English Lands, Letters and Kings, vol. 3: Queen Anne and the GeorgesMitchell, Donald Grant
History
English Lands, Letters and Kings, vol. 3: Queen Anne and the Georges
Mitchell, Donald Grant
English literature -- History and criticism; Great Britain -- Intellectual life
"Twilight's soft dews steal o'er the village green,
With magic tints to harmonize the scene;
Stilled is the hum that thro' the hamlet broke,
When round the ruins of their ancient oak
The peasants flocked to hear the minstrel play
And games and carols closed the busy day.
* * * * *
Up springs, at every step--to claim a tear,
Some little friendship formed and cherished here;
And not the lightest leaf, but trembling teems
With golden visions and romantic dreams.
This poem, with echoes of Goldsmith in it, with echoes of Dryden, with
echoes of Cowper--all caught together by a hand that was most deft, and
by a taste that was most fastidious--was written and published in
London, four years before Burns died, by the poet-banker Samuel
Rogers.[1] It is not a name that I feel inclined to glorify very much,
or that should be honored with any large reverence; but it is brought
specially to the reader's notice here, because the life, career, and
accomplishment of the man offers so striking a contrast to that of the
Scottish poet who was his contemporary. They were born within four
years {303} of each other. One under the bare roof of an Ayrshire
cottage, the other amid the luxuries of a banker's home in London; one
caught inspiration amongst the hills and the woods; the other was
taught melody in the drawing-rooms and libraries of London; one wrested
his conquests in the kingdom of song, single-handed; and the other, his
lesser and feebler ones, bolstered with all the appliances that wealth
could give, or long culture suggest. The poetry of the one is rich,
individual, and spirited, with sources in nature and in the passions of
the man; the poetry of the other has only those congruous and tamer
harmonies, whose sources lie in the utterance of deeper and stronger
singers before him. Yet the life of that Ayrshire poet was a miserable
failure; and the life of this other, Samuel Rogers, was--as the world
counts things--a complete success. No half-starved children pulled at
his skirts for bread. All luxuries were about him, and from the
beginning life flowed with him as calmly as a river.
Of his early history there is not much to be said. We know that he was
born at Newington Green--an old suburb lying directly north of the
city, {304} toward Stamford Hill--and now engulfed by the tide of
London houses; we know he studied at good schools there, and under
careful teachers at home; we know that he used to read and love Dr.
Beattie's minstrel; we know that once, in boyhood (he tells the story
himself), craving a sight of the great Dr. Johnson, he went to his
door, but scared by the first tap of the knocker, sidled away, and so
never saw that literary magnate. It was a timidity that did not cling
to Mr. Rogers; in all his later years no man in London was less afraid
of the pounding of a knocker.
Public-domain text, read in full here on John Shaqi.
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