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nor can be ready to banish and drive away all erroneous and strange doctrines contrary to God's word; and his flock may be tainted with heresy and profaneness, before he is aware that they are in the smallest danger. A thorough knowledge of the Scriptures, and of the earliest writings of the Christian church, is undoubtedly that kind of learning most necessary to every Christian clergyman. But learning alone, however extensive, will not, in an age like the present, when every thing is controverted, be sufficient to enable a bishop to discharge this part of his difficult and laborious duty, unless he possesses that discriminating judgement which, so far as it is not the gift of nature, results from an accurate and comprehensive view of Christianity, and distinguishes, almost intuitively, between questions that are frivolous and those that are important."

Apologising for the freedom with which he had urged upon his clerical learers the momentous duties of their profession, Mr. Horsley subjoins; —

“ But I am speaking the sentiments of a late prelate, whose learning, science, experience, and zeal for truth, I believe all who knew him will admit, that even filial affection and reverence cannot prompt me to praise too highly. - If the spirits in bliss know what is doing upon this earth, I am sure it will be satisfactory to his spirit to know, that his son has an opportunity of speaking his sentiments on the occasion of one of his Scottish friends raising another to that station which he long thought that other pre-eminently qualified to fill."

We have only to add, that had the bishop in the body heard his sentiments thus expressed, he would not have been displeased with the dress in which his son has clothed them.


The Plants, a Poem, Cantos the first and second, with

Notes; 'and occasional Poems. By William Tighe, Esq.
8vo. pp. 168. 8s. Carpenter. 1808.
L'HOMME desprit,observed Beaumelle,

teint d'une infinité des connoissances, nourri de la lecture des bons écrivains, admirateur éclairé de lu savunte antiquité, enrichit son siècle des trésors des, siècles passés, joint l'étude au naturel; et de cette alliance naissent des chef-d'æuvres.”_Such is Mr. Tighe, whose poem will contribute to smooth contempt into complacence for the modern publications of what is termed poetry. To classical taste, extensive botanicalknowledge, and good moral principles, he adds much general reading and correct observation on men and things. The


author designs his work to contain four cantos, celebrating the rose, oak, vine, and palm, only two of which appear in the volume before us. -_ “The object of this attempt,” he states, “is not only to bring together the most remarkable circumstances relative to each plant, from which the separate cantos derive their

and to combine


of the ideas of association, which the review of each subject may naturally awaken, but also to consider the Rose as the emblem of Love, the Oak of Liberty, the line of Friendship, and the Palm of Religion.”-We hope the author will not forget the Olive as the symbol of Peace in this warlike age. “ The four affections here alluded to," continues Mr. Tighe, “ seem, either singly or variously interwoven, to occupy and conduct the minds of the more susceptible and generous portion of mankind. The influence of the three former usually prevails in the early part of life; and they were, perhaps, designed by Providence to expand, and prepare those souls, which do not suffer themselves to be too far perverted by the more selfish passions, for the reception of the last; into which all the views and thoughts of men should resolve, as into their ultimate object and true destination.” -- Under this impression he has here celebrated the Rose and the Oak. His Love however is s chaste as the roseate blush of virgin innocence," and his Liberty the “empress of the main who smiles o'er Britain's

." The first canto opens with an invocation to love, the rose, and the nightingale. This is followed by the religious, civil, and natural history of the rose in various countries, diversified with numerous allusions to historical events, and moral reflexions, including also a description of the various insects which either feed or breed on-rose-trees. The opening address to the nightingale is conceived with equal modesty and neatness: the poet declines “the vain attempt to seize a wreath unsought before," while he

gracefully pourtrays the history of “this sweet bird of eve, companion of the rose," from the creation to the days of Rome. The description of all the varieties of the rose erince the author's botanical knowledge ; and we know not that he has omitted the local situation of any, except the damask, and one or two other varieties which abound at Granada in Spain. Their growth there, indeed, perhaps exceeds that in any other part of Europe; and the delicacy of their odour and colour is not less striking. The following verses prove the rose to be an “associate of the humaq race."


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« Where'er the human race, in social bands,
Can till the plain, or tend the swelling fruit,
Her plant, the Goddess, whom the seas obey
And teeming shores, hath scattered wide: where'er
The climate cursed forbids the labouring hind
To cull the profits of his healthy toil,
No roses bloom to grace the barren waste,
Blasted by nature, and by man abhorred.
No roses bloom, where Arctic seas invade
The rocks primeval of the frozen world;
Where Proteus' monstrous herd, with horrid yells,
Rush through the tempests of their foul domain :
No roses bloom in Zaära's flying sand,
Nor central Afric, where the lion guards
His blood-stained litter, or the gasping snake,
Rolled in unwieldy masses, licks the dust :
Nor, where the solitary condours wind,
O'er Andes' cloudless snow, their patient flight." P. II.

- But who shall trace the ever-varying tinge
That paints the glossy petals, or define
The mingling colours, that from virgin white
Glow into purple blushes, and eclipse
The crimsoned splendour of the velvet robe?
Now, with loose streaks, and now, with faint approach,
Vermilion sports with white, now, yellow dyes
Contrast the brighter pink or fading red.

O'er many climes, the scented eglantine
Uncultured waves her fragrance, and the briar,
With hooked thorns encircled, smiles diffuse

O'er many a tufted hedge or village path." P. 13.
The apostrophe to domestic retirement is highly poe-

“ Oh happy! who can lead
The docile twigs, and teach the clustering buds
To adorn the summer seat, whese solitude
And peace can fearless catch the morning breeze,
And listen to the murmuring stream beneath !
Oh more than happy! whom domestic love
Culls from the restless crowd, for whom he strews
A thornless bed, and shelters from the world !”

P. 15.
The practical directions for the cultivation and pruning
of roses are less prosaïc than such pieces usually are.

We prefer, however, the author's moral allusions.

“ And be it thine, O lovely Rose! with all
Thy sister flowers, to blaze the theme of truth
And order : say, why o’er thy armed stem
Has Providence dispersed the varied thorn ?
Or on thy leaves the downy vesture spread ?
Or raised a hispid fence beneath thy buds?

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Or ciad thy hairy seeds ? In vain, the worm
Devours the bud; in vain, the aphis drops
Her daily progeny: each form retains
Its station, and its use: the destined guards
Temper the chilling of the eastern blast;
Arrest the ravages of insect tribes;
Or bid them range innocuous : here, bask
Their tender brood: here, courtiers of the sun,
The radiant beetle and pellucid fly
Lave their rich armour in the spangled dew.

Here, the black bee prepares, with tender care,
The leafy circles of her procreant bed,
To line her arched chambers, scooped, with pain,
Through oak or sallow, or, beneath the earth,
Mid secret passages, unaided, frame
The labyrinth and verdant wall. This when
The rustic sees, amazed he turns, and flies
Far from the enchanted spot, fearful to touch
The charm supposed, and the
Of sorceress or fairy. With alarm
More just, the panting damsels tried the wreath,
Or magic flower, that, with a fading form
Mourn'd o'er the faithless nymph and conscious wife;
But, with resplendent tints reanimate,
Breathed heavenly odours o'er the matchless brow
Of constancy; which twice, in legend tales,
Was found; perhaps, in legend tales alone.”

P. 22. The superstition of the “ Popes, who used every year to consecrate a golden rose, which was usually sent to some favourite prince as an holy present,” is happily satirised.

“ Thee, Amarantha, let the muse record
Indulgent, and no other wreath I seek,
Than flowers entwined by thy inspiring hand;
More precious, than the Golden Rose, that crowned
Toulousian bards, amid the floral feast;
Or those, which, in the prostituted name
Of heaven, the Sovereign Pontiff blessed, to swell
The pride of kings, or bribe Loretto's sbrine."

P. 37. The concluding stanzas of this canto discover an amiable and enlightened mind.

“ First ruler of the human mind, to thee
The humble muse her earliest homage owes.
Be gentle in thy course, pure in thy wish,
And soothing in thy soft control: or else,
Far let us fly, and fire the eager soul
To deeds of high emprise; to raise the spear
In patriot armaments, at her command,
Who bears the OAKEN wreath of civic worth,
Enchanting LIBERTY: or sink, retired,

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In FRIENDSHIP's more indulgent arms, and, with
Her social Vine, o'ershade the tranquil bower
Of Fancy; sheltered, from the ruder blast,
And scattering of thy light-winged flowers, O Love !

“ And it is theirs, to rouse the mortal thought
Aboe all low affections, and the vile
Bent of the selfish intellect; yet all
Are vain, with mightier energies, to clothe
The panting soul, and, with ethereal fire,
Repurify the essence, still, immersed
In sublunary darkness, chained to earth;
If mild RELIGION, with her charms unveiled,
Effect no miracle, nor strew with Palms
The way to immortality. For her, should rise
The poet's latest theme, and melt these songs,
Of wayward lore, and various texture wrought,

Into one just, premeditate design.” P. 38.
We observe in the 36th page of this canto, for the sake
of quantity, the word consecrate used instead of consecrated.
In the same page there are two similes, or comparisons, ac-
companied with a reflexion on them; these greatly impair
the perspicuity of the sense.

The author's memory and imagination in this case were both too fertile; although he may plead the example of Milton for such things. We mention these trivial errors, however, because we are persuaded he is perfectly capable of avoiding them in future.

The second canto celebrates the Oak much in the same manner as the Rose. After invoking his Muse to reward “the patriot warriors who have bled in British arms,” he delineates the progress of British navigation.

“ Thou followest the Hero's track, and seest
From thy retired grove his gleaming sword
Flash terror o'er each sea, each hostile shore,
From ice-bound Baltic to the isles of Ind:
Or where the tributary Ganges yields
His willing waves to spread the conquering name
Of Britain : while the towers of Agra sink
In dust, and from their ashes rise, to seek
Their vassal crowns and safety from her hand,
The obedient thrones of Delhi and Mysore:
Or where the mouldering Ptolemais * found
Salvation in one British arm more strong

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"* Ptolemais. Acre. Anciently Ace, or Acon: under the Romans, it was called Ptolemaïs, and was a colony of Claudius Cæsar. Plin. H. N. v. 19. Since which time it has been twice the scene of British heroism.

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