Ode to Fear

William Collins (1721–1759) · 1746

iambic tetrameter · ABAB · 71 lines · from Ode to Evening, and Other Poems

Thou, to whom the world unknown,With all its shadowy shapes, is shown;Who seest, appall'd, the unreal scene,While Fancy lifts the veil between:Ah Fear! ah frantic Fear!I see, I see thee near.I know thy hurried step, thy haggard eye!Like thee I start; like thee disorder'd fly.For, lo, what monsters in thy train appear!Danger, whose limbs of giant mouldWhat mortal eye can fix'd behold?Who stalks his round, an hideous form,Howling amidst the midnight storm;Or throws him on the ridgy steepOf some loose hanging rock to sleep:And with him thousand phantoms join'd,Who prompt to deeds accursed the mind:And those, the fiends, who, near allied,O'er Nature's wounds, and wrecks, preside;Whilst Vengeance, in the lurid air,Lifts her red arm, exposed and bare:On whom that ravening brood of Fate,Who lap the blood of sorrow, wait:Who, Fear, this ghastly train can see,And look not madly wild, like thee!

In earliest Greece, to thee, with partial choice,The grief-full Muse addrest her infant tongue;The maids and matrons, on her awful voice,Silent and pale, in wild amazement hung.

Yet he, the bard who first invoked thy name,Disdain'd in Marathon its power to feel:For not alone he nursed the poet's flame,But reach'd from Virtue's hand the patriot's steel.

But who is he whom later garlands grace,Who left a while o'er Hybla's dews to rove,With trembling eyes thy dreary steps to trace,Where thou and furies shared the baleful grove?

Wrapt in thy cloudy veil, the incestuous queenSigh'd the sad call her son and husband heard,When once alone it broke the silent scene,And he the wretch of Thebes no more appear'd.

O Fear, I know thee by my throbbing heart:Thy withering power inspired each mournful line:Though gentle Pity claim her mingled part,Yet all the thunders of the scene are thine!

Thou who such weary lengths hast past,Where wilt thou rest, mad Nymph, at last?Say, wilt thou shroud in haunted cell,Where gloomy Rape and Murder dwell?Or, in some hollow'd seat,'Gainst which the big waves beat,Hear drowning seamen's cries, in tempests brought?Dark power, with shuddering meek submitted thought,Be mine to read the visions oldWhich thy awakening bards have told:And, lest thou meet my blasted view,Hold each strange tale devoutly true;Ne'er be I found, by thee o'erawed,In that thrice hallow'd eve, abroad,When ghosts, as cottage maids believe,Their pebbled beds permitted leave;And goblins haunt, from fire, or fen,Or mine, or flood, the walks of men!

O thou, whose spirit most possestThe sacred seat of Shakespeare's breast!By all that from thy prophet broke,In thy divine emotions spoke;Hither again thy fury deal,Teach me but once like him to feel:His cypress wreath my meed decree,And I, O Fear, will dwell with thee!

Words in this poem 19
haggard a.
Wild or intractable; disposed to break away from duty; untamed; as, a haggard or refractory hawk. Shak [F. hagard; of German origin, and prop. meaning, of the hegde or woods, wild, untamed. See Hedge, 1st Haw, and -ard.]
mould n.
Crumbling, soft, friable earth; esp., earth containing the remains or constituents of organic matter, and suited to the growth of plants; soil. [OE. molde, AS. molde; akin to D. mul, G. mull, mulm, OHG. molt, molta, Icel. mold, Dan. muld, Sw. mull, Goth. mulda, and E. meal flour. See Meal, and cf. Mole a]
amidst prep.
In the midst or middle of; surrounded or encompassed by; among. [OE. amidde, amiddes, on midden, AS. on middan, in the middle, fr. midde the middle. The s is an adverbial ending, originally marking the genitive; the t is a la]
ridgy a.
Having a ridge or ridges; rising in a ridge.
lurid a.
Pale yellow; ghastly pale; wan; gloomy; dismal. [L. luridus.]
ravening n.
Eagerness for plunder; rapacity; extortion. Luke xi. 39.
madly adv.
In a mad manner; without reason or understanding; wildly. [From Mad, a.]
amazement n.
The condition of being amazed; bewilderment ; overwhelming wonder, as from surprise, sudden fear, horror, or admiration.
dreary a.
Sorrowful; distressful. [OE. dreori, dreri, AS. dreórig, sad; akin to G. traurig, and prob. to AS. dreósan to fall, Goth. driusan. Cf. Dross, Drear, Drizzle, Drowse.]
broke v. i.
To transact business for another. Brome. [See Broker, and cf. Brook.]
withering a.
Tending to wither; causing to shrink or fade.
hast
, 2d pers. sing. pres. of. Fave, contr. of havest.
haunted a.
Inhabited by, or subject to the visits of, apparitions; frequented by a ghost.
dwell v. i.
To delay; to linger. [OE. dwellen, dwelien, to err, linger, AS. dwellan to deceive, hinder, delay, dwelian to err; akin to Icel. dvelja to delay, tarry, Sw. dväljas to dwell, Dan. dv]
blasted a.
Blighted; withered.
devoutly adv.
In a devout and reverent manner; with devout emotions; piously.
pebbled a.
Abounding in pebbles. Thomson.
spoke n.
The radius or ray of a wheel; one of the small bars which are inserted in the hub, or nave, and which serve to support the rim or felly. [OE. spoke, spake, AS, spaca; akin to D. speek, LG. speke, OHG. speihha, G. speiche. sq. root170. Cf. Spike a nail.]
meed v. t.
To reward; to repay. Waytt.

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

Ode to Fear is in the public domain. This text is taken from The Poetical Works of William Collins; With a Memoir, Project Gutenberg ebook #29879; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: William Collins, Ode to Fear, in Ode to Evening, and Other Poems (1746), text of Project Gutenberg ebook #29879, Laurel, https://laurelpoetry.com/poem/collins-poems/ode-to-fear.html, id L20831.

Form and metre

Ode to Fear is 71 lines in 8 stanzas. The rhyme scheme is ABAB, complete in 5 of its 8 stanzas. The metre is iambic tetrameter, measured from the stress the words themselves fix (confidence 89%). 92% of its stressed syllables fall where the metre puts the beat. The lines average 8.7 syllables. 3 lines end on an unstressed syllable, a feminine ending. 11% of the lines run on without a stop at the line end.

See other poems in iambic tetrameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 1 AABBCCDDCEEFFGG--HHIIJJKK unknownA · shownA · sceneB · betweenB · fearC · nearC · eyeD · flyD · appearC · mouldE · beholdE · formF · stormF · steepG · sleepG · join'd · mind · alliedH · presideH · airI · bareI · fateJ · waitJ · seeK · theeK
  2. 2 ABAB choiceA · tongueB · voiceA · hungB
  3. 3 ABAB nameA · feelB · flameA · steelB
  4. 4 ABAB graceA · roveB · traceA · groveB
  5. 5 ABAB queenA · heardB · sceneA · appear'dB
  6. 6 ABAB heartA · lineB · partA · thineB
  7. 7 AABBCCDDEEFFGGHHII pastA · lastA · cellB · dwellB · seatC · beatC · broughtD · thoughtD · oldE · toldE · viewF · trueF · o'erawedG · abroadG · believeH · leaveH · fenI · menI
  8. 8 AABBCCDD possestA · breastA · brokeB · spokeB · dealC · feelC · decreeD · theeD
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic tetrameter. How this is done.

LineSyl.Stress
Thou, to whom the world unknown,7·····˘/
With all its shadowy shapes, is shown;9···/˘˘···
Who seest, appall'd, the unreal scene,8··˘/·˘/·
While Fancy lifts the veil between:8·/˘·····
Ah Fear! ah frantic Fear!6···/˘·
I see, I see thee near.6······
I know thy hurried step, thy haggard eye!10···/˘··/˘·
Like thee I start; like thee disorder'd fly.10······˘/˘·
For, lo, what monsters in thy train appear!10···/˘···˘/
Danger, whose limbs of giant mould8/˘···/˘·
What mortal eye can fix'd behold?8·/˘···˘/
Who stalks his round, an hideous form,9·····/˘˘·
Howling amidst the midnight storm;8/˘˘/·/··
Or throws him on the ridgy steep8·····/˘·
Of some loose hanging rock to sleep:8···/˘···
And with him thousand phantoms join'd,8···/˘/˘·
Who prompt to deeds accursed the mind:9······˘··
And those, the fiends, who, near allied,8······˘/
O'er Nature's wounds, and wrecks, preside;8·/˘···˘/
Whilst Vengeance, in the lurid air,8·/˘··/˘·
Lifts her red arm, exposed and bare:9····˘/˘··
On whom that ravening brood of Fate,9···/˘˘···
Who lap the blood of sorrow, wait:8·····/˘·
Who, Fear, this ghastly train can see,8···/˘···
And look not madly wild, like thee!8···/˘···
In earliest Greece, to thee, with partial choice,10·/˘····/˘·
The grief-full Muse addrest her infant tongue;10····/˘·/˘·
The maids and matrons, on her awful voice,10···/˘··/˘·
Silent and pale, in wild amazement hung.10/˘····˘/˘·
Yet he, the bard who first invoked thy name,10······˘/··
Disdain'd in Marathon its power to feel:10˘/·/˘··/··
For not alone he nursed the poet's flame,10··˘/···/˘·
But reach'd from Virtue's hand the patriot's steel.10···/˘··/˘·
But who is he whom later garlands grace,10·····/˘/˘·
Who left a while o'er Hybla's dews to rove,10··········
With trembling eyes thy dreary steps to trace,10·/˘··/˘···
Where thou and furies shared the baleful grove?10···/˘··/˘·
Wrapt in thy cloudy veil, the incestuous queen11···/˘··˘/˘·
Sigh'd the sad call her son and husband heard,10·······/˘·
When once alone it broke the silent scene,10··˘/···/˘·
And he the wretch of Thebes no more appear'd.10········˘/
O Fear, I know thee by my throbbing heart:10·······/˘·
Thy withering power inspired each mournful line:10·/˘/˘/·/˘·
Though gentle Pity claim her mingled part,10·/˘/˘··/˘·
Yet all the thunders of the scene are thine!10···/˘·····
Thou who such weary lengths hast past,8···/˘···
Where wilt thou rest, mad Nymph, at last?8········
Say, wilt thou shroud in haunted cell,8·····/˘·
Where gloomy Rape and Murder dwell?8·/˘··/˘·
Or, in some hollow'd seat,6···/˘·
'Gainst which the big waves beat,6······
Hear drowning seamen's cries, in tempests brought?10·/˘/˘··/˘·
Dark power, with shuddering meek submitted thought,10·/·/˘·˘/˘·
Be mine to read the visions old8·····/˘·
Which thy awakening bards have told:9··˘/˘˘···
And, lest thou meet my blasted view,8·····/˘·
Hold each strange tale devoutly true;8····˘/˘·
Ne'er be I found, by thee o'erawed,9········˘
In that thrice hallow'd eve, abroad,8···/˘·˘/
When ghosts, as cottage maids believe,8···/˘·˘/
Their pebbled beds permitted leave;9·/˘˘·˘/˘·
And goblins haunt, from fire, or fen,9·/˘··/˘··
Or mine, or flood, the walks of men!8········
O thou, whose spirit most possest8···/˘·/˘
The sacred seat of Shakespeare's breast!9·/˘˘··/··
By all that from thy prophet broke,8·····/˘·
In thy divine emotions spoke;8··˘/˘/˘·
Hither again thy fury deal,8/˘˘/·/˘·
Teach me but once like him to feel:8········
His cypress wreath my meed decree,8·/˘···˘/
And I, O Fear, will dwell with thee!8········
Notes from the edition 4

Notes to the Poetical Works of William Collins, ed. W. C. Bronson (Project Gutenberg #29879).

  1. Stanza 1, line 22 Alluding to the ~Kynas aphyktous~ of Sophocles. See the Electra. C.
  2. Stanza 3, line 1 Æschylus. C.
  3. Stanza 5, line 1 Jocasta. C.
  4. Stanza 5, line 2 ~----oud' et' ôrôrei boê, Ên men siôpê; phthegma d' exaiphnês tinos Thôuxen auton, hôste pantas orthias Stêsai phobô deisantas exaiphnês trichas.~ See the OEdip. Colon. of Sophocles. C.

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