It is a satisfaction one can't often receive, to show a thing of
great merit to a man of great taste. Your Lordship's approbation is
conclusive, and it stamps a disgrace on the age, who have not given
themselves the trouble to see any beauties in these _Odes_ of Mr.
Gray. They have cast their eyes over them, found them obscure, and
looked no further, yet perhaps no compositions ever had more sublime
beauties than are in each. I agree with your Lordship in preferring
the last upon the whole; the three first stanzas and half, down to
_agonizing King_, are in my opinion equal to anything in any language
I understand. Yet the three last of the first Ode please me very near
as much. The description of Shakespeare is worthy Shakespeare: the
account of Milton's blindness, though perhaps not strictly defensible,
is very majestic. The character of Dryden's poetry is as animated as
what it paints. I can even like the epithet _Orient_; as the last is
the empire of fancy and poesy, I would allow its livery to be erected
into a colour. I think _blue-eyed Pleasures_ is allowable: when Homer
gave eyes of what hue he pleased to his Queen-Goddesses, sure Mr. Gray
may tinge those of their handmaids.
In answer to your Lordship's objection to _many-twinkling_, in that
beautiful epode, I will quote authority to which you will yield. As
Greek as the expression is, it struck Mrs. Garrick, and she says, on
that whole picture, that Mr. Gray is the only poet who ever understood
dancing.
These faults I think I can defend, and can excuse others; even the
great obscurity of the latter, for I do not see it in the first; the
subject of it has been taken for music,--it is the Power and Progress
of Harmonious Poetry. I think his objection to prefixing a title to it
was wrong--that Mr. Cooke published an ode with such a title. If the
Louis the Great, whom Voltaire has discovered in Hungary, had not
disappeared from history himself, would not Louis Quatorze have
annihilated him? I was aware that the second would have darknesses,
and prevailed for the insertion of what notes there are, and would
have had more. Mr. Gray said, whatever wanted explanation did not
deserve it, but that sentence was never so far from being an axiom as
in the present case. Not to mention how he had shackled himself with
strophe, antistrophe, and epode (yet acquitting himself nobly),
the nature of prophecy forbade him naming his kings. To me they are
apparent enough--yet I am far from thinking either piece perfect,
though with what faults they have, I hold them in the first rank of
genius and poetry. The second strophe of the first Ode is inexcusable,
nor do I wonder your Lordship blames it; even when one does understand
it, perhaps the last line is too turgid. I am not fond of the
antistrophe that follows. In the second Ode he made some corrections
for the worse. _Brave Urion_ was originally _stern_: brave is insipid
and commonplace. In the third antistrophe, _leave me unblessed,
unpitied_, stood at first, _leave your despairing Caradoc_. But the
capital faults in my opinion are these--what punishment was it to
Edward I to hear that his grandson would conquer France? or is so
common an event as Edward III being deserted on his death-bed, worthy
of being made part of a curse that was to avenge a nation? I can't
cast my eye here, without crying out on those beautiful lines that
follow, _Fair smiles the morn_? Though the images are extremely
complicated, what painting in the whirlwind, likened to a lion lying
in ambush for his evening prey, _in grim repose_. Thirst and hunger
mocking Richard II appear to me too ludicrously like the devils in
_The Tempest_, that whisk away the banquet from the shipwrecked Dukes.
From thence to the conclusion of Queen Elizabeth's portrait, which he
has faithfully copied from Speed, in the passage where she humbled the
Polish Ambassador, I admire. I can even allow that image of Rapture
hovering like an ancient grotesque, though it strictly has little
meaning: but there I take my leave--the last stanza has no beauties
for me. I even think its obscurity fortunate, for the allusions to
Spenser, Shakespeare, Milton, are not only weak, but the two last
returning again, after appearing so gloriously in the first Ode, and
with so much fainter colours, enervate the whole conclusion.
Your Lordship sees that I am no enthusiast to Mr. Gray: his great
lustre has not dazzled me, as his obscurity seems to have blinded his
contemporaries. Indeed, I do not think that they ever admired him,
except in his Churchyard, though the Eton Ode was far its superior,
and is certainly not obscure. The Eton Ode is perfect: those of more
masterly execution have defects, yet not to admire them is total want
of taste. I have an aversion to tame poetry; at best, perhaps the art
is the sublimest of the _difficiles nugae_; to measure or rhyme prose
is trifling without being difficult.