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"I will only add one more caution before I leave the subject of literary advice. Let not the scholar think his education finished, when all the forms of is are completed. Let him not close his books as foon as he has relinquished his tutor. Improvement is the business of life. And his days will pass away pleasantly, who makes a daily ad. dition to his ideas. But he who deserts his books, from a common but mistaken nocion, that after a certain number of years spent in the usoal forms, he is completed, will soon find, that his books will de fert him. He will have renounced one of the best modes of spending stium cum dignitate, a respectable retirement. Some of the most important professions should not be, as they often are, merely a genteel retreat for idleness.

• Epaminondas, la derniere année de sa vie, disoit, écoutoit, voyoit, faisoit les même choses que dans l'age où il avoir commencé d'être inftruit.— Aujourd'hui nous recevons trois educations differ rentes ou contraires, celle de nos peres, celle de nos maitres, cele du monde. Ce qu'on nous dit dans la derniere, renverse toutes les idées des premieres. MONTESQUIEU.

In the above section I have only taken notice of the English uni. versities. I am not experimentally acquainted with any others; but I know that great pains have been taken to recommend the Scorch and foreign universities, to Englishmen. They certainly can be fuperior in no other respect but Arianess of discipline. I believe Europe cannot produce parallels to Oxford and Cambridge, in opulence, buildings, libraries, professorships, scholarships, and all the external dignity and mechanical apparatus of learning. If there is an inferio ority, it is in the persons, not in the place or in its constitutions, And here I cannot help confessing, that a desire to please the great, and bring them to the univerfisies, for the sake of honour and profit, and other political motives, causes a compliance with fashionable manners, a relaxation of discipline, and a connivance at ignorance, folly, and vice.

Notwithstanding we have in the former part of this article very freely controverted some positions of the ingenious Writer, we are ready to acknowledge the general merit of this practical Treatise ; and we scruple not to pronounce, that whoever is immediately interested in the education of youth, whether it be parent or tutor, or whether such tutor be public or private, he cannot fail to peruse it with fingular advantage. If Mr. Knox be able to carry his ideas on this most important subject into actual execution, or can act up to the very excellent principles he has laid down, it will not be difficult to foresee that, the seminary over which he presides must exhibit as faultless a specimen of scholaftic discipline as ever appeared in any age or. nation since letters were cultivated.

C..t..t.

Art. II. Rimes. 1 8vo. 2 s. 6d. fewed. Dilly. 1781.
T HIS Writer is of opinion, that ' uniformity of stanzı,
1 when protracted to any degree, mud ever fatigue, as ex-

tinguiding

i By Mr Pinterton,

tinguishing the great source of all pleasure, variety: To iemedy this, he has adopred a series of stanzas in which, as is usual in the choral odes of the Greek tragedians, and in Pin, dar, the two first correspond, and are succeeded by a third of a different measure. There, which the ancients distinguished by the titles of strophe, antistrophe, and epode, are here denominated, somewhat fantastically, cadence, antiphony, and unison. Our sentiments on this division of the English ode being already known, they need not be repeated ; especially as we meet with nothing either in the reasonings of this writer, or in the success of his practice, to dispose us to retract them. We shall, however, observe that he appears to be mistaken, when he supposes diversity of stanza eflential to variety in poetical harmony. If variety depended solely on varying the mode or measure of the verse, his argument might be conclusive ; but this, in fact, is far from being the case; it is even possible that a verse may

be varied without obtaining the variety sought for. For in- ftance, by the addition of iwo syllables to a verse of eight the measure is varied; but unless the additional syllables be emphatical themselves, or remove the emphasis from syllables already emphatical, the general harmony of the verse will be the same. This writer does not seem apprised that the variety here spoken of depends, not upon the counting of syllables, or the transposition of rhymes, but upon the pause, the emphasis, and (if we may lo speak) upon that certain musical expression, which, as it is the result of feeling and taste, distinguishes the poet from the rhymist. Were it otherwise, whence have blank verfe and the couplet their variety and harmony? But enough on this subject. Let the objectors to uniformity of stanza read the noble Ode to Mr. Howard, or the admirable Lyric productions of a Warton, and they will find that, though diversity of stanza may not be inadmisible, it is far from being necessary. Had not Mr. Warton, whose knowledge of English poetry and its powers, as a critic, is not less eminent than are his abilities as a poet, been convinced that the genius of the English ode required not such diversity of starza, it is probable he would, on fome occafion at least, have adopted it.

The pieces in this collection written after the model spoken of above, have the affected title of melodies. To them succeed what the Author is pleased to call (and it is well he has given

them a name) symphonies; in which the stanza, couplet, blank · verre and profe, are interchangeably jumbled and dance the

hays together, because forsooth,' the subjects feemed to de. mand an answering mode;" dii boni!

Much, however, as we reprobate the licentiousness of such capricious innovation, we must do this Writer the justice to acknowledge that he is not without some qualifications essentially

requisite

requisite in the composition of a poet. He appears to have con-
fiderable learning, and his learning has furnished his imagina-
tion with good store of poetical imagery. At the same time is
must be confessed that we meet with little of that wild and ani.
mating enthusiasm, that ardor animi æthereus, which is the
soul and characteristic of true poetry. Add to this that his lan-
guage, as may be seen in the specimen that follows, is rather
ftudied than elegant, and its combinations are not unfrequently
harth and inverted.
ON THE MILITARY PREPARATIONS MDCCLXXIX.

P R E L U DE,
“The kingly oaks whose lofty crest
The wrath of every form defies,
Of genial Spring the glad fupplies
To guard their lustre crave : *
So they whom honour's crown hath blea
Require the Muse's sacred rain,
From Time, from Envy's hateful train
Their ancient state to save.

CAD EN CE 1.
When firit the chiefs
Of Albion led
Their legions to the Gallic shore,
The patriot fame
Informed each breast :
That flame, alas, appears no more.
Such is the baletul power
Corruption, idol vile! of thy destroying shower,

Α Ν Τ Ε Ρ Η Ο Ν Υ Ι.
O lasting Mame
To every ron
Of whom the gallant Edward led
When Creffy's field
Saw conquest crown
With chaplet bright his helmed head!
When wounded by Despair
The Gallic Genius Aled and fought his native aire

UNISON I.
A breast of diamond serene and ftrong
Was thine, of mighty fire, thou mightier Con;
All regal merits did to thee belong,
Chief of the fable mail!. that grace a throne.
As from a storm the golden sun displays
His awful pomp in his meridian tower ;
Ogreater than thy fame! such seemed thy power,
When o'er the vales of Poitiers at thy blaze
The lilied legions fled with wild amaze.

CADENCE II.
Ye Fays that rove
The moon loved mead

Where

Where Seine extends his flowery stream,
What wonder thrilled
Your little breasts
To see the British symbols beam.
Along your haunted shore;
Where seldom hostile foot had dared to pace before.

· Α Ν Τ ΙΡ Η ΟΝΥ ΙΙ.
For vain was art,
For numbers vain
To stay heroic Henry's course.
Witness ye plains
Of Azincour
Yer red with signals of his force!
Nor force his sole renown,
For gems of every virtue decked his warlike crown.

UNISON II.
And thou, perfidious Spain, yet dar'lt engage
The fons of them who laid thy glory low
What time Eliza swayed her happier age;
An age when valour still was vice's foe!
With adverse fails tho' dark was all the main,
Yet did the chiefs their steady honour hold:
But Liberty, to guard her favoured reign,
With power invisible her foes controlled,
And bade her own dread storms their pomp enfold.

CADENCE III.
When Cromwell steered
The golden helm
Of empire he unjustly won,
B-føre his name
The Gallic King
Sat trembling on his painted throne:
Nor less when from afar
The lord of Blenheim rolled the purple tide of war.

ANTIPHON Y III.
Still, fill the fires
Of British fame
Beneath their silent embers live.

hey but demand
Some bappy gale
Their ancient fervors to revive :
Else whence of Wolfe the fate,
That wild Canada's lakes and Albion's hill's repeat ?

UNISON III.
O then ye lines of warlike fires awake!
Ye British youth awake to ancient praise.
Your souls ler generous emulation take,
To hide your fathers light with brighter rays.
The wretched path of luxury forego,
The wretched path that ever leads to shame.
With patriot heat bid every bosom glow:

Froma

From Hazard's hand the wreath of Glory claim,
True to your birth and to your country's fame.

CLOSE,
Thus hash the Mure with feeble kill
Her temple to renown prepared ;
And many a solemnitatue reared,
The radiant space to crown.
Pleit did her power arrend her will:
Did Britons as they gaze aspire
To imitate the godlike choir,

And make their praise their own.' The next Melody is the Harp of Ollian, a poet for whom he entertains a very violent predilection, not even allowing him to be second to HOMER! We are not to wonder then, that he has beltowed abundant labour on lo favourite a subject. The Harp of Offian is, nevertheless, too artificial to be pleasing; and (if we may be pardoned for the jingle) too affccted to affe&. We trace in it nothing of that sublimity of imagination, that elegance of taste, and that enchanting beauty of expression, which characterise the Ode prefixed to the translation of the yee Fingal of Oslian into English verse, written, as we have been informed, by an ingenious clergyman of Devonshire; and which (from the same source of information we hear allo) either has been or will soon be set to music by a gentleman, whose name i is fufficient to mention, to excite the curiosity of all the lovers of the chaste and elegant in harmony- JACKSON !

narmony-JACKSON! C..to .t.

Art. III. The Mirror. A Periodical Paper published at Edin

burgh in the Years 1779 and 1780. 12mo. 3 Vols. 75, 6 d.

fewed. Cadell. a to hold the MIRROR up to Nature, to thew Virtue her

T own features, Vice her own image, and the very age and body of the Time his form and preffure,” is the design of this publication. How far the representations of domestic life, which this Mirror exhibits, are faithful and exact, must be determined by those who are acquainted with the manners of the Scotch in their own country. But whatever may be the de. cision in that particular, it will not materially affedt the general character of these sensible and ingenious Essays, as they poffels confiderable merit, independent on local and transitory circumstances. Not that this commendation is to be extended indir, criminately to them all: we sometimes meet with unimportant and trifing matter, at least what appears so to us on this fide the Tweed; and our ears are not unfrequently offended by Sco. ticisms, which, even on familiar subjects, ought carefully to have been avoided. At the same time we are sensible that an uniform equality in a periodical publication of this fort, conducted by Rev. July, 1781.

various

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