ris obfervable, that discourses prefixed to poetry | e contrived very frequently to inculcate fuch nets as may exhibit the performance to the eateft advantage. The fabric is very commonrailed in the first place, and the meafures, by hich we are to judge of its merit, are afterards adjusted. There have been few rules given us by the crier concerning the ftructure of elegiac poetry; ad far be it from the author of the following ifles to dignify his own opinions with that denonation. He would only intimate the great vaety of fubjects, and the different ftyles in which he writers of elegy have hitherto indulged themlves, and endeavour to fhield the following ones y the latitude of their example. If we confider the etymology of the word, he epithet which Horace gives it, or the coneffion which ‡ Ovid makes concerning it, I think we may conclude thus much, however, that elegy, n its true and genuine acceptation, includes a tender and querulous idea: that it looks upon this as its peculiar characteristic, and fo long as this is thoroughly fuftained, admits of a variety of fubjects; which, by its manner of treating them, it renders them its own. It throws its melancholy fole over pretty different objects; which, like the dreffes at a funeral proceffion, gives them ail a kind of folemn and uniform appearance. It is probable that elegies were written at first upon the death of intimate friends and near rela one tions; celebrated beauties, or favourite miftreffe: ; "Quique fui memores alios fecere merendo." After thefe fubjects were fufficiently exhaufted, and the severity of fate difplayed in the most affecting inftances, the poets fought occafion to vary their complaints; and the next tender fpecies of forrow that prefented itfelf, was the grief of abfent or neglected lovers. And this indulgence might be indeed allowed them; but with this they were not contented. They had obtained a fmall corner in the province of love, and they took advantage, from thence, to over-run the whole territory. They fung its spoils, triumphs, ovations, and rejoicings, as well as the captivity and exequies that attended it. They gave the name of elegy to their pleafantries as well as lamentations; till at last, through their abundant fondness for the myrtle, they forgot that the cyprefs was their peculiar garland. In this it is probable they deviated from the original defign of elegy; and it should feem, that any kind of fubjects, treated in fuch a manner as to diffufe a pleafing melancholy, might far better deferve the name, than the facetious mirth and libertine feftivity of the fuccefsful votaries of love. But not to dwell too long upon an opinion which may feem perhaps introduced to favour the following performance, it may not be improper Dicite Io Pean, et Io bis dicite Pean." PP to examine into the ufe and end of elegy. The most important end of all poetry is to encourage virtue. Epic and tragedy chiefly recommend the public virtues; elegy is of a fpecies which illufrates and endears the private. There is a truly virtuous pleasure connected with many penfive contemplations, which it is the province and ex. cellency of elegy to enforce. This, by prefenting fuitable deas, has difcovered fweets in melancholy which we could not find in mirth; and has led us with fuccefs to the duty urn, when we could draw no pleasure from the fparkling bowl; as paftoral conveys an idea of fimplicity and innocence, it is in particular the task and merit of elegy to fhow the innocence and fimplicity of rural life to advantage: and that, in a way diftinct from paftoral, as much as the plain but judicious landlord may be imagined to furpafs his tenant both in dignity and understanding. It should alfo tend to elevate the more tranquil virtues of humility, difinterestedness, fimplicity, and innocence: but then there is a degree of elegance and refinement, no way inconfiftent with these rural virtues; and that raifes elegy above that merum rus, that unpolished rufticity, which has given our pafloral writers their highest reputation. Wealth and splendour will never want their proper weight: the danger is, left they should too much preponderate. A kind of poetry therefore which throws its chief influence into the other scale, that magnifies the sweets of liberty and independence, that endears the honeft delights of love and friendship, that celebrates the glory of a good name after death, that ridicules the futile arrogance of birth, that recommends the innocent amufement of letters, and infenfibly prepares the mind for that humanity it inculcates, fuch a kind of poetry may chance to please; and if it please, fhould feem to be of fervice. As to the flyle of elegy, it may be well enough determined from what has gone before. It should imitate the voice and language of grief, or if a metaphor of dreis be more agreeable, it should be fimple and diffufe, and flowing as a mourner's veil. A verfification therefore is defirable, which, by indulging a free and unconstrained expreffion, may admit of that fimplicity which elegy requires. Heroic metre, with alternate rhyme, feems well enough adapted to this species of poetry; and, however exceptionable upon other occafions, its inconveniencies appear to lose their weight in fhorter elegies: and its advantages feem to acquire an additional importance. The world has an admirable example of its beauty in a collection of elegies not long since published; the product of a gentleman of the most exact tafte, and whofe untimely death merits all the tears that elegy can thed. It is not impoffible that fome may think this metre too lax and profaic: others, that even a more diffolute variety of numbers may have fuperior advantages. And, in favour of these last, might be produced the example of Milton in his Lycidas, together with one or two recent and • Mr. Hammond. beautiful imitations of his verfification in that m nody. But this kind of argument, I am apt to think, muft prove too much; fince the writers have in view feem capable enough of recom mending any metre they fhall choose; though must be owned alfo, that the choice they make of any, is at the same time the strongest prefump tion in its favour. Perhaps it may be no great difficulty to c promife the difpute. There is no one kind metre that is diftinguished by rhymes, but liable to fome objection or other. Heroic ver where every fecond line is terminated by a rhym (with which the judgment requires that the ce hould in fome measure alfo terminate) is apt th render the expreffion either fcanty or conftrand And this is fometimes obfervable in the writing of a poet lately deceased; though I believe no ever threw fo much fenfe together with fo ma eafe into a couplet as Mr. Pope. But, as an of constraint too often accompanies this metre, à feems by no means proper for a writer of dery The previous rhyme in Milton's Lycidas is very frequently placed at fuch a diftance from the fol lowing, that it is often dropt by the menst (much better employed in attending to the fen ment) before it be brought to join its partneri and this seems to be the greatest objection to th kind of verfification. But then the peculiar and variety it admits of, are no doubt fufficient overbalance the objection, and to give it the ference to any other, in an elegy of length. The chief objection to which fansa of kinds is liable, is, that it breaks the fenfe 100 gularly, when it is continued through a poem. And this may be perhaps the fault of M Waller's excellent panegyric. But if this tal be lefs difcernible in smaller compofitions, a fuppofe it is, I flatter myself, that the advanae I have before mentioned resulting from alternati rhyme (with which stanza is, 1 think, connecte'; may, at leaft in borter elegies, be allowed to weigh its imperfections. I fhall fay but little of the different kich elegy. The melancholy of a lover is different, ra doubt, from what we feel on other mixed o fions. The mind in which love and grief at o predominate, is foftened to an excess. Love gy therefore is more negligent of order and deg and being addreffed chiefly to the ladies, requir little more than tenderness and perfpicuity. Elegies, that are formed upon promifcuous incident, and addreffed to the world in general, inculcate fome fort of moral, and admit a different degre of reafoning, thought, and ardour. The author of the following elegies entered his fubjects occafionally, as particular incidents in life fuggefted, or difpofitions of mind rerer mended them to his choice. If he describes a r ral landscape, or unfolds the train of fentiments it infpired, he fairly drew his picture from the sp and felt very fenfibly the affection he commu cates. If he fpeaks of his humble fhed, his flocks and his fleeces, he does not counterfeit the fcene; who having (whether through choice or necetlity, not material) retired betimes to country-folitudes and fought his happiness in rural employment as a right to confider himself as a real shepherd. The flocks, the meadows, and the grottos, are bis own, and the embellishment of his farm his fole amufement. As the fentiments therefore were infpired by nature, and that in the earlier part of his life, he hopes they will retain a natural appearance: diffufing at least some part of that amusement, which he freely acknowledges The received from the compofition of them. There will appear perhaps a real inconfiftency the moral tenor of the feveral elegies; and the fubfequent ones may fometimes feem a recantation of the preceding. The reader will fearce impute this to oversight; but will allow, that men's opinions as well as tempers vary; that neither public nor private, active nor ipeculative life, are anexceptionably happy, and confequently that any change of opinion concerning them may afford an additional beauty to poetry, as it gives us a more ftriking reprefentation of life. If the author has hazarded, throughout, the ale of English or modern allufions, he hopes it will not be imputed to an entire ignorance, or to the least disesteem, of the ancient learning. He das kept the ancient plan and method in his eye, though he builds his edifice with the materials of his own nation. In other words, through a fondneis for his native country, he has made ufe of the flowers it produced, though, in order to ex hibit them to the greater advantage, he has endeavoured to weave his garland by the beft model he could find; with what fuccefs, beyond his own amufement, must be left to judges lefs partial to him than either his acquaintance or his friends.--If any of thofe fhould be fo candid, as to approve the variety of fubjects he has chofen, and the tenderness of fentiment he has endeavoured to imprefs, he begs the metre alfo may not be too fuddenly condemned. The public ear, habituated of late to a quicker measure, may perhaps confider this as heavy and languid; but an objection of that kind may gradually lofe its force, if this measure thould be allowed to fuit the nature of elegy. If it should happen to be confidered as an object with others, that there is too much of a moral caft diffuted through the whole; it is replied, that he endeavoured to animate the poetry fo far as not to render this objection too obvious; or to risk excluding the fashionable reader: at the fame time never deviating from a fixed principle. that poetry without morality is but the bloom of a fruit-tree. Poetry is indeed like that fpecies of plants, which may bear at once both fruits and bloffoms; and the tree is by no means in perfection without the former, however it may be emembellished by the flowers which furround it. ELEGY I. He arrives at his retirement in the country, and takes occafion to expatiate in praise of fimplicity. TO A FRIEND. For rural virtues, and for native skies, I bade Augufta's venal fons farewell; Now 'mid the trees I see my smoke arise; Now hear the fountains bubbling round my cell. But thou, my friend! while in thy youthful fou! O may that genius, which fecures my rest, Far from these paths, ye faithless friends, depart! O lov'd fimplicity, be thine the prize! Affiduous art correct her page in vain! His be the palm, who, guiltless of disguise, Contemns the power, the dull refource to feign: Sull may the mourner, lavish of his tears For lucre's venal meed, invite my scorn! Still may the bard diffembling doubts and fears, For praise, for flattery fighing, figh forlorn! Soft as the line of love-fick Hammond flows, 'Twas his fond heart effus'd the melting theme; Love's gentle tyrant feats his awful throne, Write from thy bofom-let not art controul The ready pen, that makes his edicts known. Pleafing, when youth is long expir'd, to trace The forms our pencil, or our pen defign'd! "Such was our youthful air, and shape, and face! "Such the fort image of our youthful mind! Soft whilft we sleep beneath the rural bowers, Curfe the fad fortune that detains thy fair; Praise the foft hours that gave thee to her arms; Paint thy proud fcorn of every vulgar care, When hope exalts thee, or when doubt alarms. Where with Oenone thou haft worn the day, Near fount or ftream, in meditation, rove; If in the grove Oenone lov'd to stray, The faithful mufe fhall meet thee in the grove ELEGY II. On pofthumous reputation. TO A FRIEND. O GRIEF of griefs! that envy's frantic ire To deck the cold infenfate fhrine with bays! When the free spirit quits her humble frame, To tread the fkies with radiant garlands crown'd, Say, will fhe hear the diftant voice of fame? Or, hearing, fancy sweetness in the found? Can every fenfe of prefent joys excel: Shall then our youths, who fame's bright fabric raife, To life's precarious date confine their care? Is it with small transport, as with curious eye To mark the day, when through the bulky tome, Led by that index where true genius fhines? ELEGY III. On the untimely death of a certain learned acquaintance. If proud Pygmalion quit his cumbrous frame, And blots the mournful numbers with a tear. He little knew the fly penurious art; That odiousart which fortune's favourites know Form'd to bestow, he felt the warmest heart, But envious fate forbade him to beflow. He little knew to ward the fecret wound; He little knew that mortals could enfnare; Virtue he knew; the nobleft joy he found, To fing her glories, and to paint her fair! Ill was he skill'd to guide his wandering sheep; And unforeseen difafter thinu'd his fold; Yet at another's lofs the fwain would weep; And, for his friend, his very crook was fold. Ye fons of wealth! protect the muse's train! From winds protect them, and with food supply, Ah! helpless they, to ward the threaten'd pain! The meagre famine, and the wintery sky! He lov'd a nymph: amidst his flender ftore, He dar'd to love; and Cynthia was his theme; He breath'd his plaints along the rocky short, They only echo'd o'er the winding stream! His nymph was fair! the sweetest bud that blow Revives lefs lovely from the recent shower; So Philomel enamour'd eyes the rofe; Sweet bird enamour'd of the sweetest flower! He lov'd the mufe; she taught him to complain; He faw his timorous loves on her depend; He lov'd the mufe; although the taught in var; He lov'd the mufe, for fhe was virtue's friend. She guides the foot that treads on Parian floors; She wins the ear when formal pleas are vain; She tempts patricians from the fatal doors Of vice's brothel, forth to virtue's fane. He wish'd for wealth, for much he wifh'd to give: He griev'd that virtue might not wealth obtain, Piteous of woes, and hopeless to relieve, The penfive prospect fadden'd all his ftrain. I faw him faint! I faw him fink to rest! Like one ordain'd to fwell the vulgar throng: As though the virtues had not warm'd his bread. As though the muses not inspir'd his tongue. I saw his bier ignobly cross the plain; Such Alcon fell; in meagre want forlorn! Where were ye then, ye powerful patrons, where? Would ye the purple should your limbs adorn, Go wash the confcious blemish with a tear. ELEGY IV. Ophelia's Urni TO MR. GRAVES. THROUGH the dim veil of evening's dusky shade, Near fome lone fane, or yew's funereal green, What dreary forms has magic fears furvey'd! What shrouded spectres fuperftition feen! But you fecure shall pour your fad complaint, She keeps late vigils on her urn reclin'd, Why has fuch worth, without distinction, dy'd Why, like the defert's lily, bloom'd to fade?' 66 Then young fimplicity, averfe to feign, Shall unmolested breathe her fofteft figh: And candour with unwonted warmth complain, And innocence indulge a wailful cry. Then elegance, with coy judicious hand, Shall cull fresh flowrets for Ophelia's tomb: And beauty chide the Fates' fevere command, That show'd the frailty of fo fair a bloom! And fancy then, with wild ungovern'd woe, Shall her lov'd pupil's native tafte explain; For mournful fable all her hues forego, And ask fweet folace of the mufe in vain! Ah, gentle forms, expect no fond relief; Too much the facred Nine their loss deplore : Well may ye grieve, nor find an end of griefYour best, your brightest favourite ELEGY V. no more. He compares the turbulence of love with the tranquillily of friendship. TO MELISSA HIS FRIEND. FROM, love, from angry love's inclement reign 'Tis thou, Mcliffa, thou deserv'ft my care: Ah dear Meliffa pleas'd with thee to rove, Love is a pleafing, but a various clime! TO A LADY ON THE LANGUAGE OF BIRDS. COME then, Dione, let us range the grove, The fcience of the feather'd choirs explore Hear linnets argue, larks defcant of love, And blame the gloom of folitude no more. My doubt fubfides---'tis no Italian fong, Nor fenfelefs ditty, cheers the vernal tree : Ah! who, that hears Dione's tuneful tongue, Shall doubt that mufic may with sense agree? And come, my mufe! that lov'ft the fylvan fhade; Evolve the mazes, and the mist difpel: Trandate the fong; convince my doubting maid, No folemn dervife can explain fo well.--Pensive beneath the twilight fhades I fate, The flave of hopelefs vows, and cold difdain! When Philomel addrefs'd his mournful mate, And thus I conftrued the mellifluent train. Sing on, my bird---the liquid notes prolong, At every note a lover fheds his tear; Sing on, my bird---'tis Damon hears thy fong; Nor doubt to gain applause, when lovers hear. He the fad fource of our complaining knows; A foe to Tereus, and to lawless love! He mourns the ftory of our ancient woes; Ah could our mufic his complaints remove! Yon' plains are govern'd by a peerless maid ; And fee pale Cynthia mounts the vaulted sky, A train of lovers court the chequer'd shade; Sing on, my bird, and hear thy mate's reply: Erewhile no fhepherd to these woods retir'd; No lover bleft the glow-worm's pallid ray: But ill-ftar'd birds, that liftening not admir'd, Or listening envy'd our fuperior lay. Cheer'd by the fun, the vaffals of his power, Let fuch by day unite their jarring strains! But let us choose the calm, the filent hour, Nor want fit audience while Dione reigns.” ELEGY VII. He defcribes his vifion to an acquaintance, "Cætera per terras omnes animalia, &c. VIRG ON diftant heaths, beneath autumnal skies, |