15. Hymn To The Naiads ARGUMENT.
The Nymphs, who preside over springs and rivulets, are addressed at day-break, in honor of their several functions, and of the relations which they bear to the natural and to the moral world. Their origin is deduced from the first allegorical deities, or powers of nature; according to the doctrine of the old mythological poets, concerning the generation of the gods and the rise of things. They are then successively considered, as giving motion to the air and exciting summer-breezes; as nourishing and beautifying the vegetable creation; as contributing to the fullness of navigable rivers, and consequently to the maintenance of commerce; and by that means, to the maritime part of military power. Next is represented their favourable influence upon health, when assisted by rural exercise: which introduces their connection with the art of physic, and the happy effects of mineral medicinal springs. Lastly, they are celebrated for the friendship which the Muses bear them, and for the true inspiration which temperance only can receive: in opposition to the enthusiasm of the more licentious poets.
17. O Youths And Virgins O youths and virgins: o declining eld:
O pale misfortune's slaves: o ye who dwell
Unknown with humble quiet; ye who wait
18. The Pleasures Of Imagination - The General Argument THE GENERAL ARGUMENT.
The pleasures of the imagination proceed either from natural objects, as from a flourishing grove, a clear and murmuring fountain, a calm sea by moon-light; or from works of art, such as a noble edifice, a musical tune, a statue, a picture, a poem. In treating of these pleasures, we must begin with the former class; they being original to the other; and nothing more being necessary, in order to explain them, than a view of our natural inclination toward greatness and beauty, and of those appearances, in the world around us, to which that inclination is adapted. This is the subject of the first book of the following poem. But the pleasures which we receive from the elegant arts, from music, sculpture, painting, and poetry, are much more various and complicated. In them (besides greatness and beauty, or forms proper to the imagination) we find interwoven frequent representations of truth, of virtue and vice, of circumstances proper to move us with laughter, or to excite in us pity, fear, and the other passions. These moral and intellectual objects are described in the second book; to which the third properly belongs as an episode, though too large to have been included in it.
31. The Pleasures Of Imagination - The Third Book - The Argument ARGUMENT OF THE THIRD BOOK.
Pleasure in observing the tempers and manners of men, even where vicious or absurd. The origin of vice, from false representations of the fancy, producing false opinions concerning good and evil. Inquiry into ridicule. The general sources of ridicule in the minds and characters of men, enumerated. Final cause of the sense of ridicule. The resemblance of certain aspects of inanimate things to the sensations and properties of the mind. The operations of the mind in the production of the works of imagination, described. The secondary pleasure from imitation. The benevolent order of the world illustrated in the arbitrary connexion of these pleasures with the objects which excite them. The nature and conduct of taste. Concluding with an account of the natural and moral advantages resulting from a sensible and well-formed imagination.
33. Ode V; On Love Of Praise Of all the springs within the mind
Which prompt her steps in fortune's maze,
From none more pleasing aid we find
34. The Pleasures Of Imagination - The First Book - The Argument THE ARGUMENT.
The subject proposed. Dedication. The ideas of the supreme being, the exemplars of all things. The variety of constitution in the minds of men; with its final cause. The general character of a fine imagination. All the immediate pleasures of the human imagination proceed either from greatness or beauty in external objects. The pleasure from greatness; with its final cause. The natural connection of beauty with truth and good. The different orders of beauty in different objects. The infinite and all-comprehending form of beauty, which belongs to the divine mind. The partial and artificial forms of beauty, which belong to inferior intellectual beings. The origin and general conduct of beauty in man. The subordination of local beauties to the beauty of the universe. Conclusion.
35. On Domestic Issues Meek honor, female shame,
O! whither, sweetest offspring of the sky,
From Albion dost thou fly;
36. To Caleb Hardinge, M.d. With sordid floods the wintry Urn
Hath stain'd fair Richmond's level green:
Her naked hill the Dryads mourn,
41. The Pleasures Of Imagination - The Second Book - The Argument ARGUMENT OF THE SECOND BOOK.
The separation of the works of imagination from philosophy, the cause of their abuse among the moderns. Prospect of their re-union under the influence of public liberty. Enumeration of accidental pleasures, which increase the effect of objects delightful to the imagination. The pleasures of sense. Particular circumstances of the mind. Discovery of truth. Perception of contrivance and design. Emotion of the passions. All the natural passions partake of a pleasing sensation; with the final cause of this constitution illustrated by an allegorical vision, and exemplified in sorrow, pity, terror, and indignation.
42. On The Use Of Poetry Not for themselves did human kind
Contrive the parts by heaven assign'd
On life's wide scene to play:
43. The Wood Nymph Approach in silence. 'tis no vulgar tale
Which I, the Dryad of this hoary oak,
Pronounce to mortal ears. The second age
44. The Virtuoso Whilom by silver Thames's gentle stream,
In London town there dwelt a subtile wight;
A wight of mickle wealth, and mickle fame,
45. Ode Ii; To Sleep Thou silent power, whose welcome sway
Charms every anxious thought away;
In whose divine oblivion drown'd,