"That night of sorrow thy soul May surely prepare to meet, But away shall the clouds of thy heaviness roll, But, watchman, what of that night, And the grave, which no glimmering star can light, "That night is near--and the cheerless tomb Till the morn of eternity rise on the gloom, HYMN FOR SATURDAY EVENING. How light the happy spirit springs, With peace and freedom on its wings. Now 'tis our privilege to find A short release from all our care; O Lord, those earthly thoughts destroy, And when thy word shall set us free And hail a brighter Sabbath there. [ 199 ] DIDACTIC AND MORAL. THE reasons for assigning the first division of these selections to poetry of a devotional character, have been explained in the introductory observations. The natural transition from this form of poetical composition is to that of Didactic, which derives its name from a Greek word, signifying to teach. Dr. HUGH BLAIR, in his "Lectures on Rhetoric and Belles-Lettres," a work with which every teacher should make himself acquainted, has observed, "that the ultimate end of all poetry, indeed of every composition, should be, to produce some useful impression on the mind. This is most commonly made in poetry by indirect methods, as by fable, by narrative, by representation of characters; but didactic poetry openly professes its intention of conveying knowledge and instruction. It differs therefore in the form only, not in the scope and substance, from a moral or critical treatise in prose." Dr. NATHAN DRAKE remarks, in his essays entitled "Literary Hours," "that to convey instruction in the garb of pleasure, is the aim of the didactic poet; and the more rugged and intractable the theme, the greater skill and genius are required in smoothing its asperities, and in decorating it with flowers of the choicest hue and odour. A difficulty removed affords no trivial delight; and in didactic poetry those bards have succeeded best, who have chosen a subject neither too elevated on the one hand, nor too mean and despicable on the other." A numerous class of writings is included under the species of poetry to which the appellation of didactic is usually applied. The sacred books of the Old and New Testament exemplify all the principal forms of poetical composition. Dr. BLAIR has shown this very clearly in his interesting lectures to which we have referred. He points out, for example, the book of Proverbs and the book of Ecclesiastes, as exhibiting some of the most striking specimens of didactic poetry. In its composition considerable variety is allowable, both in the style and the measure. The poet, however, must always appear in the character of a teacher and a moralist. Sometimes he conveys his instruction through the medium of a philosophical treatise, discusses a particular branch of science, or lays down a system of moral conduct. On other occasions he seeks to promote the improvement of society by denouncing vice, or ridiculing the prevalent follies of the day; or he attempts to enlighten and reform by a series of observations on human life and character. The didactic poetry of our Classical and English authors, furnishes many striking examples of the various forms of which this description of poetical writing consists. Among the ancient poets, who have excelled in the highest department of it, may be enumes rated the names of ARATUS, who discussed in Greek the phenomena of the heavens; of LUCRETIUS in his six books, "De Rerum Natura," VIRGIL in his "Georgics," and HORACE in his "Art of Poetry." Of English authors the most distinguished in didactic composition are MILTON, in some of his splendid episodes; POPE in his Satires and Ethical Epistles ; YOUNG in the most solemn and impressive portions of his "Night Thoughts;" AKENSIDE in his "Pleasures of Imagination;" DYER in the argumentative parts of his poem entitled "The Fleece;" ARMSTRONG in his "Art of Preserving Health;" and Dr. DARWIN in his philosophical work of the "Botanic Garden," of which the design is original, and the versification the most brilliant in our language. Several of our eminent satirists, both in ancient and modern times, may be classed among didactic poets, the avowed object of their compositions being to attack vice, folly, and eccentricity with the light and brilliant weapons of wit and ridicule. The works of HORACE, JUVENAL, BOILEAU, DRYDEN, POPE, YOUNG, BUTLER, and SWIFT, afford excellent specimens of satirical poetry. The most popular of our modern votaries of the muse have been equally successful in the various kinds of didactic poetry. It is only necessary to refer to WORDSWORTH'S "Excursion;" ROGERS' "Pleasures of Memory;" CAMPBELL'S "Pleasures of Hope;" and to many passages in CRABBE'S graphic and pathetic compositions. Didactic poetry has been divided by some authors into several species. Dr. JAMES BEATTIE, in his celebrated work on the "Elements of Moral Science,' has written an essay on the "General Nature of Poetry," from the perusal of which teachers will de rive much useful information. In describing the didactic form of poetical composition, he enumerates five kinds, and cites examples of each. The first he designates the Philosophical Poem; the second, the Comic Satire; the third, the Serious Satire, the fourth, the Moral Epistle; and the fifth, the Moral Apologue, or Fable, intended to illustrate some one moral truth by a short allegorical tale. From the grave nature of this sort of poetry, there are many to whom it does not afford the same pleasure as the Descriptive, Lyrical, and Narrative. The late HENRY NEELE, who excelled in poetical composition as well as in criticism, has remarked in his "Lectures on English Poetry," that the "didactic Muse has been called the least attractive of the Nine; but if she has less beauty she has perhaps more truth than her sisters. If she cannot soar as high, she treads more firmly. She addresses herself, not to the imagination and the heart, but to the understanding. She seeks not to please the fancy, but to improve the mind." Didactic poetry is, notwithstanding, generally unpopular with young readers. The probable cause of this is, that some of the best models in the English language of this form of composition are written in blank verse. It is generally known that Dr. JOHNSON had a strong aversion to those productions of our most eminent poets which are clothed in this grave costume. His criticisms on MILTON, DYER, and AKENSIDE, may be considered as remarkable proofs of this unworthy prejudice. The captivating melody of POPE, and the winning simplicity of GOLDSMITH, are no doubt more generally attractive than the THE MEANS TO ATTAIN HAPPY LIFE. 66 201 solemn and dignified strains of blank verse. Among juvenile readers this feeling is almost universal. They prefer a simple romantic tale in verse to a grave homily. A sparkling melody or a pungent sarcasm will always fascinate and excite, whilst a solemn disquisition is often thrown aside with indifference, as stale, flat, and unprofitable." By persons of this description a forcible appeal to their feelings is listened to with emotion; but an argument, however cogent and well sustained, has no charms to arrest their attention: it chills and repels. They quaff with eagerness the exhilarating wine, and leave untouched the pure, refreshing, crystal water. Youth should be taught to remember, that whatever department of literature is designed to make them wiser and better, to expand the mind and amend the heart, demands their thoughtful study. Didactic poetry, independently of its moral aim, is beneficial to the pupil by exciting him to think and reflect. He cannot understand its meaning and appreciate its excellence without much attention. He must study carefully the construction of the verse, and exercise his mental faculties, in order that he may follow the poet in his reasonings, be convinced by the force of his arguments, and perceive the beauty of his diction. "The soundest philosophy," says an able writer in the Edinburgh Review," "may be conveyed in a poetical garb. The reader of moral and philosophical poetry may carry with him the power of com. paring, with the written page, the workings of his own mind, and the characters and actions of his fellow beings." As exercises for reading, no species of poetry is more useful than the moral and didactic. We have, accordingly, given some of the best specimens from our standard authors. They will have the effect, we trust, of impressing the minds of those who peruse them with a strong conviction, that poetical genius cannot be dedicated to higher and nobler objects than when it upholds the truths of religion, and enforces the principles of morality. We have placed under this division such pieces as seemed best calculated to instruct the mind and to form the taste. Those who have not leisure or industry to travel over the diversified and extensive domain of English poetry, may perhaps learn to value those portions of it, in the didactic class, to which we have directed their attention, and to value, as they deserve, those high conceptions "which wait the musings of the wise and good." HENRY HOWARD, EARL OF SURREY. THE MEANS TO ATTAIN HAPPY LIFE. MARTIAL, the things that do attain The happy life, be these I find, The riches left, not got with pain ; The equal friend; no grudge, no strife; The mean diet, no delicate fare; Ne wish for death, ne fear his might. EDMUND SPENSER. WISDOM, TRUE RICHES. IN vain do men The heavens of their fortune's fault accuse, Sith they know best what is the best for them; For they to each such fortune do diffuse As they do know each can most aptly use. For not that which men covet most is best, Nor that thing worst which men do most refuse; But fittest is, that all contented rest With that they hold: each hath his fortune in his breast. It is the mind that maketh good or ill, That maketh wretch* or happy, rich or poor; For some that hath abundance at his will, Hath not enough, but wants in greater store; And other, that hath little, asks no more, But in that little is both rich and wise; For wisdom is most riches; fools therefore They are which fortune do by vows devise, Sith each unto himself his life may fortunize. *Wretched. |