'To The Pious Memory Of The Accomplished young Lady Mrs. Anne Killigrew...' by John Dryden
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TO THE PIOUS MEMORY OF THE ACCOMPLISHED YOUNG LADY MRS. ANNE KILLIGREW
Excellent in the Two Sister-Arts of Po{:e}sy and Painting AN ODE
Thou youngest virgin-daughter of the skies,
Made in the last promotion of the Blest;
Whose palms, new pluck'd from Paradise,
In spreading branches more sublimely rise,
Rich with immortal green above the rest:
Whether, adopted to some neighbouring star,
Thou roll'st above us, in thy wand'ring race,
Or, in procession fix'd and regular,
Mov'd with the Heavens' majestic pace:
Or, call'd to more superior bliss,
Thou tread'st, with seraphims, the vast abyss.
What ever happy region is thy place,
Cease thy celestial song a little space;
(Thou wilt have time enough for hymns divine,
Since Heav'n's eternal year is thine.)
Hear then a mortal Muse thy praise rehearse,
In no ignoble verse;
But such as thy own voice did practise here,
When thy first fruits of poesy were giv'n;
To make thyself a welcome inmate there:
While yet a young probationer,
And Candidate of Heav'n.
If by traduction came thy mind,
Our wonder is the less to find
A soul so charming from a stock so good;
Thy father was transfus'd into thy blood:
So wert thou born into the tuneful strain,
(An early, rich, and inexhausted vein.)
But if thy preexisting soul
Was form'd, at first, with myriads more,
It did through all the mighty poets roll,
Who Greek or Latin laurels wore,
And was that Sappho last, which once it was before.
If so, then cease thy flight, O Heav'n-born mind!
Thou hast no dross to purge from thy rich ore:
Nor can thy soul a fairer mansion find,
Than was the beauteous frame she left behind:
Return, to fill or mend the choir, of thy celestial kind.
May we presume to say, that at thy birth,
New joy was sprung in Heav'n as well as here on earth.
For sure the milder planets did combine
On thy auspicious horoscope to shine,
And ev'n the most malicious were in trine.
Thy brother-angels at thy birth
Strung each his lyre, and tun'd it high,
That all the people of the sky
Might know a poetess was born on earth;
And then if ever, mortal ears
Had heard the music of the spheres!
And if no clust'ring swarm of bees
On thy sweet mouth distill'd their golden dew,
'Twas that, such vulgar miracles,
Heav'n had not leisure to renew:
For all the blest fraternity of love
Solemniz'd there thy birth, and kept thy Holyday above.
O Gracious God! How far have we
Profan'd thy Heav'nly gift of poesy?
Made prostitute and profligate the Muse,
Debas'd to each obscene and impious use,
Whose harmony was first ordain'd above
For tongues of angels, and for hymns of love?
O wretched we! why were we hurried down
This lubrique and adult'rate age,
(Nay added fat pollutions of our own)
T'increase the steaming ordures of the stage?
What can we say t'excuse our Second Fall?
Let this thy vestal, Heav'n, atone for all!
Her Arethusian stream remains unsoil'd,
Unmix'd with foreign filth, and undefil'd,
Her wit was more than man, her innocence a child!
Art she had none, yet wanted none:
For Nature did that want supply,
So rich in treasures of her own,
She might our boasted stores defy:
Such noble vigour did her verse adorn,
That it seem'd borrow'd, where 'twas only born.
Her morals too were in her bosom bred
By great examples daily fed,
What in the best of Books, her Father's Life, she read.
And to be read her self she need not fear,
Each test, and ev'ry light, her Muse will bear,
Though Epictetus with his lamp were there.
Ev'n love (for love sometimes her Muse express'd)
Was but a lambent-flame which play'd about her breast:
Light as the vapours of a morning dream,
So cold herself, whilst she such warmth express'd,
'Twas Cupid bathing in Diana's stream.
Born to the spacious empire of the Nine,
One would have thought, she should have been content
To manage well that mighty government;
But what can young ambitious souls confine?
To the next realm she stretch'd her sway,
For painture near adjoining lay,
A plenteous province, and alluring prey.
A chamber of dependences was fram'd,
(As conquerors will never want pretence,
When arm'd, to justify th'offence)
And the whole fief, in right of poetry she claim'd.
The country open lay without defence:
For poets frequent inroads there had made,
And perfectly could represent
The shape, the face, with ev'ry lineament:
And all the large domains which the Dumb-sister sway'd,
All bow'd beneath her government,
Receiv'd in triumph wheresoe'er she went,
Her pencil drew, what e'er her soul design'd,
And oft the happy draught surpass'd the image in her mind.
The sylvan scenes of herds and flocks,
And fruitful plains and barren rocks,
Of shallow brooks that flow'd so clear,
The bottom did the top appear;
Of deeper too and ampler floods,
Which as in mirrors, show'd the woods;
Of lofty trees, with sacred shades,
And perspectives of pleasant glades,
Where nymphs of brightest form appear,
And shaggy satyrs standing near,
Which them at once admire and fear.
The ruins too of some majestic piece,
Boasting the pow'r of ancient Rome or Greece,
Whose statues, friezes, columns broken lie,
And tho' defac'd, the wonder of the eye,
What Nature, art, bold fiction e'er durst frame,
Her forming hand gave feature to the name.
So strange a concourse ne'er was seen before,
But when the peopl'd Ark the whole creation bore.
The scene then chang'd, with bold erected look
Our martial king the sight with reverence strook:
For not content t'express his outward part,
Her hand call'd out the image of his heart,
His warlike mind, his soul devoid of fear,
His high-designing thoughts, were figur'd there,
As when, by magic, ghosts are made appear.
Our phoenix queen was portray'd too so bright,
Beauty alone could beauty take so right:
Her dress, her shape, her matchless grace,
Were all observ'd, as well as heav'nly face.
With such a peerless majesty she stands,
As in that day she took the crown from sacred hands:
Before a train of heroines was seen,
In beauty foremost, as in rank, the queen!
Thus nothing to her genius was deny'd,
But like a ball of fire the further thrown,
Still with a greater blaze she shone,
And her bright soul broke out on ev'ry side.
What next she had design'd, Heaven only knows,
To such immod'rate growth her conquest rose,
That fate alone its progress could oppose.
Now all those charms, that blooming grace,
The well-proportion'd shape, and beauteous face,
Shall never more be seen by mortal eyes;
In earth the much lamented virgin lies!
Not wit, not piety could fate prevent;
Nor was the cruel destiny content
To finish all the murder at a blow,
To sweep at once her life, and beauty too;
But, like a harden'd felon, took a pride
To work more mischievously slow,
And plunder'd first, and then destroy'd.
O double sacrilege on things divine,
To rob the relique, and deface the shrine!
But thus Orinda died:
Heav'n, by the same disease, did both translate,
As equal were their souls, so equal was their fate.
Meantime her warlike brother on the seas
His waving streamers to the winds displays,
And vows for his return, with vain devotion, pays.
Ah, generous youth, that wish forbear,
The winds too soon will waft thee here!
Slack all thy sails, and fear to come,
Alas, thou know'st not, thou art wreck'd at home!
No more shalt thou behold thy sister's face,
Thou hast already had her last embrace.
But look aloft, and if thou ken'st from far,
Among the Pleiad's, a new-kindl'd star,
If any sparkles, than the rest, more bright,
'Tis she that shines in that propitious light.
When in mid-air, the golden trump shall sound,
To raise the nations under ground;
When in the valley of Jehosophat,
The Judging God shall close the book of fate;
And there the last Assizes keep,
For those who wake, and those who sleep;
When rattling bones together fly,
From the four corners of the sky,
When sinews o'er the skeletons are spread,
Those cloth'd with flesh, and life inspires the dead;
The sacred poets first shall hear the sound,
And foremost from the tomb shall bound:
For they are cover'd with the lightest ground,
And straight, with in-born vigour, on the wing,
Like mounting larks, to the new morning sing.
There thou, sweet saint, before the choir shall go,
As harbinger of Heav'n, the way to show,
The way which thou so well hast learn'd below.
Editor 1 Interpretation
To The Pious Memory Of The Accomplished young Lady Mrs. Anne Killigrew
Introduction
John Dryden's poem, To The Pious Memory Of The Accomplished young Lady Mrs. Anne Killigrew, is a tribute to the young lady who died at the age of twenty-five. The poem is a masterpiece of elegiac poetry, which is characterized by sorrowful and mournful themes. In this work, Dryden attempts to immortalize the memory of Anne Killigrew, who was not only a talented poet but also an accomplished painter. The poem expresses the author's deep sense of loss at the untimely demise of such a gifted individual.
Background
Anne Killigrew was the daughter of Dr. Henry Killigrew, who was a chaplain to King Charles II. She was born in 1660 and spent most of her life in London. Anne was a gifted individual with talents in poetry, painting, and music. She was a member of the court and was often commissioned to paint portraits of members of the royal family. Her poetry was also highly esteemed, and she was regarded as one of the most talented poets of her time. Unfortunately, Anne died at the young age of twenty-five, which was a great loss to the literary and artistic world.
Analysis
The poem opens with an invocation to the Muses, who are the traditional sources of inspiration for poets. Dryden asks the Muses to help him immortalize the memory of Anne Killigrew in verse. He then proceeds to describe Anne's talents and accomplishments in painting and poetry. The poem is divided into three parts, each of which explores a different aspect of Anne's life and personality.
Part I: Anne's Accomplishments
In the first part of the poem, Dryden describes Anne's accomplishments as a painter and a poet. He admires her paintings and implies that they are so lifelike that they seem to breathe. He also praises her poetry, which he describes as being "so much above her years."
Dryden's admiration for Anne's talent is evident in his use of imagery. He describes her paintings as being "like the fair original," which suggests that they are as beautiful as the subject they portray. He also describes her poetry as being "like her pencil," which suggests that her words are as vivid and powerful as her brushstrokes.
Part II: Anne's Virtues
In the second part of the poem, Dryden shifts his focus to Anne's virtues. He describes her as being "adorned with every grace," suggesting that she was not only talented but also a virtuous person. He admires her "piety and wit," which suggests that she was both spiritually and intellectually gifted.
Dryden's admiration for Anne's virtues is evident in his use of language. He describes her as being "a pattern to her sex," which suggests that she was a role model for other women. He also describes her as being "heavenly fair," which suggests that her beauty was not just physical but also spiritual.
Part III: Anne's Death
In the third part of the poem, Dryden laments Anne's untimely death. He describes her as being "snatched from hence into the regions of the blest," which suggests that she has gone to heaven. He also describes her death as being "untimely," which suggests that she died before she had a chance to fully realize her potential.
Dryden's lamentation for Anne's death is evident in his use of tone. He describes her death as being "fatal," which suggests that it was a tragic event. He also describes her as being "mourned by all the Muses," which suggests that her death was a loss to the literary world.
Interpretation
Dryden's poem is a tribute to Anne Killigrew, but it is also a reflection on the nature of talent, virtue, and mortality. Dryden's admiration for Anne's talent and virtue suggests that he believes that these qualities are essential to a meaningful life. He also laments Anne's death, which suggests that he believes that mortality is a tragic and inevitable part of human existence.
Dryden's poem is also a reflection on the role of art in preserving memory. Dryden attempts to immortalize Anne Killigrew's memory in verse, which suggests that he believes that art has the power to transcend time and preserve the memory of individuals.
Conclusion
In conclusion, John Dryden's poem, To The Pious Memory Of The Accomplished young Lady Mrs. Anne Killigrew, is a tribute to the young lady who died at the age of twenty-five. The poem is a masterpiece of elegiac poetry, which is characterized by sorrowful and mournful themes. Dryden attempts to immortalize the memory of Anne Killigrew, who was not only a talented poet but also an accomplished painter. The poem expresses the author's deep sense of loss at the untimely demise of such a gifted individual. Ultimately, the poem is a reflection on the nature of talent, virtue, and mortality, as well as the role of art in preserving memory.
Editor 2 Analysis and Explanation
Poetry To The Pious Memory Of The Accomplished young Lady Mrs. Anne Killigrew is a masterpiece of elegiac poetry written by John Dryden. The poem is a tribute to the young and talented Anne Killigrew, who was a painter and a poet. She died at the young age of 25, leaving behind a legacy of artistic excellence. Dryden's poem is a fitting tribute to her memory, and it captures the essence of her life and work.
The poem is divided into three parts, each of which explores a different aspect of Anne Killigrew's life and work. The first part is a description of her beauty and grace, which Dryden compares to that of the goddess Venus. He describes her as a "brighter Venus" and a "newer Pallas," suggesting that she possessed both beauty and wisdom. Dryden's use of classical allusions adds to the grandeur of the poem and elevates Anne Killigrew's status to that of a goddess.
The second part of the poem is a tribute to Anne Killigrew's artistic talent. Dryden describes her as a "painter and a poet," and he praises her ability to capture the beauty of nature in her paintings. He also praises her poetry, which he describes as "heavenly" and "divine." Dryden's use of religious language suggests that Anne Killigrew's art was not just a product of her own talent, but was also a gift from God.
The third and final part of the poem is a lament for Anne Killigrew's untimely death. Dryden describes her as a "sacrifice to Venus' shrine," suggesting that her beauty and talent were so great that they were a gift to the gods. He also suggests that her death was a loss not just to her family and friends, but to the entire world. Dryden's use of grandiose language and imagery adds to the sense of tragedy and loss that permeates the poem.
One of the most striking aspects of Poetry To The Pious Memory Of The Accomplished young Lady Mrs. Anne Killigrew is its use of language and imagery. Dryden's use of classical allusions and religious language elevates Anne Killigrew's status to that of a goddess, and his use of grandiose language and imagery adds to the sense of tragedy and loss that permeates the poem. The poem is a fitting tribute to Anne Killigrew's memory, and it captures the essence of her life and work.
Another aspect of the poem that is worth noting is its structure. The poem is divided into three parts, each of which explores a different aspect of Anne Killigrew's life and work. This structure allows Dryden to explore Anne Killigrew's life and work in depth, and it also allows him to build up to the final lament for her untimely death. The structure of the poem is both effective and elegant, and it adds to the overall impact of the poem.
In conclusion, Poetry To The Pious Memory Of The Accomplished young Lady Mrs. Anne Killigrew is a masterpiece of elegiac poetry. It is a fitting tribute to the young and talented Anne Killigrew, and it captures the essence of her life and work. Dryden's use of language and imagery is both grandiose and elegant, and his structure allows him to explore Anne Killigrew's life and work in depth. The poem is a testament to the power of art and the enduring legacy of those who create it.
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