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See my lips tremble, and my eye-balls roll,
Suck my last breath, and catch my flying soul!
Ah, no.in sacred vestments mayst thou stand,
The hallow'd taper trembling in thy hand,
Present the cross before my lifted eye,
Teach me at once, and learn of me to die.
Ah, then thy once-lov'd Eloïsa see !
It will be then no crime to gaze on me.
See from my cheek the transient roses fly!
See the last sparkle languish in my eye!
Till every motion, pulse, and breath be o'er;
And ev'n my Abelard be lov'd no more.
O Death, all eloquent! you only prove
What dust we dote on, when 'tis man we love.

Then too, when fate shall thy fair frame destroy
(That cause of all my guilt, and all my joy),
In trance ecstatic may thy pangs be drown'd,
Bright clouds descend, and angels watch thee

round, From opening skies may streaming glorie3 shine, And saints embrace thee with a love like mine!

May one kind grave unite each hapless name, And graft my love immortal on thy fame! Then, ages hence, when all my woes are o'er When this rebellious heart shall beat no more; If ever chance two wand'ring lovers brings To Paraclete's white walls and silver springs, O'er the pale marble shall they join their heads, And drink the falling tears each other sheds ! Then sadly say, with mutual pity mov'd, • 0, may we never love as these have lov'd!' From the full choir, when loud hosannas rise, And swell the pomp of dreadful sacrifice, Amid that scene if some relenting eye Glance on the stone where our cold relics lie, Devotion's self shall steal a thought from heaven, One human tear shall drop, and be forgiven. And sure if fate some future bard shall join In sad similitude of griefs to mine,

Condemn’d whole years in absence to deplore,
And image charms he must behold no more;
Such, if there be, who loves so long, so well,
Let him our sad, our tender story tell !
The well sung woes will sooth my pensive ghost;
He best can paint them who shall feel them most!

THE TEMPLE OF FAME.

Written in the Year 1711.

ADVERTISEMENT. The hint of the following piece was taken from

Chaucer's House of Fame. The design is in a manner entirely altered, the descriptions and most of the particular thoughts my own; yet I could not suffer it to be printed without this acknowledgement. The reader who would compare this with Chaucer, may begin with his third book of Fame, there being nothing in the first two books that answers to their title. The poem is introduced in the manner of the Pro

vençal poets, whose works were for the most part visions, or pieces of imagination, and constantly descriptive. From these, Petrarch and Chaucer frequently borrowed the idea of their poems. See the Trionfi of the former, and the Dream, Flower and the Leaf, &c. of the latter. The author of this, therefore, chose the same sort of exordium.

THE TEMPLE OF FAME. IN that soft season, when descending showers 1 Call forth the greens, and wake the rising

flowers; When opening buds salute the welcome day, And earth relenting feels the genial ray;

As balmy sleep had charm'd my cares to rest,
And love itself was banish'd from my breast
(What time the morn mysterious visions brings
While purer slumbers spread their golden wings),
A train of phantoms in wild order rose,
And join'd, this intellectual scene compose.

I stood, methought, betwixt earth, seas, and skies;
The whole creation open to my eyes:
In air self-balanc'd hung the globe below,
Where mountains rise, and circling oceans flow;
Here naked rocks, and empty wastes were seen :
There tow'ring cities, and the forests green:
Here sailing ships delight the wandering eyes ;
There trees and intermingled temples rise :
Now a clear sun the shining scene displays;
The transient landscape now in clouds decays.

O'er the wide prospect as I gaz'd around,
Sudden I heard a wild promiscuous sound,
Like broken thunders that at distance roar,
Or billows murmuring on the hollow shore :
Then gazing up, a glorious pile beheld,
Whose tow'ring summit ambient clouds conceal'd
High on a rock of ice the structure lay,
Steep its ascent, and slippery was the way:
The wondrous rock like Parian marble shone,
And seem'd, to distant sight, of solid stone.
Inscriptions here of various names I view'd.
The greater part by hostile time subdued;
Yet wide was spread their fame in ages past.
And poets once had promis'd they should last.
Some fresh engrav'd appear'd of wits renown'd;
I look'd again, nor could their trace be found.
Critics I saw, that other name deface,
And fix their own, with labour, in their place:
Their own, like others, soon their place resign'd,
Or disappear'd, and left the first behind.
Nor was the work impair'd by storms alone,
But felt thi' approaches of too warrn a sun;
For fame, impatient of extremes, decays
Not more by envy, than excess of praise.

Yet part no injuries of heaven could feel,
Like crystal faithful to the graving steel :
The rock's high summit, in the temple's shade,
Nor heat could melt, nor beating storm invade.
Their names inscrib'd unnumber'd ages past
From time's first birth, with time itself shall last:
These ever new, nor subject to decays,
Spread and grow brighter with the length of days.

So Zembla's rocks (the beauteous work of frost)
Rise white in air, and glitter o'er the coast;
Pale suns, unfelt, at distance roll away,
And on th' impassive ice the lightnings play;
Eternal snows the growing mass supply,
Till the bright mountains prop th' incumbent sky;
As Atlas fix'd, each hoary pile appears,
The gather's winter of a thousand years.
On this foundation Fame's high temple stands ;
Stupendous pile! not rear'd by mortal hands.
Whate'er proud Rome or artful Greece beheld,
Or elder Babylon, its frame excell'd.
Four faces had the dome, and every face,
Of various structure, but of equal grace!
Four brazen gates, on columns lifted high,
Salute the different quarters of the sky,
Here fabled chiefs in darker ages born,
Or worthies old, whom arms or arts adorn,
Who cities rais'd, or tam'd a monstrous race,
The walls in venerable order grace:
Heroes in animated marble frown),
And legislators seem to think in stone.

Westward, a sumptuous frontispiece appear'd, On Doric pillars of white marble rear'd, Crown'd with an architrave of antique mold, And sculpture rising on the roughen’d gold, In shaggy spoils here Theseus was beheld, And Perseus dreadful with Minerva's shield : There great Alcides, stooping with his toil, Rests on his club, and holds th' Hesperian spoil: Here Orpheus sings; trees moving to the sound Start from their roots, and forin a shade around ::

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