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Mark, how the dread PANTHEON ftands,

Amid the domes of modern hands!

Amid the toys of idle state,

How fimply, how severely great!

Then paufe! *

19. Once on a time, La Mancha's knight, they say, A certain bard encountring on the way. §

By this fhort tale POPE has shewed us, how much he could have excelled in telling a story of humour. The incident is taken from the fecond part of Don Quixote, first written by Don Alonzo Fernandez de Avellanada, and afterwards tranflated, or rather imitated and newmodelled, by no lefs an author than the celebrated Le Sage. The book is not fo contemptible as fome authors infinuate; it was well received in France, and abounds in many * Ode to L. Huntingdon.

§ Ver. 267.

Le Sage generally took his plans from the Spanish writers, the manners of which nation he has well imitated. Le Diable Boiteux was drawn from the Diabolo Cojuelo of Guevara; his Gil Blas from Don Gusman D' Alfarache. Le Sage made a journey into Spain to acquaint himself with the Spanish cuftoms. He is a natural writer, of true humour. He died in a little house near Paris, where he supported himself by writing, 1747.

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of humour and character worthy Cervantes himself. The brevity to which POPE's narration was confined, would not permit him to infert. the following humorous dialogue at length. "I am fatisfied you'll compass your defign, faid the other scholar, provided you omit the combat in the lifts. Let him have a care of that, faid Don Quixote interrupting him, that is the best part of the plot. But Sir, quoth the Batchelor, if you would have me adhere to Aristotle's rules, I must omit the combat. Ariftotle, replied the Knight, I grant was a man of fome parts; but his capacity was not unbounded: and give me leave to tell you, his authority does not extend over combats in the lift, which are far above his narrow rules. Would you fuffer the chafte Queen of Bohemia to perish? For how can you clear her innocence? Believe me, COMBAT is the most honourable method you can purfue; and, befides, it will add fuch grace to your play, that all the rules in the universe must not ftand in competition with it. Well, Sir Knight, replied the Batchelor, for your fake, and for

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the honour of chivalry, I will not leave out the combat: and that it may appear the more glorious, all the court of Bohemia shall be present at it, from the princes of the blood, to the very footmen.. But ftill one difficulty remains, which is, that our common theatres are not large enough for it. There must be one erected on purpose, answered the Knight; and, in a word, rather than leave out the combat, the play had better be acted in a field or plain." *

20. Some to conceit alone their tafte confine, †

And glitt❜ring thoughts ftruck out at every line.

SIMPLICITY, with elegance and propriety, is the perfection of ftyle in every compofition. Let us, on this occafion, compare two paffages from Theocritus and Ovid upon the fame fubject. The Cyclops, in the former, addreffes Galatea with comparisons, natural, obvious, and drawn from his fituation.

* Continuation of Hift. of Don Quixote, b. iii. ch. 10. + Ver. 289.

Ω λευκός

Ω λευκα Γαλάτεια, τι τον φιλέον αποβάλλη ;
Λευκότερα πακίας πολιδειν, απαλώτερα δ' άρνο,
Μοσχω γαυρότερα, φιαρώτερα ομφακα μας.

These fimple and pastoral images were the moft proper that could occur to a Cyclops, and to an inhabitant of Sicily. Ovid could not restrain the luxuriancy of his genius, on the fame occafion, from wandering into an endless variety of flowery and unappropriated fimilitudes, and equally applicable to any other person or place.

Candidior nivei folio, Galatea, liguftri;
Floridior pratis; longâ procerior alno;
Splendidior vitro; tenero lascivior hædo;
Lævior affiduo detritis æquore conchis;
Solibus hybernis, æftivâ gratior umbrâ;
Nobilior pomis; platano conspectior altâ;
Lucidior glacie; maturâ dulcior uvâ ;
Mollior & cygni plumis, & lacte coacto;
Et, fi non fugias, riguo formofior horto. *

There are seven more lines of comparison.

21. False eloquence, like the prifmatic glass,

In gaudy colours spreads on every place:
The face of nature we no more furvey,
All glares alike without diftinction gay. †

§ Idyll. Kunλ.

* Metam. 13.789.
U 2

+ Ver. 311.

THE

THE naufeous affectation of expreffing every thing pompously and poetically, is no where more vifible, than in a poem lately published, entitled AMYNTOR and THEODORA. The following inftance may be alleged amongst many others. Amyntor having a pathetic tale to discover, and being at a lofs for utterance, uses these ornamental and unnatural images.

O could I fteal

From harmony her fofteft warbled strain
Of melting air! or Zephire's vernal voice!
Or Philomela's fong, when love diffolves
To liquid blandishment his evening lay,
All nature smiling round. *

Voltaire fays very comprehenfively, with refpect to every fpecies of compofition, "Il ne faut rechereher, ni les penfeés, ni les tours, ni les expreffions, & que l' art, dans tous les grand ovrages, eft de bien raisonner, fans trop faire d' argumens; de bien peindre, fans vouloir tout peindre; d' émouvoir, fans vouloir toujours exciter les paffions." +

Cant. iii. ver. 92,

+ Oeuvres, tom. iii. pag. 332, 22. Some

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