Harper's New Monthly Magazine, Volume 1, No. 2, July, 1850.

BY LEIGH HUNT

Just after this period I fell in with a new set of acquaintances, accounts of whom may not be uninteresting. I forget what it was that introduced me to Mr. Hill, proprietor of the Monthly Mirror; but at his house at Sydenham I used to meet his editor, Du Bois; Thomas Campbell, who was his neighbor; and the two Smiths, authors of The Rejected Addresses. I saw also Theodore Hook, and Mathews, the comedian. Our host was a jovial bachelor, plump and rosy as an abbot; and no abbot could have presided over a more festive Sunday. The wine flowed merrily and long; the discourse kept pace with it; and next morning, in returning to town, we felt ourselves very thirsty. A pump by the road-side, with a plash round it, was a bewitching sight.

They who knew Mr. Campbell only as the author of Gertrude of Wyoming, and the Pleasures of Hope, would not have suspected him to be a merry companion, overflowing with humor and anecdote, and any thing but fastidious. These Scotch poets have always something in reserve. It is the only point in which the major part of them resemble their countrymen. The mistaken character which the lady formed of Thomson from his Seasons is well known. He let part of the secret out in his Castle of Indolence; and the more he let out, the more honor it did to the simplicity and cordiality of the poet's nature, though not always to the elegance of it. Allan Ramsay knew his friends Gay and Somerville as well in their writings, as he did when he came to be personally acquainted with them; but Allan, who had bustled up from a barber's shop into a bookseller's, was "a cunning shaver;" and nobody would have guessed the author of the Gentle Shepherd to be penurious. Let none suppose that any insinuation to that effect is intended against Campbell. He was one of the few men whom I could at any time have walked half a dozen miles through the snow to spend an evening with; and I could no more do this with a penurious man than I could with a sulky one. I know but of one fault he had, besides an extreme cautiousness in his writings, and that one was national, a matter of words, and amply overpaid by a stream of conversation, lively, piquant, and liberal, not the less interesting for occasionally betraying an intimacy with pain, and for a high and somewhat strained tone of voice, like a man speaking with suspended breath, and in the habit of subduing his feelings. No man felt more kindly toward his fellow-creatures, or took less credit for it. When he indulged in doubt and sarcasm, and spoke contemptuously of things in general, he did it, partly, no doubt, out of actual dissatisfaction, but more perhaps than he suspected, out of a fear of being thought weak and sensitive; which is a blind that the best men very commonly practice. He professed to be hopeless and sarcastic, and took pains all the while to set up a university (the London).

When I first saw this eminent person, he gave me the idea of a French Virgil. Not that he was like a Frenchman, much less the French translator of Virgil. I found him as handsome, as the Abbé Delille is said to have been ugly. But he seemed to me to embody a Frenchman's ideal notion of the Latin poet; something a little more cut and dry than I had looked for; compact and elegant, critical and acute, with a consciousness of authorship upon him; a taste over-anxious not to commit itself, and refining and diminishing nature as in a drawing-room mirror. This fancy was strengthened in the course of conversation, by his expatiating on the greatness of Racine. I think he had a volume of the French poet in his hand. His skull was sharply cut and fine; with plenty, according to the phrenologists, both of the reflective and amative organs: and his poetry will bear them out. For a lettered solitude, and a bridal properly got up, both according to law and luxury, commend us to the lovely Gertrude of Wyoming. His face and person were rather on a small scale; his features regular; his eye lively and penetrating; and when he spoke, dimples played about his mouth; which, nevertheless, had something restrained and close in it. Some gentle puritan seemed to have crossed the breed, and to have left a stamp on his face, such as we often see in the female Scotch face rather than the male. But he appeared not at all grateful for this; and when his critics and his Virgilianism were over, very unlike a puritan he talked! He seemed to spite his restrictions; and, out of the natural largeness of his sympathy with things high and low, to break at once out of Delille's Virgil into Cotton's, like a boy let loose from school. When I had the pleasure of hearing him afterward, I forgot his Virgilianisms, and thought only of the delightful companion, the unaffected philanthropist, and the creator of a beauty worth all the heroines in Racine.

Campbell tasted pretty sharply of the good and ill of the present state of society, and, for a bookman, had beheld strange sights. He witnessed a battle in Germany from the top of a convent (on which battle he has left us a noble ode); and he saw the French cavalry enter a town, wiping their bloody swords on the horses' manes. He was in Germany a second time – I believe to purchase books; for in addition to his classical scholarship, and his other languages, he was a reader of German. The readers there, among whom he is popular, both for his poetry and his love of freedom, crowded about him with affectionate zeal; and they gave him, what he did not dislike, a good dinner. Like many of the great men in Germany, Schiller, Wieland, and others, he did not scruple to become editor of a magazine; and his name alone gave it a recommendation of the greatest value, and such as made it a grace to write under him.

I remember, one day at Sydenham, Mr. Theodore Hook coming in unexpectedly to dinner, and amusing us very much with his talent at extempore verse. He was then a youth, tall, dark, and of a good person, with small eyes, and features more round than weak; a face that had character and humor, but no refinement. His extempore verses were really surprising. It is easy enough to extemporize in Italian – one only wonders how, in a language in which every thing conspires to render verse-making easy, and it is difficult to avoid rhyming, this talent should be so much cried up – but in English it is another matter. I have known but one other person besides Hook, who could extemporize in English; and he wanted the confidence to do it in public. Of course, I speak of rhyming. Extempore blank verse, with a little practice, would be found as easy in English as rhyming is in Italian. In Hook the faculty was very unequivocal. He could not have been aware of all the visitors, still less of the subject of conversation when he came in, and he talked his full share till called upon; yet he ran his jokes and his verses upon us all in the easiest manner, saying something characteristic of every body, or avoiding it with a pun; and he introduced so agreeably a piece of village scandal upon which the party had been rallying Campbell, that the poet, though not unjealous of his dignity, was, perhaps, the most pleased of us all. Theodore afterward sat down to the pianoforte, and enlarging upon this subject, made an extempore parody of a modern opera, introducing sailors and their clap-traps, rustics, &c., and making the poet and his supposed flame, the hero and heroine. He parodied music as well as words, giving us the most received cadences and flourishes, and calling to mind (not without some hazard to his filial duties) the commonplaces of the pastoral songs and duets of the last half century; so that if Mr. Dignum, the Damon of Vauxhall, had been present, he would have doubted whether to take it as an affront or a compliment. Campbell certainly took the theme of the parody as a compliment; for having drank a little more wine than usual that evening, and happening to wear a wig on account of having lost his hair by a fever, he suddenly took off the wig, and dashed it at the head of the performer, exclaiming, "You dog! I'll throw my laurels at you."

Mathews, the comedian, I had the pleasure of seeing at Mr. Hill's several times, and of witnessing his imitations, which, admirable as they were on the stage, were still more so in private. His wife occasionally came with him, with her handsome eyes, and charitably made tea for us. Many years afterward I had the pleasure of seeing them at their own table; and I thought that while Time, with unusual courtesy, had spared the sweet countenance of the lady, he had given more force and interest to that of the husband in the very plowing of it up. Strong lines had been cut, and the face stood them well. I had seldom been more surprised than on coming close to Mathews on that occasion, and seeing the bust which he possessed in his gallery of his friend Liston. Some of these comic actors, like comic writers, are as unfarcical as can be imagined in their interior. The taste for humor comes to them by the force of contrast. The last time I had seen Mathews, his face appeared to me insignificant to what it was then. On the former occasion he looked like an irritable in-door pet: on the latter, he seemed to have been grappling with the world, and to have got vigor by it. His face had looked out upon the Atlantic, and said to the old waves, "Buffet on; I have seen trouble as well as you." The paralytic affection, or whatever it was, that twisted his mouth when young, had formerly appeared to be master of his face, and given it a character of indecision and alarm. It now seemed a minor thing; a twist in a piece of old oak. And what a bust was Liston's! The mouth and chin, with the throat under it, hung like an old bag; but the upper part of the head was as fine as possible. There was a speculation, a lookout, and even an elevation of character in it, as unlike the Liston on the stage, as Lear is to King Pippin. One might imagine Laberius to have had such a face.

The reasons why Mathews's imitations were still better in private than in public were, that he was more at his ease personally, more secure of his audience ("fit though few"), and able to interest them with traits of private character, which could not have been introduced on the stage. He gave, for instance, to persons who he thought could take it rightly, a picture of the manners and conversation of Sir Walter Scott, highly creditable to that celebrated person, and calculated to add regard to admiration. His commonest imitations were not superficial. Something of the mind and character of the individual was always insinuated, often with a dramatic dressing, and plenty of sauce piquante. At Sydenham he used to give us a dialogue among the actors, each of whom found fault with another for some defect or excess of his own. Kemble objecting to stiffness, Munden to grimace, and so on. His representation of Incledon was extraordinary: his nose seemed actually to become aquiline. It is a pity I can not put upon paper, as represented by Mr. Mathews, the singular gabblings of that actor, the lax and sailor-like twist of mind, with which every thing hung upon him; and his profane pieties in quoting the Bible; for which, and swearing, he seemed to have an equal reverence.

One morning, after stopping all night at this pleasant house, I was getting up to breakfast, when I heard the noise of a little boy having his face washed. Our host was a merry bachelor, and to the rosiness of a priest might, for aught I knew, have added the paternity; but I had never heard of it, and still less expected to find a child in his house. More obvious and obstreperous proofs, however, of the existence of a boy with a dirty face, could not have been met with. You heard the child crying and objecting; then the woman remonstrating; then the cries of the child snubbed and swallowed up in the hard towel; and at intervals out came his voice bubbling and deploring, and was again swallowed up. At breakfast, the child being pitied, I ventured to speak about it, and was laughing and sympathizing in perfect good faith, when Mathews came in, and I found that the little urchin was he.

Of James Smith, a fair, stout, fresh-colored man, with round features, I recollect little, except that he used to read to us trim verses, with rhymes as pat as butter. The best of his verses are in the Rejected Addresses; and they are excellent. Isaac Hawkins Browne with his Pipe of Tobacco, and all the rhyming jeux-d'esprit in all the Tracts, are extinguished in the comparison; not excepting the Probationary Odes. Mr. Fitzgerald found himself bankrupt in non sequiturs; Crabbe could hardly have known which was which, himself or his parodist; and Lord Byron confessed to me, that the summing up of his philosophy, to wit, that was very posing. Mr. Smith would sometimes repeat after dinner, with his brother Horace, an imaginary dialogue, stuffed full of incongruities, that made us roll with laughter. His ordinary verse and prose were too full of the ridicule of city pretensions. To be superior to any thing, it should not always be running in one's head.

"Naught is every thing, and every thing is naught,"

His brother Horace was delicious. Lord Byron used to say, that this epithet should be applied only to eatables; and that he wondered a friend of his (I forget who) that was critical in matters of eating, should use it in any other sense. I know not what the present usage may be in the circles, but classical authority is against his lordship, from Cicero downward; and I am content with the modern warrant of another noble wit, the famous Lord Peterborough, who, in his fine, open way, said of Fenelon, that he was such a "delicious creature, he was forced to get away from him, else he would have made him pious!" I grant there is something in the word delicious which may be said to comprise a reference to every species of pleasant taste. It is at once a quintessence and a compound; and a friend, to deserve the epithet, ought, perhaps, to be capable of delighting us as much over our wine, as on graver occasions. Fenelon himself could do this, with all his piety; or rather he could do it because his piety was of the true sort, and relished of every thing that was sweet and affectionate. A finer nature than Horace Smith's, except in the single instance of Shelley, I never met with in man; nor even in that instance, all circumstances considered, have I a right to say that those who knew him as intimately as I did the other, would not have had the same reasons to love him. Shelley himself had the highest regard for Horace Smith, as may be seen by the following verses, the initials in which the reader has here the pleasure of filling up:

"Wit and sense,
Virtue and human knowledge, all that might
Make this dull world a business of delight,
Are all combined in H. S."

Horace Smith differed with Shelley on some points; but on others, which all the world agree to praise highly, and to practice very little, he agreed so entirely, and showed unequivocally that he did agree, that, with the exception of one person (Vincent Novello), too diffident to gain such an honor from his friends, they were the only two men I had then met with, from whom I could have received and did receive advice or remonstrance with perfect comfort, because I could be sure of the unmixed motives and entire absence of self-reflection, with which it would come from them. Shelley said to me once, "I know not what Horace Smith must take me for sometimes: I am afraid he must think me a strange fellow: but is it not odd, that the only truly generous person I ever knew, who had money to be generous with, should be a stockbroker! And he writes poetry, too," continued Shelley, his voice rising in a fervor of astonishment; "he writes poetry and pastoral dramas, and yet knows how to make money, and does make it, and is still generous!" Shelley had reason to like him. Horace Smith was one of the few men, who, through a cloud of detraction, and through all that difference of conduct from the rest of the world, which naturally excites obloquy, discerned the greatness of my friend's character. Indeed, he became a witness to a very unequivocal proof of it, which I shall mention by-and-by. The mutual esteem was accordingly very great, and arose from circumstances most honorable to both parties. "I believe," said Shelley on another occasion, "that I have only to say to Horace Smith that I want a hundred pounds or two, and he would send it me without any eye to its being returned; such faith has he that I have something within me, beyond what the world supposes, and that I could only ask his money for a good purpose." And Shelley would have sent for it accordingly, if the person for whom it was intended had not said Nay. I will now mention the circumstance which first gave my friend a regard for Horace Smith. It concerns the person just mentioned, who is a man of letters. It came to Mr. Smith's knowledge, many years ago, that this person was suffering under a pecuniary trouble. He knew little of him at the time, but had met him occasionally; and he availed himself of this circumstance to write him a letter as full of delicacy and cordiality as it could hold, making it a matter of grace to accept a bank-note of £100 which he inclosed. I speak on the best authority, that of the obliged person himself; who adds that he not only did accept the money, but felt as light and happy under the obligation, as he has felt miserable under the very report of being obliged to some; and he says, that nothing could induce him to withhold his name, but a reason, which the generous, during his lifetime, would think becoming.

I have said that Horace Smith was a stockbroker. He left business with a fortune, and went to live in France, where, if he did not increase, he did not seriously diminish it; and France added to the pleasant stock of his knowledge.

On returning to England, he set about exerting himself in a manner equally creditable to his talents and interesting to the public. I would not insult either the modesty or the understanding of my friend while he was alive, by comparing him with the author of Old Mortality and Guy Mannering: but I ventured to say, and I repeat, that the earliest of his novels, Brambletye House, ran a hard race with the novel of Woodstock, and that it contained more than one character not unworthy of the best volumes of Sir Walter. I allude to the ghastly troubles of the Regicide in his lone house; the outward phlegm and merry inward malice of Winky Boss (a happy name), who gravely smoked a pipe with his mouth, and laughed with his eyes; and, above all, to the character of the princely Dutch merchant, who would cry out that he should be ruined, at seeing a few nutmegs dropped from a bag, and then go and give a thousand ducats for an antique. This is hitting the high mercantile character to a niceity – minute and careful in its means, princely in its ends. If the ultimate effect of commerce (permulti transibunt, &c.) were not something very different from what its pursuers imagine, the character would be a dangerous one to society at large, because it throws a gloss over the spirit of money-getting; but, meanwhile, nobody could paint it better, or has a greater right to recommend it, than he who has been the first to make it a handsome portrait.

The personal appearance of Horace Smith, like that of most of the individuals I have met with, was highly indicative of his character. His figure was good and manly, inclining to the robust; and his countenance extremely frank and cordial; sweet without weakness. I have been told he was irascible. If so, it must have been no common offense that could have irritated him. He had not a jot of it in his appearance.

Another set of acquaintances which I made at this time used to assemble at the hospitable table of Mr. Hunter, the bookseller, in St. Paul's Church-yard. They were the survivors of the literary party that were accustomed to dine with his predecessor, Mr. Johnson. They came, as of old, on the Friday. The most regular were Fuseli and Bonnycastle. Now and then, Godwin was present: oftener Mr. Kinnaird the magistrate, a great lover of Horace.

Fuseli was a small man, with energetic features, and a white head of hair. Our host's daughter, then a little girl, used to call him the white-headed lion. He combed his hair up from the forehead; and, as his whiskers were large, his face was set in a kind of hairy frame, which, in addition to the fierceness of his look, really gave him an aspect of that sort. Otherwise, his features were rather sharp than round. He would have looked much like an old military officer, if his face, besides its real energy, had not affected more. There was the same defect in it as in his pictures. Conscious of not having all the strength he wished, he endeavored to make out for it by violence and pretension. He carried this so far, as to look fiercer than usual when he sat for his picture. His friend and engraver, Mr. Houghton, drew an admirable likeness of him in this state of dignified extravagance. He is sitting back in his chair, leaning on his hand, but looking ready to pounce withal. His notion of repose was like that of Pistol:

"Now, Pistol, lay thy head in Furies' lap."

Agreeably to this over-wrought manner, he was reckoned, I believe, not quite so bold as he might have been. He painted horrible pictures, as children tell horrible stories; and was frightened at his own lay-figures. Yet he would hardly have talked as he did about his terrors, had he been as timid as some supposed him. With the affected, impression is the main thing, let it be produced how it may. A student of the Academy told me, that Mr. Fuseli coming in one night, when a solitary candle had been put on the floor in a corner of the room, to produce some effect or other, he said it looked "like a damned soul." This was by way of being Dantesque, as Michael Angelo was. Fuseli was an ingenious caricaturist of that master, making great bodily displays of mental energy, and being ostentatious with his limbs and muscles, in proportion as he could not draw them. A leg or an arm was to be thrust down one's throat, because he knew we should dispute the truth of it. In the indulgence of this willfulness of purpose, generated partly by impatience of study, partly by want of sufficient genius, and, no doubt, also by a sense of superiority to artists who could do nothing but draw correctly, he cared for no time, place, or circumstance, in his pictures. A set of prints, after his designs, for Shakspeare and Cowper, exhibit a chaos of mingled genius and absurdity, such as, perhaps, was never before seen. He endeavored to bring Michael Angelo's apostles and prophets, with their superhuman ponderousness of intention, into the common-places of modern life. A student reading in a garden, is all over intensity of muscle; and the quiet tea-table scene in Cowper, he has turned into a preposterous conspiracy of huge men and women, all bent on showing their thews and postures, with dresses as fantastical as their minds. One gentleman, of the existence of whose trowsers you are not aware till you see the terminating line at the ankle, is sitting and looking grim on a sofa, with his hat on and no waistcoat. Yet there is real genius in his designs for Milton, though disturbed, as usual, by strainings after the energetic. His most extraordinary mistake, after all, is said to have been on the subject of his coloring. It was a sort of livid green, like brass diseased. Yet they say, that when praised for one of his pictures, he would modestly observe, "It is a pretty color." This might have been thought a jest on his part, if remarkable stories were not told of the mistakes made by other people with regard to color. Sight seems the least agreed upon, of all the senses.

Fuseli was lively and interesting in conversation, but not without his usual faults of violence and pretension. Nor was he always as decorous as an old man ought to be; especially one whose turn of mind is not of the lighter and more pleasurable cast. The licenses he took were coarse, and had not sufficient regard to his company. Certainly they went a great deal beyond his friend Armstrong; to whose account, I believe, Fuseli's passion for swearing was laid. The poet condescended to be a great swearer, and Fuseli thought it energetic to swear like him. His friendship with Bonnycastle had something child-like and agreeable in it. They came and went away together, for years, like a couple of old schoolboys. They, also, like boys, rallied one another, and sometimes made a singular display of it – Fuseli, at least, for it was he that was the aggressor.

Bonnycastle was a good fellow. He was a tall, gaunt, long-headed man, with large features and spectacles, and a deep, internal voice, with a twang of rusticity in it; and he goggled over his plate, like a horse. I often thought that a bag of corn would have hung well on him. His laugh was equine, and showed his teeth upward at the sides. Wordsworth, who notices similar mysterious manifestations on the part of donkeys, would have thought it ominous. Bonnycastle was passionately fond of quoting Shakspeare, and telling stories; and if the Edinburgh Review had just come out, would give us all the jokes in it. He had once an hypochondriacal disorder of long duration; and he told us, that he should never forget the comfortable sensation given him one night during this disorder, by his knocking a landlord, that was insolent to him, down the man's staircase. On the strength of this piece of energy (having first ascertained that the offender was not killed) he went to bed, and had a sleep of unusual soundness. Perhaps Bonnycastle thought more highly of his talents than the amount of them strictly warranted; a mistake to which scientific men appear to be more liable than others, the universe they work in being so large, and their universality (in Bacon's sense of the word) being often so small. But the delusion was not only pardonable, but desirable, in a man so zealous in the performance of his duties, and so much of a human being to all about him, as Bonnycastle was. It was delightful one day to hear him speak with complacency of a translation which had appeared of one of his books in Arabic, and which began by saying, on the part of the translator, that "it had pleased God, for the advancement of human knowledge, to raise us up a Bonnycastle." Some of his stories were a little romantic, and no less authentic. He had an anecdote of a Scotchman, who boasted of being descended from the Admirable Crichton; in proof of which, the Scotchman said he had "a grit quantity of table-leenen in his possassion, marked A. C., Admirable Creechton."

Kinnaird, the magistrate, was a stout, sanguine man, under the middle height, with a fine, lamping black eye, lively to the last, and a person that "had increased, was increasing, and ought to have been diminished;" which is by no means what he thought of the prerogative. Next to his bottle he was fond of his Horace; and, in the intervals of business at the police-office, would enjoy both in his arm-chair. Between the vulgar calls of this kind of magistracy, and the perusal of the urbane Horace, there must have been a gusto of contradiction, which the bottle, perhaps, was required to render quite palatable. Fielding did not love his bottle the less for being obliged to lecture the drunken. Nor did his son, who succeeded him in taste and office. I know not how a former poet-laureat, Mr. Pye, managed; another man of letters who was fain to accept a situation of this kind. Having been a man of fortune and a member of Parliament, and loving his Horace to boot, he could hardly have done without his wine. I saw him once in a state of scornful indignation at being interrupted in the perusal of a manuscript by the monitions of his police-officers, who were obliged to remind him, over and over again, that he was a magistrate, and that the criminal multitude were in waiting. Every time the door opened, he threatened and he implored

"Otium divos rogat in patenti

Prensus."

Had you quoted this to Mr. Kinnaird, his eyes would have sparkled with good-fellowship: he would have finished the verse and the bottle with you, and proceeded to as many more as your head could stand. Poor fellow, the last time I saw him, he was an apparition formidably substantial. The door of our host's dining-room opened without my hearing it, and, happening to turn round, I saw a figure in a great coat literally almost as broad as it was long, and scarcely able to articulate. He was dying of a dropsy, and was obliged to revive himself, before he was fit to converse, by the wine that was killing him. But he had cares besides, and cares of no ordinary description; and, for my part, I will not blame even his wine for killing him, unless his cares could have done it more agreeably. After dinner that day, he was comparatively himself again, quoted his Horace as usual, talked of lords and courts with a relish, and begged that God save the King might be played to him on the piano-forte; to which he listened, as if his soul had taken its hat off. I believe he would have liked to die to God save the King, and to have "waked and found those visions true."

[From Colburn's New Monthly Magazine.]

ODE TO THE SUN

BY LEIGH HUNT

The main object of this poem is to impress the beautiful and animating fact, that the greatest visible agent in our universe, the Sun, is also one of the most beneficent; and thus to lead to the inference, that spiritual greatness and goodness are in like proportion, and its Maker beneficence itself, through whatever apparent inconsistencies he may work. The Sun is at once the greatest Might and Right that we behold.

A secondary intention of the poem is to admonish the carelessness with which people in general regard the divinest wonders of the creation, in consequence of being used to their society – this great and glorious mystery, the Sun, not excepted. "Familiarity," it is said, "breeds contempt." To which somebody emphatically added, "With the contemptible." I am far from meaning to say that all who behold the Sun with too little thought are contemptible. Habit does strange things, even with the most reflecting. But of this I am sure, that in proportion as any body wishes to prove himself worthy of his familiarity with great objects, he will not be sorry to be reminded of their greatness, especially as reverence need not diminish delight; for a heavenly "Father" can no more desire the admiration of him to be oppressive to us, than an earthly one; else fatherliness would be unfatherly, and sunshine itself a gloom.

When the Florentines crowded to some lectures of Galileo, because they were on a comet which had just made its appearance, the philosopher was bold enough to rebuke them for showing such a childish desire to hear him on this particular subject, when they were in the habit of neglecting the marvels of creation which daily presented themselves to their eyes.

ODE TO THE SUN

Presence divine! Great lord of this our sphere!
Bringer of light, and life, and joy, and beauty —
God midst a million gods, that far and near
Hold each his orbs in rounds of rapturous duty;[1 - Rapturous– transporting, carrying away. The reader can take the word either in its spiritual or material sense, or both; according as he agrees or disagrees with Keppler and others respecting the nature of the planetary bodies.]
Oh, never may I, while I lift this brow,
Believe in any god less like a god than thou.

Thou art the mightiest of all things we see,
And thou, the mightiest, art among the kindest;
The planets, dreadfully and easily,
About thee, as in sacred sport, thou windest;
And thine illustrious hands, for all that power,
Light soft on the babe's cheek, and nurse the budding flower.

They say that in thine orb is movement dire,
Tempest and flame, as on a million oceans:
Well may it be, thou heart of heavenly fire;
Such looks and smiles befit a god's emotions,
We know thee gentle in the midst of all,
By those smooth orbs in heaven, this sweet fruit on the wall.

I feel thee, here, myself, soft on my hand;
Around me is thy mute, celestial presence,
Reverence and awe would make me fear to stand
Within thy beam, were not all Good its essence:
Were not all Good its essence, and from thence
All good, glad heart deriv'd, and child-like confidence.

I know that there is Fear, and Grief, and Pain,