ODE ON THE POETICAL CHARACTER.

Procul! O! procul este profani!

This ode is so infinitely abstracted and replete with high enthusiasm, that it will find few readers capable of entering into the spirit of it, or of relishing its beauties. There is a style of sentiment as utterly unintelligible to common capacities, as if the subject were treated in an unknown language; and it is on the same account that abstracted poetry will never have many admirers.

The authors of such poems must be content with the approbation of those heaven-favoured geniuses, who, by a similarity of taste and sentiment, are enabled to penetrate the high mysteries of inspired fancy, and to pursue the loftiest flights of enthusiastic imagination. Nevertheless, the praise of the distinguished few is certainly preferable to the applause of the undiscerning million; for all praise is valuable in proportion to the judgment of those who confer it.

As the subject of this ode is uncommon, so are the style and expression highly metaphorical and abstracted: thus the sun is called "the rich-hair"d youth of morn," the ideas are termed "the shadowy tribes of mind," &c. We are struck with the propriety of this mode of expression here, and it affords us new proofs of the a.n.a.logy that subsists between language and sentiment.

Nothing can be more loftily imagined than the creation of the cestus of Fancy in this ode: the allegorical imagery is rich and sublime: and the observation, that the dangerous pa.s.sions kept aloof during the operation, is founded on the strictest philosophical truth: for poetical fancy can exist only in minds that are perfectly serene, and in some measure abstracted from the influences of sense.

The scene of Milton"s "inspiring hour" is perfectly in character, and described with all those wild-wood appearances of which the great poet was so enthusiastically fond:

"I view that oak, the fancied glades among, By which as Milton lay, his evening ear, Nigh sphered in heaven, its native strains could hear."

ODE,

WRITTEN IN THE YEAR 1746.

ODE TO MERCY.

The Ode written in 1746, and the Ode to Mercy, seem to have been written on the same occasion, viz. the late rebellion; the former in memory of those heroes who fell in defence of their country, the latter to excite sentiments of compa.s.sion in favour of those unhappy and deluded wretches who became a sacrifice to public justice.

The language and imagery of both are very beautiful; but the scene and figures described, in the strophe of the Ode to Mercy, are exquisitely striking, and would afford a painter one of the finest subjects in the world.

ODE TO LIBERTY.

The ancient states of Greece, perhaps the only ones in which a perfect model of liberty ever existed, are naturally brought to view in the opening of the poem:

"Who shall awake the Spartan fife, And call in solemn sounds to life, The youths, whose locks divinely spreading, Like vernal hyacinths in sullen hue."

There is something extremely bold in this imagery of the locks of the Spartan youths, and greatly superior to that description Jocasta gives us of the hair of Polynices:

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~Bostrychon te kyanochrota chaitas Plokamon------~

"What new Alcaeus, fancy-blest, Shall sing the sword, in myrtles drest," &c.

This alludes to a fragment of Alcaeus still remaining, in which the poet celebrates Harmodius and Aristogiton, who slew the tyrant Hipparchus, and thereby restored the liberty of Athens.

The fall of Rome is here most nervously described in one line

"With heaviest sound, a giant statue, fell."

The thought seems altogether new, and the imitative harmony in the structure of the verse is admirable.

After bewailing the ruin of ancient liberty, the poet considers the influence it has retained, or still retains, among the moderns; and here the free republics of Italy naturally engage his attention.--Florence, indeed, only to be lamented on account of losing its liberty under those patrons of letters, the Medicean family; the jealous Pisa, justly so called, in respect to its long impatience and regret under the same yoke; and the small Marino, which, however unrespectable with regard to power or extent of territory, has, at least, this distinction to boast, that it has preserved its liberty longer than any other state, ancient or modern, having, without any revolution, retained its present mode of government near fourteen hundred years. Moreover the patron saint who founded it, and from whom it takes its name, deserves this poetical record, as he is, perhaps, the only saint that ever contributed to the establishment of freedom.

"Nor e"er her former pride relate To sad Liguria"s bleeding state."

In these lines the poet alludes to those ravages in the state of Genoa, occasioned by the unhappy divisions of the Guelphs and Gibelines.

"----When the favour"d of thy choice, The daring archer heard thy voice."

For an account of the celebrated event referred to in these verses, see Voltaire"s Epistle to the King of Prussia.

"Those whom the rod of Alva bruised, Whose crown a British queen refused!"

The Flemings were so dreadfully oppressed by this sanguinary general of Philip the Second, that they offered their sovereignty to Elizabeth; but, happily for her subjects, she had policy and magnanimity enough to refuse it. Desormeaux, in his Abrege Chronologique de l"Histoire d"Espagne, thus describes the sufferings of the Flemings: "Le duc d"Albe achevoit de reduire les Flamands au desespoir. Apres avoir inonde les echafauds du sang le plus n.o.ble et le plus precieux, il faisoit construire des citadelles en divers endroits, et vouloit etablir l"Alcavala, ce tribute onereux qui avoit ete longtems en usage parmi les Espagnols."--_Abreg. Chron. tom. iv._

"------Mona, Where thousand elfin shapes abide."

Mona is properly the Roman name of the Isle of Anglesey, anciently so famous for its Druids; but sometimes, as in this place, it is given to the Isle of Man. Both these isles still retain much of the genius of superst.i.tion, and are now the only places where there is the least chance of finding a fairy.

ODE TO A LADY,

ON THE DEATH OF COLONEL ROSS, IN THE ACTION OF FONTENOY.

The iambic kind of numbers in which this ode is conceived seems as well calculated for tender and plaintive subjects, as for those where strength or rapidity is required.--This, perhaps, is owing to the repet.i.tion of the strain in the same stanza; for sorrow rejects variety, and affects a uniformity of complaint. It is needless to observe, that this ode is replete with harmony, spirit, and pathos; and there surely appears no reason why the seventh and eighth stanzas should be omitted in that copy printed in Dodsley"s Collection of Poems.

ODE TO EVENING.

The blank ode has for some time solicited admission into the English poetry; but its efforts, hitherto, seem to have been in vain, at least its reception has been no more than partial. It remains a question, then, whether there is not something in the nature of blank verse less adapted to the lyric than to the heroic measure, since, though it has been generally received in the latter, it is yet unadopted in the former. In order to discover this, we are to consider the different modes of these different species of poetry. That of the heroic is uniform; that of the lyric is various; and in these circ.u.mstances of uniformity and variety probably lies the cause why blank verse has been successful in the one, and unacceptable in the other. While it presented itself only in one form, it was familiarized to the ear by custom; but where it was obliged to a.s.sume the different shapes of the lyric muse, it seemed still a stranger of uncouth figure, was received rather with curiosity than pleasure, and entertained without that ease or satisfaction which acquaintance and familiarity produce.--Moreover, the heroic blank verse obtained a sanction of infinite importance to its general reception, when it was adopted by one of the greatest poets the world ever produced, and was made the vehicle of the n.o.blest poem that ever was written. When this poem at length extorted that applause which ignorance and prejudice had united to withhold, the versification soon found its imitators, and became more generally successful than even in those countries from whence it was imported. But lyric blank verse had met with no such advantages; for Mr. Collins, whose genius and judgment in harmony might have given it so powerful an effect, has left us but one specimen of it in the Ode to Evening.

In the choice of his measure he seems to have had in his eye Horace"s Ode to Pyrrha; for this ode bears the nearest resemblance to that mixed kind of the asclepiad and pherecratic verse; and that resemblance in some degree reconciles us to the want of rhyme, while it reminds us of those great masters of antiquity, whose works had no need of this whimsical jingle of sounds.