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First, they would bribe us without pence,
And without power enslave.
Shall free born men, in humble awe,
Submit to servile shame;
Which kings pretend to reign?
The duke shall wield his conquering sword,
The chancellor make a speech, The king shall pass his honest word, The pawn'd revenue sums afford,
And then, come kiss my breech.
So have I seen a king on chess
(His rooks and knights withdrawn, His queen and bishops in distress) Shifting about, grow less and less,
With here and there a pawn.
A SONG FOR ST. CECILIA'S DAY, 1687.
From harmony, from heavenly harmony
This universal frame began.
When nature underneath a heap
Of jarring atoms lay,
And could not heave her head,
Arise, ye more than dead.
And Music's power obey.
This universal frame began:
From harmony to harmony
What passion cannot Music raise and quell?
When Jubal struck the corded shell,
To worship that celestial sound.
That spoke so sweetly and so well.
The trumpet's loud clangor
Excites us to arms,
With shrill notes of anger,
And mortal alarms.
Of the thundering drum
The soft complaining flute
The woes of hopeless lovers,
Sharp violins proclaim
For the fair, disdainful dame.
But oh! what art can teach,
What human voice can reach,
V. 37. Sharp violins] It is a judicious remark of Mr. Mason, that Dryden with propriety gives this epithet to the instrument; because, in the poet's time, they could not have arrived at that delicacy of tone, even in the hands of the best masters, which they now have in those of an inferior kind. See Essays on English Church Music, by the Rev. W. Mason, M.A., Precentor of York, 12mo. 1795, p. 218. T.
The sacred organ's praise?
To mend the choirs above.
Orpheus could lead the savage race;
Sequacious of the lyre:
Mistaking earth for heaven.
As from the power of sacred lays
The spheres began to move, And
sung the great Creator's praise
To all the bless'd above;
SONG. FAREWELL, FAIR ARMIDA.*
FAREWELL, fair Armida, my joy and my grief,
On seas and in battles, in bullets and fire,
* This song, written on the death of Captain Digby, has been given by Mr. Malone in his Life of Dryden, on account, he
says, of its 'not having been preserved in Dryden's works, and being found entire only in a scarce Miscellany, viz. Covent Garden Drollery. I must, however, observe, that the song is printed entire in New Court Songs and Poems, by R. V. Gent. 8vo. 1672, p. 78. In this collection the second line runs thus:
' In vain I have lov'd you, and find no relief.' The sixth,
"A fate which in pity,' &c. The twelfth,
My fate from your sight,' &c. An answer from Armida, as she is called, follows the Song in this collection; but it is not worth citing. The ridiculous parody on this Song in the Rehearsal is too well known to