were by no means distinguished for
humour; but as they were the models of that species of writing in which
humour was afterwards employed, they are, probably for that reason only,
mentioned here.




THE PASSIONS.

AN ODE FOR MUSIC.


If the music which was composed for this ode had equal merit with the
ode itself, it must have been the most excellent performance of the kind
in which poetry and music have, in modern times, united. Other pieces of
the same nature have derived their greatest reputation from the
perfection of the music that accompanied them, having in themselves
little more merit than that of an ordinary ballad: but in this we have
the whole soul and power of poetry--expression that, even without the
aid of music, strikes to the heart; and imagery of power enough to
transport the attention, without the forceful alliance of corresponding
sounds! what, then, must have been the effect of these united!

It is very observable, that though the measure is the same, in which the
musical efforts of Fear, Anger, and Despair are described, yet, by the
variation of the cadence, the character and operation of each is
strongly expressed: thus particularly of Despair:

  "With woful measures wan Despair--
    Low, sullen sounds his grief beguiled,
  A solemn, strange, and mingled air,
    'Twas sad by fits, by starts 'twas wild."

He must be a very unskilful composer who could not catch the power of
imitative harmony from these lines!

The picture of Hope that follows this is beautiful almost beyond
imitation. By the united powers of imagery and harmony, that delightful
being is exhibited with all the charms and graces that pleasure and
fancy have appropriated to her:

  Relegat, qui semel percurrit;
  Qui nunquam legit, legat.

  "But thou, O Hope, with eyes so fair,
    What was thy delighted measure!
  Still it whisper'd promised pleasure,
    And bade the lovely scenes at distance hail!
  Still would her touch the strain prolong,
    And from the rocks, the woods, the vale,
  She call'd on Echo still through all the song;
    And where her sweetest theme she chose,
    A soft responsive voice was heard at every close,
  And Hope enchanted smiled, and waved her golden hair."

In what an exalted light does the above stanza place this great master
of poetical imagery and harmony! what varied sweetness of numbers! what
delicacy of judgment and expression! how characteristically does Hope
prolong her strain, repeat her soothing closes, call upon her associate
Echo for the same purposes, and display every pleasing grace peculiar to
her!

  "And Hope enchanted smiled, and waved her golden hair."

  Legat, qui nunquam legit;
  Qui semel percurrit, relegat.

The descriptions of Joy, Jealousy, and Revenge are excellent, though not
equally so. Those of Melancholy and Cheerfulness are superior to every
thing of the kind; and, upon the whole, there may be very little hazard
in asserting, that this is the finest ode in the English language.




AN EPISTLE

TO SIR THOMAS HANMER, ON HIS EDITION OF SHAKESPEARE'S WORKS.


This poem was written by our author at the university, about the time
when Sir Thomas Hanmer's pompous edition of Shakespeare was printed at
Oxford. If it has not so much merit as the rest of his poems, it has
still more than the subject deserves. The versification is easy and
genteel, and the allusions always poetical. The character of the poet
Fletcher in particular is very justly drawn in this epistle.




DIRGE IN CYMBELINE.

ODE ON THE DEATH OF THOMSON.


Mr. Collins had skill to complain. Of that mournful melody, and those
tender images, which are the distinguishing excellencies of such pieces
as bewail departed friendship, or beauty, he was an almost unequaled
master. He knew perfectly to exhibit such circumstances, peculiar to the
objects, as awaken the influences of pity; and while, from his own great
sensibility, he felt what he wrote, he naturally addressed himself to
the feelings of others.

To read such lines as the following, all-beautiful and tender as they
are, without corresponding emotions of pity, is surely impossible:

    "The tender thought on thee shall dwell;
  Each lonely scene shall thee restore,
    For thee the tear be duly shed;
  Beloved till life can charm no more,
    And mourn'd till Pity's self be dead."

The Ode on the Death of Thomson seems to have been written in an
excursion to Richmond by water. The rural scenery has a proper effect in
an ode to the memory of a poet, much of whose merit lay in descriptions
of the same kind; and the appellations of "Druid," and "meek Nature's
child," are happily characteristic. For the better understanding of this
ode, it is necessary to remember, that Mr. Thomson lies buried in the
church of Richmond.


THE END.

       *       *       *       *       *




Transcriber Notes

Archaic and variable spelling is preserved.

Author's punctuation style is preserved. Quotes in the poetry are
sometimes repeated on every line, as in the original.

Poetry line numbers regularized.

Footnote 4's location is approximated.

Passages in italics indicated by _underscores_.

Greek transliterations are surrounded by ~tildes~ and follow the
original Greek characters.