The Jubilate Agno and the Minor Poems
This is likely to be the oldest work that will appear. Nothing has been updated. I felt sympathy for Smart's heterodoxy and wanted to show that his "madness" was only an exaggeration of his original nature.
II. The Theme of Nature
III. God and the Concept of Spiritual Perception
IV. Smart’s Self-Image
V. The Jubilate Agno
Notes and Bibliography
Christopher Smart has long been considered a curiosity. Tosspot and saint at once, he is most widely known as the wild-eyed madman who prompted a few generous witticisms from Dr. Johnson and who was thought to have inscribed his one great work, the Song to David, with a key on the wainscoting of his cell in Bedlam. Stead's discovery of the text of Jubilate Agno has inspired a large body of criticism and scholarship itself and has displaced, due to its curious form and content and shifting canons of literary taste, the central place in Smart’s oeuvre occupied by the Song for several centuries. To this date nearly all writing on Smart's work has been concerned with one or the other of the two. While this concentration is quite proper — the two late poems will probably always be considered Smart's best — it has led to an unfortunate neglect of the other poetry. The Seatonian poems on the attributes of God, "To the Reverend and Learned Dr. Webster," and the "Hymn to the Supreme Being," for instance, are early works which offer not only an admirable poetic line and striking imagery, but also a rich source for understanding Smart's concept of nature and his peculiar theological notions, ideas that control the Jubilate Agno, though the 1atter’s form may put off readers with its apparent opaqueness, rambling, and the issue of madness. The Jubilate with its astonishing catalogues may also mislead critics into complete submersion in a vast sea of background material.
The Jubilate Agno is beautiful, partly because, paradoxically, everything is lucid there. The conventional orthodoxy is not there eliminated, but transformed and expanded without inhibition, and the poet’s independently creative speculation is unfettered, revealing the poet's vision nakedly, if not always clearly. Although the contrast between Smart's sanity and madness as they were officially recognized in his own time is evident in his poetry as well as his life, one may find a significant measure of ideological continuity in the texts of his work throughout his career. The major change was a turn to the ritual grandeur of a prophetic style, accompanied by a correspondingly inflated self -image (the counterpart of the persecution he felt), and a more bold and detailed interpretation of nature, but even these characteristics are contained in embryo or intimated in the early poems. Smart’s idea of nature leads directly to his idea of God. In his self-image, the filter through which the reader must see his thought, one finds the thematic core of his work, the assumptions that underlie his most beautiful poetry. A study of Smart's entire body of work in these terms would be productive in restoring the balance of critical attention among his poems and in illuminating early and late, “sane” and “mad” work. This paper is a contribution in that direction.
Although I mentioned several specific poems above because they contain the greatest amount of generally useful information, they do not define this study in any meaningful way, and I have felt free to cite other poems whenever it was helpful. Proceeding along almost exclusively thematic lines in a discussion of the earlier poems, I shall come to the Jubilate Agno with sufficient data for a critical reading in the terms I have outlined. Smart was an incredibly learned man: his intimacy with the Bible (including the Apocrypha) marks nearly every page; he was familiar with the classics (doubtless strengthened during his studies at Cambridge). His religious evolution led through Pythagoras and Freemasonry to the Caballah while he was, as well, conversant with the principal theologians of his own time. His curious and manifold interests brought him to range through books of travel and natural history, the more fantastic, the better, all the while shopping for images.
I can only regret the limitations of this study, but my first concern is inevitably with the text. Other scholarship, directed at influences and sources, can investigate his wide-ranging images and point out that what the “mad” poet chose to focus on in the world. Much of his data which may strike the modern reader as bizarre and idiosyncratic had been quite sanely set down by others, and not so nobly, or expressively, at that.
II. The Theme of Nature
Smart's earliest delineation of nature uses that most conventional of eighteenth century devices, an abstract personification, complete with classical name, Philomela. In “On the Omniscience of the Supreme Being,” one of the prize poems from Cambridge that are structured as poetic essays in blank verse, she is the regenerative power that advances in the spring and retreats for the coming of winter like Persephone. Smart praises her intricate and efficient workings and the beauties of the creation.
Ignoring for the moment the extended attack on man's search for knowledge and particularly on Newton that follows, this is quite acceptably orthodox, and the emphases on order and on life as energy are hardly remarkable, but this is a pair that Smart puts through many changes ending in the heretical, but which he maintains throughout his life. Order appears in the “Omniscience” poem as systems and patterns and the design of instinct as evidence for the meaningful direction which controls the harmonious interaction of natural forces. Life is generation, movement, animation, emotion, and finally, love.
Philomela here is a craft which God flies and which he inspires directly with perfect wisdom.
When Philomela, e'er the cold domain
Of cripled winter 'gins t’advance, prepares
Her annual flight, and in some poplar shade
Takes her melodious leave, who then's her pilot?
Who points her passage thro’ the pathless void
To realms from us remote, to us unknown?
Her science is the science of her God.
The intimacy of this Philomela with God, her virtual identification with him, implies Smart's idea that nature is unfallen and perfect, the visible testament of God to man.
Others of his time expounded various theories to explain the flaws in the world's organization , but Smart felt perfect allegiance to the sentiment of his early friend and mentor, Pope, “Whatever is, is right.” Pope, however, had composed this sententia with a more restricted meaning: that the world is a perfect part of an inscrutable larger plan, and its apparent imperfections merely demonstrate its lower order of reality. Smart, on the other hand, literally believed that the world was without flaw. Smart’s persona, the exemplary poet Orpheus, declares “that all things form'd were good.”  God "all things form'd, and form'd them all for man,"  Though he is fallen, man still has the rich plenitude of nature to enjoy and praise, a task he does not adequately perform. When Smart wrote “Go to the ant, thou sluggard, learn to live,”  he is asking man to conform with the divine pattern and complete God's harmony.
Those who most nearly fulfill this role (in pastoral convention at any rate) are the rustics.
Fav’rites of Heav'n! to whom the general doom
Is all remitted, who alone possess
Of Adam's sons fair Eden” 
Earthquakes and other natural disasters made skeptics of many, but for Smart even these catastrophes are the most magnificent witness in praise of the Lord.  In his view man cannot properly criticize, but only wonder and adore. This is the only way in which man, who has been somewhat out of step since his expulsion from Eden, can rejoin the created universe in its perfect harmony.
The perfection of nature legitimizes Smart's catalogues of animals, plants, and minerals that appear in many of his poems.  The tendency is encyclopedic and universal, with the whole of the vast variety of creation by its very nature singing paeans of thanksgiving.
I speak for all — for them that fly,
And for the race that swim;
For all that dwell in moist and dry,
Beasts, reptiles, flow'rs and gems to vie
When gratitude begins her hymn. 
Smart is not thanking God for the world's plenty; the world itself is thanking the divine for its very existence. Like many aspects of Smart's work, the leaning toward the encyclopedic appears in humorous form in his magazine work. The title-page to The Midwife is an extravagant example of the comedy of plenitude we associate with Rabelais. 
Smart uses several image systems to express the world's harmony. The most frequent is that of music and the dance.  God is an organist and the world reflects his cadence. Smart's light songs for the hay-makers and mowers, “A Morning-Piece” and “A Noon-Piece” describe all nature first waking and then reveling in music with the idealized rustics in perfect step. In contrast the effete and idle Trelooby of the fable, “The Country Squire and the Mandrake,” rides about the woods wasting his time, an avaricious and socially harmful clown who cannot tell what is going on around him. “But what is musick to the deaf?” 
Smart’s nature is a unity containing great variety and prodigious energy. The idea is expressed in images of a swarm or multitude or of liquefaction or water  which apply either to nature itself or by association to other perfect things: love, the soul, or sublime thoughts, for example. Movement is exalted then as a correct step in the dance, a turning within the swarm, or an aspect of brilliant light. This applies to the mental world and the objective world outside equally, for Smart made little distinction between the two.
III. God and the Concept of Spiritual Perception
The enlivening source that animates the swarm images is God, and God's essential characteristic is love. Ralph Cudworth, the Cambridge neo-Platonist divine, spoke in these very terms when he warned the members of the House of Commons to practice love that “we may tune the World at last to better Music,”  adding that truth follows love. Similarly, Smart considers Christian love a prerequisite for meaningful observation and interpretation of the world. If one is to "taste the present, recollect the past, /And strongly hope for every future joy,”  one must first hear preached “seraphic love.”
The vigorous Christian love Smart recommends is emphatically and specifically based in Christian transformation of Mosaic law. “To the Reverend and Learned Dr. Webster,”for instance, opens with a long and dramatic portrayal of the sweeping change wrought by the all-inclusiveness of Christ's redemptive powers. The positive joy is overwhelming, leaving man to “love, to praise, to bless, to wonder, and adore.”  While his fellow poet (and religious maniac) Cowper trembled at the thought of judgment and watched the carefree living with amazement, Smart never doubted his salvation and virtually refused to confront the fate of the wicked. The judgment scene at the end of "Eternity" has no mention of the damned and one looks in vain for moral commands. Of his own spiritual rebirth after a serious bout of illness, Smart says, “He pitying did a second birth bestow/A birth of joy — not like the first of tears and woe,”  in this way paralleling the Biblical progress.
In his translation of the psalms Smart willfully distorted the text, softening the harsh passages and systematically changing revenge to mercy and justice to love.
The righteous shall rejoice when he seeth the vengeance:
He shall wash his feet in the blood of the wicked.
(Psalms, 58:10, King James translation)
The righteous shall exult the more
As he such pow'rful mercy sees,
Such wrecks and ruins safe on shore,
Such tortur'd souls at ease. 
Smart described this bold revision on his title page as an attempt to translate “in the Spirit of Christianity.” “In this translation,” he went on, “all expressions, that seem contrary to Christ, are omitted, and evangelical matter put into their room.”  The central implication of Smart's emphasis is a substantial heresy: the thought that all men are saved, an idea that he was not yet willing to state outrightly. His rules for virtue are simple and far from moralistic. “A Contemplation of God's Works, a generous Concern for the Good of Mankind, and an unfeigned Humility, only, denominate Men wise, great, and good.”  The world, though he calls it a "machine”  (a commonplace in the age of Newton) is animated by God's love and it has meaning only in a spiritual perspective. Smart dramatizes the omnipresence of God by anthropomorphizing the creatures and forces of the natural world. In Smart's theology God himself adopts passions in order to better administer his creation.
Thou God of goodness and of glory, hear!
Thou, who to lowliest minds dost condescend,
Assuming passions to enforce thy laws.
Adopting jealousy to prove thy love. 
God's play-acting extends even to the oak of the "Immensity" poem, which "His lordly head uprears, and branching arms/Extends,"  inviting the conclusion that God is in it four lines later.
Wherefore, ye objects terrible and great,
Ye thunders, earthquakes, and ye fire-fraught wombs
Of fell volcanoes, whirlwinds, hurricanes,
And boiling billows hail! in chorus join
To celebrate and magnify your Maker,
Who yet in works of a minuter mould
Is not less manifest, is not less mighty. 
But the various parts of the creation celebrate their maker in specific ways. The magnet, for instance, has a sympathetic love and "wooes the yielding needle,”  the bees are a model of organization,  and the bird teaches the poet his craft, not simply by his melody, but by the fact that he is praising God.  Man must take instruction from the brutes.  Nature proves God in its existence, in its patterns and designs, and in its individual events which, when invested with a human nature, illustrate religious truths. Love of the creator and the creation (the two are virtually identical in Smart) as a moving emotional force, opens the door to any genuine religious response and to the entire train of Christian virtues.
Outside of these terms, knowledge itself is irrelevant to man's condition and, in fact, really impossible in a meaningful sense. Smart's vignettes of vain fools (in many poems) include not only the sot and the money-grubber, but also the secular scholar and scientist. His prototype of the fruitless researcher is Newton who, for all his disclaimers and pious theological tracts, persists as a demon of mechanistic determinism for several eighteenth century writers.  Smart significantly referred to Newton as ,  a curious term to use in denouncing a strictly scientific investigator. The word, of course, means contrary to reason, which turns the wheel full circle with the poet, the representative of inspiration, vision, and the irrational, accusing the physicist in effect with sloppy thinking.
Smart is quite serious and will document the charge, but the word carries other meanings of equally great importance. In a religious context it would refer to a negation of God's creative both in the creation of the world and the figure of Jesus Christ and for the poet, the craftsman of the word, it has further connotative weight. Ignorant of religion and art, Newton is incompetent to judge the world around him, since he will inevitably fall into the same sort of error as those who call the energetic, driving patterns of behavior of the animals instinct,  while for Philomela, or perfect nature, “Her science is the science of her God,"  since "Knowledge gave her golden key to Israel's king.” 
The attack on Newton may be traced through the course of Smart's career, beginning in light but pointed scoffing at a well-known figure who enjoyed at the time something of a vogue. In the magazine he edited and, in large part, wrote The Midwife, Smart has an article entitled “The Necessity for keeping one's Friend in one's Pocket, demonstrated on the Principles of Sir Isaac Newton's Philosophy,”  which is more a satire on avarice and false friendship than on Newton, but which, coming after the attack on Newton in “Omniscience,” indicates the thematic sublimation that is typical of the magazine articles. 
A footnote to the Hilliad, though similarly facetious, is more suggestive. “Music flows. 'Persons of most genius,’ says the Inspector, Friday Jan. 26, Number 587 ‘have in general been the fondest of music; sir Isaac Newton was remarkable for his affection for harmony; he was scarce ever missed at the beginning of any performance, but. was seldom seen at the end of it.’ And indeed of this opinion is M. Macularius; and he further adds, that if sir Isaac was still living, it is probable he would be at the beginning of the Inspector's next song at Cuper's, but that he would not be at the end of it, may be proved to a mathematical demonstration, though Hillario takes so much pleasure in beating time to them himself,..."  It does not seem an imposition on the text to read the note as ridicule of Newton's real disharmony, for all the smooth operations of his clockwork universe, arising from his distance from God, here represented (as with the country squire) as a dead ear to music. The obscurity of perception which prevents his simple appreciation of earthly music, casts doubt on his ability to call the celestial tune.
The real argument in this early skirmishing is centered in Smart's immanent God, who informs every corner of the world, revealing himself in patterns and emotions. If Newton perceived some rudiments of the first (neglecting the interpretation), he missed the second altogether. In what may be direct reaction to Newton's Opticks, Smart describes the phenomenon of refraction in anthropomorphic terms. “E'er yet Refraction learned her skill to paint,/And bend athwart the clouds her beauteous bow.”  Here refraction is an accommodation of light, God’s most glorious work, to a level meaningful to man as a witness of its maker in the rainbow. Smart's view is more accurate to his experience and more efficient in conveying human information; a scientifically described event is virtually without use except in technology.
The issue between the two is essentially epistemological: what does one really see and what does one create in sight? Smart talked about the clarity of his vision and the obscurity of others’, but, of course, his vision was highly personal, as was, one would guess, Newton's. Before continuing my discussion of their differences I must call attention to Smart's attitudes on two related themes: the subjectivity of experience and the balance between reason and imagination.
Any visionary or symbolic view of the world will be more likely to be called subjective than a self-consciously scientific position. Again with this question the reader sees the wandering ironies of the magazine work suggesting themes that reach full development in the prophetic thunder of the Jubilate Agno. In the introduction to his book of wit and epigrams An Index to Mankind he takes for his guide Pope's dictum “The proper study of Mankind is man,”  and states, “I call a man home to his own Heart, to make him reflect on himself, by viewing as in a mirror what he is.” He continues to an explicit declaration of principle. “If a man goes wrong, pursuing money or position, he is lost to that which is the Essence of all Reality, HIMSELF.”
Application ranges from the simple and trivial, “The Pleasure of Eating lies not in what you eat, but in yourself: Therefore Exercize makes Delicacies,” to full-blown spiritualism, sometimes to the point of magic and the occult, in Jubilate Agno, such as his solution to a problem that Berkeley also discussed, the apparently increased size of the sun and moon when they are near the horizon.
He recognized at the same time that there are a number of realities which one must reconcile before asserting a private vision as literal truth. Smart is often commended for a peculiar directness of expression gained by identifying object and analogy; that is, he saw no difference between the object as it appears to the scientific observer and the object's imaginative corollary.  While this is true, it does not mean that he was confused. In his fable "Reason and Imagination," he represents the view of science (reason) and imagination (poetry) and also the divine overview. He addresses Kenrick, to whom the fable is dedicated.
Thou reconcil'st with Euclid's scheme,
The tow'ring flight, the golden dream,
With thoughts at once restrain*d and free.
* * * *
Let not a fondness for the sage,
Decoy thee from a brighter page,
THE BOOK OF SEMPITERNAL BLISS,
The lore where nothing is amiss,
The truth to full perfection brought;
Beyond the sage's deepest thought:
Beyond the poet's highest flight. 
Both the poetic and scientific view are fallible, and even a successful mingling of the two is of little importance when compared to the certainty and urgency of the religious view. (Imagination is portrayed entirely apart from religion, indicating Smart’s conviction that his own work was derived from the infallible divine source.) In this light the metaphors and symbols of the early poetry which become concrete fact in the Jubilate may reasonably be supposed to have been literally intended from the first. 
Smart's epistemology grows directly from his acceptance of a symbolic, spiritual reality as final, as the most real. D.J. Greene, in an excellent essay,  points out the close affinity between Smart's position and Berkeley's. He notes numerous passages in Berkeley as close parallels for Smart's implicit ideas. “The red and the blue which we see are not real colors, but certain unknown motions and figures which no man ever did or ever can see.” The skepticism is not entirely acceptable, however, for all men have a strong faith in their sensory impressions. Berkeley goes on to deliver a rhapsody on beautiful and affecting sights and sounds (the most convincing) and is finally forced to conclude, “There must be some other mind in which they exist.” The axiom “esse est percipi” is not fully satisfying to him, until one posits a mind of God, in effect, restoring the material world, but as a subjective experience of the divine. Not only does reality essentially exist in an image in God's mind, but it exists also in the images in men’s minds. Impressions, then, are the final truth for man. In another passage Berkeley concludes, “I say that there are no causes, properly speaking, but spiritual, nothing active but spirit.”
Though there seems to be no evidence that Smart was familiar with Berkeley, the similarity is clear, even to the point of imagery. Though an image for the ineffable might seem to be arbitrary always, both Berkeley and Smart chose movement and energy as the most appropriate. Placing final reality for men on relativistic experiential grounds in a way out-materializes the materialist. The man who thinks the sun to be the size of a guinea and the man who sees it as the heavenly host singing “Holy, holy, holy!” are on equal ground, and so is the scientist standing with them who claims that it is enormous and 93.000,000 miles away, because each has only his impressions as evidence. If any distinctions could be drawn, the scientist would be the weaker for his dependence on abstractions like perspective and measurement,  and the mystic would be the stronger for his claim to direct experience of the God who controls the system. Thus Smart agreed with Berkeley that if the sun seems larger near the horizon, the most reasonable conclusion would be that it is, indeed larger.
Smart, of course, went much further than Berkeley. He anthropomorphized the sun to explain why it was larger. He read the whole book of spiritual reality and proclaimed his findings with a frightening fervor. Later 1 will demonstrate the assumption and elaboration of a theory very like Berkeley's in the Jubilate, but for the minor poetry, it illuminates the living, spiritual world that Smart already inhabited and the odd certainty of his pronouncements. The natural world and the spiritual are one, and the one is directed in every part toward God.
IV. Smart’s Self-Image
It was not just in his keen perception of spiritual reality (the images or ideas of God's mind) that Smart considered himself close to God. Image systems associated with the poet and his God are strikingly similar. The idea, based on man’s creation in the image of God, could be more traditional than heretical. Cudworth, for example, said that the good man was divinity incarnate and that Christians who lead holy lives are mystical Christs.  Smart's approach to a Christ-like identity came by two related routes: as a poet (a singer-creator-prophet) and as a humble and persecuted man. Each role functions in Smart’s poetry apart from identifying the voice of the poems
Smart defined his nature as a poet and a creator partially through the image of impression or stamping out as a creative process, an idea that may have been fixed in his mind by his close association with John Newbery's printing shop. Far from imitation, the impression is a forming anew; it is bringing order from chaos and an image from a blank tablet. In “Eternity” Smart speaks of God's making the world in innumerable systems "All stampt with thine uncounterfeited seal," 
In the introduction to his verse translation of Horace (1767) he speaks in similar terms of his own technique as a poet. "Impression, then, is a talent or gift of Almighty God, by which a Genius is empowered to throw an emphasis upon a word or sentence in such a wise that it cannot escape any reader of sheer good sense, and true critical sagacity.”  The traditional comparison between poet and God could be explicit only on one side for the public Smart. He was not willing to proclaim his role as prophet, much less as deity, until madness had robbed him of mental inhibitions, but he frequently spoke of God as a poet. In "Eternity" God is “GREAT POET OF THE UNIVERSE,” “Architect,” “Artificer,” etc. In "Immensity" he is Artificer divine. "His name is written on every atom of the creation which “shot to existence” only “at th’inspiring word.” 
Though the word forms things by defining them and giving them existence apart from chaos, song is necessary to bring life. Smart links the role of poet as singer to the idea of the entire creation, by its very existence, constituting a song of praise to God. The motif of the song bringing life appears in three different forms: as God awakening life with the divine word, as one aspect of the creation awakening the rest, or as the poet singing life into the world. In order to strengthen his self-images Smart worked in terms of earlier figures with whom he associated himself, thus lending credence to what amounted to a self-glorification by masking it in antiquity and diverting attention from his own time. For the life-giving singer the figures are David, Orpheus, and, in one poem, Purcell. These associations lent authority and legitimacy to Smart’s artistic preoccupations.
Orpheus, for so the Gentiles call'd thy name,
Israel's sweet psalmist, who alone could wake
Th’inanimate motion. 
At the opening of “Immensity” Smart asks only that his glory, lute, and harp be roused,  In the “Hop-Garden” a David-figure appears as a rustic swain.  The “Ode on Saint Cecilia's Day” states generally of music that it can “lifeless rocks to motion start” and make “trees dance lightly from the bower,”  Purcell can “sing the subject into life.”  The divine analogy is the music of the spheres which constantly plays to maintain motion in the universe. 
It has already been seen that, at the very least, Smart made himself the spokesman for man and nature in their praise of God, a role associated with some of the most important elements of the prophetic, almost messianic voice that would later preoccupy him. In the works under consideration he displays another typically prophetic trait: an enthusiastic nationalism combined with an equally enthusiastic universalism. For the Biblical prophets Israel is a chosen nation, although (for most of the prophets) there is one God for all the world.  He assigns homely virtues to the English, plain speech, plain clothes, hard work, in contrast to the continent and France in particular which he calls effete and dandified.  The dichotomy extends even to drinks. The English hop (which makes “buxom beer” ) shall exact homage from the French vine.  His caricatures of the nations enable him to work out his nationalism in terms of dedication to nature. “For simple nature hates abuse,/And plainness is the dress of Use,”  the tobacco-pipe tells the bag-wig. The theme of nationalism appears in other, more serious forms, as in the reference to Europe as “the seat of grace and christian excellence,”  but the whole system is dominated by the far more frequent (and logical) assertions of unity and brotherhood,  such as the opening lines of “The English Ball Log, Dutch Mastiff, and Quail.” “Are we not all of race divine,/Alike of an immortal line?” 
Within the context of his national group, Smart associated himself with famous warriors as an Englishman and as a servant of the Lord.  Besides reinforcing the vigor and militancy of his poetry, this identity with the host of Biblical soldiers supported him in what he thought to be his persecution. He did not lack for contemporary heroes, though, addressing poems to Admiral Pocock and General Draper (who had gained fame for having captured Havana and having taken Manila, respectively). Smart glorifies them as Christian heroes, a designation which may fail to convince the modern reader but which, for Smart, represented the continuity into his own time of the Biblical line of noble and active virtue. In “Goodness” he calls on Europe to assume the armor of the Lord, and in his “Epistle to John Sheratt, Esq.” Smart imagines himself an embattled ship, saved only by tactical maneuvering. 
The fact is that Smart often identified with embattled figures. Just as the Biblical prophets are not recognized in their own country, he thought himself unreasonably ignored or actively set upon. One is surprised to hear that when Admiral Pocock returned after his triumph, he was ignored.
And yet how silent his return
With scarce a welcome to his place –
Stupidity and unconcern,
Were settled in each voice and on each face.
As private as myself he walk'd along, ,
Unfavoured by a friend, unfollow'd by the throng. 
In the “Ode to General Draper" the statement of the same theme is grotesquely elaborated. Smart -devotes four long stanzas out of ten to a description of what would have happened had the hero met no public adulation. The list goes on in the most unlikely way: he would have had no statues or paintings of himself, no honorary degree, no salute with guns and fireworks, no toasts, no name in fashionable society, etc. The heroes, however, do not care, because they as Christian patriots “for the general welfare stand or fall,/And have no sense of self, and know no dread at all,”  These are among the more indirect indications of a theme that recurs very frequently in Smart.
One needs no clinical training to observe and describe a paranoia involving delusions of both persecution and grandeur and finally centered in the religious terms of a martyr complex. Only scattered suggestions of the theme of persecution can be found in the early poems. The subject of Smart’s “On an Eagle,” written during his Cambridge years, is clearly an image for Smart himself. This “imperial bird” has been caged “in this servile cell/ Where Discipline and Dullness dwell.” He is “so grov'ling! once so great!” “Thou type of wit and sense confin'd,/ Cramp'd by the oppressors of the mind,” “while more than mathematic gloom./Envelopes all around!”  The poem is in part, of course, a jeu d 'esprit, and every undergraduate can sympathize.
Again, in the poem “To The Reverend and Learned Dr. Webster,” Smart assumes that Webster's Christian virtue will attract envy and malice, but only a snail coterie of admirers. He outlines the inversion of values in modern times in which the evil are rewarded and the good ignored. The high-spirited witty pleasantry in “The Author Apologizes to a Lady for His being a Little Man” seems somewhat ominous in this light, particularly in view of the reappearance of the theme in Jubilate Agno.  Smart frequently depicted small animals defending themselves against great enemies. Probably also to the point is the dominance of themes of persecution in the Biblical prophets and the Psalms. 
This point completes my survey of the major themes of Smart's minor work.  They often operate as assumptions that underlie the meaning of the text rather than as outright assertions. The interrelationship of the images and themes is complex, resulting in a coherent, if eccentric, vision. The vindication of the significance of what may seem a cumbersome and unlikely progression of ideas is in their importance in Jubilate Agno.
V. The Jubilate Agno
The intricacy with which the themes of the minor poetry inform the Jubilate Agno, in certain passages, at least, may be illustrated with a single line.
Let David bless with the Bear — The beginning of victory in the Lord -- to the Lord the
perfection of excellence -- Hallelujah from the heart of God, and from the hand of
the artist inimitable, and from the echo of the heavenly harp in sweetness
magnifical and mighty. 
David cites his slaying of the bear to convince Saul that he is capable of facing the challenge of Goliath, evoking the Smartean image of the militant Christian warrior, here associated with David in the roles of soldier and hunter. Hunting images that represent much the same idea as the warrior images are common in Jubilate Agno, but are sometimes turned about so that Smart is the hunted beast. The hallelujah and the following clauses recall the themes of the artist as Orpheus, God as artist and music as harmony. Ambiguities: appear in the series God-nature-man: which plays the heavenly harp? Which is the artist inimitable? They are nearly equivalent, in any event, but perhaps the best reading of the line is as one of the orderly progressions of which Smart was so fond in which the first would be only God himself, the second the man as an artist and the third, the whole of nature. The echo may then be understood in terms of the image of impression; the word of God having stamped nature with its reality, it is, in a way, a repetition, or concrete echo. At any rate, the line nicely illustrates both the continuity and development of thematic material in Jubilate Agno. Many elements reappear, extended, changed, or evolved in ways that one could not expect from the earlier works alone. As well, then, as an aid to explication, the patterns which I have traced in the minor poetry defines a contrast with Jubilate Agno, partly in terms of sanity and madness, but more importantly in poetic and philosophica1 speculation.
Commentators on the manuscript of Jubilate Agno, in the five fragments detailed by Mr. Bond, is, tend to call it “a marvel” or, more simply, a remarkable document. It has been described as little more than a mere diary, a spiritual doodle-pad, with which Smart occupied himself in order to pass the dull days at the asylum. It has been established that, as he approached the end, both of his confinement and of the manuscript, he wrote a regular one line a day as a device for keeping track of the time, and it is also known that the last entry corresponds with his last day in the mad-house, following which he apparently thought no more of his work and certainly never considered publishing it. To be sure, there passages of little interest to anyone and many of the transitions are so abrupt as to indicate a total carelessness with regard to structure that casts doubt on the value of the whole as an artistic production. However it is hardly more discursive and eccentric than, say, Pound's Cantos (which this age has half-digested, at least) and the reader finds many passages that demand no apologist or special interest to evoke attention and admiration. Whatever the verdict may on the whole once it is as fully understood as possible, writers after Stead have found general agreement that it is neither a mere curiosity, nor is its primary significance either biographical or as a motherlode for the poetic inspiration of the Song to David. For the immediate purposes it is especially useful as a source for liberated thought and expression; the poet in his confinement felt greater freedom to make explicit what his earlier had only suggested.
His breakdown and incarceration may well have prevented him from producing other poems of the kind he had done before, perhaps reaching new heights, but the unfortunate conditions that led him to be locked up also made possible the composition of poem that was dramatically innovative in both form and content. All social conventions, including the conventions of literature, are more easily set aside in solitude (and all the more in a mad-house). Further Smart would naturally proceed with greater independence in a work that he thought (at least after the first fragment) would never reach eyes other than his own. This, besides the doors that were opened (though many, too, were closed) by the disjointed and associative mental frame that one might reasonably guess accompanied Smart's mental healthy crisis, allowed him to proceed without timidity or hindrance. The same factors that formed his greatest failures made possible some of his most beautiful poetry. The poem's fragments are well enough distinguished from one another to suggest, as most informative and convenient, a reading and analysis of each separately before general conclusions are possible. This method will orient the reader in the over-all structure of the poem at the same tine as it furthers my own specific aim of indicating continuity with the earlier work.
Smart wrote during his college years that “free souls, fed with divine repast” should “taste the present,  and Fragment A, in the terms of the metaphor, is a veritable feast. Drawing from a long list of popular books of natural history and travel, from his classical sources and particularly from the Bible, he pairs animals with scriptural characters and derives a moral or image from each in the typical line of the fragment. Building in this way, he constructs a hymn of thanksgiving, setting down concretely and in great detail the universal praise that he had earlier suggested, in which each part of the creation (in this section, each beast) plays a distinct role.
His earlier use of this idea had seemed a poetic conceit, or a momentary enthusiasm, but it was potentially possible as an article of religious faith. Whereas before natural patterns and instincts were a adduced as a proof of God, and certain animals were images for illustrating moral precepts, now he exults in the very definition of each animal as a type. He justifies his technique:
Let Mishael bless with the Stoat -- the praise of the Lord gives propriety to all things. 
Thus, in a way, definition itself may be seen as evidence that everything has a place in a divine design. The animal may be merely described and commended.
Let Chalcol praise with the Beetle, whose life is precious in the sight of God. 
Or the implication of design may be more pronounced.
Let Abiathar with a Fox praise the name of the Lord who ballances craft against strength
and skill against number. 
By ordering natural history in terns of praise Smart can grasp it as a meaningful expression of the divine. There are a number of ways in which the elements of the line formula may be related. The Biblical figure may be naturally associated with an animal in a story that has a moral of its own.
Let Abraham present a Ram, and worship the God of his Redemption. 
The association may be original with Smart but follow the Biblical association of the character or animal,  or the natural animal itself may inspire the line apart from scripture. For some lines there seems little or no relation at all between man, beast, and theme.
Let Shallum with the Frog bless God for the meadows of Canaan, the fleece, the milk and
the honey. 
Appropriately the first named in this microcosm of the creation is Noah.
Let Noah and his company approach the throne of Grace, and do homage to the Ark of
their Salvation. 
“Salvation obviously refers to the successful weathering of the flood, but Biblical typology regularly associates it with Christ’s redemptive powers, especially here since it seems identified with the throne of grace, hinting at the conflation of God and his creation. The idea is strengthened by the deliberate pun on the Ark as a ship and the Ark of the Covenant.
Let the Levites of the Lord take the Beavers of the brook alive into the Ark of the
Bond follows Stead in calling the line confused, but there seems little doubt of its pointed intentionality. The object which contained God and that which contained the multiplicity of animals are identified. Except for a few habitual nods to Christ and salvation there is nothing in the fragment inconsistent with a pantheistic joy in the things of this world and this life. Though it would be wrong to suspect Smart of conscious heterodoxy, the spirit of his religion has very emphatically taken this direction.
A new image system which appears very frequently throughout the whole poem is a group centered around the ideas of movement, variety, and intricacy. This springs from the same sensibility and plays somewhat the same role as the earlier images of swarms, multitudes, and liquefaction, and both imply praise expressed in abundant vitality.
Let Ahimelech with the Locust praise God from the tyranny of numbers. 
Let Jeduthun rejoice with the Woodlark, who is sweet and various. 
Probably part of the import of the identification of the two arks is in further developing the idea of Christ’s sweeping transformation of the Old Testament. The Ark of the Testimony had been rather forbidding with only a priestly caste allowed to approach it, and violators, even those ignorant of their crime, were struck dead on the spot, but now all creatures are contained within it. The priest has been changed from an official of the sacrifice into a servant of the “Lord and Giver of Life,”  and, as if to emphasize the universality of God's love, he includes animals that are not in the Bible at all (such as the beavers), and he calls the tortoise, who had been condemned under the old law as unclean, “food for praise and thanksgiving.”  He explains these changes in a later line.
Let Ebed-Melech bless with the Mantiger, the blood of the Lord is sufficient to do away
the offence of Cain, and reinstate the creature which is amerced. 
Whereas earlier the thrust of the redemption theme had been toward man, now Smart turns to the natural world, perhaps reflecting something of an alienation and escape from human society. Smart blesses a prodigious number of friends in the course of the poem, but nowhere does he generally rejoice in mankind, nor does he repeat his earlier visions of their universal salvation. The tone is already more personal, and alarming pathological tendencies are beginning to appear in half-concealed form.
A significant number of the animals of this section seem related as self-images to Smart’s persecution/grandeur complex. Low, ugly, or small animals find a glory in God that they never receive from men. Insects and reptiles are prominent in an unbalance that can only be explained in this way. Likewise, themes of defensiveness and solitude are common.
Let Samuel, the Minister from a child, without ceasing praise with the Porcupine, which
is the creature of defence a stands upon his arms continually. 
Let Nathan with the Badger bless God for his retired fame and privacy inaccessible to
An atmosphere of high tension between bipolar oppositions supports such attitudes. The animals have natural enemies identified with the Adversary as opponents to be outwitted. The challenge is immediate whereas in Smart's earlier works the devil had been very rarely, if at all, present. Here he is tricked by a rabbit and confused by a child.  Many of the other verges imply or state similar relationships, and maybe half imply some power struggle, but the rest are filled with the purest benedictions and the most ingenuous pleasure.
The tone of the warrior of the Lord, the voice of David before the battle, appears in the many lists of Old Testament generals among the names, the introduction of hunters, and the undirected ferocity of lines like the following.
Let Joshua praise with the Unicorn -- the swiftness of the Lord, and the strength of the
Lord, and the spear of the Lord mighty in battle.
Let Abishai bless with the Hyaena -- the terror of the Lord, and the fierceness of his
wrath against the foes of the King and of Israel. 
Smart begins to think of himself as a martyr, of giving himself up as a sacrifice just as Christ himself was a sacrifice for all men.
Let Savaran bless with the Elephant, who gave his life for hi s country that he might put
on immortality. 
As Devlin explains (his knowledge of the Apocrypha has cleared several obscurities), Savaran "occurs ... in the deutero-canonical book of Maccabees (I, vi, 43-46) where it is related how ‘Eleazar surnamed Savaran’ slew the elephant from beneath and was entombed by its fall: ‘Eleazar also surnamed Savaran . . . put himself in jeopardy, to the end that he might deliver his people and get himself a perpetual name.’” 
For all practical purposes the Fragment Bl abandons Smart’s plan to produce a new liturgy. Though he may have been referring to the Jubilate Agno when he wrote, “For I pray to the Lord Jesus to translate my MAGNIFICAT into verse and represent it,”  the concerns of the responsive "for" verses in this section are so personal and autobiographical, so “confessional” in the modern sense, that their author could not have considered them fit for publication. The "Let" and the "For" verses are usually closely related, with one either providing an example or metaphor for the other, or conditioning each other in a variety of ways. 
The fragment is best read in three major divisions. The verses 1-51 are a kind of manifesto stating Smart’s prophetic stand, now fully realized; 52-156 elaborate on his position adding genealogical and personal matter as documentation to substantiate his claim to the prophetic mantle and to suggest his models in the past, and also including some autobiographical material that seems not to further the themes of the poem at all. From 157-258 (the end of the section), Smart takes off on a remarkable flight, a Smartean treatise on science in which he details a spiritual physics that challenges Newton on his own grounds.
He begins his ''here I stand" declaration with sonorous grandeur and a good deal of prophetic arrogance, echoing the words in which Savaran's self-sacrifice was described.
For I am not without authority in my jeopardy, which I derive inevitably from the glory
of the name of the Lord. 
A few lines later he uses the Biblical formula for describing a sacrifice to apply to himself.
For my existimation is good even amongst the slanderers and my memory shall arise a
sweet savour unto the Lord. 
There is no longer any doubt in Smart’s mind that he has been especially selected as “the Reviver of ADORATION amongst ENGLISH-MEN.” 
For I have adventured myself in the name of the Lord and he hath mark'd me for his own. 
The self-image as one in a line of prophets directly stemming from the Bible leads to an outrageous fantasy.
For if Pharaoh had known Joseph, he would have blessed God & me for the illumination
of the people. 
Summoning the strength of Biblical language he can regard himself with powerful and lyrical pathos in some of the poem’s strongest lines.
For I am come home again, but there is nobody to kill the calf or pay the muslck. 
For in my nature I quested for beauty, but God, God. hath sent me to the sea for pearls. 
For the first time he feels confident enough in his Lord that he directly indicts his persecutors. [1-1] He assigns the cause of their enmity as charitably as he can to ignorance. Here one cannot discount the possibility of rumors about his wife's fidelity,  a theme that will grow in Smart's mind as the poem goes on.
Again animals that are lowly and despised are found in the “let” verses, while others provide examples of subtlety, animation, or swarms. 
Smart formally assumes the prophetic mantle in a ritual repudiation of his earthly inheritance in favor of the complete and exclusive fatherhood of God, a decision that recalls Christ's giving up his mortal parents in the temple. He begins to perform traditional prophetic roles: cautioning his nation in its governmental policies, giving moral instruction and predicting the apocalypse. He calls England to peace, “that all the guns may be nail'd up save such as are for the rejoicing days,”  commends the postal service, and recommends civic improvements for London, finally declaring himself
"in behalf of LIBERTY, PROSPERITY and_NO EXCISE.”  A line like the following may seem a proof of madness in its comically bathetic triviality.
For I bless God for the Postmaster General & all conveyancers of letters under his care
especially Allen & Shelvock. 
But it seems more profitably read both as a fulfillment of the prophet's obligation to his nation and as another form of Smart's preoccupation with complex harmonious movement within a system. In the large numbers of letters moving about in an
orderly way one sees an image not unlike that of circulation of blood or sap,  The vision of a grand system within apparent chaos fascinated Smart and for him stood as an image of the cosmos itself. For Smart the garden was an image of simultaneous order and randomness, and he recalls the Eden-like memories of his childhood on a country estate with great nostalgia and prophesies a similar environment for the London of the future.  One thinks of Blake's New Jerusalem.
The earlier themes of his affinity with Christ, his prophetic and warrior-like nature, and his English nationalism are guarantors for him of his spiritual credentials. Following the example of the Biblical genealogies, he traces his line back to Christ  and then to Abraham.  In between he includes Junius Agricola,  the Roman governor-general of England whom he identifies with St. George,  considering both to be Warrior-Martyrs whose names happily have the same meaning of farmer. The association allows him to imagine himself slaying the dragon.  In a more puzzling association, he adds to the associative chain, identifying Agrippa with Agricola.  He translates his own given name to associate himself with Simon of Cyrene  as a direct servant of Christ and a fellow victim of undeserved suffering. He also takes an interest in his descendants beyond that of any indigent and imprisoned father.  He feels confidence that the next generation will carry on the work and further glorify the name of the Lord.  In these and other ways, Smart was modeling his acts on his reading of the Biblical prophets.
The idea of reading all nature in a divine light was unexceptionable as long as Smart noted instances of God’s design and even when he used the specific and various bestial characteristics as praise, but his spiritual physics (despite its debt to Berkleyan rhetoric) seems quite fantastic, almost magical. Cudworth had described the physics of heaven and hell and had developed extended metaphors based on the movements of the heavenly bodies,  but Smart takes the analogy for the literal truth and discusses not only general principles of movement and force, but also contemporary problems and current issues in the field. Earlier he had used refraction and magnetism as images, when the reader might assume he was forcefully asserting only a rhetorical truth. He now positively declares, “nothing is so real as that which is spiritual,”  He calls fire and air “spirits,”  but adds that all that exists is centered in spirit  and life.
For MATTER is the dust of the Earth, every atom of which is the life.
For MOTION is as the quantity of life direct, & that which hath not motion, is resistance. 
This sufficiently widens the definition of spirit to include everything in the creation, an inference that Smart will take pains to justify.
Since the world is, in his view, structured with such vitality in every part by an omniscient God, who had man foremost in mind, each part also has a message.
For EARTH which is an intelligence hath a voice and a propensity to speak in all her
This conviction gives added strength to the series of praise by definition; simply by being itself an entity cries out the word of God.
For a man speaks HIMSELF from the crown of his head to the sole of his feet.
For a LION roars HIMSELF compleat from head to tail.
For all these things are seen in the spirit which makes the beauty of prayer. 
As Smart offers fanciful explanations of tides, centrifugal and centripetal force, capillary action, electricity, the suction pump, and many other phenomena, his utter disregard for conventional received ideas makes him seem wildly eccentric. Stead notes a similarity between Smart's theories and those of Derham's influential Astro Theology and Physico Theology,  and many others writers set forth similar claims, though in a more modest and orderly way. For Smart it was the final logical reduction of his lifelong belief in the immanency of God’s word and his tendency to anthropomorphize nature.
Smart's early conviction that all was to be adored, even earthquakes and floods, with the unique exception of man's error must have struck some of his readers as somewhat facile, but in Jubilate Agno he confronts the problem of evil again and suggests a solution that at once represents a totally different idea, though grown from his original view.  Smart rarely uses the devil's name,  preferring him the adversary instead, a name which connotes a negative principle, “For Adversity above all other is to be deserted of the grace of God.”  Whereas he had refused to mention the damned in his judgment scene in “Eternity,” he now explicitly doubts eternal damnation.
For there is a forlorn hope ev'n for impenitent sinners because the furnace itself must be
the crown of eternity. 
For HELL is without eternity from the presence of the almighty God. 
For the furnace itself shall come up at the last according to Abraham’s vision. 
In Abraham's vision in Genesis, mentioned by Smart a number of times in thoughts almost exactly like the one quoted, the furnace is a pledge from God, proof that the Jews will be redeemed and reach the Promised Land in the end. Smart applies the pledge to the damned, in a typically bold inversion substituting the wicked for God's chosen people out of his own unbounded generosity.
He deals with the problem of evil itself similarly, incorporating it into the one grand unity.
For he hath fixed the earth upon arches and pillars, and the flames of hell flow under it. 
For Resistance is not of GOD but he -- hath built his works upon it. 
For Eternity is a creature & is built upon Eternity . 
The world seems in these rather cryptic lines to be completely unified with evil as a part of the structure, a necessary support, part of the underpinnings of the universe, the Whole of which is operating in harmony. Smart had. written in his “Immensity” poem that God shines with perfect radiance in heaven, but he added that one should also know "that nor in Presence or in Pow'r/ Shines he less perfect here; ‘tis man’s dim eye/ That makes th’obscurity. He is the same,/ A1ike in all his Universe the same.”  This acceptance of evil as part of God, along with his leanings toward pantheism, and his almost blasphemous pride are all elements in his thought that the reader must assume he developed to a large extent outside his conscious mind (Smart was never one for critical self-analysis, anyway), and which he never suspected brought him to the very edge of heresy, if not further.
He made even more unorthodox statements leaping the gap from mysticism to occult magic, but never without a basis in his system. He claims that flowers have inhabitants and, in fact, that Jesus blessed them, but it is clear that he is speaking of the individual genius or unique quality of the flowers and of their lives as part of the divine word. 
For the flowers have their angels even the words of God’s Creation. 
The idea is not so far distant from the mandrake of his own fable addressing the vain I squire with righteous indignation, saying:
For the prayers of good man are therefore visible to second-sighted persons. 
Only after having established the spirituality of all things, corporeal or not, and the subjectivity of vision.
Smart thought of sound as particularly spiritual and of music as its greatest height. Having used music before as a symbol of the harmony of the universe and as its enlivening force,  he now states the bases for these images in powerfully direct terms. Within the physics section of Bl he includes a digression on music in which he describes heaven as an orchestra and God as a great harpist (like David and Orpheus). Finally, he explicitly associates music with the creative divine word.
For GOD the father Almighty plays upon the HARP of stupendous magnitude and
For innumerable Angels fly out at every touch and his tune is a work of creation. 
The angels of this line are, like the angels of the flowers, simply the types of the earthly objects. Smart, however, is running out of energy at this point, and he begins to almost arbitrarily assign significances. Maintaining the oracular tone that was at first consistent with his content, he mixes the profound images I have just described with the trivial, such as colloquial advice on the best strings to use for certain instruments. While such lines do serve the purpose of hammering away at the non-exclusionary nature of his concerns and his vision (in the last extremity, either tragic insanity or mystical profundity, everything is of equal importance,  at the same time they present a pitiable image of his mental disintegration and prefigure the carelessly random resignation of the last pages of the manuscript.
He restates the theme of Christ's transformation of the Old Testament in his familiarly sweeping terms, contrasting the absolute negation of Ecclesiastes’ stoicism as the highest pre-Christian philosophy with the complete affirmation of Christ.
For Solomon said vanity of vanities vanity of vanities all is vanity.
For Jesus says verify of verities verity of verities all is verity. 
Christ's statement (in the present tense) is completely unqualified, not even presented as love or mercy, but as an endorsement without reservation or exception, “All that is, is true,” and the reader can only infer, if only from the energy of the line, that, all is good as well.
The progressive disintegration in the poem's structure continues and accelerates in Fragment B2 in which lines and passages succeed one another with very little justification. Smart sets himself orderly projects in interpreting the universe and methodically carries them out, including comparatively less information for the critic as the poet's mind begins to relax into unambitious and almost meaningless occupations. He performs two exercises on the alphabet, traces modern counties to their progenitors among the Biblical tribes, assigns virtues to the planets, etc.  His nationalism, still present despite his universalism, has centered on the French whom he identifies with the Moabites, and he indulges in innuendo against his wife whom he identifies with both because of her Roman Catholicism. But the break-down of order not only allows a fall into randomness and pettiness but also clears the way for candid statements of several philosophical concepts on which his poetry is based, which until this point were not fully explicit.
Induction and deduction are equally relevant because God is immanent in man as well as in the world.
For the Argument A PRIORI is GOD in every man's CONSCIENCE.
For the Argument A POSTERIORI is God before every man’s eyes. 
For the Life of God is in the body of man and his spirit in the Soul. 
Repudiating Locke he comments “For an idea is the mental image of an object,”  and man cannot be without God because ideas such as that of the divine are innate, a part of the structure of man. In “Immensity” he had found God's signature everywhere as evidence of the great design. In Jubilate Agno he finds it literally everywhere in the form of the Hebrew letter Lamed, which Smart thinks visibly and physically present on every item of the creation as the emblem of God's idea which constitutes its being. Distinctions between things are a direct reflection of the differences in their divine ideas. 
For there is a model of every beast of the field in the height.
For they are all intelligences & all angels of the living God. 
For in the divine Idea this Eternity is compleat & the Word is a making many more. 
The idea that the entire universe is an idea in the mind of God is an almost perfect Berkeleyan conclusion and one that gives new force to Smart's image of stamping. The image appears twice in this section,  once as God's stamp and once as Smart's. His interest in uniqueness, then, grows from the idea that God's stamp defines by bringing something out of nothing, an emblem from a blank page, paralleling his own technique in writing.
I have already noted the tendency in Jubilate Agno to renew old images by considering them literal and concrete. In this fragment Smart resumes his light imagery with the original (and conventional) connotations. Here the identification of God with light is so strong that he extends it to shadows (which he says are of Satanic origin) and eclipses (the operations of the devil). Again, though, having condemned shadows, he then inverts this meaning, referring to them as a pledge from God of the time when there will be no darkness.  Having condemned eclipses,  he then says that they are totally Christ’s. 
In the C Fragment, he revives the image of Orpheus with the novel idea that he played by blowing upon the strings.
For this will affect every thing that is sustaind by the spirit, even every thing in nature. 
This recalls the image of the Aeolian harp in the previous fragment. As the harp of God played by the breath of God, its improvement presages better times, just as David’s harp suggests that “it will be better for England and all the world in a season.”  This close analogy hints, though not certainly, that perhaps David (or Smart, his modern counterpart) will be the instrument by which God improves the world and brings eventually the apocalypse, a messianic function that would complete the work of the first Christ.
Apart from this suggestion the fragment has little of interest or relevance. The relationship between the "let” and the “for” verses has broken down, and Smart pursues more occult recreation: another alphabet exercise, an explanation of the secret meaning of numbers, etc. He also proclaims some authentic prophesies, predictions of the future. Most are very general, describing an increased sense of holiness and God's presence among the people, or idiosyncratic -- an extended passage dealing with the horns that men once had, which they lost by sin, and which will return.
The D Fragment is much calmer. Though it has very little information (Smart was clearly using his manuscript as a device to keep track of the days by this time), its lines suggest resignation and, if respite from the fevered religious and personal outcries of the first four fragments is any indication, a return to sanity. His self-image has fallen from the heights of quasi-divinity to a modest ambition. “The Lord magnify the idea of Smart singing hymns on this day in the eyes of the whole University of Cambridge.”  Even his ominous, diabolical enemies were apparently trying now to obtain his release.  Smart was now just putting in time.
Nearly all the wild-eyed fantasies of the Jubilate Agno grew from embryos in the minor work. The only real additions are derived from occult interpretation which itself is consistent with the spiritual and symbolic, visionary viewpoint that he established very early in his writing. His delineation of the world of spiritual reality that is a major theme of the Jubilate is a natural and direct extension of the images that fill the poems on the attributes of God. The self-image of the English prophet of song, beset by opposition, became less acceptable as it emerged while the poet struggled to cope with the problems of his life. Presented at first by hints, analogies, and indirections, it, flowered as a. sonorous voice speaking Biblical cadences until it sank at last in fatigue. The early ideas of unfallen nature, nature's god of life and growth, and man's ability to interpret the world did not vanish; they receded like the earth beneath a rising airplane. Throughout Smart’s career the reader finds images of light, music, and impression, and of the whole of nature raising praise to the Lord. Often he failed to distinguish between the imaginative and poetic on the one hand and the concrete and scientific on the other. For Smart conventional literary devices and personification became actors in a spiritual reality. His notions of God and Christ broadened until they became all-inclusive as he developed emphases toward which he had been drawn since the beginning.
He said of himself in the preface to his prose version of Horace, “The following version is the work of a man who has made poetry, perhaps too much, the business of his life.  But his ideas are strikingly modern in his insistence on subjectivity and in his congenial brand of pantheism; his personality, which is reflected on every page of his verse, is, for the most part charming and generous, if eccentric; and his vision is irresistibly attractive in its resounding affirmation.
1 Philomela’s story appears, for instance in the Book VI of Ovid’s Metamorphoses.
2 Christopher Smart, The Collected Poems, ed. by Norman Gallan (2 vol., London: Routledge & and Kegan Paul Ltd., 1949), I, 233. All references to Smart's poems are to this edition, the only one approaching completeness, (though it unfortunately has no line numbers), with the exception of Jubilate Agno, for which I have used Bond's edition, which is obviously preferable to Stead's for its revealing arrangement of the manuscript. Following references to Callan will use the form "Callan, vol., page no."
3 For instance, Burnett's idea that irregularities in the earth's surface provide evidence for its fall, paralleling man's. Whether expressed with such physical evidence or not, the conventional view regularly regarded nature as fallen.
4 Callan, I, 24I.
5 Callan, I, 242.
6 Callan, I. 235.
7 Callan, I, 147.
8 See also "On the Power of the Supreme Being."
9 The idea appears in "On the Goodness of the Supreme Being," Song to David, Jubilate Agno, "Hymn VI," "Hymn to the Supreme Being," and many other passages.
10 Callan, II, 797-798. See also beginning of "On the Immensity of the Supreme Being."
11 The title page announces that it contains, "all the Wit and all the Humour and all the Learning
and all the Judgement that has ever been or ever will be inserted in all the other magazines or
the magazine of magazines or the grand magazine of magazines or any other book whatsoever: so
that those who buy this book will need no other.”
12 See for instance "Ode on St. Cecilia's Day," 136.
13 Callan, I, 56.
14 It : may be .worthy of note that this image series is a Jungian symbol for the unconscious. Other examples are "A Noon-piece" (liquid rays), "On the Eternity of the Supreme Being" (swarming thoughts), "On the Power of the Supreme Being" (maze), "Ode on 3t . Cecilia's Day" (swimming orbs), "On an Eagle" (flowing stream), and "The Author Apologizes to a Lady for His being a Little Man" (pent-up spring).
15 Ralph Cudworth, Sermon to the House of Commons (New York, Facsimile Text Society, 1930).
16 Callan, I, 222.
17 Callan, I, 246.
18 Callan, I, 247.
19 Callan, II, 522.
20 Quoted in E. G. Ainsworth and Charles Noyes , "Christopher Smart: A biographical and critical study,” University of Missouri Studies XVIII, 4 (l943), 122.
21 Mrs. Mary Midnight [Christopher Smart], An Index to Mankind; or Maxims selected from the wits of all nations for the benefit of the present age and of posterity (London: J. Newbery, 1751), 16.
22 Callan, I, 237.
23 Callan, I, 244.
24 Callan, I, 229.
25 Callan, I, 238.
26 Callan, I, 238.
27 Callan, I., 235.
28 Callan, I, 227.
29 Callan, I, 235.
30 One thinks immediately of Blake. Perhaps it would be appropriate to note briefly a few of the many correspondences between the two poets: symbolic and visionary interpretation of the world, anthropomorphizing, charity and concern for the poor, prophetic arrogance, Blake's image of ”corrosion” and Smart's of “impression.” The two are quite comparable though their poetry is entirely different.
31 Christopher Smart, Jubilate Agno, ed. by W. H. Bond (Cambridge: Harvard University Press, 1954), 113. Following references to Jubilate Agno will give the fragment name and line number, as here, B2, 650.
I quote from Jubilate Agno here because I must establish Smart's notion of the spiritual reality which is
not explicit earlier, though it operates as an implicit assumption.
Smart, incidentally, refused to use Greek accents, claiming, "For the ACCENTS are the invention of
the Moabites, who learning the GREEK tongue marked the words after their own vicious pronuntiation."
32 Callan, I, 232.
33 Callan, I, 233.
34 Callan, I, 234.
35 Christopher Smart, The Midwife, III (1751), 28.
36 One finds, for instance, a humorous discussion of Bedlam and religious fervor, sympathy for those in debtor's prison, many concealed self-portraits, and lists of natural curiosities presented as amusing.
37 Callan, I, 180.
38 Callan, I. 234.
39 Index to Mankind, I , 3, 4, 66 for this quotation and the others in the paragraph.
40 Callan, I, xxx. He mentions several others who have pointed this out.
41 Callan, I, 82. Note there is no warning against devoting oneself too much to poetry.
42 If they were not, and the hostility to Newton strongly suggests that they were, the hypothesis of a spiritual reality as the final reality, would be a conclusion of Smart's later years alone, and the earlier intimations only mental preparation of the way.
43 E. J. Greene, "Smart, Berkeley, the Scientists and the Poets," JHI XIV, 3 (June, 1953) 327-352. The quotations and much of the argument of the next paragraph are derived from this essay .
44 Greene notes that Berkeley liked to call Newton and Locke mystics for their belief in substance which he thought "a vain conceit."
45 Cudworth, 34.
46 Callan, I, 224. The image reappears in Song to David. Similar images are the rustic’s footprint in the Hop-Garden (Callan, I, 159) and elsewhere.
47 Quoted by Ainsworth, 138. See also Jubilate Agno, B2, 404.
48 Callan, I, 223, 230.
49 Callan, I, 240.
50 Callan, I, 227.
51 Callan, I, 153.
52 Callan, I, 137.
53 Callan, I, 141.
54 There are several interesting and rather puzzling instances of interplay between nature and man that imply that each is influenced by the song of the other as well as by its own song. Nature imitates herself (Callan, I ,229), she mimics the poet (Callan, I, 137) and learns from him (Callan, I, 100). The idea of David forming nature and influencing the course of earthly events will appear in Jubilate Agno where the musical activity of God, nature, and poet will be very closely related.
55 For instance, in “The Tea-pot and Scrub-Brush,” “The Tobacco Pipe and Bag-Wig,” the end of the Hop-Garden, and the poems to the military heroes.
56 The hostility to France has biographical associations, as well. Smart felt an increasing suspicion of his wife's fidelity which became alternately resentment and tenderness in Jubilate Agno. He identified her with France because she was a Roman Catholic.
57 Callan, I, 144.
58 See the conclusion of the Hop-Garden.
59 Callan, I, 48.
60 Callan, I, 243.
61 Among the numerous other examples are the statements on nature's unity, the generosity of “The Horatian Canons of Friendship”, etc.
62 Callan, I, 59.
63Callan, I, 243.
64 Callan, I, 213.
65 Callan, I, 14.
66 Callan, I, 14.
67 Callan, I, 14. See also “The Fair Recluse,” and “The Power of Innocence.” These poems describe embattled women who, by their righteousness and defensive stance, suggest elements of Smart's self-image. Women were often considered, as in Clarissa, models of Christian fortitude under stress. It is probably coincidental that Smart used among his pen-names The Female Student, Nellie Pentweazle, and,
of course, Mary Midnight, whom he portrayed in his satirical entertainment, “The Old Woman's Oratory.”
68 Bond, Bl, 45.
69 David and Goliath would seem a natural theme, but it appears only once, deeply buried in a single line of Jubilate Agno.
70 I have omitted some of the humorous and occasional verse and the whole of the Song to David for reasons of space alone.
71 Bond, A, 41.
72 Callan, I, 222.
73 Bond, A, 79.
74 Bond, A, 38.
75 Bond, A, 24.
76 Bond, A, 5.
77 Bond, A, 32. The next reference is to Bond, A, 98.
78 Bond, A, 9.
79 Bond, A, 4.
80 Bond, A, 16.
81 Bond, A, 62.
82 Bond, A, 107.
83 Bond, A, 2. See also the satyr of Bond, A, 67. Likewise the satyr in the Bible (Isaiah 13:21), a sign of God’s departure, becomes in Jubilate Agno a legitimate member of God’s legion.
85 Bond, A, 89. This line removes Negroes from a subordinate position. Ebed-Kelech is the good Ethiopian.
86 Bond, A, 44.
87 Bond, A, 45. Other lines supporting the theme are A, 29; A, 38; A, 51; A, 54; A, 73; and elsewhere.
88 Bond, A, 22 and Bond, A, 90. For the latter Bond gives a slightly incorrect verse reference. It is in the 8th verse that the child is associated with the snake. The note should read Isaiah 11:8.
89 Bond, A, 26 and Bond, A, 35.
90 Bond A, 80.
91 Chrisopher Devlin, Poor Kit Smart, (Carbondale: Southern Illinois Press, 1927), 108. The incident was, of course, during a military campaign..
92 Bond, B1, 44.
93 For instance, Bond finds in the "let" verses of lines 46-51 an "undercurrent of bitterness" which rises to a climax against his family because of the stag (whose horns suggest cuckoldry), and symbols of stupidity and greed which I fail to find. The other animals fit well into the pattern of defensive self-images, and their enemy is no more well-defined here than elsewhere. If anything the stag and "Wittal" night reflect his suspicion of his wife.
94 Bond, B1, 1.
95 Bond, Bl, 3.
96 Bond, B2, 332.
97 Bond, Bl, 21.
98 Bond, Bl, 27. Smart came to believe in a kind of instantaneous time. See Bond, B2, 329.
99 Bond, Bl, 15.
100 Bond, Bl, 30.
101 Bond, Bl, 43; Bond, Bl, 74; and elsewhere.
102 For example, Bond, BI, 115.
103 These themes are now so pervasive that I will no longer cite lines. They end only when the "let" verses become meaningless.
104 Bond, Bl, 4.
105 Bond, 31, 107.
106 Bond B1, 22.
107 See Bond B2, 341.
108 Callan, I, l6l.
109 Bond, Bl, 73.
110 Bond, Bl, 144.
111 Bond, 31, 137.
112 Bond, 31, 54.
113 Bond, 1, 58.
114 The reference is probably not to the Biblical Agrippa, as at least one commentator (Albert Kuhn, see bibliography) claims. Bond does not identify the reference, but he later notes a similarity between Smart's numerology and the system of Henry Cornelius Agrippa (see Bond, page 125, note two). The occultist is, I think, a more likely candidate than St. Paul's judge.
115 Bond, 31, 162.
116 Bond, B1, 70 and elsewhere surely indicate nothing more than normal paternal concerns.
117 Bond, Bl, 100.
118 Cudworth, 50-56..
119 Bond, 31, 258.
120 Bond, B1, 263.
121 Bond, B1, 184.
122 Bond, Bl, 160-161.
123 Bond, B1, 234.
124 Bond, Bl, 228-230.
125 Noted by Bond, following Stead. Bond, B1, page 67, note 4.
126 K. M. Rogers and others have demonstrated a similarity between certain of Smart’s ideas and those of Caballistic literature, which he may have encountered in college or through his associations with Freemasonry. Most of their parallels are not convincing and could equally have been derived from purely Christian traditions (e.g. Caballistic writing has God creating by saying his own name), but the idea I outline in the following paragraphs (which I think has not been discussed before) is distinctively Caballistic..
127In fact he says, “Let Jonas rejoice with the Sea-Devil, who hath a good name from his Maker." Bond, B1, 199.
128 Bond, B2, 328..
129 Bond, B2, 330. Also Bond 31, 176.
130 Bond, B2, 322.
131 Bond, B1, 293.
132 Bond, B1, 158.
133 Bond, Bl, 162.
134 Bond, hBl, 170.
135Callan, 1, 227-228. Emphasis mine.
136 Bond, Bl, 105. Later the reader finds that the inhabitants can talk, and, in fact, that the flowers knew Pope. Bond, B2, 568.
137 Bond, B2, 500.
138 Bond, Bl, 240.
139 Bond, Bl, 245.
140 Bond, Bl, 246-247.
141 Analogues for this concern with triviality in the middle of the deepest religious context exist in the Oriental Taoist and Ch'an traditions.
142 Bond, B1, 287-288.
143 These passages do, of course, reveal certain other things, for instance, sources in occultism and lines similar to passages in the Song to David.
144 Bond, B2, 359-360.
145 Bond, B2, 375.
146 Bond, B2, 395.
147 This is very similar to the Platonic theory of forms.
148 Bond, B2, 678-679.
149 Bond, B2, 329
150 Bond, B2, 363 and Bond, B2, 404.
151 Bond, B2, 311.
152 Bond, B2, 313.
153 He also further concretizes this music imagery into a classification of the sounds of the heavenly organ, associating instruments with rhyme words, another analogy with the poetic process.
154 Bond, C, 56.
155 Bond, C, 58.
156 Bond, D, 148.
157 Bond, D, 159.
158 Smart, Christopher (trans,), The Works of Horace (London: J. Newbery, 1756), iii (introduction).
I. Smart's work
A. Editions of the poetry
Jubilate Agno, ed. W. H. Bond (Cambridge: Harvard, 1954).
The Collected Poems of Christopher Smart, ed . Norman Callan (two vol.,
London: Routledge and Kegan Paul Ltd., 1949).
Poems, ed . Christopher Hunter (Reading: F. Power and Co., 1791).
Rejoice in the Lamb, ed. W. H. Stead (London: J. Cape, 1939).
Selected Poems by Christopher Smart, ed. Ruthven Todd (London: Grey
Walls Press, 1947).
B. Journals and translation
Smart, Christopher (under the pseudonym Mrs. Mary Midnight). An Index
to Mankind. (London: J. Newbery, 1751).
Smart, Christopher. The Works of Horace. (London: J. Newbery, 1756).
The Universal Visitor and Memorialist.
II. Criticism and other sources
Abbott, C.B. “Christopher Smart's Madness,” PMLA , XLV (1930), 1014-1022.
Ainsworth, E.G. and Charles Noyes. “Christopher Smart: a biographical and
critical study,” University of Missouri Studies, XVIII (1943).
Cudworth, Ralph. A Sermon to the House of Commons. (New York: Facsimile
Text Society, 1930).
Devlin, Christopher. Poor Kit Smart. (Carbondale: Southern Illinois University
Greene, D. J. “Smart, Berkeley, the Scientists, and the Poets,” Journal of the
History of Ideas. XIV (June, 1953), 327-352.
Hunsberger, B. “Kit Smart’s Howl,” Wisconsin Studies in Contemporary
Literature, VI (Winter, 1965), 34-44.
Rogers, K. M. “The Pillars of the Lord: some sources of A Song to David,”
PQ, XL (1961), 525-534.
Shepard, Odell, and Paul Spencer. “Christopher Smart, Free and Accepted
Mason,” JSGP, LIV (1955), 664-669.
Todd, Ruthven. Tracks in the Snow (London: Grey Walls Press, 1946).