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did interest and vulgar enjoyment, are totally unfurnished with faculties for the perception of poetical beauty. But shall we deny that the cowslip and violet possess a vivid colour and sweet fragrance, because the ox who fattens in the meadow tramples over them without perceiving either their hues or their odors ? The taste of mankind, from China to Peru, powerfully militates against the few and narrow-minded despisers of Poetry.
Young minds, indeed, have commonly a taste for Verse. Unseduced by the love of money, and unhacknied in the ways of vice, they are, it is true, pleased with simple nature and real fact, though unembellished; because all objects with them have the grace of novelty: but they are transported with the charms of Poetry, where the sunshine of fancy diffuses over every subject the fine gloss, the rich coloring, of beautiful imagery and language. “ Nature” (to cite Sir Philip Sydney again)“ never set
“ never set forth the earth in so rich tapestry as divers “poets have done, neither with so pleasant rivers, fruitful trees, sweet smelling « flowers, nor whatsoever may make the earth more lovely. The world is a “ brazen world—the poets only deliver a GOLDEN; which whoever dislike, “ the fault is in their judgement, quite out of taste, and not in the sweet food of
It will be readily acknowledged, that ideas and precepts of all kinds, whether of morality or science, make a deeper impression when recommended by the vivacity, the colouring, the melody of poetical language. And what is thus deeply impressed will also long remain ; for metre and rhyme naturally catch hold of the memory, as the tendrils of the vine cling round the branches of the elm.
Orpheus and Linus are recorded, in fable, to have drawn the minds of savage men to knowledge, and to have polished human nature by Poetry. And are not children in the state of nature ? And is it not probable that Poetry may be the best instrument to operate on them, as it was found to be on nations in the savage state ? Since, according to the mythological wisdom of the antients, Amphion moved stones, and Orpheus brutes, by music and verse, is it not reasonable to believe, that minds which are dull, and even brutally insensible, may be penetrated, sharpened, softened, and vivified, by the warm influence of fine Poetry?
But it is really superfluous to expatiate either on the delight or the utility of Poetry. The subject has been exhausted; and, whatever a few men of little taste and feeling, or of minds entirely sordid and secular, may object, such are the charms of the Goddess, such her powerful influence over the heart of man, that she will never want voluntary votaries at her shrine. The Author of Nature has kindly implanted in man a love of Poetry, to solace him under the labours and sorrows of life. A great part of the Scriptures is poetry and verse.
The wise son of Sirach enumerates, among the most honorable of mankind, such AS FOUND OUT MUSICAL TUNES, AND RECITED VERSES IN WRITING.
With respect to this Compilation, the principal subject of this Preface (but from which I have been seduced into a digression, by giving my suffrage in favour of the art I love)--if I should be asked what are it's pretensions, I must freely answer that it professes nothing more than (what is evident at first sight) to be a larger Collection of English Verse, FOR THE USE OF SCHOOLS, than has ever yet been published in ONE VOLUME. The original intention was to comprise in it a great number and variety of such pieces as were already in use in schools, or which seemed proper for the use of them; such a number and variety as might furnish something satisfactory to every taste, and serve as a little Poetical Library for school-boys, precluding the inconvenience and expence of a multitude of volumes.
Such was the design of the Publication. The Editor can claim no praise beyond that of the design. The praise of ingenuity is all due to the Poets whose works have supplied the materials. What merit can there be in directing a famous and popular passage to be inserted from Shakspeare, Milton, Pope, Gray, and many others of less fame, indeed, but in great ésteem, and all of allowed genius? Their own lustre pointed them out, like stars of the first magnitude in the heavens. There was no occasion for singular acuteness of vision, or for optical glasses, to discover a brightness which obtruded itself on the eye. The best pieces are usually the most popular. They are loudly recommended by the voice of Fame; and her eulogy, when long continued, becomes an infallible guidance.
Utility and innocent entertainment are the sole designs of the Editor; and if they are accomplished, he is satisfied, and cheerfully falls back into the shade of obscurity. He is confident that the Book cannot but be useful and entertaining; but he is at the same time so little inclined to boast of his work, that he is ready to confess, that almost any man willing to incur a considerable expence, and undergo a little trouble, might have furnished as good a collection.
As taste will for ever differ, some may wish to have seen in it passages from some favourite, yet obscure poet, and some also from their own works; but it was the business of the Editor of a school-book like this, not to insert scarce and curious works, such as please virtuoso readers, chiefly from their rarity, but to collect such as were publicly known and universally celebrated. The more known, the more celebrated, the better they were adapted to this Collection; which is not designed, like the lessons of some dancing-masters, for grown gentlomen, but for young learners only; and it will readily occur to every one, that what is old to men and women, may be, and for the most part must be, new to boys and girls receiving their education. Private judgement, in a work like this, must often give way to public. Some things are inserted in this Volume, entirely in submissive deference to public opinion; which, when general and long con,, tinued, is the best criterion of merit in the fine arts, and particularly in Poetry. Whatever was found in previous collections, which experience had pronounced proper for schools, has been freely taken and admitted: the stamp of experience gave it currency. The freedom of borrowing, it is hoped, will be pardoned, as the collectors, with whom it has been used, first set the example of it.
It is unnecessary, and perhaps might be deemed impertinent, to point out the mode of using the Collection to the best advantage. It is evident that it may be used in schools either in recitation, transcription, the exercise of the memory, or in imitation. It furnishes an abundance of models, which are the best means of exciting genius. Such Arts of Poetry as those of Gildon, Bysshe, Newbery, and their imitators, effect but little in the dry method of technical precept; and the young Poet, like the Sculptor, will improve most by working after a model. It is evident that this Collection may be usefully read at English Schools, in the classes, just as the Latin and Greek authors are read at the grammar-schools by explaining every thing grammatically, historically, metrically, and critically, and then giving a portion to be learned by memory. The Book, it is hoped, will be particularly agreeable and useful in the private studies of the amiable young student, whose first love is the love of the Muse, and who courts her in his summer's walk, and in the solitude of his winter retreat, or at the social and domestic fire-side.
In the latter part many little pieces are admitted, mere lusus poetici, chiefly for the diversion of the student, which almost require an apology. They are, it must be confessed, no more than flowerets at the bottom of Parnassus; but it is hoped, that their admission will be approved, as they may gradually lead the scholar to ascend higher up the hill, who might have been deterred from approaching it, if he had seen nothing, in the whole prospect, but the sublime, the solemn, and the sombrous.
The reader will have no cause to complain, if, instead of Extracts, he often finds poems inserted entire. This has been done whenever it seemed consistent with the design, and could be done without injustice. In this matter, the opinion of those who must be supposed best qualified to give it, was asked and followed. The wish was to take nothing but what seemed to lie on the common, relinquished or neglected by the lord of the manor.
Though the Book is divided into Four Parts, yet the formality of regular and systematical arrangement of the component pieces, has not been observed. Such compilations as these have not unfrequently been called garlands and nosegays : but in a garland or nosegay, who would place the tulips, the lilies, the pinks, and the roses in separate compartments? In a disposition so artificial, their beauty and fragrance would be less pleasing than if they were carelessly mingled with all the ease and wildness of natural variety. I hope the analogy will hold: if not, I must throw myself in this, as I do in all other circumstances of this Publication, upon my Reader's indulgence. I expect not praise; but I confide in receiving pardon.
Perhaps the Reader will be the more inclined to extend it towards me, if I do not weary him with apologies. I will then conclude my preface with the ideas of Montaigne :-" I have here only made a nosegay of culled flowers, and have “ brought nothing of my own but the thread that ties them."
Psalm 4th- Psalın 5th-Psalm 6th Merrick 4 The Fire Side
VISIONS for the Entertainment and Instruction
of Younger Minds, by Dr. Cotton.