and Duke, and King, and Spratt — Halifax, Granville, Sheffield, Congreve, Broome, and other reputed Magnates : Wri- ters in metre utterly worthless and useless, ex- cept for occasions like the present, when their productions are referred to as evidence what a small quantity of brain is necessary to procure a considerable stock of admiration, provided the aspirant will accommodate himself to the likings and fashions of his day. As I do not mean to bring down this retro- spect to our own times, it may with propriety be closed ai the era of this distinguished event. From the literature of other ages and countries, proofs equally cogent might have been ad- duced, that the opinions announced in the fornicr part of this Essay are founded upon tniili. it was not an agreeable office, nor a prudent undertaking, to declare them ; but iheir importance seemed to render it a duty. It may still be asked, where lies the particular relation of what has been said to tliese Vol- umes ? — The (jU(,'stion will be easily answered by the discerning Reader who is old enough to remember the taste that prevailed when some of these Poems were first published, 17 )'cars age; who has also observed to what degree the Poetry of this Island lias since that period been coh^ured by them ; and who is further aware of the unremitting hostility with which, upon some principle or other, thc}'^ have each and all been opposed. A sketcli of my ovvm notion of the constitution of Fame has been given; and, as far as concerns myself, I have cause to be satisfied. The love, the admira- tion, the indilFerence, the slight, the aversion, and even the contempt, with wJjich these Poems have been received, knowing, as I do, the source within my own mind, from which they have proceeded, and the labour and pains, which, when labour and pains appeared neea- ful, have been bestowed upon them, must all, if I think consistently, be received as pledges and tokens, bearing the same general impres- sion, though widely different in value ; — they are all proofs that for the present time I have not laboured in vain ; and afford assurances, more or less authentic, that the products of my industry will endure. If there be one conclusion more forcibly pressed upon us than another by the review which has been given of the fortunes and fate of Poetical Works, it is this, — that every Au- thor, as far as he is great and at the same time original, has had the task of creating the taste by which he is to be enjoyed: so has it been, so will it continue to be. This remark was long since made to me by the philosophical Friend for the separation of whose Poems from my own I have previously expressed my regret. 7'he predecessors of an original Genius of a [jigh order will have smoothed the way for all that he has in common with them ; — and much he will have in common; but, for what is pe- culiarly his own, he will be called upon to clear and often to shape his own road : — he will be in the condition of Hannibal amonii the Alps. And where lies the real difficulty of creat- ing that taste by which a truly original Poet is to be relished ? Is it in bieaking the bonds of custom, in overcoming the prejudices of false refinement, and displacing the aversions of in- experience? Or, if he labour for an object which here and elsewhere I have proposed to myself, does it consist in divesting the Reader of the pride that induces liim to dwell upon those points wherein Men differ from each other, to the exclusion of those in which all Men are alike, or tiie same; and in making him ashamed of the vanity that renders him insensible of the appropriate excellence which civil arrangements, less unjust than might ap- pear, and Nature illimitable in her bounty, have conferred on Men who stand below him in the scale of society ? Finally, does it lie in establishing that dominion over the spirits of Readers by which they are to be humbled and humanised, in order that they may be purified and exalted ? If these ends are to be attained by the mere communication of knowledge^ it does not lie here. — Taste, I would remind the Reader, like Imagination, is a word which has been forced to extend its services far beyond the point to which philosophy would have con- fined them. It is a metaphor, taken from a passive sense of the human body, and trans- ferred to things which are in their essence not passive, — to intellectual acts and operations. The word, Imagination, has been overstrain- ed, from impulses honourable to mankind, to meet the demands of the faculty which is per- haps the noblest of our nature. In the instance of Taste, the process has been reversed ; and from the prevalence of dispositions at once in- jurious and discreditable, — being no other than that selfishness which is the child of apathy, — which, as Nations decline in productive and creative power, makes them value themselves upon a presumed refinement of judging. Po- verty of language is the primary cause of the use which we make of the word, Imagination ; but the word, Taste, has been stretched to the SUPPLEMENT TO THE PREFACE. XVft SRttSC \vhich It bears in modern Europe by liabits of self-conceit, inducing that inversion in the order of things whereby a passive faculty is made paramount among the faculties con- versant with the fine arts. Proportion and congruity, the requisite knowledge being sup- posed, are subjects upon which taste may be trusted ; it is competent to this office ; — for in its intercourse with these the mind is passive^ and is affected painfully or pleasuiably as by an instinct. But the profound and the exqui- site in feeling, the lofty and universal in thought and imagination ; or, in ordinary language, the pathetic and the sublime ; — are neither of them, accurately speakings objects of a faculty which could ever without a sinking in the spirit of Nations have been designated by the metaphor — Taste. And why? Because with- out the exertion of a co operating poller in the mind of the Reader, there can be no adequate sympathy with either of these emotions : with- out this auxiliary impulse, elevated or profound passion cannot exist. Passion, it must be observed, is derived from a word which signifies suffering ; but the con- nection which suffering has with effort, with exertion, and action, is immediate and insepa- rable. How strikingly is this property of hu- man nature exhibited by the fact, that, in pop- ular language, to be in a passion, is to be an- gry i— But, *' Anp^er in hasty Tcorf/y oy blows Itself discharges on its foes." To be moved, then, by a passion, is to be ex- cited, often to external, and always to internal, effort; whether for the continuance and strengthening of the passion, or for its sup- pression, accordingly as the course which it takes may be painful or pleasurable. If the latter, the soul must contribute to its support, or it never becomes vivid, — and soon lan- guishes and dies. And this brings us to the point. If every great Poet with whose wri- tings men are familiar, in the highest exercise of his genius, before he can be thoroughly en- joyed, has to call forth and to communicate poicer, this service, in a still greater degree, falls upon an original Writer, at his first ap- pearance in the world. — Of genins the only proof is, the act of doing well what is worthy to be done, and what was never done before : Of genius, in the fine arts, the only infallible sign is the widening the sphere of human sen- sibility, for the delight, honor, and benefit of human nature. Genius is the introduction of a new element into the intellectual universe : or, if that be not allowed, it is the application of powers to objects on which they had not be-, fore been exercised, or the employment of them in such a manner as to produce effects hitherto unknown. What is all this but an advance, or a conquest, made by the soul of the Poet.'' Is it to be supposed that the Reader can make progress of this kind, like an Indian Prince or General stretched on his Palanquin, and borne by his Slaves.'' No, he is invigorated and inspirited by his Leader, in order that he may exert himself; for he cannot proceed in quiescence, he cannot be carried like a dead weight. Therefore to create taste is to call forth and bestow power, of which knowledge is the effect; and there lies the true difficulty. As the pathetic participates of an animal sen- sation, it might seem— that, if the springs of iii this emotion were gemsine, all men, possessed of competent knowledge of the facts and cir- cumstances, would be instantaneously affected. And doubtless, in the works of every true Poet will be found passages of that species of ex- cellence, which is proved by effects immedi- ate and universal. But there are emotions of the pathetic that are simple and direct, and others — thut are complex and revolutionary; some — to which the heart yields with gentle- ness, others — against which it struggles witli pride : these varieties are infinite as the com- binations of circumstance and the constitutions of character. Remember, also, that the me- dium through which, in poetry, the heart is to be affected — is language ; a thing subject to endless fluctuations and arbitrary associations. The genius of the Poet melts tiiese down for his purpose; but they retain their shape and quality to him who is not capable of exerting, within his own mind, a corresponding energy. There is also a meditative, as well as a hu- man, pathos; an enthusiastic, as well as an ordinary, sorrow ; a sadness that has its seat in the depths of reason, to which the mind cannot sink gently of itself — but to which it must descend by treading the steps of thought. And for the sublime, — if we consider what are the cares that occupy the passing day, and how remote is the practice and the course of life from the sources of sublimity, in the soul of Man, can it be wondered that there is little existing preparation for a Poet charged with a new mission to extend its kingdom, and to augment and spread its enjoyments? Away, then, with the senseless iteration of tlje word, popular, applied to new works in Poetry, as if there were no test of excellence in this first of the fine arts but tijat all Men should run after its productions as if urged by an appetite, or constrained by a spell ! — The qualities of writing best fitted for eager recep- tion are either such as startle the world into at- tention by their audacity and extravagance; or they are chiefly of a superficial kind, lying up- on the surfaces of manners; or arising out of a selection and arrangement of incidents, by which the mind is kept upon the stretch of curiosity, and the fancy amused without the trouble of thought. But in every thing which is to send the soul into herself, to be admon- ished of her weakness, or to be made con- scious of her power; wherever life and nature are described as operated upon by the creative or abstracting virtue of the imagination ; where- ever the inslinctive wisdom of antiquity and her heroic passions uniting, in the heart of the Poet, with the meditative wisdom of later ages, have produced that accord of sublimated hu- manity, which is at once a history of the re- mote past and a prophetic annunciation of the remotest future, there, the Poet must reconcile himself for a season to few and scattered hear- ers. — Grand thoughts (and Shakspeare must often have sighed over this truth,) as they are most naturally and most fitly conceived in solitude, so can they not be brought forth in the midst of plaudits, without some violation of their sanctity. Go to a silent exhibition of the productions of the Sister Art, and be con- vinced that the qualities which dazzle at first sight, and kindle the admiration of the multi- tude, are essentially different from those by which permancntinfluence is secured. Let us not shrink from following up these principles XVIU PREFACE TO THE SECOND EDITTOJT as fur as they will carry us, and conclude witli 1 observing— that there never has been a periodJ and perhaps never will be, in which vicious poetry, of some kind or other, has not excited more zealous admiration, and been far more generally read, than good ; hut this advantage attends the good, that the indlmdval, as well as the species, survives from age lo age ; whereas, of the depraved, though the species be immortal, the individual quickly /^e/i^/ie^ ; the object of preserit admiration vanishes, be- ing supplanted by &ome other as easily produ- ced; which, though no better, brings with it at least the irritation of novelty, — with adapta- tion, more or less skilful, to- the changing^ hu- mors of the majority of those who are most at leisure to regard poetical works when they first solicit their attention. Is it the result of the whole, that, in the opinion of the Writer, the judgment of the People is not to be respected? The thought is most injurious ; and, could the charge 1)0 brought against him, he would repel it with indignation. The Peoj)le have already been justitied, and, their culogium pronounced by implication, when it was said above — that, of g-ood Poetry, the individual, as well as the species, s^urvives. And how does it survive but through the People? what preserves it but their intellect and their wisdom ? ■Past and future^ ai*e the wings On who«e suppoi"t, harmoniously conjoined, Woves the great Spiiit of human knowledge—." MS. The voice that issues from this Spirit, is that Vox populi which the Deity inspires. Foohsf* mos^t he be who can mistake for this a local acclamation, or a transitory outer}' — transitory though it be for years, local though from a Na- tion. Still more lamentable is his error who can believe that there is any thing of divine infallibility in the clamour of that small though loud portion of the community, ever governed by factitious influence, which, under the name of the Public, passes itself, upon the unthink- ing, f^r the People. Towards the Public, the Writer hopes that he feels as much de- ference as it is entitled to : but to the People, philosophically characterised, and to the em- bodied spirit of their knowledge, so far as it exists and moves, at the present, faithfully supported by its two wings, the past and the future, his devout respect, his reverence, is due. He offers it willingly and readily; and,, this done, takes leave of his Readers, by assu- ring them — that, if he were not persuaded that the Contents of these Volumes, and the Work to which they are subsidiary, evinced some- thing of the " Vision and the Faculty divine ','* and that, both in words and things, they will operate in their degree, to extend the domain ofsensibi lily for the delight, the honour, and the benefit of human nature, notwithstanding the many happy hours which he lias employ- e The first Volume ofthese Poems has already been submitted to general perusal. It was published, as an experiment, which, I hoped, might be of some use to ascertain, liovv fir, by fit- ling to metrical arrangement a selection of the real language of men in a slate of vivid sensa- tion, that sort of pleasure and that quantity of pleasure may be imparted, which a Poet may rationally endeavor to impart. I had formed no very inaccurate estimate of the probable efiecls of those Poems : I flat- tered myself that they who should be pleased with them would read them with more than common pleasure: and, on the other hand, I was well aware, that by those who sliould dislike them, tliey would be read with more than common dislike. The result has diflTered fiorn my expectation in this only, that I have pleased a greater number than I ventured to hope I should please. * * * -X- * Several of my Friends are anxious for the success of these Poems, from a belief, that, if tlie views with whi<;h they were composed were indeed realized, a class of Poetry would be produced, well adapted to interest mankind permanently, and not uninimportant in the multiplicity, and in the quality of its moral re- litions : and on this account they have advised me to [)refix a tsystemalic defence of the theo- ry upon which the Poems were written. Cut I was unwilling to undertake the task, because I knew that on this occasion the Reader would look coldly upon my arguments, since I might be suspected of having been principally in- fluenced by the selfish and foolish hope of reasoning him into an approbation of these particular Poems: and I was still more unwil- ling to undertake the task, because, adequately to display my opinions, and fully to enforce my arguments, would require a space wholly dis- proportionate to the nature of a preface. For to treat the subject with the clearness and co- herence of which I believe it susceptible, it would be necessary to give a full account of the present state of the public taste in this country, and to determine Ijow far this taste is healthy or depraved; which, again, could not be determined without pointing out, in vvi)at manner language and the iiuman mind act and t>^ THE LYRICAL BALLADS. IIX re-act on each other, and without retracing the revolutions, not of literature alone, but like- wise of society itself I have therefore alto- gether declined to enter regularly upon this defence; yet I am sensible, that there would be some impropriety in abruptly obtruding up- on the Public, without a few words of intro- duction, Poems so materially different from those upon which general approbation is at piesent bestowed. It is supposed, that by the act of writing in verse an Author makes a formal engngement that he will gratify certain known habits of as- sociation ; that he not only thus apprises the Reader that certain classes of ideas and ex- pressions will be found in his book, but that others will be carefully excluded. This ex- ponent or symbol, held forth by metrical lan- guage must in different eras of literature have excited very different expectations: for exam- ple, in the age of Catullus, Terence, and Lu- cretius, and that of Statins or Claudian ; and in our own country, in the age of Shakspeare and Beaumont and Fletcher, and that of Donne and Cowley, or Drydtm, or Pope. I will not take upon me to determine the exact import of the promise which by the act of writing in verse an Author, in the present day, makes to his reader : but I am certain it will appear to ma- ny persons that 1 have not fulfilled the terms of an engagement thus voluntarily contracted. They who have been accustomed to the gaudi- ness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will, no doubt, frequently have to struggle with feelings of strangeness and awkwardness: they will look round for po- etry, and will be induced to enquire by what species uf courtesy these attempts can be per- mitted to assume that title. I hope thereibre the reader will not censure me, if I attempt to state what I have proposed to m3^self to per- form ; and also, (as far as the limits of a pre- face will permit) to explain some of the chief reasons which have determined me in the choice of my purpose : that at least he may be spared any unpleasant feeling of disappoint- ment, and that I myself may be protected from the most dishonourable accusation which can be brought against an author, namely, that of an indolence which prevents him from en- deavouring to ascertain what is his duty, or, when his duty is ascertained, prevents iiim from performing it. The principal object, then, which I proposed to myself in these P(;cms was to chouse inci- -dents and situations from common life, and to relate or describe them, throughout, as i'mc as was possible in a selection of language really used by men, and, at the same time, to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual way ; and, furliier, and above all, to make these incidents and situ- ations interesting by tracing in them, truly though not ostentatiously, the primar-y laws of our nature : chiefly, as far as regards the man- ner in which we associate ideas in a state of excitement. Humble and rustic life was gene- rally chosen, because, in that condition, the es- sential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language ; because in that condition of life our elementary feelings co-exist in a state of greater simplicity, and, consequently, may be more accurately contemplated, and more forcibly communicated ; becausethe man- ners of rural life germinate from those elemen- tary feelings ; and, from the necessary charac- ter of rural occupations, are more easily com- prehended, and are more durable; and, lastly, be- cause in that condition the passions of men are incorporated with the beautiful and permanent forms of nature. The language, too, of theso men is adopted (purified indeed from what ap- pear to be its real defects, from all lasting and rational causes of dislike or disgust) because such men hourly communicate with the best objects from which the best part of language is originally derived ; and because, from their rank in society and the sameness and narrow circle of their intercourse, being less under the influence of social vanity, they convey their feelings and notions in simple and unelaborated expressions, Accoi-dingly, such a language, arising out of repeated experience and regular feelings, is a more permanent, and a far moro philosophical language, than that which is fre- quently substituted for it by Poets, who think that they are conferring honour upon them- selves and their art, in proportion as they sepa- rate themselves from the sympathies of men, and indulge in arbitrary and capricious habits of expression, in order to furnish food for fickle tastes, and fickle appetites, of their own cre- ation.* I cannot, however, be insensible of the pre- sent outcry against the triviality and meanness, both of thought and language, which some of my contemporaries have occasionally introdu- ced into their metrical compositions ; and lac- knowledge that this defect, where it exists, is mor*e dishonourable to the Writer's own cha- racter than false refinement or arbitrary inno- vation, though I should contend at the same time, that it is far less pernicious in the sum of its consequences. From such verses the Poems in these volumes will be found distin- guished at least by one mark of difference, that each of them has a w 01 ihy purpose. Not that T mean to say, I always began to write with a distinct purpose formally conceived ; but my habits of meditation have so formed my feel- ings, as that my descriptions of such objects as strongly excite those feelings, will be found to carry along with them a purpose. If in this opinion I am mistaken, I can have little right to the name of a Poet. For all good poetry is the spontaneous overflow of powerful feelings : and though this be true, Poems to which any value can be attached were never produced on any variety of subjects but by a man who, be- ing possessed of more than usual organic sen- sibility, had also thought long and deeply. For our continued influxes of feeling are modified and directed by our thoughts, which are indeed the representatives of all our pastfeelings ; and, as by contemplating the relation of these gene- ral representatives to each other, we discover what is really important to men, so, by the re- petition and continuance of this act, our feel- ings will be connected with important subjects, till at length, if we be originally possessed of * It is worth while here to ohserve, that the afFecting^ parts of Chaucer are almost always expressed in language pure and univenaUy intelligible even to this di;y. %x PREFACE TO THE SECOND EDITION much sensibility, such habits of mind will be produced, that, by obeying blindly and mecha- nically the impulses of those habits, we shall describe objects, and utter sentiments, of such a nature, and in such connection with each other, that the understanding of the beina to whom we address ourselves, if he be in a healthful state of association, must necessarily be in some degree enlightened, and his affec- tions ameliorated. I have said that each of these poems has a purpose. I have also informed my Reader what this purpose will be found principally to be : namely, to illustrate the manner in which our feelings and ideas are associated in a state of excitement. But, speaking- in language somewhat more appropriate, it is to follow the fluxes and refluxes of the mind when agita- ted by the great and simple a/f(?ctions of our nature. ^J'his object I have endeavoured in these short essays to attain by various means ; by tracing the maternal passion through ma- ny ot^ its more subtile windings, as in the po- ems of the Idiot Boy and the Mad Mother ; by accompanying the last struggles of a hu- man being, at the a})proach of death, cleaving in solitude to lite and society, as in the Poem of the Forsaken Indian ; by showing, as in the Stanzas entitled We are Seven, the per- plexity and obscurity which in childhood at- tend our notion of death, or rather our utter inability to admit that notion; or by display- ing the strength of fraternal, or, to speak more philosophically, of moral attachment when early associated with the ereat and beautiful objects of nature, as in The Bro- thers ; or, as in the Incident of Simon Lee, by placing my Reader in the way of receiving from ordinary moral sensations another and more salutary impression than we are accus- tomed to receive from thcrn. It has also been part of my general purpose to attempt to sketch characters under the influence of less impassioned feelings, as in the Two April Mornings, The Fountain, The Old Man travelling. The Two Thieves, &;c., char- acters of which the elements are simple, be- longing rather to nature than to manners, such as exist now, and will probably always exist, and which from their constitution may be dis- tinctly and profitably contemplated. T will not abuse the indulgence of my Reader by dwelling longer upon this subject ; but it is proper that I should mention one other cir- cumstance which distinguishes these Poems from the popular Poetry of the day ; it is this, that the feeling therein developed gives im- portance to the action and situation, and not the action and situation to the feeling. My meaning will be rendered perfectly intelligi- ble by referring my Reader to the Poems en- titled Poor Susan and the Childless Fa- ther, particularly to the last Stanza of the latter Poem. 1 will not suffer a sense of false modesty to prevent me from asserting, that I point my cited without the application ol gross and vi olent stimulants; and he must have a very faint perception of its beauty and dignity who does not know this, and who does not further know, that one being is elevated above another, in proportion as he possesses this capability. It has therefore appeared to me, that to endeavor to produce or enlarge this capability is one of the best services in which, at any period, a Writer can be engaged ; but this service, excellent at all times, is especial- ly so at the present day. For a multitude of causes, unknown to former times, are now acting with a combined force to blunt the dis- criminating powers of the mind, and, unfitting it for all voluntary exertion, to reduce it to a state of almost savage torpor. The most ef- fective of these causes are the great national events which are daily taking place, and the increasing accumulation of men in cities, where the uniformity of their occupations produces a craving for extraordinary incident, which the rapid communication of intelli- gence hourly gratifies. To this tendency of life and manners the literature and theatrical exhibitions of the country have conformed themselves. The invaluable works of our el- der writers, I had almost said the works of Shakspeare and Milton, are driven into neg- lect by frantic novels, sickly and stupid Ger- man Tragedies, and deluges of idle and ex- travagant stories in verse. When 1 think upon this degrading thirst after outrageous stimu- lation, I am almost ashamed to have spoken of the feeble effort with which I have endea- voured to counteract it ; and, reflecting upon the magnitude of the general evil, I should be oppressed with no dishonourable melan- choly, had T not a deep impression of certain inherent and indestructible qualities of the human mind, and likewise of certain powers in the great and permanent objects that act upon it, which are equally inherent and inde- structible ; and did I not further add to th s impression a belief, that the time is approach- ing when the evil will he systematically op- posed, by men of greater powers, and with far more distinguished success. Having dwelt thus long on the subjects and aim of these Poems, I shall request the Rea- der's permission to apprise him of a few cir- cumstances relating to their sfyle^ in order, among other reasons, that I may not be cen- sured for not having performed what I never attempted. The Reader will find that per- sonifications of abstract ideas rarely occur in these volumes; and, I hope, are utterly re- jected, as an ordinary device to elevate the style, and raise it above prose. I have propo- sed to myself to imitate, and, as far as is pos- sible, to adopt the very language of men; and assuredly such personifications do not make any natural or regular part of that language. They are, indeed, a figure of speech occasion- ally prompted by passion, and I have made use of them as such ; but I have endeavoured utterly to reject them as a mechanical device of style, or as a family language which Wri- ters in metre seem to lay claim to by prescrip- tion. I have wished to keep my Reader in the company of flesh and blood, persuaded that by so doing I shall interest him. I am, however, well aware that others who pursue Of THE LYRICAL BALLAt)^. XXI a different track may interest him likewise ; I do not interfere with their claim, I only wish to prefer a claim oT my own. There will al- so be found in these volumes little of what is usually called poetic diction ; I have taken as much pains to avoid it as others ordinarily take to produce it ; thi? I have done for the reason already alleged, to bring my language near to the language of men, and further, be- cause the pleasure which I have proposed to myself to impart, is a kind very different from that which is supposed by many persons to he the proper object of poetry. I do not know how, without being culpably particular, I can give my Reader a more exact notion of the style in which I wished these poems to be written, than by informing him that I have at all times endeavoured to look steadily at my subject, consequently, I hope that there is in these Poems little falsehood of descrip- tion, and that my ideas are expressed in lan- guage fitted to their respective importance. Something I must have gained by this prac- tice, as it is friendly to one property of all good poetry, namely, good sense : but it has necessarily cut me off from a large portion of phrases and figures of speech which from fa- ther to son have long been regarded as the common inheritance of Poets. I have also thought it expedient to restrict myself still further, having abstained from the use of ma- ny expressions, in themselves proper and beautiful, but which have been foolishly re- peated by bad Poets, till such feelings of dis- gust are connected with them as it is scarcely possible by any art of association to over- power. If in a poem there should be found a series of lines, or even a single line, in which the language, though naturally arranged, and ac- cording to the strict laws of metre, does not differ from that of prose, there is a numerous class of critics, who, when they stumble upon these prosaims, as they call them, imagine that they have made a notable discovery, and exult over the Poet as over a man ignorant of his own profession. Now these men would establish a canon of criticism which the Reader will conclude he must utterly reject, if he wishes to be pleased with these Volumes. And it would be a most easy task to prove to liim, that not only the language of a large portion of every good poem, even of the most elevated character, must necessarily, except with reference to the metre, in no respect dif- fer from that of good prose, but likewise that some of the most interesting parts of the best poems will be found to be strictly the lan- guage of prose, when prose is well written. The truth of this assertion might be demon- strated by innumerable passages from almost all the poetical writings, even of Milton him- self. I have not space for much quotation: but, to illustrate the subject in a general manner, I will here adduce a short composi- tion of Gray, who was at the head of those who, by their reasonings, have attempted to widen the space of separation betwixt Prose and Metrical composition, and was more than any other man curiously elaborate in the structure of his own poetic diction. " In vain to me the smiling mornings shine, And veddtning Phoebus lifts h!s golden jfire: 1 lie birds in vain their amorous descant join^ Or clieerful fields resume their green iittire^ These ears, alas ! for other notes repine ; A dijff'erciit object do these cijcs require ; My lonely anguish inetts no heart but mine i And in my breast the imperfect joys expire } Yet morning smiles the busy lace to cheer, And new-born pleasure brings to happier men ;- The fields to all their wonttrd tribute bear ; To warm their little loves the birds complain.- I fruitless viourn to him that cannot hear. And weep the more because I weep in vain^ It will easily be perceived, that the onty part of this Sonnet which isof any value is tho lines printed in Italics; it is eqnaDy obvious^ that, except in the rhyme, and in the use of the single word "fruitless" for fruitlessly^, which is so far a defect, the language of these lines does in no respect differ from that of prose. By the foregoing quotation I have shown that the language of Prose may yet be well adapted to Poetry ; and I have previously as- serted, that a large portion of the language of every good poem can in no respect differ from that of good Prose. I will go iurther. I do not doubt that it may be safely affirmed, thai there neither is, nor can be, any essential dif^ ference between the language of prose and metrical composition. We are fond of tracing the resemblance between Poetry and Paint- ing, and, accordingly, we call them Sisters: but where shall we find bonds of connection sufficiently strict to typify the affinity betwixt metrical and prose composition ? They both speak by and to the same organs; the bodies in which both of then> are clothed may be said to be of the same substance, their affections are kindred, and almost identical, not neces- sarily differing even in degree; Poetry* sheds no tears " such as Angels weep," but natural and human tears; she can boast of no celestial Ichor that distinguishes her vital juices from those of prose; the same human blood circu- lates through the veins of them both. If it be affirmed that rhyme and metrical ar- rangement of themselves constitute a distinc- tion which overturns what I have been saying on the strict affinity of metrical language with that of prose, and paves the way for other ar- tificial distinctions which the mind voluntarily admits, I answer that the language of such Poe- try as I am recommending is, as far as is pos- sible, a selection of the language really spoken by men ; that this selection, wherever it is made with true taste and feeling, will of itself form a distinction far greater than would at first be imagined, and will entirely separate the composition from the vulgarity and meanness of ordinary life ; and, if metre be superadded thereto, I believe that a dissimilitude will be produced altogether sufficient for the gratifica- tion of a rational mind. What other distinc- tion would we have? Whence is it to come.'* And where is it to exist .^ Not, surely, where the Poet speaks through the mouths of his * I here use the Avord " Poetiy" (though against my own judgment) as opposed to the word I^rose, and sy- nonynujus with metrical composition. But much confu- sion has been introduced into criticism by tliis contra- distinction of Poetry and Prose, instead of the more phi- losophical one of Poetry and Matter of Fact, or Science. The only strict antithesis to Prose is Metre ; nor is this^ in trath, a strict antithesis ; because lines and passages of metre so naturally occur in writing prose, that it would be scarcely possible to ayoid them, even were it desirable. xxu PREFACE TO THE SECOND EDltlOW rharacters : it cannot be nercssary here, either for elevation of style, or any of its supposed t)rnaments: for, if the Poet's subject be judi- ciously cliosen, it will naturally, and upon fit occasion, lead him to passions the language of which, if selected truly und judiciously, must necessarily be dignified and variegated, and alive with metaphors and figures. I forbear to speak of an incongruity which would shock the intelligent Reader, should the Poet inter- weave any foreign splendour of his own with that vyhich the passion naturally suggests : it is sullicient to say that such addition is unne- cessary. And, surely, it is more probable that those passages, which with propriety abound with metaphors and figures, will have their due effect, if, upon other occasions where the passions are of a milder character, the style also be subdued and temperate. But, as the pleasure whii-h I hope to give by the Poems I now present to the Reader must depend entirely on just notions upon this subject, and, as it is in itself of the higliest im- portance to our taste and moral feelings, 1 can- not content myself with these detached re- marks. And if, in what I am about to say, it shall appear to some that my labour is unne- cessary, and that I am like a man fighting a battle without enemies, I would remind such persons, that, whatever may be the language outwardly holder) by men, a practical faith in the opinions which I am wishing to establish is almost unknown. If my conclusions are admitted, and carried as far as they must be carried if admitted at all, our judgments con- cerning the works of the greatest Poets both ancient and modern will be far different from what they are at present, both wiien we praise, and when we censure; and our moral feelings influencing and influenced by these judgments will, I believe, be corrected and purified. Taking up the subject, then, upon general grounds, I ask, vvi»at is meant by the word Poet.'' What is a Poet ^ To whom does he address him- self .'' And what language is to be expected from him .'' He is a man speaking to men : a man, it is true, endued with more lively sensibility, more entiiusiasm and tenderness, who has a greater knowledge of human nature, and a more com- preheiisive soul, than are supposed to be com- mon among mankind ; a man pleased with his own passions and volitions,, and who rejoices more than other men in the spirit of life tliat is in him; delighting to contemplate similar volitions and passions as manifested in the goings-on of the Universe, and habitually im- pelled to create them where he does not fitjd them. To these qualities he has added a dis- position to be aU'ected more than other men by absent things as if they were present; an abil- ity of conjuring up in himself passious, whicii are indeed far from being the same as those produced by real events, yet (especially in those parts of the general sympathy which are pleasing and delightful) do more nearly resem- ble the passions produced by real events, than any thing which, from the motions of their own minds merely, other men are accustomed to feel in themselves; whence, and from prac- tice, he has acquired a greater readiness and power in expressing what he thinks and feels, and especially those thoughts and feelings which, by his own choice, or from the struc- ture of his own mind, arise in him without im- mediate external excitement. But whatever portion of this faculty Wfe ttl^y suppose even the greatest Poet to possess, there cannot be a doubt but that the lunguagt3 which it will suggest to him, must, in liveliness and truth, fall far short of that which is uttered by men in real life> under the actual pressure of those passions, certain shadows of which the Poet thus produces, or feels to be produced, in himself. However exalted a notion we would wish to cherish of the character of a Poet, it is ob- vious, that while he describes and imitates passions, his situation is altogether slavish and mechanical, compared with the freedom and power of real and substantial action and suffer- ing. So that it will be the wish of the Poet to bring liis feelings near to those of the persons whose feelings he describes, nay, for short spaces of time, perhaps, to let himself slip into an entire delusic>n, and even confound and identify his own feelings with theirs; modify- ing only the language which is thus suggested to him by a consideration that he describes for a particular purpose, that of giving pleasure. Here, then, lie will apply the principle on which I have so much insisted, namely, that of selection : on this lie will depend for re- moving what would otherwise be painful or disgusting in the passion ; he will feel that there is no necessity to trick out or to elevate nature : and, the more industriously he applies this principle, the deeper will be his faith that no words, which his fancy or imagination can suggest, will be to be compared with those which are the emanations of reality and truth. But it may be said by those who do not ob- ject to the general spirit of these remarks, that, as it is impossible for the Poet to produce upon all occasions language as exquisitely fitted for the passion as iJiat which the real passion itself suggests, it is proper that iie should consider himself as in the situation of a translator, who deems himself justified when he substitutes excellencies of another kind for those which are unattainable b}' him ; and endeavours oc- casionally to surpass his original, in order to make some amends for the general inferiorty to whicii he feels that he must submit. But this would be to encourage idleness and un- manly despair. Further, it is the language of men who speak of what they do not under- stand ; who talk of Poetry as of a matter of amusement and idle pleasure ; who w'ill con- verse with us as gravel v about a taste for Poe- try, as tliey express it, as if it were a thmg as indifferent as a taste for Rope-dancing, or Frontiniac or Sherry. Aristotle, I have been told, hath said, that Poetry is the most phi- losophic of all writing: it is so: its object is truth, not individual and local, but general, and operative; not standing upon external tes- timony, but carried alive into the heart by pas- sion ; truth which is its own testimony, which gives strength and divinty to the tribunal to which it appeals, and receives them from the same tribunal. Poetry is the image of man and nature. Tlie obstacles which stand in the way of the fidelity of the Biographer and Historian, and of their consequent utility, are incalculably gi-eater than those which are to be encountered by the Poet who has an adequate notion of the dignity of his art. Tho Poet writes under one restriction only, namely, that of the necessity of giving immediate pleasure to a human Being possessed of that informa- OF ruV. LYRICAL BALLADS. XXMI lion which may be expected from him, not as a lawyer, a physician, a mariner, an astrono- mer, or a natural philosopher, but as a Man. Except this one restriction, there is no object standing between llie Poet and the image of things ; between this, and the Biographer and Historian, there are a thousand. Nor let this necessity of producing imme- diate pleasure be considered as a degradation of the Poet's art. Tt is far otherwise. It is an acknowledgment of the beauty of the universe, an acknowledgment the more sincere, because it is not formal, but indirect; it is a task light and easy to him who looks at the world in the spirit of love: further, it is a homage paid to the native and naked dignity of man, to the grand elementary principle of pleasure, by which he knows, and feels, and lives, and moves. We have no sympathy but what is propagated by pleasure: I would not be mis- understood ; but wherever we sympathise with pain, it will be found that the sympathy is pro- duced and carried on by subtle combinations with pleasure. We have no knowledge, that is, no general principles drawn from the con- templation of particular facts, but what has been built up by pleasure, and exists in us by pleasure alone. The Man of Science, the Chemist and Mathematician, whatever diificul- ties and disgusts they may have had to strug- gle with, know and feel this. However pain- ful may be the objects with which the Anato- mist's knowledge is connected, he feels that his knowledge is pleasure; and where he has no pleasure he has no knowledge. What then does the Poet.^ He considers man and the ob- jects that surround him as acting and re-acting upon each other, so as to produce an infinite complexity of pain and pleasure; he considers man in his own nature and in his ordinary life as contemplating this with a certain quantity of immediate knowledge, with certain convic- tions, intuitions, and deductions, which by habit become of the nature of intuitions ; he considers him as looking upon this complex scene of ideas and sensations, and finding every where objects that immediately excite in him sympathies which, from the necessities of his nature, are accompanied by an overbalance of enjoyment. To this knowledge which all men carry about with them, and to these sympathies in which, without any other discipline than that of our daily life, we are fitted to take delight, the Poet principally directs his attention. He considers man and nature as essentially adapt- ed to eacfi other, and the mind of man as natu- rally the mirror of the fairest and most inter- esting qualities of nature. And thus the Poet, prompted by this feeling of pleasure, which ac- companies him through the whole course of his studies, converses with general nature with affections akin to those, which, through la- bour and length of time, the Man of Science has raised up in himself, by conversing with those particular parts of nature which are the objects of his studies. The knowledge both of the Poet and the Man of Science is pleasure; but the knowledge of the one cleaves to us as a necessary part of our existence, our natural and unalienable inheritance ; the other is a personal and individual acquisition, slow to come to us, and by no habitual and direct sym- pathy connecting us with our fellow-beings. The Man of Science seeks truth as a remote and unknown benefactor ; lie cherishes and loves it in his solitude: the Poet, singing a song in wliicli all human beings join with him, rejoices in the presence of truth as our visible friend and hourly companion. Poetry is the breath and finer spiiit of all knowledge; it is the impassioned expression which is in the countenance of all Science. Emphatically may it be said of the Poet, as Shakspeare hath said of man, ''that he looks before and after." He is the rock of defence of human nature ; an upholder and preserver, carrying every- where with him relationship and love. In spite of difference of soil and climate, of lan- guage and manners, of laws and customs, in spite of things silently gone out of mind, and things violently destroyed, the Poet binds to- gether by passion and knowledge the vast em- pire of human society, as it is spread over the whole earth, and over all time. The objects of the Poet's thoughts are every where ; though the eyes and senses of man are, it is true, his favourite guides, yet he will follow whereso- ever he can find an atmosphere of sensation in which to move his wings. Poetry is the first and last of all knowledge — it is as in)mortal as the heart of man. If the labours of Men of Science should ever create any material revo- lution, direct or indirect in our condition, and in the impressions which we habitually re- ceive, the Poet will sleep then no more than at present, but he will be ready to follow the steps of the Man of Science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of the Science itself. The remotest discoveries of the Chemist, the Botanist, or Mineralogist, will be as proper objects of the Poet's art as any upon which it can be employ- ed, if the time should ever come when these things shall be familiar to us, and the i-elations under which they are contemplated by the fol- lowers of these respective sciences shall be manifestly and palpably material to us as en- joying and suffering beings. If the time should ever come when what is now called Science, thus familiarized to men, shall be ready to put on, as it were, a form of flesh and blood, the Poet will lend liis divine spirit to aid the trans- figui:^tion, and will welcome the Being thus produced, as a dear and genuine inmate of the household of man. — It is not, then, to be sup- posed, that any one, who holds that sublime notion of Poetry which I have attempted to convey, will break in upon the sanctity and trutli of his pictures by transitory and acciden- tal ornaments, and endeavour to excite admi- ration of himself by arts, the necessity of which must manifestly depend upon the as- sumed meanness of his subject. What I have thus far said applies to Poet- ry in general ; but especially to those parts of composition where the Poet speaks thro»^gh the mouths of his characters; and upon this point it appeals to have such weight, that I will conclude, there are few persons of good sense, who would not allow that the dramatic parts of composition are defective, in proportion as they deviate from the real language of na- ture, and are coloured by a diction of the Po- et's own, either peculiar to him as an indivi- dual Poet or belonging simply to Poets in ge- neral, to a body of men who, from the circum- stance of their compositions being in metre, XXIT PREFACE TO TIIK SECOND EDITION it is expected will employ a particular lan- guage. It is not, then, in the dramHlic parts of composition that we look for this distinction of language ; but still it may be proper and necessary where the Poet speaks to us in his own person and character. To this I answer hy referring my Reader to the description which I have before given of a Poet. Among the qualities which I have enumerated as prin- cipally conducing to form a Poet, is implied nothing differing in kind from other men, but only in degree. The sum of what I have there said is, that the Poet is chiefly distin- guished from other men by a greater prompt- ness to think and feel without immediate ex- ternal excitement, and a greater power in ex- pressing such thoughts and feelings as are produced in him in that manner. But these passions and thouglitsand feelings are the ge- neral passions and tiioughts and feelings of men. And with what are they connected? Undoubtedly with our moral sentiments and animal sensations, and with the causes which excite these ; with the operations of the ele- ments, and the appearance of the visible uni- verse ; with storm and sunshine, with the re- volutions of the seasons, with cold and lieat, with loss of friends and kindred, with inju- ries and resentments, gratitude and hope, with fear and sorrow. These, aiid the like, are the sensations and objects which the Poet de- scribes, as they are the sensations of other men, and the objects which interest them. The Poet thinks and feels in the spirit of the passions of men. How, then, can his lan- guage differ in any material degree from that of all other men who feel vividly and see clearly.'* It might he proved ihni it is impossi- ble. But supposing that this were not the case, the Poet might then be allowed to use a peculiar language when expressing his feel- ings for his own gratification, or that of men like himself. But Poets do not write for Po- ets alone, but for men. Unless therefore we are advocates for that admiration which de- pends upon ignorance, and that pleasure which arises from hearing what we do not un- derstand, the Poet must descend from this supposed height, and, in order to excite ra- tional sympathy, he must express himself as other men express themselves. To this it may be added, that while he is only selecting from the real language of men, or, which amounts to the same thing, composing accurately in the spirit of such selection, he is treading up- on safe ground, and we know what we are to expect from him. Our feelings are the same with respect to metre ; for, as it may be pro- per to remind the Reader, the distinction of metre is regular and uniform, and not, like that which is produced by what is usually called poetic diction, arbitrary, and subject to infinite caprices upon which no calculation whatever can be made. In the one case, the Reader is utterly at the mercy of the Poet re- specting what imagery or diction he may choose to connect with the passion : whereas, in the other, the metre obeys certain laws, to which the Poet and Reader both willingly submit because they are certain, and because no iiiterferenco is made by them with the pas- sion but such as the concurring testimony of ages has shown to heighten and implove the pleasure which co-exists with it. ^ It will now be proper to answer an obvious question, namely, Why, professing these opin- ions, have I written in verse ? lo this, in ad- dition to such answer as is included in what I have already said, I reply, in the first place, Because, however I may have restricted my- self, there is still left open to me what confes- sedly constitutes the most valuable object of all writing, whether in prose or verse, the great and universal passions of men, the most gene- ral and interesting of their occupations, and the entire world of nature, from which I am at liberty to supply myself with endless com- binations of forms and imagery. IMow, suppo- sing for a moment that whatever is interesting in these objects may be as vividly described in prose, why am I to be condemned, if to such description I have endeavoured to superadd the charm which, by the consent of all nations, is acknowledged to exist in metrical language.'' To this, by such as are unconvinced by what I have already said, it may be answered that a very small part of tlie pleasure given by Poet- ry depends upon the metre, and that it is inju- dicious to write in metre, unless it be accom- panied with the other artificial distinctions of style with which metre is usually accompani- ed, and that, by such deviation, more will be lost from the shock which will thereby be giv- en to the Reader's associations than will be counterbalanced by any pleasure which he can derive from the general power of numbers. In answer to those who still contend for the ne- cessity of accompanying metre with certain ap- propriate coloursof style in order to the accom- plishment of its appropriate end, and who also, in my opinion, greatly under-rate the power of metre in itself, it might, perhaps, as far as re- lates to these Poems, have been almost suffi- cient to observe, that poems are extant, writ- ten upon more humble subjects, and in a more naked and simple style than I have aimed at, which poems have continued to give pleasure from generation to generation. IVow, if na- kedness and simplicity be a defect, the fact here mentioned affords a strong presumption that poems somewhat less naked and simple are capable of affording pleasure at the present day ; and, what I wished chiefly to attempt, at present, was to justify myself for having writ- ten under the impression of this belief. But I might point out various causes why, when the style is manly, and the subject of some importance, words metrically arranged will long continue to impart such a pleasure to mankind as he who is sensible of the extent of that pleasure will be desirous to impart. The end of Poetry is to produce excitement in co- existence with an overbalance of pleasure. Now, by the supposition, excitement is an un- usual and irregular state of the mind ; ideas and feelings do not, in that state, succeed each other in accustomed order. But, if the words by which this excitement is produced are in themselves powerful, or the images and feelings have an undue proportion of pain connected with them, there is some danger that the excitement may be carried beyond its proper bounds. Now the co-presence ofsomcthing regular, something to which the mind has been accustomed in va- rious moods and in a less excited state, cannot but have great efficiency in tempering and re- OF THE LYRICAL fiAttAljS. IXf. gtfainin^ the passion by an intertexture of or- dinary feeling, and of feeling not strictly and necessarily connected with the passion. This is unquestionably true, and hence, though the opinion will at first appear paradoxical, from the tendency of metre to divest language, in a certain degree, of its reality, and thus to throw a sort of half-consciousness of unsub- stantial existence over the whole composition, there can be little doubt but that more pathetic situations and sentiments, that is, those which have a greater proportion of pain connected with them, may be better endured in metrical composition, especially in rhyme, than in prose. The metre of the old ballads is very artless ; yet they contain many passages which would illustrate this opinion, and, I hope, if the fol- lowing Poems be attentively perused, similar instances will be found in them. This opin^ ion may be further illustrated by appealing to the Reader's own experience of the reluctance with which he cornts to the re-perusal of the distressful parts of Clarissa Harlowe, or the Gamester ; while Shakspeare's writings, in the most pathetic scenes, never act upon us, as pa- thetic, beyond the bounds of pleasure — an ef- fect which, in a much greater degree than might at first be imagined, is to be ascribed to small, but continual and regular impulses of pleasu- rable surprise from the metrical arrangement. — On the other hand, (what it must be allow- ed will much more frequently happen,) if the Poet's words should be incommensurate with the passion, and inadequate to raise the Reader to a height of desirable excitement, then, (un- less the Poet's choice of his metre has been grossly injudicious,) in the feelings of pleasure which the Reader has been accustomed to con- nect with metre in general, and iu the feel- ing, whether cheerful or melancholy, which he has been accustomed to connect with that particular movement of metre, there will be found something which will greatly contri- bute to impart passion to the words, and to effect the complex end whi<-h the Poet pro- poses to himself. If I had undertaken a systematic defence of the theory upon which these poems are writ- ten, it would have been my duty to develope the various causes upon which the pleasure re- ceived from metrical language depends. Among the chief of these causes is to be reckoned a principle which must be well known to those who have made any of the Arts the object of accurate reflection ; I mean the pleasure whicJi the mind derives from the perception of simi- litude in dissimilitude. This principle is the great spring of the activity of our minds, and their chief feeder. From this principle the direction of the sexual appetite, and all the passions connected with it, take their origin : it is the life of our ordinary conversation ; and upon the accuracy with which similitude in dissimilitude, and dissimilitude in similitude are perceived, depend our taste and our moral feelings. It would not have been a useless employment to have applied this principle to the consideration of metie, and to have shown that metre is hence enabled to afford much pleasure, and to have pointed out in what man- ner that pleasure is produced. But my limits will not permit me to enter upon this subject, and I must content myself with a general sum- mary. I have said that poetry is the spontaneous overflow of powerful feelings •. it takes its ori- iv gin from emotion recollected in tranquillity: th*? emotion is contemplated till, by a species of re-action, the tranquillity gradually disappears, and an emotion, kindred to that which was be- fore the subject of contemplation, is gradually produced, and does itself actually exist in the n)ind. In this mood successful composition generally begins, and in a mood similar to this it is carried on; but the emotion, of whatever kind, and in whatever dogree, from various causes, is qualified by various pleasures, so that in describing any passions whatsoever, which are voluntarily described, the mind will, upon the whole, be in a state of enjoyment. Now, if Nature be thus cautious in preserving in a state of enjoyment a being thus employed, the Poet ought to profit by the lesson thus lield forth to him, and ought especially to take care, that, whatever passions he communicates to his Reader, those passions, if Jiis Rea- der's mind be sound and vigorous, should always be accompanied with an overb.ilance of pleasure. Now the music of haimoriious metrical language, the sense of difticultv over- come, and tlie blind association of pleasure which has been previously received from works of rhyme or metre of the same or similar con* struction, an indistinct perception perpetually renewed of language closely resembling that of real life, and yet, in the circumstance of metre, differing from it so widely — all these imperceptibly make up a complex feeling of delight, which is of the most important use in tempering the painful feeling which will al- ways he found intermingled with powerful de- scriptions of the deeper passions. Tliis effect is always produced in pathetic and impassion- ed poetry ; while, in lighter cf>mpositions, the ease and gracefulness with which the Poet ma- nages his numbers are themselves confessedly a principal source of the gratification of the Reader. I might, perhaps, include all which it is necessary to say upon tliis subject, by af- firming, what few persons will deny, that^ of two descriptions, either of passions, manners, or characters, each of them equally well exe- cuted, the one in prose and the other in verse, the verse will be read a hundred times where the prose is read once. We see that Pope, by the power of verse alone, has contrived to ren- der the plainest common sense interesting, and even frequently to invest it with the appear- ance of passion. In consequence of these con- victions I related in metre the Tale of Goody Blake and Harry Gill, which is one of the rudest of this collection. I wished to draw at- tention to the truth, that the power of the hu- man imagination is sulficient to produce such changes even in our physical nature as might almost appear miraculous. The truth is an important one ; the fact (for it is a fact) is a valuable illustration of it : and I have the sat- isfaction of knowing that it has been commu- nicated to many hundreds of people who would never have heard of it, had it not been narra- ted as a Ballad, and in a more impressive me- tre than is usual in Ballads. Having thus explained a few of tfie reasons why I have written in verse, and why I have cliosen subjects from common life, and endeav- oured to bring my language near to the real language i»f men, if I have been too minute in pleading my own cause, I have at the same time been treating a subject of general inter- est; and it is fi)r this reason that I request the Rcadcrs's permission to add a few words with >:.\vi PREFACE TO THE SECOND EDITION OF THE LYRICAL BALLADS. rfifcrorifp prAvly to these pnrlicular poems, and lo sonto (icrt'c-is vvliicli will probably be found it» llii-iii. i am soiisibie that iny associations Must iiave eorjielimes been part'iciilar instead <>r general, and ih-at, conseqently, giving to thiii«;s a fjiUe imporianre, sonietinjes Irom^dis- eased int pulses, 1 may have written upon nn- worlliy si.'hjeets ; I)ut I am less af)prel)ensive cm this nccoiint, than that my language may irequeojly liave suflered from those a°bitrarv conneetmns of feelings and ideas with particu- lar words and phrases, from which no njan can ahogetiier pioteit himself iience I have no doubt, tliat, in some instances, feelings, even of the ludicrous, may be given to my Readers by cxpressi(>ns which apj^eared lo me tender nnd pathetic. Such faulty expressions, were I (.•un\iriced tlu^y were faulty at present, and that ihey must nectissarily continue to be so, I would willingly take all reasonable pains to cor.-( ct, Bui it is dangerous to make these al- teralintis on the simple authority of a few in- divi(ioals, or < vt n oi" certain classes of men ; for where the undeislandiiig of an Aulhor is not conxinced, or his feelings alteied, this can- not be done without great injury to hinrself : lor his own icelings are his stay and support; and, if he sets th(Mn aside in one instance, he may be induced to re[)eat this act till bis mind loses all confidence in itself, and become ut- terly debilitated. To this it may be added, that ilu? Reader ought never to forget that he is himself exposed to the same errois as the l\)et. and, perhaps, in a mncii greater degree : for there can be no presumption in saying, that it is not probable he will be so well acquainted with the various stages of meaning through which words have passed, or with the fickle- ness or stability of the relations of particular ideas to ea( h C)tiier ; and, above all. since he is so much less interested in the subject, he may decide lightly and carelessly. Long as i have detained my Reader, 1 hope he will permit me to caution iiim against a >node ot" false criticism wliich has been applied to Poetry, in which the language closely re- sensbles that of life and nature. Such verses hove been triumphed over in parodies, of v/iiich Dr. Johnson's stanza is a fair speci- men: — " I ])!it i«y hnt upon my head /> ml w;ilk( (1 inlo ihe Sitraiul, Auil till !>■ 1 met iiiKJtIur ninii WJiosfj liiit WAH in liib liand." Immediately under these lines I will place one of tlie most justly-admired stanzas of the *' Babes in the Wood.*" " These jiiefty Tlabes a\ ith hand in liand Went wniideriug u]) an(! doMii ; ]Uit iievtr more lluy saw the IMan Appro.iching- from tlie Town." In both these stanzas the words, and the or- der of the words, in no respect difler from the most unimpassi(;ned convers.ilion. There are words in both, for example, "the Strand," and *' tiie Town," connected with none but the most familiar ideas ; yet the one stanza we ad- mit as admirable, and the other as a fair exam- ple of the superlatively contemptible. Whence arises this difference .^ Not from the metre, not fiom the languai'^e, not fiorn the order of the words; but tire matter expressed in Dr. Johnson's stanza is contemptible. The proper method of treating trivial and simple verses, lo which Dr. Johnson's stanza would be a fair parallelism, is not to say, This is a bad kind of poetry, or. This is not poetry ; but, This wants sense;' it is neither interesting in itself, nor can lead to any thing interesting; the images neither originate in that same state of teeling which arises out of thought, nor can excite thought or feeling in the Reader. This is the only sensible manner of dealing with such verses. Why trouble yourself about the spe- cies till you have previously decided upon the genus.? Why take pains to prove that an ape is not a Newton, when it is self-evident that be is not a man .? I have one request to make of my reader, which is, that in judging these Poems he would decide by his own ieelings genuinel3^ and not bv reflection upon what will probably be the judgnjent of others. How common is it to hear a person say, " I myself do not object to this style of composition, or this or that ex- [trcssion, but, to such and such classes of peo- ple, it will appear mean or ludicrous I" This mode of criticism, so destructive of all sound unadulterat( d judgment, is almost univeisal : I have theiefore to request, that the Reader would abide, independently, by his own feel- ings, and that, if he fitjds himself affected, he would not suffer such conjectures to interfere with his pleasure. If an Aulhor, by any single composition, has impressed us with respect for his talents, it is \ useful to consider this as affording a presurap- ' tion, that on other occasions where we have been displeased, lie, nevertheless, may not I have written ill or absurdly; and, further, to give iiim so much credit for this one composi- tion as may induce us to review what has dis- I pleased us, with more care than we should ' otherwise have bestowed upon it. This is not only an act of justice, but, in our decisions upon poetry especially, may conduce, in a high degree, to the improvement of our own taste : for an accurate taste in poetry, and in all the other arts, as Sir Joshua Reynolds has observ- ed, is an acquired talent, whicJi can only be produced by thought and a long-continued in- tercourse with tlie best models of composition. This is mentioned, not with so ridiculous a purpose as lo prevent the most inexperienced Reader from judging for himself, (1 have al- ready said ihat 1 wish him to judge for him- self;) but merely lo lenrper the rashness of de- cision, nnd to suggest, that, if Poetry be a sub- ject on which much time has not been bestow- ed, the judgment may be erroneous; and that, in many cases, it necessarily will be so. 1 know that nothing would have so effect- ually contributed lo further the end which I have in view, as to have shown of what kind the pleasure is, and how that pleasure is pro- duced, which is confessedly pioduced by me- trical composition essentially different from that which 1 have here endeavoured to recom- mend : for the Reader will say tiiat he has been pleased by such composition ; and what can I do more for him .' The power of any art is limited ; and he w^ill suspect, that, if 1 pro- pose to furnish him with new friends, it is only upon condition of his abandoning his old friends. Besides, as I iiave said, the Reader is himself conscious of the pleasure which he has received fiom such composition, composi- APPENDIX. XXVll tion to which ho has peculiarly attached the endearing name of Poetry; and all men feel an habitual gratitude, and something of an honourable bigotry for the objects whi^ch have long continued to please them ; we not only wish to be pleased, but to be pleased in that particular way in wliich we liave been accus- tomed to be pleased. There is a host of argu- ments in these feelings; and I should be the less able to con^bat them successfully, as I am willing to allow, that, in order entirely to en- joy the Poetry which I am recommending, it would be necessary to give up much of what is ordinarily enjoyed. But, would my limits have permitted me to point out how this pleas- ure is produced, I might have removed many obstacles, and assisted my Reader in perceiv- ing that the powers of language are not so lim- ited as he may suppose ; and that it is possible for poetry to give other enjoyments, of a purer, more lasting, and more exquisite nature. This part of my subject I have not altogether neg- lected ; but it has been less my j)t(.\^e^4t aim to prove, that tlie interest excited by some other kinds of poetry is lets vivid, and less wortliy of the rjobler poweis of ilie mind, than to offer reasons for presuming, that, if the ob- ject which I have proposed to m}s(df were adequately atlained, a species of p(;t:t:y would be produced, , which is genuine poetry ; in ils nature well adapted to interest niHiikind per- manently, and lik(!wise importMUt in the mul- tiplicity and quality of its moral relalions. From what has been said, and f'toui a peru- sal of the Poems, the Reader will [)e able clearly to perceive the object wliicii I have proposed to myself: he will detcrniirie how far I have attained tliis object; and, what is a much more important question, wJUMlier it be worth attaining: and up(Mi the dcjision of these two questions will rest my cii;;m to tlie approbation of the Public. APPENDIX. As, perhaps, I liave no right to expect from a Reader of an Introduction to a volume of Po- ems that attentive perusal without which it is impossible, imperfectly as I have been com- pelled to express my meaning", that what is said in the Preface should, throughout, be ful- ly understood, I am the more anxious to give an exact notion of the sense in which I use the phrase poetic diction ; and for this pur- pose [ will here add a few woi'ds concerning the origin of (he phraseology vvliich I have condemned under that name. The earliest poets of all nations o-enerally wrote from pas- j Bion excited b3'' real events ; they wrote natu- rally, and as men : feelino- powerfully as they ! did, their languane v/as daring", and fiijura- tive. In succeeding times, Poets, and Men ambitious of the fame of Poets, perceiving ! the influence of such language, and desirous I of producing the same effect without having ; the same animating passion, set themselves j to a mechanical adoption of trirse figures of j speech, and made use of them, sometimes with propriety, but much more frequently applied them to feelings and ideas with which they had no natural connection whatsoever. A lantruage was thus insensibly produced, dif- fering materially from the real langunge of men in any situation. The Reader or Hearer of this distorted lancruaire found himself in a perturbed and unusual state of mind ; when affected by the genuine language of passion he had been in a perturbed and unusual state mind also: in both cases he was willing that his common judgment and understanding should be laid asleep, and he hnd no ijistinct- ive and infaHible perception of the true to make him reject the false ; the one served as a passport for the other. The agitation and confusion of mind were in both cases delight- ful, and no wonder if he cont^ounded the one with the other, and believed them both to he produced by ^he same, or similar causes. Be- sides the Poet s{)ake to him in the cliaracter of a man to be looked up to, a man of genius and authority. Thus, and from u variety of other causes, this distorted languiigo was re- ceived vvith admiration ; and Poets, it is pro- bable, who had before contented tiicn;.se]ves for the most part with misapplying oniy ex- pressions which at first hud been diclaled hy real passion, canied the abuse si ill furtlier, and introduced phrases conspoced apparently in the spirit of the originul figurative lan- guage of passion, yet altogether of their own invention, and distinguished by various de- grees of wanton deviation from good sense and nature. It is indeed true, that the language of the earliest Poets was felt to differ m.atcri;;!ly from ordinary language, because it u'as tl.e lan- guage of e.xtraordinarjT^ occcasions ; but it was really spoken jjy men, language which the Poet himself had uttered when he had been affected by the events which he descri- bed, or which he had heard uttered by those around him. To this language it is probable that metre of some sort or othicr v/as early su- peradded. This separated tlie genuine lan- guage of Poetry still further from common life, so that whoever read or heard the Poems of tliese earliest Poels felt himself moved in a way in wliich he had not been accustomed to be moved in real life, and by causes mani- festly diffciont from those which aclcd upon him in real life. This was t.'ie great tenspta- tifO) to all tiic corruptions u hich have follow- ed : under the protection of this feeling suc- ceeding Poets constructed a phraseology which had one th, ng, it is true, in common with the genuine language of poetry, namely, that it was not heard in ordinary conversa- tion ; that it was unusual- But the first Po- ets, as I have said, spake a language which, though unusual, was still tlie language of men. This circumstance, however, was dis- regarded by their successors ; they found that they couid please by easier means : they be- came proud of a languag-- which they them- seiVes had invented, and which was uttered xxviii AFPENDIX. only by themselves ; and, with the spirit of a fraternity, they arrogated it to themselves as their own. In process of time metre became a symbol of promise of this unusual language, and whoever took upon him to write in me- tre, according as he possessed more or less of true poetic genius, introduced less or more of this adulterated phraseology into his compo- sitions, and the true and the false became so inseparably interwoven that the taste of men was gradually perverted ; and this language was received as a natural language: and at length, by the influence of books upon men, did to a certain degree really become bO. Abu- fies of this kind were imported from one na- tion to another, and with the progress of re- finement this diction became daily more and more corrupt, thrusting out of sight the plain humanities of nature by a motley masquerade of tricks, quaintnesses, hieroglyphics, and enigmas. It would be highly interesting to point out the causes of the pleasure given by this ex- travagant and absurd lanouafre; but this is not the place; it depends upon a great vari- ety of causes, but upon none, perhaps, more than its influence in impressing a notion of the peculiarity and exaltation of the Poet's character, and in flattering the Reader's self- love by bringing him nearer to a sympathy with tiiat character ; an eftect which is ac- complished by unsettling ordinary habits of thinking, and thus assisting the Reader to ap- proach to that perturbed and dizzy state of mind in whicii if he does not find himself, he imagines that he is balked of a peculiar en- joyment which poetry can and ought to be siow , TiiG sonnet which I have quoted from Gray, in the Preface, except the lines printed in Ita- lics, consists of little else but this diction, though not of the worst kind ; and indeed, if I might be permitted to say so, it is far too /comnjon in the best writers botli ancient and modern. Perhaps I can in no way by posi- tive example, more easily give my Reader a notion of what I mean by the phrase poetic diction than by referring him to a comparison between the metrical paraphrase w^hich we have of passages in the Old and New Testa- rnent, and those passages as they exist in our common Translation. See Pope's '^ Messiah" throughout ; Prior's *''- Did sweeter sounds fldorn my flowing tongue," &:c. &c. '^Though I speak with the tongues of men and of an- gels," &;c. &c. See 1st Corinthians, chapter jiiiith. By way of immediate example, take tlic following of Df. Johnson; — Till want now following, fraudulent and %\ovr^ ^^ Shall spring to seize thee, like an ambushed foe. From this hubbub of words pass to the ori- ginal. "- Go to the Ant, thou Sluggard, con- sider her ways, and be wise : which having no guide, overseer, or ruler, provideth her meat in the summer, and gathereth her food in the har- vest. How long wilt thou sleep, O Sluggard ? when wilt thou arise out of the sleep ? Yet a little sleep, a little slumber, a little folding of the hands to sleep. So shall thy poverty come as one that travaileth, and thy want as an armed man." Proverbs, chap. vi. One more quotation, and I have done. It is from Cowper's Verses supposed to be written by Alexander Selkirk : — " Religion ! what treasure untold Resides in that heavenly word ! More precious than silver and gold, Or all that this earth can afford. Rut the sound of tlie church-goijjg bell 'lliese valleys and rocks never heard. Ne'er sighed at the sound of a knell, Orsniiled when a subbath appeared. Ye v ind8,that have made rae your sport, Convey to this desolate shore Some cordial endtaring report Of a land I must visit no more. My Friends, do they iiow and then send A wish or a thought after me ? tell me I yet have a friend, 1 hough a friend I am never to see." (^ Turn on the pi-udent Ant thy heedless eyes, Observe her labours, Sluggard, and be wise ; No stern command, no monitory voice, Prescribes her duties or directs her choice ; Yet, timely proviilent, she hastes away 'J'o snatch the blessiugs of a plenteous day ; When fruitful Sumujer loads the teeming plain, She crops il»e harvest and she stores the grain. How long shall sloth usurp thy useless hours, Unnerve thy vigour, and enchain thy powers ? While artful shades thy downy couch enclose, ^nd soft solicitation co irts repose. Amidst the drowsy charms of dull delight, yeaF i;h»?e8 year with unremitted fligbt. I have quoted this passage as an instance of three diff*erent styles of composition. The first four lines are poorly expressed ; some Critics would call the language prosaic; the fact is, it would be bad prose, so bad, that it is scarcely worse in metre. The epithet I '' church -going" applied to a bell, and that by ! so chaste a writer as Cowper, is an instance of the strange abuses which Poets have intro- duced into their language, till they and their Readers take them as matters of course, if they do not single them out expressly as ob- jects of admiration. The two lines ''Ne'er sighed at the sound," Sec. are, in my opin- ion, an instance of the languaoje of passion wrested from its proper use, and, from the mere circumstance of the composiiion being in metre, applied upon an occasion that does not justify such violent expressions ; that I should condemn the passage, though perhaps ^e\w Readers will agree w^ith me, as vicious poetic diction. The last stanza is through- out admirably expressed ; it would be equally good whetlier in prose or verse, except that the Reader has an exquisite pleasure in seeing such natural language so naturally connected with metre. The beauty of this stanza tempts me to conclude with a principle which ouffht never to be lost sight of,— namely, that in works of imagination and sentiment, in pro- portmn as ideas and feelinos are valuable whether the composition be in prose or in verse, they require and exact one and the same language. Metre is but adventitious to composition, and the phraseology for which that passport is necessary, even where it is irraceful at all, will be little valued by the ju- dicious. -^ J I IV » E X, POEMS REFERRING TO THE PERIOD OF CHILD- HOOD. Page My heart leaps up when I behold - - - 1 To a butterfly - - - - - ib Foresight, or the Chnr;;e of a child to hisy(>unger Coni)»anion - - - - - ib Characteristics of a Child three years old - ib Address to a Cliild during a boisterous Winter EveiiiMg - . - - - - ib The Mother's Return _ . - . 2 Lucy Gray ; or Solitude - - - ib VVe are Seven . .... 3 Anecdote for Fathers, showing how the Practice of lying may be taught - - - ib Rural Architecture - - - - 4 The Pel-Lamb - - - - - ib The Idle Shepherd-Boys ; or, Diingeon-Ghyll Force 5 To H. C six years old - - - - G Influence of Natural Objects - - - ib The longest Day - - - - - ib JUVENILE PIECES. Extract from the Conclusion of a Poem - - 7 An Evening Walk, addressed to a young Lady - ib Descriptive Sketches - - - -10 The Female Vagrant - - - - 16 POEMS FOUNDED ON THE AFFECTIONS. The Brothers - - - - - 38 Artegal and Elidure - - - - 21 The Sparrow's Nest - - - - 23 To a Butterfly - - - - - ib A Farewell - - - - - ib Stanzas written in my Pocket-Copy of Thomson's Castle of Indolence - - - - 24 Louisa - - - - - ib Strange fits of passion have I known - - 25 She dwelt among the untrodden ways - - ib I travelled among unknown men - - ib Ere with cold beads of midnight dew - - ib To ib 'Tis said that some have died for love - - ib A Complaint - - - - - 26 To ib How rich that forehead's calm expanse ! - ib To - - . - ib Lament of Mary Queen of Scots • - 27 The Complaint of a forsaken Indian Woman - ib The Last of the Flock - - - - 28 Repentance, a Pastoral Ballad - • - ib The Affliction of Margaret - - - 29 The Cottager to her Infant - - - ib The Sailor's Mother - - - - ib The Childless Father - - - - 30 The Emigrant Mother - - - - ib Vaudracour and Julia - - - - 31 i The Idiot Buy - - - - - 33 ^' Mi«hael, a Pastoral Poem - - - 36 POEMS OF THE FANCY. The Waggoner, in Four Cantos - - - 40 A Morning Exercise - - - - 46 To the Daisy - - - - - ib A Whirl-blast from behind the hill - - 47 The Green Linnet - - - - - ib The Contrast • - - - - ib To the Small Celandine - - - - 48 To the same Flower - - - - ib The Waterfall and the Eglantine - - - 49 Pn«?e The Oak and the Broom, a Pastoral - - 49 Song for the Spinning Wheel - - - 50 The Redbreast and Butterfly - - - ib The Kitten and the Falling Leaves - - ib A Flower Garden - - - - - 51 To the Daisy - - - - - 52 To the Same Flower - - - - ib To a Sky-lark ib To a Sexton - - - - - 53 Who fancied what a pretty sight - - - ib Song for the Wandering Jew - - - ib The Seven Sisters ; or, the Solitude of Binnorie - ib A Frnumont - - - - - 5*1 The Pilgrim's Dream ; or the Star and the Glow- Worm .--... jb Hint from the Mountains for certain Political Pre- tenders - - - - - - 55 Stray Pleasures - - - - ib On seein;? a Needlecase in the Form of a Harp - ib Address to my Infant Daughter - - - 56 POEMS ON THE NAMING OF PLACES. It was an April morning ; fresh and clear - 56 To Joanna - - - - - 57 There is an eminence ; of these our hills - - ib A narrow girdle of rough stones and crags - 58 To M. H. - - - - - - ib When, to the attractions of the busy world - ib INSCRIPTIONS. In the Grounds of Coleorton, ihe Seat of Sir George Beaumont, Bart., Leicestershire . . 59 In a Garden of the same . . . , ib Written at the Request of Sir George Beaumont, Bart., and in his Name, for an Urn, placed by him at the Termination of a newly-planted Avenue in the same Grounds . . . ib For a Seat in the Groves of Coleorton . . (jo Written with a Pencil upon a Stone in the Wall of the House i^an Out-house) on the Island atGras- mere . . , . . . ib Written with a Slate Pencil on a Stone on the aide of the Mountain of Black Comb . . jb Written with a Slate Pencil upon a Stone, the largest of a Heap lying near a deserted Quarry, upon one of the Islands at R dal . . jb Inscriptions supposed to be found in and near a Hermit's Cell . , . . .61 Inscribed upon a Rock . . . . ib Hast then seen with flash incessant . . jb Near the Spring of the Hermitage . . . ib Not seldom, clad in radiant vest . . . ib For the Spot where the Hermitage stood on St. Herbert's Island, Derwent-water . , 62 The Prioress's Tale (from Chaucer) . . ib POEMS OF THE IMAGINATION. There was a Boy ; ye knew him well, ye Clifl^s 64 To , on her first Ascent to the Summit ofllelvellyn . . . . . ib To the Cuckoo ..... ib A Night-Piece ..... 65 Water-Fowl ..... ib Yew-Trees ..... ib View from the Top of Black Comb . . ib Nutting ...... 66 She was a Phantom of delight . . ib O Nightingale! thou surely art . . ib Three years she grew in sun and shower . ib A Isumber did my cpirlt seal . , OT XXX INDEX. Page Tlie Iloin of EfrremoKt Cn.?t!e ' . 67 Coiuly B!ako otid Harry Gill, a truo Story . 68 1 v.';u;dcrc'd lonely as a Cloud . . . ib TJ)e Reverie of Poor Suaau . . .69 Power of Muj-ic . . . . ib SiHr-Gazers . . . . . ib The Haunted Tree . . . .70 Written in March, while resting on the Bridge at tlie Foot of Brother's Water . . ib Gipsies . . . . . . il) Beggars . . . . . , ib Sequel to the foregoing, composed many Years after 71 Ruth I^nodamia ..... The Triad Her eyes are wild, her head is bare RHsolution and Independence The Thorn ..... Hart-leap Well . . - . . Sn!i5 at the Feast of Bro\ipham Casllc, upon the Restoration of Lord Ciitford, the tShepherd, to the Estates and Honours of his Ancestors Yes, it was the mountain Echo To a Sky-Lark ..... It is no Spirit who from Heaven huth flown French Revolution, as it appeared to Enthusiasts at its Commencement, reprinted from " the Friend" ..... Ode. TJie Pass of Kiikstone Evening Ode, composed upon an Evening of ex- traordinary Splendour and Beaut)'^ Lines composed a few Miles above Tintern Ab- bey, on revisiting the Banks of the Wye during a Tour ...... Peter-Bell, a Tale, in Three Parts MISCELLANEOUS SONNETS. PART FIRST. To .... Nuns fret not at their convent's narrow room Written in very early Youth Admonition .... '> Beloved Vale :" I said, " when I shall con' Pelion and Ossa flourish side by side There is a little unpretending Rill Her only Pilot the soft breeze, the Boat The fairest, brightest hues of ether fade Upon the Sight of a beautiful Picture *' Why, Minstrel, these untuneful murmurings Aerial Rock— whose solitary brow O gentle Sleep ! do they belong to thee To Sleep ..... To Sleep . , . . » The Wild Duck's Nest Written upon a blank Leaf in " the Complete Angler" .... To the Poet, John Dyer On the Detraction which followed the Publicatio of a certain Poem To the River Derwent Composed in one of the Valleys of Westmorelan( on Easter Sunday Grief, thou hast lost an ever-ready Friend To a. H Decay of Piety .... Composed on the Eve of the Marriage of a Frien in the Vale of Grasmere From the Italian of Michael Angelo From the Same .... From the Same. To the Supreme Being Surprised by joy — impatient as the Wind Methought I saw the footsteps of a throne «' Weak is the will of Man, his judgment blind" It is a beauteous Evening, calm and free ib 73 74 76 77 78 79 81 83 ib ib ib 84 ib 85 86 Pn^p 95 ib ib ib ib 96 ib ib ib ib ib ib ib 97 ib ib ib ib ib ib ib 98 ib ib ib ib ib ib ib 99 ib ib Where lies thf land to which yon Ship must go With Ships the sea was sprinkled far and nigh The world is too njuch with us; late and soon A volant Tribe of Bards on earth are found How sweet it is, v/hen mother Fancy rocks Pergonal Talk ..... Continued ..... Continued ..... (Concluded [ wateh, and long have watched, with calm regret To R. H. Haydon, Esq. From the dark chanjbers of dejection freed Fair Prime of life ! were it enough to gild I heard (alas 1 'twas only in a dream) Retirement ..... To the Memory of Raisley Calvert MISCELLANEOUS SONNETS. PART SECOND. Scorn not ihe Sonnet ; Critic, you have fro wned Not Love, nor War, nor the tumultuous swell September, 1815 .... November 1. ..... Composed during a Storm To a Snow-Drop , . . . Composed a few Days afier the foregoing The Stars are mansions built by Nature's hand To the Lady Beaumont To the Lady Mary Lowther There is a pleasure in poetic pains The Shepherd, looking eastward, softly said Hail, Twilight, sovereign of one peaceful hour 1 With how saH steps, O Moon, thou climbest the sky Even as a dragon's eye that feels the stress Mark the concentred Hazels that enclose Captivity ..... Brook I whose society the Poet seeks Composed on the Banks of a rocky Stream Pure element of waters 1 whereso'er Malham Cove ..... Gordale ...... The monument commonly called Long Meg and her Daughters, near the River Eden Composed after a Journey across the Hambleton H'llls, Yorkshire .... These words were uttered as in pensive mood Composed upon Westminster Bridge, Sept. 3. 1803 Oxford, May 30. IB^JO .... Oxford, May 30. 18-20 .... Recollection of the Portrait of King Henry Eighth, Trinitv Lodge, Cambridge On the Death of His Majesty, (George the Third) June, 18-20 ..... A Parsonage in Oxfordshire Composed among the Ruins of a castle in North Wales ••.... To the Lady E. B. and the Hon. Miss P. To the Torrent at the Devil's Bridge, North Wales Though narrow be that Old Man's cares, and near Strange visitation ! at Jemima's lip When Philoctetes in the Lemnian Isle While they, who once were Anna's Playmates, tiead . . J ) To the Cuckoo The Infant M M To Rotha a To , in her seventieth Year 99 ib ib ib ib ib 100 ib ib ib ib ib ib ib 101 ib A Grave-stone upon the Floor in the cloisters of Worcester Cathedral A Tradition of Darley Dale, Derbyshire Filial Piety To R. B. Haydon, Esq., on seeing his Picture of Na- poleon Buonaparte on the Island of St. Helena Conclusion. To - In my mind's eye a Temple, hke a cloud 101 ib ib ib ib ib ib 102 ib ib ib ib ib ib ib 103 ib. ib ib ib ib ib ib 104 ib ib ib ib ib ib 105 ib ib ib ib ib ib ib 106 ib ib lb ib ib ib ib 107 ib ib I?,'DEX. XT^Xl MEMORIALS OF A TOUR IN SCOTLAND, 3803. Pas:ft Departure from the Vale ofGrasmere. Aug. 1803 107 To the Sons of Burns, after visiiing tlie Grave of their Father Ellen Irwin ; or the Braes of Kirtle To a HiglilandGirl Glen- A I main ; or, the Narrow Glen Stepping Westward The Solitary Reappr Address to Kilchnrn-Castleupou Loch Awe Rob Roy's Grave Composed at Castle Yarrow unvisited i • • In tl]e Passof Killicranky, an Invasion being e pected, October ir03 . . . . The Matron of Jedboiough and her Husband Fly, some kind Spirit, fly to Grasmere-dale The Blind Highland Boy ib JOS ib 109 ih ib 110 ib 111 ib 112 ib ib 113 MEMORIALS OF A TOUR IN SCOTLAND, 1SJ4. The Browiiie's Cell. - - - _ 515 Composed at Cora Linn, in sight of Wallace's Tower - - . . - ib Effusion, in the Pleasurr-ground on the Banks of the Bran, near Dnnkeld . . 116 Yarrow visited, September, 1814 . .117 SONNETS DEDICATED TO LIBERTY. FART FIRST. Composed by the Sea-side, near Calais, Au- gust, 1802 118 Talais, August, 1802 . . . . ib To a Friend ..... ib I grieved for Bonapnrte, &c. . . - ib Calais, August, 1.5, 1802 . . . ib On the Extinction of the Venitian Republic ib The King of Sweden . . . . ib To Toussaint I'Ouverture . . . ib Driven from the Soil of France, a Female came 119 Composed in the Valley, near Dover on the Day of Landing . . . . ib Inland, within a hollow Vale, I stood . ib Thought of a Briton on the Subjugation of Switzerland ..... ib O Friend ! I know not which way I must look ib Milton! thou should'st be living at this hour ib Great Men have been among us, &c. . ib It is not to be thought of that the Flood ib When I have borne in Memory Avhat has tamed ib One might believe that natural miseries . 120 There is a bondage worse, far worse, to bear ib These times touch moiiied Worfdings With dismay jb England I the time is come when thou should'st wean . . . . . . ib Whtin, looking on the present face of things ib To the Men of Kent . . . . ib Aniicipation , . . . . ib Another year! — another deadly blow ! . ib Ode 121 TART SECOND. On a celebrated Event in Ancient History . ib Upon the same Event . . . . ib To Thomas Clarkson, on the final passing of the Bill for the Abolition of the Slave Trade, March, 1807 ..... ib A Prophecy. February, 1807 . . ib Clouds, lingering yet, extend in solid bars 122 Go back to antique Ages, if thine eyes . ib Composed while the Author was engaged in ■writin*' a Tract, occasioned by the Conven- tion of Cintra, 1808 . . . . ib Composed at the same Time and on the same Occasion ..... ib Hofter . . . . Advance— come forth fr - - - Lines left upon a Seat in a Yew-tree, &c. Character of the happy Warrior A Poet's Epitaph . . - - To the Spade of a Friend . - - To my Sister - - - - - To a Young Lady, who had been reproached for taking long Walks in. the Country Lines written in early Spring - Simon Lee _ . - - - The Wishing-gate . . _ - Incident characteristic of a favourite Dog Tribute to the Memory of the same Dog If Nature, for a favourite Child The two April Mornings _ _ . The Fountain _ _ - - - Lines written while sailing in a Boat at Evening Remembrance of Collins - - - If Thou indeed derive thy light from Heaven Written in a blank Leaf of Macpherson's Ossian Vernal Ode . . - - - The Old Cumberland Beggar The Farmer of Tilsbury Vale The Small Celandine The Two Thieves .... Animal Tranquillity and Decay EPITAPHS AND ELEGIAC POEMS. Perhaps some needful service of the state O Thou who movest onward with a mind There never breathed a man who, when his life Destined to war from very infancy Not without heavy grief of heart did He Pause, courteous Spirit ! — Balbi supplicates Lines written on the expected Death of Mr. Fox Lines written upon hearing of the Death of the late Vicar of Kendal Elegiac Stanzas .... To the Daisy ..... On ce I could hail (howe'er serene the sky) Elegiac Stanzas ..... Invocation to the Earth Sonnet on the lato General Fast Ode . . . i . . THE EXCURSION. Preface Dedication The Wanderer The Solitary Despondency Despondency corrected The Pastor The Church-Yard among the Mountains (continued The Parsonage . . t Ode to Lycoris . - - - To the same _ _ - - Fidelity - . - - - The Gleaner . . - - To the Lady • ■ " • On the same Occasion The Force of Prayer - - - A Fact, and an imagination A little onward lend thy guiding hand September, l^^^^ Upon the same Occaeion ^Se Pillar of Trajan 187 ib ib 188 ib 189 ib ib ib 190 191 ib ib 192 ib 193 ib ib ib 194 195 ib 196 ib ib 197 ib 198 ib 199 ib ib Discourse of the Wanderer, Sec. Yarrow Revisited 202 203 20 1 il> 205 205 ib ib ib 206 ib ib ib ib 207 ib 208 ib ib 209 210 211 212 219 325 232 242 249 257 264 269 274 SONNETS. On the Departure of Sir Walter Scott from Abbots- ford, for Naples - - - - - 275 A Place of Burial in the South of Scotland - ib On the Sight of a Manse in the South of Scotland ib Composed in Roslin Chapel, during a Storm - 276 TheTrosachs ----- jb The Pibroch's Note, discountenanced or raut« ib Composedin the Glen of Loch Etive - - ib Eagles, composed at Dunollie Castle in the Bay of Oban ------ ib In the Sound of Mali - - - - ib At Tyndrum - - - - - ib The Earl of Breadalbane's ruined Mansion, and Family Burial-Place, near Killin - - ib Rest and be thankful, at the Head of Glencroe 277 Highland Hut ib Tiie Brownie - - - - - ib To the Planet Venus, an Evening Star. Composed at Loch Lomond - - - - 278 Bothwell Castle ----- ib Picture of Daniel in the Lion's Den, at Hamilton Palace ------ jb The Avon, a Feeder of the Annan - - ib Suggested by a View from an Eminence in Ingle- wGod Forest - - - - _ 277 Harfs-hom Tree, near Penrith - - ib Countess's Pillar - . - - ib Roman Antiquities. (From the Roman Station at Old Penrith) - - ~ - . - ib Apology for the foregoing - - - Ib The Highland Broach - - - - 280 xxxiv INDEX, Page The Egyptian Maid ; or, the Romance of the Water Lily 280 Ode composed on May Morning - - 283 ToMny , - - - 284 Inscription - - . . _ 285 Elegiac Musings in the Grounds of Coleorton Hall, the Seat of the late Sir George Beaumont, Bart. Epitaph ----__ ib Inscription intended for a Stone in the Grounds of Rydal Mount ----- ib Incident at Bruges - - - - ib A Jewish Family. (In a small Valley opposite St. Goar, upon the Rhine) _ . - 286 Devotional Incitements • - - ib Written in an Album - - - - 287 The Armenian Lady's Love - . - ib The Primrose of the Rock - - - 288 Presentiments _ _ - - . ib The Poet and the caged Turtledove - - 289 Chatsworth ! thy stately Mansion - - ib Desponding Father ! mark this altered Bough ib Roman Antiquities discovered, at Bishopstone, Herefordshne . - _ - - ib St. Catherine of Ledbury - - - 200 The Russian Fugitive. Part I. - - ib Part IL - - ib Part III. - - 291 Part IV. - - 292 Why art thou silent ! - - - - ib Four fiery steeds impatient of the Rein - 293 To the Author's Portrait - - - ib Gold and Silver Fishes, in a Vase - - ib Liberty. (Sequel to the above) - - ib EVENING VOLUNTARIES. Calm is the fragrant Air, and loth to lose - 294 Not in the lucid Intervals of Life - - 295 By the Side of Rydal Mere - - - ib Soft as a Cloud is yon blue Ridge - - ib The Leaves that rustled on this Oak-crowned Hill ib The Sun, that seemed so mildly to retire - 296 By the Sea-side _ - - . - ib The Sun has long been set - - - - ib Throned in the Sun's descending Car - - lb The Laborer's Noon-day Hymn - - 297 A Wren's Nest . - - - - ib Page 300 ib ib ib By the Sca-sliore, Isle of Man Isle of Man - - - - - The Retired Marine Officer, Isle of Man By a Retired Mariner (a Friend of the Author) At Bala-sala, Isle of Man. (Supposed to be written by a Friend of the Author) Tynwald Hill . - - - - Despond who will— I heard a Voice exclaim In the Frith of Clyde, Ailsa Crag. (July 17, 1833) On the Frith of Clyde. (In a Steam-boat) On revisiting Dunolly Castle . . - The Dunolly Eagle . - - _ Cave of StafFa - - - - - Cave of Staffa - - ' - Cave of Staflfa - . - - - Flowers on the Top of the Pillars at the Entrance of the Cave ----- Ontolonal What can she afford lona. (Upon landing) . - _ _ The Black Stones of lona Homeward we turn. Isle of Columba's Cell Greenock ...... ' There !" said a Stripling, pointing with meet Pride .... . . Fancy and Tradition . . . . The River Eden, Cumberland Monument of Mrs Howard (by Nollekins)in Wethe- - ral Church, near Corby, on the Banks of the Eden ib Tranquillity ! the sovereign aim wert thou Nunnery . .... Steam-boats, Viaducts, and Railways Lowther ! in thy majestic Pile are seen To the Earl of Lonsdale . . To Cordelia M Hallsteads, Ullswater Conclusion ib ib 301 ib ib ib ib ib ib 302 ib ib ib ib ib ib 303 ib ib lb ib ib 304 ib ib ib ib ib 305 COMPOSED DURING A TOUR. - ib SONNETS, 1833, Adieu I Rydalian Laurels ! that have grown Why should the Enthusiast, Journeying through this Isle - - - - - They called thee merry England, in old time To the River Greta, near Keswick To the River Derwent - - - - In Sight of the Town of Cockermouth Address from the Spirit of Cockermouth Castle Nun's Well, Brigham - - _ - To a Friend (on the Banks of the Derwent) Mary aueen of Scots (landing at the Mouth of the Derwent, Workington) la the Channel, between the Coast of Cumberland and the Isle of Man - - - - At Sea olf the Isle of Man Desire we past Illusions to recall 7 - - On entering Douglas Bay, Isle of Man 298 ib ib ib ib ib 299 ib ib ib ib ib ib Lines written in the Album of the Countess of Nov, 5. 1834 The Somnambulist To , upon the Birth of her first-born Child March, 1833 . . . . .306 The Warning, a Sequel to the foregoing. March, 1833 ...... 307 [f this great World of Joy and Pain . . ib Sonnet, composed after reading a Newspaper of the day . . . . . . ib Loving and Liking : irregular Verses addressed to a Child . . . . . ib St. Bees, suggested in a Steam-boat off St. Bees, ib Heads ib SONNETS. Deplorable his Lot who tills the Ground . 310 Tlie V'audois . . . . . ib Fiaised be the Rivers, from their Mountain-springs ib The Redbreast( suggested in a Westworeland Col- ib lage) ib To • . . . . .311 Rural Illusions . . , , . ib This Lawn, &e . . . . , ib Thought on the Seasons , . , . ib Humanity. (Written in the Year 1829) . 312 Lines suggested by a Portrait from Pencil of F . ib Stone ib The foregoing Subject resumed . . .313 Stanzas on the Power of Sound . , .314 Essay on Epitaphs . . . .315 POEMS REFERRING TO THE PERIOD OF CHILDHOOD. i. My heart leaps up when I behold A Rainbow in the sky ; So was it when my life began ; So i3 it now I am a Man ; So be it when I shall grow old, Or let me die ! The Child is Father of the man; And I could wish my days to be , Bound each to each by natural piety. n. TO A BUTTERFLY. Stay near me — do not take thy flight! A little longer stay in sight ! Much converse do I find in Thee, Historian of my Infancy ! Float near me ; do not yet depart ! Dead times revive in thee: Thou bringest, gay Creature as thou art! A solemn image to my heart, My Father's Family : Oh ! pleasant, pleasant were the days, The time, when, in our childish plays, My Sister Emmeline and I Together chased the Butterfly ! A very hunter did I rush Upon the prey .—with leaps and springs I followed on from brake to bush; But she, God love her ! feared to brush The dust from ofl" its wings. HI, FORESIGHT, OR THE CHARGE OF A CHILD TO HIS YOUNGER COMPANION. That is work of waste and ruin — Do as Charles and I are doing ! Strawberry-blossoms, one and all, We must spare them— here are many: Look at it— the Flower is small. Small and low, though fair as any: Do not touch it! summers two I am older, Anne, than you. Pull the Primrose, Sister Anne ! Pull as many as you can. —Here are Daisies, take your fill; Pansies, and the Cuckow- flower : Of the lofty Dafl!bdil Make your bed, and make your bower ; Fill your lap, and fill your bosom ; Only spare the Strawberry-blossom! Primroses, the Spring may love them — Summer knows but little of them: Violets, a barren kind, Withered on the ground must lie; Daisies leave no fruit behind When the pretty flowwete die; 1 Pluck them, and another year As many will be blowing here. God has given a kindlier power To the favoured Strawbery-flower. When the months of Spring are fled Hithpr let ws bend our walk ; Lurking berries, ripe and red. Then will hang on every stalk. Each within its leafy bower; And for that promise spare the flower I IV. CHARACTERISTICS OP A CHILD THREE YEARS OLD. Loving she is, and tractable, though wild; And Innocence hath privilege in her To dignify arch looks and laughing eyes; And feats of cunning ; and the pretty round Of trespasses, affected to provoke Mock-chastisement and partnership in play. And, as a faggot sparkles on the hearth, Not lesss if unattended and alone Than when both young and old sit gathered round And take delight in its activity. Even so this happy Creature of herself Is all-sufiicient ; solitude to her Is blithe society, who fills the air With gladness and involuntary songs. Light are her sallies as the tripping Fawn's Forth-startled from the fern where she lay couched ; Unthought-of, unexpected, as the stir Of the soft breeze ruffling the meadow flowers j Or from before it chasing wantonly The many-coloured images impressed Upon the bosom of a placid lake. > V. ADDRESS TO A CHILD, DURING A BOISTEROUS V/INTER EVENIN*. By a female Friend of the Author. What way does the Wind come 1 What way does he gol He rides over the water, and over the snow, Through wood, and through vale; and o'errocky height, Which the goat cannot climb, takes his sounding flight; He tosses about i:i every bare tree. As, if you look up, you plainly may see; But how he will come, and whither he goes There's never a Scholar in England knows. i He win suddenly stop in a cunning nook. And rings a sbarp 'larum ;— but, if you should loo^, There's nothing to see but a cushion of snow Round as a pillow, and whiter than milk. And softer than if it were cover'd with silk. Sometimes he'll hide in the cave of a rock, Then whistle as shrill as the buzzard cock ; — Yet seek him, — and what shall you find in the place 1 Nothing but silence and empty space ; Save, in a corner, a heap of dry leayeit, That he'i left, for a bed, to beggars or thieves ! .« W 2 POEMS REFEimiNa TO THH PEIIIOD OP CHILDHOOD. Ab soon as 'tis daylight, to-rnonow, with me You sliall go to the orchard, and then you will see That he has been there, and made a great rout. And cracked the branches, and strewn them about ; Heaven grant that he spare but that one upright twig That looked up at the sky so proiid and big All last summer, as well you know. Studded with apples, a beautiful show J Hark ! over the roof he makes a pause, And growls as if he would fix his claws Right in the slates, and with a huge rattle Drive them down, like men in a battle: — But let him range round ; he does us no harm, We build up the fire, we're snug and warm ; Untouched by his breath sec the candle shines bright. And burns with a clear and steady light; Books have we to read,— but that half-stifled knell, Alas ! 'tis the sound of the eight o'clock bell. —Come now we'll to bed ! and when we are- there He may work his own will, and what shall we care? He may knock at the door, — we'll not let him in; May drive at the windows, — we'll laugh at his din ; Let him seek his own home wherever it be ; Here's a cozie warm house for Edward and me. VI. THE MOTHER'S RETURN. By the same. A MONTH, sweet Little-ones, is passed Since your dear Mother went away, — And she to-morrow will return; To-morrow is the happy day. blessed tidings ! thought of joy ! The eldest heard with steady glee ; Silent he stood ; then laughed amain, — And shouted, "Mother, come to me!" Louder and louder did he shout, With witless hope to bring her near ; " Nay, patience ! patience, little boy ! Your tender mother cannot hear." 1 told of hills, and far-off towns, And long, long vales to travel through ;— He listens, puzzled, sore perplexed. But he submits ; what can he do 1 No strife disturbs his Sister's breast ; She wars not with the mystery Of time and distance, night and day, The bonds of our humanity. Her joy is like an instinct, joy Of kitten, bird, or summer fly ; She dances, runs without an aim. She chatters in her ecstasy. Her brother now takes up the note, And echoes back his Sister's glee ; They hug the Infant in my arms. As if to force his sympathy. Then, settling into fond discourse, We rested in the garden bower ; While sweetly shone the evening sun In his departing hour. We told o'er all that we had done, — Our rambles by the swift brook's side Far as the willow-skirted pool, Where two fair swans together glide. We talked of change, of winter gone. Of green leaves on the hawthorn spray, Of birds that build their nests and sing, ^nd " all since Mother went away!'*' To her these tales they will repeat, To her our new-born tribes will sho'W, The goslings green, the ass's colt. The lambs that in the meadow go. — But, see, the evening Star comes forth I To bed the Children must depart ; A moment's heaviness they feel, A sadness at the heart : 'Tis gone — and in a merry fit They run up stairs in gamesome race; I, too, infected by their mood, I could have joined the wanton chase. Five minutes past — and, O the change I Asleep upon their beds they lie; Their busy limbs in perfect rest, And closed the sparkling eye. VII. LUCY GRAY ; OR, SOLITUDE. Oft I had heard of Lucy Gray : And, when 1 crossed the Wild, I chanced to see at break of day The solitary Child. No Mate, no comrade Lucy knew ; She dwelt on a wide Moor, — The sweetest thing that ever grew Beside a human door I You yet may spy the Fawn at play, The Hare upon the Green ; But the sweet face of Lucy Gray Will never more be seen. "To-night will be a stormy night — You to the Town must go ; And take a lantern. Child, to light Your mother through the snow." " That, Father ! will I gladly do : 'Tis scarcely afternoon — The Minster-clock has just struck two, And yonder fs the Moon.*^' At this the Father raised his hook. And snapped a faggot-band; He plied his work ; — and Lucy took The lantern in her hand. Not blither is the mountain roe : With many a wanton stroke Her feet disperse the powdery snow, That rises up hke smoke. The storm came on before its time : She wandered up and down ; And many a hill did Lucy climb ; But never reached the town. The wretched parents all that night Went shouting far and wide ; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlooked the Moor ; And thence they saw the Bridge of wood, A furlong from their door. They wept— and, turning homeward, cried, "In Heaven we all shall meet:" —When in the snow the mother spied The print of Lucy's feet. Half breathless from the steep hill's edge They tracked the footmarks small ; >OEMS REFERRING TO THE PERIOD OF CHILDHOOD. And through the broken hawthorn-hedge, And by the long stone-wall ; And then an open field they crossed : The marks were still the same ; They tracked them on, nor ever lost ; And to the Bridge they came. They followed from the snowy bank Those footmarks, one by one, Into the middle of the plank ; And further tliere were nonei — Yet some maintain that to this day She is a living Child ; That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind ; And sings a solitary song That whistles in tlie wind. VIII. WE ARE SEVEN. A simple Child, That lightly draws its breath. And feels its life in every limb, What should it know of death 1 I met a little cottage Girl: SJie was eight years old, she said ; Her hair was thick with many a curl That clustered round her head. She had a rustic, woodland air. And she was wildly clad : Her eyes were fair, and very fair; — Her beauty made me glad. " Sisters and brothers, little Maid, How many may you he ?" *' How many 1 Seven in all," she said. And wondering looked at me. "' And where are they 1 I pray you tell." She answered, "Seven are we; And two of us at Conway dwell, And two are gone to sea. Two of us in the church-yard lie, My sister and my brother ; And, in the church-yard cottage, I Dwell near them with my mother." *' You say that two at Conway dwell, And two are g»ne to sea, Yet ye are seven ! — I pray you tell. Sweet Maid, how this may be." Then did the little Maid reply, " Seven boys and girls are we ; Two of us in the church-yard lie, Beneath the church-yard tree." " You run about, my little Maid, Your limbs they are alive ; If two are in the church-yard laid, Then ye are only five." " Their graves are green, they may be seen," The little Maid replied, " Twelve steps or more from my mother's door. And they are side by side. My stockings there I often knit, My kerchief there T hem ; And there upon the ground I sit— I Bit and sing to them, ^^ 9m And often after sun-set, Sir, When it is light and fair, I take my little porringer. And eat my supper there. The first that died was little Jane ; In bed she moaning lay, Till God released her of her pain ; And then she went away. So in the church-yard she was laid ; And, when the grass was dry, Together round her grave we played, My brother John and I. And when the ground was white with snoWj And I could run and slide. My brother John was forced to go, And he lies by her side." "How many are you, then," said I, " If they two are in Heaven ?" The little Maiden did reply, " O Master ! we are seven." " But they are dead; those two are dead! Their spirits are in Heaven I" 'Twas throwing words away : for still The little Maid would have her will. And said, " Nay, we are seven!" IX. ANECDOTE FOR FATFIERS, SHOWING HOW THE PRACTICE OF LYING MAY BB TAUGHT. I HAVE a boy of five years old ; His face is fair and fresh to see; His limbs are cast in beauty's mould, And dearly he loves me. One morn we strolled on our dry walk. Our quiet home all full in view, And held such intermitted talk As we are wont to do. My thoughts on former pleasures ran; I thought of Kilve's delightful shore. Our pleasant home when Spring began, A long, long year before. A day it was when I could bear Some fond r-^grets to entertain ; With so much happinesss to spare, I could not feel a pain. The green earth echoed to the feet Of lambs that bounded through the glade. From shade to sunshine, and as fleet From sunshine back to shade. Birds warbled round me— every trace Of inward sadness had its charm ; " Kilve," said I, " was a favoured place And so is Liswyn farm," My boy was by my side, so slim And graceful in his rustic dress! And, as we talked, I questioned him, In very idleness. " Now tell me, had you rather be," I said, and took him by the arm, " On Kilve's smooth shore, by the green sea Or here at Liswyn farm ?" In careloss mood he looked at me, While still I held him by the arm, And said, " At Kilve I'd rather be Than here at Liswyn farm." #;*- '^ '^. «3? %^ * € ■t* i roSMS REfKRRlNO TO THB PHftlOD OF CHILDHOOD. And, looking o'er the hedge, before: me I eipfed A enow-white mountain Lamb with a Maiden at itf side. No J other sheep were near, the Lamb was all alonr, And by a slender cord was tethered to a stone ; With one knee on the grass did the little Maiden kneel, While to that Mountain Lamb she gave its evening meal. The Lamb, while from her hand he thus his supper took, Seem'd to feast with head and ears; and his tafl with pleasure shook. " Drink, pretty Creature, drink," she said in such a tone, Th3t I almost received her heart into my own. " Now, little Edward, say why so; My little Edward, tell me why." — " I cannot telJ, I do not know." — > *' Why, this is strange," said 1; " For, here are woods, and green-bills warm There surely must some reason be Why you would change sweet Liswyn farm For Kilve by the green sea." At this, my Boy hung down his head, He blushed with shame, nor made reply ; And five times to the Child I said, •' Why, Edward, ttll me why 7" His head he raised — there was in sight, It cauglit his eye, he saw it plain — Upon tlie house-top, glittering bright, A broad and gilded Vane. Then did the Boy his tongue unlock; And thus to me he made reply: ■^" At Kilve there was no weathercock, *in the water still ; And heron, as resounds the trodden shore, Shoots upward, darling his long neck before. Now, with religious awe, the farewell light Blends with the solemn colouring of the night ; 'Mid groves of clouds that crest the mountain's brow. And round the West's proud lodge Iheirshadows throw, Like Una shining on her gloomy way. The half-seen form of Twilight roams astray; Shedding, through paly loopholes mild and small. Gleams that upon the lake's still bosom fall. Soft o'er the surface creep those lustres pale Tracking the fitful motions of the gale. With restless interchange at once the bright Wins on the shade, the shade upon the light. No favoured eye was e'er allowed to gaze On lovelier spectacle in faery days; When gentle Spirits urged a sportive chase. Brushing with lucid wands the water's face; While music, stealing round the glimmering deeps, Charmed the tall circle of the enchanted steeps. — The lights are vanished from the watery plains No wreck of all the pageantrj' remains. Unheeded night has overcome the vales: On the dark earth the baffled vision fails ; The latest lingerer of the forest train. The lone black fir, forsakes the faded plain ; Last evening sight, the cottage smoke, no more, Lost in the thickened darkness, glimmers hoar ; And, towering from the sullen dark-brown mere, Like a black wall, the mountain steeps appear. — Now o'er the soothed accordant heart we feel A sympathetic twilt^'^ht slowly steal, And ever, as we fondly muse, we find The soft gloom deepening on the tranquil mind. Stay ! pensive, sadly-pleasing visions, stay ! Ah no ! as fades the vale, they fade away : Yet still the tender, vacant gloom remains; Still the cold cheek its shuddering tear retains. The bird, who ceased, with fading light to thread Silent the hedge or steaming rivulet's bed, From his grey re-appearing tower sh.tll s^ocm Salute with boding note the rising moon, Frosting with hoary light the pearly ground, And pouring deeper blue to Other's bound; ', And pleased her solemn pomp of clouds to fold In robes of azure, fleecy -white, and gold. See, o'er the ecfstern hill, where darkness broods O'er all its vanished dells, and lawns, and woods; Where but a mass of shade the sight can trace, She lifts in silence up her lovely face: Above the gloomy valley flings her light. Far to the western slopes v/ith hamlets white; And gives, where woods the chequered upland strew, To the green corn of summer autumn's hue. Thus Hope^, first pouring from her blessed horn Her dawn, far lovelier than the Moon's own mom ; 'Till higher nrounted, strives in vain to cheer The weary hills, impervious, blackening near ; —Yet does she still, undaunted, throw the while' On darling spots remote her tempting smile. — Even now she decks for me a distant scene, (For dark and broad the gulf of time between) Gilding that cottage with her fon^st ray, (Sole bourn, sole wish, sole object of my way; How fair its lawns and sheltering woods appear f How sweet its streamlet murmurs in mine ear!) Where we, my Friend, to happy days shall rise, "" Till our small share of hardly paining sighs (^For sighs will ever trouble human breath) Creep hushed into the tranquil breast of Deat&, But now the clear bright Moon her zenith gain?. And rimy without speck extend the plains; The deepest dell the mountain's front displays Scarce hides a shadow from her searching rays; From the dark-blue "faint silvery threads" divide The hills, while gleams below the azure tide ; The scene is wakened, yet its peace unbroke, By silvered wreaths of quiet charcoal smoke, That, o'er the ruins of the fallen wood, Steal down the hills, and spread along the flood. The song of mountain streams, unheard by day> Now hardly heard, beguiles my homeward way. Air listens, as the sleeping water still, To catch the spiritual music of the hill, Broke only by the slow clock tolling deep, Or shout that wakes the ferry-man from sleep, ?oon followed by his hollow-parting oar. And echoed hoof approaching the far shore ; Sound of closed gate, across the water borne, Hurrying the feeding hare through rustling com j The tremulous sob of the complaining owl ; And at long intervals the mill-dog's howl ; The distant forge's swinging thump profound ; Or yell, in the deep woods, of lonely hound. DESCRIPTIVE SKETCHES TAKEN DURING A PEDESTRIAN TOUR AMONG THE ALPS. TO THE REV. ROBERT JONES, j-ellow of st. john's college, cambridge. Bear Sir, However desirous I might have been of giving you by thus jmblicly addressing j'ou, had not the circum- stance of my having accompanied you amongst the Alps, seemed to give this dedication a propriety sufficient to do away any scruples which your modesty might other- wise have suggested. In inscribing this little work to you, I consult my heart. You know well how great is the difference be- proofs of the high place you hold in my esteem, I tween two companions lolling in a post-chaise, and two should have been cautious of wounding your delicacy travellers plodding slowly along the road, side by side. DESCRirTlVE SKETCtiES, II each with his little knapsack of necessaries upon his shoulders. How much more of heart between the two Kitter I I am happy in being conscious I shall have one reader who will approach the conclusion of these few pages with regret. You they must certainly interest, in reminding you of moments to which you can hardly look back without a pleasure not the less dear from a shade «f melancholy. You will meet with few images with- <3ut recollecting the spot where we observed them to- gether ; consequently, whatever is feeble in my design, or spiritless in my colouring, Will be amply supplied by your own memory. With still greater propriety I might have inscribed to you a description of some of the features of your native mountains, through which we have wandered together, in the same manner, with so much pleasure. But the sea-sunsets, which give such splendour to the vale of Clwyd, Snowdon, the chair of Idris, the quiet village of Bethgelert, Menai and her Drufds, the Alpine steeps of the Conway, and the still more interesting windings of the wizanl stream of the Dee, remain yet untouched. Apprehensive that my pencil may never be exercised on these subjects, I cannot let slip this oppor- tunity of thus publicly assuring you with liow much aflectioii and esteem I am, dear Sir, Most sincerely yours, VV. WORDSWORTH. L.ondon^ 1793. in. DESCRIPTIVE SKETCHES. Happiness {if she had been to he found on Earth) amongst the Charms of J^ature — Pleasures of the pedestrian Traveller — Author crosses France to the Jilps — Present State of tfie Grande Chartreuse — Lake of Como — Time, Sunset — Same Scene, Tu:i- light — Same Scene, J\Iorning, its voluptuous Cha- racter ; Old Man and Forest Cottage Music — River Tusa — Via Mala and Grison Gipsij — Sckcllenen- thal — Lake of Uri — Stormy Sunset — Chapel of Wil- liam Tell — Force of Local Emotion — Chamois-chaser — View of the higher Alps — Manner of IJfe of a Siciss Mountaineer, interspersed with Views of the higher Alps — Golden Age of the Alps — Life and Views continued — Ram dcs Peaches, famous Swiss Ail — Abbey of Einsiedlen audits Pilgrims — Valley of Chamouny — Mont Blanc — Slavery of Savoy — Injluence of Liberty on Cottage Happiness — France — Wish for the extirpation of Slavery — Conclusion. Were there, below, a spot of holy ground Where from distress a refuge might be found, And solitude prepare the soul for heaven ; Sure, Nature's God that spot to man had given Where falls the purple morning far and wide In flakes of light upon the mountain side ; Where with loud voice the power of waters shakes The leafy wood, or sleeps in quiet lakes. Yet not unrecompensed the man shall roam, Who at the call of summer quits his home^ And plods through some far realm o'er vale and height. Though seeking only holiday delight ; At least, not owning to himself an aim To which the Sage would give a prouder name. No gains too cheaply earned his fancy cloy, Though every passing zephyr whispers joy ; Brisk toil, alternating with ready ease. Feeds the clear current of his sympathies. For him sod seats the cottage door adorn ; And peeps the far-off spire, hii evening bourn I Dear is the forest frowning o'er his head, And dear the velvet green-sward to his tread : Moves there a cloud o'er mid-day's flaming eye 1 Upward he looks—" and calls it luxury ;" Kind Nature's chanties his steps attend ; In every babbling brook he finds a friend ; While chastening thoughts of sweetest use, bestowed By Wisdom, morahse his pensive road. Host of his welcome inn, the noon-tide bower, To his spare meal he calls the passing poor ; He views the Sun uplift his golden fire, Or sink, with heart alive like Memnon's lyre* j Blesses the Moon that comes with kindly ray. To light him shaken by his rugged way ; With bashful fear no cottage children steal From him, a brother at the cottage meal ; His humble looks no shy restraint impart. Around him plays at will the virgin heart. While unsuspended wheels the village dance, The maidens eye him with enquiring glance, Much wondering what sad stroke of crazing Card Or desperate Love could lead a Wanderer there. Me, lured by hope its sorrows to remove, A heart that could not much itself approve O'er Gallia's wastes of corn dejected led. Her road elms rustling high above my head. Or through her truant pathways' native charms, By secret villages and lonely farms. To where the Alps ascending white in air. Toy with the sun, and glitter from afar. Even now, emerging from the forest's gloom, I heave a sigh at hoary Chartreuse' doom. Where now is fled that Power whose frown severe Tamed " sober Reason" till she crouched in fear 1 The cloister startles at the gleam of arms, And Blasphemy the shuddering fane alarms ; Nod the cloud-piercing pines their troubled heads ; Spires, rocks, and laWns, a browner night o'erspreads ; Strong terror checks the female peasant's sighs. And start the astonished shades at female eyes. That thundering tube the aged angler hears, And swells the groaning torrent with his tears ; From Bruno's forest screams the affrighted jay, And slow the insulted eagle wheels away. The cross, by angels on the aerial rock Plantedf, a flight of laughing demons mock. The " parting Genius" sighs with hollow breath Along the mystic streams of Life and Death. J Swelling the outcry dull, that long resounds Portentous through her old woods' trackless bounds, Vallombre, ^ 'mid her falling fanes, deplores, For ever broke, the sabbath of her bowers. More pleased, my foot the hidden margin rovea Of Como, bosomed deep in chesnut groves. No meadows thrown between, the giddy steeps Tower, bare or sylvan, from the narrow deeps. — To towns, whose shades of no rude sound complain^ To ringing team unknown and grating wain, To flat-roofed towns, that touch the water's bounds Or lurk in woody sunless glens profound, Or, from the bending rocks, obtrusive chng. And o'er the whitened wave their shadows fling, The pathway leads, as round the steeps it twinesj And Silence loves its purple roof of vines ; The viewless lingerer hence, at evening, sees From rock-hewn steps the sail between the trees ; * The lyre of Memnon is reported to have emitted melancholy or cheerful tones, as it was touched by the sun's evening or morning rays. t Alluding to crosses seen on the tops of the spiry rocks of Chartreuse, which have every appearance of being inaccessible. i Names of Rivers at the Chartreuse. $ Name of one of the valleys of the Chartreuse^ 1% TESCRIPTIVE SKETCHED. Or marks, 'mid opening cliffs, fair dark-eyed maids Tend the small-harvest of their garden glades, Or stops the solemn mountain-shades to view Stretch, o'er the pictured mirror, broad and blue, Tracking the yellow sun from sleep to steep, As up the opposing hills with tortoise foot they creep. Jlere, half a village shines, in gold arrayed, I^right as the moon ; half hides Itself in shade ; While, from amid the darkened roofs, the spire, Restlessly flashing, seems to mount like fire ; There, all unshaded, blazing forests throw Rich golden verdure on the waves below. Slow glides the sail along the illumined shore, And steals into the shade the lazy oar ; Soft bosoms breathe around contagious sighs, And amorous music on the water dies. How blessed, delicious scene ! the eye that greets Thy open beauties, or thy lone retreats ; The unwearied sweep of wood thy cliffs that scales The never-ending waters of thy vales ; The cots, those dim religious groves embower, Or, under rocks that from the water tower. Insinuated, sprinkling all the shore ; F.ach with his household boat beside the door, AVho?e flaccid sails in forms fantastic droop. Brightening the gloom where thick the forests stoop ; —Thy torrents shooting from the clear-blue sky, Thy towns, that cleave like swallow nesis, on high ; That glimmer hoar in eve's last light, descried Dim from the twilight water's shaggy side, Whence lutes and voices down the enchanted Woods Steal, and compose the oar-forgotten floods ; —Thy lake, 'mid smoking woods, that blue and grey Gleams, streaked or dappled, hid from morning's ray Slow travelling down the western hills, to fold Its green-tinged margin in a blaze of gold •, From thickly-glittering spires, the matin bell Calling the woodman from his desert cell, A sunrmons to the sound of oars that pass Spotting the steaming deeps, to early mass ; Slow swells the service, o'er the water borne, AVhile fill each pause the ringing woods of morn. Farewell those forms that in thy noon-tide shade Rest near their little plots cf wheaten glade; Those charms that bind the soul in powerless trance. Lip-dewing song, and ringlet-tossing dance. Where sparkling eyes and breaking smiles illume The sylvan cabin's lute-enlivened gloom. Alas! the very murmur of the streams Breathes o'er the failing soul voluptuous dreams, AVhile Slavery, forcing the sunk mind to dwell On joys that might digsrace the captive's cell, Her shameless timbrel shakes on Como's marge, And winds, from bay to bay, the vocal barge. Yet arts are thine that soothe the unquiet heart. And smiles to Solitude and Want impart. I loved by silent cottanc-docrs to roam, The far-oft' peasatit's day-deserted home ; And once I pierced the mazes of a wood. Where, far from public haunt, a cabin stood ; There by the door a hoary-headed Sire Touched with his withered hand an ancient lyre ; Beneath an old grey oak, as vioFets lie. Stretched at his eet with st< adfast, upward eye, His children's children joined the holy sound —A Hermit with his family around ! But let us hence, for fair Locarno smiles Embowered in walnut slopes and citron isles; Or seek at eve the banks of Tusa's stream, Whil ^ 'mid dim towers and woods, her* waters gleam ; From the briglit wave, in solemn gloom, retire The dull-red steeps, and, darkening still, aspire * The river along whose banks you descend in. croESii'g the Alps by the Simplon Paee. To where afar rich orange lustres gloW Round undistinguished clouds, and rocks, and sno^J- Or, led where Via Mala's chasms confine The indignant waters of the infant Rhine, Hang o'er the abyss .—the else impervious gloom His burning eyes with fearful light illume. The Grison gipsy here her lent hath placed, Sole human tenant of the piny waste ; Her tawny skin, dark eyes, and glossy locks. Bend o'er the smoke that curls beneath the rocks, —The mind condemned, without reprieve, to go O'er life's long deserts with its charge of woe, With sad congratulation joins the train, Where beasts and men together o'er the plain Move on— a mighty caravan of pain ; Hope, strength, and courage, social suffering brings. Freshening the waste of sand with shades and spring*, .SVic, solitary, through the desert drear Spontaneous wanders, hand in hand with Fear. A giant moan along the forest swells Protracted, and the twilight storm foretells, And, ruining from the cliffs, their deafening load Tumbles,— the wiklering Thunder slips abroad; On the high summits Darkne&'s comes and goes. Hiding their fiery clouds, their rocks, and snows ; The torrent, traversed by the lustre broad. Starts, like a horse beside the fl"ashing road ; fn the roofed bridge*, at that terrific hour, She seeks a shelter from the battering shower. — Fierce comes the river down ; the crashing w-aod Gives way, and half its pines torment the flood ; Fearful, beneath, the Wate.*^- spirits call,t And the bridge vibrates, tottering to its fall. — Heavy, and dull, and cloudy i3 the night: No star supplies the comfort of its light, A single taper in the vale profound Shifts, while the Alps dilated glimmer round ; And, opposite, the waning Moon hangs still And red, above her melancholy hill. By the deep quiet gloom appalled, she sighs. Stoops her sick head, and shuts her weary eyes. She hears, upon the mountain forest's brow. The death-dog, howling loud and long below ; On viewless fingers counts the valley-clock. Followed by drowsy crow of midnight cock. The dry leaves stir as with a serpent's walk, And, far beneath, Banditti voices talk ; Behind her hill, the Moon, all crimson, rides, And his red eyes the slinking Water hides. — Vexed by the darkness, from the piny gulf Ascending, nearer howls the famished wolf. While through the stillness scatters \AnId dismay Her babe's small cry, that leads him to hits prey. Now, passing Urseren's open vale serene. Her quiet streams, and hills of downy green. Plunge with the Russ embrowned by terror's breath, Where danger roofs the narrow walks of death ; By floods, that, thundering from their dizzy height, Swell more gigantic on the stedfast sight; Black drizzling crags, that, beaten by the din. Vibrate, as if a voice complained within ; Bare steeps, where Desolation stalks, afraid, Unsfedfast, by a blasted yew upstayed ; By ccllst whose iniajie trembling as he prays. Awe struck, the kneeling peasant scarce surveys ; * INIost of the bridges among the Alps are of wood, and coyered : these bridges have a heavy appearance, and rather injure the eflectof the scenery in some places. t " Red came the river down, and loud and oft The angry Spirit of the water shrieked." Home'5 Douglas. t The Catholic religion prevails here : these cells are, as is well known, very common in the Catholic countries, planted, like the Roman tombs, along the road Bide. DESCRIPTIVE SKETCHES. 13 Loose-bangin? rocks the Day's blessed ej'e that hide, And crosses* reared to Death on every side, Which with cold kiss Devotion planted near. And, bending, watered with the human tear, That faded " silent from her upward eye. Unmoved with each rude form of Danger nigh. Fixed on the anchor left by Ilim who saves Alike in whelming snows and roaring waves. On as we move, a softer prospect opes. Calm huts., and lawns between, and sylvan slopes, While mists, suspended on the expiring gale, Moveless o'erhang the deep secluded vale, The beams of evening, slipping soft between. Gently illuminate a sober scene ; Winding its dark-green wood and emerald glade. The still vale lengthens underneath the shade ; While in soft gloom the scattering bowers recede. Green dewy lights adorn the freshened mead. On the low brown wood-liutst delighted sleep Along the brightened gloom reposing deep : While pastoral pipes and streams the landscape lull. And bells of passing mules that tinkle dull, In solenm shapes before the admiring eye Dilated hang the misty pines on high. Huge convent domes with pinnacles and towers. And antique castles seen through drizzling slio^vers. From such romantic dreams, my snnl, awake! Lo I Fear looks silent down on Uri's lake. Where, by the unpathwayed margin, still and dread. Was never heard the plodding peasant's tread. Tower like a wall the naked rocks, or reach Far o'er the secret water dark with beech ; More high, to where creatifm seems to end. Shade above shade, the aerial pines ascend, Yet with his infants Man undaunted creeps And hangs his small wood-cabin on the steeps. Where'er below amid the savage scene Peeps out a little speck of smiling green, A garden-plot the desert air prefumes, 'Mid the dark pines a little orchard blooms; A zig-zag path from the domestic skiff, Thridding the painful crag, surmounts the cliff. — Before those hermit doors, that never know The face of traveller passing to and fro. No peasant leans upon Ijis pole, to tell For whom at morning tolled ihe funeral bell ; Their watch-dog ne'er his angry bark foregoes. Touched by the beggar's moan of human woes; Tlie gras.-y seat beneath their casement shade The pilgrim's wistful eye haih never stayed. — There, did the iron Genius not disdain The gentle Povver that haunts the myrtle plain. There, might the love-sick maiden sit, and chide The insuperable rocks and severing tide ; There, watch at eve her lover's sun-gilt sail Approaching, and upbraid the tardy gale : There, list at midnight till is heard no more. Below, the echo of his parting oar. 'Mid stormy vapours ever driving by. Where ospreys, cormorants, and herons cry, Hovering o'er rugged wastes too bleak to rear That common growth of earth, the foodful ear; Where the green apple shrivels on the spray. And pines the unripened pear in summer's kindliest ray •_ Even here Content has fixed her smiling reign With Independence, child of high Disdain. Exulting 'mid the v/inter of the bkics, Shy as the jealous chamois, Freedom flies, And often grasps her sword, a»d often eyes; * Crosses commemoraiive of the Deaths of travel- lers by the fall of snow and other accidents are very common along this dreadful road. t The Jiouses in the more retired Swiss valleys are all built of wood. Her crest a bough of Winter's bleakest pine, Strange " weeds" and Alpine plants her helm entwine ,' And, wildly pausing, oft she hangs aghast. While thrills the "Spartan fife" between the blasts 'Tis storm ; and, hid in mist from hour to hour, All day the floods a deepening murmur pour ; The sky is veiled, and every cheerful sight: Dark is the region as with coming night ; But what a sudden burst of overpowering light I Triumphant on the bosom of the storm, Glances the fire-clad eagle's wheeling form ; Eastward, in long perspective glittering, shine The wood-crowned clitis that o'er the lake recline; Wide o'er the Alps a hundred streams unfold. At once to pillars turned that flame vv-ith gold: Behind his sail the peasant strives to shun The west, that burns like one dilated sun. Where in a mighty crucible expire The mountains, glowing hot like coals of fire. But, lo ! the Boatman, overawed, before The pictured fane of Tell suspends his oar ; ''"onfused the Marathonian tale appears, While burn in nis full eyes the glorious tears. And who that walks where men of ancient days Flave wrought with godlike arm the deeds of praise^ Feels not the spirit of the place control, Exalt, and agitate, his labouring soul 1 Say, wlio by tliinking on Canadian hills. Or wild Aosta lulled by Alpine rills, On Zuiphen's plain ; or where, witii softened gaze The old grey stones the plaided chief surveys ; Can guess the high resolve, the cherished pain, Of him whom passion rivets lo the plain, [.~igb, Where breathed the gale that caught Wolfe's happiest And the last sunbeam fell on Bayard's eye j Where bleeding Sidney from the cup retired. And glad Dundee in " faint huzzas" expired"? But now with other mind I stand alone Upon tlie summit of this naked cone. And watch, from pike to pike,* an)id the sky, Small as a bird the chamois-chasei fly, t Through vacant worlds where Nature never gave' A brook to mumnir or a bough to wave. Which unsubstantial Phantoms sacred keep ; Thro' worlds where Life, and sound, and Motion sleep; Where Silence still her death-like reign extends. Save when the startling cliff unfrequent rends; In the deep snow the niighty ruin drowned. Mocks the dull ear of Time with doaf abotive sound. — 'Tis his while wandering on, from height to height, To see a planet's pomp and steady light In the least star of scarce-appearijig night. While the near Moon, that coasts the vast profound, Wheels pale and silent her diminished round, And far and wide the icy summits blaze, Rejoicing in the glory of her rays: To him the day-star glitters small and brighf, Shorn of its beams, insufferably white, And he can look beyond the sun, and view Those fast-receding depths of sable blue. Flying till vision can no nrore pursue I — At once bewildering mists around him close, And cold and hunger are his least of woes ; The Demon of the snow, with angry roar Descending, shuts for aye his prison door. Then with Despair's whole weight his spirits sink, No bread to feed him, and the snow his drink, While, ere his eyes can close upon the day. The eagle of the Alps o'crshades her prey. * Pike is a word very commonly used in the north of England, to signify a high mountain of the conic form, as Langdale pike, &c. t For most of the images in the next sixteen ver- ses I am indebted to M. Raymond's interesting ob- servations annexed to his translation of Coxe'i Tour ' in Switzerland. u DESCRIPTIVE SKETCHES. Hence shall we turn where, heard with fear afar, Thunders through echoing pines the headlong Aar 7 Or rather stay to taste the mild delights Of pensive Underwalden's* pastoral heights 1 — Is there who 'mid these awful wilds has seen The native Genii walk the mountain greeji 1 Or heard, while other worlds their charms reveal, Soft music from the aerial sunimil steal 1 While o'er the desert, answering every close, Rich steam of sweetest perfume comes and goes. — And sure there is a secret Power that reigns Here, where no trace of man the spot profanes. Nought! but the herds that, pasturing upward, creep, Hung dim-discovered from the dangerous steep, Or summer handct, flat and bare, on high Suspended, 'mid the quiet of the sky. How still ! no irreligious sound or sight Rouses the soul from her severe delight. An idle voice the sabbath region fills Of Deep that calls to Deep across the hills, Broke only by the melancholy sound Of drowsy bolls, for ever tinkling round ; Faint wail of eagle melting into blue Beneath the dirts, and pine-woods' steady 5M^/i if ; The solitary heifer's deepened low ; Or rumbling, heard remote, of falling snow ; Save when, a stranger seen below, the boy Shouts from the echoing hills with savage joy. When warm from myrtle bays and tranquil seas. Comes on, to whisper hope, the vernal breeze, When liums the mountain bee in May's glad ear, And emerald isles to spot the heights appear, When shouts and lowing herds the valley fill. And louder torrents stun the noon-tide hill. When fragrant scents beneath the enchanted tread Spring up, his choicest wealth around him spread. The pastoral Swiss begins the cliffs to scale, To silence leaving the deserted vale ; Mounts, where the verdure leads, from stage to stage, And pastures on, as in the Patriarchs' age : O'er, lofty heights serene and still they go, And hear the rattling thunder far below; They cross the chasmy torrent's foam-lit bed, Rocked on the dizzy larch's narrow tread ; Or steal beneath loose mountains, half deterred, That sigh and shudder to the lowing herd. — I see him, up the midvi^ay cliff he creeps To where a scanty knot of verdure peeps. Thence down the steep a pile of grass he throws. The fodder of his herds in winter snows. Far different life to what tradition hoar Transmits of days more blest in times of yore ; Then Summer lengthened out his season bland. And with rock-honey flowed the happy land. Continual fountains welling cheered the waste, And plants were wholesome, now of deadly taste. Nor Winter yet his frozen stores had piled, Usurping where the fairest herbage smiled ; Nor Hunger forced the herds from pastures bare For scanty food the treacherous cliffs to dare. Then the milk-thistle bade those herds demand Three times a day the pail and welcome hand. But human vices have provoked the rod Of angry Nature to avenge her God. Thus does the father to his sons relate. On the lone mountain-top, their changed estate. Still, Nature, ever just, to him imparls Joys only given to uncorrupted hearts. * The people of this Canton arc supposed to be of a more melancholy disposition than the other inhabitants of the Alps : this, if true, may proceed from their li- ving more secluded. t This picture is from the middle region of the Alps. X Sugh, a Scotch word expressive of the sound of the wind through the treee. 'Tie morn: with gold the verdant mountain glows'; More high, the snowy peaks with hues of rose. Far-stretched beneath the many-tinted hills, A mighty waste of mist the valley fills, A solemn sea ! whose vales and mountains round Stand motionless, to awful silence bound : A gulf of gloomy bl«e, that opens wide And bottomless, divides the midway tide ; Like leaning masts of stranded ships appear The pines that near the coast their summits rear} Of cabins, woods, and lawns, a pleasant shore Bounds calm and clear the chaos still and hoar ; Loud through that midway gulf ascending, sound Unnumbered streams with hollow roar profound : Mount through t;.e nearer mist the chant of birds, And talking voices, and the low of herds, The bark of dogs, the drowsy tinkling bell, And wild-Wood mountain lutes of saddest swell. Think not, suspended from the cliff on high, He looks below with undelighted eye. — No vulgar joy is his, at even-tide Stretched on the scented mountain's purple side: For as the pleasures of his simple day Beyond his native valley seldom stray. Nought round its darling precincts can he find But brings some past enjoyment to his mind. While Hope, that ceaseless leans on Pleasure's urn, Binds her wild wreaths, and whispers his return. Once Man entirely free, alone and wild Was blessed as free — for he was Nature's child. He, all superior but his God disdained. Walked none restraining, and by none restrained, Confessed no law but what his reason taught. Did all he wished, and wished but what he ought. As Man in his primeval dower arrayed The image of ?)is glorious Sire displayed. Even so, by vestal Nature guarded, here The traces of primeval Man appear ; The native dignity no forms debase, The eye sublime, and surly lion-grace. The slave of none, of beasts alone the lord, His book he prizes, nor neglects his sword ; Well taught by that to feel his rights, prepared With this " the blessings he enjoys to guard." And, as his native hills encircle ground For many a wondrous victory renowned. The work of Freedom daring to oppose, With few in arms*, innumerable foes. When to those glorious fields his steps are led. An unknown power connects him with the dead: For images of other worlds are there ; Awful the light, and holy is the air. Uncertain through his fierce uncultured soul. Like lighted tempests, troubled transports roll} To viewless realms his Spirit tovvers amain, Keyond the senses and their little reign. And oft, when passed that solemn vision by, He holds with God himself communion high, Where the dread peal of swelling torrents fills The sky-roofed temple of the eternal hills ; Or, when upon the mountain's silent brow Reclined, he sees, above him and below, Bright stars of ice and azure fields of snow ,' While needle peaks of granite shooting bare Tremble in ever-varying tints of air : * Alluding to several battles which the Swiss in very small numbers have gained over tlieir oppressors, the house of Austiia ; and, in particular, to one fought at Nffiffels near Glarus, where three hundred and tlurty men defeated an army of between fifteen and twenty thousand Austrians. Scattered over the valley are to be found eleven nones, with this inscription, l-^o^'' "J year the battle was fought, marking out, as I was toio upon the spot, the several places where the Austrian* attempting t© make a stand were repulsed anew. DESCRIPTIVE SKETCHES. 15 -^Great joy, by horror tamed, dilates his heart, And the near heavens their own delights impart. — WJien the Sun bids the gorgeous scene farewell, Alps overlooking Alps their state up-swell ; Huge Pikes of Darkness named, of Fear and Storms*, Lift, all serene, their still, illumined forms. In sea-like reach of prospect round him spread, Tinged like an angel's smile all rosj red. When downw^ard to his winter hut he goes, Dear and more dear the lessening circle grows ; That hut which from the hills his eye employs So oft, the central point of all his joys. And as a Swift, by tender cares opprest, Peeps often ere she dart into her nest. So to the untrodden tioor, where round him looks His father, helpless as the babe he rocks. Oft he descends to nurse the brother pair. Till storm and driving ice blockade him there, There, safely guarded by the woods behind, He hears the chiding of the baffled wind. Hears Winter, calling all his Terrors round, Hush down the living rocks with whirlwind sound. Through Nature's vale his homely pleasures gUde, Unstain'd by envy, discontent, and pride ; The bound of all his vanity, to deck. With one bright bell, a favourite Heifer's neck ; Well pleased upon some simple annual feast, Remembered half the year and hoped the rest, If dairy produce from his inner hoard Of thrice ten summers consecrate the board. — Alas ! in every clime a flying ray Is all we have to cheer our wintry way. "Here," cried a thoughtful Swam, upon whose head The " blossoms of the grave" were thinly spread, Last night, while by his dying fire, as closed The day, in luxury my limbs reposed, "Here Penury oft from Misery's mount will guide Even to the summer door his icy tide, And here the avalanche of Death destroy The little cottage of domestic joy. But, ah ! the unwilling mind may more than trace The general sorrows of the human race : The churlish gales, that unremitting blow Cold from necessity's continual snow, To us the gentle groups of bliss deny That on the noon-day bank of leisure lie. Yet more ; — compelled by Powers which only deign That solitary man disturb their reign. Powers that support a never-ceasing strife With all the tender charities of life, The father, as his sons of strength become To pay the filial debt, for food to roam. From his bare nest amid the storms of heaven Drives, eagle-like, those sons as he was driven; His last dread pleasure watches to the plain — And never, eagle-like, beholds again !" When the poor heart has all its joys resigned, Why does their sad remembrance cleave behind 1 Lo ! where through fiat Batavia's willowy groves. Or by the lazy Seine, the exile roves; Soft o'er the waters mournful measures swell. Unlocking tender thought's " memorial cell ;" Past pleasures are transform'd to mortal pains, While poison spreads along the listener's veins, Poison, which not a frame of steel can brave, Bows his young head with sorrow to the grave. t Gay lark of hope, thy silent song resume! Fair smiling lights the pUrpled hills illume ! Soft gales and dews of life's delicious morn, *As Schreck-Horn, the pike of terror; Wetter-Horn, the pike of storms, &c. &c. „,.,:, u t?.,^^ t Theefl'ect of the famous air called in French Ranz des Vachcs upon the Swiss troops. And thou, lost fragrance of the heart, return ! Soon flies the little joy to man allowed. And grief before him travels like a cloud : For come Diseases on, and Penury's rage. Labour, and Care, and Pain, and dismal Age, Till, Hope-deserted, long in vain his breath Implores the dreadful untried sleep of Doalh. —'Mid savage rocks, and seas of snow that shine Between interminable tracts of pine, A Temple stands, which holds an awful shrine. By an uncertain light revealed, that falls On the mute Image and the troubled walls : Pale, dreadful faces round the Shrine anpoar, Abortive Joy, and Hope that works in fear ; While strives a secret Power to hush the crowd, Pain's wjld rebelliovs burst proclaims her rights aloud , Oh! give not me that eye of hard disdain That views undimmed Ensiedlen's* wretched fane, 'Mid muttering prayers all sounds of torment meet^ Dire clap of hands, distracted chafe of feet ; While, loud and dull, ascends the weeping cry, Surely in other thoughts contempt may die. If the sad grave of human ignorance bear One flower of hope— oh, pass and leave it there ! — The tall Sun, tiptoe on an Alpine spire, Flings o'er the wilderness a stream of fire ; Now let us meet the Pilgrims ere the day Close on the remnant of their weary way ; While they are drawing toward the sacred floor Where the charmed worm of pain shall gnaw no more. How gaily murmur and how sweetly taste The fountains! reared for them amid the waste ! There some with tearful kiss each other greet, And some, with reverence, wash their toil-worn feet, Yes, I will see you when ye first behold Those holy turrets tipped with evening gold, In that glad moment when the hands are prest In mute devotion on the thankful breast. Last let us turn to where Chamounyj shields With rocks and gloomy woods her fertile fields : Five streams of ice amid her cots descend. And with wild flowers and blooming orchards blend ;--a A scene more fair than what the Grecian feigns Of purple lights and ever-vernal plains; Here lawns and shades by breezy rivulets fanned, Here all the Seasons revel hand in hand. — Red stream the cottage-lij;hts ; the landscape fadea Erroneous wavering 'mid the twilight shades. Alone ascends that Hill of matchless height, $ That holds no commerce with the summer Night; From age to age, amid his lonely bounds The crash of ruin fitfully resounds ; Mysterious havoc ! but serene his brow. Where daylight lingers 'mid perpetual snow ; Glitter the stars above, and all is black below; At such an hour I heaved a pensive sigh, When roared the sullen Arve in anger by. That not for thy reward, delicious Vale ! Waves the ripe harvest in the autumnal gale ; That thou, the slave of slaves, art doomed to pine j Hard lot !— for no Italian arts are thine, To soothe or cheer, to soften or refine. Beloved Freedom ! were it mine to stray. With shrill winds roaring round my lonely way, ' * This shrine is resorted to, from a hope of relief, by multitudes, from every corner of the Catholic world, labouring under mental or bodily afllicrions. t Rude fountains built and covered with sheds for the accommodation of the Pilgrims, in their ascent of the mountain. X This word i'? pronounced upon the spot ' na- mouny ; 1 have taken the liberty of changing the ac- cent, « % rt is only from the higher part of the valley or Ghamouny that Mont Blanc is visible. 16 DSSCRIPTtVE SKETCHED. O'er the Ideak sides of Cumbria's heatli-clad moors, Or where the dank sea-weed lashes Scotland's shores ; To scent the sweets of Piedmont's breathing rose, And orange gale that o'er Lugano bUnvs; In the wide ran:^e of many a varied round, Fleet as my passage was, I still have found That where despotic courts their gems display, Th« lilies of domestic joy decay, While the remotest hamlets blessings share, In thy dear presence known, and only tJicre ! The casement's shed more luscious vvoodl)ine binds, And to the door a neater pathway winds ; At early morn, the careful housewife, led To cull her dinner from its garden bed, Of weedless herbs a healthier prospect sees. While hum with busier joy her happy bees ; In brighter rows her table wealth aspires. And laugh with merrier blaze her evening fires ; Uer infants' checks with fresher roses glow. And wilder graces sport around their brov/ ; By clearer taper lit, a cleanlier board Receives at supper hour her tempting hoard ; The chamber hearth with fresher boughs is spread, And whiter is the hospitable bed. And oh, fair France ! though now along the shade. Where erst at will the grey-clad peasant strayed. Gleam war's discordant vestments through the trees. And the red banner fluctuates in the breeze ; Though martial songs have banished songs of love^ And nightingales forsake the village grove, Scared by the fife and rumbling drum's alarms, And the short thunder, and the flash of arms ; While, as Night bids the startling uproar die. Sole sound, the Sourd* renews his mournful cry ! —Yet, hast thou found that Freedom spreads her potver Beyond the cottage hearth, the cottage door : AH nature smiles, and owns beneath her eyes Her fields peculiar, and peculiar skies. Yes, as I roamed where Loiret's waters glide Through rustling aspens heard from side to side. When from October clouds a milder light Fell, where the blue flood rippled into white, Methought from every cot the watchful bird Crowed with ear-piercing power till then unheard ; Each clacking mill, that broke the murmuring streams, Rocked the charmed thought in more delighlfnl dreams ; Chasing those long, long dreams, the falling leaf Awoke a fainter pang of moral grief; The measured echo of the distant flail Wound in more welcome cadence down the vale ; A more majestic tide] the water rolled, And glowed the sun-gilt groves in richer gold. — Though Liberty shall soon, indignant, raise Red on the hills his beacon's comet blaze ; Bid from on high his lonely cannon sound. And on ten thousand hearths his shout rebound ; His larum-bell from village-tower to tower Swing on Ihe astounded ear its dull undying roar; Yet, yet rejoice, though Pride's perverted ire Rouse Hell's own aid, and wrap thy hills in fire ! Lo ! from the innocuous flames, a lovely birth, With its own Virtues springs another earth : Nature, as in her prime, her virgin reign Begins, and Love and Truth compose her train ; While, with a pulseless hand, and steadfast gaze, Unbreathing Justice lier gtill beam surveys. Oh give, great God, to Freedom's waves to ride Sublime o'er Conquest, Avarice, and Pride, To sweep where Pleasure decks her guilty bowers. And dark Oppression builds her thick ribbed towers ■^ An insect so called, which emits a short, melan- choly cry, heard at the close of the summer evenings, on the banks of the Loire. f The duties upon many parts of the French ri- vers were so exorbitant, that the poorer people, de- prived of the benefit of water carriage, were obliged %o transport their goods by land. — Give them, beneath their breast while gladness springs, To brood the nations o'er with Nile-like wings ; And grant that every sceptred (]"h)ld of clay, Who cries, presumptuous, " Here their tides shall stay," Swept in their anger from the affrighted shore, With all his creatures sink— to rise no more ! To-night my friend, within this humble cot Be the dead load of mortal ills forgot In timely s'eep ; and, when at break of day, On the tall peaks the glistening sunbeams play, With lighter heart our course we may renew. The first whose footsteps print the mountain dew. IV. THE FEMALE VAGRANT. My Father was a good and pious man. An honest man by honest parents bred ; And I believe that, soon as I began To lisp, he made me kneel beside my bed, Aful in his hearing there mv prayers I said: And afterwards, by my good father taught, I read, and loved the books in which I read ; For books in every neighbouring house I sought, And nothing to my mind a sweeter pleasure brought. Can I forget what charms did once adorn My garden stored with peas, and mint, and thime, And rose, and iiJly, for the sabbath morn ? The sabbath bells, and their delig'-itful chime; The gambols and wild freaks at shearing time My hen's rich nest through long grass scarce espied ; The cowslip-gathering in June's dewy prime ; The swans, that, when I sought the water-side. From far to meet me came, spreading theirsnowy pridtl The staff I j^et remember which upbore The bending body of my active Sire ; His seat beneath the honeyed sycamore Where the bees hummed, and cliair by winter fire; When market-morning came, the neat attire With which, though bent on haste, myself I decked • My watchful dog, whose starts of furious ire. When stranger pass, so often I have checked; The red-breast, known for years, which at my casement pecked. The suns of twenty summers danced along, — Ah! little marked how last they rolled away: But, through severe mischance, and cruel wrong, My father's substance fell into decay : We toiled, and struggled — hoping for a day When Fortune should put on a kinder look ; But vain were wishes — efforts vain as they; He from his old hereditary nook [took. Must part, — the summons came, — our final leave we [t was indeed a miserable hour When, from the last hill-top, my .sire surveyed, Peering above the trees, the steeple tower That on his marriage day sweet music made I Till then, he hoped his bones might there belaid. Close by my mother in their native bowers : Bidding me trust in God, he stood and prayed,— I could not pray :— through tears that fell in showers Glimmered our dear-loved home, alas ! no longer ours ! There was a Youth whom I had loved so long, That when I loved him not I cannot say: 'Mid the green mountains many a thoughtless song v\ e two had sung, like gladsome birds in May; When we began to tire of childish play. We seemed still more and more to prize each other . We talked of marriage and our nmrriage day ; And I in truth did love him like a brother, For never could I hope to meet with such another DESCRJPTIVE SKETCHES. It Two years were passed since to a distant town He liad repaired to ply the artist's trade, What tears of bitter grief, till then unknown ! What tender vows our last sad kiss delayed! To him we turned :— we had no other [aid : Like one revived, upon his neck I wept, And her whom he had loved in joy, he said, He well could love in grief; his faith he kept; And in a quiet home once more my father ylept. We lived in peace and comfort ; and were blest With daily bread, by constant toil supplied. Three lovely infants lay upon my breast ; And often, viewing their sweet smiles, I sighed, And knew not why. My happy Father died, When sad distress reduced the childi-en's meal : Thrice happy ! that for him the grave did hide The empty loom, cold hearth, and silent wheel, And tears that flowed for ills which patience could not heal. Twas a hard change, an evil time was come; We had no hope, and no relief could gain. But soon, with proud parade, the noisy drum Beat round, to sweep the streets of want and pain. My husband's arms now only served to strain Me and his children hungering in his view ; In such dismay my prayers and tears were vain : To join those miserable men he flew ; And now to the sea-coast, with numbers more, we drew. There long were we neglected, and we bore Much sorrow, ere the fleet its anchor weighed ; Green fields before us, and our native shore, We breathed a pestilential air, that made Kavage for which no knell was heard. We prayed For our departure ; wished and wished— nor knew 'Mid that long sickness, and those hopes delayed, That happier days we never more must view : The parting signal streamed, at last the land withdrew. But the calm summer season now was past. On as we drove, the equinoctial deep Ran mountains-high before the howling blast ; And many perished in the whirlwind's sweep We gazed with terror on their gloomy sleep. Untaught that soon such anguish must ensue, Our hopes such harvest of alfliction reap. That we the mercy of the waves should rue: We reached the Vv^estern world, a poor, devoted crew. The pains and plagues that on our heads came down. Disease and famine, agony and fear. In wood or wilderness, in camp or town, It would thy brain unsettle even to hear. All perished— all, in one remorseless year. Husband and Children ! one by one, by sword And ravenous plague, all perished : every tear Dried up, despairing, desolate, on board A British ship I_waked, as from a trance restored, a Peaceful as some immeasurable plain By the first beams of dawning light imprest. In the calm sunshine slept the glittering main. The very ocean hath its hour of rest. I too forgot the heavings of my breast. Oh me , how quiet sky and ocean were ! As quiet all within me. I was blest! And looked, and looked along the silent air Until it seemed to bring a joy to my despair. Ah ! how unlike those late terrific sleeps. And groans, that rage of racking famine spoke ! The unburied dead that lay in festering heaps ! The breathing pestilence that rose like smoke ! The shriek that from the distant battle broke : The mine's dire earthquake andthe pallid host Driven by the bomb's incessant thunder-stroke To loathsome vaults, where heart-sick anguish tossed, Hope died, and fear itself in agony was lost ! Some mighty gulf of separation past, r seemed transported to another world :— - A thought resigned with pain, when from the mast The impatient marin Or hang ou tiptoe at the lilted latch. The gloomy lantero, and the dim blue match, The black disguise, the warning whif>tle shrill, And ear still busy on its nightly watch, Were not for me, brought up in nothing ill : Besides, on griefs so fresh my thoughts were brooding still. What could I do, unaided and unblest 1 IVly Father ! gone was every friend of thine: And kindred of dead husband are at best Small help; and, after marriage such as mine, Wiih little kindness would to me incline. Ill was I then for toil or service fit: With tears whose course no elTort could confine. By the road-side forgetful would I sit Whole liours, my idle arms in moping sorrow knit. I led a wandering life among the fields; Contoitedly, yet sometimes self-accused, I lived upon what casual bounty yields, Now coldly given, now utterly refused. The ground I for my bed have often used: But, what afflicts my peace with keenest ruth Is, tliat I iiave my inner self abused. Forgone the home delight of constant truth, And clear and open soul, so prized in fearless youth. Three years thus wandering, often have I viewed, In tears, the sun towards that country tend Where my poor heart lost all iis fortitude ; And now across this moor my steps I bend — Oh ! tell me whither — for no earthly friend Have r.' She ceased, and weeping turned away; — As if b'.'cause her tale was at an end She wept; — because she had no more to say Of that perpetual weight which on her spirit lay. POEMS FOUNDED ON THE AFFECTIONS. L THE BROTHERS.* 'These Tourists, Heaven preserve us! needs must live A piofliable life : some glance along, Rai>id and gay, as if the earth were air, And they were butterflies to wheel about Long as the summer lasted : some, as wise, Perched on the forehead of a jutting crag, Pencil in hand and book upon the knee, Will look and scribble, scribble on and look. Until a man might travel twelve stout miles. Or reap an acre of his neighbour's corn. But, for that moping Son of Idleness, Why can he larry yonder? — In our church-yard Is neither epitaph nor monument , Tombstone nor name — only the turf we tread And/a few natural graves." To Jane, his wife. Thus spake tlje homely Priest of Ennerdale. It was a July evening ; and he sate Upon the long stone-seat beneath the eaves Of his old cottage, — as it chanced, that day. Employed in winter's work. Upon the stone His Wife sate near him, teasing matted wool. While, from the twin cards toothed with glittering wire, He fed the spindle of his youngest Cbild, Who turned her large round wheel in the open air With back and forward steps. Towards the field In which the Parish Chapel stood alone, Girt round wilh a bare ring of mossy wall. While half an hour went by, the Priest had sent Many a long look of wonder: and at last, Risen fiom his seat, beside the snow-white ridge Of carded wool wliich the old man had piled He laid his implements with gentle caro. Each in the other lorked ; and, down the path That from his cottage to the church-yard led. He took his way, impatient to accost The Stranger, whom he saw still lingering there. 'Twas one well known to him in former days, A Shepherd-lad ; — who ere his sixteenth year Had left that calling, tempted to entrust His expectations to the fickle winds And perilous waters,— with the mariners A fellow mariner, — and so had fared Through twenfy seasons; but he had been reared ^Among the mountains, and he in his heart ♦ This Poem was intended to conclude a series of ) nptorals,thescene of which waslaid am(;ng the moun- tains of Cumberland and Westtiioreland. I mpntion this to apologise for the abruptness with whichtUe poem begins. Was half a Shepherd on the stormy seas. Oft in the piping shrouds had Leonard heard The tones of waterfalls, and inland sounds Of caves and trees : — and, when the regular wind Between the tropics filled the steady sail. And blew wilh thesame breath through days and weeks, Lengthening invisibly its weary line Along the cloudless Main, he, in those hours Of tiresome indolence, would often hang Over the vessel's side, and gaze and gaze ; And^ ^vhile the broad green wave and sparkling foam Flashed round him images and hues that wrought In union with the employment of his heart, He, thus by feverish passion overcome. Even with the organs of his bodily eye. Below him, in the bosom of the deep. Saw mountains, — saw the forms of sheep that' grazed On verdant hills— wiih cwellmgs among trees, And shepherds clad in the same country gray Which he himself had worn.* And now, at last, From perils manifold, with some small wealth Acquired by trafiic 'mid the Indian Isles, To his paternal home he is returned. With a determined purpose to resume The lifp he had lived there; both for the sake Of many darling pleasures, and the love Which to an only brother he has borne In all his hardships, since that happy time When, whether it blev/ foul or fair, they two Were brother Shepherds on their native hills, — They were the last of all their race: and now, When Leonard Jiad approached his home, his heart Failed in him ; and, not venturing to enquire Tidings of one whom he so dearly loved. Towards the church- ynrd he had turned aside; That, as he knew in what particular spot His family were laid, he thence might learn U still liis Brother lived, or to the file Another grave was added. — He had found Another grave, — near which a full half-hour He had remained; but, as he gazed, there grew Such a confusion in his memory. That he began to doubt ; and hope was his That he had seen this heap of turf before,— That it was not another grave; but one He had forgotten. He had lost his path As up the vale, that afternoon, he walked Through fieldswhich once had been well known to him ; * This description of the Calenture is sketched from an impcifrct recollection of an admirable one in prose, I by Mr. Gilbert, author of The Hurricane. POEMS FOUNDED ON THE AFFECTION'S. And oh what joy the recollection now Sent to his heart ^. He I i fled np his pyes, And, looking round, imagined that he saw Strange alteration wrouglit on every side Among the woods and fields, and that the rocks, And everlasting hills themselves were chan