reasonable to request your attention, while I endeavour to investigate, with some degree of accuracy, the nature and composition of this poem. The poet treats, though in no common manner, two common topics, and those the best adapted to the genuine elegy; that I mean which was employed in the celebration of the funeral rites; he expresses his own sorrow; and he celebrates the praises of the deceased. Both sentiments are displayed in the exordium; but, as might naturally be expected, sorrow is predominant, and bursts forth with the impetuosity of exclamation: "The glory of Israel is slain on the high places : "How are the mighty fallen !" Grief is of a timid and suspicious temper; and always ready at inventing causes for self-torment; easily offended by neglect, and utterly impatient of ridicule or contempt: 66 They heard that I sighed, for there was none to comfort me : "All mine enemies have heard of my calamity, and rejoiced that thou inflictedst it." So Jerusalem complains in Jeremiah, exaggerating in the strongest terms her own misfortunes. Our poet feels and expresses himself in almost the same manner : "Declare it not in Gath, "Publish it not in the streets of Ascalon; "Lest the daughters of the uncircumcised triumph." A book of songs; in another place he himself explains it by a word expressive of Hymns. I, however, agree in opinion with those, who suppose this Lamentation originally to have borne the title of Keshet (a bow) either in memory of the slaughter made by the archers of the enemy, or from the bow of Jonathan, of which particular mention is made verse 22. The LXX seem to have favoured this opinion. "Koss, or rather kos, signifies in Arabic to measure, as is remarked by "the learned Michaelis: but I do not remember an instance of this word "being used to signify poetic measure (or metre)." H. Author's Note. 11 LAM. i. 21. The same passion is also sullen and querulous, wayward and peevish, unable to restrain its impatience, and firing at every thing that opposes it. "Would! ne'er that in "the Pelian grove"-says one of the characters in the Medea of Ennius. On another occasion we find a person inveighing against the innocent mountain: "Alas! Betrayer, barren and accurst! "What men, what heroes hast thou not destroyed? « Their noble birth by noblest acts proclaim'd."13 Our poet is not more temperate : "O mountains of Gilboa, let there be no dew nor rain upon you!" If these passages were brought before the severe tribunal of reason, nothing could appear more absurd; but if examined by the criterion of the passions, nothing can be more consonant to nature, more beautiful or emphatic. Not to refer effects to their real causes is in logic an imperfection, but in poetry often a beauty; the appeal in the one case is to reason, in the other to the passions. When sorrow has had sufficient vent, there is leisure to expatiate on the accomplishments of the dead. In the first place they are celebrated for their virtue and heroic actions; next for their piety and mutual affection; and lastly for their agility and strength. Saul is honoured with a particular panegyric, because he had enriched his people, and contributed to the general felicity and splendour of the state. This passage, by the way, is most exquisite composition: the women of Israel are most happily introduced, and the subject of the encomium is admirably adapted to the female characters." 13 CICERO. De Fato. See EURIPIDES, Medea, ver. 1. 13 Scolion apud ATHENEUM, lib. xv. See EUSTATHIUS ad Iliad A. 171. Edit. ALEX. POLITI Florentiæ, and HERODOT. Terpsichore, 63, 64. 14" Ye daughters of Israel, weep over Saul," &c. The following passage bears no remote resemblance to this of the sacred Jonathan is at last celebrated in a distinct eulogium, which is beautifully pathetic, is animated with all the fervour, and sweetened with all the tenderness of friendship. I should have made some particular observations on the intercalary period or epode inserted in the Psalm which was lately under our consideration, but that I was aware an opportunity would again present itself during the examination of this poem. This recurrence of the same idea is perfectly congenial to the nature of elegy; since grief is fond of dwelling upon the particular objects of the passion, and frequently repeating them. There is something singular, however, in the intercalary period which occurs in this poem, for it does not regularly assume the same form of words, as is the case in general, but appears with a little variation. It is three times introduced, beautifully diversified in the order and diction: it forms part of the exordium, as well as of the conclusion, and is once inserted in the body of the poem. Another observation, though it merit no higher title writer, and I think comes nearer it in sublimity than any thing I have observed in modern poetry : "Ye, who erewhile for Cook's illustrious brow Miss SEWARD'S Elegy on Captain Cook. A nice ear will discern something peculiar in the structure of the third and fifth lines of this quotation. Each of these lines, in fact, begins with a trochaic, followed by spondces, which, from its abruptness and energy, is admirably adapted to the expression of sorrow: Hung the gay garlands, &c. Strike the slow death-bell, &c. In this short elegy specimens may be found of almost every poetical beauty and excellence. T. than a conjecture, I do not hesitate to submit to your consideration. There appears to be something singular in the versification of this elegy, and a very free use of different metres. It neither consists altogether of the long verses, nor yet of the short ones (which are the most usual in the poetry of the Hebrews;) but rather of a very artful and happy mixture of both, so that the concise and pointed parallelism serves to correct the languor and diffuseness of the elegiac verse: and this form of versification takes place also in some of the Psalms. Certainly there is a great appearance of art and design in this nice and poetical conformation of the periods: and that no grace or elegance should be wanting to this poem, it is no less remarkable for the general beauty, splendour, and perspicuity of the style. To do complete justice to the economy of this excellent production, it is absolutely necessary to exhibit it in an entire state. Not to tire you therefore with a repetition of the verbal translation, I have endeavoured to express the general sentiments and imagery in elegiac numbers. Thy glory, Israel, droops its languid head, On Gilboa's heights thy rising beauty dies; And rude barbarians blast fair Israel's fame. No more, O Gilboa! heavens reviving dew For there the blood of heaven's elect was shed. The shaft of Jonathan brought low the brave; In life united equal fates they share, In death united share one common grave. Swift as the eagle cleaves the aerial way, Through hosts of foes they bent their rapid course; Strong as the lion darts upon his prey, They crush'd the nations with resistless force. Daughters of Judah, mourn the fatal day, In sable grief attend your monarch's urn; To solemn notes attune the pensive lay, And weep those joys that never shall return : With various wealth he made your tents o'erflow, In princely pride your charms profusely dress'd; Bade the rich robe with ardent purple glow, And sparkling gems adorn the tissued vest. On Gilboa's heights the mighty vanquish'd lies, The son of Saul, the generous and the just; Let streaming sorrows ever fill these eyes, Let sacred tears bedew a brother's dust! Thy firm regard rever'd thy David's name, And kindest thoughts in kindest acts express'd; And war's refulgent weapons strew the ground. |