Analysis of Health, An Eclogue



Now early Shepherds o'er the Meadow pass,
And print long Foot-steps in the glittering Grass;
The Cows neglectful of their Pasture stand,
By turns obsequious to the Milker's Hand.

When Damon softly trod the shaven Lawn,
Damon a Youth from City Cares withdrawn;
Long was the pleasing Walk he wander'd thro',
A cover'd Arbour clos'd the distant view;
There rests the Youth, and while the feather'd Throng
Raise their wild Musick, thus contrives a Song.

Here wafted o'er by mild Etesian Air,
Thou Country Goddess, beauteous Health! repair;
Here let my Breast thro' quiv'ring Trees inhale
Thy rosy Blessings with the Morning Gale.
What are the Fields, or Flow'rs, or all I see?
Ah! tastless all, if not enjoy'd with thee.

Joy to my Soul! I feel the Goddess nigh,
The Face of Nature cheers as well as I;
O'er the flat Green refreshing Breezes run,
The smiling Dazies blow beneath the Sun,
The Brooks run purling down with silver Waves,
The planted Lanes rejoice with dancing Leaves,
The chirping Birds from all the Compass rove
To tempt the tuneful Echoes of the Grove:
High sunny Summits, deeply shaded Dales,
Thick Mossy Banks, and flow'ry winding Vales,
With various Prospect gratify the Sight,
And scatter fix'd Attention in Delight.

Come, Country Goddess, come, nor thou suffice,
But bring thy Mountain-Sister, Exercise.
Call'd by thy lively Voice, she turns her Pace,
Her winding Horn proclaims the finish'd Chace;
She mounts the Rocks, she skims the level Plain,
Dogs, Hawks, and Horses, crowd her early Train;
Her hardy Face repels the tanning Wind,
And Lines and Meshes loosely float behind.
All these as Means of Toil the Feeble see,
But these are helps to Pleasure join'd with thee.

Let Sloth lye softning 'till high Noon in Down,
Or lolling fan her in the sult'ry Town,
Unnerv'd with Rest; and turn her own Disease,
Or foster others in luxurious Ease:
I mount the Courser, call the deep mouth'd Hounds,
The Fox unkennell'd flies to covert Grounds;
I lead where Stags thro' tangled Thickets tread,
And shake the Saplings with their branching Head;
I make the Faulcons wing their airy Way,
And soar to seize, or stooping strike their Prey;
To snare the Fish I fix the luring Bait;
To wound the Fowl I load the Gun with Fate.
'Tis thus thro' change of Exercise I range,
And Strength and Pleasure rise from ev'ry Change.
Here beautious Health for all the Year remain,
When the next comes, I'll charm thee thus again.

Oh come, thou Goddess of my rural Song,
And bring thy Daughter, calm Content, along,
Dame of the ruddy Cheek and laughing Eye,
From whose bright Presence Clouds of Sorrow fly:
For her I mow my Walks, I platt my Bow'rs,
Clip my low Hedges, and support my Flow'rs;
To welcome her, this Summer Seat I drest,
And here I court her when she comes to Rest;
When she from Exercise to learned Ease
Shall change again, and teach the Change to please.

Now Friends conversing my soft Hours refine,
And Tully's Tusculum revives in mine:
Now to grave Books I bid the Mind retreat,
And such as make me rather Good than Great.
Or o'er the Works of easy Fancy rove,
Where Flutes and Innocence amuse the Grove:
The native Bard that on Sicilian Plains
First sung the lowly Manners of the Swains;
Or Maro's Muse, that in the fairest Light
Paints rural Prospects and the Charms of Sight;
These soft Amusements bring Content along,
And Fancy, void of Sorrow, turns to Song.
Here beauteous Health for all the Year remain,
When the next comes, I'll charm thee thus again.


Scheme aabb ccdxee ddffgg hhiixxjjkkll xxmmnnoogg ppqqrrssxdttuunV eehhaabxqq wwxtjjxalleenV
Poetic Form
Metre 1101010011 01111001001 0101011101 1101001011 1101010101 1001110101 1101011101 0101010101 1101010101 111101101 110101111 110101101 111111101 1101010101 1101111111 111110111 1111110101 0111011111 10011010101 010110101 011111101 0101011101 0101110101 1101010101 1101010101 11101101 1100101001 0101010001 1101011101 111101010 1111011101 0101010101 1101110101 1101010101 0101010101 0101010101 1111110101 1111110111 111111101 110100011 0111010101 11010001001 1101010111 01111101 1111110101 0101011101 110111101 0111110111 1101110101 1101110111 111111011 010101111 111110101 1011111101 1111011101 0111011001 1101010101 1111011101 1011111111 1111000111 1100110111 0111011111 11110111 1101010111 11010111001 0110101 1111110101 0111110111 11001110101 1101000101 01011101001 1101010101 111100101 1101000111 1101011001 0101110111 111110101 1011111101
Closest metre Iambic pentameter
Characters 3,399
Words 611
Sentences 20
Stanzas 8
Stanza Lengths 4, 6, 6, 12, 10, 16, 10, 14
Lines Amount 78
Letters per line (avg) 35
Words per line (avg) 8
Letters per stanza (avg) 339
Words per stanza (avg) 76
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Submitted on May 13, 2011

Modified on March 05, 2023

3:11 min read
121

Thomas Parnell

Thomas Parnell was an Anglo-Irish poet and clergyman who was a friend of both Alexander Pope and Jonathan Swift. He was the son of Thomas Parnell of Maryborough, Queen's County now Port Laoise, County Laoise}, a prosperous landowner who had been a loyal supporter of Cromwell during the English Civil War and moved to Ireland after the restoration of the monarchy. Thomas was educated at Trinity College, Dublin and collated archdeacon of Clogher in 1705. He however spent much of his time in London, where he participated with Pope, Swift and others in the Scriblerus Club, contributing to The Spectator and aiding Pope in his translation of The Iliad. He was also one of the so-called "Graveyard poets": his 'A Night-Piece on Death,' widely considered the first "Graveyard School" poem, was published posthumously in Poems on Several Occasions, collected and edited by Alexander Pope and is thought by some scholars to have been published in December of 1721 (although dated in 1722 on its title page, the year accepted by The Concise Oxford Chronology of English Literature; see 1721 in poetry, 1722 in poetry). It is said of his poetry 'it was in keeping with his character, easy and pleasing, ennunciating the common places with felicity and grace. more…

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