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"nocte," and in vain ftretching out her feeble arms towards him,

Invalidasque tibi tendens, heu! non tua, palmas. *

This lively and pathetic attitude would have fhone under the hands of POPE. The reader, I prefume, feels the effect of the judicious placing in the verse, heu! non tua, and of its repetition after tibi. The places in which Orpheus, according to POPE, made his lamentations, are not fo wild, fo favage and difmal, as thofe mentioned by Virgil; to introduce him " befide the falls of foun"tains," conveys not fuch an image of defolation and despair, as the caverns on the banks of Strymon and Tanais, the Hyperborean defarts, and the Riphæan folitudes. And to fay of Hebrus, only, that it "rolls in meanders," is flat and frigid, and does not heighten the melancholy of the place. There is an antithefis in the fucceeding lines, "he glows "amid Rhodope's fnows," which I hope the

* Ver. 498.

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poet did not intend, as it would be a trivial and puerile conceit. The death of Orpheus is expreffed with a beautiful brevity and abruptness, suitable to the nature of the ode;

Hark! Hamus refounds with the Bacchanals cries,
Ah! fee he dies!

Yet ev❜n in death Eurydice he fung.

Where inftead of fung, Virgil fays vocabat, which is more natural and tender; and Virgil adds a very moving epithet, that he called miferam Eurydicen. I am fenfible POPE never intended an exact tranflation of the paffages of the Georgics here alleged; I only hint, that in my humble judgment he has omitted fome of the moft ftriking incidents in the story. I have lately feen a manufcript ode, entitled, "On the Ufe and Abuse of Poetry," in which Orpheus is confidered in another, and a higher light, according to ancient mythology, as the first legislator and civilizer of mankind. I fhall here infert a ftanza of it, containing part of what relates to this fubject.

Such was wife Orpheus' moral fong,
The lonely cliffs and caves among;
From hollow oak, or mountain-den,
He drew the naked, gazing men,
Or where in turf-built fheds, or rufhy bowers,
They fhiver'd in cold wintry fhowers,

Or funk in heapy fnows;

Then fudden, while his melting music stole
With powerful magic o'er each foftening foul,

Society, and law, and facred order rose.

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Father of peace and arts! he firft the city built;

No more the neighbour's blood was by his neighbour spilt;
He taught to till, and feparate the lands;

He fix'd the roving youths in Hymen's myrtle bands
Whence dear domeftic life began,

And all the charities that soften'd man :
The babes that in their father's faces fmil'd,

With lifping blandishments their rage beguil❜d,
And tender thoughts infpir'd!


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I am not permitted to tranfcribe any more, and therefore return to POPE again.

THE beginning of the laft ftanza of the ode here examined, seems to be a repetition of the


subject of the second, the power of mufic over the paffions, which may perhaps be reckoned a blameable tautology; efpecially as these lines,

Mufic the fierceft grief can charm,
And fate's fevereft rage difarm;

Mufic can foften pain to ease,

And make despair and madness please ;

are inferior, I am afraid, to the former on the fame fubject, which contain beautiful and poetical perfonifications;

Melancholy lifts her head,
Morpheus rouses from his bed,
Sloth unfolds her arms and wakes,
Liftning Envy drops her fnakes ;
Inteftine war no more our paffions wage,
And giddy factions hear away their rage.

It is obfervable that this ode of POPE, and the Alexander's Feast of Dryden, both of them conclude with an epigram of four lines; a fpecies of wit as flagrantly unsuitable to the dignity, and as foreign to the nature, of the lyric, as it is of the epic mufe.

Ir is to be regretted, that Mr. Handel has not fet to mufic the former, as well as the latter, of these celebrated odes, in which he has difplayed the combined powers of verse and voice, to a wonderful degree. No poem indeed, affords fo much various matter for a composer to work upon; as Dryden has here introduced and expreffed all the greater paffi- . ons, and as the tranfitions from one to the other are fudden and impetuous. Of which we feel the effects, in the pathetic defcription of the fall of Darius, that immediately fucceeds the joyous praises of Bacchus. The fymphony, and air particularly, that accompanies the four words, fallen, fallen, fallen, fallen," is ftrangely moving, and confifts of a few




* The mention of this pathetic air, reminds me of a story of the celebrated Lully, who having been one day accused of never setting any thing to mufic, but the languid verfes of Quinault, was immediately animated with the reproach, and as it were feized with a kind of enthusiasm; he ran instantly to his harpfichord, and striking a few cords, fung in recitative these four lines in the Iphigenia of Racine, which are full of the ftrongest imagery, and are therefore much more difficult to exprefs in mufic, than verfes of mere fentiment,


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