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At length Thou camest; thou, the last and least;
And oh! most like a regal child wert thou!
Different from both ! Yet each succeeding claim,
The Chi LD OF EARTH.
FAINTER her slow step falls from day to day,
The spring hath ripened into summer time;
The glorious sun hath reached his burning prime:
“Let me not perish while o'er land and lea,
Summer is gone: and autumn's soberer hues
The bleak wind whistles: snow-showers, far and near,
The spring is come again—the joyful spring !
SAMUEL Rogers was born in London, in the year 1762: his father was a banker,and the Poet, it is known, follows the same profitable calling. His first work, an “Ode to Superstition, and other Poems," was published in 1786. It met with considerable success; and the appearance of the “Pleasures of Memory,” in 1792, at once established a reputation, which has continued undiminished for nearly half a century. The “Pleasures of Memory” was followed by an “Epistle to a Friend;” “the Voyage of Columbus;” and “Jacqueline,” which was originally published in the same volume with Lord Byron’s “Lara.” This was succeeded by “ Human Life.” His last, and we think his greatest, work, “Italy,” was published in 1823. An edition of this volume, magnificently illustrated by a series of fine engravings, from the designs of Turner and Stothard, appeared in 1830; and, although it was at first considered that the author sought only to indulge his fancy by a large expenditure, for which he did not anticipate a return, we believe the extent of its sale has been so large, that the experiment has been exceedingly lucrative. The other “Poems” were published on a similar plan, in 1834. The two volumes are, without exception, the most exquisite examples of embellished books which our age, so fertile in such achievements, has yet produced. They afford proof that a judicious employment of capital cannot fail to ensure success. It is scarcely necessary to observe, that the Editor of the “Book of Gems” is indebted to Mr. Rogers for the suggestion of his work.
Mr. Rogers is now not a young man. He has preserved his fame, notwithstanding that since he obtained it so many new and vigorous competitors have started for the same goal. Portraits of him, in abundance, have been published: they all give us the outlines of a countenance strongly marked,—but not one of them supply us with the smallest notion of the shrewd and observant man, who, through nearly all his life in “ populous city pent,” has looked much about him, both at home and abroad; has devoted all his leisure to the “proper study of mankind;” and whose natural talent has been matured and polished by a long intercourse with all the finer spirits of the age. Few men have been more extensively known, or more universally courted; his conversation is remarkably brilliant, and his wit pure and original.
Mr. Rogers, it is said, writes with labour, and polishes with exceeding care. His poems are not, perhaps, remarkable for passion or vigour; and he does not attempt invention. They are, however, surpassingly sweet, touching, and correct; a false rhyme, or an inharmonious sound, rarely or never occurs in any of his productions. He is the contemplative philosopher, rather than the man of action. It may be that his earnest desire to refine, has often lessened the strength of a thought; and that the melody of his verse has procured him more admirers than the energy of his conceptions; but if the grand object of a writer is to give pleasure to a reader, he has undoubtedly attained it. The “Pleasures of Memory” has stood the test of time; the grandsires of the present race loved it; and it remains one of the most popular productions of the press. His “ Italy" will for ever hold place among the finest poems in the language. Its leading feature is simplicity. Nature itself is not more free from meretricious and inappropriate ornament. It is the record of a “keen observer"— learned and contemplative—passing through a country, every spot of which has been made familiar to the scholar by his books, telling all he sees, hears, and thinks, in language so unforced and natural, so graceful and impressive, that the people with their habits, and the palaces with their traditions, appear actually before the reader. In a brief preface to the work, he says, “wherever he came he could not but REMEMBrk;"—it is, however, in calling actual observation and experience to the aid of memory and reading, that his great excellence consists. His descriptions are marvellously accurate: with a single sentence he pictures a whole scene; the worthy and the unworthy of past ages are brought, as it were, under our very eyes; and the deep pathos with which the legendary tales are told, is singularly affecting. Who that has read the story of Ginevra can ever forget it How different from—because how much more natural than—the solemn dignity of Childe Harold, or the impassioned glow of Corinne, is the “Italy” of Rogers. It is, indeed, a romance without exaggeration ; a book of travels, without a tedious detail; a history of classic ground, which may be acquired without struggling to obtain it through the schools; and a poem, with all the best, most exciting, and most attractive attributes of poetry.
AN ITALIAN SONG.
DEAR is my little native vale,
In orange-groves and myrtle-bowers,
The shepherd's horn at break of day,
On a TEAR.
Oh! that the Chemist's magic art
Long should it glitter near my heart,
The little brilliant, ere it fell,
Then, trembling, left its coral cell,—
Sweet drop of pure and pearly light!
More calmly clear, more mildly bright,
Benign restorer of the soul!
When first we feel the rude controul
The sage's and the poet's theme,
Thou charm'st in fancy's idle dream,
That very law which moulds a tear,
That law preserves the earth a sphere,