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    Original sonnets on various subjects; and odes paraphrased from Horace
    Original sonnets on various subjects; and odes paraphrased from Horace
    Original sonnets on various subjects; and odes paraphrased from Horace
    Ebook222 pages1 hour

    Original sonnets on various subjects; and odes paraphrased from Horace

    By Anna Seward

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    "Original sonnets on various subjects; and odes paraphrased from Horace" by Anna Seward. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
    LanguageEnglish
    PublisherGood Press
    Release dateDec 12, 2019
    ISBN4064066210021
    Original sonnets on various subjects; and odes paraphrased from Horace

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      Book preview

      Original sonnets on various subjects; and odes paraphrased from Horace - Anna Seward

      Anna Seward

      Original sonnets on various subjects; and odes paraphrased from Horace

      Published by Good Press, 2022

      goodpress@okpublishing.info

      EAN 4064066210021

      Table of Contents

      PREFACE.

      TO MISS SEWARD,

      VERSES

      SONNETS.

      SONNET I.

      SONNET II.

      SONNET III.

      SONNET IV.

      SONNET V.

      SONNET VI.

      SONNET VII.

      SONNET VIII.

      SONNET IX.

      SONNET X.

      SONNET XI.

      SONNET XII.

      SONNET XIII.

      SONNET XIV.

      SONNET XV.

      SONNET XVI.

      SONNET XVII.

      SONNET XVIII.

      SONNET XIX.

      SONNET XX.

      SONNET XXI.

      SONNET XXII.

      SONNET XXIII.

      SONNET XXIV.

      SONNET XXV.

      SONNET XXVI.

      SONNET XXVII.

      SONNET XXVIII.

      SONNET XXIX.

      SONNET XXX.

      SONNET XXXI.

      SONNET XXXII.

      SONNET XXXIII.

      SONNET XXXIV.

      SONNET XXXV.

      SONNET XXXVI.

      SONNET XXXVII.

      SONNET XXXVIII.

      SONNET XXXIX.

      SONNET XL.

      SONNET XLI.

      SONNET XLII.

      SONNET XLIII.

      SONNET XLIV.

      SONNET XLV.

      SONNET XLVI.

      SONNET XLVII.

      SONNET XLVIII.

      SONNET XLIX.

      SONNET L.

      SONNET LI.

      SONNET LII.

      SONNET LIII.

      SONNET LIV.

      SONNET LV.

      SONNET LVI.

      SONNET LVII.

      SONNET LVIII.

      SONNET LIX.

      SONNET LX.

      SONNET LXI.

      SONNET LXII.

      SONNET LXIII.

      SONNET LXIV.

      SONNET LXV.

      SONNET LXVI.

      SONNET LXVII.

      SONNET LXVIII.

      SONNET LXIX.

      SONNET LXX.

      SONNET LXXI.

      SONNET LXXII.

      SONNET LXXIII.

      SONNET LXXIV.

      SONNET LXXV.

      SONNET LXXVI.

      SONNET LXXVII.

      SONNET LXXVIII.

      SONNET LXXIX.

      SONNET LXXX.

      SONNET LXXXI.

      SONNET LXXXII.

      SONNET LXXXIII.

      SONNET LXXXIV.

      SONNET LXXXV.

      SONNET LXXXVI.

      SONNET LXXXVII.

      SONNET LXXXVIII.

      SONNET LXXXIX.

      SONNET XC.

      SONNET XCI.

      SONNET XCII.

      SONNET XCIII.

      SONNET XCIV.

      SONNET XCV.

      SONNET XCVI.

      SONNET XCVII.

      SONNET XCVIII.

      SONNET XCIX.

      SONNET C.

      PARAPHRASES and IMITATIONS of HORACE.

      PREFACE.

      ODES FROM HORACE.

      TO MÆCENAS.

      TO PYRRHA.

      TO MUNATIUS PLANCUS.

      TO LYDIA.

      TO THALIARCHUS.

      TO LEUCONOE.

      TO APOLLO.

      TO HIS ATTENDANT.

      TO SALLUST.

      TO THE HON. THOMAS ERSKINE.

      TO BARINE.

      TO TITUS VALGIUS.

      TO LICINIUS MURENA .

      TO MÆCENAS.

      TO POSTHUMUS.

      TO LYCE,

      TO THE FOUNTAIN OF BLANDUSIA.

      TO TELEPHUS.

      TO PHIDYLE.

      TO MELPOMENE.

      TO WILLIAM HAYLEY, Esq.

      TO LIGURIA.

      TO PHYLLIS.

      ON THE PLEASURES OF RURAL LIFE.

      TO NEAĒRA.

      TO THE ROMAN PEOPLE,

      PREFACE.

      Table of Contents

      Whatever other excellence may be wanting in the ensuing Poems, they are, with only nine exceptions out of the hundred, strictly Sonnets. Those nine vary only from the rules of the legitimate Sonnet in that they rhime three, instead of four times in the first part. The pause is in them, as in the rest, variously placed through the course of the verses; and thus they bear no more resemblance than their associates, to those minute Elegies of twelve alternate rhimes, closing with a couplet, which assume the name of Sonnet, without any other resemblance to that order of Verse, except their limitation to fourteen lines. I never found the quadruple rhimes injurious to the general expression of the sense, but in the excepted instances. When it is considered how few they are in so large a number, I flatter myself the idea will vanish that our language is not capable of doing justice to the regular Sonnet.

      From the Supplement to the Gentleman's Magazine for 1786, I shall insert Mr. White's definition of the nature and perfection of this species of Verse, because I think it explains them with justness and precision.

      "Little Elegies, consisting of four stanzas and a couplet, are no more Sonnets than they are Epic Poems. The Sonnet is of a particular and arbitrary construction; it partakes of the nature of Blank Verse, by the lines running into each other at proper intervals. Each line of the first eight, rhimes four times, and the order in which those rhimes should fall is decisive. For the ensuing six there is more licence; they may, or may not, at pleasure, close with a couplet.

      "Of Milton's English Sonnets, only that to Oliver Cromwell ends with a couplet, but the single instance is a sufficient precedent; however, in three out of his five Italian ones, the concluding lines rhime to each other.

      "The style of the Sonnet should be nervous, and, where the subject will with propriety bear elevation, sublime; with which, simplicity of language is by no means incompatible. If the subject is familiar and domestic, the style should, though affectionate, be nervous; though plain, be energetic. The great models of perfection, for the sublime and domestic Sonnet, are those of Milton's, ‘To the Soldier to spare his Dwelling-place,’ and ‘To Mr. Laurence.’

      "The Sonnet is certainly the most difficult species of poetic composition; but difficulty, well subdued, is excellence. Mrs. Smith says she has been told that the regular Sonnet suits not the nature or genius of our language. Surely this assertion cannot be demonstrated, and therefore was not worth attention.

      "Out of eighteen English Sonnets, written by Milton, four are bad. The rest, though they are not free from certain hardnesses, have a pathos and greatness in their simplicity, sufficient to endear the legitimate Sonnet to every Reader of just taste. They possess a characteristic grace, which can never belong to three elegiac stanzas, closing with a couplet."

      I have pleasure in quoting the preceding Dissertation on the

      Sonnet

      , conscious that there is no order of Verse, upon which so much erroneous opinion has gone forth, and of whose beauties the merely common Reader is so insensible. But when the Author of this just Treatise says of the assertion, that the legitimate Sonnet suits not our language, its truth cannot be demonstrated, he should perhaps rather have observed, that its fallacy is proved by the great number of beautiful legitimate Sonnets, which adorn our National Poetry, not only by Milton, but by many of our modern Poets.

      Of the four of Milton's, justly disapproved by Mr. White, there is one evidently a burlesque, written in sport. It begins,

      A book was writ of late, call'd Tetrachordon.

      Doctor Johnson has the disingenuousness, in his Folio Dictionary, under the word

      Sonnet

      , to cite that Sonnet at full length, as a specimen of Milton's style in this kind of Poetry. Johnson disliked Sonnets, and he equally disliked Blank Verse, and Odes. It is in vain to combat the prejudice of splenetic aversion. The Sonnet is an highly valuable species of Verse; the best vehicle for a single detached thought, an elevated, or a tender sentiment, and for a succinct description. The compositions of that order now before the Reader, ensued from time to time, as various circumstances impressed the heart, or the imagination of their Author, and as the aweful, or lovely scenes of Nature, arrested, or allured her eye.

      TO MISS SEWARD,

      Table of Contents

      ON READING HER CENTENARY OF SONNETS.

      Dear are the forceful energies of Song,

      For they do swell the spring-tide of the heart

      With rosier currents, and impel along

      The life-blood freely:—O! they can impart

      Raptures ne'er dreamt of by the sordid throng

      Who barter human feeling at the mart

      Of pamper'd selfishness, and thus do wrong

      Imperial Nature of her prime desert.—

      Seward!

      thy strains, beyond the critic-praise

      Which may to arduous skill its meed assign,

      Can the pure sympathies of spirit raise

      To bright Imagination's throne divine;

      And proudly triumph, with a generous strife,

      O'er all the flat realities of life.

      High Street, Marybone,

      Feb. 1, 1799.

      T. PARK.

      VERSES

      Table of Contents

      BY THE REV. H. F. CAREY,

      ON READING THE FOLLOWING PARAPHRASES.

      Hear, honor'd Flaccus, from the vocal shades

      Where with gay Prior, and thy [1]Teian Peer

      Thou wanderest thro' the amaranthine glades,

      While social joys the devious walk endear!

      Or whether in the bright Elysian bowers,

      Where the tall vine its lavish mantle spreads,

      Thou crown'st the goblet with unfading flowers,

      Sooth'd by the murmuring stream, that labors thro' the meads.

      Hear, happy Bard!—to wake thy silent lyre

      Our British Muse, our charming Seward, deigns!—

      With more harmonious tones, more sportive fire

      Beneath her hand arise

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