Poems — Background and Themes

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Carr, John, Sir, 1772-1832 Project Gutenberg 2003 Not confirmed
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Words 26,475
Reading time 116 min
Text sections 113

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Sir John Carr's 1809 collection of light verse, mixing pastoral grotto meditations with satirical city sketches, reveals a poet self-consciously positioning his work as 'Vers de Societé' while defending Scotland against Dr. Johnson's criticisms.
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y Within the church-porch drear and dark, Upon the vigil of Saint Mark, And, lovely maiden! you shall see What youth your husband is to be.”

Rebecca, when the night grew dark, Upon the vigil of Saint Mark, (Observ’d by Paul, a roguish scout, Who guess’d the task she went about,) Stepp’d to St Stephen’s Church to see What youth her husband was to be.

Rebecca heard the screech-owl cry, And saw the black bat round her fly; She sat, ’till, wild with fear, at last Her blood ran cold, her pulse beat fast; And yet, rash maid! she stopp’d to see What youth her husband was to be.

Rebecca heard the midnight chime Ring out the yawning peal of time, When shrouded Paul, unlucky knave! Rose like a spectre from the grave; And cried, “Fair maiden, come with me. For I your bridegroom am to be.”

Rebecca turn’d her head aside, Sent forth a hideous shriek, and died! While Paul confess’d himself, in vain, Rebecca never spoke again! Ah! little, hapless maid! did she Think Death her bridegroom was to be.

Rebecca! may thy story long Instruct the giddy and the young. Fright not, fond youths! the timid fair; And you too, gentle maids! beware; Nor seek by lawless arts to see What youths your husbands are to be.

TO AN AURICULA, BELONGING TO ——.

Thou rear’st thy beauteous head, sweet flow’r Gemm’d by the soft and vernal show’r; Its drops still round thee shine: The florist views thee with delight; And, if so precious in _his_ sight, Oh! what art thou in _mine_?

For she, who nurs’d thy drooping form When Winter pour’d her snowy storm, Has oft consol’d me too; For me a fost’ring tear has shed,— She has reviv’d my drooping head, And bade me bloom anew.

When adverse Fortune bade us part, And grief depress’d my aching heart, Like yon reviving ray, She from behind the cloud would move, And with a stolen look of love Would melt my cares away.

Sweet flow’r! supremely dear to me, Thy lovely mistress blooms in thee, For, tho’ the garden’s pride, In beauty’s grace and tint array’d, Thou seem’st to court the secret shade, Thy modest form to hide.

Oh! crown’d with many a roseate year, Bless’d may she be who plac’d thee here, Until the tear of love Shall tremble in the eye to find Her spirit, spotless and refin’d, Borne to the realms above!

And oft for thee, sweet child of spring! The Muse shall touch her tend’rest string; And, as thou rear’st thine head, She shall invoke the softest air, Or ask the chilling storm to spare, And bless thy humble bed.

_On the Departure of Sir John Borlase Warren, K.B_.

TO TAKE THE COMMAND OF A SQUADRON.

Oh! why does sorrow shade thy face, Where mind and beauty vie with grace? Say, dost thou for thy hero weep, Who gallantly, upon the deep, Is gone to tell the madd’ning foe, Tho’ vict’ry laid our Nelson low, We still have chiefs as greatly brave, Proudly triumphant on the wave? Dear to thy Country shalt thou be, Fair mourner! and her sympathy Is thine; for, in the war’s alarms, Thou gav’st thine hero from thine arms; And only ask’d to sigh alone, To look to heav’n, and weep him gone. Oh! soon shall all thy sorrow cease, And, to thine aching bosom, peace Shall quick return;—another tear To love and joy, supremely dear, Shall give thy gen’rous mind relief— That tear shall gem the laurel leaf.

TO MISS ——, ACCOMPANIED BY A ROSE AND A LILY.

I look’d the fragrant garden round For what I thought would picture best Thy beauty and thy modesty; A lily and a rose I found,— With kisses on their leaves imprest, I send the beauteous pair to thee.

Nature’s imperfect child, to whom The world is wrapt in viewless gloom, Can unresisted still impart The fondest wishes of his heart.

And he, to whose impervious ear The sweetest sounds no charms dispense, Can bid his inmost soul appear In clear, tho’ silent, eloquence.

But we, my Julia, not so blest, Are doom’d a diff’rent fate to prove,— To feel each joy and hope supprest That flow from pure, but hidden, love.

UPON ANACREON MOORE’S SAYING THAT HE DISLIKED SINGING TO MEN.

Sir John Carr's Poems (1809) opens with a dedication to Lady Warren that situates the volume within the social world of the British Embassy at St. Petersburg, where Carr claims to have witnessed 'the dignified virtue, cultivated mind, and attractive beauty' of Englishwomen abroad. The preface immediately follows with a defensive posture: Carr describes his verses as 'the few wild notes of the simple shepherd,' written in boyhood or as relief from 'more arduous pursuits,' and he explicitly categorizes them as 'light and playful Vers de Societé.' This framing is essential for reading the poems that follow, which oscillate between pastoral melancholy and urban satire.

Pastoral Grottoes and the Agitated Self

The volume's first poem, 'Verses Written in a Grotto' on the River Dart, establishes a recurring tension between tranquil natural settings and the speaker's inner turmoil. The grotto is described with 'projecting plumes, and shades of deep'ning green,' yet the speaker asks why it cannot 'shed thy quiet o'er this beating heart.' The river's 'mirror'd plane' mimics the landscape perfectly, but the speaker remains 'the only agitated object near.' This pattern—nature calm, speaker disturbed—recurs in 'Lines Written upon a Hill, On leaving the Country,' where the poet bids farewell to 'sweet romantic spot' and laments that 'Dependence sternly bids me part.' The grotto poem's direct address to the grotto, river, and cascade gives voice to a self-consciously sentimental persona, one who finds no solace in the picturesque.

Satirical City Types and Moral Economy

In contrast to the pastoral pieces, 'Bankruptcy Rendered Easy' offers a satirical portrait of a city merchant ('Cit') whose social ambitions—a curricle, a villa, a fashionable bride—lead to financial ruin. The poem traces his decline with specific, almost procedural detail: he 'longs for a curricle and villa,' returns late from weekends, and eventually sees his creditors 'seize all his horses, household store.' The moral is blunt: 'For wolves devour when shepherds slumber.' Carr's satire here is less biting than instructive, aligning with the 'light and playful' mode he claims in the preface. The poem's brisk tetrameter couplets and named characters (Hatchet, Cock'ril, Miss Hautilla) suggest a knowing audience familiar with London commerce and its perils.

Defending Scotland Against Johnson's Rambler

A notable departure from the volume's typical subjects is a poem defending Scotland against Samuel Johnson's Journey to the Western Islands. Carr directly names Johnson as 'the surly Rambler' and attacks his depiction of Scotland as a land of 'Want and Famine' where 'not a leaf e'er shed its sylvan grace.' The poem counters with a 'lib'ral Briton' who 'asserts thy hospitable heart' and proves 'luxuriance smiles upon thy plains.' This is one of the few poems with a clear polemical target, and it reveals Carr's willingness to engage in contemporary literary debate. The footnotes identifying Johnson and his dress (as described by Boswell) show Carr expecting readers to recognize the reference, positioning his own work as a corrective to the Rambler's authority.

Carr's Poems is best approached as a document of early nineteenth-century sociability, where the poet's self-deprecation in the preface is a conventional gesture that should not obscure the range of his verse. Readers interested in the intersection of landscape poetry and social satire will find the collection uneven but revealing. The defensive tone toward Johnson's Scotland and the careful framing of the poems as 'fugitive' pieces suggest an author acutely aware of his place in a literary hierarchy dominated by more ambitious works.

Flipping through Poems — Background and Themes, I found myself lingering on Carr’s gentle dig at Dr. Johnson, that old grudge against Scotland. It reminded me of another shelf, where a different century’s voices sit quietly together, their own squabbles softened by time. That collection, A Cluster of Grapes A Book of Twentieth Century Poetry — Edition Insights, feels like the same kind of companion—a way to hold a conversation across the years without raising one’s voice.

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