The English Ode from Milton to Keats 9780231893688

Table of contents :
Foreword
Contents
I. Introduction
2. The Ode Prior to John Milton
3. Milton and the Metaphysical Poets
4. Crashaw, Cowley, and the Pindaric Ode
5. John Dryden and the Restoration
6. Ode Writers of the Augustan Age
7. Collins, Gray, and the Return of the Imagination
8. Lesser Ode Writers and the Romantic Trend
9. The Ode and the Blue Flower
10. Conclusion
Index

Citation preview

The English Ode from M I L T O N to K E A T S NUMBER

1 5 0 OF T H E

COLUMBIA

U N I V E R S I T Y STUDIES IN AND

COMPARATIVE

ENGLISH

LITERATURE

The English Ode from

M I L T O N to KEATS By G E O R G E N. S H U S T E R

COLUMBIA UNIVERSITY

PRESS

tN^ew York • When Traherne uses elaborate measures, as in " M y Spirit," he bogs down under the weight. Joseph Beaumont is a lesser Herbert, whose metrical schemata are often quaint, sometimes pleasing, and occasionally outrageous. But his are mystical, gnomic poems, usually built round philosophical conceits more naive than those of Herbert and frequently quite startling. 96 Then there was Edward Benlowes, friend of Phineas Fletcher and deviser of the most Gargantuan exaggerations known even to his time. H e introduced into Theophila's Love-Sacrifice a nine-stanza lyric preceded by an invocation to the Virgin, one line of which reads: 93 For texts of the poems named, see The Poetical Works of Thomas Traherne, edited by G l a d y s I. W a d e (London, 1 9 3 2 ) . 94 T r a h e r n e was " w e l l acquainted with the writings of Herbert ,but w a s not influenced by them. . . . It is likely enough that he owed something to Donne." Ibid., pp. l x x v i - l x x v i i . T h i s judgment appears more absolute than is w a r ranted. 05 Ibid., pp. 2 2 3 - 2 5 . T h e pattern here is 454SS24.1. On J o h n Dowland, see The Poetical Decameron, or Ten Conversations on English Poets and Poetry, by J . Payne Collier (London, 1 8 2 0 ) , I, 1 6 1 . 88 See The Minor Poems of Joseph Beaumont, edited by E . Robinson (Boston, 1 9 1 4 ) .

Milton and the Metaphysical Poets F o r whose surpassing splendour I this ode designed.

89

97

Benlowes's stanza is a kind of terza rima, which a goodly number of seventeenth-century poets affected, Lovelace being an example. 98 T o some extent the "metaphysicals" were doubtless victims of their time; but on the other hand they contributed to it the virtue of creative ferment. Dr. Johnson said they "were men of learning, and to show their learning was their whole end e a v o r . " 00 I t might have been more judicious to say that they were men who had reached the point where learning was no longer a self-sufficient realm. F o r were they not—as we moderns are in a position to surmise—am Ende der Philosophic? Donne seldom makes a mere display of his erudition, being at his best eager to show that in all truly serious duels (such as the duel between the body and the soul) the intellect is slain with its own rapier. But as in every other period when the serviceability of humanistic convention is denied, the bizarre soon became a mere stylistic convenience. Nominalism infected what had at first been a logical quest pursued with ardor and intellectual conviction. One may say, therefore, that much was given the English ode by the "metaphysicals" but that not all the largesse was gold. N o t a little of what they gave is reflected in the books of secular poetry which graced the Caroline period. Few of these are of direct concern to the historian of the ode, except in so f a r as Waller and Herrick illustrate changing conceptions of the relationship between music and verse. Thus Waller, 97

See Saintsbury, Caroline Poets, I, 377. Benlowes also employs the term "Poetic Descant," suggesting C r a s h a w . For his association with Fletcher, see Phineas Fletcher, by A b r a m Barnett Langdale (New York, 1 9 3 7 ) , pp. 89 ff., where the friendship with Quorles is also indicated. 98 One of the finest examples is Rochester's "On Nothing," the text of which is in English Odes, by Edmund Gosse (New York, 1 8 8 1 ) , p. 77. T h e r e are earlier examples, one being Sidney's translation of Horace's "Rectius v i v e s , " in his Complete Works, II, 307. 99 Johnson's Lives of the Poets, edited by Arthur Waugh (London, 1896), I, 27-

9o

Milton

and the Metaphysical

Poets

though a representative Latinist, left H o r a t i a n

f o r m s un-

used, h o w e v e r g r e a t l y he m a y h a v e profited b y the

Sermones

a n d the E p i s t l e s . H e clung to t h e p a t t e r n s of E n g l i s h s o n g t r a d i t i o n in a time w h e n ancient practice w a s g i v i n g w a y t o the impact o f new t h e o r y . " P u e r p e r i u m "

100

is a n o t o r i o u s in-

stance o f the ditty w r i t t e n to fit a m e l o d y s e e m i n g l y u n w i l l i n g to mate with verse. B u t R i c h a r d L o v e l a c e , w h o s e Lucasta

a p p e a r e d in

1649

and w h o s e r e p u t a t i o n as an " e l e g a n t p o e t " is a t t e s t e d t o b y the e a g e r n e s s w i t h w h i c h the c o m p o s e r s of C h a r l e s I ' s t i m e set his v e r s e to music, 1 0 1 is an illustration of the c o m p l e x c h a r a c t e r o f seventeenth-century poetic d e v e l o p m e n t . I f it be true t h a t L o v e l a c e w a s a m o n g the g a y b l a d e s w h o f r e q u e n t e d F l e e c e T a v e r n f o r the s a k e of its w i t t y and p e r h a p s dissolute conv e r s a t i o n , 1 0 - he k e e p s his v e r s e u n s p o t t e d by s h a d o w s f r o m t h a t institution, t h o u g h he d o e s seem t o illustrate m o r e fuls o m e l y t h a n anyone else the v a r i o u s f o r m a t i v e influences t o w h i c h a w r i t e r o f t h a t time w a s subjected. In g e n e r a l L o v e lace m a k e s n o clear distinction b e t w e e n " s o n g " and " s o n n e t . " In both instances he uses v a r i a t i o n s o f a f a m i l i a r s o n g b o o k s t a n z a , t h o u g h the " s o n n e t s " a r e r e l a t i v e l y b r i e f . T h e p a t t e r n m a y be, f o r e x a m p l e , 54335335

r h y m i n g aabbccdd.

W h e n he

w r i t e s o d e s L o v e l a c e seems, h o w e v e r , to f a v o r a q u a t r a i n s t a n z a , the reason b e i n g ( o n e surmises) H o r a t i a n e x a m p l e . A t all events, the " O d e Set by D r . J o h n W i l s o n "

103

suggests

the r h y t h m i c a l ideal w h i c h w e h a v e seen exemplified in F a n s h a w e and M a r v e l l : S e e ! Rosie is her B o w e r , H e r floore is all this F l o w e r ; C h a l m e r s , V I I , 1 - 8 4 . See S a i n t s b u r y , English Prosody, II, 284. See The Cavalier Spirit, by C y r i l H u g h e s H a r t m a n n ( L o n d o n , 1 9 2 5 ) . A m o n g those w h o c o m p o s e d settings f o r his lyrics w e r e D r . J o h n W i l s o n , John G a m b l e , W i l l i a m L a w e s , and John L a n i e r e . 102 Ibid., pp. 61-63. 103 The Poems of Richard Lovelace, edited by C . H. W i l k i n s o n ( O x f o r d , 1920), p. 23. 100

101

Milton and the Metaphysical

Poets

91

Her bed a Rosie next B y a B e d of Roses prest.

H e r e there are couplet rhymes, but the "Lucasta, T a k i n g the W a t e r s at T u n b r i d g e " 1,14 ode uses an abab scheme. A p p a r ently one may, therefore, suggest that Lovelace was unaffected by the Pindarizing experiments of Jonson. H e would seem to have clung to the Elizabethan song tradition (with many another gentleman poet f o r company) and to have modeled his departures from this practice upon Horace. Y e t hardly has one ventured to express this opinion than arguments against it begin to appear. T h e fact that in Lucasta Lovelace also writes songs in quatrain stanzas is not to the point, since he employs f o r this purpose a four-line measure common in the songbooks. N o r is it significant that the " e p o d e s " are in variable meter. 1 0 5 W h a t is of importance is the fact that the volume also contains two odes in terza rima, which points to a model of a wholly different kind. 1 0 6 It was probably Thomas Stanley who introduced this form into ode writing. 1 0 7 H e did not designate any of his printed poems in this measure an " o d e " ; and one may assume, perhaps, that Lovelace came by that word through conversation with his friend. In Posthume Poems, moreover, there are two odes in the genuine Jonsonian stanza. It is of interest to compare one of t h e s e — " L o v e Inthron'd" 1 0 8 —with the "sonnet" de1114

Ibid., p. 53.

"Lucasta's World. Epode" is irregular, while " T o Lucasta from P r i s o n " is written in quatrains. Ibid., pp. 89, 48. 100 108

Ibid., pp. 95, 105. Ibid., p. 127. T h e

107

Tide infra, p. 96.

other ode (p. 1 5 6 ) is entitled " O d e " and employs a

very curious stanza: T h a t strange force on the ignoble hath renown, A s Aurum Fulminans, it blows Vice d o w n ; ' T w e r e better (heavy one) to crawl Forgot, then raised, trod on fall, All your defections now A r e not writ on your brow. Odes to fault g i v e A shame, must live.

92

Milton

and the Metaphysical

Poets

scribed above. T h e meter is 44443345; the rhyme scheme, ababccdd. The difference in effect is manifest at once and testifies to the progress Lovelace was plainly making in the art of verse when adventure and hardship cut short his career. H e cannot be termed a great poet on the basis of the work he completed, but there is hardly another writer of Lovelace's time who seems to have responded so aptly to diverse artistic suggestion. In summing up the findings of this chapter, one may say that in two respects the ode had been carried beyond Jonson. First, there was a notable enrichment of form, due less to any immediate, slavish imitation of classical models than to the impact, upon the bonds of verse, of deeply felt, exalted emotions. Historically every revival of Platonism, whether that be consciously entertained or unwittingly shared, tends to blur the sharp outlines of art molds. Second, the sincere religious emotions of poets as great as Milton and Herbert gave the new writing that was emerging from the chrysalis of the postElizabethan time a zest for spacious and intellectually impassioned expression. The English ode would come into its own. W h e n a f a t mist w e v i e w , w e c o u g h i n g run. But that once Meteor d r a w n , all cry, undone. A p a r t f r o m the use of the word "ode" in this s t r a n g e s t of L o v e l a c e ' s i r r e g u l a r stanzas, the p a s s a g e is interesting because it shows the c u r i o u i possibilities latent in seventeenth-century diction. W h e r e could one find a stanza that so m a r k e d l y f o r e s h a d o w s Father H o p k i n s ?

C H A P T E R

FOUR:

Q r C l S h a W j

Q o w l e y J

and the Pindaric Ode

T

HE POETS of w h o m this c h a p t e r is to t r e a t w e r e M i l ton's c o n t e m p o r a r i e s . M i l t o n ' s Poems of 1 6 4 5 w e r e f o l l o w e d the next y e a r by C r a s h a w ' s Steps to the Temple; and still a y e a r l a t e r , C o w l e y ' s Mistress m a d e its b o w t o the public. C r a s h a w m a t r i c u l a t e d at C a m b r i d g e in 1 6 3 2 , the y e a r M i l t o n l e f t ; a n d f o u r y e a r s l a t e r , the precocious C o w l e y w a s musing a l o n g the banks of the C a m . A n d y e t it m a y well seem as if an epoch l a y between M i l t o n and the o t h e r s . H i s w o r k is a s u m m i n g u p — a final rich c o d a — o f the R e n a i s s a n c e . T h e i r v e r s e is borne along upon the b a r o q u e tide, that strange o u t p o u r i n g of an e n e r g y h a l f - a r t i s t i c a n d h a l f - m e t a p h y s i c a l , which sometimes l e a v e s the spectator willing to believe that the G o t h i c impulse w a s m a k i n g a d e s p e r a t e and b e l a t e d e f f o r t to b r e a k t h r o u g h the disciplined s y m m e t r y of the neoclassical f o r m s . C o w l e y and C r a s h a w are m e d i e v a l ists, they a r e classicists, and they a r e h a r b i n g e r s of m o d e r n i t y . T o us it m a t t e r s most that they assured the longevity of the E n g l i s h ode. L i k e Spenser, R i c h a r d C r a s h a w w a s suspended h a l f w a y between religion and aesthetic. P e r h a p s the bridge between the t w o w a s supplied by music, which the poet o f t e n p r a i s e d . 1 O n e of his ablest recent critics, R u t h W a l l e r s t e i n , believes 2 as a 1

Chalmers' " L i f e of C r a s h a w , " Chalmers, VI, 552. - Richard Crashav:: a Study in Style and Poetic Wallerstein (Madison, Wis., 1 9 3 5 ) , pp. 39 ff.

Development,

by

Ruth

9+

Crashaw,

Cowley,

and the

Pindaric

m a t t e r of f a c t t h a t his metrical a r r a n g e m e n t s were suggested by melodies, and t h e r e is much to be said f o r h e r point of view. F o r the m o m e n t it is well to r e m e m b e r t h a t , while M i s s W a l lerstein m a y be right, music and verse h a d g r e a t l y changed by t h e middle y e a r s of the century. T h e E l i z a b e t h a n s had been passionately f o n d of song, but none of t h e m h a d w r i t t e n " T h e W e e p e r . " U n d e r C h a r l e s I, royal p a t r o n a g e was accorded t o music on a scale w o r t h y of g r e a t things, and the ancient r i g h t s of the musicians' guild were confirmed. 3 E v e n m o r e imp o r t a n t was the r e g a r d in which the a r t w a s held by the cult i v a t e d and the genteel. T h e " m e t a p h y s i c a l " p o e t s are ins e p a r a b l e f r o m the lute, or w h a t e v e r o t h e r instrument they m a y have p r e f e r r e d t o the lute. D o n n e ' s r u g g e d songs h a d been set t o music; 4 and we are i n f o r m e d 5 t h a t H e r b e r t " h a d a very g o o d h a n d at the lute, and sett his own lyrics or sacred p o e m s . " C r a s h a w was an able p e r f o r m e r , as M i l t o n may have been.® In every d e p a r t m e n t of v e r s e m a k i n g the same addiction to tunes prevailed. C a r e w ' s songs, W a l l e r ' s lyrics, t h e ditties of Lovelace, Benlowes' rhapsodies, the simpler strains of the F l e t c h e r s — a l l were grist t o the c o m p o s e r ' s mill. T h e habit of singing was widespread. 7 A u b r e y maintains, f o r example, 8 t h a t H o b b e s kept a book of " p r i c k - s o n g " on his table. T h e n " a t night, when he was abed, and the d o r e s m a d e f a s t , a n d was sure nobody h e a r d him, he s a n g a l o u d . " T h e a u t h o r of Leviathan was unexpectedly considerate. But he fancied 3

A General History of the Science and Practice of Music, by S i r J o h n H a w (London, 1 8 7 5 ) , Vol. I I , C h a p t e r C X X and passim. 4 F o r e x a m p l e s , see G r i e r s o n , Poems of John Donne, I I , 54 ff. r ' Letters Written by Eminent Persons in the Seventeenth and Eighteenth Centuries: to Which Are Added . . . Lives of Eminent Men, hy John Aubrey, Esq. (London, 1 8 1 3 ) , I I I , 593. v Milton's Theory of Poetry and Fine Art, by I d a L a n g d o n ( N e w H a v e n , 1 9 2 4 ) , p. +0. T h e poet's f a t h e r w a s a musician, w h o s e l i f e and achievement a r e discussed in John Milton the Elder, by E r n e s t B r e n n e c k e ( N e w Y o r k , 1 9 3 8 ) . See also, " M i l t o n and M u s i c , " by S i r F r e d e r i c k B u d g e , in Proceedings of the British Academy, 1907-8. 7 T h e reign of C h a r l e s I witnessed, h o w e v e r , a notable decline in the amount of written music. * Letters Written by Eminent Persons, I I I , 623.

kins

Crashaw, Coivley, and the Pindaric

95

that the music " d i d his lunges good, and much prolonged his l i f e . " E v e n C r o m w e l l possessed a fondness f o r the art. 9 A n d yet when one examines the best Caroline music, that of H e n r y L a w e s

10

and J o h n Play f o r d , 1 1 it is obvious that the

composers have sown under a waning moon. T h e mere fact that L a w e s ' s reputed teacher, J o h n Cooper, altered his name to " C o p e r a r i o " indicates that the native English tradition w a s no longer sturdy. 1 - A n d L a w e s himself, however intent he may seem on following C a m p i o n ' s injunction that syllable and note must conform perfectly, is f a r removed f r o m Campion or B y r d . T h e verbal enthusiasm of the Elizabethans is likewise missing f r o m the ditties, being replaced by a diction either disciplined in accordance with classical example

13

or bearing

the imprint of the speculative intelligence. T h e E a r l of Bridgewater hearkened to the songs in Comus;

the Royal F a m i l y

were regaled at Christmas time with H e r r i c k ' s " o d e s . "

14

A

d r i f t towards new forms w a s manifest in lyric and masque. T h e w a y was being prepared f o r Purcell, Blow, and H a n d e l . I think the m a j o r reason w a s not so much the fact that writing an air f o r a W a l l e r ditty was quite a different matter f r o m 0

H a w k i n s , op. cit., I I , 577. H e n r y L a w e s , member of a musical f a m i l y and composer of music f o r Milton's verse, wrote his best pages for Ayres and Dialogues (London, 1 6 5 3 ) . 11 John P l a y f o r d , the elder, noted also as a musical theorist, is chiefly known as the author of Musical Airs and Dialogues (London, 1 6 5 3 ) . Comus, a Mask, edited by H e n r y John T o d d (Canterbury, 1798), p. 35. " B u t much verse continued to be written in the Elizabethan manner. T h o m a s C a r e w was, no doubt, influenced by the ode tradition, as witness the "Song to His Mistress Confined" (text in Chalmers, V, 620). T h i s poem blends three-, f o u r - , and five-foot lines in stanzas descending (I think) from Jonson and not f r o m the songbooks. Y e t undoubtedly C a r e w , many of whose lyrics were set to music, thought of himself primarily as a song writer in the style maintained by Francis Beaumont and others in continuation of the Elizabethan tradition. See Poems, with a Maske, by T h o m a s C a r e w , Esq. (London, 1 6 5 1 ) . Sir John Suckling a f f o r d s even less material f o r the present survey. Undoubtedly he w a s in debt to the classics and the classicists, as Sessions of the Poets indicates. Vet he could term a sequence of five i r r e g u l a r stanzas a "sonnet" and write so curious an e x t r a v a g a n z a as " L o v e ' s W o r l d . " See The Works of Sir John Suckling (London, 1 7 1 9 ) . 14 T o d d , Comus, a Mask, p. 36: [in Hesperides] " a r e three or four Christmas odes, sung before the K i n g at Whitehall." 10

96

Crashaw, Cowley,

and the Pindaric

setting L o d g e to music, but, rather, the circumstance that all the arts had changed. T h e baroque was everywhere in the ascendancy; Italian architectural style and mural painting were altering the princely residences of half of E u r o p e . 1 5 Insular England might long resist the tide, but could not swim against it perennially. T h e r e f o r e it is well to bear in mind, as one takes up the study of Crashaw, that he has often been most highly praised as a translator. 1 6 H e did, as a matter of fact, perform marvels with Marini. N o w it is worthy of note that Cambridge was at this time the haunt of poets who were omnivorous readers, if the verse they adapted from foreign literatures is any criterion. T h o m a s Stanley went to Cambridge, according to the seemingly established chronology, at the age of thirteen; 1 7 and eight years later ( 1 6 4 6 ) he had prepared f o r the press a volume of Poems containing translations from half a dozen authors. 1 8 T h a t strange person but astute lover of Donne, Nathaniel Whiting, 1 9 came to the University somewhat later and apparently read omnivorously there; and though the recusant poet, Sir E d w a r d Sherburne, 20 cannot be claimed f o r Cambridge, he may have caught the disease of translation from Stanley. F o r no doubt this same Stanley was personally responsible f o r much of the interest taken in mod15

Die Kunst des Barock, by W e r n e r Weisbach (Berlin, 1 9 2 8 ) . See, f o r example, the opinions of Headley and Ellis, quoted in Chalmers, V I , 554. 17 Dictionary of National Biography. 18 A m o n g the authors included are G u a r i n i , M a r i n i , T a s s o , Lope de V e g a , and Petrarch. Stanley ( 1 6 2 5 - 7 8 ) w a s at C a m b r i d g e from 1639 to 1 6 4 1 . He w a s obviously one of the great "creative scholars'' of his time, issuing, in addition to a history of philosophy which long remained a standard treatise, translations of Anacreon and Aeschylus. He does not designate any of his lyrics an " o d e , " but his " I d o l a t e r " (Saintsburv, Caroline Poets, I I I , 1 0 4 ) is exactly w h a t Lovelace's odes in this form are. 19 W h i t i n g w a s , however, less a translator f r o m the Italian than an omnivorous reader of Italian literature. See Saintsburv, Caroline Poets, I I I , 426. 20 His version of Preti'3 Salmacis appeared in 1 6 5 1 . Sherburne also translated f r o m the G r e e k , Latin, Italian, and French lyric poets, dedicating his first book to S i r T h o m a s Stanley, father of the poet, who addressed verses to Sherburne (Saintsbury, Caroline Poets, II, 1 5 2 ) . 16

Crashaw, Cowley, and the Pindaric ish Romance poets, as Philip A y r e s ,

21

97

William Hammond,22

and J o h n H a l l 2 3 prove. H a l l , it may be said parenthetically here, is a perfect illustration of the bright young scholar who w a s everything C a m bridge dons of that era (he came to the University in 1 6 4 5 , and his poems were published the following y e a r )

deemed

desirable in youth. H e wrote an effusive letter of thanks to Stanley

f o r friendliness and c o u n s e l ; 2 4

and to his tutor,

J . P a w s o n , he addressed a very interesting ode which is a kind of cross between J o n s o n and L o v e l a c e . A n o t h e r poem, " T h e L u r e , " suggests C o w l e y ' s Mistress

again and again. 2 5 T h u s

H a l l , however much of a flash in the pan he may have proved to be as a poet, was a fair scholar and what one should term a young writer of extraordinary promise. H i s diction has 21 A y r e s , who translated f r o m literally dozens of poets though his Italians are the usual seventeenth-century f a v o r i t e s , also commends " C a s i m i r the P o l a n d e r . " He w a s an O x f o r d man. T h e " P r e f a c e " to his Lyric Poemi (Saintsbury, Caroline Poets, II, 269) makes a point of interest because it reveals the difficulty latent in any exact historical study of English poetic f o r m : " I h a v e in most of them executed the proper measure, which in strictness should not reach to the Heroic. T o these I say, that I h a v e herein followed the modern Italian, Spanish and French Poets, who a l w a y s call Lyrics, all such Sonnets, and other small poems, which are proper to be set to music, without restraining themselves to any particular length of v e r s e . " 22 Hammond, w h o translated f r o m the classical languages, wrote a series of poems to Stanley. One of these says in part (Saintsbury, Caroline Poets, II,

503) : Content within those n a r r o w walls to dwell, Y e t canst so f a r that point of flesh out-swell, T h a t thine intelligence extends through all L a n g u a g e s which w e E u r o p e a n call. A y r e s has, in addition to Horatian pieces, some interesting odes with choruses, o n e — " H o p e " — b e i n g translated "out of the Italian, f r o m F r a . A b b a t i . " I am not sure, but I think this is Antonio Abbatini, one of the first writers of comic opera. See the Enciclopedia italiana. Saintsbury, Caroline Poets, II, 1 7 7 - 2 2 5 . 24 T h e letter has an interesting passage showing that Stanley's poems w e r e circulated in manuscript before publication: "Let me only beg of you that these cherrystones may d r a w f r o m you your own pearls, which cannot but break themselves a day through that darkness to which you now confine them'' (Saintsbury, Caroline Poets, I I , 1 8 1 ) . 25 Compare, also, " T h e Soul." Both Hall and Cowley use motifs d e r i v e d from Epicurean philosophy.

98

Crashaiv,

Cowley,

and the

Pindaric

magic and w a r m g l o w ; his thought is academic and usually immature, but it is seldom merely callow or officious. T h e r e is some evidence to show that he may have been a Puritan. H e assuredly w a s a Platonist. Ode stanzas, as H a l l employs them, are difficult to classify or describe. T h e following, from " T o H i s Tutor, M a s t e r P a w s o n " is, like a Lovelace pattern, something begotten by the " M e t a p h y s i c a l s " of Jonsonian stock: A n d as w e go, W e ' l l mind these a t o m s t h a t c r a w l to and f r o ; T h e r e may w e see O n e both be soldier and a r t i l l e r y ; A n o t h e r w h o s e defence Is o n l y innocence; O n e s w i f t as w i n d , O r flying hind, A n o t h e r s l o w as is a m o u n t i n g s t o n e ; S o m e that love e a r t h , some scorn to d w e l l U p o n ' t , but seem to tell T h o s e t h a t deny t h e r e is a heaven, they k n o w of one.

H a l l ' s final Alexandrine is clumsy, but it is there. Oddly nothing else suggests Milton, and much smacks of Donne—and D r . Bainbrigg, the chastiser. 1 ' 6 T h e religious odes in particular breathe the spirit of the g r e a t Dean of St. Paul's. But they are also—and the observation holds good for the " M e t a p h y s i c a l s " as a group—redolent of the Psalms. T h i s stanza is a transmutation of the Miserere into Christian t e r m s : A n d though m y sins Be an u n n u m b e r ' d number, yet W h e n thou begins T o look on C h r i s t , do then f o r g e t I helped to cause his g r i e f : If so, L o r d , f r o m it g r a n t me some relief. 2 7 2 8 His proficiency a s a chastiser is, of course, l e g e n d a r y . H a l l ' s poem "On Dr. B a i n b r i g g , M a s t e r of Christ's," is a f a i r sample of mid-century i n t r a m u r a l academic encomium. 2 7 From " A n Ode," which begins, "Descend, O Lord."

99

Crashaw, Cowley, and the Pindaric A n d the " O d e " which begins, L o r d , send thine h a n d U n t o m y rescue, or I shall I n t o mine o w n a m b u s h m e n t s f a l l ,

is D a v i d i a n r e f l e c t i o n , a l m o s t u n a d o r n e d . 2 8 H a l l is n o t o f t e n v e r y g o o d , b u t h e is g e n e r a l l y g o o d e n o u g h t o s u g g e s t

how

h i g h a m a r k h a d been s e t a t C a m b r i d g e in his t i m e . 1 ' 9 I t is l i k e w i s e q u i t e p r o b a b l e t h a t C r a s h a w a l s o s w a m f o r a t i m e in t h e o r b i t o f S t a n l e y . I t m a y w e l l be t h a t he o w e d t o this p a s s i o n a t e s t u d e n t w h a t h e k n e w o f I t a l i a n a n d S p a n i s h literatures.80 F o r left to himself C r a s h a w w a s

preeminently

a c l a s s i c a l s c h o l a r a n d a l i t u r g i s t . 3 1 H i s G r e e k v e r s e is p r o b a b l y t h e best e v e r w r i t t e n

by

an

English

poet

of

any

im-

p o r t a n c e ; his L a t i n p o e m s a r e h i g h l y c o m m e n d a b l e ; a n d his versions o f the g r e a t lyrics of the R o m a n

H y m n a l a r e still

u n s u r p a s s e d . I t is, t h e r e f o r e , a t l e a s t h i g h l y p r o b a b l e t h a t it w a s C r a s h a w w h o b r o u g h t P i n d a r to the attention of C o w l e y , a n d n o t t h e o t h e r w a y a r o u n d , as h a s b e e n s u g g e s t e d . 3 2 N o o n e in the m i d d l e s e v e n t e e n t h c e n t u r y c o u l d h a v e b e e n a s fine a 28

See also " A Pastoral Hymn," the final stanza of which reads: Great Lord, from whom each tree receives, Then pays again, as rent, his leaves; Thou dost in purple set The rose and violet, And giv'st the sickly lily white; Yet in them all Thy name dost write. 2 ' Henry More, the Cambridge "philosophical poet" of this era, is the author of one or the other Vaughanesque effusion that might if necessary be dubbed an ode. See Philosophical Poems of Henry More, edited by Geoffrey Bullough (Manchester University Press, 1931). Bullough's Introduction (pp. xiii ff.) affords a good brief description of the anti-Puritan, Platonist group, at Cambridge during this period. 30 This should not be taken to imply, of course, that Crashaw knew no Italian. That language appears to have been at the time part of the repertory of every cultured gentleman. 31 The "liturgical" habit was then widespread. Saintsbury notes (Caroline Poets, III, 100) : "Stanley furnished another composer—John Wilson, Professor of Music at Oxford—with the letterpress of Psalterium Carolinum, the King's devotions from the Eikon versified." 32 For example, by L. C. Martin, in the splendid Introduction to his edition of The Poems, English, Latin and Greek of Richard Crashavi (Oxford, 1927).

ioo

Crashaw,

Cowley,

and the

Pindaric

Greek scholar as Crashaw undoubtedly was without being tempted to look into P i n d a r ; and yet he may have failed—as Milton also may have failed—to grasp the principle of Pindaric ode construction. Much may have depended upon how the Greek text was printed in the editions at hand. These texts apparently retained the tripartite divisions, but erred in their reading of lines. In so f a r as Cowley is concerned, everything we know about him as a young poet indicates that he was by temperament and training a Latinist. At any rate, the relationship between the two poets was intimate enough to be important; 33 and though Crashaw termed none of his metrical irregularities Pindaric or Greek, he might conceivably have done so with some show of reason. Crashaw's was a baroque Muse. 3 4 T h e point has been duly noted in connection with his manifest faults, primarily t h a t of bizarre overstatement. I t is easy to pick f r o m his earlier work, as Kane does, phrases or tropes which illustrate "the extreme of the grotesque and the b i z a r r e . " 33 W h e t h e r this tendency was the result of his reading in Italian and Spanish literatures, or whether it must be traced in the first instance to the stylistic injunctions of Buchlerus, 3 6 is a moot question which need be raised here only to point out that it is largely by reason of his departures f r o m the normal imagistic perspective that Crashaw is attuned to a certain twentiethcentury prosodic practice. 37 H e r e we must, however, be concerned with his patterns and meters, since these are in several ways landmarks in the history of the ode. 33

Ibid., pp. xxxiii ff. T h e texts v a r y a little. I h a v e used the Bodleian copies of Steps to the Temple (op. cit.) and Carmen Deo Nostro (London, 1 6 5 2 ) . M a r t i n ' s seems the best modern edition, but consult also The Poems of Richard Crashavi, edited by A . R. W a l l e r ( C a m b r i d g e , 1904). 35 Gongorism and the Golden Age, by Elisha K . K a n e ( C h a p e l Hill, 1 9 2 8 ) , p. 150. 36 Sacrorum profanorumgue phrasium poeticarum thesaurus, by J o a n n i s Buchlerus (London, 1 6 3 2 ) . 37 See Phases of English Poetry, by Herbert R e a d (London, 1 9 2 8 ) , pp. 72 ff. T h e term " i m a g i s t i c " is used here to indicate the image-making function. It is not employed in the sense in which it is used by " H . D . " and others. 34

Crashaw, Cowley, and the Pindaric

101

N o n e o f C r a s h a w ' s l y r i c s is, t o b e s u r e , c a l l e d a n

"ode,"

probably ding

38

f o r the reason t h a t he, the p r o d u c t of L i t t l e

Gid-

a n d C a t h o l i c i s m , still a s s o c i a t e d t h a t w o r d w i t h a m o -

r o u s n e s s . 3 9 M o r e o v e r , t h e f o r m o f his " h y m n s " o f t e n s u g g e s t s the Italians. T h u s " A

H y m n o f t h e N a t i v i t y " is a f o r e r u n n e r

of w h a t w o u l d l a t e r be t e r m e d the " c a n t a t a

ode"

and

h a v e been b a s e d upon either the new " o p e r a " or the rian " C a n t a t a S p i r i t u a l e . "

40

may

Orato-

T h e m u s i c f o r such a s t a n z a a s

t h i s w o u l d n e c e s s a r i l y h a v e b e e n florid a n d I t a l i a n a t e : 38

See Kicholas

Ferrar:

Memoirs

of His Life,

by P. Peckard

(Cambridge,

179°)• 39 Benlowes wrote, in Theophila's Love-Sacrifice: Say not a noble love to thee he bears; While's hand writes odes, his eve drops teares. (Saintsbury, Caroline Poets, I, 438.) Thomas Shadwell, in an encomium for songs set by Pietro Reggio ( v i d e infra, p. 1 1 6 ) , wrote of objectionable amorous poets: A funeral song they chaunt with cheerful mood, And sigh and languish in a drunken Ode. Even the translators of the Psalms were open to criticism, as witness Joseph Hall ("Satire V I I I , " Chalmers, VI, 266): Yea, and the prophet of the heav'nly lyre, Great Solomon, sings in the English quire; And is become a new found sonnetist. More precise definitions of the word "ode" can, however, be found, as witness this in Whiting's 11 insonio insonnadado: G r a v e Maro, I remember, in an ode (An eclogue) treads in the same prophetic road. (Saintsbury, Caroline Poets, I I I , 547.) 40 T h e question of the origins of the cantata and its introduction into England is complex, and is discussed in some detail by Hawkins, op. cit., and Charles Burney, History of Music (London, 1789). The first opera was an amalgam of musical passages, airs, recitatives, and choruses. Of more immediate moment here is the fact that St. Philip Neri, founder of the Oratory, appended to the devotional exercises of the Church a series of spiritual songs, some of which were in dialogue form. One collection of these was published at Rome in 1603, under the title, Laudi spirituali di diversi. It is quite possible that Crashaw may have seen this or a kindred work. Perhaps also a University professor of music may have attempted to perform a similar composition. We know that Dr. Philip Hayes, professor at Oxford during the 1660s, g a v e "choral concerts" which netted him a profit of "two hundred and fifty three pounds" (Todd, op. cit., p. 4 1 ) . On the other hand, the revival of the liturgical forms of worship, which Laud sponsored, necessarily directed attention to the "dialogue" which is so integral a part of Roman Catholic worship; and it may be that Crashaw was thinking of this primarily, rather than of the Laudi spirituali.

io2

Crashaiv, Cowley,

and the

Pindaric

I s a w th' officious angels bring T h e d o w n that their s o f t breasts did s t r o w , F o r w e l l they n o w can spare their wings, W h e n H e a v e n itself lies here below. " F a i r y o u t h , " said I , " b e not too rough, Y o u r d o w n , though s o f t ' s , not soft e n o u g h . "

E v e n so it is not possible to say with certainty w h e t h e r C r a s h a w w a s f o l l o w i n g a specific I t a l i a n practice. H e m a y h a v e been attempting to s e r v e the same liturgical purpose to which the " b r o k e n f o r m " of " T h e Office of the H o l y C r o s s " 4 1 is dedicated. A l l these poems h a v e their counterparts in the d o w n p o u r of odes, written f o r orchestral accompaniments, which m a r k e d the eighteenth century, though it must immediately be a d d e d that any direct influence of C r a s h a w upon the w r i t e r s of that time cannot be assumed. 4 - In g e n e r a l , howe v e r , C r a s h a w w a s less dependent upon the Italian models in v o g u e than is commonly supposed. T h u s he translated M a r i n i and S t r a d a , but they taught him nothing of moment about f o r m . 4 3 H e w a s obviously also a close r e a d e r of the E n g l i s h poets. M i s s W a l l e r s t e i n is correct in saying 44 that " a t t w e n t y - f o u r or twenty-five, C r a s h a w h a d m a s t e r e d the Spenserian mann e r . " L i k e w i s e he l e a r n e d to use v a r i a n t s of the J o n s o n i a n ode s t a n z a s , and to w r i t e his own kind of terza rima ode. 4 5 41

T h e r e is, to be sure, a marked difference between the " H y m n of the N a t i v i t y " and the "Office." T h e first, with its solos, duets, and choruses, might conceivably h a v e g r o w n out of the pastoral tradition. T h e second, using a f o r m which closes in each instance with a p r a y e r , is definitely liturgical. 42 A possible link between C r a s h a w and the f o r m under discussion may be the " l i t u r g i c a l h y m n s " of W i l l i a m C a r t w r i g h t , cleric beloved of Charles I and poet lauded by Ben Jonson. H e w a s one of the most " s e r a p h i c preachers" of his time, and enjoyed f a m e by reason of his knowledge of Italian and French. C a r t w r i g h t ' s " h y m n s " are in dialogue f o r m , suggesting as much as C r a s h a w ' s " O f f i c e " does the practice seemingly established by St. Philip Neri. C a r t w r i g h t died in 1643, the " h y m n s " h a v i n g been written f o r the K i n g ' s Chapel. See C h a l m e r s , V I , 547-4.8. 43 F o r an analysis of C r a s h a w ' s treatment of M a r i n i , see Wallerstein, of. cit., pp. 79 ff. 44 Ibid., p. 1 3 6 . 45 " W i s h e s to His ( S u p p o s e d ) M i s t r e s s , " in Delights of the Muses. By com-

Crashaiv, Cowley,

and the Pindaric

103

N o doubt the patterns of Herbert, the admired teacher, made the deepest impression of all, suggesting the form of such poems as "Sancta M a r i a D o l o r u m " and, above all, the magnificent "In the Glorious Epiphany of Our L o r d God." 4a T h e r e is reason to feel that the influence of M i l t o n also counted for s o m e t h i n g ; 4 7 and, of course, the younger Crashaw shone principally as a writer of epigrams. Accordingly his place in English verse is secure, regardless of how exotic his diction may be. For he began where others had left off and added something of his own to the history of the poetic adventure. Crashaw's best skill was lavished on meter. 4 8 H i s first notable feat is, perhaps, skipping unstressed syllables and thus making his verse depend upon the stresses. From this point of view "The W e e p e r " is a triumph as signal as Shelley's "Skylark." Indeed, I think the exordium of Crashaw's poem richer in every sense than is that of Shelley's: H a i l sister springs, P a r e n t s of silver-forded rills! E v e r bubbling t h i n g s ! parison with this poem, with its admirable 234 stanza that ought not to succeed and yet does so, notably, most other seventeenth-century essays in terra rima are wooden and unmusical. Building up, with steadily intensifying synecdoches, a picture of ideal womanhood, C r a s h a w is never surfacy or insincere. It is a warmly human poem; and it is good that so fine a lyric, m a r r e d by no violent conceits, should triumph over the difficulties of epithet and rhyme. 40 T h e "Epiphany" poem is in the dialogue form, with choruses. It is beyond doubt the most philosophical of Crashaw's poems, and I think the comparison with Herbert is to be seen not merely in the phrasing (e.g., the s h a r p and probing antitheses), but also in the general trend of theological reflection. 47 Compare, e.g., Crashaw's "O Gloriosa Domina" with Milton's shorter odes. 48 It is not easy to determine the influence of the classical meters on C r a s h a w ' s verse. If one studies the prosodically fascinating "On the Glorious Assumption of the Blessed Virgin," it becomes apparent that the mood of ecstasy is conveyed in part by the extraordinary celerity of the rhythm, and that this in turn is achieved by recourse to choriambics (or possible choriambics) as witness: Under so sweet a b u r d e n ; go, Since thy great Son will have it so; And while thou goest, our song and we Will, as we may, reach a f t e r thee.

104

Crashaw,

Cowley,

and the

Pindaric

T h a w i n g chrystal! snowy hills! Still spending, never s p e n t ; I m e a n T h y fair eyes s w e e t M a g d a l e n . 4 9

T h a t , being concerned with woman's tears, naturally seems grossly exaggerated; and of course it is. But can one truthfully say (the question of taste being beyond solution) t h a t it is much more outlandish than Shelley's t r a n s f o r m a t i o n of a skylark into a heavenly spirit? And, proceeding now to the world of language, where is there a more captivating use of the " i " sound or a more a r t f u l arrangement of stresses than is here provided by C r a s h a w ? One is led to believe that he must have possessed an unusually deep insight into what may be termed the quantitative possibilities of English speech—that is, the use of pauses to create effects similar to those produced in classical verse by the substitution, for example, of spondees f o r dactyls. Crashaw's feeling f o r these things is Greek. And his second memorable feat—his success with poems written in irregular stanzas—can likewise be accounted f o r easily only on the basis of what he had learned f r o m reading Greek verse. " O n a Prayer-Book Sent to M r s . M . E . " is, for example, more than a tour de force, though it is that, too. Opening with a quatrain akin to the In Memoriam stanza, the poem rises gradually through varying stanzaic patterns to that magnificent lyric passage beginning " O f a i r ! O f o r t u n a t e ! " which outdoes Shelley two hundred years b e f o r e Shelley's time. 5 0 T h e 49

T h i s may be the Jonsonian ode stanza, but metrically speaking it is emancipated f r o m all that Jonson held d e a r . 00 T h e stanza may be quoted h e r e : O f a i r ! O f o r t u n a t e ! O rich ! O d e a r ! O happy and thrice happy she, D e a r silver-breasted dove, W h o e'er she be, Whose early love W i t h winged vows Makes haste to meet her m o r n i n g spouse: And close with his immortal kisses, H a p p y soul, who never misses,

C r a s h a w ,

C o w l e y ,

pattern, 543222444322433,

a n d

the

P i n d a r i c

105

suggests nothing so much as

a cascade of verbal music; and the d e f t additions of feminine rhyme and trochaic rhythm leave one wondering how it w a s that so much illustrious artistry could virtually be ignored f o r centuries. 5 1 "A

H y m n to the N a m e and H o n o u r of the A d m i r a b l e

Saint T e r e s a " is, a f t e r M i l t o n ' s N a t i v i t y ode, the most illustrious blending of art and hymnody in seventeenth-century verse. It is the model a f t e r which Francis T h o m p s o n and his disciples consciously or unconsciously wrote. C r a s h a w

errs

here, as elsewhere, by scattering his jewels with too lavish a hand. T h e poem is exordium, encomium, doctrine, prayer, all in one; it storms H e a v e n with venturesome antitheses, hyperboles, and variations on the muted strings; and the mood shifts f r o m sententious reflection to lyric ecstasy. 5 2 T h e sole constants are the four-stress lines and the couplet rhymes, and they show off to greater a d v a n t a g e the highly subtle and melodious prosodic structure. Certainly f e w poets have ever bedecked a p r o f a n e love with more splendor than C r a s h a w T o i m p r o v e that precious h o u r : And every day Seize her sweet p r e y ; A l l f r e s h and f r a g r a n t as he rises, D r o p p i n g with a b a l m y s h o w ' r A delicious d e w of spices. W r i t i n g in Notes and Queries (Vol. V, No. 449), D . F. M c C a r t h y suggested a number of resemblances between C r a s h a w and Shelley. T h e r e ensued an interesting discussion, d u r i n g the course of w h i c h it w a s noted that " M u s i c k ' 9 D u e l " w a s reprinted in L e i g h Hunt's Indicator f o r M a y , 1820. It is not likely, h o w e v e r , that Shelley actually l e a r n e d prosody f r o m C r a s h a w . T h e resemblances a r e coincidental. 51 C h a l m e r s ( V I , 5 5 3 - 5 4 ) reprints P o p e ' s letter to C r o m w e l l . It s a i d in p a r t : " I take this poet to h a v e w r i t like a g e n t l e m a n , that is, at leisure hours, and more to keep out of idleness than to establish a reputation; so that nothing r e g u l a r or just can be expected of h i m . " H e o f f e n d e d the eighteenth century by the r a p t u r e of the l a n g u a g e he used in discussing religious m a t t e r s ; and of course he w a s f r o w n e d upon by d i v i n e s as a sinner w h o h a d relapsed into the darkness of R o m e . B u t I b e l i e v e D r y d e n took some things f r o m C r a s h a w . F o r a discussion of his reputation between 1646 and 1650, c f . M a r t i n ' s Introduction (op. cit., p. x x x i x ) . 52 F o r a discussion of C r a s h a w ' s r e l i g i o u s attitudes, see The Metaphysical Poets, by H e l e n C. W h i t e ( N e w Y o r k , 1 9 3 6 ) , pp. 1 7 6 - 2 0 1 .

106

Crashaw, Cowley, and the Pindaric

here throws round the Immortal E r o s / ' 3 T o the writers of the 1 6 5 0 s , this poem must have seemed what it really w a s — the culmination of one great English poetic adventure. I am quite sure that its influence persisted throughout later elaborate hymnody, just as I feel that the incentive given to Cowley was decisive. Some importance attaches, therefore, to the personal relationship between the two poets. T h e y had known each other at C a m b r i d g e ; and in 1 6 4 6 they met in France, where Cowley was in the entourage of the Queen and able to render some service to his friend, then a sufferer f r o m poverty and distress. 54 T o g e t h e r they had written " O n H o p e , " in the f o r m of a dialogue. 5 5 It was probably due to Cowley's efforts that a post in Italy was offered to Crashaw. Then there appeared in Miscellanies the ode " O n the Death of M r . C r a s h a w " which is, perhaps, Cowley's most straightforward and moving poem. T h e concluding lines are significant: L o here I beg ( I w h o m thou once didst prove S o humble to Esteem, so G o o d to L o v e ) N o t that thy Spirit might on me Doubled be, I ask but H a l f thy mighty Spirit f o r M e . A n d when m y M u s e soars with so strong a W i n g , ' T w i l l learn of things D i v i n e , and first of T h e e to sing.

Doubtless this should be read to mean that Cowley had long been interested in writing religious verse, and not that he had been converted to such a course by the example of his friend. Naturally this does not alter the fact that he was of a more rationalistic temperament than was Crashaw. Nevertheless, Cowley was natively and by choice an H o r a tian, as witness his Mistress, which is by all odds the finest 53 T h i s splendor must not all be traced to Marini. A s a matter of fact, C r a s h a w plainly outgrew the Italian influence, and in the poem under consideration is not more e x t r a v a g a n t than Spenser and Shakespeare are. 54 See Abraham Conley, by Arthur Hobart Nethercot (New Y o r k , 1 9 3 2 ) , pp. 97-99See Martin, op. cit., Introduction.

Crashaw, Cowley, and the Pindaric

107

collection of amorous verse written during the century and probably the best book of its kind in our literature. -56 T o say this is to imply that the Pindarick f o r m , 5 7 to which he gave so great a vogue, has tended to obscure the true character of Cowley's genius. W e shall see, rather clearly, that the irregular stanzas he borrowed f r o m the Greek lost all Attic flavor in this essentially Latinist poet's hands. F r o m the beginning Cowley had taken his Roman authors seriously. T h e odes in Sylva ( 1 6 3 7 ) 58 are H o r a t i a n (and Jonsonian) exercises in varied but disciplined verse. Strangely enough, even the sixline stanzas of such a typical lyric as " T o H i s M i s t r e s s " rhyme by couplets—surely an unusual choice at that time by one who could still speak of his "childish M u s e . " Happily he varied his practice in the Mistress, though the farthest he retreated f r o m it even there was to the ababccdd stanza of " E c c h o . " Still the collection has a wide prosodical variety which is achieved by varying the stanza and the line, and not by reason of some law inherent in the thought or image underlying the poem (as in D o n n e ) . T h e explanation is, one thinks, deliberate choice hit upon with consummate virtuosity. T h e striking novelty and distinction of these poems is due, however, to the especial verbal brilliance which pervades them—a brilliance without precedent in our literature unless it be the dialogue of Love's Labour's Lost. Sometimes a modern reader feels that antithesis—which he forgives in Donne because of the earthiness and Ovidian subtlety which there weight it down—is leading Cowley around by the nose: D e e p into her bosom w o u l d I strike the d a r t ; Deeper than w o m a n e're w a s struck by T h e e ; •r,sAbraham Cowley: Poems, edited by A. R. Waller (Cambridge, 190$), pp. ear the author's name. 66 Ibid., p. xxxvii. T h e criticism seems to : 155 f-, 1 7 m , 2 5 1 ; musical set- B a i n b r i g g , D r . , 98 B a l l a d , 18, 221, 233 ; d i s t i n g u i s h e d f r o m ting, 141 f. ode, 1 2 ; defined, 19 " A l l Is V a n i t y " ( W i n c h i l s e a ) , 131 Banquet of Daintie Conceits, A (MunA m b r o s e , Saint, 128 d a y ) , 20 A m e r i c a n ode, 2 4 m , 277n, 2 8 m , 294» " A m i d s t the A z u r e C l e a r " ( D r u m - B a r b a u l d , A n n a L a e t i t i a , 229 " B a r d , T h e " ( G r a y ) , 210 f . m o n d ) , 86 A m o r o u s v e r s e , 31, 107, 146 f., 1 9 2 ; B a r n a r d , bishop of L i m e r i c k , 207 S y l v e s t e r ' s , 7 5 ; P r i o r ' s , 1 5 9 ; J o h n - B a r n e s , B a r n a b e , a r t o f , 36 f. B a r n f i e l d , R i c h a r d , quoted, 42 son's, 206 f. B a r t a s , G u i l l a ume de S a l l u s t e du, 28, " A m y s t r e a , T o " ( C h u d l e i g h ) , 131 74" A n a c r e o n , 6, 9 f., 17 A b e r c r o m b i e , L a s c e l l e s , quoted, 4n Abrégé de l'art poétique franço'ts ( R o n s a r d ) , 33 Académie de musique et de poesie, 24 f. Account of the Greatest English Poets ( A d d i s o n ) , excerpt, 161 f . A d a m s o n , P a t r i c k , 59 A d d i s o n , Joseph, 5, 147, 181 f. ; quoted, 161 f. ; on P i n d a r , 1 6 2 ; C e c i l i a n o d e , 170, 172 A d d r e s s , E l e m e n t o f , 11, 12, 205, 235,

A n a c r e o n t i c s , 109, 1 6 4 ; Cotton's, 1 2 7 ; P r i o r ' s , 1 5 8 ; H u g h e s ' s , 176 A n d r e w e s , L a n c e l o t , 39 A n n , C o u n t e s s of W i n c h i l s e a , 132 Annalia Dubrensia ( D r a y t o n ) , 48 A n n e , queen of E n g l a n d , 160

Barthelemy, Jean Jacques, 6jn B a t t e u x , C h a r l e s , 197 "Battle of Algiers, Ode on the" ( S o u t h e y ) , 229 f. " B a t t l e of the Books, T h e " ( S w i f t ) , 167 B e a t t i e , J a m e s , 216

3 ° °

Index

Beau désordre (term), 13s, 1 5 1 , 222, 238 Beaumont, Sir John, 68, 73R/ quoted, 69 Beaumont, Joseph, 88 Becon (or Beacon), Thomas, 22, 24 Beddoes, Thomas Lovell, 2 $8 Beedome, Thomas, quoted, 65» Behn, Aphra, 8, 130 f. Bellay, Joachim du, 43 "Belle of the Ball, T h e " (Praed), excerpt, 265 Benlowes, Edward, 88 f., i o i n , 178; quoted, 89 Berkeley, George, 125 Biathanatos (Donne), 72 Billet-doux verse, 8, 1 1 9 Binyon, Laurence, 3» Biographical odes, 136 ff., 141 f., 167 Birthday ode, $9, 134, 173 ff., 226 Blarklock, Thomas, 218 Blair, Hugh, 229 Blake, William, 1 8 5 ; and music, 223 "Blessed Trinitie, Ode on the" (Beaumont), 68 Bloomfield, Robert, 249 Blondel, François, treatise on Pindar, 65 n Blount, Thomas Pope, 144; on Milton and Waller, ^^n Blunden, Edmund, 268 Bodenham, John, 41 "Bodkin, H., Ode to" (Hood), 230 Boileau, Nicolas, 144, 197; influence on Dryden, 1 3 5 ; on Pindar, 1 5 1 Boswell, James, 207 f. Boyse, Samuel, 218 Bradford, Gamaliel, 4» Brady and Tate, 182 Brathwayte, Richard, quoted, 79n Breton, Nicholas, 21 "Brettle, Dr., Ode to Be Performed by'' (Shenstone), 178 Bredvold, Louis I., 124 Brennecke, Ernest, Jr., 139 Bridges, Robert, 15, 271, 293 f . ; on Keats, 267n Bridgewater, Earl of, 95 Brome, Alexander, ion Brooke, Henry, 177 Browne, Isaac Hawkins, 175 Browne, William, 78

Browning, Elizabeth Barrett, 4, 287» Browning, Robert, 184 "Bruce to His Men at Bannockburn" (Burns), 225 Brydges, Sir Egerton, on Collins, 206; quoted, 237» Bucer, Martin, 66 Buchanan, Robert, 59, 62; translation of Psalms, 51 Buerger, 229 "Burial of Sir John Moore, T h e " (Wolfe), 232 Burlesque, 235 ff., 246 Burlesque Ode . . . , A Sew Historical, 177 Burns, Robert, 224 f., 252 "Burns, Ode to the Memory o f (Campbell), 233 Butler, Samuel, 129 Byrd, William, 20, 21, 50 Byrd and Dowland, 9 Byron, Lord, 255 ff., 271 f. Bysshe, Edward, 164 Cabinet for Wit (Sharpe), 238 Callimachus, 52, 245 "Calliope, Ode to" (Ronsard), 37 "Callistratus, Ode in Imitation o f " (Webb), 236 f . ; excerpt, 237 Cambridge Songs, 83 Cambridge university, 96 f. Camden, William, 39 Campaspe (Lyly), 9 Campbell, Thomas, 229, 232 f. Campion, Thomas, his song writing and its influence, 54-58 Cantata, 1 0 m , 223 f. "Cantata" ( S w i f t ) , excerpt, 172 Cantata ode, 143, 170 ff., 2 4 1 ; under the Restoration, 138 f . ; Hughes, 1 4 1 ; parodied, 177 f. "Cantata Spirituale," 101 Canzone, 42; as Spenser's model, 25, 26 Caractacus (Mason), 215 Carew, Thomas, 95« Carey, Henry, 176 Carmen ad Lollium, 168 Carmen Saeculare stanza, 8, 80, 160 Caroline verse, 78; and music, 9 4 8 . Carteret, Miss, Philips's ode to, 190

I ndex C a r t w r i g h t , W i l l i a m , 102n, 134 C a r y , Sir Lucius, 43, 146 C a s e , John, 39; Puritanical influence upon, 23 C a s i m i r S a r v i e v i u s , 62, 84, 1 5 5 Castara ( H a b i n g t o n ) , 29 Catholic Anthology, 22611 Catholic Church, see Roman Catholic Church Catullus, 8, 17, 26, 148 Cecilian ode, 134, 1 7 0 ft., 183, 265 Cecilia's D a y , St., 1 3 4 "Celebrated Victory of the Poles, T h e " (Watts), 155 Celia odes (Cotton), 1 2 7 "Celinda, T o " (Hill), 1 5 1 "Change, T h e " (Hill), 151 Chapman, G e o r g e , 25 Charles I, patronage of music, 94 C h a r l e s I I , 123, 130, 1 3 2 f., 137 Charles V, 59 Chatterton, T h o m a s , 178, 218, 246 Chesterton, Gilbert, 156 Chettle, Henry, 7 C h i a b r e r a , G a b r i e l l o , 42 Choice Poems on Several Occasions, 84 Choral ode, 75«, 236n, 293 " C h r i s t a b e l " ( C o l e r i d g e ) , 257 Christ's Triumph over Death (Fletcher), 74» Christ's Victory and Triumph ( F l e t c h e r ) , 72 Chudleigh, L a d y M a r y , 1 3 1 f . Cibber, Colley, 173 f - ; parodied, I 7 4 f "Circumcision, Upon the" ( M i l t o n ) , «7 C l a r e , John, 226 f. C l a r k , A . F. B., 124 Clarke, J e r e m i a h , 1 3 9 f . Cobb, Samuel, 164 " C o l d n e s s " ( C o w l e y ) , excerpt, 108 Coleman, E d w a r d , 1 3 3 Coleridge, Samuel T a y l o r , 50, 229, 257, 265, 2 7 5 ; and the Pindarick ode, 245 ff.; quoted on music, 2 7 1 Collection of Poems by Several Hands ( D o d s l e y ) , 237 f . Collins, W i l l i a m , n o , 178, 183, 1 9 1 ff., 229; compared with G r a y , 186 f f . ; Johnson's criticism, 1 9 2 ; v e r s e patterns, 193 f . ; diction and metaphor,

301

195 f . ; compared with D r y d e n , 194 f . ; resemblance to Du Bos, 197 f . ; and music, 2 0 3 » ; and K e a t s , 269 ff. Colum, P a d r a i c , 4 Colvin, Sir Sidney, on K e a t s , 263 "Commemoration O d e " ( L o w e l l ) , 2 8 m Commonplace Book ( S o u t h e y ) , 230 Companion to Magdalen Chapel, A, 182 C o n g r e v e , W i l l i a m , 4 7 ; on P i n d a r i c writers, 1 3 6 ; Y a l d e n ' s ode to, 1 5 3 ; on C o w l e y , 1 6 3 ; Cecilian ode, 1 7 0 "Consummation, T h e " ( N o r r i s ) , 1 5 0 Cooper, E a r l , Philips's ode to, 168 f . Cooper, John, 95 Cotton, Charles, 126 ff. Courthope, W i l l i a m J . , 66, 108 Courtlie Controversie of Cupid's Cautels, A, 19 C o w l e y , A b r a h a m , 10, 40, 47, 65, 1 2 3 , 1 3 0 ; stanzas, 10, 107, 109, 1 1 2 f . ; Phillips on, 7 i n ; C r a s h a w , and the P i n d a r i c ode, 9 3 - 1 2 2 ; personal relationship with C r a s h a w , 1 0 6 ; diction, 1 0 8 ; meter, 1 1 2 ; compared with C r a s h a w , 1 1 2 ; political odes, 1 1 4 ; influence, 1 1 5 , 1 5 6 ; " w i t , " 1 1 6 ; theory of Pindarick verse, 1 1 7 ; Philips's ode to, 1 2 0 ; tomb, 1 2 2 n ; D r y d e n on, 1 3 5 ff.; Addison on, 1 6 1 f . " C o w l e y , M r . , Introducing P i n d a r i c verse" (Hill), 151 C o w p e r , W i l l i a m , 237 f . C r a s h a w , R i c h a r d , 64, 1 8 4 ; influence of music on, 93 ff.; C o w l e y , and the P i n d a r i c ode, 9 3 - 1 2 2 ; G r e e k and Latin poems, 99 f . ; hymns, i o i f . ; meter, 1 0 3 ; stanzas, 1 0 4 ; diction, 105 f . ; C o w l e y ' s ode on, 1 0 6 ; personal relationship with C o w l e y , 1 0 6 ; compared with C o w l e y , 1 1 2 Critical Reflections . . . ( D u B o s ) , 197 Cromwell, Oliver, 95 C r o w e , W i l l i a m , on ode stanzas, 8 2 » ; on Y o u n g , 188 "Cuckoo, T o t h e " ( A k e n s i d e ) , 20» "Cuckoo, T o the" ( L o g a n ) , 2 2 1 "Cuckoo, T o the" ( W o r d s w o r t h ) , 253 Cumberland, R i c h a r d , 207 f . Cunningham, John, 176 f., 220, 224 "Cupid Abroad W a s Lated" (Greene), 9

302

Index

Curriculum, medieval, 18

Daniel, Samuel, 36, 57 Dante, 24, 32, 67 " D a p h n i s , a Puppy . . . , Ode to" ( S t a c i e ) , 238 D a r l e v , G e o r g e , 230 " D a u g h t e r s of M e m o r y " ( C o n g r e v e ) , 163 D a v i d the Psalmist, influence, 6, 10, 4 1 , 50 ff., 248; diction, 1 0 ; held to be imitator of classics, 5 1 ; see also Psalms D a v i e s , Sir John, 42, 43 " D e a t h of . . . E a r l Cooper" (Philips), 168 f . " D e a t h of His Late M a j e s t y , Ode on the" ( C u n n i n g h a m ) , 220 " D e a t h of H e r Late Sacred M a j e s t y " ( W e s l e y ) , 154 " D e a t h of Katherine Philips" ( C o w ley), 137 " D e a t h of M r . C r a s h a w " ( C o w l e y ) , 106 " D e a t h of the . . . E a r l of O r r e r y " (Flatman), 118 " D e a t h of the Duke of Wellington" ( T e n n y s o n ) , 46 " D e a t h of T h o m s o n " ( C o l l i n s ) , 1 9 1 " D e d i c a t i n g . . . a Statue to Shakespeare, Ode upon" ( G a r r i c k ) , 207 D e f o e , Daniel, 156 f . "Dejection" ( C o l e r i d g e ) , 247 f., 265; excerpt, 248 " D e l i a " ( B u r n s ) , 225 Delia ( D a n i e l ) , 36 Della-Cruscans, 239 Dennis, John, 1 5 0 f t . " D e p a r t i n g Y e a r , Ode to the" (Coler i d g e ) , 247 De profundis, 51 Descartes, René, 124 f., 196« "Descent of O d i n " ( G r a y ) , 2 1 2 "Descriptive Ode" (Smith), 218 "Despondency" ( B u r n s ) , 225 "Destinie" ( C o w l e y ) , m D e Vere, A u b r e y , 251 Diction, 10, 2 3 3 ; of P i n d a r , 4 1 ; significant changes in poetry rooted in, ; o ; undertones suggesting language of Psalms, 53 ; Miltonic, 78 ; of meta-

physical poets, 82 ff. ; Romantic interest in, 2 7 1 f. " D i e s I r a e , " 57 Different Styles of Poetry, Essay on the ( P a r n e l l ) , excerpt, 162 Digges, Dudley, 52 Dimetre, 56 Dissertatio ( A d d i s o n ) , 148 " D i s t a n t Prospect of Eton College, Ode on a " ( G r a y ) , 208 f . ; excerpt, 209 "Dithryambics" (Pindar), n o " D r . William S a n c r o f t " ( S w i f t ) , 167 Dodsley, Robert, 172, 186, 2 1 9 , 237 "Domine Jesu Christe," 57 Donne, John, 30, 42, 43, 64, 72, 82 ff., 89; songs set to music, 94 Dorat, J e a n , 35 D o w l a n d , John, 54 Downhalus, C., 28 D r a g h i , G i o v a n n i , 138 f. D r a k e , Sir Francis, 202 Drayton, Michael, 30, 69, 77, 2 3 3 ; quoted, 48, 50; his ode and its inspiration, 4 8 ; interest in Irish music, 48 Droste-Hiilshoff, Annette von, 1 5 0 Drummond, W i l l i a m , 86 D r y d e n , John, 1 5 , 50, 171»!, 1 8 1 , 183, 2 5 1 , 2 5 5 ; example of good ode, 4 ; paraphrases, 8; quoted, 6 5 ; and the Restoration, 1 2 3 - 4 5 ; a n d the P«ndarick, 135, 1 4 3 ; French influence on, 1 3 5 ; translations of Horace, 1 4 3 » ; Defoe's denunciation of, 1 5 7 ; influence on Watts, 1 5 5 f. ; on S w i f t , 1 6 7 ; Collins compared with, 194 f. Du Bartas His Divine fVeekes . . . , 74" Du Bos, Abbé, 197 f . " D u k e of Y o r k ' s Second

Departure"

( F a l c o n e r ) , 177 Dunciad ( P o p e ) , 168, 172, 174 D u r f e y , T h o m a s , 133, 147 ff. " D u t y , Ode t o " ( W o r d s w o r t h ) , excerpt, 252 Dyer, G e o r g e , 2 3 1 f. Dyer, John, 169 f., 206 " D y i n g Christian to His Soul" ( P o p e ) , 183 " E a r l e of O x f o r d ' s ( B y r d ) , 20

Marche,

The"

Index "Earth, Hymn to the" (Coleridge), 245 "Earth and Heaven" (Watts), 249 f . ; excerpt, 250 "Eccho" (Cowley), 107 Eighteenth-century characteristic lyric utterance, 222, 234 f. Elegy, use of term, 70 Elegy ( G r a y ) , 206, 209, 220 "Elegy on a L a d y " (Bridges), 271 "Elegy on Mr. Thomas Gouge" (Watts), 156 Elizabeth, Queen, 29n; culture and attainments, 20; poetry of, 3 1 ; knowledge of Greek, 39; verses in honor of, 61 Elizabethan age, folk poetry, 1 9 ; higher standards fostered at Court, 20; musical composition, 21, 54; response to ode, 42; verse, 66, 78 Elizabethan Miscellanies, 37 Elton, Oliver, 49 Encomiastic verse, 58-61, 62, 79, 236 Endymion (Keats), 265 English Ode to 1660, The (Shafer), 5 English Songs, A Select Collection of, 224 Enquiry into the Principles of Harmony in Language (Mitford), 224 Enthusiasm, 1 1 4 , 149, i j o f . , 204 "Epiphany, Of the" (Beaumont), 69 "Epipsychidion" (Shelley), 260 Epistles (Horace), 7, 17 Epithalamion (Spenser), 25, 26 Epithalamium, 26, 42 Ermatinger, Emil, 5 "Eros and Psyche'' (Patmore), 290 f . ; excerpt, 291 Essay (Roscommon), excerpt, 198 Essay on Man (Pope), 183, 209 "Essays" (Smart), 183 Etheridge, George, 39 Eton College, Gray's ode on, 208 f. "Eupheme" (Jonson), 80 Eusden, Laurence, 173 Evelyn, John, on Charles II, 132 f. "Evening" (Collins), 191, 192, 195, 229 ; excerpt, 194 "Evening of Extraordinary . . . Beauty, A n " (Wordsworth), excerpt, 249 f. "Evening Star, T o the" (Akenside), excerpt, 202

303

"Evening Walk, T h e " ( J . Scott), 220 Everaerts, Jan, see Joannes Secundus Exotic, the, kinds of material, 243; Shelley and, 2j8 "Exstasie, T h e " (Cowley), 1 1 3 f . Faerie Queene (Spenser), 205, 206, 219, 222; influence on Collins and G r a y , 208 Eairchild, Hoxie N., 1 3 1 , 149 F a i r f a x , Edward, 68 Falconer, William, 177 Fanshawe, Sir Richard, 8; quoted, 80 Farmer, John, 36 "Fatal Sisters, T h e " ( G r a y ) , 2 1 1 Fawkes, Francis, 216 " F e a r " (Collins), 191, 192 Fellowes, E. H., quoted, 20 f. Female Reign, The (Cobb), 164 Fenton, Elijah, 152 f . "Field of Waterloo, T h e " (W. Scott), 232 Finney, Claude Lee, 267 "First of A p r i l " ( T . Warton), 200 Fishburn, C., 134 Fitzviilliam Virginal Book, 20 Flatman, Thomas, 118 ff. Fletcher, Giles, the elder, 36, 67; quoted, 72n, 74« Fletcher, Jefferson Butler, 24» Fletchers, the, 66, 68 Ford, John, 36 "Fountain, Ode to a " (Logan), 220 f . ; excerpt, 221 Foure Hymns (Spenser), 26 Foxwell, A . K., 6 "France" (Coleridge), 247 Francesca, Piero della, 55 Freeth, John, 237 French influence, 35, 36, 43, 44, 74, 124, 1 3 5 ; see also Ronsard, Pierre de; Pleiade Freneau, Philip, 241» Friedrich, Caspar David, 199 "Funeral Elegie" (Sylvester), 74 Galliard, John E., 176 Garrick, David, 207 f. Garrod, H. W., on Collins, 192 G a y , John, "serenata," 177 Gentleman's Magazine, 175 Genuine Remains (Butler), 129

3°4

Index

G e o r g e I, P r i o r ' s ode to, 1 5 7 f . " G e o r g e Sandys . . . , A n Ode to . . ." ( D i g g e s ) , 52 " G e o r g i a n a , Ode to" ( C o l e r i d g e ) , 248 Gesehichte der deutschen Ode (Vietor), 4 Gibbons, Orlando, ¡ 4 G i f f o r d , W i l l i a m , 239 Gleira, J . W . L., 165 Goethe, J o h a n n W o l f g a n g von, 205 Goetz von Berlichingen (Goethe), 205 G o l d m a r k , Ruth I., quoted, 287*1 Goldschmidt, M a d a m e , 272 Goldsmith, Oliver, 177 Gordon, Louis, 22$ Gosse, Edmund, quoted, 3 n ; on Cowley, n o G r a i n g e r , J a m e s , 169, 2 1 6 f. " G r a v e of Burns, A t the" ( W o r d s w o r t h ) , 252 f . ; excerpt, 253 " G r a v e of K i n g A r t h u r , T h e " ( T . W a r t o n ) , 200 G r a y , T h o m a s , 162, 178, 222 ; compared with Collins, 1 8 6 - 2 1 3 ; on Collins, 206; M a t h i a s on, 208; stanza f o r m , 209, 2 1 0 ; objectives, 2 1 2 ; influence o f , 2 1 6 ; Coleridge on, 245» " G r e c i a n U r n " ( K e a t s ) , 267 Greek chorus, 72 Greek influence, 39, 65, 126, 204 f., 266; see also P i n d a r ; P i n d a r i c o d e ; Pindarick ode Greek music, 56; treatises on, 65» G r e e n e , M a u r i c e , 182 Greene, Robert, 9, 5 1 ; ode structure, 31 f . Greene's Mourning Garment ( G r e e n e ) , 32 G r i e r s o n , S i r Herbert, quoted, on Donne, 83 " G r o n g a r H i l l " ( D y e r ) , 169 f., 206 Grounds of Criticism in Poetry (Dennis), 150 Grymeston, Elizabeth, 1 2 1 Guardian, 147, 165 Guiney, L . I., on V a u g h a n , 84 Habington, W i l l i a m , 29 H a l i f a x , Charles Montagu, E a r l o f , 152 H a l l , John, diction, 97 f . ; stanza form, 98; religious odes, 98 f. Hamilton, H. F., 5

Hamlet ( S h a k e s p e a r e ) , 14 "Hamlet, T h e " ( T . W a r t o n ) , 200 Hammond, W i l l i a m , 97 Handel, G e o r g e F., 140, 176, 179, 208 Hankamer, P a u l , quoted, 1 1 5 n " H a p p y Memory of the Most R e n o w n e d D u - V a l , T o the" ( B u t l e r ) , excerpt, 129 f. " H a p p y Return of K i n g C h a r l e s I I , Ode upon the" ( S h i r l e y ) , 1231J " H a r m o n y O d e " ( D r y d e n ) , 138 f., 255 Harte, W a l t e r , 2 1 9 H a r v e y , G a b r i e l , 27, 31, 38, 50, 52 Havens, R a y m o n d D., quoted, 78/1 Hayes, Philip, i o i i j Hazlitt, W i l l i a m , 229 " H e a v e n , Ode to" (Shelley), 259, 261 "Hebrew Melodies" (Byron), 271 f. Hellas ( S h e l l e y ) , 261 Henrietta M a r i a , $9, 61, 1 2 0 f. Herbert, G e o r g e , 82, 84, 86 f., 103, 180 Herbert of Cherbury, L o r d , 94, 1 2 m " H e r H a i r " ( O l d h a m ) , excerpt, 1 2 8 « Heroic ode, 79 f. " H e r o i s m in the S h a d e " ( T a y l o r ) , 264 Herrick, Robert, 89, 95, 1 2 m Hill, A a r o n , i s o f . , 157 " H i m s e l f , Ode to" ( J o n s o n ) , 44, 260 " H i s M a j e s t i e s Proclamation, Ode, upon Occasion o f " ( F a n s h a w e ) , 80 " H i s M a j e s t i e s Restoration, Upon" (Cowley), 114, 123» Hobbes, T h o m a s , 1 2 5 ; A u b r e y on, 94 Hoelderlin, Friedrich, 40 Hogarth, W i l l i a m , 167 "Hohenlinden" ( C a m p b e l l ) , 232 "Honourable M i s s Carteret, T o the" ( P h i l i p s ) , excerpt, 190 "Honoured Friend Sir Robert H o w a r d , T o M y " ( D r y d e n ) , 144 Hood, T h o m a s , 229 f . ; on music, 27371 Hoole, J . , 1 6 3 « " H o p e " (Cotton), excerpt, 1 2 7 " H o p e " ( C r a s h a w ) , 106 Hopkins, G e r a r d M., 4 1 , 92/j, 184 Horace, 17, 42, 5 1 , 58, 6j ; influence of the Odes, 6 ff., 12, 263 f., 277n (see also H o r a t i a n ode) ; in his w a y a Pindarist, 1 2 ; knowledge of P i n d a r acquired f r o m , 4 2 ; Cowley's translation, n o n ; p a r a p h r a s e d by Oldham, 1 2 8 ; Dryden's translations, 1 4 3 » ;

Index Hughes's version, 1 7 6 ; translations, 1 8 6 ; see also P y r r h a ode " H o r a c e , our English," 7 Horae Lyricae, 181 Horatian ode, 79 ff., 109, 168, 226, 228; important prosodic achievements of English writers, 8; Horatian ode, in A u g u s t a n age, 1 5 8 ; S w i f t ' s , 1 6 7 ; set to music, 178 f . ; standard of excellence, 187 f . ; Scott on, 220 " H o r a t i o n Ode upon Cromwell's Return'' ( M a r v e l l ) , 8, 80 " H o r r o r , Ode to" ( J e n y n s ) , 236 Houghton, Lord, on Peacock, 26} H o w a r d , S i r Robert, 144 Hughes, John, 1 4 1 , 1 7 1 n; and the cantata, 1 7 5 f . Humanism, 24, 2 2 1 , 233, 245; K e a t s and, 263 Humanist poets, 35, 62, 87 " H u m a n L i f e " ( Y a l d e n ) , 153 Hume, D a v i d , 125 Hunt, A r a b e l l a , 163 Hunt, Leigh, 264, 271 Hymn, 42, 56 f . ; use of term, 68, 1 8 1 ; see also Religious ode liymnes ( S p e n s e r ) , 68 Hymnody, 1 5 3 f . ; place in the history of the ode, 180 f f . "Hypocritical Nonconformist, Upon a " ( B u t l e r ) , 129 " I I Penseroso" ( M i l t o n ) , 231 Imagination, return of the, 186-213 "Immortality O d e " ( W o r d s w o r t h ) , 14, 250 f., 255, 275 "Immortall Memorie . . . of . . . Sir Lucius C a r y , and Sir H. Morison, T o the" ( J o n s o n ) , 4 3 ; excerpt, 44 "Incomparable A s t r e a " ( B e h n ) , 130 "Indolence, O n " ( K e a t s ) , 267 "Indolence" (Shenstone), 201 " I n f a n t Daughter, T o a n " ( C l a r e ) , 227 " I n l a n d Navigation, Ode on" (Freeth), 237

305

In vita Madonna Laura ( P e t r a r c h ) , 28 Irish Melodies ( M o o r e ) , 227 f . Irish music, influence, 48 f . I r r e g u l a r ode, see Pindarick ode Italian influence, Elizabethan age, 23, 24 Ives, Dymon, 61 " I VValkt the Other D a y " 85

(Vaughan),

Jago, Richard, 177 J e f f r e y , Lord, and Moore, 2 2 8 ; and Wordsworth, 253 f. Jenyns, Soame, on the ode, 235 f. Jesuit schools, 14, 3 5 ; ode and play writing, 58 Joannes Secundus ( J a n E v e r a e r t s ) , 62, 128 Johnson, Samuel, 47, 1 8 7 ; on the "metaphysicals," 89; on Cowley, n 6 n ; on Roscommon, 1 4 8 » ; on Philips, 1 6 8 ; on Collins, 192, 206; amorous verse, 206 f . ; on G r a y , 2 1 3 » ; antipathy to blank verse, 2 1 7 ; his rules violated in Romantic poetry, 273 f . " J o l l y B e g g a r s , T h e " ( B u r n s ) , 225 Jones, Sir W i l l i a m , njn Jonson, Ben, 10, 42, 43, 48, 69, 80, 146, 260; first to publish renderings of Horatian odes, 7 ; sponsors imitation of models of antiquity, 4 3 ; verse form, 43, 4 4 ; quoted, 44, 47, 7 7 ; " s o n s " o f , 46; introduces birthday ode, 59; stanza, 68; hymn, 86; Oldham's ode to, 129 "Judicium R e g a l e " ( M i l m a n ) , 232

K a n e , Elisha K., on C r a s h a w , 100 Keats, John, 10, 50, 223, 2 5 1 , 262 ff., 2 7 5 ; sonnet form, 268; and Collins, 2 6 9 ) ! . ; widely imitated, 2 7 1 Ken, T h o m a s , 1 5 4 K i l l i g r e w , Anne, 137 f. " K i n g , Ode to the" (Wotton), 79 K i n g , E d w a r d , 73 "Inscribed to Queen A n n e " ( P r i o r ) , K i n g , W i l l i a m , 1 1 6 excerpt, 160 Klopstock, F. G . , 229 "Intellectual Beauty, Hymn to" (Shel- " K u b l a K h a n " ( C o l e r i d g e ) , 246 f., 275 ley), 258 " I n the Glorious Epiphany of Our Lord " L ' A l l e g r o " ( M i l t o n ) , 208, 231 G o d " ( C r a s h a w ) , 103 Lamb, Charles, on Dyer, 231 In the House of My Pilgrimage, 87 Landor, W a l t e r S a v a g e , 47, 205

Index

3O6

Langhorne, John, 219 "Lapland Love Song," 162 "Last of Autumn, T h e " (Clare), 227 La Taille, Jacques de, 56 Latham, Robert G., 274 Latin verse, 1 3 5 ; Herbert, 86; Crashaw, 99 L a n e s , Henry, 52, 9s "Lead, Kindly Light" (Newman), 226 Leon, Fray Luis de, 84 Letters of Thomas Fitzosborne (Melmoth), 176 Leviathan (Hobbes), 94, 125 Leyden, John, 233» "Liberty, Ode to" (Collins), 191, 194, 195 "Liberty, Ode to" (Shelley), excerpt, 261 Libretto odes, 13 Licia (Giles Fletcher the elder?), 36 Lieser, Paul, 5 " L i f e and Fame" (Cowley), 1 1 1 "Light of Other Days" (Moore), 228 Lillye, teacher of Greek, 39 Lloyd, Robert, 216, 235 Lodge, Thomas, 31, 32, 35, 36, 38, 51 Logan, John, 218, 220 Longinus, 165 Lorrain, Claude, 208 "Love and Beauties of Astrea, Ode of the" (Sylvester), 74 "Love and Chastity" (Cunningham), 176 f. "Love Inthron'd" (Lovelace), 91 Lovelace, Richard, 90 f . ; quoted, 9 1 « Love's Labour's Lost (Shakespeare), 31, 107 Love verse, see Amorous verse Lowell, James Russell, 28m "Lucasta" (Lovelace), 90f. "Lure, T h e " (Hall), 97 "Lycidas" (Milton), 65, 67, 70 ff., 78, '94

"Lycoris, Ode to" (Wordsworth), 253 Lyly, John, Anacreon's influence upon, 9 Lyric, relation to hymn, 180 ff.; use of term, 221, 276; and ode, distinction between, 262 "Lyric Odes" (Wolcot), 240 "Lyric Poetry, On" (Akenside), 203 "Lyric Poetry, Prefatory Essay on" (Dyer), 231

Lyric verse, Dante's precept, 67 Macaulav, Thomas Babington, 263 MacDonagh, Thomas, 55 MacDonald, George, i ; 6 Maeviad (Gifford), 239 " M a i a , Fragment of an Ode to" (Keats), 267 Mangan, James Clarence, 2i2n "Manners, T h e " (Collins), excerpt, «95

Manwaring, Edward, 164 Manwaring, Elizabeth, 196 "Marissa," see Chudleigh, Lady Mary "Marriage of . . . Anastasia Stafford" (Dryden), 143» "Marriage of the Princess Anne . . ." ( H a l i f a x ) , 152 Marston, John, 22 Marvell, Andrew, 8; quoted, 80 f., 158 " M a r y in Heaven, T o " (Burns), 225 Mary, Queen, Wesley's Ode to, 154 Mason, John, 164 Mason, Gray, quoted, 212 Mason, William, 212, 214 ff.; on the ode as his time conceived it, 2 1 5 f. "Matchless Orinda," see Philips, Katherine Mathias, James, on Gray, 208, 2 1 0 ; on Pye, 240« "May, Hymn to" ( W . Thompson), 219 "Melancholy" (Cotton), 127 "Melancholy" (Keats), 267, excerpt, 270 Melmoth, William, 176; on Norris, 150 "Memory, T o " (Mason), 214 Meres, Francis, 31, 38 Merry, Robert, 23971 Metaphysical poets, 81 ff.; Milton and, 64-92; Johnson on, 89 Mickle, William, 216 Millspaugh, C. A., quoted, 4/1 Milman, H. H., 232 Milton, John, 47, 142 f., 187, 205, 252; "Pyrrha Ode" stanza, 8; paraphrases of Psalms, 51, 183; and the metaphysical poets, 64-92; compared with Patmore, 66 f . ; literary influences on, 66 ff., 7 3 « ; and Jonson, 68; and Beaumont, 68 f . ; stanza building, 7 1 ; and Pindar, 72; influence of Sylvester, 73 ff.; command of phrase, 76; trans-

Index

307

lation from Horace, 76 ; contemporary Music, effect upon verse structure, 1 2 ; Elizabethan composition, 2 1 , 54; Puopinion of, 77; influence on his age, ritanical opposition to, 22; The Praise 77 if.; his work a summing up of the of Musicke, 2 3 ; Irish, and its influRenaissance, 93; influence on Cotton, ence, 48 f . ; held ungodly, 50; poems 1 2 7 ; Keats ode on, 266 set to, 94 Mimes ( B a i f ) , 28 Minturno, 24», 26 Music and verse, 12 f., 35 f., 178 ff., Miscellanies, 37, 186, 237 234; in Elizabethan age, 19 ff.; RonMissa defunctorum, 57 sard's ideal of relationship, 3 3 ; re" M r . Abraham Cowley's Retirement, lationship based on classical models, S4-J8; under the Restoration, 132 ff.; Upon" (Philips), 120 in Romantic age, 273 f . ; Mason on, " M r . Abraham Cowley's Death" (Den2 1 5 f . ; in the 18th century, 223 ff., ham), 1 1 9 n 271 ff.; Dyer on, 2 3 1 ; see also C a n " M r . Anthony Stafford . . . , Ode to" tata (Randolph), 46 " M r . Bushells Rock," 61 Musica Transalpina, 21 " M r . Congreve, T o " ( Y a l d e n ) , 153 " M y Soul Is an Enchanted Boat" (Shel" M r s . Arabella Hunt, Singing" (Conley), 273 g r e v e ) , 163 " M y Spirit" ( T r a h e r n e ) , 88 " M r s . Oswald, Ode Sacred to the Mystic, the, 87 Memory o f " ( B u r n s ) , 225 Mistress, To His ( C o w l e y ) , 93, 97, " N a m e of Jesus, T h e " ( C r a s h a w ) , 1 1 2 N'amur, 1 5 1 107 {., 1 1 6 , 1 5 1 Mitford, M a r y Russell, 184, 265; "Naples, Ode to" (Shelley), 260 Nashe, Thomas, quoted, 21 quoted on Scott's songs, 272 "N'ativitie, Hymne on the" (Jonson), Mitford, William, 224 86 " M o n o d i a : an Elegie" (Sylvester), 73 Monody, 70, 71 Nativity (Piero della Francesca), 55 "Monody on the Death of Chatterton" "Nativity, Hymn of the" ( C r a s h a w ) , (Coleridge), 246 1 0 1 ; excerpt, 102 "Monopoly, T h e " ( C o w l e y ) , excerpt, "Nativity Ode" (Milton), 67 ff., 73, 78, 107 f. 142, 210, 2 5 2 ; excerpt, 70 Montagu, Charles, see H a l i f a x , Earl of Naturalism, 124 f., 170, 196, 242-75 passim; in the 18th century, 222 f. "Mont B l a n c " (Shelley), 258 f. " N e a , Odes to" (Moore), 228 Moore, Edmund, 178 Neoclassicism, 223; influence on Moore, Thomas, 227 f., 271 Vaughan, 84 f . ; and romanticism, More, Hannah, to Macaulay, 263 2 1 4 ffMore, Henry, 99», 149 Neo-Hellenism, 204 f. More, Paul Elmer, 70 Neo-Latin influence on lyric verse, 62 " M o r e Money" (Wolcot), 240 Neo-Platonism, 149 f., 198, 206 f., 242Morison, Sir H., 43 "Morning of Christ's Nativity, On the" 75 passim (Milton), see "Nativity Ode" Neri, St. Philip, 1 0 m , 102n "Mountain Daisy, T o a " (Burns), 226 Sever Too Late (Greene), 32 "Mouse, T o a " ( B u r n s ) , 225 f. Newman, John Henry, Cardinal, 226 M u l g r a v e , John Sheffield, Earl of, 144 " N e w Ode to a Great Number of M e n " Munday, Anthony, 20 ( W i l l i a m s ) , 239 Muses Fareixell to Popery and Slavery, Nevis Out of Purgatory (Tarlton), 32 Newton, Richard, 60 The (Defoe), 157 "Nightingale" ( K e a t s ) , 247, 267 f . ; ex"Music, Ode f o r " ( G r a y ) , 2 1 1 cerpt, 268 "Music (Melmoth), 176 Night Thoughts ( Y o u n g ) , 188 f. " M u s i c " ( J . W a r t o n ) , excerpt, 199

3O8

Index

Nineteenth century, 242 ff.; kinds of ode, 277 f . ; the romantic trend, 214. ff. Norris, John, 149 f., 1 5 4 " N o r s e , T h e 1 ' ( C o l e r i d g e ) , 246 Norse literature, G r a y ' s translations, 2 1 1 f. Nottingham, E a r l o f , 61 N o v a l i s , 231 Novello, Vincent, 2 7 1 ' N o w I Find T h y Looks W e r e F e i g n e d " ( L o d g e ) , 35 Nugent, T h o m a s , 197

Observations on the Art of English Poesie ( C a m p i o n ) , 56 " O c e a n " ( Y o u n g ) , excerpt, 188 Ode, definitions, 3-6, 12, 2 5 5 ; kinds, 4 n ; four great exemplars, 6 ; English forms distinct creations, characterized by their stanzas, 1 1 ; relationship to music, 12, 36, 179 ff. (see also M u s i c and verse) ; effect upon f o r m a l development of English verse, 1 3 ff.; prior to Milton, 1 7 - 6 3 ; introduction in E n g l a n d , 17 ff.; progenitor and immediate sponsor, 2 6 ; appearance of the ode proper, 26, 27, 30; use of term, 3 1 , 79, 162«, 178 f., 220, 256», 259 ff., 2 7 1 , 276, 285, 290; conclusions concerning origin and pattern, 3 j ; England's slow response to, 4 2 ; during Renaissance period, 54-63 ; influence of neo-Latin poets, 62; G r e e k influence on, 6 5 ; characteristics in the 17th century, 1 4 7 ; relationship to painting, 169 f . ; types, in A u g u s t a n age, 178 f . ; French distinction in types, 1 7 9 ; characteristics in the 18th century, 2 2 2 ; ubiquity, 236; nineteenth century, 277 f . ; see also Biog r a p h i c a l ode, Birthday ode, etc. " O d e , A n " ( J e n y n s ) , 235 Odellets, 30

Odes on Several . . . Subjects (Collins), 193 Ode sur la prise de Samur (Boileau), •5'

"Office of the Holy Cross" ( C r a s h a w ) , 102 Oldham, John, 128 (., 1 7 m Olor Iscanus ( V a u g h a n ) , 84 "On T h i s Day I Complete M y T h i r t y Sixth Y e a r " ( B y r o n ) , excerpt, 256 Opera, first English, 1 3 3 Oratorio, 177, 224 Orpheus Britannicus (Purcell), 133 f. Orrery, E a r l of, Flatman's Ode to, 1 1 8 Owen, John, 62 "Oxenford, Countess o f , " 30 Oxford, E a r l of, 5 9 ; dedications to, 26, 29; r i v a l of Sidney, 2 7 ; relations with Watson, 27, 28 O x f o r d Movement, 87 O x f o r d University, encomiastic verse, 59

P a g e , Frederick, 290 " P a l m e r ' s Odes" ( G r e e n e ) , 32 " P a n , Ode to" ( K e a t s ) , 265 Pandore (Soowthern), 29 " P a n e g y r i c on O x f o r d A l e " ( T . W a r ton), 200 Paradise Lost ( M i l t o n ) , 67 Paradox, 66 Parallelism, 195» P a r a p h r a s e s , Biblical, 1 3 1 f . ; of Solomon, 153 ; see also Psalms Parnell, T h o m a s , quoted, 162 P a r r y , Hubert, 294« Parthenophil and Parthenope (Barnes), 36 Passetemps ( B a i f ) , 36 Passionate Centurie of Love (Watson), 27 "Passion of Our Blessed Saviour" ( N o r r i s ) , 149 f. "Passions, T h e " (Collins), 194, 203 Oden und Lieder ( G l e i m ) , 165 "Pastoral H y m n " ( H a l l ) , 99 Odes ( H o r a c e ) , 6 ; their influence, 6-9 Pastoral ode, 71 Odes ( P i n d a r ) , 38, 47, 53 Patmore, Coventry, 66 Odes by Mr. Gray, 208 Patriotic odes, 232 " O d e Set by Dr. John W i l s o n " ( L o v e - Pattison, M a r k , 264 l a c e ) , excerpt, 90 f. Pawson, J . , 98 Odes in Imitation of the Seaven Peni- "Peace, Hymn to" ( D e f o e ) , excerpt, tential Psalmes ( V e r s t e g e n ) , 51 156

Index " P e a c e , Ode to" ( C o l l i n s ) , 1 8 3 ; excerpt, 193 Pembroke, Countess of, 24 Pepusch, Christopher, 1 4 1 , 176 P e r c i v a l , J a m e s G a t e s , 272 P e r c y , Religues, 186 Pericles and Aspasia ( L a n d o r ) , 205 Petrarch, 18, 24, 25, 26, 27 " P h i l a d o r ' s Ode T h a t He L e f t with the D e s p a i r i n g L o v e r " ( G r e e n e ) , 32 Philips, Ambrose, 163 f . ; trochees, 190 Philips, Katherine, 1 3 1 , 137 Phillips, E d w a r d , cited, 70n Phillis ( L o d g e ) , 32, 35 " P h i l o m e l a , " see R o w e , Elizabeth Philomela ( G r e e n e ) , 31 " P h r y n e " ( P o p e ) , 183 " P i l o r y , Hymn to the" ( D e f o e ) , 156 f. P i n d a r , 26, 44, 5 1 , 52, 6 1 ; influence upon ode form, 6, 10, 12, 1 3 , 35, 72, 1 0 9 ; character of verse and of prosody, 1 0 ; d a w n s upon England, 38, 42, 4 7 ; Odes, 38, 47, 5 3 ; reasons for excellence of, 39 ft.; influence on the religious ode, 53, 8 5 ; Olympic Odes, 53, 264; excerpt, 53 f . ; Blondel's treatise on, 6 5 » ; R a p i n on, 144, 1 5 1 f . ; Addison on, 1 6 2 ; translations, 1 8 6 ; West's version, 2 0 3 ; Johnson and, 207 P i n d a r , Peter, pseud., see Wolcot, John Pindarick ode, 107, 109, 203; structure, 1 1 1 ; stanza, 1 1 3 ; Sprat on, 1 1 7 f . ; F l a t m a n on, 1 1 9 ; themes, 1 2 0 ; political odes, 1 2 3 ; vehicle f o r satire, as well as religious feeling, 126 f f . ; Cotton's, 127 f . ; Oldham's, 128 f . ; chaffing and moralizing, 1 2 9 ; Butler's, 1 2 9 ; birthday odes, 1 3 4 ; D r y den's influence, 1 3 4 - 4 3 ; biographical odes, 136 f., 1 6 7 ; and cantata ode, 1 4 0 ; Restoration identification of ode with, 143 f . ; principal characteristics in the 17th century, 1 4 7 ; Norris on, 1 4 9 ; epigonous verse, 1 5 2 ; the Dunciad and, 1 6 8 ; character in the 18th century, 1 7 0 ; Collins and, 192, 206; G r a y , 209; a f t e r G r a y , 2 1 6 ff.; Coleridge and, 245 f . ; Wordsworth's, 249 ff-

309

" P i n d a r i c k upon the H u r r i c a n e " ( W i n chilsea), 1 3 2 P i n d a r i c ode, 7 1 ; earliest, 30; encomiastic verse, 8 1 ; C r a s h a w , C o w l e y , and, 9 3 ; in the 17th century, 72 f., 146 " P i n d a r i c Ode to the K i n g " (Dennis), 150 " P i n d a r i c Poem to the Reverend Doctor B u r n e t " ( B e h n ) , excerpt, 1 3 1 " P i n d a r i q u e s " ( C o w l e y ) , 65 "Pious Memory of . . . Anne K i l l i g r e w , 1 0 t h " ( D r y d e n ) , 137 f. Pipe of Tobacco ( B r o w n e ) , 175 Pitt, Christopher, 174 "Pity, Ode to" (Collins), 192 " P i x i e s , Song of the" (Coleridge), 246 f. " P l a g u e of Athens" ( C o w l e y ) , 1x7 " P l a g u e s of E g y p t " ( C o w l e y ) , 1 1 2 , "3". "4 Plato, 17, 65 P l a y f o r d , John, 95 Pleiade, English, 4 3 ; ode modeled loosely after patterns of, 63 Pleiade, T h e , 28, 32, 35, 63, n o Poems, Lyrick and Pastorall (Drayton), 48 Poems ( M i l t o n ) , 64, 93 Poems ( S t a n l e y ) , 96 Poems ( V a u g h a n ) , 84 Poems on Several Occasions ( T . W a r ton), 190 Poetaster, The ( J o n s o n ) , 8 "Poetical Character, Ode on the" (Collins), 1 9 1 , 1 9 4 ; excerpt, 198 f. Poetics (Aristotle), 144, 192 P o g g i o Bracciolini, G . F., 60 Poingdexter, John, 60 Pomfret, John, 1 5 2 Pontanus, Jacobus, 29 Pope, A l e x a n d e r , 47, 209; on C r a s h a w , 1 0 5 n ; only Horatian Ode, 167 f . ; Cecilian ode, 1 7 0 f f . ; birthday odes, 1 7 4 ; religious ode, 183 Posthume Poems ( L o v e l a c e ) , 91 Pottinger, Sir H., 264 Poussin, Nicolas, 208 " P o v e r t y " (Cotton), excerpt, 127n P r a e d , W . M., 130, 265 Praise of Musicke, The, 23

Index " P r a y e r - B o o k Sent to M r s . M . E . " ( C r a s h a w ) , 104 "Presented to the K i n g " ( P r i o r ) , 157 f . "President of the United States," 1 7 5 Priest-poet, 73 Mary, Primer or Office of the B. f'irçin 181 Principles

of Art

History

(Woelfflin),

'4 Prior, Matthew, 157 ff. ; on Dorset, 166 n " P r i s o n e r of Chillon" ( B y r o n ) , 257 Probationary Odes, 239 " P r o g r e s s of Curiosity" ( W o l c o t ) , 240 " P r o g r e s s of P o e s y " ( G r a y ) , 2 1 0 Prometheus the Firebringer (Bridges), 293 Prometheus Unbound (Shelley), 261 Prosodia Rationalis ( J . Steele), 224 Prothalamion (Spenser), 26 Psalms, influence of, j o ff., 126, 248; translations and paraphrases, 51 f., 75, ' 8 1 (• " P s y c h e " ( K e a t s ) , 247, 267 " P s y c h e " ( K e n ) , 154 " P u e r p e r i u m " ( W a l l e r ) , 90 "Punch's Apotheosis" ( T . H . ) , 241 Purcell, Daniel, 176 Purcell, Henry, 133 f., 170«, 179, 294; cantata odes, 138, 140 f . ; birthday odes, 173 Puritanism, 22 ff., 28 f., 2 9 n ; attitude t o w a r d music, 180 Puttenham, George, 3 1 , 38; quoted, 7n Pyre, J . F. A., quoted, 4n P y r r h a Ode ( M i l t o n ) , 76, 7 8 ; stanza, 192, 221 Queen Mab (Shelley), 258 f. "Question Moved, Ode upon a " ( H e r bert), 1 2 1 n Quintilian's dictum on Pindar, 41 Rabelais, François, 60 " R a e Wilson, Esquire, Ode to" ( H o o d ) , 230 R a l e i g h , Sir W a l t e r , 31 ; versions of Horatian odes, 7 Randolph, T h o m a s , 46, 48 ; quoted, 46 f. Rapin, Paul de, on Pindar, 144, 1 5 1 f.

" R a p t u r e , T h e " ( T r a h e r n e ) , 88 "Refinements . . . , Ode on the" (Blacklock), 2 1 8 f. Reggio, Pietro, 1 1 6 R e g u l a r ode, see P i n d a r ; P i n d a r i c ode Rejected Addresses, 240 f. Religious epigram, 82 Religious ode, 1 1 , 8 ; ff., 1 2 1 , 130, 149, 153 ff., 180 f. ; Spenser's, 25 f . ; homophonic, 56 f. ; flowering in C r a s h a w , 8 7 ; greatest height, 1 8 4 ; see also Hymn Reliques ( P e r c y ) , 186 "Resolution" ( W o r d s w o r t h ) , 269 f . ; excerpt, 270 Restoration age, Dryden and, 1 2 3 - 4 5 ; position of woman, 130 ff. " R e s u r r e c t i o n " ( C o w l e y ) , i n , 1 1 4 , 142 "Retirement, T h e " ( F l a t m a n ) , excerpt, 1 1 8 f . ; quoted, 1 1 9 » "Review, The" (Flatman), 118 Reynolds, Henry, 64; on P i n d a r , 72 Reynolds, John Hamilton, 264 Reynolds, M y r a , 196 Riemann, Hugo, 56n " R i v e r Eden, Ode to the" ( L a n g h o r n e ) , 219 Robins, John, quoted, 87/1 Robinson, Crabb, on W o r d s w o r t h , 2 5 m Rogers, Samuel, 232 Romaine, W i l l i a m , on Watts, 1 8 1 R o m a n Catholic Church, ode writers, 29», 74, 82, 1 8 1 , 291 ; music, 55, 99 Roman ode, influence on Pindaricks, 1 2 3 ; influence on Prior, 1 6 1 Romanticism, 196 f., 214-41 ; and music, 2 7 1 ff. R o n s a r d , Pierre de, 37, 40, 43, 57, 2 3 1 , 2 3 4 ; progenitor of the ode, 26, 30, 33 ; debut in English letters, 2 7 ; alternate rhymes, 3 2 ; f o r m and stanzas, 3 3 ; feminine rhymes, 4 5 ; supplanted by classically inspired ode, 46 Roscoe, W i l l i a m Stanley, 277n Roscommon, E a r l of, 148 f., 166, 198 R o w e , Elizabeth, 130, 154, 180 f. R o w e , T h o m a s , 154 R o y a l Progresses, 61 " R o y a l Songs" ( P u r c e l l ) , 138 Rupert, Prince, Flatman's ode to, 1 1 8 " R u r a l E l e g a n c e " (Shenstone), 203

Index De- Shakespeare, 26; dialectic in plays of, 4 2 ; Garrick's ode, 207 Sharpe, Timothy, 23811 Sheffield, John, E a r l of Mulgrave, quoted, 144 "St. Bartholomew's Day, Hymne upon" Shelley, Percy Bysshe, 163 f., 243«, 257 ff., 275; use of term "ode," 259, ( T r a h e r n e ) , 88 262; mastery of syllabic rhythm, "St. Cecilia's D a y " (Bonnel), 1 7 2 ; ex262/1; and music, 272 cerpt, 173 Shenstone, William, 177 f., 201, 203; St. Cecilia'9 Day, see Cecilian ode Saint Peter's Complaynt (Southwell), quoted, 184; diction, 204 29 Shepheards Calender (Spenser), 7, 24» Saintsbury, George, 34n, 7 1 ; ability as Sherburne, Sir E d w a r d , 96 a prosodist, 1 5 ; reaction to Campion, Sheridan, Richard Brinsley, 208 5 5 ; on Cowley, 1131: Shirley, James, 123 "Saint T e r e s a , Hymn to . . ." ( C r a - Shorter Poems (Bridges), 293 s h a w ) , 105 f. "Sickness, Ode a f t e r " (Shenstone), 203 Sakellarides, Joannes, 56« Sidney, Sir Philip, 24, 28, 29, 39, 41, Samson Agonistes (Milton), 75, 205 49. 50; Puritanical influence upon, Sancroft, William, Swift's ode to, 167 2 3 ; experiments in quantitative me"Sancta M a r i a Dolorum" ( C r a s h a w ) , ters, 2 5 ; rival of Earl of Oxford, 26 103 Silex Scintillans (Vaughan), 85 Sandys, George, 52 "Simplicity, Ode to" (Collins), 192 "Sir Francis Drake, T o " (Akenside), Safho and Phao ( L y l y ) , 9 202 Sapphic stanza, 6n, 55 56 f., 165, 225 "Sitting and Drinking in the Chair Sappho, 17, 165 . . ." (Cowley), 1 1 4 Satire, in Pindaricks, 128 ff., 238 ff. Six Cantatas (Hughes), 1 4 1 , 176 Satires (Horace), 7, 17 Skia Nuktos (Chapman), 25 Say, Samuel, 164 " S k y l a r k " (Shelley), 103 f., 260 Scaliger, J . C., 10, 24» Smart, Christopher, 177, 183 ff. Scandal, Ode to ( G a r r i c k ) , 208 Smith, Charlotte, 218 Schinkel, Friedrich, 196 f. Smith, David Nichol, 174 Schipper, J., 1 1 , 187 Smith, Edmund, 152 Scholasticism, IO8R, 125 Scott, John, 220; on " G r o n g a r Hill," Smith, Horace, and James Smith, 240» Smith, Robert, 226 1 6 9 ; on Dyer, 206 Smollett, Tobias G., 238 Scott, Sir Walter, 232; songs, 272 "Secretary, T h e " ( P r i o r ) , excerpt, "Solemn Musick, At a " (Milton), 67 "Solitude" ( G r a i n g e r ) , 2 1 7 ; excerpt, ' 5 9 f169 "Secular Ode'' (Mason), 214 "Solitude, T o " (Pope), 167 f. Sedley, Sir Charles, 72 "Solitude" ( J . Warton), 199 Scmaine, La (Du Bartas), 28 "1746, Ode Written in the Beginning "Solomon" ( P r i o r ) , 157 of . . ." (Collins), 191, 220; ex- "Some Odes of the Excellent and Knowing Severinus" (Vaughan), 84 cerpt, 194 Seventeenth century, 64 fr.; stanza Somerville, William, 152 Song, 2 1 ; unity of verse and, 1 2 ; writforms, 222 •nB> 54 ff-; homophonic, 56 f . ; and " 1 7 3 9 , Written" (Shenstone), 184, 201 sonnet, 90; see also Music and verse Severinus, 84 Shadwell, Thomas, 1 3 4 ; quoted, i o i n "Song of the Three Children P a r a phrased" (Chudleigh), 1 3 1 f. Shafer, Robert, 5, 17/1 Rural Life and Scenery, Poems scriptive of ( C l a r e ) , 227 " R u r a l M u s e " ( C l a r e ) , 227

312

Index

Songs ( B l a k e ) , 185 " S o n g to His Mistress Confined" ( C a r e w ) , 95 " S o n g to D a v i d " ( S m a r t ) , excerpt, 184 Sonnet, 34n; folk poetry gives w a y to, 1 9 ; sequences, 3 5 ; and ode, distinction between, 2 5 9 ; W o r d s w o r t h and K e a t s , 266 f. Soowthern, John, 29, 3 1 , 48 " S o r r o w , Ode to" ( K e a t s ) , 265 Southey, Robert, 229 f., 257 Southwell, Robert, 29 "Spacious Firmament on H i g h " ( A d d i son), 5, 1 8 1 f. Spectator, 162, 175 Spenser, Edmund, 24, 29, 49, 66, 68, 142, 1 8 7 ; quoted, 7 ; Puritanical influence upon, 2 3 ; great hymns, 2 j f . ; stanza 68, 160, 20$, 2 1 9 ; G r a y and, 208 "Spleen, T h e " ( W i n c h i l s e a ) , 132 Sprat, T h o m a s , 1 1 7 (., 130, 1 5 1 " S p r i n g , Ode to" ( B a r b a u l d ) , 229 " S p r i n g , T o " (Roscoe), 277n " S p r i n g Odes" ( B r i d g e s ) , 294 " S p r i n g of 1 8 1 4 , Ode for t h e " ( H u n t ) , excerpt, 264 Stafford, Anthony, 46, 49 Stanley, T h o m a s , 91, 96, 126 ff. Stanza, 45 f., 187 ff.; types of, 8 ; forms inspired by Pindar, 10, 1 2 , 1 3 ; usage of word, 1 1 ; Ronsard, 3 3 ; Jonson, 43 ff.; rhymes, 45 f . ; Campion, 56; C r a s h a w , 104 f., C o w l e y , 107, 109, 1 1 2 f . ; Pindarick, 1 1 3 ; Dryden, 1 3 8 ; Spenser, 160, 205, 2 1 9 ; "romance six," 1 8 3 ; Renaissance, 1 8 7 ; H o r a tian, 187 f . ; Collins, 194 f . ; G r a y , 210, 2 1 2 ; P y r r h a , 2 2 1 ; Coleridge, 246; W o r d s w o r t h , 250, 270; Shelley, 260; Keats, 266; Landor, 286 " S t a r r e , T h e " ( H e r b e r t ) , excerpt, 86 f. State Affairs, Collection of Porms relating to, 1 3 0 Steele, Joshua, 224 Steele, Sir Richard, 162, 172 Stein, H a r o l d , 24« Stepney, G e o r g e , 152 Steps to the Temple ( C r a s h a w ) , 93 "Sun, Hymn to the" (Coleridge), 245 "Sun, Ode to the" (Fenton), T 5 2 f .

"Sunrise, Hymn b e f o r e " ( C o l e r i d g e ) , 248 "Superstitions of the Highlands, Ode on the P o p u l a r " ( C o l l i n s ) , 2 1 0 f . ; excerpt, 204, 269; analysis, 205 f. Surrey, E a r l o f , 21 S w i f t , Jonathan, Dryden on, 1 6 7 ; one memorable lyric, 168; Cecilian ode, 1 7 2 ; birthday ode, 174 Sylva ( C o w l e y ) , 107, 109 Sylvester, Josuah, 66, 73 ff.; quoted, 75» Symonds, J . A., quoted, 272 T a n n a h i l l , Robert, 226 T . H „ 241 T a r l t o n , Richard, quoted, 32 T a s s o , 67 Tatler, 172 T a y l o r , Henry, 264 f. Tcares of the Muses ( S p e n s e r ) , 24» Tears of Fancy ( W a t s o n ) , 28 Temple, Sir W i l l i a m , 167 Temple, The ( H e r b e r t ) , 87 Temple Mustek ( B e d f o r d ) , 180 Tennyson, A l f r e d , 45, 279 ff. Tenterton, Lord, quoted, 237n Terence, 1 7 Tetrachordon ( M i l t o n ) , 84 Terza rima, 259; introduced in ode writing by Stanley, 91 "Thanksgiving Ode" (Wordsworth), 252 Theophila's Love-Sacrifice (Benlowes), 88 f., 1 0 m T h o m a s Aquinas, 65, 125 Thompson, Francis, 105, 1 5 3 Thompson, W i l l i a m , 2 1 9 Thomson, James, 1 9 1 , 236 Thornton, Bonnel, 172 f., 236 "Threnodia Augustalis" (Dryden), 136 f. "Threnodia Augustalis" (Goldsmith), >77 Tibullus, 148 Tickell, T h o m a s , 187 Tiersot, 33 T i l l e y , A r t h u r , quoted, 35n " T i m e , On" ( M i l t o n ) , 66 " ' T i s the L a s t Rose of ( M o o r e ) , 228

Summer"

Index Tomkins, T h o m a s , 1 1 6 n Tragedy, Ode to ( B o s w e l l ) , 208 T r a h e r n e , T h o m a s , 87 f. Translated Verse, Essay on (Roscommon), 148 T r a n s l a t i o n , 79, 96 T r a p p , Joseph, 152 Trissino, 24, 42 " T r i u m p h of L i f e , T h e " (Southey), 257 " T r i u m p h s of O w e n " ( G r a y ) , 2 1 2 T u d o r period, 17 ff. " T u t o r , T o H i s " ( H a l l ) , excerpt, 98 (Shakespeare), 2 1 « Tvseljth Sight " T w o H a p p y R i v a l s " ( W a t t s ) , excerpt, '55 Underwoods (Jonson), 7 Universities, and ode writing, 17 f., 58ff., 146n, 153n, 1 6 1 , 186 f., 236 Vaughan, Henry, 82, 84 ff. Vent, Creator, 183 "Venice, T o " ( B y r o n ) , 256 f. Verlaine, Paul, 157 " V e r n a l O d e " ( W o r d s w o r t h ) , 251 f . ; excerpt, 252 Verses irreguliers, 10 Verstegen, R i c h a r d , 51 " V e x i l l a R e g i s " ( C r a s h a w ) , 184 "Vicissitude" ( M i c k l e ) , 2 1 6 Vietor, K a r l , 4 "Vocal and Instrumental Music, Ode f o r " ( H u g h e s ) , 176 Vrionides, Christos, 56« W a l l e r , Edmund, 77«, 89 f., 94, 95 Wallerstein, Ruth, on C r a s h a w , 93 f., 102 Walpole, Horace, 238 W a l s h , W i l l i a m , 187 Walzel, Oskar, 149 Warburton, W i l l i a m , 207 Warton, Joseph, 186, 199 f . Warton, T h o m a s , 1 7 , 190 f . , 192, 200 f., 2 " . 235. 239 Washington, G e o r g e , 1 7 5 " W a t e r - F a l l " ( V a u g h a n ) , 85 Watson, T h o m a s , R o n s a r d and the ode make English appearance in book of, 2 7 ; relations with E a r l of O x f o r d , 27, 28; his Muse, 28

3i3

Watts, I s a a c , 1 5 4 f., 250 f . ; quoted, 5 3 » ; P r e f a c e to Horae Lyricae, 181 Webbe, W i l l i a m , 22 " W e e p e r , T h e " ( C r a s h a w ) , 94, 103 (. Wellington, Duke of, ode, 46 Welsh, G r a y ' s translations, 2 1 1 f . Wesley, Samuel, 154 West, R i c h a r d , quoted, 6 0 a ; version of Pindar, 203 " W e s t W i n d " (Shelley), 259, 262, 275 White, H e n r y K i r k e , 233» Whitehead, W i l l i a m , 2 1 7 Whiting, Nathaniel, 96 W h i t m a n , W a l t , 2 2 3 ; inevitable result of the Romantic Mood, 243 " W i d o w ' s Resolution, T h e " ( S m a r t ) , '77 Wildness, a characteristic of the ode, 4 1 , 48, 1 1 0 , 1 1 3 , 163 William Longbeard ( L o d g e ) , 32 W i l l i a m s , S i r Charles Hanbury, 239 Wilson, John, 116/1 Winchilsea, A n n , Countess of, 1 3 2 " W i n t e r " ( J o h n s o n ) , 207 " W i n t e r Solstice, On the" ( A k e n s i d e ) , 202 " W i s h e s to His (Supposed) M i s t r e s s " ( C r a s h a w ) , 102», 1 2 1 " W i t , " h i , 235 Wit and Mirth ( D u r f e y ) , 133 Wither, G e o r g e , quoted, 53«, 71 n W o e h r m a n n , K u r t , 25 Woelfflin, Heinrich, 1 4 Wolcot, John (Peter Pindar, pseud.), 225, 239 f. W o l f e , C h a r l e s , 232 Wollaston, W i l l i a m , 153 Wood, Anthony, 60 W o r d s w o r t h , W i l l i a m , 14, 47, 50, 169, 234, 249 ff., 2 7 5 ; on Peter P i n d a r , 240; vs. J e f f r y , 2 5 4 ; and Keats, 266 f., 269 f . " W o r k s of B e n Jonson, Upon the" (Oldh a m ) , 129 " W o r l d , T h e " ( V a u g h a n ) , 85 Wotton, Sir Henry, 79 W r a y , Sir Cecil, 239 " W r e c k of the E u r y d i c e " ( H o p k i n s ) , 184 "Written a f t e r the K i n g ' s Visit" (Southey), 230

314

Index

" W r i t t e n at Vale-Royal A b b e y " ( T . W a r t o n ) , 200 "VVritten to the Muses concerning T h i s Author, A n O d e " (Downhalus), 28 W y a t t , Sir T h o m a s , 6, 18, 2 1

Yalden, Thomas, 1 5 } " Y e M a r i n e r s of E n g l a n d " ( C a m p bell), 233 Y o r k , Duke of, Falconer's ode to, 177 Young, E d w a r d , 188 f., 2 3 5 ; quoted, 189