Christopher Smart, “A Noon-Piece; or, The Mowers at Dinner”

CHRISTOPHER SMART

“A Noon-Piece; or, The Mowers at Dinner”

ODE II.

Jam pastor umbras cum grege languido,
Rivumque fessus quaerit, & horridi
Dumeta Silvani, caretque
Ripa vagis taciturna ventis.             HOR[ACE].

The Sun is now too radiant to behold,
And vehement he sheds his liquid Rays of Gold;
No cloud appears thro’ all the wide expanse;
And short, but yet distinct and clear,
To the wanton whistling air                                                         5
The mimic shadows dance.

Fat Mirth, and Gallantry the gay,
And romping Extasy ‘gin play.
Now Myriads of young Cupids rise,
And open all their joy-bright eyes,                                           10
Filling with infant prate the grove,
And lisp in sweetly-fault‘ring love.
In the middle of the ring,
Mad with May, and wild of wing,
Fire-ey’d Wantonness shall sing.                                              15

By the rivulet on the rushes,
Beneath a canopy of bushes,
Where the ever-faithful Tray,
Guards the dumplings and the whey,
Colin Clout and Yorkshire Will                                                 20
From the leathern bottle swill.

Their scythes upon the adverse bank
Glitter ‘mongst th’ entangled trees,
Where the hazles form a rank,
And court’sy to the courting breeze.                                             25

Ah! Harriot! sovereign mistress of my heart,
Could I thee to these meads decoy,
New grace to each fair object thou’dst impart,
And heighten ev’ry scene to perfect joy.

On a bank of fragrant thyme,                                                   30
Beneath yon stately, shadowy pine,
We’ll with the well-disguised hook
Cheat the tenants of the brook;
Or where coy Daphne’s thickest shade
Drives amorous Phoebus from the glade,                               35
There read Sydney’s high-wrought stories
Of ladies charms and heroes glories;
Thence fir’d, the sweet narration act,
And kiss the fiction into fact.

Or satiate with nature’s random scenes,                                           40
Let’s go to the gardens regulated greens,
Where taste and elegance command
Art to lend her daedal hand,
Where Flora’s flock, by nature wild,
To discipline are reconcil’d,                                                         45
And laws and order cultivate,
Quite civiliz’d into a state.

From the sun, and from the show’r,
Haste we to yon boxen bow’r,
Secluded from the teizing pry                                                    50
Of Argus’ curiosity:
There, while Phoebus’ golden mean,
The gay meridian is seen,
Ere decays the lamp of light,
And length’ning shades stretch out to night—-                         55

Seize, seize the hint—each hour improve
(This is morality in love)
Lend, lend thine hand—O let me view
Thy parting breasts, sweet avenue!
Then—then thy lips, the coral cell                                               60
Where all th’ ambrosial kisses dwell!
Thus we’ll each sultry noon employ
In day-dreams of exstatic joy.

NOTES:

Epigraph Horace, Odes, Book III, no. XXIX, lines 21-24. “Now the weary shepherd with his languid flock seeks the shade, and the river, and the thickets of rough Sylvanus; and the silent bank is free from the wandering winds.”  Translation by Christopher Smart, The Works of Horace Translated Literally into English Prose (London, 1755).

2 vehement “Of heat…intense, strong” (OED).

5 wanton “Free, unrestrained” (OED).

16 rivulet “A small river; a stream” (OED).

18 Tray “A utensil of the form of a flat board with a raised rim, or of a shallow box without a lid, made of wood, metal, or other material, of various sizes” (OED).

27 meads Meadows; decoy “To entice or allure” (OED).

34 Daphne “In Greek mythology, the personification of the laurel;” here a reference to laurel bushes (Britannica).

35 Phoebus “Apollo as the god of light or of the sun; the sun personified” (OED).

36 Sydney Sir Philip Sidney (1554-1586), courtier, statesman, soldier, poet; his long pastoral romance, Arcadia, was published in 1593 (Britannica).

43 daedal “Skilful, cunning to invent or fashion” (OED).

44 Flora “In Latin mythology, the goddess of flowers; hence, in modern poetical language, the personification of nature’s power in producing flowers” (OED).

51 Argus “A mythological person fabled to have had a hundred eyes,” hence an allusion to the prying eyes of the curious (OED).

60 coral Red.

61 ambrosial “Exceptionally sweet or delightful” (OED).

SOURCE: Poems on Several Occasions (London, 1752), pp. 9-12. [Google Books]

Edited by Ulises Canchola

William Blake, “A War Song to Englishmen”

WILLIAM BLAKE

“A War Song to Englishmen”

Prepare, prepare, the iron helm of war,
Bring forth the lots, cast in the spacious orb;
Th’ Angel of Fate turns them with mighty hands,
And casts them out upon the darken’d earth!
Prepare, prepare.                                  5

Prepare your hearts for Death’s cold hand! prepare
Your souls for flight, your bodies for the earth!
Prepare your arms for glorious victory!
Prepare your eyes to meet a holy God!
Prepare, prepare.                                 10

Whose fatal scroll is that?  Methinks ‘tis mine!
Why sinks my heart, why faultereth my tongue?
Had I three lives, I’d die in such a cause,
And rise, with ghosts, over the well-fought field.
Prepare, prepare.                                  15

The arrows of Almighty God are drawn!
Angels of Death stand in the low’ring heavens!
Thousands of souls must seek the realms of light,
And walk together on the clouds of heaven!
Prepare, prepare.                                   20

Soldiers, prepare! Our cause is Heaven’s cause;
Soldiers, prepare! Be worthy of our cause:
Prepare to meet our fathers in the sky:
Prepare, O troops, that are to fall to-day!
Prepare, prepare.                                    25

Alfred shall smile, and make his harp rejoice;
The Norman William, and the learned Clerk,
And Lion Heart, and black-brow’d Edward, with
His loyal queen shall rise, and welcome us!
Prepare, prepare.                                   30

NOTES:

26 Alfred Alfred the Great (849-899), King of Wessex, 871-899, “a Saxon kingdom in southwestern England. He prevented England from falling to the Danes” (Britannica).

27 William William the Conqueror (c. 1028-1087), the first Norman King of England, ruled as William I from 1066 (Britannica); Clerk Probably a reference to Lanfranc (c. 1005-1089), “archbishop of Canterbury and trusted councellor of William” (Britannica).

28 Lion Heart King Richard I (1157-1199) reigned from 1189 to 1199, known for his “prowess in the Third Crusade (1189-1192” (Britannica); Edward King Edward IV (1442-1483), reigned “from 1461-1470, and again from April 1471-1483).”  He was a leading orchestrator of the Wars of the Roses (Britannica).

29 His loyal queen King Edward IV secretly married Elizabeth Woodville (1437-1492) in 1464.  She was a daughter of Lancastrians, which angered the Yorkists during the Wars of the Roses (Britannica).

SOURCE: Poetical Sketches (London 1783), pp. 58-59.  [Google Books]

Edited by Grae Zimmerman

Margaret Cavendish, “The Pastime and Recreation of the Queen of Fairies in Fairy-Land, the Center of the Earth”

MARGARET CAVENDISH

“The Pastime and Recreation of the Queen of Fairies in Fairy- Land, the Center of the Earth”

Queen Mab, and all her Company,
Dance on a pleasant Mole- hill high,
To small Straw-Pipes, wherein great Pleasure
They take, and keep just Time and Measure.
All Hand in Hand; around, around,                                          5
They Dance upon this Fairy-ground.
And when she leaves her Dancing- Ball,
She doth for her Attendants call,
To wait upon Her to a Bower,
Where she doth sit under a Flower,                                         10
To shade her from the Moon-shine bright,
Where Gnats do sing for her Delight;
Some High, some Low, some Middle strain,
Making a Consort very plain:
The whilst the Batt doth flye about,                                          15
To keep in order all the Rout;
And with her Wings doth soundly pay
Those that make Noise, and not Obey.
A Dewy waving Leaf’s made fit
For the Queen’s Bathe, where she doth sit,                              20
And her white Limbs in Beauty shew,
Like a new-fallen Flake of Snow.
Her Maids do put her Garments on,
Made of the pure Light from the Sun;
Which do so many Colours take,                                              25
As various Objects Shadows make.
Then to her Dinner she goes straight,
Where all Fairies in order wait.
A Cover, of a Cob-web made,
Is there upon a Mushroom laid.                                                30
Her Stool is of a Thistle-down;
And for her Cup, an Acorn’s Crown:
Which of strong Nectar, full is fill’d,
That from sweet Flowers is distill’d.
Flyes of all sorts, both Fat and Good,                                       35
As Quails, Snipes, Patridg, are her Food.
Pheasants, Larks, Cocks, and any Kind,
Both Wild and Tame, you there may find:
And Amelets made of Ants Eggs new;
Of these high Meats she eats but few.                                       40
The Dormouse yeelds her Milk good store,
For Butter, Cheese, and many more.
This Milk makes many a fine Knack,
When they fresh Ants Eggs therein crack.
Pudding, and Custard, and Seed-Cake,                                     45
Her well- skill’d Cook knows how to make.
To sweeten them, the Bee doth bring
Pure Honey, gather’d by her Sting.
But for her Guard, serve grosser Meat;
Of Stall-fed Dormice they do eat.                                                50
When Din’d, she goes to take the Air
In Coach, which is a Nut-shell fair:
The Lining’s Soft and Rich within,
Made of a glistering Adder’s Skin;
And there six Crickets draw her fast,                                          55
When she a Journey takes in hast:
Or else two serve to pace a Round,
And trample on the Fairy-Ground,
In Hawks, sometimes, she takes delight;
Which Hornets are, most swift in flight:                                     60
Whose Horns, instead of Talons, will
A Flye, as Hawks a Patridg, kill.
But if she will a Hunting go,
Then she the Lizzard, makes the Doe;
Which is so swift and fleet in Chase,                                           65
As her slow Coach cannot keep pace.
Then on a Grashopper she’ll ride,
And gallop in the Forest wide.
Her Bow is of a Willow Branch,
To shoot the Lizzard on the Haunch.                                          70
Her Arrow sharp, much like a Blade,
Of a Rosemary Leaf is made.
Then home she’s called by the Cock,
Who gives her warning what’s the Clock.
And when the Moon doth hide her Head,                                   75
Their Day is done, she goes to bed.
Meteors do serve, when they are bright,
As Torches do, to give her light.
Glow-worms, for Candles, lighted up,
Stand on her Tabl’, while she doth Sup:                                      80
And in her Chamber they are plac’d,
Not fearing how the Tallow wast.
But Women, that Inconstant Kind,
Can ne’re fix in one place their Mind:
For she, impatient of long stay,                                                     85
Drives to the Upper-Earth away.

NOTES:

1 Queen Mab Queen of the Fairies in English folklore (Britannica).

9 Bower “A pleasant shady place under trees or climbing plants in a garden or wood” (OED).

16 Rout “a disorderly retreat of defeated troops” (OED).

31 Thistle-down “The light parts of thistle flowers that contain the seeds and that blow away in the wind” (Britannica).

54 Adder “A small venomous Eurasian snake” (OED).

62 Patridg Variant of Partridge; “a short-tailed game bird with mainly brown plumage, native to Eurasia” (OED).

70 Haunch “A buttock and thigh considered together, in a human or animal” (OED).

80 Sup Eat.

82 Tallow “A substance consisting of a somewhat hard animal fat; used for making candles” (OED).

SOURCE: Poems. Or, Several Fancies in Verse. The Third Edition (London, 1668), pp. 253-256 [Google Books]

Edited by Kayla Tinkelenberg

Michael Bruce, “Anacreontic: To a Wasp”

MICHAEL BRUCE

“Anacreontic: To a Wasp”

The following is a ludicrous imitation of the usual Anacreontics; the spirit of composing which was raging, a few years ago, among all the sweet singers of GREAT BRITAIN.

 

WINGED wand’rer of the sky!
Inhabitant of heav’n high!
Dreadful with thy dragon tail,
Hydra-head, and coat of mail!
Why dost thou my peace molest?                                                  5
Why dost thou disturb my rest?
When in May the meads are seen,
Sweet enamel! white and green;
And the gardens, and the bow’rs,
And the forests, and the flow’rs,                                                     10
Don their robes of curious dye,
Fine confusion to the eye!
Did I —— chase thee in thy flight?
Did I —— put thee in a fright?
Did I —— spoil thy treasure hid?                                                     15
Never—never—never—did.
Envious nothing! pray beware;
Tempt mine anger, if you dare.
Trust not in thy strength of wing;
Trust not in thy length of sting.                                                       20
Heav’n nor earth shall thee defend;
I thy buzzing soon will end.
Take my counsel, while you may;
Devil take you, if you stay.
Wilt—thou—dare—my—face—to—wound?—                             25
Thus, I fell thee to the ground.
Down amongst the dead men, now
Thou shalt forget thou ere wast thou.
Anacreontic Bards beneath,
Thus shall wail thee after death.                                                      30

CHORUS OF ELYSIAN BARDS.

“ A Wasp, for a wonder,
To paradise under
Descends: see! he wanders
By STYX’S meanders!                                                                          35
Behold, how he glows,
Amidst RHODOPE’S snows!
He sweats, in a trice,
In the regions of ice!
Lo! he cools, by GOD’S ire,                                                                 40
Amidst brimstone and fire!
He goes to our king,
And he shows him his sting.
(God PLUTO loves satire,
As women love attire; )                                                                       45
Our king sets him free,
Like fam’d EURIDICE.
Thus a Wasp could prevail
O’er the Devil and hell,
A conquest both hard and laborious!                                              50
Tho’ hell had fast bound him,
And the Devil did confound him,
Yet his sting and his wing were victorious.”

NOTES:

Title: Anacreontic “A poem written in the metre or style of the ancient Greek poet Anacreon (c. 570-c. 495 B.C.), esp. one on the theme of love or wine” (OED).

3 dragon tail A stinger.

4 Hydra-head In Greek legend, “a gigantic water-snake-like monster with nine heads” (Britannica); mail Armor.

7 meads Meadows.

8 enamel “Applied to any smooth and lustrous surface-colouring…esp. to verdure or flowers on the ground” (OED).

9 bow’rs A shady place.

31 ELYSIAN BARDS Alluding to “the supposed state or abode of the blessed after death in Greek mythology” (OED).

35 STYX In Greek mythology, the River Styx flows through the underworld.

37 RHODOPE A mountain range in Southeastern Europe that extends into Greece.

38 in a trice ”A very brief period” (OED).

40 ire “Wrath” (OED).

41 brimstone and fire A biblical description of Hell.

44 PLUTO Roman God of the dead.

47 EURIDICE The wife of Orpheus; a mythical figure who nearly made it out of the underworld.

SOURCE: Poems on Several Occasions (Edinburgh, 1782), pp. 63-66. [HathiTrust]

Edited by Louis Denson

Elizabeth Carter, “To —-.”

ELIZABETH CARTER

“To ——.”

Say, dear Emilia, what untry’d Delight
Has Earth, or Air, or Ocean to bestow,
That checks thy active Spirit’s nobler Flight,
And bounds its narrow View to Scenes below?

Is Life thy Passion? Let it not depend                                                      5
On flutt’ring Pulses, and a fleeting Breath:
In sad Despair the fruitless Wish must end,
That seeks it in the gloomy Range of Death.

This World, deceitful Idol of thy Soul,
Is all devoted to his Tyrant Pow’r:                                                    10
To form his Prey the genial Planets roll,
To speed his Conquests flies the rapid Hour.

This verdant Earth, these fair surrounding Skies,
Are all the Triumphs of his wasteful Reign:
‘Tis but to set, the brightest Suns arise;                                                    15
‘Tis but to wither, blooms the flow’ry Plain.

‘Tis but to die, Mortality was born;
Nor struggling Folly breaks the dread Decree:
Then cease the common Destiny to mourn,
Nor wish thy Nature’s Laws revers’d for thee.                                  20

The Sun that sets, again shall gild the Skies;
The faded Plain reviving Flow’rs shall grace:
But hopeless fall, no more on Earth to rise,
The transitory Forms of Human Race.

No more on Earth:  but see, beyond the Gloom,                                     25
Where the short Reign of Time and Death expires,
Victorious o’er the Ravage of the Tomb,
Smiles the fair Object of thy fond Desires.

The seed of Life, below, imperfect lies,
To Virtue’s Hand its Cultivation giv’n:                                                  30
Form’d by her Care, the beauteous Plant shall rise,
And flourish with unfading Bloom in Heav’n.

NOTES:

Title “Of this beautiful Poem Mrs. Carter never chose to say to whom it was addressed, as some degree of censure seems to be implied by it.  It is one of the most highly finished of the collection” [Editor’s note]. (Montagu Pennington, ed., Memoirs of the Life of Mrs. Elizabeth Carter, with a New Edition of her Poems, vol. II [London, 1808], p. 85).

11 genial “Jovial; kindly” (OED).

18 Folly “Weakness of intellect” (Johnson).

23 fall “Like leaves– a very ancient metaphor.  See Isaiah xl. 6, &c.  And Homer, Il[iad]. 6. V. 146” [Editor’s note] (Pennington, Memoirs, p. 86). An allusion to Homer’s Iliad:  “Like the generation of leaves, the lives of mortal men. Now the wind scatters the old leaves across the earth, now the living timber bursts with new buds and spring comes round again. And so with men: as one generation comes to life, another dies away” (The Iliad, Book 6, lines 171-175).

SOURCE: Poems on Several Occasions. Second Edition (London, 1766), pp. 83-85.  [Google Books]

Edited by Jizelle Gonzalez 

Lady Mary Wortley Montagu, “Farewell to Bath”

LADY MARY WORTLEY MONTAGU 

 “Farewell to Bath” 

 

To all you ladies now at Bath,
And eke, ye beaus, to you,
With aching heart, and watry eyes,
I bid my last adieu.

Farewell, ye nymphs, who waters sip                                5
Hot reeking from the pumps,
While music lends her friendly aid,
To cheer you from the dumps.

Farewell ye wits who prating stand,
And criticise the fair;                                                     10
Yourselves the joke of men of sense,
Who hate a coxcomb’s air.

Farewell to Deard’s, and all her toys,
Which glitter in her shop,
Deluding traps to girls and boys,                                         15
The warehouse of the fop.

Lindsay’s and Hayes’s both farewell,
Where in the spacious hall;
With bounding steps, and sprightly air,
I’ve led up many a ball.                                                  20

Where Somerville of courteous mien,
Was partner in the dance,
With swimming Haws, and Brownlow blithe,
And Britton pink of France.

Poor Nash, farewell! may fortune smile,                               25
Thy drooping soul revive,
My heart is full, I can no more—
John, bid the Coachman drive.

NOTES:

Author First attributed to Lady Mary Wortley Montagu in The Poetical Works of the Right Honourable Lady Mary Wortley Montagu, published in 1768.  It was subsequently included in a miscellany, Water Poetry:  A Collection of Verses Written at Several Public Places (London, 1771) also under Montagu’s name.  Recent scholarship has challenged this attribution.  See Robert Halsband and Isobel Grundy, eds., Lady Mary Wortley Montagu:  Essays and Poems and Simplicity, a Comedy (Oxford:  Clarendon Press, 1993), p. 173.

Title The poem first appeared in The Gentleman’s Magazine in July, 1731, as “Lady M. M—‘s Farewel [sic] to Bath.”  Halsband and Grundy note that “Lady Mary’s name was extremely unlikely to be formulated this way” and “the designation fits at least two other ladies” at that time (p. 173).

2 eke “Also, too, moreover” (OED); beaus Attendant or suitor of a lady (OED).

3 watry Archaic spelling of “watery.”

6 pumps Refers to the Pump Rooms that were built adjacent to the communal Roman Baths. They initially operated as changing areas for those going swimming; however, due to how dirty the bathing water became, drinking the water directly from the pumps became the preferred and more accessible way of taking the water. Thus, they became centers of social activity at Bath (“History: The Bath Assembly,” The Bath Magazine [August, 2021]).

9 prating “To talk or chatter; to speak foolishly, boastfully, or to great length, especially to little purpose” (OED).

12 coxcomb “A vain conceited, or pretentious man; a man of ostentatiously affected mannerisms or appearance” (OED).

13 Deard’s Mrs. Deard was an eminent toy shop owner in Bath (Trevor Fawcett, Eighteenth-Century Shops and the Luxury Trade, p. 67)

16 fop See “coxcomb” above.

17 Lindsey’s and Hayes’s Popular assembly rooms in Bath; Lindsey’s was built by John Wood the Elder in 1730 (“History: The Bath Assembly,” The Bath Magazine [August, 2021]).

21 Somerville Possibly a reference to William Somerville (1675-1742) British writer and, later in life, lawyer and country gentleman (Britannica); mien “Air, look, manner” (Johnson).

23 swimming “(Of dancing) to glide along with a smooth or dizzy motion (Johnson); Haws Probably Lady Frances Vane (née Hawes) (1715-1788), who was unmarried in 1731; Brownlow Possibly Eleanor Brownlow, later Viscountess Tyrconnel (1691-1730), who had been in Bath in the early months of 1730 recovering from an illness, but died later that year in September (see Stanley V. Makower, Richard Savage, A Mystery in Biogaphy, p. 193); blithe “Joyous, gladsome, cheerful” (OED).

24 Britton pink of France Unable to trace.

25 Nash Richard “Beau” Nash (1674-1762), “celebrated dandy and leader of fashion in eighteenth-century Britain” (National Portrait Gallery); largely credited for boosting the social and tourist landscape of Bath in the early 1700s (“History: The Bath Assembly,” The Bath Magazine [August, 2021]).

SOURCE: Letters of the Right Honourable L–y M–y W—–y M—–u, vol. II (London, 1784), pp. 268-269.  [Google Books]

Edited by Chloe Caneday

“R.”, “The Toasts. A Fable.”

“R.”

“The Toasts. A Fable”

 

Satan one day (one night I mean,
For days in Hell are seldom seen)
At Pandemonium in state
Among his peers carousing sat,
To celebrate our parents fall                                                            5
In draughts of liquid fire and gall;
The toasts in bumpers flew around,
The palace roofs the toasts resound,
And all was noise, yet all unite
To pelt Heav’n with their blunted spite: —                                  10
Beelzebub gave his harlot PRIDE,
To match whose charms he Hell defy’d;
ENVY by Baäl then was given,
Foe to herself, to earth, and Heav’n;
AV’RICE was Mammon’s toast, a vice                                            15
Wou’d make a Hell of Paradise: —
My toast, cries Ashteroth, shall be
That Janus-prude, HYPOCRISY;
And mine, quo’ Belial, — IDLENESS,
Whose charms both fiends and men confess;                             20
Dear IDLENESS! to whom we owe
Myriads on myriads here below; —
Dagon gave FALSEHOOD, a mean jest,
Still mask’d, and cloath’d in rainbow-vest;
A will o’ th’ wisp, that leads astray,                                                25
A coward vice, that dreads the day; —
Moloch gave blood-stain’d CRUELTY, —
And Thammuz, INFIDELITY;
But to that toast they all objected
As one, no fiend there recollected,                                                30
(For, tho’ such weeds on earth may grow,
There are no infidels below);
Thammuz on this, — since change he must, —
Gave that sweet creature, Madam LUST:
In short, each demon, in his toast,                                                 35
Avow’d which fair he honour’d most.

The turn at length to Satan came
To bumper round his darling flame;
“I own that all your toasts,” he cried,
“Are beauties long approv’d and try’d,                                          40
But I’ll give one, in whom alone
The quintessence of Hell is shown,
INGRATITUDE! – of vices first,
Most infamous, and most accurst,
That fiend in grain! that hydra-pest!                                              45
(Behold her image on my breast)
To her Hell’s empire owes its birth,
To her I owe those swarms from earth;
When other vices rule the mind,
VIRTUE, by fits, may entrance find,                                                 50
But let INGRATITUDE bear sway,
Not VIRTUE’s shade dare cross her way;
E’en Hell itself, when she appears,
A more than double darkness wears; —
Then in a bumper toast the belle,                                                    55
As premier beauty here in Hell .”
The fiends aloud the toast proclaim,
And Hell rethunders with her name;
“INGRATITUDE! of vices first,
Most infamous, and most accurst.”                                                60
York.

NOTES:

Title Toasts “Any person, male or female, whose health is proposed and drunk to” (OED).

1 Satan “In Christian theology: the proper name of the Devil, the supreme embodiment or spirit of evil” (OED).

3 Pandemonium “A place represented by Milton in Paradise Lost as the capital of hell, containing the council chamber of the Evil Spirits” (OED).

4 carousing “To drink a full bumper to his or her health” (OED).

6 draughts “The drawing of liquid into the mouth or down the throat; an act of drinking” (OED); gall “A wind of considerable strength” (OED)

7 bumpers “A cup or glass of alcoholic drink filled to the brim, esp. for a toast” (OED).

11 Beelzebub “In the Bible, the prince of the devils” (Britannica).

13 Baäl A Canaanite god; one of the seven princes of Hell.

15 AV’RICE “Inordinate desire of acquiring and hoarding wealth”(OED); Mammon The personification of avarice and greed in Milton’s Paradise Lost (Book I, line 678); sometimes figured as one of the seven princes of Hell (OED).

17 Ashteroth Variant of “Astaroth” who, along with Lucifer and Beelzebub, made up the evil trinity in Hell (The Occult Encyclopedia).

18 Janus Ancient Roman deity, “regarded as the doorkeeper of heaven, as guardian of doors and gates, and as presiding over the entrance upon or beginning of things” (OED).

19 Belial “The spirit of evil personified; used from early times as a name for the Devil or one of the fiends, and by Milton as the name of one of the fallen angels (Paradise Lost, Book I, line 490) (OED).

22 Myriads “A countless number of specified things,” here alluding to souls in Hell (OED).

23 Dagon “The national deity of the ancient Philistines; represented with the head, chest, and arms of a man, and the tail of a fish;” also referenced by Milton in Paradise Lost (Book I, line 462).

24 rainbow-vest Colourful clothing.

25 will o’ th’ wisp “A phosphorescent light seen hovering or floating at night over marshy ground” (OED).

27 Moloch “A Canaanite diety associated in biblical sources with the practice of child sacrifice” (Britannica).

28 Thammuz “A Syrian diety” and minor demon, also represented in Milton’s parade of demons in Hell (Paradise Lost Book I, line 446) (OED).

32 infidels “A disbeliever in religion or divine revelation generally” (OED).

36 Avow’d “To declare, affirm” (OED).

42 quintessence “The most perfect embodiment of a certain type of person or thing” (OED).

43 INGRATITUDE “Mortal sin is … ingratitude towards the most constant love; it is the adultery of the soul” (OED).

45 hydra-pest “And I stood upon the sand of the sea, and saw a beast rise up out of the sea, having seven heads and ten horns, and upon his horns ten crowns, and upon his heads the name of blasphemy” (Revelations 13:1-10).

58 Rethunders “To make a loud, echoing sound like that of thunder; to resound. Frequently poetic” (OED).

SOURCE: The Gentleman’s Magazine, vol. 46 (January 1776), pp. 229-230.  [J. Paul Leonard Library]

Edited by Alban Fenn

Aphra Behn, “On a Juniper-Tree, cut down to make Busks”

APHRA BEHN

“On a Juniper-Tree, cut down to make Busks.”

Whilst happy I Triumphant stood,
The Pride and Glory of the Wood;
My Aromatick Boughs and Fruit,
Did with all other Trees dispute.
Had right by Nature to excel,                                             5
In pleasing both the tast and smell:
But to the touch I must confess,
Bore an Ungrateful Sullenness.
My Wealth, like bashful Virgins, I
Yielded with some Reluctancy;                                           10
For which my vallue should be more,
Not giving easily my store.
My verdant Branches all the year
Did an Eternal Beauty wear;
Did ever young and gay appear.                                         15
Nor needed any tribute pay,
For bounties from the God of Day:
Nor do I hold Supremacy,
(In all the Wood) o’er every Tree.
But even those too of my own Race,                                  20
That grow not in this happy place.
But that in which I glory most,
And do my self with Reason boast,
Beneath my shade the other day,
Young Philocles and Cloris lay,                                               25
Upon my Root she lean’d her head,
And where I grew, he made their Bed:
Whilst I the Canopy more largely spread.
Their trembling Limbs did gently press,
The kind supporting yielding Grass:                                    30
Ne’er half so blest as now, to bear
A Swain so Young, a Nimph so fair:
My Grateful Shade I kindly lent,
And every aiding Bough I bent.
So low, as sometimes had the blisse,                                 35
To rob the Shepherd of a kiss,
Whilst he in Pleasures far above
The Sence of that degree of Love:
Permitted every stealth I made,
Unjealous of his Rival Shade.                                                40
I saw ‘em kindle to desire,
Whilst with soft sighs they blew the fire:
Saw the approaches of their joy,
He growing more fierce, and she less Coy,
Saw how they mingled melting Rays,                                  45
Exchanging Love a thousand ways.
Kind was the force on every side,
Her new desire she could not hide:
Nor wou’d the Shepherd be deny’d.
Impatient he waits no consent                                             50
But what she gave by Languishment,
The blessed Minute he pursu’d;
And now transported in his Arms,
Yeilds to the Conqueror all her Charmes,
His panting Breast, to hers now join’d,                               55
They feast on Raptures unconfin’d;
Vast and Luxuriant, such as prove
The Immortality of Love.
For who but a Divinitie,
Could mingle Souls to that Degree;                                     60
And melt ‘em into Extasie.
Now like the Phenix, both Expire,
While from the Ashes of their fire,
Sprung up a new, and soft desire.
Like Charmers, thrice they did invoke,                                65
The God! and thrice new vigor took.
Nor had the Mysterie ended there,
But Cloris reassum’d her fear,
And chid the Swain, for having prest,
What she alas wou’d not resist:                                            70
Whilst he in whom Loves sacred flame,
Before and after was the same,
Fondly implor’d she wou’d forget
A fault, which he wou’d yet repeat.
From Active Joyes with some they hast,                              75
To a Reflexion on the past;
A thousand times my Covert bless,
That did secure their Happiness:
Their Gratitude to every Tree
They pay, but most to happy me;                                         80
The Shepherdess my Bark carest,
Whilst he my Root, Love’s Pillow, kist;
And did with sighs, their Fate deplore,
Since I must shelter them no more;
And if before my Joyes were such,                                        85
In having heard, and seen too much,
My Grief must be as great and high,
When all abandon’d I shall be,
Doom’d to a silent Destinie.
No more the Charming strife to hear,                                 90
The Shepherds Vows, the Virgins fear:
No more a joyful looker on,
Whilst Loves soft Battel’s lost and won.
With grief I bow’d my murmering Head,
And all my Christal Dew I shed.                                             95
Which did in Cloris Pity move,
(Cloris whose Soul is made of Love;)
She cut me down, and did translate,
My being to a happier state.
No Martyr for Religion di’d                                                      100
With half that Unconsidering Pride;
My top was on that Altar laid,
Where Love his softest Offerings paid:
And was as fragrant Incense burn’d,
My body into Busks was turn’d:                                              105
Where I still guard the Sacred Store,
And of Loves Temple keep the Door.

NOTES:

3 Boughs “An arm or large shoot of a tree, bigger than a branch, yet not always distinguished from it” (Johnson).

6 tast Variant for “taste.”

13 verdant Green.

17 God of Day Helios, Greek god of the sun.

44 Coy Modest.

56 Raptures “Ecstasy; transport; violence of any pleasing passion; enthusiasm; uncommon heat of imagination” (Johnson).

62 Phenix Phoenix. An ancient mythological bird associated with the worship of the sun. “As its end approached, the phoenix fashioned a nest of aromatic boughs and spices, set it on fire, and was consumed in the flames” (Britannica).

105 Busks Popular in women’s fashion as an undergarment during the 16th to early 20th century. “A strip of wood, whalebone, steel, or other rigid material attached vertically to the front section of a corset so as to stiffen and support it. Hence occasionally: the corset itself” (OED).

SOURCE: Poems Upon Several Occasions: with a Voyage to the Island of Love (London, 1684), pp. 19-24. [Google Books]

Edited by Alana Croft

[Mary Barber], “The Oak and its Branches. A Fable.”

[MARY BARBER]

“The Oak and its Branches. A Fable.”

Ocassion’d by seeing a dead Oak beautifully encompass’d with Ivy.

 

An Oak, with spreading Branches crown’d,
Beheld an Ivy on the Ground,
Expos’d to ev’ry trampling Beast,
That roam’d around the dreary Waste.
The Tree of Jove, in all his State,                                             5
With Pity view’d the Ivy’s Fate;
And kindly told her, She should find
Security around his Rind:
Nor was that only his Intent,
But to bestow some Nourishment.                                       10

The Branches saw, and griev’d to see
Some Juices taken from the Tree.
Parent, say they, in angry Tone,
Your Sap should nourish us alone:
Why should you nurse this Stranger-Plant,                         15
With what your Sons, in time, may want?
May want, to raise us high in Air,
And make us more distinguish’d there.

‘Tis well — the Parent-Tree reply’d;
Must I, to gratify your Pride,                                                   20
Act only with a narrow View
Of doing Good to none but you?
Know, Sons, tho’ JOVE hath made me great,
I am not safe from Storms of Fate.
Is it not prudent then, I pray,                                                   25
To guard against another Day?
Whilst I’m alive, You crown my Head;
This graces me alive, and dead.

NOTES:

 2 Ivy “A well-known climbing evergreen shrub (Hedera Helix), indigenous to Europe and parts of Asia and Africa” (OED).

 5 Tree of Jove The god Jupiter, also known as Jove, is the Romanized Zeus, and a sky god who uses the oak tree as a symbol of worship (Britannica).

 8 Rind Alluding to the bark of the oak tree.

 14 Sap “The vital juice or fluid which circulates in plants” (OED).

 SOURCE: Poems on Several Occasions (London, 1735) pp. 48-49. [Google Books]

 Edited by Nick LoBue

[John Scott], “Verses occasioned by the Description of the Eolian Harp”

[JOHN SCOTT]

“Verses occasioned by the Description of the EOLIAN HARP”

Untaught o’er strings to draw the rosin’d bow,
Or melting strains on the soft flute to blow,
With others long I mourn’d the want of skill,
Resounding roofs with harmony to fill;
Till happy ! now the Eolian lyre is known,                                        5
And all the pow’rs of musick are my own.
Swell all thy notes, delightful harp , O swell!
Inflame thy poet to describe thee well,
When the full chorus rises with the breeze,
Or slowly sinking lessens by degrees,                                              10
To sounds more soft than am’rous gales disclose,
At evening panting on the blushing rose;
More sweet than all the notes that organs breathe,
Or tuneful echoes, when they die, bequeathe.
Oft where some sylvan temple decks the grove,                          15
The slave of easy indolence I rove;
There the wing’d breeze the lifted sash pervades,
Each breath is musick, vocal all the shades;
Charm’d with the soothing sound at ease reclin’d,
To fancy’s pleasing pow’r I yield my mind:                                     20
And now enchanted scenes around me rise,
And some kind Ariel the soft air supplies:
Now lofty Pindus through the shades I view,
Where all the nine their tuneful art persue,
To me the sound the parting gale conveys,                                  25
And all my heart is extasy and praise:
Now to Arcadian plains at once convey’d,
Some shepherd’s pipe delights his fav’rite maid;
Mix’d with the murmurs of a neighb’ring stream,
I hear soft notes that suit an am’rous theme;                              30
Ah! then a victim to the fond deceit,
My heart begins with fierce desires to beat;
To fancy’d sighs I real sighs return,
By turns I languish, and by turns I burn.
Ah Delia haste! and here attentive prove,                                      35
Like me that ‘music is the voice of love,’
So shall I mourn my rustic strains no more,
While pleas’d you listen who could frown before.
Hertfordshire, Nov. 15, 1754.

NOTES:

 Author This poem is signed “R.S”; identified by Emily Lorraine de Montluzin as John Scott of Amwell (1731-1783), a Quaker poet who published a number of poems in the GM between 1753-1758 (“The Poetry of the Gentleman’s Magazine, 1731-1800”).

Title EOLIAN HARP “A stringed instrument producing musical sounds on exposure to a current of air” (OED).  Named after Aeolus, the Greek god of wind.  The “description” Scott is responding to appeared in the GM, vol. 24 (February 1754), p. 74.

15 sylvan Of the woods (OED).

23 Pindus Grecian mountain range that includes Mount Parnassus, home of the nine muses.

27 Arcadian Belonging to Arcadia; ideally rural or rustic (OED).

36 ‘music is the voice of love’ Quoted from James Thomson, Spring (1735), line 569.

SOURCE: The Gentleman’s Magazine, vol. 24 (November, 1754), p. 525. [Internet Archive]

Edited by Neil Donovan