Strict passage, through which sighs are brought, Of shivering flesh; and warbled air, Hosannas pealing down the long-drawn aisle, II. The headlong streams and fountains Shout, cuckoo!-let the vernal soul Toll from thy loftiest perch, lone bell-bird, toll! Mercy from her twilight throne Listening to nun's faint throb of holy fear, To sailor's prayer breathed from a darkening sea, The Ear addressed, as occupied by a spiritual functionary, Ye Voices, and ye Shadows in communion with sounds, individual, or combined in studied harmony.-Sources and effects of those sounds (to the close of 6th Stanza).-The power of music, whence proceeding, exemplified in the idiot.-Origin of music, and its effect in early ages-how produced (to the middle of 10th Stanza).-The mind recalled to sounds acting casually and severally.-Wish uttered (11th Stanza) that these could be united into a scheme or system for moral interests and intellectual contemplation.-(Stanza 12th). The Pythagorean theory of numbers and music, with their supposed power over the motions of the universe-imaginations consonant with such a theory.-Wish expressed (in 11th Stanza) realised, in some degree, by the representation of all sounds under the form of thanksgiving to the Creator.-(Last Stanza) the destruction of earth and the planetary system-the survival of audible harmony, and its support in the Divine Nature, as revealed in Holy Writ. 1. THY functions are ethereal, As if within thee dwelt a glancing mind, And Images of voice-to hound and horn IV. Blest be the song that brightens The blind man's gloom, exalts the veteran's mirth; lightens His duteous toil of furrowing the green earth. Dawns on a kingdom, and for needful haste Of promises, shrill, wild, and sweet! Who, from a martial pageant, spreads Incitements of a battle-day, Oblivion may not cover VIII. All treasures hoarded by the miser, Time. And voice and shell drew forth a tear Yet strenuous was the infant Age: Thrilling the unweaponed crowd with plumeless Stirred nowhere but an urgent equipage heads? Even She whose Lydian airs inspire Peaceful striving, gentle play Of timid hope and innocent desire Shot from the dancing Graces, as they move Fanned by the plausive wings of Love. vi. How oft along thy mazes, To a voluptuous influence That taints the purer, better, mind; But lead sick Fancy to a harp That hath in noble tasks been tried; And, if the virtuous feel a pang too sharp, And let some mood of thine in firm array VII. As Conscience, to the centre Of being, smites with irresistible pain The mouldy vaults of the dull idiot's brain, Of rapt imagination sped her march IX. The GIFT to king Amphion That walled a city with its melody So shall he touch at length a friendly strand, The pipe of Pan, to shepherds Couched in the shadow of Manalian pines, How did they sparkle to the cymbal's clang! This way and that, with wild-flowers crowned. Of fable, though to truth subservient, hear The convict's summons in the steeple's knell ; "The vain distress-gun,' from a leeward shore, Repeated-heard, and heard no more! For terror, joy, or pity, XI. Vast is the compass and the swell of notes: Ye wandering Utterances, has earth no scheme, As laboured minstrelsies through ages wear! Of the Unsubstantial, pondered well! By one pervading spirit XII. Of tones and numbers all things are controlled, The heavens, whose aspect makes our minds as still With everlasting harmony; The towering headlands, crowned with mist, That Ocean is a mighty harmonist; Are delegates of harmony, and bear Strains that support the Seasons in their round; Stern Winter loves a dirge-like sound. XIIL Break forth into thanksgiving, Ye banded instruments of wind and chords; Your inarticulate notes with the voice of words! All worlds, all natures, mood and measure keep XIV. A Voice to Light gave Being; To Time, and Man his earth-born chronicler; To archangelic lips applied, The grave shall open, quench the stars. O Silence! are Man's noisy years Is Harmony, blest queen of smiles and tears, Thy destined bond-slave? No! though earth be dust 1828. MY DEAR FRIEND, The Tale of Peter Bell, which I now introduce to your notice, and to that of the Public, has, in its Manuscript state, nearly survived its minority:—for it first saw the light in the summer of 1798. During this long interval, pains have been taken at different times to make the production less unworthy of a favourable reception; or, rather, to fit it for filling permanently a station, however humble, in the Literature of our Country. This has, indeed, been the aim of all my endeavours in Poetry, which, you know, have been sufficiently laborious to prove that I deem the Art not lightly to be approached; and that the attainment of excellence in it, may laudably be made the principal object of intellectual pursuit by any man, who, with reasonable consideration of circumstances, has faith in his own impulses. The Poem of Peter Bell, as the Prologue will show, was composed under a belief that the Imagination not only does not require for its exercise the intervention of supernatural agency, but that, though such agency be excluded, the faculty may be called forth as imperiously and for kindred results of pleasure, by incidents, within the compass of poetic probability, in the humblest departments of daily life. Since that Prologue was written, you have exhibited most splendid effects of judicious daring, in the opposite and usual course. Let this acknowledgment make my peace with the lovers of the supernatural; and I am persuaded it will be admitted, that to you, as a Master in that province of the art, the following Tale, whether from contrast or congruity, is not an unappropriate offering. Accept it, then, as a public testimony of affectionate admiration from one with whose name yours has been often coupled (to use your own words) for evil and for good; and believe me to be, with earnest wishes that life and health may be granted you to complete the many important works in which you are engaged, and with high respect, |