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Ver. 33.

Ver 23, 24.

Pity, with me, poor husbandmen's affairs, “Inventor, Pallas, of the fattening oil,

And now, as it translated, hear our prayers. Thou founder of the plough, and ploughman's loil ! This is sense, and to the purpose: the other, Written as if these had been Pallas's invention. poor mistaken stuff." The ploughman's loil 's impertinent.”

Such were the strictures of Milbourne, who Ver. 25.

found few abettors, and of whom it may be rea-The shroud-like cypress—

sonably imagined, that many who favoured his Why shroud-like ? Is a cypress, pulled up by design were ashamed of bis insolence. the rools, which the sculpture in the last Eclogue When admiration had subsided, the translafills Silvanus's hand with, so very like a shroud ? tion was more coolly examined, and found, like Or did not Mr. D. think of that kind of cypress all others, to be sometimes erroneous, and used often for scarves and halbands at funerals sometimes licentious. Those who could find formerly, or for widoios' veils, &c. ? if so, 'twas faults, thought they could avoid them; and Dr. a deep, good thought.

Brady attempted in blank verse a translation of Ver. 26.

the “Æneid,” which, when dragged into the -That wear

world, did not live long enough to cry. I have The royal honours and increase the year.

never seen it; but that such a version there is, What's meant by increasing the year ? Did the or has been, perhaps same old catalogue in

formed me. gods or goddesses add more months, or days, or hours, to it ? Or how can arva tueri signity to

With not much better success, Trapp, when wear rural honours ? Is this to translate, or abuse, his Tragedy and his Prelections had given him an author ? The next couplet is borrowed from reputation, attempted another blank version of Ogylby, I suppose, because less to the purpose slight regard’with which it was treated, he had

the “Æneid;" to which, notwithstanding the than ordinary."

afterwards perseverance enough to add the “ The patron of the world, and Rome's peculiar guard.” | continue in existence as long as it is the clan

“Eclogues” and “Georgics." His book may Idle, and none of Virgil's, no more than the destine refuge of schoolboys. sense of the precedent couplet ; so again he inter Since the English ear has been accustomed to polates Virgil with that and the round circle of the mellifluence of Pope's numbers, and the the year to guide powerful of blessings, which diction of poetry has become more splendid, thou strew'st around; a ridiculous Latinism, and new attempts have been made to translate Viran inpertinent addition ; indeed the whole period gil; and all his works have been attempted by is but one piece of absurdity and nonsense, as men better qualified to contend with Dryden. 1 those who lay it with the original must find.” will not engage myself in an invidious compariVer. 42, 43.

son, by opposing one passage to another; u And Neptune shall resign the fasces of the sea.

work of which there would be no end, and

which might be often offensive without use. Was he consul or dictator there?

It is not by comparing line with line that the And watery virgins for thy bed shall strive.

merit of great works is to be estimated, but by Both absurd interpolations."

their general effects and ultimate result. It is

easy to note a weak line, and write one more Ver. 47, 48.

vigorous in its place; to find a happiness of ex“ Where in the void of heaven a place is free,

pression in the original, and transplant it by Ah, happy D-n, were that place for thee!

force into the version : but what is given to the But where is that void? Or, what does our parts may be subducted from the whole, and translator mean by it? He knows what Ovid the reader may be weary, though the critic may says God did to prevent such a void in heaven; commend. Works of imagination excel by their perhaps this was then forgotten ; but Virgil allurement and delight; by their power of attalks more sensibly."

tracting and detaining the attention. That Ver. 49.

book is good in vain which the reader throws “ The scorpiou ready to receive thy laws,

away. He only is the master who keeps the No, he would not then have gollen out of his mind in pleasing captivity;, whose pages are

perused with eagerness, and in hope of new

pleasure are perused again ; and whose concluThough Proserpine affects her silent seat.

sion is perceived with an eye of sorrow, such as

the traveller casts upon departing day. What made her then so angry with Ascalaphus,

By his proportion of this predomination I will for preventing her return? She was now mus'd consent that Dryden should be tried; of this, to Patience under the determinations of Fate, which, in opposition to reason, makes Ariosto the rather than fond of her residence.”

darling and the pride of Italy; of this, which, in Ver. 61, 62, 63.

defiance of criticism, continues Shakspeare the “Pity the poet's and the ploughman's cares,

sovereign of the drama. Interest thy greatness in our mean affairs,

His last work was his “Fables,” in which he And use thyself betimes to hear our prayers.

gave us the first example of a mode of writing Which is such a wretched perversion of Virgil's which the Italians call refaccimento, a renovanoble thought as Vicars would have blush'd at: tion of ancient writers, by modernizing their but Mr. Ogylby makes us some amends by language. Thus the old poem of “Boiardo? his better lines :

has beer new-dressed by Domenichi and Berni. wherse'er thou art, from thence inclino,

The works of Cha er, which upon this kind Aud grant assista.ice to my bold design;

of rejuvenescence has been bestowed hy Dry

way so fast.”

Ver. 56,

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den, require little criticism. The tale of the Love various minds does variously inspire :
Cock seems hardly worth revival ; and the story

It stirs in gentle bosoms gentle fire,
of “Palamon and Arcite," containing an action

Like that of incense on the altar laid;

But raging flames tempestuous souls invade : unsuitable to the times in which it is placed, A fire which every windy passion blows, can hardly be suffered to pass without censure With pride it mounts, or with revenge it glows. of the hyperbolical commendation which Dry Dryden's was not one of the gentle bosoms : den has given it in the general Preface, and in Love, as it subsists in itself, with no tendency a poetical Dedication, a piece where his original but to the person loved, and wishing only for fondness of remote conceits seems to have re- corresponding kindness; such Love as shuts out vived.

all other interest, the Love of the Golden Age, Of the three pieces borrowed from Boccace, was too soft and subtle to put his faculties in "Sigismunda” may be defended by the celebrity motion. He hardly conceived it but in its turof the story. “Theodore and Honoria,” though bulent effervescence with some other desires it contains not much moral, yet afforded oppor- when it was inflamed by rivalry, or obstructed tunities of striking description. And “Cymon" by difficulties; when it invigorated ambition, or was formerly a tale of such reputation that at exasperated revenge. the revival of letters it was translated into Latin He is, therefore, with all his variety of excelby one of the Beroalds.

lence, not often pathetic; and had so little senWhatever subjects employed his pen, he was sibility of the power of effusions purely natural, still improving our measures, and embellishing that he did not esteem them in others: simpliour language.

city gave him no pleasure ; and for the first part In this volume are interspersed some short of his life he looked on Otway with contempt, original poems, which, with his prologues, epi- though at last, indeed very late, he confessed logues, and songs, may be comprised in 'Con- that in his play there was Nature, which is the greve's remark, that even those, if he had writ- chief beauty. ten nothing else, would have entitled him to We do not always know our own motives. the praise of excellence in his kind.

I am not certain whether it was not rather the One composition must however be distin- difficulty which he found in exhibiting the geguished.. The “Ode for St. Cecilia's Day,” nuine operations of the heart, than a servile subperhaps the last effort of his poetry, has been mission to an injudicious audience, that filled always considered as exhibiting the highest his plays with false magnificence. It was necesflight of fancy, and the exactest nicety of art. sary to fix attention; and the mind can be capThis is allowed to stand without a rival. If in- tivated only by recollection, or by curiosity; by deed there is any excellence beyond it, in some reviving natural sentiments, or impressing new other of Dryden's works that excellence must appearances of things; sentences were readier be found. Compared with the “ Ode on Kille. at his call than images; he could more easily fill grew,” it may be pronounced perhaps superior the car with splendid novelty, than awaken those on the whole, but without any single part equal ideas that slumber in the heart. to the first stanza of the other.

The favourite exercise of his mind was ratioIt is said to have cost Dryden a fortnight's cination; and, that argument might not be too labour; but it does not want its negligences ; soon at an end, he delighted to talk of liberty some of the lines are without correspondent and necessity, destiny and contingence; these rhymes; a defect which I never detected but he discusses in the language of the school with after an acquaintance of many years, and which so much profundity, that the terms which he the enthusiasm of the writer might hinder him uses are not always understood. It is, indeed, from perceiving.

learning, but learning out of place. His last stanza has less emotion than the When once he had engaged himself in dispuformer ; but it is not less elegant in the diction. tation, thoughts flowed in on either side ; he The conclusion is vitious; the music of “Ti- was now no longer at a loss; he had always motheus," which raised a mortal to the skies, had ohjections and solutions at command; "verbaonly a metaphorical power; that of “Cecilia,” que provisam rem"-gave him matter for his which drew an angel down, had a real effect : verse, and he finds without difficulty verse for the crown, therefore, could not reasonably be his matter. divided.

In comedy, for which he professes himself not In a general survey of Dryden's labours, he naturally qualified, the mirth which he excites appears to have a mind very comprehensive will perhaps not be found so much to arise from by nature, and much enriched with acquired any original humour, or peculiarity of character knowledge. His compositions are the effects of nicely distinguished and diligently pursued, as a vigorous genius operating upon large materials. from incidents and circumstances, artifices and

The power that predominated in his intellec- surprises; from jests of action rather than of tual operations was rather strong reason than sentiment. What he had of humorous or pasquick sensibility. Upon all occasions that were sionate, he seems to bave had not from nature, presented, he studied rather than felt, and pro- but from other poets; if not always as a plagiary, duced sentiments not such as nature enforces, at least as an imitator. but meditation supplies. With the simple and Next to argument, his delight was in wild and elemental passions, as they spring separate in daring sallies of sentiment, in the irregular and the mind, he seems not much acquainted; and eccentric violence of wit. He delighted to tread seldom describes them but as they are compli- upon the brink of meaning, where light and darkcated by the various relations of society, and ness begin to mingle; to approach the precipice i confused in the tumults and agitations of life. of absurdity, and hover over the abyss of unideal

What he says of Love may contribute to the vacancy. This inclination sometimes produced explanation of his character :

nonsense, which he knew; as,

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Move swiftly, Sun, and Ay a lover's pace,

These bursts of extravagance Dryden calls Leave weeks and months behind thee in thy race, the Dalilahs of the Theatre; and owns that many

Amamel flies

noisy lines of “Maximin and Almanzor” call To guard thee from the demons of the air ; My daming sword above them to display,

out for vengeance upon him; “but I knew,” All keen, and ground upon the edge of day.

says he,“ that they were bad enough to please, And sometimes it issued in absurdities, of even when I wrote them.” There is surely reawhich perhaps he was not conscious:

son to suspect that he pleased himself as well

as his audience; and that these, like the harlots Then we upon our orb's last verge shall go,

of other men, had his love, though not his ap-
And see the ocean leaning on the sky:
From thence our rolling neighbours we shall know, probation.
And on the lunar world securely pry.

He had sometimes faults of a less generous These lines have no meaning ; but may wę and splendid kind. He makes, like almost all not say, in imitation of Cowley on another other poets, very frequent use of mythology, and book,

sometimes connects religion and fable too closely

without distinction. 'Tis so like sense, 'twill serve the turn as well?

He descends to display his knowledge with This endeavour after the grand and the new pedantic ostentation ; as when, in translating produced many sentiments either great or bulky, Virgil, he says, tack to the larboard—and veer and many images either just or splendid : starboard ; and talks another work, of virlue I am as free as Nature first made man,

spooning before the wind.--His vanity now and Ere the base laws of servitude began,

then betrays his ignorance : When wild in woods the noble savage ran.

They Nature's king through Nature's optics view'd; 'Tis but because the living death ne'er knew,

Revers'd, they view'd him lessen d to their eyes.
They fear to prove it as a thing that's new :
Let me th'expement before you try,

He had heard of reversing a telescope, and un-
I'll show you srst how easy 'lis to die.

luckily reverses the object. --There with a forest of their darts he strove,

He is sometimes unexpectedly mean.

When
And stood like Capaneus defying Jove,
With his broad sword the boldest beating down,

he describes the Supreme Being as moved by While Fate grew pale lest he should win the town, prayer to stop the fire of London, what is his And turn d the iron leaves of his dark book

expression ? To make new dooms, or mend what it mistook.

A hollow crystal pyramid he takes, -I beg no pity for this mouldering clay;

In firmamental water dipp d above, For if you give it burial, there it lakes

of this a broad extinguisher he makes, Possession of your earth:

And hoods the flames that to their quarry strove.
If burut, and scatter d in the air, the winds
That strew my dust diffuse my royalty,

When he describes the last day, and the decisive
And spread me o'er your cline ; for where one atom tribunal, he intermingles this image :
of mine shall light, know there Sebastian reigns.

When rattling bones together fiy,
Of these quotations the two first may be al- From the four quarters of the sky.
lowed to be great, the two latter only tumid.
Of such selection there is no end. I will add the temptation of a jest. In his “

It was, indeed, never in his power to resist only a few more passages : of which the first, Cromwell :"

Elegy on though it may not perhaps be quite clear in prose, No sooner was the Frenchman'e cause embrac’d, is not too obscure for poetry, as the meaning than the light Monsieur the grave Don outweigh'd; that it has is noble :*

His fortune turn'd the scale-
No, there is a necessity in fate,

He had a vanity, unworthy of his abilities, to
Why still the brave bold man is fortunate ;
He keeps his object ever full in sight;

show, as may be suspected, the rank of the comAnd that assurance holds hin firm and right;

pany with whom he lived, by the use of French True, tis a narrow way that leads to bliss,

words which had then crept into conversation : But right before there is no precipice; Fear makes men look aside, and so their footing miss.

such as fraicheur for coolness, fougue for turbu

lence, and a few more, none of which the lanOf the images which the two following cita-guage has incorporated or retained. They contions afford, the first is elegant, the second mag. tinue only where they stood first, perpetual nificent; whether either be just, let the reader warnings to future innovators. judge:

These are his faults of affectation; his faults What precious drops are these,

of negligence are beyond recital. Such is the Which silently each other's track pursue,

unevenness of his compositions, that ten lines Bright as young diamonds ir their infant dew!

are seldom found together without something of
-Resign your castle-

which the reader is ashamed. Dryden was no
-Enter, brave sir : for, when you speak the word, rigid judge of his own pages ; he seldom strug-
The gates shall open of their own accord;
The genius of the place its Lord shall meet,

gled after supreme excellence, but snat :hed in And bow its towery forehead at your feet.

haste what was within his reach ; and when he

could content others, was himself contented. + I cannot see why Johnson has thought there was He did not keep present to his mind an idea of any want of clearness in this passage even in prose. pure perfection; nor compare his works, such Addison has given us almost the very same thought in as they were, with what they might be made. very good prose : "If we look forward to Him (the He knew to whom he should be opposedl. He down those precipices which our imagination is apt to had more music than Waller, more vigour than create. Like those who walk upon a line, if we keep Denham, and more nature than Cowley; and our eye fixed upon one point, we may step forward ses from his contemporaries he was in no Janger, either side will infallibly destroy us." Spec. No. 615. Standing, therefore, in the highest place, he had

no care to rise by contending with himself ; but,

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while there was no name above his own, wassally approved. Swift always censured them, willing to enjoy fame on the easiest terms. and wrote some lines to ridicule them. In exa

He was no lover of labour. What he thought mining their propriety, it is to be considered, sufficient, he did not stop to make better; and that the essence of verse is regularity, and its allowed himself to leave many parts unfinished, ornament is variety. To write verse, is to disin confidence that the good lines would overba- pose syllables and sounds harmonically by some lance the bad. What he had once written, he known and settled rule; a rule however lax dismissed from his thoughts, and I believe there enough to substitute similitude for identity, to is no example to be found of any correction or admit change without breach of order, and to improvement made by him after publication. relieve the ear without disappointing it. Thus The hastiness of his productions might be the a Latin hexameter is formed from dactyls and cffect of necessity; but his subsequent neglect spondees differently combined; the English hecould hardly have any other cause than impa- roic admits of acute or grave syllables variously tience of study.

disposed. The Latin never deviates into seven What can be said of his versification will be feet, or exceeds the number of seventeen syllalittle more than a dilatation of the praise given bles; but the English Alexandrine breaks the it by Pope :

lawful bounds, and surprises the reader with two Waller was smooth: but Dryden taught to join

syllables more than he expected. The varying verse, the full-resounding line,

The effect of the triplet is the same; the ear The long majestic march, and energy diviné. has been accustomed to expect a new rhyme in Some improvements had been already made every couplet ; but is on a sudden surprised with in English numbers; but the full force of our

three rhymes together, to which the reader could language was not yet felt; the verse that was notice of the change from the braces of the mar

not accommodate his voice, did he not obtain smooth was commonly feeble. If Cowley had sometimes a finished line, he had it by chance. gins. Surely there is something unskilful in

the Dryden knew how to choose the flowing and

necessity of such mechanical direction. the sonorous words ; to vary the pauses, and

Considering the metrical art simply as a adjust the accents ; to diversify the cadence, and science, and consequently excluding all casualty, yet preserve the smoothness of his metre.

we must allow that triplets and Alexandrines, of triplets and Alexandrines, though he did inserted by caprice, are interruptions of that connot introduce the use, he established it. The stancy to which science aspires. And though triplet has long subsisted among us. Dryden the variety which they produce may very justly seems not to have traced it higher than to Chap- be desired, yet to make poetry exact, there ought man's Homer; but it is to be found in Phaer's to be some stated mode of admitting them. Virgil, written in the reign of Mary; and in

· But till some such regulation can be formed, Hall's “Satires,” published five years before I wish them still to be retained in their present the death of Elizabeth.

state. They are sometimes convenient to the The Alexandrine was, I believe, first used by poet: Fenton was of opinion, that Dryden was Spenser, for the sake of closing his stariza with too liberal, and Pope too sparing in their use. a fuller sound. We had a longer measure of

The rhymes of Dryden are commonly just, fourteen syllables, into which the “Æneid” was

and he valued himself for his readiness in finding translated by Phaer, and other works of the them; but he is sometimes open to objection. ancients by other writers; of which Chapman's the second line with a weak or grave syllable :

It is the common practice of our poets to end “Iliad” was, I believe, the last.

The two first lines of Phaer's third “Æneid” Together o'er the Alps methinks we fly, will exemplify this measure :

Fill'd with ideas of fair Italy. When Asia's state was overthrown and Priam's kingdom

Dryden sometimes puts the weak rhyme in

the first: All guiltless, by the pow'r of gods above was rooted out.

Laugh all the powers that favour tyranny, As these lines had their break, or cæsura,

And all the standing army of the sky. always at the eighth syllable, it was thought, in Sometimes he concludes a period or paragraph time, commodious to dívide them: and quatrains with the first line of a couplet, which, though of lines alternately, consisting of eight and six the French seem to do it without irregularity, syllables, make the most soft and pleasing of always displeases in English poetry: our lyric measures: as,

The Alexandrine, though much his favourite, Relentless Time, destroying pow'r,

is not always very diligently fabricated by him. Which stone and brass obey;

It invariably requires a break at the sixth sylWho giv'st to ev'ry flying hour

lable; a rule which the modern French poets To work some new decay.

never violate, but which Dryden sometimes neIn the Alexandrine, when its power was once glected : felt, some poems, as Drayton's "Polyolbion,”

And with paternal thunder vindicates his throne. were wholly written; and sometimes the measures of twelve and fourteen syllables were in Of Dryden's works it was said by Pope, that

“ he could select from them better specimens of terchanged with one another. Cowley was the first that inserted the Alexandrine at pleasure among the heroic lines of ten syllables, and from to mention Hall, who has already been quoted for the

use of the triplet : him Dryden professes to have adopted it.*

As though the staring world hang'd on his sleeve, The triplet and Alexandrine are not univer

Whene'er he smiles to laugh, and when he sighs to grieve.

Hall's Sat. Book i. Sat. 7. The Alexandrine inserted among heroic lines of ten syllables is found in many of the For shame! or better write or Labeo write none. writers of Queen Elizabeth's reign. It will be suficient

Ibid. B. ii. Sat. 1.-J. B.

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stout,

* This is an error.

Take another instance

so

every mode of poetry than any other English Mr. Dryden, having received from Rymer his writer could supply:" Perhaps no nation ever “Remarks on the Tragedies of the last Age,” produced a writer that enriched his language wrote observations on the blank leaves: which, with such a variety of models. To him we owe having been in the possession of Mr. Garrick, the improvement, perhaps the completion, of are by his favour communicated to the public, our metre, the refinement of our language, and that no particle of Dryden may be lost. much of the correctness of our sentiments. By That we may less wonder why pity and luim we were taught sapere et fari, to think terror are not now the only springs on which naturally and express forcibly. Though Davies our tragedies move, and that Shakspeare may

has reasoned in rhyme before him, it may be be more excused, Rapin confesses that the | perhaps maintained that he was the first who French tragedies now all run on the tendre, joined argument with poetry. He showed us and gives the reason, because love is the passior the true bounds of a translator's liberty. What which most predominates in our souls, and that was said of Rome, adorned by Augustus, may therefore the passions represented become insibe applied by an easy metaphor to English | pid, unless they are conformable to the thoughts poetry embellished by Dryden, lateritiam invenit, of the audience. But it is to be concluded, that marmoream reliquit. He found it brick, and he this passion works not now amongst the French left it marble.

strongly as the other two did amongst the The invocation before the “Georgics” is here ancients. Amongst us, who have a stronger inserted from Mr. Milbourne's version, that genius for writing, the operations from the according to his own proposal, his verses may be writing are much stronger; for the raising of compared with those which he censures. Shakspeare's passions is more from the excel

| lence of the words and thoughts, than the justWhat makes the richest tilth, beneath what signs To plough, and when to match your elms and vines;

ness of the occasion; and, if he has been able What care with flocks, and what with herds agrees,

to pick single occasions, he has never founded And all the management of frugal bees;

the whole reasonably: yet, by the genius of I sing, Mæcenas! Ye immensely ciear,

poetry in writing, he has succeeded. Vast orbs of light, which yuide the rolling year! Bacchus, and mother Ceres, if by you

Rapin attributes more to the dictio, that is, We fattning corn for hungry man pursue ;

to the words and discourse of a tragedy, than If laught by you, we first the cluster prest,

Aristotle has done, who places them in the last And thin cold streams with sprightly juice refresht; rank of beauties; perhaps, only last in order, Ye fawns, the present numens of the field, Wood. nymphs and fawns. your kind assistance yield ·

because they are the last product of the design, Your gifts I sing; and thou, at whose fear d stroke

of the disposition or connexion of its parts; of From rending earth the fiery courser broke,

the characters, of the manners of those characGreat Neptune, ( assist my artful song! And thou to whom the woods and groves belong,

ters, and of the thoughts proceeding from thuse Whose snowy heilers on her flow'ry plains

manners. Rapin's words are remarkable : ''Tis In mighty herds the Cæan Isle maintains !

not the admirable intrigue, the surprising events, Pan, happy shepherd, if thy cares divine,

and extraordinary incidents, that make the E er to improve thy M -nalus inc ine, Leave thy Lyc an wood and native grove,

beauty of a tragedy: 'tis the discourses, when And with thy lucky smiles our w rk approve;

they are natural and passionate : so are ShakBe Pallas 1oo, sweet oil's inventor, kind;

speare's.' And he who first the crooked plough design'd,

“ The parts of a poem, tragic or heroic, are, Sylvanus, god of all the woods, appear, Whose hands a new-drawn tender cypress bear!

1. The fable itself. Ye gods and goddesses, who e'er with love

“ 2. The order or manner of its contrivance, Would guard our pastures, and our fields improve; in relation of the parts to the whole. Ye, who new plants fr m unknown lands supply. “3. The manners, or decency of the characAnd with condensing clouds obecure the sky, And drop them softly thence in fruitful showers;

ters, in speaking or acting what is proper for Assist my enterprise, ye genil powers !

them, and proper to be shown by the poei. a And thou, great Cesar! though we know not yet “4. The thoughts which express the manners. Among what gods thou'lt fix thy lofty seat;

“5. The words which express those thoughts. Whether thou'll be the kind tutelar god Of thy own Rome, or with thy awful nod

“In the last of these, Homer excels Virgil : Guide the vast world, while thy great hand shall Virgil all the other ancient poets; and Shak

bear The fruits and seasons of the turning year,

speare all modern poets. And thy bright brows thy mother's myrtles wear;

“For the second of these, the order : the Whether thou'lt ali the boundless ocean sway, meaning is, that a fable ought to have a beginAnd seamen only to thyself shall pray;

ning, middle, and end, all just and natural, so Thule, the fairest island, kneel to thee,

that that part, e. g. which is the middle, could And, that thou may'st her son by marriage be, Tethys will for the happy purchase yield

not naturally be the beginning or end, and so of To make a dowry of her watry field :

the rest : all depend on one another, like the Whether thou li ard to heaven a brighter sign, links of a curious chain. If terror and pity are And o'er the summer months serenely shine; Where, between Cancer and Erigone,

only to be raised, certainly this author follows There yet remains a spacious room for thee;

Aristotle's rules, and Sophocles and Euripides' Where the hot Scorpion loo his arm declines, example ; but joy may be raised too, and that And more to thee than half his arch resigns;

doubly, either by seeing a wicked man punished, Whate'er thou'll be ; for sure the realms below No just pretence to thy command can show;

or a good man at last fortunate ; or perhaps No such ambition sways thy vast desires,

indignation, to see wickedness prosperous, and Though Greece her own Elysian fields admires. goodness depressed : both these may be profitAnd now, at last, contented Proserpine, Can all her mother's earnest prayers decline.

able to the end of a tragedy, reformation of Whale'er thou'lt be, O guide our gentle course ;

manners ; but the last improperly, only as it And with thy smiles our bold attempts enforce ;

begets pity in the audience ; though Aristotle, With me th' unknowing rustics' wants relieve, I confess, places tragedies of this kind in the And, though on earth, our sacred vows receive. second form.

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