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"At all events," says the author of the Academical Questions, "I trust, whatever may be the fate of my own speculations, that philosophy will regain that estimation which it ought to possess. The free and philosophic spirit of our nation has been the theme of admiration to the world. This was the proud distinction of Englishmen, and the lu minous source of all their glory. Shall we then forget the manly and dignified sentiments of our ancestors, to prate in the language of the mother or the nurse about our good old

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My hands, and eyes, and heart, and crave of thee a

prejudices? This is not the way to defend the cause of truth. It was not thus that our fathers maintained it in the brilliant periods of our history. Prejudice may be trusted to guard the outworks for a short space of time, while reason slumbers in the citadel; but if the latter sink into a lethargy, the former will quickly erect a standard for herself. Philosophy, wisdom, and liberty support each other: he who will not reason is a bigot; he who cannot, is a fool; and he who dares not, is a slave." Vol. i. pref. p. 14, 15.

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1 See Appendix, " Historical Notes," No. XXVIII.

2 [Between stanzas cxxxv. and cxxxvi. we find in the original MS. the following:

"If to forgive be heaping coals of fire

As God hath spoken on the heads of foes,
Mine should be a volcano, and rise higher
Than, o'er the Titans crush'd, Olympus rose,
Or Athos soars, or blazing Etna glows:-
True, they who stung were creeping things; but what
Than serpents' teeth inflicts with deadlier throes?
The Lion may be goaded by the Gnat. —
Who sucks the slumberer's blood?

the Bat."]

The Eagle? - No :

From the loud roar of foaming calumny To the small whisper of the as paltry few, And subtler venom of the reptile crew, The Janus glance of whose significant eye, Learning to lie with silence, would seem true, And without utterance, save the shrug or sigh, Deal round to happy fools its speechless obloquy. 2

CXXXVII.

But I have lived, and have not lived in vain : My mind may lose its force, my blood its fire, And my frame perish even in conquering pain; But there is that within me which shall tire Torture and Time, and breathe when I expire; Something unearthly, which they deem not of, Like the remember'd tone of a mute lyre, Shall on their soften'd spirits sink, and move In hearts all rocky now the late remorse of love.

CXXXVIII.

The seal is set. - Now welcome, thou dread power! Nameless, yet thus omnipotent, which here Walk'st in the shadow of the midnight hour With a deep awe, yet all distinct from fear: Thy haunts are ever where the dead walls rear Their ivy mantles, and the solemn scene Derives from thee a sense so deep and clear That we become a part of what has been, And grow unto the spot, all-seeing but unseen.

CXXXIX.

And here the buzz of eager nations ran, In murmur'd pity, or loud-roar'd applause, As man was slaughter'd by his fellow man. And wherefore slaughter'd? wherefore, but because Such were the bloody Circus' genial laws, And the imperial pleasure. - Wherefore not? What matters where we fall to fill the maws Of worms-on battle-plains or listed spot? Both are but theatres where the chief actors rot. CXL.

I see before me the Gladiator lie: He leans upon his hand - his manly brow Consents to death, but conquers agony, And his droop'd head sinks gradually lowAnd through his side the last drops, ebbing slow From the red gash, fall heavy, one by one, Like the first of a thunder-shower; and now The arena swims around him he is gone, Ere ceased the inhuman shout which hail'd the wretch who won.

CXLI.

He heard it, but he heeded not- his eyes
Were with his heart, and that was far away; 9
He reck'd not of the life he lost nor prize,
But where his rude hut by the Danube lay,

3 Whether the wonderful statue which suggested this image be a laquearian gladiator, which, in spite of Winkelmann's criticism, has been stoutly maintained; or whether it be a Greek herald, as that great antiquary positively as serted; or whether it is to be thought a Spartan or barba

Either Polifontes, herald of Laius, killed by Edipus; or Cepreas, herald of Euritheus, killed by the Athenians when he endeavoured to drag the Heraclidæ from the altar of mercy, and in whose honour they instituted annual games, continued to the time of Hadrian; or Anthemocritus, the Athenian herald, killed by the Megarenses, who never recovered the impiety. See Storia delle Arti, &c. tom. ii. pag. 203, 204, 205, 206, 207. lib. ix. cap. ii.

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rian shield-bearer, according to the opinion of his Italian editor; it must assuredly seem a copy of that masterpiece of Ctesilaus which represented "a wounded man dying, who perfectly expressed what there remained of life in him." Montfaucon and Maffei thought it the identical statue; but that statue was of bronze. The Gladiator was once in the Villa Ludovizi, and was bought by Clement XII. The right arm is an entire restoration of Michael Angelo.

1, See Appendix, “Historical Notes," Nos. XXIX. xxx. 3 Suetonius informs us that Julius Cæsar was particularly gratified by that decree of the senate which enabled him to wear a wreath of laurel on all occasions. He was anxious, not to show that he was the conqueror of the world, but to hide that he was bald. A stranger at Rome would hardly have guessed at the motive, nor should we without the help of the historian.

This is quoted in the " Decline and Fall of the Roman Empire," as a proof that the Coliseum was entire, when seen by the Anglo-Saxon pilgrims at the end of the seventh, or the beginning of the eighth, century. A notice on the Coli. seum may be seen in the "Historical Illustrations," p. 263. 5" Though plundered of all its brass, except the ring

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which was necessary to preserve the aperture above; though exposed to repeated fires; though sometimes flooded by the river, and always open to the rain, no monument of equal antiquity is so well preserved as this rotundo. It passed with little alteration from the Pagan into the present worship; and so convenient were its niches for the Christian altar, that Michael Angelo, ever studious of ancient beauty, introduced their design as a model in the Catholic church."- Forsyth's Italy, p. 137. 2d edit.

6 The Pantheon has been made a receptacle for the busts of modern great, or, at least, distinguished, men. The flood of light which once fell through the large orb above on the whole circle of divinities, now shines on a numerous assem. blage of mortals, some one or two of whom have been almost deified by the veneration of their countrymen. For a notice of the Pantheon, see "Historical Illustrations," p. 287.

7 This and the three next stanzas allude to the story of the Roman daughter, which is recalled to the traveller by the site, or pretended site, of that adventure, now shown at the church of St. Nicholas in Carcere. The difficulties attending the full belief of the tale are stated in "Historical Illustrations," p. 295.

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1 The castle of St. Angelo. "See Historical Illustrations." 2 [This and the six next stanzas have a reference to the church of St. Peter's. For a measurement of the comparative length of this basilica and the other great churches of Europe, see the pavement of St. Peter's, and the Classical Tour through Italy, vol. ii. p. 125. et seq. ch. iv.]

3 ["I remember very well," says Sir Joshua Reynolds, "my own disappointment when I first visited the Vatican; but on confessing my feelings to a brother student, of whose ingenuousness I had a high opinion, he acknowledged that the works of Raphael had the same effect on him, or rather that they did not produce the effect which he expected. This was a great relief to my mind; and, on inquiring further of other students, I found that those persons only who, from natural imbecility, appeared to be incapable of relishing those divine performances, made pretensions to instantaneous rap. tures on first beholding them.-My not relishing them as I

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was conscious I ought to have done, was one of the most humiliating circumstances that ever happened to me; I found myself in the midst of works executed upon principles with which I was unacquainted: I felt my ignorance, and stood abashed. All the indigested notions of painting which I had brought with me from England, where the art was in the lowest state it had ever been in, were to be totally done away and eradicated from my mind. It was necessary, as it is expressed on a very solemn occasion, that I should become as a little child. Notwithstanding my disappointment, I proceeded to copy some of those excellent works. I viewed them again and again; I even affected to feel their merit and admire them more than I really did. In a short time, a new taste and a new perception began to dawn upon me, and I was convinced that I had originally formed a false opinion of the perfection of the art, and that this great painter was well entitled to the high rank which he holds in the admiration of the world."]

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