 | The Poems Of Mark Akenside |  |
BOOK THE THIRD.
ARGUMENT OF THE THIRD BOOK.
PLEASURE in observing the tempers and manners of men, even where vicious or absurd. The origin of vice, from false representations of the fancy, producing false opinions concerning good and evil. Inquiry into ridicule. The general sources of ridicule in the minds and characters of men, enumerated. Final cause of the sense of ridicule. The resemblance of certain aspects of inanimate things to the sensations and properties of the mind. The operations of the mind in the production of the works of imagination, described. The secondary pleasure from imitation. The benevolent order of the world illustrated in the arbitrary connexion of these pleasures with the objects which excite them. The nature and conduct of taste. Concluding with an account of the natural and moral advantages resulting from a sensible and well-formed imagination.
Of passion link the universal kind
Of man so close, what wonder if to search
This common nature through the various change
Of sex, and age, and fortune, and the frame
Of each peculiar, draw the busy mind
With unresisted charms? The spacious west,
And all the teeming regions of the south
Hold not a quarry, to the curious flight
Of knowledge, half so tempting or so fair,
As man to man. Nor only where the smiles
Of love invite; nor only where the applause
Of cordial honour turns the attentive eye
On virtue's graceful deeds. For since the course
Of things external acts in different ways
Of nature temper'd to a different frame.
Peculiar minds; so haply where the powers
The influence of the imagination on the conduct of life, is one of the most important points in moral philosophy. It were easy by an induction of facts to prove that the imagination directs almost all the passions, and mixes with almost every circumstance of action or pleasure. Let any man, even of the coldest head and soberest industry, analyse the idea of what he calls his interest; he will find that it consists chiefly of certain degrees of decency, beauty, and order, variously combined into one system, the idol which he seeks to enjoy by labour, hazard, and self-denial. It is on this account of the last consequence to regulate these images by the standard of nature and the general good; otherwise the imagination, by heightening some objects beyond their real excellence and beauty, or by representing others in a more odious or terrible shape than they deserve, may of course engage us in pursuits utterly inconsistent with the moral order of things.
If it be objected that this account of things supposes the passions to be merely accidental, whereas there appears in some a natural and hereditary disposition to certain passions prior to all circumstances of education or fortune; it may be answered, that though no man is born ambitious or a miser, yet he may inherit from his parents a peculiar temper or complexion of mind, which shall render his imagination more liable to be struck with some particular objects, consequently dispose him to form opinions of good and ill, and entertain passions of a particular turn. Some men, for instance, by the original frame of their minds, are more delighted with the vast and magnificent, others on the contrary with the elegant and gentle aspects of nature. And it is very remarkable, that the disposition of the moral powers is always similar to this of the imagination; that those who are most inclined to admire prodigious and sublime objects in the physical world, are also most inclined to applaud examples of fortitude and heroic virtue in the moral. While those who are charmed rather with the delicacy and s weetness of colours, and forms, and sounds, never fail in like manner to yield the preference to the softer scenes of virtue and the sympathies of a domestic life. And this is sufficient to account for the objection.
Among the ancient philosophers, though we have several hints concerning this influence of the imagination upon morals among the remains of the Socratic school, yet the Stoics were the first who paid it a due attention. Zeno, their founder, thought it impossible to preserve any tolerable regularity in life, without frequently inspecting those pictures or appearances of things, which the imagination offers to the mind (Diog. Laërt. l. vii.) The Meditations of M. Aurelius, and the discourses of Epictetus, are full of the same sentiment; insomuch that the latter makes the Χρησις υια δει φαντασιων, or right management of the fancies, the only thing for which we are accountable to providence, and without which a man is no other than stupid or frantic. Arrian. l. i. c. 12. & l. ii. c. 22. See also the Characteristics, vol. i. from p. 313. to 321. where this Stoical doctrine is embellished with all the elegance and graces of Plato.
Of fancy neither lessen nor enlarge
The images of things, but paint in all
Their genuine hues, the features which they wore
In nature; there opinion will be true,
And action right. For action treads the path
In which opinion says he follows good,
Or flies from evil; and opinion gives
Report of good or evil, as the scene
Was drawn by fancy, lovely or deform'd:
Thus her report can never there be true
Where fancy cheats the intellectual eye,
With glaring colours and distorted lines.
Is there a man, who at the sound of death
Sees ghastly shapes of terror conjur'd up,
And black before him; nought but death-bed groans
And fearful prayers, and plunging from the brink
Of light and being, down the gloomy air,
An unknown depth? Alas! in such a mind,
If no bright forms of excellence attend
The image of his country; nor the pomp
Of sacred senates, nor the guardian voice
Of justice on her throne, nor aught that wakes
The conscious bosom with a patriot's flame;
Or stand the hazard, is a greater ill
Than to betray his country? And in act
Will he not chuse to be a wretch and live?
Here vice begins then. From the inchanting cup
Which fancy holds to all, the unwary thirst
Of youth oft swallows a Circæan draught,
That sheds a baleful tincture o'er the eye
Of reason, till no longer he discerns,
And only guides to err. Then revel forth
A furious band that spurn him from the throne;
And all is uproar. Thus ambition grasps
The empire of the soul: thus pale revenge
Unsheaths her murderous dagger; and the hands
Of lust and rapine, with unholy arts,
Watch to o'erturn the barrier of the laws
That keeps them from their prey: thus all the plagues
The wicked bear, or o'er the trembling scene
The tragic muse discloses, under shapes
Of honour, safety, pleasure, ease or pomp,
Stole first into the mind. Yet not by all
Those lying forms which fancy in the brain
Engenders, are the kindling passions driven,
To guilty deeds; nor reason bound in chains,
That vice alone may lord it: oft adorn'd
With solemn pageants, folly mounts the throne,
A thousand garbs she wears; a thousand ways
She wheels her giddy empire.—Lo! thus far
With bold adventure, to the Mantuan lyre
I sing of nature's charms, and touch well-pleas'd
A stricter note: now haply must my song
Unbend her serious measure, and reveal
In lighter strains, how folly's aukward arts
Notwithstanding the general influence of ridicule on private and civil life, as well as on learning and the sciences, it has been almost constantly neglected or misrepresented, by divines especially. The manner of treating these subjects in the science of human nature, should be precisely the same as in natural philosophy; from particular facts to investigate the stated order in which they appear, and then apply the general law, thus discovered, to the explication of other appearances and the improvement of useful arts.
Excite impetuous laughter's gay rebuke;
The sportive province of the comic muse.
Each would outstrip the other, each prevent
Our careful search, and offer to your gaze,
Unask'd, his motley features. Wait awhile,
My curious friends! and let us first arrange
In proper order your promiscuous throng.
And easy faith; whom flattering fancy sooths
With lying spectres, in themselves to view
Illustrious forms of excellence and good,
That scorn the mansion. With exulting hearts
They spread their spurious treasures to the sun,
And bid the world admire! but chief the glance
Of wishful envy draws their joy-bright eyes,
In number boundless as the blooms of spring,
Behold their glaring idols, empty shades
By fancy gilded o'er, and then set up
For adoration. Some in learning's garb,
With formal band, and sable-cinctur'd gown,
And rags of mouldy volumes. Some elate
With martial splendor, steely pikes and swords
Of costly frame, and gay Phœnician robes
Inwrought with flowery gold, assume the port
Of stately valour: listening by his side
There stands a female form; to her, with looks
Of earnest import, pregnant with amaze,
He talks of deadly deeds, of breaches, storms,
And sulphurous mines, and ambush: then at once
Breaks off, and smiles to see her look so pale,
And asks some wondering question of her fears.
Others of graver mien; behold, adorn'd
With holy ensigns, how sublime they move,
And bending oft their sanctimonious eyes
Take homage of the simple-minded throng;
Ambassadors of heaven! Nor much unlike
Is he whose visage, in the lazy mist
That mantles every feature, hides a brood
Of politic conceits; of whispers, nods,
And hints deep omen'd with unwieldy schemes,
Prodigious habits and tumultuous tongues,
Pour dauntless in and swell the boastful band.
The debt of praise, where watchful unbelief
Darts through the thin pretence her squinting eye
On some retir'd appearance which belies
The boasted virtue, or annuls the applause
That justice else would pay. Here side by side
I see two leaders of the solemn train
Approaching: one a female old and grey,
With eyes demure, and wrinkle-furrow'd brow,
Pale as the cheeks of death; yet still she stuns
The sickening audience with a nauseous tale;
How many youths her myrtle-chains have worn,
How many virgins at her triumphs pin'd!
Yet how resolv'd she guards her cautious heart;
Such is her terror at the risques of love,
And man's seducing tongue! The other seems
A bearded sage, ungentle in his mien,
And sordid all his habit; peevish want
Grins at his heels, while down the gazing throng
He stalks, resounding in magnific phrase
The vanity of riches, the contempt
Of pomp and power. Be prudent in your zeal,
Of her who blushes at the fond regard
Her charms inspire, more eloquent unfold
The praise of spotless honour: let the man
Whose eye regards not his illustrious pomp
And ample store, but as indulgent streams
To cheer the barren soil and spread the fruits
Of joy, let him by juster measures fix
The price of riches and the end of power.
By fancy's dazling optics, these behold
The images of some peculiar things
With brighter hues resplendent, and portray'd
With features nobler far than e'er adorn'd
Their genuine objects. Hence the fever'd heart
Pants with delirious hope for tinsel charms;
Hence oft obtrusive on the eye of scorn,
Untimely zeal her witless pride betrays!
And serious manhood from the towering aim
Of wisdom, stoops to emulate the boast
Of childish toil. Behold yon mystic form,
Bedeck'd with feathers, insects, weeds and shells!
Not with intenser view the Samian sage
Bent his fixt eye on heaven's intenser fires,
When first the order of that radiant scene
A muckworm's entrails or a spider's sang.
Next him a youth, with flowers and myrtles crown'd,
Attends that virgin form, and blushing kneels,
With fondest gesture and a suppliant's tongue,
To win her coy regard: adieu, for him,
The dull ingagements of the bustling world!
Adieu the sick impertinence of praise!
And hope, and action! for with her alone,
By streams and shades, to steal these sighing hours,
Is all he asks, and all that fate can give!
Thee too, facetious Momion, wandering here,
Thee, dreaded censor, oft have i beheld
Bewilder'd unawares: alas! too long
Flush'd with thy comic triumphs and the spoils
Of sly derision! till on every side
Hurling thy random bolts, offended truth
Assign'd thee here thy station with the slaves
Of folly. Thy once formidable name
Shall grace her humble records, and be heard
In scoffs and mockery bandied from the lips
Of all the vengeful brotherhood around,
So oft the patient victims of thy scorn.
Of all the muse's empire hath assign'd
Your sickles; here the teeming soil affords
Its richest growth. A favourite brood appears;
In whom the dæmon, with a mother's joy,
Views all her charms reflected, all her cares
At full repay'd. Ye most illustrious band!
Who, scorning reason's tame, pedantic rules,
And order's vulgar bondage, never meant
For souls sublime as yours, with generous zeal
Pay vice the reverence virtue long usurp'd,
And yield deformity the fond applause
Which beauty wont to claim; forgive my song,
That for the blushing diffidence of youth,
It shuns the unequal province of your praise.
Of bland imagination, folly's train
Have dar'd our search: but now a dastard-kind
Advance reluctant, and with faultering feet
Shrink from the gazer's eye: infeebled hearts
Whom fancy chills with visionary fears,
Or bends to servile tameness with conceits
Of shame, of evil, or of base defect,
Fantastic and delusive. Here the slave
Who droops abash'd when sullen pomp surveys
His humbler habit; here the trembling wretch
Spent in weak wailings, drown'd in shameful tears,
At every dream of danger: here subdued
By frontless laughter and the hardy scorn
Of old, unfeeling vice, the abject soul,
Who blushing half resigns the candid praise
Of temperance and honour; half disowns
A freeman's hatred of tyrannic pride;
And hears with sickly smiles the venal mouth
With foulest licence mock the patriot's name.
Of gay derision bends her hostile aim,
Is that where shameful ignorance presides.
Beneath her sordid banners, lo! they march,
Like blind and lame. Whate'er their doubtful hands
Attempt, confusion straight appears behind,
And troubles all the work. Through many a maze,
Perplex'd they struggle, changing every path,
O'erturning every purpose; then at last
Sit down dismay'd, and leave the entangled scene
For scorn to sport with. Such then is the abode
Of folly in the mind; and such the shapes
In which she governs her obsequious train.
To lead the tenour of my devious lay;
Through every swift occasion, which the hand
Of laughter points at, when the mirthful sting
Distends her sallying nerves and choaks her tongue;
What were it but to count each crystal drop
Which morning's dewy fingers on the blooms
Of May distill? Suffice it to have said,
By comparing these general sources of ridicule with each other, and examining the ridiculous in other objects, we may obtain a general definition of it, equally applicable to every species. The most important circumstance of this definition is laid down in the lines referred to; but others more minute we shall subjoin here. Aristotle's account of the matter seems both imperfect and false; το γαρ γελοιον, says he, εστιν αμαρτημα τι () αισχος, ανωδονον () ου φθαρτικον: the ridiculous is some certain fault or turpitude without pain, and not destructive to its subject. (Poët. c. 5.) For allowing it to be true, as it is not, that the ridiculous is never accompanied with pain, yet we might produce many instances of such a fault or turpitude which cannot with any tolerable propriety be called ridiculous. So that the definition does not distinguish the thing designed. Nay farther; even when we perceive the turpitude tending to the destruction of its subject, we may still be sensible of a ridiculous appearance, till the ruin become imminent, and the keener sensations of pity or terror banish the ludicrous apprehension from our minds. For the sensation of ridicule is not a bare perception of the agreement or disagreement of ideas; but a passion or emotion of the mind consequential to that perception. So that the mind may perceive the agreement or disagreement, and yet not feel the ridiculous, because it is engrossed by a more violent emotion. Thus it happens that some men think those objects ridiculous, to which others cannot endure to apply the name; because in them they excite a much intenser and more important feeling. And this difference, among other causes, has brought a good deal of confusion into this question.
That which makes objects ridiculous, is some ground of admiration or esteem connected with other more general circumstances comparatively worthless or deformed; or it is some circumstance of turpitude or deformity connected with what is in general excellent or beautiful: the inconsistent properties existing either in the objects themselves, or in the apprehension of the person to whom they relate; belonging always to the same order or class of being; implying sentiment or design; and exciting no acute or vehement emotion of the heart.
To prove the several parts of this definition: The appearance of excellence or beauty connected with a general condition comparatively sordid or deformed, is ridiculous: for instance, pompous pretensions of wisdom joined with ignorance or folly in the Socrates of Aristophanes; and the ostentations of military glory with cowardice and stupidity in the Thraso of Terence.
The appearance of deformity or turpitude in conjunction with what is in general excellent or venerable, is also ridiculous: for instance, the personal weaknesses of a magistrate appearing in the solemn and public functions of his station.
The incongruous properties may either exist in the objects themselves, or in apprehension of the person to whom they relate: in the last-mentioned instance, they both exist in the objects; in the instances from Aristophanes and Terence, one of them is objective and real, the other only founded in the apprehension of the ridiculous character.
The inconsistent properties must belong to the same order or class of being. A coxcomb in fine cloaths, bedaubed by accident in foul weather, is a ridiculous object; because his general apprehension of excellence and esteem is referred to the splendour and expence of his dress. A man of sense and merit, in the same circumstances, is not counted ridiculous; because the general ground of excellence and esteem in him is, both in fact and in his own apprehension, of a very different species.
Every ridiculous object implies sentiment or design. A column placed by an architect without a capital or base, is laughed at: the same column in a ruin causes a very different sensation.
And lastly, the occurrence must excite no acute or vehement emotion of the heart, such as terror, pity, or indignation; for in that case, as was observed above, the mind is not at leisure to contemplate the ridiculous.
Whether any appearance not ridiculous be involved in this description, and whether it comprehend every species and form of the ridiculous, must be determined by repeated applications of it to particular instances.
Where'er the power of ridicule displays
Her quaint-ey'd visage, some incongruous form,
Some stubborn dissonance of things combin'd,
Strikes on the quick observer: whether pomp,
Or praise, or beauty, mix their partial claim
Where sordid fashions, where ignoble deeds,
Where foul deformity are wont to dwell;
Or whether these with violation loath'd,
Invade resplendent pomp's imperious mien,
The charms of beauty, or the boast of praise.
Since it is beyond all contradiction evident that we have a natural sense or feeling of the ridiculous, and since so good a reason may be assigned to justify the supreme being for bestowing it; one cannot without astonishment reflect on the conduct of those men who imagine it is for the service of true religion to vilify and blacken it without distinction, and endeavour to persuade us that it is never applied but in a bad cause. Ridicule is not concerned with mere speculative truth or falsehood. It is not in abstract propositions or theorems, but in actions and passions, good and evil, beauty and deformity, that we find materials for it; and all these terms are relative, implying approbation or blame. To ask them whether ridicule be a test of truth, is, in other words, to ask whether that which is ridiculous can be morally true, can be just and becoming; or whether that which is just and becoming, can be ridiculous. A question that does not deserve a serious answer. For it is most evident, that, as in a metaphysical proposition offered to the understanding for its assent, the faculty of reason examines the terms of the proposition, and finding one idea, which was supposed equal to another, to be in fact unequal, of consequence rejects the proposition as a falsehood; so, in objects offered to the mind for its esteem or applause, the faculty of ridicule, finding an incongruity in the claim, urges the mind to reject it with laughter and contempt. When therefore we observe such a claim obtruded upon mankind, and the inconsistent circumstances carefully concealed from the eye of the public, it is our business, if the matter be of importance to society, to drag out those latent circumstances, and, by setting them in full view, to convince the world how ridiculous the claim is: and thus a double advantage is gained; for we both detect the moral falsehood sooner than in the way of speculative inquiry, and impress the minds of men with a stronger sense of the vanity and error of its authors. And this and no more is meant by the application of ridicule.
But it is said, the practice is dangerous, and may be inconsistent with the regard we owe to objects of real dignity and excellence. I answer, the practice fairly managed can never be dangerous; men may be dishonest in obtruding circumstances foreign to the object, and we may be inadvertent in allowing those circumstances to impose upon us: but the sense of ridicule always judges right. The Socrates of Aristophanes is as truly ridiculous a character as ever was drawn:—True; but it is not the character of Socrates, the divine moralist and father of ancient wisdom. What then? did the ridicule of the poet hinder the philosopher from detecting and disclaiming those foreign circumstances which he had falsely introduced into his character, and thus rendered the satirist doubly ridiculous in his turn? No; but it nevertheless had an ill influence on the minds of the people. And so has the reasoning of Spinoza made many atheists: he has founded it indeed on suppositions utterly false; but allow him these, and his conclusions are unavoidably true. And if we must reject the use of ridicule, because, by the imposition of false circumstances, things may be made to seem ridiculous, which are not so in themselves; why we ought not in the same manner to reject the use of reason, because, by proceeding on false principles, conclusions will appear true which are impossible in nature, let the vehement and obstinate declaimers against ridicule determine.
In mortal bosoms wakes this gay contempt,
These grateful stings of laughter, from disgust
Educing pleasure? Wherefore, but to aid
The tardy steps of reason, and at once
By this prompt impulse urge us to depress
Of truth slow-dawning on the inquiring mind,
At length unfolds, through many a subtile tie,
How these uncouth disorders end at last
In public evil! yet benignant heaven,
Conscious how dim the dawn of truth appears
To thousands; conscious what a scanty pause
From labours and from care, the wider lot
Of humble life affords for studious thought
To scan the maze of nature; therefore stamp'd
The glaring scenes with characters of scorn,
As broad, as obvious, to the passing clown,
As to the letter'd sage's curious eye.
Some heavenly genius, whose unclouded thoughts
Attain that secret harmony which blends
The æthereal spirit with its mold of clay;
O! teach me to reveal the grateful charm
That searchless nature o'er the sense of man
Diffuses, to behold, in lifeless things,
The inexpressive semblance of himself,
Of thought and passion. Mark the sable woods
That shade sublime yon mountain's nodding brow;
With what religious awe the solemn scene
Commands your steps! as if the reverend form
The Elysian seats, and down the embowering glade
Move to your pausing eye! Behold the expanse
Of yon gay landscape, where the silver clouds
Flit o'er the heavens before the sprightly breeze:
Now their grey cincture skirts the doubtful sun;
Now streams of splendor, through their opening veil
Effulgent, sweep from off the gilded lawn
The aërial shadows; on the curling brook,
And on the shady margin's quivering leaves
With quickest lustre glancing; while you view
The prospect, say, within your cheerful breast
Plays not the lively sense of winning mirth
With clouds and sun-shine chequer'd, while the round
Of social converse, to the inspiring tongue
Of some gay nymph amid her subject train,
Moves all obsequious? Whence is this effect,
This kindred power of such discordant things?
Or flows their semblance from that mystic tone
To which the new-born mind's harmonious powers
At first were strung? Or rather from the links
Which artful custom twines around her frame?
By chance combin'd, have struck the attentive soul
With deeper impulse, or connected long,
The external scenes, yet oft the ideas gain
From that conjunction an eternal tie,
And sympathy unbroken. Let the mind
Recall one partner of the various league,
Immediate, lo! the firm confederates rise,
And each his former station strait resumes:
One movement governs the consenting throng,
And all at once with rosy pleasure shine,
Or all are sadden'd with the glooms of care.
'Twas thus, if ancient fame the truth unfold,
Two faithful needles, from the informing touch
Of the same parent-stone, together drew
Its mystic virtue, and at first conspir'd
With fatal impulse quivering to the pole:
Then, though disjoin'd by kingdoms, though the main
Rowl'd its broad surge betwixt, and different stars
Beheld their wakeful motions, yet preserv'd
The former friendship, and remember'd still
The alliance of their birth: whate'er the line
Which one possess'd, nor pause, nor quiet knew
The sure associate, ere with trembling speed
He found its path and fix'd unnerring there.
Such is the secret union, when we feel
A song, a flower, a name, at once restore
Those long connected scenes where first they mov'd
Guiding the wanton fancy to her scope,
To temples, courts or fields; with all the band
Of painted forms, of passions and designs
Attendant: whence, if pleasing in itself,
The prospect from that sweet accession gains
Redoubled influence o'er the listening mind.
Of memory her ideal train preserves
Intire; or when they would elude her watch,
Reclaims their fleeting footsteps from the waste
Of dark oblivion; thus collecting all
The various forms of being to present,
Before the curious aim of mimic art,
Their largest choice: like spring's unfolded blooms
Exhaling sweetness, that the skillful bee
May taste at will, from their selected spoils
To work her dulcet food. For not the expanse
Of living lakes in summer's noontide calm,
Reflects the bordering shade, and sun-bright heavens
With fairer semblance; not the sculptur'd gold
More faithful keeps the graver's lively trace,
Than he whose birth the sister powers of art
Propitious view'd, and from his genial star
Shed influence to the seeds of fancy kind;
The seal of nature. There alone unchang'd,
Her form remains. The balmy walks of May
There breathe perennial sweets: the trembling chord
Resounds for ever in the abstracted car,
Melodious: and the virgin's radiant eye,
Superior to disease, to grief, and time,
Shines with unbating lustre. Thus at length
Indow'd with all that nature can bestow,
The child of fancy oft in silence bends
O'er these mixt treasures of his pregnant breast,
With conscious pride. From them he oft resolves
To frame he knows not what excelling things;
And win he knows not what sublime reward
Of praise and wonder. By degrees, the mind
Feels her young nerves dilate: the plastic powers
Labour for action: blind emotions heave
His bosom; and with loveliest frenzy caught,
From earth to heaven he rowls his daring eye,
From heaven to earth. Anon ten thousand shapes,
Like spectres trooping to the wisard's call,
Flit swift before him. From the womb of earth,
From ocean's bed they come: the eternal heavens
Disclose their splendors, and the dark abyss
Pours out her births unknown: With fixed gaze
He marks the rising phantoms. Now compares
Inlarges and extenuates by turns;
Opposes, ranges in fantastic bands,
And infinitely varies. Hither now,
Now thither fluctuates his inconstant aim,
With endless choice perplex'd. At length his plan
Begins to open. Lucid order dawns;
And as from Chaos old the jarring seeds
Of nature at the voice divine repair'd
Each to its place, till rosy earth unveil'd
Her fragrant bosom, and the joyful sun
Sprung up the blue serene; by swift degrees
Thus disentangled, his entire design
Emerges. Colours mingle, features join,
And lines converge: the fainter parts retire;
The fairer eminent in light advance;
And every image on its neighbour smiles.
A while he stands, and with a father's joy
Contemplates. Then with Promethéan art,
Into its proper vehicle he breathes
The fair conception; which, imbodied thus,
And permanent, becomes to eyes or ears
An object ascertain'd: while thus inform'd,
The various organs of his mimic skill,
The consonance of sounds, the featur'd rock,
The shadowy picture and impassion'd verse,
By that expressive semblance, while in sight
Of nature's great original we scan
The lively child of art; while line by line,
And feature after feature we refer
To that sublime exemplar whence it stole
Those animating charms. Thus beauty's palm
Betwixt them wavering hangs: applauding love
Doubts where to chuse; and mortal man aspires
To tempt creative praise. As when a cloud
Of gathering hail with limpid crusts of ice
Inclos'd and obvious to the beaming sun,
Collects his large effulgence; strait the heavens
With equal flames present on either hand
The radiant visage: Persia stands at gaze,
Appall'd; and on the brink of Ganges doubts
The snowy-vested seer, in Mithra's name,
To which the fragrance of the south shall burn,
To which his warbled orisons ascend.
Favour'd of heaven! while plung'd in sordid cares,
The unfeeling vulgar mocks the boon divine:
And harsh austerity, from whose rebuke
Young love and smiling wonder shrink away
Abash'd and chill of heart, with sager frowns
Perhaps even now, some cold, fastidious judge
Casts a disdainful eye; and calls my toil,
And calls the love and beauty which i sing,
The dream of folly. Thou, grave censor! say,
Is beauty then a dream, because the glooms
Of dulness hang too heavy on thy sense,
To let her shine upon thee? So the man
Whose eye ne'er open'd on the light of heaven,
Might smile with scorn while raptur'd vision tells
Of the gay-colour'd radiance flushing bright
O'er all creation. From the wise be far
Such gross unhallow'd pride; nor needs my song
Descend so low; but rather now unfold,
If human thought could reach, or words unfold,
By what mysterious fabric of the mind,
The deep-felt joys and harmony of sound
Result from airy motion; and from shape
The lovely phantoms of sublime and fair.
By what fine ties hath God connected things
When present in the mind, which in themselves
Have no connection? Sure the rising sun
O'er the cærulean convex of the sea,
With equal brightness and with equal warmth
Might rowl his fiery orb; nor yet the soul
Thus feel her frame expanded, and her powers
Like a young conqueror moving through the pomp
Of some triumphal day. When join'd at eve,
Soft-murmuring streams and gales of gentlest breath
Melodious Philomela's wakeful strain
Attemper, could not man's discerning ear
Through all its tones the sympathy pursue;
Nor yet this breath divine of nameless joy
Steal through his veins and fan the awaken'd heart,
Mild as the breeze, yet rapturous as the song.
With all which life requires, though unadorn'd
With such inchantment? Wherefore then her form
So exquisitely fair? her breath perfum'd
With such æthereal sweetness? whence her voice
Inform'd at will to raise or to depress
The impassion'd soul? and whence the robes of light
Which thus invest her with more lovely pomp
Than fancy can describe? Whence but from thee,
O source divine of ever-flowing love,
And thy unmeasur'd goodness? Not content
With every food of life to nourish man,
By kind illusions of the wondering sense
Thou mak'st all nature beauty to his eye,
Or music to his ear: well-pleas'd he scans
Treads the gay verdure of the painted plain;
Beholds the azure canopy of heaven,
And living lamps that over-arch his head
With more than regal splendor; bends his ears
To the full choir of water, air, and earth;
Nor heeds the pleasing error of his thought,
Nor doubts the painted green or azure arch,
Nor questions more the music's mingling sounds
Than space, or motion, or eternal time;
So sweet he feels their influence to attract
The fixed soul; to brighten the dull glooms
Of care, and make the destin'd road of life
Delightful to his feet. So fables tell,
The adventurous heroe, bound on hard exploits,
Beholds with glad surprise, by secret spells
Of some kind sage, the patron of his toils,
A visionary paradise disclos'd
Amid the dubious wild: with streams, and shades,
And airy songs, the enchanted landscape smiles,
Cheers his long labours and renews his frame.
Active, and strong, and feelingly alive
To each fine impulse? a discerning sense
Of decent and sublime, with quick disgust
In species? This, nor gems, nor stores of gold,
Nor purple state, nor culture can bestow;
But God alone, when first his active hand
Imprints the secret byass of the soul.
He, mighty parent! wise and just in all,
Free as the vital breeze or light of heaven,
Reveals the charms of nature. Ask the swain
Who journeys homeward from a summer day's
Long labour, why, forgetful of his toils
And due repose, he loiters to behold
The sunshine gleaming as through amber clouds,
O'er all the western sky; full soon, I ween,
His rude expression and untutor'd airs,
Beyond the power of language, will unfold
The form of beauty smiling at his heart,
How lovely! how commanding! But though heaven
In every breast hath sown these early seeds
Of love and admiration, yet in vain,
Without fair culture's kind parental aid,
Without inlivening suns, and genial showers,
And shelter from the blast, in vain we hope
The tender plant should rear its blooming head,
Or yield the harvest promis'd in its spring.
Nor yet will every soil with equal stores
Repay the tiller's labour; or attend
The olive or the laurel. Different minds
Incline to different objects: one pursues
The vast alone, the wonderful, the wild;
Another sighs for harmony, and grace,
And gentlest beauty. Hence when lightening fires
The arch of heaven, and thunders rock the ground,
When furious whirlwinds rend the howling air,
And ocean, groaning from his lowest bed,
Heaves his tempestuous billows to the sky;
Amid the mighty uproar, while below
The nations tremble, Shakespeare looks abroad
From some high cliff, superior, and enjoys
The elemental war. But Waller longs,
All on the margin of some flowery stream
To spread his careless limbs amid the cool
Of plantane shades, and to the listening deer
The tale of slighted vows and love's disdain
Resound soft-warbling all the live-long day:
Consenting Zephyr sighs; the weeping rill
Joins in his plaint, melodious; mute the groves;
And hill and dale with all their echoes mourn.
Such and so various are the tastes of men.
Of luxury, the Siren! not the bribes
Of pageant honour can seduce to leave
Those ever blooming sweets, which from the store
Of nature fair imagination culls
To charm the inliven'd soul! What though not all
Of mortal offspring can attain the heights
Of envied life; though only few possess
Patrician treasures or imperial state;
Yet nature's care, to all her children just,
With richer treasures and an ampler state,
Indows at large whatever happy man
Will deign to use them. His the city's pomp,
The rural honors his. Whate'er adorns
The princely dome, the column and the arch,
The breathing marbles and the sculptur'd gold,
Beyond the proud possessor's narrow claim,
His tuneful breast injoys. For him, the spring
Distills her dews, and from the silken gem
Its lucid leaves unfolds: for him, the hand
Of autumn tinges every fertile branch
With blooming gold and blushes like the morn.
Each passing hour sheds tribute from her wings;
And still new beauties meet his lonely walk,
And loves unfelt attract him. Not a breeze
That this account may not appear rather poetically extravagant than just in philosophy, it may be proper to produce the sentiment of one of the greatest, wisest, and best of men on this head; one so little to be suspected of partiality in the case, that he reckons it among those favours for which he was especially thankful to the gods, that they had not suffered him to make any great proficiency in the arts of eloquence and poetry, lest by that means he should have been diverted from pursuits of more importance to his high station. Speaking of the beauty of universal nature, he observes, that there is a pleasing and graceful aspect in every object we perceive, when once we consider its connection with that general order. He instances in many things which at first sight would be thought rather deformities; and then adds, that a man who enjoys a sensibility of temper with a just comprehension of the universal order—will discern many amiable things, not credible to every mind, but to those alone who have entered into an honourable familiarity with nature and her works. M. Antonin. iii. 2.
Flies o'er the meadow, not a cloud imbibes
The setting sun's effulgence, not a strain
Ascends, but whence his bosom can partake
Fresh pleasure, unreprov'd. Nor thence partakes
Fresh pleasure only: for the attentive mind,
By this harmonious action on her powers
Becomes herself harmonious: wont so oft
In outward things to meditate the charm
Of sacred order, soon she seeks at home
To find a kindred order, to exert
Within herself this elegance of love,
This fair-inspir'd delight: her temper'd powers
Refine at length, and every passion wears
A chaster, milder, more attractive mien.
But if to ampler prospects, if to gaze
On nature's form, where, negligent of all
These lesser graces, she assumes the port
Of that eternal majesty that weigh'd
The world's foundations, if to these the mind
Exalts her daring eye; then mightier far
Will be the change, and nobler. Would the forms
Of servile custom cramp her generous powers?
Would sordid policies, the barbarous growth
Of ignorance and rapine, bow her down
To tame pursuits, to indolence and fear?
Lo! she appeals to nature, to the winds
And rowling waves, the sun's unwearied course,
For what the eternal maker has ordain'd
The powers of man: we feel within ourselves
His energy divine: he tells the heart,
He meant, he made us to behold and love
What he beholds and loves, the general orb
Of life and being; to be great like him,
Beneficent and active. Thus the men
Whom nature's works can charm, with God himself
Hold converse; grow familiar, day by day,
With his conceptions, act upon his plan;
And form to his, the relish of their souls.
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