to obey, Tho’ the night tempest or autumnal wind. Maddened the waves, and tho’ the mariner, Albeit relying on his saintly load, Grew pale to see the peril. So he lived A most austere and self-denying man, Till abstinence, and age, and watchfulness Exhausted him, and it was pain at last To rise at midnight from his bed of leaves And bend his knees in prayer. Yet not the less Tho’ with reluctance of infirmity, He rose at midnight from his bed of leaves And bent his knees in prayer; but with more zeal More self-condemning fervour rais’d his voice For pardon for that sin, till that the sin Repented was a joy like a good deed. One night upon the shore his chapel bell Was heard; the air was calm, and its far sounds Over the water came distinct and loud. Alarmed at that unusual hour to hear Its toll irregular, a monk arose. The boatmen bore him willingly across For well the hermit Henry was beloved. He hastened to the chapel, on a stone Henry was sitting there, cold, stiff and dead, The bell-rope in his band, and at his feet The lamp[11] that stream’d a long unsteady light 

  [11] This story is related in the English Martyrology, 1608. 

 

English Eclogues

 The following Eclogues I believe, bear no resemblance to any poems in our language. This species of composition has become popular in Germany, and I was induced to attempt by an account of the German Idylls given me in conversation. They cannot properly be stiled imitations, as I am ignorant of that language at present, and have never seen any translations or specimens in this kind. 

 With bad Eclogues I am sufficiently acquainted, from Tityrus and Corydon down to our English Strephons and Thirsises. No kind of poetry can boast of more illustrious names or is more distinguished by the servile dulness of imitated nonsense. Pastoral writers “more silly than their sheep” have like their sheep gone on in the same track one after another. Gay stumbled into a new path. His eclogues were the only ones that interested me when I was a boy, and did not know they were burlesque. The subject would furnish matter for a long essay, but this is not the place for it. 

 How far poems requiring almost a colloquial plainness of language may accord with the public taste I am doubtful. They have been subjected to able criticism and revised with care. I have endeavoured to make them true to nature. 

 

Eclogue I ­ The Old Mansion House

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