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ON AN EAGLE CONFINED IN A COLLEGE COURT.
IMPERIAL bird, who wont to soar
High o'er the rolling cloud,
Their heads in ether shroud ;-
To the bleak north’s extremest goal ;-
And shake thy native pole!
Oh, cruel fate! what barbarous hand,
What more than Gothic ire,
To check thy daring fire
Where genius ne'er was seen to roam;
But lurks and sneaks at home!
Though dimm'd thine eye, and clipt thy wing,
So grov'ling! once so great! The grief-inspired Muse shall sing
In tend'rest lays thy fate.
What time by thee scholastic pride
Nor on thy mis'ry casts a care,
But stinks, and stagnates there.
Yet useful still, hold to the throng
Hold the reflecting glass,
The passenger may pass !
Who study downward on the ground;
Envelopes all around.
BORN 1716.-DIED 1771.
MR. Matthias, the accomplished editor of Gray, in delineating his poetical character, dwells with peculiar emphasis on the charm of his lyrical versification, which he justly ascribes to the naturally exquisite ear of the poet having been trained to consummate skill in harmony, by long familiarity with the finest models in the most poetical of all languages, the Greek and Italian. " He was in“ deed (says Mr. Matthias) the inventor, it may be “ strictly said so, of a new lyrical metre in his own “ tongue. The peculiar formation of his strophe, “ antistrophe, and epode, was unknown before “ him; and it could only have been planned and “perfected by a master genius, who was equally “ skilled by long and repeated study, and by trans“ fusion into his own mind of the lyric compositions “ of ancient Greece and of the higher canzoni' of “ the Tuscan poets, di maggior carme e suono,' as “ it is termed in the commanding energy of their “ language. Antecedent to the Progress of Poetry,' “ and to the • Bard,' no such lyrics had appeared. “ There is not an ode in the English language which “ is constructed like these two compositions; with “ such power, such majesty, and such sweetness, “ with such proportioned pauses and just cadences, “ with such regulated measures of the verse, with “ such master principles of lyrical art displayed and
exemplified, and, at the same time, with such a “ concealment of the difficulty, which is lost in the “ softness and uninterrupted flowing of the lines in “ each stanza, with such a musical magic, that every “ verse in it in succession dwells on the ear and “ harmonizes with that which has
before." So far as the 'versification of Gray is concerned, I have too much pleasure in transcribing these sentiments of Mr. M thias, to encumber them with any qualifying remarks of my own on that particular
subject; but I dissent from him in his more general estimate of Gray's genius, when he afterwards speaks of it, as
56 second to none." In order to distinguish the positive merits of Gray from the loftier excellence ascribed to him by his editor, it is unnecessary to resort to the criticisms of Dr. Johnson. Some of them may be just, but their general spirit is malignant and exaggerated. When we look to such beautiful passages in Gray's odes, as his Indian poet amidst the forests of Chili, or his prophet bard scattering dismay on the array of Edward, and his awe-struck chieftains, on the side of Snowdon—when we regard his elegant taste, not only gathering classical flowers from the Arno and Ilyssus, but revealing glimpses of barbaric grandeur amidst the darkness of Runic mythology -when we recollect his “ thoughts that breathe, and words that burn"-his rich personifications, his broad and prominent images, and the crowning charm of his versification, we may safely pronounce that Johnson's critical fulminations have passed over his lyrical character with more noise than destruction.
At the same time it must be recollected, that his beauties are rather crowded into a short compass, than numerous in their absolute sum. The spirit of poetry, it is true, is not to be computed mechanically by tale or measure; and abundance of it may enter into a very small bulk of language. But neither language nor poetry are compressible beyond certain limits; and the poet, whose thoughts
have been concentrated into a few pages, cannot be expected to have given a very full or interesting image of life in his compositions. A few odes, splendid, spirited, and harmonious, but by no means either faultless or replete with subjects that come home to universal sympathy, and an elegy, unrivalled as it is in that species of composition, these achievements of our poet form, after all, no such extensive grounds of originality, as to entitle their author to be spoken of as in genius “ second to none." He had not, like Goldsmith, the art of unbending from grace to levity. Nothing can be more unexhilarating than his attempts at wit and humour, either in his letters or lighter poetry. In his graver and better strains some of the most exquisite ideas are his own; and his taste, for the most part, adorned, and skilfully recast, the forms of thought and expression which he borrowed from others. If his works often “whisper whence they stole their balmy spoils,” it is not from plagiarism, but from a sensibility that sought and selected the finest impressions of genius from other gifted minds. But still there is a higher appearance of culture than fertility, of acquisition than originality in Gray. He is not that being of independent imagination, that native and creative spirit, of whom we should say, that he would have plunged into the flood of poetry had there been none to leap before him. Nor were his learned acquisitions turned to the very highest account. He was the architect of no