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Poetical Works of Akenside by Mark Akenside

M >> Mark Akenside >> Poetical Works of Akenside

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See next what plagues attend the lover's state,
What frightful forms of Terror, Scorn, and Hate!
See burning Fury heaven and earth defy!
See dumb Despair in icy fetters lie!
See black Suspicion bend his gloomy brow,
The hideous image of himself to view!
And fond Belief, with all a lover's flame,
Sink in those arms that point his head with shame! 40
There wan Dejection, faltering as he goes,
In shades and silence vainly seeks repose;
Musing through pathless wilds, consumes the day,
Then lost in darkness weeps the hours away.
Here the gay crowd of Luxury advance,
Some touch the lyre, and others urge the dance:
On every head the rosy garland glows,
In every hand the golden goblet flows.
The Syren views them with exulting eyes,
And laughs at bashful Virtue as she flies. 50
But see behind, where Scorn and Want appear,
The grave remonstrance and the witty sneer;
See fell Remorse in action, prompt to dart
Her snaky poison through the conscious heart;
And Sloth to cancel, with oblivious shame,
The fair memorial of recording Fame.

Are these delights that one would wish to gain?
Is this the Elysium of a sober brain?
To wait for happiness in female smiles,
Bear all her scorn, be caught with all her wiles, 60
With prayers, with bribes, with lies, her pity crave,
Bless her hard bonds, and boast to be her slave;
To feel, for trifles, a distracting train
Of hopes and terrors equally in vain;
This hour to tremble, and the next to glow;
Can Pride, can Sense, can Reason, stoop so low:
When Virtue, at an easier price, displays
The sacred wreaths of honourable praise;
When Wisdom utters her divine decree,
To laugh at pompous Folly, and be free? 70

I bid adieu, then, to these woeful scenes;
I bid adieu to all the sex of queens;
Adieu to every suffering, simple soul,
That lets a woman's will his ease control.
There laugh, ye witty; and rebuke, ye grave!
For me, I scorn to boast that I'm a slave.
I bid the whining brotherhood be gone;
Joy to my heart! my wishes are my own!
Farewell the female heaven, the female hell;
To the great God of Love a glad farewell. 80
Is this the triumph of thy awful name?
Are these the splendid hopes that urged thy aim,
When first my bosom own'd thy haughty sway?
When thus Minerva heard thee, boasting, say--
'Go, martial maid, elsewhere thy arts employ,
Nor hope to shelter that devoted boy.
Go teach the solemn sons of Care and Age,
The pensive statesman, and the midnight sage;
The young with me must other lessons prove,
Youth calls for Pleasure, Pleasure calls for Love. 90
Behold, his heart thy grave advice disdains;
Behold, I bind him in eternal chains.'--
Alas! great Love, how idle was the boast!
Thy chains are broken, and thy lessons lost;
Thy wilful rage has tired my suffering heart,
And passion, reason, forced thee to depart.
But wherefore dost thou linger on thy way?
Why vainly search for some pretence to stay,
When crowds of vassals court thy pleasing yoke,
And countless victims bow them to the stroke? 100
Lo! round thy shrine a thousand youths advance,
Warm with the gentle ardours of romance;
Each longs to assert thy cause with feats of arms,
And make the world confess Dulcinea's charms.
Ten thousand girls with flowery chaplets crown'd,
To groves and streams thy tender triumph sound:
Each bids the stream in murmurs speak her flame,
Each calls the grove to sigh her shepherd's name.
But, if thy pride such easy honour scorn,
If nobler trophies must thy toil adorn, 110
Behold yon flowery antiquated maid
Bright in the bloom of threescore years display'd;
Her shalt thou bind in thy delightful chains,
And thrill with gentle pangs her wither'd veins,
Her frosty cheek with crimson blushes dye,
With dreams of rapture melt her maudlin eye.

Turn then thy labours to the servile crowd,
Entice the wary, and control the proud;
Make the sad miser his best gains forego,
The solemn statesman sigh to be a beau, 120
The bold coquette with fondest passion burn,
The Bacchanalian o'er his bottle mourn;
And that chief glory of thy power maintain,
'To poise ambition in a female brain.'
Be these thy triumphs; but no more presume
That my rebellious heart will yield thee room:
I know thy puny force, thy simple wiles;
I break triumphant through thy flimsy toils;
I see thy dying lamp's last languid glow,
Thy arrows blunted and unbraced thy bow. 130
I feel diviner fires my breast inflame,
To active science, and ingenuous fame;
Resume the paths my earliest choice began,
And lose, with pride, the lover in the man.





TO CORDELIA.

JULY 1740.

1 From pompous life's dull masquerade,
From Pride's pursuits, and Passion's war,
Far, my Cordelia, very far,
To thee and me may Heaven assign
The silent pleasures of the shade,
The joys of peace, unenvied, though divine!

2 Safe in the calm embowering grove,
As thy own lovely brow serene;
Behold the world's fantastic scene!
What low pursuits employ the great,
What tinsel things their wishes move,
The forms of Fashion, and the toys of State.

3 In vain are all Contentment's charms,
Her placid mien, her cheerful eye,
For look, Cordelia, how they fly!
Allured by Power, Applause, or Gain,
They fly her kind protecting arms;
Ah, blind to pleasure, and in love with pain!

4 Turn, and indulge a fairer view,
Smile on the joys which here conspire;
O joys harmonious as my lyre!
O prospect of enchanting things,
As ever slumbering poet knew,
When Love and Fancy wrapt him in their wings!

5 Here, no rude storm of Passion blows,
But Sports and Smiles, and Virtues play,
Cheer'd by Affection's purest ray;
The air still breathes Contentment's balm,
And the clear stream of Pleasure flows
For ever active, yet for ever calm.





SONG.

1 The shape alone let others prize,
The features of the fair;
I look for spirit in her eyes,
And meaning in her air;

2 A damask cheek, an ivory arm,
Shall ne'er my wishes win:
Give me an animated form,
That speaks a mind within;

3 A face where awful honour shines,
Where sense and sweetness move,
And angel innocence refines
The tenderness of love.

4 These are the soul of Beauty's frame;
Without whose vital aid,
Unfinish'd all her features seem,
And all her roses dead.

5 But, ah! where both their charms unite,
How perfect is the view,
With every image of delight,
With graces ever new:

6 Of power to charm the greatest woe,
The wildest rage control,
Diffusing mildness o'er the brow,
And rapture through the soul.

7 Their power but faintly to express,
All language must despair;
But go, behold Arpasia's face,
And read it perfect there.



END OF AKENSIDE'S POETICAL WORKS.






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Return to the Hundred Acre Wood by author David Benedictus picks up from the poignant ending of Milne's last Pooh book, The House at Pooh Corner, in which Christopher Robin is growing up and heading away to school. "Pooh, promise you won't forget about me, ever. Not even when I'm a hundred," he tells the bear, and they leave together.

The estates of Milne and EH Shepard, who provided the simple but enduring illustrations for the books, said they had been searching for a sequel that would do justice to the original stories for "a good many years".

Although Disney has franchised the characters in a number of films, there has not previously been an authorised literary sequel to Milne's books, Winnie-the-Pooh and The House at Pooh Corner, first published in 1926 and 1928. Milne wrote the books for his son Christopher Robin, naming Pooh after his teddy bear.

The sequel, to be published by Egmont Publishing in Britain and Penguin imprint Dutton Children's Books in the US, is due out on 5 October, illustrated by Mark Burgess. Benedictus, who is familiar with the world of Winnie the Pooh after adapting and producing audio versions of the books starring Judi Dench, Stephen Fry and Jane Horrocks, did not reveal any more details, but promised that the book would both "complement and maintain Milne's idea that whatever happens, a little boy and his bear will always be playing".

Michael Brown, chairman of Pooh Properties, which manages the affairs of the Milne and Shepard estates, said the sequel would capture "the spirit and quality" of the original books.

Benedictus said all Milne's well-loved characters, from Tigger to Eeyore, would be making an appearance in his sequel, which features 10 stories and around 150 illustrations. The stories retain their original 1920s setting.

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One might say that Margarete Buber-Neumann had a charmed life, had it not been so horrible. She was fortunate - if that is the word - to be sent to a Soviet labour camp in 1939, during a momentary lull in the mass shooting of prisoners. Handed over to the Nazis in 1940, she was similarly lucky to be released from an SS concentration camp in 1945, just days before the remaining prisoners were forced on evacuation marches ending in death. It is a measure of the dismal times she lived through that such events marked her as fortunate, and it is a testament to her skill as a writer that this thoughtful, humane memoir (published in English in 1949) became an international bestseller. From the very first page we are with her, scurrying through Moscow surrounded by images of Stalin. We accompany her throughout the gruelling years ahead, encountering a host of characters, good and bad, and share in her dogged attempt to make sense of the madness of totalitarianism. This revised text is the definitive edition.

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