It was my wish in this poem to shew the manner in which such men cleave to the same ideas; and to follow the turns of passion, always different, yet not palpably different, by which their conversation is swayed. I had two objects to attain; first, to represent a picture which should not be unimpressive, yet consistent with the character that should describe it; secondly, while I adhered to the style in which such persons describe, to take care that words, which in their minds are impregnated with passion, should likewise convey passion to Readers who are not accustomed to sympathize with men feeling in that manner or using such language. It seemed to me that this might be done by calling in the assistance of Lyrical and rapid Metre. It was necessary that the Poem, to be natural, should in reality move slowly; yet I hoped, that, by the aid of the metre, to those who should at all enter into the spirit of the Poem, it would appear to move quickly. The Reader will have the kindness to excuse this note, as I am sensible that an introductory Poem is necessary to give this Poem its full effect.
Upon this occasion I will request permission to add a few words closely connected with THE THORN and many other
“Awake, awake, Deborah: awake, awake, utter a song: Arise, Barak, and
lead thy captivity captive, thou Son of Abinoam.
At her feet he bowed, he fell, he lay down: at her feet he bowed, he fell; where he bowed there he fell down dead.
Why is his Chariot so long in coming? Why tarry the Wheels of his Chariot?”—Judges, chap. 5th. verses 12th, 27th, and part of 28th.—See also the whole of that tumultuous and wonderful Poem.
END OF VOL. I.
R. Taylor and Co. Printers, 38, Shoe-Lane.