England's Antiphon

An heated fancy or imagination
May be mistaken for an inspiration;
True; but is this conclusion fair to make—
That inspiration must be all mistake?
A pebble-stone is not a diamond: true;
But must a diamond be a pebble too?
To own a God who does not speak to men,
Is first to own, and then disown again;
Of all idolatry the total sum
Is having gods that are both deaf and dumb.
* * * * *
What is more tender than a mother's love
To the sweet infant fondling in her arms?
What arguments need her compassion move
To hear its cries, and help it in its harms?
Now, if the tenderest mother were possessed
Of all the love within her single breast
Of all the mothers since the world began,
'Tis nothing to the love of God to man.
* * * * *
Faith, Hope, and Love were questioned what they thought
Of future glory which Religion taught:
Now Faith believed it firmly to be true,
And Hope expected so to find it too:
Love answered, smiling with a conscious glow,
"Believe? Expect? I know it to be so."

CHAPTER XX

THE ROOTS OF THE HILLS.

In the poems of James Thomson, we find two hymns to the God of Creation—one in blank verse, the other in stanzas. They are of the kind which from him we should look for. The one in blank verse, which is as an epilogue to his great poem, The Seasons, I prefer.

We owe much to Thomson. Born (in Scotland) in the year 1700, he is the leading priest in a solemn procession to find God—not in the laws by which he has ordered his creation, but in the beauty which is the outcome of those laws. I do not say there is much of the relation of man to nature in his writing; but thitherward it tends. He is true about the outsides of God; and in Thomson we begin to feel that the revelation of God as meaning and therefore being the loveliness of nature, is about to be recognized. I do not say—to change my simile—that he is the first visible root in our literature whence we can follow the outburst of the flowers and foliage of our delight in nature: I could show a hundred fibres leading from the depths of our old literature up to the great root. Nor is it surprising that, with his age about him, he too should be found tending to magnify, not God's Word, but his works, above all his name: we have beauty for loveliness; beneficence for tenderness. I have wondered whether one great part of Napoleon's mission was not to wake people from this idolatry of the power of God to the adoration of his love.

The Hymn holds a kind of middle place between the Morning Hymn in the 5th Book of the Paradise Lost and the Hymn in the Vale of Chamouni. It would be interesting and instructive to compare the three; but we have not time. Thomson has been influenced by Milton, and Coleridge by both. We have delight in Milton; art in Thomson; heart, including both, in Coleridge.

HYMN

These, as they change, Almighty Father, these
Are but the varied God. The rolling year
Is full of thee. Forth in the pleasing Spring
Thy beauty walks, thy tenderness and love.
Wide flush the fields; the softening air is balm;
Echo the mountains round; the forest smiles;
And every sense and every heart is joy.
Then comes thy glory in the Summer months,
With light and heat refulgent. Then thy sun
Shoots full perfection through the swelling year
And oft thy voice in dreadful thunder speaks,
And oft at dawn, deep noon, or falling eve,
By brooks and groves, in hollow-whispering gales.[159 - In the following five lines I have adopted the reading of the first edition, which, although a little florid, I prefer to the scanty two lines of the later.]
A yellow-floating pomp, thy bounty shines
In Autumn unconfined. Thrown from thy lap,
Profuse o'er nature, falls the lucid shower
Of beamy fruits; and, in a radiant stream,
Into the stores of sterile Winter pours.
In winter awful thou! with clouds and storms
Around thee thrown—tempest o'er tempest rolled.
Majestic darkness! on the whirlwind's wing
Riding sublime, thou bidst the world adore,[160 - False in feeling, nor like God at all, although a ready pagan representation of him. There is much of the pagan left in many Christians—poets too.]
And humblest nature with thy northern blast.

Mysterious round! what skill, what force divine
Deep felt, in these appear! a simple train,
Yet so delightful mixed, with such kind art,
Such beauty and beneficence combined!
Shade unperceived so softening into shade!
And all so forming an harmonious whole,
That, as they still succeed, they ravish still.
* * * * *
Nature attend! Join, every living soul,
Beneath the spacious temple of the sky—
In adoration join; and, ardent, raise
One general song! To him, ye vocal gales,
Breathe soft, whose spirit in your freshness breathes;
Oh! talk of him in solitary glooms,
Where, o'er the rock, the scarcely waving pine
Fills the brown shade with a religious awe;
And ye, whose bolder note is heard afar,
Who shake the astonished world, lift high to heaven
The impetuous song, and say from whom you rage.
His praise, ye brooks, attune,—ye trembling rills,
And let me catch it as I muse along.
Ye headlong torrents, rapid and profound;
Ye softer floods, that lead the humid maze
Along the vale; and thou, majestic main,
A secret world of wonders in thyself,
Sound his stupendous praise, whose greater voice
Or bids you roar, or bids your roarings fall.
Soft roll your incense, herbs, and fruits, and flowers,
In mingled clouds to him whose sun exalts,
Whose breath perfumes you, and whose pencil paints.
Ye forests, bend, ye harvests, wave to him;
Breathe your still song into the reaper's heart,
As home he goes beneath the joyous moon.
* * * * *
Bleat out afresh, ye hills! ye mossy rocks,
Retain the sound; the broad responsive low,
Ye valleys raise; for the great Shepherd reigns,