17 Starting and shivering in the inconstant wind,
Meagre and pale, the ghost of what I was,
Beneath some blasted tree I lie reclined,
And count the silent moments as they pass:
18 The winged moments, whose unstaying speed
No art can stop, or in their course arrest;
Whose flight shall shortly count me with the dead,
And lay me down at peace with them at rest.
19 Oft morning-dreams presage approaching fate;
And morning-dreams, as poets tell, are true.
Led by pale ghosts, I enter Death's dark gate,
And bid the realms of light and life adieu.
20 I hear the helpless wail, the shriek of woe;
I see the muddy wave, the dreary shore,
The sluggish streams that slowly creep below,
Which mortals visit, and return no more.
21 Farewell, ye blooming fields! ye cheerful plains!
Enough for me the churchyard's lonely mound,
Where Melancholy with still Silence reigns,
And the rank grass waves o'er the cheerless ground.
22 There let me wander at the shut of eve,
When sleep sits dewy on the labourer's eyes:
The world and all its busy follies leave,
And talk of wisdom where my Daphnis lies.
23 There let me sleep forgotten in the clay,
When death shall shut these weary, aching eyes;
Rest in the hopes of an eternal day,
Till the long night is gone, and the last morn arise.
CHRISTOPHER SMART.
We hear of 'Single-speech Hamilton.' We have now to say something of 'Single-poem Smart,' the author of one of the grandest bursts of devotional and poetical feeling in the English language—the 'Song to David.' This poor unfortunate was born at Shipbourne, Kent, in 1722. His father was steward to Lord Barnard, who, after his death, continued his patronage to the son, who was then eleven years of age. The Duchess of Cleveland, through Lord Barnard's influence, bestowed on Christopher an allowance of £40 a-year. With this he went to Pembroke Hall, Cam- bridge, in 1739; was in 1745 elected a Fellow of Pembroke, and in 1747 took his degree of M.A. At college, Smart began to display that reckless dissipation which led afterwards to such melancholy consequences. He studied hard, however, at intervals; wrote poetry both in Latin and English; produced a comedy called a 'Trip to Cambridge; or, The Grateful Fair,' which was acted in the hall of Pembroke College; and, in spite of his vices and follies, was popular on account of his agreeable manners and amiable dispositions. Having become acquainted with Newberry, the benevolent, red-nosed bookseller commemorated in 'The Vicar of Wakefield,'—for whom he wrote some trifles,—he married his step- daughter, Miss Carnan, in the year 1753. He now removed to London, and became an author to trade. He wrote a clever satire, entitled 'The Hilliad,' against Sir John Hill, who had attacked him in an underhand manner. He translated the fables of Phaedrus into verse,—Horace into prose ('Smart's Horace' used to be a great favourite, under the rose, with schoolboys); made an indifferent version of the Psalms and Paraphrases, and a good one, at a former period, of Pope's 'Ode on St Cecilia's Day,' with which that poet professed himself highly pleased. He was employed on a monthly publication called The Universal Visitor. We find Johnson giving the following account of this matter in Boswell's Life:—'Old Gardner, the bookseller, employed Rolt and Smart to write a monthly miscellany called The Universal Visitor.' There was a formal written contract. They were bound to write nothing else,—they were to have, I think, a third of the profits of the sixpenny pamphlet, and the contract was for ninety-nine years. I wrote for some months in The Universal Visitor for poor Smart, while he was mad, not then knowing the terms on which he was engaged to write, and thinking I was doing him good. I hoped his wits would soon return to him. Mine returned to me, and I wrote in The Universal Visitor no longer.'
Smart at last was called to pay the penalty of his blended labour and dissipation. In 1763 he was shut up in a madhouse. His derangement had exhibited itself in a religious way: he insisted upon people kneeling down along with him in the street and praying. During his confinement, writing materials were denied him, and he used to write his poetical pieces with a key on the wainscot. Thus, 'scrabbling,' like his own hero, on the wall, he produced his immortal 'Song to David.' He became by and by sane; but, returning to his old habits, got into debt, and died in the King's Bench prison, after a short illness, in 1770.