Imágenes de página
PDF
ePub

PREFACE

TO THE SECOND EDITION.

IN presenting the Second Edition of this little volume before the public, the Editor trusts that it will be found worthy of the same favour, which the work received on its first appearance. Since that time many beautiful and interesting effusions have issued from the press, from acknowledged as well as anonymous authors, and to these we stand deeply indebted for several gems which now adorn our pages. In making room for them we were obliged to exclude numerous pieces of undoubted merit, but we trust that while we do not borrow too much from any individual author, we have by that means been enabled to take a little from all, and also to approach somewhat nearer to our original plan, by inserting what may be more properly termed Lyrical poetry. From two highly gifted authors, however, now in the dust, we have been lavish in our selections, but when the names of "HEBER" and "POLLOK" are mentioned, this will be a sufficient apology; it is to us matter of deep regret, that while they sung, and while they delighted with their strains, we were reminded of the singing of the swan, whose music was lovliest when about to expire. We may also state that many originals are scattered throughout our pages, with the signatures "PARK" and "WEIR,"-they are placed before the public with the utmost diffidence, and if they afford but a slight gratification

ii

in the perusal, the authors will be sufficiently recompensed for any little pains bestowed on their composition. As no expense has been spared in the execution and embellishment of the "Sacred Lyre," it is to be hoped that this circumstance, as well as the general merits of the selection will yield a considerable degree of satisfaction to those who may favour it with a perusal. In conclusion we would only remark, that from the contents of this volume being of a serious character, it may be recommended as a suitable companion for the evening of that day when all is calm, and when the mind is settled into a sacred repose; since we may be permitted to hope that pious precepts will not be the less acceptable by being conveyed to the heart in the varied measure of Sacred Song.

[ocr errors][merged small]

POETRY, as a study, furnishes to the mind much elegant and pleasing, as well as innocent entertainment. But to please is not the sole aim of this delightful art. Viewed in its effects either on the understanding or the heart, it is highly profitable. For whilst a taste for poetry in general is a sure indication of a mind by nature feelingly alive to the finest impulses of which man is susceptible, the cultivation of such a taste has a direct tendency to exalt and refine the soul, to form it to a love of excellence, and to render its possessor sensible of his high capabilities of varied and endless improvement. He, accordingly, who employs his leisure hours in delighting his ear with the flow of smooth and harmonious numbers, and in enriching his understanding with the finely conceived and noble creations of the poet, is, imperceptibly it may be to himself, forming in his mind a standard of taste both correct and delicate. And this new faculty, if it may be so denominated, is beneficial to him, not in poetry only, or in the other departments of literature, but likewise in forming opinions connected with matters of daily occurrence. Nor is this all. Beside creating in the mind a love of excellence, the study of poetry, by giving the ascendency to the amiable and noble qualities of the soul, impresses upon it a permanent bias towards

virtue. And we think it not unworthy of remark, that the views and feelings of a mind thus exercised and improved are as much unknown to common understandings, as if they were the conceptions of the inhabitant of some other planet. Such understandings are never visited by them, and are not aware of their capacity for receiving them.

Nor do we think that the vicious tendency of not a few poems, the productions of our most favoured Bards, forms any valid objection to what has now been advanced. Such productions are universally regarded as the spurious issue of the Muse, and are ever lamented as the prostitution of the faculties which most ennoble and beautify our rational nature. They are the creations of some evil hour, when Rancour, Envy, or Spleen, was exerting a demoniacal influence over the mind, and causing the genius of Poesy to act in subserviency to its own malignant purposes. And it is only when he is again brought under the fell and gloomy sway of these diabolical passions, that the poet himself can relish his own immoral effusions. With the reader the case is exactly similar.

His imagination will brood with new and fond delight over the pages of the sensual poet, if the current of his thoughts has been tainted by vicious indulgences or the contagion of evil example; but should virtue be the peaceful and happy tenor of his life, he will turn in disgust from the page, the reading of which might sully the purity of his mind. Whilst, therefore, the poet addresses himself to the imagination of his reader, his object is, through means of that spiritual faculty, to form the taste, and to free the soul from the dominion of those grosser passions, of a corporeal nasure, the inlging of which sinks man below the level of the Prior animals.

And if the tendency of poetry in general is to promote intellectual and moral improvement, the advancement of religion is the direct and sole object of the Sacred Muse. The origin of Sacred Poetry is divine. It was the inspiration of the Almighty which tuned the hearts of the Hebrew Bards and opened their lips in songs of praise. And sweet and sublime were the numerous strains which they uttered, from the time that Moses sung of Israel's deliverance from her bondage in Egypt, till the joyful Virgin burst forth into sweetest notes of thanksgiving and praise, at the thought of giving birth to him who was to deliver mankind from a deeper thraldom. And in every age has the Muse been found the handmaid of Religion, though her sons have too frequently been prodigal of their gifted endowments. In every country, too, has Religion assigned her a place in her temple, to kindle in her votaries the flame of devotion and fill their hearts with the love of her own adorable attributes. In truth, Religion and the praise of virtuous and heroic actions, were the first and for a long time the only themes of the Poet. Nor is this at all wonderful. Both Religion and Poetry address themselves to the affections, and the former, as well as the latter, not unfrequently operates on these through means of the imagination. Either of them alone is fitted to impart a high relish to the soul, but their combined influence affords the highest mental enjoyment. The poet who courts the sacred Muse will, accordingly, be the most affecting and interesting of any. Religion, the noblest of all subjects, is his theme, and devotion, the life and soul of Religion, inspires his genius and enlivens his affections. Lofty and glowing conceptions on subjects the most momentous, he embellishes with all the decorations of the

« AnteriorContinuar »