THE

Powers of Genius.

Origin of Genius.

SAY what is Genius? words can ne'er define
That power which springs from origin divine;
Genius we know by her impetuous force;
We know the torrent by its headlong course;
We know the sun by his effulgent ray,
Which gloom disperses from the face of day.
Invention* marks the genius of the soul,
And on the lightning rides from pole to pole.

* Invention is the first part of poetry and painting: and absolutely necessary to them both; yet no rule ever was or ever can be given how to compass it. A happy genius is the gift of Nature; it depends on the influence of the stars, say the astrologers; on the organs of the body, say the

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Genius allied to Invention and Fancy.

It sweeps with comets its eccentric flight,

And soars in air beyond the world's dim sight; 10
Disdains the paths that common footsteps tread,
But breathes the spirit of the mountain head:
It flies through scenes unvisited before,
"Exhausts this world, and then imagines" more
Allied with Genius, see bright Fancy move
The queen alike of terror and of love;
She gives the wings on which Invention soars
And untried regions of the world explores.
With ease she varies her enchanting forms,

Now roves thro' peaceful meads, now flies with

storms:

Now her fair fingers kiss the shepherd's reed,
And now she shudders at some nameless deed:
Now sadly wandering thro' the twilight grove,
She tells the tale of unrequited love.

Now rous'd to rage she chills the soul with fear,
To arms she cries, and grasps the quivering spear.

naturalist; it is the peculiar gift of Heaven, say the divines. How to improve it many books can teach us; how to obtain it, none; that nothing can be done without it, all agree : In nihil invita dices faciesve Minerva.

Without invention a painter is but a copier, and a poet but a plagiary of others.

Dryden's Parallel between Poetry and Painting.

Judgment.

While sinks the world within the arms of sleep,
And Night's thick mantle falls upon the deep;
While not a murmur breaks the still serene,
And fairy footsteps only press the green,
Then wond'rous visions to her sight appear
And sounds celestial melt upon her ear;

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Ev'n then enwrapt with murkiest shades she walks, Pours sweetest numbers and with Genii talks. ---The memory notes transactions as they roll,

And calls past images before the soul.

Forth at her magic call the scene appears
Which long lay buried in the depth of years;
The active principle on her relies,

On her foundation bids the building rise.
Judgment with these and Sympathy refin'd
Guide and improve the genius of the mind.

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*It is by Judgment that we discern the propriety of the plan and the execution of a work; the conformity of style and manner to its peculiar nature, the rectitude of sentiment, the probability of incident, the clearness of investigation, and the uniformity of design.---" Whatever (says Longinus) looks great both in poetry and prose, we must carefully examine whether it be not only appearance; we must divest it of all superficial pomp and garnish. If it cannot stand this trial, without doubt it is only swelled and puffed up, and it will be more for our honour to contemn than admire it.

Early Genius--

The heart too cold to feel the generous glow,
The heart that melts not at another's woe,
The heart that owns not Handel's angel-lay
Shall sleep for ever in its house of clay:
There Genius never dwells an happy guest,
She finds no entrance in the frozen breast.
Though erring taste be found in early years,
Yet blooming genius oft in youth appears;
Youth sometimes burns with all the poet's rage,
And speaks the glory of a riper age.*

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* Cowley, Dryden, and Chatterton, wrote several admired poems at a very early age. Milton wrote his paraphrases of the CXIV and cxv psalms, at fifteen years of age. Tasso wrote his heroic poem, entitled Rinaldo, before he had attained his eighteenth year. Metastatio wrote a tragedy, entitled Guestino, while in his sixteenth year. Pope, when no more than twelve years of age, wrote his ode on Solitude; when sixteen he wrote his Pastorals; and when twenty he wrote his Essay on Criticism. Collins, while he was in his eighteenth year, wrote his Eclogues. The orator Bossuet discovered in some measure, while a schoolboy, his great powers. Of him the poet might have said:

"Concourse and noise and toil he ever fled,
Nor cared to mingle in the clamorous fray
Of squabbling imps; but to the forest sped."

---It is related of Michael Angelo that he employed himself, when a child, in drawing with a coal, rude outlines of figures. His parents, who were noble, endeavoured to re

Its Effects.

Behold where bursts the golden orb of day!
He rolls exulting in his fervid way;

He grows in strength till from meridian height,
He pours on earth his streams of burning light.
Thus Genius first begins her brightening course,
Proceeds increasing in resistless force;

And all collected in one great design,

Moves like a giant just refresh'd with wine:

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Then sweeps the storm which chills with loud alarm, Then falls the vigour of Alcides' arm.

The poet often gains a madman's name. When first he kindles with the Muse's flame, When wild and starting he appears in pain, And shews a moon-struck phrenzy of the brain; The world cries out, "What ails our neighbour's lad?

'Tis pity of the boy, for he is mad;"

He often laughs aloud, and none know why,"
And looks so strange and wildly from his eye;
Heedless he roves all pale with moody care,
What pleases others, he will never share.

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press his darling propensity, not only by reprimands, but by stripes. The force of Genius, however, prevailed over the blushes and severity of his parents, and Angelo attained the highest eminence in painting, sculpture, and archi

tecture.