D. Stewart (Philos. of Human Mind) remarks that "Gray, in describing the infantine reveries of poetical genius, has fixed with exquisite judgment on that class of our conceptions which are derived from visible objects."
[120.] With orient hues. Cf. Milton, P. L. i. 546: "with orient colours waving."
[122.] The MS. has "Yet never can he fear a vulgar fate."
[123.] Cf. K. Philips: "Still shew'd how much the good outshone the great."
We append, as a curiosity of criticism, Dr. Johnson's comments on this ode, from his Lives of the Poets. The Life of Gray has been called "the worst in the series," and perhaps this is the worst part of it:4
"My process has now brought me to the wonderful 'Wonder of Wonders,' the two Sister Odes, by which, though either vulgar ignorance or common-sense at first universally rejected them, many have been since persuaded to think themselves delighted. I am one of those that are willing to be pleased, and therefore would gladly find the meaning of the [first stanza] of 'The Progress of Poetry.'
"Gray seems in his rapture to confound the images of spreading sound and running water. A 'stream of music' may be allowed; but where does 'music,' however 'smooth and strong,' after having visited the 'verdant vales, roll down the steep amain,' so as that 'rocks and nodding groves rebellow to the roar?' If this be said of music, it is nonsense; if it be said of water, it is nothing to the purpose.
"The [second stanza], exhibiting Mars's car and Jove's eagle, is unworthy of further notice. Criticism disdains to chase a schoolboy to his commonplaces.
"To the [third] it may likewise be objected that it is drawn from mythology, though such as may be more easily assimilated to real life. Idalia's 'velvet-green' has something of cant. An epithet or metaphor drawn from Nature ennobles Art; an epithet or metaphor drawn from Art degrades Nature. Gray is too fond of words arbitrarily compounded. 'Many-twinkling' was formerly censured as not analogical; we may say 'many-spotted,' but scarcely 'many-spotting.' This stanza, however, has something pleasing.
"Of the second ternary of stanzas, the [first] endeavours to tell something, and would have told it, had it not been crossed by Hyperion; the [second] describes well enough the universal prevalence of poetry; but I am afraid that the conclusion will not arise from the premises. The caverns of the North and the plains of Chili are not the residences of 'Glory and generous Shame.' But that Poetry and Virtue go always together is an opinion so pleasing that I can forgive him who resolves to think it true.