One Spenserian stanza: on the sylvan cruelties of the "fatal tube." Thomas Dermody follows the older custom of applying the term "sonnet" to lyrics in a variety of forms.
James Grant Raymond: "Cowley received the applauses of the great at eleven, Pope at twelve, and Milton at sixteen: the meed of distinguished praise therefore cannot be denied this wonderful boy, when it is related that at ten years old he had written as much genuine poetry as either of these great men had produced at nearly double that age. Reared in the metropolis of a great nation, where genius finds many excitements, their early effusions were blazoned forth with admiration: — very different, at this time, was the fate of our extraordinary youth: with no pattern of prudence before his eyes, no stimulus to exertion, no protecting hand to cherish the opening bud of genius; but, like the unhappy Chatterton, slumbering in obscurity, neglected and unknown" Life of Dermody (1806) 1:4.
Richard Frushell: "Poetic diction perhaps reaches its nadir with 'fatal tube' for gun" Edmund Spenser in the Early Eighteenth Century (1999) 223.
Why weep the tenants of yon shatter'd grove?
Why mourns the black-bird in a dismal note?
Ah, note, far diff'rent from the lays of love;
That, once, my solitary musing smote.
See! the sad nest to quiv'ring pangs devote,
The cruel sportsman takes his deadly round,
Thro' all the scenes, harsh screams of danger, float,
The fatal tube is full, it marks the ground,
And frighted echo starts, and thunders to the sound.