This the blue1 varnish, that the green endears, Pope. JERUSALEM BEFORE THE SIEGE.3 TITUS SPEAKS. Ir must be And yet it moves me, Romans! it confounds That ruin's merciless ploughshare+ must pass o'er, Is hung with marble fabrics, line o'er line, To the blue heavens. There bright and sumptuous palaces, There towers of war that frown in massy strength; As conscious of its being her last farewell Of light and glory to that faded city. This the blue, &c.-The blue tinge marks the silver, and the green, the copper medals. The medals 2 To gain Pescennius, &c.-In this and the following lines, the deep anxieties of the virtuoso antiquary are glanced at with happy raillery. named are of course such as are very scarce and difficult to procure. was a Roman consul. The other names need no explanation. 3 This fine view of Jerusalem is almost altogether taken from that given by Josephus. The description of the temple especially, is nearly verbatim. 4 Ruin's merciless, &c.-This bold metaphor is also employed by Burns, (See p. 78,) and both writers probably derived it from Young. 5 Olive-crowned hill-Mount Olivet, east of Jerusalem. And as our clouds of battle, dust, and smoke, Finding itself a solemn sanctuary In the profound of heaven! It stands before us And down the long and branching porticos; Milman. THE TRANQUILLITY OF NATURE. Jove-Venus-and the ruddy crest of Mars, Opening its vast abyss, while fancy feeds Great Pan1 himself low-whispering through the reeds, Wordsworth. TWILIGHT. HAIL, Twilight! sovereign of one peaceful hour! 1 Pan-Pan, among the Greeks was the god of universal Nature, and the name was used frequently, as we use the word Nature, for the invisible cause of the beauties of creation. On the bare rock, or through a leafy bower Looked ere his eyes were closed. By him was seen At thy meek bidding, shadowy Power, brought forth:- The floods, the stars;-a spectacle as old Wordsworth. TO THE NIGHTINGALE.1 SWEET bird! thou sing'st away the early hours! Well pleased with delights which present are, Drummond. THE PLEASURES OF RETIREMENT. But doth converse with that eternal love! Oh, how more sweet is bird's harmonious moan, Or the hoarse sobbings of the widowed dove, Than those smooth whisperings near a prince's throne, 1 The writer of this and the following beautiful sonnet was a friend and contemporary of Ben Jonson. 2 And what dear gifts, &c.-i. e. and the precious gifts that he lavished on thee. 3 Oh stain, &c.-Oh what a reproach to men is the sin which debases ("lowers") them and prevents their praising God, as you do. Airs of spheres-the fancied music of the spheres. 5 His own-by himself. Which good make doubtful, do the evil prove! Oh, how more sweet is zephyr's wholesome breath, Drummond. DIRGE OVER FIDELE'S TOMB.2 Soft maids and village hinds shall bring And melting virgins own their love. When howling winds and beating rain, The tender thought on thee shall dwell; To poison, &c.-Compared to poison. 2 This exquisite poem seems to have been suggested by a sort of funeral chant over a dead body in Shakspere's "Cymbeline." Sir E. Brydges commends its "symplicity and pathos," its "highly poetical thought and tone," its "exquisite polish, without one superfluous, one prosaic word." He continues thus:"the extreme transparency of the words and thoughts would induce a vulgar reader to consider them [such poems] trite, while they are the expression of a genius so refined as to be all essence of spirit." 3 The redbreast, &c.-It is thought that Gray was indebted to this stanza for the lines in the "Elegy" (for which see p. 55,) beginning "There scattered oft, &c." Q Each lonely scene shall thee restore; Collins. TO MAY.1 THOUGH many suns have risen and set Earth, sea, thy presence feel-nor less, With its soft smile the truth express, Since thy return, through days and weeks How many wan and faded cheeks Have kindled into health! The old, by thee revived, have said, And wayworn wanderers, poorly fed, Who tripping lisps a merry song 1 Among the many beautiful poems of the same author, there is not perhaps a more finished composition than this-not one more noticeable for the "curiosa felicitas"-that "grace beyond the reach of art,"-which evinces the perfect mastery of the artist. |