Among his
literary jobs, it is true, was an oratorio entitled The Captivity, founded
on the bondage of the Israelites in Babylon. It was one of those unhappy
offsprings of the muse ushered into existence amid the distortions of
music. Most of the oratorio has passed into oblivion; but the following
song from it will never die:
"The wretch condemned from life to part,
Still, still on hope relies,
And every pang that rends the heart
Bids expectation rise.
"Hope, like the glimmering taper's light,
Illumes and cheers our way;
And still, as darker grows the night,
Emits a brighter ray."
Goldsmith distrusted his qualifications to succeed in poetry, and doubted
the disposition of the public mind in regard to it. "I fear," said he, "I
have come too late into the world; Pope and other poets have taken up the
places in the temple of Fame; and as few at any period can possess poetical
reputation, a man of genius can now hardly acquire it." Again, on another
occasion, he observes: "Of all kinds of ambition, as things are now
circumstanced, perhaps that which pursues poetical fame is the wildest.
What from the increased refinement of the tunes, from the diversity of
judgment produced by opposing systems of criticism, and from the more
prevalent divisions of opinion influenced by party, the strongest and
happiest efforts can expect to please but in a very narrow circle.
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