The Poetical Works of Mark Akenside

by Mark Akenside

For not estranged from your benignant arts
Is he, the god, to whose mysterious shrine
My youth was sacred, and my votive cares
Belong, the learned Pæon. Oft when all
His cordial treasures he hath search'd in vain;
When herbs, and potent trees, and drops of balm 210
Rich with the genial influence of the sun
(To rouse dark fancy from her plaintive dreams,
To brace the nerveless arm, with food to win
Sick appetite, or hush the unquiet breast
Which pines with silent passion), he in vain
Hath proved; to your deep mansions he descends.
Your gates of humid rock, your dim arcades,
He entereth; where empurpled veins of ore
Gleam on the roof; where through the rigid mine
Your trickling rills insinuate. There the god 220
From your indulgent hands the streaming bowl
Wafts to his pale-eyed suppliants; wafts the seeds
Metallic and the elemental salts
Wash'd from the pregnant glebe. They drink, and soon
Flies pain; flies inauspicious care; and soon
The social haunt or unfrequented shade
Hears Io, Io Pæan, [AA] as of old,
When Python fell. And, O propitious Nymphs,
Oft as for hapless mortals I implore
Your sultry springs, through every urn, 230
Oh, shed your healing treasures! With the first
And finest breath, which from the genial strife
Of mineral fermentation springs, like light
O'er the fresh morning's vapours, lustrate then
The fountain, and inform the rising wave.

My lyre shall pay your bounty. Scorn not ye
That humble tribute. Though a mortal hand
Excite the strings to utterance, yet for themes
Not unregarded of celestial powers,
I frame their language; and the Muses deign 240
To guide the pious tenor of my lay.
The Muses (sacred by their gifts divine)
In early days did to my wondering sense
Their secrets oft reveal; oft my raised ear
In slumber felt their music; oft at noon,
Or hour of sunset, by some lonely stream,
In field or shady grove, they taught me words
Of power from death and envy to preserve
The good man's name. Whence yet with grateful mind,
And offerings unprofaned by ruder eye, 250
My vows I send, my homage, to the seats
Of rocky Cirrha, [BB] where with you they dwell,
Where you their chaste companions they admit,
Through all the hallow'd scene; where oft intent,
And leaning o'er Castalia's mossy verge,
They mark the cadence of your confluent urns,
How tuneful, yielding gratefullest repose
To their consorted measure, till again,
With emulation all the sounding choir,
And bright Apollo, leader of the song, 260
Their voices through the liquid air exalt,
And sweep their lofty strings; those powerful strings
That charm the mind of gods, [CC] that fill the courts
Of wide Olympus with oblivion sweet
Of evils, with immortal rest from cares,
Assuage the terrors of the throne of Jove,
And quench the formidable thunderbolt
Of unrelenting fire. With slacken'd wings,
While now the solemn concert breathes around,
Incumbent o'er the sceptre of his lord 270
Sleeps the stern eagle, by the number'd notes,
Possess'd, and satiate with the melting tone,
Sovereign of birds. The furious god of war,
His darts forgetting, and the winged wheels
That bear him vengeful o'er the embattled plain,
Relents, and soothes his own fierce heart to ease,
Most welcome ease. The sire of gods and men
In that great moment of divine delight,
Looks down on all that live; and whatsoe'er
He loves not, o'er the peopled earth and o'er 280
The interminated ocean, he beholds
Cursed with abhorrence by his doom severe,
And troubled at the sound. Ye, Naiads, ye
With ravish'd ears the melody attend
Worthy of sacred silence. But the slaves
Of Bacchus with tempestuous clamours strive
To drown the heavenly strains, of highest Jove
Irreverent, and by mad presumption fired
Their own discordant raptures to advance
With hostile emulation. Down they rush 290
From Nysa's vine-empurpled cliff, the dames
Of Thrace, the Satyrs, and the unruly Fauns,
With old Silenus, reeling through the crowd
Which gambols round him, in convulsions wild
Tossing their limbs, and brandishing in air
The ivy-mantled thyrsus, or the torch
Through black smoke flaming, to the Phrygian pipe's [DD]
Shrill voice, and to the clashing cymbals, mix'd
With shrieks and frantic uproar. May the gods
From every unpolluted ear avert 300
Their orgies! If within the seats of men,
Within the walls, the gates, where Pallas holds [EE]
The guardian key, if haply there be found
Who loves to mingle with the revel-band
And hearken to their accents, who aspires
From such instructors to inform his breast
With verse, let him, fit votarist, implore
Their inspiration. He perchance the gifts
Of young Lyæus, and the dread exploits,
May sing in aptest numbers; he the fate 310
Of sober Pentheus, [FF] he the Paphian rites,
And naked Mars with Cytherea chain'd,
And strong Alcides in the spinster's robes,
May celebrate, applauded. But with you,
O Naiads, far from that unhallow'd rout,
Must dwell the man whoe'er to praisèd themes
Invokes the immortal Muse. The immortal Muse
To your calm habitations, to the cave
Corycian[GG] or the Delphic mount, [HH] will guide
His footsteps, and with your unsullied streams 320
His lips will bathe; whether the eternal lore
Of Themis, or the majesty of Jove,
To mortals he reveal; or teach his lyre
The unenvied guerdon of the patriot's toils,
In those unfading islands of the bless'd,
Where sacred bards abide. Hail, honour'd Nymphs;
Thrice hail! For you the Cyrenaïc shell, [II]
Behold, I touch, revering. To my songs
Be present ye with favourable feet,
And all profaner audience far remove. 330

NOTES.

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[Footnote A: 'Love,…. Elder than Chaos.'—L. 25. Hesiod in his Theogony gives a different account, and makes Chaos the eldest of beings, though he assigns to Love neither father nor superior; which circumstance is particularly mentioned by Phædrus, in Plato's Banquet, as being observable not only in Hesiod, but in all other writers both of verse and prose; and on the same occasion he cites a line from Parmenides, in which Love is expressly styled the eldest of all the gods. Yet Aristophanes, in 'The Birds,' affirms, that 'Chaos, and Night, and Erebus, and Tartarus were first; and that Love was produced from an egg, which the sable-winged Night deposited in the immense bosom of Erebus.' But it must be observed, that the Love designed by this comic poet was always distinguished from the other, from that original and self-existent being the TO ON [Greek] or AGAThON [Greek] of Plato, and meant only the DAeMIOURGOS [Greek] or second person of the old Grecian Trinity; to whom is inscribed a hymn among those which pass under the name of Orpheus, where he is called Protogonos, or the first-begotten, is said to have been born of an egg, and is represented as the principal or origin of all these external appearances of nature. In the fragments of Orpheus, collected by Henry Stephens, he is named Phanes, the discoverer or discloser, who unfolded the ideas of the supreme intelligence, and exposed them to the perception of inferior beings in this visible frame of the world; as Macrobius, and Proclus, and Athenagoras, all agree to interpret the several passages of Orpheus which they have preserved.

But the Love designed in our text is the one self-existent and infinite mind; whom if the generality of ancient mythologists have not introduced or truly described in accounting for the production of the world and its appearances, yet, to a modern poet, it can be no objection that he hath ventured to differ from them in this particular, though in other respects he professeth to imitate their manner and conform to their opinions; for, in these great points of natural theology, they differ no less remarkably among themselves, and are perpetually confounding the philosophical relations of things with the traditionary circumstances of mythic history; upon which very account Callimachus, in his hymn to Jupiter, declareth his dissent from them concerning even an article of the national creed, adding, that the ancient bards were by no means to be depended on. And yet in the exordium of the old Argonautic poem, ascribed to Orpheus, it is said, that 'Love, whom mortals in later times call Phanes, was the father of the eternally-begotten Night;' who is generally represented by these mythological poets as being herself the parent of all things; and who, in the 'Indigitamenta,' or Orphic Hymns, is said to be the same with Cypris, or Love itself. Moreover, in the body of this Argonautic poem, where the personated Orpheus introduceth himself singing to his lyre in reply to Chiron, he celebrateth 'the obscure memory of Chaos, and the natures which it contained within itself in a state of perpetual vicissitude; how the heaven had its boundary determined, the generation of the earth, the depth of the ocean, and also the sapient Love, the most ancient, the self-sufficient, with all the beings which he produced when he separated one thing from another.' Which noble passage is more directly to Aristotle's purpose in the first book of his metaphysics than any of those which he has there quoted, to show that the ancient poets and mythologists agreed with Empedocles, Anaxagoras, and the other more sober philosophers, in that natural anticipation and common notion of mankind concerning the necessity of mind and reason to account for the connexion, motion, and good order of the world. For though neither this poem, nor the hymns which pass under the same name, are, it should seem, the work of the real Orpheus, yet beyond all question they are very ancient. The hymns, more particularly, are allowed to be older than the invasion of Greece by Xerxes, and were probably a set of public and solemn forms of devotion, as appears by a passage in one of them which Demosthenes hath almost literally cited in his first oration against Aristogiton, as the saying of Orpheus, the founder of their most holy mysteries. On this account, they are of higher authority than any other mythological work now extant, the Theogony of Hesiod himself not excepted. The poetry of them is often extremely noble; and the mysterious air which prevails in them, together with its delightful impression upon the mind, cannot be better expressed than in that remarkable description with which they inspired the German editor, Eschenbach, when he accidentally met with them at Leipsic: —'Thesaurum me reperisse credidi,' says he, 'et profecto thesaurum reperi. Incredibile dictu quo me sacro horrore afflaverint indigitamenta ista deorum: nam et tempus ad illorum lectionem eligere cogebar, quod vel solum horrorem incutere animo potest, nocturnum; cum enim totam diem consumserim in contemplando urbis splendore, et in adeundis, quibus scatet urbs illa, viris doctis; sola nox restabat, quam Orpheo consecrare potui. In abyesum quendam mysteriorum venerandæ antiquitatis descendere videbar, quotiescunque silente mundo, solis vigilantibus astris et luna, [Greek: melanaephutous] istos hymnos ad manus sumsi.']

[Footnote B: 'Love, the sire of Fate.'—L. 25. Fate is the universal system of natural causes; the work of the Omnipotent Mind, or of Love: so Minucius Felix:—'Quid enim aliud est fatum, quam quod de unoquoque nostrum deus fatus est.' So also Cicero, in the First Book on Divination:—'Fatum autem id appello, quod Graeci EIMAPMENIIN: id est, ordinem seriemque causarum, cum causa causæ nexa rem ex se gignat—ex quo intelligitur, ut fatum sit non id quod superstitiose, sed id quod physice dicitur causa asterna rerum.' To the same purpose is the doctrine of Hierocles, in that excellent fragment concerning Providence and Destiny. As to the three Fates, or Destinies of the poets, they represented that part of the general system of natural causes which relates to man, and to other mortal beings: for so we are told in the hymn addressed to them among the Orphic Indigitamenta, where they are called the daughters of Night (or Love), and, contrary to the vulgar notion, are distinguished by the epithets of gentle and tender-hearted. According to Hesiod, Theog. ver. 904, they were the daughters of Jupiter and Themis: but in the Orphic hymn to Venus, or Love, that goddess is directly styled the mother of Necessity, and is represented, immediately after, as governing the three Destinies, and conducting the whole system of natural causes.]

[Footnote C: 'Chaos.'—L. 26. The unformed, undigested mass of
Moses and Plato; which Milton calls 'The womb of nature.']

[Footnote D: 'Born of Fate was Time.'—L. 26. Chronos, Saturn, or Time, was, according to Apollodorus, the son of Cælum and Tellus. But the author of the hymns gives it quite undisguised by mythological language, and calls him plainly the offspring of the earth and the starry heaven; that is, of Fate, as explained in the preceding note.]

[Footnote E: 'Who many sons … devour'd.'—L. 27. The known fable of Saturn devouring his children was certainly meant to imply the dissolution of natural bodies, which are produced and destroyed by Time.]