AFTER-THOUGHT

[Concluding sonnet of the series 'To the River Duddon,' 1820.]

I thought of Thee, my partner and my guide,
As being past away.-Vain sympathies !
For, backward, Duddon! as I cast my eyes,

I see what was, and is, and will abide;
Still glides the Stream, and shall for ever glide;
The Form remains, the Function never dies;
While we, the brave, the mighty, and the wise,
We Men, who in our morn of youth defied
The elements, must vanish ;-be it so!

Enough, if something from our hands have power
To live, and act, and serve the future hour;

And if, as toward the silent tomb we go,

Through love, through hope, and faith's transcendent dower,

We feel that we are greater than we know.

MUTABILITY.

From low to high doth dissolution climb,
And sink from high to low, along a scale

Of awful notes, whose concord shall not fail;
A musical but melancholy chime,

Which they can hear who meddle not with crime,
Nor avarice, nor over-anxious care.

Truth fails not; but her outward forms that bear
The longest date do melt like frosty rime,
That in the morning whitened hill and plain
And is no more; drop like the tower sublime
Of yesterday, which royally did wear

His crown of weeds, but could not even sustain
Some casual shout that broke the silent air,
Or the unimaginable touch of Time.

(1822.)

TO LADY FITZGERALD, IN HER SEVENTIETH YEAR.

Such age how beautiful! O Lady bright,
Whose mortal lineaments seem all refined
By favouring Nature and a saintly Mind
To something purer and more exquisite

Than flesh and blood; whene’er thou meet'st my sight,
When I behold thy blanched unwithered cheek,
Thy temples fringed with locks of gleaming white,
And head that droops because the soul is meek,
Thee with the welcome Snowdrop I compare ;
That child of winter, prompting thoughts that climb
From desolation toward the genial prime;
Or with the Moon conquering earth's misty air,
And filling more and more with crystal light
As pensive Evening deepens into night.

(1827.)

ON THE DEPARTURE OF SIR WALTER SCOTT FROM

ABBOTSFORD, FOR NAPLES.

[1831.]

A trouble, not of clouds, or weeping rain,
Nor of the setting sun's pathetic light
Engendered, hangs o'er Eildon's triple height:
Spirits of Power, assembled there, complain
For kindred Power departing from their sight ;
While Tweed, best pleased in chanting a blithe strain,
Saddens his voice again, and yet again.

Lift up your hearts, ye Mourners! for the might
Of the whole world's good wishes with him goes;
Blessings and prayers in nobler retinue
Than sceptred king or laurelled conqueror knows,
Follow this wondrous Potentate. Be true,
Ye winds of ocean, and the midland sea,
Wafting your Charge to soft Parthenope!

[PAST YEARS OF HOME.]

Wansfell! this Household has a favoured lot,
Living with liberty on thee to gaze,

To watch while Morn first crowns thee with her rays,
Or when along thy breast serenely float

Evening's angelic clouds. Yet ne'er a note
Hath sounded (shame upon the Bard!) thy praise
For all that thou, as if from heaven, hast brought
Of glory lavished on our quiet days.

Bountiful Son of Earth! when we are gone
From every object dear to mortal sight,
As soon we shall be, may these words attest
How oft, to elevate our spirits, shone

Thy visionary majesties of light,

How in thy pensive glooms our hearts found rest.

(Dec. 24, 1842.)

The Hill that rises to the south east, above Ambleside.

SAMUEL ROGERS.

[SAMUEL ROGERS was born at Stoke Newington in 1763 and died in 1855. The dates of his principal poems are-Pleasures of Memory 1793, Epistle to a Friend 1798, Human Life 1819, Italy (complete edition) 1834.]

When a poet has become a poet of the past and in the natural course of things his poetry has ceased to be talked about, it is not easy to ascertain how far it may or may not have ceased to be read. Has it ceased to be bought? The answer to that question might be accepted in most cases as answering the other. But in the case of Rogers an element of ambiguity was introduced long since. When a well-known firm some fifty years ago expressed a doubt whether the public would provide a market for a volume he wished them to publish, Rogers, in a tone half serious, half comic, said 'I will make them buy it ;' and being a rich man and a great lover of art, he sent for Turner and Stothard, and a volume appeared with such adornments as have never been equalled before or since. It was called by a sarcastic friend of mine 'Turner illustrated.'

The Pleasures of Memory is an excellent specimen of what Wordsworth calls 'the accomplishment of verse'; and it was well worthy to attract attention and admiration at the time when it appeared; for at that time poetry, with few exceptions, was to be distinguished from prose by versification and little else. The Pleasures of Memory is an essay in verse, not wanting in tender sentiment and just reflection, expressed, gracefully no doubt, but with a formal and elaborate grace, and in studiously pointed and carefully poised diction, such as the heroic couplet had been trained to assume since the days of Pope. In 1793 very different days were approaching-days in which poetry was to break its chains, and formality to be thrown to the winds. The didactic dullness of the eighteenth century was presently to be supplanted by the romantic

spirit and easy animation of Scott, the amorous appeals of Moore, and the passion of Byron ; whilst mere tenderness, thoughtfulness and grace were to share its fate, and be trampled in the dust.

An author's name will generally continue long to be associated with that of the work which has first made him known to the world, whether or not it be his best. The Pleasures of Memory is probably to this day the best known by name of the author's principal poems. They were seven in number-an Ode to Superstition, The Pleasures of Memory, An Epistle to a Friend, Columbus, Jacqueline, Human Life, and Italy; and they were written, the earliest at twenty-two years of age, the latest at seventy-one. Human Life is a poem of the same type as The Pleasures of Memory, and in the same verse. The fault of such poems is that they are about nothing in particular. Their range and scope is so wide that one theme is almost as apposite as another. The poet sets himself to work to think thoughts and devise episodes, and to give them what coherency he can; the result being, that some are forced and others commonplace. But if such poems are to be written by a poet who is not a philosopher, they could not well be executed by any one with more care and skill than by Rogers.

The subject of Italy was better chosen. The poet travels from Geneva to Naples; and his itinerary brings picturesque features, alternately with romantic traditions and memorable facts in history, into a natural sequence of poetic themes. They are described and related always in a way to please, often with striking effect; and any one who travels the same road and desires to see with the eyes of a poet what is best worth seeing, and to be reminded of what is best worth remembering, can have no better companion.

The heroic couplet, moreover, is left behind. For before the first of the fifteen years occupied in the composition of Italy (1819-34) Spenserian stanzas, ottava rima, octosyllabic verse, blank verse, any verse, had found itself to be more in harmony with the poetic spirit of the time. Italy is the longest of the author's poems; and for a poem of such length, blank verse is best. It is a form of verse which, since the Elizabethans, no poet except Milton had hitherto used with what could be called signal success; and the abrupt contrasts and startling significance of which it was capable in their hands, will always find a place more naturally in dramatic than in narrative poetry. But the blank verse written by Rogers, though not very expressive, flows with an easy and gentle melody, sufficiently varied, and almost free from faults,