ADVERTISEMENT.

The favourable notice of the Author’s former publication by the periodical press in general, (for which he offers his best acknowledgments) has emboldened him to venture a second time, under the hope of deserving the like approbation. If it be the means of leading any to “look through Nature up to Nature’s God,” his object is attained; while the cultivation of the “Muses” he deems to be its own “exceeding {v}great reward.”

PREFACE.

The following Poem, being a sketch or shadowing out of objects and things that are beautiful or grand, may be divided into the descriptive, the allegorical, and the imaginative. “Fantasy” or Fancy is the personification of an imaginary character; and is represented as holding a Court, at which the crowd or multitude, considered as the world at large, are invited to attend, and are conducted by Sir Herald, a fantastic sort of personage, to the Palace of Fantasy; who on their entrance are immediately attired in suitable costume by an attendant page, a somewhat strange and half human figure, who courteously leads {vi}the way to the Saloon of Imagery, whose pictured tapestry is there described. Admitted to an audience, Dan Fantasy deputes his favourite companion, the Bard, as their attendant and guide through his wide domain, to point out its wonders with the intent to instruct, as also to amuse. For this purpose they are led to survey the hidden things of earth, marvels of nature, art, literature, and science, which are

severally shown;—the whole intended as a moral to induce mankind to forego grovelling for loftier pursuits, as leading the mind and enticing it to extend its flight to a far nobler and more enduring destiny.

The Miscellaneous Poems, with some few exceptions, have appeared in several periodicals of the day; but are now collected for the first time, and added to the present volume, with the hope that they may not be less acceptable in their new dress.

{vii}

Peckham.

CONTENTS.

{1}

CANTO I. ARGUMENT.

Exordium—The Palace of Fantasy—Sir Herald described—His Address to the crowd assembled by proclamation—Prepares to lead them to the interior of the building—Its outward appearance—On their entry are first conducted by Sir Page to be suitably attired—A description of his person—Admitted to the Saloon—Its gorgeousness—Its walls of tapestry—The Druid—The Belted Knight and Merry Woodsman—The Caravan—A Scene on the Ganges—Mount Helicon—The Promontory and Prospect—The expected Interview—Dan Fantasy—His lofty State—Attendants and Recreation—The audience announced—The Populace addressed—The Bard appointed as their Conductor to the various wonders of the place—A Description of the Poet, who led them by a subterranean way—The Beautiful Bay—Treasures of the Deep—The hollow-way and disembowelled Earth—The Cavern—The Grotto—Naiads of Brook and Stream—Their Occupation—The object made known—Their further Progress—The View obtained—The Intent—Mountain Scenery—The Vale of Enna.

{3}

{2}

THE PALACE OF FANTASY.

CANTO I.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

XXV.

XXVI.

XXVII.

XXVIII.

XXIX.

XXX.

XXXI.

XXXII.

XXXIII.

XXXIV.

XXXV.

XXXVI.

XXXVII.

XXXVIII.

XXXIX.

XL.

XLI.

XLII.

XLIII.

XLIV.

XLV.

XLVI.

XLVII.

XLVIII.

XLIX.

L.

LI.

LII.

LIII.

LIV.

LV.

LVI.

LVII.

CANTO II.

ARGUMENT.

Four ways leading to Nature, Literature, Art, and Science—The Entrance Porch of Nature Portrayed—Alpine Scenery—Polar Regions—The Torrent—The Atlantic Ocean—A Ship tossed by the Waves, and a Calm—The Gorge, Jungfrau—Floating Islands and Hot Wells—Staffa—Fingal’s Cave—Lake of Killarney—The Isle of Skye—Jura and the Lake of Geneva—Digression—Object and Aim proposed—Progress continued—The Forest—Wild Beasts’ Lair—The Constrictor—The Contrast in reference to Eden—Millennium—The Discourse—The Grove and Lovely Valley—Variety of Nature unexplored—The Poet’s Instruction.

{35}

{34}

CANTO II.

LVIII.

LIX.

LX.

LXI.

LXII.

LXIII.

LXIV.

LXV.

LXVI.

LXVII.

LXVIII.

LXIX.

LXX.

LXXI.

LXXII.

LXXIII.

LXXIV.

LXXV.

LXXVI.

LXXVII.

LXXVIII.

LXXIX.

LXXX.

LXXXI.

LXXXII.

LXXXIII.

LXXXIV.

LXXXV.

LXXXVI.

LXXXVII.

LXXXVIII.

LXXXIX.

XC.

XCI.

XCII.

XCIII.

XCIV.

XCV.

CANTO III.

ARGUMENT.

The Porch of Art—Entrance thereto—A Sight of the Pyramids—Statues at Memphis—Pompey’s Pillar—The Hanging Gardens of Babylon—Pompeii—Palmyra—The Temple of the Sun—Wall of China—The Eddystone—A more minute Survey of Art—The Gallery of Painting—Statuary—Distant Music—The great Masters of Science and Art pass in review, Raphael, &c., Milton, Newton—The Garden of Delight—Shakspeare—Leaving the Vale of Tempé, they are led to the Repository of Art, Armoury, &c.—Painted Glass—Models, &c.—Mechanical Objects—Steam Power—The Printing Press—The Times Journal—Modern Improvements—Inventions—Progress of Art.

{57}

{56}

CANTO III.

XCVI.

XCVII.

XCVIII.

XCIX.

C.

CI.

CII.

CIII.

CIV.

CV.

CVI.

CVII.

CVIII.

CIX.

CX.

CXI.

CXII.

CXIII.

CXIV.

CXV.

CXVI.

CXVII.

CXVIII.

CXIX.

CXX.

CXXI.

CXXII.

CXXIII.

CXXIV.

CXXV.

CXXVI.

CXXVII.

CXXVIII.

CXXIX.

CXXX.

CXXXI.

CXXXII.

CXXXIII.

CXXXIV.

CXXXV.

CXXXVI.

CXXXVII.

CXXXVIII.

CXXXIX.

CXL.

CXLI.

CXLII.

CXLIII.

CXLIV.

CANTO IV.

ARGUMENT.

The Porch of Learning—Its Appearance Described—The Appeal—An Encomium on the Place—The Grove and Academy of Plato—Cicero’s Villa—The Sea-shore—Athenæum—Its noble Apartment—Busts of great Names—The Library—An Eulogy on Poetry—Emulation Inspired.

{85}

{84}