(14.) Foreign idioms, not allowed in prose, are allowed in poetry; as, "Could save the son of Thetis from to die." 66 'Long were to tell what I have seen." (15.) The article is often dropped; so also is the relative pro noun: "Like shipwrecked mariner on desert coast." "For is there aught in sleep can charm the wise { (16.) The antecedent is very often omitted; as, "So pass'd he; who had seen him then, had deem'd, By the proud," &c. "Who loves, raves; 'tis youth's frenzy." (17.) The auxiliary only of a compound tense is often used, and the principal verb omitted; as, "What for ourselves we can, is always ours." "What would this man? Now upward will he soar." (18.) The noun is repeated after the pronoun that referred to it; as, "It ceased, the melancholy sound." 66 My banks they are furnished with bees." "His prayer he saith, this holy man." (19.) The comparative follows a positive; as, "Loud and more loud was heard the sound." "Wide and more wide, the o'erflowings of the mind." (20.) Nouns are abbreviated; as, Morn for morning; helm for helmet; targe for target; fount for fount ain, &c.; eve for evening; acclaim for acclamation; consult for consulta tion; lore for learning. (21.) Adjectives are abbreviated; as, Submiss for submissive; hoar for hoary yon for yonder; lone for lonely dread for dreadful, &c. (22.) Verbs also are abbreviated; as, Ope for open; list, for listen; illume for illuminate. (23.) Prefixes to verbs are supplied; as, Disport, distain; evanish, emove, bedim: or prefixes are omitted; as, lure for allure, wail for bewail, reave for bereave, &c. (24.) Relative pronouns and other connectives and adverbs are removed from their regular position : "Not half so dreadful rises to the sight Orion's dog, the year when autumn weighs." (25.) The antecedent is often placed after the relative; as, "Who dares think one thing and another tell, My soul detests him as the gates of hell." (26.) The adverb there, belonging to the first part of a clause, is omitted; as, "Was naught around but images of rest." (27.) Adjectives are used for adverbs: "Gradual sinks the breeze." LESSON CLXXII. VARIETIES OF POETIC COMPOSITION.-NARRATIVE POETRY. 1. The Epic Poem. In this the poet tells the story, and as he lays claim to inspiration by the Muses, his language adapted to this, his supposed character, must be elevated and as elegant as possible. In dramatic writings the poet never appears, but various characters are introduced who say all that is said. An Epic Poem is the recital in verse of some illustrious enterprise. The most regular compositions of this sort are "The Iliad" of Homer, "The Æneid" of Virgil, the "Jerusalem Delivered" of Tasso, and the "Paradise Lost." Other forms of the Epic, as described by Dr. Beattie, are (1.) The mixed, such as the "Faery Queen" of Spenser, and the "Orlando Furioso" of Ariosto; in which are less probability, less unity, and great extravagance of invention. (2.) The Historical poem, in which the events are generally true, and arranged in chronological order, such as the "Pharsalia" of Lucan, and Addison's "Campaign." (3.) The Heroic Tale, which is wholly or nearly fabulous: has more unity and regularity than the former, and turns for the most part upon some one event. Such are some of the tales in Ovid's "Metamorphoses," and some of the serious pieces in Chaucer's "Canterbury Tales." (5.) The Didactic Epic, in which there is more philosophy than narrative; such as Milton's "Paradise Regained." (6.) Serious Romance; such as Fenelon's "Telemachus," a sort of prose poem. (7.) Comic Epic poetry; such as "Don Quixote," and "Hudibras." 2. Dramatic Poetry. (1.) The modern regular Tragedy of five acts. It is the office of tragedy to exhibit the characters and behavior of men as they appear in some of the more trying and critical situations of real life. It does not, like the Epic, exhibit characters by the narration and description of the poet, but the personages themselves are set before us, acting and speaking what is suitable to their particular characters. It is a kind of writing which requires an extensive knowledge of the world, and a deep insight into the workings of the human heart. The style and versification of tragedy ought to be free, easy, and varied. Blank verse is best adapted to it. (2.) The modern regular Comedy of five acts. The best example is Shakspeare's "Merry Wives of Windsor." The particular aim of Comedy is to hold up to ridicule the foibles, follies, improprieties, awkwardnesses, and vices of mankind; while Tragedy deals in the great sufferings and passions of men. (3.) The historical tragi-comedy: such as Shakspeare's Julius Cæsar, Henry IV., Richard III., &c. (4.) Poetical tragi-comedy: such as the Othello, Hamlet, Macbeth, and Lear of the same author. This kind is generally founded in fiction or ar, obscure tradition; the former is a detail of the historical events and delineation of real characters, with some occasional deviations from historical truth. (5.) The Ballad Opera: a sort of comedy or farce, with songs or ballads included. (6.) The Pastoral: such as the Pastorals of Pope and Phillips, and the Eclogues of Spenser, being presented in the dialogue form or soliloquy. Milton's "Lycidas," and Mason's "Monody on the death of Pope," come into this class. (7.) The Dramatic Pastoral: a sort of comedy, or tragi-comedy in verse, with songs or odes interspersed, and in which the persons are supposed to be shepherds, or persons living in the country. The "Pastor Fido" of Guarini, and the "Aminto" of Tasso, re of this sort. (8.) The Mask: a sort of tragic poem, more wild in invention and more ornamented in language than a regular tragedy should be. Milton's "Comus" is the best specimen. LESSON CLXXIII LYRIC POETRY. 1. The Pindaric Ode, which admits bolder figures, and requires more varied harmony than any other form of composition. Examples: Dryden's "Alexander's Feast," Gray's Odes on Poetry and the Death of the Welsh Bards. Pindar's Odes are employed in the praise of heroes and in the celebration of their martial achievements. 2. The Horatian Ode, which has more simplicity than the Pindaric, and less wildness of invention, and less variety of harmony. Gray's Odes on Spring, on Adversity, and on Eton College, Dryden's Ode on St. Cecilia, and many of the Odes of Akenside, belong to this class. 3. The Descriptive Ode, which paints the beauties of nature. The two most remarkable poems of this sort, are the Allegro and the Penseroso of Milton, which are exquisitely beautiful and harmonious. 4. The Song: a short composition, adapted to music, and intended not so much to tell a story or present poetical images, as to express some human passion, as joy, sorrow, love, &c. The Sacred Song is composed on some religious subject, or bears the form of an address to the Deity. 5. The Pastoral Ballad, nearly allied to the song, but referring more particularly to the events and passions of rural life; such as Shenstone's ballad in four parts. 6. The Epic Ballad, which is narrative, and describes actions or events, either warlike or domestic, as "Chevy Chase," &c. 7. Elegy: divided into, (1.) The plaintive elegy, expressive of sorrow, as Pope's "Elegy on an Unfortunate Lady." (2.) The moral elegy, expressive of moral sentiments, with an air of dignity and melancholy. Gray's "Elegy in a Churchyard," is the best poem extant of this species. (3.) The epistolary elegy, embracing various subjects in the form of a letter in verse, with a mixture of complaint and tenderness. Pope's "Eloisa to Abelard" is the best in our language. (4.) The love elegy, designed for pleasure and amusement. (5.) Young's "Complaint" belongs to the elegiac class, and must be considered as a species by itself. It has much sublimity and pathos, much elegant description, and devout and moral sentiment, delivered with uncommon energy of expression. LESSON CLXXIV. DESCRIPTIVE POETRY. Descriptive poetry is employed to describe the appearances and objects of external nature, and is to be found more or less in every good poem. Thomson's poem on "The Seasons" is uniformly descriptive, or nearly so, for which it has been censured, on the ground that description, though highly ornamental, ought not to form the essence of it. However this is a delightful work, and deserves to be studied, especially by the young; as it draws their attention to the beauties of nature, and abounds in pious and benevolent sentiments, His "Castle of Indolence" is more faultless in its versification; and is indeed one of the most pleasing poems in the language. Parnell's "Tale of the Hermit" is a beautiful descriptive narration, but no descriptive poem surpasses in style Milton's Allegro and Penseroso. The Epigram, strictly so called, is a short copy of verses, written on some occasion not very important, and ending with an unexpected turn of wit. |