The works of Lord Byron A new, revised and enlarged edition, with illustrations. Edited by Ernest Hartley Coleridge and R. E. Prothero |
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 | The works of Lord Byron |  |
When Homer swept the lyre, and Maro sung,
An Epic scarce ten centuries could claim,
While awe-struck nations hailed the magic name:
The work of each immortal Bard appears
The single wonder of a thousand years.
Empires have mouldered from the face of earth,
Tongues have expired with those who gave them birth,
As even in ruin bids the language live.
Not so with us, though minor Bards, content,
On one great work a life of labour spent:
With eagle pinion soaring to the skies,
Behold the Ballad-monger Southey rise!
To him let Camoëns, Milton, Tasso yield,
Whose annual strains, like armies, take the field.
First in the ranks see Joan of Arc advance,
The scourge of England and the boast of France!
Though burnt by wicked Bedford for a witch,
Behold her statue placed in Glory's niche;
Her fetters burst, and just released from prison,
A virgin Phœnix from her ashes risen.
Next see tremendous Thalaba come on,
Arabia's monstrous, wild, and wond'rous son;
Domdaniel's dread destroyer, who o'erthrew
More mad magicians than the world e'er knew.
Immortal Hero! all thy foes o'ercome,
For ever reign—the rival of Tom Thumb!
Well wert thou doomed the last of all thy race!
Well might triumphant Genii bear thee hence,
Illustrious conqueror of common sense!
Now, last and greatest, Madoc spreads his sails,
Cacique in Mexico, and Prince in Wales;
Tells us strange tales, as other travellers do,
More old than Mandeville's, and not so true.
Oh, Southey! Southey! cease thy varied song!
A bard may chaunt too often and too long:
As thou art strong in verse, in mercy, spare!
A fourth, alas! were more than we could bear.
But if, in spite of all the world can say,
Thou still wilt verseward plod thy weary way;
Thou wilt devote old women to the devil,
The babe unborn thy dread intent may rue:
“God help thee,” Southey, and thy readers too.
As the Odyssey is so closely connected with the story of the Iliad, they may almost be classed as one grand historical poem. In alluding to Milton and Tasso, we consider the Paradise Lost and Gerusalemme Liberata as their standard efforts; since neither the Jerusalem Conquered of the Italian, nor the Paradise Regained of the English bard, obtained a proportionate celebrity to their former poems. Query: Which of Mr. Southey's will survive?
Thalaba, Mr. Southey's second poem, is written in open defiance of precedent and poetry. Mr. S. wished to produce something novel, and succeeded to a miracle. Joan of Arc was marvellous enough, but Thalaba was one of those poems “which,” in the words of Porson, “will be read when Homer and Virgil are forgotten, but—not till then.”
The hero of Fielding's farce, The Tragedy of Tragedies, or the Life and Death of Tom Thumb the Great, first played in 1730 at the Haymarket.
Southey's Madoc is divided into two parts—Part I., “Madoc in Wales;” Part II., “Madoc in Aztlan.” The word “cacique” (“Cacique or cazique ... a native chief or ‘prince’ of the aborigines in the West Indies:” New Engl. Dict., Art. “Cacique”) occurs in the translations of Spanish writers quoted by Southey in his notes, but not in the text of the poem.
We beg Mr. Southey's pardon: “Madoc disdains the degraded title of Epic.” See his Preface. Why is Epic degraded? and by whom? Certainly the late Romaunts of Masters Cottle, Laureat Pye, Ogilvy, Hole, and gentle Mistress Cowley, have not exalted the Epic Muse; but, as Mr. Southey's poem “disdains the appellation,” allow us to ask —has he substituted anything better in its stead? or must he be content to rival Sir Richard Blackmore in the quantity as well as quality of his verse?
| The works of Lord Byron | |