Such were the tools; but a whole Hydra more That every man with him was God or Devil. Beggared by fools whom still he found too late, He laughed himself from court; then sought relief Thus wicked but in will, of means bereft, 550 560 1 George Villiers, second Duke of Buckingham: one of the members of the Cabal. He published in 1672 a burlesque called The Rehearsal, in which Dryden was satirized under the name of Bayes. Dryden retaliated with the character of Zimri, which, according to his own account, was good-humouredly received. 'He was too witty,' says Dryden, 'to resent it as an injury.' 2 A reference to Butler (the author of Hudibras), whom Buckingham neglected, and who died in want. THE HIND AND THE PANTHER PART III, LINES 993-1033 The Hind in this allegorical satire represents the Church of Rome; the Panther the Church of England. At the beginning of the poem they meet and enter into friendly discussion as to the merits of their respective creeds. During this discussion the Hind relates the fable of the pigeons and the fowls-an allegory within an allegory-by which again the two Churches are represented. The pigeons and fowls are owned by ‘a plain good man', possessor of 'three fair lineal lordships', and the story of them proceeds as follows:— ANOTHER farm he had behind his house, Yet still they grudged that modicum, and thought 'Beast of a bird, supinely when he might Lie snug and sleep, to rise above the light! 1 The Church of Rome. 2 The Church of England. 10 20 What if his dull forefathers used that cry, The world was fallen into an easier way; Was hooted hence, because she would not pray abed. Was to lay by the disciplining rod, Unnatural fasts, and foreign forms of prayer: 30 40 A SONG FOR ST. CECILIA'S DAY FROM harmony, from heavenly harmony Of jarring atoms lay, And could not heave her head, The tuneful voice was heard from high, Then cold and hot and moist and dry And Music's power obey. From harmony, from heavenly harmony This universal frame began: From harmony to harmony Through all the compass of the notes it ran, What passion cannot Music raise and quell? And, wondering, on their faces fell To worship that celestial sound: Less than a god they thought there could not dwell Within the hollow of that shell, That spoke so sweetly and so well. What passion cannot Music raise and quell? The trumpet's loud clangor Excites us to arms With shrill notes of anger And mortal alarms. The double double double beat Of the thundering drum Cries, hark! the foes come; Charge, charge, 'tis too late to retreat. The soft complaining flute In dying notes discovers The woes of hopeless lovers, 20 30 Whose dirge is whispered by the warbling lute. Sharp violins proclaim Their jealous pangs and desperation, Fury, frantic indignation, Depth of pains and height of passion, For the fair, disdainful dame. 1 Genesis iv. 21, 40 But oh! what art can teach, Orpheus could lead the savage race, But bright Cecilia raised the wonder higher: Grand Chorus. As from the power of sacred lays So when the last and dreadful hour 50 60 FROM THE PREFACE TO THE TRANSLATION OF OVID'S EPISTLES No man is capable of translating poetry, who, besides a genius to that art, is not a master both of his author's language, and of his own; nor must we understand the language only of the poet, but his particular turn of thoughts and expression, which are the characters that 1i. e. following. |