EXPOSTULATION.

THE volume which was to have been published in May, 1781, under the title of "Poems, by William Cowper of the Inner Temple, Esq." concluded with Expostulation. The work would thus have contained the first four compositions of the present collection, which, "with a few select smaller pieces," as the author himself states, " about seven or eight, perhaps, the best I can find in a bookful that I have by me," might probably have amounted in all to three thousand lines," printed in octavo, for the price of three shillings." Such were the materials transmitted to Johnson's press, which the poet "imagined might furnish a volume of tolerable bulk that need not be indebted to any unreasonable breadth of margin for the importance of its figure." The manuscript was completely transcribed by the first week of April, and on the 8th day of that month, "the whole works complete, bound in brown paper," were consigned to the care of a Mr Old, who then happened to be passing from Olney to the metropolis.

Expostulation is said to have been suggested by a fastsermon composed by Newton. The author, however, no where confesses this obligation, and the train of thought could not but be familiar to one of his seriousness. The object of the poem is to run a parallel between the blessings enjoyed by England, and her numerous deliverances, compared with Jewish history, and thence to impress the inference, that if the former continued insensible to God's mercies like the Jews, like them she should also perish. The plan thus necessarily perhaps led

to political discussion, and to the error of assigning more than their due share of importance to contemporary events); hence the introduction of some things which no power can render permanently affecting in poetry. The evanescent

interests, however, are happily to a considerable degree incidental, for the general tone and spirit of the poem is an elegant an impassioned address to men "to turn to the Lord their God," and to educe from all his mercies renewed cause of gratitude and love. These were themes 66 as I have proceeded upon the subject of Expostulation, I have written with tolerable ease to myself, and in my own opinion, (for an opinion I am obliged to have about what I write, whether I will or no,) with more emphasis and energy than in either of the others." The opinion is correct: we find a vigour of language, a copiousness of imagery, a sublimity of Scriptural example, animated throughout by an earnestness of admonition, now fervid, now affecting, and again indignant, which the author never surpassed.

congenial to Cowper's spirit. So far," says he,

EXPOSTULATION.

Tantane, tam patiens, nullo certamine tolli

Dona sines?

VIRG.

WHY weeps the Muse for England? What appears
In England's case, to move the Muse to tears?
From side to side of her delightful isle

Is she not clothed with a perpetual smile?
Can Nature add a charm, or Art confer
A new found luxury not seen in her?
Where under heaven is pleasure more pursued,
Or where does cold reflection less intrude?
Her fields a rich expanse of wavy corn,
Pour'd out from plenty's overflowing horn;
Ambrosial gardens, in which art supplies
The fervour and the force of Indian skies;
Her peaceful shores, where busy Commerce waits
To pour his golden tide through all her gates;
Whom fiery suns, that scorch the russet spice
Of eastern groves, and oceans floor'd with ice,
Forbid in vain to push his daring way
To darker climes, or climes of brighter day;
Whom the winds waft where'er the billows roll,
From the world's girdle to the frozen pole;
The chariots bounding in her wheel-worn streets,
Her vaults below, where every vintage meets;
Her theatres, her revels, and her sports;
The scenes to which not youth alone resorts,
But
age, in spite of weakness and of pain,
Still haunts, in hope to dream of youth again:
All speak her happy; let the Muse look round
From east to west, no sorrow can be found;
Or only what in cottages confined,
Sighs unregarded to the passing wind.

Then wherefore weep for England? What appears
In England's case to move the Muse to tears? 1
The prophet wept for Israel, wish'd his eyes
Were fountains fed with infinite supplies :
For Israel dealt in robbery and wrong;

There were the scorner's and the slanderer's tongue;
Oaths, used as playthings or convenient tools,
As interest biass'd knaves, or fashion fools;
Adult'ry neighing at his neighbour's door;
Oppression, lab'ring hard to grind the poor;
The partial balance and deceitful weight,
The treach'rous smile, a mask for secret hate;
Hypocrisy, formality in prayer,

And the dull service of the lip were there.
Her women, insolent and self-caress'd,
By vanity's unwearied finger dress'd,
Forgot the blush, that virgin fears impart
To modest cheeks, and borrow'd one from art ;
Were just such trifles, without worth or use,
As silly pride and idleness produce;

Curl'd, scented, furbelow'd, and flounced around,
With feet too delicate to touch the ground,

They stretch'd the neck, and roll'd the wanton eye,
And sigh'd for every fool that flutter'd by.
He saw his people slaves to every lust,
Lewd, avaricious, arrogant, unjust;
He heard the wheels of an avenging God
Groan heavily along the distant road;
Saw Babylon set wide her two-leaved brass
To let the military deluge pass;
Jerusalem a prey, her glory soil'd,

Her princes captive, and her treasures spoil'd;

Wept till all Israel heard his bitter cry,

Stamp'd with his foot, and smote upon his thigh,

But wept, and stamp'd, and smote his thigh in vain :2
Pleasure is deaf when told of future pain,
And sounds prophetic are too rough to suit
Ears long accustom'd to the pleasing lute.
They scorn'd his inspiration and his theme,
Pronounced him frantic, and his fears a dream;