POEMS BY MR. JERNINGHAM. A NEW EDITION. IN TWO VOLUMES.
VOL. II.
LONDON: PRINTED FOR J. ROBSON, NEW BOND-STREET.
M. DCC. XCVI.
CONTENTS OF THE SECOND VOLUME.
- THE SHAKESPEARE GALLERY Page 1
- ON THE RESIGNATION OF SIR JOSHUA REYNOLDS Page 28
- EPITAPHS Page 31
- NORTHERN POETRY Page 37
- ABELARD TO ELOISA Page 71
- THE AFRICAN BOY Page 90
- ENTHUSIASM Page 95
- AN APOLOGUE Page 130
- THE ROOKERY 132
- [Page ii] TINTERN ABBEY Page 135
- TO BARON NOLCKEN Page 136
- TO THE LATE LADY HERVEY 137
- MARGARET OF ANJOU Page 139
- TO THE MEMORY OF THE LATE LADY JERNINGHAM 157
SHAKSPEARE GALLERY, &c.
ADVERTISEMENT.
THE following Poem does not pass any judgment upon the Pictures that are now exhibited in the Gallery; but attempts to point out new subjects for future Exhibitions: And, in the delineation of new subjects, attention is paid to the principle laid down by our late great Painter, (in his notes to the translation of Fresnoy by Mr. MASON) ‘That palpable situation is preferable to curious sentiment, as the Painter speaks to the eye.’
THE FOLLOWING LINES Were written on the Occasion of the late Sir JOSHUA REYNOLDS' resigning the President's Chair at the Royal Academy.
EPITAPHS.
ON MISS JERNINGHAM. JANUARY 1773.
ON JAMES ROBSON, WHO DIED IN THE TWENTIETH YEAR OF HIS AGE, BY A FALL FROM HIS HORSE.
ON MISS HAMILTON.
LINES ON THÉ OF SIR JOHN ELLIOT, M.D.
THE FOLLOWING LINES, DESIGNED FOR A MONUMENT OF TWO FRIENDS, Were written by the GENTLEMAN who erected the Monument, and were translated at his request.
THE RISE AND FALL OF THE NORTHERN POETRY: A POEM, IN TWO PARTS.
TO THE EARL of ORFORD.
I AM ambitious of inscribing this Poem to you, as a small return for the warm commendation you bestoed upon it, when the Poem was first published. This also gives me an opportunity, which I readily embrace, of paying a public testimony to the exalted regard with which I remain,
ADVERTISEMENT.
THE materials that form the First Part of the following Poem are taken from the Scandinavian poetics, The EDDA! In the remarks on the third fable of the Edda, are these words, ‘A powerful Being had with his breath animated the drops out of which the first giant was formed. This Being, whom the Edda affects not to name, was entirely distinct from Odin, who had his birth long after the formation of the giant Ymir.’—This first agent, or Genius, whom the Edda affects not to name, is supposed, in the following Poem, to create, from his own immediate power, the system of the Scaldic mythology. As it would have been impossible to introduce the whole system without running into a tedious enumeration, the principal features of it are only retained, sufficient (it is presumed) to give some idea of the character of the northern poetry. Among other omissions, the reader will find that no mention is made of Gimlé, the mansion of bliss, that was appropriated to the reception of the virtuous, nor of Nastrande, the abode of the impious; these places not being supposed to exist in their full extent till the general destruction of the world; whereas the hall of Odin, and the caves of Hela, were peculiarly the Elysium and the Tartarus of the Runic poetry: they are perpetually referred to in the ancient songs of the Scalds, and the wild system of these contrasted abodes seems well calculated to encourage [Page 42]that spirit of war and enterprize which runs through the whole Scandinavian minstrelsy.
Some expressions taken from the Edda may appear obscure without an explanation.—In the language of the Scalds, the world is stiled the great vessel that floats on the ages.—The rainbow, the bridge of the gods.—To drink the blood of friendship, alludes to a ceremony performed by two warriors when they enter into an alliance of friendship; they made incisions in their arms or breast, and tasting each other's blood, they mutually swore, that the death of the first of them who fell in battle should not pass unrevenged.
To celebrate the mass of weapons, was to fight against the Christians, whose religious sentiments the Scandavians held in contempt, as thinking them adverse to the spirit of war.
The Valkeries are a female troop, whom Odin sends to the field of battle upon invisible steeds; their function is to choose such as are destined to slaughter, and conduct their spirits to the Paradise of the Brave.
Fenris is a large wolf, who is to break his chains at the general conflagration, and to swallow the sun.
THE RISE AND FALL OF THE NORTHERN POETRY.
PART I.
PART THE SECOND.
ADVERTISEMENT.
The temple of UPSAL was destroyed by INGO, 1075—a Christian cathedral was erected on its ruins fourscore years after. At the introduction of Christianity, the interposition of angels and the appearance of ghosts grew familiar to the SCANDINAVIAN poetry, which was afterwards enriched by allegories, and by the accession of new images, which flowed to it through various channels, particularly from the East.—See RICHARDSON's Differtation.
When colleges were founded, and the general attention was directed to classical learning, the wild conceptions of the Scaldic minstrels gradually fell into disuse.—This short Analysis contains the subject of the following pages.
THE RISE AND FALL OF THE NORTHERN POETRY.
PART II.
ABELARD TO ELOISA: A POEM.
ADVERTISEMENT.
THE Monastery of CLUNI, from whence ABELARD is supposed to write the following Epistle, was founded in the year 611, near the village of Mascon, on the river Graone. The Head of this convent (in the time of ABELARD) was distinguished for his learning and humanity. History elevates him above the vulgar herd of monks, by the appellation of the Venerable PETER! He extended his generous protection to the unfortunate ABELARD, when he was under the censure of the court of Rome.
SAINT BERNARD also is connected with the story of Paraclete. This great man stands eminently forward in the picture of the twelfth century: Born with a mind too restless and enterprising to be confined within the circle of monastic occupations, he rushed into the tumult of active life, and took the lead in some of the most important transactions of that period. With an undisciplined ardour peculiar to his character, he precipitated his country into that ruinous measure, the second crusade. Behold him at another time hastening to the contest that held all EUROPE in suspence, which exhibited two contending candidates for the popedom. The authority and vehemence of BERNARD overpowered the pretensions of ANACLETUS, and INNOCENT was seated on the papal throne. The enemies of this celebrated Abbot never impeached his moral character; but it must be allowal [Page 74]that in his zeal against the innovation of new opinions, he has sometimes left unregarded the superior duty of charity. A letter of his to the Cardinal GUIDO, the pope's legate in France, contains the most intolerant and sanguinary counsel.
ABELARD in the following Epistle lays a considerable stress upon his sentence of excommunication: In the dark ages, that spiritual humiliation was felt as the greatest calamity; the relation, the parent, the lover, the friend, suspended their endearing offices, and withdrew from the degraded offender.
THE following Poem has been distinguished by a beautiful sonnet, inserted in a volume of Poems that does honour to modera poetry, by Mr. Taylor, a gentleman whose commendation is a passport to Fame, except where it is directed (as in the present intlance) by the amiable bias of friendship.
ABELARD to ELOISA.
THE AFRICAN BOY.
ENTHUSIASM: A POEM, IN TWO PARTS.
ADVERTISEMENT TO THE FIRST EDITION.
In endeavouring to display the good and bad effects occasioned by Enthusiasm, I might have drawn many signal instances from that inexhaustible mine, the Greek and Roman story; but it appeared to me more eligible to work upon materials hewn from the modern quarry only: the subject, thus treated, I conceived would come more home to the feelings of the reader. With regard to the execution, that rests entirely on the judgment of the Public, into whose presence I now enter, impressed with a mingled sensation of hope and apprehension.
ENTHUSIASM.
PART I.
ENTHUSIASM.
PART II.
AN APOLOGUE.
THE ROOKERY.
TINTERN ABBEY *
TO THE BARON NOLCKEN, THE SWEDISH AMBASSADOR, ON HIS SUDDEN RECALL.
The following Lines were addressed to the late Lady HERVEY, mother of the Earl of BRISTOL, a lady distinguished for her erudition and refined taste. Her house was the receptacle of elegance and celebrity, and was a kind of passport to fame. Our Author was fortunate in an early introduction to a Lady, on whose list of acquaintance were found the names of LYTTLETON, CHESTERFIELD, MELCOMBE, MARCHMONT, MANSFIELD, BOLINGBROKE, HUME, GARRICK, &c. And he has mentioned to us, with a recollective complacency, his having basked (to use his own expression) in the sun-set of those eminent personages.—Note of the Editor.
TO THE RIGHT HONOURABLE LADY HERVEY.
ARGARET OF ANJOU, AN HISTORICAL INTERLUDE.
ADVERTISEMENT.
THIS Historical Interlude is formed upon the plan that ROUSSEAU composed his PYGMALION, which is a new species of Dramatic Entertainment, consisting chiefly of a monologue, that is often suspended by the interposition of music.
The following little Drama was written for (that ornament of the Stage) Mrs. POPE, who performed it on the night of her benefit. This Interlude has also been performed at BRANDENBURGH House: the part of MARGARET received from the theatrical abilities of her Serene Highness the Margravine the richest colouring and the most impressive truth of expression.
The subject is taken from a remarkable incident in the life of MARGARET.—That unfortunate Queen, flying with her Son into a forest after the battle of HEXHAM, saw a Robber approach with his naked sword; and finding that she had no means of escaping, she suddenly embraced the resolution of trusting entirely for protection to his generosity. The man, [Page 141]whose humanity and generous spirit had been obscured, not entirely lost, by his vicious course of life, was struck with the singularity of the event, and charmed with the confidence reposed in him; and he vowed not only to a [...]stain from all injury against the Queen, ‘but to devote himself entirely to her safety and protection. HUME.’
N.B.—The asterisks mark the pauses that admit the music.
MARGARET OF ANJOU.
Oh Mother, lead me hence——
I know not that.
Whence was that noise?
Ah, here is all my treasure!
Arrest that impious arm! He is thy Prince!
Is't possible?
Say, say, will not the ruffians spare my Mother?
Oh, what a scene you picture to my view!
TO THE MEMORY OF THE LATE LADY JERNINGHAM.
LINES WRITTEN IN THE ALBUM AT COSSEY-HALL, NORFOLK, THE SEAT OF SIR WILLIAM JERNINGHAM, AUGUST THE 4TH, 1786.
Just Published, THE THIRD EDITION OF THE WELSH HEIRESS.