Commencement of a Poem on Despair
Some to Aonian lyres of silver soundWith winning elegance attune their song,Form'd to sink lightly on the soothed sense,And charm the soul with softest harmony:'Tis then that Hope with sanguine eye is seenRoving through Fancy's gay futurity;Her heart light dancing to the sounds of pleasure,Pleasure of days to come. Memory, too, thenComes with her sister, Melancholy sad,Pensively musing on the scenes of youth,Scenes never to return.Such subjects merit poets used to raiseThe attic verse harmonious; but for meA deadlier theme demands my backward hand,And bids me strike the strings of dissonanceWith frantic energy.'Tis wan Despair I sing, if sing I canOf him before whose blast the voice of Song,And Mirth, and Hope, and Happiness all fly,Nor ever dare return. His notes are heardAt noon of night, where, on the coast of blood,The lacerated son of AngolaHowls forth his sufferings to the moaning wind;And, when the awful silence of the nightStrikes the chill death-dew to the murderer's heart,He speaks in every conscience-prompted wordHalf utter'd, half suppressed.'Tis him I sing--Despair--terrific name,Striking unsteadily the tremulous chordOf timorous terror--discord in the sound:For to a theme revolting as is this,Dare not I woo the maids of harmony,Who love to sit and catch the soothing soundOf lyre Æolian, or the martial bugle,Calling the hero to the field of glory,And firing him with deeds of high empriseAnd warlike triumph: but from scenes like mineShrink they affrighted, and detest the bardWho dares to sound the hollow tones of horror.
Hence, then, soft maids,And woo the silken zephyr in the bowersBy Heliconia's sleep-inviting stream:For aid like yours I seek not; 'tis for powersOf darker hue to inspire a verse like mine!'Tis work for wizards, sorcerers, and fiends.
Hither, ye furious imps of Acheron,Nurslings of hell, and beings shunning light,And all the myriads of the burning concave:Souls of the damned:--Hither, oh! come and joinThe infernal chorus. 'Tis Despair I sing!He, whose sole tooth inflicts a deadlier pangThan all your tortures join'd. Sing, sing Despair!Repeat the sound, and celebrate his power;Unite shouts, screams, and agonizing shrieks,Till the loud pæan ring through hell's high vault,And the remotest spirits of the deepLeap from the lake, and join the dreadful song.
Words in this poem
- aonian a.
- Pertaining to Aonia, Boeotia, or to the Muses, who were supposed to dwell there. Aonian fount, the fountain of Aganippe, at the foot of Mount Helicon, not far from Thebes, and sacred to the Muses. [From Aonia, a part of Boeotia, in Greece.]
- attune v. t.
- To tune or put in tune; to make melodious; to adjust, as one sound or musical instrument to another; as, to attune the voice to a harp. [Pref. ad- + tune.]
- futurity n.
- State of being that is yet to come; future state.
- pensively adv.
- In a pensive manner.
- dissonance n.
- A mingling of discordant sounds; an inharmonious combination of sounds; discord. [L. dissonantia: cf. F. dissonance.]
- lacerated p. a.
- Rent; torn; mangled; as, a lacerated wound. [L. laceratus, p. p.]
- angola n.
- A fabric made from the wool of the Angora goat. [A corruption of Angora.]
- revolting a.
- Causing abhorrence mixed with disgust; exciting extreme repugnance; loathsome; as, revolting cruelty.
- emprise n.
- An enterprise; endeavor; adventure. [OF. emprise, fr. emprendre to undertake; pref. em- (L. in) + F. prendre to take, L. prehendere, prendere; prae before + a verb akin to E. get. See Get, and cf. ]
- detest v. t.
- To witness against; to denounce; to condemn. [L. detestare, detestatum, and detestari, to curse while calling a deity to witness, to execrate, detest; de + testari to be a witness, testify, testis a witness]
- zephyr n.
- The west wind; poetically, any soft, gentle breeze. [L. zephyrus, Gr. zéphyr.]
- acheron n.
- A river in the Nether World or infernal regions; also, the infernal regions themselves. By some of the English poets it was supposed to be a flaming lake or gulf.
- damned a.
- Sentenced to punishment in a future state; condemned; consigned to perdition.
- dreadful a.
- Full of dread or terror; fearful.
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Commencement of a Poem on Despair is in the public domain. This text is taken from The Poetical Works of Henry Kirk White : With a Memoir by Sir Harris Nicolas, Project Gutenberg ebook #7149; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Henry Kirke White, Commencement of a Poem on Despair, in The Poetical Works of Henry Kirke White (1803–1806), text of Project Gutenberg ebook #7149, Laurel, https://laurelpoetry.com/poem/kirke-white-poems/commencement-of-a-poem-on-despair.html, id L10075.
Form and metre
Commencement of a Poem on Despair is 57 lines in 3 verse paragraphs. It is unrhymed, as far as the pronouncing dictionary can tell. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 85%). 90% of its stressed syllables fall where the metre puts the beat. The lines average 9.9 syllables. 15 lines end on an unstressed syllable, a feminine ending. 37% of the lines run on without a stop at the line end.
See other poems in iambic pentameter, other poems in blank verse.
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.
- 2 -A-A-- maids · bowersA · stream · powersA · mine · fiends
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 pentameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| Some to Aonian lyres of silver sound | 11 | ··˘/˘˘··/˘· |
| With winning elegance attune their song, | 10 | ·/˘/˘˘˘/·· |
| Form'd to sink lightly on the soothed sense, | 10 | ···/˘···˘· |
| And charm the soul with softest harmony: | 10 | ·····/˘/˘˘ |
| 'Tis then that Hope with sanguine eye is seen | 10 | ·····/˘··· |
| Roving through Fancy's gay futurity; | 10 | /˘·/˘·˘/˘˘ |
| Her heart light dancing to the sounds of pleasure, | 11 | ···/˘····/˘ |
| Pleasure of days to come. Memory, too, then | 10 | /˘····/˘·· |
| Comes with her sister, Melancholy sad, | 10 | ···/˘/˘·˘· |
| Pensively musing on the scenes of youth, | 10 | /˘˘/˘····· |
| Scenes never to return. | 6 | ·/˘·˘/ |
| Such subjects merit poets used to raise | 10 | ·/˘/˘/˘··· |
| The attic verse harmonious; but for me | 10 | ·/˘·˘/˘··· |
| A deadlier theme demands my backward hand, | 10 | ·/˘·˘/·/˘· |
| And bids me strike the strings of dissonance | 10 | ·······/˘˘ |
| With frantic energy. | 6 | ·/˘/˘˘ |
| 'Tis wan Despair I sing, if sing I can | 10 | ··˘/······ |
| Of him before whose blast the voice of Song, | 10 | ·········· |
| And Mirth, and Hope, and Happiness all fly, | 10 | ·····/˘˘·· |
| Nor ever dare return. His notes are heard | 10 | ·/˘·˘/···· |
| At noon of night, where, on the coast of blood, | 10 | ·········· |
| The lacerated son of Angola | 10 | ·/˘·˘··˘/˘ |
| Howls forth his sufferings to the moaning wind; | 10 | ···/˘··/˘· |
| And, when the awful silence of the night | 10 | ···/˘/˘··· |
| Strikes the chill death-dew to the murderer's heart, | 10 | ·······/˘· |
| He speaks in every conscience-prompted word | 10 | ···/˘/˘/˘· |
| Half utter'd, half suppressed. | 6 | ·/˘·˘/ |
| 'Tis him I sing--Despair--terrific name, | 10 | ····˘/˘/˘· |
| Striking unsteadily the tremulous chord | 10 | /˘·····/˘· |
| Of timorous terror--discord in the sound: | 10 | ·/˘/˘/˘··· |
| For to a theme revolting as is this, | 10 | ····˘/˘··· |
| Dare not I woo the maids of harmony, | 10 | ·······/˘˘ |
| Who love to sit and catch the soothing sound | 10 | ·······/˘· |
| Of lyre Æolian, or the martial bugle, | 10 | ······/˘/˘ |
| Calling the hero to the field of glory, | 11 | /˘·/˘····/˘ |
| And firing him with deeds of high emprise | 10 | ·/˘·····˘/ |
| And warlike triumph: but from scenes like mine | 10 | ·/·/˘····· |
| Shrink they affrighted, and detest the bard | 10 | ······˘/·· |
| Who dares to sound the hollow tones of horror. | 11 | ·····/˘··/˘ |
| Hence, then, soft maids, | 4 | ···· |
| And woo the silken zephyr in the bowers | 11 | ···/˘/˘··/˘ |
| By Heliconia's sleep-inviting stream: | 10 | ······˘/˘· |
| For aid like yours I seek not; 'tis for powers | 11 | ·········/˘ |
| Of darker hue to inspire a verse like mine! | 11 | ·/˘··˘/···· |
| 'Tis work for wizards, sorcerers, and fiends. | 10 | ···/˘/˘˘·· |
| Hither, ye furious imps of Acheron, | 11 | /˘·/˘˘··/˘˘ |
| Nurslings of hell, and beings shunning light, | 10 | ·····/˘/˘· |
| And all the myriads of the burning concave: | 11 | ···/˘··/˘/˘ |
| Souls of the damned:--Hither, oh! come and join | 10 | ····/˘···· |
| The infernal chorus. 'Tis Despair I sing! | 11 | ·˘/˘/˘·˘/·· |
| He, whose sole tooth inflicts a deadlier pang | 10 | ····˘/·/˘· |
| Than all your tortures join'd. Sing, sing Despair! | 10 | ···/˘···˘/ |
| Repeat the sound, and celebrate his power; | 11 | ˘/···/˘··/˘ |
| Unite shouts, screams, and agonizing shrieks, | 10 | /····/˘˘˘· |
| Till the loud pæan ring through hell's high vault, | 9 | ········· |
| And the remotest spirits of the deep | 10 | ··˘/˘/˘··· |
| Leap from the lake, and join the dreadful song. | 10 | ·······/˘· |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.