I have read with interest the "Notes" (Vol. i., pp. 286. 316.) on these lines of the Allegro; because, in spite of early prepossession in favour of the idea commonly attached to them, I was converted some years ago, by the late Mr. Constable, R.A., whose close observation of rural scenery and employments no one can question.
His account of the matter was this:
"It is usual in Suffolk, and I have seen it often myself, for the shepherd, assisted by another man or boy, to make the whole flock pass through a gap, in order to facilitate the tale. One fellow drives them through the opening, by moving about, shouting, and clapping his hands, while his comrade, on the other side of the hedge, and under cover of a thorn or other thick bush, counts them as they leap through. I have not only seen but assisted, when a boy, at the shepherd's tale; and I do believe Milton had no other idea in his mind. For, indeed, the early morning is not the time the poets choose for lovers to woo, or maids to listen; and Milton has described a scene where all were up and stirring. Neither is the word 'every' appropriate, according to the common interpretation of the passage; every shepherd would not woo on the same spot; but that spot might be particularly favourable for making the tale of his sheep."
Your correspondent J. M. M. adduces an argument in favour of the romantic versus the pastoral, which seems to me entirely devoid of weight. He thinks that Handel's "'Let no wander' breathes the shepherd's tale of love." Surely there is more imagination than truth in this. There is a series of images in the words of that song: it was necessary, unless the music varied unreasonably to suit them all, to choose a pleasing, but not very significant, melody, and, above all, to make the close of it a fit introduction for the "merry bells," and "jocund Rebecs," which burst in immediately after. I confess I find nothing of the amatory style in Handel's setting of the two disputed lines. He chose the Pastorale or 6/8 time, as for "He shall feed his flock," "O lovely Peace," &c. But were it so, I could not admit Handel as an authority, because, as a foreigner, and an inhabitant of towns, he could not possibly be conversant with the rural customs of England.
S. R.
DESIGNED FALSE ENGLISH RHYMES.
(Vol. vii., p. 483.)
I was much surprised to see in your paper such a lengthened defence of Irish rhymes by a reference to those of English poets, and particularly to Pope. I thought it was well known that he, at last, became sensible of the cloying effect of his never-varying melody, and sought to relieve it by deviations from propriety. This is particularly remarkable in his Homer, where he has numerous Irish rhymes like "peace" and "race:" besides "war" and "car;" "far," "dare;" with many other still more barbarous metres. But all those were by regular design for, if ever poet "lisped in numbers," it was he; and "the numbers came" at his command. He introduced those uncouth rhymes to somewhat roughen his too long continued melody, just as certain discords are allowed in great musical compositions. It showed good judgment, for they are an agreeable change by variation. Other English poets too have false rhymes; for even Gray, in his celebrated Elegy, has "toil" and "smile;" "abode" and "God."
But, with respect to Irish poets, Swift should not have been mentioned at all because, with perhaps the exception of his "Cadenus and Vanessa," his poetry was of the doggerel kind; and he purposely used Irish rhymes and debased English. Thus, in the "Lady's Dressing-room:"