His poem entitled the "Song of Age," is admired by his countrymen for its rapid succession of images (a little too mixed or abrupt on some occasions), its descriptive power, and its neatness and flow of versification.
ORAN NA H-AOIS,
THE SONG OF AGE.
Should my numbers essay to enliven a lay,
The notes would betray the languor of woe;
My heart is o'erthrown, like the rush of the stone
That, unfix'd from its throne, seeks the valley below.
The veteran of war, that knows not to spare,
And offers us ne'er the respite of peace,
Resistless comes on, and we yield with a groan,
For under the sun is no hope of release.
'Tis a sadness I ween, how the glow and the sheen
Of the rosiest mien from their glory subside;
How hurries the hour on our race, that shall lower
The arm of our power, and the step of our pride.
As scatter and fail, on the wing of the gale,
The mist of the vale, and the cloud of the sky,
So, dissolving our bliss, comes the hour of distress,
Old age, with that face of aversion to joy.
Oh! heavy of head, and silent as lead,
And unbreathed as the dead, is the person of Age;
Not a joint, not a nerve—so prostrate their verve—
In the contest shall serve, or the feat to engage.
To leap with the best, or the billow to breast,
Or the race prize to wrest, were but effort in vain;
On the message of death pours an Egypt of wrath,[127]
The fever's hot breath, the dart-shot of pain.
Ah, desolate eld! the wretch that is held
By thy grapple, must yield thee his dearest supplies;
The friends of our love at thy call must remove,—
What boots how they strove from thy bands to arise?
They leave us, deplore as it wills us,—our store,
Our strength at the core, and our vigour of mind;
Remembrance forsakes us, distraction o'ertakes us,
Every love that awakes us, we leave it behind.
Thou spoiler of grace, that changest the face
To hasten its race on the route to the tomb,
To whom nothing is dear, unaffection'd the ear,
Emotion is sere, and expression is dumb;
Of spirit how void, thy passions how cloy'd,
Thy pith how destroy'd, and thy pleasure how gone!
To the pang of thy cries not an echo replies,
Even sympathy dies—and thy helper is none.
We see thee how stripp'd of each bloom that equipp'd
Thy flourish, till nipp'd the winter thy rose;
Till the spoiler made bare the scalp of the hair,
And the ivory[128] tare from its sockets' repose.
Thy skinny, thy cold, thy visageless mould,
Its disgust is untold, and its surface is dim;
What a signal of wrack is the wrinkle's dull track,
And the bend of the back, and the limp of the limb!
Thou leper of fear—thou niggard of cheer—
Where glory is dear, shall thy welcome be found?
Thou contempt of the brave—oh, rather the grave,
Than to pine as the slave that thy fetters have bound.
Like the dusk of the day is thy colour of gray,
Thou foe of the lay, and thou phantom of gloom;
Thou bane of delight—when thy shivering plight,
And thy grizzle of white,[129] and thy crippleness, come
To beg at the door; ah, woe for the poor,
And the greeting unsure that grudges their bread;
All unwelcome they call—from the hut to the hall
The confession of all is, "'Tis time he were dead!"
The picturesque portion of the description here terminates. With respect to the moral and religious application, it is but just to the poet to say, that before the close he appeals in pathetic terms to the young, warning them not to boast of their strength, or to abuse it; and that he concludes his lay with the sentiment, that whatever may be the ills of "age," there are worse that await an unrepenting death, and a suffering eternity.
NORMAN MACLEOD;
Or, Tormaid Ban.
Single-speech Hamilton may be said to have had his marrow in a Highland bard, nearly his contemporary, whose one effort was attended with more lasting popularity than the sole oration of that celebrated person. The clan song of the Mackenzies is the composition in question, and its author is now ascertained to have been a gentleman, or farmer of the better class, of the name of Norman Macleod, a native of Assynt[130] in Sutherland. The most memorable particular known of this person, besides the production of his poetic effort, is his having been the father of a Glasgow professor,[131] whom we remember occupying the chair of Church History in the university in very advanced age, about 1814, assisted by a helper and successor; and of another son, who was the respected minister of Rogart till towards the end of last century.
The date of "Caberfae" is not exactly ascertained. It was composed during the exile of Lord Seaforth, but, we imagine, before the '45, in which he did not take part, and while Macshimei (Lord Lovat) still passed for a Whig. In Mackenzie's excellent collection (p. 361), a later date is assigned to the production.