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And unaccomplished all as Eve

In the first morning of her life,
When Adam blush'd, and ask'd her leave

To take her hand and call her wife. The Song has, throughout, a tone of profligacy and indecent insinuation, with an attempt to cast ridicule on things serious and sacred.

In the Song, “Ah! tell me no more, my dear girl, with a sigh,” (p. 112.) we have “ damsel divine”; and in the next, “ 'Tis not the liquid brightness of those eyes”, we have the expression “ form divine”. The word divine is become so common as denoting what is only excellent in a high degree, that I should be desirous to leave it without criticism, as a word which had departed from its etymology and acquired a new sense. But the fact is, that we still use it in its original sense, we apply it to God and sacred things. On this account I cannot help thinking that such use of it in amatory songs as we frequently find,—the application of it to a frail human being,-is objectionable. A mind duly impressed with the original sense of this word, would not, I think, (unless from some strong habit) go repeatedly backward and foi ward from one sense to the other, without some feeling of discord. Other objections might be made to this Song.

Of the two next Songs, “ While Strephon, thus you teaze one", (p. 114.) and “ The shape alone let others prize,” (p. 115.) it may be said, that if they have not any thing very good in them, they are not greatly deserving of censure; the phrase angel innocence in the latter is too strong. On this subject see before, Letter ii.

p. 63.

In the third Volume of my Collection of Songs, p. 192. is a song by Mozeen, upon this subject, and which forms a proper answer to this and similar passages. It begins,

To reason, ye fair ones, assert your pretence,
Nor hearken to language beneath Common Sense :
When angels men call ye, and homage would pay,
If you credit the tale, you're as faulty as they. &c.

The Song “ Wouldst thou know her sacred charms”, (p. 117.) is given in the second volume of my Collection, with the single alteration of the word lovely for sacred in the first line.

In the next “ Hail to the myrtle shade, (p. 119.) it is said of Phyllis that “ Nature hath made her divine. This song is in other respects exceptionable.

The least that can be said of the next, “ Tell me no more how fair she is”, (p. 120.) is, that it is extravagant.

" While in the bower with beauty blest”, (p. 122.) is too voluptuous.

In Smollet's Song, “ When Sappho tun'd the raptur'd strain," (p. 123.) I shall object to nothing but her “ art" being called “ divine”, the sentiment of it is in favour of chastity and 6 artless truth”.

“When charming Teraminta sings” (p. 126.) is too highly coloured.

“ My dear mistress has a heart”, (p. 127.) is by Rochester, who at his death lamented his profligate life, and his profane and indecent writings, which were so much calculated to corrupt mankind.* Here it is said of his mistress,

her constancy's so weak,
She's so wild and apt to wander,
That may jealous heart would break

Should we live one day asunder. Yet he afterwards says of her, “ Angels listen when she speaks," I suppose he means with complacency, as he adds “ She's my delight, all mankind's wonder”.

“ Let the ambitious favour find", (p. 128.) is indecently voluptuous, besides the romantic

* See his Life by Bishop Barnet, and the Sermon preached at his funeral by Parsons.

extravagance of the line “ Whilst I lie dying at her feet."

In the next, (p. 128.)

“ Cóme, let us now resolve at last

To live and love in quiet;"

we are told that

“ Tbe truest joys they seldom prore.

Who free from quarrels live;

a very false sentiment !

“From all uneasy passions free,” (p. 129.) like several of the Songs preceding, is charges able with being sensual.

In" Oft on the troubled ocean's face", (p. 130.) the sentiment in the last verse requires some limitation and explanation :

-io fond and amorous souls If tyrant love once reigns, There one eternal tempest rolls,

And yields unceasing pains.

“Prepar'd to rail, resolv'd to part,” (p. 131.) I must cease to notice such expressions as “ form divine” (see before p. 247.) every time I meet them.

In the next“Come, all ye youths whose hearts e'er bled" (p. 131.) a “ tempting fair”, -6 very lovely” and “ very kind”, and abounding in snares, is represented as being bright as heaven”.

In the Song, p. 134. a nymph wishes the

“ Tell my STREPHON that I die", but afterwards she desires them to 6 be

66 echoes” to

dumb,

For, should I cost my swain a tear,
I should repent it io my tomb,

And grieve I bought my rest so dear."

In the third line of this verse she affirms that for which she cannot possibly answer : the last line I do not understand, it appears to me to be

nonsense.

In the Song from The Conscious Lovers, (p. 134.)“ From place to place, forlorn, I go”, by Sir R. Steel, what constitutes one of its merits with you, Sir, is the ground of my objection. The lady compares herself to

a silent shade," " To speak, till spoken to, afraid." you say “ This is a very ingenious allusion to the popular notion that ghosts are not permitted to speak till first addressed by the beholder.” See before Letter ii. p. 59.

In the second verse of the celebrated Song in The Stranger, (p. 135.)“ I have a silent sorrow here,” the supposed writer talks of her cherisht woe”, her “ loved despair”, as if there was no blame in encouraging such passions.

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