Thomas Humphry Ward, ed. The English Poets. 1880–1918.rnVol. III. The Eighteenth Century: Addison to Blake
Thomas Parnell (16791718)Critical Introduction by Edmund W. Gosse
[Thomas Parnell was born in Dublin in 1679, and was buried at Chester on the 18th of October, 1718. His Poems were first collected after his death, by Pope.]
The Hermit may be considered as forming the apex and chef d’œuvre of Augustan poetry in England. It is more exactly in the French taste than any work that preceded it, and after it English poetry swiftly passed into the degeneracy of classicism. Parnell’s poem is the model of a moral conte; the movement is dignified and rapid, the action and reflection are balanced with exquisite skill, the surprise is admirably prepared, and the treatment never flags from beginning to end. The French complaint of the lack of style in our minor poetry might have been triumphantly confronted by the Dennises and Budgells of the infancy of our criticism, by a reference to Parnell’s masterpiece, which, if we are ready to grant that polish, elegance and symmetry are the main elements of poetry, could scarcely be surpassed in any language. But more of real inspiration attended the composition of his two remarkable odes, the Night-Piece and the Hymn to Contentment. In these he originated two distinct streams of poetical influence, for the former was no less certainly the precursor of the curious funereal school of Young, Blair and Porteus, than the latter was of Collins’ exquisite strain of lyrical writing. In both he shows himself the disciple of Milton, and wields the ringing octosyllabic measure as no one had done since Il Penseroso was published. The lines with which we open our selection from the Hymn to Contentment reach a higher range of melody, and strike a more subtle chord of fancy than perhaps any other verses of that age. Yet Parnell has been neglected from his own generation to ours, and it is doubtful whether his moral abstractions can ever hope to regain the popular ear.