Poetical Works of Akenside by Mark Akenside (pdf ebook reader txt) π
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poem that has been so widely circulated, so warmly praised, so frequently quoted and imitated--the whole of which nearly a man like Thomas Brown has quoted in the course of his lectures--must possess no ordinary merit. Its great beauty is its richness of description and language--its great fault is its obscurity; a beauty and a fault closely connected together, even as the luxuriance of a tropical forest implies intricacy, and its lavish loveliness creates a gloom. His attempt to express Plato's philosophy in blank verse is not always successful. Perhaps prose might better have answered his purpose in expressing the awfully sublime thought of the "archetypes of all things existing in God." We know that in certain objects of nature--in certain rocks, for instance (such as Coleridge describes in his "Wanderings of Cain")-- there lie silent prefigurations and aboriginal types of artificial objects, such as ships, temples, and other orders of architecture; and it is so also in certain shells, woods, and even in clouds. How interesting and beautiful those painted prophecies of nature, those quiet hieroglyphics of God, those mystic letters, which, unlike those on the Babylonian wall, do not ,
"Careering shake,
And blaze IMPATIENT to be read,"
but bide calmly the time when their artificial archetypes shall appear, and the "wisdom" in them shall be "justified" in these its children! So, according to Plato, comparing great to small things, there lay in the Divine mind the archetypes of all that was to be created, with this important difference, that they lay in God
spiritually and consciously. How poetical and how solemn to approach, under the guidance of this thought, and gaze on the mind of God as on an ancient awful mirror; and even as in a clear lake we behold the forms of the surrounding scenery reflected from the white strip of pebbled shore up to the gray scalp of the mountain summit, and tremble as we look down on the "skies of a far nether world," on an inverted sun, and on snow unmelted amidst the water; so to see the entire history of man, from the first glance of life in the eye of Adam, down to the last sparkle of the last ember of the general conflagration, lying silently and inverted there--how sublime, but at the same time how bewildering and how appalling! Our readers will find, in the "Pleasures of Imagination," an expansion--perhaps they may think it a dilution--of this Platonic idea.
They will find there, too, the germ of the famous theory of Alison and Jeffrey about Beauty. These theorists held 'that beauty resides not so much in the object as in the mind; that we receive but what we give; that our own soul is the urn whence beauty is showered over the universe; that flower and star are lovely because the mind has breathed on them; that the imagination and the heart of man are the twin beautifiers of creation; that the dwelling of beauty is not in the light of setting suns, nor in the beams of morning stars, nor in the waves of summer seas, but in the human spirit; that sublimity tabernacles not in the palaces of the thunder, walks not on the wings of the wind, rides not on the forked lightning, but that it is the soul which is lifted up there; that it is the soul which, in its high aspirings,'
"Yokes with whirlwinds and the northern blast,
and scatters grandeur around it on its way."
All this seems anticipated, and, as it were, coiled up in the words of our poet:--
"Mind, mind alone (bear witness earth and heaven!)
The living fountains in itself contains
Of beauteous and sublime."
That Akenside was a real poet many expressions in his "Pleasures of Imagination" prove, such as that just quoted--
"Yoked with whirlwinds and the northern blast
Sweeps the long tract of day;"
but, taking his poem as a whole, it is rather a tissue of eloquence and philosophical declamation than of imagination. He deals rather in sheet lightning than in forked flashes. As a didactic poem it has a high, but not the highest place. It must not be named beside the "De Rerum Natura" of Lucretius, or the "Georgics" of Virgil, or the "Night Thoughts" of Young; and in poetry, yields even to the "Queen Mab" of Shelley. It ranks high, however, amongst that fine class of works which have called themselves, by no misnomer, "Pleasures;" and to recount all the names of which were to give an "enumeration of sweets" as delightful as that in "Don Juan." How cheering to think of that beautiful bead-roll--of which the "Pleasures of Memory," "Pleasures of Hope," "Pleasures of Melancholy," "Pleasures of Imagination," are only a few! We may class, too, with them, Addison's essays on the "Pleasures of Imagination" in The Spectator , which, although in prose, glow throughout with the mildest and truest spirit of poetry; and if inferior to Akenside in richness and swelling pomp of words, and in dashing rhetorical force, far excel him in clearness, in chastened beauty, and in those inimitable touches and unconscious felicities of thought and expression which drop down, like ripe apples falling suddenly across your path from a laden bough, and which could only have proceeded from Addison's exquisite genius.
CONTENTS.
THE PLEASURES OF IMAGINATION.
Book I.
Book II.
Book III.
Notes to Book I.
Notes to Book II.
Notes to Book III.
THE PLEASURES OF THE IMAGINATION.
Book I.
Book II.
Book III.
Book IV.
ODES ON SEVERAL SUBJECTS:--
Book I.--
Ode I. Preface.
Ode II. On the Winter-solstice, 1740.
Ode II. For the Winter-solstice, December 11, 1740.
As originally written.
Ode III. To a Friend, Unsuccessful in Love.
Ode IV. Affected Indifference. To the same.
Ode V. Against Suspicion.
Ode VI. Hymn to Cheerfulness.
Ode VII. On the Use of Poetry.
Ode VIII. On leaving Holland.
Ode IX. To Curio.
Ode X. To the Muse.
Ode XI. On Love. To a Friend.
Ode XII. To Sir Francis Henry Drake, Baronet.
Ode XIII. On Lyric Poetry.
Ode XIV. To the Honourable Charles Townshend; from the
Country.
Ode XV. To the Evening Star.
Ode XVI. To Caleb Hardinge, M. D.
Ode XVII. On a Sermon against Glory.
Ode XVIII. To the Right Honourable Francis, Earl of Huntingdon.
Book II.--
Ode I. The Remonstrance of Shakspeare.
Ode II. To Sleep.
Ode III. To the Cuckoo.
Ode IV. To the Honourable Charles Townshend; in the Country.
Ode V. On Love of Praise.
Ode VI. To William Hall, Esquire; with the Works of
Chaulieu.
Ode VII. To the Right Reverend Benjamin, Lord Bishop of
Winchester.
Ode VIII.
Ode IX. At Study.
Ode X. To Thomas Edwards, Esq.; on the late Edition
of Mr. Pope's Works.
Ode XI. To the Country Gentlemen of England.
Ode XII. On Recovering from a Fit of Sickness; in the
Country.
Ode XIII. To the Author of Memoirs of the House of Brandenburg.
Ode XIV. The Complaint.
Ode XV. On Domestic Manners.
Notes to Book I.
Notes to Book II.
HYMN TO THE NAIADS.
Notes.
INSCRIPTIONS:--
I. For a Grotto.
II. For a Statue of Chaucer at Woodstock.
III.
IV.
V.
VI. For a Column at Runnymede.
VII. The Wood Nymph.
VIII.
IX.
AN EPISTLE TO CURIO.
THE VIRTUOSO.
AMBITION AND CONTENT. A FABLE.
THE POET. A RHAPSODY.
A BRITISH PHILIPPIC.
HYMN TO SCIENCE.
LOVE. AN ELEGY.
TO CORDELIA.
SONG.
AKENSIDE'S POETICAL WORKS.
THE PLEASURES OF IMAGINATION.
A POEM, IN THREE BOOKS.
[Greek: 'Asebous men 'estin 'anthropou tas para tou theou
charitas 'atimazein.]
EPICT. apud Arrian. II. 23.
THE DESIGN.
There are certain powers in human nature which seem to hold a middle place between the organs of bodily sense and the faculties of moral perception: they have been called by a very general name, the Powers of Imagination. Like the external senses, they relate to matter and motion; and, at the same time, give the mind ideas analogous to those of moral approbation and dislike. As they are the inlets of some of the most exquisite pleasures with which we are acquainted, it has naturally happened that men of warm and sensible tempers have sought means to recall the delightful perceptions which they afford, independent of the objects which originally produced them. This gave rise to the imitative or designing arts; some of which, as painting and sculpture, directly copy the external appearances which were admired in nature; others, as music and poetry, bring them back to remembrance by signs universally established and understood.
But these arts, as they grew more correct and deliberate, were, of course, led to extend their imitation beyond the peculiar objects of the imaginative powers; especially poetry, which, making use of language as the instrument by which it imitates, is consequently become an unlimited representative of every species and mode of being. Yet as their intention was only to express the objects of imagination, and as they still abound chiefly in ideas of that class, they, of course, retain their original character; and all the different pleasures which they excite, are termed, in general, Pleasures of Imagination.
The design of the following poem is to give a view of these in the largest acceptation of the term; so that whatever our imagination feels from the agreeable appearances of nature, and all the various entertainment we meet with, either in poetry, painting, music, or any of the elegant arts, might be deducible from one or other of those principles in the constitution of the human mind which are here established and explained.
In executing this general plan, it was necessary first of all to distinguish the imagination from our other faculties; and in the next place to characterise those original forms or properties of being, about which it is conversant, and which are by nature adapted to it, as light is to the eyes, or truth to the understanding. These properties Mr. Addison had reduced to the three general classes of greatness, novelty, and beauty; and into these we may analyse every object, however complex, which, properly speaking, is delightful to the imagination. But such an object may also include many other sources of pleasure; and its beauty, or novelty, or grandeur, will make a stronger impression
"Careering shake,
And blaze IMPATIENT to be read,"
but bide calmly the time when their artificial archetypes shall appear, and the "wisdom" in them shall be "justified" in these its children! So, according to Plato, comparing great to small things, there lay in the Divine mind the archetypes of all that was to be created, with this important difference, that they lay in God
spiritually and consciously. How poetical and how solemn to approach, under the guidance of this thought, and gaze on the mind of God as on an ancient awful mirror; and even as in a clear lake we behold the forms of the surrounding scenery reflected from the white strip of pebbled shore up to the gray scalp of the mountain summit, and tremble as we look down on the "skies of a far nether world," on an inverted sun, and on snow unmelted amidst the water; so to see the entire history of man, from the first glance of life in the eye of Adam, down to the last sparkle of the last ember of the general conflagration, lying silently and inverted there--how sublime, but at the same time how bewildering and how appalling! Our readers will find, in the "Pleasures of Imagination," an expansion--perhaps they may think it a dilution--of this Platonic idea.
They will find there, too, the germ of the famous theory of Alison and Jeffrey about Beauty. These theorists held 'that beauty resides not so much in the object as in the mind; that we receive but what we give; that our own soul is the urn whence beauty is showered over the universe; that flower and star are lovely because the mind has breathed on them; that the imagination and the heart of man are the twin beautifiers of creation; that the dwelling of beauty is not in the light of setting suns, nor in the beams of morning stars, nor in the waves of summer seas, but in the human spirit; that sublimity tabernacles not in the palaces of the thunder, walks not on the wings of the wind, rides not on the forked lightning, but that it is the soul which is lifted up there; that it is the soul which, in its high aspirings,'
"Yokes with whirlwinds and the northern blast,
and scatters grandeur around it on its way."
All this seems anticipated, and, as it were, coiled up in the words of our poet:--
"Mind, mind alone (bear witness earth and heaven!)
The living fountains in itself contains
Of beauteous and sublime."
That Akenside was a real poet many expressions in his "Pleasures of Imagination" prove, such as that just quoted--
"Yoked with whirlwinds and the northern blast
Sweeps the long tract of day;"
but, taking his poem as a whole, it is rather a tissue of eloquence and philosophical declamation than of imagination. He deals rather in sheet lightning than in forked flashes. As a didactic poem it has a high, but not the highest place. It must not be named beside the "De Rerum Natura" of Lucretius, or the "Georgics" of Virgil, or the "Night Thoughts" of Young; and in poetry, yields even to the "Queen Mab" of Shelley. It ranks high, however, amongst that fine class of works which have called themselves, by no misnomer, "Pleasures;" and to recount all the names of which were to give an "enumeration of sweets" as delightful as that in "Don Juan." How cheering to think of that beautiful bead-roll--of which the "Pleasures of Memory," "Pleasures of Hope," "Pleasures of Melancholy," "Pleasures of Imagination," are only a few! We may class, too, with them, Addison's essays on the "Pleasures of Imagination" in The Spectator , which, although in prose, glow throughout with the mildest and truest spirit of poetry; and if inferior to Akenside in richness and swelling pomp of words, and in dashing rhetorical force, far excel him in clearness, in chastened beauty, and in those inimitable touches and unconscious felicities of thought and expression which drop down, like ripe apples falling suddenly across your path from a laden bough, and which could only have proceeded from Addison's exquisite genius.
CONTENTS.
THE PLEASURES OF IMAGINATION.
Book I.
Book II.
Book III.
Notes to Book I.
Notes to Book II.
Notes to Book III.
THE PLEASURES OF THE IMAGINATION.
Book I.
Book II.
Book III.
Book IV.
ODES ON SEVERAL SUBJECTS:--
Book I.--
Ode I. Preface.
Ode II. On the Winter-solstice, 1740.
Ode II. For the Winter-solstice, December 11, 1740.
As originally written.
Ode III. To a Friend, Unsuccessful in Love.
Ode IV. Affected Indifference. To the same.
Ode V. Against Suspicion.
Ode VI. Hymn to Cheerfulness.
Ode VII. On the Use of Poetry.
Ode VIII. On leaving Holland.
Ode IX. To Curio.
Ode X. To the Muse.
Ode XI. On Love. To a Friend.
Ode XII. To Sir Francis Henry Drake, Baronet.
Ode XIII. On Lyric Poetry.
Ode XIV. To the Honourable Charles Townshend; from the
Country.
Ode XV. To the Evening Star.
Ode XVI. To Caleb Hardinge, M. D.
Ode XVII. On a Sermon against Glory.
Ode XVIII. To the Right Honourable Francis, Earl of Huntingdon.
Book II.--
Ode I. The Remonstrance of Shakspeare.
Ode II. To Sleep.
Ode III. To the Cuckoo.
Ode IV. To the Honourable Charles Townshend; in the Country.
Ode V. On Love of Praise.
Ode VI. To William Hall, Esquire; with the Works of
Chaulieu.
Ode VII. To the Right Reverend Benjamin, Lord Bishop of
Winchester.
Ode VIII.
Ode IX. At Study.
Ode X. To Thomas Edwards, Esq.; on the late Edition
of Mr. Pope's Works.
Ode XI. To the Country Gentlemen of England.
Ode XII. On Recovering from a Fit of Sickness; in the
Country.
Ode XIII. To the Author of Memoirs of the House of Brandenburg.
Ode XIV. The Complaint.
Ode XV. On Domestic Manners.
Notes to Book I.
Notes to Book II.
HYMN TO THE NAIADS.
Notes.
INSCRIPTIONS:--
I. For a Grotto.
II. For a Statue of Chaucer at Woodstock.
III.
IV.
V.
VI. For a Column at Runnymede.
VII. The Wood Nymph.
VIII.
IX.
AN EPISTLE TO CURIO.
THE VIRTUOSO.
AMBITION AND CONTENT. A FABLE.
THE POET. A RHAPSODY.
A BRITISH PHILIPPIC.
HYMN TO SCIENCE.
LOVE. AN ELEGY.
TO CORDELIA.
SONG.
AKENSIDE'S POETICAL WORKS.
THE PLEASURES OF IMAGINATION.
A POEM, IN THREE BOOKS.
[Greek: 'Asebous men 'estin 'anthropou tas para tou theou
charitas 'atimazein.]
EPICT. apud Arrian. II. 23.
THE DESIGN.
There are certain powers in human nature which seem to hold a middle place between the organs of bodily sense and the faculties of moral perception: they have been called by a very general name, the Powers of Imagination. Like the external senses, they relate to matter and motion; and, at the same time, give the mind ideas analogous to those of moral approbation and dislike. As they are the inlets of some of the most exquisite pleasures with which we are acquainted, it has naturally happened that men of warm and sensible tempers have sought means to recall the delightful perceptions which they afford, independent of the objects which originally produced them. This gave rise to the imitative or designing arts; some of which, as painting and sculpture, directly copy the external appearances which were admired in nature; others, as music and poetry, bring them back to remembrance by signs universally established and understood.
But these arts, as they grew more correct and deliberate, were, of course, led to extend their imitation beyond the peculiar objects of the imaginative powers; especially poetry, which, making use of language as the instrument by which it imitates, is consequently become an unlimited representative of every species and mode of being. Yet as their intention was only to express the objects of imagination, and as they still abound chiefly in ideas of that class, they, of course, retain their original character; and all the different pleasures which they excite, are termed, in general, Pleasures of Imagination.
The design of the following poem is to give a view of these in the largest acceptation of the term; so that whatever our imagination feels from the agreeable appearances of nature, and all the various entertainment we meet with, either in poetry, painting, music, or any of the elegant arts, might be deducible from one or other of those principles in the constitution of the human mind which are here established and explained.
In executing this general plan, it was necessary first of all to distinguish the imagination from our other faculties; and in the next place to characterise those original forms or properties of being, about which it is conversant, and which are by nature adapted to it, as light is to the eyes, or truth to the understanding. These properties Mr. Addison had reduced to the three general classes of greatness, novelty, and beauty; and into these we may analyse every object, however complex, which, properly speaking, is delightful to the imagination. But such an object may also include many other sources of pleasure; and its beauty, or novelty, or grandeur, will make a stronger impression
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