A poem on the earthquake at Lisbon — Context and Discussion
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The catalog record for A poem on the earthquake at Lisbon — Context and Discussion provides practical reading context through 5,191 words, 23 min estimated reading time, and 1 detected text section.
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Project Gutenberg metadata also associates the work with “Lisbon Earthquake, Portugal, 1755 -- Poetry,” connecting these edition facts with the source record’s subject description.
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Calm was the Sky, the Sun serenely bright, Shot o’er the Sea long dazzling Streams of Light. Thro’ Orange Groves soft breathing Breezes play’d, And gather’d Sweets like Bees where e’er they stray’d. In fair Relievo stood the lofty Town, 5 Set off by radiant Lights and Shadows brown; While ev’ry Dome, each Cupola and Spire, Shone doubly gilt by the Sun’s lambent Fire. And where beneath, the Silver _Tagus_ flow’d, In many a stately Row tall Vessels rode; 10 So smooth it flow’d that all the various View, Reflected there, was downward seen anew, And as it softly stole along the Plain, Carry’d a floating Landskip to the Main.
Within the Town gay Crowds were seen to stray, 15 While full Processions grac’d the festive Day. Mechanicks by their honest Labour fed, With chearful Visage earn’d their daily Bread; Misers were counting o’er their ill-got Store, But not contented meditating more. 20 Spendthrifts were just awak’d from Golden Dreams; Projectors were inventing Lottery Schemes; Merchants were storing Goods from _India_ brought; Clients were selling Lands which Lawyers bought. Behold a Youth, and sitting by his Side, 25 A Damsel new-betroth’d, his destin’d Bride; Around them throngs a Train of Virgins gay, Preparing Garments for the Marriage-day. Alas!--And now rings out the Matin Bell, The pious Matron issuing from her Cell, 30 Inspir’d by true Devotion joins the Crowd, And aw’d with Reverence seeks the House of God; There humbly prostrate kneels upon the Ground-- Happy the Few that watching so are sound!
Ill-fated City! there were Revels kept, 35 Devoid of Fear, they eat, they drank, they sleep’d. No friendly Voice like that of antient _Rome_, Was sent to give them Warning of their Doom: No Airy Warriours to each other clung, Such as ’tis said o’er destin’d _Sion_ hung; 40 But like a nightly Thief their dreadful Fate, Unlook’d for came and undermin’d their State.
For with a sudden Shock the solid Ground, In dreadful Waves came rolling all around; Not those rough Seas beneath the frozen Pole, 45 Impell’d by Winds, more furious Billows roll. Earth’s Womb was heard to groan with hollow Roar, The Dwellings trembled--but Men trembled more. Aghast they reel like Drunkards here and there, And all distracted fly they know not where. 50 Destruction drives them from their dear Abodes, And where their Safety was, fell Ruin nodds. Husbands are here seen pressing thro’ the Throng, Nor know they drag their clinging Wives along. Coy Virgins of their Lovers once afraid, 55 Now hang on Strangers Necks and court their Aid. And there a ghastly Group of Women see! A Picture of the Ghosts they soon must be, Wringing their Hands, sad solemn Silence keep, While Infants wonder why their Mothers weep. 60
And now a Moment’s Pause, Fate’s Heralds lend, A dreadful Pause like that when Time shall end.
Lo what a sudden Change! On Ruin’s Brink, The Proud turn humble, and the Thoughtless think. 65 Dark gloomy Sadness overclouds the Gay, And Hypocrites for once sincerely pray. In their own proper Shapes now Crimes appear, For Danger touching like _Ithuriel_’s Spear, Does by its Power the fatal Magic end; 70 Down falls the Vizor, and upstarts the Fiend! Atheists no longer can themselves deceive, And now too late they tremble and believe. But the good Man looks boldly on his Fate, Alone unshaken in a shaking State. 75 Again the Storm with double Fury rolls, And from the dreadful Deeps the Tempest howls. With thicker Throws now groans the lab’ring Earth, The sure Fore-runners of the fatal Birth. 80 The City loosen’d with repeated Shocks, Now to and fro from her Foundations rocks. Amaz’d, confounded, of all Sense bereft, The shipwreck’d Souls behold their Vessels cleft. Down from on high the shatter’d Tacklings rush, 85 And big with rattling Ruin Thousands crush. There gapes the vast Abyss with hideous Roar, And in its Entrails swallows Thousands more. Where should they run for Help? the gushing Tide Breaks in above, below, on every Side: 90 From Danger unto Danger they retreat, And while they shun one Death, another meet.
So Mariners, _Charybdis’_ Rock to shun, Have into _Sylla_’s Whirlpools headlong run. But they between those Rocks and Pools might steer; 95 Ten Thousand Rocks and Whirlpools threaten here.
For those that ’scap’d the Caverns gaping wide, In endless Night the falling Ruins hide; And those the Ruins had denied a Tomb, The Fires on Funeral Piles alive consume. 100
Lo! where the Gulphs wide yawning round the Town, In swiftest Eddies drink the River down, With it the Navy down impetuous flies, And to the Centre a new Passage tries.
John Biddolf's A Poem on the Earthquake at Lisbon opens with a deceptively tranquil scene: 'Calm was the Sky, the Sun serenely bright' and 'soft breathing Breezes' play through orange groves. The poem's first thirty lines build a portrait of a prosperous city, its domes and spires 'shone doubly gilt by the Sun's lambent Fire,' and the Tagus River reflects a 'floating Landskip.' This deliberate accumulation of beauty and order makes the subsequent shock more jarring. Biddolf then shifts abruptly to catalogue the city's inhabitants—mechanics, misers, spendthrifts, merchants, a betrothed couple—before the earthquake strikes, a structural choice that emphasizes the suddenness of the disaster.
Contrast as a Structural Device
Biddolf builds the poem around a stark before-and-after structure. The first section (lines 1–34) describes Lisbon in a state of perfect calm and prosperity, using images of light, reflection, and orderly activity. The second section (lines 35 onward) begins with 'Ill-fated City!' and plunges into chaos. The transition is abrupt: 'Alas!—And now rings out the Matin Bell' gives way to 'with a sudden Shock the solid Ground, / In dreadful Waves came rolling all around.' This juxtaposition is not merely descriptive; it serves a moral purpose. The poem implies that the city's heedless revelry—'they eat, they drank, they sleep’d'—invites divine punishment. Biddolf reinforces this by comparing Lisbon's fate to that of ancient Rome and Sion, suggesting a pattern of moral decay preceding catastrophe.
Diction of Destruction and Human Frailty
The poem's language shifts from pastoral elegance to visceral terror. Pre-earthquake, Biddolf uses words like 'serenely,' 'soft breathing,' 'gay,' and 'chearful.' Post-earthquake, the lexicon becomes violent: 'dreadful Waves,' 'hollow Roar,' 'Aghast,' 'distracted,' 'Destruction.' The simile 'they reel like Drunkards' captures the disorientation of the survivors. Biddolf also employs a series of vignettes to illustrate human vulnerability: husbands dragging wives, coy virgins clinging to strangers, a 'ghastly Group of Women' who 'sad solemn Silence keep' while infants wonder why their mothers weep. These details ground the abstract horror in specific, human-scale suffering, avoiding mere catalog of destruction.
Moral Commentary and Classical Allusions
Biddolf weaves moral judgment into his narrative. The pre-quake crowd includes 'Misers counting o’er their ill-got Store' and 'Spendthrifts just awak’d from Golden Dreams,' suggesting a society corrupted by greed and pleasure. The earthquake is framed as a divine warning: 'No friendly Voice like that of antient Rome, / Was sent to give them Warning of their Doom.' The reference to 'airy Warriours' over Sion invokes biblical precedent. Yet the poem also shows sympathy for the innocent: the 'pious Matron' at prayer, the 'Youth' and his 'destin’d Bride.' This tension between judgment and pity complicates the moral stance, leaving the reader to question whether the destruction is fully deserved.
Imagery of Light and Reflection
Light imagery dominates the poem's first half, establishing a world of clarity and beauty. The sun 'Shot o’er the Sea long dazzling Streams of Light,' and the city's architecture 'Shone doubly gilt.' The Tagus River acts as a mirror, reflecting the city 'downward seen anew,' creating a 'floating Landskip.' This reflective motif suggests a world of appearances and harmony. After the earthquake, light vanishes: the 'radiant Lights' are replaced by darkness and confusion. The contrast underscores the fragility of human order. Biddolf uses this visual language to reinforce the poem's moral: that worldly splendor is transient and can be undone in an instant.
Readers should attend to how Biddolf balances descriptive precision with moral purpose. The poem is not merely a report of the 1755 Lisbon earthquake but a meditation on human vanity and divine retribution, filtered through eighteenth-century poetic conventions. Notice the shifts in tone and diction, and consider how the classical and biblical allusions shape the poem's argument. This short work rewards close attention to its craft, particularly the way it uses contrast and imagery to create a powerful emotional and intellectual effect.
I’ve held Biddolf’s Lisbon poem for years, watching how its bright prelude gives way to rubble, and I think of that same suspended dusk in Caroling dusk — Themes and Context—the quiet before darkness, the hush that remembers light. They share a patient sorrow, two old friends nodding across my shelf.
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