Introduction.

THE

HE Reader is requested to consider the following Poem as a SKETCH, and only a sketch, of the Sympathetic Principle, or Social Principle, applied first to the Author's particular situation, and thence extended more generally, as influencing the whole animal creation.

Upon visiting the villa of a friend, and finding it deserted by a family extremely dear to the Author, he experienced precisely the sensa→ tions he has endeavoured to describe. It was natural for him to pass beyond his own case, and contemplate that of others under similar

circumstances. The fairest productions of animated nature were before him. They occupied the same spot. He was in the midst of them. His heart dilated. If, as seems to be admitted, a virtuous enthusiasm be necessary to the proper enjoyment of such scenery, the Critic of Nature will hardly know how to be offended, though he should find that enough of this has stolen into the subject, to occasion effusions, which, if closely examined when the mind is cold, may be not altogether in strict connection.

;

It were easy to have thrown out some sentiments not quite in keeping with the theme but, zealous to prove the powers of Universal Sympathy, the writer felt the solicitudes of a Philanthropist united with those of an Author.

Of course, what had any chance of cementing the social affections, was too precious to be omitted.

1.85

To the AUTHOR of SYMPATHY..

WHAT son of Phoebus strikes the heavenly

lyre,

With sweetest strains of Nature and of Art?' What sounds that sacred harmony inspire,

Strike on the ear, and vibrate through the heart?

While this new candidate for virtuous fame, Like a coy lover, hides the secret flame, Enjoys the plaudits, and conceals his name?

Hear'st thou, my Clio?-Heav'n-descended Muse,

Let not this laurel'd Chief remain unknown; Though modest merit should the praise refuse, Assert thy Poet, and his temples crown; O! should a lay like this be sung in vain? Or should the sweetest swan conceal'd remain,

While many a goose loud gabbles o'er the plain?

Within each gen'rous heart, his song enshrin❜d,

Shall rouse the social passions to a tear; Shall wake to Sympathy each feeling mind,

And blend Love's rosy smile with Pity's tear. Then, Clio, tell with pride thy Poet's name, Freed from the fears of Envy's dart or blame, And let th' admiring world thy Bard proclaim. CLARA REEVE.*

MACTE

ACTE virtute esto, Patrone Pauperum elegantissime, miseriarum inurbanarum Pictor urbanissime, in quo reviviscit Goldsmithius. Pulchrè, euue, cogitas, et cogitata pulcherrimè loqueris. Nempe diceret Quintillianus,

*To whom the public is indebted for the Old English Baron, and many other ingenious publications

quòd in hoc tuo Poemate optima verba rebus optimis cohærent. Non verbum amplius addam. Vive, vale!

J. M. Birmingham.

SONNET

To the AUTHOR of SYMPATHY. 1803.

IN.* happier days I listen'd to thy lyre,

Bower'd in paternal shades, to memory sweet. The strains that waken'd Love and chaste desire, 'Mid the light dance, and mirth with twinkling feet,

Fain would I welcome once again, beguil❜d By thy symphonious numbers. Yet in vain I trace poetic forms through Fancy's wild, Here, where no haunts familiar to the child, No favourite brook remurmuring in my ear,

Alluding to a former sonnet addressed to the

same author.