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upon image, ornament upon ornament, and are not easily persuaded to close the sense at all. Blank verse will, therefore, I fear, be too often found in description exuberant, in argument loquacious, and in narration tiresome.
His diction is certainly poetical as it is not prosaic, and elegant as it is not vulgar. He is to be commended as having fewer artifices of disgust than most of his brethren of the blank song; He rarely either recalls old phrases, or twists his metre into harsh inversions. The sense, however, of his words is strained, when “he views the Ganges from Alpine heights;” that is, from mountains like the Alps. And the pedant surely intrudes (but when was blank verse without pedantry ?)when he tells how "Planets absolve the stated round of Time."
It is generally known to the readers of poetry that he intended to revise and augment this work, but died before he had completed his design. The reformed work as he left it, and the additions which he had made, are very properly retained in the late collection. He seems to have somewhat contracted his diffusion; but I know not whether he has gained in closeness what he has lost in splendour. In the additional book, "The Tale of Solon” is too long.
One great defect of his poem is very properly censured by Mr. Walker, unless it may be said, in his defence, that what he has omitted was not properly in his plan. His “picture of man is grand and beautiful, but unfinished. The immortality of the soul, which is the natural consequence of the appetites and powers she is invested with, is scarcely once hinted throughout the poem. This deficiency is amply supplied by the masterly pencil of Dr. Young; who, like a good philosopher, has invincibly proved the immortality of man, from the grandeur of his conceptions, and the meanness and misery of his state; for this reason, a few passages are selected from the Night Thoughts,' 'which, with those of Akenside, seem to form a complete view of the powers, situation, and end of man.” *Exercises for Improvement in Elocution,' p. 66.
His other poems are now to be considered; but a short consideration will dispatch them. It is not easy to guess why he addicted himself so diligently to lyric poetry, having neither the ease and airiness of the lighter, nor the vehemence and elevation of the grander ode. When he lays his ill-fated hand upon his harp, his former powers seem to desert him; he has no longer his luxuriance of expression, nor variety of
images. His thoughts are cold, and his words inelegant. Yet such was his love of lyrics, that having written with great vigour and poignancy his “Epistle to Curio ,
” he transformed it afterwards” into an ode disgraceful only to its author.
Of his odes nothing favourable can be said; the sentiments commonly want force, nature, or novelty; the diction is sometimes harsh and uncouth, the stanzas ill-constructed and unpleasant, and the rhymes dissonant, or unskilfully disposed, too distant from each other, or arranged with too little regard to established use, and therefore perplexing to the ear, which in a short composition has not time to grow familiar with an innovation.
To examine such compositions singly cannot be required; they have doubtless brighter and darker parts; but, when they are once found to be generally dull, all further labour may be spared; for to what use can the work be criticised that will not be read?
THOMAS GRAY, the son of Mr. Philip Gray, a scrivener of London, was born in Cornhill, November 26, 1716. His grammatical education he received at Eton under the care of Mr. Antrobus, his mother's brother, then assistant to Dr. George; and when he left school, in 1734, entered a pensioner at Peterhouse in Cambridge:
The transition from the school to the college is, to most young scholars, the time from which they date their years of manhood, liberty, and happiness; but Gray seems to have been very little delighted with academical qualifications; he liked at Cambridge neither the mode of life nor the fashion of study, and lived sullenly on to the time when his attendance on lectures was no longer required. As he intended to profess the common law, he took no degree.
When he had been at Cambridge about five years, Mr. Horace Walpole, whose friendship he had gained at Éton, invited him to travel with him as his companion. They wandered through France into Italy; and Gray's “Letters” contain a very pleasing account of many parts of their journey. But unequal friendships are easily dissolved: at Florence they quarrelled, and parted; and Mr. Walpole is now content to have it told that it was by his fault. If we look, however, without prejudice on the world, we shall find that men, whose consciousness of their own merit sets them above the compliances of servility, are apt enough in their association with superiors to watch their own dignity with troublesome and punctilious jealousy, and in the fervour of independence to exact that attention which they refuse to pay. Part they did, whatever was the quarrel; and the rest of their travels was doubtless more unpleasant to them both. Gray continued his journey in a manner suitable to his own little fortune, with only an occasional servant.
He returned to England in September, 1741, and in about two months afterwards buried his father, who had, by an injudicious waste of money upon a new house, so much lessened his fortune, that Gray thought himself too poor to study the law. He therefore retired to Cambridge, where he soon after became bachelor of civil law, and where, without liking the place or its inhabitants, or professing to like them, he passed, except a short residence at London, the rest of his life.
About this time he was deprived of Mr. West, the son of a chancellor of Ireland, a friend on whom he appears to have set a high value, and who deserved his esteem by the which he shews in his letters, and in the “Ode to May," which Mr. Mason has preserved, as well as by the sincerity with which, when Gray sent hím part of "Agrippina," a tragedy that he had just begun, he gave an opinion which probably intercepted the progress of the work, and which the judgment of every reader will confirm. It was certainly no loss to the English stage that “Agrippina” was never finished.
In this year (1742) Gray seems to have applied himself seriously to poetry; for in this year were produced the "Ode to Spring,” his "Prospect of Eton," and his “Ode to Adversity. He began likewise a Latin poem, “De Principiis Cogitandi.”
It may be collected from the narrative of Mr. Mason, that his first ambition was to have excelled in Latin poetry: perhaps it were reasonable to wish that he had prosecuted his design; for, though there is at present some embarrassment in his phrase, and some harshness in his lyric numbers, his copiousness of language is such as very few possess; and his lines, even when imperfect, discover a writer whom practice would have made skilful.
He now lived on at Peterhouse, very little solicitous what others did or thought, and cultivated his mind and enlarged his views without any other purpose than of improving and amusing himself; when Mr. Mason, being elected fellow of Pembroke Hall, brought him a companion who was afterwards to be his editor, and whose fondness and fidelity has kindled in him a zeal of admiration which cannot be reasonably expected
from the neutrality of a stranger, and the coldness of a critic.
In his retirement he wrote (1747) an ode on the “Death of Mr. Walpole's Cat;" and the year afterwards attempted a poem,
more importance, on Government and Education,” of which the fragments which remain have many excellent lines.
His next production (1750) was his far-famed “Elegy in the Churchyard," which, finding its way into a magazine, first, I believe, made him known to the public.
An invitation from Lady Cobham about this time gave occasion to an odd composition called “A Long Story," which adds little to Gray's character.
Several of his pieces were published (1753) with designs by Mr. Bentley: and that they might in some form or other make a book, only one side of each leaf was printed. I believe the poems and the plates recommended each other so well, that the whole impression was soon bought. This year he lost his mother.
Some time afterwards (1756) some young men of the college, whose chambers were near his, diverted themselves with disturbing him by frequent and troublesome noises, and, as is said, by pranks yet more offensive and contemptuous. This insolence, having endured it awhile, he represented to the governors of the society, among whom perhaps he had no friends; and, finding his complaint little regarded, removed himself to Pembroke Hall.
In 1757 he published “The Progress of Poetry,” and “The Bard,” two compositions at which the readers of poetry were at first content to gaze in mute amazement. Some that tried them confessed their inability to understand them, though Warburton said that they were understood as well as the works of Milton and Shakspeare, which it is the fashion to admire. Garrick wrote a few lines in their praise. Some hardy champions undertook to rescue them from neglect; and in a short time many were content to be shewn beauties which they could not see.
Gray's reputation was now so high, that, after the death of Cibber, he had the honour of refusing the laurel, which was then bestowed on Mr. Whitehead.