See also: 24 notated poems from RPO here
Sir, I admit your general rule,
That every poet is a fool.
But you yourself may serve to show it,
Every fool is not a poet.
02 Ode on Solitude
Happy the man, whose wish and care
A few paternal acres bound,
Content to breathe his native air,
In his own ground.
Whose heards with milk, whose fields with bread,
Whose flocks supply him with attire,
Whose trees in summer yield him shade,
In winter fire.
Blest! who can unconcern'dly find
Hours, days, and years slide soft away,
In health of body, peace of mind,
Quiet by day,
Sound sleep by night; study and ease
Together mix'd; sweet recreation,
And innocence, which most does please,
Thus let me live, unseen, unknown;
Thus unlamented let me die;
Steal from the world, and not a stone
Tell where I lie.
03 Prayer of St. Francis Xavier
Thou art my God, sole object of my love;
Not for the hope of endless joys above;
Nor for the fear of endless pains below,
Which they who love thee not must undergo.
For me, and such as me, thou deign'st to bear
An ignominious cross, the nails, the spear:
A thorny crown transpierc'd thy sacred brow,
While bloody sweats from ev'ry member flow.
For me in tortures thou resignd'st thy breath,
Embrac'd me on the cross, and sav'd me by thy death.
And can these sufferings fail my heart to move?
What but thyself can now deserve my love?
Such as then was, and is, thy love to me,
Such is, and shall be still, my love to thee--
To thee, Redeemer! mercy's sacred spring!
My God, my Father, Maker, and my King!
04 Inscription on a Grotto, The Work of Nine Ladies
Here, shunning idleness at once and praise,
This radiant pile nine rural sisters raise;
The glittering emblem of each spotless dame,
Clear as her soul and shining as her frame;
Beauty which nature only can impart,
And such a polish as disgraces art;
But Fate disposed them in this humble sort,
And hid in deserts what would charm a Court.
05 From The Messiah: A Sacred Eclogue
Rapt into future times the bard begun,
A virgin shall conceive, a Virgin bear a son!
From Jesse's root behold a branch arise,
Whose sacred flower with fragrance fills the skies;
The ethereal Spirit o'er its leaves shall move,
And on its top descend the mystic Dove.
Ye heavens! from high the dewy nectar pour,
And in soft silence shed the kindly shower!
The sick and weak, the healing Plant shall aid,
From storms a shelter, and from heat a shade.
All crimes shall cease, and ancient fraud shall fail;
Returning justice lift aloft her scale.
Peace o'er the world her olive wand extend,
And white robed innocence from heaven descend.
06 From The Messiah: A Sacred Eclogue
Lo! earth receives him from the bending skies!
Sink down ye mountains, and ye vallies rise!
With heads declined ye cedars homage pay!
Be smooth ye rocks, ye rapid floods give way!
The Saviour comes! by ancient bards foretold:
Hear him ye deaf, and all ye blind, behold!
He from thick films shall purge the visual ray,
And on the sightless eye-ball pour the day.
'Tis he the obstructed paths of sound shall clear,
The dumb shall sing, the lame his crutch forego,
And leap exulting like the bounding roe:
No sigh, no murmer the wide world shall hear;
From every face he wipes off every tear.
In adamantine chains shall death be bound,
And hell's grim tyrant feel the eternal wound.
As the good shepherd tends his fleecy care,
Seeks freshest pastures and the purest air:
Explores the lost, the wandering sheep directs,
By day o'ersees them, and by night protects;
The tender lambs he raises in his arms,
Feeds from his hand, and in his bosom warms!
Thus shall mankind his guardian care engage,
The promis'd father of the future age.
07 From The Messiah: A Sacred Eclogue
The lambs with wolves shall grace the verdant mead,
And boys in flow'ry bands the tyger lead;
The steer and lion at one crib shall meet,
And harmless serpents lick the pilgrim's feet.
The smiling infant in his hand shall take
The crested basilisk and speckled snake;
Pleas'd, the green lustres of the scales survey,
And with their forky tongues shall innocently play.
08 To the Author of a Poem Entitled Succession
Begone, ye Critics, and restrain your spite,
Codrus writes on, and will for ever write,
The heaviest Muse the swiftest course has gone,
As clocks run fastest when most lead is on;
What tho' no bees around your cradle flew,
Nor on your lips distill'd their golden dew;
Yet have we oft discover'd in their stead
When you, like Orpheus, strike the warbling lyre.
Attentive blocks stand round you and admire.
Wit pass'd through thee no longer is the same,
As meat digested takes a diff'rent name;
But sense must sure thy safest plunder be,
Since no reprisals can be made on thee.
Thus thou may'st rise, and in thy daring flight
(Though ne'er so weighty) reach a wondrous height.
So, forced from engines, lead itself can fly,
Sure Bavius copied Maevius to the full,
And Chaerilus taught Codrus to be dull;
Therefore, dear friend, at my advice give o'er
This needless labour; and contend no more
To prove a dull succession to be true,
Since 'tis enough we find it so in you.
Codrus was a king of Athens who gave his life to save his country.
Orpheus was a legendary Greek poet and musician.
Bavius and Maevius were notoriously bad poets during the days of Augustus Caesar.
Chaerilus was Alexander the Great's poet.
09 In Imitation of Chaucer
Women ben full of Ragerie,
Yet swinken not sans secresie.
Thilke Moral shall ye understond,
From Schoole-boy's Tale of fayre Irelond:
Which to the Fennes hath him betake,
To filch the gray Ducke fro the Lake.
Right then, there passen by the Way
His Aunt, and eke her Daughters tway.
Ducke in his Trowses hath he hent,
Not to be spied of Ladies gent.
'But ho! our Nephew,' (crieth one)
'Ho!' quoth another, 'Cozen John;'
And stoppen, and lough, and callen out,--
This sely Clerk full low doth lout:
They asken that, and talken this,
'Lo here is Coz, and here is Miss.'
But, as he glozeth with Speeches soote,
The Ducke sore tickleth his Erse-roote:
Fore-piece and buttons all-to-brest,
Forth thrust a white neck, and red crest.
'Te-he,' cry'd Ladies; Clerke nought spake:
Miss star'd; and gray Ducke crieth Quake.
'O Moder, Moder,' (quoth the daughter)
'Be thilke same thing Maids longer a'ter?
'Bette is to pyne on coals and chalke,
'Then trust on Mon, whose yerde can talke.'
10 The Happy Life of a Country Parson (in Imitation of Dr. Swift)
Parson, these things in thy possessing
Are better than the Bishop's blessing.
A Wife that makes conserves; a Steed
That carries double when there's need:
October store, and best Virginia,
Tithe-Pig, and mortuary Guinea:
Gazettes sent gratis down, and frank'd,
For which thy Patron's weekly thank'd;
A large Concordance, bound long since:
Sermons to Charles the First, when Prince;
A Chronicle of ancient standing;
A Chrysostom to smooth thy band in.
The Polygot--three parts,--my text,
Howbeit,--likewise--now to my next.
Lo here the Septuagint,--and Paul,
To sum the whole,--the close of all.
He that has these, may pass his life,
Drink with the 'Squire, and kiss his wife;
On Sundays preach, and eat his fill;
And fast on Fridays--if he will;
Toast Church and Queen, explain the News,
Talk with Church-Wardens about Pews,
Pray heartily for some new Gift,
And shake his head at Doctor Swift.
Note: Dr. Swift is probably Jonathan Swift, who was friends with Alexander Pope.
11 The Dying Christian to his Son
Vital spark of heav’nly flame!
Quit, O quit this mortal frame:
Trembling, hoping, ling’ring, flying,
O the pain, the bliss of dying!
Cease, fond Nature, cease thy strife,
And let me languish into life.
Hark! they whisper; angels say,
Sister Spirit, come away!
What is this absorbs me quite?
Steals my senses, shuts my sight,
Drowns my spirits, draws my breath?
Tell me, my soul, can this be death?
The world recedes; it disappears!
Heav’n opens on my eyes! my ears
With sounds seraphic ring!
Lend, lend your wings! I mount! I fly!
O Grave! where is thy victory?
O Death! where is thy sting?
12 Sound and Sense
True ease in writing comes from art, not chance,
As those move easiest who have learned to dance.
'Tis not enough no harshness gives offense,
The sound must seem an echo to the sense:
Soft is the strain when Zephyr gently blows,
And the smooth stream in smoother numbers flows;
But when loud surges lash the sounding shore,
The hoarse, rough verse should like the torrent roar;
When Ajax strives some rock's vast weight to throw,
The line too labors, and the words move slow;
Not so, when swift Camilla scours the plain,
Flies o'er the unbending corn, and skims along the main.
Hear how Timotheus' varied lays surprise,
And bid alternate passions fall and rise!
Zephyr was the Greek god of the wind.
Ajax almost killed Hector in the Trojan war by throwing a giant rock at him.
Camilla, from the Aeneid, was a servant of Diana, and a swift runner.
Timotheus of Miletus was a Greek poet and musical innovator.
13 The Descent of Dullness from The Dunciad
In vain, in vain--the all-composing Hour
Resistless falls: the Muse obeys the Pow'r.
She comes! she comes! the sable Throne behold
Of Night primaeval and of Chaos old!
Before her, Fancy's gilded clouds decay,
And all its varying Rain-bows die away.
Wit shoots in vain its momentary fires,
The meteor drops, and in a flash expires.
As one by one, at dread Medea's strain,
The sick'ning stars fade off th' ethereal plain;
As Argus' eyes by Hermes' wand opprest,
Clos'd one by one to everlasting rest;
Thus at her felt approach, and secret might,
Art after Art goes out, and all is Night.
See skulking Truth to her old cavern fled,
Mountains of Casuistry heap'd o'er her head!
Philosophy, that lean'd on Heav'n before,
Shrinks to her second cause, and is no more.
Physic of Metaphysic begs defence,
And Metaphysic calls for aid on Sense!
See Mystery to Mathematics fly!
In vain! they gaze, turn giddy, rave, and die.
Religion blushing veils her sacred fires,
And unawares Morality expires.
For public Flame, nor private, dares to shine;
Nor human Spark is left, nor Glimpse divine!
Lo! thy dread Empire, Chaos! is restor'd;
Light dies before thy uncreating word;
Thy hand, great Anarch! lets the curtain fall,
And universal Darkness buries All.
14 from The Rape of the LockA mock-epic that satirises a high-society quarrel (based on a real life event) between "Belinda" and her suitor, who had snipped a lock of hair from her head without her permission. The drama begins:
What dire offence from am'rous causes springs,
What mighty contests rise from trivial things,
I sing--This verse to Caryl, Muse! is due:
This, ev'n Belinda may vouchsafe to view:
Slight is the subject, but not so the praise,
If She inspire, and He approve my lays.
Say what strange motive, Goddess! could compel
A well-bred Lord t' assault a gentle Belle?
O say what stranger cause, yet unexplor'd,
Could make a gentle Belle reject a Lord?
In tasks so bold, can little men engage,
And in soft bosoms dwells such mighty Rage?
15 from The Rape of the Lock
This Nymph, to the destruction of mankind,
Nourish'd two Locks, which graceful hung behind
In equal curls, and well conspir'd to deck
With shining ringlets the smooth iv'ry neck.
Love in these labyrinths his slaves detains,
And mighty hearts are held in slender chains.
With hairy springes we the birds betray,
Slight lines of hair surprise the finny prey,
Fair tresses man's imperial race ensnare,
And beauty draws us with a single hair.
Th' advent'rous Baron the bright locks admir'd;
He saw, he wish'd, and to the prize aspir'd.
Resolv'd to win, he meditates the way,
By force to ravish, or by fraud betray;
For when success a Lover's toil attends,
Few ask, if fraud or force attain'd his ends. . . .
. . . But when to mischief mortals bend their will,
How soon they find fit instruments of ill!
Just then, Clarissa drew with tempting grace
A two-edg'd weapon from her shining case:
So Ladies in Romance assist their Knight,
Present the spear, and arm him for the fight.
He takes the gift with rev'rence, and extends
The little engine on his fingers' ends . . .
(If you want to see how this ends, you'll need to read the whole poem. It's 5 "Cantos," but the entire thing could easily be read in one sitting.)
16 from An Essay on Criticism
"Tis as great a fault to judge ill, as to write ill, and a more dangerous one to the public."
'Tis hard to say, if greater want of skill
Appear in writing or in judging ill;
But, of the two, less dang'rous is th' offence
To tire our patience, than mislead our sense.
Some few in that, but numbers err in this,
Ten censure wrong for one who writes amiss;
A fool might once himself alone expose,
Now one in verse makes many more in prose.
17 from An Essay on Criticism
"True taste is as rare to be found, as a true Genius."
'Tis with our judgments as our watches, none
Go just alike, yet each believes his own.
In Poets as true genius is but rare,
True Taste as seldom is the Critic's share;
Both must alike from Heav'n derive their light,
These born to judge, as well as those to write.
Let such teach others who themselves excel,
And censure freely who have written well.
Authors are partial to their wit, 'tis true,
But are not Critics to their judgment too?
18 from An Essay on Criticism
"Causes hindering a true Judgment: Pride"
Of all the Causes which conspire to blind
Man's erring judgment, and misguide the mind,
What the weak head with strongest bias rules,
Is Pride, the never-failing voice of fools.
Whatever nature has in worth denied,
She gives in large recruits of needful pride;
For as in bodies, thus in souls, we find
What wants in blood and spirits, swell'd with wind:
Pride, where wit fails, steps in to our defence,
And fills up all the mighty Void of sense.
If once right reason drives that cloud away,
Truth breaks upon us with resistless day.
Trust not yourself; but your defects to know,
Make use of ev'ry friend--and ev'ry foe.
19 from An Essay on Criticism
"Causes hindering a true Judgment: Imperfect Learning"
A little learning is a dang'rous thing;
Drink deep, or taste not the Pierian spring.
There shallow draughts intoxicate the brain,
And drinking largely sobers us again.
Fir'd at first sight with what the Muse imparts,
In fearless youth we tempt the heights of Arts,
While from the bounded level of our mind
Short views we take, nor see the lengths behind;
But more advanc'd, behold with strange surprise
New distant scenes of endless science rise!
So pleas'd at first the tow'ring Alps we try,
Mount o'er the vales, and seem to tread the sky,
Th' eternal snows appear already past,
And the first clouds and mountains seem the last;
But, those attain'd, we tremble to survey
The growing labours of the lengthen'd way,
Th' increasing prospect tires our wand'ring eyes,
Hills peep o'er hills, and Alps on Alps arise!
20 from An Essay on Criticism
"Causes hindering a true Judgment: Judging by parts, and not by the whole."
A perfect Judge will read each work of Wit
With the same spirit that its author writ:
Survey the Whole, nor seek slight faults to find
Where nature moves, and rapture warms the mind;
Nor lose, for that malignant dull delight,
The gen'rous pleasure to be charm'd with Wit.
But in such lays as neither ebb, nor flow,
Correctly cold, and regularly low,
That shunning faults, one quiet tenour keep,
We cannot blame indeed--but we may sleep.
In wit, as nature, what affects our hearts
Is not th' exactness of peculiar parts;
'Tis not a lip, or eye, we beauty call,
But the joint force and full result of all.
Thus when we view some well-proportion'd dome,
(The world's just wonder, and ev'n thine, O Rome!)
No single parts unequally surprize,
All comes united to th' admiring eyes;
No monstrous height, or breadth, or length appear;
The Whole at once is bold, and regular.
Whoever thinks a faultless piece to see,
Thinks what ne'er was, nor is, nor e'er shall be.
In every work regard the writer's End,
Since none can compass more than they intend;
And if the means be just, the conduct true,
Applause, in spight of trivial faults, is due;
As men of breeding, sometimes men of wit,
T' avoid great errors, must the less commit:
Neglect the rules each verbal Critic lays,
For not to know some trifles, is a praise.
Most Critics, fond of some subservient art,
Still make the Whole depend upon a Part:
They talk of principles, but notions prize,
And all to one lov'd Folly sacrifice.
Once on a time, La Mancha's Knight, they say,
A certain bard encount'ring on the way,
Discours'd in terms as just, with looks as sage,
As e'er could Dennis of the Grecian stage;
Concluding all were desp'rate sots and fools,
Who durst depart from Aristotle's rules.
Our Author, happy in a judge so nice,
Produc'd his Play, and begg'd the Knight's advice;
Made him observe the subject, and the plot,
The manners, passions, unities; what not?
All which, exact to rule, were brought about,
Were but a Combat in the lists left out.
"What! leave the Combat out?" exclaims the Knight;
Yes, or we must renounce the Stagirite.
"Not so, by Heav'n" (he answers in a rage),
"Knights, squires, and steeds, must enter on the stage."
So vast a throng the stage can ne'er contain.
"Then build a new, or act it in a plain."
Thus Critics, of less judgment than caprice,
Curious not knowing, not exact but nice,
Form short Ideas; and offend in arts
(As most in manners) by a love to parts.
21 from An Essay on Criticism
"Causes hindering a true Judgment: Being too hard to please, or too apt to admire."
Avoid Extremes; and shun the fault of such,
Who still are pleas'd too little or too much.
At ev'ry trifle scorn to take offence,
That always shows great pride, or little sense;
Those heads, as stomachs, are not sure the best,
Which nauseate all, and nothing can digest.
Yet let not each gay Turn thy rapture move;
For fools admire, but men of sense approve:
As things seem large which we thro' mists descry,
Dulness is ever apt to magnify.
poems selected by Leslie Laurio
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