In thefe lone walls, (their days eternal bound)
Thefe mofs-grown domes with fpiry turrets crown'd,
Where awful arches make a noonday night,
And the dim windows fhed a folemn light;
Thy eyes diffus'd a reconciling ray.

All the circumftances that can amufe and footh the mind of a folitary, are next enumerated in this expreffive manner: and the reader that fhall be difgufted at the length of the quotation, I pronounce, has no tafte, either for painting or poetry:

+ The darkfome pines that o'er yon rocks reclin'd
Wave high, and murmur to the hollow wind,
The wand'ring ftreams that fhine between the hills,
The grots that echo to the tinckling rills,
The dying gales that pant upon the trees,
The lakes that quiver to the curling breeze;
No more these scenes my meditation aid,
Or lull to reft the vifionary maid. "

7

The effect and influence, of Melancholy who is beautifully perfonified, on every object that occurs, and on every part of the convent, cannot be too much applauded, or

V: 141.

+ V. 154.

too

too often read, as it is founded on nature and experience. That temper of mind casts a gloom on all things.

* But o'er the twilight groves and dusky caves,
Long-founding iles, and intermingled graves,
Black MELANCHOLY fits, and round her throws
A death-like filence, and a dread repose;
Her gloomy prefence faddens all the fcene,
Shades every flower, and darkens every green,
Deepens the murmur of the falling floods,

And breathes a browner horror on the woods.

The figurative expreffions, throws, and breathes, and browner horror, are I verily believe the strongest and boldeft in the English language. The IMAGE of the Goddefs MELANCHOLY fitting over the convent, and as it were expanding her dreadful wings over its whole. circuit, and diffufing her gloom all around it, is truely fublime, and ftrongly conceived.

ELOISA proceeds to give an account of the oppofite fentiments, that divide and difturb. her foul; these are hinted in the Letters alfo,

* V. 163.

Ah!

* Ah wretch! believ'd the spouse of God in vain,
Confefs'd within the flave of love and man!
I ought to grieve, but cannot what I ought;
I mourn the lover, not lament the fault.

This however is improved greatly on the original. “Castam me prædicant, qui non deprehendunt hypocritam-Quomodo pænitentia peccatorum, quantacunque fit corporis afflictio, fi mens adhuc ipfam peccandi retinet voluntatem, & priftinis æftuat defideriis?"+ She then fondly calls on Abelard for affift

ance,

§ O come! O teach me nature to subdue,

Renounce my love, my life, myself and-you!
Till my fond heart win God alone, for he
Alone can rival, can fucceed to thee!

Fired with this idea of religion, she takes occafion to dwell on the happiness of a BLAMELESS Vestal, one who has no fuch fin on her confcience, as fhe has, to bemoan. The life of fuch an one is defcribed at length by fuch forts of pleasure, as none but a fspotless nun

V. 190. + Epift. p. 66.

SV. 200.

can

4.

can partake of; the climax of her happiness is finely conducted;

For her the SPOUSE prepares the bridal ring,
For her white virgins hymeneals fing,

For her th' unfading rofe of Eden blooms,
And wings of Seraphs fhed divine perfumes,
To founds of heavenly harps fhe dies away,
And melts in vifions of eternal day!

What a judicious and poetical ufe hath POPE here made of the opinions of the mystics and quietists: how would Fenelon have been delighted with thefe lines! True poetry, after all, cannot well fubfift, at least is never fo ftriking, without a tincture of enthusiasm: the fudden tranfition has a fine effect;

+ Far other dreams my erring foul employ,
Far other raptures of unholy joy.

Which raptures are painted with much fenfibility, and in very animating colours." Nec etiam dormienti fuis illufionibus parcunt." § Again,

**Oh curft dear horrors of all-confcious night;

How glowing guilt exalts the keen delight!

*V. 215. ↑ V. 223.

+ V. 223. § Ep. p. 67.

283:

This is very forceibly expreffed. She proceeds to recount a dream; in which I was always heavily disappointed, because the imagined diftress is fuch, as might attend the dreams of any perfon whatever.*

Methinks we wandring go

Thro dreary waftes, and weep each other's woe,
Where round fome mouldring tow'r pale ivy creeps,
And low brow'd rocks hang nodding o'er the deeps;
Sudden you mount, you beckon from the skies,
Clouds interpofe, &c.

These are, indifputably, picturesque lines; but what I want is a VISION of fome fuch appropriated, and peculiar diftrefs, as could be incident to none but Eloifa; and which fhould be drawn from, and have reference to, her fingle ftory. What diftinguishes Homer and Shakespear from all other poets, is, that they do not give their readers GENERAL ideas: every image is the particular and unalienable property of the perfon who uses it; it is fuited to no other; it is made for him or her alone.

It is partly from Dido's dream.
Tt

+ V. 242.

Even