with beings brought of imagination, is boldly Here is no Dream. She from her own house into and the vision comes and the strength of true flesh 1. The solitariness of her out from a sleepless bed, the springing of the day, long brighte sonne uprisen was" fore, whilst common mankind med in sleep-is all the saving tion that the poet has deigned wixt the coarse and harsh Real the splendid Unreal. As for the tical working-out-the descriptive ative-it is elaborate and full of auty. The natural scene is painted ... exquisite sensibility to the innces of nature, and with such derminate strokes as show a converant eye. For example, the mixed and illuminated spring-foliage, the "levis new That sprongin out agen the sonne shene: somewhat concerned at finding an unwilling word of the judicious Tyrwhitt's, which owns to a doubt on the authorship of the most beautiful minor poem, admitted into the volume of Chaucer. Dryden felt the effusion of beauty, and has rendered and enhanced it. One may question the fitness of a material alteration which he has ventured upon. The allegory of the old Poem is pure. Dryden has changed the Knights and Ladies, collectively, into Fairies; for any thing that appears, indeed, of good human stature. The thought came to him apparently as making the beauty more beautiful, and possibly as obtaining, to an otherwise indefinite sort of imaginary beings, a known character and a recognized hold upon poetical--succeeding to popular--belief. A contradiction is that the company of the Leaf have, in emphatic and chosen terms, been described as INNUMERABLE. The laurel is of such enormous diffusion, that A HUNDRED Some very rede, and some a glad light persons might repose under it. Yet grene," would seem fresh and vivid from the IT SHELTERS THEM ALL FROM THE STORM. hand of Coleridge or Tennyson-and Margarete or Daisy should suffer It is also singular to us, that the the "path of litil brede, -that gretly had not usid be, For it forgrowin was with gras and wede," - which beguiles the foot of the vision-favoured away from the usual beat of men, leading her into the unvisited sequestration due to the haunting of an embodied Allegory-might, in its old simplicity, pass for well invented by whichsoever Priest of Imagination in our day can the best read, in the Sensible, the symbolized Spiritual and Invisible. You wonder withal, if Chaucer was the poet, how the spectator was turned into a spectatress; and you are any slight from Chaucer, seeing the reverence with which he elsewhere regards it. It is here, too, no doubt raised into reverence by the observance of the Flower party; but then it suffers disparagement inasmuch as they are disparaged. Truly does the amiable Godwin say-" In a word, the Poem of Dryden, regarded merely as the exhibition of a soothing and delicious luxuriance of fancy, may be classed with the most successful productions of human genius. No man can read it without astonishment, perhaps not without envy, at the cheerful, wellharmonized, and vigorous state of mind in which the author must have been at the time he wrote it." "Now turning from the wintry signs, the sun ad whirling up the skies, his chariot drove lad the ground, and paint the fields with flowers; 2 T (but as is only afterwards at the close fast by the arbour, where our spectatress has remained all the while seeing and unseen, ladies and knights ride along and away. Only one lady in white rides alone after the rest. To her she comes out, and enquires what the wandering show means. The answer, given with courteous explicitness, imports in sum that those who wear chaplets of Agnus Castus are virgins; the laurel wearers, knights who were never conquered; the Nine most distinguished knights being the Nine Worthies; with whom are the Twelve Peers of Charlemagne, and many "knightes olde" of the Garter. Those who wear woodbine "Be such as never were To love untrewe in word, thoghte, ne dede." They wear the Leaf, because the implication of the ancient mythology the The invention is remarkably well purposed, and well carried through. The division of the world into those who follow virtue and those who pursue their own delight, is a good general poetico-ethical view, and the delicate emblems happily chosen for The heat expressing the contrast. and the tempest which overwhelm the dainty voluptuaries, and are harmless to the deed-worthy, express the true wisdom of virtue, even for this world, which moves not at our will; and the gentle healing kindness of the wiser to the less wise, whom they equalize with themselves, might almost seem profoundly to signify the recovery to the better wisdom of those who had set out with choosing amiss-a gracious hidden Christian lesson of charity and penitence. The contact of the simply human spectatress with beings brought from the world of imagination, is boldly designed. Here is no Dream. She walks down from her own house into the wood, and the vision comes and goes, in all the strength of true flesh and blood. The solitariness of her stealing out from a sleepless bed, "about the springing of the day, long or the brighte sonne uprisen was"therefore, whilst common mankind lie buried in sleep-is all the saving partition that the poet has deigned betwixt the coarse and harsh Real and the splendid Unreal. As for the poetical working-out-the descriptive narrative-it is elaborate and full of beauty. The natural scene is painted with exquisite sensibility to the influences of nature, and with such determinate strokes as show a conversant eye. For example, the mixed and illuminated spring-foliage, the "levis new That sprongin out agen the sonne shene : somewhat concerned at finding an unwilling word of the judicious Tyrwhitt's, which owns to a doubt on the authorship of the most beautiful minor poem, admitted into the volume of Chaucer. Dryden felt the effusion of beauty, and has rendered and enhanced it. One may question the fitness of a material alteration which he has ventured upon. The allegory of the old Poem is pure. Dryden has changed the Knights and Ladies, collectively, into Fairies; for any thing that appears, indeed, of good human stature. The thought came to him apparently as making the beauty more beautiful, and possibly as obtaining, to an otherwise indefinite sort of imaginary beings, a known character and a recognized hold upon poetical--succeeding to popular--belief. A contradiction is that the company of the Leaf have, in emphatic and chosen terms, been described as INNUMERABLE. The laurel is of such enormous diffusion, that A HUNDRED Some very rede, and some a glad light persons might repose under it. Yet grene," would seem fresh and vivid from the IT SHELTERS THEM ALL FROM THE STORM. hand of Coleridge or Tennyson-and Margarete or Daisy should suffer It is also singular to us, that the the "path of litil brede, -that gretly had not usid be, For it forgrowin was with gras and wede," -which beguiles the foot of the vision-favoured away from the usual beat of men, leading her into the unvisited sequestration due to the haunting of an embodied Allegory-might, in its old simplicity, pass for well invented by whichsoever Priest of Imagination in our day can the best read, in the Sensible, the symbolized Spiritual and Invisible. You wonder withal, if Chaucer was the poet, how the spectator was turned into a spectatress; and you are any slight from Chaucer, seeing the reverence with which he elsewhere regards it. It is here, too, no doubt raised into reverence by the observance of the Flower party; but then it suffers disparagement inasmuch as they are disparaged. Truly does the amiable Godwin say-" In a word, the Poem of Dryden, regarded merely as the exhibition of a soothing and delicious luxuriance of fancy, may be classed with the most successful productions of human genius. No man can read it without astonishment, perhaps not without envy, at the cheerful, wellharmonized, and vigorous state of mind in which the author must have been at the time he wrote it." "Now turning from the wintry signs, the sun To glad the ground, and paint the fields with flowers; VOL. LVII. NO. CCCLV. 2 T And buds, that yet the blast of Eurus fear, Stand at the door of life, and doubt to clothe the year; Make the green blood to dance within their veins : And sought a goodly grove, as fancy led my way. Their branching arms in air with equal space And listen'd for the queen of all the quire; Fain would I hear her heavenly voice to sing, And wanted yet an omen to the spring. 66 Attending long in vain, I took the way, Which through a path, but scarcely printed, lay; In narrow mazes oft it seem'd to meet, And look'd as lightly press'd by fairy feet. Wand'ring I walk'd alone, for still methought To some strange end so strange a path was wrought; At last it led me where an arbour stood, The sacred receptacle of the wood; This place unmark'd, though oft I walk'd the green, In all my progress I had never seen; And seized at once with wonder and delight, Gazed all around me, new to the transporting sight. The well-united sods so closely lay, And all around the shades defended it from day; A hedge about the sides, a covering over head. And satisfied at once the smell and sight. The master workman of the bower was known I look'd, and look'd, and still with new delight, I stood entranced, and had no room for thought, Was in a pleasing dream of Paradise; At length I waked, and looking round the bower, Search'd every tree, and pry'd on every flower, If any where by chance I might espy The rural poet of the melody; For still methought she sung not far away: At last I found her on a laurel spray, Close by my side she sate, and fair in sight, Full in a line against her opposite; Where stood with eglantine the laurel twined, And both their native sweets were well conjoin'd. |