PR U87 i 90801* ,0 o ,^V c ,; r ^ » ** v % * 4? .Oc * ^ .;0" . v „o ' ~~ *&w*sJ ■•, t 8 . \ <$>**. * O. ,- * 4 <& c ° • 0' \ * , <£ *. &JY79-2. ^ y o 3, */?,** ^ 5 C: ,0 78 VI. The Labourer's Welcome Home - 80 VII. Young William, the Labourer - 0. 82 VIII. Patty . 84 IX. Love and Prudence • 86 X. Estimate of Rural Happiness - 89 XI. The Happy Man - 90 XII. The Seasons - - 91 XIII. Peace • « 92 LETTER III. ON MORAL AND MISCELLANEOUS SONGS. The subjects of Moral Songs, p. 93. The Epicurean System of ethics, 94. Review of the Moral and Miscellaneous Songs in Vocal Poetry, 99. Some remarks on a work called Poetry for Children, 104. Note. MORAL AND MISCELLANEOUS SONGS. I. Virtue II. Justice III. Adversity IV. Disappointment Page. 107 108 109 111 CONTENTS. V Pa»e V. To-morrow - - 114 VI. The Days that are gone - 116 VII. The Winter Friend - 118 VIII. Gratitude - - 119 IX. The Patron - - o. 120 X. Health - 124 XI. Proverbs of Threescore - 126 XII. The Old Man's Wish - - 0. 128 XI IT. The Old xMan's Comforts - 130 XIV. The Affectionate Heart - 132 XV. Smiles and Tears - 134 XVI. The Smile of Benevolence - 136 XVII. The Smileand the Tear . 137 XVIII. Beauty - - 138 XIX. The British Vine - 0. 139 XX. My Arbour - - o. 140 XXI. A Friend; or, My Book - o. 143 XXII. The Summer Evening - 145 XXI II. Ned Brace - 145 XXIV. A Sailor's Pay - 147 XXV. The Beacon - 148 XXVI The Sentinel ,. o. 149 XXVII The Bugle Horn - - o. 152 XXVIII. Scotia's Glens - 154 XXIX. My Dear Native Isle - o. 155 XXX. The Horse - - 0. 159 XXXI. The Hare Hunt - 162 XXXII. Humanity's Cot - 165 XXXIII. The British Bow - o. 167 XXXIV. The Archers' Bugle - o. 169 ^XXV. Address to A Fly - - o. 171 x XXVI. The Sea . o. 172 X XXV 1 1. Winter . 175 X XXVIII. The Dying Negro . 177 X XXIX. The Negro's Exultation - 0. 178 'H, Music - - 180 a 2 VI CONTENTS. LETTER IV. ON CONVIVIAL SONGS. Quotations from Essay on Song-Writing, p. 181. Milton's Comus: — Lax morality of poets, Do. Bacchanalian Songs, 182. Quotations from Dr. Aikin's Letters on Poetry, 184. Quotation from Dr. Aikin's Letters to his Son, 185. Ac- count of Drinking Songs introduced into The Collection by J. Plumptre, 187. Praise of water-drinking, 188. The Priest of Bacchus, 5, 1S3, 189. Anecdote of Burns, 189. Note. Convivial Parties not averse to moral Songs, 190. Quotation from Marraion, do. Review of the Convivial Songs in Vocal Poetry, do. Dr. Doddridge's motto and Epigram upon it, 191. On Life, Do. On Youth, Do. The Heart and the Senses, 192. Use of time, 193. Rural Life, 194. Quotation from Cowper, 195. Anacreontic on New Principles, 196. Instructions to be learned from the works of Nature, 197. Hurd's Cowley, 199. CONVIVIAL SONGS. Page. I. Merry and Wise - . - O. 202 II. The Honest Fellow 204 III. Aristippus - 206 IV. Laugh and grow fat - - 208 V. Friendship and Love - - - 210 VI. The Sentimentalist - 211 VII. Mirth - - - 213 VIII. The Shortness of Life - - 214 IX. A Dehortation from Drinking - - 214 X. Anti-Anacreontic - 216 XI. TheDrinkin', O. - - - 217 XII. Friendship, Love, and Truth - - 219 CONTENTS. Vll LETTER V. ON AMATORY SONGS. On Love and Marriage, p. 221. Quotations from Dr. Ai kin's Works, 224. Review of the Amatory Songs in Vocal Poetry, 234. Idolatry, 235. Death-bed Thoughts, 237. Lord Lyttelton's Prayer to Venus, 238. Another Prayer to the same, 239. Wine and Music, 238. Extravagant Love, 240. 248. 250. 260. Dying for Love, 240. 243. Prayer to Cupid, 241. 245. Quotation from Swift, 242. Conduct on the death of those we hold dear, 243. Chastity, 244. 245. 249. 261. 263. The value of Love, 234. 245. 259. Un- lawful Love, 245. 253. 256. 261. 270. Wisdom, 246. 254. Use of the word Divine, 247* 248. On the application of the term Angel, 248. 249. On the writings of Lord Roches- ter, 249. 268. Filial Duty, 252. Prayer to Fortune, 255. On what are called Amiable Weaknesses, 257. Song: Love and Reason, 259. On Congreve's Writings, 264. On Fate, the Influence of the Stars, &c. 265. 274. The Wits of Charles the Second's Days, 268. Quotation from Cowper, Do. On Honour, 271. Quotation from Hey on Duelling, 272. General Character of the Songs in Vocal Poetry, 275. POSTSCRIPT. Review of some of the Passionate and Descriptive, and of the Witty and Ingenious Songs in Mr. Evans's Publication, 277. On Sobriety, Do. Lord Chesterfield, 279. Song: Answer to " Mistaken fair, lay Sherlock by," Do. On an Address to Sleep, 280. AMATORY SONGS. Pag-e. I. Man and Woman - - - 282 II. Woman • . • . 283 III. Love 285 IV. True Love - 283 via CONTENTS. V. The Breath of Love VI. Love VII. The Riches of Love VIII. Hearts IX. Connubial Love X. Do. - XI. The Good Husband XII. The Good Wife XIII. Beauty XIV. Mary's Evening Sigh - XV. The Damsel's Lamentation XVI. Mary The Maid of Buttermere XVII. My Mistress XVIII. The Happy Pair XIX. The Wife's Ditty XX. The Wife's Invocation XXI. Conjugal Duty XXII. The Parent XXIII. Few Happy Matches XXIV. John and Susan XXV. Do. Part II. XXVI. Wife, Children and Friends XXVII. Love at Fifty XXVIII. The Song of Seventy XXIX. My Husband XXX. My Mary - 0. 289 o. 290 o. 293 0. 295 297 o. 299 o. 300 302 303 305 306 308 308 309 0. 311 o. 313 315 318 319 0. 321 324 CONTENTS* IX LETTER VI. ON THE SONGS CONTAINED IN THE SUPPLEMENT TO MR. EVANS'S PUBLICATION ; WITH A POSTSCRIPT ON THE SONGS IN THE LITERARY MISCELLANY. Review of (he Songs, p. 327. The thirst of the soul, 328. Application of a passage in Julius Caesar, Do. Bishop Home's applications, 329. Byrom, his Hint to Christian Poets, 330. Sir John Hawkins on Pastoral Images, 332. POSTSCRIPT. The Literary Miscellany, 336. Quotation from the Adver- tisement, Do. Instances of Violent and Enthusiastic Passion in that work, 338. Instances of passages which militate with legitimate preceptive rules of conduct, or which are violations of just moral sentiment, 341. On Age and Youth, Do. Song on Do. 342. On (he Ballad of The Wanton Wife of Bath, 344. Observations on the character of Mary Magdalene, Quotation from Dr. Lardner, 347. Jonas Han- way, 348. Note. The Case of the Thief on the Cross, Quotation from Bishop Home, Do. Correction of a Song in one of the Author's former volumes, 354. Songs in The Literary Miscellany taken from the Author's Collection, Do. On Hymns to The Virgin, 357. Indecency, Do. In- stances of Levity, Vulgarity and Nonsense, Do. Instances of Bacchanalian Songs, Do. On War, and Instances of Songs favouring false notions of Honour and Glory, 359. Hunting Song, Do. On the Songs in The Elegant Extracts. CONTENTS. LETTER VII. ON INGENIOUS, WITTY AND HUMOUROUS SONGS. On Ingenious, &c. songs, p. 351. On the Pan, 352. Defini- tion, Do. Quotation froin Sulton's Sermon, Bo. Note. From The School for Scandal, 370. From The Duenna, Do. The Paronomasia, or Serious Pun, 372. On Parody, 375. Burlesque, 389. On Comic Rhyme, 399. Butler's Hudibras, Do. On The Treasury of Wit, Do. Note. Quo- tations from Hudibras, 401. Quotations from Swift, 402. On the Comic Songs of the present Day, 405. EPIGRAMS. Paje. I. Footeand Quin - - - 363 II. The Siuging Man - - O. 364 III. By Dr. Gould on his Marriage - O. 365 IV. Reply to Do. ... o. 365 V. By Isaac Hawkins Brown upon Himself - 365 VI. On Dr. Hill's Petition of the Letter I. to Garrick 366 VII. On the Beggar 36S VIII. Jack's Forgetfulness - - 366 IX. Hall's Poverty - - - 367 X. The Obligation 367 XI. The Dunce ... 367 XII. The Short Journey ... 367 XIII. Jack's Penetration 368 XIV. Varus's Hatred of Baseness - - 368 XV. Mutual Pity - - 368 XVI. The Force of Reading - - 368 XVII. Wit 368 XVIII. The Lean Nags - - - 368 XIX. Epitaph on A Miser - - - 369 XX. Epigram on an Epigram - - 369 XXI. On Dr. Hill's Farces - - 404 CONTENTS. XI SONGS. Page 371 373 375 377 378 379 380 383 384 386 o. 389 o. 391 0. 394 0. 396 I. By Trudge, in Inkle and Yarico II. Collins's Sally - III. Ode on The Spring IV. The Good Wife V. Echo Song - VI. Yesterday, To-day, and To-morrow VII. Good-b'ye and How-d'ye-do VIII. The Worthy Lover - IX. The Black Spectacles X. Friendship - XI. Effusion to A Candle snuffed too low XII. The Dumb Beggar XIII. The Friends and The Oyster XIV. The 'Tis Buts LETTER VIII. ON SACRED SONGS. Quotation from the Preface to Dr. Watts's Horse Lyricae, 408. Do. from Mrs. Barbauld's Thoughts ou The Devotional Taste, 409. SACRED SONGS. Page. I. Jubilee Hymn ... 411 II. Ode on his Majesty's Illness in 1789 - . 413 III. on Recovery - - 416 IV. on the same occasion - 418 V. Thanksgiving Hymn on the same - • 419 VI. I will Praise the Lord at all times - 421 VII. The Thunderstorm 422 XU CONTENTS. Page. VIII. Charity - ' - 425 IX. A Reflection - - - 427 X. The Death of the Righteous - - 429 XI. The Christian's Resurrection - - 430 XII. Evening Hymn - - 432 XIII. Do. - - O. 433 XIV. Hymn for Sheep-shearing - O. 435 XV. Christ in the Manger - - 436 XVI. The Redeemer - - 437 XVII. The Day of Judgment - - 439 XVIII. Before Jehovah's Awful Th rone - 440 XIX. The Lord's Prayer - - 441 XX. God exalted above all Praise - - 443 Conclusion : The Example of Spencer the Poet adduced, 445. Dedication to his Hymns quoted, t 446. Index I. Of the first Lines of the Songs Quoted or Cri- ticised - - - « 449 Index II. Of the first Lines of the Songs Introduced into the Volume - 459 Index III. Of the Names of the Authors of the Songs and Epigrams Introduced • 465 List of Books Published by The Author - 468 PREFACE. Although the first of the following Letters was intended as an Introduction to this Volume, and the motives which induced the Author to undertake it are there detailed ; yet, after a lapse of some months, and on completion of the work, it appears to be necessary to say somewhat far- ther on laying it before the public. The Author being unwilling, in a matter which he considered of so much importance, to depend wholly upon his own judgment, submitted these Letters in manuscript to a friend, in whose opinion, both literary and moral, he placed the greatest confidence. It is not to be supposed that this friend agreed with him in every particular; nor that the author, on his part, should acquiesce in every objection and remark made upon them. The result, how- ever, was in favour of the publication of them, and many and material alterations have been made in consequence. What these have been b XIV PREFACE. it is not necessary either in general or in par- ticular to inform the Reader, farther than as they appear in one or two instances in the course of the Letters. But, upon the manner in which the Author had made his quotations from different works, and particularly those of Dr. Aikin, by printing some of the passages in Italics, for the purpose of calling the Reader's attention to them, he thinks it right to state some of the remarks of his friend : u I consider the use of inverted commas as clearly declaring that Quotation is intended or professed. When they are used, therefore, I can admit of no variation which alters (or can alter) the sense ; whether the Quoter thinks the alteration material or not. Of this he is not to judge, after he once undertakes to copy or quote. From that time, his only business is to make his Copy agree with the Original. Now, not only Words, but also Stops, Capitals, Parentheses, and Italics, affect the Sense ; or are liable to do so. Therefore these are all to be copied ; and none to be added. The chief difficulty that I am aware of, is this : — a Quoter wishes to shew, by Italics (or Under- lining*), what particular words, of those * It may be right, perhaps, to state, for the information of PREFACE. XV quoted, he wants to have chiefly noticed by the Reader. I allow, that I wish there were some short mode of thus drawing the attention of the Reader : but I cannot allow, that, on account of the inconvenience, it is either safe or honest to underline (in copying) what is not underlined in the original. It is not safe, as to the con- veying of our own meaning : for, as there may already be some Italics in the Original, no Reader can possibly tell which words were underlined in the Original in order to fix a meaning, and which were underlined by the Quoter in order to draw attention. Hence great confusion. And it is not honest towards the original Author ; because the Quoter's Underlinings may easily cause the words quoted to bear a sense different from that intended by the Author. Our ingenuity, therefore, must be exercised, not in defending the too common practice of additional under- lining by the Quoter, on account of the dif- ficulty he lies under, but in devising (either generally or in each single case) how to draw persons not conversant with the press, that an author usually marks those words, with a line drawn with his pen underneath, (thus,) which he wishes to be printed in Italics, and with two lines", (thus,) those which he wishes to be printed in CAPITALS. J. P» XVI PREFACE. the Reader's attention to the proper part of the words quoted, without recurring to this con- founding and dishonest mode, I doubt not you have heard proposed such sentences as the following, by way of illustrating the force (or, I may say, the language) of Emphasis. " Will you walk to church with me to-day ?" To which at least six different senses are given, by underlining at different times the six words Willy you, walk, church, me, to-day. If the author under-lined walk and no other word, the question is about walking or going by some other conveyance. If a Quoter underlines church, he raises the question whether the walk is to be to church or to some other place. If he even retains the author's underlining of walk, he still (by adding that of church) perverts the meaning : and it is impossible for the Reader to tell, by the mere words quoted, which was the underlining of the Author, which of the Quoter. Therefore he cannot know the meaning of the words ; except from some other help. Where the passage is such that you cannot conveniently quote it, that is, copy it ; all I require is that you do not profess to quote (therefore, that you do not use inverted com- mas, or any thing tantamount), and that, in giving the substance, as far as you want it for PREFACE. XV11 your purpose, you do this honestly ; not sup- pressing what appears likely to affect the point in question." Having been always accustomed to add Italics myself, and seen them in the works of others, especially in Reviews, I pleaded pre- cedent to my friend, and said that I thought the matter was so wel] understood as not to mislead. To this my friend replies, " I am sorry we do not agree about Italics added by the Quoter. You speak of it as an established mode. I own it is (in my judg- ment) far too frequent : but, I think, some to whom 1 have stated my ideas have allowed the practice to be wrong. It is, with me, clearly and decidedly wrong, beyond the power of authority or custom so to establish it as to make it right ; though I fancy I have been one of the most obedient of men, through life, to things established, — particularly in language: — and Italics (we agree) are a part of language. You say " it appears to me to be sufficiently under- stood not to mislead." My grand objection is, that it does mislead, or may do it. If such rule on this point be not observed, how should you, or any reader of the few words I have just quoted from your letter, know whether the two words were underlined by you or by me ? b 2 XVill PREFACE. Yet the sentence has a different effect, if j/ou axe supposed to have laid your stress upon the words, from that which it will have if only / am supposed to call your attention to those words. Therefore the Underlining mislead, or may mislead. For, if the rule be not considered as taking place, the reader must guess whether you or I underlined the words. Stronger in- stances might easily be adduced : — as, from the sentence already given, " Will you walk" &c." " Italics are not uncommon in books. An Author (suppose) writes a sentence, and puts a word in Italics. A Quoter gives (we will hope) the Author' 's Italics ; but he adds some of his own. What reader can tell which of these Italics is by the Author, which by the Quoter ? I readily allow there are many instances in which I should feel no doubt in my own mind, that the Italics were by the Quoter. But there are others in which I think I might defy any man to make a well-founded guess, whether it was Author or Quoter. Therefore the practice misleads ; or, in its nature, must ever be liable to mislead. I once talked on the subject with the late Rev. Mr. Twining, well known amongst literary persons, and much, (and, I believe, deservedly) esteemed by them ; known also, in particular, by his Translation of Aristotle's PREFACE. XIX Treatise on Poetry, with very copious Notes. Be was inclined to allow a Quoter to add Italics. I believe I asked him, whether, if he met with Italics in a quotation, he should suppose them put by the Author or by the Quoter; and that he answered by the Quoter. Afterwards, in the Monthly Review for De- cember 1790, I saw a sermon of his re- viewed ; and, in a quotation of eleven lines, eight words (or expressions) in Italics, and no others. I looked into the printed Sermon, and there found the same eight in Italics, and no others. Had Mr. Twining read (as an indif- ferent person) this review of his own sermon, he would (according to his own mode of judging) have been misled eight times in eleven lines. 1 am not sure that I should not wish your Work suppressed, rather than printed with this blemish, as I call it." On farther reflection, these remarks appeared to me to be so very just, and to bear with so much force upon works of controversy in par- ticular, that I thought it but justice to the author whose works I criticised to remove the additional underlinings which I had inserted, and to leave those only which were the author's. In doing this, I found great difficulties present themselves, and endeavoured to form some rules XX PREFACE. by which I might regulate my quotations ; but this required more time and consideration than I could give the subject; and all that I have been able to do in the present instance has been to adopt such modes of calling the reader's attention to particular words and passages as the case seemed best to admit ; sometimes by repe- tition, and sometimes by printing particular words in Italics, when I was not using inverted commas, the professed marks of quotation or faithful copying. But, as it is more difficult to remedy a fault than to guard against it in the first instance, I feel some apprehension that 1 may not have done this effectually in all cases. I can only say, that it has been my intention in every instance to represent my author faithfully, and that I re-compared my quotations with the originals, both in the manuscript and in cor- recting the proofs. Had I been aware of my friend's objections to this very common prac- tice before I began my work, it would have saved me much additional labour. It may be remarked, however, that in making quotations from Scripture, as there are no Italics there, except the small added words, (and which no one I believe ever distinguishes in quoting,) if Italics are introduced by the Quoter, they will, of course, be understood as being his. PBEFACE. XXI In quoting from The Literary Miscel- lany, I have, indeed, deviated from the rule of strict copying, in having begun each line with a capital Letter, as is usual in poetry ; it being a deviation, in the first instance, in the Editor of that work, in not introducing capitals, except at the beginning of a sentence, and in proper names, as in prose. Had that work been original, I should have thought it my duty to follow the author in this particular^ apprising the reader that it was a faithful copy. There is another practice very common with authors in these days, which is, in my estima- tion, as great a fault as that of not strictly accurate quotation ; and that is the not giving references to the authors, and the places in their works whence quotations are made. It frequently prevents the reader's turning to them to see if they are faithfully given, and to con- sult the context to ascertain whether the pas- sages are intended by the authors to bear the meaning attributed to them by the Quoter. The motive with the author for this omission is frequently to spare himself trouble at the time of writing, in referring to the passages ; espe- cially when scripture is quoted from memory. But Jiow often does it happen that the reader wishes to refer to the passages, and how often XX11 PREFACE. does the quoting an excellent passage from some author, before unknown to the reader, make him wish to see, not only what he says upon the subject in question, but to read the whole of his works. He is precluded from both of these, if neither the passage nor even the author be mentioned. To many valuable writings have I been introduced by a single quotation ; and many disappointments have I suffered, and to much trouble have I frequently been put, for want of a reference, or from an imperfect one. But the Printer is, I believe, sometimes the person in fault. His object is to produce what he considers to be a neat, clear page to the purchaser who takes up the work in the bookseller's shop ; and lie wishes, as much as possible, to avoid all notes, references and figures. But, as soon as the reader becomes interested in a work, and wishes to refer from one part to the other, or to another author, the deficiency is distressing. Having mentioned this subject, it were injustice to Mr. Hodson, the Printer of this Volume, not to make my acknowledgements for the great rea- diness with which he has acceded to all my wishes in giving References, Titles, Indexes and Contents. It will not, I trust, be deemed invidious if I PREFACE. XX111 illustrate these positions by instances drawn from a late publication, which I have read while my thoughts were employed upon the subject ; and when, with my pencil in my hand, I noted the passages as they occurred. The Work which I mean is Mrs. Hannah More's PRACTICAL PIETY, from the very supe- rior merits of which it is by no means my inten- tion to detract, any farther than by saying that I consider the manner in which the quotations are made as in some measure diminishing the value and utility of a work which is calculated to produce extensive and important effects : a work which teaches the most exalted, yet sober, piety ; piety at once pure and practical, and stated in the most engaging manner, in language at once chaste, forcible and beautiful. I shall arrange the instances under different heads ; and, though I could point out many under each, yet I shall make a few suffice. And, that the reader's attention may not be divided between the inverted commas made use of by Mrs. H. M. and others introduced hy my- self to mark the passage I would quote, I shall employ brackets [ ] to point out what are the passages which I myself quote, and the inverted commas are to be considered as Mrs. M's. The first instances shall be of passages altered. XXIV PREFACE. Vol. i. p. 60. First Edition, is the following sentence [only those who, as our great Foet says, are " reformed altogether," are converted.] As no reference is given, I suppose that [our great Poet] means Shakspeare ; and that this is a reference to Hamlet, Act ill. S. 2. where Hamlet is giving his instructions to the Players, and, after he lias mentioned a fault which he has seen in some players, one of them says [I hope, we have reform' d that indifferently with us.] Ham- let replies [O, reform it altogether.] In this case, as the intended quotation is not accurate, the author had, perhaps, better have put in the margin See Hamlet, A. iii. S. 2. P. 199. [We should suffer long and be kind, and so far from u seeking that which is another's," we should not even " seek our own."] This is, no doubt, intended as a quotation from I Cor. xiii. 4, 5. [Charity suffereth long, and is kind ; charity envieth not ; charity vaunteth not itself, is not puffed up, Doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinkefh no evil.] To me it appears that the best way would have been, to refer openly to the passage, and to make no use of inverted commas, unless with words exactly copied from the chapter, if any had been so. PREFACE. XXV V r ol. 2. p. 55. [When therefore we would not condescend " to take the lowest place, to think others better than ourselves, to be cour- teous and pitiful," on the true Scripture ground,] &c. Here the words [to take] &c. to [pitiful] are given as one continued quotation, and without any reference. I apprehend that they are taken from the three following passages of Scripture. [When thou art bidden of any man to a wedding, sit not down in the highest room, lest a more honourable man than thou be bidden of him; And he that bade thee and him, come and say to thee, Give this man place ; and thou begin with shame to take the lowest room. But when thou art bidden, go and sit down in the lowest room;] &c. Luke xiv. 8 — 10. [Let nothing be done through strife or vain- glory ; but in lowness of mind let each esteem other better than themselves.] Phil. ii. 3. [Love as brethren, be pitiful, be courteous :} J Peter iii. 8. Many instances occur of evident quotations where neither inverted commas nor references are given. And though these instances may occur where the words are used, not for autho* fity-) but on account of the force or beauty of the phrase or sentiment, yet much of this is lost by its not appearing that a passage is a c XXVI PREFACE. quotation, apt quotation being one of the greatest ornaments of writing. Vol. i. p. 151, is this sentence, [But we know not what spirit we are of.] This is evi- dently taken from our Saviour's reproof to his disciples, when they would have commanded [fire to come down from heaven] to [consume] the inhospitable Samaritans, [Ye know not what manner of spirit ye are of.] Luke ix. 55. P. 166. [But as we cannot find out the Al- mighty to perfection,] &c. Here the words [find out the Almighty to perfection,] are evi- dently taken, though with variation, from Job xi. 7. [Can'st thou find out the Almighty unto perfection ?] P. 172. [It is there we must worship him, if we would worship him in spirit and in truth.] This plainly comes from Joan iv. 24. [God is a spirit: and they that worship him, must worship him in spirit and in truth.] Of evident and professed quotations, without the author's name being given, the instances are numerous. There is one at p. 1 16 of Vol. i. Vol. ii. p. 66, u an admirable French writer" is mentioned. P. 70. a saying respecting Bossuet and Fenelon is given, but not the name of the speaker, nor where it is to be met with. The instances also of Names of Authors PREFACE. XXVU being given, without reference to the work or volume, are numerous. At p. 236. 266. and 274. of vol. 2. the mere names of Bishop Jeremy Taylor, Archbishop Tillotson, and Bishop Hall are thus given ; all of whose works are voluminous. Another subject upon which my friend has favoured me with his sentiments is The Alterations which I have mads in Songs. He thinks that the word Revised in the title pages of my different volumes, does not suf- ficiently declare the material alterations which I have made in very many cases. And that I must not expect my Readers to retain what I have said dispersedly upon the subject through the pages of my Introductory Letter and Postscript. To Readers in general I conceive it to be sufficient to know generally, (which is to be collected from the tenor of my Letter, and from the specific remarks made upon Mr. Dibdin's Songs,) that alterations are made, and what is the nature of them ; and, from critical readers, an author has certainly a right to expect that the whole of his Introductory matter shall be read with attention before any opinion is formed : and, indeed, in many cases it is not XXV1U PREFACE. my intention that the generality of readers should know in what places alterations are made, as I do not wish them to refer to the originals : But I thought that I had been suf- ficiently explicit to let them understand, that I considered myself as wholly and solely respon- sible for the sentiments contained in the songs which 1 published, and that nothing should be attributed to the original author, whose name the song may bear, without a particular refe- rence to it in his own works. Yet, notwith- standing this, I have, in many cases, where the alterations have been great, or what I con- ceived might be variations from the serious and deliberate sentiments of the authors, stated that the piece was altered, as in the alteration of Pope's Universal prayer, vol. ii. p. 414. Also the alteration of the song " Away, let nought to love displeasing," where it is specified that it is altered, and the last four lines are put between brackets with ray own signature. One thing I had certainly omitted to say, namely that The Titles of the Songs are frequently an addition of my own ; but songs, where a title has not been originally given by the author, are met with, in different collections, by such dif- ferent titles, that I did not consider this circum- stance as necessary to be stated. The custom PXIEFACE. XXIX of altering the works of authors appeared to me to be so established in the vocal and dra- matic world that it was sufficiently understood and acknowledged ; and, as my alterations had in view the cause of Religion and Morality, I trusted that this superior object would secure to the Collection an indulgence beyond that due to mere compilation. It is with great pleasure that I make my acknowledgments to Mr. Dibdin for his per- mission to insert some of his Songs in this Volume. Having given, in my former volumes, all those, suitable to my purpose, which have become public property, I mentioned my intended publication to Mr. Dibdin, and expressed my wish to insert some of his Songs ; not because I was in want of numbers where- with to fill my volume, but as thinking many of his better than those of other authors, and wish- ing, as far as possible, that we should go hand in hand in our Vocal Exertions. In a Letter, dated January the 29th, he says, u I consider every tiling of that kind from you as a hand- some and friendly compliment, and it would be strange, and very unlike the kindness and good wishes 1 really feel, to throw any rub in the way of what you meditate, both as a good will to me, and a considerate attention to my repu- XXX PKEFACE. tation," — " The Songs you mention"— ~" and any others you may think proper," — " I beg you will publish without ceremony, and if in any other way I can be of use to your work, it will give me particular pleasure." The distresses which Mr. Dibdin has suf- fered within the last two years are but too well known to the public. May the close of his life be without farther clouds of sickness or sorrow ; or, if it shall please Providence to give him far- ther trials, may the issue of them be unfading happiness in a world where sickness and sorrow have no place ! Of the Songs in this volume bearing my own signature, as well as some others given in the Table of Contents as Original^ several have already appeared in The Vocal Repository ; of which an account is given in the List of Works by the Author at the end of this Volume. But, as that work is intended for circulation amongst the lowest classes, I thought I might with propriety give them as original to the readers for whom this Volume is intended ; none of them having been given in my former Collection of Songs in three Volumes. They have all been revised, and some have received very material corrections. I shall not other- wise apologize for having inserted them, than PREFACE. XXXI by saying, that the insertion of my own Songs appears to me in the same light as the writing the volume itself. To the name of Poet, taken in its highest sense, as including brilliant and forcible imagination and highly polished and ornamented diction, 1 do not aspire. My aim has been to give good sentiments in the best language which existing circumstances would admit, not always having leisure for the finishing labour of correction and polish. If I can obtain a Sprig of Bay from the garden of the Cottager, or of Laurel from the Shrubbery of the Moralist and Philanthropist, my aim is answered. With the consciousness of having hit ended well in this work, I submit it with confidence, yet I trust without arrogance, to that public who must decide upon its merits. Clare Hall, April 16, 1811. ERRATA. Page line 15 15 before have insert few. 37 5 from bottom, after prospect for the comma put a semicolon. 45 18 for Cooler's read Camper's. Si 3 from bot. for Hallowav read Kolloway. Ill last line, for who read she. 120 7 from bottom, for Whom read fVhc, 158 10 before Virtue put does. 202 8 after aright put a full stop. 231 13 for it it read it is. 277 2 before those put chirjly, 350 19 after cour< put Aer. 388 2 from bottom, afterj?oicer add a comma. I LETTERS TO JOHN AIKIN, M, D. LETTER I. INTRODUCTORY, Clare Hall, June 19, 1810. SIR, liv the year 1803, when I circulated Proposals for publishing a Collection of Songs purified (to the best of my judgment) from the alloy of profaneness and immorality, a friend, for whom I entertain the highest respect, said to me, Of course you have seen u that judicious Selection by the Aikins:" meaning Essays on Song-writing : with a Collection of such English Songs as are most eminent for 'poetical merit. To which are added some original pieces. Published in 1772. A second Edition, with additions and corrections, was published in 1774. This Collection I had not 2 LETTER I. seen; but, knowing well the names of Dr. Aikin and Mrs. Barbauld, together with the correctness of their poetical taste, and the morality of their writings in general, I was particularly anxious to see the Collection. It was not till after various applications to booksellers that I was able to procure a copy. At length I obtained one ; but must confess, that, notwith- standing the taste displayed in the Essays, I felt great disappointment, in reading the Songs, at finding so many which I considered as objectionable, and so few that appeared to have any farther view than that of a transient amusement. But, as the work was scarce, and out of respect to the friend who had recommended it, and to the authors, I forbore to animadvert upon it in the Intro- duction to my Volume of Songs with music, published in 1805, though I quoted a passage on the subject of the undue preference given to music above poetry, from the first Essay. In one of the London newspapers early in May last I saw an advertisement of Vocal Poetry ; or a Select Collection of English Songs. To which is prefixed a new Essay on Song Writing. — By John Aikin, M. D. " Dr. Aikin un- derstanding that a new edition of Essays on Song Writing, with a Collection of Songs, &c. INTRODUCTORY. .3 has just been published with his name annexed, by Mr. Evans, of Pall Mall, finds it necessary to declare that he has never been consulted on this re-publication, and has no concern what- ever in it." It was with much satisfaction that I read this advertisement, and contemplated what I appre- hended would be the nature of your Essay and Collection of Vocal Poetry, from your senti- ments expressed and the taste displayed in some of your works, which I have read since my first seeing" your Essays on Song-writing; and I hoped that a period of nearly forty years had so altered your opinion on the subject of such works, that I expected a Collection of Songs, which I should rejoice to see submitted to the public with the sanction of so great a name. Having obtained the work, I immediately sat down to the perusal of it, and was pleased to think, from the general tenor of the Essay prefixed, that I should find my expectations realized. The advertisement speaks of the Essays in the former publication as being " the juvenile attempts of one whose taste was by no means matured," &c. and that, " the Editor was unwilling that his book should again be given to the public witli all its imperfections on its head. He was obliged, therefore, to declare, that if 4 LETTER I. it were reprinted at all, it should be with many and material alterations, corresponding to his own change of taste and opinion in various points during so long an interval. Under these almost compulsory circumstances, although he perhaps should not now have chosen for the first time to appear as the collector of productions, the general strain of which is more suitable to an earlier period of life, yet he thought he might without impropriety avail himself of the opportunity of making a new and much more extensive selection of com- positions which will not cease to be favourites with the lovers of elegant poetry, whatever be the vicissitudes of general taste. The Editor, therefore, in this volume, which is rather a new work than the re -publication of an old one, has made it his leading object to collect, from all the sources within his reach, those pieces of the song kind which seemed to him most deserving of a place in the mass of approved English poetry. And having with some care revised his notions respecting the character and distinctions of these composi- tions," &c. You, afterwards, in the Essay, (p. xx.) mention the (i violations of decorum" in many songs; and that the "licentiousness" INTRODUCTORY. of " — the wits of either Charles's days/' — " imparted a taint to most of their pro- ductions; and even sometimes appeared in a coarseness of language little corresponding "with what might be expected in the style of men of fashion." (p. xlii.) You praise a pastoral by Shenstone for expressing " the delicacies of the soft passion in its purest form." (p. xxviii.) And you say, that the common theme, taken from the epicurean system of ethics, making the shortness of life, and the like, an incentive to present pleasure, though " in a certain tempe- rate degree it coalesces" with u rational philo- sophy," yet u carried further, it may justly excite the censure of the moralist, whatever indulgence be pleaded for it on the grounds of precedent and poetical fitness," (p. xxxi.) — You censure the taste of Burns for having been at times " contaminated by his habits of vulgar excess" ; (p. xlv.) and say that you " feel no ambition to be regarded as a priest of Bacchus." (p. xlviii.) After enumerating the sources whence you have derived your songs, you say that from those u a number of these pleasing compositions may be selected, which will do honour to English genius, and are well entitled to preservation as a portion of the mass of national poetry, even independently of their b 2 6 LETTER I. association with some of the most agreeable strain of musical harmony. Such a selection has been the object of the present editor; and although he is well aware that an uniformity of judgement respecting the admission and re- jection of particular pieces cannot be expected, he presumes to hope that he shall not be thought chargeable in general either with inserting mean, vulgar, and improper articles, or with omitting those of acknowledged and decided excellence.' ' " It has been much more a point with the editor to give a select than a comprehensive collection . ' ' (p. xlv. xlvi.) With these sentiments pleasingly impressed upon my mind, I proceeded to peruse the songs themselves ; and must confess, that I experienced considerable disappointment : as many of them did not appear to me to be merely harmless com- positions, but to have a decidedly immoral tendency. Having already published several works on the subject of English songs, and examined the tendency of many of the most popular com- positions of that kind, I trust I shall give no cause of offence if I enter at some length into an examination of your work ; to which I am encouraged by knowing the liberality of Dr. Aikin's sentiments, and how great an advocate INTRODUCTORY. / lie is for free discussion. I have the less re- luctance in doing this > as the respect which I bear for your character and talents, and the pleasure which I have experienced from several of your works, seem to me as so many pledges in my own breast that I shall not exceed the bounds of decorum — I will add, of Christian charity. In a former publication, when T con- ceived myself to be called upon to animadvert upon some of Mr. Dibdin's Songs, I had the happiness to find, that so far from producing any unpleasant alter cation between that gentleman and myself, it led to a friendly correspondence, and afterwards to his contributing some of his compositions to my collection. I will indulge the pleasing hope that I shall not be less suc- cessful in my present undertaking. At the same time, I must confess, that, were you, Sir, the only person whom I might wish to influence by my remarks, I should not have felt myself intitled to trouble you at all ; cer- tainly, not with so long a work, and addressed in so public a manner. But I wish to address your readers and the public at large on the subject of your publication in particular, and on some subjects connected with it; a mode of pro- cedure, I believe, sufficiently sanctioned by 5 LETTER t f examples in the literary world. I shall there- fore in this and some subsequent Letters take into consideration the sentiments expressed in your Essay on Song-writing, and also the Songs contained in each class in your Collection.* Of the influence which poetry has upon the mind you seem to be perfectly aware. In your Letters from a father to his Son (vol. II. L. xii. p. 200.) you speak of " ideas purely of the imagination, derived from the fascinating images of poetry" ; and you speak of them as operating with other causes to pro- mote a love for the country, and thereby to incline many to an agricultural life. (p. 199.) In your letter on History and Biography (L. xiii. p. 227.) you recommend them " for the rectifying of those false ideas, which the » These remarks appear to me now to be more necessary, as, since this was written, that very respectable work, The Quarterly Review, has spoken in the following high terms of the two publications in question: " This elegant Collection presents, to those who admire music, means of escaping from the too general pollution, and of indulging a pleasure which we are taught to regard as equally advantageous to the heart, taste, and understanding. Both editions are considerably enlarged by various songs extracted from the best modern poets, and in either shape the work maintains its right to rank as one of the most classical collections of songs in any language." No. VI. p. 492. INTRODUCTORY. V llieories of speculatists, and the fictions of poets and novelists, are continually obtruding upon our minds, and the combined mass of which probably constitutes a much larger portion of our opinion than we suspect. Every one, even moderately conversant with works of invention, must frequently, I doubt not, when searching for examples to corroborate moral or metaphy- sical theories, have found himself recurring un- awares to the characters and events contained in such works, in preference to those of real life." In your Letter on the Advantages of a Taste for Poetry (L. xv. p. HbQ.) you consider poetry as having effect in " meliorating the heart, and improving the intellectual faculties," and as presenting " ideas to the mind not only in the most pleasing, but in their most im- pressive form." And, again, " The diction of The Essays on Song-writing are spoken of with unqualified praise in a Letter from Professor Stewart of Edinburgh, to Dr. Currie of Liverpool, respecting the poet Burns: ** The Collection of Songs by Dr. Aikin, which I first put into hishands, he read, with unmixed delight, notwithstanding his former efforts in that very difficult species of writing; and I have little doubt that it had some effect in polishing his subsequent compositions." (Life of Burn3. fifth Ed. p. 142.) These arc high authorities to combat : yet I caauot sacrifice to them my persuasion, that there is before me ground for just but candid animadversion, • 10 LETTER I. poetry is language in its noblest dress, nor is it possible to obtain an idea of the full power of words without being conversant with the works of poets. It elevates, points and vivifies all it touches. It paints sensible objects in all the strong colouring of circumstantial and kindred imagery ; it renders visible the secret workings of passion and sentiment by their corporeal expressions ; and by associating abstract truths with resemblances drawn from external nature, it indelibly imprints them upon the memory. In exquisite poetry every word has its peculiar force, and aids the general impression." (Do. p. 259.) Speaking of our great English Dra- matist, you say (p. 265.) " Considering the universal familiarity with Shakespeare's best pieces acquired among us, either from the stage or in the closet, and the adoption of so much of his phraseology by many of our popular writers, I do not think it is exaggerating the effect of poetry, to suppose that the characteristic English manliness of thought has been greatly indebted to him for its preservation amid pre- vailing luxury and fashionable frivolity." In your Essay on Song-writing (p. xviii.) you say, that, " The share that Lilliburlero had in promoting the Revolution in this country has been noticed by grave historians." And of the INTRODUCTORY. H national song of Rule Britannia you say, u it cannot be doubted that it has produced a great effect in accustoming Britons to the claim of maritime empire." (p. xxiv.)* Nor is this influence confined to the lower classes. Even Ministers of State, at their public dinners, listen with complacency to these productions; and one who has been high in office, and whose talents are of the first rate, has condescended to write son«'s for these oc- o Casions. * An incident occurred to me little more than a year ago, which gave me a very forcible idea of the influence which the most common popular songs have upon the minds even of persons from whom we should expect very different things. Soon after the defeat of the Au?trians, in 1S09, I was conversing with a Clergyman some years older than myself in our quadrangle at Clare Hall. Amongst the ornaments at the top of the building over the eastern gate-way are figures in stone of angels or cherubs. A third person was present, and the conversation turned on the times and our comparatively happy state in this country, and especially that of ourselves, living in the peaceful retirement of a college. " Yes," replied the clergyman, pointing to one of the figures of the angels, " We are very much obliged to " the little cherub that siis vp aloft " alluding to the burden of Dibdin's song of Poor Jack. Though a reference to Providence would (in my opinion) have been better, and especially more suited to the station and education of the person who uttered the reflection, yet it seems fairly in pointtouards proving what I mentioned, the influence of popular songs upon the minds even of such persons. 12 LETTER I. You yourself, Sir, give us a forcible instance in your own case, of the fascination of poetry, and even of permanent advantage to be derived from it. In your Letter On the Advantages of a Taste for Poetry (L. xv. p. 275.) you say, that " From the very early period at which books constituted one of my chief pleasures, to the time at which I write, I have seldom passed a day without some perusal of a poetical work. I have habitually made it the bonne bouche of my studies, and have often placed it before me as a sort of recompence for assiduity in literary or professional labours. My relish for it still remains undiminished: for whatever may be lost in fondness for the wilder and more fanciful parts of poetry, is compensated in increased attachment to the more serious and dignified. I would hope, too, that this taste has not merely served me for amusement ; and if I do not deceive myself, I can refer to the strong impressions made by poetry, the origin of some of those sentiments, which 1 should not willingly part with."* * Dr. Watts, in his admirable work On the Improvement of the Mind, in the Chapter on the Sciences and their uses (Cn. xx. Sec. xxxvi. §.3.) saysof poetry, that " The most considerable advantage to be obtained from it by the bulk of mankind" " js, to INTRODUCTORY. 13 I can myself say much the same with respect to my love for poetry : but I fear that, at one period of my life, I made it more than furnish our tongues with the richest and the most polite variety of phrases and words upon all occasions of life or religion." And, again, " After all that I have said, there is yet a farther use of reading poesy, and that is, when the mind has been fatigued with studies of a more laborious kind, or when it is any ways unfit for the pursuit of more difficult subjects, it may be as it were unbent, and repose itself awhile on the flowery meadows where the Muses dwell. It is a very sensible relief to the soul, when it is overtired, to amuse itself with the numbers and the beautiful sentiments of the poets ; and in a little time this agree- able amusement may recover the languid spirits to activity and more important service."' \. 4. Owen Felltham, in his Resolves, in ery dissimilar: u many of those subjects in which false opinions are most prevalent, lay such hold on the weak parts of man, his pas- sions and affections, that he is in general inca- GO POSTSCRIPT TO LETTER II. pacitated from making proper use of the expe- rience of past ages, and seems doomed to run a perpetual round of the same follies and mistakes. Tli is is the cause why reason has not been able to do more in abolishing superstition. Various species of it have occasionally been rendered unfashionable by ridicule or detection ; but the principle itself keeps its hold in the human breast, ready to seize every opportunity of regaining all the influence it may have lost. In countries the most enlightened by science and letters, it is wonderful how much superstition is constantly lurking among the vulgar of all ranks, nay, among the enlightened themselves : for where the temper disposes to it, both learning and science may be made to afford additional materials for it to work upon. A faith in omens, prophesies, and horoscopes, in fortunate names and numbers, in warnings and appa- ritions, in supernatural cures, and other frau- dulent pretensions respecting the principal objects of hope and fear, is no more likely at the present day to be eradicated, than it was at any former period. Reason has no greater power over these delusions, than the Roman senate had over the influence of the Chaldean soothsayers : " Genus hominum (says Tacitus) quod in civitate nostra et vetabitur semper, et ON BALLADS AND PASTORAL SONGS. 61 retinebitur." It has rendered them in a certain degree discreditable, and reduced them to ope- rate more in secret than formerly, and more individuals have been freed from their sway ; but he must know little of the actual state of things who supposes their present influence to be inconsiderable, or, perhaps, diminishing." And, afterwards, in Letter xxv. which contains " Remarks on an argument in favour of the Reality of Spectral appearances", which argu- ment is Dr. Johnson's, put into the mouth of the Sage, Imlac, in his Rasselas,you say (p. 281.) "It may be further observed, that with regard to supposed spectral appearances, the idea of them has, in different countries and ages, re- ceived such variations as might be expected from the operation of the fancy modified by variety of circumstances. One remarkable di- versity is, that similar things are represented as passing in a vision and in reality ; and sometimes it is not easy to say which of the two is in- tended." After giving instances from Virgil and Ovid, you say (p. 283.) " It would be easy to multiply instances in which the poets, those faithful recorders of popular superstitions, have thus wavered between vision and reality in their representations of the commerce with G 62 POSTSCRIPT TO LETTER II. aerial beings."* With these references and these extracts I shall rest Margaret's Ghost, and proceed to Edwin and Emma, (p. 73.) It exhibits a beautiful picture of a delicate pas- sion between the lovers, as related in the fol- lowing verse : A mutual flame was quickly caugbt, Was quickly too reveal'd ; For neither bosom lodg'd a wish, Which virtue keeps conceal'd. The lesson too to parents and relatives not to oppose virtuous love, merely because the ob- ject may have no fortune, is valuable ; but, * In the Letter by the Poet Burns to Dr. Moore, giving an account of his life, there is a very curious passage to this effect : ** In my infant and boyish days, too, I owed much to an old wo- man who resided in the family, remarkable for her ignorance, credulity and superstition. She had, I suppose, the largest collection in the country of tales and songs concerning devils, ghosts, fairies, brownies, witches, warlocks, spunkies, kelpies, elf-candles, dead-lights, wraiths, apparitions, cantraips, giants, enchanted towers, dragons and other trumpery. This culti- vated the latent seeds of poetry ; but had so strong an effect on my imagination, that to this hour, in my nocturnal rambles, 1 sometimes keep a sharp look-out in suspicious places; and though nobody can be more sceptical than I am in such matters, yet it often takes an effort of philosophy to shake off these idle terrors." (See Dr. Currie's Edition of Burn's Works. Vol. I. p. 37.) ON BALLADS AND PASTORAL SONGS. 03 here^ likewise, there is food for superstition. After Emma's last interview with Edwin it is stated, Now, homeward, as she, hopeless, went The Church-yard path along, The blast blew cold, the dark owlscream'd Pier lover's fuu'ral Song. Amid the falling gloom of night, Her startling fancy found In every bush his hovering shade, His groan in every sound. In the last verse but one Emma talks of her lover's angel face. The comparing human beings to angels I certainly do not approve. Mr. Walter Scott, in his Lady of the Lake, has done this with more reserve than poets generally practise, as he makes the comparison with an if. The lines are so beautiful that they are well deserving of insertion in this place : Some feelings are to mortals given, With less of earth in them than heaven; And if there be a hnman tear From passion's dross refin'd and clear, A tear so limpid and so meek, It wouldnotstain an angel's cheek, 'Tis that which pious fathers shed Upon a duteous daughter's head ! P. 73. In the last verse of this Ballad of Edwin and Emma, it is said, " She shiver'd, sigh'd, and died", on which subject see before, p. 53. 64 • POSTSCRIPT TO LETTER H. Nancy op the Vale, by Shenstone, " The western sky was purpled o'er", (p. 77.) is a very beautiful Ballad, and is given, with some small alterations, in the second Volume of my Collection. You have omitted it (for which I can see no reason) in your late Volume. To illustrate my ideas on this subject still far- ther, and to afford my readers some relief from continued comment, I shall subjoin some spe- cimens of what appear to me to be good Ballads and Pastoral Songs, or rather what I will call by the more appropriate name of Rural Songs. 65 BALLADS AND RURAL SONGS. I. THE SAILOR'S LOVE'S CONSOLATION. BY MRS. SLEATH. 1 Hush'd was the storm — the fleet unmoor'd, The top-sails floated on the wind, And many a gallant youth aboard, Sigh'd for the maid he left behind. 2 But earnest vows and looks of love, Were most to gentle Mary giv'n, Vows such as angels might approve, And hear — and register in Heaven ! 3 Far off her Henry's voice she hears, He calls — she answers ; but in vain ; Hark ! tis the gun — Fast flow her tears ; The vessel rides along the main. g 2 66 BALLADS AND RURAL SONGS. 4 Awhile sweet hope her bosom cheers, Though absent yet their hearts are join'd, Henry may bless her future years ; This stilPd the anguish of her mind. 5 But ah ! what terrors wait the Fair, Whose love on trackless seas is tost ! She hears, half frantic with despair, The vessel's wreck'd — her Henry's lost. 6 Impatient griefs her bosom tear, She raves — she weeps — nor comfort feels, Victim of woe and wild despair, She thus her sorrowing heart reveals. 7 "Ah, wretched maid! unlov'd, unknown! " Bereft of ev'ry earthly joy ! H Ne'er shalt thou cease thy loss to mourn, " And weep thy Henry's destiny. 8 46 The treasur'd sorrow, now so dear, " Still cherish'd in thy breast shall live ; "Its keenest pangs thy heart revere, " 'Twere sinful couldst thou cease to grieve." BALLADS AND RURAL SONGS. 67 9 She stops. — A voice in accents mild, Calm as the Zephyr- — far more sweet, Salutes her, " Cease, sad sorrow's child, " Nor rash that sentiment repeat ! 10 " Heav'n, for our good, afflictions dire " In mercy as in wisdom sends ; " Thither then bid thy thoughts aspire, " And make the hosts of Heav'n thy friends.' ' 11 She turn'd to view what it might be, That thus the friendly precept gave ; One learn'd in heav'nly truths was he, Who came to counsel and to save. 12 And now the blessed Book he brought, And many a holy teid to prove, How Heav'n is ne'er unmov r d when soughtj And oft chastises most in love. 13 Affliction's path himself had trod, Tost on the world's delusive shore, Till his heart fasten'd on his God, And knew despondence now no more. 68 BALLADS AND RURAL SONGS. 14 She heard. The troublous errors fled, Chas'd by Truth's brightening beams they flew! And soon she bless'd the power which led The sage that did her steps pursue. 15 His words — his looks — his precepts mild, His patient hope — his faith confest, The mourner of her griefs beguil'd, And calm'd the tempests' in hjsr breast. II. EDGAR AND ELLA. BY MR. JAMES LAMB. 1 The night was dark, and awful was the scene, The wind blew high and loud the billows roar'd, The snow came drifting, and the frost how keen, The heath, alas I no shelter could afford. 2 'Twas then young Edgar bent his trackless way Ella to meet, by whom he was belov'd, BALLADS AND RURAL SONGS. 69 Whose charms held o'er his heart despotic sway* They'd own'd their passions^ and their sires approv'd. 3 The proudest gifts, great Nature e'er bestow'd On mortals, sure this virtuous pairpossest, With wealth too, were they bounteously en- dow 'd, And nought they lack'd to make each othcF blest. 4 But to the will of all-disposing Heaven Ere 'tis accomplish'd human eyes arc blind ; For down a precipice where snow was driven He fell, and to his God his soul resign'd. 5 Some days elaps'd, when Ella, in despair, Found the drear spot that Edgar's corse contain 'd, In wild distraction then she tore her hair, And in most impious terms high Heaven arraign'd. 6 Reason at length recall'd this lovelorn maid, Who piously for pardon bent her knee ; She woo'd her dear religion's balmy aid And nevermore repin'd at God's decree. 70 BALLADS AND RURAL SONGS. III. THE TOKEN. BY MR. DIBDIN. 1 The breeze was fresh, the ship in stays, Each breaker hush'd, the shore a haze, When Jack, no more on duty calPd, His true-love's tokens overhaul'd : The broken gold, the braided hair, The tender motto, writ so fair, Upon his 'bacco-box he views, Nancy the poet, love the muse : " If you loves I as I loves you, No pair so happy as we two." 2 The storm — that like a shapeless wreck, Had strew'd with rigging ail the deck, That tars for sharks had given a feast, And left the ship a hulk — had ceas'd : When Jack, as with his messmates dear He shar'd the grog, their hearts to cheer, Took from his 'bacco-box a quid, And spelt, for comfort, on the lid, " If you loves I as I loves you, No pair so happy as we two." BALLADS AND RURAL SONGS. 71 3 The battle — that with horror grim, Had madly ravag'd life and limb, Had scuppers drench'd with human gore, And widow'd many a wife — was o'er : When Jack, to his companions dear, First paid the tribute of a tear, Then, as his 'bacco-box he held, Restor'd his comfort as he spell'd, " If you loves I as I loves you, No pair so happy as we two." 4 The voyage — that had been long and hard. But that had yielded full reward ; That brought each sailor to his friend, Happy and rich — was at an end : When Jack, his toils and perils o'er, Beheld his Nancy on the shore, He then the 'bacco-box display 'd, And cried, and seiz'd the willing maid ; iC If you loves I as I loves you, No pair so happy as we two." v 72 BALLADS AND RURAL SONGS. IV. THE NEW SIR JOHN BARLEYCORN. The Barleycorns throughout our isle Are a numerous family, And, if thou'lt listen for a while, Their fame my theme shall be» 2 But of that branch I tell alone, Which in a village fair, For truth and honesty were known By all the dwellers there. 3 John Barleycorn, of whom I speak, A servant long had been, And none could say, e'en in a freak, He e'er got drunk with him. 4 The Clergyman, the Justice too, As well I understand, Familiarly, John was so true, Would take him by the hand. BALLADS AND RURAL SONGS. Plump in his make, in russet coat, And what but strange appear'd, When of ripe age, you well might note He wore a long stiff beard. 6 John's master said he was so pieas'd With services so rare, So much his toils and cares he'd eas'd, He should his substance share. 7 Ten acres of new-broken land He did assign him then, And said there waited his command His horses, carts and men. 8 Id this new situation John Began to thrive amain, A num'rous family anon The land did well maintain. 9 The sun, the wind, the rain and dew, All seem'd as for them giv'n, And, while in health and strength they grew. They rais'd their heads to Heav'n. H 74 BALLADS AND RURAL SONGS. 10 Meanwhile his master, still intent To serve and do him good, Near him a house prepar'd, and sent To say how matters stood. 11 The village all, with joy elate To see John once more come, Repair'd th' event to celebrate, And, shouting, brought him home. 12 Here John, beneath his master's eye, Secure and happy dwelt, His master could his faults espy, But all his virtues felt. 13 The richest ears have still their straw, Its chaff the fairest grain, With chastening hand he'd vice withdraw, And virtue would retain. 14 Thenceforth was John a better wight, Of greater worth confest ; In his own phrase, he was clean dight 9 His neighbours said well drest. BALLADS AND RURAL SONGS. iO 15 At length a jlood assail'd good John, For two long nights and days, No harm it did, he thriv'd thereon, This truth th' Exciseman says. 16 Without a figure I would say, That John was fairly steeped. And a warm man he grew, but lay Longer, and soundly slept. 17 But this indulgence, it is said, From sloth did not arise, " Early at morn, early to bed'* His maxim was most wise. 18 Another truth is, as I've heard, Tho' John was highly tax'd, He never spoke a grumbling word, Nor 's loyalty relax'd. 19 AJire, then, both fierce and strong, In threat'ning aspect rose, But, timely quench'd, there nought was wrong, It sweeten' d his repose 16 BALLADS AND RURAL SONGS. 20 At length he enter'd on a Mill, His usual fortune there Attended him, he flourished still, More rich his virtues were. 21 His hand at brewing next he tried. Success was more and more, Such beer, such ale, his friends all said Ne'er tasted was before. 22 No roguery in him was found, No drugs from chemists' shops, His beer was always good and sound, 'Twas made of malt and hops. At length, John Barleycorn, 'tis said, — Nor think I'm speaking scorn, — For so much worth a Knight was made, Fam'd Sir John Barleycorn. Unknown if with Address to court From borough-town he went, Or service in the field he wrought, And life in glory spent. BALLADS AND RURAL SONGS. 77 25 Our second Charles, of fame facete', On loin of beef did dine, He held his broad sword o'er the meat, And dub'd it then Sir Loin. 26 But whether then the nut-brown ale, In silver tankard borne, Receiv'd like honour, records fail In th' house of Barleycorn. 27 Suffice it that he is a Knight For service to the State, And may we all his love requite, His fame still celebrate. 28 Long Life to Sir John Barleycorn 1 drink with all my heart : Put round, my boys, the drinking-horn, But sober let us part. J. P. h 2 78 BALLADS AND RURAL SONGS. y. THE PEASANT. 1 The peasant's blest, who in his cot, Secure from flatt'ry and deceit, The bread his honest labour got, In peace can eat. 2 Whose family to cloathe and feed Does each new day his hands employ, But toils, well pleas'd, th' approaching need To satisfy. 3 O happy state, which so contents ! Who's cheerful, tho' he's poor ; Who asks of Heav'n what nature wants, But asks no more. 4 The miser's fears ne'er rack his breast, Each night he lays him down in peace ; No dreams of rapine break his rest. He sleeps at ease. 5 Rises each morn with early dews. Salutes with joy the welcome day ; And in the fields his toil pursues, With spirits gay. BALLADS AND RURAL SONGS. 79 6 When nature calls for nourishment, On some soft mossy bank he sits, And food that's sweeten'd by content, He thankful eats. 7 Nor guilt, nor fear his joys dismay, Each thought fresh comfort brings ; Thus happy all the livelong day, He works and sings. 8 But when the sun retracts his rays, And evening smoaks from chimneys come ; Then, thoughtless, with an easy pace, Goes whistling home. 9 There he his leisure hours enjoys, Laughing at merry tale or jest, Till sleep o'erpowers his weary eyes ; Then goes to rest. 10 Thus steal away his earthly days, In health, content, and ease, Till he the debt of nature pays, And dies in peace. 80 BALLADS AND RURAL SONGS. 11 Each neighboring peasant weeps his end, Dropping a kind unfeigned tear ; And mourns for his departed friend, With heart sincere. 12 O Heav'n ! let me such bliss enjoy, Crown'd with content, and free from blame ; And may good deeds, whene'er 1 die, Record my fame. J. W. VI. THE LABOURER'S WELCOME HOME. BY MR. DIBDIN. 1 The Ploughman whistles o'er the furrow, The Hedger joins the vacant strain, The Woodman sings the woodland thorough, The Shepherd's pipe delights the plain : Where'er the anxious eye can roam, Or ear receive the jocund pleasure, Myriads of beings thronging flock Of nature's song to join the measure, Till to keep time the village clock Sounds, sweet, the labourer's welcome home. BALLADS AND RU5AL SONGS. 81 2 Tlie hearth swept clean, his partner smiling, Upon the shining table smoaks The frugal meal ; while, time beguiling, The ale the harmless jest provokes : Ye inmates of the lofty dome, Admire his lot — his children, playing, To share his smiles around him flock, And faithful Tray, since morn that straying Trudg'd with him, till the village clock Proclaim'd the labourer's welcome home. 3 The cheering faggot burnt to embers, While Angels round their vigils keep, That Power, that poor and rich remembers, Each thanks, and then retires to sleep : And now, the Lark climbs heav'n's high dome, Fresh from repose, toil's kind reliever, And furnish'd with his daily stock, His dog, his staff, his keg, his beaver, He travels, till the village clock Sounds, sweet, the labourer's welcome home. 82 BALLADS AND RURAL SONGS. VII. YOUNG WILLIAM, THE LABOUI 1 The pride of the Village young William was seen, So mild in his temper, so comely in mien, At church no one e'er was more constant than he, Of his age, no one labour'd more hearty and free. He had entered, exulting, his twenty -fifth year, And a wife and a babe did his cottage endear, No vice nor excess had enfeebled his strength, And his years seem'd to promise to run their full length. 'Twas his lot, with two others, in Harvest to mow, Who, by their rude strength, all his powers could out go, And, the talk running high on the portion of work To be done by the man who disdain'd e'er to shirk , BALLADS AND RURAL SONGS. 83 A trial of strength and of skill was agreed, And applause was to crown him who best should succeed ; With the first of the mom was the trial begun, And it ended when down in the west set the sun. 3 From morn until eve, with his might and his main, Young William encounter'd the veteran twain, He toiPd and he labour 'd, and when the sun set, Young William these two season'd mowers had beat; But dear was his triumph, for, ah ! the sunk sun Was an emblem too true of die course he had run, O'er-toil'd, his young frame had sustain'd a rude shock, Tho' his health, ere that day,^seem'd as firm as a rock. A few weeks he linger'd, Consumption's chill hand Had seiz'd on a frame unprepar'd to withstand ; E'en the care and the kindness the Hospital gave Could not stay his quick course to the house of the grave. 84 BALLADS AND RURAL SONGS. Too late he lamented his fool-hardy boast, And all his fair prospects so fatally crost ; His errors confess'd, hope arose in his mind, And to God's gracious mercy his soul he resign'd. 5 Oh ! you, in the vigour of life's joyous prime, Whose industry, spirits and health keep due time, Be warn'd by Young William, nor, eager for fame, Destroy prematurely a strong healthy frame. And, you, who ere this some bad course have begun, Love the virtues of William, his faults only shun ; And if his example vain-glory restrain, Nor his life, nor his death, is recorded in vain. J. P. VIII. PATTY. BY WILLIAM HALLOWAY. 1 When morning first open'd her dew-dripping eye, And the tapers of night disappear'd, BALLADS AND RURAL SONGS. 85 While the light curling streams on the blue river lie, And the mill-wheel at distance is heard, 2 With her pail on her head, and a-kimbo her arms, Young Pattv, the pride of the vale, Unconscious of half her superlative charms, Trod the meadows, and breath'd the sweet gale. 3 Each shepherd that pass'd her look'd wishful behind, Admiring her shape and her air ; The cows hear her call, on their green bed reclin'd, And rising, to meet her, repair. .4 The plowman who once shar'd her hand in the dance, That triumph could never forget ; Each sweet artless smile would the favour enhance, And render the rapture complete ! 5 But Patty, at length, of her beauty grown vain, Relinquish' d the vale for the town ; i 86 BALLADS AND RURAL SONGS. And listen'd to Flatt'ry's mellifluent strain, Till her peace and her comforts were gone 6 Then oft, while the salt tear bedew'd her dark eye, She reflected on pleasures long past ; Nor shepherd, nor plowman attended her sigh, As the moments of youth ran to waste. 7 O, poor helpless maiden ! more blest hadst thou been, Had Nature but form'd thee less fair, Or made thee, — still bounding each wish to the green, Some peasant's ambition and care. IX. LOVE AND PRUDENCE. BY WILLIAM HOLLOWAY. 1 I have a Cottage in the glen, Beneath a pear-tree's ample shade, Far from the turbulence of men, Their haunts of pleasure and parade. BALLADS AND RURAL SONGS. 87 Of wealth have I no boasted mine, No liveried slaves to wait on thee ; But, Cath'rine, all my heart is thine, If thou wilt share this cot with me, Parents of sordid mind have said We cannot live on love alone ; But Industry shall lend its aid, And Competence shall be our own. I know we cannot live on love ; But without love we live in vain ; Whate'er we boast, where'er we rove, 'Tis solitude and useless gain. 8 Romantic Love may fondly sigh To riot on a damask cheek ; May fix the glance of Beaut y 9 s eye, And cause her artless heart to break. 'Tis cruel Love that weds the maid With Care and Poverty in view — But, Catherine ! I this truth have weigh'd, If small our means, our wants are few. 4 Can you a little dairy tend, While in the neighb'ring fields I toil ; Amongst the jolly reapers bend, Or hold the plough, or sow the soil ? $S BALLADS AND RURAL SONGS. Can you, amid the swathes of hay, Contented share the frugal meal ; And, ever unreserv'd and gay, Around your ale and cider deal ? 5 At home can you knit, brew, or bake. Or bind the fleece on shearing days ? Or while the orchard trees I shake, The heap of ruddy apples raise ? Can you the chicken -brood attend, And careful watch the summer-hive ? In garden toils assistance lend, And bid young vegetation thrive ? 6 Thus fragrant roses, white and red, The pink and sweet carnation too — The blushing flow'rs of ev'ry bed, Shall borrow half their charms from you, And, chiefly, can you love a youth Whose heart for you alone is free ? Then, Cath'rine! in the bonds of truth, Oj come, and share my cot with me ! BALLADS AND RURAL SONGS. 89 X. ESTIMATE OF RURAL HAPPINESS. BF WILLIAM HOLLOWAY. 1 Behold yon Cottage in the vale, Just o'er the hedge its roof uprear ! Where Labour breathes the balmy gale : They tell me Happiness is there. 2 Dearly the charm of birds I love ; The lapse of streams ; the scent of hay ; The flowers that deck the mead and grove : With all the rural sweets of May : 3 I love the forest-walks ; ripe fields ; The silence and the shade at noon ; And bow'rs the fruitful orchard yields, Beneath the clear autumnal moon. 4 But in the cot remote and low, Do wayward passions never dwell ; Do fierce resentments never glow ,- Dissensions rage, nor Envy swell ? i 2 90 BALI/ADS AND RURAL SONGS. 5 Ah ! 'tis not in the shade obscure That Peace and Quiet must abound ; Nor in the dwellings of the poor Is calm Contentment always found. 6 Alas ! they err, who fondly dream Of local bliss to man assign'd : This has no residence, I deem, But in the meek and tranquil mind : 7 And of the pearl is he possest, Who acts on heav'nly wisdom's plan ; And feels, within his grateful breast, A heart at peace with God and Man ! XI. THE HAPPY MAN, A GLEE. Happy the man who far from public view. Lives to himself and to the faithful few, Shuns the vain walks of bustle and parade, And tunes his spirit in the silent shade : BALLADS AND RURAL SONGS. 91 The native wood, the solitary scene, The low-roof d cottage, and the vernal green, The flocks, the herds,'the hill, the rill, the grove, Tempt not his heart in devious paths to rove ; To sigli for fame, to heed the proud man's way, To court the rich, and be as poor as they : But, free to guide the plough, or reap the plain, To house the harvest, or to thresh the grain ; In one calm tenor life serenely flows, Few are his wants his wishes and his woes ; As tranquil streams his steady moments run, And humble nature charms her patient son. XII. THE SEASONS. Tune : " How blest the maid" in Love in a Village. 1 With us alike each season suits, The spring's rich fragrant flowers, The summer shade, the autumn fruits, And winter's social hours. A bleating flock, a humble cot, Of simple food a store, This is a blest and envied lot, My wish is not for more. 92 BALLADS AND RURAL SONGS. XIIJ. PEACE. From Colley Cither's Birth-day Ode in 1746. From arms discharg'd, the listed swain To rural life returns again : With usual glee he tills the soil, And whistles jocund to the toil. Or in the green, in dance or song, He wins the garland from the throng ; And now he melts the maiden heart, Now never, never more to part. LETTER III. ON MORAL AND MISCELLANEOUS SONGS. Sept. 7, 181ft. SIR, The Songs now to be taken into consideration are of great importance, at least the Moral Songs, so far as they can be distinguished from the Miscellaneous. Even in a general Collec-* tion we have a right to require that nothing contrary to sound morality be admitted ; but in Songs bearing the title of Moral, we may require each Song to inculcate some moral sen- timent, and may claim with peculiar force a total abstinence from every thing of immoral tendency. In your Essay (p. xxx.) you say, " Moral topics, however, have not been entirely excluded from song-writing, and several pleas- ing productions of this kind exist, in which content, moderation, and the tranquil enjoyment of life, are inculcated." Yon then proceed to remark upon a peculiar turn which, in ancient and modern Songs, has been given to reflections on our short life and uncertain affairs, in these words : " There is 94 LETTER III. another fund of moral sentiment, if it may be so termed, from which both ancient lyric poetry and modern songs have drawn deeply. This is the epicurean system of ethics, which, from t3ie consideration of the shortness of life, and the uncertainty of human affairs, derives an in- centive to present pleasure. This theme we find perpetually recurring in the Odes of Anacreon and Horace, whence it has been transplanted into the gay and vocal poetry of modern times, of which it constitutes the prevailing strain of sentiment. In a certain temperate degree it coalesces with the rational philosophy before mentioned. When carried further, it may justly excite the censure of the moralist, what- ever indulgence be pleaded for it on the grounds of precedent and poetical fitness." Afterwards, (p. xlvii.) you say, that such Moral Songs " have been chosen" for your collection " as inculcate a kind of calm and reasonable philo- sophy, not so severe as to be inconsistent with the cheerfulness of vocal music in society, and corresponding with some of the sober strains of the Horatianlyre." I should not be inclined, Sir, to differ much from you in these sentiments, did not some of i the songs afterwards introduced go far beyond what I conceive to be the proper boundary of ON MORAL AND MISCELLANEOUS SONGS. 95 Content , Moderation, a tranquil Enjoyment of Life, Cheerfulness, and a reasonable Philo- sophy. And.* therefore, as I conceive this to be a better place for saying something upon the question, than afterwards, when we come to the particular Songs, we will enter upon it now. That something of this kind is sanctioned by the principles of the Gospel I am ready to allow. Our Saviour himself, in his Sermon on the Mount, says, u Take no thought for the mor- row ; for the morrow shall take thought for the things of itself. Sufficient unto the day is the evil thereof." (Matt. vi. 34.) Bishop Home, in his admirable and beautiful Sermon on this text, contrasts it with those precepts which " suppose a continuation of life, and a want of the means which are necessary to support it" ; as " The hand of the diligent maketh rich;" (Prov. x. 4.) " If any man will not work, neither shall he eat ;" (2 Thes. iii. 10.) " Go to the ant, thou sluggard ; consider her ways and be wise : which, having no guide, overseer, or ruler, provideth her meat in the summer, and gathereth her food in the harvest" ; (Prov. vi. 6 — 8.) " The Parents ought to lay up for the Children" ; (2 Cor. xii. 14.) and says, " that the Greek word, here rendered take no thought, signifies properly, be not anxious, solicitous, 96 LETTER III. miserable, about to-morrow ; literally and strictly, be not of a doubtful, divided mind " and that, at the time our translation was made, " the expression to take thought", did " gene- rally denote the very thing which" the Greek word means, " namely, to take anxious thought, or to be anxiously careful, to be uneasy." There is also another Sermon of Bishop Home's, On the blessing of a cheerful heart, " A merry heart doth good like a medicine", Prov. xvii. 22. in which he shews, that it is the duty of a Christian to be cheerful, producing several similar texts from Scripture, and saying " It is evidently intended, in these sentences, to discountenance a gloomy discontented cast of mind, and to recommend in its stead, that habit of being pleased ourselves, and of pleasing others, which is best expressed in English, by the word cheerfulness : I say habit, because herein it stands distinguished from those tran-* sient ' flashes of merriment', which are often succeeded by an answerable depression of spirits, and are therefore, by our author, in another place, compared to " the crackling of thorns under a pot"; (Eccles. vii. 6.) they blaze for a moment, and expire for ever ; whereas cheerfulness is even and constant; though it blaze less, it warms more, and has ON MORAL AND MISCELLANEOUS SONGS. 97 been very properly called the sunshine of lite." But, in connection with these, we are to con- sider those other texts, which censure the very sentiments contained in the songs ; as, where St. Paul, (1 Cor. xv. 32.) quotes the Epicurean maxim, " Let us eat and drink* for to-morrow we die" ; and immediately adds, " Be not de- ceived : Evil communications corrupt good manners. Awake to righteousness, and sin not; for some have not the knowledge of God. I speak this to your shame". (V. 33, 34.) Again, (I Cor. vii. 29—32.) " I say, brethren, the time is short. It remaineth that" " they that weep, be as though they wept not ; and they that rejoice, as though they rejoiced not ; and they that buy, as though they possessed not ; and they that use this world, as not abusing it: for the fashion of this world passeth away. But 1 would have you without carefulness." So also, (in 1 Peter, i. 17.) " Pass the time of your sojourning here in fear." " The end of all tilings is at hand : be ye therefore sober." (Do. iv. 7.) u Casting all your care upon him," (God,) " for he carcth for you. Be sober, be vigilant." (Do. v. 7, 8.) These precepts teach a sobriety of mind, which, though quite consistent with cheerfulness and guarded mirth, K 98 LETTER III. is certainly inconsistent with the abandoning ourselves to mirth in an inconsiderate way, — ■ inconsistent with converting the shortness of life (and similar topics) into a confused kind of reason for passing that life in levity, or for admitting promiscuously every idea that offered itself for our seasons of recreation. Mrs. More, in the Vlth Part of the History of the Two Shoe-makers, which is a Dialogue On the Duty of carrying Religion into our Amuse- ments, and the greater part of which I have in- serted in the Introduction to my Collection of Songs, has considered some of the foregoing texts, in connection with some passages from songs, as *' Since life is no more than a passage at best, Let us strew the way over with flowers." See the Opera of Thomas and Sally, And " Bring the flask, the music bring, Joy shall quickly find us; Drink and dance, and laugh and sing, And cast dull Care behind us." See the Finale to Lionel and Clarissa, She shews how much the poet is at variance with the Christian precepts ; but I consider it sufficient in this place to state them together, and refer those, who wish to see more on the subject, to the Dialogue and to the Introduction, and, for some farther illustration of it, to the ON MORAL AND MISCELLANEOUS SONGS. 99 Preface to the third Volume of my Collection of Songs, p. vii. and I shall proceed to consider the Songs which you have given in-this class. The Song beginning " No glory I covet," (p. 37.) I have given in the second Volume of my Collection ; but the sentiment u The one thing I beg of kind Heaven to grant Is a mind independent and free", I altered to " One thing which I beg &c." as persons have many other things to beg of Heaven than a free and independent mind. Heaven appears to me to be introduced with propriety in this verse, as is Providence in the third : " The blessings, which Providence freely has lent, I'll justly and gratefully prize". The Moral Thought, by Hawkes worth, " Through groves sequester'd", (p. 38.) is in my Collection, and I have no observation to make upon it. " What man in his wits had not rather be poor", (p. 39.) by the Rev. Samuel Wesley, is also in my second volume ; but thinking the first of the two lines of the conclusion uncharitable, n Such a wretch let mine.enemy Jive, if he please, But not even mine enemy die." I altered them to •' Snch a wretch should mine enemy live, may it please Kind Heav'n he repent ere he die." L.ofC 100 LETTER III, " Oh ! what is the gain of restless care", • (p. 40.) by Mr.- Smyth, is certainly a very pleasing poem ; but the expression in the fourth line from the end, " there alone can the heart be gay," I do not think just, as the heart can be gay in many other situations. In " Come, dear Amanda !" (p. 41.) line three from the end, " And wisely crop the blooming day ;" the invitation to " secure the short delight" seems sufficiently guarded by putting the word wisely. That I may not appear too severe, I will not object to the Song beginning u Waft me, some soft and cooling breeze," (p. 41.) farther than to the last line of the fourth verse " The Gods of health and pleasure dwell," which I should alter to u The Sons of health and pleasure dwell." In the beautiful Song u Dear is 'my little native vale," (p. 43.) I could have wished that the Hours had had some other epithet than jfa/r^-footed. " Not on beds of fading flowers" (p. 44.) is in my Collection ; but I altered the last line but one from "So from the first did Jove or- dain", to " For thus does Providence ordain". Juno's Song in the Judgment of Paris, (p. 45.) ON MORAL AND MISCELLANEOUS SONGS. 101 Let ambition fire thy mind, Thou wert born o'er men to reign ; Not to follow flocks design'd ; Scorn thy crook, and leave the plain. Crowns I'll throw beneath thy feet ; Thou on necks of kings shall tread ; Joys in circles jovs shall meet Which way e'er thy fancy's led. &c. &c. Firing the mind with, ambition, and treading on the necks of kings, appears to me to go far, very far beyond a " calm and reasonable philo- sophy", and " justly to excite the censure of the moralist". (See before p. 94.) " The wretch condemn'd with life to part" (p. 46.) is in my collection. " O Memory ! thou fond deceiver", (p. 46.) appears to me to be much too unqualified . Me- mory has its Pleasures as well as its pains, and " he who wants each other blessing", by which I suppose we are to understand the blessings of this life, must not by any means necessarily " find a foe" in Memory. If he has treasured up in it the records of a good con- science, together with the promises of that reward to which a good conscience is permitted to look forward, it will afford him consolation amid his " woe" in this life, and afford him the hope of unfading happiness in that which is to come. After the high commendation which you have 102 LETTER III. given in a note upon Goldsmith's Song, begin- ning " When lovely woman stoops to folly", (p. 47.) and also in your Letters on Poetry, (L. xix. p. 271.) I feel much reluctance in objecting to it. Goldsmith is a favourite author with me, and his Vicar of Wakefield, in which this song is introduced, is a work to which I am very partial. I should have been glad to have inserted this Song in my Collection, but on mature consideration, I could not do so. The pointy which you so much admire, — to die, appears to me in its seeming sentiment and beauty to have misled him ; for, surely, it can- not with propriety be said, that it is the part of a woman under such circumstances — to die : that is, either to bring on her death directly, or indirectly, or even to wish it ; but to wait God's good time, and by penitence, and trust in the merits of a Redeemer, hope that her sin may be forgiven. u Lucy, I think not of thy beauty ;" (p. 47.) by Matilda Betham, is a very sweet poem, as is The Rose, (p. 49.) " A Rjse had been wash'd, just wash'd in a shower," by Cowper. It is in my 'Collection, and is one of the most delightful poems I know. It shews the very happy art which he had of eliciting a moral from the most common incidents of life : I am only sur- ON MORAL AND MISCELLANEOUS SONGS. 103 prised that you have not selected more from his stores. His Winter Nosegay is nearly equal to it. The Mansion of Rest, " I talk'd to my fluttering heart," (p. 50.) appears to me to be objectionable in several respects. Friendship is called a " witch", and it is said that she " could stab while she smiPd." This was not Friendship, then, but some one under her name. So again Love and his " sorcery" is mentioned, and that the soul would never with him find a Mansion of rest. Here, again, either it was not true love, or the rest sought was not such as there was any reason to expect to find. In the last verse Joy is called a Phantom, Reason is represented as stern, and the grave is considered as the Mansion of Rest. I would rather have pointed to a brighter Mansion, Heaven. The strain of this Song appears to me to be of the same kind, but going farther than Solomon in- tended, when he pronounced his maxim, that u All is Vanity" ; and which, even in his ac- ceptation, you do not think it " practically useful to inculcate.". (Letters on Poetry. L. iv. p. 36.) The Banks of Ayr, " The gloomy night is gathering fast," (p. 52.) by Burns, is, as you 104 LETTER III. term it, a pathetic piece. Its moral is neither good nor bad. " To Fair Indole's grassy tomb" (p. 53.) by Collins, has a very pleasing versification, together with great pathos and poetic beauty ; but I find in it " wailing ghost," " withered witch", u goblins" and " female fays."* * I hope I shall stand excused, if I take this opportunity of noticing a passage in the Preface to a Volume of " Poetry for Children : consisting of Short Pieces to be committed to memory. Selected by Lucy Aikin". The Preface opens' with this sentence, " Since dragons and fairies, giants and Tvitches, have vanished from our nurseries before the wand of reason, it has been a prevailing maxim, that the young mind should be fed on mere prose and simple matter of fact." &e. &c. I did not expect, after this, to have found, page 112, The Fairy's Song. This Book was put into my hands by a gentleman, to look it over, to see whether I considered it a proper book to give away as one of the rewards to the Children of the School here ; when I made the following observations upon it: Page 27, (Fifth Edition) is a poem on Insects, which begins Observe the insect race, ordain'd to keep The lazy sabbath of a half-year's sleep. The epithet lazy seems to be improperly applied to the sabbath, as it is not a day of sloth but of necessary, or at least salutary, rest. P. 35. Fortune is made the disposer of men's affairs: I care not, Fortune ! what you me deny : You cannot rob me of free nature's grace. P. 47. Is The Midsummer Wish, consisting; of the tive first ON MORAL AND MISCELLANEOUS SONGS. 105 Morning and Evening, u Say, sweet carol ! who are they" has nothing very objec- tionable in it, nor the Song addressed To May, " Born in yon blaze of orient sky" except that she is made a Goddess. The Soldier, which begins, What dreaming drone was ever blest By thinking of the morrow ? verses of " Waft me, some soft and cooling breeze". On which see before, p. 100- In Vocal Poetry it is attributed to Lansdowne, in Poetry for Children to Croxall. P. 77. The Huntsman encourages the cruel amusement of Hunting, and Exercise, p. 96. encourages that and other cruel sports, which are said to pro- duce pleasure. P. 111. Hunting the llareis called glorious tri- umphs; and the following lines appear to me to contain ideas not proper to be put into the minds of school Doys on such an occasion: afflictive birch No more the school-boy dreads : his prison broke, Scamp'ring he flies, nor heeds bis master's call; &c. wild crowds Spread o'er the plain, by the sweet phrensy seized. P. 122. Is an extract from Addison's Letter from Italy, where " the golden groves," which he sees around him, when trans- planted to " the coast of Britain's stormy isle" are made to curse'* the cold clime". Afterwards we have " Bear me some god", as if there really were many Gods. Again " kind heav'n" is represented as having u adorn'd the happy land, And scatter'd blessings with a wasteful hand !" The word wasteful seems to imply censure on the bounties of Heaven. P. 125. Liberty is represented as a " goddess, heav'nly bright," and " smiling plenty" is said to lead her " wanton train." Of course wanton must be considered as meaning only sportive, or else it is objectionable. 106 LETTER III. To day be mine — I leave (lie rest To all the fools of sorrow : Give me the mind that mocks at care, &c. is, I think, much too Anacreontic and militates against the principles laid down in page 95, &c. The War Song, " I mark'd his madly- rolling eye", has nothing in it particularly to censure. u Ye mariners of England," deserves the commendation, which you, Sir, have bestowed upon it in the note, with respect to its poetical merit ; but 1 had rather not have met with such expressions as, The spirits of your fathers Shall start from ev'ry wave. Britannia — — — With thunders from her native oak She quells the floods below.* This being the last of your Class of Moral and Miscellaneous Songs, I shall now add my own Selection of Songs of a similar description, and am, Sir, with great respect, your &c. * A friend informs me he has been told " that the firing of guns does actually calm the sea: and if we allow this fact, the poetical colouring is not mwc/i." 107 MORAL AND MISCELLANEOUS SONGS. I. VIRTUE. BY J. OAKMAN. 1 Ye virgins and youths of the plain, So innocent, happy and gay, I mean not your sports to restrain, Yet listen awhile to my lay ; 'Tis Virtue that lifts up the song, 'Tis she ev'ry joy can improve, To her all the graces belong, And all the fond raptures of love. 2 The streamlet, the mead and the bow'r, , With all the kind blessings of spring, More charming are made by her power, For sweetness still drops from her wing. 'Tis Virtue that banishes care, From her you must happiness claim, She your worth to the world will declare, And crown you with honour and fame. 108 MORAL A>'D .MISCELLANEOUS SONGS. IT. JUSTICE. BY THOMAS SCOTT. 1 Forbid it, Heav'n, that e'er I eat The bread of craftiness and wrong, A curse would poison all my meat, As fatal as the viper's tongue. 2 I ne'er will raise a poor man's sigh, His hire shall never swell my store ; I dread the poor man's plaintive cry, I fear the Father of the Poor. If I in darkness (base misdeed !) Assassinate my neighbour's fame ; By me if innocency bleed, Cancel from earth my hated name. 4 Ah ! no ; let me with strong delight To all the tax of duty pay ; Tender of ev'ry social right, Revering thy all-righteous sway. MORAL AND MISCELLANEOUS SONGS. 109 Such virtue thou wilt ne'er forget, In worlds where ev'ry virtue shares High recompence ; tho' not of debt, But which thy bounteous grace prepares. III. ADVERSITY. BY THOMAS SCOTT. How high our sanguine hopes we raise ! How hotly our desires pursue What fancy's magic glass displays Enlarg'd and tempting to the view ! These mortal objects of our love Too closely twine about our heart, Seduce our souls from things above. And hardly leave to God a part. 2 O bitter change ! when HeavVs kind hand Snatches the fatal joy away, Our feeble reason scarce can. stand Firm in affliction's stormy day. 110 MORAL AND MISCELLANEOUS SONGS. We weep, we laugh, in mad extreme ; Here, all delight ; all sadness there : Now on the mount of bliss we seem. Now in the quagmire of despair. 3 Stoics, who on your strength presume, Could all your toiling wisdom find A light to cheer affliction's gloom, A balsam for the wounded mind ? In vain you hail him good and great, Whose stedfast soul no ills can move ; Boast him impregnable to fate, And equal to your mighty Jove. Vain world, whose scenes of bliss and woe Are shifting every fleeting hour ; No longer shall our spirits owe Their peace, or trouble, to thy pow'r. Teach us, thou Comforter divine, Contentment ; should our all be gone : Teach us submission meek as thine, " Father, thy will, not mine be done." 310RAL AND MISCELLANEOUS SONGS. Ill IV. DISAPPOINTMENT. BY HENRY KIRKE WHITE. 1 " Come, Disappointment, come \ Not in thy terrors clad ; Come in thy meekest, saddest guise ; Thy chastening rod but terrifies The restless and the bad. But I recline Beneath thy shrine, And round my brow resign'd, thy peaceful cypress twine. Tho' Fancy flies away Before thy hollow tread, Yet Meditation in her cell, Hears, with faint eye, the ling'ring knell, That tells her hopes are dead ; And tho* the tear By chance appear, Yet who can smile and say, my all was not laid here. 112 MORAL AND MISCELLANEOUS SONGSv 3 Come, Disappointment, come ! Tho' from hope's summit hurl'd, Still, rigid Nurse, thou art forgiven, For thou severe wert sent from heav'n, To wean me from the world ; To turn my eye x From vanity, And point to scenes of bliss that never, never die. What is tins passing scene ? A peevish April day ! A little sun — a little rain, And then night sweeps along the plain, And all things fade away. Man (soon discuss'd) Yields up his trust, And all his hopes and fears lie with him in the dust. 5 Oh ! what is Beauty's power ? It flourishes and dies ; Will the cold earth its silence break, i To tell how soft, how smooth a cheek, Beneath its surface lies ? MORAL AND MISCELLANEOUS SONGS. 113 Mute, mute is all O'er beauty's fall, Her praise resounds no more when mantled in her pall. 6 The most belov'd on earth, Not long survives to-day ; So music past is obsolete, And yet 'twas sweet, 'twas passing sweet, But now 'tis gone away. Thus does the shade In memory fade, When in forsaken tomb the form belov'd is laid. Then since this world is vain, And volatile and fleet, Why should I lay up earthly joj^s, Wliere rust corrupts and moth destroys, And cares and sorrows eat ! Why fly from ill, With anxious skill, When soon this hand will freeze, this throbbing heart be still. 8 Come, Disappointment, come! Thou art not stern to me ; l2 114 MORAL AND MISCELLANEOUS SONGS. Sad Monitress ! I own thy sway, A votary sad in early day, I pay my court to thee. From sun to sun My race will run, I only bow and say, My God, thy will be done ! y. TO-MORROW. How sweet to the heart is the thought of To- morrow, When Hope's pleasing pictures bright co- le - lours display ! How sweet, when we can from futurity borrow A balm for the griefs that afflict us to-day ! 2 When wearisome sickness has taught me to languish For health, and the comforts it bears on its whig, Let me hope (oh ! how soon it would lessen my anguish) That To-morrow will ease and serenity bring. MORAL AND MISCELLANEOUS SONGS. 115 3 When travelling alone, quite forlorn, unbe- friended, Sweet the hope that To-morrow ray wan- d'rings will cease ; That at home, then, with care sympathetic attended, I shall rest unmolested and slumber in peace. 4 Or when from the friends of my heart long di- vided, The fond expectation with joy how replete ! That from far distant regions, by Providence guided, To-morrow will see us most happily meet. 5 When six days of labour each other suc- ceeding, With hurry and toil have my spirits op- press'd, What pleasure to think, as the last is receding, To-morrow will be a sweet Sabbath of rest. 6 And when the vain shadows of time are retiring, When life is fast-fleeting, and death is in sight, The Christian believing, exulting, aspiring, Beholds a To-morrow of endless delight : 116 MORAL AND MISCELLANEOUS SONGS 7 But the Infidel then ! — he sees no To-morrow Yet he knows that his moments are hastening away : Poor wretch ! can he feel without heart-rending sorrow, That his joys and his life will expire with to-day ! VI. THE DAYS THAT ARE GONE, The sun was departed, the mild zephyr blow- ing Bore over the plain the perfume of the flowers ; In soft undulations the streamlet was flowing, And calm meditation led forward the hours : I struck the full chord, and the ready tear started, I sung of an exile, forlorn, broken hearted, Like him, from my bosom all joy is departed, And sorrow has stol'n from the lyre all its pow'rs. MORAL AND MISCELLANEOUS SONGS. 117 2 I paus'd on the strain, when fond mem'ry, tenacious, Presented the form I must ever esteem : Retrac'd scenes of pleasure, alas, how fallacious ! Evanescent all, all, as the shades of a dream. Yet still, as they rush'd thro' oppress'd recol- lection, The silent tear fell, and the pensive reflection Immers'd my sad bosom in deeper dejection, On which cheering Hope scarcely glances a beam. 3 In vain into beauty all Nature is springing, In vain smiling Spring does the blossoms unfold ; In vain round my cot the wing'd choristers singing, When each soft affection is dormant and cold. E'en sad as the merchant, bereav'd of his treasure, So slow beats my heart, and so languid its measure, So dreary, so lonely, a stranger to pleasure, Around it Affliction her mantle hath roll'd. 4 But meek Resignation supporting the spirit, Unveils a bright scene to the uplifted eye ; 118 MORAL AND MISCELLANEOUS SONGS. A scene, which the patient and pure shall in- herit, Where hearts bleed no more, and the tear shall be dry. There souls, which on earth in each other delighted, By friendship, by honour, by virtue united, Shall meet, and their pleasures no more shall be blighted, But perfect and pure as their love be their joy, VII. THE WINTER FRIEND. 1 When the vocal cuckoo wings To southern climes his way ; When the swifts in giddy rings Their vent'rous flight essay ; When the linnet droops forlorn Upon the naked spray ; Mute the blackbird on the thorn, And lark that hails the day ; Still the robin whistles clear, And braves the fading year. MORAL AND MISCELLANEOUS SONGS. 119 2 Other flatt'rers come and go, The frolic train of spring ; Fearful from the drifting snow They urge their rapid wing. Other warblers cease their strain When storms forbid to roam, But Robin then forsakes the plain, And gives us songs at home : Let the fickle sporters flee, — The Winter Friend for me. VIII. GRATITUDE. From the Opera of The Royal Merchant* BY THOMAS HULL. 1 Go traverse the field and the grove, Examine the grain and the flower, How nourish'd and cheer 'd by the dew ! How beautiful after a shower ! To the Power who gave them to shine, Ah ! tell me what seem they to say ? " We flourish in duty to you, That you may approve us are gay." 120 MORAL AND MISCELLANEOUS SONGS. 2 " We teem with increase and delight, To honour the source of our birth ; For this are we rich in the gale, For this we are gay on the earth." Of their treasure, so free, so diffuse, Sweet emblems ! how well they impart The fulness of pleasure and pride, When gratitude springs in the heart. IX. THE PATRON. If e'er a Patron I shall find, Who may to serve me prove inclin'd Be it my lot propitious To find a mnn of generous soul, Who scorns his Client to controul, Whom none can say is vicious : 2 Who gives his favours from a sense That he has duties to dispense, And steward is of Heav'n ; Who, guided b\ no sordid views, His sacred trust will ne'er abuse, Remembering why 'tis giv'n : MISCELLANEOUS AND MORAL SONGS. 121 3 Who, in his mode of giving, adds A grace to bounty, and who glads The very heart he favours ; No burden then his love I'll find, But be to gratitude inclin'd, While all of good-will savours : 4 Who will not in return demand A mean compliance at my hand, Or mark extreme each error ; But, rather, who the friend shall prove, To bind my heart by cords of love, And not by abject terror.* 5 Sure pain would on the thought attend, To differ from a generous friend : 'Twould give me grief unfeigned To think my Patron against me Had e'en the semblance of a plea, Or justly he complained. * There is a sentiment, in the Opera of The Accom- plished Maid, which has always struck me as being ex- tremely beautiful, and shewing an admirable heart in the Speaker: Fanny says, ** How bountiful has Providence been in allotting me such humane Benefactors, who, by kindness, convert misfortune into a blessing". She does not repine at her dependent state, but feels grateful for, and rejoices in, the bene- volence of her Patrons. M 122 MORAL AND MISCELLANEOUS SONGS. 6 But, if it chanc'd — as chance it might,— The best man is not always right — That he and I agree not ; To me let him that credit give, Which he from others would receive, My failings spare, or see not. 7 But if, unknowing, I offend, Still may I find he is my Friend, And friendly may he smite me ;* Admonish'd then, my fault I'll mourn, And to his love a quick return May firmly re-unite me. 8 Ne'er may he harbour in his breast Conceal'd dislike, which, unconfest, Misleads me by forbearance ; And in the end I have to find, With keenest anguish of the mind, His love was but appearance. 9 Oh ! never may I pine unheard, Heart-sick at last from hope deferr'd,t And fruitless expectation : * Psalm cxli. 5. f Prov. xiii. 12. MORAL AND MISCELLANEOUS SONGS. 123 Heart-whole, I'd smile at grief and pain, Content with godliness is gain,* Unanswer'd hope's vexation. 10 Oh I then, unless thus good and kind A Patron I may haply find, May Heav'n bestow Contentment : That as thro' Life's low vale I steal, I be not tempted to reveal Sad symptoms of resentment. 11 Be ev'ry station where I'm plac'd, With humble resignation grac'd, How low or high soever : In poverty, that I repin'd, Or high, to arrogance inclin'd, Be it never said, — O, never. 12 If Patron e'er become myself, — And who so low, but sometimes, pelf Is his to give another ? — Oh ! then, I pray sincere, that I May act as I would be done by, And hold that man my Brother. * 1 Tim. vi. 6. J24 MORAL AND MISCELLANEOUS SONGS. 13 And, as the man's more blest who gives,* Than he who bounty but receives,— This truth consider duly ! — So let me ever think, that he, Who gratefully accepts from me, Becomes my Friend most truly. X. HEALTH. BY DR. COTTON. 1 Attend my precepts, thoughtless youths. Ere long you'll think them weighty truths ; Prudent it were to think so now. Ere age has silver'd o'er your brow : For he, who at his early years Has sown in vice, shall reap in tears. If Folly has possess'd his prime, Disease shall gather strength in time. 2 The subject of my song is Health, A gobd superior far to wealth. * Acts xx. 35. MORAL AND MISCELLANEOUS SONGS. 125 Can the young mind distrust its worth ? Consult the monarch s of the earth : Imperial Czars, and Sultans own No gem so bright that decks their throne ; Each for this pearl his crown would quit, And turn a rustic, or a cit. 3 Mark, tho' the blessing's lost with ease, 'Tis not recover'd when you please. How fruitless the physician's skill, How vain the penitential pill, The marble monuments proclaim, The humbler turf confirms the same. Prevention is the better cure ; So says the proverb, and 'tis sure. 4 Let temp'rance constantly preside, Our best physician, friend and guide ! Would you to wisdom make pretence, Proud to be thought a man of sense ? — Let temp'rance (always friend to fame) With steady hand direct your aim ; For they who slight her golden rules, In Wisdom's volume stand for fools. M 2 126 MORAL AND MISCELLANEOUS SONGS. XL THE PROVERBS OF THREESCORE : Affectionately addressed to Eighteen. BY NATHANIEL BLOOMFIELD. 1 Have you seen the delightless abode, Where Penury nurses Despair ; Where comfortless Life is a load Age Avishes no longer to bear. All ! who, in this lazerhouse pent, His lone wailings sends up to the skies ? 'Tis the man whose young prime was mispent 'Tis he who so bitterly sighs. His youth, sunk in profligate waste, Left no comforts life's evening to cheer ; He must only its bitterness taste, No friend, no kind relative near. His children by want forc'd to roam. Are aliens wherever they are ; They have long left his desolate home Have left him alone to despair. MORAL AND MISCELLANEOUS SONGS. 127 3 Have you seen the delectable place, AVhere honor'd age loves to abide ; Where Plenty, and Pleasure, and Peace, With Virtue and Wisdom reside ? Autumn's fruits he has carefully stor'd ; His herds willing tributes abound : And the smiles of his plenteous board, By his children's children are crown'd. 4 And his is the godlike delight, The power to relieve the distress'd ! Who can contemplate blessings so bright, And not wish to be equally bless'd. Then let not the means be forgot : Remember, and mark this great truth ; 'Twas not chance fix'd his prosperous lot, 'Twas the virtues of provident Youth. 5 If such a bright prospect can charm, If you feel emulation arise, If your juvenile bosom is warm With the hope to be wealthy and wise ; O cherish the noble design, The maxims of Prudence pursue, Application and Industry join, Thus Plenty and Peace will you wop. 128 MORAL AND MISCELLANEOUS SONGS. . • . 6 . Early cultivate Virtue's rich seeds ; These will fruits in life's winter display : Ne'er defer till to-morrow good deeds, That as well might be finish'd to-day. For Age and Experience can tell, And you'll find, when you grow an old man, Tho' its never too late to do well, You will wish you had sooner began. XII. THE OLD MAN'S WISH. ALTERED FROM DR. WALTER POPE. If I live to grow old, for I find I go down, May I live in some village or small country town, May I have a warm house, and may ever my door Be open alike to the rich and the poor : May I govern my passions with absolute sway, Grow wiser and better as strength wears away, And die, if 't please Heav'n, by a gentle decay. MORAL AND MISCELLANEOUS SONGS. 129 2 Near a thick shady grove, and a murmuring brook, With the ocean at distance whereon I may look ; With a spacious green plain, without hedge, ditch, or stile, And an easy pad-nag to ride out for awhile. May I govern, &c. 3 With my Bible, in which may I ev'ry day read, Some author who's sound in his practice and creed, With Cowper, Young, Milton, and two or three more Of the best wits who liv'd in the ages before 5 May I govern, &c. 4 With mutton prefer'd. e'en to ven'son or teal, And clean tho' coarse linen at every meal, With a glass, if my health shall require it, of wine, To drink Church and King whensoever I dine : May I govern, &c. 5 With courage, tho' humble, to meet my last day,— And when in the grave may the rich and poor say, ISO MORAL AND MISCELLANEOUS SONGS. " In the morn of his life to his evening's last close His God he still fear'd, and, we trust, meets repose : For he govern'd his passions with absolute sway, Grew wiser and better as strength wore away. And died trusting to live in a yet brighter day". J. P. XIII. THE OLD MAN'S COMFORTS, JND HOW HE GAINED THEM. BY ROBERT SOUTHEY. 1 " You are old father William," the young man cried, " The few locks that are left you are gray : You are hale, father William, a hearty old man : Now tell me the reason, I pray." " In the days of. my youth," father William replied, u I remember'd that youth would fly fast, And abus'd not my health and my vigour at first, That I never might need them at last." MORAL AND MISCELLANEOUS SONGS. 131 3 u You are old, father William/* tlie young man cried, u And pleasures with youth pass away, And yet you lament not the days that are gone : Now tell me the reason, I pray." 4 " In the days of my youth," father William replied, " I remember'd that youth could not last ; I thought of the future whatever I did, That I never might grieve for the past." 5 " You are old ? father William," the young man cried, " And life must be hast'ning away ; You are cheerful, and love to converse upon death : Now tell me the reason, I pray." : 6 " I am cheerful, young man," father William replied, 1 " Let the cause thy attention engage : In the days of my youth I remember'd my God, And he hath not forgotten my age". 132 MORAL AND MISCELLANEOUS SONGS. XIV. THE AFFECTIONATE HEART. BY JOSEPH COTTLE. 1 Tho' the great man, his treasures possessing, Pomp and splendour for ever attend, I prize not the shadowy blessing, I ask — the affectionate friend. 2 Tho' foibles may sometimes o'ertake him, His footstep from wisdom depart ; Yet my spirit shall never forsake him, If lie own the affectionate heart. 3 Affection ! thou soother of care, Without thee, unfriended we rove ; Thou canst make e'en the desert look fair, And thy voice is the voice of the dove. 4 'Mid the anguish that preys on the breast, And the storms of mortality's state ; What shall lull the afflicted to rest, But the joys that on sympathy wait? MORAL AND MISCELLANEOUS SONGS. 133 5 What is Fame, bidding Envy defiance ? The idol and bane of mankind ; What is Wit, what is Learning, or Science, To the heart that is steadfast and kind ? 6 E'en Genius may weary the sight By too fierce and too constant a blaze ; But affection, mild planet of night ! Grows lovelier the longer ,we gaze. 7 It shall thrive when the flattering forms That encircle creation decay ; It shall live 'mid the wide-wasting storms That bear all undistinguish'd away. 8 When Time, at the end of his race, Shall expire with expiring mankind, It shall stand on its permanent base, It shall last till the wreck of the mind. 134 MORAL AND MISCELLANEOUS SONGS. XV. SMILES AND TEARS. BY MR. DIBD1N. 1 The weather, the land, and all those that dwel in it, Like our minds that are chequer'd by hopes and by fears, In rapid succession change every minute, A constant rotation of smiles and of tears. But the smiles and the tears the same motive revealing, Tho' opposite, similar passions excite, One the offspring of bounty, the other of feeling, Take different tacks to the road of delight. When pants the parch'd earth, as its wounds require healing, For the shower, to put forward fresh blossoms and leaves ; Nature, parent to all, with affectionate feeling, Benignly sheds tears as its wants she relieves. MORAL AND MISCELLANEOUS SONGS. 135 And when kindly refreshed, as new beauties are springing, And the sun, in rich smiles, glads the gra- tified sight ; Thankful birds on the glistening verdure are singing, And the smiles and the tears expand equal delight. 3 And so, 'twixt friend and friend, when a heart- wounding sorrow Resolution o'ercomes, and sinks deep in the mind; From the tears of a friend flattering comfort we borrow, For the motive's sincere, and the action is kind : Nor when friendship's warm efforts o'ercome the vexation, Do our smiles, howe'er grateful, more plea- sure excite, For they both have their source in the same sweet sensation, And convey to the mind the same generous delight. 136 MORAL AND MISCELLANEOUS SONGS. XVI. THE SMILE OF BENEVOLENCE. BY MR. DIBDIN. 1 Inspir'd by so grateful a duty, In terms strongest art can devise. Bards have written those raptures on beauty. That Lovers have wafted on sighs : I, to fiil the sweet theme more completely, Sing the beauty of goodness the while, For every face is dress'd sweetly, Where beams a benevolent smile. 2 While the heart some beneficent action Contemplates, with joy the eyes speak, On the lip quivers mute satisfaction, And a glow of delight paints the cheek. Bliss pervades ev'ry feature completely, Adding beauty to beauty the while, And the loveliest face looks more sweetly > Where beams a benevolent smile. MORAL AND MISCELLANEOUS SONGS. 137 XVII. THE SMILE AND THE TEAR, From the Opera of False Alarms, BY JAMES KENNEY. 1 Said a Smile to a Tear, On the cheek of my dear, Which beam'd like the sun in spring weather, " In truth, lovely Tear, " It strange doth appear, " That we should be both here together." " I came from the heart " A soft balm to impart, " To yonder sad daughter of Grief:" " And I," said the Smile, " That heart to beguile, " Since you gave the sad mourner relief." 3 « Oh then," said the Tear, " Sweet Smile, it is clear, " We're twins, and soft Pity our mother ; " And how lovely that face, " Which together we grace, " For the woe and the bliss of another." m 2 138 MORAL AND MISCELLANEOUS SONGS. XVIII. BEAUTY. The wind passeth over it, and it is gone. 1 I saw a dew drop, cold and clear, Dance on a myrtle spray ; Fair colours' deck'd the lucid tear, Like those which gleam and disappear When showers and sunbeams play. — Sol cast athwart a glance severe, And scorch'd the pearl away. 2 High on a slender polished stem, A fragrant lily grew : On the pure petals many a gem Glitter'd a native diadem Of healthy morning dew : A blast of lingering winter came, And snapp'd the stem in two. 3 Fairer than Morning's early tear, Or lily's snowy bloom, Shines Beauty in its vernal year : MORAL AND MISCELLANEOUS SONGS. 139 Bright, sparkling, fascinating, clear, Gay, thoughtless of its doom ! Death breathes a sudden poison near, And sweeps it to the tomb ! XIX. THE BRITISH VINE. BY WILLIAM HOLLOWAY. Sweet Vine ! whose curling tendrils cling My humble walls along, Accept the votive strain I bring — No Bacchanalian song. Though Nature never cherish'd thee On Arno's sunny side, Where, midst her rich redundancy, She sports in purple pride — 3 Though ne'er for me thy clusters shed Their floods of generous wine, To swell the midnight bowl, and bid Illusive visions shine — 140 MORAL AND MISCELLANEOUS SONGS. 4 Thy scallop'd foliage still for me Has solitary charms ; And guiltless ever shalt thou be Of riots and alarms. 5 Domestic Love beneath thy shade Shall rest her turtle-wing ; And Peace her soothing serenade, Uninterrupted, sing. 6 Then long, sweet Vine ! thy arms extend, To grace my homely bow'r ; And I will own thee as the friend Of life's most lovely hour. XX. MY ARBOUR. 1 The sweet-briar, the suckling, the jasmine and rose With their shade and their sweets my lov'd Arbour compose. MORAL AND MISCELLANEOUS SONGS. 141 O there I retreat from the sun's scorching ray, Or taste the fresh breeze in the cool of the day ; There the black bird o'er head pours his sweet mellow song, The nightingale his varied notes will prolong ; At morning or noon, in the evening or night, My Arbour is still the lov'd scene of delight. With a book there I often my leisure employ. Or in friendship convivial an hour I enjoy ; There tea its society sweet will afford, Or supper present its plain plentiful board. We behold in her glory the bright silver moon, As majestic she rides in her journey's high noon ;* In the morning, &c. 3 The cares of the world never trouble my mind, All is calm and serene — to my lot I'm resign'd ; War's murmurs are hush'd ere my Arbour they reach, Or are heard but the lesson of pity to teach. t * To behold the wand'ring moon, Riding near her highest noon. Il Penseroso. + Thus sitting, and surveying thus at ease The globe and its concerns, I seem adfanc'd 142 MORAL AND MISCELLANEOUS SONGS* Oil ! would that the world could but feel the repose, Which the mind thus retiring unceasingly | knows : For at morning or noon, in the evening or nighty My Arbour is still the lov'd scene of delight. J. P. To some secure and more than mortal height, That lib'rates and exempts me from them all. It turns submitted to my view, turns round With all its generations ; I behold The tumult, and am still. The sound of war Has lost his terrors ere it reaches me ; Grieves, but alarms me not. Cowper's Task. B. IV. L. 93. While He, from all the stormy passions free That restless meu involve, hears, and but hears, At distancesafe, the human Tempest roar, Wrapt close in conscious Peace. The Fall of Kings, The rage of Nations, and the Crush of States, Move not the Man, who, from the World escap'd, Instill Retreats, and flowery Solitudes, To Nature's Voice attends, from Month to Month, And Day to Day, thro' the revolving Year; Admiring, sees Her in her every Shape; Feels all her sweet Emotions at his Heart;] Takes what she liberal gives, nor thinks of more. Thomson's Autumn. L. 1308. MORAL AND MISCELLANEOUS SONGS. 143 XXI. A FRIEND: OR, MY BOOK. 1 A companion I have, nay I'll call him a Friend, With whom I pass many and many an hour ; If serious my mood, or inclin'd to unbend, To soothe, or delight me, possessing the pow'r. He sometimes partakes of my cheerful fire side, At others the partner becomes of my walk, Hand in hand as we travel, the days quickly glide, Each moment brings profit with him whilst I talk. 2 He's pious, he's learned, he's grave, or he's gay, As chance may fall out, or occasion require, Be the subject what will, he has something to say, And other adviser I seldom require. Without pride or anger he shews me my faults, He reproves to my face, is no back-biting foe, And the fame of a friend, Oh ! he never assaults. And, sooner than wound, would all converse forego. 144 MORAL AND MISCELLANEOUS SONGS. 3 Caprice and ill-humour ne'er enter his mind, Of forms independent, he still is the same, For Noble or Learn'd I was never declin'd, Nor denied e'er to others who mention'd my name. Tho' high his extraction, and nurtur'd with care, No grand entertainments he ever requir'd, Full oft of my crust will he cheerfully share, And hath long held his talk as my embers expir'd. 4 To him it ne'er matters if ill or well drest, He turns not away, tho' by fashion I'm scorn'd ; E'en my days the most lowly have suited him best, And my path of contempt hath he gladly adorn'd. This friend hath a heart that is open to all, At least unto all who will up to him look, He makes no distinctions of great or of small, For all, if they please, find this Friend in. A BOOK. J. P. MORAL AND MISCELLANEOUS SONGS. 145 XXII. THE SUMMER EVENING. BY THE REV. T. B. GREAVES. 1 Tho' hot was the Sun in the morn when he rose, And scorching his heat thro' the toil of the day, Yet cool and serene of his course is the close, And Labour reposes, and Care is away. Thus oft from the mom, thro' the noon of Ms life, Toils man, led by turbulent ardour to grieve ; But, cooling at length, he relinquishes strife, With wisdom serenely enjoying his eve. XXIII. NED BRACE. BY DR. HALLOBAN. 1 In many a storm and many a fight Ned Brace had borne an active part, Yet still his conscious mind was light, For Truth and Honour buoy'd his heart ; And 'midst the storm or battle's din, He felt a peaceful calm within. 146 MORAL AND MISCELLANEOUS SONGS. 'Gainst Frenchmen, and Mynheers, and Dons, With brave St. Vincent, Howe, and Duncan, Ned with his shipmates plied the guns, Till all were taken, fled or sunken ; And still, 'mid storms, or battles' din, He felt a peaceful calm within. 3 Last with brave Nelson of the Nile, His starboard leg was shot away ; Food for some hungry crocodile. What then ? his comrades won the day : And wounded 'midst the battle's din, He felt a peaceful calm within. 4 But now, reluctant, lash'd ashore, By orders that demand obedience, Ned ne'er must tempt the ocean more, Till launch'd by Death for unknown regions ; And may he, then, 'mid fate's dread din, Outride the storm witli peace within. MORAL AND MISCELLANEOUS SONGS. 147 XXIV. A SAILOR'S PAY, From the Opera of A House to be Sold. BY JAMES COBB. My due a noble nation pays, (War's thunder now no more) Most do I prize my Country's praise, And least this shining store. But if a real joy I prove, In what rewards my pains ; It is a hope the friend I love • May share my dear-bought gains. Yet not alone that hope I prize, Love pictures to my heart The tears that flow'd from Mary's eyes, When fortune bade us part. Another joy my heart shall prove, In what rewards my pains ; It is the hope the girl I love May share my dear-bought gains. 148 MORAL AND MISCELLANEOUS St); XXV. THE BEACON. The Scene was more beautiful far to ray eye Than if day in its pride had array 'd it ; The land-breeze blew mild, and the azure arch'd sky Look'd pure as the Spirit had made it : The murmur rose soft, as I silently gaz'd On the shadowy wave's playful motion, From the dim distant isle, when the Beacon fire blaz'd Like a star in the midst of the ocean. 2 No longer the joy of the sailor boy's breast Was heard in his wildly-breath'd numbers; The sea-bird had flown to her wave-girdled nest, The fisherman sunk to his slumbers. One moment I look'd from the hill's gentle slope (All hush'd was the billows' commotion) And thought that the Beacon look'd lovely as Hope, That star of life's tremulous ocean. MORAL AND MISCELLANEOUS SONGS. 149 3 The time is long past, and the scene is afar, Yet when my head rests on its pillow, Will memory sometimes rekindle the star That blaz'd on the breast of the billow. In life's closing hour, when the trembling soul flies, And death stills the heart's last emotion ; O then may the bright beams of mercy arise Like a star on eternity's ocean. XXVI. THE SENTINEL. By day, when the sun in his bright glory glows, The Sentinel, then, upon guard takes his stand, So gallant and trim in his best suit of cloaths, His bayonet iix'd and his firelock in hand ; Mid tents or on ramparts he marches his ground, Flags wave in the air, and the loud cannons roar, The trumpets and drums give their heart- cheering sound, And the SentineJ, then, feels the Soldier all o'er, o 2 150 MORAL AND MISCELLANEOUS SONGS. 2 When the evening declines, and the moon climbs the sky, And myriads of stars shine resplendent above, When the breeze but at intervals heaves a faint sigh, And no footstep, but his, is permitted to move ;— The Sentinel, then, to reflection gives way, His thoughts soar to Him, who the moon and stars made, Oh ! can he refrain to his Maker to pray, Whose bounties, the sky, earth, and ocean pervade ? 3 But, if dark be the night, and the winds, with loud roar, Drive the labouring clouds thro' the heav'n's boundless way, If breakers are heard to lash frequent the shore, And rain pours in torrents to fight the strong spray,— From his box, then, the Sentinel looks out with fear, While winds, waves, and rains Nature's beauties deform, But, amid desolation, he knows Wisdom's near, Who rides in the whirlwind, and checks the rude storm.* MORAL AND MISCELLANEOUS SONGS. 151 4 With fear and with hope, he preserves his heart right, And patiently waits for the bright cheering dawn, Desolation and horror endure for a night, But joy will succeed it, and come with the morn.t His moments of duty completed, he knows, That another succeeds to take charge of his post, Arid he, without care, may then seek his repose, And his joys be endear'd by what trouble had crost. 5 He sees in his lot but a picture of man, Sent here upon duty, a Soldier on guard, And sunshine, or storm, he must meet as he can, Must expect a surprise, and be true to his ward. y But the season of trial will soon have an end, The moment will come when he meets his relief, If true to his post, then his Captain's his friend, And joy shall efface all remembrance of grief. * Rides in the whirl-wind, and directs the storm. The Campaign. By Addison. i Psalm xxx. v. 5. 152 MORAL AND MISCELLANEOUS SONGS. XXVII. THE BUGLE HORN. In the town, or in barracks, in camp, or the field, How cheering the notes which the bugle-horns yield ; Our slumbers forsake us at first beaui of dawn, Awak'd by the sound of the loud bugle horn. At parade, when our troops are in gallant array, And our musquets and swords martial splendour display, While discipline reigns thro' each well-mus- ter'd band, The bugle-horn sounds forth the word of com- mand. » And when busy day draws apace to its close, And man and beast wearied demand their repose. The horn, which at morn breaks the slumbers of peace, At eve sounds from duty a welcome release. MORAL AND MISCELLANEOUS SONGS. 153 4 If the dread day of battle at length should e'ev come, And we hear from afar the bold enemy's drum, Then trusting in Him who will favour the right, The horn shall both summon and cheer for the fight. 5 Then let courage prevail, but let mercy still reign, The living to spare and to honour the slain, If the standard of Britain's in victory borne, Be conquest proclaim'd by the trumpet and horn. 6 And knowing that one only scatters our foes, And from that source alone ev'ry victory flows, With one heart and voice, our thanksgivings we'll raise, And unite with the horn in high accents of praise. 154 MORAL AND MISCELLANEOUS SONGS, XXVIII. SCOTIA'S GLENS. Tcne : Lord Ballandine''s Delight. BY JAMES HOGG. 1 'Mong Scotia's glens and mountains blue, Where Gallia's lilies never grew, Where Roman eagles never flew. Nor Danish lions rallied : Where skulks the roe in anxious fear> Where roves the stately nimble deer, There live the lads to freedom dear. By foreign yoke ne'er galled. 2 There woods grow wild on every hill ; There freemen wander at their will ; Sure Scotland will be Scotland still While hearts so brave defend her. " Fear not, Our Sovereign liege," they cry, " We've flourish'd fair beneath thine eye ; For thee we'll tight, for thee we'll die, Nor ought but life surrender." MORAL AND MISCELLANEOUS SONGS. 155 o O a Since thou hast watch'd our every need, And taught our navies wide to spread. The smallest hair from thy grey head No foreign foe shall sever. Thy honoured age in peace to save The sternest host we'll dauntless brave, Or stem the fiercest Indian wave, Nor heart nor hand shall waver." 4 u Tho' nations join yon tyrant's arm, While Scotia's noble blood runs warm, Our good old man we'll guard from harm, Or fall in heaps around him. Altho' the Irish harp were won, And England's roses all o'errun ; 'Mong Scotia's glens, with sword and gun, We'll form a bulwark round him." XXIX. MY DEAR NATIVE ISLE. 1 O Britain ! my Country ! thou Queen of the Isles, Where Freedom and Plenty wear permanent smiles, 156 MORAL AND MISCELLANEOUS SONGS • My heart beats with joy when I think that my birth Was in thee, nor in other blest nation on earth : From the north to the south, from the east to the west, Say, where is the land so by Providence blest ? Wherever I turn, all around is a smile, O Britain, my country, my dear native Isle ! 2 Who censures thy climate, and rails at thy year, While round him thy hills and thy vallies ap- pear ? The eye sees, excursive o'er climes as it rolls, Some burnt at the tropics, some froze' at the poles ; Here rarely thy heat and thy frost are intense, And spring, summer, autumn delight ev'ry sense ; Wherever, &€. 3 On the gales of Arabia, or Ceylon's spice groves The Poet's warm fancy in verse often roves, But to please the charm'd sense what can equal, Osay, The gales from our bean fields, or meads of new hay? MORAL AND MISCELLANEOUS SONGS. 157 What can rival the sweets which our gardens disclose, The lilac, syringa, the jasmine and rose ? Wherever, &c. 4 Some countries may boast, which are nearer the line, The ample, the fragrant, the brisk tasted pine, The orange and citron afford their sweet juice, But fine are the fruits which our gardens produce ; With those may the gage, and the pippin compare, The strawberry, the cherry, the peach or the pear, Wherever, &c. 5 Tho' France boast the joys of her brisk spark- ling wines, And Italy, Portugal, Spain their rich vines, Tho' Madeira be fam'd for its high-flavour'd grape, And we traffic afar for the too-luscious cape : Yet Britain can boast what her malt can produce, The currant's and gooseberry's gay sparkling juice : Wherever, &c. 158 MORAL AND MISCELLANEOUS SONGS, 6 Thy sheep and thy kine o'er thy pastures that graze, Each fowl o'er thy fields, or thy homestalls that strays. Each fish in thy rivers that wantonly glides, Or those yearly brought to thy shores by the tides ; These all for delight and advantage are giv'n, Show Yd down by the bounty of all-forming Heav'n. Wherever, &c. 7 Where else is mankind in more civiliz'd state, Or where equal laws so protect poor and great, Where virtue with beauty more often combine, Or where manly courage as splendidly shine ? Where else is religion so purely profest, Where each left to cherish the wish of his breast ? Wherever, &c. 8 Then, Britain ! reflect with the fondest concern The duties demanded from thee in return ; With blessings thus gifted, acknowledge the hand That still hath protected thy high-favour'd land ; MORAL AND MISCELLANEOUS SONGS. 159 Be religion and morals thy jirst — only care, And HeavVs high protection thou ever wilt share : Then thy sons and thy prospects will still wear one smile, O Britain, my country, my dear native Isle. J. P. XXX. THE HORSE. Tune: Tlie Race Horse. B) Dibdin-. 1 Exulting in strength, how majestic's the Horse, His neck cloth'd with thunder, he gallops his course, His nostrils a glory tremendously shew, In the valley he paweth, unmov'd meets the foe ; With fierceness and rage how he swalloweth the ground, Ha ! Ha ! Hark he saith, while the hoarse trum- pets sound, 160 MORAL AND MISCELLANEOUS SO^GS. In the battle, in thunder, i'tli shout he gains force, How noble in nature, resistless the Horse !* 2 He, train'd to the road, draws the carriage along, Is true to his work 'mid the hubbub and throng, You would scarce think that aught hung be- hind at his heels, So swift, you discern not the spokes of the wheels. * Job xxxix. 19—25. See a Criticism on this passage in The Guardian, No. 86. Contrary to the opinion of a poetical Friend, I have ven- tured to retain the Sacred Writer's image of the horse's neck " clothed with thunder." He suggested that the present idea of thunder is merely that of the noise which follows the flash of lightning. Eat the original idea of thunder includes either the one, or the other, or b*t.;. We have the following definition in Johnson : 1. " Thunder is a most bright flame rising on a sudden, moving with great violence, and with a very rapid velocity, through the air, according to any determination, upwards from the earth, horizontally, obliquely, downwards in a right line, or in several right lines, as it were in serpentine tracts, joined at various angles and commonly ending with a loud noise or rat- tling." 2. " In popular and poetic language, thunder is commonly the noise, and lightning the flash ; though thunder is sometimes taken for both." The comparing the full, long, curled and flowing mane of a horse, with the light glancing upon it, to thunder, " Hast thou given the horse strength? hast thou clothed his neck with thunder ?" appears to me to be an image peculiarly appropriate and sublime. MORAL AND MISCELLANEOUS SONGS. 161 Now, led, meek and mild, whence he stood, at the rack, See, saddled, his master mounts feebly his back, With health waning fast to his aid hath recourse, Both a friend and physician he owns in his Horse. 3 Behold the heap'd Avaggon pulPd thro' the deep road, He takes the hard collar, and tugs on his load, From morning to night, from the night to the morn, With short seasons of rest is the hard burden borne ; Or view him again, with firm pace, drag the plow, Or drawing the Harvest Home quick to the mow, — O long might one make him a theme of dis- course, — How noble ! How useful ! the tractable Horse ! 4 Ah why do we then oft behold him abus'd, 111 fed, overwork'd, and his Sabbath refus'd, Back gali'd and knees broken, sides panting with pain, Ah ! fatal mistake ! to hope thus to make gain ! P 2 162 MORAL AND MISCELLANEOUS SONGS. Ye owners ! ye drivers ! reflect, and be just, Know, Providence lends all his creatures in trust, x\nd they who misuse them, nor suffer remorse, Must account to the Maker of both man and Horse. J. P. XXXI. THE HARE HUNT, BY MR. DIBDIN. Since Zeph'rus first tasted the charms of coy Flora, Sure Nature ne'er beam'd on so lovely a morn, Ten thousand sweet birds court the smile of Aurora, And the woods loudly echo the sound of the horn : Yet the morn's not so lovely, so brilliant, so gay, As their splendid appearance in gallant array, MORAL AND MISCELLANEOUS SONGS. 163 When all ready mounted, they number their forces, Enough the \* ild boar and the tiger to scare : Pity fifty stout beings, count dogs, men, and horses, Should encounter such peril — to kill one poor hare ! ■ /• • - - 2 Little wretqh, .thy fate's hard! — thou wert gentle and blameless ; Yet a type of the world in thy fortune we see ; And virtue, by monsters as cruel and shameless, Poor, defenceless, and timid, is hunted like thee. See ! vainly each path how she doubles and tries : If she scape the hound Treachery, by Slander she dies ! To o'ercome that meek fear for which men should respect her, Ev'ry art is employ 'd, ev'ry sly subtle snare — Pity those that were born to defend and protect her, Should hunt to her ruin — so timid a Hare ! 3 Thus it fares with poor Merit, which mortals should cherish, As the heaven-gifted spark that illumines the mind; 164 MORAL AND MISCELLANEOUS SONGS, Id As Reason's best honour: lest with it shou perish Ev'ry grace that perfection can lend to mankind. Hark ! Envy's pack opens ; the grim lurcher, Fear, And the mongrel, Vexation, skulk sly in the rear: The rest all rush on, at their head the whelp Slander, The fell mastiff Malice, the greyhound Despair J Pity beings best known by bright Truth and fair Candour Should hunt down — shame to manhood — so harmless a Hare ! . 4 Their sports at an end, harsh Reflection's beguiler To some thoughtless oblivion their souls they resign ; The Seducer takes pleasure, revenge the Re- viler, The Hunter's oblivion, as hurtful, is wine. Thus having destroy 'd every rational joy That can dignify Reason, they Reason destroy : MORAL AND MISCELLANEOUS SONGS. 165 And yet not in vain, if this lesson inspirit Ought of reverence for Genius, respect for the Fair : So the tear of lost Virtue and poor ruin'd Merit The sad manes shall appease of the innocent Hare. XXXII. HUMANITY'S COT. BY MR. DIBDIN. 1 Ophorns, and of echoes, that thro' the woods ring. And of lads full of spirit and soul, And of gay sporting boxes let other bards sing, Merely built for the chase or the bowl : I bring yon, of Sportsmen, a true and try'd knot, Who sport a snug box, called Humanity's Cot. Is Honour in danger, Worth sunk by its fears, On those coursers their wishes, they're borne, To hunt Vice to the toils, and to dry Virtue'' s tears, As the sun melts the dew of the morn : 166 MORAL AND MISCELLANEOUS SONGS. Then join of true Sportsmen, so noble a knot. The good lads that inhabit Humanity's Cot. o O What chase a delight can more glorious yield, Than to hunt in so noble a track ? Vice and Folly the game, wide creation the field, And the Vot'ries of Honour the pack. Rejoice then, ye sportsmen, who are thrown by your lot, 'Mongst the lads that inhabit Humanity's Cot. 4 Return'd from their toil, with life's comforts well stor'd, Reflection their food gives a zest ; Health seasons the viand that smoaks on their board, A clear conscience invites them to rest. And sweet are the slumbers that fall to the lot Of the lads that inhabit Humanity's Cot. 5 Let each English sportsman these maxims embrace, Who the spoils of true honour would share, All that's noxious to hunt to the toils in life's chase, All that's harmless and useful to spare : MORAL AND MISCELLANEOUS SONGS. 167 So the blessings of thousands shall make up their lot, And each sporting box vie with Humanity's cot. XXXIII. THE BRITISH BOW. Tune : True Blue. Sung at the Anniversary Meeting of the Royal British Bowmen, on the I2th of August, of which Society His Royal Highness the Prince of Wales is the Patron. 1 When Britain's Isle, untaught to fear, Was sought by Caesar's powers, She call'd her gallant Sons of War To guard her chalky shores. " My Children, draw the British Bow, In Freedom's cause repel the Foe." 2 ' By it Caractacus maintain'd For many a year the field ; By it Boadicea reign'd ; And taught proud Rome to yield ; Whene'er she drew the British Bow, She broke the ranks and thin'd the foe. 168 MORAL AND MISCELLANEOUS SONGS. 3 To save their cots from beasts of prey Our fathers form'd the Yew, In woods impervious to the day The savage boar they slew, And oft the stag and bounding roe Fell victims to the British Bow. 4 Their guard, their pleasure still it prov'd, In peace, in war the same, With it in search of food they rov'd, With it they fought for fame ; They fear'd nor beast, nor threat'ning foe, AH yielded to the British Bow* 5 The noble art we now restore, Erst gallant Cambria's boast, The arms our great forefathers bore Again adorn our coast, Our breasts with ancient ardour glow, Again we draw the British Bow. *6 Array'd the feather'd shaft to send With art thro' yielding air, Oar lovely quiver'd nymphs attend, As amiable as fair ; And by their matchless skill bestow Fresh laurels on the British Bow. MORAL AND MISCELLANEOUS SONGS. 169 7 While summer's smiles the fields adorn, While George protects our train, We welcome thus a festal morn Amidst the flow'ry plain ; And still would have the world to know We glory in the British Bow. 8 Allay 'd be each corroding care, Be gloomy thoughts away I Contentment's smiles let each one wear To haii this happy day ; And while we bend the British Bow, Around let blest good humour flow. XXXIV. THE ARCHERS' BUGLE. The Bugle sounds, the Archers all Prepare to meet its cheerful call. The sun ascends with fervid rays, And all the valley's in a blaze, The south wind scarcely stirs the trees 9 And odours float in every breeze, — 170 MORAL AND MISCELLANEOUS SONGS. What crouds now throng the verdant lawn, For the Archers shoot for the Bugle horn. 2 The Butts are plac'd, the Targets' dyes In brilliant circles meet the eyes ; And now behold the archer band, With quiver'd back, and Bow in hand, Advance, and anxious draw the lot To take precedence in the shot, — While int'rest sways the peopled lawn, As the Archers shoot for the Bugle horn. 3 Erect and firm, with steady eye, The strong-nerv'd hand they well apply, The bending bow, th' elastic string The arrow send with pow'rful spring, With whirring instantaneous flight, Like motion of the rapid light. — Surprise and wonder fill the lawn, As the Archers shoot for the Bugle horn. 4 Tho' all are good, yet some excel, High-honour'd he who bears the bell ; The arrow, which unerring flies To th' golden centre, gains first prize % Best shots and numbers also count, Three rounds shall give up the amount, — MORAL AND MISCELLANEOUS SONGS. 171 Applause shall reign throughout the lawn, As the Archer gains the Bugle horn. 5 Oh ! happy art, from war to cease, The amusement now of joy and peace, Health, cheerfulness and grace are thine, And brave and fair in sport to join ; With mirth and reason wisely gay, The feast concludes the happy day, And pleasure smiles throughout the lawn, As the Archers sing to the Bugle horn. XXXV. ADDRESS TO A FLY. THE SENTIMENT FROM STERNE, 1 Ah silly, vain and buzzing Fly, Annoy me not, but from me hie ; I would not hurt one hair of thee, And why wilt thou thus pester me ? 2 Again thou com'st — I have thee now — But out of window thou shalt go. Go, get thee gone : with pardon flee, There's room i' th' world for thee and me. J. P. 172 MORAL AND MISCELLANEOUS SONGS. XXX VI. THE SEA. A Song For The Anniversary Meeting of The Directors and Governors of the Sea-bathing Infirmary at Margate. Tune : The Anacreontic . The Sea, as its waves after waves loudly roll, And its tides or recede from or gain on the shore, With awe and devotion exalts the full soul, And the Maker's loud praises extols in its roar. This made the « sweet Psalmist" enraptur'd exclaim, O these are thy works, great and manifold, Lord! Earth and ocean alike boundless wisdom pro- claim, — Be thy wisdom and goodness by all breath ador'd.* * Psalm civ. 24— 2o. MORAL AND MISCELLANEOUS SONGS. 17, The sea doth in commerce realms far distant join, Uniting as friends whom it seems to divide, In fellowship brings both the poles and the line, As swift o'er its billows rich merchantmen ride. Within its own bosom vast treasures it bears, Each creature that creeps or disports on the fin, In herring-shoals myriads each season it rears, And the whale " who delights to take pastime therein." 3 These are but in part what the Parent of Good Hath show Yd down of mercies benignantly free, A constant Bethesda still flows the salt flood, And health, strength and spirits we gain from the sea. Here, bathing, the bow'd may soon, brac'd, walk upright, The blood, now contaminate', wash and be clean, The dim may recover the blessing of sight, And the unnerv'd by palsy in vigour be seen. q2 1/4 MORAL AXD MISCELLANEOUS SONGS. 4 But, alas ! how shall those who droop thus far in land, Whom poverty more than their sickness bows down ? — Poor wretches! no means can their stations command, They languish unpitied, they sorrow un- known. Taught by Him, who made sea, and all men of one race, A Bethesda, a house of reception, we raise; Humanity's friends! the blest object em- brace, Bestow here your wealth to your Maker's high praise. O ye, who for health here approach the wide sea, And ye, to these shores who for pleasure repair, Wide open your hands with hearts grateful and free, Give the lame and afflicted your blessings to share. i MORAL AND MISCELLANEOUS SONGS. 175 Then, if on the bed of affliction you lie, He, who comfort in sickness alone can bestow, Will grant you his aid when for mercy you cry, And shed healing dews on your sickness and woe.* J. P. XXXVII. WINTER. 1 Diieary Winter o'er the plain Spreads once more his mantle dun ; Frosty mists and drizzling rain Chill the air and mask the sun. 2 Music leaves the drooping grove — Pleasure quits the blasted green-^- Arbours, late the haunts of love, All deserted now are seen ! * Psalm xli. 1—3. 176 MORAL AND MISCELLANEOUS SONGS. 3 Cheerful round the social hearth, Where the well-trimm'd embers glow? Passing time with tales of mirth, Sit the Cot's promiscuous row. 4 Deep and dirty is the road, Difficult to man and steed : Round the opulent abode Crowd the shivering Sons of Need, 5 Deal your alms now to the poor, Ye with wealth and plenty blest I Thus a treasure you'll secure In the realms of joy and rest. But if you the poor shall spurn In a season such as this, Can ye hope, beyond life's bourn Mercy's promis'd meed of bliss ? MORAL AND MISCELLANEOUS SONGS. 177 XXXVIII. THE DYING NEGRO. Tune : The Cherokee Death Song. 1 O'er my toil-wither 'd limbs sickly languors are shed, And the dark mists of death on my eyelids are spread ; Before my last sufferings how gladly I bend ! For the strong arm of Death is the arm of a friend. 2 Against the hot breezes hard struggles my breast, Slow, slow beats my heart, and I hasten to rest ; No more shall sharp anguish my faint bosom rend, For the strong arm of Death is the arm of a friend. 3 No more shall I sink in the deep-scorching air, No more shall keen hunger my weak body tear, No more on my limbs shall swift lashes descend, For the strong arm of Death is the arm of a friend. 178 MORAL AND MISCELLANEOUS SONGS. 4 Ye ruffians ! who tore me from all I held dear, Who mock'd at my wailings and smil'd at my tear, Now, now shall I 'scape, every suffering shall end, For the strong arm of Death is the arm of a friend. XXXIX. THE NEGRO'S EXULTATION, 1807. 1 No longer the Negroes complain^ Nor blindly accuse Fate's decree. Glad tidings are borne o'er the main. For Britons have said be ye free ! On them hath light graciously beam'd, They strive to assuage all our smart, The Black as a Brother is deem'd, And love dawns in every heart. MORAL AND MISCELLANEOUS SONGS. 179 2 They told us before of their God, Their Saviour who came to redeem, — Our backs smarting still with the rod, We thought it a fable or dream. But now we are sure it is true, Their actions confirm our belief, Nor longer their servants shall rue The Gospel which brings such relief ! 3 The fetters they strike from our hands With a love that is willing and kind ; And they say they will loosen the bands, Which fetter the Negro's rude mind. Oh ! if Christ has commanded you this, Delay not to shew us the way, With Him must be concord and bliss, And Him will we serve and obey. 4 And thus, for the evils you've wrought, You will make us, indeed^ great amends, We'll forget that a Black e'er was bought. Since Britons are now our best Friends. Yes, there must be a life after this, We acknowledge the Heavenly Powers, We shall smile at past tears in that bliss ; Your Saviour and God shall be ours. J. P. 180 MORAL AND MISCELLANEOUS SONGS. XL. MUSIC. A GLEE COMPOSED IN ITT9 BY S. WEBBE. Music's the language of the Blest above ; No voice but Music's can express The joys that happy souls possess, Nor in just raptures tell the wond'rous power of love. 'Tis Nature's dialect, design'd To charm and captivate the mind. Music's an universal good, That doth dispense its joys around, In all the elegance of sound, To be by men admir'd, by Angels understood. 1S1 LETTER 17. ON CONVIVIAL SONGS. Sept. 10, 1810. SIR, r rom your observations on Moral Songs and the joint Collection of Moral and Miscellaneous which you have given, we proceed to the Con- vivial. You say in your Essay on Song- writing (p. xxxi, &c.) " as Milton, in his Com us, has not scrupled to let the advocate of pleasure be heard, and that, in very persuasive language, trusting to the counteraction of more solid arguments in favour of sobriety, it might perhaps be excess of rigour to banish from song-poetry every lively effusion of this kind. The pleasures which this lax morality of poets has been chiefly employed to excuse and varnish, have at all times been those of love and wine, allowable, indeed, in a certain degree to exhilarate the anxious lives of mortals, but always prone to pass the bounds of moderation. Music lias lent a'willing aid to these incitements ; and the classes of amorous and drinking Songs R 182 , LETTER IV. have in all languages been the most copiously furnished. There Is, however, a great dif- ference in the variety and compass of intellectual ideas afforded by these two sources of enjoy- ment. The bacchanalian has little more scope in his lyric effusions, than to ring changes upon the hilarity, or rather delirium, inspired by his favourite indulgence, which puts to flight all the suggestions of care and melancholy, and throws the soul into that state of felicity which springs from exalted animal spirits, and a tem- porary suspension of the reasoning faculties. The essence, therefore, of this kind of pleasure, if such it can be called, is an excess — some- thing gross and degrading, adverse to thought, and therefore barren of sentiment. The inge- nuity of poets has, indeed, connected it with a vivacity of imagination that is very capti- vating, especially when enforced by the pre* sence of the flowing bowl and jovial companions ; and it must be confessed that actual singing i s seldom so heartily enjoyed as in the chorus of a convivial party. But, without such an accom- paniment, the dr hiking- song flattens upon the perusal, and its glowing expressions appear little better than extravagant. It is likewise apt to sink into coarseness and vulgarity ; so that the more select collections of vocal poetry will bear ON CONVIVIAL SONGS. 183 but a small admixture of these compositions, which succeed so well in " setting the table in a roar." You admitj Sir, in the passage just quoted, that there has been a lax morality employed by poets in excusing and varnishing the pleasures of love and wine, and that these pleasures are always prone to pass the bounds of moderation. You call the hilarity of the Bacchanalian a delirium, springing from no better source than a temporary suspension of the reasoning fa- culties. You express a doubt of calling it even a pleasure ) and admit the essence of it to be an excess, — something gross and degrading. Afterwards, in stating the different kinds of Songs, which you have introduced into your Collection, you say " A very scanty assort* ment of Convivial Songs succeeds, dedicated to the festal board, and imitating the gaiety and freedom of the Anacreontic lays. It was impos- sible altogether to omit a class so universally received into Song- Collections ; but as I feel no ambition to be regarded as a priest of Bacchus, I have limited my choice to a small specimen of those which have been inspired by wit and poetry, as well as by wine." (p. xlvii.) To a Convivial Song, a festal board, or gaiety, I desire not to make any general ob- 184 JbEXTJBB JLY. jection. All depends on the hounds -within which they are kept. If the freedom be & freedom from the strictest decorum and sobriety, we may object to it as primarily wrong, and we may also object to it as defeating its own end,-— as (on the whole, and in a course of repetitions,) producing less real pleasure than festivity duly regulated. The Convivial Songs in your Col- lection appear to me to contain many highly objectionable passages : and I am happy to be able to produce your own authority (in the first quotation) in opposition to passages which appear to promote the excess you have decidedly blamed. Irj your Letters on Poetry (L. ix. p. 121.) where you have mentioned Milton's Comus, you say that " It represents the triumph of virtue over lawless pleasure ; and the author deserves high applause for the skill with which, after exhilarating the mind with the festal gaiety of Comus, and even assailing the reason with sophis- tical arguments in favour of licentiousness, he finally brings over the reader to the side of sobriety by the charms of poetic eloquence." Here again, Sir, we have your support in oppo- sition to such festal gaietj/ as that of Comus. But, I will ask, Is there not danger that these sophistical arguments in favour of licentious* ON CONVIVIAL SONGS. 185 nesSj especially when set off by a lively strain of poetry and music and a lively manner, will make an impression, which the " more solid arguments in favour of sobriety" may not be able to counteract ? Something of this kind you seem to apprehend from the " eloquent ha- rangue" which Thomson has put into the mouth of Indolence in his Poem of The Castle of Indolence : " I know not, indeed, whether it is not almost too persuasive for the moral effect of the piece, especially when enforced by the delicious picture of the life led in the mansion of pleasure. No wonder .that the poet himself was too well disposed to become a subject of the Power whose allurements he so feelingly de- scribes ; and we may believe that he spoke from his heart when he exclaimed " Escap'd the castle of the Sire of sin, Ah ! where shall I so sweet a dwelling find ?" (L. xvi. p. 221.) In your Letters to your Son, (Vol. 2, L. xv. p. 272.) speaking of " the effects of poetry in softening and humanizing the soul," you say, "I am most pleased with a story told of the effect of a happy quotation from Homer made by the philosopher Xenocrates. This truly respectable man being sent as ambassador to the court of Antipater, for the redemption of some r 2 186 LETTER IV ... Athenian captives, was courteously invited by the prince to sit down with him to supper. He instantly replied to the offer in the generous words spoken by Ulysses to Circe on the same occasion : O Circe ! who of human soul possess'd Could glut with food and drink, while yet in bonds His dear companions lie ? If truly kind You bid me to the festal board's repast, O free them first, and give them to m> sight ! Odyg. B. x. Antipater was so struck with the ingenuity and patriotism of this application, that he imme- diately ordered the release of the prisoners." What would have been the effect, Sir, if in- stead of storing his mind with patriotic and moral sentiments, he had been only, or chiefly, versed in Bacchanalian poetry, and cited some such passage as many of those contained in your selection of convivial Songs ? You seem to me to be perfectly aware of the fascination of such compositions, and especially in the " convivial party' * ; and, surely, Sir, it is, on that very account, the business of the poet and the moralist, to endeavour to moderate this propensity and to restrain it within its due bounds. You have disclaimed the being re- garded as a a priest of Bacchus". This must certainly be commended: and I can only ON CONVIVIAL SONGS. 187 wish, that, in conformity with it, you had been more careful, through your selection, to avoid whatever might heighten the devotions to that deity. You say " It was impossible altogether to omit a class so universally received into Song-Collections ;" and yet, Sir, you have omitted Naval and Military Songs as classes, and given but very few of either amongst the others, and have excluded Hunting Songs entirely. I am not here pleading for Hunting Songs, or for the exclusion of all Convivial Songs : but only wish to shew, that, as you had excluded other Songs, it was not impossible to exclude the Convivial; if> indeed you preferred that to a greater care in selecting such as could meet with a just approbation. When I began compiling my Collection of Songs with music, I experienced the difficulty of selecting songs upon this subject. In my first publication, however, I inserted with some few alterations The Generous Soul, an old Song, The Bottle, by Hugh Kelly, and Ne'er be drunk again, from Mr. Ritson's Collection, and the Song upon Tobacco, as an accompa- niment to drinking, In the first volume of my second Collection in 12mo. I added The Busy Fly, Two Glees, Beer, or The Hop Feast, by 188 LETTEil IV. Garrick, Jovial Youths, by Shenstone, and I even ventured to insert one intitled The Water Drinker, thinking that it might at least meet with readers, if not with singers ; not being the first poet who has attempted the praise of water- drinking. For, in your Essay prefixed to Armstrong's Art of Preserving Health, in giving an analysis of the Poem, you say " The praise of water-drinking follows ; with the precepts of the father of physic for choosing rightly this pure and innocent beverage. Notwithstanding the apparent earnestness with which the poet dwells on this topic, there is some reason to suspect that he was not quite hearty in the cause. For he not only adopts the notion of those who have recommended an occasional debauch as a salutary spur to nature; but, descanting on the necessity a man may find himself under to practice hard drinking in order to promote the pursuits of ambition or avarice, he advises him (between jest and earnest) to enure himself to the trial by slow degrees. Here the phy- sician and sage seem lost in the jolly compa- nion.' ' (p. 16.) Afterwards, in treating of the passions, you say, u Some persons, however, take a less innocent method of dispelling grief, and in the tempting bowl Of poison' d nectar, sweet oblivion swill. ON CONVIVIAL SONGS. 1S9 The immediately exhilarating effects, and the sad subsequent reverse attending this baneful practice, are here painted in the most vivid colouring, and form a highly instructive and pathetic lesson. Particularly, the gradual degradation of character which it infallibly brings on, is finely touched." (p. 24.) After thus appearing, Sir, as u the physician and sage", I am concerned at finding those cha- racters, as I conceive, " lost," — " in the jolly companion" at least, if not in u the priest of Bacchus", (see p. 5. and 183.)* In the third Volume of my Collection, I could only add two songs upon this subject, one entitled My Mug of Beer, intended for the lower Classes, the other by Burns, deploring the fatal effects of The Fumes of Wine in estranging him from his friends. But, Sir, it does not appear to me, that even * The following very extraordinary passage, from a Letter by Burns, published by Dr. Currie, in his Life of him, 5th Edition, p. 164. is submitted to the consideration of the reader: " we ranged round the bowl till the good-fellow hour of six ; except a few minutes that we went out to pay our devotions to the glorious lamp of day peering over, the towering top of Benlomond. We all kneeled ; our worthy landlord's son held the bowl ; each man a full glass in his hand ; and I, as priest, repeated some rhyming nonsense, like Thomas a Rhymer's pro- phecies I suppose." 190 LETTER IV. convivial parties require songs of such a de- scription as you have found it right to blame, while you thought it impossible wholly to omit them. I have heard songs of a useful tendency sung with applause on such occasions ; an instance of this I have mentioned in a Note to a Song in my third volume, p. 304. The Author of Marmion, in the Introduction to the Sixth Canto of that Poem, makes mention of his great-grandsire partaking in the festivities of Christmas in a very pleasing and religious manner : And thus, my Christmas still I hold Where my great-grandsire came of old ; With amber beard and flaxen hair, And reverend apostolic air — The feast and holy-tide to share, And mix sobriety with wine, And honest mirth with thoughts divine. * Having made these remarks and quotations, I shall proceed to consider the Songs themselves. The first Song (p. 62.) beginning Mortals, learn your lives to measure Not by length of time, but pleasure; &c. is too much of the description mentioned before (p. 97, 98.) * It must be confessed that the Soldier's Song, introduced by the same writer in the Vlth Canto of his last Poem, The Lady or the Lake, is not in unison with these sentiments. I coo- sider it as highly objectionable. ON CONVIVIAL SONGS. 191 Dr. Doddridge's motto was Dum vivimus vivamus, to ^vhich sentiment he gave the fol- lowing turn, which Dr. Johnson said was the noblest Epigram in the English language : " Live whilst you live", the Epicure will say, '* And give to pleasure each returning day." '* Live whilst you live," the pious Preacher cries, '■ And give to God each momt-nt as it flies." Lord, in my ways may both united be, I live to pleasure when I live to Tuee. The author of the Book of the Wisdom of Solomon estimated life by a standard different from that in the Song under consideration : " Honourable age is not that which standeth in length of time, nor that is measured by number of years ; but Wisdom is the gray hair unto men, and an unspotted life is old age." (ch. iv. v. 9.) The second verse of this 6ong begins with the same two lines and then proceeds : Soon your spring must have a fall; Losing youth, is losing all, Solomon, in the Book ofEcclesiast.es (xi. 8, 9.) addresses Youth upon the subject of life, and he says, " If a man live many years, and rejoice in them all ; yet let him remember the days of darkness, for they shall be many. All that cometh is vanity. Rejoice, O Young 192 LETTER IT. , Man, in thy youth ; and let thy heart cheer thee in the days of thy youth, and walk in the ways of thine heart, and in the sight of thine eyes." This is generally understood to have been meant ironically, as if he had said, Indulge all the pleasures to which your corrupt alfections or natural inclinations lead, for he adds : "but know thou," be assured of this, " that for all these things God will bring thee into judgment. " (see Orton's Exposition. Vol. v. p. 141.) The next Song, Sir, by Dr. Dalton, a Doctor in Divinity, begins (p. 63.) Preach not me your must}' rules, Ye drones that mould in idle cell ; The heart is wiser than the schools, The senses always reason well. Here, again, Sir, the Poet and the Divine are at variance with scripture, there we are told, that u The heart is deceitful above all things, and desperately wicked : Who can know it ?" (Jeremiah xvii. 9.) And if, by the senses, we are to understand not reason, but the animal appetites, which I suppose is the meaning, then again the Poet is at variance with the Apostle, who says " Walk in the spirit, and ye shall not fulfil the lust of the flesh. For the flesh lusteth against the spirit, and the spirit against the flesh : and these are contrary the one to the ON CONVIVIAL SONGS. 193 other : so that ye cannot do the things that ye would." (Gal. v. 17.) The song proceeds : If short ray span, I less can spare To pass a single pleasure by. Which, if not literally false, so long as pleasure does not interfere with duty, yet, as it stands here, is evidently part of a system reprobated by some of the foregoing observations. To this song you have annexed a Note: M This and the following short piece are taken from the writer's alteration of Comus, by which he has certainly given more force to the voluptuous doctrine than Milton would have approved, yet has displayed a fine taste and uncommon talents for compositions of this kind." After what you have said before upon the sub- ject of taste, (see p. 16.) and upon Milton's " lax morality" and " sophistical arguments," (p. 181, 184.) I think, Sir, you have here written your own condemnation of the song in question, and of the following one^ by the same author, and from the same piece, beginning " By the gaily-circling glass". It (p. 64.) ends with Soon, too soon, the busy day Drives us from our sport and play. What have we with day to do ? Sons of care ! 't was made for you. Surely these ideas are inconsistent with the s 194 LETTER IV. habits of one (however cheerful) who gives to his daily duties the attention requisite, and who feels himself accountable to his Creator and | Judge for the use which he makes of his time, as well as of all other talents intrusted to his management ? The next Song, " Busy, curious, thirsty Fly!" (p. 64.) is amongst the Drinking Songs in the first volume of my Collection, with a third verse, which I found attached to it in some collection, and a fourth then first added. It deserves the praise you have bestowed upon it. The next, by Fawkes, in imitation of Ana- creon, " When I drain the rosy bowl," (p. 65.) contains the usual ingredients of an Anacreontic, the Nine, — Bacchus — Venus — &c. It casts a ridicule on " sober counsels", it recommends the disgraceful jollity which leads to intoxication as the means of sweeping away our sorrows and getting rid of that time as a dull companion, which is one of our most valuable treasures ; and it represents the quaffing of the sparkling wine, with its accompaniments, as what sets the true value upon u life's rural scene, sweet, seques- ter'd, and serene." How ill applied are these epithets to any scene filled with the disgusting restlessness and noise of Bacchanalians, or with ON CONVIVIAL SONGS. 195 the uncheering duluess of men, who, by present or habitual sottishness, have stupiiied their senses ! And what a contrast is here to the true and rational enjoyment of rural scenery! I cannot forbear in this place inserting a passage from Cowper's Table Talk on the corruption of poetry : In Eden, ere yet innocence of heart Had faded, poetry was not an art ; Language, above all teaching, or, if taught, Only by gratitude and glowing thought, Elegant as simplicity, and warm As ecstacy, unmanacled by form, Not prompted, as in our degen'rate days, By low ambition and the thirst of praise, But natural as is the flowing stream, And yet magnificent— a God the theme! That theme on earth exhausted, though above 'Tis found as everlasting as his love, Manlavish'd all his thoughts on human things— The feats of heroes, and the wrath of kings: But still, while virtue kindled his delight, The song was moral, and so far was right. 'Twas thus till luxury sedue'd the mind To joys less innocent, as less reriii'd; Then Genius dane'd a Bacchanal ; he crown'd The brimming goblet, seiz'd the thyrsus, bound His brows with ivy, rush'd into the field Of wild imagination, and there reel'd, The victim of his own lascivious fires, And, dizzy with delight, profan'd the sacred wires. Anacreon, Horace, play'd in Greece and Rome This Bedlam part ; and others nearer home. Lines J384, &c. 196 LETTER IT* To this I will add, from The Minor Mi.n- strel, By William Hollow aj/> an ANACREONTIC ON NEW PRINCIPIiES.* " I aaid of laughter it i9 mad, and of mirth what doeth iL* Eccles. ii. ?. Fill the nectar-sparkling bowl * Wake the raptures of the soul ) Dissipate foreboding fears; Banish all the train of Cares ! Spread, Euphrosyne, the feast! "Welcome every jocund guest ! Music, yield thy sprightliest strain ( Love, assume thy tenderest reign ; Beauty, arm'd with flames and darts t Rouse our passions, fire our hearts ! Come, my boon companions ! now Twine your roses round my brow ! Join with me the sportive ring ; Lightly dance and cheerly sing : Gaily chase the fleeting hours : Strew the rugged path with flow'rs; Tell me, Youth is best employ'd, When convivially enjoy'd : * However unpleasant the truth may be, we venture to as- sert, that the most enchanting of our Anacreontics have a ten- dency only to cherish Infidelity, and promote sentiments inimical to the principles of Christianity. ON CONVIVSAL SONGS, 197 Say, when age his snows shall shed Gently o'er ray thoughtless head, You will ease the bosom's throes, You will soothe me to repose ; And, when those no more entice, Waft to joys of Paradise ! But what Paradise is thine? heedless votary of the vine ! Mirth, and jest, and revelry, What the hope you proffer me! Will it lead Life's steep adown Softly to theshadesunknown ? Will its promises be paid, When frail Nature needs your aid ] Do you from the prospect shrink, On Eternity's dread brink ? Treach'rous friends! O, save me! save! Will you quit meat the grave? Dearly I your counsels rue ! Wretched comforters, adieu! *The next Song, " The thirsty earth drinks up the rain," (p. 66.) is " freely translated from Anacreon, by Cowley. In this u the plants'* also are represented as u sucking in the earth," the " sea" as u drinking twice ten thousand rivers up" ? the u sun" as u drinking up the sea," and u the moon and the stars" as a drink* ing up the sun." This might, perhaps, be in some measure allowed as a figure of speech; but when the sun is represented as having a <6 drunken fiery face" and the poet affirms that Nothing in nature's sober found, But an eternal health goes round. s 2 198 LETTER IV, I conceive that he goes much beyond what is admissible. Bishop Home, however, will direct us to a different use of the works of Nature. In his admirable Sermon on the Garden of Eden, he observes, " When it is said, « The Lord God took the man, and put him into the Garden of Eden, to dress it, and to keep it," the words undoubt- edly direct us to conceive of it, as a place for the exercise of the body. We readily acquiesce in this, as the truth, but not as the whole truth ; it being difficult to imagine, that so noble a creature, the lord of the world, should have no other or higher employment. Much more satis- faction will be found in supposing, that our first parents, while thus employed, like the priests under the law, while they ministered in the temple, were led to contemplations of a more exalted nature, " serving to the example and shadow of heavenly things." (Heb. viii. 5.) " The powers of the body and the faculties of the mind might be set to work at the same time, by the same objects. And it is well known, that the words here used, do as frequently de- note mental as corporeal operations ; and under the ideas of dressing and keeping the sacred Garden, may fairly imply the cultivation ON CONVIVIAL SONGS. 199 and observation of such religious truths as were pointed out by the external signs and sacraments which Paradise contained." Again, speaking of man in Paradise, he says, " He studied the works of God, as they came fresh from the hands of the work-master, and in the creation, as in a glass, he was taught to behold the glories of the Creator. Trained, in the school of Eden, by the material elements of a visible world, to the knowlege of one that is immaterial and invisible, he found himself excited by the beauty of the picture, to aspire after the transcendent excellence of the divine original." The sacred writers have, accord- ingly, made use of the works of Nature as the material objects whereon to found moral and spiritual lessons, and many writers, in later times, following their example, have written books with this view. To make use of these, therefore, as authorities to sanction drunkenness, a sin which God has expressly forbid and will undoubtedly punish, appears to me in the nature of blasphemy against the Creator. This, certainly, was less reprehensible in the heathen Anacreon, but in a Christian we expect purer doctrine ; and I cannot but wonder that the late Bishop Hurd, in separating the good from the bad in Cowley's writings, should have retained 200 LETTER IV. what he himself calls cc these mad Anacre- ontics." (Nurd's Cowley, Vol. I. p. 147.) Amongst the Anacreons of our own country, Walter de Mapes,* Archdeacon of Oxford, and styled " The Anacreon of the eleventh century," wrote an ode, beginning, Mihi est propositum in Tab em a mori 9 which I con- ceive to be as contrary to the spirit of Chris- tianity as any writing can well be. Yet it has found a translator, to give it fresh circulation in English, in Dr. Huddesford, in his Salmagundi, Strange to say, also, it met with a translator into Greek, in the late Frederick Wolfgang Reiz, Professor of Greek at Leipsic. The Song (p. 68.) beginning Wine, wine in the morning Makes us frolic and gay, is another instance of the poet in contradiction to the Prophet. (See p. 192.) Isaiah, says, " Woe unto them that rise up early in the morn- ing that they may follow strong drink, that con- tinue until night, till wine inflame them ! And the harp and the viol, the tabret and pipe, and wine are in their feasts ; bnt they regard not the * See Pursuits of Literature, Dialogue I. p. 95. 14th Edition. 1S08. ON CONVIVIAL SONGS. 201 work of the Lord, neither consider the opera- tion of his hands." (V. 1 1 , 12.) The last of these Convivial Songs (p. 69.) is an Anacreontic Glee, by a living author, con- sisting of Bacchus, Venus, " each light Grace 7 with zone unbound," Cupid, &c. I cannot forbear observing, Sir, that of the eight convivial songs given in your volume, only two of them, the first and the seventh, appeared in your first publication. So that they cannot be viewed as the collection of a juvenile mind, in the hey-day of the blood, but as the deliberate selections of one in the cool evening of life. And yet there is only one of them, " Busy 9 curious, thirsty Fly," which I consider as admissible. I am, Sir, With great respect, Your &c. However difficult the task may be, I shall attempt a selection of Songs for the use of con- vivial parties. Some of them have been long and deservedly popular ; there is nothing in them, I trust, contrary to sound morality, but each one may amuse and leave a good im- pression upon the mind. 202 CONVIVIAL SONG'S, I. MERRY AND WISE, Tune; Let Care be a Stranger. 1 In temperance train'd, yet I shun not the board, Where Plenty and Freedom their blessings afford ; The good things of earth we may freely enjoy, So we taste not of pleasure till pleasure shall cloy. In mirth and good-humour, I own, I delight, When mirth and good-humour are order'd aright Good friends and good-cheer in due season I prize, And my maxim is still — Be ye merry and wise, 2 Should indecency dare to speak out in a jest, Then mirth is degraded and wit is a pest ; Nor scruple I make to pronounce it more wrong- When music and verse give it zest in a song. CONVIVIAL SONGS. 203 Let wit, like the gold from the furnace be pure, Let verse give the song the chaste ear may endure ; I love but that mirth whence no dangers arise, For my maxim is still — Be ye merry and wise. 3 If our wine, or our ale, or whatever we quaff, Instead of promoting the full friendly laugh, Should tend to create either discord or broil, And the ends- of society wantonly spoil, 'Tis a waste of good things, 'tis a waste of our time, 'Tis a meeting unsanction'd by u reason or rhyme", So when strife begins, then I straightway arise, For my maxim is still — Be ye merry and wise. 4 Unless from the feast I retire witli clear head, And blameless next morn can arise from my bed, If my neighbour I love not with more cordial heart For the flow of good-humour unchecked till we part, I were better at home with my plain bread and cheese, Where my wife and my children endeavour to please, 201 CONVIVIAL SONGS. Where all is good humour, and no one denies 'Tis the maxim of Wisdom — -Be merry and WISE. J. P. II. THE HONEST FELLOW BY THE REV. C. BUCKLE. Tone : Corn Riggs are bonvy* 1 Ye jovial sons of mirth and glee, Let's jocund be full well O ! Well pleas 'd I look around to see Each one an honest fellow. 2 Of woe and heart- corroding care, Of pain and grief ne'er tell O ! In vain they seek for entrance here, To wound each honest fellow. S The miser, fond of useless store, Could he reflect but well O ! Would to the needy ope his door, And be an honest fellow* CONVIVIAL SONGS. 205 The Lover, with an April face, His plaintive tale does tell O. For shame ! with ardour press the chace , You'll be a charming fellow. 5 The Courtier, proud ambition's slave, Knows where to fawn full well O ; How base the tricks of such a knave ! Beneath an honest fellow ! 6 The essenc'd Fop, how vain his air, This truth will find full well O ! The man who wins the British fair, Must be an honest fellow. 7 With heart sincere and free from guile. He scorns a lie to tell O ! His friend he welcomes with a smile, This is an honest fellow. Fale envy, wrangling, strife forgot. Be mine one wish to tell O ! May joy and peace be still the lot Of every honest fellow. T 206 CONVIVIAL SONGS. 9 Then charge each glass and join my lay, The liquor's old and mellow, Each jog his friend and nodding say, Here's to thee, honest fellow. III. ARISTIPPUS.* 1 Let care be a stranger to each cheerful soul, Who can, like Aristippus, his passions controul ; Of wisest Philosophers wisest was he, Who, attentive to ease, let his mind still be free. The Prince, Peer, or Peasant to him were the same, For, pleas' d, he was pleasing to all where lie came; But still turn'd his back on contention and strife, Resolving to live all the days of his life. * " To " live all the days of our lives," in a rational, not a Bacchanalian sense, is most desirable ; for our mortal existence is a burden, and not a blessing, when the spring of the mind, as well as the sinews of the body, is broken down, and feeble dependence is constrained to lean on extraneous support." Mrs. West's Letters to a Young Lady, Vol. III. p. 371. 3d Edit. CONVIVIAL SONGS. 207 2 A friend to mankind, all mankind was his friend, And the peace of his mind was his ultimate end. He found fault with none, if none found fault with him, If his friend had a humour, he humour'd his whim. He thought 'twas unsocial to be malcontent, If the tide went with him, with the tide too he went, But still turn'd his back on contention and strife, Resolving to live all the days of his life. 3 Was the nation at war, he wish'd well to the sword, If a peace was concluded, then pea ce was his word : Disquiet to him, or of body or mind, Was the Longitude only he never could find : The Philosophers' stone was but gravel and pain, And all who had sought it had all sought in vain, He still turn'd his back on contention and strife, Resolving to live all the days of his life. 4 Then let us all follow Aristippus's rules, And deem his opponents both asses and mules ; 20S CONVIVIAL SONGS. Let those, not contented to lead or to drive, Like the bees of their sects be drove out of their hive : ExpelPd from the mansions of qniet and ease, They never will find the blest art how to please j While our friends and ourselves, not forgetting our wives, By these maxims may live all the days of our lives. IT. LAUGH AND GROW FAT.* 1 To rival the miser who broods o'er his plurn^ Or to envy the great, I shall never presume. * The sentiments of this song must of course be understood in that happy medium, so difficult, but so desirable to be ob- tained, between gloom and moroseness, on the one hand, and excessive laughter on the other. (See p. 196.) Something has been said on this subject before, p. 96. Writers upon The Passions and on Medicine mention the beneficial effects of mo- derate laughter. See Cogan on the Passions, Pt. I. Ch. ii. Art. Joy, &c. Dallas on Self-knowledge, Pt. Til. Sect. iii. on Mirth. Encyc. Brit. Art. Laughter, and Buchan's Do- CONVIVIAL SONGS. 209 Tho' wealth to mankind as a blessing was sent,* With much or with little I'm always content ; Then, should I grow rich, I'll ne'er murmur at that, Or, if I grow poor, still 1 laugh and grow fat. 2 Tho' patriots and placemen each other abuse, 'Tis nothing to me, I've no pension to lose. Tho' they levy new taxes, for me, I protest I will not complain whilst I fare like the rest ; So, if Outs become Ins, I'll ne'er murmur at that, Or, if Ins become Outs, still I'll laugh and grow fat. 3 Tho' love, I confess, is a part of my care, And Celia's " the fairest of all that are fair," Altho' I'm enamour'd, I'm not such an elf As to think of my mistress and not of myself; mestic Medicine ch. xxxvi. on The Jaundice. Laughter is mentioned in Scripture in some degree as a Blessing, " Blessed are ye that weep now, for ye shall laugh." (Luke vi. 21. ) *' Then was our mouth filled with laughter and our tongue with joy." (Psalm cxxvi. 2.) And, in that beautiful composition the sixty-fifth Psalm, laughter is even attributed to the inani- mate creation: " the valleys also shall stand so thick with corn that they shall laugh and sing." (V. 14.) See also my Dis- courses on the Stage, Disc. III. p. 52, &c. T 2 210 CONVIVIAL SONGS. If she smiles, then, of course, I'll ne'er murmur at that, Or if she should frown, still I'll laugh and grow fat. 4 When I urge the soft plea, should she kindly incline To crown my fond wish, and consent to be mine, I'd seize the blest moments, and make her my wife, In hope of contentment and pleasure for life ; Tho' cares should ensue, I'll ne'er murmur at that, But all my life long will I laugh and grow fat. V. FRIENDSHIP AND LOVE. FROM THE OPERA OF FONTAINBLEAU. BV o'KEEFE. Tho' Fame sound the trumpet and cry " To the war," Tho' Glory re-echo the strain ; CONVIVIAL SONGS. 211 The full tide of honour may flow from the scar, And heroes may smile on their pain ; The treasures of Autumn tho' Bacchus display, And stagger about with his bowl, On science tho' Sol beam the lustre of day, v And Wisdom give light to the soul : Tho' India unfold her rich gems to the view, Each virtue, each joy to improve, Oh ! give me the Friend, whom I know to be true. And the Fair, whom I tenderly love : What's Glory, but Pride? a vain bubble is Fame, And riot the pleasure of wine ; What's riches, but trouble $ and title's a name. But Friendship and Love are Divine. VI. THE SENTIMENTALIST. BY COLLINS. 1 Now we're launch'd on the world With our sails all unfurl'd, 'Fore the wind down the tide proudly posting, 212 CONVIVIAL SONGS. May the voyage of Life, Free from tempest and strife, Prove as calm as a smooth water coasting. But should some sudden squall, incidental to all Rouse up reason to reef ev'ry sail, boys, Be your's and my lot to have such a pilot When passion increases the gale, boys. For to what point soe'er Of the compass we steer, While the helm still obeys her direction, 'Tis as sure as the light That the joys of the night Will ne'er shrink from the morning's reflection; And when rest or refreshment succeeds work or play, That enjoyment from each it may still flow, May true Friendship's hand lead us on by the way, And true Love share the rest of our pillow* 3 But, blow high, or blow low, Let it rain, freeze, or snow, And clay-cold and wet should our birth be, The lamb newly shorn Shews the blast may be borne, Should our station on sea or on earth be : CONVIVIAL SONGS. 213 And, as poor Robin lled-breast will chirp on the spray, Almost stripp'd by the frost of each feather, May a Conscience as clear as the sun at noon day Keep us warm in the coldest of weather. VII. MIRTH. A Glee for four voices : by Paxton. WRITTEN BY DR. SCOTT. Come, oh come, delightful guest X Child of tranquil ease and pleasure ; Ever blessing, ever blest, Here diffuse thy choicest treasure. Come, sweet Mirth, and bring with thee, Sportive Song and merry glee ; But ah, sweet maid, all playful tricks remove, Let no offensive sounds invade the ear, But such as bashful Beauty may approve, And Modesty, without a blush, can hear. Then this blooming radiant throng, Shall applaud thy festive measures ; Darting joyous smiles along, Giving and receiving pleasures : What sweet raptures fire the mind When beauty's charms, and music are combin'd ! 214 CONVIVIAL SONGS. VIII. THE SHORTNESS OF LIFE. ALTERED FROM A DUET. 1 Could a Man be secure That his life would endure, As of old for a thousand long year. What arts might he know, What acts might he do, And all without hurry or care. 2 But, as we have but span-long lives, The more we'll call each hour a treasure ; And, since Time will not stay, We'll seize upon the present day, And with good deeds will fill the measure. IX. A DEHORTATION FROM DRINKING, BY A LATE EMINENT PHYSICIAN. From the London Magazine for September 1746. 1 Pass by a tavern door, my son, This sacred truth write on thy heart: 'Tis easier company to shun, Than at a pint it is to part. CONVIVIAL SONGS. 215 2 For one pint draws another in, And that pint lights a pipe; And thus, in th' morn, they tap the day. And drink it out e'er night, 3 Not dreaming of a sudden bounce, From vinous sulphurs stor'd within; Which blows a drunkard up at once, When the lire takes life's magazine. 4 An apoplexy kills as sure As cannon ball; and oft as soon; And will no more yield to a cure, Than murdering chain-shot from a gun. 5 Why should men dread a cannon bore, Yet boldly face a pottle pot ? That may fall short, shoot wide, or o'er, But drinking is the surer shot, How many fools about this town, Do quaff and laugh away their time ? And nightly knock each other down, Willi Claret clubs of no-grape wine! 216 CONVIVIAL SONGS. 7 Until a dart from Death's full quiver, As Solomon describeth right, Does shoot his Tartar thro' the liver, Then (bonos nocios) sot, good night. 8 Good wine will kill, as well as bad, When drunk beyond our nature's bounds; Then wine gives life a mortal stab, And leaves her wetfring in her wounds. Such were the rules old Baynard gave To one with whom he could be free; Better you'll from no doctor have, Besides — they come without a fee. ANTI-ANACREONTIC. X. Say ! what are the pleasures which Wine can impart ? Can it pluck out the Arrows of Scorn from the heart ? Erase from the bosom the Image of Care ? Or furnish a balm for the Soul of Despair? CONVIVIAL SONGS. 217 All no ! 'tis a foul, 'tis a dangerous cheat, Which offers to view in the glass of deceit Oblivion of sorrow — but, cruel, conceals Those ages of misery the future reveals. 'Tis a Creditor, who, for a moment's delay, Scores double the dreadful reckoning to pay ; Till the Debtor, poor fool ! luli'd to fatal repose, Is awak'd to a dungeon and life-lasting woes ! XI. THE DRINKIN', O. A Hang for the Ladies. BY JAMES HOGG. Tune: Dunbartori's Drums, 1 O wae to the wearifu' drinkin', O ! That foe to reflection an' thinkin', O ! O ur charms are gi'en in vain ! Social conversation's gane ! For the rattlin' o' guns an' the drinkin', O. 2 O why will you ply at the drinkin', O ? Which to weakness will soon lead youlinkin', O ; These eyes that shine sae bright Soon will be a weary sight, When ye're a' sittin' noddin' an' winkin', O ! u 218 CONVIVIAL SONGS. 3 For ever may we grieve for the drinkin', O ! The respect that is due daily sinkin', O ! Our presence sair abus'd, An' our company refus'd, An' its a' for the wearifu' drinkin', O ! 4 O drive us not away wi' your drinkin', O ! We like your presence mair than ye're thinkin', O! We'll gie ye another sang, An' ye're no to think it lang, For the sake o' your wearifu' drinkin', O ! 5 Sweet delicacy, turn to us blinkin', O ! For by day the guns and swords still are clinkin', O! An' at night the flowin' bowl Bothers ilka manly soul, Then there's naething but beblin' an' drinkin', O! 6 Gentle Peace, come an' wean them frae drinkin', O! And bring love alang wi' you winkin', O ! Gar him thraw at ilka man, An' wound as deep's he can, Or we're ruin'd by the wearifu' drinkin', O ! CONVIVIAL SONGS. 219 XII. WRITTEN FOR A CONVIVIAL SOCIETY, WHOSE MOTTO WAS « FRIENDSHIP, LOVE, and TRUTH." BY JAMES MONTGOMERY. 1 When " Friendship, Love, and Truth" abound Among a band of Brothers, The cup of joy goes gaily round, Each shares the bliss of others : Sweet roses grace the thorny way Along this vale of sorrow ; The flowers that shed their leaves to-day Shall bloom again to-morrow : How grand in age, how fair in youth, Are holy "Friendship, Love, and Truth!" 2 On Halcyon wings our moments pass, Life's cruel cares beguiling; Old Time lays down his scythe and glass, In gay good humour smiling : With ermine beard and forelock grey, His reverend front adorning, He looks like Winter turn'd to May, Night soften'd into morning! How grand in age, how fair in youth, Arc holy " Friendship, Love, and Truth!" 220 CONVIVIAL SONGS, From these delightful fountains flow Ambrosial rills of pleasure : — Can man desire, can Heaven bestow, A more resplendent treasure ? Adorn'd with gems so richly bright, We'll form a Constellation, Where every Star, with modest light, Shall gild his proper station. How grand in age, how fair in youth, Are holy " Friendship, Love, andTiiuTHf * 221 LETTER V. ON AMATORY SONGS, Sept. 12, 1810. SIR, JLiovE maybe considered an universal passion: and perhaps it is that, concerning the due re- gulation of which, so far as relates to the sexes, mankind have run into the greatest errors. As in all cases, where man is liable to err, it is useful frequently to have recourse to first principles, so on no subject can it be more necessary than upon this. When man was created and endowed with a nature more perfect than that which we now possess, and with the whole creation subject to him for his use, his instruction and his amusement, God expressly declared that u it was not good that the man should be alone," and that he would " make him an help meet for him" ; (Genesis II. 18.) he therefore made woman, and declared that they should u be one", and that for her sake man should, whenever he entered into an union with her, " leave his father and his mother, u 2 222 LETTER V. and cleave unto his wife" : (v. 24. see also Matt. xix. 4, 5.) and accordingly, in after times, we find the ordinances of God directed to keep this union inviolable, and to preserve and direct it to its proper ends. This being the state, then, for which the Creator originally intended man, and which is therefore the best and the happiest which he can enjoy in this world,* it is that, to which he, or those whose business it is to protect and instruct him in his early years, should look forward as a matter of course; they should promote his attainment of it, and regulate his ideas concerning it. I conceive, therefore, that it is the duty of parents to consider, that, when their children arrive at a certain age, they will wish, and it will be proper for them, to enter into the marriage state, and that it is the business of those who have been the authors of their existence in this world, to provide for them accordingly, or to put them * Believe me man, there is no greater blisse, Than is the quiet joy of loving wife; "Which who-so wants, halfe of himselfe doth raisse. Friend without change, play-fellow without strife, Food without fulnesse, counsell without pride, Is this sweet doubling of our single life. Sir Philip Sidney's Jhcavia. Lib, 3. folio 1638. p. 401. ON AMATORY SONGS. 223 in a way of providing for themselves. The child of the peasant, when he has arrived at his strength, and is able to earn his weekly wages by his labour, has a provision whereon he may marry ; and here I conceive, that, according to the present manners and opinions of the world, the poor man has a decided and important advantage over the rich man, both as it affects his happiness in this world, and in some measure his everlasting happiness in another. A young man in the higher ranks of life frequently finds many and great impediments to an early mar- riage, I mean to marriage at that time when nature and reason would direct him to chuse a partner for life. How frequently do we see parents with ample fortunes reserving it, rather than giving a part to establish their children in life; and, where they have no fortune, not taking any measures to put them into a way of procuring a maintenance for themselves; and, even where the children would do this, and be contented in a humble walk in life, the parents, either from an undue estimate of life, or from pride, dissuading them, and even preventing their following their rational inclinations. Half the wants in society are not respecting those things which really contribute to a person's happiness, but perhaps the contrary; and are 224 LETTER V. merely artificial cravings to keep up an appear- ance and satisfy the world around him.* I conceive it, therefore, Sir, to be the duty of the moralist to do his utmost to maintain in the world proper ideas of woman, of marriage, of love, and of connubial happiness, and that every thing which at all tends to give persons im- proper ideas upon these subjects and to diminish their respect for them, is an offence in society and against the will and laws of the Creator. From several of your writings, Sir, I suppose these to be nearly your own sentiments, like- wise : and I shall do in this case, as I have done in the former instances ; first state your opinions, as I find them expressed in your more serious and more valuable works, and then consider how far the sentiments contained in the songs in this class are likely to second or to militate against your principles. In one of your earliest publications, Mis- cellaneous Pieces in Prose, by J. and A. L. Aikin. 1773. In the Critique On The Heroic Poem of Gondibert, speaking of the armies of the Prince and the Duke, you say, * There are some very good remarks upon this subject in Ingram's Disquisitions on Population in answer to Mr. Malthus's Essay on Population, p. 74 — 79- ©J* AMATOIttf SONGS. 225 st That of Gondibert was composed of hardy youth whom he had selected from his father's camp, and educated in martial discipline under his own inspection. Temperance, chastity, vigilance, humanity, and all the high virtues of chivalry remarkably distinguish these young soldiers from those of later times. Beauty, in- deed, commanded no less regard amongst them than in a modern camp ; but it was an object of passion, and not of appetite ; and was the pow~ erful engine in their education, which inspired Ihem with noble and exalted sentiments." (P. 162.) You afterwards say of Love, " the influence of this passion in its purest and most exalted state, during the course of education, is a subject that might, perhaps, shine as much in the hands of a moralist as of a poet." (P. 164.) In the first volume of your Letters to your Son, there is one On the choice of a Wife. (L. xxix.) You begin it with saying, u There is no species of advice which seems to come with more peculiar propriety from parents to chil- dren, than that which respects the marriage state ; for it is a matter in which the first must have acquired some experience, and the last cannot." (P. 330.) You speak of " the ne- glect with which admonitions on this head are treated," as being " not unfrequently owing to 226 LETTER V. the manner in which they are given, which is often too general, too formal, and with too little accommodation to the feelings of young per- sons." (13o.) u The difference of opinion between sons and fathers in the matrimonial choice may be stated in a single position — that the former have in their minds the first month of marriage, the latter, the whole of its duration." (P. 331.) " I need say little as to the share that personal charms ought to have in fixing a choice of this kind. While I readily admit, that it is desirable, that the object on which the eyes are most frequently to dwell for a whole life, should be an agreeable one ; you will probably as freely acknowledge, that more than this is of too fan- ciful and fugitive a nature to come into the com- putation of permanent enjoyment." (P. 332.) You state that " the two main points on which the happiness to be expected from a female associate in this life must depend" — are, " her qualifications as a companion, and as a helper ;" (Do.) You represent a wife as " the domestic companion of the voyage of life — the intimate of all hours — the partaker- of all fortunes — the sharer in pain and pleasure — the mother and instructress of your offspring." And say, " Are you not struck with a sense of the infinite con- sequence it must be of to you, what are the ON AMATORY SONGS. 227 qualities of the heart and understanding of one who stands in this relation; and of the com- parative insignificance of external charms and ornamental accomplishments ?" (P. 333. )-^- 61 tastes, manners, and opinions, being things not original, but acquired, cannot be of so much consequence as the fundamental properties of good sense and good temper." (P. 334.) — To these I should add a strong religious principle. — When " a kind of thoughtless good nature" — w appears with the attractions of youth and beauty, there is some danger lest even men of sense should overlook the defects of a shallow capacity, especially if they have entertained the too common notion, that women are no better than playthings, designed rather for the amuse- ment of their lords and masters, than for" the more serious purposes of life." (P. 335.) — " The original purpose for winch this sex was created, is said, you know, to have been, pro- viding man with a help-mate ; yet it is, perhaps, that notion of a wife which least occupies the imagination in the season of courtship." (P. 337.) — " Romantic ideas of domestic feli- city will infallibly in time give way to that true state of things, which will show that a large part of it must arise from well ordered affairs, and an accumulation of petty comforts and con- 228 LETTER V. veniencies. A clean and quiet fire-side, regu- lar and agreeable meals, decent apparel, a house managed with order and economy, ready for the reception of a friend or the accommodation of a stranger, a skilful as well as affectionate nurse in time of sickness— all these compose a very considerable part of what the nuptial state was intended to afford us ; and without them, no charms of person or understanding will long continue to bestow delight." (Do.) — " I confess myself decidedly of the opinion of those who would rather form the two sexes to a resemblance of character, than contrast them. Virtue, wis- dom, presence of mind, patience, vigour, capa- city, application, are not sexual qualities ; they belong to mankind — to all who have duties to perform and evils to endure." (P. 340.) "Hav- ing thus endeavoured to give you just ideas of the principal requisites in a wife, especially in a wife for one in your condition, I have done all* that lies within the compass of an adviser. From the influence of passion I cannot guard you : I can only deprecate its power. It may be more to the purpose to dissuade you from hasty engagements, because in making them, a person of any resolution is not to be regarded as merely passive. Though the head has lost its rule over the heart, it may retain its command ON AMATORY SONGS. %W of the hand. And surely if we are to pause before any action, it should be before one on which " all the colour of remaining life" de- pends. Your reason must be convinced, that to form a solid judgment of so many qualities as are requisite in the conjugal union, is no affair of days and weeks, of casual visits or public exhibitions. Study your object at home — see her tried in her proper department. Let the progress be, liking, approving, loving, and lastly, declaring ; and may you, after the experience of as many years as I have had, be as happily convinced, that a choice so formed is not likely to deceive ! " P. 34 i . In the second volume of your Letters to your Son, in the Letter (xv) On the advantages of a taste for poetry, you say, v " The enemies of poetry have brought a more serious charge against it, from the topics in "which it is con- versant, many of which are calculated to inflame the passions and vitiate the morals. Passion, it must be allowed, is one of the grand and inte- resting displays of nature on which poets have ever delighted to exercise their descriptive powers ; but they have for the most part painted it in such colours as to render its excesses an object of horror rather than of admiration. With respect to one, however, that of love, I x 230 LETTER T. confess they have in general been too indulgent. Poetry may with still more propriety than music be termed " the food of love;" and whatever censure it may deserve on that account, it must be content to bear. Poems, as well as novels, it is true, are filled with the baneful consequences of this passion, which may be taken for a warning, if the reader be so disposed. But it is commonly so allied with heroism in one sex, and sentiment in the other, that its errors are excused, if not applauded." P. 273. Mrs. Barbauld, in her Thoughts on the De- votional Taste, says, " It will not be amiss to mention here, a reproach which has been cast upon devotional writers, that they are apt to ran into the language of love. Perhaps the charge would be full as just, had they said that Love borrows the language of Devotion; for the votaries of that passion are fond of using those exaggerated expressions, which can suit nothing below divinity ; and you can hardly address the greatest of all Beings in a strain of more pro- found adoration than the lover uses to the object of his attachment." P. 23. In your Letters on Poetry, addressed to a Young Lady, (L. I. p. 3.) you say, " There is one particular topic, however, concerning which I feel a degree of hesitation. Poetry Jias in all ages and countries been the servant ON AMATORY SONGS. 231 and interpreter of love : from that passion it has received some of its most rapturous inspiration, and to its interests has devoted its choicest pow- ers. The strains of love are not only occasion- ally met with in the works of the poets : they are the animating soul of many, and are intimately blended with almost all." And afterwards ; u it is probable that the refinement and elevation of sentiment fostered by a taste for poetry may prove a protection from that light and vulgar passion which enters merely at the eyes, and is too sensual to be disgusted with coarseness and stupidity. Since, then, it it impossible to sepa- rate love from poetry, I shall not fear to recom- mend it to your notice in its purest, most tender, and fanciful form." P. 4. In Letter II. speaking of Pope, you say (p. 13.) " The two " Choruses for the Tragedy of Brutus" which follow were intended to be set to music. They are probably too replete with thought for this purpose ; but this is no objection to them, considered as poems to be read. They are very elegant pieces; and the touching picture of connubial love in the second of them deserves great praise as a moral painting." Part of this is given in my third volume with some trifling alterations, p. 225. Letter iv. p. 31. speaking of Waller, you %M -LESTEtl f. ^ say, a I am apprehensive, however, (hat his gallantries may seem to you somewhat far- fetched, and his compliments over-strained, and that, for your part, you would prefer tenderness to deification. Love, in its highest tone, is, indeed, favourable to poetry, which scorns the limits of truth and nature, and in every thing affects hyperbole. But i-n such cases, the fancy is gratified at the expense of the feeling, and fiction occupies the place of reality. There are three topics which poets (and often the same poets) treat in a similar manner ; devotion, love, and loyalty : or rather, they apply to the two latter, expressions and sentiments borrowed from the former. Thus Waller, speaking of his Saccharissa; Scarce can I to Heaven excuse The devotion which I use Unto that adored dame, For 'tis not unlike the same Which I thither ought to send." Letter vii. p. 82. Speaking of Pope's Epistle of Eloisa to Abelard, as I have before noticed (p. 18.) you say that, it " is faulty in giving too forcible an expression to sentiments inconsistent with female purity".* * The British Critic for April 1805. Vol. xxv. p. 411. speaking of Dr. A.'s Letters on Poetry, and what he has said on ON AMATORY SONGS. 233 I have also, (p. 43.) noticed your reference to the beautiful picture of connubial love in Hammond's thirteenth Elegy. Letter ix. p. 121. Speaking of the Comus of Milton, you say u As a recompense for the humiliation you may have felt on viewing the female Character as pourtrayed by Pope and Swift, you may justly pride yourself on the lustre thrown around it in its virgin purity, by this superior genius." — " No one can peruse this piece without being sensible of an elevation of soul which, for a time, lifts it above the allurements of sensuality, and sanctifies all its emotions." P. 12^1. Letter xvii. p. 233. On Cowley, yon say " The set of poems connected by the title of " The Mistress," though termed u love verses," have as little real love in them as if they were written on a system of logic. Tiiey are, in fact, exercises of wit upon certain given topics, which might have been composed by an academic or monk in a cloyster, who had never known the fair sex but from books. They are not proper to be presented to a young lady in the mass". Letter xviii. p. 258. You say " The poems this poem, says that he has " too far palliated the immorality of a most seductive poem". x 2 234 LETTER V. of Lord Lyttelton may be recommended io you, as certain to afford some pleasure, and free from every thing that can offend." — u He ap- pears to have felt the tender passion with equal ardour and purity, and to have fulfilled every duty both of a lover and a husband." — u I must, however, enter a protest against the fol- lowing maxim : One only care your gentle breasts should move, Th' important business of your life is love. Unless love be here used in the extended sense of all the charities of life, all that is endearing and attaching in human society, I should say that he degrades the female character by his limi- tation." P. 260. In concluding these quotations, I must not neglect to recall your attention to your praise of Shenstone's Pastoral Ballad in four Parts, where you say that it K has given much pleasure to all who were capable of entering into the delicacies of the soft passion in its purest form." (Essay pn Song-writing. P. xxviii. and p. 5. of this Volume.) To proceed, then, Sir, to the consideration of the Songs themselves. The first (p. 70.) is Ambrose Phillips' trans- lation from Sappho, " Blest as th' immortal Gods is he," to which I object, both as it is ON AMATORY SONGS. 235 heathen y and as it compares the happiness of a mere mortal lover to that of immortals. And the conclusion introduces death with levity, as the effect of love. (See before 53.) I shall not make any farther objection against the Song, but I certainly should not have thought it, merely for the sake of a smooth versification, deserving a place in a Collection. Much the same may be said of the next, (p. 71.) , " Thy fatal shafts unerring move, I bow before thy altar, Love j" The bowing before the altar of love is idolatry. Cowper, in his Poem on Charity, acknow- ledges how wrong it is to worship or give divine praise to any object below the Deity himself: Oh, could I worship aught beneath the skies That earth hath seen, or fancy can devise, Thine altar, sacred liberty, should stand, Built, by no mercenary vulgar hand, With fragrant turf, and flow'rsas wild and fair As ever dress'd a bank, or scented summer air ! Duly, as ever on the mountain's height The peep of morning shed a dawning light, Again, when ev'ning in her sober vest Drew the gray curtain of the fading west, My soul should yield thee willing thanks and praise For the chief blessings of my fairest days : But that were sacrilege — praise is not thine, But his who gave thee, and preserves thee mine. L. 254. Yet even in this passage, the writer appears to 236 LETTER V. me to go too far. He seems to acknowledge the willingness of his soul to render thanks and praise to Liberty, but for the prohibition; and the describing the altar and mode of worship, both in these and the following lines, with so much minuteness, is dwelling upon the subject, and that with so much delight, as looks like a proneness to it, which I should be sorry to encourage in my own mind. I find another Poet going, as I conceive, a step beyond Cowper : Build me a shrine, and I could kneel To Rural Gods, or prostrate fall ; Did I not see, did I not feel, That one Great Spirit governs all. O heav'n permit that I may lie Where o'er my corse green branches wave; And those who from life's tumult fly With kindred feelings press my grave. Wild Flowers by Robert Bloomfield, p. 91. In the last verse of this song, Condemu'd to nurse eternal care, And ever drop the silent tear, seems to savour of fatalism. In " Ah! the shepherd's mournful fate!" (p. 72.) the Lover's mistress has a form so heavenly fair, and he determines to pursue her with hope till death, and Then, when my tedious hours are past, Be this last blessing given, ON AMATORY SONGS. 237 Lovt at thy feet to breathe my last, And die in sight of heaven. The calling bis mistress heaven I consider as profane. . in " Go, tell Amynta", (p. 74.) we have "the Gods ordain'd" ! In u Yes, fairest proof of beauty's power," (p. 75.) the lady is called " dear idol", and the lover says, That nothing may disturb thy life, Content I hasten to the dead. In the song which begins with " On every Jiill, in every grove," (p. 76.) the lady, who cannot find Damon, says " All nature does my loss deplore." The Lover, in " Why, Delia, ever while I gaze", (p. 78.) says, When drooping on the bed of pain, I look'd on ev'ry hope as vain; When pitying friends stood weeping by, And death's pale shade seem'd hovering nigh, No terror could my flame remove, Or steal a thought from her I love. This does not appear to me to be a proper picture of a death-bed, where the dying man has certainly a more natural and serious occu- pation for the chief of his thoughts, though the love of one whom he had hoped to make the 238 LETTER Y. chaste partner of his life may be allowed a share in them. In " While from my looks, fair nymph, you guess", (p. 79.) the nymph is styled a pro- phetess. We have next (p> 80.) the celebrated Song by Lord Lyttelton, " The heavy hours are almost past That part my love and me"* The first four verses of this are certainly very beautiful. In the sixth Venus is introduced as an agent in controuling human aifairs, and a prayer is made to her : All I of Venus ask is this, No more to let us join : But grant me here the flatt'ring bliss, To die and think you mine. The pious author of the " Observations on the Conversion and Apostleship of St. Paul" appears somewhat inconsistent with himself, when he places a heathen deity in this conspi- cuous light, and makes the subject of his Song supplicate her as if she had " the power that belongeth unto God". (Psalm lxii. 11.) The next Song (p. 81.) is by Prior, If wine and music have the power To ease the sickness of the soul, - Let Phoebus every string explore, And Bacchus fill the sprightly bowl. That music was given us to cheer and delight, ON AMATORY SONGS. 239 as well as to assist us in praising our Great Creator, is very true : but we are not indebted to Phoebus for it. And that wine was given to w make glad the heart of man", (Psalm civ. 15.) I am also ready to acknowledge ; but, neither, are we indebted to Bacchus for that.-— The Poet concludes with a prayer to Venus : Kind goddess, to no other powers Let us to-morrow's blessings own* The darling Loves shall guide the hours, And all the day be thine alone. Surely, Sir, he who considers the One true God, as " the giver of all good" and prays to him for his " daily bread", that is, as we ex- plain it in the Church Catechism, u all things that be needful both for our souls and bodies", could never write or consider this with com- placency. And, though the writing, the pub- lishing, and the praising of such compositions, cannot literally constitute a " priest of Bacchus" (see Essay, p. xxx and xlviii. and p. 189. of this Volume.) or of Venus, yet they form (in effect) a pretty strong resemblance to the administering at the altars of those imaginary and disgraceful divinities. In, " When Delia on the plain appears", by Lord Lyttelton, (p. 84.) he says, v. 3. If she some other swain commend, Tho' I was once his fondest friend, His instant enemy I proves — 210 LETTER V. The holding some other swain as his enemy, because she commends him, I conceive to be un- christian. The same objection I should make to the expression, " I hate the maid that gives me pain", in the song beginning, " Ah ! why must words my flame reveal?" (p. 85.) The description in this song is beautiful, but I see no useful lesson to be learnt from it. I feel reluctance at being obliged to find any fault with the next, (p. 87.) " Come here, fond youth, whoe'er thou be" ! But there appears to me to be a strain of extravagance run through it quite inconsistent with the passages I have quoted in a former part of this letter, and espe- cially that from Mrs. Barbauld's Thoughts on the Devotional Taste, p. 230. The poet says that to love is u To live upon a smile for years, To lie whole ages at a beauty's feet", — " to kneel," to adore — to hope " Tho' heaven and earth thy passion crost". In verse 5 ground- less jealousy is made necessary to prove love. In the last verse of " You tell me that you truly love," (p. 89.) the poet says, And tell me, at her loss or hate, Would death your only refuge prove ? Ah ! if in aught you hesitate, Coward ! you dare not say you love. This is making too light of death, and too much of love ; or, if the words point to a death pur- ON AMATOftY SONGS. 241 posely inflicted by suicide, they are more highly reprehensible. In " Hard is the fate of him who loves'*, (p. 90.) by Thomson, there is an address to the u gentle spirits of the vale" to u waft a gale", and to u tell her" ; the soul of the beloved object is called spotless ; and the lover says of h is love to his mistress, that " Not her own guardian angel eyes" — " his care" — " with chaster ten- derness" : this is surely saying too much. The Song beginning " The tears I shed must ever fall", (p. 92.) I inserted in the second volume of my Collection: but it is, perhaps, the picture of a mind giving way too much to despair. The Song beginning i( If ever thou didst joy to bind", (p. 94.) is a prayer to Cupid, the Son of Venus. There is mention made, likewise, of " the leaves of Fate", and the lover says " I'll absolve the fates". But his last request to Cupid is rather singular, he prays that if his " aid be vain", lie will " grant" that he may " love on, when every gleam of hope is gone", and that he will " never grant a cure." There is a passage, Sir, in your Letters on Poetry (L. vi. p. 67.) to the sentiments of which I so fully agree, and which appears to me to cast so just a censure on Songs like the present, and 242 LETTER V. many others in your Selection, that I cannot forbear quoting it on this occasion. Speaking of Swift and his Poems to Stella, you say, " His exposure of her defects, too, may seem much too free for a lover, or even a husband ; and it is easy to conceive that Stella's temper was fully tried in the connection. Yet a woman might be proud of the serious approbation of such a man, which he expresses in language evidently coming from the heart. They are, indeed, Without one word of Cupid's darts, Of killing eyes and bleeding hearts ; but they contain topics of praise which outlive the short season of youth and beauty. How much superior to frivolous gallantry is the applause testified in lines like these ! Say, Stella, feel you no content Reflecting on a life well 6pent ? Your skilful hand employ'd to save Despairing wretches from the grave, And then supporting with your store Those whom you dragg'd from death before ? Your generous boldness to defend An innocent and absent friend ; That courage which can make you just To merit humbled in the dust ; The detestation you express For vice in all its glittering dress ; That patience under tort'ring pain Where stubborn stoics would complain ?"* * These lines would make a verj beautiful Glee. ON AMATORY SONGS. 243 In (he Song M As near a weeping spring reclined," (p. 95.) Araminta is represented as mourning for " a false ungrateful youth", when " An aged shepherd", — " in pity's kindest tone", by way of giving her salutary advice, says, In beauty's empire is no mean, And woman, either slave or queen, Is quickly scorn'd when not adored. and afterwards adds, For hearts o'ercome with love and grief All nature yields but one relief £ Die, hapless Araminta, die." On dying for love I have spoken so often before as to render any farther comment in this place unnecessary. In the Song, " Sweet maid, I hear thy fre- quent sigh," (p. 97.) the burden of which is " I sigh for him who lives no more", it would have been better for the supposed writer of it to have followed the example of David on the death of his child ; although it created a sur- prise in his servants, who said to him : " What thine: is this that thou hast done ? thou didst fast and weep for the child while it was alive ; but when the child was dead, thou didst rise and eat bread. And he said, While the child was yet alive, I fasted and wept : for I said, Who 244 LETTER V. can tell whether God will be gracious to me, that the child may live ? Bat now he is dead, wherefore should I fast ? can I bring him back again? 1 shall go to him, but he shall not return to me". (2 Samuel xii. 21 — 23.) In the next Song, " Dried be that tear, my gentlest love," (p. 98.) mention is made of Fate in the first verse, and the lover in the con- clusion says to his mistress, " Nor let us lose our heaven here !" an expression, which, thus introduced, I conceive to be, in the most favour- able interpretation, too worldly a sentiment. The sentiment in the last verse of the next, " Ah ! tell me not that jealous fear" (p. 99.) I consider as going too far. In u Too plain, dear youth, these tell-tale eyes" (p. 100.) the expression u for heaven's sake", in the first verse, is lightly introduced. And the lady's appeal to her lover lest her virtue should prove too weak, though it may be in some measure a lesson to men, does not shew a very " spotless" mind, nor a strong sense of the duty of chastity : Press not for what T must deny, For fear I should obey. Resolve not then to do an ill, Because, perhaps, you may. 'tis a task for me too hard To strive with love and you. ON AMATORY SONGS. 245 The like may be said of the song (p. 102.) " Strephon/when you see me fly". The lady confesses " with ease you may deceive me", and also says Heaven decrees that we should part ; That has ray vows, but you my heart. The Song to Cupid, on Valentine's day, (p. 105.) is another specimen of heathenism. Britons are represented as adoring his power. And the sentiment, Love alone can pleasure give, Only while we love, we live, either requires the " protest," or the " extended sense", which you have given to a similar one by Lord Lyttelton, in your Letters on poetry before quoted. See p. 234. The next is translated from Catullus by Dr. Lan■> In " Oh! Henry, sure by every art (p. 157.) I will not object to any thing but the expression "Oh! come it will," verse 2, line 3, and the word shall y in verse 3, line 1 and 2. " My Henry shall with peace return, And war no more our hearts shall sever", as being pre- sumptuous. " How bright the sun's declining rays", (p. 158.) The poet says, v. 3. She died— and at that very hour Hope broke her wand, and Pleasure fled. Life is a charm has lost its power, TV enchantress of my days is dead. This is not the resignation of a Christian. In the Song " When gentle Celia first I knew," (p. 159.) the lover says " Oft shall I curse my iron chain". I conceive this cursing to be wrong. The principal sentiments of this song encourage a person in yielding to a passion which he blames in himself all the time. It is not uncommon to hear language of the following kind, but which, in my opinion, should be strenuously opposed by the moralist. A person says (either in a case of love, or some other) " I know it is a weakness, 1 know I am to blame ; but I cannot help it, — I feel it impossi- ble to resist." The flatterer answers, " Don't be unhappy about it, — it is an amiable weakness, z 2 258 LETTER V. — we are not all made for every tiling." But the true friend and honest moralist would reply, " I know it is a trying situation, and I feel for your difficulties: but I must protest against the doctrine implied in your words and manner of speaking. You own yourself to blame, yet you say it is impossible to do otherwise. Con- sider what an accusation this is against our Moral Governor. It implies that lie will blame (and therefore punish) you for doing what you cannot avoid, or for omitting what you cannot do. Are you sure that in the bottom of your heart, you are not expecting (indistinctly per- haps) that those who hear you will praise, rather than blame, you ? Such self-deceit may exist." The introduction of fate at the end, (besides its being heathen fate) is, as applied to the Lover, in the spirit of the fault which I have here endeavoured to expose. The Song u If love and reason ne'er agree," (p. 161.) is very good, and a proper antidote to that beginning, " Can love be controul'd by advice", and shall be here inserted as some relief after the many sentiments I have had occasion to censure. OS AMATORY SONGS. 259 LOVE and REASON. If Love and Reason ne'er agree, And Virtue tremble at his power, May Heav'n from Love pronounce me free, And guard me thro' each tender hour ! 2 But, if the pleasures Love bestows Are such as Reason pleas'd allows, Are such as smiling Virtue knows, To Love I'll pay my Virgin vows. 3 And such they are : for loose desires But ill deserve the tender name ; They blast, like lightning's transient fires, But love's a pure and constant flame. 4 Love scorns a sordid selfish bliss, And only for its object lives ; Feels mutual truth endear the kiss, And tastes no joys but those it gives. o Love's more than language can reveal, Or thought can reach— tho' thought is free ; 'Tisonly felt— 'tis what I feel, And hope that Damon feels for me. In the Song, " When first upon your tender cheek", (p. 162.) we have " angel face" and " kneeling crouds adore"; and it is said that " Danger and death attend the sight" of the charms of the subject of it. In your Note on the Song, " He that loves a rosy cheek," (p. 165.) I perfectly acquiesce, and I can only say that it increases my wonder at the general materials of your volume: 260 LETTER V. " Carew, though infected with the bad taste of his age, and in general overrun with artificial thoughts and conceits, lias written some pieces of great sweetness and elegant simplicity ; of which this is a very pleasing example." " The Song <•' Siill to be neat, still to be drest," by Ben Jonson, (p. 166.) is not bad. On your omitting a verse in the song " Why so pale and wan, fond lover?" (p. 167.) I have observed before, in my first letter, p. 26. I only wish that the instances of omission had been more frequent. In the manner of using the expression " young sinner", in the second verse, there is a levity which I consider as ob- jectionable. In the next Songs " Whence comes my love ?" (p. 167.) and "The Graces and the wandering Loves" (p. 169.) the Gupid and Venus with her divine attributes, as well as some lines of the common romantic extravagance, must be referred to a general censure. In " Round Love's elysian bowers", (p. 170.) " Beauty's smile" is called a " cloudless heaven". The Sigh, " Gentle air, thou breath of lovers", (p. 172.) is an elegant composition. In " Love arms himself in Celia's eyes", (p. 173.) Reason is treated in much the same way as in the Songs p. 146. and 254. ON AMATORY SONGS. 261 In the Song " Young I am, and yet un- skilled", (p. 174.) there is a great deal of artful simplicity. The Song, " Ye virgin powers, defend my heart", (p. 177.) is in the second volume of my Collection; but I altered the word powers to fears, and the twelfth line " There place a guard of pride", I altered to " Place Virtue at my side." In " Strephon has fashion, wit and youth," (p. 178.) the lady says of him He nothing wants but love and truth To ruin me with ease. If I understand the expression, Ci ruin me", the sentiment is very profligate. In u When clouds that angel face deform," (p. 179.) the poet says " I curse the sex," which is unchristian. The Song, " Fickle bliss, fantastic treasure," (p. 181.) is both profane and profligate. The beginning of the Song " On Belvidera's bosom lying" (p. 182.) is much too warm, and the latter part is false sentiment. It appears to lie under the objection mentioned p. 256. where reference is made to it. " Boast not, mistaken swain, thy art," (p. 182.) is humourous and not bad. The same may be said of " My love was fickle once and changing", p. 183. 262 LETTER V. " Shall I , wasting in despair," (p. 185.) is given in the second volume of my Collection, with some variations, owing to the copy I used, and some trilling alterations of my own. " I do confess thou'rt smooth and fair," (p. 187.) has some good instruction in it, but the sentiments are rather coarse. The sentiment of the next, u Not, Celia, that I juster am" (p. 188.) is loose. The sentiment the whole sex can but afford The handsome, and the kind. is false and illiberal. " It is not, Celia, in our power", (p. 189.) is bordering on, if not quite, profane. In " Say, Myra, why is gentle love", I question whether this sentiment be just; The heart can ne'er a transport know, That never feels a pain. The song also supposes that even racking pain must attack the amorous breast ; and that this racking is general to the amorous breast and not merely in extraordinary cases. " Awake, awake, my lyre!" (p. 190.) from the Davideis of Cowley, has the merit of versification but nothing of valuable sentiment. In the Song " What shade and what still- ON AMATORY SONGS. 263 ness around!" if the word "admires" were substituted in the last verse for adores, it would be a sweetly playful composition, yet expressive of a love of which a man need not be ashamed. The lady who sings " While Strephon in his pride of youth" (p. 196.) was not tenacious, it appears, of her virtue: the last reflection, how- ever, is not bad. The character given of the female sex in tlie song " Woman, thoughtless, giddy creature," (p. 197.) is of that humiliating kind so justly censured in Pope and Swift in your Letters on Poetry, L. ix. p. 121. And, though it will perhaps be said, that (in the concluding stanza) Bevil comes round, and practically acknow- ledges his error, yet, I think, the light and ludicrous alteration in him is insufficient to set against the great particularity of the preceding aspersions; and forms rather an accusation of his weakness than a defence of the sex. To " A Wretch long tortur'd with disdain," (p. 198.) though I must object as Bacchanalian, and could by no means admit it, yet I can allow that the latter part of it contains a coarse lesson, such as, received with caution, may operate to check the romantic and extravagant turn which, in some men, the passion of love takes. The Song " Cynthia frowns whene'er I woo 2G4 LETTER V. her;" (p. 199.) by Congreve, is profligate. After what you, Sir, have said of this writer, in your Letters on Poetry (L. xviii. p. 252.) I should not have expected to have found this and some other Songs by him in a Collection made by you: " If Dr. Johnson's sentence be just, that Congreve's miscellaneous pieces " show little wit and little virtue," I should be wrong to recommend them at all to your perusal ; and indeed the little that is good in them is scarcely worth the pains of selecting from the bad or indifferent." " Love's but the frailty of the mind", (p. 199.) is full of false sentiment. u Fair Amoret is gone astray," (p. 200.) is not a bad picture of a Coquet. " Give me more love, or more disdain;" (p. 201.) appears to me to contain a false sen- timent in the first verse, Either extreme of love or hate Is sweeter than a calm estate. In the second the allusion to Danae is too warm, and the sentiment, he's possest Of heaven that's but from hell releast. is profane. The instruction in " Dorinda's sparkling wit and eyes", (p. 204.) is not a bad lesson for for- ward females, but is not very elegantly expressed. ON AMATORY SONGS. 265 " I tell thee, Charmion," by Congreve, (p. 207.) is, as usual, profligate : The Poet says " I never would be true", and " women love to change, and so do we." By accident, Sir, my Copy of your Vocal Poetry contains here a cancelled leaf (p. 207 and 208.) from which I find that you have omitted the song, u Damon, if you will believe me," which was given in your former edition, and is retained by Mr. Evans in his re-pub- lication of it. 1 perfectly agree with you that it ought to be suppressed ; but I do not see that it is much, if at all, worse than several which you have retained. The Song, " Why we love, and why we hate," (p. 209.) is bad morality. It en- courages men to shuffle off from themselves any blame which may be in their actions or thoughts, and to cast it upon the shies, that is the Governor of the world, or on Fate, or Random Chance. Zelinda's will is not her own : nor are we to ask a reason for the man's actions, but take all as a riddle.* * I have made some remarks upon this subject before, Letter ii. p. 51, 52. But, since that part was printed off, I have met with a passage in Stanhope On the Epistles and Gospels, (in the Ep. for the Fourth Sunday after Easter: James i. 17 — 21.— a a 266 LETTER V. Respecting the authors of the two following Songs, " Dear Colin, prevent my warm blushes" (p. 210.) and " Good Madam, when ladies are Vol. iii. p. 45.) so much to the purpose, that I shall here sub- join it: ** In order to understand the beginning of it, let it be con- sidered, that the Aa>stle had before directed every one who lacks Wisdom, to ask it of God; and afterwards had set himself to refute the faise Notions some entertained, of Him and his Providence. To the disposal hereof having rightly ascribed .ill Events and Changes; they from thence very erroneously inferred, that he was the Author and Cause, of all the Sin com- mitted by Men. This Argument seems more particularly levelled at the Opinion of the Pharisees; A Sect of all among the Jews in the highest Credit and Veneration. Of these Josephus says, (Antiq. Lib. xviii. Cap. 2.) that they imputed all things to Fate., but adds, that they did not do this in such a manner, as absolutely to destroy Free-will. For reconciling this seeming Inconsistence, we shall do well to take notice, that they laid great stress upon the particular Frame and Constitution of Men, their Humours and Complexions, and the Influences of those Planets and Stars, under which they were. born. Thus they made the Virtues and Vices of Men to depend upon these Causes; and so charged upon God, the Direetor of these Causes, that Good or Evi), which Men could hardly, with good Sense, be said to choose, by those who held them to be by Nature formed for, and from their Birth necessarily determined to the One, or the Other. This Remark will be of some use to m«, in discerning, not only the true Occasion and Force of the Apostle's Reasoning, but also the Propriety of the Terms, in which it is expressed. In opposition to this dangerous Scheme, St. James, writing to Christians converted from Judaism, asserts every Advantage ON AMATORY SONGS. 267 willing," (p. 211.) it seems that there has been some difference between Lady M. W. Montagu and Sir W. Young ; but if the lady was anxious to disown the former, the latter is not a song, I think, for a lady, or any one, to be anxious to avow. The next, " When first I sought fair C ilia's love," (p. 212.) is both profligate and profane. " Corinna cost me many a prayer," (p. 2 IS.) is unprincipled and coarse. u Take, oh take those lips away", (p. 214.) the description is of too sensual a nature. The Song " On a Lady's Girdle." (p. 216.) conducing to our Virtue and Perfections to descend upon us indeed from Heaven. Yet not from that Heaven where the Sun and other Luminous Bodies move, but from Above, (For this peculiar Energy some have attributed to that Word Above.) The}' come down from Him, who dwells in those that (according to a known distinction in use with the Jews) are called the Highest Heavens. Even from Him, who is truly stiled the Father of Lights, as he created and constituted those Lights and their Influences." Should it be said that this doctrine of the influence of the stars is now exploded, and may therefore be admitted in poetry as a harmless play of the fancy, yet I cannot but think that the fre- quent repetition of such expressions has a bad effect upon some minds. And there is a blameahle levity in attributing, though in jest, to stars or such like imaginary causes those high powers of superintendence and government, which we know belong only to one Supreme Being. 2GS LETTER Y. contains insinuations of a very voluptuous and pernicious kind. " Go, lovely Rose!" by .Waller, (p. 216.) is given in the third volume of my Collection, with an additional verse by the late amiable and lamented Henry Kirke White, which gives it greater value. " If truth can fix thy wavering heart," by Garrick, (p. 217.) is not bad ; but there appears to me to be something too light in the last verse in mentioning 6i Heaven and Sylvia" together, wishing them to " grant his suit." The Song, " All my past life is mine no more," by Rochester, (p. 219.) where he says, If I, by miracle, can be This livelong minute true to thee, 'Tis all that heaven allows. is both profane and profligate. To this Song, and the others beginning in p. 129. 199. 201. 223. 240 and 241 by the Wits of Charles the Second's days, I must add the lines upon this subject from Cowper's Table Talk ; where, giving a sketch of the History of Poetry, he mentions the age of Puritanism and the succeeding one of licentiousness : When Cromwell fought for power, and while he reign'd The proud protector of the pow'r he gain'd, Religion harsh, intolerant, austere, Parent of manners like herself severe, OX AMATORY SONGS. £69 Drew a rough copy of the Christian face Without the smile, the sweetness, or the grace; The dark and sullen humour of the time Judg'd ev'ry effort of the muse a crime; Verse, in the finest mould of fancy cast, Was lumber in an age so void of taste : But, when the second Charles assum'd the sway, And arts reviv'd beneath a softer day, Then, like a bow longforc'd into a curve, The mind, releas'd from toocoustrain'd a nerve, Flew to its first position with a spring That made the vaulted roofs of pleasure ring. His court, the dissolute and hateful school Of wantonness, where vice was taught by rule, Swarm'd withascribbling herd, as deep inlaid With brutal lust as ever Circe made. From these a long succession, in the rage Of rank obscenity, debauch'd their age ; Nor ceas'el, till ever anxious to redress Th' abuses of her sacred charge, the press, The muse instructed a well-nurtur'd train, Of abler votaries to cleanse the stain, And claim the palm for purity of song, That lewdness had usurp'd and worn so long. Line 610, &c. " Swain, thy hopeless passion smother," (p. 221.) is far too warmly descriptive. " Love's a dream of mighty treasure", (p. 223.) gives a very false and degrading picture of love. " Chloe's the wonder of her sex," (p. 223.) This vicious song is included in the censure drawn (p. 268.) from Cowper's Table Talk. On the merits of the Song, " Pretty Parrott, a a 2 270 LETTER V. say, when I was away", (p. 221.) I am sorry I cannot agree in opinion with you, Sir. For I think, it less " merits preservation", than oblivion, for the ideas to which it leads. " Why will Delia thus retire," (p. 225.) treats serious things lightly ; and the last stanza but one adds to levity a lesson decidedly im- moral and pernicious : All the morals that they teach us Never cured a sorrow yet : Choose among the pretty fellows One of humour, youth and wit. In u O clear that cruel doubting brow!" (p. 227.) I object to the sentiment — Jove but laughs at lovers' oaths, And lovers' perjuries." the song is light throughout : it casts a discredit on real virtues, and profanely jests upon a serious oath. The Song, " When Orpheus went down to the regions below," (p. 228.) I consider as a libel upon " Connubial love", and one of those songs which tends to set marriage in an unfavour- able point of view ; a view of it which is the cause of much unhappiness in the world. Some may say, the whole Song is a mere joke. To me it appears a very bad one, and bids fair to have upon some minds such effect as I have ON AMATORY SONGS. 27 L described. To this it adds a ludicrous idea of what is most serious, the place of punishment for the wicked : besides the introduction of a heathen deity, as presiding in such place. The same may be said of the next, a Vain are the charms of white and red/' (p. 228.) as far as relates to the eifect upon the married state. The next " Cliloe brisk and gay appears," (p. 229.) with two others soon following, " Celia, hoard thy charms no more," (p. 232.) and " Celia, too late you would repent;" (p. 234.) come ail under the far too frequent, but (I think) just charge of profligacy. " Say, lovely dream, where could'st thou find", (p. 238.) has in the second verse In heav'n itself thou 6ure wert drest With that angel-like disguise. The Songs at pages 240 and 241 are noticed before, see p. 268. In these two Songs, " She loves, and she confesses too" and " 'Tis now, since I sat down before" but especially in the first, Honour is spoken of in very disparaging terms. What is called Honour by many persons is certainly a phantom ) a noisy nothing, a stalking shade (p. 240.) and a principle of pride, (p. 242.) But there is an Honour, likewise, which is " an 272 LETTER r. auxiliary Principle, engaged along with other Powers, in the cause of Virtue.' ' See A Dis- sertation on Duelling ; &c. By Richard Hey, L.L. D. Part vi. Sect. ii. In the first section of this part, the author observes, that " Honour has been distinguished,* (and, as it seems, with good reason,) into a Motive or Principle of action, and an End or Reward." — u A nice sense of Honour is sometimes men- tioned as synonimous to a refined sense of Virtue : and men are represented as performing noble and worthy actions from this sense of Honour, where the eye of the World cannot ob- serve them, and where not even a single Friend can be admitted as a spectator. This is a noble Principle ; but it is to be distinguished from a sense of Virtue, and may be traced up to the Fountain of Opinion or Reputation. A nice sense of Virtue is that by which we make ready and accurate distinctions between what is virtuous and what is vicious : but this is not to be confounded with the Motive which im- pels us to pursue the Virtue or avoid the Vice. This Motive is in one person the Hope of Reward or Fear of Punishment in this life ; in another, it is like the Hope or Fear respecting a future life ; * Adventurer, No. 61. ON AMATORY SONGS. 2-73 in a third it is Benevolence joined to a per- suasion that what he does will contribute to the Good of Mankind ; and, (not to attempt a com- plete enumeration,) in a fourth it is a regard to his Character in the World." — He afterwards says " Attention to such points in particular cases, by frequent repetition, produces an ha- bitual Principle, a Sensibility, which becomes a new Faculty in the mind. And such seems to be the Origin of a sense of Honour. " These two sections are well worth the perusal of every reader ; and the opinions laid down in them make me lament that any thing should be said to the disparagement of Honour as a general Principle. To the list of profligate Songs must, I fear, be consigned " Pursuing beauty, men descry" (p. 243.) The next to it, (p. 244.) I. Come, tell me where the maid is found Whose heart can love without deceit, And I will range the world around) To sigh one moment at her feet. IV. Shew me on earth a thing so rare, I'll own all miracles are true : To make one mind sincere and fair, Oh ! 'tis the utmost Heaven can do! is profane towards Heaven, and unjustly debases huruan nature, or rather the female sex: a 274 LETTER V. debasement which may encourage deceit and falsehood, by representing thcin as so common, and their opposites as so difficult. " Stella and Flavia every hour", (p. 244.) by Mrs. Pilkingtou, is at once beautiful and good. " Chloris, yourself you so excel/' (p. 245.) by Waller, contains a simile about " a spirit with his spell", as if there were such a thing. u In vain, dear Chloe, you suggest", (p. 246.) makes light of a species of incon- stancy, and also is too liable to a voluptuous interpretation, though a good deal involved in obscure expressions. " Should some perverse malignant star (As envious stars will sometimes shine)" — -(p. 247.) supports the exploded doctrine of the influence of the stars, on which see before, p. 51. and 265. You end your Collection, Sir, with " Why will Florella, while I gaze", (p. 249.) and say u This Song, closed by a beautiful and happy simile, may be regarded as a perfect model of the ingenious class." If the song be excellent on this account, it appears to me to be deficient in the more valuable ingredients of just sentiment and pure morality. Towards the end of your Essay on Song- writing (p. xlix.) you say, Sir, " If I were to ON AMATORY SONGS. 275 pronounce in what class of those compositions our English song- writers have displayed the greatest degree of excellence, I should say, in that which contains the tender and ardent expression of the amorous passion ; and parti- cularly in those which describe the symptoms and indications of love — a topic originally derived from Sappho's celebrated ode, but dwelt upon with much additional detail of cir- cumstances in several of the pieces here inserted. I am mistaken if more truth and delicacy of representation can be met with in the amatory poets of any other language, ancient and modern ; and it is pleasing to observe that many of the best specimens are distinguished by an air of sincerity and faithful attachment, equally remote from licentious heat and from frivolous gal- lantry." In these sentiments, Sir, I am sorry that I cannot agree with you ; the object of this work is to prove the contrary, and I think that I have shewn that there is in the Songs in your Volume ! little of the tender and ardent expression of the amorous passion, little truth and delicacy of representation , little of the air of sincerity and faithful attachment, but much of licentious heat and frivolous gallantry. Many of them are of that description of u am'rous ditties" 276 LETTER V. winch Milton mentions as having Ci Infected Sion's daughters". (Par. Lost, B. i. 1. 449. See also B. xi. 1.580—627.) Should I be so fortunate as to convince you of this, and induce you to publish a Collection of a different kind, I should be truly happy at the effect of my labours ; but, if not, I hope my remarks may weigh with your readers, and prove an antidote against the poison which I conceive the present volume to contain. With this hope, Sir, in its fullest extent, I conclude my Letter, and remain, With great respect, Your &c. 277 POSTSCRIPT. September 18, 1810. As the pieces, Sir, in your Class of Amatory Songs are those included in the two classes of " Passionate and Descriptive" and u Witty and Ingenious" in your former work repub- lished by Mr. Evans, I shall now consider those Songs omitted by you, but retained by him. The first of these which occurs is at page 134, " Fly, thoughtless youth, th' enchantress fly", a song much too warm and voluptuous and containing some false sentiment. The same may be said of " On a bank, beside a willow," (p. 138.) Arno's Vale, by the Earl of Dorset, " When here Lucinda first we came," (p. 141.) is a song of sweeter versification, and less excep- tionable in its matter, than most of those which are retained of this class. " Bid me, when forty winters more", (p. 152.) is profligate in a high degree ; and the sentiment that, after those years have elapsed, and " fur- rowed deep my pallid brow" &c. " Then bid me court sobriety", is in direct opposition both to reason and religion. St. Paul's advice to Titus (ch. ii.) is not less applicable to a writer of songs : Bb 278 POSTSCRIPT TO LETTER V. " Speak thou the things which become sound doctrine ; that the aged men be sober, grave, temperate, sound in faith, in charity, in patience : The aged women likewise, that they be in behaviour as becometh holiness, not false accusers, not given to much wine, teachers of good things ; that they may teach the young women to be sober, to love their husbands, to love their children, to be discreet, chaste, keepers at home, good, obedient to their own husbands, that the word of God be not blas- phemed." Nor does the Apostle omit sobriety in young men : u Young Men, likewise, exhort to be sober minded. In all things shewing thy- self a pattern of good works ; in doctrine shewing uncorruptness, gravity, sincerity, sound speech that cannot be condemned". V. 1 — 8. When pernicious doctrines in morality are inculcated or encouraged, whether by Songs or graver publications, surely this is not that sound speech^ in doctrine, which may not justly be condemned. " Tell me not I my time mispend," (p. 153.) is at best very silly, as the last verse will shew : Nor blame him, whoe'er blames my wit, That seeks no higher prize, Than in unenvied shades to sit And sing of Chloris' eyes. " Love and Folly were at play," (p. 20Q.) POSTSCRIPT TO LETTER V. 279 and" An Amorous swain to Junopray'd," (Do.) are not either of them calculated to give just ideas of love. " Tell me no more I am deceiv'd," by Con- greve, (p. 209.) and introduced by Hoadley into The Suspicious Husband, by making Ranger read it, and say " Honest Congreve was a man after my own heart", (A. i. S. I.) is very profligate in its sentiment. Hoadley has made it worse by altering the line, " I always knew (at least believ'd)" to " By Heaven I all along believ'd". " Mistaken fair, lay Sherlock by," by Lord Chesterfield, (p. 210.) is peculiarly profligate and profane, which indeed can create no sur- prise, when we recollect who is its author. The following Parody, or Answer, may be offered as an antidote to it : l Mistaken Youth, lay Stanhope by | His Wit is all deceiving; 'Twill neither teach you how to die Nor Happiness in living. 2 Happy to die ! no one can know Till Virtue is his Master; Therefore our study should be now To hold this Gem the faster. 3 Would You, my Charles, be truly blest, Make this your Inclination, Let Wisdom rule your candid Breast And curb each guilty passion. 280 POSTSCRIPT TO LETTER T. 4 To each pure joy free licence give; Each baser wish deny : Thus, jfree and happy , shall you live t Tims happy shall you die, " Come, little infant, love me now," (p. 225.) is both voluptuous and coarse. " As Ariana young and fair" (p. 235.) is extravagant and profane ; and " When first I saw Lucinda's face," (p. 236.) is still more so. " At Cynthia's feet I sigh'd, I pray'd," (p. 23S.) is most indecently voluptuous and profligate. To these succeed (p. 245, &c.) four original pieces, " One parting kiss, my Ethelinde!" " Bow the head, thou lily fair," — " Come, gentle god of soft repose," and u Aspasia rolls her sparkling eyes," but as there is little in them of an objectionable nature which is not already censured by some of my former remarks, I shall only observe upon the third of them, TO SLEEP. Come, gentle god of soft repose, Come sooth this tortur'd breast; Shed kind oblivion o'er my woes, And lull my cares to rest. Come, gentle God, without thy aid I sink in dark despair, &c. &c. Let me forget myself, my grief, And every care — but love. POSTCRIPT TO LETTER V. 281 Such addresses, I conceive, divert the mind from the only true refuge in all cases of distress and grief, " the God of patience and con- solation", (Romans xv. 5.) and it appears that love, in its limited sense, is the only wish of the writer. Bb2 282 AMATORY SONGS. I. MAN and WOMAN. FROM THE ORATORIO OF CREATION. In native worth and honour clad, With beauty, courage, strength adorn'd, To heaven erect and tall he stands, A man, The Lord of earth, and nature's king. The large and arched front sublime Of wisdom deep declares the seat ; And in his eyes with brightness shines The Soul, The breath and image of his God. -&' With fondness leans upon his breast The partner for him form'd, A woman, fair and graceful spouse. Her soft and smiling virgin-looks, Of flow'ry spring the mirror, Bespeak him love, and joy, and bliss. AMATORY SONGS, 283 II. WOMAN. 1 Who, in this world of care and strife, Doth kindly cheer and sweeten life, As friend, companion, and as wife? 'Tis Woman. Who, by a thousand tender wiles, By fond endearments, and by smiles, Our bosom of its grief beguiles? 'Tis Woman. 3 From whom do all our pleasures flow; Who draws the scorpion sting of woe, And makes the heart with transport glow ? 'Tis Woman. 4 Who, of a nature more refin'd, Doth soften man's rude stubborn mind, And make him gentle, mild, and kind ? 'Tis Woman. 5 Who binds us all to one another, By silken bands of father, mother, Of husband, children, sister, brother? 'Tis Woman. 284 AMATORY SONGS. 6 When hours of absence past we meet, Say, who enraptur'd runs to greet Our glad return with kisses sweet ? 'Tis Woman. 7 Who, by a word, a touch, a sigh, The simple glancing of her eye, Can fill the soul with ecstacy ? 'Tis Woman. 8 Bid me with mandate stern prepare To cope with death, with grief, or care, All, all, undaunted I would bear For Woman. 9 G uide me to mountains white with snow, Where chilling winds forever blow, E'en there contented I would go With Woman. 10 Friend and companion is a Wife, Who, in a world of care and strife, Doth kindly cheer and sweeten life : Blest Woman. AMATORY SONGS. 285 III. LOVE. A GLEE. From The Lay of the Last Minstrel, BY WALTER SCOTT, ESQ. COMPOSED BY ATTWOOD. Lv peace, Love tunes the Shepherd's reed ; In war he mounts the warrior's steed ; In halls, in gay attire is seen ; In hamlets, dances on the green. Love rules the court, the camp, the grove, And men below, and saints above ; For love is heaven, and heaven is love. IV. TRUE LOVE, FROM THE SAME. True Love's the gift which God has given To man alone beneath the heaven. It is not Fantasy's hot fire, Whose wishes, soon as granted, fly ; It liveth not in fierce desire, AVith dead desire it doth not die; It is the secret sympathy, The silver link, the silken tie, Which heart to heart, and mind to mind, In body and in soul can bind. 286 AMATORY SONGS. V. THE BREATH OF LOVE. From the Oratorio of Joseph and his Brethren. BY JAMES MILLER. What's sweeter than the new-blown rose 3 Or breezes from the new r -mown close? What's sweeter than an April morn, Or May-day's silver fragrant thorn ? What than Arabia's spicy grove ? — O sweeter far the breath of Love. VI. LOVE. From The Play of The Mysterious Bride, BY LUMLEY ST. GEORGE SKEFFINGTON, ESQ. 1 Beware the fond delusion, Which simple hearts revere, Nor heed the bold intrusion Of passion insincere ; For hearts may seem expiring With sighs of deep despair; For eyes may gaze admiring, And yet no love be there. AMATORY SONGS. 287 2 But when the mind resigning Distinction's flattering state, Prefers, without repining, Humility of fate ; When wealth's unbounded treasure Creates no transient care; When poverty is pleasure, Be certain love is there, VII. THE RICHES OF LOVE. A Glee, for four voices: by R. Cooke. WRITTEN BY MISS WILLIAMS. No riches from his scanty store, My lover could impart ; He gave a boon I valued more, He gave me all his heart. But now, for me, in search of gain, From shore to shore he flies ; Why wander riches to obtain, When love is all I prize ! 2S8 AMATORY SONGS. VIII. HEARTS. FROM THE OPERA OF LOVE's TRIALS. BY MR. PRATT. 1 No claim upon an honest heart, Gold or grandeur can impart, And the breast that's true to love. Faithful vows alone can move. What is empire, what a throne ? Hearts were never brib'd, but won; Riches are too poor to buy One gentle smile, one tender sigh. IX. CONNUBIAL LOYE. 1 Thy sacred sweets, Connubial-Love, Flow from affections much refin'd; Affections (source of bliss above!) Mutual, constant, warm and kind. AMATORY SONGS. O Hail, holy flame ! hail, sacred tie ! That binds two gentle souls in one ! On equal wings their troubles fly, In equal streams their pleasures run : 3 These pleasures from their duties flow ; Hence joys in quick succession come ; Each day they more enamour'd grow ; And have no wish, — beyond their home. 4 Happy the Youth who finds a Bride, In sprightly days of Health and Ease : Whose temper to his own allied, No knowledge seeks — but how to please. 5 A thousand sweets their days attend ! A thousand comforts rise around ! Here Husband, Parent, Wife and Friend, In every dearest sense, are found. X. CONNUBIAL LOVE. 1 The love that looks to present joy. And riots in Seduction's bow'r, c c 290 AMATORY SONGS. Came arm'd with Satan to destroy, And Adam caught in evil hour.* O let the lay thy youthful bosom move To dread the horrors of illicit love ! 2 But Love that looks to future bliss, Nor blushes to confess his name, Taught Adam first the sacred kiss ; And bearing peace from heaven he came. O let the lay thy youthful bosom move To woo the blessings of connubial love ! H. K. B. 1800. XI. THE GOOD HUSBAND. BY CHARLOTTE RICHARDSON. 1 Ye Fair, who would a partner chuse, Yet tremble lest your choice be wrong, For you a Sister's lowly muse Attempts to pour th' instructive song. * See Milton. Parad. Lost. B. ix. 1. 494. &c. AMATORY SONGS. 291 2 She bids you shun with cautious care The sons of vice, a numerous train, Of all their specious arts beware, Nor listen to their flatt'ring strain. 3 But he who walks in wisdom's ways, Who makes the law of God his guide, Whose actions speak his Maker's praise, In him you safely may confide. 4 His love through every scene will last, Nor time his constancy impair, E'en when the charms of youth are past, Still in his eyes you will be fair. 5 Like Joshua, he will serve the Lord, And teach his household so to do, His rule of life the written word, Its precepts daily kept in view. 6 If to your mutual earnest prayer Some pledges of your love be given, With all a Parent's watchful care He'll train them up as heirs of heaven. 392 AMATORY SONGS. 7 Should sickness bend jour feeble frame, The glow of health forsake your cheek. His tenderness will be the same, His voice the words of comfort speak. 8 'Twill be his task to lead your mind From second causes up to God, To teach you how to be resign'd, And meekly bow beneath his rod. •9 He'll tell you of a Saviour's love Salvation's wond'rous plan explain, And point you to the realms above Where everlasting pleasures reign. 10 Blest is her lot who thus prefers In Christian bands to be allied, The sure the ecstatic hope is her's To meet where death can ne'er divide. AMATORY SONGS. 293 XII. THE GOOD WIFE. FROM PROVERBS XXXI. BY THE SAME. 1 Who shall a virtuous female gain ? Her worth what language can explain ? Her husband's heart in her confides, Discretion all her conduct guides. 2 She knows each various work to chuse, Her hands no needful task refuse, But rises with the morning light, And orders all her house aright* 3 She hastes the household goods to buy, The garden blooms beneath her eye, While temperance preserves her health, And frugal care augments her wealth. 4 Yet to the needy of her land She stretches forth the liberal hand ; Her maids stern winter's storms behold Well cloathM and guarded from the cold, c c2 2$4 AMATORY SONGS. Nor doth she lack the rich attire Her rank and fortune may require : Her husband by her worth is known When with the rulers he sits down. 6 In time to come she shall rejoice, The law of kindness prompts her voice, Her industry is fam'd afar, Honour and strength her cloathing are. 7 Her children rise and call her blest, While joy pervades her husband's breast : " Though many daughters have done well, Yet thou, my Fair, do'st all excel I" 8 Favour 's deceitful, beauty vain, But love of God shall praise obtain ; Her works shall speak her truly great, While distant lands her praise relate. AMATORY SONGS. 295 XIII. BEAUTY. BY CHARLOTTE RICHARDSON. Beaut y is vain, but a womaa that feareth the Lord she shall be praised. Prov. xxxi. 30. 1 Beauty is but a fading flower, The short-liv'd triumph of an hour Is all that it can boast ; Unless good sense and virtue bind More firm the fetters of the mind Its power is quickly lost. 2 The sparkling eye, the dimpled smile May some unwary heart beguile, Yet will not long secure : But when esteem and love unite, The flame of pure affection bright Forever shall endure. 3 The finest form, the loveliest face Adorn'd with ev'ry youthful grace Will quickly cease to charm, Since short is beauty's reign, for soon Disease can spoil the finest bloom And all its power disarm. 296 AMATORY SONGS. 4 Then boast not of your matchless form, But rather seek jour mind to adorn With virtue's rich array • Let nobler themes your care employ, Seek for that pure substantial joy Which never can decay. 5 How blest is she who fears the Lord, Guiding her conduct by his word Each vain desire repels ; Her mind with heavenly wisdom fraught, No envious, no repining thought Within her bosom dwells. 6 She, she alone is truly wise Aspiring to a higher prize Than earth could ever give : She shall be prais'd while time shall last, And, when this fleeting life is past, In endless glory live. AMATOilY SONGS. 297 XI\ r . MARY'S EVENING SIGH. BY ROBERT BLOOMFIELD. 1 How bright with pearl the western sky I How glorious far and wide, Yon lines of golden clouds that lie So peaceful side by side ! Their deep'ning tints, the arch of light, All eyes with rapture see ; E'en while I sigh I bless the sight That lures my love from me. 2 Green hill, that shad'st the valley here, Thou bear'st upon thy brow The only wealth to Mary dear, And all she'll ever know. There, in the crimson light I see, Above thy summit rise, My Edward's form, he looks to me A statue in the skies. 3 Descend, my love, the hour is come, Why linger on the hill ? The sun hath left my quiet home, But thou can'st see him still ; I 298 AMATORY SONGS. Yet why a lonely wanderer stray, Alone the joy pursue ? The glories of the closing day Can charm thy Mary too. Dear Edward, when we stroll'd along- Beneath the waving corn, And both confess'd the power of song, And bless'd the dewy morn, Your eye o'erflow'd, "How sweet," you cried, (My presence then could move) < i( How sweet, with Mary by my side To gaze and talk of love !" 5 Thou art not false ! that cannot be ; Yet I my rivals deem Each woodland charm, the moss, the tree, The silence, and the stream ; Whate'er my love, detains thee now, I'll yet forgive thy stay; But with to-morrow's dawn come thou, We'll brush the dews away. AMATORY SONGS. 299 THE DAMSEL'S LAMENTATION. 1 1 once was a maiden, ah, blest was the day ! when Young Richard first courted, and told me his love, I listen'd too fearless to what he'd to say then, My heart was too open, too easy to move. He promis'd me marriage, — but why did I hear him ? Why yield to his suit ere the church made us one ? Ah, now he has left me; no charms can endear him. He's left me to sorrow, and I am undone. 3 Yet, had he been true to the promise he made me, When first he endeavour'd my fond heart to win, O yet must I say, that he still had betray'd me, Our love, all unsanction'd, commenc'd but in sin. 300 AMATORY SONGS. 4 Ye maidens, attend to the truth I'm declaring, — O think nought but marriage can sanction your love ; Ne'er listen to vows, — oft false is love's swear- ing,— Be marriage the test the true lover to prove. 5 When two spotless hearts are by marriage united, Then fair is the prospect, the bond of true love, Then love will increase, nor the wife e'er be slighted, And Heav'n will the union with blessings approve. XVI. MARY THE MAID OF BUTTERMERE. Tune : Mien Brooke of JYindermei 1 Tho' beauty shone in Mary's face, In person too a polish'd grace, Yet I admir'd in Mary most, The village maid's superior boast, Since truth and modesty appear In Mary, maid of Buttermere. AMATORY SONGS. SOI 2 Tho' servant she at village inn, Full many strove her love to win, Tho' flattery oft would speak her praise, And strive th' unhallow'd flame to raise, Yet such love tales she would not hear The beauteous maid of Buttermere. 3 At length an artful spoiler came, And under a fictitious name, And under honour's specious mask, Her hand in marriage bonds did ask ; She, too incautious, lent an ear, The beauteous maid of Buttermere. 4 Of family and fortune both The spoiler spake, — that he was loth To tell his kindred of his love, Lest they his choice should disapprove ; Imprudently she paus'd to hear, The beauteous maid of Buttermere. 5 'Twas told, the marriage rite scarce o'er, The name of wife another bore, The guileless fair one thus betray 'd, — No longer wife, no longer maid, — Abandon'd, see, to sorrow's tear The beauteous maid of Buttermere. d d 302 AMATORY SONGS. 6 Be warn'd by this, each lowly maid, Nor by ambition be betray'd. That lover's suit be still denied, Who will not own you for his bride. Sad is the lesson taught you here, — Ah ! hapless maid of Buttermere. XVII. MY MISTRESS, BY COWPER. 1 Ye minor beauties of the night, That poorly satisfy our eyes More by your numbers than your light, You common people of the skies, What are you when the sun shall rise ? 2 Ye curious chaunters of the wood, That warble forth dame Nature's lays, Thinking your passions understood By your weak accents, what's your praise When Philomel her voice shall raise ? AMATORY SONGS. 303 3 Ye violets that first appear, By your pure purple mantles known. Like the proud virgins of the year, As if the spring was all your own, What are you when the Rose is blown ? 4 So, when my mistress does appear, In sweetness of her looks and mind, By Virtue first, then choice approv'd, Tell me if she was not design'd T' eclipse the glory of her kind? xvm. THE HAPPY PAIR. FROM THE GOSSIP'S STOIIY. BY MRS. WEST. 1 Go, daughters of fashion, for pleasure repine, The joys ye pursue are not equal to mine ; The humours of thousands for your's must agree, Mine center in Henry, and Henry's in me, 304 AMATORY SONGS. 2 The rose thrice hath bloom'd on the chaplei of May, Since I bow'd at the altar, and vow'd to obey ; Talk not of restrictions, the band I approve, 'Tis sanctioned by reason, religion, and love. 3 Gay carols the lark as we rise in the morn, And at evening the blackbird chaunts sweet on the thorn, We join in the concert, why should we refraini Our hearts are as grateful, as lively our strain. 4 We bask in the sunshine which summer supplies, And count, fertile autumn! thy exquisite dies y No terror in ice-mantled winter we see, A book and a song still can conquer ennui. 5 Domestic, yet cheerful, delighted to blend, By prudent attentions, the lover and friend, In wedlock's full cup we some bitters expect, And allow for the frailties we try to correct. 6 Tho' shunning the many, wild Comus's crew, For social enjoyment we chuse but a few; Those few round our table shall frequently meet, Sincere be the welcome, and simple the treat. AMATORY SONGS. 305 7 Our boy on my bosom I cherish with pride, He calls to those duties we gladly divide ; May he live when our limit of being is done, And our names and our virtues survive in our son. XIX. THE WIFE'S DITTY. 1 Johnny's left me for a while, O'er the mountains he's away, May he wander free from toil, May his hours be blythe and gay. Let not rains or rushing rills E'er his winding way oppose, Nor piercing winds, nor craggy hills, Nor hardening frosts, nor fleeting snows. 2 When the dusk of eve appears, May no will-a-wisp mislead ; May the roof of mirth be near, Sweet refreshing sleep succeed. While from day to day he roves, Forc'd so far, so long to roam, He'll think on her he fondly loves, For Johnny's heart is still at home. Dd2 306 AMATORY SONGS. 3 Her thoughts are with him where he strays, Go where he will, she'll swift pursue, O'er dreary heaths, or peopled ways, She'll have his image still in view. — And when her Johnny comes to rest, And counts his tedious travels o'er, She'll clasp him to her faithful breast, He's come to leave his love no more. XX. THE WIFE'S INVOCATION. BY GEORGE WITHER. 1 No Joy or Grief can in this Life, More sweet or bitter be, Than, when the Husband and the Wife, Shall well, or ill, agree. Where they shall rightly sympathise, The dearest Friendship grows ; But, if, betwixt them, strife arise, They prove the greatest foes. 3 Lord ! rectify our hearts, therefore. And sanctify them so, AMATORY SONGS. 307 That to eacli other, more and more, Endeared we may grow : 4 Until our frail imperfect love By steps upraised be, From things below to things above, And perfected in Thee. 5 Betwixt us let no jarrs be found, Or breach of faith be fear'd ; Within our walks, let not the sound Of bitter words be heard. 6 Preserve me from those peevish tricks, Which merit Scorn or Hate, From all those Humours of my Sex, Which Wise-men's love abate. 7 Let this in mind be always had, My Husband to prefer. The Woman for the Man was made, And not the Man for Her, 8 And that my heart may not despise His pleasure to fulfil; Let his commands be just and wise. Discreet, and Loving, still. >08 AMATORY SONGS. XXI. CONJILGAL DUTY. FROM LOVE'S TRIALS. 1 Could I a thousand sceptres sway, A subject still to 'thy controul, Thy gentle laws 1 would obey, And thou be monarch of my soul. 2 Or were I plac'd in highest state, High as Ambition pants to be, The proud distinction I should hate, Dear Henry, if not shar'd with thee XXII. THE PARENT. From the Dramatic Pastoral of Arcadia. BY ROBERT LLOYD. 1 With joy the Parent loves to trace Resemblance in his children's face : And, as he forms their docile youth To walk the steady paths of truth, Observes them shooting into men, And lives in them life o'er again. AMATORY SONGS. 309 2 While active sons, with eager flame, Catch virtue at their father's name ; When fall of glory, full of age, The Parent quits this busy stage, What in the sons we most admire Calls to new life the honour 'd sire. XXIII. FEW HAPPY MATCHES, BY DR. WATTS. 1 ■Say, mighty Love, and aid my song, To whom thy sweetest joys belong, And who the happy pairs, Whose yielding hearts and joining hands, Find blessings twisted with their bands To soften all their cares ? 2 Not the wild herds of nymphs and swains, That thoughtless fly into the chains, As custom leads the way : If there be bliss without design, Ivies and oaks may grow and twine, And be as blest as they. 310 AMATORY SONGS. 3 Not sordid souls of earthly mould, Who, drawn by kindred charms of gold, To dull embraces move ! So two rich mountains of Peru May rush to wealthy marriage too, And make a world of love. 4 Not minds of melancholy strain, Still silent, or that still complain, Can the dear bondage bless : As well may heav'nly concerts spring From two old lutes with ne'er a string, Or none beside the bass. 5 Nor can the soft endearments hold Two jarring souls of angry mould, The rugged and the keen : Sampson's young foxes might as well In bands of cheerful wedlock dwell, With firebrands ty'd between. 6 Nor let the cruel fetters bind A gentle to a savage mind, For love abhors the sight : Loose the fierce tiger from the deer, * For native rage and native fear Rise and forbid delight. AMATORY SONGS. 311 7 Two kindest souls alone must meet ; 'Tis friendship makes the bondage sweet, And feeds their mutual loves : [Religion must light up the flame, Their faith and practice be the same, Best bliss on earth it proves.] XXIV. JOHN AND SUSAN. BY THE REV. C. BUCKLE. JOHN. Come hither sweet Susan, and by me sit down, 1 Let's consult how soon wedlock shall make thee my own, For you are my true love, my joy and my dear, [ prithee, Love, let us be married this year. SUSAN. [ pray honest John, do not think of such things, For marriage both trouble and care with it brings, 312 AMATORY SONG?. Besides times are hard and provisions arc dear, Which makes me so loth to be married this year. JOHN. If times they be hard, and our money be scant, I'll do my endeavour, that you shall not want, I'll follow my oxen with diligent care, I prithee, Love, let us be married this year. SUSAN. Should our numbers increase, 'twill increase our expense, I fear a sad lack of pounds, shillings and pence, Here's this thing and that thing will come very dear, Which makes me so loth, to be married this year. JOHN. Farewell, and Farewell, since it e'en must be so I am fully resoiv'd to another to go, For good luck or bad luck I never will fear. For I am resoiv'd to be married this year. SUSAN. Stay Johnny, my Johnny, O ! why in such haste, I will be your true Love, e'en as long as life last, The bells they shall ring and the music play clear, For joy, John and Susan are married this year. AMATOIIY SONGS. 313 XXV. JOHN AND SUSAN. PART II, JOHN. Come hither, sweet Susan, and sit by my side,. Ten years have roll'd o'er us since thou wert a bride, Is your heart still unchang'd, your affection to me As great as when first I was married to thee I SUSAN. In truth, honest John, my whole heart is thine own, I love thee most dearly, and thee love alone, And I hope, as a partner, you ever in me, Have found one both loving and faithful to thee. JOHN. yes — but when crosses and troubles perplex, 1 fear that sometimes my sweet Susan I vex, Yet look in my bosom, and there you will see, That all my fond wishes still center in thee. e e 314 AMATORY SONGS, SUSAN. Indeed, my dear husband, you never will find, That man or that woman can always be kind, No sky without clouds can you long hope to see> Such trifles are little regarded by me. JOHN. When with rapture I gaze on our dear little Sue, I rejoice to possess such a pattern of you, She lisps and she prattles and climbs up my knee, I kiss her, and then I bless Heaven and thee. SUSAN. When I see our dear Johnny at foot ball and So sturdy, so blithsome, so manly and gay, His father's dear form in his image I see, O ! may he prove honest, and faithful like thee, BOTH. In affection united, then long may we prove, All the joys, that arise from connubial love, And each married couple, Heav'n grant they may be, Like John and like Susan, as happy as we. AMATORY SONGS. 315 XXVI. WIFE CHILDREN AND FRIENDS. BY THE HON. WILLIAM ROBERT SPENCER. 1* If the stock of our bliss is in stranger hands vested, The fund, ill secur'd, oft in bankruptcy ends, But the heart issues bills that are never protested When drawn on the firm of Wife, Children and Friends. Tho' valour still glows in his life's waning embers, The death-wounded tar (who his colours defends) Drops a tear of regret as he dying remembers How blest was his home, with Wife, Chil- dren and Friends. * The first verse of this Song, being inadmissible upon the Editor's principles, is omitted. The Song was too beautiful and valuable in its sentiments to be entirely rejected on account of that. 316 AMATORY SONGS. 2 The Soldier, whose deeds live immortal in story, Whom duty to far distant latitude sends, With transport would barter whole ages of glory For one happy day with Wife, Children and Friends. Tho' spice-breathing gales o'er his caravan hover, Tho' round him Arabia's whole fragrance ascends, The Merchant still thinks of the woodbines that cover The bow'r where he sat with Wife, Children and Friends. The day-spring of Youth still unclouded with sorrow Alone on itself for enjoyment depends, But drear is the twilight of Age, if it borrow No warmth from the smiles of Wife, Children and Friends. Let the breath of Renown ever freshen and flourish The laurel which o'er her dead favorite bends, AMATORY SONGS. 317 O'er me wave the willow, and long may it flourish Beclew'd with the tears of Wife, Children and Friends. 4 Let us drink, — for my song growing graver and graver To subjects too solemn insensibly tends, Let us drink, — pledge me high! Love and Virtue shall flavour The glass that I fill to Wife, Children and Friends. And if, in the hope this fair island to plunder The tyrant of France to invade us pretends, How his legions will shrink when our arm'd freemen thunder The war-cry of Britons, Wife, Children and Friends ! e e 2 513 AMAT011V SONGS. XXVII. LOVE AT FIFTY. BY MR. DIBDIN. 1 When I told you your cheeks wore the blush of the rose, That the spring was the type of your youth, That no lily a tint like your neck could disclose, I made love in the language of truth : Yet the loveliest rose, once the summer away, Of its bloom leaves no vestige behind £ But your bloom, when the summer of life shall decay, Fresh as ever shall glow in your mind. 2 See the Bee, as from flower to flower he roves, The sweets of the garden explore, And in winter to feast on the banquet he loves, Lay in his industrious store : So all your employment thro' life's busy day, Is the sweets drawn from goodness to find, Reason's feast to supply, and cheat winter away, From that source of perfection, your mind. AMATORY SONGS. 319 3 And thus, as the seasons of life pass away, We enjoy ev'ry various scene ; The spring all expanding, the summer all gay, The autumn all mild and serene : You are yet in your summer ; but when on your head, While from all admiration you find, Silver winter its honours shall sacredly shed. Still summer shall bloom in your mind. XXYIII. THE SONG OF SEVENTY. BY J. B. 1 I told you, Mary, told you true, If love to favour had a claim, That all its wishes warm'd my breast, And you were still my constant theme ; I told you then if mine you were, The pride of rank you must forego, And all the pomp of dress resign. For wealth I had not to bestow ; And, Mary, thou did'st not reprove, And bade me hope, and bade me love ! 330 AMATORY SONGS. O, Mary, on thy lovely neck, The diamond shone with sweeten'd glance, And graceful was the silken robe, That mark'd thy motions in the dance, And joyous were the pompous croud, Thy birth entitled thee to join ; Yet pomp, and wealth, and friends you left, To be acknowledged, Mary — mine, Thou lovely did'st my suit approve, And bade me hope, and bade me love I 3 9 Tis long now, Mary, since we met, Stiff are my joints and hoar my hair ; E'en your cheeks too the wrinkles mark, And yet, my love, you're wond'rous fair, And were the wrinkles stronger still, While accents cheerful grac'd your tongue, How could I think but on those smiles And accents that adorn'd thee young, When thou, love, did'st my suit approve, And bade me hope, and bade me love ! How often, Mary, has my heart With secret rapture beat thy praise, While on your breast our infants hung, I mark'd their mother's tender gaze, AMATORY SONGS. 321 And still, my love, thy lad is proud, Old as he is, he's proud to see The i/ounkers anxious for thy love, Come fondling round their Gran'am's knee ! O ! bless the day you did approve, And bade me hope, and bade me love ! 5 O Mary ! much I owe thy care, Life's best of blessings still you gave, But now, our various duties past, Our nearest prospect is the grave : Yet conscious of a virtuous life, We shrink not from the solemn scene, Sigh — sigh we must, that we shall part, But soon, we trust, to meet again, Where endless pleasures we shall prove, Nor ever, ever cease to love. XXIX. MY HUSBAND. JLDTERED FROM THE SCOTCH SONG OF JOHN ANDERSON, MY JOE. 1 My Husband, O my Dear, John, When we at first did wed, Your locks were like the raven, And you held up your head ; AMATORY SOtfGS. But now you're turned bald, John> Your locks snow white appear, My blessings on your hoary head, My Husband, O my Dear. 2 My Husband, O my Dear, John, The sweet-heart I first had, And still at church and market I've kept you tightly clad, There's some folk say you're failing, John, But it did ne'er appear, You always are the same kind man, My Husband, O my Dear. 3 My Husband, O my Dear, John, We've seen our sons have sons, And yet, my dear good Husband, I'm happy in your arms; And so are you in mine, John ; Deny it you will ne'er, Tho' the days are gone that we have seen. My Husband, O my Dear. 4 My Husband, O my Dear, John, Our money ne'er was rife And yet we ne'er saw poverty Since w r e were man and wife ; AMATORY SONGS. 323 We've si ill had bread and cheese, John, Great blessings do we share. And that helps to keep peace at home, My Husband, O my Dear. 5 My Husband, O my Dear, John, The world doth love us both, We ne'er spake ill o' neighbours, Nor aught have done in wrath, To live in peace and quietness Hath ever been our care, And they will weep when we are dead, My Husband, O my Dear. 6 My Husband, O my Dear, John, From year to year we've past, Apd soon that year must come, John, Will bring us to our last ; But let not that affright us, John, We have no cause for fear, In innocent delight we've liv'd. My Husband, O my Dear. 7 My Husband, O my Dear, John, W r e clim'd the hill together, And many a happy day we've had In ev'ry wind and weather; 324 AMATORY SONGS. So now we totter down, John, But hand in hand we'll bear, And we'll sleep together at the foot. My Husband, O my Dear. J. P. XXX. TO MARY. BY COWPER. 1 The twentiath year is well nigh past, Since first our sky was overcast, Ah ! would that it might be the last ! My Mary ! 2 Thy spirits have a fainter flow, I see thee daily weaker grow — 'Twas my distress that brought thee low, My Mary ! 3 Thy needles, once a shining store, For my sake restless heretofore ; Now rust disus'd, and shine no more, My Mary ! AMATORY SONGS. 325 4 For tiro' tliou gladly would'st fulfil The same kind office for me still, Thy sight now seconds not thy will, My Mary! 5 But well thou play'd'st the huswife's parf, And all thy threads with curious art, Have wound themselves about this heart, My Mary ! Thy indistinct expressions seem Like language utter 'd in a dream; Yet me they charm, whate'er the theme, My Mary ! Thy silver locks, once auburn bright, Are still more lovely in my sight Than golden beams of orient light, My Mary! 8 For could I view nor them nor thee, What sight worth seeing could I see? The sun would rise in vain for me, My Mary ! Partakers of thy sad decline, Thy hands their little force resign ; Yet gently prest, press gently mine, My Mary ! F f 326 AMATORY SONGS. 10 Such feebleness of limbs thou prov'st, That now at every step thou mov'st, Upheld by two, yet still thou lov'st, My Mary I 11 And still to love, tho' prest with ill, In wintry age to feel no chill, With me is to be lovely still, My Mary ! 12 But ah! by constant heed I know, How oft the sadness that I show, Transforms thy smiles to looks of woe, My Mary ! 13 And should my future lot be cast With much resemblance of the past, Thy worn-out heart will break at last, My Mary ! 327 LETTER VI. ON THE SONGS CONTAINED IN THE SUPPLEMENT TO MR. EVANS'S PUBLICATION; WITH A POSTSCRIPT ON THE SONGS IN THE LITERARY MISCELLANY. September 18, 1810. SIR, As I conceive it to be necessary to the com- pletion of my plan to examine the Songs con- tained in Mr. Evans's Supplement, though you yourself are not farther responsible for them, than as several of them are contained in your volume of Vocal Poetry, I shall in this Letter consider those Songs which have not before come under my notice. The first Song, one of Ariel's in The Tempest, " Where the bee sucks, there lurk I ;" (p. 259.) being a Fairy Song, falls under a former censure. (See p. 62. and 104.) " When daisies pied and violets blue," (p. 259.) has been in some measure noticed before, (see p. 26. ) and your omission of a vulgar and indecent allusion in quoting it. The introduction of the word " smocks", in these days, at least, is vulgar, as is the manner in which Turtles are 528 LETTER VI, mentioned in the second verse. I introduced this song, with some alterations and an addi- tional verse, into the third volume of my Collection. The expressions, 6i Men were deceivers ever," and " The fraud of men was ever so," in " Sigh no more, ladies, sigh no more," (p. 260.) are much too general and severe. " Wrong not, sweet mistress of my heart !" (p> 261.) is extravagant and wants u discretion." " Drink to me only with thine eyes," (p. 263.) is high-flown rather than Bacchanalian. The sentiment, The thirst that from the soul doth rise, Doth ask a driiik divine, is literally true, if applied in its proper and higher sense ; but with " Jove's nectar" we have nothing to do. One of the most pleasing sen- timents on this subject with which I am ac- quainted, is in the third scene of the fourth Act of Julius Caesar, the celebrated scene of the quarrel and reconciliation of Brutus and Cas- sius : Brutus says, Give me a bowl of wine : — In this I bury all unkindness, Cassius. (Drinks.) CASSIUS. My heart is thirsty for that noble pledge : Fill, Lucius, til! the wine o'er-swell the cup; I cannot drink too much of Brutus' love. ON MR. EVANS S SUPPLEMENT. J'ZV Bishop Home had a most happy turn for giving a moral or spiritual meaning to some of the common occurrences of life, and some passages from the poets. In his Essays and Thoughts, Article Devotion %. 6, 7, 10 and 11. are some specimens of this. One of the sentiments which should prevail in our minds in drinking of the sacred cup should be, In this I bury all unkindness. In " Away with these self-loving lads," (p. 264.) it is said, 11 Away, poor souls, that sigh and weep, In love of those that be asleep :" by asleep does he mean dead ? It goes on, For Cupid is a merry God, And forcethnone to kiss the rod. These are terms of levity, applied to serious ideas ; especially to that of chastisement inflicted by a divine power. In v. 2. It is said Sweet Cupid's shafts, like destiny, Do causeless good or ill decree. And in v. 3. mention is made of Cupid's miracles. " Sweet are the charms of her I love," by Ff2 330 LETTER VI. Barton Booth, (p. 265.) is a very beautiful poem. In the 6th verse the term Godhead, as applied to love, is objectionable, especially as it seems to mean Cupid. " My sheep I neglected," (p. 267.) is a pleasing specimen of pastoral poetry, and con- veys a good moral lesson. " My time, O ye Muses ! was happily spent," (p. 268.) by By rom, into which he introduces " Cupid", — " no pitying power that hears me complain," — " Deity," addressed to Cupid, and " despair", stands in need of being corrected by his own a Hint to Christian Poets", which I have given in the Introduction to my first volume. P. xxxviii. In the Song, u We all to conquering beauty bow," (p. 275.) the lady addressed is repre- sented as having all perfections, and amongst others, being " Like the divining prophets, wise". She is also Modest, yet gay ; reserv'd, yet free; Each happy night a bi ide; yet it appears from the next verse, that she is not married. "How blest has my time been", (p. 274.) is given in my first volume with the omission of the third verse, as I thought the trial of Jesse's temper both needless and wrong. on mr. Evans's supplement. 331 u When first I dar'd by soft surprise", (p. 273.) may be considered as free from objection in a moral view. " I never knew a sprightly fair", (p. 277.) contains the sentiment, " I do not more incline to one Than I incline to all", which one does not wish to become general. In " Ah ! cruel maid, how hast thou chang'd", (p. 279.) the poet might have spared the cursed in the 5th verse; and certainly he concludes with a very reprehensible encourage- ment to the indulgence of haired. The Song " Ask'st thou " how long my love shall stay," (p. 280.) consists of the two last verses of the one before noticed, beginning " Dried be that tear my gentlest love". See p. 244. " Sally in our Alley ",— « Of all the girls that are so smart," (p. 282.) is a vulgar, and, in some respects, coarse song, to a very beautiful tune. The late ingenious Collins, author of The Even- ing Brush, wrote a Parody upon this, which shall be given under the Class Ingenious and Humourous Songs, it begins with u The Bard who glows with Grub-street fire, in Sally's praise profuse is." " To all you ladies now at land," (p. 291.) contains some " Muses" and " Neptune" and 339. LETTER VI. some extravagant, sentiment. It is a favourite, and might, by curtailing and a few other small alterations, be made suitable for a collection. " You tell me I'm handsome," (p. 294.) is given in my second volume. " Hark ! hark ! 'tis a voice from the tomb !" (p. 295.) may be classed with the songs censured in the Postscript to Letter ii. (p. 58, &e.) and is liable also to the objection of dying for luxe. In u A chieftain to the Highlands bound", (p. 297.) we have a water-wraith. The Songs " Come, live with me and be my love," by Marlow, (p. 302.) and " If all the world and love were young," by Sir Walter Raleigh, (p. 203.) are introduced in that de- lightful work The Complete Angler, by Isaac Walton, as being sung by The Milk Maid and her mother, (chap, iv.) Sir John Hawkins, in his edition of that work, says that the first of these songs, " though a beautiful one, is not so purely pastoral, as it is generally thought to be; buckles of gold, coral clasps and amber studs, silver dishes and ivory tables, are luxuries ; and consist not with the parsimony and simplicity of rural life and manners." I introduced these songs, with some alterations, into my third volume. " A nymph of ev'ry charm possess'd," mr. evans's supplement. 333 p. 307.) is, in the third verse, too warm. The word adore in the 4th verse had better be read admire. Here again we have dying for love. " l ne'er could any lustre see In eyes that would not look on me ;" (P. 312.) shews a passion wholly selfish. " Dear Chloe what means this disdain," (p. 314.) is coarse and profligate. " How yonder Ivy courts the Oak," (p. 318.) is a good lesson against an attachment to a harlot. " When Damon languish 'd at my feet," (p. 319.) from the Tragedy of the Gamester, is a beautiful Song. The word may had better be substituted for shall in the last line. u From anxious zeal and factious strife," (p. 320.) is not a bad song. It had been better had the slighted lover had recourse to the Sacred Volume rather than to u Newton's I tempting page". Neither of them, however, I accord with his " idly trifle life away". In" Why heaves my fond bosom ?" (p. 321.) (there is perhaps a little extravagance, in the ! lover's saying he is enslaved by her mind. There is more, in speaking in so easy a manner of dying for love. Otherwise the song appears good ; as describing well some effects of love, and as giving to the mind a decided superiority over the charms of the face. 334 LETTER VI, " Ask if yon damask rose be sweet," (p. 226.) from the Oratorio of Susanna, is a beautiful and tender air. " Would you taste the noontide air", by Milton, (p. 327.) is too warm. A Parody on this " Would you taste the morning air," was given in my second volume. " Blue-eyed Mary" — " In a cottage em- bosomed within a deep shade," (p. 335.) is a good moral lesson, but is told in language, per- haps, rather coarse. " My temples with clusters of grapes I'll €ntwine," (p. 339.) is downright Bacchanalian. " Says Plato, Why should man be vain," (p. 340.) is introduced into the second volume of my Collection with some alterations, it begins there, " Ah! why, my friend > should man be vain". " Sweet maid, if thou would'st charm my sight," (p. 342.) is too voluptuous. And the passage which mentions the frowning Zealots and their Eden is in danger of becoming pro- fane, from being applied by voluptuaries here to the Eden of our Bible. Boy ! let yon liquid ruby flow, And bid thy pensive heart be glad, "Whate'er the frowning zealots say : Tell them their Eden cannot shew A stream so clear as Rocnabad, A bower so sweet as Mosellay. on mr. evans's supplement. 335 The calling the wife of Potiphar (Genesis xxxix.) by the name of the chaste Egyptian dame, I conceive to be a great perversion of terms. " Tell me no more of pointed darts," (p. 345.) is good. " I envy not the proud their wealth," (p. 346.) is given in my second volume, the words " Ye powers divine" in the last verse being altered to " O Power Divine". — A Friend suggests to me that it seems to cast a needless general censure on kings. " Cruel invader of my rest," (p. 350.) is full of extravagance and despair. " Oh ! how vain is ev'ry blessing," &c. u But when love its time employs", (p. 351.) requires the limitations before mentioned. See p. 234. " Encompassed in an angel's frame," (p. 351.) from The Lord of the Manor, by General Burgoyne, goes too far in the first verse, and in the second seems to require to be corrected by the sentiment mentioned in my remarks on a former song. See p. 245. This closes the volume, and I remain, Sir, With great respect, Your &c. 336 POSTSCRIPT. ON THE SONGS CONTAINED IN THE LITERARY MISCELLANY Sept.ll, 1810. Though not connected, Sir, with your volume of Vocal Poetry, and your former work now re-published by Mr. Evans, yet intimately connected with the subject of these Letters are those numbers of The Literary Miscel- lany, which contain Songs, and which have, I suppose, a very extensive circulation; because it is a cheap, elegant and respectable periodical work: and I shall venture to consider the con- tents of the Numbers S, 9, 10, 11 and 76 in this place. The Advertisement prefixed to the 8tb and 9th Numbers gives a hope to the Reader that violent passion, indecency, and other baleful ingredients, will be excluded from the com- positions presented ; and that moral sentiment and other valuable lessons will be taught in them. This intention is thus announced : u Respecting the nature and tendency of these selections, — the songs retained are divested of expressions ON THE LITERARY MISCELLANY. 537 of violent and enthusiastic passion. Every subject presented possesses some preceptive rule, moral sentiment, or elegant thought. We have found no room for indecency, trifling composition, or the insipidity of modern Operas : the most enchanting powers of musical com- position cannot atone for the base alloy of levity, vulgarity and nonsense. All bacchanalian songs are rejected, because virtue and reason forbid us to join the crowd in misleading the inex- .perienccd and unwary, or to scatter flowers in the paths of vice and profligacy. Songs favouring false notions of honour and o-Iorv to be obtained in war" — " will make another ex- ception. Some of the ancient ballads, of this species of composition, will be retained, for the sake of their simplicity of style and pathos : relations of dreadful battles, and wonderful adventures of knights-errant and legendary saints, excite rather a curiosity respecting the folly, superstition, and credulity of former times, than impressions of reality and truth. Hunting is a savage, unmanly sport, comport- ing ill with European refinements, and ought to be employed, not as a diversion, but in cases of extreme necessity only, and even then with reluctance ; songs of this class are therefore discarded." 338 POSTSCRIPT TO LETTER VI, As I conceive that the Editor has, in his Selection of the Songs, departed from almost every one of these particulars, I shall consider the Songs under separate heads, and adduce instances wherein I think the rules just quoted are violated. The first head is Violent and enthusiastic passion. I. In No. 8. p. 7. The lover says of his Mistress 6e She was borne to be faire; I, to die for her love." And again " he that 'plaines of his false love, mine's falser than she." In No. 9, p. 15. is the Song " Come here, fond youth, whoe'er thou be," which I have before noticed. (Letter v. p. 240.) In " 'Twas in that season of the year" we have (p. 18.) " those graces that divinely shine". P. 23. we have A cruel fate hangs threatening o'er The lovely shepherd I adore ! In u Soft Zephyr! on thy balmy wing" (p. 25.) we have Her slumbers guard, some hand divine, Ah ! watch her with a care like mine. Here his own care is put in comparison with, or rather set above that of seme hand divine. No. 10. p. 3, Encompass'd in an angel's frame An angel's virtues lay } &c. ON THE LITERARY MISCELLANV. 330 My heart shall breathe a ceaseless strain Of sorrow o'er her urn. &c. (p. 4.) For all ray soul, (now she is dead) Concenters in her urn. P. 8. In " From thee, Eliza, I must go," we have the very common extravagance of adore. Ditto. In " Adieu to the village delights," the almost equally common one of angel^ — • " bright angel". P. 17. In " How long shall hapless Colin mourn", it is said, Thy beauties, O divinely bright I In one short hour by Delia's side, I taste whole ages of delight. P. 20. " Despairing beside a clear stream". I have noticed before, (Letter ii. p. 51.) that unwarrantable renunciation of life which implies violent passion. P. 26. " One morning, very early," The Maid in Bedlam, I have before noticed, (L. ii. p. 47.) the phrase "I'd claim a guardian angel's charge". No. 11. p. 24. In " Oh how could I venture to luve ane like thee," we have here again the adoring. No. 76. p. 38. In " On Richmond Hill there lives a lass," the Lover says, " I die for her of love." 340 POSTSCRIPT TO LETTER VI. P. 40. " Mary, I beliey-'d thee true", the lover says he would rather " die with thee, than live without thee V* P. 42. " What shade and what stillness around!" we have here again the swain who adores her. P. 52. " Blest as the immortal gods" he is represented, who fondly sits by the side of her who is the subject of the song. P. 56. In u Ask'st thou how long my love will last," I have before noticed the expression, " Nor let us lose our Heaven here". (Letter v. p. 244. 33\.) P. 57. In " To him who in an hour must die," there is a strained metaphor, comparing the swiftness of time with such a wretch to the slowness of the minutes, " Which keep me from the sight of thee." Again, " O come! with all thy heavenly charms!" P. 70. " Anna, thy charms my bosom fire ! And waste my soul with care, But, ah ! how bootless to admire, When fated to despair. Yet, in thy presence, lovely fair ! Desire may be forgiv'n, For sure ^twere impious to despair So much in sight of heaven. ON THE LITERARY MISCELLANY. 341 Is it not rather impious to say that he is fated to despair, and to call his Anna heaven ? II. Under my second head I shall adduce passages which I conceive to militate with legi- timate preceptive rules of conduct, or to be violations of just moral sentiment, and which are sometimes even profane. No. 8. p. 7. We are told as a general thing that u women are trothless, and flote in an houre." and p. 8. The Lover says of " the willow garland," " it doth bid to despair and to dye," and desires to have " these words engraven, as epitaph meet," " Here ljes one, drank pojson for potion most sweet." P. 10. We have a very unfavourable and unjust picture of Age and Youth, by Shakspeare, called here " Crabbed Age and Youth", in which the writer says " Age, I do abhor thee, Youth, I do adore thee". Very different are the precepts contained in Scripture upon this subject: " Thou shall rise up before the hoary head, and honour the face of the old man, and fear thy God." (Levit. xix. 32.) " The hoary head is a crown of glory, if it be found in the way of righteousness." (Prov. xvi. 31.) " Hearken unto thy father that begat thee, and despise not thy mother when she is old." (Do. xxiii. 22.) The following Parody is given as setting the subject in a juster light. G g2 34:2 POSTSCRIPT TO LETTER. VI. AGE and YOUTH. I Sober Age and Youth Well may live together; Youth is full of pieasance, Age more full of sooth ; Youth like spring's gay morn, Age like autumn weather, Youth like summer brave, Age more settled grave: Youth can solace age, Age Youth's tire assuage. 2 Youth is nimble, Age is slow ; Youth is hot and bold, Age more temperate cold, Youth doth fire and make it glow. Age, I do admire thee, Youth, I do desire thee ! Know, O Youth, that, yet ere long, Thou wilt in turn be Age; Age, I thy heart engage To think that thou once wert young. J. P. P. 44. In the Nut-brown Maid, " Be it ryght or wrong, these men among", the Lover, in trying his Mistress, (p. 53.) says that when he is banished and lives in the wood, he has a maid, whom he loves more than the one to whom he is speaking. She replies Tho' in the wode I undyrstode Ye had a paramour, Ail this may nought remove my thought, iiut that I wyll be your: ON THE LITERARY MISCELLANY. 343 And she shall fynde me soft and kynde, And courteys every hour; Glad to fulfyll all that she wyll Commaunde me to my power : For had ye, lo, an hundred mo, ' Of them I wolde be one', For, in my mynde, of all mankynde, I love but you alone. The want of morality and delicacy of sentiment here is very great. In " Shall I wasting in despair", p. 57. the poet says, If she be not fit for me What care 1 for whom she be. This is but a selfish, and consequently immoral, sentiment. This Song I have noticed before, p. 262. In The Lye, by Sir Walter Raleigh, p. 63. " Goe, soule, the bodies guest," are the fol- lowing general expressions : Goe tell the court, it glowes And shines like rotten wood; Goe tell the church it shuwee What's good, and doth no good : &c. Tell zeale, it lacks devotion; Tell iove, it is but lust ; &c. Tell Wisdome, she entangles Herselfe in over-wisenesse; &c. Tell physicke of her beldnesse; Tell ski!!, it is pretension; Tell charity of coldness; Tell law, it is contention ; &c. 344 POSTSCRIPT TO LETTER VI. Tell fortune of her blindnesse; &c. Tell friendship of unkindnesse; > Tell justice of delay : &c. Although to give the lye Deserves no less than stabbing, &c. In The Wounded Fawn, " The wanton troopers riding by," the Lady is dying for the loss of her fawn (p. 84.) O do not run too fast, for I Will but bespeak thy grave, and die ! &c. For I so truly thee bemoan, That I shall weep though I be stone. At p. 84. is the Ballad of The Wanton Wife of Bath, a composition which I think should have been consigned to oblivion ; but, as it is civen in this work with the recommendation that " Mr. Addison has pronounced it an excellent Ballad: see the Spectator, no. 247." it is but too well known, and there is no alternative but to examine and expose it. The story appears to be grounded on the following passage of Scripture, Luke xiii. £4 — SO. " Strive to enter in at the strait gate : for many, I say unto you, will seek to enter in, and shall not be able. When once the Master of the house is risen up, and hath shut to the door, and ye begin to stand without, and to knock at the door, saying, Lord, Lord, open unto us ; and he shall answer ON THE LITERARY MISCELLANY. 343 arid say unto you, I know you not whence ye are ; then shall ye begin to say, We have eaten and drunk in thy presence, and thou hast taught in our streets. But he shall say, I tell you, I know you not whence ye are ; depart from me, all ye workers of iniquity. There shall be weeping and gnashing of teeth, when ye shall see Abraham, and Isaac, and Jacob, and all the prophets in the kingdom of God, and you yourselves thrust out. And they shall come from the east, and from the west, and from the north, and from the south, and shall sit down in the kingdom of God. And behold, there are last which shall be first, and there are first which shall be last." The Soul of the wanton wife of Bath is re- presented after her death knocking at Heaven gate ; when Adam and various other characters mentioned in scripture object to admitting her into Heaven, on account of her sins, upon which she reproaches them, in very coarse and disrespectful terms, with the sins which they themselves had committed, and sends them all away in their turns, till at length our Saviour comes and admits her. On this it may be observed, first, that, in the scripture account, the Master himself only is represented as keep- ing the door ; and, in the next place, that we 346 POSTSCRIPT TO LETTER Tl. are bound to suppose the characters here intro- duced to have been admitted into Heaven, not on account of their sins, but on their repentance and faith in Christ ; and that, when they are in Heaven, they must be purified from all earthly passions, from enyy and uncharitableness ; and, if the Wife was an object of mercy and to be admitted into Heaven, they would, like a the angels," or, as angels, have " joy in the presence of God over one sinner that repenteth," (Luke xv.) But it does not appear that she ever repented. Without alleging this, she con- fesses that she had spent her time in vain, and lived most lewdly. Nay, Christ says " thou hast refus'd my profier'd grace and mercye both:" which could not well have been said if she had in this life repented. And we have no reason to think that there is any repentance after this life, but quite the contrary, as appears from the parable of the rich man and Lazarus. (Luke xvi. 19, &c.) Also, from the text in Ecclesiastes (xi. 3.) " if the tree fall toward the south, or toward the north, in the place where the tree falleth, there it shall be" ; and from the words of our Saviour a the night Cometh when no man can work." "(John ix. 4.) I shall not enter into a discussion of all the lovr and indecent scurrility used by this Wanton ON THE LITERARY MISCELLANY. 347 Woman ; but there are two or three points which must not be passed over without notice* Mary Magdalene is considered here as the same person as the Woman who had been taken in Adultery. At the time of building The Magdalen Hospital, the name given to the foundation occasioned much controversy, and the learned Dr. Lardner, in a Letter addressed to the excellent Jonas H airway, vindicated Mary Magdalene from the imputation so commonly thrown upon her chastity. After slating the case and summing up the evidence, he says, " Mary of Magdala was a woman of distinction, and very easy in her worldly circumstances. For a while she had laboured under some bodily indisposition, which our Lord miraculously healed. For which benefit she was ever after very thankful. So far as we know, her conduct was always regular, and free from censure. And we may reasonably believe, that after her acquaintance with our Saviour it was edifying and exemplary. I conceive of her, as a woman of a fine understanding, and known virtue and discretion, wilh a dignity of behaviour becoming her age, her wisdom, and her high station. By all which she was a credit to him, whom she followed as her Master . and benefactor. She shewed our Lord great respect in his life, at his 348 POSTSCRIPT TO LETTER VI. death, and after it. And she was one of those, to whom he first shewed himself after his resur- rection. As appears from Matt, xxviii. 1 — 10. Mark xvi. 9. and John xx. 1 — 18." (See Lardner's Works, vol. xi. p. 258.* also En- cyclopaedia Britannica. Art. Mary Magdalene.) In the next place the Wanton Wife says to St. Paul, that he persecuted God's Church << all through a lewd desire". St. Paul certainly acknowledges that he persecuted the Church of God, and that on that account he was not meet to be called an Apostle, (I. Cor. xv. 9.) but there is no authority in scripture to attribute it to the motive here mentioned. She afterwards says of the thief who suffered on the cross at the same time with our Saviour, and who, on account of his penitence, received pardon from his mouth, that he, " for one poor silly word, past into paradise". Upon this subject Bishop Home, in his Dis- course, Works wrought through Faith a Condition of our Justification, says: u The * The Repty of Haiuvay to (his Letter is worthy the atten- tion of the Reader asa:< instance of candour in controversy, in "acknowledging an error when proved to hesnch, and of respect to the opponent, yet maintaining those points in winch he con- ceives himself to he ri^ht. (See Reflections, Essays, &c. by Mr. Hanway, 2 vols. £vo. 1761. Vol. II. p. 1.) ON THE LITERARY MISCELLANY, 349 example that bids the fairest for justification by faith without works is that of the thief upon the cross. But a nearer inspection will soon convince us, that even in that instance, singular as it was, faith came attended by her handmaids, repent- ance, piety, and charity. For first, without compulsion, he made a full confession of his own guilt and his Saviour's innocence — " We receive the due reward of our deeds, but this man hath done nothing amiss." 2dly, He made an open profession of his faith in Jesus as the Messiah, the king of Israel, when he hung naked on the cross, mocked and derided by the Jews, and forsaken of all, as an outcast of heaven and earth. 3dly, He prayed to him in that character — u Lord, remember me, when thou comest into thy kingdom." And lastly, his charity reproved and endeavoured to effect the conversion of his fellow-sufferer — u Dost not thou fear God, seeing thou art in the same con- demnation? And we indeed justly," &c. There is a passage upon the subject in one of the Fathers* so extremely beautiful and apposite to the present purpose, that I cannot help trans- lating it — " The penitent thief performs many offices of religion at the same time. He believes, * Arnold, de allimis septan verbis Domini* h h 350 POSTSCRIPT TO LETTER VI. he fears, he feels compunction, and repents; he confesses, and preaches ; he loves, he trusts, and he prays. He is enlightened by faith, subdued by fear, softened by compunction, shaken by repentance, purged by confession; he is zealous in his preaching, and enlarged in his charity; he hopes through confidence, and obtains by prayer" Never surely did man perform so much in so short a time ! And, if he was not justified by faith alone, where shall we find an example of one who was." In No. 9. p. 9. In u Ye virgin powers defend my heart", (see Letter v. p. 261.) the lady wishes that " where frail nature seems inclin'd", they may " there place a guard of pride." Pride is a very improper and frail guard in such cases, (see before, p. 271.) P. 14. In " As pensive Chloe walk'd alone," mention is made of Jove descending to court in a silver shower. P. 21. In u Ye happy swains! whose hearts are free", it is said that love is fatal to human quiet, and the poet advises them to " Fly the fair sex, if bliss yen prize, The snake's beneath the flower; Who-ever gaz'd on beauteous eyes That tasted quiet more ? How faithless is the lovers' joj ! How constant is their care ! The kind with falsehood to destroy, The cruel with despair." ON THE LITEHARY MISCELLANY. 351 The false sentiments in " The sun was sunk beneath the hill", (p. 22.) I have noticed before, Letter ii. p. 54. P. 24. In " Time has not thinn'd my flowing hair", the poet says " pleas'd, let me trifle life away". P. 26. In " No glory I covet", I have before noticed (L. iii. p. 99.) " The one thing I beg of kind heaven to grant". P. 35, In " When clouds that angel face deform", the poet says " I curse the sex", (see Letter v. p. 261.) P. 39. In " Why so pale and wan, fond lover?" it is said " the devil take her". This is the conclusion of the verse, which Dr. Aikin thought it right to omit. See Letter v. p. 260. In this same page occurs the expression " By Jove, the devil a word could I say". P. 40. I have before noticed " Not, Celia, that I juster am". (L. v. p. 262.) P. 41. " Cries Damon, teaz'd by dearest life," is profane and of the same kind with " When Orpheus went down", before noticed, L. v. p. 22. P. 44. " Mistaken fair! lay Sherlock by," has been noticed before. L.v. Postscript, p. 279. P. 45. In u Love's a dream of mighty treasure," it is said In the folly lies the pleasure, Wisdom always makes it less. &c. 352 POSTSCRIPT TO LETTER VI. And Happy only is the lover Whom his mistress well deceives. P» 46. In" Young Jocky lie courted sweet Mog the Brunette," it is first said " her charms he ador'd", and then they now live as man and wife usually do ; As their humours excite, they kiss and they fight, 'Twixt kindness and feuds pass the morn, noon, and night j To his sorrow he finds with his match he has met, And wishes the devil had Mog the brunette. P. 47. In " A Cobler there was, and h«r liv'd in a stall," the allusion in the last line of the 3d verse is low ; and in the last verse suicide is made light of. P. 48. In " There was a jolly miller once", the sentiments u I care for nobody, no not I, if nobody cares for me", and u the days of youth are made for glee," must be taken with many limitations to be admissible. P. 49. is " Yes, Fortune, I have sought thee long, Invok'd thee oft, &c. And the next song u Five thousand years have roll'd away," is profligate. P. 50. " Ye gentil 'squires, give o'er your sighs," express'd so generally as it is, is an illiberal censure of the fair sex. ON THE LITERARY MISCELLANY. 353 No. 10. p. 5. In u The sunsets in night, and the stars shun the day," it is said, His Ghost shall rejoice in the fame of his Sod. Though this is put into the mouih of an Indian, and may be considered as characteristic, yet 1 conceive it to be liable to the objection, men- tioned Letter ii. Postscript, p. 59, &c. In " A dawn of hope my soul revives", it is said, " make him, ye gods ! your care." P. 8. In " From thee, Eliza, I must go," the cruel fates are introduced, and the maid whom I adore, P. IS. In " The moon had climb'd the highest hill", Sandy's Ghost is introduced speaking to Mary, and vanishing when " Loud crow'd the cock". This is another of those songs which fosters the belief in Ghosts ; as, likewise does the next, a Loud toll'd the stern bellman of night," (p. 14.) and u Despairing beside a clear stream," (p. 20. 22.) mentioned before. L. ii. p. 51. P. 27. In " Now spring returns, but not to me returns," it is said, Oft morning dreams presage approaching fate, And morning dreams, as poets tell, are true; Led by pale ghosts, I enter death's dark gate, And bid the realms of life and light adieu. No. 1 1 . p. 21 . In " Lo qwhat it is to lufe," h h2 354 POSTSCRIPT TO LETTER VI. it is said " Thair is no man, I say, that can both lufe and to be wyise." P. 51. In " Pain'd with her slighting Jamie's love," it is said The gods descended from above. In No. 76. p. 10. In " Forgive, ye fair, nor take it wrong," it is said, verse 2. This index of the virtuous mind Your lovers will adore. For this, I believe, I am myself in some measure responsible, as the song is taken from the second volume of my Collection, and the expression was overlooked by me. I am there- fore happy in this opportunity of acknow- ledging and correcting the error, which may be done thus : This index of the virtuous mind, Your lovers will admire; This, this will leave a charm behind, When beauty shall expire. Having mentioned that this Song is taken from my second volume, I may observe, that out of 113 Songs in this Number, 40 (above a third) are taken from my three volumes. This appears, not only from their being the same, and having the same titles I had given them ; but also from some of them being printed as I have ON THE LITERARY MISCELLANY. 355 altered them. I could only have wished that the Editor had acknowledged the source whence he had derived them. The Songs at p. 15. 44. 52. 66. 68. 70. 82 and 85, Marias Evening service to the virgin, I do not approve. P. 15. "-Ye belles and ye flirts, and ye pert little things," concludes with, Bat if, Amazon-like, you attack your gallants, And put us in fear of our lives, You may do very well for sisters and aunts, But, believe me, you'll never be wives. The two last lines are quoted by Mr. Styles in his Essay on the Stage, p. 37. as applicable to females who go to see plays, and are noticed by me accordingly in the Notes to my Discourses on the Stage, p. 239. Surely whatever is im- proper in a wife is equally so in a sister or an aunt. P. 24. In " My friends all declare that my time is mispent," it is said, I ask no more wealth than dame Fortune has sent. P. 31. In " How sweet in the woodlands," the poet calls upon Chaste Dian to assist him in regaining bis Nymph. P. 39. In " The merchant to secure his treasure," it is said, And Venus to the loves around Remark'd how ill we all dissembled; 356 POSTSCRIPT TO LETTER VI. P. 45. In u Ah why must words my flame reveal", it is said " I Iiate the maid who gives me pain." Here is hate: and that even though it does not appear that any injury was intended by the maid. P. 51. In " Echo, tell me while I wander," we have " Cupid's chains". P. 52. We have before had " Blest as the immortal gods" and in " Drink to me only with thine eyes," Jove's Nectar and I swear. P. 54. In " From the white blossom'd sloe, my dear Chloe requested," we have the excla- mation " by heavens !" P. 55. In " For ever, fortune, wilt thou prove, An unrelenting foe to love." It is farther said, For once, O Fortune ! hear ray prayer, And I absolve thy future care. P. 66. " O clear that cruel doubting brow ! I call on mighty Jove To witnes3 this eternal vow — 'Tis you alone Hove, &c. &c. This has been noticed before. L. v. p. 270. P. 84. In u No more my song shall be ; ye swains," it is said, A Phoebus tunes my warbling lyre; Divinely aided, thus &c ON THE LITERAJtY MISCELLANY. 357 P. 85. Is an Evening Service to the Virgin.* At morn and eve to thee I pray, &c. Oh ! shower thy choicest blessings down, &c. This is Roman Catholic Idolatry. III. In a Collection declaring against all indecency I should not have expected to have found the Song of The Storm, (No. 10. p. 28.) with the four first lines of the third verse as they were originally written. It appeared to me necessary to alter them in my Collection, which I, accordingly, did. Nor should I have inserted the Song No. II. p. 44. IV. To the head of levity, vulgarity and nonsense, may be referred several of the pas- sages already noticed, especially " Mistaken fair, lay Sherlock by," and The Wife of Bath. To these I add " Oh ! what apain it is to love ;" No. 76. p. 65. ,V. Of Bacchanalian songs we have the conclusion of The Storm, where, after their •* In the third Canto of The Lady of the Lake is an Hymn to the Virgin^ and this has been selected by a Composer to set to music. I consider this as objectionable in the place in which it stands in the poem, where it is in some measure modified by the character and the time in which the action of the poem is sup- posed to pass; hut when it is separated from those circumstances and performed at a concert or in a private room, I cannot but consider it as worse. 358 POSTSCRIPT TO LETTER VI. deliverance, " the danger's drown'd in wine." This I altered in my Collection : and I must notice that here, instead of " Since kind Fortune sav'd our lives," the Editor has put " kind Ileav'n", an alteration which I likewise have made, which I think highly proper, and which example I wish had been followed in other instances. See p. 357. No. 76. p. 44. We have " Tho' Bacchus may boast of his care-killing bowl". This song gives a decided preference to the pleasures of Love over those of Wine : and so far I cannot but approve, provided chaste love be intended ; on which point we are left in an ambiguous darkness, which is not. uncommon. But the song is also Bacchanalian in several passages, in the 5th and 6th lines, in the 3d line of the 5th verse, and particularly in the concluding verse. P. 68. Are " Drunk as a dragon sure is he," and " If life like a bubble evaporates fast," which are direct Bacchanalian songs. P. 70. Is " Wine does wonders every day," and p. 82. " How stands the glass around ?" This last is called General Wolfe's Song; and, in some copies I have seen of it, is said to have been sung by him the night before the battle in which he fell. If this be not true, it is belying ON THE LITERARY MISCELLANY. 359 him much to attribute it to him. If it be, how different was his employment at such a crisis to what it ought to have been, and from what has been the conduct of many brave and pious gene- ra is, and how bad an example is it to hold up to view. VI; Though I do not agree with the Editor in all he says respecting war, in his Advertise- ment, where he calls it, " (that crime and scourge of nations, that business of ambition, that disgrace of the human kind, that profession of butchery)," as I conceive there may be just and necessary war, in which, under certain restrictions, honour and glory may be sought 4 yet I allow that it is too frequently, too generally what he there represents it, and of Songs setting it in a false light I conceive are those in No. 76. p. 79 and 82. "He was fam'd for deeds of arms," in which Honour and Conquest seem to be too exclusively the soldier's motive, instead of redressing the injured, and repelling the oppressor. " How stands the glass around?" I have noticed before, p. 358. VII. No. 76. p. 31. we have a Hunting Song, 4i How sweet in the woodlands". With this I shall conclude my remarks on the Songs in The Literary Miscellany. 3b0 POSTSCRIPT TO LETTER VI. As many of Hie Songs noticed in these three works are contained in the Collection in the Elegant Extracts (one of the professed objects of which is " the improvement of Youth" " in thinking" and " in the conduct of life",) the remarks made upon them of course apply to that part of that work ; and the same principles will, of course, apply to poetry in general, under whatever form it may appear, from the Epic Poem to the Epigram. •-- And can your hands one flow'r dispense^ But those my tears have nourish'd ?" LETTER Vir. " How oft, if at the court of love Concealment be the fashion, When How-d'ye-do has fail'd to move, Good-bye reveals the passion." 5 (i How oft when love's soft fires decline, As ev'ry heart remembers, One sigh of mine, and only mine, Revives the dying embers." " Go bid the timid lover chuse, And I'll resign my charter, If he for ten kind How-d'ye-dos One kind Good-bye would barter." & u From love and friendship's kindred source We both derive existence, And they would both lose half their force, Without our joint assistance." u 'Tis well, the world our merit knows, Since time, there's no denying, One half in How-d'ye-doing goes, And t'other in Good-bying." INGENIOUS AND HUMOUROUS SONGS. 383 VIII. THE WORTHY LOVER. 1 Now, tell me , Artist, can She love? Or, loving, can She constant prove? Constant She is, and love She can ; But hard it is, to find the Man ! What one to please Her must he be? Worthy and lovely, such as She. 2 Then must I of her Love despair. For she so worth?/ is and fair. As the best worthiness in me Cannot come near in least degree: Shall I then strive to quench my jire? No ; rather love, and still admire. 3 For She Love's proper subject is, Who Loves not Her, doth love amiss ! I'll love Her, then, and by Her Love, So worthy I will hope to prove, That She may love what She hath taught, And once be catch'' d by what She caught. 1650. 384 LETTER VII. The following Song is truly humourous. Taking up the common idea in love-songs, that the eyes of females and their beauties in general are all suns and brilliancies, it pursues it farther, and supposes that, like the sun, they can only be looked at through smoaked glass. The following verse from one of the Songs in Mr. Evans's Publication, p. 254. may serve as an introduction to it : Aspasia rolls her sparkling eyes, And every bosom feels her power; The Indians thus view Phoebus rise, And gaze in rapture and adore. Quick to the soul the piercing splendors dart, Fire every vein, and melt the coidest heart. IX. THE BLACK SPECTACLES: A PROPOSAL TO THE LADIES. BY LT. COL. JAMES DALRYMPLE. 1 When the Wise-ones incline t' examine the Sun, They call a smoak'd Glass to their aid, Thus ev'ry Danger of Blindness they shun, So soften'd his Rays by the shade. INGENIOUS AND HUMOUROUS SONGS. 385 Our Ladies have now adopted this plan ; How much we their Goodness should prize ! In place of the moveable skreen of a Fan, They veil with a Curtain their Eyes. 3 We now, without risk, their Lustre may view I Contemplate their Charms at our Ease, From Feature to Feature the chace may pursue, And fix, on which ever we please. 4 For think not 'tis form'd of a close-wov'n stuff, No malice their Bosoms could move ! Far from it, 'tis thin and transparent enough To shew the mild Graces we love. 5 But hard for each possible case to provide, Since many Freebooters are found, By lifting the Head, or a peep o' one side, Some eye-shots continue to wound. 6 I've thought of a Scheme ; I humbly propose Such artful designs to defeat : A pair- of black Spectacles plac'd on the Nose Will render our safety compleat. 1789. Ll 386 LETTER VII. The following stanzas, taken from CowperN Poem on Frienship, from which I have already selected some stanzas in the second volume of my Collection, may well be ranked among Ingenious Songs: they are very spirited, but the manner of them is evidently adopted from Dr. Watts's Poem, called Few Happy Matches, given before, p. 309. X. FRIENDSHIP. I A friendship, that in frequent fits Of controversial rage emits The sparks of disputation, Like hand in hand insurance plates, Most unavoidably creates The thought of conflagration. 2 A man renowned for repartee Will seldom scruple to make free With friendship's finest feeling, Will thrust a dagger at your breast, And say he wounded you in jest, By way of balm for healing. INGENIOUS AND HUMOUROUS SONGS. 387 3 Some fickle creatures boast a soul True as a needle to the pole. Their humour yet so various — They manifest their whole life thro' The needle's deviations too, Their love is so precarious. 4 The great and small but rarely meet , In terms of amity complete, Plebeians must surrender, And yield so much to noble folk, As is combining fire with smoke, Obscurity with splendour. 5 Some are so placid and serene (As Irish bogs are always green) They sleep secure from waking ; And are indeed a bog that bears Your unparticipated cares Unmov'd and without quaking. 6 Courtier and patriot cannot mix Their heterogeneous politics Without an effervescence, Like that of salts with lemon juice, Which does not yet like that produce A friendly coalescence. 5SS LETTER YII. 7 To prove at last ray main intent Needs no expence of argument, No cutting and contriving — Seeking a real friend we seem To adopt the chymist's golden dream, With still less hope of thriving. 8 But 'tis not timber, lead, and stone, An architect requires aldne To finish a fine building — The palace were but half complete, If he could possibly forget The carving and the gilding. 9 The man that hails you Tom or Jack, And proves by thumps upon your back How he esteems your merit, Is such a friend, that one had need Be very much his friend indeed To pardon or to bear it. 10 Some act upon this prudent plan, " Say little and hear all you can." Safe policy but hateful — So barren sands imbibe the shower, But render neither fruit nor flower Unpleasant and ungrateful. INGENIOUS AND HUMOUROUS SONGS. 389 11 These samples — for alas ! at last These are but samples, and a taste Of. evils yet unmentioned — May prove the task a task indeed, In which 'tis much if we succeed However well-intentioned . Burlesque being one species of humour, the following is given as a satire on that over-refined sensibility ; which feels, where no sympathy is required, and withholds it, where duty and affection should cherish it. XL EFFUSION A CANDLE WHICH WAS SNUFFED TOO LOW. 1 Little Candle snufFd too low ! Ah ! I felt the cruel blow • I saw the ruffian Snuffers rise, He mark'd thee for his savage prize, l12 590 LETTER VII. And, stretching wide his sable jaw, Gorg'd thee in his hungry maw : I feel thy plenitude of woe, — Pretty Candle snuff'd too low 1 2 Little Candle snuff'd too low ! Well thy virtues do I know. In thy sorrow-beaming eye The starting tear, alas ! I spy ; Now in grief you melt away, I feel the sympathetic sway, Dear sensibility's fine flow, — In jur'd Candle snuff'd too low ! 3 Little Candle snuff'd too low! Do not — Do not leave me so. Ah ! thine eye is waxing dim, Thy mould so fair, thy form so slim Deform'd and haggard now appears, — Ah stop ! ah stop ! these scalding tears,- Nor out, alas ! despairing go — Mournful Candle snuff'd too low ! * mine own tears Do scald like motten lead. King Lear, Act iv. S. 7. INGENIOUS AND HUMOUROUS SONGS. 391 4 Little Candle snuff 'd loo low ! Now returning life you shew, Fire rekindles in thine eye No more you heave the burning sigh^ — * Now again thy beauties shine, — The joy is yours, — the joy is mine, — I feel the sympathetic glow, — RecoYer'd from thy snuff too low ! The two following Songs owe their humour chiefly to the stories on which they are founded. XII. THE DUMB BEGGAR. 1 For alms and compassion a widow was fam'd, And her house was well known to the halt and the maim'd, With " hand open as day" she would freely impart, And added her counsel, and felt with her heart. * With groans that thunder love, with sighs of fire. Twelfth Night, Act i. S. 5. 392 LETTER VII, 2 But her friends sometimes said she encourage- ment gave To sloth and to vice, not the wretcb, but the knave : And imposture full often obtain'd the fair mite, Which better had sought the poor wretch out of sight. 3 On crutches she saw a sad object once come, With a scroll at his breast, that the wearer was dumb, For the alms of the friendly he earnestly pray'd, And the gift would be amply by Heaven repaid. 4 " Alas ! my good friend, thou my pity dost claim, Ah! where is thy parish; and what is thy name ? Say how thy misfortunes upon thee have come, How long hast thou been thus decrepit and dumb?" 5 " Alas ! my good lady, how quickly time wears, Since first I was taken 'tis now full six years." — The tone of compassion the beggar had caught, He answer 'd the question without further thought. INGENIOUS AND HUMOUROUS SONGS. 393 6 " Thou daring impostor," the lady then cried, " Is this thy sad story, that thou art tongue- tied ! Here, John, call the constable, bid him not wait, To the House of Correction I'll have you borne straight." 7 From his moment's delusion the beggar awak'd, He saw that his all on one effort was stak'd ; He had ta'en to his tongue, and his danger he feels, So was soon out of sight, — for he took to his heels. 8 Hence learn, ye, whose hearts love to feel for distress, Lest, disgusted, you're tempted your alms to suppress, Learn merely, thus caution'd, your object to know, , And let Prudence direct you in what you bestow. 394 LETTER VII. XIII. THE FRIENDS AND THE OYSTER. Tuwe: If a daughter you have, in The Duenna. 1 On the sea shore one day as two friends were a walking, And of this thing and that thing complacently talking, Just where the ebb'd wave left the shingle the raoister, They both cast their eyes on a iine well-fed Oyster, Starting and running, Not without cunning, Together they seiz'd on this fine well-fed Oyster. 2 One claim'd it as his, and the other as his, To a broad grin succeeded a dismal long phiz, Till at length they began to dispute and to roister, And all for the sake of this line well-fed Oyster, Scolding and wrangling, Jeering and jangling, And all for the sake of this fine well-fed Oyster. INGENIOUS AND HUMOUROUS SONGS. 395 3 A brisk Lawyer came by, and beholding the stir, He paus'd — they agreed the whole case to refer, "I'm fitter," said he, " far than monk in a cloister, To arbitrate 'twixt you concerning the Oyster." Humming and hawing. Eying and clawing, He went on to arbitrate touching the Oyster. 4 The Lawyer look'd wise, " 'twas the custom", he said, " For the law ne'er to speak were the lawyer unpaid, The law was supreme, not a mouth that out- voic'd her, Yet would she decide even on a poor Oyster." — Statements then hearing, — The matter appearing, — Proceeded to arbitrate touching the Oyster. 5 He open'd the Oyster, no fool you may think, — Shook it into his mouth, down it went in a twink, And when the friends' eyes look'd as if growing moister, To each he presented a shell of the Oyster ; 396 LETTER VII. Angry and vexed, Chagrin'd and perplexed Each only obtain'd a bare shell of the Oyster. 6 Attend, all ye friends, — and attend, all ye foes, — Hence learn 'twixt yourselves all your strifes to compose, A recourse to the law when you wrangle and roister, May probably end like the Friends and the Oyster, Too much in grasping A shadow you're clasping, — Ere you fly to the law, sing The Friends and the Oyster. The humour of the following song consists chiefly in making the phrase It is but a proper name, and shewing how it is the cause of some extravagance and even ruin in the world. XIV. THE 'TIS BUTS. I You ask me the secret by which we contrive On an income so slender so fairly to thrive ? INGENIOUS AND HUMOUROUS SONGS. 397 Why the long and the short of the matter is this, We take things as they come, and thus nought comes amiss, My sons are no sluggards, my daughters no sluts, And we still keep an eye to the main and 'Tis Buts. 2 Neighbour Squander's grand treat, — 'tis but so much, he says, And his wife's fine new gown, — 'tis but so much she pays ; ' Tis but so much the fair, 'tis but so much the His child's gew-gaws too, — His but that thrown away ; But each 'tis but grows on, till they run on so fast, That he finds 'tis but coming to want at the last. 3 Now something occurs, and he says, like a ninny, I'll buy it at once, for it is but a guinea ; And then something else, and he still is more willing, For it is but a trifle, it is but a shilling : m m S9S LETTER VII. Then it is but a penny, it is but a mite, 'Till the 9 Tis buts at last sum up — ruin out- right. 4 But, for my part, I ever these maxims would take, That a little and little a mickle will make ; Take care of the shillings, those vain wand'ring elves, And the pounds, my good friend, will take care of themselves ; If you quarter the road, you avoid the great ruts, And you'll run on quite smooth, if you mind the 'Tis Buts. Contentment's the object at which we should aim, It is riches and power and honour and fame, For our wants and our comforts, in truth, are but few, And ne'er purchase that thing without which you can do ; And this maxim of maxims most others, out cuts, If you'd thrive, keep an eye to the mam, and 'Tis Buts. INGENIOUS AND HUMOUROUS SONGS. 399 Another species of the comic Song is that in which some speaking is introduced in each verse, the music being suspended while that is going on. Mr. Dibdin is very happy at this kind of Song, and his best are, I think, The Auctioneer, The Town Crier, and The Margate Hoy, though there are some things in each which I wish were altered. Another very fruitful source of humour in songs is comic rhyme^ a subject upon which you have yourself, Sir, touched, both in your Essay on Song-writing, p. xix. and in your Letters on Poetry, p. 63 and 211. No author abounds in these like Butler, in his Hudibras,* a great part of the humour of * When this Letter was written I believe that the whole of my knowledge of Hudibras was from having read the first Canto some years ago, and perhaps part of the second ; and from having seen and heard particular passages quoted in books and in conversation, and which is, certainly, the most advantageous manner of relishing the excellencies of the work ; as there is a sameness in it, which palls in a continued perusal. In the Discourse on Wit and Humour, prefixed to the Second Volumeof The Treasury of Wit, by H..Bennet,m. a. p. xxxiv. the author says, " I have often thought that a book more valuable, and much more delightful, than Hudibras itself, might easily he made by extracting all the wit, or half the work, and arranging it in alphabetical common places." With this view, I have lately read Hudibras through, and itappearsto me that the wit is so interwoven with the story that there is but 400 LETTER tit which consists in the grotesque or forced rh yme* For it seems to be in this, as in comic wit, thaX some degree of surprise is necessary to occasion delight ; some word is given to which we do not expect that a rhyme can readily be found, or some word is produced to rhyme to it, which requires some degree of management, some little force or violence, to pronounce it so as to produce any thing like a similarity of sound, between which and its accustomed pronun- ciation, there is so much contrast as to excite a small portion of it which could stand by itself. But there is much profaneness, indecency and grossness throughout the work, that, were the exceptionable passages omitted, it would be*not only improved in that respect, but be less tiresome in the perusal. Having mentioned The Treasury of Wit it appears not to be irrelevant to the general design of this work to notice that it is one of those works, the execution of which does not answer the professed design. The Editor says of himself in his Pre- face, p, xvii. " Above all, be has been careful to admit nothing of that obscenity and impiety which often stain works of this kind. That obscenity and blasphemy are not wit, is as true as trite; for any fool may speak either, and the laughter is always at the speaker, not at the speech. Not a / word will be found in this work, that a virgin may not read to a company withouteitber blush, or fear of blushing." That this Collection is one of the best of the kind that I have seen, I am very ready to allow, but there appear to me to be several instances of indecency and impiety, which are not fit to be read either to a company or by any one to himself. (Feb. 12, 1811.) INGENIOUS AND HUMOUROUS SONGS. 401 the sensation experienced from the ridiculous : as in the following instances, And pulpit, drum ecclesiastic, Was beat with fist instead of a stick. Canto i. 1. 11. i A wight he was, whose very sight would Entitle him mirror of Knighthood. Do. 1. 15. That Latin was no more difficile, Than to a blackbird 'tis to whistle. Do. 1.53. Beside he was a shrewd philosopher, And had read every text and gloss over. Do. 1. 127. This seems to be a favourite word with Butler to make a rhyme to, we have it frequently besides : A deep occult philosopher, As learn' d as the Wild Irish are. Do. 1. 537. For, as some late philosophers Have well observ'd, beasts that converse With man take after him. — Do. 1. 789. There was an ancient sage philosopher That had read Alexander Ross over. Canto ii. 1. 1. Whatever sceptic could inquire for, For ev'ry why he had a wherefore. Canto i. 1. 131. This hairy meteor did denounce The fall of sceptres and of crowns. Do. 1. 247. Tho' it contributed its own fall, To wait upon the public do wnfal. Do. I. 255. If any yet be so fool-hardy, T' expose themselves to vain jeopardy. Do. 1, 695. MHl2 402 LETTER VII. When he's engag'd, and takes no notice, If any press upon him, who 'tis. Do. I. 701. Great actions are not always true sons Of great and mighty resolutions. Do. 1. 885. You mention the comic rhymes of Swift as being superior to those of Butler, (Letters on Poetry, p. 241.) a few of them shall be given, though it is difficult to find a poem of his of the humourous kind to which reference can be made with propriety. His Rhapsody On Poetry is perhaps as little liable to exception as any with which I am acquainted : And here a simile comes pat in : Though Chickens take a month to fatten, &c. In modern wit all printed trash is Set off with numerous breaks— and dashes- Convey by penny-post to Lintot, But let no friend alive look into 't. For you can ne'er be too far gone In all our modern critics jargon. Read all the prefaces of Dryden, And these our critics much confide in. A forward critic often dupes us With sham quotations, peri hupsous: And, if we have not read Longinus, Will magisterially out-shine us. Then lest with Greek he over-run ye, Procure the book for love or money, &c. Complain, as many an ancient bard did, How genius is no more rewarded. INGENIOUS AND HUMOUROUS SONGS. 403 Yet what the world refused to Lewis,. Applied to George, exactly true is. Exactly true! invidious poet ! 'Tis rifty thousand times below it. Translate me now some lines, if you can, From Virgil, Martial, Ovid, Lucan. It strikes me that something of the same kind of sensation, a surprize and pleasure is excited if the rhyme be particularly apt, if it comes pat in; as in the following instances from the same poem : While every fool his claim alledges, As if it grew in common hedges* And how agreeably surpriz'd Are you to see it advertiz'd I Be silent as a politician, For talking may beget suspicion. You lose your credit all at once ; The town will mark you for a dunce. Or like a bridge that joints a marish To moorlands of a different parish. His humble senate this professes In all their speeches, votes, addresses. And each perfection long imputed, Is fully at his death confuted. Judicious Rymer oft review, Wise Dennis, and profound Bossu. You raise the honour of the peerage, Proud to attend you at the steerage. 404 LETTER VII. The rhymes in Garrick's Epigram on Dr. Hill are very happy •. XXI. For physic and farces, His equal there scarce is; His farces are physic, His physic a farce is. The bad rhymes in the Epigram on Foote and Quin, given before, (p. 363.) add to the general effect of the piece. On this ground I trust the rhymes in the Song of The Onion, in the first volume of my collection, p. 342. may be defended. A compound rhyme is introduced in a song in your Vocal Poetry, (p. 237.) The subject is light, but it does not appear sufficiently hu- mourous to admit the comic rhyme : Friendship of another kind is, &c. Love, one grain is worth the Indies. In Congreve's song u Tell me no more I am deceiv'd, 1 ' (Essays on Song- Writing, p. 209.) we have the triple rhymes of common — woman and no man — and hard thing— farthing and bargain. The Song of The Tight Little Island is very good in its comic rhymes, and with a few alterations would be an excellent Song. I have been informed on good authority that it was a INGENIOUS AND HUMOUROUS SONGS. 405 favourite with the late amiable Bishop of London, who used to repeat the burden of it with great satisfaction. The Friends and the Oyster, given before, p. 394. contains some comic rhymes. The effect of these rhymes is heightened when still farther violence is done to a word, as where it is divided, and one or more syllables put at the end of one line as a rhyme, and the other, or the remainder carried on to the begin- ning of the next, as in that admirable burlesque Song, in the play of The Rovers, in the Poetry of the Anti-Jacobin : VERSE 5- There first for thee my passion grew, Sweet! sweet Matilda Poitingen! Thou wast the daughter of my Tu — — tor, Law Professor at the TJ — — Diversity of Goitiugen— — Diversity of Gottingea. 6. Sun, moon, and thou vain world, adieu* That kings and priests are plotting in: Here doom"d to starve on water gru — — el never shall I see the U — — Diversity of Gottingen — — Diversity of Gottingen. The compound rhyme has been sometimes ad- mitted into serious Songs, where, if it be suffered to pass, it certainly is not desirable. Collins introduces into his Date Obolum Bellisario: 406 LETTER VII. As the wise, great and good of thy frowns seldom 'scape aay, Witness brave Bellisarius who begg'd for a half-penny. This would occasion a laugh , did not the subject and the tune repress it. Again, But each conquest I gain'd, I made friend and foe know, That my soul's only aim was pro publico bono. In the Song of The Pilgrim, by Banyan, in his Pilgrim's Progress, (see my Collection, Vol. ii. p. 333.) a compound rhyme is intro- duced which would be much more in its place in a humourous composition : Whoso beset him round With dismal stones, Do but themselves confound, His strength the more is. Of no species of Song does there appear to me to be so few good specimens as of the Comic. Of those sung upon the stage, many depend upon the mere buffoonery of the performer for effect. Such, chiefly, were those written for the late Edwin, and other performers. Many of them are indelicate, and some very gross ; and many are upon subjects equally improper, as making fun of the natural infirmities of persons, which is the subject of one of the Songs in The Children in the Wood. Collins's are of a better kind, though they want much correcting. He is deficient in refinement, and INGENIOUS AND HUMOUROUS SONGS. 407 is sometimes gross and even profane. Mr. Dibdin's Comic Songs are, in my estimation, among our very best; though his, like the laurel, would flourish more under the pruning knife : I wish it could be said of Mr. D., as of the laurel, that he " loves the knife.". His Comic Songs have generally instruction, as well as wit and humour. I am, Sir, with great respect, Your &c. 408 LETTER Till. SACEED SONGS. Clare Hall. November 26, 1810. SIR, Having closed each of my former volumes of Songs with a class of Sacred Songs, I feel unwilling to bring this to a conclusion without giving some few specimens of compositions in the highest style, namely addresses to the Deity in whom € * we live and move and have our being", Acts xvii. 28. to whom we look for succour in our spiritual life in this world, and for everlasting happiness in the world to come. To enter upon a discussion of the excellence of Sacred Poetry and the requisites for it would lead me far beyond the limits which I must now prescribe myself; and, for the advantage of such of my readers as may wish to see something upon the subject, I will merely refer them to Dr. Watts's Preface to his Horae Lyricae and the authors he there mentions. After noticing those Chris- tians who (i imagine that poetry and vice are naturally a kin ; or at least, that verse is only fit to recommend trifles, and entertain our looser hours, but is too light and trivial a method to SACRED SONGS. 409 treat any thing that is serious and sacred", he says U They submit, indeed, to use it in divine psalmody, but they love the driest translation of the psalms the best." He then produces some of the most sublime and beautiful passages from the sacred writings, and adds, " Who is there now will dare to assert, that the doctrines of our holy faith will not indulge or endure a delight- ful dress ?" and quotes a passage from Rapin's Reflections upon Eloquence, in which he says, that " the majesty of our religion ; the holiness of its laws, the purity of its morals, the height of its mysteries, and the importance of every subject that belongs to it requires a grandeur, a nobleness, a majesty, and elevation of style suited to the theme : sparkling images and magnificent expressions must be used, and are best borrowed from scripture : let the preacher, that aims at eloquence, read the prophets inces- santly, for their writings are an abundant source of all the riches and ornaments of speech." Another passage, from Mrs. Barbauld's Thoughts on the Devotional Taste, shall be all I will add on this subject before I produce my specimens : " It is the character of the present age to allow little to sentiment, and all the warm and generous emotions are treated as romantic by the supercilious brow of a cold-hearted n n 410 LETTER VIII. philosophy. The man of science, with an air of superiority, leaves them to some florid declaimer who professes to work upon the pas- sions of the lower class, where they are so debased by noise and nonsense, that it is no wonder if they move disgust in those of elegant. and better informed minds. Yet there is a devotion generous, liberal, and humane, the child of more exalted feelings than base minds can enter into, which assimilates man to higher natures, and lifts him " above this visible diurnal sphere." Its pleasures are ultimate, and when early cultivated continue vivid even in that uncomfortable season of life when some of the passions are extinct, when imagination is dead, and the heart begins to contract within itself. Those who want this taste, want a sense, a part of their nature, and should not presume to judge of feelings to which they must ever be strangers. No one pretends to be a judge in poetry or the fine arts, who has not both a natural and a cultivated relish for them ; and shall the narrow-minded children of earth absorbed in low pursuits, dare to treat as visionary, objects which they have never made themselves acquainted with ? Silence on such subjects will better become them." P. 3. SACKED SONGS. 411 I. JUBILEE HYMN, FOR THE 25TH DAY OF OCTOBER, 1809* ON WHICH HIS MAJESTY ENTERED ON THE FIFTIETH YEAR OF HIS REIGN. BY THE REV. LEIGH RICHMOND. 1 Ye Christians, who dwell in Britannia's fair isle, Which our God has long bless'd with his pros- perous smile, Fill the Courts of the Lord, at your Sovereign's command, For the Jubilee trumpet resounds through the land. 2 ? Tis Gratitude's voice tliat proclaims the glad day!— Shall the soul that fears God, the high call disobey ? On the watch-towers of Israel we'll each take our stand, For the Jubilee trumpet resounds through the land. 4 IS LETTER Till, 3 We thank thee, O God, for the blessings we've prov'd, In the long-lengthen'd reign of a Monarch so lov'd; With loud gratulation we join in one band, For the Jubilee trumpet resounds through the land. 4 Whilst our Monarch the sceptre of Britain has sway'd, Religion and Truth happy progress have made ; We confess this support of thy merciful hand, Now the Jubilee trumpet resounds through the land. 5 Distant Africa's sons shall unite heart and voice, For her chains are no more — let her freemen rejoice — They shall echo the chorus that freedom de- mands, For the Jubilee trumpet resounds through both lands. 6 Whilst our offerings of mercy we cheerfully bring, 'Tis our heart's supplication, O God, save the King! SACRED SONGS. 413 On thy church and thy people, a blessing command, For the Jubilee trumpet resounds through the land. Fear God, honour the King.— 1 Pet. ii. 17. II. AN ODE ON HIS MAJESTY'S ILLNESS, 1789. BY ANNE FRANCIS. 1 Long fix'd in this rural retreat, To pleasures domestic confin'd, No troubles, I thought, of the great Could ruffle the calm of my mind : Each morning contented I rose, And blest the return of the light ; At even prepar'd for repose, And quietly slept thro' the night. 2 The moments thus glided away, Reliev'd by the Muse, with a song ; So cheerfully pass'd the long day, That I never once thought it too long ; N n2 414 LETTER V11I. For friendship, with love in her train, Enraptured the moments that flew ; And the forest and furze-skirted plain Were objects still dear to the view. 3 But, ah ! what sad tidings I hear ! With anguish I list to the tale! My eye is surcharg'd with a tear, And I sigh to the sorrowing gale ! The heart that is human must mourn, The tear of compassion will flow : Will the bright-sun of healing return — • To gild this horizon of woe ? 4 O, Lord of soft mercy, attend ! The ragings of frenzy controul, Bid the beams of refreshment descend, And relume the dark sphere of his soul ! In pity — oh ! hear us complain ! In mercy — attend to our prayer ! Assist him his woes to sustain, And shield his sad mind from despair ! 5 O, listen awhile to the lay, — The motive that prompts me to sing Is the homage affection would pay — To the man whom I love as my King 1 SACRED SONGS. 415 How sweet are the tones of the lyre — When duty engages the song ! When gratitude breathes on the wire, And wafts the soft measures along ! 6 The forest and furze-skirted plain No longer afford me delight ; The landscape is varied in vain, The objects grow dim on the sight : I feel for the woes of the great, My heart is with anguish opprest ; No language, alas ! can relate The sorrow that saddens my breast. 7 ■ May the bright-sun of healing return ! The source of sweet-comfort descend ! Our hearts shall with gratitude burn, Till life, and till gratitude end : Then, aloft in the mansions of air Enraptur'd we'll strike the bold strings — Loud Anthems of glory prepare — To the Lord — the protector of Kings. 416 LETTER VIII. III. AN ODE ON HIS MAJESTY'S RECOVERY, 1789. BY THE SAME. TtiNE : The Hymn of Eve. 1 Sound, Lute, the sweet concords of praise! Enraptur'd I strike the bold string, Loud Anthems of gratitude raise, For God has restor'd us our King ! Pale Faction in solitude mourns ! Leave the tears of her Minions to flow,; The bright sun of healing returns, And gilds the horizon of woe. 2 See, the Monarch from languor arise ! He bends at the footstool of grace ; Fair gratitude beams from his eyes, And devotion illumines his face ! See the circle of virtue attend, With looks of complacence and love \ Their raptures like incense ascend — And Angels record them above. SACilED SONGS. 417 3 What bosom but throbs with delight, When fancy presents to the mind The Pair whom such virtues unite, — The blessing, and joy of mankind I O ! long may the God they adore Grant life, unimpair'd by alloy ! When life is a blessing no more — Transport them, to mansions of joy ! 4 O Lord of sweet mercy, to thee — With fervent devotion I sing ; My spirit, exalted and free, Exults in the praise of my King ! O, grant, that a subject's faint pray'r May reach thy celestial abode ! Wing the theme thro' the regions of air y And give it access to my God. 5 To devotion He temper'd the clay Embellish'd and form'd by his hand, — Soon the mind caught the heav'nly ray. And, instant, began to expand ; Devotion enraptur'd the tongue, The passions confess'd its controul, — And blest were the transports that sprung All warm and direct from the soul ! 418 LETTER VIII. 6 Now bless'd be the God we adore ! Who pours down his balm from above ! Who smites in displeasure no more — But turns with refreshment and love : The boon shall our gratitude raise, And urge, in full chorus, to sing, — , Till the forest, made vocal with praise, Re-echo with — Gob Save the King. IV. AN ODE, SUNG AT EDGEFIELD CHURCH, NORFOLK, BY THE SCHOLARS OF THE SUNDAY SCHOOL, ON THE 23D OF APRIL, 1789. BEING THE DAY OF THANKSGIVING FOR HIS MAJESTY'S RECOVERY. BY THE SAME. 1 Britons, your voices raise, Sound the full chords of praise, Strike the loud string : Let's in full chorus join, To our great God, benign, Who bids his mercy shine On George our King. SACRED SONGS. 419 2 O Lord, our God, attend, — While the pure themes ascend On raptur'd wing ; Accept the grateful strain ; Long may our Monarch reign, Exempt from care and pain — Long live the King. 3 Hark ! the long aisle rebounds ! Raise the seraphic sounds, Hosannas sing ! Join, ye attentive throng — Swell the ecstatic song, With notes sublime, and strong — To God, our King. V. THANKSGIVING HYMN ; FOR THE KING'S RECOVERY, 1789. BY G. W. LEMON JUN. 1 Oh, God of comfort! deign To hear the humble strain Which now we sing ; 420 LETTER VIH. Kneeling before thy throne, Let us that mercy own, Which thou hast lately shewn To our blest King. Grant him in peace and wealth, Long to enjoy his health, — God save the King. O let thy mighty arm Shield him from ev'ry harm, O save from each alarm, George, our blest King. o O Here, while to thee we bend, Lord ! let thy grace descend On silver wing ! Let our glad hearts express Our grateful happiness ; Grant we may long possess Great George, our King. 4 Laud Him, who once again Rais'd from the bed of pain Our gracious King ! Praise ! — Praise the Lord on high, Sound his name to the sky, And let all voices cry Long live the King ! I SACRED SONGS. 421 VI. 1 WILL PRAISE THE LORD AT ALL TIMES. CY COWPER. I Winter has a joy for me, While Xhe Saviour's charms I read, Lowly, meek, from blemish free, In the snow-drop's pensive head. 2 Spring returns, and brings along Life-invigorating suns : Hark ! the turtle's plaintive song, Seems to speak his dying groans ! 3 Summer has a thousand charms, All expressive of his worth ; 'Tis his sun that lights and warms, His the air that cools the earth. 4 What, has Autumn left to say Nothing of a Saviour's grace ? Yes, the beams of milder day Tell me of his smiling face, o o 4:22 LETTER VIII. 5 Light appears with early dawn ; While the sun makes haste to rise, See his bleeding beauties drawn On the blushes of the skies. Ev'ning, with a silent pace, Slowly moving in the west, Shews an emblem of his grace. Points to an eternal rest. VII. THE THUNDER-STORM. BY JAMES MONTGOMERY. 1. O for Evening's brownest shade! Where the breezes play by stealth In the forest-cinctur'd glade, Round the hermitage of Health : While the noon-bright mountains blaze In the sun's tormenting rays. SACRED SONGS. 423 2 O'er the sick and sultry plains, Through the dim delirious air, Agonizing silence reigns, And the wanness of despair : Nature faints with fervent heat, Ah ! her pulse hath ceas'd to beat ! 3 Now in deep and dreadful gloom, Clouds on clouds portentous spread, Black as if the day of doom Hung o'er Nature's shrinking head: Lo! the lightning breaks from high, — God is coming ! — God is nigh ! 4 Hear ye not his chariot wheels, As the mighty thunder rolls ? Nature, startled Nature reels. From the centre to the poles : Tremble ! — Ocean, Earth, and Sky ! Tremble ! — God is passing by ! 5 Darkness, wild with horror, forms His mysterious hiding-place ; Should He, from his ark of storms, Rend the veil and shew his face, At the judgment of his eye, All the universe would die. 424 LETTER VIII. 6 Brighter, broader lightnings flash. Hail and rain tempestuous fall : Louder deeper thunders crash, Desolation threatens all ; Struggling Nature grasps for breath In the agony of death. 7 God of Vengeance ! from above. While thine awful bolts are hurl'd, O remember TIigu art Love ! Spare ! O spare a guilt y world ! Stay Thy flaming wrath awhile, See Thy bow of promise smile I 8 Welcome, in the eastern cloud, Messenger of Mercy still ! Now, ye winds ! proclaim aloud, " Peace on Earth, to Man good wilU ,r Nature! God's repenting child, See thy Parent reconciled ! 9 PI ark ! the nightingale, afar, Sweetly sings the sun to rest y And awakes the evening star In the rosy-tinted west : While the moon's enchanting eye Opens Paradise on high ! SACRED SONGS. 425 10 Cool and tranquil is the night, Nature's sore afflictions cease, For the storm, that spent its might, Was a covenant of peace : Vengeance drops her harmless rod ! Mercy is the POWER OF GOD ! VIII. CHARITY. BY MRS. BARBAULD. 1 Behold, where, breathing love divine, Oar dying master stands ! His weeping follow 'rs gath'ring round, Receive his last commands. 2 From that mild Teacher's parting lips What tender accents fell ! The gentle precept which he gave Became its author well. oo2 426 LETTER VIII. 3 Blest is the man, whose soft'ning heart Feels for another's pain ; To whom the supplicating eye Was never rais'd in vain : 4 Whose breast expands with gen'rous warmth A stranger's woes to feel ; And bleeds in pity o'er the wound He wants the pow'r to heal. He spreads his kind supporting arms To ev'ry child of grief; His secret bounty largely flows, And brings unask'd relief. 6 To gentle offices of love His feet are never slow ; He views thro' mercy's melting eye A brother in a foe. Peace from the bosom of his God, My peace to him I give ; And when he kneels before the throne His trembling soul shall live. SACRED SONGS. 427 8 To him protection shall be shewn, And mere j from above Descend on those who thus fulfil The perfect law of love. IX. A REFLECTION. BY WM. HOLLOWAY. In the midst of Life we are in Death. 1 E'en in the midst of life and hope. Dependent on a breath, To buoy a frail existence up, Are we, alas ! in death. 2 The weary day of Age must close In evening shadows soon ; And those on whom the morning rose, May never see the noon. l s The sturdiest heart, at length o'ertir'd, Obtains its long release ; And number'd out each pulse required, Shall throb itself to peace. 428 LETTER VIII. 4 The finest fibre of the brain, Distorted or opprest ; The valve of one life-streaming vein Obstructed in the breast, 5 Then, not by art to be repair'd, To dust, from whence it came — Its virtues, birth, nor titles spar'd, Down sinks this fragile frame. 6 Lord ! shall the creature of a day, — The insect of an hour, The vanity of pride betray, Or insolence of pow'r ? 7 The nameless ills that sweep away This perishable dust, Should teach Humanity to stay On earth no more its trust. 8 O ! to anticipate that bliss Be hope and faith employ 'd, Where souls a body shall possess, That ne'er can be destroy'd. S A CUED SONGS. 429 X THE. DEATH OF THE RIGHTEOUS. I Sweet is the scene when Virtue dies. When sinks a righteous soul to rest ; How mildly beam the closing eyes ! How gently heaves th' expiring breast ! So fades a summer cloud away : So sinks the gale when storms are o'er z So gently shuts the eye of day : So dies a wave along the shore.- 3 Triumphant smiles the victor brow, Fann'd by some angel's purple wing. O Grave ! where is thy vict'ry now ? Invidious Death ! where is thy sting ? 4 A holy quiet reigns around ; A calm which nothing can destroy ; Nought can disturb that peace profound, Which their unfetter'd souls enjoy. 430 LETTER VIII. 5 Farewell ! conflicting joys and fears, Where lights and shades alternate dwell ! How bright th' unchanging morn appears ! Farewell ! inconstant World ! Farewell ! 6 Its duty done, as sinks the day, Light from its load, the spirit Hies ! While Heaven and Earth combine to say, " Sweet is the scene when Virtue dies." XI. THE CHRISTIAN'S RESURRECTION, BY ADDISON. 1 When rising from the bed of death 5 O'erwhelm'd with guilt and fear, I see my Maker face to face, O how shall I appear ! If jet while pardon may be found, And mercy may be sought, My heart with inward horror shrinks, And trembles at the thought ; SACRED SONGS. 431 3 When thou, O Lord, shalt stand disclos'd In Majesty severe, And sit in Judgment on my soul, O how shall I appear ! 4 But thou hast told the troubled mind, Who does her sins lament, The timely tribute of her tears Shall endless woes prevent. 5 Then see the sorrows of my heart, Ere yet it be too late ; And hear a Saviour's dying groans To give those sorrows weight. 6 For never shall my soul despair Her pardon to procure, Who knows thy only Son has dy'd To make her pardon sure. LETTER VIII. XII. EVENING HYMN. BY SIR THOMAS BROWN. 1 The night is come like to the day ; Depart not thou, great God, away., Let not my sins, black as the night. Eclipse the lustre of thy light. Keep still in my horizon ; for to me The sun makes not the day, but Thee, 2 Thou, whose nature cannot sleep, On my temples sentry keep ; Guard me 'gainst those watchful foes, Whose eyes are open while mine close. Let no dreams my head infest, But such as Jacob's temples blest. 3 While I do rest, my soul advance. And make my sleep a holy trance ; That I may, my rest being wrought. Awake into some holy thought; And, with an active vigour, run My course, as doth the nimble sun. SACRED SONGS. 433 4 Sleep is a death, O make me try, By sleeping, what it is to die ; And as gently lay my head On my grave as now my bed. Howe'er I rest, great God, let me Awake again at last with thee. 5 And, thus assur'd, behold I lie Securely, or to wake or die. These are my drowsy days ; in vain I do now wake to sleep again : O come that hour, when I shall never Sleep again, but wake forever. XIII. AN EVENING HYMN. BY JAMES HOGG. 1 O Thou, whose glory shines sublime In morning's dawn or evening skies, Who, since the bud of fading time, Mad'st evening fall and morning rise pp 434 LETTER Till. 2 That Thou art great, these glowing spheres To every studious eye must shew ; That Thou art good as well appears In every field and mountain's brow, 3 That hand, which pois'd the orbs that sail Around yon sky of purest blue ; That hand hath made this lowly vale, And on it shed the evening dew. I see Thee in the stars that soar Slow beaming o'er the southern sea, As well as in the bounteous store That flows to nature and to me. 5 The music of the vernal grove, Borne on the breeze, is all of Thee, As well as sacred choirs above Who in thy presence bow the knee. 6 In Thee the insects live and move, In Thee yon suns and planets shine, All rest in thy upholding love, Great Soul of nature ! Power Divine ! ftACRED SONGS. 435 7 While musing on thy marvellous might, Display'd in yonder starry frame, Direct the fair impression right, And teach me to adore Thy Name. XIV. HYMN FOR SHEEP-SHEARING. ISAIAH LIII. 7, 5. 1 When, dumb, beneath the shearer's hand, The patient sheep extended lies, The Prophet's words I understand, Who speaks of Christ's blest sacrifice. 2 As Lamb unto the slaughter brought, From spot and blemish wholly free, With that dear blood my life was bought, He died a sacrifice for me. 436 LETTER VIII. 3 For our transgressions was he slain, With his dread stripes we all are heal'ch For us he died, and rose again, And thus the Gospel-light reveal'd. 4 All, who in him shall righteous prove, He, at the latest day, shall raise, To live with him in endless love, And join the blest in songs of praise. J. P. XV. CHRIST IN THE MANGER. BY CHRISTOPHER SMART. INTRODUCED INTO THE ORATORIO OF REDEMPTION, 1 Where is this stupendous stranger, Swains of Solyma, advise ; Lead me to my master's manger ; Shew me where my Saviour lies. SACRED SONGS. 437 2 Oh ! most mighty, Oh ! most holy, Far above the Seraphs' thought, Art thou then so meek and lowly As unheeded prophets taught ? 3 Oh I the magnitude of meekness, Worth from Worth immortal sprung ; Oh ! the strength of infant weakness, If Eternal is so young ! 4 God all-bounteous, all-creative, Whom no ills from good dissuade, Is incarnate, and a native Of the very world he made. XVI. THE REDEEMER. I Mighty God ! while Angels bless thee, May an infant lisp thy name ? Lord of men as well as Angels, Thou art ev'ry creature's theme. pp2 438 LETTER VIII. 2 Lord of ev'ry land and nation, Ancient of eternal days ! Sounded thro' the wide creation Be thy just and lawful praise. 3 For the grandeur of thy nature, Grand beyond a Seraph's thought; For created works of power, Works with skill and kindness wrought ; 4 For thy providence, that governs Thro' thy empire's wide domain ; Wings an Angel, guides a sparrow, Blessed be thy gentle reign. 5 But thy rich, thy free redemption, Dark thro' brightness all along ; Thought is poor, and poor expression, Who can sing that awful song ? 6 Did Arch-angels sing thy coming ? Did the shepherds learn their lays ? Shame would cover me ungrateful, Should my tongue refuse to praise. SACRED SONGS. 439 7 Brightness of thy Father's glory! Shall thy praise unutter'd lie ? Fly, my tongue, such guilty silence, Sing the Lord who came to die. 8 From the highest throne in glory, To the cross of deepest woe, All to ransom guilty captives — Flow, my praise, forever flow. 9 Go, return, immortal Saviour, Leave thy footstool, take thy throne ; Thence return, and reign forever, Be the kingdom all thine own. XVII. THE DAY OF JUDGMENT, A HYMN, FR0M THE LAY OF THE LAST MINSTREL, 1 That day of wrath, that dreadful day, When heaven and earth shall pass away, What power shall be the sinner's stay ? How shall he meet that dreadful day ? 440 LETTER VIII. 2 When, shrivelling like a parched scroll, The flaming heavens together roll ; When louder yet, and yet more dread, Swells the high trump that wakes the dead ; 3 O ! on that day ! that wrathful clay, When man to judgment wakes from clay, Be Thou the trembling sinner's stay, Though heaven and earth shall pass away ! XVIII. BEFORE JEHOVAH'S AWFUL THRONE. BY THE REV. G. WHITEFIELD. Tune: Denmark* 1 Before Jehovah's awful throne, Ye nations, bow with sacred joy, Know that the Lord is God alone, He can create, and he destroy. SACRED SONGS. 441 2 His sov'reign pow'r, without oar aid, Made us of clay and form'd us men, And when like wand'ring sheep we stray'd, He brought us to his fold again. 3 We'll croud thy gates with thankful Songs, High as the heav'ns our voices raise, And earth with her ten thousand tongues Shall fill thy courts with sounding praise. 4 Wide as the world is thy command, Vast as eternity thy love, Firm as a rock thy truth must stand When rolling years must cease to move. XIX. THE LORD'S PRAYER. BY DR. ADAMS, MASTER OF PEMBROKE COLLEGE, OXFORD. 1 Father of all ! be thou alone In heaven and earth ador'd ! Earth is thy footstool, heav'n thy throne, Thou universal Lord I 442 letter vnr, 2 What pow'r to praise thee, and obey 7 Thy grace to man hath giv'n, That praise and duty let him pay, 'Till earth resemble heav'n. 3 This day be bread and peace our lot : All else beneath the sun Thou know'st if best bestow'd or not ; And let thy will be done.* 4 Thy love expecting, let us love, Reliev'd, let us relieve : Thy pity let our pity move ; Forgive, as we forgive. 5 When from without temptations come r Or lusts inflame within, Thy grace descend, and save us from The greatest evil, sin. 6 Supreme in power I all nature waits Obedient at thy call ! O first ! O last ! for thought too great, O source and end of all ! * This verse is from Pope's Universal Prayer, See Vol. % of my Collection, p. 416. SACRED SONGS. 443 XX. GOD EXALTED ABOVE ALL PRAISE. BY DR. WATTS. Eternal Power ! whose high abode Becomes the grandeur of a God ; Infinite length beyond the bounds Where stars revolve their little rounds. 2 The lowest step above thy seat Rises too high for Gabriel's feetj In vain the tall arch-angel tries To reach thine height with wond'ring eyes. 3 Thy dazzling beauties whilst he sings He hides his face behind his wings ; And ranks of shining thrones around Fall worshipping, and spread the ground. 4 Lord, what shall earth and ashes do ? We would adore our Maker too ; From sin and dust to thee we cry, " The Great, the Holy, and the High !" 444 LETTER VIII. 5 Earth from afar has heard thy fame, And worms have learnt to lisp thy name ; But O ! the glories of thy mind Leave all our soaring thoughts behind. 6 God is in heaven, and men below ; Be short, our tunes ; our words be few ; A sacred reverence checks our songs, And praise sits silent on our tongues. And, now, Sir, in concluding, I wish to express sentiments which, I trust, will accord with those in my first letter. Well aware of the extreme difficulty of writing controversy so as to keep within the bounds which should ever be prescribed to the gentleman and the Christian, I have endeavoured to " set a watch" — " before my mouth, and keep the door of my lips." Psalm cxli. 3. But, if, in the course of these letters, written at different times, and under various circumstances of health, of spirits and of business, any expression shall have escaped which may give offence to you, I intreat you to impute it to any other motive, rather than to disrespect, or to want of Christian love. That SACRED SONGS. 445 I disapprove the work in question is the cir- cumstance which has given rise to these letters and to the expressions of disapprobation which it has been necessary to employ. These, how- ever, I am well aware it is my duty to use with moderation, urbanity and charity. In sitting down to this task, I felt some reluctance, from the general respect which I bear to your cha- racter, both literary and personal ; and I here declare that respect to have been considerably increased during the progress of the work from the various productions of your pen which I have read, and read in general with admiration. The reception which this work may meet from you and from the world, is as yet unknown. I have mentioned this subject at the conclusion of my Vth Letter, but, since that was written, my attention has been directed to the example of the Poet Spenser, who having in the early part of his life written two Hymns in Honour of Love and of Beauty, and, as he advanced in years, thinking them calculated to do hurt, he published two others to counteract their effects. Though I do not consider even these two as unexceptionable, yet the example of a writer endeavouring to repair any damage his writings may have done is highly commendable and Qq 446 LETTER VIII. worthy of imitation.* His ideas upon the subject are expressed in his Dedication of them — " To the Right Honourable and most Virtuous Ladies, the Lady Margaret, Countess of Cumberland, and the Ladj/ Mary, Countess of Warwick. Having in the greener times of my Youth, composed these former two Hymns in the praise of Love and Beauty, and finding that the same too much pleased those of Like Age and Disposition, which being too vehemently carried with that kind of affection, do rather suck out poison to their strong passion, than honey to their honest delight ; I was moved by the one of you two most excellent Ladies, to call in the same. But being unable so to do, by reason that many Copies thereof were formerly scattered abroad, I resolved at least to amend, and by way of retractation to reform them, making (instead of those two Hymns of earthly or natural Love and Beauty) two others, of hea- venly and celestial. The which I do dedicate * More may be seen on this subject in the Notes to my Dis- courses on the Stage, p. 2J1, &c. SACRED SONGS. 447 joyntly unto you two honourable sisters, as to the most excellent and rare ornaments of all true Love and Beauty, both in the one and the other kind : humbly beseeching you to vouchsafe the Patronage of them, and to accept this my humble service, in lieu of the great graces and honourable favours which ye daily shew unto me, until such time as I may by better means, yield you some more notable testimony of my thankful mind and dutiful happiness. And even so I pray for your happiness. Your Honours most bounden ever in all Humble Service, Edm. Spenser." Greenwich, this first of September, 1596. But, Sir, whatever may be the reception of this work, I have at least this satisfaction to derive from it, that I have been pursuing a sub- ject, which I had before taken up from a due consideration of its importance. And of the satisfaction to be derived from a consciousness of having been discharging my duty, neither neglect nor obloquy can (it is hoped) deprive me ; nor, I trust, should I be so fortunate as to be received with favour, shall I be unduly elated by success. 448 LETTER VIII. With sentiments of great respect and esteem, and with sincere wishes for your health and prosperity, I am, Sir, Your obedient humble Servant, JAMES PLUMPTRE. 449 INDEX I. TO THE SONGS QUOTED OR CRITICIZED IN THIS VOLUME ACCORDING TO THEIR FIRST LINES. N. B. By means of this Index the Reader may ascertain whether any Song in any other Collection is noticed in this work ; and any Reader not possessed of either of Dr. Aikin's Publications will probably find many of the Songs here noticed, by referring to the Indexes of any other Collections of Songs which he may have. Page. A Blacksmith you'll own is so clever - - 372 A Chieftain to the Highlands bound - - 332 A Cohler there was and he liv'd in a stall - - 352 A courting I went to my love (No. 9. p. 39. Humphry Gubbin's Courtship) 351 A dawn of hope my soul revives - 353 Adieu to the village delights - - 339 Ah! cruel maid, how hast thou chang'd - - 331 Ah! tell me not that jealous fear - - - 244 Ah ! tell me no more, my dear girl, with a sigh - 247 Ah ! the Shepherd's mournful fate - s - 235 Ah! why must words my flame reveal - - 356 Alexis shunn'd his fellow swains - 53 All in the Downs the fleet was moor'd 46 All my past life is mine no more - 268 An amorous Swain to Juno prny'd - 279 Anna, thy charms my bosom fire - 340 A nymph of ev'ry charm possess'd - 332 A plant there's in my garden grows (The Onion) - 404 A poor soul sat sighing under a Sicamore tree (No. 8. p. 7.) 33S.341 Qq2 450 INDEX I. Page, A rose had been wash'd, just wash'd in a shower - 102 As Ariana, young and fair - - - - 280 Ask'st thou how long my Jove will stay - 331. 340 As on a summer's day .... 52 Ask if yon damask rose be sweet ... 334. As near a weeping spring reclin'd ... 243 Aspasia rolls her sparkling eyes - - 280. 384 As pensive Chloe walk'd alone ... 350 At Cynthia's feet I sigh'd, I pray'd - - 280 At morn and eve to thee I pray ... 357 Ave Maria! maiden mild, (Hymn to the Virgin) - 357 Awake, awake, my lyre .... 262 Away, let nought to love displeasing - - 256 Away with these self-loving lads ... 329 A wretch long tortur'd with disdain ... 263 Be it right or wrong, these men among - - 342 Bid me when forty winters more - - - 277 Blest as the immortal gods is he - - 234. 340. 355 Boast not, mistaken swain, thy art - - 261 Born in yon blaze of orient sky ... 105 Bow the head, thou lily fair 280 Busy, curious, thirsty fly ! ... 194 By the gaily circling glass ... - 193 Can love be controled by advice ... 254 Can loving father ever prove ... 252 Cease, rude Boreas, blustering railer - - 357 Celia hoard thy charms no more - - - 271 Celia too late you would repent ... 271 Chloe brisk and gay appears - - - 271 Chloe's the wonder of her sex ... §69 Chloris, yourself you so excel - - - 274 Come, all ye youths whose hearts e'er bled - 250 Come, dear Amanda, quit the town - - 100 Come, gentle god of soft repose - - - 280 INDEX I. 451 Page. Come here, fond youth, whoe'er thou be - 240. 338 Come, let us now resolve at last - - 250 Come, little infant, love me now - - 280 Come live with me and be my love - - 332 Come Shepherds we'll follow the hearse - 56 Come tell me where the maid is found - 273 Come, thou rosy-dimpled boy, (Valentine's Day J 245 Corinna cost me many a prayer - - 267 Crabbed age and youth - - - 341 Cries Damon, teiz'd by dearest life - - 351 Cruel invader of my rest - 335 Cynthia frowns whene'er I woo her - 263 Daddy Neptune one day, (The Tight Little Island) 404 Damon, if you will believe me 265 Daphnis stood pensive in the shade 53 Dear Chloe, what means this disdain - - 333 Dear Chloe, while thus beyond measure - 255 Dear Colin, prevent my warm blushes - 266 Dear is my little native vale - - 100 Despairing beside a clear stream - - 51. 339 Dorinda's sparkling wit and eyes - - 264 Dried be that tear, my gentlest love - 244 Drink to me only with thine eyes - - 328. 356 Drunk as a dragon sure is he - - 358 Echo, tell me whilst I wander Encompass'd in an angel's frame 356 335. 338 Fair Amoret is gone astray - - 264 Fair, and soft, and gay, and young - - 253 Far in the windings of a vale, (Edwin and Emma) 62 Fickle bliss, fantastic treasure - - 261 Five thousand years have roll'd away - 352 Fly, thoughtless youth, th' enchantress fly - 277 Forever, Fortune, will thou prove - - 255. 356 45£ INDEX I. Page. Forgive, ye fair, nor take it wrong - - 351 From all uneasy passions free - 250 From anxious zeal and factious strife - 333 From place to place, forlorn, I go - 251 From thee, Eliza, I must go - - 339. 353 From the white-blossonTd sloe - - 356 Gentle air, thou breath of lovers - - 260 Give me more love or more disdain - - 264 Goe, soule, the bodies guest - - 343 Go, lovely rose ! - - - - 268 Good madam, when ladies are willing - 266 Go, tell Amynta, gentle swain - - 237 Hail to the myrtle shade - 248 Hard is the fate of him who loves - - 241 Hark, hark, 'tis a voice from the tomb- - 332 Heaven's gifts are unequal in this world awarded, (Roman Veteran) - 31.405. He that loves'a rosy cheek - 259 He was fam'd for deeds of arms . - - 359 How blest has my time been - - 330 How bright the sun's declining rays - - 257 How long shall hapless Colin mourn - 339 How stands the glass around - - 358. 359 How sweet in the woodlands - - 355. 359 How yonder ivy courts the oak - - 333 I do confess thou'rt smooth and fair - - 262 I envy not the proud their wealth - - 335 If all the world and love were young - 332 If ever thou didst joy r to bind - - 241 If life like a bubble evaporates fast - 358 If love and reason ne'er agree - - 258 If truth can fix thy wavering heart - - 268 If wine and music have the power • - 238 I have a silent sorrow here - 251 INDEX I. 453 Pa?e. I mark'd lire madly-rolling eye - - 106 In a cottage emhosom'd within a deep shade - 331 In Bath a wanton wife did dwell - - 344. 357 I ne'er could any lustre see - 333 I never knew a sprightly fair - - 331 In the down-hill of life when I find I'm declining, (To-morrow) 372 In vain, dear Chloe, you suggest - - 274 In vain, fond youth, thy tears give o'er - 256 I talk'd to my fluttering heart - - 103 I tell thee, Charmion, could I time retrieve - 265 It is not, Celia, in our power ' - - 262 It was a Friar of Orders Gray - - 57 It was a winter's evening • 48 John Bull for pastime took a prance, (Nongtongpaw) 31 Late when love I seem'd to slight - - 404 Lesbia, live to love and pleasure - - 245 Let ambition fire thy mind - 101 Let the ambitious favour find - - 249 Lo qwhat it is to lufe ... 353 Love and folly were at play - - 278 Love arms himself in Celia's eyes - - 260 Love's a dream of mighty treasure - - 269. 351 Love's but the frailty of the mind - - 264 Lucy I think not of thy beauty - - 102 Mary I believ'd thee true ... 340 Mihiest propositum in Taberna mori - 200 Mistaken fair, lay Sherlock by - 279. 351. 357 Mirth be thy mingled pleasures mine, (Anacreontic Glee) --- - 201 Mortals learn your lives to measure - 190 My banks they are furnish'd with bees, (Pastoral Ballad) - 55 My dear mistress has a heart * - 249 454 index i. Page;, My friends all' declare that my time is mispent - 355 My love was fickle once aDd changing - 261 My sheep I neglected, I broke my sheep-hook - 330 My temples with clusters of grapes I'll entwine - 334 My time, O ye muses, was happily spent • 330 No glory I covet, no riches I want - 99. 351 No ro^re my song shall be,, ye swains - 356 Not, Celia, that 1 juster am - 262. 351 Not on beds of fading flowers - - 100 Now see my goddess earthy born - • 246 Now spring returns but not to me returns - 353 © clear that cruel doubting brow ! - - 270. 356 O'er moorlands and mountains, (Content) - 56 Of all the girls that are so smart - - 331 Of all the trades I e'er did see, (Blacksmith) - 372' Of Leinster fam'd for maidens fair, (Colin and Lucy) 5§ ; Oft on the troubled ocean's face - - 250 Oil f Henry, sure by every art - - 257 O hone a rie'f O bone a rie'! (Lord Ronald) 29. 58 Ob ! how could I venture to luve ane like thee 339 Oh ! how vain is ev'ry blessing - - 335 Oh ! what a pain it is to love - - 357 Oh ! what is the gain of restless care - - 100 Oh yes, oh yes, oh yes! Lost or mislaid, (Towncrier) 399 Oh ! young Lochinvar is come out of the west 50 O memory thou fond deceiver - - 101 On a bank beside a willow - - 277 O Nancy wilt thou go with me 256 On Belvidera's bosom lying - - 261 On every hill, in every grove - - 237 One morning very early, (Maid in Bedlam) * 47. 339 One parting kiss my Etheliude - - 280 On Richmond hill there lives a lass - - 339 Our vicar still preaches, (Soldier's Song) Note - 190 INDEX I. 455 Page. Pain'd with her slighting Jamie's love - 354 Preach not me your musty rules - - J92 Prepar'd to rail, resolv'd to part - - 250 Pretty parrot, say, when I was away - 269 Pursuing beauty, men descry - - 273 Round Love's Elysian bowers - - 260 Say, lovely dream, where could'st thou find - 271 Say, Myra, why is gentle love - . 262 Says Plato, why should man be vain - 334 Say, sweet carol ! who are they > - 105 Shall I wasting in despair - . 262. 343 She loves and she confesses too - . 271 Should some perverse malignant star . 274 Sigh no more ladies - 39g Soft Zephyr on thy balmy wing - - 338 Standing one summer day on the Tower Slip, (Margate Hoy) - 30A Stella and Flavia every hour - - 274 Still to be neat, stiil to be drest - - 260 Strep hon has fashion, wit and youth - 26 L Strephon when you see me fly - . 245 Swain, thy hopeless passion smother - 269 Sweet are the charms of her I love - - 329 Sweet maid, if thou wouldst charm my sight - 334 Sweet maid, I hear thy frequent sigh - 243 Take, oh take those lips away - - 267 Tell me no more how fair she is 120 Tell me no more I am deceived - . 275. 404 Tell me no more of pointed darts - - 335 Tell me not I my time misspend - - 278 Tell my Strephon that I die - - 251 That which her slender waist confin'd (Lady's Girdle) 267 The Auctioneer mounts, and, first hawing and hemming 399 The gloomy night is gathering fast - - 103 456 INDEX I, Page. The Graces and the wandering Loves - 260 The heavy hours are almost past - - 238 The merchant to secure his treasure - - 355 The lawland lads think they are fine, (No. xi. p. 44.) 357 The moon had climb'd the highest hill - 353 The Ploughman whistles o'er the furrow - 31. 80 There is one dark and sullen hour - - 252 There was a jolly miller once - - 352 The rose had been wash'd - 102 The shape alone let others prize - - 248 The sunsets in night, and the stars shun the day - 353 The sun was sunk beneath the hill 54 The sweet-briar grows in the merry green wood, (The Mulberry Tree) 372 The tears I shed must ever fall - - 241 The thirsty earth drinks up the rain - - 197 The wanton troopers riding by - - 344 The western sky was purpled o'er - - 64 The wretch condemn'd with life to part - 301 The wretch O let me never know - - 256 Think no more, my gentle maid - - 255 Tho' Bacchus may boast of his care-killing bowl 358 Tho' cruel you seem to my pain - - 253 Thro' groves sequester'd, dark and still ' - £9 Thy fatal shafts unerring move - - 235 Time has not thin'd my flowing hair - - 351 'Tis now since I sat down before - - 271 To all you ladies now at land - - 331 To fair Fidele's grassy tomb - - 104 To him who in an hour must die - - 340 Tom Tackle was noble was true to his word - 31 Too plain, dear Youth, these tell tale eyes - 244 To reason, ye fair ones, assert your pretence - 248 To the brook and the v. illow that heard him complain 52 Turn gentle Hermit of the dale - 57 'T was post meridian, half-past four, ( Sailor's Journal) 47. 31 'Twas when the seas were roaring 45 'Twas in that season of the year - - 338 INDEX I. 457 Vain are the charms of white and red Page. 271 Waft me, some soft and cooling breeze 100. 104, Nole We .ill to conquering beauty bow - 330 What beauties does Flora disclose (Tweedside) - 55 What dreaming drone was ever blest - 105 What man in his wits had not rather be poor - 99 What shade and what stillness around - 252, 340 When all was wrapt in dark midnight, (William and Margaret) - . - - 59 Whence comes my love, O heart disclose - 260 Wlu*n charming Teraminta sings - - 249 When clouds that angel face deform - - 261. 351 When daisies pied and violets blue - - 32/ When Damon languish'd at my feet - - 333 When Delia on the plain appears - - 239 Whene'er with haggard eyes I view - 405 When Fanny, blooming fair - - 246 When first I dar'd by soft surprise - - 331 When first I saw Lucrnda's face - - 280 When first I sought fair Celia's love - - 267 When first upon your tender cheek - - 259 When gentle Celia first I knew - - 257 When here Lucinda first we came - - 277 When I drain the rosy bowl - - 194 When lovely woman stoops to folly - 102 When Orpheus went down to the regions below 270. 351 When princely Hamilton's abode, (Cadyow Castle) 29. 53 When Sappho tun'd the raptur'd strain - 249 When the sheep are in the fold, (Old Robin Gray) 36. 50 When your beauty appears - - 254 Where the bee sucks, there lurk I - - 327 While from my looks, fair nymph, you guess - 238 While in the bower with beauty blest - 249 While Strephon in the pride of youth - 263 While, Strephon, thus you teaze me - - 248 R X 458 INDEX I. Page. Who would true valour see - 406 Why, cruel creature, why so bent - - 255 Why, Delia, ever while I gaze - - 237 Why heaves my fond bosom ! ah, what can it mean 333 Why so pale and wan, fond lover - - 260. 351 Why we love, and why we hate - - 265 Why will Delia thus retire - - 270 Why will Florella while I gaze - - . 274 Why will you my passion reprove, (Pastoral Ballad) 55 Wine does wonders every day - - 358 Wine, wine in the morning - - 200 Woman, thoughtless, giddy creature - - 263 Wouldst thou know her sacred charms - 248 Would you taste the noontide air - - 331 Wrong not, sweet mistress of my heart - 328 i Ye belles and ye flirts, and ye pert little things - 355 Ye gentil 'squires give o'er your sighs - 352 Ye happy swains, whose hearts are free - 254.350 Ye mariners of England - 106 Yes fairest proof of beauty's power - 237 Yes, Fortune, I have sought thee long - 352 Ye shepherds and nymphs that adorn the gay plain 254 Ye 6hepherdsgive ear to my lay, (Pastoral Ballad) 55 Ye shepherds so cheerful and gay, (Pastoral Ballad) 55 Ye virgin powers, defend my heart - - 261. 350 Young I am, and yet unskilled - - 261 Young Jocky he courted sweet Mog the Brunette 352 You tell me I'm handsome - - • - 332 Yoa tell me that you truly love - ■? 240 459 INDEX II. TO THE SONGS AND EPIGRAMS INTRODUCED IN THIS VOLUME ACCORDING TO THEIR FIRST LINES. N. B. The Epigrams have (Ep.) after the first line. Page. A Companion I have, nay 1*11 call him a friend 143 A friendship that in frequent fits - - 386 Ah, silly, vain and buzzing fly 171 A Singing Man, and cannot sing ! (Ep.) - 364 As Quin and Foote one day walk'd out, (Ep.) - 363 Attend my precepts, thoughtless Youths - 124 A voyage over seas had not enter'd my head - 371 A Wife domestic, good and pure - - 377 Beauty is but a fading flower - - 295 Before Jehovah's awful throne - - 440 Behold where breathing love divine - - 425 Behold yon cottage in the vale - - 85 Beware the fond delusion - 286 Britons, your voices raise - 418 By day when the sun in his bright glory glows - - 149 Clodio, they say, has wit ; for what? (Ep.) - 368 Come, Disappointment, come! - — 111 Come hither, sweet Susan, and by me sit down 311 Come hither, sweet Susan, and sit by my side - 313 Come, oh come, delightful guest - - 213 Could a man be secure - - - 214 Oould I a thousand sceptres sway - •• 308 460 INDEX II. Doctor, your Epigram is true, (Ep.) - 365 Dreary Winter o'er the plain - - 175 Echo ! tell me while I wander - - 378 E'en in the midst of life and hope - - 427 Eternal Power ! whose high ahode - - 443 Exulting in strength, how majestic's the horse - 159 Father of all! be thou alone - - 441 For alms and compassion a widow was fam'd 391 Forbid it, Heaven, that e'er I eat - - 108 For physic and farces, (Ep.) - - 404 From arms discharg'd the listed swain - 92 Go, daughters of fashion, for pleasure repine - 303 Go, traverse the field and the grove * 119 Hall says he's poor in hopes you'll say he's not, (Ep.) 367 Happy «he man who far from pubiic view - i'O Have you seen the delightless abode - 126 How bright with pearl the western sky - 297 How high our sanguine hopes we raise - 109 How sweet to the heart is the thought of to-morrow 114 Hush'd was the storm, the fleet unmoor'd - 65 I am unable, yonder Beggar cries, (Ep.) - 366 If e"er a Patron I shall find - - 120 If I live to grow old, for I find I go down - 12S If Love and Reason ne'er agree - - 259 If the stock of our bliss is in stranger hands vested 315 If 'tis true as you say that I've injur'd a letter, (Ep.) 365 I have a Cottage in the glen 86 In days of frolic, mirth and fun, (Ep.) - 365 In many a storm and many a fight - - 145 In native worth and honour clad - - 282 In peace Love tunes the Shepherd's reed - 285 Inspir'd by so grateful a duty - - 136 INDEX II. 461 Page. In temperance traiu'd, yet I shun not the board - 202 In the town, or in barracks, in camp, or the field 152 I once was a maiden, ah, blest was the day ! when 299 I saw a dew drop, cold and clear - - 138 I told you Mary, told you true - - 319 Jack his own merit sees. This gives him pride, (Ep.) 368 Johnny's left me for a while - - 305 Let care be a stranger to each cheerful soul ~ 206 Little candle snuff 'd too low; - - 389 Live whilst you live, the Epicure will say, (Ep.) 191 Long tix'd in this rural retreat - - 413 Lo ! where the party-giving dames - • 375 Mighty God ! while Angels bless thee -. 437 Mistaken youth, lay Stanhope by - 279 'Mong Scotia's glens and mountains blue - 154 Music's the language of the blest above - 180 My due a noble nation pays - 147 My Husband, O my Dear, John - - 321 No claim upon an honest heart - - 288 No joy or grief can in this life - - 306 No longer the Negrns complain - - 178 No riches from his scanty store - - 287 No, Varus hates a thing that's base, (Ep.) - 368 Now, tell me, artist, can she love - - 383 Now we're launch'd on the world - - 211 O Britain, my country, thou queen of the isles 155 O'er my toil-wither'd limbs sickly languors are shed 177 O for evening's brownest shade - - 422 Oh, God of comfort, deign - 419 Of horns and of echoes, that thro' the wood ring 165 itr2 462 INDEX n . Page. One day Good-bye and How-d'ye-do - 380 One day in Christ-Church meadows walking, (Ep.) 359 On the sea-shore one day as two friends were a walking 394 O Thou, whose glory shines sublime -' t - 433 O wae to the wearifu' driukin', O, - 217 Pass by a tavern door, my son 21 Reader, beware immoderate love of pelf, (Ep,) 369 Said a Smile to a Tear ... 137 Say, mighty love, and aid my song - - 309 Say, Stella, feel you no content - - 242 Say what are the pleasures which nine can impart 216 Sfnce Zephyrus first tasted the charms of coy Flora 162 Sound, lute, the sweet concords of praise - 416 Sweet is the scene when virtue dies - - 429 Sweet vine, whose curling tendrils cling , - 139 That day of wrath, that dreadful day - - 439 The Bard, who glows with Grub-street fire - 373 The Barleycorns throughout our isle - 72 The breeze was fresh, the ship in stays - 70 The bugle sounds, the archers all - - 169 The Love that looks to present joy - - 289 The night is come like to the day - - 432 The night was dark, and awful was the scene - 68 The Peasant's blest who in his cot 78 The Ploughman whistles o'er the furrow - 80 The Pride of the Village young William was seen 82 The Scene was more beautiful far to ihe eye - 148 The sea, as its waves after waves loudly roll - 1 72 The sun was departed, the mild zephyr blowing 116 The sweet-briar, the suckling, the jasmine and rose 140 INDEX II, 463 Page. The twentieth year is well nigh past - - 324 The verses, friend, which thou hast read are mine, (Ep.,) 368 The weather, the land, and all those that dwell in it 134 Tlio' beauty shone in Mary's face - - 300 Tho' Fame sound the trumpet, and cry to the war 210 Tho' hot was the sun in the morn when he rose 145 Tho' the great man, his treasures possessing - 132 Thy nags, the leanest things alive, (Ep.) - 36S Thy sacred sweets, Connubial-Love - - 288 To John I ow'd great obligation, (Ep.) - 367 Tom ever jovial, ever gay, (Ep.) - - 368 Tom's ccach and six ! Whither in such haste going ? (Ep.) 367 To rival the miser who broods o'er his plum - 208 True Love's the gift which God has given - 285 What's sweeter than the new-blown rose - 285 When Britain's isle, untaught to fear - 167 When, dumb, beneath the shearer's hand - 435 When Friendship, Love and Truth abound - 219 When I told you j our cheeks wore the blush of the rose 318 When I was joungand debonair, (Ep.) - 365 When Jack was poor, the lad was frank and free, (Ep.) 366 When morning first opened her dew-dripping eye 84 When rising from the bed of death - - 430 When the vocal cuckoo wings - - 118 When the \\ ise-ones incline t' examine the sun - 384 Where is this stupendous stranger - - 436 Who, in this world of care and strife - - 283 Who shall a virtuous female gaiti - - 293 Winter has a joy for me - 421 With joy the parent lo?es to trace -' - 308 With us alike each season suits - - 91 Ye Christians, who dwell in Britannia's fair isle 411 Ye Fair, who would a partner chuse - - 290 464 INDEX II. Page. Ye jovial sons of mirth and glee i - 204 Ye minor beauties of the night - 302 Yesterday ! thy motley fate «» - 379 Ye Virgins and Youths of the plain - - 107 You are old, father William, the young man cried 130 You ask me the secret by which we contrive - 396 Young Courtly takes me for a dunce, (Ep.) - 367 465 INDEX III. TO THE NAMES OF AUTHORS, WITH REFERENCES TO THEIR SONGS AND EPIGRAMS INTRODUCED IN THIS VOLUME. Adams, Dr. . - , rage 441 Addison, Joseph - - - 430 Barbauld, Mrs. . _ . 425 Banks - - " - 367 Bloomfield, Nathaniel - . - 126 Robert - - - 297 B., H. K. - . . 239 B„ J. - - - 319 Brown, Isaac Hawkins - - - 365 Brown, Sir Thomas - - - 432 Buckle, the Rev. C. - - 204.311 .313 Cibber, Colley, . . 92 Cobb, James - - - 147 Collins, John - i - - •211 ,373 Colman, George, The Younger - - 371 Cottle, Joseph - -- - 132 Cotton, Dr. Nathaniel - - - 124 Cowper, William - - 302 324 3S6 .421 Dalrymple, Lt. Col. James - - 384 Dibdin, Charles - 70. 80. 134 136. 162. 165. 318. Donne, Dr. - - - 366 Francis, Aune « _ 413.416 418 400 INDEX III. - Pa^e, Garrick, David - - 366. 404 Gay, Jobn . . 368 Gooch, Dr. •- » 365 Gould, Dr. . «, 365 Greaves, Rev. T. B. - , - 145 Hackett, . . 366 Halloran, Dr. - •- 145 Hogg, James - 154. 217 433 Holloway, William - 84.86,89.139.186.427. Hull, Thomas - - '119 Kenney, James - - 137 Lamb, Mr. James » • 68 Lemon, G. W. Jua, . » 419 Lloyd, Robert - - 308 Martial, . « 367. 368 Miller, The Rev. James - . 286 Montgomery, James - , - • 219. 422 Oakman, J. . . 107 O'Keefe, John - - 210 Owen, The Rev. John - - 375 Plumptre, Rev. James ' n. 82. 128.140.143.155. 159.171. - - 172. 178. 202. 321. 435. Pope, Dr. Walter, - - 128 Pratt, Mr. - - 288. 308 Prior, Matthew • - 367. 368 Relph, Rev. Josiah . - 368 Richardson, Charlotte - 290 . 293. 295 Richmond, The Rev. Leigh . 411 'Scott, Thomas „ „ 108. 109 Scott, Dr. - - 213 INDEX III. 467 • Page. Scott, Walter - 285 285. 439 Skeffington, Luraley St. George - - 286 Sleath, Mrs. - - 65 Smart, Christopher - - 436 Southey, Robert - - 130 Spencer, Hon. Wm. Robert - 315. 380 Swift, Jonathan, D. D. - - 242 Watts, Isaac, D. D. -. . 309. 443 West, Mrs. - - 303 White, Henry Kirke - - 111 Whitefield, The Rev. George - - 440 Williams, Miss - - - - 287 Wither, George - - 306 W. J. - - 80 468 BOOKS PUBLISHED, BY THE SAME AUTHOR, AND SOLD BY MESSRS. RIVINGTONS, &c. 1. A Collection of Songs, Moral, Sentimental, Instructive, and Amusing, in One Folttme, small 4lo. containing upwards of ninety tongs (many of them Original) with the Music. The words selected and altered by Mr. Plumptre ; the music with a Treble and Bass, adapted and composed by Charles Hague, Mus. Doc. and Professor of Music in the University of Cambridge. With an Introductory Letter and Post- script, and Notes, Price, on large paper 16s. on com- mon 12s. 2. A Collection of Songs, containing the words only of upwards of eight hundred Songs, some of them original, but principally selected from the Works of the most approved Writers, divested of every thing which has any tendency to Indecency and Profaneness ; with the Introductory Letter and Postscript revised, and a New Preface. Elegantly printed in Three large Volumes 12mo. Price £1. Is. in boards The First Volume, which contains chiefly the Rural, Naval, and Military Songs, &c. may be had separately, Printed on an inferior Paper, and with a shorter preface, Price, ia boards, 4s. 6d. for those who may wish to purchase it as a present to the lower classes. 4t>9 3. Agreeably to an intention of the Editor, expressed in the Preface to the above Collection (p. xci. — p. vii. of the shorter Preface,) small Tracts of Songs, adapted to the lowest Classes, under the general title of The Vocal Repository, are now publishing. Each Tract has some separate Popular Title, and is ornamented with a wood cut. The Voice of the Na- tion, — The Friendly Society Songster, — A Word for the Dumb,— The Honest Farmer, — The Whistling Plough- man, — Rural Melody, — The Shepherd's Pipe, — The Sheep-shearer's Garland,— The Hop picker's Gar- land,— The Harvest Songster,— Music for the Winter Fire-side,— The Gallant Soldier, Part I.— Do. Part II. The Cheerful Sailor,-— The True Lovers' Knot,— A Song and a Laugh, — and Christmas Carols, — are already published. These will be followed by Valen- tine Airs, — The Rural Poet's Garland, — The Friendly Society Songster, Part II. — Domestic Harmony,— The Village Songster,— The Festive Songster, — The Cheer- ful Sailor, Part II.— &c. &c. Printed and Sold by J. Pitts, No. 14, Great St. Andrew's Street, Seven Dials; Price One Penny each, or Six Shillings per Hundred, with a greater allowance to Shopkeepers and Hawkers. It is hoped that they who reflect with concern that so much indecency and impiety is circulated about the country in the form of Ballads and Song-Books, will distribute the above Tracts, and recommend them to the Shopkeepers and Hawkers in their neighbourhood. ■4. The Farmer's and Cottager's Garden Ca- lendar, Part I. shewing what is to be done in the Garden in each Month in the Year: with some Re- S s 470 marks on Soils and Manures; on a broad sheet, price 3d . N. B. This has been abridged on half a sheet of Fool's-cap Paper by The Society for believing the Con- dition and increasing the Comforts of the Poor, and mny be had at the very low price of 30 for Is. at Mr. Hatchard's, No. 190, Piccadilly, London. Ditto, Part II. closely printed in columns on one broad sheet, containing, in alphabetical order, an Account of the most useful Things cultivated in a Garden or Orchard, with the time and manner of cul- tivation, and some account of their uses and medical properties. Sold by J. Nicholson, Cambridge : Price 4d. each — or 2 for 6d.— 5 for Is. —or 13 for 2s. 6d. The above are recommended to the Clergy and Gentry to distribute among the Cottagers and Labourers, to encourage Gardening in their parishes. 5. Observations on Hamlet, being an attempt to prove that Shakspeare designed that Tragedy as an indirect censure on Mary Queen of Scots. With an Appendix. Price 3s. 6d. %. The House of Mourning and the House of Feasting : A Sermon, preached before The Hinxton Friendly Society, on Sunday, September the 30th, 1804 $ being the Anniversary. To which are added, Psalm cxxxiii. and Hymns to be sung at the Funerals of deceased Members. Price Is. 7. 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To these Discourses are annexed very Copious Kotes, illustrative of the principles contained in them ; shewing, by instances drawn from our dramatic and other poets, and prose writers, the objectionable manner iu which our works of taste and amusement are too generally written ; and proving, likewise, from some of our most popular Dramas, the possibility of constructing Plays upon such principles, as shall exhibit instructive and moral lessons, according to the sentiments of several learned and pious writers of the present and former times. 472 PROPOSALS FOR PUBLISHING BY SUBSCRIPTION, A WORK TO BE ENTITLED THE ENGLISH DRAMA PURIFIED : BEING A SPECIMEN OF ENGLISH PLAYS, IN WHICH ALL THE PASSAGES OBJECTIONABLE IN POINT OF MORALITY, ARE OMITTED OR ALTERED. It is the intention of the Editor to publish Three Volumes iu 12mo, price One Guinea. The money to be paid on the delivery of the work. These volumes will contain the following Flays: — Tragedies : The Gamester, Jane Shore, George Barnwell, Douglas, Lady Jane Gray. — Comedies: The Provok'd Husband, The Conscious Lovers, A Word to the Wise, The Gooilnatur'd Man, The Clandestine Marriage. —Opera and After-pieces: Lionel and Clarissa, The King and Miller of Mansfield, The Toy-shop, Barataria, and Rosina, WITH PREFACES AND NOTES By JAMES PLUMPTRE, B. D. FELLOW OF CLARE HALL, CAMBRIDGE. The work will be sent to the press as soon as the Barnes of 200 Subscribers are obtained. Subscribers' names are received by J. Dcighton, and J. Nicholson, booksellers, Cambridge; Messrs. Ri- vingtons, St. Paul's Church Yard; and J. Hatchard, No. 190, Piccadilly, London. Clare Hall, Mareh 13, 1811. '' « %*> v ,0 f >;*--- ? ^..;^'-'>°o '-%.#■. 'W v ^ ' o :-. v * v6^ $%. ^ V* .0 0, ', ^ o x