human
Can you write a poem for me in the style of Jesse F. (Jesse Franklin) Bone?
assistant
Sure, here's a poem in the style of Jesse F. (Jesse Franklin) Bone:
  *       *       *       *
on the
of the
Of all his books, there is not one which, as a whole, can be
irregular faculty, less governable than the reason and of swifter
justification for lyric poetry. At work in Ogilvie’s thought is a
therefore, for the irregularity of the ode, for the “enthusiasm,
representation of “the internal movements of the mind warmed by
To follow the argument is to realize that his conception of the
imagination as a judicious faculty operating independently of the
Much of the time Ogilvie is occupied with quite familiar and
preferring the former because through it the mind is immediately
While Ogilvie is not a major critic a good part of his charm and
associationist, and that he is less interested in the creative
functioning of the poet’s imagination than in the precepts of a
(Glasgow, 1855), Vol. IV. For a list of Ogilvie’s works consult
To Which Is Prefix’d,
on the
In TWO LETTERS inscribed to
The Right Honourable JAMES Lord DESKFOORD.
Printed for G. KEITH, at the _Bible-and-Crown_
Although the facsimile includes this full Table of Contents,
only the introductory section-- the Essay on Lyric Poetry--
was reprinted.]
LETTER I.                                 Page iii
LETTER II.                                   xxxix
The 148th PSALM paraphrased
VERSES to a Lady,
with VOLTAIRE’S _Temple of Taste_
JUPITER and the CLOWN. A Fable
An Elegy on the DEATH of a LINNET
To Miss ---- with a Flower
SAPPHO’s Ode to VENUS translated
To the Memory of the late
pious, and ingenious Mr. HERVEY
The Third Chapter of HABAKKUK paraphrased
on the
of the
to the
on the
encroachments, and from leading to extremes which are the more
Quintilian speaking of Eloquence) tam nos juvaret, nisi quæ
videamur. Institut. Orat. Lib. XI. c. 16.]
adolescentibus creditur. Lib. II. c. 1.]
δυο και αυται φυσικαι. Το μιμεισθαι συμφυτον τοις ανθρωποις, &c.
Και Ἁρμονια και ρυθμος εξ αρχης οἱ πεφυκοτες προς αυτα μαλιστα
κατα μικρον προαγοντες εγεινησαν την Ποιησιν‧ Arist. Poet. c. 4.]
particularly discussed in Dacier’s Remarks on the Poeticks of
αυλησει προσχρωμενοι. Plat. de Legib. Lib. XI.]
You will no doubt be of opinion, my Lord, upon reflecting on this
effusions, either descriptive of the scenes of pastoral life, or
_Musa dedit fidibus Divos, puerosque Divorum_,
The Muse to nobler subjects tun’d her lyre,
Gods, and the sons of Gods her song inspire.  FRANCIS.
virorum fortium res preclare gestas Hymnis ac Pæanibus, ad templa
mortales invitarent. Strad. Prolus. 4 Poet.]
_Publica privatis secernere, sacra prophanis;
Concubitu prohibere vago, dare jura maritis,
Oppida moliri, leges includere ligno._
Poetic Wisdom mark’d with happy mean,
Public and private, sacred and profane,
The wandering joys of lawless love supprest,
With equal rites the wedded couple blest,
Plann’d future towns, and instituted laws, &c.  FRANCIS.
_undetermined_. There are indeed particular circumstances, by the
representation du vrai reel, qui rarement seroit agreable; elle
nations, the inland country continued to be laid waste by the
introduced into Greece the principles of philosophy. Tatian will
Orat. con. Graec. While Laertius (who certainly might have been
ηρξε φιλοσοφια ἡς και αυτο το ονομα την Βαρβαρον απεστραπτε
προσηγοριαν. Laer. in Prœm.]
Ην ποτε χρονος οὑτος εν ὡ ἁμα παντ’ επεφυκει. Id. ibid.]
After all, however, we must acknowledge, that so complex, so
impressed upon the Memory. This, my Lord, we are informed by the
great Critic, was the first dress in which Poetry made its
appearance.
και τας των τοιουτων τυχας‧ οἱ δε ευτελεστεροι τας των φαυλων
πρωτον ψογους ποιουντες, ὡσπερ ἑτεροι ὙΜΝΟΥΣ και ΕΓΚΩΜΙΑ. Arist.
_Sylvestres homines, Sacer, Interpresque Deorum
Cædibus, & victu fœdo deterruit Orpheus,
Dictus ob hoc lenire tigres, rabidosque leones._
The wood-born race of men when Orpheus tam’d,
From acorns, and from mutual blood reclaim’d.
The Priest divine was fabled to assuage
The tiger’s fierceness, and the lion’s rage.  FRANCIS.
φιλοσοφον καλειν ουκ οιδα τινα δει προσαγορευιν τον το ανθρωπειον
ανθρωπων αισχρουργουμενα, και τω ταυτης φωνης οργανω. Laer. ub.
resolve into the same materials of which they were originally
_---- sic est affata Sibylla.
Musæum ante omnes, medium nam plurima turba
Hunc habet, atque humeris extantem suspicit altis._
---- The Sibyl thus address’d
Musæus, rais’d o’er all the circling throng.
written by a person of his name, is thought to have been the work
It is generally allowed that Amphion, who was a native of Bæotia,
proficients.
idea of the structure of the Ancient lyre, whose music is said to
probably in some such manner as we see them in an harp, or a
dulcimer. They did not so much resemble the viol, as the neck of
that instrument gives it peculiar advantages, of which the
Ancients seem to have been wholly ignorant. The Musician stood
every string alternately, and allowed each of them to have its
full sound. This practice became unnecessary afterwards, when the
the sounds corresponded. Horace tells us, that in his time the
lyre had seven strings, and that it was much more musical than it
---- _Te docilis magistro.
Movit Amphion lapides canendo:
Tuque Testudo, resonare septem
Callida nervis;
Nec loquax olim, neque grata_ &c. Carm. Lib. III. Od. 11.
For a further account of this instrument, we shall refer the
reader to Quintilian’s Institutions. Lib. XII. c. 10.]
an oath. Εν ὑποκρυφοις ταυτα εχειν‧ και τοις απαιδευτοις και
αμνητοις μη μεταδεδιναι. Vid. Seld. de Diis Syr.]
Μεμβλεται, εν στηθεσσιν ακηδεα θυμον εχουσαις
Τυτθον απ’ ακροτατης κορυφης νιφεντος Ολυμπου.
Ενθα σφιν λιπαροι τε χοροι, και δωματα καλα.
Ὡς εφασαν Ηουραι Μεγαλου Διος αρτιεπειαι·
Και μοι σκεπτρον εδον, δαφνης εριθελεος οζον
Δρεψασθαι θηητον· επενευσαν δε μοι αυδην &c.
perhaps partly for this reason that we find different cities
contending for the honour of giving birth to men of Genius, or
eminence. Callimachus in his Hymn to Jupiter makes an artful use
of this circumstance.
Εν δοιη μαλα θυμος· επει γενος αμφεριστον.
Ζευ σε μεν Ι’ δαιοισιν εν ουρεσι φασι γενεσθαι
Ζευ σε δ’ εν Αρκαδιη· ποτεροι Πατερ εψευσαντο
Κρητες αει ψευσται· και γαρ ταφον, ὡ ανα σειο
Κρητες ετεκτηναντο· συ δ’ ου θανες· εσσι γαρ αιει.
Ὑμνεομες Ληδας. Τε και αιγιοχω Διος Ὑιω,
Καστορα και φοβερον Πολυδευκεα πυξ ερεθιζεν
To account for this phenomenon, my Lord, I need only remind your
Lordship of a truth which reflexion has, no doubt, frequently
improvement_, as Luxury augmented the subjects, and decorated the
Βακχον Ευιον ἡμιν.
Μυστιν αματε Κυπριν
Ὑμεναιοις κροτουσαν.
Και Εροτας αποπλους
Και χαριτας γελωσας, &c.
---- The race of Jove,
Bacchus whose happy smiles approve;
The Cyprian Queen, whose gentle hand
Is quick to tye the nuptial band;
The sporting Loves unarm’d appear,
The Graces loose and laughing near.
gives so ingenuous a character of himself.
Ὁν μοι μελει Γυγου
Το σημερον μελει μοι.  p. 28.]
beauty, in the Ode addressed to a swallow, where he runs a
comparison betwixt the liberty of that bird and his own bondage.
Συ μεν φιλη χελιδων, &c.  p. 60.]
delicacy, and who possessed above all others the art of selecting
_Æoliis fidibus quærentem
Sappho puellis de popularibus_. Lib. II. Od. 13.]
παθηματα εκ των παρεπομενων, και εκ της αληθειας, αυτης ἑκαστοτε
fragment of antiquity. Ου θαυμαζεις ὡς ὑπ’ αυτο την ψυχην το σωμα
likewise sung of Bacchus, Venus, the Muses, and Cupid. From these
_Te sonantem plenius aureo
Alcæe plectro, dura navis,
Dura fugæ mala, dura belli.
Utrumque sacro digna silentio
Mirantur Utmbræ dicere._  ----Hor. ub. sup.]
_Liberum & Musas, Veneremque & illi
Semper hærentem puerum canebat,
Et Lycum nigris oculis nigroque
Your Lordship needs not be told, that the Roman Poet who had the
advantage of improving upon so many originals, takes in a greater
excursions, and the vivacity of his passion is justified by the
_Non si me satis audias,
Speres perpetuum dulcia barbare
Lædentem oscula, quæ Venus
Quinta parte sui nectaris imbuit._
_Non semper imbres nubibus hispidos
Manant in agros_, &c.
Not always snow, and hail, and rain
Defend, and beat the fruitful plain.  CREECH.
On other occasions he breaks abruptly into a short and spirited
transition.
_Auditis? an me ludit amabilis
Insania? audire et videor pios
Errare per lucos, amœnæ
Quos et aquae subeunt et auræ._
Dos’t hear? or sporting in my brain,
What wildly-sweet deliriums reign!
Lo! mid Elysium’s balmy groves,
Each happy shade transported roves!
I see the living scene display’d,
Where rills and breathing gales sigh murmuring thro’ the shade.
_Ille te mecum locus, et beatæ
Postulant arces, ibi tu calentem
Debita sparges lachryma favillam
Vatis amici._
That happy place, that sweet retreat.
The charming hills that round it rise,
Your latest hours, and mine await;
And when your Poet Horace dyes;
There the deep sigh thy poet-friend shall mourn,
And pious tears bedew his glowing urn.  FRANCIS.
transitions of the Poet who breaks from his subject to exhibit an
It is only necessary to observe farther on this head, that the
_Ut sibi quivis
Speret idem, sudet multum, frustraque laboret
Ausus idem_!
All may hope to imitate with ease:
Yet while they drive the same success to gain,
Shall find their labour and their hopes are vain.  FRANCIS.
_Versibus impariter junctis Querimonia primum
Post etiam inclusa est voti sententia compos._
Unequal measures first were taught to flow,
Sadly expressive of the Lover’s woe.
_Son stile impetueux souvent marche au hazarde
Chez un beau disordre est un effect de l’art._
possible, to explain facts by placing them in connection, and to
illustrate reasoning by example.
_Descriptas servare vices, operumque colores,
Cur ego si nequeo ignoroque, Poeta salutor_?
d’eblouir les yeux, et l’esprit, et pour ce sujet ils ne
combattent qu’avec des armes brillantes. Lam. Rhet. Liv. IV.
characteristic marks, by which a general resemblance is fully
distinguished from perfect similarity.
tamen omnis Eloquentia aliquid commune. Quintil. Instit. Lib. X
_principally_ employed in the disposition of materials. Thus the
Philosopher and the Poet are equally entitled to the character of
by the variety and excellence of those materials with which
Imagination enricheth his subject. His Judgment appears in the
disposition of particular images, and in the general relation
which every subordinate part bears to the principal action of the
Critic says, “Considerer comme un corps qui no devoit pas avoir
des membres de natures differentes, et independens les uns des
autres.” Bossu du Poem. Epiq. Liv. II. ch. 2. It is true indeed,
that Tragedy is rather an address to the passions than to the
imagination of mankind. To the latter however we must refer all
those finer strokes of poetic painting, which actuate so forcibly
the importance of a warm imagination to the Dramatic Poet, by
Faculty when it is properly corrected. Though we must acknowledge
imagination feel with sensibility the impulse of the Passions.
A Poet may even merit a great encomium who excels in painting the
Disposition of his work may be otherwise irregular and faulty.
φαινεται. De Poet. c. 13. Upon the whole therefore, Didactic or
reason to fix upon the most forcible arguments, as well as to
throw them into the happiest disposition. We have seen however,
ἡκιστα καθαραι. Το γαρ εν παντα ακριβες, κινδυνος σμικροτητος‧ εν
παραλιγωρουμενον. Μη ποτε ηδε τουτο και αναγκαιουσιν, το τας μεν
τα{πειν}ας και μεσας φυσεις δια το μηδαμη παρακινδυνευειν μηδε
εφιεσθαι των ακρων, αδαμαρτητου ὡς επι το πολυ και ασφαλεστερας
διαφερειν. Longin. de Sublim. Sect. 33.]
As to the first, I need not tell your Lordship, that whatever Art
distinct feeling. The former is excited principally by the
sublime; the latter by the new and uncommon. These feelings are
this figure from Michael Angelo, who was at work on the same
subject in another part of the Vatican. We are indebted for this
curious anecdote to the ingenious Abbe du Bos. See his Reflex.
Crit. sur la Poes. et la Peint. Vol. II.]
It must immediately occur to any reader who peruseth the Hymn of
Θηκαο δ’ οιωνον μεγ’ ὑπειροχον αγγελεωτην,
Σων τεραων‧ ἁτ’ εμοισι φιλοις ενδεξια φαινοις.
Thy bird, celestial messenger, who bears
Thy mandate thro’ the sky;--O be his flight
Propitious to my friends!
δει ανα σκαπτω Διος αιετος, ω-
κειαν πτερυγ’ αμφοτερω-
θεν χαλαξεις,
-- -- ὁ δε κνωσσων
ὑγρον νωτον αιωρει, τεαις
ρεπαισι κατασχομενος.
The birds fierce Monarch drops his vengeful ire;
Perch’d on the sceptre of the Olympian King,
The thrilling darts of harmony he feels,
And indolently hangs his rapid wing,
While gentle sleep his closing eye-lids seals;
And o’er his heaving limbs, in loose array
To every balmy gale the ruffling feathers play.  WEST.
Ζευς δε Πατηρ ιδηθεν ευτροχον ἁρμα και ἱππους
Ολυμπονδ’ εδιωκε, θεων δ’ εξεκετο θωκους.
Τω δε και ἱππους μεν λυσε κλυτος Εννοσιγαιος
Ἁρματα δ’ αμβρωμοισι τιθει, κατα λιτα πετασσας.
Αυτος δε χρυσειον επι θρωνον ευρυοπα Ζευς
Ἑζετο, τω δε ὑπο ποσσι μεγας πελεμιζετ’ Ολυμπος.
---- The Thund’rer meditates his flight
From Ida’s summits to th’ Olympian height.
Swifter than thought the wheels instinctive fly,
Flame thro’ the vast of air, and reach the sky.
’Twas Neptune’s charge his coursers to unbrace,
And fix the car on its immortal base, &c.
He whose all-conscious eyes the world behold,
Th’ eternal Thunderer, sate thron’d in gold.
High heav’n the footstool of his feet He makes,
And wide beneath him all Olympus shakes.  POPE.
celebrate.
Heroe of the Poem is shown to great advantage.
Αναξιφορμιγγες ὑμνοι
τινα θεον, τιν’ ἡροα,
τινα δ’ ανδρα κελαδησομεν;
ητοι πισα μεν Διος‧
Ολυμπιαδα δ’ εστα-
Θηρωνα δε τετραοριας
ἑνεκα νεκαφορου
γεγωνητεον, οπε &c.  Pind. Olym. 2da.]
liberty in the Iliad, some of which Mr. Pope has judiciously
selected in the notes of his translation. Milton, in the same
spirit, compares Satan lying on the lake of fire, to a Leviathan
Lost, B. II. In this illustration it is obvious, that though the
fallen Arch angel. See Par. Lost, B. I.]
following verses of the Ode of Sophocles to the Sun.
Πολλα γαρ ὡστ’ ακαμαντος
κυματα ευρει ποντω
βαντ’ επιοντα τ’ ιδοι
οὑτο δε τον καδμογενη
τρεφει‧ το δ’ αυξει βιοτου
πολυπονον ὡστε πελαγος
κρητιον.  Soph. Trachin.]
Pindar’s first Pythian Ode, where he employs from the verse
beginning ναυσιφορηταις δ’ αδρασεα, &c. to the end of the stanza,
met with either in the works of Pindar, or in those of any Poet
whatever. The abrupt address to Phœbus, when he applies the
metaphor, is peculiarly beautiful.]
familiar, and the mind is satiated instead of being inflamed.
We must not think that this method of extending an illustration
------ _verbum emicuit si forte decorum,
Si versus paulo concinnior unus aut alter
Injuste totum ducit, venditque poema._
One simile that solitary shines
In the dry desart of a thousand lines,
Or lengthen’d thought that gleams thro’ many a page,
Has sanctified whole poems for an age.  POPE.
Εγκαμιων γαρ αωτες Υυμνων
επ’ αλλοτ’ αλλον ως τε με-
λισσα θυνει λογον.
The song that spreads some glorious name
Shifts its bold wing from theme to theme;
Roves like the bee regardless o’er,
And culls the spoils of every flower.
incoherence which discover the extent of that faculty.
nature. This observation however cannot be applied with so much
velut ægri somnia vanæ
Finguntur species, ut nec pes, nec caput uni
Reddatur formæ.
Lean not on earth, ’twill pierce thee to the heart;
A broken reed at best, but oft’ a spear,
On its sharp point Peace bleeds, and Hope expires.
is often indebted to this Poet, whom yet he banished from his
Commonwealth. Cicero in his most serious pieces studies the
_diction_, and copies the _manner_ of the Greek Philosopher; and
it evidently appears, that Thucydides has taken many a _glowing
Metaphor_ from the Odes of Pindar. We might produce many examples
συναπεργαζεσθαι οντι μαλιστα προς ομματων τεθεμενον. Οὑτο γαρ αν’
εὑρισκοι το πρεπον, και ἡκιστα αν’ λανθανοιτο τα ὑπεναντια.
magis quam concilio regatur. Plura enim multo homines judicant
odio, & amore, & cupiditate, &c. quam veritate & præscripto.
Something whose truth convinc’d at sight we find.
That gives us back the image of the mind.
A little reflection will enable us to discover the reason of this
with regard to the comparative merit of Homer and Tasso. The
Italian (says that spirited writer) has more conduct, variety and
we might still reply, that the principal merit of the Iliad,
considered as the production of Genius, lies in the grandeur of
the _principal Actors_. In all these respects we may venture to
affirm, that Homer remains without a superior among Authors
unaided by Inspiration; and the reader must be left to judge
whether or not it is from these criterions that we estimate the
Genius of a Poet. Our Author proceeds upon the same principles to
preference to the former. The merit of these works may be
ascertained in some measure, by the rules we have already
established. We need only to add further on this head, that among
the work of Ariosto; from which that of the Greek Poet is wholly
free. The two first lines of his Poem,
_Le Donne, e Cavalieri, l’arme, gli amore,
Le Cortesie l’audaci impresi io canto._
if they do not put one in mind of the Cyclic Writer mentioned by
Horace, who begins his Poem with
_Fortunam Priami cantabo, & nobile bellum._
yet are of a very different strain from those which introduce the
Ανδρα μοι ενεπε Μουσα πολυτροπον, ὅς μαλα πολλα
I cannot help thinking that the whole of this introduction is
remarkably simple and unornamented, though a very judicious and
ingenious Critic seems to be of a contrary opinion.]
inaccuracy which appear in the actions of others, and which are
imagination. The consequences of this proceeding are eminently
panegyrical address to his Patron will select with solicitude
every circumstance in his character and actions which excite
approbation, in order to render his encomium as perfect and
expect, either that he will fix upon _new points of panegyric_,
which is always a matter of the greatest difficulty; or we must
indulge him in the liberty of calling in _adventitious
assistance_, when he is deprived of other materials. This appears
four of his Odes are inscribed to Hiero King of Syracuse, all on
account of his victories in the Games of Greece. Two Odes
immediately following the first to Hiero are addressed to Theron
King of Agrigentum; Psaumis of Camarina is celebrated in the 4th
and 5th Olympic; and the 9th and 10th are filled with the praises
Αμφι δ’ ανδρω-
πων φρεσιν αμπλακιαι
Αναριθμητοι κρεμανται
τουτο δ’ αμηκανον εὑρειν
Ὁτι νυν, και εν τελευ-
τα φερτατον ανδρε τυχειν. Pin. Olym. VII.
But wrapt in error is the human mind,
And human bliss is ever insecure;
Know we what fortune yet remains behind?
Know we how long the present shall endure?  WEST.
reconnoit la maniere du Maitre, bien qu’ on n’y retrouve pas a
beaucoup près tout son genie. Mem. de Liter. Tom. III. p. 49.]
de celle du stile qui dans Pindare a toujours plus de force, plus
ubi supra.]
sentiments are conveyed, deserve to be equally the objects of
Fatalis incestusque Judex
Et Mulier peregrina vertit
In pulverem._
Troy,--perjured Troy has felt
The dire effects of her proud tyrant’s guilt;--
An Umpire partial and unjust,
And a lewd woman’s impious lust,
Lay heavy on her head, and sunk her to the dust.  ADDISON.
Capta, virum puerosque ploret._
Thrice should her captive dames to Greece return,
And their dead sons, and slaughter’d Husbands mourn.  ADDISON.
The prosperity which she promiseth to the Roman arms is therefore
subject.
_Monte decurrens velut amnis, imbres
Quem super notas aluere ripas
Fervet, immensusque _ruit_ profundo
Pindarus ore._
Pindar like some fierce torrent swoln with show’rs,
Or sudden Cataracts of melting Snow,
Which from the Alps its headlong Deluge pours,
And foams, and thunders o’er the Vales below,
With desultory fury borne along,
Rolls his impetuous, vast, unfathomable song.  WEST.
This subject is treated so fully in the preface of Mr. West’s
Translation, that we need only here to refer the curious to his
remarks. The Ancient Odes are always to be considered as songs
which were set to musick, and whose recital was generally
accompanied with dancing. If we may be permitted to form an idea
These sister-arts usually keep pace with each other, either in
their improvement or decay. Ne ci dobbiamo (says an ingenious
Foreigner, speaking of the modern Italian music) maravigliare,
ce corrotta la Poesia, s’e anche corrotta la musica; perche come
nella ragior poetica accennammo, tutte le arti imitative hanno
una idea commune, dalla cui alterazione si alterano tutte,
ornamenti e dalla copia delle figure, ha communicato anche il suo
I am afraid, that your Lordship is now thinking it high time to
bring the whole of this detail to a period.----Upon reviewing the
inequalities in _particular members_ of a work, which an enlarged
Your Lordship’s
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