The Poetical Works of Mark Akenside

by Mark Akenside

After these parts of the subject which hold chiefly of admiration, or naturally warm and interest the mind, a pleasure of a very different nature, that which arises from ridicule, came next to be considered. As this is the foundation of the comic manner in all the arts, and has been but very imperfectly treated by moral writers, it was thought proper to give it a particular illustration, and to distinguish the general sources from which the ridicule of characters is derived. Here, too, a change of style became necessary; such a one as might yet be consistent, if possible, with the general taste of composition in the serious parts of the subject: nor is it an easy task to give any tolerable force to images of this kind, without running either into the gigantic expressions of the mock heroic, or the familiar and poetical raillery of professed satire; neither of which would have been proper here.

The materials of all imitation being thus laid open, nothing now remained but to illustrate some particular pleasures which arise either from the relations of different objects one to another, or from the nature of imitation itself. Of the first kind is that various and complicated resemblance existing between several parts of the material and immaterial worlds, which is the foundation of metaphor and wit. As it seems in a great measure to depend on the early association of our ideas, and as this habit of associating is the source of many pleasures and pains in life, and on that account bears a great share in the influence of poetry and the other arts, it is therefore mentioned here, and its effects described. Then follows a general account of the production of these elegant arts, and of the secondary pleasure, as it is called, arising from the resemblance of their imitations to the original appearances of nature. After which, the work concludes with some reflections on the general conduct of the powers of imagination, and on their natural and moral usefulness in life.

Concerning the manner or turn of composition which prevails in this piece, little can be said with propriety by the author. He had two models; that ancient and simple one of the first Grecian poets, as it is refined by Virgil in the Georgics, and the familiar epistolary way of Horace. This latter has several advantages. It admits of a greater variety of style; it more readily engages the generality of readers, as partaking more of the air of conversation; and, especially with the assistance of rhyme, leads to a closer and more concise expression. Add to this the example of the most perfect of modern poets, who has so happily applied this manner to the noblest parts of philosophy, that the public taste is in a great measure formed to it alone. Yet, after all, the subject before us, tending almost constantly to admiration and enthusiasm, seemed rather to demand a more open, pathetic, and figured style. This, too, appeared more natural, as the author's aim was not so much to give formal precepts, or enter into the way of direct argumentation, as, by exhibiting the most engaging prospects of nature, to enlarge and harmonise the imagination, and by that means insensibly dispose the minds of men to a similar taste and habit of thinking in religion, morals, and civil life. 'Tis on this account that he is so careful to point out the benevolent intention of the Author of Nature in every principle of the human constitution here insisted on; and also to unite the moral excellencies of life in the same point of view with the mere external objects of good taste; thus recommending them in common to our natural propensity for admiring what is beautiful and lovely. The same views have also led him to introduce some sentiments which may perhaps be looked upon as not quite direct to the subject; but since they bear an obvious relation to it, the authority of Virgil, the faultless model of didactic poetry, will best support him in this particular. For the sentiments themselves he makes no apology.

BOOK I.

ARGUMENT.

The subject proposed. Difficulty of treating it poetically. The ideas of the Divine Mind the origin of every quality pleasing to the imagination. The natural variety of constitution in the minds of men; with its final cause. The idea of a fine imagination, and the state of the mind in the enjoyment of those pleasures which it affords. All the primary pleasures of the imagination result from the perception of greatness, or wonderfulness, or beauty in objects. The pleasure from greatness, with its final cause. Pleasure from novelty or wonderfulness, with its final cause. Pleasure from beauty, with its final cause. The connexion of beauty with truth and good, applied to the conduct of life. Invitation to the study of moral philosophy. The different degrees of beauty in different species of objects; colour, shape, natural concretes, vegetables, animals, the mind. The sublime, the fair, the wonderful of the mind. The connexion of the imagination and the moral faculty. Conclusion.

With what attractive charms this goodly frame
Of Nature touches the consenting hearts
Of mortal men; and what the pleasing stores
Which beauteous Imitation thence derives
To deck the poet's or the painter's toil,
My verse unfolds. Attend, ye gentle Powers
Of musical delight! and while I sing
Your gifts, your honours, dance around my strain.
Thou, smiling queen of every tuneful breast,
Indulgent Fancy! from the fruitful banks 10
Of Avon, whence thy rosy fingers cull
Fresh flowers and dews to sprinkle on the turf
Where Shakspeare lies, be present: and with thee
Let Fiction come, upon her vagrant wings
Wafting ten thousand colours through the air,
Which, by the glances of her magic eye,
She blends and shifts at will, through countless forms,
Her wild creation. Goddess of the lyre,
Which rules the accents of the moving sphere,
Wilt thou, eternal Harmony, descend 20
And join this festive train? for with thee comes
The guide, the guardian of their lovely sports,
Majestic Truth; and where Truth deigns to come,
Her sister Liberty will not be far.
Be present all ye Genii, who conduct
The wandering footsteps of the youthful bard,
New to your springs and shades: who touch his ear
With finer sounds: who heighten to his eye
The bloom of Nature, and before him turn
The gayest, happiest attitude of things. 30
Oft have the laws of each poetic strain
The critic-verse employ'd; yet still unsung
Lay this prime subject, though importing most
A poet's name: for fruitless is the attempt,
By dull obedience and by creeping toil
Obscure to conquer the severe ascent
Of high Parnassus. Nature's kindling breath
Must fire the chosen genius; Nature's hand
Must string his nerves, and imp his eagle-wings,
Impatient of the painful steep, to soar 40
High as the summit; there to breathe at large
AEthereal air, with bards and sages old,
Immortal sons of praise. These flattering scenes,
To this neglected labour court my song;
Yet not unconscious what a doubtful task
To paint the finest features of the mind,
And to most subtile and mysterious things
Give colour, strength, and motion. But the love
Of Nature and the Muses bids explore,
Through secret paths erewhile untrod by man, 50
The fair poetic region, to detect
Untasted springs, to drink inspiring draughts,
And shade my temples with unfading flowers
Cull'd from the laureate vale's profound recess,
Where never poet gain'd a wreath before.
From Heaven my strains begin: from Heaven descends
The flame of genius to the human breast,
And love and beauty, and poetic joy
And inspiration. Ere the radiant sun
Sprang from the east, or 'mid the vault of night 60
The moon suspended her serener lamp;
Ere mountains, woods, or streams adorn'd the globe,
Or Wisdom taught the sons of men her lore;
Then lived the Almighty One: then, deep retired
In his unfathom'd essence, view'd the forms,
The forms eternal of created things;
The radiant sun, the moon's nocturnal lamp,
The mountains, woods, and streams, the rolling globe,
And Wisdom's mien celestial. From the first
Of days, on them his love divine he fix'd, 70
His admiration: till in time complete
What he admired and loved, his vital smile
Unfolded into being. Hence the breath
Of life informing each organic frame;
Hence the green earth, and wild resounding wares;
Hence light and shade alternate, warmth and cold,
And clear autumnal skies and vernal showers,
And all the fair variety of things.
But not alike to every mortal eye
Is this great scene unveil'd. For, since the claims 80
Of social life to different labours urge
The active powers of man, with wise intent
The hand of Nature on peculiar minds
Imprints a different bias, and to each
Decrees its province in the common toil.
To some she taught the fabric of the sphere,
The changeful moon, the circuit of the stars,
The golden zones of heaven; to some she gave
To weigh the moment of eternal things,
Of time, and space, and fate's unbroken chain, 90
And will's quick impulse; others by the hand
She led o'er vales and mountains, to explore
What healing virtue swells the tender veins
Of herbs and flowers; or what the beams of morn
Draw forth, distilling from the clifted rind
In balmy tears. But some, to higher hopes
Were destined; some within a finer mould
She wrought and temper'd with a purer flame.
To these the Sire Omnipotent unfolds
The world's harmonious volume, there to read 100
The transcript of Himself. On every part
They trace the bright impressions of his hand:
In earth or air, the meadow's purple stores,
The moon's mild radiance, or the virgin's form
Blooming with rosy smiles, they see portray'd
That uncreated beauty, which delights
The Mind Supreme. They also feel her charms,
Enamour'd; they partake the eternal joy.

For as old Memnon's image, long renown'd
By fabling Nilus, to the quivering touch 110
Of Titan's ray, with each repulsive string
Consenting, sounded through the warbling air
Unbidden strains, even so did Nature's hand
To certain species of external things,
Attune the finer organs of the mind;
So the glad impulse of congenial powers,
Or of sweet sound, or fair proportion'd form,
The grace of motion, or the bloom of light,
Thrills through Imagination's tender frame,
From nerve to nerve; all naked and alive 120
They catch the spreading rays; till now the soul
At length discloses every tuneful spring,
To that harmonious movement from without
Responsive. Then the inexpressive strain
Diffuses its enchantment: Fancy dreams
Of sacred fountains and Elysian groves,
And vales of bliss: the intellectual power
Bends from his awful throne a wondering ear,
And smiles: the passions, gently soothed away,
Sink to divine repose, and love and joy 130
Alone are waking; love and joy, serene
As airs that fan the summer. Oh! attend,
Whoe'er thou art, whom these delights can touch,
Whose candid bosom the refining love
Of Nature warms, oh! listen to my song;
And I will guide thee to her favourite walks,
And teach thy solitude her voice to hear,
And point her loveliest features to thy view.

Know then, whate'er of Nature's pregnant stores,
Whate'er of mimic Art's reflected forms 140
With love and admiration thus inflame
The powers of Fancy, her delighted sons
To three illustrious orders have referr'd;
Three sister graces, whom the painter's hand,
The poet's tongue confesses—the Sublime,
The Wonderful, the Fair. I see them dawn!
I see the radiant visions, where they rise,
More lovely than when Lucifer displays
His beaming forehead through the gates of morn,
To lead the train of Phoebus and the spring. 150

Say, why was man [Endnote A] so eminently raised
Amid the vast Creation; why ordain'd
Through life and death to dart his piercing eye,
With thoughts beyond the limit of his frame;
But that the Omnipotent might send him forth
In sight of mortal and immortal powers,
As on a boundless theatre, to run
The great career of justice; to exalt
His generous aim to all diviner deeds;
To chase each partial purpose from his breast; 160
And through the mists of passion and of sense,
And through the tossing tide of chance and pain,
To hold his course unfaltering, while the voice
Of truth and virtue, up the steep ascent
Of nature, calls him to his high reward,
The applauding smile of Heaven? Else wherefore burns
In mortal bosoms this unquenched hope,
That breathes from day to day sublimer things,
And mocks possession? Wherefore darts the mind,
With such resistless ardour to embrace 170
Majestic forms; impatient to be free,
Spurning the gross control of wilful might;
Proud of the strong contention of her toils;
Proud to be daring? Who but rather turns
To heaven's broad fire his unconstrained view, 175
Than to the glimmering of a waxen flame?
Who that, from Alpine heights, his labouring eye
Shoots round the wide horizon, to survey
Nilus or Ganges rolling his bright wave
Through mountains, plains, through empires black with shade, 180
And continents of sand, will turn his gaze
To mark the windings of a scanty rill
That murmurs at his feet? The high-born soul
Disdains to rest her heaven-aspiring wing
Beneath its native quarry. Tired of earth
And this diurnal scene, she springs aloft
Through fields of air; pursues the flying storm;
Rides on the vollied lightning through the heavens;
Or, yoked with whirlwinds and the northern blast,
Sweeps the long tract of day. Then high she soars 190
The blue profound, and hovering round the sun
Beholds him pouring the redundant stream
Of light; beholds his unrelenting sway
Bend the reluctant planets to absolve
The fated rounds of Time. Thence far effused
She darts her swiftness up the long career
Of devious comets; through its burning signs
Exulting measures the perennial wheel
Of Nature, and looks back on all the stars,
Whose blended light, as with a milky zone, 200
Invests the orient. Now amazed she views
The empyreal waste, [Endnote B] where happy spirits hold,
Beyond this concave heaven, their calm abode;
And fields of radiance, whose unfading light [Endnote C]